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. 199 _et 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. 175 _et 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 the _Speculum_
has 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 the _Speculum_. 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] _Vide_ Renouvier, 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. 383 _et 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.