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Picturing German Antiquity in the Age of Print

Picturing German Antiquity in the Age of Print

Art, Archaeology, and the Style All’Antica in Early Modern Augsburg

Picturing German Antiquity in the Age of Print: Art, Archaeology, and the Style All’antica in Early Modern Augsburg examines the central role of print to local antiquarian pursuits and generation of a style all’antica in early sixteenth-century Augsburg, Germany. Working in the shadow of Holy Roman Emperor Maximilian I, Augsburg’s leading patrons, including humanist Konrad Peutinger and the mercantile Fugger family, documented local antiquities and commissioned new works of classicizing art and architecture, visually asserting a genuine, unbroken lineage to the city’s past. This study challenges earlier narratives by arguing that Augsburg’s artists and printers did not directly copy Italian Renaissance models but instead manipulated the imported visual vocabulary according to local concerns. The book brings together scholarly discourses on transalpine exchange, scientific advancements in printmaking, and reception of antiquity north of the Alps to offer a new understanding of art in early modern Augsburg and northern Europe at large.
  • Cover
  • Table of Contents
    • Acknowledgements
    • Introduction: A “Renaissance” in Early Modern Augsburg
    • Part 1: Documenting Evidence
      • 1. Local Antiquities and the Romanae Vetustatis Fragmenta
      • 2. Ancient Coins, Printed Portraits, and the Idea of Authenticity
    • Part 2: Borrowing Sources
      • 3. Transalpine Exchange, the Welsch, and the Deutsch
      • 4. Archaeology of the Printed Page
    • Part 3: Picturing a Local Past
      • 5. Locating Antiquity in the German Landscape
      • 6. Architecture All’antica
    • Conclusion
    • Bibliography
    • Index
  • List of Figures
    • Figure 1. Anonymous, Wild Men with Pyr, ca. 1450. Limestone relief, 270 × 220 cm. Rathaus, Augsburg. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 2. Konrad Peutinger, Romanae Vetustatis Fragmenta (Augsburg: Erhard Ratdolt, 1505). Bayerische Staatsbibliothek München, Res/2 Arch. 112, Fol. 2r., urn:nbn:de:bvb:12-bsb00005801-6. Bayerische Staatsbibliothek, Munich.
    • Figure 3. Konrad Peutinger, Romanae Vetustatis Fragmenta (Augsburg: Erhard Ratdolt, 1505). Bayerische Staatsbibliothek München, Res/2 Arch. 112, Fol. 7v., urn:nbn:de:bvb:12-bsb00005801-6. Bayerische Staatsbibliothek, Munich.
    • Figure 4. Konrad Peutinger, Romanae Vetustatis Fragmenta (Augsburg: Erhard Ratdolt, 1505). Wing folio ZP 547 .R11, Fol. 4r. Newberry Library, Chicago. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 5. Crucifixion, ca. 1450. Colored woodcut, 19.4 × 13.7 cm. 171537 D. Staatliche Graphische Sammlung, Munich. © Staatliche Graphische Sammlung München.
    • Figure 6. Christ Child with the Instruments of the Passion, 1445–60. Colored tinsel print, 19 × 13.4 cm. 118288 D. Staatliche Graphische Sammlung, Munich. © Staatliche Graphische Sammlung München.
    • Figure 7. South German, Saint George and the Dragon, ca. 1450–75. Flock print on paper. Germanisches Nationalmuseum, Nürnberg.
    • Figure 8. South German, The Virgin and Child in Glory, ca. 1480. Paste print. 9.8 × 7.2 cm. Germanisches Nationalmuseum, Nürnberg.
    • Figure 9. Hans Burgkmair, Equestrian Portrait of the Emperor Maximilian I, 1508. Woodcut from two blocks in black and gold on vellum, 32.3 × 23.5 cm. The Art Institute of Chicago, Chicago.
    • Figure 10. Scene of Necropolis, Antiquitatum fragmenta studio Ioannis Marcnanovae, 1471(?). Brown ink and wash on parchment. Garrett MS. 158, Fol. 10r. Robert Garrett Collection, Princeton University Library, Princeton. Courtesy of Princeton University Li
    • Figure 11. Manuscript sylloge of Roman inscriptions, early sixteenth century. 4 Cod H 26, Fol. 38r. Staats- und Stadtbibliothek, Augsburg.
