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ALBERT DURER’S 
 
 Paffion of our Lord Jefus ChrifL 
 
 Edited by 
 Henry Cole. 
 
tClje passion of our l.orti 
 3frsus Christ, 
 
 pourt rayed by Albert Durer. 
 
 EDITED BY HENRY COLE, 
 
 AN ASSISTANT KEEPER OF THE 
 PUBLIC RECORDS. 
 
 JLonDon : 
 
 Jofeph Cundall, 12, Old Bond Street; William Pickering, 
 177, Piccadilly; George Bell, 186, Fleet Street; 
 
 J. H. Parker, Oxford; J. and J. J. 
 
 Deighton, Cambridge. 
 
 1844. 
 

 
preface. 
 
 HIS work by Albert Durer, juftly called the 
 Apelles of Germany, may be introduced to 
 the general reader by a few brief words on 
 his biography. 
 
 LBERT DURER’S early life, like that of 
 many of the mod: eminent mediaeval Artifts, 
 was paffed in the workfhop of a Goldfmith . 
 He was the fon and grandfon of a goldfmith, 
 but he left his father’s craft in his fixteenth year, to 
 become a Student of Painting under Michael Wolge - 
 muthy and a moft indefatigable Artijft in all branches of 
 Art up to the time of his death. We find his well- 
 known monogram on Paintings,* Sculptures,-^ Engrav- 
 
 * The Paintings of Albert Durer are by no means common in 
 this country. The beff fpecimen in the metropolis is an altar-piece 
 in three parts, in the Queen’s Gallery at Buckingham Palace, which 
 formerly belonged to Charles I., and is defcribed in James the Second’s 
 Catalogue as u Our Lady with Chrift in her lap with a coronet on her 
 head ; two fryars by them and two doors.” Mrs. Jamefon has given 
 a full account of it in her Companion to private Picture Galleries , p. 23. 
 There is a Portrait of a Youth by him (No. 303), and a St. Jerome, 
 faid to be after Albert Durer (No. 563), at Hampton Court Palace. 
 In the Sutherland Gallery is a fmall painting on copper of the Death 
 of the Virgin. (See Mrs. Jamefon ut fupra p. 204.) 
 
 f In the Print Room of the Britifh Mufeum is a fpecimen of Albert 
 
 b 
 
Preface* 
 
 ings,J Etchings (which procefs he is faid to have in- 
 vented), Drawings on Wood, Ornamental defigns of all 
 kinds. In the practice of all he obtained an eminence, 
 which places him at the head of the Artifts of his own 
 country, and in the firft rank of his Italian cotempo- 
 raries, Raffaelle, Michael Angelo, and Leonardo da 
 Vinci, &c. Like thefe great men, Albert Durer was not 
 only a Painter. He left treatifes on Fortification y Men- 
 furation y and the Proportions of the Human Body , the chief 
 
 Durer’ s wonderful powers of fculpture in lithographic, or hone-ftone, 
 not quite eight inches high, and about five and a half wide. In this 
 fmall fpace are fculptured in very high relief, an interior, with a woman 
 lying in bed, called St. Elizabeth, and as many as eight figures, be- 
 sides a dog, furniture, &c. the fcene being intended to reprefent the 
 Naming of St. John. A figure of a young man entering is faid to 
 reprefent Albert Durer himfelf. The exprefiion and character given 
 to heads not larger than the fize of a little finger’s nail, are a moft mar- 
 vellous exhibition of executive power ; of itfelf refuting the idea that 
 the fame hand fhould have engraved fo rudely the wood cuts attributed 
 to him. This fculpture bears the date of 1510, the fame as a wood- 
 cut (No. 93, Bartfch) of the Life of the Virgin, to which it has a 
 ftrong general refemblance. It was purchafed by Payne Knight at 
 Bruflels, for five hundred guineas, and bequeathed by him to the Britifh 
 Mufeum, of which it is one of its choicefl treafures, alone well repay- 
 ing a vifitation. 
 
 % The Print Room of the Britifh Mufeum poflefies a volume of 
 Albert Durer’s original fketches and drawings, in chalk, charcoal, 
 pencil, pen and ink, on paper of all fizes and colours. Of all fubjeCts ; 
 portraits, facred compofitions, anatomy, natural hiftory, ornaments. 
 It is numbered 5,218 of the additional MSS. and in the Catalogue it 
 is ftated to have u belonged to Lord Arundel, and that the genuine 
 drawings by Albert Durer were probably part of the collection of 
 Bilibald Pirkheimer,” a friend and correfpondent of Albert Durer, who 
 engraved his burly-looking portrait on copper. The fecond edition 
 of this work was thus dedicated by the monk Chelidonius : cc Vuildu- 
 aldo Pirchamero viro patricio litteris Sc graecis Sc latinis doCtiflime 
 erudito.” 
 
Preface* 
 
 part of which have been publifhed oftentimes ; and his 
 original manufcripts of them, fancifully written in party 
 coloured inks, exift in the Britijh Mufeum. (Nos. 
 5228 to 5231 of Additional MSS.) His journals, &c. 
 fhow him to have been in communication with moft 
 of his great cotemporaries ; Raffaelle, Mabufe, Lucas 
 van Leyden, Quintyn Matfys, Melandthon, Erafmus, 
 Luther, &c. Of the two laft he bequeathed to us por- 
 traits. Nuremberg was the place of his birth and of his 
 death. He was born on the 20th May, 1471, and died 
 6 April, 1528, in the fifty-feventh year of his age. 
 Thofe who may delire further information on Albert 
 Durer’s life, will find many details of it given in the 
 ‘ Treatife on Wood Engraving/ publifhed by Meffrs. 
 Knight, and Dr. Nagler’s works hereafter noticed. 
 
 HE engravings of the prefent work are called 
 by Albert Durer himfelf the “ Small Pajjion ,” 
 “ die Kleine Pajjion J to diftinguifh them from 
 a fet of larger engravings of the fame fub- 
 jefb — “ the Large Pajjion”* “ die Grojfe Pajjion ,” and 
 another fet of fmall engravings on copper, of exquifite 
 beauty of execution, which the author names the 
 “ Pajjion in Kupjj'erP || The “Small Pajjion” appears by the 
 dates (a. d. 1509 and 1510) on feveral of the fubjefts,*f* 
 
 * Paflio Domini noftri Jefu, ex Hieronymo Paduano, Dominico 
 Mancino, Sedulio, et Baptifta Mantuano, per fratrem Chelidonium 
 colledta, cum figuris Alberti Dureri Norici Pidforis. Eleven cuts, 
 each 15! inches high, and varying from n-§- to by nf inches wide, 
 befides the title-page. 
 
 || A feries of fixteen fubjedts, 4f inches, by 2f inches ; bearing the 
 dates of 1508, 9, 11, 12, 13. 
 
 f Bartfch (Le Peintre Graveur, vol vii. p 120.) fays u Toutes ces 
 
Preface. 
 
 to have been executed whilft Albert Durer was in the 
 meridian of his practice as a defigner on wood. For 
 though his wood engravings of the Apocalypfe J were 
 publifhed as early as 1498, his moft important and belt 
 works. The Hijiory of the Virgin ,§ the Large Pafion, 
 and the prefent work were executed between 1509 and 
 1512. The prefent work, with the exception of two 
 fubjefts, is taken from the original engravings drawn 
 by Albert Durer himfelf on the wood, and engraved 
 under his own fuperintendence. Two editions at lead: 
 of thefe engravings were printed by Albert Durer in 
 Germany; a third edition a century later, at Venice; 
 and the prefent, it is believed, makes the fourth edition 
 of the genuine blocks. I fay genuine blocks, for fo 
 great was the popularity and eftimation of the work, 
 that there have been more than one obvious imitation 
 of them, belides feveral avowed copies conftantly cir- 
 
 pieces portent le monogramme de Durer” [which is 
 correct], u mais il n’y en a que deux qui aient une date, 
 favoir : Nr. 18, Pannee 1510 (Adam and Eve driven 
 forth from Paradife), et Nr. 31, l’annee 1509 (Jefus 
 brought before Herod of prefent edition). This is 
 not corredt, for there are two others with dates, 
 namely, Jefus bearing his Crofs, 1509, and St. Ve- 
 
 ronica, 1510. 
 
