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6621
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•L848
The Manuscripts and Early
Printed Books Bequeathed to the
Long Island Historical Society
by Samuel Bowne Duryea
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Brooklyn New York
Eighteen Hundred
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6621
L848
The Manuscripts
and
Early Printed Books
Bequeathed to the
Long Island Historical Society. Library
by
Samuel Bowne Duryea
Eighteen Hundred and Ninety-five
Brooklyn New York
Z
6621
2848
reclassed Aug. 2, 1927EM,
L
THE DURYEA MANUSCRIPTS.
The collection of manuscripts and early printed
books bequeathed to the Long Island Historical Society
by the late Mr. Samuel Bowne Duryea, and added to
its library in 1895, is of more than ordinary interest
by reason of the variety included as well as for the great
rarity of a few of the pieces. There are in all about
thirty-two manuscripts and half as many printed
books, a mere nucleus as to numbers, and doubtless
surpassed in this respect by several other collections in
private, academic or public libraries. But here are
some strange companions: among the manuscripts
a beautiful little vellum Bible of the thirteenth century,
and Voltaire's life of Molière in the author's original
manuscript; a Siamese Pālī manuscript on bamboo
slips, and the earliest records of the bailiwick of Bush-
wick; a magnificent set of Antiphonals, or Latin choir
books, and the land title records of some of the Spanish
conquistadores of Mexico; a Hebrew scroll and English
law cases reported by Lord Clarendon; Benedictine
meditations and early Pennsylvania title-deeds; Books
3
Em
ii
of Hours exquisitely illuminated, and a manuscript
commonplace-book opening with a poetical life of
Edward II. of England; an Obsequiale from an old
German convent, and a Codex of Magna Charta,
perhaps the only one on this continent.
Among the printed books are specimens from the
presses of the Elzevirs, De Marnef, Hardouyn and Ker-
ver of Paris, and from early printers in Rome, Mo-
dena, Moulins, Leipzic, Bologna, Padua and Venice.
Seven large folio Latin choir books, written on vel-
lum and brilliantly illuminated, constitute the most
noticeable feature of the collection. They were pur-
chased by Mr. Duryea at the sale of the Hawkins
library in 1887; five of these are uniformly bound in
heavy wooden boards, with beveled edges, covered with
fine pigskin, the sides and backs stamped in panels,
with emblematic figures, fleurons, and other ornaments;
Gothic trefoil corners and center-pieces of brass, with
heavy bosses, and with leather straps, catches and
pins. They are quite two feet in height, and nearly
eighteen inches in width, and came from an old monas-
tic institution in southern Germany.
Attached to the fly-leaf of one of these is a manu-
script note in German, stating that it was presented to
a nunnery in Germany by Anne Folkamer, of Nurem-
burg, in 1491, and that it cost her 40 florins. On the
inside of the front cover is a remarkably fine painting
in distemper, probably executed at the time of the gift.
It represents the Madonna and Child seated upon the
grass within an enclosure surrounded by a wall.
4
Outside are twelve female figures, six of whom are
saints. Four other saints attend the Virgin Mary:
St. Catherine, with wheel and sword; St. Ursula, with
arrow; St. Margaret, with palm branch and Satan, in
the form of a goat, held in leash; and St. Agatha, with
shears and flowers. In the foreground are five sisters,
in the black and white habit of the Dominican order,
one of them a novice without the black veil. Kneeling
at their head is probably the donor of the manuscript,
in secular garb. Behind each of the sisters stands a
saint-St. Agnes, with lamb; St. Brigitta, with staff;
St. Mary Magdalene, with pot of ointment; St. Barbara,
holding a tower; St. Sophia, and St. Cunigunda, hold-
ing a church in her hand. The faces of the nuns are
possibly portraits.
A companion volume also has a distemper painting
mounted inside the cover. This represents an adoration
of the Virgin Mary as the Mother of God. Two angels,
with wings of many hues, hold a jewel-studded crown
above the head of the Mother; her blue mantle, lined
with crimson, is held back by the angels in such a man-
ner as to enfold in protection a group of Dominican
nuns who kneel in front; she holds in her arms the in-
fant Christ, around whose neck is a coral necklace, and
who is blessing the kneeling sisters. Both pictures are
very rare and fine examples of the early Nuremburg
school, antedating the work of Albrecht Dürer and
Lucas Cranach.
The first of these volumes contains 286 vellum folios,
measuring 21 by 143 inches. There are eight staves
5
of music, and eight lines of text to the page. The let-
ters of the text are of an inch in height, and of clear
and beautiful execution in black and red Gothic script,
with square notes in the music. There are hundreds of
small capitals in colors, many ornamented with gro-
tesque heads. On the last fifty-five folios the letters
of the text are irregular, and the initials of very inferior
execution. There are eleven large capitals, of fine de-
sign, in red and blue. Beautiful floriated Gothic borders
adorn the four illuminated initials, the heavy gold
background of each being highly burnished and richly
tooled. These illuminated initials measure about 51 x
5 inches. In the first is a figure of a naked Christ,
his forehead bleeding from thorns, and blood flowing
from his hands and side; two crowned female figures
stand, one on his right, the other on his left. The
second contains a brilliantly executed miniature of St.
Dominic; he holds in one hand a crucifix, and in the
other a staff. In front of the Saint is a hound with
a torch in his mouth, illustrative of a dream the Saint's
mother had before his birth. The golden background
is tooled in lattice-work, with acorns and floriated
corners. A third miniature represents The Death of the
Virgin. St. Peter, holding an aspergillum, stands by
the bedside of the dying Mary, with other figures in a
group near. At the top of this initial, in a small, blue
medallion, are a Madonna and Child. The last min-
iature in this volume represents Saints Peter and Paul,
joint founders of the Universal Church.
The single miniature in the companion volume
6
already referred to, which has but 125 folios, represents
Christ rising from the tomb. Clothed in a red robe
lined with green the Saviour with one hand grasps
a white flag bearing a red cross, the symbol of his
victory over death, while the other is held to his bleed-
ing side.
A third volume, similar in size and binding, written
on 316 folios, has only one large miniature, but four
large capitals, rich in gold and colors, and hundreds of
smaller capitals with outline borders of grotesques and
figures. The miniature on the verso of folio 1 is of ex-
ceedingly crude execution, and represents King David in
a red robe and playing the harp; on three sides is a flo-
riated border of graceful design and rich colors, but
roughly executed. The four large capitals have heavy
gold backgrounds richly tooled, mainly in lozenge and
star designs, and have also finely floriated corners and
borders. Some of the smaller capitals are artistically
done, while the grotesques are often very curious. The
text to this volume begins: "D[o]m[ini]ca p[ri]ma
i[n] adventu dni sabbato p[re]cedenti ad vesp[er]as.'
