A New Fifteenth-Century Florentine EngravingAuthor(s): Arthur M. HindSource: The British Museum Quarterly, Vol. 7, No. 4 (1933), p. 107Published by: British MuseumStable URL: http://www.jstor.org/stable/4421474 .

Accessed: 28/06/2014 08:18

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact support@jstor.org.

.

British Museum is collaborating with JSTOR to digitize, preserve and extend access to The British MuseumQuarterly.

http://www.jstor.org

This content downloaded from 185.31.194.106 on Sat, 28 Jun 2014 08:18:10 AMAll use subject to JSTOR Terms and Conditions

The second drawing bequeathed by Mr Oppenheimer repre- sents the Infant Saviour and is attributed to Cosimo Tura. It measures 31 x 31 inches, is in brown-ink outline and has touches of colour, red for the lips and green for the drapery. It corresponds exactly in reverse with the Infant Christ in the picture of the Madonna and Child by Tura in the Accademia Carrara at Bergamo. Even the folds of the drapery over the back of the throne are line for line the same. The most obvious explanation of the drawing being in reverse to the picture would be that it was not a drawing but a woodcut from the picture and it has, in fact, something of the appearance and character of a woodcut. The question must, how- ever, wait further investigation. A. E. P.

92. A NEW FIFTEENTH-CENTURY FLORENTINE ENGRAVING.

A N undescribed Italian engraving, Twenty-four Roundels of ani- mal designs (measuring 217 x 146 mm.), has been recently ac-

quired. The print was probably intended as a pattern for cutters of ivory or wooden draughtsmen, such as the twelfth-century ivory draughtsmen in the Department of British and Medieval Antiquities, though no such sets are recorded as late as the fifteenth century. No other impression is known, or any other Italian print of similar character. Its watermark is near Briquet I 1925 (noted at Reggio d'Emilia 1432). From the style of engraving and design it was probably produced at Florence about I460-70. A. M. H.

93. A MISSAL OF THE USE OF YORK.

AS the Museum has had good reason to realize, the York Missal is

a rarity in manuscript. No more than eight examples in the libraries of Great Britain and Ireland, several of them sadly imperfect, have been recorded by the Bishop of Truro in his Bibliotheca Musico- Liturgica, 1894-1932.' The copy recently bought at auction, Add. MS. 4338o, has previously been in private hands and does not figure in the list. At the first appearance of this Missal in the sale-room,

I The list at the end of York Minster Historical Tracts (S.P.C.K.), No. 19, 1927, by the same writer is unreliable.

107

This content downloaded from 185.31.194.106 on Sat, 28 Jun 2014 08:18:10 AMAll use subject to JSTOR Terms and Conditions