fc^: THE BIBLIOGRAPHICAL DECAMERON. * Now pray I to hem alle that herkene this tretyse or rede, that yf ther be ony thing that Uketh hem, that therof they thanke Him of whom procedeth al wit and goodnes. And yf ther be ouy thing that dispiese hem, I praye hem also that they arrette it to the defaute of myn unkonnyng and not to my will, that wold fayn have seyde better if I hadde knowing.' Chaucef. THE BIBLIOGRAPHICAL DECAMERON; OR, Cen Baps pleasant discourse UPON ILLUMINATED MANUSCRIPTS, AND SUBJECTS CONNECTED WITH EARLY ENGRAVING, TYPOGRAPHY, AND BIBLIOGRAPHY. BY THE REV. T. F. DIBDIN. VOL. I. LONDON: PRINTED FOR THE AUTHOR, BY W. BULMER AND CO. AND SOLD BY G. AND W. NICOL, PAYNE AND FOSS, EVANS, JOHN AND ARTHUR ARCH, TRIPHOOK, AND J. MAJOR. 1817. TO HIS GRACE WILLIAM SPENCER CAVENDISH, DUKE OF DEVONSHIRE, &c. &c. See. THIS WORK IS RESPECTFULLY DEDICATED BY HIS OBEDIENT AND FAITHFUL HUMBLE SERVANT, THE AUTHOR. PREFACE."^ HA T the Reader may know in as few words as possible the nature of the W irh here submitted to him, he is informed that the First Day of this Bibliographical Decameron comprises an account of the Progress of Art as seen in some of the more celebrated Manuscripts abroad, and more particularly in those of our own country. This portion of the work is illustrated by a great number of embellishments (chiefly upon copper) which are new to the public, and which are pre- sumed to be executed in a manner equally credita- ble to the skill and fidelity of the several artists employed. The author must ingenuously confess, * The above cut is from the Poliphilo, Edit. Aid. 1499. VOL. I. a ii PREFACE. that however replete with information of a novel and interesting nature these pages of his Deca- meron may appear, he has, in reality, done little more than presented a sketch — capable however of the most costly and elaborate finishing. The public taste in this department of the Biblio- mania is yet partial, and not sufficiently culti- vated ; but a more intimate acquaintance with its characteristics ivill only convince the zealous stu- dent of its various and inexhaustible attractions. The Second Third Days may be considered a necessary sequel to the First. The love of beautifully-printed Books, and more especially of such as are adorned with the productions of the early Engravers, seems to be a natural consequence of the admiration bestowed upon the effibrts of the Illuminator ; and if the author have, in any mate- rial degree, realised his own ideas upon this fruitful subject, there will be found, both in the text, and decorations of these two succeeding days, a source of amusement not quichly capable of satiety. The Fourth, Fifth, Sixth, and Seventh Days are devoted to what the author has presumed to hope may be considered a popular History of the Rise and Progress of Printing upon the Con- tinent ; including observations upon Decorative PREFACE. Printing, and brief notices of a few of the Eminent living Printers of our own Country. He is aicare that such a Subject is loorthy of a more ample and satisfactory disquisition ; but he has attempted to compensate the omission of much dry detail and lengthened description, by appropriate decoration and amusing anecdote. The facsimiles of the Devices of the more celebrated Foreign Printers — and particularly of those of Yvance and Germany — are at once numerous, faithful, and brilliant ; * while the biographical notices of the Printers, to whom they relate, will be found, it is hoped, as interesting as the Subjects were capable of render- ing them. Nor should it be forgotten that some of the most illustrious Scholars of Europe did not disdain to superintend the operations of The Press. They were literary Cincinnati at the tympan and frisket. The Eighth Day embraces a portion of infor- mation rather calculated, it must be admitted, to * It is due to departed genius to state, that a very great por- tion of the wood-engravings in this work are the production of the late Ebenezer Byfield; who was cut off, in his 16th year, not leaving his superior behind. He just lived to complete the last specimen which was put into his hands. His sister Mary, and his brother John, have executed the greater part of the remainder ; but the beautiful specimens at pages 170-2, 177-178 of this first volume, by Mr. William Hughes, will not fail also to receive the approbation of the skilful. iv PREFACE. gratify the professed Bibliomaniac than the gene- ral Reader. Vet the subject of Book-Binding, to which it relates, is probably, as a question of Art, not wholly divested of interest. The specimens of ancient book-covertures, which adorn the pages of this day, may possibly create or correct an indul- gence of a similar taste in the present times. To the Book-Antiquary, no apology is due for occa- sional minuteness and technicality of description ; while the biographical sketches connected with the illustrious Characters to whom the volumes, from which such ' specimens ' have been taken, belonged, may serve even to inflame the ardour, and quicken the competition, of some of our most distinguished living Collectors. The Ninth Day, relating to Sales of Books by Public Auction, is a continuation of a Subject which seemed to be productive of some gratifica- tion in the second edition of the Bibliomania. It only p7 of esses, therefore, to carry on the Record of the disposal of Literary Property in the vendi- tion of Books by public auction. Such a series of Sales of Libraries, within the metropolis of Great Britain, shews, in a very forcible manner, the eagerness and gallantry of our countrymen to avail themselves of treasures which they were not likely to possess through any other channel. PREFACE. V The Tenth Day is exclusively devoted to Lite- rary Bibliography : in other words, to an account of the more celebrated bibliographical Writers of other countries as well as of our own. But it will be also found to contain some brief and not unin- teresting memoirs of Book Collectors among our- selves : thus supplying some deficiencies in the Work just mentioned, and carrying on the Per- sonal History of Bibliomania from the period at which it there concludes. These pages are also embellished with some beautifully-engraved por- traits of several of the Collectors noticed ; of which the greater number are, for the first time, here given to the public. The Indexes are presumed to be full and complete. Such is the brief outline of the Bibliographical Decameron which the author submits to the at- tention of the Public : and he trusts that brevity has not been studied to the exclusion of perspicuity. He only begs leave to add, that the great body of information is thrown into the Notes ; which, from their number, extent, and the minute and various information which they contain, might, if the pre- sent fashionable method of Book-Making had been resorted to, have served to extend this publication to seven or eight comely octavo tomes. Upon the success with which this most essential department vi PREFACE. of his JVorh has been executed, it becomes not the author to say a syllable : but he may be permitted to state that no pains have been spared, and no toil has been shunned, which could contri- bute to the gratification of the curious. In such a vast and varied mass of information, it is very probable that many errors have been committed ; but the Author trusts that his attachment to the Winchester Measure will even here operate by way of excuse and apology. For one feature tvhich the Work possesses, he may boldly challenge the cri- ticism, and bespeak the approbation, of the skilful : typographical execution of it has been rarely equalled, and perhaps never surpassed. I CORRECTIONS AND ADDITIONS TO VOL. 1. PAGE LINE FOR HEAD xxiv 5 n. Insert ' not ' between ' are ' and ' only.' cliii The following page is incorrectly numbered clxiv for cliv. 18 32 n. in inter 37 11. dicebit habebit 93 last n. Sixth Eighth 268 5 n. absurdus absurdas 173 10 n. Seventh Tenth 319 16 n. mention mentions 339 32 n. The Royal Library of Paris now possesses Count Macartliy's copy of the first Psalter. 360 note A subsequent experiment was made -— perfectly successful : and I presume a piece of string, or some such casual intervening obstacle, occurred in the printing of the original. INTRODUCTION. VOL. I. a fntrolittctton. I VE summer-suns have shed their kindly influence upon the vine which mantles Lysander's cabi- net-window, since the first visit of his bibliomaniacal friends. During this period the conversion of LisAEDO to bibliography has been rapid and complete. The studies ten a somewhat different turn ; con- nected, however, with the same object, and equally produc- tive of benefit to the student : while the well-stored library of Lysander has served as a rallying point to satisfy the doubts, or to promote the researches, of either who chose to consult it. Such, gentle Reader, is a very hasty sketch of the intel- lectual pursuits of those, who, in the Bibliographical Romance, have been fortunate enough to meet with thy - approval. There are yet other characters to notice : for let me hope that the fair names of Belinda and Almansa are not forgotten — and that the hospitality of Lorenzo, IV INTRODUCTION, their brother, is still fresh in remembrance ? Turn therefore, to the seven hundredth and Jbrty-jifih page of the said Romance, and read as follows : — ' upon Loiienzo''s frankly * confessing, though in a playful mood, that such brothers- ' in-law [as Lysander and Lisardo] would make him as ' happy as the day was long — the Sisters both turned their ' faces towards the garden, and appeared as awkward as it ' was possible for well-bred ladies to appear' — and, a little onward, — that ' some other symptom, wholly different from * any thing connected with the Bibliomania, had taken pos- ' session of their gentle minds.' The symptom here alluded to will dart as quick as light- ning upon the understandings of the intelligent : a symptom, in the description of which the muse of Lucretius has carried him into the most wild and not unlovely regions of poetry, and which has softened and sublimed the heart of man from the hour off his first ' great trespass ' to the present. As there is no necessity to borrow the noble strains of Milton,* — so I will studiously shun the common place imagery of minor bards — in the description of this sjrmp- tom : but will gravely, simply, and soberly observe that it was Love: love, leading to, and consolidated by. Marriage : a union of principles and of interests, so complete, and so commendable, that I can only wish, in my heart, that all matches may be like unto those of Lysander with Belinda, and LisARDO with Almansa. There seems however something mysterious, and a little spiteful, in such a summary account of two marriages, which were probably the result of long-continued and assiduous courtship. Let me hasten, therefore, to clear up all doubts, and not quarrrel with my reader on the very threshhold of * Paradise Lost, Book iv. INTRODUCTION. V this new Decameron. The facts are few and soon told. The more reserved character of Lysander had induced him to contemplate the bridal day with a becoming portion of patience ; the impetuosity of Lisardo stimulated him to press the siege of courtship with unremitting alacrity, so as, almost with difficulty, to allow the Lady to make her own terms of capitulation : yet, in the end, the due formalities were observed by all parties. Seven months only sufficed for Lisardo ; the last two weeks of which were, however, unne- cessarily protracted, by a determination, on his part, to have a copy of the First English Prayer Book, puinted upon VELLUM,* lying upon the cushion of the altar before which * the first English Prayer-Booh pRiNTEii upon Vellum.] The first im- pression of tlie Liturgy, ' after the use of the Churcli of England,' was published in the year 1549, in folio, by Grafton and Whitchurch, under royal authority. There are copies bearing the dates of May, June, December, and other montlis in the same year ; and there are occasional variations in such copies, which cannot at present be accounted for. The names of the above printers are in- serted separately, it being presumed that each shared tlie expense and profit of the work. The reader may not object to consult the third volume of our Typographical Antiquities, p. 463-6, 493, for a particular description of this impression. It is not very difficult to justify the whim of Lisardo in fancying that there should be a copy of this book struck off upon vellum. As Grafton printed more than one copy of his Bible of 1540 upon the same material, (JtZ. vol. iii. p. 441-2.), he might possibly have exjecuted at least one copy of this Prayer Book in like manner : let us say for the presentation, or Royal Copy. I am, however, quite unable to set this matter at rest : rather believing that Lisardo will one day find the darling object of his search. While upon the subject of ancient forms of our liturgy, let me coax the reader's patience to endure a trifling enlargement of this Note. Is he aware of the antiquity of the ' Order of Matrimony,' as at present used ? Will he believe, that upwards of three centuries ago, the husband thus addressed his wife, on taking her, as now, hj tlie right hand ? — I, N. underfynge the N. for my wedded wyfe, for beter, for worse, for richer, for porer, yn sekness, and in helthe, tyl deth us departe (not ' do part,' as we have erroneously rendered it — the ancient meaning of ' departe,' even in Wicliffe's time, being ' separate') as holy churche hath ordeyned, and therto I plygth tlic my trowthe.' The wife replies in the same form with an additional clause : ' to be buxom to the tyl deth us INTRODUCTION. he was to be united. To attain this glorious object he spared neither pains nor expense. He parted from his Beloved, by moonlight, upon the terrace of her brother's garden (at the very moment when the bell of the outer-gate announced the arrival of a cargo of books from his binder), and mounting his * coal black steed,' promised to return within three days, with the treasure beneath his arm. No Knight of the Round Table ever promised more faithfully — no heroine of romance ever sympathized more sincerely in the object of her lover's wishes. If he could not purchase,' Lisardo might borrow, this vellum curiosity. He travelled therefore, early and late, far and near ; searching, amidst heaps of rubbish, and beneath clouds of dust, the libraries of Cathedrals, and the shops of Booksellers : but no such treasure was to be found. More than seven days had elapsed when his hopes were elated by a suggestion that the volume might be discovered upon the shelves of the Althorp or Wilton Col- lections ; * when, forgetting his promise of only three days ' departe.' So it appears in the first edition of the ' Missal for the Use of THE FAMOUS AND CELEBRATED ChURCH OF HEREFORD, 1502, fol. In what is called tlie Salisbury Massal, the Lady promised a more general obedience : ' to be bonere and buxom in bedde and at tlie horde.' Edit. Wayland, 1554, 4to : See the Typog. Antiq. vol. iii. p. 6, 523-4, and alio Mr. Todd's enlarged defini- tion of the word ' Buxom' in his edition of Dr. Johnson's Dictionary. The editors of the later impressions of the Salisbury Missal (if any there were) might have taken a hint from the more courteous strain of the Mairiage Service in the first Protestant Prayer Book of 1549. * the Althorp or Wilton Collections.] Althorp, in Northamptonshire, is the ancestral residence of the noble family of the Spencers ; and the Collection here alluded to, containing about 36,000 volumes, is probably unrivalled for the beauty, rarity, and intrinsic worth of its contents. Hei-e repose all the Polyglots upon Large Paper— but the reader must at present patiently await the treat reserved for him by a particular enumeration of such treasures. The Library at Wilton, in Wiltshire, was formed by the famous Earl of Pembroke, in the reign of Queen Anne. Here are the Azzoguidi Ovid, and the St. Alban's Book of 1486 : see Bibl. Spencer, vol. ii. p. 191-5 : vol. iv. p. 373. INTRODUCTION. absence, and the frightful distance of those libraries apart from each other, he resolved to put the truth of such sur^ mise to the test. He came, saw, and was hopeless : nor did the rich book-treasures of Longleet or Stourhead * supply the object so dear to his heart. The moon was deeply in her wane when Lisardo returned — dispirited and dejected : and he was married without having the service read from a copy of the First English Prayer BooJc — printed upon VELLUM. The union of Lysander with Belinda was not preceded by any measure of so extraordinary a nature. Thirteen months glided happily away beneath the soft influence of betrothed love ; and the first day of the fourteenth month saw them united in the usual manner — the service being performed from an edition of the ' Common Prayer ' Avhich had reposed upon the velvet cushion only since the time of Baskett. Lisardo and his consort attended the cere- mony: the former pertinaciously making his responses from the black-letter text of Oswen,t and the latter having * the rich book-treasures of Longleet or Stourhead.^ The magnificent and tasteful residences of tlie Marquis of Bath, and of Sir Richard Colt HoARE, Bart. t the blacJc letter text of Oswew.] Oswen was a provincial printer, and carried on his business at Worcester, Ipswich, and Shrewsbury. He merely printed the text of the Common Prayer, as extant in Grafton and Whitchurch — rather omitting and abridging, than substituting alterations. A copy of Oswen's reprint, now before me, and executed at Worcester, in May, 1549, 4to. affixes the price of the work (as printed at the end of it), at ' ii shillinges and two-pence y piece, unbounde. And the same bound in paste or in boardes, not above the price of thre shillynges and eyght pence the piece.' This copy, from Earl Spencer's Collection at Althorp, is fair and sound ; wanting the title-page. The printing is of dismal execution. It may be added that Grafton's impression (at least the copy of it in the pessession of Messrs. J. and A. Arch, booksellers) was sold at the same price as Oswen's, when unbound ; but ' bounde in paste or in boardes couered with calues leather, not aboue the price of iiii shillinges the piece.' I can scarcely account for Lisardo's paitiality for Oswen's edition of our viii INTRODUCTION. her eyes sedulously fixed upon the silken pages of Bas- kerville.* To describe how the first short years of wedlock flew away, with characters so suited in every respect to confer happiness upon each other, Avere a waste of words and of time ; but I will only briefly observe that if all the ' doves and darts ' which croAvd the pages from the ' Minerva Press' were concentrated to give force to the quantum of connubial fehcity enjoyed by these worthy pairs, they would fall greatly short of that object. Philemon and Lorenzo were neither indifferent spectators, nor indifferent partakers, of this fehcity. The former had buried his ' Beloved ' beneath the yew tree, which his great grandfather, when a child, remembered to have seen planted, with due pomp and parade, by the vicar and churchwardens of the parish ; and he resolved upon making the memory of past conjugal happiness cheer him for the remainder of his days. Lorenzo without laying down rigid rules to be engrossed upon parch- Liturgy, except it be on the score of its rarity : for, upon consulting Herbert, vol. iii. p. 1460, it appears that ' this book was thoiiglit so great a rarity, that it was sold to Lord Oxford for ten pounds, at Thomas Rawlinson's sale, in 1727.' It is there erroneously called a ' folio.' * the silken pages of Baskcnille.] The Prayer Books of Baskerville are pro- bably more frequently seen within the pews of a church than any other : at least they were so, till within these dozen years past. They are of two forms, or sizes : royal octavo, and crown octavo. Of the former, there were two different impressions; one in long lines, and the other in double columns; and each of these again is varied by the omission, or introduction, of a fancy-border round the entire page. The crown octavo impression, which is the rarer of the two, has no such distinction of border. It is executed in a small character, in double columns, upon thin paper, but of a close and durable texture. I do not remember to have seen more than one copy of the royal octavo in an uncut state; and of the crown octavo, not a single copy : so popular were these im- pressions upon their first appearance. There is a soft and ' silky' tint about these volumes which makes them grateful to the eye : but in point of tine printing, they have each been excelled by a royal and crown octavo Prayer Book from the Pi ess wliich pi-oduces the present Work. INTRODUCTION. ix ment, or engraved upon granite, had quietlj' but steadily resiolved upon the experiment of Bachelorship for life : and thus the reader will readily conceive, that, with a thoroughly good disposition on each side, no great obstacle should pre- sent itself towards the mutual happiness of all parties. The passion for foreign travel, which has so lately and generally prevailed, had induced the Widower and the Bachelor to explore a few of the libraries on the Continent, in order to extend or confirm their bibliographical know- ledge. Accordingly Philemon and Lorenzo hired a roomy carriage, purposely contrived for the accommodation of about threescore stout volumes, and accomplished the object of their wishes chiefly in the capital of France. In the course of some nine weeks, a letter from the travellers announced their probable return within a fortnight from the date of the dispatch. That period, however, was pro- longed by a sudden and violent inclination, on the part of Lorenzo, to visit the cities of Mayence and Cologne : sis- ter-nurses of the art of typography in its infancy. Of this visit I shall at present say little or nothing : only that the bibhographical enthusiasm of our travellers left scarcely a shelf unexamined, or a nook unexplored, for the discovery of an hitherto unknown typographical production; nor were they wholly without hopes of finding a more legiti- mate resemblance of the physiognomy of Fust than that which adorns the collection of Renter.* At length, after the lapse of an extra month, the tra- * adorns the collection of Reuter,] There is, prefixed to the Second Part of Fischer's Typographischen Seltenheiten, 1801, 8vo. a copper-f)Iate, in the outline, representing the bust of Fust (from the original, which is carved in wood), both in the full-face and the profile position. I doubt much the geimiueness of the original ; as well as of the portrait of the same character published in the frontis- piece of Mallinkrot's work, De Ortu AH. Typog. Colon. Agrip. 1640, 4to. and. X INTRODUCTION. vellers returned, and found their friends not a little over- joyed to receive them. The neighbouring circle of acquaint- ance was invited to hear of the wonders that had been seen and of the curiosities that had been collected ; and for three successive days the chimnies of Lysander, or of Lisardo, never failed to cast forth picturesque volumes of smoke. Their hospitality was indeed without bounds. The scene of congratulation was however to be transferred to the splendid mansion of Lorenzo. It was essential that Lysander and Lisardo should examine the treasures that had been acquired, and the memoranda that had been taken, during the Continental tour. The weather, although the month of October was pretty far gone into, stiU continued inviting : and the removal of the scene of action to the dis- tance of some forty furlongs (for the visitors, with the ex- ception of Lisardo,* Hved in grej-tmted ^^rmes-ornees at about four miles from Lorenzo's residence) could be pro- ductive of no inconvenience. It was fitting also that the ladies should enjoy a calm after the late uproar, and that mental recreation should succeed to bodily activity. Accord- ingly, the period, both of the commencement and of the termination of this adjourned visit, was quickly and for- mally fixed. ' We will tarry with you some ten days,' replied Lisardo, in a playful mood. The offer was seized upon with avidity by the generous Lorenzo. ' Let us have, then, a Bibliographical Decameron' — he exclaimed — ' It is long since we discussed those subjects which formerly gave us so much dehght. You, Lysander, were formerly from this latter introduced into the frontispiece of Maittaire's great work upon the annals of printing. Fischer's representation of Fust gives it the air of an ancient Greek or Roman bust. * See the Bibliomania, p. 280-1 . INTRODUCTION. xi our chief oracle ; and I have a perfect recollection, at this moment, of the pleasure and improvement with which we listened to your discourse. We may each, now, take a part in the discussion : — and so let us hasten to the enjoyment of our Bibliographical Decameron.' The suggestion dehghted Lisardo. He appealed (with becoming deference) to Almansa, whose assent almost pre- ceded the appeal. Lysander cordially approved ; observing, that as the brunt of the discourse would not fall upon him- selfj he should be the more careful in what he advanced, now that his pupils had become critics in turn. Philemon was resolved to take no ordinary share in the discussion ; — ' Tliree out of the ten days shall at least fall to my lot !' said he : ' And the same number of days shall witness my oracular powers,' — resumed Lisardo — 'For the rest, let Lysander and our Host act their parts as they please.' The invitation was quickly accepted : and within twenty- four hours of its being given, the cavalcades of the respec- tive parties were in motion, to reach, pretty nearly at the same time, the residence of Lorenzo. The sun rose cheerily on the morning of their departure. His beams were re- flected by a hundred ploughshares which were preparing the earth for another year's harvest, and the tranquillity of the air was only broken by the melancholy note of the robin. The leaves of the forest had put on their marygold tints, and the distant hills were already purpled in the deepening haze of autumn. The hearts of the visitors were light and unoppressed ; and a short hour brought them, within a few minutes of each other, at the outer gate of Lorenzo. You would have smiled at the formality of their approach ; and especially at the Caravan, which closed the cavalcade,* being * the Caravan, which closed the cavalcade.] The Caravan is a sort of narrow xii INTRODUCTION. filled to the utmost with books and portfolios. This latter might be considered a sort of baggage waggon, to furnish materials for the discourse ; Lysander and Lisardo having resolved to compete with the continental travellers in variety and interest of discussion. Loudly rang the bell, and quickly flew open the gates which were to receive and enclose the visitors. Some twenty feet were in motion to open carriage doors, and vmload the luggage. The old Steward or Seneschal (let us allow every man his due dignity) caused the bugle to sound long and ioudj so as to awaken the echoes of every beechen avenue ; and the entire estabhshment of Lorenzo was in motion, giving evidence of the cordiality with which the visitors were received. My readers have probably not forgotten the drawing-room within which these visitors were wont to be entertained ; * and therefore I shall here add nothing to former descriptions of Lorenzo's mansion — save that many a bust and many a rare tome had recently enriched his residence. A printing-press, on a small scale, was among the late acquisitions to his book-comforts ; but the Library, as usual, formed the principal object of attraction. Here Lisardo quickly perceived new book-treasures clad in a Parisian surtout and the fruits of the late tour were suf- ficiently evident in various other directions. But every oblong carriage, without cover, and is also sometimes used in this country for breaking in horses : not, however, but that quiet and gentle horses may be attached to the Caravan ; such at least were those which transported the Dupli- cate Volumes of his Grace the Duke of Devonsliire, in this very kind of convey- ance, to the house of Mr, Evans, in Pall-Mail, for the purpose of public sale by auction. * See the Bibliomania, p. 281. t clad in a Parisian surtout.'] That is, bound by Parisian binders. In the .subsequent pages (or the Eighth Day) the reader will find a criticism, in due orderj. upon the merits and demerits of the art of binding in France. INTRODUCTION. xiii thing in appropriate order ; as matter of high moment, and multifarious research, is about to be gradually disclosed. The day of the arrival had been previously considered as a dies non ; except that they had agreed to examine the fac-simile drawings which Lorenzo had procured an artist to execute from the splendid MS. of the true Decamerojj in the library of Mr. Coke at Holkham. * After a good deal of animated, and even warm discussion, (especially on the part of Lisardo, whose eagerness some- times forced him beyond the limits of severe good breeding,) it was at length finally settled that the Jirst three days should * Decameron in the Library of Mr. Coke, at Holkham.'] This manuscript is not so remarkable for the purity of its text as for the beauty of its illuminations. It appears to have been executed towards the middle of the xvth century. Each * Day' has a supposed portrait of the character, who presided over it, prefixed within the initial letter of the text ; and there is an apparent truth or individuality about these portraits which makes one believe that they are not entirely ficti- tious. The flowers, devices, mottos, &c. which are also introduced, partake of the general gaiety of the decorations. In short, for an apposite and interesting specimen of illumination, I know of nothing which can presume to ' lift its head' above this charming production of early art. And if the above characters, who presumptuously propose to themselves a rival Decameron, should ever think of preserving a choice copy of the fruits of their own discourse, they cannot do better than sulfer their own physiognomies to be introduced in a similar manner. By the kind liberality of Mr. Coke, I was permitted to have the ' fac-simile drawings' above alluded to. They are executed by Mr. Hodgetts with great fidelity, and exhibit almost the brilliant hues of the originals. The opposite PLATE will convince the reader, (although it have only that degree of colouring which good engraving and good pruiting can give it,) that the style of art is in every respect deserving of tlie eulogy of the connoisseur. It represents the Jirst six portraits only ; the limits of the plate forbidding the introduction of the remaining ^owr. It would, however, be a most cruel stroke inflicted upon the tasteful reader, were I to debar hiin of that pleasure which he is so sure to receive from a view of the ' tail-piece,' or bottom compartment of the grand illumination of the first page of the text. In the absence of those colours which diffuse so jo3'OUS a lustre over the original, (especially the semi-circular canopy studded witli golden stars) it is perhaps difficult, if not impossible, to convey an adequate idea of the extreme beauty of the whole : but it should be noticed that, in the OPPOSITE PLATE, the first figure is clothed in a lilac dress j the second in blue; XIV INTRODUCTION. be occupied by the Discourse of Philemon; which should comprehend some account chiefly of Illuminated Manuscripts, of Printed Books of Devotion^ and of Worhs ornamented with Engravings from the period of Block-Book printing to the middle or latter end of the Sixteenth Century — for it seems that the party had determined upon a pretty wide range of research, and upon bringing, within a moderate compass, the third in green; the fourth in green; the fifth in crimson; and the sixth in green. And of the subjoined engraving, the principal man is habited in a dark blue cloke, fringed with sahle — the one, to the right, in green ; the one in the back ground, in red: of the women, the one standing is in lilac: the others are in green, lilac, blue, and red. The cieling is ultramarine blue, with gold stars. The sides appear to be either cedar, or oak, or chestnut. An attention to fidelity, the essential merit of such a performance, may have cramped the pow^r of the burin of Mr. Charles Heath ; but what could be, has been, accomplished. The same eminent artist has my Jjfty guineas for his exertions ; and the appro- bation of the skiUy will go a great way to redeem that sum. INTRODUCTION. XV almost every topic which might be hkely to interest the lovers of early art and early printing. The three following Days were consigned to the biblio- graphical powers of Lysander ; who chose to follow up the subject, selected by Philemon, with Some Account of the Origin and early Progress of Printing on the Continent, bringing the subject down to the same period with which Philemon concluded, and illustrating it with the Devices, &c. of Printers. " But your three Days (resumed Lysander, turning to Lisardo,) must not be forgotten. What have you to say for yourself.!^" " Very much, truly," rejoined Lisardo : " I will endeavour that my three days shall afford a rival entertainment to yours : and I purpose choosing some account of Real and Imaginary Portraits of Printers; of Decorative Printing; of Book-binding, ancient and modern ; and of BooJc Sales by Auction which have succeeded those described on a former occasion by yourself. A general ' bravo' attested the propriety of Lisardo's resolution ; but Lorenzo entreated Lysander to devote the remaining day to Literary Bibliography — ' for you know,' says he, * how I love the history of eminent characters, who have cherished a fondness for collecting Books ? At first, Lysander hesitated ; but the entreaties of the ladies were too tender and too powerful to be resisted : and so, methodising their plan in writing, and afterwards commit- ting it to Lorenzo's press, the arrangement stood as follows : Philemon — to preside over the First, Second, and Third Days. Lysander — over the Fourth^ Fifth, and Sixth Days. Lisardo — over the Seventh, Eighth, and Ninth Days. Lysander — over the Tenth Day. XVI INTRODUCTION. The first three days discussion will be considered as taking place in the Drawing Room ; where Lorenzo had consigned a few choice volumes (protected by glass doors that decorated a satin-wood book-case) which were exclu- sively appropriated to the illustration of the subjects about to be discussed. Philemon was inflexible as to carrying on the discourse within that spot ; which, indeed, by general consent, was considered to be particularly calculated for the purpose. Immediately therefore upon the conclusion of breakfast, on the following morning, Philemon thus opened the Decaraeronic campaign. ARGUMENT, Account of some of the more ancient Manuscripts written in capital letters. Brief view of the progress of the Arts of Design and Composition, in illuminated MSS. from the Xth to the XVIth Century, inclusively. jfirst Bap. O attempt to give even an ac- curate outline of the progress of the Arts of Drawing" and Compo- sition, as those arts appear in the Manuscripts of the Earlier and Middle Ages, were a task infinitely beyond my power of execution. But while on the one hand I may lament my inability to do justice to so interesting a subject, on the other, I will frankly confess that almost any attempt, however limited or feeble, will be considered in a gracious point of view by the circle which I have the honour of ad- dressing. In our own country, whatever may have been the efforts of foreigners, such a subject has never come directly before the public. The amusing pages of Strutt doubtless contain numerous specimens of the state of the arts in the period just mentioned, but those specimens (of the degree of merit of which I will at present say nothing) are selected rather with a view of illustrating particular subjects or XX FIRST DAY. disquisitions appertaining to ancient customs and manners, than with an exclusive reference to the rise and progress of t3ots arts of drawing and composition. Nor will I at present stop to enquire how far the same ingenious author Avas qualified for the task here alluded to. It is quite sufficient for us to allow that, consistently with the plan which was laid down, the performances of Strutt entitle his memory to great respect ;* and, borrowing the idea of Dr. Johnson, I * the performances of Strutt entitle his memory to respect.'] In estimating tliese performances, we should not so much compare them with what might have been expected, as with what had been previously performed in our own country. In short, till the ardent and enterprising genius of Strutt displayed itself, we had scarcely anything which deserved the name of graphic illustrations of the state of art in the earlier ages. It is not however my intention to take up the reader's time with a raisonnie account of Strult's publications ; as Mr. Nichols, in the fifth volume of his Literary Anecdotes of the Eighteenth Century, p. 665, has been abundantly amusing and particular thereupon. Yet the order of these publications may be briefly marked out. The first of them was The Regal and Ecclesiastical Antiquities of England, &c. 1773, 4to. reprinted in 1793, with a supplement containing 12 plates : besides 60 others, common to both editions. The earliest embellishment is a supposed portrait of Edgar, executed in the year 966 from a MS. in the Cotton Collection: Vespasian A viii. In the year 1774-5, and 6, appeared the 3 volumes of his Manners and Customs, ^c. of the Inhabitants of England, 4to. comprising, in the whole, 157 copper-plates. This has never been reprinted, and is the dearest of all Strutt's publications. The Chronicle of England, in 1777-8, 4to. 2 vols, was his third performance : un- doubtedly the most intrinsically valuable of any work which he had published — and perfect copies are now of rare occurrence. In 1785-6, appeared his Biographical Dictionary of Engravers, in 2 quarto volumes, with 20 engravings of fac-similes. Considering that this attempt was new in our own country, Strutt has shewn uncommon industry and ingenuity in this work. He was not a sufficient scholar to make himself master of the notices which had appeared in foreign works (especially among Italian authors) upon the same subject, nor has he sufliciently illustrated the diflferent styles of the earlier art of engraving, by means of fac-similes upon wood as well as upon copper — but the experiment, even as it appeared, was both expensive and perilous, as the author published ' upon his own account.' A late learned work by Mr. Ottley, connected with Enquiries into the Origin and Early History of Engraving, 1816, 4to. gives us the proper tone and character with which such pursuits should be brought before the public 'attention ; and as the same com- FIRST DAY. XXI will boldly affirm that he who wishes to be informed of some of the more curious and interesting details connected with ancient British Sports and Pastimes, Manners and Cus- petent writer is now busily employed upou the pages of Strutt's work under description, with a view of giving a new edition of it, with large additions, m regard both to matter and art, the curious and well-informed may easily imagine the treat which is preparing for them. It is due liowever to the memorj' of Strutt to state, that Jansen, in his Essai sur I'Origine de la Gravure, 1808, 8vo. has unblushingly copied a great number of his more curious fac- similes ; and thus attired himself in borrowed plumes which only shew how disgracefully they have been pillaged from their right owner. Could the Mariette Archives, which furnished Zani with his Finiguerra plate, supply nothing for the cupidity of Monsieur Jansen ? But let us return to Strutt. In the year 1796-9, came forth his Complete View of the Dresses and Habits of the People of England, 4to. 2 vols, illustrated by 143 plates : usually coloured. The work was also translated into the French language, and printed, in this country, shortly after its publication in English. Nichols, vol. v. p. 683. Strutt's last work, connected with the favourite study wliich had so early and so pas- sionately possessed him, was The Sports and Pastimes of the People of England, 1801, 4to. with 40 plates : republished in 1810, 4to. The plates are usually coloured. These two latter works are published with more elegance and taste than either of their precursors. Of his Queenhoo-Hall (a posthumous work, intended to illustrate the manners of the xvth century) perhaps the less that is said the better. Such are the publications which owe their existence to the ardor, diligence, and perseverance of Joseph Strutt. If it be asked whether they are all equally successful, the reply must be in the negative ; and of the whole of them, collectivel3r considered, the sagacious critic will not fail to discover that too much is oftentimes advanced from precipitancy, want of information, or an unqualified deference to the opinion of others. I make no doubt that Strutt, as he went on, and his work ' grew warm' beneath his hands, was frequently convinced of his inability to fill up the outline which even his own imagination had formed : and when the number and extent of the formentioned works are considered, it must be matter of surprise that one man, certainly not ' labouring under the shelter of academic bowers,' could have accomplished so much, and in so creditable a manner ! The burin of Strutt was rather rapid than vigorous or scrupulously correct : and it may be doubted wliether he has been happy in the choice of tlie tint of the generality of his engravings. It is quite demonstrative that Strutt had neither refined taste nor sound criticism in the arts of drawing, engraving, and composition j but when, as from a gentle eminence, we view the field which he chose, and in which he toiled — when one thinks, too, that such a, labourer was oftentimes working for subsistence ' for the day that was passing over him' — that the materials he had to collect were not only frequently scattered in distant places, but incongruous in themselves — that scarcely an xxu FIRST DAY. toms. Regal and Ecclesiastical Antiquities, ' must devote his days and his nights ' to the volumes of a Strutt. The attempt however to execute effectually, what is here more particularly under consideration, was undertaken by a foreigner and a Frenchman — well known by the name of the Abbe' Rive * Perhaps a more capricious and mad- Englishman had ' turned a turf m the same field before him— all the severer functions of criticism become paralysed in a generous bosom, and we are com- pelled to admit that Joseph Strutt is not only ' a fine fellow hi his way,' but is entitled to the grateful remembrance of the antiquary and man of taste. The misfortunes of his life draw forth ' the Christian's sigh, the Christian's tear ! * well known by the name of the Abbe' Rive.] While Philemon is going on with his justly-founded tirade against this scurrilous, saucy, but not unsagacious author, the reader is here quietly informed of the ' birth, parentage, and educa- tion ' of the work, in particular, to which the said Philemon alludes. In Desess- art's Siecles Litt^aires de la France, 1801, 8vo. vol. v. p. 418-19, some notice is taken of the various works of Jean Joseph Rive ; but his ' Chasse aux Biblio- graphes ' is therein unaccountably omitted. That ' Chasse ' is especially distin- guished for the ' foul-mouth abuse' of the De Bnres and the Abb6 Mercier de St. Leger : the latter of whom, however, was never backward in sticking the rowels of his critical spurs into the sides of his assailant, whenever he could reach him— and Mr. Ocheda, (Lord Spencer's erudite librarian) who was well acquamted with Mercier de St. Leger, informs me that this latter AhU always expressed the heartiest contempt for Jean- Joseph Rive. As to Rive's attack upon ' Gui. Guill. Guillaume de Bure ' (see the ' Chasse aux Bibliographes,' passim) it has only proved the impotency as well as the scurrility of the assailant. The reputation of the ' BibHographie Instructive ' (loudly as it calls for anew edition, or super- seded as some may think it by the ' Manuel du Libraire' of Brunet) confers lasting celebrity upon the name which gave it birth. But the reader is beguming to wonder how all this bibliographical gossipping relates to the work alluded to by Philemon? Scarcely at all. It is mere gossip and digression, if he pleases. But now— for the ' birth, parentage, and education ' of the work more especially connected with Philemon's discourse. I will be as ' pithy and pleasaunt' as the nature of my subject will admit of. In 1782 the Abb6 Rive published a small duodecimo volume, of 70 pages, con- taining his Prospectus of an ' Essai sur I'art de verifier I'^ge des miniatures peintes dans des MSS. depuis le 14. au 17. siecle.' This prospectus, which is uncommon, seems to paint the author ' to the life.' He tells us in it, that, ' before him, no Bibliographer had ever published such complete notices : nor is he sur- prised at it : for it is only by becoming grey in a pursuit that due justice can be done to it ! ' (p. 15)— concluding this paragraph by an account of the difficulties FIRST DAY. xxiii headed writer never existed ; yet that saucy Ahh6 un- doubtedly possessed some good qualities for the execution of the task : and we might be induced to exercise more candour and the importance attached to bibliographical researches. With respect to the work to be published, he says that he shall give 26 specimens ' selected from upwards of 12000 miniatures (or illuminations) which had passed under his notice — that, in consequence, their choice and variety will render them superior to every other similar publication — that the definitions to be attached to thera would relate entirely to the elucidation of the usages, customs, and arts represented by such illuminations ; and that the first artists of Paris, employed exclusively for their known fidelity and correctness, should be engaged in the work.' The work itself, in a folio form, was published by subscription. Only 80 copies were printed, each distinctly numbered by the author : 25 louis were asked for each copy, as the subscription price, to be advanced before-hand — to expedite the various artists engaged upon the work— (the reasons for requiring this advance are' sufficiently shrewd, and in part, convincing) and to non-sub- scribers, upon publication, 40 louis d'or. The work was to be completed within a twelvemonth of publishing the prospectus : the first 13 plates to be delivered within 6 months, and the remainder, with the text, at the termination of the ensuing 6 months. Subscriptions were received at the author's house ; where he was to be met with every day till 1 o'clock — and at the bookseller's. Esprit, at the Palais Royal.' In the course of the prospectus we are informed that the author meditated another publication, of a similar and more comprehensive nature. ' Si ma saute, qui s'epuise tons les jours, se retablit, et si Themis, fl&liie par les Muses, se hate de briser les chaines d'une affaire civile, [he was, I fear, always ' in hot water '] qui ferment un obstacle a mes projets litt6raires, je pourrai entreprendre un autre Recueil dans le mSme genre, en parcourant les diflferentes bibliotheques de I'Europe ou I'on conserve de pareils monuments. Je I'intitulerai : Voyage Calligraphique. ' p. 13. This was to be considered a Sup- plement to the preceding. I believe it was never taken in hand ; although, accorduig to Desessarts, Rive published Notices Calligraphiques et Typographi- ques, in 1795, 8vo. To conclude. Of the projected work more particularly under notice, Brunet tells us that the author never published the promised explanation, or text, relating to the illuminations : and indeed it was probably ' well for his re- putation ' that he did not — since, in the prospectus itself, (p. 12) he has the hardihood or ignorance to declare, that, • from the xth to the middle of the xivth century, the illuminations are almost entirely frightful, betraying the barbarity of the period in which they are executed ! ' The reader, I trust, will learn a different lesson from the pages of this work. In respect to Rive's fac- similes, as they appeared to me in the copy of them in the sale of the Merly library, (no, 2172) I feel disposed to unite my voice loudly with that of xxiv FIRST DAY. in our criticism upon the manner in which he has performed it, if so much pretension on his part, had not been obtruded upon us, and such biting sarcasm had not been bestowed upon previous labourers in the same vineyard. Nothing could well exceed the magnificent promises which he made — the exclusive information which he avowed to possess — and the splendid and seductive manner in which the public were told his great work was to be executed. To sharpen the appetites of the Bibliomaniacs of that day, only a limited impression (80 copies) was determined to be taken off ; and. each of the twenty-six embellishments (the entire number given in each copy) was professed to be drawn and coloured with the most rigid fidelity to the originals. LiSAKDO. What was the result ? Philemon. I was just about to mention it. A complete failure. If the Abbe's production was not quite so dimi- nutive and insignificant as a ' mouse,' it certainly had no pretensions to the form and consequence of a ' Lion : ' and I can scarcely, at this moment even, repress my feelings of indignation at the bitter disappointment which I experienced when I obtained a copy of the Abba's famous work (as he thought it) at the sale of the Merly library. Most heartily did I rejoice to get rid of it at the extravagant price for which I had purchased it. No, my good friends, the illu- minations put forth by Rive, as faithful copies of their originals, are indeed lamentably defective ; and perhaps such an attempt could hardly fail of being unsuccessful — Philemon : pronouncing them to be tasteless, faithless, and therefore worthless. In order to represent the originals, as they ought to be represented, by colours> no doubt a very heavy sum must be demanded for each copy : and if those embellishments, which are only beautifully but faithfully engraved, in the first DAY of this work, were as faithfully coloured, 1 am not sure that 70 guineas would cover the expenses incurred in the completion of this said ' first day !' FIRST DAY. XXV Lorenzo. Wherefore? Philemon. Because we are as yet little more than mere novices in the art of illumination, as it was practised of old ; and what appears in the originals, selected by Rive, as fresh, fair, brilHant, and exquisite, assumes, in the copy, the cha- racter of a mere daub. This however might be remedied — but at an immense expense : as, where the Abbe probably gave one Louis, it would have been necessary to have given ten. Almansa. I do not exactly comprehend you. Philemon. Simply thus. In order to publish copies with effect, you must engage the most skilful artists; and such artists must receive their ' quantum meruit ' — or be re- warded ' according to their deserts ' — a system, which I suspect the aforesaid Abbe was not in the practice of carry- ing into effect. So that instead of selling his copies at 25 louis a-piece to Subscribers, and 40 louis each to Non- Subscribers, he had better have asked 80 louis for copies of the first description, and 100 for those of the second. I admit that these sums appear enormous : but such a work is exclusively adapted for public libraries, or for those ' Noble- men and Gentlemen ' — ^whose purses, in the lively language of Clement, * are fiUed with pistoles ' — and surely, through- out civilized Europe, there are eighty such ' pistoles ' purse- furnished Noblemen and Gentlemen ! Adieu now to the Abbe: and I pray you lend a helping hand to his suc- cessor when you find him tottering along the same path, or likely to be engulphed in the chaotic materials connected with the progress of Calligraphic and Miniature-painting during the earher centuries of the christian gera. Belinda. You delight me about this early Miniature- painting — ^but what mean you by the word Calligraphy f XXVI FIRST DAY. Philemon. That word means simply beautiful writing. Yet I know not why I should touch upon such a subject, as AsTLE has written a vastly pretty book upon it.* Lorenzo. Favour us only with something thereupon. It seems to be a sort of necessary substratum for your minia- ture-painting superstructure. Describe briefly, Great Monarch of the Day, what were the characters, or what the mode of writing, which distinguished the earlier MSS. of the period to which you refer. Philemon. Such a pointed and solemn apostrophe is too formidable to be resisted. Know briefly, then, (for in brevity I must imitate the ghost of Hamlet's father) that the earlier MSS. — by which I mean those Jrom the fourth to the ninth century, inclusively — are usually distinguished * Astle has written a vastly pretty book upon it.] The title of the late Mr. Thomas Astle's work is as follows ; ' The Origin and Progress of Writing, as well Hieroglyphic as Elementary, illustrated by Engravings taken from Marbles, Manuscripts and Charters, ancient and modem : also some Account of the Origin and Progress of Printing,' 1784, 4to. A second edition, ' with additions' and ' improvements,' appeared in 1803, 4to. Some account of the elegance and even brilliancy of this volume, will be found in the 'Seventh Day' of this work, under that of the Books executed in tlie press of Mr. Bensley. Yet Casley's xvi. plates of ancient hand writing, at the end of his Catalogue of the King's MSS. 1734, 4to. must not be forgotten ; and Mr. Astle has, in too many instances, copied from the richly furnished volumes of the Nouveau Traits de Diplomatique, 1750, 6 vol. 4to. : a work, of unparallelled excellence in the study of which it treats. Peignot (in his Essai sur I'Histoire du Parchemin et du VAin, p. 74, note) calls Astle's book ' le plus ample et le plus savant sur I'histoire de la calligraphie ;' and it undoubtedly is so. It treats however but incidentally upon the subject connected with the pages of this work. Mr. Home, in his Introduc- tion to the Study of Bibliography, 1814, 8vo. has devoted the first two chapters of his first part, (vol. i.) to occasional notices of topics connected both with the work of Mr. Astle and myself : but I could have wished that the fac-simile of the Codex Ebnerianus had been executed upon copper, instead of wood— as De Murr, in his Memorab. Bihl. Publ. Norimb. (latter end of vol. i. pi. 2) had previously done it. Where ornament is concerned, the effect upon copper is more true to the original. These plates of De Murr will be slightly noticed in the subsequent pages. FIRST DAY. xxvii by being written in uncial or capital letters.* Not that there may not be specimens of the cursive hand-writing before the ninth — although I cannot pretend to have heard * UNCIAL or CAPITAL LETTERS.] Thcrc has been a little skirmishing upon the exact meaning of the word ' uncial.' And first, to begin with Montfaucon — or rather perhaps with St. .Tf.rom — quoted as he has been by writers without end. In the preface to the Book of Job, that learned Father, after satirising the then general propensity to possess ' purple MSS. written in letters of gold or silver,' adds ' vel uncialibus, ut vulgo aiunt, literis, onera magis exarata, quam codices.' Montfaucon (rightly called by Dr. Marsh, now Bishop of LlandafF, ' one of the best judges of antiquity that ever existed.'— IVotes to Michaelis, vol. ii. p. 708) thus remarks upon the text of St. Jerom. (We will anglicise the passage.) ' Concerning the origin of the word "uncial," we cannot determine with accuracy. The greater number of critics suppose that the letters, mentioned by St. Jerom, were called uncial, because they were about the size of an inch : and because twelve inches, which constitute a foot, should also contain twelve uncials. But, continues Montfaucon, if this were its legitimate meaning, of what dimensions must ihat volume be, which should contain only the Iliad of Homer written in these uncial characters ' He then subjoins another, to him more satisfactory, definition, from Bernard Moneta.' See his Palaographia Grceca, p. xj. The ardent and honest David Casley, in his useful Catalogue of the Manusmpts of the King's Library, 1734, 4to. hath a shrewd and rational con- jecture hereupon. At page viii. he says, 'The Letters i, to, n, and u are usually written, both in old and modern MSS. so as not to be distinguished, when they come together, but by the sense. Thus the word ' minimum' is written with fifteen parallel strokes, all alike joined together. [T. Warton stumbled upon this error in mistaking inimicis for mimicisJ] This might easily occasion the mistake in reading uncialibus for initialibus : of which see below.' We will step ' below ' for one minute ; where we observe as follows. After contending for ' itn'tinlihus,' against uncialibus — ' by the authority of several MSS. and by the known way of reading such ambiguous words, which is, to take that reading which agrees best with common sense ' — Casley adds, ' By initiali- bus literis it's obvious to understand such letters as are wont to be put at the beginnings of books, or chapters, or paragraphs : wherein, if a whole book should be written, it would be indeed rather a burden than a book, as Jerom says. And several such old books are still remaining. But what can be made of Litteris uncialibus? Letters of an inch length? Who has ever read of the Ancients writing books in such monstrous characters ? And how happens it that no scrap of any such book is still remaining, if ever there were such .'" p. xvii. Astle coincides with Casley ; and I trust the reader, as weU as myself, is disposed to the same coincidence. Thus much for the definition — a word now about the autiquity or continuance of the same initial or capital letters. They were XXVUl FIRST DAY. of them — and, not that capital letters may not exist even in the eleventh century — but, generally and perhaps soberly speaking, the foregoing definition may be considered tolerably correct. introduced, in fact, from inscriptions upon monuments or other works of art, which were always in capital letters. They are the characteristics, therefore, of our very earliest MSS.; and continued ' in books for ordinary purposes ' as late as the ixth century ; after which Montfaucon never observed anj' such charac- ters — ' except in Books destined for the Church Service or the Choir ; for which purposes they obtained perhaps later than the xith century.' See his Pal<£Og. Grmca, p. xij ; but more particularly that incomparable catalogue of MSS. known under the title of Bibliotheca Coisliniaiia, olim Segueriana ; p. 84-5. The calligraphical antiquary may possibly not object to disport himself with a clever note, in that supremely clever work, tlie Nouveau Traits de Diplomatique, vol. iii. p. 59, respecting the position of Lisardo upon the antiquity of MSS. (' from the fourth to the nintli century, inclusively') in which these capital letters appear. In that note, the ' fond conceit' of Tertullian's having seen the autograph of some of St. Paul Epistles — and of Aulus Gellius having seen the autograph of the second hook of the ^neid — (* which was sold for twenty little golden statues') together with similar ' fond conceits' — are very rationally confuted. Casley holds out rather stiffly for the existence of MSS. older than the vth century ; p. viii.: but perhaps the safer way may be to conclude generally, with Montfaucon,(in which conclusion Dr. Marsh should seem to concur,vol. ii. p. 656.) ' Non desunt tamen qui exemplaria quaedam, tertii vel quarti saeculi esse arbi- trentur. Sed licet fateamur nihil repugnare, ut tantae vetustatis Codices ad nos usque devenerint; nuUam tamen vel certara vel admodum probabilem notam proferri posse arbitramur, qua commonstretur alios quosvis hujusmodi libros manuscriptos, Caesareum Julianas Augustas setate longe superare.' Palaog. Grxc. p. 185. He here alludes to the famous Greek MS. of Dioscorides ; written in the beginning of the vith century, and of which ' anon.' Yet, a little onward, he observes that ' the Colbert Copy of the Pentateuch (in the royal library of France) should seem to be someAvhat earlier even than tliis Dioscorides, inasmuch as it approaches nearer to the characters of ancient inscriptions.' Montfaucon, however, immediately afterwards qualifies this assertion, by remarking that he can by no taeans ' speak positively upon the subject.' In his ivth chapter, p. 217, he assigns the St. Germain copy of St. Paul's Epistles a place among those ' of about the viith century.' So much for uncials, in the description of which we have occupied not fewer than ten inches in a very pigmy type. A word or two now respecting the lower-case, or cursive type, or Tachygraphy. Mr, Home, in his Introduction to the Study of Bibliography, vol. i. p. 109, is right in his main position respecting the abandonment of the capital, and the adoption of the cursive, or lower-case letter : although I am not prepared to FIRST DAY. xxix LisARDo. Will you favour us with the names of a few of the more distinguished MSS. which have this peculiarity of character ? Philemon. What a question, my Lisardo, is this to answer ! And what, think you, will be the remarks of the fair part of my auditory, when they hear titles or names of men and subjects to which their previous reading furnishes them with no clue ! ? Almansa. Pray do not let our ignorance be an excuse for your ineffectual discharge of the regal duties of your situation ! Philemon. Am I to consider this appeal as a sober or satirical one ? deliver an' ex cathedra' discourse upon the Demi-Uncial form of letter, which, he says, began to prevail in tlie ixth century : unless it be to point out, to the reader's particular attention, a specimen of this half capital and half bwer-case letter which appears in a fac-simile, from a MS. of Plutarch, considered by Montfaticon to be of the ixth century. [' noni, ut putamus, saeculi '] See his Pal. Gro,A■A-/^AAAAAAA^^ FIRST DAY. Ixxxix In the latter, you observe that the Knight throws down cylinders or globes of glass ; and the ferocious dam, wishing to seize them, sees her image reflected — and thus, puzzled and distracted, her course is impeded, and the tiger-robber gets dexterously away. Lysander. I own that this is vastly pretty and ingeni- ous : nor is the style of art any way contemptible. Philemon. On the contrary, it has great pretensions to elegance and accuracy. But if you could but see the back-- grounds of the originals ! ! — solid, indurated, refulgent, almost imperishable ! . . LiSARDO. You distract me, and at the same time make me the most melancholy of men ! But proceed. I am breathless with anticipation. Philemon. Be composed, I entreat ... for I hardly know how to introduce what follows to your notice. The Ladies, I observe, start with horror and apprehension ! xc FIRST DAY. It represents the ravages sometimes made by hungry hyenas, upon the bodies of the dead — how they tear open the tombs, and devour the shrouded carcases ! But see, a more ingenious and refined species of cruelty is exercised by the Water-serpent of the Nile upon the bodies of animals, who come to bathe in the treacherous flood. The designer of this uncommon production seems to have ransacked the remotest corner of his brain for such an extraordinary selec- tion of animals. The back-ground of this picture, like the shield of Achilles from the recent forge of Vulcan, is in a perfect blaze of splendour ! The animals themselves are touched chiefly in colours of red, blue, and white. FIRST DAY. xci Yet, as you may equally observe, there are groups of animals of a more peaceful and pleasing character. The following, methinks, partakes even somewhat of Grecian taste. It is time now to close our researches connected with these Bestiaria, illuminated in the xiith century. Let us resume a graver and not less interesting strain. Lorenzo. Have you nothing connected with Romances? Lysander. Rather with Sacred subjects — Philemon. Lysander is right : for of Romances, of the period under consideration, there are probably none existing which contain specimens of art or even traces of illumi- nation. As to volumes connected with the Bible, they are equally without number and end. But let us consider only xcii FIRST DAY. some distinct features in this department of our present research : I mean Gospels and Psalters . . . Why I advert to this branch of theology at present is, that I happen just now to recollect the very beautiful and interesting MS. of the Greek Gospels in the possession of Mr. Dent,* and * MS. of the Greek Gospels in the possession of Mr. Dent] The opposite PLATE will give the reader some notion of the peculiar style of art which prevails in the larger illuminations of this precious manuscript. It is the head-piece of the Gospel of St. Matthew, and intended for a representation of that Evangelist. Of the minor ornaments, I subjoin a fac-simile or two, not destitute of merit. The first is a pretty specimen of the Greek capital T : and the second (from fol. 253, rev.) represents our ' Saviour washing his disciples feet.' FIRST DAY. xciil written, as I conjecture, about the year 1 200. No doubt this was once an inmate of Mount Athos; and together with several other, perhaps not less beautiful and interesting, The magnificent manuscript under description is a large folio volume of the Gospels ; or what is called an Evangelistarium. It commences with the Gospel of St. John; which is preceded by a splendid embellishment, divided into two compartments— one exhibiting Christ's descent into Hades, the other the inspira- tion of the Evangelist ; who is sitting in the act of writing his Gospel. The surrounding border is among the most splendid in the volume. The text is written in two columns of a flowing Greek character ; having 21 lines in a full column. The initial letter of every cliapter is an ornamental one ; sometimes (as in the first specimen, of the capital Greek T) extremely elegant and fanciful : in colours of red and blue, relieved by white and gold. The titles to the chapters are in gold. Occasionally (but rarely) there are side and bottom-margin orna- ments; as on the reverse of the 19th leaf— where we see very small figures of the Paralytic, the Pharisee, the Scribe, &c. &c. The Gospel of St. Matthew commences on fol. 49 ; preceded by a decoration of which distinct notice has been already taken. The background of the figure is gold : the tops, or roofs of the small buildings, are bright red : the intermediate tiling is blue ; and the drawn curtain of the building, to the right of the figure, is bright red : the three steps are of a wavy pink-coloured marble. The furniture, upon which the book and screw are fixed, is dark brown, as well as the chair upon which the Evangelist sits. His footstool is of gold. His garment is pale yellow, with tlie tunic, across his arm, blue. The tiling, to the left, upon the first building, is blue. The balustrade and pediment are white. The beautiful arabesque border that surrounds it, is, generally speaking, red and blue relieved by white, on a gold back-ground. Its present condition is sufficiently beautiful ; but originally these ornaments must have been of a dazzling splendor. The Gospel of St. Matthew ends on the recto of fol. 123, and is succeeded by a blank leaf. St. Mark's Gospel follows on the recto of fol. 12.5 : preceded by a portrait of the Evangelist, of precisely the same character as that of the previous Evangelist. St. Mark ends on the reverse of fol. 216, succeeded by two blank leaves. St. Luke follows on the recto of 219; having a repre- sentation of the Evangelist, in a peculiar form, prefixed : with a surrounding border of uncommon beauty and elaborate detail. Few specimens, even of Persian art, can exceed this interesting decoration. In the coui'se of this Evangelist we perceive several attempts at historical composition in the way of art; as, on the reverse of fol. 253, appears the ' Washing nf the Disciples Feet, by our Saviour,' forming the second specimen in the preceding page. The Betrayal of Christ by Judas, occurs in pretty nearly the same style, on the reverse of fol. 269 : and the Crucifixion, in like manner, on the recto of fol. 281. Oa the recto of fol. 295, preceded by a blank leaf, and having at top a very elegant illumination — commence excerpts from the four Evangelists: which xciv FIRST DAY. volumes, of equal or superior antiquity, have been scattered abroad upon the earth"'s wide surface to enrich the cabinets of the curious, or gratify the cupidity of the avaricious. What gems, of which even poets can scarcely dream, are at this moment darting their lustre in unexplored recesses ! and yet what gems, of probably superior hrllliancy, have been trampled beneath the feet of the plundering Turk ! But ah ! still more painful thought, what curious and extraordinary specimens of the expiring art of Greece have been mangled, lacerated, or deliberately anatomized, for the capricious decoration of a worthless volume ! LiSARDO. No more, no more of this ' heart-rending strain.' Philemon. A truce then, if you please. But of the Psalter, which may probably be considered the Parent of Missals, Breviaries i or Hours* — let me just submit to you a very appear to end on the reverse of fol. 335. These are succeeded by various extracts (accompanied by very pretty head pieces, and two subjects, the Circumcision and the Annunciation) relating to the Greek Church. At fol. 355, are extracts and forms relating to the liturgy. At fol. 367, is a small illumination (one inch and a half in height) of the death of the Virgin. In the whole, 37^ leaves. On tlie reverse of the last leaf, in a later hand, are directions, in Greek, to the officiating priests for reading the Evangelistarium. It remains to add that this magnificent and precious MS. (allowed by the curators of the British Museum to be superior, iu condition and splendor, to any similar Greek MS. in that repository) was procured from abroad by tlie enterprise of Mr. Woodburn, and sold to its pre- sent possessor for a price proportioned to its wortli. As to its age, I incline to think it (on the autiiorities of Montfaucon and Bandini) to be of the latter end of the xith, or beginning of the xiith century : and it may be further remarked that the character, in which it is written, prevailed as late as the end of the xvth century ; as may be seen from the fac-simile of the Psalter, printed at Venice in 1486, in the Bibl. Spenceriuna, vol. i. p. 1 27. * Psaltei — probably the parent cf Missals, Breviaries, and Hours-I This may be a capricious surmise ; but positions less tenable have been maintained wfith all the warmth and virulence of hypothetical casuistry. It is not a very over-strained supposition to imagine, that some one portion, more than another, of the sacred scriptures (and what has been more popular than the psalmody of David .') might have been selected for the purpose of a devotional manual ; written and adorned FIRST DAY, xcv ancient, but not wholly barbarous, specimen of grouping — representing the salutation of Elizabeth and Mary — from a volume of this description in the Gough Collection attached to the Bodleian library.