Two other volumes of about the same size and of
similar binding have nine staves of music and nine lines
of text to the page. One has two large miniatures; the
first representing The Annunciation. The Virgin in a
pink robe and blue mantle, with arms crossed on her
breast, golden hair and nimbus, is kneeling at a prie-
dieu, on which is an open book. Before the Virgin
stands the angel Gabriel, with green and crimson
wings, in a green garment and pink cloak, with one
7
hand raised in benediction; the other hand holds a
scroll bearing the legend "Ave gra." The background
is of heavy gold tooled in rays, and the border is flor-
iated in gold and colors. The second miniature is of
The risen Christ. Clothed in a red robe he stands by
the open sepulchre holding a banneret in his hand; in
the foreground are two sleeping soldiers in armor, with
battle-axes; the lower background is a landscape, the
upper is of heavy gold, on which the nimbus of the
Saviour is tooled. The text begins: "Ad introitu[m] de
primo-octavo tono," and closes with "De sancta
cruce." This volume contains the Litany, in which
the names of numbers of additional saints have been
inserted. The workmanship throughout the volume is
inferior to that of the last volume of the five.
etc.
This has one large illuminated capital D, 4 by 4º
inches, with a magnificent floriated border at the top,
left and bottom of the page, heightened with gold and
executed in the finest style of the Renaissance. Within
the beautiful lines of the floriation are introduced
painted birds, the peacock, parrot, horned owl, hawk,
The text is beautifully written; and there are
hundreds of capitals in colors, ornamented with gro-
tesque heads of the most curious character, in this and
the preceding volume. "They represent monks cowled
and cowlless-nuns black-hooded, white-hooded and red-
hooded-mitred ecclesiastics-bearded patriarchs, some
with shaven crowns-Satanic faces the color of copper
-Zanies with caps, grinning faces and protruding
tongues, and humorous masks."
8
A sixth volume has the title: "Antiphonarium hoc
vespertinum tam de tempore quam proprium & com-
mune Sanctorum. "bears date 1753, and is written
on 156 vellum folios. It has an Index to the Offices.
The script is executed in bold Roman letters, and the
music is very clear and distinct. This manuscript was
written by one Raynerus Franciscus Giannoni, a pres-
byter of the de Calcesana parish of St. Mark the Evan-
gelist at Pisa, for the use of the monks of the Mon-
astery of St. Matthew, of which Chunigunde Pinocci
was the most worthy Abbess and Felice Victoria del
Lante the prioress. It is bound in boards covered
with varnished leather, with eight brass corners bossed,
five smaller bosses on each side, brass clasps on leather
bands, and edges ornamented in colors.
The seventh and most massive volume of this collec-
tion of Antiphonals contains "Secu[n]da pars antiphon-
arij," and is written on 208 vellum folios 241 by 17
inches. There are only five staves and five lines of text
to the page. The letters of the text are of an
inch in height, and the strokes inch in thickness;
the four bars of the music are of an inch apart,
and the notes are of an inch
16
The large
ornamented capitals in colors are in each case followed
by a small capital in black. Folio 1 has an illumi-
nated border of bold design, but rather coarse and
crude in coloring. A circular vignette, 2 inches in
diameter, occupies the center of the base, and repre-
sents the Virgin Mary giving nurse to an infant Jesus.
There are two plump cherubs on each side of this
square.
2
9
vignette. In the center of the top is a very crude medal-
lion portrait. An initial E, 7 inches square, fills the
left center of the page. The initial is well drawn and
foliated, but the miniature enclosed, representing Christ
talking with two of his disciples, is crude in drawing
and coloring. A second initial encloses a miniature of
a full-length, semi-nude Christ, nimbed, with a wound
in the side, and bearing a gold banneret. A third con-
tains a miniature of The Annunciation, of very realistic
design. The angel Gabriel, clothed in a white robe
thickly spotted with gold, presents a large stalk of fine
Easter lilies to the Virgin Mary. Above, from the
head of the Father, amid golden clouds, a white dove
descends on golden rays of light upon the Virgin. A
fourth initial contains a crudely painted miniature
of Peter, bearing a sword. The board sides are § of
an inch in thickness, covered with leather, with em-
bossed and escalloped brass borders 24 inches wide,
with foliated corners, 8 inches deep, and an eight-
pointed star in the center. On each corner is a solid
leather boss, mounted on a sixteen-pointed leather
star. Nine extra leather bands cross the back. The
volume is in fine condition, though showing marks
of abundant use.
A beautifully illuminated Latin Breviary, of the
fourteenth century, written in large black and white
Gothic script on vellum 101x71 inches, fills two
thick volumes, two parts in each, separately pagin-
ated. The text is written in double columns, 26 lines
to the page. There is one curious full-page miniature
ΙΟ
near the middle of the first volume, measuring 5 x 81
inches. In the upper section are turreted buildings,
with water in the front center; above, in the clouds,
is a nimbed half length figure of Christ, holding a
globe and in the attitude of blessing: the background
is in red and gold chequer work, with a white dot in
the center of each red square. In the middle section
are three kings, robed in fourteenth century costume,
each holding a scroll, two wearing crowns; the back-
ground is of heavy gold. In the lower section a robed
Christ stands, with stigmata on his hands and feet,
holding in his left hand a staff on which is a large
Greek cross, while his right is raised in benediction.
He is talking to the spirits in Hades, represented by
nude figures, standing in the open mouth of a huge,
fiery beast, in which they are retained by cross bars;
the background is of lozenges, in gold and blue, with
white fleur-de-lys ornaments. On three sides of the
page is a floriated border in red, white, blue and gold.
There are also six large miniatures on gold back-
grounds, within handsome capitals, that have brill-
iant full-page, floriated borders, in colors, with birds
and animals. 1. At "Beatus vir," King David, in a
pink robe, is seated, playing upon a harp. 2. The
initial to "Dominus illuminatio mea" encloses Christ
in a red tunic and blue robe, pointing the forefinger of
his left hand to his eye. 3. The D of "Dixi custodiam "
encloses King David kneeling, with a nimbed Christ
holding a globe in the right upper corner. 4. At
"Salvu[m] me fac," David, nude and crowned, stands
up to his middle in water, a dove descending.
5. At
II
6. At
"Exultate dō,” King David seated, with a hammer in
each hand, is playing upon a chime of six bells.
"Dixit Dominus," Jehovah seated, left hand on a globe,
right hand pointing to a seat.
In the second volume are eight large illuminated cap-
itals, with full-page borders of elegant design, and min-
iatures representing: 1. King David playing upon a
harp. 2. King David, crowned and bearing a scepter,
left fore-finger pointing to his eye. 3. King David, left
hand raised in supplication to Jehovah, who appears in
clouds in upper corner. 4. A soldier in full coat of mail,
with spear and shield. 5. King David, crowned and nude,
stands in water up to his waist, with hands upraised
in supplication to Jehovah, in clouds above, holding
an orb and granting benediction; a white dove descend-
ing. 6. King David seated, playing with two hammers
upon a chime of eight bells. 7. Five tonsured clerks
singing before a lectern on which is an open book. 8.
