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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..b7933d7 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #60542 (https://www.gutenberg.org/ebooks/60542) diff --git a/old/60542-0.txt b/old/60542-0.txt deleted file mode 100644 index 1c36361..0000000 --- a/old/60542-0.txt +++ /dev/null @@ -1,17636 +0,0 @@ -The Project Gutenberg EBook of Geofroy Tory, by Auguste Bernard - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Geofroy Tory - Painter and engraver; first royal printer; reformer of - orthography and typography under François I. - -Author: Auguste Bernard - -Translator: George B. Ives - -Release Date: October 21, 2019 [EBook #60542] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GEOFROY TORY *** - - - - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - - +-------------------------------------------+ - | Note: | - | | - | _ around word indicated italics _Erebus_ | - +-------------------------------------------+ - -[Illustration] - - - - -[Illustration: - - GEOFROY - TORY - - PAINTER AND ENGRAVER: - FIRST ROYAL PRINTER: REFORMER - OF ORTHOGRAPHY - AND TYPOGRAPHY UNDER - FRANÇOIS I. - - AN ACCOUNT OF HIS LIFE - AND WORKS, BY AUGUSTE - BERNARD, TRANSLATED BY - GEORGE B. IVES. - - [Illustration] - - THE RIVERSIDE PRESS: MDCCCCIX -] - -[Illustration: - -[Illustration] ENTERED ACCORDING TO ACT OF CONGRESS IN THE YEAR 1909, -BY HOUGHTON MIFFLIN CO., IN THE OFFICE OF THE LIBRARIAN OF CONGRESS, AT -WASHINGTON. [Illustration]] - -[Illustration] - - - - -PRINTERS' PREFACE. - - -[Illustration] - -Bernard's _monograph on Tory was first published in_ 1857, _when M. -Bernard was already a recognized authority on the history of typography. -In_ 1865, _after an interval devoted largely to a search for further -information concerning Tory_, _and for probable examples of his work as an -artist_, _a second edition of the book appeared_, _enlarged by more than -one-half_, _arranged more systematically_, _and embellished with several -additional engravings of designs which are_, _in the author's opinion_, -_attributable to Tory. The Iconography, which forms the third part of this -revised edition, did not appear as such in the first edition, although a -small part of the material it contains may be found scattered through that -edition. It now occupies more space than the Biography and Bibliography -combined. The new arrangement necessitated more or less repetition where, -as in many instances, the same book is referred to by M. Bernard in more -than one section of his work; and this repetition sometimes reveals -discrepancies between the different descriptions. Where such discrepancies -have been discovered by him the translator has endeavoured to correct -them, generally, in the absence of an opportunity to inspect the volume in -question, assuming that the description in the bibliographical section is -more likely to be trustworthy; in a number of cases, however, inspection -of title-pages themselves, or of reproductions thereof, has enabled him to -correct numerous minor errors in transcription._ - -_The kindness of the late Mr. Amor L. Hollingsworth, in lending his fine -copy of the first edition of 'Champ fleury,' made it possible to collate -therewith M. Bernard's numerous extracts from that rare and interesting -book, and to ensure entire accuracy with respect to them._ - -_As M. Bernard writes certain printers' names in different ways, the -translator has assumed that the names are printed differently in different -books, and has not attempted to make them uniform. Such names are Dubois_ -(_Du Bois_), _Lecoq_ (_Le Coq_), _Galliot_ (_Galiot_). _The few notes -supplied by the translator are inserted in square brackets._ - -_The translations of Tory's various Latin effusions, including the -complete text of the little brochure called forth by the death of his -daughter Agnes, were made by Mr. J. W. H. Walden of Cambridge. The Latin -originals will be found at the end of the book, in Appendix X._ - -_Since such authorities as M. Bernard and M. Renouvier differ as to the -ascription to Tory of many of the designs mentioned in this work, it -seemed the wiser course to choose for illustration only such subjects as -are described by the author, without questioning the soundness of his -reasoning or the infallibility of his deductions. The only exception is -the beautiful design reproduced on the first page of the Index. This is -taken from Robert Estienne's folio New Testament_ (_in Greek_) _of_ 1550, -_where_, _with two other similar decorations_, _it occurs in conjunction -with the friezes and floriated Greek letters reproduced elsewhere in this -volume_. _They are unsigned, but all are indubitably from the same hand. -Although they are not mentioned by M. Bernard, it seems incredible that he -should never have seen them._ - -_The printer of this volume has had more than ordinary good fortune in -literally stumbling upon most of the designs here reproduced. The pressure -of other work has prohibited systematic research, and the originals of -these illustrations were nearly all discovered while he was engaged -upon other matters. Many were found in the Harvard Library, some in the -reference library of the Riverside Press, some in auction rooms, and some -in booksellers' catalogues. The only exception is the series of borders -from the Hours of_ 1524-25, _which were expressly photographed from the -copy in the library of the British Museum._ - -_That so much has come to hand in so haphazard a way is but an additional -proof of Tory's industry and versatility. There seems to be almost no -limit to the work which may fairly be credited to him, and M. Bernard -hardly exaggerated when he said that there was scarcely an illustrated -volume of any importance issued in Paris during the first half of the_ -XVI _th century in which the artist of the Lorraine cross did not have -a hand. Hours and Classics, Bibles and Testaments, Mathematical and -Medical works--all bear evidence to his prolific pen and graver, and -were time disregarded, the preparation of this volume might be almost -indefinitely prolonged. Incomplete as it is, however, it is hoped that it -will measurably fulfill the desire expressed by Mr. A. W. Pollard nearly -fifteen years ago, in the first issue of 'Bibliographica.' Speaking of -Bernard's monograph, he said_, _'It would be pleasant if some French -publisher would bring out a new edition worthily illustrated_, _for in_ -1865 _the modern processes of reproduction were not yet invented_, _and -the few and poor woodcuts in M. Bernard's book give no just idea of the -artistic powers of Tory_, _whose illustrated editions are so difficult to -meet with that M. Bernard's admirable commentary loses half its value for -lack of a proper accompaniment of text.'_ - -_A word regarding the method of reproduction of these illustrations may -not be out of place here. More was aimed at than mere photographic copies, -which are in many ways inadequate. It was thought desirable to make the -decorations an integral part of the typographic treatment of the volume -and to preserve when practicable their original relations to the type. To -attain this end, more perfect printing plates were necessary than could be -obtained directly from the old editions. The designs, therefore, were all -redrawn with the greatest care over photographs of the originals, and from -these drawings photo-engravings made, which were afterward perfected by -hand when the forms were on the press._ - -_Notwithstanding some inevitable slight divergences of line, this -method preserves with far greater faithfulness the spirit and effect -of the original prints, and the result is more truly a facsimile than -a direct photographic copy would have been. Both drawing and engraving -of Tory's designs were exquisite, and as a rule they were beautifully -printed, especially by Colines and Robert Estienne. Some of them, -however, suffered at the hands of inferior printers. Imperfections and -irregularities due to the carelessness or unskilfullness of the printer -are readily discernible, and in the reproductions in this volume have been -eliminated. The preservation, by this treatment, of more of the beauty and -interest of the originals is sufficient justification for departing to -this extent from the usual methods of facsimile reproduction._ - -_Following the French fashion, the Table of Contents and List of -Illustrations are printed at the end of the volume._ - - G. B. I. - B. R. - - _January_, 1909. - - - - -[Illustration: - -AUTHOR'S PREFACE - -TO THE SECOND - -EDITION. - -[Illustration] ] - - - - -AUTHOR'S PREFACE TO THE - -SECOND EDITION. - - -[Illustration] - -The first half of the sixteenth century was with respect to printing -(as with respect to the other arts) a period of renovation, not in the -matter of processes of execution, which remained about the same as in -the fifteenth century, but in the matter of the make-up of books, which -was entirely revolutionized. Typographical arrangement, appearance of -the letters and ornaments, everything, even to the cover, was changed -almost at the same time, or, at all events, within a very few years. At -that time printing gave over the servile copying of manuscripts, which -had at first served it as models, and adopted special rules, better -adapted to its method of execution. For instance, it relegated notes to -the foot of the pages, calling attention to them by marks of reference, -instead of placing them at the side of the text, as had previously been -the custom, at the cost of an enormous amount of labour, without benefit -to the reader. It also abandoned the use of red capitals,[1] which, by -increasing the labour twofold, made books expensive, and replaced them -by floriated letters, which were quite as distinctive, but were set up -and printed with the text. This style of ornament, so favourable to -artistic results, developed rapidly, and soon extended from the letters -to the illustrations, which began to be introduced in books in constantly -increasing numbers. Under the general impulsion of the Renaissance, -engraving was transformed: instead of the coarse woodcuts, of the -so-called criblé style, in which the background was black sprinkled with -white dots,[2] and the design stamped in white, as with a punch, engraving -in relief came into vogue, just as we have it to-day, identical in form, -although the processes have been perfected. A similar revolution took -place in the matter of letters: the gothic or semi-gothic characters, -which had hitherto been used, were replaced by roman characters of a novel -shape, borrowed from the monuments of antiquity (then studied with great -ardour), which continued in use until the Revolution. Lastly, the covers -of books also underwent a transformation brought about by the force of -events: the parchment rolls used by the ancients had been succeeded, -during the Middle Ages, by bound volumes, of a shape more convenient -for reading; these volumes, of which those who were fortunate enough to -own any never owned more than a very small number, being intended to be -arranged on the library shelves in such wise as to present one side to -the visitor's eye, were adorned with numerous ornaments of various sorts -on that side, so that they could easily be distinguished. Later, these -ornaments were omitted and the title of the book substituted, in huge -black or gauffered letters. But the invention of printing soon caused -that device to be abandoned. As the increasing numbers of books made it -impossible to give up so much space to them, they were arranged side by -side on the shelves, care being taken to print the title in gold letters -(so that it might be more legible) on the back of the book, which was the -only part of it in sight. This innovation compelled the doing away with -raised decorations, especially those in precious stones or in metal, which -would have torn the books that stood next them. Thereafter leather binding -came into general use; the gauffering on the sides was continued for some -time; but in the sixteenth century this in turn was replaced by gold -tooling 'à filet,' and the transformation was complete. - - * * * * * - -The man who contributed most largely to the threefold evolution I have -described was Geofroy Tory, a man who is hardly known to-day,[3] despite -all his talents, although he received in 1530, as reward of his labours, -the title of king's printer, which François I had never before bestowed -upon any one. I say that Tory is hardly known to-day; in truth, it is, -in his case, equivalent to being unknown, to be known, as he is, only -as a publisher. Some few scholars, to be sure, are aware that he was a -printer; but the fact is so little known that his biographer has denied -it.[4] As for his noblest title to fame, that of engraver, nobody is aware -of it; and yet we owe to Tory the resuscitation of engraving in France. -As the historian of typography,[5] I have thought that it was for me to -describe with special care one of the fairest jewels in his crown. Such -is the purpose of the work here presented, wherein will also be found, in -connection with the honour paid to Tory by François I, some information -concerning the first royal printers, and a list of those officers from the -beginning down to the extinction of the office in 1830, three centuries, -year for year, after its creation. François I is, in truth, entitled to -be considered the creator of the office of king's printer, for prior to -his reign we find but one typographer who bore that title, while, from -François I down, the series of king's printers was not again interrupted. -The appointment of Pierre le Rouge, on whom the title was bestowed in -1488,[6] may be creditable to Charles VIII, but it was without result. The -honour of having made of the eminently literary post of king's printer -a permanent office reverts of right and naturally to the prince who has -been called the Father of Letters. In truth that prince, as we shall see -hereafter, was not content with a single printer; he had several at once, -with distinct functions, and appointed successors without loss of time to -such as retired or died during his lifetime. - -But, I repeat, the principal purpose of my work is to make Tory known as -one of the most skilful engravers we have ever had. Of course I cannot -forget that he was the learned editor of the 'Cosmographie du Pape Pie -II,' the 'Itinéraire Antonin,' etc.; the publisher, of rare taste, who -put forth the Hours of 1525, 1527, etc.; the accomplished printer of -the 'Sacre de la Reine Eléonore,' and the distinguished philologist of -'Champ fleury,' to whom, as we shall see, we owe the invention of the -orthographic forms peculiar to the French language.[7] But what has -especially attracted me in Tory is his work as an engraver. In that -rôle he was without predecessor or rival, for those persons who may be -represented as such may have been his pupils, nothing more. Jean Duvet -alone might quarrel with this limitation; but, although he was Tory's -contemporary, he was not his teacher; for Tory had gone for his schooling -in the art to the very fountain-head, to Italy, before Duvet produced -anything. As for Jean Cousin, de Laulne, du Cerceau, Léonard Gauthier, and -the rest, they did not come until after Tory. The honour of revivifying -the art of engraving in France belongs to Tory alone, bestriding two -centuries, the fifteenth and sixteenth; indeed, some of his productions -are pure gothic. This I propose to demonstrate in the third part of my -book, after I have, in the first part, narrated the general facts of -our artist's life, in which we may observe also the development of a -revolution in the matter of philology; for Tory was a devoted partisan of -the classic tongues before he became one of the sturdiest champions of the -French language. - -In order to emphasize the importance of the orthographic reform achieved -by Tory, I have usually followed the orthography of the time in my -quotations from ancient works. It is an anachronism, to be sure, but it -is of no consequence when the reader is forewarned. I have also felt at -liberty to correct now and then, without calling attention to them, the -typographical errors found in the texts quoted. - -I will not conclude without thanking publicly those persons who have -kindly assisted me in my researches concerning Tory. I have had occasion -to mention their names in the course of my work, but that is not enough: -I beg them to accept in this place the assurance of my gratitude. There -are two to whom I am especially grateful, for they have considerably -augmented my store of documents: they are MM. Achille Devéria[8] and -Olivier Barbier, of the Bibliothèque Impériale: it is owing to their kind -communications to me that the list of Tory's artistic works will be found -not far from complete. - -[Illustration] - - -FOOTNOTES: - -[Footnote 1: This term, which is wrongfully used in printing today -to denote all majuscules, was formerly employed only for the initial -letters of _chapters_. It was in this sense that Schoeffer used it when -he said, in 1457, that his Psalter was _venustate capitalium distinctus_ -[distinguished by the beauty of its capitals]; also Chevillier, when he -wrote in the _Origine de l'Imprimerie de Paris_ (page 32), that the books -of the first printers of Paris had no 'capitals,' the chapter initials -being left blank, to be made by the illuminators. M. Crapelet, taking the -word in its present meaning, concluded therefrom that the books of Gering -and his associates were without majuscules; and he thereupon attributes -the introduction of roman letters in Paris to Josse Bade, in the sixteenth -century, but he is altogether wrong.] - -[Footnote 2: [_Criblé_, lit. sifted.]] - -[Footnote 3: I retain the phraseology of the first edition of my book, -published in 1856; but the fact is that, thanks to that publication, Tory -is no longer in the same plight. His books have become formidable rivals -to those of Vostre, Vérard, etc. One of his Books of Hours sold recently -for more than 3000 francs. [Note to 2d edition, 1865.]] - -[Footnote 4: See _La Biographie Universelle_, article 'Tory,' by M. Weiss, -City Librarian of Besançon.] - -[Footnote 5: See my book, entitled: _De l'Origine et des Débuts de -l'Imprimerie en Europe_; 2 vols., 8vo, 1853.] - -[Footnote 6: In the imprint of the _Mer des Histoires_, 2 vols., folio, -completed in 1488 (1489, new style), we read: '_Imprimee par Maistre -Pierre le Rouge, libraire et imprimeur du Roy_'; but he assumed the latter -title only once, and in my opinion it was the result of a misapprehension. -He seems in fact to have been king's bookseller only; at all events he -assumes that title in the _Heures à l'Usage de Rome_, which he published -in 1491. In any case, his assumption of the title does not prove that he -received royal letters patent, as all the other printers did, as we shall -see later.] - -[Footnote 7: Tory also essayed a reform in Latin orthography, but it was -less happily conceived, and did not succeed.] - -[Footnote 8: Alas! since this preface was first printed, we have had the -misfortune to lose the eminent artist whom I have named. [Note to 2d -edition.]] - - - - -[Illustration: - -PART I. - -BIOGRAPHY. - -[Illustration] ] - - - - -[Illustration] - -GEOFROY TORY - -PAINTER AND ENGRAVER: FIRST ROYAL PRINTER: REFORMER OF ORTHOGRAPHY AND -TYPOGRAPHY UNDER FRANÇOIS I. - - -PART I. BIOGRAPHY. - -[Illustration] - -Less than twenty years after the introduction of printing at Paris, there -was born at Bourges a child of the people, destined to impart to French -typography a vigorous artistic impulsion, or, to speak more accurately, to -work therein a genuine revolution. Geofroy Tory[9] was born in the capital -of Berry, about 1480, of obscure, middle-class parents, as he himself -tells us.[10] Everything seems to indicate that he first saw the light -of day in the faubourg of Saint-Privé, to this day the abode of humble -vine-dressers. How, in that most lowly condition of life, he succeeded in -acquiring the degree of education which he afterward exhibited, it is hard -to say. However, it is proper to remember that Bourges was at that time a -metropolitan and university city, where there were several schools, both -ecclesiastic and lay. We may well believe that, having, at an early age, -aroused the interest of some patron by virtue of his fortunate natural -endowments and his intelligence, he was admitted to the schools attached -to the chapter, where he learned the first elements of grammar. We shall -soon find him dedicating the first fruits of his labours to a canon of the -metropolitan church of Bourges, who seems to have been, at that time, his -Mæcenas. - -Once master of the first rudiments of grammar, Tory perfected himself -by following the curriculum of the university, where, as we learn from -himself, he had for his teacher a Fleming named Guillaume de Ricke, -otherwise called 'le Riche' in French and 'Dives' in Latin; and for a -fellow disciple under this Ghent-born master, a certain Herverus de -Berna, from Saint-Amand, who afterward wrote a panegyric of the Comtes de -Nevers.[11] - -Tory then went, to finish his literary education, to Italy, whither he -betook himself early in the sixteenth century. He sojourned principally -in Rome, where he attended most frequently the famous college called -La Sapienza,[12] and in Bologna, where he attended the lectures of the -celebrated Filippo Beroaldo, who died in 1505.[13] Tory returned to France -a little before that event, and established his domicile in Paris, which -he always loved henceforward as one loves one's native city,[14] and where -he began his literary career. - -The first work of his of which we have any knowledge is an edition of -Pomponius Mela, which he prepared for the bookseller Jean Petit; it was -printed by Gilles de Gourmont because it required the use of some Greek -type.[15] This book was dedicated by Tory to his compatriot Philibert -Babou, at that time valet de chambre to the king. The dedicatory epistle -is dated Paris, the VI[16] of the Nones of December, 1507; but the -printing of the book was not completed until January 10, 1508 (new -style).[17] Several articles in this volume, which were written by Tory, -are signed by the word CIVIS, which he had adopted for his -device. That patriotic designation was well suited to a descendant of -those Bituriges who strove vainly at Avaricum[18] to defend the autonomy -of Gaul against Cæsar. In any event it is interesting to find, three -hundred years before Jean-Jacques Rousseau, a man, justly proud of his -learning, which he owed entirely to himself, clothing himself in that -title of citizen, which was formerly held in such honour in the provincial -cities, and especially in Bourges, whose name Tory never fails to append -to his own: 'Geofroy Tory de Bourges.' - -This erudite production and the patronage of Philibert Babou were perhaps -responsible for Tory's appointment to the office of regent, otherwise -called professor, of the College of Plessis, where we find him installed -in 1509. It was there that he edited for the first Henri Estienne the -'Cosmographie du pape Pie II.'[19] - -The dedication of this book, addressed by Tory to Germain de Gannay, canon -of the metropolitan church of Bourges, and recently appointed Bishop of -Cahors by King Louis XII,[20] was dated at the College of Plessis, on the -VI of the Nones of October,[21] 1509. Tory's edition (the third according -to him) contains forty-one quarto sheets of text, and is accompanied by -a map of the old world. The 'avis au lecteur,' also written by Tory, is -signed, according to his custom, with the word CIVIS. In the -following year, in collaboration with a compatriot and fellow pupil, -Herverus de Berna, Tory published a short Latin poem on the Passion, -written by his former teacher, Guillaume de Ricke. In this wise he -acquitted his debt of gratitude.[22] Shortly after, Tory published for the -Marnef brothers an edition of Berosus, who was then much in vogue, thanks -to the fabrications of Annius of Viterbo. This book, the preface of which -is dated May 9, 1510, went to no less than three editions, to say nothing -of those issued by other publishers.[23] - -In the same year Tory published for the same booksellers a small -volume of miscellanies, under this title: 'Valerii Probi grammatici de -interpretandis Romanorum literis opusculum, cum aliis quibusdam scitu -dignissimis.' It was probably printed by Gilles de Gourmont, for we find -in it his unaccented Greek type.[24] This volume, which contains twelve -octavo sheets, has two engravings on wood--the mark of the booksellers on -the title-page, and a Roman portico a little farther on. There are also a -few small cuts engraved on metal in one of the articles. The dedicatory -epistle, dated at the College of Plessis the VI of the Ides of May (May -10), 1510, and addressed by Tory to two compatriots, who had probably -been his fellow pupils, is signed by his device, the word CIVIS. -The dedication begins thus: 'Godofredus Torinus Bituricus ornatissimos -Philibertum Baboum et Ioannem Alemanum Iuniorem, cives Bituricos, pari -inter se amicitia conjunctissimos, salutat.' Babou and Lallemant were at -this time two important personages in Bourges: the former was secretary -and silversmith to the king, the other, mayor of the city. We see that -Tory had acquired valuable connections in his native place, despite his -modest origin. Among the extracts from ancient authors in this book he -interspersed several pieces of verse of his own composition.[25] - -Finally, in the same year, Tory issued an edition of Quintilian's -'Institutiones,' carefully collated by him with several manuscripts. -This work was undertaken at the request of Jean Rousselet, Seigneur de -La Part-Dieu, near Lyon, and an ancestor of Château-Regnaud, Maréchal de -France. This Rousselet, who died in 1520, belonged to one of the wealthy -Lombard families which had settled at Lyon long before; they made, as -we see, a noble use of their wealth. His real name was Ruccelli. He had -married a young gentlewoman of Bourges, Jeanne Lallemant, daughter of Jean -Lallemant, Seigneur de Marmagne, a school friend of Tory, whom I have -already had occasion to mention. Doubtless it was this connection which -brought Tory into relations with Rousselet. The text is preceded by the -following dedicatory letter: - - _Geofroy Tory of Bourges to Jean Rousselet, devoted lover of - letters, long life and happiness._ - - Never, I think, most illustrious Jean, will you omit or cease to - have the aspiration of nobly justifying, both by your character - and by your good deeds, the great hopes which your relatives and - your country have of you. That you might benefit the State by - your counsel also, you made it your interest that I should emend - Quintilian and have him printed as handsomely as might be. After - carefully collating a large number of manuscripts, I industriously - set to work and, by eliminating almost countless errors, I made a - single manuscript of considerable accuracy. This, in accordance - with your orders, I sent from Paris to Lyon. I only hope that the - printers will not introduce other, new, errors. Farewell, and love - me. - - Paris, at the College of Plessis, the third of the Calends of - March.[26] - -This book, which forms a large octavo volume, unpaged, printed in italic -type, and in which we find some most attractive Greek type, with accents, -was finished on the VII of the Calends of July (that is to say, June -25), 1510. The printer's name does not anywhere appear, and the place of -printing (Lyon) is mentioned only in Tory's letter.[27] - -I know of nothing of Tory's dated in 1511[28]; but that does not prove -that he produced nothing in that year, for it is certain that about that -time he published several works which have not come down to us. In fact, -he tells us in his 'Champ fleury'[29] that he has 'caused to be printed -and put before the eyes of worthy scholars divers little works in Latin, -both in verse and in prose.' Now we know of nothing of his in verse prior -to 1524, except what we find at the end of the 'Valerius Probus' of 1510, -and of Guillaume de Ricke's 'Passion.' Moreover, the absence of any -publication by Tory in 1511 may be explained by the confusion incident -to his retirement from the College of Plessis and his installation at -the College Coqueret, which seems to have taken place in that year, but -concerning which I have no other information than the imprint on two books -published by him in the following year. - -The first work edited by Tory in 1512 was an architectural treatise -entitled: 'Leonis Baptistæ Alberti Florentini.--Libri de re ædificatoria -decem,' etc.; a quarto volume of 14 preliminary leaves and 174 leaves of -text. This book was printed by Berthold Rembolt (whose mark it bears on -the first page), at the joint expense of that printer and the bookseller -Louis Hornken, whose mark is at the end of the book. The dedication, -which is addressed to Philibert Babou, and dated at the College Coqueret -on the XV of the Calends of September (August 18), 1512, informs us that -Tory received the manuscript of the book from his friend Robert Dure,[30] -principal of the College of Plessis, who gave it to him four years -earlier, when Tory himself was professor at the same college. As always, -this dedication is signed CIVIS. A note on the last page but one -informs us that the printing was finished on August 23, 1512.[31] - -The second work put forth by Tory in 1512 was the 'Itinerarium Antonini.' -It was the second book that he prepared for Henri Estienne, in whose -establishment it has been said[32] (erroneously, I think) that he filled -the post of corrector of the press. However that may be, the dedication, -addressed by Tory to Philibert Babou, is dated at the College Coqueret -the XIV of the Calends of September (August 19), 1512. Tory says to Babou -that he had dispatched a copy of the manuscript of this book to him at -Tours four years before (that is to say, in 1508), but that the person to -whom it was entrusted for delivery to him had given it, in his own name, -to somebody else. This time, in order not to be defrauded of the fruits -of his labours, he had caused the work to be printed from his own copy, -having carefully collated it with a manuscript lent him by Christophe de -Longueil.[33] The volume is a sexto-decimo, remarkable for the beauty of -its execution. The copy in vellum which I have seen at the Bibliothèque -Nationale is still redolent of the fifteenth century. We find in it -certain verses of the Burgundian Gérard de Vercel in honour of Tory, which -prove that the latter was even then in some repute as a scholar, and as -a printer, too; for the author contrasts him with the wretched printers -of the day. The preliminary matter, by Geofroy Tory, is signed by the -word CIVIS, printed in red. At the end of the volume the same -word reappears in a very curious monogram composed of the letters CIVS -so arranged that we can read the word CIVIS in all directions. -Therein we may detect thus early Tory's taste for ciphers and devices, a -taste to which he afterward gave free rein, in his 'Champ fleury.' - -[Illustration] - -At this epoch occurs a momentous event in Geofroy Tory's life. On August -26, 1512, he became the father of a daughter, who was christened Agnes. -I do not know the date of his marriage, but it was at least as early as -1511. A document of much later date, to which we shall have occasion to -refer hereafter, informs us that his child's mother was named Perrette -le Hullin. There is reason to believe that she, like her husband, was of -Bourges, as the name of Hullin was common there at that time. Soon after -the birth of Agnes, perhaps just at the opening of the term of 1512, Tory -entered the College of Bourgogne as regent, or professor of philosophy. -His lectures, which were continued for several years, were attended by a -large number of hearers, if we may believe a poetical epitaph composed in -laudation of him and published by La Caille.[34] Tory himself seems to -refer to this professorship in his 'Champ fleury,'[35] but I have been -unable to find any record of it, because, presumably, the new direction -in which he was then turning his faculties required a certain time of -preparation. - -This is what happened: Tory, whose activity was very great, did not -confine himself to his professorship,[36] but set about learning drawing -(probably under the instruction of Jean Perreal, of whom I shall have -occasion to speak again), and also engraving, for which he had a special -bent. This apprenticeship, with the duties of his professor's chair,--for -Tory drove art and philosophy side by side, as the epitaph just quoted has -it ('philosophiam simulque artem exercuit typographicam'),[37]--engrossed -him completely for three or four years; but at the end of that time, -being far from content with his attempts at printing and engraving, or -too enthusiastic to be satisfied with a partial result, he determined to -study classic forms and outlines in Italy itself, of which country he -had retained such agreeable memories that he speaks of it constantly. -Consequently he abandoned his professorship and started south again. It -was on this journey that he visited the Coliseum 'more than a thousand -times,'[38] that he saw the theatre of Orange,[39] and the ancient -monuments of Languedoc[40] and of other places in France and Italy,[41] -which he cites as his authorities on every page of his 'Champ fleury.' - -Tory does not give the precise date of this artistic journey; but it is -established by a passage in his book, where he informs us that he saw the -'Epitaphs of Ancient Rome' printed in that city.[42] Now this book of -Epitaphs can be no other than the collection published by the celebrated -printer Mazochi, under the title: 'Epigrammata sive inscriptiones antiquæ -urbis,' folio, dated 1516, but preceded by a license from the Pope, of -1517.[43] This hint of Tory's is doubly valuable to us, for it not only -tells us the date of our artist's second journey to Italy, but reveals -his predilection for typography. As we see, he was already studying the -printing art with interest. - -On his return to Paris, about 1518, Tory, who was not a wealthy man, was -obliged to think about turning his talents to account, in order to earn -his living. His principal resource seems to have been the painting of -manuscripts, otherwise called miniature; but, whether because he did not -find sufficient work of that sort, or because he considered another branch -of art more useful, he soon gave his entire attention to engraving on -wood, in which he speedily acquired considerable celebrity. About the same -time, Tory also joined the fraternity of booksellers, following a custom -then quite general among engravers,--a custom which their predecessors, -the miniaturists, had handed down to them, and which was continued down to -the eighteenth century.[44] In truth, it was not unnatural that those who -decorated books should sell them, or, if you prefer, that those who sold -them should decorate them. It was one way of earning more money. Desiring -to signalize his début in the career of a bibliopole in a noteworthy way, -Tory undertook to engrave for himself a series of borders 'à l'antique,' -which he intended for a book of Hours,--a sort of book that was very -profitable at that time, because of the great amount of work which it -required; but the task was a long one, and he was obliged to work for -different printers in the mean time. One of the first who employed him was -Simon de Colines. Colines, who became a printer in 1520, as a result of -his marriage to Henri Estienne's widow, commissioned Tory to design marks, -floriated letters, and borders for the books that he published in his own -name; he also entrusted him, I think, with the engraving of his italic -type, which he soon began to use in conjunction with the roman type that -he had from his predecessor. - -But Tory's active mind could not be content with a single occupation. -He was a patriot first of all, as his device proves. And so, far from -allowing himself to be engrossed by his memories of the literary and -artistic treasures of Italy, he began to study with ardour the monuments -of his mother tongue, not only in those books printed in French--very few -as yet--which he had at hand in his shop, but also, and especially, in -divers fine manuscripts on parchment confided to him by 'his good friend -and brother, René Massé, of Vendôme, chronicler to the king,' whose -merits, entirely forgotten in our day,[45] he warmly extols.[46] - -Now, while studying that same French tongue, so decried by the scholars -of his time, Tory discovered therein beauties which required only a -little cultivation to make of it the finest language in the world. From -that moment our Berrichon, hitherto a partisan of the classics, shook off -entirely the yoke of Greek and Latin, and thought only of the means of -making French take precedence everywhere. - -'I see,' he says, 'some who choose to write in Greek and in Latin, and -yet cannot speak French well.... To me it seems, with submission, that -it would better beseem a Frenchman to write in French than in another -tongue, as well for the profit of his said French tongue, as to adorn his -nation and enrich his native language, which is as fair and fine [belle -et bonne] as another when it is well set down in writing.... When I see -a Frenchman write in Greek or in Latin, I seem to see a mason clad in -philosopher's or king's garb, who would fain recite a mask on the stage of -La Baroche[47] or in the confraternity of La Trinité, and cannot pronounce -well enough, as having too thick a tongue; cannot bear himself well, nor -walk fittingly, insomuch as his legs and feet are unwonted to the gait of -philosopher or king. Who should see a Frenchman clad in the native dress -of a Lombard, which is most often long and scant, of blue linen or of -buckram, methinks that Frenchman would scarce jest at his ease without -soon slashing it and taking from it its true form as a Lombard dress, -which is but very rarely slashed, for Lombards do not often work havoc -with their belongings. However, I leave all this to the wise guidance -of learned men, and will not burden myself with Greek or Latin save to -cite them in due time and place, or to talk with such as cannot speak -French.'[48] - -Tory had found his vocation at last. He resolved to establish the -superiority of his mother tongue in a special book, illustrated by -engravings by his own hand, and intended particularly for printers and -booksellers, who were in a position to distribute it so rapidly with the -aid of their connections. - -But while he was engaged in his studies, a terrible catastrophe fell upon -him without warning, and caused him to forget his new projects for some -time. His daughter Agnes, of whom he had conceived the most brilliant -hopes, was taken from him on August 25, 1522, at the age of nine years -eleven months and thirty days, that is to say, ten years less one day. -Entirely absorbed by his grief, Tory wrote a short Latin poem upon the sad -event. This poem, dedicated, like most of his other books, to Philibert -Babou, was not published until February 15, 1523 (1524, new style). In -this little work, consisting of two quarto sheets, are contained some most -interesting details of Tory's life. We learn here, for example, that he -had grounded his daughter Agnes, young as she was, in Latin and the fine -arts. - -'Desiring to instruct me in the Ausonian tongue, and also to render me -accomplished in the polite arts, he, like a most affectionate father, -teaching me night and day, himself laid the foundations, sweet and ample, -for my life.'[49] - -Farther on, he makes his daughter speak thus, from the depths of the urn -in which she is supposed to repose:-- - - MONITOR - - Who made for you this urn set with brilliant gems? - - AGNES - - Who? My father, famed in this art. - - MONITOR - - Your father is certainly an excellent potter. - - AGNES - - He practises industriously every day the liberal arts. - - MONITOR - - Does he also write melodies and poems? - - AGNES - - He does. He also blesses with sweet words this lot of mine. - - MONITOR - - Yes, the skill of the man is wonderful. - - AGNES - - Hardly has any land produced so famous a man.[50] - -We learn from this that Tory was not only a scholar, which we already -knew, but an artist of great merit. Who knows? it may be that we had in -him the making of a Benvenuto Cellini. What more was necessary that he -should reveal himself as such? Very little--perhaps the falling in with a -wealthy Mæcenas. In fact, we find these lines in another piece of verse in -the same collection:-- - - WAYFARER - - He is certainly well deserving of some Mæcenas. - - GENIUS - - Few are the Mæcenases who live in the French world. No one - to-day either encourages the liberal arts by appropriate gifts - or undertakes to encourage them in any way. Uprightness and fair - virtue are in no esteem. So powerful is the sway of unhappy Avarice. - Treachery, deceit, and vice are in the ascendant. Virtues are put in - the background, and every form of wretched evil creeps abroad. - - WAYFARER - - What, therefore, does he who is trained by the charming Muses? - - GENIUS - - He takes pleasure in being able to live in his own house. - - WAYFARER - - He ought to go with hurried step to the courts of kings. - - GENIUS - - He does not care to, because he has a free heart. Your potentates - sometimes take pleasure in looking at songs, but what then? They - requite them with nods. Golden songs, drawn from the high heavens, - they should reward with jewels and with pure gold. But, frivolous as - they are, they instead foolishly give their grand gifts to fools, - spendthrifts, and rogues.[51] - - * * * * * - -Alas! this depiction of the vices of society is not peculiar to the -sixteenth century. The world is very old, and it changes little. If Tory -were living in our day, it may be that he would use even darker colours; -for, after all, he was appreciated in his own time, and perhaps he would -die of hunger to-day. As we see, he was not fond of cooling his heels in -the antechambers of the great, and lived peacefully in his own house; but -honour came there to seek him. Unluckily it was a little late, as will -appear hereafter. - -At the end of the poem is the design reproduced on the next page, wherein -we see for the first time the famous 'Pot Cassé' [broken jar] which Tory -adopted thenceforth as the mark of his bookshop; together with the device -'non plus,' which he used thereafter instead of the word 'civis.' - -Tory subsequently offered, in his 'Champ fleury,' a very confused -explanation of his Pot Cassé, doing his utmost to connect it with the -ordinary events of life; but everything tends to prove that it owes its -origin to the death of Agnes. This shattered antique vessel represents -Tory's daughter, whose career was shattered by destiny at the age of -ten. The book secured by padlocks suggests Agnes's literary studies; the -little winged figure among the clouds is her soul flying up to heaven. The -device 'non plus' suggests the desperate grief of Tory, who seems to say: -'I no longer [non plus] care for anything'; or, more laconically: 'There -is nothing more for me'; after the example of Valentine of Milan when he -found himself in a similar situation.[52] - -[Illustration] - -Luckily, time, which deadens all sorrows, even those which seem likely -to endure for ever, assuaged Tory's grief. Before his funeral poem saw -the light, he had returned to his beloved studies, and they had restored -tranquillity to his mind. This is proved by the following passage from his -'Champ fleury,' in which he tells us how, on January 6, 1523 (or 1524, -according to our method of computing time), that is to say, eighteen -months after he lost his daughter, the idea of that curious book came -to his mind. We are glad to recognize once more therein the patriotic -Berrichon who had taken for his device the word 'civis.' - -'In the morning of the day of the feast of Kings,'[53] he says, '... which -was reckoned M. D. XXIII, the fancy came to me to muse in my bed, -and to move the wheel of my memory, thinking on a thousand petty conceits, -both serious and merry, whereamong I bethought me of a letter of ancient -form, which I not long since made for the house of my lord the treasurer -of the wars, Maistre Jehan Groslier, counsellor and secretary to the king -our sire, lover of goodly letters and of all learned persons, of whom also -he is greatly beloved and esteemed, as well on this side as the other of -the mountains. And while thinking of that said antique letter there came -of a sudden to my memory a pithy sentence of the first book and eighth -chapter of Cicero's "Offices," where it is written: "Non nobis solum nati -sumus, ortusque nostri partem patria vendicat, partem amici."[54] Which is -to say, in substance, that we are not born into this world for ourselves -alone, but to do service and pleasure to our friends and our country.'[55] - -Such was the origin of 'Champ fleury.' Here follows the composition of -that work, as the author himself gives it to us, in the form of a table of -contents, at the beginning:[56]-- - -'This whole work is divided into three books. - -'In the first book is contained the exhortation to establish and ordain -the French language by fixed rule, and to speak elegantly, in good and -soundest French. - -'In the second is treated the invention of antique letters, and the -proportionate coincidence thereof with the natural body and face of the -perfect man. With several happy inventions and reflections upon the said -antique letters. - -'In the third and last book all the said antique letters, in their -alphabetical order, are drawn and proportioned in height and width -according to their proper formation and required articulation, both Latin -and French, as well in the ancient as in the modern fashion. - -'In two sheets at the end are added thirteen different sorts of letters, -to-wit: Hebrew, Greek, Latin, French,--and these latter in four sorts, -which are: "cadeaulx," "forme," "bastarde," and "torneure." Then follow -the Persian, Arabic, African, Turkish, and Tartar letters, which have, all -five, one and the same type of alphabet. After these are the Chaldaic, -the "goffes," which are otherwise called "impériales et bullatiques," -the "phantastiques" letters, the utopian letters, which one may call -"voluntaires," and, lastly, the floriated letters.[57] With instructions -for making ciphers of letters for golden rings, for tapestries, -stained-glass windows, paintings, and other things, as may seem best.' - -I will say nothing here of the first book, the excellence of which has -recently been pointed out by M. Génin,[58] who is much better versed in -the subject than I, and who has at the same stroke exculpated the French -from the charge that has been brought against them of having allowed -themselves to be anticipated by foreigners in the careful study of their -language. I will simply call attention to the fact that Tory wrote shortly -before Rabelais, who did not hesitate to borrow from him his criticism of -the 'skimmers of Latin,'[59] who were then changing the French language -on the pretext of perfecting it. The harangue of the Limousin orator, -which is found in the sixth chapter of the second book of 'Pantagruel,' is -copied verbatim from Tory's epistle to the reader.[60] Rabelais has simply -added to it some obscene reflections which did not enter our author's -mind. Tory ends with a pathetic appeal to those who are interested in -the mother tongue, whose excellence he is never tired of extolling. 'O -ye devoted lovers of goodly letters!' he cries, 'God grant that some -noble heart may give itself to the task of establishing and ordering our -French tongue according to rule! By that means would many thousands of -men set themselves to using often goodly words. If it is not established -and ordered, we shall find that the French tongue will be in great part -changed and ruined every fifty years.'[61] This patriotic prayer was soon -granted. As we know, the sixteenth century did not lack great geniuses, -who set the French language in order and brought it to a great degree of -perfection. Indeed, some most expressive words, the disuse of which Tory -deplored,[63] reappeared. For instance, 'affaissé' and 'tourbillonner,' -which in his time had been replaced by periphrases, returned into use; -many others deserve the same honour and perhaps will receive it some day. - -The second book of 'Champ fleury' is, I apprehend, only a paradox; but -that paradox is maintained by arguments so ingenious, that one lacks -courage to condemn it. Tory holds that the shapes of all the roman capital -letters are derived from the different parts of the human body, which he -looks upon as the type of the beautiful; and he makes a most admirable use -of wood engraving to explain his idea. Moreover, if Tory was mistaken, -we must acknowledge that he did not fall into the error inconsiderately. -Indeed, I believe that he had for confederate his friend Perreal, to whom -we may attribute the greater number of the designs on wood in the second -book, judging from those in the third, which are directly attributed to -him by Tory, as we shall see hereafter. However that may be, Tory seems to -have studied his subject for a long time, not only on ancient monuments, -but on modern ones as well, and in the works of contemporary authors who -had turned their attention to the shapes of letters. His judgement of -these latter is as follows:-- - -'Frère Lucas Paciol, of Bourg Saint Sepulchre, of the order of Frères -Mineurs, and a theologian, who has written in popular Italian a book -called "Divina proportione,"[64] and who has essayed to represent the said -antique letters, does not give a true account of them nor explain them; -and I am not surprised thereat, for I have heard from certain Italians -that he stole his said letters and took them from the late Messere Leonard -Vince [Leonardo da Vinci], who has of late died at Amboise, and was a -most excellent philosopher and admirable painter, and as it were another -Archimedes. This said Frère Lucas has caused his antique letters to be -printed as his own. In sooth they may well be his, for he has not drawn -them in their due proportions, as I shall show when I speak of said -letters. Nor does Sigismunde Fante, a noble of Ferrara, who teaches how -to write many kinds of letters, speak truly thereof.[65] Nor does Messere -Ludovico Vincentino.[66] I know not whether Albert Dürer writes justly -thereof,[67] but none the less he goes astray in the due proportion of -the figures of many letters, in his book on "Perspective."[68]... I see -no man who makes them or understands them better than Maistre Simon -Hayeneufve, otherwise called Maistre Simon du Mans. He makes them so well -and in proper proportions, that he satisfies the eye as well and better -than any Italian master on this side or the other of the mountains. He -is most excellent in the restoration of ancient architecture, as one may -see in a thousand excellent designs and portraits that he has made in the -noble city of Mans and in many a foreign city. He is worthy to be held in -honoured memory, as well for his upright life as for his noble learning. -And to this end, let us not fail to consecrate and dedicate his name to -immortality, naming him a second Vitruvius, a holy man and good Christian. -I write this with good will because of the virtues and great praise "which -I have heard said of him" by many great and humble good men and true -lovers of all goodly and honest things.'[69] - -The eulogistic tone in which Tory speaks here and elsewhere[70] of Simon -Haieneuve leads M. Renouvier to think[71] that our artist may have learned -the art of drawing letters from the Mans architect; but it is a mistaken -supposition; the phrase in quotation marks proves that they had never -met. Moreover Tory, a little further on, claims most reasonably the -honour of having been his own master in this matter: 'I know no Greek, -Latin nor French author who gives the explanation of such letters as I -have described, wherefore I may hold it for my own, saying that I have -excogitated and found it rather by divine inspiration than by anything -written or heard. If there be any one who has seen it written, let him say -so, and he will give me pleasure.'[72] - -We see that Tory does not beat about the bush concerning his theory, -which, although it was different from those of his predecessors, was -not on that account better than theirs.[73] However, let his opinion -concerning the original design of the roman letters be what it may, it is, -in my judgement, simply a sort of preface which we may pass over without -inconvenience. The real substance of his work is in the third book. But -he does not leave the second without returning once more to the charge in -favour of his mother tongue. - -'I know,' he says, 'that there are many goodly minds who would willingly -write many excellent things if they thought they could write them well -in Greek or Latin; and yet they abstain for fear of making solecisms or -some other fault that they dread; or they choose not to write in French, -thinking the French tongue not good nor elegant enough. With all respect -to them, it is one of the most beauteous and graceful of all human -tongues, as I have shown in the first book by the authority of noble and -ancient authors, poets and orators, as well Latin as Greek.'[74] - -To be accurate, I will say that this idea of the 'preëxcellence of the -French tongue,' which, a little later, was the subject of another special -work on the part of another famous printer, the second Henri Estienne, -was neither new nor original with Tory. No less than three hundred years -before, it had been set forth in honest French by an author who cannot -be taxed with patriotic illusions, for he was an Italian. This is what -Brunetto Latini wrote at the beginning of a sort of encyclopædia which he -prepared in the thirteenth century, under the name of 'Trésor':-- - -'Et se aucuns demandoit por quoi cist livres est escriz en romans selonc -le langage des François, puisque nos somes Ytaliens, je diroie que ce est -por deux raisons: lune, car nos somes en France, et lautre, porce que la -parleure est plus delitable et plus commune a toutes gens.'[75] - -As I have said, the third book is the important part of Tory's work. -Laying theory aside, he there gives us the exact design of the letters -of the alphabet and the method of executing them. He does not overlook, -moreover, this essential fact--that the designer of letters and the -printer ought before all else to be grammarians in the ancient meaning -of the word[76]; and at the same time that he gives us the shape of -a letter, he instructs us as to its value and pronunciation. It is -at this point that Tory's book becomes especially interesting to us: -he passes in review the pronunciation in vogue in each of the French -provinces, or nations, as they were called then. One after another they -appear before us, with their special idioms, which have become mere -myths to-day,--Flemings, Burgundians, Lyonnaises, Forésiens, Manseaux, -Berrichons, Normans, Bretons, Lorrainers, Gascons, Picards, and even -Italians, Germans, English, Scotch, etc. His observations do not stop -at the somewhat mixed idioms of the men,[77] but extend to the more -individual language of the women. For instance, he informs us that -'the ladies of Lyon often gracefully pronounce A for E, as when they -say, "Choma vous choma chat effeta,"[78] and a thousand other like -expressions'; whereas, on the contrary, 'the ladies of Paris very often -pronounce E instead of A, as when they say: "Mon mery est a la porte de -Peris, ou il se faict peier"; instead of saying, "Mon mary est a la porte -de Paris, ou il se faict paier."'[79] - -It will be noticed that in this particular the 'ladies of Paris' succeeded -in perpetuating their pronunciation in part, for we do not now say -'paier.' They had equal success in many other cases. For example, it -seems to be due to them that the final S of the plural is not pronounced -except under exceptional circumstances[80]: as, for instance, when it is -followed by a word beginning with a vowel; for, speaking of the cases in -which that letter is elided in Latin, Tory expresses himself thus: 'The -ladies of Paris for the most part observe this poetic figure of speech, -dropping the final S in many words, as when, instead of saying: "Nous -avons disne en ung iardin, & y avons menge des prunes blanches et noires, -des amendes doulces & ameres, des figues molles, des pomes, des poires & -des gruselles," they say and pronounce: "Nous avon disne en ung iardin, -& y avon menge des prune blanche & noire, des amende doulce & amere, des -figue molle, des pome, des poyre & des gruselle."' The thing that seems -especially offensive to Tory is that they make the men join them in this -faulty pronunciation. 