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Home , Domenico Beccafumi, Domenico Campagnola, Hans Burgkmair, Jean Duvet, Lucas van Leyden, Marco Dente

CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF , , OF THE XV AND XVI CENTURIES

MARCH 3RD TO MARCH 2IST, 1936

M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS

Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage.

WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION

GERMANY

ANONYMOUS (1425-1450) DOTTED PRINT 5

MASTER E. S 6

MARTIN SCHONGAUER 7

ANONYMOUS NORTH GERMAN (About 1480) 9

MASTER B. G 10

SCHOOL OF 10

ISRAHEL VAN MECKENEM 10

MASTER M Z 13

AUGUSTIN HIRSCHVOGEL 14

HANS SEBALD LAUTENSACK 14

HANS BURGKMAIR 15

JOHANN ULRICH WECHTLIN (Pilgrim) 15

LUCAS CRANACH r6

NETHERLANDS

MASTER F VB (F. van Brugge?) j$

LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21

ITALY

NIELLO PRINT (Attributed to Francesco Francia) ...... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22

CRISTOFANO ROBETTA 2,

ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24

DOMENICO BECCAFUMI (Master H-E) 2K

ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI .... BENEDETTO MONTAGNA 3° 3° DOMENICO CAMPAGNOLA 31 MASTER OF THE YEAR 1515 31 32 MARCO DENTE DA . . . . : 33

FRANCE

JEAN DUVET 34 JEAN GOURMONT 35 geRMANT

DOTTED PRINT 1425-1450 (Metal Cut: White Line : Maniere criblee: Schrotblatter)

"The so-called Dotted Prints form a group apart among the productions of the engraver's art in the fifteenth century. First produced, as is now generally thought, about the middle of that century, they went out of fashion towards its close, and none quite like them have been produced at any later period.... These prints should be described as White Line Engravings for relief-printing and occupy an intermediate position between Line Engravings and Wood­ cuts, the two normal, and, as I might say, legitimate methods of multiplying a black and white design, as understood in the fifteenth century. . . . The engraver took a metal plate (not copper, but some softer metal, probably an alloy resembling pewter which could easily receive an impression from a punch or stamp) and proceeded to work upon it with a variety of tools — burin, knife, punches of several sizes, and stamps designed to impress a variety of small ornamental patterns — always bearing in mind the method of print­ ing that was to be adopted, viz: relief-printing, in which the surface prints black, and the ground or portion sunk below the surface does not print at all, but leaves the paper white." CAMPBELL DODGSON

I. THE ADORATION OF THE MAGI Schreiber III. 10. 2203. Dutuit I. 25. 2. (Unique?) Watermark: Bunch of Grapes. Collection: Eugene Dutuit (?). "Piece tres rare qui nous parait appartenir a la premiere moitie du quenzieme siecle. Nous ne croyous pas qu'elle ait ete decrite." DUTUIT

5 MASTER E. S. Flourished 1450-1467

"The Master E. S. of 1466 first showed the way by which engraving might attain its full artistic expression. His efforts in this art may be compared with the work of the brothers Van Eyck in the development of ." FRIEDRICH LIPPMANN

2. THE VISITATION: MARY AND ELIZABETH Lehrs 14. Unique; the only impression known. Collections: Meyer-Hildburghausen; Graf Yorck von Wartenburg. "And Mary arose in those days, and went into the hill country with haste, into a city of Juda, and entered into the house of Zacharias, and saluted Elizabeth. And it came to pass that when Elizabeth heard the salutation of Mary, the babe leaped in her womb; and Elizabeth was filled with the Holy Ghost."

3. THE ADORATION OF THE KINGS Lehrs 26. Collections: J. Paelinck; Graf Yorck von Wartenburg. "Among the four variations of The Adoration of the Kings by the Master E. S. this charming composition is unquestionably the finest. Eight impressions only are known." MAX LEHRS

4. MARTYRDOM OF ST. SEBASTIAN Lehrs 157. Bartsch 75. Collections: Hermann Weber (1855); Graf Yorck von Wartenburg. Seven impressions only are known, including this one.

5. LETTER b Lehrs 284. Bartsch 98. Collections: Clement, 1862; Graf Yorck von Wartenburg. Six impressions only are known, including this one.

6 MARTIN SCHONGAUER Before 1440-1491

"The technical advance from the simple scheme of the Master of the Playing Cards, which was chiefly promoted by E. S. and his prolific work, was carried even further, and united with much higher artistic endowments, in Martin Schongauer. He is the first of the German engravers who we definitely know to have been more a painter than a goldsmith, and this fact will largely account for the character of the advance which he achieved in the art Until the end of the century Schongauer's influence remained paramount among German engravers, and like that of E. S., was felt in no inconsiderable degree as far abroad as ." ARTHUR M. HIND "Schongauer's productions all breathe a nobility and a perception of beauty which place him among the very greatest masters of the graphic arts." MAX GEISBERG

6. THE FLIGHT INTO EGYPT Lehrs 7. Bartsch 7. Watermark: Profile Head. "The angel of the Lord appeareth to Joseph in a dream, saying, Arise, and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word. When he arose, he took the young child and his mother by night, and departed into Egypt; and was there until the death of Herod."

7. THE DEATH OF THE VIRGIN Lehrs 16. Bartsch 33. Watermark: Small Bull's Head. "Martin published likewise a Passing of Our Lady, with all the Aposdes, a work of some size, which was one of the best designs that this master ever engraved."

8. CHRIST CROWNING HIS MOTHER Lehrs 17. Bartsch 72. Collection: Graf Yorck von Wartenburg.

7 Q. CHRISTAND THE VIRGIN ENTHRONED Lehrs 18. Bartsch 71. "In the Christ appearing to Mary Magdalene (B. 26), and Christ and Mary on a Throne (B. 71) the full blossom of his art is seen. The concentration of interest on the central theme is noteworthy. ... In the latter there is no orna­ ment to divert the attention in the simple architecture whose graceful lines merely serve to balance a beautiful composition." ARTHUR M. HIND

10. ST. JOHN ON THE ISLAND OF PATMOS Lehrs 60. Bartsch 55. Watermark: Gothic^. Collection: Brentano-Birckenstock. "I John, who also am your brother, and companion in tribulation and in the kingdom and patience of Jesus Christ, was in the isle that is called Patmos, for the word of God, and for the testimony of Jesus Christ. I was in the Spirit on the Lord's day, and heard behind me a great voice, as of a trumpet. . . . And he said unto me, Write: for these words are true and faithful."

