Die geuerlicheiten und einsteils der Geschichten des loblichen streytparen und hochberümbten helds und Ritters Herr Tewrdannckhs. At end (A8vo) : Gedruckt in der Kayserlichen Stat Nürnberg durch den Eltern Hannsen Schönsperger Burger zü Augspurg.

One of the most precious books in the West. The Brunet copy was sold for 6 600 F Or,
a book of bibliophily being negotiated then from 6 F Or.

" The tallest copy to be offered in over 50 years. "

" First edition of one of the finest illustrated books of the German Renaissance.
This allegorical poem celebrates the exploits and heroic deeds of Emperor Maximilian represented as Theuerdank, as he overcomes the difficulties on his journey to win his bride, Mary of Burgundy, Konigin Ernreich in the poem. It forms part of a trilogy, along with Weisskunig and Fredsal, elaborating Maximilian's life, but Theuerdank was the only one to be published during the emperor's lifetime. "

The largest complete copy recorded (height 375 mm).

Nürnberg, 1st March 1517.

Pfintzing, Melchior / Maximilien Ier. Theuerdank.
Die geuerlicheiten und einsteils der Geschichten des loblichen streytparen und hochberümbten helds und Ritters Herr Tewrdannckhs. At end (A8vo) : Gedruckt in der Kayserlichen Stat Nürnberg durch den Eltern Hannsen Schönsperger Burger zü Augspurg.
Nuremberg: Johann Schönsperger, [1 Mar.1517].

German gothic letter.
Folio. 290 leaves. 24 lines. Gothic (fraktur) type, abundantly flourished, xylographic title, 118 large numbered woodcuts by Jost de Negker and Heinrich Kupferworm after Leonhard Beck, Hans Burgkmair, Hans Schäufelein, and possibly three others. Printed correction slip on A6r. with the blank P5. Panels of contemporary German tooled calf laid down onto calf over wooden boards, two clasps, some worming in last few quires. Formerly restored binding.

375 x 265 mm.

First edition of one of the finest illustrated books of the German Renaissance.
Brunet, V, 767, Supp. II. 753 ; Dogson (as below) ; Passavant, III, p. 231 ; Muther 845 ; Proctor 11180 ; Panzer, D. Ann. 885 ; Van Praet, Bibl. du Roi, IV. 233-6 ; Dibdin, Decam., I. 200-3. The only book printed by Schönsperger at Nürnberg.

This allegorical poem celebrates the exploits and heroic deeds of Emperor Maximilian represented as Theuerdank, as he overcomes the difficulties on his journey to win his bride Mary of Burgundy, Konigin Ernreich in the poem. It forms part of a trilogy, along with Weisskunig and Fredsal, elaborating Maximilian's life, but Theuerdank was the only one to be published during the emperor's lifetime.

"Allegorical and chivalrous poem, composed by Melchior Pfinzing on the occasion of the marriage of Maximilian I with the princess Marie of Burgundy. The curious seek out this edition and the next, not only because of the 118 beautiful woodcuts, after the drawings of Hans Schauffelein (by Jost von Negker and others), with which they are illustrated, but also because of the extraordinary characters with which the text is printed; characters decorated with bold strokes intertwined with each other, and which represent in a marvelous way a beautiful German writing. (Brunet, V, 767).

The Heroic Life of Sir Theuerdank:
The many steps taken by Emperor Maximilian I to cement his legacy include his plan to rewrite the epic of his own life in several works. Of these, only Die geuerlicheiten vnd einsteils der geschichten des loblichen streytparen vnd hochberümbten helds vnd Ritters herr Tewrdannckhs (The Heroic Life of Sir Theuerdank) was completed.
In 1517 Johann Schönsperger, a printer from Nuremberg, produced the first very small printing, which was to be delivered to other princes and kings after the emperor's death. Written by Melchior Pfintzing and based on documents provided by Emperor Maximilian, the book recounts the adventures of Sir Theuerdank (Maximilian) who, on a journey to join his wife, the beautiful Lady Ernreich (Mary of Burgundy), had to face and overcome 80 obstacles. Each of the 118 chapters is illustrated with a xylograph (woodcut). The preparatory drawings for these xylographs were created by the artists Leonhard Beck, Hans Schäufelein and Hans Burgkmair the Old. The black typeface of the book, designed by calligrapher Vinzenz Rockner, was to have a great influence in the development of German typography.