    • Figure 12. Konrad Peutinger, Romanae Vetustatis Fragmenta fair copy. Bayerische Staatsbibliothek München, Clm 4028, Fol. 4r. Bayerische Staatsbibliothek, Munich.
    • Figure 13. Lap. 3. Römisches Museum, Kunstsammlungen und Museen, Augsburg.
    • Figure 14. Konrad Peutinger, Inscriptiones. Vetustae. Roman. Et earum Fragmenta (Mainz: Johann Schöffer, 1520). 2 H 176, Fol. 6r. Staats- und Stadtbibliothek, Augsburg.
    • Figure 15. Peutingerhaus, Augsburg. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 16. Hartmann Schedel, Liber antiquitatum cum epigrammatibus. Bayerische Staatsbibliothek München, BSB Clm 716. urn:nbn:de:bvb:12-bsb00007356-3. Bayerische Staatsbibliothek, Munich.
    • Figure 17. Konrad Peutinger, Kaiserbuch, 1504–14. 2º Cod 145a, Fols. 20v.–22r. Staats- und Stadtbibliothek, Augsburg.
    • Figure 18. Michael Wolgemut, Details, Emperors Claudius and Theodosius III, Liber Chronicarum (Nürnberg: Anton Koberger, 1493). Hand-colored woodcuts. Bayerische Staatsbibliothek München, Rar. 287, Fols. CIII, CLXI, urn:nbn:de:bvb:12-bsb00034024-1. Bayeri
    • Figure 19. Hans Burgkmair, Conrad Celtis (Sterbebild), 1507. Woodcut, 38.8 × 21.5 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 20. Hans Burgkmair, Imperial Eagle, 1507. Woodcut, 38.8 × 21.5 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 21. Narziss Renner, Matthäus Schwarz’s Klaidungsbüchlein, Image I 28 (verso), 1522–35. Herzog Anton Ulrich-Museum, Braunschweig. bpk Bildagentur / Herzog Anton Ulrich-Museum / Art Resource, NY.
    • Figure 22. Hans Schwarz, Medal of Jacob Fugger, 1518. Bronze, 6.4 cm diameter. Kunsthistoriches Museum, Vienna. © KHM-Museumsverband.
    • Figure 23. Hans Schwarz, Medal of Konrad Peutinger, 1518. Lead, 8.72 cm diameter. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 24. Hans Schwarz, Medal of Hans Burgkmair, 1518. Bronze, 6.9 cm diameter. 11-0022. Staatliche Münzsammlung, Munich.
    • Figure 25. Narziss Renner, Prayer Book of Matthäus Schwarz, 1521. Fol. 9v. Illumination, 11.3 × 8 cm. Kupferstichkabinett, Staatliche Museen, Berlin. bpk Bildagentur / Kupferstichkabinett, SMB / Jörg Anders / Art Resource, NY.
    • Figure 26. Hans Burgkmair, Medaillon mit Profilkopf Christi, ca. 1510–12. Woodcut, 11.1 cm diameter. The ALBERTINA Museum, Vienna. © Albertina, Wien.
    • Figure 27. Italian, Jesus Christ, ca. 1500. Bronze, 9.22 cm diameter. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 28. Andrea Fulvio, Augustus, from Illustrium Imagines (Rome: Giacomo Mazzocchi, 1517). CKN 607. Warburg Library, London.
    • Figure 29. Peter Flötner, Veyt Bildhauer, ca. 1535. Colored woodcut, 31.4 × 20.2 cm. Ashmolean Museum, Oxford. Image © Ashmolean Museum, University of Oxford.
    • Figure 30. Portrait of Bishop von Zollern, Obsequiale Augustense (Augsburg: Erhard Ratdolt, 1487). Bayerische Staatsbibliothek München, 4 L.impr.membr. 9. Bayerische Staatsbibliothek, Munich.
    • Figure 31. Portrait of Bishop von Zollern, Obsequiale Augustense (Augsburg: Erhard Ratdolt, 1487). Bayerische Staatsbibliothek München, 4 L.impr.membr. 8, urn:nbn:de:bvb:12-bsb00031142-1. Bayerische Staatsbibliothek, Munich.
    • Figure 32. Portrait of Bishop von Zollern, Obsequiale Augustense (Augsburg: Erhard Ratdolt, 1487). Bayerische Staatsbibliothek München, 4 Inc.c.a. 528 b. Bayerische Staatsbibliothek, Munich.
