Chapter 6

Question 1

Incunabula

Answer 1

• “cradle” or “baby linen”
• It’s connotations of birth and beginnings caused 17th century writers to adopt it as a name for books printed from Gutenberg’s invention of typography until the end of the 15th century

Question 2

Broadsides

Answer 2

single-leaf pages printed on one side, which eventually evolved into printed posters, advertisements, and newspapers

Question 3

incipit

Answer 3

• “here begins”
• usually placed at the beginning of manuscripts

Question 4

ex libris

Answer 4

A bookplate pasted into the front of a book to identify its owner

Question 5

Nuremburg

Answer 5

Central Europe’s prosperous center of commerce and distribution, which also became the center of printing by the end of the 15th century

Question 6

exemplars

Answer 6

Handmade model layouts and manuscript texts used as guides for the woodcut illustrations, typesetting, page design, and makeup of books

Question 7

broadsheet

Answer 7

single-leaf pages printed on both sides, which eventually evolved into printed posters, advertisements, and newspapers

Question 8

crible

Answer 8

a technique in which the black areas of a woodblock are punched with white dots, giving the image a lively tonality

Question 9

polyglot

Answer 9

written in several languages

Question 10

Martin luther

Answer 10

• 1483-1546
• After he posted his 95 theses on the door of Castle Church in Wittenburg, Saxony on October 31, 1517, his friends passed copies on to printers. By December, his proclamation had spread throughout Central Europe and within a few months, thousands of people all over Europe knew his views

Question 11

Albrecht Pfister

Answer 11

• A Bamberg printer who began to illustrate his books with woodblock prints.
• He used 5 woodblocks and the types from Gutenberg’s 36 line Bible to print his first edition of Johannes von Tepl’s Der Ackerman aus Bohmen (Death and the Plowman)

Question 12

Gunther Zainer

Answer 12

• A scribe and illustrator who has learned printing in Strasbourg and who established a press in Augsburg.
• An agreement allowed Zainer to use woodblock illustrations as long as he commissioned them from members of the woodcutter’s guild. He introduced a greater tonal range to page design by using woodcuts with textured areas and some solid blacks

Question 13

Johann Zainer

Answer 13

• Established a press in Ulm about 70 kilometers to the east of his brother, Gunther Zainer, Elegant hand-colored woodcut borders are used in Johann Zainer’s 1473 edition of Petrach’s Historia Griseldis, and 175 woodcuts in his 1476 edition of Aesop’s Vita et fabulae.
• Many of his illustrations are not completely enclosed with rectangular borders, allowing white space to flow from the wide margins into the pictures

Question 14

Erhard Reuwich

Answer 14

The first illustrator to be identified as such in a book, for his work in Peregrinationes in Montem Syon (Travels in Mount Syon). which was printed with Schoeffer’s types in 11486.
- He was a careful observer of nature who introduced crosshatch in his illustrations, which included regional maps, significant buildings, and views of major cities. This book was the first to have foldout illustrations

Question 15

Anton Koberger

Answer 15

• c.1440 - 1513
• Germany’s most esteemed printer, with a firm staffed by 100 craftsmen operating 24 presses. He printed over 200 editions, including 15 bibles. Although smaller page sizes were more convenient and affordable, he continues to publish and sell large books. He produced three masterpieces, including the 1491 Schatzbehalter (Treasure Trove) and the 600 page Liber Chronicarum (Nuremberg Chronicle) in both German and Latin versions.

Question 16

Michael Wolgemuth

Answer 16

• 1434 - 1519
• A painter and woodcut illustrator who created 92 full-page woodcuts for Anton Koberger’s 1491 Schatzbehalter (Treasure Trove) and was contacted to create the exemplars for the Nuremberg Chronicle, draw illustrations, and cut, correct, and prepare the woodblocks for printing.

Question 17

Wilhelm Pleydenwurff

Answer 17

• 1460- 94
• Michael Wolgemuth’s stepson, who was contacted by Anton Koberger to help create the exemplars for the Nuremberg Chronicle, draw the illustrations, and cut, correct, and prepare the woodblocks for printing

Question 18

Albrecht Durer

Answer 18

• 1471-1528
• godson of Anton Koberger
• his goldsmith father apprenticed him to Michael Wolgemuth for almost 4 years beginning in 1486.
• He published Latin and German editions of The Apocalypse Illustrated in his monumental sequence of 15 woodcuts that had an unprecedented emotional power and graphic expressiveness.
• He also published 2 other large-format volumes, the Large Passion and The life of the Virgin, and at least 8 editions of his Rhinoceros broadside.
• He believed German artists and craftsmen were producing work inferior to that of the Italians, which inspired his first book, Underweising der Messung mit dem Ziirckel und Richtscheyt (A course in the art of measurement with Compass and Ruler) in 1525

Question 19

Han Schaufelein

Answer 19

• 1480-1540
• One of Durer’s former students commissioned to design the illustrations for Pfintzing’s Teuerdank, an adventure of chivalry and knighthood that was printed by Johann Schoensperger the Elder at Nuremberg

Question 20

Lucas Cranach the Elder

Answer 20

• 1472-1553
• Operated a printing office, a bookshop, and a paper mi;;. He turned his considerable energies to the Reformation by portraying the Reformers and their cause in books and broadsides including portraits of Martin Luther proclaiming his beliefs. He also printed the Passional Chrisi und Antichrisi (Passional Christ and Antichrist), which was inspired by Luther

Question 21

Hans Cranach and Lucas Cranach the Younger

Answer 21

• d. 1537 and 1515-1586
• sons of Lucas Cranach the Elder, they joined their father’s studio. Few examples of Han’s work remain, but the younger son continued to work in the family style for many years after his father’s death

Question 22

Konrad Sweynheym and Arnold Pannartz

Answer 22

• d.1477 and d.1476
• Printers invited to Subiaco by Cardinal Turrecremata of the Benedictine monastery at Subiaco to establish a press. They worked together to design types that marked the first step toward Roman-style typography based on letterforms that “double alphabet” by combining the capital letters of ancient Roman inscriptions with the rounded minuscules that had evolved in Italy from the Caroline minuscule. They designed a more fully Roman Alphabet that became the prototype for the Roman alphabets still in use today

Question 23

William Caxton

Answer 23

• 1421-91
• Left his native land for the textile center of Bruges in the Low Countries, where he set up his own business as a merchant and diplomat. He spent a year and a half in Cologne, where he translated the Recuyell of the Historyes of Troye from French into English and learned printing. He enlisted the help of illuminator and calligrapher Colard Mansion and set up a press in Bruges where they printed the first typographic English-language book. Later he moved his types and press across the English Channel and established the first press on English soil.

Question 24

Phillipe Pigouchet

Answer 24

introduced the Crible His Horae (Book of hours) established the graphic excellence of this popular book form