516

Monatshefte für Kunstwissenschaft

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The whole is crowned by (5) a crucifix, the mound in which the cross is planted
being visible through the open lunette formed by the arch at the summit of the
preceding member. Figures of St. John and the Blessed Virgin stand upon the
ledge formed by the entablature of the frame beneath them; they balance the two
pairs of angels be-
low, but are on a
much larger scale
than the figure of
Christ, and areplaced
in no very close
relationship to him.
The whole is cut
on two blocks and
printed on two
sheets; the extreme
measurements of the
woodcut itself are
934 : 200 mm.
It may be dis-
puted whether the
tabernacle was a de-
sign to be executed
in metal, or on a
larger scale in stone.
The latter hypothesis
is perhaps, the more
probable, and the
tradition of theSouth
German Sakraments-
häuschen of the
Gothic period would

then be carried on
in a modified form.
One other wood-
cut connected with
the "Schöne Maria"
has been conjectu-
rally attributed to
Ostendorfer. It is on
the title-page, repro-
duced here (Abb. 4),
of a book (s. 1. e. a.)
printed, according to
Proctor, No. 11020,
by Hölzel at Nürn-
berg (Weigel, Kunst-
katalog, No. 18351,
Weller 1303, Muther
1777). A secondim-
pression ofthewood-
cut occupies the back
of the leaf.According
to Muther, it is doubt-
ful whether the
woodcut is by Alt-
dorfer or Ostendorfer
The former name
may be at once

Abb. 4. Anonymer Titelholzschnitt

dismissed; the second has not a much better claim to consideration, especially if it be true that
the book was printed at Nürnberg. The cutting certainly resembles that of the rougher
sort of Nürnberg illustrations more than that of genuine Regensburg woodcuts, and
I see in the design, as distinct from the subject, nothing specially characteristic of
Regensburg. Interest in the remarkable events of 1519 must have been sufficiently
diffused for an Illustration of this subject to find a ready sale elsewhere than on
the Danube.