* The countenances are, doubtless, with all the nicety and skill of the calligraphist ! Next would follow the particular church-service, or office of religion, as a subject for similar art— and hence the innumerable volumes of Musals, Breviaries, Offices, and Hours. But our present business is with the Psalter ; of which, I will be bold to maintain, more ancient specimens of calligraphy and illumination are to be found, than of Missals or Church Offices. At the same time it is but right to make mention of two very ancient ' church service' or devotional volumes, with illuminations (probably of the xith century) which are contained in the public library at Rouen. My friend Mr. Petrie, who has furnished me with the notice of these curious tomes, from ' ocular demon- stration,' observes that both formerly belonged to Robert Archbishop of Canter- bury, who had been Abbot of the monastery of Jumiege, in the middle of the xith century. One of them is entitled ' Benedictionarius Roberti Archiepiscopi Cantuarensis'— and the other • Missale ad Vsum Ecclesi Bravo ! Bravo ! LiSARDO. J Philemon. ' I have said.' Let us touch a more pleasing chord. Perhaps the present will be the fittest place to notice a very material feature, or branch, or department (designate it how you please) in the art of illumination, called initial letters ; or, generally speaking, capital initials — as these incipient letters are usually large and ornamental. Belinda. I rejoice that you have reached this department of the subject which forms the discussion for the Day. You observe that my worthy brother, if you only look around, has his cabinet graced with not a few of these interesting and gigantic forms of letter ! FIRST DAY. cv Philemon. His cabinet might be graced with more unseemly ornaments ! LiSAKDo. I love them dearly. Almansa. But you are interrupting. Proceed, great MoNARCM OF THE Day; and let your sceptre of authority fall upon the shoulder of each revolting subject. Philemon There will be no occasion for the infliction of such severe punishment. My subjects are docile and obe- dient. Of these initials, then — which Montfaucon seems to think were introduced as early as the eighth century* — take the following specimens ; from the pages of the same learned * Capital Initials — introduced as early as the vnith century-l ' Ab octavo jam sasculo in Manuscriptis Graecis observantur literae prffigrandes, initio operum et librorum, Calligrapborum arbitratu coiifictae : ubi variis horainuin, serpentum, avium, piscium, &c. figuris, singulse literae repraesentantur : quarum pro speci- mine Alphabetum in Tabula datur.' Palceogr, Grceca, p. 254. The Plate, here mentioned, has been copied in part in the following fac-similes. The order is thus : M K H Y T n E 0 E In Montfaucon, the alphabet is given entire, in similar characters : but the specific age of each letter, or of each particular class of letters, is not mentioned. Indeed, having once ascertained nearly the remotest period of their adoption, it answers little purpose to trace their genealogical characteristics tlirough succeed- ing centuries : yet the ensuing cuts, in wood, and upon copper, which accom- pany the CAi'iTAi, LETTER DISQUISITION of Philemon, will be considered, I trust, as no very unsatisfactory illustration of the subject, from the xith century. Astle, p. 76, has given some specimens of early capital initials of a very inferior description. I could dwell somewhat here upon the drollery and richness of those very extraordmary capital initials, of which Lambecius has given elaborate fac-similes, upon copper, in his lib. ii. col. 527, &c. (Edit. KoUarii) but space and time equally forbid an enlargement of the subject. These embellishments are quite of the end of the xivth century, in a large and magnificent German Bible, executed, as the colophon imports, for the Emperou Wenceslaus, in 3 folio volumes — ' tanti figurarum inauratarum ipsi contextui insertarura multi- tudine, adeoque eleganti, magnifico et pretioso ornatu luarginali decorata et iiisignita, ut absque singular! admiratione spectari nequeant.' There's tempting description for you! — lover of gold-embossed backgrounds, and rainbow-tinted VOL. I. o- cvi FIRST DAY. antiquary— as corroborative of the taste and fancy with which they were oftentimes executed. FIRST DAY. cvu I shall not attempt to decide at what precise period any of the foregoing specimens were introduced ; but we may add that they are Greeh capitals, and peculiarly characteristic of Grecian art. As we approach the twelfth century, especially in Latin MSS. we observe very whimsical specimens of the grouping of human figures and of animals. It cannot be affirmed, however, that such specimens are always in the best style of art, nor can we readily allow of the propriety of their introduction in volu mes of a grave import — but if you love ease and whimsicality, look at what here follows — from an ancient MS. of St. PauFs Epistles, preserved in the library of Christ Church College, Oxford. * I could probably select a more tasteful or intricate specimen; but in what you mantles ! The subjects treated of in the capital initials, chosen by Lambecius for his fac-similes, exhibit chiefly the effeminate and voluptuous mode of life of that slothful Bohemian king; who was dethroned in 1400 — ' domi terpens, vino ciboque marcens, et lucem dormieudo uocti conjungens' — but have I not almost deprecated an enlarged account of this splendid and singular performance? * St. Paul's Epistles — in the library of Christ-Church College, Oxford.] This ancient MS. is preserved in the archive-room attached to the library under notice. It is a very small folio, or large octavo; having the text executed in a lower-case roman letter, with an interlined glossary and marginal explana- tions : the latter in a very small and neat hand. It is written in ink now become brown from age ; and, as I suspect, is of the earlier part of the xiith century. The capital initials, throughout, are really exquisite ; displaying perfect taste in the arabesque, with occasionally much successful union of the droll and fantastical. They were originally, as their appearance still indicates, executed in bistre-colour ; like most of the embellishments of this period. Never had I greater difficulty in the choice of my subject — among these bewitching decorations ! But I trust the specimen, given in the ensuing page, does not falsify this account, nor detract greatly from the taste of the selector. We shall make another \asit or two to this highly-enriched archive-closet — in the course of this First Day. Meanwhile, let that excellent bibliographical friend, (the sole and fortunate possessor of the Kele-printed Christmas Carols) ycleped the Revd. Henry Cotton, receive our best thanks for affording us, not only a sight of — but leisure to take a tracing from — one of the capital-initial ornaments of the foregoing Epistol;e Pauli Glossat/e. cviii FIRST DAY. here behold, admit that there is a graceful flow of lines, in spite of its singularity. Perhaps, however, you ought to be informed that this fanciful ornament is intended for a P. You may remember the specimen of grouping from the early Latin Psalter in tlie Gough Collection, attached to the Bodleian Library. The same sombre MS. furnishes us with FIRST DAY. cix a particularly resplendent instance of the most complicated, yet not ungraceful, species of ornament, in the first capital- letter prefixed to the Psalms of David. Of course I mean the B. There may be a more ancient* (and yet this possesseth a * There may be a more ancient.'] There is a more ancient, and somewhat similar, yet greatly inferior, specimen of this B — in the valuable Latin and Saxon Psalter deposited in the MS. Library at Stowe. The reader hath probably already disported himself in the account of this extraordinary volume, at page liv ante. The original of the specimen alluded to \>y Philemon, and given in the following page, is highly painted, in a glazed body colour, chiefly in red and blue ; with spirited touches in white by way of relief, or strong demarcation. It is certainly the most elaborate yet graceful specunen of its kind which I remember to have ever seen. In this eimmeration however of eariy-decorated Psalters, we must not, in quest of treasures which are abroad, be wholly unmindful of those more imme- diately at home. The manuscript library of the Royal Society is enriched by two illuminated Psalters of even a much earlier date than the preceding ; one of them, numbered 60, is considered by Wanley to be of the time of Edward the Confessor. It has the calendar ornamented with some singular figures of the signs of the zodiac, and an illumination of the Crucifixion, executed in a very uncommon and interesting style. This book has also rectangular borders, with foliage, somewhat in the manner of those of the Ethelwold MS. — belonging to his Grace the Duke of Devonshire : see p. lix, ante. It should be noticed that there is an interlineary Saxon version. The other MS. numbered 155, is supposed by Wanley to have been executed for the greater part in the time of Cnute. It has also a calendar, and a clever drawing, apparently' of St. Benedict, seated between two monks. This Psalter has borders with foliage, like the preceding, but with much gold, It contains also some very bold capital initials : the B among the rest — but within the sweep or curve of a D, is the apposite representation of David cutting off the head of Goliah. At the end of this second Psalter are the ' Cantica Sacrce ScripturtE ; ' to wliich is prefixed an illumination of St, Bene- dict, seated, holding a statFin his right hand ; with the figure of a monk, prostrate, at his feet — holding a book, upon which is inscribed ' Lib Ps.' Other figures are also introduced. In the text of Walter Whytleseye, apud Sparke, p. 173, we read of a magnificent present made by Godfrey, Abbot of Peterboi-ough, elected A. D. 1290. Among the various gifts bestowed by him, occurs ' uni Cardinal!, nomine Gaucilino, dedit quoddam Fsalterium litteris aureis et assuris scriptum, et mirabiliter luniinatum.' O brave Godfrey — and thiice happy Gaucilinus! I cannot at this moment take upon me to determine whether early Greek MSS. of the Psalter usually exhibit similar decorations ; but, according to Hardt's Catalog. Cod. MSS. Grwcor. Bibl. Reg. Bavar. (1806-1812, 4to. 5 vol.) vol. iv. FIRST DAY. cxi LoKENZo. I own this is vastly curious and elaborate; and trust you have yet a score of them ? Phile]mon. No, my excellent host : for to exhibit other similar instances would answer very little purpose. But look at what I am about to place before you. We have reached the period of Choral, or Church-Service Books,* p. 42, and vol. v. p. 21, there appears to be two MSS. of this kind, one of the xth, and the other of the xiith century, which are described as ' titulis et initialibus niiuiatis, charactere minuto, antiquo et nitidissimo,' &c. * Choral or CHuncH-SERViCE Books.] My friend Mr. Ottley absolutely revels in the possession of the most splendid ancient fragments of books of this description, obtained by him, in Italy, from monasteries or private individuals. As no names are here mentioned, this general observation will be perfectly stingless. The copper-plates which belong to this portion of the Bibliogra- phical Dec AMERON bear evidence of the wealth of my friend's collection— yet that collection, ' rich and rare' as it is, was once of still greater extent. One ' great and glorious ' sample of ancient art, exhibited in Choral Books, Mr. Ottley however still possesses; which must unquestionably be considered as the Jupiter planet of the system, In other words, it was executed by the famous Don Silvestro degli Angeli, (of whom see p. cxxv, post) and is described by Vasari as the chef-d'cEuvre both of the artist and of the age. First, for the dimensions. From the bottom of the picture to the central top, which is pointed, for the reception of the upper part of the Virgin and her attendant angels, there are 14 inches. In width the illumination measures 10 inches. The surrounding border, in a sort of tesselated or mosaic squares of black, yellow, red and blue, is an inch in width. Secondly, for the subject ; which represents the Death of the Virgin, The corpse is surrounded by all the female relations of the deceased, with the twelve Apostles, and our Saviour in the centre ; the latter of whom receives in his arms the departed spirit (in the form of an infant) of his mother. The coun- tenances of this solemn yet splendid group are full of sorrowful expression ; but in the midst of such a general and almost insupportable ebullition of grief, the countenance of our Saviour is marked with a mildness, a dignity, and composure, which are perfectly heavenly. Among the rest, the figure of St. John is emi- nently graceful and expressive ; and the female, at the foot of the Virgin, has a quiet composed character not unworthy of the pencil of Raffaelle. There are some lovely countenances among the females; but to particularise would be endless. Every head is surrounded by a thick and shining nimbus of gold; and, above, the Virgin, ' in glorious majesty,' sits enthroned with eight atten- dant angels— :in attitudes which equally express their piety and rapture. The whole of that space which is between the assumption of the Virgin, and the group cxii FIRST DAY. the very seed-plot, or nursery ground, of such whimsical decorations. In these books, Giotto, Cimabue, and a hundred other graphic constellations of various degrees of magnitude and lustre, diffused their grateful light; and below, consists of one broad, highly-raised, and indurated mass of resplendent gold ! The entire composition, executed in body colours, much glazed, absolutely partakes of its original freslmess and radiance. This magnificent and unique specimen of ancient art is justly and highly valued by its owner. Indeed it is bej'ond all price. I had almost forgotten to notice its age ; which is of the middle of the xivtli century. There are no limits here for even a brief sketch of the progress, popularity, and final disuse, of these massive and magnificent volumes of Church-Service : but the reader will readily suppose that, as the art of printing became generally exercised throughout Europe, the execution of these Choral Books, by means of the pen and pencil, was in the same proportion disused. Mr. Woodburn, the skilful and respectable dealer in old pahitings and prints, has several very fine specimens of them ; and several, about two years ago, were sold by auction by Mr. Evans— but these exhibited chiefly the decorated capital initials. At a late sale, however, by Messrs. Leigh and Sotheby, (May 1, 1816) there were several lots of entire volumes of these Chants and Services, of a bulk and breadth that forbade ordinary shoulders to bear them away. They were thus described — and I consider them to be no unapt appendage to this chohal note. They produced about 2l. each at the sale, 933 Cantus Monastici, in atlas folio, on vellum, with Music, the capital letters illuminated, many of them containing whole-length portraits of Bishops, Saints, &c. in fine preservation, russia, gilt leaves 936 Codex Membranaceus in quo continentur Lectionarium antiquum. Ad calcem Calendarium. Sec. XV. Large folio. .... Several leaves ilkiiiiinatcd, with ornaments in gold and colours, some of the initials being adorned with male portraits. 937 Codex Membranaceus in quo continentur Beati Hieronymi Opera qumdam selecta. Sec. XIV. ...... Several leaves, togetlier with the larger initials, are beautifully and delicately ornamented. 938 Divus Hieronymus ad 3Iuiiercs, Cod. membr. Sec. XIV. The great initial letters are similarly ornamented willi those in the pre- ceding article : the ornamented border of the first leaf is remarkably fine. 939 Liber qui dicitur Summa Conftssorum seu Joannina, Cod. membr. Sec. XV. Illuminated, and has also numerous small portraits and other devices in the initial letters : it formerly belonged to the Monastery of St. Justin, at Padua. / FACC-SIMIIJLJE (a)F;AN ELILOMENATJE® CAFHTAIL HMKTHAIL From a CKoral Boot of tlie end of tiie FIFTEENTH CENTUMY in tie IVr^efsion of WXOttlejEsqJ FIRST DAY. cxiii when you examine the two following specimens,* one of the xiiith and the other of the xvth century, you will allow that both the subjects are conceived with sufficient elevation of mind ; but that the latter shews the improvement which the lapse of two centuries has effected. There is no doubt that the Popes and Cardinals of the time procured the most distiuguished artists to decorate their Missals or Books of Church Service ; and pursuing the capital-letter subject, pray behold the consummate skill and success which characterise the pencil of Giuolamo dei LiBEi — in the succeeding initial letter D, wherein Pope Sixtus IV. and some of his Cardinals are introduced.-j- Almansa. I am quite charmed with such specimens; and wish in my heart that some Girolamo, of the present day, would introduce the portraits of your Majesty and Privy Council, here solemnly assembled, within the graceful curvatures of a capital C or D. 940. Cantus Monastici, Codex mcmbran. Sec. XV. Tiie ornamented initials are of the largest size : in the first St. George is represented with the Dragon : the whole of great beauty. 943. Cantus Monastici. Sec. XV. The initials of the different services are very large, and richly orna- mented. * The reader will consider the fihst two of the accorapanying Copper Plates, from the originals in the possession of Mr. Ottley, as illustrative of the remark of Philemon. t The Copper Plate immediately following the two just mentioned, must be considered as liere alluded to by Philemon. The Pontiff, in his chair, is robed in white. The figure kneeling is clothed in the red gown of a Cardinal. Mr. Evans, in his account of this extraordinary Missal (which will be found fully described in the ensuing pages) imagined that the action between the Pontiff and the Cardinal represented the counting out of the money by the former for the payment of the artist in the execution of the Missal : but this explanation is probably rather ingenious than conclusive. The vessel, in the foreground, seems to be filled with holy water. The entire composition is perfectl}^ enchant- ing ; and there are few capital initials which will venture to arrogate superiority over it, on the score of delicacy, grace, and beauty. CXIV FIRST DAY. LisARDO. The thought is not very extravagant, my Almansa ! Let us have our Family Bible illustrated with a similar ornament. Yet tell me — are these beautiful initials the exclusive decorations of Church-Service Books ? Philemon. By no means. For see, what a lovely illustra- tion of an O, from a MS. of Horace, (once the property of Ferdinand I. King of Naples,*) does the following specimen exhibit ! 1 know of nothing which exceeds it. * MS. of Horace — once the property of' Ferdinand I. King of Naples.'] The OPPOSITE Copper Plate illustrates the panegyric of Philemon. It is indeed singularly elegant and beautiful ; and was obtained (as is above intimated) from a MS. of Horace, once the property of Ferdinand King of Naples. This MS. was purchased by me for 125/. at the sale, by auction, of the library of the late Mr. James Edwards. It is thus spiritedly described by Mr. Evans in his Catalogue of the same Library ; no. 263. ' This is a manuscript of the first splendour, both for writing and illumination. It was executed for Ferdinand I. king of Naples, who . first introduced printing into his states, and was so ardent a collector of books and manuscripts, that Mr. Roscoe relates, that the Florentines, to conciliate him in a rupture, presented him with some fine Manuscripts of the Classics. As the Palle of Florence are seen among the ornaments, this may be one of them.' There can be no doubt, I think, but it is : and a more lovely folio volume never graced the shelves of a collector. Having procured it for the mere purpose of causing the fac-simile, here alluded to, to be engraved, I disposed of it afterwards to the Marquis of Douglas for the price at which it had been obtained. The frontispiece of this MS. contains figures, and is most elaborately executed ; but the remaining ornaments are chiefly arabesque, and confined to the initial capitals. The one, here given, is thus coloured. The lateral perpendicular ornament is in gold, shaded by brown : with deepening shades of crimson. The fruits are in their appropriate colours : but the hatched background, including even that upon which the cobweb is painted, is blue ; somewhat darker than ultramarine. The letter O hath a gold background ; but the square frame is in apple-green The palle or balls are coloured in imitation of pearl. The outer wreath is in a crimson or evening-primrose tint : the inner one, in blue — and the inverted comers of the outer wreath are also in the same blue colour The effect of the whole Is perfectly beautiful ; from the soft, glowing, and equally- distributed tone of colour. The letter stands thus in the text : DI PROFANV VVLGVS ET O ARCEO. LIN GVIS FAVETE carmina uon priuf. From a M^S of Horace fornierlv " -'>r,r- -?! '[■':-^- - - FIRST DAY. cxv Lorenzo. You are right. The composition is indeed dehcious. Philemon. Let me now, as the last specimen to be adduced, present you with something of rather a whimsical, if not monstrous, appearance ; but as it brings down our illustrations towards the middle of the sixteenth century, Ave may fairly close the discussion of this branch of the subject. Observe, I in treat you, what a striking melange the following P exhibits ! Belinda. Extraordinary indeed ! The gothic age seems revived in it. Philemon. Not exactly so, either: for know that this formidable P belongs to a Chronicle executed expressly for Francis L* — and if you could only see several other capital * a Chronicle executed expressly for Francis I.] The Chronicle liere alluded to (from which the fifth copper-plate capital initial, accompanying this descrip- tion, is given) also belonged to the late Mr. James Edwards, and is described at no. 672, in the Catalogue of his Library. The full title, written in blue ink, in the gothic character, is thus : ' Les Croniques et gestes Des trehaulx et ti-esvertueux faitz Du Trescrestien Roy Francoys Premier de ce nom. Comacees auteps de son aduenemet a la couronne Qui fut Lan de gee nre sr. Mil. v', xii'ij. Le liidj. p[re]mier IC. du nioys Premier lo^. de la sepmaye Et p[er] lor. de la en bone estraye.' Mr. Evans not inaptly describes it as ' a magnificent manuscript on vellum, with splendid miniatures and highly ornamented capitals at the begin- ning of each chapter, of which many are six inches by five, displaying all the richness of invention and grandeur of execution to which the art of illumination had arrived. The first illumination occupies the whole page, fifteen inches by ten and a half, and represents Francis on his throne, suri"^ounded by his court, and receiving the book froni the author. The arms of Francis the First, quar- tered witli those of his first wife, Claude de France, are on each side of the frame-work which surrounds the picture : her arms are painted separately in a cordon. Bound in green velvet.' Thus far Mr. Evans : but the illumination just described, although the largest, is perhaps the most indifferent in the volume ; and certainly not by the same hand whicii executed the remainder. The countenance of Francis bears no resem- blance to the received portrait of that monarch. The title, just given, is over the capital initial (P) of which the opposite plate is a fac-simile. The remainder of this 2d leaf is written in a gothic character, with golden letters. The entire CXVl FIRST DAY. letters of a similar or even more fantastical composition, you would not easily forget the MS. in which they are contained. chronicle is executed in the same gothic-secretary type. The initial letters are undoubtedly the attractions of the book. Those on the reverse of the 2d leaf, and redo of the 3d, contain what were most probably intended for por- traits of the Father and Mother of I'rancis — as I suspect the heads, in the fac- simile given, to be portraits of Francis and liis Queen. What is singular, there are several letters, as at fol. 7, rect. and rev.) of which the outlines, in a sort of india-ink colour, are only given ; and on the reverse of fol. 16 there are three female faces only coloured : the rest of the ornament of this magnificent letter, (D) nearly six inches square, being in outline. In both instances the back ground is untouched ; so that we know exactly the process or mode by which the illuminator proceeded in his work. Tlie backgrounds of these initial letters are generally in a blaze of colour, of red, green, or blue. They are sometimes also very tastefully managed, in introducing a sombre or quiet tint in the ornaments for the formation of the letter : as the R, on the reverse of folio 26. There are only two other illuminations, which are not engrafted upon an initial letter. The first has been above described. The second occurs at fol. 1 9, rev. and is entitled ' Comme larceuesque receult la saincte ampolle et la porta sur le grant autel.' The archbishop, upon horseback, bare-headed, in a white vestment, carries the ' ampole ' in his hand : the golden canopy under which he sits being borne by clerical and lay attendants. The third illumination (somewhat injured however) has by much the greatest merit ; and deserves to be published as an engraving. It occurs on the recto of fol. 21, and represents Francis I. clothed in regal robes, standing in the midst of his lords spiritual and temporal. The following description, from the text, of the respective attires of this splendid assemblage, may be considered an interesting mor^eau of costume-painting. My friend, Palmerin, in particular, will, I am sure, rejoice to peruse it. ' Les Arceuesques et euesques pers de france come dit a este les vngs appres les aultres . . . destre pros du roy estoyent reuestus de riches chappes leurs mitres en leurs testes leurs croces es mains ou aultres latenoyent pour eulx F'imbriees enrichies de grosses perles gros Rubis saphirs dyamas et aultres choses singnlieres et moult belles a voir. Le[s] ducz et contcs pres du roy a maj senestre estoyent vestus d'un grat manteau en couleur purpuric long jusques pres de terre fourre dermuies ouuert par le coste destre et rebraces iusques sur les paule du bras senestre Aussi vng grant chapperon de mesme couleur et fourrure qui leur couuroit tout le col et le desus des espaules, Les ducz sur leurs bonnetz auoyent vng chapelet dor massyf en forme de couronne ou y auoit en lieu de fleurs de lis tout autour du bort, separeement petits trioletz seulement Ainsi quil appar- tient aux ducz a porter en dififeremie des roys. Les Contcs sur lours bonetz aussi auoyent vng sercle dor massif en forme de couronne ou y auoit au bort de dessus tout autour boutons dor pres lun de laultre ainsi que bien grosses perles qui est ee que les contes doibuent porter en difference de ducz.' FIRST DAY. cxvu Lorenzo. You need not adduce further specimens, good Philemon : as the greater part of those already given only completes our despair of rivalry in the present times. It only remains to observe that this extremely curious, as well as splendid, manuscript Chronicle—being a sort of Diary of the Domestic or Private Life of Francis J. — is executed in double columns, in a hand before described, and that it appears to terminate abruptly on the reverse of the 29th leaf: there being 3 following leaves ruled, but not written upon. It concludes with the king's ' dining and going to mass' — which is constantly mentioned in the course of the Chronicle. The condition of the illuminations, with some few exceptions, is quite extraordinaiy. Tiiis MS. was purchased by me at the sale of Mr. Edwards's library for lOOZ. — with a view of making its ornaments and contents subservient to the entertainment of the reader of this work. The reader shall judge whether such object have been accomplished. That volume now enriches the choice cabinet of Mr. John North ; who obtained it from me at the price for which it was purchased at the sale. The present seems to be a fit place to have a little further gossip respecting CAPiTAi. INITIALS. The practice of introducing them, by the aid of the illumi- nator, was by no means wholly set aside upon the prevalence of the art of printing. It ceased however, generally speaking ; unless in volumes (as we have just noticed) confined to the boudoirs of monarchs and noblemen. In the library at Hafod, its late amiable possessor shewed me, with peculiar zest, one of the most splendid and gorgeous volumes of this description that can possibly be seen. It was executed for Philip IV. King of Spain, in the year 1637. The binding— in red velvet, with gold and silver filligree upon the sides, raised coat of arms in the centre, upon silver washed with gold — forms no mean approach to the contents of the volume ! The first 3 leaves are blank : the four following contain figures, on each side, about 7 inches high, with appropriate back-grounds, and arabesque borders : extending, in the whole, to about 12 inches and a half in height. Each of these pages is thus illuminated ; 1. A figure (qu. St. Peter?) with a cross in his left hand, and a book in his right : red curtain behind : cherub at each comer : beneath, the word DON. 2. A figure upon horse-back trampling upon the dying and the dead : beneath, we read PHILIPPO. 3. Two angels over a naked man, in the midst of roses : he is bleeding as if from the punctures of the thorns. The angels are about to clothe him with drapery : beneath, QVARTO. 4. A female figure, crowned, kneeling, and looking up to heaven : dead and dying figures around her : above, is Christ : at the bottom of the picture, POR LA. 5. A whole-length figure of the Madonna, surrounded by cherubim — with a child (Salvator Mundi) in her lap; another at her side — the cherubim is in gold and brown : very clever — beneath, GRACIA. 6. The crucifixion — very superior, as an eff"ort of art, to either and all the preceding. The clouds are beautifully managed ; and the blood, gushing from the side and feet of the dying cxvm FIRST DAY. LisAEDO. Even so. Proceed therefore with such other branch of our illumination-discussion as may seem more fit and interesting. Lysander. Suppose you enter at once upon the subject of Decorated Missals^ Hours^ and Officts ! ? Philemon. With all my heart. Yet what a piebald topic of discussion ! What a meadow of daisies, cowslips, and butter-cups— rather, what a garden of anemones, tulips, carnations, and roses, of every hue and fragrance, does the Missal Theme present to the enraptured fancy of the Novice, or to the more cautious judgment of the Virtuoso!.? Be present, spirits of other times!— of Giotto, Cimabue, Oderigi, Franco Bolognese, Silvestro, and above all, of Cybo, Monk of the Golden Isles !* Saviour, has a thrilling effect. The countenance also is very fine : and the general appearance is as if it were executed upon ivory : beneath, DE DIOS. 7. Portrait of Philip IV. in armour, with red sash and Spanish puffed breeches : legs bare: hehuet and leather on one side : a globe before him : a truncheon is in his hand ; and a gold curtain is behind : beneath, REI DE. The 8th illumination, which represented the royal arms of Spain, in gold, has been cut out— as well as the 9th, which contained the genealogical tree of tlie House of Urdanete. All the preceding inscr'iptions are in Roman capitals, gilt, upon a dark red ground. Then con)mences the text : which is only a law suit ! Each page has a square border, 1 inch in breadth, of black exterior, and gold, red, green, or brown, within arabesque and fanciful embellishments : Capital Initials, square Roman or Italic : text in large italic, brownish ink. The initials are broad and bold, and exceedingly beautiful— upon various coloured grounds, relieved by gold, shaded. Many lines, in each page, are also in small capital letters in gold, upon a ground of red, blue, gold, green, or violet. At the end are various signatures in faded ink. The name of the artist who executed this surprisingly magnificent volume was Francis de Hereka de Sevilla. Such is the rough and rapid descrip- tion which I made, with both the book and its owner ' sub oculis,' about two years Hgo ! Each probably is fi-oui henceforth taken from me ! * Cybo, Monk of the Golden Isles!] While Philemon is lifting up his sceptre of invocation, and rushing onward with a sort of Sibylline inspiration to the description of his favourite Missals and Offices, let me gently request the reader to descend with me to these lower regions of simple narrative and sober disquisition: and, if he please, we will sit down quietly by the side of each FIRST DAY. cxix LisARDO. Where are we ? Almansa. Whither do you transport us ? LysANDER. Such a magnificent appellative — ' Monk of the Golden Islands IT other, and discourse pleasantly about this wondrous ' Monk of the Golden Islands.' In the first place, however, if the said reader expresseth any desire to know par- ticularly about Giotto, Cimabue, and the illustrious et ceteras, above mentioned, he may, at his convenience, betake him to the splendid publication of Mr. W. Y. Ottley, entitled The Italian School of Design — where he shall read, to his heart's content— chamied at the same time by fac-similes of their compositions — respecting the two ancient wights just mentioned ; together with an account of sundry other ancient and equally eminent bi andishers of the pencil. A-'asari and Baldinucci of course will not fail to be consulted ; especially when the curious enquirer is told that, from the pages of the latter, (Sec. ii. Dec. 8. ed. 1686.) he receives the following faithfully translated narrative — ' which hath to name,' 2rf)e Jlionft of tlje fSA. What names! — and what ' Spirits'' are these? Philemon. They are both of Irish extraction; and shone in their days (some thousand years agone) the very Constellations of Book-Illuminaturs. Nor shall the epi- scopal Osmund,* of the xith century, be forgotten in this manufactured and ornamented bindings, in gdd, silver, and precious stones!' A word or two now for Ultan. ' Ethelwolf, in a metrical epistle to Egbert, at that time resident in Ireland with a view of collecting MSS., thus extols one Ultan, an Irish monk, celebrated for his talent in adorning books — Ex quibus est Ultan, praiclaro nomine dictus» Comptis qui potuit notis ornare libellos.' And Leland (Colkct. vol. ii. p. 364) designates the said Ultan as being ' Scriptor et Pictor librorum optimus.' Harpsfield also makes honourable mention of him : • Ultanus qui polite et concinne libros sacros exscribere solebat.' Thus much from the erudite and instructive pages of Dr. O'Couor. * the episcopal Osmund.] ' The art of illuminating books was much practised by the clergy, and even by some in the highest stations in the church. " The famous Osmund (says Brompton, Chron. col. 977) who was consecrated Bishop of Salisbury, A. D. 1076, did not disdain to spend some part of his time in writing, binding, and illuminating books.' Henry's Hist, of Gr. Britain, vol. vi. p. 226. Again — from the same valuable pages; although Montfaucon, De Vaines, Peignot, and Lambinet, might easily furnish ample materials to swell these illumination-memoranda. ' The illuminators and painters of this period (xi. and xiith centuries) seem to have been in possession of a considerable number of colouring materials, and to have known the arts of preparing and mixing them, so as to form a great variety of colours. In the specimens of their miniature-paintings that are still extant, we perceive not onTy the fine primary colours, but also various combinations of them. There is even some appearance that they were not ignorant of the art of painting in oil, from the following precept of Henry III. dated 1239. " Pay out of our treasury, to Oi>o the gold- smith, and Edward his son, one hundred and seventeen shillings and ten pence (equal to 88Z sterling of our present money)/or oil, varnish, and colours bought, and pictures made, in the chamber of our Queen at Westminster," &c. vol. vi. ]). 227 : see also vol. x. p. 213. I have more than once intimated, in the course of these notes, the possibility or even probability of oil being mixed up in the colours of the more ancient illuminations ; and especially in those seen in the Duke of Devonshire's famous Saxon Missal : see p. lix, ante. While upon the subject of ancient calligraphy (referring the reader to Mabillon, De Be Diplom. p. 43— to Montfaucon's Pal. Grcec. p. 4, 5, 22 — to Bandini, Cat. MSS. Grctc. vol. i. p. 22, as well as to Astle, Casley, and Mr. Home's Jnlrod. to Bibliography, vol. i. p. 84-143 — for information respecting the liq.uid, FIRST DAY. cxxiii muster-roll of monastic artists. He appears to have been rather shy of his labours ; yet I make no doubt that the historian Brompton saw more than one precious specimen of his pencil which hath long since perished in obscurity. whether of gold, or various-coloured inks, with which the calligraphists performed their offices) let me introduce to the notice of some of the uninitiated in ancient scription— a representation of the ink-stand, not of Dagaeus, nor of Ultan, nor of Osmund ; but of St. Denis, the iirst Bishop of Paris : as copied from the first plate of Montfaucon's Pal(£og. Grcec. p. 22. Note, however. Montfaucon does not say it absolutely was the very ink-stand of St. Denis : but he makes the following cautious and ' most wise' periphrasis : ' In thesauro Monasterii S. Dionysii in Francia, est Atramentariura remotissimae vetustatis, ad usum olim, ut putant, S. Dionysii primi Episcopi Parisiensis,' &c. p. 23. He then goes on to describe it minutely : but the thing shall here speak for itself— premising, that it is attached to a tablet, with hinges, &c. Admit, knowing reader, that the orna- ments round this inh-bucket, (for so it rather seemeth to be) are at once elegant and uncommon. cxxiv FIRST DAY. To revert, however, to the Italian Artists of the middle ages. Let not the labours of Oderigi d'Agobbio* be here forgotten : an artist whose name has been consecrated, as it were, in the immortal pages of Dante. LisARDO. These notices dehght me. Proceed with some half-score of them ! Philemon. You must excuse me. I have before frankly confessed the treachery of my memory in these matters ; and therefore I can only further observe that Franco Bolognese and Don SiLVESTRof kept up the celebrity of the art, of * the labours of Odehigi d'Agubbio.] My best bow is again due to Mr. Turner for the following memoranda relating to this extraordinary artist, from the Notizie de' Professoii di Disegno, (Sec. I. Dec. iv. p. .54.) of Baldinucci: who has entered pretty largely into an examination of the few ' notices' extant relating to hun. Brevity must however be my object here. Oderigi appears to have been a native of the city of Gobbio, or Agobbio, in Umbria, a disciple of Cimabue, and an excellent illuminator, but too prone to arrogate a supe- riority over all his contemporaries— as Dante has introduced him in his Pur- gatorio (Canto XI.) thus lamenting his presumption : '01' I exclaim'd ' Art thou not Oderigi, art not thou Agobbio's glory, glory of that ai't Which they of Paris call the limner's skill ?' ' Brother!' said he,' with tints, that gayer smile, Bolognian Franco's pencil lines the leaves. His all the honour now ; mine borrow'd light. In truth I had not been thus courteous to him, The whilst I liv'd, through eagerness of zeal For that preeminence my heart was bent on. Here of such pride the forfeiture is paid. Nor were I even here ; if, able still To sin, I had not tum'd me unto God.' (Gary.) He is conjectured to have worked at Rome, at tiie same time with Giotto, in iOuminating books for the library in the Papal palace : but excepting some frag- ments of his labours, which Vasari says he possessed, all his works are supposed to have perished. t Franco Bolognese and Don Silvestro.] Franco Bolognese was the scholar of Oderigi d'Agobbio. He flourished about the year 1310, and illumi- nated many books for the Vatican library. He is said to have pursued painting FIRST DAY. cxxv which we are speaking, till towards the end of the xivth century ; when Bartolomeo, the Abbot, and Gherardo a Florentine, continued it into the xvth century — at which also, and to have been the first who introduced that art into Bologna, where he founded a school for it, Vasari sajs he was possessed of specimens of his works both in illuminations and paintings. Baldinucci, Sec. II. Dec. i. edit. 1686. Of Don Silvestbo, a more enlarged account is here presented to the reader; as we must consider him, with his brother monk and calligraphist, Jacopo Fioren- TiNO, to have been a great Choral Book Man (see p. cxr, ante) and in many respects of most distinguished celebrity. He is mentioned by Vasari, and by Baldinucci as being ' A Camaldulan Monk of the Monasten/ degli Angeli at Florence — a Miniature-Painter.' The following is from the latter, ut sup. * It is just, that, amongst those of whom we have made mention, as following the example of the famous Giotto, and applying themselves, in those first ages of the revival of painting, to illumination, I make some mention of Don Sil- VESTRo, a Camaldulan monk of the above monastery ; who executed works so beautiful for their care and design, that they deserved the applause not only of monarchs, but even of professors in the best age of art. But it must first be known, that about the year 1340, there came into the afoiesaid monastery, a monk of holy manners named Don Jacopo Fiorentino; who, valuing every moment of time which was not employed upon his monastic duties, had acquired by great study, a style of writing in that kind of large character, which is sought after for Choir books, (which, for the most part, are written upon vellum) and for this he was with good reason ranked amongst the most excellent writers of this class that had ever gone before him, or even succeeded him for several cen- turies after. He wrote as many as twenty pieces of Choir books for his monastery, which were the largest that Italy had ever yet seen, and also a great number for Rome, and Venice, and particularly for the Camaldulan monastery of Sts. Michel and Matthew in Murano ; for which reason he was not only cele- brated during his life by every one who knew his great excellence (and parti- cularly by the very learned D. Paolo Orlandini, a monk of his order, who composed many Lathi verses in his praise), but after his death, his brother monks chose to preserve with becoming care that hand which had laboured so piously and so excellently for the service of sacred singing !'. ' Now, our Don Silvestro, (of whom we are about to speak) who was most admirable in the art of illuminating, happening to live, at this time, in the same monastery with Don Jacopo, was the person who, with such marvellous art and care, adorned with his figures all the above-named books ; which being seen, as we have said, by the greatest artists of the best ages of painting, were highly praised : — and we know that his holiness Pope Leo X. coming to our city of Florence, wished to see and examine them individually, and confessed that he had often heard them praised by his father Lorenzo the Magnificent. And it is said that, after having examined and admired them all, whilst they were CXXVl FIRST DAY. period there flourished a set of professional artists, or illumin- ators, embodied into a society called Th e Corporation of St. LuJce.* The Society however was of Florentine extraction. lying open on the desks of the choh', he exclaimed in these or similar words : ' If these were according to the use of theRomish Church, and not, as they are, of the monastic and Camaldulan order, we would have some of them — giving an adequate reward — for the CImrcli of St. Peter,' — where two were already pre- served, which were considered to be the work of these monks. So much was Don Silvestro esteemed by all, and particularly by the monks, tliat the latter, on his death, chose to confer on liim the same honour as they had conferred on Don Jacopo ; namely, to preserve his right hand, which had performed such great works, to eternize his memory.' See an account of Silvestro's chef-dxuwe, at p. cxi. ante. Where rest now the (' pickled,' is a most odious and unsavory expression !) embalmed 'right hands' of these book-adorning monastic brothers? I own I should prefer them, in my cabinet^ to the choicest mummy that ever had its perpendicular resting place against tlie walls of the most magnificent ^Egyptian catacomb. * a Society called the Corporation of St. Luke.] Let us first pay due attention to Bartoi.omeo and Gherardo. Bartolomeo Abbate flourished about the middle of the xvth century ; and died, according to Vasari, in the year 1461. He was abbot of St. Clemente at Arezzo, and one of the finest illumi- nators of his time ; having executed several works for the monks of his own abbey of Arezzo — and particularly a Missal, which was presented to Pope Sixtus IV, having, in the first leaf thereof, a most beautiful representation of our Saviour's passion. Another Missal, by him, was in the cathedral at Lucca in Vasari's time. Vasari, vol. i. p. 354, edit. 1697. Gherardo was a Florentine, and painter as well as illuminator. He flourished, according to Vasari, ui 1470. We shall speedily, both iu the text and notes, follow up the sequel of these Missal Illuminators — beginning with Francesco Veronese. Now then for a little gossip connected with The Society called the Corporation of St. Luke. This Society was first established at Florence, about the beginning of the xivth century, and is noticed by Vasari; vol. i. p. 129. Among the more particular accounts of it, as an establishment at Antwerp, may be placed that given by Mons. Jean Des Roches — in his lecture or memoir upon the • Origin of the art of Printing' —read in the Imperial Academy at Brussels (of which he was secretary) on the 8th of January, 1777. I chose to have nothing to do, here or hereafter, with Mons. des Roches's silly hypothesis respecting this origin, (namely, that printing was invented by a fidler, or instrument maker, of the name of Lewis, before the year 1350) but shall only notice a very curious document (as it is justly allowed to be by Breitkopf, the able commentator upon Des Roches) brought forward by a friend of the latter — who writes to him in the following manner : ' Having occasion to make an accurate Catalogue of all the persons contained in the Archives of the FIRST DAY. cxxvn Lysandee, I wish you could shew us specimens of these almost forgotten Artists. Philemon. I regret that I am unable to do so : but the Fraternity of St. Luke at Antwe^y, I found, among other tilings, a Book written in a very ancient hand, containing cliiefly the privileges and regulations of that Fraternity — collated by the celebrated Cornelius Graphaeus, Secretary of State, who died in 1558. The first piece that occurs in that book (marked No. I.) is likewise the oldest : at least according to date. It is an act of the Senate in behalf of the Cobporation of St. Luke, dated the 22d of July, A. D. 1442 : and relates to taking up the Mastership, the regulation of the Fraternity, their apprentices,' &c. Des Roches and his friend struggle lustily for the word ' Prenters,' (introduced in this act) being intended to convey ' Printers of Books but Breitkopf knocks them both down with a mere bulrush in argument! He admits, however, that, ' If the lecture of Mr. Des Roches have left no other recommendations in elucidating the history of the invention of printing, it yet deserves every praise for having paved the way towards a discovery of the origin of these performances by making us acquainted with the Society of Professors of the Fine Arts in the fraternity of St. Luke at Antwerp.' A little further, he goes on to observe, in a note, that, ' at the commencement of the xvith century, in Paris and Orleans only, there were upwards of ten thousand Scribes ; whose art however, by the adoption of printing, became of little use. They were of course in a great degree destitute of subsistence.' Diet, du Gens, du Mntide ; vol. iii. p. 120. These are doubtless rather interesting anecdotes ; and I am indebted for the preceding — not having the least knowledge of German or of Breitkopfs text — to the politeness and liberality of Mr. Thomas Wilson ; who, some years ago, was so kind as to translate, for my acceptance, Breitkopfs ' Remarks on the History of the Invention of Printing.' That gentleman hath my * thousand and one ' thanks for the same. But we must not lose sight of our Scribe. It should seem, from the late edition of our Typographical Antiquities, vol. i. p. 79, sign, o, that this Corpora- tion of St. Luke might have been a sort of branch of a more ancient Society, ycleped ' The Brothers of a Common Life ;' [' Fratres Vitas Communis'] of which Gerard de Groot was the reputed founder, in the middle of the xivth century. How these ' bretheren ' were clad, appears from a print of one of them published by Lambinet from Heliot's Histoire des Ordres Monastiques, &c. vol. ii. p. 339 : and re-pubUshed by myself, in the pages just referred to, upon a reduced scale. As a companion to such upright figure, take the following sitting one— of a Scribe, from an illumination in that most resplendent MS. of the Romant de La Rose (MSS. Harl. no. 4425) in the British Museum : to be pre- sently minutely described. The worthy gentleman is, metliinks, ' done to the very life ' — surrounded by his desk, book, red and black inks, ponch, penknife, and vellum slips! Possible it is, that it may exhibit a portrait cxxviii FIRST DAY. Illuminators who were enlisted into what what was called The Corporation of St. LuTce, have been noticed by Vasari, Des Roches, and Lambinet. I take it that they were a of one of the 'Ten Thousand' (not ' Greeks' but Calhgraphists) whom Breitkopf describes as roaming about for ' salt to their porridge ' towards the beginning of the xvith century— wlien this very scribe oi- Author') and all his brethren were * pushed from their stools' by means of the Art and Craft of Printing! Comment lacteur mue propoz Pour son honaeur et so bon loz Garder en priant ql soit quittes Des parolles quil a cj dittes. Fol. Cixvv, recto. FIRST DAY. CXXIX sort of itinerant professors— now dwindled into mere Italian daubers, and venders of small pictures — who assail our doors and impose upon the credulity of our servants. LoEENZo. This strikes me as a severe and perhaps un- warranted conclusion. Philemon. It may be so: for I pretend to nothing beyond a mere sketchy and superficial notice of this most interesting subject — heartily wishing that the pen of Mr. Ottley * may one day be devoted to its satisfactory elucida- tion. And so farewell to the Corporation of St. Luke ! The present is probably the fit moment to direct your attention to some of the Productions of these Calligraphists, Miniature-Painters, and Illuminators: for having given a brief history of their rise and progress, we may, as a natural and pleasing result, just throw our eyes upon, or make particular allusions to, portions of their multifarious per- formances. I am well aware, my excellent friends, of the task imposed upon me by such a declaration ; and I can perfectly anticipate the eagerness and interest with which you look forward to its complete and successful execution. * the pen of Mr. Ottley.'] This gentleman can never exercise his pen upon an miinstructive topic ; nor is his graphical weapon apt to continue long idle. When he shall have corapleted, to his OAvn satisfaction, (and therefore to that of the public) his History of the Rise and Progress of the Italian School of Design, and his new Dictionary of Engravers, he will, I trust — backed by that liberal encourage- ment which such a subject ought to excite — turn his attention to some account of the early British School of Art : and give us a good thumping quarto (as a com- panion to his two tomes upon engraving, already published) in which such a work may receive every advantage of illustration. The sharp-sighted reader will perceive that I am ou\y inviting my friend to put an extinguisher upon my own labours ; nor need the said ' extinguisher' be a very large one to cover the First Day of this Bibliographical Decameron ! Till it be manufactured, however, I only entreat the said ' sharp-sighted reader' to let the diminutive light of this ' First Day' illuminate his winter's fire-side. Peradventure it may be some time ere Mr. Ottley's large wax-taper be in fit trim for burning ! cxxx FIRST DAY. But I must draw largely upon your candour and for- bearance upon the occasion ; and entreat you only to con- sider what * hereafter follows ' as a feeble manner of putting together even my own ideas upon the subject. Ha ! — it is as I expected : — Lisardo is almost nervous with raptu- rous expectation ! Lisardo. Do not banter. I am indeed quite anxious (but by no means nervous) to witness the manner in which you mean to indulge us with the performance of so delight- ful a task : and I freely own my well-grounded anticipa- tion of contemplating some of those costly productions, whether as Missals, Romances, Chronicles, Volumes of Poetry, Heraldry, or what not — studded and emblazoned with all the ' cunning ' skill of the illuminator — which must have been the delight of the middle ages, and are yet the admiration of our own ! Philemon. I comprehend you. The observation, though somewhat flourishing and rhetorical, is not undeserving of attention. You bespeak, I perceive, the order of my narra- tive. A more injudicious one might have been selected ; and I will so far gratify your vanity as to adopt your hint. Yet let me, at the outset, just clear the way for the fifteenth century, by observing that there are very many volumes, as well upon Heraldry and Orders of Precedence,* as upon * ufon Heraldry an^ Orders of Precedence,'] The language of Philemon seems here to be somewhat obscure, and to stand in need of annotation. He is pro- bably making allusion to a curious volume, entitled ' Liber de Nobilitatibus,' executed in the first year of the reign of Edward III. preserved in the archive- room attached to the library of Christ Church, Oxford. This volume, remarkable for the multiplicity and oddity, rather than for the splendor and beauty, of its illuminations, was given to the College by William Carpender, in 1707 ; formerly a student of the same. On the recto of the first leaf, we read as follows : ' Hie incipiunt rubrice capitulorum huius libri de nobilitatibz. Sapienciis et prudenciis regura. Editi. ad honorem illustris. domini Edwardi dei gracia. Regis angliae FIRST DAY. cxxxi religious and historical subjects — executed in the fourteenth century — of which but very limited notices (if any at all) have reached us. And as to Petrarchs and Boccaccios incipientis regnare. Anno domini ab incamacmie milesimo Tricentesimo. vicesimo sexto.' This title is in red. The text is a coarse, slim, gothic character. Every page seems to be surrounded with figures; and there are men in armour, of all sizes, and in all occupations : a huge couple are on folio 3. The gilt back- ground, at fol. 4, is dotted, like the illuminations in the Ashmole Bestiarium. Nearly two thirds of the book (which may be called a large octavo) are filled with drolleries, of beasts, men, and monsters. Occasionally, whole pages are filled with rude encounters ; and the last 7 leaves are occupied by drawings, in a delicate black-outline, representing sieges ■ in which are sundry implements of war that remind us of the ornaments in the Valturius of 1472. Prom Christ Church suppose we take a step to the Ashmolean Museum ? and examine a volume, of later date, no doubt — but of a somewhat similar tendency : and of which description there are probably many hundreds, yet in the full vigor of existence — although upwards of 300 years old! The Ashmolean treasure, marked 764, is a quarto, connected with chivalrous costume or detail. On the reverse of the first leaf is a whole length figure, with a crown upon his head, in the heraldic fashion. Opposite to it we read, ' The first fondacmi of the office of armys and whereof it bygan translate owte of Latyn into englis.' (This reminds us of Master Caxton's ' Faites of Armes and Chivalry,' and indeed the character of the writing has a closer resemblance to Caxton's ordinary type than any thing I remember to have seen.) The text commences thus : ' Eneas by goddis grace Besshop of Seueil to lohn Enderbacke the kyng Secretary and beloued brothir mony salutacion sendeth.' ' Question to make mony men.' The first 8 leaves are in English : on the 9th leaf the French text commences thus : Le tresnoble et trespuissant Roy Alexandre,' &c. On the 28th leaf : ' Explicit lextrait de larhre des batailles entant que touche des Armes.' Then a blank leaf. On the reverse of the ensuing, or 30th leaf, is a fine and well-preserved illumination of three pairs of knights, combating. Each knight uses a sword. Opposite, on fol. 31. ' Cy sensuyt la facon des criz de tournois et des loustes.' It begins with the observance of the laws of chivalry by our King Arthur; and the remainder of the volume is devoted to the subject of which the preceding title professes to treat. In the whole, 136 leaves. See however a very resplendent tom^ of the heraldic kind, among the Harl. MSS.: no. 6199 : upon the order of the THOisoN d'or. Before we take leave of the description of books, above alluded to by Philemon, and as we have just pronounced the words ' LArbre des Batailles,' I cannot re- frain fi-om requesting the locomotion-loving reader to glide with me through the key-hole (as it were) of the door of the library of Hafod. There, let me take down for his amusement, as I once did for my own, a small thick folio, of choice vellum (written in pale ink, in a character much resembling the largest type of cxxxii FIRST DAY. — yet rest a moment :— surely some fairy has just put this book-ring, containing the Sonnets of Petrarch,* upon my finger ? Verard) entitled according to the preceding comma-inverted words. Tlie margins of this MS. are unusually ample, the text being proportmiahly in a small com- pass. The illuminations make up in quality for paucity of number. There are only three of them : in a fine state of preservation. The first, on the reverse of the 3rd leaf, is nearly of the entire size of the page : angels are fighting in the air — beneath is a tree, extending from the bottom to the top, upon which some of the angels rest. A group of warriors are fighting just under tlie branches ; while another group, beneath them in turn, and immediately above the root of the tree, is engaged in sharp conflict. The root is being devoured by flames, witli the heads of six warriors consuming in them ! What a splendid pun is all this upon the title ' L'Arbre des Battailles ! ' The surrounding border is at once graceful and brilliant. The two other illuminations are of much less dimensions, but by the same hand, and nearly equally interesting and well finished. The initial letters and titles to the several chapters are executed with great neatness. Tliis precious volume, bound in green velvet, with brass corners and clasps, was once the property of Diana of Poictiers. * book-ring, containing the Sonnets of Petrarch.'] Whether Philemon made a purchase of a volume of this description, in the possession of Wr. Wurtz, when he was lately in this country, I cannot take upon me to determine ; but most certain it is that Mr. Wurtz (who pleased the most fastidious bibliomaniacs, during his stay, by his unassuming and well-regulated manners) really did possess a manuscript of Petrarch's Sormets, written in the italic letter, in pale or brown ink, of which the length was only one inch, and the breadth thereof five eighths of an inch. And yet this Lilliputian tome contained fifty lines at least in a page ! The text however was only legible by means of a glass. There were also illuminations, in a good Italian taste, in bistre-colour. The * Triumph of Death,' in particular, I remember to have been of considerable merit. This most singular bijou was cased in a binding of gold-filliagre. As we are upon illuminated Petrarchs, I cannot forego the desire of gratifying the reader with an account of a volume of that poet, singularly dis- tinguished for its appropriate embellishments, which is contained in the library at Hafod ; and which account was taken during a visit made to that romantic spot when it was animated by the presence of its late proprietor ! The memo- randum runneth as follows : ' MS. of Petrarch's Soimets, ^c. in octavo : red velvet binding, in a green-leather case. ' This very precious MS. is written in the cursive or italic character — a little stiS" and upright ; and may possibly be anterior to tlie date of the first printed edition — 1470. A table of 7 leaves, without any illumination, precedes the text. Then follow 2 leaves of green vellum : on the reverse of the 2nd of which is one of the three large illuminations which are of singular execution. A border, Avith a FIRST DAY. cxxxiii Belinda. You are the most favoured of earthly Mo- narchs ! I am ahnost disposed to rob you of it. At any rate let us minutely examine it. Wonderful indeed ! sort of Ionic pillar on each side, and a frieze at top, with arms beneath, encircle the painting. Along the frieze or architrave, we read ' Francisci PETij^ncAE Florentini Poetae Clarissimi in small capitals. At bottom, a Cardinal's cap and tassels surmount and surround a coat of arms, supported hy cupids, sitting each on a cornucopia. The arms are a shield, gules, with a black eagle on the upper division, &c. &c. On the bot(om division, to the left of the picture, at top, stands a winged horse (or pegasus) on the summit of a rock, from which issues a stream of water. At the toot of the rock, sits a figure with rays round the head, of feminine expression, but probably intended for Apollo. He is playing upon a fiddle. Opposite sits the poet, laureated, as if catching the inspiration of the god, and about to commit his thoughts to paper. In the centre is a large tree, with the figure of Cupid standing upon tJie head of Laura, ■whose arms are made a part of the branches of the tree. A river runs below, and a city is in the back-ground. The opposite page has an arabesque ornament. The head of the poet is in the centre of the first letter V[oi]. This first sonnet is in capitals of red, purple, gold, and blue. The arms, with only the upper part of the shield, are below. Another large illumination, similar to the first, but upon white vellum, much covered with back-ground, illustrates the sonnet written upon the reverse of fol. 116, beginning Standomi vn giorno solo a la fenestra. It is singularly curious. The third illumuiation is executed upon a lilac ground, and is more elaborate than either of the preceding. Upon a rock, at top, an ancient figure is shewing Petrarch (whose book is in his left hand) the triumph of Love below. Cupid is in his car, which is in flames, about to discharge his arrow. An old man, with a crown upon his head, is on one side, having his arms tied behind. Two young couple precede the car. Behind (at bottom of the picture) are couples in joyful procession : the central pair is very graceful. The opposite page is slightly executed in the arabesque style. This beautiful MS. has been cropt, from the numerals being at the extremity of the upper margin. In the same care-soothing library there is a very pretty folio MS. of the Decamerone of Boccaccio ; translated into French by the well known ' Laurens de premier fa'itfamilier au Bureau Dampomartin citoien de Paris.' Consult the Bibl. Francoise de la Croix du Maine, <^ c. vol. ii. p. 32, vol. iv. p. 576. It is written in a brownish ink, in double columns, apparently' of the time of Charles Vi. of France The borders are unusually elaborate ; and the illuminations, containing generally small figures, are both striking and brilhant. The first group, sitting upon the grass, about to hear the commencement of the tales, is veiy beautiful : the Empress of the first day (Pampinea) is in the act of being crowned. The art cxxxiv FIRST DAY. Lysander. We will pass on, if you please, to the Order of the Day. Shall Missals be the first note to touch, in your approaching calligraphical concert ? Philemon. ' Missals ' — with all my heart. Yet, as a volume of anterior execution, and as partaking in some degree of the warblings of the muse, pray let me introduce to your especial notice a vastly pretty group of females — from a ponderous tome of the works of Christine de Pisa,* in the British Museum. I observe that the Ladies liowever I suspect to be either Flemish or French. The condition of the volume is most desirable. This precious MS., bound in green velvet, was also in the collection of Diana of Poictiers. The reader of course will not fail here to refresh his memory with the notice of that most lovely of all lovely Manuscripts of the Decameron (belonging to Mr. Coke) given at p. xiii, ante. * the works of Christine de Pisa.] The ' ponderous tome,' above alluded to, is among the Harleian MSS. (no, 4431) in the British Museum : and contains, in the whole, 398 leaves. It is a vellum MS. written in a small gothic letter, in double columns. On the recto of the first leaf, in a large hand, is tlie following autograph: ' Henry Duke of Newcastle, his hooke, 1676.' On the recto of the second leaf, above the text, is the illumination of which the larger and more interesting portion is presented to his audience by Philemon. It appears to me to possess considerable merit ; especially in the grouping, which is really not unworthy of some of the happier eflbrts of Stothard. Beneath this illumination, of the authoress presenting her book to the Queen of France, we read the following strains — and let not the reader ' disdain ' to peruse them ; for the famous Duke de Berry, a tremendous bibliomaniac about the period of their composition, (1410) gave not less than 200 crowns, to Christine lierself, for a set of that Dame's ' Balades,' ^c. The fact is ' extant in choice print,' thus : (taken from the original inventory in the year 1416) ' Vn liure compile de plusieurs Balades et ditiez, fait & compost par damoiselle Christine [de Pizan] escrit de lettre de court, bien histori^e : achet6 de ladite damoiselle deux cens escus, pris6 40 livres parisis.' Peignot's Ctiriosites Bibliographiques, p. xv. So that, by this time, I imagine the reader to be quite impatient for the verses subjoined to the aforesaid illumination. Les voilti ! Tres excellent de grant haultesse Couronnee poissant princesse Tres noble Royne de France Le corps enclin vers vous raadressce En saluant par grant hublece Pry dieu quil vous tiengne en souffrance FIRST DAY. cxxxv are absolutely envious of the head-dresses of their sex at the commencement of the Fifteenth Century ! Allow, at any rate, that the grouping and its accessories are pretty and interestinof. Lone temps viue, et apres loultrance De la inort vous doint la Richece De paradis qui point ne cesse. A hearty, pious, and appropriate salutation : and the artist, in the above picture, has CXXXVl FIRST DAY. Belinda. We admit the justice of both these latter observations ; but can by no means acknowledge our envy at the perfection of the head-dresses of the same stately group ! Philemon. As you please. Having now then brought you just within the pale of the xvth century, I proceed to an account of Missals executed chiefly within that period. And first for the notice of that resplendent and costly tome ycleped the Bedford Missal !* The Spirit of John Duke suited 'tlie action to the word.' The remainder of the ilUiniinations, by more than one hand, are not only much smaller, but of greatly inferior merit to that which is above given. The genei'al condition of this interesting tome is such as to rejoice the heart of the worshipper of the memory of Christine de Pisa : while an excellent account of the contents of it, will be found in the Cat. of the Hurl. MSS. vol. iii. p. 144. See, too, the Typog. Antiq. vol. i. p. 75-6. * ycleped The Bedford Missal.] When the reader is informed that the late Mr. Gough (as above alluded to by Philemon) published a quarto volume (in 1794) of 83 pages— descriptive of the contents of this really unrivalled Missal — he cannot expect even a full or satisfactory detail of its multifarious graphic emiieliishnients within the compass of a moderate note : and no limits are left for a very immoderate one. Upon the whole, however, after dipping into Gough, I know not liow to present the reader with a more spirited or interesting delineation of its general features, than what appears in the language of Mr. Evans, in the Catalogue of the Library of Mr. Edwards (1815, 8vo.)its enthu- siastic possessor for the preceding nine and twenty years. At number 830 of this catalogue we read as follows : ' The celebrated Bedford Missal or book of Prayers and Devotional offices, executed for John Duke of Bedford, Regent of France ; containing 59 miniature paintings, which nearly occupy the whole page, and above a thou- sand small miniatures of about an inch and a half in diameter ; displayed in brilliant borders of golden foliage, with variegated flowers, &c. At the bottom of every page are two lines, in blue and gold letters, to explain the subject of each miniature : a circumstance perhaps only to be found in this expensive performance— but what enhances the value of the MS. in this country is, that it lias preserved the only portraits remaining of the noble pair who formerly possessed it ; John of Lancaster, Duke of Bedforu, Regent of France, and Anne of Burgundy, his Duchess, interspersed with their mottos; an elegant expression of the gallantry of that time, on his part — " A vous entier and on her's " J'en suis contente;" and also the portraits of Henry 5th of England and Catharine of France. Nothing can exceed the strength of character. FIRST DAY. cxxxvii of Bedford, Regext of France, be present to unlock all the * hidden springs of harmony !' — as I open the concert alluded to. I observe you comprehend me in a trice ; and and high fii)ishing of the portraits. Mr. Gough pronounced them the finest example of the art, of that period, he had ever seen. Vertue engraved the portrait of the Duke from this painting. Anotlier interesting characta-istic in this fine MS. is the attestation of its being presented by gift of the Ducliess, and by order of her husband, to King Henry the Vlth, when he went to be crowned in France, and wns spending his Christmas at Rouen. The Monogram of the Attestor (I S) is John Somerset; styling himself Domini regis ad personam servitor et sanitatem vitceque conservationem consulens. This is confirmed in Hearne's Vita Henrici 6. per T. de Elmham ; where he is called physician to the King ; and that he was a favourite, appears from a grant (/f the manor of Ruislip* to him for life, by Henry VI. See Lysons's Environs, vol. v, page 2.')8. This rich book is 11 inches, by seven and a half wide, and two and a half thick; bound in crimson velvet, with gold clasps, on which are engraved the arms of Harley, Cavendish, and Hollis, quarterly. It was the property of Edward Lord Hariey, Earl of Oxford and Mortimer, who bought it of Lady Worsley, great grand-daughter to W. Seymour, second Duke of Somerset, who was appointed governor to the Prince of Wales, by King Charies the First. It descended from Lord Oxford to his daughter, the Duchess of Portland, and was purchased at her sale. May 24th, 1786.' Such a description, with the previously-known character of the volume, was sufiScient to inflame the ardour, and sharpen the weapons, of the most indifferent book-knight : while it animated the ' thorough-bred ' with a degree of mettle approaching to madness ! Accordingly, on the day of the sale of the Missal, there ' pricked forth,' from tlie lists, two well-known bibliomaniacal champions : one, ycleped the Most Noble the Marquis of Blandford— the other 'having to name 'John North, Esquire.' The surrounding Book-Knights were silent spectators : knowing the courage and daring of these adventurous champions. At length, after inflicting upon each other divers ' huge and lusty strokes,' the first-named champion gained the prize for the sum of 687/. 