11. PEASANTS GOING TO MARKET Lehrs 90. Bartsch 88. Watermark: Profile Head. Collection: H. ten Cate. "In their masterly drawing, in the clearness and sharpness of their line, above all in their sympathy and sincerity, Schongauer's engravings are full of charm." F. LIPPMANN

12. COAT OF ARMS WITH WOMAN SUCKLING A CHILD Lehrs 99. Bartsch 100. "Martin then published four round engravings of the four Evangelists and some coats of arms of German noblemen, supported by men, both naked and clothed, and also by women." GIORGIO VASARI

13. COAT OF ARMS WITH PEASANT HOLDING SHIELD WITH WINGS Lehrs 101. Bartsch 102. Watermark: Gothic 3& with flower. Collections: Paelinck, i860; Graf Yorck von Wartenburg. 8 14. COAT OF ARMS WITH WILD MAN HOLDING SHIELD WITH GREYHOUND Lehrs 102. Bartsch 103.

15. COAT OF ARMS WITH WILD MAN HOLDING SHIELDS WITH HARE AND HEAD Lehrs 104. Bartsch 105. Collection: Albertina Duplicate.

16. A CROZIER Lehrs 105. Bartsch 106. Watermark: Small Bull's Head.

ANONYMOUS NORTH GERMAN About 1480

This engraver was erroneously identified, by Lehrs and Geisberg, with the Regensberg Master of St. Dionysius, an attribution since abandoned. He was, obviously, a North German engraver, and a number of his plates were re­ worked, later, by Israhel van Meckenem, who also added his own monogram.

17. THE TAKING OF CHRIST Lehrs IV, 224. 18. Watermark: St. Catherine's Wheel, surmounted by three flowers. Collection: Northwick Park. This impression, described by Lehrs as "Ausgezeichnet" was found by Camp­ bell Dodgson, at Northwick Park, in 1910. Three proofs only are known.

18. THE LAMENTATION Lehrs IV, 228. 22. First State. Before the plate was grossly reworked by Israhel van Meckenem, who added his own monogram to it. Watermark: Scales in Circle with crescent above. Collection: Prince Waldburg-Wolf egg. One other impression, in this First State, is known; that in Hamburg, formerly in the Otdey collection. In the Second, reworked State, eight impressions are recorded; the majority being either cut or in poor condition. 9 MASTER B. G. Flourished about 1466-1490 "B. G., as he is now called, was for many years known as Barthel Schoen, and said to be a younger brother of Martin Schongauer — a confusion that seems to go back to the time of Sandrart in the second half of the sixteenth century — and in most collections his work is still classified as being by the Master B. S. Litde enough is known of him, except that he copied some prints by the Master of the Amsterdam Cabinet, and what can be inferred from the facts that the only marriage between members of the Frankfurt families of Holzhausen and Rohrbach took place in 1466, and that Bernard von Rohrbach, who then married Eilge von Holzhausen, died in 1481." WILLIAM M. IVINS, JR.

19. LOVERS ON HORSEBACK (THE TWO RIDERS) Lehrs VIII. 202. 29. Bartsch VI. 72. 13 Lehrs knew of 4 impressions only of this print: Dresden, Baron Edmond de Rothschild, and Prince Liechtenstein (Feldsberg).

SCHOOL OF MARTIN SCHONGAUER 20. TWO TURKS CONVERSINGWITH A WOMAN Lehrs V. 375. 15. Bartsch VI. 174.15 and 180. 60.

ISRAHEL VAN MECKENEM Before 1450-1503 "The young Israhel grew up in the studio and under the tuition of his father (Master of the Berlin Passion). He was born, perhaps, at the family place near Rheinbach, which was sold in 1646 The date of the Master's death, November 10th, 1503, is attested by the drawing from his tombstone." MAX GEISBERG "If Meckenem cannot rival Schongauer's masterpieces in the expression of form, he can point to some creations, at least, that are of equal excellence." MAX LEHRS "All kinds of subjects pertaining to his time are treated in his prints. . . . His engravings attract by the abundance of their subject, the manifold variety of contemporary costumes, and the wealth of their detail." FRIEDRICH LIPPMANN

10 21. CHRIST PRESENTED TO THE PEOPLE Bartsch 16. Geisberg 78. Lehrs 148. Second State, of 5. Collection: Friedrich August II, Dresden.

22. THE SAME Third State. Watermark: Crowned Fleur-de-lys.

23. THE SAME Fifth State.

24. THE LAMENTATION Bartsch 19. Geisberg 107. Lehrs 151. Second State, of 6. Watermark: Gothic 3&. Collection: Friedrich August II, Dresden.

25. CHRIST ON THE CROSS WITH MARY AND JOHN AND FOUR ANGELS Bartsch 28. Geisberg 100. Lehrs 43. Watermark: Crowned Lily-shield with flower.

26. ST. CHRISTOPHER Bartsch 90. Geisberg 267. Lehrs 325. Only State. Collection: F. Degenhard.

27. THE PROMENADE Bartsch 171. Geisberg 104. Lehrs 502. Only State. Watermark: Gothic '$}. Collection: H. ten Cate. "If Meckenem cannot rival Schongauer's masterpieces in the expression of form, he can point to some creations, at least, that are of equal excellence such as the twelve subjects from daily life." MAX GEISBERG '

11 28. WOMAN BEATING HER HUSBAND Bartsch 173. Geisberg 406. Lehrs 504. Only State. Watermark: Shield surmounted by four-leafed clover. Collection: W. Roller.

29. MAN PLAYING A LUTE ACCOMPANIED BY A LADY PLAYING A HARP Bartsch 178. Geisberg 407. Lehrs 505. First State.

30. THE LOVERS Bartsch 181. Geisberg 413. Lehrs 493. Fifth State. Engraved, in reverse, after The Master of the Amsterdam Cabinet (Lehrs 80) —"a litde masterpiece, one of his most charming designs." "The sweet shyness of the maiden, the tender glances of the lover, and the soft pressure of their hands are rendered with an inimitable grace." MAX LEHRS

31. KNIGHT AND LADY CONVERSING Bartsch 182. Geisberg 403. Lehrs 501. Only State. Watermark: Rose of four petals surmounted by a cross. Collection: H. ten Cate.

