original form, was designed and explained by a monk named Wernher, who was living in 1180, and was famous during his lifetime both as a painter and a poet. Other German authorities put the origin of the first manuscript as far back as the ninth century, attributing the work to Saint Ansgarius, first bishop of Hamburg. It seems to have been a popular manuscript, for copies written before the fifteenth century have been found in many old monasteries. These copies are not alike. Nearly every transcriber has made more or less alterations and innovations of his own; but the general plan of the book — the contrasting of apostles with prophets, and of the patriarchs of the Old Testament with the saints of the Christian Church — has been preserved in all the copies.
At least four distinct xylographic editions — two in Latin and two in German — of the Bible of the Poor have been discovered. Three of them were printed in Germany after the invention of typography.[1] The edition acknowledged as the first,[2] and supposed to have been printed before the invention of types, is in Latin, without date, place, or name of printer. Those who favor the theory of a German invention of printing say that it was printed in Germany between the years 1440 and 1460. Those who believe in the priority of Dutch printing say that it must be regarded as the work of some printer of Holland. This is the opinion of Berjeau, who republished the book in fac-simile. He says that the designs for the original editions must have been made in the Netherlands, probably by Van Eyck, between 1410 and 1420.
- ↑ 1.An edition in Latin, of fifty pages, and supposed to have been engraved and printed by Melchior Wohlgemuth of Nuremberg, between the years 1450 and 1460. Only one copy of this book is known. 2. An edition in German, of forty pages, by Friedrich Walther and Hans Hürning, at Nordlingen, 1470. 3. An edition in German, attributed to Sporer, at Erfurth, in 1475.
- ↑ Fifteen copies are known of the edition here specified as the first, Heineken, noticing little dissimilarities of design and engraving in many of these copies, says that they prove the existence of five distinct editions. For similar reasons, Sotheby says that there are six editions. The weight of authority favors the classification of these fifteen copies in one edition.