15s. ' of lawful money of Great Britain :' but the defeated knight is reported to have ex- claimed, in retiring from the combat, 'Another such victory, and . . .' Let me add that this contest reflects equal credit upon ' victor and vanquished.' I now return to the volume itself— for tlie reader, I dare think, is prepared for an ' immo- derate' note. Mr. Gough, in his quarto pamphlet, before-mentioned, published * Mr. Evans has noticed to me a singular coincidence. The back-windows of Mr. Edwards's house (which was the old manor-house) at Harrow, looked upon this very manor of Ruislip ! Thus the late owner of the Bedford Missal might contemplate the spot which was ' granted ' to the very person who attested the donation of it to its original and Regal Possessor ! cxxxviii FIRST DAY. are preparing to turn over the leaves of the enchanting- volume under description ; which is, really, and in truth, a most precious and praise-worthy monument— not only of the state of art at the opening of the xvth century, but of the fmr copper-plate facsimiles from it. One, of the Duke of Bedford, as given in this work, with its surrounding ornaments— (the latter obliged to be omitted for want of room) : the second with the Duchess kneeling before her tutelary ' patroness and name-saint St. Anne :' also with its surrounding ornaments : the third, of ' the legend of the changing of the arms of France, from three toads to three^eur de lis, in the reign of Clovis, A. D. 500, as represented hi tapestry,' &c. These latter figures are very small ; and the surrounding ornaments are full of historical subjects. Mr. Gough thought that ' the portrait of Henry the Fifth here represents the figure of Clovis.' ' Cela se peut:' but the face is too small (not the eighth part of an inch) to make the circumstance of any moment. A fourth plate, given hy Gough, is a fac-siraile of the ' attestation of the Missal being presented by gift of the Duchess, and by order of the Duke, to King Henry VI. by one of the king's servants, who appears to have been his physician.' Upon the merit of these/our plates, on the score of accuracy, I will not pre- tend to sit in judgment; but the frst of them, representing the Duke, &c. cannot be faithful if the praise of fidelity belong to the present representation of the same subject. What then is to be the result, and upon which is the reader to choose? I will only simply observe, that the accompanying plate is executed by Mr. George Lewis, from a drawing made by himself— line for line, and stroke for stroke, from the original— that this drawuig was allowed, by the late owner of the Missal, to be ' completely successful:' and the reader may be assured that one and the same spirit of fidelity h^s influenced both the pencil and the burin of Mr. George Lewis. ' Palmam qui meruit, ferat !' Note further ; that Mr. Cough's plate, or plates, are only in outline— With a prodigious deal of the characteristic ornaments of the original wholly omitted. I am aware that there are some few copies of Mr, Gough's book with the plates coloured : but these I have always considered as the sorriest possible representations of the originals! Who, of the modern 'sons of men,' could successfully imitate the delicate hues, the radiant colours, and the dazzling gold, of this wonderful volume .? ! The attempt would be either folly or madness. Therefore it is, that one sober tint, either hrown, or black, is more satisfactory tiian the piebald colours of an indifferent modern illuminator. In respect to minuteness and delicacy,! may be allowed to notice the very masterly style in which Mr. Lewis's plate is executed. One word more, and I have done. This extraordinary volume, which belonged to the Duchess of Portland, daughter of Lord Oxford, was purchased (as above-mentioned) by Mr. Edwards, at the sale of the gems, pictures, and antiquities, of the Duchess, in 1786 (see no. 2951) for 213i. It E]LJLIUMIIMATII©M FROM TIHIM BEIO)F©R© MHggAJLi FlUNTED 3YLAHEE FIRST DAY. cxxxix noble and fostering spirit of the aforesaid Regent in parti- cular ! Most of you, I believe, were present at the late sale of this unrivalled Missal — and Gough, as you may remem- ber, has written a pretty stiff quarto volume upon it: yet much as you may have seen and read, appertaining to it, I will not suffer you to depart without calling your attention to the copy which I have caused to be taken of the prin- cipal Illuminations ; namely, the Regent himself kneeling before his Tutelary Saint, St. George* Lorenzo. Most singular, most splendid, and most inte- resting ! Philemon. Even so : and after all that has been thought, said, and written, respecting the Missals in this country, give me the Bedford Volume ! The Breviary, companion of this precious tome,-|- is no doubt yet in existence ; and the style of art, which it particularly developes, was very prevalent at the period of its execution. Among other spe- cimens, the Lamoignon Missal, now in the HqfodX was obtained against the bidding of his present Majesty. During Mr. Edwards's possession of it, he was twice or thrice offered 500 guineas for the same; but the result proved the discretion with which these offers were declined. To an Englishman, the Bedford Missal is the proudest and most interesting monu- ment existing of the early art of book-illumination ! * See the Opposite Plate. t Breviary, companion of this precious tome.'] My friend Mr. H. Petrie has supplied me with the notice of a ' Breviary after the use of the Church of Sarum,' among the MSS. of the Royal Library of France (no. 273 ?) which contains many beautiful small illuminations, together with some large subjects. It was executed in 1434, and belonged to John Duke of Bedford, Regent of France. It follows therefore that the conjecture of Philemon is supported by fact. But will, or rather can, the Missal and Breviary of the same Regent ever again become the property of the same person? The chances are as an hundred to one against such an occurrence. t Lamoignon Missal — in the Hqfod Library.'] At page cxxxii ante, the reader has been introduced to a few of the ' Hafod Treasures ' through the medium of a description taken by myself on the spot. In general, views of nature, taken in VOL. I. i cxl FIRST DAY. Library, and numerous other volumes, (although not of a religious cast of character) are apposite illustrations. But we are now approaching the time of Maso Finigueeba .... LisAEDO. Surely that great artist never executed a Missal, or other Book ? — Philemon. You interrupt me. I was about to remark, by introducing the name of Finiguerra,* that subsequent a similar manner, are thought to have more of truth and spirit about them, than compositions drawn from fancy, or from recollection only. Whether the same inference apply to book-views, I dare not take upon me to determine : but I will venture upon submitting another book-sketch executed in a similar manner. It relates to the Missal above alluded to by Philemon ; once in the Lamoignon Collection. ' This lovely Missal comes the nearest in execution, as well as in style of design, delicacy of vellum, and general characteristic appearance, to that of the Bedford, of any which I have ever beheld. The larger subjects, or illu- minations, are surrounded by fanciful borders ; having circles, in which figures, or groups of figures, are introduced — illustrative of the main subject or larger illumination. Some of these are exceedingly elaborate ; and every page of text has a delicate border, in which drolleries, or serious subjects, are introduced vnth equal felicity. The condition of the Missal is perfect. Mr. Johnes admires, and with justice, the large figure of St. Jerom (the last illumination but one) sitting and writing : with a cardinal's hat on the floor, and a lion before him. The last ilhmination reminds us strongly of the style of execution seen in the Bedford Missal. At top, is a crucified Christ, supported by the Father, with a Dove between them : emblematic of the Trinity. Chcrubims surround them. Below, the Patroness, to whom the Owner dedicated the work, is kneeling upon a blue cushion, with closed hands, looking stedfastly at the cross. Her female attendant is behind her; also kneeling, and reading in a devout manner. A white dog is walking before the Patroness. (The costume is of the earlier part of the xvth century). Figures, representing the cardinal-virtues, and intertwined with foliage and flowers, constitute the border : the whole full of beauty and effect. The text (beginmng with the first chapter of St. John) is in a large gothic letter. The dimensions of the volume are 10 inches three-eights, by 7 and a half. Although the edges are gilt, with coloured ornaments, and have an old appearance, I suspect that this lovely volume was originally full 2 inches taller. Aug. 2, 1815.' If I remember rightly, the wretched De Rome was the binder. Thus much for the third booh sketch— taken in Hafod library in the month and year aforesaid. * the name of Finigueeba.] It might indeed very naturally have been sup- posed that some of those illuminators, who lived subsequently to Finiguerra, FIRST DAY. cxli artists, benefiting by his example, might, in their produc- tions of the pencil, have displayed purer taste and more accurate drawing and composition. But, on the contrary, would Lave profited by the beauty of his productions ; but the truth is, as Philemon above observes, that, towards the end of the xvth century, there are too many retrograde movements in art to warrant us in drawing such an infe- rence : nor can any one, however he may justly delight himself with the fac- similes published by Zani and Mr. Ottley, (and more especially with the re- marks as well as the fac-simile of the latter) have, I had almost said, any, but certainly not anything like an adequate, idea, of the brilliancy and perfection of the sulphur casts (as they are called) of Maso Finiguerra. One of these sulphurs (and only two are known to exist) has recently enriched the very choice library of the Right Hon. Thomas Grenville. It had been formerly in the cabinet of Signor Seratti ; and ' per varios casus' (not necessary here to describe) it found its way into that land ' flowing with milk and honey,' commonly known by the name of Great Britain. How many similar curiosities — as gems, pictures, books, and statues, have recently taken the same direction, we will not stop to enquire— nor is it at all necessary (however the fact may be known to a ' chosen few') to mention how much of the said ' milk and honey' Mr. Grenville was compelled to produce in order to obtain possession of such a treasure. Suffice it only to remark, that, in more skilful hands, or under more discerning eyes, it could not possibly be placed. But the reader is impatient for the sulphur, and thus he hath an account thereof. It is the self-same sulphur (or composition, like plaster of Paris, with a deli- cate yellow tint, upon which the subject, in black, is impressed or taken off — ) from which the copper-plate impression of Zani, from Mariette's collection, now in the Frencli Museum, was copied : but Zani's impression is defective in that part (the extremities or upper border) where this is perfect ; and the present is slightly defective in that part (the centre) in which it should seem that Zani's is comparatively perfect. Of the two, however, there can be no question respecting the superiority of condition of Mr. Grenville's sulphur; and it is not a little curious that such varieties, as to condition, should appear in representations of the same subject. The subject is as follows ; taken from a ms. memorandum accompanying the sulphur : • The subject represented is the Assumption op THE Virgin, who is crowned in heaven amidst the rejoicings of saints and angels j and although only measuring about live inches by three and a quarter, it contains in all forty-two figures. It can hardly be expected that in the course of 3 centuries and an half it should have escaped altogether the ravages of decay; still it is, upon the whole, in a very entire state, and is particulary interesting from being quite perfect in that part where the impression in the French Museum is mutilated ; this latter, on the other hand, supplies some trifling deficiencies in the sulphur cast.' cxlii FIRST DAY. as we approach the latter part of the Fifteenth Century, we find such a predominance of Flemish taste, and extravagant decoration, that it grieves one to think the examples of earlier and better artists seem to have been thrown away. I must make, however, one or two glorious exceptions. LisARDo. Which be they ? Philemon. First, and foremost, let us ' doff our bonnets ' to the illustrious names of Francesco Veronesi and GiROLAMO his son ! The magnificent and matchless Missal, which owns them as the artists * who have immortalized it, ' The fineness of some of the lines which are pourtrayed on the sulphur is quite astonishing. They have been minutely confronted with the engraved pax, and correspond with it to the greatest nicety. The effect of the whole is most lively and brilliant, bearing altogether a strong resemblance to an engraving upon ivory.' The truth is, nothing can exceed the prodigious power of expression which appears in the minutest countenances — whether of agitation, as in the angels blowing the trumpets, above ; or of softness and resignation, as in the attendant angels below. In the elegance of the attitudes , and folds of the drapery, we observe all the grace of Raffaelle and all the breadth of Masaccio, The copper- plate impression affords no idea even of the truth of thefeatures of the respective countenances ; which necessarily implies the total absence of original expression. Had Clovio copied such a gem, and introduced it into some missal, for one of his royal masters! — how many purse-strings would have been unloosed to gain possession of such a treasure! ? * The magnificent and matchless Missal which owns them as the Artists who have immmialised it.'] 'What will not the reader be led to expect from this gorgeous style of description Let Mr. Evans, however, first make known the general splendor and importance of this Missal, from the description of it which appeared at no. 246, in the Catalogue of the Library of Mr. Edward Astle, sold by him in January, 1816. ' This magnificent Missal is unquestionably one of the very first and grandest exertions of the art of illuminating books. It appears to have occupied several years in preparation ; and acquires a singular interest, as the miniatures form an epoch in the aimals of the art, and constitute a land-mark between the ancient and modern school of illumination. The more ancient paintings were executed by Francisco, called " da i libri," from his extraordinary talents in painting miniatures in books, and by his son Girolamo, who was the instructor of Giulio Clovio. The miniature of the Presentation of Christ in the Temple, is subscribed with the name of Francisccs Veronensis at full length ; a very unusal cir- cumstance, but arising no doubt from the conscious pride wliich the artist felt in FIRST DA.Y. cxlii'i is, at this moment, as it were, before me. For you, my amiable auditors— for Belinda and Almansa — I rob it of this amethyst, and of that emerald : which, for lustre, shall contemplating the success of his exertions. It is indeed a chef-d'oeuvre of the art sufficient to immortalize the painter, whether we consider the beauty and excellence of the composition, the gracefulness of the attitudes, or the delicacy of the finish ; all, and every part is exquisitely beautiful, and vindicates his claim to the cognomen, bestowed upon him by the admiration of Italy. Girolamo, it is known, successfully emulated the paintings of his father. Vasari is quite animated in the description of his talents. I think his exertions are particularly discernible in the paintings of some of the borders, they correspond remarkably with what Vasari has said frequently occur in the works of this artist, namely^, representations of ancient cameos, precious stones, jewels, and fancy pieces. It is impossible to view the large painting of the crucifixion, without feeling the profoundest reverence for the talents of the painter. Among the later produc- tions is the exquisitely beautiful painting of the Celebration of the Mass. The portraits of the Pope and the Cardinals attending him, are admirable perform- ances. The last of the miniatures represents ihe Pope in the act of remunerating a Cardinal [see the third plate at page cxiii, ante] we may infer he is paying for this Missal, and from the quantity of money introduced, he appears to have justly appreciated the merits of the work. The arms of Sixtus IV. are placed under the painting of the Celebration of the Mass, and occur in other places with the Cardinal's hat above them : we may therefore conclude it was commenced for him while he was a Cardinal, and finished after his elevation to the tiara, or else it must have been done for his nephew the Cardinal Giuliano, who bore the same arms, and was afterwards Pope, by the title of Julius the Second.' The reader will not be surprised to learn that such a treasure produced, at the sale, the sum of 307Z. I had seen it, in 1804, when it was bought in for 231/. Mr. Esdaile is the present fortunate possessor of it. Let my own tale now be told respecting this very singular and magnificent volume. It was in the year 1814 when I borrowed it of Messrs. White and Cochrane for the purpose of having the accompanying plates engraved, and of making an elaborate description of its illuminations : as I then considered, and still do consider, the specimens of art, contained in it, altogether of a most extraor- dinary nature. To allay any nervous sensation, on the part of its then owners, it was insured by me, during the time of detention, for 450Z. Thus the artist, Mr. George Lewis, went to work with confidence and glee ; and my own slumbers were wholly undisturbed — ' quoad hoc' Here foUoweth a description of the ' handy works' of Messrs. Francesco and Girolamo, in the Missal aforesaid, which is bound in ancient red morocco, fastened by silver-wrought clasps, and measures 14 inches and half long, by 10 inches and half wide. A full page contains 12 lines, in a broad faced gothic letter, nearly half an inch in height. cxliv FIRST DAY. challenge the brightest hues that sparkle in the casket of the jeweller ! And yonder string of pearls, large, entire^ and glossy— as if wet with the ocean wave — place it my . . . The ' Tabula Missarum prime partis missalis pontificialis' occupies the first leaf. I shall advance at once to the notice of the Illuminations ; designating the artist by whom each subject was executed ; and premising, that the pictures of Francesco are in water colour, and those of his son in body colour. It may be also worth further observing, that the tints, used by Francesco, are generally jiink, lilac, purple, or green ; with a peculiar touch of the pen, by which he marks the folds of drapery and the anatomy of the human figui-e. That this artist is oftentimes extravagant, must be readily admitted ; but amidst all his wildness of fancy there is a delicacy of expression, and crispness of touch, that render his performances strikingly original and characteristic. No man ever produced more power of colouring, as a water-colour painter — which is evident even from the pre- sent condition in which they appear : but in their pristine state his performances must have glowed with a lustre of which we can hardly have an adequate concep- tion. His gilding, less firm and resplendent than that of Girolamo, partakes of the soft and attractive tone in which he has contrived to work up his subjects to the highest pitch of delicacy and expression. Girolamo, both in his body colours and gilding, is perfectly uniform : bold, rich, and sparkling—but his taste has comparatively the air of a Flemish painter. First lUumination. By Girolamo. The capital initial I. (' Incipit prima pars Missalis secundum vsvm romane curie in quo continentur Missae quae per pontifices consueverunt celebrari') which is about 4 inches in height, is within a rich border. At bottom, a tent with a golden canopy. In the centre of it, a Cardinal's hat ; beneath which is an oak- tree with acorns ; all in gold : on one side of the trunk S, on the other D. The back-ground is ultramarine, in part deeply shaded. An angel, on each side the tree, with one hand holding up the curtain covering the arms, and with the other holding up the curtain on each side of the tent. At the foot of each angel, a child is playing on a guitar, each in a graceful attitude. Beneath, the illumina- tion is damaged : prevailing colours of border, purple, lilac, and red. On the reverse. Second Illumination. By Francesco Veronesi. Prodigiously elaborate, occupying the whole page. What appears to be the letter N, forms the principal object. Within, 6 robed male figures: of which 6 are upon their knees ; the central one with hands elevated, having a naked figure, apparently a female, balanced in the centre of the hands : a rich canopy (the colours somewhat faded) before this figure : another canopy, to the left, in the back-ground. The Ibes which constitute the letter (N) are filled by human figures on each side, grouped, or linked together, in the most graceful manner. At top, are a peacock and two doves, in lilac colour. Above the whole, are FIRST DAY. cxlv Lysander. Remember, the Ladies are the property of Lisardo and myself ! But I can forgive you . . . Lorenzo. Jealousy is ' a green-eyed monster,' saith Shakspeare. Yet proceed : and do not suffer the caustic gravity of the worthy Lysander to throw a damp upon the pearls, precious stones, and cameos. To the left, from the bottom, is a border of nearly 3 inches in width, crowded with figures in the most fantastic and beautiful attitudes : these are reheved by architectural ornaments, pencilled with surprising delicacy : in the centre are the arms (by Girolamo) as described in the first illumination, but on a smaller scale. Beneath the above central, or prin- cipal illumination, having 2 lines of text between, is a most magnificent and elegant specimen of art ; with vases of fruit, and three recumbent children at bottom. To the right, are two figures supporting a rich vase. The whole forms a perfect specimen of the variety, peculiarity, taste, richness, and expression of the genius of the artist. Unluckily the left border is rather tarnished by the stahi of sea water ; but the eye of the virtuoso has abundant gratification m what is left entire. After 8 pages of text, we come to the Third Illumination. By Girolamo. To the left of the initial capital I (3 inches) our Saviour is giving instructions to his Disciples. Border of flowers at top, to the left, and at bottom : slight ornaments to the right. The whole, fresh and uninjured, and sparkling with gold and ultramarine ; it is however among the least elaborated illuminations. Again, after 8 further pages of text, we come to the Fourth Illumination. By the Same. Exceedingly rich and gorgeous, and in the finest state of preservation. At top, forming the circular part of the letter P (upwards of 4 inches and a half in height) is the Almighty in the sky : below, the figure of Isaias : to the right, 7 male figures. At bottom, in a circle of 2 inches and three quarters, is what appears to be the Apostles (8 figures) expecting the descent of the spirit. To the left, and at bottom, is a broad border ; to the right, narrower border. Then 4 pages of text, before the Fifth Illumination. By the Same. Three small figures, Christ replying to the messengers sent by St. John the Baptist. The illumination, 2 inches and a quarter. A very rich and elegantly- imagined border. In the centre, to the right, two boys (each playing a musical instrument) full of expression. Prevailing colours of border, purple, lilac, and green : in good preservation ; but the gold sparingly introduced. Another 4 pages of text, and we reach the Sixth Illumination, By F. Veronensis. Ilemarkjible for the extraordinary grace and beauty of the border : the left cxlvi FIRST DAY. glow of description which such an extraordinary volume seems to produce. Philemon. I crave pardon of my subjects. You will however readily anticipate my notions respecting the extra- ordinary Missal here alluded to. In fact, that Missal was executed by the two eminent artists before-mentioned, ex- pressly for Pope Sixtus IV. whose portrait, as is conceived, side and bottom of which are composed of children fantastically grouped, of a portion of which the following is a most interesting fac-simile : The border at top, and to the right, is narrower, and filled by fanciful ornaments, exhibiting equal taste, and coloured chiefly in green. At the bottom of the text, is a capital initial G, nearly three inches and a half in height, and nearly 4 inches in width. The lines, which form the letter, are filled by the most elegant and tasteful arabesque ornaments, and are coloured in green : within the letter, is a half length of St. Peter, holding the keys with his right hand, and a book (pressed to his breast) with his left. Like almost all the figures of Francesco Veronesi, the present exhibits a disproportionate length as well as slenderness of limb. The 1 I ) ) I FIRST DAY. cxlvii thus occurs in one of the marginal decorations. Although these wonderful specimens of ancient art be, occasion- ally, injured in several places, yet, collectively, there is nothing to put in i competition with them ! Even the grotesques en- hance the value of the vo- lume ; and the frequent be- trayal of a remnant of what is called the gothic taste, connecting the old with the new school of art, gives additional interest to the performance. whole is in delicate tint, but in fair presentation. Two pages of text only follow, when we come to the Seventh Illumination. By Francesco and Girolamo. The border, in purple, red, and green, is by the former : the illuminated capital initial I (2 inches and a quarter) is by the latter : St. John the Baptist, seated on a bank, is discoursing with three men. The left side of the border very deli- cate and fresh ; terminating, at bottom, with a fine mask, over which is a lion's skin. A horse, to the right, in a whimsical attitude. The left border has suffered injury : and the bottom has been retouched (clumsily) in dark red. We glance over 5 pages of text, and reach the Eighth Illumination. By Girolamo. Very splendid ; but the green back-ground, on the outside of the border, is somewhat faded, and injures the effect of the piece. The capital initial R, at bottom (about 4 inches square) exhibits one of the best specimens of the powers of Girolamo's pencil. The whole is fresh, brilliant, and striking ; although a little too vivid for nature In the air, a half length figure of the Almighty, clothed in purple and white, holding a ball (the globe) in his left hand, and elevatmg his right. On each side of him, is a cherubic attendant. Beneath, is the infant Saviour, irradiated with glory : on either side of him an augel, in wliite, with wings of gold, in graceful attitudes of adoration. Below, is a fine sweep of landscape ; glowing with the rays of a warm setting sun. The embossed gold on the outside is ui the highest preservation. After 3 pages of text, comes the cxlviii FIRST DAY. Yet the specimens of beautiful and even Grecian taste which prevails — the arabesque borders, now fanciful and now grave — the incrustations of gems and precious stones — the onyx. Ninth Illumination. By Girolamo. Less splendid and interesting than the generality. An illuminated I, inclosing a representation of St. John preaching in the wilderness : 2 inches and three- eighths by 3 and a half. After 3 more pages of text, we are struck with the Tenth Illumination. By the Same. Very splendid and in fine preservation, with the exception of a trifling injury, or smear, over the lower parts of two very graceful figures of boys or cherubs, at the bottom of the lower border. The principal illumination is an O ; nearly 5 inches in width by 3 and seven-eighths in height. Within, is a beautiful and highly preserved whole length of St. Andrew the Apostle : his right hand resting upon a cross, and his left holding a book. The Apostle is looking intently upon his book ; having more than an ordinary expression of countenance. The border throughout is rich and magnificent. Four pages of text succeed, when we observe the Eleventh Illumination. By the Same. Comparatively trivial, but in good taste. The illumination (2 inches and five- eighths by two and a half) is the calling of St. Peter and St. Andrew. A great stain at bottom. After 3 pages of text, we observe with peculiar interest the Twelfth Illumination. By F. Veronesi. On looking at this elaborate and exquisitely executed illumination, filling almost the entire page, the first sensation that strikes us is — that of regret : the sea water having almost defaced the lower part, and probably absorbed, or caused to fly, the numberless delicate touches (chiefly in white, upon a lilac ground) which are introduced in the upper part between the lines of text. The border is brilliant and beautiful to a degree ; of which the chief colours are green, crimson, and purple. The principal illumination exhibits the embracing of Mary and Joseph. A glory surrounds the heads of both. These figures are preposterously tall, and the draperies of them too much mai'ked by foldings. They are within the letter S, nearly 5 inches square, (the first word being ' Salue ') and the marking of the lines of the S is distinguished and adorned by a profusion of precious stones and shells, &c. A little to the right, below, is a beautiful group of three children, much damaged. In its original state, coming fresh from the pencil of Francesco, this production must have had an exquisite effect. Six pages of text follow ; and then the Thirteenth Illumination. By Giuolamo. Border, fresh and splendid. Illuminated L 2 inches and a half by 2 and a quarter. An old man with 5 youths — 1st. ch. of St. Matthew illustrated. After turning over 7 pages of text, comes the FIRST DAY. cxlix sardine, ruby, emerald, amethyst, pearl — in sundry compart- ments of borders, or ornaments of capital initials — these. Fourteenth Illumination. By Girolamo. This is arnoiig the very choicest and most successful of Girolamo's pieces. The border througliout is light and tasteful ; and the figures of 3 cherubs, at top, and a child playing upon a guitar, on the left, below them, are extremely deli- cate and interesting. The base of the border is in better taste than the generality of Girolamo's productions. The chief illumination, not less than 5 inches square, is within the letter D (as appears by the context) and represents the Shepherds hearing the glad tidings of the birth of Christ. What gives it perhaps better effect — there is no figure seen in the ^sky from whence the anmmciatiou is supposed to proceed : the anxiety, the fixed attention, and attitudes of the three shepherds, are admirable. The back-ground, a mountainous country, is almost in a perfect style of colouring ; and very much beyond what is usually seen in distant landscapes executed in opaque or body colour. The embossed and burnished gold, around the letter, seems to retain all its original splendor. The whole is in charming preservation. Next come 3 pages of text — and the Fifteenth Illumination. By the Same, Of a more quiet and simple character. The principal illumination, nearly 4 inches by 2 and a quarter, represents A\igustus Caesar issuing the edict for general taxation. He is sitting in a chair of state, and four figures are before him : the whole neatly executed, and in perfect preservation. The border is simple, rich, and in good taste. We turn over 6 pages of text, and look with delight on the Sixteenth Illumination. By F. Veronesi. Full of splendor and taste, and having a most singular effect : but unfortunately damaged and retouched. There are only 2 lines of text above, and 3 below, the principal illumination : and the entire space between these lines is covered with a layer of burnished gold. The chief illumination is a P : the tail of which is 9 inches long ; the circular part is 5 inches and a half, by 5 and a half; and within is a representation of Christ in the Manger. The Virgin, gracefully kneel- ing, with her arms folded, is on one side ; and Joseph is sleeping at a distance, reclniing upon his right hand. Two angels are above the manger. The marking of the letter is filled by complicated groups of animals, children, and adults. The letters, U, E, R, on the right side, are most elaborately executed upon a purple back-ground. The border, on the right side and below, is beautifully arabesqued ; but much damaged. There is something, at first sight, very compli- cated and extraordinary in the whole of this magnificent illumination. Six pages of text follow : when we come to the Seventeenth llluminatio7i. By Girolamo. One of the most beautiful and delicate of his performances. The infant Saviour is enshrined in glory. An angel, on each side, in blue vestments, is kneeling, in cl FIRST DAY. (minor decorations, I grant) these, of their kind, know of no superiority in any contemporaneous Missal ! the act of adoration. One of the least elaborate of his borders : but the whole is in perfect preservation. We observe 5 pages of text, and recreate ourselves with the Eighteenth Illumination. By F. Veronesi. One of this artist's finest works. Esther, Mordecai, and Ahasuerus, with attendants, are within the letter C. The lineal formation, or marking of the letter, is beautifully executed ; especially a winged boy to the right. The foregoing, which are the principal figures, ai-e full of grace and expression ; but exhibiting the usual disproportionate length of limb. The colouring of Esther's robe has all the delicacy of Clovio and all the warmth of Titian; but it is perhaps a little too pinky. The surrounding border, forming the frame work of the page, is equally classical and fanciful ; while the two groups, of two children each, beneath, have never been surpassed. The whole page has, however, a tarnished appear- ance. After 5 pages of text, follows the Nineteenth Illumination. By Francesco and Giroi^amo. A ricli and finely flowing border ; but the two ornaments beneath, introduced by the pencil of Francesco, shew the superior taste and delicacy of that artist. Of one of these ornaments I subjoin a fac-simile, in the colour in which the ori- ginal appears, but necessarily of less crispness of execution. FIRST DAY. cU But let us proceed to the Iiigher branches of art, of which this extraordinary performance affords such abundant spe- cimens. In the groups of figures, there is, amidst all the The prevailing colours in Girolamo's border are purple, lilac, and ultramarine. The illuminated letter, I, represents a small group of Jews addressed by our Saviour. Next follow 5 pages of text ; and the Twentieth Illuminatimi. By Girolamo. An interesting and fresh looking illumination. The principal letter, I, represents St. John the Evangelist, in fine preservation : nearly 4 inches square. The surrounding border is exceedingly elegant and splendid. In the centre of the right border is the supposed portrait of Pope Sixtus IV. above given by Philemon ; but I have some doubts of its identity. That the reader however may be better enabled to form his own judgment upon it, he is here presented with an excellent engraving of the head of the same Pontiff, drawn and engraved by G. Lewis, from a bronze medal in the possession of the late Mr. James Edwards. We may merely take a glance at the following illumination (the Twenty First) and stop a few minutes only at the Twenty-second Illumination. By Girolamo. In beautiful preservation and delicately executed. The principal illumination (within the letter P) represents the Circumcision. There is unusual grace and clii FIRST DAY. intricate, harsh, and angular folds of drapery, at times, much expression and even pathos. Look at this represen- tation of Mary Magdalene at the foot of the cross — in the splendor of effect hi this interesting page. The smaller capitals (puer natus EST nobis) are elaborately adorned. Three pages of text follow. Then the Twenty-third Illumination. By Girolamo. The least elaborate in the whole book ; but by no means the least graceful. The christening, or calling ' his name Jesus,' is the principal illumination. The border is worth copying ; being unconfined by a straight line — 2 pages of text follow, when we approach the Twenty-fourth Illumination. By Girolamo. Among his most magnificent productions. The illumination, 6 inches by 5, represents the Adm-ation of the Magi ; very fresh and not unhappily conceived. There is a profusion of embossed gold throughout ; and the border partakes of the general splendor. The half-length figure below, in a white garment, crowned with a scroll, is mean, and what is called gothic. The two angels, above, to the left, are as graceful as this latter is forbidding: nor must our attention be wholly withdrawn from this small angelic figure at top, F(mr pages, and the Twenty-fifth Illumination, (not deserving of particular description) follow : after which succeed 24 pages of text — and as a compensation for so many unadorned leaves, we reach, and contemplate, with delight and amazement, the Twenty-sixth Illumination. By F. Veronesi, Tlie Presentation, one of the most exquisitely finished pieces of illumination iu existence! It is full of figures; crowded but not confused : the colours are rich, or gay, or tender, as the subject appears to require. The subject is introduced within the letter S, The exterior is much injured, and the ornaments upon it are entirely defaced. The artist's name is at full length below : see p. cxlii. The border, consisting of 6 ornaments, is only on the left : it is therefore less profuse than usual, and, by such means, does not kill the enchanting effect of the picture. It is also in the very best taste of the artist, I have heard that 100 guineas were once offered for this illumination. Need more be added? Five pages of text follow ; then the Twenty-seventh Illumination. By the Same. The Presentation in small: only 2 inches and six eighths by 1 and seven eighths. The Virgin and Simeon in attitudes as before. The border is wonder- fully beautiful — having a greater variety of colour for back -ground than usual. Not an ornament in it but what is deserving of a careful and highly finished copy. For fancy and taste it can have no superior. Then follow 72 pages of text ; with numberless beautiful capital initials. At length we reach that eighth wonder of the world — the Txomty-eighth Illumination. By F. Veronesi. The Crucifixion ; from the lower part of which, at the foot of the cross, the FIRST DAY. cliii magnificent representation of the Crucifixion !? Was ever mental agony more powerfully expressed ? In the original, ensuing figure of Mary Magdalene is taken. The Virgin, in a red garment, is nearly 5 inches in height : the mother of the Virgin is in purple — they stand on each side of the cross, above the figure of Mary Magdalene. The crucified Saviour, about 4 inches and a quarter, is ' yielding up the ghost.' The character of his head is most expressive. Two cherubs, or small angels, in green, are catching, in a cup, the blood that streams from each of the hands of Christ ; below one of them, a cherub, in red, catches the blood from the side ; also in a cup. On each side, a little below, is a group of similar infantine characters. Again, below, an infantine angel catches the blood, in a cup, which flows from the feet. The above fac-simile shews the lower part of the cross ; as well as the beginning of the inscription — ' Ab Olympo' — alluded to by Mr. Evans. But no power of engraving can express the magical manner in which the golden locks of the agonised Mary are made to flow over her shoulders ! Almost every hair is arti- culated by the surprising minuteness of touch of Francesco's pencil. The illumi- nation occupies the entire page, being nearly 15 inches in height. The whole presents a blaze of splendor and force of expression hardly conceivable. Opposite to this miracle of art is The Twenty-ninth Illumination. By Girolamo. The artists have here put forth their respective strengths, apparently in com- petition with each other. We have before us the most elaborate of Girolamo's pro- ductions. The principal picture, St. Gregory celebrating the Mass (5 inches and a half by 4 and a half) is in exquisite preservation ; and although in the gothic style, has great expression. There are nine principal figures, of which Sixtus is the most prominent ; and ten heads are looking over a green drapery, dividing those people from the rest. Nearly in the centre, is the Pope's seat, covered with green. Sixtus is in white and gold. The surrounding compartments, by way of ornament, are far preferable to any other similar production of this artist. The entablatures, the children, the flowers, and the general tone of colours, are exquisite. There are six lines of text, (includhig the top illuminated line) in the centre. These two ILLUMINATIONS facing each other, of such magnificent dimensions, such elaborate finish, and such superb colouring — seem for a moment to absorb us in extatic admiration ! Next follow 57 pages. Then a blank leaf : when we reach the Thirtieth Illumination. By Girolamo. A part of this very interesting illumination presents us with the letter D ; of which a highly finished fac-simile has been already presented to the reader : see p. cxiii ante. The border is minute and beautiful. To the right, two angels are singmg from a scroll, with musical notes. Below, are eleven cherubic heads, in red, round the Lamb in glory : the colon's radiant, and the composition richly deserving of a fac-simile. At the top of the border is a small half length of the Creator. cliv F I R S T D AY. the hair is entirely golden — and touched with a minuteness and brilliancy quite astonishing. Indeed 1 know of nothing which unites so much radiance with such extreme delicacy of execution. After 10 pages of text, and the Thirty-first Illumination (which is rather a secondary performance) follow 29 pages (mostly with musical notes) which con- clude the volume. There is not room for another word. Yet — ' all hail' to the owner of such a matchless treasure ! 1 ! FIRST DAY. civ Lorenzo. Conceiving what must be the effect of the original, I am free to confess my unbounded admiration of this specimen ! Philemon. You seem to speak the sentiments of the party : yet the fingers, you observe, have a harsh effect, and savour of the gothic taste before-mentioned. But of all its ornaments, whether in the shape of borders, capital initials, or detached groups, there is nothing which can exceed the composition of the Presentation in the Temple by the aged Simeon. It happens also to be perfect. The countenances, especially of the Virgin and Simeon, afford the finest con- trast possible of tenderness, modesty, and natural grace, with age, anxiety, and prophetic sagacity. But an entire morning might be well devoted to this Missal ; and so, exhorting you never to let slip an opportunity of turning over its leaves, and minutely examining its excellences, I proceed to the notice of other specimens of the character of which we are discoursing. We now approach the latter period of the Fifteenth Century, and the reign of our Seventh Henry in particular. I believe you are all pretty well informed of the propensity and even passion of that monarch for books. The splendid remains of his library, in the British Museum, are alone a demonstration of his bibliomaniacal character : yet that Museum, vast, rich, and well-furnished as it is, wants o?ie gem in particular, connected Avith the subject of which we are discoursing, to render its acquisitions nearly complete. That gem, however, can never with propriety leave its present resting-place. I would be understood to make especial allusion to the Missal, once the property of Henry VI I. ^ which has for a century enriched the Cavendish * Missal, once the property of Henry VII.] There is probably some truth in the general position of Philemon, that the Library or Henry VII. once VOL. I. k clvi FIRST DAY. Collection, and is at this moment highly treasured, as it deserves to be, by his Grace the Duke of Devonshire. contained, among other books, a great number of Offices, Hours, Missals, and Breviaries. Be this as it may ; certain it is, that His Grace the Duke of Devon- shire possesses, in the above treasure, animatedly described by ' the Monarch of the Day,' a very curious, lovely, and interesting volume, of an octavo size, but once of ampler dimensions. The reader without further delay shall be introduced to a pretty thorough acquaintance with it. In the first place, its exterior is full of promise : we observe the ancient brown-leatlier covers, with its stamped, ornamented compartments, and the motto, ' Dona, nobis Pac[em] ' introduced into a modem back and binding, by the late C. Hering, with peculiar taste and felicity. Such approaches do the heart of the tasteful bibliomaniac absolute good. On the recto of the 1st leaf, lo and behold the following interest- ing memorandum ! ' This book giuen be K. Henry 7 of England to his daughter Margaret Q. of Scotland & mother to the lady Margaret Douglas who also gaue tlie same to the Archbishop of St. Andrews.* Next follows the Calendar. On the recto of the 14th, and succeeding leaf, appears Henry's own hand-writing; as hereafter follows — concluded by the ' gigantic autograph ' of the monarch above alluded to. Remembre yd" . Kynde and louyng fader, in yd" FIRST DAY. civil You are briefly to know, therefore, that this Missal contains not only the gigantic autograph of Henry VII., but his own express donation of it to his daughter Margaret, afterwards Queen of Scotland ; and whose daughter, in turn, as solemnly bestowed it on the Archbishop of St. Andrews. By This is the memorandum of Henry on giving his daughter the volume. On the reverse of the 15th leaf, is a large Head of Chiist, highly coloured, but with the chin disproportionately short: it is surrounded by a blue radiated back -ground, within a border of flowers. The illuminations, common to missals, follow : but many of them are in half-lengths, of a larger size. Among the smaller ones are the martyrdom of St. Thomas a Becket, and a figure of St. George (fol. 31, rev.) on horseback, completely armed, fresh in colour, and vigorous in design and expression. Now, gentle reader, prepare for evidence of the donation (on the reverse of fol. 32) before mentioned. In the hand-writing of the austere but daughter-loving Henry, wc read again as follows : Pray for your louyng fader that gaue you this booke and I geue you att all tymes godds blessyg and myne. (Autograph as before.) On the reverse of fol. 156, and last leaf of text, we read a memorandum of equal interest. It testifies the donation of the book by Margaret, (the fac-simile of whose autograph is subjoined) the Grandaughter of Henry, to the Archbishop of St. Andrews. T My good lorde cf saynt Andrews i pray you pray for me that gavfe yov) thys buuk yowrs too my powr We proceed to two other ms. memoranda, and then gently shut up the volume. On the recto of the following (blank and last) leaf, are Lord Burlington's initials : on the reverse, we read as follows : April the 23d, 1718. This book was for above 70 years in the hands of Mons. le Pin a Magistrate of Bruges and after his death, in ye year \7 17 , purchased from his Executors by me George Wade. clviii FIRST DAY. some chance or other, it got abroad, where it was purchased by the celebrated General Wade, and by him was given to his friend Lord Burlington, about a hundred years ago. Lorenzo. Singular indeed ! But have you no specimen of the style of art which it displays ? Philemon. None It is, generally speaking, in the Flemish style; in the most lovely condition; and the borders, if I remember rightly, are among the most perfect and deli- cious of their kind. Indeed, although in respect to extraor- dinary art, there be nothing exactly unique to mention. As an interesting key-stone to this beautifully-constructed bibliomaniacal arch, we read, at the end, the following brief and pithy notice : given to me by General Wade, The calligraphy is somewhat indifferent. The letter is large and gothic, but the ink is faded. The illuminations are fresh, perfect, and joyous: the borders sometimes exhibiting all the brilliancy of a flower-garden ; and sometimes, in its fruits, almost realising the ' luscious ' picture of the poet ; ' presenting ' — — — the downy peach ; the shining plum ; The ruddy fragrant nectarine ; and dark, Beneath his ample leaf, the luscious fig. The vine too here her curling tendrils shoots ; Hangs out her clusters (Thomson's Autumn, v. 675-9.) But ' quo inusa tendis? To balance (as painters call it) all this gaiety and luxu- riancy — and to remind the pious reader that there are more important things for human observance and human enjoyment, than hare-bells and grapes — the moral artist has introduced, in several of his borders, deaths-heads — touched (if ar» apparent Hibernicism may be indulged) to the very life ! These ghastly emblems of mortality are generally found in borders of Fiemisli Missals of the period in which the present was executed. And thus say we farewell to ' the Missal, once the property of Henry VII. which has for a century enriched the Cavendish collection, and is at this moment highly treasured, as it deserves to be, by his Grace the Duke of Devonshire !' FIRST DAY. cljx yet, as regards general beauty, and the particular interest attached to this volume, I am quite certain that his Grace of Devonshire would never even endure the thought of ex- changing it for any specimen — however rich, rare, and exquisite ! Indeed, this Missal, and the Saxon one, written at the command of the Great Ethelwold, of which you may not have yet forgotten the description, are, I verily conceive, Book-Treasures, in the Devonshire Collection, of such interest and singularity— that the wealth ' of either Ind ' should never be said to outweigh them in value ! LisARDO. Bravo ! I fully accord and sympathise with everything you say hereupon. Proceed with your era of Henry the Seventh. Philemon. Indeed I have no particular formula or data connected therewith ; but there must be many volumes, of the Missal kind, which were once in that monarch's collec- tion : * and it was about his period too, if I do not greatly err, that the fashion began to prevail of introducing, Zar^e subjects in small volunies.-f- * many volumes of the Missal kind,— once in that monarch's collection.'] To confinii both the conjecture of Philemon, and what has been advanced in the preceding note, the reader ' is hereby informed ' that, among the Royal MSS. in the British Museum, (Bihl. Reg. 2 D. xl) there is a thin folio volume of Hours, of exceedingly delicate vellum, with a noble bottom and side margin, having a small text of only 18 hnes — once the property of Henry VII — which exhibits vastly pretty side borders of fruits and flowers ; worth the attention of any artist to copy, who is in pursuit of specimens of this nature. This beautiful book is imperfect at the beginning and end, and several leaves appear to be missing in other parts. Note; Casley, p. 37, carries this division of the royal MSS. only to 2 D xxxix. He therefore appears to have overlooked the present volume ; for a knowledge of which I am indebted to Mr. H. Ellis. t large subjects in small volumes.'] Among the Harleian MSS. (no. 2936) is a small octavo volume of Hora particularly illustrative of the department of art above alluded to by Philemon. It contains all the excellences and all the defects of the style in question. Generally speaking, this style is harsh and oflFensive : for when the artists, employed in illumhiating books, increased the size of their clx FIRST DAY. Lysandee. I do not exactly understand you. Philemon. Simply thus. In devotional volumes of an octavo, or even sometimes of a duodecimo size, you shall see comparatively large subjects, but generally half-lengths, introduced so as to occupy nearly the whole page. Lorenzo. Do you happen to possess any specimen in the portfolios brought with you in your baggage-waggon .? Philemon. A droll conveyance for fac-similes of Missal- illuminations ! But it so happens that I do possess a speci- men — and a very striking one too — of the kind here alluded to ; which completely exemplifies the style of art that I wish to submit to your consideration. The Missal from which it is taken, represents various leading events in the life of our Saviour — such as his Birth, Adoration of the Magi, Cir- cumcision, Crucifixion, ^fc— but among these larger sub- jects, there are none, if I remember rightly, which has a more characteristic appearance, which more emphatically, as it were, marks the touch and manner of composition of figures, their defects seem to have increased in proportion. They had not suffi- cient knowledge of anatomy, nor sufficient management of light and shade, to render their larger performances so perfect as their smaller pieces appear to be. The book here particularly referred to is an exemplification of what we are speaking of. The border-ornaments are numerous and rich ; but in the larger illu- minations, they are only introduced at the bottom, and generally in one colour, relieved by gradations of shade. Sometimes we observe in them very pretty arabesques ; but instead of calligraphy, we must be permitted to read kakography, as to the writing — which is in a roman character. Of its kind, however, this is rather a curious volume, with an occasional tenderness of touch not common in specimens of this character. Among the twelve larger illuminations, we observe, at fol. 66 rev. and fol. 67 recto, that eternal subject of graphic exercise — ' David and Bathsheba.' As the figures are large half-lengths, we are prepared for extreme disgust. The countenance of Bathsheba, however, for once, happens to have (mirabile dictu !) a beautiful expression. But her total ' lack of apparel' hath not escaped the severe notice of some former possessor of the volume — who has left the following ' marginal gloss ' thereupon, as a testimony of his utler abhor- rence of such unseemly art : ' Pudet ! F« .' Vm ! ' In the whole, 109 leaves. FIRST DAY. clxi the artist, than that of our Saviour cleansing the Leper ; and which is here placed before you. The original graced the collection of the late Mr. Edwards.* * graced the collection of the late Mr. Edwards.'] My respectable neighbour, (and indefatigable collector of ' rich and rare ' gems, in the department of book- illuminations) Mr. Bliss, is the present possessor of the volume here alluded to. It was purchased at the sale of Mr. Edwards's library ; and is described summarily, but satisfactorily, at no. 825 of the Catalogue of the same. It is a thick broad duodecimo of Hours of the Virgin ; containing 13 larger illumi- nations — the subjects being in half-lengths, as above ; and thirty-one borders of fraits and flowers, &c. Two of these borders, one representing the latter suiferings of our Saviour— -and the second, the genealogy of the Virgin—- clxii FIRST DAY. Belinda. There is something, methinks, very striking in this manner of representing a subject— especially in smaller volumes of devotion ; and I confess that my religious ardour would be rather quickened than cooled if my own Prayer- Book were embellished in a similar manner ! Philemon. I am not sure that this is quite orthodox, on your part : yet it cannot be denied that the giddy are often- times reclaimed, and the indifferent made serious, by spec- tacles of the like nature : especially when they adorn our chambers, or temples of worship, in the character of finished paintings. . . But this is digressive. Almansa. Have you any thing else, of the same kind, to keep alive the admiration which we all feel by such exhibi- tions of ancient art ? Be assured I shall have copies of them introduced into my own Prayer Book — whether heresy or orthodoxy be the result of such a measure ! are entitled to especial notice and commendation for the neatness and even minuteness of tlieir finishing. It is not however on account of the borders — nor of the general excellence of the larger illuminations, of this volume, that I venture to congratulate my aforesaid ' respectable neighbour and indefatigable collector of rich and rare gems in the department of book-illumination ' — but on account (as indeed the above specimen may testify) of the distinctive or peculiar character of art which the latter display. Never were 'Flemish Lads and Lasses ' more completely represented. Every character should seem to be a portrait : espe- cially as in ' The Descent of the Holy Spirit,' and the ' Announcing of the Birth of Christ :' the latter consisting only of two Shepherds — one of whom, with the bagpipe under his arm, exhibits extraordinary individuality of character. In the ' Adoration of the Magi,' the two kings have very expressive physiognomies, and the subject is treated with something of dignity : but the above coppee PLATE (executed by the faithful burin of Mr. Samuel Freeman) undoubtedly gives us, in the Christ, the finest countenance in the volume. The other figures partake of that poverty, or meagreness of execution, before alluded to : the turbaned figure, behind the woman, has the face muflBed or concealed — probably froni fear of contagion from the leper. The garment of Christ is gray ; the leper's turban is white : and the figure just mentioned has a gold turban, with the descending drapery in crimson. In the females, as in ' The Annunciation,' and • Salutation,' there is considerable delicacy of expression. The condition of this curious little volume is most desirable. It was sold for 361. 15s. FIRST DAY. clxiii LisARDO. These are the ebullitions of mere female sen- sibility ! Almansa. And what has made Lisardo such a grave and solemn judge on a sudden ? Philemon. I must not suffer this graphic conflict to proceed : as I am sure, in the end, whether your Prayer Books have, or have not, copies of such embellishments as have been this day submitted to you, your orisons will pro- ceed from benevolent and pious hearts. So, with the waving of my sceptre, I dispel all controversy upon this head ! The same waving of the sceptre hath called forth another devotional tome, executed in the period in which we are now supposed to be gossipping ; but, in point of variety, richness, and number of embellishments, I hardly know lohere or Jiow to class It. It is the Roman Breviary pos- sessed by Mr. Dent,* of which I now speak : — and perhaps * Roman Breviary possessed hy Mr. Dent.] During the sale of the library of the late Mr. Edwards, and more particularly just before the day on which the Bedford Missal was disposed of, Mr, Dent, (as Philemon has above correctly observed,) with all the parental fondness of the Owner of a choice treasure, brought down the Breviary under consideration — in company, I believe, with his Royal Highness the Duke of Gloucester — to see how far and how successfully a comparison of it, with the aforesaid Missal, would help to enhance or depre- ciate his own. The thought was a very natural one, but the action was probably a little indiscreet : as no lover of beautiful art would wish to see either the one or the other book adumbrated by the comparison! For my own part, it seems to me that the two volumes can hardly be brought into competition with each other ; as their ages and styles of art are essentially different ; and as, in respect to the interest which an Englishman ought to feel, there can be no question about the superiority of the Bedford Missal. My present business, however, is with • the Roman Breviary possessed by Mr. Dent.' In the description of it, not a syllable shall be advanced, which, according to my humble apprehension, is not warranted by ' every tittle of the case.' This Breviary is without doubt a most resplendent and beautiful volume; and the interlocutors above are justified in ' the fine things ' they are pouring forth in commendation of it, from the specimen of art above adduced, and from the animated language of Philemon. It is about 9 inches in length, by nearly 6 and clxiv FIRST DAY. you may remember, just previous to the sale of the Bedford Missal, about two years ago, how the enthusiastic owner of the said Breviary ' brought down ' his rival treasure to com- a half in width. The binding of it is singularly choice ; it being the original— exqusitely covered, in a dark chocolate-colour calf, with minute arabesque orna- ments, in blind tooling. The back is modern, but appropriate ; and the interior is also in perfectly good taste— by the late C. Hering. This Breviary contains 523 leaves ; every page having more or less of ornament ; so that, collectively, here is such a body of illumination, as hardly any Missal, or other Breviary, can venture to match. No doubt these pages are executed with various degrees of skill ; and it is quite evident that three artists, at least, have devoted their pencils to the decoration of the volume. Let us now therefore enter upon a description of this multifarious art-exhibiting tome. The Calendar is surrounded by broad borders, in which the various occupations of the season, as usual, are depicted : but the Calendar is the sorriest part of the volume—and we pass over it rapidly to fol, 8, rev. and 9, rect. where we observe very elaborate but Flemish art. The latter decoration exhibits King David upon his death-bed. A physician is examining the urinal : an angel is descending from above to receive Lis parting spirit. The colouring is brilliantly perfect. The recto of fol. 29, representing the Nativity, gives us tlie first refreshing specimen of the better art contained in this Breviary. The head of Joseph has peculiar dignity of expres- sion. The colouring throughout is sober and subdued ; yet it has evidently received some injury. The Adoration of the Magi, by the same superior artist, occurs on the recto of folio 41. The head of Joseph is liere again a very fine piece of painting : his habit is a deep chocolate colour. The background is very picturesque : being a large temple in ruins. At folio 63, the Almighty, in the act of forming the World, is floating in the air : a papal tiara is upon his head. Let us designate this costume, in the gentleness of our hearts, a slight anachronism ! On the reverse of fol. 100, and recto of foi. 101, occur four small pieces, representing the night-scenes of the Passion, Seizure, Betrayal, and Arraignment, of Christ. Six similar small pieces, exhibiting the remainder of the striking events of our Saviour's life, up to his Crucifixion, immediately follow. The borders are some- times vividly splendid. Subjects from the Bible, by the same artist, (deci- dedly different from him who executed the subjects on folios 29 and 41) withia highly-wrought and elaborate borders, conthiue. Among these subjects, that representing the Rich Man and Lazarus, on folio 252, recto, is most singularly treated. The future destinies of the two characters form also distinct subjects of delineation. The rich man, naked and squall id, is tumbling upon a black globe, or ball, from which issues the fire of Hell to receive him : and this, too, precisely by the side of a marble terrace and ballustrade — which flanks the chamber wherein he is banquetting, and around which the musicians are FIRST DAY. clsv pete with that magnificent and matchless volume ! But there was nothing in common between the two volumes to make such comparison of any use or validity. For they were of arranged — making the air re-echo to their trumpet-symphonies ! Above, forming a powerfully-speaking contrast to the infernal scene below, is the spirit of Lazarus received into Abraham's bosom — amidst a choir of angels ! Below, the same character, with his clap-dish (see this mode of treating the appearance of Lazarus — ^which was the usual one — represented in a wood-cut, of about the same date, in the Bihl. Spenceriana, vol. iv. p, 414) is approaching the banquet- room of the Rich Man — a dog jumping upon him as if to forbid his entrance. Ill respect to borders of flowers, ' of a larger growth,' let that which encircles the page of folio 263, reverse, receive every praise. It is also fresh and uninjured. Yet the border which surrounds the subject of Solomon delivering his Proverbs, at folio 260, recto, has probably a more stiiking effect. On folio 293 we observe a very spirited representation of the Martyrdom of St. Andrew. On fol. 297, rect. is a figure intended for the Portrait of St. Barbara, sitting : the countenance is highly wrought, ljut the head is too large ; the usual defect in all Flemish art of this period. This figure is by much the largest in the volume. The martyrdom of the same Saint is represented, in small, in the background. On the recto of folio 309, we are delighted with the beautiful representation of St. John m-iting his Revelations in the island of Patmos. The figure of the Saint, above EXHIBITED to his audieucc by Philemon, carries its own commentary with it ! It is engraved by C. Heath from an excellent copy by George Lewis. A portion of the picture (from a consideration of the greatly increased expense) lias been reluctantly omitted. It consists of visions of angels in the air, and two knights on horseback, by a river's side, below. The landscape, above the bank whereon the Saint sits, is touched and coloured with equal freedom and truth, U})on the whole, this is the choicest illumination in the volume; and we instantly recognise the pencil of the same artist who has previously (as at folio 29 and 41) charmed us by such admirable specimens of his skill. His pencil appears but once more in the volume. On folio 314 reverse, is a brilliant little bit, representing the Murder of Thomas a Becket ; within a fresh and sparkling border. On folio 348, is the very unusual subject of a representation of St. Thomas Aquinas: having a crucifix before him — an angel above, and two monks below. On the recto of folio 354 we are charmed with a vastly pretty illumination of the Genealogy of' the Virgin; the back-ground is like scarlet fresh from the liands of the dyer! On folio 365, recto, begins a new, and much inferior style of art — as to the scriptural or legendary subjects introduced. The borders, however, are occasionally still more rich and imposing; as at folios 404, 405, 408, 412, 414, 418, 419, 421 427 431, &c. containing arabesques, with buds, or fruit, or precious stones, with a clxvi FIRST DAY. different periods, as were also the calligraphy and the character of their ornaments. If I do not therefore go the full-length back-ground of dark green, crimson, or blue. On the recto of folio 481, are some Deaths' Heads {a favourite ornament) executed with great delicacy and elFect — but slightly injured. On the recto of folio 368, is a peculiarity worth noticing : the space, which ought to have been filled by a representation of St, Catharine, is left blank. Mr. Dent, I trust, will endeavour to get it supplied by a copy from some other clever figure, of the same character, executed about the same time. At folios 436-7, we discover the grandest illuminations in the Breviary. The first folio has the reverse entirely filled with heraldic embellish- ments, representing the royal arras of Ferdinand and Isabella impaled, and emblazoned with all manner of appropriate decoration : the whole, as it were, beneath the protection of the wings of the royal eagle — with the motto ' SUB UMBRA ALARUM PROTEGE Nos.' Opposite to this blaze of splendor (being the recto of folio 437) we instantly recognise, at top, the pencil of the artist before so much praised, in the composition of the Assumption of the Virgin ; a small, delicious, and perfectly enchanting specimen of art— in the finest possible state of preservation. Below, to the right of another rich piece of heraldic blazoning, (wherein we observe the arms of France quartered, on a blue ground) in letters of gold, in the gothic sliajje, we read the following very interesting memorandum : ' Dme. Elisabeth. Hispaniar[um]. et. Siscilie. Regine. <^c. xpi- anissie. potentissii:. semp[ei-] atiguste. supreme. Bne sue. clemctissime Franciscus De Roias eiusdi maiestatis huUlimus seruus. ac. creatura. optime de se merite . H[ic] , . . marin . . Hi . ex. ohsequia . . . obtulit.' The latter part of this inscription is defaced, and I will not shew tlie folly of an awkward attempt at its restoration. From this important memorandum, or document, it is quite indisputable that one Franciscus de Roias, a Spaniard, caused this splendid volume to be executed for his royal mistress, Elizabeth (or Isabella) of Castille. Now as Ferdinand began to reign in 1474, and as Isabella died in 1504, we shall not long hesitate about the date of the execu- tion of this Breviary. Let us say therefore somewhere towards the end of the ffteenth century. Who Franciscus de Roias was — ? this deponent sayeth and knoweth nothing. Had he caused many similar tomes to be executed ? If so, I wish they were reposing by the side of the present. I have not, however, yet done with the present tome. There are, as at folios 407 and 491, some pretty small female whole-lengths, with head-dresses of diadems or nets, and coloured with great delicacy and effect. Perhaps their heads are somewhat too large ; but, as a whole, tliey form very interesting specimens of splendid female costume. It only now remains to observe, that the text of the volume is in a good style of calligraphy. The inks are red and black ; and the character is a small neat gothic, each page being executed in double columns. And thus much (no stinted measure — I trust its owner will say !) for ' the Roman Breviary pos- sessed by Mr. Dent ! FIRST DAY. clxvii of admiration expressed by the Owner of the treasure now particularly alluded to, it is, because, having seen very many specimens of the like character, and wishing to exercise honestly the regal office which you have elected me to fulfil, I am disposed to speak of it exactly as its various merit seems to my humble judgment to justify. It betrays at least three different styles or characters of art ; and of these, unluckily, there are the fewest specimens of that which I conceive to be of the highest order. However, what does appear of this latter kind, if we except slight injuries, is really enchanting : and I hasten to lay before you a portion only of one of the few specimens here alluded to— Avhich, could you but see the wJiole, you would allow to be among the most perfect of its kind. It represents ♦S'^. John in the Island of Patmos writing his Revelations. Above, in the original, are visions in the air— delightfully managed. clxvili FIRST DAY. Almansa. Beauteous representation of the Saint ! I will have him also for my liturgical collections. LiSAKDO. I yield ; and can no longer resist the tempta- tion of a similar embellishment. Almansa. Victory! Lorenzo. Order ! Order ! Finish your account of this charming Missal. Philemon. It only remains to observe that every page, of the thousand pages which it contains, is, more or less, decorated with border-ornaments ; and some of these deco- rations are absolutely as vivid and fresh as if they had been executed during the present Regency. You see, in a pro- digious number of them, fruits, flowers, insects, precious stones, or arabesques, finished with a charming precision, and in perfect tenderness of colouring. And what gives it no small value is, that it contains elaborate heraldic illumi- nations, and an inscription which shews the volume to have been executed either by the pencil, or * at the costs and charges,' of one Franciscus de Roias— for Isabella the Queen of Ferdinand, who was King of Spain and Sicily. Belinda. Precious monument of upwards of three cen- turies execution ! And in original vigour too— unknowing decay !? Philemon. Not exactly so ; for there are, in too many instances, tokens of injury which must have arisen from the sheer carelessness of some former possessor. At present, Bramah's lock and key properly guard it from the hands of the profane ! While we are warmed with the notice of these treasures, executed chiefly by Flemish artists, let me place quietly before you— taken from a similar treasure of still more generally perfect art * — a specimen or two from * a similar treasure, of still more gmerally-perfect art.] The public are not FIRST DAY. c4xix an extraordinary volume, of a small octavo size, which, only lately, hath challenged the admiration of the curious. What is singular, and of which I do not remember another in- wholly unacquainted with this ' similar treasure'; as a very animated, and not violently over-charged, description of its beauties will be found in the Catalogue of Messrs. Longman, Hurst, and Co. 1816, 8vo. no. 6284. That account begins with stating that ' the beauties of this volume are of a description so dazzling, that words alone cannot convey the ideas requisite to form a conception of its singular attractions.' This may be true ; but the ' dazzling' price attached to it — Two Hundred and Fifty Pownds— naturally begets a supposition that its ' attractions' ought to be of a very ' singular' nature indeed ! I will be free to confess that, as a specimen of Flemish art, ' take it for all in all,' I have never seen its ' like' before or since. There is however a somewhat curious piece of secret history belonging to this ' attractive' octavo. It was left as a legacy to a charitable institution ; that is to say, Messrs. John and Arthur Arch, booksellers, were first in possession of it, for the purpose of accounting to the trustees of the charity for the produce of the sale thereof : and Four Hundred Pounds was the original ' dazzling' price affixed to it, by one, or more, of the said trustees. At loy suggestion, Messrs. Arch conveyed it to His Grace the Duke of Devonshire ; with the idea that its extraordinary merit might possibly induce that nobleman to become its possessor. But the owner of the He7iry VlJth Missal (described at p. cliv, ante) needed not an additional specimen of line Flemish art; and His Grace declined the proposed acquisition. Wliile in the possession of Messrs. Arch — as the trust-owners of the volume appeared to be fearful of the air of heaven ' visiting it too rudely ' — Mr. Hodgetts (the artist who made the copies from the Boccaccio of Mr. Coke— see note at p. xiii, ante) was sent to make copies of the originals for the purpose of the annexed Engravings. Mr. Hodgetts completed his task faithfully. The larger portrait has a dark green back-ground : the countenance of the man is pallid, but of a brownish hue. His hat is black, as is the scarf upon his shoulders ; the pudding sleeves beneath are brown ; but the arms are clothed in crimson sleeves, relieved by a yellowish tint. The same dress appears in the smaller picture : the altar is draped in red crim- son, with a green border : the stool is a brown oak colour : the monument beneath the feet of the man is brass : the visionary appearance of the lower part of the crucified Saviour is touched according to nature : the back-ground is blue and stone-colour. But — the ' secret history.' Thus then it is. On a sudden, without any specific notice, and without any alleged reason, this bijou of Flemish illumination-art was ' whistled out' of its snug resting place in the cabinet of Messrs. Arch — and found itself, to its utter surprise, among the treasures of Messrs. Longman and Co. who, on their parts, had nothing to do with its previous destination, but received it, as a matter of course, on return, as an article for sale. From 400Z. it leaped down to 2501. in value : yet this latter was much too ' high above the earth ' to clxx FIRST DAY. stance, it is preceded by a Portrait of the Patron, appa- rently, who re\yarded the artist for his execution of the volume. Allow with me that there is at least a great deal of character, or individuality, in this Portrait; although it may not exactly remind us of the countenance of the Belvidere Apollo !