32. THE SPINNER Bartsch 183. Geisberg 411. Lehrs 509. Only State. Collection: Gottfried Eissler.

33. THE DANCE FOR A PRIZE Bartsch 186. Geisberg 383. Lehrs 512. Second State. Collections: Duplicate; Gottfried Eissler.

34. CHILDREN PLAYING Bartsch 188. Geisberg 387. Lehrs 479. Second State. Watermark: Crowned Lily-shield with a cross. "When he portrays scenes taken from daily life van Meckenem shows that he possesses real power of observation combined with freshness of humour." FRIEDRICH LIPPMANN

12 MASTER MZ (MATTHAUS ZASINGER?) Flourished about 1500

"Among the engravers of the end of the fifteenth century, who lived to see the sunrise of the greatest of their number and the dawn of a new era, is an enigmatic and much discussed personality, the Master M Z. He is a South German, in all probability a Bavarian, and his work includes not more than 22 engravings, all of which bear the monogram M Z, while only six are dated. Three of them bear the date 1500, two 1501 and one 1503. His engravings present the picture of a personality which possesses attractive and sympathetic features sufficient to assure him a permanent importance in the history of about 1500." MAX LEHRS

35. THE TOURNAMENT Bartsch 14. Lehrs 18. Watermark: High crown. Collection: K. E. von Liphart. "It is almost certain that the scene of the tournament is . The place of the tournament seemed to me, on account of the streets opening into it and the shops, to be not a quadrangle of the Residenz but a public square before it The princely pair, Duke Albert IV and his consort, watch from a balcony the shock of lances, and the windows of the neighbouring houses are densely filled with lookers-on." MAX LEHRS

36. THE EMBRACE Bartsch 15. Lehrs 16. Collection: Northwick Park. "Among our artist's works it is undoubtedly The Embrace, B. 15, that reaches the highest level. This engraving bears the latest date, 1503, among those that are dated, and is also indisputably the most mature of his works. ... There is a loving care for detail in the representation of the little panelled room, the Gothic table, the window-seat, the hanging chandelier in the shape of a woman, the cupboard on the wall The whole print is typical of the pleasant intimacy of German art at the beginning of the sixteenth century." MAX LEHRS

T3 AUGUSTIN HIRSCHVOGEL i5°3-i553? The etchings of Augustin Hirschvogel bear dates from 1545 to 1549. The more one studies his landscape plates, breathing the spirit of the true nature-lover, the more fascinating do they become. He has eliminated all non-essentials, concentrating his attention upon what were, to him, the most significant features, and in this respect he may have influenced the work of more than one nineteenth century master.

37. RIVER SCENE WITH BUILDINGS AND STONE BRIDGE Bartsch 66. Collection: Prince Waldburg-Wolfegg. "Here we have the beginnings of true landscape . Hirschvogel's great importance lies in the fact that he was the first to gain atmospheric perspective by varied strength of line: possibly by employing more than one needle rather than by stopping-out." E. S. LUMSDEN

38. LANDSCAPE WITH A CHURCH AND COVERED BRIDGE TO THE RIGHT Bartsch 68. "He displays fine invention and imagination in his landscape prints, executed in light outlines, with a preference for hilly country and broad stretches of water." FRIEDRICH LIPPMANN

HANS SEBALD LAUTENSACK About 1524-1563.

"Lautensack, some twenty years Hirschvogel's junior, also seems to have migrated from Nuremberg and settled in Vienna a few years before his death in 1563. His landscape etchings are the most important part of his work. In design they are quite similar to Hirschvogel and Altdorfer, but the usual charm of this school of landscape is in Lautensack somewhat marred by the overcrowding of detail, and in the attempt at working more in a painter's manner the value of line is lost." ARTHUR M. HIND

39. LANDSCAPE WITH VILLAGE AND A RIVER Bartsch 32 and 33. Watermark: A Crown. r4 40. HAGAR IN A LANDSCAPE Bartsch 54. Watermark: Large Flower in circle.

HANS BURGKMAIR i473-*53i Hans Burgkmair, the elder, painter, etcher and draughtsman on wood; born at , 1473, pupil of his father, Thoman Burgkmair and of Martin Schongauer; received as master by the Augsburg guild of painters, 1498; illustrated books for the leading Augsburg presses, those of Ratdolt, Oglin, J. and S. Otmar, Schonsperger and Miller, and took a large part in the works commissioned by Maximilian I; died 1531.

41. ST. LUKE PAINTING A PORTRAIT OF THE VIRGIN Bartsch 24. Campbell Dodgson 6. Signed with Burgkmair's initials and dated 1507. "The costume is that of the Madonna, attributed to St. Luke, in Santa Maria Maggiore at ." CAMPBELL DODGSON

JOHANN ULRICH WECHTLIN (Called also J. Ulrich and Johann Ulrich Pilgrim)

Painter and wood-engraver of Strasburg, of which city he was granted the freedom, in 1514, as "Hans Wechtel the Painter," and it is thought that he worked at Strasburg from 1508 until about 1520. No by him have yet been identified. He was distinguished for his woodcuts in , which he at first worked in three blocks. He marked his prints with two pilgrims' staves crossed, between the letters J? V. By French writers he is called he Maitre aux Bourdons Croises.

42. CHRIST ON THE CROSS Bartsch VII. 449. 1. Watermark: Small Bull's Head. Collections: Dr. W. A. Ackermann; Graf Yorck von Wartenburg.

'5 LUCAS CRANACH 1472-1553 Lucas Cranach may be regarded as pre-eminently the painter of the German Reformation. He was moved even more deeply than Diirer or Holbein by the religious influences of the times. He was the intimate friend of Luther, and embracing his doctrine warmly he endeavoured to set it forth in his art.

43. THE PENANCE OF ST. JOHN CHRYSOSTOM Bartsch 1. Collections: Julian Marshall; Prince Fiirstenberg. Watermark: Arms of Saxony. "In his early years he executed some highly original and pleasing engravings. The simple charm of his early paintings appears in his quarto-sized engrav­ ing, The Penitence of St. John Chrysostom, with its delightful wooded landscape." FRIEDRICH LIPPMANN

WOODCUTS

44. CHRIST SCOURGED Bartsch 12. Watermark: Small Bull's Head. Collection: Albertina Duplicate.

45. THE MARTYRDOM OF ST. PHILIP Bartsch 61. Collection: Henry Huth.

46. ST. CHRISTOPHER Bartsch 58. Key-block for the chiaroscuro, with the date 1506 on a tablet. Collection: Albertina Duplicate. Christopher is said to have lived in Syria, and to have been of prodigious height and strength. As a penance for having been a servant of the devil, he devoted himself to the task of carrying pilgrims across a river where there was no bridge. Christ came to the river one day in the form of a child, and asked to be carried over, but his weight grew heavier and heavier till Chris­ topher nearly broke down in the middle of the stream. When they reached the shore the child said "Marvel not, for with me thou hast borne the sins of all the world." 16 47- ST. CHRISTOPHER Bartsch 58. The chiaroscuro: Printed in black and grey-green. Collection: Friedrich August II, Dresden.