The Father and Son seated on thrones. The cheq-
uered and gold backgrounds to all these initials are
finely executed, and the floriated borders are of ex-
quisite designs and coloring, ornamented with birds
and small animals. There are in both volumes numer-
ous large capitals, with rich gold borders; others of
intricate pen scroll work design; and many hundreds
in red and blue, with elaborate and delicate pen scroll
work ornamentation of exquisite workmanship.
The manuscript is of English origin, and the writing
fine throughout. In each volume is added, by a later
hand, "Scrip. A. D. M.cccLxiii." The binding is of old
12
mottled sheep, rubbed. In the first volume is inserted
the heraldic book-plate of "R. Dyneley," a former
owner.
Of still earlier date, and more beautiful execution, is
a thirteenth century manuscript of the Latin Vulgate
Bible, written on 667 folios of the finest uterine vellum,
as thin as tissue paper, measuring only 4 x 3 inches.
The text, 46 lines and two columns to the page, is
beautifully written in a distinct Gothic minuscule, with
many verbal contractions, and in ink, for the most part
black and glossy. Many of the minute illuminated
initials at the beginning of each of the several books
have grotesque ornaments, and there are eighteen with
miniatures. The initials at the beginnings of chapters
are in red or blue, with exquisitely delicate line orna-
mentation at the side or between the columns, generally
extending above and below the text. The headlines are
in red and blue capitals. The text is preceded by four
pages of Tabula on thicker vellum, and in a later hand.
The historiated initials are as follows: Prolegomena of
St. Jerome, a monk writing. Genesis. The initial I exe-
cuted between the columns represents Jehovah in six
acts of creation: (a) holding a globe; (b) holding a
globe showing land and water; (c) creating birds; (d)
trees; (e) beasts; (f) man; (g) blessing his work; (h)
the crucifixion with Mary and John. The drawing and
coloring are somewhat crude, but very effective. Kings.
Two figures, one in coat of mail, bearing the ark on
his shoulder; the other in white, carrying a green
book (?) i Chronicles. Four robed figures. ii Chroni-
cles. Solomon, with crown and scepter. Psalms.
13
David, playing the harp. Proverbs. Solomon chastis-
ing Rehoboam. Wisdom. Two serpents in the initial.
Isaiah. The Prophet bound to a pillar, sawn asunder
by two men. Hosea. Hosea and Gomer; Jehovah in
right upper corner. Jonah. Whale casting forth Jonah.
ii Macc. Judas and Simon Maccabeus. Matthew. Jesse
asleep under a canopy; the usual tree is omitted.
Luke. Luke stands before a table holding some object
in his uplifted hands; a golden vase on the table; a
winged ox in the initial to the Prologue. John. An
eagle in blue and red with green wings in initial to
Prologue. Romans. Paul delivering the epistle to
Phebe. Acts. The day of Pentecost; group of eight
persons, one a female (Mary); hands projecting from a
curious band of cloud (?) above their heads.
This beautiful specimen of the handiwork of some
monkish scribe of more than six centuries ago, while
perhaps not the oldest, may be considered the finest
manuscript in the whole collection, when one takes into
account the time and skill required for its execution.
Finely bound by Hering in full morocco, gilt, he or some
other earlier binder has shown the usual vandalism of
the craft, in cutting into the headlines and the bottoms
of the ornaments.
An Obsequiale, or Book of Forms to be observed in
the administration of the Holy Communion and ex-
treme unction to a sick sister in a convent, and the
funeral service for one deceased, is written on 88 folios
of vellum 6x4 inches in a fine bold Gothic script, 18
lines to the page. The ritual is in German, the prayers
14
and words to the music in Latin. The music is written
in small square notes on a four-line staff. The order of
the various processions is given in foot-notes. This fine
manuscript was evidently written for use in some old
German convent. It opens with a beautiful initial W
and the words "Von ter comunion ter sieche[n] swes-
tern zumercken.”
A handsome Book of Hours, of probably English ori-
gin, and written on vellum about the end of the fifteenth
century, contains 80 folios, 24 lines to the page, in red
and black Gothic script; it is particularly noticeable for
its fine conventionalised Gothic borders heightened
with gold, and for its brilliant initial letters of elegant
design, as well as for the very delicate pen line orna-
mentation of the numerous smaller capitals. It opens
with a prayer to St. Christopher, and the first minia-
ture represents that Saint bearing the Christ child
across a river. The second represents The Annuncia-
tion. 3. St. Veronica holding up the Sudarium on
which is the Vera Icon; the execution of the sacred
image is very fine. 4. The Betrayal of Christ; a group
of nine persons, the soldiers in coats of mail, with con-
ical helmets and gauntlets of plate of the 14th century.
5. At the Office for the Dead, a coffin on a bier wholly
covered with a dark blue pall; four tall candlesticks
with burning candles; on the right two mourners in
black robes with hoods; on the left three tonsured
priests stand behind a wooden lectern on which is an
open book. 6. The Resurrection; two angels, one in
light green, the other in bright red, floating on blue
15
clouds, are bearing upward in a white sheet three naked
souls standing with hands upraised in an attitude of
praise or prayer; in the center above, Jehovah with a
gold nimbus holds a golden globe in the left hand and
gives benediction with the right. 7. St. Jerome, in a
cardinal's robes, is seated in an arm-chair writing; his
cardinal's hat hangs on a post of the chair; behind on
right a receptacle for manuscripts in imitation of a
church. The backgrounds of all the miniatures are in
deep red ornamented with geometrical or floriated de-
signs in gold lines. The borders and larger initials are
very brilliant and of exquisite designs. The St. Veronica
is by far the best of the miniatures.
A Flemish Book of Hours of the fifteenth century has
137 folios of fine vellum, 6x4 inches, 27 lines to the
page. The text in Old Dutch is written in black and red
Gothic script. There are four full-page miniatures and
six finely illuminated capitals, with page borders beau-
tifully floriated in the Flemish style, heightened with
burnished gold freely used. Other initials have deli-
cately floriated tips and fine line ornamentation. The
miniatures are quaintly drawn and brilliantly colored.
They are: 1. The Annunciation; Gabriel in a yellow
robe, with white and blue wings tipped with gold, ex-
tends a golden scepter to a nimbed Mary who kneels at
a low prie-dieu covered with a crimson cloth, in front of
a red and gold arras beneath a green canopy; behind
the angel an open door showing sky and landscape
with spires in the distance. Mary has on a deep blue
robe, symbolic of heavenly love, covered with a flowing
16
white cloak, emblematic of her virginity; her left hand
rests on a partially open book, while the right is ex-
tended toward the scepter. In the border is an angel
playing upon a psaltery; in the lower corners two men
in conical caps of maintenance hold scrolls bearing
mottoes. 2. The Resurrection; in upper part Christ in
a red robe with feet upon a globe; his right hand raised
supports a gold olive branch which springs from his
right cheek, from the left springs a golden sword, hilt
outward; below, a nimbed Mary in blue and white
stands at the left; at the right a nimbed apostle in the
green robe of victory, and a pale purple tunic; between
these two figures a tonsured monk rising from a grave.
