List of illustrations

  • St. Eloy in his Workshop
  • Virgin and Child in Glory with St. Catherine and St. Barbara
  • Five of Beasts
  • Paper Maker
  • The Blockcutter
  • Copper plate, verso
  • St. Eloy's Workshop
  • Title page
  • Frontispiece
  • A Holy Man Floating on the Sea
  • St. John Chrysostom
  • Poliphilo in Hercynian Forest
  • Anatomy Lesson
  • Fall of Man
  • Fall of Man
  • Adam's Descendants
  • Adam's Descendants
  • View of Venice
  • View of Venice, detail
  • Martyrdom of St. Sebastian
  • Large Einsiedeln Madonna
  • Virgin Mary in Prayer
  • Nativity
  • Nativity
  • Death of the Virgin (left); The Man of Sorrows (right)
  • Death of the Virgin
  • Death of the Virgin
  • Death of the Virgin
  • Large Procession to Calvary
  • St. Sebastian
  • Adam and Eve
  • The Artist and His Wife
  • Imago Pietatis
  • Saints Mary of Milan, Luke, Theophista, and Eustace
  • Mass of St. Gregory
  • Dance at the Court of Herod
  • Ill-sorted Couple
  • Juggler
  • Fight for the Pants
  • Church-Goers
  • Organ Player
  • Couple Seated on a Bed
  • Two Nuns
  • King David with Sayings from Psalms
  • Entombment, with Four Birds
  • Descent from the Cross
  • Entombment
  • Entombment, detail
  • Bacchanal with a Wine Vat
  • Virgin and Child
  • Virgin and Child, detail
  • Haggai
  • Haggai
  • Life of the Virgin and of Christ: The Flagellation
  • Flagellation
  • Battle of the Nudes
  • Battle of the Nudes
  • Virgin and Child with a Bird
  • Man of Sorrows
  • David with the Head of Goliath
  • Apollo and Diana
  • Martyrdom of St. Sebastian
  • Mars
  • Crucifixion, Surrounded by Fourteen Other Scenes from the Passion
  • St. Jerome in Penitence
  • St. James and St. Philip with Scenes from their Lives
  • Battle of the Sea Gods
  • Two Grotesque Animals Coiled about a Tree
  • Ascension
  • St. Catherine of Siena
  • Trinity with Christ as the Man of Sorows Adored by St. John the Baptist and another Saint
  • Nativity: The Virgin Adoring the Child
  • Conversion of St. Paul
  • Scenes from the Life of the Virgin and Christ within Borders
  • Scenes from the Life of the Virgin and Christ within Borders
  • Battle of the Sea Gods
  • Hercules and the Giants
  • Battle of the Nudes
  • Triumph of Men over Satyrs
  • Assumption of the Virgin
  • Virgin and Child with St. Sebastian and St. Roch
  • Virgin and Child
  • St. Christopher
  • Ornamental Scroll with Putti and Penises
  • St. Roch
  • El Gran Turco
  • Mercury, detail
  • Mercury
  • Portrait of Giovanni Filoteo Achillini
  • Leda and the Swan
  • St. Roch
  • Interior of a Ruined Church or Temple, with Figures
  • Interior of a Ruined Church or Temple, with Figures, detail showing the overlap between the two sheets of paper
  • Interior of a Ruined Church or Temple, with Figures, detail showing the striations on the surface of the print
  • The Styx, with the Punishments of Wrath
  • The City of Dys, and the Punishments of Heresy
  • Deluge
  • Deluge
  • Descent into Limbo
  • Descent into Limbo
  • Fall and Rescue of Ignorant Humanity: Virtus Combusta
  • Fall and Rescue of Ignorant Humanity: Virtus Combusta
  • Risen Christ with St. Andrew and Longinus
  • Risen Christ with St. Andrew and Longinus
  • Risen Christ with St. Andrew and Longinus, detail showing the "Klebkorrektur" of the head
  • Calumny of Apelles
  • Calumny of Apelles
  • St. Jerome in his Study
  • St. Jerome in his Study
  • Triumph
  • Triumph
  • Dido
  • Lucretia
  • Lucretia
  • Portrait of Raphael
  • Study for "Massacre of the Innocents"
  • Massacre of the Innocents
  • Study for "Massacre of the Innocents"
  • Study for "Massacre of the Innocents"
  • Study for "Massacre of the Innocents"
  • Morbetto
  • Study for "Morbetto"
  • Study of Roman ruins
  • Study for "Morbetto"
  • The Judgement of Paris, detail
  • Judgment of Paris, detail showing the scoring marks on the plate
  • St. Andrew
  • Apollo
  • Apollo
  • Virgin and Christ, St. John, and Two Angels
  • Virgin and Christ, St. John, and Two Angels
  • Massacre of the Innocents
  • Massacre of the Innocents
  • Massacre of the Innocents
  • Portrait of Leo X
  • Portrait of Adrian VI
  • Portrait of Leo X