    • Figure 33. German (Augsburg), Christ on the Cross with the Virgin and Saint John, Missale Augustanum (Augsburg: Erhard Ratdolt, 1491). Bayerische Staatsbibliothek München, 2 Inc.c.a. 2589, Fol. 131v., urn:nbn:de:bvb:12-bsb00043368-9. Bayerische Staatsbibl
    • Figure 34. German (Augsburg), Christ on the Cross with the Virgin and Saint John, Missale Augustanum (Augsburg: Erhard Ratdolt, 1491). Color woodcut printed and hand-colored on vellum, 21.8 × 13.7 cm. National Gallery of Art, Washington, DC. Courtesy Nati
    • Figure 35. Hans Burgkmair, Saint Valentine, Saint Stephen and Saint Maximilian, Missale Pataviense (Augsburg: Erhard Ratdolt, 1498). Color woodcut, 26.7 × 16.8 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 36. Hans Burgkmair, Virgin and Child with a Round Arch, 1508. Hand-colored woodcut, 26.9 × 19 cm. Ashmolean Museum, Oxford. Image © Ashmolean Museum, University of Oxford.
    • Figure 37. Hans Burgkmair and Jost de Negker, The Lovers Surprised by Death, 1510. Chiaroscuro woodcut printed from three blocks, 21.3 × 15.2 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 38. Hans Burgkmair and Jost de Negker, Portrait of Johann Paumgartner, 1512. Chiaroscuro woodcut from three blocks, 29.5 × 24.2 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 39. Sex linguarum, Latinae, Gallicae, Hispanicae, Italicae, Anglicae et Teutonice, dilucidissimus dictionarius (Nürnberg: Hans Günther, 1541). Spw 443. Staats- und Stadtbibliothek, Augsburg.
    • Figure 40. Albrecht Dürer, Feast of the Rose Garlands, 1506. Oil on poplar panel, 162 × 192 cm. Inv. No. O 1552. Národní Galerie, Prague. Photo © National Gallery Prague 2024.
    • Figure 41. Hans Burgkmair and anonymous miniaturist, Das Welsch Gestech über das Dill (Kaiser Maximilian I. und Pfalzgraf Friedrich II.), Turnierbuch für den bayerischen Herzog Wilhelm IV., 1529. Opaque colors with gold and silver, 40.8 × 28.1 cm. Staatli
    • Figure 42. Title page, Der welsch Fluß (Strasbourg: Matthias Hupfuff, 1513). 4 LD 127. Staats- und Stadtbibliothek, Augsburg.
    • Figure 43. Jörg Breu, Story of Lucretia, 1528. Oil on panel, 103.5 × 148.5 cm. Bayerische Staatsgemäldesammlungen, Alte Pinakothek, Munich.
    • Figure 44. Jörg Breu, Story of Lucretia, ca. 1528. Pen, black ink, some grey wash on paper, 21.3 × 31.2 cm. Szépművészeti Múzeum / Museum of Fine Arts, Budapest.
    • Figure 45. Hans Burgkmair, Die Sterck (Fortitude), from The Seven Virtues, ca. 1510. Woodcut, 30.3 × 19.6 cm. The ALBERTINA Museum, Vienna. © Albertina, Wien.
    • Figure 46. Hans Burgkmair, Die Hofart (Pride) and Die Fresikeit (Gluttony), from The Seven Vices, ca. 1510. Woodcut, 15.9 × 7.4 cm and 15.9 × 7.3 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 47. Jörg Breu, The Murder of Agamemnon by Aegisthus and Clytemnestra, ca. 1525. Pen and black ink on light brown paper, 24.5 cm diameter. The Morgan Library & Museum. 1966.1. Purchase. Photographic credit: The Morgan Library & Museum, New York.
    • Figure 48. Marcantonio Raimondi (after Raphael), The Judgement of Paris, ca. 1510. Engraving, 29.1 × 43.7 cm. Metropolitan Museum of Art, New York, Rogers Fund, 1919.
    • Figure 49. Prayer Book of Maximilian I (Augsburg: Sylvan Otmar, ca. 1515). CP.2.B.12, Fol. 1v. Österreichische Nationalbibliothek, Vienna.
