A treatise on wood engravings : historical and practical . gland previous to1500 is, so far as regards the design, a representation of the Crucifixionat the end of the Golden Legend printed by Wynkyn de Worde in * Fac-similes of six of those cuts are given in Dt. Dibdins edition of Amess Typo-graphical Antiquities, vol. i. p. 110—112. 02 196 WOOD ENGRAVING 1493* In this cut, neither of the thieves on each side of Christappears to be nailed to the cross. Tlie arms of the thief on the rightof Christ hang behind, and are bound to the transverse piece of thecross, which passes underneath his shoul
A treatise on wood engravings : historical and practical . gland previous to1500 is, so far as regards the design, a representation of the Crucifixionat the end of the Golden Legend printed by Wynkyn de Worde in * Fac-similes of six of those cuts are given in Dt. Dibdins edition of Amess Typo-graphical Antiquities, vol. i. p. 110—112. 02 196 WOOD ENGRAVING 1493* In this cut, neither of the thieves on each side of Christappears to be nailed to the cross. Tlie arms of the thief on the rightof Christ hang behind, and are bound to the transverse piece of thecross, which passes underneath his shoulders. His feet are neitherbound nor nailed to the cross. The feet of the thief to the left ofChrist are tied to the upright piece of the cross, to which his handsare also bound, his shoulders resting upon the top, and his face turnedupward towards the sky. To the left is seen the Virgin,—who has fallendown,—supported by St. John. In the back-ground to the right, theartist, like several others of that period, has represented Christ bearinghis Dr. Dibdin, at page 8 of the Disquisition on the Early State ofEngraving and Ornamental Printing in Great Britain, prefixed toAmess and Herberts Typographical Antiquities, makes the followingobservations on this cut: The Crucifixion at the end of the GoldenLegend of 1493, which Wynkyn de Worde has so frequently subjoinedto his religious pieces, is, unquestionably, the effort of some ingeniousforeign artist. It is not very improbable that Eubens had a recollectionof one of the thieves, twisted, from convulsive agony, round the top ofthe cross, when he executed his celebrated picture of the same subjecft * A large flowered letter, a T, cut on wood, occurs on the same page as the Crucifixion. t In a note upon this passage Dr. Dibdin gives the following extract from Sir JoshuaReynolds. To give animation to this subject, Rubens has chosen the point of time whenan executioner is piercing the side of Christ, while another with a bar
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Keywords: ., bookcentury1800, bookdecade1880, booksubjectwoodengraving, bookye
