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 OF THE 
 
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 Of ILLI NOIS 
 
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THE WOODCUTTERS 
 
 OF THE 
 
 NETHERLANDS. 
 
Sontion : c. J. clay and son, 
 
 CAMBRIDGE UNIVERSITY PRESS WAREHOUSE, 
 Ave Maria Lane. 
 
 CambriUce: DEIGHTON, BELL, AND CO. 
 ILetpjig: e. a. BROCKnAUS. 
 
THE WOODCUTTERS 
 
 OF THE 
 
 NETHERLANDS 
 
 IN THE 
 
 FIFTEENTH CENTURY. 
 
 IN THREE PARTS: 
 
 I. HISTORY OF THE WOODCUTTERS. 
 
 II. CATALOGUE OF THE WOODCUTS. 
 
 III. LIST OF THE BOOKS CONTAINING WOODCUTS. 
 
 BY 
 
 WILLIAM MARTIN CONWAY. 
 
 CAMBRIDGE: 
 
 UNIVERSITY PRESS. 
 
 1884. 
 
 [All Rights reserved .] 
 
Digitized by the Internet Archive 
 in 2016 with funding from 
 
 University of Illinois Urbana-Champaign Alternates 
 
 https://archive.org/details/woodcuttersofnet00conw_0 
 
74.1 
 C > 1 4 
 
 INTRODUCTION. 
 
 In order to explain with clearness and brevity the origin 
 and scope of this book, and at the same time duly to acknowledge 
 the help generously given by so many towards the work, 
 of which the results are here compressed together, I intend 
 to write in this place a short account of the various stages of 
 my investigations upon the Woodcutters of the Netherlands. 
 
 At the beginning of the year 1879, I devoted some months, 
 under the direction of Prof. Sidney Colvin, to the study of the 
 early German and Flemish engravings preserved in the Fitz- 
 william Museum at Cambridge. It seemed only natural to pass 
 on from them to the woodcuts of the same period ; and these 
 being chiefly contained in printed books, the scene of operations 
 was transferred to the University Library. I was thus for the 
 first time brought in contact with Mr Henry Bradshaw. The 
 subject I wished to study was one in which he, almost alone in 
 Europe, had long taken great interest ; and with a kindness 
 - and magnanimity, which I can never sufficiently acknowledge, 
 he at once placed at my disposal all the stores of learning in 
 matters connected with the early history of Printing, the extent 
 of which is too well known to need emphasis from me. The 
 first book he put into my hands was Leeu’s Dialogus Creatura- 
 rum moralisatus. I examined, measured, and described each 
 c cut carefully and then passed on to other books, containing 
 -- woodcuts, printed at the same press. 
 
 It has been long known that a common habit of early 
 ' ^.printers was to make use of the same wood-block for the 
 
VI 
 
 INTRODUCTION. 
 
 illustration of many different books. The normal occurrence 
 seems to have been for a printer to order from the woodcutter, 
 usually employed by him, a set of cuts to serve as illustrations 
 for some particular book, or set of books, and, after using them 
 for that purpose, to turn them to account again and again as 
 opportunity arose. At length the blocks were either worn 
 out and laid aside, or they were sold to some other printer, 
 to whose customers they would come with the freshness of 
 novelty. Thus it became necessary to change the list of prints 
 found in the fifteenth century books to a list of blocks cut 
 in the fifteenth century, care being taken to note in the case 
 of every block the various occasions of its use. The distribu- 
 tion of these blocks into classes (according to their styles) as 
 the work of different woodcutters was thus rendered a matter 
 of little difficulty ; and so the passage backwards from prints to 
 blocks, and from blocks to woodcutters, was complete. 
 
 At first I had intended to include the so-called Block-books 
 in this investigation; but the problems connected with them 
 are so different from those connected with the woodcuts in 
 books printed with moveable types, that the force of circum- 
 stances prescribes an independent treatment for the two. The 
 only Block-books, therefore, mentioned in this volume, are those 
 of which the very blocks were cut up, and the pieces used as 
 illustrations in books printed at a later date in the ordinary 
 manner. Thus the limits of time naturally imposed upon me 
 were from the date of the introduction of moveable types into 
 the Netherlands down to the end of the year 1500. The limits 
 of space, by no means arbitrarily chosen, were the boundaries of 
 the existing kingdoms of Holland and Belgium. It is to be 
 observed that this investigation was alone rendered possible by 
 the life-long work which has produced two books, such as no 
 other country can boast — the Monuments typographiques des 
 Pays-Bas au xv e siecle of M. Holtrop, furnishing an exhaustive 
 collection of specimens of all the known presses, and the equally 
 exhaustive list of the books which is contained in Dr Campbell’s 
 Annales de la Typographic Neerlandaise au xv e siecle. Without 
 the existence of such works no attempt could have been made, 
 with any prospect of success, to attack the history of the 
 
INTRODUCTION . 
 
 Vll 
 
 woodcuts employed at the presses which have been the subject 
 of such prolonged methodical research. Until Germany and 
 France set themselves patiently to follow in the footsteps of 
 Iloltrop and Campbell, our acquaintance with early French and 
 German printing, and therefore a fortiori with the early 
 woodcut illustrations of French and German books, cannot but 
 remain in a condition of vagueness and uncertainty. 
 
 After two months’ work my list of the woodcuts (falling within 
 these limits), contained in books in the Cambridge University 
 Library, was complete. Throughout that time Mr Bradshaw 
 had constantly helped me in every possible way, and I must 
 here, once for all, assert that whatever of correctness, complete- 
 ness, and thoroughness the following book may contain is chiefly 
 due to him. By his advice and assistance I determined to 
 undertake a thorough study of the subject. From Dr Camp- 
 bell’s Annates de la Typographie Neerlandaise au xv e siecle 
 we were enabled to form a list of all the books containing 
 cuts, and of the libraries where copies of them could be seen. 
 These libraries were visited in turn. First I went to Dublin, 
 where a few very precious volumes are preserved in the Library 
 of Trinity College. Then, in July 1879, I went to the Hague, 
 the natural headquarters of an investigation of this kind. 
 There Dr Campbell greeted me with open arms, and gave me 
 every facility for work that it was possible to desire, besides 
 placing at my disposal the valuable results of his own long ex- 
 perience. At Haarlem, Amsterdam, and Deventer I was received 
 with equal kindness. At Utrecht Professor Doedes willingly 
 allowed me access to the rare volumes, of which he is so worthy 
 a possessor, and at Gouda M. Koemans was similarly generous. 
 
 I then went to Alkmaar, hoping to find in the possession of a 
 gentleman there the unique copy (mentioned in the Annates ) 
 of a Schoonhoven Spieghel der volmaectheyt. The gentleman 
 was with difficulty identified as the local saddler, who indignantly 
 repudiated the idea that he was the possessor of any books 
 whatever, except his ledger and a Bible. The book in questiqn, 
 as I afterwards learnt, had passed into other hands, and had 
 been bought by Mr Bradshaw at the Van der Willigen sale at 
 Amsterdam in 1875. On my return I saw it in his rooms. 
 
Ylll 
 
 INTRODUCTION. 
 
 The next places visited in turn were Bremen, Hamburg, 
 Liibeck, and Wolfenbuttel, at all of which the books required 
 were forthcoming. At Helmstadt I was less fortunate ; for, 
 though the Accursius Pisanus I wanted was presently found, 
 the single woodcut it should have contained proved to have 
 been cut out. At Berlin, Dr Lippmann, with his usual courtesy 
 to foreign students, gave me every possible assistance in my 
 work. 
 
 One of the things I was most anxious to see was the 
 “Figures gravees en hois de la vie de Jesus- Christ’’ (CA. 746). 
 From the descriptions of Murr and Heineken, referred to by Dr 
 Campbell, it seemed possible that these Figures might prove to 
 be leaves of some lost Block-book, though the cuts were well 
 known as constantly used by Gerard Leeu, and altogether in 
 the style of one of the woodcutters employed by him. The last 
 place where they were recorded to have been seen was the 
 Library of the suppressed University of Altorf. No one could 
 tell me whither that Library had been transferred, until, by 
 chance, I met a lady at Dresden, who informed me that her 
 father was a student at Altorf, at the very time the University 
 was suppressed, and that he was obliged to go to Erlangen 
 
 to complete his studies. So to Erlangen I at once went, 
 
 arriving there on a winter’s afternoon, five minutes before the 
 hour for closing the Library. I hurried from the station, leaving 
 my luggage to look after itself, rushed, with somewhat unseemly 
 haste, into the room of the excellent librarian, Dr Zucker, and 
 eagerly enquired whether the sheets, for which I had so long 
 been searching, were under his charge. He quickly recognised 
 and laid his hand upon what I wanted, and set it aside for 
 
 examination on the following day. It was with a feeling ol 
 
 satisfaction and relief that I went out and watched, from the 
 lull-slopes behind the town, the sun set below the edge of the 
 wide snow-clad plain, out of which the towers of Nurnberg 
 arose like ghosts in the misty distance. 
 
 From Erlangen I travelled to Nurnberg, and from Niimberg 
 to Munich, and this formed the southernmost limit of my 
 bibliographical tour. Both at Munich, Darmstadt, and Frank- 
 furt I met with the same kind treatment as elsewhere, 
 
INTRODUCTION. 
 
 IX 
 
 and the fates were still propitious, though they were not long to 
 remain so. At Coblenz only one of the books wanted was 
 forthcoming ; at Trier it was impossible to lay hands upon any 
 of the volumes in my list; at Coin the same ill-luck awaited 
 me, both in the Town Archives and in the Catholic Gymnasium. 
 It was not till I reached Brussels that the tide of fortune turned, 
 and there I had not fortune to thank, so much as the presiding 
 genius of M. Ruelens, who forwarded my wishes with the 
 readiest and most competent help. To M. Hymans the Keeper 
 of the Prints I am likewise indebted for several valuable hints. 
 In the same town M. Alphonse Willems was kind enough to 
 give me access to his books, and M. Olivier supplied me with 
 information on one or two points where information was of real 
 value. At Louvain, notwithstanding the willingness of the 
 good Librarian to assist me in every way, I was only partially 
 successful in finding the books wanted. At Ghent, on the 
 other hand, M. Ferd. Vander Haeghen not only found all 
 the books in the University Library for which I asked, but 
 some of which I had not heard, and he procured for me the 
 opportunity of studying at leisure a number of volumes 
 in the valuable Vergauwen collection, since dispersed. The 
 only library of importance in Holland or Belgium which I was 
 not able to see was that of the Due d’Arenberg. It is under- 
 stood to be for the present (since the death of the late Duke) 
 packed away in boxes and absolutely inaccessible. 
 
 After a brief visit to England, early in 1880, I continued 
 my journey, going first of all to Paris. M. Leopold Delisle and 
 M. Thierry of the Bibliotheque Nationale showed me the 
 courtesy which has become traditional in all parts of that insti- 
 tution, and makes work there particularly pleasant. From 
 Paris I went to Cambrai, and thence to Mons to see the unique 
 copy of the Exercitium Block-book. A few more days were 
 spent in Belgium and then another three weeks in the Royal 
 Library at the Hague, where Dr Campbell was, if possible, 
 kinder and more helpful than ever. This brought my labours 
 on the Continent to an end. In England there remained only 
 the Library of the British Museum, after a series of visits to 
 which I returned to Cambridge and once more went through 
 
 a 5 
 
X 
 
 INTRODUCTION. 
 
 the books in the University Library, revising, by the light of a 
 larger experience, the notes which had been taken there before. 
 Between the beginning of April and the end of July, 1880, the 
 results of my work were written down at Cambridge, with the 
 constant help of Mr Bradshaw, as referee upon all points of 
 difficulty connected with the bibliography of the subject; and 
 the book took very much the form in which it now appears. 
 No part of it however saw the light for some year and a half, 
 and then portions of Part I. appeared as articles in several con- 
 secutive numbers of the Bibliographer (Lond. 1882). 
 
 Finally, by the liberality of the Syndics of the University 
 Press, the missing link in the chain is supplied, and my book 
 has been enabled to see the light. In passing the sheets 
 through the press Mr Bradshaw has again been my good genius, 
 ever ready with his sympathy and with large and precious 
 sacrifices of his time. Dr Campbell has likewise been most 
 kind in reading the proofs for me, and Mr Harold Lafone, of 
 Trinity College, Cambridge, has done me a similar service so 
 far as Part I. is concerned. I have also to thank Mr Karl 
 Pearson for suggestions which have led to valuable results. 
 
 It remains, in order to render more intelligible the general 
 course of development of the art of Woodcutting during the 
 period dealt with in the following chapters, and to show more 
 precisely the scope of the present work, to make a few general 
 remarks at this point upon the whole subject. 
 
 At the time when the Block-books were printed the 
 style of woodcutting was very simple. It consisted in ren- 
 dering with pure outline the designs drawn upon the wood. 
 The prints were intended to be coloured, and the out- 
 lines were mere guides for the illuminator. Hardly any 
 shade hatchings were introduced, but the main lines were 
 left free and cut with great care and often with much real 
 art. When moveable types came into use in the Netherlands, 
 the first books printed by means of them were not illustrated, if 
 we leave out of account such an exceptional work as the 
 Speculum . When however, after the year 1475, woodcuts began 
 to make their way, as illustrations, into printed books, they 
 
INTRODUCTION. 
 
 xi 
 
 were at first cut in the same style as the woodcuts of the 
 Block-books. This school of pure line work is represented 
 best by the Utrecht and First Gouda Woodcutters. The Second 
 Gouda Cutter inaugurated what we may call the Transitional 
 School, which covered approximately the years 1482 — 1490. 
 Its style still lays much stress upon the outlines but employs 
 shade hatchings in considerable quantity. The most character- 
 istic worker belonging to it was the Haarlem Cutter, and 
 his influence was felt all over the country. He retained 
 something of the naivete of the earlier workmen, at the same 
 time introducing more of the pictorial element into his cuts. 
 In the year 1491 French woodcuts found their way into 
 the Netherlands, and they swiftly produced a revolution in 
 the art. The characteristic quality of the French cuts is the 
 large masses of delicately cut shade lines which they contain. 
 The workmen of the Low Countries, finding these foreign cuts 
 rapidly becoming popular, endeavoured to imitate them, but 
 without bestowing upon their work that care, by which alone any 
 semblance of French delicacy could be attained. From the year 
 1490 onwards, Dutch and Flemish cuts always contain large 
 masses of clumsily cut shade. The outlines are rude ; the 
 old childishness is gone ; thus the last decade of the 15th cen- 
 tury is a decade of decline. Such is briefly the course of the 
 art as described in the following work. 
 
 It seemed best to divide the book into three parts, not only 
 because that was the most natural arrangement — the Woodcutter, 
 the Woodcuts, and the Printer receiving prominence in turn — 
 but also because the volume is more likely in this form to be of 
 service to students of different kinds. Those interested in the 
 general history of Art will find in Part I. what little pabulum 
 there is for them. To students of the early history of Printing and 
 Woodcutting Part II. will be more useful ; whilst by a reference 
 to Part III., anyone can give to the books therein mentioned, 
 to which he may have access, a more extended utility, because 
 he will be able to see what schools and styles of woodcutting 
 are represented by the prints contained in them. Lastly, the 
 student of Iconography will have little difficulty in finding 
 references to examples of particular subjects, seeing that the 
 
xn 
 
 INTRODUCTION. 
 
 cuts in Part II. naturally fall into a few series, the contents of 
 each being almost compassable at a glance. 
 
 It will be observed that in order to facilitate reference from 
 one part of the book to another, the same numbering is com- 
 mon to the sections of Parts I. and II., so that it is easy to 
 pass at once from the description of the style of any particular 
 artist to the list of the cuts made by him, or vice versa. 
 
 Whatever explanation is necessary for understanding the 
 details of the method of the arrangement of the several Parts 
 will be found at the beginning of each. 
 
 The discovery of the Ghent fragments at the dispersal of the 
 Vergauwen Collection at the beginning of the present month 
 was too important to be passed over in silence. The results of 
 an examination of them have, therefore, been thrown into an 
 Appendix. 
 
 W. M. C. 
 
 Cambridge, 
 
 30 April , 1884 . 
 
TABLE OF CONTENTS. 
 
 PARTS I. AND II. 
 
 HISTORY OF THE WOODCUTTERS 
 
 AND 
 
 CATALOGUE OF THE WOODCUTS. 
 
 [N.B. The Sections being the same in both Parts, the table of Contents has been given for 
 both at the same time, the first number referring to Part I., the second to Part II.] 
 
 PAGE PAGE 
 
 On the Method adopted in the History (Part I.) xx 
 
 Oil the Arrangement of the Catalogue (Part II.) 194 
 
 CHAPTER I. 
 
 WOODCUTS FROM THE BLOCK-BOOKS. 
 
 SECT. 
 
 1. The Biblia Pauperum (used 1487-1500) 1 195 
 
 2. The Canticum Canticorum (used 1494) 10 201 
 
 3. The Speculum Humanae Salvationis (used 1481-1484) 11 203 
 
 4. The Boec van den Houte (used 1483) 13 205 
 
 CHAPTER II. 
 
 LOUVAIN, UTRECHT, AND BRUGES (1475—1484). 
 
 5. The First Louvain Woodcutter (1475-1477) 15 208 
 
 0. The Utrecht Woodcutter (1479-1484) 20 209 
 
 7. The Bruges Woodcutter (1484) 28 215 
 
XIV 
 
 TABLE OF CONTENTS. 
 
 CHAPTER III. 
 
 LEEU’S EARLY WORKMEN AT GOUDA AND ANTWERP (1480—1491). 
 
 SECT. PAGE PAGE 
 
 8. The First Gouda Woodcutter (1480-1484) 32 216 
 
 9. The Second Gouda Woodcutter (1482-1484) 41 222 
 
 10. The First Antwerp Woodcutter (1485-1491) 53 227 
 
 CHAPTER IV. 
 
 THE HAARLEM WOODCUTTER AND HIS SCHOOL (1483—1500). 
 
 11. The Haarlem Woodcutter (1483-1486) 60 236 
 
 12. The same Workman, or his School, at Antwerp (1486-1495) 74 247 
 
 13. The Third Delft Woodcutter, of this School (1487-1498) ... 87 258 
 
 14. Cuts of the Haarlem School, used at Leyden (1484-1500) ... 89 259 
 
 CHAPTER V. 
 
 FOREIGN WOODCUTS USED BY LEEU AND OTHERS (1485, 1491). 
 
 15. Augsburg Woodcuts used by Leeu (1485) 93 259 
 
 16. French Woodcuts used by Leeu and others (1491-1499): 
 
 At Antwerp, by Leeu (1491) 95 264 
 
 At Delft, by Eckert (1499) 97n. 266 
 
 At Gouda, by the Collacie Broeders (1496) 154 266 
 
 CHAPTER VI. 
 
 ZWOLLE (1484-1500). 
 
 17. The First Zwolle Woodcutter (1484-1491) 99 267 
 
 18. The Second Zwolle Woodcutter (1487-1493) 106 269 
 
 19. Miscellaneous Cuts used at Zwolle (1491-1500) 109 271 
 
 CHAPTER VII. 
 
 DELFT (1477—1498). 
 
 20. The First Cuts used at Delft (1477-1482) Ill 272 
 
 21. The Second Delft Woodcutter and his School (1480-1498) ... 112 272 
 
 CHAPTER VIII. 
 
 BRUSSELS AND LOUVAIN (1484—1496). 
 
 22. The Brussels Woodcutter (1484-1490) 127 287 
 
 23. The Second Louvain Woodcutter (1487-1496) 134 290 
 
 24. The Third Louvain Woodcutter (1490) 140 291 
 
TABLE OF CONTENTS. 
 
 xv 
 
 CHAPTER IX. 
 
 GOUDA, DEVENTER, LEYDEN, AND SCHOONHOVEN (1486-1500). 
 
 SECT. 
 
 PAGE 
 
 PAGE 
 
 25. 
 
 The Third Gouda Woodcutter (1486-1490) 
 
 141 
 
 292 
 
 26. 
 
 Miscellaneous Cuts used at Gouda (not before 1486) 
 
 151 
 
 297 
 
 27. 
 
 The Fourth Gouda Woodcutter (1496) 
 
 .... 154 
 
 298 
 
 28. 
 
 Cuts used at Deventer (1487-1493) : 
 
 
 
 
 By Jacobus de Breda (1487-1493) 
 
 .... 158 
 
 299 
 
 
 By Richard Paffroet (1488-1492) 
 
 .... 161 
 
 301 
 
 29. 
 
 The First Leyden Woodcutter (1494) 
 
 .... 163 
 
 301 
 
 80. 
 
 The Second Leyden Woodcutter (1498-1500) 
 
 .... 164 
 
 302 
 
 31. 
 
 The First Schoonhoven Woodcutter (1496) 
 
 .... 166 
 
 305 
 
 32. 
 
 The Second Schoonhoven Woodcutter (1498-1500) 
 
 .... 169 
 
 306 
 
 
 CHAPTER X. 
 
 
 
 
 LATE ANTWERP WOODCUTS (1487—1500). 
 
 
 
 33. 
 
 The Second Antwerp Woodcutter, with other Cuts used there 
 
 
 
 
 by Math, vander Goes (1487-1489) 
 
 175 
 
 307 
 
 34. 
 
 The Third Antwerp Woodcutter, employed by G. Back 
 
 
 
 
 (1493-1500) 
 
 177 
 
 308 
 
 35. 
 
 Miscellaneous Cuts used at Antwerp by G. Back (1493-1500) 
 
 180 
 
 312 
 
 36. 
 
 Cuts used by Liesveldt and Martens (1494-1500) 
 
 182 
 
 313 
 
 37. 
 
 Cuts used by R. van den Dorp and other Antwerp Printers 
 
 
 
 
 (1497—1500): 
 
 By R. van den Dorp (1497-1500) 
 
 185 
 
 314 
 
 
 By Adriaen van Berghen (1500 ?) 
 
 190 
 
 318 
 
 
 By Henrik die Lettersnider (1500?) 
 
 191 
 
 318 
 
 38. 
 
 Diagrams 
 
 
 318 
 
 APPENDIX. 
 
 
 Note (on the contents of the Appendix) 
 
 350 
 
 AUDEN ARDE AND GHENT (1480-1490). 
 
 
 Arend de Keysere’s Woodcutter (1480-1490) : 
 
 At Audenarde (1480-1482) 
 
 At Ghent (1483-1490) 
 
 351 357 
 
 352 357 
 
XVI 
 
 TABLE OF CONTENTS . 
 
 PART III. 
 
 LIST OF THE BOOKS CONTAINING WOODCUTS. 
 
 PAGE 
 
 On the Arrangement of the List 322 
 
 BLOCK-BOOKS. 
 
 I. The Biblia Pauperum, Edition B (before 1467), Place unknown 323 
 
 II. The Canticum, Edition A (before 1467), Place unknown 323 
 
 III. The Speculum (before 1474), Place unknown 323 
 
 IV. The Boec van den Houte (before 1483), Place unknown 324 
 
 PRESSES. 
 
 V. Joli. de Westfalia (1475-1496) at Louvain 324 
 
 VI. Joh. Veldener (1475-1484) : 
 
 a. At Louvain (29 Dec. 1475) 325 
 
 b. At Utrecht (4 Nov. 1478) 325 
 
 c. At Kuilenburg (6 March 1483) 325 
 
 VII. Conr. de Westfalia (1476) at Louvain 325 
 
 VIII. Delft Press (1477-1500) : 
 
 a. Jac. Jacobszoen van der Meer and Maur. Yemantszoen van 
 
 Middelborch (10 Jan. 1477) 326 
 
 b. Jac. Jacobszoen van der Meer alone (1480) 326 
 
 c. Chr. Snellaert (1488) 326 
 
 d. Hen. Eckert van Hombercli (1498) 328 
 
 IX. Colard Mansion (1477-1484) at Bruges 329 
 
 X. Unknown Printer, Mansion’s Successor (1484-85) at Bruges 329 
 
 XI. Ger. Leeu (1478-1493) : 
 
 a. At Gouda (10 May 1478) 329 
 
 b . At Antwerp (18 Sept. 1484) 330 
 
 XII. Claes Leeu (1487-1488) at Antwerp, with Ger. Leeu 334 
 
 XIII. (Ger. Leempt, as) G L (1479-1480) at Utrecht 334 
 
 XIV. Arend de Keysere (1480-1490) : 
 
 a. At Audenarde (1480) 334 
 
 b. At Ghent (8 April 1483) 335 
 
 XV. Gotfr. de Os, or Gov. van Ghemen (1481 — 1490) : 
 
 a. At Gouda (1481-82) 335 
 
 b. At Leyden (1489-90) 335 
 
 XVI. Jac. Bcllaert (1483-1486) at Haarlem 335 
 
 XVII. Brussels Press (1484), Fratres Communis Vitae 336 
 
TABLE OF CONTENTS. 
 
 XVII 
 
 PAGE 
 
 XVIII. Zwolle Press (1484—1500) : 
 
 a. Pet. van Os (26 May 1484) 336 
 
 b. Tyman van Os (about 1497), with Pet. van Os 338 
 
 XIX. Heynr. Heynrici (1484) at Leyden 338 
 
 XX. Jac. de Breda (1486-1500) at Deventer 338 
 
 XXI. Jan Andrieszoen (1486) at Haarlem 340 
 
 XXII. Printer of the Matheolus Perusinus (about 1486), Place unknown... 340 
 
 XXIH. Printer of the Komst van Keyser Frederyck te Trier (after 1486), 
 
 Place unknown 340 
 
 XXIV. Egid. van der Heerstraten (1487) at Louvain 340 
 
 XXV. Math, van der Goes (1487-1491) at Antwerp 340 
 
 XXVI. Godfr. Back, Goes’ successor (1493-1500) at Antwerp 341 
 
 XXVII. Lud. de Bavescot (1487-1488) at Louvain 342 
 
 XXVIII. Hasselt Press (1488-1490), (Peregr. Barmentloe, as) P. B 342 
 
 XXIX. Bic. Paffroet (1488- 1500) at Deventer 342 
 
 XXX. Printer of the Spiegliel der simpelre menschen (about 1490), at 
 
 Louvain (?) 343 
 
 XXXI. Adr. van Liesveldt (1494-1500) at Antwerp 343 
 
 XXXII. Theod. Martini (1494-1497) at Antwerp 344 
 
 XXXIII. Hugo Janszoen van Woerden (1494-1500) at Leyden 344 
 
 XXXIV. Collacie Broeders (1496-1500) at Gouda 345 
 
 XXXV. Schoonhoven Press (1496-1500), Augustinian Canons of St 
 
 Michael’s 345 
 
 XXXVI. Bol. van den Dorp (1497-1500) at Antwerp 346 
 
 XXXVII. Schiedam Press (1498-1500), Printer of the Vita Lydwinae 346 
 
 XXXVIH. Henr. die Lettersnider (1500?) at Antwerp 347 
 
 XXXIX. Adr. van Berghen (1500?) at Antwerp 347 
 

 
WOODCUTTERS OF THE 
 NETHERLANDS. 
 
 PART I. 
 
 HISTORY OF THE WOODCUTTERS. 
 
ON THE METHOD ADOPTED IN THE HISTORY. 
 
 The general scope of the work has been explained in the Introduction, 
 and the nature of the subdivision into Sections will be found described in 
 the note prefixed to the Catalogue (Part II., page 194). In a strict 
 chronological arrangement, the sections would have followed one another 
 in accordance with the date of the first rise or appearance of each 
 particular Woodcutter; but any rigid adherence to such a plan would 
 have prevented an intelligible treatment of the subject. While following 
 broadly the order of time, the several workmen, or schools of workmen, 
 have been brought together by grouping the Sections into Chapters, so 
 that the rise, development, and decay, of a local school of woodcutting 
 may be followed by the reader without difficulty. First come the Block- 
 books, which are here treated only as affording materials for the later 
 printer who wished to illustrate his books (Ch. I.). Then come the workers 
 in pure line (Ch. II.). Then, linking closely on to these last, come the 
 workmen employed by Gerard Leeu at Gouda and Antwerp ; the Haarlem 
 workman and his school, also nearly connected with Leeu ; and the 
 foreign woodcuts introduced by Leeu from Germany and France (Ch. 
 IV., V.). Four Chapters are then devoted successively to the work pro- 
 duced at Zwolle (Ch. VI.), at Delft (Ch. VII.), in Brabant (at Brussels 
 and Louvain, Ch. VIII.), and at a group of places in Holland (Gouda, 
 Deventer, Leyden, and Schoonhoven, Ch. IX.); and the History is closed 
 with a Chapter on the late Antwerp woodcuts which belong almost wholly 
 to the last decade of the century (Ch. X. ). The diagrams enumerated in 
 Sect. 38 have not been thought of sufficient importance to require any 
 discussion in the History. What concerns the productions of Arend de 
 Keysere’s woodcutter at Ghent, brought to light since the following sheets 
 were printed, will be found in the Appendix (pages 349 — 359). 
 
WOODCUTTERS OF THE 
 NETHERLANDS. 
 
 PART T. 
 
 HISTORY OF THE WOODCUTTERS. 
 
 CHAPTER I. 
 
 WOODCUTS FROM THE BLOCK-BOOKS. 
 
 1. The Biblia Pauperum (used 1487 — 1500). 2. The Canticum 
 
 C anticorum (used 1494). 3. The Speculum Humanae Salvationis 
 
 (used 1481 — 1484). 4. The Boec van den Iloute (used 1483). 
 
 Sect. 1 . The Biblia Pauperum (used 1487 — 1500). 
 
 The earliest existing productions which can be called prints 
 from carved blocks of wood are certain stray sheets, bearing- 
 rough outline images of saints, and scattered up and down, in 
 small quantity, among the libraries and museums of Europe. 
 So far as can be gathered from internal evidence the dates 
 of such of these prints as still exist lie somewhere in the 15th 
 century. Mr Weale indeed has called attention to records 
 of a lawsuit at Bruges, towards the close of the 14th cen- 
 tury, from the depositions in which it is clear that a set of 
 c. w. 1 
 
2 
 
 HISTORY OF THE WOODCUTTERS. [Chap. 1. 
 
 woodcutters were even then at work in that prosperous city, 
 carving figures upon blocks of wood and taking impressions 
 from them. Unfortunately we can point to no surviving speci- 
 men of the industry of these forgotten craftsmen. Our present 
 concern, however, is not with the interesting but mysterious 
 relics of this period of infancy of the art of woodcutting ; but 
 we must pause for a moment over the second group of pro- 
 ductions, by which its increasing strength was manifested to the 
 world — the so-called Block-books. 
 
 A Block-book is a book printed wholly from carved blocks 
 of wood. Such volumes usually consist of pictorial matter only ; 
 if any text is added in illustration it likewise is carved upon 
 the wood-block, and not put together with moveable types. 
 The whole of any one page, sometimes the whole of two pages, 
 is printed from a single block of wood. The manner in which 
 the printing was done is peculiar. The block was first thoroughly 
 wetted with a thin watery ink, then a sheet of damp paper was 
 laid upon it, and the back of the paper was carefully rubbed 
 with some kind of dabber or burnisher, till an impression from 
 the ridges of the carved block had been transferred to the 
 paper. Of course in this fashion a sheet could only be printed 
 on one side ; the only block-book which does not possess this 
 characteristic is the Legend of S. Servatius in the Boyal Library 
 of Brussels, and that is an exceptional volume in many respects 
 besides. 
 
 If a man wanted to set up as printer of books all he had 
 to do was to buy a set of wood-blocks aud a rubber, and his 
 apparatus was complete. It seems probable that wealthy per- 
 sons and religious institutions were Avont to possess such sets 
 of blocks, and, when occasion arose, they printed a set of 
 sheets for presentation to a friend, or, in the case of convents, 
 for sale to the passing pilgrim. A printer of Block-books had 
 no need to serve an apprenticeship ; any neat-handed man 
 could print for himself. Mons. E. van Even has discovered the 
 inventory of the possessions of Jean de Hinsberg (Bishop of 
 Liege, 1419 — 1455) and his sister, a nun in the convent of 
 Bethany, near Mechlin. Amongst other items in the list are two 
 of very great interest to us — 
 
Sect. 1.] THE BIBLIA PAUPERUM. 3 
 
 Unum instrumentum ad imprimendas scripturas et ymagines. 
 
 Novem printe lignee ad imprimendas ymagines cum quatuor- 
 deciin aliis lapideis printis. 
 
 It follows that in the days of the Block-books the class of 
 printers had scarcely begun to arise. People purchased blocks 
 from the woodcutter, not books from the printer. The wood- 
 cutter’s business was to engrave sets of blocks, or single blocks, 
 for which he knew he would be likely to have a sale. Thus, 
 instead of continually engraving new subjects, he restricted him- 
 self for the most part to certain known series of subjects for 
 which a demand existed. Such a series, for example, was the 
 so-called Biblia Pauperum, or set of figures illustrative of the 
 sacred history, by aid of which, it is said, the preacher could 
 assist the understanding of the more stupid classes. Such a 
 series again was the Ars Moriendi , a volume of pictures of the 
 various temptations to which a sick man is exposed and of his 
 triumph over them, intended to be carried by the priest to 
 the bedside of the sick man for the comforting of his soul, if 
 thus perchance comfort might arise. We are enabled in this 
 manner to account for the fact that such a large number of 
 editions of these books exist. There are but few block-books, 
 but of each there are many editions ; and each edition is so 
 like all the rest, that often it is scarcely possible to distinguish 
 one from another. How many editions of the Biblia Pauperum 
 survive I cannot say, but I have been able to separate those 
 in the following list. Which of them is the first, and which are 
 the copies, there is no possibility of deciding at present. 
 
 Edition A. (Sotheby 1 1) — Earl of Pembroke; Mr Holford 
 (Inglis copy) ; National Library, Paris. 
 
 Edition B. (Sotheby 2) — British Museum ; Duke of Devon- 
 shire ; Earl Spencer (copy A); Mr Loscombe; M. Six van 
 Hillegom; Meerman Museum at the Hague (imperfect); 
 Court Library, Munich; Court Library, Vienna; Libraries 
 at Gottweig, Dresden, Hannover, and Passau (incomplete). 
 
 1 I give no references to Heineken, as his descriptions are utterly in- 
 accurate. Sotheby’s accounts are in his Principia Tijpograpliica, London, 1858, 
 
 3 vols. folio. 
 
 1—2 
 
4 
 
 HISTORY OF THE WOODCUTTERS . [Chap. 1. 
 
 Edition C. (Sotheby 3) — British Museum ; Duke of Devon- 
 shire; National Library, Paris. 
 
 Edition D. (Sotheby 4) — Bodleian Library, Oxford ; Corpus 
 Christi College, Cambridge 1 ; Earl Spencer (copy B) ; 
 National Library, Paris ; Meerman Museum at the 
 Hague ; Darmstadt. 
 
 Edition E. (Sotheby 5) — British Museum (Print Room) ; the 
 Due d’Aumale. 
 
 Edition F. (Sotheby 6) — Bodleian Library, Oxford ; Court 
 Library, Vienna ; Court Library, Munich (2 copies). 
 
 Edition G. (Heineken 1) — Lord Vernon ; Leipzig. 
 
 I do not mean to say that these seven sets of cuts were all 
 made by one woodcutter, but it is not unlikely that two or more 
 are by the same hand ; and, of course, for one edition that 
 survives, several have probably perished. I think it exceedingly 
 likely that my edition B will, on further investigation, be 
 broken up into two editions. The number of copies of it which 
 exist in the south of Germany and Austria points to the possi- 
 bility that the blocks from which those copies were printed 
 belonged to some South German convent. 
 
 The same general description applies to all editions of the 
 book ; the following has been taken from the copy preserved in 
 
 1 A noticeable fact in the Cambridge edition is that it presents a marked 
 difference in appearance between the cuts in the first and last halves of the 
 book, not in the style of cutting but in the printing. Those marked with the 
 letters of the first alphabet are as light in tint as the rest are heavy. Were it 
 not that we are sure that the book has been in its present condition since the 
 * year in which it came into the College Library with the other books bequeathed 
 by Archbishop Parker, we might be inclined to hold the opinion that it had 
 been formed, at a late period, of parts of two incomplete copies, one of which 
 had been kept in a damp place. We must, however, conclude that the last ten 
 sheets were more carefully printed with a somewhat darker ink than the others, 
 and possibly not at the same time. They do indeed look somewhat earlier as they 
 hardly present a crack. So far as I am able to gather from Sotheby’s remarks 
 this edition corresponds with that copy belonging to Lord Spencer, referred to 
 by him as Spencer B. The blocks however, are less worn. They do not 
 correspond with those of any of Heineken’s editions. In this Sotheby has 
 fallen into error. He thinks Heineken’s third edition is the same as Spencer 
 B. But Heineken took his description of that edition from the copy now in the 
 Grenville Library at the British Museum, and this Sotheby recognises ns 
 printed from different blocks to those employed for either of Lord Spencer’s. 
 
THE BIB LI A B AUBE BUM. 
 
 Sect. 1.] 
 
 5 
 
 the library of Corpus Christi College, Cambridge. The volume 
 consists of twenty sheets, printed only on one side, each sheet 
 bearing an impression from a separate block. The working of 
 the book is by separate sheets and not by quires. The recto of 
 the first leaf is blank ; its verso and the recto of the second bear 
 the impression of the first block. Then follow two blank pages, 
 then two more printed ones, and so on. In the Cambridge copy 
 the blank pages are pasted together; but this was not always 
 done. Each page is broken up into compartments, and illustrates 
 one subject, the arrangement of all the pages being similar. 
 They are divided horizontally into three portions. The centre 
 of the upper one is occupied by two windows separated by a 
 pillar. Through each of these windows the upper part of the 
 figure of a prophet appears. His name is written below him 
 on the window sill, and he holds in one hand a long scroll 
 which stretches out to the edge of the page, and bears a text 
 referring to the central subject. The spaces on the right and 
 left of the double window contain several lines of text, ex- 
 tracted from the Vulgate, and referring to the general subject 
 of the page. 
 
 Immediately under the pillar which divides the prophets, 
 a letter is placed, marking the position of the page in the series. 
 The first twenty are designated by simple letters, the remainder 
 by the same letters placed between two dots. 
 
 The middle division of the page is divided into three parts 
 by pillars which support low, almost flat, arches. Under each 
 of these an event from the Bible history is represented. The 
 central subject, which forms the keynote of the whole, is from 
 the New Testament ; those on the left and right are parallels, 
 more or less illustrative of it, chosen from the Old. 
 
 The lowest horizontal division is like the upper one. There 
 is a double window in the centre with prophets holding scrolls, 
 bearing their names and a text referring to the central subject ; 
 whilst, in the blank space on each side, is a leonine verse, which 
 relates to the compartment immediately above it. A similar 
 verse, applying to the central subject, runs across the bottom 
 of the cut. 
 
 From this description it will be seen that there are one 
 
6 
 
 HISTORY OF THE WOODCUTTERS. [Chap. 1. 
 
 hundred and sixty figures of prophets. They are not, however, 
 all different (and this, I believe, has not been noted before) but 
 many of them occur again and again. Thus, David is found 
 thirty-four times, Isaiah twenty-four, and so on, there being, in 
 all, at least thirty -nine different figures. Not that the same 
 man is always represented in the same position, but he is 
 always visibly the same man, wearing the same clothing and 
 most easily recognised by his hat, for all thirty-nine hats are 
 different. It is further worthy of remark that every now and 
 then a mistake occurs, the names under two adjacent figures 
 being accidentally transposed. Now it is not likely that this 
 would have happened in the original edition of the book, but 
 a mistake of the kind might very easily creep into a copy. 
 
 The style of the series has been so frequently described, and, 
 on the whole, with so little practical result, that I content 
 myself with merely quoting the words of M. Renouvier 1 . 
 
 “ Ces compositions souvent trop simples ont quelquefois un 
 excellent arrangement . . . Les figures, assez bien proportion nees, 
 quoique avec des tetes generalement trop grosses pour le corps, 
 et plus grosses pour les hommes que pour les femmes, decelent, 
 sous leurs lineaments rudimentaires, leur expression grossiere, et 
 leur taille faite a tatons, une certaine habilite et un esprit 
 subtil: elles ne tombent pas dans la charge de la grimace, malgre 
 leur naivete copieuse . . . Les tetes sont variees, etudides dans 
 la realite et quelquefois tres-heureusement expressives . . . Pour 
 resumer la maniere du dessinateur dans ces defauts et ces 
 qualites, je dirai qu’il est adroit par instinct et maladroit par 
 ignorance. C’est peut-etre le caractere le moins trompeur de 
 la primitivite de l’artiste. L’habilite de sa main et la vivacitd 
 de la composition sont trahies a chaque instant par l’inexperience 
 du procede. II a le contour trop timide ou trop appuye, mais 
 il sait accentuer les traits essentiels : ses corps, qui paraissent 
 epais dans leurs draperies, prennent une tournure svelte dans 
 les rares nudites qu’il se permet. Toutes ces fa9ons archaiques 
 du dessin ont leurs analogies dans la taille, et je ne comprends 
 
 1 Ilistoire de Vorigine et des progres de la gravure dans les Pays-Bas. 
 M^moires couronn^s par l’Acad&nie royale de Belgique. — Tom. x. Brussels, 
 1860, 8vo. p. 62. 
 
Sect. 1.] 
 
 TIIE BIB LI A P AUBE RUM. 
 
 7 
 
 pas comment Heinecken, Zani, et Ottley ont etd amends a dis- 
 tinguer dans ces planclics un graveur different du dessinateur. 
 Les tailles sont dpaisses, epargndes et n’obtiennent pas des 
 effets d’ombre ; mais elles accentnent et varient les objets dans 
 leurs aspects: les chevaux, les moutons, les arbres meme, malgre 
 le systeme arrete et pueril avec lequel ils sont fa^onnes, produi- 
 sent a pen de frais un ensemble souvent pittoresque . . . Les 
 qualitds qui ressortent de toutes ces observations appartiennent 
 a une ecole de dessin deja faite et considerable, ayant pour don 
 principal le sentiment vif de la realite en meme temps qu’un 
 esprit subtil et mystique. Cette ecole ne peut etre que celle 
 qui florissait dans les provinces neerlandaises gouvernees par 
 Philippe le Bon, due de Bourgogne, sous l’influence des Van 
 Eyck.” 
 
 With this criticism of Renouvier’s I should, on the whole, be 
 inclined to agree ; a further and more accurate examination of 
 style may, however, be advisable, at some future time, when we 
 have firmer ground to go upon. 
 
 The date of the production of this series of blocks is, as 
 has been said, completely lost in obscurity. Various facts have 
 been adduced, tending to indicate an exceedingly early origin, but 
 they all require authentication, owing to the known inaccuracy 
 and partizansliip of the authors who have written on the subject, 
 Renouvier excepted, — qualities which have ended in throwing the 
 works of otherwise learned men into disrepute. Five manu- 
 scripts of the book in various states are known 1 . They are at 
 Munich (15th cent.), Wolfenbiittel (now lost), Leipsig (Weigel 
 copy), and Constance (13th cent.). Of these the Munich copy 
 bears the closest resemblance to the block-book, from which 
 indeed it may have been copied. Heineken considered the 
 designs to have been taken from a series of ninth century (!) 
 reliefs in the cloister of the cathedral at Bremen. Lessing 
 thought that the book had been copied from painted glass 
 windows in the convent of Hirschau in Suabia, since burnt 
 
 1 Laib and Schwarz, Bihlia Pauperum. Zurich, 1867, p. 5. Meerman, 
 Origines Typographical. Hag® Comit. 1765, 4to. Fiorillo, Geschichte der 
 zeichnenden Kunst in Deutschland. Hannover, 1815, 8vo. 
 
8 
 
 HISTORY OF THE WOODCUTTERS . [Ciiap. 1. 
 
 down 1 . It is, however, hardly necessary to say that many 
 so-called copies of this period are nothing but productions of 
 entirely independent artists working, according to the manner 
 of the day, in adherence to a fixed and recognised type. When 
 we find Berjeau saying that the Biblia Pauperum cuts were 
 copied by Martin Schongauer, Israel van Mechenen, Albert 
 Durer and most of the ordinary Dutch woodcutters besides, 
 it is evident that he has got himself into a complete laby- 
 rinth and lost his way, and unless we sternly refuse to 
 start on vague ramblings of this kind we may come to the 
 same end. 
 
 One of the copies of this book belonging to Lord Spencer 
 (Copy B) is still bound in its original binding with an edition of 
 the Apocalypse (Sotheby’s fourth). The latter is to all appear- 
 ance German, and is painted in the style of colouring which we 
 associate with South Germany. The binding is impressed with 
 the following inscription, Iste liber est fratris Ulrici Gyslinger 
 lectoris in Ulma minorum et illigatus est anno domini MCCCCLXVII 
 per me Iohannes Ricenbach degyllengen 2 . Sotheby also mentions 3 
 that the Grenville copy of the Biblia Pauperum , now in the 
 British Museum (Grenv. 12090), was, when in the Gaignat 
 collection, hound up with the third edition of the Apocalypse. 
 The latter is now in the possession of the Due d’Aumale, 
 another copy of the same edition being in the King’s Library 
 in the British Museum. 
 
 The Horn copy of the Biblia Pauperum , which passed 
 through the hands of Mr Inglis and Lord Vernon and is now 
 in the possession of Mr ILolford, was, when it first came to Horn, 
 
 1 Plenty of notices of this kind are mentioned by Berjeau, Biblia Pauperum, 
 reproduced in facsimile. London, 1859, fol. 
 
 2 Ottley, An inquiry into the origin and early history of engraving. London, 
 1816, 3 vols. 4to. — Vol. i. p. 100, note. 
 
 3 Sotlieby, Principia Typograpliica. — London, 1858, 3 vols. fol. Vol. i. pp. 
 22, 59. The Spencer B copy is, as already mentioned, of the same edition as 
 the Cambridge copy. Three leaves of the same edition are preserved in the 
 Print Ptoom of the British Museum, D. 2. The binding of a volume in the 
 Bibliotheque Nationale at Paris bears the following inscription : Per me Jo- 
 liannem Richenbach capellanuin in Gylingen illigatus est anno Domini , 14G9. 
 See Bibliotheque Nationale. Notice des objets exposes — Paris, 1878, No. 486 
 p. 95. 
 
THE BIBLIA BA U PER UM. 
 
 9 
 
 Sect. 1.] 
 
 bound up with a copy of the A?\s Moriendi and with one of the 
 Apocalypse. The original binding was ruthlessly destroyed, and 
 Horn was only able to state from memory that it had “ the 
 following words, stamped at the extremity of the binding, to- 
 wards the edge of the squares: ‘Hie Liber Relegatus fuit per 
 Plebanum Ecclesie — Anno Domini , 142(8).’” The last figure of 
 the inscription he was not sure about, but he felt quite certain 
 of the other three. When, however, it is remembered that the 
 figure 5, as then written, bore a strong resemblance to a 2, 
 as we now write it, it does not seem improbable that Horn’s 
 memory deceived him, and that the date borne by the binding 
 was the more credible one of between 1450 and 1460. The 
 whole matter, however, is unsatisfactory, and the destruction of 
 the binding has deprived us of a most valuable piece of corrobo- 
 rative evidence. All we can say with any tolerable approach to 
 certainty is that the book was printed not later than 1467, and 
 this must be understood for the present to rest on the authority 
 of Sotheby. 
 
 The preceding account of the Biblia Pauperum is, strictly 
 speaking, beyond our present province; but it has seemed better 
 to insert it here, that the reader may clearly see what the blocks 
 are to which his attention must now be called. 
 
 On the eve of the Epiphany 1 487, Peter van Os, the printer 
 of Zwolle, published an edition of the Epistles and Gospels in 
 Dutch, illustrated with a series of woodcuts which on- examina- 
 tion are found to be cut-up portions of the set of blocks origi- 
 nally employed for the printing of Edition B of the Biblia 
 Pauperum. From this time on, such cut-up portions were con- 
 tinually used for the illustration of books which issued from 
 this and the allied press worked by Barmentloe in the neigh- 
 bouring town of Hasselt. The last volume known to have 
 contained any of them is the Bulgaria printed by Yan Os in 
 1500, the title-page of which is adorned with one of the figures 
 of prophets above referred to. That the style of the woodcuts 
 afterwards made at Zwolle was much influenced by that of the 
 Biblia Pauperum can scarcely be maintained. Because Zwolle 
 is the only town where the original blocks can be shewn to have 
 been, it does not follow that they were engraved there, though 
 
io HISTORY OF THE WOODCUTTERS. [Chap. 1. 
 
 we cannot now fix for them any other locality of origin. We 
 leave them therefore at Zwolle till further investigation enables 
 us to place them elsewhere. 
 
 Sect. 2. The Canticum Canticorum (used 1494). 
 
 Certainly the most beautiful of the Block -books of the Low 
 Countries is this volume of illustrations to the Song of Solomon. 
 Four editions of it exist, and of these the first mentioned is by 
 far the best, and presents all the characteristics of originality. 
 
 Edition A. (Sotheby 1) — British Museum; Earl Spencer (no 
 title heading); National Library, Paris; Haarlem Library; 
 Court Library, Munich (2 copies). 
 
 Edition B. (Sotheby 2) — Bodleian Library, Oxford. 
 
 Edition C. (Sotheby 3) — British Museum, National Library, 
 Paris 1 . 
 
 Edition D. — Court Library, Vienna. 
 
 The volume in every case is composed of eight sheets, printed 
 only on one side, and bound together in the same manner as the 
 Biblict Pauperum. The whole of each sheet seems to have been 
 printed from one block. The woodcuts on all the leaves are 
 similar. Each is divided by a double horizontal line into two 
 compartments, of which there are therefore thirty-two in all. 
 Christ, the Bride, her attendant maidens, and angels are the 
 persons represented in various combinations. Some heraldic 
 bearings are met with, but no satisfactory explanation of them 
 has yet been given. The woodcutting is very carefully done, 
 and the lines are beautifully finished. The figures are more 
 slim in form, and more thoroughly imbued with the mystic 
 mediaeval spirit, than those of the Biblia Pauperum. 
 
 The original series, as has been said, was copied three or 
 four times. Of the later history of the blocks of these copies we 
 have no information. The blocks of the original edition seem 
 
 1 The Canticum Canticorum, numbered Xyl. 81 at Munich, is either of this 
 or of a fifth and quite unknown edition. Sotheby’s account is too vague. 
 
Sect. 2.] THE C ANTIGUM CANTlCORUM. I I 
 
 to have come into the hands of Peter van Os along with those 
 of the Biblia Pauperum, In 1494 he printed an edition of 
 John Mauberne’s Rosetum exercitiorum spiritualium, adorning 
 the title-page with an impression from the upper half of the 
 block from which the first page of the block-book was printed. 
 The reader may compare the facsimiles of the block in its two 
 states in Holtrop, Monuments Typographiques , plates 6 (109), 
 and 91 (110). 
 
 The Canticum, and one edition of the Ars Moriendi, are 
 linked together by a discovery of Mr Bradshaw’s 1 . He noted 
 that the imperfect copy of the First Edition of the Ars Moriendi , 
 which is preserved in the Library of Trinity College, Dublin, 
 is patched with shreds of another copy of the same work and 
 of a copy of the Canticum — “ a fact which points to waste sheets 
 of these two works having been in the same binder’s office, and 
 that probably not far from their original home.” It is worthy 
 of note in this connexion that, in 1488 and 1491, Peter van Os 
 published editions of the Sterfboeck, or Ars Moriendi in Dutch, 
 illustrated by prints which, if not pressed from blocks used in 
 any earlier block -book, were at any rate copied from such very 
 closely indeed. 
 
 Sect. 3. The Speculum Humanae Salvationis 
 (used 1481 — 1484). 
 
 The book we now have to deal with is one about which 
 so much has been written that we can afford to dismiss it with 
 comfortable brevity. The problems it offers for solution belong 
 chiefly to the branch of typography, and so are beyond the 
 scope of our present enterprise. Four editions of the book 
 exist, and of them copies can be seen at most of the principal 
 libraries. They are as follows : — 
 
 Edition A. (Latin, in one fount) — The Libraries at Paris, the 
 Hague, Brussels, Munich, Vienna, Florence, etc. 
 
 1 See H. Bradshaw, “ List of the Founts of Type and Woodcut Devices used 
 by Printers in Holland in the Fifteenth Century.” London, 1871, p. 5. 
 
I 2 
 
 HISTORY OF THE WOODCUTTERS. [Chap. 1. 
 Edition B. (Dutch, in two founts) — The Hague Library. 
 
 Edition C. (Latin, with 20 pp. of woodcut text) — Earl Spen- 
 cer, the Libraries at the Hague, Haarlem, Berlin, and 
 Hannover. 
 
 Edition D. (Dutch, in one fount) — Earl Spencer, the Libraries 
 at the Hague, Haarlem, and Lille 1 . 
 
 Unlike those block-books previously described, the sheets 
 of the Speculum are gathered up into quires, but they are 
 only printed on one side. At the head of each printed page 
 is a cut divided into two compartments, right and left. Below 
 this comes text in double columns printed in Dutch or Latin, 
 and from a form composed of moveable types, or from an 
 engraved block of wood, as the case may be. The same 
 wood-blocks are used in all four editions, and it is probable 
 that all four issued from the office of the same printer. In 
 the case of pages where the text is set up in moveable 
 types, the text portion is printed with black ink in a press, 
 while the cut is printed in brown ink by rubbing in the 
 old fashion. The subjects of the cuts resemble the Biblia 
 Pauperum series, and illustrate the Biblical story. More than 
 one manuscript Speculum of earlier date can be pointed to, 
 and perhaps such a volume was the original from which the 
 book was copied. By observing the breakages in the cuts it is 
 easy to discover the order in which the four editions were issued; 
 it is that given above. The surprising fact resulting from this 
 is, that the edition, in which a portion of the text is cut on 
 blocks of wood, is later than two of those printed wholly with 
 moveable types. From typographical considerations Mr Brad- 
 shaw" was able to shew that the date of the book could be 
 thrown back as far as the years 1471 — 73. The same founts of 
 type v r ere used for the printing of other books, and the whole set 
 must be classed together as the work of one press. In what 
 town this press was worked we do not know, but for the present 
 we are forced to leave it at Utrecht, because it is there that 
 the cuts, originally used in the printing of the Speculum, make 
 
 1 Sec CL. Facile, Sur VInvcntion de VLuprimerie. — Lille, 1850. 
 
Sect. 3 .] TIIE SPECULUM LIUMANAE SA L VA T IGNIS, 13 
 
 their appearance once more in hooks about which all particulars 
 are known. 
 
 The printer, into whose hands the Speculum blocks passed, 
 was John Yeldener. Between the years 1475 and 1477 he 
 had been printing at Louvain, and^it is clear that he was not 
 then in possession of them. At the end of 1478 he began 
 work at Utrecht, still, however, without this set of blocks. For 
 his second edition of the Fasciculus temporum, published 14 Feb. 
 1480, be had a few new blocks made, some of which were copied 
 from Speculum cuts. At last, on the 19th of April 1481, he 
 published an Epistles and Gospels in Dutch, and into that 
 he introduced two cut-up portions of the real old Speculum 
 blocks. This was the last book Yeldener is known to have 
 printed at Utrecht. For two years we hear nothing more of 
 him, and then he reappears at Kuilenburg, whither he had 
 removed his presses. There, on the 27th Sept. 1483, he printed 
 a quarto edition of the Speculum in Dutch. For it he cut up all 
 the original blocks into their separate compartments, and thus 
 suited them to fit into the upper portion of a quarto page. 
 He had, moreover, twelve new cuts made in imitation of these 
 severed portions of the old set, and he printed them along with 
 the rest. Once more, in 1484, he employed a couple of the old 
 set in the Dutch Herbarius, which was the last book known to 
 have been issued by him at Kuilenburg. Thenceforward the 
 Speculum cuts appear no more. 
 
 Sect. 4. The Boec van den Route (used 1483). 
 
 As I have shewn elsewhere 1 , a block-book must have existed, 
 of which no copy has come down to us. Its subject was the 
 legendary History of the Holy Cross. I have not been able 
 to discover what was the exact arrangement of its pages. 
 There was, at any rate, across the top of each a cut in two 
 compartments, like those in the folio Speculum, and under each 
 compartment was possibly a four-line stanza cut upon the wood. 
 This would account for the upper half of the page. Perhaps 
 the same arrangement was repeated in the lower half. If so, 
 there would be upon each page four stanzas and four cuts illus- 
 
 1 Bibliographer. London, 1883, Yol. iv. p. 32. 
 
14 . Ill STOllY OF THE WOODCUTTERS. [Chap. 1. 
 
 trative of them. Assuming this to have been the case, the 
 volume consisted of eight sheets printed on one side in the 
 ordinary manner of the block-books. 
 
 A German edition of such a block-book is known to us from 
 a facsimile given by Weigel in his Collectio, only in that case 
 there were three rows of cuts and stanzas on each page. 
 
 In style, the Dutch History of the Cross connects itself with 
 the Bihlia Pauper urn. It was somewhat more rudely cut on the 
 wood than that, but done in the same manner. The earlier 
 blocks were perhaps more carefully cut than those towards the end 
 of the book. In all the prints the faces are full of character and 
 expression, wrinkled and furrowed sometimes to an exaggerated 
 extent. For the rest the drawing is rude and often quite want- 
 ing in grace. The robes hang heavily and stiffly except wdiere 
 they are broken by the knee, which is usually stuck out for that 
 purpose. The shade hatchings are arranged in bands without 
 reference to the lines of the drapery, which they cross or not as 
 the case may be. Long hatchings are sometimes used in the 
 shadows ; hooked lines designate folds. Every now and then a 
 pleasing figure can be found, for instance, that of the angel at 
 the gate of Paradise, but this is exceptional. Whenever horses 
 are introduced they are good. The landscape backgrounds 
 are of the simplest ; the hills are rounded lumps, with little 
 notches cut out here and there for precipices, and mushroom- 
 like trees on the top. The treatment of water is peculiar. 
 
 Like the blocks of the Speculum so those of the History of 
 the Cross passed into the possession of John Yeldener. Whether 
 • he bought them at Utrecht or Kuilenburg we cannot say, but 
 he be^an to use them at the latter town in the first book he 
 
 O 
 
 printed there (6th March 1483). This was a History of the Cross 
 in quarto. He treated these blocks exactly as he had done those 
 of the Speculum. He cut them up into their separate compart- 
 ments, threw the woodcut text (if any) away, and then printed 
 one of the cuts on each page of his book, and under it, in his 
 ordinary type, the stanza that belonged to it. It is from 
 Yeldener’s edition alone that the original volume is known to us 1 . 
 
 1 Berjeau’s facsimile is well known. An English translation of the Dutch 
 poem is subjoined to it. 
 
CHAPTER II. 
 
 LOUVAIN, UTRECHT, AND BRUGES. 
 
 (1475—1484.) 
 
 5. The first Louvain Woodcutter (1475 — 1477). 6. The Utrecht 
 
 Woodcutter (1479 — 1484). 7. The Bruges Woodcutter (1484). 
 
 Sect. 5. The first Louvain Woodcutter (1475 — 1477). 
 
 In the Block-books the illustrations were the main part ; 
 such text as was carved below or about them was entirely sub- 
 sidiary to the pictorial effect. With the first books printed by 
 means of moveable types the case was absolutely the reverse, and 
 thus a strong line of demarcation separates the two classes, the 
 style of the engraving being no less different than the manner 
 of the printing. 
 
 Gerard Leeu began to print at Gouda in the middle of the 
 year 1477, but it is not till three years later that we find him 
 adorning his books with cuts. Printing commences at Delft on 
 the 10th January 1477 ; woodcut illustrations are -first used 
 there in 1482. And so it was at Louvain. John of Westfalia, 
 abandoning Alost, where Thierry Martens had been working in 
 partnership with him since 1473, is found printing there on 
 the 9th December 1474; and, by the year 1475, John Veldener 
 had arrived from Germany, and set up in the same place. 
 Lastly, Conrad of Westfalia, who had been printing somewhere 
 since the 11th May 1473, is known to have matriculated at 
 Louvain on the 27th February 1476, and printed a book in that 
 town on the 1st December in the same year. Notwithstand- 
 ing this activity, we meet with very few books indeed, printed 
 at Louvain, before the year 1483, containing illustrations — 
 indeed, we may say with none, for the engravings we are about 
 to discuss can hardly be called illustrations. 
 
1 6 HISTORY OF TIIE WOODCUTTERS. [Chap. 2. 
 
 Taken all together, the blocks are fourteen in number ; and 
 this is the list of them, with the date of the first appearance of 
 each appended. They all seem to be the work of one hand. 
 
 John of Westfalia’s Portrait — 21 Nov. 1475. 
 
 Yeldener’s device of two shields and nine other cuts in the 
 Fasciculus Temporum — 29 Dec. 1475. 
 
 The Fleur de Lys — April 1476. 
 
 Conrad of Westfalia’s Portrait — 1 Dec. 1476. 
 
 Maximilian’s Portrait — Nov. 1477. 
 
 The style of the execution of the first four is visibly the 
 same. The last I have not seen. It occurs only in Bruni 
 carmen in adventu Maximiliani. One copy of this is preserved 
 in the Library of the Due d’Arenberg — for the present in- 
 accessible ; another is said to be in the National Library at Paris, 
 but has not been forthcoming when I have been there ; the last 
 leaf of the Cambridge copy is wanting. I am informed that the 
 cut is executed in the same manner as the other portraits. I 
 have spoken of them elsewhere, with rather exaggerated praise, 
 in some such words as the following: — “ There is a boldness 
 and controlled power in them shown in the carving out of 
 the profiles — especially in that of Conrad, bespeaking it at once 
 a real likeness. The main lines are few and simple, but wonder- 
 fully well considered ; at the same time, they are relieved here 
 and there by spaces of fine shade lines, as under the chin and 
 along the eyebrow, giving evidence of considerable fineness of 
 manipulation. The hair is excellent. It comes to me as a 
 welcome example of what good woodcutting should be, stress 
 being laid not upon lines but upon spaces. This it is which 
 marks all great woodcutters, and is seen as much in those 
 designed by Holbein or Diirer as in Bewick’s.” 
 
 In John of Westfalia’s portrait, the background is left blank, 
 the face and neck only being cut out. The outline of the cap 
 is rendered by a white line, which is always a mistake ; and the 
 hair, though good, is not nearly so good as in Conrad’s. The 
 spaces of fine shade which appear in the latter are supplied in 
 the former by thick black lines. Conrad’s portrait is a distinct 
 advance : not only is the work better done, but it is better and 
 more elaborately planned. The head is surrounded by a circular 
 
Sect. 5.] THE FIRST LOUVAIN WOODCUTTER. I 7 
 
 border, of simple but effective design, and the space within it 
 is filled with a network pattern of studied irregularity, which 
 serves to set off the head pleasantly, and yet attracts no attention 
 to itself. 
 
 Both Yeldener and Conrad belonged to the same college at 
 Louvain — the one whose badge was the Fleur de Lys — and 
 they both employ that badge as a kind of printer’s device in 
 their editions of a book by the head of their college, to wit, 
 Maneken’s Epistolares formulae. The tiny cut is very neatly 
 finished, and looks, so far as we can judge of so trifling a thing, 
 to be the work of the same hand. 
 
 The question naturally suggests itself, Is this all that remains 
 of the work of so good an artist ? Where and how did he 
 acquire his skill ? Was he perhaps an engraver, known to us by 
 impressions from anonymous plates, but as yet unrecognised ? 
 In fact, there is no end to the questions that may be asked in 
 connexion with this subject of early woodcutting and engraving ; 
 unfortunately there is an end, and a very quick one, to the 
 answers returnable. In these cuts we have all the characteristics 
 of the work of a skilled engraver’s hand ; but, as it is well-nigh 
 impossible to reason from the style of a wood-cut to that of an 
 engraving, we are compelled to remain in ignorance. 
 
 Yeldener’s device, first used by him 29th Dec. 1475, must 
 also be referred to this artist. It represents two shields, the 
 left bearing the mark of the printer, the right the arms of 
 Louvain; between them is the name Yeldener. He took this 
 with him when he moved to Utrecht, and adapted it for use 
 there by cutting out the arms from the right shield, which 
 thenceforward remains blank. In this state it reappears once 
 more with him when he again moved to Kuilenburg. 
 
 On the 2.9th December 1475 1 , Yeldener published his first 
 edition of the Fasciculus temporum. There is a Cologne edition 
 of the preceding year, u per me arnoldum ther linemen]' illustrated 
 by cuts. These Yeldener, no doubt, took as models for the few 
 
 1 The book is dated 1476, iv. Kal. Jan. secundum stilum romance curice. The 
 Court of Rome began the year at Christmas. Hence the year 1476 is to be con- 
 sidered as haviug begun on 25 Dec. 1475, according to the ordinary reckoning. 
 The date of the book, therefore, is that indicated above. 
 
 C. W. 
 
 2 
 
1 8 HISTORY OF THE WOODCUTTERS. [Chap. 2. 
 
 small cuts which he interspersed here and there with his text, 
 but he cannot by any means be said to have copied them. 
 They are all small, and are not made to fit either the pages or 
 the columns; but they are introduced here and there, and the 
 type is arranged to pad them round. They are worked in 
 simple outline, clean cut and unambitious. The lines, which 
 are not remarkable for fineness or grace of curve, are only 
 the most necessary. A few shade hatchings are introduced, 
 but they too are of the simplest. In two or three of the 
 cuts, representing fortresses or towns, it must be admitted that 
 the mixture of walls and roofs is rather confused, and the 
 perspective is of the vaguest. Still the little bits of foreground, 
 with a tree and a mound or two of earth, are really much better 
 than what is found in their place in most later cuts. The trees 
 are natural, capable of growth, with their foliage arranged in 
 masses and their trunks rough with knobs. They are not in 
 the least conventional. Hardly any use is made of pointed 
 hatchings; thin straight ones take their place. The most 
 important cut of the series is the Salvator mundi ; we meet 
 with it again in more than one of the Utrecht books. The 
 figure is indeed somewhat disproportioned, and the face wanting 
 in expression, whilst the drapery is overloaded with small 
 hatchings which do not conduce to any general harmony of 
 effect. The scroll, too, flying in the air, involved in coils, is not 
 in itself a sightly object. Still the cut, as a whole, must not be 
 condemned ; it is evidently the result of careful work, the lines 
 being evenly, and the main outlines gracefully laid. The 
 balance of it is good and evidently studied, the purpose of the 
 objectionable scroll being, in part, to attain this end. 
 
 It is possible that other work by this woodcutter may exist, 
 but I have not as yet come across any. In April 1476, Veldener 
 produced an edition of Maneken’s Letters, already referred to, 
 which he says it took him the whole month to print. Of this I 
 have been unable to find a copy. One is described by La Serna 1 ; 
 it is said to have been in the National Library at Paris, but 
 
 1 De la Serna Santander, Dictionnairc Bibliographique choisi du xv mt siecle . — 
 Brussels, 1805 — 1807, 3 vols. 8vo., No. 1370. 
 
Sect. 5.] THE FIRST LOUVAIN WOODCUTTER. 19 
 
 was not forthcoming when I asked for it in 1880. Lambinet 1 
 had seen two copies, one of which used to be in the University 
 Library at Louvain, but it is no longer there. M. E. van Even 
 says 2 with reference to this book, ‘La figure du Lys, arme 
 parlante du college du merae nom, dit Lambinet, est gravee au 
 dessous de cette dpitre ; et plus bas, le frontispice du Chateau 
 Cesar. ” A reference to the authorities referred to by M. Campbell 
 under the number 1201 in his Catalogue, has not placed me in 
 possession of any further details ; so that it is only an assump- 
 tion on my part that the cut referred to is a reimpression from 
 one of the blocks made for the Fasciculus. 
 
 When, before 8th Nov. 1478, Veldener moved his presses to 
 Utrecht, he took the whole set of blocks with him, and used 
 them all again there in his Dutch edition of the Fasciculus 
 (14th Feb. 1480). In that book, however, new cuts by a fresh 
 hand make their appearance ; but we never meet with any 
 more made by the same hand as the first series. Veldener, 
 therefore, was clearly not a maker of cuts himself ; he employed 
 workmen in the towns where he happened to be printing. 
 This justifies us in assuming that the maker of the first series 
 was a resident at Louvain, and did not move to Utrecht with 
 Veldener. It is quite possible that he was the same man as 
 the cutter of the portraits. 
 
 Three diagrams of the degrees of relationship are employed 
 by John of Westfalia, in 1480 and the following year, in editions 
 of Andreas super arboribus consanguinitatis, etc. They seem to 
 have been adopted as models by Gerard Leeu of Gouda, for the 
 diagrams in his Seven Sacraments of 1484. Another set of 
 diagrams, eight in number, appears in the Imago Mundi, printed 
 at this press before the year 1483. It is impossible to refer 
 them to any particular woodcutter, as they can hardly be said 
 to possess any style. 
 
 1 P. Lambinet, Origine de V Imprimerie. — Paris, 1810, 2 vols. 8vo. Yol. ii. 
 p. 83. 
 
 2 Bulletin du Bibliophile Beige. — Brussels, 1845 — 1873, 29 vols. 8vo. Yol. i. 
 p. 58. 
 
 O -7 
 
20 
 
 HISTORY OF THE WOODCUTTERS. [Chap. 2. 
 
 Sect. 6. The Utrecht Woodcutter (1479 — 1484). 
 
 The first book in which a woodcut is found, printed at 
 Utrecht during what I may call the second or historical period, 
 is the Sielentroest of 7th May 1479. The cut is an octavo 
 device. It has been much commented upon by previous writers, 
 who have striven to find in it dark hints about the inventor 
 of Printing. The subject is in reality perfectly simple, and 
 the cut is meant, primarily, as an illustration to the book in 
 which it occurs, though, secondarily, also as a device. A teacher 
 and scholar stand on a pavement in the foreground, whilst 
 Moses is represented behind, kneeling on a mountain, in the act 
 of receiving the Tables of Stone. This is, of course, the natural 
 illustration, as Holtrop pointed out, for a book which contains 
 an explanation of the Ten Commandments, in the form of a 
 conversation between a master and a disciple. At the bottom 
 of the cut, however, is a monogram, which has been variously 
 read G 1, and G t; and which, presumably, refers to some new 
 printer. Who he was we have no means of proving. He is 
 only known to have worked during the years 1479 and 1480 — 
 a period which falls within that of Veldener’s activity in the 
 same town ; and he used, as we shall see, cuts by the same 
 hands as those employed by the latter printer. This shows that 
 there was some connexion between the two presses, but does 
 not lead us any further. 
 
 Another device by the same artist, and bearing the same 
 monogram, is found in a second edition of the Sielentroest , 
 printed six months later, 10th Nov. 1479. It represents two 
 shields suspended from branches : that on the left bears the 
 arms of Utrecht with a little figure of St Martin, the patron 
 saint of the town; that on the right the arms of the printer — 
 three hammers on a bend. Unfortunately the name of the 
 family to which these arms belong has not yet been discovered. 
 
 The most remarkable book sent forth from this press, and 
 the last in which cuts are found, is the Boeck des gulden throens , 
 of 1480. It contains, altogether, twenty-five illustrations. Of 
 these, five are from the same octavo block, and represent the 
 
Sect. 6.] THE UTRECHT WOODCUTTER . 2 1 
 
 Elder and the Soul (as a girl) standing before a wall, Christ 
 being seen in the clouds above ; one is a small device with the 
 enigmatical monogram ; and the remainder are impressions 
 from various combinations of three blocks, chosen in turn 
 from a larger number. These blocks consist of a set of 
 octavo architectural borders, within which two smaller blocks 
 can be printed side by side, one representing an Elder and 
 the other the Soul. There are, in all, six Elders, five Souls, 
 and four Borders. This would admit of no less than a hundred 
 and twenty different combinations ; nevertheless, though only 
 nineteen are required, we find four separate combinations 
 occurring twice over, so that out of so large a number of pos- 
 sible changes only fifteen are employed. It would seem then 
 that the object the woodcutter had in view in this curious 
 method was rather to make his work in cutting easier, than 
 to produce variety in his results, the absurdity of repeating the 
 same illustrations again and again not being felt at this period. 
 
 All the preceding cuts and devices were clearly the work of 
 one and the same hand. Their style is very marked. The 
 outlines are fine and sharp, the hatchings thin and not long, 
 separated from each other by considerable distances, and clear 
 of the outlines. Fringed lines are seldom used, lines with 
 edges hacked like a saw, never. The nature of the series, of 
 course, precludes the possibility of having a background, but 
 this is not the case with the octavo cut and the devices. In 
 these the figures stand on simple tesselated pavements, ruled 
 with clear-crossing lines ; behind them is a wall dotted over 
 with short thin strokes, pleasantly irregular in form and position. 
 The background of buildings is necessarily on a small scale, yet 
 the clearness of the lines is none the less remarkable. 
 
 The design of the figures, it must be admitted, is deserving 
 of praise. Their quiet simplicity is pleasing, and a certain 
 feeling of earnestness is discoverable, expressed either in the 
 gestures or the faces. They recall at once the two little cuts at 
 the end of Leeu’s Dialogus of this same year — the “ Man and 
 Woman,” and the “Life and Death.” There is the same child- 
 like naivete ’ the same clearness and simplicity of line and 
 slightness of shade, the same carefulness of workmanship. 
 
2 2 HISTORY OF THE WOODCUTTERS. [Chap. 2. 
 
 When we come to treat of Leeu’s artist we shall notice further 
 relations between them. The draperies are very nicely laid ; 
 there is no exaggeration of fold, no extravagance of any sort. 
 The girl with her dress tucked up into her waistband is 
 particularly charming. Contrary to what is usually the case, 
 the hair is the worst part of all. It is thick and heavy, and 
 hangs more like a sack than a substance wavy and soft. In 
 one or two cases it is prettily rolled back from the ears, showing 
 the round shape of the little head, as in the Exercitium block- 
 book. 
 
 The canopies are a much more elaborate architectural effort 
 than is generally found in other cuts of the early period; but 
 the architecture cannot be called good. The stone is thought 
 of as something bendable and twistable, a flabby devil being in 
 it, sapping its life and strength. As wood-carving, perhaps, it 
 would do a good deal better, but it is not intended for wood- 
 carving; and, if it were, no carved woodwork that takes its 
 inspiration from stone can ever be good. 
 
 Yeldener does not appear to have used cuts made by this 
 hand before 1480. In that year, however, there appear in his 
 possession a certain number of additional cuts made for the 
 Fasciculus , a folio border, two large initials, and a quarto device. 
 We notice in all of these the same simplicity and grace of 
 design, the same clear lines, and the same open spaces between 
 them. In the border and device we discover a greater boldness 
 in the main outlines, but this is naturally accounted for by the 
 enlarged scale. The border, in four pieces, is formed of tendrils 
 with flowers, which are very well arranged. It is quite in the 
 style of the borders which we find in the manuscripts of the 
 period. The curves are gracefully involved, the effect of the 
 whole is harmonious, and the page is ornamented by it, and 
 not, as was usually the case, disfigured. The quarto device is 
 also surrounded by a border cut upon the same block with it, 
 and similar in design to the preceding. It is somewhat more 
 closely packed with details, but their character is the same. 
 Two shields are involved amongst the leaves at the top ; they 
 bear the arms of the printer and those of the town of Utrecht. 
 When this block was at a later time used by Yeldener at 
 
Sect. 6 .] THE UTRECHT WOODCUTTER. 23 
 
 Kuilenburg, the shield of Utrecht was cut out and left blank. 
 The interior of the cut is filled by two lions, who support a 
 blank shield, intended to be painted with the arms of the 
 owner, room being left above for the insertion of two lines of 
 printing. Instances have been found in which advantage was 
 taken of this space to add the name of the person to whom a 
 dedication copy seems to have been given by the printer. A 
 similar leafy ornament is again to be recognised in the large 
 initials found in this book, as well as in the Passionael , printed 
 in the same year. 
 
 Some of the new cuts in the Fasciculus temporum are of 
 considerable interest. In one, Moses is seen over the two Tables 
 of the Law, resting one hand on the top of each. The design 
 of this is altogether similar to that of a large German woodcut, 
 which I saw at Dresden, signed Hans Weygel Formschneider. 
 The copy is however much reduced, and the work is far finer 
 and more careful. It affords another link between Yeldener 
 and the German presses 1 . The cloak which Moses wears is 
 doubled across his chest in simple folds. His face is really 
 noble, the brow large, the mouth firm, the eye dark and keen. 
 The thick hair is massed in careful locks. On the same page 
 with this are printed two more cuts, representing the Ark of 
 the Covenant, and the Golden Candlestick. These are copied 
 from the corresponding prints in the Speculum. Bearing in 
 mind that the new Fasciculus blocks were clearly made after 
 Veldener’s arrival at Utrecht, we have in this fact a further 
 proof that the Speculum blocks did not come into his hands 
 till after he had left Louvain. The Noah’s Ark, which occurs 
 amongst the Louvain Fascicidus cuts, presents no similarity to 
 the design of the same object in the Speculum. 
 
 The little cut of the Building of Rome is not uninterest- 
 ing. The mason kneeling at work on a stone with hammer 
 and chisel, the pile of mortar by his side, his dinner basket 
 and jug of ale, and the three stones put together in front to 
 represent the new wall, are all incidents of a real character, 
 letting us into the everyday life of the time. This can hardly 
 
 1 It must be remembered that Yeldener, in matriculating at Louvain, is 
 described as a native of Wurzburg. 
 
24 
 
 HISTORY OF THE WOODCUTTERS. [Chap. 2. 
 
 be said of the workman in the distance within the town, himself 
 taller than its church spires ; but the poor woodcutter wants 
 to tell you that the town was not finished yet, and is at his 
 wits’ end to attract your attention to the incomplete state of 
 it, so he puts in a man at work, so big that you can’t help 
 seeing him, and expects you to draw your own conclusions from 
 him, without being too critical. 
 
 Peter at the Gate of Heaven is the most ambitious of the 
 series. He stands on a platform, reached from either side by a 
 flight of five steps, with the keys in his hand. He is in the 
 act of putting one of them into the lock to let in a little maid, 
 on whose head he lays his left hand. Two other little people 
 are coming up the steps. Above the gate is a sort of dome, 
 into which you can see through three windows. In the centre 
 is the Most High as King, with sceptre, orb, and imperial 
 crown, surrounded by seraphim. In the left window an angel 
 blows a trumpet, and another plays a stringed instrument on 
 the opposite side. The whole is almost without shade hatch- 
 ings, the outlines being left perfectly clear. A copy which I 
 came across, lightly painted, produced a most pleasing effect, 
 but, when left blank, the appearance is rather spectral. The 
 little figures resemble those in the Boeck des gulden throens ; 
 St Peter is remarkable for his unstately figure, but beaming 
 countenance. 
 
 In September 1480, an edition of the Passionael appeared, 
 in which a large folio cut was introduced opposite to the title- 
 page. We shall afterwards meet with a copy of it at Zwolle, 
 but there the delicacy of the original is quite lost. It em- 
 braces a somewhat extensive landscape, in which the ground is 
 undulating and almost barren, here and there a tiny plant 
 holding its own; the spires of a city are in the distance. 
 The various parts of the print are filled with incidents in the 
 martyrdoms of different saints. Conspicuous in the foreground 
 lies Pope Anastasius, naked but for his tiara, and dragged over 
 stony ground by a rope tied round his feet, which a horse 
 draws. Close by him is St Maurice, impaled on the branches 
 of a tree ; further back, an archer shoots at St Sebastian, and 
 an executioner is ordered by the Emperor Nero to cut off the 
 
25 
 
 Sect. 6.] THE UTRECHT WOODCUTTER. 
 
 head of St Paul. In addition to these, we have a woman 
 scourged, a man thrown headlong from a cliff, St Andrew on 
 his cross, St Stephen kneeling to be stoned while Saul stands 
 by, holding the cloaks of the young men who stone him. 
 St John is seen in his caldron, a woman is being strangled by 
 two others, and in the distance St Catherine is beheaded. All 
 these figures are rendered almost entirely in pure outline ; only 
 a very few shade hatchings are here and there to be found, 
 and they are widely separated from each other. It is the out- 
 lines on which the stress is laid, and they are clearly cut and 
 well chosen. No high order of success is aimed at, but the 
 cut merits the approbation due to all careful, even if mis- 
 directed, work. 
 
 The long series of new octavo cuts, which are only found 
 in the Epistles and Gospels of 1481, present the same general 
 characteristics as the rest. The lines indeed are somewhat 
 thicker, but they show the same firm, painstaking hand, 
 and the bands of wide -severed shade hatchings are entirely 
 like those we have already observed. The subjects are the 
 usual set, but they are treated now and then in a manner 
 differing from the ordinary Dutch types. We may notice a 
 prominent difference, for example, in the “ Expulsion from 
 Eden,” where the artist has introduced in the background the 
 tree of life, and among the branches the Child Christ, in swad- 
 dling clothes, as the fruit of it. I do not know whether this 
 was a typical treatment in any German district, or whether the 
 innovation was made by the artist himself. If, as I believe, 
 the latter was the case, we have evidence that he was not only 
 a careful worker, but a thinking man — admirable alike for both 
 qualities. 
 
 At what date Yeldener moved his press to Kuilenburg is 
 unknown, but we find him printing there on Cth March 1483. 
 In September of that year he published the quarto edition of 
 the Speculum , illustrated with the original blocks that had 
 already appeared in the block-books, and with twelve new cuts 
 made in imitation of them. For some time I did not know to 
 what cutter these should be referred, but, after making a careful 
 study of those above described, it became evident that they 
 
26 
 
 HISTORY OF TIIE WOODCUTTERS. [Chap. 2. 
 
 also were the work of this Utrecht woodcutter. His leading 
 characteristics, as has been said, are the clearness of his outlines 
 and the fewness of his shade hatchings, which are always laid 
 widely apart, the effect of his cuts, as a whole, being that of 
 drawings with a fine, hard pen. But these also are conspicuous 
 as the leading traits in the twelve new cuts. The figures are 
 designed in the same style as before, the drapery hanging in 
 simple folds, with its main outlines vertical ; the faces have 
 the same clear-cut features and the same naive expression ; the 
 same gestures, even, as some of those in the cuts in “G Y s” 
 hooks can be observed. As a similarity easily verified, I may 
 mention the lion that Bananias slays, compared with those in 
 the quarto device. The new cuts, it must be observed, were 
 intended to resemble the old blocks which form the bulk of 
 the book, and they had to be modified accordingly. This gives 
 rise to certain variations from the usual style of the artist ; but, 
 on closer examination, they are seen to be quite superficial. 
 The most noticeable of the set is the Death of Absalom. A 
 number of knights advance at full gallop, and two of them pierce 
 the rebel’s body with their lances as he hangs in a tree. The 
 animation of this group, the naturalness of their gestures, and 
 the excellent drawing of the horses, are worthy of all praise. 
 
 We have indeed in this work almost the last production of 
 the old school of clear line work. Leeu’s First Gouda cutter 
 is also a follower of this style, though he never attains to 
 the same purity of execution. He was a contemporary of the 
 Utrecht cutter, and they may be bracketed together as the last 
 workmen of the old school. The system of working in pure 
 outline, which the fathers of woodcutting had adopted, was a 
 false one, because it could only be brought to perfection by 
 great labour and care entirely disproportionate to the result. 
 Excellence could only be attained in it as a tour de force; and 
 all tours de force in art are wrong, at any rate when they 
 are made the aim of a school. The false principle, however, 
 does not require combating, for it slays itself. The time comes 
 when second-rate or careless workmen take the place of the 
 real artists to whom the invention was due, and their careless- 
 ness proves the death of the false principle. Hereafter wc shall 
 
THE UTRECHT WOODCUTTER. 
 
 27 
 
 Sect. G.] 
 
 see the outlines ever less and less insisted upon, and the shade 
 hatchings constantly multiplying, till the block is filled with 
 black lines and spaces; and then, when the real artist comes, a 
 new start can he made in the right direction. In bidding fare- 
 well to the old school, we leave behind also all that careful 
 striving after truth and life, which shows itself here in the 
 curving of the horse’s neck, the rounding of his nostril to snuff 
 the breeze, and the mouth impatiently champing the bit. 
 Hereafter we have mostly to do with purely conventional treat- 
 ment, though now and then a ray of light may cross our path, 
 revealing some momentary struggle after truth of form or 
 naturalness of movement. 
 
 In 1484 Yeldener printed, apparently at Kuilenburg, the 
 Kruidboeck in dietsche , a Dutch translation of the Herbarius. 
 This was illustrated by no less than a hundred and fifty cuts of 
 flowers. They stand on a different footing from other illustra- 
 tions, and so I have separated them from the rest. Two Latin 
 editions of the book were afterwards printed, either by Yeldener 
 or some other printer; one of them has Yeldener’s mark, the 
 other is in the same type. Into the vexed question of the date 
 and origin of these books it is not my intention to enter, the sub- 
 ject being a purely typographical one. The cuts were clearly 
 enough made for Yeldener in 1484, and, as seems probable, 
 by the Utrecht cutter. They are, for the most part, fairly 
 accurate copies in reverse of those found in the Latin edi- 
 tion published by Schoeffer at Mainz, in 1484 1 . The designs 
 are therefore not due to our woodcutter, and the execution is all 
 that we have to deal with. This does not call for much remark. 
 The lines are somewhat thicker than those which the artist 
 usually employed, but they are carefully cut nevertheless, and 
 they succeed in producing quite recognisable pictures of the 
 plants intended. As botanical illustrations, of course, they are of 
 little value, the roots being often purely conventional, and the 
 forms of the leaves only vaguely imitated from nature. Still, at 
 the time they were made, they must have been a great advance 
 upon anything which had appeared before them, and the un- 
 doubted popularity of the book can be well enough understood. 
 
 1 Holtrop, Monuments, p. 111. 
 
28 
 
 HISTORY OF THE WOODCUTTERS. [Chap. 2. 
 
 Sect. 7 . The Bruges Woodcutter (1484). 
 
 Bruges, as we know, was one of the most prosperous towns 
 in Northern Europe during the period with which our investi- 
 gations are concerned. It was the home of a strong and healthy 
 school of art, both in printing and illuminating. We might 
 therefore have been led to expect that here the new method of 
 woodcutting would have flourished. But the fact that this was 
 not the case affords a conspicuous confirmation of the statement 
 that the woodcutters did not work for the wealthy, or in connexion 
 with the artists employed by the upper classes, but formed a class 
 by themselves, and worked for a humbler public. Two printers 
 are known to have exercised their craft within the walls of the 
 town. Colard Mansion printed there from 1476 to 1484; and 
 John Briton published at any rate one book about the year 
 1479. Two other books are known to have come from his 
 hands about the same date. Yet amongst all these publications 
 only one was illustrated with woodcuts, and that was the last 
 printed by Mansion just before his mysterious disappearance. 
 
 The engravings with which he embellished the Boccaccio of 
 1476 are now well known ; but it does not fall within the com- 
 pass of my present objects to enter into a detailed description of 
 them. They seem to have been an afterthought, the earliest 
 copies extant of the book having no places left for them. It 
 appears that Mansion cancelled the first leaf containing the 
 prologue, and reprinted it so as to leave room for an engraving 
 at the head of the page, representing the author dedicating his 
 book. At a later time he seems further to have cancelled the 
 first leaves of all the books, except those of Books I. and VI., and 
 to have re-issued them with spaces for engravings. The plates 
 employed were by a different hand from the first, and that was 
 re-touched by the second hand to match the rest. Lastly, we 
 find an issue with engravings at the head of all the Books, 
 except the first, as well as of the Prologue. The engravers 
 
THE BRUGES WOODCUTTER . 
 
 Sect. 7.] 
 
 29 
 
 appear to have been local artists ; wc do not know of any other 
 work by either of them 1 . 
 
 In 1477, Mansion first made use of a device. It consists of 
 a small shield, with the monogram C M, the C being repre- 
 sented by a crescent lying on its back under the M. So far as it 
 is possible to judge from the impressions, the material of which 
 the block was composed was metal. The lines are too fine,. and 
 preserve their freshness too long, to have been cut in wood. In 
 the month of May 1484, a moralized translation of Ovid’s Meta- 
 morphoses was issued. Mr Bradshaw discovered a number of 
 copies of this book differing in certain particulars 2 from the 
 general run of the copies. These he considers may have been 
 the work of Jean Gossin, a bookbinder, who took Mansion’s 
 rooms after his disappearance in 1484. We know that Gossin 
 paid the rent which was overdue from the printer ; and it has 
 been supposed that in return for this he received his press and 
 other materials, with a certain number of the printed sheets of 
 this book. But, whoever he was, he issued a reprint of the miss- 
 ing sheets, and thus formed the edition which must be called 
 the second, though it bears the same date as the original. It 
 does not contain Mansion’s device. 
 
 Both editions were illustrated by thirty-four cuts, of which 
 seventeen are quartos, and the remainder occupy in each case 
 about two-thirds of a large folio page. The whole form one 
 series, made expressly for the book, and all by the same hand. 
 Sixteen of the quarto cuts represent figures of the Roman Gods, 
 and the remainder incidents in mythological story. It is obvious 
 that the cuts were copied from designs which possibly were not 
 made with that object in view. All the figures are the wrong 
 way round, left-handed, their swords girt on the wrong side, and 
 so forth. This marks the woodcutter as an unpractised hand. 
 The designs are not remarkable for any great refinement or 
 grace, the figures being somewhat stiff and misproportioned, 
 and the perspective always wrong. The grouping is loose, the 
 figures are all disconnected and wanting in balance, whilst, 
 
 1 See two articles by Professor Sidney Colvin in L'Aj't, 2nd vol. for the year 
 1878, pp. 149, 180. 
 
 2 Campbell, Annales, No. 1348, note. 
 
HISTORY OF THE WOODCUTTERS. [Chap. 2. 
 
 30 
 
 at the same time, a great deal of space is wasted. There is an 
 absence of refinement about the whole series, which is the more 
 remarkable in the workshop of so educated a man as Colard 
 Mansion. The draperies are not gracefully laid, their outlines 
 being rude ; they are not, however, stiff. The faces are wanting 
 in expression, but they are not ugly. The gestures are naturally 
 stiff, the figures being hardened into wooden blocks, about which 
 the clothes seem to wave in the wind. One instance of childish 
 weakness in perspective may be noticed ; it occurs in the pic- 
 ture of Arachne and Pallas. The interior of a room is depicted, 
 in which women are doing needlework. The pavement is made 
 of square tiles. These are rendered by lines at right angles to 
 each other, dividing the lower portion of the cut into the like- 
 ness of a chess-board, and giving the floor the appearance of 
 a vertical wall. 
 
 So far as the woodcutting is concerned, the lines, though 
 rather stiff, are clearly and cleverly cut. They do not bulge 
 or bend, but where the cutter intended them to lie there they 
 are set. They are not hurried in the cutting; at the same 
 time, they do not present any indications of a carefully-studied 
 working out of line, like the blocks of the Canticum. The 
 outlines are generally supported by fringes or bands of hatch- 
 ings. The spaces between these hatchings are not very narrow, 
 so that the general effect of the cut is light. It is not 
 streaked with bands of black, ruled with fine light lines, but 
 with bands of black lines, each well separated from its neigh- 
 bour. The short hatchings are not pointed, but uniformly thick 
 in their whole length. The execution is marked by openness 
 and simplicity. There is no aim at any success of a high 
 order, — all that was desired was a set of outline prints, lightly 
 shaded, and capable of after illumination. In looking at this 
 series one is reminded of the style of the Second Utrecht cutter, 
 for the way in which the open shade hatchings are combined 
 with clear-cut outlines is common to both. 
 
 Did Colard Mansion make the woodcuts himself ? We know 
 that he had relations with Gerard Leeu, and so would verv 
 likely have chosen his cuts for imitation ; moreover, we find no 
 more cuts by this hand. Combining this with the evidence in 
 
Sect. 7.] THE BRUGES WOODCUTTER. 3 1 
 
 the cuts themselves of their having been made by an inex- 
 perienced workman, it does not seem impossible to imagine that 
 he was none other than Mansion himself. That he had some 
 skill of hand we know from the fact that he was a calligrapher 1 
 before the time when he took to printing. 
 
 1 Holtrop, Monuments , p. 58. 
 
CHAPTER III. 
 
 LEEU’S EARLY WORKMEN AT GOUDA AND ANTWERP. 
 
 (1480—1491.) 
 
 8. The First Gouda Woodcutter (1480 — 1484). 9. The Second 
 
 Gouda Woodcutter (1482 — 1484). 10. The First Antwerp 
 
 Woodcutter (1485 — 1491). 
 
 Sect. 8. The First Gouda Woodcutter (1480 — 1484). 
 
 The style of woodcutting which characterises the workmen 
 of our first group was likewise employed by the first of the 
 men in the group now to be considered. It might, in 
 some respects, be more scientific to include the First Gouda 
 woodcutter in the first group ; but it is certainly more con- 
 venient to connect him with the other woodcutters employed by 
 Gerard Leeu. 
 
 Amongst Dutch printers Leeu was in many respects the 
 most important. Not only does he use more woodcuts and 
 employ more woodcutters than any other ; but he himself is the 
 most typical printer of all his contemporaries, presenting visibl} 7 , 
 in the productions of his press, the various signs of progress or 
 decay, which marked the arts of the printer or woodcutter. He 
 seems to stand out as a real man from among the somewhat 
 ghostly assemblage of his contemporaries, who are to us 
 names and little more. But Leeu is a reality. He is a man 
 with whom we can to some extent sympathise, because he 
 makes himself visible to us as a human being, working in a 
 quite understandable fashion, learning first from one brother 
 
Sect. 8.] THE FIRST GOUDA WOODCUTTER. 33 
 
 printer and then from another, borrowing cuts from one man, 
 lending them to another, selling off his old types to a less suc- 
 cessful office, moving about, like many of his contemporaries, to 
 find the best scene of operations, evidently preserving relations 
 with more than one foreign printer — visibly an energetic, hard- 
 working man, above most — a passionate man, withal, as we may 
 chance to find out — a man at any rate worth turning our glass 
 on in this distant assembly. Indeed, as I have said, Gerard 
 Leeu was the central figure among the printers of his day, 
 and none of them all deserves a statue so well as he. Several 
 noticeable woodcutters worked almost exclusively for him; but, 
 before noticing them, it may be well to trace out what we know 
 of the master printer’s career. 
 
 Nothing is heard of him before the year 1477, when he 
 published at Gouda an Epistles and Gospels and five other 
 books. He appears to have belonged to a family well known 
 in his town, members of which had occupied various municipal 
 posts of honour. On the 3rd June 1480, he published his first 
 edition of the Dialogus creaturarum moralisatus , illustrated by 
 numerous woodcuts. The book was so popular that no less 
 than six editions of it were called for between the years 1480 
 and 1482. During this period he used two sorts of type : the 
 first was very soon abandoned ; the second never appears at 
 Gouda after 1482, but, at a later date, it is found at Zwolle, 
 in the possession of Peter van Os. For some months we do not 
 meet with any book from Leeu’s hand. Other printers were at 
 work in the same town — notably Gotfridus van Os or Govaert 
 van Ghemen, and possibly more besides. Still, with Gotfridus 
 he was on terms friendly enough, lending him his cuts and 
 borrowing from him in return. About the end of the year 
 1482 he began to think of moving to some wider scene of 
 operations, and, with a view to this, he appears to have got 
 rid of all his old materials, and to have made, or had made, 
 for himself three entirely new sets of types. With these he 
 began to print on the 1st Dec. 1483. 
 
 On the 10th day of the same month Jacob Bellaert began 
 to print at Haarlem. His materials comprised a set of one of 
 these same new types of Leeu’s, and a portion of his series of 
 c. w. 3 
 
34 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 quarto cuts. The connexion between the two presses was thus 
 very close, and it is best to regard the Haarlem press as a branch 
 of Leeu’s. The last of Bellaert’s books bears date 20th Aug. 
 1486. After its publication he seems to have closed his esta- 
 blishment and sent all his materials, except a few that went to 
 Leyden, to Gerard Leeu. 
 
 On 19th June 1484, Leeu printed his last book at Gouda, 
 and then set out to find a place better suited for his work. 
 He appears to have gone first to Bruges 1 , having probably 
 heard of Colard Mansion’s failure, and taken some steps towards 
 setting up there himself. This came to nothing, and he went 
 on to Antwerp, where he was destined to spend the remainder 
 of his days. On 18th Sept. 1484, he prints his first book — 
 a Gemmula vocabulorum — in that town, and, from this time 
 forward, his work proceeds regularly to the day of his death. 
 His name occurs on the books of the guild of St Luke, in the 
 year 1485. The documents of this guild exist as far back as 
 1442. The names include those of painters, sculptors, glass 
 founders, illuminators, printers, “ heilige-printers, figur-printers, 
 beeldeken-printers,” and others 2 . 
 
 Leeu seems to have had a brother, named Nicolas, working 
 with him, for, in the year 1487-88, we find four books, the 
 imprints of which bear that name, though the type and cuts, 
 and even the device, as well as the style of printing, are iden- 
 tical with those of Gerard. It may be considered certain that 
 they worked together in the same shop, but that, in the case of 
 these four books, the whole of the work was done by Nicolas, 
 who therefore appended his own name to them. 
 
 In the Bulletin du Bibliophile Beige I find an entry, quoted 
 from an “Acte de reconnaissance d’un cens re^u par les 
 echevins de Louvain.” It says 3 : “ Item Johannes de Aken 
 commorans Lovanii et magister Gerardus de Leeu impressor 
 librorum commorans Antwerpie.” Without further informa- 
 tion it is impossible to say to what this refers. Was Leeu 
 thinking of moving again ? or does this merely record some 
 
 1 Campbell, Annales , No. 1492, note. 
 
 2 Bulletin du Bibliophile Beige , i., p. 75. 
 
 3 “ Acte du 23 fev. 1487, 1 re cliambre ^chevinale.” 
 
35 
 
 Sect. 8.] TUB FIRST GOUDA WOODCUTTER. 
 
 transaction between him and the Louvain printer ? At all 
 events, if he had formed the intention of moving again, he 
 never carried it out. He was in the right place at Antwerp, 
 with every advantage that frequency of communication with 
 foreign parts could give him. He published books both in 
 French and English — the latter, reprints from those of William 
 Caxton, with whom he appears to have maintained close 
 relations — and, in fine, he occupied a position of the highest 
 respectability 1 . In the year 1493, he undertook the publication 
 of a reprint of the Cronycles of the Londe of Englond. While 
 this was in progress a workman of his, one Henric van Symmen, 
 a graver of letters {letter stekere, dair men hoecken mede print), 
 in a quite nineteenth-century fashion, struck work and de- 
 termined to set up on his own account “om meerder winningen te 
 doeneT Upon which, the story goes, Master Gerard became very 
 angry, as well he might, and from high words passed to blows, 
 striking at the unlucky type founder, who, however, in turn, 
 accidentally, as it were, “ denselven meesteren Geerde een cleyn 
 steecxken gaf in syn liooft ,” — gave him a very slight poke in the 
 head. The result of which “cleyn steecxken ” was that Master 
 Gerard lay for three days at the point of death, and then died. 
 The workman was brought before the judge on the charge of 
 killing his master ; but was allowed to make composition 
 for his offence in the amount of forty gulden, to be paid into 
 the Duke of Burgundy’s exchequer 2 . The Cronycles of the 
 Londe of Englond were finished by the workmen in Leeu’s 
 office. They added at the end of the book, “Here hen endyd 
 the Cronycles of the Reame of Englond, with their apperteig- 
 naunces. Emprentyd in the Duchy e of Braband, in the towne of 
 Andewarpe. In the yere of our Lord, M.cccc.xciii. By maister 
 Gerard de Leew, a man of grete wysedom in all maner of 
 kunnying : which nowe is come from lyfe unto the deth, which is 
 
 1 For further information see three articles by Messrs. Yan der Meersch and 
 Campbell, Bulletin du Bibliophile Beige , iii. 7 ; iv. 4; vi. 1. 
 
 2 The story is told in the registers of the court — Register No. 12904, Compte 
 de l’4coutete d’Anvers de la St Jean a la Noel 1493 — quoted at length by 
 M. Ruelens, Annales du Bibliophile Beige et Hollandais, Brussels, 1864, 8vo. 
 page 7. 
 
 3—2 
 
3 ^ 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 grete harme for many a poure man. On whos sowle god 
 almighty for hys hygh grace haue mercy. AMEN 
 
 All Leeu’s plant was scattered after liis death : some of 
 it went to Liesveldt, who may practically be considered to 
 have succeeded him at Antwerp; some reappears, at a later 
 time, with the Collacie Broeders at Gouda ; a large number 
 of cuts went to Peter van Os at Zwolle; the woodcut device of 
 the castle of Antwerp was afterwards employed by Thierry 
 Martens. Nothing more is heard of Nicolas Leeu ; the name 
 henceforward disappears from the community of printers. 
 
 We have seen that Leeu began to print at Gouda in 1477. 
 With the exception of a small device which may practically 
 be disregarded, he uses no woodcuts before 1480. In that 
 year he prints his first edition of the Dialogus creaturarum 
 moralisatus, illustrated by no less than 121 cuts. All these 
 were by the hand of the woodcutter with whom we must now 
 deal. They represent the various natural objects, plants, birds, 
 beasts, and fishes, with which the dialogues of the book are 
 concerned. Each cut is broad and short, measuring, on an 
 average, about 4 inches by If. A few larger ones are found 
 here and there, but they are the exception. One of these 
 is on the first page, which, in addition, contains a big initial 
 letter, and is surrounded by a folio-border in four pieces. The 
 idea of the whole is clearly taken from the beginning of 
 Veldener’s Fasciculus of 1480, which is also surrounded by a 
 border, and ornamented by a woodcut capital letter. Nor is 
 this the only instance of imitation ; for both Leeu’s Gouda 
 devices were clearly suggested by those of the same printer. 
 The style of execution of both was also very similar, and I 
 incline to the opinion that Leeu’s was a pupil of Veldener’s 
 workman. Both are purely line engravers, working in wood. 
 We are happily enabled, in the case of this series of cuts, to 
 find out something of the woodcutter’s method of working. 
 By a careful series of measurements, it may be shown that 
 every two or three consecutive cuts were originally carved on 
 a Ions' narrow block, which was afterwards divided. Thus each 
 of the groups formed of the cuts numbered in my catalogue 
 4, .3, & 2 : 5, 7, & 8 : 12, 14, & 15 : 18, 20, & 23, were carved 
 
37 
 
 Sect. 8.] THE FIRST GOUDA WOODCUTTER. 
 
 on a block together. Such, too, was the case with many pairs — 
 as, for example, Nos. 27 & 28, 30 & 31, 35 & 36, 53 & 52, 54 & 55, 
 and so forth. It is quite possible that a more patient observer 
 would prove the blocks to have been originally joined above and 
 below, as well as end to end ; but this I was not able to effect. 
 
 The whole series is quite clearly by the same hand. Here 
 and there slight changes of style may be observed, but they 
 mark the action of a hand which is essentially tentative, 
 striving to find its way, careful but uneducated, willing to 
 learn, ready to imitate any good work ; but never hurried, 
 never attempting to supply its deficiencies by any tricks or 
 pretences — a straightforward, plain-speaking, hard-working 
 artist, painstaking, but of no great talent, and possessed of 
 no deep fund of original resources. He borrows, as we have 
 seen, from Veldener’s Utrecht cutter, not only hints about 
 design, but a style of woodcutting, to which he closely adheres. 
 It is a style of the purest outline, almost entirely without 
 shade hatchings. These are only here and there introduced, 
 and then they are kept wide apart from each other. The 
 last cut but one, representing Man and Woman, recalls very 
 strongly, in style of execution, the pretty little series of cuts 
 in the Book of the Golden Throne , by the unknown printer 
 “ G 1” of Utrecht — cuts which, it will be remembered, were by 
 the Utrecht woodcutter. This Gouda workman is by no means 
 without power. If the designs also were his, he must have 
 been a man of real originality. He is, however, held in by 
 the materials with which he has to deal, and which he cannot 
 reduce to subjection to his will. He is like a stammerer carried 
 away by enthusiasm, whose words find their way out anyhow, 
 but are often all the more impressive for their evident earnest- 
 ness. So now and then he bursts through his bonds, and attains 
 a real success. He has, for example, a picture of the Wind 
 (No. 7), represented by the face of a man blowing vigorously 
 with distended cheeks. So far as the face itself goes, there is 
 no lack of expression. Nothing could render with more simple 
 success the intended idea. And the beauty of it is, that the 
 whole thing is finished with two or three lines. But the artist 
 wants to shew the effect of the wind, and, for this purpose, he is 
 
38 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iii. 
 
 obliged to introduce clouds : a wind must blow something. But 
 here comes the difficulty. Men had, for centuries before his 
 day, been learning to draw faces, and he received the heritage of 
 all the labour of his forerunners, enabling him with ease to 
 represent a face by an abstraction of a few lines. But clouds 
 are quite a different thing. You cannot get a wind-rent cloud 
 to stand still, you cannot represent its furred outline melting 
 away against the blue sky, or riven into wreathed scrolls by the 
 gale, as a thick black curve. In fact, it has taken generations 
 of hard-working men to learn how to draw clouds at all. So 
 that our poor woodcutter was here fairly at his wits’ end, and 
 had to confess it, and quietly to take a symbol of zigzag 
 lines which others had used before him, and, casting them a 
 little more free than usual, say thereby, ‘ You know what a 
 cloud is like, as it races before the wind ; fill all this up for 
 yourself.’ Speaking generally, he succeeds better in dealing 
 with figures at rest than with those in motion. He has not the 
 ready eye, which observes and fixes the bending folds of a robe 
 or the changing gestures of the body. 
 
 We may observe several instances of his making trial of 
 some new treatment for grass or ground, and adopting it in 
 a modified form. It is this which marks him as a progressive 
 artist. In one instance — the inside of a bucket — he introduces 
 some shade, and renders it with cross-hatchings. But he never 
 tries them again : shade is beyond the range of his powers. His 
 knowledge of perspective is never very great. His houses do 
 not stand firmly — though, happily for him, he more often has to 
 draw them tumbling down. Where he shews his power is in 
 finding out the critical lines in any object. He distinguishes 
 with great success between one bird and another, drawing both 
 only in outline. You can generally tell exactly what animal he 
 means. With three lines he produces an owl, which you cannot 
 possibly mistake for any other bird. He thinks he has done 
 almost enough with his- crow when he has made him black, but, 
 in order to be quite sure, he outlines his wing correctly with a 
 white line. As a rule, what he does is to seize on one charac- 
 teristic feature and render that, leaving the rest for the spec- 
 tator to supply for himself. 
 
