The transition to different ideals of illustration thus begun at Mainz was carried on at Nuremberg, where Michael Wolgemut illustrated two important works, the _Schatzbehalter_ in 1491 and the famous _Nuremberg Chronicle_ in 1493, this latter with the help of his stepson, Wilhelm Pleydenwurff, and no doubt also of several inferior designers. The _Schatzbehalter_, of which the text is ascribed to Stephanus Fridelinus, a Nuremberg Franciscan, is one of several examples of a too ambitious scheme of decoration perforce abandoned for lack either of time or of money. In the first half there are ninety-two different full-page woodcuts, mostly illustrating Scripture history, but in some cases allegorical; in the second half the number is no more than two. The pictures executed before the scheme was thus cut down vary greatly in quality, from the fine design of Christ kneeling before the throne of the Father and pointing to the emblems of the Passion, which prepares us for the work which Durer, who was then being trained in Wolgemut's studio, was soon to execute, down to the amusing but uninspired craftsmanship of the picture of Solomon and a selection of his wives banqueting. For the _Liber Chronicarum_ of Hartman Schedel plans had been much more carefully worked out than for the _Schatzbehalter_, and by studying economy a seemingly profuse system of illustration was maintained to the end. The industry of Mr. Sydney Cockerell has evolved for us the exact figures as to the illustration of this book. Real liberality is shown in the large, double-page topographical cuts of twenty-six different cities, for many of which sketches must have been specially obtained, and not one of these is used a second time; but twenty-two other large cuts of cities and countries were made to serve for sixty-nine different subjects, and when we come to figures of emperors, kings, and popes we find ninety-six blocks used 598 times, or on an average half a dozen times apiece. Mr. Cockerell's grand totals are 1809 pictures printed from 645 different blocks, so that the repetitions number no fewer than 1164. Both in the designs and their execution there is great inequality, but no single picture can compare with that of Christ kneeling before the Father in the _Schatzbehalter_, and both books, fine as their best work is, must be regarded rather as the crown of German medieval craftsmanship in book-building than as belonging to the period of self-conscious artistic aim which is heralded by the Mainz _Breidenbach_ but really begins with Durer. With this Nuremberg work we may perhaps class that in the one book printed at the Cistercian monastery at Zinna, near Magdeburg, the _Psalterium Beatae Mariae Virginis_, of Hermann Nitschewitz, the most richly decorated German book of the fifteenth century, executed in honour of the Emperor Frederick and his son Maximilian, who in the page here shown (Plate XI) are both represented.