* Lorenzo. Singular indeed ! He shall have a place in mv interminable Collection of Portraits. I wish we knew his render its situation secure ; or, rather, its removal certain. Mr. John North, of whose cabinet of bijoux the reader will have pretty strong evidence in the pages of this ' First Day,' went, also at my request, to inspect this magnetic missal. He olFered a liberal price, much however below the printed one ; with which oflFer the vendors or trustees of the treasure did not think themselves justified in complying. The worthy gentleman, whose portrait accompanies this description, and which occupies the reverse of the first leaf, next found himself, on a sudden, the property of Messrs. Gordon and Forster; and the first punishment inflicted upon the feelings of this worthy gentleman, was, to send the volume, which was ' in the original stamped binding,' as properly noticed in the Catalogue of Messrs. Longman and Co— to be stripped of its old coating, and put into a green velvet and more spruce exterior! Such a proceeding was little short of rank barbarism : and it is said that mister Charles Lewis, on receiving instructions to perform tlie operation, started backwards ' three paces and mo' — while ' the lights' in his workshop ' burnt blue ! ! ' However, the deed was done : off went the stamped covers — and on came the green velvet : and a more medley compound — a more infelicitous mixture of January and May — never came across ' the ken' of the collector. To conclude this ' mysterious' history — the said volume, with the said demi-apple, and demi-pea, green exterior, now adorns the cabinet of see p. . . , ante. Its interior beauties are yet undiminished ; and I Jong had the wish, but never the means, of putting the finishing stroke to this inadequate description, by treating the reader with an engraving, from the burin of Freeman, which should represent the spirits of martyrs and confessors, naked, and standing upright upon the backs of prostrate angels, in the act of approaching the divine presence — with hands folded in prayer and adoration. It is a very singular subject, and executed in the very best style of the artist. But — my iiopes, long indulged, have now sunk into despair — and thus it is that ' Clouds obscure the brightest sky. And night succeeds to day.' The Poems of Nicolas Grimault, 1693, 8vo. p. 18. * See the opposite plate. r IoTi(loro\PuiIij-ked for the-Jiev T. J\ Diidm^prHjgl^ . FBTNTED B YZ.4HEE FIRST DAY dxxi name; but are you sure that he is the Patron— as you designate him to be ? Philemo^t. Why I draw such inference is, that you observe evidently the same man (for the countenance can- not be mistaken) kneeUng at the foot of the altar, in the first principal illumination. ' Here he is ! — as we used to read in the chap-books of our infancy — Lysandek. There can be no doubt of the accuracy of the observation. These hitherto unknown miniature por- traits, of an ancient date, are vastly pleasing. Probably you have a yet further specimen or two of the same kind? Philemon. Has Lysander become unconscionable ? But while I think of it, I do happen to possess something of a VOL. I. 1 clxxii FIRST DAY. like nature ; although evidently of a different class of character. What say you to this Knight of the Golden Fleece, ' armed from top to toe?' LiSARDO. Better and better still. From what quarter has such an interesting gem been taken ? Philemon. From a Missal, of probably the latter end of the fifteenth century ;* and what gives the subject an * a Mi$sal, of probably the latter end of the fifteenth century.] This missal is the property of Mr. Henry Broadley, of Ferriby, near Hull. It merits precisely the eulogy pronounced upon it by Philemon : making up, by its genuine, unso- phisticated appearance, for its comparative deficiency in the higher branches of art. It is a small, thick folio ; of about 11 inches by 7 and six-eighths. The binding is in the original dark calf^ with stamped ornaments, in four compart- ments, on the exterior: and luckily, in the centre of them, we read the name of the book-binder, « Iohannes Gvilebebt.' Of the birth, parentage, and educa- tion of this man, perhaps nothing can now be known. The sensible and FIRST DAY. clxxili additional interest, is, that it is the Portrait of a Knight of the Golden Fleece, who went on a pilgrimage to Jerusalem — never to return ! Nor is there any other portrait of him known to exist. The volume, in which this singular em- bellishment is contained, is remarkable rather for the purity sympathising reader will immediately call to mind Gray's affecting line : ' Full many a flower is bom to blush unseen.' But for the Missal. The calendar has nothing in it remarkable. The first illumination, upon the first page of the text, exhibits the singular curiosity of St. John writing his Gospel, or Revelations ; while the Devil, in the shape of a green and yellow-coloured monster, with long horns, and a spiked back, approaclies slily, and turns over the Evangelist's ink- stand : — the ink is seen poured upon the ground, but the Saint seems wholly unconscious of the ' sly trick' of the fiend. About 20 leaves onward, we come to the illumination of which the chief por- tion is given in the annexed plate. The character, above represented, is said, in a ms. memorandum prefixed, to be ' Adrien de Toulongion, a Knight of the Golden Fleece, who died on a pilgrimage to Jerusalem' — and further, that ' the book was written at his request, during his absence in the holy land' — also, that the portrait of him, here given, is the only one known to exist.' It is, luckily, the rgest and best executed illumination in the volume; being about 7 inches in h ^ht, by 3 and a quarter in width, exclusively of the brown and gold border. AbO' 1 the knight, is an angel bearing his coat armour on a shield, quarterly, first and ' 'irth, barry of 6 argent and gules : second and third, harry of 6, wavy or and gules : crest, on a helmet a leopard's head, langued. The bed of the knight, deli- cately tinted iu light blue, is between the table and the shield. An open window, to the left, shews us two peacocks strutting before a red house. The floor of the room is in square compartments of green marble. The sur-coat of the knight is covered with his quarterings as above. His armour and helmet are steel. The cloth upon the table is brown, relieved by gold. The greyhound is white, with a red collar. There are some sligiit indications of injury in this charming relic of portrait- painting ; not however of a nature to discompose the philosophy of its owner— in whom, I verily believe, concentrate both the wish and the means of acquiring a collection of choice old art which shall rank him among the Atticuses of the day 1 The initial letters in this fine antique volume are in a grave but rich style : the borders are common-place and rather indifferent: but among the subjects, note that, in particular, within about 12 leaves of the end ; representing our Saviour sitting upon his cross, with the carpenters, at each end, preparing it for his execution. The costume of the heads of the latter is rather singular ; and the countenance of the lower one, who is boring a hole with an augre, and staring at the same time in the face of our Saviour, is an admirable attempt at the expression of bare-faced, insulting, impudence. The writing of this missal is in a large sharp gothic character, with the titles in red. The age of the book may possibly be as early as 1480 clxxiv FIRST DAY. of its vellum, and the soundness of its condition, than for the brilliancy of its calligraphy or illuminations. Yet, if I remember rightly, it is in its ancient binding, and possesses altogether so genuine an air, that I could readily compound for a little defectiveness of graphic skill. You must here remember, that all the Illuminated Volumes of devotion, just mentioned, are executed in a Gothic Character ; and are, generally speaking, remark- able for one and the same style of (Flemish) art. To submit further notices of similar treasures would answer very little purpose : nor indeed would the time allow of it, were I dis- posed to make the experiment. Therefore, just recalling to your memory the missals of this character, which you lately saw in the possession of Messrs. Triphoolc, Wurtz, and Jarman,* and which are of nearly equal merit with most of * Missals— in the possession of Messrs. Triphook, Wnriz, andJarman.'] We will first dispatch Mr. Thiphook's Missal. I hardly know when I have seen any- thing, for its dimensions, and style of art, more curious and attractive. This bijou measures little more than 5 inches in height by about 4 in width. It appears, from a date, to have been executed in 1.527 for one of the Sforzas, Dukes of Milan : and is an Office of the Virgin after the use of the Metropolitan church of Rome. The writing is in roman letters: and 'the whole is in Latin, with the exception of a prayer, against private enemies, composed in the Italian language, at the end, in 7 pages. It is difficult to describe the exact character of art which this singular volume displays. In the minuteness, variety, richness, and even prodigality of ornament, in the border-decorations, I am not sure whe- ther it do not unite the delicate capriccios of Francesco Veronese with the powers of colouring displayed in the similar ornaments of Mr. Dent's Missal. The illu- minations, from the usually selected subjects of scripture, are at times quite extraordinary : exhibiting the peculiarity of touch and power of colouring, dis- played in the countenances of Rubens, with the angular-folded style of drapery particularly used by Albert Durer. There is at times a sort of gaiety of compo- sition : as in the figure, with the plumed hat, in the background of the subject of the Salutation — which reminds us of the decorations in the Tewerdancks. The /leads are frequently full of pathos and expression ; as that of the larger Shepherd, in the annunciation of the Nativity ; and more particularly the head of the dying Saviour upon the cross. In such a galaxy of luminaries, the eye can with difficulty dwell upon an individual star: but, let the lover of all that is FIRST DAY. clxxv the preceding — and, at the same tune, earnestly advising you not to multiply copies of a similar complexion — I proceed to close this Missal-Discussion by the notice of two or three curious and precious look carefully upon the Circumcision — its general brilliancy, and the management of the gold upon the woman, offering the basket, to the left, in particular : let him also contemplate the blaze of splendour in which the Annunciation, Nativity, Adoration of the Magi, &c. are executed and enveloped by their borders — and, equally interesting with either, the Agony of our Saviour in the Garden of Gethscmane— what then ? Why, let him do this, and he cannot fail, instinctively and irresistibly, to throw down forty sovereigns for this treasure ; and march home with it triumphantly in his pocket. Next comes the Missal of Mr. Wurtz. That worthy bibliopolist shewed me the missal under discussion, when he was over in this country for the purpose of setting ' springes for [biblioraaniacal] woodcocks.' It is a broad octavo, written in a large gothic type ; and its chief beauty consists in the purity of its vellum, and the truth and freshness of its ornaments. The borders are chiefly fruits and flowers, with an occasional display of precious stones and pearls ; the latter very delicately managed upon a green back-ground. We see frequently the words FORS VOUS in these borders : of which I will not pretend to give an expla- nation. Upon the whole, although there be nothing decidedly pre-eminent in this volume, it possesses, nevertheless, such ^general beauty and perfection of condition — the colours are so fresh and fair, and the style of art (Flemish) so uniform and attractive— that, as a specimen of graphic skill, of the period under consideration, I should be well disposed to give it a very choice and ' snug birth ' in a cabinet devoted to productions of the like character. It remains to notice a very blazing book-star, of the same description, in the possession of M. Jarman, jeweller, in the Strand. An enthusiastic admirer of illuminated missals sent me * post haste' to observe this said ' blazing star :' and I will be free to admit that its rays at first nearly dazzled me ! Yet a second examination shewed me the fallacy of the first impression. There is more of gaudiness than of grandeur, more of obtrusive and sometimes even coarse decoration, than of delicate and accurate composition, throughout this volume. The pages are, as it were, over- charged with embellishment ; and quantity, has been too often mistaken for quality, of colouring. There are, however, very many collectors who need not be afraid or ashamed of calling Mr. Jarman's Missal a resplendent and heart- rejoicing tome. But before we take leave of these precious bijoux, wherein Flemish Art appears to rather unusual advantage, let me occupy two further moments of the reader's time, by the mention of an exquisite volume, of this description, in the possession of Messrs. Payne and Foss; recently obtained by them, and valued at the price of Sixty Guineas — be the same sum meted out in the new couiage of silver, or of gold I I admit unequivocally the extreme tenderness, beauty, and » clxxvi FIRST DAY. singularly lovely and precious productions, executed by Italian or French Artists, and written in the Roman Character. Lorenzo. Talk not of time — when we are impatient for instruction like that which you are now imparting ! Ltsardo. When vellum, purple or -white, oak-covers, beautiful writing, and yet more beautiful art^ be the theme — away with . . . Lysander. Gently, I beseech you. Have you no mercy upon the lungs of Philemon? — and are not your eyes dazzled ' even unto blindness'' by the sparkling gems which have been already displayed Philemon. I will spare the reply of Lisardo. For myself, know then, faithful and alFectionate subjects, that my lungs are yet untouched, and my desire of communica- tion yet unabated. The attention and admiration which you are pleased to bestow, are glorious incentives for a renewal of the Missal-Theme ! condition of this gothic-written missal : but it has suffered a little from the gentle pressure of some devotee's (shall we say female's ?) finger and thumb — or thumb and finger — which ever mode of expression please the reader best. The borders are composed generally of fruits and flowers ; and sometimes the scriptural sub- jects are surrounded by, or rather embedded in, shells. These subjects have now and then great spirit as well as delicacy : and that of the three young men, pursued by three figures of death (see a similar representation in the Typog. Antiq. vol. ii. p. 102) is really a master-piece of art. This choice devotional manual is a present 'fit for a Queen;' and, if so, for a Princess — whether her name be Charlotte or Mary ! Yet again ; if, from the pressure of the times, (for Poverty, like Death, seems now-a-days ' equally to rap at the gate of the palace and the door of the cottage') there should not be a disposition to ' mete out' the ' sixty-guinea' measure aforesaid, possible it is that the beauteous little missal tome, in the same collection, executed in what is called cameo gris — and of very uncommon occur- rence in this character — may, for twelve golden sovereigns, adding twelve shillings thereto (auncientlye ycleped guineas) be considered a very eye and heart-soothing substitute ! Indeed, I hold this cameo-gris production to be worthy place in the choicest cabinet. FIRST DAY. clxxvii See ! — what a galaxy of beauty and splendour does this specimen convey ! Well may you be amazed. Know, there- fore, that this glorious representation of the Assumption of the Virgin is taken from a Missal, or Office of the Virgin, (now in the possession of Sir M. M. Sykes, Bart.*) which * a Missal — in the possession of Sir M. M. Syhes, Bart.'] With what peculiar propriety does the account of Missals, written in tlie Roman character, commence with the present most exquisite specimen ! ? And liow much does it redound to tlie book-spirit, taste, and enterprise of the present amiable and excellent pos- sessor of the same treasure, that he ' determined never to lose sight,' ' never to keep his eye off,' the very volume which forms the subject of our discourse ! ? Such was the sentiment — and such the language, of Sir Mark. 1 own that, as a whole, nothing has yet approached it, in my humble estimation, of the period in which it was executed. But who was the artist? 'Ay, there's the rub and what a fine fellow must that Francis have been, who seems to have kept constantly upon the ' alert ' a host of painters and illuminators, who have propagated his fame in colours as glowing as those which were exhibited upon their own canvas and vellums. But to the task. And yet reader, let me, in the very simplicity of my heart, just mention to thee how often, some twelve years ago, at the sign of the Horace's Head (not ' of the Sun') in Fleet Street, I have ' stopped, gazed, and admired,' with this beauteous tome beneath my eye ! How often I have ' sighed and looked, and sighed again,' to become the possessor of such a treasure ! Tedious digression — the book ! I obey. First however, as to its history : for most curious books have some- thing, both extrinsic and intrinsic, belonging to them worth imparting. It was originally, beyond all doubt, the property of Francis the First ; and expressly executed for that monarch. The letter F surmounted by a crown : the regal arms of France : the device of the Salamander (sometimes accompanied with the motto ' Nutrisco ct extinguo) each, and altogether, unequivocally demonstrate its frightful Lord.' . . .What would I give — or rather not give —for a catalogue of the Books of Francis, and more particularly for a knowledge of the secret history of their dispersion ? No matter: this volume of The Office of the Blessed Virgin, after a lapse of two centuries and a half, came into the possession of the Duke de la Valliere, and was sold at his sale, in 1783, for 3000 livres. It was purchased by Mons. Paris ; and of him by Mr. Edwards ; and at the sale of the Parisian library it became the property of Mons. Laurent, a bookseller at Paris, for 109i. 4s. From the hands of M. Laurent it came into those of Mr. White, of Fleet-Street, who put it up to auction in 1804, and bought it in again for 115Z. 10s. Sir Mark purchased it of Mr. White, for a sum a little beyond that last mentioned : and it now adorns the splendid library of Sledmere. Thus much for its history . Secondly, for its appearance, and the character of its illuminations. Mons. De clxxviii FIRST DAY. was formerly the closet-companion of Francis the First ; it having been, beyond all doubt, expressly executed for that monarch. Much as you may admire it, I am not sure Rome, who, of all book-binders, is surely ' damn'd to everlasting fame,' hath shewn the trenchant propensities both of his taste and steel-instruments, by trimming, what was formerly a goodly quarto, down to the dimensions of a dis- proportionate octavo : and, in such ' trimming,' hath chosen to cut away, without remorse, very many of the marginal decorations of this lovely Book of Offices : arabesques, the rose, or the lily, by him ' nuUo discrimine agetur.' Like a good tailor he cuts away, and cares not how many • interposing sylphs' are dis- membered by his operations. The frontispiece of the book bears the following title : Officium Beat^ Mari« Virginis — in roman capitals of gold and ultra- marine blue, admirably executed. An oval, surrounded by flowers, with a cherubic head at top and at bottom, is the accompanying ornament. Four pages, having a brown and gold-corded border, follow — with two initial F's, surmounted by a crown, below each page. The second of these pages only is filled by a beautiful piece of heraldic painting, containing the arms of some ancient owner of the volume. On the reverse of the 3d leaf, appears the Jirst grand illumina- tion, representing a whole length figure of St. Nicholas (5 inches and three quarters in height) with the three children in a basket. The St. Veronica sudarium hangs at the bottom of the Saint's garment. The expression, drawing, and colouring of the whole, together with the tenderness of the back-ground, cannot be surpassed. The 5th leaf is blank. The calendar terminates on the reverse of the J 7th leaf. The Annunciation, on the recto of the 18th leaf, is exceedingly well managed in its accessories ; but we instantly acknowledge the inferiority of the subject, in touch, colour, and composition, to that which has just before so much enchanted us. It is worth observing, however, that the same pencil, which executed the Ainumciation, appears no where agam throughout the volume : while the artist who designed the Salutation, on the reverse of fol. 27, and the Nativity, on the reverse of fol. 37, appears to be one and the same with him to whom we are indebted for thefrontispiece. However, we quickly recognise the ' cunning' hand of the St. Nicholas Illu- minator, in every one of the remaining subjects : Shepherds keeping Watch : Adoration of the Magi: Circumcision: Flight into Egypt : Assumption: (seethe ACCOMPANYING PLATE.) Angel appearing to David: Raising of Lazams : The Trinity : Francis, in the character of St. Louk, touching for the Evil. In the whole, 100 leaves of text, with 20 lines in a full page ; written in rather a full size character, but hardly approaching to calligraphy. Of each of these illumi- nations, let not the reader expect a detailed account : the vocabularies of the English, French, Italian, Spanish, and German languages, collectively, would hardly furnish terms adequate to describe their ' rich and rare apparel.' What- ever is radiant in colour, and soft in tint — whatever is lovely in the human form, or graceful in the disposition of drapery — whatever brightens or obumbrales 4- In a fopvoitu -5 ©If mGWMiimi':ii(e>M PHE VIROIN f{jrmerlYlbi4oM|}"£«g-tc Pcanyis the First , M.M.Syke:; Bart. FIRST DAY. clxxix that even better specimens might not have been selected. Yet, methinks, what you here behold, * unites the dignity of Poussin with the tenderness of Murillio ! Almansa. Surely we have here the very perfection of the art. Francesco Veronese himself seems eclipsed. Philemon. Not exactly so, either : although it might be with difficulty that you could produce many more striking specimens. What I particularly admire in the Missal here alluded to, is, that uniform classical taste in the borders of the pictures — which balance, by the sobriety of their tones, the vivid masses of colour in which the Scriptural Subjects themselves are clothed within the said borders. In this ti-ansporting volume, almost every page of which is beaming with the golden initial, and Salamander-device, of Francis, we observe almost every-thing which renders art perfect : and if the writing' he of secondary merit, the illuminations can yield to nothing superior. Lysander. What can you say further ? and how can we be interested in any additional specimen of art, after what we have just seen ? Philemon. Say you so ? Look only at a Jew pages in the stupendous ' volume of Creation.' Because yonder forest Avaves its dark-green masses, or yonder mountain is gleam- ing with the thousand half tints of a setting sun, shall the meadow cease to attract by its velvet surface, or the rivulet landscapes — whatever makes the clouds to float in fleecy masses, or causes the ray to dart from heaven — whatever gives character, expression, life and soul, to composition and colouring, are here — nearly in their pristine state : with the exception of the last subject, which has been much rubbed. And if artists, called upon to adorn modem Prayer Books, seek for appropriate decorations, they must look with no iuditFerent (shall I add an hopeless?) eye upon the illuminations of this devotional volume. O rare Francis! and more than thrice fortunate, (' terque tjuaterque beatus') Sie Mark Masterman Sykes, Bart ! 1 * See the Opposite Plate. clxxx FIRST DAY. to charm by its silvery windings ? Has the lily, or primrose oF the valley, no characteristic beauty ? — and because yonder cedar of Libanus is vast and umbrageous, are we to with- hold our admiration from the beech or the pine ? Belinda. What does all this lead to ? Philemon. I will instantly extricate you from the laby- rinth into which you seem to think I have enticed you. Has Belinda no love of a cottage, because a palace is a much grander abode ? Belinda. My wonder and perplexity increase. Give us the moral of all this fabling. Philemon. ' If you have eyes,' prepare to open them now. Look at these charming little bits of nature, both in grove, meadow, and mountain ! ? Belinda. I feel the force of your mode of reasoning; and admire the process by which you conduct us from the grand to the simple. Philemon. Here are my humbler scenes ! Here are my rivulets, my lilies, and my beechen groves ! What you are now looking at, * are taken from a tiny and fairy-like volume of the Office of' the Virgin in the possession of Mii. NoiiTH;f and these subjects are part of those which constitute the Calendar. * See the Opposite Plate. t Office of the Virgin, in the possession of Mr. Noith.] The further we proceed, the more thickly strewed with flowers seem to be the banks and bye-ways through which we pass. The birds carol lustily in the brandies, and all creation wears a heart-soothing appearance! To what can this tend? Briefly this. After the wm-wi colouring of the preceding note, has the reader any expectation of witnessing richer hues ? After the glow of Titian, will he sigh for the splendor of Rubens? I know not: but the same reader is hereby informed, that the present exquisite bijou, of the devotional kind, ' is by far the most exquisite of the Italian illuminated Offices, that Mr. Edwards ever had an opportunity of obtaining.' So says Mr. Evans ; Bibl. Edvardsiana, no. 829. And what was tlie result of such ' saying,' added to the ' tale' which the volume itself told ? Mr. FIRST DAY. clxxxi Almansa. If the opening of this precious volume be thus attractive, what must be the character of the more serious and elaborate embellishments ? Belinda. Pray, good Philemon, indulge us with one of these latter, to which my Sister alludes. Shew us only one more rivulet, or primrose, or beech-tree ! John North became the purchaser of it for Only 3 inches and a half in height, and scarcely 2 and a quarter in width, this ' most exquisite' manual pro- duced ONE HUNDRED AND TWENTY POUNDS ! ! What is to be doue, gentle reader? To describe each illummution, the subjects being nearly the same as those of the preceding volume, would be useless. The Calendar speaks for itself in the accompanying plate. Such a series of apposite illumination, for the several months, surely never was before beheld ! ' The writing (says Mr. Evans, very truly) is admirable, and the border most playfully ornamented, in the best style, with devices and mottos, for the family for which it was executed.' These borders are so various, that no two alike are to be found in the volume. They are iuvariably upon a lilac tinted ground ; and sometimes we observe ornaments upon them, in ultramarine, which, for their splendor, absolutely defy description. The manage- ment of the gold, ui the arabesque frames, or borders, of brown, red, or blue, (as we observe in the plate of the Assumption, above given by Philemon) is per- fectly enchanting. The subjects themselves, though small, and sometimes rather fully occupied by figures, are conceived and executed with surprising delicacy and precision. I have doubts however whether the artist be Italian, Flemish, or French. In point of style, we do not witness that decidedly Italian character which marks the previously-described volume. The condition of this devotional MANUAL is equally matchless with its general merit. It is, of all things, ' most fit' for the book-boudoir of such a fairy queen as Shakspeare's Titania ! But mortals of ' grosser habit' well know how to appreciate its worth ; and Mr. North hath my hearty congratulations on the possession of such a jewel of calligraphy and illumination ! The present may probably be a fit place, while upon the subject of tiny tomes of devotion, executed in the Roman letter, to make brief mention of a very extra- ordinary volume of this kind, lately in the possession of the Rev. Mr. Arnold, of Corpus College, Oxford. It measured a little more than an inch and a half in length, by an inch and one eighth in width : in a gold filligree binding, with silver clasps : all studded with rose-diamonds. There were 12 lines of calligraphy in each full page. The initials had merit of their kind, and so had the illuminations of the months and other subjects — which were the size of the full page. It was not however free from injury. (Might not this be made a pretty ring-companion to the Petrarch, noticed at p. cxxxii, ante ?) The whole was contained in a silk bag, with rough, gold exterior, and strings and tassels of gold. It was once the property of a family at Genoa ; and was sold by Mr. Sotheby for about 351. clxxxii FIRST DAY. Philemon. Readily; and the more so, as the subject you are about to view, is the same as that to which your attention has been recently directed : I mean, the Assumption of the Virgin. She is here, with every hue, tint, and colour, that can irradiate her person, and add splendour to her admission into heaven. And yet, in the original, with what infinitely superior attractions does she seem to ' seek the skies ! Lysandeb. I retract all that I have said ; and will never in future be sceptical about the increased interest to be kept up by exhibitions of this nature. Belinda. And I as freely confess my unqualified admi- ration of beech as well as of cedar ! FIRST DAY. clxxxiii Almansa. Never, in future, will I overlook velvet meads and meandering streams ! LiSAUDo. My hermitage shall be built in the humble valley, 'where the hare-bells and violets grow '—and not in immeasurable forests of waving pine ! Philemon. Good. But it is now really time to say farewell to Missals ! Yet, would that I could conjure up, by the waving of my sceptre, the two magnificent and extraor- dinary volumes of this description which adorn the libraries of Magdalen and Christ Church Colleges, at Oxford ! LiSARDO. What are these ? Philemon. They were formerly the property of Car- dinal WoLSEY,* having been executed expressly for his *form,ei-ly the property of CAmntfAi. Wolsey.] That day was surely to be marked with a ' white stone ' in which I saw— first, at Magdalen College, under the direction of the very learned and amiable President thereof. Dr. Routh ; and secondly, at Christ Church College, accompanied by my ' excellent bibliogra- phical friend,' the Revd.H. Cotton— (owner of the ' Kele-printed Christmas Car oh; aforesaid ; see p. cvii) the two devotional volumes above noticed by Philemon, and once the property of the proud and magnificent Wolsey. These two volumes strongly resemble each other in the respective styles of art in which they are executed. The Magdalen copy was deposited there by the Cardinal, as he had been formerly a bursar of the same College. The Christ Church copy con- tains, in the whole, 45 leaves : having 18 lines of roman letter in a full page. The vellum is thick, but with a soft surface. The ample margin reminds us of the broad brim of the Cardinal's own hat. On folio 32 we read the date of 1528 : with the initials T C at top— having a crown surmounted with Wolsey's crest of a lion's head, in blue. On the reverse of fol. 27, are two groups of Ingels in a delicious style of execution ; but the art, I submit, is Flemish or German, as we witness much of the Albert Durer manner in the foldings of the draperies. Tlie borders, however, and especially the Capital Initials, could have been exe- cuted by no other hands than those of an Italian. The latter are almost without a rival : and in the former, fruits, flowers, pearls, and precious stones, are exe- cuted upon a rich dark ground, in a manner perfectly enchanting. The larger subjects, from Scripture, have comparatively less merit. The figures are gene- rally short, and coarsely executed; and the management of the gold, or gilding, is usually unsuccessful. This criticism, feeble and inadequate as I know it to be, must be considered as equally applicable to both copies. Warton (Hist. Eng. Poet. vol. iii. p. 146) has a slight but commendatory notice of the Christ Church copy; appearing to be ignorant of that in Magdalen College. clxxxiv FIRST DAY. private devotions. I have no specimen of them at hand ; but beheve me when I tell you, that, for splendour, clas- sical propriety of ornament, especially in the initial letters, and general magnificence of execution, I know of nothing, of the period to which they relate, that eclipses them. They are also among the very largest with which I am acquainted ; if we except that extraordinary volume, executed about the end of the Seventeenth Century, which is to be seen in the Public Library of Rouen.* One would imagine the longest life inadequate to the completion of the latter— which however I understand is rather elaborate than exqui- site. And thus take we leave of devotional volumes ! Lorenzo. Forgive a question, if it be intrusive. But tell me, why, during your whole discussion upon theological volumes of caUigraphical celebrity, you have omitted to notice, what has been always represented to me as commanding especial admiration, copies of the Bible written in Hebrew I! The Jewish MSS. are surely deserving of mention. Philemon. Undoubtedly; but I have paid the less attention to them, as well from my ignorance of the language » seen in the public library at Rouen.] Several of my friends, in their late continental excursions, have described to me this portly and even elephantine volume : measuring about three English feet in height ! The title of it, which attests the name of the Calligraphist and Illuminator, D'Eaubonne, is thus: ' Graduale ad usum regalis monasterii S. Audoeni, ordinis S. Benedicti, con- gregationis S. Mauri. Pro solemnioribus totius anni festivitatibus scribebat Parisiis Dam. Dan D'Eaubonne, ejusdem congregationis monachus m.dc.lxxxii. [Obiit Parisiis die xi Feb. 1714.] « The Roman character, in which it is written, (says my friend Mr. Petrie> as well as the musical notes, both an inch in height, are admirably executed. The illuminations also are finely done ; and sometimes a subject is entirely pamted in relief, in one colour ; as crimson, purple,' &c. It has besides much splendid gilding. This stupendous monument of graphical labour is said to have cost tiie Benedictine artist who accomplislicd it full 30 years of incessant application! Quaere —whether any account of Dom D'Eaubonne be to be met with ? FIRST DAY. clxxxv in which they are written, as from a custom which I learn to be extremely prevalent — namely, the execution of modern copies, with so much nicety and truth, that the deception is scarcely to be detected. Yet the MS. of the Pentateuch lately possessed by Mr. Sams,* must be considered a glorious exception. . . . Now then for Chronicles and Romances ! * MS. of the Pentateuch lately possessed by Mr. Sams.] Mr, Joseph Saras, an enterprising, respectable, and successful bookseller of Darlington, near Durham, was pleased, in the benevolence of his heart, to call upon me, more than once, in order to give a minute and faithful description of the extraordinary manuscript under consideration. Mr. Sams is an ardent bibliopolist in the pursuit of antiques, v(fhether as MSS. or printed books— but he sometimes suffers his enthusiasm (amiable and commendable as it undoubtedly is) to get the better of his discretion ; and when— as he has already begun, and purposes continuing to do— he has enlarged his knowledge by continental travel, and by an examination of ' the good things,' in the shape of ' Fifteeners,' which his own country may afford, he will probably ' draw in a little canvass ' in the warmth of admiration of ancient specimens of art. However, I cannot refrain from laying before the reader the very interesting account of this MS. of the Pentateuch which Mr. Sams caused to be printed in the Manchester Exchange Herald. I hardly know when the description of a book has presented matter of more singular detail, or even approaching the romantic. (Look however for one minute at Schwarz's Disp. II. De Omamentis Vet. Librorum — which particularly relates to Hebrew MSS.) Thus speaks the Newspaper alluded to, of the date of Feb. 3, 1816. ' Curious and unique ancient Jewish Manuscript.-— The literati are likely to be highly interested with an original, ancient, and complete Manuscript of the Pentateuch, now in the possession of Mr. Joseph Sams, of Darlington, Durham. This original copy is of leather : it is in two volumes, about two feet wide, and measures 169 feet long! It is supposed of goat-skin leather, and is most excel- lently dressed, so as to have an exquisite softness to the touch. Each sheet of skin is divided into pages, five inches and a half in width. The letters are very large, and not only most excellently written, but ornamented with a number of Tagin or Coronae, which is a thing peculiar to the most ancient manuscripts. Each sheet of leather is stitched very neatly to the others with a kind of sub- stance, in appearance not unlike cat-gut. The antiquity of this manuscript may be inferred by its being written on leather, a circumstance which would hardly have taken place after the invention of vellum was made. It was recently pro- cured from the Continent under the most interesting circumstances. It is believed to be from 14 to 1500 years old ; and in any case is the oldest copy of the law extant. There is reason to believe it has been above 800 years in one Jewish family, on the Continent. It is well known to what a degree the Jews clxxxvi FIRST DAY. LisARDO. As soon as you please; or rather Romances and Chronicles — followed by as much Miscellaneous matter as you may think proper to select ! venerate their sacred books, and with what' care they preserve them; it will therefore, be easily believed, that nothing but the most afflicting and imperious circumstances could induce a familjs loving their law, to part with a treasure so precious. During the calamities which followed the train of Bonaparte's wars, a Jewish family, of opulence, was reduced to utter ruin and compelled to emigrate. They came to Holland in their exile, and were there so reduced as to be obliged to pledge, as their last remaining resource, this manuscript of their law, under a limitation of a considerable time for its redemption. The time expired, the pledge was not redeemed, and the property was sold in Holland by the person who lent his money on it. This most valuable and antique performance is now likely to become a public benefit. • ' It has been preserved with the greatest care, in a rich cover, fringed with a fine silk, and lined. The rollers on which the manuscript runs, are beautiful mahogany or iron wood. It has been seen by a number of Hebrew scholars and Jews : the former always expressing a literary enthusiasm, and the latter treating it with the most solemn reverence. It has been collated by a very learned man, and its readings preferred to the most ancient copies we have ; so that this may justly be thought to be unique as well as the most uncient copy of the five books of Moses in existence. ' These facts naturally gave birth to .a few reflections. Is not such a manuscript a national object? Ought it not to be purchased for the British Museum, or the Universities of Oxford or Cambridge? There are many Noblemen and Literati would not scruple a most generous price, and for a generous price only its pre- sent possessor ought to be induced to part with it. The writer of this article having seen it, thinks, if he may hazard an opinion, that its least value must be 2000 guineas. Surely, such a national object ought not to be allowed to be in any private hand whatever; but either the Universities, or some other public body, should purchase and place it, where, under regular superintendence, it may be occasionally open to the learned, and to those who are curious for the accurate knowledge of all that pertains to the records of that wonderful people, the ancient Israelites.' — Manchester Exchange Herald. So speaks the Provincial Newspaper of the date just mentioned. It remains to add that the Treasure, here described, was not disposed of to the British Museum, nor to the Bodleian Library at Oxford, nor to the Public Library at Cambridge, nor to the Archiepiscopal Library at Lambeth : but is now the pro- peity of a Dissenting- Clergyman. While I honour the spirit of its present reverend possessor, I may be allowed to lament that such a precious document does not enrich the shelves of a public collection. Three sighs, and three-fourths of a fourth sigh, accompanying this declaration! — and if we are restricted from FIRST DAY. clxxxvii Philemon. Insatiable Lisardo ! But I will do my utmost to amuse and instruct. Yet before we proceed further, grant me a boon — or rather let me crave pardon — for I have been guilty of a most flagrant dereliction of the duty which attaches itself to my royal station ! Lorenzo. 'Tis for a good and gracious Monarch to prefer any petition, and his subjects cannot fail to obey. Speak, revered sovereign ! Philemon. My sceptre almost drops from my hand ! . . A trembhng, like unto that which Virgil describes as having seized ^Eneas — when he heard the whistling of the winds, and the roaring of the waves and of the thunder — Almansa. I begin to catch the tremor without really knowing the cause of it ! . . . Philemon. Yes, immortal Clovio ! — thy hovering spirit will, I trust, in this narrative of ancient Book-Illumi- nations, forgive the omission of thy illustrious name ! . . . I observe how you are struck with rapture at the bare mention only of that wonderful artist ; and, in such propor- tion, I can conceive will be your disappointment if you do not hear something of him worthy of his ' high name ! ' observing, with the owner of an ancient Missal described at p. clx, ante — * pudet' — we may at least be suffered to exclaim, in the natural indulgence of sorrow, ' Vae! Vae!' Note, in conclusion: both the date of the MS., and the price at which it is estimated, partake somewhat of that amiable ' enthusiasm' which attaches itself to its late owner. For ' 1400 years old,' read, probably, • 800 years :' and for * 2000 guineas,' read somewhere about 400Z. It should be noticed, on the authorities of Mabillon and Bandini, that Hebrew MSS., upon skins of leather, and written in uncial characters — with every apparent mark of antiquity-T-are scarcely found beyond the xiith century. See Bandini's Lettera sopra i Princijyj e Progressi della Bibl. Lavrenziana, 1773, 12mo. p. 88, &c. Jewish calligraphists, even in modern times, have a singular aptitude in imitating ancient manuscripts — and I have seen some dozen of scrolls executed with a precision and splendor perfectly surprising. It were well if Jews confined their powers of ' imitation ' to such objects ! VOL. I. m clxxxviii FIRST DAY. Lysander. As far as regards chronological order, you are perfectly correct by postponing his name to the present moment; for he flourished about the middle of the Sixteenth Century. Philemon. He did so : — and what Cabinets, of Popes, Monarchs, Princes, and Cardinals, have not been enriched by his matchless pencil ! ? Let Vasari recount his wonders in foreign collections : but at home, and upon British Ground, the marvellous treasures, from Clovio's hand, in the well-known cabinets of Mr. Towneley and Mr. Gren- viLLE, forbid us to envy the possessions of our Continental Neighbours. Lorenzo. Of the late Mr. Towneley's Missal * I have heard extraordinary things related : but of Mr. Grenville's < marvellous treasure' I have yet to learn the particulars. Philemon. Briefly then must I inform you that the Giulio Clovio, in the possession of the Right Honourable Thomas Grenville, * was executed by that artist at the * the late Mr. John Towneleij's Missal.'] The truly wonderful volume, here alluded to, was shewn to nie by its late venerable possessor, some eight or ten years ago. It had been procured for him, from Italy, by his nephew, Mr.CHAELEsTowNELEY, whose name is synonymous with all that is exquisite and classical in ancient art. Mr. Peregrine Towneley, son of Mr. John Towneley, is the present owner of this extraordinary treasure. It is contained in a morocco case, with the arms of its late owner, enamelled, in the centre ; and the volume is a large folio, containing illuminations from scriptural subjects. If I remember rightly, the ♦ Day of Judgment' had an overwhelming effect — for grandeur, variety, and even pathos. But Vasari, rich and fertile as he is in the ' Clovio' articles, does not notice this matchless volume, nor was he acquainted with the one about to be described. t the Giulio Clovio in the possession of the Right HanourahleTiiom as Gbenville.] I make no apology to the reader for the very long, and I would hope interesting, note which he is about to peruse, connected with the exquisite production here especially referred to. The history of its admission into the cabinet of Mr. Gren- ville is faithfully detailed by Philemon. The treasure itself (guarded by.an appro- priate velvet binding, contained within a blue-morocco case, the work of Charles Lewis) measures 9 inches by 5 and nearly six eighths : exclusively of a border, round each picture, in brown and gold, of the width of about six eighths of an inch. FIRST DAY. clxxxix express command of Philip II. of Spain. It consists of a series of paintings, from the engravings of Maktin Hem- SKIRK, which describe the pohtical power — from the triumph A ms.note by Mr. Grenville informs us that • Clovio was born in 1498, and died in 1578. In 1556 Martin Hemskirk engraved and dedicated to Pliilip II. TWELVE Plates from paintings of the victories of Cliarles V. PhiUp had tapestry made of these designs, and directed Giulio Clovio, at that time in Italy, to paint them on vellum.. Since that time they are supposed to have continued in the Royal Library at the Escuriai^ and appear to have retained the original richness of their colours.' Thus far Mr. Grenville. It shall now be my object to present the reader with a sort of Descriptive Catalogue of these ' rich paintings upon vellum :' for a mora lovely and interesting (and at the same time generally unknown) treasure can scarcely enrich the cabinet of the most illustrious collector. Each subject has a title or prefix, in the Spanish language, uitroduced within an arabesque border of consummate taste. These titles, and the compositions to which they relate, are thus brought under the reader's particular notice. Inscrip- tion within first device : L'Aguila muy triumphante y no vencida De Carlos Quinto Emperador Romano, Nos muestra que esta gentefue rendida Y como huyo sus vJias Solimano. First Subject. In the centre, Charles V. seated between 2 pillars, a sword in his right hand, a ball in his left. He is clothed in an ultramarine colour body-armour, ,,!*'^-^'' with crimson robe, and yellow sleeves : a helmet and crown are on his head, Beneath him, or rather between his legs, is the black Austrian Eagle, holding a ring within his beak ; which ring makes fast a golden chord or chain, encircling the following characters, as having been subjected to the Emperor's sway. To the left of the Emperor (that is to the observer's left hand) are Francis I. and Pope Clement VIII. arrayed in their respective full-dresses : that of the former being military. Still more to the left, in the fore-ground of the picture, is the Sultan Soliman, with a flag in his right hand, and a bow in his left. He stands without the chain, and looks rather sigAificantly at the Emperor, -as if conscious of not having felt the full weight of his power. To the right of the Emperor, are the Duke of Ct.eves, the Duke of Saxony, and the Landgrave OF Hesse, in quiet and submissive attitudes ; well conti-asted, in this particular, with the opposite characters — who are each distinguished for portly dignity even in their misfortunes. The Duke of Saxony, however, preserves composure in liis misfortune : both himself and the Duke ol Cleves are in armour ; but the Landgrave of Hesse has a black furred-cloak, with reddish-orange sleeves and petticoat, and yellow stockings. Mr. Wilkie, an artist of whom praise were useless, and to whom I shewed the whole series of these lovely pictures, was ex- ceedingly struck with this piece of composition and colouring. The figure of the cxc FIRST DAY. of his arms — of Charles V. Emperor of Germany, the Father of Philip : and the piece of art, here under descrip- tion, hath this pecuHar good fortune attending it ; that both the actions, and the characters introduced, are real, and not Jictitious ; and that the latter exhibit, beyond all doubt, Portraits of those whom they are intended to represent. principal personage is the least attractive : but the countenances of Soliman and the Duke of Cleves are touched with vast spirit and tenderness : that of the Duke, in particular, is singularly beautiful. The back-ground is green, reminding us of those of Holbein. Second Subject. Battle of Pa via : the prefix thus : Claramente se muestra aqui pintado Como en Pauia preso por hazana Francisco Key de Francia,fue lleuado A las mas hondas partes de la Espana. Three Austrian knights in complete armour, are surrounding Francis, and one of them is seizing the sword of the captured monarch ; the upper part of whose countenance, full of ardor and expression, appears above his beaver. Both knights and horses are in complete armour and caparison, and the housings of Francis's horse give the enthusiastic observer a sort of earnest of that rich, brilliant, and minute workmanship, in this particular department of his art, in which Clovio may be said to be without a rival. There are bells to the crupper of the horse of the knight in the fore-ground ; the flank and feet of which horse (as indeed are the feet and fetlock jomts of the whole) are pencilled with a ten- derness and truth that can only be appreciated by an inspection through a magnifying glass ! A knight, pierced with a spear, and thrown from his horse, lies dead in the fore-ground. In the back-ground the pursuit of the vanquished is continued, and Pavia appears, by the side of a winding river, in the distance. Third Subject. Sacking of Rome and Death of Bourbon : prefix : Aquifue Borbon muerto, y derribado Por las muros de Roma : pero entraron Los soldados con animo efforcado, Y ellos la ciudad toda saquearon. The foreground is occupied by two large figures : the Duke de Bourbon is tumbling headlong, backwards, from a ladder fastened to a bastion ; while a man, with an halbert in his hand, is advancing to break his fall. These figures are arrayed in a very gorgeous armour. The middle ground is filled by a group of enterprising soldiers, mounting ladders, admirably touched : while in the distance we observe the sacking and burning of the city. Throughout this composition there is probably too much of the Flemish taste of Hemskirk. FIRST DAY. cxci Lorenzo. This is indeed delightful. But how came such a treasure in Cleveland Square ? Philemon. What will not British taste, spirit, and libe- FouRTH Subject. Pope Clement the VII. treating for his ransom in the castle of St. Angelo, 1527. The following is the prefix : Tomada Roma ya como diximos, Clemente en esta toirefue cerrado, Pero despues enjinfue, segun vimos, Con mucha plata y oro libertado. The figures here are comparatively very small : the space of the composition being chiefly occupied by the buildings of Rome, and by the castle of St. Angelo. The Pope, vi^ith his hands crossed upon his breast, and a Cardinal at each side of him, appears to be sueing in a very supplicatory manner for peace. A trumpeter is below, with his trumpet held up, from his mouth, as if listening to the terms of the Pope. Two soldiers, about 3 inches high, in gorgeously coloured dresses, are in the fore-ground. To the left, are some soldiers with cannon. But the most interesting part of the composition, are probably the statues of St. Peter and St. Paul— especially of the latter— beautifully and tenderly pencilled. Fifth Subject. Raising the Siege of Vienna, 1529. Prefix: Venia Solimano poderoso, Y auia puesto ya cerco a Viena Pero huyu de aqui muy temeroso, For la virtud de Carlos el que impera. The fore-ground is occupied by Charles V. completely armed, on horseback, followed by Ferdinand, &c. This figure, but more especially the housings of the Emperor's horse, have scarcely their equal in the series : the variety, the richness, the truth, facility and vigor of touch and colouring, throughout the whole, are perfectly astonishing. Below, is a dead Turk, dismounted. Probably the colouring of his countenance is too pale ; as his death seems to be but recent. A Turk, transfixed with a javelin, and apparently making the last vital struggle, as he is tumblmg from his prostrate horse, is quite a masterpiece of physiognomical expression. The back-ground is occupied by the retreating army of Soliman ; which, at a distance, encloses the Sultan in a ring, while a canopy is held over his head as he leisurely retreats. The city of Vienna is in the back- ground, to the left. Sixth Subject. Spanish Expedition to America, 1530. Prefix: Los Indies que hasta aqui de came humana Pacian comojieros y indomados, Con uirtud y confuerga soberana Los veys por Cesar ya domesticados. "We have here a pei fect contrast to every thing in the series. Human flesh is roasting, and human beings are being cut up, by the savage Americans. These cxcii FIRST DAY. rality, effect ! And where are those shores, however remote, which forbid the foot of British enterprise to invade them ? To come to matter of fact. The lovely curiosity under luckless beings are the Spaniards, who are continuing to be brought in, as prisoners, or dead men, for further similar cannibal purposes. The wild Ameri- cans occupy the fore-ground, and are coloured with admirable sobriety and truth. There is probably more artist-like knowledge and effect in this piece than in any other : yet the manglpd and roasting limbs make one dwell but a com- paratively short time upon such a picture. Seventh Subject. Entrance of Charles V. into Tunis, 1535. Prefixed is as follows : A qui vees como huyo a quel Africano, Quando Ctsar triamphante y poderoso, Legano a Tunes con sufuerte mono, Adonde entni con nombre victorioso. A very brilliant and finely composed picture. The victorious army are in the fore-ground ; and with the exception of the figures of Charles and Ferdinand, in profile, the whole have their backs turned to the observer. The trappings of the Emperor's horse are, as usual, magnificent : but the pink and light green caparison of a horse, to the left, strikes the eye immediately as being most exquisitely managed. There is such a mingling of fine and fresh colouring in this piece, added to the bustle of its composition, that it caimot fail to take strong hold of both the fancy and the judgment. Eighth Subject. Submission of the Duke of Cleves to Charles V. 1543. Prefix thus : De Cleues es el Duque, que vencido Delante Cesar v6es y arrodillado, Pero despues d'en su poder venido, Lo liberto, boluiendo le su estado. This composition exhibits the finest whole length portrait of Charles : who is sitting, laureated, upon a throne, with the Duke humbling himself on his knees before him. The brown and gold cloth, with which tlie throne is covered, is executed in a manner perfectly wonderful. 'J'he countenance of Charles is pro- bably from the pencil of Titian. To the right (on looking at him) stands Ferdinand, in a pompous but spirited attitude, looking over his left shoulder, upon the prostrate Duke, with more haughtiness than is even observable in Charles — the fault of whose countenance may be, that it looks too much out of the picture : which makes one think it is copied from a portrait. The colouring of Ferdinand's swarthy countenance, with his black beard, is admirable. To the right of Chades, stands the Duke of Alva, clothed in blue, orange, and yellow. These fierce and confident characters are finely contrasted to the tenderness of expression in the countenances of the Duke of Cleves and his standard-bearer ; each upon their knees. Groups of soldiers and tents fill the back-ground. FIRST DAY. cxciii description had been religiously kept, from the face of lieaven and of human beings, in the Escurial, ever since the period of its completion. Wellington delivered Spain ; and Ninth Subject. Count Egmont joins Charles with the Flemish i'oRCEs, 1546. Prefix : Sintieron de las alas el sonido Que I'Aguila triumphante venia haziendo, Langraue y el de Saxa, y al ruido, Los vees atras holuer ambos huyendo. In the fore-ground, the Emperor appears mounted on horseback, talking to some soldiers. In the middle-ground is seen the imperial tent, from which the Emperor issues, and shakes hands with Count Egmont. His anny is encircled by cannon, and the Protestant army is retreating, in the distance, in square battalia. Perhaps there is less force in this than in any other picture ; owing to the figures being comparatively small. The devotion of the soldiers to their monarch is seen more particularly in the expressive countenances of three of those to whom Charles is addressing himself. Tenth Subject. Battle of Muiilberg, 1547. Surrender of Frederick Elector of Saxony. Prefix : (perhaps the most beautiful and striking prefix of the whole :) Vencido en la batalla vies presente, El Duque de Saxonia y subiectado Despues de auer perdido mucha gente Sus armas, y susfuer^as, y su estado. At first sight there is something almost ludicrous in this composition ; as the wounded Elector, with a huge gash in his cheek, is running in heavy armour to make his submission to Charles, who is surrounded by Ferdinand and the Duke of Alva, &c. The countenance of the captive is very woe-begone, and his figure perfectly Flemish. The colouring of the imperial group is as mellow and perfect as can be imagined. Eleventh Subject. Submission of certain Cities to Charles V. 1547. Prefix : Vencido ya Langraue el atreuido Preso el Duque de Saxa y su compana Han sus Uaues a Cesar ofrecido Las Ciudades de nombre de Alemana. Charles, in profile, is seated on his throne. The submissive cities of Hamburgh, Lubec, Brunswick, and Lunenberg — represented by their respective deputies, kneeling, with keys in their hands — are to the left. Parts of the grouping of these figures are stolen from the famous picture, by Raffaelle, of Christ's charge to his Apostles ; while, in the middle-ground, the upright figure of the Bishop of CXCIV FIRST DAY. the Royal Palace just mentioned having been robbed, by its first invaders, of the treasures which it contained, the robber, or robbers, both of the Giulio Clovio and of the Arras, in blue, looks like another character, from the same master, of which I cannot just now recollect the name. Other figures are in the back-ground : the whole very interesting. Twelfth Subject. Sureenber of the Landghave of Hesse, 1547. Prefix: Atiui tu vies como d'esta vicUrria Con el vuelo de VAguila tornado ^ Pm- Carlos, cuyo nombre al mundo es gloria, Se ofrece el que erajiero muy domado. This is the last and probably the most rich and interesting composition of the wliole In the centre, seated upon his throne, is the Emperor Charles with the usual insignia of royalty. His countenance is perhaps a little too small, but it is most exquisitely touched and coloured. In the fore-ground, kneeling upon the first step of the throne, is the Landgrave of Hesse ; covered with a rich robe of black velvet fringed with gold. The sobriety of this colouring balances and mellows, as it were, the general brilliance of the composition. To the right of the Emperor, stand a Pope's Legate, the Bishop of Arras, and the Bishop of Naunbourg : the first hi red, the second in blue and gold, and the third in brown and gold ; the countenances admirably touched. Opposite, to the left of the Emperor, stand four figures, whose identity Mr. Grenville has not been able to ascertain ; though he observes that De Thou says (vol. i. p. 264) ' there were also present the Arch Duke Maximilian, the Dukes of Savoy and Alva, the Elector of Brandenburg, Duke Maurice of Saxony, H. Ch. and Ph. of Brunswick, and Ambassadors of the Kings of Bohemia and Brunswick.' The first of these four figures, with a crown, is clad in a brown cloak, gold tunic, and purple stockings. He has a sceptre in his right hand, and both tlie expression and colouring of his countenance have scarcely their equal in the series. The other three figures have cloaks, and turbanned hats or caps, set with jewels ; and look like Turkish characters. The one to the right, with a purple and ermined robe, exhibits a countenance of singularly forcible expression. There is probably little doubt but that the whole are portraits ; and, if so, what a gratifying group do they present to the man of learning and the tasteful antiquary ! Such is the description (written with the subjects themselves ' sub oculis * — ) that I have ventured to submit, of a volume, which, all things considered, cer- tainly acknowledges no superior. A caustic critic might, however, observe that the colouring, especially of the figures in the middle and back grounds, is too strong and vivid ; and that the figures, in the historical subjects, partake too much of the Flemish character : but for the latter, Clovio is by no means responsible. I will only further remark that a third Giulio Clovio, formerly in the possession of Mr. Jennings, is now in the collection of Mr. Webbe ; and that there appears to have been an illuminated Missal, by the same hand, in Lord Oxford's collection. FIRST DAY. cxcv CoRREGio, (of which latter you have heard such wonderful things) surrendered, upon the Plains gfVittoria, the lawless booty which he had acquired. The intermediate links of which was sold at the sale of the Dutchess of Portland's library (no. 2952) for 1691. It is there described as ' superior to anything of the kind,' and ' in the highest state of preservation.' Yet a further word about Giulio Clovio. In the year 1733 was printed, in a handsome folio forra, on one side of the leaf only, and without numerals, a curious volume entitled ' Thesaurus Artis Pictoria: Ex Urdus Julii Clovii Clari admodum Pictoris Operibus depromphis.' The author was William Bonde ; who in the title-page thus describes himself: 'Gulielraus Bonde, Armiger, CoUegii Anglorum Duaceni alumnus, et nepos praehonorabilis viri Thomae Bonde, Equitis Aurati et Baroneti, qui fuit Thesaurarius et Contra- rotulator Hospitii Illustrissimae Dominae Catherinae Angliae nuper Reginae Dotariae supradicti Regis [Johannis V.] optimi Amitae admodum colendae.' His work is divided into three parts : ' Libri, sive Sermones tres : 1. Idea. 2. Index. 3. Deliberutivus.' It consists of a description of ^Psalter executed by Clovio for John the III. king of Portugal, which Bonde is desirous should be purchased by John V. ; and his work is a personal address to the latter monarch, giving a description of the Psalter, and enjoining him to become the purchaser.* Mr. * Let me crave the reader's indulgence for this sub-note — exhibiting a spe- cimen of Bonde's florid style of composition in his description of St. Michael, &c. in the xivt/i subject, in this Psalter. 'Proxime effingitur Angelus Michael innumeros poene perduelles et sumniae Dei optimi Maximi Laesae Majestatis reos angelos deturbans cceIo praecipites. Hasc quidem tabuhi, supra quam potest, non dicam exprinii verbis, sed etiam mente cogitari, sublime pingitur. Gustum sapit plane divinura, et immista formidini atq. horrori quadam, nescio qua, spectantium oculos animosq: afficit, immo obruit voluptate. Nimis grandia haec non ego tenuitur moliar. Nimis enira, nimis bene intelligo, l)aec strenuissime exantlata divini Julii Clovii opera, in quibus coelitum facta depingens non modo alios suuimos pictores sed seipsum superat, transgressa semel humanum modum, non facile cujusquam, licet clarissimi oratoris, dictis adaequari posse.' ' Harum tamen rerum omnium plenas expressiones, in pagella quinque poUices lojiga, et quatuor lata, exhibit potens pictor, pro mirk stupendas sure indoHs fmcunditate. Di bone! Quot, in picture, angeli daenionibus .'' Quot tenebrae luminibus? Quot vitia virtutibus opponuntur? — ' huic imagini tremenda ange- loriira praelia reprassentanti, figuram inesse nullani, nisi quae gestit, movet, vivit, agit, pugnat, atque ita facit haec omnia animose, et gnaviter, &c. . . . Nam, crede niihi, quemadmodum fervet opus belli, sic fervent, etiam pictoris colores, qui sunt plane ad aspectum formose terribiles. Pingit Clovius (ut verius dicam de Clovio quam de Appelle Plinius) qua? pingi non possunt, fulgura, tonitrua, fulgetra : Hie enim videmus fulgureos mucroiies coelitum praepositos jugulis, hie cernimus pila pilis minantla, arraa quidem profecto caslestia, noa fabulatis cyclopum ignibus, non fabulose divina ficti Vulcani manu, fabricata, sed, ex tonitru et fulgure aetemo, vere facta. Part II. H h. There is something rather diverting in the earnestness with which he entreats John to purchase this treasure. 'Nihil rogo ; nihil hortor, nihil suadeo : ab CXCVl FIRST DAY. the narrative need not be supplied. It came into the hands of Mr. Woodburn : and from this latter it glided, impercep- tibly and naturally, as it were, into the rich cabinet where it is now enshrined. Grenvilie properly remarks upon the ' extreme rarity' of Bonde's book, and of its containing ' many curious anecdotes of Clovio, In the Third Part Bonde notices a painter of his own time under the name of RiCHARn Graham, thus : ' Cognos- cito, 0 Domine, quoniam non sine causa qneri videtur, cognoscito, Richardum istum imprimis Grahamiura et nostratem, et jam modo viventem, Londini, talem esse et tantk celebrit^e famse pictorem, ut summi principesque hujus nationis viri,quibus probe notus est omnibus, consortium ejus araabile quippe vehementer et quotidie quserentibus, ilium cognatione atque hospitio suo dignum existiraave- rint. Sed, ne videatur longior oratio mea, non ego hie multos commemorabo nobiles, quibus est in deliciis ; tantum hoc, pace tu^ domine dicam, quod quidem maximum est, quodque gloriosissime faciet, sine ull^ alia prseterea laude, ad fEternam hujus Grahamii pictoris faniam stabiliendam ; vivil, O Rex illustris- sime, jam modo cum domino de Burlington familiarissime, et ita vivit, ut sit illi domino non solum jucundus, non solum dulcis gratusque comes, sed et charus admodum, et amicus ; vivebat etiara cum patre eeque ac filio ; a domino de Carleton colebatur, multos, jaradudum annos, a domino de Orrery, nunc in immortalium numero ascripto, aestimabatur, aniabatur. Totam hie Grahamius illus- trissimam domum dominorum de Boyle devuictam consuetudine tenuit et tenet, sed ilium, ut innumeros alios, quos possem commemorare, prajstanti doctrina et virtute viros przeteream, sumrao afficit dominus Buri-ingtonus.'* Sign. D. 2. In the First Part we not only learn the price for which Clovio executed this Psalter, but the manner in which he worked, and his mode of paying the artists whom he employed under him. The passage, which is short, shall close our extracts : ' Nuntiatum est nobis et non sine monumentis fide dignis nuntiatum, atque a majoribus traditura, in perficiendo vel uimm librum, octo, industriuni hunc artificem, vel decern plus minus annos, se invicem consequentes, consump- sisse. Adde, quod et alios homines pictores servos sibi semper habebat ad raanum ; nummos tanien Romanes, ille per se solus percipiebat, singulis annis, quadringentos. Fama refert etiam, non sine magn^ vel regis vel pictoris gloria, regem singulariter praeclarura, huic singulariter praeclaro pictori, pro uno libro. oratoribus sic agi solet, sed vis sermonis tota mei, in vero, eam, de qua insti- tuitur, rem deliberandi, genere consistit.' ' nihil est quod dicam amplius ; causa Clovii dicta est : Liber Clovianus, certe, a te nunc probabitur, rediraetur, de exilio reducetur, et patriae pristinae dignitati restituetur.' Part III. O 2. * Richard Graham re-published, in the begining of the last century, Dryden's Translation of Du Fresnoy's Art of Painting ; to which he added ' A short Account of the most Eminent Painters both ancient and modern.' The second edition of this publication bears the date of 1716 ; and is dedicated to the Earl of Burlington. Of his productions as a painter, I know nothing. FIRST DAY. cxcvii LisABDo. Oh brave Mr. Grenville ! But the character of its art ? — Philemon. Ask if the rose, impearled with the morning- dew, be fresh, fair, and sweet? Ask if the hues of the carnation be tender — if the hly vie not with the Alpine snow in purity of colour — if the flaming streak s of the tulip, or the burning radiance of the sun-flower, diff*use not gaiety and splendour on each surrounding object — and the answer to these questions shall be the ... LisARDo. Well, well ! We comprehend what you wish to impart. The Clovio of Mr. Grenville is a miracle of gra- phical perfection ! Philemon. Even so : and wishing it may ' live for aye ' in the family in which it is now deposited, let us proceed to Romances and Chronicles : though indeed the day is now pretty far spent, and I must honestly confess that my powers of delivery begin to fail me. Lorenzo. Yet I regret that such a subject should be shghtly handled. However, our very best thanks shall be due for the intelligence which you may impart : while our sense of obligation cannot fail to be expressed for the exertions already made. Philemon. No more of this. For Romances, then, let me take you quietly into that vast and magnificent book- repository, ycleped the Bodleian Library ; and let me there entreat you carefully to turn over the leaves of its chief jewel in the department of which we are discoursing — duo millia nummum aureorum pensitasse. Quas quidem sunimae, si nostrS, h^c aetate persolvendse forent, praemia omnino inmiensa putarentur. 1st Pf. Dii, rect. I suspect that Sonde's book, of whicli only two copies are known in this coun- try — Lord Spencer's and the present — was printed for private distribution only. And it is worth noticing tliat each of these copies formerly belonged to possessors of Giulio Clovios. The present was Mr. Jenning's, and Lord Spencer's was Mr. Towneley's copy. CXCVIU FIRST DAY. mean the Roman D'Alexandre !* I see the eyes of Lisardo begin to ghsten. LisAUDO. As well they may — from the recollection of a * the Roman D'Alexandre.] This truly grand and resplendent volume, in French metre, may be considered the Jupiter Romaunt-planet of the Bodleian Library. Let the day be ever so dark — let the wind blow ever so coldly tlirougii the crevices of the mullions, or of the panes of glass, in that vast book-repository — you have here a luminary, whose rays, darting upwards, (like the light in Corregio's famous Notte) equally diiFuse light and heat. These rays animated TomWarton, and they even warmed John Price : and certainly, in one of the coldest of the early November days, these same rays caused the blood of the writer of this most strange note to glow as if the thermometer were at 72 in a northern aspect! I know not why I should wish to have lived in the middle oi the Fourteenth Century — because it would most probably have followed that I should have been dead at the commencement of the Nineteenth — but assu- redly I should like to have witnessed the original dimensions of this richly- garnished folio : such as it was when Master Giles Strangwayes ' took pen in hand,* and wrote as followeth, three several times, in the fly-leaves of this Romance. Nor should I have objected to embrace it when it came into the hands of its second owner : who writeth thus, after the said Giles Strangwayes : J of per Ffyloll ys own thys hake Nor again would there have been much objection to have caught a gla'nce at it when it owned ' Thos Smyth' (see folio 215 of the MS.) for its third master ! However, although this extraordinary book gives ' dreadful note' of its having lost much of its ' original brightness, ' it is nevertheless, in its present state, such as I have above described it to be — ' the Jupiter Planet ' of the Romance MSS. The illuminations may be said to be innumerable : having, generally, a dia- mond-pannelled back-ground, not uncommon in the xivth century. As Warton and Ellis have disported themselves in the description of this fine book, and FIRST DAY. cxcix glorious summer's morning devoted to the contemplation of that richly-garnished, genuine, and magnificent old folio ! Philemon. This description is not overcharged : for a more interesting and unsophisticated copy of an illuminated Romance MS. does not surely exist. But we must leave this venerable retreat — bewitching as are its multifarious contents ! Lysander. You are hardly over its threshold ere you give the signal for departure ? Philemon. Necessity is a cruel incentive ; but you must submit— however attached to the odds and ends of the manuscript-lore in the regions of Bodley. I wave my sceptre; and we are off, at a tangent, for London! Can you resist to look more than once upon the minutely beau- tiful and curious gem here laid before you as Strutt has enriched his pages with some of the ornaments, it shall be my object to study brevity and accuracy only : ' commingling' a few pleasing illus- trations in the way of fac-similes. On the recto of fol. 50, is a whimsical illu- mmation, thus entitled : ' Comment alixand fuit mys in vn vescel de booire p veoir les mueiles in le booire.' Alexander is, ui fact, seated in a glass diving bell. On the recto of folio 58, in the bottom margin, among several pretty similar exhibi- tions, we observe the following juvenile group, not wholly divested of expression. * See the opposite plate. cc FIRST DAY. Almansa. It is perfect enchantment ! From whence has such a treasure been taken ? On the recto of the ensuing leaf, fol. 59, are several representations of a tender cast of character. Take the following, gentle-hearted reader — from the same re- presentations — and draw what inference seemeth best to thee ! 