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Monatshefte für Kunstwissenschaft


Abb. 2. Passavant III. 304. 65 (Ausschnitt)

genuine monogram, is preserved ander that
artist's name in the same collection. Even
in quite old impressions there is a vertical
crack passing down through the rays of
the Virgin's glory, on the left side, and
extending across the tower as far as the
foot of the uppermost block (Abb. 2).
The presence of this crack, apparently,
gave rise to the mistaken statement of
Passavant that a new piece of wood has
been inserted, in which the figure of the
Virgn is drawn by Ostendorfer and bears
his mark. There is no evidence of any
such insertion having been made; the
drawing and monogram from the first were
those of Ostendorfer, not Altdorfer. The
monogram is approximately the same as
in Pass. 13 and 14, with the 0 attadied
to the right-hand upright stroke of the M.

9 Mitteilungen der Gesellschaft für ver-
vielfältigende Kunst, 1903, p. 47.

two woodcuts now to be mentioned rather
than with the large figures in Pass. 13 —
and there is no reason to doubt that the
woodcut was designed by him.
The large woodcut representing the
exterior of the Renaissance church of stone
which soon replaced the temporary chapel,
was formerly ascribed to Altdorfer (Pass. III.
304. 65), though Heller (Zusätze, p. 101)
first described it, quite rightly, under Osten-
dorfer's name. So recently as 1903 Passa-
vant's error has been revived,1) with
reference to an impression in the Albertina
which, it is alleged, bears Altdorfer's
monogram; that signature, however, is a
forgery, produced with Indian ink, and a
second impression, with Ostendorfer's


Abb. 3. Passavant III. 304. 65 (Ausschnitt)