 % This work, entitled in ornamental German letters, <c Apocalipfis 
 cum figuris,” was Albert Durer’s firft publication of wood engravings. 
 It confifts of fixteen fubjedts, 15! inches by 11 and iof inches, and 
 was printed at Nuremberg 1498. 
 
 § The fecond of his moft important works on wood : a feries of 
 twenty cuts (fee Bartfch, Le Peintre Graveur, vol. vii. p. 13 1, Nos. 76 
 to 95 inclufive), each n| inches by 8J inches, executed in 15 11. 
 On the laft, “ Impreffum Nurnberge per Albertum Durer pidtorem. 
 Anno Chriftiano Millefimo quingentefimo undecimo.” 
 
Preface. 
 
 culating throughout Europe. The “ Small PaJJion ” is 
 ftated by all writers on the fubjedt, Bartfch, Heinecke, 
 Ottley, Nagler, &c. to have confifted originally of 
 thirty-feven fubjedts. Not one of thefe writers feems 
 himfelf to have feen, or compared together all the 
 editions he fpeaks of ; and there is fome confulion in 
 their various accounts of them. All agree that the 
 earliefi edition was publifhed without any accompanying 
 letter-prefs. Dr. Nagler thus defcribes the title-page 
 of the firft edition: “ Nach Heinecke,” fays he, “ ware 
 folgende die erfte Aufgabe. Ueber dem Holzfchnitt 
 mit dem leidenden Heiland, ift mit beweglichen Let- 
 tern gedruckt 
 
 Figure 
 
 Paffionis Domini 
 Noftri Jefu Chrifti. 
 
 Und am Ende : finit impreftiim Nornbergae 151 1. 
 (See — Neues Allgemeines Kunfller . Lexicon bearteitet 
 von Dr . G. R. Nagler band p-537- Munchen , 1836-7.) 
 I have never been able to meet with a title-page fo 
 arranged, except in an imitation of the Small PaJJion , 
 of which mention will be made hereafter. Of all the 
 engravings of this work, the fitting Chrifi on the fron- 
 tifpiece is by far the moft rare. There are two fets of 
 impreffions from the original blocks in the Britijh 
 Mufeum . The title-page of one of thefe fets, (that in 
 the volume bequeathed by Mr. Nollekins to Mr. Douce , 
 with reverfion to the Mufeum ), is arranged as follows : 
 
 FIGUR 7 E PASSIO 
 nis Domini noftri Jefu 
 Chrifti 
 
Preface. 
 
 above the figure of the fitting Chrifi. It is different 
 in character and paper, is very inferior to all the reft 
 of the fet, and certainly not an impreflion from the 
 original block, but from the copy. The fet itfelf con- 
 fifts of a mifcellaneous collection of impreflions, all 
 without any letter-prefs. The other fet, formerly in 
 the Cracherode collection, has no letter-prefs, and wants 
 the title-page. A fearch has been altogether vain to 
 difcover a firfi edition, bound as a volume, and confin- 
 ing of the thirty-feven cuts apparently iflued originally 
 together. The fecond edition of the genuine blocks 
 was publifhed with the title, of which an exaCt copy is 
 given in this edition. On the reverfe I have printed 
 a copy of the laft page of the fecond edition, which 
 fhows the date of its publication, and denounces 
 piracies of the work, directed doubtlefs againft Marc 
 Antonio . The verfes of Chelidonius were printed at 
 the back of the Engravings. A perfect fet of this fecond 
 edition is alfo very rare. Neither the Britijh Mufeum 
 nor the Bodleian , nor any Oxford Library , nor even 
 the late Mr . Douce's Library poflefles a copy ; and 
 the only complete copy I have been able to find after a 
 long fearch, belongs to Col. Durrant. The third 
 edition of the genuine woodcuts was publifhed at 
 Venice, in 1612, by a Librarian who, according to 
 Heinecke purchafed them in the Netherlands. The 
 following is its title, “ La Paffione di N. S. Giefv 
 Chrifto d’ Alberto Durero di Norimberga. Spofta in 
 ottava rimadal R. P. D. Mauritio Moro, Canon, della 
 Congr. di S. Giorgio in Alega. In Venetia M.DCXII. 
 appreffo Daniel Biffuccio.” This edition wants the 
 figure of the fitting Chrifi on the title-page, and a 
 
Preface, 
 
 copper-plate engraving of Albert Durer’s portrait is 
 fubfti tuted for it, with the legend, “ Imago Alberti 
 Dureri 1553. Aitatis fuas LVI.” I have never feen 
 but one perfect copy of this edition, which is in the 
 pofleflion of Mr. Pickering. There is no copy in the 
 Britifh Mufeum, or at Oxford. Bartfch (le Peintre 
 Graveur, v. vii. p. 122.) mentions it, but does not 
 appear ever to have feen it ; and he raifes the doubt 
 whether the blocks ufed in it were not copies. But 
 this conjecture is unfounded, for a comparison of this 
 edition with the fined: and earlieft impreffions eftab- 
 lifhes beyond a doubt that it was printed from the 
 original blocks :* it is no lefs certain that the En- 
 gravings republifhed in the prefent volume are from 
 the fame blocks. Thirty-five out of the thirty-feven of 
 them have found a fecure refting place in the Britifh 
 Mufeum . They were purchafed in 1 839, by Mr . Jof 9 
 the prefent keeper of the prints, from the Rev . P. E . 
 BoiJJier , whofe father bought them many years ago in 
 Italy. The Rev . P. E. BoiJJier informs me that his 
 father accidentally met with them at Rome: but that 
 he knows no other particulars of their hiftory. It is 
 certainly quite pofiible that they may have travelled 
 from Venice to Rome lince 1612; but in the ab fence 
 of any precife information about them, it feems moft 
 likely that Mr . BoiJJier may have bought them at Ve- 
 
 % Among many curious evidences of the fadt may be inftanced the 
 cracks , which caufe certain white lines in the cut of the Mount of 
 Olives ; — one palling juft through the right fhoulder of St. Peter, and the 
 other through the rock near the left arm of Chrift. Thefe lines will 
 be found in all the editions of the genuine blocks, but not in the fpu- 
 rious copies. 
 
Preface. 
 
 nice, and not at Rome . They are the fame blocks 
 which Mr. Ottley mentions (v. Hiftory of Engraving, 
 p. 5.) having feen in the pofieffion of Mr. Douce. 
 The blocks have fuffered fomewhat from age and wear. 
 Some are worm-eaten, and the border lines throughout 
 are broken. The four impreflions of thefe blocks 
 which were printed by Mr. Ottley in his Hiftory of 
 Engraving , (p. 730.) {how the extent of the damage 
 which the blocks have fuffered. But in the prefent 
 edition of them, the defedts have been remedied by 
 ufing fiereotype cafts of the blocks, which have been 
 taken by a fpecial permiflion of the truftees of the 
 Britijli Mufeum. New border lines have been added, 
 the worm-holes hopped, and thofe parts fkilfully recut 
 by Mr. Thurfton Thompfon , who has alfo re-engraved 
 with full feeling, the fubjedts of the Sitting Chrijl , and 
 of Jefus parting from his Mother. The procefs of fte- 
 reotyping has had the good effedf of restoring almoft 
 the original fharpnefs and crifpnefs of the lines, and 
 of rendering the prefent impreflions nearer the hate 
 of the earlieft impreffions than they would have been 
 had they been taken from the blocks themfelves. 
 This ftatement may feem paradoxical, but it will be 
 feen that it has a reafonable explanation. In order to 
 take a metal caft of a woodcut, a caft is firft taken in 
 moift plafter of Paris. This is thoroughly dried by 
 baking, which caufes it to ffirink throughout, fome- 
 times as much as the eighth of an inch in a caft of fix 
 inches in length. The refult of this flight ffirinkage 
 has been to reduce thefe thickened lines nearly to their 
 original finenefs , and feveral of the prefent impreflions 
 are fo crifp and clear that they will not fuffer by a 
 
Preface. 
 
 comparifon with choice early impreffions. An in- 
 cident in point, which occurred during the progrefs 
 of printing this edition, may be related : a profeffional 
 critic of engravings compared fome of thefe ftereotype 
 impreffions with fome old impreffions from the wood- 
 blocks, and he concluded that the firft being printed 
 on new paper were modern copies. He pronounced 
 them excellent, even improvements on the originals in 
 fome refpedts, owing doubtlefs to the better printing. 
 When he was told what they were, he faid that had 
 they been printed on old paper, he ffiould have taken 
 them to be fome of the earlieft impreffions. 
 
