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APRIL 28,1971-JUNE 20,1971 BLUMENTHAL PATIO BALCONY THE METROPOLITAN MUSEUM OF ART

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Martin Schongauer, the son of a goldsmith, trained as a painter, is known to us primarily as an engraver. Active in the latter third of the fifteenth century, he was one of the earliest painters to try out the young art of printing from engraved plates which had developed in goldsmiths' workshops in South Germany in the 1430s. The Metropolitan Museum of Art's collection of sixty of Schongauer's en­ gravings, almost all superb impressions, will be on view from April 28 to June 20. Our collection contains over half of Schongauer's 116 , a total which represents a fairly small body of work when you consider that Diirer and Rembrandt both made over 300 prints. Since all the Schongauer prints we know exist in no less than four impressions and sometimes in as many as seventy impressions, it is safe to assume that these 116 engravings are probably Schongauer's total out­ put. The number of paintings attributed to him is also not very large nor is the information available about his life very extensive. What can one say definitely about Schongauer's life and work? His father, Caspar, was a goldsmith from , who came to the Alsatian town of in 1440. In 1445, Caspar was enrolled as a citizen of Colmar and became a mem­ ber of its town council. Martin Schongauer, one of either four or five sons born to Caspar, is listed in the records of the University of Leipzig for the year 1465- During the 1470s and 1480s, Martin's name appears on the tax rolls in Colmar. His only dated painting, The Madonna and Child in the Rose Arbor, is inscribed 1473- In 1489, Martin became a citizen of Breisach, a town just across the Rhine from Colmar. There he received a commission for a large fresco cycle in the cathe­ dral. He died in Breisach on February 2, 1491, at a time when the town had fallen prey to a plague epidemic. Some scholars believe Martin Schongauer was born in the 1430s; others argue for a date around 1450. Attempting to find the chronological order of his engravings adds another problem. While all of Schongauer's prints are signed with his mono­ gram /^ w. 8 , none is dated; and, as a result, their chronology has been the subject of much discussion, producing differing theories about Schongauer's life. One can generally say that the engravings tend to develop toward a more simplified and monumental type of composition. Trying to arrange the prints chrono­ logically, solely by means of stylistic analysis, has led equally reputable scholars to place the very same print early, late, and midway in Schongauer's career. Oc­ casionally a contemporary dated work copied from a Schongauer helps to narrow down the years in which the engraving was done. The development of a more controlled system of burin strokes distinguishes the later prints from the very earliest ones. Style, technique, and copies all help generally to shape a chrono­ logy, which cannot be definitely ascertained. Schongauer belonged to the generation between the goldsmith engraver, Master E.S. and Albrecht D'urer. His art is the culmination of the Gothic tradition. Courtly figures inhabit a world of delicately wrought details. The nervous flutter of the swirling drapery clothing these elegant Gothic figures emphasizes the sweet seren­ ity of their faces. Schongauer made an important contribution to by discovering how to make engraved lines differentiate between the textures of various materials. Prints are easily transportable and Schongauer's balanced com­ positions and finished forms were particularly influential in the fifteenth and six­ teenth centuries. That he was highly regarded in his own time is demonstrated by the fact that Diirer, upon completing his apprenticeship, set out to work under Schongauer. Diirer arrived too late, for Schongauer was already dead, but Schon­ gauer's designs were available to be avidly studied and copied by the young Diirer.

Judith E. Schub Curatorial Assistant Department of Prints and Photographs THE METROPOLITAN MUSEUM OF ART'S COLLECTION OF SCHONGAUER ENGRAVINGS

Excerpted from the Bulletin of the Metropolitan Museum of Art, March, 1937, pp. 69-71.