Sect. 8.] THE FIRST GOUDA WOODCUTTER . 39 
 
 He made also a set of square cuts, rather too broad for 
 the ordinary quarto page, representing the Last Four Things 
 — Death, Judgment, Hell, and Heaven. The style of these is, 
 in all respects, similar to that of the Dialogues series, but on a 
 larger scale. The figures introduced are much taller, and show 
 a more ambitious attempt at grouping, and slightly more anima- 
 tion in the figures themselves. The designs are quite simple, 
 there being a great deal of space left unoccupied. The method 
 of working is again in pure line, only a few very widely sepa- 
 rated shade-hatchings being added down the legs, and here and 
 there on the draperies. It is a remarkable thing that the book, 
 in which, so far as we at present know, these cuts first appeared, 
 was the Quatuor novissima, printed by Arend de Keysere at 
 Audenarde, about 1482. This is the more strange as it is the 
 only known case of a connexion between the printers of Auden- 
 arde and Gouda. The same set of cuts was copied for Peter Yan 
 Os by the Second Zw r olle cutter. 
 
 Another similar set of four square quarto cuts was made, to 
 illustrate a History of the Seven Wise Men of Rome. They are 
 entirely in the style of the preceding four, and belong quite 
 clearly to the same hand and date. They occur for the first 
 time in an edition printed at Gouda, at the anonymous press 
 from which, in 1484, came the Epistelen ende evangelien, and, at 
 some unknowm date, the Teghen die strael der minnen. The 
 printer of all three was probably, as we shall see, Gotfridus 
 de Os. No complete copy of the first edition exists. The one 
 at Haarlem wants a few pages, and, amongst them, one which 
 must contain the first cut. The others occur, in a later state, in 
 the edition of the book printed by Leeu, some time before 1483. 
 The background of the second cut, which contained a shaded 
 wall and a tesselated floor, has been cut away, and the other two 
 blocks show signs of considerable wear and tear. 
 
 We are able further to separate ten folio cuts as the work of 
 this hand. Unfortunately we never find them all together, 
 and some of them appear for the first time at Zwolle. We 
 know that when Leeu gave up the materials of his first press, he 
 sold a portion of them to Peter Yan Os. The Dialogus series 
 he retained for himself, the two sets of quartos were laid aside 
 
40 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 as no longer serviceable, whilst the folios went, along with the 
 founts of type, to Van Os. They were made to illustrate the 
 Gesta Romanorum, with the exception of the last, which is only 
 found in a Sielentroest : it is, however, I believe, a Gesta Roman- 
 orum cut. The only way to account for the fact that Leeu uses 
 but six of them, in his edition of the book, is by assuming that 
 the remainder were not finished in time. He may quite pos- 
 sibly have published a second edition, of which we have no 
 record, but where the whole set would be found complete in its 
 right order. 
 
 The subject of each is the whole story contained in a chapter 
 of the book. All the principal incidents in it are represented 
 by different groups. Usually no attempt is made, by separating 
 them in compartments, to shew that the same people occur 
 over and over, but all the incidents are grouped together and 
 represented as one large gathering of people. Now and then 
 one event is divided from the others, being seen through an 
 archway, or in the interior of a house. Twice the block is 
 divided into compartments, each of which is treated as a sepa- 
 rate picture from the rest. The point of sight is placed very 
 high, the views being arranged somewhat as though seen out 
 of a balloon. The figures in the background are raised over the 
 heads of those in front, in a manner which usually characterises 
 the work of very untaught schools. It is rather surprising 
 to find this method in use at a time when Memling was living, 
 and when a school of painters, strong at all events in technical 
 power, was spread through the country. 
 
 The woodcutting is as careful here as in the Dialogus , the 
 lines being as clear-cut and as thoughtfully laid. In this case, 
 however, the difficulties encountered were much greater, because 
 of the large number of figures to be represented, and the neces- 
 sity of grouping and balance. The faces, especially those of the 
 women, are charming in their simplicity. The gestures are 
 natural, as far as they go, the drapery is very well arranged, 
 without any complexity in the folds. The general effect 
 is decidedly pleasing. There is no elaboration of detail; 
 nothing is attempted that cannot be attained. It is like the 
 work of a very careful and painstaking child, with all its sim- 
 
Sect. 8.] THE FIRST GOUDA WOODCUTTER. 41 
 
 plicity. There is hardly any shade added ; the outlines, as a 
 rule, are left quite plain, and intended only as a guide for the 
 painter. Nothing more is known of this woodcutter after 1482, 
 when Leeu’s first press comes to an end. In that year we meet 
 with a new set of cuts, marked by certain fresh characteristics, 
 and which must, for the present, be referred to a fresh hand. It 
 is not impossible that they may merely represent a stage in the 
 transformation of this woodcutter’s style ; but such an as- 
 sumption we may not make. For us, a new style must be also 
 a new hand. It is easier afterwards to combine than to divide. 
 
 Sect. 9. The Second Gouda Woodcutter. 
 (1482—1484.) 
 
 On the eve of St John the Baptist in June 1482, Leeu 
 printed his fifth edition of the Dialogus. In the previous 
 editions, the three consecutive dialogues relating to Two Metals 
 were illustrated by the same woodcut, printed three times over. 
 It was a particularly simple one, and represented merely two 
 bars of metal lying side by side, enclosed within a double border 
 line. The bars were drawn in perfectly plain outline, without 
 any addition whatsoever. This time, however, an impression 
 from a new block takes the place of one of the three, and 
 contrasts strongly with the others. For the outlines are no 
 ' longer so even ; the edges are rather furry ; they are not so 
 carefully cut as before; and, in addition, the lines are supported 
 by a long row of short pointed hatchings, meant to throw the 
 bar into relief. But the real cause of them lay much deeper 
 than this. All the woodcuts we have so far investigated have 
 been essentially work in line. The figures, buildings, trees, 
 grass, and so forth, have all been carefully represented by pure 
 outlines. There has very seldom been any attempt to produce 
 effects of light and shade. The artists were content to render 
 simple flat form, and found even that more than they could 
 
42 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 attain. All their care was required to carve away the wood 
 cleanly, and to leave the line they intended standing with clear, 
 well-finished edges. Their ideas of woodcuts were founded 
 on line engravings. The complexity of the latter was more 
 than they could attempt to render in a less tractable material, 
 and by an inverse process. But still, while omitting all the 
 details they could, they adhered to the general principle and 
 worked in lines, never observing that to produce them they 
 had to dig out spaces, and that in spaces therefore their work 
 should have been, — that their aim should have been to produce 
 a combination of flecks of white, pleasing to the eye, and, at the 
 same time, representing the forms and figures which they 
 desired. 
 
 But any false system carries in itself the seeds of its own 
 decay ; and this is no less true in art than in other matters. 
 The system of digging out large masses of wood, to produce a 
 few graceful curves, was one which involved the maximum 
 of care and attention and produced the minimum of effect. 
 It was therefore one which no great man would waste his 
 energies in following, and no mean one would restrain his 
 wandering attention long enough to perfect. Thus the great 
 men abandoned woodcutting, and devoted themselves to en- 
 graving on metal, and the little men abandoned the system of 
 woodcutting in its simplicity, and produced more and more 
 frightful things; but this tended more and more to the dis- 
 covery of the right method. The trouble of cutting away so 
 much wood, no less than the fragile nature of the ridges formed 
 in such slender relief, led woodcutters gradually to leave more 
 and more of the original surface intact, but their false notions 
 induced them to arrange it in lines. 
 
 From this cause arose the fringe-lines, comb-lines, and the 
 like, already more than once referred to, in which a long outline 
 is flanked by a row of mechanically formed hatchings, generally 
 pointed, always meaningless. The idea of them is that they 
 represent solid form. But they do not, and cannot ; and, from 
 the moment of their introduction, they are tbe seeds of decay, 
 gradually destroying all that had been noble, if childishly so, 
 in the early art, and producing, at best, merely a ground pre- 
 
43 
 
 Sect. 9.] THE SECOND GOUDA WOODCUTTER. 
 
 pared, as it were by manure, for the growth of a strong and 
 healthy crop. This, however, did not show itself in the Nether- 
 lands, but in South Germany, in the first half of the following 
 century 1 . 
 
 Now, the woodcut of the Two Metals marks for us the 
 change, and the date of it. The workman who made it was 
 not a careless man — not by any means careless ; so he shows us 
 all the more visibly the inevitable tendency. He seems, as 
 we shall see, to have taken his inspiration from engravings. 
 All his cuts would be right enough if they were worked in furrow 
 instead of in relief. But they are not in furrow, and therefore 
 they are false in principle. 
 
 We find the man engaged with a more extensive under- 
 taking on July 29th of the same year, 1482, when Leeu 
 prints a Lideii ende passie ons Heeren, illustrated by thirty-two 
 quarto cuts. We have good reason to believe that these cuts 
 had already appeared once before. The questions raised by 
 them are so numerous and interesting that it will perhaps be 
 better to approach them from a different direction. 
 
 There are in the Print Boom of the British Museum three 
 small engravings, preserved amongst the anonymous prints of 
 the fifteenth century. They represent the Baptism of our 
 Lord, Christ washing the Disciples’ feet, and Pentecost. All 
 of them are by the hand of a master of the school of E. S. of 
 1466. A somewhat larger print of the Mass of St Gregory, 
 kept in the same case with the others, is by the same hand. 
 The engravings are marked by a very noticeable softness of 
 tone, due, not only to the fineness of the lines, but to the 
 light grey ink employed in the printing. The outlines are 
 usually firm, and the shading presents all varieties of tone, 
 from the lightest covering of finest lines to perfectly black 
 spaces. The faces are generally expressive, the features being, 
 however, somewhat coarse, the noses large, and the lips thick. 
 The hair is usually excellent, especially when it is worked 
 out in a profusion of curls. The extremities are badly drawn, 
 
 1 For an excellent general criticism of the style of design of the central 
 artist of this school — Hans Holbein — see Ruskin, Ariadne Flore ntina , Orpington, 
 1876, 8vo. Chaps. HI. and V. 
 
44 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 though quite in the manner of the school ; the wrists, for 
 instance, are far too thin for the breadth of the knuckles. The 
 limbs, on the other hand, are unusually well drawn, with clear 
 and natural outlines. The drapery presents a certain character 
 of flow, the finely -gradated shade giving depth, as well as form, 
 to the folds. It is unfortunate that only three of this set 
 remain. To judge from the excellence of the work, they seem 
 to have been the originals wherefrom was copied the set of 
 plates to which we have next to refer. 
 
 These are ascribed by Passavant to the master from the 
 town of Zwolle who signed his plates with the word ZwolV , 
 a contraction for Zwollensis. Fifty-two of them are catalogued, 
 and specimens of forty-nine of that number are preserved in 
 the British Museum. They were attributed to this master on 
 account of a doubtful mark within the door of a tomb in the 
 Raising of Lazarus. It is more likely that the mark in question 
 is merely a detail of the stonework, and the series is really 
 unsigned. The style of the work is not altogether like that 
 which we associate with the Zwolle artist, and it is safer to 
 refer it to the hand of an anonymous engraver. Comparing 
 the three corresponding prints in this set with those above 
 described, we see at once that the former are copied from the 
 latter. The similarities of detail are too close to be due 
 merely to a common type. The execution of the copies is 
 very much harder than that of the originals. The lines are 
 much blacker, and the very fine shade is altogether wanting. 
 The spaces of dark shade are hard and even ; they want 
 variety of tone. Again, the faces are rather devoid of ex- 
 pression, the noses being particularly broad and flat, and the 
 eyelids large and conspicuous. The attitudes of the figures 
 are - usually stiff, and the gestures exaggerated and unnatural ; 
 the perspective is generally false. 
 
 These two sets, as I have said, are, clearly, very closely 
 connected together. Not only are the subjects the same and 
 the figures grouped in the same manner, but the figures them- 
 selves may be said to be the same. A third, and somewhat 
 larger, set of engravings is preserved with them in the British 
 Museum. Each print is mounted on a leaf of an octavo MS. 
 
45 
 
 Sect. 9.] THE SECOND GOUDA WOODCUTTER . 
 
 and surrounded by a rough coloured border. The bottom of 
 the page and the verso of the leaf are usually occupied by a 
 written description of the engravings in Dutch. Thirty-eight 
 prints belong to the series ; the remaining seven are of a 
 larger size, and do not now concern us. The execution is rude, 
 and does not call for further remark. In these, while the 
 subjects are the same as in the others and treated in the same 
 manner, yet variations are introduced in particular figures. 
 The scale of the figures themselves is smaller, and they are 
 more loosely grouped together ; at the same time, if the cor- 
 responding prints from each series are placed side by side, it 
 will be found that substantially the same figures appear in 
 each, acting in the same manner. This set, therefore, must 
 be considered as belonging to the same type as the others, 
 though not necessarily as copied from them. 
 
 The type is that peculiar to Holland in the last half of the 
 fifteenth century, and it is followed alike in a wall painting in 
 the north, or an engraving made in Flanders, or a woodcut 
 from Gouda, when the same subject is treated. Thus, in the 
 vault of the wooden roof over the east end of the church at 
 Alkmaar is a picture of the Last Judgment, rudely painted 
 in black lines on a greenish-blue ground, a few patches of 
 colour being here and there introduced. Christ is represented 
 in the centre, seated as usual upon the rainbow, with his feet 
 resting on an orb. Angels fly around him, and two are blowing 
 trumpets above. The Saviour’s head seems to be between a 
 two-edged sword and a lily, or between two lilies. Below, the 
 dead are rising from their graves ; away round on the right, is 
 the gaping mouth of Hell vomiting forth flames, and into it 
 the devils are casting the condemned. Behind it is a build- 
 ing, and through the windows souls may be seen in torment. 
 On the other side, and opposite to this, is the Lord seated 
 on his throne, receiving the Blessed into Heaven. Now, the 
 Last Judgment, Hell, and Heaven, though here united into 
 one picture, are treated substantially in the same manner as 
 in all the numerous woodcuts and engravings which we meet 
 with representing the same subjects. The variations, which 
 the taste, even of so late a day, permitted an artist to make 
 
46 
 
 HISTORY OF TIIE WOODCUTTERS . [Chap. hi. 
 
 in a received type, were very slight. They were restricted to 
 the gestures of the figures, and to their relative scale as com- 
 pared with that of the picture. 
 
 There are many other sets of engravings of which it is 
 hard to say whether they are copied from the set first referred 
 to or from copies of it, or whether they are merely of the same 
 type. Amongst these may be mentioned a series of eighteen 
 small prints, bearing the date 1490, preserved among anonymous 
 productions in the Print Room at Munich. Again, amongst 
 the known works of the engraver who signs himself L. Cz., 
 are three large prints representing the Temptation (B. 1), 
 the Entry of Christ into Jerusalem (B. 2), and the Flight into 
 Egypt (P. 3), which resemble very closely the designs of the 
 smaller series. Many others might be mentioned. Amongst 
 paintings of the same type are three of the seven medallions 
 arranged about an Ecce Homo in the Museum at Antwerp 
 (No. 528 in 1874 Catalogue), and a small and very rude picture 
 of the Nailing of Christ to the Cross in the Archiepiscopal 
 Museum at Utrecht. 
 
 For our present purposes, however, the interest attaching 
 to this group of productions centres about the woodcut series 
 copied from one set of them. The first and most important 
 of these sets of blocks is the series of sixty-eight 1 quartos, 
 which Gerard Leeu had made for him at Gouda. This set 
 is complete, and may give us a hint what the full number 
 of the small engravings — evidently imperfect now — may have 
 been. Placed side by side with the engravings attributed to 
 the master from Zwolle, it is clear they may be copied from 
 them, or that both may come from some original set. At all 
 events, the relation between them is more than that of a 
 common type. 
 
 The first occasion of their use we can point to is, as already 
 said, the Liden ons Heeren of 1482. It is probable that all 
 sixty-eight were already in existence when this book was 
 printed, though only thirty-two of them were used. The set, 
 as a whole, was clearly made for an edition of the Devote 
 gketiden van den leven Jesu Christi, the only book into which 
 
 1 Not 66, as Holtrop, following Enschede, has called them. 
 
Sect. 9.] THE SECOND GOUDA WOODCUTTER. 47 
 
 they exactly fit. Nor will it seem impossible that the first 
 edition containing them should have been lost, when we re- 
 member that of the second only a single copy has survived. 
 
 The next occasion on which they were employed was in 
 the printing of a set of sheets of woodcuts, with lines of poetry 
 under them, apparently intended to be cut up into separate 
 leaves. M. Campbell, taking his description from the notes of 
 Murr and Heineken, had referred to these sheets as probably 
 composing an octavo volume (c.A. 746). They were known to 
 have formed part of the library of the suppressed University 
 of Altdorf. From Heineken’s description it had naturally been 
 assumed that the cuts and text were alike engraved upon 
 wooden blocks; the sheets were known to be printed only on 
 one side, and the colour of the ink was described as brown. 
 It was therefore concluded that here was another block book; 
 and I was all eagerness to examine the only known impression 
 of it, in order to satisfy myself that work, of apparently so late 
 a date, had been in existence before the invention of printing ink. 
 For some time I could find no traces of the Altdorf Library; 
 at last it was suggested to me that I should make inquiries at 
 Erlangen. I did so ; and the able Librarian of the University, 
 Dr M. Zucker, immediately recognised what I was looking for, and 
 produced the sheets of the so-called book. 
 
 Each leaf is now mounted on a large sheet of cardboard. 
 The leaves measure, from the top of the cut to the bottom of 
 the last line of the fifteen verses beneath it, 7‘3 inches. Their 
 breadth is about 3*2 inches. A careful examination soon 
 showed that they had never formed part of a book, but had 
 been printed six together on a sheet, so that the thirty-six 
 leaves are the cut-up portions of six sheets of the ordinary 
 folio paper of the fifteenth century. The cuts were the Leeu 
 quartos, already well known to me. The type was that used 
 by Leeu at Gouda before the year 1483. The ink was black. 
 The sheets had indeed only been printed on one side, but that 
 was because they were meant for pasting against the wall or 
 into a book. They were printed in the usual manner in 
 a press. A close examination of the breakages proved that 
 these impressions were taken from the blocks at a later time 
 
4 8 
 
 HISTORY OF TIIF WOODCUTTERS. [Chap. iii. 
 
 than those of the Liden above referred to. The type being 
 that of Leeu’s first press, they cannot he later than the year 
 1482; from the breakages, they must be after the 29th of June 
 in that year. This determines the date with sufficient accuracy. 
 I append a list of the subjects, arranged in groups of three, ac- 
 cording to the half-sheets on which they fall together : — 
 
 1. The Fall. 
 
 The Expulsion from Eden. 
 x The Annunciation. 
 
 2. The Visitation. 
 
 The Nativity. 
 
 The Circumcision. 
 
 3. The Adoration of the Magi. 
 
 The Presentation. 
 
 The Flight into Egypt. 
 
 4. Christ’s Entry into Jerusalem. 
 
 The Last Supper. 
 
 Christ washing the Disciples’ Feet. 
 
 5. The Agony in the Garden. 
 
 The Betrayal. 
 
 Christ before Caiaphas. 
 
 6. Christ buffeted. 
 
 Christ scourged. 
 
 Christ crowned with thorns. 
 
 7. Ecce Homo ! 
 
 Pilate washing his hands. 
 
 Christ bearing His cross. 
 
 8. The Virgin and St J ohn at the foot of the Cross. 
 
 The Descent from the Cross. 
 
 The Entombment. 
 
 9. Christ at the Gate of Hades. 
 
 The Resurrection. 
 
 The Three Maries at the Tomb. 
 
 1 Ave gratia plena, not Ave Maria as Heinelcen says. 
 
49 
 
 Sect. 9.] THE SECOND GOUDA WOODCUTTER. 
 
 10. Christ as the Gardener. 
 
 Thomas convinced. 
 
 The Supper at Emmaus. 
 
 11. The Ascension. 
 
 Pentecost. 
 
 Death. 
 
 12. Judgment. 
 
 Hell. 
 
 Heaven. 
 
 It has been generally assumed that the set is incomplete. 
 If so, the only places, where three additional cuts from the full 
 set could conveniently be added, would be after the third and 
 seventh half-sheets; but the set is probably complete as it 
 stands. Owing to the sheets being mounted on cards, it was 
 difficult to fit the top and bottom edges together, though the 
 sides went easily enough. Hence I could only with certainty 
 settle the arrangement as far as the half-sheets. How the half- 
 sheets should be joined I could not determine 1 . The object of 
 the sheets must for the present remain a mystery. They were 
 not for binding; that was proved by the fact that the top of 
 one cut must almost have touched the lowest line of the stanza 
 under the cut above. The papers having been divided crook- 
 edly, the top of a cut often appears just at the bottom of one 
 of the small sheets. Were they for pasting on the walls of a 
 room ? The question must, for the present, remain unanswered. 
 
 In Dec. 1483, at least thirty-two of the series were at 
 Haarlem, for Bellaert uses them in the first book printed by 
 him there — Dat Liden ons Heeren. They soon returned to 
 Leeu, and we find him printing from the whole sixty-eight 
 blocks in a Devote Ghetiden, probably published just after his 
 arrival at Antwerp. Leaving out of the question the employ- 
 ment of single cuts on the title-pages of various books, thirty- 
 four of the series are used in Leeu’s Liden ons Heeren of 1485, 
 
 1 It is to be hoped that the authorities at Erlangen will take the sheets off 
 their cards and mount them afresh. It will be very easy then to discover the 
 correct arrangement. I believe Nos. 7 and 10 are halves of one sheet. 
 
 c. w. 4 
 
50 
 
 HISTORY OF TILE WOODCUTTERS. [Chap. iii. 
 
 fifty-two in his Ludolphus of 1487, and the same number in 
 the edition of the same book which appeared in the following 
 year with the name of Claes Leeu. Four are used in the Vier 
 uterste of 1488, and twenty- one in the Liden ons Heeren of 
 Sept. 1, 1490. In the month of November of the same year 
 we find five of the blocks in the printing office of Peter van Os 
 at Zwolle, along with some others by a different woodcutter, to 
 which we shall hereafter take occasion to refer. It is probable 
 that the whole series went with them, except two, which parted 
 company from the rest, and came into the hands of Jacobus de 
 Breda at Deventer. One of these — that representing the Entry 
 into Jerusalem — occurs on the title-page of the Epistles and 
 Gospels printed by him in the year 1493. Peter van Os pub- 
 lished an edition of Ludolphus in 1495, in which only fifty of 
 the series make their appearance. The Entry into Jerusalem 
 was again used by J. de Breda in the following year. With the 
 exception of this cut, and the Man of Sorrows, the whole set 
 returned once more to Gouda in 1496, where they came into 
 the possession of the Collacie Broeders. After this it becomes 
 somewhat hard to trace them. About 1499, two — the Longinus, 
 and the Descent to Hades — were included by Jacobus de 
 Breda in a Quattuor Novissima. And finally, in 1510, twenty- 
 six are again found together in a Ludolphus printed at Antwerp 
 by Adriaen van Berghen. It is worthy of note that amongst 
 these was the Entry into Jerusalem, which was thus once 
 more in the company of its fellows after so long a period of 
 separation. 
 
 Concerning the style of the woodcutting it is not necessary 
 to add much to what has already been said. Attention has 
 been directed to the fringes of pointed hatchings, which flank 
 the outlines in these cuts and destroy the good effect of their 
 line work. Whenever the outlines are left clean, as sometimes 
 about the heads and arms, they show great care in the execution. 
 The features are usually well finished; the expressions rendered 
 by them are simple and generally natural, though occasionally 
 exaggerated into grimace. The outlines of drapery are confused, 
 and, when the cuts are not coloured, it is often difficult to 
 distinguish the cloak from the robe beneath it. The hair is 
 
Sect. 9.] THE SECOND GOUDA WOODCUTTER . 5 I 
 
 stiff and heavy, and the locks are, in general, carelessly arranged. 
 The foreground is sometimes left black, and the details of grass 
 and flower are cut out of it in white. In the background, on 
 the other hand, the contrary is the case, and black plants are 
 projected against a white surface. The outlines of the hills, 
 or undulations of the ground, are thick, and often fringed with 
 long pointed hatchings. The walls of buildings are covered 
 with a rude shading, formed of rows of short lines placed end 
 to end with blank spaces between, the breaks in one row lying 
 opposite the lines in the next. Architectural ornaments are 
 always of the rudest ; trees and plants are treated in an entirely 
 conventional manner. 
 
 Though the designs of the engravings are usually closely 
 followed, they are, from time to time, modified to suit the dif- 
 ferent material employed. The attempt has sometimes been 
 made to produce a direct, instead of a reverse, copy ; this in- 
 variably throws the perspective even more in fault than it is 
 in the originals. The figures are short, but they have a decided 
 charm of their own, such as belongs to the naive work of child- 
 ren. The gestures are quiet and natural, so long as violent 
 action is not intended ; if it is, they become exaggerated and 
 absurd. The draperies are usually well arranged, but the fringe 
 lines spoil them. The grouping is good when the number of 
 figures is small ; if, however, very many are introduced, their 
 presence is indicated by vistas of head-crowns or halos. The 
 range of the workman’s power is limited ; a very small difficulty 
 is too much for him, and he has to supplement the objects 
 which he tries to represent by all sorts of symbols. 
 
 The Seven Sacraments of 19th July 1484, the last book 
 known to have been printed by Leeu at Gouda, was illustrated 
 by a new set of cuts made expressly for it. They offer a 
 certain peculiarity of frequent later occurrence. The book is 
 a folio, but the largest of the cuts are quartos. In order to 
 adapt these to the width of the folio page, a narrow cut was 
 made of the same height as the quartos, and this, when placed 
 by the side of each quarto in turn, produced the appearance of 
 a half-folio cut. Each cut represents one of the Seven Sacra- 
 ments, the sidepiece a teacher, who explains to his pupil the 
 
 4—2 
 
 library 
 
 UNIVER9ITV r> r iiiimoic 
 
52 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 meaning of the rite. At the end of the book are two folio 
 diagrams of the trees of Kindred and Affinity, copied from 
 those which appeared in Yeldener’s books at a slightly earlier 
 date. The style of the woodcutting is in all respects similar 
 to that of the series of sixty-eight. The narrow cut presents 
 indications of a tendency towards greater freedom and less 
 careful treatment of details. Leeu uses it alone, in 1485, as 
 an ornament for the title-page of Cato moralissimus. 
 
 The same woodcutter seems to have made a complete set of 
 16mo cuts for the illustration of some book of which we have 
 no record. The first indication that we have of their existence 
 is from the Rosencransken, printed at Gouda on 9th March 1484. 
 On the title-page of this is a cut representing the Sacred Heart 
 of Christ wounded by the spear. It is surrounded by the 
 Crown of thorns. The thirty pieces of silver are arranged as 
 a chain about this, and four of its links are the pierced hands 
 and feet of our Lord. This type of cut is exceedingly com- 
 mon ; it appears in most of the printing offices of the day. 
 It is quite possible that the block was made for the book in 
 which it is first printed. Shortly afterwards, however — pro- 
 bably a few weeks after Leeu’s arrival at Antwerp — he pub- 
 lished a more elaborate little book with fifty -seven prints, 
 entitled Rosarium Beatce Marias Virginis. Of these, six are 
 rosaries, printed from three different, but similar, blocks. A 
 few others are repetitions, but the majority form a series 
 evidently adapted to the book. This series is not, however, 
 uniform in workmanship, but shows distinct evidence of the 
 co-operation of two workmen in its production. The same is 
 the case with a Jordani Meditationes of 10th February 1485, 
 where many of these cuts reappear, accompanied by a consider- 
 able number of others, some by this cutter, some by a new 
 hand. 
 
 Separating from the mass all those blocks which seem to be 
 the work of the artist at present under consideration, the series 
 so formed is at once seen to bear a strong resemblance to 
 that of the sixty -eight quartos. The resemblance is all the 
 more striking when the treatment of the subjects is examined. 
 It is possible to imagine that we have here the traces of a 
 
53 
 
 Sect. 9.] THE SECOND GOUDA WOODCUTTER. 
 
 corresponding set of. sixty -eight lfimos. Or we may suppose 
 that the workman, resident at Gouda, was engaged upon sets of 
 cuts for these two books at the time when Leeu moved to 
 Antwerp, but had not completed either; Leeu would thus be 
 obliged to employ a new workman to make the blocks, which 
 were still wanted. Or, again, it might be suggested that the 
 sets were wanted in a hurry, and therefore two men had to be 
 employed simultaneously upon them — probably a master and 
 his pupil. After this date there is no certain evidence of the 
 activity of this woodcutter. Some prints are indeed found 
 which, at first sight, it would seem natural to refer to him ; 
 but they present considerable differences of style, and, on closer 
 examination, are found to arrange themselves as the work of 
 another hand. The style of the series of 16mo cuts is, to all 
 intents and purposes, the same as that of the quartos which had 
 preceded them by the same hand. The only differences are such 
 as result from the smallness of the scale on which they are 
 made, and by a visible increase of dexterity, though not of 
 power, in the handling of materials. They were very frequently 
 used by Leeu in his Antwerp books — no less than twenty-one 
 times. In 1493, the year of his death, three of them went to 
 J. de Breda at Deventer, at the same time as the quarto cut 
 already mentioned. It is possible that these formed a stray 
 lot, and were sold as such at the dispersion of Leeu’s materials. 
 The majority of them would by that time have been worn out ; 
 a few passed into the hands of his successor Adrian van Lies- 
 veldt, who employs them in seven books printed by him before 
 the end of the century. 
 
 Sect. 10 . The First Antwerp Woodcutter. 
 (1485—1491.) 
 
 The remainder of the series of 16mo cuts for the Rosary and 
 the Meditations of Jordanus , mentioned in connexion with the 
 Second Gouda woodcutter, were, as was said, the work of an- 
 other hand. It is not possible to refer any other cuts definitely 
 to the same workman. Judging, however, from this small 
 
54 
 
 HISTORY OF THE WOODCUTTERS. [Chap. hi. 
 
 number, he need not delay us very long. He seems to have 
 been careless and untaught — a decidedly rude and feelingless 
 workman — with no ideas about graceful arrangement of line 
 or mass. Not only was he without originality, but he was 
 unable to follow carefully the lines already traced out. His 
 figures are shapeless and altogether out of proportion, their 
 faces frightful and expressionless. They are grouped together 
 at haphazard. The outlines of drapery are stiff and angu- 
 lar, irregular in thickness, and arranged without any aim 
 at harmony. The backgrounds of wall or window are out of 
 perspective, and badly shaded with cold dead masses of short 
 hatchings. The subjects left to him were almost all ghastly, 
 and he treats them in a most painful manner, insisting only 
 upon horrible details, and enforcing the brutalities of those 
 who inflicted suffering, and not the heroism of the sufferer. He 
 is the first, and one of the worst, of a set of men who cannot 
 be called artists, and whose numbers increase among the wood- 
 cutters as the years pass on and bring us nearer to the end of 
 the fifteenth century — a century which, as we know, brought 
 with it at its close an epoch of strife and discord, and sounded 
 the death-signal of all the glorious life of activity to which the 
 industry of the southern provinces of the Low Countries had 
 given rise. 
 
 A few stray cuts appear, in the year 1486, in Leeu’s 
 printing office, calling only for a passing notice. The first is 
 his new device. It represents the famous citadel of Antwerp, 
 surmounted by an eagle ; two banners float above the principal 
 tower, bearing the arms of the Archduke Maximilian and 
 those of the Holy Roman Empire. The cut is not well de- 
 signed : the outlines, indeed, are firm and clear, but the whole 
 is covered with a sprinkling of short blunt shade -hatchings, 
 which destroy all general effect and give no added meaning. 
 The block was constantly used by Leeu during the remainder 
 of his life ; after his death it came into the possession of Th. 
 Martens. 
 
 Another cut, which reappears at least five times, represents 
 a Master teaching five Scholars. The subject was one very com- 
 monly introduced on the title-page of educational books. It 
 
55 
 
 Sect. 10.] THE FIRST ANTWERP WOODCUTTER. 
 
 is therefore one of those for which a typical rendering became 
 customary. Here we are shown the master seated in an im- 
 posing arm-chair raised on a dais. The seat is very much too 
 large to be comfortable. On one of the arms is a rest, support- 
 ing an open book. The teacher holds an imposing birch rod in 
 his hand, and addresses himself to the scholars, seated on a 
 bench before him with their backs turned to the spectator. 
 Another cut, found in company with this, and by the same 
 hand, also displaj^s a Master similarly furnished, seated in a 
 chair on the right. A scholar stands before him. Between 
 them grows a tree whose trunk and branches are wreathed 
 with scrolls. This forms another of the well-known types, com- 
 monly found in Germany, and probably copied from a German 
 original 1 . 
 
 A book giving an account of the election and coronation of 
 the Archduke Maximilian as king of the Romans contains a 
 representation of the Coronation ceremony. The book itself I 
 have not been able to see, but a reproduction of the cut 
 (seemingly bad) is to be found in the Messager for 1849. It 
 would appear to be the work of the same artist as the other 
 two. 
 
 The style of these cuts does not require much comment. 
 The execution is careful, but not pleasing. The arrangement 
 of the masses of shade is on the whole bad. The lines are 
 thick, though clear, the shade -hatchings always mechanical, 
 and never conducing to the general effect. The design, on the 
 other hand, shows a certain advance, especially in the cut of 
 the master and five scholars. The positions are natural, and 
 even animated. The figures are well grouped with reference to 
 each other. The faces are, however, somewhat devoid of ex- 
 pression. The whole presents a certain aspect of freedom. 
 There is less stiffness, and more desire to represent the facts 
 as they might be supposed to occur. The naivete is gone ; 
 the simplicity which gave their charm to the quarto series 
 finds no place here. We have a partly successful representa- 
 tion of very uninteresting people. It is only a half success. 
 
 1 A similar design is found in two woodcuts preserved in the Cabinet 
 d’Estampes at Brussels (S. II. 21, 235 and 252). 
 
56 HISTORY OF THE WOODCUTTERS. [Chap. iii. 
 
 We are reaching the period of dull mediocrity, interesting only 
 in so far as it may serve as an example of the art in develop- 
 ment or decay. These cuts mark for us the introduction of the 
 new period. They show the distinct evidence of the influence 
 upon neighbouring workmen of an artist to whom our attention 
 must soon be directed. He had been working for the last three 
 years at Haarlem for J. Bellaert, and we know that the connexion 
 between that printer and Leeu was exceedingly close. It need 
 not therefore at all surprise us to find that the woodcutters 
 employed by Leeu should have imitated his style. The evi- 
 dences of this imitation will become more clear after our 
 attention has been devoted to the productions of the Haarlem 
 school. 
 
 Two large sets of folio and half-folio cuts, used more than 
 once by Gerard Leeu, were the work of the same woodcutter as 
 the preceding miscellaneous blocks. They are met with for the 
 first time, so far as we yet know, in the edition of Ludolphus’ 
 Life of Christ, published in 1487. This was illustrated by a 
 most mixed assortment of prints. There were a large number 
 of the quarto series of sixty-eight blocks ; to fit these to the 
 folio page there had to be made a considerable quantity of 
 complementary cuts and side -pieces. A certain number of 
 folios and half-folios by the Haarlem artist, or a workman of 
 his school, are mingled with the rest, and the remainder consist 
 of a set by the man under consideration. These, if separated 
 from the others, form a fairly continuous series. It might, 
 indeed, seem natural to suppose that the series would be found 
 alone in some book for which it was specially intended, but 
 this has not, up to the present time, been found to be the case. 
 Some light is shed on the question by the existence of a few 
 books, printed at Antwerp during the first third of the sixteenth 
 century, and illustrated by a set of cuts exactly corresponding 
 to these, but belonging to the Old Testament. One of these, 
 which represents the Fall, does actually occur in connexion 
 with both sets, and thus affords a further link to connect them 
 together. Even, however, if this were not the case, there could 
 be no doubt whatever that we have here merely the divided 
 parts of one long series; for the similarity of style and* form is 
 
57 
 
 Sect. 10 .] THE FIRST ANTWERP WOODCUTTER. 
 
 so striking that one glance is sufficient to establish their 
 identity. It is clear that the whole series was made about 
 the year 1487, and was intended to illustrate some translation 
 or paraphrase of the Bible. The Old Testament part appears 
 in Den bibel int corte ghetranslateert on two occasions, and 
 seems so exactly to fit the book, that I am led to suppose it 
 probable that G. Leeu either printed or intended to print an 
 edition of it, with the New Testament included, and that, for 
 it, he had this set of cuts made. The folios represent events 
 in the life of our Lord or the Sacred history, parables, and 
 scenes from the Apocalypse ; the half- folios scenes from the 
 Old Testament and the Four Gospels 1 . 
 
 The print of Christ brought before Caiaphas possesses an 
 interest, as showing another instance of a woodcutter copying 
 a well-known engraver. The cut is arranged in three compart- 
 ments. On the left, in the interior of a room, Caiaphas is 
 seated on a chair raised a few steps above the level of the 
 floor, his right arm resting on the arm, and a rod held in his 
 hand. His legs are crossed. Christ stands before him, bound, 
 and with a rope round His neck. He is held by three men. 
 On the right side of the cut, Judas is seen hanging from a 
 tree, with his money bag tied about his neck; and above, in 
 the background, he is again represented casting the pieces of 
 silver on the ground before the priests. That portion of the 
 cut which represents Christ before the High Priest is a rude 
 copy in reverse of the corresponding engraving in the well- 
 known Passion of Martin Schongauer. 
 
 In the year 1490, the Ludolphus cuts came into the pos- 
 session of Peter van Os at Zwolle ; a few seem to have been 
 lent by him for a while to J. de Breda at Deventer, in 1496. 
 In 1499, they are all once more at Zwolle together in a fourth 
 edition of the same book ; and most of them reappear, in 1519, 
 in the same printing office. 
 
 In the following century, as I have said, the Old Testament 
 cuts are found at Antwerp ; they are not known to have had 
 any travels. 
 
 So far as their style and design goes, they are amongst the 
 " - 1 See note -at the end -of- this Section. 
 
HISTORY OF THE WOODCUTTERS. [Chap. iii. 
 
 58 
 
 worst productions of a bad period. They present every indica- 
 tion of having been done in a hurry by a careless workman, 
 who was without interest in his work, and only strove to get 
 it done as quickly as he could. The figures are awkward and 
 stiff, the extremities utterly shapeless, the faces frightful, the 
 hair like masses of rope. The gestures are distorted, and the 
 robes graceless. The backgrounds are entirely wrong, the build- 
 ings out of perspective, the trees without life, the hills and 
 natural features, of whatever kind, perfectly false in design and 
 treatment. The outlines are coarse and uncertain, varying in 
 thickness without any regard to the solid form to be expressed ; 
 the shade-hatchings are often very long and pointed, arranged, 
 like black rays, as a shadow to detach the figures from the 
 ground. The details which are added are often unnecessary, 
 whilst those that are omitted are of the most vital importance. 
 Thus, the distant hills are sometimes striped with thick bars of 
 shade, while the people in the foreground seem to be standing 
 or kneeling in the air, for want of a few blades of grass in the 
 field, or a few bits of stone to suggest a road. The whole ap- 
 pearance of almost any of the set is suggestive of careless 
 hurry. They are frightful to look at. Those copies of Lu- 
 dolphus which I have seen have, in most cases, been carelessly 
 printed also, so that the general effect of the whole was the 
 ugliest imaginable. They mark a further step along the road 
 of decline. The woodcutters have chosen to work in lines ; 
 and now the care is wanting to them to produce those lines 
 properly. They begin to hurry and slur over their work, and 
 the whole falls to pieces and becomes frightful at once. 
 
 A little 16mo cut, representing the Angel dictating to St 
 Brigitta, is bad enough to be by this hand. The same may be 
 said of a block made to complete the set for the story of 
 the Seven Wise Men, which Leeu lent to J. Koelhof de Lubeck, 
 a Cologne printer, in the year 1490. One of the blocks seems 
 to have been lost by him, so that a new one had to be made. 
 It was done by the same hand as a set made to illustrate the 
 Romance of Melusine. In these the style is very strongly 
 marked. The outlines, though firm, are rude, the features are 
 shapeless and without expression. The foreheads are high and 
 
59 
 
 Sect. 10.] THE FIRST ANTWERP WOODCUTTER. 
 
 broad, the noses flat, the eyes large and round, the mouths big 
 and sharp at the corners. The arrangement of the draperies is 
 simple, but without grace. There are not many fringed lines, 
 but bands of parallel short hatchings frequently occur, as well as 
 spaces covered with dull uniform shade. Short pointed hatch- 
 ings are seldom found. The work is that of a rude, vulgar 
 workman, not at all of an artist. Now and then the figures are 
 not devoid of life, but as a rule they are frozen into rigid 
 blocks. I believe I am right in referring all the above cuts 
 to the same hand, but they are, without exception, so utterly 
 bad that they might well be the work of any man, however 
 untaught. 
 
 The set of Bible cuts by this woodcutter seem in many cases to be copied 
 from those first used in the Cdln Bible of about 1480 and afterwards in the 
 Nurnberg Bible of 1483. The exact relation between the two sets I have not 
 yet had an opportunity of determining. The Cdln cuts are stated in the 
 Preface to the Bible to be copied from pictures existing in churches and 
 convents, by which manuscript miniatures are probably intended. Diirer’s 
 Apocalypse cuts are founded upon those illustrating the Book of Revelations, 
 belonging to this series. The whole question however deserves further investi- 
 gation, for there exist certain Apocalypse tapestries at Madrid of the same type. 
 They have been photographed by Laurent. See Athenaum for Nov. 17, 1883. 
 
CHAPTER IV. 
 
 THE HAARLEM WOODCUTTER AND HIS SCHOOL. 
 
 (1483—1500.) 
 
 11. The Haarlem Woodcutter (1483 — 1486). 12. The same work- 
 man, or his School, at Antwerp (1486 — 1495). 13. The Third 
 
 Delft Woodcutter, of this School (1487 — 1498). 14. Cuts of 
 
 this School, used at Leyden (1484 — 1500). 
 
 Sect. 11 . The Haarlem Woodcutter. 
 (1483—1486.) 
 
 We have seen that, about the end of the year 1483, Leeu, 
 whilst still at Gouda, began to use a new fount of type. He 
 had printed no books — at any rate none that have come down 
 to us — since the end of the preceding year; and, as we have 
 noticed, it is not unnatural to suppose that his time had been 
 employed in casting types and other operations of a like kind. 
 A certain portion of his new materials seem, to have been sold 
 to Jacob Bellaert, who with them started printing at Haarlem 
 almost at the same time as Leeu recommenced at Gouda. The 
 first book published by Bellaert was a Liden ons Heeren. It 
 was illustrated with some of Leeu’s set of sixty-eight quartos — a 
 further proof of the close connexion which existed between the 
 two printers. In addition, however, to these we find a device 
 at the end of the book, which is at once seen to be the work of 
 a new hand. It represents a griffin holding a blank shield, no 
 doubt intended to be filled up by the owner of the book. In 
 the upper part is the shield of the town of Haarlem, hanging 
 from an ornament. The design of this cut shows a certain 
 
Sect. 11.] THE HAARLEM WOODCUTTER. 61 
 
 amount of freedom and power. It is clearly the work of a 
 practised hand. The outlines are not very firm, but they are 
 pleasantly formed, and work together harmoniously. There is 
 evidence of hesitation in the hand of the woodcutter, as though 
 he had drawn the lines clearly enough upon his block, but had 
 not complete control over his hand in the cutting. The print 
 is nevertheless on the whole successful, and is an ornament to 
 the page, not a disfigurement. 
 
 On the 15th Feb. 1484, dev Sonderen troest was printed at 
 the same press. This was a more extensive undertaking. It 
 is illustrated by a large number of woodcuts. In order to 
 economise his labour, and at the same time to fill the book 
 with illustrations possessing a certain degree of variety, the 
 artist adopted a kind of patchwork system. The principal 
 series of cuts were of the quarto form. To adapt these to the 
 width of the folio page a certain number of narrow cuts were 
 made, one of which could be placed on each side of the larger 
 cut; or four of them, arranged side by side, could combine to 
 form a complete subject by themselves. The idea was not 
 an unhappy one. The central cut, in many cases, represents the 
 judge seated in his court, the side-pieces contain the respective 
 pleaders who appeared before him, and thus a considerable 
 amount of variation was possible, without the necessity of making 
 a great number of expensive blocks. The narrow pieces, of 
 course, had to be designed with special reference to some one 
 particular cut, but they were afterwards thrown together as need 
 might require, and the backgrounds had to look after them- 
 selves. The result, in the way of perspective, is often surprising 
 enough ; for, however well the principal figures may happen to 
 agree, their accompaniments very seldom fall together, and the 
 confusion is both wonderful and hopeless. Taking, however, 
 each cut at its best, in its right place with its proper com- 
 panions, the perspective is a decided advance upon what has 
 gone before. The accessories of walls, windows, and pavements 
 are more artistically chosen and more carefully finished. There 
 is a greater amount of suitable detail added, a large number of 
 objects upon which the eye may rest, and which have, to some 
 extent at any rate, been studied from nature. The figures, 
 
62 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 moreover, are more naturally rendered : there is less strain about 
 them, less forcing of them into the required attitudes, and 
 greater freedom of gesture and expression. This naturalism 
 finds its expression still more plainly in the arrangement and 
 flow of the draperies. There is no exaggeration of multiplicity 
 in the folds, and but little unnatural fulness ; the whole is well 
 and carefully laid. The lines give some real indication as to 
 what the stuff is meant to be, and distinguish happily enough 
 heavy from light and stiff from flexible. 
 
 The first cut in the book — a folio — is very remarkable. It 
 shows more of an attempt at pictorial composition than most 
 others of the period. God the Father appears in the sky above, 
 seen through an opening in the clouds, with an angel on either 
 hand. These are casting Lucifer and his troop headlong on to 
 the earth. Sin descends with them, and its evil advent is sym- 
 bolised by the shower of black spots in the midst of which they 
 fall. In the upper part of the cut, on a hill and close to the 
 edge of a precipice, Adam and Eve are standing by the Tree of 
 Knowledge. Eve is taking an apple from the human-headed 
 serpent, who is coiled round its stem. The tree is much more 
 natural than any which have appeared up to this time ; the 
 branches have a curvature of strength in them, and seem 
 capable of growth. They are dressed with masses of foliage, 
 and spread so as to hold Adam and Eve under their shadow. 
 Behind the tree is a wall and castle ; these, together with the 
 edge of the precipice, form the enclosure of the garden. On the 
 left side of the cut is a similar rocky elevation, but more broken, 
 and not the scene of any event. The two precipices enclose a 
 narrow valley. Through it a river runs into the ocean beyond, 
 stretching away under the shower of darkness. The upper 
 part of the cut, as we have seen, represents the origin of Evil, 
 shown in the fall of angels and men. The lower is devoted 
 to the Regeneration of which Baptism is the symbol. In the 
 distance, the Ark floats on the surface of the waters ; in the 
 middle, are the children of Israel, just emerged from the Red 
 Sea, whilst the host of Pharaoh is overwhelmed in its waters ; 
 in front, is Christ, standing in the stream, whilst John the 
 Baptist, kneeling on the bank, pours water on his head, and the 
 
Sect. 11.] 
 
 THE HAARLEM WOODCUTTER. 
 
 6 3 
 
 Dove hovers above it. With all this multitude of incident 
 the cut is not crowded. The figures are all in natural positions; 
 the horses of Pharaoh’s host do gallop, and the devils are verily 
 falling. Were it not for the reflexion of the ark in the water, 
 which takes the form of a series of long pointed lines, and 
 produces the effect of a ship balanced on the back of a long 
 comb, the whole would be a very pleasing composition. 
 
 It is, further, worthy of notice that an attempt has been 
 made to fill the sky with clouds, the idea of them being 
 clearly taken from pictures in the style of Memling and Bouts. 
 It would be tedious to trace the exact correspondence between 
 the faces of shadow in the one and the rims of colour in 
 the other, or to follow out the attempt which the woodcutter 
 has made to indicate variations of colour by laying the shade 
 lines in different directions. Such points will be readily 
 enough perceived when the print is under the eye. The valley 
 through which the stream runs is remarkable because it shows 
 distinct signs of water-action ; not that the artist had this 
 object definitely before him, but, in drawing his design, he must 
 have had a real valley in his mind’s eye. So the rocks on 
 each side have been eaten away and rounded off by the river, 
 and this to so great an extent that the upper part of the 
 precipice on the right overhangs in a quite impossible manner, 
 and the castle on its brow must inevitably fall headlong into 
 the sea. The same cliff reappears in one of the cuts- in the 
 Jason series. In itself, as I say, it is of course an impossibility ; 
 but, placed where it is, as the side of a narrow waterworn 
 valley, the forms only are exaggerated, their nature being 
 perfectly right. Lastly, the water is really water : it splashes 
 about the feet of the horses, it eddies round in the corner 
 where our Lord stands, it breaks into ripples in the distance 
 where the corpses of the Egyptians go floating out to sea. 
 There are many other good cuts in the book, but this is the 
 most ambitious, the most restrained, and the most successful. 
 The artist, as it were, leaps in his first book into as good a 
 style as he ever attained. The most noticeable feature about 
 his work is the weakness of his lines. With all his good 
 feeling and aim at general effect, he very seldom succeeds in 
 
64 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 cutting his edges clearly and firmly. His lines always vary 
 in thickness and are uncertain in length, so that, if the effect 
 depends upon them, the result is a failure. On the other hand, 
 when spaces of white have to be dealt with, he is quite at 
 home. He tosses hair loose in the wind, or curls the locks of 
 an old man’s beard, with evident delight. He can throw 
 benevolence even into the smallest face. He is always able 
 to outline a white mass correctly. The principal side of any 
 of his black spaces is in general correctly drawn, but he cannot 
 cut the other side clean, he cannot finish it as a line. 
 
 He seems to have had a great facility in working, and to 
 have been eager besides, but he was fettered by the traditions 
 of the school. He was forced always to cut in lines, and yet 
 lines were the very things in which he was weakest. Thus, 
 from time to time he made a very bad block, and he never 
 produced work of the first order. He was certainly the best 
 woodcutter in his country at the time, but he fails from 
 what he might have been, as many another has failed, by the 
 throttling bonds of custom forcing him to do what, even in 
 doing, he shows, consciously or unconsciously, to be wrong. 
 When he has to cut clouds, or hair, or flames, or flowers, 
 he lets his hand fly, and shows you how pleased he is to 
 get a chance of digging into his block and thinking only of 
 the piece he is cutting out, not of what he leaves standing. 
 His shade-hatchings usually present considerable variety. He 
 sometimes fringes lines with short hatchings, but then these 
 are of all forms — one is never like its neighbour; the same 
 is the case with jagged-edged lines. For a pleasant effect, 
 however, you want harmony as well as variety, and this is 
 given in these cuts to a really surprising extent. The attitudes 
 of the figures are always unstrained, their expressions always 
 quiet ; the whole is perfectly simple and governed. 
 
 A further change was introduced by this artist in the scale 
 of the figures in proportion to the size of the block. Pre- 
 viously, each figure was more than half the height of the whole, 
 at any rate in a quarto cut, so that there was little room 
 for background or added incident. A group of three or four 
 people filled the whole space, and, even so, they often had to 
 
65 
 
 Sect. 11.] THE HAARLEM WOODCUTTER. 
 
 be crowded to get them in at all. In the new style, however, 
 this is changed. When events take place in the open air 
 there is plenty of room left. Figures are made smaller and 
 scattered about, hills are seen stretching away behind, and 
 there is enough of sky above to give a feeling of room. 
 Breadth and space, then, greater freedom and more pleasing 
 forms and expressions, are the characteristics about this artist 
 that divide him from all others of his day. 
 
 The Book of the Golden Throne or the Four-and-twenty 
 Elders was printed on the 25th of October in the same year 
 as der Sonderen troest. At the commencement of each of the 
 twenty-four chapters is a print representing the soul, as a girl, 
 kneeling before one of the Elders and receiving instruction 
 from him. The Elder in each case wears a broad-brimmed 
 hat with a crown round it. A short cloak hangs over his 
 shoulders, whilst beneath it a heavy robe falls to his feet. 
 It is clasped under his arms, and then separates, showing 
 the long garment which he wears under it. These twenty- 
 four prints are impressions from only four different blocks. In 
 execution they are not so good as those above described, being 
 somewhat formal and confused. The figure of the Elder is 
 stiff, but the kneeling girl is generally graceful ; her hair falls 
 over her shoulders in wavy curls, and her dress is arranged 
 in natural folds. In one instance the Elder is very badly 
 drawn. He is represented as enforcing his remarks by the 
 gestures of his hands. Put prominently forward as they are, 
 their utter shapelessness is very noticeable. The man’s position, 
 too, is unnatural and wooden, his robe is without softness and 
 his face without expression. In another case, however, his 
 figure is dignified. His head is covered with a quantity 
 of curly hair, and he wears a thick beard. His features are 
 clearly cut, his brow protrudes, and he is just opening his 
 mouth to speak. 
 
 Three of the cuts in the Four Last Things of 1484 had 
 already appeared in der Sonderen troest ; a new one was 
 required for the chapter on Plell. This cut is remarkable 
 because it differs from the usual Dutch type, of which Leeu’s 
 quarto and the picture on the Alkmaar roof may be taken 
 c. w. 5 
 
66 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 as fair examples. In those the mouth of Hell is seen open 
 on one side, and devils are casting the condemned into it. In 
 the background is a building filled with flames, and souls are 
 seen in torment at the windows. On the roof is an evil-looking 
 devil blowing a horn, and a man by him holds up a drinking 
 jug over which the word nobis is written. The Haarlem artist, 
 however, discards all these adjuncts, and simply draws the 
 gaping mouth of a hideous beast and a few flame-clouds 
 floating about it. The reason for this change is not evident, 
 and I do not know of its having been followed by any other 
 woodcutter ; but it is interesting as showing that about this 
 date the restraints of precedent were being thrown off, and 
 woodcutters were trying to stand on their own resources — with 
 but little credit, however, as the result proved. 
 
 In the year 1485 three remarkable books were printed 
 at the Haarlem press, all of them illustrated with new series 
 of cuts. The first of these was the Historie van Jason, the 
 second the Historie van Troyen. The latter bears the date 
 5 May, 1485, but that of the former can only be inferred 
 from a comparison of the state of a cut which is found in 
 both books, but evidently less worn in the Jason than in 
 the History of Troy. The stories in both cases are founded 
 upon the classic myth and dressed up in mediaeval form. The 
 gods and heroes are represented as knights armed with sword 
 and lance, who lay siege to castles or towns, lead their retainers 
 to battle, and break lances in the lists in quite mediaeval fashion. 
 Now and then even a' cannon is found in the camp of the be- 
 siegers; and the same cut is used indiscriminately for the Siege 
 of Troy or any other of the contests of antiquit}'. 
 
 The first print is the same in both books, and represents 
 the author on bended knee presenting his work to Philip the 
 Good, Duke of Burgundy 1 . The shield suspended from a tree 
 bears the arms of the family Van Buyven, a member of which, 
 a certain Nicolas Van Buyven, was bailiff of Haarlem in 1471. 
 The same arms are found in the window of the council chamber 
 in one of the cuts of der Sonderen troest. In the background 
 
 1 Holtrop, Monuments, p. 38. 
 
Sect. 11.] THE 1IA All LEM WOODCUTTER. 67 
 
 the author is standing in meditation by the sea-shore, whilst 
 the hero of his book passes by in a boat. The whole is 
 surrounded by the border commonly used at this press, 
 in which tendrils are twined gracefully together, and peacocks 
 and other birds, monkeys, and a man with a dart, are introduced 
 amongst the leaves. This border afterwards passed, with the rest 
 of Bellaert’s materials, into the possession of Gerard Leeu, and 
 from him three of the pieces went to Eckert van Homberch. 
 These he used at Delft, and afterwards at Antwerp in several of 
 his editions. 
 
 The body of the cuts in the History of Jason are a set 
 of half-folios, clearly made to illustrate the book in which they 
 first appear. They represent the birth of the ‘ noble and valiant 
 knight/ and his contests with various other knights and giants. 
 He goes off with Queen Mirro, fights King Diomedes, and meets 
 Peleus as the oracle foretold. The other events, in their modem 
 dress, follow in due order: the past history of Colchis is told, 
 and then Jason’s adventures there. The story of his marriage 
 with Medea, and his desertion of her afterwards, brings the book 
 to an end. Three editions were published in which the cuts 
 make their appearance. Of these Bellaert printed one — the 
 Dutch version — and Leeu the others — one the original French 
 text and the other Caxton’s English version. The same blocks 
 were constantly used in other books. They are found so late 
 as the year 1531, amongst the materials of W. Vorsterman at 
 Antwerp. 
 
 In the Vergaderinge dev historien van Troyen the history of 
 the town is traced according to the old tales from the very 
 beginning. The first book contains the story of the “knight” 
 Hercules, with the account of his ancestors as far back as 
 Saturn, as well as that of the taking of Troy by an army led 
 by him. The second book describes his Labours and other 
 adventures down to his death. The third book only is de- 
 voted to the Trojan war, and is illustrated by representations 
 of battles, the Death of Achilles, and the Wooden Horse. 
 The whole is much more a history of Hercules than of Troy. 
 The cuts are of the same form and style as those in the 
 Jason. 
 
 5—2 
 
68 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 The last book printed by Bellaert in this year, 1485, was 
 Bartholomseus de Glanvilla’s Boeck van den proprieteyten der 
 dinghen. It is of the nature of an encyclopedia and describes 
 the creation of the world and of living things, both animal 
 and vegetable. The chapters, eleven in number, are illus- 
 trated by very remarkable folio cuts, which, so far as I know, 
 are never found again. The first represents God Almighty 
 seated on his throne, crowned, and holding sceptre and orb. 
 Around him are rays of glory, which stand out brightly in 
 comparison with the black background behind. The figure of 
 the Most High is dignified and calm ; the position and feel- 
 ing of the whole represents perfect quietness, and yet con- 
 veys a sense of majesty and power. The execution is poor 
 in detail, and the lines are wanting in firmness and definite 
 purpose. The idea of relieving the rays and rings of light 
 against a black background is bolder than usual, and pro- 
 duces a good effect, throwing up the centre and giving it 
 a brilliancy that would hardly be expected from such rude 
 workmanship. 
 
 The second cut is also a striking one. It represents the 
 Fall of Angels — the subject treated in the folio cut at the 
 beginning of der Sonderen troest. The Most High is seated 
 on a throne in heaven ; on each side is an angel floating 
 with outstretched wings and skirts blowing in the wind. This 
 group is surrounded by a glory of rays and rings. Four de- 
 mons are seen below — one falling headlong through the air, 
 two prostrate on the earth, and the fourth disappearing into the 
 sea. Traces of the traditions of the school of Roger van der 
 Weyden are evident here, especially in the angels about the 
 throne. Their robes are lifted and doubled by the breeze into 
 the multitudinous folds we so often notice in that master’s pic- 
 tures. The design of these figures is graceful, the main out- 
 lines of their draperies are excellently harmonized with a 
 view to general effect ; on the other hand, in execution they 
 give evidence of a hesitating hand, strongly contrasting with 
 the boldness and breadth of the design. For shading we 
 have groups of little uncertain dots, or dashes of varying 
 length laid at uncertain angles; yet the general result is good, 
 
Sect. 11.] THE HAARLEM WOODCUTTER. 69 
 
 and argues a designer of more than ordinary power. Can he 
 have been a different man from the woodcutter ? 
 
 Of the remaining cuts it is not possible to speak in detail. 
 None of them are so good as the preceding two, though all are 
 tolerably designed and not inharmoniously executed. The sixth, 
 which represents the occupations characteristic of the twelve 
 months, each in a little circle to itself, is perhaps the nicest. The 
 old man with his boots off warming his feet before the fire, in 
 February, and the seed-sowing in October, are both charming 
 little prints. In many cases extensive landscapes are introduced, 
 in which some attempt to render nature is traceable — an at- 
 tempt to represent what was to be studied by wandering in the 
 fields instead of stuffing in the workshop. It is noticeable that 
 in most cases the point of sight is high, as though the spec- 
 tator were standing on the top of a tower. This characteristic, 
 indeed, is common to almost all elementary schools of land- 
 scape drawing, whether Asiatic or European ; the old “ willow 
 pattern” of the plates may be mentioned as an example. It 
 was, at all events, usual at this period with all woodcutters ; nor 
 with them only, but with painters also, for it enabled them to 
 introduce a larger area of background as a field for minor 
 incidents. Many of the details give evidence of careful study 
 from nature. Thus, in the last cut a lion and an elephant form 
 a striking contrast to each other ; for the designer has clearly 
 enough seen an elephant in his day, and has drawn him from 
 the life ; not only so, but he is proud of his performance, and 
 puts him conspicuously in the front. But a lion he has never 
 seen, has not the least idea what a real lion is like, so he 
 places him away in the background, and draws him con- 
 ventionally enough — • fighting with the unicorn. 
 
 Owing to the goodness of the designs, or rather to their 
 good feeling, and to the fact that the woodcutter, though not a 
 strong artist, was not a boldly vulgar one, like the Delft cutter 
 to whom we shall presently come, the general effect of this 
 series is pleasing, though the details are not worthy of high 
 praise. There are many littlenesses, but few bold false strokes; 
 there are many points omitted which might with advan- 
 tage have been introduced, but few are introduced which 
 
70 HISTORY OF THE WOODCUTTERS. [Ciiap. iv. 
 
 the woodcutter ought to have known should be differently 
 treated. 
 
 We have seen that in the first book printed by Bellaert 
 Leeu’s quarto cuts were employed as illustrations. These, 
 however, were returned to Gouda, for the whole set ap- 
 pear in Leeu’s Devote Ghetiden, of about 1484. So, for the 
 Epistles and Gospels of April 1486, Bellaert required a new 
 set of blocks, if he did not already possess a series from 
 which he could select suitable subjects. We find, accord- 
 ingly, a number of quartos, apparently new, and by the hand 
 of a Haarlem artist, appearing in this book. That they are 
 not all that Bellaert possessed of this form we know, because 
 most of them, in company with a considerable number more 
 by the same hand, appear in Peter van Os’ Ludolphus of 
 1499, where they take the places which, in the edition of 1495, 
 had been occupied by some of Leeu’s series of sixty-eight 
 quartos. Putting together the cuts which we find in these 
 two books, we discover that there existed at least forty-nine 
 quarto blocks, being subjects from the Life and Passion 
 of Christ. These, so far as they go, are the same as those 
 in Leeu’s series, so that it is not at all impossible that there 
 may have been still a certain number more which would 
 render the two sets quite similar. This, however, is a suppo- 
 sition. It must be noted that the Haarlem quartos cannot be 
 called copies of Leeu’s except in a general sense. They are of 
 the same type, but, as I believe, copied from a different set of 
 copper-plate engravings, — such, for example, as the second long 
 series preserved in the British Museum, to which they bear a 
 striking resemblance. 
 
 In style they are the worst cuts which have come from this 
 workshop. They present every indication of hasty manu- 
 facture. The lines are sketchy and vague, every effort having- 
 been made to produce them with as great speed and as 
 little work as possible. Hair is rendered with a few hurried 
 strokes, drapery is carelessly drawn with saw-edged lines. 
 There is no counterbalancing grace in the design to carry off 
 tli is weakness in the outlines. The figures are scattered about 
 without any attempt at connected grouping. Descending to 
 
7i 
 
 Sect. 11.] THE HAARLEM WOODCUTTER. 
 
 details, the management of the small white spaces is as crude 
 and thoughtless as that of the long lines. The faces are devoid 
 of expression, or else they are frightful with absurd grimace. 
 The figures are misproportioned, being either long and slim or 
 short and stumpy ; the perspective is faulty, and the landscapes 
 unnatural. Comparing the Baptism of Christ here with the 
 same subject in the corner of the folio cut at the beginning of 
 der Bonder en troest the falling off is at once evident. It seems 
 not impossible that we may have in these new blocks the work 
 of some less practised apprentice of the man who made the 
 other sets. 
 
 The 24th July 1486 was the date of publication of the next 
 book known to have been printed by Bellaert — the Doctrinael 
 des Tyts. Like most of its predecessors, it is illustrated by a 
 series of new and noticeable cuts. They were certainly made to 
 illustrate the most remarkable points of this allegory, written 
 by Pierre Michault. We never find them again in any fif- 
 teenth-century book, but they formed part of the materials 
 used by Peter John Tyebaut at Amsterdam in the next century. 
 The substance of the book is as follows : — The author, wandering 
 in a forest, comes upon a valley; as he makes his way along it 
 he meets a young and beautiful lady, and enters into conversa- 
 tion with her. She tells him that her name is Virtue, and 
 offers to conduct him to see the underground school in which 
 the men of his day are educated. He willingly consents, and 
 they very soon find themselves in a spacious hall, at one end 
 of which a woman named Falsehood is seated in a Professors 
 chair lecturing to a class of students. She is the head of the 
 school, and presides over all the other Professors. Virtue con- 
 ducts the author to the lectures of Arrogance, Lust, Detraction, 
 Scandal, Vanity, Ambition, Bapine, Corruption, Flattery and 
 Mockery. All these take place in the same hall, Falsehood 
 sitting in the background in her elevated seat, and the lecturer 
 standing, sitting, or swaggering about, according as the text 
 describes him, and wearing a hat or not as the case may be. 
 The listeners sit on benches in a row on each side ; Virtue and 
 the author generally appear in the background. After they 
 have heard a specimen of all that the Professors have to say at 
 
72 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 this school, Virtue leads her companion through the forest, along 
 a track overgrown with briars and thorns, and almost effaced by 
 the negligence of years, to the School of the Virtues. With 
 some difficulty they obtain an entrance into the building, where 
 they find Prudence, Temperance, Fortitude and Justice. They 
 have some conversation about the degeneracy of the age, and 
 the author is then sent home to write down what he has heard 
 and seen. 
 
 The execution of the cuts, which, as the list will show, 
 illustrate the leading points of the story, is on the whole careful. 
 They are, without doubt, the work of the same hand as the rest 
 of the Haarlem blocks. The figures are carefully drawn — more 
 carefully perhaps than usual, owing to the minute descriptions 
 to which they must correspond. As usual with this workman, 
 the buildings form the worst part of the design ; and this is 
 all the more noticeable here because there is some attempt 
 made to give the School of the Vices an imposing ap- 
 pearance. It is built in the form of a nave flanked by aisles, 
 which are divided from it by a row of lofty pillars. The roof 
 of the central division is high and round, seemingly made of 
 wood, supported on strong girders. 
 
 In the two forest cuts the trees present considerable variety 
 and appearance of life, and the plants are more or less closely 
 studied from nature — the bramble, at any rate, being con- 
 spicuous with its thorns. In the last cut we have a represen- 
 tation of the School of the Virtues ( doechden scole), where the 
 four Cardinal Virtues are seated under canopies in a round 
 vaulted hall, the roof of which is sustained on a central pillar. 
 Fortitude is known by her pillar, Temperance pours out water, 
 Prudence has a book, Justice holds a sword and scales. The 
 author and his guide enter at a door in front. Outside 
 the door are the weeds that have grown on the disused path, 
 and the serpent and frog, whose home is in the rank and 
 bitter grass. The building itself is ruinous and the walls 
 cracked. 
 
 This is not the earliest printed edition of the work, Colard 
 Mansion having published the original French text in folio, 
 without cuts, about the year 1479. It was written, however, 
 
Sect. 11.] THE HAARLEM WOODCUTTER. 73 
 
 some time before that date, and seems to have been dedicated 
 in 146G to Philip the Good, Duke of Burgundy. 
 
 The last book printed at the Haarlem press bears date 
 August 20th 1486. It is entitled the Boeck van den pelghe- 
 rijm , and is a Dutch prose translation of the poem by Guil- 
 laume de Deguileville called Pelerinage de Vhomme , durant 
 quest en vie, ou le Pelerinage de la vie humaine 1 . The history 
 and origin of the French poem, and the various translations or 
 abridgements of it which were made from time to time, are of 
 course beyond the pale of our present purpose 2 . The story 
 relates how the Pilgrim, seeing in a mirror the Celestial City, 
 turns his back on the City of Destruction. He starts on his 
 pilgrimage under the guidance of a woman called Grade gods. 
 The various incidents which befall him on his journey form the 
 subjects of the wood- cuts. The blocks we know to have been 
 used twice — once in the folio volume with which we are imme- 
 diately concerned, and again in a quarto edition of the same 
 book printed at Delft by Eckert van Hombercli, in 1498. A 
 glance at a copy of the Delft edition suffices to show that the 
 blocks were intended for a quarto page. With the excep- 
 tion of the quarto cut on the title-page they are all the half- 
 quarto size — that, namely, of a small quarto divided in half 
 horizontally. To adapt these to the width of the folio page, 
 two side-pieces were made. Each represents a man lying on 
 a bank asleep, and the cut placed by its side is the vision 
 he is supposed to have seen. 
 
 The work is much less careful than that of most of 
 the series which have gone before. Indeed, this set must be 
 grouped with the quartos as probably made by a pupil. In 
 addition, they look somewhat old and worn, as though (which 
 
 1 J. C. Brunet, Manuel du Libraire , 5th edition: Paris, 1860 — 1865, 6 vols. 
 8vo, vol. ii., col. 1823. 
 
 2 The reader may consult the following : — 
 
 “ The ancient poem of Guillaume de Guileville entitled U Pelerinage de 
 V Homme compared with the Pilgrim’s Progress of John Bunyan, edited from 
 notes collected by the late Mr Nathaniel Hill, London, 1858, 4to.” It contains 
 reproductions of three of the Haarlem cuts. 
 
 The Pilgrimage of the Lyf of the Manhode, from the French of Guillaume 
 de Deguileville: Boxburgh Club; London, 1869, 4to. 
 
74 
 
 HISTORY OF THE WOODCUTTERS. [Ciiap. iv. 
 
 is not at all impossible) they had already been used in an earlier 
 edition. A good deal of character is manifested in several of 
 the figures — as, for example, in the Pilgrim, where he stands 
 hampered by his armour, the two women baking cakes, or the 
 porter who comes angrily to the gate. The woodcutting is 
 generally rude and wanting in finish. The faces are roughly 
 indicated with a few expressionless lines, the hair is coarse and 
 heavily laid in lines without grace. In the draperies a free 
 use is made of thick shade lines, few outlines are employed, and 
 they are made to go as far as possible, the attempt having 
 been to avoid all details except such as were indispensable, and 
 to produce those with a minimum of trouble. 
 
 Sect. 12. The same Workman , or his School , at Antwerp 
 
 (1486—1495). 
 
 After the publication of this book we hear nothing more 
 about Bellaert or his press. Some of his materials — two or 
 three cuts and his one fount of type — came into the possession 
 of Janszoen, who used them at Leyden in December 1494, 
 and January 1495. The remainder seems to have gone to 
 swell the stock of Gerard Leeu, at Antwerp, and it is not 
 impossible that Janszoen may have purchased the fount of type 
 and the cuts which he used after the death of Leeu at the sale 
 of that printer’s stock. Not only did the blocks of many of the 
 above- described books go to Antwerp, but the artist who made 
 them seems to have gone there too, and settled down as one of 
 Leeu’s workmen. We know that this printer employed one 
 man, and possibly more than one, as founder of types ; and it is 
 not at all unlikely that he would retain for the work of his press 
 one or more woodcutters. On the look-out for a good workman, 
 he immediately engaged the Haarlem artist as soon as his 
 occupation at Haarlem came to an end. Whether this was 
 really the case, or whether the woodcutter employed by Leeu 
 was a pupil of Bellaert’s workman, it may not be easy to settle. 
 
Sect. 12.] TILE SAME WORKMAN AT ANTWERP. 75 
 
 The Ilistoire du Chevalier Paris et de la belle Vienne, which 
 Lccu printed on the 15th May 1487, contains a series of cuts by 
 the same hand as those already met with in Bellaert’s Ilistorie 
 van Jason and the Ilistorie van Troyen. I am much inclined, 
 however, to think that further investigation will prove that 
 an earlier edition of this book for which these cuts were made 
 came from the Haarlem press about the year 1485. The close 
 connexion which exists between these cuts and those in the 
 romance of Jason is especially noticeable in the case of that 
 representing the jousts at Vienne. The knights who are in the 
 act of riding against each other are copied closely from the same 
 original as those in a similar subject depicted in the Jason 
 series; the only difference between the two blocks is in the 
 figures and buildings in the background. Placing these cuts 
 side by side, the identity of the workmanship admits of no 
 doubt. 
 
 The subjects represented are the main incidents in the 
 romance. Paris, a portionless knight, falls in love with Vienne, 
 the daughter of the Dauphin. In company with his friend 
 Edward he serenades her, and when attacked by a numerous 
 guard they put them to flight. Shortly afterwards jousts are 
 held at the town of Vienne, when Paris wins the prize, which 
 he receives from his mistress. After various events the hand 
 of Vienne is refused by her father to Paris, and the couple 
 accordingly elope. They are pursued and overtaken ; and Paris, 
 leaving Vienne in sanctuary, has to take flight. The soldiers 
 capture Vienne and lead her back home, where, shortly after her 
 arrival, she is demanded in marriage by the son of the Duke of 
 Burgundy. She refuses to accept him, and is put in prison 
 by her father. The story now follows the adventures of Paris. 
 He tries to drown his cares by going to the Holy Land, but 
 is taken prisoner by the infidels. After a certain length of time 
 he gains the confidence of his captors, and becomes advanced to 
 a high position at their court. One day he finds the Dauphin 
 himself among the prisoners in a gaol. They make an agree- 
 ment to escape together by the connivance of the gaoler. The 
 plot is fortunately crowned with success, and they once more 
 return to France. The Dauphin in his gratitude gives Vienne 
 
76 HISTORY OF THE WOODCUTTERS. [Ciiap. iv. 
 
 to her lover, who goes to fetch her from the prison to which 
 her constancy had confined her. 
 
 Many of the cuts are designed with considerable grace, 
 the figures are well grouped, and their attitudes and gestures 
 are natural and unconstrained. The heroine is often repre- 
 sented successfully as a maiden at once quiet and pretty, 
 though it must be allowed that her beauty is not always 
 conspicuous. For the rest, the knights, whether on foot or 
 horseback, are treated in exactly the same style as in the 
 earlier series, and, though natural when in repose, are wooden 
 if violent action is intended. The work as a whole attains a 
 fair share of success, though of a somewhat low order. 
 
 A few fragments of an edition of Reynard the Fox are 
 preserved in the University Library at Cambridge. The book 
 from which they come was clearly printed by Gerard Leeu about 
 the year 1486 or 1487, and was illustrated by a series of 
 woodcuts which link themselves in style of workmanship 
 to those by the woodcutter we are investigating. Portions 
 of three quartos alone have been preserved. The first of these 
 is an animated picture. In front, on the right, the interior of 
 a room is seen, with two people seated at a table. They are 
 preparing to make a meal, when Reynard comes and runs away 
 with the provisions. He is seen again on the left pursued by 
 three men. Apparently they are unable to catch him, for he 
 appears at a window of a room in the upper story of a house 
 to which he has fled for refuge, and in two other places. 
 
 The execution of all three cuts bespeaks a careful hand, 
 a tendency being observable to a too great minuteness of de- 
 tail. The figures, though on the whole well designed, are some- 
 what stiff and their actions rather strained. The expressions 
 are scarcely natural, this artist always failing when transient 
 emotion is to be depicted. Animals are not always well 
 rendered, but the chicken and geese in the second print de- 
 serve praise. Trees and shrubs are covered with a symbolic 
 representation of foliage, which shows that the artist had 
 attempted to bring his symbolism into closer accordance 
 with reality. 
 
 We have already referred to the large scries of folio and 
 
Sect. 12.] THE SAME WORKMAN AT ANTWERP. 77 
 
 half-folio cuts which appear in the Ludolphus of 3rd Nov. 1487. 
 These, as I believe, were made for some other book, such as a 
 translation or paraphrase of the New Testament, and were only 
 forced into the position which they at present occupy. A cer- 
 tain number of gaps were left, which had to be filled up by cuts 
 of different sizes, and to produce these the Haarlem woodcutter 
 was employed. Some folios were amongst the blocks made by 
 him, and these were the best work he ever did. The most 
 striking of them are three which represent Christ with the 
 Twelve. In one he confides the keys to Peter, in the second 
 he is seated teaching, and in the third the subject repre- 
 sented is the Last Supper, the whole party standing about a 
 round table. The figure of Christ is in all cases dignified. 
 An air of quietness pervades the whole ; the Apostles listen 
 thoughtfully to the words of their Master. They are not re- 
 quired to evince any sudden change of emotion, and so the 
 feeling to be expressed falls within the range of the artist’s 
 capabilities. The figures are all well designed and rightly pro- 
 portioned, they stand or sit in natural positions, the gestures 
 of their hands are such as would be expected, — there is no- 
 thing awkward or absurd about them. The grouping is 
 throughout well balanced and harmonious, without becoming 
 conventional or forced. The draperies are arranged in grace- 
 ful folds, and the shade hatchings are not added in excess, 
 nor do they produce an effect of baldness by their fewness. 
 The half-folio blocks present the same characteristics as the 
 folios, only they do not give evidence of the same careful finish 
 or the same pleasure of the artist in his work. It is in the 
 few folio cuts he has left that this woodcutter shows us his 
 real capacities. The narrow quartos, or side-pieces, are much 
 less worthy of praise, and fall on the lower level with the 
 smaller cuts. 
 
 In the same month as the Ludolphus a small quarto volume 
 appeared, entitled the Hoofkyn van devotien (Garden of Devo- 
 tion). It is illustrated by quarto cuts made for the places in 
 which they are found. The subjects throughout are allegorical. 
 The soul, represented as a girl, hears the voice of Christ calling 
 her to come into his garden. She rises to obey, and, following 
 
78 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 the path of Penitence, she reaches the gate, but finds it locked. 
 She kneels in prayer without, and is then admitted by Obedi- 
 ence, who takes her to the four Virtues, her handmaids. They 
 lead her about the garden, and she hears the angels sing. She 
 is then brought to the foot of the cross of Christ, and her heart 
 is pierced with an arrow by Faith. In the garden is a fountain 
 from which she drinks; after this Faith teaches her the Art 
 of Loving, and seated at the foot of the cross she sings for joy 
 of the Love of God. Finally Christ, as Wisdom, appears to 
 her himself, and she kneels at his feet and listens to his 
 words. 
 
 The cuts are in all cases carefully finished and nicely 
 designed. The figures are rather thin and meagre, but still 
 they are not wanting in elegance, and are usually well grouped. 
 The draperies are gracefully hung about standing figures, but 
 about those sitting or kneeling the folds are rendered with 
 exaggerated complication. The garments are shaded with a 
 multitude of short sharp lines, which sometimes become con- 
 fused at their broad ends and merge into a jagged space. The 
 attitudes are natural and expressive, the arms being particularly 
 good. The prints as a whole err from want of depth. The 
 shading on the far wall of the garden is too hard and sharp. 
 The perspective is faulty, and the figures are too large 
 in proportion to other objects. The walls are shaded sometimes 
 with long parallel lines, sometimes with rows of shorter lines, 
 and sometimes with dots and short hatchings scattered indis- 
 criminately about. The trees are not very good, and the 
 fountain is decidedly ugly ; nevertheless a right feeling pervades 
 the whole, showing that the artist had penetrated into the spirit 
 of the book, one of the least noxious of the kind produced 
 at this period of spiritual decay. The figure of the girl who 
 represents the soul is always expressive, whether she be hearing 
 the call of Christ, walking along the way of Penitence, or bend- 
 ing submissively before Obedience. 
 
 A small volume preserved in the public library at Hamburg 
 is the only known copy of an Officium beatce Marice Virginis, 
 printed by Leeu in 1487. It is illustrated by five 32mo cuts 
 by this artist. They are nicely painted in the copy in question, 
 
Sect. 12.] THE SAME WORKMAN AT ANTWERP. 79 
 
 and present a more attractive appearance, no doubt, than if they 
 had been left plain. As woodcuts their execution cannot be 
 entirely commended. The designs are certainly good. The 
 figures and drapery are graceful, involving but few lines and 
 those of the simplest. The cutter has been successful in deal- 
 ing with all the main outlines, but he has failed in the smaller 
 details of features and shading, the scale being too minute for 
 his powers and tools. The faces are wanting in expression 
 and often in form, the features being rather hazarded than 
 accurately defined. This, however, is not always the case. 
 The Blessed Virgin by the Cross is nicely drawn, with simple 
 features rightly proportioned and undistorted. The priest in 
 the Vigils of the Dead is calm and his attitude is easy and 
 natural; his surplice falls simply over his arms and hangs 
 without exaggeration of fold. The kneeling figure of the saint 
 in the Mass of St Gregory is not without dignity, and may 
 be commended for its devotional rendering. The work of 
 the whole set gives further evidence that the artist was a 
 careful man, somewhat overtaxed indeed by his task on 
 this occasion, but none the less giving his full attention to it, 
 and never failing through carelessness, though sometimes for 
 want of finer tools. Considering the early date of the book, 
 these little miniatures must be allowed to be a triumph of 
 skill. 
 
 In the following year a new set of rather small cuts was 
 made to illustrate an octavo book called the Kintscheyt Jhesu. 
 It is divided into three parts. The first tells of the Child J esus, 
 and how he was brought up by twenty Virtues; the second 
 describes the Soul’s hunt after him — the Soul being repre- 
 sented as a girl with a hound, and the Child as a deer in a 
 forest; the third tells how the Child was nailed to a tree by 
 seven Virtues. The cuts illustrate the various incidents, and 
 are in the style of those in the “Garden of Devotion.” 
 
 Passing over a few minor cuts, we come next to the interesting 
 series of quartos made to illustrate a new edition of the Seven 
 Wise Men , which was printed in April 1488, with the name of 
 Claes Leeu, probably a brother of Gerard’s. I have not been 
 able to see a copy of this book, but have no doubt at all that it 
 
8o 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 contained the cuts in question, which are clearly by this wood- 
 cutter. In the year 1490, we find them reappearing in another 
 edition of the same story printed at Cologne by J. Koelhof de 
 Lubeck, to whom the blocks must have been lent. He returned 
 them to Leeu with the exception of one, which was either 
 retained by him or lost on the journey ; and the imperfect set, 
 a new block being made by another hand to replace the lost 
 one 1 , was employed in the edition printed by Leeu on the 
 6th Nov. 1490 2 . The style of the cuts presents no further 
 developments. One of them represents the Emperor with 
 a drawn sword in his hand coming angrily into the chamber of 
 his wife to charge her with infidelity. She is seated in a chair 
 on the right, with her hands clasped in an attitude rather of 
 shyness than fear or remorse. The reason for this is discover- 
 able from the fact that along the top of the bed the words 
 Ave Regina ccelorum can be traced, carved in reverse. It is 
 probable that the whole cut, with the exception of the figure 
 of the Emperor, was copied from some print of the Annun- 
 ciation. 
 
 In the Ludolphus of 1488 we have two or three new cuts, 
 the most remarkable of which is a folio representing Christ 
 as Salvator Mundi, standing under an archway before a rich 
 hanging. It is one of the best cuts the artist ever made, and 
 evidences much care, as well as a development of power. 
 
 We cannot point to any blocks engraved in the years 1489 
 and 1490, though possibly there were some of which we have 
 no record. A few make their appearance in 1491, but they are 
 of no great importance. 1492, however, was a year of greater 
 activity. In January Een devoet exercitie van den dochteren van 
 Syon appeared, illustrated with seven new quarto cuts. They 
 are all of an allegorical character in the style of those in the 
 
 1 See p. 58 above. 
 
 2 The cuts are obviously by this woodcutter, and must have been made for 
 Leeu; they appear complete at Cologne in an edition visibly earlier than Leeu’s 
 edition of 1490, and when he uses them himself they are imperfect; hence there 
 must be an earlier Leeu edition of the book in which they occur. Such an 
 edition with cuts is known to have been printed in 1488 ; hence I conclude that, 
 when a copy of that is found, it will prove to contain the series in question 
 complete. 
 
8 r 
 
 Sect. 12 .] THE SAME WORKMAN AT ANTWERP. 
 
 ‘‘Garden of Devotion” and the Kintscheyt Jhesu. After Leeu’s 
 death they seem to have gone to Deventer, though we never 
 find them used there till the early years of the next century, 
 when Albert Paffroet constantly employed them. 
 
 Two cuts, representing the Madonna and Child and the 
 Mater Dolorosa, appear, with seven other octavos, in a book 
 entitled Die seven Ween van 0. L. Vrouwen (Seven Sorrows). 
 They are interesting as the only cuts of this period to which 
 we can with certainty point as copied from paintings. In the 
 first, the Blessed Virgin is seen half-figure, standing and turned 
 slightly to the right. She holds the Child, seated and clothed 
 in a long garment, on her left arm ; he raises his right hand 
 to bless. She wears a robe fastened about her neck by a 
 jewelled collar, and over it a cloak prolonged into a hood wdiich 
 covers her head. On her neck is a small black cross ; a star 
 is embroidered on her head-dress above her forehead, and there 
 is another on her shoulder. Resting on the top of her head 
 is a simple crown, formed of a plain fillet from which a series 
 of oblong projections stand up all round. She holds an apple 
 in her right hand. The background of the cut is filled with a 
 rich hanging. The text of the book informs us that “this is 
 an accurate copy of the picture of our dear sweet Lady and 
 her blessed Son, dressed and depicted as she was in her 
 fifteenth year, when she went and presented him to St Simeon 
 in the Temple ; and it is copied from the picture which St Luke 
 painted and made, and which stands in Rome in the Church 
 called 1 Suite Marie Maior .’ ” 
 
 The other cut is simpler. It represents the Blessed 
 Virgin, seen also half-figure and standing, facing somewhat 
 to the left. She holds her left hand against her breast and 
 raises the right in token of sorrow. She w r ears a heavy cloak, 
 which is wrapped closely about her in many folds, and is cast 
 over the head much in the same way as in the other cut. 
 There is no background, and nothing to show that she is 
 standing at the foot of the cross ; but we read in the text “This 
 is an accurate copy of the picture of Mary, Mother of God, 
 which stands in Rome in the convent called Ara Coeli, and 
 which St Luke painted and made; and it is just so as she 
 c. w. G 
 
82 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 stood under the cross all sorrowful. And this picture was 
 brought in procession to Rome in St Gregory the Holy Pope’s 
 time ; and men heard the angels singing before it Regina 
 coeli letare alleluya etc.” We further read that the book itself 
 “ is taken out of the letter which a noteable and very devout 
 man Peter, confessor of the convent of Thabor at Mechlin, 
 sent to the ‘ deken of Abbenbroeke and ( pastoer of Remmers- 
 wale ; which letter was in twelve metres or verses on the Seven 
 Sorrows, and they were written or painted before the true 
 pictures of Our dear Lady at Abbenbroeke and at Remmerswale 
 which were carefully copied and made from the pictures 
 painted or made by St Luke,” the same — it goes on to say — • 
 as those at Rome mentioned before. 
 
 In connexion with this it is worthy of notice that, in the 
 year 1454, Petrus Cristus was sent by the Count d’Estampes 
 to Cambrai to take three copies of a certain wonderful picture 
 of the Madonna, which had recently been brought from Rome, 
 from the Church of the Holy Sepulchre, and was highly 
 reverenced as the work of St Luke himself \ Of these copies 
 one is said to be preserved in the Hospital of Cambrai 1 2 . When 
 I visited that town, in February 1880, I could find no trace 
 of the picture ; but it may possibly be in the Cathedral, un- 
 less it has been destroyed in a weeding which took place a 
 few years ago, when the picture gallery was removed to its 
 present home. Whether, however, this would turn out to be 
 the original from which either that at Remmerswale or Abben- 
 broeke, towns in the diocese of Utrecht, was copied ; and 
 whether, if so, those pictures were by the hand of Petrus Cristus, 
 remains an undetermined question. 
 
 A picture representing the Mater Dolorosa in all respects 
 as she is depicted in the woodcut is, however, to be seen in the 
 Old Pinakoteck at Munich 3 . It is certainly closely related to 
 the woodcut, and both must have been descendants from some 
 
 1 De Laborde, Les Dues de Bourgogne, Preuves, Yol. i. p. exxiv., quoted by 
 Crowe and Cavalcaselle, Geschichte der Altniederlcendischen Malerei — Lcipsie, 
 1875; p. 143, note. 
 
 2 Catalogue du Musee d' Anvers, 3 rac Edition, 1874, p. 7G. 
 
 3 Catalogue, 1879, No. 694. 
 
Sect. 12.] THE SAME WORKMAN AT ANTWERP. 83 
 
 common original. The only difference between them is in the 
 background, where four angels within a framework of clouds 
 on a gold ground are arranged above the Virgin’s head in the 
 form of an arch. The style of the painting is rather that of the 
 sixteenth than of the fifteenth century. It is referred in the 
 Munich Catalogue to a Westphalian master working under 
 Italian influence. The flesh-colouring is dark and sallow, the 
 pigments being very smoothly laid on the face and hands. 
 The colour of the flesh shadows is a cold brown ; they are 
 carefully worked up in a somewhat elaborate system of chia- 
 roscuro. The feature-outlines are very soft, especially in the 
 case of the mouth and chin. The robe is of a rich but rather 
 opaque blue, with shades of green in it in the lights, and 
 carried down almost to blackness. Here the colours are laid on 
 with short strokes of a thickly loaded brush, every stroke being 
 readily traceable. The angels behind have square, ugly faces ; 
 their robes somewhat recall the manner of the Cologne masters; 
 the lights on them are yellow, whatever the colour of the robe 
 itself may happen to be. The wings are golden, picked out 
 with red or green. This does not accord with the style of 
 Petrus Cristus. The existence of the painting affords con- 
 firmatory evidence of the popularity of the picture and the 
 distance to which copies of it were spread. They were no 
 doubt to be found in many towns. It does not therefore do to 
 conclude that the cuts representing the Mater Dolorosa in this 
 position, which we find used by Snellaert in 1494, by Thierry 
 Martens in 1496, and by Janszoen in 1500, were copied from 
 Leeu’s print; it being quite possible, and in Martens’ case 
 probable, that they were taken from painted copies of the 
 picture 1 . 
 
 The execution of this set of cuts resembles in style that of 
 the more careful of the artist’s works. The outlines on the 
 whole are carefully cut, especially in the longer sweeps of the 
 drapery. The shade hatchings are very happily laid, and 
 present pleasing varieties in form. The attitudes and gestures 
 
 1 I am informed by Mr Weale that an old painting of this type still exists 
 in one of the churches at Bruges. 
 
 6—2 
 
8 4 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 seem to be faithfully rendered, though the Byzantine character, 
 which the original painting no doubt possessed, has been lost 
 in the copying. The curtain which forms the background in 
 the first cut is an embellishment to it, and neither attracts too 
 much attention by great intricacy or finish, nor displeases by 
 careless rudeness. The other seven cuts in the book are 
 similar to these in point of execution, only they are not quite so 
 well done. Their subjects are of the usual type, and do not 
 call for further remark. 
 
 The last new series of cuts which Leeu used occurs in the 
 Corona Mystica of October 1492. They are designed so that 
 various combinations of the different blocks may be made, and 
 thus variety of a certain kind attained with little trouble or ex- 
 pense. The crown of the Blessed Virgin is described as adorned 
 with twenty emblems. Of these ten are jewels, seven flowers, 
 and the other three the sun, the moon, and a star. Each emblem 
 is taken in turn and laid upon the altar, before which a man or 
 woman kneels in prayerful meditation. The blocks include four 
 crowns, two of which show the emblems on one side of the 
 crown, and the other two those on the other. Two blocks of 
 each sort were required in order that eight pages might be 
 printed at a time. Besides these there are four cuts representing a 
 figure kneeling, and four altars before which the figure kneels, 
 one of each kind being combined together to complete the 
 representation. A number of bits of wood are used carved 
 each with a separate symbol, whether jewel or flower, one being 
 introduced on each occasion into a hole cut for it within the 
 blank space which represents the surface of the altar. The 
 effect is thus produced of laying each of the twenty symbols in 
 turn upon the altar. The style of the execution is on the whole 
 careful; they closely recall those in the Kintscheyt Jhesu. They 
 do not show any advance in power of dealing with the materials, 
 though perhaps there are traces of more dexterity in working 
 along the old lines. 
 
 The Cronycles of the Londe of Englond was, as we know, 
 the book which Leeu was printing at the time of the unfortu- 
 nate catastrophe which resulted in his death ; it is not illus- 
 trated with woodcuts, but on the title-page is a quarto cut 
 
Sect. 12.] THE SAME WORKMAN AT ANTWERP. 85 
 
 representing tlie shield of England supported by two angels, 
 who are kneeling in a flat country. There are enough indica- 
 tions in the treatment of the drapery of the angels, and in 
 the style of their faces and hair, to enable us to class this cut 
 with those which have preceded as the work of the Haarlem 
 cutter. 
 
 When Leeu died his materials were dispersed abroad. Some 
 of them went to Peter van Os at Zwolle, some to Deventer, and 
 some remained at Antwerp, in the hands of Adrian van Liesveldt 
 and Thierry Martens. An edition of the Epistles and Gospels 
 printed by J. de Breda at Deventer, on 1 March 1493 — pro- 
 bably before the regular dispersion of Leeu’s materials took 
 place — contains nevertheless a series of 16mo cuts, already old, 
 which are clearly the work of the Haarlem cutter or one of his 
 school. They are in all eighteen in number, and may possibly 
 be a set complete in themselves. In point of execution they do 
 not show much skill, the lines being too vague and uncertain. 
 The expressions of the faces are never good, the features being 
 hastily carved. The attitudes, however, and the arrangement 
 of the draperies, as well as the freedom shown in the grouping, 
 can point to no school of woodcutting but this. So far as I 
 know, the cuts are not found in any Haarlem or Antwerp book, 
 but other Antwerp cuts appear at Deventer, and these may 
 have gone with them. No Deventer cutter made anything at 
 all like them. They were employed on at least three different 
 occasions by Jacob de Breda, and we find them still in use in 
 1518 in the office of Tjman de Os, at the neighbouring town of 
 Zutphen. 
 
 A few other blocks used by Liesveldt have also been given 
 to this woodcutter, whose style they very strongly recall. They 
 are all old when first found, and must clearly have appeared 
 in earlier books unknown to us ; they appear in company with 
 other Leeu cuts. Liesveldt, indeed, never seems to have used 
 blocks but such as he bought second-hand — except those re- 
 quired to illustrate the edicts concerning the value of the 
 coinage, which he was accustomed to print. 
 
 To the Haarlem school belong a few cuts used from time to 
 time by Godfrey Back after Leeu’s death. There is no evidence 
 
86 
 
 HISTORY OF THE WOODCUTTERS. [Chap. iv. 
 
 to show that any of them ever belonged to Leeu ; nor is it likely 
 that they did, since two of them were copied from cuts used by 
 him. The first is a copy in reverse of one of the Kintscheyt 
 Jhesu series, much of the manner of the original being retained; 
 the second is taken from a Mass of St Gregory employed by 
 Liesveldt. It is a well- executed cut, and presents on the whole 
 considerable variety, a pleasant distribution of work all over, 
 and careful finish where it is wanted. Christ appears behind 
 the altar in the mandorla , with his left hand raised to bless. 
 He is standing half hidden in the tomb. The walls on each 
 side are shaded, so as to throw up the figures in front. The 
 Saint is seen, almost from behind, kneeling in the middle of 
 the foreground. An assistant kneels on the left, holding the 
 tiara in his hands. He seems to be a thoughtful man, but does 
 not see the vision. The other assistant does not see it either, 
 but turns his eyes towards the Saint, struck by something re- 
 markable in him. 
 
 In the Epistelen ende Evangelien of 1496 is a 16mo cut of 
 the Presentation in the Temple. The Blessed Virgin stands on 
 the right, by the side of a small table over which she holds the 
 Child in her hands. Simeon stands opposite to her, and raises 
 his left hand in speaking whilst he stretches out his right, as 
 though about to take the Child. Joseph and two other people 
 are seen behind. The cut is carefully finished. The walls are 
 shaded, and the window on the right is filled with the interlaced 
 lead-binding of the panes. The face of the Blessed Virgin is 
 pleasing, and her hair is prettily thrown back. The shade 
 lines, though firm, are thin, and, in the case of the Saint’s 
 robe, they show a tendency to thicken at the bottom. The 
 main outlines are evenly cut and harmoniously arranged, and 
 the whole is good work, though of rather a low order. 
 
 I have included amongst the works of the Third Antwerp 
 Woodcutter a 16mo Bosary found in a Mar ice Corona of about 
 1495. It affords very slight grounds for the formation of an 
 opinion, but I do not feel at all sure that it should not be re- 
 ferred to the cutter of the preceding block. 
 
 Two square quarto cuts must also be classed with these, 
 though the date of their first appearance is unknown. They are 
 
87 
 
 Sect. 13.] THE THIRD DELFT WOODCUTTER. 
 
 clearly companion blocks, made by the same woodcutter at the 
 same time. They represent students of natural history. In the 
 first, a student is seated in a tree whilst his companion lies, 
 sleeping or meditating, on the grass at its foot. In the second 
 they are both seated at the foot of a tree : one is certainly 
 asleep this time, whilst the other is writing. The first is em- 
 ployed at least twice by Back, in a Questiones Naturales without 
 date, and in a Herbarius of loll ; the second is only found in 
 the possession of Thierry Martens, who includes it in a volume 
 Be varietate Astronomice, printed at Antwerp about the year 
 1503. Judging from their style, the date of the blocks cannot 
 be after 1495. 
 
 Sect. 13. The Third Delft Woodcutter, of this School 
 
 (1487—1498). 
 
 A few cuts used at Delft and not found anywhere else must 
 here be described — recalling, as they strongly do, the style of 
 the Haarlem cutter. They must be considered to be the work 
 of a pupil of his school. The first is a rather large octavo, 
 representing the Image of Pity ; it is found in the Troest der 
 conscientien, printed about 1487. It occurs in some other books, 
 and was still in use in 1498. When first found it does not 
 seem new, and I cannot help believing that further investiga- 
 tion will prove it to have come from Bellaert’s cutter. The 
 shading with black dots of various shapes, the arrangement of 
 the locks of the hair and beard, the pointed forehead, the form 
 of the limbs, the style of the nimbus, all mark it as his work. 
 
 In the Delft Passionael of 1487 we find two more cuts, 
 which, though not so strongly like Haarlem work, have still 
 many points in common with it. The first is a 16mo, 
 usually surrounded by the small border so frequently met 
 with. It represents St Jerome, standing in front of a rich 
 hanging. In his right hand he holds an open book, and 
 with his left he is caressing the lion, who reaches up his 
 forepaws to his master. The Saint wears a cardinal’s hat and 
 
88 
 
 HISTORY OF THE WOODCUTTERS. [Cuap. iv. 
 
 cloak. The second cut is an octavo; it represents St Anne, 
 also standing before a rich hanging, with the Blessed Virgin in 
 her arms. The latter holds the Child on her knee. In both 
 cases we find the same careful handling of details. The figures 
 have a naive simplicity which is very charming ; the attitudes 
 are perhaps a little stiff, but they are not awkward. Lines 
 fringed with short broad hatchings which quickly come to a 
 point are not unfrequently used. 
 
 In dev Kersten Spiegel , printed about the same time, the 
 Image of Pity and St Jerome reappear, and with them two 
 more cuts which may possibly be by the same hand. They 
 represent the Crucifixion, and the signs of the Four Evangelists 
 with the Child Christ seated in the centre. 
 
 Lastly, in the Zielentroest, published by Eckert van Homberch 
 about the year 1498, we find a very striking cut of Christ 
 in glory amongst his Saints. It is clearly a work of this school. 
 Back used it on the title-page of his edition of the same book, 
 printed 21 Sept. 1500, probably about the time when Eckert 
 had arrived in Antwerp but had not yet started printing. The 
 principal figure in the print is Christ in the mandorla. Among 
 the clouds which surround him are angels. He holds in his left 
 hand an orb, and his right is raised to bless ; he is crowned with 
 the crown of Empire. Below him on the earth kneel the 
 saints, women on the left, men on the right ; amongst the 
 former are the Blessed Virgin, St Catharine, St Margaret, 
 St Barbara, St Ursula; amongst the latter, St John the Baptist, 
 St Peter, and St Paul. The composition of the whole is ad- 
 mirable, and may well have been suggested by some more 
 extensive work, whether of painting or engraving. The execu- 
 tion is also good. The faces are all pleasing and characteristic, 
 the hair is generally wavy, and the angels’ wings are graceful 
 and light. The figure of Christ is majestic, and stands out 
 among white rays from a black ground. The faces of the angels 
 are quiet and devotional. St Peter, amongst the male saints, is 
 perhaps the best. His head is designed in the conventional 
 fashion, with a fringe of hair round it and a short square beard, 
 but his face wears a happy expression which is rare in woodcuts, 
 or even in pictures, of so late a date. Amongst the women per- 
 
CUTS OF THIS SCHOOL. 
 
 Sect. 14.] 
 
 liaps the most noticeable is St Barbara, kneeling with her book 
 open and her tower by her side. Her hair falls prettily on to her 
 shoulders, and her dress is arranged in sweeping curves without 
 distortion or exaggeration. The figures are grouped without 
 crowding or conventionality, at the same time they are well 
 balanced. The principal outlines are somewhat strongly marked, 
 whilst the shading is rather light and possesses considerable 
 varietv. The treatment of the hair recalls the Haarlem cutter, 
 but the fine shade hatchings, interlaced with each other and 
 constantly changing, can scarcely have been made by him ; 
 besides, there are hardly any fringed lines, and the outlines are 
 firmer than he was wont to make them. 
 
 Sect. 14. Cuts of this School , used at Leyden 
 
 (1484—1500). 
 
 Other works which stand out as the productions of the 
 Haarlem school were from time to time used in the neighbouring 
 town of Leyden. Henricus Henrici commenced printing there 
 in 1483. His books are without woodcuts, with the exception 
 of Thomas Aquinas’ Tractatus de Humanitate Christi, published 
 in 1484. At the end of this is a somewhat crude octavo device, 
 representing a lion holding two shields, the one bearing the 
 arms of Leyden, the other those of the printer. The cut 
 is nowise remarkable. It is executed in the style common 
 at the period — clear outlines supported by a few widely sepa- 
 rated hatchings. It seems to have been the only production 
 of the woodcutter which has come down to us. 
 
 We meet with no new Leyden cuts till Hugo Janszoen 
 van Woerden comes forward as a printer. He starts on the 
 10th Dec. 1494, with a fount of type and a few cuts which had 
 formed part of the materials used at Haarlem by Jacob Bellaert. 
 In 1495 he printed a Gheticlenboec , which I have not seen, but 
 which probably contained the same cuts as its predecessor. 
 That possesses one cut of the Annunciation which has not 
 
90 
 
 HISTORY OF T1IE WOODCUTTERS. [Chap. iv. 
 
 occurred in any other known book, and seems to be the work of 
 some local woodcutter. It is distinguished by the absence of all 
 fine light touches or thin fringe-lines. All the outlines and 
 shade hatchings are rather open, but individually they are 
 thick. The short hatchings are scattered about with some 
 aim at variety. The edges of all the lines are soft, and the 
 whole cut has rather a light appearance. It does not look new, 
 and the style is that of some years back. On the whole, it is 
 not improbable that it may have been by the same hand as the 
 preceding device, and made about the same time. At all events, 
 it belongs to the same school ; and it seems only natural to 
 suppose that it was a second-hand cut — being, as it is, in 
 company with other second-hand cuts and a second-hand fount 
 of type. 
 
 A series of six octavos, or rather a portion of some larger 
 series, is found in certain books printed at Janszoen’s second 
 press. These must be referred back to the same woodcutter as 
 the 16mo Annunciation. They afford us a somewhat better 
 opportunity of observing the style of his work. He seems 
 always to have cut in a light, open manner, leaving little of 
 the original surface of the block standing. His work is always 
 in lines, supported here and there by a few dots or short 
 hatchings scattered vaguely about. The design is generally 
 rude, and describable as sketchy ; the figures are badly propor- 
 tioned, the limbs wanting in definite shape, and the extremities 
 very feeble. The drapery, on the other hand, is usually well 
 handled, and hangs in folds not ungracefully arranged. The 
 attitudes are sometimes natural, but more often they are stiff 
 and wooden, or, worse than that, flabby. The hair as a rule 
 is heavy, like a mass of badly carved stone ; but now and then — 
 as in the cut of Christ bearing his Cross — it is better managed, 
 and arranged with a certain amount of care and success. Some 
 of the faces are characteristic, that of a man standing at the foot 
 of the steps in the Ecce Homo particularly so, in a coarse fashion. 
 The head of the Blessed Virgin is in one instance very simple 
 and pleasing. One of the soldiers who holds Our Lord as He 
 stands before Herod is noticeable because there is no outline 
 properly so called, to his head at all : it is simply relieved 
 
CUTS OF THIS SCHOOL. 
 
 91 
 
 Sect. 14.] 
 
 in white against the shadow under the doorway behind — an 
 entirely right method, be it observed, and in this instance 
 eminently successful. The cut representing the Image of Pity 
 differs somewhat from the rest, but seems to be linked with 
 them by the style in which the head is rendered. In the shade 
 hatchings there is a more frequent use of comb-lines with long 
 pointed spikes, and they are also found within the tomb behind. 
 
 It seems hardly possible to avoid referring to this hand the 
 little side piece of two dogs, and the two 16mo borders, in the 
 bottom of one of which are two men fighting, and of the other 
 a bird among leaves. All three are found together in the 
 Leven ons Heren of 1498, and the borders occur in several 
 other books. 
 
