Some German woodcuts of the fifteenth century.

SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY

SOME GERMAN WOODCUTS OF THE FIFTEENTH CENTURY

FROM THE LIBRARY OF

JOHN CHARRINGTON
THE GRANGE, SHENLEY

SOME GERMAN WOODCUTS OF THE FIFTEENTH
CENTURY

FOREWORD.

Of the 35 reproductions of German woodcuts here given, 29 are all
that were done of a series chosen by William Morris to appear in
the Catalogue of his library, which was to have been annotated by
him and printed at the Kelmscott Press.The other 6 were made for
his article in the 4th number of Bibliographica on the Early Wood"
cut Books of Ulm & Augsburg, and thanks are due to Messrs. Ke^
gan Paul,Trench,Triibner & Co. for the loan of the blocks, as well
as for permission to quote the portions of the article which serve as
an introduction to this book.These quotations will show the nature
of the remarks that Mr. Morris intended to write for the Catalogue,
of which theywouldhavebeenthemostinterestingfeature.Aminor
feature was to have been a statementof the number of different cuts,
and the number of cuts including repetitions, in the principal illus/-
trated books. For this purely scientific side of the work I was made
responsible, and as the earlyprinters usually repeated their cuts, and
no one has hitherto troubled to countthem in this way, it has seemed
worth while to preserve these fewstatisticsnowthattheoriginalde^
sign of the Cataloguehas fallen through. They are accordingly print'
ed as an appendix inalistof themoreimportantwoodcutbooksthat
the library contained. For some other particulars in this section lam
indebted to my friend Mr. Robert Proctor, who has kindly looked
over the proof sheets, and pointed out errors and omissions.
I have been tempted to add a list of the manuscripts, which, though
comparatively few in number (112), were themostnotablepart of the
library ; but without a full description of each volume such alist would
be meaningless, and anything more than alist would be out of place.

S.C.COCKERELL.

in

»»

PREFACE,BEINGEXTRACTSFROM AN ARTICLE
BYWILLIAM MORRIS ON THE ARTISTIC QU ALL
TIES OF THE WOODCUT BOOKS OF ULM AND
AUGSBURG IN THE FIFTEENTH CENTURY.

H E invention of printing books, & the use of wood/
blocks for book ornament in place of hand/painting,
though it belongs to the period of the degradation of
mediaeval art, gave an opportunity to the Germans
to regain the place which they had lost in the art of
book decoration during the thirteenth & fourteenth
centuries. This opportunity they took with vigour and success, and
by means of it put forth works which showed the best and most es/
sential qualities of their race. Unhappily, even at the time of their
first woodcut book, the beginning of the end was on them; about
thirty years afterwards they received the Renaissance with singular
eagerness and rapidity, and became, from the artistic point of view,
a nation of rhetorical pedants. An exception must be made, how/
ever, as to Albert Durer; for, though his method was infected by the
Renaissance, his matchless imagination and intellect made him
thoroughly Gothic in spirit.

Amongst the printing localities of Germany the two neighbouring
cities of Ulm and Augsburg developed a school of woodcut book
ornament second to none as to character, and, I think, more numer/
ously represented than any other. I am obliged to link the two cities,
because the early school at least is common to both; but the orna/
mented works produced by Ulm are but few compared with the
prolific birth of Augsburg. It is a matter of course that the names of
the artists who designed these wood/blocks should not have been
recorded, any more than those of the numberless illuminators of
the lovely written books of the thirteenth and fourteenth centuries;
the names under which the Ulm and Augsburg picture/books are
known are all those of their printers. Of these by far the most dis/
tinguished are the kinsmen (their degree of kinship is not known),
Gunther Zainer of Augsburg and John Zainer of Ulm. Nearly
parallel with these in date are LudwigHohenwang & JohnBamler
of Augsburg, together with Pflanzmann of Augsburg, the printer
of the first illustrated German Bible. Anthony Sorg, a little later
than these, was a printer somewhat inferior, rather a reprinter in fact,
but by dint of reusing the old blocks, or getting them recut and in
some cases redesigned, not always to their disadvantage, produced
some very beautiful books.

The earliest of these picture/books with a date is Gunther Zainer's
a2 v

Golden Legend, the first part of which was printed in 1471 ; l>ut, as

See the most important from the artistic point of view, I should name :

pages 13, first, Gunther Zainer's Speculum Humanae Salvationis (undated

!,3,9&iobut probably of 1471) ; second, John Zainer's Boccaccio De Claris

Mulieribus (dated in a cut, as well as in the colophon, 1473) ; third,

the JE sop, printed by both the Zainers, but I do not know by which

first, as it is undated; fourth, Gunther Zainer's Spiegel des mens.*

chlichenLebens(undatedbutabouti475),withwhichmustbetaken

his German Belial, the cuts of which are undoubtedly designed by

the same artist, and cut by the same hand, that cut the best in the

Spiegel above mentioned.

It should here be said that, apart from their pictures, the Ulm and
Augsburg books are noteworthy for their border and letter decora*
tion. The Ulm printer, John Zainer, in especial shone in the pro*
duction of borders .^^ A very handsome border (or half*border
rather) with a zany in the corner, is used frequently in his books, &
page 2 in Alvarus de planctu Ecclesiae, 1474, is associated with an inter*
esting historiated initial O. A curious alphabet of initials made up
of leafage, good, but not very showy, is used in the De Claris Mu/
lieribus and other books. An alphabet of large initials, the most
page 2 complete example of which is to be found in Leonard Hoi's Ptole*
my, is often used and is clearly founded on the pen*letters, drawn
mostly in red&blue, in which the Dutch 'rubrishers'excelled.,^/^
In almost all but the earliest of Gunther Zainer's books a hand*
some setof initials is used, a good deal like the Ulm initials, but with
the foliations blunter, and with less of geometrical forms; the pen
origin of these is also very marked.

Now it may surprise some of our readers, though I should hope not
the greatest part of them, to hear that I claim the title of works of
art, both for these picture*ornamented books as books, and also for
the pictures themselves.Their two main merits are first their deco*
rative and next their story* telling quality; and it seems to me that
these two qualities include what is necessary and essential in book*
pictures. To be sure the principal aim of these unknown German
artists was to give the essence of the story at any cost, and it may be
thought that the decorative quality of their designs was accidental,
or done unconsciously at any rate. I do not altogether dispute that
view; but then the accident is that of the skilful workman whose
skill is largely the result of tradition ; it has thereby become a habit
of the hand to him to work in a decorative manner.
To turn back to the books numbered above as the most important
page 1 of the school, I should call John Zainer's De Claris Mulieribus, and
vi

the i9E sop, and GuntherZainer's Spiegel desmenschlfchen Lebens See pages
the most characteristic. Of these my own choice would be the De 3, q& 10
Claris Mulieribus, partly perhaps because it is a very old friend of
mine, and perhaps the first book that gave me a clear insight into
the essential qualities of the mediaeval design of that period. The
subject-matter of the book also makes it one of the most interesting,
giving an opportunity for setting forth the mediaeval reverence for
the classical period, without any of the loss of romance on the one
hand, and epical sincerity and directness on the other, which the
flood/tide of renaissance rhetoric presently inflicted on the world.
No storytelling could be simpler and more straightforward, and
less dependent on secondary help than that of these curious, and, as
people phrase it, rude cuts. And in spite (if you please it) of their
rudeness, they are by no means lacking in definite beauty: the com/
position is good everywhere, the drapery well designed, thelines rich,
which shows of course that the cutting is good. Though there is no
ornament save the beautiful initial S andthe curious foliated initials
above mentioned, the page is beautifully proportioned and stately,
when, as in the copy before me, it has escaped the fury of the boolc/
binder.