  • Portrait of Adrian VI
  • Virgin of the Long Thigh
  • Virgin of the Long Thigh
  • Three Marys Lamenting the Dead Christ
  • Three Marys Lamenting the Dead Christ
  • Three Marys Lamenting the Dead Christ
  • Last Supper
  • Last Supper
  • Last Supper, detail showing the "pentimenti"
  • Judgment of Paris
  • Judgment of Paris, detail showing the inscription
  • Judgment of Paris, detail showing the inscription
  • Bather
  • Bathers
  • St. Jerome
  • Death of Ananias
  • Three Marys Lamenting the Dead Christ
  • Hercules Chasing Avarice from the Temple of the Muses
  • Hercules Chasing Avarice from the Temple of the Muses
  • Adoration of the Shepherds
  • Adoration of the Shepherds
  • Sybil Reading, Facing Right
  • Raphael and His Mistress
  • Martyrdom of St. Peter and St. Paul
  • Martyrdom of St. Peter and St. Paul
  • Diogenes
  • Diogenes
  • Christ Healing Lepers
  • Christ Healing Lepers
  • Bacchus in a Niche
  • Bacchus in a Niche
  • Allegory of Death and Fame
  • Allegory of Death and Fame
  • Hell
  • Dante as Poet of the Divine Comedy
  • Dante as Poet of the Divine Comedy
  • Last Supper
  • Bathers
  • Transfiguration
  • St. Cecilia
  • St. Peter Walking on Water
  • Samson Rending the Lion
  • Martyrdom of St. Catherine
  • Men's Bath
  • Title page for "Life of the Virgin"
  • Title page for "Apocalypse"
  • Title page for "Large Passion," detail
  • Suicide of Marcus Curtius
  • Stag Hunt
  • Virgin and Child with a Round Arch
  • Triumph of the King of Cochin
  • Disrobing of Christ
  • Samson and Delilah
  • Hands of Christ
  • St. Martin Dividing his Cloak
  • St. Nicholas of Bari Quieting a Storm
  • Suicide of Lucretia
  • St. George and the Dragon
  • Colophon (fol. 7v)
  • St. George and the Dragon
  • Maximilian I
  • St. George and the Dragon
  • St. George with Two Angels
  • St. George with Two Angels
  • Venus and Cupid
  • Venus and Cupid
  • St. Christopher
  • St. Christopher
  • Rest on the Flight into Egypt
  • Rest on the Flight into Egypt
  • Lovers Overcome by Death
  • Lovers Overcome by Death
  • Hans Paumgartner
  • Fall and Redemption of Man: Harrowing, Deposition, Resurrection, Noli me tangere
  • Small Woodcut Passion: Harrowing
  • Small Woodcut Passion: Deposition
  • Small Woodcut Passion: Resurrection
  • Small Woodcut Passion: Noli me tangere
  • Lamentation over Christ
  • Studies
  • Fall and Redemption of Man: Resurrection, detail
  • Theuerdanck on his Sickbed
  • Theuerdanck Walking on a Wheel of Swords
  • Theuerdanck Walking on a Wheel of Swords (fol. 90)
  • Weisskunig in a Painter's Workshop
  • Weisskunig in a Painter's Workshop
  • Battle of Naked Men and Peasants
  • Battle of Naked Men and Peasants, detail lower left
  • Battle of Naked Men and Peasants
  • Lansquenet
  • Sacrifice of Isaac
  • Death and the Peddler
  • Eleonora of France
  • John the Baptist Addressing Four Men
  • The Pope Feeding the Bears
  • Siege of Vienna, Nuremberg
  • Siege of Vienna, detail
  • Small Triumphal Car (Burgundian Marriage)
  • Distribution of Fool's Caps
  • Parable of the Prodigal Son
  • Fountain of Youth
  • Fountain of Youth, detail
  • Fountain of Youth, detail
  • Reconstruction of Tapestry of Nymphs and Satyrs
  • Triumph of Christ
  • Announcement of a Shooting Contest
  • Christ Crucified on a T-Cross
  • Plan of Vienna
  • Rom Weg Map
  • Gores for a World Globe
  • Carta Marina
  • Plan of Amsterdam
  • Borage
  • Dill
  • Borage
  • Dill
  • Borage (Borago officinalis L.)
  • Borage (Borago officinalis L.)
  • Common Comfrey (Symphytum officinale L.)
  • Common Comfrey (Symphytum officinale L.)
  • Buttercups, Red Clover, and Plantain
  • Portraits of A. Meyer, H. Füllmaurer, and V. Speckle
  • Bitter Dock (Rumex obtusifolius L.)
  • Bitter Dock (Rumex obtusifolius L.)
  • Hemp (Cannabis sativa L.)
  • Buttercup (Ranunculus nemorosus)
  • Jasmine
  • Common Comfrey
  • St. John the Baptist
  • St. John the Baptist
  • Venus Reclining in a Landscape
  • Christ and the Samaritan Woman
  • The Beheading of St. John the Baptist
  • Triumph of the Moon
  • Woman Pulling her Hair
  • Woman Resting
  • Woman Resting
  • Lovers