 To this hand, after considerable hesitation, I must refer 
 the careful little cut of the Mater Dolorosa, which occurs, 
 seemingly for the first time, in the Leven 0. L. Vrouwen of 
 1500. The figure of the Virgin with her hand raised is copied 
 from Leeu’s cut in the Seven Sorrows of 1492, or else from some 
 other copy of the miraculous painting attributed to St Luke. 
 Its origin is plainly different from that of any of the other sets 
 of cuts used at Leyden, except those just described. On the 
 other hand, the nature of the lines with which it is drawn, 
 more especially of those which indicate the pattern on the 
 hanging introduced behind, is so like that of the lines in the 
 early series, that I was led to place the two side by side, in 
 order to examine them more closely together. There is in 
 both the same softness of edge, as compared with the more 
 usual sharpness, the same rounding of the lines, the same trick 
 in the draperies for indicating folds with lines bent at the end ; 
 there are the same fine dots and short hatchings scattered 
 about; and, finally, the drawing of the hands in both cases 
 presents a striking similarity. The eyes are rendered in both 
 by the same arrangement of lines; the hair, unfortunately, 
 owing to the arrangement of the Virgin’s hood, cannot be called 
 in to aid in settling the question. By the nature of the case 
 the date of this cut cannot well be before 1492, though from its 
 style one would certainly have considered it earlier. There are 
 so many signs of vitality in the work of the octavo cuts as 
 
92 
 
 HISTORY OF T1IE WOODCUTTERS. [Ciiap. iv. 
 
 to make it not at all impossible that the same workman 
 may have produced the block from which this was printed after 
 a certain amount of further practice. It will, however, be almost 
 necessary to assume that he made, in the meantime, a consider- 
 able number of cuts which have not come down to us. 
 
CHAPTER V. 
 
 FOREIGN WOODCUTS USED BY LEEU AND OTHERS. 
 
 (1485, 1491.) 
 
 15. Augsburg Woodcuts used by Leeu (1485). 16. French Wood- 
 
 cuts used by Leeu and others (1491). 
 
 Sect. 15. Augsburg Woodcuts used by Leeu (1485). 
 
 We have now passed shortly in review the woodcutters em- 
 ployed by Gerard Leeu and the pupils or imitators of the last 
 of them. During the first year after Leeu’s arrival at Antwerp 
 he seems only to have used his old cuts in fresh combinations. 
 On 12th Oct. 1485, however, we find him printing a folio 
 edition of Esop’s Fables, illustrated with no less than a hundred 
 and ninety-nine woodcuts. These differ in style from any that 
 we meet with elsewhere in Holland. They were in fact printed 
 from a set of blocks produced, it would seem, at Augsburg at a 
 slightly earlier date, for they are found in a less broken con- 
 dition in an edition of Esop, without name, place, or date at- 
 tached, but printed in the types of Antony Sorg, who is known 
 to have been working at Augsburg at this time. There is no 
 doubt of the blocks being the same in both cases, for a minute 
 comparison between them was made by Mr Holtrop 1 , which 
 showed that the same breakages occurred in both cases, only 
 
 1 Holtrop, Monuments , p. 99. Copies of the German edition are in the 
 British Museum, the Bibliotheque Nationale at Paris, and the Public Library 
 at Deventer. 
 
94 
 
 HISTORY OF THE WOODCUTTERS. [Chap. v. 
 
 that they were larger in the Antwerp edition. It is worthy of 
 notice that there was an earlier German edition (which I saw 
 in the Bibliotheque Nationale) from which the Augsburg cuts 
 were copied. The cuts of Esop’s Vision of Diana, Esop beaten, 
 the Treasure trove, the Bishop, the Priest and his Dog, which 
 all occur with Leeu, are not in Sorg’s edition, so we are led 
 to conclude that an earlier Augsburg edition than either may 
 have existed which included the whole series. 
 
 An analysis of the style of these woodcuts does not fall 
 within our province. A very few remarks must therefore suffice. 
 They are not all the work of the same cutter, but give evidence 
 of the co-operation of at least two, and possibly more. Whilst 
 all are rude, some are much ruder than others. In one set 
 the lines are thin, short and timid. The distance is brought 
 forward by an elaboration of detail. The trees are not con- 
 ventional, but sketchy studies from real trees, with an attempt 
 to render the foliage in masses and to make it light and living. 
 In this there is some amount of expression of law and vitality, 
 a reaction from the frozen hieroglyphics which had gone before 
 and are noticeable in cuts by the other hand. In these latter 
 the effect, such as it is, is produced by a few bold, thick strokes 
 hacked out as though with hammer and chisel, often not unsuc- 
 cessfully so far as they go. There is much art-life potentially 
 in them in contrast with those of the north. In the one case 
 we have a rising school, rude, earnest, vigorous; in the other 
 the fading remnants of an energy that had wasted itself in the 
 trivial carving of outlines, and had lost all power in the strang- 
 ling meshes of a false system. These cuts, therefore, hideous 
 though they be, are of great interest because they stand side 
 by side with the work of a totally different school and enable 
 us to compare the one with the other — the dying schools of the 
 north with the rising schools of the south. Many copies of the 
 editions of Esop printed by Leeu are in existence, so that the 
 comparison may readily be made by any one interested in the 
 subject. It shows with clearness the fact to which I have 
 already more than once referred — that no school of woodcutting, 
 which is to grow and become strong and healthy, will ever be 
 founded upon a method of work, however careful, in pure line. 
 
THE FRENCH WOODCUTTER. 
 
 95 
 
 Sect. 1 G.] 
 
 It must be built upon a method of powerfully, if perhaps rudely, 
 handling the surface of the block in masses, giving free play to 
 the arm of the artist and enabling him to work with all the 
 bold vigour of immediate intention, not with the calculating 
 care which the production of an elaborate tissue of lines in- 
 volves. 
 
 In September 1486 Leeu printed from the same blocks 
 again, and from a few others belonging to the set, but which 
 he had not employed before. Another edition of the book was 
 published by Eckert van Homberch at Delft, in 1498, illustrated 
 by feeble copies of these cuts, in which all their rude force is 
 lost and no grace added instead. 
 
 Sect. 16. French Woodcuts used by Leeu (1491) and others. 
 
 It is a remarkable fact that, so soon as the process of 
 woodcutting had become at all general, we find in every 
 country a distinct style, belonging only to it, and differing 
 in the most marked manner from that of the rest. We have 
 already noticed the rude power which marks the German 
 woodcutters. The Italians again are no less different, though 
 the number of cuts produced by them was for various reasons 
 much fewer than by others. In France the art attained con- 
 siderable perfection at a very early period. All French artists 
 worked in a particular manner with a very marked style. 
 Their productions were more careful and graceful than those 
 of their neighbours on the East. They adopted a different 
 principle, and were led to better results. All French wood- 
 cutters left more of the original surface of the block standing. 
 They covered it with white lines formed in furrow with the 
 chisel ; and they carved out large spaces of white, but they 
 left very few plain spaces of black and very few thick lines. 
 They broke up their spaces into smaller portions. The 
 shading on draperies was, for example, rendered by rows of 
 white furrows ruled across a black space, and giving rise to 
 the appearance of a row of black lines in the impression. 
 
96 HISTORY OF THE WOODCUTTERS . [Ciiap. v. 
 
 This system was also tried by Dutch workmen, but never with 
 sufficient care to ensure success. Further, the French de- 
 voted the most minute attention to the outlines of features or 
 hands. They admitted no rudeness there ; all their profiles are 
 clear-cut and refined. They allowed no clumsiness ; they never 
 trusted to luck for expression. Nor are the outlines of drapery 
 neglected ; they are clear-cut and gracefully designed. When- 
 ever a line is employed it is finished with care, but the whole 
 strength is not thrown into the lines. The effect arises from 
 a careful arrangement and balance of spaces of shade, and the 
 shade is produced by ruling white furrows across what would 
 otherwise be a black mass. They never waste any room in 
 the block. The background is as much filled up as the middle. 
 Buildings or trees are arranged behind and carefully finished ; 
 the foreground is carpeted with flowers and grass, or dotted 
 about with stones. There are no large empty spaces to throw 
 the whole out of balance or to destroy the general effect. 
 There is, in fact, visible evidence of refinement, even though it 
 shows itself rather in the finical working out of details than 
 in bold and yet graceful conceptions. As a rule blocks em- 
 ployed by French printers were rather small; at all events the 
 small blocks were the best. Large blocks were usually broken 
 up into compartments and each compartment was treated as a 
 separate subject. The main wish of the woodcutter was to pro- 
 duce something that would be a pretty thing on a page ; the 
 next point was that it should represent a certain subject. As 
 a further advance in this system of embellishment it became 
 a general custom to represent each event as seen through a 
 highly ornamented archway. This arrangement enabled the 
 artist to fill the upper part of his block with a graceful compli- 
 cation of carved work, and all the elaborate embellishments 
 which the flamboyant architecture of the day could supply in 
 profusion. It further circumvented the difficulty of treating 
 the sky overhead as anything but an expanse of featureless 
 white. By these and similar expedients the whole block was 
 filled with details more or less pleasing, a large amount of the 
 original surface of the wood was left intact, and the risk of the 
 carved work breaking in the press was considerably reduced. 
 
THE FRENCH WOODCUTTER. 
 
 97 
 
 Sect. 1G.] 
 
 There can be no doubt that the idea of illustrating printed 
 books in a rich manner was taken from the highly ornate 
 manuscripts of the day. These were not only embellished 
 with numerous miniatures, but the borders of their pages 
 were surrounded with an interlacing tracery of lines, or with 
 wreathed tendrils and flowers mingled with various grotesques, 
 which not only left no space unadorned, but gave play to the 
 luxurious fancy of the illuminator and afforded an excellent 
 playground for the development of more advanced powers. These 
 borders were naturally amongst the things which the wood- 
 cutter soon learned to imitate. The new art of printing was 
 more especially applied to the production of numerous works 
 of devotion, for which the- tendency of the day gave a large 
 demand. It became the rule to make them as pretty as 
 possible, surrounding every page with a fantastic border, and 
 introducing at suitable points a cut illustrative of some 
 fitting subject from Sacred History or the Legends of the 
 Saints. Many sets of borders and accompanying cuts were 
 therefore produced, all of which bear a family likeness. It is 
 a remarkable fact, considering the evident superiority which 
 they possessed, that so few of these French sets ever found 
 their way into the possession of printers in neighbouring coun- 
 tries 1 . So far as we know, this happened only twice or three 
 times, and the best known example is the series constantly 
 employed by Gerard Leeu in the later years of his life. 
 
 It consisted of sixteen borders suited to the octavo page, 
 fourteen octavo cuts representing events from the Sacred His- 
 tory and devotional subjects, and twenty-one 32mo cuts of 
 Saints. The whole series was obviously intended to illustrate a 
 Ghetidenboec, and was, as we know, used from time to time for 
 that purpose. The first appearance of any of them, to which 
 we can with certainty point, is an edition of B. Bernardus 
 Souter, printed by Leeu on 8th Oct. 1491. Each page of this 
 book is surrounded by one of the borders, but only one of 
 
 1 A portion of a border, by a French woodcutter, used by Eckert van 
 Homberch will be found mentioned in the Catalogue. A set of borders and 
 cuts in the French style were used by the Collatie Broeders at Gouda and are 
 described in connexion with the work of the Fourth Gouda Cutter (Sect. 27). 
 
 C. W. 
 
 i 
 
9 8 
 
 HISTORY OF THE WOODCUTTERS. [Chap. v. 
 
 the octavo cuts is used. It seems probable that some edition 
 of the Duytsche ejetiden, containing all the cuts and borders, 
 preceded this. No specimen of it has been preserved, how- 
 ever, unless a volume, which has lost the last few leaves and 
 with them the imprint, preserved in the Cambridge University 
 Library, and presenting all the characteristics of a production 
 of this press, be the book we want. On three other occasions 
 we find either the borders, or a cut or two, used by the same 
 printer, showing that the set remained in his possession till his 
 death. 
 
 When Leeu’s materials were dispersed this portion of them 
 passed to his successor at Antwerp, A. van Liesveldt. We 
 know of at least nine books printed by him in which the cuts 
 occur in greater or less number ; and three times, at any rate, 
 he employed the whole set in its right arrangement. After 
 the close of the century, so far as I know, it disappeared, and 
 we never meet with it again. 
 
 From what French woodcutter the set came I have been 
 unable to discover; but that the cuts were French there is 
 no doubt. They differ in all respects from any blocks pre- 
 viously produced in the Low Countries; and not only so, but they 
 attain a level of excellence which was only occasionally reached 
 even in France. Their appearance at Antwerp seems to have 
 set a fashion, and the style-stream of woodcutting was turned 
 in a new direction. Their popularity is proved by the fact that 
 they were almost immediately copied — with signal ill success, it 
 is true — by no less than four different workmen. Had the 
 artists of Holland copied not only the manner of treatment of 
 the subjects, but also the careful handling of the tool which the 
 French cutter showed them, they might have taken a new 
 departure and attained to higher excellence. But by this time 
 all the early traditional attention to detail was gone, and 
 its place had been taken by an abominable carelessness, which 
 desired to produce effects without troubling about means. 
 
CHAPTER VI. 
 
 ZWOLLE. 
 
 (1484 — 1500.) 
 
 17. The First Zwolle Woodcutter (1484 — 1491). 18. The Second 
 
 Zwolle Woodcutter (1487 — 1493). 19. Miscellaneous cuts used 
 
 at Zwolle (1491—1500). 
 
 Sect. 17. The first Zwolle Woodcutter (1484 — 1491). 
 
 On the 26 May 1484 Peter van Os printed a Dutch edition 
 of the Gesta Romanorum. The cuts with which this was illus- 
 trated were those already more than once used by Gerard Leeu. 
 The devices, however, at the end of the book offer us the first 
 indication of the existence of a woodcutter in the neighbourhood 
 of Zwolle. The small device merely represents two shields ar- 
 ranged in the conventional manner adopted by Gerard Leeu, 
 from whom Peter Van Os obtained the fount of type of which 
 he commenced the use with this book. The larger one is 
 more remarkable. It shows an angel kneeling in a niche 
 and holding the shield of the town. The workmanship is 
 coarse in both cases, and gives the .idea of a vigorous hand. 
 The outlines are thick and wanting in grace, but the general 
 arrangement is harmonious and the effect good. The shading 
 is treated by means of white lines, or rather spaces of varying 
 form, dug in the masses of wood. The whole is blocked out 
 and handled in the mass. There is no trace of a finical hand, 
 but everything seems to point to one disciplined, and rebellious 
 
 7 2 
 
loo HISTORY OF THE WOODCUTTERS. [Chap. vi. 
 
 only against wrong restraint. The characteristics of this work- 
 man’s style can be better illustrated from some of his more 
 important works. 
 
 In the next book from this press, a few months later, 
 we meet with a large folio cut representing St Bernard’s 
 vision of the Madonna, and treated with a pleasing vigour. 
 The group is seen through a window. The Saint stands 
 on the left with his pastoral staff, looking at the Blessed 
 Virgin. She is holding the child, who stands naked on a 
 cushion upon the window-sill. By him lies an open book, 
 and a flower pot is in the right corner. The child presents 
 St Bernard with a flower which he seems to have plucked 
 from the plant. The words monstra te esse matrem are printed 
 in front of the mouth of the Saint. The Mother answers 
 his prayer in the legendary manner. Behind is a rich 
 hanging of some heavy material. The walls and buildings 
 of a town appear through an open window on the left. No 
 room is wasted, the whole block being well filled. The style 
 of the design strongly recalls that of the School of engravers 
 of North Holland. Nor is this only the case in the balance 
 and general design, but the faces present the characteristic 
 traits of the Master who signs himself ZwolF ( Zwollensis ). 
 The Blessed Virgin’s face has the same high pointed forehead, 
 and her hair is rolled back in the same manner, and then 
 allowed to fall within her cloak. The head of the Child 
 is covered with little dots to indicate short hair, and his figure 
 is that of the same meagre bony infant that we meet with 
 elsewhere. 
 
 There is further some indication in the handling of his 
 materials that the Artist was not unacquainted with the 
 methods of engraving. His attention seems to have been 
 much more directed to that part of the block which he cut 
 away than to what he left standing. The graceful arrange- 
 ment of the hair of the Virgin lies, not in the curve of the 
 black lines, but in the. form of the white spaces. The effect of 
 shadow on St Bernard’s robe is produced by digging out little 
 spaces of white from the black mass, not by a number of more 
 or less parallel lines of varying length. Indeed, properly speak- 
 
ior 
 
 Sect. 17.] THE FIRST ZWOLLE WOODCUTTER. 
 
 mg, there is not a black line in the whole cut. There are 
 black spaces of varying length and thickness, but no evenly 
 laid line of regular form and ordered curvature. The space of 
 black between the legs of the child, covered as it is with white 
 dots, will mark this difference very clearly for us. The patch 
 of dark is relieved, but the relief is not obtained by a trans- 
 formation into a system of lines. There are numberless other 
 indications of a like character, in themselves not worth descrip- 
 tion, but readily noticeable when the cut itself is under the eye. 
 
 It must not be forgotten that there is a well-known plate 
 by the Master Zwollensis representing the same subject, and 
 treated in a similar manner. The resemblance between the 
 two is in many respects very striking, and has not passed 
 without notice 1 . The conclusions to which the foregoing 
 indications seem to lead is that we have in these cuts the 
 work of a man, unaccustomed to woodcutting, and starting 
 with preconceived ideas borrowed from engraving, in themselves 
 right, but at variance with the taste of the day ; and that he 
 belonged to the School of Zwolle but probably was not the 
 master of it. 
 
 Moses receiving the Tables of Stone, an important folio-cut 
 by the same hand, occurs in the Sielentroest , printed in the 
 following year (1485). It presents certain noticeable points of dif- 
 ference, showing the direction towards which the workman’s style 
 was tending. It is ruder, wanting in care, and badly designed. 
 It is unbalanced, and presents large spaces unutilized. The 
 Most High appears above on the right of the cut; Moses 
 kneels on the left, on the hill side, with the Tables in his 
 hand. In the distance, on both sides of the hill top, a far- 
 reaching flat country is seen. Four of the Children of Israel 
 are dancing in front round the golden image of the Calf, which 
 stands on the top of a pillar. The hill is shockingly rendered. 
 Its outline is formed by a band of black, nearly one inch in 
 breadth, and dug into with short white lines. Below this the 
 white hill slope is only broken up here and there by a rudely 
 designed flower, and another black hill side fills up the left 
 
 1 Kenouvier, Histoirc dc la Gravure , p. 172. 
 
102 HISTORY OF THE WOODCUTTERS. [Ciiap. vi. 
 
 part of the foreground. The dancing figures are not without 
 animation, but their drapery is very rude. The only good 
 part is the head of the Most High ; the hair is finely laid 
 with few strokes, the face is beneficent, and the gesture of 
 blessing natural and easy. The figure of Moses is not well 
 done ; his head is as bad as can be. His robes are rude and 
 coarse, without grace of line or care of arrangement either in 
 the spaces of black or white. The whole looks as though it 
 had been hacked out with a blunt knife. 
 
 The quarto-cut of St Luke, found in the Epistles and 
 Gospels of 1487, is a rude but well meant work. The Saint 
 is seated writing within a room. The cutter is enabled 
 once more to leave much of the flat surface of the block 
 standing, and to work in white spaces. In his manner of 
 dealing with the head and horns of the Ox he shows right 
 intention. The drapery of the Evangelist, though somewhat 
 angular, is well laid in its masses. The uniform shade in the 
 room gives, by contrast, a look of light and air to the bit of 
 landscape, with its not unnatural tree,- seen through the door 
 on the right. 
 
 Along with this must go two more quarto-cuts — copies from 
 the same subjects as Leeu’s series of sixty-eight. Comparing 
 them with the originals, the differences between the two 
 cutters in the mere handling of their tools are very evident. 
 Leeu’s man uses spiky comb-lines almost entirely ; the other 
 supports his main outlines with hatchings longer and fewer, as 
 well as individually thicker; they are generally the same 
 breadth all the way along and end off square. Again, the 
 shading on the horse’s neck in one of these cuts is produced 
 by a number of black dots, the result of crossing two series of 
 furrows ; and the same is the case with that on his hinder 
 quarters. The expressions of the faces are less naive and 
 uglier than in Leeu’s set. The Zwolle cuts are firmer and 
 blacker, as if they had been made with blunter tools and less 
 feeling. 
 
 That these cuts are only parts of a longer series, possibly 
 the work of more than one hand, admits of little doubt. They 
 both occur again in conjunction with several others, in the 
 
Sect. 17.] THE FIRST ZWOLLE WOODCUTTER. 103 
 
 following year, in another edition of the same book, printed by 
 Peregrin Barmentloe at the neighbouring town of Hasselt. 
 The whole set I have divided between this cutter and the 
 one who will next come under consideration. They are all 
 copied from a set of designs like those from which Leeu’s 
 quartos were taken. These designs may have been impres- 
 sions from Leeu’s blocks, which, considering the close relation 
 that existed between the presses of Peter van Os and Leeu, 
 is not an unlikely assumption ; or, on the other hand, they 
 may have been some such set of engravings as I have 
 already referred to, when speaking of the Second Gouda 
 Cutter. 
 
 I am not at all satisfied with the division I have at- 
 tempted to make in this set of cuts. Taking Barmentloe’s 
 Epistles and Gospels in hand and turning over the pages, the 
 cuts on the whole present certain general characteristics in 
 common. There is in most the same neglect of line for space, 
 there is little grace or child-like charm, but great strength 
 and firmness. Certain differences are also remarkable. Thus 
 whilst Christ before Pilate is a very exact copy of Leeu’s cut, 
 Christ before Caiaphas, before Herod, washing the Disciples’ 
 feet, and others are so totally different, though still copied, 
 that it is at first hard to think them the work of the same 
 man. I cannot however separate more than four with any 
 certainty from the rest. They were perhaps experiments in 
 a new style, made afterwards to complete the set. In them 
 the lines are everything, and they are bad. Compare the hair 
 in these and in the bolder cuts. It is a mere tissue of lines. 
 The drapery and flesh outlines are all clear-cut and thin ; there 
 are no spaces of black, no thick hatchings on the wall; the 
 whole is merely a very rude pen and ink drawing reproduced. 
 Still, in the beards and the shading of the drapery I find the 
 same style as in the older cuts, the difference being that more 
 wood is now cut away, and the bands of black out of which 
 white spaces were dug are now crossed by rows of broad 
 regular white lines. The legs of the Soldiers holding Christ 
 show the same massive hatchings as before, but now pointed. 
 There is no break between one style and the other. It is 
 
104 HISTORY OF THE WOODCUTTERS. [Chap. vr. 
 
 possible that we have here an indication of an attempt on the 
 woodcutter’s part to adopt the regular style of cutting in line 
 followed by his contemporaries. 
 
 The old style at all events occurs again in its full vigour in 
 the small cut on the title-page of der Bien boeck of 1488. It 
 is a narrow head piece of an ornamental character, and repre- 
 sents bees flying about amongst the flowers that grow near their 
 hives. Here everything is of the blackest. The bee-hives and 
 the bees and the flower and leaf outlines are all black, strong, 
 and rude, without a clear line in the whole. The flowers are 
 rendered by flakes of white scooped out of a disc of black, but 
 they are not studied from nature and so their rudeness is not 
 attractive. 
 
 The chronological line brings us next to the Sterfboeck of 
 1488. The cuts in this, as is well known, are copied from those 
 in the Ars Moriendi Block -book. There are reasons for con- 
 sidering that one edition of the Biblia Pauperum, one of the 
 Canticum canticorum, and one of the Ars Moriendi were printed 
 off from their blocks at one place. The cut-up blocks of the 
 first two appear in the possession of Peter van Os ; and it is 
 not therefore surprising to find him producing an imitation of 
 the third. The question arises however whether the Sterfboeck 
 cuts are copies, or old blocks reprinted. We know that the 
 cuts from the Biblia Pauperum, when printed with ink in a 
 press, present a very different appearance to that produced by 
 the earlier system of rubbing. The lines in the former case 
 lose all their fineness and become broad black streaks. Their 
 edges are no longer sharp but soft and furry, and at first 
 sight it would be quite possible to believe them to be 
 copies also. There is however in the Sterfboeck illustrations 
 one rather marked difference, which serves to strengthen the 
 belief that they are new copies; this is the sharpness of the 
 edges of the lines. They are all square cut and apparently 
 fresh. This fact determined, it is not difficult to refer their 
 execution to the woodcutter under consideration. They are 
 careful copies, almost line for line. The originals from which 
 they were taken were, as we know, some of the best work in 
 pure line that has ever been produced. The same general 
 
Sect. 17 .] TIIE FIRST ZWOLLE WOODCUTTER. 105 
 
 aim has been followed by the copyist. The outlines are 
 firm and strong, and the shade hatchings are subordinated to 
 them and reduced to little more than dots. The design seems 
 to have been traced, but the tendency to leave as much 
 wood standing as possible is still discoverable. Thus in the 
 Temptation to Despair the outlines are lost in the dark masses, 
 and the figures are brought out in simple spaces of white. 
 Though for the most part carried away by his copying, and 
 cutting lines and spaces as he finds them, the artist still pre- 
 serves his individuality. Thus the horse in the Temptation to 
 Avarice is excellent ; his mane is rendered by a few well- 
 arranged locks, his form is compact and strong, though his 
 hoofs are abnormally large. The hardness of the thick lines, 
 and their sharp edges, cannot fail to be noticed, producing as 
 they do a general hard appearance, and want of breadth. The 
 same blocks were emplo} 7 ed once more by Peter Van Os in 
 1491, in a second edition of the same book. 
 
 Further evidence of the activity of this woodcutter is found 
 in two cuts used at the beginning of the year 1490 by 
 P. Barmentloe. They represent St Jerome and St Stephen, 
 and occur in the Book of St Jerome. Both are excellent. The 
 attitudes are easy, the expressions pleasing, the draperies well 
 arranged, and the backgrounds pleasantly filled. St Stephen 
 holds the shield of the town of Hasselt in Overyssel, as well as 
 that of the printer, and the cut falls therefore into' the class 
 of printer’s devices. There is no known instance of the block 
 having been employed by him again. 
 
 Another large folio cut appears in both volumes of the 
 Passionael printed by Peter van Os in the same year. It 
 represents the martyrdoms of many Saints in different parts 
 of an open country. The original, from which it is a copy, has 
 already been described as the work of the Utrecht woodcutter. 
 So far as the forms and arrangement of the figures go, the copy 
 is sufficiently accurate, but all clearness and grace of line is 
 lost, and rude force is found instead. The lines are uncer- 
 tain and vary in thickness ; they were evidently hacked out 
 rapidly by a clumsy hand, only at home in digging out the 
 flames under St John’s caldron of boiling oil, because they could 
 
106 HISTORY OF THE WOODCUTTERS. [Chap. vi. 
 
 bo rendered by white spaces. The whole is constrained, owing 
 to the maker’s desire to deal in masses and yet to copy the 
 lines. He had not force enough to take his stand on his own 
 method and translate everything into that, but he tried instead 
 to combine two opposing styles, and thus brought in unavoidable 
 confusion. Here and there are a few bold shade hatchings, 
 firm and thick, but they are the exception ; the whole remains 
 white as a mass, streaked with ugly bars of black. 
 
 In the Sielentroest of 1491 is an unimportant, but rather 
 nice little octavo cut of the Annunciation which I have as- 
 signed to this artist after some hesitation. It was used again 
 at least three times. Whether this was the end of the period 
 of the First Zwolle Woodcutter’s activity it is not possible at 
 present to determine. In the year 1502, P. van Os printed a 
 Kalendarium of J. de Monteregio which contained a copy of 
 the cut of the Sun and Moon from the first page of Leeu’s 
 Dialogus. It seems to be the work of this woodcutter but 
 may well have been already many years old. It is decidedly 
 rude, but does not lack power. 
 
 Sect. 18. The Second Zwolle Woodcutter (1487 — 1493). 
 
 The Second Zwolle woodcutter is a man about whose work 
 no interest centres. Whilst speaking of the series of quarto 
 cuts made by the preceding workman, occasion was taken to 
 describe roughly the style of four of the series which may 
 be referred to another hand. They were marked as line-work, 
 but the lines are feeble and unfinished, wanting in directness 
 of aim, and failing altogether to produce any good effect. 
 
 A set of four quarto cuts are the next that we can refer 
 to the same origin. They represent the Four Last Things, 
 and were probably made to illustrate some edition of a book 
 on that subject which has not come down to us. They are 
 found first in the possession of Barmentloe, and afterwards in 
 that of Peter van Os. The subjects £ire copied from the cuts 
 in the Four Last Things, printed by Leeu at Gouda, in 1482. 
 As copies they are weak, the simplicity of the originals 
 being lost. The outlines are without grace, the faces possess 
 
Sect. 18.] THE SECOND ZWOLLE WOODCUTTER. 10J 
 
 little expression, the drapery is angular, and covered besides 
 with many thin, indefinite lines, scattered about like hay before 
 a chance wind. The whole is without harmony, the lines are 
 ugly, and the spaces are sacrificed to them. 
 
 In the Zwolle Vaderboeck of 1490 a remarkable folio-cut of 
 the Annunciation makes its first appearance. It may possibly 
 be by this woodcutter ; but, if so, it is more carefully finished 
 than most of his other productions. In design it is very open, 
 and the subject is treated with more freedom and breadth than 
 was usual at the time. The walls are white, without a detail of 
 line or shade. The floor is wide and little encumbered ; the 
 room is empty but for the actors and a bench against the 
 Avail. The angel comes, as it were, running from the left, 
 almost in the type of the Cologne School, his robes flutter- 
 ing from his rapid motion. In his left hand he holds a scroll 
 and he gives the blessing with his right. Behind, a pillar 
 divides an archway through which a glimpse of the next room 
 can be gained, with a bed in it on the right and on the left a 
 view over the town, seen through a window. The execution, 
 though better than that of the cuts we have been noticing, is 
 still far from good. The outlines are clear but weak. Much 
 fine shading is scattered thoughtlessly about in dots and 
 dashes, serving only to confuse the cloak with the robe of the 
 angel, instead of helping to distinguish them from each other. 
 The hair is badly arranged ; it is long but not wavy. With all 
 these faults, however, the whole is not unpleasing, but it requires 
 colouring to give it relief and balance. 
 
 Two octavo cuts which occur in separate books must clearly 
 be linked together. They- represent Christ among the Doctors, 
 and a Pope seated on his Throne. With one of them goes a 
 small, prettily designed border with the symbols of the Evan- 
 gelists in the corners. These blocks are carved with some 
 care and finish. The lines are firm and well balanced, the 
 shade hatchings short and thick. The figures are not stiff, 
 their attitudes being more or less natural and their grouping 
 well considered. 
 
 I have separated the remainder of the octavo series from 
 these tAvo because they present very considerable differences. 
 
IC8 HISTORY OF THE WOODCUTTERS . [Chap. VI. 
 
 They make their first appearance in 1493 and afterwards are 
 frequently used in different combinations. The general style 
 of design in them recalls the school of Zwolle, but they were 
 evidently the work of very indifferent artists. I am not able 
 to separate them into groups, each the work of one cutter, 
 because they are so bad. You never know where to catch 
 a bad artist. He has no style, but is continually trying 
 effects and experiments of one kind and another. These later 
 Zwolle cuts are a conspicuous instance of this changeableness. 
 They are all different, styleless. Each might be the work 
 of a fresh woodcutter. There is no satisfactory classification 
 for them. They are always slipping out through the meshes 
 of any net. I am obliged therefore to class them roughly 
 together. One or two of the octavos are not without re- 
 deeming features. The figure of Christ hanging on the Cross 
 between the two thieves is graceful and simple at the 
 same time. In all cases however there is an indefinite blotchi- 
 ness about the faces, perhaps the printer’s fault, destroying 
 the general effect. The jagged or saw edges of the main 
 lines are also unpleasing; they want harmony and subordina- 
 tion. It is a characteristic either of the cutting or the printing 
 that the ink has a tendency to collect in the eyes, and thus to 
 disfigure the faces entirely, reducing the features to blots and 
 streaks. 
 
 The last cut which can be arranged as the work of this hand 
 is a quarto Salvator Mundi, used at least three times by 
 Tyman and once by Peter van Os. It presents certain points of 
 similarity with the folio Annunciation. The main lines are 
 firm, the shade hatchings being conspicuously subordinated to 
 them and reduced to dots or short thin strokes, tossed about 
 with little arrangement. The eyes are messed in the printing, 
 as in the case of the octavos. The hair however is good. It is 
 laid with right feeling in graceful curls, and spreads over the 
 shoulders in wavy masses. 
 
Sect. 19.] 
 
 CUTS USED AT ZWOLLE. 
 
 109 
 
 Sect. 19. Miscellaneous cuts used at Zwolle (1491 — 1500). 
 
 Amongst the miscellaneous cuts, which I have been obliged 
 to leave unclassified, are two diagrams intended to assist the 
 memory of the reader. They represent a hand held up, the 
 palm facing, covered with various words, each of which has 
 some portion of the hand to itself. Several designs of the same 
 kind are to be found in books, as well as stray prints, coming 
 from Germany. The cutting is without style. 
 
 At different times during and after the year 1495 we meet 
 with a set of octavo cuts with double border lines. More of 
 them are found after the end of the century. They are all 
 by one hand, and seem to be the only blocks from that source 
 made during the period under consideration. Their style is 
 that which marks everywhere in the Low Countries the last 
 years of the 15th century. The outlines are rather straight and 
 firm; the shade hatchings, arranged in bands, are numerous, 
 fine and long. The features are rendered with considerable 
 minuteness by clear lines, the curve of the cheek and chin, for 
 example, being drawn in, as w T ell as the division of the lip. The 
 bands of fine hatchings are the most salient feature. The 
 figures are always misshapen, stumpy, awkward and wooden ; 
 the draperies are badly designed ; the backgrounds are left 
 empty, the figures being represented as standing in a fiat 
 country. The whole set is uninteresting and only so far im- 
 portant as it marks a stage of decay. 
 
 A confused cut, representing Saturn and Mars, appears in 
 three undated books printed at the end of the fifteenth cen- 
 tury. Mars is on the left in complete armour, holding his 
 sword ready to strike, whilst Saturn stands reaping with his 
 scythe. On the ground between them lies a crab. Behind 
 each figure are seen the projecting rays of a star. These 
 increase the confusion of the design. The execution of the 
 cut is very poor. The lines are undefined and confused, so that 
 it is often hard to tell what they are intended to represent. 
 The principal outlines are thick, and edged with numerous short 
 hatchings, laid without care. The coat of Saturn is shaded with 
 many shapeless dots, scattered about without method. The 
 
no HISTORY OF THE WOODCUTTERS. [Chap. vi. 
 
 faces are hideous and the expressions exaggerated. The ground 
 is left black, flowers and grass being cut on it in the old 
 fashion. 
 
 Another device appears at an uncertain date, representing 
 two shields connected by a cord. It seems to have been used 
 both by Peter and Tyman van Os, but the only book in which 
 it occurs that I have seen was by the latter printer. So far as 
 workmanship is concerned it is quite without interest, being 
 perhaps the worst production of the kind we shall come 
 across. 
 
CHAPTER VII. 
 
 DELFT. 
 
 (1477_1498.) 
 
 20. The First Cuts used at Delft (1477 — 1482). 21. The Second 
 
 Delft Woodcutter and his School (1480 — 1498). 
 
 Sect. 20. The First Cuts used at Delft (1477 — 1482). 
 
 The first book printed at Delft seems to have been the 
 Bible in duytsche of 10 Jan. 1477. The printers of it were 
 Jacob van der Meer and Moritz Yemantszoen. It is not 
 illustrated by woodcuts, but contains two devices. One repre- 
 sents the shield of the town of Delft, the other the arms 
 of the two printers connected by a branch. The style of the 
 woodcutting is of course very simple, owing to the nature of 
 the subjects. The limits of the black spaces are rather soft. 
 The second device is not found after 12 Feb. 1480, when 
 Jacob van der Meer began to print alone. In the year 1482 
 an edition of the Boec vanden gheboden Gods was printed, in 
 which three quarto cuts appear. They differ considerably from 
 the devices, and yet I cannot help thinking that they may be 
 by the same hand. The lines are very thick; there are hardly 
 any shade hatchings in the first of them. The faces are devoid 
 of expression, and the hair is thick and ungraceful. In the 
 second cut, that representing a Man kneeling at Confession, 
 shade hatchings do occur; they are thick, and lie closely side by 
 side. The face of the Priest is not un pleasing. The floors are 
 
I I 2 
 
 HISTORY OF THE WOODCUTTERS . [Chap. vn. 
 
 paved with black and white stones; in the upper part of 
 each cut is a scroll, and elsewhere there are others bearing 
 printed legends. The softness of the edges of the lines 
 easily distinguishes these cuts from those which follow. This 
 feature is further emphasised by the light tone of the ink, 
 which does not adhere very well to the block. The general 
 effect is good. The draperies, taken as a whole, are not 
 without grace, nor are the attitudes unnatural. Simplicity has 
 evidently been the aim of the woodcutter, forced upon him 
 no doubt by his inexperience. 
 
 Sect. 21. The Second Delft Woodcutter and his School 
 
 (1480—1498). 
 
 Jacob van der Meer began to print alone on 12 Feb. 1480. 
 The first book published by him was the Duytsclie souter. At the 
 end of this is a new device, the double one being no longer appro- 
 priate. It represents a lion holding two shields, the one of the 
 town of Delft and the other bearing the arms of the printer. 
 This cut seems like really good work. The lines are clear and 
 simple, after the manner of the cutters of this period, care- 
 fully drawn and evenly laid. The conventional hair, fringing 
 the lion’s mane, is judiciously curled. The face is such as befits 
 a grotesque of the kind, the mouth gaping, the tongue out, the 
 eyes staring and the hair standing on end. If this cut was the 
 work of the man whose productions we shall now consider he 
 must have degenerated very fast, for we have in it an example 
 of very careful work in clear line, whereas most of his cuts are 
 known by their carelessness and hurry. He was such a prolific 
 workman that he never allowed himself time to get his hand 
 under control, and so it took its own way and controlled him. 
 
 The next example of his work that we meet with is in 
 the Seven Wise Men of 1483. The cuts in this book are 
 copied from those described as the work of the First Gouda 
 Cutter, which appeared three years earlier. They are executed 
 with some care and definite understanding of the form of 
 features and cheeks as well as wrinkles. There is in the 
 faces, especially in those of the old men, a good deal of 
 
SEcr. 21.] THE SECOND DELFT WOODCUTTER. I 13 
 
 character; the gestures too are natural and expressive. On 
 the other hand the hair is horrible. Now and then a chance 
 lock is not so bad as the rest, and thereby makes the general 
 badness all the more evident. The main outlines of the 
 draperies, though angular, are fairly arranged and carefully 
 cut; but the shading is dull and mechanical, without gradation 
 or relief in the masses. Every shade-line is the same thick- 
 ness as its neighbour, and all are separated by about an 
 equal distance. The figures are not badly grouped, as, for 
 example, in the last cut, which represents the young Prince 
 delivering an oration before his father the Emperor ‘ Dyocletian.’ 
 The young man stands in front; he enforces his remarks 
 by the gesture of his fingers, applying the first finger of the 
 left hand to the thumb of the right. The king is seated 
 on a rude throne under a flat canopy on the right of the 
 cut ; he holds his sceptre in his right hand, and extends 
 the left in a very natural manner to signify his agreement with 
 what the Prince is saying. The Empress is standing behind. 
 Five of the Seven Wise Men can be counted in the back- 
 ground, all with rude hair, but easily recognisable by the 
 number of wrinkles, for which their wisdom, or perhaps their 
 age, must answer. 
 
 The next book containing cuts is the Boec van den scaeckspul, 
 or Game of Chess Moralised. It contains thirteen new and very 
 interesting octavo cuts, evidently made for their places. From 
 the text we learn how in each case the piece ought to be repre- 
 sented. Thus we are told, “ The Pawn who stands before the 
 right Elder (Bishop) shall be formed thus — a man having in his 
 right hand a pair of scissors, in his left hand a hatchet or a 
 chopping-knife, under his girdle writing materials 1 ,” and so forth. 
 The pieces are a King, a Queen, a King’s Counsellor, a Knight, 
 and another horseman, the Rook ; besides these there are 
 eight pawns who appear to be the following : — A Labourer, a 
 Smith, a Man . with Shears, a Man with Scales, an Apothecary, 
 an Innkeeper, a Toll-gatherer and a Messenger. These, it 
 
 1 “Die vinne die voer den rechteren ouden staet sel dus wesen geformeert 
 een man hebbende in syn recliter hant een scliere In syn lufter liant een bile of 
 een bournes onder sine gordele een scriptoer” etc. 
 
 Q, W. 
 
 8 
 
HISTORY OF THE WOODCUTTERS. [Chap. vii. 
 
 i 14- 
 
 will be observed, are the figures of the persons represented 
 by the pieces, not those of the pieces themselves. The cuts 
 had a long career, and reappeared, used for quite different 
 purposes, as late as the year 1495. In style they are exactly 
 similar to the other works of this woodcutter, the figures care- 
 lessly outlined, the faces frightful, the hair striking for its ex- 
 traordinary badness. 
 
 A folio edition of the Somme rurael was published the 
 same year; on its title-page is a half-folio cut, representing 
 a King seated on a throne under a flat canopy. Five old 
 men stand on the left and two more on the right ; three 
 others stand with them, but they seem to be younger, and 
 two of them wear feathers in their caps. There can be no 
 doubt that the idea of this cut was taken from the Seven Wise 
 Men. The Seven Masters are easily discoverable. Of the 
 remaining three figures, one is the Prince making his speech 
 and the other two are courtiers or friends of his. Can it be that 
 this is one of a set made to illustrate a folio edition of that 
 story of which no record has come down to us ? The style of 
 the work is the same as in the other cuts, only on account of the 
 largeness of the scale it is somewhat bolder, and more of the bad 
 shade hatchings are added. 
 
 Two very puzzling prints are the half-folios found in the 
 Passionael of 1484, representing the Resurrection and Christ, as 
 Salvator Mundi , surrounded by saints. I can hardly persuade 
 myself that they are by this same hand, and yet I do not know 
 to what other woodcutter to give them. They resemble some- 
 what the work of the Brussels artist, hereafter to be described, 
 but they present also considerable points of difference. In the 
 Seven Wise Men of 1483 a few cross-hatchings may be found, 
 but these cuts show rather an advanced system of crossing lines. 
 In the style of the faces and features, especially of the mouth, 
 there are similarities to the corresponding parts in cuts by the 
 workman at present under consideration. On the other hand 
 the space is more fully occupied than in most of his prints ; 
 no room is wasted ; much more work has been expended 
 upon the whole in proportion to its size. Hence, though not 
 good cuts, they are not slovenly, as most of this Second Delft 
 
Sect. 21.] THE SECOND DELFT WOODCUTTER. I 15 
 
 cutter’s work is. The shade hatchings present more variety; 
 some are crossed, some curved, and some short, thick and 
 pointed. There are no fringed lines. The hair is laid in locks 
 that have some curl about them. They afford a relief after the 
 dull monotony of those that have just preceded. In the Resur- 
 rection the figure of Christ, though not anatomically correct, 
 is still drawn with care and shaded with crude effect. The 
 soldier sleeping by the tomb, with his head and arms rest- 
 ing on his knees, is a characteristic figure. The rocks behind 
 are unnatural, the only thing fairly drawn being a wicket 
 gate, which stands solitary in an open field leading nowhere 
 and enclosing nothing. Presumably it is meant to be on 
 a bridge over a ditch, but the ditch has been forgotten. 
 Both cuts are surrounded by three border-lines fringed with 
 hatchings. 
 
 After this we meet with no new cuts till the year 1486, 
 when, in the Vier uterste, five quartos appear. These after- 
 wards prove to have been a portion of a larger series, 
 of which fifty-seven different blocks are known to have 
 existed,- and possibly there were others whose traces are lost. 
 All of these are copies, more or less exact, from Leeu’s 
 set of sixty-eight quartos. We shall find, as we advance, 
 that the Delft press constantly copied Leeu’s books, hence 
 it is not impossible that the whole set of cuts may have 
 been copied for 'some lost edition of the Devote ghetiden. 
 This is rendered all the more probable when we remember 
 that these fifty-seven blocks are never used in printing any 
 one book, yet it is almost certain that they must have 
 been made for one. In copying the Leeu series the Delft 
 cutter has not adhered to his originals in detail ; it has been 
 enough for him to adhere to the general type. His variations 
 are in some cases rather interesting. The only one I shall 
 notice is in the cut which represents Christ bearing his cross. 
 The second Gouda woodcutter, working in 1482, treats this 
 subject in the old style, but, in 1486, we find an innovation, 
 Christ represented as falling under the Cross. This is worthy 
 of notice because it lias been said that the change of type 
 was introduced by Martin Schongauer, when he engraved the 
 
 8—2 
 
HISTORY OF TIIE WOODCUTTERS. [Chap. vii. 
 
 I 1 6 
 
 large plate which represents this particular incident. If so, 
 this would show that the prints from that plate had made 
 their way into Holland between the years 1482 and 1486. 
 The Delft cutter has treated the head of Our Lord as though 
 it formed part of the cross rather than of his body. This 
 is a further indication that the woodcutter had the engraving 
 before him, for, owing to the elaborate care bestowed on 
 the face of Christ by Schongauer in the plate in question, 
 he has made it, as it were, stand out as something rather 
 separate from the body, to which it does not thoroughly 
 unite. It is this very point which the woodcutter has exag- 
 gerated. 
 
 It is hardly necessary to speak of the style of execution of 
 this series. Almost all the cuts are abominable. The lines, 
 though bad, are not hesitating, but clear, thick and decided. 
 Many of them are fringed with rows of blunt hatchings, 
 not close and thin, as became the characteristic later on. 
 The heads and bodies are mixed together in such confusion 
 that you often cannot tell which belongs to which. For 
 shade, spots of black are sometimes used instead of short lines, 
 especially in the foreground. Some cuts — the Ecce Homo , 
 for example — present a different appearance to the rest, but 
 this is merely due to the workman’s freaks. The hair is 
 most striking for its extreme ugliness, the heads resembling 
 flannel-tag mops. The workman’s trick for eyes is noticeable — 
 a round black splodge, with two horizontal lines attached by 
 their ends to it, one at the top and one at the bottom, pro- 
 ducing the effect of a stone in a sling. As a result, some 
 of the people squint in a most extravagant fashion. One 
 of this set is a good deal better than the rest, as though the 
 woodcutter wished to prove that his work was bad because 
 of his wilful carelessness. It represents the three Maries at 
 the tomb. The Magdalene standing in front is certainly 
 frightful, but her two companions are nicer, their faces being 
 finished with some care. Across the top of the tomb the 
 stone has been drawn, and a small angel kneels upon it. His 
 wings are gracefully closing, his little hands gently joined ; 
 his robe is rather too much folded but not unpleasingly so; 
 
ii 7 
 
 Sect. 21.] 
 
 THE SECOND DELFT 
 
 WOODCUTTER. 
 
 the. expression of his face is calm. A mountain of very un- 
 natural structure rises on the left, but a more level country 
 stretches away on the other side, and in the distance is a town 
 overlooked by a lofty tower, not unlike the town of Delft 
 itself, as one may see it to-day, looking across the fields from 
 Rijswijk. 
 
 On the 1st of March 1487, a new and more ambitious 
 edition of the Passionael was published. It was illustrated 
 by a folio cut, a set of octavos representing saints, a set of half- 
 folios depicting incidents in their lives, and a few quartos. The 
 folio represents the two persons in a dialogue, Scriptura and 
 die Mensche ; now these two, under the same guise — a woman 
 seated with a book at a desk, and a man kneeling before 
 her — are found in the similar cut used by Gerard Leeu in 
 his Ludolphus of November of the same year. It is also to be 
 remembered that these are the persons proper for the Ludolphus 
 dialogue. The question therefore arises how the Delft cutter 
 saw Leeu’s cut, to make his copy of it, for that Leeu’s artist 
 copied a Delft cut I cannot believe. We have many instances 
 of Leeu cuts copied at Delft, amongst them the whole of the 
 rest of the Ludolphus cuts, but none of Delft cuts copied at 
 Antwerp. Most of the cuts reappear in the later editions of 
 the Passionael printed at Delft, and in those printed by Eckert 
 van Homberch in the years 1505 and 1516, in the ‘House of 
 Delft’, after his removal to Antwerp. Some new blocks were 
 made for the edition 1489, to replace others which had been 
 worn out. 
 
 The most striking prints in the book • are the half-folios. 
 Renouvier states that they were copied from designs fur- 
 nished by Thierry Bouts and Gerard de 'St Jean, instancing 
 particularly the Martyrdom of St Erasmus, as presenting the 
 greatest analogy in composition with Bouts’ picture of the 
 same subject in the. church of St Peter at Louvain. The 
 resemblance is however nothing but a general similarity of 
 type, whilst the differences in style of design are visible 
 and striking. The grossnesses, the frightful figures, the 
 bad grouping, the draperies without grace, the backgrounds 
 filled up without any regard to effect, the whole series of 
 
1 1 8 HISTORY OF THE WOODCUTTERS . [Chap. vn. 
 
 designs, base, vulgar and ignorant — one would have thought 
 that these were indications enough that they were not pro- 
 duced with the cooperation of the careful, hardworking, quiet, 
 methodical painter of Louvain. The most characteristic of the 
 half-folios is that representing St Anthony carried into the 
 air and tormented by demons. It is almost impossible to make 
 anything out of it, the whole is such a confused jumble. The 
 robes of the saint are mixed up with the devils, and they again 
 with each other and with the background, so that you can never 
 tell where one ends and another begins. In the front on the 
 left is a tree remarkable for its careless rudeness, and along 
 the front are some plants drawn almost anyhow. The face of a 
 rock on the left is shaded by a set of white lines, crossing another 
 set, and thus producing a crowd of little square black spots, 
 which give rise to the worst conceivable effect. This is only one 
 amongst many instances of the hurry with which the wood- 
 cutter must have worked, and sufficiently accounts for the 
 badness of his productions. The cut in question is perhaps 
 the worst of the series ; a better one represents the consecration 
 of a church. The building itself is of the plainest, so far as one 
 can see ; but very little of it can be seen, except the floor and 
 an altar in front of a dead wall. The Bishop and his assistants 
 who stand in the centre — he leaning on his staff and one of 
 them holding the book before him — form a group which is 
 more natural than usual ; the average is however drawn down 
 to the usual level by the ugliness of the lookers-on on each 
 side. 
 
 Amongst the octavo cuts there are a variety of minor 
 styles discoverable, but all link themselves together and 
 come from one workshop. One of the most pleasing, which 
 occurs again and again, represents a Bishop holding a book. 
 He stands in an open country, with his pastoral staff in 
 his left hand, and wearing his mitre and robes. His face, 
 though plainly outlined, has a benignant expression ; his 
 position is quiet and unconstrained. When simply but care- 
 fully coloured the figure as a whole produces a pleasing 
 effect. The style of the lines on the face is a link with 
 the other work of this cutter, though the shade hatchings 
 
Sect. 21.] THE SECOND DELFT WOODCUTTER. I 19 
 
 are more careful and not so numerous as usual. In a 
 different style to this is the block carved with the image of 
 St John the Evangelist. At first sight it seems to be the 
 work of a new hand. The saint is represented in the usual 
 manner, holding a chalice from which he exorcises a ser- 
 pent. He stands on a pavement of alternate black and 
 white squares. His face is rounded and without shade lines, 
 his hair more divided into locks than usual and frizzing 
 out round the neck in the manner common in pictures of 
 him. The drapery is simply outlined with careful lines, and 
 a narrow band of shade hatchings, few and fine, is added here 
 and there. The features are not rudely drawn but vaguely 
 and undecidedly, and the hair, though more expanded, is 
 without suppleness or grace. This cut is an example of a 
 short series of the kind which I think must have been the 
 work of some apprentice; but it is not easy to separate them 
 all from the rest, so I have thought it better to leave them 
 together. 
 
 We know that at the Haarlem press a border was constantly 
 employed to surround the device, whenever it was printed in a 
 folio book. In imitation of this the Delft printer made a similar 
 border — similar, that is, in design and handling, though different 
 in form, it having only three sides and being in one piece. It 
 was one of the best things made by this woodcutter.. Tendrils 
 were arranged turning about all round, little figures of men 
 and beasts were dotted amongst the leaves, and stars were 
 introduced to fill up the smaller spaces. There is no crowding 
 observable, yet at the same time there is no waste room. The 
 general effect of the whole is good, though the details are often 
 rudely and indefinitely cut ; it is not that the tendrils and 
 leaves are accurately drawn nor that the flowers are studied 
 from nature, but simply that there are fewer careless lines, fewer 
 rows of stupid shade hatchings, less that positively repels. 
 
 In the second volume of the Passionael — the Somerstuc — 
 some cuts show still further progress. Amongst the most 
 pleasing is one which occurs frequently. It represents a 
 little nun standing to the left on a tesselated pavement. 
 She holds a book in her right hand, her head is covered 
 
I 20 
 
 HISTORY OF TIIE WOODCUTTERS. [Chap. vn. 
 
 with a simple hood which falls gracefully over her shoulders, 
 whilst her cloak hangs in quiet folds and is gathered up 
 under the arm. Her face is pretty, the features being re- 
 fined, the mouth small and the eye clear. The cut is with- 
 out background. Another similar one represents a monk, 
 and also occurs in this edition. In both cases the shade 
 hatchings are few and slight. Turning to the chapter which 
 contains the legend of SS. Cornelius and Cyprian, we find 
 a strong contrast in the print of a Pope holding a horn. 
 Here the system of shading has been carried to an extreme, 
 so that all his robes are covered with bands of parallel 
 hatchings. In the case of St Roch this is even more notice- 
 able, the inside of his cloak being ruled with long even lines 
 of shade. This cut however is more carefully executed than 
 many, the positions being easy and the shade hatchings in 
 some places well introduced. The Saint stands on the left 
 with a staff in his right hand ; he is in the act of drawing 
 his cloak away from his leg and disclosing the plague spot 
 on his thigh which an angel anoints. A dog, holding a ring 
 in his mouth, lies at the Saint’s feet. A tendency is observable 
 here to cover every part with a tissue of black lines, unless 
 some reason occurs for not doing so. Thus the normal tint 
 is not white but shaded. By this means the limbs are 
 better rounded than before. The angel’s cloak falls in an 
 effective sweep, which suggests that it is composed of some 
 heavy material. His hair is carefully drawn and has a certain 
 flow about it ; it is confined by a narrow fillet, which bears 
 above the middle of the forehead a jewel surmounted by a 
 cross, in the regular Van Eyck style. The saint is not at all 
 so carefully cut. His features are dull and fixed, his hair 
 straight, and the folds of his robe uncared for. The dog is a 
 block. 
 
 From this time forward the cuts generally fall, in style, 
 between this of St Roch and the St John. The shade hatchings 
 become more numerous, but on the other hand they continue to 
 be arranged in bands, not in spaces ; they are made finer and 
 laid closer together. This may be observed in the drapery of 
 St Paul, in one of the octavo cuts. The change, however, is cm- 
 
I 2 I 
 
 Sect. 21.] THE SECOND DELFT WOODCUTTER. 
 
 phasised by the definite adoption of fringed lines, which hence- 
 forward are constantly employed. There are impressions in 
 this edition from two blocks by a Woodcutter of the Haarlem 
 School ; they represent St Jerome and St Anne and have 
 already been referred to. 
 
 Two days after the Pcissionael we find another book printed 
 at the same press, the Leven van Liedwy. It was illustrated 
 by an octavo cut, in all respects similar to the series of Saints 
 found in the preceding book. When a reprint of this Life was 
 published in 1400 the same cut re-appeared, and with it another 
 copied from it and seemingly by the same hand. 
 
 Gerard Leeu had published an edition of Ludolphus’ famous 
 Life of Christ as early as the 3rd Nov. 1487. It contained 
 many cuts of all sizes, by various hands and of various dates. 
 These were copied by the Delft woodcutter, and a similar 
 edition of the book appeared at Delft, dated 22 May 1488. 
 We have had occasion to remark on the badness of many 
 of the cuts in Leeu’s edition, especially of those probably made 
 to illustrate a folio Bible. The copies are however infinitely 
 worse, and have not one redeeming feature ; they are copied 
 in the same style as the quartos already mentioned, only worse. 
 There is no doubt that they are the work of the same hand 
 as before. 
 
 About this time Jacob van der Meer must have died. His 
 arms appear for the last time at the end of the Passionael of 
 1487. The press however continued to be worked with the 
 same energy as ever by its new head. On the 2nd Nov. 1488 
 an edition of the Dialogus creaturarum was printed, illustrated 
 with the very blocks so often employed by Gerard Leeu, 
 which must have been specially borrowed for the purpose. 
 This fact show’s that the two presses were in amicable relation- 
 ship with each other. At the end of the book is a new quarto 
 device of a Unicorn holding a blank shield, with the shield of 
 Delft over his head. An octavo device of the same kind — a 
 Unicorn this time holding the shield of Delft — appeared at 
 the end of the Minnebrief of 1491. The quarto device was 
 used by Eckert van Honrberch at Delft between the years 1498 
 and 1500. These books, however, must not be referred to 
 
122 
 
 HISTORY OF THE WOODCUTTERS. [Chap. vii. 
 
 him, but to his predecessor Christian Snellaert. The name 
 of this printer is in fact found, in connexion with the smaller 
 of these two devices, in an edition of the Kerstenen spiegel, 
 printed after 1491, and now preserved in the library of Wolfen- 
 biittel. It has been aptly remarked by M. Campbell that the 
 Unicorn, the personification of speed, was naturally suited to be 
 the device of Snellaert (the Swift). His name first appears in 
 1496. 
 
 In this year, 1488, a quarto edition of the Sterfboeck was 
 sent forth from this press, illustrated with a set of cuts of the 
 usual number, roughly copied from the illustrations in the Ars 
 Moriendi Block-book. There is nothing to show what edition 
 was the immediate original from which these copies were 
 taken, for, indeed, they can only be called copies so far as the 
 general arrangement is concerned. The details are finished 
 according to the woodcutter’s own fancy, and, as he was the 
 man we already begin to know, we can imagine what the 
 effect of that will be. The whole grace of the original is lost, 
 the figures are all coarse in outline, the draperies hard and 
 heavy, the hair like bunches of cords. Yet the cuts are not 
 altogether valueless, for they show how complete was the decay 
 which had come over the art, so that woodcutters, even with a 
 first-rate original before them, were unable to produce even a 
 copy that should not be loathsome. So much for freedom in art 
 when the artist is not worthy of it ! 
 
 A new edition of the Passionael was printed in October 1489. 
 It is illustrated with the same cuts as before, only in a few 
 cases the old blocks seem to have been quite worn out and new 
 ones had to be made to take their places. Of these there are 
 in all twenty-eight. They are readily distinguishable from the 
 old set, the backgrounds being more ambitious and filled 
 with a curtain, an archway, a courtyard, or a landscape. The 
 robes are rendered with fringed lines, the hatchings are nu- 
 merous, thin and close together. They produce a bad effect, 
 the transition from thick black to plain white being too 
 rapid, unless in some degree hidden by superimposed colour. 
 The new cuts are also marked by evidences of hurry ; the 
 outlines are faulty, the proportions bad, the positions unnatural, 
 
Sect. 21.] THE SECOND DELFT WOODCUTTER. 1 23 
 
 the backgrounds misdrawn. The cut which occurs most fre- 
 quently represents a man standing in a niche, holding in his 
 left hand a book and in his right a drawn sword. The ground 
 he stands upon is ruled with crossing white lines which leave 
 squares of black detached. Some of the designs recall in a 
 slight degree the types of the master E. S., especially in the 
 attitude of the feet ; the resemblance, however, is only very 
 slight. When Eckert van Homberch printed his edition of 
 the Passionael these cuts reappear, with the exception of the 
 two representing St Matthew and the Emperor Charles the 
 Great. 
 
 In the Spieghel des kersten gheloefs , printed about this time, 
 is a quarto cut by the same woodcutter. It represents a preacher 
 addressing a congregation from a pulpit in church. The build- 
 ing is in false perspective, but nevertheless the effect is not alto- 
 gether bad. The preacher leans forward quietly and speaks 
 with earnestness. The people are seated attentively on the 
 floor in various attitudes. The crowd is indicated by a 
 multitude of head-tops, no faces being shown except in the 
 front row. The style denotes the later period when many 
 fine hatchings were laid closely together over large spaces. 
 
 That a set of 16mo. cuts by this workman did exist we have 
 ample proof, but we never find many of them together, and we 
 have no means of discovering of how many the complete series 
 consisted. The first dated book in which any of them appear 
 is the 0. L. Vrouwen croon of 29 March 1490. No doubt, how- 
 ever, they were a year or more older than that. So far as they 
 refer to the Life and Passion of Christ they probably formed a 
 single set, and for the present we may group with them the few 
 others that there are. They are no wise remarkable either in 
 design or execution, except for their ugliness. I consider them 
 the worst work of this bad cutter, the smallness of the scale 
 serving to make his rough haste the more visible and the more 
 obnoxious. 
 
 An edition of the Seven Wise Men, printed about 1490, con- 
 tains two new cuts, which are interesting because they are copies 
 of those which made their first appearance in Claes Leeu’s edition 
 of the same book in 1489 v It will be remembered that the cuts 
 
124 HISTORY OF THE WOODCUTTERS. [Chap. vii. 
 
 in the earlier Delft edition, two of which are found here also, 
 w 7 ere copied from those employed by Leeu at Gouda. This 
 shows how the Delft Press copied Leeu’s instead of striking out 
 a line for itself. 
 
 No sooner then did Leeu begin to employ cuts made in the 
 French style, as in the years 1491 and 1492, but the Delft 
 cutter attempted to imitate them. He engraved a set of octavo 
 and a set of lGmo. blocks, the former copied from Leeu’s French 
 cuts, the latter made in the same style only, there being no 
 French Iflmos. in Holland for him to copy. He accordingly 
 took his subjects from Leeu’s ordinary 16mo. series, but put 
 each under some sort of ornamented archway, and strove, by 
 increasing the number of his shade hatchings and making 
 them finer, to produce the same effect as the foreign work- 
 men. 
 
 It is very interesting to observe how in these early days the 
 rising art of printing immediately begins to show itself as a 
 leveller, tending to infuse into one country the style of another, 
 and permeating with French influence the dried ground of Hol- 
 land, where the art had died down, but not lost its vitality, and 
 wanted but a little help from without to quicken the life that 
 was in it and set it free to grow and spread. This I believe to 
 have been the after effect of the current of French influence; at 
 first it only destroyed the dying remnants of the old system. 
 Then the ground became free for a newer and healthier system 
 to arise, and incorporate in itself all the strength of the old 
 French method, in which great use was made of spaces of light 
 and careful shade. Thus, through a victory over the materials 
 in which they had to work and over themselves also, the work- 
 men, the new school of artists became capable of working 
 freely because constraint was no longer needful for them. The 
 true method was soon to be perfected, and then the question to 
 be asked of the masters of the craft will be, not, How did you 
 execute your work? but, What did you select to represent? and 
 here again we shall be doomed to disappointment. But this is 
 not our present domain. 
 
 The remaining cuts made at Delft during Snellaert’s time 
 arc of no great importance ; they were all by the same hand, 
 
Sect. 21.] THE SECOND DELFT WOODCUTTER. 125 
 
 and most were copied from Gerard Lceu’s books. In the Seven 
 Sorrows of 1494 are two octavo copies of the miraculous 
 pictures by St Luke, probably taken second-hand from Leeu’s 
 cuts in his edition of the book of two years earlier. 
 
 What the end of Snellaert was is unknown, but with the 
 year 1497 his name disappears. He was succeeded by Heynrick 
 Eckert van Homberch, who continued the Delft press till the 
 year 1500. The first book published by him was an edition of 
 the Chess-book, on 9th Jan. 1498. It contains a cut, but I have 
 not been able to see any copy of the book, and so cannot say 
 whether it is a new one or not. Already in this year we find 
 his name on the books of the guild of St Luke at Antwerp, but 
 we know of no book printed there by him till the first year of 
 the following century. The second book he printed was the Boec 
 vanden pelgrim , in which all the Haarlem cuts reappear. The 
 volume is a quarto, and the blocks evidently fit these pages 
 much more naturally than the folios. On the 27th April 1498, 
 Eckert printed an edition of iEsop’s Fables in folio. Following 
 the traditions of his predecessors, he illustrated it with a set of 
 cuts, copied from those which Leeu had more than once employed. 
 These copies, however, seem to have been made to fit a quarto 
 page, and, in order to adapt them to the larger size, a certain 
 number of new side-pieces were employed. There is no need to 
 say^ much about the style of the cuts. They are careless work 
 by the same cutter as before. They are done without feeling, 
 and lose all the rude power of the originals. The numerous 
 shade lines they introduce are without effect. The figures are 
 out of drawing, the faces without expression, the birds and 
 beasts without life or motion. The landscape lacks any sort of 
 charm ; the whole series is a monstrous and abominable dis- 
 figurement, without one redeeming feature. 
 
 One more cut by this workman is found in the Leven ons 
 Heren, printed about 1498. It is an octavo, and represents the 
 three Maries at the tomb of our Lord ; it serves well to keep up 
 to the last his reputation for careless workmanship. After 
 this he vanishes, and we right' gladly quit him. He is a man 
 very much to be forgotten. Eckert continued printing at Delft 
 till the year 1500. The last book published by him there was 
 
126 HISTORY OF THE WOODCUTTERS. [Chap. vn. 
 
 yet another edition of the Passionael, in which the old cuts 
 reappear, one or two only being absent, worn out no doubt and 
 very easily dispensed with. In 1501 he started with his old 
 materials at Antwerp, ‘ in the House of Delft.’ The hideous old 
 cuts keep on reappearing, but happily for us in the 16th century, 
 with which we have nothing to do when it does not please us. 
 
CHAPTER VIII. 
 
 BRUSSELS AND LOUVAIN. 
 
 (1484 — 1496.) 
 
 22. The Brussels Woodcutter (1484 — 1490). 23. The Second 
 
 Louvain Woodcutter (1487 — 1496). 24. The Third Louvain 
 
 Woodcutter (1490). 
 
 Sect. 22. The Brussels Woodcutter (1484 — 1490). 
 
 We have dealt so far with woodcutters who seem to have 
 attached themselves to one or another printer and worked almost 
 solely for him. But the man, with whose works we are now 
 to be concerned, is interesting as affording an exception to this 
 rule. He appears to have been resident in a certain locality, 
 the neighbourhood namely of Louvain or Brussels, and to 
 have worked for most of the printers in that district. He 
 was not a workman in any printing office, taking turns at 
 printing and woodcutting ; but he was a woodcutter, pure and 
 simple, executing orders for blocks from whatever quarters they 
 came. The first appearance of work by his hand is in 1484, in 
 the Legend of the Emperor and Empress, Henry and Kunigunde, 
 printed at Brussels by the Fratres communis vitce in Nazareth. 
 There are only two woodcuts in this book, but they are re- 
 markable. The first, a square quarto, represents the Emperor 
 and Empress seated on a bench, side by side ; the Child 
 Christ stands between them, and holds in each hand a second 
 crown over their crowned heads. The other cut is an ordinary 
 
128 HISTORY OF THE WOODCUTTERS. [Chap. viii. 
 
 quarto. It bears a crowned eagle holding the shield of Anthony 
 of Rotenhan, Bishop of Bamberg between the years 1441 and 
 1400, of which See the Emperor Henry II. was founder. Under- 
 neath are four lines of characters cut on the wood, and the 
 whole is surrounded by a double border-line. 
 
 The style of these cuts is fortunately very pronounced. The 
 most distinguishing feature about them is that the artist has 
 treated the border-lines as a sort of moulding or frame, casting 
 a shadow, the light falling from above. He has accordingly put 
 a row of shade hatchings of constant thickness, separated from 
 each other by wide spaces, all along under the upper border 
 line and half way down within those on the right and left 
 sides. Their angle of slope alters gradually, to enable them to 
 round the corners without getting in each other’s way. The 
 rows of open comb-hatchings are also a main feature in cuts 
 by this workman. He never crowds them together, and 
 seldom employs short pointed lines. In the shading on the 
 draperies, the walls, the seats, in the outlines of locks of 
 hair or of eyes and eyebrows, he leaves plenty of space be- 
 tween line and line and cuts with a bold hand. There is 
 nothing minute about his work. The main outlines are firm 
 and black, well supported by numerous smaller open hatch- 
 ings. It is owing to these that there is a look of squareness 
 about the whole, as though it was mosaic work, the effect 
 sometimes resembling cross-hatching on a large scale, the whole 
 block being full of these small lines. The second of the two 
 cuts is the best example that we have of the strong hand of 
 the artist, carving out his picture with the fewest lines possible. 
 As his experience increases his work becomes somewhat finer, 
 but he never introduces complication ; and, as he never lays his 
 lines close together, there is always an open whiteness about 
 impressions from his blocks. 
 
 In 1487 Egidius van der Heerstraten printed at Louvain an 
 edition of Boccaccio’s Liber de Claris mulieribus, illustrated by 
 a. series of seventy-five remarkable cuts. They are said 1 to be 
 imitated from those in the edition of the same book printed 
 at Ulm in 1473 by John Zainer. They are clearly of the same 
 
 1 Holtrop, Monuments , p. 54. 
 
Sect. 22 .] THE BRUSSELS WOODCUTTER. 1 29 
 
 workmanship as the preceding, somewhat finer indeed so far 
 as the woodcutting is concerned, the outlines being more slender 
 and the shade hatchings fewer, but substantially the same, with 
 the noticeable shadow within the border. The excellence of 
 the nude figures in them, as compared with anything found in 
 other cuts of the period, cannot fail to be remarked. The 
 Eve in the first cut of the set is perhaps one of the best ex- 
 amples. She has not indeed beauty of any very high order, but 
 there is a simple naturalness of form and gesture about her 
 which is exceedingly charming, and all the more so on account of 
 its rarity. Her face is distinctly pretty, and her long hair flows 
 back in rich and graceful locks. The Tree of Knowledge, by 
 which she and her husband stand, cannot be commended as a 
 study from nature ; but the idea of the Seven Deadly Sins as 
 its fruits, though by no means a new one, is well adopted and 
 worked out. The little figures of the sinners amongst the 
 leaves are not too prominent, and only disentangle themselves 
 under observation. The expressions on all the faces are good, 
 the man dozing, with his head resting on his hand, particularly 
 so, his drooping features and listless attitude, suggestive not of 
 real fatigue the result of labour, but of laziness and unresisted 
 sloth. The man too with his pot of beer, and the miser with 
 his treasure box are well worked out. There is no waste of 
 lines, those only being introduced which are necessary. The 
 art is only of a low order, but it is careful and, so far as it goes, 
 praiseworthy. Nor must we omit to notice the row of plants 
 growing at the foot of the wall in orderly arrangement, 
 brilliant with flowers in more than usual wealth of bloom. 
 Here the artist lets us see one little glimpse of a noble feel- 
 ing, when he chooses for the ornaments of Paradise the rose, 
 the thistle and the lily — the first two as representatives of 
 ‘the thorns and thistles’ which were to be turned by the Fall 
 into the symbols of man’s chastisement, and the third for all 
 time alike the memorial of the purity and peace of the past, and 
 the promise of that which should once more be restored. In- 
 deed in the whole range of the woodcuts in the early printed 
 books of the Low Countries, this is almost the only one to 
 which I can point, where the artist seems to have been at all 
 c. w. 0 
 
130 
 
 HISTORY OF THE WOODCUTTERS. [Chap. vnr. 
 
 a thinking man — a man who really had something to say, 
 however little, and who therefore took pains to say it in the 
 best and clearest way he could. For there is here no manner 
 of hurry, every stroke is deliberate, quiet, simple, devoid alike 
 of thoughtless impatience and of rude boldness or dash. There 
 is no crowding, line is laid by line without crossing or inter- 
 ference, and therefore with entirely good effect. The vital error 
 of the whole is that the working is in lines at all, the artist 
 having thought in pen and paper, not in knife and wood. At 
 a later period it might have indicated that the designer and 
 woodcutter were different people, but we have no proof that 
 this was the case at so early a date. The first Zwolle cutter 
 remains as yet the only workman who ever seems to have 
 caught the right method, and he abandoned it in deference to 
 the false taste of his day. 
 
 In these Boccaccio cuts there is a great amount of work, 
 though the general effect is so light. Whilst there is no crowd- 
 ing, there is also very little space left unoccupied. The lines 
 being fine do not produce the same dark effect that results from 
 ruder work of a more sketchy character. Each line is rather 
 thin and clear and itself carefully worked out. Thus the out- 
 lines of the draperies are often finished with a neat hook, 
 not at all easy to produce in woodcutting, though perfectly 
 natural in engraving, affording thus another indication of the 
 source from which the early woodcutters derived their traditions. 
 
 A solitary octavo cut, representing the Nativity of Christ, 
 occurs about this time in Houden’s Carmen de passione. The 
 book was probably printed by Heerstraten, but the type, or one 
 very closely resembling it, is used at three other presses. The 
 cut is at all events by the hand of the Brussels woodcutter, and 
 presents the characteristics which we have noticed in connexion 
 with his work. It is not improbable that there existed a 
 whole series of octavo cuts by him ; but of the small books 
 printed at the presses of Louvain very few have survived, and 
 those only in single copies, often imperfect. 
 
 Thus, for example, the Eleg antiarum Compendium , printed 
 by Ravescot about 1488, exists only in two copies preserved in 
 the libraries at Helmstadt and Prague. I went to the former 
 
Sect. 22.] THE BRUSSELS WOODCUTTER. 1 3 1 
 
 town for the purpose of seeing the book, and found, when I had 
 it in my hand, that the page containing the cut was wanting. 
 Fortunately the Prague copy is perfect, and a reproduction of the 
 print is given in Holtrop. It is a 16mo. cut of the Annuncia- 
 tion. The top of it is contained within a rounded arch, the 
 under side of which is shaded in the manner characteristic of 
 this workman. The handling of the materials here is some- 
 what less careful than in the cuts we have been considering. 
 The block must have been old when the impression was taken, 
 and this no doubt gives prominence to its rudeness. The shade- 
 lines are not distributed with the careful aim at general effect 
 which is so remarkable in the Boccaccio series. The main lines 
 are less even ; they are indistinct and often bulging ; the 
 draperies, as a result, are very confused, so that it is hard to dis- 
 entangle them and see Avhich is cloak and which robe. There 
 is at the same time considerable vagueness in the perspective, 
 and the only adjunct which seems at all worthy of praise is the 
 window, the glass and mullions of which are rendered with a 
 few well meant touches. Judging from the reproduction, the 
 face of the angel seems to be devoid of any expression, but the 
 Virgin’s may at some time have been not unpleasing. It is 
 quite possible that this may be the work of some pupil ; and 
 it is the more likely because, as we shall see, another cut 
 exists — the reverse of this, and from which it was . possibly 
 copied. 
 
 The date of the block cannot as yet be fixed, but it may 
 belong to the set of 16mo. cuts some of which John of West- 
 falia uses in 1490. They were no doubt old then, and may, I 
 think, be grouped all together as not later than 1488. The book 
 in which they occur is Bouxken omme te comme tot der minne 
 Jhesu ende Marien. It is interesting not only because it is one 
 of the very few octavos printed by John of Westfalia and is 
 known only by a single copy, but also because of the peculiar 
 mixture of cuts which it contains, all of them apparently made 
 for other purposes. There are four cuts by a different hand, to 
 which we shall hereafter recur, and twelve lGmos. of the set 
 under consideration. These, however, though all by the same 
 hand, look as though they were parts of two different series — 
 
 9—2 
 
132 . HISTORY OF THE WOODCUTTERS. [Chap. viii. 
 
 two of them being plain oblong blocks surrounded by double 
 border-lines, whilst the remaining ten are rounded off at the 
 top. One of these is an Annunciation similar to that just 
 described, only in the reverse direction ; as I have said, it is 
 possible that this may be the original and the other merely a 
 hasty copy. The artist is not nearly so much at home when he 
 is working on a small scale. He cuts his small figures much too 
 large for the space at his command, and cannot manage to crowd 
 his subject in. His style is essentially an open one, so that he 
 is incommoded by a contracted space, and never works at ease 
 in it. One of the two cuts within border-lines, representing 
 St Francis receiving the stigmata *, is identical in design with an 
 octavo by the same hand, but, owing to its smaller dimensions, it 
 is without the figure of Christ which appears in the sky in the 
 latter. 
 
 The octavo St Francis occurs in the Spieghel der herstenen 
 menschen, printed by John of Westfalia. A companion cut to 
 this, by the same hand, is the Vision of St Bernard, on the 
 title-page of another edition of the same book, with no printer’s 
 name, but probably produced in Louvain. The only copy of this 
 book is preserved in the Boyal Library at Brussels, but it was 
 unfortunately mislaid when I was there. Happily the cut is 
 reproduced in Holtrop [mt. 123 (127)]. The book contains 
 others besides which would probably prove of great interest and 
 importance, as tending to elucidate and complete the materials 
 we already possess. The style of these two octavo cuts is in 
 all respects identical, clearly proving them to belong to the 
 same period as the lCmos. In execution they are not so 
 finished as the Boccaccio series, though they are better than 
 might be supposed from Holtrop’s reproduction. Both possess 
 a very distinct charm of their own. The face of St Francis 
 is full of expression, and the attitude of his sleeping companion 
 is happily given. Still the outlines are rather meagre and 
 
 1 In the Gallery at Turin is a beautiful Flemish picture of this same subject, 
 which, as M. Hymans has pointed out, is probably one of the two known to 
 have been painted by J. van Eyck. The treatment of the subject by the 
 Northern artist is different to that adopted by Italians from Giotto downwards. 
 The woodcuts of course are more closely connected with the Northern type. 
 
Sect. 22.] THE BRUSSELS WOODCUTTER. 
 
 133 
 
 uneven, and the extremities are angular and misshapen. The 
 figures, instead of being relieved against the background by 
 means of the shade-lines, are confused with it; there is about 
 the whole a want of depth. The little village church nestling 
 amongst the trees pleasantly recalls many a pretty view to 
 the memory; and the rendering of the grass at the feet of 
 St Bernard is much more natural than usual in the woodcuts of 
 this period. The attitudes and gestures of the figures are very 
 good ; and the draperies are arranged in quiet un exaggerated 
 folds. 
 
 We do not come across any more blocks carved by this 
 school of woodcutters for a considerable period ; and, when next 
 they occur, they are in quite new hands. Hugo Janszoen, 
 who printed at Leyden, uses three octavos between the year 
 1497 and the end of the century, differing entirely from those 
 ordinarily produced for his press. This difference was so 
 striking that I immediately set them down to a new hand, but, 
 after making closer acquaintance with the productions of the 
 Louvain artist, I felt no doubt that they must at any rate be 
 referred to some imitator of his style, if not to the man himself. 
 The subjects of the three cuts in question are the Annuncia- 
 tion, Salvator Mundi, and the monogram IHS within a round 
 disc, the corners of the block being occupied by the sym- 
 bols of the Evangelists. How did Louvain cuts ever get to 
 Leyden ? They are very far from new. Where were they first 
 used, and for what books ? To these and other questions of the 
 kind I am unable - to suggest even a possibly correct answer. 
 All three of them are at all events by one and the same hand. 
 They are marked by the same openness in the hatchings, the 
 same squareness in the small spaces, and the same absence of 
 the short pointed lines so common with most Dutch woodcutters, 
 all the short lines being the same thickness throughout. For 
 the rest, none of the three has much grace ; they are all simple 
 and careful, and the little monogram cut, as printed in the 
 Hague copy of the Tractaet van die ewighe ivijsheyt, is a pretty 
 thing on a page. They are all marked by the trick of regard- 
 ing the border line of the cut as a frame casting a shade, as in 
 the Boccaccio series ; and, therefore, the top and the upper part 
 
134 
 
 HISTORY OF THE WOODCUTTERS. [Oiiap. viii. 
 
 of the two side-lines are bordered within by fringe hatchings, 
 rather widely separated from each other. 
 
 Sect. 23. The Second Louvain Woodcutter 
 (about 1487 — 149G). 
 
 There is a noteworthy quarto cut on the title-page of the 
 book containing Petrus de Rivo’s answer to Paul of Middelburg, 
 printed by Ravescot in 1488. It represents the author kneel- 
 ing before the Blessed Virgin and invoking her aid for his 
 work. She stands on a pavement raised above some steps 
 under a pointed arch. In her arms she holds the Child, who 
 turns round and extends his right hand over the author, as 
 he kneels on a step below, on the left of the cut. The latter 
 wears a long cloak, and allows his hat to fall back and hang 
 slung from his shoulders. From his mouth proceeds a scroll 
 with the words Adsit ad inceptum sancta Maria meum. The 
 Virgin is crowned and wears her long hair hanging down on 
 her shoulders. Behind her is the end of an apse, with a richly 
 ornamented curtain hanging against the pillars. In the span- 
 dril on each side is a shield, the one bearing the arms of 
 Louvain (a fess), the other the mark of the printer (three 
 steps surmounted by a star of six points). The shields are 
 contained within triangular spaces cut into the walls. The 
 design and balance of the whole is praiseworthy. All stiff- 
 ness is absent and the whole is artfully linked together. 
 The man kneeling in front before the foot of the pillar, 
 covering all its corners, serves to bind together the steps with 
 the arch and curtain behind. Put your hand over him and 
 all the rest falls to pieces. Then, to balance him, the cur- 
 tain on the right side is shaded and dark, while the curtain 
 on his side is left light ; and the same end is still further pur- 
 sued in the arrangement of the draperies, for, whereas his 
 spreads out on the step, falling forward in the direction of the 
 Virgin, hers again falls away from him. The architectural 
 background is one of the very few in the woodcuts of this 
 period which is not carelessly and wrongly drawn. In this 
 instance it is in fair perspective, and the main arch is almost 
 
Sect. 23 .] T1IE SECOND LOUVAIN WOODCUTTER. 135 
 
 symmetrical and even graceful ; but the arches of the apse 
 behind are quite wrong. The curtain is pleasantly broken 
 up into three divisions, and its curvature is made the means 
 of introducing some light shade lines, a great relief after 
 the usual monotony of flat hangings. The attitudes of the 
 figures are graceful, especially in the case of the author, with 
 his head thrown back, his hands folded, and his robe falling 
 in simple curves. The unity of the whole is attained by the 
 action of the Mother and Child who both turn towards him. 
 
 At the first glance the execution of the cut recalls the style 
 of the Brussels woodcutter, the shade under the mouldings of 
 the archway resembling very closely that which fringes the 
 border lines of his cuts. But a closer inspection reveals differ- 
 ences so marked that we shall be compelled to refer the work 
 to a new artist, the pupil or imitator of the other. His manner 
 is similar to that of the earlier cutter in the careful openness 
 of his work, never confusing line with line but laying each 
 clearly as a separate thing. He attains this clearness and yet 
 he does it in a less simple fashion, using very many more lines 
 and setting them often closely side by side, but leaving between 
 each a distinct space of white and never running one into 
 another. This refers to the shorter hatchings alone. He makes 
 one innovation, not consistent with right principles of wood- 
 cutting but natural enough in pen and ink drawing or line 
 engraving ; he lays from time to time a whole row of shade 
 hatchings across a long outline, as though they were super- 
 imposed upon it. This serves as a distinguishing feature of his 
 work; it is one that constantly recurs. In the gradation and 
 arrangement of spaces of shadow, such for example as the 
 curved parts of the curtain, he seems to find pleasure. His 
 shaded spaces are never flat or monotonous, nor are they 
 mechanically handled. They produce a pleasing effect, without 
 presenting the appearance of much intentional variety. The 
 principal fault in the cut lies in a crudeness of outline which 
 spoils the expression of the faces, and renders the features 
 coarse, and the short hair stiff and bristly. The block as a 
 whole is, however, one of the most careful in design and finish 
 that we shall come across, in these later years. 
 
IJ 6 HISTORY OF THE WOODCUTTERS. [Chap. viit. 
 
 In the same book are three folio cuts, which, by the crude- 
 ness of their execution, serve to show the one we have just 
 noticed to the best advantage. They represent the Last Supper, 
 the Crucifixion, and the Resurrection morning. The designs of 
 all three are elaborate, and differ very considerably from the 
 usual northern type. In the first, Christ and the Apostles are 
 seated at a square table; St John does not rest his head on 
 the Master’s bosom, but looks, with the others, at him as he 
 raises his hand to bless the bread. The third cut differs in 
 arrangement from the usual Dutch type. Three men lie in 
 front, about the open grave from which Christ has just risen. 
 Two of them give signs of startled terror. An angel seated on 
 the right, on the gravestone, is in the act of blessing. Behind, 
 in the middle, is the open tomb, hollowed out of the rock. 
 Above it stands the risen Christ with the crosier in his left 
 hand, and towards it the three Maries are seen advancing from 
 the left. It will be seen from this description that the design 
 contains more incidents than usual, and connects them together 
 with evident intention. I was led very soon to expect that 
 all three of the cuts were copied from some original of more 
 than usual excellence. For some time I could find no traces 
 of a similar treatment of the subject, till it struck me to 
 compare a photograph of the Resurrection panel from the altar- 
 piece called the Lyversberg Passion, which must have been 
 painted in the Cologne district about the year 1485. The 
 general analogy between the two was at once strikingly evident. 
 The woodcut is certainly not copied from the picture, but the 
 treatment of the subject is in both cases similar, and affords 
 another link between the later Cologne and Netherlands schools. 
 The cuts I believe were copied either from pictures or from 
 engravings of real excellence ; and I hope that further investi- 
 gation may track them to their source. The composition of 
 the groups is good, the faces show traces of character and 
 expression of no mean order, and the distant views of hill 
 and village, with the church spire looking down on the houses, 
 might quite well have formed a pretty background in a carefully 
 finished original. 
 
 The excellence of the designs is however marred by the 
 
Sect. 23 .] THE SECOND LOTJVAIN WOODCUTTER. 137 
 
 badness of the woodcutting. The outlines are strong and black, 
 cut with a rude decision. They are sharp and often angular, 
 instead of curved, and sometimes terminate in a hook. The 
 shade which is added is in light fine strokes, with a sprinkling 
 of blunt dots or short dashes cast about in confusion. The 
 short hatchings often lie across the main outlines, as in the 
 case of the quarto cut on the title-page. The walls behind 
 are covered with rows of dashes. These points are charac- 
 teristic of all three cuts, and seem to indicate that their ori- 
 ginals may have been engravings of some kind. The general 
 management of the lines and short hatchings is such that one 
 would think the woodcutter must have gone out of his way 
 to make difficulties for himself, whereas all would be quite 
 natural and right in a line engraving. Not only is the method 
 of handling wrong in principle but it is carelessly carried out. 
 The outlines deviate little from graceful curves, which care 
 would have made them follow, but the deviation is sufficient 
 to destroy all pleasantness of effect. It is hard to believe that 
 these are by the same artist as the title-page cut, and indeed 
 they may be the work of some pupil of his ; but, if he had at- 
 tempted to produce blocks in a hurry, there is no doubt that 
 in style they would be very similar to these. All the technical 
 details are the same in both cases, only the last three cuts are 
 carelessly handled, the first is patiently wrought out. A false 
 method can only be made tolerable as a tour de force; once 
 admit the slightest hurry or inattention and nothing but fright- 
 ful work can be the result. 
 
 At the end of the book is a small device, cut quite in the 
 better style. It represents two figures standing side by side 
 and holding shields. That on the left is a Bear with the arms of 
 Louvain, gules a fess argent, printed in colours; on the right 
 is a man with a shield bearing the printer’s mark. Here it is 
 rendered by a scroll bearing the name ‘ lodouicus rauescot ’ inter- 
 laced with a triangle, so as to form roughly a 6-pointed star, 
 which we find used as his trade-mark on the title-page. It is 
 impossible not to be struck by the successful handling of the 
 shaggy coat of the bear, the variety of the white spaces, and the 
 absence of stiffness or trick in the execution. The cutting is 
 
138 HISTORY OF THE WOODCUTTERS. [Chap. viii. 
 
 very soft. It would almost seem that the face of the man hold- 
 ing the shield is an attempt at a portrait of the printer himself, 
 there being something more of expression in it than we usually 
 find in small figures. The features are not, however, very 
 successful, the eyes being too large, and the artist clearly 
 finding the smallness of the scale somewhat of an impediment 
 to him. 
 
 I have dwelt at such length on the points to be noticed 
 in these five cuts that it will not be necessary to pause long over 
 any of the others which have come down to us from the same 
 hand. Across the bottom of a sheet which contains a Valuer 
 van der munte of 9 Sept. 1487 is a print with a black back- 
 ground, representing the operations of the coiner. On the right 
 a man blows a pair of bellows which excite the fire under the 
 melting pot; a second shapes the metal into discs, on which 
 a third strikes the device by hammering the die. On the wall 
 of the workshop are the arms of Burgundy. A man and 
 woman enter on the left to buy money which is spread out on a 
 table. On the extreme left is a view of a street with a man 
 selling at a shop window. The figures are not remarkable for 
 great excellence, but they are simple and naive ; the lines are 
 not complex, the shade hatchings are few and orderly; the 
 whole is a pleasing and natural study from real life. The only 
 known copy, preserved at Brussels, is unfortunately a very bad 
 impression. 
 
 Four cuts, of no very great importance, illustrate a small 
 quarto volume which has been referred to the press of Ravescot. 
 It is an edition of the famous rhyming Latin poem which 
 commences £ Noctis sub silentio tempore brumali,’ and is 
 ascribed to various authors. It describes the vision of a holy 
 hermit. He sees the soul of a dead man, seated on the end of 
 an open grave, talking to the body out of which it has come. 
 Body and soul accuse each other of having been the cause of the 
 man’s sins in life. Presently two devils come up 
 
 Ferreos in manibus stimulos gerentes 
 Ignemque sulphureum per os emittcntes 
 Similes ligonibus hii dentes habentes 
 Serpentes ex naribus suis proferentes 
 
Sect. 23.] THE SECOND LOUVAIN WOODCUTTER. 139 
 
 Aures erant patule sanie fluentes 
 Et erant in frontibus cornua gerentes 
 Per extrema cornuum venenum fundentes 
 Digitorum ungule ut aprorum dentes. 
 
 They seize the soul and, notwithstanding its cries, carry it off 
 to the mouth of hell where others joyfully help to drag it in. 
 The first cut is a sort of abstract of the other three, and repre- 
 sents the hermit sleeping at the door of his cell, the various 
 events of his dream going forward around him ; the background 
 is formed hy the trees of the forest. The style of the cuts is 
 exactly like that of the folios in Petrus de Rivo. There are in 
 both the same rude black outlines, with their sudden and 
 uncertain bends, the same rows of shade hatchings laid side 
 by side in dull uniformity, the same spaces dotted over with 
 points of black, and the same stiff hair like the bristles of 
 a brush. The attitudes are flabby and unnatural, the nude 
 figures shapeless, the devils alone being forcible in their de- 
 formities. It is very remarkable that an age, which had spent 
 its efforts in the attempt to excite feelings of false pity by the 
 representation of human suffering, and to stir up fear of hell by 
 depicting physical agonies, should at last find itself able to 
 depict only what was ghastly or monstrous. The same causes 
 which brought it about that the poet was only forcible when 
 describing devils, in the stanzas above quoted, hedged off also 
 from the meaner painters and other artists of the day all except 
 a restricted area, the pleasures of which were its tortures, its 
 heroes devils, and its god the Prince of Pain. 
 
 The image of St Augustine with the symbol of the Holy 
 Trinity is worthy of a passing notice. The work in it is more 
 careful and recalls the first cut in the Petrus de Rivo. The face 
 of the Saint is clearly cut, and his expression pleasingly ren- 
 dered ; that of God the Father is undignified. The hair in all 
 cases is straight and bristly, but the shade hatchings, though in 
 themselves monotonous, are well arranged in rows. Parts of 
 the Saint’s robe are left black, and the shadows are made to 
 lead down to this with a soft gradation. 
 
 The cut of the Virgin and St Anne with the Child between 
 them is very much in this style. The design is on the whole 
 
140 HISTORY OF THE WOODCUTTERS. [Chap. viii. 
 
 good, the attitudes being natural, the draperies well arranged, 
 and the nude figure of the Child instinct with life and motion. 
 The woodcutting is however feeble. The outlines are coarse 
 and uncertain, growing thicker and thinner in a chance manner. 
 The hair is stiff and badly finished ; the short shade hatchings 
 are mechanically added ; the lines for the features, though more 
 carefully cut than the rest, are too angular, and produce a hard 
 effect. 
 
 Sect. 24. The Third Louvain Woodcutter (1490). 
 
 Four cuts are found together in John of Westfalia’s Legend 
 of St Anne, printed in 1496. They are old, and one is known to 
 have been used in the Bouxken of 1490 by the same printer, to 
 which we have already had occasion to refer. It is probable 
 that all four must be about the same age, though they do not 
 form a set. They are all marked by thick border lines. Besides 
 this, they all print very black and soft, producing an unusual 
 effect. This may be some mere printer’s accident and nothing 
 peculiar in the blocks themselves, in which case the cuts would 
 probably fall among those of the Second woodcutter. As it is, 
 they must be put into a class by themselves as cognate work. 
 They present almost the appearance of lithographs, with their 
 soft black tones. There are no fine lines in them. The main 
 outlines are coarse as well as thick ; the small hatchings are 
 widely separated. Still, the general design is good, and the 
 balance well kept. 
 
 A certain number of diagrams are found in some of the 
 Louvain books. All these have been classed together with 
 other diagrams of the period, as it is of course impossible to 
 discover from what hand they come. 
 
CHAPTER IX. 
 
 GOUDA, DEVENTER, LEYDEN, AND SCHOONHOVEN 
 
 (1486—1500). 
 
 25. The Third Gouda Woodcutter (1486 — 1490). 26. Miscellaneous 
 
 cuts used at Gouda (not before 1486). 27. The Fourth Gouda 
 
 Woodcutter (1496). 28. Cuts used at Deventer (1487 — 1493). 
 
 29. The First Leyden Woodcutter (1494). 30. The Second 
 
 Leyden Woodcutter (1498 — 1500). 31. The First Schoonlioven 
 
 Woodcutter (1496). 32. The Second Sclioonhoven Woodcutter 
 
 (1498—1500). 
 
 Sect. 25. The Third Gouda Woodcutter (1486—1490). 
 
 Bibliographers have been enabled during the last few 
 years to identify a considerable number of books as the produc- 
 tions of a press at Gouda previously unknown, worked by a man 
 sometimes named Gotfridus de Os and sometimes Govaert van 
 Ghemen. Certain of these books are illustrated with cuts. The 
 blocks first employed by this printer were borrowed from Gerard 
 Leeu, and have been described in the places they naturally 
 take. It is not till the 13th of Nov. 1486 that we find a 
 cut used which was made expressly for the book in which it 
 occurs. The book is an Opusculum Grammatical, and the cut 
 represents a Master and three Scholars. It bears a striking 
 resemblance to the similar block which Leeu began to use 
 at Antwerp about the same time. Its most observable charac- 
 teristics are the very black comb-lines which occur in the 
 draperies and the outlines of the limbs, the large spaces of dull 
 
142 
 
 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 shade, the heaviness of the robes, and the shadow cast by the 
 Professor on his chair, which is intended to give a look of depth 
 to the whole. The block was employed again at this press, and 
 afterwards came, with other materials from the same source, 
 into the possession of Wynkyn de Worde, who used it in an 
 edition of the Expositio Hymnorum , printed by him at West- 
 minster in 1499. It appears subsequently at York in the pos- 
 session of Ursin Mylner in 1516. 
 
 In style of execution it is entirely similar to the portion of 
 another print which is the only existing remnant of an edition 
 of the romance of Huon de Bordeaux. This print in itself is no 
 wise remarkable. It represents the three sons of Amon, who 
 have just landed from their ship and are met by a Prince at the 
 gate of his castle. In the distance is the sea and the ship lying 
 by a quay. The peculiar character of the features, and their 
 somewhat sinister expression, mark this as the work of the 
 same hand as the preceding cut. The masses of long shade 
 hatchings, the rendering of the sea, and the style of the figures, 
 whether in the foreground or in the distance, links it also 
 with the more extensive series in the book which must next be 
 described. 
 
 This is the romance of Godfrey of Boulogne. An approxi- 
 mation only to its date can be arrived at. The last cut in it is a 
 folio device of striking character. It represents an Elephant 
 advancing towards the right, carrying on his back a castle with 
 soldiers on the battlements. Two banners float above it, the 
 one with the arms of Archduke Maximilian, the other with 
 those of the town of Gouda. Above, on the right and left of 
 the tower, are the puzzling initials G.D., which may stand for 
 GouDa. Referring to this device, Mr Bradshaw says 1 : “Two 
 of the books from his (Gotfridus de Os) press bear the re- 
 markable device of an elephant and castle with the arms of 
 Gouda and the letters G.D. The wood-cuts are different in 
 the two books, but the device is practically the same in both. 
 Mr Holtrop has brought to light 2 an interesting passage from 
 
 1 H. Bradshaw, A Classified Index of the Fifteenth Century Books in the 
 collection of the late M. J. Be Meyer. London, 1870, 8vo. p. 14. 
 
 2 Monuments, p. 80. 
 
M3 
 
 Sect. 25.] THE THIRD GOUDA WOODCUTTER. 
 
 the Chronicle of Holland 1 , showing that an elephant was led 
 about through several towns in Holland in the year 1484, to 
 the no small gain of its owners. Mr Holtrop adduces this fact 
 merely to show why the elephants in our printer’s device, and 
 in the Haarlem Bartliolomeus printed in 1485, are so much more 
 like real elephants than that in the Dialogus creaturarum of 
 1480 (also printed at Gouda) and the still earlier wood-cuts of 
 the Speculum humance salvationis. But it seems to me quite 
 possible that, if Govaert van Ghemen was printing in Gouda in 
 1484, he may have been struck with the liowdali on the ele- 
 phant’s back and the identity of the word in sound with the 
 name of the town, and so may, from this cause, have been led 
 to adopt the elephant and castle as his device.” An Indulgence 
 in the same type is dated 1486, which may well be the date of 
 the book. 
 
 The style of the cuts does not differ materially from others 
 by this hand. The shade hatchings are formal, the figures 
 usually wanting in grace as well as animation, and the faces not 
 expressive. Spots of black are used very frequently in masses 
 as an alternative method of producing spaces of shade. Lines 
 fringed with rows of pointed hatchings often occur. Large 
 spaces are covered with rows of gridiron shade-lines, the object 
 of which was to detach the figures from the ground. Drapery 
 is generally hard and heavy, but armour is more successfully 
 handled. Buildings are introduced as a background in most of 
 the cuts, and they are usually shaded with lines of short hatch- 
 ings laid end to end. The perspective is perhaps better than 
 usual and the effect less confused. The hair when long is well 
 arranged in flowing locks, but when short it is stiff and bristly 
 or else wooden. 
 
 An edition of the poem called Historie van Lantsloet ende 
 Sandi'ijn was printed at this press. The three quarto cuts with 
 which it is illustrated show a certain amount of progress. The 
 first is well reproduced in the Monuments typographiques. It 
 represents the hero and heroine standing in a garden by a 
 tree. The ground is left black, the details of grass and flowers 
 being cut out of it. The style of the woodcutting is somewhat 
 
 1 Cronyck van Ilollandt. Antwerp, Seversoen, 1517, fol. leaf 396. 
 
1 44 
 
 HISTORY OF T1IE WOODCUTTERS. [Chap. ix. 
 
 freer, though the design remains stiff. Black comb-lines are 
 used with as strong emphasis as ever, but bands of more open 
 shade are also employed. Spaces filled with dots of various 
 forms occur again, the cutter being evidently pleased with the 
 power of producing a certain variety of texture which was thus 
 within his reach. The outlines of features are more finely 
 cut. The tree in the first cut is handled in a new fashion, 
 some attempt being made to copy nature, by substituting for 
 the shapeless lumps of foliage a kind of damask work of leaves. 
 The shadow introduced amongst the branches is a further effort 
 in the same direction; it affords likewise a link with the ground- 
 shadows in the Godfrey cuts. The series is mainly interesting 
 as evidencing a certain adaptability in the woodcutter, which 
 renders it not unlikely that he made the important set next to 
 be described. 
 
 Amongst the books published at Gouda, and attributed to 
 the presses of Gotfridus de Os, the most remarkable is without 
 doubt the Chevalier delibere. The poem was written in the 
 year 1483, but, from the device, we know that it cannot have 
 been printed till after 1484, and probably after 1486. The 
 author was Olivier de La Marche 1 , who had enjoyed a high 
 position in the court of Charles the Bold, and was Master of the 
 Household to Mary of Burgundy. The poem is an allegory, in 
 which the Knight, after taking counsel with a hermit named 
 Entendement , goes to attack Messire Accident. He is beaten, 
 made prisoner and taken to the Palace of Love. Desir wishes 
 him to enter, but Souvenir prevents him. He afterwards arrives 
 at the country of Bonne avanture , where Memory makes him 
 read the epitaphs on the tombs in her burial ground. These 
 are curious as containing the history of the various notable 
 persons whom La Marche had known. The following stanzas 
 will show the style of the descriptions : / 
 
 Je rencontray en mon chemin 
 Ung sarcueil de grant artifice 
 Ou fut le chancellier rollin 2 
 Son tiltre qui fut en latin 
 
 1 Biographic Univcrselle, Marche (Olivier de la). 
 
 2 The same that John van Eyck painted in the picture now in the Louvre, 
 
145 
 
 Sect. 25.] THE THIRD GOUDA WOODCUTTER. 
 
 Le monstroit parfait en iustice 
 Somptueux fut en edifice 
 Hospitaulx et monstiers fonda 
 Et puis par debile fina. 
 
 La gisoit ung Roi dangleterre 
 Henry qui fut plain de simplesse 
 Son escript monstroit a lenquerre 
 Quil ne fut pas homme de guerre 
 Ne prince de grant hardiesse 
 Ne fut de tres royal haultesse 
 Mais accident a define 
 Ce noble roy mal fortune. 
 
 * * * * * 
 
 Deux papes desoubs ung tombeau 
 Geurent (Gesirent) . felix et Eugene 
 Ceulx firent ung scisme nouueau 
 Chacun pour faire son plus beau 
 Voult estre pape en ung temps mesme 
 Leglise en eut doleur et paine 
 Mais debile les mist en terre 
 Et fist la fin de ceste guerre. 
 
 Finally the Knight reaches the Palace of Atropos, goddess 
 of Death, to which men are conducted either by Debile (natural 
 death) or by Accident (violent death). He sees various Princes 
 fighting w T ith one or the other of these powers, but they always 
 have to succumb. 
 
 The book is an exceptional one ; it was no doubt printed 
 for the author, and the illustrations were probably made 
 under his supervision. In the text he gave minute directions 
 not only about the designs but also about the illumina- 
 tion 1 . It is possible that these directions were intended, in 
 the first instance, for the illuminator of a manuscript, which 
 was afterwards copied by printer and woodcutter ; but the cuts 
 in the only known copy of this edition of the book, lately in 
 the possession of the Marquis de Ganay, have been carefully 
 coloured by a skilled hand, in accordance with the author’s 
 directions. 
 
 For these reasons we may feel sure that the designs for this 
 
 Cat. 1875, No. 162. Roger van der Weyden also painted for him the famous 
 altarpiece in the Hospital at Beaune. 
 
 1 Holtrop, Monuments, p. 79. 
 
 C. W. 
 
 10 
 
146 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 set of blocks were drawn by some accomplished artist ; and 
 this accounts for the superiority they show to all others of 
 the period. The woodcutting in them is indeed inferior, but 
 the composition of the subjects is elaborate, and often good. In 
 analysing the work we must distinguish sharply between design 
 and execution, between the style of the copies and the manner 
 of the copying. The figures in the original drawings or minia- 
 tures were natural and sometimes elegant ; when not meant to 
 be in violent motion they were especially good. The quiet 
 Hermit is always well rendered, but the knights with their 
 swords raised to strike, or riding swiftly against each other lance 
 in rest, are never successful. The horses also are not good 
 except when they are standing still. 
 
 In the representation of landscape these cuts are superior 
 to all others of their day. The artist who designed them must 
 have looked at the objects he professed to represent ; not that 
 he drew them well, but he really tried to draw the things them- 
 selves, instead of setting down hieroglyphs for them. Thus, in 
 the case of trees, he draws branches as well as trunks and 
 clothes them with masses of foliage and even with single leaves 
 here and there. Distant woods are treated in the old style, and 
 serve as a curious contrast to the nearer trees. When Memory 
 guides the Knight back to his home they pass pretty fields and 
 gardens, in which men are binding corn and plucking fruit, a 
 stork is in her nest on the roof of the house, and not far away 
 a clump of trees cast a welcome shade. The artist evidently 
 liked to put in these little incidents ; they were events that 
 gave him pleasure to see and therefore to recall. 
 
 We have already noticed more than one case where 
 some woodcutter hit upon a new style, which immediately 
 became popular and was imitated by his contemporaries. 
 Thus the earliest school of pure line, represented by the 
 Utrecht and First Gouda cutters, gave way to one more ad- 
 vanced, in which the lines were supported by a large number 
 of fringe hatchings. Again, as soon as Leeu introduced from 
 France his set of Horae cuts and borders, most of the leading 
 printers took an early opportunity of obtaining blocks imitated 
 from them. The question then naturally arises: Why did not 
 
*47 
 
 Sect. 25.] THE THIRD GOUDA WOODCUTTER . 
 
 this set of illustrations to the Chevalier del there , superior as 
 they are to all others in the treatment of landscape, produce 
 any similar effect ? After their appearance, and notwithstand- 
 ing the popularity of the book, we still find the old rude or 
 conventional methods in constant use. The reason for this lay, 
 I imagine, in the exceptional character of the volume. It was 
 printed, as we have reason to suppose, for its gifted and aristo- 
 cratic author, and under his supervision. Probably all the 
 copies came into his hands, and passed through them to a 
 very different class from that which created the demand for 
 devotional or school books. Thus the ordinary purchasers 
 or producers of woodcuts never saw these exceptional prints, 
 and so they did not produce the effect we might have 
 expected. The man too who designed them was probably an 
 artist of merit, and belonged to a different class from the usual 
 draughtsman of woodcut designs. While therefore it was easy 
 for him to produce a drawing such as he himself would have 
 employed as the first draught for a picture or miniature, 
 it was not easy to raise at once to his level the rank and file of 
 printers’ workmen who made the woodcut illustrations usually 
 met with. 
 