48. ST. JOHN THE BAPTIST, PREACHING Bartsch 60. Signed with Cranach's dragon and dated 1516. Watermark: Small Bull's Head. "In those days came John the Baptist, preaching in the wilderness of Judea. And saying, 'Repent ye, for the kingdom of heaven is at hand.' For this is he that was spoken of by the prophet Esaias, saying, 'The voice of one crying in the wilderness, prepare ye the way of the Lord, make his paths straight.' "And the same John had his raiment of camel's hair, and a leathern girdle about his loins; and his meat was locusts and wild honey." ST. MATTHEW. Chapter III, Verses 1-4

49. BEHEADING OF ST. JOHN THE BAPTIST Bartsch 62. Collections: Friedrich August II, Dresden; George La Monte.

50. ST. JEROME IN PENITENCE Bartsch 63. Signed with Cranach's dragon and dated 1509. Watermark: Gothic '$. Collections: Karl Eduard von Liphart (1808-1891); W. E. Drugulin; Paul Davidsohn.

51. ST. GEORGE SLAYING THE DRAGON Bartsch 64. Saint George, according to the legend, was a prince of Cappadocia, who died the death of a martyr under Diocletian. His most celebrated deed was the killing of a dragon which threatened to devour the royal princess, Aja. The legend is of Oriental origin, and was introduced into Europe by the Cru­ saders. Emperor Maximilian I reorganized the order of St. George, which had fallen into decay, and it is possible that Cranach's woodcuts, like Durer's engravings of the Saint, were inspired by this action.

'7 TEETHE RLAIN^DS

MASTER FVB (F. VAN BRUGGE?) Flourished about 1480-1490 "The Master FVB impresses us as an independent and creative artist of unusual importance.... His handling of the burin, which can be fully appre­ ciated only in the very rare first class impressions, points to Schongauer as his model, and displays a mastery in the distribution of light and shade which, in union with the deep black in which they are printed, confers on his engrav­ ings unusual colour and a brilliance little inferior to that of Schongauer's best prints. One must see the large Apostles in order duly to appreciate the full power of his burin. May not this Master F V B be 'F . . . van Brugge rather than 'Franz von Bocholt?' " MAX LEHRS

52. MADONNA, HALF-LENGTH, ON THE CRESCENT MOON Lehrs 11. Passavant II. 187. 41. Collection: Ducal Museum, Gotha. Lehrs lists 5 impressions only. "Cases are very rare in which an engraver of the fifteenth century uses con­ temporary easel pictures, and of this there are several examples in the work of Master FVB.... Friedlander would like to suppose a relation between Madonna, half-length, on the Crescent and a Madonna by the Bruges painter, the Master of the Legend of St. Ursula, belonging to M. Leo Nardus, Suresnes, which was exhibited at Bruges, in 1907 He makes the South Netherlands, not Westphalia, the locality of the engraver." MAX LEHRS

53. ST. PAUL Lehrs 27. Bartsch 13. Collection: Friedrich August II, Dresden. Bartsch mistook this Aposde for St. Thomas. Lehrs lists 10 impressions only. "This technical excellence is combined with brilliant drawing which far excels the average production of his contemporaries in the of his careful observation of Nature. The modelling of the heads, especially those of the old men, with long, sometimes plaited beards, and curly hair falling over their shoulders; the hands, so carefully finished and full of character; the taste in the arrangement of the drapery; the attention to material, all these speak an idiom very much unlike the Bocholt dialect of Israhel van Meckenem." MAX LEHRS 18 LUCAS VAN LEYDEN H94-x533 "The close of the century heralds the activity of three engravers, Diirer, Lucas van Leyden, and Marcantonio, in each of whom technical mastery was united to a high measure of artistic genius. The artistic pedigree of Lucas van Leyden as an engraver is shrouded in far greater mystery than that of Diirer or Marc­ antonio. The son of a painter, Huygen Jacobsz, of whom almost nothing is known, a pupil of the painter Cornells Engelbrechtsz, Lucas Huygensz van Leyden meets us in his fourteenth year (if we may trust the tradition that puts his birth in 1494), all but fully equipped as a master-engraver. We know of no engraver in Leyden before him, and of the few engravers of the fifteenth century whose activities are placed with probability in the Netherlands our knowledge is of the vaguest. ... In the study of humanity in its most varying moods and in its simplest dress, Lucas strikes the key-note of his country's art." ARTHUR M. HIND

54. ADAM AND EVE EXPELLED FROM THE GARDEN OF EDEN Bartsch 11. Watermark: Crowned Shield with fleur-de-lys. Collection: Pierre Mariette.

55. AND THE ANGELS Bartsch 15. Watermark: A Greyhound.

56. DAVID PLAYING BEFORE SAUL Bartsch 27. Watermark: Gothic ^ with clover leaf and cross. "And it came to pass on the morrow, that the evil spirit from God came upon Saul . . . and David played with his hand, as at other times; and there was a javelin in Saul's hand. And Saul cast the javelin; for he said, I will smite David even to the wall with it. And David avoided out of his presence twice."

57. THE TRIUMPH OF MORDECAI Bartsch 32. Watermark: High Crown. 19 58. REST ON THE FLIGHT INTO EGYPT Bartsch 38. Watermark: Little Jug with flower.

59. THE BAPTISM OF CHRIST Bartsch 40.

60. MADONNA AND ANGELS IN A LANDSCAPE Bartsch 84. Volbehr 77. Signed with Lucas' initial, and dated 1523. This impression has margins of one and one-half inches wide all round.

