DOI Page / Citation link:
https://doi.org/10.11588/diglit.74283#0036
i8 CHARACTER OF SCHEMBART MSS
Augsburg about the year 1520.49 Into the open pad in the hands
of the artist go his outlines and notes, later to be worked into
miniatures like those of the Schembart books.
Evidence exists that paintings and woodcuts of the carnival
were made in the Sixteenth and Seventeenth centuries, in some
cases to be sold on the market-place. In 1571 the Council of
Nuremberg ordered a painting of the 1539 Schembartlauf by
Hieronymus Beheim to be destroyed: "Jheronimusen Beheim,
dem maler, sol man Meiner Herrn ernstlich misfallen anzeigen,
das er den letzeren schempert mit der hell Osiander gemahlt und
offentlich am marckt fail gehabt, und warnen, auch das gemehl
zerschneiden und im nit wider geben.”50 The displeasure of the
Rat reflects the strictness of the ban that had been placed on the
Schembartlauf thirty-two years earlier, in 1539, as a result of the
satire on the preacher Dr. Osiander by the Ldufer. The private use
of representations of the Schembartlauf was, however, permitted.
In 1591 a woodcut of three Ldufer was included in F. J. Brechtel's
Biichsenmeisterei, along with an account of the so-called "Schbn-
part Rdrlein," a fireworks gun used by the dancers.51 The attitude
of the Council, objection to the exhibition of such paintings in
public because they might cause resentment in certain circles,
is made clear by an item in the minutes of June 1, 1605: "Han-
sen Wandereisen, maler, welcher begert, ime, ettliche gemald,
die vor jahren gebreuchliche schbnpartsgesellschafften und ettliche
gesellengestech alhie betreffent, offentlich fail zu haben, zu er-
lauben, soll man solch sein begern ablainen, weil viel wappen
dabey gemalet und derwegen nitt ein yeder gern sehen mdcht,
solche offentlich fail zu haben. Mann soll im aber sagen, er konne
49 Cf. Henne am Rhyn, II, Frontispiece, representing eight figures moving through
the stately steps of the "schreitender Tanz" of sixteenth-century society; also the
illustrations opposite pp. 68 and 82, depicting the commoners ("BOFL FOLCK")
watching the dance, the musicians, and a group of entertainers with their trained
bear. Below the artist himself is a tablet with the inscription "OPUS NR."
50 Cf. T. Hampe, Niirnberger Ratsverldsse iiber Kunst und Kunstler im Zeitalter
der Spiitgotik und Renaissance (Wien: K. Graeser, 1904), II, 4, Nr. 31 (19. Juli
1571). Hieronymus Beheim's name appears among a list of painters, cf. Mitteilungen
aus dem germanischen Nationalmuseum, II, 70, but nothing more is known about
him.
51 For the reference to the woodcut cf. Siebenkees, IV, 674.
Augsburg about the year 1520.49 Into the open pad in the hands
of the artist go his outlines and notes, later to be worked into
miniatures like those of the Schembart books.
Evidence exists that paintings and woodcuts of the carnival
were made in the Sixteenth and Seventeenth centuries, in some
cases to be sold on the market-place. In 1571 the Council of
Nuremberg ordered a painting of the 1539 Schembartlauf by
Hieronymus Beheim to be destroyed: "Jheronimusen Beheim,
dem maler, sol man Meiner Herrn ernstlich misfallen anzeigen,
das er den letzeren schempert mit der hell Osiander gemahlt und
offentlich am marckt fail gehabt, und warnen, auch das gemehl
zerschneiden und im nit wider geben.”50 The displeasure of the
Rat reflects the strictness of the ban that had been placed on the
Schembartlauf thirty-two years earlier, in 1539, as a result of the
satire on the preacher Dr. Osiander by the Ldufer. The private use
of representations of the Schembartlauf was, however, permitted.
In 1591 a woodcut of three Ldufer was included in F. J. Brechtel's
Biichsenmeisterei, along with an account of the so-called "Schbn-
part Rdrlein," a fireworks gun used by the dancers.51 The attitude
of the Council, objection to the exhibition of such paintings in
public because they might cause resentment in certain circles,
is made clear by an item in the minutes of June 1, 1605: "Han-
sen Wandereisen, maler, welcher begert, ime, ettliche gemald,
die vor jahren gebreuchliche schbnpartsgesellschafften und ettliche
gesellengestech alhie betreffent, offentlich fail zu haben, zu er-
lauben, soll man solch sein begern ablainen, weil viel wappen
dabey gemalet und derwegen nitt ein yeder gern sehen mdcht,
solche offentlich fail zu haben. Mann soll im aber sagen, er konne
49 Cf. Henne am Rhyn, II, Frontispiece, representing eight figures moving through
the stately steps of the "schreitender Tanz" of sixteenth-century society; also the
illustrations opposite pp. 68 and 82, depicting the commoners ("BOFL FOLCK")
watching the dance, the musicians, and a group of entertainers with their trained
bear. Below the artist himself is a tablet with the inscription "OPUS NR."
50 Cf. T. Hampe, Niirnberger Ratsverldsse iiber Kunst und Kunstler im Zeitalter
der Spiitgotik und Renaissance (Wien: K. Graeser, 1904), II, 4, Nr. 31 (19. Juli
1571). Hieronymus Beheim's name appears among a list of painters, cf. Mitteilungen
aus dem germanischen Nationalmuseum, II, 70, but nothing more is known about
him.
51 For the reference to the woodcut cf. Siebenkees, IV, 674.