'This fault,' he says, 'would be pardonable in them, -were it not that it passes from woman to man, and that there is entire -absence of perfect pronunciation in speaking.'[81] - -Moreover, if we are to credit Tory, the provincials have also, in certain -cases, succeeded in establishing their pronunciation, as we may conclude -from the following passage, relative to the letter T: 'The Italians -pronounce it so full and resonant that it seems that they add an E -thereto, as when, for and instead of saying: "Caput vertigine laborat," -they pronounce: "Capute vertigine laborate." I have seen and heard it -pronounced so in Rome at the schools called La Sapienza, and in many -another noble place in Italy. Which pronunciation is no wise held or used -by the Lionnois, who drop the said T, and do not pronounce it any wise -at the end of the third person plural of verbs active and neuter, saying -"Amaverun" and "Araverun," for "Amaverunt" and "Araverunt." In like manner -some Picards drop this T at the end of some words in French, as when -they would say: "Comant cela, comant? monsieur, c'est une jument," they -pronounce: "Coman chela, coman? monsieur, chest une jumen."'[82] We see -that the Picard pronunciation has prevailed in this instance, for we no -longer pronounce the final T at the end of the words 'comment,' 'jument,' -and the like. - -Tory did not content himself with setting forth the state of things -existent in his day: he suggested improvements, almost all of which have -been sanctioned by usage. For instance, at the beginning of the sixteenth -century, the pronunciation was very difficult to grasp for lack of -accents; he proposed to supply them. 'In our French language,' he says, -'we have no symbol of accent in writing, and it is on account of this lack -that our language is not yet established nor submitted to fixed rules, -like the Hebrew, Greek and Latin. I would like that it should be, as might -well be done.... In French,' he says farther on, 'as I have said, we do -not write the accent over O vocative, but pronounce it full, as when we -say: - - 'O pain du ciel angelique, - Tu es nostre salut antique. - -'In this lack of accent we have an imperfection, which we ought to remedy -by purifying and subjecting to fixed rule and art our language, which is -the most graceful language known.'[83] Elsewhere he suggests replacing -elided letters by an apostrophe, which had not then been done in French. -'I say and allege these things in this place to the end that if it should -happen that one had to write in antique letters verses where the S must -disappear, one may write them honestly and purposely without using the -said letter, ... and place a hooked point over the place where it should -be.'[84] In another place he emphasizes the necessity of the cedilla, -which we find in French manuscripts from the thirteenth century, but which -typography had not as yet adopted. 'C before O,' he says, 'in French -pronunciation and language, is sometimes hard, as in saying "coquin," -"coq," "coquillard"; sometimes it is soft, as in saying "garcon," "macon," -"françois," and other like words.'[85] - -Tory could hardly overlook the matter of punctuation, that most essential, -and even in our day so sadly neglected, branch of orthography; but as he -had only 'antique' letters to deal with, he presented only three sorts of -punctuation marks, without going into details as to their use, which, in -truth, if we may judge by his own book, was not as yet fully settled. The -comma, for instance, which has so much to do with the clearness of the -sentence, is frequently there inserted in a far from rational way. - -[Illustration] - -I have said above that Tory had adopted about 1523, for the mark of his -bookshop, the Pot Cassé represented in the engraving placed at the end of -his poem on his daughter's death. To make it more appropriate for that -purpose, he subjected it to various modifications. At first we find it -alone, as in the accompanying cut, on the cover,[86] or on the back,[87] -of a number of octavo books bound at his establishment. Other bindings, in -quarto, exhibit the broken jar with the drill (_toret_).[88] - -Afterward, Tory placed the jar on a closed book, and still later he -modified the design by the introduction of other additions.[89] - -Finally, we have Geofroy Tory's device, or mark, definitively constituted -in his 'Champ fleury,' thus:[90]-- - -'Behold,' he says, 'my declared device and mark, drawn as I have cogitated -and conceived it, imparting moral meaning thereto, to give friendly -admonition to the printers and booksellers beyond the mountains[91] -to practise and employ themselves in goodly inventions and delectable -execution, to show that their wits have not been always useless, but eager -to serve the public weal by labouring to that end and living uprightly.' - -Then follows his explanation of this mark,[92]--an explanation which does -not invalidate that suggested above.[93] In truth, all that Tory says here -in general terms may be applied to his daughter Agnes. - -[Illustration: MENTI BONAE DEVS OCCVRRIT. - -SIC, VT. VEL, VT. NON PLVS.] - -'In the first place, there is herein an ancient jar, which is broken, -through which is passed a toret. This said broken jar signifies our body, -which is an earthen jar. The toret signifies Fate, which pierces and -passes through weak and strong. Beneath this broken jar there is a book -secured by three chains and padlocks, which signifies that after our body -is broken by death, its life is closed by the three fatal goddesses.[94] -This book is so firmly closed that there is no man who may come to see -anything therein, except he know the secret of the padlocks, and above -all of the round padlock, which is locked and signed by letters. Even so, -after the book of our life is closed, there is no man who may in any wise -open it, except it be he who knows the secrets, and he is God, who alone -knows, before and after our death, what has been, what is, and what will -be our fate. The foliage and flowers in the said jar signify the virtues -which our body may have in itself during its life. The sun-rays which are -above and beside the toret and the jar signify the inspiration that God -gives us by impelling us to virtue and worthy acts. Near the said broken -jar it is written: "Non plvs," which are two monosyllabic words, as well -in French as in Latin, signifying that which Pittacus said long since in -Greek: ΜΗΔΕΝΑΓΑΝ,[95] "nihil nimis." Let us not say, let us -not do aught beyond measure or beyond reason, except it be in the last -necessity: "aduersus quā nec Dij quidē pugnant."[96] But let us say and -let us do "Sic. vt. vel. vt." That is to say, as we ought, or as little -wrongly as we may. If we seek to do well, God will aid us, and therefore -have I written above: "Menti bonæ Deus occurrit," that is to say, God goes -out to meet the desire to do good, and gives it aid.' - -I believe that we should see in the toret an 'enseigne parlante,' -alluding at once to Tory's name and to his various professions. The way -in which the name of the instrument was pronounced, its shape, resembling -that of a T, and, lastly, its use by the engravers, were doubtless the -considerations that led Tory to adopt it. But let us not subtilize too far. - -Tory was not content with giving us his symbol in 'Champ fleury': he -engraved on the first page of that book, that is to say, in the place -of honour, what would be called to-day the blazonry of his artistic -acquirements,--in other words, a collection of all the tools that he used. -Unfortunately, he did not feel called upon, as in the case of his mark, -to supply an explanation, deeming the matter clear enough; whereas, in -our day it has become rather difficult, because of the changes that have -taken place in the customs of artists, to state the exact use of some of -the tools. The order in which they are arranged, however, may assist us, -to a certain extent, in identifying them. An exact reproduction of this -engraving, the initial letter of the first page of the text of 'Champ -fleury,' is given at the beginning of this section.[97] - -The first series of tools, suspended in the first arabesque, embraces -a pair of compasses, a rule, and a square: these are the fundamental -instruments of art and of geometry. In the second arabesque, if I am -not mistaken, we find an 'échoppe' and a burin, engravers' tools; in -the third, a writing-case (or 'galimart'), a pencil, and a knife, above -a book; these are the tools of the writer and the draughtsman. In the -fourth, we find an object which I take to be a small box of colours, -hanging from a case of brushes; these appertain to the painter. Tory was, -in fact, draughtsman, painter and engraver. - -[Illustration] - -I have already said that Tory was probably instructed in the art of -drawing by the famous Jean Perreal. He was on terms of the closest -friendship with that artist, who drew several of the vignettes in 'Champ -fleury,' if we may judge by the one positively attributed to him, which -is printed on the verso of folio 46. Geofroy informs us that this plate, -insignificant in itself (it represents two circles in which are the -letters I and K, modelled on the human body), was engraved from the design -of a friend of his, 'from that which a noble lord and good friend of mine, -Jehan Perreal, who is otherwise called Jehan de Paris, valet de chambre -and excellent painter to King Charles VIII, Louis XII, and François, first -of the name, made known and gave to me, most excellently drawn by his -hand.' Now this engraving is in all respects similar to those to be found -in the second book of 'Champ fleury.' Both in form and subject, it is -altogether different from those in the third book, in which Tory printed -it. Probably Perreal died while the work was on the press, and Tory, who -had not thought of naming him while he was alive, in connection with his -first drawings, did so after his death, by publishing the last souvenir of -this sort which he possessed from the hand of his friend, although it did -not fit perfectly with the subject; he laid, as it were, a flower on the -dead man's grave.[98] - -We give this drawing also, as the only work which can be with certainty -attributed to Jean Perreal, and as a specimen of the engravings which -serve as a foundation for the reformation of the roman letters proposed by -Tory in the second book of his 'Champ fleury.' - -From what I have said it will be seen that Tory's book required several -years of labour. Nor is one surprised thereat when one considers the great -number of engravings which it contains. But even without the engravings, -it will readily be understood that a work which necessitated so much -observation required a vast expenditure of time. Begun, as we have seen, -in 1523 (1524, new style), it was not finally completed until 1529, that -is to say, after six years of toil. However, Tory did not propose that -those years should be lost for art. Desirous to preach by example rather -than by precept, he determined to publish, in the interim, other books -wherein he might give utterance to his artistic taste. And he did in fact -print books of Hours, admirably executed, which, although in different -form, may fitly be compared to the Hours of Simon Vostre, who had acquired -so great a reputation in that typographical specialty. Tory received from -François I a 'privilége' (license) for this work, to run six years, dated -at Avignon, September 23, 1524.[99] This license to print[100] informs -us that Tory had 'made and caused to be made[101] certain illustrations -[_histoires_] and vignettes "a lantique" and likewise some "a la moderne," -in order to have the same printed, and to serve _a plusieurs usages -dheures_,' and that to that end he had 'expended an exceeding long time -and incurred divers great expenses and outlays.' - -The first book of this sort which he published, so far as I have learned, -is an edition in quarto of the Hours of the Virgin, according to the Roman -use, in Latin. It is a superb volume, printed by Simon de Colines, with -borders and illustrations 'à l'antique,' perfect in taste and execution. - -The book was undoubtedly printed by Colines as a joint venture with Tory, -for there are copies in existence in the name of each. Those in the name -of Colines bear on the title-page the date 1524, and, at the end, that of -the 17th of the Calends of February (January 16), 1525; those in the name -of Tory (there are two varieties of these) bear but one date, 1525, and -that at the end. I shall speak of this book later, in detail.[102] - -Two years later Tory published a new edition of the same Hours, in a small -octavo volume, also printed by Simon de Colines, in roman type, with -borders and illustrations of the same kind but much smaller.[103] The -printing was finished October 21, 1527. It is preceded by a new license -from François I, extending Tory's rights for ten years, not for this book -alone, but for the earlier one as well, 'for certain illustrations and -vignettes "a lantique" by him heretofore printed,' and in consideration of -the great outlay which his engravings had caused him to make. This license -is dated at Chenonceaux, September 5, 1526, and includes 'Champ fleury,' -the printing of which had begun, but which had not yet received its poetic -title, for it was still referred to as 'Lart et science de la deue et -vraye proportion des lettres.' In the same year Tory published an edition -in quarto of these same Hours, according to the use of Paris, printed by -Simon Dubois (Silvius). This book, in which we find again the license -of 1526, is printed in gothic type, with borders and illustrations of a -special style, called 'à la moderne.' The borders are arabesques formed of -plants, insects, birds, animals, etc. At the foot we see the F, crowned, -of François I, and the salamander; the L, crowned, of Louise of Savoy, the -king's mother; and the impaled shield of France and Savoy, etc. Of this -book also I shall speak in detail hereafter.[104] Finally, a little later, -at a time which I am unable to fix precisely, but prior to 1531, Tory -caused to be printed another book of Hours of the same description, that -is to say, with borders of plants, insects, birds, etc., but in a smaller -format--small octavo. I shall describe it in its place.[105] - -These publications did not prevent our artist from giving his attention -to literature. While he was overlooking the impression of his Hours and -his 'Champ fleury,' he was preparing various works to which we shall have -occasion to refer hereafter. Generally speaking, they are translations -intended to enrich the French tongue; for Tory did not lose sight of his -patriotic purpose. All of these works were printed subsequently, save one, -perhaps--a translation of the hieroglyphs of Orus Apollo, which he gave -to a 'noble lord and good friend of his.'[106] It is not known whether -this translation was ever printed. There are many editions of Orus in -existence, but no one of them bears the name of Tory. - -'Champ fleury' appeared at last in 1529. We have seen that this book was -conceived on 'the day of the feast of Kings, which was reckoned M. -D. XXIII,' that is to say, January 6, 1524, new style. The printing -was not completed until 'the XXVIII day of the month of April -one thousand five hundred XXIX,'[107] as we learn from the -subscription at the end; that is to say, it cost nearly six years of toil. -The following is an exact copy of the title-page as it appears in the -first edition:-- - - CHAMP FLEVRY. Au quel est contenu Lart & Science de la deue & vraye - Proportiõ des Lettres Attiques, quõ dit autremēt Lettres Antiques, - & vulgairement Lettres Romaines, proportionnees selon le Corps & - Visage humain.--Ce Liure est Priuilegie pour Dix Ans Par Le Roy - nostre Sire, & est a vendre a Paris sus Petit Pont a Lenseigne du - Pot Casse par Maistre Geofroy Tory de Bourges/Libraire, & Autheur du - dict Liure. Et par Giles Gourmont aussi Libraire demourant en la Rue - sainct Iaques a Lenseigne des Trois Coronnes. - -It is gratifying to see here the name of the first printer in Greek -type in Paris. It was Gourmont himself who printed this learned book, -wherein we find some very interesting details concerning the Hebrew, -Greek and Latin letters, of which he exhibits models which have not -changed since that time.[108] The workshop of Gilles de Gourmont was -on rue Saint-Jean-de-Latran; but we see that in 1529 he had a bookshop -on rue Saint-Jacques, at the sign of the Trois Couronnes,--an allusion -doubtless to the three roses which adorned the chief, or top, of his -shield. This shop adjoined the church of Saint-Benoît on the north.[109] -As for Tory, he seems to have lived at this time on the Petit-Pont, 'next -to Hostel-Dieu.' It was there that he wrote his book, for he dates his -epistle to the reader thus: 'En Paris ce. XXVIII. Jour Dapvril -sus Petit Pont, a Lenseigne du Pot Casse.' He had, however, another abode -on rue Saint-Jacques, opposite the 'Écu de Bâle,' the sign of Chrétien -Wechel. - -At the beginning of 'Champ fleury' is printed the license of September 5, -1526, already published in the two editions of the Hours of 1527, which -granted to Tory a ten years' right, not only for the Hours, but also for -'Champ fleury,' which was then being printed, but, as I have already said, -had not then received that graceful title. This license makes it clear -that as early as 1526 Tory was thinking of joining the brotherhood of -printers. He became a printer in fact soon after the publication of his -book, and proceeded to print several works of his own composition. I give -here a list of these various publications, in the order of their dates. - - I. La Table de lancien philosophe Cebes ... Avec trente Dialogues - moraulx de Lucian ... translate de latin en vulgaire françois par - maistre Geofroy Tory de Bourges...[110] - -The license is of September 18, 1529, for ten years. The printing was -finished October 5, 1529. It is a small octavo volume, in two parts, -with roughly executed borders on each page. There are twelve preliminary -leaves, containing a long list of errata, and two series of signatures, -the first running from A to T, the second from _a_ to _v_. The book was -for sale at the translator's shop, 'rue Sainct Iaques, devant lescu de -Basle,[111] a lenseigne du Pot Casse,' and at Jean Petit's on 'rue Sainct -Iaques, a lenseigne de la Fleur de lys.' There is nothing to indicate -where the book was printed; but as it is set in the type used for the -'Epitaphs' of Louise of Savoy, I am inclined to think that it came from -Tory's workshop. In that case it was the first book that he printed.[112] -The long list of errata would seem, in truth, to suggest a novice, and -would explain why no printer's name is given. - -In the letter 'to the readers' at the beginning of this book, Tory returns -to the charge against the villains [_rufients_] who were changing the -French language on the pretext of perfecting it. There are some tirades -quite worthy of a place in 'Champ fleury.' He ends his preamble with a -curious passage which gives us an idea of his tastes. 'I believe that if -the ancient and noble painter Zeuxis of Heraclea, if Raphael of Urbino, -Michel Angelo, Leonardo da Vinci or Albrecht Dürer[113] should try to -paint philosophers and their various aspects, they could not paint them -so well nor so to the life as our Lucian paints them herein.' Lastly, he -informs the reader that he will soon make him 'another new gift';[114] and -he kept his promise by publishing the following work. - - II. Summaire de chroniques contenans les vies, gestes et cas - fortuitz de tous les empereurs Deurope, depuis Iules Cesar iusques - a Maximilien dernier decede ... par ... Iehan Baptiste Egnace, - Venicien. Et translate de ladicte langue latine en langaige francoys - par maistre Geofroy Tory de Bourges. - -An octavo volume, containing 16 leaves of preface, 99 of text, and an -index containing 13 leaves--128 in all. At the end, we read: 'The printing -of this book was finished at Paris the XIII day of April, M. D. -XXIX, for maistre Geofroy Tory de Bourges, who sells it at said -Paris, at the sign of the Pot Casse.' In Tory's preface, addressed 'to all -studious and true lovers of honest letters,' he says: 'I promised you of -late in the preface to the "Table of Cebes" that in a short space I would -make for you another new book.' It was in fulfilment of that promise that -he published the 'Summaire de Chroniques' of Egnasio. - -The date of printing given above corresponds to April 13, 1530, new style; -for Easter fell in that year on April 15. Some bibliographers mention an -edition of this book of 1520; but it is an error, for the license is dated -1529. La Caille[115] says that the edition of 1529 was printed by Tory; -this is possible, but not certain. It may even be that it was printed by -Gourmont, for it is set in the same type used in 'Champ fleury.'[116] -There are three later editions of this book, printed by Charles l'Angelier -in 1541, 1543, 1544 (octavo); we shall speak of them hereafter. As for -the edition of 1529, I found it only in the library of M. Ambroise Firmin -Didot, who kindly allowed me to describe it. This copy is still in the -original binding, with the Pot Cassé. - -But all these works did not cause Tory to lose sight of his great -patriotic idea. He did not confine himself to simple wishes for the -welfare of the French language. In default of the other 'noble hearts' -whom he invited 'to establish and order our language by rule,'[117] he -himself undertook that work. Rich in materials as he was, and with the -ardor with which he entered into everything, he soon completed his task. -The license to print the 'Summaire de Chroniques' includes a book by Tory -entitled: 'Les Reigles generales de lorthographe du langaige françois,' -which he proposed soon to put on the press. Was this book ever printed? -was it ever finished? These are questions which I am unable to answer, -for I have discovered no trace of it elsewhere; but so many other books -have disappeared that I should not be surprised to learn that this one had -undergone the same fate. - - III. Hours (in Latin) according to the Roman use; sixteenmo, with - illustrations and borders; printed in roman type; finished February - 8, 1529, which date corresponds to February 8, 1530, new style, and - proves that Tory had become a printer in 1529. Here is the exact - title of this book, which I shall describe in detail later:[118] - 'Horæ in laudem beatissimæ Virginis Mariæ secundum usum romanum.' On - the last leaf are these words: 'Parrhisiis, apud Gotofredum Torinum - Biturigum. VIII. die febr. anno sal. M. D. XXIX. - Ad insigne Vasis effracti.' - - IV. Ædiloquium ceu (_sic_) disticha partibus ædium urbanarum et - rusticarum suis quæque locis adscribenda. Item, epitaphia septem de - amorum aliquot passionibus, etc. Authore Gotofredo Torino Biturigico. - -Paris, Simon de Colines, 1530;[119] italic type; 3 octavo sheets, with -license for two years. This book has, in the second part, seven charming -engravings on wood. I cannot understand why Tory did not print it, as he -was then a printer. May it have been because it was customary at that time -to print poetical works in italic type, and he had none in his printing -office? Copies of the book are preserved in the Bibliothèque Nationale, at -the Arsenal [two] and at Sainte-Geneviève. The copy in the Bibliothèque -Nationale is still in the original binding, with the Pot Cassé.[120] - -Alluding to the first part of his book, Tory expresses himself thus in his -'avis au lecteur': 'There are certain eminent painters in this prolific -age, most gentle reader, who, by their drawings, paintings, and varied -colouring, depict the tribal gods and human beings, as also other things -of different sorts, with such exactness that a voice and a soul seem -the only things wanting to them; but here, most gentle reader, I offer -you, nearly in the manner of these painters, a house, which not only is -elegant and finished in its outlines and parts, but even speaks prettily -and describes itself part by part in a eulogy.'[121] It will be seen that -Tory's thoughts were still engrossed by art. - - V. Science pour senrichir honnestement et facilement, intitulée - Leconomic Xenophon, nagueres translatee de grec et latin en langaige - francoys, par maistre Geofroy Tory de Bourges.--On les vend a Paris, - en la rue Sainct Iaques, devant lescu de Basle, et devant lesglise - de la Magdalaine, a lenseigne du Pot Casse. - -Octavo, of 9 sheets; printing finished July 5, 1531.[122] On the back of -the title-page are these words: 'At the said sign of the Pot Casse are -also for sale Thucydides and Diodorus, with some other excellent books -translated from Greek and Latin into French. Likewise there are fine Hours -and Offices of Our Lady, large, medium and small, with illustrations and -vignettes "a l'antique."' - -Were the Thucydides and Diodorus printed by Tory, as well as the large, -medium and small Hours? Possibly, but I have found no indication of it. -As for attributing the translations to him, that is out of the question, -for he says nothing of it in the dedication, addressed to Antoine du Prat, -Cardinal de Sens, etc., wherein he mentions the preceding works of the -same sort:-- - -'After the book of the Explanation of the antique letters, called -"Champ Fleury," which I put together in the French language, and the -"Table de Cebes," with thirty moral dialogues; likewise the "Summaire -de Chroniques," which I translated into our said language, to confer a -benefit on the studious, ... it seemed to me to be a worthy way of passing -my time to employ myself in translating the "Economic Xenophon" also.' - -Tory does not mention here the 'Ædiloquium,' probably because that book -was in Latin, or, rather, because it was not printed at the time of the -composition of this dedication, which was in all probability written in -the first three months of 1531, then reckoned in the year 1530,[123] a -circumstance which, in my opinion, explains the date of the 'Ædiloquium.' -In fact, that book cannot have been printed before 1531, for the license -of the 'Economic Xenophon,' which includes the 'Ædiloquium' (to which, -by the way, it gives a sub-title, 'et Erotica,' which was rejected when -it was printed, as likely to give a false idea of the book), is dated -June 18, 1531, and extends Tory's rights to four years instead of the -two mentioned on the title-page of the 'Ædiloquium.' From all of which -I conclude that the last-named book was printed before the license was -obtained, but only a short time before, and while the application was -pending. - -The license first mentioned[124] also concedes to Tory an extension of -four years 'for certain other books, illustrations and vignettes, to cause -to be printed the Hours and Offices of Our Lady, mentioned in two licenses -heretofore granted to him,' dated September 23, 1524, and September 5, -1526. Tory requested this extension of time because he was preparing to -reprint the Hours, as we see by the date of the following book. - - VI. Hours according to the Roman use, quarto; published October - 20, 1531, in Latin. This was a new edition of the Hours printed - in 1524-1525 by Simon de Colines. We find the same borders and - illustrations as before; but several engravings which had already - appeared in some of the earlier books just described are added. I - shall describe this book later. It seems to be printed from the - 'Champ fleury' type, and bears the following title: Horæ in laudem - beatiss. Virginis Mariæ. Ad usum romanum. Parrhisiis apud Gotofredum - Torinum Biturigicum, regium impressorem.[125] - - VII. Politiques de Plutarque, cest a dire: Civiles Institutions et - enseignemens pour bien regir la chose pu[blique] ... translatees ... - par maistre Geofroy Tory de Bourges. Dediees ... a tresilustre ... - François de Vallois, Daulphin de France. - -Octavo, with 8 preliminary leaves, and 67 numbered leaves of text. - -On the verso of leaf 67 we read: 'The printing of this book was finished -Saturday the XV. day of June, M. D. XXXII. by maistre Geofroy Tory de -Bourges, bookseller and king's printer, dwelling in Paris, opposite the -church of La Magdaleine, at the sign of the Pot Casse.' - -Another edition was published at Lyon in 1534. We shall refer to it, as -well as to the earlier edition, hereafter.[126] - - VIII. La Mouche de Lucian et la Maniere de parler et se taire [de - Volaterran].--Le tout [translaté] par maistre Geofroy Tory de - Bourges, imprimeur du Roy et libraire juré en luniversité de Paris. - On les vend a Paris, devant leglise de la Magdaleine, a lenseigne du - Pot Casse. - -Octavo, 8 leaves; without date of printing or license, but printed by -Geofroy Tory himself, after February 22, 1533; for he assumes the title -of 'libraire juré'[127] of the University, which did not belong to him -until that day. Moreover he makes use in this book of the acute accent, -the apostrophe and the cedilla, which he never used, as we shall soon -see, until after the edition of Clement Marot, dated June 7, 1533. It was -therefore subsequent to that date, but prior to October of the same year, -that 'La Mouche' was published.[128] - - * * * * * - -In several of the works we have described, Tory assumes the title of -printer; in the last three he describes himself as king's printer, -and in one of them as a 'libraire juré' of the University. These last -two dignities he owed to the initiative of François I. That king, who -had never before conferred that honour upon any one, deemed it his -duty to make the author of 'Champ fleury' king's printer. In truth it -was natural enough to confer that title upon him who had displayed -so perfect an understanding of the art of typography, combined with -such a store of literary knowledge, and whose book caused a veritable -revolution in printing, no less from the technical and practical than -from the grammatical and philological standpoint; for there is one -fact which I have not as yet mentioned and which I am glad to set -down here: immediately after the publication of 'Champ fleury' French -typography began to include in its fonts of type accents, apostrophes and -cedillas,[129] the absence of which Tory deplored, and which he himself -used soon after, and before any other printer, as we shall see. - -But the most noteworthy result produced by the publication of 'Champ -fleury' was the reformation of the old types. That book not only -contributed to the abandonment of gothic letters, but brought about the -remodelling of the old roman letters. Robert Estienne, among others, -re-cast at this time all those that had come down to him from his father, -the first Henri (or, to speak more accurately, from his father-in-law -Simon de Colines), and replaced them by types of a new shape, which -were cut, I think, by Tory (for his pupil, Garamond, seems not to have -been capable of doing it at this time), and which continued to be used, -almost without change, down to the time of the Revolution. It is in -this sense only that it can properly be said that Tory perfected the -types of Josse Bade; for I think that he did not cut any type for that -celebrated printer, who was established in Paris long before Tory turned -his attention to engraving, and who died in 1535, a few years after the -publication of 'Champ fleury,' without changing in any way his method of -printing. It was Tory too, doubtless, who cut Robert Estienne's italic -type; for it bears a strong resemblance to Simon de Colines's, which I -have already attributed to him.[130] - -The sensation caused by Tory's book, in foreign countries as well as in -France, is evidenced also by the writings of his contemporaries. In Paris, -Antoine du Saix, author of the 'Esperon de discipline,' expresses himself -thus in an epistle in verse dedicated to his friends,[131] among whom -we find mentioned René Massé, also a friend of Tory, and several other -littérateurs of the time:-- - - Geoffroy Thory, qui divine as heu main - Pour figurer dessus le corps humain - La lettre anticque, ouyant que plume ay prise - Pour te imiter, ce bourgeon ne meprise, - Raisin sera, sil a temps de meurer [mûrir]. - -In London, Leonard Coxe, alluding to the grammar published shortly -after by his compatriot Palsgrave, exclaims: 'Learned Geofroy, he has -fulfilled the wish so often expressed in thy "Champ fleury," for here -we have the French language taught thoroughly, by virtue of rules duly -authorized.'[132] - -Tory probably received the title of king's printer in 1530, but I do -not find that he assumed it earlier than 1531, and, failing documentary -evidence, I cannot accredit him with it at an earlier date. It was, I -fancy, his appointment which led the authors of the 'Art de vérifier les -dates' to say that 'François I established the Imprimerie Royale in Paris' -on his return from the Abbaye de Veyen, where he had espoused, on July 4, -1530, Eleonora, sister of the Emperor Charles V.[133] It is the fact that -at that time Tory was entrusted with several 'royal printings' concerning -this marriage of the king. Thus he published, March 16, 1530 (1531, new -style), a little work of Guillaume Bochetel, entitled: 'Le Sacre et -coronnement de la Royne, imprimé par le commandement du Roy nostre sire.' -It is a thin quarto of 12 leaves, printed with a certain sumptuousness, -and the license, signed 'de la Barre,'[134] is thus conceived:-- - -'We have granted to maistre Geofroy Tory, "marchant libraire, imprimeur," -license to print the "Coronnement de la Royne," and all other printers are -forbidden to print it for one year,[135] upon pain of a discretionary fine -and of the confiscation of said book, etc. Done at Paris the tenth day of -March.' The consecration of the queen had taken place at Saint-Denis five -days earlier, March 5, 1530 (1531, new style). - -A few days later Tory published another little book by the same author: -'Lentree de la Royne en sa ville et cite de Paris, imprimee par -commandement du Roy nostre sire.' Quarto, 24 leaves; same arrangement -as in 'le Sacre,' etc.[136] The license, dated at Anet, April 26, 1531 -(Easter fell that year on April 9), gives Tory no other title than -'libraire,' but the omission is evidently accidental.[137] The volume -contains three pieces in Latin verse by Geofroy Tory, two addressed to -the queen ('ad reginam Leonorem'), the other to the French people ('ad -gentem gallicam'). On the verso of the last leaf are these words: 'The -printing of this book was finished Tuesday the ninth day of May M. -D. XXXI.' This book exhibits specimens of three different types -used by Geofroy Tory: a 'saint-augustin,' in which the text is printed, -a 'philosophie,'[138] and a brevier. In all these publications we find -Tory's borders and his broken jar, and these words at the foot of the -title: On les vend a Paris, en la rue Sainct Jacques, devant lescu de -Basle, et devant lesglise de la Magdaleine, a lenseigne du Pot Casse.' - -It will be noticed that Tory had left his second domicile, on -the Petit-Pont, which was too small, doubtless, for his printing -establishment, and had settled in the heart of the Cité, almost opposite -the church of La Madeleine, which then stood very near the corner of -rue de la Juiverie and rue de Marmouzets. His new abode was on the site -of the old and famous Halle aux Blés de Beauce, in a house to which he -transported his sign of the Pot Cassé (which it retained for several -years), and which corresponds to the present number 16 rue de la Cité, -according to the evidence courteously furnished me by M. Adolphe Berty, -whose knowledge of old Paris is so thorough.[139] However that may be, -the first work in which to my knowledge Geofroy Tory assumes the title -of king's printer is a thin volume of two and a half quarto sheets, of -the same typographical arrangement as those last described, but printed -in different type, which seems to me to have been cut by Tory. It was -published on the occasion of the death of Louise of Savoy, mother of -François I, which occurred September 22, 1531. The contents consist of -Latin and French epitaphs composed in honour of the deceased, and it bears -on its first page the following title, bisected:-- - -'In Lodoicæ regis matris mortem epitaphia latina et gallica.--Epitaphes -a la louenge de ma dame mere du Roy faictz par plusieurs recommendables -autheurs.' Below this are these words: 'On les vend a Paris, devant -Leglise de la Magdaleine, a Lenseigne du Pot Casse.' - -The license, dated at Paris, October 15, 1531, and signed de la Barre, -accords unequivocally to Tory the title of king's printer: 'We have -granted to maistre Geofroy Tory, merchant, bookseller and _imprimeur du -roy_, leave,' etc. On the last page, which, like the first, is enclosed in -a border, are the words: 'Printed at Paris at the sign of the Pot Cassé, -by maistre Geofroy Tory de Bourges, Marchant, Libraire et Imprimeur du -Roy. The XVII day of October M. D. XXXI.'[140] - -What salary did Tory receive as king's printer? It is impossible for me -to say positively; however, if we may judge from what happened in 1538, -in the case of Conrad Néobar,[141] he probably received 100 'écus au -soleil'[142] per year, which, at the current valuation of 45 sous each, -would make 225 'livres tournois.' Indeed, that sum was paid in 1671, more -than a century later, to Pierre Le Petit, king's printer.[143] - -If François I manifested his good will to Geofroy Tory in appointing him -king's printer, he manifested it even more signally by causing him to -be admitted to the brotherhood of 'libraires jurés' of the University, -with all the privileges appurtenant to that office.[144] For, in the -first instance, he simply made use of his prerogative; in the second he -imposed his will on the University: the number of 'libraires jurés,' which -was fixed at twenty-four, being full, François I created a twenty-fifth -membership in Tory's favour, and the University ratified that creation at -its sitting of February 22, 1532 (1533, new style), minuting, however, -that it was a gift of the King,[145] as if to imply that it was not to be -taken as a precedent. In fact, they returned to the number twenty-four on -the death of Tory, which unfortunately was not long delayed. - -Farther on will be found a list of the works published by Tory as king's -printer, both for the king and for private individuals.[146] I will -mention here a single one, which is of some interest in connection with -the biography of our artist: the 'Adolescence Clementine' (of Clement -Marot), fourth edition, published by Tory June 7, 1533. On the title-page -is a note in these words: 'With certain accents noted, namely, on É -masculine different from the feminine, between words joined by synalephe, -and under Ç when it is pronounced like S, the which heretofore, for lack -of suggestion, has not been done in the French language, although it was -and is most essential.' This was the first work in which Tory applied the -orthographic system he had suggested in 'Champ fleury.'[147] The fact -is evident from the inexperience of the compositors, who made several -blunders in this very note. - -This book, one of the rare copies of which is in the Bibliothèque -Nationale, presents still another interesting peculiarity. The -title-page is arranged in a different way from that in vogue at the -time. In the first three editions the first two words form four lines -of capitals of the same size and length, by virtue of the spacing: -LADOLE--SCENCE--CLEMEN--TINE. In the fourth edition they fill two lines -only (LADOLESCENCE--CLEMENTINE), but still in type of the same size, -contrary to the practice of other printers, who would have diminished by -at least one degree the size and length of the lines, without regard to -logic. They would probably have printed the title thus: - - L A D O L E S - CENCE CLEMEN - tine - -Tory's method of execution, which he borrowed from the arrangement of -ancient inscriptions, was less agreeable to the eye perhaps, but it was -more logical. It was a step toward the practice of the present day, in -which the size of the letters on a title-page is varied, but is made -consistent with the importance of the respective words. As will be seen, -Tory was, in everything, an initiator. - -This book was the last one printed by Tory, to my knowledge. He probably -died shortly after, for we find that his wife was a widow on October 14 -[1533], when she executed a lease for nine years of that part of the -Halle de Beauce occupied by her husband's establishment. This lease, -covering the whole house, was made in consideration of 122 livres 10 sous -tournois. The lessors were agents of the Chapitre Notre-Dame, and the -lessees, 'Martin Féret, baker, and Perrette Le Hullin, widow of Geofroy -Tory, in his lifetime bookseller and king's printer, living on rue de la -Juifverie in one of the wings [corps d'hostel] of the building hereinafter -mentioned' (the Halle de Beauce).[148] - -Perrette Le Hullin continued for some time to carry on her husband's -various enterprises. Thus, she published in 1535 a remarkable work, -doubtless begun by him, by command of François I, to whom it is dedicated. -It certainly should be placed to the credit of Tory, although it does not -bear his name, but simply a mention of his sign: 'Au Pot Casse.' It is a -translation of Diodorus Siculus, of which I shall speak later.[149] - -But the burden of so considerable an undertaking--printing-office, -bookshop, bindery,[150] engraving, etc.--soon compelled Perrette Le Hullin -to abandon a part of it. At the end of the year 1535 she transferred the -printing-office, the bookshop, and the bindery to Olivier Mallard, who -established himself on the same premises occupied by Tory, and under -the same sign of the Pot Cassé, as we see by a thin volume published -by him on January 19, 1535 (1536, new style), entitled: 'Copie d'une -lettre de Constantinople, de la victoire du grand Sophy contre le grand -Turc.--Paris, Olivier Mallard, à l'enseigne du Pot Cassé, rue de la -Juifverie.' Quarto, of 4 leaves; gothic type.[151] - -Towards the end of 1536, Mallard published the 'Copie de l'arrest du grand -conseil donné à l'encontre du miserable empoisonneur de monseigneur le -dauphin,' etc. An octavo sheet printed in two signatures. On the verso of -the title begins the text of the decree, promulgated at Lyon Saturday, -October 7, 1536; then come several pieces by Jean Henon and 'a "dizain" by -the printer hereof in sorrow for the death of the Dauphin': ten wretched -lines, ending, by way of signature, with the words 'tout par moien,' of -which I have been unable to discover the anagrammatic significance. On the -verso of the last leaf we read: 'All booksellers and printers in the city -and provostry of Paris are forbidden to print or put on sale this present -"copie" within three months, on pain of confiscation thereof, and of a -fine, save only M. O. Mallard. Given at Paris this XVIII October, -1536.--I. MORIN.' - -Thus we see that, even if Mallard was not as yet king's printer, he -was at least the official printer. I cannot give the exact date of his -appointment as king's printer; but he certainly held that office in 1537, -since in that year he published a little octavo volume in which he assumed -the title.[152] The book is entitled: 'De judiciis urinarum tractatus -exprobatis collectus authoribus, etc.--Excudebat O. Mallardus, bibliopola -ac impressor regius.--Anno Domini 1537, 8 id. Martii' (March 8).[153] -He also published in that year, in the same capacity, two works of Jean -Gillot:[154] 'De juridictione et imperio libri duo,' and 'Isagoge in juris -civilis sanctionem' (quarto), on the title-page of which, below the Pot -Cassé, are the words: 'Vænit O. Mallardo, regio typographo ac librario, -sub signo Vasis fracti.'[155] - -It is probable that François I made no difficulty about accepting Tory's -successor as his printer; but he availed himself of Tory's death to -remodel the institution of king's printers. He restricted Mallard's -functions to the printing of French, and in the year 1538 appointed two -other king's printers, one, Conrad Néobar, for Greek, the other, Robert -Estienne, for Latin and Hebrew, as an essential complement to the 'Collége -des trois langues,' now the Collége de France, which he had recently -founded. We have not the document which conferred upon Robert Estienne -the title of king's printer; but we have proof that he held that title -in 1539. Maittaire declares, upon what evidence I know not, that Robert -was appointed on June 24 of that year. I am of the opinion that his -appointment was of earlier date, that is to say, that it goes back, like -Néobar's, to 1538, or, to speak more accurately, to the beginning of 1539. -In fact, we find him assuming the title of king's printer ('typographus -regius') in several works printed by him during that year. Furthermore, -I may mention the fact that, in a most interesting edict concerning the -printers of France, dated August 31, 1539, the king already refers to the -fact that he has 'of late created and ordained--in order to have a copious -supply of useful and essential books--royal printers in the Latin, Greek, -and Hebrew tongues.'[156] - -We have not the letters patent of Robert Estienne, but we are more -fortunate in respect to Néobar, for we have the document by which he -was created king's printer for Greek.[157] This curious document, which -does so much honour to François I, well deserves to win oblivion for his -unlucky edict of proscription against printing, rendered January 13, 1535 -(new style), which has been invoked against his memory several times in -recent years, although it was never put in execution. On Néobar's death in -1540, Robert Estienne succeeded him as king's printer for Greek, retaining -the title for Latin and Hebrew. - -The king's fondness for the classics did not lead him to neglect the -French language: in 1539 he promulgated a celebrated ordinance, to the -effect that 'henceforth all decrees, etc., shall be pronounced, recorded, -and delivered to the parties concerned, in the mother tongue.' - -In 1541, Olivier Mallard, who had acquired all of Tory's typographic -paraphernalia, published a book of Hours of the Virgin, in Latin, octavo, -with the borders 'à la moderne' to which I referred on page 25. It is -copied doubtless from the edition put forth by Tory about 1530, which I -have never been fortunate enough to see. Of the edition of 1541, I have -seen one copy on vellum, and another on paper. It consists of 23 octavo -sheets (signatures A to Y), and has on the title-page: 'Horæ in laudem -beatissim. Virginis Mariæ ad usum Romanum.' (Pot Cassé) 'Parisiis, apud -Oliverium Mallardum, sub signo Vasis effracti.--1541.' - -In the following year Mallard published another edition of the Hours of -the Virgin, in quarto, like the one issued by Tory in 1531. I shall speak -of it in detail in its place.[158] Here I will simply say that the book -was finished in the month of August, 1542. - -On the twenty-second of the same month, Mallard renewed the lease of his -quarters in the Halle aux Blés de Beauce, which lease had been given -nine years earlier to Tory's widow and Martin Féret, at a rental of 122 -livres 10 sous, tournois. The rental was increased for Mallard, who had -to pay 130 livres, plus 4 écus d'or au soleil 'for the time of the said -leasing.'[159] Olivier Mallard did not long enjoy his lease, for he died -that same year. His last printing, according to La Caille, who writes -the name Maillard,[160] was a translation of the Dialogues of Plato, by -Simon de Valembert, published in 1542. I have been unable to find this -book in Paris, but I have seen another, probably of later date, at the -bookshop of M. Techener; it is entitled: 'Le livre de Ange Bologninus, de -la curation des ulceres exterieurs, traduit de latin en francoys.--Paris, -au Pot Cassé, en limprimerie de Olivier Mallard, libraire et imprimeur du -roy. 1542.' It is an octavo of four signatures. As the license is dated -December 1, this little book is probably the last one printed by Mallard, -as he was succeeded in the following year, as king's printer for French -works, by Denis Janot (one of the most skilful printers in Paris), as is -set forth in the letters patent, which will be found in Appendix VII. -Appendix VIII contains a complete list of the king's printers who lived in -Paris. - -Mallard's typographical apparatus seems to have been acquired -by Jean Kerver, son of the first Thielman Kerver, living on rue -Saint-Jacques,[161] at the sign of the Gril ('sub signo Cratis'), who -printed several editions of the Hours in octavo, with the borders 'à -la moderne' used by Mallard in 1541. The sign of the Pot Cassé, which -Kerver did not need, was adopted by a bookseller of Chartres, named -Richard Cotereau, who seems also to have bought some of Tory's woodcuts -representing that mark. In fact I have seen one, which I have never seen -on any of Tory's books, in a book printed in Paris for Cotereau by Nicolas -Chrestien; it is: 'Le Coustumier de la baronnye, chastellenie, terre et -seigneurie de Chasteauneuf en Tymerays'; octavo, 1557. The title-page is -an engraving of the Pot Cassé, with the design reversed,[162] like that of -the title of 'Champ fleury,' but signed with the double cross; and beneath -are the words: 'Pour Richard Cotereau, libraire, demeurant à Chartres, en -la grande rue, à l'enseigne du Pot Cassé.' - -Philippe Cottereau, evidently the son of Richard, and king's printer at -Blois, used the same mark. I have seen it on a small book printed by him -in 1603: 'Reglement pour l'instruction des proces qui se conduiront au -bailliage et siege presidial de Bloys.' Two octavo sheets. - -It would seem, however, that the sign of the Pot Cassé, which remained -for some time longer on the Halle de Beauce, also remained on the house -originally occupied by Tory, on rue Saint-Jacques, for we find a printer -named Michel de la Guierche living at that sign. See, among other works, -'M. T. Ciceronis ad M. Brutum Orat.--Paris, apud Mich. de la Guierche, sub -signo Vasis effracti, in vico Jacobeo.' Quarto, without date, but with -documents of 1542 and 1543.[163] But the Pot Cassé itself does not figure -in his books. - -Tory's widow seems to have retained his engraving establishment for -a considerable further time. Although engrossed by her numerous -undertakings, she found time nevertheless to have some of her husband's -books reprinted, and among others the 'Sommaire de Chroniques d'Egnasius,' -in 1541, 1543, 1544, for the bookseller Charles L'Angelier, and 'Champ -fleury,' in 1549, for the bookseller Gualtherot. I say that she had these -books reprinted, but I ought rather to say, perhaps, that she allowed them -to be reprinted, for there is nothing to suggest her coöperation in the -work. Literary property did not then exist. - -In the new edition of 'Champ fleury,' which by the way no longer bears -that graceful title, the Pot Cassé does not even appear, although -the explanation of the mark is allowed to remain. It was doubtless a -bookseller's speculation.[164] However that may be, this reprint forms -an octavo volume of 160 leaves (the folio has 80), in addition to the -preliminary matter, of which there are 16 leaves (8 in the folio); it is -entitled: 'L'Art et Science de la vraye proportion des Lettres Attiques, -ou Antiques, autrement dictes Romaines, selon le corps et visaige humain, -avec l'instruction et maniere de faire chiffres et lettres pour bagues -d'or, pour tapisserie, vitres et painctures. Item de treize diverses -sortes et façons de lettres; d'avantage la maniere d'ordonner la langue -françoise par certaine regle de parler elegamment en bon et plus sain -langage françois que par cy-devant, avec figures à ce convenantes, et -autres choses dignes de memoire, comme on pourra veoir par la table, le -tout inventé par maistre Geoffroy Tory de Bourges.' - -I have copied this long title at full length only to give myself an -opportunity to call attention to the progress that had been made by -French typography since the day when Geofroy Tory published his first -edition, and, indeed, as a result of that same publication. We find here -the accents, the apostrophe and the cedilla, upon the absence of which -the author had commented in 1529. So that we may say that the whole -grammatical portion of his book had become useless as a direct result of -the first edition of that book. This is a fact to which the editors of the -second edition paid no heed, as they allowed Tory's observations to stand -as they were written, while introducing into their text the novel signs I -have just mentioned. For instance, they repeat that _c_ has two sounds, -one hard, as in 'coquin,' etc., the other soft, as in 'françois,' etc. -But by adding the cedilla in the last word they destroy the sense of the -criticism made by Tory in 1529.[165] - -It does not appear by whom the book was printed; we learn only on the -last leaf that it was finished August 26, 1549, 'pour Vivant Gualtherot, -libraire juré en l'Université de Paris, en la rue Saint-Jacques, à -l'enseigne de Saint Martin.' - -In order to adjust Tory's woodcuts to the smaller format, they were -somewhat mutilated; indeed some of them were omitted altogether, among -the number those representing the Pot Cassé, which probably remained in -the possession of Olivier Mallard or his successors, and which it was -not deemed essential to have engraved anew for this reprint, for it was -executed as cheaply as possible, and as if for the purpose of utilizing -such woodcuts as remained at the disposal of Tory's widow.[166] The work -was subjected to some further modifications in this edition. For instance, -all dates were suppressed in the preliminary matter, which also was -arranged in a different order. Even the license granted by François I was -omitted as having become useless; but no change was made in the actual -arrangement of the work, nor was there a single addition or emendation. - -Thus Tory, at his death, was able to flatter himself that he had -contributed materially to the improvement of his mother tongue, which he -loved so well. He died, as I have said, in 1533, and not in 1550, as is -erroneously stated in a poetical epitaph composed nearly a century after -our printer's death, by his compatriot, Nicolas Catherinot, at the request -and from the notes of Jean Toubeau, himself a printer of Bourges, and a -descendant of Tory, through his mother. - -Here is the epitaph, as given by La Caille:[167]-- - - To Geofroy Tory, - Born at Bourges, - Educated at Paris, - Accomplished Scholar in both Latin and Greek, - Most devoted Lover of Letters, - Very expert Printer - And - Learned Author, - Inasmuch as he wrote elegant Distichs on the Parts of the House, - Composed some humorous Epitaphs in Latin in very ancient Style, - Translated Treatises of Xenophon, Lucian, and Plutarch - From Greek into French, - Taught Philosophy at Paris in the College of Burgundy, - Was the first Man to discuss seriously the Art of Printing, - Described the Forms of the Letters, or Characters, of the Alphabet, - Taught Garamond, Chief of Engravers, - Always performed the Duties of a good Man until he died - In the Year MDL:[168] - At the Instance - Of Jean Toubeau, - Likewise Printer and Author, - Mayor, - Alderman of Bourges, - Ambassador on very delicate State-matters - To the King and Council, - Great-great-grandson of the same Tory, - Heir of a famous Printing Establishment, - Nicolas Catherinot, noble Citizen of Bourges, - Counsellor of the King, and Senator, in the Metropolis of Bourges, - From his tender Years uninterruptedly to the present Day - Most closely associated with the Business of Printing, - Wrote this Epitaph, hastily and rapidly, at the End of November, - MDCLXXXIV.[169] - -The only relic that we have of Tory to-day, outside of his books and -works of art, is a volume from his library, as his signature in the -genitive case indicates. It is a manuscript on vellum, containing the -orations of Cicero against Verres, in Latin. This volume was acquired, -presumably after Tory's death, by his patron Jean Grolier, who wrote his -motto at the end of the text: 'Joannis Grolierii Lugdunensis et amicorum.' -From the library of this illustrious bibliophile, the manuscript passed to -Colbert's library, then to the king's. It is preserved to-day [1857] in -the Bibliothèque Nationale. We give below a facsimile of Tory's signature, -which appears on the first flyleaf:-- - -[Illustration: God. Torini Biturici] - -Tory made use of ten marks, besides the Pot Cassé that appears on his -bindings. We reproduce them all, although only two (nos. 5 and 10) are -signed.