    • Figure 50. Albrecht Dürer, Albrecht Altdorfer, Hans Springinklee, Wolf Traut, Arch of Honor, 1515 (printed 1517–18). Woodcut, 357 × 295 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 51. Jörg Breu, Prayer Book of Maximilian I (Augsburg: Johann Schönsperger, 1514). Rés. 67633, Fol. 87v. Pen and red ink on vellum. Bibliothèque municipale de Besançon, Besançon. Bibliothèque municipale de Besançon, 67633.
    • Figure 52. Italian, Arion on the Dolphin, ca. 1480–1510. Niello print, 4 × 2.5 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 53. Jörg Breu, Prayer Book of Maximilian I (Augsburg: Johann Schönsperger, 1514). Rés. 67633, Fols. 85v. and 86r. Pen and red and green inks on vellum. Bibliothèque municipale de Besançon, Besançon. Bibliothèque municipale de Besançon, 67633.
    • Figure 54. Peregrino da Cesena, Prudentia, ca. 1490–1520. Niello print, 4.9 × 4 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 55. Jörg Breu and Hans Baldung Grien, Prayer Book of Maximilian I (Augsburg: Johann Schönsperger, 1514). Rés. 67633, Fols. 83v. and 84r. Pen and green, yellow, and red inks on vellum. Bibliothèque municipale de Besançon, Besançon. Bibliothèque muni
    • Figure 56. Jörg Breu and Hans Baldung Grien, Prayer Book of Maximilian I (Augsburg: Johann Schönsperger, 1514). Rés. 67633, Fols. 81v. and 82r. Pen and green, yellow, and red inks on vellum. Bibliothèque municipale de Besançon, Besançon. Bibliothèque muni
    • Figure 57. Peregrino da Cesena, Orpheus Seated and Playing His Lyre, Charming the Animals, ca. 1500–1520. Niello print, 5.2 × 3 cm. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1928.
    • Figure 58. Jörg Breu, Prayer Book of Maximilian I (Augsburg: Johann Schönsperger, 1514). Rés. 67633, Fol. 89v. Pen and red ink on vellum. Bibliothèque municipale de Besançon, Besançon. Bibliothèque municipale de Besançon, 67633.
    • Figure 59. Peregrino da Cesena, Allegory (of Adversity?), ca. 1490–1520. Niello print, 4.8 × 3.2 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 60. Albrecht Dürer, Pupila Augusta, ca. 1498. Pen and ink, 25.4 × 19.4 cm. Royal Collection Trust, London. Royal Collection Trust / © His Majesty King Charles III 2024.
    • Figure 61. Andrea Alciato, Princeps subditorum incolumitatem procurans, Emblematum Liber (Augsburg: Heinrich Steiner, 1531). Sp Coll S.M.19, Fol. B2r. Glasgow University Library, Glasgow. With permission of University of Glasgow Archives & Special Collect
    • Figure 62. Andrea Alciato, Princeps subditorum incolumitatem procurans, Emblematum Libellus (Paris: Christian Wechel, 1534). Sp Coll S.M. Add. 53, Fol. B5r. Glasgow University Library, Glasgow. With permission of University of Glasgow Archives & Special C
    • Figure 63. Festina lente, Emblematica Politica (Nürnberg: Peter Isselburg, 1617). Wing MS 279. Newberry Library, Chicago.
    • Figure 64. Michael Rötenbeck, Inscriptiones picturae et emblemata quae in aula magna curiae Norimbergensis publice extant, 1620. Wing MS 279. Newberry Library, Chicago.
    • Figure 65. After Hans Schäufelein, Klag der wilden Holzleüt, uber die ungetrewen Welt, 1545. Hand-colored woodcut, 24.2 × 32.2 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 66. Francesco Colonna, Details, Hypnerotomachia Poliphili (Venice: Aldus Manutius, 1499). Bayerische Staatsbibliothek München, Rar. 515, Fols. 3v. and 5v., urn:nbn:de:bvb:12-bsb00039006-4. Bayerische Staatsbibliothek, Munich.
    • Figure 67. Hans Lützelburger (after Master NH), Battle of Naked Men and Peasants, 1522. Woodcut on laid paper, 18.5 × 30 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 68. Jörg Breu, Battle of the Giants, ca. 1516. Pencil, pen in gray-brown, 22.1 × 30.6 cm. Kupferstichkabinett, Staatliche Museen, Berlin. bpk Bildagentur / Kupferstichkabinett, SMB / Volker-H. Schneider / Art Resource, NY.
