[Footnote II-9: “Liber iste, _Laus Virginis_ intitulatus, continet Lectiones Matutinales accommodatas Officio B. V. Mariæ per singulos anni dies,” &c. At the beginning of the volume is the following memorandum: “Istum librum legavit domna Anna filia domni Stephani baronis de Gundelfingen, canonica in Büchow Aule bte. Marie v’ginis in Buchshaim ord’is Cartusieñ prope Memingen Augusten. dyoc.”--Von Murr, Journal, 2 Theil, S. 104-105.] [Footnote II-10: A fac-simile, of the size of the original, is given in Von Murr’s Journal, vol. ii. p. 104, and in Ottley’s Inquiry, vol. i. p. 90, both engraved on wood. There is an imitation engraved on copper, in Jansen’s Essai sur l’Origine de la Gravure, tom. i.] The original affords a specimen of the combined talents of the Formschneider or wood-engraver, and the Briefmaler or card-colourer. The engraved portions, such as are here represented, have been taken off in dark colouring matter similar to printers’ ink, after which the impression appears to have been coloured by means of a stencil. As the back of the cut cannot be seen, in consequence of its being pasted on the cover of the volume, it cannot be ascertained with any degree of certainty whether the impression has been taken by means of a press, or _rubbed off_ from the block by means of a burnisher or rubber, in a manner similar to that in which wood-engravers of the present day take their proofs. This cut is much better designed than the generality of those which we find in books typographically executed from 1462, the date of the Bamberg Fables, to 1493, when the often-cited Nuremberg Chronicle was printed. Amongst the many coarse cuts which “illustrate” the latter, and which are announced in the book itself[II-11] as having been “got up” under the superintendence of Michael Wolgemuth, Albert Durer’s master, and William Pleydenwurff, both “most skilful in the art of painting,” I cannot find a single subject which either for spirit or feeling can be compared to the St. Christopher. In fact, the figure of the saint, and that of the youthful Christ whom he bears on his shoulders, are, with the exception of the extremities, designed in such a style, that they would scarcely discredit Albert Durer himself. [Footnote II-11: The following announcement appears in the colophon of the Nuremberg Chronicle. “Ad intuitum autem et preces providorum civium Sebaldi Schreyer et Sebastiani Romermaister hunc librum Anthonius Koberger Nurembergiæ impressit. Adhibitis tamen viris mathematicis pingendique arte peritissimis, Michaele Wolgemut et Wilhelmo Pleydenwurff, quorum solerti accuratissimaque animadversione tum civitatum tum illustrium virorum figuræ insertæ sunt. Consummatum autem duodecima mensis Julii. Anno Salutis ñre 1493.”]