 HE profeffied imitations and copies of the 
 Small PaJJion , fo far as I have been able 
 myfelf to afcertain them, are now to be 
 enumerated. I have before me a volume, 
 apparently in its original ftate, which is a fac-fimile of 
 the whole thirty-feven engravings. It belongs to Mr. 
 Pickering . Its title-page agrees in fub fiance with that of 
 the firjt edition defcribed by Heine eke; poffibly alfo in 
 arrangement. There is no date or place of publication 
 to the volume. Though an inferior, it is throughout 
 a very clofe copy of the original work, each engraving 
 having Albert Purer s monogram, and it mu ft have 
 been intended to pafs for the original. Bartfch (Le 
 Peintre Graveur, vol. vii. p. 121.) appears to have 
 feen three of the engravings in it (Nos. 16, 17, 18), 
 and he fays he is ignorant whether the other blocks 
 were copied, but thinks it likely. He thus enumerates 
 other copies of this work, the three firft executed by 
 Virgile Solis. (Bartfch, Virgile Solis, vol. ix. p. 316.) 
 
Preface. 
 
 i. “La Paffion de Jefus Chrift. Copies en con- 
 trepartie des gravures en bois Nr. 16 — 52 de Durer . 
 Suite de dix-huit eftampes. Hauteur 4 p. 4 lig. 
 largeur 3 p. 2. La Paffion de Jefus Chrift. Autres 
 copies d’apres les gravures en bois d’Albert Durer Nr. 
 16 — 52. Suite de trente-fept pieces, dont chacune 
 porte le chiffre.* Hauteur 4 p. 2 lig. Largeur 3 p. 
 3 lig. 3. La paffion de Jefus Chrift. Autres copies 
 d’apres les gravures en bois d’ Albert Durer. Nr. 16 
 - — 52. Suite de vingt-quatre eftampes qui portent 
 prefque toutes le chiffre de V. Solis. Hauteur 3 p. 
 Largeur 2 p. 3 lig. 55 The next copy is by an engraver 
 who ufed the monogram G. S. (Bartfch, G. S. vol. ix. 
 p. 439. Nr. 104 des monogrammes.) “ La paffion 
 de Jefus Chrift. Suite de trente-fept pieces (Nous 
 n’en avons vu que fept pieces) qui ont ete copiees 
 d’une taille lourde d’apres les numero 16 — 52 des 
 pieces gravees en bois d’Albert Durer. Le chiffre et 
 l’annee 1569 fe trouvent marques fur la piece qui re- 
 prefente le corps de Jefus Chrift au pied de la croix, 
 pleure par les faintes femmes. Hauteur 7 p. 1 1 lig. 
 largeur 5 p. 4 lig.” Dr. Nagler gives the following 
 as the arrangement of the title-page of this edition : 
 
 Figure 
 
 Paffionis Domini 
 Noftri Jefu Chrifti. 1 569. 
 
 He proceeds : “ Erne andere Aufgabe iff betitelt, 
 Hiftoria paffionis Dni nri Jefu Chrifti ab Alb. Durero 
 delineata. Bruxellae, exc. Johan Mommartius 1644.” 
 
 * Can this be the imitation already defcribed ? 
 
preface. 
 
 Auch Martin Rota und N. Nelli copirten Mehrere 
 Blatter oder vielleicht die ganze Folge.” It is well 
 known that Marc Antonio Raimondi copied this ‘ Small 
 Pajfion on copper , as well as Albert Durer’s Life of the 
 Virgin and other works, and he is accufed of felling 
 his copies for the originals. According to Vafari 9 
 Albert Purer went to Venice to flop the piracy; but 
 the event is fhown by Bartfch to have been very impro- 
 bable, as there is no evidence to prove that Albert 
 Purer ever vilited Italy after his journey thither in 
 1506.* In Marc Antonio' s copies of the ‘ Small BaJJion? 
 Albert Durer’s monogram is omitted. The copies 
 are clofe and excellent imitations of the originals, con- 
 fidering the difference of material in which they are 
 executed. There is alfo another fet of copies (which 
 may be feen in the print room of the Britifo Mufeum) 
 engraved on copper, apparently by a German Artift, 
 in which Albert Durer’s mark is retained. They are 
 very inferior to Marc Antonio s copies, and great licenfe 
 has been taken, efpecially in the fhadows. It is en- 
 titled (below the figure of the fitting Chrift), “ Pafiio 
 Chrifti ab Alberto Durer Nurenburgenfi effigiata. 
 I. A. Colom exc. AB. Waefbergen excudit.”-f* I 
 
 * Several authorities fay that Marc Antonio copied the whole thirty- 
 feven fubjedts, (fee Ottley, Hiftory of Engraving, pp. 71 1 and 816; 
 alfo Bartfch, vol. xiv. p. 402), but I cannot hear of the exiftence of 
 an impreflion of the Sitting Chrift by him anywhere ; and it may be 
 remarked that Marc Antonio numbered the u Adam and Eve” as the 
 firft of the feries. Coupled with the fadls already {fated, fome fufpicion 
 is raifed that Albert Durer could not have iffued this fubjedt with the 
 firft edition of the Small Pajfion. 
 
 t The only copy of any of Albert Durer’s wood engravings in the 
 reading room of the Britifh Mufeum is a work thus entitled : “ Alberti 
 
Preface* 
 
 have alio feen twenty-one fubjedts of the ‘Small Pajfion 
 copied in reverfe on copper, 31 inches by 2§ inches, 
 which belonged to the Strawberry Hill ColleElion , and 
 are in the polfeffion of Mr. Willement . The ‘ Sitting 
 Chrijl 5 is copied, and below it are the latin verfes of 
 the title-page of the fecond edition. Albert Durers 
 monogram does not appear on any of this fet. There 
 is another copy on copper of the ‘ Sitting Chrijl 9 in the 
 Britijh Mufeum y in which the figure is placed between 
 pilafters. The reader will find fome further notices 
 of other copies in Dr. Nagler’s Lexicon, already 
 quoted, and in his “ Albrecht Diirer und feine Kunft.” 
 Miinchen 1837. 
 
 ANY writers on Art ( Mr . Ottley among the 
 mod; recent) have concluded that Albert 
 Durer> Holbein , and others not only drew 
 their own defigns on wood, but were alfo 
 the adlual engravers of them. We have Albert Du- 
 rer’s own words that he was accuftomed to draw him- 
 felf on wood. “ Item hab dem von Rogendorff fein 
 Wappen auf Holz geriffen dafur hat er mir gefchenkt 
 vii. Eln Sammet.” (See Von Murr.) But it is not 
 eafy to believe that he was his own wood engraver. 
 The chief ground for believing him to be, feems to 
 
 Dureri Noriberg German. leones Sacrae. In historiam falutis humanae 
 per Redemptorem noftrum Jefum Chriftum Dei etMariae filium inftau- 
 ratae. Quas fingulas feledtiffimi flores ex verbo Dei et S. Patrum 
 Scriptis decerpti exornant. Nunc primum e tenebris in lucem edits. ” 
 Franckfort 1604. This work contains a feries of thirty-eight fmall 
 wood-cuts, about 3 inches by 2 inches, bearing Albert Duress mono- 
 gram, but of poor defign and worfe engraving. They do not appear 
 to be acknowledged as Durer’s works by any authorities. 
 
