REVIEWS 749 Schedel, Hartmann. Chronicle oftheWorld:7he Complete andAnnotated Nuremberg Chronicle ofI493. Introductionand appendixby Stephan Fussel.Taschen, Cologne and London, 200I. 68o pp. Illustrations. Notes. Appendix. Bibliography.Index. ?4o.oo: E6o.oo. ADVERTISED in I493 as an object that promises 'greaterand deeper pleasure' than anything else to 'scholars and men of learning', the Chronicle by Hartmann Schedel was indeed a particularjewel of the humanistpublishing world. Planned in the tradition of late medieval chronicles and modelled on biblical chronology, Schedel's work does not fail to charm even today. It departs from previously used patterns by addressing humanist issues and themes, endeavouring some kind of 'total history' of the world, the church, classical antiquity, medieval and contemporary wars and events. It also includesstoriesaboutthe appearanceofmiraculoussigns,a historyof idolatry, a chronicle of rulers,philosophers, orators and men of science all across the 'six ages of the world', with a seventh attached, warning of the coming of the Antichrist and the Apocalypse. Most unusually, it comprises interspersed with the chronological narrative brief histories and colourful panoramas of famous cities from all over the world. Thus the aestheticvalue of the book is one of its most attractivefeatures,especiallyin this sumptuous, velvet-bound facsimileedition publishedby Taschen in 200 I, introducedand annotated in an appendix, both in English,by Stephan Fussel. Containing a biographical surveyof Schedel'slife and work as a physician and humanist, born among the patriciate of the city of Nuremberg in I440, the introduction provides a useful account of the intellectual and cultural contextwithinwhich thishumanistscholarandpatricianfunctioned.Contacts to other German humanists of his generation, as well as to the political and artisan elite of his native city, enabled Schedel to find the intellectual and material support he needed to promote his project. Ftusselgoes into some detail when he describes the actual production process of this monumental work, which involved multiple contracts between sponsors, printers, illustrators , booktraders and sales agents among the scholarly community and Schedel himself. Complicated negotiations must have occurred concerning the exact typeface, the paper quality, and the number of planned editions. Fuisselaccepts,for example, the previousspeculationby arthistoriansthatone of Nuremberg's most famous artists the painter Albrecht Durer contributed to the woodcuts in the book, though he does not confirm this thesiswith clear evidence. All of this indicates that Schedel's chronicle was projected as a successful enterprise of the late-fifteenth-century publishing world a planned 'bestseller',aimed at a relativelylarge literateand art-interestedpublic, much beyond Nuremberg's city walls. The distributionnetwork spanned Europewide . Three differenttypes of editions were planned in the firstinstance: an unbound, uncoloured (and therefore cheap) version, an uncoloured and bound copy, and a bound and coloured copy for a richer clientele. Around I400 copies were produced in Latin, the linguafranca of humanistEurope, and 700 copies in German. The lasting influence the chronicle had after its publication is not only reflectedin a great number of (unauthorized)reprints, 750 SEER, 82, 3, 2004 but also in the impact on culturalhistoryitself:the firstversion of the storyof Doctor Faustus, written in I587, depicts the fated doctor travelling across Europe along the itineraryoutlined by the sequence of Schedel'scities. The chroniclerwas not left to fend for himself,even duringthe compilation of the texts. As in most encyclopedias, several authors participated (visible from at least seven differenthandwritingsin the originalmanuscriptsources), as did several illustrators,who provided the woodcuts. Several apprentices had to travel around I,5oo kilometresto produce thirty-twowoodcuts which claim to depict authenticviews of European cities, although some city-scapes were taken from other contemporary illustrationsor imaginary panoramas. Limits on the travelbudget meant that no authenticviews could be provided of Spanish, English,Dutch or Flemishcities.The copy which servedas a basis for the present reprintis one of the 300 complete and best preservedcopies in German, held at the Herzogin Anna Amelia Libraryin Weimar. The appendix, also by Ftissel, provides a most useful guide through the various books and parts of the chronicle, explaining the compilers' Renaissance method of critical analysis: the origin of the world, for example, is discussed by Schedel by introducing the 'errors' of the Ancients, before contrasting them with the 'true account' of the Bible. Interesting is also Schedel's use of maps, which are stillbased on the Greek and...