    • Figure 69. Albrecht Altdorfer, Virgin in a Landscape, ca. 1515. Engraving, 16.4 × 11.7 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 70. Albrecht Dürer, Adam and Eve, 1504. Engraving, 25.1 × 20cm. Metropolitan Museum of Art, New York, Fletcher Fund, 1919.
    • Figure 71. Mercury, second century. Limestone relief, 154 × 61 cm. Römisches Museum, Kunstsammlungen und Museen, Augsburg. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 72. Hans Burgkmair, Mercury, from The Seven Planets, 1510–14. Woodcut, approx. 15 × 7 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 73. Albrecht Dürer, Samson Slaying the Philistines, design for the epitaph of Georg Fugger, ca. 1510. Pen and brush in black, heightened with white, on green prepared paper, 32.1 × 16 cm. Kupferstichkabinett, Staatliche Museen, Berlin. bpk Bildage
    • Figure 74. Albrecht Dürer, Peasant Couple Dancing, 1514. Engraving, 11.8 × 7.5 cm. Metropolitan Museum of Art, New York, Bequest of Ida Kammerer, in memory of her husband, Frederic Kammerer, M. D., 1933.
    • Figure 75. Albrecht Dürer, The Bagpiper, 1514. Engraving, 12.2 × 8 cm. Metropolitan Museum of Art, New York, Fletcher Fund, 1919.
    • Figure 76. Hans Burgkmair, People from Calicut, from Triumphal Procession, 1516–18 (printed 1526). Woodcut. British Museum, London. © The Trustees of the British Museum.
    • Figure 77. Hans Burgkmair, Der Kunig von Gutzin (The King of Cochin), 1508. Woodcut (printed from three blocks on eight unequal sheets), 27.5 × 110.5 cm. British Museum, London. © The Trustees of the British Museum.
    • Figure 78. Gian Marco Cavalli or Giulio Campagnola, The Elephants, from The Triumph of Caesar, ca. 1497. Engraving, 28 × 23.1 cm. Metropolitan Museum of Art, New York, Bequest of Grace M. Pugh, 1985.
    • Figure 79. Jacob of Strasbourg, after Benedetto Bordon, Oxen and Elephants, from The Triumph of Caesar, 1504. Woodcut, 33 × 40.5 cm. Metropolitan Museum of Art, New York, Harris Brisbane Dick Fund, 1927.
    • Figure 80. Ludovicus Brunus, Carmina gratulatoria in adventu et coniugio Maximiliani (Louvain: Johannes de Westfalia, November 1477). Leaf b8v. Woodcut. The Morgan Library & Museum. PML 48179. Photographic credit: The Morgan Library & Museum, New York.
    • Figure 81. Albrecht Altdorfer, Detail, Baggage Train, from Triumphal Procession, 1796 (first printed 1526). Woodcut. The ALBERTINA Museum, Vienna. © Albertina, Wien.
    • Figure 82. Augsburg, Equestrian Portrait of Emperor Maximilian I, Thun-Hohenstein Album, ca. 1540. Museum of Decorative Arts in Prague / Uměleckoprůmyslové Museum, Prague.
    • Figure 83. Augsburg, Equestrian Portrait of Emperor Maximilian I, Eine Reihe von in Farben zum Theil schön ausgeführten Bildern, ca. 1575. Fol. 13r. Herzog August Bibliothek, Wolfenbüttel: Cod. Guelf. 1.11.2 Aug. 2°.
    • Figure 84. Augsburg, Equestrian Portrait of Emperor Maximilian I, Ehrenspiegel des Hauses Österreich (Buch VII), 1559. Bayerische Staatsbibliothek München, Cgm 896, Fol. 337v., urn:nbn:de:bvb:12-bsb00103106-2. Bayerische Staatsbibliothek, Münich.
    • Figure 85. Hans Burgkmair, Entwurf zu einem Reiterstandbild für Kaiser Maximilian I., ca. 1508–9. Ink on parchment. 43.1 × 28.4 cm. The ALBERTINA Museum, Vienna. © Albertina, Wien.
    • Figure 86. Hans Holbein the Elder, Kaiser Maximilian I in Travel Dress on Horseback, 1510–13. Silverpoint with white highlights on white prepared paper, 15.9 × 9.4 cm. Kupferstichkabinett, Staatliche Museen, Berlin. bpk Bildagentur / Kupferstichkabinett,
    • Figure 87. Fugger Chapel, St. Anna, Augsburg. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 88. Jörg Breu, The Ascension of Christ (large organ shutter), ca. 1517. Oil on canvas. Fugger Chapel, St. Anna, Augsburg. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 89. Jörg Breu, The Assumption of the Virgin (large organ shutter), ca. 1517. Oil on canvas. Fugger Chapel, St. Anna, Augsburg. Image Credit: Photograph by Rachel M. Carlisle.