Preface* 
 
 reft upon the aftumption that in the fifteenth century, 
 no competent workmen could be found to execute 
 engravings fo excellent and containing fuch efpecial 
 difficulties of 6 crofs hatching .’ The merits of the wood- 
 cuts of Albert Durer and other early artifts, certainly 
 do not confift in the engraving, but in other quite 
 diftindt qualities. And thofe who praife them as en- 
 gravings, do not fufficiently difcriminate between thefe 
 qualities and the mechanical tranflation of them. 
 Early wood-cuts are generally very inferior as en- 
 gravings, and certainly contain no difficulties beyond 
 the accomplifhment of ordinary fkill. As for the 
 execution of “ crofs hatchings ,” it was lefs difficult in 
 Albert Durer s time, when they were cut on the fide 
 of the grain of the wood, than at prefent, cut on the 
 end of the grain ; the procefs is more a labour of 
 carefulnefs and patience than of fkill ; apprentices of 
 our own time cut much clearer crofs hatchings than 
 any to be found in old wood-cuts . It is taking a very 
 narrow view of art, to fuppofe that workmen could 
 not be found to engrave Albert Durer’s or Holbein’s 
 wood-cuts in an age quite equal if not furpafing our 
 own in the execution of the moft delicate ornamental 
 work . Was fculpture on wood (it is not neceflary 
 to look beyond St. George’s Chapel at Windfor) in- 
 ferior to that of our own times ? And if we are to 
 be fceptical about the capacity of wood-engravers, 
 how fhall we account for the fkill which executed 
 the exquifite chafings and engravings in jewellery, 
 armour, &c.; engraving of monumental brafles; orna- 
 mental tools for bookbinding; and, above all, the 
 delicate workmanfhip of the feals, which every bur- 
 
Preface* 
 
 gefs or citizen appended to his charter or chirograph ; 
 and in all of which we are now trying to imitate 
 the fifteenth century ? But in addition to thefe gen- 
 eral reafons, and others which might be brought 
 forward againft affuming that Albert Durer was his 
 own wood-engraver, the works themfelves furnifh 
 conclufive evidence, which feems to have efcaped Mr. 
 Ottley . Let any one compare the correfponding en- 
 gravings of the fame fubjedt executed on wood and 
 copper : we know the latter to be the work of Albert 
 Durer himfelf. The copper-engravings exhibit the 
 moft exquifite fenfitivenefs of the artift to the expref- 
 fion of important parts, carried fometimes to an affedted 
 exaggeration, befides the moft delicate and charming 
 finifh. In the wood-cuts, on the contrary, there is 
 oftentimes an unneceffary coarfenefs, with a feeblenefs 
 and mifunderftanding of the lines, efpecially in the 
 extremities (e.g. the left hand of Adam in the Fall of 
 Man in the prefent work), which prove them to be 
 the works of bungling and ignorant awkwardnefs. It 
 is impoffible not to fee that it was not the fame hand 
 defigning and engraving. But the queftion is placed 
 beyond all doubt by an examination of the cuts them- 
 felves. They fhow that they muft have been engraved 
 by not lefs than four different perfons. Mr. John 
 Thompfon> by univerfal concurrence, the moft fkilful 
 engraver which the art has yet witneffed, and therefore 
 the beft authority on all its technicalities, has examined 
 the blocks efpecially with reference to this queftion ; 
 and he has pointed out thofe varieties of mechanical 
 execution, as apparent as the varieties of different hand- 
 writings, which conclufively prove the fadf contended 
 
Preface. 
 
 for. The following fubjedts may be indanced as ex- 
 hibiting the workmanfhip of as many different artids : 
 i. The Scourging. 2. Jefus nailed to the Crofs. 
 
 3. Jefus appearing to his Mother after his Refurre&ion. 
 
 4. Jefus appearing to Mary Magdalen. And the 
 curious may refer to the blocks themfelves, and be 
 convinced, as the Editor is, that although Albert Durer 
 defigned and drew thefe wood-blocks, he never engraved 
 them. 
 
 T will be no lefs an agreeable furprife, than 
 a promifing lign for art, to find that there 
 is a general welcome for thefe revivals of 
 mediaeval wood-engraving, prefenting, as 
 they do, fo many dartling differences to the tade of 
 our own times. When we compare them with modern 
 wood-engravings, though we may be fhocked at fird 
 at their coarfe and rude engraving, conventional cha- 
 racter and codume, bad and awkward drawing, diff 
 and mannered draperies, exaggerated exprefiion, and 
 quaint fimplicities, we foon become regardlefs, if not 
 unconfcious of them : the works win their way to 
 our feelings, and we learn by degrees to fympathize 
 with their grand and powerful exprefiion of folemn 
 and earned: religious fentiment. They make us feel 
 that their author’s heart and faith were in his work, 
 and that he fet himfelf energetically to accomplifh it, 
 without thinking of the art or the mode of his work- 
 ing. We may examine them again and again, and 
 appreciate them each time more and more. They are 
 ever fuggedive. We look at the infinitely more fkilful 
 engraving, more corredt drawing and graceful accef- 
 
Preface* 
 
 Tories of moft modern wood-cuts, fee everything at 
 once, — may be we think them pretty , and then forget 
 them. Albert Durer’s wood-cuts, though wanting 
 all thofe academical excellencies which are made too 
 often the firft confideration and aim of modern art, 
 gain immenfely in all that is moft valuable in art by 
 the contraft. They appear, after a duration of three 
 centuries, with vernal frefhnefs, whilft the trimmeft 
 of modern wood-cuts are forgotten even by the age 
 which produced them. Let us call to mind all the 
 thoufands of wood-engravings manufactured of late 
 years in France, Germany, and our own country, 
 which have paffed before us in this age of tranlition 
 as well for art as other things, and afk ourfelves, where 
 is the feries of thirty, or even twenty wood engravings, 
 defigned by the fame artift (faving Mr. Mulready’s 
 Vicar of Wakefield, the fineft work of its time), likely 
 to be republifhed three hundred years hence ? 
 
 It may be ftated that the leather binding of the vo- 
 lume is an adaptation of a German binding of the 
 fifteenth century. 
 
 Branch of Public Record Office, Carlton Ride. 
 
 >5 J ul y i8 44- 
 
 HENRY COLE. 
 
•Paffio CJmtttab Alberto JBurer Jlu 
 
 renbergenli effigiata cum varij generis carmi 
 nibus Fratris Benedidti Chelidonij 
 Mufophili. 
 
 O mihi tantorum. iufto mihi caufa dolorum 
 O crucis O mortis caufa cruenta mihi. 
 
 O homo fat fuerit. tibi me femel ifta tulilfe. 
 O celfa culpis me cruciare nouis. 
 
 Cum prtutlegto. 
 
Impreffum Nurnberge per Albertum Durer Piftorem 
 Anno chrifti Millefimo quingentefimo vndecimo 
 
 Heus tu infidiator . ac alieni laboris . & ingenij . furrep 
 tor . ne manus temerarias his noftris operi 
 bus inicias . caue . Scias enim a gloriofiffi 
 mo Romanorum imperatore . Maxi 
 miliano . nobis conceffum efle 
 ne quis fuppofiticijs for 
 mis . has imagines 
 imprimere. 
 
 feu impreflas per impe 
 rij limites vendere audeat.q; 
 fi per contemptum . feu auaricie cri 
 men . fecus feceris . poft bonorum con 
 ficafcionem . tibi maximum periculum fube 
 undum effe certiffime fcias. 
 
Cj)f jpafftoti of our Sort) 
 ‘Jrfus CImtt, 
 
 B 
 
%\ )t ifall of $®an. 
 
