Chapter 7

THE END.

FOOTNOTES:[1]“Documents, Iconographiques et Typographiques de la Bibliothèque Royale de Belgique,” Deuxième Livr. Gravure Criblée, par M. H. Hymans. Bruxelles, 1864-1873. Quoted in Willshire, “An Introduction to the Study and Collection of Ancient Prints.” London. 1877; 2 vols.; vol. ii., p. 64.[2]“Fulget ecclesia in parietibus, et in pauperibus eget. Suos lapides induit auro; et suos filios nudos deserit. * * * Tam multa denique, tamque mira diversarium formarum ubique varietas apparet ut magis legere libeat in marmoribus, quam in codicibus, totum diem occupare singula ista mirando quam in lege Dei meditando.” Sancti Bernardi opera omnia. Recognita, etc., curis Dom. J. Mabillon. 4 vols. Paris, 1839; vol. i., col. 1242-1244, Apologia ad Guillelmum, cap. xii.[3]“Abundet unusquisque in suo sensu, mihi fateor hoc potissimum placuisse ut quæcumque cariora, quæcumque carissima, sacrosanctæ Eucharistiæ amministrationi super omnia deservire debeant. Si libatoria aurea, si fialæ aureæ et si mortariola aurea ad collectam sanguinis hircorum aut vitulorum aut vaccæ ruffæ, ore Dei aut prophetæ jussu, deserviebant; quanto magis ad susceptionem sanguinis Jesu Christi vasa aurea, lapides preciosi, quæque inter omnes creaturas carissima continuo famulatu, plena devotione exponi debeat.” Œuvres complètes de Suger recueillies, etc., par A. L. de la Marche. Paris, 1867. Sur son administration Abbatiale, p. 199et seq.[4]La Barte, “Histoire des Arts Industriels au Moyen Age et a l’époque de la Renaissance.” 4 tom. (Album, 2 tom.). Paris, 1864. Tom. i., pp. 391-513; tom. ii., pp. 1-592.[5]Leon Delaborde, “Notice des Emaux et Objets divers exposés au Louvre.” Paris, 1853; p. 84.[6]Leon Delaborde, “La plus ancienne Gravure du Cabinet des Estampes de la Bibliothèque Royale, est-elle ancienne?” Paris, 1840. Quoted in Willshire, vol. ii., p. 64.[7]Theophilus Presbyter, “Schedula Diversarum Artium.” Revidirter text, ubersetzung und appendix von Albert Ilg. Wien, 1874; cap. lxxi., lxxii., pp. 281-283.[8]Renouvier, “Histoire de l’Origine et des Progrès de la Gravure dans les Pays-Bas et en Allemagne, jusqu’à la fin du quinzième Siècle.” Bruxelles, 1860.[9]The date of 1406 has been assigned to two examples at Paris with great ingenuity, but not unquestionably, by M. le Vte. Henri Delaborde, “Notice sur Deux Estampes de 1406 et sur les commencements de la Gravure Criblée.”—Gazette des Beaux Arts, Mars 1, 1869.[10]Willshire, vol. ii., pp. 62, 63.[11]Pliny, “Nat. Hist.,” liber xxxv., c. 2.[12]W. Y. Ottley, “An Inquiry into the Origin and Early History of Engraving upon Copper and in Wood.” London, 1816; 2 vols.; vol. i., pp. 54-59.[13]Papillon, “Traité Historique de la Gravure en Bois.” Paris, 1766. Trois parties en deux tomes; tom. i., p. 83.[14]Von Murr, Zani, Émeric David, Ottley.[15]Heinecken, Lanzi, Mariette, Didot.[16]Jackson and Chatto, “A Treatise on Wood-engraving.” London, 1839; p. 39.[17]Meerman, “Orig. Typogr.” Hagæ, Comit., 1765.[18]Hadriani Junii Batavia. Lugdunum Batavorum, 1588.[19]S. Sotheby, “Principia Typographica.” The block-books issued in Holland, Flanders, and Germany during the 15th century. London, 1858; 3 vols.; vol. i., p. 179.[20]Heinecken, “Idée Générale d’une Collection complette d’Estampes.” Leipsic et Vienne, 1771; p. 250.[21]Those who are curious may consult on this print “Quelques Mots sur la Gravure au millésime de 1418,” par C. D. B. (M. de Brou). Bruxelles, 1846. “La Plus Ancienne Gravure connue avec une date,” Mémoire par M. le Baron de Reiffenberg. Bruxelles, 1845; also, in favor of the date, the works of Ruelens, Luthereau, Renouvier, Berjeau, and against it, the works of Passavant, LaCroix, and Chatto.