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Hieronymus Andreae, or Andreä, or Hieronymus Formschneider,〔"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 (Resch or Rösch ). His surname is also spelled Andre, Andreae, Enderlin, Enndres; or Grapheus. 〕 (died 7 May 1556) was a German woodblock cutter ("formschneider"), printer, publisher and typographer closely associated with Albrecht Dürer. Andreae's best known achievements include the enormous, 192-block Triumphal Arch woodcut, designed by Dürer for Maximilian I, Holy Roman Emperor,〔Landau and Parshall, 207-209〕 and his design of the characteristic German "blackletter" Fraktur typeface ("Gothic" to most English-speakers), on which German typefaces were based for several centuries.〔David C. Greetham, (''Textual Scholarship: An Introduction'' ), p.234, (reprint) Routledge, 1994, ISBN 0-8153-1791-3, ISBN 978-0-8153-1791-3〕 He was also significant as a printer of music. In the opinion of Adam von Bartsch, although Andreae never designed woodcuts (as opposed to designing typefaces), the quality of his work was such that he, along with Hans Lützelburger and Jost de Negker, should be considered an artist.〔''Triumph of the Emperor Maximilian I'', Adam von Bartsch, (reprint by BiblioBazaar, LLC, 2008 (online) ), ISBN 0-554-43458-X, 9780554434582〕 ==Life and work== There is some evidence that he matriculated at the University of Leipzig in 1504, although this might also mean that he worked for the university rather than being a student.〔Landau and Parshall, 216〕 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 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 Christoph Gottlieb von Murr, Emperor Maximilian regularly dropped into Andreae's workshop on his visits to Nuremberg:〔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.〕 ....this Hieronymous resided in Breite Gasse, in this city, and his quarters extended in the rear to Frauengässlein ("Women's Alley" ). It was he who cut most of Albrecht Dürer's designs into blocks, among them Dürer's "Triumphal Chariot" ("Car" ) 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"."〔Quoted (Stanford University ). 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.〕 He worked as blockcutter on the ''Triumphal Arch'' 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 ''Great Triumphal Car'' 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 ''Car'', 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.〔B Stanley Boorman, et al. "Printing and publishing of music." Grove Music Online. Oxford Music Online. 9 Mar. 2009 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 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 Dürer's Rhinoceros 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 ''Art of measurement'' (1525) - and Fortification (1527), and Human Proportions (1528, for Dürer's widow). 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 British Museum (W 899) inscribed by the artist "Fronica 1525 Formschneiderin" may be of Andreae's wife (Veronica), as an old inscription on the back says.〔Both points from (Searchable Heath biography )〕 He was buried in St John's Church in Nuremberg. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Hieronymus Andreae」の詳細全文を読む スポンサード リンク
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