 ©to t be ferpent teas more fubtil than anp 
 beaB of tbe fieia tobicb tfje iLora <25oa fjati 
 maae: ana be faia unto t be tooman, 
 fj ©oa fata, ge fljall not eat of eaerp 
 tree of tfje garaen? 0na tbe tooman fain unto 
 tfje ferpent, <QHe map eat of tfje fruit of tbe trees of 
 tbe garaen: but of tfje fruit of tbe tree tobicb is in 
 tbe minct of tfje garaen, ©on fjatfj fata, ge fljall not 
 eat of it, neither ITjall pe touch it, left pe Die. ana 
 tbe ferpent fata unto tfje tooman, ft fljall not furelp 
 Die. jFor ©on ootfj knoto, tfjat in tfje Dap pe eat 
 tfjereof, tfjen pour epcs fljall be openea: ana pe fljall 
 be as goas, knotting gooa ana eail. 9na token tbe 
 tooman fatt that tbe tree toas gooa for fooa, ana 
 tbat it toas pleafant to tbe epes, ana a tree to be 
 DefiteD to make one toife, (be took of tbe fruit 
 thereof, ana aia eat, ana gane alfo unto ber bufbana 
 toitb ber, ana be aia eat. ©enelis iii. 
 
Mfi 
 
2ttiam anti 6tie tiritien fort!) from 
 l&aratitfe, 
 
 J0d the Horn <©od fain, iBebold, the man 
 is become as one of us, to knoto good 
 and edil. and note left be put forth bis 
 band, and take alfo of tbc tree of life, and eat, and 
 line for encr ; therefore the iLord <$od fent him forth 
 from the garden of <£dcn, to till the ground from 
 tobence be toas taken, ^o be drode out the man: 
 and be placed at the eafl of the garden of €den, 
 Cberubims, and a flaming ftoord tobicb turned 
 ederp toap, to keep the map of the tree of life, 
 ©enefls iii. 
 
Cl )t ^nnunctatton. 
 
 B tbe firth month, tfjc angel Gabriel 
 teas fent from <£>od, unto a citp of 
 ©altlec, nameD Baiarctb, to a birgin 
 efpoufeD to a man pjbofe name teas 3!ofepb, of tbc 
 boufe of iDaPiD; anD the Pirgins name toas 9©arp. 
 3nQ tfje angel came In unto her, anD fatD, ©all 
 tfjoti tfjat art f)tgl)i? faPoureD, the LorD is toitf) 
 thee : PlefleD art tfjou among toomen. 3nD, pjben 
 flje fate him, flic teas troubled at Ins taping, anD 
 can In her rntnD tobat manner of falutatlon this 
 fljoulD be. 3nD tbe angel faiD unto her, jfear not, 
 a©arp: for thou ball founD fapour toitb <S5oD. 3nD 
 bebolD, tfjou Ibalt concclne in tbp toomb, anD bring 
 forth a fon, anD fbalt call bis name 3I4£§><U' §>• 
 
 Luke i. 
 
%\ )t jRatttritp* 
 
 J13D tfjere toere in tbe fame country ftep- 
 betos abioing in tbe fieio, keeping toatcb 
 oner tbeir flock bp nigbt. 3nO lo, tbe 
 angel of tfje loro came upon them, ano tbe glorp 
 of tbe loro lb one rouno about them; ano tbep toete 
 fore afraio. 3nO tbe angel faio unto them, jfear 
 not: for befjclO, 31 bring pou gooO doings of great 
 jop, tofjicf) Ojall be to all people. jFor unto pou is 
 born this Oap in tbe dtp of tDabtO, a ^atiiour, 
 tobicb is Cbrifl tbe loro, ano this flmll be a fign 
 unto pou; ge flmll fino tbe babe torappeo in finao* 
 tiling clothes Iping in a manger. 9nD tbep came 
 toitb bafle, ano founo a^arp ano 3ofepb, ano tbe 
 babe Iping in a manger, 
 luke it. 
 
c 
 
Cl )t Cntrp into ferula l cm. 
 
 |^>c Difciples toent, anD Din as Jefus 
 | commanDeD tbem, anD brought tf je afs, 
 i anD the colt, ano put on them their 
 clothes, anD tbeg fet him thereon, anD a tierp great 
 multituDe fpreaD their garments in the toap; others 
 cut Doton branches from the trees, anD GrafoeD 
 them in the toap. anD the multituDes that toent 
 before, anD that follotoeD, crieD, faping, 5>ofanna 
 to tbe fon of DaniD: bleflfcD is be that cometb in 
 tbe name of tbe JLorD, Jt)ofanna in tbe bigbeG. anD 
 toben be teas come into Jerufalem, ail tbe dtp teas 
 moneD, faping, 2Hbo is this? anD tbe muitituDe 
 faiD, Cbis is 3!cfus tbe prophet of 
 Jl3a?aretb of ©alilee. 
 a@att. rri. 
 
bribing tl)e £pone^d)angers out of 
 tl)c temple* 
 
 J120 3[efus focnt into tfje temple of <©oo, 
 ano caG out all tfjern tpat foID anti 
 Oougfjt in tfre temple, ano ooertfjreto 
 tfje tables of tfje moneychangers, ano the feats of 
 them that foio oooes, ano fato unto them, 3|t is 
 torittcn,0@phoufe fljall hecalleo the boufe of praper, 
 Out pe hatie maoe it a oen of tfneoes. 
 s®atth. rei. 
 
€f)c Supper* 
 
 BO t be btfciples bib as 3Iefus &an ap= 
 pointeb them, anb tbep mabe reabg tbe 
 IjS paflober. Jl3oin, inben tf ie eben teas 
 come be fat boinn initb tbe tinelbe. 0nb, as tbep 
 bib eat, be fain, GJerilp 31 fap unto pou, tpat one of 
 pou fljall betrap me. 
 
 JlBoin tpere inas leaning on 31^fus bofom, one of 
 bis Dtfctples inborn 31rfus lobeb. Hinton peter 
 therefore beefeoneb to bim, that be tboulb affe iobo 
 it ftoulb be of inborn be fpaite. i£>e tben, Iping on 
 3lefus breafl, faitb unto bim, Lore, 9Bbo is it? 
 3lefus anfinereb, i£>e it is to inborn 31 ftall gibe a 
 fop, inben 3( babe bippeo it. anb inben be bab 
 bippeb tbe fop, be gabe it to 3[ubas 
 3(fcariot, tbe fon of ^imon. 
 agatt, rrbu 31obn riii. 
 
3tius toaffring ti)e feet of i)t# 
 SDtfctplesr* 
 
 <£ rifctf) front fttpper, ana lata afifle bis 
 garments, ana took a totuel ana gtraea 
 fitmfelf. after tfjat, fie pouretfi toater 
 into a fiafon, ana began to toalfi tfie Btfttplcs feet, 
 ana to taupe tfiem toitfi tfie totuel tufieretoitfi fie 
 tarns gtraea. %o after fie fiaa toalfiea tfieit feet, 
 ana fiaa taken fits garments, ana tarns fet aotam 
 again, fie fata unto tfiem, iftnotu pe tofiat 31 fiatae 
 aone to pouf ge call me agafler, ana Lora: ana 
 pe fap tatell ; for fo 31 am. 3lf 31 tfien, pour Lora 
 ana e©aOer, fiatae toalfiea pour feet, pe alfo ougfit 
 to toalfi one anotfiers feet. jFor 31 fiatae gttaen pou 
 an erample, tfiat pe ffiouia ao as 
 31 fiatae aone to pou. 
 
 3!ofin riti. 
 
D 
 
3Jefus; praping on ti)e £pount of 
 Dittoes 
 
 <£ came out, anti toent, as be toas toont, 
 to tbe mount of ©lines; ant) bis Dif= 
 ctples alfo follotoeb bim. 9nb tnben be 
 teas at tbe place, be fain unto them, Prap, that pe 
 enter not into temptation. 3nb betoastuitbbraton 
 from them about a Bones cafl, anti feneeleb boton, 
 anb prapeb, taping:, jfatber, if tbou be toilltng, 
 remone this cup from me: ncnertbelefs, not mp 
 toill, but tbinc be Done. 3nb there appeareb an 
 angel unto bim from bcanen, Brengtbening bim. 
 2nD, being in an agonp, be prapeb more earnefllp: 
 anb bis ftocat teas as it toere great Drops of bloob 
 falling botnn to tbe grounb. 9nb toben be rofe up 
 from praper, anb teas come to bis bifciples, be 
 founb them Beeping for forroto, anb faib unto 
 them, CObp Beep pe? rife anb prap, lefi pe 
 enter into temptation, 
 lluberrii. 
 