  • Adoration of the Shepherds
  • Entombment Facing Left
  • Entombment Facing Left
  • Entombment Facing Right
  • Peter and John Healing the Lame Man
  • Christ Healing the Sick
  • Hercules Victorious over the Hydra
  • Battle in a Wood
  • From "The Alchemical Properties of Metals"
  • A Bearded Man
  • Two Nudes in a Landscape
  • Two Nudes in a Landscape
  • Two Nudes in a Landscape
  • Lying Nude
  • Three Lying Nudes
  • Three Lying Nudes
  • Three Lying Nudes
  • Three Reclining Nudes
  • Virgin and Child
  • Virgin and Child
  • Lying Nude
  • Group of Lying Nudes
  • Nude Holding a Tablet
  • Two Apostles
  • St. Peter
  • St. Philip
  • Portrait of Pietro Aretino
  • Academy of Baccio Bandinelli
  • The "Academy" of Baccio Bandinelli
  • Portrait of Titian
  • Diogenes
  • David Slaying Goliath
  • Apollo and the Muses
  • School of an Ancient Philosopher
  • Portrait of Anton Francesco Doni
  • Conversion of St. Paul
  • Massacre of the Innocents
  • Woman with a Dildo
  • Portrait of Antonio Salamanca
  • Prophet Jeremiah
  • Apollo and Hyacinthus
  • Marcus Aurelius
  • Marcus Aurelius
  • Marcus Aurelius
  • Marcus Aurelius
  • Marcus Aurelius
  • Marcus Aurelius
  • Rome Triumphant with Two Barbarian Kings
  • Female Nude Standing
  • Virgin and Child with a Monkey
  • Holy Family with a Dragonfly
  • Nemesis (Large Fortune)
  • Adam and Eve
  • Adam and Eve
  • Adam's Arms and Hands
  • St. Simon
  • St. Christopher
  • Head of a Young Man
  • Putto Bearing the Arms of Saxony
  • Penance of St. John Chrysostom
  • Genius
  • Still-Birth and the Miser
  • Mahomet and the Monk Sergius
  • St. Paul Led Away to Damascus
  • Raising of Lazarus
  • Friedrich the Wise of Saxony
  • Friedrich the Wise of Saxony
  • Creation of Eve
  • Creation of Eve
  • Charity
  • Charity
  • Man of Sorrows
  • Ornamental Fillet
  • Two Cupids with the Sudarium
  • Two Cupids with the Sudarium
  • Charles V
  • Charles V, detail
  • Parable of the Mote and the Beam
  • Man of Sorrows
  • The Sudarium Held by One Angel
  • Landscape with a Large Cannon
  • Fortune
  • Girl Washing her Feet
  • Venus, Mercury, and Cupid
  • Eve with Cain
  • Sleeping Man
  • The Drunken Peddler (The Drunken Drummer)
  • Maximillian I
  • Maximillian I
  • Esther before Ahasuerus
  • Esther before Ahasuerus
  • Solomon and the Queen of Sheba
  • The Deluge
  • The Deluge, detail
  • The Deluge, detail
  • Interior of the Regensburg Synagogue
  • Porch of the Regensburg Synagogue
  • Pilgrims at the Shrine of the Schöne Maria, Regensburg
  • Hans Hieber's Plan for the New Church of the Schöne Maria
  • The Beautiful Virgin of Regensburg
  • Landscape with a Double Spruce
  • The Small Spruce
  • Lovers under a Tree
  • Landscape with a Pollarded Willow
  • Castle Yard
  • View of Nuremberg from the East
  • Susanna and the Elders
  • Adam and Eve Mourning the Death of Abel
Free
Description: The Renaissance Print: 1470–1550
Table of Contents
PublisherYale University Press
Free
Description: The Renaissance Print: 1470–1550
THE HISTORY OF the print in western Europe is a story that has been told many times. Although there are innumerable points of detail which have not been, and may never be, satisfactorily resolved, it is not our intent to offer a new account of its origins. Rather, we set forth and conclude our study in medias res, concentrating mainly on the period between about 1470 and 1550, the critical stage in the maturation of early printmaking as an art form. Our approach is broadly based, opening …
PublisherYale University Press
Description: The Renaissance Print: 1470–1550
AN ACCOUNT OF the origin and eclipse of the Renaissance print is best begun by qualifying the much-acclaimed invention of this art. It is important to recognize that neither the concept nor the technique of replicating images was a discovery of the period. Making a series of images by impression was, after all, as ancient as Assyrian cylinder seals and the stamping of coins. Furthermore, the basic procedures for relief and intaglio printmaking are technically and conceptually rudimentary. On the …
PublisherYale University Press
Related print edition pages: pp.1-6

