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Illustrated first edition of the Dutch translation of "Der goldene Thron", intended for women & men

OTTO VAN PASSAU.
Boeck des gulden throene of der xxiiij ouden.

With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross.

With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross.

With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross.

With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross.

With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross.



Utrecht, [printer with monogram "tC"], (30 March) 1480. Folio. Contemporary (Utrecht?) blind-tooled calf over wooden boards, each board in a panel design with the central part ruled in a lozenge pattern with about 200 impressions of 4 small separate stamps; re-backed, with modern morocco title label. With 24 illustrations in text (ca. 9 x 6.2 cm), printed from 1 complete woodcut (plus 4 repeats) and 15 components assembled in different combinations, all rubricated and with architectural frames. The book has no printed initials, but spaces for manuscript initials, which have been filled with letters in the uncial style. Each of the 24 chapters begins with a large initial (the first 5-line with a penwork face in profile and further 4-line), 11 with two or more colours (mostly with penwork decoration extending into the margin), and others with interior white decoration. A smaller (2-line) initial with penwork extending into the margin opens the book's first page and there are numerous further 1-line and 2-line initials. Set in a textura type with capitals rubricated throughout. Woodcut printer's device at the end: a date palm tree with monogram "tC" (6.5 x 5.5 cm), the "t" perhaps also (or instead) representing a cross. [4], 197 ll.

First Dutch edition of Otto van Passau's devotional work (dated 20 days after the original German edition), the first Dutch book extensively illustrated with woodcuts. The Gouda Dialogus Creaturarum was published a month or two later, in June 1480.
Each of the 24 chapters opens with a woodcut illustration, showing a pious woman (the loving soul) taking advice from a king (the 24 elders of the Apocalypse). The first, with text "O mynende siel", shows a complete scene with buildings in the background and God the Father enthroned in the heavens above them. It is repeated for four other chapters. The other 19 illustrations are assembled from separate woodcuts, each using one of 5 different Gothic architectural frames, 6 different kings and 5 different women to make a wide variety of combinations, the woman standing or kneeling, the king standing or sitting.
The woodcuts first appeared in Utrecht and somewhat later in Gouda. In each chapter one of 24 biblical wise men (the elders of the Apocalypse) teaches the soul how to live as a good Christian. The series of wise men begins with Moses and Aron and ends with Samuel, Benjamin and Manasse. At the end is a woodcut printer's device: a date palm tree and two blank shields intended for coats-of-arms, with the monogram "tC" (formerly misread as "Gl", so that the book was incorrectly attributed to the Utrecht printer Gerard de Leempt), though one might wonder if it is simply a cross with a "C" for Christ. Only three more books printed by the printer with the "tC" monogram are known: two printings of the Sielen Troost (7 May and 10 November 1479) and the Wech der Syelen Salicheyt (Utrecht, 13 January 1480).
Our title, the last book known from this press, is finely printed in two columns in a broad bastarda type with 31 lines to a column, and with running heads giving chapter titles, and leaf numbers in Roman numerals. The first four unnumbered leaves, [i]-[iv] contain the table of contents ("Dit is die tafel vanden navolghenden boeck des gulden thrones of der xxiiii ouden ...") and prologue (fol. iiir, col. 2, beginning "Sanctus iohannes ewangelista sach inden boeke der godlyker openbaeringhe ..."). The text begins on fol. ivv, col. 2: "Die eersten ouden heet Moses ..." followed by the first woodcut on fol. 1r, with text beginning "Die alre eerste oude wijst u selver dat ghy voer aen bedencken selt ...". Our copy is richly and beautifully adorned with decorated initials supplied by hand and is rubricated throughout.
The Franciscan theologian Otto von Passau apparently entered the Franciscan order in Alsace. He was reading master, lector and custos of the Franciscan convent at Basel (1362-85). In 1384 he was active as visitator and reformer of the Convent of Poor Clares in Königsfelden. He finished writing his present most important and edifying work, the German vernacular Die vierundzwanzig Alten oder der goldene Thron der minnenden Seele, in Basel on 1 February 1386. It is a compilation of sentences and lessons, providing a full doctrine of Christian life and faith in 24 chapters, each covering a moral or religious theme or 'road' enabling the soul to reach a golden throne that is reserved for the soul in Paradise. These 24 treatises are 'delivered' by the 24 elders of the Apocalypse.
The work was immensely popular and there are many manuscripts and early editions in both German and Dutch. Our first edition of the Dutch translation is of the utmost importance for the history of the text: serving as the source for all subsequent Dutch editions (as well as manuscripts). From the very beginning, the work contained indexes and cross references, making it suitable for meditative reading and consultation. According to Otto's prologue to Der gulden Tron, the work was meant as a guide for meditation and contemplation for "alle gotz frunde, geistlich und weltlich, edel unde (un)edel, frouwen und man". Otto argues for frequent communion (chapter 11) and frequent reading of the Holy Scripture (chapter 14). He also defends the immaculate conception (chapter 12) and stresses the conversion of the soul through imitation of Christ's poverty (chapters 6 & 20). The work extensively influenced fifteenth-century sermon cycles and meditative manuals, and continued to be read until the nineteenth century.

Some library stamps at foot of first leaf ("Ex Bibliotheca Acad. Georgiae Augustae", "Biblotheca Ducalis Gothana 1799" and "Dupl(icate) Bibl. Gott. vend."); some tears and small holes in leaves repaired, first and last leaves thumbed); final blank lacking. Rebacked, and with the leather restored where the fastenings were formerly attached. Beautiful large-margined copy from the Broxbourne Library (bookplate at the end); another bookplate with coat of arms (arm holding a trident emerging from the sea) and motto "Pro viribus summis contendo" pasted to the inside front board.
BMC IX, p. 14; Campbell 1342; Goff O-124; Hain 12131; HPT I, p. 47; IDL 3462; ILC 1674; Oates 3331; Polain (B) 2940; Proctor 8861; Schmidt, Die vierundzwanzig Alten Ottos von Passau (Leipzig 1938); 500ste verjaring boekdrukkunst in de Nederlanden (Exh. Utrecht/Brussels 1973), 153.

Related Subjects: Devotion  Education  Incunabula  Utrecht  Woodcuts 

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