Ci)e Betrayal, 
 
 I£rile fjc pet fpake, lo, 3|uDa$ one of t&e 
 ttoeine came, ano riritf) {rim a great mul- 
 tituDe riritf) ftooros ano ffaness, from 
 tfje cfjief priefls ano elDers of tfje people. Boto 
 be tfjat DetrapeD {)im gaoe t&em a fign, faping, 
 aBfjomfoetier 3| ftall fetfs, tfcat fame is be, {join 
 frim fafl. anD fortfrimtf) be came to 31tfus, anD fain, 
 J|)ail mafler j ano kifireD {)im. ano Jefus faio unto 
 frim, jFrienti, to&erefore art tfjou come? Cfjen came 
 tfjep, ano lain {janos on 3lefus, anD took frim. 
 
 €f>en Hinton Peter Waning a ftoorD, Dreri) it, 
 anD fmote tfje frigf) priefls fetoant, anD cut off fris 
 rigfjt ear. CDe feroants name teas a^alcfms. 
 Cfjen faiD Slefus unto peter, Put up tbv ftoorD 
 into tfje Qjeatf) : tke cup tof)icf) mp jfatrier fjatf) 
 girien me, fljall 31 not Drink it j* 
 s©att.mri. Jofmroiii. 
 
3lefu# brought before 2tnnas + 
 
 lt>en tbe banD, anD t be captain anD officers 
 of tbe 31etos, took 3|efus anD bounD bint, 
 anD leD bint atoap to annas firfl (for be 
 teas fatbernmlato to Caiapbas, tobicb toas tbe 
 biffb ptiefl that fame pear.) jRoto annas fent bim 
 bounD unto Caiapbas tbe J£>igb Priefl. 
 
 3lobn rtiiii. 
 
3Jefus before Catapljas* 
 
 5>e SigS prieG tSen affeeD 3!cfus of Sis 
 Difciples, anD of fjtjs Doftrine. 3iefus am 
 Homo Sim, 31 fpafee openlg to tSc toorlD ; 
 31 etier taugSt in tSe fgnagogue, anti in t be temple, 
 tofjitber tpe 3lctos altoags refort, anD in ferret Sane 
 31 faiD notSing. ©I3Sg affteG tSou me? afk tSem 
 tafjicb Sears me, toSat 31 Sane fain unto tSem: 
 SeSolD tSeg fenoto toSat 31 faiD. 3nD, toSen Se SaD 
 tSus fpofeen, one of tSe officers tofjicf) Good bg 
 Grucfe 3!efus toitb tSe palm of Sis SanD, faging, 
 anfffiereG tSou tSe SigS prieG fo i 
 3loSn rDiii. 
 
E 
 
09 ocftei) ann Blmtifoltieti 
 
 JIBO tfce men tfjat ticID 3|efus moc&eti &im, 
 ano fmote irim. 3nD, tofjen tfjcp fcati 
 HAS t)Unti=folDer) btm, t&ep flruefe irim on t&e 
 face, anO affeeti frim, facing, Propfjecp, tofio is it 
 t&at fmote tfjee ? anti manp otfjer things 6Iafpfje= 
 mouflp fpafee tfiep againG fnrn. 
 lufee jerii. 
 
Contiucteti to i&tlate 
 
 Jl3b the tobole multitube of them arofe, 
 anb leb him unto Pilate, anb tfjcp 
 began to accufe bint, facing, 2x3e founD 
 this felloto pedoerting tfje nation, ano forbibbing 
 to gibe tribute to Cefar, taping, that be bimfelf is 
 Cbrifl a king. anb Pilate afkeb him, faping, art 
 tbou tbe king of tbe Sletosr 1 anb be anftoereb bim 
 ano faib, Cbou fapeft it. Cben fain Pilate to tbe 
 chief prieUs anb to tbe people, 31 finb no fault in 
 this man. anb tbep toete tbe more fierce, taping, 
 J£)e fiirretb up tbe people, teaching throughout all 
 3etotp, beginning from Galilee to this place. 
 COben Pilate bearb of Galilee, be afkeb tobetbet 
 the man toere a Galilean, anb, afloon as be kneto 
 that be belongeb unto ^erobs iurifbiftion, be fent 
 him to l£>erob, tobo bimfelf teas alfo at 
 3lerufalem at that time, 
 luke rriii. 
 
3ltlu8 Wore i^eroD* 
 
 l£)en l£>eron fate 3[efu0, he teas erceeBing 
 glaB : for be teas Belitous to fee hint 
 of a long feafon, becaufe be has fjearu 
 manp things of him; anD fje hopeB to habe feen 
 fome miracle Bone bg him. Chen fje queflioneb 
 toitb film in rnang toorBs; but be anttoereB hint 
 nothing. 3nB the chief priefls anB ftribes fiooB, 
 anB nehementlg accufeB him. 3nB IDeroB toitb his 
 men of tear fet him at nought, ano mochen him, 
 anB arrageB him in a gorgeous robe, ann 
 fent him again to Pilate. 
 iLufee rriii. 
 
3tius fcourget). 
 
 3llate, tohrn hr haD calico together 1 hr 
 chirf prieGs, anD 1 6c rulers, anti t6e 
 people, faiD unto t6em, gc habr brought 
 this man unto me, as one t6at perbrrteth thr pro* 
 pie: anti 6e6olD, 31, habing eraminro him before 
 pou, bane founb no fault In t6ls man touching thofe 
 things tohrrrof pe accufe him; no, nor pet Jtjeroti: 
 for 31 frnt pou to him, anb lo, nothing toorthp of 
 Death is Done unto him. 3) toill therefore chaGife 
 him, anD releafe him. ^ut thep crieD, taping, Crm 
 cifp him, crucifp him. 3nD hr faiD unto them the 
 thiro time, <KElhp,tohat etiil hath hr Done? 31 habe 
 founD no caufe of Death in him: 3! toill therefore 
 chaGife him, anD let him go. 
 
 Chen Jptlate therefore took 3lrfus anD fcourgeD 
 him. Lufeerriii. 31ohnrir. 
 
F 
 
3Jetu£ crotoneti toitl) thorns 
 
 ?|Jf2b thep Grippeb him, anb put on him a 
 
 fcarlet robe. 2nb tohen tbep hab platteb 
 a croton of thorns, tfjep put it upon his 
 bean, anb a reeb in his right hanb: anb thep hotoeb 
 the knee before him, anD mockeb him, facing, Jhail, 
 iking of the 3letos ! 2nb thep fpit upon him, anb 
 took the reeo, anb fmote him on the heab. anb 
 after that thep hab mockeb him, thep took the 
 robe off from him, anb put his oton raiment on 
 him, anb leb hint atoap to ctucifp him. 
 s©atth. rrioii. 
 
31efus prefenteO to tl)e people* 
 
 3[late therefore toent fortf) again, anD 
 faitfi unto tfiem, 'IBepoID, 31 firing fiim 
 fortfi to pou, tfiat pc map fenoto tfiat 31 
 fmD no fault in fiim. Cficn came 3lrfus fortfi, 
 toearing tfie croton of tfiorns, anD tfie purple rofie. 
 9n0 Pilate faitfi unto tfiem, IBefiolD tfie man: 
 ffiHfien tfie efitef priefls tfierefore anD officers fato 
 fiim, tfiep crieD out, faptng, Crucifp fiim, crucifp 
 fiim. Pilate faitfi unto tfiem, Cafee pe fiim, anD 
 crucifp fiim, for 31 finD no fault in fiim. Cfie 31rtos 
 anftoereD fiim, Wit fiane a lato, anD fip our lato fie 
 ougfit to Die, fiecaufe fie maoe fiimfelf tfie 
 ^on of <$oD. 3lofin rtr. 
 
