117:....this Hieronymous resided in Breite Gasse, in this city, and his quarters extended in the rear to Frauengässlein . It was he who cut most of Albrecht Dürer's designs into blocks, among them Dürer's "Triumphal Chariot" of His Imperial Majesty. At that time, His Majesty drove almost daily to Frauengässlein to watch his artistry, so much so that it became proverbial that "the emperor has driven once more to the "women's alley"."
28:
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projects, to ensure the right cutter was paid from the large teams. In the absence of other evidence, it is not usually worthwhile to speculate on the identity of a cutter based on style or quality, so much of
Andreae's work remains untraceable in the large production of Nuremberg in this period. It is for example likely that Andreae cut the famous
242:, of producing a plagiarized edition of the book on the proportions of the horse that Dürer never completed (a work very popular with generations of artists). In 1542 he fled the city to avoid two weeks in jail for failing to appear in court on a charge of slandering a member of the Council of the city, though he later returned.
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The cutters of most "single-leaf" woodcuts (prints) produced at the period are unknown, as they were only rarely (usually if they also acted as publisher) credited on the printed piece. If the original block has survived these may be marked or signed, and are normally so in the case of
Maximilian's
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in 1504, although this might also mean that he worked for the university rather than being a student. He became a citizen of
Nuremberg in 1523, although he had probably run a workshop there for nearly a decade by then. He also cut metal dies and stamps, including those for type and coins, and the
184:
After Dürer's death he became important as a printer and publisher of music, and a designer of musical type – in this field he tends to be known as "Hieronymus
Formschneider", the name used on his title-pages. He published music in a partnership lasting between 1533-1550 with the bookseller Hans
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of 1515, with a lengthy inscription, but there is no direct evidence of this. With books there is more evidence, from title-pages. He was the cutter for the many illustrations and the printer of the books that Dürer was working on in his final years before his death in 1526: on geometry - the
320:"Formschneider" is German for block-cutter, and Andreae often signed himself as "Hieronymus Formschneider" or "Hieronymus Andreae Formschneider". He used these styles on the title pages of his books. "Jerome of Nuremberg" may be found pre-1940. In even older sources he may be called
136:, and appears in its final perfected form in his (2nd) 1538 edition of Dürer's book on geometry. It was popular and became widely adopted, becoming the most widely used typeface by Lutheran printers in northern Germany by the end of the sixteenth century. In the case of the
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and other works by Dürer for
Maximilian, but he probably appeared on the Nuremberg scene too late to produce most of Dürer's other major woodcuts, which mostly predate 1513. His Fraktur script was first developed for the large texts underneath the image of the
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Formschneider created a single-impression typeface for music, which he first used in 1534; in this he was only the second in
Germany, being preceded by two years by Christian Egenolff of Frankfurt, who printed Petrus Tritonius's edition of
461:. Parshall, n.109, p. 395 has the German: "Der Kaiser fahret abermals ins Frauengaßlein", which is more simply translated "The Emperor has gone to the women's alley again". The exact usage of the phrase is not clarified by von Murr.
234:, printing his prayerbook in 1527 (but omitting Luther's name, perhaps out of discretion for buyers in Catholic territories), and was then jailed briefly for sympathy with, and perhaps some involvement in, the
448:
Landau and
Parshall, 217. This is less implausible than it might seem, as Maximilian was one of many Habsburg rulers who took a close, and in his case rather interfering, interest in watching artists.
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in 1525. Described by Peter
Parshall as "an opportunist of ... ambition and occasional unscrupulousness", he was often in trouble with the authorities. After Dürer's death he was accused, with
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design, and perhaps production, of print type may also have constituted a large part of his business, which was commented on as being very diverse. According to the 18th-century historian
176:(W 899) inscribed by the artist "Fronica 1525 Formschneiderin" may be of Andreae's wife (Veronica), as an old inscription on the back says. He was buried in St John's Church in Nuremberg.