 Turning to the execution of the cuts we find less to praise. 
 The woodcutter was one of the ordinary hands, with little 
 technical skill, and small originality. He made a few inno- 
 vations, but they were forced on him by the nature of the 
 designs. The main outlines he drew with considerable care. 
 They are few and simple, but badly cut. There is evidence 
 in them of an undisciplined hand spoiling the effect of good 
 designs. Long lines are never the same thickness for far 
 together; they bulge and contract without object. A little 
 attention might have avoided this fault. Limbs and ex- 
 tremities are usually very misshapen ; it is in drapery that the 
 treatment is best, especially drapery ornamented by a graceful 
 pattern of lines. The worst parts, however, and those most 
 destructive of general effect, are the bands of shade hatchings, 
 lying side by side, in dull uniformity of thickness and length. 
 If all these spaces were cut away, and the paper left white 
 instead, the whole would be improved. The third cut is perhaps 
 
 10—2 
 
148 
 
 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 the worst example of this false system. As we advance towards 
 the end the evil becomes less prominent, and greater variety is 
 introduced. There is throughout a tolerably frequent use of 
 large masses of black for robes and the like, out of which a few 
 details are cut in white. In these cases the effect is always 
 good, and it is a pity the woodcutter did not allow himself to 
 be led on to the right method of dealing with the surface in 
 the mass, which thus came within his reach. He was, I be- 
 lieve, the same man as the cutter of the preceding series, but 
 it is not possible to be certain of this. Differences are certainly 
 more striking than resemblances between them, but they have 
 many points in common. Thus the bands of hatchings (not 
 comb-lines), the treatment of long hair, and the numerous 
 touches on the faces, besides those usually employed to render 
 the features, are points of similarity in both series. 
 
 The best cut in the book is a quarto, copied in reverse from 
 the folio device at the end of the Godfrey of Boulogne. It 
 differs, however, from that in certain, not unimportant, par- 
 ticulars. Both are undoubtedly by the same hand, but there is 
 more life about the larger one. The smaller seems to have 
 been squeezed to its present dimensions, the shade on the 
 elephant’s flanks being too complicated. The Castle is however 
 different in this case, and seems to have been copied from that 
 used by Leeu on and after June 2, 1486, as the device of his 
 Antwerp press. No stress can be laid on this, but I think 
 there may be some connexion between the two. 
 
 Putting all the indications of style together, it seems to 
 me most probable that this series of cuts was by the same 
 woodcutter as the other blocks used by Gotfridus de Os ; but 
 it is possible that they were made by a different hand. Their 
 value, at any rate, as characteristic of a change of style, which 
 might have produced a wide effect for good, is not to be over- 
 rated. Incidentally, it may be observed, they tend to show 
 how widely the woodcutters were separated, as a class, both 
 from the painters and the illuminators. 
 
 Traces, vague and unsatisfactory, of another set of blocks, 
 seemingly by the same hand, are discoverable in a few cuts 
 scattered amongst the illustrations to the Cronych van Hollandt, 
 
149 
 
 Sect. 25.] THE THIRD GOUDA WOODCUTTER. 
 
 printed at Leyden by Seversoen, in 1517. They must have 
 been made while the recollection of the more important set 
 of cuts was fresh in the artist’s mind. Some of them are very 
 superior to the rest, the cut representing a skirmish between 
 knights and archers being particularly bad. The trees are 
 handled in the improved manner, and made something like 
 what they are intended to recall. They serve as a link between 
 the styles of the Launcelot and Chevalier delibere cuts. On 
 the other hand, the armed men are more like those in the 
 Godfrey. In the cut which I have called a Reconnoitre the 
 four knights under the wall resemble the figures in La Marche’s 
 poem ; the folds of the tents and the outlines, clear but not 
 firm, at once connect the two together. I cannot discover any 
 further traces of the lost book. 
 
 About the year 1490 Govaert van Ghemen abandoned Hol- 
 land and went to Copenhagen, to which town he introduced the 
 new art of printing. He began work there on the 20th March 
 1490. The small octavo Minnebrief, printed by him at Leyden, 
 cannot therefore have been executed after the end of the year 
 1489. Nor can it have been earlier than the beginning of that 
 year, for he printed the Blaffert before leaving Gouda, and there 
 are entries in it bearing date 1489. The Minnebrief is illus- 
 trated with three woodcuts, one being a device. From the fact 
 of Govaert having taken the trouble to make this. device, it 
 would seem that he had at the time no immediate intention 
 of starting for Copenhagen. The style of all three cuts, one of 
 which must at any rate have been new, is like that of the 
 Launcelot prints. There is the same use of black in the fore- 
 grounds, there are the same comb-lines and the same clear 
 feature outlines. The main lines are sharply cut ; but the 
 figures are still rather stiff and the draperies heavy. The 
 device, the arms on the shield, of course, excepted, was copied 
 by the Collacie Broeders, who began to print at Gouda in 
 1496, a proof that the printer had not been forgotten by his 
 fellow-townsmen. 
 
 The materials which Govaert van Ghemen left behind him 
 in Holland were scattered in all directions. Some remained at 
 Gouda, where they reappear with the Collacie Broeders, some 
 
150 HISTORY OF THE WOODCUTTERS . [Chap. ix. 
 
 crossed over to England and were used by Wynkyn de Worde, 
 some went to Schiedam to a printer whose name is unknown, 
 and lastly, four octavo cuts, which we have not as yet men- 
 tioned, went to Schoonhoven, and were constantly used to illus- 
 trate their books by the Canons Regular in den ITem. How 
 these four cuts ever wandered there it is not easy to see, but, 
 when we come to the Schoonhoven woodcuts, we shall find that 
 there was a close relation between Schoonhoven and Schiedam, 
 and so it is possible that they came by way of that town. The 
 cuts in question appear in at least eight books between the 
 years 1496 and 1500. They no doubt formed part of some 
 larger series which has been lost. Their style is very simple. 
 The outlines are firm, and supported by short fringes of close 
 sharp shade-hatchings. There are besides even spaces of shade 
 of a characteristic kind. The point however most deserving 
 of consideration, as forming a link between them and (say) the 
 Godfrey de Boulogne cuts, is the treatment of faces. The 
 outline of the nose is often carried up into the forehead and 
 intersects the line of the eyebrows. The lines become complex 
 about the eyes, and give them a hard fixed look. The designs 
 are good, and recall work of an earlier period than 1496. 
 
 In the Annunciation, the angel kneels on the left with a 
 sceptre in his right hand. Over his head is a cloud from which 
 rays of glory proceed. In front of these the Dove descends to 
 where the Blessed Virgin sits on the right, with her arms 
 crossed over her breast and a book open on her lap. The floor 
 is paved with oblong stones. Behind, on the right, is a piece 
 of furniture which might equally be an altar or a bed, the step 
 and the flat surface suggesting the former, the curtains the 
 latter. There is no background of wall or door, but all is left 
 plain. The head of the Virgin, with its wavy hair and its pretty 
 features, is well drawn. She bends forward with a gentle 
 smile and listens to the message of the angel. Her attitude 
 is perfectly quiet and natural. There is nothing forced or ex- 
 aggerated about her, nothing at the same time repulsively rude. 
 The figure of the angel, on the other hand, is badly, though 
 not coarsely, drawn, but the lines of the drapery arc too 
 numerous. It is perhaps owing to fringe lines, which have a 
 
Sect. 26.] MISCELLANEOUS CUTS USED AT GOUDA . 15 I 
 
 tendency to hold the ink and get blotchy, that the draperies 
 look wooden. The general effect, already compromised by the 
 large white spaces which we find left so frequently in the 
 backgrounds, is thus further marred. 
 
 Sect. 26. Miscellaneous cuts used at Gouda 
 (not before 1486). 
 
 Two cuts, included amongst those which I have selected 
 from Seversoen’s edition of the Chronicle of Holland , though 
 ruder than the rest, must have come from the stock of the 
 same printer as the other old blocks in it. They are not by 
 the same hand. One is part of a folio cut, and might be 
 by the cutter of the Launcelot blocks, but the execution of it is 
 bad and hasty. The other, which represents the building of a 
 town, is very crude both in design and execution. The figures 
 are almost shapeless; the features are indicated by spots of 
 black; the perspective is altogether false; the shade hatchings 
 are either blunt, or pointed as chance ordained. Most of the 
 lines are thick and angular ; the buildings are shaded with 
 rows of short hatchings placed end to end. They recall a cut 
 which may perhaps be grouped here more fitly than under any 
 other woodcutter. 
 
 It occurs in a book which has long been the crux of biblio- 
 graphers — Die jeeste van Julius Cesar — a small quarto volume 
 printed in the type of the Launcelot. The subject of the print 
 is the fall of the town of Belgies. In the foreground is the camp 
 of the besiegers, which stands within a fence with a wooden gate- 
 way ; the tents pass away into the distance. The town is behind 
 on the left. Women and children are seen on the right, and a 
 cannon lies near a tent. The cut is not good. The perspective 
 is faulty, the point of sight being, as usual, very high. The out- 
 lines are thick, supported on one, and sometimes on both sides 
 by rows of black, wedge-shaped hatchings. The figures of the 
 women and children are drawn without shade ; their features 
 are rendered by shapeless dots. The tents are surmounted by 
 balls ; there are few shades hatchings about them. The walls 
 
J 5 2 
 
 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 of the town are covered with fine shade in short lines. The 
 foreground is left black, blades of grass being dug out of it in a 
 free style. One soldier only is seen, and the head and leg of 
 another, lying suggestively near the cannon. The town seems 
 absolutely deserted ; scaling ladders lean against its walls. 
 
 There is in the same book another cut representing the 
 siege of the same town, and presenting certain differences in 
 style. It is surrounded by a double border-line. The fore- 
 ground is covered with a mass of fine, long shade lines, all of 
 which are the same thickness throughout. There are no thick 
 outlines and no pointed hatchings. All the outlines are clear 
 and on the whole good. Each tent is surmounted by two balls, 
 as in the last, and the people are drawn in simple outline. 
 The perspective is very faulty. The men fighting about the 
 gate form a lively group, and the attitude of the soldier sleep- 
 ing in his tent in front is indicative of fatigue. The only im- 
 pression I have seen is a very bad one, and renders it difficult 
 to estimate the style of the woodcutting. 
 
 In the same volume are three more quarto cuts by a dif- 
 ferent hand. They were clearly the work of the woodcutter 
 who made the two cuts which illustrate another book, bound 
 up with this in the unique copy preserved at the Hague. This 
 is the Komst van Keyser Frederych te Trier , a poem describing 
 the interview which took place at Treves, in 1473, between the 
 Emperor Frederick III. and Charles the Bold. It is without 
 name of printer, place of origin, or date. The types with which 
 it is printed are not found in any other Dutch book, but they 
 bear a strong resemblance to those employed by Koelhoff de 
 Lubeck at Cologne. We have already seen that this printer 
 borrowed cuts from Leeu at Antwerp, and it is not improbable 
 that he had some connexion with him before he left Gouda. 
 Type very similar, if not the same, was taken by Snel 1 to 
 Odensee in Denmark, where he printed before crossing to 
 Stockholm. Bearing in mind that Govaert van Ghemen 
 introduced printing into Denmark, and that he came from 
 
 1 See a reproduction of a portion of a page of one of Lis books in Ch. Bruun, 
 Aarsbcretninrjcr og Meddelelscr fra Bet Store Kongelige Bibliotliek. Copenhagen, 
 Svo. p. 901. 
 
Sect. 2G.] MISCELLANEOUS CUTS USED AT GOUDA. I 53 
 
 Gouda, it is not unlikely that his success might have led some 
 fellow-workman to follow his example and set up for him- 
 self in a new field of action. If we imagine Snel to have 
 come from Gouda we at once see a reason why he should have 
 taken as his own a copy of Leeu’s quarto Gouda device. At 
 all events the paper and the style of some of the cuts in both 
 books are the same ; and the type in one of them links it with 
 the printer of Launcelot and Sandrijn : so that all the indica- 
 tions of origin which we at present possess refer back to some 
 printer working in connexion with the Gouda presses. 
 
 The date of the books is uncertain but, notwithstanding 
 the crudity of the printing, the Jeeste van Julius Cesar cannot 
 have been printed before 1486, because in it Maximilian is 
 spoken of as King of the Romans. It is almost useless to hazard 
 a conjecture, but it seems a possible hypothesis that both books 
 were printed by Snel, a former workman in the office of Govaert 
 van Ghemen, after the departure of his master for Denmark 
 and before he set out himself. The whole question must, how- 
 ever, for the present remain in suspense. 
 
 The most noticeable of the five cuts in these books still 
 remaining to be described is that which represents Julius 
 Caesar as Emperor, standing on the orb of the world. He is 
 clothed in armour and holds in his right hand a book and in 
 his left a dagger; a shield hangs from his left arm. Both 
 breast-plate and shield bear imperial eagles. The two cuts in 
 the poem on the Emperor Frederick represent his arrival at 
 the town of Treves, and the feast given in his honour. The 
 outlines are weak, the shade hatchings thin, numerous and 
 open, laid in lines end to end. They are not pointed, but 
 even in thickness, and blunt at the ends. The cuts in the 
 poem look rather earlier than the others, and recall the style 
 which was in vogue about the year 1484. They are there- 
 fore an anachronism to start with. If only they were better 
 we might have some chance with them, but you never know 
 where to take hold of a thoroughly careless workman. 
 
154 
 
 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 Sect. 27. The Fourth Gouda Woodcutter (149G). 
 
 There was in the town of Gouda an establishment of the 
 Fratres domus Collationis Pauli Apostoli , commonly known as 
 the Collatie-Broeders. After the departure of Govaert van 
 Ghemen from that town, about the year 1489, no other printer, 
 unless perhaps Snel, arose to take his place. A portion of 
 Govaert’s materials, however, stayed behind, and with these and 
 some of the type and cuts formerly belonging to G. Leeu the 
 Collatie-Broeders started printing, in the year 1496. The first 
 book which came from their press was the Getyden van onser 
 liever Vrouwen. It is rather a large octavo volume, adorned 
 with a set of borders and cuts in the French style. The 
 borders were intended for a smaller page, so a number of corner 
 pieces were made to fill up the gaps which the new arrange- 
 ment created. These pieces are clearly by a different hand from 
 the rest of the blocks, and prove conclusively that the wood- 
 cutter resident at Gouda at the time, probably one of the 
 Brothers, was a different man from the artist who made the 
 French cuts and borders. A more extended examination of the 
 works of French woodcutters may show that these blocks had 
 already been used in France, and were second-hand when they 
 came into possession of the new printers. The types of the 
 subjects and the style of the design resemble those of the 
 French cuts which Leeu brought into notice, and which at this 
 very time were being used by Liesveldt at Antwerp, evidently 
 with success. In execution they fall far behind Leeu’s, the 
 resemblances to them being those of a common school. 
 
 The outlines are always clearly cut, though badly drawn. 
 The feature outlines are fine, but almost always misshapen, the 
 noses being large and rounded, the eyes too big and black. 
 Features are almost alw 7 ays out of place; they look like a collec- 
 tion made at random from various faces and thrown together 
 as they might chance to fall. The shade lines are fine and not 
 badly massed, but they do not produce a good general effect. 
 The various parts of the body are out of their right proportion, 
 the heads being sometimes too large and at other times too 
 small, and so with the rest. Each subject is seen through an 
 
i55 
 
 Sect. 27.] THE FOURTH GOUDA WOODCUTTER. 
 
 ornamented archway, but the ornamentation is more elaborate 
 than effective. There are, besides the octavos, some 32mo. cuts 
 of Saints. The figures are relieved in white against a back- 
 ground which would be black were it not for a certain number 
 of white marks, made by punching holes in the surface of the 
 block ( maniere criblee). This supports the theory of French 
 manufacture, for the criblee method was common in France, but 
 would have been an innovation on the part of any Dutch wood- 
 cutter. 
 
 I know of no other book containing these cuts, but the 
 Annunciation, which M. Campbell tells me forms one of the 
 illustrations of the Spieghel dev gracien, may possibly be a repe- 
 tition of one of them. 
 
 One cut in the Getydenboec does not belong to the regular 
 set, and is the work of a Dutch artist. It represents the Mass 
 of St Gregory. We find it in a Horarium, printed about the 
 year 1500 by the monks in den Hem near Schoonhoven. This 
 is remarkable because it is the only Gouda cut which the 
 Schoonhoven printers seem ever to have used, and it was old, 
 and worse than their own productions, when it came into their 
 hands. We shall do best to group with it the small print of 
 the Confession which appears in the Devote getijden , as well as 
 the device found at the end of the same book. The latter is 
 a copy of that used by Govaert van Ghemen at Leyden. All 
 three are clearly by the same hand and in one style. The out- 
 lines are of medium thickness and clearly cut, they are, however, 
 angular and without grace of curve. They give to the drapery 
 the look of crumpled paper. They are supported in many in- 
 stances by shade hatchings which, though broad where they 
 start out of the main line, soon come to a point. They afford 
 a link with other cuts which, I believe, are by the same hand. 
 The faces are characteristically ugly, the features being angular, 
 the noses either sharp or square. Hair is almost always 
 straight and stiff, rendered by lines few and badly arranged. 
 For shading large spaces this cutter frequently uses square dots 
 instead of short strokes. He forms them by crossing two sets 
 of furrows in his wood. They occur not only on flat surfaces 
 but also on draperies. 
 
156 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 The Rosary which appears in the Corte doernen Crone 
 seems also to be by this hand, but it does not offer many 
 grounds for the foundation of an opinion. It is a cut necessarily 
 in outline and so cannot help us by the treatment of shade. 
 The outlines of the thirty pieces of silver, probably owing to 
 the sharpness of their curve, are rather rude. Longer lines are 
 better cut. The shade hatchings of the Crown of Thorns recall 
 the preceding group of cuts, whilst the clouds, from which the 
 hands proceed in the upper corners of the cut, are treated in a 
 manner which links itself with that of the group to follow. The 
 cut is therefore important as filling a gap, and binding together 
 the works of a single woodcutter. 
 
 Returning to the Kalendarium of 1496 we meet with two 
 new cuts. The first represents the Blessed Virgin and St John 
 by the Cross. It is contained within a border in one piece, 
 the sides of which are two thin columns, and the top a low 
 arch with tendrils twined about it. In the only copy I have 
 seen the print is so painted that it is hard to discover much 
 about the style of the work. The body of Christ seems to be 
 misshapen, thin and covered with several bands of fine shade 
 hatchings. There is evidence of an attempt to cut the features 
 in all three cases with care, though on so small a scale ; but the 
 faces are without expression. Both the standing figures are tall 
 and slim, and the drapery of the Blessed Virgin seems to be 
 arranged with care. 
 
 The second cut in the Calendar was clearly the work of the 
 same hand. It represents the Virgin and Child in glory, ap- 
 pearing to a man kneeling in the right-hand corner of the cut. 
 The Child turns round and stretches out his left hand towards 
 him. Above and behind are clouds. The outlines are hastily 
 designed but carefully cut. The faces are not so badly drawn 
 as in the first set but, in almost all the impressions I have seen, 
 they have suffered much from the badness of the printing or 
 the worn-out state of the block. Large spaces of even shade 
 are introduced, in which the lines are fine and laid closely side 
 by side. These appear on the draperies, as well as in the back- 
 ground, and form a contrast to the style of the cuts described 
 above. It is not impossible that they may be the work of a 
 
Sect. 27 .] THE FOURTH GOUDA WOODCUTTER. 157 
 
 new hand, hut I prefer to consider them the marks of a de- 
 veloping style. 
 
 If this is so, we have no difficulty in connecting with the 
 rest the two new quarto cuts which appear in the Devote 
 getijden of 1496, as well as a third of the same size, represent- 
 ing the maid Liedwy of Schiedam, which is found on the title 
 page of her Life, printed in the same year. I have mentioned, 
 in the account of the sixty-eight quarto cuts by the Second 
 Gouda Cutter, that, with the exception of two, they were all 
 found in the possession of the Collacie Broeders this year. The 
 places of these two had to be filled by new cuts. All three 
 blocks present the same characteristics of style. The outlines 
 are firm and sometimes thick ; solid form is indicated by spaces 
 filled with graduated shade, formed by hatchings laid closely 
 side by side. The hair is not stiff, but broken up into heavy 
 locks, wanting in grace. The features are the worst part of 
 the whole, carelessly yet sharply outlined, and producing only 
 grimace. The figures are generally stiff (that of Liedwy being 
 an exception), and the draperies are heavy and fall in hard 
 crumpled folds. The figure on the cross which Liedwy holds 
 in her hand affords an additional link, so far as style of wood- 
 cutting is concerned, with the 16mo. cut of the Blessed Virgin 
 and Child. 
 
 The two coats of arms in the Aflaten van dye broederscap 
 look like work of some other woodcutter. The lines are clear 
 and firm, the shade is in long, thin lines laid with care. Within 
 both tiaras, forming the crests of the Papal arms, are a quantity 
 of cross hatchings. These and other features seem to me to 
 point to a later date than 1496, to which year the book is 
 ascribed. 
 
 An octavo cut is found in the Historie van den heiligen 
 patriarch Joseph — an undated book. It seems to be b} r the 
 author to whom I have referred the 16 mo. and 4to. cuts. The 
 Child stands between his parents, holding St Joseph by the 
 hand, and reaching up to the Virgin to present her with a 
 flower. St Joseph holds in his left hand a lily ; over the Child’s 
 head hovers the Dove, and God the Father appears in the sky 
 above. The clouds with which he is surrounded are similar in 
 
158 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 style to tliose in the other blocks. The top of the Blessed 
 Virgin’s head is left white, hair being .only indicated by a 
 few dots ; the locks begin to be drawn from about the neck 
 downwards. The drapery is less conventional than usual, es- 
 pecially in the case of the Child, the corner of whose robe is 
 jerked up by the movement of his leg. The faces are not 
 without expression nor are the figures without a little grace. 
 They are carefully drawn, and the means at the woodcutter’s 
 disposal, in the way of short lines and dots, are employed with 
 variety. The landscape is merely a bit of undulating ground 
 rudely outlined, and there is no distance. As a whole, the 
 block is only moderately successful. 
 
 Sect. 28. Woodcuts used at Deventer (1487 — 1498). 
 a. By Jacobus de Breda (1487 — 1493). 
 
 Hi chard Paffroet began printing at Deventer in 1477, and 
 worked continuously till 1485. In the following year we find 
 his materials in the possession of Jacob de Breda, who seems 
 to have been the only printer working in the town during the 
 years I486 and 1487. In August 1488 Paffroet reappears, and 
 the other then seems to have left off work till the end of the 
 next 3 'ear, when he once more came to the front, and, after 
 31 Aug. 1489, the two presses were in action simultaneously. 
 Paffroet employed no woodcuts with his first press. It is almost 
 the same with the first press of J. de Breda, for the cuts used 
 by him were two small ornaments of no importance and a quarto 
 of the Last Supper. This, I believe, was the work of one of 
 the Zwolle woodcutters. It is a copy in reverse of the corre- 
 sponding cut in the Second Gouda Cutter’s series of sixty-eight. 
 I saw it at Wolfenbiittel, in the only perfect existing copy of 
 the book in which it occurs, but was unfortunately prevented 
 from comparing it with any other cut with which it might 
 prove to be identical. In style at any rate it is different from 
 all the other Deventer cuts, and closely resembles the Gouda 
 original. 
 
Sect. 28.] WOODCUTS USED AT DEVENTER. 1 59 
 
 During J. de Breda’s period of inaction Paffroet was 
 busy, and this time he used the three remarkable quarto 
 cuts which are described under the works of his woodcutter. 
 On resuming, J. de Breda followed his example, and started with 
 a large quarto cut representing the Mass of St Gregory. He 
 included this in at least nine different books during the years 
 14.90 and 1491, but after that date we see no more of it. I 11 
 design it is not very good, its perspective being faulty and 
 wanting in balance of masses. The background on the left is 
 blank, whilst behind the altar on the right the wall is heavily 
 shaded with long straight lines. The heads that appear behind, 
 and those of the Saint and his two assistants, are the best parts 
 of the whole. The man kneeling on the right, poor toothless 
 old soul, is really good, but attitudes are weak and squatty, and 
 draperies hard and angular. Shade hatchings are long and 
 even, arranged in bands. Few of the heads have auy hair on 
 them, but what little there is is spiky and stiff. 
 
 A quarto cut, already much worn, is found in certain undated 
 books, probably belonging to the year 1491. It is a block from 
 some lost edition of the Seven Wise Masters, and represents a 
 Master standing before the King and defending the accused 
 Prince. Over the head of the Master is a vacant scroll, into 
 which the name of each of the Seven could be inserted in 
 rotation. This scroll the printer turns to account by inserting 
 his own name into it, and thus using the cut as a device. I 11 
 another instance he inserts the name of the author of the book 1 . 
 The king, with his sceptre, is seated on the right under a canopy. 
 
 1 Speaking of this cut Renouvier ( Histoire de la Gravure , p. 94) has fallen 
 into a peculiar error. He says, “ Jacques de Breda, etabli k Deventer depuis 
 1487, voulant marquer ainsi quelques-uns de ses livres, a fait faire une copie de 
 cette figure de Daniel, dans la derniere planche du Speculum et, pour qu’on ne 
 s’y trompe pas, a ajoute son nom dans le phylactere superieur, Jacobus de Breda. 
 On rencontre cette marque dans son edition de YArt poetique d’Horace et 
 ailleurs. Oroirons-nous, avec M. Sotlieby, qu'il etait persuade, en prenant 
 cette figure dans le Speculum, qu’elle reprJsentait le portrait de l’imprimeur de 
 ce livre? Nullement; il suffit de voir qu’elle rappelle les figures d’auteurs 
 presentant leur livre au roi, pour s’expliquer cet emprunt. Cependant une 
 autre consideration a pu le determiner, c’est celle de la figure de Daniel qui, 
 dans certaines villes des Pays-Bas, passe pour le patron des imprimeurs, en 
 sa qualite d’interprete des lettres occultes.” 
 
l6o HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 The wall in the background is covered over with rows of blunt 
 dots. On the left is an open door, through which a blank white 
 space can be seen. The draperies are outlined with comb- 
 lines, the spikes being thick and pointed. The hair is divided 
 into ribbon-like strips and very badly treated. The drapery 
 is wooden, the perspective false, and the effect of the whole 
 unpleasing. I cannot connect this cut with the works of any 
 other woodcutter. It is thoroughly bad, and might be by any- 
 one. The lines on the faces slightly recall the style of Paffroet’s 
 artist. 
 
 The cut most characteristic of this press is that of the Signs 
 of the Four Evangelists. The ground is left black. In each 
 corner, within a white medallion, is one of the symbolic figures. 
 Between them, in the centre, are the initials IHS, cut out in 
 white. The remaining spaces of black are relieved by a few r 
 ornamental lines. The little figures are not badly cut. Their 
 style does not recall that of any well-known woodcutter. The 
 ox is the least satisfactory. The eagle is better designed, his 
 head thrown well back, his eye keen and piercing, the plumage 
 on his back glossy, and rendered by spaces of white and black 
 of varying form ; his legs are powerful and his claws have grip 
 in them. The lion is a conventional beast. The drapery of the 
 angel falls in graceful folds. Each of the four holds a scroll, in 
 which the name of the Evangelist is carved. The same block 
 was employed at least forty-nine times before the end of this 
 century, and was still in use at the commencement of the follow- 
 ing. It was copied by Godfrey Back at Antwerp, and by Peter 
 or Tyman de Os at Zwolle, but in neither case with much 
 success. Though not really a device, because it does not bear 
 any indication of the printer’s town, it is used by Breda as 
 one, and serves to identify the books which came from his press. 
 Breakages appear in it from time to time, which might be used 
 as helps in fixing the dates of undated books. 
 
Sect. 28.] WOODCUTS USED AT DEVENTER. 
 
 1 6 1 
 
 b. By Bichard Paffroet (1488 — 1492). 
 
 In the case both of J. de Breda and Bichard Paffroet their 
 connexion with German printers was closer than with their 
 fellow workmen in Holland. They employ very few cuts, but 
 those which they do use occur again and again. Paffroet seems 
 only to have possessed five blocks of any importance, and they 
 were all the work of the same woodcutter. Two of them are 
 devices, and represent St Lebuin, the apostle of Overyssel and 
 the patron of the town of Deventer. The first, which prints 
 very lightly, is only used during 1488 and 1489; we know how- 
 ever that the discarded block remained for many years in the 
 Deventer printing office, for we find a blank impression from it 
 in an edition of Antonins Mancinellus, printed by Albert Paff- 
 roet in Nov. 1517. The device which takes its place is some- 
 what more elaborate and, in details, is certainly more carefully 
 finished. The touch is firm and bold, the outlines strong and 
 well supported. The lines are fringed with thick and long 
 pointed hatchings, better handled than is usually the case. The 
 hair is well arranged in locks of varying form. The positions 
 of the figures are natural and easy. The background, behind 
 the Saint standing under a canopy, is occupied by a curtain 
 adorned with an agreeable pattern, similar to that in the Haar- 
 lem artist’s folio cut of the Salvator Mundi, which Leeu used. 
 
 In the third cut the spectator is supposed to be looking 
 down on the lecture-room. The Professor is seated in a large 
 chair, raised above some steps. The back of the chair is orna- 
 mented. The Professor holds in his arms a large open book, 
 the binding of which is studded with metal bosses. In front of 
 him, with their backs to the spectator, are five men seated on 
 a bench. The student in the middle is seen from behind, the 
 one next to him on the right wears a pointed hood over his 
 head, all of them seem to be holding open books in their 
 hands, and attentively following the lecture. Their heavy 
 cloaks are naturally designed and laid in simple curves. 
 
 This woodcutter is distinguished best by the faces of the 
 men he draws. The}’ are always marked by a careful study of 
 feature. This is specially noticeable in the St Lebuin with a 
 c. w. 11 
 
i 62 
 
 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 canopy, where the nose is drawn with more care than we gene- 
 rally meet with, for it is not only rendered by a profile line, but 
 the nostril is carefully outlined and rounded, and thrown into 
 relief by the intentional thickening of the black space under it. 
 
 On account of this characteristic I refer to the same artist 
 the cuts of the Young Man with the Professor and the Young 
 Man at a Feast, which occur in Albrecht van Eybe’s Boeck van 
 den Ecliten Staete, the same in which some of Leeu’s 16mos. are 
 found. In the first the Professor’s face is full of character. The 
 wrinkled forehead, the lines under the eyes, the well-shaped 
 space of black which forms the outline of the nose, the lines 
 on the cheek and the double chin, all work together to produce 
 a harmonious result. The figures however are not so good ; 
 their proportions are too stumpy ; the robes of the Professor 
 are heavy and without grace, and the Young Man’s limbs 
 want form and strength. The thick pointed hatchings, which 
 are found in the other cuts, are wanting in both of these, and 
 instead of them we have some sort of attempt to render shade 
 by cutting spaces of white of varied form out of strips of black. 
 The Young Man is one of the upper class, to judge by his 
 somewhat studied costume. He wears his hair in long curls 
 falling from under a small cap with a feather. The Professor 
 is explaining something to him and enforcing his remarks with 
 the customary gestures of the fingers. His companion, it is 
 only fair to add, appears to enjoy the feast much more than the 
 lecture. 
 
 Two 16mo. cuts — a Coronation of the Virgin used by Paff- 
 roet, and a Supper at Emmaus by Jacob de Breda — may 
 possibly have been the work of this woodcutter. At all events 
 they show certain similarities of style, and correspond exactly 
 in size. The treatment of the hair is alike in both, and there 
 is the same tendency to cut out details in white from a black 
 ground, showing itself in the bricks in the wall of one and the 
 flowers in the foreground of the other. Both give instances of 
 the use of comb lines, and the same general arrangement of 
 drapery. 
 
 On the blank leaves at each end of the Brussels copy of 
 Paffroet’s Vita Senecce , printed about the year 1500, are at- 
 
Sect. 29.] THE FIRST LEYDEN WOODCUTTER. 163 
 
 tempts to take an impression, by dabbing, of a wood-cut which, 
 so far as I could make out, represented the death of the philo- 
 sopher. He is seen under a round arch standing, fully robed, 
 in a large shallow basin. His right hand rests in an uncon- 
 cerned manner in his belt ; he wears some sort of crown or 
 head-dress. The cut is without background ; the floor in the 
 foreground is tiled. Below it is a wood-cut legend which I 
 could not read. The block seemed to me to be 15th century 
 work of an open character, but the impression is not clear 
 enough to permit any certain judgment to be formed from it. 
 
 Sect. 29. The First Leyden Woodcutter (1494). 
 
 Amongst the blocks used by Janszoen at Leyden a set of 
 16mos. separate themselves from the rest as the work of some 
 otherwise unknown woodcutter. They occur first in the Ghe- 
 tidenboec of 1494, and remain in use till the end of the century. 
 In some respects they recall the style of work of the Leyden 
 woodcutter, already described (p. 89) as an imitator of the 
 Haarlem school, but I do not think that they can be ascribed 
 to him. A close examination tends rather to widen the breach 
 between them than to bridge it over, so for the present they 
 must be isolated. Their style is crude and almost repulsive. 
 They are heavy and black in opposition to the Haarlem-like 
 octavos which are sketchy and white. The outlines are strong 
 and thick, constantly supported by numerous pointed hatchings. 
 These are thin and long ; they have a tendency to get clogged 
 with ink and to lose themselves in a black tangle. The flesh 
 outlines are graceless and ignorant, the faces are without ex- 
 pression and the hair falls in rope-like masses. The drapery 
 is wooden and encumbered by a great many coarse lines. In 
 style these cuts somewhat recall the work of the Second Zwolle 
 cutter. The subjects are arranged in the usual conventional 
 manner, but the groups are without animation or expression. 
 At no time do the blocks print as though they were new, and 
 I cannot but think that we may some day find them previously 
 used elsewhere. 
 
 11—2 
 
1 64 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 Sect. 30. The Second Leydeyi Woodcutter (1498 — 1500). 
 
 The cuts most generally characteristic of Janszoen’s press 
 are a series of octavos. They were used in at least ten different 
 books printed during the closing }^ears of the 15th century, 
 and they appear frequently at the commencement of the follow- 
 ing. They are all from one set of designs and executed by one 
 hand, with whose work we have not been brought in contact 
 before. The subjects are the ordinary series of events of the 
 Life and Passion of Christ with a few devotional subjects added. 
 They are readily distinguishable by the two pillars, within which 
 each is enclosed, and the commencement of an arch rising from 
 them but cut off by the top of the block. They possess less 
 variety of handling than any other series of the same length 
 which I have come across. The same quantity of black me- 
 chanical shade is found in all, covering the robes with dark 
 bands, formed of thin lines of equal length lying side by side, 
 either independently or attached as a fringe to a thick outline. 
 The folds of the draperies are indicated by strong curved lines, 
 often hooked at the end, and generally supported (sometimes 
 crossed) by such bands of fringe. There is very little grace 
 in any of them. The robes hang heavily, like badly sculp- 
 tured wood, and are employed not to explain the motions of 
 the figures but to hide them. The faces are never beautiful 
 though sometimes they give indications of character, which 
 would hardly have been expected — but not, as a rule, of the 
 character suitable for the place. Thus, in Christ before Caiaphas 
 — copied by error from the type of Christ before Annas — the 
 High Priest as he rends his clothes wears an almost benevo- 
 lent smile ; on the other hand the face of the soldier holding 
 Christ’s right arm is expressive with its strong coarse features. 
 The work as a whole is bad, the figures out of proportion (e.g. 
 Christ entering Jerusalem) and the architectural accessories 
 out of perspective. The hair is always long and straight, and 
 never gives evidence of the smallest attempt to break it up 
 into graceful masses. The shade lines are often numerous, this 
 being the direction in which the development of woodcutting 
 was advancing, the tendency gaining ground to leave more and 
 
Sect. 30 .] THE SECOND LEYDEN WOODCUTTER. 165 
 
 more of the original surface of the block standing, but to plough 
 it up into multitudes of fine lines. In many of the cuts, as for 
 example that of the Soul and the Teacher, we find a man intro- 
 duced wearing a cloak trimmed with a thick fur collar, in the 
 treatment of which the woodcutter seems to have taken a cer- 
 tain delight. But he cuts it unfeelingly with stiff bristly lines 
 end to end and side by side, not in any way adding to the 
 sightliness of the prints. It is indeed impossible to praise him. 
 He had no pleasure in his work and so took no pains with it ; 
 he was incapable of conceiving or producing graceful lines, or of 
 massing shade harmoniously. 
 
 To him also must be attributed a short octavo cut which 
 constantly makes its unpleasing appearance in books from this 
 press. It is found for the first time in the Boecxken van onser 
 liever Vrouwen mantel of 1498. Under a misshapen archway 
 the Blessed Virgin is seen against a background of flames, 
 standing on the crescent Moon and holding the Child in her 
 arms. The black graceless lines of the drapery which she wears, 
 the thick shade hatchings, the patches of shapeless dots, the 
 coarse flesh outlines, the expressionless features, the total want 
 of harmony about the whole — all bespeak the vulgar bar- 
 barity in which the art of the fifteenth century perished. 
 
 Not less frightful are the second series of 16mos. which 
 appear in the year 1500 in three or more different books. The 
 whole set do not occur together, and it would be necessary to 
 follow them into the following century to discover what was 
 their complete number. In reality they are not 15th century 
 cuts at all. They are still in use twenty years later, and 
 seem to have formed part of the materials with which Doen 
 Pieterszoen began to print at Amsterdam. There can be 
 little doubt that they too were the work of the Second 
 Leyden woodcutter. Their subjects are copied from those of 
 the earlier 16mo. series, and it is not unnatural to conclude that, 
 when those blocks were worn out, these were made to take their 
 place. The handling of the tool is somewhat different from that 
 in most cuts of the early period. They connect themselves more 
 closely in style with the octavo Marriage at Cana than with the 
 rest of its companions. The whole block is occupied by spaces 
 
1 66 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 filled with a mass of fine, close lines, alternating with spaces of 
 absolute blank. The drawing of the hands and features might 
 perhaps be worse but for the rest we seem to have reached 
 about the lowest depth. There is in these prints a dead want 
 of feeling, a complete stagnation that becomes more repulsive 
 the longer they are looked at, and we gladly shut them up 
 and turn back to the works of some ruder but more earnest 
 worker. 
 
 Sect. 31. The First Schoonhoven Woodcutter (1496). 
 
 In the year 1396 attempts were made to found a convent 
 in the Crimpenrewaard, in the province of South Holland. 
 The Monastery of St Michael was at last founded in 1407, 
 and occupied by the Brothers in den Hof or in den Hem. We 
 learn from a MS. note at the end of the copy of the Breviarium 
 Windesemense of 1499, now in the Hague Library, that the 
 situation of the house was “ Inter Islam et Lacam (the rivers 
 Yssel and Leek) tiischen Gouda en Schoonhoven ” In 1414 the 
 brothers joined the order of St Francis ; but in the following 
 year Cardinal Nicholas de Cusa, travelling for that purpose, 
 persuaded them to join the order of the Canons Regular of St 
 Augustin. The elements did not leave them at peace ; their 
 house was near the river Leek which kept flooding them out, 
 and at last, in 1494, their church was destroyed by fire. To 
 procure money to rebuild it, they set up a printing-press under 
 their Prior Zeger Janszoen of Schoonhoven. They continued 
 printing till the year 1528. The last we hear of them is at 
 the time of the Reformation troubles. On the 6th July 1572 
 the soldiers of a certain Graaf van Lumey burnt down their 
 house ; and convent, church, friars, libraries and all vanished for 
 ever. Their land was afterwards divided and sold \ 
 
 The cuts characteristic of the press are a set of sixteen 
 octavos. Possibly the complete series consisted of a larger 
 number, but these are all that have survived the ravages of 
 
 1 A. J. van der Aa, A ardrij ks kundi g Woordcnboek der Nederlandcn, Gorin- 
 fcliem, 1844, 8vo. Vol. v. p. 411. 
 
Sect. 31.] FIRST SC1I00NU0VEN WOODCUTTER. 167 
 
 time. They are found scattered about in ten different books, 
 all of a devotional character. It may not be uninteresting if 
 we here make a short digression from our ordinary course to 
 notice a method of printing which, though not peculiar to this 
 press, finds its best illustration here. In the Royal Library at 
 the Hague is a Ghetidenboec, the bulk of which was printed at 
 Schoonhoven on the 5th Oct. 1496. On the last page of the 
 book is an index to its contents. The index mentions a 
 Calendar, the Hours of the Holy Cross, the Hours of Our 
 Lady, the Vigils of the Nine long Lessons, and many other 
 devout Prayers and Suffrages of Our Lady and the Saints. On 
 a reference to the signatures we find that the quires A, B 
 contain the Calendar ; a — h (interrupted between d and e by 
 another quire A with the Seven Penitential Psalms, not men- 
 tioned in the index) include a Morning Prayer, a Prayer of the 
 Wounds of Christ, the Hours of the Holy Cross, and the Hours 
 of Our Lady. Then follow a new set of quires, signed from A 
 to V, in which are Prayers for each day in the week. The 
 original numbering of the quires is then resumed and those 
 signed i to m contain miscellaneous prayers and suffrages. The 
 index therefore refers to the group of quires numbered with 
 the small letters, the other quires having been introduced by 
 the binder. But the noticeable fact is that the quires, or 
 sometimes the groups of two or three quires, are complete in 
 themselves. They were printed off in such a manner as to be 
 fit for binding up in different combinations, according to the 
 requirements of the purchaser. This is the more visible in the 
 book in question because it includes in the body of it, bound 
 up in the original binding after the Seven Psalms, six leaves of 
 manuscript with a Litany, and in another part four leaves with 
 the Nine short Lessons : thus showing that there were no printed 
 quires containing these, and that they had to be supplied by 
 the help of a copyist. We must therefore bear in mind, when 
 we meet with books of this character, that the component parts 
 were possibly printed at different dates. The sets of cuts 
 employed by printers who worked in this fashion, would not 
 necessarily be made for any particular book, but would be 
 suitable for employment in books of a devotional character. 
 
1 68 HISTORY OF THE WOODCUTTERS. [Chap. lx. 
 
 The Sclioonhoven blocks were of this kind. They were of 
 two sizes, both probably made at one time, but were never 
 printed all together in any one book. They were cuts suitable 
 for devotional books in general and employed whenever oppor- 
 tunity occurred. This conclusion is supported by the appear- 
 ance of the prints themselves. They resemble each other 
 closely both in size and style and evidently resolve themselves 
 into two sets, and two only. 
 
 The cut which represents the Crucifixion occurs more fre- 
 quently than any of the others. The dead body of Christ, with 
 his side pierced, hangs on the Cross in the centre. The Blessed 
 Virgin, seated on the ground with her hands lying powerless in 
 her lap, is supported by St John. He turns his eyes towards 
 the Centurion, who, mounted on a horse with a scroll floating 
 over his head, points with his right hand at Christ and makes 
 his confession of faith. Another man is behind him. A glimpse 
 of a not unnatural landscape is obtained on the left, where 
 trees are figured on the slopes of a hill, and the spire of a 
 church rises above the roofs of some houses at its foot. The 
 most noticeable feature in the design is the animation of the 
 figures. There is in them much less of the fixed wooden look, 
 commonly observable in prints of this period. The raised hand 
 of the Centurion seems to be moving and is not frozen into a 
 passing posture. Still, the figures are ugly — frightfully ugly — 
 there is hardly a nice face or a regular feature in the whole 
 series. The flesh outlines are rude ; the only expression comes 
 through exaggeration, of grimace. 
 
 In the execution of the woodcutting the most prominent 
 features are the shade, of which there is a great deal, and the 
 attempt to render by it the forms of flesh or drapery, without 
 attaching the strokes as a fringe to the outlines. Comb-lines 
 and hacked edges are therefore almost absent, their place being 
 taken by spaces of shade composed of independent lines of vary- 
 ing length, usually not very thin and not crowded together. 
 The intention of all this is right, but the carelessness of the 
 artist in the matter of form destroys the effect of his correct 
 tendencies in dealing with shade. 
 
 The best cut of the series is undoubtedly the last — an angel 
 
Sect. 32 .] SECOND SC 1100 NO VEN WOODCUTTER . 169 
 
 holding a wreath of roses. His face, though a little crooked, is 
 on the whole carefully drawn. His attitude is natural, his 
 drapery falls in simple folds, his wings are gracefully arranged 
 to fill up the background of the cut. His hair spreads out 
 round his neck in well-arranged curls. He holds before him in 
 both hands a large wreath of roses, almost as big as himself. 
 The cat was made after the rest of the series, to illustrate a 
 chapter in the book in which alone it occurs, headed “ About our 
 dear Mother’s Psalter and Wreath of Roses, or Rosary, and 
 about its Brotherhood.” 
 
 A few stray 16mo. cuts, apparently not forming a series, 
 are by the same hand, but they are almost without exception 
 bad. The smallness of the scale was more than the woodcutter 
 could manage, and he produces such a confusion of long hair, 
 thin, angular drapery outlines and shade hatchings, that it is 
 difficult to disentangle the mess and come at his real meaning. 
 The best that can be said for them is that the figures are well 
 balanced, but they are at once distinguished by the long straight 
 hair and the masses of mechanical shade. The best of them 
 is naturally that representing the Child Christ standing amongst 
 flowers, holding in his right hand an orb surmounted by a cross, 
 and blessing with his left. He is naked except for a cloak 
 hanging over his shoulders and blowing almost naturally in the 
 wind. The scale of this, the only figure in the cut, is larger 
 than in the other cases, but the shade lines on the flesh are 
 rude, and produce a terribly wooden appearance. Some of 
 the subjects are represented as seen under a low archway 
 roughly ornamented. 
 
 Sect. 32. The Second Schoonhoven Woodcutter (1498 — 1500). 
 
 We have evidence of the activity of another woodcutter in 
 connexion with this Schoonhoven printing-press. He made 
 some 16mo. and 8vo. cuts, which occur in books printed during 
 the years 1498 to 1500. Taking the Supper at Emmaus, which 
 is found in the Lcven ons Heren of 1499, as a good example 
 of his work, we notice a striking difference between his style 
 
HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 I 70 
 
 and that of the preceding artist. In its way the cut is excellent. 
 The startled expressions of the disciples as they look at each 
 other with awakening understandings, their hands just rising 
 in an attitude of surprise, are well rendered. There is nothing 
 strained or awkward about the whole. The style of the 
 execution is also good, and contrasts with that of the other 
 Sclioonhoven cuts. The lines are few and thick, not liable to 
 break in the printing. There is a great deal of wood left stand- 
 ing in masses of shade, which balance each other well and yet 
 are varied in themselves. Each space of white is of a different 
 form from its neighbour. The method of the artist seems to 
 have been first to dig out his main masses of white, then to put 
 in the details of features, hands and so forth, and lastly to 
 go over what larger spaces of the original surface were left 
 standing, gouging out bits with his tool so as to give variety 
 and relief to the whole. The shade on the table-cloth in this 
 cut is worth noticing for the good effect produced by seemingly 
 rude blots of black. The tendency of the artist is towards 
 rudeness, yet even when most hasty, as in the octavo Hades 
 in the same book, he does not lose command over his hand. 
 His design is always evident, his balance good, and the effect of 
 the print is not repulsive either from want of harmony or from 
 false representation of detail. We may say that, as a wood- 
 cutter, he is right as far as he goes, his fault being that he 
 sometimes does not go far enough. His cuts do not require to 
 be supplemented by painting, for he understood to some extent 
 what is meant by different qualities of shade and endeavoured 
 to lay stress upon them. 
 
 The most remarkable of his blocks is undoubtedly the large 
 quarto representing St Augustine standing under a portico. 
 He holds in his left hand a heart pierced with two arrows, and 
 in his right a pastoral staff. A curtain of ornamented material 
 hangs behind him. In the corners of the cut in the foreground 
 are plants growing outside the building. The careful delineation 
 of the face is the point which first attracts attention. Little 
 less praiseworthy is the handling of the drapery, gathered up 
 into folds about the Saint’s arm or lightly resting on the ground 
 at bis feet. The lines are not exactly firm, they vary in 
 
Sect. 32 .] SECOND SCIIOONOVEN WOODCUTTER . 171 
 
 thickness from point to point, but they do so with an object, 
 and produce the effect of lightness and softness in the materials 
 represented. The shade hatchings are small spaces of black 
 of altering shape ; they lie in rows or masses, and these again 
 are of ever varying form. 
 
 Here and there a few points of similarity can be traced 
 between the works of the two Schoonhoven artists. Instance 
 the face of the Cardinal who stands on the left in the octavo cut 
 of the Mass of St Gregory, found in the Spiegel dev volcomen- 
 lieyt . This almost looks as though the second artist had been 
 standing by while the other was at work, and had taken up his 
 tool and said, ‘This is how I should do it.’ The remainder of 
 the cut is so very different. Again, the Angel holding the 
 wreath of roses recalls somewhat the one holding the shields of 
 Schiedam, a cut, as we shall see, by this second workman, but 
 the resemblance is rather in design than in execution. 
 
 In the description of the Chevalier delibe're, printed by 
 Gotfridus de Os at Gouda, we have already referred to the press 
 worked at Schiedam from about 1498. The materials employed 
 at this press consisted of the fount of type and set of cuts 
 used by Gotfridus de Os for the above book, and a certain 
 number of other cuts which must now be described. They 
 illustrate a Life of the Holy Maid Liedwy of Schiedam 1 , printed 
 in 1498 at the anonymous press. Two lives of the Maid had 
 already appeared 2 . The third was a more lengthy biography, 
 written in Latin, at the desire of certain of her friends, by one 
 John Brugman. On the last line of the last page are the words 
 “ Ex Schiedam. Ad sanctam Annam ” between two small wood- 
 cut shields, the one representing a pierced heart like that held 
 by St Augustine in the cut previously described, and the other a 
 Lion rampant. There is no doubt that these, as well as all the 
 other cuts in the book, were made by the Second Schoonhoven 
 woodcutter. The expenses of the edition were paid by the 
 masters of the guild of St John the Baptist at Schiedam 3 . That 
 a convent of Augustinian nuns dedicated to St Anne existed at 
 
 1 She was born 30 March 1386, and died 14 April 1433. 
 
 2 F. Van der Haeghen, Bibliotheca Belgica, 1880, B. 34 and G. 38. 
 
 3 llenouvier, Histoire de la Gravure, p. 311. 
 
172 HISTORY OF THE WOODCUTTERS. [Chap. ix. 
 
 this time in Schiedam we learn from a Monasticon of South 
 Holland \ It is likely that the nuns would be in close connexion 
 with the neighbouring establishment of Canons Regular of 
 St Augustine, and would apply to them for a set of woodcuts 
 for the book which was to be printed. Possibly the liberal 
 burghers, who paid the expenses of the publication, presented 
 the edition to the nuns and allowed them to make what profit 
 they could out of the sale. This explanation accounts for the 
 co-operation of the Schoonhoven artist. Lives of St Liedwy 
 were also printed at Delft and Gouda. In all three the Saint 
 is depicted in a certain conventional manner. I learn from the 
 book already referred to that in the Chapel of St Liedwy, in the 
 Hoofdkerk at Schiedam, was her tomb, richly sculptured, “waar 
 op de beschrijving van haar leven gesneden stond.” Is it possible 
 that the image of the Maid was copied from some such original ? 
 Possibly too some of the cuts representing events in her life 
 were likewise borrowed from these sculptures. 
 
 The first page of the book contains two prints one above an- 
 other. The upper represents the Saint appearing to her bio- 
 grapher, and is one of the regular series of the book ; the lower is 
 a broad, short device. It depicts an angel kneeling and holding 
 two shields. Her right hand rests upon the shield of one of the 
 Counts, whose coat of arms was from time to time used as its 
 own by the town, and is the one always employed at the present 
 day; the other bears three hour-glasses, and was the old shield 
 properly belonging to Schiedam. The cut looks quite new in 
 this book. It reappeared again in the Schiedam edition of the 
 Chevalier de'libe'rd, but in a broken condition, thus proving that 
 the date of that book was after 1489. 
 
 The nature of the subjects treated in the regular series of 
 cuts will be sufficiently evident from the list given below. I 
 shall confine myself here to a short examination of their style. 
 They differ from all cuts we have yet met with by their intense 
 naturalism. In execution the space-system is adopted. The 
 
 1 H. Y. K., Ouclheden en Gestichten van het Reclite Zuid-Holland en van 
 Schieland. Leyden, 1719, 8vo. p. 507: “In een handschrift van den Utrecht- 
 schen Bisschop Joris van Egmond, ’t welk onder my berust staat een Konvent, 
 van Augustijner-nonnen vermeld ’t welk den naam had van S. Annaas Konvent.” 
 
1 73 
 
 Sect. 32.] SECOND SC II 00 NO VEN WOODCUTTER. 
 
 lines should rather be called long narrow spaces. They are often 
 bent at sharp angles. They render solid form by their varia- 
 tions in thickness. Generally they do not taper to a point but 
 are cut off square at the end. Fringed lines are seldom em- 
 ployed, lines with saw-edges never. Shaded spaces are ren- 
 dered by a number of short lines of varying thickness and 
 length, each different in form from its neighbour. The sub- 
 jects are for the most part but slightly outlined, yet each line 
 tells because it is right so far as it goes. The foregrounds are 
 drawn with a few varied lines indicating the form of the hillocks 
 and suggesting more than they depict. We never meet with 
 those terrible fringed hill outlines or anything of a similar 
 kind, for the artist lived in a flat country and was content to 
 draw that as he saw it, without wasting 1 his time in imagining 
 hills. Neither again do we find conventional grass or flowers; 
 the plants introduced are studied to some extent from the life, 
 and so the prints are intelligible. Shade is distributed with 
 right feeling, the attempt being not so much to render light 
 and shade as local colour. Groups are designed as men would 
 be likely to arrange themselves, not as clumps of lay figures; 
 faces wear animated expressions; attitudes are easy, and gestures 
 quickly changing. The perspective is almost always good, and 
 the bricks which compose the walls are carefully drawn in, ren- 
 dering unnecessary the monotonous rows of short lines usually 
 employed in these cases. 
 
 The most interesting cut of the series is that which repre- 
 sents the Maid falling on the ice. She is seen in the foreground 
 raised by two women. She wears skates of a quite modern 
 form. Further back another woman walks deliberately towards 
 this group, looking rather surprised. From still further off a 
 man skates rapidly towards them, casting out his legs in the 
 style which we should now consider almost peculiar to the 
 Cockney, but which he has evidently inherited from his remote 
 forefathers. Other figures are seen in the distance. One pair 
 seems to consist of a young man asking a girl to skate with 
 him. A castle stands on the left by the side of the water. In 
 the sky we notice an attempt to figure a low-lying cloud. This 
 is no doubt rather rude but not altogether unsuccessful ; it 
 
1 74 
 
 HISTORY OF THE WOODCUTTERS. [chap. ix. 
 
 proves the artist to have been a man who had looked at clouds 
 and knew something of what they were like. Many of the cuts 
 are better worked out in detail than this, but all give evidence 
 of the same aim, namely to imitate things as they are and not 
 merely to copy the imitations of others. 
 
 At the end of the Schiedam reprint of the Chevalier delibere 
 is a new cut by a new hand, representing three skulls. They a, re 
 laid upon a slab under a low flattened archway, and seen from 
 different sides. Their outlines are fine, hut all the form in them 
 is given by the quantity of small shade hatchings laid closely 
 side by side in bands, which also are laid close to each other. 
 The skulls cast shadows on the slab, but they are not well 
 gradated, and instead of producing an effect of relief they 
 render the appearance of the whole flat. If the intention was 
 to represent a niche in a wall, this was not brought about, for 
 the background, which should have been in deep shadow, is per- 
 fectly white. The arch is ornamented with interlaced carved 
 work. The spandrils also are carved with twining tendrils, but 
 there is unfortunately a finical look about the whole. All the 
 lines are short and hesitating. The shade is too flat and the 
 whole cut wants relief, and this want of relief prevents the 
 skulls from being so good as the care with which they are 
 outlined might have made them. The outlines are lost in the 
 confusion of the shadows, instead of these being subordinated 
 to them. I am not able to guess who the woodcutter may have 
 been, but the difference between this cut and the Liedwy series 
 is strongly marked. 
 
CHAPTER X. 
 
 Late Antwerp Woodcuts. 
 (1487—1500.) 
 
 33. Tlie Second Antwerp Woodcutter, with other Cuts used there 
 by M. van der Goes (1487 — 1489). 34. The Third Antwerp 
 
 Woodcutter, employed by G. Back (1493 — 1500). 35. Mis- 
 
 cellaneous Cuts used at Antwerp by G. Back (1493 — 1500). 
 36. Cuts used by Liesveldt and Martens (1494 — 1500). 37. Cuts 
 used by R. van den Dorp and other Antwerp printers (1497 — 
 1500). 
 
 Sect. 33. The Second Antwerp Woodcutter, with other Cuts used 
 there by M. van der Goes (1487 — 148.9). 
 
 The printer who first settled at Antwerp was Mathias van 
 der Goes. He started his press in 1482 and worked it till his 
 death in 1491. His widow married G. Back, who continued the 
 printing-office of his predecessor. The dates of most of Goes’ 
 books have to be determined conjecturally, as he seldom men- 
 tions them in the imprints. About the year 1486 he seems to 
 have procured a series of 16mo. cuts. We only know of his 
 using six of them himself, but a larger number are found in 
 their company when they were employed by Back. In style of 
 execution they recall the Haarlem woodcutter. Their principal 
 fault is indistinctness, the outlines being hesitatingly cut, and 
 often stiff and devoid of grace. But the weakness comes more 
 prominently forward when features have to be indicated. The 
 scale was too small for the workman ; he could not do what he 
 wanted with his knife, and so perforce had to rest content with 
 
176 HISTORY OF THE WOODCUTTERS. [chap. x. 
 
 dots for the eyes, a line for the nose, and a cross line for the 
 mouth. Flesh outlines are fringed with short blunt hatchings, 
 almost as broad, where they sink into the main line, as they are 
 long. The foreground is often left black, flowers and the like 
 being cut out of it. 
 
 The black foreground is the only feature which this series 
 has in common with the octavo cut on the title-page of Tun- 
 dalus. It represents the Vision which he had of Death. Tun- 
 dalus stands on the right, watching the lean figure dancing 
 before him. In this cut the shade hatchings are thin and not 
 pointed, separated from each other by a certain distance. The 
 main lines are firm but rather angular ; those of Death’s cloak 
 however are not much at fault and render his dancing motion. 
 The feature outlines in the case of Tundalus are fairly good ; 
 the hands in both cases are almost formless. 
 
 The most remarkable cuts used at this press are the two 
 quarto devices. The first represents a Wild Man, brandishing a 
 club over his head and carrying the arms of Brabant. The 
 foreground is left black, and flowers and the mark of the printer 
 (an M surmounted by a double cross) are cut out of it. The 
 second represents a three-masted vessel seen from the port side. 
 She is moored and her sails are furled. On the top of each 
 mast is a kind of basket cage. Two flags fly from the main- 
 mast, bearing the arms of the Empire and those of the town of 
 Antwerp. There are other flags and coats of arms in different 
 parts of the vessel, bearing, according to M. Holtrop 1 , the mark 
 of the printer, the arms of the See of Utrecht, the cross of 
 Burgundy, the arms of Austria, Holland, Zealand, and the town 
 of Haarlem, of the families of Ursel and Ranst, and of the 
 village of Goes in Zealand. For the explanation of this com- 
 bination of coats of arms given by that author the reader must 
 be referred to his book. It is possible that he may consider it 
 somewhat forced. The style of both cuts proves their maker to 
 have been a man of some power. Few pieces of woodcutting of 
 the same date are better done. The variety in the arrangement 
 of the rough locks of the Wild Man’s hair, and the rightness of 
 feeling in the constant change of form of the white spaces, are 
 
 1 Monuments, p. 97. 
 
i77 
 
 Sect. 34.] T1IE THIRD ANTWERP WOODCUTTER. 
 
 both noticeable. The raised arm with the club has a look of 
 life in it, as though it were just going to come down, and with 
 force. All is carefully worked out, nothing left to chance. The 
 hand that grasps the club is one of the few good hands I have 
 seen ; it has a certain amount of power and grip in it. The 
 shield is conventionally treated, only the lion is perhaps more 
 clawy than usual — all claws in fact except for his tongue and 
 tail. In the Ship cut the most noticeable part is the water, 
 which resembles the hair in the other and proves both to be the 
 work of the same hand. I believe this artist to have been the 
 same as the cutter of the few 16mos. above. 
 
 In an Ordonancie van der munten occurs an outline cut of 
 five coins on a black ground. There is of course no possibility 
 of investigating style of work in so rudimentary a design. The 
 same block was used about the same time by Gerard Leeu, and 
 there is nothing to show for which printer it was made. It may 
 for the present remain with Goes. 
 
 Sect. 34. The Th ird Antwerp Woodcutter , employed by 
 G. Back (1493—1500). 
 
 We learn from the register of the guild of St Luke at 
 Antwerp that Godfrey Back, a bookbinder, married the widow 
 of the printer Mathias van der Goes in November 1492. He 
 continued the press of his predecessor, but employed a much 
 larger number of woodcuts. He seems to have retained the 
 services of one woodcutter entirely for himself. The first cuts 
 by this man are a set of eight octavo copies from those in Leeu’s 
 Corona mystica. The moveable emblems introduced in Leeu’s 
 originals were beyond the powers of the less accomplished work- 
 man. Eight blocks answer the purpose of the larger number, 
 and the emblems are missed out. The style of the woodcutting 
 is frightful. The hair resembles bundles of ropes ; the arches, 
 and in fact all the architectural details, are out of perspective ; 
 everything is distorted. The outlines are rude and graceless, 
 the shade hatchings numerous and fine, whether in the form of 
 bands of shade or of fringed lines. Each line is laid thought- 
 C. w. 12 
 
i ;8 
 
 HISTORY OF THE WOODCUTTERS. [Chap. x. 
 
 lessly and the multiplication of lines is repulsive. An exception 
 must be made in favour of the Crowns, which are more careful, 
 though still not successful imitations of the originals. 
 
 After this set I have grouped together three quarto cuts, 
 which are all the work of this hand, but may not have been 
 made at one time. The Last Judgment and the Mass of 
 St Gregory at any rate are much better than the first set. The 
 outlines are purer and more graceful ; indeed, so far as outline 
 goes, they are deserving of praise. But the lines had to be 
 supported, and so numerous thin fringe hatchings were used. 
 The cuts really consist of thick belts of black scored with 
 pointed furrows, which become broader and broader till they run 
 into each other ; this produces the effect of what I have usually 
 called fringe-lines, but here the fringe is everything, the shade 
 hatchings of which it is composed being so numerous and 
 fine. The composition of the cuts is feeble. There is no back- 
 ground, nothing to attract the eye. The whole is without 
 interest, the designs being stiff and of a dying conventionalism, 
 the execution mechanical and in a dying method. They are 
 interesting merely as marking a stage of decay. 
 
 By far the most extensive work of this cutter was the set of 
 sixty-four little blocks which he made to illustrate the Kerstenen 
 Salicheyt of 1495. They are very nearly the worst cuts made in 
 the century. How any man can have imagined that they 
 embellished a page is more than can be easily understood. 
 They evidence an ignorant and careless workman. The out- 
 lines are clearly cut but of any form. The shade hatchings arc 
 unspeakable, tossed about in any kind of confusion ; not a 
 single one falls in its right place; not one produces an approach 
 to a good effect; they would all be better cut away. They are 
 laid anyhow, of any length and any thickness. The figures are 
 misshapen and badly grouped, stiff in attitude and gesture. 
 The faces are expressionless and often shapeless. The charac- 
 teristic points are that the outlines though graceless are clear, 
 and that the shade hatchings are rather wide apart. 
 
 In the following year we meet with a more careful cut by 
 this workman — a copy of J. de Breda’s Symbols of the Four 
 Evangelists. It is used in no less than eleven undated books, 
 
 O 
 
Sect. 34.] THE THIRD ANTWERP WOODCUTTER . 179 
 
 but happily also in a twelfth which bears date 3rd July 1490. 
 As a copy it might be worse, but it loses all the little charm of 
 the original, and, instead of glossy plumage and shaggy hair, we 
 have the man’s horrible thin shade hatchings cumbering the 
 space. 
 
 A couple of quarto cuts referring to the life of St Dympna, 
 another of St Catherine, and one representing Charles the 
 Great meeting the knight Elegast riding out in the country are 
 all in this style. In the first the Saint stands on a dragon on 
 the tessellated pavement of a room with a sword in her left 
 hand. The walls behind are shaded with a few long lines, widely 
 separated. On the left is an open door, through which the 
 slopes of a hill and some buildings can be seen. The hill is 
 shaded with a few lines, all parallel to its outline, one within 
 the other; they produce a bad effect. The cut would do equally 
 for St Margaret. The Saint is crowned and her head is backed 
 by a halo with the words Sancta digna. On the verso of 
 the same leaf however is a cut evidently made for the book ; 
 it represents St Dympna kneeling at Confession in a chapel 
 before a priest. The shade lines in this are all fine and open, 
 the outlines are clear and thicker than the shade hatchings. 
 The St Catherine is a companion cut to the St Dympna. 
 
 A cut representing the Dove hovering over the head of 
 the Child, who stands on a bench between the Virgin and 
 St Anne, and another almost exactly like it, only that God the 
 Father appears above, are ruder work than most of this man’s 
 productions ; the clear shapeless outlines and the fine shade 
 hatchings point them out as unmistakeably his. A short octavo 
 of Christ and the Virgin standing in a room must be included 
 in the same group. 
 
 The most interesting set of all, notwithstanding its rude- 
 ness, is undoubtedly that made to illustrate the book on 
 Fishing and Birdcatching, printed by Back without date. I 
 have only been able to see a set of reproductions of them, which 
 gave the impression that the originals were carved in strong, 
 rude lines. I have no doubt, however, that this is a mistake, 
 and that the same general characteristics as before apply also 
 to these. The events represented are certainly of the simplest 
 
 12—2 
 
i8o 
 
 HISTORY OF THE WOODCUTTERS . [Chap. x. 
 
 kind, and do not throw much light on the methods employed 
 by fishermen and birdcatchers of those days. 
 
 The last cut to be mentioned represents St Dominic re- 
 ceiving a rosary from the hand of the Child, who appears in 
 the arms of the Virgin. Here the outlines are carefully, and in 
 some instances gracefully drawn, as for example those of the 
 Saint’s cloak. The head of the Saint is also thoughtfully 
 done, the features are clear, the mouth firm, the fringe of 
 hair light, and the locks well arranged. The cutting of the 
 Child is as bad as can be. The figure is misshapen, the shade 
 hatchings thin, numerous and meaningless. 
 
 Sect. 35. Miscellaneous cuts used at Antwerp by G. Bach 
 
 (1493—1500). 
 
 Besides the cuts by the workman just described, Back uses 
 a certain number of other blocks which will not fall into order 
 and must for the present be classed together. The first of 
 these are two Devices, one an octavo and the other a quarto, 
 both of them with the Birdcage (the house of the printer was 
 called the Vogelhuis) and the mark of M. v. d. Goes. It is 
 possible that these were made by the hand which cut Goes’ 
 two quarto devices and for that printer, and that Back inherited 
 them. The style of the woodcutting is more careful than that 
 of Back’s cutter. Much of the original surface of the block is 
 left standing in masses as a background. 
 
 In the Golden Litany, printed about the year 1495, we find 
 a rude set of borders made in imitation of Leeu’s French series; 
 in another book is a Mass of St Gregory, copied from a cut 
 which had been Leeu’s, and which Liesveldt used along with 
 the French set in the Duytsche Ghetiden of 1494; finally in the 
 Epistles and Gospels of 1496 there are two octavo cuts in the 
 French style copied from Leeu’s. Putting these indications 
 together, it is probable that Back had a whole series of copies 
 of the French cuts made for some edition of the Ilorce, and 
 that these which we find are the scattered remnants of them. 
 The execution of these copies is abominable with the single 
 
CUTS USED BY G. BACK. 
 
 1 8 1 
 
 Sect. 35.] 
 
 exception of the Mass of St Gregory, a cut already described as 
 a work of the Haarlem school. 
 
 A new quarto device somewhat similar to the other two, but 
 without Goes’ mark, is found in the Epistelen ende Evangelien 
 of 1496. It is by the same hand as the others. Two 32mo. 
 cuts, which together form a device, are used, seemingly for the 
 first time, in the undated S. Katherinen Legende, ascribed to the 
 year 1496. They are cleanly and carefully cut. Yet another 
 device, an octavo, is found in the Sielentroest bearing date 21st 
 Sept. 1500. It represents two boys standing by a birdcage 
 and shield. 
 
 In the Kuere van Zeelandt, printed about the year 1497, is 
 a remarkable cut. It is an initial P within which is a portrait 
 of Philip the Fair. Round the head, within the letter, are the 
 lines 
 
 Iste. zelandrinis : has ko7'as fecit ephebus : 
 fecit et angores virginis ante coli. 
 
 The Duke faces to the right. He wears a cap which is turned 
 up behind ; below it his long hair falls over his shoulders. His 
 coat is trimmed with a broad border of fur, over which is the 
 collar of the Golden Fleece. The hair is rendered by cross 
 hatching — a very noticeable innovation — the same is the case 
 with the turned-up back of the cap, where the bend of it is 
 given by a set of crossing lines which have an elaborately 
 double curvature. The lines are clear and show care in pick- 
 ing out the little white spaces where they cross. The face is 
 not a pleasing one, the nose is broad and protruding, the mouth 
 small, the lips thick, the cheeks rounded, the forehead broad, 
 the eyes large and open, and the hair thick and full. In design 
 as well as workmanship the cut stands alone amongst those of 
 this century. It is not very excellent but it is in quite a fresh 
 style, so much so that for a long time I thought it a German 
 production. 
 
182 
 
 HISTORY OF THE WOODCUTTERS. [Chap. x. 
 
 Sect. 36. Cuts used by Liesveldt and Martens (1494 — 1500). 
 
 After Gerard Leeu’s death, when his materials were sold and 
 dispersed, a portion of them came into the possession of Adrian 
 van Liesveldt. This included not only a fount of type hut the 
 series of French borders and cuts and a few other small blocks. 
 With these he printed a number of devotional books, and they 
 answered his purposes sufficiently well, for he seldom employed 
 any new ones. Two 16mos. do however appear which seem to 
 have been the work of a new hand, and may be part of a larger 
 set. They represent the Last Judgment and the Angels adoring 
 the infant Christ. The former seems to have been a new cut. 
 It is of the usual type. Two angels are blowing trumpets, and 
 on either side of the head of Christ are a sword and a lily. This 
 serves to distinguish it from Leeu’s two 16mo. Last Judgments, 
 one of which has the angels and the other the sword and lily. 
 For the rest the execution is also different. The workmanship 
 is more ambitiously minute, the robes of the kneeling figures 
 are covered with fine shade, and their hair, as well as that of 
 Christ, is good and finished in detail. The outlines of the 
 draperies are clear. The features, especially the eyes, are in- 
 dicated with a larger number of lines than usual. If the cut 
 were better printed than it is in the only copy I have seen it 
 would look nice. It is probable' that the second block belongs 
 to the same series as this, though it does not make its appear- 
 ance till some years later. The size of both is the same, but 
 in the second the lines seem firmer and fewer. There is a 
 marked absence of the fine shade hatchings, jagged-edged lines 
 being used instead. The main drapery outlines are however in 
 both cases similar, not only in their general arrangement but 
 in the manner of the cutting. 
 
 Two publications relating to the mint were issued from this 
 press about the year 1500. Both are illustrated with the arms 
 and portrait of Maximilian. These do not attach themselves 
 in style of workmanship to any of the woodcutters we know. 
 The Archduke wears a large hat and a fur cloak. The fur 
 is well rendered by white spaces of varied form dug out of 
 the uniform black surface. The texture is that of a soft glossy 
 
Sect. 36.] CUTS USED BY LIESVELDT & MARTENS. 183 
 
 substance. His liair is similarly rendered. In all parts more 
 details are added. The face and neck are rounded with shade ; 
 shade is also added under the eyes and across the forehead. On 
 the hat are various details of ribbon and the like. The waist- 
 coat has a collar fitting close round the neck ; outside, resting 
 on the fur, is the collar of the Golden Fleece. The coat of 
 arms is by the same hand as the portrait. Both are the size of 
 square lCmos. The only known workman these could possibly 
 be by is the cutter of Dorp’s Brabant Chronicle, but he must 
 have modified his style considerably before he could come to 
 this. Ten years later it would not be difficult to find a good 
 deal more work of this kind, and, even at this date, such cuts 
 were produced in Germany, but not in the Low Countries. 
 So far as execution goes they are entirely right. They were 
 probably made with about one half of the trouble which a 
 lighter and more sketchy looking cut required, and yet they 
 produce a more pleasing and finished effect and contain a 
 large amount of detail. These same cuts were employed on 
 two occasions by Thierry Martens in publications of a similar 
 nature. The first was another edition of the Muntplacaat of 
 24 Dec. 1499 l , in which very possibly the same coins also made 
 their appearance ; the other was a Valuatien ende ordonnantien 
 van den ghelde, printed not earlier than 1499 2 , and as it is said 
 to have been printed at Antwerp, it cannot have been earlier 
 than 1502, the year in which Martens returned to that town. 
 
 In both publications containing the foregoing cuts repre- 
 sentations of coins are also found. These do not present any 
 remarkable characteristics. They are work in simple line, figuring 
 sufficiently well the coins in question. The lines are in some 
 cases rude but more generally give evidence of pains spent upon 
 them. The best of them are the Toyson Tor, Florin Phus , 
 Toyson T argent, double Pattart , and Pattart, all which seem 
 to be the work of a more skilful hand than the rest. 
 
 Thierry Martens, after printing at Alost between the years 
 
 1 A. F. van Iseghem, Bibliographic de Thierry Martens. Malines, 1852, 8 vo. 
 p. 355. The only copy known to him is in the Abbaye du Parc at Louvain, or, 
 at any rate, was there on 1 April 1853, 
 
 2 Ibid. p. 205. 
 
184 HISTORY OF THE WOODCUTTERS. [Chap. x. 
 
 1487 and 1492, removed to Antwerp where we find him at 
 work in the year 1493. After Gerard Leeu’s death he acquired 
 a portion of his materials, amongst other things the Device 
 of the Castle of Antwerp. The only other woodcut used 
 by him appears in a book entitled Qnodlibetica decisio per- 
 pulchra et devota de septem doloribus christifere virginis marie. 
 The title-page is illustrated with a quarto cut, in part copied 
 from that of the Mater Dolorosa used by Leeu in the Seven 
 Sorrows of 1492. The Blessed Virgin is seen half-figure stand- 
 ing, her right hand raised, and seven swords plunged into her 
 right side, the woodcutter having forgotten that his cut would 
 be reversed in the printing. Tears are falling from her eyes. 
 She wears a heavy cloak which is also prolonged over her head 
 as a hood. Against the background are a number of stars. 
 It is possible that this is a copy, not of Leeu’s cut, but of 
 the original St Luke picture, or of a painting copied from it. 
 The woodcutting is peculiar. The outlines are firm and black, 
 rather stiff sometimes and straight, giving a heavy look to the 
 drapery. Many of them are fringed by long hatchings which 
 are brought to very sharp points. Besides these there are a 
 number of independent, shorter, but still thin shade lines dis- 
 posed in rows, and in addition a quantity of dots of various 
 shapes grouped in masses. The outlines of the features are 
 carefully drawn, especially in the case of the nose and mouth, 
 the curves of which are pleasingly rounded. The face wears 
 an expression of sorrow, which is well rendered, and has every 
 appearance of being a careful copy from some more elaborate 
 original. The cheek and nose are rounded with a quantity 
 of fine shade and the latter is made to cast a shadow on the 
 upper lip. The hands are not so well done, they are stiff and 
 wooden, the outlines being too thick and angular. Who the 
 woodcutter may have been I have no means of judging. The 
 style of the work does not recall that of any other set of cuts, 
 and it is therefore necessary to leave it by itself. 
 
 Three different states of the book in which this cut occurs 
 are known. The first is badly printed with many misprints, 
 and has at the end the device of the Castle of Antwerp. In 
 the second, the last leaf is cancelled and a new one inserted, 
 
Sect. 37.] CUTS USED BY ROLAND VAN DEN DORP. 185 
 
 bearing an apology instead of the device, and stating that the 
 book had been printed in a great hurry, and finished on the 
 15th June 1494. In this state the quires bear the signatures 
 A — E. The third has signatures A — F, and on the last page 
 a blank impression of a block, carved with the arms of Spain 
 impaled with those of Austria. These were the arms of Philip 
 the Fair after his marriage, which took place on 21 Oct. 1496. 
 The book must therefore be placed after that date. A copy of 
 this, printed on vellum, seems to have been specially made 
 for Philip the Fair himself, as it is stated in the body of the 
 book that he was a member of the confraternity for whose use 
 it was printed 1 . The date of the cut of the Mater Dolorosa was 
 at all events before 15 June 1494. 
 
 Sect. 37. Miscellaneous Cuts used at Antwerp by Roland van 
 den Dorp and others (1497 — 1500). 
 
 We know of seven books printed by Roland van den Dorp, 
 and only one of these bears a date. This is the Chronicle 
 of Brabant of 28 Feb. 1497. In 1500 the printer seems to 
 have died and his widow continued the press after him. The 
 above-mentioned book is by far the most important of those 
 printed at this press, not only on account of its size, but 
 because it is illustrated with many cuts. These are of various 
 sizes and seem to be the work of at least two, and possibly 
 three, hands. In the first place there are a set of octavo cuts 
 representing the Saints of Brabant, sixteen in number. Seven of 
 these are very different in style from the remainder 2 . Possibly 
 they had been made for some other book, but it is more natural 
 to assume that, such a large number of blocks being required at 
 once, two or three woodcutters were employed to produce them. 
 The prints are little more than outlines. When any shade is 
 added it is very light and fine and hardly darkens the cut at 
 all. Large spaces are indeed sometimes left black (as in the 
 
 1 See A. F. van Iseghem, Bibliographic clc Thierry Martens d' A lost. Malines, 
 1852, 8 vo. p. 204. 
 
 2 They are in the book nos. 5, G, 7, 8 , 12, 14, and 18. 
 
1 86 . HISTORY OF THE WOODCUTTERS. [Chap. x. 
 
 case of the curtains in Nos. 5 and 8, and the pavements of tri- 
 angular black and white stones), but this is quite in character 
 with the rest. The outlines are thin, long and usually straight. 
 The figures are not ungraceful and the draperies are sometimes 
 well designed in clear lines unsupported by fringes of hatchings. 
 The effect is on the whole too white, but it would be worse if 
 a number of the usual meaningless shade-lines were added. 
 A few short hatchings are employed in No. 5 to support the 
 outlines, but they are carefully laid. In the same cut the fall 
 of the nun’s cloak and hood is simple and natural. Some day 
 it may be possible to group these cuts with others ; at present 
 it seems best to leave them by themselves. 
 
 They are not altogether different in style from three quarto 
 cuts which appear in the book, but do not fit the pages nor 
 belong to the regular series. These represent events in the life 
 of Roland, one of the Twelve Peers under Charles the Great. 
 The first depicts Charles seated on his throne, the Peers stand- 
 ing round him ; in the second Roland leads the onslaught on 
 the host of King Marcirius and his Saracens. The last cut 
 shows Roland at Roncevaux blowing the olifant; he is seen 
 under a rustic archway from which hang two shields, the left 
 bears the arms of Antwerp, the right a hatchet which appears to 
 have been the printer’s mark. This last cut forms the printer’s 
 device. Bearing in mind the popularity in the middle ages of 
 the Legend of Roland and the victories of Charles the Great, 
 it is not at all improbable that these three cuts may have been 
 made to illustrate some book on the subject and only appear here 
 for the second time. This is the more likely when we consider 
 that the printer’s name was Roland, and that he chose his name- 
 sake’s figure as his device ; he would therefore have been the 
 very hero whose history he would have selected to print. How- 
 ever this may be, and it is a mere conjecture, the three cuts 
 must be grouped together for our present purposes. It seems 
 likely that the designs for them, or at all events for the one 
 representing a battle, were made by the artist who drew the 
 designs for the half- folio battle cuts. The general arrange- 
 ment is at all events the same. On each side is a body of 
 knights who ride against each other; behind is undulating 
 
Sect. 37.] CUTS USED BY ROLAND VAN DEN DORP. 18 7 
 
 ground where one or two soldiers fight on foot. The execution 
 however differs altogether from that of the longer series. The 
 lines are all thin, the shade hatchings fine, and the general 
 effect of the cuts white. Behind the throne of Charles is a 
 black curtain, the floor is tessellated with black and white 
 stones. Behind Roland, in the device, is an undulating back- 
 ground, shaded by lines which run parallel to the outlines of 
 the slopes. The chain armour of the knight recalls the style 
 of the next woodcutter, but the cut differs in having thin out- 
 lines and shade hatchings ; Roland’s features too have more 
 character, his nose is rounded, the nostril outlined and the 
 cheek furrowed. Over his head is a scroll with the words 
 Roland van den Dorp to make the meaning more evident. The 
 incident represented is well known. 
 
 Eollanz ad mis l’olifan a sa buche, 
 
 Empeint le ben, par grant vertut le sunet. 
 
 Halt sunt li pui e la voiz est mult lunge, 
 
 Granz .xxx. liwes Foment il respundre. 
 
 Karles l’oit e ses cumpaignes tutes ; 
 
 Co dit li reis: “Bataille funt nostre hume.” 
 
 Li quens Eollanz par peine e par ahans, 
 
 Par grant dulor, sunet sun olifan; 
 
 Par mi la buche en salt fors li clers sancs, 
 
 De sun cervel le temple en est rumpant. 
 
 As the work of the same hand as these quarto cuts we must 
 not forget to include three blocks, used in the Historie van 
 Troyen of about 1500. They appear there in connexion with 
 another quarto by the man who made the half- folios, with which 
 we must next deal, and some of which occur elsewhere with 
 them. 
 
 The remaining cuts in the book are all the work of oue 
 artist. Some of them are copies from those in the Godfrey of 
 Boulogne, described as the work of the Third Gouda woodcutter. 
 They are marked by great thickness in those outlines which are 
 on the right or lower sides of any object, those on the left or 
 upper sides being rather thin. Each of the firmer lines is fringed 
 along its left side by a row of thick hatchings some eighth or 
 quarter of an inch in length, and sharply pointed. The design is 
 always of the simplest, and a few strokes suffice to render it. 
 
1 88 
 
 HISTORY OF THE WOODCUTTERS. [Chap. x. 
 
 The faces are all treated in the same way and wear the same 
 expression — three lines and a dot for each eye, two straight lines 
 joined to the eyebrows for the sides of the nose and a thick 
 crossline for the bottom of it, another straight line below it for 
 the mouth, and a curved one under that, and there you are — 
 man and woman, old or young, it is all the same. The numerous 
 battle-cuts are without animation, the figures are frozen where 
 they stand. The defeated party turn their backs on the others 
 and walk slowly away, two or three people fight in the middle, 
 the victorious army also stands still watching. The buildings in 
 the background are crude and without detail. When walls are 
 represented as falling to the ground, they tumble to pieces, the 
 masonry cracking like thin china, and towers toppling over for 
 no apparent reason. 
 
 Seven of these half-folios were used again in the Ilistorie 
 van Troyen of about 1500. After Roland van den Dorp’s death 
 they all passed into other hands. They were all printed 
 together in three other editions of the same book, once by 
 Eckert van Homberch and twice by Jan van Doesborch. Claes 
 de Grave used two of them in 1517 in his Ilistorie van Seghelijn, 
 and one in a Somme ruyrael ten years later. Several appear in 
 Yorsterman’s Coronijcke van Vlaendren of 1531, and two in the 
 Coronijcke van Maximilian , printed, without date, by the same 
 printer. They mark for us the introduction of a new era of 
 woodcutting, in some respects a more healthy one, in which, 
 from greater rudeness of handling the surface in thick black 
 masses, a more refined method was afterwards to be elaborated 
 by the School of Lucas van Leyden. With this however we 
 have nothing to do ; we must return to watch the expiring 
 embers of the old system. 
 
 An undated book, more probably belonging to the early 
 years of the sixteenth than to the end of the fifteenth century, 
 is remarkable as a bold attack upon the Church. It is illus- 
 trated by four cuts, the first (in the list) of which may be by the 
 same hand as the Brabant Chronicle series, but the remaining 
 three must be referred to some other workman. The most 
 daring of the cuts depicts a number of people kneeling with 
 lighted tapers in their hands before an altar, resembling the 
 
Sect. 37 .] CUTS USED BY ROLAND VAN DEN DORP. 189 
 
 ordinary altar of a church. Instead however of the usual pic- 
 ture of the Virgin or a Saint, there is above it a figure, which, 
 a scroll tells us, represents the goddess of Sloth, and the priest 
 who officiates is decked out in a cap and bells. We can 
 judge of the tendency of the book from this. The three cuts 
 which mark the co-operation of a new hand show a greater 
 multiplication of lines. There is scarcely any space left free ; 
 everywhere fine lines are crowded together as closely as possible. 
 From the method employed thirty years previously, which went 
 upon the principle of cutting away everything except a few 
 leading outlines, we find that woodcutters have advanced to this 
 quite opposite manner, in which their cuts are reduced to a mere 
 tissue of minute strokes, carelessly but closely packed. The 
 outlines still remain thick, but they are without grace or beauty. 
 The faces wear blank expressions, the gestures are stupidly 
 monotonous, the figures wooden. The walls are drawn in false 
 perspective, and shaded with long thick lines in which even a 
 breakage is a relief. There is not the slightest care shown in 
 any single detail. The vertical lines are not vertical and the 
 horizontal lines are always on the slant. 
 
 The first cut (the second in the book, one of the regular 
 series being repeated on the title-page) is a contrast to the 
 other three. It is lighter, the lines being in the older style, 
 few and far between. The perspective is of course faulty, 
 but there are some traces of animation about the figures. The 
 picture lets us somewhat into the ways of the people. The man 
 sitting outside his door with his pot of beer, talking to his 
 neighbours, is worth any number of soulless saints. The whole 
 thing is badly drawn but is still in a manner real ; it takes you 
 back to the old street with its cobbled pavements and its brick- 
 walled houses with the benches before them. Though the faces 
 of the people are not well drawn, there is some expression 
 in them, and they avoid grimace. The monkeys are rather a 
 pitiful set, but in them the workman was drawing on his 
 imagination. I believe we shall not be far wrong in referring 
 this print to the same hand as the cutter of the long series 
 in the Brabant Chronicle. 
 
 Two other undated books, supposed to have been printed 
 
190 HISTORY OF THE WOODCUTTERS. [Chap. x. 
 
 about the year 1500, contain cuts, but none of them are of any 
 importance. Two of those in the GancJc die Jesus ghinc may 
 possibly be by the same hand as the three quartos above 
 described, but I do not feel sufficiently certain to group them 
 definitely together. The cuts in the Seer minnelijcke woerden 
 are beyond description bad. They are roughly cut in numerous 
 lines of uncertain form and length ; the outlines are drawn 
 almost anyhow, the expressions of the faces are frightful, the 
 draperies are rude. 
 
 A small volume without printer’s name, entitled Leringe om 
 salich te sterven, contains two woodcuts, one of which is interest- 
 ing. It represents two houses. Over the door of one of them 
 is a shield with the initials AB, and between them a mark like 
 a pair of scissors. By the door hangs a board with a sign like a 
 mortar. On the front of the second house is another shield 
 with a trade-mark and the monogram SW. Between the two 
 shields is a third with the imperial eagle over the Castle of 
 Antwerp. The houses are in two stories, the windows being 
 without ornament. Over the doors are windows, and all the 
 windows of the ground floor are high above the ground. Before 
 one of the houses is a bench. All round the top is a battlement 
 with a little turret at each corner and a third in the middle of 
 the front. The house does not resemble the ordinary fifteenth 
 century form of building, in which the high gables are turned 
 towards the street and the stories project one over the other; 
 but recalls rather the domestic architecture of an earlier period, 
 when civic discords were rife and each man had to make his 
 house a castle of defence. The imprint of the book states that 
 it was printed at Antwerp, in a house in the Market-place with 
 the sign of the ( grote gidden mortier n . Clearly therefore the 
 woodcut in question represents the house of the printer. A 
 book in the Hague Library was printed in 1508, ‘ in the Market- 
 place,’ by Adriaen van Berghen. Two other books in the same 
 library were printed “ juxta mortarium aureum.” Thus the 
 second house was also inhabited by a printer, whose name, 
 however, continues unknown. 
 
 1 Holtrop, Monuments, p. 103. 
 
Sect. 37.] CUTS USED BY ROLAND VAN DEN DORT. 19 1 
 
 In the same book is another cut, representing Death attack- 
 ing a middle-aged man. He catches him by the wrist and holds 
 his dart raised to strike. The man throws lip his hands in 
 terror, and the bending of his knees shows that strength fails 
 him even to resist. Behind Death is an open grave, and 
 further back an undulating country with a tree on the left and 
 a castle on the right. The whole is filled with stiff shade lines, 
 clear but graceless. 
 
 Both cuts are evidently by the same hand. The execution 
 is very rough. In the house the windows are plain black 
 spaces, crossed with white lines for the mullions. A few rude 
 strokes serve to distinguish the street from the wall. The side 
 of the house is shaded by long black hatchings. Neither block 
 is a work of art, but the first is more interesting than nine- 
 tenths of the woodcuts we meet with, because it records simple 
 facts instead of silly fancies. 
 
 Henrick die Lettersnider is known to have been printing in 
 Antwerp in the year 1496. Two of his books, both without 
 date, are illustrated by a frightful octavo woodcut of the 
 Crucifixion. The Virgin and St John stand at the foot of 
 the Cross. The outlines of drapery are in the manner of 
 the worst work of Back’s woodcutter, and indeed I believe 
 this to have been one of his productions. The shade hatch- 
 ings are produced by rows of fine furrows dug side by side 
 in the black masses. The figure of Christ is terrible, almost 
 shapeless, the shade making it wooden. The thing is com- 
 pletely abominable. The distance is undulating, the hills are 
 shaded by lines drawn parallel to the outlines of the slopes. 
 On the ground in front are a few flowers, done without taste 
 and quite out of place. I 11 the beginning of the sixteenth 
 century this printer removed to Delft. He took the cut with 
 him, and was still using it in the year 1511. 
 

 
 
 
 
 ‘ 
 
 
 
 
 
 
 
 
 
WOODCUTTERS OF THE 
 NETHERLANDS. 
 
 PART II. 
 
 CATALOGUE OF THE WOODCUTS. 
 
 C. Vf. 
 
 13 
 
ON THE ARRANGEMENT OF THE CATALOGUE. 
 
 The Sections into which the Catalogue is divided correspond to the 
 Sections in the First Part of the Book ; only it has not been thought 
 necessary in this part to retain the grouping into chapters. 
 
 Under each Section the individual cuts, or sets of cuts, are numbered 
 in order of date. 
 
 In the case of a single cut, its name is given first, and then the names 
 of those books in which it occurs. If, however, the cut be a printer’s 
 device, it has usually been considered sufficient to note the first book 
 only in which it is found. 
 
 In the case of a series of cuts, the general name of the series is placed 
 first ; then the list of books in which any of the series occur, the books 
 being lettered (A, B, etc.) in their chronological order; the numbered 
 list of the cuts themselves comes last, and, within a parenthesis after the 
 name of each cut, the letters are introduced corresponding to the books, 
 in the list immediately preceding, in which that cut is to be found. 
 
 Each book is designated, in the lists, by a short title with the date, or 
 approximate date, of publication, the name of the printer, and of the 
 town where the book was printed; in a parenthesis, at the end of the 
 short title, the number of the book is given from M. Campbell’s Annales 
 de la Typographic Neerlandaise au XV e siecle (La Haye, 1874), preceded 
 by the letters CA. to stand for that book. 
 
 Whenever a cut has been reproduced in Holtrop’s Monuments typo- 
 graphiques des Pays-Bas au XV e siecle (La Haye, 1868), a reference has 
 been made to it, with the initials HMT. 
 
WOODCUTTERS OF THE 
 NETHERLANDS. 
 
 PART II. 
 
 CATALOGUE OF THE WOODCUTS . 
 
 Sect. 1 . The Biblia Pauperum (used 1487 — 1500). 
 
 A SET of 40 folio cuts engraved in pairs on 20 double-folio 
 blocks, from which Edition B (see p. 3) of this block-book was 
 printed. 
 
 A. before 1467— Biblia Pauperum, edition B. 
 
 B. 5 Jan. 1487 — Epistelen ende euangelijen (CA. 697). 
 
 C. 23 Aug. 1487 — Breviarium Trajectense(CA. 374). 
 
 D. 18 Nov. 1487 — Liden ons Heren (CA.1161). 
 
 E. 10 Nov. 1488— Euangelien ende epistelen (CA.699). 
 
 F. 21 Nov. 1488— Bien boeck (CA. 1658). 
 
 G-. 1488 — Liden ons Heren (CA. 1162). 
 
 H. 1488— Sterf boeck (CA. 1620). 
 
 K. about 1488 — Carmen de nativitate (CA. 1378), 
 
 L. 21 Feb. 1489 — 'Liden ons Heren (CA. 1163). 
 
 M. 1 April 1490 — Vaderboeck (CA.938). 
 
 N. 13 Dec. 1490 — Liden ons Heren (CA.1165). 
 
 O. 14 Feb. 1491 — Epistelen ende euangelien (CA. 702). 
 
 P. 4 June 1491 — Sterf boeck (CA. 1621). 
 
 Q. 1 July 1491 — Yier uutersten (CA. 1323). 
 
 R. 1491 — Lijden ons Heren (CA. 1166). 
 
 S. 1500 — Yulgaria computi (not in CA.). 
 
 Unknown printer. 
 Zwolle, P. van Os. 
 
 9> 99 
 
 99 99 
 
 99 9 9 
 
 99 n 
 
 Hasselt, Barmentloe. 
 Zwolle, P. van Os. 
 
 99 99 
 
 99 99 
 
 99 > 9 
 
 99 99 
 
 M 99 
 
 9 f M 
 
 5 9 99 
 
 9 9 9? 
 
 9 9 9 9 
 
 13—2 
 
196 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 The cuts in the original block-book (A in the preceding list) are 
 divided into compartments, thus : 
 
 
 1 
 
 2 
 
 
 3 
 
 4 
 
 5 
 
 
 6 
 
 7 
 
 
 When the blocks were cut up, each compartment became a separate 
 block, and it is in this state that they appear in the later printed books 
 (B to S). In the block-book the pages are numbered, the first twenty 
 with the letters a to v , the second twenty with the same letters between 
 points .a. to ,v. These will be called the first and second alphabets 
 respectively. 
 
 First Alphabet : 
 
 a 1. Isaiah. 2. David. 
 
 3. Temptation of Eve. 4. Annunciation (BE). 5. Gideon’s Fleece. 
 
 6. Ezekiel. 7. Jeremiah. 
 
 b 1. Daniel. 2. Isaiah. 
 
 3. Moses and the 4. Nativity (BEK). 5. Aarou’s rod. 
 
 burning bush. 
 
 6. Habakkuk. 7. Micali. 
 
 c 
 
 3. Abner visits Da- 
 vid. 
 
 I. David. 2. Isaiah. 
 
 4. The Three Kings (BE). 
 
 6. Isaiah. 7. Balaam 
 
 5. Solomon and the 
 Queen of Sheba. 
 
 d 
 
 3. Presentation of 
 the First-born. 
 
 1. David (B). 2. Malachi (B). 
 
 4. Presentation of Christ (BE). 5. Presentation of 
 
 Samuel. 
 
 6. Zechariah. 7. Zephaniah. 
 
 e 1. Isaiah. 2. David. 
 
 3. Jacob sent away 4. Flight into Egypt, 
 by Rebecca. 
 
 6. Jeremiah. 7. Ilosea. 
 
 5. Miclial lets Da- 
 vid down out of 
 a window. 
 
 f 
 
 3. Golden Calf. 
 
 1. Ilosea. 2. Nahum. 
 
 4. The Idols of Egypt falling 5. Dagon falling be- 
 down before the Holy fore the Ark. 
 Family. 
 
 G. Zechariah. 7. Zephaniah. 
 
Sect. 1.] 
 
 T1IE BIB LI A P AUBE RUM. 
 
 197 
 
 0 
 
 3. Abimelech and 
 his sons slain. 
 
 1. Davi<l. 2. Proverbs. 
 
 4. The murder of the Inno- 
 cents. 
 
 6. Jeremiah. 7. Hosea. 
 
 h 
 
 3. David consulting 
 the oracle about 
 his return. 
 
 1. David. 2. Hosea. 
 
 4. The return of the Holy 
 Family. 
 
 6. Hosea. 7. Zechariah. 
 
 i 
 
 3. 
 
 The Passage of 
 the Red Sea. 
 
 1. Isaiah. 2. David. 
 
 4. The Baptism of Christ 
 (BE). 
 
 6. Ezekiel. 7. Zechariah. 
 
 k 
 
 3. Esau selling his 
 birthright. 
 
 1. David. 2. Isaiah. 
 
 4. The Temptation of Christ 
 (BEO). 
 
 6. 2 Kings. 7. Job. 
 
 I 1. Moses. 2. David. 
 
 3. Elijah and the 4. The raising of Lazarus 
 widow’s son. (DELNOR). 
 
 6. Job. 7. 3 Kings 
 
 (DR). 
 
 m 1. David. 2. Isaiah. 
 
 3. Abraham and the 4. The Transfiguration (BE), 
 three angels. 
 
 6. ILabakkuk. 7. Malachi. 
 
 n 1. Ezekiel. 2. David. 
 
 3. Kathan and Da- 4. Supper at Simon’s (ELNR). 
 vid. 
 
 6. Zechariah. 7. David. 
 
 0 
 
 3. David with Go- 
 liath’s head 
 (LNR). 
 
 1. David (0). 2. Canticles 
 
 (°). 
 
 4. Christ’s Entry into Jeru- 
 salem (DLNR). 
 
 6. Zechariah. 7. Zechariah. 
 
 The massacre of the 
 sons of Ahaziali 
 by order of Atlia- 
 liali. 
 
 5. Jacob returns to 
 his own land. 
 
 5. The grapes of 
 Eshcol. 
 
 5. The Fall. 
 
 5. Elijah raising the 
 widow’s son 
 (DLNR). 
 
 . The three Children 
 in the furnace. 
 
 5. Miriam with le- 
 prosy. 
 
 5. ‘ Go up, thou bald- 
 head’! 
 
198 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 p 1. Hosea(DEL 2. David (D 
 
 NOR). ELNOR). 
 
 3. Esdras bidden by 4. Christ cleansing the Tem- 
 Darius to purify pie (DLNR). 
 
 the Temple. 
 
 6. Amos (DL 7. Zechariah 
 NR). (DLNR). 
 
 q 1. Jacob. 2. David. 
 
 3. Jacob informed 4. Judas offering to betray 
 
 of the death of Christ (DLNR). 
 
 Joseph. 
 
 6. Solomon 7. Jeremiah 
 
 (DR). (DLN). 
 
 r 1. David. 2. Solomon. 
 
 3. Joseph sold 4. Judas paid by the priests 
 
 (DLNR). (DLNR). 
 
 6. Haggai. 7. Zechariah. 
 
 s 1. David. 2. Solomon. 
 
 3. Melchizedek meet- 4. The Last Supper(DLOR). 
 ing Abraham. 
 
 6. Isaiah (S). 7. Wisdom. 
 
 t 1. Micah 2. Baruch 
 
 (HP). (HP). 
 
 3. Micaiah and A- 4. Christ about to go to the 
 hab (DLNR). Mount of Olives (DELNR). 
 
 G. Jonah. 7. Tobias. 
 
 v 1. Lamenta- 2. Isaiah. 
 
 tions. 
 
 3. The five foolish 4. The Amazement of the 
 Virgins. soldiers (DLNR). 
 
 G. Jeremiah. 7. Baruch. 
 
 Second Alphabet : 
 
 .a. 1. David. 2. Canticles. 
 
 3. The murder of 4. The Betrayal (DLNR). 
 Abner (DLNR). 
 
 6. Isaiah. 7. Jeremiah. 
 
 A 
 
 3. Jezebel trying to 
 slay Elijah. 
 
 1. Isaiah. 2. Proverbs. 
 
 4. Pilate washing his hands 
 (DLNR). 
 
 5. Maccabeus puri- 
 fying the Tem- 
 ple (DLNR). 
 
 5. Absalom stirring 
 up rebellion. 
 
 5. Joseph sold to 
 Potiphar. 
 
 5. The fall of Manna 
 (DLNR). 
 
 5. Elisha prophesy- 
 ing plenty in Sa- 
 maria. 
 
 5. The Fall of the 
 Angels (DLNR). 
 
 5. Tryphon takes 
 J onathan cap- 
 tive. 
 
 5. Daniel accused by 
 the Babylonians 
 (DLNR). 
 
 6. Job. 
 
 7. Amos. 
 
Sect. 1.] 
 
 THE BIB LI A P AUBE RUM. 
 
 199 
 
 ,c. 
 
 3. Sliem covering 
 Noah (DLNR). 
 
 .d. 
 
 3. Isaac carrying 
 wood (DLNR). 
 
 .e. 
 
 3. Abraham’s sacri- 
 fice (DLNR). 
 
 3. The formation of 
 Eve (DLNR). 
 
 ■9- 
 
 3. Joseph let down 
 into the pit. 
 
 .h. This page in A is 
 
 3. David slaying Go- 
 liath (DLNR). 
 
 X 
 
 3. Sampson carrying 
 the gates of 
 Gaza. 
 
 .k. 
 
 3. Reuben searching 
 in the well. 
 
 1. David. 2. Proverbs. 
 
 4. Christ crowned with thorns 
 
 (DGLNR). 
 
 6. Lamenta- 7. Isaiah, 
 
 tions. 
 
 1. Isaiah. 2. Jeremiah. 
 
 4. Christ bearing his Cross 
 (DLNR). 
 
 6. David. 7. Jeremiah. 
 
 1. David. 2. Isaiah. 
 
 4. The Crucifixion (DLNR). 
 
 6. Job. 7. Habakkuk. 
 
 1. David. 2. Zechariah. 
 
 4. The spear of Longinus 
 (DEGLNR). 
 
 6. Lamenta- 7. Amos(LN), 
 tions. 
 
 1. David. 2. Canticles. 
 
 4. TheEntombment(DGLNR). 5. Jonah thrown into 
 
 the sea (DLNR). 
 
 6. Isaiah. 7. Jacob. 
 
 TIMT. 3 (2). 
 
 1. David. 2. Hosea. 
 
 4. The descent to Hades, HMT. 5. Sampson killing a 
 98 (65) a 4 (DGLNR). lion. 
 
 6. Zechariah. 7. Genesis. 
 
 1. David. 2. Jacob (DEL 
 
 NOR). 
 
 4. The Resurrection (BDL 5. Jonah thrown up 
 NOR). by the whale 
 
 (DLNR). 
 
 6. Hosea. 7. Zephaniah. 
 
 1. Isaiah. 2. David. 
 
 4. The three Maries at the 5. The Daughter of 
 tomb (DGLNOR). Sion seeking 
 
 for her spouse 
 
 (DLNR). 
 
 6. Micah. 7. Jacob. 
 
 5. Elisha mocked by 
 children. 
 
 5. The widow of 
 Sarepta holding 
 two pieces of 
 wood in the 
 form of a cross. 
 
 5. The brazen Ser- 
 pent. 
 
 5. Moses striking 
 the rock. 
 
200 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 . 1 . 
 
 1. David. 
 
 2. 1 Kings. 
 
 3. Daniel released 4. Christ as the Gardener 5. The Daughter of 
 
 from the den of 
 Lions. 
 
 (DLNR). 
 
 G. Isaiah. 7. Hosea. 
 
 Sion finding her 
 spouse (DLNR). 
 
 .m 
 
 1. David. 2. Wisdom. 
 
 3. Joseph discover- 4. Christ appears to the Twelve 5. The Prodigal’s 
 
 (DLNR). 
 
 ing himself to 
 his brethren 
 (DL[R?J). 
 
 return. 
 
 G. Isaiah. 
 
 7. Ezekiel. 
 
 . 71 . 
 
 ]. Isaiah. 
 
 2. Jeremiah. 
 
 3. The Angel and 4. Thomasdoubting(DGLNR). 5. Jacob and the 
 
 Gideon (DLNR). 
 
 Angel. 
 
 6. David. 
 
 7. Zephaniah 
 (not as be- 
 fore). 
 
 o. ]. David. 2. Isaiah. 
 
 3. Enoch taken up 4. The Ascension (BDEGL 
 to heaven (DLN NOR). 
 
 5. Elijah in the cha- 
 riot of fire. 
 
 R). 
 
 6. Deutero- 
 nomy. 
 
 7. Micah. 
 
 V- 
 
 1. David. 2. Wisdom. 
 
 3. Moses receiving 4. Pentecost (BDELMNOR). 5. Elijah’s sacrifice, 
 the Tables (DL 
 
 NR). 
 
 G. Ezekiel. 
 
 7. Joel. 
 
 ■Q 
 
 1. David. 2. Canticles 
 
 (but not as 
 before). 
 
 3. Solomon seating 4. The Coronation of the 5. Esther and Ahas- 
 
 his mother by 
 his side. 
 
 Virgin. 
 
 6. Isaiah. 
 
 7. Wisdom. 
 
 .r. 
 
 1. Ecclesiastes. 2. 1 Kings. 
 
 3. Solomon’s judg- 4. The Last Judgment (HP), 
 mcnt. 
 
 uerus. 
 
 5. Saul’s murderer 
 killed by David’s 
 command. 
 
 G. Isaiah. 
 
 7. Ezekiel. 
 
Sect. 2.] 
 
 THE C ANT I CUM C ANT ICO RUM. 
 