In the JE sop the drawing of the designs is in a way superior to that page 3
of the last book : the line leaves nothingto be desired ; it is thorough'
ly decorative, rather heavy, but so firm and strong, and so obviously
in submission to the draughtsman's hand, that it is capable of even
great delicacy as well as richness.The figures both of man and beast
are full of expression; the heads clean drawn and expressive also,
and in many cases refined &delicate.The cuts, with few exceptions,
are not bounded by a border, but amidst the great richness of line no
lack of one is felt, and the designs fully sustain their decorative posi/
tion as a part of the noble type of the Ulm and Augsburg printers;
this iEsop is, to my mind, incomparably the best and most express
sive of the many illustrated editions of the Fables printed in the fif-
teenth century.The designs of the other German and Flemish ones
were all copied from it.

Gunther Zainer's Spiegel des menschlichen Lebens is again one of pages 9
the most amusingof woodcut books. One may say that the book it/ and to
self, one of the most popular of the Middle Ages, runs through all
the conditions & occupations of men as then existing, from thePope
and Kaiser down to the field labourer, and with full indulgence in
the mediaeval love of formal antithesis, contrasts the good and the
evil side of them. The profuse illustrations to all this abound in ex/
cellent pieces of naive characterisation; the designs are very well put

vii

together, and, for the most part, the figures well drawn, and draperies

good and crisp, andthe general effect very satisfactory as decoration.

The designer of this book, however, has not been always so lucky in

his cutter as those of the last two books,& some of the pictures have

been considerably injured inthecutting.Ontheotherhandthelove/

ly genealo gical tree crowns this book with abundant honour, and the

See best of the cuts are so good that it is hardly possible to rank it after

pages 13, the first two. Gunther Zainer's Speculum Humanae Salvationis,

it & 12 a nd his Golden Legend have cuts decidedly ruder than these three

books; they are simpler also and less decorative as ornaments to the

page, nevertheless they have abundant interest, and most often their

essential qualities of design shine through the rudeness,which by no

means excludes even grace of silhouette : one and all they are triors

oughly expressive of the story they tell.

Ofthe other contemporary,or nearly contemporary printers, Bamler
page 8 comes first in interest.^ /£ His Rosencranz^-Bruderschaft has but
two cuts,but they are both of them, theoneasafinedecorativework,
the other as a deeply felt illustration of devotional sentiment, ofthe
highest merit.

To Conrad Dinckmut of Ulm, belongingto a somewhat later period
than these last-named printers, belongs the glory of opposing by his
fine works the coming degradation of book ornament in Germany,
page 4 The Seelen^wurzgarten, ornamented with seventeen fulkpage cuts,
is injured by the too free repetition of them; they are, however, very
good; the best perhaps being the Nativity, which, for simplicity &
beauty,is worthy of the earlier period of the Middle Ages. Das Buch
page 5 der Weisheit (Bidpay's Fables) has larger cuts which certainly show
no lack of courage; they are perhaps scarcely so decorative as the av
erage ofthe cuts ofthe school, and are somewhat coarsely cut; but
their frank epical character makes them worthy of all attention. But
pages 6 perhaps his most remarkable work is his Terence's Eunuchus (in
and 7 German),ornamentedwithtwenty'eightcutsillustratingthescenes.
These all have backgrounds showing (mostly) the streets of a medi^
aeval town, which clearly imply theatrical scenery; the figures ofthe
actors are delicately drawn, and the character ofthe persons & their
action is well given and carefully sustained throughout.The text of
this book is printed in a large handsome black-letter, imported, as
my friend Mr. Proctor informs me, from Italy. The book is altogc
ther of singular beauty and interest.

All these books it must be remembered, though they necessarily
(being printed books) belong to the later Middle Ages, and though
some of them are rather decidedly late in that epoch, are thoroughly
viii

MHi

'Gothic'as to their ornament; there is no taintof the Renaissancein
them. In this respect the art of book^ornamentwas lucky. Theneo'
classical rhetoric which invaded literature before the end of the four^
teenth century (for even Chaucer did not quite escape it) was harm-'
less againstthis branch of art at least formore than another hundred
years ; so that Italian book^pictures even are Gothic in spirit, for the
most part, right up to the beginning of the sixteenth century, long
after the New birth had destroyed the building arts for Italy : while
Germany, whose Gothic architecture was necessarily firmer rooted
in the soil, did notsomuch as feel the first shiverof the comingflood
till suddenly, and without warning, it was upon her, and the Art of
the Middle Ages fell dead in a space of about five years, and was
succeeded by a singularly stupid and brutal phase of that rhetorical
and academical art, which, in all matters of ornament, has held Eu/-
rope captive ever since.

Nov. 5, 1894.

IX

ALISTOFTHEWOODCUTSOF THE FIFTEENTH

CENTURY REPRODUCED IN THIS BOOK.

l. Half border from Albertus Magnus, De mysterio Missas. Ulm,

J. Zainer, 1473*

2 & 3. Two cuts, initial, and type from Boccaccio's Declaris mulienV

bus. Ulm, J. Zainer, 1473.

4' Initial O from Alvarus Pelagius, De planctu Ecclesiae. Ulm, J,

Zainer, 1474.

5' Initial H and type fromPtolemaeus,Cosmographia.Ulm, L. Hoi,

1482.

6. Cut and type fromiEsopi Fabulae et Vita. Augsburg, A. Sorg,

c. 1490.

7- Cut from Seelen^wurzgarten. Ulm, C. Dinckmut, 1483.

8. Cut from Das Buch der Weisheit. Ulm, C. Dinckmut, 1485.

9 & 10. Two cuts from Terence's Eunuchus in German. Ulm, C.

Dinckmut, i486.

n.Cut from Sprenger's Die erneuerte Rosenkranz^Bruderschaft.

Ulm, Bamler,c. 1476.

12, 13 & 14. Three cuts and type from Rodericus Zamorensis, Der

Spiegel des menschlichen Lebens. Augsburg, G. Zainer, c. 1475.

15 & 16. Two cuts and type from a Legenda aurea. Augsburg, G.

Zainer, c. 1475.

17* Cut and type from Boccaccio's Cento Novelle. Augsburg, A.

Sorg, 1490.

t8. Cut & type from Der Spiegel der menschlichen Behaltnis. Augs^

burg, Monastery of Saints Ulric and Afra, c. 1471.

*9- Cut and type from another edition of the samebook. Augsburg,

A, Sorg, 1476*

20 & 21. Two cuts from a book of impressions of the cuts in Ber^

nard Richel's edition of Der Spiegel der menschlichen Behaltnis.