61. PYRAMUS AND THISBE Bartsch 135. Watermark: Crowned Shield with fleur-de-lys. Collection: Dr. C. D. Ginsburg.

62. SUSPENDED FROM A WINDOW IN A BASKET Bartsch 136. Watermark: Crowned Armorial Shield. "In the middle ages the celebrated Latin poet, Virgil, was popularly supposed to be a great magician. The story runs that he was the victim of a practical joke by a courtesan, who had promised to pull him up to her in a basket, but had left him hanging in mid-air, so that he could not get away, and was mocked by the whole city during the day. The magician revenged himself by laying over the city a pall of impenetrable darkness." H. W. SINGER

63. MAXIMILIAN I, EMPEROR Bartsch 172. Watermark: Running Dog with flower. Collection: H. S. Theobald. Engraved and etched by Lucas van Leyden in 1520, from the portrait which he had made of Maximilian, when the Emperor visited Leyden. The head is engraved, the remainder of the plate etched, with engraving to harmonize the composition. This portrait is Lucas van Leyden's most important work in this manner. It is also one of his very finest plates and at the same time one of his rarest. It is, moreover, the first etching upon copper instead of iron, which previously had been used by Diirer and others. 20 WOODCUT

64. THE QUEEN OF SHEBA BEFORE SOLOMON Bartsch 10. "It appears certain that Lucas himself drew his designs upon the blocks, which were all cut by the same, very skilful, woodcutter." BARTSCH

DIRICK JACOBSZOON VELLERT Flourished 1511-1544

"Vellert's engravings have the merit of that exquisite workmanship, the last to disappear of those qualities which contribute to the glory of early Flemish art, and the glamour of the fading tradition of the Van Eycks still clings to them. Vellert's engravings, like those of most of his contemporaries in the Netherlands, except Lucas van Leyden, are extremely rare and no public collection even, with the exception of the British Museum, possesses his ceuvre complete." A. E. POPHAM

65. CHRIST CALLING SS. ANDREW AND PETER Bartsch 3. Watermark: Crowned Armorial Shield. Collection: Andreas Boerner.

66. PETER WALKING ON THE SEA Bartsch 4. Watermark: Wolf and Man with basket on his back and a staff inside a ring-fence (?). Collections: Andreas Boerner; Cleveland Museum of Art Duplicate.

67. ST. LUKE PAINTING A PORTRAIT OF THE VIRGIN Bartsch 9. Watermark: Gothic <|J. Collection: Friedrich August II, Dresden. "His masterpiece." A. E. POPHAM

21 ITALY

NIELLO PRINT (ATTRIBUTED TO FRANCESCO FRANCIA)

"A niello is a small plate of gold or silver (at the almost invar­ iably of silver), whether cut in plain or ornamental shape and decorated with a pattern in black, such pattern being obtained by melting a mixture of sulphur, copper, lead and silver (to which borax and other ingredients are sometimes added) into spaces previously sunk, or lines previously cut, into the surface of the plate. This mixture is of a black colour; being of metallic composition, it differs from enamel, which is vitreous. It is strewn in a powdered state on the surface of the plate; on the application of heat the powder fuses into a molten substance which fills the sunk spaces or engraved lines of the plate and on cooling hardens into them. The superfluous portions adhering to the surface of the plate are then scraped and burnished away, so that the whole surface, cleared metal plate and black pattern, is brought to one level and smoothness and the work is complete." ARTHUR M. HIND

68. HOMAGE TO VENUS Duchesne 243. Dutuit 313. First State.

ANONYMOUS FLORENTINE Circa 1485 THE SIBYLS The Sibyls were prophetesses who foretold the coming of Christ to the Gen­ tiles, as the Prophets did to the Jews. Their origin was obscure; they were regarded as holy virgins, who lived in caves and grottoes. They were believed to possess the power of reading the future, and, when interrogated by their votaries, their answers were considered authoritative. They are twelve in number, and were engraved both in the Fine and Broad manner of the Finiguerra School. Individually and collectively they are amongst the most delightful productions of Italian art. It was as illustration of Mystery Plays or Pageants that the series of engravings were designed and we are enabled to reconstruct, through these prints, a Street Pageant at its loveliest. The designs for the Broad manner series are almost certainly by Botticelli in his middle period. 22 6g. THE DELPHIAN SIBYL Hind 3B. First State, of three. Collection: Friedrich August II, Dresden. Delphi, at the foot of Mount Parnassus, was the seat of the world-renowned oracle of Pythian Apollo, the most famous of antiquity. The oracle was still respected until the end of the fourth century. A. D. The sanctuary was enor­ mously rich in architecture, works of art and the precious metals.

70. THE ERYTHREAN SIBYL Hind 5B. First State, of three. Watermark: Greek Cross with trefoil extremities, in circle. Collection: Friedrich August II, Dresden. The prophetess of Divine Vengeance. She foretold the Annunciation. She predicted the , and in this character holds the naked sword.

CRISTOFANO ROBETTA 1462-Flourished until 1522

"Robetta attracts us scarcely less than the Olympians, richly endowed as he is with the indefinable charm that belongs to so many of the lesser Floren­ tine artists of his time." ARTHUR M. HIND

71. THE VIRGIN AND CHILD WITH A BIRD Bartsch 12. Hind (B. M. Cata.) 8. Hind (P. C. Q. Cata.) 19. Second State, with the rays in the Virgin's halo. Of the First State, before the rays, the only impression recorded by Hind in the Baron Edmond de Rothschild Collection; now , . Collection: British Museum Duplicate. Hind lists one impression only (Rothschild) in the First State and five in the Second State.

23 ANONYMOUS NORTH ITALIAN Ferrara? Circa 1467 "THE TAROCCHI CARDS" The "Tarocchi Cards of Mantegna," as they have been called, are no more Tarocchi Cards than they are by Mantegna, but seem to form a sort of instruc­ tive game for youth, if not a mere picture book of popular designs. The series of 50 prints is divided into five groups of ten subjects each: I. The Rant{s and Conditions of Men. II. Apollo and the Muses. III. The Arts and Sciences. IV. The Genii and Virtues. V. The Planets and Spheres.

72. APOLLO AND THE MUSES The complete set of ten subjects, from the E Series: Hind 11A to 20A. Collection: Friedrich August II, Dresden. The Muses, nine in number, were the daughters of Zeus and Mnemosyne, the Goddess of Memory, daughter of Uranus (i.e. Heaven) and were born at Pieria, at the foot of Mount Olympus. CALLIOPE (Epic Poetry), URANIA (Astronomy), TERPSICHORE (Dance and Song), ERATO (Love, Poetry and of Acting), POLYHYMNIA (Sublime Hymn), THALIA (Comedy and Idyllic Poems), MELPOMENE (Tragedy), EUTERPE (Lyric Poetry), CLIO (History), APOLLO (Leader of the Muses).