[22]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.[23]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.[24]Four schools of coloring are reckoned: the Suabian School (Augsburg and Ulm), marked by bright colors; the Franconian (Nuremberg and Nördlingen), marked by less lively colors; the Bavarian (Friesing, Tegernsee, Kaisersheim), marked by use of pure carmine and ochre; the Lower Rhine (Cologne, and towns of Burgundy), marked by pure colors in pale tints. See Willshire, vol. i., p. 175et seq.[25]Merlin, “Origine des Cartes à Jouer, Recherches nouvelles,” etc. Paris, 1869.[26]Printed in Ottley, “An Inquiry,” etc., vol. i., p. 47.[27]“Nam quod legentibus Scriptura, hoc idiotis præstat pictura cernentibus, quia in ipsa etiam ignorantes vident quid sequi debeant, in ipsa legunt qui litteras nesciunt; unde et præcipue gentibus pro lectione pictura est.” Patrologiæ Cursus Completus, Accurante, J. P. Migne, tom. lxxvii. Sancti Gregorii Magni, tom, iii., liber xi., epis. xiii., col. 1128.Vide, also, idem, liber ix., epis. cv., col. 1027.[28]“Biblia Pauperum.” Reproduced in fac-simile, from one of the copies in the British Museum, with an historical and bibliographical introduction by J. Ph. Berjeau. London, 1859.[29]“Speculum Humanæ Salvationis.” Le Plus Ancien Monument de la Xylographie et de la Typographie réunies. Reproduit en fac-simile, avec introduction Historique et Bibliographique, par J. Ph. Berjeau. Londres, 1861.[30]The composition of the poem which forms the text of theSpeculumhas been attributed to Vincent de Beauvais, who could not have written it, and to Conrad d’Altzheim, who might have written it; the designs have been attributed to various artists, particularly to Steurbout, but on the slightest grounds; the printing has been assigned to Lawrence Coster, in whose doubtful if not fabulous name no confidence can be placed, and to Veldener, Faust and Scheffer, Thierry Martens d’Alost, and other early German and Flemish printers.[31]Renouvier, “Origine,” etc., p. 91; and Berjeau’s preface to the Fac-simile Reproduction of theSpeculum. The claims of the Brotherhood are supported most fully by Harzen in “Archiv für die Zeichnenden Künste.” Leipsig, 1855.[32]Didot, “Essai Typographique et Bibliographique sur l’Histoire de la Gravure sur Bois,” col. 205. Paris, 1863.[33]Renouvier, “Des Gravures sur Bois dans les Livres de Simon Vostre.” Paris, 1862.[34]See Duplessis on the works of Simon Vostre, and Brunet’s “Manuel du Libraire,” tom v., at the end, for farther information on the devotional books of the French printers.[35]Ante, p. 18.[36]VideRenouvier, Didot, Passavant.[37]Vespas. Fior., p. 129. Quoted in Burckhardt, “The Civilization of the Period of the Renaissance in Italy.” Translated by S. G. C. Middlemore. Vol. i., p. 271. London, 1878.[38]The Academy, October 15, 1872, pp. 383et seq.Vide, also, Albert Ilg, “Ueber den Kunsthistorischen Werth der Hypnerotomachia Poliphili, ein Beitrag zur Geschichte der Kunstliteratur in der Renaissance.” Wien, 1872. The original edition of the Dream of Poliphilo is rare and costly. It was re-issued in Venice, in 1545, and in Paris, with some variations (of which some account is given on a later page), in 1546. There is an abridged translation in French by Legrand, without cuts, printed by Didot in 1804.[39]“Le Triomphe de l’Empereur Maximilien. Vienne, 1796.”[40]“La Mare au Diable, par George Sand,” pp. 5-7. Paris, 1869.