 201 
 
 3. Korah and his 
 friends swallow- 
 ed up. 
 
 1. Wisdom. 2. David. 
 
 4. The damned dragged off by 
 a devil (tl). 
 
 6. Jeremiah. 7. Job. 
 
 5. Sodom and Go- 
 morrah burnt 
 up. 
 
 .t. 
 
 3. The feast of Job’s 
 children. 
 
 1. David. 2. Tobit. 
 
 4. Christ bearing the souls of 5. Jacob’s 
 
 the Blessed (CFH). (CM). 
 
 6. Joshua. 7. Isaiah. 
 
 ladder 
 
 .v. 
 
 3. The Daughter of 
 Sion crowned by 
 her Spouse. 
 
 1. David. 2. Isaiah. 
 
 4. The Reward of the Right- 
 eous. 
 
 6. Ezekiel. 7. Ilosea. 
 
 5. St John and the 
 Angel. 
 
 Sect. 2. The Canticum Canticorum (used 1494). 
 
 A set of 32 half-folio cuts engraved, in groups of four, on 
 eight double-folio blocks, from which the first edition of this 
 
 O 7 
 
 block-book was printed. 
 
 A. before 1467 — Canticum Canticorum, edition A. Unknown printer. 
 
 B. 1494 — Rosetum exercitiorum (CA. 1224). Zwolle, P. van Os. 
 
 (In the following list references are inserted to the chapter and verse which 
 the prints are intended to illustrate.) 
 
 1. (V. 1; 1. 1). Christ invites his Bride and her two maidens, the 
 Daughters of Jerusalem, into his Garden. Within the paling the harvest 
 and the whole process of making bread is represented (B) — HMT. 6 (109) 
 and 91 (110) a 2. 
 
 2. (I. 4; VII. 5, 4). The Bride raised from the ground and surrounded 
 by rays of glory in the mid.; on the 1. are her maidens, on the r. the Church 
 on earth — HMT. 6 (109). 
 
 3. (II. 14 ; I. 3,4). Christ takes his Bride by the hand and addresses 
 
 her. 
 
 4. (IV. 1 ; II. 10). The Bride arises hearing the voice of her Beloved. 
 
 5. (II. 1 ; II. 16). Christ presents a lily to his Bride. 
 
 6. (II. 6 ; I. 9). The Bride reposing with her head in Christ’s lap. 
 
 7. (VIII. 13; VII. 13). The Bride gathers fruit in a garden and pre- 
 sents it to Christ. 
 
 8. (V. 8; II. 5). The Bride lying in bed, sick with love; angels show 
 her a seal with the image of Christ and the Church. 
 
202 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 9. (V. 9; V. 10). The Daughters of Jerusalem question the Bride. 
 
 10. (II. 7). The Bride reposing on the lap of Christ. 
 
 11. (VII. 8; I. 13). Christ conversing with his Bride in a vineyard. 
 
 12. (IY. 12 ; IV. 15, 16). Christ and the Bride in a closed garden pro- 
 tected by angels. 
 
 13. (VI. 10; V. 16). The Bride attended by two maidens conversing 
 with Christ. 
 
 14. (V. 2 ; Y. 6, 3). The Bride attended by her maidens opens the door 
 to Christ. 
 
 15. (I. 6; I. 7). Christ as a shepherd addressing the Bride. 
 
 16. (V. 6; VII. 7). The Bride sits between her maidens talking to 
 them. 
 
 17. (VII. 6; VIII. 1). The Bride consoled by Christ. 
 
 18. (IV. 11 ; V. 1). Christ gives the cup to the Bride. 
 
 19. (VIII. 6; VIII. 7). The Bride attended by her maidens gives 
 the Sacrament to a monk and a nun who kneel before her. 
 
 20. (VIII. 5; 11.2,13; VI. 8). Christ, as an Eagle, supporting the 
 Bride. 
 
 21. (VI. 12; VII. 10). The Bride pointing to Christ addresses her 
 maidens. 
 
 22. (IV. 6 ; VII. 1). The Bride and her maidens return to Christ 
 crucified. An angel speaks to them. 
 
 23. (VII. 11, 12; VII. 13). Christ and his Bride stand before a building 
 and a vineyard protected by an angel. 
 
 24. (1. 13). The Bride holds up an image of Christ crucified. 
 
 25. L. side. (III. 2). The Bride reposes on a bed in a castle; a Pope, 
 Cardinals, and a Bishop with a shield stand beside her. 
 
 R. side. (V. 7). The Bride walking abroad is attacked. 
 
 26. (V. 1; VII. 9). In a room Christ gives the Sacrament to the 
 Bride. 
 
 27. (III. 4; IV. 7). The Bride leaves her chamber to seek for Christ. 
 
 28. (1. 14 ; 1. 15). Christ converses with the Bride in her chamber. 
 
 29. (VIII. 10; IV. 4). The Bride seated before a castle between two 
 angels. 
 
 30. (V. 2; III. 7, 8). Christ and the Bride in a bed; Christ awakes, 
 and the Bride supports his head. 
 
 31. (VIII. 6; VIII. 14, 6). The Bride receives from Christ the seal of 
 the Trinity. 
 
 32. (IV. 8; V. 15,16). The Bride in prayer on Lebanon; and the 
 Bride receiving a Crown from Christ. 
 
Sect. 3.] THE SPECULUM IIUMANJE SALVATIONIS. 203 
 
 Sect. 3. The Speculum Humance Salvationis (used 1481 — 
 
 1484). 
 
 A set of 58 oblong cuts in two compartments, engraved in 
 pairs on 29 blocks. 
 
 A. before B • — Speculum, in one fount (CA. 1570). Unknown printer. 
 
 B. before C — Speghel, in two founts (CA. 1571). ,, 
 
 C. before D ■ — Speculum, with some woodcut text (CA. 1569). ,, 
 
 D. before 1474 — Speghel, in one fount (CA. 1572). ,, 
 
 E. 19 April 1481 — Epistelen ende Ewangelien (CA. 690). Utrecht, Yeldener. 
 
 F. 27 Sept. 1483 — Spieghel (CA. 1573). Kuilenburg, ,, 
 
 G. 1484 — Kruidboeck (CA. 918). ,, ,, 
 
 In the following list the pages are numbered and the com- 
 partments lettered. The whole series is found in ABCD 
 and F. 
 
 1. a. Fall of Lucifer. 
 
 2. a. Betrothal of Adam and Eve. 
 
 3. a. The Fall(G). 
 
 4. a. Adam digs and Eve spins. 
 
 5. a. The Annunciation to the Shep- 
 
 herds. 
 
 6. a. ‘ Ortus conclusus , fons sig- 
 
 natus\ Cant. iv. 
 
 7. a. The Nativity of the Blessed 
 
 Virgin. 
 
 8. a. The Closed Door, a type of the 
 
 Blessed Virgin. 
 
 9. a. The dedication of the Blessed 
 
 Virgin in the Temple. 
 
 10. a. Jephthali slaying his daugh- 
 
 ter. 
 
 11. a. The Betrothal of the Blessed 
 
 Virgin and St Joseph. 
 
 12. a. The tower of Baris. 
 
 13. a. The Annunciation. 
 
 14. a. Gideon and his fleece. 
 
 b. Formation of Eve. 
 b. Temptation of Eve. 
 
 b. Expulsion from Eden. 
 b. Noah’s Ark. 
 
 b. King Astrages’ dream. 
 b . The angel meets Balaam. 
 
 b. The Root of Jesse (G). 
 b. Solomon’s Temple. 
 
 b. The dedication of a golden table 
 in the temple of the Sun. 
 b. The Queen of Persia surveying her 
 land from a tower in a garden. 
 
 b. The Betrothal of Sara and Tobias. 
 
 b. The castle of David with a thou- 
 sand shields. 
 
 b. Moses and the burning Bush. 
 b. Rebekah giving water to Abra- 
 ham’s steward. 
 
204 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 15. a. The Nativity. 
 
 16. a. Aaron’s rod budding. 
 
 17. a. The Adoration of the Magi. 
 
 18. a. The three mighty men bring 
 
 David water. 
 
 19. a. The Presentation of Christ in 
 
 the Temple. 
 
 20. a. The golden Candlestick. 
 
 21. a. The Flight into Egypt. 
 
 22. a. Moses casts down and breaks 
 
 a crown. 
 
 23. a. The Baptism of Christ. 
 
 24. a. The great Laver in the temple. 
 
 25. a. The Temptation of Christ. 
 
 26. a. David slays Goliath. 
 
 27. a. The Supper at Bethany. 
 
 28. a . The return of the Prodigal 
 
 Son. 
 
 29. a. The Entry of Christ into Jeru- 
 
 salem. 
 
 30. a. David entering the town, car- 
 
 rying the head of Goliath. 
 
 31. a. The Last Supper. 
 
 32. a. The feast of the Passover. 
 
 33. a. The amazement of the soldiers 
 
 sent to take Christ. 
 
 34. a. Shamgar slaying six hundred 
 
 Philistines. 
 
 35. a. The Betrayal of Christ. 
 
 36. a. David playing before Saul. 
 
 37. a. Christ buffeted. 
 
 38. a. Noah drunk with wine. 
 
 39. a. Christ scourged. 
 
 40. a. Lamech and his two wives. 
 
 b. The dream of Pharaoh’s cup- 
 bearer. 
 
 b. The Sibyl and Augustus. 
 
 b. The Magi see the Star. 
 b. Solomon on his throne. 
 
 b. The Ark of the Covenant. 
 
 b. Samuel dedicated to the Lord. 
 
 b. The Egyptians adore an image of 
 the Madonna and Child. 
 b. Nebuchadnezzar sees a great 
 image in a dream. 
 
 b. Naaman washing in the Jordan. 
 b. The bed of the Jordan dries up 
 for the Ark to go over. 
 
 b. Daniel destroys the dragon. 
 b. David slays a lion and a bear. 
 
 b. Manasses in captivity. 
 b. The penitence of David. 
 
 b. Jeremiah lamenting over Jerusa- 
 lem. 
 
 b. Heliodorus beaten by angels. 
 
 b. The fall of Manna. 
 b. Abraham and Melchizedek. 
 
 b. Sampson slaying a thousand men 
 with a jawbone. 
 
 b. David slaying eight hundred men. 
 
 b. Abner slain by Joab. 
 b. Abel killed by Cain. 
 
 b. ITur the husband of Miriam (Exo- 
 dus xvii). 
 
 b. Sampson pulling down the temple. 
 
 b. Achior bound to a tree (Judith vi). 
 b. Job tempted by his wife and 
 Satan. 
 
Sect. 3.] THE SPECULUM HUMAN EE SALVATIONIS. 205 
 
 41. a. Christ crowned with thorns. 
 
 42. a. David cursed by Sliimei, HMT. 
 
 17 (19), IS (7), 20 (14), and 
 
 22 ( 1 ). 
 
 43. a. Christ bearing liis cross. 
 
 44. a. The servants slav the king’s 
 
 son in the vineyard. 
 
 45. a. Christ nailed to the cross. 
 
 4G. a. Isaiah sawn asunder. 
 
 47. a. Christ on the cross between 
 
 two thieves. 
 
 48. a. King Codrus sacrifices himself 
 
 for his people. 
 
 49. a. The Descent from the Cross. 
 
 50. a. Adam and Eve weep over the 
 
 body of Abel. 
 
 51. a. The Entombment. 
 
 52. a. Joseph let down into the pit. 
 
 53. a. The Descent to Hades. 
 
 54. a. Abraham leaving Ur. 
 
 55. a . The Resurrection. 
 
 56. a. Jonah coming out of the 
 
 whale, HMT. 19 (31). 
 
 57. a. The Last Judgment, HMT. 39 
 
 (29) 4 b. 
 
 58. a. The ten virgins (E). 
 
 b. The king’s concubine sets his crown 
 upon her own head. 
 b. The servants of David dishonoured 
 by Ammon, HMT. 17 (19), 18 (7), 
 20(14), and 22(1). 
 
 b. Abraham’s sacrifice. 
 b. The spies bearing grapes. 
 
 b. The invention of work in iron. 
 b. The king of Moab sacrifices his 
 son, HMT. 21 (25). 
 
 b. Nebuchadnezzar sees a great tree 
 in a dream. 
 
 b. Eleazar slays an elephant and is 
 slain himself (1 Macc. vi). 
 
 b. Jacob recognises the coat of Jo- 
 seph. 
 
 b. Naomi weeps over her sons. 
 
 b. David weeps behind Abner’s bier. 
 b. Jonah swallowed by the whale. 
 
 b. Israel coming out of Egypt. 
 b. Lot coming out of Sodom. 
 
 b. Sampson bearing away the gates 
 of Gaza. 
 
 b. The stone which the builders re- 
 fused, HMT. 19 (31). 
 
 b. The ordeal by water. 
 b. Daniel before Belshazzar. 
 
 Sect. 4. The Boec van den Houte (used 1483). 
 
 Legend of the Holy Cross. — A set of 32 oblong cuts in 
 two compartments, together the width of a folio page. 
 
 A. before 1483 — Boec van den Houte (a block-book). Unknown printer. 
 
 B. 6 Mar. 1483 — Boec van den Houte (CA. 940). Kuilenburg, Veldener. 
 
206 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 The blocks were cut up into their separate compartments before being 
 used in 13, in which the whole set appears. No copy of A has yet been 
 discovered. 
 
 1. a. Adam bidding Seth go to the 
 
 angel at the gate of Paradise 
 to enquire when he was to 
 die. 
 
 2. a. Seth buries Adam and puts 
 
 the three seeds under his 
 tongue. 
 
 3. a. Moses sees the three trees in 
 
 a vision. 
 
 4. a. An angel bids Moses put the 
 
 three trees into the bitter 
 waters. 
 
 5. a. Moses plants the trees in the 
 
 land of Moab. 
 
 6. a. David as he carries the trees 
 
 touches some sick people 
 with them and they are 
 cured. 
 
 7. a. Three black men who come to 
 
 meet David are made white. 
 
 8. a. The three trees in one night 
 
 take root and join together 
 into one trunk. 
 
 9. a. David makes a chain of thirty 
 
 sapphire rings. 
 
 10. a. Workmen try to build the wood 
 
 of it into the temple. 
 
 11. a. A woman who sits on the log 
 
 finds her clothes burning. 
 
 12. a. The Sibyl is scourged to death. 
 
 13. a. The Queen of Sheba will not 
 
 walk over it but goes through 
 the water instead. 
 
 14. a. Solomon has it brought away 
 
 and adorned with rings. 
 
 15. a. King ‘Abyas’ has the gold 
 
 taken off it (1 Kings xv. 18). 
 
 b. Seth at the gate of Paradise re- 
 ceiving from the angel three of 
 the seeds of the Tree of Life. 
 
 b. The three little trees which have 
 grown from the seeds. 
 
 b. The children of Israel murmur at 
 the bitter waters. 
 
 b. Moses dips the trees into the wa- 
 ters. 
 
 b. An angel, appearing to David in a 
 vision, bids him go and fetch the 
 trees. 
 
 b. A leper w hom he meets is at once 
 cleansed. 
 
 b. David brings the three trees into 
 Jerusalem and plants them in 
 his garden. 
 
 b. David builds a wall round his 
 garden. 
 
 b. Solomon, when he builds the tem- 
 ple, has the tree cut down. 
 
 b. They cannot get it to fit into any 
 place. 
 
 b. A Sibyl prophesies that Christ shall 
 hang on that wood. 
 
 b. The beam is put as a foot-bridge 
 over a stream. 
 
 b. She reproves Solomon for putting 
 the beam to an ignoble use. 
 
 b. Solomon has it put over the door 
 of the temple. 
 
 b. The Jews bury it in the earth. 
 
THE BO EC VAX DEN I10UTE. 
 
 207 
 
 Sect. 4.] 
 
 16. a. A long time afterwards, on the 
 
 spot where it was buried, a 
 pool is dug for the people to 
 wash in before the sacrifice. 
 
 17. a. While Christ is before Pilate 
 
 the wood floats on the sur- 
 face of the pool. 
 
 18. a. Christ bearing the Cross, HMT. 
 
 115(34) 3 a. 
 
 19. a. People possessed with the 
 
 devil who kneel before the 
 Cross are cleansed. 
 
 20. a. St Helena comes from Rome 
 
 to find the Cross. 
 
 21. a. She puts the priest Judas into 
 
 a pit till he shall tell her 
 where it is buried. 
 
 22. a. In answer to his prayer an 
 
 angel tells him where the 
 Cross is buried. 
 
 23. a. He gives them to St Helena. 
 
 24. a. The Cross of Christ restores 
 
 the dead to life. 
 
 25. a. She brings the Cross and the 
 
 three Nails to Constantine. 
 
 26. a. Cosdras sits on a throne calling 
 
 himself the Father, the Cross 
 the Son, and the Cock on a 
 pillar the Holy Ghost. 
 
 27. a. Heracles defeats Cosdras’ son 
 
 on the bridge called ‘I)anu- 
 byen’. 
 
 28. a. Heracles commands King Cos- 
 
 dras to become a Christian. 
 
 29. a. The son of Cosdras and all his 
 
 people are baptised. 
 
 b. The angel stirs the water daily and 
 the sick that enter first after him 
 are healed. 
 
 b. The Jews make a Cross of it. 
 
 b. Christ on the Cross between the 
 two thieves. 
 
 b. The Priests have the Crosses buried. 
 
 b. She enquires among the Jews for 
 it. 
 
 b. Judas promises to tell her if he is 
 let out. 
 
 b. He digs and finds the Crosses and 
 the three Nails. 
 
 b. To find which is the Cross of Christ 
 they lay them in turn upon a 
 corpse. 
 
 b. St Helena divides the Cross into 
 two parts, one of which she takes 
 to Rome. 
 
 b. A tyrant at Jerusalem dishonours 
 the part of the Cross which had 
 been left behind. 
 
 b King Heracles fights the son of 
 King Cosdras. 
 
 b. All the people accept Heracles as 
 King. 
 
 b. On his refusal his head is cut off. 
 
 b. Heracles buries the dead king and 
 gives his kingdom to his son. 
 
208 
 
 CATALOGUE OF TIIE WOODCUTS. [Part ii. 
 
 30. a. Heracles takes the piece of 
 
 the Cross which Cosdras had 
 putintohis throne and brings 
 it back to Jerusalem. 
 
 31. a. Heracles walks bare -foot 
 
 through the street of Jeru- 
 salem. 
 
 32. a. Merchants in danger on the 
 
 seas invoke the Cross and 
 God saves them. 
 
 b. Heracles is about to ride into Je- 
 rusalem, but an angel closes the 
 gate before him. 
 
 b. Heracles puts the holy wood back 
 where it was wont to stand. 
 
 b. They bring their offerings to the 
 
 Cross. 
 
 Sect. 5. The First Louvain Woodcutter (1475 — 1477). 
 
 1. Portrait of the Printer John of Westfalia — a small vig- 
 nette, HMT. 49 (87) a and c. 
 
 21Nov.l475 — JustinianiInstitutiones(CA.1052). Louvain, J.de Westfalia. 
 
 29Nov.l475 — Virgil. BucolicaetGeorgica (CA.1731). ,, ,, 
 
 about 1475— Breviarium Codicis (CA. 1053). ,, ,, 
 
 1475-76 — Prognosticatio anni 1476 (CA. 1081). ,, ,, 
 
 8 April 1476 — Virgil. Aeneis (CA. 1728). ,, ,, 
 
 1477— Kaetspel(CA. 1060). 
 
 31 Aug. 1484 — Paulus de Middelburgo (CA. 1362). ,, ,, 
 
 2. Veldener s first device ; two shields suspended from a 
 branch, the 1. bearing his own mark, the r. the arms of Louvain, 
 HMT. 47 (28) 3 a. 
 
 29 Dec. 1475 — Fasciculus temporum (CA. 1478). Louvain, Veldener. 
 
 30 April 1476 — Epistolares Formulae (CA. 1201). ,, ,, 
 
 The same device is used by Veldener in a second state, the arms of 
 Louvain being cut out and the shield left plain, as in HMT. 39(29)2 and 
 115 (34) 2 b. It appears thus in the following : 
 
 30 July 1479— Epistelen ende ewangelien (CA. 688). Utrecht, Veldener. 
 
 27 Sept. 1483 — Spieghel onser behoudenisse (CA. 1573). Kuilenburg, ,, 
 
 1484 — Kruidboeck (CA. 918). ,, ,, 
 
 3. A set of 9 small cuts of various sizes made for the 
 Fascic u l us temporum. 
 
Sect. 5 .] THE FIRST LOUVAIN WOODCUTTER. 209 
 
 A. 29 Dec. 1475 — Fasciculus temporum (CA. 1478). Louvain, Veldener. 
 
 B. 30 July 1479 — Epistelenendeewangelien (CA. G88). Utrecht, ,, 
 
 C. 14 Feb. 1480 — Fasciculus temporum (CA. 1479). ,, ,, 
 
 D. 19Aprill481 — Epistelen ende ewangelien (CA. 690). ,, * ,, 
 
 The cuts are : 
 
 1. Noah’s ark (AC). 
 
 2. The Rainbow (AC). 
 
 3 . The Tower of Babel : 
 
 1st state (A). 
 
 2nd state, with top storey and crane cut off (C). 
 
 4. A walled town (AC). 
 
 5 . A walled town with a portcullis (AC). 
 
 6. ‘ Templum dominV (AC). 
 
 7 . A walled town, smaller (AC). 
 
 8. Destruction of a town (A). 
 
 9 . Salvator Mitndi , HMT. 39 ( 29 ) 2 — 8vo cut (ABC). 
 
 4. Castrum Caesaris, probably no. 4, 5, or 7 of the pre- 
 ceding series ; but I have not seen the book. 
 
 30 April 1476 — Epistolares Formulae (CA. 1201). Louvain, Veldener. 
 
 5. The Fleur de Lys, the badge of one of the colleges at 
 Louvain, HMT. 53 (123) a 3. 
 
 30 April 1476 — Epistolares Formulae (CA. 1201). Louvain, Veldener. 
 
 1 Dec. 1476 — Epistolares Formulae (CA. 1202). ,, C. de Westfalia. 
 
 6. Portrait of the Printer Conrad of Westfalia — a small 
 vignette HMT. 53 (123) a 4. 
 
 1 Dec. 1476 — Epistolares Formulae (CA. 1202). Louvain, C. de Westfalia. 
 
 7. Portrait of Maximilian. 
 
 Nov. 1477 — Bruni Carmen (CA. 385). Louvain, J. de Westfalia. 
 
 Sect. 6 . The Utrecht Woodcutter (1479 — 1484). 
 
 1. G l’s first device. A teacher and scholar stand on a 
 pavement ; behind is Moses receiving the tables of stone. The 
 monogram G 1 is on the pavement. HMT. 44 (42) 2. 
 
 7 May 1479 — Der sielentroest (CA. 1544). 
 
 C. W. 
 
 Utrecht, G 1. 
 
 14 
 
210 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 2. G l’s second device. Two shields, that on the r. bearing 
 three hammers on a bend. Between the shields is the printer’s 
 monogram. HMT. 44 (42) 3. 
 
 10 Nov. 1479 — Der sielentroest (CA. 1545). Utrecht, G 1. 
 
 3. G Ps third device. Two shields fastened to a short tree, 
 with the monogram between them. The shield on the 1. bears 
 the arms of Utrecht (containing St Martin, the patron Saint), 
 that on the r. the printer’s arms as before. HMT 44 (42) 1 e. 
 
 30 March 1480 — Boeek des gulden throens (CA. 1342). Utrecht, G 1. 
 
 4. A set of cuts to illustrate the ‘Golden Throne.’ 
 
 30 March 1480 — Boeck des gulden throens (CA. 1342). Utrecht, G 1. 
 
 An Elder and the Soul, as a girl, standing before a wall ; Christ appears 
 above in clouds — 8vo cut. 
 
 An Elder standing, explaining with his fingers (1). 
 
 An Elder, similar to the preceding, but seen almost facing (2). 
 
 An Elder seated, his right hand raised (3). 
 
 An Elder standing, with a sceptre in his left hand (4). 
 
 An Elder seated, his right hand in his lap (5). 
 
 An Elder standing (6). 
 
 The Soul, as a girl, standing with her dress on the ground and her hair 
 seen on both sides of her face ( 1 ). 
 
 The Soul standing, her hair seen on one side of her face only (2). 
 
 The Soul kneeling (3). 
 
 The Soul standing, her dress tucked up (4). 
 
 The Soul kneeling, her hands against her breast (5). 
 
 There are also four Borders distinguished by their canopies, which con- 
 sist of 
 
 Two pointed arches (1). 
 
 Two cusped arches (2). 
 
 Three pointed arches (3). 
 
 A single flattened arch (4). 
 
 These cuts are curiously devised, so as to be capable of great variation. 
 Each border is made to hold one of the Elders on the left and one of the 
 Souls on the right, but with any border any Elder may be combined with 
 any Soul. The first cut, which is complete in itself, is found five times. 
 
Sect. 6.] THE UTRECHT WOODCUTTER. 2:11 
 
 Taking the remaining cuts in order the combinations are as follows, where 
 E stands for Elder, S for Soul, and B for Border : 
 
 1 . 
 
 Bl, 
 
 El, Si. 
 
 2. 
 
 B2, 
 
 E2, 
 
 S2. 
 
 3. 
 
 B3, E3, 
 
 S3. 
 
 4. 
 
 B4, 
 
 E4, 
 
 S2. 
 
 5. 
 
 Bl, 
 
 E5, Si. 
 
 6. 
 
 B2, 
 
 El, 
 
 S2. 
 
 7. 
 
 B3, E4, 
 
 S3. 
 
 8. 
 
 B4, 
 
 E3, 
 
 S2. 
 
 9. 
 
 Bl, 
 
 E6, S4. 
 
 10 . 
 
 B2, 
 
 E2, 
 
 S5. 
 
 11. 
 
 B3, E5, 
 
 SI. 
 
 12. 
 
 B4, 
 
 E4, 
 
 S2. 
 
 13. 
 
 Bl, 
 
 E3, S5. 
 
 14. 
 
 B2, 
 
 E2, 
 
 S5. 
 
 15. 
 
 B3, E4, 
 
 S4. 
 
 16. 
 
 B4, 
 
 E3, 
 
 S2. 
 
 17. 
 
 Bl, 
 
 E6,Sl. 
 
 18. 
 
 B2, 
 
 El, 
 
 S2. 
 
 19. 
 
 B3, E5, 
 
 S5. 
 
 
 
 
 
 The whole set of 20 is well reproduced in HMT. 42, 43, 44 (40, 41, 42). 
 
 5. Veldener’s second device — a 4to cut. Two lions sup- 
 porting a blank shield within a border of twining tendrils. 
 Amongst the leaves at the top are two shields with the mark 
 of the printer and the arms of the city of Utrecht. Within the 
 border, above the lions, a space is left in which the date of the 
 book or the name of the owner may be inserted. HMT. 39 (29) 3. 
 
 14 Feb. 1480 — Fasciculus temporum (C.A. 1479). Utrecht, Veldener. 
 
 This device was used again at Kuilenburg with the Utrecht arms cut 
 out. HMT. 116 (35) 2 b. 
 
 6. Folio border in four pieces, HMT. 40 (24). 
 
 14 Feb. 1480 — Fasciculus temporum (CA. 1479). Utrecht, Veldener. 
 
 12 Sept. 1480 — Passionael, Vols I. and II. (CA. 1757). ,, ,, 
 
 7. A set of additional cuts for the Dutch Fasciculus Tem- 
 porum ; most of them are copied, in a general sense, from some 
 of the cuts in the Rudimentum noviciorum (Lucas Brandis, 
 Liibeck, 1475, fol.). The whole series appear in A. 
 
 A. 14 Feb. 1480 — Fasciculus temporum (CA. 1479). Utrecht, Veldener. 
 
 B. 19 April 1481 — Epistolen ende ewangelien (CA. 690). ,, ,, 
 
 C. 27 Sept. 1483 — Spieghelonser behoudenisse (CA. 1573). Kuilenburg, ,, 
 
 1. The Creation — square 8vo cut (B). 
 
 2. Moses with the Tables of Stone — 8vo cut (C). 
 
 3. The Ark of the Covenant, copied from the Speculum. 
 
 4. The Golden Candlestick, copied from the Speculum. 
 
 5. The building of Rome — 8vo cut. 
 
 6. The storming of a town — 8vo cut. 
 
 7. The taking of Babylon — 8vo cut. 
 
 8. The Temple — a small square cut. 
 
 9. Jerusalem rebuilt — 8vo cut. 
 
 10. Jerusalem — square 4to cut. 
 
 14—2 
 
212 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 11. St Peter at the Gate of Heaven — folio cut. 
 
 12. The fortress Antonina— small square cut. 
 
 13. A set of coats of arms for the Chronicles printed at the end of 
 
 the Dutch Fasciculus Temporum. 
 
 8. Representation of the martyrdoms of several saints — a 
 folio cut. Afterwards copied for Peter van Os by the first 
 Zwolle cutter (Sect. xvii. 9). 
 
 12 Sept. 1480— Passionael (CA. 1757). Utrecht, Yeldener. 
 
 9. A set of 39 octavo cuts for the Epistles and Gospels. 
 
 19 April 1481 — Epistolen ende ewangelien (C. A. 690). Utrecht, Yeldener. 
 
 1 . The Fall, H M T. 1 1 6 (35) 5 a. 
 
 2. The Expulsion from Eden, HMT. 1 16 (35) 5 b. 
 
 3. The Annunciation. 
 
 4. The Visitation. 
 a 5. The Nativity. 
 
 6. The Flight into Egypt. 
 
 7. The Circumcision. 
 
 8. Christ among the Doctors. 
 
 9. The Entry into J erusalem. 
 
 10. The Last Supper. 
 
 11. Christ washing the disciples’ feet. 
 
 12. The Agony in the Garden. 
 
 13. The Betrayal. 
 
 14. Christ before Annas. 
 
 15. Christ falling under a blow. 
 
 16. Christ before Caiaphas. 
 
 17. Christ buffeted by three soldiers. 
 
 18. Christ before Pilate. 
 
 19. Pilate washing his hands. 
 
 20. Christ scourged. 
 
 21. Christ crowned with thorns. 
 
 22. Ecce Homo. 
 
 23. Christ smitten in the presence of the Virgin and St John. 
 
 24. Christ bearing his Cross. 
 
 25. Christ nailed to the Cross. 
 
 26. The Blessed Virgin and St John at the foot of the Cross. 
 
 27. The Descent from the Cross. 
 
 28. The Entombment. 
 
 29. The Pietcl. 
 
 30. Christ at the Gate of Hades. 
 
 31. The three Maries at the Tomb of Christ. 
 
Sect. 6.] 
 
 THE UTRECHT WOODCUTTER. 
 
 213 
 
 32. The Resurrection. 
 
 33. The Supper at Emmaus. 
 
 34. Christ as the Gardener. 
 
 35. Thomas convinced. 
 
 36. The Ascension. 
 
 37. Pentecost. 
 
 38. The Death of the Blessed Virgin. 
 
 39. The Last Judgment. 
 
 10. Twelve additional cuts for the Speculum, uniform with 
 the severed portions of the old blocks (Sect. iii.). 
 
 27 Sept. 1483— Spieghel (CA. 1673). Kuilenburg, Veldener. 
 
 The cuts are : 
 
 1. Christ on the Cross, HMT. 115 (34) 2 b. 
 
 2. Michal deriding David as he plays his harp. 
 
 3. The Death of Absalom. 
 
 4. Evilmerodach cutting up the body of the King his father. 
 
 5. The four distinctions in Hell. 
 
 6. The three holy Children in the furnace. 
 
 7. Daniel in the Lions’ Den. 
 
 8. The Ostrich liberating her young. 
 
 9. Christ at the mouth of Hades. 
 
 10. Bananias slaying a lion with a spear. 
 
 11. Sampson slaying a lion. 
 
 12. The murder of Eglon. 
 
 11. Veldener’ s third device, consisting of the shields of 
 Austria, Kuilenburg, and David of Burgundy, Bishop of Utrecht. 
 
 27 Sept. 1483— Spieghel (CA. 1573). Kuilenburg, Veldener. 
 
 12. A series of 150 cuts for a Herbarius. 
 
 A. 1484 — Kruidboeck in dietsche (CA. 918). Kuilenburg, Veldener. 
 
 B. after A. — Herbarius in latino (CA. 916). No place ,, 
 
 C. about 1486 — Herbarius in latino (CA. 917). Printer of Matheolus. 
 
 A set of cuts of plants, numbering 150, occur in these three editions of 
 the Herbarius. They are careful copies in reverse from a series in the 
 edition of the same book printed in 1484 at Mainz by Peter Schoeffher. 
 The blocks used for Abrotanum and Edera terrestris are exceptions to 
 this rule. The names in the following list are those printed under the 
 cuts. 
 
2 14 CATALOGUE OF 
 
 1. Absintheum. 
 
 2. Abrotanum. 
 
 3. Altea. 
 
 4. Acorus. 
 
 5. Acetosa, HMT. 1 1 6 (35) 3. 
 6*. Agrimonia. 
 
 7. Alleum. 
 
 8. Alkakenge. 
 
 9. Ameos. 
 
 10. Aneturn. 
 
 11. Apium. 
 
 12. Arthimesia. 
 
 13. Aristologia longa. 
 
 14. Aristologia rotunda. 
 
 15. Asarum. 
 
 16. Atriplex. 
 
 17. Aaron. 
 
 18. Auricula muris. 
 
 19. Aruoglossa. 
 
 20. Ambrosiana. 
 
 21. Assodillus. 
 
 22. Agnus castus. 
 
 23. Borago. 
 
 24. Buglossa. 
 
 25. Betonica. 
 
 26. Branca ursina. 
 
 27. Bleta. 
 
 28. Bursa pastoris. 
 
 29. Berberus. 
 
 30. Baselicon. 
 
 31. Brionia. 
 
 32. Cicoria. 
 
 33. Calamentum. 
 
 34. Centaurea. 
 
 35. Curtamus. 
 
 36. Cinoglossa. 
 
 37. Camomilla. 
 
 38. Camepitheos. 
 
 39. Capillus. 
 
 40. Cepe. 
 
 41. Ooriandrum. 
 
 42. Custuta. 
 
 43. Ciperus. 
 
 44. Celidonia. 
 
 45. Cathapucia. 
 
 46. Cucumer. 
 
 THE WOODCUTS. [Part n. 
 
 47. Calamus silvestris. 
 
 48. Canapus. 
 
 49. Daucus. 
 
 50. Diptamus. 
 
 51. Esula minor. 
 
 52. Endivia. 
 
 53. Eupatorium. 
 
 54. Enula. 
 
 55. Epatica. 
 
 56. Elleborus albus. 
 
 57. Elleborus niger. 
 
 58. Ebulus. 
 
 59. Edera terrestris. 
 
 60. Edera arborea. 
 
 61. Fumus teme. 
 
 62. Feniculus. 
 
 63. Fragaria. 
 
 64. Fraxinus. 
 
 65. Grana solis. 
 
 66. Galletricum. 
 
 67. Gariofillata. 
 
 68. Genciana. 
 
 69. Genesta. 
 
 70. Gramen. 
 
 71. Hermodattulus, HMT. 116 
 
 (35) 2 a. 
 
 72. Jusquiamus. 
 
 73. Isopus. 
 
 74. Iris. 
 
 75. Juniperus. 
 
 76. Iringus. 
 
 77. Lilium. 
 
 78. Lupulus. 
 
 79. Lappacium acutum. 
 
 80. Lactuca. 
 
 81. Levisticus. 
 
 82. Lavendula. 
 
 83. Laureola. 
 
 84. Mellissa. 
 
 85. Mellisolium. 
 
 86. Malua. 
 
 87. Mcnta. 
 
 88. Mellilotum. 
 
 89. Matricaria. 
 
 90. Maiorana. 
 
 91. Marubium. 
 
THE UTRECHT WOODCUTTER. 
 
 215 
 
 Sect. G.] 
 
 92. 
 
 Mora celsi. 
 
 122. 
 
 Solatrum. 
 
 93. 
 
 Mercurialis. 
 
 123. 
 
 Spinachia. 
 
 94. 
 
 Mandragora. 
 
 124. 
 
 Siler montanum. 
 
 95. 
 
 Nasturcium. 
 
 125. 
 
 S inapis. 
 
 96. 
 
 Nasturcium aquaticmn. 
 
 126. 
 
 Squinantum. 
 
 97. 
 
 Nigella. 
 
 127. 
 
 Serpentaria. 
 
 98. 
 
 N enufar. 
 
 128. 
 
 Satirion. 
 
 99. 
 
 Origanum. 
 
 129. 
 
 Scicados citrinum. 
 
 100. 
 
 Piretrum. 
 
 130. 
 
 Scicados arabicum, 
 
 101. 
 
 Pionia. 
 
 131. 
 
 Spargus. 
 
 102. 
 
 Petrosilinum. 
 
 132. 
 
 Savina. 
 
 103. 
 
 Polipodium. 
 
 133. 
 
 Semper viva. 
 
 104. 
 
 Paritaria. 
 
 134. 
 
 Squilla. 
 
 105. 
 
 Portulaca. 
 
 135. 
 
 Sambucus. 
 
 106. 
 
 Polegium. 
 
 136. 
 
 Salix. 
 
 107. 
 
 Porrum. 
 
 137. 
 
 Saxifraga. 
 
 108. 
 
 Pentassilon. 
 
 138. 
 
 Scolopendria. 
 
 109. 
 
 Pipinella. 
 
 139. 
 
 Scabiosa. 
 
 110. 
 
 Papaver. 
 
 140. 
 
 Salvia. 
 
 111. 
 
 Populus. 
 
 141. 
 
 Spicanardus. 
 
 112. 
 
 Pastinaca silvestris. 
 
 142. 
 
 Spica celtica. 
 
 113. 
 
 Pastinaca domestica. 
 
 143. 
 
 Serpillum. 
 
 114. 
 
 Rosa. 
 
 144. 
 
 Taxus barbatus. 
 
 115. 
 
 Russanus. 
 
 145. 
 
 Tormentilla. 
 
 116. 
 
 Radix. 
 
 146. 
 
 Viola. 
 
 117. 
 
 Ruta. 
 
 147. 
 
 Virga pastoris. 
 
 118. 
 
 Ros marinus. 
 
 148. 
 
 Urtica. 
 
 119. 
 
 Rapa. 
 
 149. 
 
 Valeriana. 
 
 120. 
 
 Ribes. 
 
 150. 
 
 Usnea. 
 
 121. 
 
 Rubea tinctorum. 
 
 
 
 Sect. 7. The Bruges Woodcutter (1484). 
 
 A set of 17 quarto cuts of Gods and Goddesses and 17 
 square folio cuts of stories to illustrate Ovid’s Metamorphoses. 
 
 A. May 1484 — Ovid’s Metamorphoses (C A. 1348). Bruges, Colard Mansion. 
 
 B l . 1484-85 — Ovid’s Metamorphoses (CA. 1348 note). ,, Mansion’s Successor. 
 
 Quarto cuts. 
 
 1. Jupiter enthroned. 
 
 2. Mars. 
 
 1 The woodcut which should be upon the verso of leaf 274 is omitted in B. 
 
216 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 3. Apollo. 
 
 4. Venus. 
 
 5. Mercury. 
 
 6. Diana. 
 
 7. Minerva. 
 
 8. Juno. 
 
 9. Cibele. 
 
 10. Neptune. 
 
 11. Pan. 
 
 12. Bacchus. 
 
 13. Pluto. 
 
 14. Vulcan. 
 
 15. Hercules. 
 
 1 6. JEsculapius. 
 
 17. Laomedon, Phoebus, and Neptune. 
 
 Square folio cuts. 
 
 18. The birth of Venus. 
 
 19. The felled Tree and the uses made of it. 
 
 20. The birth of the Gods. 
 
 21. Apollo on his throne. 
 
 22. The foundation of Thebes. 
 
 23. The death of Thisbe and Pyramus. 
 
 24. The marriage of Perseus. 
 
 25. Arachne and Pallas. 
 
 26. Jason and the Argo. 
 
 27. Minos and the daughter of Nisus. 
 
 28. Theseus and the Minotaur. 
 
 29. Orpheus and Eurydice. 
 
 30. The death of Orpheus. 
 
 31. The rape of Helen, HMT. 60 (131) b 3. 
 
 32. The armour of Achilles. 
 
 33. The love of Glaucus. 
 
 34. The building of Rome. 
 
 Sect. 8. The First Gouda Woodcutter (1480 — 1484). 
 
 1. Leeu’s first device. Two shields, the 1. bearing the arms 
 of Gouda, the r. the mark of the printer, HMT. 68 (53) 1, 2,3. 
 The initials G L are sometimes printed below. 
 
 10 May 1478 — Passionael, Winterstuc (CA. 1755). Gouda, G. Leeu. 
 
 2. A set of 121 cuts made to illustrate the Dialor/us crea- 
 turarum. 
 
Sect. 8.] THE FIRST GOUDA WOODCUTTER. 2\J 
 
 A. 3 June 1480 — Dyalogus creaturarum (CA. 560). 
 
 B. 4 April 1481 — Twispraec der creaturen (CA. 565). 
 
 C. 6 June 1481 — Dyalogus creaturarum (CA. 561). 
 
 D. 20 April 1482 — Dyalogue des creatures (CA. 570). 
 
 E. 23 June 1482 — Twispraec der creaturen (CA. 566). 
 
 F. 31 Aug. 1482— Dyalogus creaturarum (CA. 562). 
 
 G. 11 Dec. 1486 — Dijalogus creaturarum (CA. 563). 
 
 H. 2 Nov. 1488 — Twispraec der creaturen (CA. 568). 
 
 I. 11 April 1491 — Dyalogus creaturarum (CA. 564). 
 
 Gouda, G. Leeu. 
 
 1 ) 
 
 n 
 
 Antwerp, ,, 
 Delft, Snellaert. 
 Antwerp, G. Leeu. 
 
 The size of the cuts is usually about 4x2 inches. Every cut occurs in 
 all editions unless otherwise stated. 
 
 1. The Sun and Moon, the whole page being surrounded by a border 
 (except in D, G, H, and I), HMT. 70 (56). The cut is used by Peter van Os 
 at Zwolle in a Computi elucidatio printed in 1502. 
 
 2. The Planet Saturn and the Cloud. 
 
 3. The Pole Star. 
 
 4. The Morning and Evening Stars. 
 
 5. The Rainbow and the sign of Cancer. 
 
 6. Heaven and Earth. 
 
 7. The Air and the Wind. 
 
 8. The Shore and the Sea. 
 
 9. 10, 11. Fire and Water. This cut is in two compartments. After 
 the sheets on which it occurs had been struck off in the first edition, 
 the block was divided into two parts which are immediately used again 
 separately. These severed portions appear side by side, in their original 
 position, in the second and following editions of the book. 
 
 12. The River and the Sea. 
 
 13. Hills and Valleys. 
 
 14. Gems and precious stones. 
 
 15. The Emerald and the Ring. 
 
 16. The Sapphire and the Goldsmith. 
 
 17. The precious Topaz, set in a cross. 
 
 18. The Carbuncle and the Mirror. 
 
 19. The Agate and Cerastes. 
 
 20. Two Metals. In ABCDF this cut is repeated here three times ; in 
 E and G and the later editions there appears a new cut in addition, by the 
 Second Gouda Cutter (Sect. ix. 1). 
 
 21. Tin and Brass. 
 
 22. The Lock and Key. 
 
 23. The Bucket and Hook. 
 
 24. The Rosemary in a Field. 
 
 25. The Rue and Reptiles. 
 
 26. Mercury and the Hyssop. 
 
 27. The Abrotanum and the Hare. 
 
 28. The Plantain and the Ape. 
 
 29. The Verbena and the Wolf. 
 
218 catalogue of the woodcuts. 
 
 30. Venus and the Mandragora. 
 
 31. The Rose and the Partridge. 
 
 32. The Rampnus and the Wild-goat. 
 
 33. The Myrtle and the Woman (wanting in D). 
 
 34. The Cedars of Lebanon. 
 
 35. The Tree with leaves and the Tree that had none. 
 
 36. The Dolphin and the Eel. 
 
 37. The Syren. 
 
 38. The greedy Ventus marinus. 
 
 39. The Fisherman with his net. 
 
 40. The Basilisk and the Fish. 
 
 41. The Sturgeon and the Sea-calf. 
 
 42. The Lamprey and the Crocodile. 
 
 43. The Fisherman with his rod. 
 
 44. The Regina and the Ydrus. 
 
 45. The Carp and the Trimallus. 
 
 46. The Frog and the Crab. 
 
 47. The Fisherman with the little fish. 
 
 48. The Eagle and the Lion with birds and beasts. 
 
 49. The Eagle addressing the birds, HMT. 103 (5S) c 1. 
 
 50. The Herodius and the Milvus. 
 
 51. The Eagle and the Crane. 
 
 52. The Sterla and the Hare. 
 
 53. The Strucyon and the Surgeon. 
 
 54. The Falcon and the Cock. 
 
 55. The Astur who sent to the Caradrius. 
 
 56. Two Hawks and a Quail (wanting in D). 
 
 57. The religious Carflaucus. 
 
 58. The Lapwing and the Popinjay. 
 
 59. The Hen and the Dove. 
 
 60. The Cock and the Capon. 
 
 61. The Pheasant and the Peacock. 
 
 62. The Raven and the Ficedula. 
 
 63. The Owl and the Lark. 
 
 64. The Wagtail and the Pheasant. 
 
 65. The Nightingale and Crow with other birds. 
 
 66. The Ciconia and the Swallow. 
 
 67. The Pigardus and the Alietus. 
 
 68. The Onocrotalus and the Ass. 
 
 69. The Swan and the Crow. 
 
 70. The Ornyx and the Hen. 
 
 71. The Quail and the Lark. 
 
 72. The Ison. 
 
 73. The Diver. 
 
 74. The Carduellus. 
 
 75. The unclean Ibex and the Apothecary. 
 
 [Part ii. 
 
Sect. 8.] THE FIRST GOUDA WOODCUTTER % 219 
 
 76. The solitary Pelican. 
 
 77. The chaste Turtle. 
 
 78. The thievish Partridge. 
 
 79. The Fowler. 
 
 80. The Kite and the Woodhen’s young. 
 
 81. The Owl who wished to be King. 
 
 82. Landbirds and Waterfowl. 
 
 83. The Rustic and the Bees. 
 
 84. The Lion that fought the Eagle. 
 
 85. The Lion and his two whelps. 
 
 86. The tyrant Griffin. 
 
 87. The Leopard and Unicorn fighting a Dragon. 
 
 88. The Elephant. 
 
 89. The Satyr who took a wife. 
 
 90. The Dromedary. 
 
 91. The Lion that built an abbey. 
 
 92. The Onocentaurus that built a palace. 
 
 93. The Rhinoceros and the Old Man. 
 
 94. The Old Man and the Goat. 
 
 95. The Labourer (wanting in B). 
 
 96. The Ape that wrote books. 
 
 97. The Camelopard. 
 
 98. The sailor-bird Laurus. 
 
 99. The hunting Lion. 
 
 100. The Tragelaphus who was a bad builder. 
 
 101. The cobbler Bubalus. 
 
 102. The Steer who was a good cook. 
 
 103. The Capriolus. 
 
 104. The lawyer Hare, HMT. 103 (58) c 2. 
 
 105. The Dog and the Wolves. 
 
 106. The Wolf and the Ass. 
 
 107. The Bear and the Wolf. 
 
 108. The Wild-goat and the Wolf (wanting in H). 
 
 109. The Weasel and the Squirrel. 
 
 110. Tbe Horse and the Boar. 
 
 111. The Ass and the Ox. 
 
 112. The Goat and the Ram. 
 
 113. The Panther and the Hog. 
 
 114. The Wild -ass and the Boar. 
 
 115. The Salamander and the Idrus. 
 
 116. The Ape and the Taxus. 
 
 117. The Cat and the Mice. 
 
 118. The Wolf and the Lambs. 
 
 119. Beasts and Reptiles (wanting in II and I). 
 
 120. Man and Woman. 
 
 121. Life and Death. 
 
220 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 3. Leeu’s second device. Under a round arch two Lions 
 support the shield of the Archduke Maximilian. In the 1. 
 spandril is the shield of Gouda, in the r. is a shield with Leeu’s 
 mark. — quarto cut, HMT. 68 (53) 4. It strongly resembles 
 Yeldener’s second device, It appears first in 
 
 3 June 1480— Dialogus creaturarum (CA. 560). Gouda, G. Leeu. 
 
 4. A set of 4 square quarto cuts of the Four Last Things, 
 found in both the following, 
 
 1481-1482 — Quatre dernieres choses (CA. 586). Audenarde, A. de Keysere. 
 
 23 Aug. 1482 — Vier uterste (CA. 1316). Gouda, G. Leeu. 
 
 1. Death. A lean figure with a scythe mowing a piece of ground, on 
 which, on the r., five men of different ages and conditions are standing. 
 
 2. The Last Judgment. Christ is seated on the rainbow, two angels 
 blow trumpets, the trumpet of the one on the r. being twisted. Four 
 persons rise from their graves below. 
 
 3. The Mouth of Hell. It opens on the 1., several persons being visible 
 in the flames within. A devil is seated on the nose, blowing a trumpet. 
 
 4. Heaven. The Blessed are received by St Peter and two angels at 
 the gate which opens on the r., HMT. 95 (98) & 2. 
 
 5. A set of 4 square quarto cuts, made to illustrate the 
 story of the Seven Wise Men. They all appear both in A 1 and B. 
 
 A. before B — Historie van die seuen wise mannen (CA. 952). Gouda, G. de Os. 
 
 B. about 1482 — Historia septem sapientum (CA. 947). „ G. Leeu. 
 
 1. The Emperor Diocletian commending his son to the Seven Wise 
 Men. He is seated on his throne on the 1. with the Empress standing by 
 him. The Prince stands in front, the Seven Wise men on the r. 
 
 2. The Empress accusing the Prince to the Emperor. He is seated 
 listening to her as she stands before him on the r. 
 
 3. The Prince defended by one of the Wise Men before the Emperor. 
 The Wise Master, over whose head is a scroll with his name printed in 
 moveable type within it, stands on the 1. before the Emperor. 
 
 4. The Speech of the Prince after his acquittal. The Emperor is seated 
 on the 1., the Empress standing by on his 1. hand. The Prince stands in 
 front, before the Wise Men, addressing him. 
 
 1 The only known copy of A is imperfect, but there is no doubt the first cut 
 appeared there along with the rest. 
 
22 1 
 
 Sect. 8.] T1IE FIRST GOUDA WOODCUTTER. 
 
 G. A set of 10 cuts, probably all intended to illustrate the 
 Gesta Romanorum. All are folios unless otherwise stated. 
 
 A. 30 Apr. 1481 — Gesten van Itomen (CA. 826). Gouda, G. Leeu. 
 
 B. 26 May 1484 — Gesten derRomeynen (CA. 828). Zwolle, P. van Os. 
 
 C. 21 July 1485 — Sielentroest (CA. 1547). ,, ,, 
 
 1. The Daughter of the Emperor Pompey. Five soldiers lie asleep 
 round a castle gate, from a window in which on the r. a girl escapes by 
 the aid of her lover, who stands below (AB. Chap. 1). 
 
 2. The man who took service under an Emperor. Below on the 1. is a 
 man knocking at a door. On the r. is a boat near the shore where a man 
 is standing by a fire. Above on the r. is a king seated, his cup-bearer 
 standing before him. On the 1. are four men (B. Chap. 17). 
 
 3. The Sin and Penitence of Julian. Pie stands on the r. near a stag. 
 On the 1. he is seen in a room slaying his parents in bed. Above on the r. 
 is a hospital founded by him near a ford, over which he is carrying a sick 
 man (AB. Chap. 18, C). 
 
 4. The Emperor Conrad. He stands by his horse near a gate ; on the r. 
 his page receives a babe which, in the mid. of the cut, he is seen placing in 
 a tree. A Duke riding to the r. finds the child. In the mid. above, a priest 
 is seen marrying two people (AB. Chap. 20). 
 
 5. The disputed Inheritance. Three sons stand on the 1. shooting at 
 the dead body of their father. The fourth son kneels before the king, his 
 bow and arrow on the ground by his side — half-fol. cut (AB. Chap. 45). 
 
 6. The Children of the Emperor Marcus. Below are seen the interiors of 
 two rooms, in the 1. the dying Emperor lies in bed, in the r. are the two 
 children also in bed. Above on the 1. are some monks finding a child floating 
 in a box, on the r. are two men fighting. At the top on the 1. is a marriage 
 and on the r. a woman confessing to the Pope (AB. Chap. 81, C). 
 
 7. The three Maxims. Below, the interiors of two rooms are seen, in the 
 1. a merchant with his paper of maxims stands before the table of the Em- 
 peror, in the r. the Emperor is being shaved. Above on the 1. he is seen 
 riding along a highway, and on the r. he is turning away from the door of a 
 house (AB. Chap. 103 — in both cases misprinted cxxx.). 
 
 8. The buried Palace. In four compartments. In the upper 1. is a man 
 digging at the base of an image; in the lower 1. he is standing in the banquet- 
 hall of the Palace. In the lower r. he is standing in the women’s apartment ; 
 in the upper r. as he puts some things into his cloak an archer discharges 
 an arrow and breaks a jewel in the wall, HMT. 93 (84) a (B. Chap. 107, C). 
 
 9. The Conversion and History of St Eustace. On the r. he kneels 
 before a stag with a crucifix between its horns. On the 1. lie prepares to 
 
222 
 
 CATALOGUE OF THE WOODCUTS. [Part it. 
 
 embark in a ship with his wife and children. Above he is seen in the mid. 
 of a river, his children being carried off by wild beasts on the banks. At 
 the top he is seen meeting his family again and they are all martyred to- 
 gether by roasting in a brazen bull (AB. Chap. 110). 
 
 10. The Hermit who witnessed a murder (C). 
 
 Sect. 9. The Second Gouda Woodcutter (1482 — 1484). 
 
 1. A cut representing two Metal Bars, made to take the 
 place of no. 20 in the Dialogus series (Sect. viii. 2). 
 
 23 June 1482 — Twispraec der creaturen (CA. 566). 
 11 Dec. 1486 — Dialogus creaturarum (CA. 563). 
 
 2 Nov. 1488 — Twispraec der creaturen (CA. 568). 
 11 Apr. 1491 — Dialogus creaturarum (CA. 564). 
 
 Gouda, G. Leeu. 
 Antwerp, ,, 
 Delft, Snellaert. 
 Antwerp, G. Leeu. 
 
 2. A set of 68 quarto cuts made for a Devote Ghetiden, 
 the first edition of which has probably been lost. 
 
 A. 29 July 1482 — Liden ons Heren (CA. 1156). 
 
 B. about 1482 — Six sheets of Cuts and Verses (CA. 746). 
 
 C. 10 Dec. 1483 — Lijden ons Heeren (CA. 1157). 
 
 D. 23 June 1484 — Epistelen ende Evangelien (CA. 693). 
 
 E. about 1484 — Devote ghetiden (CA. 1115). 
 
 F. 18 Sept. 1484 — Gemmula voeabulorum (CA. 787). 
 
 G. 28 Jan. 1485 — De modo confitendi (CA. 1129). 
 
 H. 9 July 1485 — Liden ons Heeren (CA. 1159). 
 
 K. after H. — Liden ons Heeren (not in CA.). 
 
 L. about 1485 — Seven corte Ghetiden 1 (not in CA.). 
 
 M. 28 Jan. 1486 — De modo confitendi (CA. 1130). 
 
 N. 23 Aug. 1486 — Gemmula voeabulorum (CA. 788). 
 
 O. 23 Oct. 1486 — De modo confitendi (CA. 1131). 
 
 P. 17 Mar. 1487 — De modo confitendi (CA. 1133). 
 
 Q. 2 Aug. 1487 — Speculum sermonum (CA. 1576). 
 
 R. 3 Nov. 1487 — Ludolphus (CA. 1181). 
 
 S. about 1487 — Bernardi tractatus (CA. 281). 
 
 T. 15 Apr. 1488 — Die vier uterste (CA. 1320). 
 
 Y. 19 May 1488 — Gemmula voeabulorum (CA. 790). 
 
 W. 20 Nov. 1488— Ludolphus (CA. 1183). 
 
 X. 1 Sept. 1490 — Liden ons Heeren (CA. 1164). 
 
 a. 18 Nov. 1490 — Passionael, Vol. I. (CA. 1766). 
 
 b. 1 Mar. 1493 — Epistolen ende Euangelien (CA. 703). 
 
 Gouda, G. Leeu. 
 
 55 5 5 
 
 Haarlem, Bellaert. 
 Gouda, G. de Os. 
 Antwerp, G. Leeu. 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 55 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 5 5 5 5 
 
 ,, C. Leeu. 
 
 ,, G. Leeu. 
 
 Zwolle, P. van Os. 
 
 Deventer, J. de Breda. 
 
 3 Containing about 32 of the series, but I have not seen the book. 
 
223 
 
 Sect. 9.] THE SECOND GOUDA WOODCUTTER. 
 
 c. 30 May 1493 — Gemmula vocabulorum (CA. 795). 
 
 d. 27 May 1495 — S. Bernardus. Sermonen (CA. 276). 
 
 e. 20 Nov. 1495 — Ludolphus (CA. 1184). 
 
 f. 4 Mar. 1496 — Epistelen ende evangelien (CA. 705). 
 
 g. 10 June 1496 — Leven van Liedwy (CA. 1125). 
 
 h. 3 Oct. 1496 — Devote Getijden (CA. 1116). 
 
 k. about 1499 — Quattuor novissima (not in CA.). 
 
 l. 15 Oct. 1510 — Ludolphus. 
 
 1. The Formation of Eve (Ehl). 
 
 2. The betrothal of Adam and Eve (Eli). 
 
 3. The Tree of Knowledge (Eli). 
 
 4. The Fall (BERWeli). 
 
 5. The Expulsion from Eden (BERWeli). 
 
 6. The Presentation of the Virgin (ERWelil). 
 
 7. The Marriage of the Virgin (Eh). 
 
 8. The Annunciation (BDEQRSWdehl). 
 
 9. The Visitation (BDERWdeh). 
 
 10. The Nativity (BDERWdeh). 
 
 11. The Circumcision (BDERWadeli). 
 
 12. The Three Kings (BDERWdehl). 
 
 13. The Presentation (BDERWadelil). 
 
 14. The Flight into Egypt (BERWelil). 
 
 15. The Murder of the Innocents (DERWeli). 
 
 16. Christ among the Doctors (DEFNRVWelil). 
 
 17. The Baptism of Christ (DEh). 
 
 18. The Temptation (DERWelil). 
 
 19. The Marriage at Cana (DERWelil). 
 
 20. Christ disputing in the Temple (ACEHXhl). 
 
 21. The Woman of Samaria (ERWelil). 
 
 22. The Supper at Simon’s (ACDERWelil). 
 
 23. The Raising of Lazarus— HMT. 98 (65) b (ACDEHRWXehl). 
 
 24. The Entry into Jerusalem (ABCDERWbcfl). 
 
 25. Christ cleansing the Temple (ACEHRWXehl). 
 
 26. The Last Supper (ABCDEHRWXeh). 
 
 27. Christ washing feet (ABCERWeh). 
 
 28. The Agony in the Garden (ABCEHKRWXeh). 
 
 29. The Betrayal (ABCERWeh). 
 
 30. The Amazement (ACER Weld). 
 
 31. Christ before Annas (ACEHKRWXeh). 
 
 32. Christ before Caiaphas (ABCEHKRWehl). 
 
 33. Christ blindfolded (ABCERWeh). 
 
 34. Christ before Pilate (ACERWelil). 
 
 35. Christ before Herod (ACEHKRWXeh). 
 
 36. The Scourging (ABCEHKRWXehl). 
 
 37. The Crowning with Thorns (ABCERWeh). 
 
 Deventer, J. de Breda. 
 Zwolle, P. van Os. 
 
 Deventer, J. de Breda. 
 Gouda, Collacie Broed. 
 
 >> u 
 
 Deventer, J. de Breda. 
 Antwerp, A. v. Berglien . 
 
224 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 38. ‘Ecce Homo’ (ABCEHKRWXeh). 
 
 39. Pilate washing his hands (ABCEHKRWXehl). 
 
 40. Christ bearing his Cross (ABCEHRWXeh). 
 
 41. Christ stripped of his raiment (ERWehl). 
 
 42. Christ nailed to the Cross (ACEHKRWXeh). 
 
 43. The Elevation of the Cross (ERWXehl). 
 
 44. Mary and J olm by the Cross — H MT. 7 1 (54) 3 a ( ABCEH K RW eh). 
 
 45. Longinus (DERWehk). 
 
 46. The Descent from the Cross (ABCEHKRWXeh). 
 
 47. The Entombment (ABCEHKRWXeh). 
 
 48. The Descent to Hades (ABCERWXehkl). 
 
 49. The Resurrection (ABCDERWaeh). 
 
 50. The three Maries at the Tomb (ABCDEHKRWXeh). 
 
 51. Christ as the Gardener (ABCERWXeh). 
 
 52. Emmaus (ABCDEHKRWXeh). 
 
 53. Thomas convinced : 
 
 1st state, a tree seen through a window on the 1. (ABCEH). 
 2nd state, the window blank (KRWXeh). 
 
 54. Christ appearing to the disciples (DElil). 
 
 55. The Ascension (ABCDER Welil). 
 
 56. Pentecost (ABCDERWaeh). 
 
 57. The Assumption (Eah). 
 
 58. Death (BETh). 
 
 59. The Trinity (Eh). 
 
 60. The Mass of S. Gregory (Eh). 
 
 61. The Last Judgment (BDERTWehl). 
 
 62. Hell (BETh). 
 
 63. God’s gifts to Men (Eh). 
 
 64. The Image of Pity (DE). 
 
 65. S. Veronica (Eh). 
 
 66. Confession (EGMOPh). 
 
 67. Heaven (BETh). 
 
 68. The Winepress — HMT. 80 (101) a 2 (EHXgh). 
 
 3 . A set of 16 mo cuts, the majority of which seem to 
 have been intended to illustrate a Rosary. 
 
 A. 9 Mar. 1484- 
 
 B. 1 about 1484- 
 
 D. about 1484- 
 
 E. 10 Feb. 1485- 
 
 F. 9 July 1485- 
 
 G. after F.- 
 
 H. 20 Oct. 1485- 
 
 -Rosencransken (CA. 762). 
 -Quodlibet de veritate (CA. 759). 
 -HorariumTrajectense (CA. 993). 
 -Jordani Meditationes (CA. 1046). 
 -Liden ons Heeren (CA. 1159). 
 -Liden ons Heeren (not in CA.). 
 -Kerstenen Spieghel (CA. 597). 
 
 Gouda, G. Leeu. 
 
 99 99 
 
 99 99 
 
 Antwerp, ,, 
 
 99 99 
 
 99 99 
 
 9 9 9 9 
 
 1 Of this edition there were two issues, Bj and B„ 
 
2 
 
 Sect. 9.] THE SECOND GOUDA WOODCUTTER. 
 
 I. 5 Jan. 1487- 
 
 K. 31 Jan. 1487- 
 
 L. 25 July 1487- 
 
 M. 17 Dec. 1487- 
 
 N. 1487- 
 
 O. 16 Feb. 1488- 
 
 P. 11 Mar. 1488- 
 
 Q. 16 Mar. 1488- 
 K. 20 Nov. 1488- 
 
 S. 26 Nov. 1489- 
 
 T. 1 Sept. 1490- 
 
 V. 21 June 1491— 
 
 W. ll July 1491- 
 
 X. 10 Nov. 1491- 
 
 Y. 3 Dec. 1492- 
 
 Z. about 1492— 
 
 a. 1493-1495- 
 
 b. 1494- 
 
 c. about 1494— 
 
 d. 13 June 1495— 
 
 e. 8 Aug. 1496- 
 
 f. 7 April 1497- 
 
 g. 6 Nov. 1499— 
 
 h. about 1500 — 
 k. about 1500— 
 
 -Jordanus, Meditacien (CA. 1051). Antwerp, G. Leon. 
 -Psalterium (CA. 541). 
 
 Jordani Meditationes (CA. 1047). 
 
 Vier oefeningben (CA. 339). ,, C. Leeu. 
 
 -Rosarium (CA. 1481, 1482). ,, G. Leeu. 
 
 -Kintscheijt ihesu (CA. 1074). 
 
 ■Spiegel der volcomenheijt (CA. 1577). 
 
 -Spieghel der sondaren (CA. 591). 
 
 -Jordani Meditationes (CA. 1048). 
 
 -Speculum rosariorum (CA. 1574). 
 
 -Liden ons Heeren (CA. 1164). 
 
 -Revelacien van S. Birgitten (CA.382). 
 
 -Vier oefeninghen (CA. 339a). 
 
 -Jordani Meditationes (CA. 1050). 
 
 -Exercitium de via purgativa (CA. 581). 
 
 -Sarum Horae (not in CA.). 
 
 -Boeckvan den EchtenStaete(CA. 724). Deventer, Paffraet. 
 
 -Vier oefeningben (CA. 341). 
 
 -Die hondert Articulen (CA. 187). 
 -Horarium Trajectense (CA. 990). 
 Vier oefeningben (CA. 342). 
 
 -Vier oeffeningen (CA. 343). 
 
 Vier oefeningben (CA. 344). 
 
 •Van onser salicbeit (CA. 469). 
 Marien rosencrans (CA. 1212). 
 
 Antwerp, Liesveldt. 
 
 Unknown printer. 
 
 1. Tbe Formation of Eve (a). 
 
 2. The Presentation of the Virgin (V). 
 
 3. Tbe Marriage of the Virgin (V). 
 
 4 . The Annunciation (DN). 
 
 5. Tbe Visitation (N). 
 
 6. Tbe Virgin visiting Elizabeth (V). 
 
 7. The Nativity (NOV). 
 
 8. Tbe Child in the manger (N). 
 
 9. Gloria in excelsis (N). 
 
 10. Tbe Adoration of the Shepherds (N). 
 
 11. The Circumcision (NV). 
 
 12. The Three Kings (N). 
 
 13. The Presentation (N). 
 
 14. The Flight into Egypt (NV). 
 
 15. Christ among tbe Doctors (N). 
 
 16. Home life at Nazareth (N). 
 
 17. The Baptism of Christ (NV). 
 
 18. The Temptation (N). 
 
 19. Tbe Marriage at Cana (N). 
 
 20. Christ healing the sick (N). 
 
 21. The Raising of Lazarus (N). 
 
 C. W. 
 
 15 
 
226 
 
 CATALOGUE OF THE WOODCUTS. 
 
 [Part ii. 
 
 22. The Supper at Bethany (FNT). 
 
 23. The Entry into Jerusalem (FTY). 
 
 24. The Last Supper (FNT). 
 
 25. Christ washing the Disciples’ feet (FT). 
 
 26. The Agony in the Garden (EILRVXZc). 
 
 27. The Betrayal (EFGILRX). 
 
 28. The Amazement (FGT). 
 
 29. Christ before Annas (EILNRYX). 
 
 30. Christ before Caiaphas (EILRX). 
 
 31. Christ blindfolded (EFGILRTX). 
 
 32. Christ before Pilate (EFILNRTYX). 
 
 33. Christ before Herod (EGILNRX). 
 
 34. Christ stripped (EILRX). 
 
 35. Christ scourged (EILNRYX). 
 
 36. Christ mocked (EILNRX). 
 
 37. ‘ Ecce Homo ’ (EILRX). * 
 
 38. Pilate washing his hands (EILNRX). 
 
 39. Christ bearing his Cross (EILRX). 
 
 40. The preparation of the Cross (EILRX). 
 
 41. Christ nailed to the Cross (EILNRX). 
 
 42. The Elevation of the Cross (EILRX). 
 
 43. Christ crucified between two thieves (E,H (?), ILNRXch). 
 
 44. Christ mocked on the Cross (EILNX). 
 
 45. The Centurion’s confession (EILNRXk). 
 
 46. The Virgin commended to S. John (EILNRVXc). 
 
 47. The Sponge given to Christ (EILNRX). 
 
 48. The Virgin and S. John by the Cross (EILNPRXc). 
 
 49. Longinus (EILNRVXc). 
 
 50. The Descent from the Cross (EILNRVX). 
 
 51. The Entombment (EILNRVX). 
 
 52. The Descent to Hades (EFGILNRX). 
 
 53. The Resurrection (EFGILNRTVX). 
 
 54. Christ as the Gardener (FG). 
 
 55. Christ appearing to the Disciples (N). 
 
 56. The Ascension (FGNTV). 
 
 57. Pentecost (FGNTV). 
 
 58. The Assumption (N). 
 
 59. A Rosary with a large Heart pierced on the 1. (ABjN). 
 
 60. A Rosary with a smaller Heart pierced on the 1. (B 2 NQS). 
 
 61. A Rosary with the Heart pierced on the r. (N). 
 
 62. Death (EILMWYefg). 
 
 63. Judgment, angels blowing trumpets (DELNItWXYef). 
 
 64. Judgment, with sword and lily (M). 
 
 65. Hell — 1 Nobis' (EILMWXYefg). 
 
 66. Heaven (EILMRWXYefg). 
 
 67. The Trinity (N). 
 
Sect. 9.] 
 
 THE SECOND GOUDA WOODCUTTER. 
 
 227 
 
 68. The Image of Pity (EILPRXYc). 
 
 69. The Mass of S. Gregory (EILNPRSX). 
 
 70. S. Veronica (Pd). 
 
 71. The Winepress (IL). 
 
 7*2. God’s gifts to man (EILRXY). 
 
 73. Confession (IY). 
 
 74. The Ark carried into the Temple (K). 
 
 75. The Vigils of the Dead (Da). 
 
 4. A set of seven quarto cuts and a side-piece, to illustrate 
 the Seven Sacraments. 
 
 A. 19 June 1484 — Van den Seven Sacramenten (CA. 1492). Gouda, G. Leeu. 
 
 B. 1 Mar. 1485 — Cato moralissimus (CA. 406). Antwerp, ,, 
 
 1. Baptism — HMT. 71 (54) 4 a (A). 
 
 2. Confession (A). 
 
 3. Mass (A). 
 
 4. Confirmation (A). 
 
 5. Extreme Unction (A). 
 
 6. Ordination (A). 
 
 7. Marriage (A). 
 
 8. A Teacher and Scholar — side-piece, HMT. 71 (54) 4 a (AB). 
 
 5. A large octavo border in one piece for a 16mo cut ; it 
 is composed of tendrils and flowers cut out of a black ground. 
 
 A. about 1484 — Devote ghetiden (CA. 1115). Antwerp, G. Leeu. 
 
 B. 3 Oct. 1496 — Devote getijden (CA. 1116). Gouda, Collacie Broed. 
 
 6. The Virgin and Child on the crescent surrounded by- 
 stars (15 on the 1. 22 on the r.) — 16mo cut. 
 
 A. about 1484 — Devote ghetiden (CA. 1115). Antwerp, G. Leeu. 
 
 B. 5 Jan. 1487 — Jordanus, Meditacien (CA. 1051). ,, ,, 
 
 C. 3 Oct. 1496 — Devote getijden (CA. 1116). Gouda, Collacie Broed. 
 
 Sect. 10. The First Antwerp Woodcutter (1485 — 1491). 
 
 1. A set of 16mo cuts made to complete the set by the 
 Second Gouda Woodcutter (Sect. ix. 3). 
 
 B. 10 Feb. 1485 — Jordani Meditationes (CA. 1046). 
 
 C. 9 July 1485 — Liden ons Heeren (CA. 1159). 
 
 D. after C. — Liden ons Heeren (not in CA). 
 
 E. 5 Jan. 1487 — Jordanus, Meditacien (CA. 1051). 
 
 F. 25 July 1487 — Jordani Meditationes (CA. 1047). 
 
 G. 1487 — Rosarium (CA. 1481, 1482). 
 
 Antwerp, G. Leeu. 
 
 99 97 
 
 7 9 7 9 
 
 7 9 9 7 
 
 9 9 
 
 9 9 
 
 15— 
 
 2 
 
228 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 H. 20 Nov. 1488 — Jordani Meditationes (CA. 1048). Antwerp, G. Leeu. 
 
 I. 1 Sept. 1490 — Liden ons Heeren (CA. 1164). ,, ,, 
 
 K. 10 Nov. 1491 — Jordani Meditationes (CA. 1050). ,, ,, 
 
 L. about 1494 — Die hondert Articulen (CA. 187). ,, Liesveldt. 
 
 1. The Angel ministering to Christ in the Garden (BEFGHK). 
 
 2. Judas agrees to betray Christ (BEFHIv). 
 
 3. Christ taken (BEFGHK). 
 
 4. Christ bound (BEFHK). 
 
 5. The disciples flee (BEFHK). 
 
 6. Peter’s denial (BEFHK). 
 
 7. Christ smitten before the High Priest (BEFHK). 
 
 8. False witness given against Christ (BEFHK). 
 
 9. The High Priest rending his clothes (BEFHK). 
 
 10. Christ declared worthy of death (BEFHK). 
 
 1 1 . Christ smitten (BEFHK). 
 
 12. Christ spat upon (BEFGHK). 
 
 13. Christ buffeted (BEFHK). 
 
 14. Christ falsely accused before Pilate (BEFHK). 
 
 15. Christ derided before Herod (BEFHK). 
 
 10. Christ accused before Herod (BEFHK). 
 
 17. Christ clothed in purple (BEFHK). 
 
 18. Christ crowned with thorns (BCDEFHIK). 
 
 19. Christ led to be condemned (BEFHK). 
 
 20. The Hall of Judgment (BEFHK). 
 
 21. The way to Calvary (BEFGHK). 
 
 22. Christ nailed to the cross (BEHK). 
 
 23. Lots cast for his garments (BEFHK). 
 
 24. Christ mocked on the cross (F). 
 
 25. Angels collect the Blood of Christ (BEFGHKL). 
 
 26. The mouth of Hell, seen from the front (H). 
 
 27. The Blessed Virgin nursing the child (GHK). 
 
 2. Leeu’s quarto Device representing the Castle of Ant- 
 werp — HMT. 105 (60) and 46 (6) e. It was constantly used 
 by him and after his death by Thierry Martens. 
 
 28 Jan. 1486 — De modo confitendi (CA. 1130). Antwerp, G. Leeu. 
 
 15 June 1494 — De septem doloribus BMV (CA. 760). ,, Martens. 
 
 3. A quarto cut representing a Master teaching Five 
 Scholars. 
 
 2 June 1486 — Cato moralissimus (CA.407). Antwerp, G. Leeu. 
 
 14 June 1486— P. Hispani logicalia (CA. 1394). ,, ,, 
 
 22 Dec. 1486 — English Vulgaria Terentii (CA. 1644). ,, ,, 
 
 20 April 1487 — Dutch Vulgaria Terentii (CA. 1637). ,, „ 
 
 30 Oct. 1487 — Cato moralissimus (CA. 408). ,, ,, 
 
 1487 — Tractatus de arte loquendi (CA. 65). . ,, 
 
Sect. 10.] TILE FIRST ANTWERP WOODCUTTER. 229 
 
 4. A quarto cut representiug a Master and Scholar near 
 a Tree. 
 
 14 June 1486— P. Hispani logicalia (CA. 1394). Antwerp, G. Leeu. 
 
 5. The Coronation of Maximilian — a quarto cut, repro- 
 duced in the Messager des Sciences de Belgique, 1849, p. 17. 
 
 I486 — Electie des roemsschen conincs (CA. 659). Antwerp, G. Leeu. 
 
 G. A set of folio and half-folio cuts illustrative of the Bible, 
 many of them being copies from cuts in the Cologne Bible 
 (Quentel, 1478-79). 
 
 A. 3 Nov. 1487 — Ludolphus (CA. 1181). Antwerp, G. Leeu. 
 
 B. 20 Nov. 1488 — Ludolphus (CA. 1183). ,, C. Leeu. 
 
 C. 1 Sept. 1490 — Passionael, Somerstuck (CA. 1766). Zwolle, P. van Os. 
 
 D. 20 Nov. 1495 — Ludolphus (CA. 1184). ,, ,, 
 
 E. 6 Sept. 1496 — Hystorie geheyten Sydrack(C A. 982). Deventer, J. de Breda. 
 
 F. 15 Mar. 1499 — Ludolphus (CA. 1185). • Zwolle, P. van Os. 
 
 P. 15 Oct. 1510 — Ludolphus (containing the usual set). Antwerp, A. van Berghen. 
 
 Q. 20 Dec. 1513 — Den Bibel in’t corteghetranslateert. Antwerp, Claes de Grave 
 
 and Thomas v. d. Noot. 
 
 B. 8 May 1517 — Historie van Seghelijn. Antwerp, Claes de Grave. 
 
 S. 28 June 1518 — Den Bibel ghetranslateert. ,, ,, 
 
 T. 15 Mar. 1519 — Ludolphus. Zwolle, P. van Os. 
 
 Y. 5 May 1535 — Den grooten Cathoon. Antwerp, Claes de Grave. 
 
 Folio cuts. 
 
 1 . The Persons of the Dialogue, Scriptura and Die mensche (ABDEF). 
 
 2 . The Creation of all things (ABDEFS). 
 
 3. God’s commands to Adam and Eve (ABDF). 
 
 4. Christ teaching from a boat (ABDF). 
 
 5. The Centurion of Capernaum (ABDF). 
 
 6 . The Good Samaritan (ABDF). 
 
 7. The Sower (ABDF). 
 
 8 . Piscina Probatica (ABDF). 
 
 9. The King who made a supper (ABDF). 
 
 10 . Blind Bartimaeus (ABDF). 
 
 11. Christ feeding the four thousand (ABDF). 
 
 12 . Christ healing the man born blind (ABDF). 
 
 13. The Transfiguration (ABDF). 
 
 14. Christ before Caiaphas (copied from Schongauer’s print), and Judas 
 
 hanging himself (ABDF). 
 
 15. The Disciples preaching to all nations (ABDF). 
 
 16. The Death and Assumption of the Virgin (ABDF). 
 
 17. St John in the caldron, and at Patmos (S). 
 
230 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 Scenes from the Apocalypse : 
 
 18. The four men on horseback (S). 
 
 19. The sealing of the elect (S). 
 
 20. The star falling from Heaven (S). 
 
 21. The man with one foot on the land and one on the sea (S). 
 
 22. The two witnesses (S). 
 
 23. The Beast with seven heads (S). 
 
 24. ‘ Put in thy sickle and reap ’ (S). 
 
 Half-folio cuts. 
 
 25. The Fall and Expulsion from Eden (EFPQV). 
 
 26. Adam and Eve hiding themselves (ABDF). 
 
 27. The Murder of Abel (QSV). 
 
 28. Noah’s ark (Q). 
 
 29. Noah drunk with wine (V). 
 
 30. The building of the Tower of Babel (QS). 
 
 31. Abraham defeating King Chedorlaomer (QS). 
 
 32. Three angels appearing to Abraham (QS). 
 
 33. Abraham’s Sacrifice (QSV). 
 
 34. Isaac .deceived by Jacob (Q). 
 
 35. Jacob blessed by Isaac (S). 
 
 36. Joseph let down into the pit (QSV). 
 
 37. Joseph put in prison by Potiphar (QSV). 
 
 38. Pharaoh’s dream of the kine (QSV). 
 
 39. Joseph’s twelve brethren go to him in Egypt (QS). 
 
 40. The cup found in Benjamin’s sack (QS). 
 
 41. Joseph presents his father and brethren to Pharaoh (QSV). 
 
 42. Jacob foretells the future of Israel (QSV). 
 
 43. The burial of Jacob (QV). 
 
 44. Pharaoh ordering all the new-born children of Israel to be slain 
 
 (QS). 
 
 45. The finding of Moses (QS). 
 
 46. The Burning Bush (QS). 
 
 47. Moses turning his rod into a serpent before Pharaoh (QS). 
 
 48. The Plague of Frogs (QS). 
 
 49. The Plague of Flies (QS). 
 
 50. The Plague on the Beasts of Egypt (QS). 
 
 51. The Plague of Hail (QSV). 
 
 52. The Plague of Locusts (QS). 
 
 53. The Plague of Darkness (QS). 
 
 54. The Passover (QS). 
 
 55. Pharaoh and his host drowned in the Red Sea (QS). 
 
 56. The fall of Manna (QS). 
 
 57. Water brought out of a rock (QS). 
 
 58. The battle with Amalck (Q). 
 
 59. The grapes of Eshcol (S). 
 
231 
 
 Sect. 10 .] THE FIRST ANTWERP 
 
 WOODCUTTER. 
 
 GO. The tribe of Levi ordered to be set apart (QSV). 
 
 61. Moses receiving the tables of stone (QS). 
 
 62. The Golden Calf (QSV). 
 
 63. The Brazen Serpent (QS). 
 
 64. Korah, Dathan, and Abirani swallowed up (QS). 
 
 65. Balaam stopped by the Angel (QS). 
 
 66. Moses shown the Land of Promise (QS). 
 
 67. The burial of Moses (QS). 
 
 68. The walls of Jericho thrown down (QRS). 
 
 69. Joshua hanging five kings (QS). 
 
 70. Twenty-eight kings defeated by Joshua (QS). 
 
 71. Saul anointed by Samuel (QS). 
 
 72. David anointed by Samuel (QS). 
 
 73. David slaying Goliath (QSV). 
 
 74. Saul slaying himself, the Crown brought to David (QS). 
 
 75. David playing the Harp (QS). 
 
 76. David bringing the Ark to Jerusalem (QS). 
 
 77. Bathsheba seen by David (QSV). 
 
 78. Abner slain by Joab (V). 
 
 79. David chooses the sword of the Lord, Abner slain (QSV). 
 
 80. Absalom slain (QSV). 
 
 81. Solomon’s Judgment (QSV). 
 
 82. Solomon and the Queen of Sheba (QS). 
 
 83. Elijah taken up to heaven (QSV). 
 
 84. The story of Tobias (QS). 
 
 85. Tobias and the fish (QS). 
 
 86. Tobias the elder restored to sight (QS). 
 
 87. The three holy Children in the fire (QSV). 
 
 88. Daniel in the Lions’ Den (QSV). 
 
 89. Esther before King Ahasuerus (Q). 
 
 90. The troubles of Job (QSV). 
 
 91. St Joseph’s rod budding (ABDF). 
 
 92. Nicodemus coming to Christ (ABDF). 
 
 93. Christ casting out a devil (ABDF). 
 
 94. The raising of the widow’s son (ABDF). 
 
 95. The devils sent into the swine (ABDF). 
 
 96. Christ healing the sick (ABDF). 
 
 97. The Call of Matthew (ABDF). 
 
 98. Christ restoring Jairus’ daughter (ABDF). 
 
 99. Christ healing two blind men (ABDF). 
 
 100. Mary Magdalene and Christ (ABDF). 
 
 101. Christ in the synagogue (ABDF). 
 
 102. The Murder of John Baptist (ABCDF). 
 
 103. Christ feeding the Five thousand (ABDF). 
 
 104. Peter walking on the water (ABDF). 
 
2 3 2 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 105. a. People going away from Christ (ABDF) ; a narrower cut com- 
 
 pleted by one of the following : — 
 
 b. Christ standing preaching (A). 
 
 c. Christ seated preaching (BDF). 
 
 106. The disciples plucking ears of corn (ABDF). 
 
 107. Christ healing a withered arm (ABDF). 
 
 108. Christ’s mother and his brethren (ABDF). 
 
 109. Christ as an arbitrator (ABDF). 
 
 110. Christ at table at Simon’s (ABDF). 
 
 111. Christ curing the dropsy (ABDF). 
 
 112. Christ preaching (ABDF). 
 
 113. The woman taken in adultery (ABDF). 
 
 114. The Jews desirous of stoning Christ (ABDF). 
 
 115. People seated listening; like 105 requiring completion (ABDF). 
 
 116. Christ and the Pharisee (ABDF). 
 
 117. The Disciples eating with unwashen hands (ABDF). 
 
 118. The Canaanitish woman (ABDF). 
 
 119. Christ casting out a devil (ABDF). 
 
 120. Christ casting out a devil (ABDF). 
 
 121. The money in the mouth of the fish (ABDF). 
 
 122. The lost Sheep (ABDF). 
 
 123. The King demanding an account (ABDF). 
 
 124. Christ referred to on the question of Divorce (ABDF). 
 
 125. The rich young man (ABDF). 
 
 126. The labourers in the vineyard (ABDFV). 
 
 127. The King counting the cost (ABDF). 
 
 128. Lazarus in Abraham’s bosom (ABDFY). 
 
 129. Christ healing ten lepers (ABDF). 
 
 130. A Samaritan rejects Christ (ABDF). 
 
 131. Zaccheus (ABDF). 
 
 132. The Fig-tree cursed (ABDF). 
 
 133. The tribute money (ABDFY). 
 
 134. The King who forgave his debtor (ABDF). 
 
 135. The Jews bargaining with Judas (ABDF). 
 
 136. Enoch and Elias in Paradise (ABDF). 
 
 137. The three Maries announcing the Resurrection to the Apostles 
 
 (ABDF). 
 
 138. The Watch (ABDF). 
 
 139. The Draught of fishes (ABDF). 
 
 140. The death of Ananias (ABDF). 
 
 7. Extra miscellaneous cuts made for Ludolphus’ Life of 
 Christ. 
 
 Antwerp, G. Leeu. 
 
 C. Leeu. 
 
 A. 3 Nov. 1487 — Ludolphus (CA. 1181). 
 
 B. 20 Nov. 1488 — Ludolphus (CA. 1183). 
 
 n 
 
Sect. 10.] THE FIRST ANTWERP WOODCUTTER. 233 
 
 C. 20 Nov. 1495 — Ludolphus (CA. 1184). Zwolle, P. van Os. 
 
 D. 15 March 1499— Ludolphus (CA. 1185). ,, ,, 
 
 1 . The Blessed Virgin seated alone in her room after the Annuncia- 
 
 tion — an incomplete cut about 4to size (ABCD). 
 
 2 . A rocky district with a castle on the left — narrow 4to (ABCD). 
 
 3. A similar cut, the castle on the right (ABCD). 
 
 4. Judas bargaining with the scribes — 4to cut (A). 
 
 5. Thomas refuses to believe the disciples — narrow 4to cut (ABCD). 
 
 6 . The monogram 1HS — square 8 vo cut(AB). 
 
 Side-pieces : 
 
 Architectural, the lower 1. corner cut out (A). 
 
 A similar side-piece, the lower r. corner cut out (A). 
 
 A figure of a monk on the top of a pedestal, to the 1. (ABCD). 
 
 A similar side-piece, the monk is to the r. (AB). 
 
 8. Leeu’s octavo device, a Lion within a trefoil niche hold- 
 ing the shield of Antwerp and one bearing the mark of the 
 printer — HMT. 105 (GO) and 106 (62). It is first used in 
 
 3 Nov. 1487 — Ludolphus (CA. 1181). Antwerp, G. Leeu. 
 
 9. An angel dictating to S. Birgitta — 16mo cut. 
 
 3 March 1489 — Opusculum S. Birgittae (CA. 380). Antwerp, G. Leeu. 
 
 21 June 1491 — Revelacien van S. Birgitten (CA. 382). ,, ,, 
 
 10. The young Prince’s speech — quarto cut, made to 
 replace No. 11 in the series by the Haarlem Cutter, represent- 
 ing the History of the Seven Wise Masters (Sect. xii. 9 ; compare 
 Sect. viii. 5, no. 4, and Sect. xxi. 2, no. 4). 
 
 6 Nov. 1490 — Historia septem sapientum (CA. 950). Antwerp,- G. Leeu. 
 
 11. A set of half-folio cuts made to illustrate the romance 
 of Melusine. They are found complete in A and B. 
 
 A. 9 Feb. 1491 — Historie van Meluzine (CA. 975). Antwerp, G. Leeu. 
 
 B. 1510 — Historie van Melusynen. ,, G. Bacx. 
 
 C. 1531 — Coronijcke van Vlaendren. ,, Vorsterman. 
 
 1 . Elineas (Helmas) and the Fairy. He stands on the 1. holding the 
 bridle of his horse. The fairy stands naked on the r., on the other side of a 
 fountain. She agrees to become his wife on certain conditions, and bears 
 him three fairy daughters, Melusine, Melior, and Palestine. 
 
 2 . The Feast. Amery, Count of Poitiers, and his wife sit at table with 
 the Count and Countess of Forest. An attendant enters at the 1. ; on the 
 r. are musicians and a page. Raymond, the youngest son of the Count of 
 Forest, stands in front and is received into the service of the Count of 
 Poitiers (C). 
 
234 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 3. Am cry and Raymond ride out hunting. They are accompanied by 
 three men on foot and three dogs. 
 
 4. Raymond and his dead Lord. Raymond on horseback on the r. 
 looks at the Count who lies dead on the ground by a dead boar. 
 
 5. Raymond riding to Poitiers. He is seated on horseback, on the 1.; 
 five men meet him and enquire after the Count. 
 
 6. Raymond receiving instructions from Melusine, his betrothed. They 
 stand in the middle; behind on the r. a page holds Raymond’s horse. On 
 the 1. is a tent within which are other people. 
 
 7. Raymond preferring his request to the young Count. The young 
 Count and three other men stand on the r., four men are on the 1. (C). 
 
 8. Raymond returning to Melusine. He rides up from the 1. Melusine 
 takes hold of the bridle of his horse. Two women stand on the r. near a 
 fountain. 
 
 9. Melusine receiving the Count of Poitiers. She stands in the mid. 
 shaking hands with the Count. Ten other figures are seen. 
 
 10. The Counts of Poitiers and Forest taking leave of Raymond and 
 Melusine after their marriage. The Counts stand on the 1., three women 
 are behind on the r. 
 
 1 1. The ‘ Casteleyn Reen’ lays an ambush for the Count and takes him 
 prisoner. A crowd of armed men fight on foot, one is fallen in the mid. ; 
 the men on the 1. retreat, those on the r. shoot arrows at them. 
 
 12. Urian and Guy, two of Raymond’s children, embark on their travels. 
 They are just about to pass along a plank on to the ship which lies on the 
 1. ; Raymond, Melusine, and an attendant stand on the r. 
 
 13. They fight the Saracens. Two men wearing crowns are fallen in 
 the mid. ; two bodies of knights on foot fight over them. 
 
 14. The marriage of Urian with the daughter of the king of Cyprus. 
 A Bishop stands in the middle before two men. Urian stands on the 1. and 
 the Princess on the r. A ship lies at a quay behind Urian (C). 
 
 15. Christine, daughter of the Duke of Luxemburg and wife of 
 Anthony, fourth son of Raymond, pardons the King of Aussay who is 
 brought before her. She stands with her two maidens on the 1., the captive 
 with bound hands is held between two soldiers on the r. 
 
 16. The Saracens burn the body of the King of Bernen. Two men 
 stir up a fire under the body on the r. ; fighting is going on behind about 
 the walls of a town. 
 
 17. Raymond sees Melusine on a Saturday. She is inside a building 
 like a covered bath, the lower part of her body being that of a serpent. 
 Raymond stands at the door expressing astonishment. 
 
 18. Godfrey, sixth son of Raymond, fighting the giant Guerdon. He 
 stands on the r. with his sword raised to strike the giant. 
 
Sect. 10 .] THE FIRST ANTWERP WOODCUTTER. 235 
 
 19. Godfrey blowing his horn over the giant’s body. lie stands on the 
 r., five soldiers are seen behind. 
 
 20. Godfrey burns the monastery into which his brother Froment had 
 entered as a monk. Godfrey in the mid. holds lighted brands to the build- 
 ing. Three monks are seen within. 
 
 21. Melusine faints on hearing of the death of Froment her son. She 
 lies on the ground supported on the r. by a page. A man offers her a cup. 
 
 22. Raymond lying in bed overcome by his misfortunes. On the far 
 side of the bed stand a man and two women ; on the 1. at the foot of it a 
 young man sits writing. 
 
 23. Melusine having been publicly called ‘ Serpent’ by Raymond is lost 
 to him and departs flying through the air. She flies away with wings and 
 a long serpent-like tail. Behind is the castle with two men 011 the battle- 
 ments. 
 
 24. Raymond has his son Horrible suffocated. He is seen on the 1. in 
 a chair among flames. Raymond sits in bed on the r. 
 
 25. Melusine appears and nurses her babe. She kneels on the 1. feed- 
 ing her child, two people are in bed on the r. 
 
 26. Godfrey runs a lance into the giant Grimold. Godfrey rides up 
 lance in rest from the r. 
 
 27. The giant disappears into a cave in the mountain. Godfrey stands 
 in the mid. at the door of the cave, his horse is on the r. The giant’s head 
 can be seen through a hole. 
 
 28. The giant’s body carried in a cart. The cart is drawn to the r., a 
 man walking behind it. 
 
 29. The Count of Forest is killed trying to escape from Godfrey. They 
 are seen on the battlements of a castle from which the Count falls into the 
 moat. 
 
 30. Godfrey returns home and meets his father, who tells him of his 
 intention of going to Rome and orders him to rebuild the burnt abbey. 
 Godfrey and his father shake hands. On the r. is a horse, behind on the 1. 
 is the wall of a town. 
 
 31. Raymond absolved by the Pope. Raymond kneels before the Pope, 
 who is seated on the 1., behind on the r. is an altar. 
 
 32. The King of Armenia receiving a scroll from a bird. The King 
 and Queen stand on the battlements of a castle, the bird flies down to them 
 from the 1. 
 
 33. Palestine, shut up in a castle by dragons, watching her father’s 
 treasure. She is seen looking to the r. over the castle wall ; two dragons lie 
 at the foot of it. 
 
 34. The death of Godfrey. Three men stand on the other side of the 
 bed in which he lies, and one on the 1. at the foot of it. 
 
2 36 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 12. Marcolphus and another standing before Solomon — a 
 quarto cut, reproduced by F. Ouvry (Howleglas, London, 1867, 
 4to.) 
 
 A. about 1492 — Salomon and Marcolphus (CA. 460). 
 
 B. about 1528— Howleglas (Garrick copy, BM). 
 
 C. about 1550 — -Howleglas (Bodleian Lib.). 
 
 D. about 1560 — Howleglas (Heber copy, BM). 
 
 Antwerp, G. Leeu. 
 London, W. de Worde. 
 ,, W. Copland. 
 
 99 99 
 
 Sect. 11. The Haarlem Woodcutter (1483 — 1486). 
 
 1. A quarto device, a griffin holding a shield; over his head 
 is the shield of Haarlem. HMT. 34 (50) c. It is first used in 
 
 10 Dec. 1483 — Lijden ons heeren (CA. 1157). Haarlem, Bellaert. 
 
 2. A series of cuts of various sizes to illustrate Jacobus de 
 Theramo’s Sonderentroest. 
 
 A. 15 Feb. 1484 — Sonderentroest (CA. 1656). Haarlem, Bellaert. 
 
 B. after A. — Oefeninghe op dat Pater Noster (CA. 1325). ,, ,, 
 
 C. 12 Nov. 1484 — Ghedenc dijn uterste (CA. 1318). ,, ,, 
 
 D. 10 Dec. 1494 — Ghetiden van O. L. V.(CA. 837). Leyden, Janszoen. 
 
 E. 
 
 1497 — Ghetijden van O.L. V. (CA.841). 
 
 5 9 9 9 
 
 F. 
 
 Aug. 1499 — Passionael, Vol. I. (CA. 1767). 
 
 Delft, Eckert. 
 
 G. 
 
 1501 — Spiegel der Jonghers. 
 
 Antwerp, ,, 
 
 H. 
 
 1509 — Sielentroest. 
 
 9 9 9 9 
 
 K. 
 
 1551 — Sonderentroest. 
 
 ,, Sym. Cock. 
 
 Two of the quarto cuts are found in G, the whole series reappears in K. 
 
 1. The Fall of angels and men, the Flood, Pharaoh and his host 
 drowned in the Red Sea; in front on the r. is the Baptism of Christ — 
 fol. cut. (A). 
 
 Half -folio cuts. 
 
 2. The descent of Christ to Hades (AH). 
 
 3. Hell (A). 
 
 4. Satan kneeling before the Lord on his throne (A). 
 
 5. The Last Judgment (A). 
 
 6. The Ascension (A). 
 
 7. Pentecost (AF). 
 
THE HAARLEM WOODCUTTER. 
 
 237 
 
 Sect. 11.] 
 
 Quarto cuts. 
 
 8. Solomon, the just Judge. He is on his throne with a scribe seated 
 writing before him (A). 
 
 9. The Judge. He is seated on his throne under a dais with a stick in 
 his 1. hand; behind him are two men, one on each side (A). 
 
 10. Christ as the Judge, with Mercy and Justice. He is seated on 
 the throne, Mercy with a lily stands on the 1., Justice with a sword 
 on the r. (A). 
 
 11. The Council-chamber. A King and two other men are seated in a 
 room, a fourth stands behind. One of the windows in the background 
 carries the printer’s mark — HMT. 35 (51)6 3 (A). 
 
 12. The Last Judgment (AC). 
 
 13. The Blessed Virgin with Mercy and Justice. She stands in the 
 mid. crowned ; Mercy stands on the 1. and Justice on the r. (A). 
 
 14. Heaven (AC). 
 
 15. Christ and the Apostles in a room (AB). 
 
 Side-pieces ; two together are the size of one of the quartos. 
 
 16. Belial. He stands on a pavement facing right with a scroll in his 
 r. hand — HMT. 35 (51) 6 2 (A). 
 
 17. Christ and Azaliel, the Messenger. Azahel kneels to the r., 
 taking his hat off with his 1. hand, before a door through which Christ is 
 seen (A). 
 
 18. Azahel. He stands facing 1. with a scroll in his 1. hand (A). 
 
 19. Moses. He stands facing 1. with his hands raised — HMT. 35(51) 
 6 2(A). 
 
 20. Five men standing on a pavement facing r. holding up their 
 r. hands (A). 
 
 21. Four men standing on a pavement facing 1., two of them are 
 holding up their r. hands (A). 
 
 22. The Messenger standing on a pavement facing r., his r. hand 
 raised (A). 
 
 23. A dog standing on a pavement in a room ; behind through a door a 
 peacock can be seen (A). 
 
 24. A doorway on the r., a stool stands by it ; over the stool is a 
 window with a shield — HMT. 35 (51) 6 3 (A). 
 
 25. Christ standing to the r., his 1. hand raised (A). 
 
 26. A stool standing against a wall ; above it is a window with a shield 
 —HMT. 35 (51) 6 3 (A). 
 
 27. Mercy standing to the r. with a lily in her 1. hand (A). 
 
 28. Justice standing with a drawn sword in her hand (A). 
 
 29. David standing to the 1. with a sceptre in his r. hand (A), 
 
238 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 30. David standing to the r. with his r. hand raised (A). 
 
 31. Death, a lean figure with grave-clothes (ACDE). 
 
 32. A man with a feather in his cap standing in an open country; he 
 holds a stick in his 1. hand (A). 
 
 3. A folio border in four pieces generally used by Bellaert 
 to surround his device. HMT. 34 (50) c. 
 
 A. 15 Feb. 1484 — Sonderen troest (CA. 1656). 
 
 B. before C. — Historie van Jason (CA. 1092). 
 
 C. 5 May 1485 — Historie van Troyen (CA. 1095). 
 
 D. after C. — Fais de Jason (CA. 1091). 
 
 E. 24 Dec. 1485 — Bartholomeus (CA. 258). 
 
 F. 20 Aug. 1486 — Boeck vanden pelgherym (CA. 1376). 
 
 G. 2 June 1492 — History of Jason (CA. 1093). 
 
 H. 1493 — Cronycles of Englond (CA. 511). 
 
 I. Aug. 1499 — Passionael, winterstuc (CA. 1767). 
 
 K. 1502 — Sielentroest. 
 
 and many other sixteenth century books. 
 
 4. Four octavo cuts for the ‘Golden Throne/ 
 
 A. 25 Oct. 1484 — Boeck des gulden tliroens (CA. 1343). Haarlem, Bellaert. 
 
 B. 17 Dec. 1487 — Yier oefeninghen (CA. 339). Antwerp, C. Leeu. 
 
 C. 11 July 1491 — Yier oefeninghen (CA. 339 a). ,, G. Leeu. 
 
 D. 1494 — Vier oefeninghen (CA. 341). ,, Liesveldt. 
 
 E. 8 Aug. 1496 — Yier oefeninghen (C A. 342). ,, ,, 
 
 F. 7 April 1497 — Yier oeffeningen (CA. 343). ,, ,, 
 
 G. 6 Nov. 1499 — Vier oefeninghen (C A. 344). ,, ,, 
 
 1 . The Elder and a kneeling girl. He applies the first finger of his 
 r. hand to the thumb of his 1.; the girl is seen three-quarter face (ACFG). 
 
 2 . A similar cut : the Elder raises his r. hand more than his 1. (A). 
 
 3. A similar cut : the Elder being seen more from behind — II MT. 
 106 (62) c 1 (AB). 
 
 4. A similar cut: the woman seen in profile raising her hands but not 
 joining them — HMT. 109 (70) c 1 (ADE). 
 
 5. The Flaming Mouth of Hell. 
 
 12 Nov. 1484 — Ghedenc dijn uterste(CA. 1318). Haarlem, Bellaert. 
 
 G. A set of cuts made to illustrate the Romance of Jason. 
 
 A. before B. — Historie van Jason (CA. 1092). Haarlem, Bellaert. 
 
 B. 5 May 1485 — Historie van Troyen (CA. 1095). ,, ,, 
 
 C. after B. — Fais de Jason (CA. 1091). ,, ,, 
 
 D. 24 July 1486 — Doctrinael des tyts(CA. 1254). ,, ,, 
 
 E. about 1492 — Historie van Jason (not in CA). Antwerp, G. Leeu. 
 
 Haarlem, Bellaert. 
 
 11 11 
 
 11 1 J 
 
 11 11 
 
 11 11 
 
 11 11 
 
 Antwerp, G. Leeu. 
 
 11 11 
 
 Delft, Eckert. 
 Antwerp, ,, 
 
239 
 
 Sect. 11.] THE HAARLEM WOODCUTTER. 
 
 F. 
 
 G. 
 
 H. 
 
 2 June 1492 — History of Jason (CA. 1093). 
 1511 — Seghelijn. 
 
 1531 — Cronike van Vlaenderen. 
 
 Antwerp, G. Leeu. 
 
 Eckert. 
 
 Vorsterman. 
 
 K. about 1531 — Coronijcke van Maximiliaen. ,, ,, 
 
 1. The author dedicating his book to Philip the Good. He kneels in 
 front to the r. presenting his book to the Duke; in the distance on the 1. ho 
 is seen meditating by the shore whilst his hero passes by in a boat, HMT. 
 35 (51) d 2 — a 4to. cut (ABCDEF). 
 
 A set of half-folio cuts. 
 
 2. The birth of Jason. In the 1. compartment a woman kneeling to the 
 1. presents the babe to king iEson ; in the r. the king seated on his throne 
 listens to a man who stands before him on the r. ; a boy and a man also 
 appear (ACEF). 
 
 3. Jousts. A knight rides from the 1. against another and strikes him 
 in the vizor w ith the point of his lance. Behind him are tw T o other knights. 
 Five people look down on them from a window in the castle ; on the r. is a 
 doorway (ABCEF). 
 
 4. Jason slaying the giant Euricus. He grasps the helmet of the giant 
 and strikes at him with his sword. A bowman on the 1. has just shot a 
 soldier on the r. Three other men and a woman are seen (ACEF). 
 
 5. Jason slaying the giant Corfus. Jason and the giant lie on the 
 ground in front thrown from their horses. Further back Jason strikes at 
 the giant w r ho kneels on his r. knee. In the background on the r. the giant 
 is seen lying on the ground (ACEF). 
 
 6. The king of Sclavonia defeated by Jason. Jason riding to the r. 
 pierces with his lance the helmet of a knight who rides against him, whilst 
 he turns off with his shield the lance of another. Behind are bowmen and 
 other soldiers. In the mid. Jason is seen slaying a knight with his sword 
 (ABCEF). 
 
 7. Jason and Mirro ride away. He rides slowly away on the r. ; the 
 Queen and another woman ride after him (ACEF). 
 
 8. Jason and king Diomedes fighting. On the 1. are two ships; Jason 
 standing on a plank which reaches to the shore defends one of them from 
 the attack of some soldiers, who emerge on the r. from the gate of a 
 town (ABCEFHK). 
 
 9. The meeting of Peleus and Jason. Jason on the r. advances to meet 
 Peleus, who stands in the mid. ; behind are four attendants and further off 
 tw r o men wrestling. On the 1. Peleus is seen in the temple of Apollo con- 
 sulting the oracle (ACEF). 
 
 10. The meeting of Jason and Hypsipyle. Jason, by whom stand three 
 of his men, kneels on his 1. knee before the Queen. Behind her are three 
 women. In the distance on the r. are two ships on the sea (ACEF). 
 
240 
 
 CATALOGUE OF THE WOODCUTS. [Part 11. 
 
 11. The foundation of a city on the Island of Colchis. Apollo stands in 
 front on the r. directing the builders. In the distance across the sea is a 
 smaller island on which the sheep with the golden fleece is grazing ( ABCEF). 
 
 12. Apollo pursues his rebellious followers. A boat in front on the r. 
 pursues another which attempts to reach an island (ACEF). 
 
 13. The battle between Apollo and the rebels. In a market-place sur- 
 rounded by buildings Apollo at the head of his knights fights a body of 
 men, one of whom lies overthrown at his feet. Most of them turn their 
 backs and prepare to flee to the r. (ABCEFGH). 
 
 14. The meeting of Jason and Aretes. iEetes standing on the r. gives 
 his hand to Jason as he kneels before him. Five other men are seen. 
 Medea looks down from a window behind on the r. The mast of a ship 
 appears in the distance (ABCEF). 
 
 15. The temple of Mars in the Island of Colchis. The building is in 
 the centre of the island. On the 1. is Jason slaying the dragon, on the r. 
 are the bulls, and the sheep is behind on the side of a hill. The Argo is in 
 the distance on the 1. (ACEF). 
 
 16. The flight of Jason and Medea. The Argo sails away on the 1. 
 pursued by three rowing boats. From the foremost of these a man reaches 
 into the sea to pick up the dismembered portions of a body. Hypsipyle 
 leaps from a cliff on the r. (ACEF). 
 