73. CALLIOPE Hind 11A. Bartsch28. From the E Series of "Apollo and the Muses." Collection: Albertina Duplicate. The Muse of Epic Poetry.

74. THALIA Hind 16A. From the E Series of "Apollo and the Muses." Collection: Albertina Duplicate. The joyful muse, to whom is due the bloom of life. She inspired gaiety; was the patroness of the banquet accompanied by song and music; and also favoured rural pursuits and pleasures. At a late period she became the Muse of Comedy, and to the Romans was little known in any other character. 24 DOMENICO BECCAFUMI (MASTER H—E) 1486-1551

"There is every reason to believe that this engraver is quite an early one, but his name is entirely unknown. We know of only five engravings by him, which we describe here, and which are usually attributed (we do not know how correctly) to Domenico Beccafumi." BARTSCH

75. THE ADORATION OF THE SHEPHERDS Bartsch XV. 461. 1.

ANONYMOUS SIXTEENTH CENTURY ROMAN SCHOOL

76. DAVID BLESSED BY NATHAN BEFORE BATTLE Hind F. II, 17. Bartsch XV, 22. 1. First State. Before the address of Salamanca. Bartsch calls this print 5/. Ambrose and the Emperor Theodosius. "The building in the background adapted from Bramante's Chapel in S. Pietro in Montorio at Rome is a strong argument for its Roman origin." ARTHUR M. HIND

ANDREA MANTEGNA 1431-1506

"The seven engravings, which are the only ones that can be claimed as his, suffice indeed to assure him his position among the leaders in the graphic arts." PAUL KRISTELLER

77. BATTLE OF SEA-GODS: LEFT PORTION Hind 4. Bartsch 18.

78. BATTLE OF SEA-GODS: RIGHT PORTION Hind 5. Bartsch 17. Watermark: Anchor in circle. These are the two impressions which were exhibited at the Exposition of Italian Art, Paris, 1935. Catalogue numbers 947 and 948. 25 "An extraordinary power and exuberance of imagination have been revealed by Mantegna in these pictures. The supernaturally powerful creations of his fancy are, however, clothed by his skill in portrayal with forms which, with the extreme of loving care, are in every detail and every movement rendered according to nature." PAUL KRISTELLER

79. THE ENTOMBMENT Hind 6. Bartsch 3. Watermark: Small Circle. Collection: Charles Delanglade. This impression measures 343 x 483 m.m. The proof in Berlin (reproduced by Borenius) is approximately one inch smaller all round than this one. The British Museum proof measures 332 x 468.

80. THE RISEN CHRIST BETWEEN SS. ANDREA AND LONGINUS Hind 7. Bartsch 6. Collections: Francis Bullard; Brayton Ives. "The austere majesty, the 'awfulness' of the composition, beside which such Michelangelesque conceptions as the '' alone are worthy to be placed, the grandeur of the gigantic, Jove-like figure of Christ, is still further enhanced by the statuesque impressiveness of the group." PAUL KRISTELLER

SCHOOL OF ANDREA MANTEGNA

81. THE TRIUMPH OF CAESAR: THE ELEPHANTS Hind 1. Bartsch 12.

82. THE TRIUMPH OF CAESAR: SOLDIERS CARRYING TROPHIES Hind 2. Bartsch 13. A pair. Full margins top and bottom. The nine "cartoons" of the Triumph of Caesar, which Mantegna did for Francesco Gonzaga, were purchased for Charles I soon after 1627, and are now at Hampton Court.

26 83. THE TRIUMPH OF CAESAR! SOLDIERS CARRYING TROPHIES (WITH THE PILASTER) Hind 2* Bartsch 14. "It was possibly the project of the engraver to use his pilaster to divide the different parts of the procession, mounted in one line." ARTHUR M. HIND

84. THE TRIUMPH OF CAESAR: THE SENATORS Hind 3. Bartsch 11.

85. THE SCOURGING OF CHRIST (WITH THE PAVEMENT) Hind 4. Bartsch 1. Watermark: Ornamental letters. P. U. "The drawing by Mantegna on which this print is based must almost certainly have belonged to the period of the Eremitani frescoes." ARTHUR M. HIND

86. CHRIST DESCENDING INTO HELL Hind 5. Bartsch 25. "Based on some original drawing by Mantegna belonging to the time of the Eremitani frescoes." ARTHUR M. HIND

BARTOLOMEO DA BRESCIA 1506-After 1578 Bartolomeo da Brescia (also known as Bartolomeo Olmo, Lalmo or Lulmus) was born 1506 in Brescia, and worked there until after 1578. He engraved vignettes for the printer Vincenso Sabbio for his Raccolta delle rime d. accademici occulti (Brescia, 1588) and for Carmina accademicorum occul- torum (Brescia, 1570), and some half dozen or so single prints of Christ on the Cross, The Lamentation, and a Saint Jerome. His engraving of Christ on the Cross with Mary, John, Nicodemus and Mary Magdalene (Bartsch XV. 534.1) is signed Bartolomeus Lulmus Brix and dated 1576. Nagler: Die Monogrammisten. Vol. I, p. 740. 1684. 2. Thieme-Becker. Vol. II, p. 567.

87. CHRIST ON THE CROSS Unknown to Bartsch, who describes two prints only by this engraver. Collection: Friedrich August II, Dresden. 27 NICOLETTO ROSEX DA MODENA Flourished about 1490-1510

Nicoletto adopted a style of composition which he made his own, surrounding his saint or giving as a background fanciful classical ruins, oftentimes with the happiest results.