[170] Some of them were used by other booksellers after him, as we -have already seen. - -[Illustration: 1] - -[Illustration: 2] - - -No. 1 - -This mark is to be found in the borders of the Hours (quarto) of 1527. -(See page 37, supra.) - - -No. 2 - -This form of the Pot Cassé appears in the borders of the Hours (quarto) of -1524-1525, alike in the copies which bear the imprint of Tory and in those -printed by Simon de Colines. (See page 37, supra; also Part 2, § 2, no. 1, -infra.) - -[Illustration: 3] - -[Illustration: 4] - - -No. 3 - -This variation will be found on the first page of those copies of the -Hours (quarto) of 1524-1525 which bear the imprint of Tory. (See Part 2, § -2, no. 1 (2d and 3d), infra.) - - -No. 4 - -This appears on the title-page of 'Champ fleury.' (Silvestre, 'Marques -Typographiques,' no. 931.) - -[Illustration: 5] - -[Illustration: 6] - - -No. 5 - -This appears on folio 43 verso, of 'Champ fleury.' (Silvestre, no. 803.) - - -No. 6 - -This mark, which differs from no. 5 only in the absence of the cross of -Lorraine, appears on the last page of 'Champ fleury.' I am unable to -suggest any reason for the removal of the cross. (Silvestre, no. 171.) - - -No. 7 - -This mark is found only at the end of the little poem written by Tory -on the death of his daughter, which was published February 15, 1524, -new style. We have already referred to this poem on page 15; but it is -reproduced at length in Part 2, § I, no. 9. - -[Illustration: 7] - -[Illustration: 8] - - -No. 8 - -This mark, which differs from the preceding only in the omission of the -little figure in the clouds, appears on the last page of the Hours of -1524-1525 (those copies with Tory's imprint) in Latin. (Silvestre, no. -356.)[171] - -[Illustration: 9] - - -No. 9 - -This mark appears on the title-page of the Hours (quarto) of 1527. It was -used by Jean Mallard, bookseller at Rouen, 1542.[172] (Silvestre, no. 604.) - -[Illustration: 10] - - -No. 10 - -I have never as yet seen this mark in any book of Tory's; but I have -found it in books published by Richard Cotereau, bookseller at Chartres, -in 1557, and by Philippe Cotereau, bookseller at Blois, in 1603. (See -p. 41, supra.) The presence of the Lorraine cross is, it seems to me, a -sufficient proof that it should be attributed to Tory. (Silvestre, no. -929.) - -We have already observed that Tory was not only a bookseller and printer, -but a binder as well. To complete the list of our artist's professional -acquirements an example of the toolings that he used to decorate the -covers of some of the volumes bound by him, is reproduced [on the cover -of the present volume.[173] The reproduction is from the cover of a copy -of the works of Petrarch, printed at Venice in 1525, and now preserved -in the Library of the British Museum.] The Pot Cassé, in its simplest -form, appears among the arabesques of this binding. Tory had also had -engraved a larger plate of the same, for use on the binding of quartos, -or, rather, of folios. The design is almost identical. Sometimes the -Pot Cassé is accompanied by the drill. This design appears on a copy of -Macault's translation of Diodorus Siculus, printed as late as 1536, 'au -Pot Cassé.' This beautiful volume, in M. Didot's magnificent library, is -sufficient proof that Tory's widow continued his various industries for a -considerable time. - -It is hardly necessary to say that the same tools could, with some slight -additions, be used in binding volumes of all sizes, from the octavo up. - -[Illustration] - -[Illustration] - - -FOOTNOTES: - -[Footnote 9: I write these two names as our artist himself wrote them; -but it is a well-known fact that the orthography of proper names in the -sixteenth century was very uncertain. As to the family name especially, -Geofroy's ancestors and descendants wrote it indifferently _Toury_, -_Tory_, and _Thory_; but Geofroy never varied: he always wrote _Tory_ in -French, _Torinus_ in Latin (which should, strictly speaking, be translated -_Torin_). See further, on this subject, Appendix A.] - -[Footnote 10: _Champ fleury_, fol. 1 verso: 'Combiem [_sic_] que ie soye -de petitz & humbles parēs, & aussi que ie soye pouure de biens caduques.'] - -[Footnote 11: See Part 2, infra, Bibliography, § I, no. 3.] - -[Footnote 12: He mentions it on every page of his _Champ fleury_.] - -[Footnote 13: We read in _Champ fleury_, fol. 49 verso: 'Come lexposent -tresingenieusemē & elegātemēt Philipes Beroal & Jehan baptiste le -piteable, ɋ iay veuz & ouyz lire publiquemt, il ya. xx. ans, en Bonoigne -la grace.' _Champ fleury_ was conceived in 1524, but was not finished -until 1526, the date of the license to print.] - -[Footnote 14: See _Champ fleury_, fol. 6 recto.] - -[Footnote 15: As to Gourmont's Greek type, see my _Les Estienne_, pp. 62 -ff.] - -[Footnote 16: Doubtless we should read IV (December 2), for there is no VI -of the Nones of December.] - -[Footnote 17: See the description of the book in Part 2, § I, no. -1.] - -[Footnote 18: [The modern Bourges.]] - -[Footnote 19: Enea Silvio Piccolomini, commonly called Æneas Sylvius. See -Part 2, § I, no. 2.] - -[Footnote 20: Germain de Gannay, Ganaye, or Gannaye, son of Nicolas and -brother of Jean, Chancellor of France, had become a counsellor in the -Parliament of Paris, on the resignation of Jean Jouvenel des Ursins, by -letters patent of 1485; appointed Bishop of Cahors, by royal letters -issued at Vienne in Dauphiné, August 14, 1509, in opposition to Guy de -Châteauneuf, who was chosen by election but yielded his claim to him, he -was consecrated May 4, 1511. In 1512 he inherited the property of his -brother the Chancellor, and did homage for the seigniory of Persan on June -18. He was translated to the bishopric of Orléans in 1514, and died in -1520.] - -[Footnote 21: October 2.] - -[Footnote 22: See Part 2, § I, no. 3.] - -[Footnote 23: Ibid. no. 4.] - -[Footnote 24: See my _Les Estienne_, pp. 62 ff.] - -[Footnote 25: See Part 2, § I, no. 5.] - -[Footnote 26: For Latin text, see Appendix X, _a_.] - -[Footnote 27: See Part 2, § I, no. 6.] - -[Footnote 28: One of the three editions of Berosus bears that date, but -our artist probably had nothing to do with that edition. [Note added by -the author after the book had gone through the press.]] - -[Footnote 29: Fol. 1 recto.] - -[Footnote 30: This principal of the College of Plessis is here called -Robertus Duræus Fortunatus. Du Boulay calls him simply Robertus -Fortunatus, in his _Histoire de l'Université de Paris_, vol. vi. p. 159. -Elsewhere he is called Dure (Duré?). In the index of the same volume, Du -Boulay, under the name of Robertus Fortunatus, refers to a list of the -principals of the College of Plessis, which he omitted to publish.] - -[Footnote 31: See Part 2, § I, no. 7.] - -[Footnote 32: _Biographie Universelle_, art. 'Tory.'] - -[Footnote 33: See Part 2, § I, no. 8 (p. 70).] - -[Footnote 34: _Histoire de l'Imprimerie_, p. 100: _Siste, -viator,--et jacentes etiam artes colito.--Hic--Godofredus Torinus -Bituricus,--ubique litteris librisque clarissimus,--qui--Parisiis multos -per annos philosophiam--docuit maximo concursu,--in regio Burgundiæ -collegio,--simulque artem exercuit typographicam,--novam tunc ac recentem -brevi perpolitam--tamen reddidit.--Quisquis ad stadium animum applicas--et -inde quæris immortalitatem,--præcipuo cultori prius apprecare.--Amen._] - -[Footnote 35: Fol. 49 recto.] - -[Footnote 36: According to the _Biographie Universelle_, Tory joined the -fraternity of booksellers in 1512; but I have found no evidence of this, -and it seems to me most improbable.] - -[Footnote 37: It was this sentence, no doubt, which gave birth to the idea -that Tory was a bookseller at the same time that he was a professor; but -it is evident that it refers to Tory's labours as an engraver, and not -to bookselling or printing properly so called, as Tory did not become, -successively, bookseller and printer, until later.] - -[Footnote 38: _Champ fleury_, fol. 20 verso.] - -[Footnote 39: Ibid. [Tory spells it 'Aurenges.']] - -[Footnote 40: Ibid. fol. 19 verso.] - -[Footnote 41: Ibid. and elsewhere.] - -[Footnote 42: 'One may see many another example in the book of _Epitaphs -of Ancient Rome_, which I saw printed at the time I sojourned in said -Rome.' _Champ fleury_, fol. 41 recto. He refers to the same book again on -folios 48 recto and 60 verso: 'In the book of _Epitaphs of Ancient Rome_, -lately printed in said Rome, where I was then living.'] - -[Footnote 43: This book is the oldest printed collection of inscriptions. -Unfortunately, instead of being copied from the original monuments, -which still existed at Rome in such great numbers, these inscriptions -were simply reproduced from one of the manuscript collections which were -to be found in the libraries and some of which were themselves very -old. Mazochi's book had no sooner been published than the errors which -had found their way into it began to be pointed out to the printer. He -tried to correct them in a supplement which appeared in 1523, but his -corrections did not extend to all the inscriptions, which might still -have been restored by reference to the ancient monuments. A contemporary -scholar, whose name is not known, undertook to continue these corrections -on his printed copy, and his emendations were transferred to three other -copies. These annotations impart great value to these four volumes in the -eyes of epigraphists.] - -[Footnote 44: During the first centuries of printing in France, all -engravers were also booksellers.] - -[Footnote 45: He has an article in the _Biographie Universelle_, however.] - -[Footnote 46: _Champ fleury_, fol. 4 recto.] - -[Footnote 47: We say _Basoche_ to-day.] - -[Footnote 48: _Champ fleury_, fol. 12 recto and verso.] - -[Footnote 49: For the Latin text, see Appendix X, _b_.] - -[Footnote 50: Ibid., _c_.] - -[Footnote 51: See Appendix X, _d_.] - -[Footnote 52: See Part 2, § I, no. 9.] - -[Footnote 53: [Twelfth-day, or Epiphany.]] - -[Footnote 54: Cicero says that he borrowed this maxim from Plato: _Ut -præclare scriptum est Platone._] - -[Footnote 55: _Champ fleury_, fol. 1 recto.] - -[Footnote 56: Ibid., verso of title-page.] - -[Footnote 57: [As _Champ fleury_ is not among the works cited by French -lexicographers to illustrate the historical development of the language, -we search in vain for adequate explanation of some of the terms used -by Tory therein. Littré defines as follows such of these varieties of -letters as he includes in his dictionary: CADEAUX: _Grandes -lettres placées en têtes des actes ou des chapitres dans les manuscrits -en écriture cursive._--FORME: _Lettre de la belle écriture, des -belles éditions, par opposition à la lettre cursive._--BÂTARDE: -_Écriture ordinairement penchée, à jambages pleins, à liaisons arrondies -par le haut, et à tetes sans boucles._--GOFFES: _Nom donné à une -sorte de majuscules gothiques dans le commencement du XVI siècle._ See, -also, for some of these alphabets, _Pantographia; Containing Accurate -Copies of all the known Alphabets in the world_. By Edmund Fry. London, -1799.]] - -[Footnote 58: See his introduction to Palsgrave's _Lesclaircissement de la -langue françoise_. See also Appendix II.] - -[Footnote 59: [_Escumeurs de latin._ Rabelais's word is _escorcher_, to -flay.]] - -[Footnote 60: One of the annotators of Rabelais (I do not now remember -which one, but his name is of little consequence[62]) maintains that Tory -intended to criticize in that epistle the author of _Pantagruel_, who -had introduced him in his romance under the name of Raminagrobis. There -is but one little flaw in this story, namely, that the dates are against -it: _Champ fleury_ antedates _Pantagruel_, by several years. This fact, -to be sure, does not prove that Rabelais did not make Tory a character -in his work; but what foundation is there, I ask, for attributing the -character of Raminagrobis to Tory? Simply the assertion of one of those -seventeenth-century scribblers of marginal notes who lived on the great -authors of the sixteenth as rats live on the most valuable manuscripts--by -nibbling at them. What possible connection is there between Raminagrobis, -canon and poet, whom Rabelais represents as dying about 1546, and Tory, -layman and prose writer, who died twelve years earlier? Does it not remind -one of the famous key to _Astrée_, of which I had occasion to prove, in -my monograph upon the d'Urfés, that not a word was true? Almost the same -course has been pursued with reference to the _Satire Menippée_, which has -in our own day been ascribed to persons who would be greatly surprised, -and far from proud of their alleged work. See what I had to say on this -subject in the _Revue de la Province et de Paris_ of September 30, 1842.] - -[Footnote 61: _Champ fleury_, 'Aux Lecteurs.'] - -[Footnote 62: It was Pasquier, I think, who first gave currency to this -fable; and his opinion is the less admissible because he did not even know -Tory's name, but calls him 'Georges Toré.' See Baillet, _Jugements des -Savants_, vol. i, and Génin's introduction to Palsgrave, p. 10, note 4.] - -[Footnote 63: _Champ fleury_, 'Aux Lecteurs.'] - -[Footnote 64: Folio, Venice, 1509; with 62 plates engraved on wood.] - -[Footnote 65: In his book entitled _Thesauro de' scrittori_ (_Champ -fleury_, fol. 35 recto). I have not seen this book, but I have seen his -_Theorica et pratica ... de modo scribendi fabricandique omnes litterarum -species_ (Venice, Dec. 1, 1524; quarto). This work is divided into -four books and contains engravings not unlike those in _Champ fleury_. -M. Brunet mentions Fante's _Liber elementorum litterarum_ (Venice, -1514; quarto), which probably was the foundation of the _Thesauro de' -scrittori_, published by Ugo da Carpi.] - -[Footnote 66: I do not know the title of his work, but I think that -the reference is to the book thus described in the Libri catalogue of -1859: _La Operina da imparare discrivere littera cancellarescha. Roma, -per invenzione di Lodovico Vicentino_, in quarto (1523). As for the -variant spelling of the author's name, which Tory calls Vincentino, it -is explainable; for we find in the Libri catalogue of 1857: _Ragola -da imparare scrivere varii caratteri di lettere, di L. Vincentino_. -(Venetia, Zoppino, 1533, in quarto.) I have also seen mentioned a work -of the same sort entitled: _Regula occulte scribendi seu componendi -cipharam itaquenemo litteras interpretari possit communes omnibus, inventa -et composita a domino Jacobo Silvestro sive Florentino_. (Rome, 1526, -quarto.)] - -[Footnote 67: The doubt expressed by Tory is due to the fact that he was -unable to read the text of Dürer's work, which was published in German in -1525. The Latin translation was not published until 1532, and the French -still later.] - -[Footnote 68: _Champ fleury_, fol. 13 recto.] - -[Footnote 69: Ibid. fol. 14 recto.] - -[Footnote 70: Ibid. fol. 41 verso.] - -[Footnote 71: _Des Types_, etc., 2d part, 16th century, p. 166.] - -[Footnote 72: _Champ fleury_, fol. 14 recto.] - -[Footnote 73: It was the fashion, in that epoch of renascence, to treat -everything allegorically. Tory was not the only one who propounded a -theory to explain the shapes of letters.] - -[Footnote 74: _Champ fleury_, fol. 24 recto.] - -[Footnote 75: [And if any wonder why this book is written in Romance, -according to the language of the French, when we are Italians, I will -say that it is for two reasons: one, for that we are in France, and the -other, for that the speaking of it is more delectable and more common to -all people.] Prologue to the _Trésor_, published by M. Pierre Chabaille -(quarto; Imprimerie Impérial, 1863; p. 3). The second reason probably -explains why Marco Polo printed the narrative of his voyage in French.] - -[Footnote 76: [That is to say, philologists.]] - -[Footnote 77: [That is to say, the lines between the different dialects -are less clearly marked in the case of the men.]] - -[Footnote 78: Although myself a native of Lyon, I confess that I do not -understand the meaning of these words, of which Tory, by a regrettable -exception, gives no translation. A friend of mine in that city, M. Ant. -Péricaud, thinks that the meaning is: 'Chômez-vous? Chômez cette fête.'] - -[Footnote 79: _Champ fleury_, fol. 33 verso.] - -[Footnote 80: There are some provinces where the final S is still -pronounced. The English also have retained the custom, which is a -necessity with them because the article is invariable, so that the plural -cannot otherwise be distinguished from the singular.] - -[Footnote 81: _Champ fleury_, fol. 57 recto.] - -[Footnote 82: Ibid., fol. 58 verso. Again, as in note 5 on page 18, I -will call attention to the fact that the English, who are much more -French in this respect than is generally supposed, have retained the old -pronunciation. They sound the final T in words borrowed from us.] - -[Footnote 83: _Champ fleury_, fol. 52 recto.] - -[Footnote 84: Ibid. fol. 56 verso.] - -[Footnote 85: Ibid. fol. 37 verso.] - -[Footnote 86: I have seen this binding on an octavo copy of the -_Ædiloquium_ of 1530, now in the Bibliothèque Nationale and on the -_Sommaire de Chroniques de J. B. Egnasio_, of 1529, owned by M. Didot. -[The famous collection of M. Didot has since been dispersed.]] - -[Footnote 87: Book of Hours of 1556, owned by M. Niel. This volume was -printed by the Kervers, who had bought Tory's old plant.] - -[Footnote 88: I have seen it on the Hours of 1531, and the _Diodorus_ of -1535, which two volumes also are [1865] owned by M. Didot.] - -[Footnote 89: [See nos. 1 and 2, on p. 45, infra.]] - -[Footnote 90: Fol. 43 verso. Inadvertently, no doubt, this mark is -reversed on the first page of _Champ fleury_. Tory attached little -importance to the error, for the same engraving often appeared afterward. -It is not signed [with the double cross], like the one here reproduced.] - -[Footnote 91: Here, and in numberless other passages in his books, Tory -alludes to Italy, of which he always retained a grateful memory.] - -[Footnote 92: _Champ fleury_, fol. 43 recto.] - -[Footnote 93: [See page 12, supra.]] - -[Footnote 94: The Renaissance, at this time, was at its height.] - -[Footnote 95: Read Μηδὲν ἄγαν.] - -[Footnote 96: [Against which not even the gods contend.]] - -[Footnote 97: [See page 1, supra.]] - -[Footnote 98: This eminent artist, who has no article in the _Biographie -Universelle_, and who is not even mentioned in the _desiderata_ of the -_Notice des tableaux du Louvre de l'école française_, published by M. -Villot, did not die until about 1528, if my reckoning is accurate. We -can establish the fact of his existence so late as 1522 by the documents -published by M. de Laborde in his book on the Renaissance. I once owned -an original letter of Perreal, which shows him in full vigour in 1511. -That letter, which I presented to M. Alexandre Sirand, magistrate at -Bourg, has been published by him in his _Courses Archéologiques_, vol. -iii, p. 5, in connection with the church at Brou, in which Perreal was -deeply interested. The letter I refer to is dated November 15 (1511) and -addressed to Margaret of Austria (widow of the Duke of Savoy), to whom -Perreal offers his services as superintendent of the work of building -the church. That princess accepted his offer, as we see by her reply of -February, 1511 (1512 new style): 'Since Jehan Le Maire hath left us, we -choose to have no other overseer in our edifices at Brou than yourself.' -(See the work last cited.)] - -[Footnote 99: La Caille, in his _Histoire de l'Imprimerie_, p. 98, gives -the date erroneously as September 28, 1584.] - -[Footnote 100: See an extract from it in Part 2, § 2, no. 1.] - -[Footnote 101: [_fait et fait faire._]] - -[Footnote 102: See Part 2, § 2, no. 1.] - -[Footnote 103: Ibid. no. 2.] - -[Footnote 104: Ibid. no. 3.] - -[Footnote 105: Ibid. no. 6.] - -[Footnote 106: _Champ fleury_, fol. 73 recto.] - -[Footnote 107: Several bibliographers, misled doubtless by the date of the -license, mention an edition of _Champ fleury_ of 1526; but there is none. -Not until 1549 was there an octavo edition, printed for the bookseller -Vivant Gautherot. I shall speak of it hereafter.] - -[Footnote 108: See the description of _Champ fleury_, Part 2, § -I, no. 10.] - -[Footnote 109: For Gourmont, see the _Notice historique_ which follows my -work entitled: _Les Estienne et les types grecs de François Iᵉʳ_.] - -[Footnote 110: Gilles de Gourmont had just published Lucian's _Dialogues_ -in Greek (quarto, 1528); but Tory's translation was made from a Latin -version. Although he knew Greek, he did not use it when he could avoid it. -As a general rule he translated from Latin versions such Greek authors as -he dealt with.] - -[Footnote 111: This was, as we have seen, the sign of the famous printer -Chrétien Wechel; it was on the right as one ascends rue Saint-Jacques, -near the church of Saint-Benoît. The Pot Cassé was opposite.] - -[Footnote 112: See a description of it in Part 2, § I, no. 11.] - -[Footnote 113: [_Raphael durbin_, _Michel lange_, _Leonard vince_, _Albert -durer_, are Tory's versions of these names.]] - -[Footnote 114: The description of the volume in Part 2 (p. 87 infra), -places this promise in the dedicatory letter.] - -[Footnote 115: _Histoire de l'Imprimerie_, p. 98.] - -[Footnote 116: See Part 2, § I, no. 13.] - -[Footnote 117: _Champ fleury_, 'avis au lecteur.'--See also fol. 1 verso: -'And so I will write in French according to my own humble style and mother -tongue, nor fail, albeit I am of lowly and humble parents, and poor in -paltry goods, to give pleasure to the devoted lovers of goodly letters. -Herein it may be I shall seem a new man, for that no one has heretofore -been known to teach the fashioning and quality of letters by writing in -the French language; but, desirous to cast some light on our language, I -am content to be the first little pointer to arouse some noble mind which -shall put forth greater efforts, as did the Greeks and Romans of old, to -establish and ordain the French language by fixed rules for pronouncing -and speaking well. God grant that some noble lord may be pleased to -offer pledges and worthy gifts to those who shall be able to do this -well.'--François I himself was the noble lord referred to.] - -[Footnote 118: See Part 2, § II, no. 4.] - -[Footnote 119: As to this date, see no. v below, p. 31, and note 1.] - -[Footnote 120: See Part 2, § I, no. 14.] - -[Footnote 121: See Appendix X, _e_.] - -[Footnote 122: This volume contains also: _Epistre du seigneur Elisee -Calense, natif Damphrate, quil envoya a Rufin ... translatee .... par -maistre Geofroy Tory de Bourges._] - -[Footnote 123: The year 1531 did not begin until Easter Sunday, April 9.] - -[Footnote 124: See, for other details concerning Tory's _Xenophon_, Part -2, § I, no. 15.] - -[Footnote 125: Ibid. § II, no. 5.] - -[Footnote 126: See Part 2, § I, no. 16.] - -[Footnote 127: [_A libraire juré_ was a bookseller who had taken the oath -to follow the rules prescribed by the University.]] - -[Footnote 128: See Part 2, § I, no. 17.] - -[Footnote 129: The reform went even further than Tory suggested, for -orthographic accents were invented, which have no other purpose than to -distinguish words of the same sound but of different meaning; and therein -it disregarded logic, for it not only did not distinguish in this way -all words of the same sound (_son_, for example, which has three totally -different meanings, received no accent), but it placed accents on words -which had but one meaning,--_déjà_, for example; of what use is the grave -accent on the _a?_ Moreover, it placed accents in certain cases on words -which in other cases have none. Thus it wrote '_votre_ ami et le _nôtre_,' -and '_notre_ ami et le _vôtre_.'] - -[Footnote 130: See supra, p. 8.] - -[Footnote 131: It is printed at the end of his book, which has some -similarity to Tory's. The full title is: _Lesperon de discipline pour -inciter les humains aux bonnes lettres_, etc. On the title-page are the -arms of Savoy, to indicate the nativity of the author, who was born in La -Bresse, which then belonged to the House of Savoy.] - -[Footnote 132: See in Appendix II, the Latin verses printed on the verso -of the title of _Lesclaircissement de la langue françoise_, an English -work reprinted in 1852 at M. Génin's instance.] - -[Footnote 133: This error has been made by many writers. The creation of -king's printer was so far from being identical with the foundation of the -Imprimerie Royale, that there continued to be functionaries bearing that -title even after the foundation of the Imprimerie du Louvre, in 1640, as -we shall see later (Appendix IX).] - -[Footnote 134: Jean de la Barre, chevalier, Comte d'Étampes, counsellor -and chamberlain in ordinary to the king, first gentleman of his chamber, -and keeper of the provostry of Paris, granted the licenses to print at -this time.] - -[Footnote 135: The license had no sooner expired than the work was -reprinted, as may be seen by a copy of an edition of 8 leaves, octavo, in -gothic type, dated 1531, now in the Bibliothèque Nationale.] - -[Footnote 136: See the description of these two opuscula in Part 2, § -III, nos. 1 and 2.] - -[Footnote 137: A much stranger omission is that of de la Barre's -signature, which had to be added by hand to every copy, at the foot of the -license.] - -[Footnote 138: [The _saint-augustin_ was a 13-point type, so called -because it was used in 1467 to print St. Augustine's _De Civitate Dei_. -The _philosophie_ was 10-point.]] - -[Footnote 139: See his little book entitled _Les Trois Ilots de la Cité_; -octavo, 1860 (an extract from the _Revue Archéologique_).] - -[Footnote 140: See Part 2, § III, no. 3.] - -[Footnote 141: See Appendix VI.] - -[Footnote 142: [The _écu au soleil_ was a coin issued under Louis XI and -Charles VIII, with a sun above the crown. The _livre tournois_ was worth -20 sous.]] - -[Footnote 143: See Appendix VIII.] - -[Footnote 144: Concerning the _libraires jurés_ and _non jurés_, see -Chevillier, _Origine de l'imprimerie de Paris_, part 4.] - -[Footnote 145: [_Don du roi._] See Appendix III.] - -[Footnote 146: See Part 2, §§ III and IV.] - -[Footnote 147: This most necessary reform spread very rapidly. The year -had not ended when another Paris printer, Antoine Augereau, published a -small treatise on the subject, entitled: _Briefve doctrine pour deuement -escripre selon la proprieté du langaige françoys_. ['Brief instructions -for writing the French language properly.'] This curious work, which is -printed with the _Miroir de très chrestienne princesse Marguerite de -France_, in an octavo volume, 1533, informs us among other things that -the final E which requires the acute accent was at that time called -_masculine_, and that the word _feminine_ was applied to it when it did -not take the accent. These are, as we see, the terms used by Tory. Hence -doubtless the term _féminine_, which is still applied to-day, in French -poetry, to silent rhymes. (See Appendix V.)] - -[Footnote 148: _Archives de l'Empire_, carton S, no. 18.--See also _Les -Trois Ilots de la Cité_, by M. Adolphe Berty, p. 15.] - -[Footnote 149: See Part 2, § III, no. 6.] - -[Footnote 150: The existence of Tory's bindery is proved by the numerous -bindings with the Pot Cassé, not only of books from that artist's presses, -to which I have already referred, but of books printed by others. I will -mention particularly a lovely book of Hours, octavo, on vellum, printed by -Herman Hardoin about 1527, and preserved in the Bibliothèque Nationale.] - -[Footnote 151: Olivier Mallard the printer was probably a relative of Jean -Mallart the writer, whose name appears about the same time in the accounts -of François I: 'To Jehan Mallart, writer, for writing _unes heures_ [a -book of Hours] on parchment, presented to the king to be illuminated, -XLV livres as a gift, charged upon the _deniers de l'espargne à -l'entour du roy_.' (From a roll not dated, but _circa_ 1538, published by -M. de Laborde, _Renaissance des Arts_, vol. i, p. 924.) These Mallards -were probably of Norman origin, for there were about the same time several -booksellers of that name at Rouen. One of them, indeed, Jean Mallard, had -the Pot Cassé for his sign in 1542. He was probably a brother of Olivier, -who had authorized him to adopt that symbol. (See _Heures a l'usage de -Rouen_, octavo, gothic type, 1542.) I am indebted for this information to -the learned author of the _Manuel du Bibliophile normand_, M. Ed. Frère.] - -[Footnote 152: It was this publication, no doubt, that led Papillon to say -that Tory died in 1536. (_Traité de la gravure sur bois_, vol. i, p. 509.)] - -[Footnote 153: Bibliothèque Nationale.] - -[Footnote 154: 'Caussarum in suprema Parisiorum curia patronus.' This -mouth-filling phrase presumably means _avocat_ in the Parliament of Paris.] - -[Footnote 155: Bibliothèque Nationale.] - -[Footnote 156: Crapelet, _Études pratiques_, etc., p. 48.] - -[Footnote 157: In Appendix VI will be found [an English version of] M. -Crapelet's [French] translation. I have given the original text in my work -on the Estiennes, pp. 11 ff.] - -[Footnote 158: See Part 3 (_Iconography_), under 1541 and 1542.] - -[Footnote 159: The rent of these premises, which was only 16 livres in -1420, and 22 in 1498, was raised to 160 livres in 1551, to 200 in 1567, -and to 400 in 1605. (_Les Trois Ilots de la Cité_, by Adolphe Berty, -p. 15). It seems that the raising of rents in Paris is not a modern -invention.] - -[Footnote 160: _Histoire de l'Imprimerie_, p. 110.] - -[Footnote 161: His mother, Iolande Bonhomme, widow of Thielman Kerver, -first of the name, also lived on rue Saint-Jacques, at the sign of the -_Licorne_ (_Unicornis_).] - -[Footnote 162: See p. 47 infra, no. 10.] - -[Footnote 163: Bibliothèque Nationale.] - -[Footnote 164: In the preceding year, an analogous book was published at -Rome, under this title: _Libro di M. Giovanbattista Palatino, cittadino -Romano, nel quel s'insegna a scrivere ogni sorte lettera, antica et -moderna, di qualunque natione, con le sue regole et misure, et essempi: et -con un breve et util discorso de le cifre_, etc. Quarto, Rome, 1548; with -15 plates.] - -[Footnote 165: It might perhaps be interesting to publish this book to-day -(it is now very rare), scrupulously following the first edition, as has -been done in the case of Palsgrave's _Lesclaircissement de la langue -françoise_.] - -[Footnote 166: The floriated letters engraved by Tory which appear in the -course of the book, and of which the entire alphabet is given on the verso -of folio 78 of the first edition, are replaced in the second by letters of -an entirely different make.] - -[Footnote 167: _Histoire de l'Imprimerie_, p. 99.] - -[Footnote 168: It will be seen that I apparently had most excellent -grounds for saying in my first edition that Tory lived until after 1550. -Could one imagine that a historian of Berry, a townsman of Tory and -friend of Jean Toubeau, could blunder so stupidly concerning the date of -our artist's death? La Caille even makes him live until the close of the -sixteenth century.] - -[Footnote 169: [For the Latin original, see Appendix X, _f_.]] - -[Footnote 170: [Tory's signature referred to consists in the double, or -Lorraine, cross found on nos. 5 and 10.]] - -[Footnote 171: See Part 2, § II, no. 2 (2).] - -[Footnote 172: See p. 38, note 4, supra.] - -[Footnote 173: One of our most skilful binders, M. Capé, used this design -in his bindings. An example may be seen on a copy of the Hours (quarto) of -1527 in the Bibliothèque Nationale.] - - - - -PART II. - -BIBLIOGRAPHY. - - -In the first part of this volume I have made cursory mention of some of -the books published by Tory, and especially of those which may be said to -offer some biographical information; in this part I propose to describe -in detail all the books to which he put his name in any capacity, and of -which we of to-day have knowledge. To make my description clearer I shall -divide these books into four sections, the titles of which will explain -themselves. - - -OMNIS TANDEM - -MARCESCIT - -FLOS. - -[Illustration: - - LE TRIVM - - PHE-DAPOLLO - - ET DESES - - MVSES. -] - - - - -SECTION I. - -WORKS WRITTEN OR ANNOTATED BY TORY. - - -1 - - POMPONIUS MELA, DE TOTIUS ORBIS DESCRIPTIONE. AUTHOR - LUCULENTISSIMUS, NUNQUAM ANTEA CITRA MONTES IMPRESSUS.[174] - (Mark of Jehan Petit.)[175] - -Quarto, of 45 numbered leaves, plus 11 leaves of index; in all, 56 leaves, -or 14 sheets, arranged in 9 signatures of two sheets and one, alternately. -Signatures _a_, _c_, _e_, _g_, and _i_ have two sheets [16 pages] each; -signatures _b_, _d_, _f_, _h_, one sheet [8 pages] each. - -The whole book is printed in roman type, except the first line of the -title-page, which is gothic, and a few Greek words here and there. - -As we have seen, this book was for sale by Jean Petit, but it was printed -by Gilles de Gourmont, solely because of the Greek words just mentioned. -So Tory himself tells us in a note at the end of the text, folio 45: -'Curavi siquidem accuratissimo impressori dare, qui etiam primus apud -Parisios græcis caracteribus lotissimas addidit manus.'[176] - -On the verso of the first leaf is a letter of the publisher, Geofroy Tory, -to his friend Babou, thus conceived:-- - -[Illustration: - - BACCHVS - - CERES ET - - VENVS - - SONT ICY - - MENEZ CA - - PTIFZ. -] - - _Geofroy Tory of Bourges to Philibert Babou, citizen of Bourges, - very deserving treasurer and valet-de-chambre of the most serene - king of the French, humblest greeting._ - -On looking recently into Pomponius Mela, most illustrious Philibert, Mela -who is the most trustworthy of the writers on geography, I found him so -corrupt and so badly mutilated that - - --Lo, before my eyes, in saddest plight, - The author seemed to stand and burst in tears.[177] - - Virg. _Æn._ ii. - - Lo, I say, - - All black with dust and blood,--ah, sad, sad sight,-- - By two-horse chariot dragged, his swollen feet - Torn through with thongs ... - How from the bottom of his heart he groaned. - - _Id. Ibid._ - -In such words as these did he seem to complain: Am I, then, who described -so elegantly all those many lands, those many peoples, those islands, -rivers, straits, seas, and whirlpools, I who ventured so confidently upon -the description of the whole world, am I to remain thus maimed, thus -mutilated, thus disfigured? - - --Ah me, how hacked am I, - How like that Hector who erstwhile brought back - ... his squalid ... locks - All stiff with blood, and many a wound he got - About his country's walls. _Id. Ibid._ - -Unless some helping hand be stretched forth, I shall soon surely die. - - In time Machaon healed the loathsome limbs of Philoctetes, - And Phillyreian Chiron gave to blinded Phœnix sight; - The god of Epidaurus, at a father's fond entreaties, - By Cretan herbs Androgeos brought again to realms of light.[1] - -But verily I believe that - - He who'll cure this pain of mine is certain of succeeding - In giving Tantalus the fruit that cheats his eager palm. - Yea, he the piercèd pails may fill, and heavy burden lighten, - The slender Danaïds endure, with ceaseless toil opprest; - From the bleak cliff of Caucasus unchain the fettered Titan, - And scare away the bird of prey that tears his mangled breast.[178] - -I naturally said to myself on the spot: If I were Machaon, or Chyron, or -Æsculapius, I should be glad to remedy this matter. But what if I were to -make such slight effort as I can? Might I not be able to be of service? -Perhaps; at least, I should have tried, and I should have had this object -in view: to make him somewhat more free from faults. - - And if my powers of song should fail--to dare were surely fame: - Enough that I have had the will; no higher praise I claim. - - Proper. ii, _ad Musam_ (_ad Augustum?_). - - I have accordingly added a very few annotations; provided with - which, under the protection of your name (for you are a devoted - admirer of letters and lettered men), under, as the saying is, - favourable auspices, let Pomponius Mela now go forth in greater - security than before. Farewell. - - Paris, vj no. Decemb. MCCCCCVII.[179] - -At the end of the text, on folio xlv, we find the following:[180]-- - -Here, then, you have, most illustrious Philibert, Pomponius Mela, purged -of the many errors in which he abounded. I took the trouble to put him -in the hands of a very careful printer, one who was, besides, the first -Parisian to give to the Greek characters a form of superior elegance. I -have been pleased to revise the text with special care and to add a very -few annotations, so that, when it should come into your hands, and later -on into the hands of the public, it might come in a more polished and -finished form. You, now, with Mela in hand, may, like Phiclus, who, as the -story goes, ran over the tops of the grain-fields without breaking the -ears, traverse and re-traverse, not only in security, but confidently and -resolutely, the whole world. If you wish to lay hold of tigers, swiftest -of animals, and to see from a safe vantage the catoblepas, if you wish -to meet dragons and wild beasts, Satyrs, Pans, and Silvani, if you wish -to see the Indians, 'the Britons, separated by a world between,' the -Sauromatae, the Africans, and all the peoples that lie between these, -and learn of their wonderful habits, then take but this world, I mean -Pomponius, many times in hand, and without doubt you will there be able to -see and to know them all as in no other way. Farewell and forget not yours -ever faithfully. - - Paris, 24 December. - - CIVIS. - - _To Pomponius Mela._ - - Mela, the many errors in which you abounded have been cast forth; - few are the faults that remain with you. Better far and more perfect - in form do you stand forth now than formerly you did. This is the - accomplishment of my small hand. - - - _To Philibert Babou._ - - That my life for many years has been due to you, these two short - verses, Philibert, now testify. Whatever 'alpha' belonged to me in - my tender years, that your happy 'omega' wished to bear. - - Ω - - CIVIS. - -At the end of the index, on the verso of the penultimate sheet, is a list -of errata beginning thus:-- - -[181] 'Since nothing is more difficult than to be wholly free from -error, it seems quite proper that I should, with the kind consent of the -reader, consider a very few of the very few mistakes of this book: thus, -for example, where "potuit" is found in the epistle, "possit" should be -written.' - -This list also is signed 'civis.' Beneath it is a short poem entitled: -'Carolus Rousseus ad lectorem tetrastichon.' And on the recto of the last -leaf: 'In the year of the incarnation and of our salvation, 1507, the -tenth day of January,[182] this work was printed by Gilles de Gourmont, -and was very carefully revised by Tory of Bourges, at Paris.' (Mark of -Gilles de Gourmont.) - - -2 - - COSMOGRAPHIA PII PAPÆ IN ASIÆ ET EUROPÆ ELEGANTI - DESCRIPTIONE, etc. Paris, Henri Estienne [1509]. - -Quarto, of 152 leaves of text, preceded by 12 unnumbered leaves and a -folio cut representing the ancient world. On the second preliminary leaf -is Tory's dedicatory epistle to Germain de Gannay, thus conceived: - - _To the reverend Father and Lord in Christ, Germain de Gannay, - bishop-elect of Cahors, Geofroy Tory of Bourges proffers most humble - greeting._[183] - - I here present, most excellent prelate, in more accurate and emended - form than that in which he has hitherto been read, Pope Pius, an - author who, in his Description of Asia and Europe, is much to be - admired both for the dignity and for the singular worth of his - work. In looking for some one to whom he, in behalf of his book, - freshly issuing from the printing-office, might straightway most - devotedly offer his respects, some one select, devoted to letters, - and possessed of the highest virtue, I could think of no one more to - be desired, more worthy than you. That the Supreme Pontiff himself - should go to visit you, a most venerable bishop, seemed to me a - thing not without humour. That he, I say, who was a meritorious - writer of geography, and, as you will be able to see, of history - well deserving to be read, should come and embrace you, lover and - cultivator of every form of polite literature, I thought a thing - very appropriate. It was like setting the gem to the gold, or the - 'encaustum,' that is picture drawn with fire, to the silver, it was - like conferring the palm upon the victor; and that most certainly - is nothing other than to join the good to the good, the glorious to - the glorious, the deserving to the deserving. But along with these - reasons there is still another reason why to you of all persons - this most illustrious work should very properly be dedicated: it - was at your instance and suggestion that I divided the work into - chapters and gave to its parts a more convenient arrangement. - That you first, and then that all other students and readers, may, - as was your wish, find and remember the parts of the earth, which - are many in number, and the things in them that are interesting - to know about, more easily and conveniently, I have divided the - book thus: the names of rivers, towns, places, rulers, and other - important matters I have put in separate chapters and marked with - marginal captions; these names are also all to be found, provided - with numbers, in the index. This little work of mine, therefore, - I dedicate to you, my lord, in deepest reverence and with sincere - feeling. It is certainly far from being what I should offer to so - reverend a father, but you, whose goodness and integrity, which are - perfectly evident to me, all praise in the highest terms, will, if - it so please you, take the book into your most pure hands and bestow - upon it the favour which you are accustomed to bestow upon works of - this kind. Farewell. - - Paris, at the College of Plessis, 2 Oct., A.D. 1509. - -Next comes a 'table,' which fills eleven leaves, on the verso of the last -of which we find the following note to the reader:-- - - _Geofroy Tory of Bourges to the Reader._[184] - - You will find the words 'eruȩre, contendȩre, misȩre,' - and many others of the same sort, written with an _ȩ_ in the - penult: this was done in order that the perfect indicative, which - regularly has a long penult, might show its quantity (which - you are to utter in reading), as distinguished from that of - the present and past imperfect infinitive, which in the third - conjugation always shortens its penult. It is with pleasure that - I have imitated and adopted the very elegant and finished form of - writing which is used in the 'Psalterium Quincuplex,'[185] recently - published. You will also, though rarely, find this _ȩ_ used, - after the fashion of certain authors, for _æ_ in some words, and - similarly at times in the genitive and dative singular, and in the - nominative and vocative plural, of the first declension. I have - furthermore written designedly 'mistum' with an _s_ instead of an - _x_,--for 'misceo' makes its perfect 'miscui,' whence by analogy - 'mistum,'--'intellego,' 'toties,' 'quoties,' 'litus,' 'opidum,' - 'litera,' 'tralatum,' 'aliquando,' and other similar forms, which - are to be written according to ὀρθογραϕία, that is to - say, correct spelling. The word 'Turca' also, which many make in - the second declension, I have written in the first. I follow herein - with approval Michael Tarchaniota Marulus of Constantinople in his - lines addressed to Charles, King of France. These are his words: - 'Invincible king, scion of the race of Charles the Great, whom the - holy prophecies of so many men, of so many gods, demand as the - vindicator of fallen justice and loyalty; whom here the sad Ausonian - land, there Greece with streaming locks, calls, and whate'er of Asia - and wealthy Syria the cruel Turk profanes,' etc. - - In writing the accusatives 'plureis,' 'parteis,' 'omneis,' - 'monteis,' in '_eis_,' I have believed that I was writing good - grammar and good Latin, following therein Priscian, book 7, the - chapter on the accusative plural of the third declension. This form - is valuable for distinguishing the accusative from the nominative, - and has been used by a thousand authors, of which great number it - is sufficient at present to cite as witnesses Sallust, Virgil, - and Plautus. Sallust, who used the first word also, says in the - Catilinarian War: 'Omneis homines qui sese,' etc. Virgil in the - first Æneid: 'Hic fessas non vincula naveis Ulla tenent....' Plautus - in the Aulularia: 'Quid est? quid ridetis novi omneis, scio fures - hic esse complureis.' I have been pleased to make this explanation, - good reader, so that you not only might know what pure speech is, - but also, both in reading and in speaking, might have pleasantly at - hand, like finger-posts, and might use, pure words. Farewell. - - CIVIS. - -On folio 152, after the errata, we read: 'Impressa est hæc Asiæ et -Europæ quam elegantissima historia per Henricum Stephanum, impressorem -diligentissimum, Parrhisiis, e regione scholæ decretorum, sumptibus -eiusdem Henrici et Ioannis Hongonti,[186] VI idus Octobris anno -Domini M. D. IX.[187] - - -3 - - DE PASSIONE DOMINICA CARMEN ELEGIACUM GUILIELMI DIVITIS, CIVIS - GANDAVENSIS, ARTIFICIOSÆ PIETATIS PLENISSIMUM.--_Item._ - NENIA LACTANTII FIRMIANI VERBIS SALVATORIS NOSTRI E - CRUCE.--Mark of Josse Bade ('Prelum ascensianum').[188] - -One octavo sheet, printed by Josse Bade, dated the 5th of the Ides of -March, 1509; that is to say, March 11, 1510, new style.[189] - -On the verso of the title-page is this letter from Herverus de Berna (of -Saint-Amand-Montrond) to the young people of Bourges:-- - - _Herverus de Berna of Amand to the youth of Bourges, greeting._[190] - - You are acquainted with Dives, our teacher, famed for his wisdom, - a foster-child of the Muses, who well deserves your gratitude. He - it is who introduced you to the Muses, Helicon, Phœbus' grove, and - Mercury, and from his school, as from the Trojan horse, have issued - men of education without number. His heart is in the Muses' glorious - service, and his memory, it seems to me, should be forever honoured - and kept green. He is reported, as the saying is, to have toiled - not only by the lamp of Aristophanes, but by that of Cleanthes as - well.[191] You do not doubt that he is deserving of praise for the - elegance of his song; whence it happens that there is a religious - poem of his written on the Passion of Our Lord,--a poem of such - brilliancy, such sweetness, such ornateness, that one could believe - it to be the work of the divine, rather than of a human, mind. I - do not doubt that, as a result of this fact, the same thing will - fall to his lot that usually falls to the lot of literary men: - as Claudian says, 'His presence will diminish his fame.'[192] - Not, however, without Theseus,[193] that is Tory of Bourges, my - fellow-student, a man of the old, and, as Plautus says, of the - Massilian, school,[194] one who combines sound learning with virtue, - have I wished Dives to issue forth into the world; again, I hope, - with favourable auspices, as the saying is. Farewell, with best - wishes. - - From my house at Amand, 1 March. - -Then follows the elegy by Wilhelm de Ricke, which has 140 verses and -occupies 4 leaves; on the verso of the last of the four is this dialogue -in verse by Tory:-- - - _Dialogue by Geofroy Tory of Bourges in praise of his teacher, - Wilhelm de Ricke of Ghent._[195] - - _Speakers_: MONITOR _and_ LIBER. - - M. Sacred book, who in song mourn Christ's Passion, now - speak: whose holy work can you be? - - L. Whose work? Behold! Rich's work am I. - - M. Well done! That Rich who to the people of Bourges has - given so many rich examples? - - L. You judge rightly. - - M. Rich truly has a wise heart. - - L. No fitter name than this can be given him. - - M. He it is who taught the people of Bourges to speak with - flowery tongue and to make facile verses with the mouth. - - L. He not only taught them to speak and to weave song, but - he also gave them the power to see Christ's wounded body. - - M. If one wished to see the arms of God fixed to the cross, - could even Rich grant him that to the life? - - L. Should you desire to carry the cross of God, his cruel - wounds, the crown, hold me in hand, you will carry all. - - M. May Rich's every prayer be ever happily granted, such - good he grants to pious hearts. - - L. May he live and continue on earth through Nestorian - years, and after death gain the rich kingdom of Heaven. - - CIVIS. - -The little book comes to an end with the poem by Lactantius mentioned on -the title-page. It fills the third and second last leaves, and the recto -of the last, at the foot of which we read: 'Finis. Ex ædibus Ascensianis -ad v idus martias MDIX.' This date corresponds with March 11, -1510, new style. - -M. Jules de Saint-Genois, librarian of the University of Ghent, writes me -as follows concerning his fellow-townsman, the author of the verses on the -Passion:-- - -'The name of the person in whom you are interested was not le Riche, but -de Rycke, in Flemish, which in the Latin rendering becomes Dives. This -is what Sanderus says of him in "Flandria Illustrata," 1, 386 (edition -Hagæ-Comitis, 1735): "Gulielmus Dives, vulgo de Rycke, Gandavensis poeta: -ejus exstat 'Carmen elegiacum de Passione Dominica,' artificiosæ pietatis -plenissimum, quod inter illustrium poetarum opera impressit Judocus Badius -Ascensius Parisiis." - -'Valère André, too, devotes a few lines to him in his "Bibliotheca -Belgica" (Lovanii, 1623, p. 344): "Elegiam de Passione Dominica edidit -Antverpiæ cum Dominici Mancini, Phil. Beroaldi et aliorum similis -argumenti libellis, 1527, Mich. Hellenii typis." - -'P. Hofmann Peerlkamp says in his "Liber de vita, doctrina et facultate -Nederlandorum qui carmina latina composuerunt" (2d edition, Harlem, -1838, p. 29): "Gulielmus Dives Gandensis floruit 1520. Scripsit 'Carmen -elegiacum de Passione Dominica,' artificiosæ pietatis plenissimum.... -Hæc sæpius prodiit, addita etiam _Quatuor virtutibus_ Dominici Mancini, -Antverpiæ, a. 1562. Si vocabulum his illic excipias minus latinum, Carmen -est melioris notæ quam multa ejusdem temporis de hoc argumento." - -'As for the edition which you mention, said to have been printed "in -ædibus Ascensianis," in 1509, the library does not own it; but Gulielmus -Dives' little poem is printed in "Dominici Mancini Poemata," Antverpiæ, -1559, 12mo.' - -This is all that I have been able to learn concerning Guillaume le Riche -or de Rycke; we do not know how this burgess of Ghent became a professor -at Bourges. And yet the fact itself is not extraordinary, for, not long -after, about 1530, another Belgian, named Hanneton, gave instruction in -feudal law there. - -Tory published also at the end of his edition of Valerius Probus [see -number 5, infra], the following Latin distich,--an enigma,--written by his -master:-- - - Dic age, quæ volucres gignunt animalia foetæe - Et præbent natis ubera plena suis?[196] - -As for Herverus de Berna, Tory's fellow-pupil, I know even less of him. -All that I have been able to learn is that he published in 1543 a short -poem in praise of the dukes of Nevers, lords of Orval near Saint-Amand, -where Herverus was born, and of which he was then curé, if I read aright -his bombastic Latin. This is the title of the book, which was for sale at -the shop of Vivant Gualtherot: 'Panegyricon illustrissimorum principum -comitum Druydarum et Aurivallensium et Nivernensium, Hervero a Berna, -curione Amandino Allifero, auctore. Parisiis, 1543.' (I fancy that the -words 'curione Amandino Allifero' mean: curé of Saint-Amand-l'Allier, now -Saint-Amand-Montrond.) - -The work is dedicated to a friend of the author, and perhaps of Tory as -well, named Nicolas Rocheus (La Roche?), described as 'Apollineæ artis -doctor eximius' in the dedicatory epistle, which is dated: 'Tumultuarie, -ex ædibus nostris Amandinis, kalendis ianuarii, 1542.' - - -4 - - BEROSUS BABILONENSIS, DE HIS QUÆ PRÆCESSERUNT INUNDATIONEM - TERRARUM; ITEM MYRSILUS, DE ORIGINE TURRENORUM, etc. - -Quarto, Paris, 1510; with the small mark of the Marnefs (the -Pelican),[197] with the letters E. I. G. - -This work, which was printed by J. Marchand, at the expense of Geofroy de -Marnef, bookseller and publisher, was prepared for the press by Geofroy -Tory, who placed at the beginning the following letter:-- - - _To the most distinguished Philibert Babou, Geofroy Tory of Bourges, - heartiest greeting._[198] - - Last year, when I was attending to the printing of Pope Pius's - Cosmography, the idea occurred to me of thoroughly revising and - handing to the printer at an early date the Babylonian Berosus's - work on the 'Antiquities of the Kingdoms'; but, my mind at that - time taking another turn, I determined to postpone this work, for - the reason that I had a project of almost divine character on - hand; and indeed I should have postponed it for a long time,--as - the saying is, to the Greek Calends,--had not Berosus himself, so - to speak, and, what is and always will be of no little importance - to me, a number of my friends, daily whispering in my ear, as it - were, their prayers, demanded of me most earnestly that I should - print, along with Berosus, Myrsilus 'De origine Turrenorum,' Cato's - fragments, Archilochus, Metasthenes, Philo, Xenophon 'De æquivocis,' - Sempronius, Fabius Pictor, and Antoninus Pius's fragments of the - 'Itinerarium.' There is a very avaricious class of human beings, - which, if it has a book--a book that is hard to find--consisting of - three or four short lines, straightway,--like the ants of India, or - the griffins, which are fabled to carry gold to a remote spot and - there keep watch over it, threatening with dire destruction any one - who attempts to touch it,--carries it off and guards it, and loading - it with chains and fetters, keeps it imprisoned like a miserable - captive. Such people ought to display their officious greed--the - greed of possessing something unique all to one's self--in company - with the ants and griffins, which other people avoid, rather than to - continue their incivility, or perhaps I should rather say immunity, - among human beings. We are born not alone for ourselves: we owe - something also to our friends, something to our country. Therefore, - that it may not seem to be my desire to extinguish the brilliant - light of a burning lamp, I the more willingly, under your name, - Philibert, most illustrious citizen of Bourges, send forth Berosus's - 'Antiquities,' together with the other authors mentioned above, for - the common study of all, and I believe that I shall therein be doing - an act that will gain the gratitude, in some small measure, of my - country. Farewell. - - Paris, at the College of Plessis, 2 May, 1510. - - CIVIS. - -Tory's letter is dated May 2, 1510; but the printing of the book was not -finished until the ninth of that month, as we see by the subscription of -the first edition; for there were at least three distinct editions in -Tory's name, to say nothing of a multitude of others issued by different -publishers. Annius of Viterbo, otherwise known as Jean Nanni, had recently -brought into fashion the fables of Berosus, which he attempted to palm off -as an ancient work; and scholars were still at odds as to the authenticity -of the book, the sale of which their discussions aided to maintain. Tory -seems to have taken sides with Annius of Viterbo, as he himself prepared -an edition of the supposititious Berosus, the preface of which we have -just quoted. We have said that there were three editions in his name. They -may be described thus:-- - - -_First Edition_ - -Quarto; 28 leaves numbered in Arabic figures, and 4 preliminary leaves. - -Folio 1 recto, title: 'Berosus Babilonicus, de his quæ præcesserunt -inundationem terrarum; item Myrsilus, de origine Turrenorum; Cato, in -fragmentis; Archilocus, in epitheto de temporibus; Metasthenes, de judicio -temporum; Philo, in breviario temporum; Xenophon, de equivocis temporum; -Sempronius, de divisione Italiæ; Q. Fab. Pictor, de aureo seculo et -origine urbis Romæ; fragmentum itinerarii Antonini Pii; altercatio Adriani -Augusti et Epictici.' Then comes the mark of the Marnefs, with the letters -E. I. G., and the words 'Le Pelican' in a scroll at the left. (No. 15 of -M. Silvestre's 'Marques Typographiques.') - -On the verso of this leaf is Tory's letter, quoted above. Four unnumbered -intercalated leaves follow, containing the table of contents and a list of -errata. - -Folio 2, recto: 'Berosus, de his quæ præscesserunt inundationem terrarum.' - -The articles mentioned on the title-page follow, up to folio 28, where we -find these words:-- - -'Impressum est hoc opus Parrhisiis, in Bellovisu, per Joannem -Marchant, impensis Godofredi de Marnef, anno Domini 1510, septimo idus -maias.[199]--CIVIS.' - - -_Second Edition_ - -Quarto; 4 unnumbered preliminary leaves, and 30 leaves of text numbered in -roman figures; in all, 34 printed leaves. - -On the first of the unnumbered leaves is the title, 'Berosus Babilonicus,' -etc. (as in the first edition), but with the following additional words: -'Vertumniana Propertii. Manethon.' Same mark as in the first edition, but -smaller.[200] - -On the second leaf, Tory's letter. On the verso of this leaf the index -begins, and fills the two leaves following. - -Folio i. 'Berosus,' etc. The text corresponds with that of the first -edition[201] to folio xxvii, where the additions begin. - - Fol. xxvii, recto. End of the 'Altercatio.' - verso. 'Vertumniana Propertii.' - xxviii, verso. 'Manethonis, prima pars.' - -Fol. xxx (not numbered), several pieces of verse [not mentioned on the -title-page], perhaps by Tory, but not signed:-- - -1. 'Ad reverendissimum ac religiosissimum Arturum Calphurnium, Sancti -Georgii de Nemore antistitem.' - -2. 'Ad eruditissimum Nicolaum Corbinum, Vindocinensis plage judicem.' - -3. 