The Latin text page is illustrated with a depictions of Kings, Noble men and women and scientists.
VERSO : A full page woodcut showing Jesus and his apostles.(360x221mm.) In the upper center sits Jesus in a robe of ample folds, with the orb (surmounted by a cross) held on his left knee. His head is encircled by a cruciferous nimbus, that is, one inscribed with a cross, which is a form especially devoted to Christ. Examples where he is without it, or others are with it, are comparatively few. Jesus is at once distinguished from his disciples by its presence. In the illustration before us the cross within the nimbus is floral in detail, the terminals being in the form of lilies, which may have been introduced as symbols of the resurrection. Note that the nimbi about the heads of the apostles are plain, except that their names are inscribed in them as a convenient form of identification. During the fourteenth century the custom arose of thus placing the name of the wearer within the edge of the nimbus. This practice continued for about 200 years, and may be seen alike in Greek, Italian and German art, except that in the Greek examples the monogram of the person, or some other abbreviated form of his name, is used. The orb, surmounted with the cross, is introduced as a symbol of spiritual sovereignty. The globe and cross were first introduced as ensigns of authority in Western Europe by Pope Benedict VIII. Almost all the English kings, from Edward the Confessor, have the globe in their left hand on their coinage or great seals.

The apostles are seated about their Master in a circular group. To his right is Peter, whose name in the Greek (Petros) signifies ‘rock.’ He is portrayed, according to iconographic tradition, with bald head and short rounded beard. To the left of Jesus sits Peter’s brother Andrew, portrayed (also according to iconographic tradition) with a long flowing beard. It was the custom to thus bestow a certain personality upon such of the apostles. Thus Philip was portrayed as a man of advanced years, John as a youth. But it was no doubt found impossible by such means to clearly distinguish one from another among twelve or more distinct persons; for which reason symbols were assigned to them. These symbols were often the instruments by the use of which the saint suffered martyrdom. No attempt is made by the woodcutter to distinguish any other persons in the picture than Jesus, Peter and Andrew. And so we must rely upon the inscribed nimbi for the identification of the rest of the apostles.

Proceeding downward from St. Peter on the left are John, unbearded, but not as young as he might have been; Thomas, with tousled head and forked beard; Philip, correctly represented as fairly aged; Matthew, a rather stern and haughty looking man; and Jude, designated "S. Judas," who appears rather elated in his devotions. We know that this is not Judas Iscariot for a number of reasons. In the first place the latter was not a saint. Secondly, because Judas Iscariot, after betraying Jesus, hanged himself, thus eliminating himself from the present occasion. Thirdly, because Matthias was chosen in his place (Acts 1:15-26), and we find Matthias seated at the right. Had Judas Iscariot been introduced there would have been thirteen disciples present. Jude’s surname was Thaddeus (Mark 3:18). In the Revised Version only the name Thaddeus is retained; but Luke calls him Judas (Luke 6:16; Acts 1:13).

Proceeding downward from Andrew on the right are James (Jacobus) the Greater (Major) and James (Jacobus) the Lesser (Minor), Bartholomew, Simon, and Matthias.

The four corners of the woodcuts are filled in with the symbols of the Evangelists—the angel for Matthew, the lion for mark, the ox for Luke, and the eagle for John.

At the head of the page on a broad scroll is the inscription:
Data est mihi potestas
in caelo et in terra:
Salvator:
"Power is given to me
in heaven and on earth."

Nuremberg Chronicle, published the year that Columbus returned to Europe after discovering America. In May of 1493, one of the earliest voluminous books appeared in the Latin language, fully illustrated with 1809 woodcuts printed from 645 woodblocks.
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
An opportunity to acquire a 15th-century book illustration by named artists.!

Reference: Morse Library, Beloit College.