88. ROMAN WARRIOR ON HORSEBACK Bartsch 60. Collection: Friedrich August II, Dresden. Hind records four impressions only of this engraving, viz: Paris (Bibliotheque Nationale), Berlin, Hamburg, and the present one. "This engraving is in the first manner of the artist." BARTSCH "Many of his engravings were certainly done before he came under the influ­ ence of Diirer, and the earliest of these probably date back a decade before 1500. He may even have been working as far back as 1480, but the style of his early prints scarcely justifies the assumption." ARTHUR M. HIND

89. SAINT ANTHONY Passavant 81. The only impression known. Collection: Friedrich August II, Dresden.

90. A SAINT CARRYING A SACK Passavant 82B. Unique. Collections: Sternberg-Manderscheidt; Friedrich August II, Dresden.

28 JACOPO DE' BARBARI About 1450-Before 1516

"The innumerable copies of his prints made in the sixteenth century, suffi­ ciently attest his influence, especially in North Germany. His technique was founded on that of the Germans, whose art was not without its wider influence on his; but, in the main, we must account him the pioneer and aposde of the Italian spirit in the North. To some extent, he prepared the way for the style of the Litde Masters." PAUL KRISTELLER

91. SAINT CATHERINE Bartsch 8. Kristeller 10. Borenius 2. Collections: Junius S. Morgan; Brayton Ives; Paul J. Sachs. This is the impression reproduced by Borenius. The daughter of Costia (half brother to Constantine the great), and Sabinella, Queen of Egypt. The Emperor Maximian, admiring her beauty, vainly attempted to overcome her virtue. Failing, he ordered the most dreadful tortures, and finally had her scourged and beheaded.

92. THE GUARDIAN ANGEL Bartsch 9. Kristeller n. Borenius 25. Watermark: A Hand. Collection: Albertina Duplicate. Hind cites nine impressions only; Borenius records fourteen in all. According to Kristeller this engraving belongs to Jacopo de' Barbari's latest period.

93. VICTORY RECLINING AMID TROPHIES Bartsch 23. Kristeller 27. Borenius 10. Watermark: A Litde Jug.

94. ST. SEBASTIAN Hind 8. Kristeller 8. Borenius 29. Collection: Friedrich August II, Dresden. Borenius lists six impressions, including this one. This impression shows the plate line at top and bottom. The blank paper, at left, has been trimmed about 10 mm.; at right about 20 mm. The impression reproduced by Kristeller has been cut, at top, about 15 mm. 29 BENEDETTO MONTAGNA About 1470-After 1540

"Son of Bartolommeo Montagna, the leading painter of the school of Vicenza. . . . None of Benedetto's few paintings can be dated before 1522, and most belong to the years following his father's death (i.e. after 1523). The course of his artistic development can be best traced in his engravings, which prob­ ably date from about 1500, if not earlier, to near the close of his career." ARTHUR M. HIND

95. CENTAUR, WITH WOMAN ON HIS BACK, FIGHTING A DRAGON Hind 34. Bartsch 19. Watermark: Cardinal's Hat Hind lists four impressions only.

96. THE BIRTH OF ADONIS Hind 35. Bartsch 20. Watermark: Cardinal's Hat.

GIULIO CAMPAGNOLA 1482-1514?

Giulio Campagnola, like , whose style he so well interpreted, was a short-lived genius. He was a young prodigy, famous at the tender age of thirteen as a scholar of Latin, Greek, and Hebrew, besides being accomplished as a musician, and in the arts of sculpture, miniature, and engraving. Little wonder that he did not long survive his thirtieth year. Probably his practice as an illuminator as well as his particular aim of rendering the atmosphere of Giorgione's paintings led him to the method of using dots, or rather short flicks, in his engravings, which is in a sense an anticipation of the stipple process of the eighteenth century, though of course without the use of etching.

97. SHEPHERDS IN A LANDSCAPE Bartsch 9. Hind n. Kristeller 9. Borenius 16. This plate, of which the right-hand portion was engraved by Giulio Cam­ pagnola, was left unfinished at his death and was completed by Domenico Campagnola. Collections: J. Reiss; J. P. Heseltine. 30 DOMENICO CAMPAGNOLA Flourished as an Engraver, about 1510-1520

"None of his engravings are dated except in the years 1517-1518, but there seems little reason to doubt his identity with the painter who assisted in 1511 and continued working in . . . . Whether he was a Venetian or Paduan by birth is not certainly established, but the assumption that he was a pupil and the artistic heir, if not a family connection, of Giulio Cam- pagnola is strongly supported by his completion of the Shepherds in a hand- scape. He did not, however, follow Giulio's stipple method, and as an en­ graver handles the line with a somewhat loose, though picturesque, touch." ARTHUR M. HIND

98. NAKED WOMAN IN A LANDSCAPE Hind 10. Bartsch 7. Signed Do CAMP and dated 1517. Collections: Dr. H. Wellesley (i860); Richard Fisher (1892). Hind lists eight impressions.

MASTER OF THE YEAR 1515 This master's prints stand entirely apart in style from those of any other en­ graver of the period. Seemingly he was a northern settler in Rome. His work is evidendy dry-point, produced either with the regular dry-point tool or with the graver, the line being left unscraped. The same dry-point effect is to be seen in Germany in the work of the Master of the Amsterdam cabinet and in the fine shading lines of the earliest impressions of some of Van Meckenem's plates.

99. ROMA (AN EQUESTRIAN STATUE) Bartsch 18. Hindu. Kristeller 16. Watermark: Bear walking. Collection: Prince Waldberg-Wolf egg. Six impressions only of this engraving were known to Kristeller.

3i MARCANTONIO RAIMONDI About 1480-About 1530

"Most of the painters of the period of the Renaissance owed an immense debt to the art of , but none, with the possible exception of Mantegna, caught so much of the stern classical spirits as the engraver Marcantonio. . . . He is like some great composer who borrows another's theme only to make it his own by the originality of his setting Compared with Albrecht Durer, Marcantonio is unquestionably a genius of limited scope . . . but he has none the less exercised an unparalleled influence, and inspired the largest following of any engraver who ever lived." ARTHUR M. HIND

100. THE JUDGMENT OF PARIS Bartsch 245. "Cette estampe est une des plus parfaites de Marc-Antoine; il l'a gravee d'apres une excellente composition de ." BARTSCH

101. CUPIDS AND THREE CHILDREN Bartsch 320. Dated 1506. Collections: Alfred Morrison; Paul Davidsohn. Signed, and dated September 18, 1506.

102. PYRAMUS AND THISBE Bartsch 322. Engraved in the early manner of Marcantonio. Signed with his monogram and dated 1505. Pyramus and Thisbe lived in adjoining houses in Babylon. They loved each other but as their parents opposed their marriage they were able to converse only through a hole in the wall. They arranged to meet each other at the tomb of Ninus. Thisbe arrived there first, was frightened by a lion, and fled, leaving her mande behind her in her flight. The lion soiled it with blood and Pyra­ mus believing that Thisbe had been slain, killed himself under a mulberry tree, the fruit of which ever afterwards has been blood-red. Thisbe, returning and seeing her lover slain, falls upon his sword and, in turn, dies.

