v4..^ ■■ > ' ■^.■:::::^-ii^ y ..% M ■ ■■ i \ .J:- / a: ^^ /•: '^A ,y'^J -■ '^.. ■■*•■:.::■■ --,^-^- .-' :/^7 /- i^'^) s / J"' xt-:' V 'K'Tr 1'" ^\-,:^ I / r" ' li *. r CATALOGUE OF AN EXHIBITION ILLUSTRATING THE VARIED INTERESTS OF BOOK BUYERS 14.50- 1600 Selected mainly from the Collections of Members of The Club of Odd Volumes And held at the Club House, 50 Mt. Fernon Street March 18 to March 26, ig22 BOSTON The Club of Odd Volumes 1922 •^-j v^ 11 r 1 TV /T • -111 c Institutwnes, O printmg had conierred upon Mainz, m the colophon 01 Mainz, Schoeffer, the Institutes of Justinian, printed by Schoeffer in 1476, '■^■7'' after Fust's death, is typical of the language they ordi- narily used. They never suggested that either had any- 4Falcrius Maximus, Strassburg, Rusc/i, c. 14.71 5 Die Bibel in Teutsch^ Augsburg, G. Zainer, c. 1475 A Chaucer, fVorks, London, Kelmscott Press, 1896 thing to do with the discovery. This is significant if the invention was perfected with Fust's money and if, as is supposed, SchoefFer was the principal workman employed by the inventor. JoHANN Mentelin of Strassburg, whcre Gutenberg lived from 1430 to 1448, and his son-in-law, Adolf RuscH, were the earliest rivals of the Mainz printers. The technical crudity of much of their work suggests that they may have acquired their training before the details of the invention had been perfected. This lack of skill is shown by two facing pages in Dionysius de BuRGo's Comfne?itary on Valerius Maximus^ on one of which Rusch used over 300 contractions in order to get the necessary text onto the page, whereas the next has less than a quarter as many. Rusch is better known as "the R Printer," from his use of a peculiar capital R in some of the books supposed to have been printed by him. As neither he nor Mentelin ordinarily put any name, place, or date on their work, their books have to be identified by peculiarities of the type. GuNTHER ZAiNERof Augsburg was anotherearly com- petitor of the Rhine Valley printers. The Augsburg wood engravers opposed the introduction of the new method of making books cheaply, until they had been guaran- teed extra work. This explains why the city became a publishing centre for vernacular literature and for illus- trated books. The German Bible from Zainer's press, with many pictorial initials, was William Morris's copy, and was studied by him while designing the types for his Kelmscott Press. Beside it is Morris's own copy, on vellum, of the Kelmscott Chaucer^ and also the original sketch of one of the illustrations, by Burne-Jones. A later Augsburg book is Jacobus Publicius, Oratoris ar- Publidus, ^ tis epitoma, printed by Erhard Ratdolt, who shows the Jugsburg, Ratdoit, influence of his ten years at Venice. It contains a curi- 149° ous alphabet and chessboard. HiLDEBRAND BrANDENBURG of Bibcrach was a book ^^- Bona'ven- g buyer of this early period who patronized the press by salutis, Cologne, having his bookplate printed. Two volumes from his ^oelhoff, 1474 library, which he gave to the Charterhouse at Buxheim, contain this plate: the St. Bonaventura printed at Co- logne in I474and thtSermones of Antonius de Bitonto, ^''°"'°y n from Johann Griiniger's press at Strassburg in 1496. An- strassburg, other plate, designed by Albrecht Durer for Bilibal- Gr^"ig^r, 1496 Dus Pirckheimer, a Nuremberg lawyer who became one of the leading scholars of the Reformation, is in a volume which illustrates the way in which German read- ers depended upon the Italian presses for books dealing Dionysius, j^, with Renascence subjects. This is Dionysius Hali- Antiqmtates, T 1 ■ /I • ■ n • 1 Trcviso, Bernard. carnassus, Libn Antiqvitatv?n Komanarnm^ prmted at ceUrius, 1480 Treviso by Bernardinus Celerius in 1480. Conrad Sweynheym and Arnold Pannartz, more C'^fo, j j adventurous than their fellow craftsmen, made their way subiaco,Stveynheym to the Benedictine monastery at Subiaco, a day's journey andFannartz,i^6s from Rome. There they finished the first hook ■printed in Italy and perhaps the first printed Latin Classic^ in Sep- tember, 1465. Of this Cicero, De Oratore, a single leaf is jiso, London, ^^ shown. The Subiaco type is considered the most splendid ^^f'^ndene Press, used by any of the early presses. It was followed closely by Emery Walker and Sidney C. Cockerell in design- ing the ty})e used by St. John Hornby in the later books Malory, Morte j^ from his Ashendene Press, represented by a copy ^^^ f '^^^/ow'^W/tWrwf' vellum of Dante's Paradiso^ issued in 1905, and by the Press, 1913 1913 Malory's Morte d Arthur. J J Bessarion, t Plato, Rome, Siueynheym and Pannartz,, c. 1469 D Decades, Venice, Wendelin de Spira, 1470 16 ^f'^"^' Opera Minora, Boston, Merrymount Press, 1904 y r-j Eusebius, De I euangelica praeparatione, Venice, Jenson, 1470 - O Winship, William C ax ton, London, Do--ues Press, 1909 SwEYNHEYM & Pannartz wcnt OH to RoME in 1467. There they made the important discovery that the heavy, angular gothic type, modelled on the writing of the Northern scribes, had gone out of fashion in Renas- cence circles. The devotees of the new learning had adopted a more delicate, rounder letter, and they used a lighter ink. The printers promptly adapted their type and presswork to conform to the prevailing style. This type, still known as "roman," was used in the treatise of Cardinal Bessarion, Adversus c ahimniatorem Platonis, printed by them about 1469. JoHANN OF Speier, with his brother Wendelin, intro- duced printing at Venice in 1467, using a roman type that retained some of the gothic solidity. This is shown in the Livy, Historiae Romanae Decades, finished by Wendelin after his brother's death. It used to be said, echoing William Morris, that no good books have been printed since the Fifteenth Century. This opinion was challenged in 1904 by the Merrymount Press in its Tacitus, Opera Minor a, which, was designed, with books like this Livy in mind, to be as good in type, page, paper, and presswork as any older book. Nicholas Jenson, a Frenchman, and the second printer at Venice, produced a type for his first book, Eusebius, De evangelica praeparatione, which has met with the highest praise — close imitation — from the time it appeared to the present day. It was copied by Emery Walker and T. J. Cobden Sanderson in the type for the latter's Doves Press, and by J. F. van Royen of The Hague at his Zilverdistel press, the most inter- esting of contemporary Continental experiments in fine printing. The Doves type was designed for a quarto page, the size of that of the Caxton printed for the Club of Odd Holy Bible, jg Volumes, of which a copy on vellum is shown. The i)o-v7s'press larger page of the Doves Bible offers a better compari- > 903-5 son with Jenson's use of his own type. The Zilver type is shown in a copy of Shelley's Prometheus Unbound t^ethemUn- ^^ printed in 1917. bound, r/ie Hague, William Caxton did more than any other one person ^" ?> «> 191 to bring about the substitution of the vernacular for the universal Latin tongue. He had retired from the wool business and was engaged on the favorite relaxation of his later years — translating tales out of French into Eng- lish — when he reached Cologne in the autumn of 1471. The new way of making books, which had been prac- ticed there since 1464, interested him because he had been asked to furnish copies of the Troye Book, on which he was then at work. A chance remark by his foreman, twenty-five years later, identifies the press at Mayronis, 2 1 which the English traveller was shown how the work was s°Augustim, done, as one belonging to an anonymous owner who is Cologne, c. 1471 known from one of his principal books as "The Printer of the Flores extracti ex libris De Civitate Dei" a compi- lation from St. Augustine by Franciscus de Mayronis. Caxton set up the first English press at Westmin- ster in 1476. Many of the hundred titles printed there during the remaining fifteen years of his life were his own writincjs, but the press was occupied, when not workinc: chmucr, 22 . . Ccmtefbury on its owner's translations, with the poems of Chaucer or rales, iVestminster, Lidgate and other popular pamphlets or books. The ^''^•*'''"'' ^- '-^78 first edition of Chaucer's Canterbury I'ales, of which a few leaves are shown, was one of the earliest things undertaken. 