1^ Above, is an elaborate group of men, in complete armour, upon horseback, fight- ing. At folio 130 (mem. for Bernardo !) is a man carrying hawks on a pole for sale . But almost every page is embellished with subjects taken from the manners, customs, sports, and pastimes of ancient life. Among these are puraerous drolleries : as tlie following sufficiently indicates. FIRST DAY. cci Philemon From a MS. of the Gesta Romanorum * in the possession of the late Mr. Edwards. You observe in it a very lock and key to the whole history of the Table Ronde; But where is the date of this wonderful volume ? exclaims the cautious antiquary. Read as follows, truth-loving virtuoso ; and, putting your hand upon your breast, exclaim with Cato that you are ' satisfied.' It appears on the recto of folio 208. Chi define U romans du boin roi Alixandre, Et les veils du pauon. les accomplissemens. Le Restor du pauon. et le pris. quifu p[er] escript Le xviij". ior de decembre. Ian. m.ccc.xxxviij. In gold, below : Che liurefu perfais de le enluminure Au xviij'. joiir. dauryl. Per iehan de grise. Lan de grace, m.ccc.xliiij. Next follow 7 leaves of English metre : written in a less angular gothic cha- racter, and with paler ink. Then 2 blank leaves : the second of which has the autograph of Smith, before mentioned. On folio 218, from the beginning, we read as follows — beneath one of the most elaborate and beautifully executed illuminations, of shipping and architecture, &c. in the volume. ' Ci commence, li liures du graunt Caam qui parole de lagraunt Ermeme. de pei'sse. et des tartais et dynde. Et des granz merueille qui p[er] le monde sant.' The initials and border-ornaments are in the same style with those in the pre- ceding part of the volume ; but the illumination just described is infinitely superior, in every respect, both to all the preceding and succeeding ; and yet, of these succeeding, the second is certainly by the same hand : of the third, I have doubts— of the rest, none. On the reverse of fol. 271, from the beginning, we read thus : Explicit le liure noume du grant kaan de la graunt cite de Tambatuc. dieux ayde amen. This invaluable volume cries aloud for a rmsia surtout ! It has been most bunglingly bound in dismal calf ; and has suffered cruelly from the ' trenchant ' propensities of such bungling binder. Mr. Bandinell will, I am certain, speedily bespeak a casket worthy of the jewel to be enclosed in it. * a MS. of the Gesta Romanorum.] I cannot do better than borrow the words of Mr. Evans, as they appear in the description of this MS. in the Catalogue of Mr. Edwards's Library, no. 162. ' Gesta Romanorum, folio : a very beautiful Manuscript upon vellum of one of the most ancient story-books extant. It was executed for Charles VI. of France. It is written in a very legible hand, and is ornamented with nine very large minature paintings, and a profusion of richly painted capitals, and various figures in gold and colours, at the beginning of each story.' This interesting volume was purchased by Messrs, ccii FIRSTDAY. and do pray, as a very elegant specimen of that eternally- recurring subject — the Author presenting his Book — exa- mine how gracefully the author of the said MS. presents the produce of his labours to his Royal Patron Charles VI. Longman and Co. for the reasonable sum of 46i.: not without an effort, on my l>art, to become the owner of it : as I was the last losing bidder. The illumina- tion contained in the plate facing p. cxcix, will give the reader a pretty good FIRST DAY. cciii We are now about the opening of the Fifteenth Century; and having only time to allude to the Gillions, Melusines, and Meliaduses,* &c. &c. which, ' thick as autumnal leaves' notion of the delicacy and minuteness of finish of some of these ornaments : in colours, it has an enchanting elFect : and it really is, as Philemon has properly designated it, a sort of ' lock and key' to the * Table-Ronde' History. The curious observer will instantly recognise the same countenance, both in the monarch receiving the book, in the subjoined fac-simile, and in the figure standing over the entrance-gate in the copper-plate just referred to. That countenance is, unquestionably, the portbait of CnARLES VI. What a diverting, and even splendid volume, might ray ' learned friend' Mr. Douce produce, from an examination of the more curious MSS. and early printed editions of the Gesta Romanorum ? ! When I say this, let it be supposed that his Essay upon the same subject, in his Illustrations of Shakspeare, <^c. is considered by me as displayuig a master-knowledge of the ' Gesta' in question. Yet, as Polyplieme roars aloud, ' More, give me more ! ' * Gillions, Mtlusines, and Meliaduses.'] What a cluster of romaunt appellatives ! and what harmonious alliteration have we here ! ? I am aware what these names imply, and what scope for black-letter lore a satisfactory disquisition concerning them would unfold. But my chronicle must be brief : as neither Du Fresnoy, (alias Gordon de Percel) Warton, nor Ellis, shall be consulted. Nevertheless, what here foUoweth may possibly be deserving of seven minutes close attention : First for GiLLioN i)E Trasigmes. The Duke of Devonshire possesses a beautifully illuminated vellum MS. of this Romance, in folio. We gather the title of it thus : Cy commence la table des Rubriches de cest present liitre appelle Gillian de trasigmes moult preu et vertueuz cheuallier natif de la conte de haynau. The table occupies six leaves. After a blank leaf, we read one leaf of the prologue. The text of the work follows beneath a fine illumination of the interior of a church; a tomb, with three figures in the fore-ground; and a man reading, to three others, to the right — probably the exploits of the hero whose tomb this may be. Two monks, hooded, are to the left. The whole is within a rich border of fruits, flowers, and insects ; having a bomb or mortar (frequently occurring) below. There are numerous highlj- ornamented capital initials; as on the reverses of folios xlviii, xlix, Iviii, and Cxxxvj, to say nothing of others : the larger ones have a freshness and brilliancy almost unrivalled. In regard to these larger subjects, we have an admirable sea-fight on the recto of folio xiiij—- within a grotesque border of fruits and flowers. At folio xl, reverse, we observe an Attack of a Camp — full of bustle and effect : but on the reverse of folio liij, there is a Battle which has scarcely its equal — being as fresh as if just executed. The reverse of folio C.xlij exhibits a Tournament, such as would put even my friend Palmerin into an extacy of delight! The defeated champion is VOL. I. n cciv FIRST DAY. bestrew the cabinets of the curious, I must hurry on, in a trice, as it were, towards the close of the same century : because, about the year 146'(), there began to prevail that dying : tlie conqueror bears the portrait of his mistress on his shield : the court are looking on. This interesting piece is rather slightly injured, otherwise it is delicious. On the recto of folio C Ixxxxiij is another Battle — equal to the preceding— or rather, if possible, fresher and clearer. It represents the tremendous conflict before Babylon, in which the two brothers of Trasigmes ' furent prins de leurs haulz faiz.' In the highly ornamented border are a monkey and a bear, the former applying the nosle of a pair of bellows to the latter, much in the same way as Cervantes tells us a madman of Seville applied his hollow cane to the dogs ! The borders are full of capriccios of this kind. On the reverse of folio cciiij, the hero of the romance is about to take leave of the Sultan, to return to his native country. This is a very interesting illumination ; the expressions of sorrow and regret being rather powerfully represented. The preceding are, I believe, the whole of the larger illuminations. On the reverse of folio, cc.lxiij, and last, the reader sighs to take leave of such a volume, thus : Cy fine listoire du trespreu et vertiieulz cheuallier, Gillion- "* de trasigmes natif de haynau. There are 27 lines in a full page. The text, in faded ink, is a large coarse gothic:— and I apprehend this volume to liave been executed somewhere about the year 1450. It is in the most desirable condition 3 in yellow morocco binding. Next for Melusine. In a trice we are off for the octagonal-library at Hafod ! There, about two years ago, was the following memorandum taken, of a beautiful and interesting vellum Manuscript of the romance under consideration. ' It is executed in a small gothic character, exhibiting two different styles of writing; the first and most ancient style occupying two thirds of the volume. The borders are much elaborated, but the colours, generally speaking, are faded. The book is full of illuminations ; many of them injured. At the bottom of the first page, in the centre of the border, is a shield, having a rampant lion on the siilister side, with mermaid supporters. At top, in two compart- ments, to the left, the author is writing his book ; and to the right, presenting it on his knees to his Patron and Patroness, who are seated. The second illumi- nation represents Melusine sitting in a shrubbery, within a garden; wliile a knight, to the left, just alighted from his horse, is paying obeisance to her : a squire, to the right, on horseback, is leading another horse. Many of these illuminations are singularly interesting ; and the/owrt/t of the Count of Poictiers and Raymondun, in a wood, contemplating the moon, is especially so. The 17th illumination, of the' Bishop blessing the nuptial bed in which Raymondun and Melusina are lying,' has great simplicity. The original text, or oldest hand- FIRST DAY. ccv peculiar style of art which may be considered as furnishing the models for those wood-cuts, with which the publications of foreign printers in particular were so profusely embel- writing, terminates with the 48th illumination. The remaining 36 leaves have 110 illumination. I apprehend the style of art to be Flemish, and the virriting of the 15th century, perhaps 1450. The remaining 36 leaves are in a small, but loose and coarse character, and the vellum is very thick. The binding is old mulberry-colour velvet, with brass corners, in a modern back : in the centre of the sides, arms, two keys in saltier. And thus much for the Hcfod Memorandum relating to Madame Melusine. In the third place for Meliadus. From the octagonal library of Hafod we jump back again to the metropolis; and sit ourselves down quietly in the delectable satin-wood book-cased library of Mr. Lang, of Portland Place. Of this library, rich and replete with ' romaunt-lore,' and more especially with old French poetry — some gentle word or two shall be spoken in the Tenth Day of this Decameron. At present, suffice it to observe that it contains a treasure of its kind ; and no back drawing-room, I will venture to affirm, within the said Portland Place, displays furniture more worthy of the attention of a well-bred and well-educated visitor. But for the Meliadus — reposuig within the fore-men- tioned library. This was once in the Roxburghe collection ; and is described in the catalogue of that library, no. 6096, as • MS. tres ancien sur velin avec 333 figures, et combats peintes du mSme format de chaque page !' It was sold for 371. 16s.— but, before it reached its present possessor, it had received rather a plentiful sprinkling of Cayenne-pepper ; as some dishes are considered to stand greatly in need of the same ! The MS. in question is a large folio of 351 leaves : written in a close, and not inelegant gothic character, in double columns. The illuminations are uniformly at the bottoms of the margins; and although of various degrees of merit, they are, upon the whole, highly interesting. These illuminations are of two characters, or modes of execution. Till towards the middle of the volume, they are compai'atively small, with daubed rather than coloured backgrounds. Sometimes the figures are slightly coloured, with open backgrounds. About folio 150 commences the series of larger illuminations—— sometimes slightly coloured, without backgrounds; sometimes with thickly daubed backgrounds ; and very frequently, and of much superior merit, in a delicate india ink outline. Folios 149, 150, exhibit one of the more elaborately coloured specimens of these larger illuminations ; which is divided into two compartments : the upper compartment being generally filled with ladies and gentlemen who express various emotions at the fortune of the battle wliich rages below. Sometimes these emotions have no mean power of expression. A small and very pleasing specimen of one of the outline decorations occurs on the recto of folio 163 — of two knights fighting ; one falling backwards apparently dead upon his horse. Among the more beautifully executed of these large outline embellishments are those from folio 258 to folio 273. Some of them richly merit ccvi FIRST DAY. lished. The very choice cabinet of a neighbour has fur- nished me with a few specimens from a Romance History of Thches, which I here place before you. FIRST DAY. ccvii But let me rather exhibit, from the same volume, speci- mens of a more complete and striking resemblance to that style of wood-engraving to which I now particularly allude. The following are selected chiefly with a view to the display of costume. publication ; as the age of the MS. is probably towards the latter end of the xivth century. The latter illuminations are slightly yet most unskilfully coloured. A fine semi-gothic church, with a neat group of figures to the left, arrests our attention on the recto of folio 347. This is upon the whole a very singular and richly ornamented MS. : and the battle scenes, in outline, have very uncom- mon merit. My friend Mr. G. H. Freeling, the son-in-law of its present Owner, hath bestowed great pauis upon its collation with another ancient manuscript of the same Roy Meliadus, and with an old printed edition. The result has proved the intrinsic importance of that — to which it now behoves us to say farewell ! ccviii FIRST DAY. LoaENzo. Undoubtedly these are curious if not elegant: and this History of Thebes* may rank among the more singular romance-vblumes of the day. Proceed ; but be not too brief, * this History of Thebes.'\ The manuscript of the Romance in question is the property of my friend Mr. E. V. Utterson ; it being among the numerous curiosities, of this kind, which enrich his ' Hermitage' near Stanmore. It is a small folio, upon paper ; written in a large and inelegant gothic character, with the titles in red. The illuminations are exceedingly numerous ; the colouring being thin and washed upon the subjects. The lines of each figure are as strongly marked as above. There is occasionally a good deal of force and intelligence in these FIRST DAY. ccix Philemon. Yes — brief almost to obscurity — for think of what has been already accomplished ! ! LisARDO. We wUl not be unconscionable. Yet a word for my favourite Roman De Lq, Rose ! . . . decorations ; and both the heads and countenances have very singular character. There can be no doubt of the identity of tlie artist who executed the whole. In regard to the illuminations, we cannot perhaps select a more outre specimen than the following : too revolting for female sensibility, but which may please the capricious taste of some delver into romaunt lore. It represents * Medea in the act of destroying the two children of which Jason was the father.' The recto of the first leaf furnishes the following title : Chy commenche listore de thebes premierement de cheluy qui le fonda et comment elle fu puis destruite. The recto of the last leaf not only supplies us with the following colophon, from which we gather that the Romance treats of Troy as well as Thebes (in fact, the whole is something very like Caxton's Recueil) but with the interesting memoran- dum subjoined to it : Chy fine le tres exelente et noble ystore de troyes escriptes par la main lequotin de lesplut enlan degrace mil quattre cens Ixix pries pour liiy ccx FIRST DAY. Philemon. I understand you : for I remember how you struggled to obtain possession of the charming volume, con- taining that romance, which now enriches the cabinet of Mr. North. But I must first make you acquainted with a more magnificent Manuscript, of the same Romance, in the British Museum.* The MS. to which I allude is a large Ce liure appartient a monseigneur le somierain Bailly de Flandres. par achat quit en a fait de Maistre Vatos Libraire demourant A lille. The entire transcription gives evidence of the Flemish education of the artist, Master Jaquotin — for whom ' let us pray,' as desired : that is, if we have no objection to the contrary. The subjoined memorandum shews who was the first vendor and who the first purchaser of this curious book. How many interesting hands have opened it ere it came into the Towneley collection (Bibl. Tovmeley, pt. i. no. 892) from which it was obtained by my right good friend — Palmerin, shall we say ? * a more magnificent MS. of the same Romance in the British Museum.'] Ponder well, gentle reader, upon what here first ensueth respecting this very precious gem— or, to borrow the metaphor of the above interlocutors, respecting this ' dainty dish' of cream. The editor of the first Catalogue of the Harleian MSS. 176^. (vol. i. p. 25, edit. Nares) thus discourseth thereupon. ' This MS. [of the Roman de la Rose] is so richly ornamented with a multitude of miniature paintings, executed in the most masterly manner, (each chapter of the book having prefixed to it a picture explanatory of the subject) that it is not to be exceeded by any known manuscript in this or any other library ; and is probably the copy which was presented to King Henry IV. — the blazon of his arms being introduced in the illuminations with which the first page is embellished.' Mr. Nares, in his enlarged edition of the same Catalogue, vol. i. p. 35, calls the volume ' a transcendent copy ;' and he is perfectly right. But at vol. iii. p. 143, no. 4425, there will be found what may be considered a meagre description of a volume, of which such distinct and warm notice is taken in the preface. This latter account is as follows. '^A truly beautiful copy of the Romant de la Rose ; finely written on vellum, and full of the most elaborate illuminations. It contains 183 leaves, numbered throughout by the original scribe.' The arras, before noticed, are alluded to ; but their application to Henry IV. seems to be con- sidered incorrect. Indeed there can be no doubt that the volume is of a much later date; and from the Gothic Verard-like looking character of the writing, I should conceive it to be not earlier than 1480. The deficiencies, real or imaginary, in the foregoing descriptions, are endeavoured to be supplied by the following. This magnificent and complete copy of the Roman De La Rose is a folio of FIRST DAY. ccxi folio, replete with embellishments ; and was held in such estimation as to be called the Cream of the Harleian Col- lection ! about 13 inches and three quarters in height, by 11 inches and a half in width. It is replete with illuminations, appertaining to the subject of the Romance, of almost every description. Some of these illuminations are large ; being about 8 inches by 7; and others are small, as the accompanying plate testifies. There are however much smaller pieces. The allegorical representations of Avarice, Envy, Jealousy, <|-c. — which follow the first large illumination, are pretty accurately executed — with the exception of the heads, which are too large. That of Avarice is the best ; but, nota bene — hypocrisy is represented by a stately Abbess. Fie ! The large illumination on the reverse of folio 6, of the text, is exceedingly pleas- ing: especially that part in which figures are reclining upon a grass plat, in the garden, near a fountain — where a man touches a guitar, and some ladies are singing. Sweet are such scenes as these ; and Watteau's pencil, I dare wager a rose against a thorn, has slily stolen a bit from many a similar representation! But for the MS. The border, which encircles this piece of Arcadian scenery, is in brown and gold, finely designed and coloured, but much rubbed : as are indeed too many of these border embellishments. On the reverse of fol. viij is another large illumination^ representing a gay and gorgeous procession ; in almost the finest possible state of preservation. The salutation of Bel Acueil and his Love (see the fac-simile of this subject from Mr. North's MS. of the same Romance, post) on the recto of folio xviij, is rather fine and striking. On the reverse of fol. xxiv there is a vastly pretty illumination of Bel Acueil and his Beloved, going into a garden of roses : Coment bel acueil hnmblement OfFrit a lamant doulcement A passer pour veoir les Roses Qdl desiroit sur toutes choses. The physiognomy of the man, however, is as repulsive as that of the lady is attractive. The heads of some ' lookers on ' appear amidst the bushes in the background. On the reverse of fol. xxxiiii, is another of these larger illumina- tions, representing the ' Castle of Jealousy,' surrounded by a moat, and by hedge- rows, as it were, of white and red roses ; but chiefly of the former. Over the portcullis the word ' dangier ' is inscribed ; and just before it, in the foreground, between the embrasures of the fortification, a turbaned head of a Giant appears, ■with a bunch of keys in his left hand. The whole has a magnificent and en- chantment-like appearance ! The group over the portal, where the imprisoned lady appears, has a striking effect : higher up, the windows are filled by armed men ; and over these windows, suspended, are masses of stone, which drop down to fill up the apertures, like the closed port-holes of a ship. The topmost tier of windows is closed by these masses. The worthy Bel Acueil, at a distance, to ccxii FIRST DAY. LisARDO. Can yoa indulge us with a sip of this cream ? Peiilemon. Fortunately it is in my power to gratify you the left, looks in a most woful and helpless state. The whole is surrounded hy a beautiful border of flowers and fruits, but not free from soil. Let lis now make acquaintance with the Mendicant and Friar, as exhibited in the first subject of the opposite plate. It occurs on the reverse of fol. xlj. The beggar has a black hat and cloak. His jacket or coat is dark green. His hose are bright orange colour. The priest has a black cowl : a deep blue surcoat : and the linuig close upon his breast is crimson. His surcoat is edged with bright yellow. The houses are of a gray-brick tint. Beneath them are these lines : Cy est le soufFreteur deuant Son vray amy en requerant Quil lui ayde a son besoing Et son auoir lui met au poing. Note : at folio Ixviij we observe another beggar, of a most gigantic stature, and exhibituig very frightful symptoms of wretchedness— before a lady, who retreats, holding up her right hand, and apparently withholding alms. Such an outri figure is surely enough to extinguish every charitable spark in the gentlest bosom ! The illumination of Virginius pleading before Appius, on the recto of folio xlviij, is as admirable as it is fresh and brilliant. I would be understood as speaking chiefly of the two upright figures before the judge, to the left. Their attitudes are almost perfect, A figure with a large hat (perhaps our old friend Bel Acueil) is constantly recurring. Sometimes this hat is of dimensions too formid- able even for the most strictly-educated Obadiah ! On the reverse of folio Ixj our broad-brim friend is well introduced ; discoursing with a man, and harmo- nising well with the background. The same may be said of his appearance at fol. Ixxxiiij, recto, where his right hand, in particular, is well managed. A pretty architectural interior appears at fol. Ixxij, recto ; but a little too black. For what enthusiasts call a gem, examine, lover of delicate execution, the illu- mination which occurs on the reverse of fol. Ixxxiiij ; where we observe a tender- hearted knight, with a white-feathered hat, looped with gold to a bit of crimson drapery, sitting by the side of a lady, clothed in brown and gold, near a foun- tain. The grouping of this interesting duo is perfect. It ought to have been here represented to the reader, by means of Mr. Freeman's burin ; but ' non omnia possumus omnes.' At fol. Ixxxvij recto. Love puts on his wings and appears in this shape from thenceforth. On the recto of folio Cxxvij is the author in the character of a scribe : as given with admirable effect at p. cxxviii, ante. The pencil of Mr. William Alexander executed the fac-simile ; which however, it must be confessed, exhibits a somewhat younger and gentler phy- siognomy than the original. For costume, &c. this is a delicious morceau of illumination ; and, from such a feeling, was consigned to the burin of Samuel Freeman. On the reverse of fol. Cxxxj is an elegant and expressive figure of FIRST DAY. ccxiii xvith a pretty good taste of it. Look you ! Are not these vastly pleasing specimens of their kind.* Venus, beneath a canopy, rising and delivering a letter to a man kneeling before her. The head dress and countenance of the Goddess are, as they ought to be, the prettiest specimen of ' female loveliness ' in the volume. We are now getting fast out of this Garden of Roses : but where is the Bishop, exhibited in the second subject of the annexed plate? exclaims the impatient reader! ' Softly and slow; they stumble who go fast' — says the Friar in Romeo and Juliet: and so says the very humble fabricator of this tough gossipping note. The Bishop does not make his appearance till we reach folio Clxiij, where we read these verses— beneath the illurauiation of which the fac-simile has been just referred to. Ce fort excommuniement Met genes sur toute gent Qui ne se veulent remuer Pour ses pece continuer From this we gather that ' the Bishop is excommunicating Love !' : but, as the above interlocutors seem to intimate, without any chance of success. That Love, however, is ' laughing ' at the Prelate, is a mere piece of saucy innuendo on the part of Lisardo : it being evident that the countenance of this winged figure is turned from the Spectator. Let us not therefore accuse ' Love' of such a breach of seriousness and good manners. The Bishop has a white and gold mitre : he is clothed in a purple and gold vestment ; with white gloves, having a gold cross slightly indicated on his right-hand glove. The tunic, near his breast, with a broad border of gold and purple across it, is blue. The pulpit is wainscot, and so are the platform and tub-like seats in which the auditors sit. The head of Love is white ; his wings are shaded with gold : his dress, crimson. The man to the left has a crimson cap with a blue dress : the one on the right has a cap of the same colour, with a lilac-tinted dress ; but the piece of drapery turned over, is black. The background is stone colour. The original is unluckily rather injured. On the reverse of folio Cixxxij is the last illumina- tion, representing Love in the garden, ' gathering the roses at his pleasure.' There are three red roses in particular, of a most magnificent growth, and beau- tiful execution, in the background. On the recto of the following and last leaf, we read the colophon, at the bottom of the first column, thus : Cest la fin du rommant de la rose Ou tout lart damours est enclose And here let us shut a volume, embellished in a style of illumination, very much superior, for delicacy and strength, to any other known MS. of the Romance. The prevailing fault of the artist is, a disproportionate enlargement of the head in the generality of his figures. He was beyond all doubt a Flemish illuminator. The writing is almost repulsively coarse. But what a nosegay-like description may yet be giveu of this beauteous tome ! ! — (Thy • close-ear,' gentle reader, ccxiv FIRST DAY. Lorenzo. I admit they are extremely amusing and curious ; but what can the second be intended to explain ? Philemon. Nothing less than the unavailing attempt of a Prelate to excommunicate Love! — the latter, you observe, being represented with wings, sitting below. LiSARDO. Thus * Love laughs ' at Bishops as well as at ' Lock-Smiths Philemon. You must remember, however, that the whole of the heavy Romance under consideration is a dull AUegory-^hemg descriptive of the difficulties and misfor- tunes which oftentimes mark the progress of the tender passion— but from which the happy circle, I am now ad- dressing, are exempted — LisAEDO. Not altogether Philemon. Well— pretty nearly so. A peep at another MS. of this Romance, and then farewell to the extravagant theme upon which we are discoursing ! Lorenzo. You mentioned a Roman de la Rose in the possession of Mr. North to what is about to be parenthetically imparted. The first of the foregohag notes of admiration is indicative of Hope, the second, of Despair !) This book gives cruel indication of binding a la mode Framboise. At folio xxxiiii, the two latter numerals are cut off'. No matter, says the hungry bibliopegist : ' the nearer the bone the sweeter the meat !' Ah, Monsieur De Rome, ' what a bone-picker' therefore wert thou 1 * Roman De La Rose in the possession of Mr. North.] The length of the pre- ceding description of the magnificent manuscript of this Romance, in the British Museum, has necessarily trenched upon the limits assignable to that of the present very beautiful copy of it. Yet Mr. North will not complain of the luke- warmness of what is here imparted to the reader ; and especially let him con- gratulate himself upon the possession of the Chronicle described at p. cxv, ante, and of the present Romance — two acquisitions, of a superior and interesting description, connected with the library of the great Francis I. Indeed, for neatness, calligraphy, and soundness of condition, and convenience of size, I know not whether the copy of the ' Romance of the Rose,' here particularly tieated of, be not superior to every known copy. It is a small folio, written in FIRST DAY. ccxv Philemon. I did so : and forthwith you shall be made pretty intimately acquainted with it. First, gaze with a small and even elegant secretarj-gothic character, in double columns. The first illumination contains the arms of France : the second, the frontispiece of which the annexed plate is a fac-simile ; and in which the countenance of Francis cannot fail to strike tlie curious observer. Mr. Evans, under whose book- hammer this gem was disposed of to Mr. North, (for 120Z. .') very properly designates it as ' ornamented with a profusion of the most rich and brilliant miniature paintings, worthy of the great sovereign for whom they were executed.' Cat. of the Library of J. L. Gouldsmid, Esq. 1815, no. 729. Among these ' ricli and brilliant' decorations, receive, gentle reader, what here ensueth — as illustrative of the subject slightly noticed at p. ccxi, ante : and which, for spirit and elegance, may possibly vie with the same kind of decoration in the copy just referred to. It is engraved by tlie worthy Audinet, to whom I am indebted for its two companions. CCXVl FIRST DAY. pleasure at its charming Frontispiece * — which repre- sents Francis I. surrounded by his courtiers, receiving the Romance in question from the hands of the Author. But what have we here — for the hearf s dehght of AJmansa and Behnda The lady has placed her hand upon the door- ring, and has just entered the mansion. Her lover is but too happy in imprinting a kiss upon the iron ring, which has been pressed by the hands of his beloved ! * See the opposite plate. FIRST DAY. ccxvii Belinda. There is no denying the extreme deHcacy and gallantry of this action ! But methinks the race of lovers has much degenei'ated of late. Almansa. Fie ! Did Lysander never achieve such a deed.? ... Lorenzo. We are descending to personahties. Lysander. Is Belinda both forgetful and ungrateful ? Belinda. Nay, if you are serious — I desist. Proceed mighty Monarch of the Day ! Philemon. That Day is about to close — together with my first diurnal reign. Lysander. Remember Chronicles — ^you know my attach- ment to them ! LisARDo. Not another Romance ? Philemon. « Go to.' The order of the discussion now requires the notice of Chronicles: yet Lysander must necessarily, I fear, be dissatisfied— for I shall only take you to the British Museum. There, in the first place, admire, Of these 'companions,' that produced by Philemon breathes the very soul and quintessence of chivalrous gallantry. The countenance, the dress, the attitude, the action— are all indicative of that refined slate of intellect, which, under the sovereignties of Francis and Henry IV. made Frenchmen worthy of the ' fine soil' in which it has pleased Providence to place them—' redeant Saturnia Regna !' To conclude : let Mr. North put as high a value as he pleases upon this ' rose-' discoursing Romance— and I will put a higher afterwards : let him consign it to a velvet receptacle in his choicest cabinet : and if the velvet be hrithh, I wijl replace it with some of the most exquisite manufacture of Genoa! The oldest illuminated copy of this once popular Romance, which I remember to have seen, is that in the possession of the Rev. I, M. Rice. It is a cropt folio, in old French binding, written in a gothic character, in double columns, with 38 lines to a full page. The illuminations are small ; measuring about 2 inches and one eighth in length, by one and a half in width ; within square borders, slightly sprigged at the corners. The back-grounds are diamond-wise, or in solid gold; and I should conjecture the MS. to be of the middle of the xivth century. The first illumination, divided into four compartments, with a border of portraits round the entire page, is sufficiently interesting. This MS. was recently obtained from France. ccxviii FIRST DAY. as you ought, that choice old copy of the Chronicles of St. Denis;* but if you want richness of illumination and gran- deur of calligraphy, if I may so speak, approach with a firm step, hopeful eye, and beating heart, those two magnificent tomes of an imperfect work, entitled Les Chroniques d' An- gleterre— 'executed expressly for our Edward IV.f Regret, * Chronicles of St. Denis.] These ' Chronicles' consist of 3 folio volumes, which were originally in the library of Petau, and came into the British Museum from the collection of Sir Hans Sloane. They are thus described in Ascough's Catalogue of the latter ; vol. i. p. 344. ' La grande chronique de France appellee & connue sous le titre de chronique de St. Denis, qui commence par I'origine des Francois, descendus des Troyans.et est continu^e jusque a la fin du Regne du Roi Charles VI. Manuscrit tres beau & ancien, sec. xiv. en 3 grand volumes, sur v^lin, orne d'un grand nombre de miniatures, diverses lettres grises, & vignettes ; le tout peint en or & diverses couleurs, & lie tres proprement en maroquin.' (Ex Bibl. Al. Petavii.) We have here an unusual specimen of art, in the cameo-gris method of illumination, (see a brief notice of a missal of this kind, at p. clxxvi, ante) exhibiting some very delicate and vigorously-touched figures and groups. The first illumination, in four compartments, is injured. That on fol. 31 (reverse) of vol. i. is among the cleverest : the remainder being much inferior. The opening of the iid volume, with Philip Le Bel, exhibits a still abler specimen of art : the embracing of the two monarchs is very prettily imagined and touched. The illuminations at the end of the second volume, relatuig to the history of Charles V. are among the most perfect and interesting. Those in vol. iii. are few in number and meagre in execution. The text is a small gothic, in double columns. * Chronique D'Angleterre, executed for Ed ward IV.] Of these magnificent ' Chronicles' — or, rather, of only two volumes (the ^rst and third) remaining from the entire set, of seven volumes, the following is the meagre notice of ' David Casley, Deputy Librarian' to his Majesty George II.; at page 292 of his Catalogue of the Royal MSS. ' Croniques D'Angleterre, jusques a le temps du Ed. 2. avec belles Peinctures. Dedies a Ed. 5.' For ' Ed. 5' read ' Edward IV.' and for this ' meagre notice,' read what hereafter ensueth. The British Museum boasts of no nobler volumes than these. The basis of this Chronicle is a set in the Royal Library of France, in 6 volumes bound in 12. However, sucli as the present are, they merit a particular description, on the score of graphic embellishment. In the first place, their dimensions are of the colossal khid : being one foot and a half in height by about 14 inches wide. After a table of 12 leaves, the first illumination in the numerical order of the volumes (about 9 inches square) displays Edward IV. upon his throne, receiving a book from the chronicler, who is upon his knees. Three other figures are in the picture, but the space would have admitted of a half dozen. FIRST DAY. ccxix as you may, such a mutilated monument of the book- loving splendour of our fourth Edward; but be grateful that so much is yet contained within these massive volumes for the gratification of the antiquary and man of taste. Lorenzo. You have probably some specimen of the splendour of art which these volumes appear to contain ? Philemon. Not exactly of its splendour ; but I happen to possess a droll specimen of the representation of Mor- The arras of the room is dark crimson and gold. Strutt lias engraved this illumi- nation, but in a very indifferent manner, in his Regal and Ecclesiastical Antiquities, edit. 1773, pi. xlvi. The figures are about 3 inches and a half in height, and coloured perhaps somewhat too vividly. The illuminations, from 6 to 8 inches in size, are generally tenderly touched : the second, being chiefly a group of females, is very much so — but, as usual, too much space is left unoccupied by figures. On the xxviij chapter of the first book, occurs the ensuing representation of MoRviNus AND THE Sea-Monster. The story is in ' Lyi7ig Geffrey'— as our MODERN Leland calls him. The first chapter of the vith book contains a magnificent illumination of some richly-di essed ladies, accompanied by musicians : the back-ground, being very tenderly executed. The xxxvth chapter of the same book exhibits a singular and brilliant group of men clad in silver-tinted armour, touched in a bold and decisive manner. The general character of the illuminations is brilliancy and effect ; and the condition of the volume is most desirable. The iiid and only other re- maining volume in the Museum, is written and illuminated by an inferior artist : it is however in fine preservation, and abounds with architectural views and repre- sentations of castles, battles, sieges, and all ' the pomp and circumstance of war.' There are some striking borders in it; (yet not superior to those in the preceding volume) among which, that on the recto of folio Ixii, having the kanner, arms, and white-rose of Edward, makes a conspicuous appearance. There is also great sharpness and brilliancy on fol. ccxv, and a tolerably splendid banquet on the reverse of fol. ccxxxv — while on fol. cclvj, reverse, the colours are perfectly resplendent. Among the sieges, that on folio ccxliii may be distinguished for design and execution. The representation of the marriage of King John of Portugal with Philippina, daughter to the Duke of Lancaster, as exhibited at fol. cclxxv, is very striking. The last illumination, on the recto of folio cclxxxx, with figures nearly 5 inches in length, is rather dismal ; although at first, from its magnitude, it bath an ' air imposant.' The small illuminations are compara- tively indiflferent. The amputation of the figure v, at fol. cclxxv, is sufficient evidence — if no other were at hand — of the shaving p-opensities of an ancient binder of these glorious volumes ! VOL. I. O ccxx FIRST DAY. vimis, King- of Britain, attacked hy a huge monster, which arose from the Irish Sea, and which afterwards swallowed him up. LlsARDO. Tremendously terrific! But this sea-monster will swallow a score of such diminutive champions at a gulp ! Philemon. We cannot wait to see the result. But while upon History, real or feigned, never sujBPer your researches at the British Museum to terminate without paying very marked attention to a French translation of Valerius Maximus,* embellished from beginning to end, in two mar- * French translation of Valerius Maximus.] Slight but commendatory notices of two ms. copies of this translation, replete with the most elaborate illuminations, are found in the prefaces of Mr. Nares's Cat. of the Harl. MSS. vol. i. p. 27, 35. These MSS. are numbered 4372 and 4374. Our purpose is FIRST DAY. CCXXl vellous folio volumes ; and replete with almost every curious and costly specimen of the art of illumination towards the close of the Fifteenth Century. Upon the whole, I am not sure that a more perfect and extraordinary specimen of Flemish art, of the period of which we are speaking, can be mentioned to exist ... It is time to rise, and put our specimens away. The sun is rapidly declining ; and I am languishing for cessation of speech, and enjoy- ment of the garden-breeze, Lorenzo. You are absolute. But does the British to speak of the latter: which, in vol. iii. p, 139, of the same catalogue, is pro- perly described as ' a still more splendid copy of the same work : with illumina- tions of the most exquisite neatness, not only large at the beginning of each book, but smaller to most of the chapters. This appears to have been executed for some private person, whose arms are emblazoned in the first illumination, and in some others. A finer work, according to the skill in painting then possessed, cannot easily be imagined.' Thus far Mr. Nares : who correctly supposes it ' to belong to the fifteenth century.' I should apprehend it to be of the latter end of the same century; or not earlier than 1470. The preceding eulogy is perfectly justified by the various and extraordinary exhibitions of the art of ILLUMINATION whicli thesc two ponderous folios display. The illumuiations are, many of them, fall 15 inches in height by nearly 11 in width — divided into three or more compartments. The style is rather Flemish than French : the colours are as brilliant as if recently executed ; the gold has preserved all its original brightness, and the marking or touch is as vigorous as the masses are resplendent. The grouping is full of life and action— occasionally, but rarely, betraying the stiifness of the Flemish school : yet a group of work- men, in the bottom compartment of the grand illumination of the viiith book, to the left, is both conceived and executed with a surprising power of drawing and colouring. I should have premised, however, that the first grand illumination is injured : particularly in the middle compartment. The group of women with distaffs, &c. in the bottom compartment of the large illumination to the ixth book, has absolutely a magical freshness of colour. The smaller illuminations possess equal merit, but are necessarily almost lost in the blaze of elFulgeiice by which the larger ones are enveloped ! Upon the whole, for variety, richness, and perfection of condition, these volumes cannot possibly be surpassed. Who the illuminator or illuminators were, is perhaps unknown ; but it may be neces- sary to state, upon the authority above quoted, that the Authors of the Version were Simon de Hesdin and Nicolas de Gonesse. ccxxii FIRST DAY. Museum furnish nothing further deserving of particular notice ?* Philemon. Who shall presume to collect, or even make * does the British Museum furnish nothing else deserving of particular notice?] It must I think be taken for granted, either that Lorenzo never visited the British Museum, or never read a catalogue of its book-treasures ; and yet, with a character of his ' stamp and complexion,' one or the other of these conclusions seems equally improbable. Let us conclude, therefore, that the above is a mere random-shot remark, thrown out to elicit further curious information from the * Monarch of the Day.' It seems that ' the Monarch' is too fatigued for a reply ; his robes are cumbersome, or his sceptre is weighty, or he is unused to so much parlance in one day. But if the lungs of Philemon be exhausted, what must be the relaxed state of the head and right hand of his annotator ? Neverthe- less, ' come what come may ' — the reader shall not turn his back upon the British Museum without a further specimen or two of its multifarious book- treasures. And now-— having dispatched our theological, historical, and poetical branches of discussion — what say you, reader gay, to a smack of alchemical intelligence? Be present, spirits of Dee, Tradescant, and Ashmole! — whose ' brains,' I verily believe, would have ' turned,' had they seen the volume now about to be described. It is noticed at vol. i. p. 26, and vol. iii. p. 31, of the recent Catalogue of the Harl. MSS. and is numbered 3469. On the recto of the first leaf, in Lord Oxford's hand-writing, we read as follows : ' This fine Book was given me by my . . . [erased] in 17 . . [erased] It was bought of Mrs. Priemeb who was niece to the Famous Mr. Cyprianus whose book it was.' Below, in a different hand, it is thus observed : ' by a date marked upon the last miniature but five. This Book appears to have been painted in the year 1582.' In 1768 (in Wanley's hand writing) it had 48 leaves, and 22 illuminated paintings. It has them now.' Lord Oxford's autograph is on the recto of the first leaf of the text. The initial letters are flowered, in gold. The text is like that of the Teurdanckhs; and I suspect that the book, from that character, (which was discontinued about 1550) is of somewhat earlier date. More extra- ordinary things were surely never seen. The colouring is gorgeous but beautiful ; although, occasionally, the touch is rather clumsy and heavy. But the larger figures — especially those at the ixth and xth illuminations, are forcibly executed ; and at the ixth pleasingly monstrous — where we see a double-headed man, with radii, in black and gold drapery, with wings; bearing a circular shield of heaven and earth in his right hand. The xith is singularly curious, but not more so than the 6 following ; where the smaller figures are surprisingly well grouped and touched. The rising sun, at the xixth and xxth illuminations, have an extraordinary effect. The borders are composed of fruits and flowers ; and the smaller groups embrace almost all the trades, arts, pursuits, and occu- pations of mankind. FIRST DAY. ccxxiii mention of, the contents of ocean's ' dark unfathomed caves The longest life, the most unrelaxed and vigorous state of nerves— a curiosity without hmits, and a power of description In spite of the character of the book, David and Bathslieba, with Esther and Ahasuerus are contrived to be introduced ; but some of the basso-relievo imita- tions, especially those beneath the ivth illumination, are quite master-pieces of art, and evidently by a different hand. Upon the whole, it is well observed of these extraordinary illummations by the author of the Catalogue of the Harl. MSS. of 1762, that, * the beauty of the colourmg, the disposition of the figures, the elegancy of their attitudes, and the propriety of composition, is scarcely to be equalled.' It remains only to add that the volume is a thin folio ; but evi- dently cropt (will misery of this sort never cease to persecute the honest biblio- maniac ?) in the right margin, or fore-edge. So much for Alchemy. We will, as the last memorandum of the loveliness of ILLUMINATION, (selected from among the British Museum treasures) here notice a very different production. It is full of grace, beauty, and delightful caprice : and formerly enriched the Royal Collection. Casley (tasteless crea- ture, I fear!) hath only this brief memorandum relating to it. ' 17. A. xxiir. Sentences selected by Sir Nic. Bacon, Knt., and sent to the Lady Lumley : finely painted.' p. 260. ' Finely painted ' indeed they are : and much am I beholden to Mr. Henry Ellis for having placed so marvellously pretty an oblong volume — about 9 inches and a half, by six and a quarter — upon the Museum reading table for my inspection. There are, in the whole, only fifteen leaves ; npon vellum. The autograph of ' Lumley ' is on the paper fly-leaf. The general title is thus : Syr. Nicolas. Bacon. Knyghte. To. His, Very Good. Ladye. The. Ladye. Lvmley. Sendeth. This Bacon's arms and supporters are beneath. On the recto of the second leaf, at top : Sentences Painted In the Lorde Kepars Gallery at Gorhambvry : and Selected By Him owt of Divers Avthors, and Sent To the Good Ladye Lvmley At her Desire The sentences, or moral adages, follow : with a title to the whole in Latin. They are executed in roman capitals of gold, upon scrolls of different colours, upon a background of green, red, or blue. The whole ornamented and relieved, with gold arabesque patterns, most delicately executed. Beyond all doubt this is a PERrECT GEM of its kind. As a running but short commentary to the declamation of Philemon, respect- ing the book-treasures in the British Museum — and more especially of the uses and purposes to which fac-similes of some of the ORArnic embellish- ments thereui, may be applied — receive, in conclusion, benevolent reader, what is observed respecting the same, by Hocker, the Editor of the Catalogue of the ccxxiv FIRST DAY. equally strong and varied— all are inadequate to do justice to the ample stores contained in the National Repository to which you allude ! Much however as the public have been made acquainted with its principal treasures, I augur well, from the known sagacity and invincible dihgence of those gentlemen to whose care such a Repository is now confided, that very many years will not elapse before we receive some specimen, or specimens, in the way of graphic illustration, of the beautiful, curious, extraordinary, or instructive exhi- bitions of ancient art which that Repository contains. The wealth of a nation is never better bestowed than in the diffusion of useful or elegant knowledge; and least of all should that knowledge be suffered to he concealed, which, by calling forth, and embodying with new hfe, as it were, what our Ancestors have done, tends most effectually to perpetuate a meritorious remembrance of ourselves — and what is this, let me ask, but fame and patriotism in their purest ' shapes and substances ?'.... I have done. Information has dwindled into declamation; and it is natural that you should exhibit symptoms of ennui. — If you please, we will disport ourselves in the garden, Harl. MSS. of 1762.—' exclusive of their importance in other respects, a variety of MSS. is highly valuable on account of the many beautiful Illumina- tions, and EXCELLENT PAINTINGS vsrhcrcwith they are embellished ; those pictures being not only useful for illustrating the subject-matter of the books in which they are respectively placed, but furnishing excellent lessons and useful hints to painters ; perpetuating the representations of the principal Personages, Buildings, Utensils, Habits, Armour, and Manners of the age in which they were painted ; and very probably preserving some Pieces of eminent Painters, of whose works no other Remains are extant.' Let every Member of either House Hear! — and lend an ' helping hand' to carry into effect any resolutions which may have, for their object, the diffusion of that valuable knowledge which their own National Museum contains. They owe it to the gallant memories of Cotton, Haiu.ey, and Sloane! F I R S T D AY. ccxxv So saying, the Party rose — with even shouts of applause, and the most vehement assurances of not having experienced the least ' ennui.' Philemon collected carefully together his numerous specimens, with an air of conscious triumph that his friends had not been disappointed in the promises held out to them at the commencement of the day. On the morrow, the same circle surrounded him with increased expectations of delight : and it was full fifteen minutes ere the Monarch could repress the first emotions of gratifica- tion, and collect his scattered thoughts, so as to address his audience in the following manner. SECOND DAY. VOL. I. ARGUMENT, Ancient Missals and Breviaries. The Roman, Ambrosian, Mozarabic, and Vallombrosa Rituals. Ornaments of Printed-Boolcs of Devotion. The Death-Dance. Allegorical, Pastoral, Grotesque, and Domestic subjects of Decoration. Of the most distinguished Printers of Missals, S^c. Advice to Young Collectors. econli Bap* N diverging from the pleasing topics which occupied our dis- course of yesterday, we cannot be said to enter upon a discussion altogether foreign to what has been previously advanced. We may, on the contrary, observe that the whole seems to form only links of one chain ; but that some of these links are wrought in metal of a baser character than others. The illuminator prepared the way for the imitative powers of the printer; not that the latter always chose the identical subjects which graced the pages of the former; for, to the best of my recollection, we have seldom, in specimens of pencil-iUumi- nation, those Drolleries and Death-Dances which appear to have delighted the printers of the fifteenth and sixteenth centuries. Farewell then to the arabesque border — to clustered fruits and flowers — to groups of thoughtful or of frolicksome characters: — farewell to the deep and delicate glow which described the blush of the maiden, or 4 SECOND DAY. the lustre of the gem with which she adorned her braided hair ! Farewell to the intricate, but not ungraceful capriccios of the pen and pencil of Francesco Veronesi— and to the em- bossed and blazing gold of Girolamo, which, like the shield of Achilles, lighted up all that was around it ! Farewell to the splendor and high finishing of Clovio ! Farewell these objects of gaiety and grace ! but not unwelcome, therefore, to me, the curious and complicated workmanship of Early Printed Books of Devotion ! You smile at these apostrophes, and think it high time that I should descend from such an aerial station and tread on terra firma with yourselves. Let me however make one other prehminary observation; which is this. I saw the sceptical expression that indented the brow of Lisardo, when I observed that we should in vain look for ' fruits and flowers' and ' arabesque borders' in the Missals and Bre- viaries which issued from the earlier presses ; but I by no means wished the remark to be considered as canonical, or as an ' ex cathedra ' position. Generally speaking, the ancient printers of Missals introduced arabesque — but not of the purest kind : it was rather crowded and dove-tailed, like mosaic work, as I shall presently shew you : and ' fruits and flowers,' as you wiU also presently be convinced, were of uncommon occurrence. But they endeavoured to compensate by variety, for the want of pure taste, in their selections. Accordingly, we are oftentimes greeted with a profusion of decorations— of a monstrous and miscellaneous nature. I speak, at present, of the borders of a page, where grave or historical subjects were not introduced ; and here, Lisardo, you may remember the amusement which was afforded you, the other day, on witnessing an ape seated upon a buffalo's back, a serpent coiled within a griffin's mouth, a demon leaping SECOND DAY. 5 out of a salamander's throat of fire ; and men, women, and children, half human and half brute — with divers other similar exhibitions, which now it were tedious to specify. I am yet far from wishing to be satirical, or to under-rate the real talents of the artists engaged in the publications here alluded to. On the contrary, their performances (as you will quickly learn) were at times equally elegant, singular, and successful ; and subjects of sacred writ were, by such means, impressed upon the minds of youth with a very salutary effect. In reputation of another kind — in typographical skill— it may fairly be averred that all the talents of the Bulmers and Bensleys of the day could with difficulty produce such a series of vellum pages, (exhibiting ink of the most glossy lustre, press-work of the nicest exe- cution, and ornaments of the most comphcated nature,) as we frequently behold in the productions of the Verards, the PiGoucHETS, and Kervers of former times. Whether it be that some important secret relating either to the ink,* * relating to ffce ink.] I looked into Dr. Rees's edition of the Cyclopaedia, (at this moment advancing rapidly to its perihelion,') with the hope, under the title of Ink, of finding something curious or novel respecting the probable process of making phinting ink, in ancient times : and on being referred to the article Printing, for an account of red ink, I there found only this solitary description — taken, as well as the entire article of Printing (proh pudor !), word for word, from our old friend Chambers ; of whom the Doctor had been indeed a valuable coadjutor — ' For red ink (says Chambers) they use the same materials as for black ; excepting only, that instead of lamp-black, they add a proper quantity of vermilion. Some hold that, by mixing and incorporating the bigness of a nut of fish-glue, or brandy, or the white of an egg, with the ink, the vermilion acquires a greater lustre.' Did the worthy Doctor never hear of one Antonius Musa Brasavolus, quoted by Petrus Maria Caneparius, in his prosing but not incmious quarto tome ' De Atramentis Cujuscunque Generis, Opus sane novum, hactenus a nemine promulgatum. Londini, 1660,' 4to.? The 4th chapter of the division of that work entitled ' Typographorum, Chalcographorumve Atramentum ' — treats of printing ink, of which a process is described as producing ' very black and adhesive ink.' There VOL. I. 2 B 6 SECOND DAY. or to the preparation of the vellum, then practised, and at present unknown, render modem efforts of less avail, I cannot take upon rae to determine ; but — LiSARDo. You forget the enormous expense Ppiilemon. I was quickly coming to the consideration of that point ; which is indeed a most material one. Labour, I presume, was then rewarded by reasonable wages ; or talent, of the kind necessary to produce such publications, was in former times comparatively common. But here you compel me to draw an invidious and heart-rending inference. When I speak of the general prevalence of talent, necessary for the peculiar productions here alluded to, it must be understood that I allude exclusively to the talents of foreign artists — for, in our own country, three centuries ago, (with a sigh does the remark escape me !) there was a prodigious is scarcely a coloured ink but what Cancparius describes, and sometimes with a sort of poetical phrensy. Hear him discourse of a new kind of vitriol (' Ad effin- i gendum novum Viti'ioli genus :' which Mr. Astle might probably have consulted to advantage), ' Sacra numina testor (says Caneparius) neminem veterum legisse, ni memoria fallor, qui de his tractaverit ; cum neque Dioscorides ullum egerit verbum, neque Galenus, non ^tius, non Paulus ^gineta, non Serapio, neque Avicennas, ac summatim nemo hujus vel alterius sectae notitiam horum attulit, quod sciam, quorum equidem inventionis gloria setati nostraj tantum attribuenda est, tunc Italis, cum etiam Transmontanis : praeterea nuper ex Transmarinis quidam Syrii advehunt ad nos quoddam Vilrioli factitii genus novum pulcherrimi coloris saphirini taxillorum forma, ceu chrisocollfe mineralis, quod Venetiis in plateis Divi Marci venundant pro medendis oculis equorum male affectis efficax. etsi aliquis hujus magisterium occultare conatur, non patiar ego quia humano generi reddatiir acceptum gratis ab Omnipotente Deo :' &c. p. 221. Mr. Astle, however, very justly observes : ' Simple as the composition of ink may be thought, and really is, it is a fact well known, that we have at present none equal in beauty and colour to that used by the ancients . . , ; What occasions so great a dispai'ity ? Does it arise from our ignorance, or our want of materials ? From neither, but from the negligence of the present race ; as very little attention would soon demonstrate that we want neither skill nor ingredients to make ink, as good now, as at any former period.' Origin and Progress rfWriting ; p. 209. edit. 1803. SECOND DAY. 7 dearth and deficiency of graphic attainments. Nor must you be deceived by a colophon : for Missals, 'professed to be executed by our earlier printers, were in fact ' begun and concluded ' in the offices of foreigners. Even Pynson too frequently shines in the borrowed plumage of Tailleur.* But of this hereafter. Let us however — to meet your observation — suppose that some spirited Collector, or a select committee of the RoxburgheClub,-f- should unite their tastes and purses, to put forth, from the Shakspeaee Press, an octavo volume of prayers from the Liturgy, decorated in a manner similar to what we observe in the devotional pubHcations just alluded to — do you think the attempt would be successful .'^ In other words, where are * Pynson too often shines in the hmrowed plumage of Tailleur,'\ The reader will find a few of the earlier and more magnificent Missals, published by Pynson towards the beginning of the Sixteenth Centm-y, described in the second volume of the Typog. Antiquities, p. 424, On reconsidering Pynson's books, I rather attribute them to the press of / Tailletjb of Rouen ; although Ames and Herbert seem to be of opinion that the Norman printer was only employed by Pynson for tlie execution of Law Tracts. Tliere is, in the Auctarium of the Bodleian library, a very fine devotional volume, with the name of Pynson as the printer, of the date of 1529, in folio ; but both in this copy, and in another of the same kind, in the library of St. John's College, Oxford, without date, (each from the Collection of Archbishop Laud), there is very strong evidence of their having been executed abroad ; and, if so, most probably by Tailleur, who was Pynson's avowed assistant. The red ink, in these beautiful books, is much beyond what we see ui other publications of our early printers ; and the vellum is of very superior delicacy. If Pynson could have exhibited equal beauty in these two particulars, Wynkyn De Worde undoubtedly would have been equally successful : and yet whoever examines the Book of Hawking, Hunting, Coat-Armour, and Fishing, printed by the latter in 1496, upon vellum (in the possession of the Right Hon. Tliomas Grenville), will find that most covetable volume considerably defective in regard to the red-ink and vellum. If Regnault printed many of the Church-Services for our later printers, Tailleur, in all probability, executed a few for our earlier ones. t the Roxburghe Club.^ Some account of this Club, and of the important event which gave rise to its establishment, will be disclosed in the Eighth Day. 8 SECOND DAY. the ink and vellum which can match with what we see in the Missals of old? The doubtful success of such an experiment would render it extremely hazardous; even were it not attended with, what may be called, an immensity of expense. Welcome therefore, again, I exclaim, the rich and fanciful furniture which garnishes the texts of early printed books of Devotion ! But I wUl now assume the task of the historian. In tracing the progress of these publications, it must be un- derstood that I do it rather with reference to that of the art of engraving, than with a view to be chronologically accurate. I need not tell you that certain celebrated Cathedrals adopted their own particular forms of service, to which the minor Cathedrals appear to have rather voluntarily conformed. Abroad, if my memory be not treacherous, the French or the Norman churches led the way to this uniformity of discipline ; and after these, the churches of Catalonia in Spain.* In our own country, I beheve, the Liturgies of * ♦ In after ages Bishops agreed by consent to conform their Liturgy to the model of the metropolitical church of the province to which they belonged , . . . The rudiments of this discipline were first laid in the French churches ; for in the council of Agde [Concil, Agathens. Can. 30. " Quia convenit ordinem Ecclesiaj ab omnibus sequaliter observari, studendum est ubique (sicut fit) et post Antiphonas, Collectiones per ordinem ab Episcopis vel Presbyteris did," &c,] a Canon was made about the year 506, that one and the same order should be equally observed in all churches of the province in all parts of divine service. And in the council of Epone [Concil. Epaunens. Can. 27.], of Vannes in Brittany in the province of Tours [of a still earlier date], and of Girone [An. 517, for the Spanish Churches], a decree was made that the same order of Mass, and custom in psalmody, and other ministrations, should be observed in all chiurches of the province, as was observed in the metropolitical church.' Extracted from Bingham's Antiquities of the Christian Church ; vol. i. p. 587-8. Miu-atori only disgraces himself when he speaks of Bingham as ' sectse suje pro viribus serviens, sed non semper veritati.' Opera; vol. ix. edit. 1771, 4to. Bingham was a man of learning and moderation, SECOND DAY 9 York, Salisbury, and Hereford * Cathedrals were considered as the standard texts for the performance of divine service in other Cathedrals. Of these Liturgies, that * the Liturgies of York, Salisbury, and Hereford,'] We may consider these Liturgies rather according to the importance of the Churches to which they were attached, than to the antiquity of the several impressions of them, York, first in magnitude, and pre-eminently distinguished for its Cathedral (perhaps the noblest Gothic structure in the world), was however the latest of these three Cathedi-al Churches which put forth an impression of the Missai, peculiar to itself Her Breviahy however was printed in 1493 ; consequently it was nearly as ancient as any printed Breviary or Missal for the use of British Churches. Maittaire specifies the parts of this Breviary, in his Annul. Typog. vol. i. p. 568. In regard to the Missal, Salisbury had preceded her full two and twenty years ; and Hereford, at least fourteen years. Accordingly (as far as Bibliographers have as yet aided us), it was not till the year 1516 that the public saw a printed volume entitled ' Missale ad vsum celeberrime ecclesie Eboracensis, optimig caracteribus recenter impressura,' &c. Maittaire (Index, vol. ii. p. 74) has been only copied by Panzer (vol. vi. p. 492) in his description of this beautiful and rare volume : of which I remember to have seen a copy in the Gough Collection in the Bodleian library. In his British Topography, vol. ii. p. 425, Gough describes it as ' with musical notes, and several fine wooden cuts ;' and in Mr. Bandinel's Catalogue of the Gougli Library (1814, 4to. p. 418) we have a transcript of a note by Dr. Ducarel (whose copy Gough afterwards purchased) in which it is thus observed : " Of this very scarce York Missal, in folio, there are known to be only three copies ; viz. one at Cambridge, one in the library of James West, Esq. [See Bibl. West, no. 1886, which copy was purchased by Herbert, for 2i. 18i.] and this copy in the library of Dr, Ducarel, A. D. 1762." Herbert, in his Typog. Antiq. vol. iii. p. 1437-8, has added little or nothing to Gough 's previous description ; and his copy, from the mark aimexed to it, (t) appears to have been somewhat imperfect. Tlie reader may consult the British Topography (Ibid.) for an account of other Services peculiar to York Cathedral ; but let him not, if he love the mysteries of ancient church-lore, refrain from reading, by lamp-liglit, and in some ' lone watch-tower,' ihe form of bidding prayer, and another of cursing, for the church of York — which served as covers to a set of madrigals, in the possession of the late Sir John Hawkins ! The Cathedral Church of Salisbury supplies both curious and copious details in the history of its ancient form of Service. ' No cathedral (says Gough) has preserved such a variety of service books for its Use as Sarum. This is another name for the Ordinate, or complete service of the church of Salisbury, instituted by Bishop Osmund 1077. It was also named the Consuetudinary ; and in Kiughton's and Higden's time (which was in the xivth century) it obtained almost all over England, Wales, and Ireland. The whole province of Canterbury adopted it ; \ 10 SECOND DAY. of Salisbury was the most popular, and consequently Missals « after the Use of Salisbury Cathedral ' are, comparatively, of common occurrence. and in right of it the Bishop of Salisbury was precentor in the college of Bishops whenever the Archbishop of Canterbury performed divine semce. The Cathe- drals of York, Lincoln, Hereford, Bangor, and Aberdeen, had their respective Uses; but the monks of Koyston petitioned Fitz- James, Bishop of London, in the beginning of the xvith century, for leave to change that of Bangor for that of Sarum, in their offices; alleging that the former was imperfect in itself, and still more so in the performance, from their torn and worn out books, which they were unwilling to change except for a better form.' . . . . ' The Use of Sarum not only regulated the form and order of celebrating the mass, but prescribed the rule and office for all the sacerdotal functions.' Brit. Topography ; vol. ii. p. 319, &c. and authorities cited. Thus much for the ancient influence or popularity of the Ritual of the Cathedral Church of Salisbury. In regard to a bibliographical history of the several impressions of the various forms of service, the reader must be contented chiefly with the authority just referred to : but the following may not be un- worthy of his notice. The Directorium Sacerdotum is undoubtedly the earliest printed book which has any connection with the ancient church of Salisbury ; and this was first printed by Caxton, probably before the year 1490 — but certainly by Gerard de Leeu in the year 1488. See the recent edition of our Typog. Antiq. vol. i. p. 323-5. I doubt much whether any copy of Caxton's impression contained a frontispiece — as described by Herbert ; who probably saw a copy with such decoration from a different uiipression. Pynson reprinted Caxton's text in 1498, as may be seen in vol. iv. p. 423, of the Bibl. Spenceriana; where, as well as in Ames, may be read the facetious note of the crabbed Rowe- Mores concerning this work of ' Directions for celebrating the Mass.' Gough notices an edition of the ' Directorium ' as printed by Theodore Martin, at Alost, in 1487, 4to. ; but I suspect that the copy of this work which he saw attached to an impression of St. Chrysostom's ' Three Books concerning Providence,' of the date of 1487, was of a more recent date ; as Panzer, in describing this latter work, of the date of 1487 (see his Annal. Typog. vol. i. p. 3, no. 6), makes no mention of the ' Directorium.' The Missal was the next work which engaged the attention of the press ; and of this, according to Denis, the earliest impression was of the date of 1492 — printed at Nuremberg, by George Stochs : Suppl. Maitt. p. 330, no. 2728. Neither Maittaire, Gough, nor Herbert knew of this edition ; and Denis, to whom Panzer exclusively refers, inserts it on the authority of a copy in the possession of a private friend. However this may be, it is quite certain that Joannes Hertzogde Landoia printed an edition of it in 1494, both in folio and octavo, at Venice. An impression of the latter form is in the Gough library. See also Maittaire, vol. i. p. 577. The Summer Part of the Salisbury Breviary was executed in the SECOND DAY. 11 Lorenzo. Do you mean to enter upon the Histories of Foreign Rituals ? Philemon. You ask me to enter upon a most elaborate following year, at Venice, by the same printer, in duodecimo : Gough's British Topography, vol. ii. p. 326-7. The Hymns, or ' Expositio Hymnorum secundum Vsum Sarum,' were first printed by Pynson in 1497 : see the Typog. Antiquities, vol. ii. p. 412. The Hours, or ' Here presentes ad Vsum Sarum,' were first executed by Pigouchet for Vostre, in 1498, in 8vo ; and Gough for once seems to feel something like an ' electrical spark' in book-description — when he observes that this volume has ' beautiful wood-cuts at the sides, representuig New Testa- ment histories, the dance of death, saints, virtues, vices, grotesques,' &c. &c. Brit. Topog. vol. ii. p. 327. In his note he feels still more warmed upon the subject of early vellum books of devotion. I trust that his Spirit, if hovering within the ' confines' of any spot where the Second Day of this Decameron shall be read carefully through, will not be displeased at the manner of here describing this brilliant and most interesting part of Bibliography. To return. The preceding impressions of the xvth century are quite sufficient to awaken the curiosity of the sharp-sighted collector to the multiplicity of impressions which would in all pro- bability appear of so popular a form of Church Service as that of Salisbury Cathedral. I forbear therefore to enlarge the catalogue of such impressions ; yet let me beg of the said collector to turn to no. 1887 of the Bibl. West, where he will find a copy of the Salisbury Missal, of the date of 1527 (which had belonged to Henry the VIII. and Dean Young), printed by Prevost for Byrckman, partly upon vellum — in folio — for which Bishop Burnet, ' after many years enquiry,' gave 17Z. This copy was purchased at West's sale by the late Mr. Evans, book- seller, for 21. 7s. ; but another copy, ' entii-ely printed upon fine vellum,' reached the sum of 4Z. Yet a word, gentle reader, before we quit the subject of early impressions of the Salisbury Ritual. Our well beloved W. de Worde put forth the first edition of the HoE«, in our own country, relating to the same Cathedral Semce. It was in the year 1502, in quarto. A copy of this impression, upon vellum (now in the Gough library, and described at vol. ii. p. 107, of my edition of the Typog. Antiquities^, contained, upon the margins thereof, certain written rhymes, in an ancient hand, of a sh-ange and mysterious nature : to wit. The Little Credo ; The Spell of Edmonds Bury; and the White Pater Noster. Again, therefore, trim the lamp ; bolt out the blast : and while the ' watch-tower' rocks to the hurricane, read — but look not around — as follows : ' Peters Brother where lyest all night .'' There as Christ y yod. What hast in thy honde heauen keys. What hast in thy tother ? Broade booke leaues. 12 SECOND DAY. and puzzling undertaking: but as you seem to expect something of the kind, ' something (and very httle only) of the kind' you shall have. Remember, I am a mere Open heauen gates, Shutt hell yeates Euerie childe creepe christ oner White Benedictus be in this howse Euerye night. Within & without. This howse round about St. Peter att the one door St. Paule att the other St. Michael in the middle Fyer in the flatt Chancel 1-op shatt Euerie naugers bore An Angel I before. White Pater Noster. Amen. ' But soft,' the winds are laid : the clouds disperse • and the full-orbed moon sheds her lustre upon the tranquilised ocean. The Little Credo be my comfort then ! — ' I mett with our lady in a greene way With a stocke and a locke I say Shee sighed full soare for her deare sonne Which was nayled through hande And foote to his brayne panne Well is the man that this creede canne His fellowe to teache To heauen he shall reache. An observation or two respecting the earliest printed Hereford Missal, and the reader shall take leave of this unconscionable note. Like all the first editions of similar works, this Ritual was first printed abroad ; and its scarcity is extreme. The ' labour gnd skill ' of those ancient and worthy Ex)uen printers, Messrs. Olivier and Manditier, supported by the ' spirit and purse' of Master John Ricard, ' a merchant,' produced this scarce volume at Rouen in 1502. Hearne had a copy of it, upon vellum ; the gift of his friend Charles Eyston ; and he declares that he never saw another vellum copy. Camdeni Annales. vol. i. praef. p. xxvii. note, ed, 1717. What became of it upon Heame's death, does not appear. It is not to be found in the catalogue of his library (p. 27, 39), which was sold in 1736. Gough (JBrit. Topog. vol. i. p. 412) has only a brief reference to Hearne, and appears to have never seen it. Ames took his description of it from a perfect copy belonging to a Dr. Hez[ekiah] Bedford : the Bodleian copy being imperfect. See the recent edition of our Typog. Antiq. vol, iii. p. 5. There is no copy of it in the British Museum j and De Bure, Bauer, Vogt, and Brunei SECOND DAY. 13 novice in these studies; and my information must neces- sarily be crude. As the City and the Metropohtan Church of Rome have always towered above other foreign Cities and Churches, so it should seem that the Romish Church- Service, or Liturgy, after the Use of the Romish Chukch, has always claimed precedence in rank, if not in antiquity.