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Liber Chronicarum
Die Schedelsche
Weltchronik, or The Nuremberg Chronicle
The masterpiece of Hartmann Schedel, this book is among one of the most famous
titles to have been created and is
known variously as Liber Chronicarum, Die Schedelsche Weltchronik
and - in English - The Nuremberg Chronicle. Latin
scholars have
referred to the book as Liber Chronicarum (Book of Chronicles) as that
phrase appears liberally throughout
the index of the Latin edition, while the
English speaking world knows the title as The Nuremberg Chronicle for the
city
in which it was first published. In contrast, the German speaking world
refers to the book as Die Schedelsche Weltchronik
in reference its
author, Dr Hartmann Schedel.
The Chronicle is a magnificent work arising from
the collaboration of figures from the German Renaissance - it was
compiled by Schedel with illustrations from artists included Michael Wohlgemuth, Wilhelm
Pleydenwurff and Albrecht
Dürer and printed and published by Anton Koberger.
Dürer is well known as a Renaissance Master, but his other
collaborators also
personified the Renaissance. Schedel, for example, while gaining a place in
history for his association
with the Chronicle, was earlier awarded a
Master of Arts and studied Medicine before traveling to Italy where he wrote
a
description of the region's antiquities. His interest in antiquities continued
after he returned to Germany and he
established his own collection while
practicing as a physician and acting as Bursar to the Cathedral and Diocese of
St Sebald. Wohlgemuth, too, had an established reputation as a painter and engraver
prior to the publication of the
Chronicle and is known to be one of
Dürer's artistic instructors. Pleydenwurff, similarly, was an established
engraver at
the time that he contributed to the completion of the Chronicle.
Koberger was the scion of a family that had governed
Nuremberg since it was
established as an imperial city in 1219 and became Dürer's Godfather in 1471.
The raison d'être for the
Chronicle was
to provide an illustrated history of the World, beginning with God's creative
process and ending in the early 1490s. That history is presented in seven ages:
from the Creation to the Deluge; to the
birth of Abraham; to King David; to the
Babylonian captivity; to the birth of Christ; to the period immediately
preceding the publication of the Chronicle; and an outlook on the end of
the World and the Last Judgment.
Up to 1500 copies of the Latin publications are
believed to have been published, while as few as 700 of the German
copies are
thought to have been produced. Of those, approximately 400 Latin and 300 German
copies survive currently.
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God disposes of the
Antichrist
Leaf 262 (CCLXII)
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.JPG)
Detail showing both God disposing of
the
Antichrist and the Antichrist
whispering in
God's ear
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This leaf is from the first Latin
edition of The Nuremberg Chronicle published in 1493.
On this particular leaf,
consistently rubricated text is presented on the verso
with a full-page coloured woodcut appearing on the recto. That
woodcut splendidly depicts God disposing of the Antichrist.
Details within the woodcut also show the Antichrist whispering
in God's ear.
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The Heavens and the Earth
Leaf 5 (V)
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This leaf is from the first German
edition of The Nuremberg Chronicle published in 1493.
The large coloured image to the
recto of this leaf depicts The Heavens and The Earth: the
Earth is placed at the centre of the Heavenly spheres (noted as
terra); and God and the Heavenly Host shown in the
outermost sphere. To the left of the Heavenly Host, the
ranks are noted from Angels (appearing at the base of the list)
to Seraphim (crowning the hierarchy). To the verso is a
further coloured image showing the Earth as created by God.
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The Expulsion from Paradise
Leaf 7 (VII)
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%20(image)%20(300).jpg)
Complete
illustration |
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%20(image)%20(detail)%20(300).jpg)
Detail showing the expulsion of
Adam and Eve from Eden
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This leaf is from the first German
edition of The Nuremberg Chronicle published in 1493.
The large coloured image to the
verso of this leaf depicts the biblical tale of The
Expulsion from Paradise: to the right, Adam and Eve are shown
eating from the Tree of Knowledge; and to the left, the pair are
being driven from Paradise. To the recto, a further large
uncoloured image depicts the creation of Eve from one of Adam's
ribs.
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The Golden Calf
Leaf 31 (XXXI)
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Complete
illustration |
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Detail showing the Golden Calf and
heretics
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This leaf is from the first German
edition of The Nuremberg Chronicle published in 1493.
The large coloured woodcut
illustrating the verso of this leaf depicts the biblical
tale of The Golden Calf. Moses is shown, from that tale, with
the broken tablets containing The Ten Commandments at his feet.
The two smaller coloured woodcuts to the recto illustrate
other elements of that tale, including Angels sealing the Ark of
the Covenant.
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Pope Eneas and Kaiser
Friedrich III
Leaf 268 (CCLXVIII)
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.JPG)
Complete
illustration
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Detail showing Pope Eneas and his
entourage
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This leaf is from the first German
edition of The Nuremberg Chronicle published in 1493.
The large coloured woodcut
illustrating the recto of this leaf depicts a meeting
between Spiritual and Temporal authority magnificently: to the
left, Pope Eneas is seated surrounded by other clergy and
symbols of his Spiritual mandate; and to the right, Kaiser
Friedrich III is depicted as Holy Roman Emperor supported by a
Courtly entourage and symbols of his Temporal power.
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Jesus and the Apostles
Recto to Leaf 101 (CI)
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Complete
illustration
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Detail showing Christ leading the
Apostles
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This leaf is from the first German
edition of The Nuremberg Chronicle published in 1493.
The large uncoloured woodcut
illustrating the recto of this leaf depicts Jesus and the
Apostles.
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