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Description: The Renaissance Print: 1470–1550
IN ITS GENESIS the print was a bastard art, and it may be that this very attribute served it best in the shifting commerce of Renaissance culture. From a strictly technical perspective the execution of a painting on panel had little relationship to the incising of a copper plate or the cutting of a design into a plank of pearwood to be inked and then printed. Moreover, the techniques of relief and intaglio printmaking themselves differ markedly in the tools and manipulations required to carry …
PublisherYale University Press
Related print edition pages: pp.7-32

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Description: The Renaissance Print: 1470–1550
DURING THE LAST quarter of the fifteenth century as the print began to claim some marginal prominence among the pictorial arts of Europe, printmakers gradually adopted the formal vocabulary of painters and sculptors. At the same time, they began to shed their anonymity as craftsmen. Although both woodcut and engraving aspired to the standards set by the ennobled arts, each printmaking technique did so by following its own path. On the one hand, the refinement of woodcut came about mainly through …
PublisherYale University Press
Related print edition pages: pp.33-102

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Description: The Renaissance Print: 1470–1550
IT IS COMMONLY assumed that Raphael was the first artist to realize the potential of prints as a means to propagate his artistic fame, and that Marcantonio Raimondi, by agreeing to engrave prints after Raphael’s works, became the first reproductive printmaker. There can be little doubt that Raphael and Marcantonio worked together, and that the prints the latter produced as a result of this collaboration were instrumental in spreading Raphael’s designs across Italy and the rest of Europe. What is …
PublisherYale University Press
Related print edition pages: pp.103-168

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Description: The Renaissance Print: 1470–1550
THROUGHOUT THE ANNALS of early printmaking, woodcuts have tended to be accorded second-class status. Indeed, it is fair to say that over most of its six hundred year history the woodcut has served a less demanding market, and done so without the need for exceptional refinements in draftsmanship or block cutting. The many hundreds of thousands if not millions of catchpenny prints sold to adults as well as children over the centuries attest to the importance of the woodcut as an efficient, if …
PublisherYale University Press
Related print edition pages: pp.169-259

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Description: The Renaissance Print: 1470–1550
MAX LEHRS, THE scholar who brought order to the history of German and Netherlandish engraving, took it for granted that the earliest intaglio prints were thought of primarily as workshop models and patterns; he considered it unlikely that they could have been much esteemed as valuable objects in their own right. Much the same conclusion can be drawn for Italian prints of the fifteenth century. Lehrs’s view still seems well founded, in part because it establishes a convincing parity between …
PublisherYale University Press
Related print edition pages: pp.260-358

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Description: The Renaissance Print: 1470–1550
FROM THE MOMENT craftsmen started making prints on paper, the astonishing and diverse possibilities of this new medium began to be explored. As the value of the print as aesthetic object slowly came to be cultivated, the range of utilitarian and ornamental uses also continued to expand. Renaissance prints went on serving as models for other prints, for panel painting, manuscript illumination, calligraphy, sculpture in wood and stone, precious metalwork, leather decoration, carved mother-of-pearl …
PublisherYale University Press
Related print edition pages: pp.359-368

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Free
Description: The Renaissance Print: 1470–1550
RENAISSANCE MONETARY TRANSACTIONS were complex. Anyone wishing a general discussion of this bewildering realm of the real and imaginary is encouraged to read Carlo Cipolla’s excellent introduction to the topic: Money, Prices and Civilization in the Mediterranean World: Fifth to the Seventeenth Century (Princeton, 1956). …
PublisherYale University Press
Free
Description: The Renaissance Print: 1470–1550
Abbreviations
PublisherYale University Press
Description: The Renaissance Print: 1470–1550
Bibliography
PublisherYale University Press

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Description: The Renaissance Print: 1470–1550
Photographic Acknowledgments
PublisherYale University Press
Free
Description: The Renaissance Print: 1470–1550
Index
PublisherYale University Press
The Renaissance Print: 1470–1550
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