'Ad bonarum literarum vere amatorem amicum sibi fidelem Philippum -Morinensem.' - -This edition, which seems never to have been described by any bibliophile, -is in the Bibliothèque Mazarine, and at Sainte-Geneviève. It was -undoubtedly published in 1511, but it bears no indication of its date. - - -_Third Edition_ - -Quarto; 6 preliminary leaves, unnumbered, and 51 leaves numbered in roman -figures, divided into ten signatures (A to K), containing alternately one -and a half and two leaves. In all, 57 printed leaves, and one blank. - -On the first unnumbered leaf is the title: 'Berosus,' etc. (as in the -first edition), but with the following addition: 'Cornelii Taciti -de origine et situ Germanorum opusculum. C. C. de situ et moribus -Germanorum.--Anno Domini 1511.' Then follows a shocking imitation of the -mark of the Marnefs in the first edition. The gothic initials E and G are -changed to C and O, and the I, which in the other editions stands between -the E and the G, is omitted. The words 'Le Pelican,' in a scroll at the -left, are reduced to the three letters L, P, and A, the foreign artist -having been either unable or unwilling to read what was printed on the -copy put before him, which, it is true, may have been imperfect. The first -decorated letter, also, has been copied, in order to deceive the reader, -who, if we may judge from appearances, was assumed to be seeking the -edition prepared by Tory. - -On the second leaf is the letter of the editor, from which the word -'civis,' Tory's device, has been omitted, the foreign printer apparently -not knowing its meaning. The four leaves following are taken up with the -table of contents. - -Folio i of the text: 'Berosus,' etc. The text which follows corresponds -with that of the first edition down to folio xxxii (erroneously numbered -xxxiii), which ends with the word 'finis.' - -On folio xxxiii recto, the work of Tacitus mentioned above ['Germania'] -begins. Next, on folio xliii verso, a work in verse by Conrad Celtès, -the title of which is given above, and on folio xlviii, another work, in -prose, by the same author, with this title: 'Ex libro C. C. de situ et -moribus Norimberge, de Herciniæ silvæ magnitudine, et de eius in Europa -definitione et populis incolis.' - -There is nothing to indicate where the book was printed; but everything -leads me to believe that it is a German counterfeit. My opinion is based -upon, first, the stupid imitation of the printer's mark of the first -edition; second, the omission of Tory's device at the end of the letter; -third, the additions, all of which relate to Germany; fourth, the fact -that two of the three known copies of this edition were recently to be -found in the same country. One belonged to Panzer, who has described it -in his 'Annales Typographiques'[202]; I do not know what has become of -it; a second copy was formerly in the library of M. Bunau,[203] whence it -passed to the Dresden Library; the third is in Paris, in the Bibliothèque -Nationale, which also possesses a copy of the first edition. It was by -comparing the two editions that I discovered the fraud committed by the -printer of the edition of 1511 with respect to the typographical mark. -The description of this mark given by Panzer, with that courteously -sent me from Dresden by the learned bibliographer Herr Graesse, before -I was aware of the existence of the copy of the third edition in the -Bibliothèque Nationale, had utterly baffled such bibliographical knowledge -as I possess. I sought a meaning for the letters inscribed on the mark -in the third edition; of course I could not find any. M. Brunet has -since produced a facsimile of this mark, in the fifth edition of his -'Manuel.'[204] - - -5 - - VALERII PROBI GRAMMATICI DE INTERPRETANDIS ROMANORUM LITERIS - OPUSCULUM, CUM ALIIS QUIBUSDAM SCITU DIGNISSIMIS, FŒLICITER - INCIPIT.--Mark: Marnef's E. I. G. (Silvestre, no. 974.) - -Octavo; 6 printed sheets (signatures A to I). Paris, E. I. G. de Marnef -[1510]. This book was probably printed by Gilles de Gourmont, for we find -in it his unaccented Greek type. It contains two engravings on wood,--the -mark on the title-page, and a Roman portico farther on. There are also -some small cuts engraved on metal in one of the pieces; but none of them -have any artistic merit, and they cannot be attributed to Tory. - -On the verso of the title is the following letter, addressed by Tory to -two of his old college friends, who were at this time personages of note: -the first, Philibert Babou, was secretary and silversmith to the king; the -second, Jean Lallemand, was Mayor of Bourges. - - _Geofroy Tory of Bourges to the most illustrious Philibert Babou and - Jean Lallemand, the younger, citizens of Bourges, united in mutual - friendship, greeting._[205] - - I owe to you, most estimable of men, the fruit of whatever toil - I may undertake--even purposely for your sakes--by night or day. - Behold! Since you in no slight degree practise and admire the - old school of morals, the school, that is, of respectability - and true worth, I now, under the protection of your names, ever - to be cherished by me, commit to print Probus Valerius, a most - diligent collector and accurate interpreter of the old writings and - abbreviations which appear, elegantly drawn, on the ancient coins, - tombs, and tablets; glad am I to be of even such small service to - my country, and hopeful that the slight revision to which I have - subjected the work will prove to have been as happily, as it has - been carefully, done. Permit, I beg, an author of exceeding merit to - come first of all into your hands, which are most fitted for every - excellence, and then to go forth brightly and cheerfully into the - hands of all other students. Farewell. - - Paris, at the College of Plessis, 10 May, 1510. - - CIVIS. - -And at the end of the book is this other letter, which gives us to know -that the volume is a collection of fragments of ancient authors. - - _Geofroy Tory of Bourges to the Reader, greeting._[206] - - When I began, I believe under favourable auspices, to print Valerius - Probus, it occurred to me, not wishing a book of one or two codices - to be unsuitable as a manual, to print, along with Probus, several - articles well worth making the acquaintance of. I have added to - Probus, Priscian's treatise 'De ponderibus et mensuris'; likewise - Columella's 'Quemadmodum datæ formæ agrorum metiri debeant'; also - Georgius Valla's 'Figuras quæ sub dimensionem cadant'; and, further, - some dialogues, together with some enigmas, carefully collected, - as occasion allowed, from various authors. The enigmas I have - designedly left unexplained, so that, when you come to read them - (as Gellius says in book xii, ch. 6), you may sharpen your wits by - trying to puzzle them out.[207] Give your attention to them, I beg, - good reader, so that I may not, as Plautus enigmatically observes in - the 'Miles,' throw dust in your eyes. Farewell. - -In addition to the pieces which Tory here mentions, there are many others -in this volume of miscellanies.[208] It contains also several pieces of -verse by Tory himself. Here is one which will give an idea of his literary -tastes:-- - - _Dialogue by Geofroy Tory, in which the City of Bourges is described - in the rôle of a speaking character._[209] - - _Speakers_: MONITOR _and_ CITY. - - MON. City, what is your name? - - CITY. Bourges. - - MON. Now, tell me, what mean those proud buildings that I - see? - - CITY. Temples, houses, towers, divine palaces you see. - - MON. Ah! they overtop the heavens with their piles. What - temple is that, I pray? - - CITY. The Cathedral of St. Etienne, first of martyrs; it - overtops even the lofty marbles of the goddess Trivia. - - MON. What is that single house which stands distinguished - for its red hearts? Was it built by the hand of Memnon? - - CITY. This was built in an earlier time by the mortal - Jacques Cœur [Heart],[210] a man of wealth; him envy took from us. - - MON. Say! what tower is that that is seen standing higher - than the lighthouse of Pharos? I am filled with wonder when I see it - fully. - - CITY. When the mighty Ambigatus ruled the Celtic peoples, - in an earlier time, this great tower was built. - - MON. Say, oh, say, that golden palace, is it the Capitol? - Answer; why do you not speak, Bourges? You who just now talked - with easy speech say nothing. Do you wish to become to me what - Harpocrates was of yore? - - CITY. No, but, see you, this palace is to be approved for - its great art, because the world has not yet produced another like - it. - - MON. What is this earth that yawns with such an opening? - - CITY. It is the place where a tower was to be erected for - me. - - MON. Have you not another as great as that? - - CITY. I have. From two towers I get my name Bourges - [Biturix]. - - MON. By what name is it called in this time of ours? - - CITY. The people name and call it 'the fosse of sands.' - - MON. What river, what river have you to mention? - - CITY. The Auron. - - MON. Is it the one Cæsar mentions in describing the Gallic - Wars? - - CITY. It is. - - MON. Are there others? - - CITY. There are two: they are the Voiselle and the Yèvre - herself, swarming with numberless fishes. - - MON. What privileges have you? - - CITY. The all-valuable privilege have I, and the hall, that - coin money. - - MON. Is there nothing else? - - CITY. Aquitaine calls me capital and receives her laws from - me. - - MON. What divinities are with you? - - CITY. There are Juno, Jupiter, and Pan, Vesta, Diana, - Ceres, Liber, and the Father himself. - - -6 - - QUINTILIANUS. - -Such is the complete title of an edition of Quintilian's 'Institutes,' -produced by Tory, in 1510, at the request of Jean Rousselet, of Lyon.[211] - -This is a large octavo volume, printed in italic (without pagination), -composed of 46 quarto sheets (signatures A to ZZv): there are several -passages in Greek type of excellent appearance, but without accents. -Undertaken at the request of Jean Rousselet, and printed at his expense, -this book probably was not put on the market. In fact it bears no -bookseller's nor any printer's name. We should not even know where it was -printed, were it not for the fact that the dedication, dated the third of -the Calends of March,[212] states that the manuscript was sent by Tory -from Paris to Lyon. At the end of the volume we find these words only: -'Impressum fuit hoc opus anno Domini M. CCCCCX, septimo calend. -Julii.' This date corresponds to June 25, 1510. - - -7 - - LEONIS BAPTISTÆ ALBERTI FLORENTINI ... LIBRI DE RE ÆDIFICATORIA - DECEM. (Mark of B. Rembolt.) Venundantur Parrhisiis, in Sole - Aureo vici Sancti Jacobi, et in intersignio Trium Coronarum, e - regione Divi Benedicti. - -Quarto; 14 preliminary leaves and 174 of text (signatures A to Y). On the -last page is the mark of Louis Hornken, 'aux Trois Couronnes.' On the -second preliminary leaf is printed the following dedication:-- - - _Geofroy Tory of Bourges to Philibert Babou and Jean Lallemand, the - younger, most illustrious men, heartiest greeting._[213] - - Everybody knows, most estimable of men, that our forefathers, - contented with their own goodness, practised in the olden times a - kind of architecture that had in it little art and little elegance. - Satisfied with mediocrity, they built and inhabited houses and - dwellings of no great cost or splendour. Matters have finally - reached the point that now, men's intelligence having somewhat - awakened, new buildings are everywhere being erected which have - considerable celebrity. In fact, beginning with the time when - the magnanimous King Charles VIII, who was the terror of all - Italy, returned, victorious and crowned with glory, from Naples, - architecture, certainly a beautiful art, began, not only in its - Doric and Ionic forms, but also in its Italian form, to be practised - with great elegance throughout this country of France. At Amiens, - at Gaillon, at Tours, at Blois, at Paris, and in a hundred other - well-known places, one may now see striking buildings, public and - private, in the ancient style of architecture. One may now, I say, - see many buildings of such beauty and so nicely carved that the - French actually seem, and are generally considered, to surpass, - not only the Italians, but also the Dorians and the Ionians, who - were the teachers of the Italians. Notwithstanding the brilliancy - of these performances and these artists, I have thought it best - to offer gratefully, and carefully to add, a contribution of some - worth. Leo Baptista Albertus, a writer on architecture who is - trustworthy and familiar with his subject, was lying stored away in - my house as if in his last sleep. It seemed to me that he thoroughly - deserved to be printed in France just at this time, for the delight - and benefit of other famous artists who are better than he. It - seemed to me, I say, that he thoroughly deserved to be printed, - and for this reason especially, that the ten books, of which - the whole work consists, have been divided into chapters. These - chapters were accurately and carefully arranged by Robertus Duræus - Fortunatus,[214] a man of education and culture, who was the Head of - his College of Plessis at Paris four years ago when I taught there, - and they were generously given to me by him to be copied. I copied - them, and I furthermore polished up the whole work and cleared it of - all the errors possible; I wrote the gist of the text on the margin, - and gave the work to the printer to be printed. Permit, I pray, most - distinguished citizens of Bourges, that this excellent work come - auspiciously into the hands of all good artists and students, and - that it be handled and read under the protection of your names ever - to be cherished by me. Farewell, you who are the support and the - most distinguished glory of your country.[215] - - Paris, near the College Coqueret, 18 August, 1512. - - CIVIS. - -At the end of the volume (penultimate page) we read:-- - -'This most elegant and useful work on architecture of Leo Baptista -Albertus of Florence, a man of great distinction, was printed with great -accuracy at Paris at the Golden Sun in the street of St. Jacques, at the -expense of Master Berthold Rembolt and Louis Hornken, who live in the same -street, at the sign of the Three Crowns, near St. Benedict, A.D. -1512, 23rd day of August.' - - -8 - - ITINERARIVM PROVINCIARUM OMNIUM ANTONINI AUGUSTI, CUM FRAGMENTO - EIUSDEM, NECNON INDICE HAUD QUAQUAM ASPERNANDO.--CUM PRIVILEGIO, NE - QUIS TEMERE HOC AB HINC DUOS ANNOS IMPRIMAT.--Venale habetur - ubi impressum est, in domo Henrici Stephani, e regione Scholæ - decretorum, Parrhisiis. - -Sixteenmo (printed as 16s.); 120 leaves (signatures A to T), plus 8 -preliminary leaves. [1512.] Printed in black and red. - -The volume begins with this dedicatory epistle:-- - - _Geofroy Tory of Bourges to Philibert Babou, most modest of men, - heartiest greeting._[216] - - The 'Itinerarium,' most illustrious of men, which for many years - had lain in almost entire neglect, I first received four years ago - from a friend whom I must ever cherish, Christophe de Longueil, - who is beyond question a scholar of the highest standing in all - branches of polite learning. He gave it to me that I might make - a copy of it. It had occurred to me to send to you from Paris to - Tours a copy which, though written in my own hand, was not wholly - without elegance of form. I had given it to a man to bring to you - whose name I purposely spare, but he, regardless alike of both of - us and of his trust, quite shamelessly made a present of it to some - one else. Thus cheated of the fruit of my labour, I was preparing to - make for you another copy, when Longueil himself, who had formerly - brought the original from Picardy, and, as I have said, had given - it to me, having recently come to Paris from Poictiers, urged me - to have the work printed. This I have done, having arranged the - names of the towns separately and in order, and also added in the - proper places some matter taken from another manuscript. I have also - made an index, to facilitate the finding of the name of any town - or place in the whole work. Some perhaps will wonder at the style - of the work, and also occasionally in places at the Latinity. The - style, however, will receive sufficient approval from the student, - while the Latinity, in consideration of the early time in which the - work was written, will be condoned by the well-disposed reader. I - should have been disposed to make a number of emendations, using for - the purpose Ptolemy, Strabo, Dionysius, Mela, Pliny, Solinus, and - some others who are not at all to be despised, but out of regard - for the venerable author and in the desire to keep the manuscript, - which is very old, unchanged, I determined to make no alterations. - I am waiting for my friend Longueil to subject it some day to his - scrutinizing study, or for some Hermolaus to apply his exacting - file. One thing there is here which I shall not hesitate to touch: - the author's name in the manuscript was, in my judgement, wrong, - for it is written 'Antonius Augustus.' Hermolaus, a man of culture - withal, calls it in a number of places in his Corrections to Pliny, - 'Antoninus.' Those who read will see for themselves. In the text - I have followed the manuscript itself; in the title of the book I - have followed Hermolaus. The fruit of my labour, such as it is, I - dedicate, as in duty bound, to you personally, in a spirit abounding - in gratitude. Accept it, I pray, with the favour with which you are - accustomed to accept all good things, and allow the studious to - pass, under your guidance, with this Itinerary in hand, through a - thousand famous cities. Farewell, most cultured patron of my studies. - - Paris, near the College Coqueret, August 19, 1512. - - CIVIS. - -Then comes a letter from the publisher to the reader:-- - - _Tory to the Reader, greeting._[217] - - In order, gentle reader, that you may be able to use this - 'Itinerarium' to better advantage, you must be advised that whatever - you find marked with a red virgule was larger in number in the old - manuscript than in the other which is more recent. Words which had - a different reading in the recent manuscript have small red letters - printed above in the proper places. Whenever the sign (˄) occurs - between words, a word or number should be marked above or at the - side by the same sign. The sign 'mpm.,' so written, also frequently - occurs in the text, and signifies 'milia plus minus.' It was written - thus so that the reader might not be wearied by the frequent - repetition of the long form. In the index you will sometimes find - the letter _b_ alone, either following or between the page-numbers: - this signifies that the word in question is found at least twice on - the same page. Pay attention, therefore, and kindly see to it that - in case you notice any who are displeased with my work, you may - say to yourself with reference to them that Persian saying: 'that - they may see virtue, and pine away leaving it behind.' I write this - because at the time of printing there were some who, understanding - nothing of this sort, condemned the matter according to their usual - practice. Farewell and live long in happiness. - - CIVIS. - -Next to this comes a summary of the life of Antoninus, and, lastly, some -verses by the Burgundian Gérard de Vercel, in laudation of Tory and -against poor printers. Here are the verses:-- - - _Hendecasyllabic Poem of the Burgundian Gérard de Vercel, on poor - printers._[218] - - Therefore hence, away therefore, profane hands of the inauspicious - throng of printers; your impure works be off; that by your forbidden - coming and impious front you may not stain and soil this heavenly - thing. Let no man fail to know: this volume is sacred. - - Ah! vile and wretched printers, unskilled to put in print even the - trifles of the schools or old women's tales, why do you spoil arts - that are holy, and pollute with impure hand the laborious works of - the nine[219] sisters? - - What do you not put forth from your office that is worthy to be cast - forth and buried where the refuse of the stomach is placed? - - Therefore hence, away therefore, oh ye profane, ye vile and wretched - printers. Be this word enough: sacred is this volume, which our - Geofroy, our famous Geofroy, he, I say, of Bourges, taking pity - on Pius, unearthed from its Lethæan rust and sleep, employing the - guidance and assistance of his friend Longueil.[220] - -The book is brought to a close by an 'avis au lecteur' thus conceived: - - _Tory to the Reader, happiness._[221] - - These few corrections, excellent reader, I beg you not to wonder at. - I have collected them, such as differ from the readings of the old - manuscript, so that you may be able readily to emend the book for - yourself. I should lay the burden of the errors on the printers, but - the art of printing has this natural peculiarity, that the smallest - book cannot be printed from beginning to end without some mistakes. - Farewell. - - _Epigram to the Student by Tory._ - - If, reader, you are preparing to journey in a fixed course to a - hundred towns, to a hundred cities, if you desire to travel, better - instructed and on the direct road, to a hundred seaports with their - bays, then ever gratefully and carefully hold this little book in - your right hand ready to consult.[222] - - -9 - - GOTOFREDI TORINI BITURICI IN FILIAM CHARISSIMAM, VIRGUNCULARUM - ELEGANTISSIMAM, EPITAPHIA ET DIALOGI.--IN EANDEM ETIAM QUATOUR ET - VIGINTI DISTICHA UNUM ET EUNDEM SENSUM COPIA VERBORUM ET INGENII - FŒCUNDITATE PULCHRE REPETENTIA. - -These verses of Tory on the death of his daughter Agnes form a small -volume of two quarto sheets (or eight leaves). The book is dedicated to -Philibert Babou; it was printed February 15, 1523, old style (1524), a few -days after Tory had conceived the idea of his 'Champ fleury' (January 6, -1524). The printer, who is not named, was Simon de Colines, then living -near the School of Law ('e regione scholæ decretorum'). - -On the last page appears a mark engraved specially for this little book, -for it includes a tiny winged figure ascending heavenward, which doubtless -represents the soul of Tory's daughter returning to God. This mark -reappears at the end of the Hours of 1524-1525, but minus the small figure -just mentioned.[223] - -As we learn from the text, Agnes, who died August 25, 1522, at the age -of nine years eleven months and thirty days, was born August 26, 1512. -So that Tory was married at least as early as 1511. We know from another -document that his wife's name was Perrette le Hullin. - -The only known copy of this little volume, the text of which I reproduce -in extenso, belonged [in 1865] to M. Joachim Gomez de la Cortina, Marquis -de Morante, who was so exceedingly kind as to send it from Madrid to -Paris, that I might examine it at my leisure. M. de la Cortina has -described it in the fifth volume of the catalogue of his library (Madrid, -1859; octavo). My only previous knowledge of it was derived from that -catalogue, although it was bought of M. Techener not more than ten years -ago, for 80 reals (20 francs). - - _Tory to his Book._[224] - - Go, book, to the sacred sanctuaries of pious poets; you are light, - polished, radiant, and neat. Splendidly arrayed you are, and - have nard, and roses, and saffron; the Latin goddesses, gracious - divinities, together with Phœbus. Be not afraid lest you do - not carry with you the favour of the gods; they will lift you, - laurel-scented, above the stars. - - _Agnes Tory, sweetest and most modest of maidens, addresses the - wayfarer from her tomb._ - - Thou who passest with light foot, beloved wayfarer, stay thy step a - little; lo, I wish to say a few words to thee. Live in remembrance - of death, free from vices, and, if thou art wise, cast aside that - hope of life which thou cherishest. Thou art radiant with beauty - to-day, but, when the thread is cut, impious Fate hurries thee - straight on to nought. I know this by experience, for, lately but - a young girl of ten, I was suddenly snatched away. Like a rose I - bloomed, sharer in those virtues which are usually seen in tender - maidenhood. But yet I died, overwhelmed by the cruel fates, and now - I am food for the flesh-eating worms. Food for the flesh-eating - worms I lie, but not so wholly lifeless that I cannot speak the - truth to thee. I speak in the Latin tongue, and this is not strange, - fair friend, for I am to be named the daughter of a pious poet. - Desiring to instruct me in the Ausonian tongue, and also to render - me accomplished in the polite arts, he, like a most affectionate - father, teaching me night and day, himself laid the foundations, - sweet and ample, for my life. I should be accomplished in the - learning of the famous Muses, and I should sing beautiful songs in - pleasing measure; and then my sire would have given me fond kisses, - placing the laurel-wreath upon my head. O pitiful lot of human - beings! O hopes doomed to perish! On earth there is nothing that - can be lasting. Not only does death show herself face to face to - wretched mortals, but with silent step she steals upon them secretly - and unbeknown. Ah! beware, therefore, beware, thou who art doomed - to die, the world will certainly in a moment's time fall and crash - about thee. Thou, while thou still livest, while thou seekest great - honours, art with infirm and rapid step steadily approaching thy - doom. If thou departest satisfied with this one certain warning, and - if thou believest that I speak the truth, bestrew me with flowers, - violets and lilies, and nard. Pray for me too, if it please thee, - and weep. Me thou wilt cause by thy prayers to mount to the lofty - vault of Heaven, where is perpetual light, peace, and grateful rest. - This was the little that I wished thee to know. Live in remembrance - of death, thou who art destined soon to die. Farewell. - - She died where she was born, at Paris, 25 August, A.D. 1522. - - She lived nine years, eleven months, about thirty days; the hours - are known to none; God alone knows the minutes. - - FATHER _and_ DAUGHTER, _Speakers_. - - F. Food for the worms you lie, dearest daughter. Me you - leave in perpetual tears and weeping. - - D. Dear father, spare your weeping and tears. It is all - over with me. Death carries away both young and old. - - F. Nor can I refrain from terrible wailing. Alas! I should - have more rightly died before you. - - D. Such was not the will of the heavenly fates. At your - death, believe me, you shall most certainly come to me. - - F. In the meantime, with bended head, I will bring with - full hands violets and lilies to your tomb. - - D. Add your prayers; through prayers I shall fly to the - high vault of Heaven. Pious prayers enable us to ascend to the lofty - stars. - - F. It is as you say; and do you too, my daughter, pray for - your father; pray that he may rise with you to the glad Heavens. - - D. To the glad Heavens you shall rise, free from bitter - cares, and with all the trouble of your mind removed. - - F. You speak the truth, and so I will do. The good God - calls you to himself in Heaven? Dear daughter, farewell. - - F. Alas! my sweet soul, you are dead. - - D. Courage, father, no one is immortal. - - _Twelve distichs to be inscribed on the twelve different sides of an - urn._ - - On the first side. - - You wish flowers! violets! you wish lilies! garlands! cyperus! These - this earthen urn will give you, take them and be glad. - - On the second. - - In this urn the deceased maiden Agnes lies; in its centre breathes a - delightful odour. - - On the third. - - Here is Merriment, here Love too, Sport, and Virtue; and here the - Graces' selves, beings divine, with the Muses, sit and dwell. - - On the fourth. - - In this urn are marjoram and sweet-smelling cyperus; here are - violets, lilies, garlands, roses. - - On the fifth. - - Not alone does the maiden Agnes here abide, but, with Phœbus, the - Clarian goddesses themselves sit and dwell. - - On the sixth. - - Gold-leaf joined with gems, and green jewels, are kept with - everlasting flowers in this urn. - - On the seventh. - - Do you wish and long to become acquainted with Agnes' urn? See, - where the laurel grows upward to the lofty sky. - - On the eighth. - - Here lies in death Agnes of memory dear; she could already sing - tripping measures with tender voice. - - On the ninth. - - Here lies the maiden poet ten years of age, an honour to freeborn - song and maidenhood. - - On the tenth. - - If you wish to know where Agnes' ashes really lie, they are here; - hesitate not in your belief, but be assured. - - On the eleventh. - - Do you wish to hear Phœbus and the Muses' selves singing in sweet - strains? Approach this urn, and you will straightway hear. - - On the twelfth. - - A rising poet, deceased in tender years, lies here with - laurel-crowned maidenhood. - - MONITOR _and_ AGNES, _Speakers_. - - MON. Answer me a few questions, I pray, maiden poet. - - A. I will, provided you ask but few. - - MON. I will ask but few. - - A. Ask. - - MON. What is your mind in death? - - A. Of gold. - - MON. What is your body? - - A. Of dust. - - MON. What is your spirit? - - A. Of air. - - MON. Enough; calm repose and peace be for ever yours. - - A. And yours in life a full measure of sweet health. - - _Distichs hanging on written tablets from a laurel-tree near the - tomb and urn of Agnes._ - - On the first tablet. - - Here lies a poet, image of distinguished virtue, noble and - illustrious type of nature. - - On the second. - - Here, with drooping quiver, lie the broken arms which freeborn Love - once used to carry. - - On the third. - - Pearl, crystal, magnet, and the green emerald gleam with the virgin - poet that lieth here. - - On the fourth. - - Here will be perpetual spring with various flowers as long as - flashing Phœbus drives his golden chariot. - - On the fifth. - - Here rest Comeliness and Sport, and Laughter, and Merriment; here is - Love, unarmed, with the laurel-crowned maid. - - On the sixth. - - Inside this urn is a treasure; touch it not, countless gems are - within it. - - On the seventh. - - As long as Phœbus shall fill the regions of the heavens with his - rays, here will be violets and flowers, here will be the anise. - - On the eighth. - - Here abide Love, and Sport, and Laughter, and Merriment, and Wit; - here abide the Muses and the Graces; here abides Apollo. - - On the ninth. - - Here dwells, with the honey-dropping Muses, a maiden destined to - receive glory and perpetual song. - - On the tenth. - - Here the earth is green, producing spontaneously marjoram-garlands, - and here it is damp and fertile with vernal dews. - - On the eleventh. - - Here violets, here flowers, here lilies, garlands, crowns grow - spontaneously, and spontaneously thrive. - - On the twelfth. - - Here Genius with cruel hand breaks in twain his standards, seeing - that the type of nature has perished. - - MONITOR _and_ MAIDENHOOD, _Speakers_. - - MON. Ho there! maiden, beauteous with your rosy face, what - do you here, weeping in deep distress? - - MA. I am moaning. - - MON. What is the reason for your moaning? - - MA. The maiden Agnes, whose ashes this earthen urn beside - me holds. - - MON. Whence comes this sweet odour to my nostrils? - - MA. From the urn, an odour placed there by the Graces, - beings divine. - - MON. What did they place there? - - MA. Roses and cinnamon, balsam and nard, flowers and - violets, lilies, garlands, and saffron. - - MON. Is there marjoram also in the urn, the cyperus with - oil of myrrh? - - MA. There is in it every fragrant herb and pleasant odour. - - MON. Does the urn, beautifully decked, wear a green crown? - - MA. As is fitting and right, it wears a laurel-wreath. - - MON. What is the reason? - - MA. It contains the rejoicing Muses, who celebrate with - song the rites of the tender maiden. - - MON. Do they sing alone? - - MA. Alone? No. Phœbus Apollo in the centre tunes his lyre - and performs the mystic rites. - - MON. What, then, do you mean, sweetest maid, by this great - moaning, and why do the divinities beside you sweetly sing? - - MA. I will tell you the truth. I cannot but willingly weep; - so nobly gifted was she in intellect. But ten years of age, having - followed her father's precepts, she was even then a poet who could - sing in tripping measure. - - MON. A mighty miracle of nature you recount to me. - - MA. Nothing on this earth can be truer. - - MON. Who are these whom I see standing here? - - MA. Sport, Merriment, then Gesture, Honour, Virtue, and - festive Love. - - MON. And these shattered arms that lie in great numbers - around the urn? - - MA. The gods themselves carried them when they were whole. - - MON. What will they do now that all these arms have been - thus broken? - - MA. They will lament and weep and groan for all time. - - MON. Shall you too weep? - - MA. I shall weep in sorrow all my days. - - MON. Have you a name? - - MA. I have. - - MON. What is it? - - MA. Maidenhood. - - MON. Dear one, farewell. - - MA. Farewell, dearest Monitor, and forget not her who lieth - here and was once a beautiful maiden. - - MONITOR _and_ AGNES, _Speakers_. - - MON. Little poet, lying here, all-deserving of famous - praise, may I speak a few words with you? - - A. You may. - - MON. Who made for you this urn set with brilliant gems? - - A. Who? My father, famed in this art. - - MON. Your father is certainly an excellent potter. - - A. He practises industriously every day the liberal arts. - - MON. Does he also write melodies and poems? - - A. He does. He also blesses with sweet words this lot of - mine. - - MON. Yes, the skill of the man is wonderful. - - A. Hardly has any land produced so famous a man. - - MON. O maiden happy in such a father! - - A. I certainly am so. He also exalts my name to the skies. - - MON. I hear the symphony. - - A. The Clarian Muses, together with Phœbus, sing their - melodies here with me night and day. - - MON. Near you I see the Graces. - - A. They tender garlands to me. - - MON. Whence do they pluck violets? - - A. On the Elysian Hills. - - MON. Are there others with you? - - A. There are also three divinities. - - MON. What are they? - - A. Sport, and Love, fair Monitor, and Merriment. - - MON. What do they? - - A. They lay in place for me holy holocausts, and they fill - the accustomed hearths with tinder and with fire. - - MON. Have you long been a goddess of the upper regions? - - A. I am becoming a goddess of the upper regions. - - MON. If you are a goddess, why do you not have your dear - parents ascend to the heavenly realms? - - A. They will both ascend. - - MON. But when? - - A. When their fates clearly see that it is necessary. Each - man has his fixed day, appointed for him by the fates. - - MON. Each man, therefore, has his fixed and immovable day? - - A. To every man comes death on a certain day. - - MON. Meanwhile what will your father and mother do here on - earth? - - A. What? They will perform their holy, sacred duties, and - pray. - - MON. Afterwards what will happen? - - A. In blessedness they will ascend to the heavenly realms, - when the Heavenly Father above so wills. - - MON. I will now go back to my duties. - - A. When you wish, of course; live in happiness, and a kind - farewell. - - MON. And may you live with the gods above, as a heavenly - intelligence, as a famous constellation, as a benign goddess. - - GENIUS _and_ WAYFARER, _Speakers_. - - G. Stay a little, I beg, and go no farther, wayfarer, - before looking at this urn and tomb. - - W. Who are you? - - G. I am Tutelary Genius. - - W. What would you have? - - G. I wish to converse a little with you here, friend. - - W. I am willing. - - G. See how a maiden poet, taken away by cruel fate, is - contained in this earthen urn. - - W. How old was she? - - G. Twice five years. - - W. And did she, well-skilled, sing poetic measures? - - G. She did. - - W. 'Tis a wonder that you tell me of. - - G. She wrote festive songs in sweet verse, spontaneously - playing, spontaneously singing. - - W. O rare grace of nature! O manifest glory of the gods! - That so tender a maiden should be a poet! - - G. 'Twas a song, whatever she by chance wished to utter; - whatever she desired to say, 'twas a song. - - W. Whence came to her the source of such a power? - - G. From the realms above, whence it is used to come. - - W. As one divine, therefore, she wrote charming verses? - - G. As one divine, following her own and her father's - precepts. - - W. Does her father too compose melodies? - - G. He does, he is a poet fair and proper. He is proper and - deft and neat, bright and decent. He is one whom the Muse blesses - with divine song. - - W. He is certainly well-deserving of some Mæcenas. - - G. Few are the Mæcenases that live in the French world. No - one to-day either encourages the liberal arts by appropriate gifts - or undertakes to encourage them in any way. Uprightness and fair - virtue are in no esteem. So powerful is the sway of unhappy Avarice. - Treachery, deceit, and vice are in the ascendant. Virtues are put in - the background, and every form of wretched evil creeps abroad. - - W. What, therefore, does he who is trained by the charming - Muses? - - G. He takes pleasure in being able to live in his own house. - - W. He ought to go with hurried step to the courts of kings. - - G. He does not care to, because he has a free heart. Your - potentates sometimes take pleasure in looking at songs, but what - then? They requite them with nods. Golden songs, drawn from the high - heavens, they should reward with jewels and with pure gold. But, - frivolous as they are, they foolishly give their grand gifts to - fools, spendthrifts, and rogues. - - W. Did he educate his own daughter in studies befitting her - birth? - - G. He did, and in the fine arts besides. - - W. And was she earnest to retain her father's precepts? - - G. She had no greater wish than to follow her father's - words. - - W. Oh, what a great honour she would have been to her - country and her father, had she lived to undertake the duties of - life. - - G. Yes, her glory would have excelled that of all other - girls in French lands. She was distinguished in appearance, her face - was beautiful in its modesty, and she was all compact of golden - words and ways. She drew to herself the hearts of men, young and - old, and made them follow her wishes with constant loyalty. - - W. This is a miracle you tell me of. - - G. I tell you the truth, wayfarer. She was a mirror of - true-born nobility. - - W. Oh, overwhelming grief! Oh, bitter grief and pain! That - such a one could die so suddenly! What will her father do in the - meantime? - - G. Bowed down with grief, he will suffer pain of heart and - shed unceasing tears. - - W. He would do better to pour forth a flood of prayers to - the heavenly gods and to join to his prayers the last rites to the - dead. - - G. He joins the last rites to his prayers and never ceases. - He fills the customary hearths with tinder and fire. - - W. O maiden worthy of so deserving a father! O father, too, - blessed in such a daughter! - - G. She now shines benign in the glad clouds, like a - radiance newly-risen, like a golden constellation. - - W. May she triumph, shining in the ethereal realms, and may - the daughter graciously take her father with her. - - G. Go about your affairs, if you will depart, wayfarer. - This is what I wished to say. Friend, farewell. - - W. Live in happiness, guardian of the tomb and revealer of - the urn. I go about my affairs diligently and in haste. - - Printed at Paris, near the Law School, A.D. 1523, 15th day - of Feb'y. - - -10 - - CHAMP FLEVRY AU QUEL EST CONTENU LART & SCIENCE DE LA DEUE & - VRAYE PROPORTIÕ DES LETTRES ATTIQUES, QUŌ DIT AUTREMĒT LETTRES - ANTIQUES, & VULGAIREMENT LETTRES ROMAINES PROPORTIONNEES SELON LE - CORPS & VISAGE HUMAIN.--Ce Liure est Priuilegie pour Dix Ans - Par Le Roy nostre Sire, & est a vendre a Paris sus Petit Pont - a Lenseigne du Pot Casse, par maistre Geofroy Tory de Bourges - Libraire, & Autheur du dict Liure. Et par Giles Gourmont aussi - libraire demourant en la Rue sainct Iaques a Lenseigne des Trois - Coronnes. - - [Here the Pot Cassé, no. 4 (see p. 45 supra).] - -Privilegie povr dix ans. - - * * * * * - -A small folio of 8 preliminary leaves (signature A), comprising the title, -the _privilège_, etc., and LXXX numbered leaves (signatures B -to O); in all, 14 signatures. The first and last have 8 leaves each, the -others 6. - -I have already spoken of this book at considerable length in the first -part, and shall refer to it again in the third; but in this place I must -at least describe it from a bibliographical standpoint. - -On the verso of the title-page which I have just quoted, we read what -follows:[225]-- - -Ce toutal Oeuure est diuise en Trois Liures. - -Au Premier Liure est contenue Lexhortation a mettre & ordonner la Lāgue -Françoise par certaine Reigle de parler elagāment en bon & plussain -Langage François. - -Au Segond est traicte de Linuention des Lettres Attiques, & de la -conference proportionnalle dicelles au Corps & Visage naturel de Lhomme -parfaict. Auec plusieurs belles inuentions & moralitez sus lesdittes -Lettres Attiques. - -Au Tiers & dernier Liure sont deseignees & proportionnees toutes -lesdittes Lettres Attiques selon leur Ordre Abecedaire en leur haulteur -& largeur chascune a part soy, en y enseignant leur deue facon & requise -pronunciation Latine et Françoise, tant a Lantique maniere que a la -Moderne. - -En deux Caietz a la fin sont adiouxtees Treze diuerses facōs de Lettres. -Cest a scauoir. Lettres Hebraiques. Greques. Latines. Lettres Françoises. -& icelles en Quatre facons, qui sont. Cadeaulx. Forme. Bastarde, & -Torneure. Puis ensuyuant sont les Lettres Persiennes. Arabiques. -Africaines. Turques. & Tartariennes. qui sont toutes cinq en vne mesme -Figure Dalphabet. En apres sont les Caldaiques. Les Goffes, quō dit -autrement Imperiales & Bullatiques. Les Lettres Phantastiques. Les -Vtopiques, quon peut dire Voluntaires. Et finablement Les Lettres Floryes. -Auec Linstruction & Maniere de faire Chifres de Lettres pour Bagues -dor, pour Tapisseries, Vistres, Paintures & autres chouses que bel & bon -semblera. - -On the following leaf is the license, an extract from which will be found -on a subsequent page (Part 2, § II, no. 2); then a letter from Tory 'à -tous vrayz et deuotz Amateurs de bonnes lettres,' beginning thus:-- - -'Poets, orators, and others learned in letters and sciences, when they -have made and composed some work of their studious diligence and their -hand, are wont to make gift thereof to some great lord of court or church, -commending him by letters and by words of praise to the knowledge of other -men; and this in order to please him and to the end that they may be able -always to be so welcome in his sight that he shall seem to be obliged -and bound to give to them some great gift, some cure or some office, in -recompense of the toil and night-watches they have employed in the making -and composing of their said works and gifts. I could readily do the same -with this little book; but, considering that, if I should give it to one -rather than to another, there might arise envy and detraction, I have -thought that it would be well and wisely done of me to make of it a gift -to ye all, O ye devout lovers of goodly letters! nor to prefer the great -to the humble, save in so far as he loves letters the more and is the more -at home in virtue.' - -Then comes a table, filling eight pages, and another letter of Tory, from -which we make a few extracts. - - _To the readers of this book, humble greeting._ - - It is commonly said, and truly said, that there is great natural - virtue in plants, in stones, and in words. To offer examples would - be superfluous, so certainly is it true. But I would that God - might be pleased to give me grace so to prevail by my words and - entreaties that I may persuade some persons that, if they will not - do homage to our French tongue, they will at the least cease to - corrupt it. I find that there be three sorts of men who strive and - exert themselves to corrupt and debase it: they are the 'skimmers - of Latin,' the 'jesters,' and the 'jargoners.' When the skimmers - of Latin say: 'Despumon la verbocination latiale, & transfreton la - Sequane au dilucule & crepuscule, puis deãbulon par les Quadrivies - & Platees de Lutece, & comme verisimiles amorabundes captiuon la - beniuolence de lomnigene & omniforme sexe feminin,'[226] it seems - to me that they make sport not of their fellows alone, but of - themselves. When the jesters, whom I may fairly call 'slashers - [dechiqueteurs] of language,' say: 'Monsieur du Page, si vous ne me - baillez vne lesche du iour, ie me rue a Dieu, & vous dis du cas, vo⁹ - aures nasarde sanguine,' they seem to me to do as great harm to our - language as they do to their coats, by slashing and destroying with - contumely that which is of more worth whole than when maliciously - torn and defaced. And in like manner when jargoners[227] make their - remarks in their malicious and wicked jargon, it seems to me not - only that they prove themselves dedicate to the gibbet, but that it - would be well if they had never been born. Although Master François - Villon was in his day mightily ingenious therein, yet would he have - done better to have essayed to do some other more goodly thing.... - I consider moreover that there is another sort of men who corrupt - our language even more: they are the innovators and forgers of - new words. If such forgers are not villains, I deem them little - better. Think you that they show great refinement when they say - after drinking that they have 'le Cerueau tout encornimatibule & - emburelicoque dũg tas de mirilifiques & triquedondaines, dung tas - de gringuenauldes & guylleroches qui les fatrouillēt incessammēt?' - I would not quote such foolish words, were it not that my scorn - in thinking of them forces me to do it. 'Si natura negat, facit - indignatio versum....' - - Yours in everything, - Geofroy Tory de Bourges. - -After this letter comes the text of the book, which occupies, as I have -said, eighty numbered leaves.[228] - -At the end we read: 'Here endeth this present book ... the printing of -which was finished Wednesday the twenty-eighth day of the month of April, -in the year 1529, for Maistre Geofroy Tory of Bourges, author of the -said book, and bookseller, living in Paris, who has it for sale on the -Petit Pont, at the sign of the Pot Casse, and for Giles Gourmont, also -a bookseller, living in said Paris, who likewise has it for sale on Rue -Sainct Jaques, at the sign of the Trois Couronnes.'[229] - - * * * * * - -This work was reprinted in 1549, in octavo,[230] with the same woodcuts, -but with some variations in other respects. - - -11 - - LA TABLE DE LANCIEN PHILOSOPHE CEBES, NATIF DE THEBES, ET - AUDITEUR DARISTOTE. EN LAQUELLE EST DESCRIPTE ET PAINCTE LA VOYE DE - LHOMME HUMAIN TENDANT A VERTUS ET PARFAICTE SCIENCE. AVEC TRENTE - DIALOGUES MORAULX DE LUCIAN, AUTHEUR JADIS GREC. Le tout - pieca translate de grec en langue latine par plusieurs scavans et - recommandables autheurs. Et nagueres translate de latin en vulgaire - françois par maistre Geofroy Tory de Bourges, libraire, demourant - a Paris, rue Sainct Iaques, devant lescu de Basle, a lenseigne du - Pot Casse. Sont en ung volume ou en deux qui veult, a vendre audict - lieu par ledict translateur, et par Iean Petit, libraire jure en - luniversite de Paris, demourant aussi en la rue Sainct Iaques, a - lenseigne de la Fleur de Lys. - -Twelvemo; divided into signatures of 8 leaves. In the first volume, 10 -preliminary leaves and signatures A to T; in the second volume, signatures -_a_ to _vij_. All the pages are embellished with narrow filleted borders, -on some of which the Lorraine cross appears. - -On the first page is Tory's Pot Cassé (no. 6), or Jean Petit's mark, -according as the copies were issued by one or the other of those -publishers, who divided the edition. - -On the second leaf is an extract from the license (dated September 18, -1529[231]), in so far as it concerns this book, 'the printing of which was -finished the fifth day of October, in the year above named.' - -On the third leaf is the dedicatory epistle, the essential part of which -is as follows:-- - - _Geofroy Tory of Bourges doth say and give humble greetings to all - studious and true lovers of excellent pastime in reading._ - - Horace, a poet of old surnamed Flaccus, hath told us in writing - in his 'Ars Poetica' that philosophers and poets are wont, under - the outer bark of deceitful words, to convey a moral meaning which - may profit us in the knowledge of virtue or give us pleasure in - the charm of their style and their pleasing invention. Wherefore, - seeing this to be true, and reading all day the Table of the ancient - philosopher Cebes, likewise the Dialogues of the very learned and - graceful Greek author Lucian, methought that it would be well done - of me to translate them into our French tongue also, and cause them - to be printed, to the end that each one of you, upon reading the - said Table, may readily recognize what pure virtue is, and may find - honest pleasure in the ingenious and moral Dialogues of the said - Lucian. I offer them with a most humble and devout heart to you, - O scholars and lovers of pure worth! giving you to know that, in - so far as it hath been possible for me so to do, I have followed - the true text, adding nothing of my own thereto, neither using nor - misusing any modification or stuffing whatsoever. I have most gladly - written them down for you in flowing language, in your domestic - mother tongue, without attempting to mix therein refinements of - phrase, strange words, or such language as Carmentes, mother of - Evander, might be unable to understand or decipher. I see some who, - if they should write but six words, four will be either out of use, - or manufactured, or stretched out longer than a spear. Like him who - said in the laments and epitaphs of a king of the Basoche:-- - - 'Au point prefix que spondile et muscule, - Sens vernacule, cartilaige auricule, - DIsis acule, Diana crepuscule, - Et lheure acculle pour son lustre assoupir.' - - And a thousand other like sayings which I leave to him. I know not - to whom such language gives pleasure; but to me it seems scarce fair - or fine. It would seem, and yet I misdoubt, as if such a battery of - behorned and overrefined words had come or been hurled down from the - Latin language to ours; for there have been, and there are to this - day many who think that they have done a wondrous thing if they have - written in Latin a strange and unduly long word, like him who said, - and ingeniously none the less: 'Conturbabuntur Constantinopolitani - innumerabilibus sollicitudinibus.' And that other, Hermes by name, - who took such delight in writing long and refined words that he - was hoist with his own petard when another ingenious man composed - against him, in manufactured words, with an armful of syllables, the - distich which follows:-- - - 'Gaudet honorificabilitudinitatibus Hermes, - Consuetudinibus, sollicitudinibus.' - - I say this in passing, that you may not expect to find unwonted - words in this your little book. I know that there was once a wise - man and philosopher who said one day to his friend: 'Loquere verbis - presentibus et utere moribus antiquis,' which is to say, 'Speak in - ordinary language and live according to the manners of the good - old days.' In this your said little book you will, I think, find - charm, for it is full of many goodly and ingenious conceits both of - Cebes and of Lucian. I have placed first herein, as I have said, the - Table of this man Cebes, to the end that you may see at the outset - that 'poesis est pictura loquens': a poetical work is a speaking - picture. Touching the Dialogues of the learned Lucian, I have not - included them all, nor translated all; but I have chosen thirty only - of those which in my opinion are the finest and most moral, which - you may readily discover to be not only pleasant to read, but most - profitable in goodly moral teaching. You will accept them then, if - it please you, with kindly face and heart, remembering that with - God's help I will shortly make you some other new gift, to the best - of my ability. And meanwhile I will pray to our Lord Jesus to have - you in his keeping according to your wishes. - - From Paris; in all things your devoted servant, - Geofroy Tory. - -Follows a long list of errata, and a table of the Dialogues, followed -by another letter, 'aux lecteurs des Dialogues de Lucian contenuz en ce -present livre.' This letter contains nothing personal to Tory, and I will -quote only the closing passage, where, speaking of the Dialogues, he -says:-- - - I believe that, if the ancient and noble painter Zeuxis of - Heracleia, if Raphael of Urbino, Michel Angelo, Leonardo da Vinci, - or Albrecht Dürer should try to paint philosophers and their various - aspects, they could not paint them so well nor so to the life as - our Lucian paints them herein. It will seem to you that you do - verily see them and hear them speak, and that Menippus, before your - wondering eyes, doth fly up to heaven to learn the truth concerning - all the falsehoods of the said philosophers. May God have you in his - keeping according to your noble and goodly desire. - - From the University of Paris; in all things your devoted servant, - Geofroy Tory. - -At the end of the book, after the Dialogues, Tory introduced a number of -moral apothegms and plays upon words, probably of his own invention. - -This volume is printed with the type and decorative letters of 'Champ -fleury.' - - -12 - - SUMMAIRE DE CHRONIQUES, CONTENANS LES VIES, GESTES ET CAS - FORTUITZ DE TOUS LES EMPEREURS DEUROPE, DEPUIS IULES CESAR IUSQUES - A MAXIMILIEN, DERNIER DECEDE.--Avec maintes belles histoires - et mensions de plusieurs roys, ducs, contes, princes, capitaines et - aultres, tant chrestiens que non, tant de hault que de has estat et - condition.--Faict premierement en langue latine par venerable et - discrete personne Iehan Baptiste Egnace, Venicien.--Et translate de - ladicte langue latine en langaige francoys par maistre Geofroy Tory - de Bourges.--On les vend a Paris, a lenseigne du Pot Casse.--Avec - privilege du Roy nostre sire pour X ans.' - -Octavo; 16 preliminary leaves (signatures _a_ and _b_), 99 leaves of text, -numbered, and 13 leaves of index and errata, not numbered (signatures A to -O); in all, 128 leaves, or 16 octavo sheets. All the pages are enclosed -in threefold fillets, with compartments running into one another, such as -were still used in printing-offices until quite recently. I will remark in -passing that the sheets of this book bear only two signature letters each, -one on the first page (for the first form), the other on the third page -(for the second form), as is the general practice to-day, instead of the -four which were commonly inserted, to no useful end. - -On the verso of the first leaf, the recto of which is occupied by the -title, is printed the king's license, in these terms:-- - - Francoys, by the grace of God King of France, to the Provost of - Paris, Bailly of Rouen, Seneschal of Lion, and to all other our - justiciars and officials, or to their lieutenants, greeting. Our - dear and well-beloved maistre Geofroy Tory of Bourges, bookseller, - dwelling in our city of Paris, hath caused it to be said and shown - to us that he hath of late translated from the Latin into vernacular - French two books, one having been formerly translated from the - Greek into the Latin by several learned and commendable authors, - entitled: 'La Table du philosophe ancien Cebes, natif de Thebes, - et auditeur Daristote,' together with certain moral Dialogues of - Lucian; the other originally composed in the Latin tongue by Jehan - Baptiste Egnace, entitled: 'Summaire de Chroniques, contenant les - gestes et faictz de tous les empereurs Deurope, depuis Iules Cesar - jusques a Maximilian'; likewise another book, entitled: 'Les Reigles - generales de Lorthographe du langaige francoys'; the which books he - is desirous to print, were it our pleasure to permit him so to do, - and at the same time to forbid all booksellers, printers, and all - other persons whatsoever to print, cause to be printed, or expose - for sale the said books--Wherefore is it that we, having regard to - the trouble and labour which the said Tory hath had herein, have - given unto him license and permission to print, cause to be printed, - and expose for sale at a fair and reasonable price, by himself, his - servants, agents and factors, the said books above described, during - ten years following and subsequent to the printing thereof. Such is - our will, etc. Given at Paris the xxviii day of September, in the - year of grace M. D. XXIX, and of our reign the XV. - - Heruoet. - -Next comes the following letter of Tory, by way of preface:-- - - _Geofroy Tory of Bourges, to all studious and true lovers of goodly - reading and profitable pastime, doth humbly bid and offer greeting._ - - I promised you not long since, in the preface to the Table of Cebes - and the thirty new Dialogues of Lucian, that I would ere long, by - my humble efforts, make for you another new book, which, to my - thinking, might afford you pleasing and useful pastime, by enticing - you to read and see therein things wherewith your mind might well in - due time and place be entertained and deliciously soothed. At this - present time (my most honourable lords), as your humble servant, - who is entirely devoted to you, I present to you a 'Summaire de - Chroniques,' the which I have translated for you, as I translated - the said Cebes and Dialogues, from the Latin into French, to the - best of my poor ability, forewarning you that, after the manner - of Jehan Baptiste Egnatius, the present author, I have neither - modified nor changed the meaning of the story in favour of any man - whatsoever. Nor is my translation made word for word, because that - would have been a too barren style and devoid of charm. I know - that, according to Horace ('nec verbo verbum curabit reddere fidus - interpres'), a translator should not vex his wits about rendering - each word that he translates into a word of his language; but should - retain the meaning and set it forth in the best style that shall - be possible for him. So I have done the best that I could, as well - for the love and respect that I owe you, as not to depart from the - pure truth of history, which is of such nature that it will not - brook to be in any way turned aside from its purity. Marcus Tullius - Cicero doth well enjoin it upon us, when he writes in the second - book of his 'Orator': 'Nam quis nescit primam esse historiæ legem, - ne quid falsi dicere audeat, deinde ne quid veri non audeat, ne - qua suspitio gratiæ sit in scribendo, ne qua simulatis?' 