3Jefus ieU atoap to fce CructfieD, anfc 
 t^tlate toaflnng I)te tjantis. 
 
 l£>en Pilate fate that 6c coulti prebail 
 nothing, but that ratber a tumult teas 
 mate, 6c toofe toater, ant toalfeeb 61s 
 bants 6cforc t6c multitute, faying, 31 ant innocent 
 of t6e bloot of this iufl perfon : fee ye to it. €6en 
 anftoeret all t6e people, ant fait, Ibis 6loot be on 
 us, ant on out cbiltren. 
 
 C6en teliberet 6e 6im tberefore unto them to 
 be crucifiet. 9nt tfjey toofe 31efus ant let 6im atoay, 
 fi^att. rrbiu 3lo6n rir. 
 
3fefus bearing i)ts Crofs. 
 
 Jl3b be bearing bis crofs toent forth into 
 a place calleti the place of a ffeull, tobicb 
 is calleb in the i£)ebreto Golgotha: 
 inhere tbep crucifteb bint, ant) ttoo other toitb bint, 
 on either fibe one, anb 3lefus in the mtbfl, 
 3lobn rijr. 
 
G 
 
3Jefus natieD to tl )t Crofe 
 
 l£>eg pterceti mg fratitis anu mg feet, 
 Pfal, xru. 
 
%\)t Cructffrtom 
 
 J13B it teas the thita bout, ana t hep era- 
 cifiea him. 
 
 ®iS Jftoto there ftooa hp the crofg of 3[efus 
 tits mother, ana fjts mothers finer, s@arp, the 
 toife of Cleophas, ana a^arp ahagaalene. When 
 3iefus therefore fate iris mother, ana the aifciple 
 fianaing hp, tohom he lonea, he faith unto his 
 mother, <K3oman, hehoia thp fon! Chen faith he 
 to the aifciple, iBehoia thp mother! 9no from that 
 hour that aifciple took her unto his oton home, 
 agjark rn, 3lohn rir. 
 
3JeIus taiien tioton from tl)e Crof0. 
 
 Pb after tfjts 31ofcpti of arimatbea, being: 
 a bifciple of 3lefus, but fecretlp, for fear 
 of tbe Jetos, befoug;bt Pilate that be 
 mig;bt take atoap tbe bobp of 31efus: anb Pilate 
 g;atie bim leabe. JJ>e came therefore, anb 
 took tbe bobp of3lefus. 
 
 31obn rir. 
 
Cl)e BoOp of 3tins prepared for 
 Burnt 
 
 tBO there came alfo jBicooemus, topiclj 
 at the firfl came to 3[cfus b? night, anD 
 firoucjpt a mirture of m?trb ano aloes, 
 about an bunflreo pouno toeigbt. Chen took the? 
 the boo? of 3[efus, ano toouno it in linen clothes 
 toitb the fptces, as the manner of the 31ftos 
 is to bur?. 3|obn rir. 
 
%\)t Entombment. 
 
 ©to in tfje place tofjere fie toas crucifies 
 tfiere toas a garsen ; ans in tfie garsen 
 a neto fepulcfire, tofierein toas neser 
 man pet laifi. Cfiere lain tficp 3lefus therefore 
 fiecaufe of tfie 3[etos’ preparation sap; for tfie 
 fepulcfire toas nigfi at fians. 
 
 3ns tfie toomen alfo, tofitefi came toitfi torn from 
 Galilee, follotoes after, ans fiefieis tfie fepulcfire, 
 ans fioto fiis fiosp toas lais, 
 
 Jofinrir. lufeerrtii. 
 
€J)e 3Murrectton. 
 
 je tfjc enb of the fabbatb, as it began to 
 baton totoarb tfje fitfl bap of tbe toeek, 
 came s@arp 8©agbalene anb tbe other 
 9©arp to fee tbe fcpulcbre. anb bebolb, there toas 
 a great earthquake : for the angel of the JLorb 
 befcenbeb from beaticn, anb came anb rolleb back 
 the Gone from the boor, anb fat upon it. J£>ts coum 
 tcnance toas like lightning, anb bis raiment tobite 
 as fnoto : anb for fear of him the keepers bib fljake, 
 anb became as bcab men. anb the angel anftoereb 
 anb fatb unto the toomen, jFear not pe; for 31 knoto 
 that pe feek 3Icfus tobicb toas crttcifieb. ©e is not 
 here: for be is rifcn as be faib. 
 a@att. rrbtii. 
 
3tl us appearing to £parp Magdalene 
 
 lit a^arp ftoon toitfjout at tpe fepulcbre, 
 toeeping: anP as fljc toept, Ibe ftoopen 
 Poton, anP lookeP into tbe fepulcbre, anP 
 feetb ttoo angels in tobite, fitting, tbe one 
 at tbe beafi, anP tbe other at tbe feet, tofjere tfje hoop 
 of 3lefus bap lain. 3nP tbep fap unto bet, <K3oman, 
 tobp toeepeft tbou ? ^be faitb unto them, TBecaufe 
 tbep bane taken atoap mp Horn, anP 31 knoto not 
 tobete tbep bane laio bim. 3nP toben flje bap thus 
 faiP, Qjc turnep berfelf back, anP fato 3|efus ftanp* 
 ing, anP kneto not tbat it toas 31efus. 3Iefus faitb 
 unto bet, (Kloman, tobp toeepeft tbou? tobom feek= 
 eft tbou? ^be, fuppofing bim to be tbe gatPener, 
 faitb unto bim, §>it, if tbou bane born bint bence, 
 tell me tobete tbou baft lain bim, ann 31 toill take 
 bim atoap. 3lefus faitb unto bet, Q9arp. ^>be 
 tutncP betfclf, ano faitb unto bim, Eabboni, tobicb 
 is to fap, Rafter. 3iefus faitb unto bet, Couch me 
 not; for 31 am not pet afccnPeP to mp Jfatber: but 
 go to mp brethren, anP fap unto them, 31 afeenp 
 unto mp jFatber, anP pour jFatber; anP 
 to mp ®op, ano pour <S5oP. 
 
 3lobn rr. 
 
Zf)e Supper at Cmmaus. 
 
 J13D, bebolo, ftoo of them toent tpat fame 
 Dag to a telllage calico dEmmaus, tePbicb 
 teas from 3|erufalem about tbreefcore 
 furlongs. ano theg talfeco together of all tbefe 
 things tePbicb ban bappeneo. ano it came to 
 pafs, that, tePbtle tbeg communeo together ano rea= 
 foneo, 3lefus bimfelf oreto near, ano tepent tenth 
 them. TBut their eges teacre boioen that theg fljouio 
 not knotep him. 
 
 ano It came to pafs, as he fat at meat tenth them, 
 he took breao, ano blelTco It, ano brake, ano gatee 
 to them, ano their eges tepere openco, ano theg 
 knetep him ; ano he tianllheo out of their fight. 
 
 Huke mo. 
 
Cl )t 3lnc:ret)ulttp of £>L Cbomas* 
 
 Ut Cbomas, one of tfje ttoelbe, calleD 
 10iDpmus,toas not toitb tbemtoben3lefus 
 came. Cbe other Difciples therefore fain 
 unto him, axcte bane fcen tfje Lorn. "But be fain 
 unto tbem, Crcept 31 fball fee in bis banns tbe 
 print of tbe nails, anD put mp finger into tbe print 
 of tbe nails, anD tbruft mp banD into bis fine, 31 
 twill not beliene. 9nt after eight Daps again bis 
 Difciples toere toitbin, anD Cbomas toitb tbem. 
 Cben came 3lefus, tbe Doors being flmt, anD Good 
 in tbe mind, anD faiD, Peace be unto pou. Cben 
 faitb be to Cbomas, iReacb bitber tbp finger anD 
 bebolD mp banns, anD reach bitber tbp banD anD 
 tbrufl it into mp fine, anD be not faitblefs but be= 
 liebing. 9nD Cbomas anftocrcD anD faiD unto bim, 
 9@p Lorn anD mp ©od. 3lefus faitb unto him, 
 Cbomas, becaufe thou bad feen me, tbou bad be= 
 licbcn : blcflcn are tbep that babe not feen, anD pet 
 babe bcliebcD. 3lobnrr. 
 
