A BOOK OF PRAYERS--almost entirely spoilt by damp and rottenness within. I should think, from the writing and illuminations, it was executed between the years 1450 and 1480. The outside is here the principal attraction. It is a very ancient massive binding, in silver. On each side is a sacred subject; but on that, where the Crucifixion is represented, the figure to the right has considerable expression. At the bottom of each compartment are the arms of Bavaria and of the Dukes of Milan. This is a precious treasure in its way.
The present is probably the proper place to notice the principal gem--in the department of illuminated books of devotion--preserved in the Royal Library at Munich:--I mean, what is called, ALBERT DURER'S PRAYER BOOK. This consists merely of a set of marginal embellishments in a small folio volume, of which the text, written in a very large lower-case gothic letter, forms the central part. These embellishments are said to be by the hand of ALBERT DURER: although, if I mistake not, there is a similar production, or continuation, by LUCAS CRANACH. They are executed in colours of bistre, green, purple, or pink; with a very small portion of shadow--and apparently with a reed pen. Nothing can exceed the spirit of their conception, the vigour of their touch, and the truth both of their drawing and execution. They consist chiefly of capriccios, accompanied by the figure or figures of four Saints, &c. They afford one addition to the very many proofs, which I have already seen, of the surprising talents of Albert Durer: and, if I remember rightly; this very volume has been lithographised at Munich, and published in our own country.[50]
Descending lower in the chronological order of my researches, I now come to the notice of four very splendid and remarkable folio volumes, comprising only the text of the SEVEN PENITENTIAL PSALMS: and which exhibit extraordinary proofs of the united skill of the Scribe, the Musician, the Painter, and the Book Binder--all engaged in the execution of these volumes. Of each of these artists, there is a PORTRAIT; but among them, none please my fancy so much as that of GASPAR RITTER, the book-binder. All these portraits are executed in body colour, in a slight but bold manner, and appear to me to be much inferior to the general style of art in the smaller and historical compositions, illustrative of the text of the book. But Gaspar Ritter well merits a distinct notice; for these volumes display the most perfect style of binding, which I have yet seen, of the sixteenth century. They are in red morocco, variegated with colours, and secured by clasps. Every thing about them is firm, square, knowing and complete. The artist, or painter, to whom these volumes are indebted for their chief attraction, was John MIELICH; a name, of which I suspect very little is known in England. His portrait bears the date of 1570.
Looking fairly through these volumes--not for the sake of finding fault, or of detecting little lapses from accuracy of drawing, or harmony of composition--I do not hesitate one moment to pronounce the series of embellishments, which they contain, perfectly unrivalled--as the production of the same pencil. Their great merit consists in a prodigious freedom of touch and boldness of composition. The colouring seems to be purposely made subordinate. Figures the most minute, and actions the most difficult to express, are executed in a ready, off-hand manner, strongly indicative, of the masterly powers of the artist. The subjects are almost interminable in number, and endless in variety.
I shall now proceed at once to an account of the xylographical productions, or of BLOCK BOOKS in the public library of this place; and shall begin with a work, of which (according to my present recollection) no writer hath yet taken notice. It is a Life of Christ, in small quarto, measuring scarcely five inches by four. The character of the type is between that of Pfister and the Mazarine Bible, although rather more resembling the latter. Each side of the leaf has text, or wood cut embellishments. The first eight pages contain fifteen lines in a page: the succeeding two pages only thirteen lines; but the greater number of the pages have fourteen lines.
It is precisely the dotted ground, in the draperies, that impresses me with a notion of the antiquity of these cuts. Such a style of art is seen in all the earlier efforts of wood engraving, such as the St. Bernardinus belonging to M. Van-Praet, and the prints pasted within the covers of Mr. George Nicol's matchless copy of the Mazarine Bible, upon vellum, in its original binding.[51] M. Bernhard also shewed me, from his extraordinary collection of early prints, taken from the old MS. volumes in this library, several of this precise character; and to which we may, perhaps with safety, assign the date of 1460 at the latest. I have been particular in the account of this curious little volume, not so much because it is kept in a case, and considered to be unique, as because, to the best of my recollection, no account of it is to be found in any bibliographical publication.
EXHORTATION AGAINST THE TURKS, &c.: of the supposed date of 1455. This is the singular tract, of which Baron Aretin (the late head librarian of this establishment) published an entire fac-simile; and which, from the date of M.cccc.lv appearing at the bottom line of the first page, was conceived to be of that period. M. Bernhard, however,--in an anonymous pamphlet--proved, from some local and political circumstances introduced, or referred to, in the month of December--in the Calendar attached to this exhortation--that the genuine date should rather be 1472. This brochure is also considered to be unique. It is a small quarto, of six leaves only, of which the first leaf is blank. The type is completely in the form of that of Pfister, and the paper is unusually thick. At the bottom of the first leaf it is observed, in ms. "Liber eximiæ raritatis et inter cimelia bibliothecæ asservandus. F. Er."
ARS MEMORANDI, &c. Here are not fewer than five copies of this well known--and perhaps first--effort of block-book printing. These are of the earliest dates, yet with trifling variations. The wood cuts in all the copies are coloured; some more heavily than others; and in one of them you observe, in the figure of St. Matthew, that red or crimson glossy wash, or colour, so common in the earliest prints--and which is here carried over the whole figure. One of these five copies is unbound.
ARS MORIENDI. Here are two editions, of which one copy is indisputably the most ancient--like that in Lord Spencer's library,[52]--but of a considerably larger size, in quarto. There can be no doubt of the whole of this production being xylographical. Unluckily this fine copy has the first and last pages of text in ms. The other pages, with blank-reverses, are faintly impressed in brown ink: especially the first, which seems to be injured. A double-line border is round each page. This copy, which is bound in blue morocco, has also received injury from a stain. I consider the second copy, which is bound in red morocco, to be printed with moveable metal types. The ink is however of a palish brown. I never saw another copy of this latter impression.
BIBLIA PAUPERUM. In Latin. I doubt whether this be the first edition; but at any rate it is imperfect. In German: with the date of 1470. Here are two copies; of which I was anxious to obtain the duplicate (the largest and uncoloured,) for the library in St. James's Place; but the value fixed upon it was too high; indeed a little extravagant.