 17. The death of Peleus and the rejuvenescence of iEson. L. compart- 
 ment — Peleus sits in a tub; Medea stands beyond it, and the daughters of 
 Peleus on each side with swords in their hands. R. compartment — Medea 
 standing on the 1. is operating with a knife on the shoulder of iEson who 
 kneels in a tub ; Jason stands on the r. (ACEF). 
 
 18. The feast at the marriage of Jason and Mirro. Medea with four 
 dragons stands rending her child in pieces before the table at which Jason 
 sits between his bride and her father (ABCEF). 
 
 19. The marriage of Jason and Mirro. L. compartment — A bishop 
 joins the hands of the pair as they stand in a room before him. R. com- 
 partment — Two men fight with swords over the body of a third; behind 
 are several soldiers (ACEF). 
 
 20. Medea appealing to king iEson for revenge. Medea kneels in a 
 tent on the r. at the feet of the king. On the 1. in another tent is a man 
 seated on a box. On the r. in the interior of a building Medea is about to 
 murder her child. In a room, in the besieged town, behind on the 1., she is 
 seen appearing to Jason and Mirro (ACEF). 
 
 21. Patroclus shooting Mirro with an arrow. Two knights stand in 
 front before a tent, regarding a third, who kneels behind a tree on the r., in 
 the act of discharging an arrow at the Queen. She appears at a window in 
 the castle behind. A man walks away on the 1. with a lance on his shoulder 
 (ACEF). 
 
Sect. 11.] THE JIAARLEM WOODCUTTER. 241 
 
 7. A set of half-folio cuts made to illustrate the Romance 
 of Troy ; all appear in A. 
 
 A. 5 May 1485 — Historie van Troyen (CA. 1005). Haarlem, Bellaert. 
 
 B. 1531 — Cronike van Vlaenderen. Antwerp, Vorsterman. 
 
 C. about 1531 — Coronijcke van Maximiliaen. ,, ,, 
 
 1. Saturn and Titan. They stand in a room on the r. before a figure 
 in a niche in the wall. On the 1. in another room a young man and woman 
 stand talking. 
 
 2. The Coronation of Saturn. He is seated in the mid. ; two men hold 
 a crown over his head, two others standing by. 
 
 3. The Marriage of Saturn and Cjbele. They stand before a Bishop 
 in a room on the 1. On the r. is Saturn kneeling in a temple. 
 
 4. The Birth of Jupiter. In a room on the 1. Cybele lies in bed behind ; 
 the nurse standing in front presents the child to Saturn. On the r. the 
 nurse presents the child to Mellissus who stands before a gateway. 
 
 5. Perseus slaying a Sea-monster. He pierces with a lance the head 
 of the beast as he rises from the sea ; Andromeda kneels on the 1. 
 
 6 The Birth of Hercules. L. compartment — A cow walks out into a 
 court; Jupiter and Alcmena are together in a room behind; in another 
 room Alcmena gives birth to twins. R. compartment — The child Hercules 
 strangles two serpents in his cradle. 
 
 7. Hercules at the games. The games of wrestling, shooting with the 
 bow, throwing heavy stones, and the horse-race, are represented. O 11 the 
 r. in front a man is blowing a trumpet. 
 
 8. Hercules taking an island. He climbs a rock, fighting a man who 
 stands above him. At the foot of the rocks by the water are two men 
 standing by the body of a third. 
 
 9. Hercules before Laomedon’s castle. Three knights on horseback 
 stand on the 1 . before a castle. 
 
 10. Hercules taking Troy. A body of soldiers enter the gate of a 
 town which is behind on the r., whilst two men scale the cracking walls by 
 means of ladders (BC). 
 
 11. Hercules and the three lions. He stands with a sword on the r. ; 
 the three lions are on the 1. Behind on the r. are two men in the branches 
 of trees. 
 
 12. Hercules slaying Busiris. He stands in a court-yard with a huge 
 club with which he has just stunned Busiris. A body of soldiers retire on 
 the r. Two men stand behind looking into a temple, where flames arise 
 before an image. 
 
 13. Orpheus and Eurydice. They prepare to ascend some steps on 
 the 1. from which a knight salutes them. A man bound hand and foot sits 
 by the steps. Behind on the r. is a castle. 
 
 C. W. 
 
 1G 
 
242 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 14. The Burning of Troy. An army stands in front on the r., drawn 
 up in a semicircle before tents, watching the burning town (B). 
 
 15. Hercules and Theseus fighting two Amazons. In an open country 
 two knights ride from the 1. against two armed women. 
 
 16. Hercules slaying Nessus. Hercules in front on the r. by a river 
 has just discharged an arrow which slays Nessus on the opposite bank, as 
 he is in the act of leading off Deianira. 
 
 17. Hercules and the Lernean Hydra. He stands on the r., with his 
 sword ready to strike a beast with the head and arms of a man. The 
 beast defends himself with sword and shield. 
 
 18. Hercules defeating the Bistones. He stands in front fighting 
 three men on foot, the others retreat to the 1. On the r. Hercules stands 
 looking on whilst the four mares of Diomedes devour the body of their 
 master. 
 
 19. Hercules and Augeas. Augeas drives forth eight oxen, holding 
 four by their tails, from a door on the 1. Behind is Hercules slaying him. 
 
 20. Hercules burnt to death. He lies on the ground in front in flames. 
 Behind on the 1. he receives Nessus’ shirt from a page, and on the r. 
 Deianira falls on a sword. 
 
 21. The Judgment of Paris. O 11 the r. in front a knight lies asleep by 
 a stream, his horse tied to a tree. Paris stands in the mid. and the three 
 goddesses on the 1. 
 
 22. A Battle before Troy. Tw r o parties of knights fight on foot; one 
 man lies on the ground in the mid. Behind are the walls of a town and 
 the masts of ships. 
 
 23. A Battle. Two parties of knights ride against each other, a horse 
 lies overthrown in the mid. in front. Behind are two parties of archers 
 shooting. 
 
 24. The death of Achilles. He kneels in a temple on the r. Paris 
 stands on the 1., at the head of a body of archers, having just discharged 
 an arrow, which strikes Achilles in the back. 
 
 25. The Wooden Horse. It stands to the r. in a deserted place within 
 the walls ; there is a gap in the walls on the 1. 
 
 8. A set of folio cuts to illustrate Bellaert’s translation of 
 Bartholomaeus de Glanvilla’s work, De proprietatibus rerum. 
 
 24 Dec. 1485 — Bartholomeus (CA. 258). Haarlem, Bellaert. 
 
 1. The Most High seated in Glory. 
 
 2. The Creation and Fall of the Angels. 
 
 3. The Creation of man and woman. 
 
 4. The ages of man, the stages Of life. 
 
 5. The Earth and the Heavens. 
 
243 
 
 Sect. 11.] THE HAARLEM WOODCUTTER. 
 
 G. The twelve months in circular medallions : 
 
 January — A man eating and drinking. 
 
 February — A man warming his feet at a fire. 
 
 March — Pruning the shoots of a vine. 
 
 April — Planting out. 
 
 May — Hawking. 
 
 June — Mowing. 
 
 July — Heaping. 
 
 August— Threshing. 
 
 September — The vintage. 
 
 October — Sowing seed. 
 
 November — Collecting acorns. 
 
 December — Slaughtering a pig. 
 
 7. All manner of birds. 
 
 8. Twenty-seven kinds of fishes. 
 
 9. A river flowing into the sea, past a town. 
 
 10. Plants and trees. 
 
 1 1. Beasts and reptiles, HMT. 8 (132) h. 
 
 9. A set of small quarto cuts to illustrate an edition of 
 the Epistles and Gospels, or a lost edition of the Devote getijden 
 (compare CA. 1117). 
 
 A. 8 April 1486 — Epistelen ende Euangelien (CA. 695). Haarlem, J. Bellaert. 
 
 B. 15 March 1499 — Ludolphus (C A. 1185). Zwolle, P. van Os. 
 
 C. 1 15 March 1519 — Ludolphus. ,, ,, 
 
 1. The Presentation of the Blessed Virgin (B). 
 
 2. The Annunciation (A). 
 
 3. The Nativity (A). 
 
 4. The Circumcision (A). 
 
 5. The Adoration of the Magi (A). 
 
 6. The Presentation in the Temple (AB). 
 
 7. The Flight into Egypt (B). 
 
 8. The Massacre of the Innocents (AB). 
 
 9. Christ among the Doctors (AB). 
 
 10. The Baptism (A). 
 
 11. The Temptation (AB). 
 
 12. The Marriage at Cana (AB). 
 
 13. Christ cleansing the Temple (B). 
 
 14. The Supper at Simon’s (AB). 
 
 15. The Woman of Samaria (B). 
 
 16. The raising of Lazarus (AB). 
 
 17. The Last Supper (AB). 
 
 18. Christ washing the disciples’ feet (B). 
 
 19. The Agony in the garden (B). 
 
 1 The cuts in C are, I believe, the same as in B ; a few may be missing. 
 
 1G — 2 
 
244 
 
 CATALOGUE OF THE WOODCUTS . 
 
 [Part ii. 
 
 20. The Betrayal (B). 
 
 21. The Amazement of the soldiers (B). 
 
 22. Christ before Annas (B). 
 
 23. Christ before Caiaphas (B). 
 
 24. Christ before Pilate (B). 
 
 25. Christ buffeted (B). 
 
 26. Christ before Herod (B). 
 
 27. The Scourging (B). 
 
 28. The Crowning with Thorns (B). 
 
 29. Ecce Homo (B). 
 
 30. Pilate washing his hands (B). 
 
 31. Christ bearing his Cross (B). 
 
 32. The Disrobement (B). 
 
 33. Christ nailed to the Cross (B). 
 
 34. The elevation of the Cross (B). 
 
 35. The Blessed Virgin and St John by the Cross (AB). 
 
 36. Christ crucified between two thieves (B). 
 
 37. The Descent from the Cross (B). 
 
 38. The Entombment (B). 
 
 39. The Descent to Hades (B). 
 
 40. The Resurrection (AB). 
 
 41. The three Maries by the tomb (AB). 
 
 42. Christ as the Gardener (B). 
 
 43. The way to Emmaus (A). 
 
 44. Christ appears to the Apostles (AB). 
 
 45. Thomas convinced (B). 
 
 46. The Ascension (AB). 
 
 47. Pentecost (AB). 
 
 48. The Last Judgment (AB). 
 
 49. The Image of Pity (A). 
 
 10. The device of the Printer Johannes Andreae (Jan 
 Andrieszoen). A lion with two shields (the printer’s mark and 
 the arms of Haarlem). HMT 3G (12) b 5. 
 
 31 May 1486 — Liber de consolacione theologie (CA. 911). Haarlem, Andreae. 
 
 11. A set of quarto cuts to Pierre Michault’s book. 
 
 24 July I486 — Doctrinael des tyts (CA. 1254). Haarlem, Bellaert. 
 
 1. The Author meeting Virtue in a valley; she offers to conduct 
 
 him through the school of the men of his day. 
 
 2. They enter the school, which is presided over by Falsehood, who 
 
 is lecturing. 
 
 3. The lecture by Arrogance. 
 
 4. The lecture by Concupiscence. 
 
THE HAARLEM WOODCUTTER . 
 
 245 
 
 Sect. 11.] 
 
 5. The lecture by Detraction. 
 
 6. 1 The lecture by Gossip {Rumor). 
 
 7. The lecture by Vanity. 
 
 8. The lecture by Corruption. 
 
 9. Virtue leading the Author through the now almost trackless 
 
 forest to the Old School of the Virtues. 
 
 10. 1 They enter the Old School and find there the Four Cardinal Virtues. 
 
 12. A set of cuts made to illustrate the 'Book of the 
 Pilgrim.’ 
 
 A. 20 Aug. 1486 — Boeck vanden pelgherym (CA. 1376). Haarlem, Bellaert. 
 
 B. 15 April 1498 — Boeck vanden pelgrim (CA. 1377). Delft, Eckert. 
 
 1. The Pilgrim turning away from the City of Destruction and looking 
 up at the Celestial City which he sees reflected in a mirror — 4to cut (AB). 
 
 Side-pieces , one or other of them used in A with each of the regular 
 series of cuts in order to fit them to the folio page. They measure 
 27 x 1*2 in. 
 
 2. The author asleep on a bank (AB). 
 
 3. A similar cut ; his feet are more to the 1. (A). 
 
 The following cuts form the regular series. They measure 27 x 2’0 in. 
 
 4. A Landscape divided by a stream (A). 
 
 5. Pilgrim walking through a hilly country, a bundle hanging from a 
 stick over his shoulder (B). 
 
 6. Pilgrim meets a lady (God’s Grace) and receives a staff from her 
 (AB). 
 
 7. Pilgrim wading through the moat of Baptism to the castle of 
 Grace (AB). 
 
 8. Pilgrim with Grace and Moses (AB). 
 
 9. Pilgrim with Moses and the lady Reason (AB). 
 
 10. Pilgrim with Reason and Moses. On the r. an official, the servant 
 of Grace, marries a man and woman who stand on the 1. (AB). 
 
 11. Moses shaving a man’s crown in the presence of Pilgrim (AB). 
 
 12. Pilgrim and Grace talking. HMT. 35 (51) c (AB). 
 
 13. Reason preaching before Moses, Pilgrim, and a man and woman 
 (AB). 
 
 14. Pilgrim before a gate ; the gate-keeper is Nature (AB). 
 
 15. Nature on her knees before Grace and Pilgrim (A). 
 
 16. Moses, Pilgrim, Penitence and Charity in a room (AB). 
 
 17. Charity standing holding a parchment (AB). 
 
 1 These cuts are found at Amsterdam in the office of Peter John Tyebaut, 
 early in the following century. 
 
246 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 18. Pilgrim sleeping by the road side (AB). 
 
 19. Moses giving food to three persons, Pilgrim standing by (AB). 
 
 20. Charity and Wisdom baking bread (AB). 
 
 21. Charity and Pilgrim with their bread conversing with Aristotle 
 (AB). 
 
 22. Grace and Pilgrim standing in a room with the bread in their 
 hands. He holds his wallet open (AB). 
 
 23. Grace and Pilgrim looking at some armour which hangs on a wall 
 (AB). 
 
 24. Pilgrim fully armed walking by Grace (AB). 
 
 25. Pilgrim throwing off his armour (AB). 
 
 26. Pilgrim and Grace with a lady without eyes (Memory) who carries 
 Pilgrim’s armour (AB). 
 
 27. Pilgrim and Memory meeting a giant (Hard Understanding) with a 
 club (AB). 
 
 28. Reason and Memory standing by and watching Pilgrim’s soul, 
 which, as a little naked figure, hovers over his body (AB). 
 
 29. A devil, who comes out of a hole in the ground, attacking Pilgrim’s 
 soul, Reason standing by (AB). 
 
 30. Pilgrim, with his soul and body together again, standing with 
 Reason and Memory (AB). 
 
 31. Pilgrim and Memory coming to a division in the road where they 
 meet a basket-maker (Labour) and a woman (Idleness) (AB). 
 
 32. Pilgrim and Memory advancing to the r. along a path (AB). 
 
 33. An old woman (Laziness) holding Pilgrim tied by the leg (AB). 
 
 34. Laziness striking at Pilgrim with an axe (AB). 
 
 35. Pilgrim followed by Memory and held by Laziness. They meet an 
 old woman (Pride) carrying another (Flattery) on her back (AB). 
 
 36. Pilgrim with Memory and Laziness sees two women (Treachery 
 and Calumny) riding their mother (Envy). She goes naked on all fours 
 (AB). 
 
 37. Pilgrim attacked by Treachery, Calumny, and Envy. Another 
 woman comes up with a saw in her mouth calling herself Noli me tangere 
 (AB). 
 
 38. Memory laying the armour at Pilgrim’s feet. She suggests that 
 he should put it on, but Laziness prevents him (AB). 
 
 39. Pilgrim alone- before a wood watching two rabbits (AB). 
 
 40. Pilgrim coming out of a forest meets Avarice, an old woman with 
 many hands (AB). 
 
 41. Pilgrim seeing a church in a valley (AB). 
 
 42. Pilgrim attacked by two hideous women, Hypocrisy aud Gluttony. 
 He is wounded by a dart in his r. eye (AB). 
 
Sect. 11.] THE HAARLEM WOODCUTTER. 247 
 
 43. The hand of Graco coming from the clouds touches Pilgrim’s staff 
 (AB). 
 
 44. Grace brings Pilgrim to a rock, from an eye in which tears pour 
 into a tub (AB). 
 
 45. Pilgrim by the shore of a sea beholds men and women floating in 
 the water (AB). 
 
 46. Pilgrim sees a monster with a horn and net, and an old woman 
 (Squinting Heresy), his daughter, who carries a fagot (AB). 
 
 47. Pilgrim tries to hurt Squinting Heresy (AB). 
 
 48. Pilgrim meets a young woman called Youth (AB). 
 
 49. Pilgrim is carried by Youth over the water on which Tribulation 
 sits (AB). 
 
 50. Youth flies away leaving Pilgrim to fall into the water where Tribu- 
 lation hurts him with a hammer and pincers (AB). 
 
 61. Pilgrim led by Tribulation to Grace (AB). 
 
 52. Grace makes Pilgrim enter the ship Religion (AB). 
 
 53. Pilgrim arrives at a castle gate. The Porter (Fear of God) tells 
 him that the owner, Jesus Christ, is within. The Porter’s cudgel is God’s 
 Vengeance (AB). 
 
 54. Pilgrim and the Porter with other persons within the Castle. 
 A white pigeon flies over a plate of sweetmeats (AB). 
 
 55. Grace enters the castle ; the Porter strikes Pilgrim with the club, 
 God’s Vengeance (AB). 
 
 56. Pilgrim in a room with an angel, a woman blowung a horn, and a 
 corpse; they are Obedience, Discipline, and Correction (A B). 
 
 57. Pilgrim bound by the Prioress ‘Aldus’ (AB). 
 
 58. Pilgrim with two old women, one of whom carries a burden on her 
 head (AB). 
 
 59. Pilgrim put to bed by two old women — Old Age and- Sickness (A). 
 
 60. Pilgrim seated on a bed bound hand and foot ; the cords that 
 bind him are held by Pity (AB). 
 
 61. Pilgrim lying in bed. Death with a coffin and scythe stands on 
 him ; Grace stands by the head of the bed (AB). 
 
 Sect. 12. The same Workman , or his School, at Antwerp 
 
 (1486—1495). 
 
 1. A set of half-folio cuts, made to illustrate an edition of the 
 Romance of Paris and Vienne, which Bellaert probably intended 
 to publish in 1485, or may have published, although it has not 
 come down to us. Under these circumstances, the cuts must be 
 placed at this point. 
 
248 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 A. 15 May 1487 — Histoire de Paris et de Vienne (CA. 941). Antwerp, G. Leeu. 
 
 B. 19 May 1487 — Historie van Parijs ende Vienna (CA. 942). ,, ,, 
 
 C. 1488 — Historie van Paris vnde Vienna (CA. 943). ,, ,, 
 
 D. 9 Feb. 1491 — Historic van Melusynen (CA. 975). ,, ,, 
 
 E. about 1492 — Historie van Paris ende Vienna (not in CA.). „ ,, 
 
 F. 23 June 1492 — Story of Paris and Vyenne (notinCA.). ,, ,, 
 
 1. The Dauphin with his wife Diana and Vienne his daughter. They 
 stand in a room, the Dauphin on the 1. (ABCEF). 
 
 2. The Serenade. Paris stands and Edward sits near him, both play- 
 ing under Vienne’s window, at which she is seen on the r. (ABCEF). 
 
 3. Paris is attacked by the guard. A body of soldiers advance from 
 the 1. towards Paris and Edward, who give their musical instruments to a 
 boy and prepare to defend themselves (ABCEF). 
 
 4. The guard put to flight. Paris and Edward drive away the soldiers 
 r. and 1. (ABCEF). 
 
 5. The Jousts at Vienne. The horses are copied from no. 3 in the 
 Jason series (Sect. xi. 6). Behind, three people are seen looking on from 
 a window in the castle (ABCDEF). 
 
 6. Paris receiving the prize. Vienne presents the prize to Paris who 
 rides up towards her from the 1. (ABCEF). 
 
 7. Paris wins three banners. Paris sits on his horse before a gallery 
 on the r. in which are the Dauphin and his court. A man kneeling before 
 him presents him with three banners (ABCEF). 
 
 8. Vienne and her mother visiting the father of Paris. L. compart- 
 ment — Diana stands before the bed in which he lies ; in front on the r. is a 
 cabinet. R. compartment — Vienne takes down the three banners from the 
 wall of a church ; Diana stands by her on the 1. (ABCEF). 
 
 9. The meeting of Paris and Vienne. They stand together on the 1. in 
 a courtyard ; a Bishop is seen on the r. standing near a gateway (ABCEF). 
 
 10. Paris’ father demanding Vienne in marriage for his son. He 
 stands in the mid. talking with the Dauphin. Behind on the 1. are two 
 men, and on the r. four people at a door (ABCEF). 
 
 11. The elopement of Paris and Vienne. They ride together 011 a 
 horse to the r. followed by Edward and Isabella (ABCEF). 
 
 12. The pursuit. The Dauphin stands with two men at a gateway on 
 the 1. A man kneels before him and two others are seen riding away 
 (ABCE). 
 
 13. Vienne placed in sanctuary. Paris and Vienne stand in the mid. near 
 the altar in a church; Edward stands on the 1. and Isabel on the r. (ABCEF). 
 
 14. Vienne brought back. She kneels before the Dauphin who stands 
 at a door on the r. Behind her are two men and, 011 the 1., their horses 
 (ABCEF). 
 
Sect. 12.] T1IE HAARLEM SCHOOL AT ANTWERP. 249 
 
 15. The letter from Paris to Edward. L. compartment — Paris stand- 
 ing on the 1. gives the letter to a man. R. compartment — Edward standing 
 on the r. receives the letter from a man who kneels before him (ABCEF). 
 
 16. Vienne demanded in marriage by the son of the Duke of Burgundy. 
 He stands before his followers and shakes hands with the Dauphin who 
 stands at a gateway on the r. (ABCEF). 
 
 17. Vienne put in prison. A jailor pushes Vienne into the prison 011 
 the r., another jailor on the 1. leads Isabella to the same place (ABCEF). 
 
 18. Paris starting for the Crusade. Fie is in a ship which lies on the 
 
 1. by a quay; the buildings of Venice are on the r. (ABCEF). 
 
 19. The visit of the Dauphin to the King of France. The Dauphin 
 with four attendants walks along the quay towards the King who stands 
 with three other men on the r. (ABCEF). 
 
 20. Paris in Alexandria. Paris and the Admiral stand in the market- 
 place talking to a jailor; the Dauphin is seen on the r. within a prison 
 (ABCEF). 
 
 21. Paris liberating the Dauphin. On the 1. Paris and two Friars 
 lead the Dauphin out of the prison door. On the r. Paris is seen slaying 
 a drunken jailor (ABCEF). 
 
 22. The Dauphin and Paris taking ship. They stand with the two 
 Friars and another man at the end of a plank about to go on board a ship 
 which lies on the 1. (ABCEF). 
 
 23. Their arrival in France. They ride at the head of a great company 
 towards the r. where a number of people on foot come out of a gateway to 
 receive them (ABCEF). 
 
 24. Paris visiting Vienne in prison. They sit side by side on a bench 
 on the 1. against the wall. Isabella lies on the bed in the mid. (ABCEF). 
 
 25. The marriage of Paris and Vienne. They stand before a Bishop ; 
 on the r. are four men and on the 1. four women (ABCDEF). 
 
 2. A set of quarto cuts made to illustrate the poem of 
 Reynard the Fox; only a fragment (with 3 cuts) is known. 
 
 1487-1488 — Reynaert die vos (not in CA.). Antwerp, G. Leeu. 
 
 1. Reynard running away with a goose from a table at which two 
 people are seated. He is pursued by three men and appears in three parts 
 of the cut. 
 
 2. Reynard in the farm-yard amongst chicken and geese ; a sort of hood 
 hangs round his neck. 
 
 3. Reynard, a cat facing r., a cock, a wolf, and other animals in an open 
 country — the only known impression of this cut is torn and imperfect. 
 
250 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 3. Supplementary cuts made for Ludolphus’ Life of Christ. 
 
 A. 3 Nov. 1487 — Ludolphus (CA. 1181). 
 
 B. 20 Nov. 1488 — Ludolphus (CA. 1183). 
 
 C. 27 May 1495 — Bernardus Sermonen (CA. 276). 
 
 D. 20 Nov. 1495 — Ludolphus (CA. 1184). 
 
 E. 15 Mar. 1499 — Ludolphus (CA. 1185). 
 
 F. 15 Oct. 1510 — Ludolphus. 
 
 G. 15 Mar. 1519— Ludolphus. 
 
 Antwerp, G. Leeu. 
 
 „ C. Leeu. 
 
 Zwolle, P. van Os. 
 
 ? 1 
 
 y y 
 
 yy yy 
 
 Antwerp, A. van Berghen. 
 Zwolle, P. van Os. 
 
 Folio cuts. 
 
 1. The story of St Joachim and St Anne (ABDEFG). 
 
 2. Peter’s confession (ABDEFG). 
 
 3. Christ seated amongst the Twelve (ABDEFG). 
 
 4. The Last Supper. All are standing round a table (ABDEFG). 
 
 5. Christ appearing to Peter, James, and Joseph of Arimathea 
 
 (ABDEFG). 
 
 6. Christ appearing to the Five Hundred (ABDEFG). 
 
 Half-folio cuts. 
 
 7. The Baptism of Christ (ABDEFG). 
 
 8. The Testimony of John Baptist (ABDEFG). 
 
 9. Christ baptising (ABDEFG). 
 
 10. The Sermon on the Mount (ABDEFG). 
 
 11. The Chief Priests taking counsel against Christ (ABDEFG). 
 
 12. The ten Virgins (ABDEFG). 
 
 13. Christ appearing to the Blessed Virgin ( ABCDEFG). 
 
 14. Christ appearing to the three Maries (ABDEFG). 
 
 15. Peter and John before the High Priest (ABDEFG). 
 
 Quarto cut. 
 
 16. Salvator Mundi{ AB). 
 
 Auxiliary or narrow quarto cuts. 
 
 17. St Joseph’s vision (ABDEFG). 
 
 18. The Egyptians adoring an image of the Virgin and Child (ABDEFG). 
 
 19. A group of soldiers (ABDEFG). 
 
 20. Peter’s denial (ABDEFG). 
 
 21. Pilate’s wife’s message (ABDEFG). 
 
 22. The way to Emmaus (ABDEFG). 
 
 4. A set of quarto cuts made to illustrate the ‘Garden of 
 Devotion’. 
 
 28 Nov. 1487 — Hoofkijn van devotien (CA. 985). Antwerp, G. Leeu. 
 
 1. The Soul, as a girl, whilst picking flowers hears the voice of Christ 
 calling her to come into his garden. 
 
 2. The girl hearing the voice walks towards the garden. 
 
Sect. 12.] THE HAARLEM SCHOOL AT ANTWERP. 251 
 
 3. She advances along the path of Penitence which leads to the 
 garden gate. 
 
 4. The garden gate is locked ; the girl kneels before it in prayer. 
 
 5. Obedience admits the girl into the garden and shows her the Four 
 Cardinal Virtues. 
 
 6. The girl with the Four Virtues, the handmaids of Obedience, hears 
 the angels playing and singing in the garden. 
 
 7. The girl sits at the foot of a tree which is the Cross of Christ, and 
 is told by the maidens of the trees, flowers and fruits of the garden. 
 
 8. The girl kneeling before the Holy Cross, the tree of Love, is pierced 
 through the heart with an arrow by Faith ; Hope and Charity stand behind. 
 
 9. The girl drinks from the fountain in the garden, and listens to the 
 singing of the birds. 
 
 10. Faith sitting by the side of the girl among five angels teaches her 
 the Art of Loving. 
 
 11. The girl sings for joy of the love of God, as she sits at the foot of 
 the Cross. 
 
 12. Christ, as the Eternal Wisdom, appears to the girl and speaks to 
 her, while she kneels before him. 
 
 5. Five 32mo cuts made for this ‘ Officium \ 
 
 1487 — Officium B. Marias Virginis (CA. 1328). Antwerp, G. Leeu. 
 
 1. The Annunciation. 
 
 2. The Virgin and St John, by the Cross. 
 
 3. The Last Judgment. 
 
 4. The Vigils of the Dead. 
 
 5. The Mass of St Gregory. 
 
 6. A set of cuts, made to illustrate the ‘Childhood of Jesus 
 moralised,’ and all appearing in A. 
 
 A. 16 Feb. 1488 — Kintscheijt ihesu (CA. 1074). Antwerp, G. Leeu. 
 
 B. about 1491 — Minnenbrief (CA. 1258). ,, ,, 
 
 Part I. Two cuts measuring 2 x 2 4 in. 
 
 1. The Soul adoring the Child Jesus, No. 1. 
 
 2. The Soul adoring the Child Jesus, No. 2 (B). 
 
 Eleven cuts measuring 2‘6 x 2*4 in. 
 
 3. Contritio et Confessio. 
 
 4. Puritas et Caritas. 
 
 5. Cumulatio et Tranquillitas . 
 
 6. Meditatio et Oratio. 
 
 7. Devotio et Puritas. 
 
252 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 8. Providentia et Obedientia. 
 
 9. Misericordia et Mansuetudo. 
 
 10. Justitia et Veritas. 
 
 11 . Penitentia et Gratitudo. 
 
 12. Paupertas et Innocentia. 
 
 13. The Child Jesus looking at the Heavens. 
 
 Part II. 
 
 14. The Deer (no. 1), between whose horns is the Image of the Child 
 Jesus, facing 1., with four birds and three beasts among hills — 2*7 x 24 in. 
 
 15. The Deer (no. 2), running to the 1., turning his head back to the 
 r. where are three trees — 21 x 2 4 in. 
 
 1 6. The Deer (no. 3), very similar to no. 2, but the nimbus of the Child 
 breaks into the upper border line — 21 x 2*4 in. 
 
 17. The Deer (no. 4), like no. 3, but the upper border line is continuous 
 — 21 x 2*4 in. 
 
 18. The Soul (no. 1), blowing a horn and holding five dogs by leashes — 
 2*6 x 2*4 in. 
 
 19. The Soul (no. 2), leading one hound on whose collar are four white 
 spots — 2*0 x 2*5 in. 
 
 20. The Soul (no. 3) ; the dog’s collar has only three spots — 2*7 x 2*5 in. 
 
 21. The Soul (no. 4); there are no spots on the dog’s collar — 2*0 x 2*4 in. 
 
 22. The Soul (no. 5); the collar is white with a black band round it — 
 2*0 x 2*4 in. 
 
 23. The Soul and Deer standing near a tree — 21 x 2*4 in. 
 
 24. The Hound running to the left, holding a scroll — 2 0 x 2*4 in. 
 
 25. The Hound catching the Deer — 2*1 x 2*4 in. 
 
 26. The Hound finding the Soul lying down — 2*0 x 2*5 in. 
 
 27. The Soul and Deer in a garden— 2*7 x 2*4 in. 
 
 28. A garden surrounded by a paling — 2*7 x 2*4 in. 
 
 29. The Soul piercing the side of the Deer — 2*7 x 2 5 in. 
 
 Part III. All the cuts measure about 2*7 x 2*4 in. 
 
 30. Mundicia, a woman clothed in white, raising the Child into a tree. 
 
 31. Perseverantia , clothed in blue, nailing the Child’s feet. 
 
 32. Timor, clothed in grey, nailing the Child’s r. hand. 
 
 33. Tribulatio, clothed in black, nailing the Child’s 1. hand. 
 
 34. Veritas, clothed in gold, standing by the crucified Child. 
 
 35. Amor, clothed in red, piercing the Child’s side. 
 
 36. Pax, clothed in green, raising a cup to the Child’s lips. 
 
 37. The Soul standing in the forest. 
 
 38. The Soul kneeling before the Child crucified in a tree. 
 
 7. A quarto title-page cut representing a Hermit and a 
 young man near a building within which is a skeleton. 
 
 20 Feb. 1488 — Morticellarium aureum (CA. 1270). Antwerp, G. Leeu. 
 
Sect. 12 .] THE HAARLEM SCHOOL AT ANTWERP . 253 
 
 8. Two octavo cuts made for 
 
 16 March 1488 — Spiegliel der sondaren (CA. 591). Antwerp, G. Leeu. 
 
 1. The Virgin instructing the kneeling sinner. 
 
 2. A Teacher and a young man, both standing. 
 
 9. A set of quarto cuts illustrating the story of the Seven 
 Wise Men of Rome. 
 
 A. 11 Apr. 1488 — Van die seven wise mannen (CA. 954). Antwerp, C. Leeu. 
 
 B. before C — Historia septem sapientum. Cologne, J. Koelhof. 
 
 C. 6 Nov. 1490 — Historia septem sapientum (CA. 950). Antwerp, G. Leeu. 
 
 1. The Death of the King’s first wife (ABC). 
 
 2. The Prince commended to the Seven Wise Men (ABC). 
 
 3 . The second marriage of the King (ABC). 
 
 4 . The Wise Men take the Horoscope of the Prince (ABC). 
 
 5 . The Prince’s return and his meeting with the King (ABC). 
 
 6. The Prince in the Queen’s chamber (ABC). 
 
 7 . The King threatening to slay the Queen (ABC). 
 
 8. The Queen’s defence (ABC). 
 
 9 . The Speech of one of the Seven Wise Men (ABC). 
 
 10. Tbe Prince’s acquittal (ABC). 
 
 11. The Queen and her Paramour are condemned (AB). 
 
 10. A quarto title-page cut representing zEsop standing. 
 
 14 May 1488 — Esopus moralisatus (CA. 38). Antwerp, G. Leeu. 
 
 about 1488 — Salomon et Marcolphus (CA. 455). ,, ,, 
 
 27 April 1498 — Historien van Esopus (CA. 29). Delft, Eckert. 
 
 11. Miscellaneous supplementary cuts made for the illustra- 
 tion of Ludolphus’ Life of Christ, 
 
 A. 20 Nov. 1488 — Ludolphus (C. A. 1183). Antwerp, C. Leeu. 
 
 B. | Sept" | — Passionael |y°j' j (CA.1766). Zwolle, P. van Os. 
 
 C. 27 May 1495 — Bernardus Sermonen (CA. 276). ,, „ 
 
 D. 20 Nov. 1495 — Ludolphus (CA. 1184). ,, ,, 
 
 E. 15 Mar. 1499 — Ludolphus (CA. 1185). ,, ,, 
 
 F. 15 Oct. 1510 — Ludolphus. Antwerp, A. van Berghen. 
 
 G. 21 Feb. 1515 — Leven van S. Bernaert. ,, Claes de Grave. 
 
 H. 15 Mar. 1519 — Ludolphus. Zwolle, P. van Os. 
 
 1. Salvator Mundi — fol. cut (ACDEFGH). 
 
 2. A young man led away by others who surround him ; one puts 
 his arm round his neck — narrow 4 to cut (ADE). 
 
 3 . A devil kneeling facing 1 . — a narrow 4 to cut, classed here because 
 I do not know where else to put it. It differs in style from all the rest, 
 being worked in simple outline with rather broad soft lines. It is power- 
 
254 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 fully designed and looks old when first used. It is surrounded by a 
 border line on three sides only and seems to be a portion of some larger 
 block (ADE). 
 
 Side-pieces , for quarto cuts. 
 
 4. A monkey and a bird above it with open wings among leaves 
 
 (ADE). 
 
 5. A bird at the bottom amongst leaves and strawberries (ACDE). 
 
 6. A statue of a man in a long robe on a bracket facing somewhat to 
 the 1. (ACDE). 
 
 7. A copy of the preceding, the pillar under the bracket casts a shadow 
 (ABODE). 
 
 8. A monk on the top of a pedestal facing r., his head does not reach 
 to the top of the cut (ABODE). 
 
 9. A man to the r. drawing a bow, seen in a mass of foliage — 
 
 1st state — with black background (A). 
 
 2nd state — with background cut out (ACDE). 
 
 12. Two octavo cuts of the Virgin and her parents. 
 
 A. about 1491 — Historie van S. Annen (CA.961). Antwerp, G. Leeu. 
 
 B. 21 June 1491 — Revelacien van S. Birgitten (CA.382). ,, ,, 
 
 C. 27 May 1495 — S. Bernardus sermonen (CA. 276). Zwolle, P. van Os. 
 
 D. 7 Sept. 1499 — Historie van S. Anna (CA. 964). ,, ,, 
 
 E. about 1500 — Carmina in D. Annae laudem (CA. 53). ,, ,, 
 
 1. The Child Mary standing between her parents (AB). 
 
 2. A Rosary surrounding a picture of the Child Mary standing on a 
 bench between her parents (ACDE). 
 
 13. Some octavo cuts of Saints. 
 
 A. 28 June 1491 — Legende van S. Franciscus ende van 
 
 S. Claren (CA. 334). Antwerp, G. Leeu. 
 
 B. about 1491 — Regimen contra pestem (CA. 1065). ,, ,, 
 
 C. about 1492 — Hieronymi Psalterium (CA. 935). ,, ,, 
 
 1. S. Francis of Assisi (A). 
 
 2. S. Clara (A). 
 
 3. S. Anthony (B). 
 
 4. S. Jerome (C). 
 
 14. Two borders and a cut made, perhaps, for some 
 lost book. 
 
 about 1491 — Duytsche ghetiden (CA. 839 note). Antwerp, G. Leeu. 
 
 9 Aug. 1494 — Duytsche ghetiden (CA. 836). ,, Liesveldt. 
 
 29 July 1495 — Duytsche ghetyden (CA. 839). ,, ,, 
 
Sect. 12.] THE HAARLEM SCHOOL AT ANTWERP . 255 
 
 ] , 2. Two octavo borders, each in one piece ; they are formed of flowers, 
 birds, butterflies, etc. 
 
 3. The Mass of S. Gregory — an octavo cut rounded at the top to fit 
 within no. 1 of the borders. Perhaps this is part of a larger cut. 
 
 15. The Virgin and Child with S. Bernard, an octavo cut. 
 
 8 Oct. 1491 — Bernardus Souter (CA. 278). Antwerp, G. Leeu. 
 
 16. David praying — octavo cut, HMT. 102 (57) c. 
 
 2 Dec. 1491 — Glose opten psalm ‘ Miserere ’ (CA. 847). Antwerp, G. Leeu. 
 
 17. A set of seven quarto cuts made to illustrate the 
 ' Daughter of Sion.’ 
 
 A. 7 Jan. 1492 — Yanden Dochteren van Sijon (CA. G03). Antwerp, G. Leeu. 
 
 B. 1514 — Boethius. Deventer, A. Paffraet. 
 
 C. Nov. 1515 — Baptista Mantuanus. ,, ,, 
 
 D. 1516 — Vocabularium Pyladae. ,, ,, 
 
 E. Feb. 1517 — Declamatio Philippi. ,, ,, 
 
 F. 1517 — Oratio dominica. ,, ,, 
 
 1. Caritas shoots an arrow into the side of Christ, Oratio catches 
 the blood which flows from the wound (ABF). 
 
 2. Cognitio, after wounding the Soul, leaves the room (A). 
 
 3. Cognitio speaks to a man at the door of a house, within which a 
 party of people are seated at table (A). 
 
 4. Cognitio, Tides and Spes stand round the fainting Soul (AC). 
 
 5. Cognitio , Fides and Spes enter a room, in which the Soul lies in 
 bed (ADE). 
 
 6. Oratio , Caritas and Sapientia standing by the bedside of the 
 Soul (A). 
 
 7. Oratio and Caritas stand by the Soul, who sits in a chair (A). 
 
 18. A set of octavo cuts of the Seven Sorrows. They are 
 all found both in A and B. 
 
 A. 14 July 1492 — Die seven weeden O.L.V. (CA. 1778). Antwerp, G. Leeu. 
 
 B. about 1494 — Die seven ween O.L.V. (CA. 1780). ,, Liesveldt. 
 
 C. 6 Mar. 1517 — Fasciculus mime. Delft, Janszoen. 
 
 1. The Madonna and Child. She is seen three-quarter figure and 
 holds an apple in her r. hand. The Child, held in her 1. arm, is in the 
 act of blessing. The Blessed Virgin wears a veil on which a star is 
 embroidered. Her head is surrounded by a crown ; on her neck is a 
 small black cross. The background is an embroidered hanging. HMT. 
 103 (58) b 1. 
 
256 
 
 CATALOGUE OF THE WOODCUTS. [Part it. 
 
 2. The Mater Dolorosa. She is seen as a three-quarter figure turned 
 rather to the 1. and with the r. hand raised. She wears a cloak and hood. 
 HMT. 103 (58) b 2. 
 
 3. The Circumcision. 
 
 4. The Flight into Egypt. 
 
 5. Christ among the Doctors. 
 
 6. Christ bearing his Cross (C). 
 
 7. The Blessed Virgin and St John by the Cross. 
 
 8. The Descent from the Cross. 
 
 9. The Entombment. 
 
 19. A set of cuts to illustrate the ‘Virgin’s Mystic Crown. ’ 
 
 G Oct. 1492 — Corona mistica B. Marie V. (CA. 497). Antwerp, G. Leeu. 
 
 Half-octavo cuts. 
 
 1. A crown (no. 1) surmounted by leaves, six of which are seen in 
 front ; at the top of each leaf is an emblem and below it a jewel on the rim 
 of the crown. 
 
 2. A crown (no. 2), a copy of no. 1, but the right side of all the leaves 
 is shaded. 
 
 3. A crown (no. 3), similar to no. 1, but with a different set of 
 jewels and emblems. 
 
 4. A crown (no. 4), a copy of no. 3 ; the gem most on the left casts no 
 shadow on the rim. 
 
 The twenty-four jewels and emblems are : — 
 
 Topaz, Lucanus; Sardius, Lily ; Chalcedony, Arturius ; Sapphire, 
 Crocus; Agate, Sidus marinum; Jasper, Rose; Carbuncle, the Sun; 
 Emerald, Violet; Amethyst, the Moon: Chrysolite, Solsequium ; Chryso- 
 prase, Orion; Beryl, Camomile. 
 
 The remaining cuts are composite. They are formed of two blocks, 
 placed side by side, and together the same size as one of the preceding ; 
 so that an impression from one of the Crown blocks, together with two of 
 these smaller ones, resembles an ordinary octavo cut. The small blocks aro 
 of two kinds according as they are to stand on the 1. or the r., the former 
 representing a kneeling figure, the latter the altar before which he or 
 she kneels. 
 
 Left-hand cuts , 32mos. 
 
 5. A monk kneeling to the r., with sandals on his feet. 
 
 6. A woman kneeling, her r. foot showing. 
 
 7. A monk kneeling, without sandals. 
 
 8. A woman kneeling, her feet almost hidden. 
 
 Right-hand cuts , 32mos. 
 
 9. An altar, above which is a picture of the Virgin and Child, tho 
 Child to the 1. 
 
Sect. 12 ] THE HAARLEM SCHOOL AT ANTWERP. 257 
 
 10. A similar altar; two cusps are seen above the picture. 
 
 11. A similar altar with ribbons hanging down in front. 
 
 12. A similar altar ; the Child is to the r. 
 
 The space within the flat surface of the altar is in each case cut quite 
 away in the block, so that various small pieces of wood may in turn be 
 introduced as required. Of these there are twenty-four, carved with the 
 same jewels and emblems which appear in the crown (see above) These 
 are in turn laid upon the altar. 
 
 20. The Shield of England supported by angels, a quarto cut. 
 
 1493 — Cronycles of Englond (CA. 511). Antwerp, G. Leeu. 
 
 21. A set of 16mo religious cuts, belonging to this school, 
 only known as used at Deventer, but probably brought from 
 Antwerp. 
 
 A. 1 Mar. 1493 — Epistolen ende Evangelien (CA. 703). Deventer, J. de Breda. 
 
 B. 4 Mar. 1496 — Epistolen ende Ewangelien (CA. 705). ,, ,, 
 
 C. 6 Sept. 1496 — Hystorie geheyten Sydrack (CA. 982). ,, ,, 
 
 D. 1518 — Scat der geesteliker rijckdoem. Zutphen, T. de Os. 
 
 Several of these cuts occur in D. 
 
 1. The Last Judgment (AB). 
 
 2. The Annunciation (AB). 
 
 3. The Nativity (AB). 
 
 4. The Circumcision (AB). 
 
 5. The Adoration of the Magi (AB). 
 
 6. The Baptism of Christ (AB). 
 
 7. Christ among the Doctors (ABC). 
 
 8. The Marriage at Cana (AB). 
 
 9. The Temptation (AB). 
 
 10. The Raising of Lazarus (A). 
 
 11. The Mass of St Gregory (AB). 
 
 12. The Virgin and St John by the Cross (AB). 
 
 13. The Last Supper (AB). 
 
 14. The Resurrection (AB). 
 
 15. The Appearance of Christ to the Apostles (AB). 
 
 16. The Ascension (AB). 
 
 17. Pentecost (AB). 
 
 18. The Supper at Simon’s house (AB). 
 
 22. The Virgin and Child on the Crescent, an octavo cut. 
 
 about 1494 — Kalendarium (CA. 1064). Antwerp, Liesveldt. 
 
 23. Three miscellaneous octavo cuts. 
 
 A. 13 June 1495— Horarium Trajectense (CA. 990). Antwerp, Liesveldt. 
 
 B. about 1500 — Corte oefeninge (CA. 594). ,, ,, 
 
 C. about 1500 — Historie van Joseph (CA. 970). Gouda, Collacie Broed. 
 
 c. w. 17 
 
258 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 1. Virgin and Child in glory, half-figure (AB). 
 
 2. The Stem of Jesse (AC). 
 
 3. The Trinity — a cut reduced to 8vo size (A). 
 
 24. The Soul, as a girl, kneeling before the Child nailed to 
 a tree, an octavo cut copied from no. 38 in the Kintscheyt Jhesu 
 series above (Sect. xii. 6). 
 
 about 1495 — Die Gulden Letanien (CA. 1172). Antwerp, Back. 
 
 25. The Mass of S. Gregory, an octavo cut copied in reverse 
 from that in Leeu’s Duytsche ghetiden of about 1491 (Sect. xii. 
 14). 
 
 about 1495 — Passio Domini (CA. 1860). Antwerp, Back. 
 
 26. The Presentation of Christ in the Temple — 16mo cut. 
 
 3 July 1496 — Epistelen ende Evangelien (CA. 706). Antwerp, Back. 
 
 27. Two square quarto cuts of students. 
 
 A. about 1500 — Aristotle, Questiones naturales (CA. 182). Antwerp, Back. 
 
 B. 24 Sept. 1502 — Job. Picus Mirandula. ,, Martens. 
 
 C. 1511 — Herbarius. ,, Back. 
 
 1. A student of natural history seated in a tree, whilst another lies on 
 the grass at its foot (AC). 
 
 2. Two students seated at the foot of a tree, one writing and one 
 asleep (B). 
 
 Sect. 13. The Third Delft Woodcutter , of the Haarlem 
 
 School (1487—1498). 
 
 1. The Image of Pity, an octavo or small quarto cut. 
 
 about 1487 — Troest der conscientie (CA. 1684). 
 about 1490 — Kersten spiegel (CA. 599). 
 about 1495 — Die hondert Articulen (CA. 188). 
 1498 — Leven ons Heren (CA. 1120). 
 
 Delft, 
 
 9 5 
 9 9 
 9 9 
 
 Meer. 
 
 Snellaert. 
 
 9 9 
 
 Eckert. 
 
 2. Miscellaneous cuts. 
 
 
 
 A. 1 Mar. 1487 — Passionael (CA. 1763). 
 
 B. about 1490 — Kersten spiegel (CA. 599). 
 
 C. April 1496 — Quattuor novissima (CA. 1309). 
 
 Delft, 
 
 9 9 
 9 9 
 
 Meer. 
 
 Snellaert. 
 
 9 9 
 
 1. S. Jerome standing — 16mo cut (AB). 
 
 
 
 2. S. Anne with Virgin and Child in her lap — 8vo cut (A). 
 
 3. The Virgin and S. John by the Cross (B). 
 
 4. The Child Jesus with the signs of the Evangelists (BC). 
 
259 
 
 Sect. 13.] THE THIRD DELFT WOODCUTTER. 
 
 3. Christ appearing in glory to his Saints, a folio cut. 
 
 about 1498— Zielentroest (CA. 1549). Delft, Eckert 
 
 21 Sept. 1500 — Sielentroest (CA. 1550). Antwerp, Back. 
 
 Sect. 14. Cuts of the Haarlem School, used at Leyden 
 
 (1484—1500). 
 
 1. Device of the printer Heynricus Heynrici, a lion liolding 
 two shields, one with the mark of the printer and one with the 
 arms of Leyden, an octavo cut — HMT. 112 (86) b 2. 
 
 4 June 1484 — Aquinas de humanitate Christi (CA. 1670). Leyden, Heynrici. 
 
 2. A 16mo cut of the Annunciation. 
 
 10 Dec. 1494 — Ghetiden van O. L. Yrouwen (CA. 837) 
 
 3. Part of a set of octavo religious cuts. 
 
 A. 1497 — Getijden van O. L. Yrouwen (CA. 841). 
 
 B. 25 May 1498 — Leven ons Heren (CA. 1111). 
 
 C. 10 Mar. 1502 — Wandelinge der Kersten menschen. 
 
 1. The Image of Pity (BC). 
 
 2. Christ before Herod (B). 
 
 3. Christ crowned with thorns (B). 
 
 4. Ecce Homo (B). 
 
 5. Christ bearing his Cross (B). 
 
 6. The Day of Pentecost (A). 
 
 4. The Mater Dolorosa — large 16mo cut copied from that 
 used by G. Leeu in the Seven weeden of 14 July 1492 (Sect. xii. 
 18, no. 2). 
 
 1500 — Leven O. L. Yrouwen (CA. 1122). Leyden, Janszoen. 
 
 Leyden, Janszoen. 
 
 Leyden, Janszoen. 
 
 yy yy 
 
 ,, J. Severzoen. 
 
 Sect. 15. Augsburg Woodcuts used by Leeu (1485- — 1486). 
 A set of cuts made to illustrate the Fables of Esop. 
 
 A. before B — Esopi Fabulae. Augsburg, A. Sorg. 
 
 B. 12 Oct. 1485 — Fabulen van Esopus (CA. 28). Antwerp, G. Leeu. 
 
 C. 26 Sept. 1486 — Esopi Fabulae (CA. 26). ,, ,, 
 
 The cuts appear in all three editions unless otherwise stated. Those 
 marked d or r were copied direct or in reverse for Eckert van Homberch’s 
 
 17—2 
 
26o 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 edition (CA. 29) published at Delft, 27 April 1498 (Sect. xxi. 31). The only 
 copy of that edition which I have seen wanted the pages which should 
 have contained the copies of nos. 163 — 169. 
 
 1. Esop and the events of his life — fol. cut. 
 
 The following cuts measure about 4’5 x 3 2 inches. 
 
 2. The stolen Figs id). 
 
 3. Esop’s vision of Diana (r). 
 
 4. Esop on a journey, with other slaves ( d ). 
 
 5. Xanthus purchasing Esop ( d ). 
 
 6. Xanthus taking Esop home (d). 
 
 7. Xanthus presenting Esop to his wife ( d ). 
 
 8. Xanthus and Esop in the garden ( d ). 
 
 9. Esop waiting at Xanthus’ table (d). 
 
 10. Esop feeding a dog with a dish Xanthus had sent to his wife ( d ). 
 
 1 1 . Esop carrying provisions ( d ). 
 
 12. The dish of hogs’ tongues ( d ). 
 
 13. The imperturbable Rustic ( d ). 
 
 14. Esop’s answer to Xanthus ( d ). 
 
 15. Xanthus’ wager to drink up the sea {d). 
 
 16. Esop beaten (r). 
 
 17. Xanthus’ wife sleeping (d). 
 
 18. The hidden Treasure ( d ). 
 
 19. Esop in the stocks ( d ). 
 
 20. Esop enfranchised ( d ). 
 
 21. Fable of the sheep, the wolves and the dogs ( d ). 
 
 22. Croesus and Esop ( d ). 
 
 23. Esop concealed in a cave (not in B). 
 
 24. Esop restored to dignity ( d ). 
 
 25. Suicide of Ennus ( d ). 
 
 26. The carrying Eagles ( d ). 
 
 27. Esop’s statue ( d ). 
 
 28. Esop captured by the Delphians ( d ). 
 
 29. Esop taking sanctuary ( d ). 
 
 30. Esop hurled from a rock ( d ). 
 
 31. Prologue — A man copying Esop’s Fables (r). 
 
 32. The Cock and the Jewel (r). 
 
 33. The Wolf and the Lamb ( d ). 
 
 34. The Frog, the Mouse, and the Hawk (r). 
 
 35. The Dog and the Sheep ( d ). 
 
 36. The Dog and the Shadow (d). 
 
 37. The Lion, the Cow, the Goat, and the Sheep (d). 
 
 38. The Thief and the Sun ( d ). 
 
 39. The Wolf and the Stork ( d ). 
 
 40. The two Dogs ( d ). 
 
Sect 15.] AUGSBURG WOODCUTS USED BY LEEU. 261 
 
 41. The Man and the Serpent (d). 
 
 42. The Ass and the Bear (d). 
 
 43. The two Mice {d). 
 
 44. The Eagle and the Fox (d). 
 
 45. The Engle, the Snail, and the Crow (d). 
 
 46. The Fox and the Crow (d). 
 
 47. The Lion, the Boar, the Bull, and the Ass (d). 
 
 48. The Ass and the Puppy (d). 
 
 49. The Lion and the Mouse ( d ). 
 
 50. The two Hawks (r). 
 
 51. The Swallow and other birds (d). 
 
 52. Jupiter and the Frogs (d). 
 
 53. The Doves, the Kite, and the Hawk (d). 
 
 54. The Dog and the Thief ( d ). 
 
 55. The Wolf and the Sow (d). 
 
 56. The Mountain in labour (d). 
 
 57. The Lamb, the Goat, and the Wolf (d). 
 
 58. The old Dog and his Master (d). 
 
 59. The Hares and the Frogs id). 
 
 60. The Wolf and the Kid id). 
 
 61. The Poor Man and the Serpent (d). 
 
 62. The Stag, the Sheep, and the Wolf id). 
 
 63. The Fly and the Baldheaded man (d). 
 
 64. The Fox and the Stork (d). 
 
 65. The Wolf and the Woman (d). 
 
 66. The Jackdaw in borrowed plumes (d). 
 
 67. The Fly and the Mule (d). 
 
 68. The Fly and the Ant (r). 
 
 69. The Wolf and the Fox id). 
 
 70. The Man and the Weasel (d). 
 
 71. The Frog and the Ox (r). 
 
 72. The Lion and the Shepherd (d). 
 
 73. The Lion and the Horse (r). 
 
 74. The Horse and the Ass (r). 
 
 75. Beasts and Birds (d). 
 
 76. The Nightingale and the Hawk (r). 
 
 77. The Fox and the Wolf {d). 
 
 78. The Stag and the Huntsman (d). 
 
 79. Juno, Venus, and other Women (d). 
 
 80. The Woman and her dead Husband (r). 
 
 81. The Young man and the Harlot (d). 
 
 82. The Father and his Son (r). 
 
 83. The Viper and the File id). 
 
 84. The Man cutting wood (d). 
 
 85. The Wolf and the Dog id). 
 
 86. The Belly and the Members (d). 
 
262 
 
 CATALOGUE OF THE WOODCUTS. [Part il 
 
 87. The Ape and the Fox (d). 
 
 88. The Pedler and the Ass (d). 
 
 89. The Stag and the Oxen (d). 
 
 90. The deceitful Lion (d). 
 
 91. The Fox and the Grapes (r). 
 
 92. The Weasel and the old Mouse id). 
 
 93. The Wolf and the Ploughman. 
 
 94. Juno and the Nightingale (d). 
 
 95. The Panther and the Husbandman (d). 
 
 96. The Sheep and the Slaughterman (d). 
 
 97. The Fowler and the Birds (d). 
 
 98. The false and the true Man and the Apes (d). 
 
 99. The Horse, the Stag, and the Huntsman (d). 
 
 100. The Lion and the Ass (d). 
 
 101. The Vulture and the Birds (r). 
 
 102. The Lion and the Foxes (d). 
 
 103. The sick Ass and the Wolf (d). 
 
 104. The large and small Goats (d). 
 
 105. The Man and the Lion (d). 
 
 106. The Flea and the Camel (d). 
 
 107. The Ant and the Cicada (r). 
 
 108. The Traveller and the Sword (d). 
 
 109. The Crow and the Sheep (d). 
 
 110. The Fir-tree and the Reed (r). 
 
 111. The Mule, the Fox, and the Wolf (r). 
 
 112. The Wolf, the Fig, and the Sheep (d). 
 
 113. The Cock and the Fox.(^). 
 
 114. The Rustic and the Dragon id). 
 
 115. The Fox and the Cat {d). 
 
 1 1 6. The Wolf and the Goat (d). 
 
 117. The Wolf and the Ass. 
 
 118. The Serpent and the Husbandman. 
 
 119. The Fox, the Wolf, and the Lion (d). 
 
 120. The Wolf and the Man in a tree (d). 
 
 121. The envious Dog (d). 
 
 122. The Wolf and the hungry Dog (d). 
 
 123. The Father and his three Sons (d). 
 
 124. The Fox and the Wolf (d). 
 
 125. The Dog, the Wolf, and the Ram (d). 
 
 126. The Countryman and the Lion id). 
 
 127. The Knight, the Squire, and the Fox {d). 
 
 128. The Eagle and the Crow (d). 
 
 129. The Eagle, the Hare, and the Beetle id). 
 
 1 30. The Fox and the Goat ( d ). 
 
 131. The Cat and the Cock (d). 
 
 132. The Fox and the Bramble (d). 
 
Sect. 
 
 15.] AUGSBURG WOODCUTS USED BY LEEU. 263 
 
 133. The Man and the Wooden God(^). 
 
 134. The Fisherman (d). 
 
 135. The Cat and the Mice(r). 
 
 13C. The Husbandman and the Storks id). 
 
 137. The Boy that cried Wolf(d). 
 
 1 38. J upiter and the Bee (d). 
 
 139. The Hove and the Ant (< d ). 
 
 140. The Woodcutter (d). 
 
 141. The Thief and his Mother (d). 
 
 142. The Flea (r). 
 
 143. The Man and his two Wives ( d ). 
 
 144. The Labourers (d). 
 
 145. The Countrywoman and the Wolf(<i). 
 
 146. The Tortoise and the Birds ( d ). 
 
 147. The two Crabs (r). 
 
 148. The Ass in the Lion’s skin ( d ). 
 
 149. The Frog and the Fox ( d ). 
 
 150. The two Dogs (< d ). 
 
 151. Jupiter and the Camel (d), 
 
 152. The two Companions (d). 
 
 153. The two Pots ( d ). 
 
 154. The Lion, the Bull and the Goat(r). 
 
 155. The Ape and his young ( d ). 
 
 156. The Stork and the Peacock (d). 
 
 157. The Tiger and the Huntsman ( d ). 
 
 158. The four Bulls ( d ). 
 
 159. The Fir-tree and the Bush (d). 
 
 160. The Fisherman and the little Fish ( d ). 
 
 161. Apollo and the two Men (d). 
 
 162. The Thief and the Boy(<i). 
 
 163. The Lion and the Goat. 
 
 164. The Thirsty Crow. 
 
 165. The Rustic and the Bullock. 
 
 166. The Traveller and the Satyr. 
 
 167. The Mouse and the Ox. 
 
 168. The Goose that laid golden eggs. 
 
 169. The Ape and her twins. 
 
 170. The Cloud, the Rain, and the Vessel ( d ). 
 
 171. The W olf and the Kid ( d ). 
 
 172. The Man with a Burden ( d ). 
 
 173. The Bag of Money ( d ). 
 
 174. The Oil Casks (d). 
 
 175. The Treasure Trove (d). 
 
 176. The Three Companions (d). 
 
 177. The Fowler and the little Bird id). 
 
 17S. The Hunchback (d). 
 
264 
 
 CATALOGUE OF THE WOODCUTS. [Part 11 . 
 
 179. The Teller of stories (r). 
 
 180. The Wolf and the Fox (d). 
 
 181. The Young Woman and her Suitor (not in B). 
 
 182. The Old Woman leading a young one astray (not in B). 
 
 183. The Blind man and his Wife (not in B). 
 
 184. The drunken Husband (not in B). 
 
 185. The Merchant’s Wife and her Mother (not in B). 
 
 1 86. The King’s Tradesmen (d). 
 
 187. The Husband shut up in a Dovecot (not in B). 
 
 188. The Woman and her Child (not in B). 
 
 189. The Huntsman and the Bird(e/). 
 
 190. The Monsters (d). 
 
 191. The Bishop and the Priest (d). 
 
 192. The Fox and the Cock id). 
 
 Sect. 16. French Woodcuts used by Leeu (1491) and 
 others. 
 
 1. A set of cuts and borders in four pieces, used by Leeu 
 for an octavo edition of a Duytsche ghetiden. 
 
 A. about 1491 — Duytsche ghetiden (CA. 839 note). 
 
 B. 8 Oct. 1491 — B. Bernardus Souter (CA. 278). 
 
 C. about 1491 — Minnenbrief (CA. 1258). 
 
 D 1 13 March 1492 — Horarium Trajectense (CA. 994). 
 
 E. 6 Oct. 1492 — Corona Mistica (CA. 497). 
 
 F. about 1492 — Sarum Horae (not in CA.). 
 
 G. May 1494 — Gulden Letanie (CA. 1170). 
 
 H 1 . 9 Aug. 1494 — Duytsche ghetiden (CA. 836). 
 
 I. 1494 — Yier oefeningen (CA. 341), 
 
 K. about 1494 — Hondert Articulen (CA. 187). 
 
 L. 13 June 1495 — Horarium Trajectense (CA. 990). 
 
 M. 29 July 1495 — Duytsche ghetyden (CA. 839). 
 
 N. 1499 — Muntplacaat (CA. 1272). 
 
 O. about 1500 — Van onser salicheit (CA. 469). 
 
 P. about 1500— Corte oefeninge (CA. 594). 
 
 Q. 2 March 1513 — Psalterium. 
 
 Antwerp, G. Leeu. 
 
 5 5 
 55 
 15 
 5 5 
 55 
 
 55 
 15 
 5 5 
 
 5 5 
 
 Liesveldt. 
 
 5 5 
 5 5 
 5 5 
 5 5 
 
 5 5 
 5 5 
 5 5 
 
 55 
 
 Hillenius. 
 
 Borders, which may be distinguished by the variations in 
 the bottom piece in each case, thus : 
 
 1. Two flowers between a bird and a bud (ABDGHLM). 
 
 2. Two flowers in a white lozenge (ABDGII, K top piece, LM, 
 
 N inner piece). 
 
 1 I have seen no copies of the books D and H, but the cuts they contain are 
 in all probability as indicated in the list. 
 
Sect. 1G.] FRENCH WOODCUTS USED BY LEEU. 265 
 
 3. Two flowers and a bud, between a root and a flower(ABl)GIILM). 
 
 4. A root between a bird and a beast (ABDGHLM). 
 
 5. Two flowers on a band, between two flowers and a stalk 
 
 (ABDGHLM). 
 
 G. A root between a flower and a rabbit (ABDGHLM). 
 
 7. A bird and flower, between two flowers and two flowers 
 (ABDGHLM, N inner piece, 0 top piece). 
 
 S. Two flowers on an oval, between two flowers ; a white star 
 (ABDGHLM). 
 
 9. Two flowers on a white space, between two flowers (ABDGHLM, 
 0 top piece). 
 
 10. Two flowers on a white space, between two roots (ABDGHLM). 
 
 1 1. Four diamond- shaped spaces with a flower in each (ABDGHLM). 
 
 12. A flower-basket (ABC DGHLM). 
 
 13. A bird and flower, between two flowers (ABDGHLM). 
 
 14. Two flowers between two flowers ; black star (ABDGHKLM). 
 
 15. Three flowers between two flowers (ABDGHLM). 
 
 16. Two flowers between two flowers ; four white spots instead of a 
 
 star (ABDGHLM). 
 
 Octavo cats. 
 
 17. St John at Patmos (ADHLM). 
 
 18. The Annunciation, HMT. 109(70)bl (ADHLM). 
 
 19. The Visitation (ADHLM). 
 
 20. The Nativity (ADHLM). 
 
 2 1 . Gloria in excelsis ( AD H LM). 
 
 22. The Presentation (ADHLM). 
 
 23. The Three Kings (ADHLM). 
 
 24. The Flight into Egypt (ADHLM). 
 
 25. The Crucifixion (ADHLMP). 
 
 26. Pentecost (ADHLM). 
 
 27. David and Goliath (ADHLMQ). 
 
 28. Death (ADHLM). 
 
 29. The Coronation of the Virgin (ADEHLM). 
 
 30. The Pieta (ACDGHLP). 
 
 32mo cuts. 
 
 31. S. Michael (ADHLM). 
 
 32. S. John Baptist (ADHLM). 
 
 33. SS. Peter and Paul (ADHLM). 
 
 34. S. John the Evangelist (ADHLM). 
 
 35. S. Stephen ( ADHLM). 
 
 36. S. Laurence (ADHLM). 
 
 37. S. Christopher (ADHLM). 
 
266 
 
 CATALOGUE OF THE WOODCUTS. 
 
 [Part ii. 
 
 38. S. Sebastian (ADHLM). 
 
 39. S. Anthony (ADHLM). 
 
 40. S. Nicolas (ADIILM). 
 
 41. S. Martin (ADHLM). 
 
 42. S. Joest (ADHLM). 
 
 43. S. Anne (ADHLM). 
 
 44. S. Mary Magdalene (ADHLM). 
 
 45. S. Catherine (ADHLM). 
 
 46. S. Barbara (ADHLM). 
 
 47. S. Margaret (ADHLM). 
 
 48. S. Apollonia (ADHLM). 
 
 49. The Trinity, HMT. 109 (70) b 3 (FM). 
 
 50. The Virgin and Child in a ship, HMT. 109 (70) b 3 (M). 
 
 51. Salvator MundiiX). 
 
 2. A side-piece in three compartments, used at Delft by 
 Eckert. In the upper compartment two men embrace, in the 
 middle is the Betrayal of Christ, in the lower are three soldiers. 
 
 Aug. 1499 — Passionael, winterstuck (CA. 1767). Delft, Eckert. 
 
 This must be part of a French 8vo border. In Eckert’s Antwerp books 
 other cuts and portions of borders are found, but I have been unable to 
 discover any book printed by him in which a French series appears com- 
 plete. 
 
 3. A set of French Woodcuts used at Gouda. 
 
 20 April 1496 — Getyden van O. L. Vrouwen (CA. 840). Gouda, Collacie Broed. 
 Sixteen borders for an 8vo page, similar to those described above. 
 
 A set of octavo cuts, the subjects 
 namental arches. 
 
 bein 
 
 g seen, in every case, under 
 
 1 . 
 
 The Apocalypse. 
 
 9. 
 
 The dead Body of Christ on 
 
 2. 
 
 The Annunciation. 
 
 
 the Cross. 
 
 3. 
 
 The Visitation. 
 
 10. 
 
 Pentecost. 
 
 4. 
 
 The Nativity. 
 
 11. 
 
 David slaying Goliath. 
 
 5. 
 
 Gloria in excelsis. 
 
 12 . 
 
 Death. 
 
 6. 
 
 The Presentation. 
 
 13. 
 
 The Coronation of the Virgin. 
 
 7. 
 
 8. 
 
 The Three Kings. 
 
 The Flight into Egypt. 
 
 14. 
 
 The Pieta. 
 
 A set of 32mo cuts of saints, many of them cut in white out of a black 
 ground. 
 
Sect. 1G.] FRENCH WOODCUTS USED BY G. LEEU. 
 
 15. 
 
 S. Michael. 
 
 23. 
 
 S. Nicolas. 
 
 16. 
 
 SS. Peter and Paul. 
 
 24. 
 
 S. Martin. 
 
 17. 
 
 S. John. 
 
 25. 
 
 S. Joest. 
 
 18. 
 
 S. Stephen. 
 
 26. 
 
 S. Mary Magdalene. 
 
 19. 
 
 S. Lawrence. 
 
 27. 
 
 S. Catherine. 
 
 20. 
 
 S. Christopher. 
 
 28. 
 
 S. Margaret. 
 
 21. 
 
 S. Sebastian. 
 
 29. 
 
 S. Apollon ia. 
 
 22. 
 
 S. Anthony. 
 
 
 
 267 
 
 Sect. 17. The First Zwolle Woodcutter (1484 — 1491). 
 
 1. Two devices of the printer Peter van Os, used for the 
 first time in 
 
 26 May 1484 — Gestender Romeynen (CA. 828). Zwolle, P. van Os. 
 
 1. A small Device. Two shields hanging from a branch, the 1. bearing 
 the arms of Zwolle, the r. the printer’s mark. Between the two is a star 
 of six points, HMT. 90 (82) a. The upper r. ray of the star undergoes 
 various vicissitudes, and may be used as a help in fixing the date of undated 
 books. In this book, in both volumes of S. Bernardus Sermonen, and 
 elsewhere, all six rays appear clearly printed. It seems however that the 
 1. corner of the r. shield must have swelled; for, when printed in the 
 Evangelien ende epistelen of 1488, the ray of the star nearest this corner 
 begins to fade out, and it disappears in the Bien boeck of the same year. 
 For three years it presents all the appearance of being broken off; but in 
 1491, seemingly through the wearing down of the raised corner of the 
 shield, it begins again to reach the paper; and in all books printed at the 
 end of that year and afterwards, in which this device is used, the whole six 
 rays are seen. The device is not found after 1495. 
 
 2. A quarto Device. An angel kneeling in a niche, under a rough 
 archway, holding in- his hands the shield of Zwolle. In the spandrils of 
 the arch are the shields of Zwolle and of the printer. HMT. 92 (83) a. 
 
 It is found in a second state in the Somerstuck of S. Bernardus Ser- 
 monen of the 30th April 1485. In this the two shields above are blank, 
 and the shade hatchings down the r. side of the arch are considerably cut 
 away. HMT 92 (83) b. 
 
 2. A folio cut of the Virgin manifesting herself to S. Bernard. 
 
 24 Dec. 1484 — S. Bernardus Sermonen, Vol. i. (CA. 275). Zwolle, P. van Os. 
 
 30 April 1485 — S. Bernardus Sermonen, Vol. ii. (CA. 275). ,, ,, 
 
 27 May 1495 — S. Bernardus Sermonen, Vols. i. and ii. ,, ,, 
 
 (CA. 276). 
 
268 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 3. A folio cut of Moses receiving the Tables of Stone. 
 
 21 July 1485 — Der sielentroest (CA. 1547). Zwolle, P. van Os. 
 
 23 Aug. 1491 — Der sielentroest (CA. 1548). ,, ,, 
 
 4. A quarto cut of S. Luke, seated at a desk writing, and 
 two other blocks. 
 
 A. 5 Jan. 1487 — Ejristelen ende evangelijen (CA. 697). Zwolle, P. van Os. 
 
 13. 10 Nov. 1488 — Evangelien ende epistelen (CA. 699). ,, ,, 
 
 C. after B. — Epistolare et Evangeliare (CA. 682). ,, ,, 
 
 D. 1488 — Liden ons Heren (CA. 1162). Hasselt, Barmentloe. 
 
 1. S. Luke (ABC). 
 
 2, 3. Two insignificant side-pieces (ABD). 
 
 5. A set of quarto cuts copied from certain of the Second 
 Gouda Cutter’s series of sixty-eight (Sect. ix. 2). 
 
 A. 5 Jan. 1487 — Epistelen ende Evangelijen (CA. 697). Zwolle, P. van Os. 
 
 B. 1488 — Liden ons Heren (CA. 1162). Hasselt, Barmentloe. 
 
 C. 6 Nov. 1488 — Psalterium (CA. 539). Zwolle, P. van Os. 
 
 D. 1503 — Profectus religiosorum. ,, ,, 
 
 1. The raising of Lazarus, HMT. 98 (65) a 3 (B). 
 
 2. Christ’s entry into Jerusalem (AB). 
 
 3. Christ clearing the Temple (B). 
 
 4. The Last Supper (AB). 
 
 5. The Agony in the Garden (B). 
 
 6. The Betrayal (B). 
 
 7. The Amazement (B). 
 
 8. Christ before Pilate (B). 
 
 9. The Scourging of Christ (B). 
 
 10. Pilate washing his hands (B). 
 
 11. Christ bearing his Cross (B). 
 
 12. Christ nailed to the Cross (B). 
 
 13. The Descent from the Cross (B). 
 
 14. Christ under the mystic Press, HMT. 90 (82) a 2 (BCD). 
 
 6. A head piece for a folio page, representing beehives 
 and bees. 
 
 21 Nov. 1488 — Bien boeck (CA. 1658). Zwolle, P. van Os. 
 
 7. A set of folio cuts copied from those in the Ars Moriendi 
 Block-book. 
 
 1488 — Sterfboeck (CA. 1620). Zwolle, P. van Os. 
 
 4 June 1491 — Sterfboeck (CA. 1621). ,, ,, 
 
 All the cuts occur in both editions. 
 
269 
 
 Sect. 17.] THE FIRST ZWOLLE WOODCUTTER. 
 
 1. The sick man tempted by the devil to Distrust. 
 
 2. The exhortation of the angel to Faith, II MT. 93 (84) b. 
 
 3. The temptation to Despair. 
 
 4. The exhortation to Hope. 
 
 5. The temptation to Avarice. 
 
 6. The exhortation to Charity. 
 
 7. The temptation to Impatience. 
 
 8. The exhortation to Patience. 
 
 9. The temptation to Pride. 
 
 10. The exhortation to Humility. 
 
 11. The soul of the dying man received by angels. 
 
 8. Two quarto cuts of Saints, one being used by Barmentloe 
 as his device. 
 
 2 Jan. 1490 — S. Hieronymus Boeck (CA. 927). Hasselt, Barmentloe. 
 
 1. S. Jerome, standing in a room. 
 
 2. S. Stephen, holding two shields, one with the printer’s own arms 
 and one with the arms of Hasselt — HMT. 99 (66) a 1. 
 
 9. A folio cut representing the Martyrdoms of various 
 Saints, copied from one by the Utrecht Woodcutter (Sect. vi. 8). 
 
 1 Sept. 1490— Passionael, somerstuck (CA. 1766). Zwolle, P. van Os. 
 
 18 Nov. 1490 — Passionael, winterstuck (CA. 1766). ,, ,, 
 
 10. The Annunciation, an octavo cut possibly by this 
 workman. 
 
 23 Aug. 1491 — Sielentroest (CA. 1548). Zwolle, P. van Os. 
 
 27 March 1493 — Epistelen ende Evangelien (CA. 704). ,, ,, 
 
 20 Nov. 1495 — Ludolphus (CA. 1184). ,, . ,, 
 
 15 March 1499 — Ludolphus (CA. 1185). ,, ,, 
 
 Sect. 18. The Second Zwolle Woodcutter (1487 — 1498). 
 
 1. Certain of a set of devotional quarto cuts. 
 
 A. 5 Jan. 1487 — Epistelen ende evangelijen (CA. 697). Zwolle, P. van Os. 
 
 B. 1488 — Liden ons Heren (CA. 1162). Hasselt, Barmentloe. 
 
 1. Christ washing the disciples’ feet (B). 
 
 2. Christ before Caiaphas (B). 
 
 3. Christ before Herod (B). 
 
 4. The Virgin and S. John by the Cross (A). 
 
270 
 
 CATALOGUE OF THE WOODCUTS. [Part 11 . 
 
 2. A set of four quarto cuts copied from the set by the 
 First Gouda Woodcutter (Sect. viii. 4). 
 
 A. 1488 — Liden ons Heren (CA. 1162). Hasselt, Barmentloe. 
 
 B. about 1488— Clargie om wel te leven (CA.446). ,, ,, 
 
 C. 1 July 1491 — Die vier vutersten (CA. 1323). Zwolle, P. van Os. 
 
 1. The last Judgment, HMT. 98 (65) a 1 (ABC). 
 
 2. Death with a scythe reaping (BC). 
 
 3. The Mouth of Hell(BC). 
 
 4. The Gate of Heaven, HMT. 97 (64) a 1 (ABC). 
 
 3. A folio cut of the Annunciation. 
 
 1 Apr. 1490 — Vaderboeck (CA. 938). Zwolle, P. van Os. 
 
 18 Nov. 1490 — Passionael, winterstuck (CA. 1766). ,, ,, 
 
 27 May 1495 — S. Bernardus Sermonen (CA. 276). ,, ,, 
 
 15 Mar. 1499 — Ludolphus (CA. 1185). ,, ,, 
 
 4. Christ among the Doctors — an octavo cut. 
 
 A. 7 Sept. 1492 — Gemmula vocabulorum (CA. 794). Zwolle, P. van Os. 
 
 B. about 1497 — Alexander Gallus (not in C A). ,, ,, 
 
 5. The Pope on a throne under a canopy, an octavo cut. 
 
 about 1493 — Liber de consideratione (C A. 265). Zwolle, P. van Os. 
 
 6. A set of octavo cuts, perhaps by different hands. 
 
 A. 27 Mar. 1493 — Epistelen ende Evangelien (CA. 704). Zwolle, P. van Os. 
 
 B. 27 May 1495 — S. Bernardus Sermonen (CA. 276). ,, ,, 
 
 C. 20 Nov. 1495 — Ludolphus (CA. 1184). ,, ,, 
 
 D. 15 Mar. 1499— Ludolphus (C A. 1185). ,, ,, 
 
 E. 7 Sept. 1499 — Historie van S. Anna (CA. 964). ,, ,, 
 
 F. after 1500 — Opusculum de officiis(CA. 1275). ,, ,, 
 
 G. 15 Mar. 1519 — Ludolphus. ,, ,, 
 
 Most of the cuts reappear in G. 
 
 1. The Creation (CD). 
 
 2. The Fall (CD). 
 
 3. The Visitation (DE). 
 
 4. The Nativity (ADE). 
 
 5. The Circumcision (ACD). 
 
 6. The Adoration of the Magi (AD). 
 
 7. The Presentation in the Temple (C). 
 
 8. The Flight into Egypt (CD). 
 
 9. The Entry into Jerusalem (BCD). 
 
 10. The Last Supper (AB). 
 
 11. Christ on the Cross between two thieves (A). 
 
271 
 
 Sect. 18 .] THE SECOND ZWOLLE WOODCUTTER. 
 
 12. Tlie Descent to Hades (B). 
 
 13. The Resurrection (A B). 
 
 14. The Supper at Emmaus (DF). 
 
 15. The Day of Pentecost (ABCD). 
 
 16. The Assumption (B). 
 
 17. Salvator Mundi (CD). 
 
 7. Salvator Mundi , a quarto cut. 
 
 about 1495 — De contemptu mundi (CA. 709). Zwolle, P. van Os. 
 
 about 1497 — Alexander Gallus (not in CA.). ,, ,, 
 
 about 1497 — Quomodo legendi sunt libri (CA. 259). ,, T. van Os. 
 
 about 1500 — Aristoteles, De moribus (CA. 172). ,, ,, 
 
 Sect. 19. Miscellaneous Zwolle Cuts (1491 — 1500). 
 
 1. Two borders for octavo cuts. 
 
 A. 7 Sept. 1492 — Gemmula vocabulorum (CA. 794). Zwolle, P. van Os. 
 
 B. about 1497 — Alexander Gallus (not in CA.). ,, ,, 
 
 C. 15 Mar. 1499 — Ludolplius (CA. 1185). ,, ,, 
 
 1. An architectural Border in one piece. It represents a window 
 surmounted by a canopy and finials (AC). 
 
 2. A Border in one piece. At the corners are the symbols of the 
 Four Evangelists (BC). 
 
 2. A set of octavo cuts, chiefly of saints. 
 
 A. 27 May 1495 — S. Bernardus Sermonen (CA. 276). Zwolle, P. van Os. 
 
 B. 20 Nov. 1495 — Ludolphus (CA. 1184). ,, ,, 
 
 C. about 1495 — De contemptu mundi (CA. 709). ,, ,, 
 
 D. 15 Mar. 1499 — Ludolphus (C A. 1185). ,, ' ,, 
 
 E. after 1500 — Opusculum de officiis (CA. 1275). ,, ,, 
 
 These cuts are frequently found in the early years of the 16th century. 
 
 1. S. Philip (A). 
 
 2. S. James the Less (A). 
 
 3. S. Peter with a key (A). 
 
 4. S. Peter ad vincula (BD). 
 
 5. B. Eucherius Episcopus (C). 
 
 6. Johannes Murmellius (E). 
 
 3. A small Device, two shields joined by a cord, the 1. 
 bearing the printer’s mark, the r. the arms of Zwolle. HMT. 
 94 (85) c. Used by both P. and T. van Os. 
 
 about 1497 — Quomodo legendi sunt libri (CA. 259). Zwolle, T. van Os. 
 1500 — Bartholomei Canones (CA. 250 a). ,, P. van Os. 
 
2J2 
 
 CATALOGUE OF THE WOODCUTS . [Part ii. 
 
 4. The Monogram IHS between the symbols of the Four 
 Evangelists — HMT. 94 (85) b, a square quarto cut copied from 
 the one frequently used by J. de Breda (Sect, xxviii. 7). 
 
 about 1497 — Liber faceti(CA. 735). Zwolle, P. van Os. 
 
 about 1500 — Stella clericorum (CA. 1616). ,, ,, 
 
 5. Saturn and Mars with a Crab — square octavo cut. 
 
 about 1497 — Sallustius, Catilina (CA. 1502). Zwolle, P. van Os. 
 
 1500 — Bartholomei Canones (CA. 250 a). ,, ,, 
 
 about 1500 — Sallustius, Jugurtha (CA. 1503). ,, ,, 
 
 1511 — Ovid, Fasti. Deventer, Th. de Borne. 
 
 6. The Virgin and Child in glory — a 16mo cut copied from 
 one by the Second Gouda Woodcutter (Sect. ix. 6). 
 
 15 Mar. 1499 — Ludolphus (CA. 1185). Zwolle, P. van Os. 
 
 7. The Creation — an octavo cut. 
 
 1500 — Bartholomei Canones (CA. 250 a). Zwolle, P. van Os. 
 
 Sect. 20. The First Cuts used at Delft (1477 — 1482). 
 
 1. Two devices used by Meer and Yemantszoen. 
 
 10 Jan. 1477 — Bible in duytsehe (CA. 290). Delft, Meer and Yemantszoen. 
 
 1. The Shield of Delft, HMT. 81 (104) a — a small device. 
 
 2. The Shields of the printers connected by a branch, HMT. 81 (104) b 
 — a small device. 
 
 2. Three quarto cuts made for this book. 
 
 1482 — Boec vanden gheboden Gods etc. (CA. 802). Delft, Meer. 
 
 1. A Priest instructing a man, woman and two children. 
 
 2. A man at Confession. 
 
 3. A Priest by the bedside of a dying man. 
 
 Sect. 21. The Second Delft Woodcutter and his School 
 (1480—1498). 
 
 1. Vander Meer’s device — a Lion holding shields with the 
 arms of the printer and of the town of Delft. HMT. 82 (105) a 2. 
 
 12 Feb. 1480 — Duytsehe Souter (CA. 549). 
 
 Delft, Meer. 
 
Sect. 21 .] THE SECOND DELFT WOODCUTTER. 273 
 
 2. A set of four quarto cuts copied from those made to 
 illustrate the Seven Wise Men by the First Gouda Gutter (Sect, 
 viii. 5). 
 
 A. 13 Jan. 1483 — Hystorie van die seven wise mannen(CA. 953). Delft, Meer. 
 
 B. about 1490— Konste om te leeren spreken (CA. 70). „ Snellaert. 
 
 C. about 1490 — Historie van die seven vroede (CA. 955). ,, » 
 
 D. about 1490 — Conste om te leeren spreken (CA. 71). ,, » 
 
 E. April 1497 — Seneca de quattuor virtutibus (not in CA.). ,, ,, 
 
 1. The Emperor Diocletian commending the Prince, his son, to the 
 
 Seven Wise Men, HMT. 85 (108) c (ABCD). 
 
 2. The Empress making her defence before the Emperor (A). 
 
 3. One of the Wise Men addressing the Emperor on behalf of the 
 
 Prince (AE). 
 
 4. The Prince delivering an oration after his acquittal in the 
 
 presence of the Emperor, the Empress, and the Wise Men (AC). 
 
 3. A set of octavo cuts illustrative of the Game of Chess. 
 
 A. 14 Feb. 1483 — Scaecspul (CA. 421). Delft, Meer. 
 
 B. about 1484 — Historie van Seghelijn (CA. 980). ,, ,, 
 
 C. about 1488— Spiegel van Sassen (CA. 1595). ,, ,, 
 
 D. about 1488 — Historie van Karel ende Elegast (CA. 971). ,, Snellaert. 
 
 E. 1489 — Duijtschen doctrinael (CA. 604). ,, ,, 
 
 F. about 1490 — Baghijnken van Parijs (CA. 215). ,, ,, 
 
 G. 28 Sept. 1495 — Modus legendi in utroque jure (CA. 1267). ,, ,, 
 
 1. The King seated on his throne (ACDG). 
 
 2. The Queen seated on her throne (AF). 
 
 3. The King’s counsellor — the Bishop (AE). 
 
 4. The Knight riding to the r. (AB). 
 
 5. The Rook riding to the 1. (AB). 
 
 6. The King’s Rook’s Pawn— a Labourer (A). 
 
 7. The King’s Knight’s Pawn — an Armourer (A). 
 
 8. The King’s Bishop’s Pawn — a Notary, represented as a man 
 
 with shears, a hatchet and writing materials (A). 
 
 9. The King’s Pawn — a Merchant, with scales and a money-bag (A). 
 
 10. The Queen’s Pawn — an Apothecary, seated with a bag and an 
 
 open book (A). 
 
 11. The Queen’s Bishop’s Pawn — an Innkeeper (A). 
 
 12. The Queen’s Knight’s Pawn — a Toll-gatherer, with a stick and a 
 
 bag hanging from his girdle (A). 
 
 13. The Queen’s Rook’s Pawn — a Messenger, holding out his r. 
 
 hand (A). 
 
 C. W. 
 
 18 
 
2 74 . CATALOGUE OF THE WOODCUTS [Part n. 
 
 4. A King seated on his throne under a flat canopy, seven 
 old men and three others standing by him, five on each side — 
 half-fol. cut. 
 
 19 Aug. 1483 — Somme ruyrael (CA. 361). Delft, Meer. 
 
 1503 — Somme rurael. Antwerp, Eckert. 
 
 1512 — Gesta Eomanorum. ,, ,, 
 
 5. Two half-folio cuts, possibly by another hand. 
 
 A. 13 July 1484 — Passionael, Yol. n. (CA. 1761). Delft, Meer. 
 
 B. 9 Nov. 1484 — Passionael, Yol. i. (CA. 1760). ,, ,, 
 
 C. 1 Mar. 1487 — Passionael, Yols. i. and n. (CA. 1763). ,, ,, 
 
 D. 7 Oct. 1489 — Passionael, Vol. n. (CA. 1765). ,, Snellaert. 
 
 E. 27 Oct. 1489 — Passionael, Yol. i. (CA. 1765). ,, ,, 
 
 F. Aug. 1499 — Passionael, Yol. i. (CA. 1767). ,, Eckert. 
 
 G. 1500 — Passionael, Yol. n. (CA. 1767). ,, ,, 
 
 1. The Resurrection (ACEF). 
 
 2. Salvator Mundi, with the Blessed Virgin, SS. John Baptist, 
 
 Peter, Francis of Assisi, George, Catherine and others (BCDG). 
 
 6. A small device used by Yander Meer, the shield of 
 Delft hanging from a cord — HMT. 82 (105) e. 
 
 25 Mar. 1486 — Vier uterste (CA. 1319). Delft, Meer. 
 
 7. A set of 58 quarto cuts of religious subjects. 
 
 A. 
 
 25 Mar. 1486 — Vier uterste (CA. 1319). 
 
 Delft, Meer. 
 
 B. 
 
 29 Nov. 1486 — Epistelen ende Evangelien (CA. 696). 
 
 i i i i 
 
 C. 
 
 1 Mar. 1487 — Passionael (CA. 1763). 
 
 91 11 
 
 D. 18 Mar. 1487 — Ons heeren passie (CA. 1160). 
 
 11 91 
 
 E. 
 
 3 Sept. 1487 — Epistelen ende Evangelien (CA. 698). 
 
 91 91 
 
 F. 
 
 22 May 1488 — Ludolphus (CA. 1182). 
 
 ,, Snellaert. 
 
 G. 
 
 1488 — Vier Uytersten (CA. 1321). 
 
 11 11 
 
 H. 
 
 1488 — Epistolen ende Evangelien (CA. 700). 
 
 11 11 
 
 K. 
 
 1488— Sterfboeck (CA. 1619). 
 
 11 11 
 
 L. 
 
 about 1488 — Vier vterste (CA. 1322). 
 
 11 11 
 
 M. 
 
 ^Oct" j — Passionael, Vols. i and ii (CA. 1765). 
 
 9 9 11 
 
 N. 
 
 1491 — De judicio Dei (CA. 580). 
 
 11 11 
 
 O. 27 Nov. 1495 — Tondalus visioen(CA. 1689). 
 
 11 11 
 
 P. 
 
 1495 — Liden ons heeren (CA. 1168). 
 
 11 11 
 
 Q. 
 
 about 1495 — Proverbia (CA. 1454). 
 
 11 91 
 
 R. 
 
 April 1496 — Quattuor nouissima (CA. 1309). 
 
 11 11 
 
 S. 
 
 about 1498 — Lilium grammatice (CA. 1791). 
 
 ,, Eckert. 
 
 T. 
 
 about 1498 — De vier uterste (CA. 585). 
 
 11 11 
 
 Y. 
 
 i — Passionael, Yols. i. and ii. (CA. 1767). 
 
 1500) 
 
 91 11 
 
 X. 1503 — Ludolplius. Antwerp, ,, 
 
 Y. 1512 — Ludolphus. ,, » 
 
275 
 
 Sect. 21 .] THE SECOND DELFT WOODCUTTER. 
 
 1. The Fall (F). 
 
 2. The Expulsion from Eden (F). 
 
 3. The Blessed Virgin going up the Temple steps (F). 
 
 4. The Annunciation (BCFMV). 
 
 5. The Visitation (BEF). 
 
 6. The Nativity (BCEFMV). 
 
 7. The Circumcision (BCEFMV). 
 
 8. The Adoration of the Magi (BCEFMV). 
 
 9. The Presentation of Christ in the Temple (BCEFMV). 
 
 10. The Flight into Egypt (F). 
 
 11. The Murder of the Innocents (BCEFMV). 
 
 12. Christ among the Doctors (BEFQS). 
 
 13. The Baptism of Christ (BEF). 
 
 14. The Temptation (BCFMV). 
 
 15. The Marriage at Cana (BEF). 
 
 16. Christ disputing in the temple (DF). 
 
 17. The Woman of Samaria (F). 
 
 18. The Supper at Bethany (BDEF). 
 
 19. The raising of Lazarus (BDEF). 
 
 20. Christ’s Entry into Jerusalem (BDFH). 
 
 21. Christ clearing the Temple (DF). 
 
 22. The Last Supper (BDEF). 
 
 23. Christ washing the disciples’ feet (DF). 
 
 24. The Agony in the garden (DF). 
 
 25. The Betrayal (DF). 
 
 26. The amazement of the soldiers (DF). 
 
 27- Christ before Annas (DF). 
 
 28. Christ before Caiaphas (DF). 
 
 29. Christ blindfolded (DF). 
 
 30. Christ before Pilate (DF). 
 
 31. The Scourging (DF). 
 
 32. Christ crowned with thorns (DF). 
 
 33. Ecce Homo (DF). 
 
 34. Pilate washing his hands (DF). 
 
 35. Christ falling under the cross (DF). 
 
 36. Christ stripped of his raiment (F). 
 
 37. The nailing to the cross (DF). 
 
 38. The Elevation of the cross (F). 
 
 39. The Virgin and St John by the cross (ABCDEFLMT). 
 
 40. Longinus’ spear (F). 
 
 41. The Descent from the cross (DF).' 
 
 42. The Entombment (DF). 
 
 43. The gate of Hades (DF). 
 
 44. The Resurrection (BDEF). 
 
 45. The Three Maries at the tomb (BDEF). 
 
 46. Christ as the Gardener (DF). 
 
 18—2 
 
276 
 
 CATALOGUE OF THE WOODCUTS. 
 
 [Part ii. 
 
 47. The Supper at Emmaus (BDEF). 
 
 48. Thomas convinced (DF). 
 
 49. Christ appearing to the Apostles (BEF). 
 
 50. The Ascension (BCDEFMV). 
 
 51. Pentecost (BCDEFMV). 
 
 52. The Assumption (CFMV). 
 
 53. The Mass of St Gregory (BEH). 
 
 54. Death (AKLT). 
 
 55. Judgment (ABFKLNT). 
 
 56. Hell(AKLOT). 
 
 57. Heaven (AL). 
 
 8. Some borders and side-pieces. 
 
 A. 1 Mar. 1487 — Passionael, Vols. 1. and 11. (CA. 1763). Delft, Meer. 
 
 B. 22 May 1488 — Ludolphus (CA. 1182). ,, Snellaert. 
 
 C. 2 Nov. 1488 — Twispraee der creaturen (CA. 568). ,, ,, 
 
 _ (27 Oct.) 
 
 D. -j ^ [ 1489 — Passionael, Vols. 1. and 11. (CA. 1765). ,, ,, 
 
 E. 10 Aug. 1491 — Minnenbrief (CA. 1257). ,, ,, 
 
 F. 1498 — Leven ons Heren (CA. 1120). ,, Eckert. 
 
 G. |^ U ^' 2500} — P ass i° nae h Vols. 1. and 11. (CA. 1767). ,, ,, 
 
 1. A three-sided border in one piece, representing figures of men and 
 animals among tendrils with leaves and flowers. It is constantly used by 
 Snellaert and Eckert in connexion with the 4to. device. It is reproduced 
 HMT. 83 (106) a 2 (AC etc.). 
 
 2. A border for a 16mo. cut, made in one piece, representing entwined 
 tendrils with flowers and leaves. It is almost always used in connexion 
 with Snellaert’s I61110. device, HMT. 83 (106)<?3 (AEF etc.). 
 
 3. 4. Two architectural side pieces, representing figures in niches, to 
 go by the side of 4to. cuts. They were used by Eckert van Homberch at 
 Antwerp as late as 1520 (ABDG). 
 
 9. Cuts made as illustrations for the P assionael. 
 
 A. 
 
 1 Mar. 1487 — Passionael, Vols. 1. and 11. (CA. 1763). 
 
 Delft, 
 
 Meer. 
 
 B. 22 May 1488 — Ludolphus (CA. 1182). 
 
 n 
 
 Snellaert. 
 
 C.- 
 
 1 1489 — Passionael, Vols. 1. and 11. (CA. 1765). 
 
 I 7 Oct. 
 
 ** 
 
 ff 
 
 D. 
 
 1497 — Historie van S. Barbara (CA. 966). 
 
 ff 
 
 ff 
 
 E. 
 
 1498 — Vader boeck (CA. 939). 
 
 ff 
 
 Eckert. 
 
 F. 
 
 | Aug * —Passionael, Vols. 1. and 11. (CA. 1767). 
 
 ff 
 
 ff 
 
 G. 
 
 1505 — Passionael. 
 
 Antwerp, ,, 
 
 H. 
 
 1516 — Passionael. 
 
 Most of the cuts which appear in F are found also 
 
 ff ff 
 
 in G and II. 
 
277 
 
 Sect. 21.] THE SECOND DELFT WOODCUTTER. 
 
 Folio cut. 
 
 ]. A woman ( Scriptura ) expounding from a book to a man who 
 kneels before her. A copy from the cut (Sect. x. 6. 1) by the 
 First Antwerp Cutter used in the Ludolplius of 1487 (ABCF). 
 
 Half-folio cuts. 
 
 Winterstuc — Yol. i. 
 
 2. The Blessed admitted at the Gate of Heaven (ACF). 
 
 3. Four erowned Martyrs standing side by side (ACF). 
 
 4. St Martin cutting off a portion of his cloak (ACF). 
 
 5. The Consecration of a church (ACF). 
 
 6. St Anthony tormented by demons (ACF). 
 
 7. The Conversion of St Paul (ACF). 
 
 8. St Hubert kneeling before the stag ( A; C and F employ 16 instead). 
 Somerstuc — Vol. n. 
 
 9. St George piercing the dragon with his lance (ACF). 
 
 10. St Helena finding the three crosses (ACF). 
 
 11. St John in the caldron (ACF). 
 
 12. An image carried in a procession (ACF). 
 
 13. The Martyrdom of St Erasmus (ACF). 
 
 14. The Martyrdom of the Ten Thousand Soldiers (ACF). 
 
 15. The Seven Sleepers (ACF). 
 
 16. The Seven Brothers (ACF). 
 
 17. St Peter ad vincula (ACF). 
 
 18. King Erakleus bringing the Holy Cross in at the gate of Jerusa- 
 
 lem (ACF). 
 
 Quarto cuts. 
 i Winterstuc— Yol. I. 
 
 19. St Katherine (ACF). 
 
 20. St Barbara (ACDF). 
 
 Somerstuc — Yol. II. 
 
 21. St Ursula (ACF). 
 
 Octavo cuts. 
 
 Winterstuc — Yol. I. 
 
 22. A Bishop standing in an open country with a closed book in his 
 
 r. hand and his staff in his 1. (ACF). 
 
 23. St Theodorus — with a feather in his cap and a sword in his r. 
 
 hand (A). 
 
 24. St Elizabeth — with a crown in her r. hand and a leper at her 
 
 feet (A). 
 
 25. St Cecilia — with an organ and a sword (ACF). 
 
 26. St Clement — a Pope, with an anchor in his r. hand (ACF). 
 
 27. An Abbot — to the 1., in his r. hand his staff and in his 1. a book 
 
 (ACF). 
 
CATALOGUE OF TIIE WOODCUTS. [Part ii. 
 
 278 
 
 28. Barlaam — on a pavement with a rosary in his 1. hand (ACEF). 
 
 29. A Pope — his staff in his r. hand and a book in his 1., standing on 
 grass facing 1. (ACF). 
 
 30. Mahomet — seated, with a bird on his shoulder (ACF). 
 
 31. Venerable Bede — standing on a pavement facing r. holding out his 
 1. hand (AC). 
 
 32. St Andrew — with his cross (ACF). 
 
 33. The Virgin and Child in glory (ACF). 
 
 34. St Lucia — with a sword through her neck (A). 
 
 35. St Thomas — with a spear in his r. hand (A). 
 
 36. St Anastasia — as a nun, standing on a pavement with a book in 
 her r. hand (ACF). 
 
 37. St Stephen — holding stones in his cloak (ACF). 
 
 38. St John — holding a cup from which he exorcises a serpent (A). 
 
 39. St Felix— with bare head, facing 1., a book in his r. hand (A). 
 
 40. St Ponciaen — standing on a pavement with a drawn sword in his 
 1. hand, a small cap on his head (A). 
 
 41. St Prisca — standing on a pavement with her long hair over her 
 shoulders (A). 
 
 42. St Sebastian — a bow in his r. hand and an arrow in his 1. (ACF). 
 
 43. St Agnes— with a lamb (ACF). 
 
 44. St Loy — as a Bishop with a hammer in his r. hand (ACF). 
 
 45. St Joest — seated with an open book instructing a fellow pilgrim 
 who kneels before him (A). 
 
 46. St Augustine — as a Bishop with a heart in his r. hand. The heart 
 is not always inked in, and then the cut is used for any Bishop (ACF). 
 
 47. St Apollonia — with the pincers in her 1. hand (ACF). 
 
 48. St Scolastica — wearing a black hood and reading from a book (ACF). 
 
 49. St Dorothea — crowned with roses and with a flower basket in her 
 r. hand (ACF). 
 
 50. St Peter ad cathedram — he is reading from a book (ACF). 
 
 51. St Matthias — with a halberd (AC). 
 
 Somerstuc — Vol. II. 
 
 52. St Mary Magdalene — with a vase in her hand, also used for 
 St Mary of Egypt (ACF). 
 
 53. St Mark — with the Lion (A). 
 
 54. St Philip — with a crosier in his r. hand (A). 
 
 55. St James the Less — with a club in his r. hand (A). 
 
 56. St Pancras — with a hawk on his 1. wrist (ACP'). 
 
 57. St Nereus and St Achilles — standing side by side with swords in 
 their hands (A). 
 
 58. St Odolphus — with a stick in his r. hand and a chalice in his 1. (A). 
 
 59. St Alexius — with a ladder (A). 
 
 60. St John Baptist — with a lamb (ACF). 
 
Saor. 21.] THE SECOND DELFT WOODCUTTER. 279 
 
 Gl. St Paul — liis 1. band resting on a sword, the r. holding a book in 
 a case (A). 
 
 62. St Margaret — coming out of the body of a dragon (ACF). 
 
 63. St Peter Martyr — with a chopper sticking into his head (A). 
 
 64. St Mary Magdalene — seen through an archway with a vase in both 
 hands (ACF). 
 
 65. St James the Great — with a cockle shell in front of his hat (AC). 
 
 66. St Christopher — with the Child on his back (ACF). 
 
 67. St Martha — with a bucket in her 1. hand and a brush in her r. (ACF). 
 
 68. St Dominic — with a crosier in his 1. hand and blessing with the r. (A). 
 
 69. St Laurence — with a gridiron (ACF). 
 
 70. St Hippolitus — clothed in armour (ACF). 
 
 71. St Roch — healed by an angel (ACF). 
 
 72. St Bartholomew — with a knife (ACF). 
 
 73. St Mamertinus — resting his r. hand on a sword (A). 
 
 74. The Decollation of St John the Baptist (ACF). 
 
 75. St Giles — with a fawn (ACF). 
 
 76. St Adrian — a lion at his feet (A). 
 
 77. St Cyprian — with a hunting horn (ACF). 
 
 78. St Maurice — with sword and banner, surrounded by four little 
 men (ACF). 
 
 79. St Cosmas and St Damian — with medical instruments (ACF). 
 
 80. St Michael — with wings, the dragon at his feet (ACF). 
 
 81. St Francis of Assisi — with the ‘stigmata’ (ACF). 
 
 82. St Denis — carrying his head (ACF). 
 
 83. St Luke — with the ox (A). 
 
 84. St Simon and St Jude — Simon on the r. with a saw (ACF). 
 
 85. St Leonard— with two tassels hanging from a string in his r. hand 
 (ACF). 
 
 86. St Quintin — nailed to a chair (ACF). 
 
 87. Sts Crispin and Crispinian — with a sword and awl and a hatchet 
 
 (ACF). 
 
 88. St Clara — carrying a reliquary (A). 
 
 10. The maid Liedwy standing, crowned with flowers — 
 octavo cut. 
 
 11. A quarto border of twining tendrils. 
 
 Both these nos. 9 and 10 occur in the following work. 
 
 3 March 1487 — Leven van Liedwy (CA. 1123). Delft, Meer. 
 
 11 June 1490 — Leven van Liedwy (CA. 1124). ,, Snellaert. 
 
 12. A set of cuts for the illustration of Ludolphus’ Life of 
 Christ. They are copied from those by the First Antwerp 
 Cutter (Sect. x. 6), used by Leeu in his editions of the same book. 
 
28 o 
 
 CATALOGUE OF THE WOODCUTS. 
 
 [Part ii. 
 
 A. 
 
 22 May 1488 — Ludolphus (CA. 1182). 
 
 Delft, Snellaert. 
 
 B. 
 
 2 Nov. 1488 — Twispraec der creaturen (CA. 568). 
 
 99 99 
 
 C. 
 
 1498 — Yader boeck (CA. 939). 
 
 „ Eckert. 
 
 D. 
 
 1503 — Ludolphus. 
 
 Antwerp, ,, 
 
 E. 
 
 1512 — Ludolphus. 
 
 99 99 
 
 The whole set is found in A ; most of the cuts reappear in D and E. 
 
 Folio cuts. 
 
 1. The Creation of all things (B).. 
 
 2. God’s Commands. 
 
 3. The story of SS. Joachim and Anne. 
 
 4. Christ teaching from a boat. 
 
 5. The Centurion’s Son. 
 
 6. The Good Samaritan. 
 
 7. Piscina probatica. 
 
 8. The King who made a supper. 
 
 9. Blind Bartimseus. 
 
 10. The feeding of the Four Thousand. 
 
 11. The healing of the Blind Man of Bethsaida. 
 
 12. Peter’s confession. 
 
 13. The Transfiguration. 
 
 14. Christ seated among the Twelve. 
 
 15. The Last Supper. 
 
 16. Christ before the Judge. 
 
 17. Three appearances of Christ after his Resurrection (C). 
 
 18. Christ’s appearance to his Disciples. 
 
 19. The Gospel preached to all nations. 
 
 Half-folio cuts. 
 
 20. Adam and Eve trying to hide themselves. 
 
 21. St Joseph’s rod budding. 
 
 22. The Testimony of John Baptist. 
 
 23. Nicodemus. 
 
 24. Christ baptising. 
 
 25. The Sermon on the mount. 
 
 26. Christ casting out a devil. 
 
 27. The Raising of the Widow’s son at Nain. 
 
 28. The devils sent into the swine. 
 
 29. The Sick Man let down through the roof to be healed. 
 
 30. The Call of Matthew. 
 
 31. The Raising of Jairus’ daughter. 
 
 32. The Healing of two Blind Men. 
 
 33. Christ and Mary Magdalene. 
 
 34. The Decollation of St John the Baptist. 
 
 35. The Feeding of the Five Thousand. 
 
 36. Peter walking on the water. 
 
28 i 
 
 Sect. 21.] THE SECOND DELFT WOODCUTTER. 
 
