with the Virgin and Longinus at the left, and St. John and, perhaps, the Centurion at the right; in the upper left-hand corner is an angel with the Veronica, or handkerchief, which bears the miraculous portrait of the Saviour, and above are a scourge and a knife; in the original the body of Christ is covered with dots and scratches in vermillion, to represent blood. It was taken off in black ink with a press, and is one of the rudest engravings known.[1]
Valueless as these prints[2] are, for the most part, as works of art, they are of great interest. They were the first pictures the common people ever had, and doubtless they were highly prized. Rude as they were, the poor German peasant or humble artisan of the great industrial cities cared for them; they had been given to him by the monks, like the rudely-carved wooden images of earlier times, at the end of some pilgrimage that he had made for penance or devotion, and were treasured by him as a precious memento; or some preaching friar, to whom he had devoutly given a small alms for the building of a church or the decoration of a shrine, had rewarded his piety with a picture of the saint whom, so far as he could, he had honored; or he had received them on some day of festival, when in the streets of the Flemish cities the Lazarists or other orders of monks had marched
- ↑ This print is described by Ottley in his "Inquiry," etc. London, 1863. There is another woodcut on the reverse side of the leaf, representing the Virgin holding the dead Christ, of which Ottley gives a fac-simile. The manuscript with these woodcuts is now in the possession of Professor Norton, of Harvard College.
- ↑ Many fine examples of these prints are reproduced, with their original colors, in Weigel and Zestermann's "Die Anfänge der Drucker-Kunst in Bild und Schrift." 2 Bände. Leipzig, 1866.