3. Pentecost; Mary, in a blue robe and white head-dress,
sits in the center holding the open book of wisdom; the
eleven disciples surround her, one of whom looks up to
the white dove just below the pointed arches of the
ceiling. 4. The Crucifixion; Christ on the cross; the
Virgin on the left in a rich blue robe brightened with
gold, and St. John in a red robe over a green tunic, his
right hand raised; hills, trees and buildings with temple
spires in the background.
page,
A dainty fifteenth century Breviary in Latin, written
on 249 leaves of fine vellum 4x3 inches, 22 lines to
the in a handsome Gothic script in red and black,
has exceptionally fine historiated initials and illumin-
ated borders of the German school. It is bound in a
leaf from a 34 line vellum printed Book of Hours, and
formerly belonged to a conventual house of the Fran-
ciscans at Pfaffenhov in Bavaria. The foliated initials
3
17
and floriated borders are executed in brilliant colors
and with delicate shading. The gold backgrounds are
heavy and engraved, and gold is also lavishly used in
the borders. The six historiated initials are handsomely
done in blue, floriated, and are enclosed in borders of red
and green about an inch and one-half square. The
miniatures represent: 1. The Annunciation; on the left,
Gabriel in white with a scroll; on the right, the Virgin
in a red and gold tunic and a blue mantle kneels at a
prie-dieu; she has a red fillet around her head. 2. St.
Andrew, with a full beard and in a green tunic and
purple robe, holds a cross saltier in his hand, the sym-
bol of his martyrdom. 3. St. Udalricus (Ulrich) patron
St. of Augsburg, in a mitred cap and a red robe, with a
crozier in his left hand and a fish (?) in his right. 4. St.
Afra, martyr, patroness of Augsburg, bound to the
stake with fire below; the martyr's crown is outlined
on the gold background as resting on her head. 5. St.
Simpert, bishop of Augsburg, in mitred cap and
bishop's robe; crozier in left hand, his right raised in
benediction; at his feet a naked child in the jaws of a
wolf or demon. 6. A church; from a window in the
spire floats a white flag bearing a red cross. This min-
iature is at the opening of the service for the consecra-
tion of a church. This manuscript seems to have been
written expressly for use in the Church of St. Ulrich
and St. Afra at Augsburg, Bavaria, and later to have
found its way to the library of the Franciscan monastery
at Pfaffenhov. The text is beautifully and evenly writ-
ten, frequently in letters of two sizes on the same page.
18
A handsome Book of Hours of the fifteenth century
written in bold script on 91 vellum folios 4x6 inches,
ten lines to the page, is a fine specimen of the work of
some Belgian scribe. The Kalendar in Dutch is richly
rubricated, the initials for each month being in heavy
gold, illuminated. Folios 15 to 66 contain the Peniten-
tial Psalms, the Litany, and the Hours of the Virgin in
Latin; folios 67 to 91 contain the Hours, Prayers, etc.,
in Dutch. There are twelve large initials of exquisite
design, with full-page foliated and floriated borders
elaborately executed in gold and colors, occasionally in-
troducing the grotesque figures whch mark the Belgic
illumination. The minor capitals throughout the text
are rich with gold or color, and elaborately adorned
with delicate line ornamentation, that often extends
above and below the text. The volume is bound in old
purple velvet; in 1604 belonged to Francis Goubault,
commissioner, later to his daughter Catherine, “femme
de Sr. De Hemselrode," and in 1671 to her son Francis-
cus Gaspar ab Hemselrode of the Supreme Council of
Brabant.
A beautiful little Book of Prayers, with text in Latin,
in Gothic script of the French school, is written on 143
folios of fine uterine vellum 43 x 3 inches, 15 lines to
the page. It is rather unevenly written, the longer
letters having a marked slope. There are no minia-
tures, illuminations or large initials, but hundreds of
small capitals beautifully executed in blue and gold or
red and gold, and many finials in the same brilliant
colors. The binding is a fine specimen of sixteenth
19
}
century work in full calf, blind tooled. The motto
"Patiendo vinces" is repeated around the margin of
the covers. At the corners are fleurons. In the center is
a coat of arms charged with three chevrons. The sides
are covered with the letter "S" of the owner's name:
"Svsanne de Sovcelle," which is lettered on each side,
with the date 1568 below.
A curious Livre d'Église of the fifteenth century, text
and music, consists of two entirely different manuscripts
bound together. The first part (to folio 55), in French
and Latin, is written on thick vellum in Roman and
Italic text; has 14 large capitals in gold and colors
ornamented with flowers; the text page measures
33x2 inches. The second portion (folios 56–103)
is written in Latin only, in Gothic script, on very thin
vellum. The text page, measuring 3x13 inches, is
enclosed in decorated borders in gold and colors. The
capitals are small and finely illuminated. At folio 96 is
the Latin hymn-
Ludovice, rex francorum
in felice beatorum
regno gaudens gloria,
de hac valle miserorum
recto calle nos justorum
duc ad celi gaudia.
At folio 63v is a portion of the Dies ira which reads-
Dies illa dies ire
calamitatis et miserie
dies magna et amara.
20
But by far the most interesting, as well as one of the
oldest of the vellum manuscripts, is a tiny volume of
150 folios of very fine vellum, 34x28 inches, 24 lines to
the
page, written in Latin and French in the court hand
of the close of the thirteenth century, containing the
Magna Charta and other charters of Edward I. There
are nine illuminated capitals in gold and colors, 31 large
initials in blue and red with delicate line ornamenta-
tion of exquisite designs, and numerous smaller capitals
in blue and red. In one of the illuminations is a coat
of arms "azure, an eagle displayed argent;" in another
is a shield charged with a lion rampant. This manu-
script appears to be the work of more than one scribe,
as there is a noticeable difference in the color of the ink
and the size of the letters, in the middle and latter
portions of the volume, from those in the beginning and
in the Capitula. It was probably written in the first
decade of the fourteenth century, and is doubtless the
only codex of an English Magna Charta in this country.