 37. The Disciples plucking ears of corn on the Sabbath. 
 
 38. Christ healing the man with the withered arm. 
 
 39. Christ at table. 
 
 40. Christ healing the dropsical man. 
 
 41. Christ teaching in a room. 
 
 42. The Woman taken in adultery. 
 
 43. The Jews desire to stone Christ. 
 
 44. The Canaanitish woman. 
 
 45. Christ casting out a devil. 
 
 46. The Tribute-money in the fish’s mouth. 
 
 47. The Lost Sheep. 
 
 48. The King demanding an account. 
 
 49. The question of Divorce. 
 
 50. The Rich Young Man. 
 
 51. The Labourers in the Vineyard. 
 
 52. The King counting the cost. 
 
 53. Lazarus in Abraham’s bosom. 
 
 54. Christ healing ten lepers. 
 
 55. A Samaritan rejecting Christ. 
 
 56. Zacchaeus. 
 
 57. The Fig-tree cursed. 
 
 58. The Tribute-money. 
 
 59. The Ten Virgins. 
 
 60. The Debtor. 
 
 61. Judas bargaining with the Priests. 
 
 62. Enoch and Elias in Paradise. 
 
 63. Christ appearing to the Blessed Virgin. 
 
 64. The three Maries and the Disciples. 
 
 65. Christ appearing to the three Maries. 
 
 66. The Watch set by the Jews. 
 
 67. The miraculous Draught of Fishes. 
 
 68. Peter and John before the High Priest. 
 
 69. The death of Ananias. 
 
 Quarto cuts. 
 
 70. Salvator mundi. 
 
 71. The Blessed Virgin seated in a room. 
 
 A uxiliary cuts, which in combination with the quartos make half- 
 folio cuts. 
 
 72. St Joseph’s dream. 
 
 73. A landscape with a town behind. 
 
 74. A group of soldiers. 
 
 75. A side-piece similar to those in the Passionael of 14^7. 
 
282 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 13. Snellaert’ s device, a quarto cut of a Unicorn holding a 
 blank shield ; over his head is the shield of Delft — HMT. 83 
 (106) a 2. It is likewise used by his successor Eckert van 
 Homberch. 
 
 2 Nov. 1488— Twispraec der creaturen (CA. 568). Delft, Snellaert. 
 
 14. A set of quarto copies of the Ars Moriendi series of 
 cuts. 
 
 A. 1488 — Sterfboeck (CA. 1619). 
 
 B. 27 Nov. 1495 — Tondalus visioen (CA. 1689). 
 
 They all appear in A. 
 
 1. Temptation to distrust. 
 
 2. Encouragement to Faith. 
 
 3. Temptation to Despair (B). 
 
 4. Encouragement to Hope. 
 
 5. Temptation to Avarice. 
 
 6. Encouragement to Charity. 
 
 7. Temptation to Impatience. 
 
 8. Encouragement to Patience. 
 
 9. Temptation to Pride. 
 
 10. Encouragement to Humility. 
 
 11. The Death of the Sick Man. 
 
 15. A set of octavo cuts made to replace such of the regular 
 Passionael series as had worn out. 
 
 Delft, Snellaert. 
 
 n n 
 
 A. 
 
 B. 
 
 C. 
 
 D. 
 
 ^7 Oct.) — Passionael, Vols. 1 . and 11 . (CA. 1765). 
 7 Oct.j 
 
 1 — Passionael, Vols. 1 . and 11 . (CA. 1767). 
 
 1500J 
 
 1505 — Passionael, Vols. 1 . and 11 . 
 1516 — Passionael, Vols. 1 . and 11 . 
 
 Delft, Snellaert. 
 
 ,, Eckert. 
 
 Antwerp, , , 
 
 9 9 9 9 
 
 Most of them are found in C and I). 
 
 Winterstuc — Vol. I. 
 
 1. S. Theodorus — a sword in his r. hand and a book in his 1. (AB). 
 
 2. S. Elizabeth — a crown in her r. hand, a book in her 1. (AB). 
 
 3. S. Lucia— her 1. hand resting on the cross of a sword (AB). 
 
 4. S. Thomas — with a spear, standing in the corner of a garden (AB). 
 
 5. S. John the Evangelist — standing before a low wall witli a cup in 
 
 his hand (AB). 
 
 6. S. Felix — standing under a roof facing r. with a book in his r. 
 
 arm (AB). 
 
 7. S. Prisca— with a palm branch in her r. hand (AB). 
 
 8. S. Vincent— with a clawed weapon in his 1. hand (AID. 
 
283 
 
 Sect. 21.] THE SECOND DELFT WOODCUTTER. 
 
 9. S. Joest — with a pilgrim’s staff in his 1. band and a book in his r. (AB). 
 
 10. S. Agatha — standing before a wall with pincers in her 1. hand (A). 
 
 11. Charles the Great — with a sword in his 1. hand, wearing a cloak 
 
 over his armour (A). 
 
 12. William, Duke of Aquitaine — with a halberd in his 1. hand and 
 
 a shield hanging from his neck (AB). 
 
 Somerstuc — Vol. II. 
 
 13. S. Mark — with the lion ; he holds a book in both hands (AB). 
 
 14. S. Philip — the crosier in his 1. hand (AB). 
 
 15. S. James the Less — with the club in his 1. hand (AB). 
 
 16. SS. Nereus and Achilles — the one on the 1. rests the point of his 
 
 sword on the ground (AB). 
 
 17. S. Servatius — with a key in his r. hand (AB). 
 
 18. S. Odolphus — with a book in his r. hand and a stick in his 1. (AB). 
 
 19. S. Alexius— his r. hand resting on a ladder (AB). 
 
 20. S. Paul — his r. hand resting on a sw T ord (AB). 
 
 21. S. Peter Martyr — he has a book in his 1. hand ; a chopper is sticking 
 
 into his head (AB). 
 
 22. S. Dominic — with a book in his r. hand and a crosier in his 1. (AB). 
 
 23. S. Augustine — under an archway with a heart in his r. hand (AB). 
 
 24. S. Adrian — a sword in his r. hand and a lion between his feet (AB). 
 
 25. S. Lambert — as a Bishop, with a basket of fire in his r. hand (AB). 
 
 20. S. Matthew — before a low wall with a halberd in his 1. hand (AB). 
 
 27. S. Luke — reading from a book which he holds in his r. hand (AB). 
 
 28. S. Anne — standing holding in her arms the Virgin who holds the 
 
 Child in her lap (AB). 
 
 16. A preacher addressing a congregation — 4 to cut. 
 
 about 1489 — Die Kersten Ewe (CA. 1587). Delft, Snellaert, 
 
 about 1490 — Der Kersten Eewe (CA. 1588). ,, ,, 
 
 1497 — Spiegliel der Kersten Eewe (CA. 1589). ,, „ 
 
 17. An incomplete series of 16mo religious cuts. 
 
 A. 29 March 1490 — O. L. Vrouwen croon (CA. 331). Delft, Snellaert. 
 
 B. about 1490 — Kersten spiegel (CA. 599). ,, ,, 
 
 C. May 1490— Spiegliel der volcomenheyt (CA. 1578). ,, „ 
 
 D. about 1490 — Ghetidenboec (CA. 835). ,, ,, 
 
 E. about 1492 — Kerstenen spiegel (CA. 599a). ,, ,, 
 
 F. about 1495 — Hondert Articulen (CA. 188). ,, ,, 
 
 G. 1498 — Leven ons heren (CA. 1120). ,, Eckert. 
 
 H. about 1498 — Vier uterste (CA. 585). 
 
 
284 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 These cuts were often used by Eckert van Homberch in the 16th century. 
 
 1. The Annunciation (A). 
 
 2. The Circumcision (A). 
 
 3. The Murder of the Innocents (G). 
 
 4. The Baptism of Christ (A). 
 
 5. The Entry into Jerusalem (G). 
 
 6. Christ clearing the Temple (G). 
 
 7. Christ washing the Disciples’ feet (G). 
 
 8. Ecce Homo (G). 
 
 9. Christ bearing his Cross (A). 
 
 10. The Virgin and S. John by the Cross (BD). 
 
 11. The same subject. The Sun and Moon are above (C). 
 
 12. Angels collect the Blood of Christ (F). 
 
 13. The Entombment (A). 
 
 14. The Resurrection (A). 
 
 15. Christ as the Gardener (G). 
 
 16. Thomas convinced (G). 
 
 17. The Ascension (A). 
 
 18. The Assumption of the Virgin (A). 
 
 19. The Coronation of the Virgin (A). 
 
 20. The Virgin and her Mantle (A). 
 
 21. A woman kneeling in prayer (A). 
 
 22. Christ enthroned in Heaven (AH). 
 
 23. The Mass of S. Gregory (BCD). 
 
 24. The Image of Pity (C). 
 
 25. S. Veronica (C). 
 
 26. The Rosary (B). 
 
 27. Confession (B). 
 
 28. The Vigils of the Dead (D). 
 
 29. S. Anne with the Virgin and Child (A). 
 
 30. S. Francis (E). 
 
 Two narrow side-pieces representing ornamental columns (A). 
 
 18. The maid Liedwy — an 8vo cut, closely copied from 
 No. 10 in this Section, above. A difference may be observed in 
 the hand which holds a flower. 
 
 11 June 1490 — Leven van Liedwy (CA. 1124). Delft, Snellaert. 
 
 19. Death and a young man. Death is copied from the 
 cut in Bellaert’s Sonderentroest of 15 Feb. 1484 (Sect. xi. 2. 31). 
 — 8vo cut. 
 
 about 1490 — Een mirakel in den lande van Cleve (CA.356). Delft, Hnellaert. 
 
Sect. 21.] THE SECOND DELFT WOODCUTTER. 285 
 
 20. Quarto cuts copied from those made by the Haarlem 
 Cutter in 1488 for an edition of the same book (Sect. xii. 9). 
 
 about 1490 — Historie van die seven vroede (CA. 955). Delft, Snellaert. 
 
 1. A wise master addressing the Emperor. 
 
 2 . The Empress addressing the Emperor. 
 
 21. Octavo Border in one piece, like that used in the 
 Passionael of 1487, but with stars among the leaves. 
 
 about 1490 — Ghetidenboec (CA. 835). Delft, Snellaert. 
 
 about 1492 — Kerstenen spieghel (CA. 599a). „ ,, 
 
 1498 — Leven ons Heren (CA. 1120). ,, Eckert. 
 
 22. Two small cuts made for this book. 
 
 10 Aug. 1491 — Minnenbrief (CA. 1257). Delft, Snellaert. 
 
 1 . The Child Christ appearing to the devout soul — half-octavo cut 
 copied from that by the Haarlem Cutter (Sect. xii. 6 . 1 ). 
 
 2 . The Child Christ seated, holding a bird — 16mo cut. 
 
 23. Snellaert’s 16mo device, a Unicorn holding the shield 
 of Delft, HMT. 83 (106) e 3 — usually surrounded by 
 
 24. An Octavo Border in one piece. 
 
 Both Nos. 23 and 24 are found in the following book. 
 
 10 Aug. 1491 — Minnenbrief (CA. 1257). Delft, Snellaert. 
 
 25. A set of cuts rudely imitated from the French series 
 (Sect. xvi. 1), which Leeu introduced at Antwerp in 1491. 
 
 A. about 1492 — Kerstenen spieghel (CA. 599 a). Delft, Snellaert. 
 
 B. 17 July 1494 — Die seven Droeflieden (CA. 655). ,, ,, 
 
 C. about 1494 — Die hondert articulen (CA. 187). ,, ,, 
 
 D. 1498 — Duytsche psolter (CA. 552). ,, Eckert. 
 
 E. 1498 — Leven ons Heren (CA. 1120). ,, „ 
 
 The subject in each cut is represented as seen through an ornamental 
 archway. Eckert van Homberch took these cuts with him to Antwerp, 
 where they were still in use in the year 1520. 
 
 Octavo cuts. 
 
 1 . The Annunciation (E). 
 
 2 . The Presentation of Christ in the Temple (BE). 
 
 3. The Adoration of the Magi (E). 
 
 4. The Piet(l (BE). 
 
 5. The Mass of S. Gregory (A). 
 
 6 . David slaying Goliath (D). 
 
286 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 1 6mo cuts. 
 
 7. The Visitation (E). 
 
 8. The Nativity (E). 
 
 9. The Adoration of the Shepherds (C E). 
 
 10. The Circumcision (E). 
 
 11. Christ among the Doctors (B). 
 
 12. The Home life at Nazareth (E). 
 
 13. The Baptism of Christ (E). 
 
 14. The Marriage at Cana (E). 
 
 15. The Raising of Lazarus (E). 
 
 16. The Supper at Simon’s (E). 
 
 17. The Last Supper (E). 
 
 18. The Agony in the Garden (CE). 
 
 19. The Betrayal (E). 
 
 20. Christ before the High Priest (E). 
 
 21. Christ buffeted (E). 
 
 22. Christ before Pilate (E). 
 
 23. Christ before Herod; the type is that usual to Christ before 
 
 Caiaphas (E). 
 
 24. The Scourging (E). 
 
 25. The Crowning with Thorns (E). 
 
 26. Pilate washing his hands (E). 
 
 27. Christ bearing his Cross (BE). 
 
 28. Christ nailed to the Cross (E). 
 
 29. The Crucifixion with the two thieves (CE). 
 
 30. The Virgin and St John by the Cross (ABC). 
 
 31. The Crucifixion with the Sun and Moon (C). 
 
 32. The Spear of Longinus (CE). 
 
 33. The Entombment (BE). 
 
 34. The Descent to Hades (E). 
 
 35. The Resurrection (E). 
 
 36. The Ascension (E). 
 
 37. Pentecost (E). 
 
 38. The Assumption (E). 
 
 39. The Last Judgment (E). 
 
 40. The Holy Trinity (E). 
 
 41. The Rosary (A). 
 
 26. A set of eight octavo borders in the French manner. 
 
 16 July 1494 — Die gulden Letanye (CA. 1171). Delft, Snellaert. 
 
 27. S. Francis receiving the stigmata , an octavo cut. 
 
 16 July 1494 — Die gulden Letanye (CA. 1171). Delft, Snellaert. 
 
287 
 
 Sect. 21.] THE SECOND DELFT WOODCUTTER. 
 
 28. Two octavo cuts copied from tliose by the Haarlem 
 cutter (Sect. xii. 18), which Leeu used in his edition of this 
 book. 
 
 17 July 1494 — Die seven Droefheden (CA. G55). Delft, Snellaert. 
 after 1500 — Die seven Droefheden. Antwerp, Eckert. 
 
 1. The Mater Dolorosa. 
 
 2. The Virgin with the Child in her arms. 
 
 29. S. Bernard teaching a man — quarto cut. 
 
 about 1495 — S. Bernaers leeringhe (CA. 2G9). Delft, Snellaert. 
 
 11 Aug. 1496 — Expositio Hymnorum (CA. 722). ,, ,, 
 
 about 1496 — Textus Sequentiarum (CA. 1533). ,, ,, 
 
 30. The Virgin and S. John by the Cross — folio cut. 
 
 about 1495 — Missale Trajectense (CA. 1262). Delft, Snellaert. 
 
 31. A set of cuts copied from those by the Augsburg Wood- 
 cutter (Sect, xv.), which Leeu used in 1486. 
 
 27Aprill498 — Fabulen van Esopus (CA. 29). Delft, Eckert. 
 
 These copies seem to have been made for a quarto book. For details 
 about them see the list of the originals given above in Sect. xv. 
 
 32. Eight side-pieces employed to fit the above cuts (No. 
 31) to the folio page. 
 
 27Aprill498 — Fabulen van Esopus (CA. 29). Delft, Eckert. 
 
 1. A man in a long robe to the r. 
 
 2. A similar figure to the 1. 
 
 3. A tree. 
 
 4. Another tree with a thinner trunk. 
 
 5. A house. 
 
 6. A plant. 
 
 7. A copy of the preceding. 
 
 8. Another copy of the same. 
 
 33. The three Maries at the Tomb of Christ — octavo cut. 
 
 1498 — Leven ons Heren (CA. 1120). Delft, Eckert. 
 
 Sect. 22. The Brussels Woodcutter (1484 — 1490). 
 
 1. Two quarto cuts made for 
 
 1484 — Legenda Henrici et Kunigundis (CA. 1100). Brussels, Fratres 
 
 communis vitae. 
 
288 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 1. Henry II. and Kunigunde seated, HMT. 62 (74) c 1. 
 
 2. A crowned eagle holding the arms of Anthony of Rotenhan, Bp 
 of Bamberg, HMT. 63 (75) a 2. 
 
 2. The Nativity — octavo cut. 
 
 1486-87 — Carmen de passione (CA. 1001). Louvain, Heerstraten. 
 
 3. A set of cuts made to illustrate Boccaccio’s book. 
 
 1487 — Liber de Claris mulieribus (CA. 294). Louvain, Heerstraten. 
 
 1. The Fall, HMT. 56 (94) a — quarto cut. 
 
 The rest of the series measure about 110 x 80 mm. 
 
 2. Ops, wife of Saturnus. 
 
 3. Juno as the deity presiding over marriage. 
 
 4. Yenus with Cupid, and again with Vulcan and Mars. 
 
 5. Iris in a ship. 
 
 6. Europa lifted into a ship. 
 
 7. Libya. 
 
 8. Thisbe. 
 
 9. The Danaides slaying their husbands. 
 
 10. The Death of the children of Niobe. 
 
 11. The Queen Hypsipyle. 
 
 12. Jason riding away with Medea. 
 
 13. Arachne hanging from a tree. 
 
 14. The Erytlirean Sibyl. 
 
 15. Perseus with Medusa’s head, releasing Andromeda 
 
 16. Iole. 
 
 17. Deianira and Hercules. 
 
 18. Jocasta slaying herself. 
 
 19. The Sibyl Amalthea. 
 
 20. Nicostrata teaching three boys. 
 
 21. The Death of Procris. 
 
 22. Argeia, wife of Polynices. 
 
 23. Manto. 
 
 24. The wives of the Menise. 
 
 25. Penthesilea, Queen of the Amazons. 
 
 26. Polyxena, daughter of Priam. 
 
 27. The Death of Cassandra. 
 
 28. Clytaemnestra. 
 
 29. The story of Helen. 
 
 30. Circe and the enchanted, IIMT. 56 (94) b 1. 
 
 31. Camilla. 
 
 32. Penelope and her loom. 
 
 33. Lavinia, wife of iEneas. 
 
 34. Dido, and the building of Carthage. 
 
Sect. 22.] THE BRUSSELS WOODCUTTER. 
 
 289 
 
 35. Nicaula, Queen of Sheba. 
 
 36. Rhea Silvia, mother of Romulus. 
 
 37. Sappho among her books and instruments. 
 
 38. The Death of Lucretia. 
 
 39. Thamyris, the Thracian bard. 
 
 40. Leaena tortured over a fire. 
 
 41. Cloelia, a hostage given to Porsena. 
 
 42. Veturia. 
 
 43. Artemisia, widow of Mausolus. 
 
 44. Virginia slain by her father. 
 
 45. Olympias, mother of Alexander. 
 
 46. Virginia Lucia. 
 
 47. A Roman girl feeding her father in prison. 
 
 48. Marcia painting and sculpturing, HMT. 56 (94) b2. 
 
 49. Sulpicia. 
 
 50. Armonia. 
 
 51. Busa. 
 
 52. Sophonisba. 
 
 53. Theosena. 
 
 54. Berenice. 
 
 55. The Wife of Drigiagon. 
 
 56. iEmilia. 
 
 57. Claudia Quinta. 
 
 58. The wives of the Cimbri. 
 
 59. J ulia. 
 
 60. Portia. 
 
 61. Hortensia. 
 
 62. Cleopatra and Anthony. 
 
 63. Agrippina, wife of Germanicus. 
 
 64 . Paulina. 
 
 65. Agrippina, mother of Nero, 
 
 66. Epitaris. 
 
 67. Pompeia Paulina. 
 
 68. Sabina Poppaea. 
 
 69. Faustina Augusta. 
 
 70. Semiramis. 
 
 71. Johanna Anglica, the female Pope. 
 
 72. The Empress Irene. 
 
 73. Constantia married by the Pope to the Emperor. 
 
 4. The Annunciation. HMT. 57 (91) b 2 — 16mo cut. 
 1488-89 — Compendium elegantiarum (CA. 3). Louvain, Ravescot. 
 
 5. A set of 16mo cuts for 
 
 Nov. 1490 — Bouxken der minne Jkesu (CA. 363). Louvain, J. de Westfalia. 
 
 c. w. 19 
 
CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 290 
 
 1. S. Francis receiving the stigmata. 
 
 2. The Virgin going up the Temple steps. 
 
 3. The Annunciation, copy in reverse of that used by Ravescot in the 
 Compendium of 1488-89. 
 
 4. The Visitation. 
 
 5. The Nativity. 
 
 6. The Agony in the Garden. 
 
 7. The Virgin and S. John by the Cross. 
 
 8. The Entombment. 
 
 9. The Resurrection. 
 
 10. Christ as the Gardener. 
 
 11. The Ascension. 
 
 12. Pentecost. 
 
 6. Two devotional octavo cuts of the same date and style. 
 
 A. about 1490 — Spieghel der simpelre menschen Louvain?, Unknown printer. 
 
 (CA. 595). 
 
 B. about 1490 — Spieghel der kerstenen menschen Louvain, J. de Westfalia. 
 
 (CA. 596). 
 
 1. S. Francis receiving the stigmata, HMT. 51 (120) a 1 (B). 
 
 2. The Vision of S. Bernard, HMT. 123 (127) a 2 (A). 
 
 7. The Annunciation — octavo cut. 
 
 1497 — 0. L. Vrouwen Getijden (CA. 841). Leyden, Janszoen. 
 
 8. Salvator Mundi — octavo cut. 
 
 1498— OefeninghevandenlevenO.H. (CA. 1119). Leyden, Janszoen. 
 
 9. The monogram IHS between the Symbols of the four 
 Evangelists — octavo cut. 
 
 about 1500 — Van die eewighe wijsheyt (CA. 1787). Leyden, Janszoen. 
 
 Sect. 23. The Second Louvain Woodcutter (1487 — 1496). 
 
 1. Cuts for the Visio lamentahilis. 
 
 about 1487 — Visio lamentabilis (CA. 1745). Louvain, Ravescot. 
 
 1. The Hermit’s dream — quarto cut. 
 
 2. The Soul of a dead man sitting at the end of his open grave convers- 
 ing with the body out of which it has come — half-4to cut 
 
 3. Two devils dragging the Soul away — half-4to cut. 
 
 4. Many devils drag the Soul in at the mouth of Hell — half-4to cut. 
 
Sect. 23.] THE SECOND LOUVAIN WOODCUTTER. 29 1 
 
 2 . The operations of the Coiner — a head-piece. 
 
 3. Children climbing about a tendril — a side-piece. 
 
 Both these cuts occur 011 the following broadside: 
 
 after9 Sept. 1487 — Valuer vander munten (CA. 1703). Louvain, Ravescot. 
 
 4. Ravescot’s device. 
 
 1488 — P. de Rivo, Opus responsivum (CA. Louvain, Ravescot. 
 
 1405). 
 
 5. Cuts for Petrus de Rivo’s Opus responsivum. 
 
 1488 — P. de Rivo, Opus responsivum (CA. Louvain, Ravescot. 
 
 1405). 
 
 1. The author before the Virgin, HMT. 57 ( 91 ) a 1— quarto cut. 
 
 2. The Last Supper— fol. cut. 
 
 3 . The Virgin and S. John by the Cross — fol. cut. 
 
 4 . The Resurrection — fol. cut. 
 
 6 . The Assumption — square 16mo cut. 
 
 Nov. 1490 — Bouxken der minne Jhesu (CA. Louvain, J. de Westfalia. 
 363). 
 
 7. S. Augustine and the Trinity, HMT. 51 (120) a 2 — octavo 
 
 cut. 
 
 about 1490 — Spieghel der kerstenen menschen Louvain, J. de Westfalia. 
 (CA. 596). 
 
 8 . The Virgin and S. Anne with the Child, HMT. 50 ( 88 ) c 3 
 — octavo cut. 
 
 9. A man kneeling; before the image of the Virgin sur- 
 
 O OO 
 
 rounded by a Rosary — octavo cut. 
 
 Both these cuts occur in the following book : 
 
 7 Nov. 1496 — Legenda S. Annae (CA. 1096). Louvain, J. de Westfalia. 
 
 Sect. 24. The Third Louvain Woodcutter (1490). 
 Miscellaneous cuts. 
 
 A. Nov. 1490 — Bouxken der minne Jhesu (CA.363). Louvain, J. de Westfalia. 
 
 B. 7 Nov. 1496 — Legenda S. Annae (CA. 1096). ,, ,, 
 
 1. The Blessed Virgin with the Child in glory, TIMT. 50 (8S) c 4 — 
 8 vo cut(AB). 
 
 2. The Home life at Nazareth- half-8 vo cut (B). 
 
 3 . Christ washing the disciples’ feet— 16 mo cut (B). 
 
 4 . Ecce Homo — 1 61110 cut (B). 
 
 5 . A chain — 1 61110 side-piece (A). 
 
 19—2 
 
292 
 
 CATALOGUE OF THE WOODCUTS. [Part 11 . 
 
 Sect. 25. The Third Gouda Woodcutter (1486 — 1490). 
 
 1. A set of cuts made to illustrate the Romance of Godfrey 
 of Boulogne. 
 
 The whole series is found in A, some of the cuts appear in B. 
 
 1. Pope Urban II. preaching the Crusade at Clermont. — The Pope is 
 seated on the 1., surrounded by Cardinals; the Emperor and a number of 
 Knights stand on the r ; in the distance, behind a paling, is a crowd of 
 people. HMT. 76 (124) a 1 — fol. cut. 
 
 2. Peter the Hermit loses all his men through treachery of the Emperor 
 of Constantinople. — In front are tents behind a paling ; further off two 
 groups of Knights are fighting, one of them on the 1. being conspicuous 
 with a huge sword ; behind on the r. men are scaling the walls of a town — 
 4to cut. 
 
 It is completed on the r. by a side-piece representing a body of 
 mounted Knights 011 whose banner is a figure with a drawn sword. 
 
 3. The arrival at Constantinople of Hugh, brother of the King of 
 France. — Godfrey stands bare-headed at the gate of the town on the 1. ; 
 Hugh is on the r. at the head of a body of foot soldiers — half-fol. cut. 
 
 4. The Building of Constantinople. — A King stands on the 1. addressing 
 two workmen who are building the upper part of a gateway ; a third is 
 mounting a ladder, bearing a burden. In a compartment on the r. is the 
 King lying in bed — half-fol. cut. 
 
 5. The French cross the sea to Nicaea and lay siege to it. — A body of 
 Knights is seen riding out through a gate on the r. ; further back five 
 galleys can be made out in the water, from one of which men are landing 
 on the opposite shore — half-fol. cut (B). 
 
 6. The Christians gain a victory near Nicaea. — Two bodies of Knights 
 fight, those on the r. prepare to fly up hill to the r. — 4to cut. 
 
 It is completed on the 1. by a side-piece representing Knights carrying 
 their lances straight up, one of them bears a banner with the device of 
 Christ on the Cross. 
 
 7. Baldwin takes Tarsus. — On the r. a body of mounted Knights 
 stand watching a herald give a letter to a King, who stands alone before 
 the gate of a town on the 1. — half-fol. cut (13). 
 
 8. The siege of Antioch.— The body of a Knight is seen in front among 
 some tents; two guns are lying pointed at a town behind; the walls of 
 the town are being scaled by soldiers — half-fol. cut (C). 
 
 A. 1485-86 — Godevaert van Boloen (CA. 908). 
 
 B. 1517 — Cronyck van Hollandt. 
 
 C. 1531 — Cronike van Vlaenderen. 
 
 D. about 1531 — Coronijcke van Maximilacn. 
 
 E. 1577 — Die oorloghen van Maximilaen. 
 
 Gouda, G. de Os. 
 Leyden, J. Seversoen. 
 Antwerp, Vorsterman. 
 
 J. van Ghelen. 
 
293 
 
 Sect. 25.] THE THIRD GOUDA WOODCUTTER. 
 
 9. The Turks endeavour to take the Block-house which the Christians 
 had built. — On the 1. are two tents and a cannon which a man is in the 
 act of firing, on the r. some Knights fight on foot. Behind are a body of 
 men on foot and on the 1. some men entering through a gate— half-fol. cut 
 (BCD). 
 
 10. Jousts before the walls of Antioch in honour of the embassy of 
 the King of Babylon. — The Court look down from the walls of the town 
 behind at two bodies of Knights who ride against each other, lance in rest 
 — 4to cut. 
 
 It is completed on the r. by a side-piece representing men standing by 
 their tents, looking on. 
 
 11. The Christians capture cattle. — In front and on the r. are the 
 tents of a camp towards which a party of soldiers drive some cattle ; 
 behind on the 1. is a town — half-fol. cut (D). 
 
 12. The storming of Antioch and of the inner citadel. — In front are 
 the walls of a town through a gate in which a body of soldiers are entering. 
 Within the walls, on the r., is the citadel which is being attacked and 
 defended— half-fol. cut. 
 
 13. The mother of Corboran beseeching her son to raise the siege of 
 Antioch. — In front are two bodies of soldiers standing about their tents. 
 A woman stands in the mid. addressing a man who holds a drawn sword 
 in his hand. Behind is the town, HMT. 77 (125) a 2 — half-fol. cut (B). 
 
 14. Christ, the Blessed Virgin, and St Peter, appearing to a priest 
 and promising victory to the Christians within five days, if they fast and 
 pray. — The priest lies on a bench on the r., the three persons of his vision 
 stand before him. Three men are working behind on the 1. — half- 
 fol. cut. 
 
 15. The Christians send an embassy to Corboran, who is besieging 
 Antioch. — Three men with bare heads advance to the 1., the front one 
 holding out a letter to the King who stands before a tent door — half- 
 fol. cut. 
 
 16. The Christians, assisted by angels, defeat the infidels. — Two large 
 bodies of Knights charge each other, lowering their lances as they ap- 
 proach ; behind are foot soldiers and archers fighting. In the distance a 
 large body of men ride away to the 1. — half-fol. cut (BD). 
 
 17. Prince Boemont proposing to the army that they should name 
 him King of Antioch. — The Prince, helmet in hand, stands on the 1. in 
 front of three men ; two men stand on the r., one of whom addresses him. 
 The scene is in a courtyard. HMT. 77 (125) a 1— half-fol. cut (B). 
 
 18. Jerusalem taken. — An army of Knights advance in column from 
 r. and 1. and enter a gate in the mid., others scale the wall with ladders 
 — fol. cut (D). 
 
 19. Godfrey crowned. — He sits in the mid., the Pope on the 1. and 
 the Emperor on the r. hold a crown of thorns over his head. Two cardinals 
 and two courtiers stand by — half-fol. cut. 
 
294 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 20. Baldwin crowned. — lie is seated with a sceptre in his r. hand. A 
 King and another man hold a crown over his head. Two men stand by 
 — half-fol. cut. 
 
 21. The Christians in Jerusalem see signs in heaven. — In a large open 
 space within the walls they stand looking up at three suns and twelve stars, 
 another large star is above the gate on the r. — fol. cut. 
 
 22. The death of Baldwin. — The head of the bed is to the r. ; six men 
 are in the room, two of whom stand on the far side of the bed — half- 
 fol. cut. 
 
 2. The folio device of Gotfridus de Os (or van Ghemen) — an 
 Elephant carrying a Ilowdah (Gouda) from which float two flags 
 with the arms of Maximilian and of Gouda, HMT. 77 (125) a 3. 
 
 1485-S6 — Godevaert van Boloen (CA. 968). Gouda, G. de Os. 
 
 3. A master lecturing three scholars, HMT. 72 (111) a 2 — 
 quarto cut. 
 
 13 Nov. 1486 — Opusculum grammatical (CA. 1331). Gouda, G. de Os. 
 
 1486-1489 — Konste om te leren spreken (CA. 69 
 
 note). ,, ,, 
 
 6 Feb. 1499 — Expositio Hymnorum. Westminster, W. de Worde. 
 
 20 Dec. 1516 — Whitintoni Editio. York, Ursin Mylner. 
 
 4. Quarto cuts for the Romance of Lantsloet and Sandrijn. 
 
 1486-1489 — Lantsloet ende Sandrijn (CA. 974). Gouda, G. de Os. 
 
 1. Lantsloet and Sandrijn standing by a tree, HMT. 73 (119) a 1. 
 
 2. Lantsloet lying in bed whilst his mother talks to Sandrijn. 
 
 3. A Knight meeting Sandrijn as he rides out hunting. 
 
 5. Three young men bare-headed before a king and one of 
 his courtiers; in the background a vessel, and men on the shore, 
 HMT. 79 (126) a 1, one of a set of quarto cuts, but only one leaf 
 of the book is known to exist. 
 
 1486-1489 — Huon de Bordeaux (CA. 1011). Gouda, G. de Os. 
 
 6. A set of folio cuts made to illustrate the poem ‘ Le 
 Chevalier delibere'.’ 
 
 A. 
 
 1486-1489— Le Chevalier delibere (CA. 1083). 
 
 Gouda, 
 
 G. de Os. 
 
 B. 
 
 after 1498— Le Chevalier delibere (CA. 1084). 
 
 Schiedam 
 
 • 
 
 C. 
 
 1503— De camp van cler doet. 
 
 9 9 
 
 
 1). 
 
 151 1 — Vaderboek. 
 
 Leyden, 
 
 Seversocn. 
 
 E. 
 
 1511 — Die seven sacramenten. 
 
 9 9 
 
 9 9 
 
 F. 
 
 1517 — Cronyck van Hollandt. 
 
 9 9 
 
 9 9 
 
 The cuts arc found complete in A, B, and C. Cut-up portions of most 
 of the blocks appear in F. 
 
295 
 
 Sect. 25.] THE THIRD GOUDA WOODCUTTER. 
 
 1. The combat between the Knight and Death. — He rides from the 1., 
 lance in rest, against Death, who is armed with a dart and a portion of a 
 coffin-lid as a shield. 
 
 2. The Knight conversing with the lady Pensee. — They stand in a 
 field before a large castle. The Knight wears a black robe, Pensee is 
 richly clad. 
 
 3. The Knight armed for his quest by Pensee. — He stands in the 
 mid. putting on the breastplate pouoir which a page holds for him. Pensee 
 on the r. holds his spear and shield. His horse Vouloer is held by a man 
 on the 1. 
 
 4. The combat betw r een the Knight and Messire Hut in. — The tw r o 
 Knights fight with swords, their lances lying broken on the ground. A 
 woman ( Reliques dejeunesse) on horseback takes hold of Hutin’s shield and 
 stops the fight. 
 
 5. The Knight and the Hermit E ntend ement. — They stand talking 
 on the r. ; another Her mit on the 1. holds the reins of the Knight’s 
 horse. 
 
 6. The Knight and the Hermit at table under trees. The Hermit’s 
 assistant stands on the r. with a jug; on the 1. is a dog gnawing a bone, 
 HMT. 75(118) a 1(D). 
 
 7. The Hermit show 7 s his relics to the Knight. — They stand before 
 the door of a church ( le cloistre de souuenance) ; the relics are lying on 
 the floor within (D). 
 
 8. The Hermit gives the lance Regime to the Knight.— The Knight 
 mounted on his horse receives a lance from the Hermit who stands on 
 the 1.; behind is a church among trees. 
 
 9. The Knight fights with Old Age and has to yield himself prisoner. — 
 They fight on foot, their lances lying broken on the ground. Paine , the 
 black horse of Old Age, is seen behind in the act of kicking Vouloer . 
 
 10. The Knight led to the Palace of Love. — The Knight, mounted 
 on his horse and led by Desir , looks into the mirror which Souuenir holds 
 up to him. Abusion, as a fool with a bunch of keys, stands on the 1. Be- 
 hind is the Palace of Love with five windows, from which people are looking 
 down. Music is being played on the roof. 
 
 11. Memory showing the Knight the tombs of great men. — They 
 stand on the 1. in a grave-yard. Le grant Turc is seated on a tomb on 
 the r. 
 
 12. The combat between Philip the Good and Debile. — The antagonists 
 fight on foot in the mid. within a paling, a crowd standing around. Atro- 
 pos deesse de mort with her lance Deffiance sits behind. The Knight and 
 Memory are in front on horseback looking on. 
 
 13. The combat between Charles the Bold and Accident. — They ride 
 against each other, the Knight and Memory looking on as before. It. and 
 1. are soldiers on foot, and behind is Atropos enthroned. 
 
 14. The Knight forbidden by Atropos to help Mary of Burgundy in 
 her combat with Accident. — The Knight and Memory are seated on horse- 
 
296 
 
 CATALOGUE OF THE WOODCUTS. [Part u. 
 
 back in front, the page Respit holding the rein of Vouloer. A waggon 
 is drawn past them. Further back a procession moves to the 1. bearing a 
 woman in armour on a litter. Atropos is behind on the 1. 
 
 15. The Knight conducted home by Memory. — They ride towards the 
 r. through a pretty country where two men are reaping and another is 
 gathering fruit. On the r. a stork is seen on her nest on the roof of a 
 castle. 
 
 16. The Hermit instructing the Knight how to conduct himself. — The 
 Knight lies in bed in a room with a groined ceiling, the Hermit seated by 
 his side. A dog lies 011 a cushion in front on the 1. 
 
 7. G. de Os van Ghemen’s quarto device — an Elephant 
 carrying a Howdah (Gouda) from which float two flags with the 
 arms of Maximilian and of Gouda, HMT. 75 (118) a 2. 
 
 1486-1489 — Le Chevalier delibere (CA. 1083). Gouda, G. de Os. 
 
 after 1498 — Le Chevalier delibere (CA, 1084). Schiedam. 
 
 1503 — De camp van der doet. ,, 
 
 1511 — Die seven sacramenten. Leyden, Seversoen. 
 
 8. Some old cuts found scattered in the Dutch Chronicle 
 of 1517, clearly the work of this woodcutter. They must have 
 been made for some lost book. 
 
 1517 — Cronyck van Holland!. Leyden, J. Seversoen. 
 
 The reference in the bracket after each description is to the leaf on 
 which the cut occurs. 
 
 1. The Building of a Fortress. — A King stands on the r. in front, by the 
 side of a piece of water in which two monsters are fighting. Three men 
 are engaged in building a castle gateway behind. A copy in reverse 
 of No. 4 in Godemert van Boloen (Sect. xxv. 1) — 4to cut (17 a). 
 
 2. A Skirmish. — A few Knights ride against each other in very loose 
 order. Numerous archers and one spearman fight on foot among the 
 horsemen. In the distance 1. is a town, and r. tents — half-fol. cut (19 a). 
 
 3. The Siege of a Town. — Bodies of men advance towards the walls 
 under the shelter of screens which run on wheels. Archers shoot from the 
 battlements behind. In front, r. and l, are tents — half-fol. cut (32 a). 
 
 4. A Reconnoitre. — Four Knights stand in the open under the walls 
 of the town 011 the r. ; on the 1. are tents; in the distance ships are seen on 
 the water — half-fol. cut (48 a). 
 
 5. The Building of a Town. — In the front is a river with boats, further 
 back, in the middle of a town, three men are at work building a tower. 
 A King and two other men stand at the foot of it — 4to cut (53 a). 
 
 6. A 11 Execution. — The executioner prepares to cut off" the head of a 
 man who kneels to the 1. A King and some courtiers stand on the r. 
 Behind is a town over the gate of which are five heads stuck on to poles. 
 
Sect. 25.] THE THIRD GOUDA WOODCUTTER. 297 
 
 A ship is 011 the 1. lying by a quay — part of a folio cut, reduced to 4to size 
 (184 a). 
 
 7. A Combat between two Knights. — They fight on foot in front on 
 the r. On the far side of a piece of water with a swan is a wood, amongst 
 the trees of which a man salutes a lady who is attended by another woman. 
 Two stags are standing by the water on the 1. — lialf-fol. cut (260 b). 
 
 8. A 11 Engagement. — Two bodies of Knights ride against each other, 
 those on the r. being Burgundian, those 011 the 1. French. The middle of 
 the cut is quite blank — lialf-fol. cut (370 a). 
 
 9. An Engagement.— Similar to the preceding, but the French are on 
 the r. and the Burgundians on the 1.; their lances also cross in the middle 
 — lialf-fol. cut (375 a). 
 
 9. Three 16tno cuts for the ‘ Minnebrief.’ 
 
 1489-90 — Minnebrief (CA. 1256). Leyden, G. de Os. 
 
 1. The Soul receiving Christ’s love-letter from an angel. 
 
 2. The Blessed Virgin and St John by the Cross. 
 
 3. The Printer’s device, a kneeling angel holding a shield with the 
 arms of Leyden, two keys crossed. 
 
 10. Four devotional octavo cuts perhaps by this hand. 
 
 A. 5 Oct. 1496 — Ghetidenboec (CA. 840 a). Schoonhoven. 
 
 B. 28 Feb. 1497 — Leven ons Heren (CA. 1109). ,, 
 
 C. about 1497 — Devote Materien (C A. 1220). ,, 
 
 D. 28 Mar. 1498 — Ghetidenboec (CA. 842). ,, 
 
 E. 1498 — Spiegel der kerstenen menseben (CA. 601). ,, 
 
 F. 15 Oct. 1499 — Spieghel der volmaectheyt (CA. 1579). ,, 
 
 G. 1499 — Leven ons Heren (CA. 1113). ,, 
 
 H. 31 Mar. 1500 — Vier oefeninghen (CA. 346). ,, 
 
 1. The Annunciation (DG). 
 
 2. The Virgin and St John by the Cross (ABDE). ' 
 
 3. The Vigils of the Dead (C). 
 
 4. The Last Judgment (FGH). 
 
 Sect. 26. Miscellaneous Cuts used at Gouda (after 1486). 
 
 1. Two quarto cuts of the Emperor Frederick’s visit to Trier. 
 
 after 1486 — Komst van Keyser Frederyck te Trier (CA. 764). Unknown printer, 
 
 1. Trier.— On the 1. is the gateway of the town, over which floats a 
 scroll with the word Trier. From under this the Emperor and a Bishop 
 are seen riding towards the r. at the head of a body of men, escorted by 
 music. 
 
 2. The Banquet. — The Emperor and the Bishop sit at a table on the r, 
 under a canopy. The Duke of Burgundy sits at the Emperor’s 1. hand. 
 
298 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 Two other Bishops sit at a table on the 1. Two pages and two trumpeters 
 stand on the 1. 
 
 2 . A set of quarto cuts to illustrate the wars of Julius Caesar, 
 
 after 1486 — Die jeeste van Julius Cesar (CA. 893). Unknown printer. 
 
 1. Julius Caesar — standing on the orb of the world clothed in armour; 
 in his r. hand a book, and in his 1. hand a dagger. A shield hangs from 
 his 1. arm and on it and his breast-plate are imperial eagles. 
 
 2. Nimeguen. — On the r. a man kneels before the Emperor who rides 
 at the head of a large body of soldiers. Behind on the 1. is a town over 
 which on a scroll can be read the word Ymmaglien. 
 
 3. The Rout of the Hercinians. — Two groups of soldiers in armour 
 are on the r. ; a third group on the 1. march away into the distance where 
 they seem to be opposed by a small body with spear and axe. 
 
 4. The Siege of Belgies. — The town is on the r. with the word Belgies 
 over it. It is being stormed by a party of men who attack near a gate. 
 The hostile camp fills the foreground. 
 
 5. The Capture of Belgies . — 111 front, behind a fence and wooden gate- 
 way, are seen the tents of a camp which stretch away into the distance, 
 surrounding the town which stands on the 1.; women and children appear 
 on the r. and a cannon lies near a tent. I 11 a second state the word Belgies^ 
 which was over the town, seems to have been cut out. 
 
 Sect. 27. The Fourth Gouda Woodcutter (1496). 
 
 1 . The Mass of S. Gregory — 16mo cut. 
 
 20 April 1496 — Getyden van O. L. Yrouwen (CA. 840). Gouda, Collacie Broed. 
 about 1496 — Spieghel der gracien (notinCA. ). ,, ,, 
 
 about 1500 — Horarium (CA. 995). Schoonlioven. 
 
 2 . The maid Liedwy standing with a flower in her hand, 
 HMT. 80 (101) a 1 — quarto cut. 
 
 10 June 1496 — Leven van Liedwy (CA. 1125). Gouda, Collacie Broed. 
 
 3. The Virgin and S. John by the Cross — 16mo cut; and 
 
 4. An architectural border in one piece, to fit a lGrno cut. 
 
 before 3 Oct. 1496 — Kalendarium (notinCA.). Gouda, Collacie Broed. 
 
 5. The Virgin and Child in Glory, HMT. 80 (101) b 1 — 
 16mo cut ; and 
 
 G. A border to fit the preceding, HMT. 80 (101) b 1. 
 
 before 3 Oct. 1496 — Kalendarium (notinCA.). Gouda, Collacie Broed. 
 
 30ct.l496 — Devote getijden (CA. 1116). ,, ,, 
 
Sect. 27.] THE FOURTH GOUDA WOODCUTTER. 299 
 
 7. Printer’s lGmo device, an angel holding the shield of 
 Gouda, HlMT. 80 (101) b 2. It is copied from that used by G. 
 de Os (or van Gliemen) at Leyden. 
 
 3 Oct. 1496— Devote getijden (CA. 1116). Gouda, Collacie Broed. 
 
 8. Two quarto cuts copied from the corresponding cut in 
 the Second Gouda woodcutter’s set of sixty-eight (Sect. ix. 2). 
 
 3 Oct. 1496 — Devote getijden (CA. 1116). Gouda, Collacie Broed. 
 
 1. The Image of Pity. 
 
 2. The Entry into Jerusalem. 
 
 9. A man confessing to a Priest — lGmo cut. 
 
 3 Oct. 1496 — Devote getijden (CA. 1116). Gouda, Collacie Broed. 
 
 10. A rosary with the wounds of Christ, HMT. 80 (101) c 1 
 — 16 mo cut. 
 
 about 1496 — Corte doernen Crone (CA. 504). Gouda, Collacie Broed. 
 
 11. The Annunciation — lGmo cut. 
 
 about 1496 — Spieghel der gracien (notinCA.). Gouda, Collacie Broed. 
 
 12. Arms of Pope Alexander YI. — lGmo cut ; and 
 
 13. Arms of Pope Sixtus IV. — lGmo cut. 
 
 about 1496 — Aflaten van dye broederscap (CA. 51). Gouda, Collacie Broed. 
 
 11. The Trinity with the Virgin and S. Joseph — 8vo cut. 
 about 1500 — Historie van den H. Joseph (CA. 970). Gouda, Collacie Broed. 
 
 Sect. 28. Cuts used at Deventer (1187 — 1193). 
 
 (a) Bn Jacobus de Breda (1187 — 1193). 
 
 1. A small woodcut ornament, HMT. G6 (111) a 2. 
 
 14S6-1437 — Modus confitendi (CA. 1233). Deventer, J. de Breda. 
 
 2. A small woodcut ornament, about the size of a shilling. 
 
 1487 — Gasparini Epistolae (CA. 776). Deventer, J. de Breda, 
 
 1486-1487 — Sententiarum variationes (CA. 749). ,, ,, 
 
 3. A small hexagonal ornament, HMT. 6G (111) b 1. 
 
 1486-1487 — Modus confitendi (CA. 1233). Deventer, J. de Breda. 
 
 1486-1487 — Columella de cultura hortorum (CA. 470). ,, ,, 
 
 1486-1487 — Gasparini Epistolae (CA. 775). ,, ,, 
 
 1486-1487 — Expositio missae (CA. 889). ,, ,, 
 
CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 300 
 
 4. The Last Supper — quarto cut. 
 
 1487 — Gasparini Epistolae (CA. 776). Deventer, J. de Breda. 
 
 5. The Mass of S. Gregory — quarto cut. 
 
 5 Apr. 1490 — Libellus de modo confitendi (CA. 1136). Deventer, J. de Breda. 
 9 Aug. 1490 — Expositio missae (CA. 885). 
 
 1489-1492 — Expositio missae (CA. 890 a). 
 
 1489-1492 — Esopus Grecus (CA. 32). 
 
 1489-1492 — Quatuor novissima (CA. 1306). 
 
 1489-1492 — Quatuor novissima (CA. 1312). 
 
 1489-1492 — Alexander Gallus, pars prima (CA. 119). 
 
 1489-1492 — Plato. Hipparchus et Theages (CA. 1421). 
 
 1489-1492 — Composita verborum (CA. 481 a). 
 
 6. A wise Master addressing a King, HMT. 66 (114) g — 
 quarto cut ; part of a lost series. 
 
 1489-1492 — Bossi sermo in passionem (CA. 358). Deventer, J. de Breda, 
 
 after 1491 — Seneca de quatuor virtutibus (not in CA.). ,, ,, 
 
 about 1500 — Seneca de moribus (CA. 1517). ,, ,, 
 
 about 1500 — Jac. Faber. Carmen (CA. 725). ,, ,, 
 
 7. A square quarto cut of the monogram IHS between 
 medallions containing the symbols of the Evangelists, HMT. 66 
 (114) f 1. 
 
 1 March 1493 — Epistolen ende Evangelien (CA. 703). Deventer, J. de Breda. 
 
 This cut was used by J. de Breda in, at least, 48 books besides the above, 
 where it appears for the first time. It was still in use in the 16th century 
 at the same press. 
 
 8. Three 16mo cuts. 
 
 about 1499 — Quattuor Novissima (notinCA.). Deventer, J. de Breda. 
 
 1. The Last Judgment, angels blowing trumpets. 
 
 2. The Mouth of Hell; it opens on the left. 
 
 3. The Ascension. 
 
 33 
 3 3 
 3 3 
 3 3 
 33 
 3 3 
 3 3 
 3 3 
 
 3 3 
 3 3 
 3 3 
 3 3 
 3 3 
 
 9. Virgil standing with a book in his 1. hand — 8vo cut. 
 
 about 1499 — Virgil, Ahieid, Lib. 11 . (CA. 1730). Deventer, J. de Breda. 
 
 10. Right side-piece from some folio border, roughly 7 copied 
 from that commonly used by Bellaert. 
 
 about 1500 — Mancinelli Thesaurus (notinCA.). 
 
 Deventer, J. de Breda. 
 
Sect. 28 .] 
 
 CUTS USED AT DEVENTER. 
 
 301 
 
 ( b ) By Richardus Paffroet (1488 — 1493). 
 
 11. Paffroet’ s first quarto Device — S. Lebuin standing on 
 grass, between two shields of Deventer, the printer’s mark on the 
 ground in front, HMT. 65 (113) b. Used for the first time in 
 
 4 Sept. 1488— Expositio missae (CA. 883). Deventer, Paffroet. 
 
 and for the last time in 
 
 4 May 1489 — Compendium grammaticae (C A. 474). ,, ,, 
 
 12. Paffroet’s second quarto Device — S. Lebuin standing 
 under a canopy, with the arms of Deventer at his feet, HMT. 
 65 (113) a. Used for the first time in 
 
 4 May 1489 — Compendium grammaticae (CA. 474). Deventer, Paffroet. 
 
 and for the last time in 
 
 18 Nov. 1491 — Colloquium peccatoris (CA. 468). ,, ,, 
 
 13. A Professor teaching five men, HMT. 64 (112) e 1 — 
 4to cut. 
 
 16 July 1489 — Cicero de Senectute (CA. 429). Deventer, Paffroet. 
 
 14 July 1495 — Farrago (C A. 742). ,, ,, 
 
 It is found in at least ten other books between these two. 
 
 14. The Coronation of the Virgin, HMT. 64 (112) g — 
 16mo cut. 
 
 1492 — 0. L. Yrouwen croen etc. (CA. 330). Deventer, Paffroet. 
 1497 — Horarium (CA.991). ,, ,, 
 
 15. The Supper at Emmaus — 16mo cut. 
 
 1489-1492 — Bossi sermo (CA. 358). Devent'er, J. de Breda. 
 
 The cut is often used in the early years of the 16th century. 
 
 16. Two quarto cuts. 
 
 A. 1493-1495 — Boeck van den Echten Staete (CA. 724). Deventer, Paffroet. 
 
 B. 8 Nov. 1497 — Cato moralissimus (CA. 413). ,, ,, 
 
 A Professor and a young man standing, HMT. 65 (113) d (AB). 
 
 A young man and three people at table (A). 
 
 Sect. 29. The First Leyden Woodcutter (1494). 
 
 1. A series of 16mo religious cuts. 
 
 A. 10 Dec. 1494 — Glietiden van 0. L. Yrouwen (CA. 837). Leyden, Janszoen, 
 
 B. 1497 — 0. L. Vrouwen getijden (CA. 841). ,, ,, 
 
 C. 25 May 1498 — Leven ons Heren (CA. 1111). ,, ,, 
 
302 CATALOGUE OF THE WOODCUTS . [Part n. 
 
 D. 14. Dec. 1498 — Van 0. L. Vrouwen mantel (CA. 305). Leyden, Janszoen. 
 
 E. 1498 — Oefeninghe vanden leven 0. H. (CA. 1119). ,, ,, 
 
 F. 1500 — Ghetiden van 0. L. Vrouwen (CA. 846). ,, ,, 
 
 G. 1500 — Leven 0. L. Vrouwen (CA. 1122). ,, ,, 
 
 H. about 1500 — Leven ons Heren (CA. 1114). ,, ,, 
 
 K. about 1500 — 0. L. Vrouwen ween (CA. 1779). ,, ,, 
 
 1. The Visitation (A). 
 
 2. The Nativity (A). 
 
 3. Gloria in Excels is (A). 
 
 4. The Adoration of the Shepherds (C EH). 
 
 5. The Presentation of Christ in the Temple (A). 
 
 6. The Adoration of the Magi (A). 
 
 7. The Circumcision (A). 
 
 8. The Flight into Egypt (A). 
 
 9. The Home life at Nazareth (CE). 
 
 10. The Baptism of our Lord (CE). 
 
 1 1. The Marriage at Cana (C). 
 
 12. Pilate washing his hands (CE). 
 
 13. Christ crucified between two Thieves (ACEGII). 
 
 14. The sponge given to Christ on the Cross (BCEGH). 
 
 15. The spear of Longinus (CE). 
 
 16. Pentecost (B). 
 
 17. The Assumption of the Blessed Virgin (CEGIT). 
 
 18. The Mass of St Gregory (BDF). 
 
 19. The Holy Trinity (BCE). 
 
 20. The Rosary (K). 
 
 2. An octavo border. 
 
 25 May 1498 — Leven ons Heren (CA. 1111). Leyden, Janszoen. 
 
 It is also used in later books. 
 
 Sect. 30. The Second Leyden Woodcutter (1408 — 1500). 
 
 1. A set of large octavo or small quarto religious cuts. 
 
 A. 25 May 1498 — Leven ons Heren (CA. 1111). Leyden, Janszoen. 
 
 B. 1498 — Oefeninghe vanden leven 0. H. (CA. 1119). ,, 
 
 C. 16 Oct. 1499 — Spieghel der volcomenheit (CA. 1580). ,, 
 
 D. 1499 — Die vier oefeninghen (CA.345). ,, 
 
 E. about 1499 — 0. L. Vrouwen Souter (CA. 279). ,, 
 
 F. 1500 — Ghetiden 0. L. Vrouwen (CA. 846). ,, 
 
 G. 1500 — Leven 0. L. Vrouwen (CA. 1122). ,, 
 
 H. about 1500 — Leven ons Heren (CA. 1114). ,, 
 
 K. about 1500 — Troestinghe (CA. 1686). ,, 
 
 L. about 1500 — 0. L. Vrouwen ween (CA. 1779). ,, 
 
 M. 9 Aug. 1503 — Epistelcn ende Ewangelien. 
 
 J. Severzocn. 
 
Sect. 30.] THE SECOND LEYDEN WOODCUTTER. 303 
 
 N. 11 Fob. 1511 — Die negen couden. Delft, H. Lettersnider. 
 
 O. G March 1517 — Fasciculus mirrae. ,, Janszoen. 
 
 In each cut the subject is represented under an arch, the top of which 
 does not come within it. Many of the cuts are found in MNO. 
 
 1. The Annunciation (A BE II). 
 
 2. The Visitation (ABII). 
 
 3. The Nativity (ABEGII). 
 
 4. The Circumcision (ABH). 
 
 5. The Adoration of the Magi (ABOH). 
 
 6. The Presentation of Christ in the Temple (ABII). 
 
 7. The Flight into Egypt (G). 
 
 8. The Murder of the Innocents (ABII). 
 
 9. The Baptism of Christ (HK). 
 
 10. The Marriage at Cana (GH). 
 
 11. The Woman of Samaria (ABH). 
 
 12. The Raising of Lazarus (ABH). 
 
 13. The Entry into Jerusalem (ABH). 
 
 14. Christ clearing the Temple (BH). 
 
 15. The Last Supper (ABH). 
 
 16. Christ washing the Disciples’ feet (ABH). 
 
 17. The Agony in the Garden (ABH). 
 
 IS. The Betrayal (ABH). 
 
 19. Christ before Annas (ABH). 
 
 20. Christ buffeted by the soldiers (ABII). 
 
 21. Christ before Caiaphas (BII). 
 
 22. Christ before Pilate (BH). 
 
 23. Christ before Herod (ABH). 
 
 24. The Scourging of Christ (ABH). 
 
 25. Christ crowned with thorns (BH). 
 
 26. Ecce Homo (BH). 
 
 27. Christ falling under his Cross (BH). 
 
 28. Christ nailed to the Cross (ABH). 
 
 29. The Virgin and St John by the Cross (ABH). 
 
 30. The Descent from the Cross (ABH). 
 
 31. The Pieta (ABEHL). 
 
 32. The Entombment (ABH). 
 
 33. Christ at the gate of Hades (ABH). 
 
 34. The three Maries (ABH). 
 
 35. The Resurrection (ABGH). 
 
 36. Christ as the Gardener (ABH). 
 
 37. The Supper at Emmaus (ABH). 
 
 38. Thomas convinced (ABH). 
 
 39. The Ascension (ABH). 
 
 40. Pentecost (ABH). 
 
3°4 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 41. The Image of Pity (BCDII). 
 
 42. The Last Judgment (ABDH). 
 
 43. Heaven (DH). 
 
 44. Death striking at a young man (DF). 
 
 45. The mouth of Hell (D). 
 
 46. The Teacher instructing the Soul, who kneels as a maid before 
 him (D). 
 
 47. The Holy Trinity (FH). 
 
 48. St Joachim’s offering refused, and the Angel appearing to him (G). 
 
 49. The Angel appearing to St Anne, and the meeting of St Joachim 
 and St Anne (G). 
 
 50. The Birth of the Blessed Virgin (G). 
 
 2. The Virgin and Child in glory on the crescent — 8vo cut. 
 
 14 Dec. 1498 — Van 0. L. Vrouwen mantel (CA. 305). Leyden, Janszoen. 
 1498 — Oefeninghe vandenleven O. H. (CA. 1119). ,, ,, 
 
 about 1499 — 0. L. Vrouwen souter (CA.279). ,, ,, 
 
 1500 — Ghetiden van 0. L. Vrouwen (CA. 846). ,, ,, 
 
 1500 — Leven 0. L. Vrouwen (CA.1122). ,, ,, 
 
 about 1500 — Troestinghe (CA. 1686). ,, ,, 
 
 about 1500 — Leven ons Heren (CA. 1114). ,, ,, 
 
 3. The Mass of S. Gregory — 8vo cut. 
 
 16 Oct. 1499 — Spieghel der volcomenheit (CA. 1580). Leyden, Janszoen. 
 
 4. A set of 16mo cuts often used in the 16th century, 
 several of them appearing in D, E and F. 
 
 A. 1500 — Ghetiden van O. L. Vrouwen (CA. 846). Leyden, Janszoen. 
 
 B. 1500 — Leven 0. L Vrouwen (CA. 1122). ,, ,, 
 
 C. about 1500 — Leven ons Heren (CA. 1114). ,, ,, 
 
 D. 1503 — Epistelen ende Ewangelien. ,, Severzoen. 
 
 E. 18 Dec. 1506 — Wandelinghe der kersten menschen. Amsterdam, ,, 
 
 F« 14 April 1522 — Leven ons Heren. Amsterdam, Doen Pieterszoen. 
 
 1. David slaying Goliath (A). 
 
 2. The Presentation of the Blessed Virgin (B). 
 
 3. The Annunciation (B). 
 
 4. The Visitation (B). 
 
 5. The Circumcision (B). 
 
 6. Christ amongst the Doctors (B). 
 
 7. The Home life at Nazareth (C). 
 
 8. Pilate washing his hands (C). 
 
 9. The Virgin and St John by the Cross (B). 
 
 10. The spear of Longinus (C). 
 
Sect. 31.] FIRST SCHOONHOVEN WOODCUTTER . 3°5 
 
 11. The Centurion’s confession (B). 
 
 12. The Pieth (B). 
 
 13. The Ascension (B). 
 
 14. Pentecost (AB). 
 
 15. The Coronation of the Blessed Virgin (B). 
 
 Sect. 31. The First Schoonhoven Woodcutter (1496). 
 
 1. A set of large octavo and a set of 16mo religious cuts. 
 
 A. 5 Oct 1496 — Ghetidenboec (CA. 840 a). Schoonhoven. 
 
 B. 28 Feb. 1497 — Leven ons Heren (CA. 1109). ,, 
 
 C. 10 Nov. 1497 — Oefeninglie van der passien (CA. 1327). ,, 
 
 D. 24 Dec. 1497 — Leven ons Heren (CA. 1110). ,, 
 
 E. about 1497 — Devote materien (CA. 1220). ,, 
 
 F. 28Marchl498 — Ghetidenboec (CA.842). ,, 
 
 G. 1498 — Spieghel der kerstenen menschen (CA. 601). ,, 
 
 H. 15 Oct. 1499 — Spieghel der volmaectheyt (CA. 1579). ,, 
 
 K. 1499 — Leven ons Heren (CA. 1113). ,, 
 
 L. 31Marchl500 — Vier oefeningen (CA. 346). ,» 
 
 Octavo cuts. 
 
 1. The Nativity (K). 
 
 2. The Presentation in the Temple (K). 
 
 3. The Flight into Egypt (K). 
 
 4. The Betrayal (CK). 
 
 5. Christ before Pilate (C). 
 
 6. The Scourging of Christ (CK). 
 
 7. Christ bearing his Cross (K). 
 
 8. Christ nailed to the Cross (C). 
 
 9. The Virgin fainting at the foot of the Cross (BCDGK). 
 
 10. The Pieta (ACFK). 
 
 11. The Entombment (CK). 
 
 12. The Resurrection (K). 
 
 13. The Image of Pity (HKL). 
 
 14. The Mass of St Gregory (EGH). 
 
 15. Christ under the mystic Winepress (K). 
 
 16. An angel holding a wreath of roses, HMT. 1 18 (102) d (G). 
 
 1 Qmo cuts. 
 
 1. St Anne with the Virgin and Child (AF). 
 
 2. The Child Jesus as Salvator Muncli (AEF). 
 
 3. The Last Supper (AFK). 
 
 4. Christ crowned with thorns (II). 
 
 5. Pentecost (AFK). 
 
 6. The Assumption of the Blessed Virgin (K). 
 
 7. Christ and the Blessed Virgin in glory with Saints and Angels 
 
 (AFKL). 
 
 C. W. 
 
 20 
 
306 CATALOGUE OF THE WOODCUTS. [Part II. 
 
 Sect. 32. The Second Schoonhoven Woodcutter (1498 — 1500). 
 
 1. The Virgin and Child in glory — 8vo cut. 
 
 28 March 1498 — Ghetidenboec (CA. 842). Schoonhoven. 
 
 after 1500 — Crans van duysent rosen. Leyden, P. Janzoon. 
 
 2. S. Augustine, HMT. 118 (102) e 1 — square 4to cut. 
 
 1 Feb. 1499 — BreviariumWindesemense(CA.368, 369). Schoonhoven. 
 
 1508 — Statuta Windesemensia. ,, 
 
 3. A set of cuts, chiefly lGmos. 
 
 1499 — Leven ons Heren (CA. 1113). Schoonhoven. 
 
 1. The Adoration of the Magi — 16 mo cut. 
 
 2. The Baptism of Christ — 16mo cut. 
 
 3. The Raising of Lazarus — 16mo cut. 
 
 4. The Entry into Jerusalem — 16mo cut. 
 
 5. Christ at the Gate of Hades — Svo cut. 
 
 6. The Supper at Emmaus — 16mo cut. 
 
 7. The Ascension — 16mo cut. 
 
 4. New cuts for the ‘Four last Things.’ 
 
 A. 31 March 1500 — Die vier oefeningen (CA. 346). Schoonhoven. 
 
 B. about 1500 — Horarium (995). ,, 
 
 1. Death attacking a man — 16mo cut (A). 
 
 2. The Mouth of Hell — 16mo cut (A). 
 
 3. A Teacher instructing the Soul represented as a kneeling figure— 
 Svo cut (AB). 
 
 5. A set of half-quarto cuts made to illustrate the life of 
 Liedwy. 
 
 1498 — Vita Lijdwine de Schiedam (CA. 383). Schiedam. 
 
 The cuts measure about 2*9 x 3*7 inches, unless otherwise stated. 
 
 1. The Holy Maid appearing, with a crucifix and a flower in her 
 hands, to her biographer, who sits writing on the r., HMT. 119 (11) a 1. 
 
 2. The Maid receives a branch of a rose-bush from an angel — 4to cut. 
 
 3. A 10-line initial D; St Veronica holding the sacred handkerchief 
 is represented within it, HMT. 119 (11) a 2. 
 
 4. Liedwy prays before the image of the Blessed Virgin to be 
 preserved from marriage. 
 
 5. She falls on the ice whilst skating. 
 
 6. The illness of the Maid and the visit of the Doctor. In the 
 background he is seen performing an operation upon her. 
 
 7. A nobleman named Werboldus visits the Maid and leaves money 
 for her use. 
 
 8. The Maid lying in bed. Her pains are represented by flames. 
 
Sect. 32.] SECOND SCHOONIIOVEN WOODCUTTER. 307 
 
 9. An angel appears to the Maid and gives her a rose-branch. 
 
 10. She makes clothes for the naked and gives food to the poor. 
 
 1 1. She has a vision of despair. 
 
 12. She desires the sacrament and is tempted by the priest. 
 
 13. She receives the stigmata in a vision, and is crowned by the 
 Blessed Virgin. 
 
 14. More vexations arise through the priest; an enquiry is made by 
 the prelates of the Church. 
 
 15. An angel shows the Maid the souls in the fires of Purgatory. 
 
 16. She is conveyed in a trance by an angel who shows her the 
 Holy land. 
 
 17. On the night of the Nativity the Virgin appears to her, as once to 
 St Bernard, and manifests herself as the Mother of Christ. 
 
 18. The Maid desires martyrdom and suffers it in a vision. 
 
 19. An angel appears to her and shows her her crown. 
 
 20. She receives Extreme Unction from the hands of Christ. 
 
 21. She dies peacefully. 
 
 22. Cripples are cured as they stand by her coffin. 
 
 23. Crow r ds attend her burial. 
 
 24. 25. Two small shields, the one bearing a heart pierced with 
 arrows, the other a lion rampant. 
 
 26. Liedwy presents her biographer to the Virgin and Child with 
 St Anne. 
 
 6. The device of the Schiedam printer, a kneeling angel 
 holding the shields of Schiedam, HMT. 119 (11) a 1, and 120 
 (128) a 2. 
 
 1498 — Vita Lijdwine de Schiedam (CA. 383). Schiedam, 
 after 1498 — Chevalier delibere (CA. 1084). ,, 
 
 7. Three skulls in a niche, HMT. 120 (12G) a 2 — a half-fol. cut. 
 
 after 1498 — Chevalier delibere (CA. 1084). Schiedam. 
 
 Sect. 33. The Second Antwerp W oodcutter, with other cuts used 
 at Antwerp by M. van der Goes (1487 — 1489). 
 
 1. Two quarto devices first used with a date in this book. 
 
 21 June 1487 — Sermones quatuor novissimorum (CA. 1537). Antwerp, Goes. 
 
 1. A wild man covered with long hair, brandishing a club over his 
 head and holding the shield of Brabant ; the printer’s mark on the ground. 
 HMT. 101 (48) b 1. 
 
 2. A three-masted ship with flags bearing the printer’s mark, the arms 
 of the Empire, Antwerp, and so forth, HMT. 101 (48) b 2. 
 
 No. 1 occurs in several books ; no. 2 apparently only here. 
 
 20—2 
 
308 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 2. Death and Timdalus — 8vo cut. 
 
 about 1487 — Tundalus (CA. 1G91). 
 
 3. A set of lGmo religious cuts. 
 
 A. about 1487 — Confessionale (CA. 490). 
 
 B. about 1487 — Confessionale (CA. 491). 
 
 C. about 1487 — Expositio missae (CA. 880). 
 
 D. about 1487 — Expositio missae (CA. 881). 
 
 E. 3 July 1496 — Epistelen ende Evangelien (CA. 706) 
 
 1. Christ among the Doctors (E). 
 
 2. The Baptism of Christ (E). 
 
 3. The Temptation (E). 
 
 4. The Supper at Simon’s (E). 
 
 5. The Last Supper (E). 
 
 6. Christ on the Cross between two Thieves (BCE). 
 
 7. The Sponge given to Christ (BC). 
 
 8. The Virgin fainting at the foot of the Cross (BC). 
 
 9. The Entombment (BC). 
 
 10. The Resurrection (E). 
 
 11. Christ appearing to the Apostles (BCE). 
 
 12. The Mass of St Gregory (ABCI)E). 
 
 4. On a black background are depicted the obverse and 
 reverse of the following five coins : — the Royal of fine gold, 
 Andries Gulden, Groten Dobbel, Dobbel Stuver, and Stuver — 
 a narrow 4to cut. 
 
 afterllDec.1489 — Ordinaneie van der munten (CA. 1338). Antwerp, Goes. 
 afterllDec.1489 — Ordinaneie van der munten (CA. 1337). ,, G. Leeu. 
 
 Antwerp, Goes. 
 
 Antwerp, Goes. 
 
 
 5 > 
 
 G. Back. 
 
 Sect. 34. The Third Antwerp Woodcutter, employed by G. Back 
 
 (1493—1500). 
 
 1. A set of half-octavo cuts copied from those in Leeu’s 
 edition of this book. 
 
 24 Nov. 1493 — Crone O. L. Vrouwen (CA. 498). Antwerp, Back. 
 
 1. A Man kneeling before an altar on which lies a scroll. 
 
 2. A Man kneeling before an altar. 
 
 3. A Woman seen through an archway kneeling before an altar. 
 
Sect. 34 .] THE THIRD ANTWERP WOODCUTTER. 309 
 
 4. A Woman seen through a double archway kneeling before an 
 
 altar. 
 
 5. A crown with six emblems. 
 
 6. A copy of the preceding. 
 
 7. A crown ^ith six emblems, amongst them the Sun and Moon, 
 
 8. A copy of the preceding. 
 
 2. Some quarto cuts. 
 
 A. 16 Jan. 1495 — Tria rosacea coronamenta (CA. 289). Antwerp, Back. 
 
 B. 1496-1500 — Stella clericorum (CA. 1612). ,, ,, 
 
 C. about 1498 — Historia S. Annae (CA. 1507). ,, ,, 
 
 1. The Annunciation (A). 
 
 2. The Last Judgment (B). 
 
 3. The Mass of S. Gregory (C). 
 
 3 . A set of cuts made for the book ‘Der Kerstenen Salicheyt.’ 
 
 A. 1495 — Kerstenen Salicheyt (CA. 1499). Antwerp, Back. 
 
 B. 1495 — Die Seven getijden (CA. 829). ,, ,, 
 
 C. 3 July 1496 — Epistelen ende Evangelieu. ,, ,, 
 
 The whole set is found in A. 
 
 1. The Trinity — 32mo cut. 
 
 1 Gmo cuts. 
 
 2. The Trinity (B). 
 
 3. The Blessed Virgin and St John by the Cross. 
 
 4. The dead body of Christ in the Father’s lap. 
 
 5. The Parents of Emerenciana, the Grandmother of the Virgin. 
 
 6. Emerenciana’s vision of a tree explained to her by an' Angel. 
 
 7. Six young men are brought to her to choose a husband from ; but 
 
 she will have Scolamus, a ‘goet devoet heylich simp el ’ man. 
 
 8. The marriage of Scolamus and Emerenciana. 
 
 9. Their children Anne and Ismeria. 
 
 10. The marriage of Anne and Joachim. 
 
 11. Joachim and Anne giving alms. 
 
 12. Joachim’s offering refused by the High Priest. 
 
 13. The Angel appears to Joachim as he is tending his flock. 
 
 14. The Angel appears to Anne. 
 
 15. The meeting of Joachim and Anne under the Golden Gate. 
 
 16. The Birth of the Blessed Virgin. 
 
 17. The Virgin dedicated in the Temple. 
 
 18. Anne bidden by an angel to marry Cleopas. 
 
 19. The marriage of Anne and Cleopas. 
 
 20. Cleopas and Anne with their child Mary Cleopas. 
 
310 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 21. Salome and Anne with their child Mary Salome. 
 
 22. John the Baptist with his parents. 
 
 23. St Servatius, Bishop of Maestricht. 
 
 24. The Marriage of the Virgin Mary and Joseph. 
 
 25. The Annunciation. 
 
 26. The Visitation. 
 
 27. The Nativity. 
 
 28. The Circumcision. 
 
 29. The Adoration of the Magi (C). 
 
 30. The Virgin and St Anne with the Holy Trinity (B). 
 
 31. The Presentation. 
 
 32. The Flight into Egypt. 
 
 33. Alpheus and Mary Cleopas with their children, James the Less, 
 
 Simon, Jude, and Joseph the Just. 
 
 34. Zebedee and Mary Salome with their children, James and John. 
 
 35. Christ among the Doctors. 
 
 36. The Marriage at Cana (C). 
 
 37. The Raising of Lazarus (C). 
 
 38. The Entry into Jerusalem. 
 
 39. Mary Magdalene pouring ointment over Christ’s head. 
 
 40. Christ bidding farewell to his Mother. 
 
 41. The Last Supper. 
 
 42. Christ washing the Disciples’ feet. 
 
 43. The Agony in the Garden (B). 
 
 44. The Betrayal. 
 
 45. Christ before Annas. 
 
 46. Christ before Caiaphas (B). 
 
 47. Christ scourged (B). 
 
 48. Christ crowned with Thorns. 
 
 49. Pilate washing his hands. 
 
 50. Christ bearing his Cross. 
 
 51. Christ stripped of his garments. 
 
 52. Christ nailed to the Cress (B). 
 
 53. The Sponge given to Christ. 
 
 54. The spear of Longinus (B). 
 
 55. The Descent from the Cross. 
 
 56. The PietcL (B). 
 
 57. The Descent to Hades. 
 
 58. The Entombment (B). 
 
 59. The Resurrection. 
 
 60. The Ascension (C). 
 
 61. Pentecost (C). 
 
 62. The Blessed Virgin and St John kneeling by the tomb and the 
 
 three crosses. 
 
 63. The Assumption (B). 
 
 64. The Last Judgment (C). 
 
w > 
 
 Sect. 34.] THE THIRD ANTWERP WOODCUTTER. 31 I 
 
 4. A Rosary with the wounds of Christ — 16mo cut, copied 
 from Leeu’s first Rosary (Sect. ix. 3. 59). 
 
 about 1495 — Eosacea Mariae corona (CA. 288). Antwerp, Back. 
 
 5. The Symbols of the Four Evangelists in circular medal- 
 lions, between which is the monogram IHS, HMT. 107 (68) c 1 
 — square 4to cut, copied in reverse from that used by J. de Breda 
 (Sect, xxviii. 7). 
 
 3 July 1496 — Epistelen ende evangelien (CA. 706). Antwerp, Back. 
 1496-1500 — Catonis morosi opusculiun (CA. 416). ,, ,, 
 
 1496-1500 — Stella clericorum (CA. 1613). ,, ,, 
 
 1496-1500 — De secretis mulierum (CA. 90, 92, 93, 94). ,, ,, 
 
 1496-1500— Casus papales (CA. 401, 402, 404). ,, ,, 
 
 1496-1500 — Esopus Grecus (CA. 37). ,, ,, 
 
 1496-1500 — De doctrina dicendi (CA. 68). ,, ,, 
 
 6. Quarto cuts of S. Dympna. 
 
 1496 — Legenda S. Dympnae (CA. 1098). Antwerp, Back. 
 
 Feb. 1498 — De modo confitendi (CA. 1144). ,, ,, 
 
 1. S. Dympna standing on a beast (A). 
 
 2. S. Dympna’s confession (AB). 
 
 7. King Charles meeting Elegast riding — 4to cut. 
 
 about 1496 — Historie van Karel ende Elegast (CA. 972). Antwerp, Back. 
 
 8. The Virgin and S. Anne with the Child and the Dove — 
 8vo cut. 
 
 1 Sept. 1496 — Historie van S. Annen (CA. 962). Antwerp, Liesveldt. 
 
 27 Feb. 1497 — Historie van S. Annen (CA. 963). ,, ,, 
 
 about 1500 — Oefeninge vander passien (CA. 594). ,, ,, 
 
 about 1500 — Summa super quarto decretalium (CA. 153). ,, Back. 
 
 9. The Virgin and S. Anne with the Trinity — 4to cut. 
 
 about 1498 — Historia S. Annae (CA. 1507). Antwerp, Back. 
 
 10. The Author presenting his book to a young noble — 
 4to cut. 
 
 1498 — Liber aggregation^ (CA. 83). Antwerp, Back, 
 
 about 1500 — Questiones naturales (CA. 182). ,, ,, 
 
 11. Christ in a room addressing the Virgin — short 8vo cut. 
 
 about 1499 — Seer minnelijke woerden (CA. 1783). Antwerp, Back. 
 
 12. S. Catherine — 4to cut. 
 
 about 1500 — S. Katlierinen Legende (CA. 1101). Antwerp, Back. 
 
312 
 
 CATALOGUE OF THE WOODCUTS. [Part n. 
 
 13. S. Dominic receiving a rosary from the Virgin and 
 Child — 8vo cut. 
 
 about 1500 — Summa super quarto decretalium (CA. 153). Antwerp, Back. 
 
 14. Two women conversing— 4 to cut. 
 
 about 1500 — De doctrina dicendi (CA. G8). Antwerp, 
 
 15. A set of cuts illustrative of fishing and fowling. 
 
 about 1500 — Yisschers ende Vogheleers (CA. 301). Antwerp, 
 
 about 1500 — Visschers ende Vogheleers (not in CA). ,, 
 
 The cuts are oblong and fit the breadth of a quarto page. 
 
 1. A Fisherman by a stream with a fish in his hand. 
 
 2. A Bird-catcher setting his trap. 
 
 3. A Man with a bird in his hand. 
 
 4. A Bird-catcher setting a trap in a tree. 
 
 5. A Man fishing with a net. 
 
 Sect. 35. Miscellaneous Cuts used at Antwerp by G. Back 
 
 (1493—1500). 
 
 1. A bird-cage with the mark of M. Goes, HMT. 107 (68) a 
 — 8vo device. 
 
 24 Nov. 1493 — Crone van Marien (CA. 498). Antwerp, Back. 
 
 2. A bird-cage with the mark of M. Goes, HMT. 107 (68) b 
 — 4to device. 
 
 1493-1495 — De miseria curatorum (CA. 679). Antwerp, Back. 
 
 3. Fifteen octavo borders imitated from French work. 
 
 1493-1495 — Die gulden Letanien (CA. 1172). Antwerp, Back. 
 
 4. Octavo cuts imitated from French work. 
 
 3 July 1496 — Epistelen ende Evangelien (CA. 706). Antwerp, Back. 
 
 1. The Annunciation. 
 
 2. The Nativity. 
 
 5. A bird-cage enclosing the printer’s mark and initials; a 
 shield hangs from it bearing the arms of Antwerp. HMT. 107 
 (68) c 2 — 4to device. 
 
 3 July 1496 — Epistelen ende Evangelien (CA. 706). Antwerp, Back. 
 
 6. Portrait of Philip the Fair, Duke of Burgundy, within 
 an initial P. — HMT. 108 (69). 
 
 1496-97 — Kuere van Zeelandt (CA. 1075). 
 
 Back. 
 
 Back. 
 
 ) J 
 
 Antwerp, Back. 
 
Sect. 35.] MISCELLANEOUS CUTS USED AT ANTWERP. 3 1 3 
 
 7. A small index hand. 
 
 1496-97 — Kuere van Zeelandt (CA. 1075). Antwerp, Back. 
 
 8. Two boys with a bird-cage and shield; on the ground 
 are the initials G. B., HMT. 108 (69) b 2 — 8vo device. 
 
 21 Sept. 1500 — Sielentroest (CA. 1550). Antwerp, Back. 
 
 9. A bird-cage, HMT. 108 (69) c — 32mo device ; and 
 
 10. A shield with the Printer’s mark and initials, HMT. 
 108 (69) c — 32mo device. 
 
 about 1500 — S. Katherinen Legende (CA. 1101). Antwerp, Back. 
 
 Nos. 9 and 10 are used together, side by side. 
 
 11. The Author at a desk writing — 16mo cut. 
 
 about 1500 — Summa super quarto decretalium (CA. 153). Antwerp, Back. 
 
 Sect. 36. Cuts used by Liesveldt and Martens (1491 — 1500). 
 
 1. The Mater Dolorosa with seven swords in her heart (on 
 her r. side) — a 4to cut. 
 
 15 June 1494 — De septem doloribus B. M. V. (CA. 760). Antwerp, Tli. Martens. 
 
 2. Two 16 mo religious cuts. 
 
 A. about 1494 — Hondert Articulen (CA. 187). Antwerp, Liesveldt. 
 
 B. 6 Nov. 1499 — Yier oefeningken (CA. 344). ,, ,, 
 
 1. The Child adored by angels (A). 
 
 2. The Last Judgment (B). 
 
 3. Portrait of Maximilian wearing a hat and the order of 
 the Golden Fleece ; and 
 
 4. The Arms of Maximilian. 
 
 1499-1500 — Muntplacaat of 24 Dec. 1499 (C A. 1272). Antwerp, Liesveldt. 
 4 Nov. 1500 — Les Ressamblances des deniers (CA. 1476). ,, ,, 
 
 about 1502 — Muntplacaat of 24 Dec. 1499. ,, Th. Martens, 
 
 not before 1502 — Yaluatien van den ghelde. ,, „ 
 
 5. Cuts of coins, representing the obverse and reverse of 
 nine Rhenish Electoral gulden of two ‘ vransche blanken ’. 
 
 1499-1500 — Muntplacaat of 24 Dec. 1499 (CA. 1272). Antwerp, Liesveldt. 
 
 6. Cuts of coins. 
 
 4 Nov. 1500 — Les Ressemblances des deniers (CA. 1476). Antwerp, Liesveldt. 
 
314 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 The coins represented are : 
 
 Le Toyson dor. 
 
 Le florin Philippus. 
 
 Le toyson dargent. 
 
 Le double pattart. 
 
 Le pattart. 
 
 Floryns faites a bremes de par henry euesque de Breme. 
 
 Florins faitz a zwolle de par fredericus romanorum imperator. 
 Floryns faitz de par Jehan Roy de denemerke. 
 
 Floryns faitz a deuentre de par fredricus romanorum Imperato. 
 Florins faitz a Dortmondt de par fredericus romanorum imperato. 
 Florins faitz nouellement de par Fredricus leuesque dutrecht pour 
 le present. 
 
 Florins faits a wesele au pais de cleues. 
 
 Florins depuis nagaires faites au pais d’liege. 
 
 Florins per ci deuant faitz de par feu david de bourgolgne euesque 
 de Utrecht. 
 
 Florins faitz a eemden en frise oriental. 
 
 Florins de glieldre nouellement faitz. 
 
 Florins depuis nagaires et nouellement faitz de par Fredrick de 
 baden euesque d’Utrecht. 
 
 7. A small device-cut of the arms of Antwerp. 
 
 4 Nov. 1500 — Les Ressemblances des deniers (CA. 1476). Antwerp, Liesveldt. 
 
 Sect. 37. Cuts used by R. van den Dorp and other Antwerp 
 
 Printers (1497 — 1500). 
 
 1. A set of cuts made to illustrate the Brabant Chronicle. 
 
 A. 28 Feb. 1497 — Cronyke van Brabant (CA. 508). Antwerp, 
 
 B. about 1500 — Hystorye van Troyen (CA. 876). ,, 
 
 C. 1512 — Cronike van Brabant. ,, 
 
 D. 1517 — Historie van Seghelijn. ,, 
 
 E. 1518 — Cronike van Brabant. ,, 
 
 F. 1527 — Somme ruyrael. ,, 
 
 G. 1530 — Cronike van Brabant. ,, 
 
 H. 1531 — Cronijcke van Vlaendren. ,, 
 
 K. about 1531 — Coronijcke van Maximiliaen. ,, 
 
 R. van den Dorp. 
 
 y y 
 
 Eckert 
 
 Claes de Grave. 
 
 J. van Doesborch. 
 Claes de Grave. 
 
 J. van Doesborch. 
 W. Vorsterman. 
 
 yy 
 
 The whole of the following cuts occur in A. Those so marked are found 
 in B. In C, E, and G the majority reappear. In the other books a few 
 of the cuts are scattered about. 
 
 A set of octavo cuts. 
 
 1 . St Gertrude. 
 
 2 . St Amelberghen. 
 
Sect. 37.] CUTS USED BY R. VAN DEN DORP , dec. 3 J 5 
 
 3. St Goedelcn. 
 
 4. St Pharelt, sister of St Goedelen. 
 
 5. St Oeden weduwe. 
 
 6. St Landraden, Abbess. 
 
 7. St Gommaer. 
 
 Octavo cuts of a larger size. 
 
 8. St Aernout. 
 
 9. St Alaert. 
 
 10. St Dympna. 
 
 11. St Rommoult. 
 
 1*2. St Wijden. 
 
 13. St Yden van Leeuwe. 
 
 14. St Mary. 
 
 15. A Duke of Brabant, holding the shield of the Duchy, a Lion 
 
 rampant on a black ground. This cut appears in a 2nd state 
 later on, the black ground of the shield being cut away, so as to 
 stand for a Duke of Limburg. 
 
 16. Charles the Great. 
 
 17. A Duke and Duchess of Brabant supporting the shield of the 
 
 Duchy. 
 
 18. Anthony, Duke of Burgundy, holding the quartered shield of 
 
 Burgundy, Brabant, and Limburg. 
 
 19. Philip the Good, Duke of Burgundy, holding his shield. 
 
 Single column cuts. 
 
 20. The Shield of Brabant. 
 
 21. The Shield of Brabant quartering that of Limburg. 
 
 22. The Shield of Maximilian. 
 
 Folio cuts. 
 
 23. An assemblage of the shields of the Empire, France, Brabant, 
 Antwerp, Brussels, Bois-le-duc, and Louvain. 
 
 24. A genealogical tree with the shield of Brabant. 
 
 25. The hand of the giant of Antwerp cut off and cast into the Schelde 
 
 {Handwerpen). 
 
 26. Six leaves, intended to be pasted into one long sheet, containing 
 genealogies and illustrated with portrait figures. 
 
 Half-folio cuts. The blocks are so arranged that different bearings 
 can be introduced into the flags. 
 
 27. An attack on a Castle. L. compartment — a man brandishing a 
 huge sword, fighting several others. R. compartment — soldiers enter at a 
 gate on the r. (B). 
 
 28. The building of a town. — A duke and three soldiers stand on the 1., 
 on the r. a man and two women with a baby sit on the ground. The town 
 is being built behind (B). 
 
3 1 <3 
 
 CATALOGUE OF THE WOODCUTS. [Part ii. 
 
 29. Carloman surrounded by his court. — He stands in the mid. in a 
 room, surrounded by courtiers. A soldier with the banner of Brabant 
 stands on the r. (B). 
 
 30. A Battle. — Two bodies of soldiers fight on foot, those on the r. 
 prepare to flee. 
 
 31. The Crown offered to Charles Martel. — A man standing before 
 two others offers the Crown to Charles Martel who with five others stands 
 on the 1. 
 
 32. The Coronation of Pepin. — He is seated on a throne above which 
 are two shields, a Bishop and another man holding a crown over his head. 
 Courtiers stand r. and 1. 
 
 33. Charles the Great on his throne. — He addresses a Bishop and two 
 other men who kneel on the 1. ; on the r. stand six men and a soldier with 
 the banner of Brabant. 
 
 34. The Coronation of Charles the Great. — The Pope and a Bishop 
 hold a crown over his head. On the 1. stand four men and on the r. 
 three. 
 
 35. A Battle. — A body of Knights on the r. ride against another body 
 and put them to rout ; they are seen going away in the distance to the 1. ; 
 men fight on foot behind (B). 
 
 36. Roland slaying his horse. — He stands in front on the r. by his 
 horse, on the 1. a Knight cuts his horse in half with a sword. 
 
 37. Charles and the Infidels. — On the 1. a body of Knights ride away 
 looking back at a body of men with long hair on the r. ; behind are hills 
 and two bodies of Knights fighting. 
 
 38. A Battle. — Two bodies of Knights ride against each other; 
 a horse and warrior lie overthrown in front. Behind on the 1. is 
 a castle and on the r. a number of tents, HMT. Ill (72) a 4 — a copy 
 of no. 23 in the Historic van Troyen series (Sect. xi. 7) by the Haarlem 
 cutter (B). 
 
 39. A Battle. — A body of Knights charge another body who ride away 
 to the 1. behind a rocky mound. 
 
 40. The Siege of Jerusalem. — The town is behind, one of its towers 
 much cracked. In front are tents and soldiers. 
 
 41. The Storming of the Walls. — A number of soldiers enter at the 
 gate on the 1.; others are scaling ladders. In front are two tents. A copy 
 of the cut in the Historic ran Troyen series (Sect. xi. 7). no. 10. 
 
 42. A Battle. — Two bodies of Knights on foot fight in front, others 
 fight behind ; the routed party march away to the r. 
 
 43. A Capitulation. — Two bodies of Knights stand facing each other, 
 those on the r. bare-headed. 
 
 44. The taking of Mechlin.— A body of troops stand in the mid.; 
 on the 1. is a flaming building, and on the r. a town in which one of the 
 towers is falling. A cannon lies in the foreground (B). 
 
 45. A Battle. — Two large bodies of Knights ride against each other in 
 a hill country ; behind, r. and 1., arc archers and foot soldiers (B). 
 
Sect. 37.] CUTS USED BY R . FA A AAA AOAP, &c. 31 7 
 
 Quarto cuts. 
 
 4G. Charles the Great seated on his throne, surrounded by his Knights, 
 lloland, Oliver, and others. 
 
 47. Roland fighting at Roncevaux. One of the combatants is a 
 Bishop. 
 
 48. Roland blowing the ‘olifan,’ HMT. Ill (72) a 3 — the printer’s 
 device. 
 
 2. The Virgin and S. John by the Cross — 8vo cut. 
 
 3. Christ before Pilate — 8vo cut. 
 
 4. The Mass of S. Gregory — 8vo cut. 
 
 about 1500 — Ganck die Jesus ghinc (CA. 772). Antwerp, R. Dorp. 
 
 5. Christ with his Apostles and the Virgin — 8vo cut. 
 
 6. Christ addressing four peasants. 
 
 about 1500 — Seer minnelijcke woerden (CA. 1785). Antwerp, R. Dorp. 
 
 7. A small device — the Arms of Antwerp, HMT. 8 (132) c. 
 
 about 1500 — Seer minnelijcke woerden (CA. 1785). Antwerp, R. Dorp. 
 
 8. Quarto cuts made to illustrate a Satire on the Church, 
 
 about 1500 — Nijeuvont, Loosheit, ende Praetike (CA. 1705). Antwerp, R. Dorp. 
 
 1. A man seated before the door of his house with a jug of beer; two 
 women come out of their houses, and eight monkeys are to be seen looking 
 out of windows or seated in the street. 
 
 2. A woman (New Invention) seated between her two lawyers (Practice 
 and Cunning). 
 
 3. Eight people holding lighted candles kneel before ah altar above 
 which is a picture of Sloth ; the Priest is a Fool with Cap and Bells. 
 
 5. Truth-teller, Practice, Fearless and Cunning stand by the altar of 
 Sloth, tw T o on each side ; Public Opinion kneels before it with a candle. 
 
 9. A set of quarto cuts made to illustrate the Romance of 
 Troy. 
 
 about 1500 — Hystorye van Troyen (CA. 876). Antwerp, R. van den Dorp. 
 
 1. In two compartments, 
 
 Upper — Paris and the three Goddesses. 
 
 Low r er — The Rape of Helen. 
 
 2. The altar of Pallas. — The figure of the Goddes # s is on the altar, on 
 to which a man throws some coins; two men kneel in front, others stand 
 talking. 
 
CATALOGUE OF THE WOODCUTS. [Part it. 
 
 318 
 
 3. Pandro and Troylus. — Troilus lies in bed on the 1., Pandarus stands 
 at the foot of it ; men and women are seen through a door on the r. 
 
 4. Agamemnon on his throne. — Seven men are around him, of whom 
 one kneels on the 1., behind are two women. 
 
 10. A. van Berghen’s device, representing liis house with 
 the shield of Antwerp and another with his own mark on the 
 wall, and the ‘ grote gulden mortier ’ on a signboard in front of 
 the door. Over the door adjoining is another shield with a 
 trade-mark on it, which probably stands for the printer who 
 dates his books from * juxta mortarium aureiim’. HMT. 110 
 (71) b 1 — Svo cut. 
 
 1500— Leringe om salicli te sterven (CA. 1223). Antwerp, A.v.Berghen. 
 
 11. Death attacking a man, HMT. 110 (71) bl — 8vo cut. 
 
 1500 — Leringe om salich te sterven (CA. 1223). Antwerp, A. v.Berghen. 
 
 12. The Virgin and S. John by the Cross — Svo cut. 
 
 about 1500 — Boeck vanden Houte (CA. 1025). Antwerp, H. Lettersnider. 
 
 about 1500— Ganck die Jliesus ghinck (CA. 771). ,, ,, 
 
 11 Feb. 1511 — Die negen couden. Delft, ,, 
 
 Sect. 38. Diagrams . 
 
 1. Trees of kindred and affinity — folio diagrams. 
 
 1480 — Joh. Andreae Tractatus (CA. 154). Louvain, J. de Westfalia. 
 1480-1483 — Joh. Andreae Tractatus (CA. 155). ,, ,, 
 
 The Diagrams are 
 
 1. Arbor consanguinitatis. 
 
 2. Arbor affinitatis. 
 
 3. Arbor cognationis spiritualis. 
 
 2. Astronomical and geographical diagrams about the size 
 of a folio page. 
 
 1480-1483 — P. de Aliaco, Imago mundi (C. A. 143). Louvain, J.de Westfalia. 
 The diagrams illustrate 
 
 1. The nine spheres of heaven. 
 
 2. The tropical and zodiacal lines, etc. 
 
 3. The zenith and horizon. 
 
 4. The circles of the elements. 
 
 5. The zones of the earth. 
 
 6. The climates of the earth. 
 
 7. The lesser divisions of the earth. 
 
 8. The directions of the twelve winds. 
 
DIAGRAMS. 
 
 3 1 9 
 
 Sect. 38.] 
 
 3. Trees of kindred and affinity. 
 
 19 June 1484 — Van den Seven Sacramenten (CA. 1492). Gouda, G. Leeu. 
 
 1. Arbor consanguinitatis. 
 
 2. Arbor affinitatis. 
 
 4. Two logic diagrams. 
 
 14 June 1486 — P. Hispani logicalia (C.A. 1394). Antwerp, G. Leeu. 
 
 5. Two diagrams of concentric circles, HALT. 58 (92) a. 
 
 A small diagram of Day and Night. 
 
 1488 — P. de Eivo, Opus responsivum (CA. 1405). Louvain, Eavescot. 
 
 6. Two logic diagrams. 
 
 25 Jan. 1491 — P. Hispani Summulfe (CA. 1398). Deventer, Paffroet. 
 
 7. A Hand covered with words as memoria technica. 
 
 30 April 1491 — Exercitia utilissima (CA. 715). Zwolle, P. van Os. 
 
 8. A Hand similar to the preceding but larger. 
 
 1494 — Eosetum exercitiorum (CA. 1224). Zwolle, P. van Os. 
 
WOODCUTTERS OF THE 
 NETHERLANDS. 
 
 PART III. 
 
 LIST OF THE BOOKS CONTAINING WOODCUTS. 
 
 c. w. 
 
 21 
 
ON THE ARRANGEMENT OF THE LIST. 
 
 Here, as in Parts I. and II., the chronological method has been 
 adopted as far as possible, the books being ranged in strict order of date 
 under the presses at which they were produced. 
 
 The presses themselves are ranged under the town or the printer, just 
 as in each case the one or the other seemed most important. Thus 
 Yeldener’s books are kept together, whether printed at Louvain, at 
 Utrecht, or at Kuilenburg ; and so with Gerard Leeu’s, whether appearing 
 at Gouda or at Antwerp. At Delft, on the other hand, where there was 
 but one press, worked from time to time by different printers, the town is 
 made the principal heading. Claes Leeu and Tyman van Os, who have 
 no printing materials other than those of their namesakes, are placed 
 next to Gerard Leeu and Peter van Os respectively, the latter being found 
 under Zwolle. So also Godfr. Back, who married the widow, succeeded 
 to the business, and used the devices, of Mathias van der Goes at 
 Antwerp, is ranged next to that printer ; and Colard Mansion at Bruges 
 is followed immediately by the unnamed printer who worked for a short 
 time Mansion’s deserted press. 
 
 The sequence of the presses is determined not by the date at which 
 printing was commenced, but by that at which woodcut illustrations are 
 first found to be used. The Block-books of course head the list, for the 
 same reason as in Parts I. and II. The later undetermined presses are 
 ranged wherever the style of the woodcuts and other considerations entitle 
 them to be. A glance at the Table of Contents will, it is hoped, enable 
 the reader to find any particular press without trouble. 
 
 Each entry consists of the date, the short title, the size, and a 
 reference to Dr Campbell’s Annales (CA.), where a more or less full 
 description of the book may be seen. At the end is a reference, under 
 section and number, to every single entry in Part II. (the Catalogue of 
 Woodcuts) in which the book is mentioned. Immediately preceding this 
 reference is a bracket, within which is noted the library or libraries where 
 the book may be seen, the library-mark being added where practicable. 
 The libraries most frequently cited are denoted by initials, which will 
 easily be understood. They are as follows: 
 
 BRH. Bibliotheque Royale, at the Hague. 
 
 MWH. Meerman-Westreenen Museum, at the Hague. 
 
 BBB. Bibliotheque Roy ale, at Brussels. 
 
 BNP. Bibliotheque Nationale, at Paris. 
 
 BM. British Museum. 
 
 ULC. University Library, Cambridge. 
 
 BLO. Bodleian Library, Oxford. 
 
 TCD. Trinity College, Dublin. 
 
WOODCUTTERS OF THE 
 NETHERLANDS. 
 
 PART III. 
 
 LIST OF THE BOOKS CONTAINING WOODCUTS. 
 
 I. THE BIBLIA PAUPERUM, Edition B (before 1467). 
 
 Place unknown. 
 
 Before 1467 — Biblia Pauperum (Edition B, see p. 3). fol. [MVVH (im- 
 perfect); BM; Vienna; Munich; Dresden; Hannover; Passau; Gottweig; Duke 
 of Devonshire; Earl Spencer (copy A).] Sect. i. A. 
 
 II. THE CANTICTJM , Edition A (before 1467). 
 
 Place unknown. 
 
 Before 1467 — Canticum Canticorum (Edition B, see p. 10). fol. [BM; 
 BNP; Haarlem; Munich; Earl Spencer.] Sect. ii. A. 
 
 III. THE SPECULUM (before 1474). 
 
 Place unknown. 
 
 Before 1474— Speculum humane salvationis. fol. C A. 1570. [BRH; BRB; 
 BNP; Vienna; Munich.] Sect. iii. A. 
 
 Before 1474 — Speghel onser behoudenisse. fol. CA. 1571. [BRH.] Sect. iii. 
 
 B. 
 
 Before 1474 — Speculum humane salvacionis. fol. CA. 1569. [BRH; Haar- 
 lem; Berlin; Hannover; Earl Spencer.] Sect. iii. C. 
 
 Before 1474 — Speghel onser behoudenisse. fol. CA. 1572. [BRH; Haarlem; 
 Lille; Earl Spencer.] Sect. iii. D. 
 
 21—2 
 
324 
 
 BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 IV. THE BOEC VAN DEN HOUTE (before 1483). 
 
 Place unknown. 
 
 Before 1483 — Boec van den Houte. fol. [No copy of this book is known 
 to exist.] Sect. iv. A. 
 
 V. JOH. DE WESTFALIA (1475—1496). 
 
 At Louvain. 
 
 21 Nov. 1475 — Jnstinianus. Institutionum libri IV. fol. CA. 1052. [BRH.] 
 Sect. v. 1. 
 
 29 Nov. 1475— Virgilius. Bucolica, Georgica et quidam tractatuli. fol. CA. 
 1731. [BNP; King’s Coll. Camb. (with red printed initials); St John’s Coll. 
 Camb. (Philip the Fair’s copy).] Sect. v. 1. 
 
 About 1475 — Jo. Fabri Breviarium super Codice (Justiniani). fol. CA. 1053. 
 [BRH.] Sect. v. 1. 
 
 1475-76 — Joh. Laet. Prognosticatio anni 1476. fol. CA. 1081. [BLO 
 (MS. Seld. Arch. B. 25).] Sect. v. 1. 
 
 8 Apr. 1476 — Virgilius. iEneis. fol. CA. 1728. [BNP ; Copenhagen ; 
 King’s Coll. Camb. ; St John’s Coll. Camb.] Sect. v. 1. 
 
 Nov. 1477 — Lud. Brunus. Carmen in adventu Maximiliani. 4to. CA. 
 385. [BNP (not forthcoming); ULC (lacking the cut).] Sect. v. 7. 
 
 1477 — Kaetspel. fol. CA. 1060. [BNP; Earl Spencer.] Sect. v. 1. 
 1480 — Joh. Andreae. Tractatus super arboribus consanguinitatis 
 affinitatis necnon spiritualis cognationis. fol. CA. 154. [BRH.] Sect, xxxviii. 1. 
 
 1480-1483 — Joh. Andreae. Tractatus super arboribus, etc. fol. CA. 155. 
 [BRH.] Sect, xxxviii. 1. 
 
 1480-1483 — P. de Aliaco. Imago mundi. fol. CA. 143. [BRB; BM; 
 ULC; BLO; Deventer; Leyden.] Sect, xxxviii. 2, 
 
 31 Aug. 1484 (pridie Kalendas Sept.) — Paulus de Middelburgo. Pronosticum 
 (concerning the coming conjunction of 25 Nov. 1484 and eclipse of 16 Mar. 
 1485). 4to. CA. 1362. [ULC.] Sect. v. 1. 
 
 Nov. 1490 — Bouxken omme te comme tot der minne Jhesu ende Marien. 
 8vo. CA. 363. [Louvain (H. L. 1147).] Sect. xxii. 5; xxiii. 6; xxiv. A. 
 
 about 1490 — Dirck van Munster. Spieghel der Kerstenen menschen. 8vo. 
 CA. 596. [BRB.]. Sect. xxii. 6 B ; xxiii. 7. 
 
 7 Nov. 1496 — Legenda S. Annae. 8vo. CA. 1096. [BRH; ULC; BLO.] 
 Sect, xxiii. 8; xxiv. B. 
 
 VI. JOH. VELDENER (1475—1484). 
 
 a. At Louvain; b. at Utreciit; c. at Kuilenburo. 
 
Part hi.] 
 
 VI. J01I. VELDENER. 
 
 3 2 5 
 
 a. At Louvain (29 Dec. 1475). 
 
 29 Dec. 1475 (1476, 4° Kal. Jan. scd’m stilum Romanae Curiae) — W. Role- 
 vinck. Fasciculus temporum. fol. CA. 1478. [BRH; BM (C. 15. b. 7); ULC; 
 BLO.] Sect. v. 2, 3 A. 
 
 30 Apr. 1476 — Car. Virulus (Maneken). Epistolares formulae, fol. CA. 
 1201. [Said to be in BNP, and at Louvain, but not forthcoming.] Sect. v. 2, 
 4, 5. 
 
 b. At Utrecht (4 Nov. 1478). 
 
 30 July 1479 — Epistelen ende ewangelien. 4to. CA. 688. [BRH; ULC.] 
 Sect. v. 2, 3 B. 
 
 14 Feb. 1480 (op S. Valentijns dach) — Boeck datmen hiet Fasciculus tem- 
 porum. fol. CA. 1479. [BRH; BM ; BNP; ULC; BLO.] Sect. v. 3 C ; vi. 5, 
 6, 7 A. 
 
 12 Sept. 1480 — J. de Voragine. Passionael. fol. CA. 1757. [BRH; ULC; 
 BLO.] Sect. vi. 6, 8. 
 
 19 Apr. 1481 (op. S. Victoers auont) — Epistolen ende ewangelien. 4to. 
 CA. 690. [Haarlem.] Sect. iii. E ; v. 3 D ; vi. 7 B, 9. 
 
 c. At Kuilenburg (6 March 1483). 
 
 6 Mar. 1483 — Boec van den Houte. 4to. CA. 940. [BRH ; BRB ; Earl 
 Spencer.] Sect iv. B. 
 
 27 Sept. 1483 (des saterdachs post Matthaei apostoli) — Spieghel onser beliou- 
 denisse. 4to. CA. 1573. [BRH ; Haarlem (another issue with the same 
 cuts); ULC.] Sect. iii. F ; v. 2 ; vi. 7 C, 10, 11. 
 
 1484 — Kruidboeck. 4to. CA. 918. [BRH (incomplete) ; BRB ; 
 BM (C. 14. a. 13); ULC; Cologne.] Sect. iii. G; v. 2; vi. 12 A. 
 
 1484-1485— Herbarius. 4to. CA. 916. [BRH; BRB; ULC.] Sect. vi. 
 
 12 B. 
 
 VII. CONR. DE WESTFALIA (1476). 
 
 At Louvain. 
 