In his sweetness and charm unequaled among the print makers who were his contemporaries, Schongauer may be thought of as the outstanding engraver to come out of the tradition of the Van Eycks and Roger van der Weyden...he came at the end of a great movement of thought and expression and resumed in his work the results of the travail of a most remarkable group of predecessors. Schongauer's engravings are...among the basic prints for every great public collection, and to a certain extent the number of the quality of those in any col­ lection formed along historical lines may be regarded as an indication or touch­ stone of its age and importance. Of the early masters who were prolific and of whose prints many impressions are in existence, there are few if any whose prints are more difficult to secure in any number in impressions of satisfactory quality; for fine Schongauers are not to be had on demand or without watchful waiting over long periods of time. The Museum's print room, which is just entering its twenty-first year [this was in 1937], has as yet impressions of somewhat less than half of the 115 pieces that constitute Schongauer's engraved work, [the number 115 excludes the dis­ puted print of Saint James the Greater at the Battle of Clavigo, the last entry in this checklist. Since 1937 we have added some Schongauer prints to the collection so that we now have somewhat more than half of his total work]. The smallness of its collection of these precious engravings, however, is offset by the fact that, with the exception of two or three, they fulfill the most exacting standards of quality. Among the masterpieces in the collection there may be mentioned the Virgin Enthroned by God the Son (the first Schongauer that was bought by the Mu­ seum), the Angel and the Virgin of the Annunciation, the Annunciation, the Adora­ tion of the Shepherds, the Adoration of the Kings (in a unique first state), the Flight into Egypt, the Baptism of Our Lord, several of the Passion Series, the great Christ Carrying the Cross, the Christ Crucified, the Crucifixion with Three Angels, Christ and the Magdalene, the Virgin in the Courtyard, the Temptation of Saint Anthony (in the first state), the small Saint George and the Dragon, Saint John the Baptist, Saint Martin, Saint Michael, Saint Veronica, the Infant Saviour,

173378 Christ Blessing, the Peasants Going to Market, the Griffin, the Censer, and several of the round coats of arms. Today it is possible for us to record the acquisition of four more specimens of the master's work - the Nativity, the Virgin with the Parrot, the Virgin with the Apple, and the oblong ornament with the birds. The Nativity is one of the most famous and best beloved of the master's prints, a work of art of the kind which once seen is never forgotten. The Virgin with the Parrot, a delicately and elab­ orately engraved piece done in the master's early period, is shown before the plate underwent any deterioration through wear. The Virgin with the Apple, the largest of Schongauer's single figure subjects is noteworthy as having been struck off before the disappearance of the transverse scratches across the lower part of the Virgin's dress. The ornament with the birds is the first piece of the master's purely ornamental work to enter the collection. With luck and time it is hoped that we may eventually be able to complete the series on the same high level of excellence that has so far marked its growth.

William M. Ivins, Jr. (Mr. Ivins was the first curator of the Department of Prints, which began in 1916) The following checklist of prints on exhibition comprises the Metropolitan Museum of Art's collection of engravings by Martin Schongauer. In some cases, we have more than one impression of an engraving. These additional impressions, as well as copies, so necessary for a study collection, are not, however, exhibited or listed here. "Lehrs" refers to volume five of Max Lehrs, Gescbichte und kritischer Katalog des deutscben...Kupferstichs im XV Jahrhundert (, 1925)- The following list is in the order of Lehrs number. Lehrs is arranged according to subject not according to chronological order. The chronology of Schongauer's engravings, as mentioned before, is open to much discussion. A SELECTED BIBLIOGRAPHY

Julius Baum, Martin Schongauer, Vienna, 1948.

Max Geisberg, "Martin Schongauer," Print Collector's Quarterly, April, 1914, pp. 103-129.

Max Lehrs, Geschichte und kritischer Katalog des deutschen...Kupferstichs im XV ]ahrhundert, Volume V, Vienna, 1925-

Charles I. Minott, Martin Schongauer, New York, 1971.

Elizabeth Mongan and Carl O. Schiewind, The First Century of Printmaking 1400- 1500...The Art Institute of Chicago... 1941.