There are some 36 charters and statutes in the little
volume. Among those with dates are the following:
Magna Charta of Edward I., 1297; Carta de foresta,
1297; Sententia cartar[um], 1253; P[ro]uis[iones] de
Merton, 1236; Statuta de Marleb[er]ge, 1267; Statuta
W[estminsteri] p[ri]ma, 1275, sec[un]da, 1285;
Statuta[m] de mediis [i. e. Quia emptores], 1290; Stat-
ut[um] de Bigamis, 1276; De ponendis i[n] assis et jur®,
1293; Artic[u]li sup[er] cart[as], 1300; Berewick
champ[er]t, 1305; and Articli foreste, 1253. At the
end are Capitula magne carte, and several others. The
21
binding is of smooth black morocco, blind tooled, with
beveled boards and gilt edges. Aside from its value as
a manuscript written nearly 600 years ago, it is in-
valuable as a codex of many of the earliest charters
of English liberties.
A sixteenth century vellum manuscript 63 x 5 inches,
of 58 folios, 24 lines to the page, in fine Gothic char-
acters, bears the title, supplied by a later hand, of "Vitæ
Sanctorum Bonaventuræ, Ægidii Abbatis et Ægidii Socij
S.P.N.F." It has six handsome illuminated initials in
gold and colors, and 15 capitals in blue and red with
fine line ornamentation. A Latin note, on the last page,
states that the book belonged to a convent of the
Observantist Franciscans at Burgos, Spain. Below this
note is a cross, and under it the legend, "Requiescant
in pace," followed by a list of 21 Fratres bearing the
name Egidius, written by several hands.
An Italian manuscript of the sixteenth century,
beautifully written on vellum of the finest quality, con-
tains the Regulations of the Confraternity of St. Ambrose
attached to the Church of Santo Roccho at Milan.
It bears the date "16 mensis Aprilis M.D.Lxxii," and is
officially signed by archbishop Carlo Borromeo, after-
ward one of the most illustrious of Italian cardinals,
and has the armorial episcopal seal attached. There
are 16 vellum folios 8x53 inches, 19 lines to the page.
It is in the original morocco binding, heavily tooled in
gold. In the center of each side is stamped in gold a
portrait of St. Borromeo nimbed, in front of a crucifix,
with his name below.
22
A small quarto volume of 448 pages, 71x69 inches,
bound in old vellum, contains a "Collection of law
cases partly wrote by Lªchan Hyde." There are eleven
Reports of groups of cases of the time of Elizabeth.
The cases are numbered, with an alphabetical table to
each group. The first 42 pages and last 14 are in the
handwriting of Edward Hyde, earl of Clarendon,
father-in-law of King James II., and author of the "His-
tory of the Rebellion." The last 14 pages are in
English, the rest of the volume in French. All is very
neatly written.
An interesting Hebrew manuscript is written on four
sheets of vellum joined together to make a scroll; each
sheet has four pages of text separated by handsomely
engraved columns, the whole 16 pages surrounded by a
fine copper-plate border. It is rolled up and kept in a
leather case.
An English manuscript common-place book of the
middle of the seventeenth century, of some 360 pages,
opens with a manuscript copy of Sir Francis Hubert's
poem in 581 stanzas, "The historie of Edward the
Second," published in London in 1629.
There are a
number of other pieces including Erle's "Paradoxes."
The volume is bound in old calf with gilt ornament
of Grolieresque design on the sides.
A Spanish manuscript of the sixteenth century on 55
vellum folios, 34 lines to the page, relates to a law-suit
for the recovery of lands, mines and other property in
Mexico, originally granted to some of the companions of
Cortez for services in the New World. Eighteen fine large
23
1
Hispano-Moresque capital letters in gold, with heavy
and richly foliated ornamentation in white on deep crim-
son or blue grounds, are scattered through the volume.
There are three full-page paintings of fine workmanship,
with ornate borders in gold and colors, but somewhat
damaged. In the upper portion of the first, Jehovah (?)
is represented as raising the dead Christ into a kneeling
posture by the outstretched arms; the head of the
Father and the right arms of both figures are almost
wholly erased; the power of Jehovah and the helpless-
ness of the Christ are admirably expressed in the draw-
ing of the figures. In the lower section King Philip II.
of Spain and his two sons are represented kneeling with
clasped hands in adoration of the vision in the clouds
above them.
In the upper portion of the second painting is a fine
representation of The Annunciation; below, Queen
Isabella and her two daughters are kneeling in attitude
of worship; the face of the Virgin is beautiful and the
figure well drawn. The third painting is heraldic; a
quartered coat of arms is charged on an imperial eagle
in whose beak is a blue scroll bearing the motto, Veritas
vincit. At the four corners are shields blazoned with
coats of arms; the background is red. Across the bot-
tom of the three pages are the words, "Don Fflippe por
la gracia de Dios rei de Castilla." At the end is the
signature "El doctor torres."
These two manuscripts were formerly the prop-
erty of Ag. Fischer, the secretary of the unfortunate
Emperor Maximilian, of Mexico. They are very fine
24
examples of the work of the early Spanish-American
monks.
Another Spanish manuscript, having a few folios of
vellum and the rest of paper, has the title "Blazon y
escvdo de armas; de los Señores-Conquistadores: de, el
Apellido Poras, Merodio, y Belasqves. &." It is a col-
lection of legal documents relating to property of the
families named, in Mexico, originally granted to some
of the companions of Cortez. In various hands, with
many elaborate signatures, including that of Torque-
mada. The first vellum folio bears a quartered shield
charged: 1. argent, five fleurs-de-lis sable; 2. or, in chief
five fleurs-de-lis sable, and in base two fishes azure; 3.
or, a bend sable; 4. chequey azure and or. The crest a
helmet; foliated ornamentation around the shield. The
second vellum folio bears the title of the manuscript
in gold letters. In the upper section of the third vellum
folio is St. Francis with staff and book on the left, and
on the right the Blessed Virgin of Guadaloupe. In lower
section below a plumed helmet is a shield, "gules, three
roundels or depending from a ragged staff to the sinis-
ter," enclosed in a foliated colored border. Each page
is surrounded by a 3 inch red border with black corner
ornaments. The illuminations are well executed and
rare examples of seventeenth century work in America.
Some of the documents are on stamped paper with a
printed heading bearing the dates 1647-48 and 1652-
53. The stamps are printed seals, two of the royal
arms of Spain, and one an oval border enclosing a
tower bearing on its front the letter M. (Mexico?),
}
4
25
and on its margin the dates MDCLXII. and 1663. A
document dated May, 1620, has the signature of Tor-
quemada. These volumes "more especially narrate the
story of Spanish hidalgos endeavoring to wrest their
ancestral property from Israelite creditors by the
aid of the civil authorities and of the Holy Inqui-
sition."
A unique Spanish manuscript of twenty pages on
twelve vellum folios, 12x8 inches, bearing the title
"Carta executoria de hidalguia a pedimj° de pº. de
palacios..." is the original patent of nobility granted
to Pedro de Palacios by the Emperor Charles the Fifth.
