Farfel Notebook 01: Leaves 001-064

35 May '76 Paris - P. Pronte 15F = $3.25

- university lecturer + famous preacher, Sharp -> critic of vanity, splendor + show, a puritanic sumptuary law-Type - friend of Jakob Wimpfeling - leaves

(Johann) Jean Geiler de Keysersberg (1445-1510) Doctor keiserszbergs Postill... - Strasbourg - 1522 In - fol. Grav. Jean Wachtelin Jean Schott (1477-1548) printer 1500-1548 148 - Holzschkitte 89 - verschiedene (Strasbourg) Weller #2072 preacher of the cathedral of Strasbourg 5 pt. in 1 vol. illust 32 cm

Jean GEILER de KAYSERSBERG. Doctor keiserzbergs Postill... Strasbourg, Jean Schott, 1522. In-fol. Grav. de Jean Wächtelin.

BMS C 55 - C 1 326 La "Postille" est un recueil de sermons Jean Geller de Kaysersberg. Ce sont des homélies pour les dimanches de l'année liturgique et les principales fêtes des saints.

L'illustration du livre est due au peintre et graveur Jean Wächtelin (14801526) qui a travaillé à Strasbourg de 1506 à 1526. L'importance de Wächtelin réside dans l'invention qu'on lui attribue de ces bois camaïeu, dont lui-même en 1505 et plus tard Baldung-Grien et Hans Weidits allaiant faire un emploi assez fréquent. Les gravures qu'il a fournies pour la "Postille" de Geiler sont un de ses chefs-d'oeuvre.

Ce livre a été imprimé pour la première fois par Schott en 1512. On relève 32 grandes gravures dont 27 avaient paru en 1506 dans la Passion de Chelidonius et 24 dans la Vie du Christ. La gravure du feuillet XXVI verso de la deuxième partie est particulièrement intéressante: on y relève à l'arrièreplan la ville de Strasbourg avec sa cathédrale. Au titre du livre figure un des plus saisissant portraits de Geiler. Une série d'autres gravures, plus petites celles-là, illustrent les évangiles des dimanches; elles sont dues également à Wächtelin. Copy: S. Gallen.

p. 336 BM - Short title cat. German Z2222 B86 Postill uber die Euangelia dur cha jorsampt dem Quadragesimale Ed. W. Wessmer. 4Tl. I. Schott: Strassburg 1522. fol. 1227. d. 5.

- the "German Savonarola" Copy: Yale, N.Y Public Library, Univ. of Chicago Strassburg Martin Schott BMC I p.92 - The earliest dated book from Schott's press is a Plenarium completed Oct. 1481. He died Nov. 1499. Johann Schott BMC I p.166 - Otto von Passau's Die vierund - zwanzig Alten, completed 21 March 1511, is the 1st book of J. Schott's T a complete date is yet registered. (Types 212 & 72 illustrated.)

Martin Schott, another son in law of Mentelin, who printed from 1481 to 1499, was followed by his son Johann, who continued the frimm until 1548. J. Schott published 2 English tracts by ex-Franciscan William Roy "A lytle treatous or dialoge between a Christian father & his stubborn son" (1527) & "The burying of the Mass" (1528). 1503 Editio princips of the Margarita philosophica of Gregorius Reisch, Prior of the Carthusian monastery at Freiburg printed in that city by J. Schott. It was an attempt to summarize in one volume the whole than university course.

1513 At Strasburg, J. Schott published the most important

Emil Weller, Repartorium typographicum (Nordlingen, 1864).

early edition of Ptolemy's Cosmographia, [with] 27 woodcut maps of the ancient world, & 20 based on contemporary knowledge. It includes Tabula Terrae Novae, the 1st map specially drawn to show the New World. 1530 Otto Brunfela (1489-1534), a native of Mainz, was the author of the earliest scientific botanical work. The 1st part of his Herbarium vivae eicones was published by Schott of Strasburg in 1530, & the whole completed 6 yrs later. The illustrations are by Hans Weiditz.

Francois Ritter Ref 2148 A4 R5 - Les grandes maitres de l'illustration en Alsace. Jean Wechtelin (1480-apres 1526) Jean Baldung Grien (1484-1545) Urs Graf (1484-1527/8) Jean Léonard Schaufelin (148/85-1540) Jean Weiditz Tobie Stimmer

- Les gravures dans La Postill de Geiler de 1514, 1517, & 1522 proviennent arise de l'édition latine de la Passion de Chelidonius, p. 176 exécutées par Wechtelin pour Knobloch.

- une série de petites gravures (50x70mm) dans la Postill de Geiler (1522) et, dans le même ouvrage, l'excellent portrait de Geiler par Wechtelin au frontispice. (see p.437)

- A partir de 1521, on rencontre chez J. Schott une série de gravures empruntées à Knobloch, par ex. dans les Practica de Gallianus (1521), dans la Postill de Geiler (1522), qui reproduit entre autres toutes les gravures de Wechtelin illustrant la vie de Jésus (Knobloch, 1508)

(Johann Ulrich) (d. 1530) Jean Wechtelin[inserted] principal work as wood engraver - 43 subjects from the Life of Christ + the Virgin. [end inserted] cunny sous le nom de Pilgrim (pèlerin) p. 436 ou sous celui de "maître aux bourdons croisés" est né a Strasbourg entre 1480 et 1485. -> c. 1526.

- dans la même Postille il y a d'autre part une série de gravures plus petits d'une finesse remarkable, qui illustrent les évangiles des dimanches et qui doivent sans doute être attribuées au même artiste.