"Theuerdank is both of great historical importance and of exceptional beauty, and yet, until now, only black-and-white works, now all out of print, have been published in full. A few sixteenth-century originals without color occasionally resurface to fetch prices up to nearly €40,000."

Title in four lines of large gothic letter probably cut on wood, verso blank. Dedication to Charles V on a2, ending on verso with Pfintzing's name, describing himself as chaplain to Charles and provost of S. Alban's, Mainz, and of S.Sebald's, Nürnberg. Dated from Nürnberg, 1 Mar. 1517 (in words). Charles V is described at foot of page as king of Spain, archduke of Austria and duke of Burgundy.
The Poem begins on a3 and ends on P4 with the 117th cut, the verso blank. P5, which is a leaf entirely blank, follows, and then on P6, " Der beschluss diser History… " (two lines and cut 118) consisting of 3 ½ more pages of the Poem, the verso of P8 being blank. Then on next page (A1) another address to Charles with the same date as before. On verso follows an explanation of the names of the characters in the poem : Künig Romreich (Charles the Bold), Die Künigin Ernreich (his daughter Mary of Burgundy), Der Held Tewrdannck (Maximilian I), Der Ernhold (Honour), Drey hawbtlewt (captains or commanders), namely, Fürwittig, Onfalo and Neydelhart (restless Curiosity, Misfortune, Envy). The only indications given of the real names of the first three personages are initials : H.C.V.B., E.M.H.Z.B., K.M.E.Z.O.V.B., which presumably stand respectively for Herzog Carl Von Burgund, Edel Maria Herzogin Zu Burgund, Kaiser Maximilian Erzherzog Zu Osterreich Von Burgund.
This ends on A2vo. and is immediately followed by the titles of sections or chapters 1-116, terminating with six lines of colophon on A8 vo. There is no date in the colophon but it is found in both addresses to Charles V as above.
This work, as is well-known, celebrates the exploits and heroic feats of the emperor Maximilian in overcoming difficulties attending him on his journey for and with his bride Mary of Burgundy. He himself had a considerable share in the composition of the poem, and, in fact, had made the first drafts in 1505-8, and by 1512, with the assistance of Dietrichstein, a large part of the work was already written. The finishing and general editing was then undertaken by Maximilian's private secretary M. Pfintzing (1481-1535).

This edition is to be considered as a privately printed book, not intended for sale. It seems that no copies passed out of the possession of Maximilian until some time after his death, for the whole stock of copies lay in six chests at Augsburg until March 1526, when the Archduke Ferdinand decided to distribute, through Marx Treitzsauerwein, the contents of five of the chests to different German subjects as memorials of the late Emperor. The other chestful the archduke kept for himself.

Maximilian died 12 Jan. 1519 and Schönsperger in the same year, soon after the publication of the third edition.
The printer is supposed to have been brought to Nürnberg from Augsburg for the purpose of printing the work, as it is the only one of his with the name of the latter town in the colophon. The type, which has extraordinary added flourishes, appears to have been specially made for this book. It is said that the patterns for the type were written by Vincenz Röckner, the emperor's " court-secretary ".
On the recto of last leaf is an omission in line 13 which has been supplied by the original printer on a slip of paper and pasted in the blank space at end of line. The omitted words are: " die dem gemeld gleich beschehen sein " Another in-stance is in line 5 from foot of A6 vo. (Table): " auch auf dem land. "
The paper from sig. p onwards appears to have been specially made, for the watermark is a large double eagle with arms of Austria and Burgundy. Before sig. p the watermark is a kind of anchor within a circle.
Each of the 118 remarkable woodcuts has a number in type below, and measures about 160 x 140, this edition perhaps containing the finest impressions. The same blocks were used in the subsequent editions, Augsburg, Frankfurt, Ulm (last, Ulm 1693), and were probably afterwards dispersed. Several blocks were used singly in different books printed by Steiner, see n° 80, 344, and Dodgson, who also notes the existence of impressions of 44 of the cuts (without text) later than the 1st edition.
The entire series used to be assigned to Schäufelein, some of the cuts being signed with his mark, but researches in recent years show that, more reasonably, the set is the work of several hands. The artists are given below in the order of importance as regards the number of cuts they have done for this book.

