DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22421#0352
288
THE BRITISH MUSEUM.
Letter IX.
The lower and larger half of the folio sheet is filled with a prayer
in high German, in Gothic minuscule letters, which ends by de-
claring that whoever says this prayer and five paternosters devoutly
shall have "xiii. jor ablas."
A large folio print, St. Anna with the Virgin on her lap, who
is holding the infant Saviour on hers, and giving him a fruit: the
penthouse-roof is of late Gothic form. This plate is remarkable
for the grandeur of the conception, for the excellent proportions
(the hands are feebly drawn, however), for the rich and flowing
drapery, and for the treatment which consists only in a powerful
outline. Judging from the pale colour of the ink it belongs to the
early part of the 15th century: it is illuminated. I should be
inclined to concur with Mr. Carpenter that this print, which shows
some affinity with English miniatures, was executed in England,
were it not for the technical merit which renders such a supposition
doubtful. For though there are reasons enough for the decline of
painting in England from 1460 to 1500, still it is hardly possible
that the mere technical execution of woodcutting should have
become so uncertain and rude as it appears in so many dated
English specimens of that period, had it ever attained such a
development as this print exhibits. I am of opinion, therefore, that
this plate is German, and, perhaps, belonging to the very end of
the 14th century.
An old man pointing out something to a young man; another
figure is looking into an abyss: an oblong print; the motives,
which are expressed in simple outlines in pale ink, are excellent,
well drawn, and the hands speaking in action. From the pure
style of the folds and the pointed shoes of the costume this
woodcut may be assigned to a period little later than 1450.
A superscription in Gothic minuscule letters shows that this
print was executed in Upper Germany, and formed one of a
series.
Of the old Netherlandish and old German engravings by anony-
mous masters, the following appeared to me most worthy of
notice :—
Christ's entry into Jerusalem, and Christ bearing his Cross : both
careful prints by some skilful German engraver, showing the'
influence of Martin Schongauer.
A Pieta, with St. John and the two Marys: stiff and meagre
THE BRITISH MUSEUM.
Letter IX.
The lower and larger half of the folio sheet is filled with a prayer
in high German, in Gothic minuscule letters, which ends by de-
claring that whoever says this prayer and five paternosters devoutly
shall have "xiii. jor ablas."
A large folio print, St. Anna with the Virgin on her lap, who
is holding the infant Saviour on hers, and giving him a fruit: the
penthouse-roof is of late Gothic form. This plate is remarkable
for the grandeur of the conception, for the excellent proportions
(the hands are feebly drawn, however), for the rich and flowing
drapery, and for the treatment which consists only in a powerful
outline. Judging from the pale colour of the ink it belongs to the
early part of the 15th century: it is illuminated. I should be
inclined to concur with Mr. Carpenter that this print, which shows
some affinity with English miniatures, was executed in England,
were it not for the technical merit which renders such a supposition
doubtful. For though there are reasons enough for the decline of
painting in England from 1460 to 1500, still it is hardly possible
that the mere technical execution of woodcutting should have
become so uncertain and rude as it appears in so many dated
English specimens of that period, had it ever attained such a
development as this print exhibits. I am of opinion, therefore, that
this plate is German, and, perhaps, belonging to the very end of
the 14th century.
An old man pointing out something to a young man; another
figure is looking into an abyss: an oblong print; the motives,
which are expressed in simple outlines in pale ink, are excellent,
well drawn, and the hands speaking in action. From the pure
style of the folds and the pointed shoes of the costume this
woodcut may be assigned to a period little later than 1450.
A superscription in Gothic minuscule letters shows that this
print was executed in Upper Germany, and formed one of a
series.
Of the old Netherlandish and old German engravings by anony-
mous masters, the following appeared to me most worthy of
notice :—
Christ's entry into Jerusalem, and Christ bearing his Cross : both
careful prints by some skilful German engraver, showing the'
influence of Martin Schongauer.
A Pieta, with St. John and the two Marys: stiff and meagre