Abstract
The epilogue traces the impact of the early Protestant Bibles on the explosion of an exceedingly popular new genre: the Bible emblem book, especially those by Bernard Salomon, Virgil Solis, Jost Amman, Tobias Stimmer, and Matthäus Merian. As was the case with Dürer, Cranach, and Holbein, the new Protestant Bible designs were reused and imitated in diverse theological contexts, thereby illustrating the dynamic cultural transfer across language and confessional borders. Solis’s woodcut illustrations, for example, appeared in German, Dutch, Latin, and English Bibles by both Protestant and Catholic translators. Remarkably, Protestant designs informed not only Catholic but also Jewish biblical art (the Amsterdam Haggadah of 1695). Though any concept of textual unity faded with the Reformation, the Bible image emerged as a significant visual source for common cultural knowledge and experience.
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