Copies of the first fourteen German Bibles (1466, etc.), with the exception of the second and seventh, will be found in the various cases (iv., v., vii., ix., etc.), and the original editions of Luther’s Bible (1523-4) and other writings of his in case xxii. The first German Bible to be printed in Nuremberg (actually the fourth German Bible) was published by Frisner and Sensenschmid, 1473(?), case vii. Illustrations, it will be observed, are introduced into the large initial letters. It was Johann Sensenschmid (“the type-cutter”) who, with the aid of Heinrich Keffer of Mainz, a pupil of Gutenberg, first introduced the art of printing into the town (Franciscus de Retza, Comestorium vitiorium, 1470, case vii.). Then in 1471 Johann Müller, or Regiomontanus, as he called himself, came with the object of establishing a private printing press, in order to issue his own works here. He printed his German and Latin Calendar from blocks, and various mathematical works from moveable types. But Anton Koberger[69] (1473-1513) was the greatest printer of Nuremberg. To the zeal with which he produced woodcut illustrations for his great works, the Schatzbehalter and the Hartmann Schedels Weltchronik (cases xiii., xiv.), the growth of the Nuremberg school of engraving is due. Another famous Nuremberg printer closely connected in business with Koberger[70] was Friedrich Creussner, who printed the first German edition of “Marcho Polo, das puch von mangerley wunder der landt vnd lewt” in 1477 (case xii.). In case xix. we find a unique copy of Hans Schmuttermeyer von Nürnberg, Fialenbüchlein, and also the Nürnberger Heiligtumsbüchlein, published by Hans Mair, 1493. The Quatuor libri amorum of Conrad Celtes, poet and humanist, was published at Nuremberg, 1502, with woodcuts after Durer (case xxi.). Durer’s writings on the Proportions of the Human Frame, on Perspective, Measurements and Fortification figure in case xxiii., in which also the large coloured woodcuts of the “Abbildung der dreiundzwanzig vom schwäbischen Bunde im Jahre 1523 verbrannten fränkischen Raubschlösser,” published at Nuremberg by Hans Wandereisen, are conspicuous. To Nuremberg also was vouchsafed the honour of publishing Melchior Pfinzing’s Theuerdank (1517),[71] although it would appear to have been printed by Hans Schönsperger at Augsburg from the handsome type (scarcely improved by the tremendous flourishes) specially cut by Jost Dienecker of Antwerp. It was adorned with over a hundred illustrations—hunting scenes and knightly conflicts—by Hans Schäuffelein, Burgkmair and others. A copy of the second, 1519, edition may be seen in case xxii.

After the death of Koberger, illustrated books in Nuremberg came chiefly from the presses of Jobst Gutknecht and Peypus. Other printers here were:—

In this case also is Grimmelshausen’s Simplicissimus (Nuremberg, 1685). In the next case (xxix.) is a copy of the pamphlet “Deutschland in seiner tiefen Erniederung,” 1806, which occasioned the execution of the publisher Palm (see p. [269]), “who fell a victim to the tyranny of Napoleon.”

Near this case are two old printing presses, and in case xxx. are the bust, some manuscripts, and the collected works of Hans Sachs the cobbler-poet.

ROOM 59.

Ship models, etc.

ROOM 60 (gallery of the Church).

Old weights and scales.

ROOM 61.