Basel, 1476.

22. Cutand type from Cassianus, De institutis coenobiorum. Basel,

J. de Amerbach, 1485.

2 3' Cut and type from Herbarius. Spires, J. and C. Hist, c. 1485.

24, 25, & 26, Three cuts & type from Der Spiegel der menschlichen

Behaltnis. Spires, P. Drach, c. 1480.

27. Cut & type from Johannes Hildeshemensis, Die heiligen drei
Konige. Strasburg, H. Knoblochtzer, c. 1484.

28. Cut and type from Justinian's Codex. Nuremberg, Frisner &
Sensenschmid, 1475.

29 & 30. Two cuts from a Passional. Printed at Nuremberg by A.
Koburger in 1488.
x

3»« Cut and type fromThwrocz, Chronica Hungarian. Brunn,i488.
32 & 33. Two cuts from Die Bibel. Lubeck, S. Arndes, 1494.

34. Cut and type from the Saxon Chronicle. Printed at Mainz by
P. Schoeffer in 1492.

35. Initial and type from Breydenbach's Opus peregrinationis ad
sepulchrum Christi. Mainz, £. Reuwich, i486.

XI

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Rgia greca rtiuticr ab antiquis argiuoru
regibus genciofam fcucena origins ao:a(K
regis Filia Fait/ 62 fpe&abili pulcbritubine
fua^ri dGfeca tciTipomneio Urutn fpectacu
1MASHISSV- LELIVS ;

u Half ^border from Albertus Magnus, De mysterio missal Ulm,
John Zainer, 1473. Hain,44Q.

2 and 3. Two woodcuts, initial and type, from Boccaccio's De claris
mulieribus, printed at Ulm by John Zainer in 1473. This book con^
tains 80 cuts and a very remarkable initial S.

^-=S-.i=~^

Satidaca 63 18 i

Orbadam &, J &

Pritms magna 62. \?

MEROES INSVLE

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4. Initial O from Alvarus Pelagius, De planctu
ecclesiae.Ulm,JohnZainer, 1474. Hain,8at.

5. Initial H and text from Ptolemaei Cosmogra'
phia. Ulm, Leonard Hoi, 1482. Hain, 1354°*

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atbotc fottti tminrnte mfupec fe&its cii fo^mtca^ aquts ob*
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ac ftne mosa bstectt in fontem &b que formica fe appl t cae
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eontftus calamos btmtftt quotum fttepitu columba teca*
fca e* atbose fufjies vtte proculum ctiaftt«<£? quo I^abes b& ,
wepctojum &teta effe teuta^cut ecgo looses funt m^jati-

6. From/Esopi fabulae et vita. Printed at Augsburg by Anthony
Sorg, undated but c. 1490. Hain,326.The cuts, of which there are
193 in the text, besides a large frontispiece cut of JE sop, appeared
first in John Zainer's undated Ulm edition of c. 1473, & were next
used by Gunther Zainer at Augsburg in two undated editions.
Some at least of them are by the same designer as the 80 cuts in
John Zainer's Boccaccio, De clan's mulieribus. (See Nos. 2 & 3).

BL-j-trtj'e a

7. One of 17 fulkpage cuts (making 133 by repetition) in Seelen*
wurzgarten printed at Ulm by Conrad Dinckmut in 1483. Hain,
14584.

m

1"HHiT| l - It.

8. One of t26 full'page cuts in Das Buch der "Wefsheit der alten Weisen,
printed at Ulm by Conrad Dinckmut in 1485. Hain,4033.

ii i j. ■ j_ i!*'j»..;.mu; ' . T' ~ —

9. One of 28 large cuts in a German translation of Terence's Eunuchus
printed at Ulm by Conrad Dinckmut in 1486. Hain, 15436.

li

xxxi

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to. From the same book as No. 9.

f9

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M. One of two full^page cuts in Sprenger's Die erneuerte
RosenkranzxBruderschaft, printed at Augsburg by John
Baemler, without date but c. 1476.

8

■ ■ ■.■■ ' ■:

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Ucb fents wol icon in m a j? wie gca
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wt&ecfaten ©as ec fg gant$ tegregflFen mocbte. VnD
tft gnug w&lta cju emem tegl tec felten empfangen

12. From Rodericus Zamorensis, Der Spiegel des menschlichen
Lebens, printed at Augsburg by Gunther Zainer, without date
but c. 1475. Hain, 13948. This book contains 54 different cuts
in the text, one of which appears a second time. There is also a
fulkpage genealogical tree of the Hapsburg family, of which a
reduced facsimile appears in the Journal of the Society of Arts
for Feb. 12, 1892, as one of the illustrations to a paper by William
Morris on the Woodcuts of Gothic Books.

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13 and 14. From the same book as No. 12.

10

amentes eflfe&i miferabilicer in terirent
Defan&oSilueftro

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eT tria agnofcit bona tera vt ait pallaoi?
vTfiluelte oiat afiluas a tbeos dja bo'es
filueftres a Tcultos etDuros ao fioe tra
xit Vel ftcut oicit 1 gkfaco ftluefte oicic
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31ueftera

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flantiflime fioem crifti
Putans autemtarqui
nius prefedus tbymo-

15. One of 140 cuts, making 162 by repetition, in a Legenda
aurea, printed at Augsburgby GuntherZainer, without date,
but c. 1475.

XI

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16. From the same book as No. 15.

17. From Boccaccio's Cento novelle, printed at Augsburg
by Anthony Sorgin 1490. Hain,328i.This book contains
l large cut and 87 small cuts.

12

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ZDie atcb tee a ten gefaq bat faeaovt GPariam.

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vnnb «ecfencket m «m totten nieces

18. From Der Spiegel der menschlichen Behaltnis,printed at Augsburg, with'
out date or name of printer, but c. 1471.Th.is book, probably the first illustrated
book produced at Augsburg, is printed in Gunther Zainer's type, and has al'
ways been ascribed to him. However, an interesting note, dated 1473, in a copy
belonging to Mr. C . Fairfax Murray, states that it was printed at the Monas^
tery of Saints Ulric and Afra. Several of the Augsburg printers lent their type
to this Monastery.

19. From another edition of the same work, printed at Augsburg by Anthony
Sorgin 1476. Hain, 14942.

13

<Nv

20&21. From a book containing 257 proof impressions of cuts from Der Spiegel
der menschlichen Behaltnis, printed at Basel by Bernard Richel in 1476. Hain,
14936. 252 of these, making 255 by repetition, are from Richel's book, and are
given in their proper order, but the series does not include the 21 illustrations to
the Epistles and Gospels with which Richel's book ends. These are, however,
with one exception, repetitions. 5 cuts in the printed book are absent from this
series. Two of these represent the King of Moab sacrificing his Son, and The
Return of the Prodigal, and their places are taken by the above cuts of the same
subjects, which do not appear at all in thebookitself.The paper used is large folio
of the same size as Richel's. There are four cuts on each page with MS. descrip'
tions by a contemporary German scribe. A manuscript on paper (Compilatio
librorum historialium totius Bibliae), written by the same scribe, is bound with
the cuts in old red morocco.