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from 1515–17, and he and his workshop cutters would then probably have been fully occupied on that one huge commission, the quality of which has always been recognised. He also cut the
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before being paid outstanding debts; he had meanwhile published an unauthorized partial edition himself in 1520, for which the city council had to apologise to the new
Emperor,
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woodcut, designed by Dürer and cut by
Andreae, 1515-1517. The whole print was 2.95 metres wide and 3.57 metres high (approximately 9'8" by 11'8½"), on 192 large woodblocks.
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Dürer returned from his trip to the Netherlands in 1521 with a number of gifts for friends, including an "exceedingly large horn" for Andreae. A Dürer drawing in the
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typeface ("Gothic" to most English-speakers), on which German typefaces were based for several centuries. He was also significant as a printer of music.
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Ott, their respective roles probably falling into the typical modern ones of printer and publisher. Their most ambitious production was the
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in 1532. There is no evidence that Formschneider was himself a musician, or that he had any deep understanding of what he was printing.
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published in 1537-1538, of which 177 examples survive, more than any other such work published before 1550.
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Royston Gustavson. "Formschneider, Hieronymus." Grove Music Online. Oxford Music Online. 9 Mar. 2009 <
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473:, et al. "Printing and publishing of music." Grove Music Online. Oxford Music Online. 9 Mar. 2009 <
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210:, which appeared in three volumes in 1550-55. This was the largest sixteenth century collection of
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Hans Ott, Hieronymus Formschneider, and the Novum et insigne opus musicum (Nuremberg, 1537-1538)
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169:(1525) - and Fortification (1527), and Human Proportions (1528, for Dürer's widow).
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324:. His surname is also spelled Andre, Andreae, Enderlin, Enndres; or Grapheus.
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538:, Introduction, By Orlando di Lasso, Published by A-R Editions, Inc., 1995,
218:, with the portion left unfinished completed on his death by his student
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http://www.oxfordmusiconline.com/subscriber/article/grove/music/40101pg2
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British Museum - Albrecht Dürer and others, The Triumphal Arch, woodcut.
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http://www.oxfordmusiconline.com/subscriber/article/grove/music/09989
62:. Andreae's best known achievements include the enormous, 192-block
84:, although Andreae never designed woodcuts (as opposed to designing
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73:, and his design of the characteristic German "blackletter"
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Gustavson, Royston (2001). "Formschneider, Hieronymus". In
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Detail of pinnacle from a hand-coloured impression of the
88:), the quality of his work was such that he, along with
290:, Metropolitan Museum of Art/Princeton, 1971, no. 318,
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Also bearing Formschneider's imprint is the enormous
104:There is some evidence that he matriculated at the
337:The New Grove Dictionary of Music and Musicians
311:Images and description from the British Museum.
230:He was an early sympathiser with the ideas of
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413:reprint by BiblioBazaar, LLC, 2008 (online)
54:("formschneider"), printer, publisher and
189:, a two volume anthology of one hundred
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267:The Complete Woodcuts of Albrecht Durer
615:German typographers and type designers
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380:, p.234, (reprint) Routledge, 1994,
377:Textual Scholarship: An Introduction
253:German Renaissance Prints, 1490-1550
405:Triumph of the Emperor Maximilian I
640:16th-century German businesspeople
272:Landau, David and Peter Parshall.
96:, should be considered an artist.
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50:, (died 7 May 1556) was a German
121:He worked as blockcutter on the
71:Maximilian I, Holy Roman Emperor
255:, British Museum Press, 1995,
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214:settings, mainly by composer
187:Novum et insigne opus musicum
486:Landau and Parshall, 217-218
365:Landau and Parshall, 207-209
507:Gustavson, Royston Robert,
111:Christoph Gottlieb von Murr
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497:Searchable Heath biography
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340:(2nd ed.). London:
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106:University of Leipzig
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342:Macmillan Publishers
236:German Peasants' War
226:Trouble with the law
630:15th-century births
535:The complete motets
459:Stanford University
374:David C. Greetham,
128:Great Triumphal Car
605:German printmakers
167:Art of measurement
162:Dürer's Rhinoceros
80:In the opinion of
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552:978-0-89579-392-8
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86:typefaces
334:(eds.).
140:and the
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