'But who - is there [he says] who does not know that the first law of history - is to dare to tell nothing that is untrue, and to tell the truth - without feigning, to the end that there may be no suspicion of - partiality or of envy in that which one writes?' Of a surety history - should be entirely true, not only for the reasons already given, but - because, as Cicero says a little before the place already quoted: - 'Historia est testis temporum, lux veritatis, vita memoriæ, magistra - vitas, et nuncia vetustatis.' 'History [he says] is the testimony - of the times, the torch of truth, the nurse and life of the memory, - teacher and schoolmistress of our life, and messenger of antiquity.' - I have chosen to make you a present of a history, and a history - abridged to the limits of a summary, rather than of something else, - for the reason that while engaging yourselves, you may see therein, - as in a mirror, a thousand excellent things, wherefrom you shall - be able to hear and recognize innumerable useful suggestions which - shall do you good service on occasion in due time and place. Titus - Livius says, in the preface to the first book of his first Decade: - 'Hoc illud est precipue in cognitione rerum salubre ac frugiferum, - omnis te exempli documenta in illustri posita monumento intueri, - unde tibi tuasque Reipublicæ quod imitare cupias, unde fœdum - inceptum, fœdum exitu quod vites.' 'It is [he says] peculiarly - good and useful in the knowledge of things, to see and learn in - noble history the teachings of worthy example, by the imitation and - likeness whereof you may choose for yourselves and for your country - that which you ought to imitate and follow, and that which you ought - to avoid as an abomination, at the beginning as well as at the end.' - Take therefore in good part, an it please you, this little work, and - accept it with a gracious face and expression, as of your kindliness - you are wont to do; even so you will invite me, of your courteous - and singular grace, henceforward to do better, with the aid of Our - Lord Iesus, to whom I pray that he will give to you all his love and - blessed grace, at your noble and worthy desire. - - At Paris, this X day of April, M. D. XXIX. - -On the last leaf of the book we find the Pot Cassé, with these words -beneath: 'The printing of this present book was finished at Paris, the -XIII day of April, M. D. XXIX,[232] for maistre Geofroy -Tory de Bourges, who sells it in said Paris, at the sign of the Pot Casse.' - -The only copy that I have seen of this edition was then owned by - -M. Ambroise Didot, who courteously permitted me to examine it at my -leisure. It was in its original binding with the Pot Cassé. The book is -printed in the 'Champ fleury' type. - -There are several other editions. I am familiar with two of them, -published by Charles L'Angelier, both in octavo, in 1543 and 1544. M. -Hippolyte Boyer mentions one of 1541, in his 'Histoire des Imprimeurs et -Libraries de Bourges' (octavo, Bourges, 1854), page 27; but I have not -seen it: whereas I have had the privilege of examining the other two. -Each of them contains 112 leaves (signatures A to O), plus 4 unnumbered -ones. The book is illustrated with engravings of two kinds, in addition -to the bookseller's mark on the title-page: the first, reproduced several -times, represents an emperor, mounted, holding a battle-axe; it is not -signed, but is engraved with much delicacy, and embellished with the -little cartouches so much affected by Tory. The others represent busts of -emperors roughly engraved, which cannot be the work of that artist. - - -13 - - LA PROCESSION DE SOISSONS DEVOTE ET MEMORABLE FAICTE A LA - LOUANGE DE DIEU, POUR LA DELIVRANCE DE NOSSEIGNEURS LES ENFANS - DE FRANCE.--On les vend a Paris, a lenseigne du Pot Casse, - rue Sainct Iaques, devant lescu[233] de Basle, et en la halle de - Beausse, a la mesme enseigne du Pot Casse, devant leglise de la - glorieuse Madalaine, avec privilege pour deux ans. - -At the end of the book: 'The printing of this present book was finished -the XXIX day of August M. D. XXX, and it is for sale at -Paris by maistre Geofroy Tory de Bourges.' - -Small quarto of 20 leaves with borders, signatures Aij to Cij. - -This exceedingly rare little volume has a title-page with a border of -arabesques engraved on wood, with the Lorraine cross. Beneath Tory's -mark are four Latin verses, probably of his composition, as are the six -which bring the narrative to a close and which are entitled: 'Torinus -Biturigicus ad Galliam.' On the verso of the title is the preface, dated -August 25, 1530, and beginning thus: 'Geofroy Tory of Bourges to the -devoted lovers of good reading doth bid and offer humble greeting.' - -At the top of leaf Aij we read: 'The order of the grand procession -ordained at Soissons by the reverend father in God Monseigneur Iehan -Olivier, Abbé de Saint Mard at said Soissons, Councillor to the King our -Sire, and Chronicler of France, on Sunday the last day of July in the year -of grace one thousand five hundred and thirty, to give thanks to our Lord -for the deliverance of our lords the Children of France.' - - * * * * * - -These particulars are taken from the fifth edition of Brunet's 'Manual de -Libraire.' I have not been able to find the volume, despite my thorough -search in the various libraries of Paris. - - -14 - - ÆDILOQUIUM CEU DISTICHA PARTIBUS ÆDIUM URBANARUM ET RUSTICARUM - SUIS QUÆQUE LOCIS ADSCRIBENDA. ITEM, EPITAPHIA SEPTEM DE AMORUM - ALIQUOT PASSIONIBUS ANTIQUO MORE ET SERMONE VETERI, VIETOQUE - CONFICTA. AUTHORE GOTOFREDO TORINO, BITURIGICO.--Parisiis, apud - Simonem Colinæum. 1530. Cum privilegio ad biennium.[234] - -Octavo; 3 sheets, printed in italic. The title is set in an exceedingly -graceful border, borrowed from the Hours in octavo of 1527. The verso of -the title is blank, and on the second leaf is the following preface:-- - - -_Geofroy Tory of Bourges to the fair reader, greeting._[235] - -There are certain eminent painters in this prolific age, most gentle -reader, who, by their drawings, paintings, and varied colouring, depict -the tribal gods and human beings, as also other things of different sorts, -with such exactness that a voice and a soul seem the only things wanting -to them; but here, most gentle reader, I offer you, nearly in the manner -of these painters, a house, which not only is elegant and finished in -its outlines and parts, but speaks prettily and describes itself part by -part in a eulogy. I also offer you seven epitaphs, composed and written -in the ancient style and in very ancient language. These epitaphs show, -in a way that we may call comprehensible, the various affections to which -unhappy mortals who are in love are subject. I am, I say, pleased to offer -you these, not that you may speak or write in obsolete words such as you -here find, but that you may have before your eyes, so bright and full of -charm, a sample of antiquity, and may know that you have been thoroughly -warned by me to be on your guard against falling into the snares and -perplexities of an insane love. Farewell. - - * * * * * - -In addition to the border of the title-page, the book contains seven -exquisite little engravings, corresponding to Tory's seven 'love -epitaphs,'--engravings which are certainly his, in design at least, -although unsigned. Here is a list of them:-- - -1. Two hearts pierced by an arrow. - -2. Two hearts in a circle. - -3. Two hearts bound together by cords. - -4. Two hearts in a boat. - -5. A pig sniffing at two hearts. - -6. Two hearts, a distaff, etc. - -7. Two hearts being kicked by a horse. - -As for the text of the book, it has been variously judged. Catherinot was -delighted with it; but the author of the 'Menagiana' reproves Tory for -manufacturing Latin words after the style of the author of the 'Songe du -Poliphile' (see supra, page 55, note 2). We have seen that Tory himself -did not recommend such words to the reader. - -The Bibliothèque Nationale has a copy of this little book, still in its -original binding, with the Pot Cassé. - - -15 - - SCIENCE POUR SENRICHIR HONNESTEMENT ET FACILEMENT, INTITULEE: - LECONOMIC XENOPHON, NAGUERES TRANSLATEE DE GREC ET LATIN EN LANGAIGE - FRANCOYS PAR MAISTRE GEOFROY TORY DE BOURGES. [Here the Pot - Cassé, no. 4] On les vend a Paris, en la rue Sainct Iaques, devant - lescu de Basle, et devant lesglise de la Magdalaine, a lenseigne du - Pot Casse.--Avec privilege. - -Octavo of 9 sheets (signatures _a_ to _i_). As in the 'Sommaire de -Chroniques' of Egnasius, there are only two signature marks to the sheet -(one for the first form and one for the second), and each page is enclosed -in a three-line fillet. The title-page alone is set in a border of -arabesques of pleasing design. - -On the verso of the title: 'At the aforesaid sign of the Pot Casse there -be also for sale Thucydides and Diodorus, with several other excellent -books translated from Greek and Latin into French. Likewise there be -beautiful Hours and Offices of Our Lady, large, medium, and small, -illustrated and vignetted in ancient and modern fashion.' - -On the second leaf is an explanation of the words 'Economic' and -'Xenophon'; and on the third a dedication, extracts from which follow. - - _Geofroy Tory of Bourges to his most reverend father in God, Antoine - du Prat, Cardinal de Sens, legate in ordinary and Chancellor of - France, doth say and proffer most humble greeting._ - - After the book treating of the meaning of the ancient letters, - called 'Champ fleury,' the which I composed in the French tongue, - and the 'Table of Cebes,' with thirty moral dialogues, likewise - the 'Sommaire de Chroniques,' the which I translated into our said - tongue,[236] to confer a benefit on the studiously inclined, most - reverend father in God, it hath seemed to me a worthy occupation, if - I should employ myself in translating also the 'Economic Xenophon'; - and beneath the shadow of your most honourable wing, first - presenting the same with humble devotion unto you, I have published - the same and placed it in the hands of all virtuous and worthy - persons, to pass the time studiously therewith and therein to find - good counsel for directing their families worthily and increasing - their wealth by honest means. - - Wherefore, most reverend father in God, under your venerable favour - and blessing, the studious and veritable lovers of goodly reading - and fruitful occupation will kindly take this little book in their - condescending hands, and all will bear you good will, not for the - book alone, but for that you are he to whom all owe honour and - service, as to whom all the public welfare and all Christendom are - deeply indebted. - - I shall continue to be, if it so please you, in your good favour, - and I will pray to Our Lord that he will give you his love according - to your noble and estimable desire. - - From Paris this Wednesday, the fifth day of July, M. D. - XXXI. - -Following this document, which fills three leaves, comes an epistle from -Geofroy Tory of Bourges to 'studious and worthy readers,' by way of -preface. It fills two leaves. The eighth leaf is entirely blank. On the -ninth, the 'Economic Xenophon' begins, and extends from _b_ to _i_ 4; the -fifth and sixth leaves of _i_ contain an 'Epistle from Seigneur Elisee -Calense, native of Amphrates, which he sent to Rufinius, guardian of the -Emperor Arcadius, replying to him touching the matter of managing his -family and of keeping in order his domestic goods and chattels, translated -from Latin into French by maistre Geofroy Tory de Bourges.' - -On the last leaf but one appears a 'duplicate of the license granted to -maistre Geofroy Tory de Bourges, by the King our Sire, for this present -book and others named in this said license,' in these words:-- - - Francoys, by the grace of God King of France, to the Provost of - Paris, Bailly of Rouen, Seneschal of Lyon, and to all other our - justiciars and officials or their deputies, greeting. Our dear - well-beloved maistre Geofroy Tory of Bourges, bookseller, dwelling - in our city of Paris, hath caused it to be made known to us that - he hath of late made and composed in the Latin tongue a certain - book entitled; 'Ædiloquium et Erotica'[237]; likewise, that he - hath translated from Greek and Latin into French the 'Economic - Xenophon'; which books he would fain print, or cause to be - printed, if it should be our pleasure to permit him so to do, at - the same time causing all tradesmen, booksellers, printers, and - other persons whomsoever, to be forbidden to print or to expose - for sale in any manner the said books; and that, if any should be - brought hither by foreigners, other than those of the said Tory's - printing, they may not be sold within our realm during the period - of the four years reckoned from the date of the printing of said - books, with an extension for a like period for certain other books, - illustrations, and vignettes to be printed in the 'Heures et Office - de Nostre Dame' mentioned in two licenses heretofore granted to - him by our favour.[238] Wherefore, having regard and consideration - for the time and toil which it hath cost the said Tory to compile - and translate the said books, and for such expense as it shall be - his pleasure to incur in printing the same,--for these reasons we - have given and granted to him permission to print or cause to be - printed and to offer for sale the said books above mentioned for - four years following and succeeding the printing thereof. And so - we command you, that by virtue of this our present favour, warrant - and permission, you do allow the said petitioner to use and enjoy - the same, and do forbid in our name all tradesmen, printers, - booksellers, to print or cause to be printed, or to expose for - sale in any manner the said books during four years, on pain of - twenty-five silver marcs to be paid to us, and confiscation of the - books as to which they shall have been guilty; for such is our - pleasure. Given at Vannes, the XVIII day of June in the - year of grace one thousand five hundred thirty-one, and of our reign - the seventeenth.--Signed, Heruoet. - -On the last page: 'The printing of this present book was finished by -maistre Geofroy Tory of Bourges Wednesday the fifth day of July in the -year M. D. XXXI. And it is for sale at Paris, opposite the "Escu -de Basle," Rue Sainct Iaques, and opposite the Church of La Magdeleine, at -the sign of the ("a leeseigne [_sic_] du") Pot Casse.' - -The description we have given is that of the very complete copy owned by -M. Ambroise Didot. M. Chedeau, an attorney at Saumur, owned a copy the -title-page of which is different. It reads thus:-- - - ECONOMIC DE XENOPHON, CEST A DIRE: DOMESTIQUES INSTITUTIONS - ET ENSEIGNEMENS POUR BIEN REGIR SA FAMILLE ET AUGMENTER SON BIEN - PARTICULIER. IADIS COMPOSE EN GREC PAR LANCIEN AUTHEUR XENOPHON, ET - TRANSLATE DE GREC ET LATIN EN LANGAIGE FRANÇOIS PAR MAISTRE TORY DE - BOURGES. [Here the Pot Cassé.] Imprimees a Paris, a lenseigne - du Pot Casse, par ledict maistre Geofroy Tory, marchant libraire et - imprimeur du roy.--Avec privilege. - -This title-page has the same border and the same form of the Pot Cassé -as the other copy; but it has not on the verso the little list of other -publications which we find on the latter, and which we have reproduced -above. As the first signature (A) of M. Chedeau's copy lacks four leaves, -we cannot say whether there are other differences in that signature; but -as to the other signatures, B to I, they are identical in the two copies. -Thus we find in both the error to which we called attention above in the -word 'enseigne' [printed 'eeseigne'], in the final note; better still, -this error has been corrected by hand, in the same way, in both copies, -probably by Tory himself. Which of the two is the earlier? I should not -venture to say; however, it seems to me that the additional matter on the -verso of the title-page of M. Didot's copy tends to prove that it is the -later of the two. In any event, the interval between the two impressions -cannot have been a long one. If I interpret rightly certain circumstances, -the first signature, which had been kept in type (as is proved by a number -of typographical defects which appear in both copies), was reprinted at -the same time with the last signature. Tory's dedicatory epistle, in M. -Didot's copy, is dated July 5, the day when the printing of the book was -finished according to the final note. Now, to make it possible for him to -affix this date to his preliminary epistle, we must concede that it had -been kept in type until the book was finished. But may it not be that no -date was affixed on the first signature of the first impression? That is -a question that I am unable to answer, in view of the imperfect state of -M. Chedeau's copy. It may be, too, that the first signature was reprinted -in order to announce Tory's new address, he having very recently installed -his printing establishment in the famous old Halle au Blé de Beauce, on -Rue de la Juiverie, opposite the Church of La Madeleine. For it will -be observed that this address does not appear on the title-page of M. -Chedeau's copy, although we do find it in the note on the last page. - -This volume is printed in the 'Champ fleury' type. - - -16 - - POLITIQUES DE PLUTARCHE, CEST A DIRE: CIVILES INSTITUTIONS - ET ENSEIGNEMENS POUR BIEN REGIR LA CHOSE PU[BLIQUE], IADIS - COMPOSEES EN GREC PAR PLUTARCHE, ET DEPUIS TRANSLATEES DE GREC - EN LATIN PAR LE SEIGNEUR NICOLE SAGUNDIN, ET A PRESENT DE LANGUE - GRECQUE ET LATINE EN LANGAIGE FRANÇOIS PAR MAISTRE GEOFROY TORY - DE BOURGES.--Dediees par le dit autheur a lempereur Trajan, - et par le translateur en langaige françois a tresilustre et plain - de bon espoir en toute heureuse vertu, son seigneur, François de - Vallois, Daulphin de France. [Here the Pot Cassé, no. 4.] Imprimees - en Paris, a lenseigne de Pot Casse, par maistre Geofroy Tory de - Bourges, marchant libraire et imprimeur du Roy.--Avec privilege - tresample.[239] - -Octavo, of 8 preliminary unnumbered leaves, and 67 numbered leaves of -text (signatures A to Iij). The pages have no borders. There are marginal -remarks. The type and the ornamental letters are the same as in 'Champ -fleury.' - -On the second leaf is the following dedicatory epistle:-- - - _Geofroy Tory de Bourges to his most debonair lord, François de - Vallois, Daulphin de France, doth say and proffer most humble - greeting._ - - My lord, while translating this little book, I have oftentimes - reflected to whom of all my good friends I should the sooner - dedicate it, or whether I should dedicate it (as I have heretofore - done with certain other books which I have composed and translated - into the French tongue) to all studious and genuine lovers of - excellent reading and worthy pastime. But in fine, knowing thy - virtuous nature, likewise the mirror of all goodness and perfect - nobility wherein thou dost abundantly excel, and art ever disposed - for every blessed and goodly enterprise, I have considered that - before all other living men, of what state soever they may be, it - is to thy glorious lordship that I ought and am in duty bounden to - consecrate it, since it is thou under whom the public, not of France - alone, but of all Christendom, has its hope of living hereafter in - all felicity. I dedicate it to thee, not forgetting that thou hast - thy noble father the King, who, as Philip of Macedon did of yore to - his son Alexander, doth set before thee noble and goodly instruction - and examples of upright living; but also to the end that thou mayst - by times amuse thyself and read the excellent tales and teachings - which are marshalled herein as in a well-chosen library; and also - that, following thy noble and generous example, the studiously - inclined may, by reading the same, worthily profit thereby. Thou - mayst find herein many excellent passages, which will sometimes help - to comfort thee, and will be in some degree the means whereby thou - and thy Realm, with the grace of God, wilt ever prosper more and - more. - - Paris, this XIIII day of June, M. D. XXXII. - -On the verso of the last leaf: 'The printing of this present book was -finished Saturday the XV day of June, M. D. XXXII, by maistre Geofroy -Tory of Bourges, bookseller and king's printer, living in Paris, opposite -the church of La Magdeleine, at the sign of the Pot Casse.' [Here the Pot -Cassé, no. 9.] - -I have seen two copies of this book, one in M. Didot's library, the other -in M. Alkan's. - -Another edition was published at Lyon, in 1534, in 16mo, by Guillaume -Boulle (or Boullé, for the name, in accordance with the custom of the -time, has no accent on the _e_). This is undoubtedly the one mentioned by -Duverdier[240] as having been printed at Paris, in octavo, in 1530, by -Guillaume Boullé. In this statement there are as many errors as there are -words. Guillaume Boullé's edition was not printed in Paris, it was not an -octavo, and it cannot be dated 1530, as the first edition did not appear -until 1532. Unfortunately La Caille did not take the trouble to verify -Duverdier's statement, and he makes Guillaume Boullé a bookseller-printer -of Paris.[241] Lottin, in his 'Catalogue des Libraries et Imprimeurs de -Paris,'[242] has not failed to copy La Caille, and to mention, under the -year 1530, a Guillaume Boullé, bookseller and printer in Paris, side by -side with Jean Boullé, bookseller. Was this Jean, whom La Caille calls -simply Boulle, and whom he places in 1543, a kinsman of Guillaume? I -cannot answer. However that may be, here is a full description of the -edition of the 'Politiques' published by the latter. It is a 16mo volume -containing 8 leaves of front matter and 104 of text. On the title-page, -which is embellished by a roughly executed border, are these words:-- - -'Politiques ou Civiles Institutions pour bien regir la Chose publ., iadis -composees en grec par Plutarche, et despuys translatees en francoys par -maistre Geofroy Tory, et dediees par ledict translateur a tres illustre -prince et plein de bon espoir en toute heureuse vertu, Francoys de -Valloys, Daulphin de France. - -'Disputation de Phavorin, philosophe, nouvellement y a este adioustee. -Item chapitre demonstrant combien sont destatz de la Chose publ. - -'On les vend a Lyon, en la rue Merciere, a la boutique de Guillaume -Boulle, libraire, a la fleur de lys d'or.--Avec privilege. 1534.' - -On the verso of the title-page is an engraving representing Justice, with -this inscription: 'Justitia in sese virtutes continet omnes.' - -On the following leaf is the dedication to the Dauphin. - -At the end of the volume is the mark of Guillaume Boullé, or Boulle. - -There is a copy of this little book at the Arsenal, and also one in the -Bibliothèque Nationale. The latter lacks the final leaf bearing the -bookseller's mark, which some collector (!) has cut out, to enrich his -collection. - - -17 - - LA MOUCHE DE LUCIAN, ET LA MANIERE DE PARLER ET SE TAIRE - [de Volaterran]. [Pot Cassé, no. 6.] LA MOUSCHE EST TRANSLATEE - DE GREC ET DE LATIN EN LANGAIGE FRANÇOIS. LA MANIERE DE PARLER ET SE - TAIRE EST TRANSLATEE SEULLEMENT DE LATIN EN FRANÇOIS. Le tout - par maistre Geofroy Tory de Bourges, imprimeur du Roy et libraire - juré en l'université de Paris.--On les vend a Paris devant l'eglise - de la Magdeleine, a l'enseigne du Pot Cassé. - -Eight octavo leaves, without date of printing or license. This pamphlet -was undoubtedly printed by Tory himself, subsequent to February 22, 1533; -for he assumes the title of bookseller to the University, which he did -not obtain until that date. Moreover, the acute accent, the apostrophe -and the cedilla are used therein, and he did not make use of those marks -until 1533. Lucian's 'La Mouche' [The Fly] fills 11 pages; the 'Maniere de -Parler' (an extract from the eighteenth book of Volaterran's 'Philosophy') -3 pages. The first leaf has the title, and, on the verso, a note 'aux -lecteurs.' The type used is the same as in 'Champ fleury.' - - -18 - - LES REIGLES GENERALES DE LORTHOGRAPHE DU LANGAIGE FRANCOYS. - -Such is the title of a book written by Tory, of which no trace remains. We -do not know even whether it was printed, although it is included in the -license of the first edition of the 'Sommaire de Chroniques' of Egnasius, -dated September 28, 1529. (See page 88.) Doubtless it was the complement -of 'Champ fleury,' from a grammatical standpoint. - - -19 - - TRANSLATION OF THE HIEROGLYPHS OF ORUS APOLLO; a manuscript - given by Tory to 'a noble and excellent friend' of his.[243] - -It is not known whether this translation was printed. There are in -existence several old translations of Orus Apollo, but they do not bear -Tory's name. - -[Illustration] - -[Illustration] - - -FOOTNOTES: - -[Footnote 174: It goes without saying that in the numerous quotations -which I shall make from these books I shall do away with abbreviations -and supply punctuation. To do otherwise would be to give the reader of -to-day, who is unfamiliar with the tachygraphy of the Middle Ages, simply -a succession of undecipherable puzzles. It is a difficult task to restore -the Latin texts according to the first impressions. I have taken it upon -myself, so that the reader may have the pleasure of reading without -difficulty. What I have said must be my apology for such errors as I may -have made in my work of restoration.] - -[Footnote 175: Bibliothèque Mazarine.] - -[Footnote 176: Gilles de Gourmont was in fact the first printer in Paris -who had Greek type. See my _Les Estienne_, pp. 62, 67.] - -[Footnote 177: I have arranged these verses in lines, although in the book -the lines are indicated simply by capital letters; and I warn the reader -that several words were changed by Tory in order to adapt the verses to -his subject. [The changes are in fact considerable, especially in the -third passage, which is made up of parts of five lines, with several -changes, one of which results in an entire reversal of the meaning. The -English versions of these passages are adapted from Long's translation of -the _Æneid_. For the Latin original, see Appendix X, _g_.]] - -[Footnote 178: Proper. ii, _ad Mæcenatem_. [The translations from -Propertius are those of Cranstoun.]] - -[Footnote 179: Doubtless we should read 'iv no.' for there was no sixth of -the nones of December. The fourth of the nones fell on Dec. 2. But perhaps -we should read 'vj id.'; the sixth of the ides of December fell on Dec. 8.] - -[Footnote 180: [For the Latin original, see Appendix X, _b_.]] - -[Footnote 181: [For the Latin original, see Appendix X, _i_.]] - -[Footnote 182: Jan. 10, 1508, new style.] - -[Footnote 183: [For the Latin original, see Appendix X, _j_.]] - -[Footnote 184: [For the Latin original, see Appendix X, _k_.]] - -[Footnote 185: Following the course pursued in the _Psalterium -Quincuplex_, published shortly before by Henri Estienne, Tory proposed -to write with a cedilla the last _e_ but one of the third person plural -of the perfect tense of verbs of the third conjugation (_emere_, -_contendere_, etc.), to distinguish it from the infinitive. In our day the -circumflex accent has been adopted for this purpose; but accented letters -did not exist in Tory's time, and he sought to utilise, in the interest of -the metre, the only distinctive sign at the disposal of typography, the -_e_ with the cedilla, which was then generally used for _æ_, in imitation -of the manuscripts of the Middle Ages. Tory also proposed to spell -with _s_, instead of _x_, certain words like _mixtum_; 'for,' he said, -'_misceo_ has _miscui_ in the perfect; and so, by analogy, we must say -_mistum_.' - -I will not comment here on some other observations of the same sort -made by Tory in this same note to the reader; I will say simply that -they all tend to prove his erudition and peremptorily contradict the -extraordinary assertion of a certain Abbé Joly, who, in a huge folio, -entitled _Remarques critiques sur le Dictionnaire de Bayle_, and published -in 1740, observes that Tory was 'very ignorant,' without adducing a single -fact in support of his opinion. In the _Menagiana_ (vol. iv, p. 84 of -the 12mo edition of 1729) Tory is rebuked, to be sure, for forging Latin -words, after the example of the author of the _Songe du Poliphile_; but -this is a less serious charge, and is not a proof of ignorance; on the -contrary it proves misuse of knowledge. Geofroy Tory, says the author, -attracted by the style of the _Poliphile_, composed seven epitaphs filled -with words most worthy of a place in that work, 'such as _murmurillare_, -_insatianter_, _hilaranter_, _pederaptim_, _velocipediter_, -_ægrimoniosius_, _avicipes_, _conspergitare_, _venustulentissus_, -_vinulentibibulus_, _apneumaticus_, and _collifrangibulum_, which he -represented as ancient words, and which the excellent Catherinot, in his -epitaph of this same Tory, did not fail to guarantee to be such.'--See -what Catherinot has to say of Tory's _Epitaphs_ in his epitaph of Tory, p. -44 supra. [_Tumulos aliquot ludicros veterrimo stylo latine condiderit._]] - -[Footnote 186: This is the correct reading, not _Hongoti_, which M. -Renouard mistakenly adopts (_Ann. des Estienne_, 3d ed., p. 6, 2d col., -no. 3; and p. 276), having failed to notice the line over the _o_ in the -second syllable of the word. However, this is the only place in which -this Jean Hongont is mentioned, and nothing is known of him save that he -was associated with the first Henri Estienne in the publication of this -edition of the _Cosmography_ of Pope Pius II, otherwise called Æneas -Sylvius, edited by Tory. This book is in the Bibliothèque Mazarine.] - -[Footnote 187: October 10, 1509.] - -[Footnote 188: See infra, Part 3, § III, _sub nomine_ Bade.] - -[Footnote 189: Bibliothèque Mazarine.] - -[Footnote 190: [For Latin original, see Appendix X, _l_.]] - -[Footnote 191: As to this adage, see the _Collection_ of Erasmus (folio, -Basle, 1574), p. 302: _Aristophanis et Cleantis lucerna_.] - -[Footnote 192: _Claudian_, xv, 385: _Minuit præsentia famam_.] - -[Footnote 193: As to this adage, see the _Collection_ of Erasmus, ubi -sup., p. 134 a: _Non absque Theseo_.] - -[Footnote 194: Plautus, _Casinus_, Act V, 4, 1: _Ubi tu es, qui colere -mores Massilienseis postulas._] - -[Footnote 195: [For the Latin original, see Appendix X, _m_.]] - -[Footnote 196: The answer seems to be _bat_.] - -[Footnote 197: [See p. 265 infra.]] - -[Footnote 198: [For the Latin original, see Appendix X, _n_.]] - -[Footnote 199: May 9, 1510.] - -[Footnote 200: Silvestre, no. 974.] - -[Footnote 201: On folio 26 of the first edition there is a small plan of -Rome, doubtless a reminiscent work of Tory's, which is lacking in the -second and third editions.] - -[Footnote 202: Vol. vii, p. 548, no. 411.] - -[Footnote 203: _Catal. bibl. Bunav._ vol. i, p. 417 a.] - -[Footnote 204: Vol. i, col. 810, under 'Berosus.'] - -[Footnote 205: [For the Latin original, see Appendix X, _o_.]] - -[Footnote 206: [For the Latin original, see Appendix X, _p_.]] - -[Footnote 207: For example, here are two riddles by Tory, the labour of -solving which, I leave, as he did, to the reader:-- - - _Godofredus To. Bi._ - - Tu caput Adrasti capias morientis, et adde - (Si modo grande bonum vis mihi) te socium. - -_Idem._ - - Quæ fuit ilia Cato Romæ legatio quondam - Cor, caput, atque pedem cui nec habere fuit? -] - -[Footnote 208: This book may be found in the Bibliothèque Mazarine, and at -the Arsenal.] - -[Footnote 209: [For the Latin original, see Appendix X, _q_.]] - -[Footnote 210: In original, _Cordatus_. His house [in Bourges] is now used -as the hôtel de ville.] - -[Footnote 211: As to this gentleman, see page 4, supra.] - -[Footnote 212: February 27, 1510, or rather, 1509, for it is hardly -probable that the bulky volume was printed in four months. See the -dedication in question, on page 4, supra. The book may be found in the -Bibliothèque Sainte-Geneviève.] - -[Footnote 213: [For the original Latin, see Appendix X, _r_.]] - -[Footnote 214: As to this person, see note 3 on page 5, supra.] - -[Footnote 215: We have mentioned heretofore (page 4, supra) the eminent -posts occupied at this time by Philibert Babou and Jean Lallemand.] - -[Footnote 216: [For the original Latin, see Appendix X, _s_.]] - -[Footnote 217: [For the Latin original, see Appendix X, _t_.]] - -[Footnote 218: [For the Latin original, see Appendix X, _u_.]] - -[Footnote 219: The text has _nomen_ instead of _novem_, but the correction -is made in the errata.] - -[Footnote 220: Christophe de Longueil, to whom the manuscript published by -Tory belonged.] - -[Footnote 221: [For the Latin original, see Appendix X, _v_.]] - -[Footnote 222: For the monogram appended to this final _avis_, see p. 6, -supra.] - -[Footnote 223: See these two marks, p. 46, supra [nos. 7 and 8].] - -[Footnote 224: [For the Latin original, see Appendix X, _w_.]] - -[Footnote 225: [This same passage is quoted at length by M. Bernard in -Part 1 (see pp. 13-14, supra), where the translator has attempted to -render it intelligibly in English. As the present section of the book is -intended to assist the bibliographer, it seems proper to reproduce it here -exactly in its original form.]] - -[Footnote 226: See, as to this passage, the remarks on p. 14, supra.] - -[Footnote 227: Those who use thieves' slang.] - -[Footnote 228: [There is no leaf numbered lix; the leaf between lviii and -lx is numbered lxx.]] - -[Footnote 229: Cy finist ce present Liure, ... Qui fut acheue dimprimer Le -mercredy .xxviij. Iour du Mois Dapuril, Lan Mil Cincq Cens. XXIX. -Pour Maistre Geofroy Tory de Bourges, Autheur dudict Liure, & Libraire, -demorãt a Paris, qui le vent sus Petit Pont a Lenseigne du Pot Casse. Et -pour Giles Gourmont aussi Libraire demorant au dict Paris, qui le vent -pareillement en La Rue Sainct Iaques a Lenseigne des Trois Coronnes.] - -[Footnote 230: See what I have said of this second edition on p. 42, -supra.] - -[Footnote 231: See the exact text of this license, which includes three -works of Tory, under no. 12, infra.] - -[Footnote 232: 1530, new style.] - -[Footnote 233: Not _à l'escu de Basle_, as in the note printed by M. -Brunet.] - -[Footnote 234: The license, which embraces the _Economic Xenophon_, and -is printed at the end of the last-named book, extends the author's rights -for four years, not for two. The discrepancy may be explained by the fact -that the _Ædiloquium_ was printed while Tory's application for the license -was pending,--that is to say, in the first three months of 1531, which -were then reckoned in the year 1530, according to the old computation. In -fact, the license is dated June 18, 1531, which seems to conflict with the -date of printing of the _Ædiloquium_. This circumstance also explains why -the second title of the book is different in the printed volume from that -given in the license (_Erotica_). See p. 31, supra.] - -[Footnote 235: [For the Latin original, see Appendix X, _x_.]] - -[Footnote 236: He does not mention the _Ædiloquium_, because it was in -Latin.] - -[Footnote 237: In the printed volume of the _Ædiloquium_, Tory modified -this sub-title; for it might well have marred his epitaphs with a -suspicion of obscenity which was very far from his thought.] - -[Footnote 238: On September 23, 1524, and September 5, 1526. Tory -requested an extension of the licenses for his Hours because he was about -to reprint them. The second edition of the quarto Hours appeared on -October 20, 1531.] - -[Footnote 239: We have not this 'privilege tresample,' which probably -was printed in some other of Tory's books, now lost. In truth, that -accomplished man was accustomed to have several books included in each of -his licenses.] - -[Footnote 240: _Bibliothèque Françoise_, article 'Geofroy Tory.'] - -[Footnote 241: _Histoire de l'Imprimerie_, p. 102.] - -[Footnote 242: Vol. i, p. 24. Lottin also writes _Beulle_.] - -[Footnote 243: _Champ fleury_, fol. 43 recto.] - - - - -SECTION II. BOOKS OF HOURS PUBLISHED BY TORY FOR HIMSELF. - - -1 - -HOURS OF THE VIRGIN. - -Quarto, in Latin. - -This is a superb volume, printed by Simon de Colines, with borders and -illustrations 'à l'antique,' perfect in taste and in the execution of the -engravings. The book was, in all probability, printed by Tory and Colines -on joint account, as copies are extant in the name of each. - -Following are descriptions of three sorts of copies which I have seen, -and which have been mistakenly assumed by bibliographers to be distinct -editions. - -[Illustration] - - I. HORÆ, IN LAUDEM BEATISS. SEMPER VIRGINIS MARIÆ SECUNDUM - CONSUETUDINEM CURIÆ ROMANÆ. VBI ORTHOGRÁPHIA, PUNCTA & ACCENTUS SUIS - LOCIS HABENTUR. - -[Illustration] - -Below is Colines's large mark with the rabbits and the letters S. D. C. -in the centre, and at the foot, S. DE COLINES. The imprint is: -'Parisiis. Apud Simonem Colinæum. M.D.XXIIII. - -[Illustration] - -The first page is ornamented with a special border, which we shall find -in others of Tory's books. The only copy of this form of the book which I -have had an opportunity to examine, namely, the one in the Bibliothèque -de l'Arsenal, although it is bound in paper only, has a beautiful drawing -in miniature which occupies the whole of this page. It represents two -printers working at a press, and a compositor in front of his case. None -of the printing has been retained, save the five lines of the title, -'Horæ,' etc., which are enclosed in a scroll hanging from the upper -branches of two trees which form the frame of the miniature. I do not -know the name of the fortunate recipient of this gift. One sees only his -initials (R. P.) in a heart above the press. - -On the verso of the title we find, in accordance with custom, the table -of Easter Days, etc., from 1523 to 1551. The border of the page has, in -three small reserved scrolls in the midst of the arabesques, the words: -GEOFROY--TORY--SIC VT NON PLVS, which recur from time to time on -the following pages. This border is reproduced on the title-page of each -part of the book. - -The license occupies the whole of both sides of the second leaf, which is -without borders, for a special reason: it is printed in gothic type of the -period (to imitate the script of the diploma) and that style of type would -have quarrelled with the antique arabesques of Tory, whose refined taste -avoided incongruities of that sort. - -An extract from the license follows:-- - -'Francoys, by the grace of God King of France, to the Bailli and Provost -of Paris, the Seneschal of Lyon, and all other justiciars, officials, -or their deputies, and to each of them in his jurisdiction, and as to -him shall appertain, greeting. Our dear and well-beloved maistre Geofroy -Tory, bookseller, living at Paris, hath now caused it to be made known -and shown unto us that he hath of late made and caused to be made certain -pictures and vignettes "à l'antique," and likewise certain others "à la -moderne," to the end that the same may be printed and made use of in -divers books of Hours, whereupon he hath employed himself a very long -time, and hath made divers great expenditures, and outlay. Wherefore, -and to enable him to recover a part of the outlay that he hath made and -undergone while employed in procuring the aforementioned drawings and -vignettes to be made; and to the end that he may have the wherewithal -to live with more ease, he hath most humbly caused to be laid before us -his petition and request that he alone and no other may have authority -to cause the aforementioned drawings and vignettes to be printed, for -the space and term of six years, beginning on the day of the printing of -said Hours, and that all booksellers be forbidden to make or to cause to -be made any impression thereof, whether on a white, grey, or red field, -not omitting any of the said black vignettes, or to reduce them "a petit -ou grant pied"; humbly beseeching us to that end. Wherefore we, having -duly considered these matters, and generously acceding to the petition -and request of the said petitioner, and likewise in recognition of his -learning, literary talent, and the excellent and praiseworthy report made -to us of his person, and of his talents, competency, loyalty, wisdom, and -goodly diligence, have granted to him the privilege that he and no other -may print and cause to be printed the said vignettes and drawings, and -do forbid all booksellers and printers whomsoever within our realm, to -make or procure to be made and printed the said vignettes and drawings, -on pain of a fine of five and twenty silver marks to be paid to us, and -confiscation of the Hours, vignettes, and pictures by them so printed. -Given at Avignon, the XXIII day of September, in the year of -grace one thousand five hundred twenty-four, and of our reign the tenth.' - -[Illustration] - -The third leaf contains some details concerning the calendar, which begins -on the fourth leaf and ends on the ninth. The border of the lower part of -leaf Avij is turned upside down. The Hours begin on the tenth leaf. - -The book is a quarto, but the sheets are folded two by two, after -the style introduced by Pierre Schoiffer himself, which gives it the -appearance of an octavo. The signatures run from A to T, which makes -eighteen folds, or one hundred and forty-four leaves. - -The engravings consist of sixteen complete borders, one of which -is repeated on the recto and verso of each of the first sixteen -leaves, embracing thirty-two pages of text, after which the same -decorations reappear. They are composed of arabesques in which, -from time to time, these words appear at the sides: SOLI -DEO--LAVS--HONOR--GEOFROY--TORY--NON PLVS. At the foot of certain -pages we see a crowned F (the first letter of the king's name), a crowned -C (the first letter of the name of Queen Claude, daughter of Louis XII), -and a crowned dolphin (daulphin), in allusion to the title of the king's -eldest son. Queen Claude died before the book was finished, perhaps even -before the printing was begun; but Tory did not choose to waste the -woodcut of her, so it was preserved and was used for more than fifteen -years, as we shall see. These three subjects are reproduced in Dibdin's -'Bibliographical Decameron' (vol. i, page 99); there are two others in -the same work (vol. ii, page 65). At the foot of the other pages are -arabesques, among which we find the Pot Cassé, no. 2. In the text there -are thirteen large drawings, which harmonize admirably with the borders. -All the illustrations, or almost all, borders and drawings alike, are -signed with the Lorraine cross. - -The book ends on the recto of a leaf on the verso of which is this -colophon: EXCVDEBAT SIMON COLINÆVS PARISIIS E REGIONE SCHOLARVM -DECRETORVM: ANNO A CHRISTI IESV NATIVITATE M. D. XXV. XVII. CAL. FEBR. - -This date coincides with January 16, 1525. We have seen that the -title-page bears the date 1524, that is to say, the year when the book was -begun. These two dates, cited separately, have led bibliographers astray, -and have given rise to a theory that there are two different editions of -the same book. - -Here and there throughout the volume we find figures in the borders. These -figures are: 16, which appears on the inner side of leaves Ai verso and -Cvij recto and verso; 3, on the outer side of the border of leaves Aiiij -recto and verso, and Ciiij recto and verso; 10, at the foot of leaf Biij; -12, on the outer side of the border of leaf Bvi. Here and elsewhere, -to make my descriptions more clear, these books having no pagination, -I assign signature letters to the eight sheets of each fold; but it is -common knowledge that they actually appear on the first four only. I feel -justified in concluding from these figures that at first certain numbers, -running from 1 to 16, were engraved, and repeated on each compartment of -the same border, in order to enable the compositor to assort the pages -properly. Later these numbers were probably deemed to be of no use and -were cut off. The four that I have noticed, having inadvertently been -left, were finally removed before the printing was concluded. The scheme -of repeating each border on the recto and verso of the same leaf was very -ingenious, for it permitted the imposition of a larger number of pages -without calling attention to the repetition, as the two similar pages -were never seen at the same time. This required no more work, for it is -very clear that the borders were not added to the pages until the very -moment of printing, so that they might not be exposed to the accidents -inherent in the preparatory handling. M. Willemin has reproduced several -specimens of these borders in his 'Monuments Français Inêdits' (folio, -1839), page 296. - -[Illustration] - -The book contains, as we have said, thirteen large cuts (all of which -except the second are signed with the Lorraine cross). They are as follows: - -1 and 2. The Angelic Salutation, in two plates facing each other. - -3. The Visitation of the Virgin, with the device 'non plus' in a scroll -suspended from a tree. - -4. The Birth of Jesus. - -5. The Adoration of the Shepherds. - -6. The Adoration of the Magi. - -7. The Circumcision. - -[Illustration] - -8. The Flight into Egypt. - -9. The Coronation of the Virgin. - -10. The Crucifixion of Jesus. This design has five compartments. In -addition to the Crucifixion, there are bees at work, birds building their -nests, a peasant ploughing a field, and another shearing sheep. Each of -these four is accompanied by the device 'sic vos non vobis.' - -11. The Descent of the Holy Spirit on the Apostles, with the device 'non -plus' on the pediment of a temple. - -12. The Penance of David, with the same device, and the word 'peccavi' in -a scroll suspended from a tree. - -13. The Triumph of Death. This last cut represents Death, armed with a -spear treading on corpses. A crow on a tree above him has the words 'cras, -cras,' issuing from its beak. At either side are the devices 'non plus' -and 'sic ut,' on neighbouring buildings. - - * * * * * - -II. There are two sorts of copies in Tory's name. The first are -identical in every respect with those of Colines, except as to the first -page, where, after the title: 'Horæ ... habentur,' we find this imprint: -'Parisiis, apud Magistrum Gotofredum Torinum Bituricum. Ad insigne vasis -effracti, in via Iacobæa; gallice, Au pot casse, en la rue sainct Iaques.' - -Here the Pot Cassé, no. 3, with the device 'menti bonæ deus occurrit' at -the top, and 'non plus' at the foot. - -There is no date on the title-page, but there is one on the last -page,--the same that we find in the copies in Colines's name (see page -111). I have seen a copy of this book in the collection of M. Double, -who kindly allowed me to study it in detail. It is still in its antique -binding, and on the covers, in large roman letters, is this device, which -is believed to be that adopted by the unfortunate Dolet: - - D[OMI]NE REDIME ME A CALVMNIIS - HOMINVM VT CVSTODIAM - MANDATA TVA. - - D[OMI]NE IVSTICIA TVA IVSTICIA - IN ETERNVM ET LEX - TVA VERITAS. - -III. Other copies in Tory's name have a title-page in French, -with no border. This title-page reads as follows:-- - -'HEURES, A LA LOUANGE DE LA VIERGE MARIE, SELON LUSAGE DE ROME. -ESQUELLES SONT CONTENUES LES QUATRE PASSIONS, LE SERUICE COMMUN POUR LE -TEMPS DAPRES PASQUES, ET POUR LE CARESME, LE SERUICE DE LADUENT, ET DUDIT -ADUENT JUSQUES A LA PURIFICATION NOSTRE DAME. PAREILLEMENT, LES HEURES -DE LA CROIX, ET DU SAINCT ESPERIT, LES SEPT PSEAUMES, VESPRES, VIGILES, -ET COMMENDACES DES TRESPASSEZ, AVEC RAISONNABLE NOMBRE DORAISONS, ET -SUFFRAGES DES SAINCTZ ET SAINCTES. - -A la fin sont les heures de la Conception nostre Dame, et le symbole de -Athanase. Le tout au long, sans y rien requerir, est tres correcte, en -bonne orthographie de poinctz, daccens, et diphthongues situez aux lieux a -ce requis. Et sont a vendre par Maistre Geofroy Tory de Bourges, libraire -demourant a Paris sus Petit pont, ioignant lhostel Dieu, a lenseigne du -Pot Casse.' Then follows the device 'menti bonæ devs occvrrit,' and the -Pot Cassé in the same form as that on the title-page of the preceding -number. - -The order of the contents of the first signature is here a little -different from that followed in numbers one and two. On the verso of the -title the license begins, set in roman letters, which Tory preferred to -the gothic; it occupies two pages, as in the other copies, but those pages -are supplied with the antique borders. On the verso of the second leaf -is the table of Easter-Days, from 1525 to 1552. It is more conveniently -placed here than on the verso of the title, where it is separated from -the calendar by the license. Advantage was taken of the reprinting of -the first signature to remove the figure 16 from the border of the page -containing the table of Easter-Days, and to set right the lower section of -the border of page A vij recto, which is upside down in the other copies. -The figure 3 was not removed from page A iiij, probably because the second -side of that signature was not reprinted; but the 10 has disappeared from -page B iij, which would seem to show that the second side of signature B -was reprinted. The first side of signature T was reprinted also, in order -to change the colophon on the last page, for which this is substituted: -'Ces presentes heures a lusage de ROME furent acheuees de -imprimer le MARDY dixseptiesme iour de IANVIER Mil cinq -cens vingtcinq: pour maistre GEOFROY TORY de BOURGES, -libraire demorant a PARIS sus PETIT PONT, ioignant -lhostel DIEU, a lenseigne du POT CASSE.' (The words -printed in small capitals are printed in red in the book.) This is -followed by the mark no. 5, with the two mottoes ('menti,' etc., and -'sic,' etc.), which accompany that mark on page 43 of 'Champ fleury.' (See -supra, p. 21.) - -Tory had several copies printed on vellum; I myself have seen one of them, -belonging to the collection of M. Sauvageot.[244] - -It will be seen from the date affixed to these copies that they were not -printed until the day following the printing of those which bear the -name of Colines; for it is worth noting that the Tuesday, January 17, is -of 1525, and not of 1526 new style, as would have been the case had the -'use of Paris' been followed. But Tory thought, doubtless, that he should -follow the Roman usage in a book of Hours to the use of Rome. - -I imagine that this reprinting of three signatures of the Hours of -1524-1525 was done mainly to direct the attention of the public to -Tory's new establishment 'sus Petit Pont.' And this circumstance leads -me to believe that it was done subsequent to January 17, 1525, for it -is not conceivable that Tory would have left his former address, rue -Saint-Jacques, on the copies printed as late as January 16, if he was to -be settled 'sus Petit Pont' on the 17th. He retained that date on the -reissue, although it really took place later, in order to conform to -the terms of the license, which imposed upon the beneficiary the duty -of specifying on the books the date when they were first published, so -that the date of its expiration might be fixed, unless the term should -be extended, as was done in the case of this very book of Hours; witness -the license of 'Champ fleury,' dated September 5, 1526. Indeed, my own -opinion is that Tory did not remove to the Petit-Pont until about the -date last mentioned. We shall see that he remained there until 1530, when -the installation of his printing-office required him to take more roomy -quarters. However, when he opened his shop on the Petit-Pont he did not -abandon his place on rue Saint-Jacques, which he still occupied at least -as late as 1531. - -M. Niel owns a copy of this book, in which the cuts are coloured in -water-colour, lined with gold. M. Niel thinks that the arabesques are -adapted from those of Raphael in the Vatican, which had lately been -reproduced; the lamented Renouvier, who agreed with M. Niel in attributing -the colouring to Tory, considered it an admirable piece of work. - -It will not fail to be noticed, moreover, that Tory calls attention on -the title-page of his copies to the excellent orthography of his book: an -additional proof that this reimpression was subsequent to 1525. - -Tory lent his borders and his engravings to several printers, who -frequently removed his mark therefrom. I will mention particularly five -publications of Simon de Colines on the title-pages of which we find -Tory's borders. - -I. 'Divi Joannis Chrisostomi liber contra Gentiles,' etc.; -quarto, 1528. The title-page is surrounded by one of Tory's borders, -with the crowned F at the foot, and the broad upright section with -the two scrolls containing the words 'Geofroy Tory,' which have been -removed.--There is a copy of this volume, in vellum, in the library of M. -Solomon de Rothschild, who has kindly sent me this information. - -II. 'Rodolphi Agricolæ Phrisii de inventione dialectica libri -tres, cum scholiis Joannis Matthæi Phrissemii'; quarto, 1529 and 1538. -Border composed of two broad upright sections, one of which was used in -the preceding. A crowned F at the top, and another broad section at the -foot. - -III. 'Laurentii Vallæ de linguæ latinæ elegantia libri III'; -quarto, 1535 and 1538. Same border as in the preceding.[245] - - -2 - -In 1527 Tory published a new edition of his Hours, in one volume, -octavo, printed as before by Simon de Colines, in roman type, with -vignettes of the same sort, but much smaller. There is a copy on vellum -at the Bibliothèque de l'Arsenal; unluckily it lacks the first and last -leaves. According to M. Brunet,[246] to whom M. Tosi, of Milan, sent the -description of a perfect copy, also on vellum, the first page reads: -'Horæ in laudem Beatiss. Virg. Mariæ ad usum Romanum venales extant -Parrhisiis ad insigne vasis effracti.' And the last: 'Hujusmodi Horæ nuper -absoluebantur a prælo Colineo, die vicesima prima Octobris anno Domini -1527, pro magistro Gotofredo Torino Biturigico Bibliopola ad insigne vasis -effracti Parrhisiis commorante, ubi venales beneuolis omnibus amicabiliter -extant.' - -We give herewith an extract from the license of this new publication, -which license included also 'Champ fleury' and the Hours of 1524-1525: - -François, by the grace of God King of France, to the Provost of Paris, -the Bailli of Rouen and the Seneschal of Lyon, and to all our other -justiciars and officials and their deputies, and to each of them as to him -shall appertain, greeting. Our dear and well-beloved maistre Geofroy Tory -de Bourges, bookseller, living at Paris, hath now caused it to be made -known and shown unto us that, in order to proclaim, exalt and embellish -the Latin and French tongues, he hath not long since made and composed -a book in prose and in the French language entitled: 'Lart et science -de la deue et vraye proportion des lettres attiques, autrement dictes -antiques et vulgairement lettres romaines, proportionnees selon le corps -et visaige humain'; the which book he hath caused to be placed before -us, soliciting and requesting us to grant unto him leave, permission and -license to print, or cause to be printed the said book, together with -certain drawings and vignettes 'à l'antique and à la moderne'; likewise -friezes, borders, crowns and scrolls; also to cause to be printed books -of Hours, in such form and of such size as to him shall seem good, during -the time and term of ten years, beginning on the day of the printing of -said Book and said Hours; together with an extension for the same term -for certain drawings and vignettes by him heretofore printed.