Registrum huius Operis libri cronicarum cum figuris et ymagibus ab inicio mundi

Anton Koberger was a German printer and publisher who lived from about 1440/1445 to 1513. He was born in Nuremberg, Germany, and began his career as a printer in the late 1470s. Koberger is best known for his work on the Nuremberg Chronicle, a history of the world published in 1493. This book was one of the most important works of the early Renaissance and helped to spread knowledge and ideas throughout Europe. Koberger's printing press was one of the largest and most successful in Europe in the late 15th and early 16th centuries. He produced a wide range of books, including religious texts, scientific works and literature. Koberger was also involved in politics and was a member of the Nuremberg City Council. He was a prominent figure in the cultural and intellectual life of the city and was known for his support of artists and scholars. Today, Koberger is remembered as one of the most important figures in the history of printing and publishing. His work helped to shape the Renaissance and laid the foundations for modern book production.

The importance of Wolgemut as an artist rests not only on his own individual works, but also on the fact that he was the head of a large workshop, in which many different branches of the fine arts were carried on by a great number of pupil-assistants, including Albrecht Dürer, who completed an apprenticeship with him between 1486 and 1489. In his atelier large altar-pieces and other sacred paintings were executed, and also elaborate carved painted wood retables, consisting of crowded subjects in high relief, richly decorated with gold and colour. Wolgemut was a leader among the artists reviving the standards of German woodcut at this time. The production of woodcuts was a large part of the work of the workshop, the blocks being cut from Wolgemut's designs. They were mostly made to supply the many publishers in Nuremberg with book illustrations, with the most attractive also being sold separately. Wolgemut's woodcuts followed the advances in engraving, depicting volume and shading to a much greater extent than before.[citation needed] Many are remarkable for their vigour and clever adaptation to the special necessities of the technique of woodcut. Nonetheless, they were very often hand-coloured before or after sale. His pupil Dürer was to build on and to so surpass his achievement that it is often overlooked. Wolgemut's paintings show Flemish influence, and he may have traveled within Flanders (modern Belgium and surrounding areas).