 1 Dec. 1476 — Car. Virulus (Maneken). Epistolares formulae, fol. CA. 
 1202. [BRH.] Sect. v. 5, 6. 
 
 VIII. DELFT PRESS (1477—1500). 
 
 a. Jac. Jacobszoen van der Meer and Maur. 
 Yemantszoen van Middelborch; b. Jac. Jacobszoen 
 alone ; c. Chr. Snellaert ; d. Hen. Eckert van Hom- 
 berch. 
 
326 BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 a. Jac. Jacobszoen van der Meek and Maur. Yemantszoen 
 van Middelborch (10 Jan. 1477). 
 
 10 Jan. 1477— Bible in duytsehe. fol. CA. 290 [BRH ; MWH ; ULC.] 
 Sect. xx. 1 . 
 
 b. Jac. Jacobszoen alone (1480). 
 
 12 Feb. 1480 — Die duytsehe souter. 8 vo. CA. 549. [BRH; ULC; BLO.] 
 Sect. xxi. 1. 
 
 1482 — J. Gerson. Boec vanden gheboden Gods etc. ghenaemt Opus 
 tripartitum. 4to. CA. 802. [BRH ; ULC.] Sect. xx. 2. 
 
 13 Jan. 1483 — Hystorie van die seuen wise mannen van Romen. 4to. 
 CA. 953. [Utrecht (Cat. Hist. Gentium, 4to. no. 377).] Sect. xxi. 2 A. 
 
 14 Feb. 1483 — J. de Cessolis. Dat Scaecspul. 4to. CA. 421. [BLO ; 
 Copenhagen ; Vergauwen Sale i. 349.] Sect. xxi. 3 A. 
 
 19 Aug. 1483 — J. Bouteillier. Somme ruyrael. fol. CA. 361. [BRH.] 
 Sect. xxi. 4. 
 
 13 July 1484 — J. de Yoragine. Passionael, somerstuc. fol. CA. 1761. 
 [BRH.] Sect. xxi. 5 A. 
 
 9 Nov. 1484 — J. de Yoragine. Passionael, winterstuc. fol. CA. 1760. 
 [BRH.] Sect. xxi. 5B. 
 
 About 1484 — Historie van Seghelijn van Iherusalem. fol. CA. 980. [Ver- 
 gauwen Collection, Ghent (not in the Sale Catalogue, 1884).] Sect. xxi. 3B. 
 
 25 Mar. 1486 — Die vier uterste (Cordiale). 4to. CA. 1319. [BRH.] Sect, 
 xxi. 6 , 7 A. 
 
 29 Nov. 1486 (op S. Andries auont) — Euangelien ende Epistelen. 4to. CA. 
 696. [BRH.] Sect. xxi. 7 B. 
 
 1 Mar. 1487 — J. de Yoragine. Passionael (both volumes), fol. CA. 1763. 
 [BRH; ULC (winterstuc).] Sect. xiii. 2 A; xxi. 5 C, 7 C, 8 A, 9 A. 
 
 3 Mar. 1487 — Tleuen van Liedwy die maghet van Sciedam. 4to. CA. 1123. 
 [BRH.] Sect. xxi. 10. 
 
 18 Mar. 1487 — Ons heeren passie. 4to. CA. 1160. [ULC.] Sect. xxi. 7 D. 
 3 Sept. 1487 — Epistolen ende euangelien. 4to. CA. 698. [BRH.] Sect, 
 xxi. 7 E, 
 
 About 1487 — Troest der consciencie. 8 vo. CA. 1684. [BRH.] Sect, 
 xiii. 1 . 
 
 c. Chr. Snellaert (1488). 
 
 22 May 1488 — Ludolphus. Boec vanden leuen ons heeren. fol. CA. 1182. 
 [BRH ; ULC ; BLO.] Sect. xxi. 7 F, 8 B, 9 B, 12 A. 
 
 2 Nov. 1488 — Twispraec der creaturen. fol. CA. 568. [BRH, BM (037. k. 
 16).] Sect. viii. 2 H; ix. 1; xxi. 8 C, 12 B, 13. 
 
 1488 — Sterfboeck. 4to. CA. 1619. [BRH.] Sect. xxi. 7 K, 14 A. 
 1488 — Euangelien ende epistolen. 4to. CA. 700. [Due d’Arcnbei’g.] 
 Sect. xxi. 7 H. 
 
Part iii.] VIII. DELFT PRESS. 32 7 
 
 1488 — De vier Vytersten (Cordiale). 4to. CA. 1321. [No copy 
 seen.] Sect. xxi. 7 G. 
 
 About 1488 — Eyken von Repgow. Die spiegel van Sassen. 4to. CA. 1595. 
 [BRH.] Sect. xxi. 3 C. 
 
 About 1488 — Die Historie van eoninck Karel ende van Elegast. 4to. CA. 
 971. [BRH.] Sect. xxi. 3D. 
 
 About 1488 — Die vier vterste (Cordiale). 4to. CA. 1322. [BRH.] Sect, 
 xxi. 7 L. 
 
 7 Oct. 1489 — J. de Yoragine. Passionael, zomerstuc. fol. CA. 1765. 
 [BRH ; ULC.] Sect. xxi. 5 D, 7 M, 8 D, 9 C, 15 A. 
 
 27 Oct. 1489 (op. S. Symon ende Iudas auont) — J. de Voragine. Passionael, 
 winterstuc. fol. CA. 1765. [BRH.] Sect. xxi. 5 E, 7 M, 8D, 9 C, 15 A. 
 
 1489 — J. Deckers. Den duijtschen doctrinael. 8vo. CA. 604. [BNP.] 
 Sect. xxi. 3 E. 
 
 About 1489 — Die kersten Ewe. 4to. CA. 1587. [BRH ] Sect. xxi. 16. 
 
 29 Mar. 1490 — Boexkijn van 0. L. Vrouwen croon souter ende mantel. 4to. 
 CA. 331. [BRH.] Sect. xxi. 17 A. 
 
 29 May 1490 (op den pinxter auont) — Spieghel der volcomenheyt. 8vo. 
 CA. 1578. [BRH.] Sect. xxi. 17 C. 
 
 11 June 1490 (op S. Odulphus auont) — Tleuen van Liedwy die maghet van 
 Scyedam. 4to. CA. 1124. [BRH.] Sect. xxi. 10, 18. 
 
 About 1490 — Der kersten Eewe. 4to. CA. 1588. [BRH.] Sect. xxi. 16. 
 About 1490 — Ghetidenboec. 8vo. CA. 835. [BRH.] Sect. xxi. 17 D ; 
 xxi. 21. 
 
 About 1490 — Dirck van Munster. Der kersten spiegel. 8vo. CA. 599. 
 [BRH.] Sect. xiii. 1, 2 B ; xxi. 17 B. 
 
 About 1490 — Albertanus Brixiensis. Konste om te leeren spreken ende 
 swyghen als tyt is. 4to. CA. 70. [BRH.] Sect. xxi. 2 B. 
 
 About 1490 — A. Bosman. Een mirakel dat gesckiede int iaer ons heren 
 Mcccc ende xxxiii inden lande van Cleue. 4to. CA. 356. [BRH ; BRB.] 
 Sect. xxi. 19. 
 
 About 1490 — Historie van die seuen vroede van Roemen. 4to. CA. 955. 
 [BRH.] Sect. xxi. 2 C, 20. 
 
 About 1490 — Albertanus Brixiensis. Conste om te leeren spreken ende 
 swigen alst tijs is. 4to. CA. 71. [BM (C. 48. d.).] Sect. xxi. 2 D. 
 
 About 1490 — Baghijnken van Parijs. 8vo. CA. 215. [BRH.] Sect, 
 xxi. 3 F. 
 
 10 Aug. 1491 — Den gheestelijcken minnenbrief die Jhesus cristus seyndet. 
 8vo. CA. 1257. [BRH.] Sect. xxi. 8 E, 22, 23. 
 
 1491 — Dionysius Carthusianus : De particulari iudicio dei. 4to. 
 CA. 580. [BRH; BM ; ULC.] Sect. xxi. 7 N. 
 
 About 1492 — Dirck van Munster. Der kerstenen spiegel. 8vo. CA. 599 a. 
 [M. Olivier, Brussels, in 1880.] Sect. xxi. 17 E, 21, 25. At Wolfenbuttel is a 
 copy of a page for page reprint of this edition (CA. 599 b.) which probably 
 contains the same cuts. 
 
 16 July 1494 — Die gulden letanye vander passien. 8vo. CA. 1171. [Haar- 
 lem.] Sect. xxi. 26, 27. 
 
328 
 
 BOOKS CONTAINING WOODCUTS. [Part hi. 
 
 17 July 1404 — Van den seuen droefheden O.L. Vrouwen. 8vo. CA. 655. 
 [BRH.] Sect. xxi. 25 B, 28. 
 
 About 1494 — Die hondert articulen van der passien. 8vo. CA. 187. 
 [BRH.] Sect. xxi. 25 C. 
 
 28 Sept. 1495 — Modus legendi in vtroque iure. 8vo. CA. 1267. [BRB ; Trier 
 (incomplete).] Sect. xxi. 3G. 
 
 27 Nov. 1495 — Dat boeck van Tondalus visioen. 4to. CA. 1689. [BRB.] 
 Sect. xxi. 7 0, 14B. 
 
 1495 — Liden ons heeren. 4to. CA. 1168. [Copenhagen (but not seen 
 by me).] Sect. xxi. 7P. 
 
 About 1495 — Proverbia seriosa. 4to. CA. 1454. [Haarlem.] Sect. xxi. 7Q. 
 About 1495 — Die hondert articulen vander passien ons Heeren. 8vo. CA. 
 188. [BRH.] Sect. xiii. 1; xxi. 17F. 
 
 About 1495 — S. Bernardus. Homen dat huysghesinne regeren sal. 4to. 
 CA. 269. [BRH.] Sect. xxi. 29. 
 
 About 1495 — Missale Trajectense. fol. CA. 1262. [BRH.] Sect. xxi. 30. 
 April 1496 — Quattuor nouissima (Cordiale). 4to. CA. 1309. [No copy 
 seen by me.] Sect. xiii. 2C; xxi. 7R. 
 
 11 Aug. 1496 — Expositio hyninorum. 4to. CA. 722. [BRH; BRB; ULC; 
 BLO.] Sect. xxi. 29. 
 
 About 1496 — Textus sequentiarum. 4to. CA. 1533. [BRH; BRB; ULC.] 
 Sect. xxi. 29. 
 
 April 1497— Seneca de quattuor virtutibus Cardinalibus. 4to. not in CA. 
 (CA. 1515?). [BRB.]. Sect. xxi. 2 E. 
 
 1497 — Der kersten Eewe. 4to. CA. 1589. [BRH (imperfect).] Sect. 
 
 xxi. 16. 
 
 1497 — Historie van Sinte Barbara. 4to. CA. 966. [BRH.] Sect. 
 
 xxi. 9D. 
 
 d. Hen. Eckert van Homberch ( 1498 ). 
 
 9 Jan. 1498 — Kaetspeel. 4to. CA. 1061. [Vergauwen i. 348, not seen by me.] 
 It contains at least one cut. 
 
 15 Apr. 1498 — G. de Deguileville. Boeck vanden Pelgrim. 4to. CA. 1377. 
 [BRH ; BLO (Douce 46).] Sect. xi. 12B. 
 
 27 Apr. 1498 — Die historien ende fabulen van Esopus. fol. CA. 29. [BM 
 (C. 20. e.) ; BNP (imperfect) ; Ghent.] Sect. xii. 10; xxi. 31, 32. 
 
 1498 — Die duytsche psolter. 8vo. CA. 552. [BRH; ULC; BLO.] 
 Sect. xxi. 25 D. 
 
 1498 — S. Hieronymus. Vader boeck. fol. CA. 939. [BRH ; ULC.] 
 Sect. xxi. 9E, 12 C. 
 
 1498 — Leuen onsheren. 8vo. CA. 1120. [BRH; ULC.] Sect. xiii. 1; 
 xxi. 8F, 17 G, 21, 25E, 33. 
 
 About 1498 — Zenders de Werth. Lilium grammatice. 4to. CA. 1791. 
 [BRB.] Sect. xxi. 7 S. 
 
 About 1498 — Der zielen troest. fol. CA. 1549. [Utrecht (Misc. Theol. 
 Fol. 46).] Sect. xiii. 
 
Part iii.] VIII. DELFT PRESS. 329 
 
 About 1498— Dionysius Cartliusianus. De vicr utcrsto. 4to. CA. 5S5. 
 [Vergauwen Sale, i. 280.] Sect. xxi. 7T, 17 H. 
 
 Aug. 1499 — J. de Yoragine. Passionael, winterstuck. fol. CA.17G7. [BRH; 
 ULC.] Sect. xi. 2F, 31; xvi. 2; xxi. 5F, 7Y, 8G, 9F, 15B. 
 
 1500 — J. de Voragine. Passionael, somerstuc. fol. CA. 17G7. [BEH; 
 ULC.] Sect. xxi. 5G, 7Y, 8G, 9F, 15B. 
 
 IX. COLARD MANSION (1477—1484). 
 
 At Bruges. 
 
 28 June 1477 (la veille des sains apostres Pierre et Paul)— Boece, Le livre de 
 consolation de pkylosophye. fol. CA. 323. [BRB; Bruges; BNP; ULC; Earl 
 Spencer.] Mansion’s device appears first in this book, and is used in most of his 
 subsequent books including the Ovid of May 1484. 
 
 May 1484— Ovide. Methamorphose, moralisie par Thomas Waleys. fol. 
 CA. 1348. [BRH; BRB; Bruges (No. 3877); BNP (Y. 1185 A); Lille (BG. 70).] 
 Sect. vii. A. 
 
 X. UNKNOWN PRINTER, MANSION’S SUCCESSOR 
 
 (1484—85). 
 
 At Bruges. 
 
 1484-85 — Ovide. Methamorphose, moralisie par Thomas Waleys. fol. 
 CA. 1348 note. [Bruges (No. 3878); BM (C. 22 f.) ; BNP (Y. 1185).] Sect, 
 vii. B. 
 
 XI. GERARD LEEU (1478-1493). 
 
 a. At Gouda; b. at Antwerp. 
 
 a. At Gouda (10 May 1478). 
 
 10 May 1478 — J. de Voragine. Dat Passionael, Winterstuc. fol. CA. 1755. 
 [BRH ; ULC.] Sect. viii. 1. 
 
 3 June 1480 — Dyalogus creaturarum moralisatus. fol. CA. 560. [BRH ; 
 BM (Grenv. 8989 and C. 38. h. 3); ULC; BLO; Liibeck (no. 432).] Sect. viii. 
 2 A, 3. 
 
 4 Apr. 1481 — Twispraec der Creaturen. fol. CA. 565. [BRH.] Sect, 
 viii. 2 B. 
 
 30 Apr. 1481 — Die gesten van Romen. fol. CA. 826. [BRH (incomplete) ; 
 Louvain (Fol. 1116, incomplete); Leyden (no. 1253); BNP (Z. 1725 A).] Sect, 
 viii. 6 A. 
 
 6 June 1481 — Dyalogus creaturarum moralizatus. fol. CA. 561. [BRH; 
 BM (637. k. 15); BLO; Deventer; Clare Coll. Cambridge.] Sect. viii. 2 C. 
 
330 
 
 BOOKS CONTAINING WOODCUTS. [Part hi. 
 
 20 Apr. 1482 — Dyalogue des creatures moraligie. fol. CA. 570. [BNP (no. 
 2328) ; Coin (Town Archives).] Sect. viii. 2 D. 
 
 23 June 1482 (op S. Jans Baptisten auont) — Twispraec der creaturen. fol. 
 CA. 566. [MWH.] Sect. viii. 2 E ; ix. 1. 
 
 29 July 1482 — Liden ons Heren. 4to. CA. 1156. [BRH ; BRB.] Sect, 
 ix. 2 A. 
 
 23 Aug. 1482 (op S. BarthcPmeus auont) — Yier uterste (Cordiale). 4to. CA. 
 1316. [BRH ; BRB.] Sect. viii. 4. 
 
 31 Aug. 1482 — Dyalogus creaturarum moralizatus. fol. CA. 562. [BM (C. 
 19. d. 26) ; BLO ; BNP (Y. 6592).] Sect. viii. 2 F. 
 
 About 1482 — Historia septem sapientum Romae. 4to. CA. 947. [ULC ; 
 BLO.] Sect. viii. 5 B. 
 
 About 1482 — Six (or more) sheets containing woodcuts and verses, illus- 
 trative of the Life of Christ. Type HMT. 71(54)3. Six woodcuts and six 
 stanzas, of about 15 verses each, on every sheet. The verso of each sheet is 
 blank. The sheets are all cut up into what look like pages, which are mounted 
 upon separate cards. It is thus rendered difficult to fit them together, and to 
 discover whether the set is complete. The space left between the tops of the 
 lower row of cuts and the last lines of the upper row of verses is far too narrow 
 to admit of the sheets being folded and bound. Probably they were meant to be 
 cut up. CA. 746. [Erlangen (collection of prints).] Sect. ix. 2B. 
 
 9 Mar. 1484 — Mich. Franciscus de Insulis. Yan Marien rosen cransken. 
 8vo. CA. 762. [BRH.] Sect. ix. 3 A. 
 
 19 June 1484 — Van den seven Sacramenten. fol. CA. 1492. [BRH ; BM 
 (475. e. 19).] Sect. viii. 1; ix. 4 A; xxxviii. 3. 
 
 About 1484 — Mich. Franciscus de Insulis. Quodlibet de veritate fraterni- 
 tatis rosarii. 4to. CA. 759. [BRH; Ghent; ULC.] Sect. ix. 3 B. There were 
 two issues of this edition, one having the cut Sect. ix. 3, no. 59, where the other 
 has Sect. ix. 3, no. 60. The copy at the Hague belongs to the former, that at 
 Ghent to the latter. 
 
 About 1484 — Horarium Trajectense. 16mo. CA. 993. [ULC.] Sect, 
 ix. 3 D. 
 
 b. At Antwerp (14 Sept. 1484). 
 
 18 Sept. 1484 — Gemmula vocabulorum. 4to. CA. 787. [BRB; BM (12932. 
 d.); ULC (wanting the cut).] Sect. ix. 2F. 
 
 About 1484 — Denote ghetiden vanden leuen Jhesu Cristi. 8vo. CA. 1115. 
 [Leyden, Society de litt. n4erl. (no. 1246).] Sect. ix. 2E, 5 A, 6 A. 
 
 28 Jan. 1485 — Libellus de modo confitendi et penitendi. 4to. CA. 1129. 
 [BRH.] Sect. ix. 2 G. 
 
 10 Feb. 1485 — Jordanus de Quedlinburg. Meditationes de vita et passione 
 Jhesu Christi. 16mo. CA. 1046. [BNP (D. 16070).] Sect. ix. 3 E ; x. 1 B. 
 
 1 Mar. 1485 — Moralissimus Catho cum commento. 4to. CA. 406. [BRH 
 (wanting the cut); BRB ; BM (Grenv. 9494); ULC (cut wanting).] Sect. ix. 4 B. 
 
 9 July 1485 — Liden ons heeren. 4to. CA. 1159. [Vergauwen Sale, i. 337.] 
 Sect. ix. 2 H, 3 F; x. 1 C. 
 
Part in.] XI. GER. LEEU. 33 1 
 
 12 Oct. 1485 — Dye hystorien ende fabulen van Esopus ende van meer ander. 
 fol. CA. 28. [BRH.] Sect. xv. B. 
 
 20 Oct. 1485 — Dirck van Munster. Der kerstenen Spieghel. 8vo. CA. 597. 
 [Due d’Arenberg (I have not seen the book. It contains 8 cuts).] Sect. ix. 3 H. 
 
 About 1485 — Liden ons Heeren. 88 leaves, type HMT. 71(54)46. The fol- 
 lowing signatures occur : c x (4to. cut of the Agony), c 3 (16mo. cut of the 
 Betrayal), d, e x (?the leaf is wanting), e 3 , f 1} f 3 , g, g 3 (16mo. cut of the Re- 
 surrection), h, i, i 3 , k, 1, 1 3 . 4to. Not in CA. [BRB (wanting first two quires 
 and various leaves, amongst others the last two).] Sect. ix. 2 K, 3 G ; x. 1 D. 
 
 About 1485 — Seven corte Ghetiden van die glieheel weke. 4to. Not in CA. 
 [I am indebted to Dr Campbell for an account of the book.] Sect. ix. 2 L. 
 
 28 Jan. 1486 — Libellus de modo confitendi et penitendi. 4to. CA. 1130. 
 [BRH.] Sect. ix. 2 M ; x. 2. 
 
 2 June 1486— Catho moralissimus cum commento. 4to. CA. 407. [BRH.] 
 Sect. x. 3. 
 
 14 June 1486 — Petrus Hispanus. Logicalia. 4to. CA. 1394. [BRH ; ULC.] 
 Sect. x. 3, 4 ; xxxviii. 4. 
 
 23 Aug. 1486— Gemmula vocabulorum cum addito. 4to. CA. 788. [BRH 
 (wanting page with cut).] Sect. ix. 2 N. 
 
 26 Sept. 1486 — Fabule et vita Esopi, cum fabulis Auiani, Alfonsij, Pogij flo- 
 rentini, et aliorum. fol. CA. 26. [BRH; BRB; BM (Grenv. 7808); ULC; 
 Musde Plantin, Antwerp (no. 9).] Sect. xv. C. 
 
 23 Oct. 1486 (10 kal. Novembres) — Libellus de modo confitendi et peni- 
 tendi. 4to. CA. 1131. [Coblenz (xxii. 3 or 2).] Sect. ix. 2 O. 
 
 11 Dec. 1486 (3° Idus Decembres) — Dijalogus creaturarum moralisatus. fol. 
 CA. 563. [BRH ; BM (C. 38. h. 4).] Sect. viii. 2 G ; ix. 1. 
 
 22 Dec. 1486 (11 Kal. Jan.) — Yulgaria Therentij in Anglicanam linguam 
 traducta. 4to. CA. 1644. [ULC.] Sect. x. 3. 
 
 1486 — Die Electie, coronatie, ende salvinghe des roemschen conincs 
 Maximilianus. 4to. CA. 659. [Due d’Arenberg (I have not seen the book).] 
 Sect. x. 5. 
 
 5 Jan. 1487 — Jordanus de Quedlinburg. Meditacien vanden leuen ons 
 Heeren. 8vo. CA. 1051. [BRH.] Sect. ix. 3 I, 6 B ; x. 1 E. 
 
 31 Jan. 1487 (pridie Kal. Feb.) — Psalterium. 16mo. CA. 541. [BM ; ULC.] 
 Sect. ix. 3 K. 
 
 17 Mar. 1487 (16 Kal. Apr.) — Libellus de modo confitendi et penitendi. 
 4to. CA. 1133. [MWH. ] Sect. ix. 2 P. 
 
 20 Apr. 1487 (12 Kal. Mai.) — Yulgaria Terentij in theutonicam linguam tra- 
 ducta. 4to. CA. 1637. [MWH.] Sect, x. 3. 
 
 15 May 1487 — Histoire du chevalier Paris et de la belle Vienne, fol. CA. 
 941. [BNP (Y 2 . 222).] Sect. xii. 1 A. 
 
 19 May 1487 — Historie van den ridder Parijs ende van die schone Vienna, 
 fol. CA. 942. [BNP (Y 2 . 222 A).] Sect. xii. 1 B. 
 
 25 July 1487 — Jordanus de Quedlinburg. Meditationes de vita et passione 
 Jhesu Cristi. 16mo. CA. 1047. [BRH; ULC.] Sect. ix. 3 L ; x. 1 F. 
 
 2 Aug. 1487 — Mich. Franciscus de Insulis. Speculum sermonum B.M.V. 
 super salutatione angelica. 4to. CA. 1576. [BRH ; BRB ; ULC.] Sect, ix, 
 
 2 Q. 
 
332 
 
 BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 30 Oct. 1487 (3° Kal. Nov.) — Catho moralissimus cum commento. 4to. 
 CA. 408. [BRB ; BM.] Sect. x. 3. 
 
 3 Nov. 1487 — Ludolphus. Boeck vanden leven ons heeren Jesu Christi. 
 fol. CA. 1181. [BRH; BM (1218. h. 3) ; ULC.] Sect. ix. 2 R; x. 6 A, 7 A, 8 ; 
 xii. 3 A. 
 
 28 Nov. 1487 — Hoofkijn van deuotien. 4to. CA. 985. [BRH ; ULC.] 
 Sect. xii. 4. 
 
 1487 — Albertanus Brixiensis. Libellus de modo loquendi et tacendi. 
 4to. CA. 65. [ULC; BM (697. d. 2).] Sect. x. 3. 
 
 1487 — Rosarium B. Mariae Virginis. 16mo. CA. 1481. [BRH.] 
 Sect. ix. 3 N ; x. 1 G. 
 
 1487 — Rosarium B. Mariae Yirginis. 16mo. CA. 1482. [Hamburg 
 (Real Cat. Yol vi. p. 210).] Sect. ix. 3 N ; x. 1 G. 
 
 1487 — Officium Romanum B. Mariae Virginis. 32mo. CA. 1328. 
 [Hamburg (Real Cat. AC. vi. p. 217).] Sect. xii. 5. 
 
 About 1487 — Bernardus. Tractatus de laudibus B.M.V. 4to. CA. 281. 
 [BRH ; BRB ; ULC.] Sect. ix. 2 S. 
 
 1487-1488 — Hen. van Alkmaar, Reynaert die Vos. 4to. Not in CA. 
 [ULC, a fragment, the only trace of the book known.] Sect. xii. 2. 
 
 16 Feb. 1488 — Van die gheestelike kintscheijt Jhesu ghemoraliseeret. Ende 
 vander iacht der minnen. 8vo. CA. 1074. [BRH; ULC.] Sect. ix. 3 0 ; 
 xii. 6 A. 
 
 20 Feb. 1488 — Morticellarium aureum. 4to. CA. 1270. [BRH; ULC; BLO.] 
 Sect. xii. 7. 
 
 11 Mar. 1488 — Die Spiegel der volcomenheijt, etc. 8vo. CA. 1577. [BRH.] 
 Sect. ix. 3 P. 
 
 16 Mar. 1488 — Dionysius Carthusianus. Spieghel der bekeeringhen der son- 
 daren. 4to. CA. 591. [BRH.] Sect. ix. 3 Q ; xii. 8. 
 
 15 Apr. 1488 — Die vier vterste (Cordiale). 4to. CA. 1320. [BRH.] 
 Sect. ix. 2 T. 
 
 14 May 1488 — Esopus cum commento (L. Vallae). 4to. CA. 38. [BRB; 
 BM (C. 1. a. 4, wanting first leaf); BLO; BNP.] Sect. xii. 10. 
 
 19 May 1488— Gemmula vocabulorum cum addito. 4to. CA. 790. [ULC.] 
 Sect. ix. 2 V. 
 
 20 Nov. 1488 — Jordanus de Quedlinburg. Meditationes de vita et passione 
 Jhesu Christi. 16mo. CA. 1048. [BRH; Hamburg.] Sect. ix. 3 R ; x. 1 H. 
 
 1488 — Historie van deme riddere Paris vnde vander schone Vienna, 
 fol. CA. 943. [I have not seen a copy of this book.] Sect. xii. 1 C. 
 
 About 1488 — Salomonis et Marcolphi dijalogus. 4to. CA. 455. [BRB ; 
 ULC.] Sect. xii. 10. 
 
 3 Mar. 1489 — Opusculum vite et passion is Christi ex revelationibus B. Bir- 
 gitte. 16mo. CA. 380. [BRH ; BM; ULC.] Sect. x. 9. 
 
 26 Nov. 1489 — Speculum rosariorum Jhesu et Marie. 8vo. CA. 1574. 
 [BRH.] Sect. ix. 3 S. 
 
 1 Sept. 1490 — Liden ons Heeren. 4to. CA. 1164. [BRH.] Sect. ix. 2 X, 
 3 T ; x. 1 I. 
 
 6 Nov. 1490 — Historia septem sapientum Romae. 4to. CA. 950. [BRH ; 
 BM (1074. 1. 20); BLO ; BNP (Y 2 . 58) ; Deventer.] Sect. x. 10 ; xii. 9 C. 
 
Part iii.] XL GER. LEEU. 333 
 
 9 Feb. 1491 — Historic van Meluzine. fol. CA. 975. [BRB.] Sect. x. 
 11 A; xii. 1 D. 
 
 11 Apr. 1491 — Dyalogus creaturarum moralisatus. 4to. CA. 5G4. [BRH ; 
 BM (1073. 1. 2) ; ULC.] Sect. viii. 2 1; ix. 1. 
 
 21 June 1491 — Reuelacien der heyligher vrouwen S. Birgitten. 8vo. CA. 
 382. [BRH.] Sect. ix. 3 Y ; x. 9 ; xii. 12 B. 
 
 28 June 1491 — Bonaventura. Legende van S. Franciscus. — Legende van S. 
 Claren. 8vo. CA. 334. [BRH; ULC.] Sect. xii. 13 A. 
 
 11 July 1491 — Bonaventura. Boeck vanden vier oefeninghen. 8vo. CA. 
 
 339 a. [Prof. Doedes at Utrecht.] Sect. ix. 3 W ; xi. 4 C. 
 
 About 1491 — Duytsche ghetiden. 8vo. CA. 839 note. [ULC, last 5 leaves 
 wanting.] Sect. xii. 14 ; xvi. 1 A. 
 
 8 Oct. 1491 — S. Bernardus Souter tot onser lieuer vrouwen. 8vo. CA. 278. 
 [BRH.] Sect. xii. 15; xvi. 1 B. 
 
 10 Nov. 1491 — Jordanus de Quedlinburg. Meditationes de vita et passione 
 Jhesu Christi. 16mo. CA. 1050. [BRH.] Sect. ix. 3 X; x. 1 K. 
 
 2 Dec. 1491 — Glose opten psalm ‘ Miserere mei\ etc., 8vo. CA. 847. 
 [BRH.] Sect. xii. 16. 
 
 About 1491 — Die historie, die ghetijden ende die exempelen van S. Annen. 
 8vo. CA. 961. [BRB ; ULC (Ghetijden only).] Sect. xii. 12 A. 
 
 About 1491 — Kamitus. Regimen contra pestem. 4to. CA. 1065. [BRB 
 (Inc. 1589).] Sect. xii. 13 B. 
 
 About 1491 — Den Minnenbrief die Jhesus Cristus zeijndt tot der minnen- 
 der zielen. 8vo. CA. 1258. [BRH; BRB (imperfect).] Sect. xii. 6B; xvi. 1 C. 
 
 7 Jan. 1492 — Vanden Dochteren van Sijon een deuoet exercitie. 4to. CA. 
 603. [BRH.] Sect. xii. 17 A. 
 
 18 Mar. 1492 — Horarium Trajectense. 8vo. CA. 994. [I have not seen a 
 copy of this book.] Sect. xvi. 1 D. 
 
 2 June 1492 — R. le Fevre. The history of Jason (translated by W. Caxton). 
 fol. CA. 1093. [ULC; TCD (FF. hh. 53, No. 3); Duke of Devonshire.] Sect, 
 xi. 3 G, 6 F. 
 
 23 June 1492 — The storye of the Knyght Paris and the fayr Yyenne (trans- 
 lated by W. Caxton). fol. Not in CA. [TCD (FF. hh. 53, No. 2).] Sect. xii. 1 F. 
 
 14 July 1492 — Gliedenckenisse van den seuen weeden onser lieuer Vrouwen. 
 8vo. CA. 1778. [BRH.] Sect. xii. 18 A. 
 
 6 Oct. 1492 — Corona mistica B. Marie Virginis. 8vo. CA. 497. [BRH ; 
 ULC.] Sect. xii. 19 ; xvi. 1 E. 
 
 3 Dec. 1492 — Dionysius Carthusianus. Exercitium de via purgativa. 16mo, 
 CA. 581. [BRH; ULC.] Sect. ix. 3 Y. 
 
 [About 1492 — R. le Fevre. Historie van Jason, fol. Not in CA. [TCD.] 
 Sect. xi. 6E. No such book exists. The error arose from a mistake in my notes 
 of the Dublin books.] 
 
 About 1492 — Historie vanden ridder Paiis ende van die schone Vienna, fol. 
 Not in CA. [TCD (FF. hh. 53, No. 4, last leaf wanting).] Sect. xii. 1 E. 
 
 About 1492 — Psalterium Jheronimi. 8vo. CA. 935. [BRH.] Sect. xii. 13 C. 
 About 1492 — Horae B.M.V. ad usum Sarum. 16mo. NotinCA. [Brasenose 
 Coll. Oxford (fragment only).] Sect ix. 3 Z; xvi. 1 F. 
 
334 
 
 BOOKS CONTAINING WOODCUTS. [Part hi. 
 
 About 1492 — Dyalogus or communyng betwixt the wyse king Salomon and 
 Marcolphus. 4to. CA. 460. [BLO (Tanner 178, No. 5).] Sect. x. 12 A. 
 
 About 1492 — Ordinancie vander munten of 11 Dec. 1489. 4to. CA. 1337. 
 [ULC.] Sect, xxxiii. 4. 
 
 1493 — Cronycles of the Londe of Englond. fol. CA. 511. [BM 
 (Grenv. 5993); TCD (FF. hh. 53, No. 1).] Sect xi. 3 H; xii. 20. 
 
 XII. CLAES LEEU (1487—1488). 
 
 At Antwerp, with Ger. Leeu. 
 
 17 Dec. 1487 — Bonaventura. Boec vanden vier oefeninghen. 8vo. CA. 339. 
 [BRH.] Sect. ix. 3 M ; xi. 4 B. 
 
 11 Apr. 1488 — Hystorie van die seven wise mannen van Romen. 4to. CA. 
 954. [Copenhagen, not seen by me.] Sect. xii. 9 A. 
 
 20 Nov. 1488 — Ludolphus. Boeck vanden leuen ons heeren Jhesu Cristi 
 anderweruen gheprint. fol. CA. 1183. [BRH; BM (3845. df.); ULC.] Sect, 
 ix. 2 W ; x. 6 B, 7 B ; xii. 3 B, 11 A. 
 
 XIII. (GER. LEEMPT, as) G L (1479—1480). 
 
 At Utrecht. 
 
 7 May 1479 — Der sielentroest. fol. CA. 1544. [BRH ; in ULC the place 
 for the cut is left blank.] Sect. vi. 1. 
 
 10 Nov. 1479 — Der sielentroest. fol. CA. 1545. [Due d’Arenberg.] Sect, 
 vi. 2. 
 
 30 Mar. 1480 — Otto van Passau. Boeck des gulden throens. fol. CA. 1342. 
 [BRH; BM (3835. b.); ULC.] Sect. vi. 3, 4. 
 
 XIV. AREND DE KEYSERE (1480—1490). 
 a. At Audenarde; b. at Ghent. 
 
 a. At Audenarde (1480). 
 
 1480 — Ilermannus de Petra, Sermones. fol. CA. 919. [BRH; ULC ; 
 BLO.] See Appendix. 
 
 1480-81 — Joli. Laet, Pronosticaten. 4to. CA. 1082. [Sluis Archives 
 (imperfect).] See Appendix. 
 
 1480- 81 — Dystorie van Saladine. 4to. CA. 979. [Haarlem.] See Ap- 
 pendix. 
 
 1481- 82 — Dionysius de Leewis. Quatre derniSres clioses. 4to. CA. 
 586. [BRB ; Ghent.] Sect. viii. 4. See Appendix. 
 
Part hi.] 
 
 335 
 
 XIV. A REND DE KEY SERE. 
 b. At Ghent (8 April 1483). 
 
 8 Apr. 1483 — Traittie de paix et de manage (made at Arras 1482). fol. CA. 
 1681. [Ghent.] See Appendix. 
 
 22 Aug. 1483 — Guillermus Parisiensis. Eethorica divina. 4to. CA. 905. 
 [BEH ; BEB (2 copies, one with device, one without) ; Ghent ; ULC.] See 
 Appendix. 
 
 1483-90 — Horae B. Mariae V. 8vo. Not in CA. [ULC (fragments).] 
 See Appendix. 
 
 1488- 90 — Tractatus de periculis circa sacramentum eucharistie con- 
 tingentibus. 4to. CA. 1678. [Due d’Arenberg.] See Appendix. 
 
 XV. GOTFR. DE OS, or GOV. VAN GHEMEN (1481—1490). 
 
 a. At Gouda; b. at Leyden. 
 
 a. At Gouda (1481 — 82). 
 
 1481-82 — Historie van die seuen wise mannen van Eomen. 4to. CA. 952. 
 [Haarlem.] Sect. viii. 5 A. 
 
 23 June 1484 (op St. Jans Baptisten auont) — Epistelen ende euangelien. 4to. 
 CA. 693. [ULC ; Due d’Arenberg.] Sect. ix. 2 D. 
 
 1485-86 — Historie hertoghe Godeuaerts van Boloen. fol. CA. 968. 
 [BM (Grenv. 6234) ; Due d’Arenberg.] Sect. xxv. 1 A, 2. 
 
 13 Nov. 1486 — Opusculum quintupertitum grammaticale. 4to. CA. 1331. 
 [ULC ; Copenhagen ; Gymnase Catholique, Cologne (imperfect).] Sect. xxv. 3. 
 
 1486-1489 — Albertanus Brixiensis. Die konste om te leren spreken ende 
 zwighen. 4to. CA. 69 note. [BEB.] Sect. xxv. 3. 
 
 1486-1489 — Historie vanden eedelen Lantsloet ende die scone Sandrijn. 
 4to. CA. 974. [BEH (one leaf only); Lubeck (1388a); Hamburg.] Sect. xxv. 4. 
 
 1486-1489 — Huon de Bordeaux. 4to. CA. 1011. [BEH (a fragment).] 
 Sect. xxv. 5. 
 
 1486-1489 — Olivier de Lamarche. Le Chevalier delibere. fol. CA. 1083. 
 [No copy seen by me; the only known one belonged to the Marquis de Ganay 
 in 1879.] Sect. xxv. 6 A, 7. 
 
 b. At Leyden (1489—90). 
 
 1489- 90 — Den gheesteliken minnebrief die ihesus cristus seyndt. 8vo. 
 CA. 1256. [BEH; ULC.] Sect. xxv. 9. 
 
 XVI. JAC. BELLAERT (1483—1486). 
 
 At Haaelem. 
 
 10 Dec. 1483 — Lijden ons Heeren. 4to. CA. 1157. [Enschede sale, 374, 
 bought by Mr Quaritch.] Sect. ix. 2 C; xi. 1. 
 
 15 Feb. 1484 — J. de Theramo. Der sonderen troest. fol. CA, 1656. [BEH ; 
 BM (175. e 19); BLO.] Sect. xi. 2 A, 3 A. 
 
33 6 BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 After 15 Feb. 1484 — Oefeninghe op dat Pater noster, &c. 8vo. CA. 1325. 
 [ULC.] Sect. xi. 2 B. 
 
 25 Oct. 1484 (op sinte Crijspijn ende Crispiaens dach) — Otto van Passau. 
 Boeck des gulden throens. fol. CA. 1343. [BKH;BM; ULC; BLO.] Sect. xi. 
 
 4 A. 
 
 12 Nov. 1484— Ghedenc dijn vterste (Cordiale). 4to. CA. 1318. [BRH; ULC.] 
 Sect. xi. 2 C, 5. 
 
 Before ) 
 
 _ ,, 1485 — R. le Fevre. Historie vanden vromen ridder Jason, fol. CA. 
 
 5 May ) 
 
 1092. [BNP.] Sect. xi. 3 B, 6 A. 
 
 5 May 1485 — R. le Fevre. Vergaderinge der historien van Troyen. fol. 
 CA. 1095. [BNP.] Sect. xi. 3 C, 6 B, 7 A. 
 
 Aftor ) 
 
 5 May ( ^® vre * P rouesses de Jason, fol. CA. 1091. 
 
 [BNP (Y 2 . 212).] Sect. xi. 3 D, 6 C. 
 
 24 Dec. 1485 (opten kersauent) — Bartholomaeus de Glanvilla. Boeck vanden 
 proprieteyten der dinghen. fol. CA. 258. [BRH ; BRB ; BM (1251. k.); ULC; 
 BLO.] Sect. xi. 3E, 8. 
 
 8 Apr. 1486 — Epistelen ende euangelien. 4to. CA. 695. [BRH.] Sect, 
 xi. 9 A. 
 
 24 July 1486 — Pierre Michault. Doctrinael des tyts. 4to. CA. 1254. [BRH.] 
 Sect. xi. 6 D, 11. 
 
 20 Aug. 1486 — G. de Deguileville. Boeck vanden Pelgherym. fol. CA. 1376. 
 [BRH (imperfect); BRB ; Berlin Mus. Print Room.] Sect. xi. 3 F, 12 A. 
 
 XVII. BRUSSELS PRESS (1484). 
 
 Fratres Communis Vitae. 
 
 1484 — Legenda sanctorum Henrici et Kunigundis. 4to. CA. 1100. 
 [BM (Grenv. 4660) ; ULC.] Sect. xxii. 1. 
 
 XVIII. ZWOLLE PRESS (1484—1500). 
 a. Pet. van Os; b. Tyman van Os. 
 
 a. Pet. van Os (26 May 1484.) 
 
 26 May 1484 (op hemelvaert avont inden Mey) — Die gesten der Romeynen. 
 fol. CA. 828. [BRH ; ULC.] Sect. viii. 6 B ; xvii. 1. 
 
 24 Dec. 1484 (op des heylighen Kerstes auont) — S. Bernardus Sermonen, 
 winterstuck. fol. CA. 275. [BRH ; ULC.] Sect. xvii. 2. 
 
 30 Apr. 1485 (op den Mey auont) — S. Bernardus Sermonen, somerstuck. 
 fol. CA. 275. [BRH; ULC.] Sect. xvii. 2. 
 
 21 July 1485 (op Marien Magdalenen auont) — Der sielen troest. fol. CA. 
 1547. [BRH.] Sect. viii. 6 C ; xvii. 3. 
 
 5 Jan. 1487 (opter heiligher drie coninglien auont) — Epistelen ende euan- 
 gelijen. 4to. CA. 697. [BRH.] Sect. i. B ; xvii. 4 A, 5 A; xviii. 1 A. 
 
Part hi.] XVIII. ZWOLLE TRUSS. 337 
 
 23 Aug. 1487 (in profesto Bartholomaei apostoli) — Breviarium Trajectense 
 fol. CA. 374. [BRH.] Sect. i. C. 
 
 18 Nov. 1487 (op sinte elizabetten auont) — Liden ons Heren. 4to. CA. 
 1161. [Darmstadt (I. 715. 70).] Sect. i. D. 
 
 6 Nov. 1488 (misprinted 1480) — Psalterium cum duplicibus titulis. 4to. 
 CA. 539. [BRH.] Sect. xvii. 5 C. 
 
 10 Nov. 1488 (op S. Martijns avont) — Euangelien ende epistelen. 4to. CA. 
 699. [BRH.] Sect. i. E ; xvii. 4 B. 
 
 21 Nov. 1488 (des anderen daghes nae S. Ponciaens dacli) — Thomas Canti- 
 pratensis. Der bien boeck. fol. CA. 1658. [BRH; BM (475. e. 19); ULC.] 
 Sect. i. F ; xvii. 6. 
 
 1488 — Dat sterfboeck. fol. CA. 1620. [BRH.] Sect. i. H ; xvii. 7. 
 About 1488 — Epistolare et euangeliare. 4to. CA. 682. [BRH.] Sect, 
 xvii. 4 C. 
 
 About 1488 — Paulus Pellantinus. Carmen de nativitate J. C. 4to. CA. 
 1378. [BRH.] Sect. i. K. 
 
 21 Feb. 1489 (op S. Peters auont ad Cathedram) — Liden ons Heren. 4to. 
 CA. 1163. [BRH; Darmstadt (I. 715. 72).] Sect. i. L. 
 
 1 Apr. 1490 — Hieronymus. Vaderboeck. fol. CA. 938. [BRH ; BRB ; 
 ULC ; Darmstadt.] Sect. i. M ; xviii. 3. 
 
 1 Sept. 1490 — J. de Voragine. Passionael, somerstuck. fol. CA. 1766. [BRH; 
 ULC.] Sect. x. 6 C ; xii. 11 B ; xvii. 9. 
 
 18 Nov. 1490 (des donre daghes voer S. Katherine) — J. de Voragine. Pas- 
 sionael, winterstuck. fol. CA. 1766. [BRH; ULC.] Sect. ix. 2 a ; xii. 11 B ; 
 xvii. 9 ; xviii. 3. 
 
 13 Dec. 1490 (op Sinte Lucien dach) — Liden ons Heren. 4to. CA. 1165. 
 [BRH.] Sect. i. N. 
 
 14 Feb. 1491 (op S. Valentijns dach) — Epistelen ende euangelien. 4to„ 
 CA. 702. [BRH (unique but incomplete copy).] Sect. i. O. 
 
 30 Apr. 1491 (in profesto Philippi et Jacobi) — Exercitia vtilissima. 8vo. 
 CA. 715. [ULC; Trier.] Sect, xxxviii. 7. 
 
 4 June 1491 (op S. Bonifacius avont) — Dat Sterfboeck. fol. CA. 1621. [BRH ; 
 Darmstadt.] Sect. i. P ; xvii. 7. 
 
 1 July 1491 (op O.L.V. auont visitatio) — Die vier vutersten (Cordiale). 4to. 
 CA. 1323. [BRH ; Haarlem (both imperfect).] Sect. i. Q ; xviii. 2 C. 
 
 23 Aug. 1491 (op S. Bartholomeus auont) — Der sielentroest. fol. CA. 1548. 
 [BRH ; ULC.] Sect. xvii. 3, 10. 
 
 1491 — Lijden ons Heren. 4to. CA. 1166. [BRH.] Sect. i. R. 
 
 7 Sept. 1492 (in profesto nativitatis BMV) — Gemmula vocabulorum cum 
 addito. 4to. CA. 794. [BRH; ULC.] Sect, xviii. 4 A ; xix. 1 A. 
 
 27 Mar. 1493 (opten anderden dach nae onser Vrouwen dach Annunciatio) 
 Epistelen ende Euangelien. 4to. CA. 704. [BRH.] Sect. xvii. 10; xviii. 
 6 A. 
 
 About 1493 — Liber beati Bernardi Abbatis de Consideratione ad Eugenium 
 Papam. 4to. CA. 265. [BRH ; ULC.] Sect, xviii. 5. 
 
 1494 — J. Mauberne. Rosetum exercitiorum spiritualium. fol. 
 CA. 1224. [BRH; ULC.] Sect. ii. B ; xxxviii. 8. 
 
 27 May 1495 (op ons Heren hemeluaerts auont) — Sermones Bernardi in 
 
 22 
 
 c. w. 
 
33 (S BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 Duytssche, winter-ende somerstuck. fol. CA. 276. [BRH ; BM (1230. d. 19) ; 
 ULC ; BLO.] Sect. ix. 2 d ; xii. 3 C, 11 C, 12 C ; xvii. 2 ; xviii. 3, 6 B ; xix. 2 A. 
 
 20 Nov. 1495 — Ludolphus. Boeck van den leuen ons heren Jhesu Cristi, 
 anderwerven gheprint. fol. CA. 1184. [BRH ; BM (3853. de.) ; ULC.] 
 Sect. ix. 2 e ; x. G D, 7 C ; xii. 3 D, 11 D ; xvii. 10 ; xviii. 6 C ; xix. 2 B. 
 
 About 1495 — Eucherius. Libellus de contemptu mundi. 4to. CA. 709. 
 [BRH ; BRB ; ULC.] Sect, xviii. 7 ; xix. 2 C. 
 
 About 1497 — Alexander Gallus. Doctrinalis Prima et Secunda Pars. 4to. 
 Not in CA. [BRB.] Sect, xviii. 4 B, 7 ; xix. 1 B. 
 
 About 1497 — Liber Faceti morosi docens mores. 4to. CA. 735. [BRH.] 
 Sect. xix. 4. 
 
 About 1497 — Bellum Catilinarium Salustij. 4to. CA. 1502. [BRH.] 
 Sect. xix. 5. 
 
 15 Mar. 1499 — Ludolphus. Boec vanden leuen ons heren Jhesu Cristi, 
 derdeweruen gheprint. fol. CA. 1185. [BRH; ULC.] Sect. x. 6 F, 7 D; 
 xi. 9 B ; xii. 3 E, HE; xvii. 10 ; xviii. 3, 6 D ; xix. 1 C, 2 D, 6. 
 
 7 Sept. 1499 (op onser Vromven auent Natiuitas) — Die historie van Santa 
 Anna. 8vo. CA. 984. [Ghent.] Sect. xii. 12 D ; xviii. 6 E. 
 
 1500 — Bartholomei Coloniensis Canones. 4to. CA. 250 a. [BRH ; 
 ULC.] Sect. xix. 3, 5, 7. 
 
 1500 — Vulgaria computi. 4to. NotinCA. [ULC.] Sect. i. S. 
 About 1500 — Rudolplius Agricola. Carmina in divae Annae laudem. 4to. 
 CA. 53. [ULC.] Sect. xii. 12 E. 
 
 About 1500 — Stella clericorum. 4to. CA. 1G16. [BRB ; Cologne Ar- 
 chives (incomplete).] Sect. xix. 4. 
 
 About 1500 — Sallustius. De Bello Jugurtlie. 4to. CA. 1503. [Ham- 
 burg (Real Cat. AC. iv. p. 68).] Sect. xix. 5. 
 
 b. Tyman van Os, with Peter van Os (about 1497). 
 
 About 1497 — Basilius Magnus. Opusculum quomodo legendi sunt libri 
 seculares. 4to. CA. 259. [BRH.] Sect, xviii. 7 ; xix. 3. 
 
 About 1500 — Aristoteles. De moribus. 4to. CA. 172. [BRH.] Sect, 
 xviii. 7. 
 
 XIX. HEYNR. HEYNRICI (1484). 
 
 At Leyden. 
 
 4 June 1484 (In profesto S. Bonifacij et sociorum eius) — Thomas Aquinas. 
 Tractatus de humanitate Christi. 4to. CA. 1670. [BRH; ULC.] Sect. xiv. 1. 
 
 XX. JAC. DE BREDA (1486—1500). 
 
 At Deventek. 
 
 1486-1487 — Gasparinus Pergamensis. Epistolae. 4to. CA. 775. [BRH; 
 ULC.] Sect, xxviii. 3. 
 
 1486-1487 — Columella. De cultura hortorum Carmen. 4to. CA. 470. 
 [BRII; ULC.] Sect, xxviii. 3. 
 
Part hi.] XX. JAC. DE BREDA. 339 
 
 1180-1487 — Stepli. Fliscus. Sententiarum variationes. 4to. CA. 740. 
 [Wolfenbttttel (21. 5).] Sect, xxviii. 2. 
 
 1486-1487 — Guilielmus de Gouda. Tractatus de expositione missae. 4to. 
 CA. 889. [Wolfenbiittel ; Hamburg.] Sect, xxviii. 3. 
 
 1480-1487 — Megarensis. Modus confitendi. 4to. CA. 1233. [BRH.] 
 Sect, xxviii. 1, 3. 
 
 1487 — Gasparinus Pergamensis. Epistolae. 4to. CA. 776. [BRH 
 (title lost) ; Wolfenbiittel.] Sect, xxviii. 2, 4. 
 
 1489-1492 — fiEsopus per Laurentium Yallensem traductus. 4to. CA. 32. 
 [Utrecht ; ULC.] Sect, xxviii. 5. 
 
 1489-1492 — Alexander Gallus. Glosa super prima parte doctrinalis. 4to. 
 CA. 119. [Wolfenbiittel (19. 7 Gram.).] Sect, xxviii. 5. 
 
 1489-1492 — Guilielmus de Gouda. Tractatus de expositione missae. 4to. 
 CA. 890 a. [BRH.] Sect, xxviii. 5. 
 
 1489-1492 — Quatuor nouissima (Cordiale). 4to. CA. 1306. [BRH.] 
 Sect, xxviii. 5. 
 
 1489-1492 — Quattuor nouissima (Cordiale). 4to. CA. 1312. [BRB.] 
 Sect, xxviii. 5. 
 
 1489-1492 — Plato. Hipparchus et Theages, cum argumentis Marsilii. 
 4to. CA. 1421. [Ghent ; ULC.] Sect, xxviii. 5. 
 
 1489-1492 — J. Sinthis. Composita verborum. 4to. CA. 481 a. [Trim 
 Coll. Camb.] Sect, xxviii. 5. 
 
 1489-1492 — M. Bossus. Sermo in passionem. 4to. CA. 358. [BRH.] 
 Sect, xxviii. 6, 15. 
 
 5 April 1490 (altera die palmarum) — Libellus de modo confitendi et peni- 
 tendi. 4to. CA. 1136. [BM.] Sect, xxviii. 5. 
 
 9 Aug. 1490 — Guilielmus de Gouda. Tractatus de expositione missae. 4to. 
 CA. 885. [BRH; BRB; BNP; Wolfenbiittel.] Sect, xxviii. 5. 
 
 About 1492 — Seneca de quatuor virtutibus Cardinalibus. 4to. Not in CA. 
 [Louvain (H.L. 1124).] Sect, xxviii. 6. 
 
 1 Mar. 1493 — Epistolen ende euangelien. 4to. CA. 703. [BRH; ULC.] 
 Sect. ix. 2b ; xii. 21 A ; xxviii. 7. 
 
 30 May 1493 — Gemmula vocabulorum. 4to. CA. 795. [BRH; BRB; Deven- 
 ter ; ULC.] Sect. ix. 2 c. 
 
 4 Mar. 1496 — Epistolen ende ewangelien. 4to. CA. 705. [BRH.] Sect, 
 ix. 2 f ; xii. 21 B. 
 
 6 Sept. 1496 — Hystorie geheyten Sydrack. fol. CA. 982. [BRB ; BNP 
 (Y 2 . 720 A).] Sect. x. 6E ; xii. 21 C. 
 
 About 1499 — Quattuor nouissima (Cordiale). 4to. Not in CA. [BRB.] 
 Sect. ix. 2k; xxviii. 8. 
 
 About 1499 — Virgil. Aeneidos liber secundus. 4to. CA. 1730. [Utrecht.] 
 Sect, xxviii. 9. 
 
 About 1500 — Jac. Faber. Carmen panegyricon. 4to. CA. 725. [BRB.] 
 Sect, xxviii. 6. 
 
 About 1500 — Seneca. De quattuor virtutibus. 4to. CA. 1517. [BM.] 
 Sect, xxviii. 6. 
 
 About 1500 — Antonins Mancinellus. Thesaurus. 4to. Not in CA. [BRB.] 
 Sect, xxviii. 10, 
 
 99 9 
 
340 
 
 BOOKS CONTAINING WOODCUTS. [Part hi. 
 
 XXI. JAN ANHRIESZOEN (1486). 
 
 At Haarlem. 
 
 31 May 1486 — Henricns de Hassia. Liber de consolatione theologiae. 4to. 
 CA. 911. [BRH.] Sect. xi. 10. 
 
 XXII. PRINTER OF THE MATHEOLUS PERUSINUS 
 
 (about 1486). 
 
 Place unknown. 
 
 About 1486— Herbarius. 4to. CA. 917. [BRB ; ULC.] Sect. vi. 12 C. 
 
 XXIII. PRINTER OF THE KOMST VAN KEYSER 
 FREDERYCK TE TRIER (after 1486). 
 
 Place unknown. 
 
 After I486 — Komst van Key ser Frederyck te Trier. 4to. CA. 764. [BRH.] 
 Sect. xxvi. 1. 
 
 After 1486 — Die jeeste van Julius cesar. 4to. CA. 393. [BRH.] Sect, 
 xxvi. 2. 
 
 XXIV. EGID. VAN DER HEERSTRATEN (1487). 
 
 At Louvain. 
 
 1486-87 — J. Houden. Carmen de passione. 8vo. CA. 1001. [ULC.] 
 Sect. xxii. 2. 
 
 1487 — Boccaccio. Liber de Claris mulieribus. fol. CA. 294. [BRH; 
 BLO ; King’s Coll. Camb.] Sect. xxii. 3, 
 
 XXV. MATH. VAN DER GOES (1487—1491). 
 
 At Antwerp. 
 
 21 June 1487 — Sermones quatuor nouissimorum. 4to. CA. 1537. [BRH; 
 Utrecht.] Sect, xxxiii. 1. 
 
 About 1487 — Libellus de raptu anime Tundali. 4to. CA. 1691. [BRH.] 
 Sect, xxxiii. 2. 
 
 About 1487 — Confessionale. 4to. CA. 490. [Utrecht; ULC.] Sect, xxxiii. 
 3A. 
 
 About 1487 — Confessionale. 4to. CA. 491. [BRH.] Sect, xxxiii. 3B. 
 About 1487 — Guilielmus de Gouda. Tractatus de expositione missae. 4to. 
 CA. 880. [BRH; BM (3835. aaa.).] Sect, xxxiii. 3C. 
 
 About 1487 — Guilielmus de Gouda. Tractatus de expositione missae. 4to. 
 CA. 881. [BRB.] Sect, xxxiii. 3D. 
 
 After ) 
 
 , , [ 1489 — Ordinancie vander munten. 4to. CA, 1338. [BRH.] Sect. 
 
 11 Dec. ) 
 
 xxxiii. 4. 
 
Part iii.] 
 
 XXVI. G. BACK. 
 
 341 
 
 XXVI. GODFR. BACK, GOES’ SUCCESSOR (1493—1500). 
 
 At Antwerp. 
 
 3 July 1493 — N. Perottus. Grammatica et ars metrica. 4to. CA. 1379. 
 [Trier.] Sect. xxxv. 1. 
 
 24 Nov. 1493 (op S. Katherinen auont) — Gheestelyker crone onser lieuer 
 vrouwen. 8vo. CA. 498. [BRH.] Sect, xxxiv. 1; xxxv. 1. 
 
 1493-1495 — J. Beysselius. Rosacea Marie corona. 4to. CA. 288. [BRH ; 
 Ghent.] Sect, xxxiv. 4. 
 
 1493-1495 — Epistola de miseria curatorum. 4to. CA. 679. [BRH; ULC.] 
 Sect. xxxv. 2. 
 
 1493-1495 — Die gulden letanien vander passien ons Heeren. 8vo. CA. 
 1172. [Prof. Doedes at Utrecht.] Sect. xii. 24; xxxv. 3. 
 
 1493-1495 — Passio Domini. 8vo. CA. 1360. [BRH.] Sect. xii. 25. 
 
 16 Jan. 1495 — J. Beysselius. Tria rosacea coronamenta. 4to. CA. 289. 
 [BRB ; BNP.] Sect, xxxiv. 2 A. 
 
 1495 — Der kerstenen salicheyt. 16mo. CA. 1499. [MWH.] Sect. 
 
 xxxiv. 3 A. 
 
 1495 — Die seuen getijden vander passien. 16mo. CA. 829. [BRH.] 
 Sect, xxxiv. 3 B. 
 
 3 July 1496 (derden dach in hoymaent) — Epistelen ende euangelien. 4to. 
 CA. 706. [BRH.] Sect. xii. 26; xxxiii. 3E; xxxiv. 3 C, 5; xxxv. 4, 5. 
 
 1496 — Legenda S. Dympnae. 4to. CA. 1098. [BRH ; BM (Grenv. 
 5745); ULC.] Sect, xxxiv. 6 A. 
 
 About 1496 — Historie van Koninck Karel ende den ridder Elegast. 4to. 
 CA. 972. [Berlin.] Sect, xxxiv. 7. 
 
 1496-97 — Die kuere van Zeelandt. 4to. CA. 1075. [BRH.] Sect, 
 xxxv. 6, 7. 
 
 1496-1500 — Stella clericorum. 4to. CA. 1612. [BRH.] Sect, xxxiv. 2 B. 
 Feb. 1498 — Libellus de modo confitendi. 4to. CA. 1144. [BRH.] 
 Sect, xxxiv. 6 B. 
 
 1498 — Albertus Magnus. Liber aggregationis. 4to. CA. 83. [BRH 
 (imperfect); BRB.] Sect, xxxiv. 10. 
 
 About 1498 — M. Sclegers. Historia de Anna sanctissima. 4to. CA. 1507. 
 [BRH.] Sect, xxxiv. 2 C, 9. 
 
 About 1499 — Seer minnelijke woerden die Jhesus hadde met sijn moeder. 
 8vo. CA. 1783. [BRH.] Sect, xxxiv. 11. 
 
 21 Sept. 1500 — Der sielen troest. fol. CA. 1550. [BRH.] Sect. xiii. 3 ; 
 xxxv. 8. 
 
 About 1500 — R. de Capua. Sinte Katherinen Legende. 4to. CA. 1101. 
 [Haarlem.] Sect, xxxiv. 12; xxxv. 9, 10. 
 
 About 1500 — J. Andreae. Summa super quarto decretalium. 8vo. CA. 153. 
 [Trier.] Sect, xxxiv. 8, 13; xxxv. 11. 
 
 About 1500 — Historie van den Hertoghe Gouaert van Buloen. fol. CA. 
 969. [Hain *3686 (therefore at Munich) ; I have seen no copy of this book ; but 
 it contains 43 cuts.] 
 
342 
 
 BOOKS CONTAINING WOODCUTS. [Part hi. 
 
 About 1500 — Boecxken dat seer profitelijck is voer alien vissckers ende 
 vogkeleers. 4to. CA. 301. [A. Denison, Esq.] Sect, xxxiv. 15. 
 
 About 1500 — Boecxken dat seer profitelic is voer alien visscliers. en[dev]o- 
 gkeleers. 4to. Not in CA. No imprint or device. [ULC, leaves 5 to 8 (out 
 of 8) containing cuts 5, 1, and 3.] Sect, xxxiv. 15. 
 
 About 1500 — Questiones naturales Arestotelis. 4to. CA. 182. [BM (541. 
 c. 24) ; Hamburg.] Sect. xii. 27 A ; xxxiv. 10. 
 
 About 1500 — Albertanus Brixiensis. De doctrina dicendi et tacendi. 4to. 
 CA. 68. [BBH; ULC.] Sect, xxxiv. 14. 
 
 About 1500 — Historie van Paris ende Vienne. 4to. CA. 944. [I have seen 
 no copy of this book. It contains at least one cut three times repeated.] 
 
 XXVII. LUD. DE RAVESCOT (1487—1488). 
 
 At Louvain. 
 
 After ) 
 
 9 Sept ) va ^ uer vander munten. Broadside. CA. 1703. [BBB.] 
 
 Sect, xxiii. 2, 3. 
 
 About 1487 — Visio lamentabilis, “Noctis sub silentio tempore brumali” 
 etc. 4to. CA. 1745. [BM; ULC; BLO.] Sect, xxiii. 1. 
 
 1488 — P. de Kivo. Opus responsivum ad Epistolam apologeticam 
 Pauli de Middelburgo. fol. CA. 1405. [BKH; BM (691, g. 9); ULC; BLO.] 
 Sect, xxiii. 4, 5; xxxviii. 5. 
 
 1488-89 — Bonus Accursius Pisanus. Compendium elegantiarum Lau- 
 rentii Vallensis. 4to. CA. 3. [ULC; Prag; Helmstadt (wanting cut).] Sect, 
 xxii. 4. 
 
 XXVIII. HASSELT PRESS (1488—1490). 
 (Peregr. Barmentloe as) P.B. 
 
 1488 — Liden ons Heren. 4to. CA. 1162. [BRH.] Sect. i. G ; 
 xvii. 4D, 5B; xviii. IB, 2 A. 
 
 About 1488 — Clargie ende rechte conste om wel te eonnen leuen ende 
 salich te steruen. 4to. CA. 446. [BRH.] Sect, xviii. 2 B. 
 
 2 Jan. 1490 — Sancte Jheronimus boeck. 4to. CA. 927, [BRH; ULC.] 
 Sect. xvii. 8. 
 
 XXIX. RIC. PAFFROET (1488—1500). 
 
 At Deventer. 
 
 4 Sept. 1488 — Guilielmus de Gouda. Tractatus de expositione missac. 4to. 
 CA. 883. [BRH; BM (3837. aa.).] Sect, xxviii. 11. 
 
 4 May 1489 — Johannes Anwykyll. Compendium totius grammatice. 4to. 
 CA. 474. [BM ; ULC; Trin. Coll. Cambr.] Sect, xxviii. 11, 12. 
 
Part hi.] XXIX. RIC . PAFFROET. 343 
 
 1G July 1489 — Cicero. De Senectute. 4to. CA. 429. [ULC; BNP.] Sect, 
 xxviii. 18. 
 
 25 Jan. 1491 — Petrus Hispanus. Summulae. 4to. CA. 1398. [BRH.] 
 Sect, xxxviii. 6. 
 
 18 Nov. 1491 — Colloquium peccatoris et crucifixi. 4to. CA. 4G8. [BRH.] 
 Sect, xxviii. 12. 
 
 1492 — Boexken van onser lieuer Yrouwen croen, salter, roosencrans, 
 ende mantel. 8vo. CA. 330. [BRH; MWH; ULC (Mantel only).] Sect, 
 xxviii. 14. 
 
 1493- 1495 — A. Van Eybe. Boeck van den Echten Staete. 4to. CA. 724. 
 [ULC.] Sect. ix. 3a; xxviii. IGA. 
 
 14 July 1495 — A. Hegius. Farrago. 4to. CA. 742. [BRH.] Sect, xxviii. 13. 
 8 Nov. 1497 — Cato moralissimus cum commento. 4to. CA. 413. [BRH.] 
 Sect, xxviii. 16 B. 
 
 1497 — Horarium Windesemense. 16mo. CA. 991. [Helmstadt 
 (S. 59. a).] Sect, xxviii. 14. 
 
 XXX. PRINTER OF THE SPIEGHEL DER SIMPELRE 
 MENSCHEN (about 1490). 
 
 At Louvain (?). 
 
 About 1490 — Dirck van Munster. Spiegbel der simpelre menseken. 8vo. 
 CA. 595. [BRB, not seen by me.] Sect. xxii. 6. The type is that used at 
 Audenarde by A. de Keysere for certain quatrains in his French Quattuor 
 Novissima (1481-82), HMT. 113 (99) g. On his leaving Audenarde for Ghent 
 (1483) his ordinary type passed to Rad. Loeffs de Driel at Louvain (1483-1484), 
 and this type may well have passed to the same printer and have been used 
 there by others after him ; there is no trace of its having gone to Ghent. For 
 the present, therefore, it is safest to attribute the book to an unnamed press, 
 which (judging from the cut) must be placed at Louvain about 1490. 
 
 XXXI. ADR. VAN LIESYELDT (1494—1500). 
 
 At Antwerp. 
 
 May 1494 — Die gulden Letanie vander Passien. 8vo. CA. 1170. [Mus4e 
 Plantin, Antwerp.] Sect. xvi. 1 G. 
 
 9 Aug. 1494 (op S. Lauwereys auont) — Duytsche glietiden. 8vo. CA. 836. 
 [Earl Spencer.] Sect. xii. 14; xvi. 1 H. 
 
 1494 — Bonaventura. Die vier oefeninghen. 8vo. CA. 341. [BRH.] 
 Sect. ix. 3 b ; xi. 4 D ; xvi. 1 1. 
 
 About 1494 — Die hondert Articulen van der passien ons lieeren. 8vo. 
 CA. 187. [BRH.] Sect. ix. 3c; x. 1 L; xvi. IK; xxxvi. 2 A. 
 
 About 1494 — Oefeninghe van vii ween onser sueter Vrouwen. 8vo. CA. 
 1780. [I have not seen a copy of this book.] Sect. xii. 18 B. 
 
 1494- 1495 — Kalendarium. 8vo. CA. 1064. [BRH.] Sect. xii. 22. 
 
 13 June 1495 (13 Idus Junii) — Horarium Trajectense. 8vo. CA. 990. [MWH; 
 
344 
 
 BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 ULC (title differently worded, but book otherwise identical).] Sect. ix. 3d; 
 xii. 23 A; xvi. 1L. 
 
 29 July 1495 — Duytsche ghetyden. 8vo. CA. 839. [BRH.] Sect. xii. 14; 
 xvi. 1 M. 
 
 8 Aug, 1496 — Bonaventura. Die vier oefeninghen. 8vo. CA. 342. [BRB; 
 Haarlem.] Sect. ix. 3e; xi. 4E. 
 
 1 Sept. 1496 — Die historie die ghetiden ende die exempelen van sint Annen. 
 8vo. CA. 962. [BRH; ULC (wanting the Ghetiden).] Sect, xxxiv. 8. 
 
 27 Feb. 1497 — Die Hijstorie die getijden ende mirakelen van sint Anna. 8vo. 
 CA. 963. [BRH.] Sect, xxxiv. 8. 
 
 7 Apr. 1497 — Bonaventura. Die vier oeffeningen. 8vo. CA. 343. [BRH.] 
 Sect. ix. 3 f ; xi. 4 F. 
 
 6 Nov. 1499— Bonaventura. Die vier oefeninghen. 8vo. CA. 344. [BRH.] 
 Sect. ix. 3 g ; xi. 4 G ; xxxvi. 2 B. 
 
 1499-1500 — Muntplacaat of 24 Dee. 1499. Broadside. CA. 1272. [BRH.] 
 Sect. xvi. 1 N ; xxxvi. 3, 4, 5. 
 
 4 Nov. 1500 — Les ressamblances des empraintes des deniers dor et dargent 
 (French translation of the Muntplacaat of 24 Dec. 1499). Oblong 8vo. CA. 1476>. 
 [BRB.] Sect, xxxvi. 3, 4, 6, 7. 
 
 About 1500 — Jhesus ende de sondaer sprekende van onser zielen salicheit, 
 8vo. CA. 469. [Haarlem.] Sect. ix. 3 li ; xvi. 1 O. 
 
 About 1500— Dirck van Munster. Corte oefeninge van der passien ons 
 heeren Jhesu Cristi. 8vo. CA. 594. [Haarlem.] Sect. xii. 23 B; xvi. IP; 
 xxxiv. 8. 
 
 XXXII. THEOD. MARTINI (1494—1497). 
 
 At Antwerp. 
 
 Before i 
 
 _ . _ '1494 — Mich. Francisous de Insulis. Quodlibetica deeisio de septem 
 
 15 June) 
 
 doloribus. 4to. CA. 760. [BRH; ULC.] Sect. x. 2; xxxvi. 1. 
 
 XXXIII. HUGO JANSZOEN VAN WOERDEN 
 
 (1494 — 1500). 
 
 At Leyden. 
 
 10 Dec. 1494 — Ghetiden van onser lieuer Yrouwen. 8vo. CA. 837. [BRH.] 
 Sect. xi. 2 D ; xiv. 2 ; xxix. 1 A. 
 
 1497 — Onser lieuer Yrouwen getijden. 8vo. CA. 841. [Vergauwen 
 Sale, i. 106.] Sect. xi. 2 E ; xiv. 3 A ; xxii. 7 ; xxix. 1 B. 
 
 25 May 1498 — Leuen ons Heren. 8vo. CA. 1111. [MWH; Leyden (Soc. do 
 Litt. Neerl.); Hamburg (incomplete).] Sect. xiv. 3B; xxix. 1 C, 2 ; xxx. 1 A. 
 
 14 Dec. 1498 — Boecxken van O. L. Yrouwen [Croon, Souter, ende] Mantel. 
 8vo. CA. 305. [BRH (last sheet only).] Sect. xxix. ID ; xxx. 2. 
 
 1498 — Oefeninghe vanden leuen ons heren. 8vo. CA. 1119. [BRH.] 
 Sect. xxii. 8 ; xxix. 1 E ; xxx. 1 B, 2. 
 
 16 Oct. 1499 — Spieghel der Volcomenheit. 8vo. CA. 1580. [BRH.] Sect, 
 xxx. 1 C, 3. 
 
Part hi.] XXXIII. HUGO JANSZOEN. 345 
 
 1499 — Bonaventura. Die vier oefeninghen. 8vo. CA. 345. [BRH.] 
 Sect. xxx. 1 D. 
 
 About 1499 — Bernardus. 0. L. Vrouwen souter. 8vo. CA. 279. [BRH.] 
 Sect. xxx. 1 E, 2. 
 
 1500 — Ghetiden van 0. L. Vrouwen. 8vo. CA. 846. [BRH; MWH.] 
 Sect. xxix. 1 F ; xxx. 1 F, 2, 4 A. 
 
 1500 — Leuen onser lyeuer Vrouwen. 8vo. CA. 1122. [BRH; MWH.] 
 Sect. xiv. 4 ; xxix. 1 G ; xxx. 1 G, 2, 4. 
 
 About 1500 — Van vuerige troestinglie totten doecliden. 8vo. CA. 1686. 
 [BRH.] Sect. xxx. 1 K, 2. 
 
 About 1500 — Leuen ons lief s her en. 8vo. CA. 1114. [MWH; ULC.] Sect, 
 xxix. 1 H ; xxx. 1 H, 2. 
 
 About 1500 — 0. L. Vrouwen ween. 8vo. CA. 1779. [BRH.] Sect. xxix. 
 1 K ; xxx. 1 L. 
 
 About 1500 — Tractaet van die eewighe wijsheyt. 8vo. CA. 1787. [BRH.] 
 Sect. xxii. 9. 
 
 XXXIY. COLLACIE BROEDERS (1496— 1500). 
 
 At Gouda. 
 
 20 Apr. 1496 — Getyden van O. L. Vrouwen. 8vo. CA. 840. [ULC; Gouda.] 
 Sect. xvi. 3; xxvii. 1. 
 
 10 June 1496 — Der maghet Liedwy van scyedam, haer leuen. 4to. CA. 1125. 
 [M. Koemans at Gouda.] Sect. ix. 2 g ; xxvii. 2. 
 
 Before ) 
 
 [1496 — Kalendarium. 8vo. Not in CA. [BRH.] Sect, xxvii. 3, 5. 
 
 o UCt. ) 
 
 3 Oct. 1496 (op S. Franciscus auont) — Deuote getijden vanden leuen Jhesu 
 Christi. 8 vo. CA. 1116. [BRH; ULC.] Sect. ix. 2 h, 5 B, 6 C; xxvii. 
 5, 6, 7, 8, 9. 
 
 About 1496 — Die corte doernen crone. 8vo. CA. 504. [BRH.] Sect, 
 xxvii. 10. 
 
 About 1496 — Spieghel der gracien. 8vo. Not in CA. [M. G. van Havre 
 at Antwerp.] Sect, xxvii. 1, 11. 
 
 About 1496 — Aflaten van dye broederscap van onser Vrouwen ghilt. 8vo. 
 CA. 51. [BRH.] Sect, xxvii. 12, 13. * 
 
 About 1500 — Historie vanden lieiligen patriarch Joseph. 8vo. CA. 970. 
 [BRH.] Sect. xii. 23 C; xxvii. 14. 
 
 XXXY. SCHOONHOYEN PRESS (1496—1500). 
 
 Augustinian Canons of St Michael’s. 
 
 5 Oct. 1496 — Ghetidenboec. 8vo. CA. 840a. [BRH.] Sect. xxv. 10 A; 
 xxxi. 1 A. 
 
 28 Feb. 1497 — Leuen ons liefs heren. 8vo. CA. 1109. [MWH.] Sect. xxv. 
 10 B ; xxxi. 1 B. 
 
34 6 BOOKS CONTAINING WOODCUTS. [Part iii. 
 
 10 Nov. 1497 — Oefeninghe vander passien. 8vo. CA. 1327. [BRH.] Sect, 
 xxxi. 1 C. 
 
 24 Dec. 1497 (opten Kers auont) — Leuen ons liefs heren. 8vo. CA. 1110. 
 [MWH (imperfect).] Sect. xxxi. ID. 
 
 About 1497 — Denote materien dienende totter salicheit van alien kersten 
 menschen. 8vo. CA. 1220. [Vergauwen Sale, i. 61.] Sect. xxv. 10C; xxxi. IE. 
 
 28 Mar. 1498 — Ghetidenboec. 8vo. CA. 842. [MWH ; ULC.] Sect. xxv. 
 10 D ; xxxi. 1 F ; xxxii. 1. 
 
 1498 — Dirck van Munster. Spiegel der kerstenen mensclien. 8vo. 
 CA. 601. [BRH.] Sect. xxv. 10 E ; xxxi. 1 G. 
 
 1 Feb. 1499 (circa Kal. Feb.)— Breviarium Windesimense. 4to. CA. 368, 369. 
 [BRH.] Sect, xxxii. 2. 
 
 15 Oct. 1499 — Die spiegliel der volmaectheyt. 8vo. CA. 1579. [ULC.] 
 Sect. xxv. 10 F ; xxxi. 1 H. 
 
 1499 — Leuen ons liefs heren. 8vo. CA. 1113. [BRH; BRB.] Sect, 
 xxv. 10 G ; xxxi. 1 K ; xxxii. 3. 
 
 31 Mar. 1500 — Bonaventura. Boecxken vanden vier oefeningen. 8vo. CA. 
 346. [BRH; ULC.] Sect. xxv. 10 H; xxxi. 1L; xxxii. 4 A. 
 
 About 1500 — Horarium. 8vo. CA. 995. [ULC.] Sect, xxvii. 1 ; xxxii. 4 B. 
 
 XXXVI. ROL. VAN DEN DORP (1497—1500). 
 
 At Antwerp. 
 
 28 Feb. 1497 — Die alder Excellenste Cronyke van Brabant, fol. CA. 508. 
 [BRH ; BRB ; BNP (M. 26) ; ULC ; BLO.] Sect, xxxvii. 1 A. 
 
 About 1500 — Guido van der Columnen. Hystorye vander destrucyen van 
 Troyen. fol. CA. 876. [M. Alph. Willems at Brussels.] Sect, xxxvii. IB, 9. 
 
 About 1500— Ganck die Jesus gliinc metten cruce gheladen. 8vo. CA. 772. 
 [BRB.] Sect, xxxvii. 2, 3, 4. 
 
 About 1500 — Seer minnelijcke woerden die Jhesus hadde met sijne moeder. 
 8vo. CA. 1785. [Haarlem.] Sect, xxxvii. 5, 6, 7. 
 
 About 1500 — Van Nijeuvont Loosheit ende Practike hoe sij vrou Lortse 
 verheffen. 4to. CA. 1705. [BRH.] Sect, xxxvii. 8. 
 
 XXXVII. SCHIEDAM PRESS (1498—1500). 
 
 Printer of the Vita Lydwinae. 
 
 1498 — J. Brugman. Vita Lijdwine de Schiedam. 4to. CA. 383. 
 [BRH; BRB; BLO (Douce 94).] Sect, xxxii. 5, 6. 
 
 After 1498 — Olivier de Lamarche. Le Chevalier delibcre. fol. CA. 1084. 
 [BNP (Y. 4418); Arsenal, Paris (9454 B); Musee Plantin, Antwerp (no. 11).] 
 Sect. xxv. 7 ; xxxii. 6, 7. 
 
Part hi.] XXXVIII. IIEXR. DIE LETTERSXIDER. 347 
 
 XXXVIII. HENR. DIE LETTERSNIDER (1500 ?). 
 
 At Antwerp. 
 
 About 1500 — Ganck die Jbesus gkinck geladen metten cruce. 8vo. CA. 
 771. [BRH.] Sect, xxxvii. 12. 
 
 About 1500 — Jacob van Maerlant. Tboeck vanden Houte. 8vo. CA. 1025. 
 [Haarlem.] Sect, xxxvii. 12. 
 
 XXXIX. ADR. VAN BERGHEN (1500?). 
 
 At Antwerp. 
 
 1500 — Matthaeus de Cracovia. Een scone leringe om salicb te 
 steruen. 8vo. CA. 1223. [BRH.] Sect, xxxvii. 10, 11. 
 
APPENDIX. 
 
NOTE. 
 
 The sale of the Vergauwen collection brought to light a packet of fragments, 
 which, though not included in the Catalogue, were sold at the opening of the 
 sale and were purchased for the University of Cambridge. Among these were 
 the fragments of a Horae B. M. V., printed in the type used exclusively at 
 Ghent by Arend de Keysere, with a number of cuts and borders of such import- 
 ance as to render it desirable that they should be included in the present work, 
 of which the first two Parts were already printed before the discovery was made. 
 What has to be said in this Appendix is, for convenience, arranged on the same 
 method as the rest of the book, the general criticism being put first and the 
 detailed notice of the cuts following. It makes a Section on Audenarde and 
 Ghent, which would naturally have found a place in Chapter IV., and would 
 have followed Section 12 in both Parts. The list of Arend de Keysere’s books 
 referred to will be found in its proper place (No. XIV.) in Part III., as that 
 part of the present volume had not been printed off when the Appendix was 
 written. 
 
APPENDIX. 
 
 AUDENABDE AND GHENT. 
 
 (1480—1490.) 
 
 APPENDIX TO PART I. 
 
 Arend de Keyserds Woodcutter (1480 — 1490). 
 
 In the year 1480 Arend de Keysere appears at Audenarde 
 as the printer of the Sermons of Hermannus de Petra. In 1483 
 on the 8th of April we find him printing at Ghent the Traittie 
 de paix et de mariage fait a Francise alias Arras le ocxiii iour 
 de decembre 1482. He continued printing at Ghent for some 
 years, though comparatively few copies of his books have sur- 
 vived. The inventory of his effects, taken after his death, is 
 mentioned in the Ghent registers for the year 1489-90. 
 Amongst his property we find noted “ divers printed books,” 
 a hundred copies of the great Boethius of 1485 being deemed 
 worthy of a special mention. His heirs were his widow and 
 three daughters. The daughters ceded the printing-press and 
 materials to their mother; and the communal accounts of 
 Ghent prove that, in the year 1490, she was employed to print 
 and circulate 300 copies of the articles of the Treaty ratified 
 at Montils-lez-Tours, 29 Oct. 1489. From the inventory of 
 effects taken in the year 1512-13, on the death of a son-in-law 
 of Arend de Keysere, we learn that Arend’s widow had been 
 remarried to Hen. van den Dale, who appears in the registry 
 of the Confraternity of St Luke at Bruges, as a printer, in 
 1505-6. 1 
 
 When the First Part of this book was printed, it was not 
 known that Arend de Keysere employed woodcuts, if we except 
 his Device, which is rather a diagram of interlaced lines than a 
 
 1 All these details are derived from M. Ferd. Vander Haeghen’s Bibliographic 
 Gantoise, i. pp. 5, 6. 
 
35 2 
 
 APPENDIX ; 
 
 [Part i. 
 
 cut in the ordinary sense. A number of fragments, however, 
 purchased at the Yergauwen sale for the University Library at 
 Cambridge, have thrown new light upon the matter, and the 
 Device derives interest in consequence. It is a black space of 
 the form of a wide spear-head, a broad white line, twined about 
 in a complex but symmetrical manner, being cut within it on 
 the black ground. The Device appears at Audenarde in 1480, 
 and is found again there at the beginning of the next year in a 
 different state, more ornamental details being cut out of the 
 black ground. The same Device appears in a third state at 
 Audenarde a year later still, and again at Ghent in the Traittie 
 de paix (above referred to) in 1483, and in subsequent years. 
 The only other woodcut that at all resembles this Device is 
 the Device of Bellaert (Sect. xi. 1), in the upper part of which 
 is likewise a pattern of interlaced white lines on a black 
 ground. 
 
 The Cambridge fragments are leaves of an octavo Horae. 
 The last three of them occur in duplicate. Upon the verso of 
 each remaining leaf is a woodcut, whilst upon the recto is text. 
 Eight consecutive leaves are fortunately preserved in one in- 
 stance, forming sheet S, but in one only. With the exception of 
 three 16mos, all the cuts are of the octavo size, the first seven 
 being somewhat larger than the rest. The cuts of the Visita- 
 tion, Adoration of the Magi, Ascension, and Pentecost, clearly 
 belonged to the Hours of Our Lady, — the Visitation to Lauds, 
 the Pentecost to Compline. The Assumption of the Virgin may 
 have preceded the ‘Salve Regina,’ whilst the Last Judgment 
 probably belonged to the Vigils of the Dead. The remaining 
 cuts of Saints illustrate the Suffrages, usually found at the end 
 of a Horae. Immediately at the close of these, after the series 
 of Apostles, Martyrs, Confessors, and Virgins, is a cut of the 
 Virgin and Child with St Albert the Carmelite, which doubt- 
 less was followed by a corresponding suffrage. This seems to 
 indicate that the book was produced under the influence of the 
 Carmelites, who had a notable convent at Ghent. It so happens 
 that A. de Keysere, at the end of the Rethorica Divina (the first 
 substantial book printed by him at Ghent) introduces a long and 
 friendly Epistola dedicatoria, addressed to Poncius Rainandi 
 
353 
 
 Parti.] A. DE KEYSERE'S WOODCUTTER. 
 
 (so printed, perhaps for Rainaudi), the Prior General of the 
 Carmelites, in which he talks of the necessity of printing good 
 books, and of various Carmelite authors whose works have en- 
 lightened the world. 
 
 The cuts belonging to the first part of the book are all sur- 
 rounded by borders, three of one piece (all made for a left hand 
 page), four of four pieces of the usual kind. The three lGmo 
 cuts — St Michael, St Martin, and St Anthony — are likewise 
 enclosed in single-piece borders. One of the borders consists of 
 interlaced white lines on a black ground, in the style of the 
 Device; and, in this connexion, it may be observed that certain 
 of the woodcut initial letters used by A. de Key sere are of cor- 
 responding interlaced work, which may therefore be looked 
 upon as a characteristic of his press. 
 
 The frequent use of borders cannot fail to remind one of the 
 little French Horae , imitations of which began to appear in the 
 Netherlands in the year 1491. In them every page of the 
 whole book is surrounded by a border, usually in four pieces. 
 The four Ghent four-piece borders are of similar type, and their 
 patterns are undoubtedly copied from some French original. 
 From the known dates connected with Arend de Keysere’s 
 career it is clear that the book must have been printed between 
 1483 and 1489-90. The presence of the French element in 
 the cuts suggests a close approximation to the later limit ; 
 it is, however, to be observed that A. de Keyse.re has not 
 surrounded his text with borders as well as his cuts. Some 
 of the cuts, as we shall shortly see, are copied from Schon- 
 gauer’s prints. The folio cut of ‘Christ before Caiaphas’ (Sect, 
 x. 6, no. 14), made by the First Antwerp Woodcutter for Leeu’s 
 ‘Ludolphus’ of 3 Nov. 1487, was likewise copied from a Schon- 
 gauer engraving ; and, as this is the earliest indication of the 
 influence of the Colmar engraver so far North, it is not unna- 
 tural to suppose that the Ghent cuts belong to about the same 
 period. 
 
 The style of the woodcutting is the same throughout, and, 
 though different from that of the Haarlem School, is more 
 closely connected with it (in the bands of shade hatchings and 
 other details) than with any other. Peculiarly characteristic 
 
 23 
 
 c. w. 
 
354 
 
 APPENDIX. 
 
 [Part j. 
 
 of the Ghent workman is his method of treating large spaces 
 of shade. He renders them by rows of long, closely ranged, 
 parallel lines, cut up into short lengths by white gaps, the 
 gaps on any line lying by the side of the black pieces of the 
 lines adjacent to it. For the rest, the outlines are carefully 
 cut and usually firm. Hair, as a rule, is specially well done, in 
 long flowing locks in the case of St Barbara and St Apollonia, 
 in thick curling masses in the case of St Laurence. 
 
 The designs of the cuts are by no means so equal, the work- 
 man being evidently dependent upon others for them. Five 
 definitely marked groups may be discerned with little difficulty. 
 The Three Kings, the Ascension, the Pentecost, the Trinity, and 
 the Last Judgment are all good, and evidently copied with care 
 from good originals. The type of the Trinity with the Blessed 
 Virgin is one which I do not remember to have met with else- 
 where. In the foreground the Virgin kneels on the right, show- 
 ing her breast ; on the left, Christ kneels, almost naked, upon a 
 fallen column, his right arm round the Resurrection Cross, which 
 passes through the Crown of Thoms. God the Father, wearing 
 an Imperial crown, is above in the clouds, the Dove hovering on 
 one side of him, and an Angel with certain of the instruments 
 of the Passion on the other. The Last Judgment is, however, 
 the most remarkable of the five, and differs from all other 
 Dutch and Flemish prints of the subject, known to me. Christ 
 is enthroned in the midst on a rainbow, with his feet on an orb, 
 a flowering branch in the air on the left side of his head, and 
 on the right a sword. Below, the dead rise from their graves 
 between two buildings, Heaven and Hell, which fill the two 
 sides of the cut. The blessed enter the gate of Heaven up 
 steps on the left, whilst the damned pass into the gate of Hell 
 on the right. A devil, planted on the top of the tower over 
 the gate of Hell, shoots with a gun at the newly risen souls. 
 The most noteworthy feature about the cut, however, is the 
 success attained by the woodcutter in putting expression into 
 faces drawn on so small a scale. He thereby proves that, as 
 a workman, he was capable of good things, but he depended 
 upon the design given him. He would finish that to the best 
 of his power ; it is only when he is left to be his own designer 
 
355 
 
 Part i.] A. DE KEY SERE'S WOODCUTTER. 
 
 that lie fails, and his consciousness of failure is shown by the 
 relative carelessness with which he uses his tools. He will 
 patiently labour out the design of a good artist ; a bad one of 
 his own he will hurry over as quickly as possible. 
 
 For some such reason, the Visitation and Assumption form 
 a contrast to the preceding five. Their design is of the most 
 ordinary kind and they are cut in a perfunctory fashion, as 
 though by a man without interest in his work. Still less 
 pleasing, again, are the cuts of St John the Evangelist, St Mark, 
 St Sebastian, and the Virgin and Child with St Albert the 
 Carmelite, the last mentioned, however, being interesting for 
 other reasons, as already explained. The three 16mo cuts form 
 a fourth well-defined group. The subjects fill the whole space 
 allotted to them and are not badly arranged. Though there is a 
 want of animation about the figures, their general characteristics 
 are well brought out, whilst the bald-headed cripple is a good 
 study from the life. The cut of St Michael is copied, in a 
 general sense, from Schongauer’s print (B. 58), the chief 
 difference being that in the engraving the Archangel wears 
 long robes, in the cut his limbs are cased in armour. 
 
 By far the best group consists of two pairs of the Suffrage 
 cuts of Saints — St Barbara and St Laurence of the full octavo 
 size, St Andrew and St Apollonia somewhat smaller. These 
 four cuts must be reckoned amongst the best work of the kind 
 in the fifteenth century. The drapery is excellent, the hands 
 are exceptionally elegant in form, the direction of the eyes 
 harmonizes with the action of the body, and the postures are 
 easy and expressive. It is only in architectural adjuncts that 
 there is a conspicuous want of grace, and this is easily accounted 
 for by the fact that the woodcutter copied the figures from good 
 originals, but had to add the accessories out of his own head. 
 The type of all four figures is so essentially that characteristic 
 of the engravings of Martin Schongauer that I at once went 
 to the Fitzwilliam Museum and turned over the collection of 
 that master’s engravings preserved there. A glance showed the 
 Ghent St Apollonia to be a copy of the small engraving of 
 St Barbara reading (B. 63), with the necessary addition of the 
 pair of pincers in her hand, the emblem of St Apollonia. The 
 
APPENDIX. 
 
 356 
 
 [Part i. 
 
 St Laurence is not an exact copy of a Schongauer print, so far 
 as I have been able to discover, but the figure is of the same 
 type as the St Laurence (B. 56), whilst it seems, in part at any 
 rate, to be copied from the St Stephen (B. 49). The originals 
 of the Ghent St Barbara and St Andrew I could not identify, 
 though a more extended investigation than I had time for 
 would undoubtedly reveal them. 
 
 Of the single-piece borders, those round the cuts of St 
 .Michael and St Martin deserve special mention. Unlike the 
 rest, they are not engraved in white on a black ground, but 
 they consist of an arrangement of black outlines of the usual 
 kind. Except for their superior delicacy of execution they 
 strongly recall Haarlem work. They are different in design 
 from the usual flower and leaf borders of the manuscripts of the 
 fifteenth century, the original from which they were copied 
 being rather some illuminated Prayer-book of the century 
 preceding. The border round the St Michael was certainly 
 made to occupy that position, containing, as it does, in the lower 
 part an animated representation of the Combat of St George 
 and the Dragon, whilst above, in genuine Gothic spirit, is a 
 grotesque reflexion of the same idea in the form of a battle 
 between two creatures, half man, half beast, with great foliated 
 tails, another similar creature standing by as a herald blowing 
 a long horn. The border round St Martin is a Stem of Jesse, 
 gracefully designed, the flowers being the Kings of Judah with 
 the Virgin and Child highest of them all. 
 
 In the library of the Due d’Arenberg is yet another book 
 containing a cut, printed at Ghent by A. de Keysere. It is the 
 Tractatus de periculis contingentibus circa sacr amentum Eaclia- 
 ristiae *, It is the only known Ghent book with an ordinary 
 title-page. Upon it there is stated to be a woodcut represent- 
 ing the Last Supper. The peculiarity of its having a title- 
 page, as well as a woodcut, places it late among the Ghent 
 books (say 1488-90). 
 
 * CA. 1GG0 and 1G78 — the same copy in both cases. It is the Bolongaro- 
 Crevenna copy sold at Amsterdam 1789, the Van de Velde copy of Breda 1830, 
 the Lammens copy of Ghent 1840, the Van Coctsem copy of Ghent 18GG-G7, 
 bought 011 this last occasion by the Due d’Arenberg. (Note given me bg 
 Mr Bradshaw .) 
 
Part ii.] A. DE KEYSERE' S WOODCUTTER . 
 
 357 
 
 APPENDIX TO PART II. 
 
 Arend de Keysere s Woodcutter. 
 
 (1480—1490). 
 
 1. A. de Keysere’s device; a black space, of the form of 
 the blade of a spear, with an interlaced white line cut out of it. 
 HMT. 95 (98) a. 
 
 1480 — Hermannus de Petra (CA.919). Audenarde, A. de Keysere. 
 
 The device appears in a second state (HMT. 95 (98) c), with a jagged 
 white border cut round near the edge of the black space, in 
 
 1480-81 — Joh. Laet, Pronosticaten (CA. 1082). Audenarde, A. de Keysere. 
 
 1480- 81 — Dystorie van Saladine (CA. 979). ,, ,, 
 
 The same device in a third state (HMT. 95 (98) b and 113 (99) a) 
 appears in 
 
 1481- 82 — Quatre dernieres choses (CA. 586). Audenarde, A. de Keysere. 
 
 8 Apr. 1483 — Traittie de paix (CA. 1681). Ghent, ,, 
 
 22 Aug. 1483 — Rethorica divina (CA. 905). ,, ,, 
 
 2. A set of octavo and 16mo cuts and of octavo borders for 
 a Horae; only fragments (with 18 cuts and 10 borders) are 
 known. 
 
 1483-90 — Horae B.M.Y. (not in CA.). Ghent, . A. de Keysere. 
 
 All are octavos unless otherwise stated. 
 
 1. The Visitation (Lauds). Elizabeth on the I., the Virgin on the r.; 
 behind, on the r. are buildings, on the 1. hills. 
 
 2. The Three Kings (Sext?). The Virgin sits on the 1. under a roof, 
 above which is the star. One king kneels in the mid. ; the others stand on 
 the r. Behind, the procession of the kings can be seen. 
 
 3. The Ascension (Vespers?). The Virgin and Apostles kneel 1. and r. 
 of a hillock, upon which are Christ’s foot-prints. His feet are seen dis- 
 appearing in clouds above. 
 
 4. Pentecost (Compline). All sit in a room, seen through an arch- 
 way. The Dove overshadows them with wide-spread wings. 
 
 5. The Assumption of the Virgin. She is supported in the air by 
 two angels on each side. A landscape is seen below. 
 
 6. The Trinity with the Virgin. Described in the text above. 
 
 7. The Last Judgment. Described in the text above. 
 
APPENDIX. 
 
 [Part ii. 
 
 358 
 
 Suffrage cuts. 
 
 8. St Michael. He is standing 1 , with wings displayed and a little 
 cross on his brow, in the act of transfixing, with the point of his crosier, a 
 devil who lies on the ground at his feet. He is turned somewhat to the 
 r. and his 1. foot is advanced — 161110 cut. 
 
 9. 4 Sanctus Johannes Evangelista .’ He stands with his back to an 
 altar, his r. hand raised, exorcising a devil out of the chalice held in his 1. 
 
 10. i S. Andreas’ He stands on a pavement, encircling with his r. 
 arm one of the arms of his cross, whilst with his 1. hand, which is under 
 his cloak, he supports the book from which he reads. 
 
 11. 1 Sanctus Marcus’ He is seated, holding a pen in his r. hand and 
 writing in a book which rests upon a desk on the 1. ; the lion lies at his 
 feet. 
 
 12. St Laurence. Half-figure, standing, with a book under his 1. 
 arm, and holding up the hem of his vestment with his r. hand. 
 
 13. St Sebastian. He is fastened to a tree on the 1.; one archer stands 
 on the r. 
 
 14. St Martin. He is riding to the 1. in the act of cutting his cloak; 
 the beggar is on the r. Behind are town walls and a portcullis on the r. 
 — 1 61110 cut. 
 
 15. St Anthony. Three-quarter figure, holding a book and bell in the 
 r. hand and his crosier in the 1. ; flames spring up about him. Behind is a 
 wattle fence and beyond it a hermitage — 1 61110 cut. 
 
 16. St Barbara. Half-figure, seated and crowned, reading from a 
 book which lies open on her lap. In her 1. hand is a palm-branch and 
 behind it the tower. 
 
 17. St Apollonia. She is standing to the 1. in a room, with her long 
 liair down her back and her full skirts rather twisted about her. She 
 reads from a book which she holds in both hands, whilst with the r. she 
 also holds the pincers. A copy, for the most part, after Martin Schongauer 
 (B. 63). 
 
 18. The Virgin and Child with St Albert the Carmelite. They stand 
 in a room. The Virgin is on the 1. with the Child in her arms ; over her 
 head is a scroll bearing the words ‘ Patrona Carmeli semper immaculata .’ 
 St Albert is on the r., with a pot of fire in his r. hand, standing on a 
 female devil with a lion’s tail who, nevertheless, with a hooked stick, tries 
 to upset the fire-pot. Over the Saint’s head is a scroll, involved with the 
 other, bearing the words ( S. Albertus Carmelita .’ 
 
 Borders in one piece. 
 
 19. An entwined cord engraved out of a black ground (round No. 1). 
 
 20. At the top two beasts with entwined necks ; a man and woman at 
 the bottom (round No. 6). 
 
 21. Slanting logs separating birds, flowers, etc. (round No. 7). 
 
 22. At the bottom, the Combat of St George and the Dragon (round 
 No. 8). 
 
359 
 
 Part ii.] A. DE KEYSERE'S WOODCUTTER . 
 
 23. The stem of Jesse (round No. 14). 
 
 24. On tho 1. David kneeling, at the top a blessing Hand (round No. 
 15). 
 
 Borders in four pieces. 
 
 Top pieces. 
 
 25. Three birds and two flowers (to No. 2). 
 
 26. A wavy tendril with four flowers (to No. 3). 
 
 27. A beast in the mid., a wavy tendril across (to No. 4). 
 
 28. Three large leaves (to No. 5). 
 
 Inner pieces. 
 
 29. Four flowers on stems (to No. 2). 
 
 30. Thirteen leaves (to Nos. 3 and 4). 
 
 31. Triangles, each enclosing a cusped arch (to No. 5). 
 
 Outer pieces. 
 
 32. A bird between flowers (to No. 2). 
 
 33. Two large flowers (to Nos. 3 and 4). 
 
 34. A bird and two large flowers (to No. 5). 
 
 Bottom pieces. 
 
 35. Two large leaves (to No. 2). 
 
 36. A bird, with displayed wings, perched on a tendril (to Nos. 3 and 5). 
 
 37. A man spearing a stag (to No. 4). 
 
 3. A cut representing the Last Supper. 
 
 1488-90 — Tractatus de periculis (CA. 1678). 
 
 Ghent, A. de Keysere. 
 
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 GREEK AND ENGLISH TESTAMENT, in parallel 
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4 
 
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 5 
 
 THEOLOGY— (ANCIENT). 
 
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 niitzt wurden . . . eine reife Frucht siebenjahri- Literarisches Centralblatt (July 29, 1882). 
 gen Fieisses.” — Theologische Literaturzeitmig 
 (Sept. 23, 1882). 
 
 handschriften . . . sind vortreffliche photo- 
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 “ Hernn Swete’s Leistung ist eine so 
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6 
 
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 SANCTI IRENiEI EPISCOPI LUGDUNENSIS libros 
 
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 i8j. 
 
 M. MINUCII FELICIS OCTAVIUS. The text newly 
 
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THE CAMBRIDGE UNIVERSITY PRESS. 
 
 7 
 
 AN ANALYSIS OF THE EXPOSITION OF THE 
 
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8 
 
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THE CAMBRIDGE UNIVERSITY PRESS. 
 
 9 
 
 GREEK AND LATIN CLASSICS, &c. (See also pp. 24^27.) 
 
 SOPHOCLES : The Plays and Fragments, with Critical 
 
 Notes, Commentary, and Translation in English Prose, by R. C. 
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 i—5 
 
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IO 
 
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12 
 
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THE CAMBRIDGE UNIVERSITY PRESS. 
 
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20 
 
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THE CAMBRIDGE UNIVERSITY PRESS. 
 
 21 
 
 E\)c Cambria ge Btbic for ^clioote an& 
 
 Colleges. 
 
 General Editor : The Very Reverend J. J. S. Perowne, D.D., 
 
 Dean of Peterborough. 
 
 The want of an Annotated Edition of the Bible, in handy portions, suitable for 
 School use, has long been felt. 
 
 In order to provide Text-books for School and Examination purposes, the 
 Cambridge University Press has arranged to publish the several books of the 
 Bible in separate portions at a moderate price, with introductions and explanatory 
 notes. 
 
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 undertaken the general editorial supervision of the work, assisted by a staff of 
 eminent coadjutors. Some of the books have been already edited or undertaken 
 by the following gentlemen : 
 
 Rev. A. Carr, M.A., Assistant Master at Wellington College. 
 
 Rev. T. K. Cheyne, M.A., Fellow of Balliol College , Oxford. 
 
 Rev. S. Cox, Nottingham. 
 
 Rev. A. B. Davidson, D.D., Professor of Hebrew, Edinburgh. 
 
 The Ven. F. W. Farrar, D.D., Archdeacon of Westminster. 
 
 C. D. Ginsburg, LL.D. 
 
 Rev. A. E. Humphreys, M,A., Fellow of Trinity College , Cambridge. 
 
 Rev. A. F. Kirkpatrick, M.A., Fellow of Trinity College , Regius Professor 
 of Hebrew. 
 
 Rev. J. J. Lias, M.A., late Professor at St David's College , Lampeter. 
 
 Rey. J. R. LumbV, D.D., Norrisian Professor of Divinity. 
 
 Rev. G. F. Maclear, D.D., Warden of St Augustine' s College , Canterbury. 
 
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 Rev. A. Plummer, M.A., D.D., Plaster of University College , Dtirham. 
 
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 Rev. \V. SlMCOX, M.A., Rector of Weyhill, Hants. 
 
 Robertson Smith, M.A., Lord Almoner’s Professor of Arabic. 
 
 Rev. H. D. M. Spence, M.A., Hon. Canon of Gloucester Cathedral. 
 
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 London: Cambridge University Press Warehouse , 17 Paternoster Row. 
 
22 
 
 PUBLICATIONS OF 
 
 THE CAMBRIDGE BIBLE FOR SCHOOLS & COLLEGES. 
 
 Continued. 
 
 Now Ready. Cloth, Extra Fcap. 8vo. 
 
 THE BOOK OF JOSHUA. By the Rev. G. F. Maclear, D.D. 
 
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 THE BOOK OF JUDGES. By the Rev. J. J. Lias, M.A. 
 
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 THE GOSPEL ACCORDING TO ST MARK. By the Rev. 
 
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 THE GOSPEL ACCORDING TO ST LUKE. By Archdeacon 
 
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 THE ACTS OF THE APOSTLES. By the Rev. Professor 
 
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THE CAMBRIDGE UNIVERSITY PRESS. 
 
 2.3 
 
 THE CAMBRIDGE BIBLE FOR SCHOOLS & COLLEGES. 
 
 Continued. 
 
 Preparing’. 
 
 THE BOOK OF GENESIS. By Robertson Smith, M.A. 
 
 THE BOOK OF EXODUS. By the Rev. C. D. Ginsburg, LL.D. 
 
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 THE CAMBRIDGE GREEK TESTAMENT, 
 
 FOR SCHOOLS AND COLLEGES, 
 
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 The Very Reverend J. J. S. PEROWNE, D.D., 
 
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 THE GOSPEL ACCORDING TO ST MARK. By the Rev. 
 
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 London : Cambridge University Press Warehouse , 17 Paternoster Row. 
 
PUBLICATIONS OF 
 
 24 
 
 THE PITT PRESS SERIES. 
 
 I. GREEK. 
 
 THE ANABASIS OF XENOPHON, Books I. III. IV. 
 
 and V. With a Map and English Notes by Alfred Pretor, M.A., Fellow 
 of St Catharine’s College, Cambridge ; Editor of Persius and Cicero ad Atti- 
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 in regard to matters of the highest importance.’” — Mind. 
 
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 which he has endeavoured to give a general view of the philosophical systems illustrated by the 
 genius of the masters of metaphysical and ethical science from Thales to Cicero. In the course 
 of his sketch he takes occasion to give concise analyses of Plato’s Republic, and of the Ethics and 
 Politics of Aristotle ; and these abstracts will be to some readers not the least useful portions of 
 the book. It may be objected against his design in general that ancient philosophy is too vast 
 and too deep a subject to be dismissed in a ‘sketch’- — that it should be left to those wbo will make 
 it a serious study. But that objection takes no account of the large class of persons who desire 
 to know, in relation to present discussions and speculations, what famous men in the whole world 
 thought and wrote on these topics. They have not the scholarship which would be necessary for 
 original examination of authorities ; but they have an intelligent interest in the relations between 
 ancient and modern philosophy, and need just such information as Professor Mayor’s sketch will 
 give them.” — The Guardian. 
 
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