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Schongauer's Engravings

Author(s): William M. Ivins, Jr.Source: The Metropolitan Museum of Art Bulletin, Vol. 32, No. 3 (Mar., 1937), pp. 69-71Published by: The Metropolitan Museum of ArtStable URL: http://www.jstor.org/stable/3255196Accessed: 06/10/2009 01:01

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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTULLETIN OF THE METROPOLITAN MUSEUM OF ARTThe Crucifixion often formed the central

part of Flemish retables of the late fifteenthand early sixteenth centuries. However, thepitted and worn top surfaces of our reliefindicate long exposure to the weather andwould lead one to suppose that it had oncebeen set into an outer wall in a mannersimilar to the famous series of reliefs atNuremberg by Adam Kraft or to anotherseries at The Cloisters.9Vertical lines on theback of the relief may indicate where thethieves' crosses were placed, one above theVirgin'shead and the other above the middle

The Crucifixion often formed the centralpart of Flemish retables of the late fifteenthand early sixteenth centuries. However, thepitted and worn top surfaces of our reliefindicate long exposure to the weather andwould lead one to suppose that it had oncebeen set into an outer wall in a mannersimilar to the famous series of reliefs atNuremberg by Adam Kraft or to anotherseries at The Cloisters.9Vertical lines on theback of the relief may indicate where thethieves' crosses were placed, one above theVirgin'shead and the other above the middle

lene, with an ointment jar between herhands, prostratingherselfbeforethe figure-now missing-of the resurrected Christ,who appeared to her in the garden of Geth-semane.11 Behind her is one end of Christ'sopen tomb, shown in false perspective. Hercloak enshrouds her body, breaking into aseries of long, concentric folds which followthe curve of the left arm. At the right endof the carving is an unidentified cipherprobably representing the initials of

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BULLETIN OF THE METROPOLITAN MUSEUM OF ARTand that psychologically he was anythingbut primitive. To the contrary, in manyways he came at the end of a great move-ment of thought and expression and re-sumed in his work the results of the travailof a most remarkablegroup of predecessors.Schongauer's engravings are so well

difficult to secure in any number in impres-sions of satisfactory quality; for fine Schon-gauers are not to be had on demand or with-out watchful waiting over long periods oftime.The Museum's print room, which is justentering upon its twenty-first year, has as

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THE VIRGIN WITH THE PARROT BY MARTIN SCHONGAUER

known and have so often been reproducedand written about that it is impossibletoday to say anything about them that isnot the empty telling of a twice-told tale.They are among the basic prints for everygreat public collection, and to a certain ex-tent the number and the quality of those inany collection formed along historical linesmay be regarded as an indication or touch-stone of its age and importance. Of the earlymasters who were prolific and of whoseprints many impressions are in existence,there are few if any whose prints are more

yet impressions of somewhat less than halfof the I15 pieces that constitute Schon-gauer's engraved work. The smallness of itscollection of these precious engravings,however, is offset by the fact that, with theexception of two or three, they fulfill themost exacting standards of quality. Amongthe masterpieces in the collection there maybe mentioned the Virgin Enthroned by Godthe Son (the first Schongauer that wasbought by the Museum), the Angel and theVirgin of the Annunciation, the Annun-ciation, the Adoration of the Shepherds, the

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BULLETIN OF THE METROPOLITANMUSEUM OF ARTAdorationof the Kings (in a uniquefirststate), the Flightinto Egypt, the Baptismof OurLord,severalof the PassionSeries,the greatChristCarryinghe Cross,ChristCrucified, he Crucifixionwith Three An-gels, Christ and the Magdalene,he Virginin the Courtyard,he Temptationof Saint

best beloved of the master's prints, a workof art of the kind which once seen is neverforgotten. The Virgin with the Parrot, adelicately and elaborately engraved piecedone in the master's early period, is shownbefore the plate underwent any deteriora-tion through wear. The Virgin with the

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THE NATIVITY BY MARTIN SCHONGAUER

Anthony (in the first state), the small SaintGeorge and the Dragon, Saint John theBaptist, Saint Martin, Saint Michael, SaintVeronica, the Infant Saviour, Christ Bless-ing, the Peasants Going to Market, theGriffin,the Censer, and several of the roundcoats of arms.Today it is possible for us to record theacquisition of four more specimens of themaster's work-the Nativity, the Virginwith the Parrot, the Virgin with the Apple,and the oblong ornament with the birds.The Nativity is one of the most famous and

Apple, the largest of Schongauer's singlefigure subjects, is noteworthy as havingbeen struck off before the disappearanceofthe transverse scratches across the lowerpart of the Virgin's dress. The ornamentwith the birds is the first piece of the mas-ter's purely ornamental work to enter thecollection.With luck and time it is hoped that wemay eventually be able to complete theseries on the same high level of excellencethat has so far marked its growth.WILLIAMM. IVINS, JR.

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