    • Figure 90. Francesco Rosselli (after Sandro Botticelli), Assumption of the Virgin, ca. 1495. Engraving printed on two sheets from two plates. Cleveland Museum of Art, Cleveland.
    • Figure 91. Jörg Breu, Jubal’s Discovery of Music and The Dissemination of Music (exterior, small organ shutters), ca. 1517. Oil on panel, 144 × 67 cm (each). Fugger Chapel, St. Anna, Augsburg. Image Credit: Photographs by Rachel M. Carlisle.
    • Figure 92. Jörg Breu, Pythagoras in the Blacksmith’s Shop and Chapel Choir Scene (interior, small organ shutters), ca. 1517. Oil on panel, 144 × 67 cm (each). Fugger Chapel, St. Anna, Augsburg. Image Credit: Photographs by Rachel M. Carlisle.
    • Figure 93. Hans Daucher, Putto, 1525–30. Limestone. Kunstsammlungen und Museen, Augsburg. Art Digital Studio © Sotheby’s.
    • Figure 94. Hans Daucher, Putto, 1525–30. Limestone. Kunstsammlungen und Museen, Augsburg. Art Digital Studio © Sotheby’s.
    • Figure 95. Master S. L., Drawing of the Fugger Chapel, sixteenth century. Drawing. Inv.-Nr. G11994. Kunstsammlungen und Museen, Augsburg.
    • Figure 96. Tullio Lombardo, Saint Francis, Saint Clare, Archangel Gabriel, and Virgin Mary. Santa Maria dei Miracoli, Venice. Image Credit: Photographs by Rachel M. Carlisle.
    • Figure 97. Italian, Aureus with Head of Octavian (obverse) and Victoria (reverse), 29–27 BCE. Gold. British Museum, London. © The Trustees of the British Museum.
    • Figure 98. Jakob Sprenger, Die erneuerte Rosenkranz Brüderschaft (Augsburg: Johann Bämler, 1476–77). Leaf 2v. The Morgan Library & Museum. PML 144. Purchased with the Bennett collection, 1902. Photographic credit: The Morgan Library & Museum, New York.
    • Figure 99. Ulm, Augsburg, or Cologne, The Madonna with the Rosary, 1485. Woodcut, hand-colored in red lake, green, brown, yellow, tan, gray, rose, and black, 37.8 × 25.6 cm. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washin
    • Figure 100. Alanus de Rupe, Psalterium Virginis Mariae (Ulm: Konrad Dinckmut, 1483). Bayerische Staatsbibliothek München, 4 Inc.c.a. 316, Fol. 20v., urn:nbn:de:bvb:12-bsb00070432-6. Bayerische Staatsbibliothek, Munich.
    • Figure 101. German, Madonna in a Wreath of Roses, 1490/1500. Woodcut, hand-colored in red lake, green, and gray-yellow, 17.8 cm diameter. National Gallery of Art, Washington, DC. Courtesy National Gallery of Art, Washington.
    • Figure 102. Hie nach volgent genad und applaß lob und preiß verpflichtung und andre stuck der loblichen Bru[o]derschafft des Rosenkrantz der junckfrawen Marie: Von der genad und applaß diser hochgelobten bru[o]derschafft (Augsburg: March 24, 1508). 35 × 2
    • Figure 103. Veit Stoss, Angelic Salutation, 1518. Polychrome limewood, 515 cm (height). St. Lorenzkirche, Nürnberg. Image Credit: Photograph by Richard G. Carlisle.
    • Figure 104. Heinrich Vogtherr, Title page, Ein fremdes und wunderbares Kunstbüchlein (Strasbourg: Heinrich Vogtherr, 1537). Universitätsbibliothek Johann Christian Senckenberg, Frankfurt.
    • Figure 105. Heinrich Vogtherr, Ein fremdes und wunderbares Kunstbüchlein (Strasbourg: Heinrich Vogtherr, 1537). Fol. f ii. Universitätsbibliothek Johann Christian Senckenberg, Frankfurt.

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