- Leonhard Beck (died 1542), 77 cuts. N°1-9, 11, 12, 15, 17-19, 23,24 , 27-9, 33, 35, 37, 41, 43, 51-6, 59, 60, 62, 64-8, 71, 73-8, 80-6, 88-101, 103-4, 106-8, 110-12, 116-17. (Dodgson II, p. 123-5). (Beck also inserted new heads or figures or made other corrections in the following N° : 13, 14, 16, 21, 26, 30, 31, 32, 39, 45, 46, 49, 50, 57, 58, 63, 70, 72, 87. This was done by plugging the block : see other instances in Dodgson I, p. 254. To these should be added cuts 33 & 118).

- Hans Leonhard Schäufelein (c. 1480-1539 or 40), 20 cuts, N°10,13, 16, 21, 26, 30, 32, 39, 42, 45, 46, 48, 50, 57, 58, 69, 70, 72, 87, 105. (Dodgson II, p. 7-8).

- Hans Burgkmair (1473-1531), 13 cuts. N°22, 36, 44, 47, 49, 61, 63, 102, 109, 113-15, 118 (Dodgson II, p. 58-9).

- Erhard Schön (fl 1515-50), N° 20, 34, 38. (Dodgson I, p. 419)

- Wolfgang Traut (fl. 1514-20), N°40, 79. (Dodgson I, p. 504)

- The Master N. H. (fl. 1516-26), N°14. (Dodgson II, p. 198)

- Hans Weiditz (fl. 1518-36), N°25 (not 23) : doubtful. (Dodgson II, p. 147)

- Jörg Breu I. (c. 1480-1537), N°31. (Dodgson II, p. 109).

The only cuts that are signed are n°13, 30, 39, 42, 48, 58, 69, 70, viz., ├S┤with shovel (Schäufelein), but in N° 30 & 70 the monogram is partially cut away from the block. The other signature is that of Burgkmair, HB, which is seen above the arched doorway in cut n°113.
The monogram of one of the woodcutters, Jost de Negker of Augsburg, was on block 70 (visible on early proofs) but it is now mostly cut away as well as that of Schäufelein. J. de Negker's 10 assistants (see names in Dodgson II, 208) may have helped in the present work, but it is not known for certain.
One may note the following details in the cuts : 7, a " bag "-binding ; 11, 18, 91, 92, the Burgundy badges : 15, 62, spiked boots for climbing ; 39, Austrian arms on cannon ; 73, 86 a heating stove ; 79, fire-arms ; 94, peasants with trenching implements ; 103, 105, &c. tournaments.
In connection with the question of Maximillian himself having any hand in the designing of these cuts, one naturally recalls the incident of the charcoal pencil breaking in the Emperor's fingers when sketching for Durer's instruction, as recorded by Melanchton. No doubt the Emperor indicated the manner in which he required himself represented in each cut and the alterations made on the blocks were according to his own order.
Reproductions are found as follows: N°13. Dutuit Catal. P. 142; 14, 111, Jackson & Chatto. pp. 284-5; reduced and inexact ; 25, Röttinger, Weiditz, pl. I, reduced; 26,32, Muther, pl. 162-3, from1519 edition (called 1517 in list) ; 60, 70, Leighton's Catal. pp. 1495, 1494, reduced (1537 edition); 102, 104, Huphreys, Art of Printing, pl. 71, 70, slightly reduced.
The entire work was published in facsimile by the Holbein Society in 1884 (1519 edition) and by Laschitzer in 1888.
Collation : -a-c8, d6, e-h8, i6, k-n8, o6, pq8, r6, st8, u6, xy8, z6, AB8, C6, DE8, F6, GH8, I6, KL8, M6, N8, O6, P8, A8 = 290 leaves, unnumbered. P5 is a blank leaf.

This first edition was issued in probably 300 paper copies and around 40 copies on vellum for distribution by the Emperor, and not all of these contained the clavis or key to the illustrations (quire [2]A8, present in this copy).

"A large part of the copies that have come down to us are poorly preserved, or the last eight leaves are missing." (Brunet).

This bibliographer cites the most beautiful copies that appeared on the market in the 19th century: ex. Camus de Lemarc, height 349 mm; A. F. Didot, height 373 mm, the largest quoted and described "of the greatest beauty". The personal copy of Mr. Brunet was sold at the astonishing price of 6 600 F Or, a bibliophile book being negotiated at that time from 6 F Or.