FOOTNOTES:

[1]“Documents, Iconographiques et Typographiques de la Bibliothèque Royale de Belgique,” Deuxième Livr. Gravure Criblée, par M. H. Hymans. Bruxelles, 1864-1873. Quoted in Willshire, “An Introduction to the Study and Collection of Ancient Prints.” London. 1877; 2 vols.; vol. ii., p. 64.

[2]“Fulget ecclesia in parietibus, et in pauperibus eget. Suos lapides induit auro; et suos filios nudos deserit. * * * Tam multa denique, tamque mira diversarium formarum ubique varietas apparet ut magis legere libeat in marmoribus, quam in codicibus, totum diem occupare singula ista mirando quam in lege Dei meditando.” Sancti Bernardi opera omnia. Recognita, etc., curis Dom. J. Mabillon. 4 vols. Paris, 1839; vol. i., col. 1242-1244, Apologia ad Guillelmum, cap. xii.

[3]“Abundet unusquisque in suo sensu, mihi fateor hoc potissimum placuisse ut quæcumque cariora, quæcumque carissima, sacrosanctæ Eucharistiæ amministrationi super omnia deservire debeant. Si libatoria aurea, si fialæ aureæ et si mortariola aurea ad collectam sanguinis hircorum aut vitulorum aut vaccæ ruffæ, ore Dei aut prophetæ jussu, deserviebant; quanto magis ad susceptionem sanguinis Jesu Christi vasa aurea, lapides preciosi, quæque inter omnes creaturas carissima continuo famulatu, plena devotione exponi debeat.” Œuvres complètes de Suger recueillies, etc., par A. L. de la Marche. Paris, 1867. Sur son administration Abbatiale, p. 199et seq.

[4]La Barte, “Histoire des Arts Industriels au Moyen Age et a l’époque de la Renaissance.” 4 tom. (Album, 2 tom.). Paris, 1864. Tom. i., pp. 391-513; tom. ii., pp. 1-592.

[5]Leon Delaborde, “Notice des Emaux et Objets divers exposés au Louvre.” Paris, 1853; p. 84.

[6]Leon Delaborde, “La plus ancienne Gravure du Cabinet des Estampes de la Bibliothèque Royale, est-elle ancienne?” Paris, 1840. Quoted in Willshire, vol. ii., p. 64.

[7]Theophilus Presbyter, “Schedula Diversarum Artium.” Revidirter text, ubersetzung und appendix von Albert Ilg. Wien, 1874; cap. lxxi., lxxii., pp. 281-283.

[8]Renouvier, “Histoire de l’Origine et des Progrès de la Gravure dans les Pays-Bas et en Allemagne, jusqu’à la fin du quinzième Siècle.” Bruxelles, 1860.

[9]The date of 1406 has been assigned to two examples at Paris with great ingenuity, but not unquestionably, by M. le Vte. Henri Delaborde, “Notice sur Deux Estampes de 1406 et sur les commencements de la Gravure Criblée.”—Gazette des Beaux Arts, Mars 1, 1869.

[10]Willshire, vol. ii., pp. 62, 63.

[11]Pliny, “Nat. Hist.,” liber xxxv., c. 2.

[12]W. Y. Ottley, “An Inquiry into the Origin and Early History of Engraving upon Copper and in Wood.” London, 1816; 2 vols.; vol. i., pp. 54-59.

[13]Papillon, “Traité Historique de la Gravure en Bois.” Paris, 1766. Trois parties en deux tomes; tom. i., p. 83.

[14]Von Murr, Zani, Émeric David, Ottley.

[15]Heinecken, Lanzi, Mariette, Didot.

[16]Jackson and Chatto, “A Treatise on Wood-engraving.” London, 1839; p. 39.

[17]Meerman, “Orig. Typogr.” Hagæ, Comit., 1765.

[18]Hadriani Junii Batavia. Lugdunum Batavorum, 1588.

[19]S. Sotheby, “Principia Typographica.” The block-books issued in Holland, Flanders, and Germany during the 15th century. London, 1858; 3 vols.; vol. i., p. 179.

[20]Heinecken, “Idée Générale d’une Collection complette d’Estampes.” Leipsic et Vienne, 1771; p. 250.