2 ^ Foragine, Wynkyn de Worde Completed the second edition of pend, ^yiftminster, ^hc English Goldefi Legend, the compilation of the medi- iVynkyn de Worde, eval Livcs of the Saints by Jacobus deVoragine, which ^"^^^ had probably been started before Caxton died. Wynkyn soon came into possession of the press, at which it seems likely that he had been employed since 1476, and car- ried it on until 1535. He reprinted several of Caxton's 2 A Higden, works, among the earliest being Ranulf Higden's Poly- WestfSJr'°"^""' chronicon, a chronicle of general history issued in April, Wynkyn de Worde, \ ^g r ^"•^^^ Chronicles of universal history were among the prof- itable productions of this period. The best known of these is the Liber Oironicarmn of Dr. Hartmann Sche- del, issued at Nuremberg by Anton Koberger, the leading German publisher of the last quarter of the Fif- ^chedel, teenth Century. This contains approximately 1800 pic- J Nuremberg furcs printed from about 64 c different blocks. These were Chronicle, Koberger, ^ , , _ , ^^^ '^ , , . -,,7. i^c)3 engraved by Michael Wolgemut and his Stepson WiL- HELM Pleydenwurff, who had a proprietary interest in the venture. The cuts vary in value from the 28 por- traits of a Pope used for 226 individuals to the double- page view of Nuremberg, or that of Cologne showing the tools used by the workmen on the tower that is still 26 9'1°^"^ r unfinished. Cologne had its own Chronica van Coellen in Lnronicle, Joh. Koelkoff, 1499 the vernacular, prepared by a local schoolmaster, J ohann Stump, with more veracity thanjudgment. It was pub- lished by Johann Koelhoff in 1499. This contains the earliest detailed account of the invention of printing, supplied by Ulrich Zel, the first Cologne printer. The disputes which have enlivened the study of this subject ever since are clearly stated here, before the invention was a half-century old. Claudius Ptolemaeus, a cosmographer of the second Ptolemy, Cos- 2n Christian century, supplied most of the geographical in- Tifenia'l^ichten- formation demanded by those whose curiosity led be- ^^ein, 14.75 yond the Chronicles. His Geography was first printed at VicENZA by Hermann Levilapide alias Lichtenstein in 1475. Maps, of which those in the Ulm edition of i486, Ptolemy, Cos- 28 from Johann Reger's press, are typical, were added to ^i^^^^"1]. , gg all the succeeding editions. Twenty-five of these were printed during the next hundred years. Although based on data more than a thousand years old, this work served the needs of Europe until 1570, when it was at last sup- planted by the great Dutch geographer, Abraham Or- Ortelius, 20 TEL. He began by peddling his own maps, but as soon orlt^r^rarum as the commercial value of his I'heatri/m Orbis Terrarum Ant-werp, piantin, was assured, it passed into the hands of Christopher '^ Plantin of Antwerp, who had established his claim to the leading place in the publishing world. Erhard Ratdolt is famous for the beautiful borders Pomfonius ^q and initial letters in the books he issued at Venice, but olii'tu orbis Venice his service to his contemporaries was largely in supply- RatMt, 1+82 ing the needs of those who could not afford the bulky Ptolemy, or who wanted more accurate calculations. For the former he issued Pomponius Mela's De situ orhis^ and for the latter the works of Johann Muller. 31 +74 Muller, better known as Regiomontanus, from his na- Kaknder, tive Konigsberg, was the leading astronomer of that age. yZ^Miillfr, i He maintained a private press at Nuremberg, where Rat- dolt may have been employed and where the German Kalerjcler was printed. When Muller was summoned to Rome in 1475 to revise the calendar, Ratdolt settled at Regiomonta- ^2 Venice and became the principal publisher of works of ^^^^^^^^^J^^'^^^^^^^y^ an astronomical character. Miiller's calculations were "482 ^^ Almanack for \f/ide\y uscd in preparing Almanacks^ of which large SchemkXl^i^"^^^' numbers were printed but very few have been preserved. They were ordinarily issued as broadsides, to be posted on a wall, like the one for the year 1494 