»4

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peappetencia bifcrctioiic

22. Cut of the Conversion of St. Paul from Cassianus, De institutes ccenobio'
rum, printed at Basel by J. de Amerbach (but without his name) in 1485. Hain,
4562. This is the only cut in the book.

23. From Herbarius, sine ulla nota, but printed at Spires by John and Conrad
Hist about 1485. There are 150 cuts of plants in this book, with the name and
number cut on each block. This is one of the earliest of the many printed herbals
founded on the manuscripts of the 12th and 13th centuries, which culminated in
the splendid Herbal of Fuchsius, printed by Isingrin at Basel in 1542.

»5

Jbas iit) capittd ^>k niaria zvzvb
geboren

Am Written kunig bucb am crftcn
f^unig: faiomons tron

Ifrf e nacb viwbcftu mevon be 3«?olfF
tcnta^c

'Vnwil icf> tjic na# febrpta Sic
epiflelen vnb Sic ctoancJeU'en •
vnb anfcer materie *Sas Sen Sic
criftefycit vnb Sic fyeilicjcfeirdfe

iifct vnb prebitjeffras will ic^ eto wetticj

tycfdjribcn

24, 25, and 26. From Spiegel der mensch'
lichen Behaltnis, printed at Spires by Peter
Drach without date,but 0.1480. Hain, 14935.
The cuts in this book, of which 254 are dif-
ferent, making 277 by repetition, are copied
from Richel's Basel edition of 1476.

16

Wie mxia vwb Jofepfe imt item fcitifc ^u fcabiloiiia in ei
tiengatten fcomen 60 wo2etitfibenburnen inne fcowufcfte
maria irem lieben hind tie win&len of? fcen butnen*

27. Fromjohannes Hildeshemensis, Die heiligen drei Kbnige, print'
ed at Strasburg by H. Knoblochtzer, c. 1484. Hain, 9401. This book
contains 53 cuts, making 58 by repetition.

»7

facras leges no&

trabibit-Ajo*

bU tpezjpetu iibe

generaita^ptm*

lti«befatifda-tu»

etcu-<£j-ftc-7-te

ebeivlebtea-im

beilluberijtebiV

cfcuet cetera .eti

epiftolaormaai

ma et cetera jboi

tur etalitez ptbi

riirmsrT <pfoci<>

t1 £Xu$u{U -ab

augeoquoab<p
pofirurrct mri*
moium br res in
biuibua '. lie* qn
tocpbiuibat-pt
iTim^bepa-po-Tti
pmveeC-bere*
pul-ofenfu- pel
bf ab Octauiao
Au^uJlo quob e
bimnare-Ae-

a

*]n nomine bomini nofbi
*7efu cb2iflj * Codiy& bo *
mhri ^uimriani TaeratiO
fyni prindpis jpefcui 2£u *
gufti rqpetite pMe&iom$
ytoipit conihtuHo prnna
tenouocobicefadefeo ftu
t&tca*

3£ Mpgratozluftnnan^X u
gwtug ad ftenatum*

28. From the Codex of the Emperor Justinian, printed
at Nuremberg by Frisner and Sensenschmid in 1475.
Hain,9599« This book, which is a large folio, contains
10 small cuts like the above. It is one of the first books
with woodcuts printed at Nuremberg.

18

-

29 and 30. From the Passional printed at Nuremberg by Anthony Koburger in 1488. Hain,
9981. There are 256 cuts like the above, making 2.59 by repetition.

»9

Z'- T^ .' - U'JP 1 . 7T

^ecotomtioe regte^ntnee tertf jnepotte fttibiee
re<^t0fcgiQiiiirvenemBt)icmaeftSeqmtur.

® ft cui 9 regis mozte: eooe5 ano . r. viij . Die Sl.noieas
DitjcDe venecijs cozonaf : qui viuete aobuc laDiflao
rege aootict 9 i bugaria fuerat.€m 9 anozec regS emu

31. From J.deThwrocz,Cronica Hungarian, printed at Brunn in Moravia
in 1488 withoutname of printer. Hain,t55i7.Thisbook contains 1 full-'page
cut, and 36 large cuts like the above, making 41 by repetition.

20

—

m

32 and 33. From the Bible in the Low German dialect printed at Lubeck by Steffen Arndes in 1494.
Hain,3i43.This rare book contains a large cut of St. Jerome, appearing 3 times; a small cut of St.
Jerome, appearing 38 times; 85 large cuts to the Old Testament, making 91 by repetition; & 4 small
cuts to the New Testament, making 13 by repetition.

21

ty^r::. , = ga

M*\mi

Wtoffcm tare to<# fomc$ &tft rppc^c eftiefo foooe &yfct? tiifiita $e
ftiwct cyh€ &>:$ fo to vo:m te$e Pet o:ct id tmfa (> im>$e for cpm terns
pepfyncra/fcro^mttc^e £ctfr wt fmcrron^tetftamcna^airaflFwm:
Vt Souftgtnant pat* cttopo fts« \m$e Sttw<$c Tar cywjlcr nen co:ne vii

(teuvit anft9cn9uf]c gefiynne mit etcn mtg&C'^OnVtVo tontg§ 8uft
wtu quam vtftt vantvufie geftynne mit otcn tncg&cn $<\vo*flw$e §c
btVHft6Voaxt < $cftat>tgt$ttcnmegbc$oid§»

34. From the Saxon Chronicle prfntedat Mainz by Peter Schoeffer in 1492. Hain,
4990.This book contains 8 fulkpage cuts; a large cut of a battle, which reappears
19 times; 35 cuts of half/length figures of royal persons, bishops, &o, making 463
by repetition; 12 cuts of 2 to 4 similar figures ; making 32 by repetition; and 64
other cuts mostly of full-length figures with architectural or other backgrounds,
making n8 by repetition; in all, 120 cuts, making 641 by repetition; besides nu/
merous banners and shields of arms, and the woodcut initials in the margins.

22

it tutmbiffim* in ppo pattt tt fcito bn*
T5m$tbcjanct£ COasunn- ftbte %t$i
epifcopo IpaaA T&omam jfmperrj pec
^cttiwnw 2U:c^tcmKC0StttOrtcpwttcipi
e&ctou bno fufr<mmo|tflimo *"6ern$tt'
fcus be 3tey &ctttfac# bicte ecc6eflc (iOa*
Stmtmcn.occattuc ftmuPct cameiromft
o&&iemwm prompotro et fccttom*

*£tte£eno'flime t«2>p<> patcmjmc.oiie
*mt gtatio/e'CV tuc ptcr motcmrii rflta
mm fcri&te '"Kcttemj&tflime prttcmtta*
naubcntitta foPito pfUmpfktrcm £mt6 ttte bicftta ctmutmtt e$$t&rc
tanptauwb aw|e cfE <p ma nwfii Jepammaro egpma pt*fata<p {mot
cjwtut fettimtc ct fffemtate* <\wt free (Upmep ceteiros cumttfotw$ m

35. From Breydenbach's Opusperegrinationisadsepulchrum Christ!*,
printed at Mainz in 1486. Hain, 3956. This book contains 2. wood'
cut initials, a full/page frontispiece, 7 folding views,& 15 smaller cuts,
including 6 of Eastern alphabets. The views and smaller cuts were
drawn by Erhard Reuwich of Utrecht, an artist who was taken by
Breydenbach on his travels. His name also appears as the printer of
the book, though it is in a type used by Peter Schoeffer.

