288:. Further eccentricities include a run of twenty pages in one edition which are text cut as a woodcut, based on tracings of pages from another edition printed with movable type. Though the circumstances of production of these editions are unknown, two of the editions are in Dutch and the Netherlands was probably the centre of production, as with most blockbooks. Hind places them in Holland, from about 1470ā75. It appears the
154:
44:
255:
22:
307:, a specialist in popular illustrated works, produced the first one in 1473, in Latin and German, and with a metrical summary newly added for each chapter; this is considered an especially beautiful edition. Further incunabulum editions include Latin, German, French, Spanish and Dutch versions, and it was the first illustrated book printed in both Switzerland, at
355:
were treated in many different styles and media over the course of the two centuries of its popularity, but generally the essentials of the compositions remained fairly stable, partly because most images had to retain their correspondence with their opposite number, and often the figures were posed
144:
The writing of the text follows an exact scheme: twenty-five lines per column, with two columns per page, one under each miniature, so a hundred lines per standard chapter. Sometimes there are captions over the pictures as well, of varying content. Many copies reduced the original text, often by
193:
form, and in Latin. Many copies were made, and several hundred still survive (over 350 in Latin alone), often in translations into different vernacular languages; at least four different translations into French were made, and at least two into
English. There were also translations into
225:
Manuscript versions covered the whole range of the manuscript market: some are lavishly and expensively decorated, for a de luxe market, whilst in many the illustrations are simple, and without colour. In particular, superb
Flemish editions were produced in the 15th century for
123:
in four pages. Then follow forty more double-page chapters where a New
Testament event is compared with three from the Old Testament, with four pictures each above a column of text. Usually, each chapter occupies one 2-page opening. The last three chapters cover the Seven
173:
indicates, and 1324, the date on two copies. A preface, probably from the original manuscript, says the author does not give his name out of humility, though numerous suggestions have been made. He was almost certainly a cleric, and there is evidence he was a
140:
at double this length. In all, a complete standard version has 52 leaves, or 104 pages, and 192 illustrations (including a blank page at the beginning and end). The blockbook editions were much shorter, with 116 pictures, two to a woodblock.
280:, the work then appeared in four blockbook editions, two in Latin and two in Dutch, and then in sixteen incunabulum editions by 1500. The blockbooks present unique questions as only editions of this work combine hand-rubbed
87:. The original version is in rhyming Latin verse, and contains a series of New Testament events each with three Old Testament ones that prefigure it. It is one of the most common books found as an
356:
to highlight these correspondences. Many works of art in other media can be seen to be derived from the illustrations; it was for example, the evident source for depictions for the
335:. Even if the Coster story is ignored, the work seems to have been the first printed in the Netherlands, probably in the early 1470s. Editions continued to be printed until the
145:
omitting the non-standard chapters at the beginning or end, whilst others boosted the content with calendars and commentaries or extra illustrations.
292:
may have been sold separately as a pamphlet, as one version speaks of the usefulness of it for "poor preachers who cannot afford the entire book".
580:
EteroviÄ, Ivana (2020). "Martina KRAMARIÄ, Zrcalo ÄlovÄÄaskago spasenja (1445.): Transkripcija, kontekst nastanka i jeziÄnopovijesna analiza".
699:
613:
681:
Warburg
Institute Iconographic Database (ca 13,000 photos from over 80 manuscripts, and all the woodcuts from early printed editions)
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757:
621:
234:
is probably the most popular title in this particular market of illustrated popular theology, competing especially with the
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The incunabulum editions, from eleven different presses, mostly, but not all, printed their woodcut illustrations in the
112:
639:
601:
107:
After a short
Prologue (two pages) and Prohemium (four), both unillustrated, the first two chapters deal with the
693:
339:, which changed the nature of religious devotion on both sides of the Catholic/Protestant divide, and made the
658:
723:
371:
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Reinhart, Johannes (2000). "Husova homilija na 13. nedjelju po
Duhovima u hrvatskoglagoljskom prijevodu".
108:
680:
727:
48:
129:
722:
a fifteenth century version likely produced in the
Northern Netherlands, from the collections of
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Zrcalo ÄlovÄÄaskago spasenja (1445.). Transkripcija, kontekst nastanka i jeziÄnopovijesna analiza
324:
320:
120:
336:
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88:
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Includes many illustrations, including a full set of woodcut pictures with notes in
Chapter 6.
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133:
125:
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685:
8:
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714:
366:
183:
137:
76:
72:
328:
635:
617:
597:
211:
179:
162:
25:
700:
Full turn-the-pages manuscript (not standard contents) from the Danish Royal
Library
300:
299:
with the text. Some seem to have been printed in two sessions for texts and images.
323:. In addition, the first of the somewhat legendary editions supposedly produced by
219:
68:
719:
236:
227:
195:
175:
296:
203:
199:
170:
704:
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A lavish
Flemish manuscript (Bruges, 1455) from the Hunterian Library, Glasgow
736:
666:
375:
84:
80:
285:
263:
242:
116:
67:
was a bestselling, anonymously illustrated work of popular theology in the
96:
383:
259:
92:
710:
379:
315:, which used the Basel picture blocks, later also used in Spain. A
304:
277:
281:
153:
316:
43:
596:, Houghton Mifflin Co., reprinted Dover Publications, (1963).