in the types of Peter Schenck of Erfurt. r^A Breydenhach, The Grand Tour of the Fifteenth Century led to Je- tt mIZz,'''"''^'''' rusalem, and was extended by bolder travellers to Mount RewwicA, i486 Sinai. Bernard von Breydenbach of Mainz made this journey, taking with him an artist to assist in preserv- ing the record of their experiences. His Peregrinationes in Montem Syon was printed, perhaps first privately, and quickly became the most popular book of travel of the time. Thirteen editions are recorded between i486 and r% r Breydenbach, \ ^23, in Latin, German, and Flemish, in French at Lyons sen, sfeielTorlfh, ^nd Paris, in Dutch at Haarlem, and in Spanish at Sara- c. 1495 goza. The panoramic view of Venice was drawn by the artist while the rest of the party were trying to nego- tiate for transportation. It is printed on four sheets and measures 641^ by \o}4, inches. ^f. VonMegen- SCIENTIFIC INTEREST fouud cxprcssion chicfly in o berg. Buck books for thosc who wanted medical advice, although, as burg,BaImlerfi^7s ^^ CoNRAD VON Megenberg's Buch der NutuT^ printed by JoHANN Baemler at Augsburg, a larger public was not neglected. The Hortus Sanitatis^ a name given to a ^« Hortus Sanita- group of general treatises on the medical properties of o I tis, Mainz, plants, contains in its expanded form sections on the ani- ey en ac ,i^<)i ^^^ ^^^ mineral kingdoms, on fishes, and on the most vital test of human wellbeing. It was illustrated by over a thousand cuts, which average a hiejh degree of keen r,Q Arnoldus Vil- , . , i u . i .U' o" lano^anus, obscrvation and accurate portrayal. How truly this was Herboiarius, characteristic of the widespread scientific spirit is shown f^icenza, Leonardus • i i • i tt 7 • -l j ^ ^i_ Achates, 1491 by the more strictly botanical Herbanus^ ascribed to the famous physician Arnoldus de Villa Nova, and ArmUus, ^q printed in Northern Italy the same year as the Hortus p^jt^res, Lyons, shown from the RhineValley. A later adaptation from the ^""'"O'. '527 same writer, ViLLANOVANUS, Tr^i(?r^i?j-/)(9 z/t;r^j, is a charm- ing example of the work of a Lyons printer, Claude Fries, Spiegel . q NouRRY. In striking contrast to this are the equally efFec- '^f ^''l^^y^ ^_ . c5 1 •' Strasshurgj urum- tive illustrations in Lorenz Fries's Spiegel der Artzny^ger, 1518 printed by Griiniger at Strassburg in 1518. Italian craftsmanship and scholarship of the same period are shown by two of the publications of Luca de Burgo, LucadeBurgo, . j or Patiolus, the S>u7nma de Arithmetic a., printed at Tosco- ^^^J^fj^/^^^j' ^ lano in 1523, and the treatise On the Divine Proportions of Letters^ from the press of Paganinus de Paganinis at Patiolus, ^2 Venice in 1509, with cuts from drawings of the human p^^^J^^,^ ^,„,v,, face and figure by Leonardo da Vinci. Paganinus, 1509 The Italian Classics soon began to rival the old Romans. Many editions of Boccaccio's vernacular writ- Boccaccio, ^^ ings are represented by a single example, the Libro di^"J^°°^ & p.ji Florio & di Bianzafiore chiamoto Philocolo^ printed at Ven- Piero, 1472 ice in 1472 by Gabriele di Piero and his partner. Maestro Philipo. The Dante printed at Florence in 1481 by Nicolo di Lorenzo is the first illustrated Dante and the ^ 1 1 1 • 1 • 1 • Dante, Com- a a second book m which copper engravmgs were m'&^q.. rncdm Di'vina,^^ The workmen had so much trouble with these plates, re- PJ°''^"'^^^ ^"^f" '^' . '■ Lorenzo, 14.81 peating at the head of the third canto the one already used for the second, that the remaining pictures were printed on separate slips of paper. Venetian printers were more successful with the small woodcuts which they in- Dante, Com- ^^ troduced into several competing editions of Dante, one ^1^%',% iZ'i'ro'di of which was issued by Pietro di Piasiis in 1491. Piasiis, 1491 Picture Books made the decade of 1490-1500 memorable in every European centre. At Venice the J A Sa'vonarola, ^ Operette, Florence^ B. de Libri, c. 1496 A fj Savonarola, T / SempUcita, Florence, L. Mor- giani, 1496 aQ Brant, Stulti- T fera Na'vis, Basle, B. de Olpe, 1497 ^Q Brant, Stulti- vy fera Navis, Lyons J Sacon, 1 49 