It is dated at Valladolid Feb. 4, 1531, and is written
in Gothic script, 40 lines to the page. It begins: "Don
Carlos por la divina clemencia emperador sempé augusto
rey de alemania" and continues at great length with
the minor titles of the emperor. The first page of the
text is surrounded with a finely illuminated border in
gold and colors, floriated and jeweled in imitation of set
gems. In the middle of the base are the arms of the
Palacios: "Within a border gules charged with St.
Andrew's crosses or, a shield quarterly; first and fourth
barry of seven or and sable, second and third argent a
tree proper; two lions rampant as supporters," with
motto "Ave Maria" above. On the left corner of the
page in the center of a handsome initial D in blue,
gemmed, on a gold ground 24 x 24 inches, is a shield
outlined in sable on which is a "double-headed imperial
eagle sable" charged on his breast with the arms of
Charles the Fifth, and above his head the imperial
26
99
crown. The arms consist of "a shield of 15 quarterings,
in the center of which is an impaled escutcheon of pre-
tence.' Three other initials in blue on a gold ground
occur in the text, and also the word "Pallamas" twice
in red letters on a gold ground. A notary's attestation
follows the signatures, and a notarial monogram is
signed at the foot of each page. The last two pages are
in a later hand with an elaborate ornamental signa-
ture. The volume is bound together by a parti-colored
silk cord with tassels.
In striking contrast to these vellum manuscripts is an
oriental manuscript on 32 strips of bamboo, each 201
inches long and 31 inches wide. Each strip is covered
with a chocolate colored lacquer elaborately gilded with
ornamention. The text occupies 101 inches in the middle
of each strip on each side, and is written in heavy black
lacquer in four lines. It is in two sections, and is en-
closed between two beveled boards also lacquered and
ornamented with conventional figures of birds in gold.
It is held together by two strings passing through holes
about 5½ inches from each end. I am of the opinion
that this is a Buddhist work in the Pālī language writ-
ten in the character indigenous to Siam.
An interesting Italian manuscript of 55 folios, on
paper 5x33 inches, contains "Dieci meditazioni familiari
sopra la vita e miracoli del glorioso patriarca S. Bene-
detto... Per proprio uso della Signora D. Vincenza
Morra... 1734." These Benedictine meditations are
written in a fine Italian minuscule with passages in
Italic. Bound in the original full calf binding, with gilt
27
11
edges; the sides have tooled borders with Morra (?)
coat of arms stamped in the center: a shield charged
with two swords crossed, and three five-pointed stars,
surmounted with two cherubs supporting a coronet.
A unique eighteenth century manuscript of 8 pages,
written in Roman letters in gold and black on paper
7x5 inches, is the Diploma granted by the University
of Camerino to Domenicus Corradi de Visso, on June 17,
1750, creating him Comites Palatinus, Equites et Doc-
tor in J. Pontifico et Cæsareo. The first page is illu-
minated with the coat of arms of the University in col-
ors within a floriated border, surmounted with a crown.
The initial C is ornamented with a colored wood-cut
pasted on. The seal of the University has been removed
from the last page, where are the signatures of the offi-
cials and the notary's attestation and stamp. The
covers are of wall-paper of the period in gold and
colors.
A curious archæological manuscript in Latin, beauti-
fully executed in a close and very fine script, 43 to 48
lines to the page, on 88 folios of paper 9x7 inches, with
39 plates and illustrations, describes the ancient monu-
ments of the city of Milan omitted or overlooked by
Alciatus. It was probably written in the early part of
the eighteenth century and the scribe, perhaps the
author, gives his name in the brief colophon: "Hæc
Franciscus Cicercius scribebat."
Another unique and exceedingly interesting manu-
script is a Life of Molière by Voltaire, in the author's
own handwriting. It is beautifully written on 106
28
pages, 8 x64 inches. The life proper occupies 30 pages;
the rest of the manuscript contains notices of twenty-
nine of Molière's comedies and other pieces. It is bound
in smooth crimson morocco gilt, rims and inside
borders tooled in gold, with gilt edges. Facing the
first page of the manuscript are two notes in French,
in different hands. The first reads: "Cet ouvrage est de
Mr. de Voltaire." From the second we learn that Vol-
taire presented the manuscript to M. de Cideville, coun-
cillor of the Parliament of Rouen, who greatly admired
its beauty. At his death his confrère M. Dornay took
it to a M. Noel who placed it in the hands of the writer
of the note, then Treasurer of Rouen.
In company with all these manuscripts from other
lands we find one that takes us back nearly two and a
half centuries on our own home soil, The Manuscript
Record Book of "Boshwijck" from "4 Feb., 1660, to
November 1st, 1825," in 270 pages narrow folio in
original board binding. It contains a great amount of
valuable matter, acts of commissioners, extracts from
the records of N: Nederlandt, etc., etc.
And finally we have to note five deeds on vellum and
one on paper conveying lands in Northampton Co.,
Pa., bearing dates 1788 to 1811, enclosed in a full
morocco portfolio.
THE INCUNABULA.
The earliest of the incunabula is a Book of Hours,
“Ad usum Romane curie," printed on vellum 7x51
inches, by Geoffroy De Marnef at Paris, in 1488. The
29
title-page has an illustrated border and the mark of G.
De Marnef with the design of "le pellican" in left upper
corner, and the motto "Benedictum sit nomen Domini”
in the margin. The initials in the gospels and in the
prayers are illustrated with small woodcuts. The
small initials throughout and the finials are in red, blue
and gold, illuminated by hand. There are sixteen large
woodcuts of crude and quaint design illustrative
mainly of Scripture scenes. Each page has a border
made up of movable illustrations (many having ex-
planatory legends) so that no two borders are the
same. There are but 69 folios of this work, the re-
mainder of the volume being made up of the latter
portion of a Book of Hours printed on paper by
Thielmann Kerver at Paris in 1502.
Among the larger illustrations are: One with The
Annunciation in the upper half; in lower left Eve hold-
ing apple and fig-leaf, and the serpent with the head of
a fox; on the right an armed knight kneeling to whom
an angel appears. At the Office of the Dead, three
plumed knights hunting on horseback with dog and
falcon; facing this, three flesh-clothed skeletons with
grinning skulls. A few pages beyond, the last sacra-
ment is being administered to a dying man by a priest
and attendants, while devils and flames surround him
ready to seize his soul. At the Sancta Trinitas, the
Father enthroned supports a cross in his hands on
which the Son hangs, and upon which the Holy Spirit
in the form of a dove stands with outstretched wings.