--We hereby -give you to know, that we, in consideration of the foregoing, generously -acceding to the petition and request of the said maistre Geofroy Tory, -and having regard to the toil, labour, outlays and expense which it hath -behooved him to undergo and sustain, as well in the composition of the -said books, as for the engraving of the said drawings, vignettes, friezes, -borders, crowns and scrolls to accompany the said Hours, as hereinbefore -mentioned, in divers forms and sizes,--have granted to him the privilege -of printing the said books, enjoining you not to allow any other printers -or booksellers within our realm, domains and seignories to print the said -books and Hours, on pain of one hundred silver marcs to be paid to us, -and of confiscation of said books. Given at Chenonceau the fifth day of -September, in the year of grace one thousand five hundred twenty-six, and -of our reign the twelfth. - - * * * * * - -In this new book of Hours there are thirty-two different borders, which -reappear on every second leaf--one hundred and twenty-eight in all. The -text is embellished by sixteen large subjects, naturally smaller, however, -than those in the quarto. In the copy at the Arsenal, the only one that -I have seen, these subjects are coloured. I did not discover Tory's mark -anywhere; but his mottoes do appear,--'menti bonæ devs occvrrit'; 'sic -vt, vel vt'; 'non plvs';--which proves that these plates were engraved for -him, if not by him. - -A list of the drawings follows:-- - - 1 and 2. The Angelic Salutation; two plates on adjoining pages, as - in the quarto of 1524-1525. - - 3. The Visitation of the Virgin. - - 4. The Birth of Jesus. - - 5. The Annunciation to the Shepherds. - - 6. The Adoration of the Magi. - - 7. The Circumcision. - - 8. The Flight into Egypt. - - 9. The Coronation of the Virgin. - - 10. St. Joachim and St. Anne Embracing (this is not included in the - edition of 1524-1525). - - 11. The Crucifixion. - - 12. The Descent of the Holy Spirit on the Apostles. - - 13. The Penance of David. - - 14. The Triumph of Death. - - 15. The Holy Trinity. - - 16. The Virgin and the Child Jesus. - - (The last two are not included in the edition of 1524-1525.) - -The signatures run from A to Z; that is to say, there are twenty-three -octavo sheets. - -The copy of the octavo Hours of 1527 at the Arsenal is a lovely volume -printed on vellum, with a number of manuscript prayers in French added at -the end. The calligraphic execution of these prayers, which are surrounded -by borders in imitation of those in the book, is wonderfully fine. The -colouring of the plates and the illuminating of the initial letters and -of those at the ends of paragraphs make the volume of great value. It is -still in its original binding (once very sumptuous, but now sadly out of -repair), on the covers of which one can distinguish interlaced C's, barred -S's, and star-shaped figures formed of two triangles turned end for end. -Can it have belonged to Catherine de Médicis, who became the consort of -Henri II in 1533? Unluckily it lacks two essential leaves, the first and -the last. - - -3 - -In the same year, Tory had printed by Simon Dubois ('Silvius') a quarto -edition of this same book of Hours, 'suivant l'usage de Paris.' - -It is dated October 22, 1527. It contains the new license, and comprises -thirty-six quarto sheets, folded two by two according to custom, and -forming eighteen octavo signatures, A to S. The book is printed throughout -in the gothic type of that time, with the borders 'à la moderne' mentioned -in the license of 1524, consisting of arabesques of flowers, insects, -animals, etc. There are twenty-six complete borders, which recur in -regular order. We find again here, as in the first quarto, thirteen large -subjects interspersed through the text. But a noteworthy fact is, that -although these subjects, with two exceptions,[247] are the same as those -in the first quarto, they are of entirely different designs, appropriate -to the 'modern' borders and type. It would be difficult to carry further -the love of artistic harmony. Neither the borders nor the illustrations -bear Tory's mark, and I doubt whether they are his. Perhaps the design was -Perreal's and the engraving by one of the artists employed by Tory, who -must then have had an organized workshop, if we may judge from the number -of works which he produced about that time. - -Dibdin speaks enthusiastically of this edition of the Hours, in his -'Bibliographical Decameron'; he even reproduces four of the large cuts -by which it is illustrated.[248] He says that it is the 'most beautiful -work' of that sort that he has ever seen, and expresses great surprise -that the arabesques have been cast aside. I confess that I do not share -his feeling. The book seems to me badly done, both from the artistic and -from the typographical standpoint: the borders do not harmonize, they -are out of proportion, and the engraving does not impress me as beyond -reproach. But Dibdin's opinion is, as everybody knows, very unreliable; -his carelessness is proverbial. Indeed, he gives us a striking instance of -it in this very passage: for he tells us that this book was published by -Tory of 'Bruges,' and that it has on the title, the Pot Cassé of Simon du -Bois[249]; two errors in one line! - -Among the small cuts at the foot of the pages, we observe the shield of -France; the crowned F; the crowned salamander; the crest of the king's -mother, 'party' of France and of Savoy, with her widow's girdle; her -initial (L), crowned; the shield 'party' of Navarre and of France, with -the letters H and M intertwined (the initials of Henri d'Albert, King of -Navarre, and Marguerite, sister of François I, whose marriage had been -celebrated January 24, 1526[250]); the Pot Cassé, no. 1, that is to say, -in its simplest form, etc. - -The exact title of this book is as follows: 'Hore in laudem beatissime -Virginis MARIE: secundum consuetudinem ECCLESIE PARISIENSIS.' (Here the -Pot Cassé, no. 9.) 'Venales habentur PARRHISIIS, APUD MAGISTRUM GOTOFREDUM -Torinum Biturigicum: SUB INSIGNE VASIS EFFRACTI: GALLICO SERMONE AU POT -CASSE.'--All the words here printed in small capitals are printed in red. -On the verso of the title-page is the license, dated September 5, 1526. At -the end of the book is the following: 'Ces presentes Heures a lusage de -Paris, privilegiees pour dix ans commenceans a la presente date de leur -impression, furent achevees dimprimer le vingt deuxiesme iour Doctobre, -Mil cinq cens vingt sept, par maistre Simon du bois, imprimeur, pour -maistre Geofroy Tory de Bourges, qui les vend a Paris a lenseigne du Pot -Casse.' (Here the same mark as on the first page.) - -It will be noticed that, although Tory felt bound to give the title of the -book in Latin, he could not forbear to print his address in French. - -This is the order of the plates, all of which measure nine centimetres by -six:-- - - 1 and 2. The Angelic Salutation, in two plates on successive pages - (fol. f 3 verso, and f 4 recto). - - 3. The Sibyl of Tibur (see the description on page 123, note 1), - fol. g 8 recto. - - 4. Jesus on the Cross, fol. h 6 recto. - - 5. The Descent of the Holy Spirit on the Apostles, fol. h 7 recto. - - 6. The Birth of Jesus, fol. i 1 recto. - - 7. The Annunciation to the Shepherds, fol. i 6 recto. - - 8. The Adoration of the Magi, fol. k 2 recto. - - 9. The Presentation in the Temple, fol. k 6 recto. - - 10. The Flight into Egypt, fol. l 2 recto. - - 11. The Coronation of the Virgin, fol. l 7 recto. - - 12. David Playing the Harp, fol. m 5 recto. - - 13. The Triumph of Death, fol. n 7 recto. - -M. Brunet[251] mentions a copy of this book on vellum. The Bibliothèque -Nationale owns one on paper, bound by Capé, with tooling copied from -Tory's. - - -4 - -HOURS OF THE VIRGIN, in roman type, with borders and arabesques -'à l'antique' on each page. A small 16mo volume, printed by Tory, February -8, 1529 (old style). - -Here is a description of this little gem, taken from the only copy that I -have seen, M. Niel's, which is on vellum. - -The title reads thus:-- - -'HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, SECUNDUM USUM -ROMANUM.' Then the Pot Cassé, and at the foot of the page: 'Menti -bonæ Deus occurrit.' - -On the verso of the title-page:-- - -'Rex christianiss. statuit ne quis alius a Gotofredo Torino Biturigico, -Bibliopola Parrhisiis habitante, imprimat aut imprimi faciat infra -decennium in toto regno hujusmodi coronamenta et figuras, sub pœna -gravissima, ut in diplomate ad hoc obtento latissime patet.' - -Then comes an abstract of the pontifical license, undated; and on the -following leaf the table of Easter-Days from 1530 to 1552. - -On the last page: 'Parrhisiis, apud Gotofredum Torinum Biturigicum, viii. -die febr. anno sal. M. D. XXIX,[252] ad insigne Vasis effracti.' - -The signatures run from A to Y; that is to say, the book consists of 22 -octavo forms, or 176 leaves. The pages, which contain 21 lines of brevier, -measure thus:-- - - Height, text alone 77 millimetres. - Height, with border 96 millimetres. - Width, text alone 29 millimetres. - Width, with border 48 millimetres. - -The volume contains twenty-one small cuts, unsigned, but all engraved in -Tory's manner. Here is a list of them:-- - - 1. Jesus on the Cross; a very small cut with five sections, like the - Crucifixion of the quarto of 1524-1525; that is to say, there are - bees at work, birds building their nests, a peasant ploughing, and - another shearing sheep. - - 2 and 3. The Angelic Salutation; two cuts facing each other, as in - the Hours of 1524-1525. - - 4 and 5. The Visitation (idem). - - 6 and 7. The Birth of Jesus (idem). - - 8 and 9. The Annunciation to the Shepherds (idem). - - 10 and 11. The Adoration of the Magi (idem). - - 12 and 13. The Circumcision (idem). - - 14. The Massacre of the Innocents. - - 15. The Coronation of the Virgin. - - 16. The Crucifixion. - - 17. The Descent of the Holy Spirit. - - 18. Bathsheba at the Bath. - - 19. The Triumph of Death. - - 20. The Trinity (small cut). - - 21. The Virgin in a halo, with an angel on each side.[253] - - -5 - -BOOK OF HOURS, quarto; same typographical arrangement as in the -quarto of 1524-1525. On the title-page, which has the border of those -copies of the earlier edition which bear the imprint of Simon de Colines, -we read:-- - -'HORÆ IN LAUDEM BEATISS. VIRGINIS MARIÆ. AD USUM ROMANUM.--PARRHISIIS, -APUD GOTOFREDUM TORINUM BITURIGICUM, REGIUM IMPRESSOREM. (Then comes -the motto: MENTI BONÆ DEVS OCCVRRIT, and beneath it the Pot -Cassé.) Cum privilegio summi Pont. et Regis christianiss. ad decennium et -ultra, ut in calce hujus operis patet.'[254] - -On the verso of the title the list of Easter-Days, from 1531 to 1560; then -the Calendar, the type in which this is set being so large that it was -necessary to omit the arabesques with figures at the foot of the border -and substitute simple arabesques like those at the top. - -On the recto of the last leaf is the abstract of the licenses, papal and -royal, and on the verso this colophon, set in the border of the last page -of 'Champ fleury': 'Parrhisiis, ex officina Gotofredi Torini Biturigici, -regii impressoris, ad insigne Vasis effracti, anno salu[tis] M. D. -XXXI, die XX mensis octo[bris].' Then the Pot Cassé and at -the foot of the page:-- - - 'Effracti, lector, subeas insignia vasis, - Egregios flores ut tibi habere queis.' - -The volume consists of twenty signatures (A to V) of two sheets each, -set in the roman type used in 'Champ fleury'; borders of the Hours of -1524-1525; also the thirteen drawings of that edition, but with special -borders in the form of porticoes, which appear in other minor works of -Tory published in 1531, of which we shall speak in the following section. -It is a fact worthy of remark that we no longer find the name Geofroy -Tory on his borders, and that even his mark has disappeared from several -of the cuts, particularly the first cut of the Angelic Salutation,[255] -the Adoration of the Shepherds, the Adoration of the Magi, the Flight -into Egypt, the Coronation of the Virgin, the Penance of David, and the -Triumph of Death. This circumstance leads me to believe that Tory had lent -these plates to other publishers, as he had lent his borders to Simon de -Colines, and that they removed the marks in order to appropriate more -completely the publications in which the plates were used. This was what -Simon de Colines did, as we have already seen (page 120). - -A no less interesting fact is that, in the borders, the crowned C's are -retained, which refer to Claude de France, the first wife of François I, -who died in 1524 and was succeeded in 1530 by Eleonora of Austria. - -We find also in this edition four unsigned cuts which do not appear in the -quarto of 1524-1525:-- - -Fol. H 8. The Angelic Salutation; a special design, quarto size. - -Fol. L 6. The Angelic Salutation; quite small, occupying only the upper -part of a page. - -Fol. R 7. The Trinity; small, with a special border. - -Fol. V 3. The Virgin; small, with a special border. - -The last two are taken from the 16mo Hours of 1529. The floriated letters -are the same as in 'Champ fleury.' - -Papillon, who speaks of this book,[256] without giving the title, and -attributes it to Woeiriot, who was not born in 1531, expresses himself -thus concerning it: 'I have seen an old book in which there are some of -his engravings; it is an octavo, each page of which is surrounded by a -decorative border, in compartments, of a beautiful gothic type. They are -engraved very correctly, even though it is line engraving, which is so -fine, so even and so accurate, that I am at a loss to understand how it -could have been done. There are in this book fifteen or sixteen large -cuts, also engraved in line; the drawing of the figures is passable. The -little Lorraine cross, which Woeiriot used as a mark, may be seen in -several places in the borders of this book.' - -M. de Rothschild's copy of this edition has one interesting peculiarity: -it is enriched by a large plate, unsigned, printed on an oblong -half-sheet, representing the Triumph of the Virgin Mary, which seems to -be an imitation of the Triumph of Apollo in 'Champ fleury.' The Virgin -appears in a chariot drawn by unicorns; behind the chariot are the Captive -Women; around the chariot, Prudence, Temperance, Justice and Strength; -in front of the unicorns, Hope, Faith, Charity; and farther in front the -Nine Muses, the Seven Liberal Arts, the handmaidens of the Virgin. In -the background, we see the Virginal Palace, the Palace of Jesse, and the -Temple of Honour. Beneath the picture is an explanation in French verse, -which begins thus:-- - - 'Les antiques Cesars triompherent par gloire, - Mais par humilite (ainsi le faut il croire) - La noble Vierge va triomphante en bon heur - Du palais virginal jusquau temple dhonneur.' - -I have seen this engraving nowhere else except in a copy of the edition -of the Hours published in 1542 by Olivier Mallard, of which I shall speak -in the third part; but I have no doubt that it was included originally in -all copies of the edition of 1531, perhaps also in that of 1524-1525. Its -chances of preservation were injured by its being bound in the form of a -map. At all events this unsigned plate is in Tory's manner, and it can -hardly be denied that it belongs to him. - - -6 - -At a time which I am unable to fix with precision, but not earlier than -the month of September, 1531, Tory printed another book, in octavo, with -borders made up of plants, animals, insects, birds, etc., like those in -the quarto Hours of 1527, but, naturally, on a smaller scale. I have -never seen this book, but its existence is established to my satisfaction -by the publication of a book of Hours, at a later date, by Olivier -Mallard, with the same borders and vignettes. I can give with certainty -neither the title nor the date of printing of Tory's book; but the date -of the engravings is readily determined approximately, thanks to certain -ornaments of Mallard's book. For instance, we find in it, as in the Hours -of 1527, the crowned F and the salamander of François I, the crowned L -and the biparted shield (France and Savoy) of his mother, who died in -1531, and a blank shield which suggests the widowhood of François, and -consequently proves that these cuts were designed before July, 1530. As -for my ascription of these cuts to Tory, it is due to the style of the -borders, which are copied from the Hours of 1527. Moreover, he has added a -special symbol, namely, the coat-of-arms of Bourges (three sheep, placed -two and one, and wearing collars), which appears now and again at the foot -of the page, beside the symbols of François I and his mother. As I have -said, I do not know the title of the book in which Tory first used these -cuts; it seems to me, however, that we may fairly conclude from the use -Olivier Mallard made of them that it was a book of Hours; Tory probably -decided to publish an octavo edition of his Hours 'à la moderne' of 1527, -as he had published in 1527 an octavo edition of his Hours 'à l'antique' -of 1524-1525. Indeed, it may be that the book in question is the one thus -described by M. Brunet: 'Horæ in laudem beatissimæ Virginis Mariæ ad usum -Rothomagensem.--Parisiis, ad insigne Vasis effracti. 1536.' Small octavo, -roman type, line engravings. - -It will be seen that the book is said to be printed at the sign of the Pot -Cassé, without mention of the printer's name. This may mean that it was -printed by Tory's widow, who published Macault's work in the same way in -1535. - -We shall speak elsewhere of Mallard's book, but this is the place to -mention the engravings it contains, which doubtless appeared also in -Tory's book. In Mallard's publication of 1541 there are sixteen different -borders, the same one being always placed on the recto and verso of each -leaf, and nineteen of the plates of the 16mo edition of 1529. The two -lacking are number 1 and number 21. [The engravings of The Visitation are -reproduced below.] - -[Illustration] - - -FOOTNOTES: - -[Footnote 244: It was bought for 3025 francs, exclusive of commissions, -for the Bibliothèque Impériale (in December, 1860). It is a superb copy, -still in its original binding. M. Brunet mentions two other copies: (1) -That of Baron de Heiss, the cuts in which were coloured, and which brought -only 60 francs in 1785. It was the same copy, apparently, which was sold -for 13 pounds at the sale of Richard Heber. (2) The McCarthy copy, extra -illustrated with 19 lovely miniatures from an old manuscript, has brought -450 francs.] - -[Footnote 245: [The translator has before him a copy of an earlier edition -(1529) of this work, the title-page of which reads as follows: 'Lavrentii -Vallae de Lingvae Latinae Elegantia libri sex, iam tertiu de integro bona -fide emaculati. Eiusdem de Reciprocatione Sui & Suus libellus apprime -vtilis. Cum indice amplissimo. Parisiis Apud Simonem Colinæum.' 1529. The -border differs slightly from that described above. In this case Tory's -mark was not removed by Colines, but appears twice.]] - -[Footnote 246: _Manuel de Libraire_, 5th ed., vol. v, col. 1658.] - -[Footnote 247: The Adoration of the Shepherds is replaced, as in the -octavo edition, by the Annunciation to the Shepherds, and the Visitation -by an entirely different subject, taken from a Christian legend: the -Emperor Augustus, kneeling on the ground, holds one hand of the Sibyl of -Tibur, who with the other hand points to the Virgin and the Child Jesus in -Heaven.] - -[Footnote 248: Vol. i, pp. 94-98.] - -[Footnote 249: _Bibliographical Decameron_, vol. i, p. 98.] - -[Footnote 250: This princess, born in 1492, was the grandmother of Henri -IV; she married, first, Charles, duc d'Alençon. She was famous for her -intellectual qualities, and we owe to her several noteworthy works.] - -[Footnote 251: _Manuel de Libraire_, vol. iv, 4th edit., p. 802, col. 1.] - -[Footnote 252: 1530 new style.] - -[Footnote 253: In my first edition I described only 19 cuts, after the -imperfect copy of M. de Rothschild.] - -[Footnote 254: Tory had already received licenses for twenty years for his -Hours (see supra, pp. 105-9, 121), so that he did not need this further -grant, which, indeed, he did not print at the end of his book.] - -[Footnote 255: This cut, on the verso of a leaf of which the recto is -blank, is missing in many copies.] - -[Footnote 256: _Traité de la Gravure sur Bois_, vol. i, p. 193.] - - - - -[Illustration] - -SECTION III. - -WORKS PUBLISHED BY TORY FOR FRANÇOIS I. - - -1 - -LE SACRE ET CORONNEMENT DE LA ROYNE, IMPRIME PAR LE COMMANDEMENT DU -ROY NOSTRE SIRE. (Pot Cassé no. 6.) On le vend a Paris, en la rue -Sainct Iaques, devant lescu de Basle, et devant leglise de la Magdaleine, -a lenseigne du Pot Cassé.--Avec privilege. - -Quarto, of three signatures. [Paris, Geofroy Tory, 1531.] - -The title which I have transcribed is set in a pretty portico-shaped -border, decorated with arabesques, at the foot of which is found the word -'salvs.' - -On the verso: 'Il est permis a maistre Geoffroy Tory de Bourges, marchant -libraire, demourant a Paris, imprimer et mettre en vente ce present -livre,' etc. On the recto of the second leaf: 'Cest Lordre et forme qui -a este faicte et tenue par le commandement du Roy nostre Sire au Sacre -et Coronnement de la Royne ma dame Leonore Daustriche, seur aisnee de -Lempereur, le cinquiesme iour de mars M. D. XXX. Lequel ... a -este mis et redige par escript au vray par moy Guillaume Bochetel, son -notaire et secretaire, signant en ses finances....' - -The text begins immediately under this, with the beautiful decorated -letter (L) which is reproduced on page 1 of this book. - -The license, printed on the last leaf but one, informs us that Tory had -then become a printer, whence we may conclude that it was he who printed -the volume, although there is no definite statement to that effect. - -'We have given to maistre Geoffroy Tory, bookseller, and printer, leave -to print the Queen's Coronation, and do forbid all other printers to -print the same for the term of one year,[257] on pain of summary fine on -conviction thereof. Done at Paris the tenth day of March one thousand five -hundred and thirty. DE LA BARRE.' - -On the last page, which is set in a border of the same type as that of the -title-page, we read, above the Pot Cassé: 'The printing of this present -book was finished the XVI day of March M. D. XXX,[258] and it is for -sale,'[259] etc. - - -2 - - LENTREE DE LA ROYNE EN SA VILLE & CITE DE PARIS, IMPRIMEE PAR LE - COMMANDEMENT DU ROY NOSTRE SIRE. (Pot Cassé, no. 6.) On la vend - a Paris, en la Rue Sainct Iaques devant Lescu De Basle, & devant - leglise de la Magdaleine, A Lenseigne du Pot Casse.--Avec Privilege. - Quarto, of six signatures. [Paris, Geofroy Tory, 1531.] - -This title is set within the charming title-page border of the Colines -copies of the Hours of 1524-1525. On the verso of the title-page: 'Il est -permis,' etc., as in the preceding volume. On the second leaf the text -begins with a beautiful decorated letter (A) after the style of the L -of the volume last described. This page also is set in a portico-shaped -border, with arabesques; but the latter are different from those in the -'Sacre.' - -We find, too, three other and different borders in the balance of the -work, which gives us in all six pages with borders in addition to that of -the title-page and that of the last page, which is identical with that of -the last page of 'Champ fleury'; some floriated letters also have been -borrowed from this last-named work. Though none of these are signed, they -are surely Tory's, so far as the designs are concerned, at least. - -The text of this book, as of the preceding, is by Guillaume Bochetel, who -signed it. Following his text, Tory inserted a charming cut, representing -the gift presented by the city of Paris to the Queen--a magnificent -candelabrum. At the top are the words: 'Deseing du present faict a la -Royne en deux chandeliers.'[260] The license granted to Tory for printing -this book is identical with that of the preceding, except that it is dated -at Anet, April 26, 1531. We learn from the last page that the printing was -finished on Tuesday, May 9, 1531. - -Geofroy Tory was not simply the printer of this little volume; he was also -the publisher, and he added to the text three poems in Latin, of his own -composition. Here they are:-- - - _Geofroy Tory of Bourges to Queen Leonora._[261] - -We are about to celebrate this triumph of yours, Leonora, which your -Parisians have conferred upon you. You are a queen so loving-kind to us -that we all can say that you are a real goddess. We can certainly say that -you are a benign goddess, since you at last bless us with grateful peace. -With peace you bless all who inhabit the French kingdom, so kind have -been the fates in establishing you in power. As one upright, aye, holy, -gentle, and a true bestower of blessings, you have brought our lilies back -to their country. By your leave, I will speak in few words, and I will -proclaim the truth: in you resides full national salvation for us all. - - _The same to the same._ - -May the gods long continue your happy lot, Leonora. You are our Joy, our -Peace, and our grateful Repose. - - _The same Tory to the French People._ - -Exult and be glad, people of France; you see what happiness Leonora now -brings to you. She, sent, be sure, by the manifest will of God, enables -you at last to enjoy the blessings of peace. Strew roses, laurel, violets, -nard, and saffron, and merrily revel to your hearts' content. But be -careful too that you, best of people, be not backward in rendering pious -prayers to God. If you never cease to sing God's praises and to frequent -his temples, believe me, you will long enjoy the blessings of peace. You -will behold the golden ages beneath the smiling heaven, and on earth you -will reap in prosperity golden harvests. Add to this that you will in -similar manner become a race all golden too. Continue, therefore, your -holy services to the most high God. - - -3 - - IN LODOICÆ REGIS MATRIS MORTEM EPITAPHIA LATINA ET - GALLICA.--EPITAPHES A LA LOUENGE DE MA DAME MERE DU ROY FAICTZ PAR - PLUSIEURS RECOMMENDABLES AUTHEURS. (Pot Cassé no. 6.) On les - vend a Paris devant Leglise de la Magdeleine, a Lenseigne du Pot - Casse.--Avec privilege. - -Quarto, of two and a half signatures. [Paris, G. Tory, 1531.] - -The license, dated Paris, October 13, 1531, and signed DE LA -BARRE, like the two preceding, gives Tory at last the title of king's -printer: 'We have granted to maistre Geofroy Tory, marchant libraire et -_imprimeur du Roy_, leave,' etc. On the last page, which, as well as the -first, is set in a border,[262] are the words: 'Printed at Paris, at the -sign of the Pot Cassé, by maistre Geofroy Tory de Bourges, bookseller and -king's printer. The XVII day of October, M. D. XXXI.' - -As the title-page indicates, this volume contains verses in Latin and in -French by divers contemporary authors. Among the former is one by Geofroy -Tory himself, which I will give as a specimen. - - -_Louise, royal mother, addresses and consoles her France: written by -Geofroy Tory of Bourges._[263] - -France, why do you in deepest sorrow mourn for me? Do you not know that -the whole human race is destined to die? Revive, and consider how I by -my foresight preserved you from the bitter and ruthless enemy. I leave -to you a son, king by divine will, who under my guidance cherishes you -in glorious peace. Joyfully he beholds in your arms his pledges, who -will bring the whole world under your sway. You have a queen who is -the foster-daughter of virtue and peace, and who blesses your lot with -good fortune. You have also another queen, who is the sister and good -counselor of your consecrated king. With such guides as these, dear -France, you should not complain. You are fortunate in having such leaders. -Moreover, when I die, I will not desert you, for you have my immortal -name. Devotedly I will ever pray for you before the mighty Thunderer, -asking that you may reign victoriously and nobly. Strew laurel for me, -violets, nard, and saffron; strew also flowers, lilies, garlands, and -roses. Add to these, moreover, hymns with most exalted praises, rites, -melodies, incense, myrrh, and prayers. Hesitate not to erect altars to me. -For, as a benign goddess, I now proceed to fly to Heaven. Farewell. - - * * * * * - -The first two of these three opuscula exhibit three different kinds of -type: that of 'Champ fleury' and two others. In the third we find a fourth -size. It will be seen that Tory's printing-office was increasing in -importance.[264] - - -4 - - ORDONNANCES DU ROY (François I), etc. - -Quarto, of four signatures (A to D). Paris, 1532. - -I have seen only the last signature of this collection. It has a special -title-page, embellished by the border of the Colines copies of the Hours -of 1524-1525; but the signature letter (D) and the first word of the title -demonstrate the existence of at least three others. It seems that Geofroy -Tory treated the legislative documents of François I in the sixteenth -century as the Imperial printing-office treats the 'Bulletin des Lois' -to-day: that is to say, each fold has a title, although it forms a part of -the same publication with that which precedes and that which follows. - -I transcribe the title of the signature that I have seen,[265] made up of -six leaves, that is a sheet and a half quarto[266] (_encartées_):-- - -AUTRES ORDONNANCES NOUVELLES DU ROY NOSTRE SIRE SUR LESTAT DES -TRESORIERS ET MANYMENT DES FINANCES, PUBLIEES EN LA CHAMBRE DES COMPTES -ET AU CONSEIL DE LA TOUR CARREE. (Pot Cassé.) Imprimees a Paris par -maistre Geofroy Tory de Bourges, libraire et imprimeur du Roy. Devant -Leglise de la Madeleine, a lenseigne du Pot Casse.--Avec privilege comme -il appert cy apres en la fin. - -Then follow four ordinances of the king, of the year 1532, 'sur lestat -des tresoriers,' etc. They are dated, the first at Hamby, April 19, -the second at Châteaubriant, June 14, the third and fourth also at -Châteaubriant, May 16. On the recto of the last leaf is the duplicate of -the license, in these words:-- - -'The judges appointed by the king in the Chambre de la Tour Carree to -administer the finances, having considered the petition presented by -Geofroy Tory, bookseller and king's printer, praying that he may have -permission to print the ordinances of late issued by the king touching -the administration of his finances and the officers engaged therein, -which have been published in said chamber, and that all other booksellers -and printers may be forbidden to print or to cause to be printed the -said ordinances until the expiration of three years next ensuing, on -pain of summary fine, the said judges have permitted and do permit the -said Geofroy Tory to print the said ordinances, and forbid all other -booksellers and printers to print or cause to be printed the said -ordinances for one year,[267] on pain of summary fine. Done at Paris the -eighteenth day of July, in the year one thousand five hundred thirty-two. -Signed: Bordel.' - -On the last page is the beautiful final border of 'Champ fleury,' in -which is the Pot Cassé; and beneath it are the words: 'The printing of -these present ordinances was finished the twentieth day of July M. -D. XXXII, by maistre Geofroy Tory de Bourges, bookseller and king's -printer.' - - -5 - - LHISTOIRE ECCLESIASTIQUE [of Eusebius] TRANSLATEE - DE LATIN EN FRANÇOIS PAR MESSIRE CLAUDE DE SEYSSEL, EVESQUE LORS - DE MARSEILLE, DEPUIS ARCHEVESQUE DE THURIN.--Imprimee par - le commandement du Roy (Pot Cassé).--On les vend a Paris, devant - leglise de la Magdelaine, a lenseigne du Pot Casse. Par maistre - Geofroy Tory de Bourges, marchant libraire et imprimeur du - Roy.--Avec privilege pour six ans. - -Paris, G. Tory, 1532. Folio; 6 preliminary leaves, 151 leaves of text, -numbered, and a final unnumbered leaf, on the verso of which are the -words: 'The printing of this present book was finished the XXI -day of October, M. D. XXXII, by maistre Geofroy Tory,' etc. Then -follows the Pot Cassé, surmounted by the arms of France, borrowed from the -verso of the title-page of 'Champ fleury.' - - -6 - - LES TROYS PREMIERS LIVRES DE LHISTOIRE DE DIODORE SICILIEN, - HISTORIOGRAPHE GREC. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE - ANTHOINE MACAULT NOTAIRE SECRETAIRE ET VALLET DE CHAMBRE ORDINAIRE - DU ROY, FRANCOYS PREMIER.--Imprimez de l'ordonnance et - commandement dudit seigneur.--Avecques privilege a six ans.--On les - vent a Paris en la rue de la Iuifverie, devant la Magdalaine, a - l'enseigne[268] du pot cassé. - -At the end: 'Imprimé a Paris, en avril M. D. XXXV.'[269]--Quarto. - -The title-page of this book is embellished by a portico-shaped border, -which is found in the first three opuscula described in this section. On -the verso of the title, in the vellum copy at the Bibliothèque Nationale, -is the final border of 'Champ fleury,' in which are depicted the arms of -England, with the device, DIEV EST [_sic_] MON DROICT. - -The author's exordium begins with a large letter S, decorated with an -escutcheon bearing two fasces accompanied by nine besants, three by three, -with this device in Greek: MHKETI ('not at all'); these are -Macault's arms, doubtless. This letter appears again on folio 148. Facing -the first page of text is a magnificent engraving representing François I -surrounded by his court, listening to Macault as he reads his book to the -king. The author is represented in a clerical costume, with a calotte on -his head. Beside him are the three sons of François I: François, who died -a few years later, Henri, who became Henri II, and Charles, Duc d'Orléans. -This engraving is a faithful copy of the painting on Macault's original -manuscript, which was still in France in 1811, but has since crossed over -to England. It is described in Part 3, section 1 (pages 166-168). - -The printed book forms a quarto volume of 8 unnumbered preliminary leaves, -152 numbered leaves (signatures A to Q), and 8 leaves of index: 168 leaves -in all. On the last page is the final border of 'Champ fleury,' which -appears also on the verso of the title.[270] - -[Illustration: PIERRE ROFFET] - - -FOOTNOTES: - -[Footnote 257: The license had no sooner expired than the book was -reprinted, as may be seen by a copy of an edition in gothic type, of eight -octavo signatures, dated 1531, in the Bibliothèque Nationale.] - -[Footnote 258: 1531 new style.] - -[Footnote 259: A new edition of this book has recently been published -at Brussels, being a photo-lithographic reproduction of the copy in the -Bibliothèque du Roi.] - -[Footnote 260: See what M. A. de Montaiglon says of this engraving in the -_Archives de l'Art français_, vol. ix, p. 266.] - -[Footnote 261: [For original Latin, see Appendix X, _y_.]] - -[Footnote 262: The borders are the same as those at the beginning and end -of the _Entree de la Royne_.] - -[Footnote 263: [For original Latin, see Appendix X, _z_.]] - -[Footnote 264: These three opuscula are bound together in one volume at -the Bibliothèque de l'Arsenal. The Bibliothèque Nationale also owns them -all, bound separately and more or less imperfect. The omission of the last -of the three from the new catalogue is an error, for it is in the library.] - -[Footnote 265: At the shop of M. Potier, bookseller, Paris. M. Alkan, -senior, also owns the last leaf of this signature.] - -[Footnote 266: If the other three signatures are complete, they should -contain six sheets, folded two and two, according to custom.] - -[Footnote 267: It will be observed that the judges granted the license -for but one year, instead of the three that Tory had asked. I have seen -another similar collection of ordinances in the name of Galiot Dupré, -dated 1528, for which the judges extended the license to two years.] - -[Footnote 268: Here and elsewhere we find the apostrophe, but its use is -not yet constant. The compositors were not used to the sign, which was -employed to designate the suppression of a letter for euphony's sake.] - -[Footnote 269: It may be that we should read 1536 new style, as Easter -fell in that year on April 16. We add this book to Tory's list, although -he was dead at that time, because it was evidently begun by him and -finished by his widow.] - -[Footnote 270: M. Ambroise Firmin Didot owned a copy of this book, on -paper, in its ancient binding, with the Pot Cassé. He owned also another -copy, on vellum.] - - - - -SECTION IV. WORKS PRINTED BY TORY FOR PRIVATE INDIVIDUALS. - - -1 - - ANTISTITIS INCOMPARABILIS MICHÆLIS BODETI, DUM VIVERET EPISCOPI - DUCIS LINGONENSIS ET PARIS FRANCIÆ EPICEDIUM. - -Below this title, the arms of Michel de Boudet, engraved on wood. At the -end is the Pot Cassé, with this colophon: 'Parisiis anno salutis humanæ -1530.' (Michel de Boudet had died in 1529, with the title of duke and -peer, which the Bishops of Langres had borne since the twelfth century.) -Six quarto leaves [Paris, G. Tory, 1530]. Library of the Faculty of -Medicine of Montpellier, no. 292. - -Having had occasion to visit the neighbourhood of Montpellier for reasons -connected with my health, I seized the opportunity to examine this volume -and complete my information concerning it. On the first page, surrounded -by the border of the Colines copies of the Hours of 1524-1525, are these -words: 'Antistitis Incomparabilis Michælis Bodeti dum viveret Episcopi -Ducis Lingonensis et Franciæ Paris Epicedium.' Then the arms of Michel -de Boudet. On the verso: 'Cautum est privilegio, ne quis hoc Epicedium -imprimat aut imprimi curet infra biennium subpöena in diplomate ad hoc -obtento contenta.' The four following leaves contain a poem in honour of -Michel de Boudet; on the sixth is the Pot Cassé, no. 6, and beneath it: -'Parrhisiis, Anno salutis humanæ, M. D. XXX.' There is nothing -to indicate the author of this little work, which is printed in the same -type as the Epitaphs in honour of the mother of François I.[271] - - -2 - - APOLOGIE POUR LA FOI CHRESTIENNE CONTRE LES ERREURS CONTENUES EN - UN PETIT LIVRE DE MESSIRE GEORGES HALEVIN. - -Paris, G. Tory, 1531. Octavo. - -I borrow this description from the 'Catalogue de la Bibliothèque de feu -M. de La Vallière' (vol. i, p. 275), for I have not been able to inspect -this work, which, however, should be in the Bibliothèque de l'Arsenal with -M. de La Vallière's other books, and in the library at Sainte-Geneviève, -whither it must have gone with the collection of Le Tellier in whose -catalogue it also appears. - - -3 - - HISTOIRE DES EMPEREURS DE TURQUIE, translated from Latin - into French by Barthélemy Dupré. 1532. - -I borrow this abridged description from a biography of Tory published -by M. Chevalier de Saint-Amand, honorary librarian of Bourges, in the -'Annonces Berruyères,' no. 38 (September, 21, 1837).[272] - - -4 - - LADOLESCENCE CLEMENTINE. AUTREMENT, LES OEUVRES DE CLEMENT MAROT - DE CAHORS EN QUERCY, VALET DE CHAMBRE DU ROY, COMPOSEES EN LEAGE DE - SON ADOLESCENCE.--AVEC LA COMPLAINCTE SUR LE TRESPAS DE FEU MESSIRE - FLORIMOND ROBERTET. ET PLUSIEURS AUTRES OEUVRES FAICTES PAR LEDICT - MAROT DEPUIS LEAGE DE SA DICTE ADOLESCENCE. Le tout reveu, - corrige & mis en bon ordre.--On les vend a Paris, devant Lesglise - Saincte Geneviefve des Ardens, Rue Neufve nostre Dame. A Lenseigne - du Faulcheur.--Avec privilege pour Trois Ans. - -At the end: 'The printing of this present book was finished on Monday the -XII day of August. Year M. D. XXXII. For Pierre Roffet, -called le Faulcheur. By maistre Geofroy Tory de Bourges, king's printer. - -Octavo, 1st edition. Only a single copy is known, now in the Bibliothèque -Nationale. The volume consists, first, of four preliminary leaves (half a -fold), comprising: (1) the title which I have just transcribed; (2) on the -verso, some laudatory verses, among which figures this distich of Tory, -who was not only Marot's printer, but his friend:-- - - 'Vis lauros cypriasque comas, charitesque, iocosque, - Inde sales etiam nosse? Marotus habet'; - -(3) Clément's letter 'to a large number of brethren,' dated August -12, 1532, that is to say, on the same day that Tory finished printing -the book, and not August 12, 1530, as was erroneously printed in some -subsequent editions, which has given rise to a theory of an earlier -issue[273]; (4) the table of contents; (5) a leaf entirely blank. Then -comes the text of the 'Adolescence Clementine,' extending from folio 1 -to folio 104, on which is the word 'finis'; and after that the 'Chant -royal,' etc., from 105 to 115. The book ends with a list of errata on an -unnumbered folio (116). The table of contents, on one of the preliminary -leaves, informs us that one ode had previously been published separately, -but no copy of it is known. - - -5 - -_The Same._ - -A second edition of this book was published by the same bookseller, and -the printing finished by Tory on November 13, 1532. It differs from the -first in this respect, that the text and preliminary leaves are joined, -or, to speak more accurately, the first two of those leaves; for the table -of contents is relegated to the end of the volume, in place of the errata, -which no longer appear. The volume consists of a hundred and nineteen -leaves, the last unnumbered. The word 'finis' still appears on folio -104, after the 'Adolescence Clementine'; then comes the 'Chant royal,' -etc.; and lastly two leaves entitled: 'Autres Œuvres faictes en sa dicte -maladie,' indicated by this phrase on the title-page: 'Plus amples que les -premiers imprimez de ceste, ny autre impression.' (Bibliothèque Mazarine.) - - -6 - -_The Same._ - -A third edition was printed by Tory on February 12, 1532 (1533, new -style), like the preceding in every respect, but having only 118 leaves. - - -7 - -_The Same._ - -A fourth edition appeared June 7, 1533, identical with the preceding, -except that the words on the title-page, 'plus amples,' etc. are replaced -by these: 'Avec certains accens notez, cest assavoir sur le é masculin -different du feminim [_sic_], sur les dictions ioinctes ensembles par -sinalephes, et soubz le ç quant il tient de la prononciation de le s, ce -qui par cy devant par faulte daduis n'a este faict au langaige françoys, -combien q'uil [_sic_] y fust et soit tres necessaire.' - -This fourth edition of the 'Adolescence Clementine' was the last work -printed by Tory to my knowledge. In the intervals between these four -editions, however, he had published the works of Clément Marot's father, -edited by Clément himself, under the following title:-- - - -8 - - IAN MAROT DE CAEN, SUR LES DEUX HEUREUX VOYAGES DE GENES & - VENISE, VICTORIEUSEMENT MYS A FIN, PAR LE TRESCHRESTIEN ROY LOYS - DOUZIESME DE CE NOM, PERE DU PEUPLE. ET VERITABLEMENT ESCRIPTZ - PAR ICELUY IAN MAROT, ALORS POETE ESCRIUAIN DE LA TRESMAGNANIME - ROYNE ANNE, DUCHESSE DE BRETAIGNE, & DEPUYS VALET DE CHAMBRE DU - TRESCHRESTIĒ ROY FRANCOYS PREMIER DU NOM. On les vent a Paris, - deuant Lesglise Saincte Geneuiefue des Ardens, Rue Neufue Nostre - Dame, A Lenseigne du Faulcheur.--Auec priuilege pour Trois Ans.[274] - -At the end: 'The printing of this present book was finished the -XXII day of January, M. D. XXXII [1533, new style], for -Pierre Roufet, called Le Faulcheur, by maistre Geufroy Tory de Bourges, -king's printer.' - -Octavo of 101 leaves. (Bibliothèque Nationale.) - -In this edition there is a letter of Clément Marot mentioning the death of -his father, 'author of this book.' - - -9 - -_The Same._ - -M. Brunet cites a second edition of this book, executed by Tory for the -same bookseller in 1533. - - -FOOTNOTES: - -[Footnote 271: [This paragraph was added by the author after his second -edition had gone through the press.]] - -[Footnote 272: In his _Peintre-graveur français_, M. Robert-Dumesnil -mentions an edition of this book with the date 1538, Paris, G. Tory; which -is impossible, as Tory died in 1533.] - -[Footnote 273: See M. Brunet's _Manuel de Libraire_, 5th edit. vol. iii, -col. 144.] - -[Footnote 274: There is a copy in the Bibliothèque Nationale, to which is -added: _La suite de l'Adolescence clémentine_, with 3 preliminary leaves -and 126 of text, on the last of which is the mark of Pierre Roffet, signed -with the Lorraine cross [see page 137, supra]; but not printed by Tory, -for the book was printed for the widow of Roffet, and the latter did not -die, it is supposed, until 1537, after Tory's death.] - -[Illustration: PART III. - -ICONOGRAPHY. - -[Illustration] ] - - - - - HRECVLES - GALLICVS - - [Illustration] - - LE - HERCVLES - FRANÇOIS. - - - - -PART III. ICONOGRAPHY. - - -As I have hitherto called attention to the books that we owe to Tory -whether as publisher, as author, or as printer and bookseller, so it -will be well to notice those which he enriched with his paintings and -engravings during twenty years of his life. This is a new aspect of his -whole career which it is our present purpose to bring into view; for, -while Tory was for some time teacher, bookseller, printer, he was always a -draughtsman and engraver, from the day that he was a man grown. - -But, first of all, there is a preliminary question to be decided: Was -Tory really a painter and engraver? In the first part of this book I -said that he was, but I did not furnish proofs of the fact, and none of -the historians of painting or of engraving have mentioned him in that -connection. It is advisable therefore, first of all, to demonstrate the -accuracy of my assertion. In order to solve this complicated question more -easily, let us divide it. - -Was Tory a painter? - -That Tory was a painter-draughtsman, there can be no doubt, for he himself -makes the assertion in express terms on each page of 'Champ fleury.' For -instance, we read on folio 3 verso of that work, apropos of the Gallic -Hercules:-- - -'I saw this same fable in rich painting within the city of Rome near the -Sanguine tower, not far from the Church of Saint Louis, ... and the better -to keep the thing in my eye, I made this drawing....' - -In the collection of verses written by him on the occasion of the death of -his daughter Agnes, Tory makes her speak thus from the urn wherein she is -supposed to repose:-- - - MONITOR. - - Who made for you this urn, set with brilliant gems? - - AGNES. - - Who? My father; famed in this art. - - MONITOR. - - Certes, your father is an excellent potter. - - AGNES. - - He practises industriously every day the liberal arts. - -Thus Geofroy Tory himself informs us in 1523 that he industriously -practised the arts. Now, if this were true, he could not have been -ignorant of drawing, which is the first of all the arts. Moreover, it -is plain that in those days an engraver (and we shall prove in a moment -that Tory was one) could not fail to be a draughtsman. The artist was -at that time an all-round workman, embracing all the special branches -of his profession: painting, drawing, engraving, he took a hand at them -all. Not until it became vulgarized, until it became a trade, was art -subdivided--and greatly to its prejudice. In truth, one cannot but realize -all that there is to be desired in the work of those mercenaries of the -engraver's art, who, having no knowledge of the first elements of drawing, -are bidden to reproduce, with the aid of the graving tool, lines which -they do not understand. - -We can therefore assert that, as a general rule, the engravings found in -Tory's books were drawn by him. - -But this is not all: I believe that we should also attribute to him the -admirable miniatures[275] that have come down to us of the painter known -by the name of 'Godefroy.' If, indeed, we compare the engravings in Tory's -books with the designs of that painter, we readily recognize a similarity -of execution which seems to establish the identity of the two men. This -Godefroy, who signs his works sometimes with the full name, sometimes with -a simple G, but always in roman letters,--a noteworthy thing at a time -when the gothic was in its most flourishing state,--was no other than -Tory, whose baptismal name, as we have seen, was in Latin Godofredus. -We know how little was thought of family names in the old days. As -late as the sixteenth century it was no uncommon thing to see persons -designated by their baptismal names alone, or, at most, with the name of -their native place added. We have seen[276] that the famous painter Jean -Perreal, Tory's master and friend, was little known except by the name of -Jean de Paris. Tory himself is called Godefroy the Berrichon (Godofredus -Biturix) in some verses which his friend Gérard de Vercel composed in his -praise in 1512.[277] Even at the close of the sixteenth century our two -leading bibliographers, Antoine du Verdier and La Croix du Maine, who -also bore geographical names, deemed it proper to adopt no other order -than that of baptismal names in arranging alphabetically the authors who -are mentioned in their books entitled 'Bibliothèque Françoise.' There is -nothing extraordinary therefore in Tory's signing his first works with a -baptismal name alone. It is true that that name is slightly different, -orthographically speaking, from the one that he used later; but it is well -to remember the change that took place about that time in our author's -customs. Doubtless he signed 'Godefroy' before he had entirely shaken off -the yoke of the classical languages,[278] and had adopted the more French -form 'Geofroy,' which was about the year 1523. - -The dates inscribed upon some of Godefroy's paintings, 1519 and 1520, -coincide perfectly with the known facts of Tory's life: that was the -period when, after his second return from Italy, he was fain to utilize -his talents for his livelihood. I may add that we have several engravings -of that same period signed with a G alone, or with a G within which -appears a small F; others signed with a G surmounted by the -double cross, with a small S within; and others signed G. T., -which serve to mark the transition between Tory's use of the simple G and -the inscription in full of his two names, Geofroy Tory. These two names -appear together in one of the borders of his Hours of 1524-1525 [the -border which is to be found on p. 105]. - -Whatever the fact may be, we propose to give here, by way of memorandum, -at least a brief list of the works of the painter Godefroy, referring the -reader for fuller information to the interesting article which M. Léon de -Laborde has published upon this subject in the 'Renaissance des Arts,' -vol. i. pp. 891-913, and, later, in the 'Revue Universelle des Arts,' no. -1 (1855), which article we reproduce below with the author's consent. - -The only manuscripts known to contain drawings of this artist are 'Les -Commentaires de César,' in three small quarto volumes; and 'Les Triomphes -de Petrarque,' in one small octavo volume--all written in French and bound -in vellum. - -The first-named work is not, as one might suppose from its title, a -translation of the famous work of the conqueror of Gaul, but a commentary -thereon in the form of a dialogue between Cæsar and François I, to whom -the book is dedicated. The first volume is now in the British Museum at -London, the second in the Bibliothèque Nationale at Paris, and the third -in the collection of M. le Duc d'Aumale. All the miniatures in the first -volume, and there is a great number of them, are signed with a G; some -bear the date 1519. The same is true of the second volume. One of the -miniatures in the third volume is signed in full, 'Godefroy' (folio 52); -several others, signed G only, are dated 1520. - -As for the 'Triumphs' of Petrarch, which is in the Bibliothèque de -l'Arsenal, the miniatures bear no dates, but they are all signed with a -G, and one has in addition the full name, 'Godefroy.' In the two works -the drawings have the same general appearance; they are distinguished -from those of the professional miniaturists by a very marked sobriety -of colouring. They are noticeable, moreover, by reason of a delicacy -of execution and, at the same time, a sharpness of outline which can -have come from no other hand than that of an engraver; now the engraver -can have been no other than Tory, whose shields and even his antique -arabesques we find in these designs. - -In addition to these two works, of which the name and the _style_ of the -artist seem to me to permit their being attributed to Tory, I will mention -here several others, of a somewhat later date, which likewise various -circumstances make it possible to attribute to him. - -The first is a translation of the first three books of Diodorus Siculus, -by Antoine Macault. This superb manuscript, which was in the library of -M. Firmin Didot _père_ in 1810, is to-day buried in one of the private -libraries of England. A description will be found on pp. 166-168. It is -true that there is nothing about it to suggest Tory, but the style of the -painting and of the engraving (the book was printed by Tory's widow in -1535) leaves no doubt as to his authorship. The second is a collection of -portraits of the kings of France, by Jean du Tillet, the manuscript of -which, presented by the author to Charles IX, is still preserved in the -Bibliothèque du Roi. See the description of this priceless manuscript, and -of several others preserved in the same collection.[279] - -We come now to the second question:--Was Tory an engraver? - -Neither Zani nor Papillon mentions him as such; nevertheless, there is -one presumption in his favour. La Croix du Maine, who was almost his -contemporary, tells us[280], without going into details, it is true, -that Tory was known by the name 'maître au Pot Cassé'; others have said -that he perfected Josse Bade's letters.[281] M. Renouvier has recently -written[282] that Tory possessed the rare faculty of using the 'eschoppe' -[graver] as well as the pen. 'Le Champ fleury,' he says, 'is a treatise -on æsthetics such as none but an engraver of types could conceive.' What -M. Renouvier conjectured, I assert, with no fear of being contradicted -by the facts. To be sure, Tory did not anywhere state categorically that -he was an engraver; but he gave it to be understood indirectly. For -example, he tells us that, among the fancies that came to his mind on the -6th of January, 1523, and resulted in the composition of 'Champ fleury,' -he remembered 'a letter of ancient form,' which he had 'not long since -made for the house of my lord the treasurer of the wars, maistre Jehan -Groslier, counsellor and secretary to the king our sire.'[283] What was -this ancient letter made for the famous bibliophile Grolier, if not the -basis of the beautiful roman characters which were used in that scholar's -establishment to decorate his books, and to stamp upon them, in gold, this -excellent device, among others, 'Ioannis Grolierii et Amicorum?'