%\ )t 2tfcenfiom 
 
 H3t ftc let them out as fat as to 'TPet&ang : 
 ant be liftet up bis bants, ant bleffet 
 them. 3nt it came to pafs, tofjile \ )Z 
 blefiTet them, fje toas pattet from them, ant carriet 
 up into beaten. ant tfjep toorllnppet f)tm, ant re- 
 turnet to Jetufalem, tottb great jop. 
 lube rrit. 
 
%\)t Coming of tf)e i^olp 61 ) 00 . 
 
 i£>en tf k Dag of Ipentecofi teas fullp come, 
 tbep tnere all truth one accorD In one 
 place. 0nD fuDOenlp there came a founD 
 from beaben, as of a rufinng mlgbtp truno, anD It 
 filleo all tbe boufe tobere then toere fitting. 3nD 
 there appeareD unto them cloben tongues, like as 
 of fire, anD it fat upon each of them. 3nD tbep 
 toere all filleo truth the J^tolj? ©bofi, anD began to 
 fpeafc toltb other tongues, as the Spirit 
 gatie them utterance. 
 
 3fts tf. 
 
€f)e 3U11 3 JuDgement. 
 
 J£>en tfie ^>on of man Ifiall come in fils 
 glorp, anti all tfje fjolp angels toitfj f)im, 
 tfien fljall lie fit upon tfie tfirone of fils 
 glorp: anD before film Ifiall fie gatfiereti all nations: 
 anti fie Ifiall feparate tfiem one from anotfier, as a 
 Ifiepfiero ninltietfi fils Ifieep from tfie goats: anti fie 
 Ifiall fet tfie Ifieep on fits rlgfit fianti, fiut tfie goats 
 on tfie left. Cfien Ifiall tfie l&lng fap unto tfiem 
 on fils rlgfit fianti, Come, pe filelTeti of mp jFatfier, 
 Inficrlt tfie fetngDom prepareD for pou, from tfie 
 
 foundation of tfie toorld Cfien Ifiall fie fap alfo 
 
 unto tfiem on tfie left fianti, tDepart from me, pe 
 curfeti. Into eoerlafllng fire, prepareD for tfie Defitl 
 
 anti fils angels ftnD tfiefe Ifiall go atoaplntoeoer* 
 
 lafilng punllfiment : but tfie righteous Into life 
 eternal. 0©attfi. rrn. 
 
K 
 

 
 
append. 
 
 ^T"VHE four following en- 
 gravings reprefent in- 
 cidents to which no paflage 
 in Scripture appears direct- 
 ly to apply: as forming 
 part of the original feries 
 they could not be omitted, 
 and are therefore 
 placed as an 
 Appendix. 
 
 9 
 
31 efui 5 parting from bio another before btsfufferings. 
 
 ©dEnante namqueiaDomtno 3|efu, tife merturii, turn 
 dtfcipulis fuiS,tn domo Scoriae $ Stpartijae, $ etiam 
 matte ejus cum multecibus in alia pacte dontuS; 
 S^agdalena mtntttcans rogadit jJDominum dicens, 
 STOagiftec GttsS mentor quod factetts paCclja nobifcum, top doS 
 ut ijoc non denegett0 nttlji. jffiuo nullatenuS acquiefcente ted 
 dieente quod in toierutalcm faceret patclja, ilia recedens mtro 
 turn fletu flactjmts dadtt ad dominant, t, tiis et natratts, topt 
 ut ipta eum tbt in patcijate tencat. Coena igituc facta, dadit 
 SDominuS letua ad ntatrent, ft tedet turn ea teorfum tolloquens 
 turn ea, $ coptam ei fuae ptaeCentiae praebens quam in btedi 
 tiibtracturus etat ab ea. Confpice nunc bene ipCoss fedentes, | 
 quo modo domina tederentet eum tufeipit t cum eo affcctuofe 
 moratur • t fimtUtec quo modo HDoim'nus redecenter te ijabet ad 
 earn. 3|pfiS iffituc fie colloquentibus, Magdalena dadtt ad eogf, a 
 ad pedes eorum fedcns dt'ctt. jffiomina, ego t'ndtrabam magiG 
 trum ut Ijit faceret pafcfja, iptedero didetur delle ice ©ierufalem 
 ad paftljandum,ut capiaturtbt ; rogo;dosut nonpetmittatt'seum 
 ice. ad quern mater, jftli mi, rogo te ut non tie Rat; fed facia= 
 mug ijitparclja; ftis enim quod inftdiae ad te tapiendum ordt= 
 natae funt. <£t SDominuS ad earn— Skater cijarirCtma, doluntas 
 patcis eft ut tbt factatn pafclja— qttta tempus tedemptiont's 
 addenit: modo tmplebuntur omnia quae de me fcrtpta funt, $ 
 faciunt in me qutdquid dolent. 
 
 S’. Sonadenturae St^cd. ®tt. Cljrtft. 
 
 Cap. fecit. 
 
%t)t £>utiartum* 
 
 JBter fjas feminas una fuit TBernice, fine 
 ftleronice, tmlgo ©eronica, quae futia* 
 rium C&rifto erfnbens, ut faciem futiore 
 et fanguinc matientem abBergetet, aft Co illuti re- 
 cepit cum impreffa in illo ejufDem C&rifli effigie, ut 
 babet C&rifliana trabitio, ac agetbobius epifcopus 
 apuD agarianum §>cotum in Cbron. 9 , ID. 39, ct 
 er co TBaronius 9 . ID. jrrrib. § 1 16. g>ubarium boc 
 CbriQi cffigie inflgnitum, iRomam ttanflatum in 
 bafilica Petri affcrnatur, et quotannts in Paraf* 
 cebe populo reiigiofe oBenbitur, ut ego faepius bibi. 
 De eo ejufque miraculis ertat litier betuffus in ar= 
 cbibio TBibl. ©aticanae. IDe ©eronica fcribit JL. 
 IDerter at an. IDom 48, § 2. IDe eatiem bibe 
 TBrebenbacbium, ^aiigniacum, Pafcfi. et 9 bricbo* 
 mium De IDefcripttone Jerufalem, n. 44, et 118. 
 
 Corn, a JLapite in S». a@attb. rrbii. 32. 
 

€l)c Percent tnto i^eU* 
 
 <B nefccnncn into {jell 
 
 apoflles CreeB. 
 
 [»>£e Bffljop pearfon on rljisJ fubicct.] 
 
L 
 
3fefus appearing to t)t£ 0Botl)er after 
 ptg iaefurreetton* 
 
 3 p. Irr. IDe eo quomotio IDominus 3le* 
 fus appatuit a@attt fuae. 
 sDomina igitur otante et lacrpmas Dul* 
 citcr emittente,ecce,fufuto nenitiDommus 31 efus in 
 albtffimistieili&usglottae ettefutre&ionis nonitatis 
 fuae, Pultu feteno, fpeciofus, gloriofus etgauDens, 
 et matri Defolatae et moetenti totus feflipus ap= 
 
 patens Oe pac apparitione, qua ante ceteros 
 
 GJitgintgloriofae apparuifle crePitut,niful in <£pan= 
 gelto fm&etut; feo toeo tpfam pofut et ante alias 
 praemifi, quta fic pium efl cteDete, prout in quanam 
 HegenDaserefurrefttoneDomintpleniuscontinetur. 
 
 Oita Cfmflt pet Hutiop. ne ©atonia. 
 
 4 to, LugtJ. 1516. 
 

Printed by Charles Whittingham 
 at the Chiswick Press 
 15 July 1844 
 

 
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