S 5/-N Verardus and Columbus, De insults in'ventis, Basle, B. de Olpe, 1494 Horae B. V. J Mar'iae, Paris, Pigouchet, 1498 vernacular Bibles and editions of the popular Latin Classics were issued with cuts similar to those in the Dante. Florentine book illustrators attained the same goal by quite distinct methods. They supplied a cut for the first page, and more rarely others in the text, of the tracts and sermons of Savonarola, of which the two shown are typical of the large numbers issued during the brief period of his ascendency. Sebastian Brant, a professor of Laws with a taste for literature, made the closing Fifteenth Century decade noteworthy for the upper Rhine Valley by issuing his versified writings with numerous cuts. Bergmann von Olpe of Basle brought out in 1494 the first edition of Brant's Narrensc}ujf\ the Ship of Fools, which became the best known picture book of that century. It, and its 115 pictures, appeared in pirated editions at Nurem- berg, Reutlingen, and Augsburg before the year was out, and some twenty-five editions came out during the next fifteen years. Whatever dulness the author's moral- izing may give this work is more than atoned for by the graphic style in which his artist epitomizes the daily life of the time and its especial manifestations of uni- versal human foibles. Another book of 1494, from Berg- mann von Olpe's press, is Verardus, In laudem Ferdi- nandi Hispaniarum regis^ in which the Columbus Letter is reprinted with pictures of ships copied from the illus- trations in Breydenbach's Peregrinationes. At Paris the vogue of the Book of Hours of the Blessed Fir gin, Horae B. V. M., or Livre d'Heures, led to a demand which the scribes and illuminators were unable to satisfy. Antoine Verard or Jean Dupre hit upon the idea of replacing the painted decorations with woodcut borders and engraved pictures. The idea met Horae ro •111- 1 jr u r 11 • B.F.Mariae, J^ With public approval, and tor the twenty years following p^^^^^ yostre, 1502 1490 rival editions came out on an average of once a month. Their commercial success made it possible to employ the best artists and engravers, while the sharp rivalry ensured the careful supervision of details essen- „ tial to the most finished results. Philip Pigouchet pro- b. F.Mariae, So duced the finest set of cuts in the summer of 1498, and ^^^'^f^^r-ver, 1503 he and Simon Vostre maintained their high standard for another five years. Thielmann Kerver was a close competitor, keeping up his quality somewhat longer than the others. The copy of his Horae in the exhibition, dated 1503, is not noted in any of the bibliographies. The inevitable deterioration was checked when Geofroy B.i^.Mariae, 54 Tory turned his consummate technical skill and perfect ^^^'^^ '^"OS ^ssi taste to the task of preparing a new set of cuts. But the vogue had passed, and even in Paris people were think- ing of other things. In the Rhine Valley these other things of the 'R_^.P"tder,specu- rr r • 1 1 J c ^ • r L turn Pas stotiis, J J formation absorbed most of the attention of the patrons Nuremberg, 1507 of bookshops, but the printers did not lose sight of the advantage which a woodcut gives to a book. They em- ployed the best artists to decorate their publications on the most serious subjects. Hans Schaeufelein made Martin Luther, r(^ the cuts for Dr. Ulrich Pinder's Speculu?n Passionis Jesu Augsburg, otmar, Christ/, issued by an unknown Nuremberg printer in '52° 1507. Daniel Hopfer did the border on the title of Martin Luther's Sermon, printed by Otmar at Augs- burg in 1 520, and Lucas Cranach those for other Luther tracts, one of them, ^-^0/1 der Bcicht oh die der l-^thcr,Von rn Bapst macht habcn zu gepieten, printed at Wittenberg in \vittenberg, 1521 1521. rQ F. Colonna, J Hypneroto- machia Poliphiliy Venice, Aldus ^ i499 p /-\ Sabellicus, J 3/ Res Veneta, Venice, Andreas Torres anus, 1487 A /-J Petrarch, Cose Volgare, Venice, Aldus, 1501 A T Dante, Terze Rime, Venice, Aldus, I 502 Early Sixteenth Century book buyers in France and Italy left religious disputes largely to those who made this their business. In the annals of