[284] - -Again, all the authorities agree that Claude Garamond was a pupil of -Tory. Now, what could he have learned from his master, if not the art of -engraving types,--he who did nothing else in his whole life? - -Furthermore, it is impossible to doubt that Tory engraved types when one -runs through his 'Champ fleury.' Note especially what he says on folio 34 -recto, where, having given a drawing of a capital A reversed, he explains -it in the technical terms of the engraver. - -'This,' he says, 'is done to help and give hints to goldsmiths and -engravers, who, with their burin, graver, or other tool, engrave and cut -an ancient letter reversed [à l'envers], or, as we say, to the left, so -that it may appear to the right when it is printed and placed in its -proper aspect. I have purposely made it white, and its background black, -the opposite of the one that is drawn to the right, so that no one may -be misled. For, as I have said, I have seen and do see many persons who -are misled. Before the letter to be printed is finished, it is made twice -reversed and twice to the right. In the first of the reversed there are -the punches[285] of steel, in which the letter is wholly left-handed. The -matrices have the letter to the right. The letter then cast is, as I have -said of the punches, left-handed. Then finally on the printed paper the -whole appears to the right, and in its proper aspect to be read currently. -I had forgotten to say that the broad leg of the A is one tenth of its -square in width, and the other leg one third as wide. The transverse limb -should be three fourths as wide as the broad leg, as you may see by the -drawings herewith made and duly proportioned.' - -After this, and knowing as we do the relations between Geofroy Tory and -the Estienne family, it will not be deemed extraordinary that I attribute -to our artist the italic letters of Simon de Colines, engraved about 1525, -and the roman and italic letters of Robert Estienne, engraved a little -later. - -But Tory not only engraved letters, that is to say, punches on steel, -as some authors have stated: he signalized himself above all by his -engravings on wood, and he illustrated almost all the books of his time, -which fact is almost wholly unknown. I shall be asked, doubtless, upon -what evidence my opinion is based. It is this: In the license to print -the book of Hours, granted to Tory by François I on September 23, 1524, -we read:[286] 'Our dear and well-beloved maistre Geofroy Tory ... hath -now caused it to be made known and shown unto us that _he hath of late -made_ and caused to be made certain pictures and vignettes "à l'antique," -and likewise certain others, "à la moderne," to the end that the same may -be printed and made use of in divers books of Hours, whereupon he hath -employed himself a very long time, and hath made divers great expenditures -and outlays.' Evidently the words 'he hath made' do not here apply to the -drawing, but to the engraving of these pictures and vignettes, which he -had previously drawn. Moreover, Tory himself betrayed his profession of -engraver on wood in a charming vignette which he used as an initial in -'Champ fleury,' and which is reproduced on page 1. For we see therein, -besides a compass, a square, etc., a pen and several varieties of knives -used in wood-engraving; all of which justifies the remark of M. Renouvier: -'Tory possessed the rare faculty of using the graver as well as the pen.' - -But, I shall be told, it avails nothing to prove vaguely that Tory -dabbled in wood-engraving, if we can point to no works of his in that -branch of the art,--for no one has done so hitherto. I propose to try to -gratify the reader's desire, by proving that there is a way to recognize -the engravings executed by Tory. - -Many persons have already observed that the principal engravings in -Tory's books, those which are most individual, as, for example, the -Gallic Hercules (reproduced on page 141), and that of the Pot Cassé which -accompanies the description of that emblem in 'Champ fleury' (reproduced -on page 21) bear a mark; but this mark they dare not attribute to him, -because it is constantly found upon engravings, alone or accompanied by -initials, for more than a century. M. Robert-Dumesnil, in his interesting -work entitled 'Le Peintre-Graveur français,' published in the course of -his article on Woeiriot,[287] who himself used this same mark, a catalogue -of engravings signed with the double cross,--which he calls the cross of -Lorraine or of Jerusalem,--extending from 1522 to 1632. He concludes that -this mark was 'frequently employed in France, as a fictitious signature, -on engravings on wood, by artists whose names will probably remain forever -buried in oblivion.' - -To banish this phantom, which caused M. Renouvier himself to pause on the -pathway of truth,[288] it is sufficient to come to close quarters with it. -This is what I propose to do; but first I must thank M. Robert-Dumesnil -for having satisfactorily cleared up one important point. Until his book -appeared, almost all the engravings marked with the double cross had been -attributed to Woeiriot; or, rather, the engravings of the latter had -added to the perplexity of classifiers. By identifying Woeiriot's work, -M. Robert-Dumesnil has simplified the problem considerably. Only a small -number of pieces remain to be ascribed to their authors, and as to these -M. Robert-Dumesnil expresses himself thus: 'None of the works executed -prior to Woeiriot's birth and the beginning of his career as an artist can -be by him; of the others we hasten to say that not one seems to us to have -been designed or executed by him.' - -Nothing could be clearer. Let us add, to close the discussion, that -Woeiriot did not begin to engrave until long after Tory had ceased, as he -was barely two years old when Tory died; and, furthermore, that his cross -is almost always accompanied by his initials; sometimes, however, he uses -the cross alone, but in that case the date prevents confusion. Take, for -example, the 'Emblesmes et devises chrestiennes composées par damoiselle -Georgette de Montenay,' the first edition of which was in 1571. It is -impossible to attribute these engravings to Tory, who died nearly forty -years earlier. - -The other artists who used the cross may be divided into three classes, -according to M. Robert-Dumesnil's book. First, we find the cross alone, -from 1522 to 1561; secondly, after a long interval, in 1599, the cross -appears accompanied by the initials I, L, B; and, lastly, a little later, -two engravers on copper, named Jean Barra and Claude Rivard, signed their -works with the cross. I do not include here the double cross discovered by -M. Robert-Dumesnil on the printer's mark of a book dated 1632, because it -is the mark of Gilles Corrozet, engraved a century earlier, as we shall -see further on. - -To sum up, then, there are no anonymous works bearing the cross except -those produced between 1522 and 1561. The only question is whether the -engravings executed between those dates, which bear the cross without -initials, belong to one or to several artists. - -I will, first of all, call attention to the fact that this interval -embraces only forty years, and that there is no reason to attribute to -several contemporaneous and anonymous artists a very peculiar mark which -a single artist might have used during an even longer time. But this is -not all: this interval can be reduced by several years; for the examples -alleged to be subsequent to 1557, mentioned by M. Robert-Dumesnil, bear -no date; they appear, it is true, in books printed after that year, but -they were engraved earlier, as I shall prove in due time. Blocks are not -ephemeral objects; like type, they can be used indefinitely, and their use -at a certain date does not prove that they had been made within a short -time. We have just cited one--Gilles Corrozet's mark--which, simply by -lack of use, it was possible to reproduce in books for more than a century. - -What surprises me is not that M. Robert-Dumesnil has seen engravings with -the cross printed in 1561, but that he has found none of a later date, -which would have allowed him to fill up the gap that he has left between -the anonymous artist of the cross alone and him who accompanied it with -the letters I, L, B; he might have discovered the beautiful illustration -of the Missal of 1539, which is described hereafter, in books of the -seventeenth and eighteenth centuries. Indeed, we find wood engravings of -the sixteenth century, bearing the double cross, in a book published at -Troyes in 1850! - -On the other hand, I am surprised that M. Robert-Dumesnil found no -engravings with the cross, accompanied by initials, of a date much -earlier than 1599, for I myself have seen some that were contemporaneous -with Tory. In fact, the Bibliothèque Nationale possesses a book of Hours -according to the use of Paris, printed in that city in 1548, by Jean de -Brye's widow, in which all the engravings are marked with the cross and -the initials L, R. It is an octavo volume, printed in gothic type, and -in red and black. An interesting fact to be noted here is that these -engravings are improved copies of other unsigned engravings belonging -to the printer Thielman Kerver,[289] and printed in a large number of -books issued by him or his widow, Iolande Bonhomme, at least as early as -1522,[290] and still to be seen in the Paris Missal, published by his -son Jacques in 1559. I have seen also engravings of the artist with the -initials I, L, B (cited by M. Robert-Dumesnil under the date of 1599), in -a book of 1547. - -These facts do not tend to contradict my proposition; they prove that Tory -founded a school, and that his pupils adopted his mark (which is nothing -more than his initial, or, rather, his toret, transferred from the Pot -Cassé, of which it was the essential feature, to his engravings), adding -thereto their initials, to distinguish themselves from the master whose -ensign they hoisted, and to preserve their own individuality. I shall -recur to this subject later. - -The principal reason which prevented M. Renouvier from attributing to -Tory, as he was naturally inclined to do, the engravings marked with -the double cross alone, was the impossibility, in his judgement, of -attributing them all to the same artist. 'M. Robert-Dumesnil,' he says, -'has noted a large number of books of 1522 to 1599, on the title-pages -and plates of which the cross of Lorraine is found. This list might be -increased, and the items should be carefully compared by whoever would -try to find on them the mark of a wood-engraving establishment, or of -several engravers on wood who worked for the booksellers Pierre Gaudoul, -Simon de Colines, Robert Estienne, Grouleau, Gilles Corrozet, Vincent -Sertenas,[291] etc.' - -I have already answered the objection based upon M. Robert-Dumesnil's -book, which he himself has abandoned with great pleasure, taking a deep -interest in my discovery.[292] As for what M. Renouvier adds, it does not -run counter to my suggestion, for I have already mentioned that, after -Tory's death, his widow carried on his engraving establishment for several -years, retaining the same mark. This, doubtless, is the explanation of the -differences to be noticed in the works signed with the Lorraine cross; -for Perrette le Hullin, not being an engraver herself, must have employed -different workmen. - -This leads me to answer an objection that has been made to my theory. My -attention has been called to the fact that the Lorraine cross appears on -works anterior to Tory,--such, for example, as the mark of Gauthier Lud, -the first printer of Saint-Dié in Lorraine. I have no purpose to claim the -Lorraine cross for Tory alone. He was not its inventor, nor did it die -with him; but there is a distinction to be made between an emblem employed -in a general way, and one employed as the special mark of an artist. Not -only do I not claim for Tory the Lorraine cross surmounting a circle, -which appears on the mark of the Lorraine printer, Gauthier Lud,[293] in -1507, but I exclude the Lorraine cross surmounting a large gothic G, found -on the title-page of a folio Missal according to the use of the church of -Toul, printed at Paris by Wolfgang Hopyl, in 1508.[294] To my mind nothing -could be more natural than that the Lorraine cross should be used in -Lorraine; but that does not prove that an artist at Bourges may not have -adopted it as the mark of his establishment. - -I mention hereafter as one of Tory's first engravings on wood the -title-page of a book printed at Meaux in 1522, and I then say that the -preface of that book was dated 'Meldis, anno M. D. XXI.'[295] -M. Brunet makes me say,[296] I cannot imagine why, 'Metis' instead of -'Meldis'; and M. Didot, misled by that statement, says that the book in -question was published at Metz,[297] which fact seems to him to explain -the presence of the Lorraine cross on the title. This shows how an error -may be appealed to in support of a theory. - -Not only have I not exaggerated the part played by my hero, as authors are -somewhat in the habit of doing,--on the contrary, I have restricted it as -much as possible. Since the publication of my first edition, an attempt -has been made to prove Tory to be the maker, or, at least, the decorator, -of the beautiful Henri II porcelains, so-called, the subject of a recent -publication of MM. Delange, father and son. M. Didot himself adopted this -opinion,[298] which is based upon a vague similarity, but is completely -refuted by the date of Tory's death. So far as I am concerned, appearances -are of no consequence, unless they are accompanied by some substantial -evidence; and that is why I have excluded from the list of Tory's works -some engravings that Messrs. Renouvier and Didot do not hesitate to -attribute to him because of certain similarities, but which do not bear -his mark. It is that mark which has served me as a guide in identifying -Tory's work. The objection is made, to be sure, that this plan requires -the attribution to Tory of engravings of very dissimilar styles. Every -plan has its disadvantages; but, all things considered, I prefer one that -has something to stand upon to one that has nothing. Moreover, it is easy -to explain the different styles of the artist of the Lorraine cross by -referring to what has often taken place in the careers of other artists. -In truth, how many painters have we seen change their style of painting -at a certain period of their lives! But there is an even simpler way of -explaining these dissimilarities in different engravings, namely, by -admitting with me that the Lorraine cross was the mark of Tory's workshop, -but that in that workshop there were other artists of very diverse -abilities. In the same way, we see to-day a multitude of engravings signed -'Andrew,' 'Best,' 'Leloir,' to which those artists certainly never put -their hands. - -But let us have done with argument and come to the facts: they will prove -more conclusively than any number of dissertations the truth of our -statement concerning Tory; they will prove, in fact, that all the works -signed by the cross alone were engraved during that artist's lifetime, or -in the establishment which he founded and which his widow retained until -about 1556. - -To make the demonstration clearer, I will divide what I still have to -say into three sections. In the first I will include all the manuscripts -the decoration of which can be attributed to Tory; in the second I will -describe all the engravings marked with the Lorraine cross that are known -to me, arranging them in chronological order; and in the third I will -mention such marks of printer-booksellers bearing the aforesaid cross, as -I have been able to discover. As it is impossible for me to follow the -chronological order in this last category, I have adopted the alphabetical -order, which will enable one to find at once such of these marks as are -mentioned in the second section. - -[Illustration] - -[Illustration] - - -FOOTNOTES: - -[Footnote 275: [It should be borne in mind that the word _miniature_ as -used in this book has not its ordinary present-day signification; it means -here any ornamented or coloured design of small dimensions.]] - -[Footnote 276: [See supra, p. 23, and note 1.]] - -[Footnote 277: [See supra, p. 71.]] - -[Footnote 278: [See supra, p. 9.]] - -[Footnote 279: Infra, pp. 169-171.] - -[Footnote 280: _Bibliothèque françoise_, article 'Geufroy Tory.' The -author of _Recueil T_ (vol. xix, p. 20) of the _Mélanges tirés d'une -grande bibliothèque_, published by M. de Paulmy, also says that Tory was -an excellent engraver, the _maître au Pot Cassé_.] - -[Footnote 281: Lottin, _Catalogue des libraires_, vol. ii, p. 234.] - -[Footnote 282: _Des Types et des manières des maîtres graveurs_, etc., -xviᵉ siècle, p. 165.] - -[Footnote 283: _Champ fleury_, fol. 1. See also supra, p. 12.] - -[Footnote 284: ['Jean Grolier's and his friends'.'] The ordinary motto of -Grolier's books is: _Portio mea, Domine, sit in terra viventium._ [May my -lot be cast, O Lord, in the land of the living.]] - -[Footnote 285: [_Poinçons_: that is to say, the engraved model of a type, -on the end of a steel bar.]] - -[Footnote 286: [See p. 106, supra.]] - -[Footnote 287: Vol. vii, pp. 48 ff.] - -[Footnote 288: [On this subject M. Renouvier says (_Des Types et des -Manières des Maîtres Graveurs_, xviᵉ _siècle_, 1854, p. 167): 'We -cannot attribute it [the double cross] to Geoffroy Tory exclusively, for -we find it on many woodcuts which cannot be his.']] - -[Footnote 289: This should cause no surprise: the idea of _property_, in -respect to artistic productions, is altogether modern. The first engravers -signed almost nothing; it was not until the sixteenth century that they -marked their works with special emblems, and even then it was not so much -with the object of assuring themselves a monopoly in them, as with that -of making themselves known to persons who might require their services -for other works. Little by little this species of advertisement became an -effective muniment of title,--in the natural order of things. It was the -same with works of the mind. Not until quite a late period were scholars -and other men of letters able to derive any profit from their works. In -the early days of printing, even, a printer who proposed to reprint a -book did not consider himself bound to obtain the author's consent. From -the moment that he made his book public, it was regarded as a treasure -belonging to society at large.] - -[Footnote 290: Hours in quarto in the Bibliothèque Nationale (Brunet, -_Manuel de Libraire_, 5th ed. vol. v, col. 1623, no. 197). There is also -an edition of 1525 (ibid., no. 198), and one much later, but lacking the -first and last leaves. M. Silvestre owns an octavo edition of 1530.] - -[Footnote 291: _Des Types_, etc., xviᵉ siecle, p. 167, note.] - -[Footnote 292: MM. A. Devéria, Robert-Dumesnil, and J. Renouvier have all -died since the first edition of this book.] - -[Footnote 293: See Brunet, _Manuel de Libraire_, 5th edition, article -_Cosmographia_.] - -[Footnote 294: Beaupré, _Notice bibliographique sur les livres liturgiques -des diocèses de Toul et de Verdun_, 8vo, 1843, p. 16.] - -[Footnote 295: Infra, § 2; 1521-1522 (p. 175).] - -[Footnote 296: _Manuel_, etc., 5th edition, vol. ii, col. 1186.] - -[Footnote 297: _Essai sur la gravure sur bois_, col. 147 and 150.] - -[Footnote 298: _Essai sur la gravure sur bois_, col. 138.] - - - - -SECTION I. MANUSCRIPTS DECORATED WITH MINIATURES BY TORY. - -1. COMMENTAIRES DE CÉSAR. - -2. TRIOMPHES DE PÉTRARQUE. - - -For a description of these two manuscripts[299] I cannot do better than -transcribe in this place the interesting work of Comte Léon de Laborde. -I print this work just as it was published several years ago, having no -authority to modify it. But I think that I may venture to say that if -it had been prepared since the publication of my book on Tory, it would -contain a judgement in his favour. That seems to me to be the result of -my conversations with M. de Laborde. My friend M. Jules Renouvier, whose -death is so deeply to be deplored, and in whose company I examined the -volume of the 'Commentaires' in the Bibliothèque Nationale, was entirely -of my opinion. He spoke of the manuscript in question in these terms in a -critical review of the first edition of my book on Tory, printed in the -'Revue Universelle des Arts' for September, 1857 (vol. v, no. 6, p. 511):-- - -'The point that we knew least about was Tory's début in the career of an -artist. It was most brilliant if we agree with M. Bernard that he was -the author of the miniatures found in two well-known manuscripts, the -"Commentaires de César" in three volumes and the "Triomphes de Pétrarque," -in which we find the signatures "G," and "Godefroy," and the dates 1519 -and 1520. M. de Laborde has recently described them with all the care that -they deserve, without discovering who this Godefroy was. He was no other -than Geofroy Tory, says M. Bernard, and this opinion is plausible; for, if -the subsequent work of the engraver on wood does not fulfil the promise -of the miniaturist, the drawing is governed by identical characteristics, -and the similarity of style is striking, especially when we consider -the engravings that are nearest in point of time, as those of "Champ -fleury," dated 1526. Considered from this point of view, Geofroy Tory is -the most precocious of the artists of the Renaissance: before the masters -of Fontainebleau, he introduced the stately, graceful and individualized -figures, which aroused enthusiasm in the time of François I, to which -Italy lent much of her style, and Germany a little of her force, but which -were more thoroughly French than is generally admitted. It is well known, -moreover, that these miniatures were originally, even in the "camaieu" -process, heightened in effect by chatoyant tones, with subtleties of -drawing which denote a hand more apt to handle the pencil than the brush, -and altogether adapted to the tools of the engraver. The draughtsman loses -a part of his distinction in passing from a privileged to a commonplace -form of art; but so the progress of art willed.' - -The work of M. Léon de Laborde follows:-- - - -GODEFROY, PAINTER TO FRANÇOIS I. - -Godefroy has left us, in four small volumes,--the first three entitled -'Commentaires de César,' the fourth 'Triomphes de Pétrarque'--the proof of -a fruitful imagination, of a talent in portrait-painting no less flexible -than varied, and of a superiority original with himself, and thoroughly -French,--a very unusual combination of the qualities peculiar to our -school prior to the formation of the school of Fontainebleau, and of the -qualities--or, to speak more accurately, the defects--which that colony of -foreign artists was soon to introduce in our midst. - -These four volumes, after divers vicissitudes, repose at last, at the end -of their journeyings and safe from the risk of destruction, the first in -the British Museum at London, the second in the Bibliothèque Nationale -at Paris, the third in the collection of H. R. H. the Duc d'Aumale, and -the fourth in the Bibliothèque de l'Arsenal. I will describe first the -'Commentaires de César,' a beautiful manuscript, the three volumes of -which I have had before me one by one. There are in this work three things -worthy of remark, to which I shall direct the reader's attention for a -brief space. First, the composition of the work; second, the painting of -the decorations; and lastly, the portraits. - -The author, a native of Flanders or Artois, transplanted to the Court -of France, displays no overplus of wit or imagination. He supposes that -King François I, in one of his excursions, or while hunting, meets -Julius Cæsar, and that they converse. The subject of their dialogue is -the Gallic war; it is a sort of commentary on Cæsar's Commentaries, with -transparent allusions to the events of the reign of François I. It -is in these allusions that we detect the author's predilection for the -Belgæ,[300] with whose country he is familiar, and particularly for the -city of Tournay,[301] which may well have been his native place. I do -not propose to draw any inference from his hatred of the English[302]; -although more violent in our northern provinces than elsewhere, that -sentiment was then universal in France. It would seem, at least so far as -the implements of war are concerned, that the painter who was employed to -embellish the manuscript worked under the author's direction. We find in -several places remarks like this: 'The tower is sufficiently described by -the engines that I have caused to be drawn herein.' - -For the rest, we feel that we have to do with a conscientious author; -and simply by the extracts which follow, we may recognize the man who is -uncertain and hesitates, the student who leaves every one in possession of -his rights and who confides his doubts to the reader. On the eighth leaf -of volume two he has instructed Godefroy, the painter, to reproduce an -antique medallion; he writes in the margin: 'I fear that it is not that -Cassius who was a conspirator in the death of Cæsar, for his name was -Caius Cassius, and I find on the medallion Quintus Cassius.' As to one of -the pictures of machines of war he makes this comment: 'Certain pictures -of implements of war, as they are portrayed by Frère Jocunde in book x -of Vitruvius.' Beside another, he says: 'I am not the inventor of the -machines which follow, for I found them in a book that I secured long ago -at Chastellerault, at the Lyon d'or.' - -To this curious piece of information let us add another,[303] which tells -us that the author of the book was in relations with an artist of Blois, -a clock-maker and inventive genius: 'The two pictures that follow [two -warlike machines] were taken from a book that Julian, clock-maker at -Bloys, gave me.--Julian is a man of great wit and knows many things.' - -A passage on folio xxii verso of the second volume seems to prove that the -manuscript was written during the years 1519 and 1520: 'By the map [a map -of Gaul] placed at the beginning of the translation of the first book made -at Saint Germain en Laye in the month of April in the year one thousand -five hundred nineteen, you will see clearly who the Belgæ are.' - -After the author, it is proper to speak of the calligrapher who wrote -the manuscript; but there is nothing to be said save that it is in a -fair hand. The painter Godefroy deserves more consideration and careful -attention. Let us not forgot that we are dealing with a perfectly -well-fixed time, limited to the years 1519 and 1520; let us, at the same -time, recall the great national movement in art in France from 1450 to -1500, the Italian campaigns, the arrival of artists and objects of art -from Italy during the reigns of Charles VIII and Louis XII, and lastly, -and above all, the sojourn in France of the two great Italian masters, -Leonardo da Vinci and Andrea del Sarto, from 1515 to 1518. Born and -trained amid such influences, a French painter undertakes to decorate a -manuscript for King François I. What does he do to satisfy the prevailing -taste, the fashion, without denying his past? He divides his talent into -two parts,[304] and devotes one, the French part, to the portraits, the -other, the Italian imitation, to the decorations; in both he gives proof -of abundant talent. In the one case, an exact, shrewd observer, he paints -faces by faithfully reproducing their individual traits; in the other, -fertile, never the same, abounding in resources in the ensemble and the -details of his compositions, he is the pupil of Leonardo da Vinci, with -suggestions of Mantegna and the artists of the first Italian Renaissance -in the proportion of the figures, in the ungracefulness of the attitudes, -and in the types of the heads. - -From this period, from these influences, and not from Primaticcio, who -was himself subjected to them, dates the Fontainebleau school. It was -adapted to the figure and the type of beauty of Diana de Poitiers; she -encouraged it; but, I say again, it was formed, it was current, before -the reign of the mistress of Henri II and before the painter who is its -most characteristic expression. If we seek to discover what method of -execution was adopted by Godefroy, we see that his portraits are charming -miniatures, comparable with the finest examples that we have of French -miniature-painting; as for the drawings,[305] there are some that are -almost grisailles, almost coloured--a mongrel and conventional scheme, -of very doubtful taste. The painter drew his whole subject with the pen, -with a sureness of touch which, it must be said, has no parallel in such -microscopical dimensions, especially with respect to the faces and the -landscapes; then he laid in the general outline, with the brush and -with sepia, in flat tones, rather lacking in life. Thus far he did not -depart from the canons of art; but he added coloured costumes, suits of -armour, gilded trappings, and a multitude of details which flutter about -in his grisaille and depart from nature in a most extraordinary way. I -have said that his figures are reminiscences of Italian works. We find -among them Donatellesque forms, profiles perdus, and bold gestures that -recall Mantegna, Perugino-like graceful attitudes and ways of carrying -the head, and, in spite of everything, a French background, and points -of resemblance to Holbein, which might be taken to signify that Godefroy -had never seen Italy. Our national Renaissance had made such progress -in nearly a century that our artists needed only a few drawings, a few -engravings, with the impulsion given by Leonardo da Vinci and Andrea del -Sarto, to enter that Italian current. It may be that our compatriot, -like Holbein, was subjected to this influence from afar, at second hand, -without having crossed the mountains. - -_First volume._[306]--The book opens with a map of Gaul, and we read -on the verso of the first leaf the following passage, written within -a cartouche: 'Françoys, by the grace of God, King of France, a second -Cæsar, vanquisher and subduer of the Souycez [Swiss], on the last day -of April, one month after the birth of his second son, in his park of -Sainct-Germain-en-Laye, fell in with Julius Cæsar and questioned him -shrewdly concerning the contents of the first book of the Commentaries.' -In another cartouche is a passage of which we need transcribe no more -than the first words: 'Cæsar, first subjugator of the Helvecez [Helvetii, -Swiss], graciously made reply to him,' etc. - -On the third leaf Godefroy has painted the portrait of François I, head -and shoulders alone, in a medallion. He wears his usual costume and the -cap, without a feather, adorned with a banner. His features and his whole -countenance are idealized--they are a little stiff and sharp; the artist -has sought to produce an ideal antique head. The first miniature, on -the verso of the fifth leaf, bears the date 1519, with no monogram; the -others--folios 9, 13, 17, 21, 23, 31, 33, 36, 43, 53, 60, and so on to -the end--are signed with a G, and dated the same year. On the miniature -painted on the recto of folio 53, the initial of the artist's name is -traced on the trunk of a tree from which hangs a small cartouche with the -words, 'Besanson, 1519.' To be sure, the corresponding passage in the text -requires that the miniature in question should represent that venerable -city, but a certain precision in the details, and a sort of predilection -manifested in the care bestowed upon the execution, lead me to believe -that the view was painted after nature, and that Godefroy was attached to -that city by some bond. - -I have already spoken of the special characteristics of these miniatures, -and I will mention here only the one on folio 23, which represents the -building of a bridge over the Saône. In the foreground we see figures -reminiscent of the painter Mantegna in their activity, their vigour, and -a certain almost antique grace. The artist has retained the long pointed -shoes to mark the Frenchman; this is an ill-timed display of archæological -learning. - -The volume, a large octavo, shaped like a notebook, contains 76 leaves, -including the map. It is in its original binding of red morocco, with -ornaments of wreaths of fleurs-de-lis, stamped with small tools. One can -see the marks of the ribbons which were used to close it and to keep the -vellum from puckering. On the recto of the first leaf, below the map of -Gaul, are the words: 'Bibliothecæ Christophori Justelli.' This note, -while it establishes the antiquity of the manuscript, also explains its -emigration to England. Christophe Justel, Councillor and Secretary to the -King, died at Paris in 1649, at the age of seventy, leaving to his son, -together with the taste for study, a valuable collection of books and -manuscripts. Among the latter was this first volume of the 'Commentaires -de César.' Henri Justel succeeded his father in the office of Secretary to -the King; also in his literary studies and in the liberality with which -his library and house were thrown open to scholars. The letters of all -the learned men of the time bear witness to his hospitality offered to -learning. - -He published at Paris, in 1661, the 'Bibliotheca juris canonici veteris -ex antiquis codd. mss. bibliothecæ Christophori Justelli,' in two folio -volumes, and he seemed destined to pursue in peace his erudite career. But -the tempest called the Revocation of the Edict of Nantes was preceded, -for far-seeing Protestants, by premonitory signs which were enough for -Henri Justel. He packed up his books and crossed to England, where he was -appointed Librarian to the King--an office which he held until his death -in 1698. The manuscript of the 'Commentaires' was probably purchased -at the sale of his library by Robert Harley, Earl of Oxford. The Lord -Treasurer of England (1661-1724) found consolation for the ingratitude of -men in forming that magnificent collection, which retains the name of the -Harleian Collection in the British Museum. - -Our manuscript, however, reached that haven only with the second part of -Robert Harley's books and manuscripts, in 1754. - -_Second Volume._[307]--The first miniature represents François I on -horseback, in hunting costume, wearing the chapeau with plumes. The King -is urging his horse to the right. Above his head a crowned F in gold -stands out against the blue background of a shield. This was a device for -disclosing his identity to those who were not struck by the likeness. In -the middle distance is a huntsman, galloping in the same direction as the -King and blowing his horn. Over his head floats a banderole, bearing the -name 'PEROT.'[308] On a stone between the legs of the King's -horse is the initial letter of the artist's name; and beneath, in a frame -(separated, however, by a running dog), the date 1519. The border is of -the utmost grace of design, and leaves room for a few words of the text, -which begins thus:-- - -'Françoys, by the grace of God King of France, desiring to exercise his -lusty youth by violent labour, early in the month of August in the year -one thousand five hundred nineteen, went forth to course the stag in the -forest of Byevre, and gave order that on that day those dogs should course -which he had chosen to lead the pack, because they are surer than the -others. Gaillart was of the number, as was Gallehault, and pretty Rameau. -Arbault, Gerfault, and Billehault went in their company. - -'The King was following the stag very close and was riding at full speed -when he fell in with the chaste Diana. The King was overcome with joy, and -having forgotten his quarry, he was all amazed that the vision vanished -and he remained all alone in deepest thought. But soon after he saw beside -him an ancient man of venerable aspect. He knew upon hearing him speak -that it was his friend Julius Cæsar, whom he had met in like manner, only -three months before, in his park at Sainte-Germain-en-Laye.' - -Thereupon they enter into conversation upon Cæsar's campaigns. - -Godefroy's plates, almost all of which are signed with a G and dated 1519, -are on these leaves: 2 verso, 3 verso, 4 verso, 5 verso, 7 verso, 9 verso, -20 recto, 22 verso, 28 recto, 33 verso, 34 verso, 36 verso, 37 verso, 43 -recto, 46 verso, 48 verso, 59 verso, 62 verso, 78 verso, 90 recto. - -The medallions, which are copied from the antique, are admirably executed -in gold on a blue ground, the models being delicately outlined in sepia. -They are on leaves 6 verso, 8 recto, 9 verso, 10 verso, 11 recto and -verso, 12 recto and verso, 13 recto and verso. - -Warlike machines, copied from other drawings, and consequently lacking the -life imparted by the representation of real objects, fill leaves 39 recto -and verso, 40 recto and verso, 41 recto, 91 recto and verso, 92 recto and -verso, 93 recto and verso, 94 recto. - -Lastly, the portraits may be found on the leaves which I am now about to -enumerate. I will add nothing to what I have said of their perfection, -generally speaking, reserving my comments for the points of interest -suggested by the manuscript itself. These portraits, as one might have -anticipated, and as is proved by leaf 52 most directly, are copies of -originals which antedate the manuscript. They are painted in miniature, -surrounded by three circles of black and gold; the whole medallion is -fifty-two millimeters in diameter, the miniature forty. - -Leaf 25 verso: Quintus Pedius. Such is the title given by the scribe; -but a different hand has written in the margin, in cursive characters: -'Le grand maistre de Boissy, aged 41 years.' I am inclined to see in -these marginal annotations the hand of the author rather than that of the -artist. This portrait is three-quarters full, turned to the left, with -a cap on its head, the hair in a net, a collar of some order around the -neck, face tranquil, expression shrewd. - -Leaf 35 recto: Le Fiable Divitiacus Dautun. ('Admiral de Boissy, seigneur -de Bonivet, aged 34 years.') Three-quarters full, turned to the right. - -Leaf 36: Quintus Titurius Sabinus. ('Odet de Foues, Sieur de Lautrec, aged -41 years.') Three-quarters full, turned to the left. - -Leaf 42: Iccius. ('Le mareschal de Chabanes, seigneur de la Palice, aged -57 years.') Three-quarters full, turned to the left, expression slightly -haughty. - -Leaf 52: Lucius Aruculeius Cotta. ('Anne de Montmorency, aged 22 years, -afterwards connestable de France.') - -Leaf 73: Publius Sextius Baculus. ('Le mareschal de Fleuranges, son -of Robert de la Marche, first seigneur de Sedan, aged 24 years.') -Three-quarters full, turned to the left. - -Leaf 76 verso: Publius Crassus. ('Le sieur de Tournon who was killed at -the battle of Pavia, aged 36 years.') Three-quarters full, turned to the -left. - -On the verso of leaf 89 we find these words: 'Thus Cæsar made an end of -speaking and forthwith disappeared. The radiant Diana, who knew the paths -of the forest of Bièvre, and of all time was privy to and understood -the laws of the chase, remounted, and by so straight a course led the -King, who had lost the dogs, that within a few hours, near the forest of -Fontainebleau, he saw them hunting better than before. And he was the -first of all at the death of the stag, but he had with him only pretty -Arbault and the beautiful Greffière, for Diana and Aurora had left him and -had gone their ways.' - -The two dogs are represented in the miniature; they are attacking the -stag, while the King makes ready to stab him. - -This volume, containing 98 leaves, is bound in black morocco, which -has grown rusty; it bears these words stamped in the leather: 'Tomus -Secundus.' It is catalogued in the Supplément Français, as no. 1328. -Its history, as told among the habitués of the Bibliothèque Nationale, -is as follows: M. Van-Praët appeared at the Conservatoire one day -with an exultant air; he had this fascinating manuscript in his hand, -and announced that he had purchased it for the Bibliothèque for 1200 -francs. He expected to gladden the hearts of his comrades, to call forth -expressions of gratitude; far from it; on the contrary, they found fault -both with that method of purchasing, without authority, and with the price -that he had paid. M. Van-Praët made haste to banish the scruples of his -inflexible directors, and to put an end to the unpleasant discussion that -was beginning, by declaring that the purchase had been made for himself -and not for the Bibliothèque; then, when the meeting was adjourned, he -hastened to his friends the brothers Debure, and, with a bursting heart, -told them of his misadventure. They appreciated Van-Praët's regrets too -thoroughly to try to calm them; but they knew also that he was not rich -enough to keep the manuscript, and they bought for their own little -collection, at the price that he had paid, that charming product of French -art, still bleeding from the reception that it had met with at the hands -of the great so-called 'national' collection. Years and years had passed -since this strange performance, when, in 1852, a small package was brought -to M. Naudet, with the information that M. Debure, by his last will, had -ordered that this manuscript, embellished with paintings by Godefroy, -which had been purchased for the Bibliothèque and spurned by it, should be -restored to it as its property. - -One does not know which to admire more in this testamentary disposition -of the famous bookseller--the keenness of his irony or the nobility -of his act. Without exerting itself overmuch to decide that point the -Conservatoire of the Bibliothèque Impériale welcomed the prodigal child -and deposited it in the Supplément Français. But, with a lingering remnant -of spite, its light was hidden under the bushel of 'la réserve'; which is -one way of preventing people from having access to it with the facility -which assists investigations, under the protection of that liberality -which is one of our claims to honour among foreign nations, and which the -government of the Bibliothèque should have preserved, even at the price of -the inconvenience that it might have caused. - -_Third Volume._[309]--Original binding, with the title: 'Cæsaris liber -tertius.' The text begins thus:-- - -'On the twenty-seventh day of February, one thousand five hundred XX, the -King being in his park of Congnac, seeing that the splendour of his entry -was like to be marred by the inclemency of the weather, took shelter in -the house of the labyrinth, having with him monsieur l'Admiral and the -young and discreet Sieur de la Rochepot. At the entrance to the lower room -he feels and hears so violent a wind that it seems to him "quam spiritu -vehementi" the lofty trees fall to the earth as on Friday the ninth day of -March one thousand VᶜᶜXX in divers places about Paris.' - -The result of all this uproar is the appearance of Julius Cæsar. François -I questions him as to what he did after pacifying Gaul. Whereupon Cæsar -replies:-- - -'I tell you that, after divers victories won by me, so high an opinion -of me and so great renown were spread among the barbarian peoples, that -ambassadors were sent to me by the nations beyond the Rhine, who in the -name of their cities promised to give hostages to me and to obey my -commands. But, for that I was in haste to go thence, I bade them return to -me in the summer season. Thereafter I led my legions to winter quarters -in the land of Touraine and in the duchy of Madame your mother. And that -done, I went hence to Italy.' - -This volume is supplied with two maps: one, of Aquitaine, is at the -beginning, the other, of Bretagne, at the end of the volume, which -contains also no less than twelve large miniatures. The King, in hunting -costume, figures again and again in them. The execution is as careful, and -the paintings of the same type, as in the two earlier volumes. All the -miniatures and the maps are signed with a G, and some of them are dated -1520. On folio 52, the painter's name is written in full: 'Godefroy.' - -The former owner of this fine manuscript writes to me: 'I cannot furnish -you with any interesting information concerning the manuscript of the -"Commentaires de César." It was given to me, only the slightest importance -being attached to the gift, by a resident of Tours, who owned no books, -and who had kept it for forty years in his closet. To tell you how it -came into my hands would be the more difficult because that person has -long been dead. The volume was delivered to me in very bad condition. I -employed Duru to repair the back and to rebind it, leaving intact the -covers, which were of the original sixteenth-century binding. A small -engraving, which resembled niello-work, but was recognized as the work of -Étienne de Laulne, an engraver of Orléans, was at the beginning of the -book.' - -Obliged, in 1850, by circumstances which it is needless to detail, -although they were to his honour, to part with this precious volume, -its owner sent it to Paris, to M. Techener, for sale on commission. He -wanted 2000 francs for it, and first of all the bookseller offered it to -the Bibliothèque Nationale. The Conservatoire of that great collection -could not find that amount in its annual credit of 80,000 francs, and it -renewed the old joke which had temporarily banished the second volume. -Unfortunately one does not meet every day, to repair its errors, generous -booksellers like M. Debure, or those who have it in their power to be as -generous as he; and M. Techener, who was richer than our rich collection -of books for the purpose of purchasing this manuscript, was not rich -enough to present it to that collection. He advertised it in the 'Bulletin -du Bibliophile' for 1850 (no. 1222), for 3000 francs. During a whole -year, artists and curious folk (I was among the latter) were at liberty -to examine it at leisure and to lament the advent of English dealers who -threatened every moment to take it from us. At last, Monseigneur le Duc -d'Aumale added it to his treasures of printed books and manuscripts, -and, although in England, one may say now that it belongs to France. -Indeed, it may be that M. Debure's example will be followed some day, -and that this third volume will come to join the second on the shelves -of our magnificent department of manuscripts, awaiting the time when the -fortunate result of negotiations with the British Museum shall permit the -consummation of the work by means of exchanges.[310] - - * * * * * - -Godefroy's facile talent could not fail to be fruitful of results, and -some of his works may be found in several collections. The Bibliothèque -de l'Arsenal owns one of them, the 'Triomphes de Pétrarque,' which -seems, in view of the exuberance of the subjects, the exaggeration of -the artist's defects, and the laxness of execution, to be of later date -than the 'Commentaires de César'; and, whether because the artist had -visited Italy, or because, the better to interpret the poet's ideas, he -sought inspiration in Italian works, it is certain that he is less French -in the illustrations of this manuscript than in the others. He is more -perfect, too, in the art of composition, his distances are more accurately -measured, his groups are more in harmony with one another; in a word, he -displays an inspiration, or resources, altogether new: such, for example, -as the device of cutting off the figures in the foreground at the waist, -by means of rising ground, whereby he is able to give them strongly -proportioned frames without filling up his whole picture. - -I will describe this manuscript briefly. It is a small octavo volume of -ten leaves (not including the covers), written on fine parchment. It -is about 10 centimetres in height by 8 in width. It was rebound in the -eighteenth century, in lemon-colored morocco. - -'Here followeth the first of the six triumphs of the most illustrious and -venerable poet Messire Francisque Petrarque: the which is the triumph of -Love and containeth four chapters.' - -Chapter I. A miniature painted on pages 2 and 3, which face each other. -It represents the triumph of Love, with a deal of disorder and somewhat -licentious details. The G can be seen in the foreground, in the centre of -the picture, on the ground. - -Chapter II. The miniature has been removed. - -Chapter III. The miniature occupies the verso of the title of the chapter. -In the foreground are amorous couples discoursing together, some seated, -some walking about. The men wear caps with long feathers, as in the -bas-reliefs of the hôtel de Bourgtheroude. The architectural arrangement -in the background is charming. Beside a triumphal arch rises the tower -of love. Flames are darting from all its windows, and meanwhile a long -procession of women rushes through the door, followed by a Cupid with -bandaged eyes. The artist has painted his initial on the tower. - -Chapter IV. In this miniature, Petrarch's face, twice repeated, seems to -be a reproduction of an original portrait. The G can just be distinguished -on a rock in the foreground; it has been effaced. - -'Here followeth the second triumph of Messire Francisque Petrarque, the -which is the triumph of Chastity.' - -The miniature occupies two facing pages, but it forms two distinct -pictures. The buildings in the background are arranged in a quasi-Italian -style, but are not a reproduction of any known structure. Godefroy has -placed his G on a tree, at the left, accompanied by three lizards--a -detail which should not be passed over, for it is repeated several times, -as if the name of those creatures bore some relation to that of the artist. - -'Triumph of Death, the which is the third triumph of Petrarque.' - -[Chapter I.] This miniature is one of the most interesting and best -preserved. Death, grasping his scythe, stands over the body of a young -woman lying dead on the triumphal chariot. It is, in fact, the Italian -triumph, as we have it represented in so many works. In this case the -miniature is in duplicate, as well as the painting. The G is at the bottom. - -Chapter II. Miniature on a single page: the death of Laura. The young -woman is lying on the bed of death. She is surrounded by her friends, with -palms in their hands. Above, in the sky, is seen the form of the Virgin. -It is a very pleasing composition, nearly filling the frame, and the -effect is charming. - -Chapter III. Petrarch and Laura are seated in the shade of tall trees, on -the bank of a pond in which two swans are floating. The same two persons -are seen farther back, twice repeated, and diminishing in size according -to the distance. An architectural structure, decidedly Italian in type, -closes the view at the back. The G is painted on a stone at the feet of -Petrarch and Laura. Evidently Godefroy had studied several portraits of -the two, and he copies them with some success in their various attitudes. -The trees are done so skilfully that one might well believe that he could -recognize the touch of a landscape artist, and a generally happy effect -gives to this miniature all the value of a painting. - -'Here followeth the fifth triumph of Messire Francisque Petrarque, the -which is the triumph of Time.' - -The miniature occupies two pages and includes two subjects. In one, Time, -represented by the signs of the zodiac, and by the allegorical figures of -antiquity, marks his progress in the sky; mortals undergo his influence on -the earth. The artist has signed his work at the right, at the foot of the -picture, this time with his full name: 'Godefroy.' In the other miniature -the triumph of Time is represented. He is passing in his chariot, drawn -by four horses at a gallop, between the four Seasons. On the left, at the -foot, we see a G and two lizards. - -'Here followeth the sixth and last triumph of Messire Francisque -Petrarque, the which is the triumph of the Deity.' - -This title is followed by a double miniature. In one, we see God the -Father and Jesus Christ, with the Holy Spirit soaring above their heads, -seated on the globe and presiding at the last day. Flames fall from the -skies upon mankind, who are divided into the good and the bad; angels -tranquilly lead the former, while devils brutally pursue the others. At -the foot, on the right, is the G. On the other page, God the Father and -God the Son (the Holy Spirit hovering over them as before) are seated in -a triumphal chariot drawn by the ox, the lion, the eagle, and the angel, -which are the symbols of the evangelists. They come forward, surrounded by -all the dignitaries of the Church. Pagan Love, with bandaged eyes, lies -dead on the ground near the chariot wheels; a long procession of saints, -male and female, concealed below the waist by an elevation, are following -the course of the chariot in the foreground. This arrangement made it -possible for the artist to make his figures larger and to delineate their -features with care. The G is at the foot of the miniature, on the ground. - -All these miniatures, painted in grisaille, with blue skies and water, and -with some few details in colour, are 86 millimetres high and 68 wide. - - Comte Léon de Laborde. - - -3 - -In the catalogue of the library of M. Firmin Didot père, sold in 1811, is -the following description of a magnificent manuscript:[311]-- - -'The first three books of Diodorus Siculus, translated from Latin into -French by Antoine Macault. Small folio, in blue morocco, with dentelles, -_lavé_, _réglé_, bound with the arms of François I, whose cipher it bears -on the back and on the cover. - -'A superb manuscript on vellum, presented to François I, containing 173 -leaves, 30 lines to the page. It is illustrated with miniatures and -with a large number of initial letters painted with the utmost care. -The first miniature represents François I surrounded by the nobles and -scholars of his court; it is 10 inches high and 6½ wide. This painting, -of the most finished workmanship, has the additional merit of presenting -the features of several great men of that time. All the pages on which -chapters begin are set in fillets of gold and ultramarine. The initials -are 19 lines high and 12 wide. More than fifty of these initials represent -the principal subjects of their respective chapters. The third book is -especially noteworthy, for, beginning with page 130, there is a series of -small miniatures, admirable in execution and of the greatest exactness in -respect of forms. - -'This manuscript has the advantage of being in a most excellent state of -preservation.' - -It was sold to M. Brunet, author of the 'Manuel du Libraire,' for 1476 -francs (not including the usual expenses); he bought for William Beckford, -Esq., of Fonthill Abbey in the County of Wilts, of which Salisbury is the -shire town. The author of the 'Repertorium Bibliographicum,' printed at -London in 1819, informs us that Macault's manuscript was at that time in -the library of that distinguished collector, which is described on pages -203 to 230 of the 'Repertorium.'[312] - -The description of the manuscript is as follows:-- - - DIODORE.--LES TROIS PREMIERS LIVRES DE DIODORE SICILIEN, - HISTORIOGRAPHE GREC DES ANTIQUITEZ DEGIPTE, ETHIOPIE ET AUTRES PAYS - DASIE ET DAFFRIQUE. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE - ANTHOINE MACAULT, NOTAIRE, SECRETAIRE ET VALET DE CHAMBRE ORDINAIRE - DU ROY. - -'Folio, ms. on vellum, in the original binding; the sides strewn with -fleurs-de-lis and the initial letter F. On one side, in a square -compartment, in gold letters: DIODORE SICILIEN. On the opposite -side: AV ROY FRANCOYS PREMIER. - -'This fine manuscript, formerly in the possession of Francis the First, -appears to have been executed by his express command. Prefixed to the -history is a painting of the King seated under a canopy powdered with -fleurs-de-lis, surrounded by his courtiers: his three sons, the Dauphin -Francis, Henry, afterwards Henry II, and Charles, Duke of Orleans, dressed -in rich habits, appear in the foreground. The King seems to direct his -attention to a person reading, dressed as an ecclesiastic, probably the -translator of the History. A beautiful greyhound on the floor, and a -marmoset, sitting on the table, near the King's left hand, are prominent -figures in the groupe [_sic_]. In addition to this exquisite illumination, -the volume is enriched with numerous large initial letters, painted with -peculiar delicacy, representing occurrences described in the book, manners -of various nations, and portraits of their early emperors and kings.'[313] - -This description is accompanied by an engraving on copper of the figure of -François I, after the Macault MS. The King is depicted full face, seated -before a table on which, near his left hand, is a monkey. The background -is a tapestry covered with fleurs-de-lis. This engraving is dated July 1, -1817, and is the work of M. Behnes. It differs from the engraving on wood -found in Macault's printed volume, not only in that it does not include -the various persons of the original drawing, but also in the details of -the King's costume. I have every reason to believe that the wood engraving -is a faithful reproduction of the original, just as the book itself is a -reproduction of the manuscript, except for the other drawings, which were -omitted, from economical motives, no doubt. - -Macault's volume is a quarto, consisting of 8 leaves of preface, 154 of -text (signatures A to Q), and 8 of index. The author's preface begins with -an S from which depends a shield (probably Macault's), bearing two fasces -accompanied by nine bezants arranged in threes, and having for a motto the -Greek word ΜΗΚΕΤΙ (not at all). The letter is repeated -on folio 148. The first page has a border in the shape of a portico, like -those in the opuscula published by Tory in 1531 and described on pp. -202-203. At the foot is the date 1535. On the verso we find the final -border of 'Champ fleury,' within which are drawn, in the vellum copy -preserved at the Bibliothèque Nationale, the royal arms of England, with -the motto DIEV EST [_sic_] MON DROICT, below.[314] - - -4 - - PAULI JOVII NOVOCOMENSIS VITÆ DUODECIM VICECOMITUM MEDIOLANI - PRINCIPUM. - -Folio manuscript of 137 leaves. Bibliothèque Nationale. - -This manuscript is enriched with ten portraits of dukes of Milan, painted -from originals, of each of which Paulus Jovius gives the abiding-place. - - 1. Otho archiepiscopus. - 2. Matthæus magnus. - 3. Galeacius [Galeazzo] primus. - 4. Actius. - 5. Luchinus. - 6. Joannes archiepiscopus. - 7. Galeacius secundus. - 8. Barnabas. - 9. Jo. Galeacius [Gian Galeazzo] primus. - 10. Philippus. - -The dedicatory epistle of this book, which was at first intended to be -addressed to François's third son, Charles de Valois, as the author -informs us, was addressed to the Dauphin, Henri, afterwards Henri II, who -succeeded to the rights of his elder brother, deceased in 1536, and of his -younger brother, who died in 1545. It is dated at Rome, the 4th of the -Kalends of April (March 29), 1547. - -It is not certain that Tory did any work on this manuscript, but I mention -it because of the engravings of the portraits, which appeared in the -edition published in 1549.[315] - - -5 - - RECUEIL DES ROIS DE FRANCE, LEURS COURONNE ET MAISON, etc., - by Jean du Tillet, register in chief of the Parliament of Paris. - -Large folio manuscript on vellum; Bibliothèque Nationale. It is the -original manuscript given to Charles IX, to whom it is dedicated. It is -bound in red morocco, with that prince's arms.