Francois Ritten En 1508 entin, Knobloch encore fait figures 27 gravures de Wechtelin dans sa Vie de Jesus Christ, aux guelles s'ajoutent 7 autres gravures de Chelidonius d'Uns Graf. Beaucoups de ces gravures se retrouvent plus tard dan la Postille de Gelier publié en 1514, 1517, 1522 chez Schott; on y relève en effet, 32 grandes gravures (Postils: New Testament homilius managed as they are read in churches during the year. de Wechtelin, dont 27 avaisent paru en 1506 dans la Passion de Chelidonius & 24 en 1508 dans la Vie des Jesus Christ.

- Wechtelin n'a jamais été en Italie cependant il est après Diner, le premier graveur qui, au Nord des Alpes, ait sabi l'influence de la Renaissance. Mais son principal titre de la glorie est d'avoir introduit dans la gravure sur bois la technique du clair-obscur.

- J. Schott - fils de l'imprimeur M. Schott, il avait comme grand-père maternal Jean Mentelin, le premier imprimeur alsacien.

Hind - Johann Wechtelin Wood-c. (chiarooscuro) Strasburg w. about 1506-26 The branch of colon-woodcut which was chiefly in use in the 16 C was that of chiaroscuro, which may be described as colour-woodcut in which the scheme is limited to the various types of a single colour or nearly related colours.

Geiler - his books & sermons were just attaining their full popularity at the time of his death in 1510.

- his sermons are a most important source for the knowledge of the customs & beliefs of the common people during the pre-Reformation period.

Graesse Vol. 3 Z 1011 G 73 35 et 117 ff. ch. 28 ff. non ch. (die Passion) 109 et 41 ff. ch. E. Weller #2072 Ref Z2222 P19 V. 3

45 large woodcuts +104 smaller cuts by Wechtelin.

Jean Geiler - b. Schaffhaussen, Switz. March 16, 1445. d. Strasburg March 10, 1510. [with] his teacher, John Heynlin he belonged to a group of early German humanists. In his theological inspiration he was chiefly dependent upon J. Gerson. He preached [with] great acclaim a series of sermons that had the Narenschiff of his friend S. Brant for their theme. His sermons are an important source of knowledge of the speech, customs & beliefs of the common people of the beginning of the 16th C. Few of the sermons that have been published under his name came directly from his pen; most of them were taken down be others & later published.

Copy: Colmar - Series I M 6078 (5th leaf of the book.) des Advents III -> IX. Cr. von Kaiserberg was one of the most outspoken preachers of his times & is hailed as a farerunner of the Reformation. He was one of the 1st to make radical demands for moral reform stressing inner spirituality rather than conformity to lithurgical practice. Rome was so displeased [with] the content of his sermons that in Class I of the Roman Index published by Paul IV in 1559, all of Geiler's works were prohibited.

G. von Kaiserberg was closely connected [with] those humanists of Strasburg of whom the leader was Jacob of Wimpheling (1450-1528). Like Wimpheling Geiler was a secular priest; both fought the ecclesiastical abuses of the age. The scene of Wimpheling's fruitful labours was the school, that of Geiler's the pulpit...At a very early date his addresses were taken down by others & published.

Ritter #1099 In-fol. car. goth. 1st Part XXXIII ff. ch. 1f. blanc. 331ff. 2nd part CXVII ff. ch. 28 ff. non ch. 3rd Part CIX ff. ch. 1f. non ch. 4th Part XXXXI ff. ch. 1 blanc notes, marg. init G, nombreuses grav.

36 May 76 Paris - P. Proute 25F = $5.40

(calendrier de 1528 à 1548.)

Horac (Heures à l'usage de Paris) Oct. 22, 1537 Simon du Bois - imprimeur for Geofroy Tory his 3rd Latin book of Hours (1525-31) of Bourges (c 1480-1533) In - 4* Gothic Fig. en noir. (i iii) 140 feuillets en 18 cahiers signés a - r per 8 ct s par 4.

# 364 (Z 7838 H6L2) Paul Lacombe - Livres d'heures - au 15 et 16 C Dibdin, Bibliographical Decameron, t. I. p94-98. Fairfax Murray 279 2 plate 7 (Gunst Ref Z 144. J 67) A.F. Johnson - French 16th C, Printing plate XXVI (Z 305B7) R. Brun - Le XVIe Siecle Bohatta 330 p. 60 (Z 5948 M6 L53f.) plate 59 - ed. A. Lejard The Art of the French Book Heurres de Paris - 1527 -Gothic text printed in black + red (original size) (Gunst NE 1030 H55) A. Hind -History of Woodcuts. p. 698 1 collation: a-r8, s4; 140 leaves, unnumbered.

1 the edition of the 22 Oct 1527, printed for G. Tory by Simon du Bois, is broader in its line, + certainly printed from wood. Moreover, in this later Book of hours he preserves a thoroughly French flavor in th eborder designs, with their isolated birds + flowers, in the manner of illumination of the school of Jean Bourdichon.

edition of 1523/6 -> Roman type Almanac for 1528-48

2 The Book of Hours printed in 1527 by Simon du Bois for Tory contains the borders described as a la moderne. The decoration consists of realistic representations of flowers, fruits, + animals, + thus is nearer to teh usual gothic style. The background however is white + the illustrations are in Troy's style. These hours of 1527 are printed in "letters batardes." This is a reversal of the changes which had already taken place in the printing of Hours. As early as 1504 Thielman Kerver had issued an edition with the traditional style of decoration, but in roman type. The Lorraine cross does appear to have been used by Troy as a signature.

many splendid examples of gothic printing exist which were produced at Paris about a year 1530 - for example, by Simon Du Bois, who afterwards printed at Alecon. - In addition to this work (Hours of 1525) Simon de Colines for G. Tory there are four