Seconda etas mundi.

Appearing in the famous Nuremberg Chronicle, this woodcut map by Hartmann Schedel is both an aesthetic and historic document of great significance. Published just 40 years after the invention of printing, the Schedel presents the world just prior to Columbus's voyage and the rounding of the Cape of Good Hope.
As such, it is one of the great bridges in cartographic history, displaying the intersection of the theological and legend-based Medieval world view with the emerging scientific orientation of the Renaissance.

Shirley calls the Nuremberg Chronicle "one of the most remarkable books of its time. The text is an amalgam of legend, fancy, and tradition interspersed with the occasional scientific fact or authentic piece of modern learning." The general shape of the map shows the influence of the most important geographical work of antiquity, Ptolemy's Geographia, which had been forgotten during the Middle Ages.
Many medieval notions are nevertheless incorporated and the Indian Ocean is shown in its land-locked, pre-discovery state.
"The border contains twelve dour wind heads while the map is supported in three of its corners by the solemn figures of Ham, Shem and Japhet taken from the Old Testament. What gives the map its present-day interest and attraction are the panels representing the outlandish creatures and beings that were thought to inhabit the furthermost parts of the earth. There are seven such scenes to the left of the map and a further fourteen on its reverse" -- Shirley.
Some of these bizarre individuals were thought to be inhabit the so-called kingdoms of Gog and Magog in northern Asia.
Page from the richest illustrated Incunable, the famous: Liber chronicarum or Nuremberg Chronicle, published the year that Columbus returned to Europe after discovering America.
The woodblock cutters were Michael Wolgemut, the well-known teacher of Albrecht Dürer, and his stepson Wilhelm Pleydenwurff. Wohlgemut was Albrecht Dürer's tutor between 1486-90 and recent scholarship has shown, Albrecht Dürer may also have collaborated, since some of the cuts bear a remarkably close resemblance to the Apocalypse illustrations.
The printing was carried out under the supervision of the great scholar-printer Anton Koberger, whose printing were famous throughout Europe
A opportunity to acquire a 15th-century book illustration by named artists.!