An exceptional copy, the largest recorded (height 375 mm compared to 352 mm for the very fine Fairfax Murray copy), absolutely complete with the blank leaf p5 and the last 8 leaves. The German binding in blind-stamped calf - restored - is very pleasant.

French

Nuremberg: Johann Schönsperger, [1 Mar.1517].

German gothic letter.

Folio. 290 leaves. 24 lines. Gothic (fraktur) type, abundantly flourished, xylographic title, 118 large numbered woodcuts by Jost de Negker and Heinrich Kupferworm after Leonhard Beck, Hans Burgkmair, Hans Schäufelein, and possibly three others. Printed correction slip on A6r. with the blank P5. Panels of contemporary German tooled calf laid down onto calf over wooden boards, two clasps, some worming in last few quires. Reliure anciennement restaurée.

375 x 265 mm.

First edition of one of the finest illustrated books of the German Renaissance.

Brunet, V, 767, Supp. II. 753 ; Dogson (as below) ; Passavant, III, p. 231 ; Muther 845 ; Proctor 11180 ; Panzer, D. Ann. 885 ; Van Praet, Bibl. du Roi, IV. 233-6 ; Dibdin, Decam., I. 200-3. The only book printed by Schönsperger at Nürnberg.

This allegorical poem celebrates the exploits and heroic deeds of Emperor Maximilian represented as Theuerdank, as he overcomes the difficulties on his journey to win his bride Mary of Burgundy, Konigin Ernreich in the poem. It forms part of a trilogy, along with Weisskunig and Fredsal, elaborating Maximilian's life, but Theuerdank was the only one to be published during the emperor's lifetime.

" Poème chevaleresque et allégorique, composé par Melchior Pfinzing à l'occasion du mariage de Maximilien Ier avec la princesse Marie de Bourgogne. Les curieux recherchent cette édition et la suivante, non-seulement à cause des 118 belles estampes gravées sur bois, d'après les dessins de Hans Schauffelein (par Jost von Negker et autres), dont elles sont ornées, mais encore par rapport aux caractères extraordinaires avec lesquels le texte y est imprimé ; caractères ornés de traits hardis entrelacés les uns dans les autres, et qui figurent d'une manière merveilleuse une belle écriture allemande. " (Brunet, V, 767).

La vie héroïque de Sir Theuerdank :

Les multiples démarches entreprises par l'empereur Maximilien Ier pour cimenter son héritage incluent son projet de réécriture de l'épopée de sa propre vie en plusieurs ouvrages. Parmi ces derniers, seul Die geuerlicheiten vnd einsteils der geschichten des loblichen streytparen vnd hochberümbten helds vnd Ritters herr Tewrdannckhs (La vie héroïque de sir Theuerdank) fut achevé.

En 1517, Johann Schönsperger, un imprimeur de Nuremberg, réalisa la première impression à très petit tirage qui devait être livrée aux autres princes et souverains après la mort de l'empereur. Écrit par Melchior Pfintzing et inspiré des documents fournis par l'empereur Maximilien, l'ouvrage relate les aventures de sir Theuerdank (Maximilien) qui, lors d'un voyage pour rejoindre son épouse, la belle Lady Ernreich (Marie de Bourgogne), dut affronter et surmonter 80 obstacles. Chacun des 118 chapitres est décoré d'un xylographe (gravure sur bois). Les dessins préparatoires de ces xylographes furent créés par les artistes Leonhard Beck, Hans Schäufelein et Hans Burgkmair l'Ancien. Le type de caractère noir de l'ouvrage, conçu par le calligraphe Vinzenz Rockner, allait avoir une grande influence dans le développement de la typographie allemande.

" Theuerdank est à la fois d'une importance historique capitale et d'une exceptionnelle beauté, et pourtant, jusqu'ici, on ne trouvait en publication intégrale que des ouvrages en noir et blanc, aujourd'hui tous épuisés. Quelques originaux du XVIe siècle sans couleurs refont parfois surface pour atteindre des prix s'élevant jusqu'à près de 40 000 €. "

Title in four lines of large gothic letter probably cut on wood, verso blank. Dedication to Charles V on a2, ending on verso with Pfintzing's name, describing himself as chaplain to Charles and provost of S. Alban's, Mainz, and of S.Sebald's, Nürnberg. Dated from Nürnberg, 1 Mar. 1517 (in words). Charles V is described at foot of page as king of Spain, archduke of Austria and duke of Burgundy.