Alan Shestack, The Complete Engravings of Martin Schongauer, New York, 1969-

Fifteenth Century Engravings of Northern Europe from the National Gal­ lery of Art, Washington, D.C., 1968. 1. THE ANNUNCIATION Lehrs 1 Harris Brisbane Dick Fund, 32.64.1

There is a copy of this print by Wenzel von Olmutz, dated 1485, therefore giving the latest possible date for this engraving.

2. THE ANNUNCIATION Lehrs 2 The Angel Gabriel; Lehrs 3 The Virgin Harris Brisbane Dick Fund, 34.94.1 & .2

This diptych treatment of the Annunciation, unusual in engraving, is marked by the simplified, monumental quality of the figures. For this reason, it is usually considered a late work by Schongauer. Compare it to the earlier version of the Annunciation listed above.

3. THE NATIVITY Lehrs 4 Harris Brisbane Dick Fund, 37.3-7

The Metropolitan Museum of Art owns a sixteenth century South German re­ lief derived from this print.

4. THE NATIVITY Lehrs 5 Jacob H. Schiff Fund, 22.78.2

Saint Birgitta was a fourteenth century Swedish noblewoman, who spent much time in Rome. She experienced many revelations, among which was a vision of the Nativity of Christ. This vision changed the depiction of the Nativity, beginning in late fourteenth century art. Previously, following the tradition of Byzantine art, the Virgin of the Nativity is portrayed reclining on a bed or in a cave, with the Child in His manger. In Saint Birgitta's vision, the Virgin kneeled in adoration of the Child on the ground before her, as is shown in this engraving.

- 1 5. THE ADORATION OF THE MAGI Lehrs 6, undescribed before state I Harris Brisbane Dick Fund, 32.78.1

Since this print is a unique impression taken from the plate in an unfinished condition, it is referred to as a trial proof. It was unknown to Lehrs, who described three states for this plate. Of these three states, the second and the third represent the physical deterioration of the plate and are therefore not true states - that is states due to additional work by Schongauer. In fact, there are only four prints by Schongauer which have true states. One of these, The Madonna and Child with the Parrot (L.37), has a unique first state which is also called a trial proof. Most of Schongauer's engravings exist in from four to seventy impressions.

6. THE FLIGHT INTO EGYPT Lehrs 7 Harris Brisbane Dick Fund, 29-48.1

Prints travel easily and Schongauer's engravings exerted a strong influence on many artists. Works in other media which are based on his engravings, are not uncommon. Downstairs, in the Medieval Sculpture Hall, you can see a Spanish fifteenth century, painted wood relief of the Flight into Egypt de­ rived from this engraving.

7. THE BAPTISM OF CHRIST Lehrs 8 Harris Brisbane Dick Fund, 28.97.107

This engraving served as the model for the German tapestry, dated 1595, pre­ sently on exhibit in the Junior Museum.