Bound with this De Marnef and forming the second
30
part of the volume are the last 24 folios of an "Hore in-
temerate virginis marie secundu[m] vsum Romanu[m]"
printed on paper by Thielmann Kerver at Paris for
"Gillet Renacle libraire: demourant sur le pont sainct
Michel a le seigne de la Licorne." Only two of the
larger illustrations are contained in this portion, and
these do not appear in the vellum edition of 1506, from
the same press, described below. Many of the smaller
illustrations in the text are the same as in that edition,
and the impressions of these, as well as of the orna-
mental and grotesque borders, seem clearer and more
brilliant in this earlier edition, although on paper. The
smaller initials are done by hand in plain red and blue
of bright color. The two large illustrations are: 1. A
brilliant woodcut; in the center the Virgin nimbed, sur-
rounded by symbols, each with its explanation on a
scroll, as "pulcra ut luna," "stella maris," "civitas
dei,” “porta celi," etc., etc. 2. A very curious picture
of the risen Christ standing with his left arm around the
cross, the spear in his right; the head of Judas with a
bag hung around his neck; on a pillar a cock crowing;
the nails, hammer, pincers, dice, etc., etc.
Thielmann Kerver began to publish "Hours "in 1497.
He died in 1522 and was succeeded by his widow. He
is celebrated for the grotesqueness and beauty of his
borders, which are greatly superior to those of the
other printers of his time. These were printed from
interchangeable blocks, which in combination afforded
an endless variety, now made up of scripture designs,
now of grotesques and again purely ornamental. They
31
are bold and quaint in design, and the grotesques
are strangely inappropriate to the texts which they
enclose.
The "Hore" printed by Kerver in 1506 on vellum
contains 69 folios 83 x 5 inches. There are nine large
(three-quarter page) illustrations, with numerous
smaller woodcuts in the text. Great variety is shown
in the ornamental, historical and grotesque borders, no
two of which are the same, being made up for the most
part of interchangeable illustrations representing scenes
from the Bible, episodes in the lives of the saints, sybils,
grotesques, etc.
The Kalendar in Latin and French begins, “Al-
manach pour xxv ans, v cens vi" to "v cens xxx” in-
clusive. This edition has many of the small woodcuts
used in the edition of 1502 printed on paper, but the
text differs in many places, and a great many words
printed in the contracted form in that edition are here
printed in full. In the latter part portions of the text
are in French. The illustrations are exceedingly quaint
and interesting; for example:-Jesse asleep; from him
springs a tree with twelve branches bearing figures
of kings named, and on a central one, the Virgin
crowned, holding the Child, standing on a crescent,
and radiant; also King David looking from a tower
at Bathsheba, who stands in a fountain, and to whom
a maid offers a dish of fruit. The volume is a fine
specimen of Kerver's printing. Numerous capitals in
the text are illuminated by hand in colors, and the
finials and smaller initials are in red, blue and gold.
32
A fine Latin Book of Hours on vellum from the press
of Hardouyn has the French title "Heures a lusaige
de Rõme tout au long sans rien requerir. Avec les
figures de lapocalipse et plusieurs autres figures." Above
these three lines is the device of Gilles Hardouyn, a
woodcut representing Hercules rescuing Dejanira from
the centaur Nessus. This page is rubbed. The volume
contains 96 vellum folios, 6x4 inches. Eight folios
are missing, including the last bearing the colophon.
The Kalendar contains an almanach for 1516-1525 and
the book was probably printed in 1516.
There are 13 full page miniatures partially engraved,
i. e., printed from wood blocks, and 19 smaller ones, all
brilliantly illuminated in colors and gold by Germain
Hardouyn "in arte litterarie picture peritissimus."
These represent: 1. In center on a deep red background
a huge skeleton in gold; between the legs there
kneels on one knee a fool dressed in motley; four other
figures at the sides appear to represent the four ele-
ments. Astrological scrolls and sentences fill up the
page. 2. Christ in the garden of Gethsemane, holding
cup in left hand, his right raised in benediction; two
disciples asleep; in the left background Judas and the
high priests. 3. Judas betraying Christ with the kiss;
Peter with drawn sword, soldiers with torch and
spears. 4. The Annunciation; a nimbed Virgin seated
under a green canopy, dressed in a dark blue robe over
a gilded tunic, with open book on her lap. Gabriel in a
red robe over a white tunic, with red and green wings,
holding scepter in left hand and pointing upward with
5
33
right, kneels on the left. Dove descending on golden
rays. 5. Facing Ad laudes: A man in a dark blue robe
lined with white over a richly gilt tunic, with a golden
cap of maintenance on the floor in front of him, kneels
and raises his face and hands to a vision of the Virgin
and Child in the clouds in upper left corner, whence
stream golden rays. Behind the man a woman in a
richly gilt deep red gown, the train of which is held by
a maid, and with a green and gold head-dress and veil
over her right arm, stands also pointing to the Virgin.
A second maid stands in the rear. 6. The Crucifixion;
the two thieves; Roman soldiers on horseback on right;
three women on the left and one kneeling clasping the
cross. 7. Pentecost; Mary in a deep blue robe, open
book in lap, sits in the center on a dais covered with red
and gold cloth, in front of a red and gold arras; white
dove with extended wings above; disciples on each side
in bright colored robes heightened with gold; golden
tongues of fire descending; deep blue curtains at the back.
8. The Nativity; Mary, nimbed, in a deep blue robe, kneels
before the Babe who lies on a white cloth. Joseph in a
red robe over a blue tunic kneels in left background; be-
hind Mary cattle in stalls; posts and roof of stable
heightened with gold. 9. An elaborate picture of the
presentation in the Temple. The high priest in white
miter and pontifical robes stands under a baldacino
with green curtains lined with purple and gold, and
holds the Child upon an altar covered with a white
cloth. Mary, nimbed, and in a dark blue robe kneels
in front holding a white cloth in her hands. Behind her
34
Joseph, nimbed, clothed in a red and gold robe with a
blue collar and hood, also kneels holding a golden staff
or lighted candle in one hand, and a basket, in which
are two doves, in the other. Priest's attendants stand
in the background. 10. The Flight into Egypt. Two
angels and a woman carrying a box on her head
accompany the holy family, and a city with towers
appears in the background. 11. Compline: Death-bed
of the Virgin Mary surrounded by several figures in
highly-colored robes, the canopy and draperies being
richly adorned with gold. 12. Penitential Psalms: A
knight in full armor with a green cape, spear in right
hand and kneeling on one knee, receives the benediction
and perhaps money from some high dignitary, who
wears a long blue robe over which is a purple cloak
lined with white; on his head a green and purple tur-
ban topped with a crown; at his side hangs a red bag
with three tassels; behind him a man in a green robe,
whose cap of maintenance is pointed and covers his
eyes. In the right background stands a man in short-
skirted tunic and pointed hat. The arras is in deep red
and gold. 13. A representation of the raising of Laz-
arus from the dead.
In addition to the smaller illuminations in the text
there are hundreds of capitals of various sizes in gold
on red or blue grounds. On inside of cover and on
the first blank leaf are the words "prit 300 francs ;"
on the last paper fly-leaf "Sans prix" is written three
times.