* This point is now at rest ; but formerly there will be in vain consulted for a description of it. The Offices, or Services attached to the Use of Hereford, appear to have been few ; as I do not remember to have met with any other printed ritual belonging to this cathedral. Of the Services of Lincoln and Bangob CathedealSjUO printed volume has as yet come to my knowledge. * The Romish Church — precedence in rank, if not in antiquity. li Let us take the latter point first into consideration. In the preface to the ixth volume of the Opere del Prceposito Lodovico Antonio Muratori, Arezzo, 1771, 4to. it is observed that Blanchinius (under the patronage of Pope Benedict XIV.) in compiling his eccle- siastical annals of Odoricus Raynaldus, sent a few ancient copies of the Gregorian Sacrament to Muratori, ' that the Catholic church might derive some benefit therefrom.' After expressing his doubt and diffidence of doing justice to such a subject, and thinking no one comparable to Menardus (jcp [ji,oiX.a.piTCo) for such a task, Muratori tells the reader that he only proposes to give him an account of the Tliree Roman Sacraments, or Sacramental Rituals ; namely, the Leonine, the Gelasian (copies of which were becoming scarce), and the Gregorian : the latter, from the most ancient of all the MSS. of that kind: namely, from one of the 8th century : of which a specimen is given. ' In these three Services (says Muratori) the whole Roman Liturgy is included; and' to unite them I thought would not be ungrateful to a number of readers.' In the Benedictin edition of the Works of St, Gregory the Great [Sancti Gregorii Papm I. Cognomento Magni Opera Omnia. Paris, 1705, Folio] it is said, on the authority of Diaconus (lib. u. cap. 17), to which Walafridus Strabo (de Reb. Eccl. cap. 22.) assents, that St. Gregory was not the original author of the text, but Pope Gelasius I. St. Gregory reduced it only to a better form. Mabillon, as quoted by Muratori (vol. x. p. 611), says — ' Libelii antiquitatera probant Rubrica; (ut vocant) quae in Libro Sacramentorum Gregorii M. leguntur pro hebdoraade sancta, totidem versibus heic expressae. Unde Gregorium ex hoc libello in suum Sacramentarium prajdictas transtulisse Rubricas veri simillimum est. Praeterea, totus pontificiee missae ritus, in eodem ordine praescriptus, Gregorii aetatem meo judicio sapit.' Martene, in his valuable work entitled De Antiquis Ecclcsice Ritibus (Rotomagi, 1700, 4to.' vol. i. p. 44) speaks of a MS. of the Roman Liturgy * of the date of 300:' which, however, is questionable: and Muratori VOL. I. C 14 SECOND DAY. were some pretty tough contests in adjusting it: and I cannot help applauding, in my heart, those struggles which the followers of the Ambrosian, Gallic, and Mozarabic allows that, ' in the oldest copies of the Gelasian and Gregorian Liturgies, there are not to be found all the rites or ceremonies wliicli characterise the modern Roman Ritual, From vol. iii. p. 649, of the Opera Gregorii M., it seems determined that St. Gregory rather compiled, than composed, the Sacraments and the Liber Antiphonarius : yet he is allowed to have been the composer of the Gregorian chant, or the Antiphona, which consists in alternate singing— or was anciently termed the aVTt(pctiVOV VfJ^VOidlcnv ' Institutum a nostro Gregorio cantandi methodum per Occidentem propagarunt sanctissimi Patris alumni,' &c. Diaconus makes mention of a famous Chorister or Singer, in the Gregorian choir, of the name of Maban ; but it is due to the illustrious memory of one Romanus, that he restored the chant, on the eve of its corruption. Id. Opus, vol. iii. p. 650. Read that popular author Gussanvillaeus — who is most learned upon the science of the Antiphona. Our Hawkins and Barney are not less erudite ; but from Masson's Essay on Cathedral Music, prefixed to liis ' Collection of Anthems,' we have an account of ancient Cathedral music which may probably here suffice as a specimen of the mysteries of that science. ' When the genealogy of Christ was set to music and sung, while the bass was holding forth the existence of Abraham, the tenor, in defiance of nature and chronology, was hegetiing Isaac; the counter- tenor begetting Jacob, and the treble begetting Joseph and all his brethren.' This method however of singing — probably called ' cantus fractus et divisus' — did not escape censure even in its own time. Fosbrooke's Economy of Monastic Life; p. 8. With this, not I trust inharmonious digression, I conclude the enquiry into the Antiquity op the Roman Ritual. As to its Rank; it necessarily claimed precedence over that of every other Church. Hugo Menardus, the modest, melancholy, and instructive Menardus (whose edition of the Roman Liturgy, in 1642, with notes and observations, is preferable to every one which preceded it), gravely tells us that ' the Romish Church is the mother of every other cliurch, and which every one should imitate, and be subject to.' See his preface. He published from a MS. at least as old as the 9th century, and gave a plate of St. Gregory, from the Codex Remensis, which the Benedictine editors copied at p. 559 of the Ilird volume of the works of that Saint. Mabillon as solemnly asserts — ' quemadmodum a Romana Ecclesia fidei suas originem repetunt plerfeque, ne dicam Omnes, Occidentis ecclesiae : sic etiani ab cadem modum ac formam divini cultus derivari par est.' Museum Italicum, vol. ii. p. i. And Renaudot with equal decision affirms : — ' In Latina Eccle-sia, praecipuum locum obtinet Canon Romanus, qui, quod a Gelasio Papa primum, deinde a Gregorio magno, in earn quam nunc habet formam redactus est Gregorianus vOlgo appellatur. Quamvis Ecclesia Romana reliquarum prima. SECOND DAY. 15 Rituals made for the independence of their particular Liturgies ; and the latter, with complete success. It would be neither pleasant nor profitable to describe these, ab Apostolorum principe fiindata, summam habeat dignitatem et autoritatem, jus etiara sirigulare in Ecclesias Occidentis semper habuerit, nunquam tamen primis sjeculis Canonis Eucharistise celebrandse sui, formam aliis Ecclesiis ita praescripsit, ut multis antiqua sua consuetude, suique ritus non conservareutur.' Diss. De Liturg. Orient. Orig. et Antiquit. vol. i. cap. ii. p. viii. 1740. Let us conclude with Muratori, who thus guardedly observes : ' Id autem curoe Romanis Pontifi- cibus semper fuit, ut quantum possent, reliquas Occidentis Ecclesias adducerent ad amplectandam Romanae Ecclesiae Liturgiam, et mores ab ea dissonos in sacris peragendis exuerent.' Antiquit. ltd. Medii JEvi, vol. iv. col. 834. Let those of my readers who wish to drink deeper draughts of the ancient Romish-church lore, begin quietly with Amalarius (who wrote ' of Ecclesiastical Offices' ui the year 820), Florus Magister, Rhabanus Maurus, Walafridus Strabo, Berno, and Micrologus [' qui sub humili nomine latere voluit,' says Mabillon of the latter — JVIms. Jtal. vol. ii. p. iij], in our earlier annals — pause awhile ere they attack Durandus of the xiiith century — who wrote a shoH treatise entitled 'Rationale Divinorum Offidm-um' (consisting of forty thousand three hundred and twenty lines ui close gothic print, as appears from the first impression of it in 1459) — then go briskly to work with Pamelius, Cassander, Claudius de Sainctes, and Roccha, in the xvith century — and, in the two following ce.nturies,with Cassalius, Goar, Albaspineus, Leo Allatius, Morinus, and Menardus : and (more insti-uctive than either of their predecessoi-s) conclude with Bona, Thomasius, Georgius, Mabillon, the Benedictine Editors, and Muratori. It is however extremely probable that the curious Collector would like to have an edition of the Roman Liturgy in the theological department of his library. Let such Collector, therefore, look sharply and sedulously after the ' curious ' edition of it given by Matthias Flacius lUyricus, in 1557, 8vo. from the press of Mylius at Strasbourg. He may first whet his appetite by the pleasingly-rambling account of it in Bayle, (Diet. vol. ii. p. 839, note D) and then go directly to De Bure (Bihliogr. Instruct, vol. i. p. 170, no. 200) and Vogt : Catalog. Libror. Rarior. p. 589-90: edit. 1793. Brunei is necessarily concise. Manuel du Lihraire ; vol. i. p. 506, edit. 1814. The title is thus : ' Missa Latina, qua; olim ante Romanam circa septingentesimum Domini annum in usu fuit bona fide ex vetusto authenticoque Codice descripta, &c. a Matthia Flacio Ulyrico.' See also Colomie's Bibl. Choisie, p. 8. Now for a brief chronicle relating thereto. Flacius was a learned man and a Lutheran. He published this work (with a curious preface by Beatus Rhenanus, which must not be missing) under an idea of shewing the discrepancies between the Roman and the Gallican texts. As his principles were previously known. Pope Sixtus V. and Philip II. of Spain imme- diately forbade its perusal. Some undaunted Catholic, however, when the first 16 SECOND DAY. not wholly bloodless, controversies; but I should remark that Pepin and Charlemagne were the chief instruments of the compliance of the Gallican Church with the forms of worship used in that of Rome.* Their own country seems terror of the prohibition had a little subsided, plucked up courage to take a peep into the leaves of this heretical book ; when, behold ! he found the contents of it directly hostile to the Lutherans, and proportionably favourable to the tenets of the Church of Rome. What a cry and clatter then was here ! The tocsin sounded ; and the aforesaid Pope Sixtus V. and Philip II. King of Spain, began to encourage the timid, and command the bold, to approach the supposed lire- brand of Luther — and to take it into their bosoms as imparting the genuine heat of Catholicism ! This tale will readily account for the rarity of the book. Martene, however, opposes the opinion of Mabillon (in his Museum Italicum), who thought that the text of Flacius's impression partook of that of the Gothic or Mozarabic ritual. The former, on the contrary, thinks it is after that of the Salisbury Missal. De Antiquis Ecclesio", Kitibus ; vol. i. p. 481. * compliance of the Gallican Church with the forms of worship used in that of Rome.l The amalgamation, as it were, of the ancient Gallican and Prankish churches with that of Rome, took place in the ninth century : the previous exer- tions of Pepin and Charlemagne having rendered such union almost inevitable. The Franks and Gauls, however, had not originally the same Ritual. The old Prankish Liturgy differed in many places from the Roman, and partook of the Gallic and Spanish. The Gauls, in fact, appear to have used the old Gothic text (of wliich specimens are given in the Vlth volume of the Bibl. Vet. Patrum) before the introduction of the Romish by Pepin and Charlemagne. The famous Petavius possessed an extraordinary volume of old Rituals, executed in capital letters ; and of these, there was one of the ancient Prankish form — written, in the opinion of Morinus, before the year .')60 — ' which venerable and magnificent MS. (adds Morinus) travelled from Gaul into Sweden.' In other words, upon the authority of Muratori, it was purchased by Christina, on the death of Petavius, and deposited by her in the Royal Library at Stockholm. This interesting old volume contained the Goth:c, Prankish, and Gallican Liturgies. Mabillon published the Sacramentarium Gallicanum, at the end of the first volume of his Musemn Italicum (see p. 273, &c.) from an old MS. of the eighth century, m the dilapidated library of the Monastery Bobiensis. Muratori speaks feelingly of this MS. and monastic hbrary, ' Venerandam omnino antiquitatem prajferebat. Quum tot alii IVIsti Codices e Gallia & Scotia devecti in eam Bibliothecam fuerint inlati, ut patet ex ejusdera vetustissimo Catalogo, quem publici juris feci in Tomo III. Antiquit. Ital. Dissert. XLIII. veri videtur simile, hoc etiam Saa*a- mentarium ex aliqua Galliarum Ecclesia fuisse in Italiam advectum.' Opera, vol. X. p. 199, &c. 609, edit. 1771, 4to. The varieties, antiquities, and customs of several Gallican Churches, may be seen in Moleon's amusing but rare book; SECOND DAY. 17 to have quietly agreed to the compromise ; but the Ritual entitled Voyage Liturgique de France, 1718, 1757, 8vo. ; to which Gough has been considerably indebted. Brit. Topog. vol. ii. p. 320. * protected either by the zeal of his followers, or by a miracle from heaven.'] Grant me all thy patience, kind-hearted reader, while, for thy edification or amuseraent, I strive to develope tlie history of the Ambbosian Missal. Some Antiquaries there are, who, in tlieir love of the ' olden time,' scruple not to push truth from her ' stool ;' and to set up, in lier place, an unseemly Baal of absurdity and fiction. However, I must write what has been ' afore written.' It should seem, from Joseplius Vicecomes (de Ritihus Missa, lib. ii.), from Cardinal Bona (Rerum. Liturgicar. lib. i. c. x.), from old Radulphus (An. 1390 — in libra de Canonum observantia), and from Pamelius (who may be said to have given the first critical edition of the Ambrosian Missal in the year 157 1), that, before tlie time of St. Ambrose, there existed a particular service, or form of prayer, in the Milanese church ; and that there was a particular place of worship for Christians, where the Sacrament and other sacred rites were performed. What (say these writers) St. Ambrose may have changed, or added, does not appear certain ; unless that we are assured, from Paulinus, in his Life of this Saint, and from St. Austin, in the 9th book of his Confessions, that the Antiphona, the Hymns, and the Psalms, were ordered by him to be sung or chanted according to the manner of the East. How- ever, tliere are many things which lead one to believe that the more important parts of this B,itual — at present used in the Milanese churcli — existed before the time of St. Ambrose, or were consolidated or compiled by him. Muratori is of opinion that a few minor or immaterial parts of this service were changed, or reduced, in subsequent times : thereby differing from Mabillon, who contends for the identity of the present Ambrosian Ritual with what it was fonnerly — excepting the necessary addition of a few Festivals. The authority of Puricellius (who has so well written of Milanese antiquities) is quoted against Mabillon ; and Puri- celUus allows of a few subsequent additions or changes. Mr. Butler, in his Lives of the Saints (vol. xi. p. 145, edit. 1816), seems to have attentively considered the weight of the preceding authorities, and to have inclined to the opinion that this Ritual ' certainly received a new lustre from our Saint's care, but is proved from his writings to have been older.' Perhaps (continues he) ' St. Barnabas, or more probably St. Marocles was the first author.' Le Brmis Explic. des Cirim. de la Messe; and Sormanni's L'Origine Apostolica della Chiesa Milanese, e delRito della Stessa, 1755 . are referred to by Mr. Butler. On the other hand, there are those who contend for St. Ambrose being the exclusive author of the entire Ritual. Of this number is Walafridus Strabo, wlio wrote in the ninth century. But we shall do well to attend to the safer 18 SECOND DAY. devotion of his countrymen, surely that man was St. Am- brose. His conduct to the Emperor Theodosius has endeared his memory to the brave ; and his compositions, distinctions of Albertinus and Dallaeus ; the former of whom (De Sacrament. Euchar. lib. ii. p. 509) says that the works ' De Mysteriis' and ' De Sacramentis' were composed in the seventh century ; and the latter (De Confirm, c. 8) thinks they are compositions of the eiglith century. The Benedictine Editors (Sancti Ambrosii Opera, Paris, 1686, 1690, folio, 2 vols.) consider Ambrose as the author of the Mysteries, and conclude the Sacraments to have been written three centuries afterwards. But St. 7\ustin aflfinns that Ambrose himself wrote the Book of Sacraments. Praef. vol. ii. Ambrosii Opera (De Sacramentis.') Another strange thing occurs. Bullinger calls these two works ' stupid ;' and the editors of the Cociana Censura (Helmst. Ann. 1655) observe that ' they contain many things which are false, ridiculous, and even heretical, and in contradiction to the doctrine of St. Ambrose himself,' vol. ii. col. 341. Even Albertinus (say the Benedictine editors) thinks the author of these works used a different version from that which the Saint adopted 1 Who shall decide ? Yet one thing is certain, says Muratori ; ' It is beyond all doubt that the author of these two books was not subject to the Metropolitan Church of Rome ; and it is equally clear that his residence was not far distant from that city, since we find in these works occasional coincidences with the ceremonies used in the Romish Missal.' In the second place let us say a few words about the History of the Indepen- dence of the Ambrosian Missal. It has been more than once observed that Pepin and Charlemagne used their utmost endeavours to model all the Western Liturgies after that of Rome. Landulphus senior (whose History of Milan has been incorporated in the ivth volume of Muratori's Saipt. Rer. Jtai.) says that it was ordained, in a Council at Rome, under Hadrian I., that Charlemagne sliould make a survey of all the Latin Liturgies, and destroy such as wholly differed from the Roman, and reduce all the liturgical texts to that of the Papal Metropolis. Landulphus then goes on to narrate that Charlemagne cairied off all the books of the Ambrosian Liturgy except one Missal — which was saved by a miracle — thus proving that Liturgy to be sanctified by the Deity. Biroldus, Durandus, Gualvaneus, Boninus Mombritius, and other early Milanese writers, adopt the authority of Landulphus, and testify the miraculous preservation of this missal ' in tot turbines.' Muratori, however, in the preface to the reprint of Landulphus's history, thinks that ancient writer rather prone to gossiping and fabling, as many thhigs are asserted by him palpably contrary' to chronological accuracy. Yet , adds the courteous Priest, ' certe qui prodigiiini illud aut falsum prorsus suspicetur, aut ei fidem accomodare nolit, is me contradicentem minime dicebit.' Antiquit. ItaliccB Medii jEvi, vol. iv. col. 834-840. Muratori goes on to observe, that, ' when the Popes were determhied to make all the Galiican Liturgies conform to their own, it was natural enough that they should seize so inviting an opportunity of leaving no means untried to compel the Ambrosian Ritual, both in SECOND DAY. 19 at once remarkable for their elegance and chastity, render his character sacred in the estimation of the scholar. As to the preservation of the Gothic Ritual, the tutelary saintship its dogmas and in its rites, to observe a similar conformity.' But the man ' who had devoted his life and his abilities to the service of the church ; who considered wealth as the object of his contempt ; who had renounced his private patrimony ; and had sold, without hesitation, the consecrated plate for the redemption of captives' — (Gibbon, vol. v. p. 39, 8vo. edit. 1807) such a man was most likely to make an indelible impression upon the memories of his ecclesiastical disciples and successors; and accordingly the Milanese clergy resolutely and successfully opposed the Papal mandate. Indeed we are informed by Branda de Castellione (on the authorities of Corio and Oldoinus) that, as late as the year 1440, an attempt to renew this unpopular measure was completely frustrated by the enthusiastic adherents to the Ambrosian Missal : shice which time, the votaries of St. Ambrose have been left in undisturbed possession of their favorite Ritual. After such an account of the origin and independence of tlie Ambrosian Liturgy, the reader would hardly forgive me if I omitted to notice the earlier and rarer impressions of it. Both the Ambrosian Missai, and the Ambhosian Breviary were published in the same year; namely, in 147'5 ; and Zarotus, in wliose office at Milan the former was executed, is supposed to have the honour of being the First Printer of Mtssals : an honour, however, which Ulric Han may almost dispute with him — as the latter executed the Roman Missal, at Rome, in the same year, only one month later. Panzer, vol. ii. p. 458. Saxius is full of information upon this Milan production : see his Hist. Lit. Typog. Mediol. p. Lxxix, col. cLxi : p. DLXii: and his account of it justifies Muratori in noticing the discrepancies which appear even between the editions of 1499, 1522, and 1594 ! — without going up to those of 1482, and 1475, of which tliat learned historian was evidently ignorant. Brunet mentions a copy of tliis first impression of the Ambrosian Missal, in the Royal Library at Paris, upon vellum. Manuel (ill Libraire; vol. ii. p. 369. The Breviary was prmted by Valdarfer, at Milan, in the same year, in 4to. ; and Saxius shews how it differs from the modem texts of it. Of course it would be an elegant book when from the press of Valdarfer : see the Hist, Lit. Typog. Mediol. col. clxii. p. dlxiii. I cannot however dismiss the very mteresting subject of this Ritual (which Elzevir ought to have printed as a pocket companion for both Protestant and Roman Catholic) without noticing the peculiar character of parts of its composition — which justify Philemon in the above eulogy upon the talents of St. Ambrose. That great man called in the aid of poetry to his devotional exercises, and made hymns ' to the Glory of the Trmity.' In his tract agauist Auxentius, (ad calcem Epist. 32) he fearlessly exclaims : ' I am accused of deceiving and alluring the people by the poetry of my hymns : and I do not altogether deny the charge. For what can be more powerful and alluring than the confession of the Trinity, as it is daily sung by 20 SECOND DAY. of Isidore, and the miraculous conversion of its once for- midable antagonist, Alphonsus the Sixth, protected that form of church-service from the domineering influence of the Metropohtan power of Rome : and Cardinal Ximenes, the mouths of all the people?' These hymns are even noticed in the early Chronicle of Prosper (An. 386) ' as the first that were smig in the Church in Latin metre.' St. Austin IConfess. lib. ix. c. 7.] frequently makes mention of them ; and says • they were sung as the psalms then were, alternately, verse for verse, by the people, to alleviate the tediousness of their soitow :' and from this example (adds Bingham) the custom of alternate hymnody or psalmody spread almost all over the Western Church. The Evening hymn is particularly men- tioned by St. Austin (Ibid. cap. 12.) ' Deus Creator onmium Polique rector Vestiens diem decoro lumine Noctem soporis gratia. Artus solutos ut quies reddat laboris usui, Mentes fessas allevet Luctusque solvat anxios.' Antiquities of the Christian Church; vol. i. p. 606-7. ' Most of the hymns which occur in the daily, or ferial office in the Latin church seem to be St. Ambrose's. This holy Doctor is said to have first intro- duced into the West the custom of singing hymns in the church. Tlaose which he made are so composed, that the sense ends at the fourth verse, that they may be sung by two choruses.' Butler; Lives of' the Saints, vol. xi. p. 124, (note (b). Well therefore might the old Bishop of Brescia, Gaudensius, speak thus of the Holy St. Ambrose — in his oration on the day of his own ordination : ' Obsecro coramunem patrem Ambrosium ut post exiguum rorem sermonis mei, ipse irriget corda vestra divinarum mysteriis litterarum. Loquetur enim Spiritu sancto quo planus est, et flumina de ventre ejus fluent aquas vivae, et tamquam Petri Apostoli successor, ipse erit os universorum circuinstantium Sacerdotum.' Scti Ambrosii Opera; Paris, 1686, vol. i. praef. sign, i iij, recto, note. Listen to the eulogy of St. Jerom — upon his work ' Concerning Widows !' ' Quod si cui asperum et reprehensione dignum videtur, tantam nos inter virguiitatem et nuptias fecisse distantiam, quanta inter frumentum et hordeum est, legat sancti Ambrosii de Viduis librum, et inveniet ilium inter cetera quaj de virginitate et nuptiis dispu- tavit, etiam hoc dixisse.' Eunodius, Bishop of Padua, in the sixth century, thus eulogises St. Ambrose, in his Carm, Hymn. lib. i. ' In came carnis nihil agit Regina mens in corpore. Confregit omne lubricirai Sic vixit ille non sibi, Sed totus auctori Deo.' SECOND DAY. 21 whom Lorenzana emphatically calls ' christianus et politicus heros,' by his splendid impressions of the Mozarabic Missal and Breviary, gave at once popularity and stability to the Gothico-Spanish Liturgy.* Nor has our Adhelm made a very unhappy pun upon the name of the Holy Father — in this distich — from his poem De Laudibus Virginum ; ' Spiritus et casta; servavit foedera caniis, Qui nomen gerit Ambrosite de nectare ductum.' But it is time to have done with St. Ambrose : ' clarum et venerabile uomen !' * Cardinal Ximenes , . . , gave at once popularity and stability to the Gothico-Spanish Liturgy.'] Having already gone over much of the ground on which this interesting subject has been agitated, I shall here borrow but a part of my former labours ; and subjoin what appears to be only absolutely necessary for the further information of tlie reader. ' In the xith century Alphonsus VI. having expelled the Moorish Arabs from Toledo, wished to substitute the Romail ritual, or the Missal according to Papal authority, upon the ruins of that of the Goths, or of the Mozarabic Missal. The heads of the clergy, on the part of the latter, insisted upon the purity of their own ritual, founded on ancient usage, and sanctioned by the authority of their favourite St. Isidore. A single personal combat was resolved upon to prove the superiority of the respective Missals ; on which the champion of Isidore was victorious. King Alphonsus continuing incredulous or dissatisfied, had recourse to a very different expedient^ He ordered a fast to be obsei-ved and a fire to be lighted ; when, after solemn prayers, the Mozarabic and Roman Missals were thrown into the flames ; but the former only escaped combustion. A miracle from heaven now seemed to attest the superiority of the work under description ; and the followers of the Gothic ritual were left in imdisturbed possession of their ancient form of worship.' Bibl. Spenceriana, vol. i. p. 135-144 : where, in the extracts from that rare author Gomez (Gomecius De Rebus Gestis a Francisco Ximenio Cisnerio, 1569, folio), and from a variety of bibliographical writers, the subject may, without presumption, be said to be nearly exhausted. In a ' Collection of Offices or Forms of Prayer, in Cases Ordinary and Extraordinary,' published in 1658, 8vo, (unquestionably by Jeremy Taylor) it is observed, at the end of the preface, that the Mozarabic Office ' is used to this very day in six parishes in Toledo, and in the Cathedral Church itself, in the Chappel of Frier Francis Ximenez ; and at Salamanca, upon certain days, in the chappel of Doctor Talabricensis.' In the year 1775, Lorenzana, Archbishop of Toledo, put forth a revised and corrected text of the Breviary, as it was first published under the care of Ximenes. In the preface to that rather splendid folio volume, we are told, amongst other things, that the original authors of the Mozarabic Ritual were Osius, Leander, Fulgentius, Isidore, and others, including Ildephonsus, This, it must be coufessed, VOL. I. C 22 SECOND DAY. Lysander. Will you indulge us with an observation or two upon Eastern or Greek Liturgies — as the remarks just made apply exclusively to the forms of worship used in the Western Churches ? Philemon. I must repeat what I have before observed ; that, in these matters, I am a mere novice — and especially upon the subject which Lysander seems mlling to start. No, my good friends ; consult Renaudot and the Biblio- theca Patrum, and set your hearts at rest upon Greek Liturgies.* is pushing matters to a pretty remote antiquity. However, Leander and Isidore (the latter of whom sat in the IVth council of Toledo) were brothers, and both were caressed by Gregory the Great. Hence the general uniformity of the Gothic and Roman rituals ; for both, in the opinion of St. Austin, partake of the ancient Italic version. Lorenzana thus observes : * Ecclesia Romana, omnium Mater et Magbtra, summopere insudavit, ut sacra liturgia per univetsum orbem eodem Ritu celebraretur ; & sic una esset omnium fidelium oratio : veruntamen Missalia, & Breviaria antiqua non abolevit ; irao tamquam in Sacrarie Psalterium secundum veterem versionem Italam ab Augustino, & aliis Patribus pralaudatam retinet ; in Vaticana Capella prwcinit, ejusque Codices in T?ibliothe.ca tamquam in scrinio pectoris recondit.' Prsef. p. i. It seems allowed liowever, by the same editor, that Gregory the Vllth pushed hard to set aside the Gothic, and to substitute the pure Roman, text ; but without success ; and the same authority is inclined to think that this Gothic or Mozarabic text [that is, Arabic mixed with Gothic] was tolerably entire till the time of Ximenes ; who rather added to, than altered it. For Lorenzana himself, he appears to have executed his task with equal diligence and erudition. He consulted a number of MSS. some of them full 800 years old, and others not less than 500-— ('ante triste natale Lutheri, Calvini,' &c. he feelingly remarks!) Among these MSS. were eight Gothic, containing Rituals or Ceremonies ; and Bibles of the time of Mahomet, preserved in the Gothic library, and given to the Spanish Church in the year 988. The critical researches of Sabatier and Blanchinius, in particular, have been fully consulted by Lorenzana, and corrected or confirmed by the readings of two hundred MSS. in the Vatican and other libraries of Italy and Germany. Reverting to the original impressions of the Missal and Breviary in 1500, and 1502, by Cardinal Ximenes, I shall only further remark that the copy of each, in Lord Spencer's library, are the only known copies in this country ; and that the former was thought ' the scarcest book in the whole Harleian Collection.' * Renaudot and the Bibliotheca Patrum — upon Greek Liturgies.^ The work of Renaudot was however preceded by the Rituale Grcccorum of Goar, in 1647 , folio. SECOND DAY. 23 LiSARDO. Before you proceed further, pray inform us of the antiquity and meaning of the word Missal ; and what Both works are necessary to the ecclesiastical antiquary ; but Philemon's advice requires some qualification in regard to the Bibliotheca Patrum ; for thus speaks Renaudot of this latter publication — ' Omnes illse (Liturgiae) de quibus hue usque dictum est, Armenic^ excepta, in Bibliothecam Patrum translatas sunt. Verura in ilia collectione ita versatus est Margarinus Bigneus, ut in Grsecis ^cobi, Bas^lii, Chrysostomi et Marci, edita jam exemplaria typis describi curaverit : absque ulla cum Graecis codicibus comparatione, notis nullis, nulla multorum errorum quae in textum vel in versiones irrepserant, emendatione. Nec aliter in eo opere versatus est, quam fecisset diligens typographus, nisi quod de suo pluribus locis lectores admonuit, ut caute legerent, ea ipsa verba quae sanctissimi Ecclesiae Doctores ad altaria pronunciaverant, nullo florentissimarum Ecclesiarmn scandalo.' Renaudot : ' Dissert. De Lit. Orient. Orig. et Antiq. 1715, 4to. pref. to 1st vol. ' Orientaiium porro Liturgiarura, longe major neglechis fuit : compactae sunt enim, ut diximus, cum aliis, in Bibl. Patrum, vix lectae a Theologis, aut adductae in testimonium ad fidem Eucharistiae adversus Protestantes vindicandam ; nsevos multiplices quibus versiones obscurabantur, nemo animadvertit, et in ultima tandem amplissima Lugdunensi editione, quales ab initio prodierant, recusae sunt' lb. The Western Liturgies were embodied, or consigned to writing, before tlie Eastern. Bingham seems decisive upon this point ; and Renaudot observes — ' unde si non certo, saltem verisimiliter omnino concluditur, ante Basilii tempora, Liturgias Graecas literis non fuisse consignatas :' praef. p. ix. The Eastern Litxu-gies, in the opinion of Renaudot, may make the Western Churches blush for their childish, or extraordinary, differences : ' Lutherana, Helvetica, Genevensis, Anglicana, Scotica, ut alias prjetereamus, etsi multoties refictae, omnino diiferuut, non modo in orationibus, aut ceremoniis quse Integra fide et disciplina aliter se habere possuiit, sed in praecipuis partibus ... Et sane communis Liturgiae lex inter eos esse nulla potest, qui de materia, de forma, de ritibus Apostolicae Liturgise non consentiunt, fassi nescire se quo pane Christus usus fuerit, quo vino : quibus verbis Apostoli utrumque benedixerint : an verba Christi necessaria sint : quae varietas, sacri ritus formam, funditus evertit.' p. iv. I shall here subjoin, for the gratification of the curious, the/o)-m of Sacrament, or Administration of the Lord's Supper, as translated by Renaudot from the most ancient Greek service : that of St. Basil. On a comparison, however, with our own ceremony, scarcelj' any difference will de discovered : Sacerdos. Accepit panem in manus suas sanctas, puras et immaculatas, beatas & vivificantes, & aspexit in coelum, ad te, 6 Deus, Patrem suum & omnium Dorainum (Tunc acdpiet oblatimem super manus suas, auferetque velum desuper disco.) Populus. Amen, Sacerdos levabit oculos dicens. Et gratias egit. + Populus. Amen. Sacerdos, Et benedixit eum. 24 SECOND DAY. we are to understand by Missals, Breviaries, Offices, and Hours ? Philemon. What I know shall be readily imparted. Populus. Amen. Sacerdos digito ter oblationem suam signahit in modum a~uch. Et sanctificavit eum, Populus. Amen. Sacerdos (franget oblationem in tres pastes, quas ita ad se invicem adjunget ut quodammodo divisee non sint. Quce dum faciei, digitos intra discum detergit, ne quid ex oblatis adh has taken notice of other Dances of Death at Dresden, Annaberg, Leipzeig, and Berne. Dr. Nugent has described one in St. Mary's Church, at Lubeck, which he states to have been painted in 1463,' p. 6-8. If the author of this singular representation (the graphic ^sop of his day) be unknown, the motive which led to its execution seems to be sufficiently manifest : namely, that of impressing upon the minds of ' all sorts and conditions of men/ the certain approach of death and the frailty of sublunary grandeur. In this cx)nclu9ion I differ from the ingenious and learned author of the amusing book just quoted ; who inclines to think that, ' in the dark ages of monkish bigotry and superstition, the deluded people, terrified into a belief that the fear of Death ■was acceptable to the great author of their existence, had placed one of tlicir principal gratifications in contemplating it amidst ideas the most horrid and disgusting : hence the frequent descriptions of mortality in all its shapes amongst their writers, and the representations of this kind in their books of religious offices, and the paintings and sculptures of their ecclesiastical buildings,' p. 2-3. I submit, that, if the object of this Death's Dance were to terrify a ' deluded people,' the representations of it would be devoted to subjects exclusively applicable to the lower classes ; but when we see Popes, Emperors, Kings, and all the dignified orders in Society, made the subjects of this Dance, the design of the artist, and of those who copied him, was rather of a general nature—shewing (as above intimated) that all classes of society were to receive the intrusive visits of Deatli — for such artist could not think to frighten Popes, Archbishops, and Bishops, by these representations. SECOND DAY. 39 wide of the truth. If my memory be not treacherous, I remember to have seen an octavo volume of Horos, printed by Verard somewhere about the year 1 489, in which, with other miscellaneous subjects, this Dance of Death was introduced: but the preceding, I should conceive, is the very earliest date attributable to its appearance in print. Of the numerous, perhaps I ought to have said, innumerable editions which succeeded — * it were in vain to attempt to * numerous, perhaps innumerable editions which succeeded.^ I have no hesita- tion in believing (however that belief may differ from the opinions of very competent judges) that Editions of the Dance of Death (that is to say, small volumes, in wliich were wooden cuts accompanied by text, exclusively devoted to the subject under description) were unknown till the time of Holbein, Whether that great artist painted one, two, or three, series of the same subject, in fresco or in oil, at Basil, or at Whitehall, is immaterial to the pomt : all I contend for, is, that we are indebted to Hans Holbein for these beautiful and instructive manuals of morality. There is abundance of intrinsic evidence that the cuts, forming these manuals, originated from the genius of Holbein. The author of the tasteful edition before quoted, seems doubtful whether he designed them upon the wood for the engraver — but he is clearly of opinion that he did not absolutely engrave them ; from their superiority to a set of cuts which bear that artist's name expressly upon them — introduced, however, probably to shew that Holbein only made the designs upon wood, I inclkie to the same opinion ; and also think that the set of ' small drawings by Holbein, sketched with a pen, and slightly shaded with Indian ink ;— formerly in the Crozat collection, and lately in that of Prince Gallitzin, (the Russian ambassador at the Court of Viemia— but now hi the Emperor of Russia's collection) at whose house they were seen by Mr. Coxe the traveller, may have been the originals, or ancient copies of the originals, from which the earliest editions were pubhshed. That Hans Holbein invented the Dance of Death, is scarcely deserving of refutation. I now come to some of the earlier editions of this interesting work. My friend Mr. W. Y. Ottley possesses (hi his very fine collection of ancient prints) a very great treasure in this way. On consulting the Manuel des Curieux et des Amateurs de I' Art by Huber and Rost, 1797, 8vo. vol. i. p. 155, &c. it is thus observed : ' pour apprecier tout le merite de ces petites estampes, il faut avoir sous les yeux les premieres epreuves, imprimees seulement d'un c6t6. En elfet, un de nos amateurs de Leipzig, M. Otto, possede de cette suite 21. pieces qui ont ces qualit6s, et qui sont d'une execution tres-delicate.' Judge therefore, print-learned reader, of the felicity of my friend in possessuig forty impressions of this description! the 27th only (' the Astrologer') being wanting to render the series 40 SECOND DAY. give a catalogue. Perhaps not much credit is to be attached to any criticism which pretends to affix, with nicety and cer- tainty, the School qf Art in which these representations had complete. I consider this set, therefore, as unique. There is a short title, in German, above the cuts ; and thei'e were probably the usual verses, or descrip- tions, beneatli : tlie latter being wanting in Mr. Ottley's series. It is also quite evident that the titles, at top, are executed at the p'ess. From hence we conclude that they were intended for an edition of the work. The mention of this set is material in adjusting the probable tune of the earliest impression of the work. Mr. Ottley thinks, and I concur with him in opinion, that these impressions (41 in number) were executed at Basil : before any edition appeared at Lyons ; — that is, before the same cuts were taken to Lyons for the purpose of publication there. If so, they were executed before the year 1538 : the earliest date which has yet been found to any impression. The reader lias here a most faithful copy of the cut; entitled Die Edclfraw — from which he may judge of the spirit and beaut3'' of the entire set. Jansen, indeed, does not hesitate to say that there was an edition published at Basil in 1530 ; containing a sentence, in German, from the Bible, above each cut ; and, beneath each cut, some German verses. It must however be observed that Jansen does not favour us with the title of this edition. De COrigine de la Graviire ; 1808. vol. i. p. 120-1, note. Having submitted this point, the list of succeeding early editions is made out with tolerable accuracy. SECOND DAY. 41 their origin, either as paintings, or as decorations for Missals; but I incline to think that they are generally the productions of German, or Flemish artists. Indeed it is worthy of remark, 1538. Lyons, small 4to. ' Simulachres et historiees faces de la mort, &c. 41 prints. French descriptions. In the collection of Mr, Douce. Beautiful impressions. 1542. Lugd. 12mo. ' Imagines de morte.' Latin descriptions. 41 prints. 1545. Ibid. 1 2mo. ' Imagines mortis.' The same. In Mr. Donee's Collection. 1547. Ibid. 12mo. ' Les images de la mort.' French descriptions : contains 12 additional prints : namely, 8 of the Dance of Death, and 4 of boys : in the whole, 53 prints. In Mr. Donee's Collection. 1547. Ibid, 12mo. ' Imagines mortis.' Contains the same number of prints. In the same Collection. 1549. Ibid. 12mo. ' Siraolachri, historic, e figure de la morte :' containing an address from the pruiter, in which he complains of some attempts having been made, in other countries, to imitate the cuts in his book, and he informs the reader that he had caused many more cuts to be added to this edition than had appeared in any other. All this however is downright ' flourish and falsehood as the cuts are precisely the same in number as in the two previous editions. The descriptions are m Latin and Italian. 1554. Basil, 12rao. ' Icones Mortis.' The same number of cuts. Descriptions in Latin. In the collection of Mr. Douce. 1555. Cologne, ' Imagines Mortis,' 12mo. This edition (containing the ' Decla- raatio de Morte' of Erasmus) and the reimpressions of it in 1557, 1566, and 1573, are copies of that of 1545. They coiatain wood-cuts by an eminent but unknown arlist, whose mark is an italic-capital A, curved at the top : a mark, which is also to be found in some of the emblems of Sambucus and Lejeune, in some initial letters in Grafton's Clironicle, and in other cuts executed durmg the sixteenth century. It must be added that almost the same variations from the original cuts are to be found in those of this edition, in De Mechel's prints, and in Hollar's etchings. The cuts, in the one before us, are a quarter of an inch wider, but of the same height as those in the original impression. A copy is in the rich collection of Mr. Douce. 1562. Lyon, 12mo. ' Les images de la mort, auxquelles sont adjoustees dix sept figures.' There are however but 5 additional figures to this edition, the other 12 being only what had already appeared. Of these 5 cuts, of which 3 are groups of boys, Mr. Ottley thmks that only two of them are from the design of Holbein. It should be added that, in the XVIth century, the subject of the Dance of Death was introduced into innumerable works as ornaments to capital initials. Mr. Douce possesses an alphabet of hiitial letter.?, of this subject, which, ' for 42 SECOND DAY. that no traces of them are to be found in Italy, as far as I have been able to ascertain. The subject was undoubtedly a very fit one for decorating books of devotion. The cloistered cell, or the richly-furnished cabinet — scenes, in which volumes humour and excellence of design are even superior to the celebrated series ; and witli respect to execution, especially when their minuteness is considered (being less than an inch square), absolutely wonderful.' Their composition is entirely different from that of any of the others, and one of them is sufficiently remarkable for its indelicacy. They appear to have been done at Basil : for Mr. Douce saw, in the public library there, a sheet, on which three alphabets were printed : the one just described ; another of boys at play, and a third a dance of peasants. The same distinguished antiquary does not think it improbable that Holbein might have furnished the design of the Dance of Death for these initials. They appear (in Mr. D's opinion) to have been struck oiF as proofs or patterns for booksellers ; and we know that they were actually used by Cephalaeus at Strasbourg, and by Cratander at Basil. 1581. 'Todtentanz durch alle stendt der menschen, &c. furgebildet mit Figuren, St, Gallen,' 4to. This publication is rather in imitation of the preceding. * Rudolf Meyers Todten-Dantz. Erganzet und herausgegeben durch Conrad Meyern ; Maaler in Zurich, Im jahr, 1 650,' 4to. This impression consists of 60 copper-plate engravings, of which 56 are numbered. Beneath eaclij four German verses are engraved. It is a very rare volume. 1649. ' Todten-Tanz, wie derselbe in der loeblichen und weit beriihmten stadt Basel, als in spiegel raenschlicher Beschaffenheit, ganz kiinstilich gemalet und zu sehen ist,' &c. Frankfurt au Maym,' 4to. Wurden, 1696 and 1725. This set contains 44 cuts, of which 42 have German text at top and at bottom. 1651. In this year first appeared the cuts of Hollar upon this subject; with borders designed by Abraham a Diepenbeke, and afterwards without the borders. These cuts are close copies of those in the impression of 1555 ; but are not fac-similes of any single existing model. 1682. ' Theatrum Mortis Humanse,' by J. Weichard. These engravings are within borders of fruit, flowers, and animals ; executed with uncommon elegance. 1736. * Todtentanz, von Salomon von Ruszing, in dreyszig kupfern, in Nurnberg.' 8vo. These cuts contain German descriptions. 1780. In this year Chretien de Mechel, an artist and printseller at Basil, pub- lished 45 engravings of a Death's-Dance, as part of the works of Holbein, of which he intended to give a series. These are taken from the indian- ink drawings mentioned at p. 39, ante. Mr. Douce and Mr. Ottley each possess a copy of this work. If however these drawings were copied from the forementioned celebrated cuts, they must have been done after the year 1547 ; as eight of them did not appear till that time. SECOND DAY. 43 of this description were usually deposited, by the side of the ivory-carved crucifix — were well calculated to give an intenser feeling to reflections kindled by such representations. We are told that Homer was the beloved author of Alexander the Great, and that the conqueror of the world felt his happiness divided between subjecting countries and perusing the feats of Achilles : moreover, that the Iliad and Odyssey 1785. ' Freund Heinz Erscheinungen in Holbeins Manier, von I. R. Schellenberg. Winterthur,' 8vo. Ttiis publication contains only 25 copper-cuts, executed in a most admirable style, representing the modern costume. All these German editions are rather imitations than copies of the original of Holbein. Jansen, sur VOrigine de la Gravure ; vol. i. p. 122-3. (1794.) ' The Dance of Death ; painted by H. Holbein, and engraved by W. Hollar. 8vo. (without date, but in 1794.) To this elegant volume is prefixed an interesting Essay ' On the Dance of Death, ' from which much of the preceding information has been derived. It exhibits also impressions from Hollar's own plates ; wliich appear to have been but little used, and which were, till the present edition, preserved ' in a noble family.' In this publication, they are ' presented to the public without the least alte- ration.' This impression also contains ' The Daunce of Machabree : wherein is lively expressed and shewed The State of Manne, and how he is called at uncertayne tymes by Death, &c.' By Lydgate : with a copper-plate of the procession of the various ranks in society conducted by death, and with the text of Lydgate printed in the black letter. In respect to the plates of Hollar (of the Dance of Death), I own they disap- point me. It was a subject which that incomparable Artist never possessed the peculiar talent of rendering justice to. Small figures, with a great proportion of light and shade, gradually softened down to either extreme — possessing, what painters call, ' breadth and mellowness of eifect ' — are not what we must expect to see successfully represented by the burin of Hollar. His small figures, as little more than etchings, are quite his own, and incomparable : but — I am wandering. The impressions in the edition under description are almost uniformly thick or foggy : and mucli of that rich and sparkling manner — of that curious detail — of those sharp and eflncient touches, which characterise the original impressions — (see the fac- simile at p. 40 ante) will be in vain looked for in the specimens before us. Brunet only briefly notices the edition of 1338, and the one under descrip- tion; of wliich latter he says there were several copies printed upon VELLUM. Manuei rfu -Li&raire, vol. ii. p. 121. One of this kind, called ' a beautiful unique copy, with the plates exquisitely painted,' was sold by Mr. Christie in 1804 (no. 265) for 171. 17s. 44 SECOND DAY, were placed every evening beneath his pillow : whether to give a sort of martial inspiration to his dreams, I shall not stop to enquu-e— but it may safely be affirmed that many an impression of Hours and Offices, which are now opened by My old friends, Freytag, Gerdes, Vogt, and Bauer have rather deserted me on the present occasion. Gerdes merely notices the Lyons editions of 1538, and 1547 ; and Bauer contents himself with an exclusive reference to Gerdes. Flori- legium Hist. Crit. Libr.Rarior. edit. 1763, p. 171-2 : Bibl. Libror.Rar.vol. i. pt.ii. p. 133. The curious are probably in possession of the eight plates upon this subject which were engi-aved in 1541 by the delicate burin of ALDEGRiiVER. These are far from being servile copies of Holbein ; but the ensuing fac-simile, from the original of Hans Sebald Beham, executed about the same period, may I think, be placed upon a footing with the most successful illustration of the subject yet published . . . And with this pleasiiig variety let us bid fai-ewell to the Dance of Death. SECOND DAY. 45 rude hands, and gazed upon by vulgar eyes, have been consigned to the pillows of obdurate Abbesses and obedient Nuns — have been pressed to the heart of the Devotee, and have received as well the tears as the kisses of the Novice ! Almansa. You have excited in me a wonderful inclination to extend my series of volumes of this description. I have hitherto contented myself only with a duodecimo printed by Kerver, and with a thin folio executed by Regnault ; but I own, while I assent to the general truth of your positions, I cannot dissemble my grief, or rather indignation, on fre- quently finding subjects of the greatest gravity mingled with those, of which no ^ obedient nun," or ' melting novice,' (to borrow your own phrase) ought to have had a glimpse. Belinda. This, you see, is the privilege of the marriage- state. My amiable Sister, when we formerly talked of the symptoms of the Bibliomania, was not only ignorant of these things, but, if in possession of such knowledge, she would not have dared to avow it. Philemon. The remark is undoubtedly just. The incon- sistency, mentioned by Almansa, shall have its due share of notice and reprehension ; but it must be introduced with a proper regard to the dehcacy and good-breeding of the circle which I. have the honour of addressing. Away, therefore, now, with tears and sobs, and unavaihng sighs and regrets ! away with the death-cold corpse, and muffled mourner ! and let us view subjects of an equally interesting, but of a less painful character. Pursuing what may be said to be the natural train of ideas, I must beg your attention to scriptural subjects of a grave and touching nature, which we also see introduced within these interesting volumes : either by way of a border-ornament, or in the centre of the page. The Life of Christ would necessarily form the leading subject 46 SECOND DAY. for such representations. Accordingly, there is no end to selections from this fruitful source : either allegorically, or as direct personal references. Not however but that the Old Testament occasionally furnished subjects for the ai'tist's talents ; and among these, few appear to have produced so many embellishments as the Life of David. See how the Monarch of Israel is here represented (in a folio volume of Horce, printed by Regnault, of the date of 1536*) as choosing one of the three evils to be inflicted upon his people ! * Horn, p'bited by Regimdt, of the date of 1536.] The above lac similes are SECOND DAY. 47 A more graceful expression attends the delineation of the Sacrifice of Asa. Indeed it may be remarked that this sub- ject is generally treated in a sober and appropriate manner by the ancient artists engaged in the decoration of Missals. But let us revert to the graphic illustrations of the Nezo Testament ; and adopting something of system in our plan, let us select a subject which preceded the birth of our Saviour, and which seems to have usually called forth all the executed from a remarkably-beautiful copy of tliis edition, obtained from Messrs. Longman, Hurst, and Co. and now in the collection of Eurl Spencer. 48 SECOND DAY. richness of the artist's fancy in the representations of it. You will immediately anticipate the subject to which I allude — the Salutation. It is rarely that we behold it more elaborately exhibited than in this Missal, printed for Cousin in 1519, folio.* * Missal printed for Cousin in 1519.] The above is taken from a Salisbury SECOND DAY. 49 Next follows the Nativity : and I choose to select the ensuing specimen of its representa- tion, because it is, of all those which I happen to have seen, the most sin- gularly rude and simple. The style of art is evident- ly different from what you have just witnessed, al- though there be no difference in its age : — for, to revert to my for- mer position, I choose rather to class the subjects, than to submit a completely chro- nological series of engravings. Bear this simple, but not uninteresting specimen in mind, when you happen to be getting into exstacy before the Notte of Correggio ! They form almost Missal printed by Olivier ' at the expense of Jacques Cousin, in 1519,' folio (B, vj. rev. second set of signatures) : from a copy in the possession of J. and A. Arcb. The same manner of representation, with rather an improvement in the drawing, appears in a beautiful octavo volume of HorS'^. Catherine of Senis, let us not object to turn our eyes, for one moment, towards that studious Dame; who is here decorated in rather a courtly style.* * decorated in rather a courtly style.^ The verses subjoined to the representation may amuse the monastic antiquary. Tliey are printed prose-wise in the original. De Sancta Catherina virgine et martyre. Gaude vu'go Catherina : quam refecit lux diuina : ter quatei'nis noctibus. Gaude quod tua doctrina : Philosophos a ruina : traxit et erroribus. Gaude quia meruisti : • confortari voce Christi : per preces diumitus. Gaude quia conuertisti : sponsam regis et yidisti : rolas fractas celitus. My friend Mr. Ottley possesses a good sound copy of this interesting little volume ; which is described by Bartscli in his Peintre Graveur, vol. vii. p. 323 ; aiid hi which Hans Springinklee is justly said to be the engraver of those cuts bearing the abpve initials, H. S, K. Gaude serto coronata : et in Sina venerata : olei stillamine, Esto nobis aduocata : a pud deum virgo grata in nostro certamuie. Ame. Ora, &c. Fol. cxxiiii. SECOND DAY. 61 The foregoing are all taken from engravings introduced in the body of the text. Let me now shew you a few which are worked within the borders.^ The ensuing are of the date of 1498, and represent in a sufficiently neat manner the Parable of the Prodigal Son. * iKorked within the borders.'] The above representations are taken from the side- horders of a volume of ' Heures a lusaige de Kome — acheuez le xvi jour de Septein- 1 62 SECOND DAY. Towards the close of the xvth century they began to represent scriptural subjects which filled the entire side of a page ; and this page, sometimes, of no ordinary dimensions. Of these subjects, few were so popular as that of St. John in the Cauldron of Boiling Oil : which also frequently furnished the title-page of a devotional volume * I shall however only call your attention to an elaborate representation of this subject, which was inserted in a Missal printed by Kerver in the year 1498 ; and of which Lord Spencer possesses a beautiful copy printed upon vellum. bre. Lan Mil CCCC. iiii. xx. et xviii. pour Simon vostre. libraire demourant a Paris a la rue iieuue nostre dame a lymage sainct lehan euangeliste.' See sign, fviij, and g i. From a copy, pbinted upon vellum, in the possession of Mr. Bell, bookseller, of Oundle. Let me here subjoin an embellishment fonning a bottom border in a volume otHom printed by Regnault in 1533, 4to. and repeated more than once in the book. (Our chauipion St. George is also made a bottom-border in the same volume, but it has nothing worthy of being again brought fortii to public notice.) * furnished the title-page of a devotional volume.'] It does so in Regnault's Hora, of the date of 1536, noticed at p. 46, ante : but the same cut had appeared in the impression mentioned in the preceding note ; where it seems to liave suffered less from use. St. John is there in tlie cauldron,with a man using the bellows, and another stirring the fire — occupying the fore-ground. Behind the cauldron, a man is pouring the boiling oil upon the Saint. Two others, to the left, are looking upwards— towards a large group of characters leaning over a wall, and viewing the Martyr. These form the back-ground. A very clean impression of this curious cut (which it has not been my good fortune yet to see) would display a vast deal of character and expression in this group. At the bottom, in the left corner, is the monogram B.V.: denoting the (at present unknown) name SECOND DAY. 63 I believe there are few specimens of this subject which are more strikingly executed. of the engraver. The size of the cut is five inches and a half, hy three and seven eighths. Beneath, are the following English verses ; which, however, evidently belong to a diflFerent subject : How saynt iohan dyde wryte in wyldemesse The apocalyps and of tokens wondrous. Vvhiche in the ayre he herde and sawe expresse Vvith my racks terrybles and monstruous. Fo.j. sign. Aj. 64 SECOND DAY. We are now to touch upon subjects of a somewhat dif- ferent, yet not greatly-unconnected, character. I mean, those which represent important points of doctrine, or celebrated miracles. Of the former, the following are illustrations; and each, as you observe, is a representation of the Trinity. The ensuing cut occurs both in the httle volume of Peypus, and in the folio impression of Regnault, each before men- tioned; with an interval of about seven years. There is a sort of Gothic severity or simplicity about this print which by no means displeases me. It gains in mystery what it loses in splendor — compared with the favorite exhi- bition which you are now to contemplate. This, indeed, seems to be the ne plus ultra of intricate and curious em- bellishment ; and was a most popular representation of the glorious subject which it professed to display. SECOND DAY. 65 Next to the representation of the Trinity, the Assumption of the Virgin was the darHng subject for graphic embellish- ment : but in no exhibition of that subject have I yet viewed so many sparkling accompaniments as in the one to which your eyes must now be turned. It is full of conceit and sin- gularity ; but nevertheless it has a pleasing and imposing air. 66 SECOND DAY. The dotted, or stellated back-ground (give it the grandest epithet you can !) has, you perceive, a very rich and striking effect upon the vellum on which it is impressed. It belongs to the same volume containing the representation of St. John in the cauldron of boiling oil. Of representations of Miracles, I will direct your atten- tion only to one; but that one is so full, brilliant, and successful — it shews so much of taste and of ease, both in design and execution, that it contains a volume of intelli- gence within itself. It represents the miraculous appearance of our Saviour to St. Gregory, when at the altar; as you wiU find related in the legend of that Saint. SECOND DAY. 67 The upper part of it is crowded with allegorical axicom- paniments ; similar to what you have before seen.* * similar to what you have before seen.] Look for a few moments at p. 51, ante) and then, curious reader, contemplate, for twice tlie same number of 68 SECOND DAY I make no doubt you have frequently witnessed, in Manuals of Devotion, the head of Christ represented upon moments, the sulyoined illustration of the subject above introduced. The heads of Judas Iscariot and Pontius Pilate have not only here a very singular effect, but are executed with great attention to propriety of character. It is rarely that both heads appear in such a subject. Upon comparison with the preceding cut of the same kind, the present has quite the air of the German school. Indeed the previous one is worthy of an Italian pencil. SECOND DAY. 69 tlie napkin, or sudarium. This napkin is sometimes supported by St. Peter and St. Paul, but more usually by St. Veronica ; to whose life I must refer you. The following is a very able representation of this head, supported by the latter.* The preceding is taken from the volume of Peypus mentioned at page 57, ante. The previous fac-siraile (at p. 67) is taken from ' Missale ad Vs. Insig. Eccl. Sarisburiensis nunc recens typis elegantioribus exaratum, &c. Parisiis Apud Guliel. Merlin in ponte Teloneorum, ad hominis siluestris signum, e rcgione horologii Palatij. 1555.' Folio. The subject itself is endless in old prints and old paint- ings ; but I cannot help here noticing a very fine painting, by Domenichino, in the possession of Earl Spencer, at Althorp, which represents the Head of the Virgin seen upon the drapery of the high altar — as if approving of the piety of the Saint. This picture hangs at the top of the dining room of that ancient and hospitable mansion ; and in winter is lighted by a patent lamp, placed below — oftentimes withdrawing the attention of the dilettante guest from the bounteous prospect immediately before him ! * Beneath, we read thus : ' Oratio ante faciem Christi dicenda, alias ante 70 SECOND DAY. The present may be a fit opportunity to notice those vulgarities, or improprieties of decoration, which seem to have so laudably excited the indignation of Almansa. They will afford a striking, and even risible, contrast to the magnificent specimens you have just seen : for absurd and unaccountable enough it is, to view the trumpery or gross- ness occasionally foisted into the text of many a lovely impression of Horce ! We have been all accustomed, from early youth, to exhibitions of the Bath of Balhsheba* Whether in the form of a capital-initial, or as a distinct and Veronicam.' See Pej'pus's ' Hortulus Anime,' fol. xxxvii, reverse. What is here subjoined is taken from a fragment^ in my possession, and is meant to represent St. Peter and St. Paul as supporters of the napkin. The curious are, I dare say, aware of that whimsical and extraordinary print, executed by Mellan, a French artist, which exhibits a similar head of Christ, as large as life, entirely executed in circular lines, and upon which the engraver commenced his task by attacking the centre of the tip of the nose. This effort may be classed among the ' Nugse operosae ' — the ' laborious triflings ' of human nature. A little clean printed Weirx is worth a huge tapestry of such heads ! * The Bath of Bathsheba.'] It would occupy a summei''s week to look over the pi-nits', m the hundreds of Breviaries, Offices, and Hours, which contain repre- sentations of this popular subject ; and which differ not less in the size, than in SECOND DAY. 71 obtrusive ornament, this fair dame is generally sure to arrest our attention, with her royal lover in the back-ground, the manner, of its treatment. Sometimes tliis fair ' Musldora' is introduced in the place of a capital initial ; but she is more generally represented within the initial itself : as we find in the Collection of the Epistles of Erasmus, from the press of Froben, of tlie date 1521. I may venture to say that there is something of delicacy and prettuiess in this cut. She is not unfrequently elevated up one floor, where the bath is conveyed ; and in that situation she is made to catch the attention of the Monarch. Mr. Douce has various specimens in his rich cabinet of early-printed volumes of devotion, which illusti'ate the subject in this point of view. Sometimes, however, (though comparatively of rare occurence) the Bath is situated, with a proper regard to female delicacy, in a sequestered spot ; and the water, instead of being contained in what looks very like a wash-hand bason, is confined within a square excavation of the ground, surrounded by marble pavement ; — thus : VOL. I. F 72 SECOND DAY. who is usually represented leaning over the ballustrades of a balcony, or out of window. That the fair Bathsheba should be surrounded, while bathing, by her female attendants, is See the Hortulus Anime, 1519, 8vo. fol. lvii, reverse. Simon Vostre, who was fond of voluptuous ornaments, and loved ' a certain joyous air' to be diffused over his books, has surrounded the fair Bathsheba with female attendants holding fruits, perfumed water, and a mirror. There is a sort of oriental luxury about the following representation — which, however, is not free from the ' wash-hand bason' criticism. This cut forms the lower part of a larger one (on sign, k v, reverse) of a very beautiful octavo volume, thus entitled— in the colophon: ' Hore beate marie virginis secundum vsum Trecen. totaliter ad logum, cu multis additioibus : Parisiis per wolffgangu hopiliu ipresse Impesis honesti viri Simonis vostre, in vico nouanostre dne, ad intersiguiu sancti Johanis euangeliste comorantis, &c. 1506.' ' Pro directore te rogo funde preces.' It is printed in a large handsome lower- case gothic type, with bright red introduced. Vostre's device forms the frontis- SECOND DAY. 73 both natural and proper; but whimsical indeed was that artist who designed her ' unbonnetted' and ' unclothed/ in the act of receiving an epistle from King David by the hands of piece. (This edition has been already noticed : see p. 49, note.) How superior is the ensuing representation of the ' fair Bathsheba ?' — taken from a small volume of scriptural subjects, in quarto, without date, but which we also see in Coverdale's Bible of 1535. I have presumed (at page 69, ante) to make a small digression from engraving to painting, respecting the subject of the Miracle of Saint Gregory — so frequently exhibited in the ancient missals, &c. Let me here again obtain the reader's forgiveness in making a similar digression, connected with the present subject ; of not less general occurrence. My friend Mr. Ottley possesses a fine painting by Rembrandt, of this celebrated female bather, as large as life. She is sitting, cross- legged, in the act of having her feet wiped by an old female attendant, (the head and hands of whom only appear at the bottom of the canvass, to the left) and her eyes and her mind . are intent upon the letter which she has just received from the Monarch. The expression, conveyed in this act of meditation, is quite extraordinary: enough to exercise the ingenuity of an ordinary compiler of Picture- Catalogues, through at least three pages and a half : but I will only repeat that this expression is ' quite extraordinary.' The back-ground of this powerful picture is occupied by the rich brocade or garments of Bathsheba : enveloped almost in darkness : while the naked figure of the bather receives a full portion of light, and produces a fine breadth of effect. Does the retentive reader call to mind the strange manner in which ' the divine Raffaelle'has treated this subject ? — as may be seen in the set of prints, from his fresco paintings, for the Bible. 74 SECOND DAY. a male messenger. The fate of Actseon should have rewarded such ill-timed intrusion ! Some there are who think these loose and (to say the least) unappropriate decorations evince the innocence of the age in which they appeared ; but I rather incline to the opinion that, when such ornaments are introduced, they are inserted from a kind of saucy or roguish feeling of the printer. Undoubtedly they are at once misplaced and indefensible. It is now necessary to remark to you, that in almost all SECOND DAY. 75 the specimens which you have seen, and which I believe are contained within the pages of the generality of early printed Missals, nearly the same style of art prevails : that is, the same manner of grouping and of design, of handling and of finishing, and of distribution or proportion of light and shade. You see very little outline : very little left for the tasteful imagination to supply : very little selection of what may be called classical. Perhaps a clumsy or over-charged outhne required a redundance, as it were, of light and shade to conceal its defects. But such a taste was by no means without exception ; as you will presently learn. Here then, my friends, allow me to express my unqualified admiration of those publications of the sacred text, adapted to the pur- poses of the Mass, which owe, I believe, their earliest intro- duction to the immortal press of the Giunti. The nurse of ten thousand useful and elegant arts, the central mart of European commerce, the city both of Jenson and of Titian, it was reserved for Venice to give a different turn, and to adopt a purer style, in the decorations of Missals and Bre- viaries. Approach,, and open this magnificent folio volume ; for which we are indebted to the spirit and enterprise of the Giunti. It is the Missal of the Valley of Shades ! Almansa. What an imposing introduction — and what a romantic title ! Philemon. Not more so than is the history of the Founder of the Ritual :* for know that, in the middle of * the history of the Founder of the Ritual.