8. CHRIST BEARING THE CROSS Lehrs 9 Gift of Felix M. Warburg and his Family, 41.1.26

-2 9. CHRIST BEARING THE CROSS Lehrs 9 Gift of George Coe Graves, 35-27

"If works of art were rated in importance by the skill, artistic sensibility, and imagination that went to their making, and by their influence upon both con­ temporaries and successors, there can be no doubt that many a "mere print" would take high rank among the greatest masterpieces of its time and country, and that a certain number of them would deserve the rare distinction of being generally known and recognized as major works of art. In Schongauer's engraving of Christ Carrying the Cross...the Museum has just acquired a print that by all criteria of judgment is one of the most important works of art executed in any medium by a fifteenth cen­ tury German artist. The impression is clean-wiped and brilliant, its lines full, and it was pulled before the plate had suffered in the least from wear. Its condition is all that can be desired. As a matter of record it is the impression that was once in the collection at Sigmaringen, and is one of the few that Lehrs mentions for their outstanding fineness of quality... Entirely aside from the fact that it is one of the great historical master­ pieces of burin work, the print that has just been acquired by the Museum is of importance from several interesting points of view. The largest of all Schon­ gauer's engravings, it is also one of the largest made by any primitive German artist. The mechanical and artistic difficulties inherent in getting fine impressions from a plate of this size (11-5/16 in. by 16-15/16 in.) make it one of the technical triumphs of its period. Because of the difficulties of preserving prints as big as this at a time when the collector had yet to perfect his methods of mounting and storing them, large primitive engravings in fine condition are usually among the greater rarities. The comparatively large number of impressions of this plate still in existence can only be explained by the fact that they must have always been greatly appreciated and carefully guarded. We can find corroboration of this in the many copies and adaptations that were made from it during Schongauer's lifetime and by the succeeding generation of artists. It may be said to have become an essential part of the stock of pictorial ideas of the late Gothic and Renaissance artists not only of Germany but of France and Italy. It would be a boring and thankless task to attempt to trace out all the occasions on which other men mined in the quarry of its richness. According to Dr. Lehrs the earliest datable direct copy from it is that of the figure of the fallen Christ in a painting presented in 1485 to the Church of Saint Sebald at Nuremberg by members of the Tucher family. From then on the copies, direct and at second hand, are numerous..."

William M. Ivins, Jr.

Excerpted from Bulletin of Metropolitan Museum of Art, June, 1935- pp.127-128.

10. THE CRUCIFIXION Lehrs 10 Gift of Christian A. Zabriskie, 40.12.3

The quiet melancholy mood of this representation of the Crucifixion is far removed from the often violent pathos seen in earlier German depictions of the same subject.

11. THE CRUCIFIXION Lehrs 13 Harris Brisbane Dick Fund, 34.38.4

12. THE CRUCIFIXION, WITH FOUR ANGELS Lehrs 14 Harris Brisbane Dick Fund, 32.67

13. CHRIST APPEARING TO MARY MAGDALENE Lehrs 15 Harris Brisbane Dick Fund, 32.64.2

14. THE DEATH OF THE VIRGIN Lehrs 16 Harris Brisbane Dick Fund, 40.8.1

This extraordinary print illustrates the Apocryphal legend of the miraculous appearance of the Twelve Apostles at the bedside of the Virgin, as she was dying. In Schongauer's representation, the apostles surround the bed, the crisp folds of their robes frought with nervous activity. By compressing all the figures into a small space, Schongauer has heightened the sense of ten­ sion. Then, in the center, an island of serenity, the Virgin's face, in con- trast, is still and calm. Diirer's of this subject was influenced by Schongauer's version. Rembrandt, in his etching, was inspired by the Diirer.

15. THE CORONATION OF THE VIRGIN Lehrs 17 Whittelsey Fund, 46.5

Schongauer was the first engraver to capture that subtle relationship between texture and light which gives his prints such a pleasing tactile quality. No­ tice the difference between the fabric of the pillow and the fabric of the Virgin's cloak.

16. THE ENTHRONEMENT OF THE VIRGIN: CHRIST BLESSING MARY Lehrs 18 Avery Fund, 17.13

This was the first print by Schongauer to enter the collection of the Metro­ politan Museum of Art.

17. CHRIST CROWNED WITH THORNS Lehrs 23 Harris Brisbane Dick Fund, 28.26.2

18. PILATE WASHING HIS HANDS AS CHRIST IS LED AWAY Lehrs 24 Harris Brisbane Dick Fund, 28.26.3

19. (BEHOLD THE MAN) Lehrs 25 Whittelsey Fund, 58.510

20. CHRIST BEARING THE CROSS: THE MIRACLE OF THE VEIL OF VERONICA Lehrs 26 Harris Brisbane Dick Fund, 28.26.10 21. THE ENTOMBMENT OF CHRIST Lehrs 28 Harris Brisbane Dick Fund, 28.26.5

22. THE RESURRECTION OF CHRIST Lehrs 30 Harris Brisbane Dick Fund, 28.26.4

The above five prints belong to a set of twelve prints of the Passion of Christ. In the fifteenth century, it was not common for engravers to produce narrative sets of prints. The final events of Christ's life, from His entry into Jerusalem to His burial and resurrection, were, however, an exception. Many engravers produced sets of prints depicting the Passion of Christ. Among these, Schongauer's was certainly one of the most influential. Diirer, a generation later, adapted much of his own version of the Passion of Christ from Schongauer's engravings.

