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The Dreams of the Chosen by Brian Cawell

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The Dreams of the Chosen by Brian Cawell

In the case of the more popular block-books which went through many issues and editions 10 we can trace the gradual substitution of later characteristics for earlier ones. At what intervals of time these changes were made we have bibliographically no adequate grounds even for guessing. Analogies from books printed with movable types may be quoted on both sides. On the one hand, we find the blocks for book-illustrations enjoying an amazingly long life. Thus blocks cut at Venice and Florence between and continued in use for fifteen or twenty years, were then laid aside, and reappear between and , certainly the worse for wear, but yet capable by a lucky chance of yielding 24 quite a fair impression.

The fact that one issue of a block-book can be positively assigned to or , thus does not of itself forbid an earlier issue being placed as far back in the fifteenth century as any one may please to propose. On the other hand, when a printed book was a popular success editions succeeded each other with great rapidity, and one centre of printing vied with another in producing copies of it.

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The chief reason for the current disinclination to assume a date earlier than or for any extant block-book is the total absence of any evidence demanding it. If such evidence were forthcoming, there would be no inherent impossibility to set against it. But in the absence of such evidence twenty years seems an ample time to allow for the vogue of the block-books, and despite the neatness of the a priori theory of development mentioned at the beginning of this chapter this fits in better with the history both of printing and of book-illustration than any longer period.

The most recent and probably the final treatment of the subject is that by Dr. Schreiber, in Vol. Schreiber enumerates no fewer than thirty-three works as existing in the form of block-books, the number of extant issues and editions of them amounting to over one hundred. Here it must suffice to offer brief notes on some of the more important. A series of forty composite pictures, the central compartment in each representing a scene from the life of Christ, while on each side of it is an Old Testament type, and above and below are in each case two half-figures of prophets.

The explanatory letterpress is given in the two upper corners and also on scrolls. Schreiber distinguishes ten issues and editions, in addition to an earlier German one of a less elaborate design and with manuscript text, which belongs to a different tradition. The earlier of these ten editions appear to have been made in the Netherlands. In the following year another edition, with copied cuts, was printed with the device of Hans Spoerer.

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Twenty-four leaves, two containing a preface, and the remaining twenty-two eleven pictures and eleven pages of explanatory letterpress facing them, showing the temptations to which the dying are exposed, and the good inspirations by which they may be resisted, and, lastly, the final agony. The early editions are ascribed to the Netherlands or district of the Rhine; the later to Germany. A set of engravings on copper by the Master E. Erasmus may be either imitations or the originals of the earliest of these Ars Moriendi designs. The designs were imitated in numerous printed editions in various countries.

In addition to a copy of the edition usually regarded as the 26 earliest extant, the British Museum possesses one with the same characteristics, but of a much smaller size the blocks measuring by mm. Sixteen leaves, each containing two woodcuts, illustrating the Song of Songs as a parable of the Blessed Virgin. Produced in the Netherlands. Fifty leaves, or in some editions forty-eight, showing scenes from the life of S. John and illustrations of the Apocalypse, mostly with two pictures on each leaf. The early editions are assigned to the Netherlands, the later to Germany.

A copy of the edition regarded as the fourth, lately sold by Herr Ludwig Rosenthal, bears a manuscript note, most probably as to the writer, just possibly as to the book, entering the household of the Landgrave Heinrich of Hesse in Scenes from Bible history, arranged in pairs, within architectural borders, with explanatory text beneath.

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No complete xylographic, or block-printed, edition is known, but twenty leaves printed from blocks are found in conjunction with forty-four leaves printed from type, and have not unreasonably been held to prove the previous production of a complete block-printed edition now lost. In like manner, the fact that two different types are used in different parts of a Dutch printed edition has encouraged Dr.

On this theory we have 1 a hypothetical Latin block-printed edition; 27 three Dutch editions, each printed in a different type; 5 a Latin edition, entirely printed from type; 6 a Latin edition, printed partly from type, partly from some of the blocks of No. But other bibliographers recognize only four editions and arrange them differently. Thirty-eight leaves, with two pictures on each leaf, illustrating the Legends relating to the Coming of Antichrist, and the Fifteen Signs which were to precede the Last Judgment.