printing it is the period of two great families of Scholar-Printers. At Venice, Aldus Manutius signalized the opening of the century by demonstrating the possibility of bringing literature within reach of the masses. For the previous ten years he had been experimenting with the business of publishing learned books, the least scholarly but most famous of which is the Hypnerotomachia Foliphili of Franciscus Columna, on the whole more highly es- teemed than any other illustrated book ever issued. Then Aldus made a happy marriage with the daughter of An- dreas Torresanus, a prosperous publisher, who is now best remembered because he had the sound judgment to buy Jenson's type after the latter's death. He used it in 1487 for the History of Tenke by Sabellicus, of which the exhibition shows the copy printed on vellum for presentation to the Doge Antonius Marco Barbadico. Aldus began in 1501 to publish the Latin and Italian Classics in a form which up to that time had been con- sidered undignified, but which could be sold for a tenth the cost of the stately folios. He was able to do this by adopting a new kind of type-letter, that was called at the time Aldine or Venetian, or, out of Italy, by the name it still bears, Itahc. While he was printing the first edi- tion of Dante in this new format, Aldus adopted as his mark the anchor entwined by a dolphin, which appeared for the first time in 1502 at the end of this book. The Aldine Anchor came to signify scholarly and typo- graphic accuracy, and all over Europe these editions were sought by men like Philip Melanchthon, the rival of Erasmus as the leading scholar of the Reforma- Melancktkons ^2 tion, whose copy of the i5i4Aldine Virgil is filled with /^wrJ, Aldus, 1514 annotations believed to be in his handwriting. Jean Grolier, the son of a Lyons financier who be- came Royal Treasurer, formed a close friendship with Aldus while paymaster to the French troops in Italy. ^°l]iy 63 An eminent connoisseur in many lines, Grolier gathered Fenice, Aldus, 1501 the most distinguished library ever collected. The Aldine Homer of 1501 from this library has Grolier's arms painted on the first page. Aldus printed for him special copies 01 most 01 his important publications, as the large ovU, Meta- ^t paper Ovid of 1533. This and the Macrobius, In som- morphoses,Vemce, niu?n Scipionis, printed at Basle in 1535, are in bindings decorated with the interlaced bands of various colors, usually on an olive or dark brown morocco, which are so characteristic that this has come to be known as the ^robhL^Basle ^5 Grolier pattern — leading to a common impression that Her'vagius, 1535 Grolier was a bookbinder. Henri Estienne of Paris founded a family which rivalled that of Aldus. Its scholarly reputation is due largely to his son Robert and grandson Henri, but in part to his friendly relations, culminating in a family Beroaldus, ^^ alliance, with the printer-editor Jodocus Badius Ascen- PaHs, Radius sius. The latter is now remembered because he selected ^^^""'"^. '5" as his mark one of the earliest representations of the in- terior of a printing-office. This was used in 151 i on the title of the first edition of the treatise of Philip Bero- aldus on Earthquakes and Pestilence. Simon de Colines, marrying the widow of the first Henri Estienne, added to the prosperity of the firm by developing the idea of issuing series of books. More important to posterity was his support of Geofroy ^^ Gakn, Tory, whom he employed to design title-borders, head piisXaZa"' ^^^^^^ and numerous initial letters. The continued use 1529' ' of these, some of which appear in De Colines' edition of Galen, De tumonbus, gave distinction to the books from «^r^ ^^ Estienne press for many years. Tory, who began life ^" Chroniques, as a College professor, became a publisher and printer on Paris, rory, 1529 j^-^ ^^^ account. His mark of the "pot casse" is shown at the end of the translation, by himself, of Jehan Bap- r Montaigne's TisTE Egnace, Sv?nmatre des Chroniques de tons les Empe- y Essays, Cam- f^^irs d'Ei/rope. Tory's influence on Bruce Rogers can 'prefs%^or''^' be seen in the