The Poem begins on a3 and ends on P4 with the 117th cut, the verso blank. P5, which is a leaf entirely blank, follows, and then on P6, " Der beschluss diser History… " (two lines and cut 118) consisting of 3 ½ more pages of the Poem, the verso of P8 being blank. Then on next page (A1) another address to Charles with the same date as before. On verso follows an explanation of the names of the characters in the poem : Künig Romreich (Charles the Bold), Die Künigin Ernreich (his daughter Mary of Burgundy), Der Held Tewrdannck (Maximilian I), Der Ernhold (Honour), Drey hawbtlewt (captains or commanders), namely, Fürwittig, Onfalo and Neydelhart (restless Curiosity, Misfortune, Envy). The only indications given of the real names of the first three personages are initials : H.C.V.B., E.M.H.Z.B., K.M.E.Z.O.V.B., which presumably stand respectively for Herzog Carl Von Burgund, Edel Maria Herzogin Zu Burgund, Kaiser Maximilian Erzherzog Zu Osterreich Von Burgund.

This ends on A2vo. and is immediately followed by the titles of sections or chapters 1-116, terminating with six lines of colophon on A8 vo. There is no date in the colophon but it is found in both addresses to Charles V as above.

This work, as is well-known, celebrates the exploits and heroic feats of the emperor Maximilian in overcoming difficulties attending him on his journey for and with his bride Mary of Burgundy. He himself had a considerable share in the composition of the poem, and, in fact, had made the first drafts in 1505-8, and by 1512, with the assistance of Dietrichstein, a large part of the work was already written. The finishing and general editing was then undertaken by Maximilian's private secretaray M. Pfintzing (1481-1535).

This edition is to be considered as a privately printed book, not intended for sale. It seems that no copies passed out of the possession of Maximilian until some time after his death, for the whole stock of copies lay in six chests at Augsbourg until March 1526, when the Archduke Ferdinand decided to distribute, through Marx Treitzsauerwein, the contents of five of the chests to different German subjects as memorials of the late Emperor. The other chestful the archduke kept for himself.

Maximilian died 12 Jan. 1519 and Schönsperger in the same year, soon after the publication of the third edition.

The printer is supposed to have been brought to Nürnberg from Augsburg for the purpose of printing the work, as it is the only one of his with the name of the latter town in the colophon. The type, which has extraordinary added flourishes, appears to have been specially made for this book. It is said that the patterns for the type were written by Vincenz Röckner, the emperor's " court-secretary ".

On the recto of last leaf is an omission in line 13 which has been supplied by the original printer on a slip of paper and pasted in the blank space at end of line. The omitted words are: " die dem gemeld gleich beschehen sein " Another in-stance is in line 5 from foot of A6 vo. (Table): " auch auf dem land. "

The paper from sig. p onwards appears to have been specially made, for the watermark is a large double eagle with arms of Austria and Burgundy. Before sig. p the watermark is a kind of anchor within a circle.

Each of the 118 remarkable woodcuts has a number in type below, and measures about 160 x 140, this edition perhaps containing the finest impressions. The same blocks were used in the subsequent editions, Augsburg, Frankfurt, Ulm (last, Ulm 1693), and were probably afterwards dispersed. Several blocks were used singly in different books printed by Steiner, see n° 80, 344, and Dodgson, who also notes the existence of impressions of 44 of the cuts (without text) later than the 1st edition.

The entire series used to be assigned to Schäufelein, some of the cuts being signed with his mark, but researches in recent years show that, more reasonably, the set is the work of several hands. The artists are given below in the order of importance as regards the number of cuts they have done for this book.

- Leonhard Beck (died 1542), 77 cuts. N°1-9, 11, 12, 15, 17-19, 23,24 , 27-9, 33, 35, 37, 41, 43, 51-6, 59, 60, 62, 64-8, 71, 73-8, 80-6, 88-101, 103-4, 106-8, 110-12, 116-17. (Dodgson II, p. 123-5). (Beck also inserted new heads or figures or made other corrections in the following N° : 13, 14, 16, 21, 26, 30, 31, 32, 39, 45, 46, 49, 50, 57, 58, 63, 70, 72, 87. This was done by plugging the block : see other instances in Dodgson I, p. 254. To these should be added cuts 33 & 118).