23- THE CHRIST CHILD WITH AN ORB, GIVING HIS BLESSING Lehrs 31 Harris Brisbane Dick Fund, 24.8.4

24. CHRIST !N AN ATTITUDE OF BENEDICTION Lehrs 32 Harris Brisbane Dick Fund, 28.26.1

25. CHRIST THE MAN OF SORROWS, WITH THE VIRGIN AND ST. JOHN Lehrs 34 I Harris Brisbane Dick Fund, 51-516.1

26. THE MADONNA AND CHILD WITH THE PARROT Lehrs 37 Harris Brisbane Dick Fund, 37.3-6

27. THE MADONNA AND CHILD IN THE COURTYARD Lehrs 38 Gift of Felix M. Warburg, 25.5-2 28. THE MADONNA AND CHILD WITH THE APPLE Lehrs 39 Harris Brisbane Dick Fund, 37.3-5

29. SAINT PAUL Lehrs 42 Harris Brisbane Dick Fund, 28.26.12

The Apostle Paul holds a book to refer to his role of spreading the Gospels. The sword, which he holds, was the instrument of his martyrdom.

30. SAINT THOMAS Lehrs 46 Harris Brisbane Dick Fund, 28.26.11

In order to spread the word of the Gospel, Thomas went as far away as India. There are many legends of his adventures there. In Upper India, he con­ verted and baptized the wife of an Indian king Misdai. The king was furious and had Thomas killed by the thrust of a lance, which he carries here.

31. SAINT BARTHOLOMEW Lehrs 49 Harris Brisbane Dick Fund, 28.97.102

Little is known about St. Bartholomew. According to tradition he was mar­ tyred in Armenia by being flayed. His attribute is an unusually shaped knife.

32. SAINT ANTHONY TORMENTED BY DEMONS Lehrs 54 I Rogers Fund, 20.5-2

One of the most famous books of the Middle Ages was the Golden Legend, written by Jacobus de Voragine, archbishop of Genoa in the thirteenth cen­ tury. It was basically a layman's book of the daily offices celebrated by the Church. Jacobus drew upon the popular traditions of his own day for his ac­ count of the lives of the saints. The Golden Legend provided a rich source of imagery for artists in the Middle Ages.

- 7 - In the Golden Legend, under January 17, the feast-day of St. Anthony, there is a description of his long life of solitude and prayer. Among his many adventures is the account of an incident when, "...as the angels were car­ rying him from place to place in the air, the demons sought to hinder his passage...." What strangely naturalistic creatures Schongauer has invented.

33. A BISHOP SAINT Lehrs 55 Harris Brisbane Dick Fund, 37.43-1

The clothes which he wears and crozier which he carries mark this figure as a bishop. The particular saint he represents is not known. He has been called Saint Augustine as well as St. Martin. St. Augustine was Bishop of Hippo. St. Martin was the Bishop of Tours. He was also the patron saint of Colmar.

34. SAINT CHRISTOPHER Lehrs 56 Whittelsey Fund, 48.13-1

Christopher in Greek means Christ-bearer. According to the Golden Legend, Christopher was a giant who wished to serve the most powerful king in the world. He was advised by a hermit to offer his life to Christ by transporting pilgrims and travellers through a dangerous river which he could easily ford because of his great size. One night a child asked for safe crossing. The further that Christopher went the more turbulent the river became. The child on his shoulders grew heavier and heavier. When they finally reached the opposite shore the child revealed himself as Christ. He told Christopher to plant his staff in the ground. The next morning the staff had blossomed into a living tree.

