Pirckheimer writes to Hans Koberger, in 1520, concerning a manuscript of Fulgentius: “They told me in the first place that it absolutely could not be bought, but finally, after increasing our offer step by step to a sum that I am almost afraid to report to you, I managed to bring the volume away with me.” In September, 1485, Busch writes from Italy to Amerbach, who is acting on behalf of Koberger: “I am sending to you with this what I believe to be a magnificent copy of the _Institutes_ (of Cassian), the text of which has been carefully collated. This parchment must be preserved with exceptional care, as, if a single spot should come upon it, we should be liable for heavy damages. It must be returned to me not later than S. Martin’s Day, and the transcribing must be done in your own house, from which the parchment must not be taken.” Busch appears to have continued to perform this class of service for Koberger, for we find him, ten years later (in May, 1495), writing again as follows: “I have succeeded in getting hold of a beautiful copy of _Hugo_. I am not allowed to remove the manuscript, but am having transcripts prepared from it. I have three good writers employed in the work, who are able to turn out each six _quaternes_ a week.” The _Hugo_ here referred to was the text of the _Postillas_ or commentaries written in the thirteenth century by Cardinal Hugo, which formed the basis of the great Hugo edition of the Scriptures, the publication of which was begun by Koberger in 1497, and was completed in 1504. The set comprises seven volumes folio. The manuscripts upon which the text was based and which were doubtless those referred to by Busch, formed the great treasure of the library of the Cistercian Monastery at Heilsbronn. This particular parchment, or series of parchments, had been written by, or had been written under the direction of, Abbot Conrad, between the years 1303 and 1329. The editors who coöperated with Koberger in the production of the Hugo Bible were, in addition to Amerbach, Conrad Leontorius, the Humanist Jacob Wimpfeling, and Heynlin von Stein. For the editing of _S. Augustine_ Koberger secured the help of Augustin Dodo, and his edition of _S. Jerome_ was supervised by the great scholar Reuchlin. The association of Koberger with Albert Dürer has already been referred to. Some time before Koberger’s book-presses began their work in Nuremberg, Dürer had been using hand-presses for the impressions of his woodcuts and of his designs engraved on copper. Hase is of opinion that Dürer gave direct coöperation in Koberger’s press-room, and that the excellence and evenness of print of the Koberger editions may be very largely credited to Dürer’s artistic supervision.[80]