Books from a 15th-Century Assembly Line

For many cen­tur­ies, books were made to order: at the request of a prince or high-rank­ing cler­gy­man, a monk sat daily in the “scrip­tori­um” with a tem­plate beside him and a sheet of parch­ment before him, writ­ing text with a quill and ink. A com­plete Bible took about two years to pro­duce and was accord­ingly expens­ive. Illus­tra­tions were rare, as it was a mat­ter of luck wheth­er the scribe was also a skilled artist – and hir­ing a ded­ic­ated mini­ature paint­er only made the book even pri­ci­er.

But times were chan­ging. By the end of the 14th cen­tury, a wealthy bour­geois­ie emerged – people who could read and write, hungry for edu­ca­tion and enter­tain­ment. For the first time, a por­tion of the pop­u­la­tion enjoyed “leis­ure time.” The tra­di­tion­al made-to-order pro­duc­tion was too expens­ive and too slow to meet the demands of this grow­ing middle class.

Books in Continuous Production

Shortly after 1400, the first book man­u­factor­ies appeared in South­ern Ger­many, solv­ing these prob­lems with advanced pro­duc­tion meth­ods. The work­shop of Diebold Lauber in Hagenau, Alsace, was the most suc­cess­ful of its time. Diebold prac­ticed an effi­cient, highly organ­ized form of book­mak­ing: he out­sourced work to paid scribes and main­tained a per­man­ent staff of over a dozen illus­trat­ors. Over nearly 50 years, he estab­lished his man­u­fact­ory with seri­ally pro­duced manu­scripts. They were richly illus­trated, but unlike the illu­min­ated mas­ter­pieces of the past, the draw­ings were some­what coarse and hast­ily executed. How­ever, he could offer them at a much lower price.

To sell his wares, he main­tained a dis­tri­bu­tion net­work, selling books at fairs and mar­kets that he had pro­duced in advance for stock. He even had a remark­ably mod­ern mar­ket­ing idea: self-advert­ise­ments with­in the books that told read­ers exactly where to find more. His cata­log was advert­ised in detail or, as seen here, quite briefly:

„Item zuo Hagenowe vil hüb­scher büch­er geist­lich oder welt­lich gemolt by diebold louber schriber vnd guote lat­in­is­che büchere“Also in Hagenau, many beau­ti­ful books, spir­itu­al or sec­u­lar, illus­trated by Diebold Lauber, scribe, and good Lat­in books.

Lauber lis­ted about 45 titles from nearly all branches of lit­er­at­ure. Most were long-beloved clas­sics; he took no risks with “mod­ern lit­er­at­ure.” Many were in Ger­man, such as Wolfram von Eschenbach’s Par­ziv­al or Kon­rad von Megenberg’s Buch der Natur.

The “Hagenau Style” as a Brand

The typ­ic­al, col­or­ful illus­tra­tions in the books from the Hagenau man­u­fact­ory were inten­tion­ally kept simple. Faces were drawn quickly yet remained express­ive. One could imme­di­ately recog­nize where the works came from; they were part of a “Cor­por­ate Design.” A buy­er would instantly know: “Ah, a genu­ine Lauber!”

The Ten Tribes of Israel, His­tory Bible by Diebold Lauber, c.1445

A spe­cialty of the Hagenau work­shop was the His­tori­enbibel (His­tory Bible) – free adapt­a­tions of bib­lic­al mater­i­al in ver­nacu­lar prose, spe­cific­ally the Alsa­tian dia­lect. These were still expens­ive works made to order, pro­duced more care­fully than his “mass-mar­ket” items. They offered great prestige, often giv­en as wed­ding gifts or pur­chased as self-rewards.

The History Bible – The Tesla of the Renaissance

One such “edu­cated cit­izen” at the dawn of the mod­ern era was Hans vom Staal
(c. 1419–1499), a city clerk from Solo­thurn and a skilled dip­lo­mat. Around 1460, he com­mis­sioned a massive His­tori­enbibel from Lauber, nat­ur­ally equipped with elab­or­ately colored images. It depic­ted bib­lic­al stor­ies but also clas­sic­al tales from the life of Alex­an­der the Great – just as Mr. vom Staal reques­ted.

A Look Ahead
Diebold’s book man­u­fact­ory oper­ated in Hagenau, just about 30 kilo­met­ers from Stras­bourg. Around 1440, Johannes Guten­berg lived there and cer­tainly heard of Lauber’s thriv­ing busi­ness. Guten­berg was likely already con­tem­plat­ing his own unique solu­tion to the ever-increas­ing demand for books. Only ten years later, in Mainz, he would become Lauber’s greatest com­pet­it­or. His inven­tion would soon bring the era of manu­script man­u­factor­ies to an end forever.

Text: Ger­hard Groebe | Motifs from the His­tori­enbibel cre­ated for Hans vom Staal,
c. 1460, Pub­lic domain

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