The text is in German, and the block-book was executed in Germany, probably about Sixteen leaves, mostly with four pictures and four pieces of explanatory letterpress on each leaf, concerning marvels in the natural world which were supposed to be equally wonderful with that of the Virgin Birth, and therefore to render faith in this easier. Unfortunately the marvels are so very marvellous that they do not inspire belief, e.

One edition was issued by a certain F. Thirty-two leaves, containing lunar tables, tables of the eclipses for fifty-six years , other astronomical 28 information, and a figure of the human body with notes of the signs of the zodiac by which it was influenced. Forty-four figures of hands, with a titlepage and page of text and a printed wrapper. Early issues are printed on one side of the paper only, later on both.

The printer appears to have been Jorg Schaff, of Augsburg, and the date of issue about The date found in the book is that of composition, and it probably circulated in manuscript for many years before being printed. A German guide-book for visitors to Rome. Ninety-two leaves, printed with black ink on both sides of the leaf, with only a few illustrations.

The blocks were probably cut in Germany, and the printing done at Rome. Some of the ornaments are said to have been used in type-printed editions by Stephan Plannck. This suggests that the book may have been published by his predecessor, Ulrich Han. The copy of this at Berlin contains eighteen leaves, and was probably executed at Venice about the middle of the fifteenth century.

Some of the blocks were subsequently used after a scroll at the foot had been cut off for an edition of the Devote Meditatione sopra la Passione del Nostro 29 Signore attributed to S. Bonaventura , published at Venice in by Jeronimo di Sancti e Cornelio suo Compagno, and a page from this is reproduced as a frontispiece to our chapter on Italian Illustrated Books.

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Mention has already been made of the Opera nova contemplativa , an adaptation of the Biblia Pauperum , printed as a block-book at Venice about Under each picture are six lines of verse. These three triple woodcuts, with the woodcut text, are assigned to about No English block-book has yet been discovered, nor is it in the least likely that one ever existed, though there are a few single woodcuts. Block-books possess two permanent attractions in addition to their supposed historical importance in the development of the invention of printing on which doubt is now cast—the attraction of popular literature and the attraction of the illustrated book.

The most famous block-books are nearly all of a religious character, and they prove a widespread desire for simple instruction as to the incidents of the life of Christ and the events in the Old Testament history which were regarded as prefigurements of them, as to the dignity of the Blessed Virgin and the doctrine of the Virgin Birth, as to the end of the world and the coming of Antichrist, and as to the spiritual dangers and temptations of the dying and the means by which they might be resisted.

The majority of them are more curious than beautiful, but the pictures of the Cantica Canticorum , the Speculum Humanae Saluationis , and the Ars Moriendi have all very great merit. The tall, slender figures in the Song of Songs have a charm as great as any Dutch book-illustrations of the fifteenth century; the cuts of the Speculum are full of vigour, while the serene dignity of the scenes in the Ars Moriendi illustrating the Inspirations of the Good Angel is as impressive as the grotesque force used in depicting the diabolic suggestions. If we must grant, as the weight of authority now bids us, that these woodcuts are copies from the copper engravings of the Master E.

The block-books are a striking example of the difficulty of gleaning where the earlier collectors have reaped, a difficulty to which we shall often have to call attention. They vary greatly in positive rarity. Of the Biblia Pauperum and Ars Moriendi , which in their different issues and editions enjoyed the longest life and early attracted attention, Dr. Schreiber if I have counted rightly was able to enumerate in the one case as many as eighty-three copies—many of them, it is true, mere fragments—in the other sixty-one.

Of the Apocalypse fifty-seven copies were known to him, of the Speculum twenty-nine, of the Antichrist thirteen, of the Defensorium twelve, and of the Mirabilia Romae six.

But of these copies and fragments no fewer than are recorded as being locked up in public libraries and museums, the ownership of thirteen was doubtful, and only twenty-five are definitely registered as being in the hands of private collectors, viz. The chief owners known to Dr.

Pierpont Morgan and Mr.