35. SAINT GEORGE SLAYING THE DRAGON Lehrs 57 Rogers Fund, 197.2

The years of Schongauer's life were the last years of the medieval splendor of the courts of France, Flanders and Germany. The seaports of these coun­ tries were centers of wealth and luxury. The romanticism of the story of St. George, who freed Cleodolinda, the daughter of a king, from a terrible dragon appealed to this period of chivalric gallantry and was very popular.

- 8 - 36. SAINT GEORGE SLAYING THE DRAGON Lehrs 58 Gift of Felix M. Warburg and his Family, 41.1.7

37. SAINT JOHN THE BAPTIST Lehrs 59 Harris Brisbane Dick Fund, 27.20.4

Saint John the Baptist was one of the last prophets of the Old Testament and the first of the saints of the New Testament. He is portrayed here, as the foreteller of the coming of Christ, since he points at the "Lamb of God," which symbolized the sacrificial role Christ was to take.

38. SAINT JOHN THE EVANGELIST ON THE ISLE OF PATMOS Lehrs 60 Purchase, Anne and Carl Stern Gift, 57.629

St. John the Evangelist was exiled to the Greek isle of Patmosby the Emperor Domitian. There, he recorded his visions in the Apocalypse or Book of Revelations. Schongauer depicts him quickly turning the pages of his book in order to record his vision of the Madonna, "...clothed with the sun, and the moon under her feet, and upon her head a crown of twelve stars." (Reve­ lation, 12:1). The Eagle is a symbol for John.

39- SAINT LAWRENCE Lehrs 61 Harris Brisbane Dick Fund, 34.38.3

The palm held by St. Lawrence is the attribute of all martyrs. Among the Romans the palm was the symbol of victory. In Christian symbolism, the palm refers to the martyr's triumph over death.

40. SAINT MARTIN Lehrs 62 Rogers Fund, 22.10.1

One cold winter day, Martin took pity on a shivering beggar whom he passed in the street. Dividing his cloak with his sword, he gave half to the beggar. That night, Christ appeared to him and said, "What thou hast done for that poor man, thou hast done for me." 41. SAINT MICHAEL Lehrs 63 Harris Brisbane Dick Fund, 34.38.2

Michael is one of the four archangels mentioned in the Old Testament. His name means, "like unto God." Protector of the Hebrew nation, he came to be considered the guardian of the redeemed in Christendom. Here he is shown doing battle with Satan.

42. SAINT SEBASTIAN Lehrs 65 Harris Brisbane Dick Fund, 51-516.2

The Roman Emperor Diocletian ordered St. Sebastian shot to death by arrows. Left for dead, he miraculously recovered. St. Sebastian is always depicted as a young man pierced all over by arrows. According to an ancient super­ stition the plague was believed to have been brought by Apollo's arrows. Therefore St. Sebastian's name was frequently invoked against that dread disease.

43- SAINT VERONICA Lehrs 71 Harris Brisbane Dick Fund, 32.64.3

Veronica was a compassionate woman who wiped the sweat from Christ's brow as He bore the cross on the way to Calvary. His features became im­ printed on her veil. Veronica's name derives from the words vera icon, meaning true image.

44. THE LION OF SAINT MARK Lehrs 73* Harris Brisbane Dick Fund, 51-516-3

10 45- THE EAGLE OF SAINT JOHN Lehrs 75 Whittelsey Fund, 55-516.5

Each of the four Evangelists has a symbol based on a passage in the Reve­ lations of St. John, IV:6-7, "...and round about the throne were four beasts... the first beast was like a lion [St. Mark] and the second beast was like a calf [St. Luke] and the third beast had a face as a man [St. Matthew] and the fourth beast was like a flying eagle [St. John]." It is not known why these animals of the Revelations became associated with the four Evange­ lists. The earliest representation known, is in the IVth century church of Santa Pudenziana in Rome, where the four Evangelist symbols are grouped on either side of the Holy Cross.

