VIII. VIEW OF VENICE, 1493. Woodcut. After p. 62
From Schedel's Weltchronik, Nuremberg, 1493.
IX. PORTRAIT MEDAL OF ALDUS MANUTIUS. By an unknown Venetian medallist. Venice, Museo Correr. After p. 62
On the reverse, the emblem adopted by Aldus in 1495 from an antique coin, an anchor entwined by a dolphin. The Greek inscription, σπευδε βραδεος (Hasten slowly), is also of antique origin. Cf. Hill, Corpus of Italian Medals, 1930, No. 536.
X. A page from the printed copy of the Praise of Folly with a drawing by Hans Holbein. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 63
This copy of the Laus Stultitiae, which Holbein decorated with marginal drawings in 1515, belonged at that time to Oswald Myconius, a friend of Froben's. Apparently not all the drawings in the book are by Hans Holbein.
The drawing shows Erasmus working at his desk, fol. S.3 recto. Above this thumbnail sketch there is a Latin note in the handwriting of Myconius: 'When Erasmus came here and saw this portrait, he exclaimed, "Heigh-ho, if Erasmus still looked like that, he would quickly find himself a wife!"'
XI. A page from the printed copy of the Praise of Folly with a drawing by Hans Holbein. Basle, Öffentliche Kunstsammlung (Print Room). Facing p. 78
See note on Pl. X. This is the last page of the book, fol. X.4 recto; the drawing shows Folly descending from the pulpit at the close of her discourse.
XII. THE PRINTING PRESS OF JOSSE BADIUS. Woodcut by Albrecht Dürer, 1520-1. Facing p. 79