In order to be able to fully and properly understand why the work of Martha W. Driver is entitled The Image in Print, we truly have to recognize and thoroughly examine and confer the key facts and phenomena that are discussed in the book. By doing this we will be able to get a better grasp on the work itself and as well we will be able to come to a much more informed and knowledgeable viewpoint on this matter overall. This is what will be dissertated in the following.
One of the most important facts that are discussed in this book takes place through chapter 1 to 4, and what takes place here is basically that nine of her important articles are drawn upon. One of the phenomena in particular that is discussed in this book is that of how Driver identifies the source of the woodcuts in de Worde's 1945 edition of Bartholomaeus Anglicus's De proprietatibus rerum; here Driver thoroughly examines and discusses the significance and the reasons for use of de Worde's fascination for composite pictures, and well as well in relation to this particular phenomena, discussed is the matter of how Verard's Everyman and Everywoman figures ended up making their way into de Worde's painting, as well as the significance of this and how this greatly influenced works later on, especially that of English printed books as far ahead as into the second half of the sixteenth century, which is quite substantial.
Another issue that is discussed in The Image in Print is that of how Driver strongly argues the fact that "pictures can help us reconstruct social custom as well as attitudes towards history". (Driver, 2004). By this she basically means that many images in books especially in regards to Late Medieval England are used in various ways, for instance to represent certain historical events that have taken place, and she believes that images such as these are truly and adamantly able to enhance our knowledge about late medieval life. Also included in this issue that she discusses is the fact of how these same images tend to be grasping or aiming towards realism and that they also generally are able to compliment written records, thus making the written records challenged against and as well easier to interpret due to this criticality.
The reason that this is one of the most substantial facts that are discussed in the book is because of how most people truly do not understand the great significance of images in early printed books, and yet here Driver strongly argues and points out the images that are seen in these cases and how they are able to allow us to reflect more and easier, and how they are surprisingly able to change our view on the instances that took place in late medieval life. There are really no other books or works of any kind to date that do this, and if there are remotely they are certainly not as descript or as adamant, and this is why this is one of the most strongest made facts in the book as well as why The Image in Print is such as substantial book in general.
There are many other issues and interpretations that she brings up and discusses here, such as what takes place in chapter 6, which is titled 'Iconoclasm and Reform', and which