[21]Those who are curious may consult on this print “Quelques Mots sur la Gravure au millésime de 1418,” par C. D. B. (M. de Brou). Bruxelles, 1846. “La Plus Ancienne Gravure connue avec une date,” Mémoire par M. le Baron de Reiffenberg. Bruxelles, 1845; also, in favor of the date, the works of Ruelens, Luthereau, Renouvier, Berjeau, and against it, the works of Passavant, LaCroix, and Chatto.

[22]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.

[23]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.

[24]Four schools of coloring are reckoned: the Suabian School (Augsburg and Ulm), marked by bright colors; the Franconian (Nuremberg and Nördlingen), marked by less lively colors; the Bavarian (Friesing, Tegernsee, Kaisersheim), marked by use of pure carmine and ochre; the Lower Rhine (Cologne, and towns of Burgundy), marked by pure colors in pale tints. See Willshire, vol. i., p. 175et seq.

[25]Merlin, “Origine des Cartes à Jouer, Recherches nouvelles,” etc. Paris, 1869.

[26]Printed in Ottley, “An Inquiry,” etc., vol. i., p. 47.

[27]“Nam quod legentibus Scriptura, hoc idiotis præstat pictura cernentibus, quia in ipsa etiam ignorantes vident quid sequi debeant, in ipsa legunt qui litteras nesciunt; unde et præcipue gentibus pro lectione pictura est.” Patrologiæ Cursus Completus, Accurante, J. P. Migne, tom. lxxvii. Sancti Gregorii Magni, tom, iii., liber xi., epis. xiii., col. 1128.Vide, also, idem, liber ix., epis. cv., col. 1027.

[28]“Biblia Pauperum.” Reproduced in fac-simile, from one of the copies in the British Museum, with an historical and bibliographical introduction by J. Ph. Berjeau. London, 1859.

[29]“Speculum Humanæ Salvationis.” Le Plus Ancien Monument de la Xylographie et de la Typographie réunies. Reproduit en fac-simile, avec introduction Historique et Bibliographique, par J. Ph. Berjeau. Londres, 1861.

[30]The composition of the poem which forms the text of theSpeculumhas been attributed to Vincent de Beauvais, who could not have written it, and to Conrad d’Altzheim, who might have written it; the designs have been attributed to various artists, particularly to Steurbout, but on the slightest grounds; the printing has been assigned to Lawrence Coster, in whose doubtful if not fabulous name no confidence can be placed, and to Veldener, Faust and Scheffer, Thierry Martens d’Alost, and other early German and Flemish printers.

[31]Renouvier, “Origine,” etc., p. 91; and Berjeau’s preface to the Fac-simile Reproduction of theSpeculum. The claims of the Brotherhood are supported most fully by Harzen in “Archiv für die Zeichnenden Künste.” Leipsig, 1855.

[32]Didot, “Essai Typographique et Bibliographique sur l’Histoire de la Gravure sur Bois,” col. 205. Paris, 1863.

[33]Renouvier, “Des Gravures sur Bois dans les Livres de Simon Vostre.” Paris, 1862.

[34]See Duplessis on the works of Simon Vostre, and Brunet’s “Manuel du Libraire,” tom v., at the end, for farther information on the devotional books of the French printers.

[35]Ante, p. 18.

[36]VideRenouvier, Didot, Passavant.

[37]Vespas. Fior., p. 129. Quoted in Burckhardt, “The Civilization of the Period of the Renaissance in Italy.” Translated by S. G. C. Middlemore. Vol. i., p. 271. London, 1878.

[38]The Academy, October 15, 1872, pp. 383et seq.Vide, also, Albert Ilg, “Ueber den Kunsthistorischen Werth der Hypnerotomachia Poliphili, ein Beitrag zur Geschichte der Kunstliteratur in der Renaissance.” Wien, 1872. The original edition of the Dream of Poliphilo is rare and costly. It was re-issued in Venice, in 1545, and in Paris, with some variations (of which some account is given on a later page), in 1546. There is an abridged translation in French by Legrand, without cuts, printed by Didot in 1804.

[39]“Le Triomphe de l’Empereur Maximilien. Vienne, 1796.”

[40]“La Mare au Diable, par George Sand,” pp. 5-7. Paris, 1869.

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