Text of From Creation to the Babylonian Captivity...
From Creation to the Babylonian Captivity
Title page " " 1490. 1493 . 1809 , 645 . .
The Nuremberg Chronicle 320 . ( ) , . , . , .
Index The First Age of the World from Creation to the Deluge The Second Age from the Deluge to the Birth of Abraham The Third Age from the Birth of Abraham to the Kingdom of David The Fourth Age from beginning of the Kingdom of David to the Babylonian Captivity The Fifth Age from the Babylonian Captivity to the Birth of Christ The Sixth Age from the Birth of Christ to the present day The Seventh Age, reporting the coming of the Antichrist at the end of the world and predicting the Last Judgment Addenda Addenda II :
The Nuremberg Chronicle is a pictorial history of the earth from creation to the 1490s published in 1493. It was compiled by Dr. Hartmann Schedel, illustrated and engraved by Michael Wohlgemuth, Wilhelm Pleydenwurff and Albrecht D rer, and printed and published by Anton Koberger. The Chronicle is the first instance of partnerships shown between artists and patrons.
God said "Let there be light." And God called the light "day" and the darkness "night .
Creation of Birds
Creation of Adam
Creation of Eve
Expulsion from the Garden of Eden
The woodcuts shown in the chronicle represented the emergence of xylography as a prosperous industry in South Germany. Xylography was quite dominant for several years before Gutenberg invented typography. The woodcuts normally presented biblical scenes, saints, and moralities. Illiterates of medieval Europe used the woodcuts as charms for protection. Xylography achieved its greatness in South Germany following the publishing of the Nuremberg Chronicle. Albrecht D rer became a leader in the art of xylography and was a part of the distinguished group who created the woodcuts of the Chronicle.
In 1493, the year the Chronicle was published, the city of Nuremberg was the most advanced among the German cities in the arts and crafts and commercial relations. The city stands today as beautiful as it was in 1493; the residences of those integrally involved in the making of the Chronicle are standing still. The cathedral of St. Sebald, probably the most important part of the city at that time, still exists.
Medieval representation of the building of the Ark from H. Schedel's so named "World Chronicle", 1493 The obvious influences of the ships of 1493 are obvious, and the proportions are far from Biblical. As for scale - perhaps we can assume perspective was a problem for artists at this time.
Sodom & Gomorrah
Sacrifice of Isaac
Anton Koberger was the printer of the Chronicle and established the second printing office in Nuremberg in 1470. His family had governed Nuremberg since the day it became a free imperial city in 1219. Koberger became the godfather of Albrecht D rer in 1471. He was heavily involved in goldsmith until he left that to enter into the printing industry. Though he seems to have had no prior knowledge of the business, there seems to be a close connection between typographic art, and goldsmith. Typographic art needed a matrix to cast a letter, and none were as skilled in engraving on metals as the goldsmiths were. This perhaps explains the connection between the two. By 1489, Koberger owned twenty-four printing presses and employed approximately a hundred operatives.
The Chronicle contains 1809 prints, taken from 645 actual woodcuts. Therefore, there are 1164 repetitions. The Chronicle, however, retains its splendor because of the area and number of woodcuts that is larger than any other book of its century. The Nuremberg Chronicle is and will remain always, an indication of the height of evolution of typography in the 1490s.