Riverside Press edition of Montaigne's Essays. Claude Garamond, the earliest important French «Q Traiiianus, type designer, cut the famous Royal Greek types. They Paru^^el'lZ'''' wcre uscd by Robert Estienne for the Libelius de ?esti- 1548' ' /^;2//<2of Alexander Trallianus, as well as in editions of the New Testament, which were the cause of a pro- longed struggle between Estienne and the ecclesiastics of the Sorbonne, who forced him to flee to Geneva as soon as the King, Francis I, was dead. ^ y Feron, Cata- French PRINTERS at this time established a tradition / logue, Paris, q£ ^^ ^^g^^ -^^ ^^qqJ^. decoration which has given their Vascosan, 1555 o , . , r 11 tl u productions a higher average or excellence than can be claimed for any other country. This was due in good part to the work of Michael de Vascosan and that of «2 ^^^^^ ^"^^0- Jehan de Royer. Vascosan printed in 1555 ^^^ armo- Hum^nta^'sT ^'^"^ Catalogue des Ducz et Connestahles de France by Jehan Royer, i'56i de Feron. Roycr is represented by Ambroise Fare's Anato7nie universelle du Corps Hinnain of 1561. Vesaiius, English PRINTING of the Sixteenth Century is fairly 73 Anatomia, shown by three books of 1545, 1577, and 1590. One is the epitome of Andreas Vesalius, Lompendtosatotius anato- London, Herford, 1545 miae delineation printed by an alien John, who took the HoUnshed, ^ . name of Herford or Hartford, for Thomas Geminie, who London ^Harrison engraved the title-page and other illustrations for this, 1577 the second English book with copper-plate engravings. The others are Raphe Holinshed's Chronicles, and Sir Philip Sidney's The Countess of Pembroke's Arcadia, which was printed by John Windet for William Vo-^-Sift"ey^-^f<^a- /jr soNBiE, the most important publisher of the Elizabethan 'ponsonbie,"i\ao period. Christopher Plantin closed the epoch of the great Printer-Publishers. The differentiation ofthe functions of Bdd'a Sacra ^^ making and selling books had been going on since 1480, chaldaice,Graece& when Anton Koberger was already publishing more t^^^we, Ant--werp, books than he could print on his own presses, of which he eventually kept twenty-four busy. Plantin's great achievement was the monumental Polyglot Bible, printed from types especially designed by Garamond, and bound in eight volumes on the smallest paper or in eleven on vellum. It was undertaken on the strength of promises by Philip II, which the Spanish monarch was unable to fulfill. Instead, he granted certain monopolies for the printing of service books, which enabled the firm, a generation later, to lay the foundations of the fortune which preserved the plant and the archives until they were made into a public museum in 1870. A copy of stoug/itons 11 Plantin's Hebrew Bible of i C76 has a local interest be- Hehren^ Bible, Ant- . , 1 r. r 'werp,Plantm,iS7(> cause It has been treasured by Boston owners, tor one or another reason, ever since William Stoughton wrote his name in it in 1654. The Polyglot Bible of 1572 was the second, both due to Spanish patronage, in which the Scriptures are printed in the original languages ofthe various portions, «g Biblia Sacra with the Standard translations. The first Polyglot Bible was Akaid "ifnoUus de produced with the support of Cardinal Ximenez at Al- £ror^r, 1513-17 cALA in 1513-17. It is a notable example of Spanish printing, as well as scholarship. The Greek type, which follows a bookhand of an older school than the cursive Greek forms foisted upon the learned world by Aldus, is regarded as the best ever cut. Before the Alcala Bible yo Polyglot ^as completed, a Fsalterium Hebraetim^ Graecum^ Arabi- Gema Porrus, 1516 cu7n 65* Chcildaeum had been printed at Genoa. This has a particular American interest because one of its anno- tations contains the first printed biography of Christo- pher Columbus. D. B. Updike, The Merrymount Press, Boston 683 UNIVERSITY OF CALIFORNIA LIBRARY Los Angeles This book is DUE on the last date stamped below. Form L9-25w-8,'46 (9852) 444 THE LIBRARY KHVERSITY OF CALIFORNIA \ /■■ V :"'"Y V'- t :' V'X ;•;? \ V J m ..^' /:■ ? A '^■■/■^■•^f :i-<^f 4 '" :':- -/N-. ^( ^---\u ■^'k