21:
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works. In particular the work was used as a pattern-book for
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edition has woodcuts whose design has been attributed to the
308:
16:
Illustrated work of popular theology in the late Middle Ages
312:
254:
218:). Czech and Croatian translations are the only ones into
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461:
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from the same manuscript, see left. Danish Royal Library.
696:(note consistency of images between Lyon and Marseilles)
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The work originated between 1309, as a reference to the
485:
75:, in this case concentrating on the medieval theory of
458:
634:, Metropolitan Museum of Art/Princeton. nos.33,34.
473:
539:Mayor nos.33ā34, appears to contradict Hind p.602
734:
148:
720:"Speculum humanae salvationis" (MS Add. 6447)
665:. Berkeley: University of California Press.
182:is a leading candidate for authorship, and
711:Rare Book and Special Collections Division
614:Institut za hrvatski jezik i jezikoslovlje
346:
83:prefigured or foretold the events of the
645:
607:
579:
491:
479:
467:
276:In the 15th century, with the advent of
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152:
42:
20:
594:An Introduction to a History of Woodcut
735:
661:, and Joyce Lancaster Wilson (1984).
91:, and also in early printing in both
455:Wilson & Wilson p.10; Hind p.602
230:and other wealthy bibliophiles. The
189:The first versions are naturally in
71:, part of the genre of encyclopedic
694:Some images from French manuscripts
249:
13:
165:kills the elephant and is crushed.
39:, prefiguring the Ascension, right
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284:pages with text pages printed in
763:Types of illuminated manuscript
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758:Catholic theology and doctrine
604:, pp. 245ā247 and passim.
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687:Miroir de l'humaine salvation
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724:Cambridge University Library
706:Speculum humanae salvationis
557:Wilson & Wilson p.111 ff
410:Wilson & Wilson pp.27ā28
216:Zrcalo ÄlovÄÄaskago spasenja
157:Miniature from a manuscript
149:Dating and manuscript copies
79:, whereby the events of the
58:Speculum Humanae Salvationis
7:
743:14th-century books in Latin
446:Wilson & Wilson p.26ā27
208:Zrcadlo ÄlovÄÄieho spasenie
102:
10:
779:
608:KramariÄ, Martina (2019).
572:
728:Cambridge Digital Library
548:Wilson & Wilson p.208
530:Wilson & Wilson p.207
521:Wilson & Wilson p.120
186:has also been suggested.
64:Mirror of Human Salvation
630:Mayor, A. Hyatt (1971).
592:Hind, Arthur M. (1935).
566:Wilson & Wilson p.29
503:Wilson & Wilson p.11
437:Wilson & Wilson p.10
428:Wilson & Wilson p.27
419:Wilson & Wilson p.26
726:and fully digitised in
327:, working earlier than
325:Laurens Janszoon Coster
321:Master of the Housebook
266:Netherlandish edition,
347:Iconographic influence
273:
191:illuminated manuscript
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89:illuminated manuscript
52:
40:
362:Rogier van der Weyden
258:Opening from a mixed
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171:Pope being at Avignon
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126:Stations of the Cross
46:
24:
715:Library of Congress
372:Early Netherlandish
367:Bladelin Altarpiece
184:Vincent of Beauvais
73:speculum literature
358:Vision of Augustus
351:The images in the
329:Johannes Gutenberg
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246:for the accolade.
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53:
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663:A Medieval Mirror
632:Prints and People
623:978-953-7967-24-6
311:, and France, at
180:Ludolph of Saxony
163:Eleazar Maccabeus
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243:Ars moriendi
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117:Adam and Eve
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748:Printmaking
337:Reformation
271: 1470
97:incunabulum
37: 1430
753:Incunabula
737:Categories
654:: 119-190.
612:. Zagreb:
588:: 260ā263.
512:Hind p.247
401:Hind p.245
390:References
380:tapestries
370:and other
130:Seven Joys
119:, and the
709:From the
384:sculpture
290:Prohemium
260:blockbook
176:Dominican
93:blockbook
49:Ascension
353:Speculum
341:Speculum
333:Speculum
331:, was a
305:Augsburg
278:printing
240:and the
232:Speculum
212:Croatian
159:Speculum
128:and the
109:Creation
103:Contents
77:typology
30:Speculum
713:at the
573:Sources
282:woodcut
210:), and
134:Sorrows
99:forms.
28:from a
638:
620:
600:
317:Speyer
196:German
121:Deluge
111:, the
648:Slovo
582:Slovo
309:Basel
204:Czech
200:Dutch
636:ISBN
618:ISBN
598:ISBN
382:and
313:Lyon
262:and
138:Mary
132:and
95:and
55:The
47:The
364:'s
360:in
303:of
136:of
61:or
32:of
739::
652:50
650:.
616:.
586:71
584:.
460:^
386:.
268:c.
222:.
202:,
198:,
178:.
161:.
34:c.
642:.
626:.
482:.
214:(
206:(
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