23

&A LIST OF THE PRINCIPAL BOOKS OF THE
FIFTEENTH CENTURY, CONTAINING WOOD,
CUTS, IN THE LIBRARY OF THE LATE WILLIAM
MORRIS,ARRANGED ALPHABETICALLY ACCOR,
DINGTO TOWNS, WITH THE NUMBER OF CUTS
INEACH,ANDREFERENCESTOHAIN'SREPER,
TORIUM BIBLIOGRAPHICUM.

ABBEVILLE.

i . Augustinus : La cite de Df eu. Jehan Dupre & Pierre Gerard, 1486.
23 large cuts, which were not printed at the same time as the text of
the pages on which they appear. H. 2070.
.z.TriumphedesneufPreux. Pierre Gerard, 1487. jj cuts. H. 15642.

(ANGOULEME).

3. Eruditorium penitentiale. Sine nota,but the type of Pierre Alain
and Andre Cauvin,c. 1492. 17 cuts. (See Thierry, Poux, p. 20.) Not
in Hain.

ANTWERP.

4. yEsopus. Gerard Leeu, i486. 191 cuts, making 192 by repetition.
H.329. Campbell, 26.

5. Ludolphus de Saxonia: Boeck van den levenJhesuChristi. Ger,
ard Leeu,i487. 146 cuts, making 181 by repetition. H. 10048. Camp/
bell, 1181.

6. Die Cronyke van Brabant. Roland van den Dorp, 1497. 48 cuts
(including printer's device), making 97 by repetition, and 6 wood,
cut genealogical tables. H.5004. Campbell,5o8.

AUGSBURG.

7. Die Bibel. Without name or date, but Gunther Zainer, c. 1475.
71 large historiated initials, making 74 by repetition. H. 3133.

8. Rodericus Zamorensis: Der Spiegel des menschlichen Lebens.
Sine nota,but Gunther Zainer, c. 1475. Full,page cut of Hapsburg
genealogy, and 54 different cuts in text, one of which appears a se,
cond time. H. 13948. See pages 9 and to.

9. Voragine (J. de) : Legenda aurea. Sine nota, but Gunther Zain,
er's type,c. 1476. Folio. 2nd Roman letter with Gothic heading on
£3. 2 ff. unnumbered, 397 ff. numbered, 1 f. unnumbered. Without
signatures. 39,43 lines. Woodcut initials. 140 cuts, making 162 by re,
petition. Not in Hain. See pages 11 and 12.

10. Speculum humanae salvationis. Sine nota, Gunther Zainer s
type, but printed at the Monastery of Saints Ulric and Afra,c. 1471.
176 cuts, making 192 by repetition. One large initial I, and small
open outline capitals. H. 14929. See page 13.

24

AUGSBURG.continued.

1 1 . Gregorius Magnus : Das Buch genannt Dialogus. Without prnv
ter's name. Baemler's type, but printed at the Monastery or SS.
Ulric and Afra, 1473. 1 fulkpage cut. H. 7970.

12. Nider (J.) : Die vierundzwanzig goldnen Harfen. Hans Baem^
ler,t472. 1 full'page cut. H. 11847.

13. Evangelien und Episteln. On f. 366, verso : CGedruckt vnd VO'
lenndet zu Augspurg von Johanne Bamler An sant Matheus abent
Anno...imlxxiiij jar. Folio. Gothic letter. 3666°". numbered onboth
sides 1/-167&P199. 28 lines. Without signatures. Woodcut initials.45
small cuts, making 54 by repetition,& 1 full^page cut. Not in Hain.

14. Megenberg(Cunratvon): Das Buch der Natur. Baemler,i475.
Woodcut initials, and 12 full^page cuts. H.4041.

15. Sprenger (J.) : Die erneuerte RosenkranZ'Bruderschaft. Sine
nota,but Baemler,c. 1476. 2 full^page cuts, woodcut initials, & the
arms of Cologne and Augsburg at the foot of the first page of text.
H. 14961. See page 8.

16. Auslegung des Amts der heiligen Messe. Without printer's
name, but Baemler's type. 1484. 2 full'page cuts. Not in Hain.

17. Spiegel der menschlichen Behaltnis. Anthony Sorg,i476. 178
cuts, making 209 by repetition. H . 14942. See page 13.

18. S. Amandus (Heinrich von Berg) : Der Seusse. Sorg, 1482. 6
full'page cuts and 10 smaller cuts. 3 large historiated initials, making
4 by repetition, and 1 smaller woodcut initial. Not in Hain.

19. Reichental (U. von) : Concilium zu Costencz. Sorg, 1483. 249
folios incorrectly numbered as ccxlvii. 44 large cuts & 1158 shields
of arms. H.5610.

20. Lanzkranna (S.) : Die Himmelstrasse. Sorg, 1484. 1 large cut.
H.9898.

21. Boccaccio: Cento novelle. Sorg, 1490. 1 large cut and 87 small
cuts. H.3281. Seepage 12.

22. ./Esopus : Fabulae et Vita. Sine nota, but same type as Nos. 21
and 23, c. 1490. Large frontispiece cut of ./Esop and 193 cuts in text
from the undated editions of the two Zainers. H. 326. See page 3.

23. Buchlein von dem Leben und den Leiden unsers Herrn. Sorg,
1491. 70 cuts, making 74 by repetition. H.4060.

24. Theramo (J. de) : Belial. Hans Schonsperger, 1487. Sametype
as used by Conrad Dinckmut at Ulm in Der Seelenwurzgarten,
1483. 20 cuts, making 38 by repetition. Not in Hain.

25. DerteutschEsopus. Schonsperger, 1498. 191 small cuts, making
194 by repetition,in addition to the cut of./Esop,which appears twice.
"This copy lacked 6 leaves. H. 340.

25

AUGSBU RG, continued.

26. Thwrocz (J. de) : Chronica Hungarian Erhard Ratdolt, 1488.
34 cuts, making 67 by repetition, in addition to the publisher's dex
vice. 25 of the cuts represent royal and other persons, usually en^
throned, & 16 of these are repeated with portions of the backgrounds
cutaway.Thereare4small cuts of battles repeated X7times.H. 155x8.

27. Psalterium cum apparatu vulgari, Ratdolt, 1494. 13 historiated
woodcut initials. H. 13510*

BASEL.

28. Spiegel der menschlichen Behaltnis. Bernard Richel, 1476. A
book of impressions of 252 of the cuts. Described fully on p. 14.

29. Alphonsus a Spina: Fortalitium fidei. Sine nota, but Richel,
c. 1475. 1 cut, similar in style to those in No. 28. H . 871.

30. Panormitanus: Lectura super quinquelibrosdecretalium. 5 vols.
Large folio. 1477. Without printer's name, but printed by Michael
Wenszler. 6 cuts. H. 12309.