- Hans Leonhard Schäufelein (c. 1480-1539 or 40), 20 cuts, N°10,13, 16, 21, 26, 30, 32, 39, 42, 45, 46, 48, 50, 57, 58, 69, 70, 72, 87, 105. (Dodgson II, p. 7-8).

- Hans Burgkmair (1473-1531), 13 cuts. N°22, 36, 44, 47, 49, 61, 63, 102, 109, 113-15, 118 (Dodgson II, p. 58-9).

- Erhard Schön (fl 1515-50), N° 20, 34, 38. (Dodgson I, p. 419)

- Wolfgang Traut (fl. 1514-20), N°40, 79. (Dodgson I, p. 504)

- The Master N. H. (fl. 1516-26), N°14. (Dodgson II, p. 198)

- Hans Weiditz (fl. 1518-36), N°25 (not 23) : doubtful. (Dodgson II, p. 147)

- Jörg Breu I. (c. 1480-1537), N°31. (Dodgson II, p. 109).

The only cuts that are signed are n°13, 30, 39, 42, 48, 58, 69, 70, viz., ├S┤with shovel (Schäufelein), but in N° 30 & 70 the monogram is partially cut away from the block. The other signature is that of Burgkmair, HB, which is seen above the arched doorway in cut n°113.

The monogram of one of the woodcutters, Jost de Negker of Augsburg, was on block 70 (visible on early proofs) but it is now mostly cut away as well as that of Schäufelein. J. de Negker's 10 assistants (see names in Dodgson II, 208) may have helped in the present work, but it is not known for certain.

One may note the following details in the cuts : 7, a " bag "-binding ; 11, 18, 91, 92, the Burgundy badges : 15, 62, spiked boots for climbing ; 39, Austrian arms on cannon ; 73, 86 a heating stove ; 79, fire-arms ; 94, peasants with trenching implements ; 103, 105, &c. tournaments.

In connection with the question of Maximillian himself having any hand in the designing of these cuts, one naturally recalls the incident of the charcoal pencil breaking in the Emperor's fingers when sketching for Durer's instruction, as recorded by Melanchton. No doubt the Emperor indicated the manner in which he required himself represented in each cut and the alterations made on the blocks were according to his own order.

Reproductions are found as follows: N°13. Dutuit Catal. P. 142; 14, 111, Jackson & Chatto. pp. 284-5; reduced and inexact ; 25, Röttinger, Weiditz, pl. I, reduced; 26,32, Muther, pl. 162-3, from1519 edition (called 1517 in list) ; 60, 70, Leighton's Catal. pp. 1495, 1494, reduced (1537 edition); 102, 104, Huphreys, Art of Printing, pl. 71, 70, slightly reduced.

The entire work was published in facsimile by the Holbein Society in 1884 (1519 edition) and by Laschitzer in 1888.

Collation : -a-c8, d6, e-h8, i6, k-n8, o6, pq8, r6, st8, u6, xy8, z6, AB8, C6, DE8, F6, GH8, I6, KL8, M6, N8, O6, P8, A8 = 290 leaves, unnumbered. P5 is a blank leaf.

This first edition was issued in probably 300 paper copies and around 40 copies on vellum for distribution by the Emperor, and not all of these contained the clavis or key to the illustrations (quire [2]A8, present in this copy).

" Une grande partie des exemplaires qui nous sont parvenus se trouvent mal conservés, ou bien il y manque les huit derniers feuillets. " (Brunet).

Ce bibliographe cite les plus beaux exemplaires parus sur le marché au XIXe siècle : ex. Camus de Lemarc, hauteur 349 mm ; A. F. Didot, hauteur 373 mm, le plus grand cité et décrit " de la plus grande beauté ". L'exemplaire personnel de M. Brunet fut vendu au prix ahurissant de 6 600 F OR, un livre de bibliophilie se négociant alors à compter de 6 F OR.

Exceptionnel exemplaire, le plus grand répertorié (hauteur 375 mm contre 352 mm pour le très bel exemplaire Fairfax Murray), absolument complet du feuillet blanc P5 et des 8 derniers feuillets. La reliure allemande en veau estampé à froid - restaurée - est fort agréable.