German Renaissance typographic ornaments, (1898). 'Fig 1: Title-frame (1519) probably by Hieronymus Hopfer. Fig 2: Initial by A. Dürer. Fig 3: Frieze (1539) by A. Aldengrever [Heinrich Aldegrever?]. Fig 4: Initial from a dance-of-death alphabet by Hans Holbein. Fig 5: Marginal decoration from the prayer-book of the Emperor Charles V by A. Dürer. Fig 6: Frieze (1528) by H. S. Beham. Fig 7: Initial (1518) by an unknown master. Fig 8: Initial by Paul Frank. Fig 9: Initial by Jost Aman [Jost Amman?]. Fig 10: Initial (1527-1532) from Hans Holbein's children's alphabet. Fig 11: Initial by
German Renaissance typographic ornaments, (1898). 'Fig 1: Title-frame (1519) probably by Hieronymus Hopfer. Fig 2: Initial by A. Dürer. Fig 3: Frieze (1539) by A. Aldengrever [Heinrich Aldegrever?]. Fig 4: Initial from a dance-of-death alphabet by Hans Holbein. Fig 5: Marginal decoration from the prayer-book of the Emperor Charles V by A. Dürer. Fig 6: Frieze (1528) by H. S. Beham. Fig 7: Initial (1518) by an unknown master. Fig 8: Initial by Paul Frank. Fig 9: Initial by Jost Aman [Jost Amman?]. Fig 10: Initial (1527-1532) from Hans Holbein's children's alphabet. Fig 11: Initial by an unknown master. Fig 12: Frieze by J. Binck. Fig 13: Initial by P. custom of decorating printings with artistic initials, marginal borders etc. is nearly as old as typography itself. In the beginning, Gothic forms, of course, were still prevailing; but the transition from the 15th to the 16th century marked a new era for this branch of art. Of marked and decisive importance was particularly the activity of the greatest German artists of that period, viz of Holbein, Dürer and others; they were continually creating new ornamental '. Plate 75 from "The Historic Styles of Ornament" translated from the German of H. Dolmetsch. [ Batford, London, 1898]
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