31. Augustinus: Sermonum opera plura ac diversa. 2 vols. Johan^
nes de Amerbach, 1494 and 1495. I cut in each volume. H.2008.

32. Cassianus (J.) s De institutes Coenobiorum. Basel, 1485. With/
out printer's name, but J. de Amerbach. 1 cut. H.4562. Seepage 15.

33. Praecordiale sacerdotum. Basel, 1489. Without printer's name,
but J. de Amerbach. Small 8vo. Gothic letter. 120 fF, 27 lines, 1 early
cut of Virgin and Child. Not in Hain.

34. Bertholdus: Horologiumdevotionis. Sinenota,but J.de Amer^
bach, c. 1489. Bound with No. 33 in original stamped leather. 36 cuts,
7 of which are of a later character than the others. H.2990.

35. Vegius (M.) t Philalethes. Sine nota, but Amerbach or Furter,
c. 1490. 4to. Gothic letter of 3 sizes.Woodcut initials and x full'page
cut. Not in Hain.

36. Quadragesimale de filio prodigo. Michael Furter, X495. 15 cuts,
making \y by repetition. H. 13628.

37. IvoCarnutensistPanormiaseuSummaDecretorum. M. Furter,
1499. xcut. H.9328.

38. Defensorium inviolatae perpetuaeque virginitatis Mariae. Sine
nota, but Leonhart Ysenhut,c. X489. 53 cuts. H.6086.

39. Hieronymus: Epistolae. Nicholas Kesler,X497. xcut. H.8565.

40. Brant(S.):Stultiferanavis.J.Bergmannde01pe,X497. xi2cuts,
making uy bv repetition. H.3746.

41. Brant fS.):Varia carmina. J. Bergmann de Olpe, 1498. 3 large
cuts as well as 3 on the title. H.373X.

42. Cato (D.) : Disticha de moribus. Basel, i486. Without prin^
ter's name. X cut from Gerard Leeu's edition of 1485. H.47X9.

26

=Ei^=i.=^

WWM^- rr . ,7 . -, -, , flMJBBBfiTT g rtfi i

rifirB'Vi

LUBECK.

63. Rudimentum novitiorum. Lucas Branch's de Schass, 1475. 2
doublez-page woodcut maps. 50 fulkpage genealogical chains, mak/
ing 67 by repetition. 42 other cuts, making 258 by repetition, UV
eluding those which appear on the same pages as the chains but not
linked to them. A woodcut border which appears twice, a marginal
initial I containing a tall figure, and 5 other large woodcut initials, 4
of which contain figure subjects. In the British Museum copy the
5th of these, a C, is filled in with a small movable block, like the
others. H.4996.

64. Josephus : Deantiquitate&Debello Judaico. Sine ullanota, but
Lucas Brandis, 01475. Page headings in some cases stamped with
capitals in outline, in other cases written. The type and ornaments
are the same as in the Rudimentum novitiorum, which was perhaps
printed after this book. The long initial I, containing a figure with a
scroll,appears3times.Thereare 12. other large woodcut initials.These
recur and in most cases enclose small figure subjects, of which 5 are
different. There are also numerous small woodcut initials. H.9450.

65. RevelationesS.Birgittx. Barth,Ghotan,i492. 4full'page cuts.
1 cut of a scribe, and to pages on which there are made-up cuts (23 dif>
ferent pieces, making 51 by repetition) .Woodcut initials, 9 of which
contain figure subjects appropriate to the book. H. 3204.

66. Bible in the Low German dialect. Steffen Arndes, 1494. Large
folio. Gothic letter of two sizes. 492 ff. unnumbered. 2 columns of 66
lines. A large cut of St. Jerome, appearing 3 times; a small cut of St.
J erome,appearing 38 times ; 85 large cuts to the 01dTestament,mak.>
ing 9X by repetition ; and 4 small cuts to the New Testament, mak'
ing 13 by repetition.There are 5 blank spaces in the Old Testament
intended for illustrations. Rubrications and woodcut initials. The
last section (qq) has incorrect signatures. Device with Imperial Arms
after colophon. H.3143. See page 21.

LYONS.

67. Boccaccio: La Ruynedes nobles HommesetFemmes. M. Huss
and J. Schabeller, 1483. 9 cuts. H.3342.

68. Rene d'Anjou: L'Abuze en Court. Sine nota, but perhaps M.
Huss, c. 1490. 9 cuts, making 11 by repetition, in addition to a device
on the title. H.31.

69. Les quatre fils Aymon. i493.Without printer's name. 2: cuts,
making 28 by repetition. H.2227.

70. Guillermus Parisiensis : Postilla super epistolas et evangelia.
Printed by J.Trechsel. 1 large cut, and 41 small cuts, making 52 by

29

LYONS, continued.

repetition. Not in Hain, though about 70 editions of this book are

described.

71. Bertrand du Guesclin. Sine nota. 88 ff. 2 columns of 35 lines. 21
cuts, making 29 by repetition. H . 8146.

MAINZ.

72. ChronikderSachsen. P. Schoeffer, 1492. H.4990. See page 22.
73.Turrecremata(J.de):Meditationes.J.Numeister,i479. 34 me'
tal cuts. This book was in the original stamped leather, with clasps
and bosses, the name of the binder or first owner being stamped on
the front. H. 15726.

74. Breydenbach (Bernardus de) : Opus peregrinationis ad sepuk
chrum Christi. Erhard Reuwich, i486. H.3956. See page 23.

75. Cuba(J.de):HortusSanitatis. J.Meydenbach,i49i. 7 full page
cuts and 1066 small cuts. H.8944.

MODENA.

76. Lichtenberg: Pronosticatione. P. Maufer, 1492. 45 cuts. This
is a close copy of the two editions printed by Richizola at Modena,
c. 1492. The cuts are of the same size and design, but from different
blocks. H, 10089.

NAPLES.

yy. Aretinus(L.) : L'Aquila. Ayolphus deCantono,i492. Wood'

cut title-page, border and initials. The border is Hebrew. H. 1577*

NUREMBERG.

78. Justinianus : Codex. Frisner and Sensenschmid, 1475. 10 small
cuts. H. 9599. See p. 18.

79. AuslegungdesAmtsderheiligenMesse. F.Creussner,undated,
but c. 1484. 1 large cut of the Salutation. H. 2143.

80. Die Bibel. A. Koburger, 1483. 108 cuts, making 109 by repeti'
tion, from H. Qtientell's Cologne Bible. H. 3137.

81. Passional. A. Koburger, 1488. 256 cuts, making 259 by repeti'
tion. H. 9981. See p. 19.

82. DerSchatzbehalter. A. Koburger, 1491. 92 full page cuts, making
<^y by repetition. H. 14507.

83. Schedel(H.): Liber Chronicarum. A. Koburger, 1493. 645 cuts,
making 1809 by repetition. An analysis is given on pages 35 & 36.
H. 14508.

84. Revelationes S. Birgittse. A. Koburger, 1500. 6 full page cuts,
making 7 by repetition. A cut of ' Magister Magnus/ 9 pages of
made up subjects, in which 25 cuts are used, making 51 by repetition.
H. 3205.