^ This singular history has been frequently written in prose, and a part of it once in poetry. Villegas, in his Flos Sanctorum, has not failed to notice it • and appears to have supplied Mr. Southey with the principal outline of a very interesting little poem entitled ' St. Gualberto :' see the ' Minor Poems of Robert Southey,' vol. iii. p. 224-242. The date of this poem is 1799. Since that period, Mr. Southey has (I dare conjecture) made himself more particularly acquainted with the ' life, character, and behaviour' of 76 SECOND DAY. the eleventh century, hved one Giovanni Gualberto, a Florentine; of a respectable, if not noble, family. It chanced that, walking in his favourite solitude, near Florence, he saw St. Gualberto, from the account of him m the 'Acta Sanctorum; Julii, torn. iii. p. 311-458 : 1723. Folio. That account is supplied from various manuscript authorities of ancient dates. Andreas, ' Abbas Strumensis,' disciple of Gualberto, ' who built several monasteries, and died in a small tower which he had erected in a thick wood of oaks and beeches,' wrote the life of his master not long before his own decease ; towards the end of the xith century. A second biography of Gualberto, from the pen of Atto, abbot of the Vallombrosa monastery, and afterwards Bishop of Pistoia, was composed in the middle of the xiith century. Benigno Casenate, according to Casari, wrote a life of our Saint in the middle of the xivth century, and a catalogue of all the abbots of the Vallombrosa monastery up to the year 1373. Andreas Jannensis, or de Sancto Ambrosio, a Benedictin monk (whom Mabillon has strangely mistaken for Andreas, the first biographer), wrote a more extended life of Gualberto, with corrections, at the beginning of the xvth century. These authorities, with the aid of Zacconius and Damiani, form the bulk of the matter contained within the pages of the Acta Sanctorum just referred to. I presume to give a summary of the leading particulars of this ' matter :' but those who prefer walking quietly and quickly over the lawn, with Philemon, need not partake of the wearisome journey of a parll3'-latinised, and somewhat lengthy detail. The Spirit of the Saint be my succour during this journey ! And first, of the family of Gualberto : living in the middle of the xith century. That family, we are told, was a noble one. His mother's name was Willa, or Camilla : but a doubt is expressed whether the name of his father was Walbehto or GuALBEHTO. Bc it either. The one is readily Imked to the other by a ' quasi' or ' scilicet.' Secondly, of the murdered man: whether he were the brother, the father, or one of the neighbours, of Gualberto.' ' Vir quidam, ut dicitur, potentiorem se hominem interfecit, a cujus etiam filio, more seculi, non legibus Evangelii, multas bellorum molestias pertulit: Paterni scilicet ultor interitus, & strages anhelabat hominum, & frequentium reportabat manubias rapinarum. Inter has igitur homicida deprehensus angustias, imperiale decrevit adire fastigium, si quod forte tot calamitatibus posset reperire solatium. Quo comperto paterni sanguinis ultor insequitur, sive ut repente gladiis opprimat, impiger comitatur. In Teutonicis vero artibus tunc Imperator agebat.' Upon this statement, I shall only observe that Andreas, the most ancient biographer of the Saint, says it was ' a neighbour :' Ludovicus Zacconius (who wrote an abridgment of the Lives of the Saints, in Italian, 1612, 4to.) thought it was ' the father.' But I concur strongly with the first venerable authority ; and disbelieve the murdered man to have been the father. Fourthly, whether the assassin and Gualberto were each aided by a set of friends ? Let us again listen to the solemn SECOND DAY. 77 a contest between two men ; which, on his nearer approach, proved to be his brother yielding to the superiority of an antagonist who had inflicted upon him a mortal wound. Gualberto vowed revenge. In a few days (having properly armed himself, and having resolved to explore the most narrative of the Latin historian : premising, however, that ancient Andreas (p. 342) says, that both Gualberto and the assassin were alone : and that the latter threw himself from his horse, upon the ground, in the posture below described. ' Cum itaque procedens modeste, quasi securus incederet, subsequens autem celerius properaret, tandem contigit, ut sibimet invicem propinquantes, in rautuos uterque duceretur aspectus. Sed cum is, qui homicidii reus erat, vix quatuor vel quinque comitum fulciretur auxilio ; interfecti vero filius triginta ferme cingeretur obsequiis armatorum, quaternionem suum cohortatur, ut fugiat. Ille se conspiciens de persequentium manibus avolare non posse, animae patroci- nium petiit, ad humilitatis umbraculum confugium fecit. Projectis igitur armis, bracliiis etiam in modum crucis extensis, solo prostemitur, et vel miserantium veniam, vel ictus ferientium prsestolatur. At ille jam victor ad reverentiam crucis manum reprimendo compescuit, ultro etiam, ne ab aliquo feriretur, inhibuit. Postrerao pacem integram faciens, ad honorem sanctae' vivificae Crucis non modo vitam, sed et paternae necis donavit offensam.' Let us now recreate ourselves with Mr. Southey's description of this dramatic scene. Troubled at heart, almost he felt a hope That yet some chance his victim might delay : So as he mused, adown the neighbouring slope He saw a lonely traveller on his way ; And now he knows the man so much abhorr'd, . . . His holier thoughts are gone, he bares the murderous sword. The house of Valdespesa gives the blow ! " Go, and our vengeance to our kinsman tell !" Despair and terror seized the unarm'd foe, And prostrate at the young man's knees he fell. And stopt his hand and cried, " Oh, do not take A wretched sinner's life ! mercy for .Tesus sake !" At that most blessed name, as at a spell. Conscience, the God within him, smote his heart. His hand, for murder rais'd, unhamiing fell ; He felt cold sweat-drops on his forehead start ; A moment mute in holy horror stood. Then cried, " Joy, joy, my God ! I Imve not ^hed his blood I" 78 SECOND DAY. likely places where the murderer might lurk) he met the assassin of liis brother. Some say that they had each a number of followers, and that the combat threatened to be He raised Anselmo up, and bade him live, And bless, for both preserv'd, that holy name ; And pray'd the astonish'd foeman to forgive The bloody purpose led by which he came ; Then to the neighbouring church he sped away. His over-burden'd soul before his God to lay. We will now attend to the narrative; chiefly supplied by Damiani. The astonished Gualberto hastens to the first place of worship which presents itself. ' Sed mox, ut ecclesiam oraturus ingreditur, res mira nimiumque stupenda! Salvatoris Imago, quje in cruce videbatur expressa, tribus eum vicibus incli- NATO CAPiTE VISA EST SALUTAUE !' Here the crucifix, which was of wood, is said to have thrice nodded the head towards Gualberto! — It is right however to observe, that Damiani, who gives the story in the Acta Sanctorum, is treated, by the authors of that work, as being rather a gossipping old gentleman ; and tlie redoubted Bellarmin is referred to, by them, as proving that ' he wrote other things which resemble rather fables than historic truth.' What is worthy of especial remark, the authors or rather editors of the Acta Sanctorum (' rudis indigestaque moles' !) obsei-ve that Damiani seems to have written this history of Gualberto from ' common report ' — ' quaj multum crescit et mutatur eundo ; ut quotidiana nos docet experientia.' One would uuagine that the critical historian, who reasoned thus, would at least have made some scruple of digesting the miracle of the motion of the head of the crucifix ; but in the following passage the reader will not fail to discover a very whimsical, or very obsequious, logic. ' Cum in tot aliis narrationibus id sibi contigisse fateatur Petrus Damiani, idem in hac Crucifixi historia ipsi evenisse non injuria suspicor. Ut ut est, ego Crucifixi sese iuclinantis miraculum S. Joanni Gualberto accidisse historica fide credo, atque istud in dubium revocare summaj pervicaciae, ne dicam dementias, esse existimo.' There is something very accommodating in what follows : ' Quid enim historice tandem certum erit? si omnibus historicis, atque etiam vetustissimis, synchronis aut subsequalibus factum aliquod narrantibus, de eo dubitare liceat. Intolerabilis sane est haec mentis pertinacia, quam quidem nostri temporis Aristarchi, ac praasertim heterodoxi, prudentiam aut constantiam vocare non crubescunt.' p. 314. A catholic writer (Legendarius Gallus) of better discern- ment, and of tolerable plain sense, who has written a minute life of Gualberto, thinks that the Saint, from intense feeling and unremitting contemplation of the crucifix, fancied that he saw it move : in other words, that the motion was the effect of the imagination only. The BoUandists (or editors of the 'Acta Sanctorum') who find liberal fault with Zacconius for his constant inclination to the marvellous and hyperbolical, are yet, with a suppleness of reasoning, j'cculiarly their own, SECOND DAY. 79 deadly. Be this as it may : a sudden terror possessed the murderer: he fled, and was overtaken by Gualberto, whose falchion was about to be brandished over his head, when the pleased to say of this last-mentioned authority — ' Hasc tamen additamenta mira- culi veritateni non negant, sed potius confirmant, quamvis per hyperbolem maxime reprehendendam ! ' ' In the next place let us hear of the result of this miracle, and of the conversion of the Saint to monachism. It is Damiani who tells the story. ' Gualberto now began to conceive within himself a hatred of the world and of worldly honours, and to divest himself entirely of its wealth, and anxiously to meditate upon the future glory of the just — the punishment of the unjust — and how vain it was to trust in the frailty of human existence, but rather to devote onesself to the con- cerns of eternity. Thus meditating, and pursuing his journey, Gualberto ap- proached the city [of Florence]; when addressing his squire, or companion, he said, ' go to the Inn where we are accustomed to stop, and quickly get ready wliat may be needful for ourselves and our horses.' His companion did as he was desired. But Gualberto, ' the servant of the Lord,' directing his course or journey from the spot he had intended to visit — and filled by the divuie spirit — came directly to the monastery of St. Miniati. The abbot receives him courteously, enquires his wants and wishes —hears of the Miracle of the Cross — and advises him to relinquish the world and all its pomps and vanities. Seeing his youth however, and wishing to prove his constancy, he describes the severities of the monastic life. Gualberto is imshaken in his resolution to comply with the Abbot's wishes. Meanwhile, the servant, at the inn at Florence, finding his master not return, goes to the father of Gualberto, and relates every thing that had hap- pened. The father rushes out of doors — enquires of every body-»-and goes every where — at length he hears of his son in the monastery, and demands him of the abbot. The abbot tells Gualberto of the arrival of his father, and of his earnest- ness to have an mterview with him. The Saint, on the other hand, entreats the abbot to go and pacify his father; who, by this time, had become furious — threatening to demolish the monastery. The abbot prevails upon the father to enter, and visit his son. Meanwhile, Gualberto had put on the monastic garment, had shaved his head, and, with his eyes intent upon an opened volume, was slowly approaching the altar. At this moment the father breaks in upon his retirement — finds his son perfectly tranquilised and composed — while, on the contrary, himself, and the suite who attend him, begin to beat their breasts, to tear their hair and their garments, and prostrating themselves upon the ground, * to call upon the name of Christ with loud and frequent ejaculations.' The father at length becomes composed ; and giving the son his blessing, he departs. Gualberto now continues his melancholy journey, with one Ubertus (' callidus et ingeniosus monachus ') and arrives at the famous monastery of Caraaldolo, founded but a few years before ; where the prior tells him to persevere in his 80 SECOND DAY, former threw himself in a supplicatory attitude : extended his arms, bent forward his head and body, and implored pity and forgiveness. An equally sudden impulse possessed Gualberto. He returned his glittering falchion into its sheath, unstained by the blood of the murderer — and passed on : whether to Florence, or to a neighbouring town, I know not : but on entering the first church in the place, his eyes were fixed upon a wooden crucifix, which, on intensely contemplating, was seen to move downwards its head, and to extend its arms, and to remind him of the attitude of the man whose life he had so heroically spared ! What would you more ? Are not events like these sufficient to make both good resolutions, and to establish an order according to the rules of St. Benedict. Gualberto reaches the neighbouring recesses of Vallombrosa ; situated, like the spot he had just left, in a romantic country, in the Appenine hills, and about half a day's journey (or six leagues) from Florence. Milton alludes to — Vallombrosa, where the Etrui'ian Shades, High over-arch'd, imbower. Par. Lost, h. i. v. 303, Todd's Edition, vol. ii. p. 320. The solitude chosen by Gualberto was indeed not less appropriate than that of Camaldoli. Perusinus says the place was called Imbeosa, on account of the frequent showers or rains which fell in the valley ; but that author is better pleased with the word UmbrosA' — ' on account of the trees and shades which prevailed there.' p. 345. Tlie place is watered by the river or torrent Vicano, which visits it between two chains of mountains. Here then (and as the last section of this tremendous note) did Giovanni Gualberto resolve to fix his staff in the earth, to build the walls of his monastery, and to establish the discipline of his own particular order. His rules partook of the severity of his dress. His clothes were of the coarsest woollen stuff, and the rebel-flesh was to be subdued by a belt studded with small spikes. And because (I ween) the moon rarely gained the ascendancy of the surrounding hills, so as to lighten up the monastery with her silvery beams, an everlasting lamp was ordained to bum in the dormitory. • Gualberto found ' this order of things ' so conducive to health and spirits, that he reached his 88th year ; and if any faith may be attached to liis portrait, and hand-writing, as given in the volume from which the foregoing information has been derived, he appears to have been a very comely Saint, and to have written a tolerably legible hand. A. Maria Rivola, a priest of the Vallombrosa Order, hath written much and learnedly upon the relics and austerities of this Saint. Of the wonders performed by him, peruse the Bollaudistic pages. SECOND DAY. 81 proselytes and founders? Gualberto forsook his home; entered a monastery, to which, however, he was pursued by his father, but from which no entreaty could prevail upon him to depart. Here the worthy Abbot directed him in his future religious course of life ; and inspired by no common enthusiasm, he approached a spot, which, from its seclusion, its mountainous neighbourhood, andmore from the immensity of the surrounding woods, has long been called the Valley OF Shades. There Gualberto built his monastery; there he composed his Ritual ; and hence the Vallombrosa Missal takes its name. Enough ! Let Lysander and Lisardo ex- plore the pages of that inexhaustible repertory of fiction and truth, of absurdity and information, the Acta Sanctorum ;* * that inexhaustible repertory of fiction and tmth, of absurdity and infomation, the Acta Sanctorum.] This stupendous work, which can hardly be said to be complete, as far as it goes, under 55 volumes — is yet unfinished. Even 55 volumes, and yet an imperfect work ! It consists of the lives of the Saints which are contained in the Calendar of the Roman Catholic Ritual; beginning, of course, with the month of January, and proceeding to the end of the year ; but at present not extending lieyond the 14th day of October : and as these fourteen days afford materials sufficient to fill sit ponderous folios, the reader may judge of the probable extent of the work, when it shall have reached the last day of December ! I had meditated a complete bibliographical description of these ' Saintly Acts,' (as De Bure is rather unsatisfactory, and Brunet is necessarily concise) and had intended to give a list of the Saints ; but when I found the first 15 days of January (which occupy the first volume) to comprise biographies, fuller or shorter, of not fewer than five hundred and eighty-two Saints — the design appalled me! — and the spirit both of Rosweyd and of Bollandus seemed to rise up before me, and forbid, with an angry look, the execution of such a task ! I made my escape with equal promptitude and gladness. Yet the reader ought to know something about these bulky tomes. The 'nucleus' of the work was first formed in the enthusiastic brain of one Herbert Rosweyd, as we should call him in the vernacular tongue of Great Britain. The projector of it must have been many years in thinking upon, and procuring, his materials, as well as in digesting his plan ; as he died at the age of 60, without having achieved ' one stitch' of the text. His death should prove a warning to Bibliomaniacs. A cargo of books, expressly consigned to him, for the purpose of furthering or completing his great plan, was shipped on board a leaky vessel. 82 SECOND DAY. projected by Rosweyd, and undertaken and continued by Father Bollandus and other learned Benedictins. Let them explore those wondrous pages of far-fetched and most curious Rosweyd had not the patience to suffer these books to be well aired and dried, before he began to rummage for his beloved treasures. A noxious humidity, or infectious vapour, was engendered, and the Father of the ' Acta Sanctorum' fell a victim to his bibiiomaniacal intrepidity. His design was taken up by John Bollandus, and in the year 1643, appeared at Antwerp, the first volxune of this stupendous work ; which, — ^— like streams, enlarging as they flow, continued progressively to arrest the public attention till the year 1794 ; when I suppose the volcanic effects of the French revolution broke up the channels of its direction. Since then it has received no additional aid, and no bookseller appears to have had the inclination, or the courage, to bring it to a close. Those, however, who imagine that these volumes contain little more than ' fables and falsehood,' are much mistaken. They present us with the fruits of much valuable research. Hundreds, perhaps thousands of MSS. which were fast rotting away, or were becoming victims to rats, even more numerous and ravenous than those which attacked Bishop Hatto in his tower upon the Rhine, (see a comical wood- cut of this incident in Sebastian Munster's Cosmography, 1553, folio, page 549, and the tale told in very descriptive verse by Mr, Southey, in his Minor Poems, vol. iii. p. 66) — these treasures, but for the perseverance and learning of the Benedictiii Editors, would have irretrievably perished; and, in consequence, much light have been withheld from some of the more curious and mteresting features of the history of our own country. But — for the readers and lovers of Romance — of incidents grave, terrible, strange, unheard of, or even ' sublime and beautiful,' (see an article upon ' the Spanish Inquisition * ui the Quarterly Review for December, 1811,) there is no work to be compared with that entitled • Acta Sanctorum.' The very preface of the first volume prepares us for something ' piquant.' At p. xix, Bollandus defends the Legenda Aurea, or Historia Lombardica ; and mentions Molanus's commendation of the fuller edition of it at Cologne in 1483, and of his own copy of it printed at Louvain in 1485 : p. XX. Of the Breviaries used by him, he speaks of the Roman one of 1479, of the Salisburij Breviary of 1499, and the summer part of that work of the date of 1557. He uses also a Breviary for Ireland, of the date of 1620 ; see page liij, &c. But, if the preface of this work bespeak no ordinary entertainment to be derived from the text of it, what shall we say to the disquisition, at the very threshhold of the work itself, entitled ' Commemoratio Sacrosancti Praputii Christi Antva-pia, et alibi?' Our old friend Jacobus de Voragine (Legend. Aurea. * in festo Circumcisionis ') has informed us that this extraordinary relic was conveyed by an angel to Charlemagne, who deposited it in the Church of St. Mai-ia, Aix-la-Chapelle ; but that he afterwards placed it in the church of Christ at Carosium. It is now said to be in the church of All Saints at Rome : yet SECOND DAY. 83 intelligence, for other similar tales of monastic life : return we to the beautiful book which has caused this romantic digression. You observe that it is printed quite at the com- mencement of the sixteenth century. The amplitude of the page, the size and variety of the types, the lustre of the inks, the tone and substance of the vellum, but above all, the pure arabesque taste of the decorations — to say nothing of the rarity and curiosity of the impression — all combine to render this volume an acquisition extremely precious to the Collector. If ever the magical art of printing was calculated to produce enthusiastic sensations, such sensations cannot fail to be felt on a careful examination of this book.* Bollandus, in imitation of the ' non satis constat ' of Franciscus Suares, very prudently concludes — ' melius est tanien Deo totum committere, quam aliquid lemere definire.' It remains only to observe, that to have a complete copy of such a treasure, we must note well that January have 2 vols, : February, 3 : March, 3 : April, 3 : May, 8, (including the volume entitled ' Propiteum ad Acta Sanctorum Maii'— which contains supplements to the 1st, 4th, and 5th voRunes of the same month, or these supplements may be found with the respective volumes to which they belong, and then May will contain only 7 volumes) June, 7 : July, 7 : August, 6 : September, 8 : October, 6 : in the whole, 53 volumes. To these, add ' Mar- tyrologium Usuardi, Antv. 1714>,' folio : and ' Acta Saucta Bollaudina, upologeticis libris, vindicata, Antv. 1755,' folio. This work was reprinted at Venice in 1734, and continued in 42 volumes, as far as the 15th of September ; but this reim- pression is comparatively of diminutive value. Consult the Manuel du Libraire, vol. i. p. 193, edit. 1814 ; where the controversial pieces attached to the work are noticed. In the Antwerp edition, there are portraits of many of the coadju- tors in the work : of men, who, from their physiognomies, appear to have delighted in the ' dark and devious track' in which the nature of their labours compelled them to walk : of men, upon whose ' shrunken flesh ' the light of the lamp seems stubbornly to have contended with the increasing rays of Aurora. Rest their ashes in peace ! — and let the bibliographical devotee pause with delight upon the complete set of theu' labours which ennobles the shelves of the Altiiorp Library. * A careful examination of this hook.'] This impression is the more worthy of bibliographical notice, as it appears to be the first of the Vallombrosa Rttual, and to have escaped both Bandini and Panzer. Brunet briefly mentions the very ct THIRD DAY. 1S9 discomposes Lisardo, and he is becoming pale with despair. Would that we had rummaged every mansion of old stand- ing, at Lyons, when we made our continental tour, dear Lorenzo ! Perhaps Lysandee. You forget the bombardment of that ancient and interesting city, in the early period of the French revolution. The same merciless cannon-shot, which, during that siege, tore open the very vitals of one of the volumes of the Spira Livy of 1470, upon vellum,* might, in its destrtictive course, have shattered to atoms the trvmk in which a set of these India-paper proofs were preserved ! Lisardo. Horrible thought ! Such a cannon must have been fired by the deadhest foe to the Bibliomania. But proceed, I entreat — Philemon. Whither.? You forget the preHminaries of our discussion. I cannot take you, hke Shakspeare's Puck, or Milton's Satan, over bog, heath, moor, and mountain — but must here pause : that is, my researches into this depart- ment of book-engravings must terminate. We have yet a world of variety and of interest to visit. Grant me only patience and free will to do as I please, and — Lorenzo. Before you proceed further, pray indulge a propensity, which I feel just now pretty strongly, to become acquainted with the progress of the graphic art in the earlier impressions of the Ancient Classics ? Philemon. Much do I regret that such an investigation * the Spira Livy of 1470, upon vellum.'] The late Mr. James Edwards made the following memorandum, in pencil, upon the margin of a large paper copy of the second edition of my ' Introduction to the Classics' — in the place to which it appertained — p. 226. ' At the siege of Lyons, in the Revolution, the copy of the Spira Livy of 1470, upon vellum, (which had belonged to the public library there, and was restored to it upon the death of the Duke de la Valliere) was struck by a cannon-ball, which tore one of the volumes most unmercifully.' 190 THIRD DAY. demands more leisure and learning than it has been in my power to bestow upon it. And yet, on second thoughts, it strikes me that the subject is not of very arduous treat- ment : — ^for what is there, deserving the name of art, till we come to the Valturlus of 1472?* One of the old Italian Classics, DantCf had comparatively ample justice done him in the Florence edition of 1 48 1 ; but after Valturius (if you will permit me to call him a Classic) we have absolutely nothing worthy of mention till we come to the ^sop of 1479, executed at the same place with the former, namely at Verona; and again at Venice in 1490 and 1497 — each of these three impressions containing the Italian poetical version of Zucchi. The Ulm edition, in Latin and German, has sometimes good bold representations of the apologues of that earliest and greatest of heathen moralists; but the Venice impression of 1490 ■}• exceeds all that preceded it in * The Valturius of 147 2.] A copious and particular account of this interesting volume, with numerous specimens of the style of art contained in it, will be found in the Bibl. Spencmana, vol. iv. p. 44-54. The same may be said of the Dante of 1481 (vol. iv. p. 108-115) and of the JEsop printed at Verona and at Ulm : vol. i. p. 229-243. Respectmg the Valturius, it will be seen, from the pages of the Spencerian Catalogue, that a copy of that work, upon vellum, stood a chance of enriching the library there described. My friend Sir M. M. Sykes is the fortunate owner of such a copy ; and what is rather singular, altliough the last leaf, but one, be upon paper, yet from the direction of the worm- holes through that, and the succeeding and last leaf, it is quite evident that this paper leaf must have been of a pretty ancient date — as the perforations in each leaf exactly correspond with one another. Between the prefatory matter or table, and text, there are two blank vellum leaves ; apparently of the age of the book. Sir Mark's copy is a large and fine one, but the beautiful prmting of Jenson, of the Spiras, or of J. de Colonia, is wanting to give the pages a thoroughly bewitching aspect 1 t the Venice impression of 1490.] The cuts in this impression were repeated in that of 1497, printed at the same place, Liord Spencer possesses a beautiful copy of this latter ; {BM. Spen. vol. iv. p. 435) but the fac-similes above given are taken from a copy of the edition of 1490, in the possession of Sir M. M. Sykes, Bart. THIRD DAY. 191 freedom of design and delicacy of execution. We will first examine the central compartment of the frontispiece. There is tolerably good grouping in what you here behold. It seems resolved, however, that ' the good ^Esop' should always be made ludicrously deformed ; and accordingly you see him here with a head which would have suited a man whose stature might have reached to the top of the canopy under which he sits. The Scribe and Auditors are rather skilfully designated. hESOPVS- Let us next extend our admiration over a wider surface. The whole of what is here presented to you is well worthy of commendation. The subject is ' The Thief marrying the Woman.' The figures are a little too short ; while, in the Verona impression, there is a pretty group of rustics dancing in the back-ground — ^but the purity of taste in the arabesque border which surrounds it makes ample amends for every other deficiency. 192 THIRD DAY. The ensuing forms a quiet and not inelegant contrast. The female has quite the air and costume of a Grecian character. THIRD DAY. •193 I should be glad to know which of us could ward off the troublesome insect here introduced in a more graceful manner? Admit, however, that the gentleman is rather clumsily built. 194 THIRD DAY. In these specimens you may recognise something of the style of art which pervades the HypnerotomacMa or PolipMlo — LisARDO. Cannot you touch upon that enchanting book ? Philemon. Surely there has been enough, and more than enough, lately said about that extraordinary volume — which has been described to repletion. I must pass it over. LisAUDo. Nay, but one specimen or so?* Philemon. You forget my authority, which is absolute. I am inflexible : — and must further remark, respecting the classical volumes of the fifteenth century, that less of skill and of taste appear to have been devoted to them than to • hut me specimen or so.] As Philemon may possibly be thought to exercise his authority a little too rigidly, in not granting Lisardo the indulgence which he solicits, the reader may not be displeased if greater courtesy be shewn in this subjoined note. Not however that I wish to make a thread-bare exposition of the Hypnerotomachia: for after what appears in the Bibl. Spenceriana, vol. iv. p. 145-165, it does seem little short of uisanity to bring forward any further specimens of art from that common, but enchanting, volume. Deign, liowever, virtii-loving reader, to cast thine eyes upon the pretty fac-shniles which are here submitted. » I THIRD DAY. 195 other worlds ; although I cannot refrain from awarding the due meed of praise to the decorations which appear in the Strasbourg editions of Terence, Horace, Boethius, and Virgil, The preceding forms the central compartment within a large cut surrounded by an arabesque border, in perfect taste, on r ii recto. The circular ornament below, placed above the group of young bacchanals, is taken from h vij, reverse, and is full of beauty. As to the infantine group round the young Bacchus, with its accompanunents, (on I iiii, recto) the whole has so joyous and appropriate an air, that I can readily anticipate the approbation of the tasteful for its insertion in the present place. 196 THIRD DAY. of the dates of 1496, 1498, 1501, and 1503— from the press Guminger.* The style of art, however, in these pubhcations is generally feeble and coarse; and their chief interest con- sists in a display of the costume of the times of the printer. A few groups from the Breydenbach of 1486 are worth the whole of them. Lorenzo. Did you never meet with a French Breyden- bach of 1488, with copper-plate illustrations f * Strasbourg Editions from the press of Gilminger.'] All the works above specified are in the same style of art ; and that style is sufficiently exhibited in the second volume of the Bibl. Spenceriana. pp. 87-95 ; 426-438. The Boethius of 1501, and the Virgil of 1503, equally display the same disproportion of design, and looseness of style of engraving. There is something, however, rather sur- prising and interesting, that such a profusion of labour and expense should have been devoted to all the impressions above mentioned ; and it is certainly a little unaccountable, that no Historian or Poet of antiquity was made the subject of graphic embellishment till so late a period. The pages of the work just referred to exhibit sufficient evidence of the meritorious execution of numerous embellish- ments of other, miscellaneous, authors, during the xvth century. t French Breydenbach of 1488, with copper-plate illustrations ?] The doubtful manner in which I had mentioned these supposed copper-plate embellishments, in a note in the Bihl. Spencer, vol. iii. p. 219, attracted the attention of Monsieur Brunet — author of a bibliographical work too well known to be here specifically mentioned, and which has entitled him to the hearty thanks of posterity. In conse- quence of my having observed that he had • made a strange mistake in supposing that some of the larger views of the towns were engraved upon copper,' he was pleased, in two successive letters to me, to enter upon a defence of that position, and to justify his own inference with a pertinacity very natural and very com- mendable in a writer who has so much reputation to lose ; — not however that the point was of great importance in itself. In his second letter, of the date of July 10, 1814, he gives a particular description of the Lyons edition of 1488 ; and the recently lucky discovery of a copy of this date, by Lord Spencer himself, among his book-treasures at Allhorp, has enabled me to impugn Mons. Brunet's observations with a tolerable degree of confidence. Monsieur Brunet justly remarks that the Lyons impression of 1488, in French, is not a literal version of the Mentz edition of 1486 : that however the arrange- ment of the chapters may be the same, the ornaments in each faithfully copied, and the substratum of the text nearly similar, yet the translator has often added from his own stock of materials. This impression therefore must be distinguished from the subsequent French edition of 1489, (in all probability also printed at THIRD DAY. 197 Philkmon. Never ; nor does such a work exist. With ' wood-cut' illustrations, if you please, dear Lorenzo; but no Lyons, though no name of place be subjoined) which is unquestionably a literal version of the original Mentz edition of 1486 ; and in which the cuts are pre- cisely the same. My valuable correspondent adds, that the large cuts of the towns, &c. in the copy of the edition of 1488, which was sold at the Roxburghe sale (see Bibl. Roxburgh, no. 7259) for the extravagant sum of 841. must have contained those said cuts from the edition of 1489— which were used in several editions ; and he concludes this pleasant controversy in the following manner : ' J'ai vendu moi-meme, il y a une douzaine d'annees, dans une vente publique, nn exemplaire de I'edition de 1488 imparfait des cartes, et rien n'aura empech6 qu'on ne I'ait complete aussi de cette maniere. Enfin, Monsieur, avez vous besoin d'une preuve bien certaine que les cartes de I'edition de 1488 ne sont pas les memes que celles des editions de Mayence .? Je vais vous la donner. La grande carte de la terre sainte, ou se voit Jerusalem, porte dans les Editions d'AUemagne et dans I'edition de 1489, les noms de lieu, et les explications en latin, tandis que dans I'edition fran^oise de 1488, ces mSmes mots de texte sont cnfrangoise : d'apres cet eclaircissement, voyez. Monsieur, si vous persistez dans vos conclusions!' There is an air of good-humoured gaiety, and of triumph, in Monsieur Brunet'j. conclusion, which I should be sorry to damp, or to convert into defeat : but I am obstmate or infatuated enough still ' to persist ' in my own inferences. And first dispassionate reader— how comes it to pass that the smaller cuts, in the im- pression of 1488, are not also upon copper? That they are not, is unquestionable. They are however fresh designs and fresh engravings — not the blocks of the Mentz edition used a second or third time— and are very close and faithful copies of the embellishments in the same edition. Secondly, why, if the same work were printed at the same place, in the succeeding year, should the publisher of the latter iuipression go to the expense of having large views of towns, &c. cut upon blocks of wood, when the same embellishments had already appeared upon copper the preceding year ? There is, I think, a prima facie presumption against this latter conclusion ; but there is iirefragable evidence that it cannot be correct, because these larger cuts, in the impression of 1488, are really and truly EXECUTED UPON WOOD— and the eyes of Messieurs Brunet and Heineken haYe been equally deceived in this particular. As to the variations mentioned by my correspondent, these may be easily accounted for. Such variations are readily made in wood— by cutting out, and stopping up— (or pegging, as our technical phrase is) as my own experience in these matters has frequently proved. Let the reader examine pages 68 and 96-7 : there, an aperture in the block made room for the metal types introduced — and if an aperture be effected, that vacuum may surely be sui'plied by materials either of wood or of metal. May I now, therefore, give ' the retort courteous' to my worthy correspondent— and say, « voyez. Monsieur, si vous persistez dans vos conclusions f ' 198 THIRD DAY. copper-plates. To return however. Leaving classical ground, and regretting that we have no early Lvuy or Ccesar LisARDo. You appear to have forgotten a work, which also received abundance of embeUishraent — the Navis Stultifera of Sebastian Brandt. Philemon. It had not escaped me ; but the same reason which compels me to say nothing, here, of the PolipUlo, also induces me to take no notice of the work which you mention: namely, because it has already and lately received a suffi- ciently copious illustration;* and copies of it begin now, Hke insects when drawn forth by warmth from their crannies, to lie upon every bookseller's shelf and upon every book-auctioneers table. Again therefore I must resume the despotic authority with which you have invested me ; and Master Brandt is * already and lately received a sufficiently-copious illustration.'] See Bibl. Spenceriana, vol. iii. p. 203-:214. Philemon seems still to retain his shy or churlish feelings in respect to the gratification of Lisardo's wishes. I shall therefore continue the ' courteous ' strain held forth in a preceding note ; and again endeavour to amuse the reader by a farewell specimen from the work above mentioned. First, admit the spirit and point with which the ensuing is represented : — THIRD DAY. 199 not ' the youth for my money' at the present moment. We will therefore step over the threshold which divides the xvth from the xvith century, and enter at once upon some of the more extraordinary productions of the art of engraving as seen in books of this precise period. Hark ! methinks I hear the tramping of horses' feet : — the clangor of the war-trumpet, the groans of the dying, and the shouts of the victorious ! See the banners, how they float in the air ! How the light from the helmet or cuirass flashes across the field ! — and now observe the stately march Where shall we find a pair of ass's ears better placed than upon this figure ? the whole of which is most admirably conceived and executed. We have next almost the drivelling ideot : forgetting that ' a bird in the hand 200 THIRD DAY. of the conquerors, the nodding of the plumes, and the harvest of spears that stand thick and ghttering around! The magnificent vokime which has given rise to these reflections, or to this imagery, is now before us — and is commonly known by the name of Tewrdanckhs,* It is a is worth two in the bush.' The cunning animals cry out ' to-morrow' and ' the Pool ' is dolt enough to conceive that they will then come to him 1 * commonly known by the name of Tewrdanckhs ] After the labours of Koeler, Vogt, Fournier, De Bure, Gruber, and more especially of Camus, little remains to be done in illustration of the singular and splendid volume above mentioned by Philemon.' Let it however be premised that Lambecius had thus noticed it in his THIRD DAY. 201 folio volume, in poetry, of the date of 1517; commemorating the martial exploits of the Emperor Maximilian I. Almost every page is embellished, as you observe, with a spirited Comment. De Bibl. Cifficiently common occurrence : and I am not sure whether the appearance of such stiflf and stately penm.'jnship may not detract somewhat, in the estimation of the fastidious, from the received calligraphic reputation of the writer. At any rate, all SclioifFher's fame, however great, and once generally acknowledged, as a Calligraphist, becomes merged (to borrow a law phrase) in that of a Printer, On commencing the business of the latter, SchoifFher tells us, in the colophon of the Psalter of 1457, simply, that he was ' of Gemszheim :' in the colophopof the Durandus, 1459^ the surname of SchoifFher is omitted (apparently by mistake) and he describes himself ' a Clerk of the Diocese of Mentz :' in the Constitutions of Clement V. of 1460, he styles himself precisely as in the Psalter of 1457 ; 312 FOURTH DAY. an offer, which seems to have been readily accepted. Of the age, person, and dowry of Christina Fust (for that was the lady's christian name) I fear it were now in vain to make enquiries. We will however suppose that the husband obtained the consent of the lady, « nothing loth and that, on the day of their union, all ' happy constellations ' Shed their selectest influence.' It seems conclusive, I think, that the plans of Gutenberg and Fust, whatever they may have been, were fast advancing to maturity on the extension of their partnership ; and the Bible of \45b, and the Psalters of 1457 and 1459, are proud and imperishable monuments of the first fruits of the EARLIEST MeNTZ PRESS. Meanwhile, however, and perhaps before the completion of the Bible, Fust and Gutenberg quarrelled and separated. A law-suit was instituted by the former, on the non-payment of a sum of money advanced by the latter towards carrying on the expenses of their business ; and in the answer, ' put in' by Gutenberg, there seems to me to be an appearance of shuffling or evasion. The result was, the withdrawing of Gutenberg ;* and the entire surrender of all his right and while ill the colophon of the Bible of 1462, he resumes the distinction of ' Clerk of the Diocese of Mentz.' See Schoepflin's sensible note upon the word ' Clerk.' find. Typug. p. 30. Below this, it is unnecessary to pursue the enquiry ; yet we'raay observe that Schoiifher spells his name variously : as ' SchofFer,' (Psalter, 1457) ' Schoiffher,' (Bible, 1462, Constitutions of Clement V. 1467', Thomas Aquinas, 1467, 1469) ' Schoytfei-,' (Justinian, 1468, Valerius Maximus, 1471) and ' Schoiffer' (Bible, 1472). * The result was, the withdrawing of Gutenberg.'] Let us say a few words about the premises which led to such a conclusion. Ulric Zell told the author of the Cologne Chronicle, (printed in 1499) that ' in the Jubilee year, 1450, they began to print a Bible, in a large letter, like the type used for Missals.' Peter Schoiffher told Trilhemius, about the year 1485, that before the third quaternion (a quaternion is four sheets) or before twelve sheets were printed of this very Bible, they had expended not less than 400 [golden] florins.' Meerman thinks that this sum was consumed in the usual expenses of the office between 1450 and FOURTH DAY. 313 property, in the materials of the printing office, into the hands of Fust. After this, Fust and Schoiffher appear to have managed their business very cleverly and successfully. Gutenberg is said to have printed works by himself, to which however he was afraid or ashamed to affix his name ; and after the year 1460, withdrawing himself totally from business, he was admitted, with a pension, as one of the equeries of Alphonsus II. Elector of Mentz ; and is sup- posed to have died in that city about the year 1468. The materials of his press were purchased of Conrad Humery, one of the Mentz Syndics, by Bechtermuntze ;* and the 1455 — and that it was no ' unconscionable sura for procuring matrices and puncheons, and other necessary materials.' He alsd supposes, but apparently without authority, that this Bible was committed to press before the partnership commenced. See his luminous note in the Orig Typog. vol. i. p. 151, &c. Now for the ' result' — as stated on the united authorities of Seckenberg and Kohlers ; and of which Foumier has given a translation and Oberlin an analysis. See Fischer, p. 43. Mr. Singer, who is a very champion for Gutenberg, has thus fairly stated this result. ' The sums advanced by Fust to Gutenburg, under whose superintendance tlie establishment was carried into effect, having become very considerable, the result was a litigation between them : Fust instituting a process against Gutenburg for the recovery of 2020 gold florins, which he had fui-nished, and the interest accruing thereon. Gutenburg, in his reply, states, that the first 800 florins had not been paid him at once, according to the contract, and that they had been employed in preparations for the work ; that in regard to the other sums, he offered to render an account ; and he thought he was not liable to pay the interest. The judges, having taken the depositions of each party, Gutenburg was sentenced to pay tlie interest, as well as that part of the capital which his accounts proved to have been employed for his particular use. Fast obtained the record of this sentence from Helmasperger, the notary, on the 6th of November, 1455.' Enquiry into the Origin of Playing Cards, ^c. p. 156. The consequence was, a dissolution of partnership. Gutenberg was unable to discharge his debt, and ' was obliged to cede to Fust all the moulds, types, presses, and utensils, which were previously engaged to him as surety for the payment of the suras he had advanced.' The same. • materials of his press purchased— by BechtermuntzeJ] ' Bechtermuntze, the printer, purchased these types of Conrad Huraery, a syndic of Mentz, to whom the pi'inthig materials of Gutenberg had descended as a species of heir-loom, since he liad defrayed almost all the expenses attending the second establishment of the press of Gutenberg.' (Fischer, p. 51.) Bibl. Spencer vol. iii. p. 129. 314 FOURTH DAY. Vocabulary Ex-quo* (as it is technically called) of the dates 1467 and H69, were the fruits of this purchase: fruits, however, almost equally destitute of flavour and beauty. Philemon. Notwithstanding the correctness of your ob- servation respecting the backwardness of pronouncing judg- ment when the facts of a case appear few or vague, you seem to me, nearly throughout the whole of this narrative, to have delivered your sentiments with rather a strong pre- possession or bias against the pretensions of Gutenberg. What will Monsieur Nee De La Rochelle say to this treat- ment of his beloved typographical hero ? Lysander. Monsieur Nee De La Rochelle may say what he pleases ; and I choose to say what appears to me to be the more probable or reasonable inference. -No doubt I am open to animadversion, and perhaps deserve correction for an error :t but if such a bias, as the one you describe, seems to have given a colouring to the foregoing statement, let me add, in justice to my love of truth, that it is only from facts as they appear ' upon the record,' that I entertain the opinion attributed to me. Observe now, I entreat you. Here is, in * The Vocabulary ' Ex-gwo.'] * It is a very brief abridgment of parts of the Catholicon ; and, as Meerman has observed, is known by the technical title of the Ex-Quo Vocabulary — gathered from the first two words of the commencement of it, as follows : ' [E]x quo vocabularij varij autetici videlicz.' Adolphus, the Elector of Mentz, forbade by a decree the selling of this Vocabulary without the walls of Mentz. Ihid. It must be admitted that it did not carry, upon its own face, very strong letters of recommendation ! t open to animadversion, and perhaps deserve correction for an error.'] I beg leave to think and speak with Lysander ; particularly as, in the Classical Journal, no. VIII, and Typog. Antiquities, vol. i. p. Ixxxvii., I may appear to have enter- tained very different sentiments. The truth is, that an ingenious advocate may argue either side of the case — with almost equal appearance of correctness and chance of success ! Besides, we oftentimes see clearer at forty, than we do at thirty two, years of age! FOURTH DAY. 315 the first place, (and you must forgive a little recapitulation) a very restless and rather litigious gentleman. I put his birth, high or low, quite out of the question ; and the con- sideration of the treatment, whether good or bad, which he received at the hands of Conrad III., weighs not a feather with me. But, somewhere about 1420, Gutenberg leaves Mentz, the place of his birth, and goes to Strasbourg. In the year 1424 he writes to his sister,* upon the non-pay- ment of ' her rents and profits ' (bequeathed to her by their brother Conrad) to apply to her own uses 20 golden florins of his (John Gutenberg's) property, ' situate and being at Mentz and other places.' The only use of this letter (first discovered by Bodmann in the archives of Mentz) is, in the estimation of Fischer and Nee de la Rochelle, to shew that Gutenberg was not then a pauper, but had the means of erecting a press if it pleased him. We must consider the * In the year 1424, he m-ites to hh sister.'] As this is the first authenticated document of the composition of Gutenberg, the reader may be pleased with a translation of Oberlin's French version of the original German. It alludes to a previous letter received by Gutenberg from his sister. To the Worthy Religious Bertha, of the Convent of St. Clair, at Mentz: health, and friendly and brotherly wishes : Dear Sister, In respect to your observation of the rents and money, (bequeathed to you hjy our deceased brother, Conrad) not being regularly paid — and that at present veiy considerable arrears are due — I beg leave to inform you that you may apply to your own uses, and as in part-payment of such arrears, the sum of twenty florins (of gold), arising from mj' rents and profits, deposited, as you know, at Mentz and other places, with John Dringelter the wax-chandler, at Seilhoven with Veronica Meysteren, as Pedirmann will inform you ; also at Lorzwiller, at Bodenheim, and at Murainheym. I propose, God willing, as I hope to see you in a short time, to arrange this matter with Pedirmann, in order that your property may be quickly and legally made over to you. Let nie first have your answer to this proposition. Signed, Henne Gensfleiscii, surnamed SORGENLOCH. Strasbourg, Mar. 24, 1424. 316 FOURTH DAY. latter as a purely gratuitous remark. What follows ? About the year 1430, Gutenberg still continues at Strasbourg, notwithstanding Conrad had recalled many noble families to Mentz. .. And what does he do in that city ? Nothing. I beg pardon: about the year 1437, he commences lover, and becomes a husband — yet he cannot even marry without a law-suit !* He now perhaps bethinks him seriously of the art of printing, and engages in some kind of business with Andreas Dritzehen and others ; but upon the death of this latter, about the year 1439-40, he gets involved in another law-suit, with the remaining partners, and is again worsted ! The recorded depositions of Riffe, Heilman, and Dritzehen, respecting this law suit, are most material and interesting evidence.-f- Yet, in these depositions, the word ' press"" is so * cannot even marry without a law-suit.l I suspect there was something in the nature of a breacli of promise of marriage in this affair. At any rate, there was a quarrel ; and Gutenberg was brought before a judge, who probably told him that he must conduct himself like a man of honour, and keep his word. The sequel however of the litigation with Miss Iserin Th'ure, or Enneliu zu der herin Thure, is not exactly ascertained — ' cujus exitum (says Schoepflin) charta non docet.' ' Idem Gutenbergius a 1437. coram Judice Ecclesiastico litem habuit cum Anna, nobili virgine, cive Argentinensi, promissi, ut videtur, matrimonii causa;' &c. Vindic. Typog. p. 17. Yet a little further Schoepflin adds — * Gutenbergii conjugem eamdevenisse conjicimus !' Of course, the conclusions of Oberlin, and of other bibliographical writers — that a marriage did actually take place— can depend upon no other data than the foregoing. It is ascertained, as Schoepflin has remarked, that the name of Ennel or Ann Gutenberg appears upon the rolls of contribution in the city of Strasbourg. t the depositions of Riffe, Heilman, and Dritzehen — interesting evidence.'\ These depositions were first published by Schoepflin, from the original documents existing in the archives of Strasbourg. They have been since reprinted by Oberlin and Fischer, with a French translation; and recently by Mr. Singer, with an English translation-»-having the German subjoined, A portion of them was published, six years ago, in my edition of the Typographical Antiquities; vol. i. p. Ixxxvii. Before I introduce them, for the fifth time, to the reader's acquaintance, it must be remarked that Gutenberg had associated himself with John Riffe, Andreas Heilman and Andreas Dritzehen. The deed of partnership between them is, I believe, no longer in existence ; but the circumstances which FOURTH DAY. 317 indefinitely mentioned, and ' the four pieces,' of which the press is composed, are so inexpHcably introduced, that no kind of safe or solid conclusion can be drawn from such premises. led to it are summarily narrated by Sclioepfliii : upon which I choose to make a few observations, in the order in which that narrative is given. While Gutenberg was occupied with his new business at Strasbourg, Andreas Dritzehen importuned him, for the sake of the intimacy which had subsisted between them, to impart to him some of the secrets of the ' craft ' in which he was then occupied. The family of Dritzehen, for the thirty preceding years, is proved by Schoepflin to have been highly respectable ; and latterly to have been advanced to the senatorial dignity. ' Gutenberg (continues Schoepflin) moved by the entreaties of his friend, taught him the art of polishing stones ; from which he (Dritzehen) rpight derive no small profit.' Kiffe, at that time a judge, living beyond the Rhine, is also induced to become a partner in this concern — ' from which he miglit return from the next fairs, at Aix La Chapelle, loaded with wealth.' Antony Heilman, a friend of Gutenberg, pleads hard for the admission of his brother, Andrew Heilman, into the partnership. Gutenberg agrees; and a bargain is struck between them that Gutenberg should receive 160 golden florins as a valuable consideration. Note well, curious reader ; that all this trans- action is supposed to relate to the art, or business only, of polishing stones. Shortly afterwards, Dritzehen and Heilman keep a sharp look-out upon Guten- berg, whom they observe to be constantly occupied in other pursuits ; and to be making experiments of a nature very different from those in which they themselves had been taught. They claim a participation of the profits of these new expe- riments ; and ' the good Gutenberg,' consents ; but not without receiving another bonus, of 250 golden florins, of which 100 are paid down as ready money, and the remaining 150 are promised to be paid by future instalments. The whole is paid up within 85 florins ; when Andreas Dritzehen dies, and his brother George, being desii-ous of standing in the situation of the deceased, and being refused by the remaining partners, summonses Gutenberg, the principal, before the Strasbourg senate. The result is, the judges determine that, as Andrew Dritzehen, from his premature death, liad not received the full advantages of his contract, his heirs should be put in possession of 100 florins as a compensation for such loss ; but on Gutenberg's making it appear that 85 florins were yet due to him, according to the original contract, the court decrees that 15 florins only should be paid as the arrears due. There were 24 witnesses in favour of Dritzehen against Gutenberg, and 14 only in favour of Gutenberg against the plaintifi". The names of the whole are given by Schoepflin. Their depositions are, indeed, (as Mr. Singer well observes) ' too curious and interesting to be omitted but before the substance of them is submitted, I must take the liberty of making an observation or VOL. I. X 318 FOURTH DAY. In the second place, what is the amount of such evidence? Truly, nothing. Were the materials of this press of wood or of metal ? If of wood, whether with moveable pieces, two upon this ' partnership concern and upon the degree of ' mala fides ' attachable to either party. In the first place, it is quite clear that money and not friendship was the substratum of the union—in both transactions. When Schoepflin talks of Gutenberg being ' amici precibus Commotus,' we may, just as correctly, say, ' lucri odore commotus nor is this, of itself, discreditable to either party. Gutenberg had all the talent, without the pecuniary means of bringing it into play. He tells Dritzehen this ' polishing of stones' would be a lucrative thing, if it could be brought fairly into practice.' Dritzehen, and Riife, and Heilraan, join, and give him 160 florins as a douceur— for if Gutenberg could have succes«/"w% carried his experiments into efFect.itis but fair to suppose lie would have derived those profits from them which he pointed out to his part- ners as the chief stimulus for them to engage in the concern— and, in that case, he would not have stood in need of 160 florins. However, a contract is made— and what is the result ? How many mules, laden with bags of gold, return from the fairs of Aix La Chapelle ? In other words, what are the fruits of these lapidarian experiments? Not only do they appear to have been wholly unproduc- tive, but, shortly after Gutenberg's striking the bargain, he neglects his business and work-shop, and is detected in carrying on some different and ' mysterious' ex- periments. His lively genius, forsooth, cannot brook the control of one solitary pursuit— he must be ' omnigenus :' and here again he is lucky enough to find credulous, or unusually liberal-minded, supporters of his novel schemes. A new firm, under the same names, is established. ' Rescissa ergo societas vetus, & contraota est nova '—says Schoepflin. Another 250 florins of gold are offered to be given to the needy projector— and Riffe, Heilman, and Dritzehen suffer themselves to be again duped-^nd to kt their imaginations, for a second time, revel in dreams of incalculable and inexhaustible wealth ! Can it be possible, in the deposition of the witnesses presently to be adduced, that one man, of the name of Hans Dune, a goldsmith, should gain, through the means of Guten- berg, 300 florins ' merely for what concerned pruiting '—when the discoverer of this art, and the head partner in the concern, should become a bankrupt in conse- quence of unsuccessful experiments in the same !' This is surely very question- able. Let me however add that I consider the story of Gutenberg's journey to Harlem, and robbery of the materials of Coster's press, as utterly unworthy of credit. Secondly, as to the law-suit. It has been before observed that the deed of partnership no longer exists. If is also remarkable, that no provision should have been made in it to meet the contingency of death. But if the judges awarded any sum to be due to the heirs of Dritzehen, it is rather strange that that sum should not have been equally paid by the surviving partners, and not by Guten- FOURTH DAY. 319 or in solid blocks ? Nothing is known with certainty. But was any thing actually printed ? It is quite undiscovered. The best bibliographers agree, however, that the experi- berg exclusively. The exact date of the death of Dritzehen is not known ; but the court issued their decree on the 12th of December, 1439. In the prompt and total exclusion of the brother of a partner, so shortly dying after the esta- blishment of the concern— and who, during his life, does not appear to have received the least profit from either the first or the second establishment— there does seem to me, on the part of Gutenberg, to be a decisive demonstration of a selfish and impetuous spirtt ! — especially as the deceased had become surety for the payment of quantities of lead purchased by the defendant ! I speak of Gutenberg as being the liead partner ; and of having his associates in subser- viency to himself. It is Gutenberg too, only, who is cited before the court. Let us now, in the thu-d place, extract ' the pith and marrow ' of the depositions of the witnesses— as translated by Mr. Singer, p. 152, apparently from the French version of Oberlin : premising that these witnesses appear to have been actually concerned in the breaking up of the mechanism or component parts of what has been deemed Gutenberg's press. Suppose we call it a recapitulation of evidence. Anne Scultheiss mention component parts, or ' four pieces lying in a press :' ' to be taken out and separated' — in order to prevent any one from understanding their character and application. The husband of Scultheiss deposes to the same effect — adding, that these four pieces are to be taken out and separated ' upon the press :' in order to escape similar knowledge. Conrad Sahspach declares that Conrad Dritzehen ' made the presses '—that the pieces of which they were made were to be ' taken out and decomposed' — for the same object. Laurence Beildeck deposes that Gutenberg advised Nicolas Dritzehen ' not to shew any one the press that he had' — also, to open two screws which kept the press together, and then the pieces, of which it was composed, would separate of themselves ; and that these pieces, being laid within or upon the press, would prevent discovery of the nature of the piece of mechanism. Beildeck further deposes that Gutenberg sent ' for forms' ' to be recast' — under his eye: afterwards, witness, at the express injunction of Gutenberg, sends his own servant to ' decompose the press.' Tlius the press is made to consist of four pieces, held together by two screws. Beildeck only deposes to the screws. Anne Scultheiss says, these pieces ' lie in -the press :' her husband adds, that after being separated they were to be placed ' upon the press.' Sahspach describes Conrad Dritzehen as the ' maker of the presses.' Beildeck talks of the pieces being laid ' within or upon the press'— and is the first to mention ' fonns ' as well as ' screws.' From this obscure, and^ somewhat contradictory evidence, it seems to me that no safe or perspicuous charge could be made to a jury of typographical antiquaries ; and that a motion for a new trial, upon a misdirection of the judge, could not fail to take place. And here I must indulge myself in the impassioned eloquence of Monsieur N6e De La Rochelle, and declare—' Je suis I'ami de la verity, et fort peu susceptible 320 FOURTH DAY. merits were not made with metal or Rustle types : and it is most material to keep this fact constantly in view. Fischer thinks they were purely xylographical efforts ; or confined to blocks of wood. The unhappy Gutenberg again becomes involved in diffi- culties ; * is again compelled to pay a sum of money ; and de prtjuge sur des choses qui se sont pass^es depuis si long terns ; c'est pourquoi j'avoue de bonne foi que je ne vois pas clairement dans les depositions de ces temoins, des caracteres mobiles, soit de bois, soit de m^tal; mais j'y trouve des formes ou pages, des vis, des 6crous, par consequent un chassis quelconque, et enfin la presse, ce qui est deja beaucoup.' Eloge de Gutenberg, p. 33. There appears in truth more of eloquence than of logic in this observation ; for of what could the forms or pages be composed, but of materials of wood or of metal ? To say that certain square pieces, divided into compartments of four or eight, could, of themselves, give any man a notion of a printing press, is, to my humble appre- hension, quite absurd : for it is the application of the component parts of those very pages which constitute the mystery or miracle of the discovery. Again : when, according to Fischer, (p. 35, note 40) Andreas Dritzehen is said to have ' looked carefully after the lead, and other things thereunto appertaining,' we are not from hence to infer that this had an exclusive reference to the materials of a press ; for it might have been connected with Gutenberg's occupations in pre- paring glass. Schoepflin, on the contrary, thinks that this ' lead' was applicable exclusively to Gutenberg's press : ' among the expenses (observes he) necessary for carrying on the typographical art, mention is made of lead ; hence we must believe that engraved characters of metal were first used at Strasbourg, and afterwards converted into fusile-metal types by Schoeffer at Mentz.' Vind. Typog. p. 23. Thus doubtfully do their researches terminate ! * again becomes involved in difficulties.'] ' On ignore meme quel tems dura cette soci6t6 apres le jugement du proces dont nous venons de parler, si elle eut une ou deux annees d'existence ou cinq, ce qui nous conduirait jusqu'au depart de J. Guttenberg pour Mayence. Mais soit qu'elle ait pris fin avant cette ^poque, soit qu'il fallut de nouveaux fonds pour suivre les travaux typographiques entrepris avec Jean Riffe et Andre Heilmann, il est certain que notre Guttenberg reparait dans un acte du mois de Janvier, 1441, comme d^biteur d'une somme de cent livres, argent de Strasbourg, envers le chapitre de Saint-Thomas de cette j,ville ; et qu'au mois de D^cembre 1442, il vendit au m^me chapitre ses revenus sur la ville de Mayence, deduction faite de I'argent qu'il avait recu du meme chapitre dans rann6e precedente.' Eloge, ^c. p. 37-8. Schoepflin, p. 24. Monsieur N6e De La Rochelie adds (at page 53) very justly—' in all the aboivementioned acts, one does not exactly comprehend what Gutenberg was doing from the year 1439 to 1450.' The conclusion that ' he never lost sight of FOURTH DAY 321 retires a second time to Mentz — a ruined and a desperate man ; without having estabHshed the success, or proved the utiUty, of his newly-invented art : for if it had been matured, or hkely to be productive, he would not have wandered to Mentz, leaving RifFe and Heilman to keep their carriages and country-houses (as they probably would have done) from the lucrative trade of a printer ! At this juncture, and in this dilemma, he meets with John Fust —not a bookseller, nor a conjuror, but a goldsmith* — and a man of talent and his favourite project of printing,' is purely gratuitous. ' There is little doubt therefore (observes Bowyer) that all G utenberg's labours at Strasburgh amounted to no more than a fruitless attempt, which he was at last under a necessity of relinquishing ; and there is no certain proof of a single book having been printed ill that city till after the dispersion of the printers in 1462,' &c. Origin of Printing, 1776, 8vo. p. 96. Mallinkrot is cautious in deciding absolutely for Gutenberg : ' Ha3C de Giitenbergio mea opinio est, cui tamen non ita velira pertinaciter iiihaerere, vt cum quopiam desuper controuertere opus liabeam,' See. De Ortu, <|-c. Art. Typog. p. 79, edit. 1640. * John Fust —not a bookseller, nor a conjuror, hut a goldsmith.] Naude is the only one, T believe, who ever called Fust a bookseller ; for which Marchand has properly corrected him. Hist, de I'Imp. pt. ii. p. 84. The latter writer, in his very interesting and truly curious Diction. Historique, &c. has justly shewn the absurdity of confounding Fust, the printer, with Faust of Kundling, or Knitling, the supposed magician :— vol. i. p. 249, note a. The letter of Diirrius (first published in the Amcen. Literar. of Schelhorn, vol. v. p. .50-80) and the Collec- tanea of Sulcerus (first published in 1.562, again in 1582, 8vo.) upon the subject of this typographical magician, are whimsical and diverting enough ; and have been gravely relied upon, by some writers upon the art of printing, as containing matters of fact. See Palmer, p. 88 ; but the curious reader must be aware of various publications in the German, French, and English languages, relating to the ' damnable Dr. Faustus.' See Marchand, note d. Not, however, that a certain Dr. Faustus, a reputed magician, is altogether a non entity ; for the Rev. Dr. Marsh, the present Lady Margaret Professor of Divinity at Cambridge, observed to me that, during his residence hi Germany, he had seen the cellar from which Faust is supposed to have been propelled, or carried upwards, while sitting across a barrel ; and that there is a representation of this subject, cut in stone, over the entrance into the cellar. Schoepflin has devoted a pithy note to the refutation of Fust's being a magician ; laughing at the absurdity of La Caille (p. 12) upon this subject. There was indeed a conjuror of the name of Faustus, who practised his necromantic tricks throughout the whole of the Dutchy of Wirtemberg in the x vth 322 FOURTH DAY. property. It seems (but it is a gratuitous observation) that on Gutenberg''s establishment at Mentz, he continued his trials of printing in wood ; and a lucky incident perhaps having obtained Fust a sight of these experiments, that generous and active man devoted his time and his wealth to give the discovery every possible degree of perfection and extension He lent Gutenberg money ; but, before this, he had most probably associated himself with SchoilFher ; and on a discovery of the superior talents of the latter, threw before him the temptation of the hand of his own daughter century ; as Bierliug, in Pyrrhonism. Histor. has clearly shewn. This man^ (to whom Dr. Marsh alludes) whose real name was Sabellicus, was once extremely troublesome to the good Trithemius, (of whom in the next note) when be was returning trom the Marquisate of Brandenberg towards Gelnhausen, and whom he calls ' Faustus iunior, fons necromanticorum, astrologus, magus secundus, chiromanticus, agromanticus, pyromanticus, in hydia arte secundus.' Trithem. Epist. Fam. 1536, 4to. fol. 312. The Abb6 St. Leger calls him ' un impudent frippou.' Supplement ait, Marchand, p. 11, edit. 1775. ' Paullo majora canamus.' Salmuth, according to Daunou, says that Fust was the real inventor of the art of printing. ' As for Gutenberg, he was only an opulent and avaricious man, who, in the hope of gain, associated himself with Fust, and was afterwards faithless to his engagements.' Analise: see Lambinet, vol. i. p. 378. This is carryuig matters rather too far ; but our Palmer (a slippery writer!) is yet more unceremonious in his treatment of Gutenberg. General History of Printing, p. 87. Melchior Adam is undoubtedly very pointed both in his encomiums upon Fust, and in his attributing to him the honour of the invention of the art of printing. Vit. Germ. Philos. 1706, folio, p. 1. Erasmus, in the preface of the Livy published at Mentz in 1519, folio, speaks exclusively of Fust being the inventor ; but Erasmus was of too excursive a spirit, was too ' merry a soul' to allow us to receive his testimony, in these matters, as the result of diligent and careful research. Molinettus, in his ' Historia de Fatis Literarum,' (as alluded to by Morhof, Polyhist. Literar. vol. i. p. 730, edit. 1747) is pleased to quote the authority of the Bishop of Aleria in his preface to St. Jerom's Epistles, of the date of 1468, as corroborative of Germany being the cradle of the art of typography; but a glance of that interesting preface, in the ' Pauli II. Pont. Max. Vita, Roma, 1740, 4to., p. 135, will prove this inference to be as applicable to Fust as to Gutenberg. The authority of Naude, however, may be adduced in support of those who think that, without Fust, the experiments of Gutenberg would have availed nothing. FOURTH DAY. 323 in marriage * Hence the great works of the Bible the Psalters, and the Durandus. I shrewdly suspect that the father-in-law and the son in * superior talents of Schoifflier, and his marriage with Fust's daughter.'] The amusing Marchand has thus expatiated upon this subject : ' Mais Schoiffer, homme adroit, etd'un esprit subtil et inventif, aiant profoiidement medite sur ce sujet en son particulier, le tourna et retourna de taut de fa9ons, qu'enfin il s'avisa de tailler des poin9ons, de frappcr des matrices, de fabriquer et juslifier des moules, et de fondre ainsi des lettres mobiles et s^par^es, dont il put a son gr6 composer les mots, les lignes, et les pages entieres, dont il auroit besoin ; en un mot, de dresser tout I'attirail necessaire pour former des caracteres tels que ceux que nousavons toujours vus depuis : et il se rendit ainsi 1'Inventeur et le Pere de la veritable et reelle Imprimekie. II decouvrit aussit6t a ses maitres cette nouvelle et ingenieuse manier de tailler, frapper, fondre, arranger, et iraprimer des caracteres : et Fust fut si charm6 d'un alphabet complet que Schoiffer leur en presenta. que, pour I'en recompenser, il lui donna sa fille en mariage, et I'associa avec lui. Hist, de I'Imjrrimerie, p. 19, 20. Let us now see upon what basis these lively inferences are built. The first authority, both in point of weight and of antiquity, is that of Trithemius ; a Benedictine monk of unquestionable talents and integrity, and to whom Fabricius (in his Bibl. Med. et Inf. jEtat.xol iv. p. 154, edit. 1754, (takes oflf his hat with all the devotion of a pupil, and all tlie enthusiasm of an antiquary. Brower and Possevin (see Jugewens des Savans, 1725, 8vo. vol. ii pt.i., p. 70-3.) affect to weaken his testimony, but Baillet defends him with considerable adroitness. His evidence has been in part before adduced : see p. 322, ante. Trithemius died in 1516, having nearly attained his 55th year; and having completed his Annales Monasterii Hirsavgiensis (or Annals of the Hirsaw monastery) in 1514. The same monastery (in the diocese of Spire) had furnished a chronicle, alsq incorporated by Trithemius, from the year 830 to 137Q, which, with the con- tinuation by Trithemius, was first printed at Basil in 1559 folio. This chronicle, after supplying the materials for various publications, noticed by Fabricius, (IbU.) came forth, a second time, in print, under the editorial care of Mabillon, at St. Gall, in 1690, folio. It is so scarce hi this country, that I believe not three copies of it are known here. The lover of bibliographical gossipping will do well to consult the viith volume of Schelhorn's Amoenitat. Literar. p. 123-5. for a pleasuig notice of it : wherein we find our Francis Junius to have played rather a slippery trick with some short-hand scribbling of Trithemius. Nor mtiSt the same reader omit to ramble somewhat in the Historia Bibtioth. August. Hist, of Burckhard, 1746, 4to. pt. i. p. 68-72. where there is an interesting account of Trithemius. To return to the Annales, &c. In this valuable work, the worthy monk relates a piece of intelligence which he had received from Schoifflier himself, about the year 1484-5--which has been in part before narratt;d : and to III Ii iiiniliiiiiiilMhi fi 324 FOURTH DAY. law, apart, voted Gutenberg to be rather a puzzle-headed man ; and probably not of a very placable or kind-hearted disposition ; for in the law-suit instituted by Fust against which Trithemius adds : ' This Peter Schoiffher, before mentioned, first the workman or servant, and afterwards the son-in-law, of Fust, an ingenious and judicious man, discoverecf a more easy method of founding or casting types, and thus perfected the art in the state in which we now practise it.' I wish it were in my power to bring forward any notice of Schoitf her's conversation, from the letters of Tiitheraius ; but a copy of an early edition (1536, 4to.) of these inte- resting epistles, carefully perused, has not enabled me to throw additional light upon the subjeet. However, to the preceding well-known evidence, is added that of the colophons of the Compendium de Ong. Regum. et Gestis Francorum, 1515, folio, (a sorry work ! see Bibl. Hist, de la France, vol. ii. no. 15363) and Breviarium Ecclesitz Mindensis, 1516, 8vo. 2 vols. — each compiled by Tritliemius, and printed by John Schoifllier, son of Peter. These authorities, especially that of the Annales, See, have been mentioned again and again, by bibliographical writers, from the time of Chevillier (p. 4) to that of Fischer (p. 37). Chevillier would necessarily be among the first to notice them. But Bergellanus, in poetry, and Salmuth, in prose, (as quoted by Marchand in his Hist, de I'Imjnim. p. 19), are also not less decisive in their testimonies of the talents of Peter Schoiffher : as indeed are numerous other writers of a later period. Among these, I choose to notice only Monsieur 'Gotthelf-Fischer, Professeur et Bibliothecalre a Mayence,' in his ' Essai sur les Mojiuments Typographiques de Jean Gutenberg ; so often before quoted. At page 40, he thus observes : ' Schoffer perfectionna, il est vrai, la fonte des caracteres ; mais ceux qui ont une idee de cet art et de celui de la gravure se convaincront facilement que ces deux arts, encore a leur naissance, purent recevoir plusieurs ameliorations dont le m^rite est infininicnt subordonne a celui de I'mvention.' This double-faced attestation merits severe censure ; and the conclusion seems to be, or rather, the author wishes the reader to conclude, that although Schoiifher invented the matrices, (which he admits a little before) yet, that invention was only, as it -were, an improvement of a previous discovery ; and as ' he who comes after must follow,' so the claims of SchoifiTher must be considered as subordinate to those of Gutenberg ! This is as false in point of fact, as it is inconclusive in regard to reasoning. Does Monsieur Fischer forget THE Psalteh of 1457? — ' une production miraculeuse' — as Mons. Nee De La Rochelle (p. 75) rightly calls it. If he does, let liim read Fournier's animated eulogy upon it, in his Dissertation &c. 1758, p. 45-7— and De L'Origine, &c. 1759, p. 231-4 — confirmed by Meerman, vol. i. p. 11-12. Will he call this' mira- culous production' an ' amelioration ' only of the mvention of Gutenberg?! .... Nor, as I hope by and by to prove, can I consent to his claiming for Gutenberg the honour of having either designed, or cut upon metal, the capital letters with which tliat glorious volume is so luxuriantly adorned. FOURTH DAY. 325 Gutenberg, which terminated in the defeat of the latter, Gutenberg has the meanness to allege, against a charge of the first 800 florins advanced by Fust, in the furtherance of In the second place, respecting the marriage of our typographical hero witli the daughter of his Master. The earliest evidence of this union is to he found in the colophons of the Compendium and Breviarium, &c. above mentioned : the latter colophon being a reprint of the former. The first of these colophons has been noticed by numerous bibliographers ; and, among various others, will be found in the works of MaicheUns (De Bihl. Paris, p. 69.) Schwarz (Prim. Doc. Be Oi-ig. Typ. pt. i. p. 22.) Struvius (Introd. in Notit. Rei Lit. Edit. Fischer, 1754, p. 952); Marchand (pt. ii. p. 9) ; Meerman (vol. ii. p. 146); and Panzer (vol. vii. p. 409): it being extraordinary that Maittaire (vol. ii. p. 266, 279,) sliould here appear to have been unacquainted with their importance. The material part of these colophons, connected with our present enquiry, is, that ' the work of printing was effected or completed at Mentz, chiefly by the labour and numerous inventions (or experiments) of Peter SchbflFer of Gernsheim ; a servant, and afterwards an adopted son, of John Fust ; who, as a reward for his numerous labours and experiments, gave the former his daughter, Christina Fust, in maiTiage.' Eowyer, in his ingenious essay on the Origin of Printing, p. 91, says that Schoifflier ' privately cut matrices for the whole alphabet ; and, when he shewed his master the letters cast from these matrices. Fust was so pleased with the contrivance, that he promised to give him his only daughter Christina, in marriage ; a promise which he soon after performed. ' MalUnkrot, one hundred and thirty years before, had judiciously observed : ' Certe matrices, quee fun- dendis typis seruiunt, Schoefferus excogitauit, quod comentum vti prsecipuum totius artis mysterium continet, et in tuto demum post multos et varios exant- latos labores et expensas factas illam coUocauit, ita ab exultante Fausto herilis filia; matrimonio remuneratum est.' De Ort. et Prog. Art. Typ. p. 80 ; and Mr. Willet sensibly remarks : ' if Schoetfher's happy genius had not discovered the art of casting matrices, and cutting punches, the art nmst have remained imper- fect and barbarous.' Archaeologia, vol. xi. p. 309. Meerman, vol. i. p. 183, is quoted by Bowyer ; but the better authority is, the Latin translation, by L. Klefekerus, of the German original, ' Relation of the Origin of Printing taken from the Documents belonging to the family of the Fusts of Aschaffenburg—^s given by Wolfius in tlie Monument. Typog. vol. i. p. 452-485. Wolfius is not quite certain of the author of this narrative, which appears to have been drawn up about the year 1600 ; but he rather thinks ' it was the son of John Frederick Fust: because the author declares that he collected everything which his late father, either traditionally, or by personal knowledge— either from oral or written evi- dence—had been able to bring together.' See Wolfius's copious and interesting note at p. 452-4. The result is, there cnn be no doubt of Schoiffher's having fairly earned the 326 FOURTH DAY. their mutual plans, that they were not advanced ' all at a time !' The court thought Fust an injured man, and awarded restitution of money or of property. A dissolution of partnership immediately took place.