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From the Speculum Vitae Christi, printed by Caxton at Westminster, c 1490 (litho)

From the Speculum Vitae Christi, printed by Caxton at Westminster, c 1490 (litho)


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From the Speculum Vitae Christi, printed by Caxton at Westminster, c 1490 (litho)

2786998 From the Speculum Vitae Christi, printed by Caxton at Westminster, c 1490 (litho) by English School, (19th century); Private Collection; (add.info.: From the Speculum Vitae Christi, printed by Caxton at Westminster, c 1490. Illustration for Facsimiles from Early Printed Books in the British Museum (The British Museum, 1897).); © Look and Learn

Media ID 22528318

© Look and Learn / Bridgeman Images

1490 Caxton Crucifixion Facsimile Printed Printer Printing Westminster William Caxton


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EDITORS COMMENTS
This black and white lithograph takes us back in time to the 15th century, where we find ourselves immersed in the world of early book printing. The image showcases a page from the Speculum Vitae Christi, printed by William Caxton at Westminster around 1490. The intricate engraving depicts a powerful scene of the crucifixion of Jesus Christ. The attention to detail is remarkable, with each line and curve meticulously etched onto the page. This print serves as a fascinating glimpse into both religious iconography and the artistry involved in early book production. The significance of this particular print lies not only in its historical value but also in its role as an illustration for Facsimiles from Early Printed Books in the British Museum, published by The British Museum in 1897. It stands as a testament to Caxton's pioneering efforts as one of England's first printers and his contribution to spreading knowledge through books. As we gaze upon this lithograph, we are reminded of how far printing technology has come since Caxton's time. Yet it also reminds us that despite advancements, there is still something enchanting about holding a physical book filled with illustrations that transport us to different eras and worlds. This print from Bridgeman Images invites us to appreciate not only its aesthetic beauty but also its historical context within the evolution of printing techniques and religious literature.

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