32 103. MAN, AND WOMAN STANDING WITH HER FOOT ON A GLOBE Bartsch 377. "Engraved very delicately in Marcantonio's early manner, seemingly after a design by Francia." BARTSCH

104. A WOMAN WATERING A PLANT Bartsch 383. Collection: J. P. Heseltine. Engraved in Marcantonio's early manner. His monogram is on a leaf of the plant to the left of the tree. It was copied in reverse with the omission of the tree, and various changes in the landscape background, by Giovanni Antonio da Brescia. (Bartsch 21. Hind 16.)

105. SERPENT SPEAKING TO A YOUNG MAN Bartsch 396. Collection: George La Monte.

MARCO DENTE DA RAVENNA 1527

"Marco Dente da Ravenna was probably an assistant, if not a pupil, of Marc- antonio. Beyond his name and his work, the probability that his life met a tragic and premature conclusion in the sack of Rome in 1527, nothing is known of his history. In a certain richness of texture and tone he comes nearest of all the school to the master's technique in engraving." ARTHUR M. HIND

106. GOD APPEARING TO ISAAC Bartsch 7. After a design by Raphael which, in the background, differs from Raphael's painting in the Vatican. God forbids Isaac to enter Egypt. Rebecca, Isaac's wife, is shown seated, at the left, beneath a tree.

33 F TLA ?IC E

JEAN DUVET 1485-About 1561 "The oldest and the greatest of engravers was Jean Duvet of Langres, who was born in 1485, and presumably died sometime after 1561. . . . His work is very little known, as typical groups of it hardly exist outside the greater European national collections, and even isolated specimens are of the greatest rarity." W. M. IVINS, JR.

107. MOSES SURROUNDED BY THE PATRIARCHS Robert-Dumesnil & E. de la Boullaye 2. Collection: Friedrich August II, Dresden. Moses Surrounded by the Patriarchs is in the same style and of the same format as the series of the Apocalypse, and would seem to date from the same period, 1545-55, or possibly later; the beginning, perhaps, of a new series which Duvet, dying sometime after 1561, did not live to carry forward.

108. DUVET STUDYING THE APOCALYPSE Robert-Dumesnil & E. de la Boullaye 27. Collection: Julian Marshall. "I John, who also am your brother, and companion in tribulation, was in the isle that is called Patmos. I was in the Spirit on the Lord's day, and heard behind me a great voice, as of a trumpet, saying: Write the things which thou hast seen, and the things which are, and the things which shall be hereafter. These sayings are faithful and true."

109. THE UNICORN PURIFIES A SPRING WITH HIS HORN Robert-Dumesnil & E. de la Boullaye 59. Watermark: Bunch of Grapes. This engraving forms part of the "Unicorn Series," an allegory of the amours of Henri II and Diane de Poictiers. "The unfledged Dauphin, with his passion for hunting and the exercise of arms, began to study art and literature, even grew to like them for her sake. Diane made Anet and its forests into a huntsman's Eden. There was an incomparable heronry there, rare birds and strange beasts, falcons and leopards were kept in the gallery that she built for them; its walls were sculp- 34 tured with emblems of the chase; her own name was deftly made use of to enhance the general scene of sport; at every corner she reminded the King that she was goddess of his favourite pursuit no less than of his heart, and the statue of her as Diana guarded the approaches of her palace." EDITH SICHEL, "Catherine de Medici and the French Reformation"

110. THE JUDGMENT OF SOLOMON E. de la Boullaye 64. Robert-Dumesnil XI. 87. 1. Passavant 64. First State, before the reworking of the plate. Watermark: Fleur-de-lys, crowned. Collection: Friedrich August II, Dresden. Passavant knew of two proofs only: Popham lists three (British Museum, Paris, Berlin). This fourth one, seemingly, was unknown to them both. "Then said the King, The one saith, This is my son that liveth, and thy son is the dead: and the other saith, Nay; but thy son is the dead, and my son is the living. And the King said, Bring me a sword. And they brought a sword before the King. And the King said, Divide the living child in two, and give half to the one, half to the other."

JEAN GOURMONT About 1483-1551 "Jean Gourmont appears first as a printer, in Paris, about 1506, and from 1522 to 1526 seems to have worked at . His plates show delicate engrav­ ing and a fine sense of composition, and are obviously influenced by Italian models. He was particularly fond of setting his subjects amid the rich archi­ tecture of the Renaissance, and of portraying its intricate perspective with peculiar care." FRIEDRICH LIPPMANN

111. SAMSON AND THE LION Robert-Dumesnil 1. "Then went Samson down, and came to the vineyards of Timnath, and, behold a young lion roared against him. And the Spirit of the Lord came mightily upon him, and he rent him as he would have rent a kid, and he had nothing in his hand."

112. THE FLAGELLATION Robert-Dumesnil 4. "And so Pilate, willing to content the people, released Barabbas unto them, and delivered Jesus, when he had scourged him, to be crucified. And the 35 soldiers led him away into the hall, called Praetorium: and they called to­ gether the whole band. And they clothed him with purple, and platted a crown of thorns, and put it about his head." St. Mar\ XV, Verses 15-17

113. ELOY AT THE FORGE IN THE PRESENCE OF KING DAGOBERT Robert-Dumesnil 12. Collections: Due d'Arenberg; City Art Museum, St. Louis, Duplicate. Eloy, or Eligius by his Latin name, was born about 588, at the village of Chatelas, and was of humble origin. He was at school at Limoges, and there learned the trade of goldsmith, in which he so excelled that when, in 610, he went to Paris, he attracted the attention of the treasurer of King Clothaire II. The king was so pleased with the beauty of Eloy's work, and the probity of the man, that he employed him in state affairs. His successor, Dagobert I, made Eloy Master of the Mint. He cut the dies for the money, and there are known thirteen pieces bearing his name. King Clovis II, after the death of Dagobert, made Eloy Bishop of Noyon in 641, although a layman. He is the patron of Bologna and Noyon and of goldsmiths and all other metal-workers.

114. ELOY AT THE FORGE Robert-Dumesnil 13. Watermark: Gothic j|3.

115. CUPID STANDING ON A GLOBE Robert-Dumesnil 14.

116. CHILD SEATED NEAR A PORTICO Robert-Dumesnil 17. Collections: Count C. W. de Renesse-Breidbach; Due d'Arenberg.

36