* The locomotive splendid reward which he received at the hands of his master ; and I would willmgly hope that both the parent and the daughter shewed equal demonstra- tions of satisfaction — on the auspicious day of their union! As Desdemona forgot the soot3' complexion of her brave Othello, in the tales which he told of encountered dangers, and ' hair-breadth escapes,' so, I ween, Christina Fust was wholly unconscious of the raven-tinted skin of Peter Schoiffher (for a workman- printer must be wholly divested of a lily tint) in the contemplation of the beau- tiful and truly marvellous works which his mechanical talents produced. In truth, I cannot conceive any thing more likely to win the heart of an ingenious young lady, than the manifestation of sucli extraordinary talent. Oh, for the assurance of the very copy of the first Psalter, which the impassioned printer laid, upon a velvet cushion, at the feet of his admiring mistress ! Were the couple, however, married before, or after, the year 1 457 ? It is uncertain : but it is well con- jectured, in the Journal des Savans, 1741, p. 72, that, as in the colophon of the Bible of 1462 Schoiffher is only called ' Clericus,' and in that of the Offices of Cicero of 146.5, he is called ' Puer,' so it should seem that the marriage did not take place till in the intervening period of these dates. See the Ahh6 de St. Leger's Suppl^nent au Marehand ; p. 5-6, 1775, 4to. This much however is quite certain and indisputable : that, on this very day, and within a few hours of the writing of this note. Prince Li:opot,d of Saxe Coburo,' led to the Hymenijal altar' (to borrow the felicitous phraseology of the 'Morning Post') the Princess Charlotte of Wales — and that is, (in case all other depositions should be burnt !) on the second day of May, in the year of our Lord, 1816. * dissolution of partnership immediately took place.} The law-suit has been before mentioned ; see p. 324 : but on ' this dissolution of partnership,' the feelings of Messieurs Fischer and N6e De La Rochelle are wrought up to the most painful pitch. ' Encore (says the former) un proces qu'eut a soutenir I'inventeur de I'imprimerie et cette fois-ci ce fut I'ingratitude la plus noire qui le lui suscita. A quelles reflexions desolantes ne se livre-t-on pas, lorsqu'on reflechit que presque tous ceux qui out eclaire les hommes ont ^te en butte (these two words — ' en butte ' — were the first of those used in the epistle of Napoleon Buonaparte to the Prince Regent, when the Emperor sued ' in form^ pauperis') a leurs persecutions.' p. 42. Several years ago, I had written in pencil, upon the margin of my copy of Fischer's book — opposite the passage just extracted — ' Flourish of Trumpets and I see no reason why this ' flourish of trumpets' should now be expunged. . . . But for Monsieur N^e De La RocheUe— ' Le pauvre Guttenberg joue le r61e du navigateur malheureux, qui enfin louche au FOURTH DAY. 327 genius (or ' roving character,' as Mr. Willet calls it) of Gutenberg again disposes him to travel, and to mend his fortune ; and the press of Fust and Schoiffher becomes dis- tinguished through Europe by the magnificent publications before noticed. In the third place, my good friends, what absolute proofs have we that Gutenberg ever 'printed a hook ? * Where does port apres divers naufrages cons^cutifs, p. 81— and this ' dissolution ' was one of these ' shipwrecks !' Again I say ' Flourish of trumpets !' . . . I am well aware that Arnoldus Bergellanus, in his metrical panegyric upon Chalcography, gives rather a direct decision in favour of Gviten berg—respecting this quarrel and breaking up of partnership — Non tulit iniustas mens Guttenbergica rixas ; Testatur superos foedera rupta deos. but this testimony did not appear till the year 1541, and poetry is not the most unexceptionable vehicle of truth. Consult Struvii Introd. in Rei. Lit. Not. Edit, Fischer, 17 54, p. 954 : borrowed however from Mallinkrot, p. 77. Yet we must remember that the same Arnoldus Bergellanus (of whose work see also Spoerlius, Notit. Insig. Typog. p. 41) had thus chanted the praises of Schoififher : Sed quia non poterat propria de classe character ToUi, nec uariis usibus aptus erat, Illis succnrrit Petrus Cognomine Schaeffer Quo vix caelando promptior alter erat Ille, sagax animi, praeclara Toreiimata finxit. Quae sanxit Matris nomine posteritas. &c. &c. &c. The curious poem of Bergellanus is printed entire in Wolf's Mm. Typ. vol. i. p. 13-40 ; but in a more recommendatory form, and with preliminary pieces, by Marchand, in his Hist, de I'Imprim. pt. ii. p. 18-33. It was after this dissolu- tion of partnership, that the pretended journey of Gutenberg to Harlem is sup- posed to have taken place—a circumstance wholly divested of truth, and treated '^■ith proper ridicule by Mercier, SvppUment, &c. p. 15. I trust and hope that I am among the last of human beings to put my foot upon the neck of a falling creature— or to indulge in asperities for the mere sake of opposition ; but, after this picture of Gutenberg, which a love of truth only has compelled me to draw, I really and conscientiously believe that all our pity and admiration should be reserved for Fust, and not for his capricious and puzzle-headed associate. * jyimfs that Gutenberg ever printed a book ?] I quote with satisfaction the 328 FOURTH DAY. his name appear ? In what colophon ? In what pubhc act ? Yes ; I know full well that in a deposition, or rather agree- ment, between Gutenberg, his brother Friede Gensfleisch, ' sober words' of Monsieur Nee De La Rochelle. ' Je ne dirai pas ici d'une nianiere tranchante quels out ete les premiers livres qu'il fabriqua, puisqu'aucun ne porte son nom, I'indication du lieu, ou de I'annee de leur execution,' p. 55-6, Let us therefore tread cautiously upon ground which presents so treacherous a surface : but let us not withhold from Gutenberg any evidence which may tend to substantiate the fact so strongly doubted by Lysander. In the year 180], Fischer published a curious document, discovered by Bodraann, relating to the books which Gutenberg is actually supposed to have printed. This document concerns his sister, in the convent of St. Clair, and liis brothers, and is dated 1459. It was reprinted by Oberlin with a French version; wliich French version Fischer again published in his Monumens Typographiqiies de Gutenberg, 1803, 4to. p. 46. The material passage is as follows : Vnd vmh die bucher, die ich Henne obgen. gegeben han zu dcr Liberey des vorgen. Closters, die szoUen beliben bystendig vnd ewiclichen by derselben liberey, vnd sal vnd will ich Henne obgen. deme selben Closter in ire liberey auchfuHers geben vnd reichen die bucher, die sie vnd ire Nachkom- men gebruchent zu geistlichenfrommen werken mid zu irme Godesdinst, es sy zum lescn zinn singen, oder wie sie daz gebruchent nach den Regelen irs ordens, die ich Henne vorgen. han TUN TnUCKEN, nil, ODER FURTEUS TKucKEN MAG, uls fcrre sie der gebruchens, ane geuerde, &c. It must be admitted that this is very strong and positive evidence of the printing of books by Gutenberg ; but I own myself to be at a loss to connect it with any previous work of which Gutenberg is the reputed author : unless, indeed, we conclude the Bible of 1450-5, to be tliat previous work. But this is unques- tionably a production of metal and fusile types ; and Gutenberg, by his most strenuous supporters, is allowed to have, himself, only worked with blocks of wood. It follows, therefore, that Gutenberg could not have alluded to this Bible. And the same conclusion must be drawn in regard to the Psalter of 1457. However, Melchior de Stamhain, the XLth Abbot of the monastery of Udalricus and Afra, Et quant aux livres que moi, Henne susdit ai donn6s a la Bibliotheque du convent, ils doivent y rester toujours et a perpetuite, et je me propose, moi, Henne susdit, de donner aussi sans fraude a I'avenir au dit Couuent pour sa Bibliotheque a I'usage des religieuses pr6sentes et futures, pour leur religion et culte; soit pour la lecture ou le chant, ou de quelle maniere elles voudront s'en servir d'apres les regies de leur ordre, les livres que moi, Henne susdit, ai DEJA iMPRiMES a cette licure, ou que je pourrai imprimer a I'avenir, en tant qu'elles voudront s'en servir. FOURTH DAY. S29 and their sister (a nun of the convent of St. Clair), of the date of 1459 — the former agrees to give to the hbrary of the said convent, ' all such books as he had already printed, or might in future print' — but was this a hella mensogna? Was it a mere flourish? For why not specify the books printed ? They could not have been numerous ! It is un- doubtedly a very strange and unprecedented circumstance, that a man, by whose genius and enterprise the art of printing with metal types is supposed to have been dis- covered and exercised, should, in the very fruits of such * genius and enterprise,' studiously have withdrawn his name: and further — should, quietly and without any re- monstrance whatever, suff'er the names of his partners exclusively to come before the public ! ? There is something, to say the least, most strange and unaccountable in all this. I am aware that no printer's name appears to the Bible of the supposed date of 1455 ; and that the types, with which that work is executed, are rarely seen again till towards the year 1480 :* but the suppression of the name of Fust does is reported ' to have enlarged the library, and increased the number botli of printed books and MSS. : and that the monks might feel an additional stimulus towards literary pursuits, and thus shun the mischievous ennui of a monastic life, he (Melchior de Stamhain) introduced the art of printing into the said monastery, which had been lately discovered by Gutenberg.' This is mentioned by Struvius (Not. Hist. Lit p. 950, edit. Fischer) on the authority of Bernard Hertfelder, in his description of the same monastery, p. 181. Of the chronological weight of this evidence, I am unable to say any thing ; as neither Gesner, Morhof, nor Fabricius, vouchsafes to notice the labours of ^ Hertfelder. We have a Bernard, ' Abbot of the Cold Fountain,' and another Bernard, ' Abbot of the Hot Fountain,' in Fabricius ; but nothing of ' Bernardus Hertfelder.' * types, with which that ivork is executed, are rarely seen again, (|-c.] That the reader, in the first place, may have something like a correct notion of what these types really are, let him throw his eye upon the Bibl. Spcnceriana, vol. i. p. 4 ; vol. iv. p. 39. Schwarz, who was among the first to describe the Bible to which they are attached, calls them Missal Types; or types with which Missals are 330 FOURTH DAY. not so much affect that ancient printer, as his name appears decidedly in the year 1457, and twice in the year 1459 : whereas the name of Gutenberg is no where discoverable in ancient colophons — or, rather, the only manner of allusion to him, in such a document, is in the colophon of the Institutes of Justinian, of the date of 1468,* by Peter Schoiffher; wont to be printed, Primaria QtuEdam, df-c. pt. ii. p. 4, &c. The expression, no doubt, is too general ; as Missals are executed in various founts of letter : but when Schwarz, afterwards, explicitly declared that these types ' appear to him as large as those of the Psalter of 1457,' Foumier is abundantly justified in observing that, ' if that were the case, the Bible which Schwarz saw would have extended to 12, rather than to 2, volumes.' De I'Origine, <^c. 1759, p. 199. The Abbe Rive, therefore, is wholly unjustified in his attack upon Fournier — in defending the remark of ' missal types,' by observing—' conune si le caractere de ces Bibles avoit besoin, pour porter le nom de caractere de Missel, d'en avoir la grandeur, et s'il ne lui suffisoit pas simplement d'en avoir la forme.' Chasse aux Bihliographes, p. 108. It has been shewn that Schwarz particularised, or qualified, his first observation; and the question of ' size' or * form' no longer obtains. The ' Agenda Ecclesi* Moguntin-e' of 1480 Csee Bihl. Spenceriana, vol. iii. p. 146) is, I apprehend, the work particularly alluded to by Lysander, as containing a late specimen of the types now under discussion. * colophon of the Institutes of Justinian, of the date o/"1468.] The verse, in the colophon of this impression is as follows : Quos genuit ambos vrbs magutina iohe's. The 'two Johns' are usually thought to be John Gutenberg and John Fust. Consult the authorities referred to in the Bibl. Spenceriana, vol. iii. p. 402, &c. But there is another ' John ' — an associate of Gutenberg or Fust — who possibly might have been here alluded to. Sebastian Munster, (Cosmog. lib. iii. c. 180) says that Gutenberg ' associated himself with two other citizens of Mentz, namely, John Fust and John Medimbach.' See Wolfii Monument. Typog. vol. i. p. 460: and the authority of Mentelius, in vol. ii. p. 296, note x. Melchior Adam, in his Vitce Germunor. Philosophor. p. 1, admits that this conclusion has been drawn. Marchand says the same thing ; but allows that ' we have no book to which the name of John Meydenbach appears.' Hist, de Vhnprim. p. 49, &c. The Abb6 St. Leger, in his Supplement to Marchand, edit. 1775, p. 30, has committed an error in substituting the name of John, for that o{ James, Meydenbach — as the printer of certain works; and the omission of the name of John, in Panzer's Ust, vol. v, p. 518, seems to confirm the conclusion of Marchand : yet James, who was related to the former, unques- tionably executed two works. See Panzer, vol. v. p. 514 ; and Marchand and FOURTH DAY. 331 who, on the death of his old partner, may be supposed to have shewn this charitable feeUng towards his memory. It is certain that no good disposition was manifested towards him, while alive, by either of his associates : possibly from a conviction that he ^had not demeaned himself hke a wise or a worthy character. In the fourth and last place (for I told you I should be somewhat tautologous) consider what is the typographical appearance of those books which Gutenberg is really sup- posed to have executed. It is quite unique. A little barbarous, and certainly wholly dissimilar from any thing we observe in other contemporaneous productions of the Mentz press. You will please to understand that I think very doubtfully of the Donatuses, which are considered to have been printed by him ; * as well as of the Speculum Leichius, as referred to by Mercier. Schelhorn is quite determined upon the ' two Johns' denoting Gutenberg and Fust. ' Per duos hos Johannes Fustum & Gutenbergium indigitari, quilibet facile, me non monente, videt.' Amcenit. Literar. vol. iv. p. 303, note (a) Meerman had a whimsical notion : he thought that there was a senior and a junior Gutenberg — the former a workman of Coster, the latter the hero under discussion. Orig. Typog. vol. i. p. 176, &c. Monsieur N6e De La Rochelle properly corrects this error. Eloge, <§~c. p. 84. * doubtfully of the Donatuses considered to have been pnnted by him..'] A nameless and dateless Donatus is a favourite subject of bibliographical controversy. But what does the reader thmk of an edition of Donatus, printed in the character of the Bible of 1455, in the colophon of which the name of Schoiifher is expressly mentioned ? — thus : Explicit donatus. Arte noua imprlmendi. seu caractcri- zandi. per Petrum de gemszheym. in vrbe Moguntina cii suis capitalibus absque calami exaratione effigiatus. This precious fragment (for such only it is) was found in Germany, in the cover of an old book (as was the edition of the Distichs of Cato described in the Bibl. Spenceriana. vol. iv. p. 474) and is deposited m. the Royal library at Paris in 1803 ; after Fischer had published his Eloge, &c. The discovery is due to the accurate, the zealous, and indefatigable Mons. Van Praet. A fac-simile of the above colophon, together with a description of the entire fragment, is given by Lambinet, b his first volume, p. 104-5. This is equally important and conclusive. 332 FOURTH DAY. Sacerdotum, and Celehratio Missarum: concluding the Catholicon of 1460, and the Vocabularies of 1467 and 146.9, to be the more genuine productions of his press, or of the In the first place, it may go to prove that SchoilFher was really the printer of the Bible of 1455. In the second place, if the language of the above colophon be compared with that of the Psalter of 1457, it shews clearly, I submit, that this Donatus was a very early effort of the art of printing — with metal types — perhaps the Jirst effort ? — as Sweynheym and Pannartz chose the same work for the first trial of their own press. In the third place, it shews that a fac-siraile of the same characters, belonging to an edition of Donatus, gratuitously given by Fischer to Gutenberg — may as well be a fac-simile of this very edition by Schoiffher — since the name of the printer is not found in the edition selected by Fischer!? In the fourth place, Lambinet has proved that it is this very edition by SchoifFer. Away, then, with one of the stoutest props which support the hypothesis of Gutenberg's having printed various editions of the Donatus ! In the fifth place, Mons. Van Praet's discovery, published by Lambinet, teaches us a very useful lesson. Mons. Nee De La Rochelle, in his account of the Guten- bergean Donatuses, begins first by admitting that it is difficult to demonstrate, satisfactorily, the four editions of Donatus, published by his typographical hero. Afterwards, when he comes to grapple with these very editions — ^iu speaking of Schoiffher. — he admits that ' it appears certain, nevertheless, that P. Schoyffer published a Donatus — and how, mathematics-or logic-loving reader, dost thou think this * certainty' appears?' Because, forsooth, Freytag in his jejune, but not useless work, entitled Analecta Literaria, vol. i. p. 295, has chosen to devote eight lines and a quarter to a description of an old Donatus ' printed by Iohn ScHOFFER at Mentz ! Eloge, &c. p. 115-6. Again ; in speaking of the supposed second edition of Donatus by Gutenberg, which Boni and Gamba choose to call ' 1' originale, ed il vero primo tentativo deli' arte fatto dal Gutenberg in Argentina tra 1' Anno 1436, e 1439.' (Bibl. Partatile, vol. ii. p. 270.) — M. N6e De La Rochelle adds,' ces conjectures n'ont aucun appui solide ; et il n'est pas a croire qu'on ait execute d'abord en petit s caracteres ce qu'on fit ensuite en plus gros,' p. 116. But why did not Monsieur Nee De La Rochelle ctiarge his memory with having read Lambinet 's work, and with having seen the forenientioiied fac-simile — wherein the name of Schoiffher stands fixed and indubitable? Why was he resolved to carry his hero ' through thick and thin, ' at the expense of every charitable feeling towards his worthy coadjutors ? As to the authority of Messieurs Boni and Gamba, ' in the matter of Donatus,' let it be known that they aflSrm the fac-simile of the Donatus described in the Cat. de la Valliere, vol. ii. p. 8-9, to resemble the types of the Mentz bible of 1455 ! Their optic nerves were surely much impaired at the time of making the comparison or, if they had actually seen both, would the obsei-vation have been hazarded ? FOURTH DAY. 383 types used by him. Is it not surprising, I ask, that these works are executed in types quite different from any thing we observe in the Mentz productions? — and this, from a man, who is considered as the parent of printing in that city ! No wonder, if they he the actual productions of Gutenberg, that Fust and Schoiffher thought so meanly of his talents; and that, on a dissolution of partnership, they adopted a different and a very superior character. I know there are many who will start at all this apparent abuse of Gutenberg, and studied eulogy of his associates ; but I have spoken my genuine sentiments, and shall at all times be disposed to retract them if they are found contrary to truth. The union of Fust and his Son-in-law was of short dura- tion. Within ten years from the period of their first dated book, (1457) the plague is supposed to have carried off the former, at Paris ; how long, or how soon, after the supposed sale of this Bible, in that city,* is perhaps of no particular I have yet another bone to pick with a French bibliographer. It is well, perhaps, for the author of the Dictionnaire Bibliogi'aphique choisi du XVme. Siecle, that ' life's fitful fever'- is over — or the spirit of Peter Sclioiff her must have haunted his bed-chamber, ' at the middle of night by the castle clock,' in every shape but that of an angel! Monsieur De La Serna Santauder notice J this Donatus printed by Schoiffher, before the description of it by Lambinet — but what is his inference ?— Mais cette d^couverte ne porte aucune atteinte a I'opi- nion de Mr. Fischer, car si ce Donat est imprim6 par Schoitfer, las caracteres appartiennent a Gutenberg,' vol, ii. p. 380. . . . An inference, to speak the least unmercifully, ' most lame and impotent 1' * sale of his Bible, in that city.'] This is a favourite subject among bibliographers ; but it will not be necessary to retail all the gossippiug which minor writers have propagated concerning it. The lively Naud6 is among the earliest authors to notice it. ' Naude (says the coxcomical and waspish Rive) avoit de grandes connoissances en beaucoup d'autres genres, mais il n'entendoit rien a I'histoire des premiers siecles de I'lmprimerie, et le pen qu'il en sjavoit etoit tres-errone.' Chasse aux Bibliographes, p. 110, note. Even the gentle Marcharid seems inclined to throw— -not a stone— but a pebble— at the unoffending head of Gabriel Naude. VOL. I. Y 334 FOURTH DAY. importance : but we are pretty certain that he died the very year in which his second edition of the Offices of Tully was printed ; namely, in 1466. His age is involved in obscurity ; ' Quelque grand connoisseur (says he) que fut Naude, la plus ancienne edition qu'il conniit, etoit la Bible de Maience de 1462-' Hi&t. de VTmprim. pt. ii, p. 72, note (9). Mark well, sensible reader : the authors of these criticisms lived and wrote one hundred and odd years after Naude — who is rightly called 'bibliographe habile ' by Mercier — and who has assured us, in the work presently to be quoted, that he himself saw ' more than fifteen thousand old books in twenty five or thirty libraries at Paris.' See the bright cloud of testimonies, in favour of Naud6, wliicli sheds a pleasing lustre upon one of the pages (p. 50) of that bizarre but fright- fully high-priced tome ycleped Bibliomania, a Bibliographical Romance, edit. 1811 : to which, how ever, might have been added the ' testimony ' of Jacob, a contemporary and acquaintance, who expatiatetli thus : ' M.Gabriel Naude, Chanoine de Verdun en Lorraine, et Prieur d'Artige, lequel possede vne parfaite cognoissance des liures : ce qui fait que tons ceux qui ont I'homieur de le cognoistre, I'estiment pour vn autre Demetrius Phalfereus.' Traict^ des Bibliotheques, 1644, p. 490. The aforesaid Naude, then speaks as follows respecting the sale of the Latin Bible of 1462, at Paris, by Fust, ' The character or type of this Bible (which I have seen and carefully examined at Paris, in the library of St. Croix de la Bretoimerie, where it is printed upon vellum, and bound in two volumes in folio) was so like the hand writing of the times in which it was published, that the said John Fust, having taken a considerable number of copies of it to Paris, for the sake of distribution there, the greater part of which were also upon vellum, and ornamented with capital initials and vignettes, in gold— he sold them at first as Manuscripts ; and would not part with a single copy under sixty O'owns. Aftemards, however, he reduced his price to tliirty or twenty — and the purchasers of the first copies, perceiving that they were too niunerous, and too much like each other, to be the result of hand-writing, called in the aid of the law, and pursued Fust so sharply that he quitted Paris,' &c. The foregoing is taken from Naud6's Additions a VHistoire de Louis Xlth. (the viith chapter of which, exclusively applicable to the history of printing, is reprinted in the supplement to the MSmoires de Phillipes de Commines, 1713, 8vo. and in Marchand, Histoire de I'Imprim. — and latinized by Stegerus in Wolf's Mon. Typog. vol. i. p. 486, 536) which was first pruited in 1630, 8vo. Naude relies upon Besoldiis; whose * Pentade Dissertationum Philologicarum' was first printed at Tubingen in 1620, 4to. That part of it (the third ) relating to Typography, is reprinted in the Mon. Typog. vol. i. p. 171, 208, of Wolfius. Besoldus, in turn, takes the story from J. Walchius (hi his Decad. Pabular. Argent. 1609, 4to. fol. 18l) — ' vir omni fide dignus :' and Besoldus did right,I think, to number it among the'fables of Walchius.' But the latter has his authority. ' One Henry Schor, a Dutchman, and Provost of Soubourg, a man equally distinguished for his general talents and probity, while FOURTH DAY. 335 but it is most probable that his decease could not have been considered very premature. His son-in-law and successor is said to have had an associate or partner, of the name of he was living at Strasbourg in the house of Michael Tlieurer, had, many years ago, a great deal of conversation with Walchius upon this very subject— and he, in turn, had heard the story from many of his countrymen, whose veracity was above question.' Walchius adds, from the same authority, that Fust sold one of these Bibles ' for four or five hundred crowns:' but see the references in Marchand's Hist, de Hmprim. pt. i. p. 27, note (Q) upon this latter sum. From these authorities, collectively, it should follow that the tale would be found in most of the chronicles and bibliographical writers of the eighteenth century — where it accordingly appears: in which number may be reckoned Struvms, Hoffman, and Jungendres : the latter of whom quotes Naude with a sort of joyous triumph. Disq. in Not. Charact. Libror. p. 32, note 38. So much for the fact — or rather the story— of vendition. Let us now see what was the thing sold. Marchand, in opposition to the previously-received opinion that it was the Bible of 1462, conceives it must ha\'e been that of 1450-5 : but Mercier, in his SuppUment, p. 8, 9, edit. 1775, has satisfactorily proved, in my judgment, the greater probability of the sale of the Bible of 1462 :— if either were so sold. I have no belief in the sale of either— in the manner before narrated. That a respectable merchant should travel with his wares, or consign them to a populous city, as objects of commerce, is both probable and praise- worthy ; but that a character like Fust should have played the part of a petty hucksterer, or impostor, (as the foregoing narrative almost implies) is quite beyond my comprehension, and can therefore never receive my assent. The sale of pinted hooks for manuscripts is the ground of the supposed prosecution against Fust as a magician ; but the reader has, I trust, long discarded that idle tale from his creed : see p. 321 ante. An hundred other similar stories are grafted upon the same fertile stock ; but the whole ' vanish into thin air ' at the touch of sober investigation. As to the period of Fust's decease, I submit it has been fairly proved (Bibl. Spenceriana, vol. i. p. 307,) that that event took place at Paris in 1466. Indeed, on a further investigation of the same subject, I find all the respectable authori- ties so clear and uniform, that it would be a sort of insane incredulity to endeavour to stem the current of them. The Constitutioncs Papa; ClementisY., 1467, and the Secunda Secunda Thomx Aquinatis, 1467, were the first books which issued from the press of Schoiffher after the decease of his father-in-law ; but, hi the colo- phons of these ample volumes, the kind-hearted reader will in vam look for any testimony of affectionate remembrance of the Father of the Mentz Phess ! For the love I bear towards the memory of Peter Schoiffher, I wish it had been otherwise. Yet this alone is hardly ground for dhrect censure. 336 FOURTH DAY. CoNKAD Henlif,* and to have carried on business with wonderful spirit and perseverance. This partnership how- ever is of a very questionable nature. As to Schoiff her, he must have reached rather an extraordinary age; as we observe his name in a colophon of the date of 1502.-f- This * associate or partner of the name of Conrad Henlif. 1 The name of Conrad Henlif -was discovered by La Caille, in the annals of the abbey of St. Victor, at Paris. Whether he was a printer, in partnership with Schoifflier, is however very doubtful : as he is only mentioned in the foregoing annals, as presenting, in conjunction with Schoiffher, a copy of an edition of the Epistles of St. Jerom, of the date of 1470, upon \''ellum, to the said abbey — in order, on the anniversary of the gift, ' that the souls of John Fust, of themselves, and of their respective families, might be prayed for.' This is noticed by Palmer, p. 89, 96, and by Bowyer, p. 93 ; and both Palmer and Meerman (vol. i. p. 7) refer exclusively to La Caille, p, 14, p. 20. Marchand had erroneously stated that Fust had joined in this gift; but the Abb6 Mercier St. Leger (Supplement, p. 27-8) has clearly proved otherwise. Mercier had himself examined the annals of the abbey of St. Victor; which gave him also an opportunity of correcting Meerman, Marchand, and Mentelius — who had supposed that the ' Fust ' mentioned in the foregoing extract, was ' a son ' or ' a parent ' of Fust ; it being clear that Fust the printer only could have been alluded to at so early a period. The name of Conrad Henlif is not introduced into any colophon which I have had the good fortune to examine. As we have buried Fust, let us say a few words about the spot where his PRINTING office was erected — having dilated somewhat on the same subject when discoursing of Gutenberg : see p. 308 ante. ' The work-shop of Fust and SchbfTer (says Fischer) was established at a house called Ziim Heimbrecht, or Heimerhof, in Cordwainer's Street, opposite the college of the Cordeliers, and lately of the Jesuits. That very house was even recently called Drei Kmigshof, from the name of a small chapel — where, according to an ancient tradition, the skulls of three magicians were deposited — having been carried in solemn pro- cession from Milan to Cologne. The house behind it was called Zum Heimbrecht, and belonged to Fust ; and even lately it was called Druckhof, Druckhaus, or the House of Printing. SchbfTer enlarged the house in 1477, by adding to it the adjoining premises called Zum Korbe.' Monuments Typographiques, &c. p. 45, note. * hisname in a colophon of the date of 1502.] Schwarz, in his Primaria Qumdam, pt. II. p. 43, had never been able to discover the name of Peter Schoiff her in any colophon after the date of 1492 ; and Marchand was for killing our Schoifflier in the selfsame year. Hist, de I'Imprim. p. 47 : but the Abbe St. Leger affirms that ' clarum et venerabile nomen' to be in a Mentz Missal of the date of 1493 : FOURTH DAY. 337 is a brief but tolerably correct outline of the establishment of the first press at Mentz ; upon which we may make a few summary and concluding remarks. First, as to the character of the type used by the early Mentz printers. This appears to have been uniformly what is called Gothic : and if we except the varieties of the larger type (from three-eighths to two-eighths, or to a quarter of an inch) which appear in the Psalters of 1457, 1459, and 1490 — (the type, common to most works executed about the same period) we shall observe three distinct sets, or forms of letters, used in the printing office of Fust and Schoiff her. Of these three typographical characters, two only (if we except the one with which the Bible of 1455 was executed) are visible in the publications which appear to have been printed in the life-time of Fust ; that is to say, the larger Gothic used in the Bible of 1462, and the smaller Gothic in the Offices of Cicero of the dates of 1465 and 1466. These appeared united, the former for the first time, in the Constitutions of Pope Clement F. of the date of 1460.* Schoiff her introduced a type of an intermediate size, which may be seen, among other works, in the Rudiments of Grammar of 1468, and in the Decretals of Pope Gregory the Ninth of the date of 1479-t This intermediate type is of a narrower form, and prints very SwppUment, p. 28 ; and Wiirdtwein affords us the joyous evidence of ' P. Schbfifher of Gemzheim ' having executed a Psalter (a reprint of those of 1457, 1459, and 1490) in the year 1502. See his Bibl. Mogunt. p, 137 ; from thence copied by Panzer, vol. vii. p. 406. Tlie exact period of the decease of this extraordinary character is not yet perhaps satisfactorily ascertained. He left behind him three sons ; of the names of John, Peter, and Ivo. See Marchand's amusing genealogico- bibliographical note from p. 48 to 53 ; to which add the castigatory supplement of Mercier, p. 29. * of the date of 1460.] See this magnificent volume particularly described in the Bibl. Spenceriana, vol. iii. p. 287.. t The two works, last above mentioned, will be found fully described in the Bill. Spenceriana, vol. iii, p. 343 ; vol. iv, p. 500. 338 FOURTH DAY. closely. Of the three types, here mentioned, the largest is undoubtedly of the handsomest dimensions; but they aU partake of the Secretary Gothic^ and may be said to be the model of that pecuHar character which was adopted by the early Leipsic printers, Thanner and Boettiger, and was more especially used by John Schoift'her and the other German printers for nearly the whole of the sixteenth century. Shew me, Lisardo, one book — nay, one leaf only — printed in the Roman type, in the colophon of which the name of Fust or of Peter SchoifFher appears — and you shall immediately have the amount of the balance in my favour, at my banker''s — be it great or small — be it 20QI. or 201. — for such a precious and unheard of curiosity ! We shall now, in the second place, say a few Avords as to the character of the printing; or of the mechanical skill, of the early Mentz press. There can be but one opinion upon this point. Everything is perfect of the kind : the paper, the ink, and the register, or regularity of setting up the page. The Bible of the supposed date of 1455 is quite a miracle in this way;* but the Psalters are not less miraculous, nor is less praise due to the Constitutions of Pope Clement the Vth, of the date of 1460, and the Bible of 146"2 : while the Durandus, of the earlier date of 1459, exhibiting the first specimen of the smallest letter, strikes one as among the most marvellous monuments extant of the perfection of * quite a miracle in its way.'] This is even sober praise. The mechanism of the press-work, and appearance of the ink, beautiful, regular, and glossy as the whole appears, does not strike one with more astonishment than the manufacture of the paper. ' Charta (says Jungendres) ejusdem est crassitudinis, qualem illo tempore libris iraprimendis consumere mos fuit.' And again -r-' Charta ob ejus densitatem atque spissitudinem haut ingratam ubique se maxime commends t.' Disq. de Not. Charact. Libror. p. 27, p. 46. And see Meerman's testimony in favour of the paper of the Soubiaco press. Orig. Typog. vol. i. p. 9, note. FOURTH DAY. 339 early typography. Almost all the known works, before the year 1462, are printed upon vellum :* doubtless, because they ventured upon limited impressions ; and even of the Bible of 1462, more copies have been described upon vellum than upon paper. Upon the whole, the vellum used by * works, before the year 1462, printed uponveUum.j Let us first read Meerman upon this point : ' Membraiiae originem antiquissimam esse nemo nescit. Ea vero primi quoque typographi usi sunt, turn ut libros suos solidiores hoc pacto redderent, turn quoque, ut optimos codices manuscriptos imitarentur.' Orig. Typog. vol. i. p. 7. He then goes on to specify two editions of a supposed Donatus, at Harlem, by Coster, of this kind ; * who, however (says he) executed his other works, containing cuts, upon paper.' He next speaks of copies of the Mazarine Bible (of 1450-5) in the Royal library at Berlin, and in the Benedictine library in the suburbs of Mentz, upon vellum. To these may be added a third copy in the Royal library at Paris, a fourth in that of the late Count Macartliy, (for- merly Gaignat's ; see Cat. de Mc. Carthy, vol. i. no. 61) and a fifth in the possession of Messrs. G. and W. Nicol, booksellers to his Majesty ; recently consigned to them by Mr. Horn : the latter of a size and condition equally ample and beautiful. Indeed, I should pronounce this latter copy to be the chef-d'oeuvre of the Mentz press — when the rarity of the article is considered. The illuminations, about the time of the printing, are in a quiet and very pleasing style of composition and colouring. The volumes are absolutely cased in mail, by a binding of at least 300 years standing ; upon the exterior of which, are knobs and projections, in brass, of a durability, and bullet-defying power, which may vie with the coat of a rhinoceros. Upon the whole, then, there are five known copies of the Mazarine Bible upon vellum ; and upon consulting the Bibl. Spenceriana, vol. i. p. 6, there will be found to be nine iipon paper. I suspect the number of each is capable of being increased. Pursuing the ' Vellum Theme,' let us proceed to the Psalters of 1457 and 1459. All the known copies of these grand volumes are upon vellum ; but Lord Spencer possesses a copy of the third edition, of 1490, upon paper — and the extreme rarity of this latter impression may have proceeded from the nature of the material upon which it appears to have been executed. I have lately seen a third copy of the first Psalter, but imperfect towards the end. It was con- signed to Messrs. Nicol by Mr. Horn. Our country has reason to boast of these treasures ; as the Royal library at Paris, the largest and richest in the world, does not possess it. This third copy (His Majesty and Earl Spencer possessing the other two) bears ample evidence of its former use. It is thumbed through- out, and is of a frightfully tawny and sombre colour. Can we suppose that the ensuing embellishment, executed upon wood — after an original design, found (as fame reports, but fame is a slippery jade) in a crumpled state, within a buffet, once the property of SchoifFher's grandson — is intended to represent two monks 340 FOURTH DAY. Fust and SchoifFher, although inferior to the Venetian, is exceedinglpr good : being, generally, both white and sub- stantial. chanting out of this very first Psalter, by lamp-light ? I think we may receive it as such — without ofFefing any extraordinary violence to our feelings or tastes, as antiquaries. Yet it must not be dissembled that the pencil of a friend, a very ' Alexander the Great' in these matters, has materially contributed to give it expression and eflfect. FOURTH DAY. 341 In the third place, let us notice the nature or character of the works which have issued from the press of Fust and Schoiffher. Whatever may be our partiality towards that establishment from which the public were first gratified with the sight of a printed book, candour obliges us to confess that the Fathers of Printing were not fortunate, upon the whole, in the choice of the hooks which issued from their press. This observation however must be made with some * grains of allowance.' Reference must be had to the place where these printers resided, and to the taste which prevailed there; and therefore when the foregoing criticism is past upon the efforts of Fust and Schoiffher, it must be under- stood to be regulated by a consideration of the superior taste which prevailed at Rome, Venice, and other Italian cities: — where the Ancient Classics first began to arrest the public attention in the commodious and delightful form of a printed BOOK. If, therefore, the first Mentz printers executed chiefly the Fathers, Scholastic Divinity, and Civil Law, the cause of Next, for the Durandus of 1459. This is also uniformly found upon vellum ; except the copy noticed by Meerman and Wurdtwein upon the authority of Gudenus ; and a second copy seen by the former in England — in both of which there were some sheets of paper. The reasons for this capricious variety, adduced by Meerman, (Orig. Typog, vol. i. p. 8, note) do not strike me as being very conclusive. Of the Catholicon of 1460, all the known copies, with the excep- tion of those in the Royal Library at Paris, and in the Macarthy Collection (Cat. de Mc. Carthy, vol. i. no, 2183) are however upon paper ; while the Constitu- tions of Clement V., of 1460, are as uniformly vpon vellum. The vellum and paper copies of the Bible of 1462, have been already (Bibl. Spencer, vol. i. p. 15, 18) sufficiently noticed ; and beyond this latter date it is not material to pursue the enquiry ; as vellum copies became proportionally much rarer than paper ones. Meerman well observes upon this point ; 'At rerum baud diu post inversus est ordo, quando charta plerisque, membrana paucis exemplaribus, bisque ad omatum maxime comparatis, et semper fere illuminatis, inservire coepit, qualia Sweynheimii ac Pannartzii, Vendel. Spirensis, Nicol. Jensonis, aliorumque prin- cipura Italiae typographorum in variis curiosorum bibliothecis contemplatus admiratusque sum.' Orig. Typog. vol. i. p- 8% note. 342 FOURTH DA^. such a choice lay probably in the prospect of a quicker demand for, and a more abundant profit arising from the immediate sale of, such articles of publication : not however, as you may remember, that the Ancient Classics -were uniformly forbidden to shew their venerable fronts within the precincts of the Mentz printing office : for the Offices of Cicero, the History of Valerius Maximus, and the Plays of Terence,* each issuing from the same quarter, forbid the imputation of a decidedly gothic or barbarous taste upon the character of its earliest directors. And here we may dis- miss LisARDO. Do you mean to omit noticing the Devices of Printers'^ There is something rather interesting in these typographico-heraldic embeUishments. Lysander. Even so : and therefore let me briefly add that the device of Fust and Schoiffher consisted of two shields suspended to a bough of a shield, on one of which were three stars. These shields are usually executed in red ; and first appeared, I believe, in the Bible of 1462.-f- The * Officer of Cicero, History of Valerius Maximus, and the Plays of Terence.'] The reader will find these impressions accurately described in the Bibl. Spenceriana, vol. i. p. 304, vol. ii. p. 450, and vol. iv. p. 557. t first appeared in the Bible of 1462.] Spoerlius tells us expressly that this Bible was the first book in which the device above described (and of which a fac- simile is given in the Bibl. Spencer, vol. i. p. 11) appeared. He also adds that this device was clearly intended for the Coat of Arms of Fust and Schoiffher, as Schwarz had compared it with the latter preserved in the public library at Frankfort upon the Maine. Jntrod. in Notit. Tnsign. Typographicor. 1730, p. 22. Schwarz has been somewhat mis-represented by Spoerlius. In the Prim. Quad. Doc. deTyp.Orig. pt, ii. p. 21, Schwarz notices an early edition of the 'DeVera Vitae Cognitione' of St. Austin, without date, which contains the device here alluded to; and which, if the impression were of the age attributed to it by Spoerlius, on the alledged authority of Schwarz — namely, of 1459 — would cause this edition to contain the earliest specimen of the forementioned device : but Schwarz only observes that this latter work ' is printed in the type of the Durandus and Offices of Cicero ; and may be at least as old as either.' If so. FOURTH DAY. 343 same ornament was used by Peter Schoiffher, but was varied and enlarged by both his sons, Peter and John : with whom it altogether ceased to appear. Where shall we now direct our researches? What other city shall we next notice as the nurse of the infant art of printing ? Lorenzo. Have you forgotten Laurence Coster, and the pretensions of Harlem ? Lisardo. Heaven defend us! My eyes are just now fixed upon the picturesque turrets of the Soubiaco Monas- tery, and I wanted Lysander to introduce me to the print- ing office of that venerable abode — when our host purposes to saunter along the canals and amidst the interminable flat surfaces of Holland ! What a degradation. Philemon. Lisardo is outrageously disorderly. Our host has surely a right to have his request first attended to by the monarch of the day. Whether Lysander, in the exercise of his royal capacity, may please to enter upon the controversy which such a question involves, is another matter: — and, for my part, I am quite free to confess that what are called « the pretensions of Harlem ' appear to be at least as deserv- the work might have been executed in 1465 ; and therefore there is nothing con- clusive upon this subject from the authority of Schwarz. Neither Marchand nor Wurdtwein notice any volume of an earlier date than that of 1462, which contains this device or coat-armour. Fabricius, according to the former, (Hist, de I'Imprimerie, p. 45) considered the white ornaments in the first shield to be a Cross of St. Andrew, and the chevron in the second shield lo represent a Greek Lambda. Scholtz speaks of them as mere ornaments ; and Orlandi, with his usual inaccuracy, assigns them only to the productions of Fust. Marchand makes the first shield the arras of Fust, and the second those of Schoiffher. Lackman is particular in assigning to John Schoiffher the arms conferred upon him by Maximilian I. Annul. Typog. Select. Quted. Capita, p. 21 ; but Marchand is much more copious upon the same subject — which will be renewed in the following Day of this Decameron. Meanwhile we may remark, that the shields, as used by Fust and Schoiffher, appeared, in black, as late as the year 1525; — in the Collectanea Antiquitatum in Urbe atque agru Mnguntino, in folio. See Merciers SuppUment, p. 26. 344 FOURTH DAY. ing of consideration as those which are connected with the * picturesque turrets ' of the Soubiaco monastery — to borrow Lisardo'^s phrase LisARDO. I bow to the decision of the chair ; — or rather of the throne. Lysander. There is justice in the remark of Philemon. Let us therefore briefly discuss the leading points in the ease of Laurence Coster, or Laurente Janszoon : and the more so, as this subject, well nigh faded from recollection since the writing of Meerman, has of late assumed rather an important appearance from the conflicting arguments of two living- writers,* who have entered the arena of discus- sion with ponderous and well-tempered weapons — the one resolved to protect, the other as bent upon carrying away, the embalmed body of the Father of the Harlem Press. * conflicting arguments of two living loriters.'] Mr. William Young Ottley, and Ml-. Samuel Weller Singer. The former first began to write upon the subject, but the work of the latter was first published. They both appeared in 1816, in quarto : the first, under the title of ' An Enquiry into the Origin and Progress of the History of Engraving ' ,^c. 2 vol.; and the second, under that of ' Researches into the History (f Playing Cards, with Illustrations of the Origin cf Printing and Engraving on Wood.' (It will be observed in a note, at p. 551 of vol. iv. of the B.S. that Mr, Ottley's work is dated 1815 ; that date was given, on authority, but pro- spectively.) Although there can be no question of the superior importance of the work of Mr. Ottley, both in variety and extent, yet the public are much indebted to Mr. Singer for a volume of very curious and instructive research, embellished in a style which reflects equal credit upon the author, printer, and engraver. Mr. Ottley is the first among us who has treated of the early art of engraving in a manner in which it deserved to be treated ; and the embellish- ments which he has introduced are equally distinguished for their felicity and fidelity. It is very probable that, in the disquisition of the subject of Block Book Printing, to which both these writers have turned their attentions, I may diiFer occasionally from each ; but this difference of opinion will, I trust, operate to a re-consideration of the subject, and to a castigation of myself, if needful ; although I cannot refrain from expressing my exultation at being deferred to by such champions of typographical researches as the gentlemen just mentioned. We have sworn ' by the sword' to protect each other— if unmercifully assailed by the distance-loving critical Lancer ! FOURTH DAY. 345 LiSARDO. A revival of the feats of Ajax and Hector over the corpse of Patroclus ! LrsANDER. Away with similes. Lord Mansfield I believe (so Burro wes reports him) lised to say that nothing was ' more apt to injure an argument than a simile ;' but if I am at all influenced by the weight of Law Authorities, in the con- sideration of the present subject, it wUl be by that of Chief Baron Gilbert, in his Law of Evidence : wherein, among sundry wise and sagacious maxims, he beseeches us to obtain ' the best possible evidence that the nature of the case will admit of.' I feel persuaded, my good friends, in the outset of my remarks, that we want yet 'the best possible' evidence towards the complete adjustment of the claims of Coster ; or rather, of that artist, whoever he may be, to whom we are indebted for the work commonly called, and known by the name of, Speculum Humance Salvationis: for this is the work which is supposed to be the foundation of the pretensions of Harlem to the Discovery of the Art of Printing. In the absence however of such a complete body of evidence, I may, in the first place, be permitted to remark, that because we have not the full weight of the kind of evidence just mentioned, it does not follow that there may not be sufficient * upon the record ' to warrant the main inferences which the writers in favour of Harlem have been disposed to draw. If you have not all the evidence which you may want, you must attend to the character and competency of such as you possess. If you have not the same weight of the ' lex scripta^ or ' written evidence,' which supports the claims of Mentz, you must not from thence conclude that no such ' weighty written evidence ' ever existed ; but only that nothing of that character has as yet readied us. You must 346 FOURTH DAY. therefore judge of the nature of the thing, or the existing in- strument itself — of probabihties, in a thousand shapes and forms — and of the real character of such evidence as hath actually come doxm to us. Of these, then, in their due order. And first of the nature of the existing document itself. Here is a production, manifestly different from any thing of a contemporaneous period of which we have any knowledge. It is a printed text of one of the most popular manuals of morality in the middle ages. It is also of a limited extent : such as need not require any very elaborate or protracted execution. It likewise contains ornaments or cuts, of the subjects treated of in the text. All these things, together, savour strongly of what would be most likely to engage the attention, and fix the determination, of an experimental genius in the particular art by which such a production could be effected. The cuts, with brief descriptions of them immediately beneath, are both executed upon the same block. These are printed in a pale or umbre tint ; and the explanatory or moralising part, forming what is called the text of the work, is printed in black ink, beneath, in double columns, The letter of this text is sharp, regular, and undeviating ; and much smaller than the irregular and dis- proportionate letter which we observe immediately beneath the wood cuts. The work itself is printed both in the Dutch and Latin languages ; that is to say, there are impressions of it entirely in the Dutch, and entirely in the Latin language. The latter is of the earlier date. Note further, that this work is executed only on one side of each leaf: while the wood-cuts appear, from the glazed surface of their reverses, to have been impressed by means of frictwn of some kind or other. There is something in FOURTH DAY. 347 this also, I submit, very indicative of a first attempt. But as it is entirely without date, it may be asked, why affix the country of Holland and the city of Harlem as the birth- place of this production in particular ? The answer is, that Adrian Junius, a physician, scholar, and man of character,* tells us explicitly (on authority presently to be examined) that one Coster — or say a citizen of Harlem — was the author of this performance — ^before the middle of the fifteenth century; and Mr. Ottley has, I think, very satisfactorily proved that the style of art, observable in the cuts, is clearly not of Italy or of Germany, but of the Low Countries. When, therefore, could such a work have been executed ? This brings us, in the second place, to discourse ' of the probabilities, in a thousand shapes and forms,' which may uphold the hypothesis of this being at least a very ancient, if not the earliest, specimen of the art of printing. The type, in which it is executed, is not wholly peculiar to the Spe- culum. It appears in a fragment of an edition of the Distichs qfCato ; f a mere elementary or school book, and such as one might conceive to have been executed in the * a 'physician, scholar, and man of character. '\ Although we may not accede to tlie opinion of Bullart, in his Acad, des Sciences, lib. iii, p. 181-2, in calling Junius ' the second luminary of Holland after Erasmus yet we may assent to that of Niceron in his M6moires des Htmmes Ulustres, vol. vii. p. 401 , who observes that ' Junius had naturally a vast memory, which he exercised with particular success in the various departments of literature in which he excelled, exclusively of his reputation as a physician.' Like a thorough-bred bibliomaniac, his happiness was concentrated in his library ; on the plunder of which, at the capture of Harlem in 1573, he broke his heart; dying in his 63rd or 64th year, t a-ppears in a fragment of an edition of the Distichs of Cato.] See the Bihl. Spenceriana, vol. iv. p. 476 : but more particularly Mr. Singer's work, p. 134 ; where there is also a fac-siniile of the letter used in the subscriptions immediately beneath the cuts. Mr. Ottley however has given fac-sirailes of the complete alphabets used in the respective editions of the Speculum : see vol, i. p. 238, 249. 348 FOURTH DAY. very dawn of the discovery of the t3rpographical art. It appears in no bulky work ; and if any objection be urged to its being an isolated sort of type, and unconnected with any previous or subsequent specimen, (with the foregoing ex- ception) the same may be urged against the most estabUshed truths of bibhography — the foundations of which no one has yet had the hardihood or temerity to invalidate : for, accord- ing to this mode of ratiocination, we are not to believe in the dates of the books printed in the Sublacensian or Souhiaco Monastery, because we are unacquainted with any other specimens of the same type ! And where, I ask, do we see again the types of the Mazarine Bible — before the year 1 480 ?* and then, too, in a battered state ! Yet shall this mili- tate against the received date of the Mazarine Bible ? In a point of this moment I will not be discomfited by arguments of an apparently plausible, but in reality of a merely negative, or even contradictory, nature. Thus, because the first dated book (namely, of the year 1473) printed in Flanders, exhibits a totally different type from that of the Speculum, we are told that the latter work cannot be a production of the Low Countries : while, on the other hand, because Ketelaer and Be Leempt, (printers of the same country) who are thought to have used a similar type,j- have not affixed * tyv^s of the Mazarine Bible before the year 1480 ?] These types liowever are seen in the Meditationes loatinis de Turrecremata of 1479, printed by Numeister, as the fac-simile in tiie B. S., vol. iv. p. 39, may satisfactorily prove. Yet these latter, being the production of a Strasbourg printer, although a ' Mentz Clerk,' seem of a new cast; while the Agenda Moguntinensis Ecclesi^, unquestionably printed at Mentz, are comparatively very defective. t tfiought to have used a similar type.'] See the fac-simile in Mr. Singer's work, p. 138. On comparing this type with the one used ui the Speculum, I cannot brmg myself to think there is a prima-facie resemblance, or 'family likeness'— as Lord Spencer happily designates it'. The types of Ketelaer and De Leempt are feeble and battered compared with those of the supposed types of Coster. FOURTH DAY. 349 any date earlier than that of 11/4, to the works which are considered to have issued from their press, therefore the per- formances of Lawrence Janszoon (as he is sometimes called) cannot be of the early date so generally imagined ! What is this but converging into one point, rays which strike oif into opposite directions ? For, first, we agree from dissimilarity, and then from similarity, and yet draw the same conclusion ! Where positive and unequivocal data are wanting, we must have recourse to probabilities and analogies ; and I am clearly of opinion that the most unexceptionable evidence is not exclusively to be obtained from the appearance of types. Thus, who could think that the ' Augustinus De Arte PrcedicandV and the ' Speculum HistoriaW of Vincentius Bellovacensis, were each printed at Strasbourg, by Mentelin ? Who would imagine Martin Flachen, in the very same city, to have latterly used such a decidedly opposite cast of type? — ^that the Foligno press claimed Numeister as the printer of Leonard Aretin in 1470, and of Joannes de Turrecremata in 1479, each executed in the most opposite forms of type ? — that the press of Spire should, in the pro- ductions of Peter Drach, have given birth to such very different typographical characters ?— that Florence, m. the publications of Azzoguidi and Miscomini, should have witnessed such varying specimens of her respective printers ? Leaving Germany and Italy, what say you to the dissimilar appearances of the Ulm press, in the productions of John Zainer and Leonhard Hoi? and descending to the Low Countries, and therefore making more for our present point, why should Richard Paffroet, I beseech you, living at Deventer, choose to disport himself in at least three varieties of type ? The catalogue of such discrepancies or varieties would VOL. I. z 350 FOURTH DAY. be endless * All I contend for is, that because the first dated book, printed in the Low Countries, happens to be executed in a type different from that which is supposed to have been executed in the same parts at a much earlier period, we are not from hence to infer that the antiquity of the latter is necessarily shaken : and further, because the same work which happens to display a somewhat similar type, printed in the same country, be of the date of 14/4, it does not therefore follow that the previous work, to which this dated one is supposed to have a typographical resemblance, must of necessity have been executed at pretty nearly the same period. I coiTie, in the third and last place — as connected with the claims of Harlem or Holland — to touch upon the character or competency of the evidence handed down to us : and this I choose to do precisely in the chronological order in wliich that evidence is to be collected. We have, first of all, the attestation of Ulric Zel, as given in the text of the Cologne Chronicle, printed in 1499 ;f and although the evidence of * catalogue of such varieties would be endless.'] The reader will be pleased to understand that the above illustrations, by Lysander, are founded on the descrip- tions of works, by the several printers above specified, in the Bibl. Spenceriana ; as an examination of the ' Index of Printers, ' and a consultation of the pages there referred to, will sufficiently prove. t the Cologne Chronicle, printed in 1499.] I may fairly say that the most accurate and minute description of this very rare chronicle, extant, will be found in the Bihl. Spenceriana, vol, iii. p. 281. The passage, above alluded to, has however been extracted by bibliographers without end ; and amongst other works, will be found in those of Scriverius, Boxhorn, Freytag, Struvius, and Wiirdtwein ; not to notice the more modern writers, including Mr. Ottley and Mr. Singer. The German original may be seen, if needful, in the Laurea Laurentii Costerii, p. 100 ; Theatrum Hollandice, 1632, 4to ; p. 409 ; Analecta Literaria, vol. i. p. 115 ; Introd. in Not. Rei Literar. p. 944, edit. Fischer; Bibl. Moguntina, p. 50, 1780, 4to. and in Mr. Singer's book. A faithful English version of the German passage, extracted in the foregoing authorities, will be found in the work first above mentioned. Mr. Willet, in his • Memoir on the FOURTH DAY. 351 that ancient printer may be thought to ' cut both ways,' yet it seems to me that the main inference deducible from it is, that ' in Holland they first began to print Donatuses, and that the art of printing, practised in the manner in which it was at the period of the publication of the Cologne Chronicle, was discovered at Mentz ' Be it further known, that Ulric Zel was a German, and printed at Cologne at least as early as 1466. It has been before observed that his testimony appears « as honest as it is curious;' and what are we to gather from it, but that the tentamina, the earliest and rudest efforts, — the bone and tendon, as it were— of the art of printing, were first exhibited in the Low Countries? — while it was not indued with flesh and blood (if I must go on with the simile, and thus run counter to my former position respecting such a mode of argument) till it had been exercised at Meiitz ? ! But what could Ulric Zel mean when he talked of Holland and Donatuses ? * Were these things Origin of Printing,' has been somewhat too hasty in adopting the sentiments of Marchand, respecting the supposed invahdity of this chronicle, witliout consult- ing the authorities to which Marchand refers. Archteologia, vol. xi p. 294, &c. * Holland and Donatnses^] Mr. Singer— who is as formidable an antagonist against, as Mr. Ottley is a strenuous champion for, the claims of Coster and Harlem — observes ' the Donatuses of Holland may have suj;gested ideas of the typographic art, but this makes nothing for the cause of Coster and Harlem : these Donatuses were most probably xylographic productions, and we think if the passage in that [the Cologne] Chronicle be attentively considered, it will sanction this inference.' Researches, &c. p. 148. This is a more important con- cession than the writer of it was probably aware of. In the first place, if there do exist Donatuses printed ui Holland, however printed, before any typographical attempts at Mentz, what is this but ' making every thing for the cause of Coster and Harlem' — and giving the palm of the Discovehy of the Art of Printing to Holland? In the second place, as to the materials by means of which these Donatuses were printed — it is quite uncertain, and merely con- jectural, what these materials were : as no authenticated copy of a Donatus, of this period, is known to exist. There is nothing, also, in my apprehension, in the text of the Cologne Chronicle which warrants a conclusion in favour of wood more than of metal. 352 FOURTH DAY. non-entities ? There was then no Van Zuyren, no Coornhert, no J unius, nor Scriverius, to give a bias or prej udice to his deposition. Something, unquestionably, must have been distinctly impressed upon his mind when he told the Chro- nicler these things ; and it is a little too saucy or severe to allow only one part of his evidence and not another — to say, that when he mentioned Gutenberg and Mentz, he was awake; but that, when he spoke of Holland and the Donatuses, he slumbered ! . . . LiSARDO. Where are these Donatuses ? They seem con- venient things for a typographical hypothesis. The elder Scaliger has given us rather an amusing story about a supposed Donatus, printed at Venice in 1428, upon the authority of the Chronicle of Rabbi Joseph ; adding that ' it had escaped tlie notice and researches of eveiy other person. That mode of printing, (continues he) namely with wooden blocks, was discovered in our country at Harlem;' and he afterwards speaks of a vellum copy of this kind, coming into the hands of the younger Aldus : having this imprint in ms. : ' Impressiis ■est hie Donatus ^ Confessionalia primum omnium A. 1450.' ' Either (adds Schelhorn) I am altogether deceived, or that Rabbi Jew told a bouncing falsehood ; no copy of such a Donatus has yet been discovered by me, or satisfactorily heard of:' Amuenitat. Literar. vol. ii. p. 327-9. It should however be noticed that Angelas Roccha, in his Bibliotheca Vaticana, p. 411, says that the younger Aldus shewed him this very Donatus upon vellum; in which Mariangelus Accursius had written a brief account of the origin of the art of printing, and had introduced the gratuitous colophon above noticed. Struvius says these Donatuses were printed by means of blocks of wood ; but he relies exclusively upon Schelhorn. Bibl. Hist. Liter. Select. Edit. Jvgler. vol. iii, p. 2090. Wiirdtwein has also noticed the subject; Bitd. Mogunt. p. 81. In short, the Donatuses of Holland, supposed to have been printed before the year 1450, are as yet purely typographical desiderata ; in spite of the descriptions of Seiz and Meerman : indeed the latter, according to Mr. Ottley, p. 246-7, ' appears to have had no better authority for his chronological arrangement of the different Donatuses, than he had for the different editions of the Speculum, in his arrangetr.ent of which [latter] it has been shewn he was egregiously mistaken.' Nor can I, on a second and careful examination of that very ancient and smgularly-prmted copy of a Donatus, in Lord Spencer's hbrary, (see Bibl. Spenceriana, vol. iii. p. 63) bring myself to think it was executed by means of wooden blocks : however, from my description of it, such an inference might be dravm. FOURTH DAY. 353 Lorenzo. Rather ask, where are the Donatuses of Guten- berg, and of Sweynheym and Pannartz ? L.YSANDER. Lorenzo is correct in his interrogative method of reply. No one has satisfactorily shewn, in spite of Fischer, that there is any existing Donatus of Gutenberg;* and although Sweynheym and Pannartz expressly declare that the Donatus was the first work which ever exercised their press, yet shew me the bibliographer who has enriched his pages by a description of such an inestimable treasure .''•f* I * Donatus of Gutenberg.'] See p. 331, ante. I incline strongly to think that the first printer of a Donatus, at Mentz, was Peter SclioiiFher: and for the reason given in the page just referred to, that the Donatus of Gutenberg is purely ideal. t a description of such an inestimable treasure.] At length however I have to announce, what may be considered a most important fact, connected with the Donatus of Sweynheym and Pannartz ; and which, had it reached the ears of Lysander — however it would have justified him concerning the uniform silence of all bibliographical writers respecting that early and tremendously scarce morceau of typography — nnght have enabled him to produce a sort of electrical effect upon the nerves of his audience. The Donatus of Sweynheym and Pannartz YET EXISTS ! Hear from thy grave, great Audiffredi, hear, It breathes a soul to animate thy clay. Yes, the Donatus of Sweynheym anu Pannartz yet exists! I well remember, at this moment, the emotions of delight — not unmixed, however, with a little dash of incredulity — with which I read a passage in one of Lord Spencer's letters to me, during his visit at Mr Coke's, at Holkhani, in the autumn of 1815 — wherein he observed ' that he had been in company with a gentleman who had lately seen the Donatus of Sweynheym and Paimartz, in a private collection in Italy.' His lordship was too acute a bibliographer not to institute immediately, what is called, a close ' cross-examination :' but that gentleman, M. Binda, an Italian, turned out to be cross-examination-proof He was familiar with the types of the Soubiaco Press ; and on refreshing his memory with a sight of the lovely copies of the works from that press, in the Spencer library, he was con- firmed in the accuracy of the information which he had imparted at Mr. Coke'^s. The copy of the Donatus, however, was imperfect : but fragments even of such a treasure — a leaf, a page, a sentence, a lim — why fragments, I say, of such a treasure, would out-balance, in my poor estimation (and poor em ugh it will be thought by the disciples of John Bollandus) seven-eighths of the relics of three- fourths of the Saints recorded in the Acta Sanctorum ! Why do I indulge the pleasing dream of this very copy, with all its ' imperfections on its head,' finding 354 FOURTH DAY. do not however by any means disbelieve the former existence of very early impressions of this tract. It is a short, useful, and merely elementary treatise for school-boys; and con- sidering who were to be the possessors of it, it is not very likely that the earlier editions of such a work should survive » the destructive hands into which they fell.* The discovery of the Distkhs of Cato, another school-boy treatise, and printed in the types of the Speculum, makes it very pro- bable that such ' Donatuses ' also existed ; and, if so, they were most probably printed in the same type. 1 will now collect the other hnks in the chain of evidence. Philemon. You seem to have forgotten the uniform con- currence of almost all the Printed Chronicles in favour of the claims of Mentz ? Lysander. True; but, with very few exceptions, 1 would not (as Lord Thurlow used to say) give ' a pinch of its ultimate resting place within the glass doors of the library of the Noble Earl just mentioned ? And why, too, do 1 indulge another pleasing dream of the ' Meditationes Joannis de Tmrecremata,' printed hy Udalricus Galliciis in 1467, eventually shaking hands with the same Donatus within the same glass-doors? There may be bubbles of the imagination more likely to break than these. * the destructive hands into which they fell.'] Schelhorn speaks feelingly of the fate of what may be called these ' Incunabula Typographica.' ' Perierunt pleraque ejus generis opuscula : absumsit ea rerum edax tempus, truces devora- runt blattae, furtim admotis dentibus arrosere mures, invidiosa corrupit caries, puerulis plorantibus ab illas ruditer tornatas, quibus superbiebant, figuras, dis- cerpenda concesserunt nutrices male sedulae : imo nec ipsa rabida canum vis illis pepercit.' Amoenit. Literar. vol. ii. p. 328. Schelhorn then proceeds to notice a specimen of block-printing of the Harm Matutince, once in the possession of I. C. Scaliger, and described by his son Joseph, which had been cruelly ' lace- rated by the atrocious tooth of time.' He gets into a fit of passion, at such vestiges of destruction: ' Irascor crudeli isti molosso! — alluding to the said Horas. ' Rest, rest, perturbed spirit ' — Joseph Scaliger was a giant in literature, but a conjurer in bibliography. No copy of the HorcB Matutince, printed by means of blocks of wood, was ever in existence ; notwithstanding the elder Scaliger ' made much of the book ' — • Eas horas matutiiias (says the son) plurimi faciebat pater meus, turn propter matrem, turn etiam quod iile primus typogra- pliias foetus esset.' FOURTH DAY. 355 snuff' for the collected worth of ' three score and ten' of such documents : * and I will tell you wherefore. They are chiefly the evidence of Germans and Italians ; but, further, * not give a pinch ofsnvfffor the collected worth of 'three score and ten' ?)aft^pcare pejS^, by WILLIAM BULMER AND CO. CLEVELAND-ROW, ST. James's. 1817. /