Lübeck Bible
A.D. 1494
The Lübeck Bible is identified by its location of printing in Lübeck, Germany. Printing was still in its infancy (1453-1500), so this Bible is regarded as an incunabulum book. The printer, Steffen (Stephan) Arndes, learned his trade in Mainz, and had previously worked in Italy prior to setting up shop in Lübeck (1486). The colophon at the end of the book indicates that printing was completed on the day of St. Elizabeth of Hungary, November 19, 1494.
This was the third publication of a Middle Low German translation from the Latin Vulgate (preceded by two editions of the Cologne Bible), and is regarded as the best of the German translations of the fifteenth century. The Lübeck Bible also contained commentary glosses from Franciscan scholar Nicholas of Lyra (1270-1340).
The feature that sets the Lübeck Bible apart from others of this period is the unique woodcuts, some of which were elaborately painted in color in some copies. The ninety-seven illustrations in the Old Testament appear to have been cut by two different artists, one of whom was far more eminent than the other. Though this artist’s name is unknown, he is usually identified as “The Master of the Lübeck Bible,” and was undoubtedly the foremost of the woodcut artists of his time. Due to some similarities with woodcuts in Dutch books, he is often thought to have been of Flemish descent.
What sets his illustrations apart from others is the painstaking attention to the dramatic sense of movement. Though his figures often have strangely elongated faces, they have muscular torso strength, and portray the emotions of anger, disdain, and sorrow in ways that no previous woodcut artist had been able to accomplish. The “The Master of the Lübeck Bible” was thus able to illustrate the psychological drama of the Old Testament in a unique manner.
This facsimile art book focuses on 92 of the unique woodcut illustrations from the Lübeck Bible of 1494.
This was the third publication of a Middle Low German translation from the Latin Vulgate (preceded by two editions of the Cologne Bible), and is regarded as the best of the German translations of the fifteenth century. The Lübeck Bible also contained commentary glosses from Franciscan scholar Nicholas of Lyra (1270-1340).
The feature that sets the Lübeck Bible apart from others of this period is the unique woodcuts, some of which were elaborately painted in color in some copies. The ninety-seven illustrations in the Old Testament appear to have been cut by two different artists, one of whom was far more eminent than the other. Though this artist’s name is unknown, he is usually identified as “The Master of the Lübeck Bible,” and was undoubtedly the foremost of the woodcut artists of his time. Due to some similarities with woodcuts in Dutch books, he is often thought to have been of Flemish descent.
What sets his illustrations apart from others is the painstaking attention to the dramatic sense of movement. Though his figures often have strangely elongated faces, they have muscular torso strength, and portray the emotions of anger, disdain, and sorrow in ways that no previous woodcut artist had been able to accomplish. The “The Master of the Lübeck Bible” was thus able to illustrate the psychological drama of the Old Testament in a unique manner.
This facsimile art book focuses on 92 of the unique woodcut illustrations from the Lübeck Bible of 1494.