30

:s: ■•■■■-, "i 1 ■■;,, -w- -■• wj B

PARIS.

85. La Mer des Hystoires. Pierre le Rouge for Vincent Commin,
1488^9. Folio. Gothic letter. Vol. 1 : 4 ff. unnumbered, 2.578:. nunv
bered, and 9 ff. unnumbered, including 1 blank. Vol. II : 273 ff. nv
correctly numbered as 271, 1 blank&36 ff. unnumbered. 2 columns
of 50 lines. 72 small cuts,making 377 by repetition; 2 double^page
maps ; 50 full page genealogical chains; a large cut of Clovis, which
appears twice; 3 large woodcut initials (I, S, and P) recurring; and
marginal ornaments, often repeated. Not in Hain.

86. Boccaccio : La Louenge et Vertu des nobles et cleres Dames. A.
Verard, 1493. 11 cuts, making 80 by repetition. H. 3337.

87. Bonnor (H.):L'ArbredesBatailles. Verard, 1493. 25 cuts, mak^
ing 116 by repetition, besides Verard' s device. Not in Hain.

88. Tristan Chevalier de la Table Ronde. Verard, 1496. Folio. Gothic
letter. Books 1 and 2, 180 ff. and 152 ff. respectively, incorrectly nunr
bered, with 4 unnumbered ff. atthe beginning. 2 columns of 40 lines.
6 cuts, making 7 by repetition. Woodcut initials. Not in Hain.

89. Boccaccio: La genealogie des Dieux. Verard, 1498, 10 large cuts,
making 13 by repetition. 19 small cuts, making 31 by repetition. H.

90. Merlin. Printed for A. Verard, 1498. Folio. Gothic letter. Vol. I :
ff. unnumbered, 215 ff. incorrectly numbered as 2ii,andafinal leaf,
probably blank. Vol. II : 6 ff. unnumbered, 172 ff. numbered. Vol.
Ill: 8 ff. unnumbered, 152 ff. numbered. 2 columns of 35 lines in
vols. 1 & 2, of 34 lines in vol. 3. In vol. 3 there is 1 cut only, in vols. 1
and 2 there are 3 cuts, making 22 by repetition. H. 11086.

91. Valla (L.) : Apologues et Fables. Sine ulla nota,but apparently
printed for Verard, c. 1498. Small folio. Gothic letter. 36 ff. unnum/
bered. 2 columns of 33 lines. 22 cuts, making 35 by repetition. Not
in Hain.

92. Paris etVienne. Printed byJ.Treperel, without date,but c.1498.
4to. Gothic letter. 52 ff. unnumbered. 30 lines, 11 cuts, making 27
by repetition, besides the printer's device. Not in Hain.

93. Millet (J.) : La destruction deTroye le grant. J. Driart, 1498. 27
cuts, making 32 by repetition. H. 11165. Other editions with cuts are
Paris,J.Bonhomme, 1484; Paris, without name, 1490; Lyons, M.
Huss, 1485, 1491, and 1500; and Lyons, G. Leroy, 1485.

ROME. "

94.Turrecremata (J. de) : Meditationes. Ulric Hahn, 1478. 32 large
cuts. There is apparently no cut of a Jesse tree in this edition, and
f. 30 is blank. H. 15725.

95. Barberiis (P. de) : Opuscula. Without place or date. Printed by
31

ROME, continued.

Riessinger & Herolt, c. 1482. Initials fromSweynheym &Pannartz'
Suetonius of 1470. 13 cuts of Sibyls and woodcut border. H. 2453.
96. Ochsenbrunner (T.) :Priscorumheroumstemmata. J.Besicken
& S. Mayr, 1494. 1 rull^page cut, woodcut border, half border, and
initial. 16 cuts of heroes in text, making 75 by repetition. H. U934.
97.Turrecremata(J.de): Meditationes. S. Planck, 1498. 33 cuts. H.
15728.

98. Mirabilia Romae. S. Planck, 1500. Small 8vo. Gothic letter. 56
fF.unnumbered. 2311'nes. 10 cuts in ornamental borders. Not in Hain

SCHIEDAM. *

99. Brugman (J.): Vita S. Lydwinae.Without printer's name, 1498.
24 cuts, making 25 by repetition, an initial P containing a figure of
S.Veronica, and smaller woodcut initials. H.4002. Campbell,383.

SPIRES.

100. Spiegel dermenschlichen Behaltnis. Peter Drach, without date,
but c. 1480. 254 cuts, making 277 by repetition. H. 14935. Seep.16.

101. Herbarius. Sinenota, but J.&C. Hist, c. 1485. 150 cuts of plants.
H.8443 and 8448. See page 15.

STRASBURG.

102. Molitoris (U.): De lamiis et phitonicis mulieribus. Sine nota,
butM. Flach,c. 1495. 7 cuts. H. 11536.

103-Vegius (M.) : Philalethes. Sine nota, but H. Knoblochtzer, c.
1480. 1 cut and 2 woodcut initials roughly copied from those in the
edition printed by J. de Monteregio at Nuremberg. H. 15926,
104. JEsopi vita et fabulae. Sine nota, but H. Knoblochtzer, c. 1484.
2 woodcut borders. Woodcut initials. 190 cuts in text, in addition to
a large cut of JE sop. H.327.

i05.JohannesHildeshemensis:Dieheiligendrei Konige. Sinenota,
but H. Knoblochtzer, c. 1484. 53 cuts, making 58 by repetition.
"Woodcut initials. H.9401. See page 17.

106. Die sieben weisen Meister. Sine nota, but H. Knoblochtzer,
c. 1484. Woodcut initials and half border. 43 cuts, making 52 by re^
petition. Not in Hain.

107. Rolewinck: Fasciculus Temporum. J. Pryss, 1487. Diagrams,
and 8 cuts, making 22 by repetition. H. 6936.

108. Capua (J. de) : Directorium humanae vitas. Sine nota, but J.
Pryss, c. 1488. 114 cuts, making 119 by repetition. H. 4411.

109. Otto von Passau: Die vierundzwanzig Alten, oder der goldne
Thron, M. Schott, 1483. Folio. Gothic letter. 154 fT. unnumbered
and without signatures. 40 lines. 4 cuts, making 26 by repetition.

32

=T5K

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STRASBURG, continued.

I woodcut initial S, & an ornamental border. Sorg's first edition was

printed in 1480. Not in Hain.

no. Hystori von Alexander. M. Schott, 1493. 25 cuts, making 28

byrepetition. Woodcut initials. H.793.Thecutofabannerin which

there are 3 bells is copied from oneinDieneueEhe, Augsburg,Sorg,

1476. No doubt all the cuts are copied from one of Sorg's editions.

Schott issued two previous editions, in 1488 and 1489.

m. Horatius: Opera. J. Gruninger, 1498. 100 different cuts, made

up and recurring many times. H. 8898.

112. Terentius: Opera. Gruninger, 1499. 7 large cuts, and 88 small
cuts, which are constantly repeated in made up subjects. Many of
these are from the Horace. H. 15432.

