DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.7597#0061
32
PAPILLON'S ACCOUNT OF
[chap. i.
the latter description, Papillon mentions a large wood print, some-
what in the style of Mantegna, and certainly Italian, of a subject
of the Roman history, allegorically represented, and inscribed Opus
Iacobi ; and another large wood engraving, representing the Ma-
donna, S. Sebastian, and S. Rock, inscribed Iacobus; whom he
considers, and, probably, with some reason, a different artist from the
foregoing.* Heineken, it is possible, never saw these prints; or, if he
did, mistook them for the productions of another school. The print
of the " Madonna with the two Saints," if it be, as I think, one that I
have seen (and shall, I hope, have an opportunity of describing here-
after) is decidedly old Italian. The other I am unacquainted with.
I will only, therefore, at present observe, that in the British Museum
there is a set of circular prints of subjects from the NewTestament, one
of which bears this inscription, Opus Iacobi. They are indisputably flta-
* Papillon. Tom. I. p. 140.
•f Since writing the above, I find in
Heineken's Beue $fld)richtei (a work
published by him fifteen years after his
" Idee Generale) at p. 123, the following
title to a set of 12 large prints of the Tri-
umphs of Julius Caesar:—" Triumphus Caji
Julii Caesaris, qui quinquies triumphavit.
Primum et excellentissimum egit Gallicum.
Sequentem Alexandrinum. Deinde Ponti-
cum, Proximum Africanum, Novissimum
Hhpaniensem. Edidit spectacula varii ge-
neris, a quo deinde Jlomanorum Principes
Caesares atque Imperatores appellati sunt
----Manibus propriis hoc prae-
clarum opus in lucem prodire fecit, Jacobus
Argentoratemis, Germanus, Archetypus So-
lertissimus, anno virginei partus M. D. III.
idibus Februarii sub hemispherio Veneto
finem imposuit."
Not having had an opportunity of seeing
the original from which this inscription is
taken, I am unable to satisfy the curiosity of
the reader as to that part of it which Heine-
ken appears to have thought proper to omit.
But I happen to possess in my own collection}
two pieces which I suspect may be a part of
the above Triumphs. They have neither the
name nor mark of the designer or the engraver;
but are very much in the manner of the cir-
cular prints in the British Museum, mentioned
in the text. The style of them, however, is
decidedly Old Italian, as well as respects
their design, as the mode in which they are
executed. The artist, therefore, whoever he
was, properly belongs to the Italian school;
notwithstanding he may have been of German
origin, or even a native of Strasburg; since it
is evident, from his style, that he must have
learned the principles of his art in Italy.
I consequently still feel myself justified in
leaving the passage in the text as I had origin-
ally written it; more especially, as it is not
proved that both the Jacobi were the same
PAPILLON'S ACCOUNT OF
[chap. i.
the latter description, Papillon mentions a large wood print, some-
what in the style of Mantegna, and certainly Italian, of a subject
of the Roman history, allegorically represented, and inscribed Opus
Iacobi ; and another large wood engraving, representing the Ma-
donna, S. Sebastian, and S. Rock, inscribed Iacobus; whom he
considers, and, probably, with some reason, a different artist from the
foregoing.* Heineken, it is possible, never saw these prints; or, if he
did, mistook them for the productions of another school. The print
of the " Madonna with the two Saints," if it be, as I think, one that I
have seen (and shall, I hope, have an opportunity of describing here-
after) is decidedly old Italian. The other I am unacquainted with.
I will only, therefore, at present observe, that in the British Museum
there is a set of circular prints of subjects from the NewTestament, one
of which bears this inscription, Opus Iacobi. They are indisputably flta-
* Papillon. Tom. I. p. 140.
•f Since writing the above, I find in
Heineken's Beue $fld)richtei (a work
published by him fifteen years after his
" Idee Generale) at p. 123, the following
title to a set of 12 large prints of the Tri-
umphs of Julius Caesar:—" Triumphus Caji
Julii Caesaris, qui quinquies triumphavit.
Primum et excellentissimum egit Gallicum.
Sequentem Alexandrinum. Deinde Ponti-
cum, Proximum Africanum, Novissimum
Hhpaniensem. Edidit spectacula varii ge-
neris, a quo deinde Jlomanorum Principes
Caesares atque Imperatores appellati sunt
----Manibus propriis hoc prae-
clarum opus in lucem prodire fecit, Jacobus
Argentoratemis, Germanus, Archetypus So-
lertissimus, anno virginei partus M. D. III.
idibus Februarii sub hemispherio Veneto
finem imposuit."
Not having had an opportunity of seeing
the original from which this inscription is
taken, I am unable to satisfy the curiosity of
the reader as to that part of it which Heine-
ken appears to have thought proper to omit.
But I happen to possess in my own collection}
two pieces which I suspect may be a part of
the above Triumphs. They have neither the
name nor mark of the designer or the engraver;
but are very much in the manner of the cir-
cular prints in the British Museum, mentioned
in the text. The style of them, however, is
decidedly Old Italian, as well as respects
their design, as the mode in which they are
executed. The artist, therefore, whoever he
was, properly belongs to the Italian school;
notwithstanding he may have been of German
origin, or even a native of Strasburg; since it
is evident, from his style, that he must have
learned the principles of his art in Italy.
I consequently still feel myself justified in
leaving the passage in the text as I had origin-
ally written it; more especially, as it is not
proved that both the Jacobi were the same