46. THE THIRD WISE VIRGIN Lehrs 78 Harris Brisbane Dick Fund, 40.8.3

47. THE FOURTH WISE VIRGIN Lehrs 79 Harris Brisbane Dick Fund, 23-57.1

48. TWO TURKS IN CONVERSATION Lehrs 89 Harris Brisbane Dick Fund, 40.8.4

49. PEASANT FAMILY GOING TO MARKET Lehrs 90 Gift of Felix M. Warburg and his Family, 41.1.8

50. THE GRIFFIN Lehrs 93 Harris Brisbane Dick Fund, 27.54.5

The griffin is a mythological creature with the head of an eagle and the hind­ quarters of a winged lion. Its history stretches backwards in time for several thousands of years to the art of ancient Egypt and Assyria. In European art, the griffin is frequently found used for decorative purposes, often for objects made from precious metals.

- 11 - 51. COAT OF ARMS: SEATED LADY HOLDING A SHIELD WITH A UNICORN Lehrs 96 Harris Brisbane Dick Fund, 28.26.8

52. COAT OF ARMS: SEATED LADY HOLDING A SHIELD WITH A SWAN Lehrs 97 Henry Walters Gift by Exchange, 63-591

53. COAT OF ARMS: WILD WOMAN HOLDING A SHIELD WITH A LION'S HEAD Lehrs 99 Harris Brisbane Dick Fund, 28.26.9

54. COAT OF ARMS: WILD MAN HOLDING A SHIELD WITH A GREYHOUND Lehrs 102 Harris Brisbane Dick Fund, 40.8.5

55. COAT OF ARMS: WILD MAN HOLDING A SHIELD WITH A STAG Lehrs 103 Harris Brisbane Dick Fund, 28.26.7

56. COAT OF ARMS: WILD MAN HOLDING A SHIELD WITH A HARE AND A SHIELD WITH A MOOR'S HEAD Lehrs 104 Harris Brisbane Dick Fund, 28.26.6

These prints are from a set of ten coats of arms. None of the devices has been identified so it is likely that they were imaginary examples, perhaps intended as craftsmen's models. The "wild men" and "wild women," with bodies covered by hair or foliage, have a long tradition in folklore. There is a large complex of changing le­ gends and beliefs concerned with wild men. For the middle ages the word wild had connotations of all that was beyond Christian order and outside of the established framework of the Christian society. It was used to refer to all that was unusual, undisciplined, unforeseeable, foreign, uncultured and uncultivated. The unfamiliar as well as the unintelligible was called wild. The medieval town sheltered against the wildness of the surrounding forests was analogous to God's order of creation outlined by chaos. The wildness

12 - was at once fearsome and fascinating. A man of nature, outside of society and God, the wild man was subhuman and bestial. However, he also pos­ sessed strength, and knowledge of nature and animals beyond that of man, whom he sometimes aided. At different times, different aspects of wild men were emphasized in folklore. As man became more and more a city dweller, the wild man was more romanticized. Even in twentieth century literature the legend of the wild man continues in the form of Tarzan.

57. THE CROZIER Lehrs 105 Harris Brisbane Dick Fund, 40.8.6

A crozier is the pastoral staff of a bishop, abbot or abbess. It is generally said to be derived from the shepherd's crook, though perhaps it comes from the type of walking staff common in the days of the apostles.

58. THE CENSER Lehrs 106 Harris Brisbane Dick Fund, 26.41

This engraving and the one above demonstrate Schongauer's extraordinary technical ability.

59. ORNAMENT PANEL WITH AN OWL Lehrs 115 Harris Brisbane Dick Fund, 37.3.8

Printing from engraved plates originated in goldsmiths' workshops in the fifteenth century. Throughout that century and the one that followed, many of the great printmakers produced some ornament engraving.

60. Attributed to Martin Schongauer SAINT JAMES THE GREATER AT THE BATTLE OF CLAVIGO Lehrs V.376.1 I Gift of Felix M. Warburg and his family, 41.1.195

It is not certain that this print is by Martin Schongauer. In its size and style it is related to the engraving of Christ Bearing the Cross (Lehrs 9). The spatial structure does not quite work. The plate was left unfinished.

- 13-