113. Hortulus Animae. W\ Schaffener, 1498. Small 8vo. 72 cuts in
the style of Gruninger' s cuts, making 74 by repetition. H. 8936.

TUBINGEN.

114. Biel: Epitoma expositionis Canonis Missae. Printed for F.
Meynberger, bookseller, without printer's name, but by J. Otmar.
Date in preface, 1499. 1 cut and a curious initial T. H.3180.

ULM.

115. Albertus Magnus: Demysterio Missae. J.Zainer, 1473. Wood'
cut half'border, and initials in outline. H. 449. See page u

116. Boccaccio :Declarismulieribus. J. Zainer, 1473. Large initial S,
representing the Serpent tempting Eve. 80 other cuts. H.3329, See
page 1.

117. AlvarusPelagius:DeplanctuEccIesi3e.J.Zainer,i474."Wbod'
cut half-border, which occurs twice, & 4 large woodcut initials. H.
891. See page 2.

118. Ptolemaeus : Cosmographia. L. Hoi, 1482. 31 double/page maps
and one on a single page. The descriptions of these have woodcut
borders, which is not the case in the edition printed with the same
type by Reger in i486. Woodcut initials, 2of which are historiated,
and a few diagrams. H, 13540. See page 2.

119. Seelen^wurzgarten. C.Dinckmut, 1483. i7full^pagecuts,mak^
ing 133 by repetition. The same type was used by Schoensperger
at Augsburg. H. 14584. See page 4.

120. Das Buch der Weisheit der alten Weisen. C. Dinckmut, 1485.
126 full'page cuts. H. 4033. See page 5.

121. Terentius: Eunuchus, in German. C.Dinckmut, i486. 28 large
cuts. H. 15436. See pages 6 and 7.

122. Ptolemaeus: Cosmographia. J. Reger, i486. 32 double/page

33

ULM, continued.

maps. The initials, except the historiated N and C, are different

from those in Hoi's edition. H. 13540.

123. Caoursin: Stabilimenta Rhodiorum militum. J. Reger, Aug.
X496. 20 full'page cuts, and a cut of the Arms of Cardinal Pierre
d'Aubusson. H. 4364a.

124. Caoursin (G.) : Opera. J. Reger, Oct. 1496. 36 full'page cuts.
Woodcut initials. H. 4369.

125. Itinerarium beatas Virginis Mariae. Sine nota, but J. Reger,
c. 1496. Same type as Nos. 123 & 124. 19 full/page cuts, 18 of which
contain 3 subjects. H. 9322.

UTRECHT.

126. Rolewinck: Fasciculus Temporum. J.Veldener, 1480. Wood'
cut border, which appears twice. Printer's device in small border of
the same character, appearing twice. Elaborate initial G. 19 small
cuts, making 34 by repetition, & numerous small shields, H.6946.
VENICE.

127. Forestus (J. P.) : Supplementum Chronicarum. B. Ricius de
Novaria, 1490. 41 small cuts, making 63 by repetition, and 6 larger
cuts, including careful views of Rome and Venice. H. 2808.

128. Forestus: Supplementum Chronicarum. By the same printer,
1492. Woodcut initials and border. 36 small cuts, making 43 by re^
petition, and 6 larger cuts. The small cuts (except that of Noah's
Ark) and 5 of the larger cuts appear in the previous edition, which
has a different cut of theCreation,&no border or title-page. H.2809.

129. Biblia Latina. Simon Bevilaqua, 1498. Woodcut initials. 62
small cuts, making 71 by repetition, and 2 large cuts. Many of the
small cuts are signed 'b.' Bevilaquaprintedanearliereditionini494.
H.3124.

130. Hieronymus: Le vite di Sancti Padre. Sine nota, perhaps J.
Rubeus, c. 1492. Folio. Roman letter. 154 ff. incorrectly numbered,
&4 ff.unnumbered,including a final page probably blank. 2 columns
of 59 lines. Woodcut border and small initials, t large cut. 165 small
cuts, making25oby repetition. F. i,recto,Title: Uita di sancti padre
vulgare historiata. F. 157, verso : Finisce la tabula de levitedi sancti
padri/LAUS DEO. Not in Hain.

GERMAN, SINE NOTA.

131. Hieronymus: Leben der heiligen Altvater. 106 cuts, making
150 by repetition. H. 8603. There is another edition of this book in
Low German, with the same type and cuts and with signatures.
There are also two editions of Der Endcrist in the same type.

34

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ANALYSIS OF THE WOODCUTS IN THE LATIN

EDITION OF THE NUREMBERG CHRONICLE.

Repeats

Title page i

Full page cuts of

The Creator t

Christ and His Apostles i

The Expulsion of Antichrist 1

The Last Judgment i

Double page cuts of

The German Emperor and his Electors i

The Electorates i

N. Europe i

The Ancient World i

The Destruction of Jerusalem i

26 different cities 26

Large cuts of

22 cities and countries 22 47
Pope Pius II. and the Emperor Frederick III. 1

4 dancing skeletons 1
A storm at Constantinople t

3 marginal bars, each containing 7 monsters 3

31 small cuts of apparitions, monsters, comets, &c. 31 18

84 cuts of scriptural and historic incidents 84 3

15 cuts of martyrdoms 15

3 cuts of monasteries 3 20
7 cuts of Evangelists & Fathers of the Church, seated 7
Full length figures of

Henry II. and S. Kunegund 1

8 Patriarchs and Kings 8

5 Emperors 5 9
4 Founders of monastic orders 4

Half length figures of

2 Papal Synods 2 20

Translators of the Septuagint 1

lopersons 1 2

In the Genealogical trees

47 cuts containing atotal of 352half length figures

not repeated 47

l cut of 3 Amazons 1 1

4 cuts of 2 Emperors 4 2

12 „ 2 Consuls 12 21

35

*

In the Genealogical trees, continued
xx cuts of 2 Saints

Kings and Queens, &c.

Emperors

Kings

Queens

High Priests

Popes

Cardinals

Bishops

Saints and Martyrs

Monks and Hermits

Various men

Various women

10
24

44
6

13
28

4
21

80

22

66

»9

7 small cuts of regal insignia

XX

xo
24

44
6

13
28

4
21

80
22

66

19

7

Repeats

9

4

78

226

8

37
xp8

2

50

20

302

13

9

645
Repeats 1x64

Total 1809

xx64

A few woodcut inscriptions in the text, as well as the connecting or^

namentsofthe genealogical trees, are excluded from the above count.
Some of the blocks of consuls, which have been cut twice from the
same design, are reckoned as x cut, and the cuts that reappear with an
alteration (such as the removal of a halo, palm, or crozier) are count--
ed as simple repeats.

l"l CI |? S ^ ome German Woodcuts of the Fifteenth Century, for
which the blocks (with one exception) were prepared by Walker
and *J° ut * !I "nder the direction of the late William Morris. Nov/
l^'^^yS.C.CockerellandprintedattheKelmscott Press, Upper
Mall, Hammersmith. Finished on the 15th day of December. 1897.

36

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Sold by the Trustees of the late William Morris at the Kelmscott Press

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