In contrast with these early Books of Hours and as
35
3
a splendid specimen of modern printing in colors, there
is a "Nouvelles heures gothiques d'après les manuscrits
des Bibliothèques nationales et particulières," published
at Paris by Leroy, Sécail & Cie in 18-(?) It is 16mo in
size, contains 194 pages, and 6 full page plates. It
is beautifully printed in gold and colors with illumi-
nated borders, reproduced in facsimile from a number of
selected manuscripts as the title indicates. There are
special title-pages for La Sainte messe, Vespres de
Dimanche, Antiennes à la Sainte Vierge and Messe de
marriage.
A beautiful specimen of the Modena press bears the
title "Divæ Cassandræ fidelis virginis Venctæ in gym-
nasio Patauino pro Bertutio Lamberto canonico Con-
cordiensi liberalium artium insignia suscipiente, Ora-
tio. Dixit xviij. Kl'. Salutis Christianæ. Anno. M.cccc.
lxxxvij. Impressum Mutinæ per. M. Dominicu[m]
Rocociolă Mille. cccc.lxxxxiiii." It is printed on six
folios and is bound in a modern stiff paper cover.
Cassandra Fidele was born in Venice in 1465. She
became widely celebrated for her great learning and
accomplishments, and numbered among her friends
Pope Leo X., Louis XII. of France, and Ferdinand
and Isabella of Spain, who vainly endeavored to draw
her to the court of Castile. This Latin oration, de-
livered at the University of Padua when she was
twenty-two years of age, occupies five pages and is
followed by an address from Ludovicus Scledeus, the
rector, to Cassandra, which fills one page, closing
with:-
36
Non mihi sunt fulvi radiantia dona metalli:
Mitto versiculis mitia poma tibi.
The reply of Cassandra fills one and a half pages,
and is followed by "Angel' Tacred' lucan' pulcin divæ
Cassandræ veneta Foelicitate[m] Gloriaque," one and
a half pages.
The pamphlet closes with "Francisci
nigri: Veneti: Doctoris: in dictam Cassandram pis-
tæam poenicum Sapphicon," of twenty stanzas. This
little brochure is of value not only as a beautiful ex-
ample of the early Modena press, but also for the
witness it bears to the scholarly attainments of one
of the learned women of the fifteenth century.
A specimen from the press of the famous Jodocus
Badius (Josse Bade) of Paris, the first printer of that
city "to present in his text any Greek characters," and
who in a business career of twenty-five years printed
not less than 400 separate works, bears the title
"Fausti Andrelini de Sciolorum Arrogantia Proverbi-
alis Epistola. Venundatur in ædibus Ascencianis."
Colophon: "Impressit autem Badius. III. Calend.
Maias. M.D.XIX." It is an octavo of 15 pages. In
the center of the title-page is the mark of Badius, a
representation of the printing-press of the time. The
Epistle begins with a beautiful initial H measuring
1x14 inches.
An early example of typography in Italics is a work
by Paolo Giovio the elder, bishop of Nocera, entitled
"Commentario de la cose de Tvrchi ... a Carlo
quinto imperadore augvsto. MDXXXVIII.” It has
no printer's name or place of imprint. The title-page
37
has a very curious engraved border. It may have
been the work of the Giunta family at Venice.
Another interesting Italic specimen is: "Oratione del
S. Pietro Angelio da Barga, fatta in Fiorenza nell' esse-
quie del Re Arrigo Valesi Re di Francia. A 6. d'Agosto
1559. Tradotta in volgare. Bologna, 1559." This
oration on the death of Henry II. of Valois, is printed
in 4to in small Italic type by A. Benaccio and Giovanni
Rossi compagni. Signature B is missing. At folio 7 is
"Canzone sopra la morte del Re Arrigo II." in larger
type. On the title-page is the coat of arms of France,
surmounted by a crown, with a small circular vignette
at the bottom showing St. George and the dragon; the
Saint has a pair of scales in one hand and a sword in
the other.
From the press of Paulus Manutius, son of Aldus, we
find a folio volume of 151 pages, dated at Rome, 1562,
the year after he left Venice to become printer to the
Pope. The volume contains the Commentary by Theo-
doretus, bishop of Cyrus in Syria, on the visions of the
prophet Daniel, translated into Latin by Giovanni
Battista Gabio of Verona.
A fine example of the Venetian press of the seventeenth
century is found in a "Missale Romanum ex Decr.
Sacros. Conc. Frid. restitutum, Pii V. Pontificis Maximi
jussu editum, et Clementis VIII. auctoritate recog-
nitum. Venetiis, sub signo Europa MDCVI. Ex typo-
graphia Bonifacij Ciera." It contains 312 folios with
illustrations and plates, and is bound in old calf with
tooled sides, and a coat of arms stamped in the center.
38
At the top of the title-page is a fine small copper-plate
engraving by Iacom Valegi, representing St. Mark,
seated in a handsomely carved arm-chair at a desk,
writing. Behind the chair is the lion; upon the wall
hangs a steeple-crowned, broad-brimmed hat adorned
with cord and tassels. The printer's design represents
Europa borne by the bull through the sea. There are
four full-page wood-cuts strong in design and admirably
executed representing respectively, The Annunciation,
The Nativity, The Crucifixion, and Christ surrounded
by the Saints; the latter is given twice. The body of
the text is well filled with quaint wood-cuts illustrative
of Biblical scenes, and initial letters of bold and beauti-
ful design. Among the contents of the introduction are
Rubricæ generales Missalis, Ritus celebrandi Missam,
and De defectibus in celebratione Missarum occurrenti-
bus. The directions for the conduct of the priest and the
order of the service are rubricated throughout the text.
On the margins in small type are noted the sources from
which the Scripture quotations are taken.
A thick square octavo volume, from the library and
with the book-plate of H. R. H. the Duke of Sussex, is a
copy of Vincenzo Cartari's "Le vere e nove imagini de
gli dei delli antichi... Cavate da' Marmi, Bronzi, Med-
agli, Gioie, & altere memorie antiche... da Lorenzo
Pignoria... & un Discorso intorno le Deità dell' Indie
Orientali, & Occidentali. . . Con le Allegorie sopra le
Imagini di Cesare Malfatti. . . In Padoua Appresso
Pietro Paolo Tozzi, 1615.” With two plates and
many illustrations. A manuscript note on a blank
39
leaf reads: "Le meilleure édition avec Les Dieux des
Indes."
The only Elzevir in the collection is a copy of Quintus
Curtius, in the fine edition of 1633 edited by Heinsius
with the imprint "Lugd. Batavorum. Ex officina Elze-
viriana, anno 1633."
CHARLES ALEXANDER NELSON.
40
UNIVERSITY OF MICHIGAN
3 9015 07707 3099
*
!
:
SALIND
JAN 11 1928
UNIV. MICH.
LIBRARY
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