Hieronymus Andreae

According to the 18th-century historian Christoph Gottlieb von Murr, Emperor Maximilian regularly dropped into Andreae's workshop on his visits to Nuremberg:[7] ....this Hieronymous resided in Breite Gasse, in this city, and his quarters extended in the rear to Frauengässlein [i.e. "Women's Alley"].

His Fraktur script was first developed for the large texts underneath the image of the Car, and appears in its final perfected form in his (2nd) 1538 edition of Dürer's book on geometry.

Indeed, negotiations are documented from 1526 between Maximilian's heirs and Andreae, who refused to release the blocks for the Arch before being paid outstanding debts; he had meanwhile published an unauthorized partial edition himself in 1520, for which the city council had to apologise to the new Emperor, Charles V.[10] The cutters of most "single-leaf" woodcuts (prints) produced at the period are unknown, as they were only rarely (usually if they also acted as publisher) credited on the printed piece.

In the absence of other evidence, it is not usually worthwhile to speculate on the identity of a cutter based on style or quality, so much of Andreae's work remains untraceable in the large production of Nuremberg in this period.

A Dürer drawing in the British Museum (W 899) inscribed by the artist "Fronica 1525 Formschneiderin" may be of Andreae's wife (Veronica), as an old inscription on the back says.

[12] Formschneider created a single-impression typeface for music, which he first used in 1534; in this he was only the second in Germany, being preceded by two years by Christian Egenolff of Frankfurt, who printed Petrus Tritonius's edition of Odarum Horatii concentus in 1532.

This was the largest sixteenth century collection of Mass Proper settings, mainly by composer Heinrich Isaac, with the portion left unfinished completed on his death by his student Ludwig Senfl.