[316] - -This manuscript is embellished with a large number of miniatures and -with thirty full-length portraits of kings of France, very carefully -executed, which remind one of the portraits accompanying the manuscript -of the 'Commentaires de César.' We also find there the escutcheons of the -principal officers of the crown. - -Here is the list of the kings represented: each portrait occupies a full -page. - - 1. Clovis. - 2. Clotaire I. - 3. Sigebert. - 4. Chilpéric and Frédégonde. - 5. Clotaire III. - 6. Charlemagne. - 7. Louis le Débonnaire. - 8. Charles le Chauve. - 9. Charles le Simple. - 10. Raoul. - 11. Louis d'Outre Mer. - 12. Lothaire. - 13. Philippe I. - 14. Louis le Gros. - 15. Louis le Jeune. - 16. Philippe-Auguste. - 17. Louis, père de Saint-Louis. - 18. Saint-Louis. - 19. Philippe le Bel. - 20. Louis le Hutin. - 21. Philippe le Long. - 22. Charles le Bel. - 23. Philippe de Valois. - 24. Jean. - 25. Charles V. - 26. Charles VI. - 27. Louis XI. - 28. Charles VIII. - 29. Louis XII. - 30. François I. - -As we see, the book was originally intended to stop with François I; -but as circumstances prevented the author from printing it thus, du -Tillet included the reigns of Henri II, François II, and Charles IX, who -succeeded one another at brief intervals. The work was still unpublished -when the author died, in 1570; it would seem, however, that he had long -been preparing to print, since we find in the edition of 1580 engravings -signed with the Lorraine cross.[317] - - -6 - -In 'Les Récréations historiques,' by Dreux Duradier, on page 102 of volume -one, we read: - -'In the manuscript of the late M. Lancelot, written, it is said, by the -hand of G. Tory, with the date of 1546, is found this ballad in honour of -the Virgin:-- - - '"Balade de Lyon Jamet sur la Vierge: - Qui me crea je l'ai conçu," etc.' - -I have vainly sought this manuscript among all those of Lancelot owned by -the Bibliothèque, of which there is a special catalogue; but I have been -unable to find it. - - -7 - -In order to omit nothing, I will also mention here another valuable -manuscript of the Bibliothèque Nationale, on one of the miniatures of -which is a G, followed by a small T or F, which may fairly be attributed -to Geofroy Tory. It is a translation of Livy, in two large folio volumes, -on vellum, acquired from the Bibliothèque de la Sorbonne, and enriched -with magnificent engravings, attributed to Jean Fouquet, which, however, -cannot be his, for the book has, on the first page, the arms of François -de Rochechouart and Blanche d'Aumont, who were married about 1480 and -died, both, in 1530. Evidently it was not in the early years of their -marriage that the book was written; and, as it must have occupied several -years, and, in fact, was never finished, there is nothing extraordinary in -the idea that Tory may have executed some of the miniatures about 1520. -Furthermore, in order to place the reader in a position to judge for -himself, I will add that the cipher mentioned above is painted on the leg -of the figures in the miniature on page 123 of volume one.[318] - -[Illustration] - -[Illustration] - - -FOOTNOTES: - -[Footnote 299: According to M. Dussieux, _Les Artistes français à -l'étranger_, p. 67, the first is unquestionably the chef-d'œuvre of -miniature-painting in the Italian style.] - -[Footnote 300: See folio 86 of the second volume: 'The Aduatuci, that is -to say those of Bois le Duc, are in Brabant, within xii leagues of Envers, -neighbours of Monsieur de Gueldres.'] - -[Footnote 301: Folios 59, 64, 69, 72, and 77 of the second volume.] - -[Footnote 302: Folios 30 recto and 31 verso of the second volume.] - -[Footnote 303: Vol. ii, folio 93.] - -[Footnote 304: I hesitated a long time before adhering definitely to this -opinion; at the outset I thought that I detected two painters, one for -the portraits, one for the decorations; but soon, after studying more -closely, after comparing the miniatures, the small figures in the columns, -the amazing imitations of ancient medallions, and lastly the portraits, -I became absolutely certain that a single hand, guided by a flexible and -varied talent, combined these different types and produced the whole.] - -[Footnote 305: Their dimensions vary from 90 to 100 millimeters in height, -and from 60 to 70 in width.] - -[Footnote 306: British Museum (Harleian), no. 6205.] - -[Footnote 307: _Bibliothèque Nationale._] - -[Footnote 308: This Perot was a favourite huntsman of whom François I -speaks in one of his letters to the Connétable de Montmorency: 'I am -obliged to confess that we lost the stag, and Perot has buried himself; -he dares not show himself in my presence.' M. Génin, who published -this letter among the _pièces justificatives_ of his edition of the -_Lettres de la Reine de Navarre_ (8vo, Paris, 1841; p. 468), says in a -note to the name Perot that he was a dog. I should probably have made -the same mistake, had I not, even before I saw this miniature, made the -acquaintance of the huntsman in question upon reading the accounts of -the expenditure of François I, the lists of his household, and the rolls -of receipts given to his treasurer. I find, for example, under date of -July 12, 1531: 'Due to Perot de Ruthie, in payment of such emoluments and -privileges as he has by virtue of his office of keeper of the park and -castle of Saincte Jame, and of the forests and four ponds of Raiz.' Five -years later, I find this entry: 'To Perot de Ruthie, to be used for the -necessary expenses of sending for and causing to be brought to him a part -of the dogs, with their whippers-in, from his kennels in the forest of -Chenonces.' (Roll of Receipts for 1536). Still later, he became lieutenant -of venery and gentleman of the chamber. He was one of those favoured -retainers who know how to make their way.] - -[Footnote 309: Library of S. A. R. le Duc d'Aumale, at Twickenham, near -London.] - -[Footnote 310: [The Duc d'Aumale (fourth son of Louis Philippe), who lived -in exile in England during the Second Empire, returned to France soon -after the fall of Louis Napoleon, and held a notable position in society, -politics, and literature, until his death in 1897. By his will he left his -Château of Chantilly, with his very valuable collections, to the Institut -de France, in trust for the French nation. The translator regrets his -inability to state definitely the present whereabouts of volume 1.]] - -[Footnote 311: Octavo, 1810; p. 124, no. 880.] - -[Footnote 312: According to information supplied to me from England, it -would seem that this fine manuscript is to-day [1865] in the library -of the Duke of Hamilton (Hamilton House, 22 Arlington St., Piccadilly, -London).] - -[Footnote 313: [This description is copied verbatim from the -_Repertorium_, by M. Bernard; the English is evidently a translation of -some French original.]] - -[Footnote 314: See the following section, under the date of 1535 (infra, -p. 205).] - -[Footnote 315: See the following section, under the date of 1549 (infra, -p. 234).] - -[Footnote 316: See what is said of this MS. in Le Prince's _Essai -historique sur la Bibliothèque du Roi_, edit. 1856, pp. 28 and 47.] - -[Footnote 317: See what I have to say later on this subject under the -heading 'Engravings of Uncertain Date' (infra, p. 255).--According to -M. Brunet (_Manuel de Libraire_, 5th edit., vol. ii, col. 929), the -first edition of this book was published at Rouen in 1577, under this -title: _Mémoires et recherches touchant plusieurs choses mémorables pour -l'intelligence de l'estat et des affaires de France_. But I find it -difficult to credit the accuracy of this statement, as the edition of 1580 -prints a license dated no earlier than August 10, 1578.] - -[Footnote 318: I am indebted for this information to M. Vallet de -Viriville, who is devoting himself to looking up the works of Jean -Fouquet, as I myself am looking up Tory's.] - - - - -SECTION II. PRINTED BOOKS ILLUSTRATED WITH ENGRAVINGS BY TORY OR HIS -PUPILS. - - -1515 - -There appeared for the first time, in the books of Hours published -by Simon Vostre about 1515, three engravings which are clearly -distinguishable in method of execution from those previously used by the -same bookseller, to which the three new ones were thereafter added. - -Thenceforth Vostre's Hours contained three varieties of engraving: (1) The -old gothic woodcuts (among which must be reckoned the Dance of Death with -dotted background), which figure in the editions issued by that bookseller -even in the fifteenth century; (2) Two large drawings in the Renaissance -style, which appear in his editions of 1507 and which may be attributed -to Jean Perreal, Tory's teacher; (3) The three in question, which do not -appear earlier than 1514 or 1515. These engravings are: (I) The -Adoration of the Shepherds, signed with the letter G in a gothic shield; -(II) The Adoration of the Magi; (III) The Circumcision; -the last two signed with this monogram: [Illustration: F]. The -G is still inclined to the gothic, but the second letter is altogether -roman. In my judgement, this monogram should be translated by the words, -'Godofredus faciebat,' or 'fecit.' It is true that the ascription of these -engravings to Tory has been contested; but Jules Renouvier, whose taste -was so unerring, and who cannot be accused of infatuation for Tory, did -not hesitate to adopt my hypothesis. 'In the last of Vostre's Hours,' he -says, in the pamphlet that he published concerning that bookseller, 'we -see, besides the plates executed in the old French manner, which have -not disappeared as yet, other plates in the Italian and German manners, -subjects treated in an altogether novel style: the Adoration of the -Shepherds, the Adoration of the Kings, and the Circumcision, are composed -of small figures in a large ground; the design has recovered all its -delicacy, in its clearly drawn forms, and the cutting is done with no less -diversity than care. Here, luckily,' continues Renouvier, 'a monogram -enables us to attribute the engravings to their author. It is a G alone, -or enclosing an F, subscribed on a shield or in a cartouche -hanging from a branch. They have been claimed for Geofroy Tory, and with -good reason, for the manner in which these plates are executed accords -with what we know of that excellent artist.' - -It is, perhaps, to these engravings, so successfully executed, that we -should ascribe the partiality that Tory afterwards displayed for books -of Hours, of which, as we have seen, he put forth several editions, in -diverse formats, and with a large number of engravings on wood done by -himself. - - -1516-1518 - -Here is to be placed Tory's second journey to Rome,[319] from which he -returned more Italian than ever, in respect to art. - - -1519-1520 - -Under this date, which was when Tory was working at the manuscripts I -have described above, I shall place, albeit somewhat conjecturally, two -small engravings on wood, signed with the letters G T, which appear in a -publication of M. Varlot entitled: 'Illustration de l'ancienne imprimerie -troyenne' (4to, 1850). They are numbers 84 and 131, the first in the -criblé style, the second in the style of the Renaissance. My ascription -of them to Tory is based upon the facts that they are of his time, as we -may infer from the one in the criblé style, and that the initials G T -are entirely consistent with that period of the life of our artist, who -sometimes signed his name in full, Geofroy Tory, as witness his Hours of -1524. - -The first of these engravings, number 84, represents a Descent from the -Cross. The letters G T are at the foot of the plate, and are some distance -apart.[320] In the same collection there is another engraving of the same -series, but not signed--number 78. It represents a bishop blessing a sick -man who lies entirely nude before him. These two are 48 millimetres wide -by 62 high. - -Number 131 represents a scene from Terence. The letters G T are side by -side at the foot of the plate, which is 33 millimetres high by 55 wide. -In the same collection, numbers 132 and 133, are two other woodcuts of -the same series, but not signed. Lastly, in an edition of Æsop, published -recently at Troyes, by the printer Baudot, we find a woodcut which -probably had the same origin, and found its way into this volume by -chance. These four engravings are evidently from an edition of Terence in -a small format; I have been unable to find it. - - -1520-1521 - -I shall place under this date a title-page, in octavo, forming a border, -engraved for Simon de Colines, and bearing his mark and his initials. This -printer, who succeeded in 1520 Henri Estienne, the first of the name, -whose widow he married, wished to mark his printings in some special way, -and to that end applied to Tory, who was a friend of the family. Tory -engraved the title-page in question, in the criblé style, then much in -vogue; and on it are seen rabbits, or _conils_, which is believed to be -an allusion to the name of Colines.[321] Tory's mark appears in white, at -the foot of the engraving, to the right. I have seen this engraving in an -Epitome of the 'Adages' of Erasmus, in Latin, printed by Simon de Colines, -in 1523, in octavo, under this title: 'Johannis Brucherii Trecensis -Adagiorum ad studiosæ juventutis utilitatem ex Erasmicis chiliadibus -excerptorum epitome.' It was probably Tory, too, who engraved Colines's -large mark with the rabbits (Silvestre, no. 79), which is in the same -style, and which appears in the Hours of 1524; but it does not bear the -double cross. Tory also engraved for Colines two other marks in a very -different style (Silvestre, nos. 80 and 329), and a multitude of borders -and illustrations for his books. - -Colines certainly employed Tory more than any other printer did, as we -shall see in the sequel. This fact leads me to believe that Lottin is -mistaken in bestowing upon Colines the title of engraver of letters, -attributing to him doubtless the engraving of the graceful italics that -he used in works written in verse; I am convinced that those letters are -the work of Tory. I will call attention, however, to the fact that the -capitals that go with these italics are roman, and may belong to the roman -letters which Simon de Colines had from Henri Estienne. But the font is -enriched with some white two-line letters, of a charming design, which are -certainly Tory's, as are the floriated letters used by Colines and his -stepson Robert Estienne. - - -1521-1522 - -I. Tory engraved also for Simon de Colines a magnificent -title-page intended for a very rare work, which, for that reason, I -think that I ought to describe in detail (after one of the copies in the -Bibliothèque Nationale), for its existence has been doubted.[322] - -The book is entitled: 'Commentarii initiatorii in quatuor Evangelia,' -etc., with no author's name on the title-page; but it was written by -Jacques Lefèvre d'Etaples, as we shall see in a moment. It is a folio, of -6 unnumbered preliminary leaves, and of 377 numbered leaves, making 192 -sheets, divided into 50 folds of 4 sheets each, except the first, which -has only 3. The signatures go from _a_ to _ddd_ consecutively. The text -of the Gospels is set in large type (great primer), the notes in smaller -type (pica), in which there are some very handsome Greek characters, with -accents, which were still a novelty at that time. - -The title is in a wide border, engraved on wood, decorated with the -symbols of the four evangelists, beneath which are printed passages from -their works. This border, which is signed with the Lorraine cross at the -foot, on the right side, is .225 metre high by .166 wide. - -On the second preliminary leaf the author's preface begins, under this -heading: 'Jacobi Fabri Stapulensis ad Christianos lectores in sequens opus -Præfatio.' It ends on the fourth preliminary leaf, with the date, 'Meldis, -anno M. D. XXI.' Then follows a concordance of the four Gospels, -in the form of tablets closed at top and bottom by unsigned engravings. - -The Gospel according to St. Matthew, which opens the book, begins with -a superb ornamented L, on a criblé background, .058 metre in height by -.055 in width. The Gospel according to St. Mark, which opens on leaf -115 (erroneously printed 215), begins with an I of the same style and -dimensions. The Gospel according to St. Luke begins on folio 175 verso, -with an F like the two preceding letters. The Gospel according to St. John -begins on folio 259, with the I that has already done duty in the Gospel -of St. Mark. These letters, which are altogether in the style of those -afterwards engraved by Tory for Robert Estienne, seem to me to be fairly -attributable to him, although unsigned. - -In the balance of the book we find a large number of other letters -ornamented in the criblé style, but of smaller size, which cannot be -Tory's. - -On folios 101 verso and 102 recto are certain astronomical figures, -unsigned, which I dare not attribute to Tory; but I do not hesitate to -attribute to him a large engraving on folio 182 verso. It represents -Jesus in an aureole of flame. Below him is the sea; above him the Father -Everlasting, blessing with the right hand, and holding in his left hand -the globe surmounted by a cross. He is uttering these words which we read -in a scroll: 'Hic est filius meus dilectus in quo mihi bene complacui.' -This engraving, including its border, is .210 metre in height by .137 wide. - -On the last page is a subscription in these words: MELDIS, IMPENSIS -SIMONIS COLINAEI ANNO SALVTIS HVMANAE M. D. XXII. MENSE IVNIO. - -Who printed this book? Not Simon de Colines, as La Caille said, and as -Maittaire and Panzer have repeated after him, for the subscription means -simply that the printing was done at his expense. One can understand, -in truth, that Simon de Colines, who had at the time an extensive -typographical establishment at Paris in full blast, could not leave -that city to print a book at Meaux. Nor was it a local printer, for no -other contemporary printing at Meaux is known; moreover, the mechanical -execution of this volume, and the engravings with which it is embellished, -prove that it did not come from a wretched provincial workshop. - -In my opinion there is but one way of explaining this typographical -enigma. It is this: Guillaume Briçonnet (second of the name), having been -appointed Bishop of Meaux in 1518, took with him to that town his friend -Lefèvre d'Etaples, to whom he entrusted the administration of his diocese. -Etaples employed his leisure in writing various religious works, among -others the Commentaries on the Gospels, which were finished in 1521. -Wishing to have this bulky volume, which was of capital importance to him, -printed under his own eyes, and being unable to leave Meaux, where he was -detained by his duties, Lefèvre simply imported from Paris a portion of -Simon de Colines's printing-office, with a small staff.[323] In this way -he could not only superintend the printing of his book, but also lend a -hand at need, after the example of many another scholar of that time who -did not scorn to practise the printing art. - -What I have said is a mere hypothesis, it is true; but this hypothesis -is surrounded by circumstances which give it a powerful appearance of -truth. In addition to what I have said above, I will say that the types of -Lefèvre d'Etaples' book are the same as those used in an octavo printed -at Paris by Simon de Colines in 1523,--a book which I have already cited -and which I now have before me. It is entitled: 'Joannis Brucherii -Trecensis Adagiorum ... ex Erasmicis chiliadibus excerptorum Epitome.' The -title-page has a border signed with the Lorraine cross. More than that, -the first ornamental letter in Etaples' book, which is an A on a criblé -background, is also the first letter of the book of Johannes Brucherius; -whence we see that the typographical material sent to Meaux returned to -Paris immediately after Etaples' book was printed. - -Doubtless that is why we have only one book dated at Meaux at that period; -it might be, however, that advantage was taken of the momentary existence -of this printing-office at Meaux to set up some trifling work, in 1521 or -1522; but that would not in any wise modify my conclusion. - -II. Tory engraved also, at about the same time, for a printer at -Troyes named Jean Lecoq, the title-page, in the shape of a border, of a -'Gradual'[324] of the Cistercian Order--a very large and handsome folio, -printed at Troyes in 1521. This engraving is in the criblé style, with the -double cross in white at the foot, on the right. At about the same time -he engraved in the same style Jean Lecoq's mark, which appears at the end -of the volume, and of which a reproduction may be seen in M. Silvestre's -book, no. 875. - -As this Gradual is very rare (only one copy of it is known to exist, which -I have seen in M. Tross's collection) and very beautiful, I think it well -to describe it. It is almost needless to say that it is printed in gothic -type. - -First of all, above the title there is a line printed in black:-- - - Jesus ✥ Maria Bernard - -(It is well known that St. Bernard was the founder of the Cistercian -Order.) Then, in red (I complete the abbreviated words):-- - -'Graduale ad usum Cisterciensis ordinis: secundum capituli generalis -venerabilium patrum ejusdem ordinis diffinitionem in sequenti paginas -declarata: noviter per quendam Clarevallensem monachum ad debitam formam -utiliter redactum. Et Johannis Lecoq impressoris Trecis commorantis -solertia diligenter impressum. Anno Domini Millesimo quingentesimo -vicesimo primo.' (Here Lecoq's large mark: Silvestre, no. 877.) 'Cum -privilegio.' - -The volume is made up of 2 preliminary leaves, for the title, etc., and -252 pages of text, divided as follows: First part, without pagination, -of 18 signatures (_a_ to _s_) of 4 sheets each, except the last, which -has only 2,--in all, 140 leaves. Second part, folios 1 to 112, having 14 -signatures (A to O) of 4 sheets--in all, 112 leaves. - -The paper is very strong and fine. It is one of the earliest books -printed with music in France, and it reflects great credit on the presses -of Troyes, and especially upon Jean Lecoq, first of the name. Names of -places and persons are consistently printed with capitals. The work is -illustrated with a few engravings; but its most remarkable feature is the -ornamental initials and uncial letters with which it is embellished. - -At the end, by way of colophon, are these words:-- - -'Explicit Graduale secundum usum ordinis Cisterciensis, Trecis impressum - -Per Johannem Lecoq, Anno Domini Millesimo quingentesimo vigesimo primo Die -sexta mensis Martii. Laus Deo.' - -Here Lecoq's mark with the Lorraine cross in white. - -This volume came from the ancient monastery of Oliva, near Dantzig. - - -1522 - -I. We may place under this date two other frontispieces signed -with the Lorraine cross. The first is a large engraving divided into four -compartments, and representing armies in battle array, with cannon. The -two upper compartments are connected by the shield of France, surmounted -by a crown and encircled by the order of Saint-Michel, from which branches -of rose-bushes depend on either side. In each compartment there is a -cartouche. Tory's mark is at the foot of the lower left-hand compartment, -in which the banner of France is seen waving. This engraving appears in -the 'Rozier historial de France,' a folio printed in gothic type, at -Paris, for François Regnault, February 10, 1522, before Easter; that is -to say, 1523 new style. In the cartouches the following words are printed -in red, in gothic type: 'Bataille ronde,' 'Bataille de pointe,' 'Bataille -de feu,' 'Bataille de fourche.'[325] It appears in another edition of the -same book, printed in 1528 for the same bookseller; also, in a translation -of Cæsar's 'Commentaries,' printed by Pierre Vidoue, in 1531, for the -booksellers Poncet Le Preux and Galiot du Pré. This translation is a folio -volume divided into two parts, the first translated by Étienne Delaigue, -called Beauvoys, the second by Robert Gaguin. The plate in question is -at the end of the first part, folio 95 verso. The whole book is printed -in black, both text and engraving. I am indebted for my knowledge of the -engraving to M. Robert-Dumesnil _fils_. - -II. The second engraving, in the form of a border (folio size), -representing a number of grotesque and licentious subjects, appears in an -edition of the 'Histoire du saint Graal,' published by Philippe le Noir, -sworn bookseller and binder to the University of Paris, on October 24, -1523. The bookseller's initials are in the compartment at the top of the -border.[326] - -In this book, as well as in those last described, there are other -engravings; but they are not the work of Tory, to whom only the important -pieces were assigned. These other engravings had, doubtless, appeared -elsewhere. - -As for the engraving executed by Tory (which reappears in many other -works printed by Philippe le Noir), it is a copy of a plate engraved by -Urs Graf, dated 1519, and used by Pierre Vidoue, printer at Paris,[327] -particularly in a Virgil of 1529, folio, which is now in the Bibliothèque -Mazarine. The four principal subjects of this engraving, placed at the -four corners of the border, represent: (1) Men lighting torches at a -woman's posterior; (2) A woman carrying off a man in a basket[328]; (3) -The death of Pyramus and Thisbe; (4) The judgement of Paris. - - -1523 - -While working for others, Tory busied himself with a long series of -engravings intended for books of Hours to be published by himself.[329] - -'It is upon turning over these plates,' says M. Renouvier,[330] 'that one -appreciates to the full his style--rich, diversified and immeasurably -clever in ornamentation, distorted out of proportion, diabolic in the -drawing of faces, descending too often to downright awkwardness in the -carriage of the head and to a habit of bellying out draperies; and, -finally, overweighted by a sort of heaviness in the forms. The artist's -greatest facility is shown in the arrangement of his figures, and in the -decoration of his porticoes. Whatever he may say, it would seem that what -he studied at Rome with the best results were the baths of Titus and the -arabesques of Giovanni da Udino.' - - -1524-1525 - -We have seen that Tory had been in the habit for some time of signing his -engravings with a double cross; but this had not yet become an invariable -signature. For instance, about 1524 he often used a monogram in which his -name and surname--or, to use the terms of the present day his Christian -name [_prénom_] and his family name [_nom de famille_]--both appear. It -consists of a capital G, enclosing a smaller S, with the [Illustration] -double cross above. This means, in my opinion, that Tory was the -_engraver_ only ('Godofredus Torinus sculpsit'), in distinction from the -cross alone, which means that Tory both drew and engraved the pieces -on which it appears. In fact, we find in most of those signed with the -monogram a roughness of aspect which is not characteristic of Tory's usual -style. - -However that may be, here is a list of the pieces known to me on which -this monogram appears. - - * * * * * - - I. LE BLAZON DES HERETIQUES. - -Quarto of 14 leaves, in gothic type, printed by Philippe Le Noir, 'sworn -binder to the University of Paris,' with a privilege from the court of -the Parliament of Paris, dated December 21, 1524. This is a satirical -production, in verse, attributed to Pierre Gringoire, otherwise called -Vaudemont, at the head of which appears the figure, or effigy, of the -'heretic,' signed with the monogram in question. The description of the -effigy is as follows: - - En gibeciere on luy voit ratz avoir, - Qui sont rongeans et serpens detestables - En son giron faisant mords diffamables. - De son sian sort ung aspre feu vollant, - Qui cueur et corps et livres est bruslant.[331] - -This very rare work was reprinted at Chartres, in 1832, under the auspices -of M. Hérisson, the librarian of that city. The reprint contains a -facsimile of the engraving. - - * * * * * - - II. HEURES DE NOSTRE DAME, TRANSLATEES EN FRANCOYS - ET MISES EN RITHME PAR PIERRE GRINGOIRE, DIT VAUDEMONT, PAR - LE COMMANDEMENT DE ... MADAME REGNEE DE BOURBON, DUCHESSE DE - LORRAINE, etc. - -A quarto, in gothic type, undated, but containing a table of Easter-Days -beginning with 1524, and a privilege dated October 10, 1525. - -This book, which was published by the bookseller Jean Petit, contains 13 -large engravings, a list of which follows:-- - - 1. The Annunciation. - 2. Adam and Eve. - 3. The Cross. - 4. The Holy Ghost. - 5. The Descent of the Holy Ghost upon the Apostles. - 6. David praying for Zion, threatened with the divine thunderbolts. - 7. The Virgin and the Child Jesus. - 8. A Family at Table (Pentecost?). - 9. Eight Naked Children Praying; the Holy Trinity in the Heavens. - 10. The Manna. - 11. David's Penance. - 12. The Triumph of Death. - 13. Jesus receiving the Crown of Thorns and the Reed. - -Only the last of these bears the monogram that I have described[332]; but -the other engravings, being in the same style, should all be attributed to -Tory. We might perhaps also attribute to him the six analogous engravings -which appear in the same author's 'Chants royaux' (printed at the same -time and usually bound with the Hours), but not one of which is signed. -They represent:-- - - 1. The Synagogue: Jesus in the background, entering a pillar. - 2. The Prodigal Son: Jesus in the background, curing a woman. - 3. Hunters: Jesus in the background, curing one possessed of devils. - 4. The Miracle of the Loaves and Fishes. - 5. Entrance of Jesus into Jerusalem. - 6. The Crowning with Thorns. - -These two books have been reprinted several times. I know of four quarto -editions of the Hours.[333] The first is the one I have just described. -It contains some other engravings, in an entirely different style from -Tory's, which appear also in other books of Hours of older date. The -second has a table of Easter-Days beginning with 1528, and a privilege -dated November 15, 1527. In other respects it is similar to the earlier -one. The third has a table of Easter-Days beginning with 1534. It is like -the last except in one point: in place of the final engraving there is a -different one, signed in the same way, representing Job at prayer before -his burning house, and his neighbours reviling him. This engraving proves -that Tory must have engraved a longer series from which the printer took -this one at random, being unable at the moment to find the one that he -required. The fourth has a calendar beginning with 1540. It is like the -second, except for the privilege, which is dated November, 1525, doubtless -by mistake. These four editions are all in the Bibliothèque de l'Arsenal. - - * * * * * - - III. HISTOIRE ... DE LA ... GLORIEUSE VICTOIRE OBTENUE - CONTRE LES SEDUITZ ET ABUSEZ LUTHERIENS MESCREANZ DU PAYS DAULSAYS - ... PAR ... ANTHOINE ... DUC DE CALABRE ..., PAR NICOLE VOLCYR - (otherwise called Volkire) DE SEROUVILLE, etc. - -Small folio, in gothic type, without date of printing, but with a -privilege dated January 12, 1526 (1527 new style), issued by Jean de la -Barre, 'garde de la prévôté' of Paris. The battle took place in 1525. - -Volcyr's work contains seven engravings, but only the last two, at -the beginning of the last two books, are signed. We may, however, I -think, attribute to Tory the one at the head of the first book also. A -description of these engravings follows:-- - -1. Frontispiece representing Faith: a helmeted woman trampling upon the -dragon. - -2. The author, seated, writing his book. - -3. A large plate representing a warrior (the Duke of Calabria?) amidst his -men, waving his sword. - -4. A bishop praying. - -5. The author offering his book to the prince. A fine plate on which are -several scattered letters, the meaning of which I am unable to conceive. - -6. A large plate representing the attack on the town of Saverne. At the -top is the word 'Saberna.' - -7. A large plate representing the vision of the Passion. Jesus at prayer, -a halo about his head; facing him, angels presenting the Cross; behind -him, other angels bearing the post to which he was bound; all about him, -the instruments of his torture. This plate is altogether in the manner of -those in the following work. - - * * * * * - - IV. THE LABOURS OF HERCULES. - -Twelve large plates, folio, owned by the Bibliothèque Nationale. Each of -them was formerly accompanied by a number and by a quatrain in French -explaining the subject; unfortunately these have been removed from most -of the plates,[334] and it is impossible for me to-day to place them with -full assurance in the order in which they belong. However, that given -below seems to me most natural. The three which retain their numbers are -marked by an asterisk. - - 1. The Nemean Lion. - 2. The Lernean Hydra. - *3. Cerberus. - 4. Antæus. - 5. Archelaus. - 6. Hippodamia. - 7. Geryon. - 8. The Pillars of Hercules. - *9.The Cretan Bull. - *10. The Erymanthian Boar. - 11. Cacus. - 12. Hercules at the Stake. - -All of these engravings are signed: [Illustration: S in G] - -We give here, as specimens, three of the quatrains accompanying the -engravings; they are the only ones preserved at the Bibliothèque -Nationale. They may very well be the work of Gringoire, like the verses of -the 'Blazon des Hérétiques,' of the same date. - -_Number_ 3 - - Il braue les enffers (chose à luy tresaisee), - Et le chien Cerberus, aux trois chefz surmontant; - Il va les Infernaux main à main combattant, - Pour mettre en liberté son bon amy Thesee. - -_Number_ 9 - - Les furieux Thaureaux (choses esmerveillables) - De ses deux bras nerveux Il maitrise aisement, - Et leur faict faire Ioug desoubs luy forcement - Encor qu'on estimat qu'ils fussent indomptables. - -_Number_ 10 - - Ung sanglier escumeux à la grand' dent pointue, - Qui hommes, vignes et bleds degatoient enragé, - Et par qui l'vniuers estoit endommagé, - Seul, par sa hardiesse, Il acreuante et tue.[335] - -The orthography of these verses proves that they were printed in the -seventeenth century[336]; but the very appearance of the verses, and the -condition of the plates, which are already worm-eaten, are sufficient to -justify one in assigning to the latter a very much earlier date than to -the former. So that I can do no better than to refer them to the year -1525, when we find Tory using the same monogram. - -Tory seems to have attempted in these plates to imitate Mantegna, whose -work he may have studied in Italy; but he had the good sense to abandon -this manner, which was not his own; or perhaps we should say that he did -no more than follow designs which were supplied to him. - -This is what M. Renouvier has to say on this subject:-- - -'The plates signed with a G surmounted by the Lorraine cross are of -more importance. The Labours of Hercules, in twelve plates, are the -work of no commonplace artist. The drawing assumes a masterly, even a -rough, character, seeking effects in the play of muscles and of facial -expression in imitation of Mantegna and Albrecht Dürer; the cutting -follows up the effect of the burin. Bartsch mentioned them among the old -German masters, and the monogrammatists wavered between Jean Schoorel, -Georges Scharfenberg, Giuseppe Scolari, etc.; their French origin was -not suspected until some proofs were found on which the engravings were -accompanied by French quatrains. Then, when the same mark was found -on a plate used as a frontispiece to Pierre Gringoire's "Blazon des -Hérétiques" (1524), and on several vignettes in the Hours _rendered into -verse_, by the same poet, it was attempted to make a wood-engraver of -Gringoire, who was a Lorrainer, herald-at-arms to Duc René II, and likely -enough to display the cross of Lorraine over his initial. This much is -certain: that the mark consisting of a G with the cross of Lorraine is -found also on the plates of a Lorraine book--"Duc Anthoine's Victory -over the Lutherans"--published by his secretary Volcyr, who paid the -expenses of the publication, "being unable to find any bookseller who was -willing to undertake it, as well because of the portraits and cuts of the -illustrations as of the printing hereof," and caused it to be issued, -not in Lorraine, but in Paris, by Galliot Dupré, in 1526. It is to be -noticed that this bookseller's mark, which represents a galliot, also has -a Lorraine cross surmounting his cipher. Now, the attribution of these -plates to Geofroy Tory is based upon some very ingenious comparisons of -marks; the style of the engravings places no insurmountable obstacle in -the way of such attribution, but it must be admitted that the engraver was -led very far astray from his earlier works by his imitation of the German -manner. It is possible, because French engraving, at the beginning of the -sixteenth century, was pulled in four directions at once, so to speak, by -national habit, by Flemish taste, by German mania, and by Italian charm. -M. Bernard would give the fullest sanction to this second attribution if -he could find any evidence of a journey of Tory's to Alsace or Lorraine -of a later date than his journey to Italy; the importation of woodcuts -from those provinces, then a common occurrence, would indeed suffice, so -far as the common herd of our engravers is concerned, to explain this -alteration in their manner. I will mention in a moment an example, also -out of Lorraine, which must certainly have been known to Tory. Whatever -the fact may be, the Labours of Hercules deserve an honourable place -among the first attempts on a large scale of French engraving, beside the -plates of Jean Duvet. The British Museum, like our Cabinet des Estampes, -has acquired a set of them. Two of the plates in the latter set have the -quatrains which are lacking in the corresponding ones in the Paris set; -these are, the fifth: "The sly Archelaus 'gainst Hercules doth contend"; -and the seventh: "The mighty Geryon, despicable tyrant," etc.' - - -1526 - -I. I have said that the floriated letters of Simon de Colines and -Robert Estienne were engraved by Geofroy Tory. I cannot furnish material -proof of the fact with regard to those of Colines; but I am about to -produce incontestable evidence with regard to Estienne's. A letter in one -of his alphabets is signed with the Lorraine cross, and that letter is -the G, the initial of Tory's own name, or, as we say to-day, his first -name (_prénom_). It is as if he had written 'Geofroy Tory' in full. But -in this case, in opposition to what we find in the preceding engravings, -the cross, instead of being above the G, is below it, and hidden as much -as possible in order not to injure the design of the 'antique letter.' -This circumstance proves not only that Tory was the engraver of Robert -Estienne's floriated letters, but also that the double cross was that -artist's mark. - -[Illustration] - -[Illustration] - -[Illustration] - -Is it not, in truth, a striking fact that Tory chose the letter G to place -his mark upon? He was not withheld by the consideration that that letter, -not being in very common use, especially at the beginning of words, -appeared rather infrequently in books.[337] As always, logic prevailed -with him over every other consideration. Let us see how far it carried him. - -Later, he engraved a Greek alphabet, in the same style, for Robert -Estienne; as he could not put his mark on the _gamma_, which bears no -resemblance to the G, he put it on no letter, but on one of the friezes -executed to accompany those beautiful floriated letters.[338] See the -frieze in question at the beginning of the second volume of the Works of -Eusebius, three volumes, folio, 1544.[339] - -II. Besides these two alphabets of capital letters, Tory engraved -for Robert Estienne about the same time, six different marks for his -typographical sign, the 'Olive-Tree,' of which a description will be found -later on, in section 3. - -III. Tory also engraved, about the same time, for Simon de -Colines, a border in the criblé style, at the foot of which is a sun -which certain centaurs, incited thereto by women, are trying to seize. -(Silvestre, no. 523). This border is probably of 1526, when Colines turned -over to Robert Estienne his father's establishment and set up for himself -at the 'Soleil d'Or,' opposite the Collège de Beauvais. It appears, to my -knowledge, in two octavo volumes of 1529: 'Compendium Grammaticæ græcæ -Jacobi Ceporini,' and 'Liber de opificio Dei.' - - -1526-1528 - -This whole period was, in all probability, absorbed by the labour of -engraving and editing 'Champ fleury.' For one of the first engravings -in that book is dated 1526, and it was finished early in 1529. Although -the majority of these engravings are not signed, they must all belong to -Tory, at all events so far as the designs are concerned.[340] I cannot -attempt to enumerate them all here, for there are more than five -hundred, counting as one each of the letters in the various alphabets; but -I propose to mention the more important ones. For historical information -concerning the book, I refer the reader back to what I have said thereon -in the first and second parts of this volume. - -[Illustration] - -[Illustration] - -The title-page is enclosed in a very pleasing border,[341] and it has -moreover an engraving of the Pot Cassé reversed.[342] On the verso are the -arms of France.[343] - -Folio 1 of text: the letter L, which I have already reproduced.[344] - -Folio 3 verso: the Gallic Hercules. This engraving, dated 1526, and -signed with the Lorraine cross, represents Hercules holding his club in -one hand and a bow in the other. He is followed by divers persons of all -conditions, fastened by the ear to a chain that issues from the hero's -mouth. This is an allusion to the power of eloquence over the French. The -strength of the Gallic Hercules lies not in his arms but in his mouth.[345] - -Folio 9 verso: cut of the _lisflambe_, a species of lily; it is the swamp -iris, called to-day the _iris flambe_. - -Here the first book ends. - -The second contains thirty-seven geometrical figures, which it would be -no less difficult than unprofitable to describe. They are, for the most -part, representations of different letters. At the end of this book is the -'Triumph of Apollo and the Muses,' 'to show that they who have knowledge -of goodly letters have the advantage over the ignorant.' This engraving, -which is in two parts,[346] both signed with the Lorraine cross (folios -29 verso and 30 recto), represents Apollo in a chariot, escorted by the -Muses, Liberal Arts, etc., and followed by Bacchus, Ceres and Venus as -prisoners.[347] - -On the very last page (folio 30 recto) is an engraving of the _lisflambe_ -surmounted by an A made up of three I's.[348] - -The third book has, in the first place, twenty-eight engravings of Roman -letters. The twenty-ninth represents a gothic S (folio 42 verso). The -thirtieth is a representation of the Pot Cassé, signed with the Lorraine -cross (folio 43 verso).[349] - -[Illustration] - -Next come thirty-eight other cuts of letters, and two curious drawings of -the letter Y (folio 63 recto and verso).[350] Then two ordinary copies of -the letter Z, and an allegory based on the shape of that letter (folio -65).[351] - -On folio 65 verso is a representation of various punctuation marks. - -Folios 68 verso and 69 recto: a Hebrew alphabet of forty letters or -symbols. - -Folio 71 recto: the Greek alphabet of twenty-four letters and three -accents.[352] - -Folio 72 recto: the Latin alphabet[353] of twenty-three letters, with -three punctuation marks, and the Greek abbreviation of the name of Jesus. - -Folio 74 recto: the alphabet of _cadeaulx_ letters, consisting of -twenty-three letters and one mark. - -Folio 74 verso: the alphabet of letters _de forme_, consisting of -twenty-nine letters or symbols, with two lines of text added. - -Folio 75 recto: the alphabet of _bastardes_ letters, consisting of -twenty-eight letters or symbols, followed by two lines of text. - -Folio 75 verso: the alphabet of _tourneures_ letters, consisting of -twenty-three letters. - -[Illustration] - -[Illustration] - -Folio 76 recto: the alphabet of Persian, Arabic, African, Turkish and -Tartar letters, thirty in all. - -Folio 76 verso: the alphabet of Chaldæan letters, consisting of -twenty-three. - -Folio 77 recto: the alphabet of _goffes_ letters, otherwise called -_imperiales_ and _bullatiques_, twenty-three in number. - -Folio 77 verso: the alphabet of _fantastic_ letters, to the number of -twenty-three. - -Folio 78 recto: the alphabet of _utopiques_ and _voluntaires_ letters, to -the number of twenty-three. - -Folio 78 verso: an alphabet of floriated letters used in the course of the -book, twenty-three in number.[354] - -Folio 79 recto: a series of ciphers or intertwined letters, to the number -of ten. - -Folio 80 recto, and last: a border of graceful design,[355] in which occur -Tory's mottoes: 'Menti bonæ Deus occurrit'; 'Sic ut, vel ut'; 'Omnis -tandem marcescit flos.' And in the centre is the Pot Cassé, unsigned, -although it seems to be the same cut that appears on folio 43 verso, with -the cross removed. - - -1527 - - * * * * * - - I. NOTABLES ENSEIGNEMENS, ADAGES ET PROVERBES, FAICTZ - ET COMPOSÉS PAR PIERRE GRINGOIRE, DIT VAULDEMONT. - -Octavo, in gothic type, of 68 leaves; for sale by Galliot du Pré; printed -by Simon du Boys, February 1, 1527 (1528 new style). - -On the verso of the second leaf is a wood-engraving with the Lorraine -cross at the right. It represents Gringoire offering his book to the king, -who is seated. In the background, a garden with a bee-hive and bees flying -about it. (Bibliothèque Nationale.) - - * * * * * - - II. LES HYMNES COMMUNES DE L'ANNEE: TRANSLATEZ DE LATIN - EN FRANÇOIS EN RITHME, PAR NICOLAS MAUROY LE JEUNE, DE TROYES, - avec privilege du roy pour trois ans. (Mark of Jean Lecoq.) On les - vend à Troyes es hostels de Nicolas Mauroy, etc. - -The privilege is of 1527. Small folio, in gothic type, printed in red and -black; signatures A to T. - -This volume, which I saw in 1858, at M. Techener's, contains a large -number of engravings in the criblé style, and others in the modern style; -but only three of them are signed; these are:-- - - 1. A Last Supper, criblé. - 2. A Last Supper, 'à la moderne.' - 3. The Virgin, seated, holding the Child Jesus (folio 89 verso). - -This book may give us the date of the other signed engravings found -at Troyes, which were published by M. Varlot in his 'Illustration de -l'imprimerie troyenne' (Troyes, 1850, folio). - -III. HOURS OF THE VIRGIN, in Latin, published by Tory, -but printed by Simon de Colines; octavo.[356] - -IV. HOURS OF THE VIRGIN, in Latin, published by Tory, -but printed by Simon Dubois; quarto.[357] - - -1528 - - * * * * * - - I. ARISTOPHANES. - -In 1528 Pierre Vidoue printed, at the expense of Gilles de Gourmont, nine -comedies of Aristophanes, in Greek, which were published separately, in -quarto form, under the editorship of Jean Cheradam.[358] All of these have -a frontispiece engraved by Tory, of which a description follows. At the -foot, under the words 'Egidivs Gormontivs' in large letters, is a shield -with the Gourmont arms (three roses in chief and a crescent in point), -supported by two winged stags with ducal coronets about their necks, -the crest being a helmet above which is a St. Michael holding a naked -sword.[359] At the left, a Greek inscription; at the right, an inscription -in Hebrew. The two uprights represent the wise men offering their gifts to -the Child Jesus lying on his mother's knees. At the top is a shield with -three crowns in chief (this was the sign of Gilles de Gourmont, as may be -seen on the title-page of 'Champ fleury'), and tears in the field. This -shield has for supporters, on the right a lion, on the left a griffin, -and for crest a helmet surmounted by a fan-shaped ornament. On either -side is an angel with wings holding a shield; that on the left enclosing -an E, that on the right a G, the initials of Gilles de Gourmont's name -in Latin (Egidius Gourmontius). The Lorraine cross is at the foot of the -border, on the left.[360] - -[Illustration] - - * * * * * - - II. ENCHIRIDION PRECLARE ECCLESIE SARUM, DEVOTISSIMIS - PRECATIONIBUS AC VENUSTISSIMIS IMAGINIBUS, ET IIS QUIDEM NON PAUCIS - REFERTUM. (Here the mark of Thielman Kerver--two unicorns - holding a shield _au Gril_, with the T. K., and, beneath, the - full name, Thielman Kerver.) Parisiis ex officina librarie vidue - spectabilis viri Thielmanni. - -Small octavo, Paris, 1528, with engravings signed with the Lorraine -cross.[361] Printed in red and black, in gothic type. There are 31 -signatures of 8 leaves,--_a_ to _z_, and A to G (signatures _x_ and _y_ -have only four leaves each). In all there are 232 numbered leaves, plus 4 -leaves of index not numbered. - -The volume begins with the title-page, followed by a calendar, the whole -occupying 13 leaves, after which comes the text. It contains 54 engraved -plates, 12 of which are in the calendar, and a large number of initial -letters representing sacred subjects. Beneath each plate is a quatrain in -English. - -The 12 plates in the calendar represent allegorical subjects. They are -enclosed in oval borders, and are 71 millimetres by 55. Consequently they -are all out of proportion to the size of the book, which is 84 millimetres -by 48. It is evident therefore that they were not made for it. At the foot -of each, in the border, is the name of the month. The engraving for the -month of February represents a school; that for March, a hunt; that for -April, a gentleman and lady, walking in the country, arm in arm; that for -July, a domestic interior. The last is the only one of these engravings -that I have seen, and that only in a copy. The Lorraine cross may be seen -at the foot. - -Here follows a list of the other engravings of this priceless volume, of -which only a single copy is known to exist. It is to be observed that the -pages on which they appear are not numbered, as the cuts occupy the whole -space. - - 1. The Trinity. - 2. The Annunciation. - 3. The Visitation. - 4. Jesus arrested by the Jews. - 5. Nativity of Jesus. - 6. Jesus before Pilate. - 7. The Annunciation to the Shepherds. - 8. The Crowning with Thorns. - 9. The Adoration of the Magi. - 10. The Bearing of the Cross. - 11. The Circumcision. - 12. Jesus on the Cross. - 13. The Flight into Egypt. - 14. The Descent from the Cross. - 15. The Coronation of the Virgin. - 16. The Placing in the Tomb. - 17. David and Bathsheba. - 18. David and Joab. - 19 to 23. The Story of David. - 24. Dance of the Dead. - 25. Three Men on Horseback - in a Forest. - 26. Adam and Eve expelled from - Paradise. - 27. Adam and Eve condemned to - labour. - 28. The Creation of Man. - 29. Six Men praying before a Bier. - 30. Birth and Death. - 31. Purgatory. - 32. Extreme Unction. - 33. Job. - 34. A Woman, seated, surrounded by - the Virgin, the Evil One, and a - Man bearing the World. - 35. The Trinity (same as no. 1). - 36. Jesus in Limbo. - 37. The Resurrection. - 38. Jesus appearing to His Mother. - 39. Jesus appearing to Mary Magdalen. - 40. Jesus at Emmaus. - 41. The Incredulity of St. Thomas. - 42. The Ascent of the Virgin.[362] - - -1529 - - I. ENCOMIUM TRIUM MARIARUM, etc., JOANNIS - BERTAUDI. - -Quarto, Paris, Josse Bade, 1529. - -The Bibliothèque Mazarine has two copies of this priceless volume, one -on paper, the other on vellum, which differ slightly in respect to -the title-page. The one on vellum reads: 'Encomium Joannis Bertaudi -Petragorici Turrisalbæ in ducatu Engolismensi alumni, de cultu trium -Mariarum adversus Lutheranos, cum missa solemniore et officio canonico -earundem, auspiciis augustissimæ principis Joannæ, Aurelianensis, -Gyveriensium dominæ ac comitis de Barcq.' This is followed by a large -plate signed with the Lorraine cross, and representing the three Maries, -etc. There is no publisher's name; nothing but Josse Bade's mark at the -end of the book. - -The title-page of the copy on paper reads: 'Encomium trium Mariarum -cum earumdem cultus defensione adversus Lutheranos, solemnique missa -et officio canonico, in quibus omnibus desideres nihil, emissum opera -et industria Joannis Bertaudi Petragorici, utriusque juris licentiati, -Turrisque Albæ in ducatu Engolismensi alumni, auspiciis augustissimæ -principis Joannæ Aurelianensis, Gyveriensium dominæ ac comitis de Barcq.' -Then follows Josse Bade's mark: 'Prelum Ascensianum,' taking the place of -the engraving of the three Maries. And below, 'Venundatur Jodoco Badio et -Galeoto a Pratis.' - -This difference is explained by the fact that the copies on vellum were -not intended for sale, so that no bookseller's name was placed on them, -and, furthermore, they were embellished with the cut of the three Maries. - -This volume contains three short productions by Jean Bertaud, all directed -to the same end--the defence of the worship of the three Maries. - -They are entitled: - -(1) Encomium trium Mariarum. (2) Officium trium filiarum beatæ Annæ. (3) -De cognatione sacerrimi Joannis Baptistæ. - -There are some twenty engravings, but none of them are signed except that -of the three Maries. And, as Josse Bade was an old printer, who had no -known relations with Tory, we may assume that these engravings are not by -our artist. At most, we may attribute to him the shield of Orléans, at -page 4 of the first work. - - - II. HOURS OF THE VIRGIN (sixteenmo), in Latin, - published by Tory, for himself.[363] - - III. LA TABLE DE L'ANCIEN PHILOSOPHE CEBES. - -Two small volumes, octavo, with a border for each page. The double cross -appears on some, not all, of these borders.[364] - - - IV. ÆDILOQUIUM ... Item: EPITAPHIA SEPTEM DE - AMORUM ALIQUOT PASSIONIBUS, etc. - -Octavo, Simon de Colines, 1530. - -This little book is enriched by eight engravings: a frontispiece borrowed -from the octavo Hours of 1527, and seven small subjects corresponding to -the seven epitaphs. The latter are certainly Tory's, although not signed. -They are:-- - - 1. Two hearts pierced by an arrow. - 2. Two hearts in a circle. - 3. Two hearts bound together by cords. - 4. Two hearts in a boat. - 5. A pig sniffing at two hearts. - 6. Two hearts, a distaff, etc. - 7. Two hearts being kicked by a horse. - -See, for other details, what I have said of this book on pages 92 and 93. - - -1530-1531 - -Queen Eléonore's CORONATION and ENTRÉE, and the -EPITAPHS of the Queen-Mother, Louise de Savoie:--three quarto -brochures, of which I have spoken on pages 130 to 134; a description of -the engravings follows. - - * * * * * - - I. THE CONSECRATION AND CORONATION OF THE QUEEN; - three sheets, quarto. - -On the first page, a border, with the word 'Salus' at the foot; the -privilege is on the verso. The text begins on the second leaf, with the -letter L reproduced on page 1. On the last page is another border, with -the word 'Salus,' and the date of printing, March 16, 1530, old style. - - * * * * * - - II. ENTRÉE OF THE QUEEN; six sheets, quarto. - -On the first page the same border as on the first page of the Hours of -1524-25; the privilege is on the verso. On page A ij recto, another border -and an ornamental letter R, after the style of the L in the work last -described. A iiij recto, another border. B iij recto, a border, with the -motto 'non plus' at the top. B viij verso, another border, with the word -'Salus' at the foot; this is identical with that of the last page of the -'Coronation.' E viij recto, another border. F i verso, a lovely drawing of -a 'present made to the queen, of two candlesticks.' On the last page the -border of the last page of 'Champ fleury,' and the date of the printing, -Tuesday, May 9, 1531. - - * * * * * - - III. EPITAPHS OF LOUISE DE SAVOIE; two sheets and - a half. - -First page, the border of the frontispiece of the Hours of 1524-25, with -the Pot Cassé of the first page of 'Champ fleury.' Last page, the border -of the last page of 'Champ fleury' and the Pot Cassé of the first page; -also the date of printing, October 17, 1531. In all three we find the -decorated letters of 'Champ fleury.' - -These three brochures, bound together in a small volume, are in the -Bibliothèque de l'Arsenal. The borders used in them reappear later as -frames for the engravings of a book of Hours, quarto, printed in roman -type, in red and black, of which I know neither date nor place of printing -nor name of printer, as I have seen nothing except a few leaves of the -book, preserved at the Bibliothèque Nationale, with the works of Tory. - - -1531 - - I. BOOK OF HOURS, quarto, printed by Tory for - himself.[365] - - * * * * * - - II. BOOK OF HOURS, octavo, with arabesques of - flowers, insects, animals, etc., as in the quarto Hours of 1527.[366] - - * * * * * - - III. TERENTIANUS MAURUS, DE LITERIS, etc. - NICOLAO BRISSÆO ... COMMENTATORE. - -Quarto, Simon de Colines, 1531. - -This book is dedicated to Guillaume Petit, Bishop of Senlis, whose arms, -with the Lorraine cross, appear on the verso of leaf 8 of the front -matter. The motto is: 'Utinam novissima providerent.' - - * * * * * - - IV. CLAUDII GALENI PERGAMENI DE ANATOMICIS - ADMINISTRATIONIBUS LIBRI NOVEM, JOANNE GUNTERIO ANDERNACO, MEDICO, - INTERPRETE.--Parisiis, apud Simonem Colinæum, 1531. - -Large folio, with an engraved frontispiece having the Lorraine cross at -the foot, on the left. - -The frontispiece represents several different subjects. At the top is -Jesus healing the leper; at the foot, doctors dissecting a dead body and -lecturing to a numerous audience; at the sides, full-length portraits of -the most celebrated physicians of antiquity; in the centre of the plate is -a scroll bearing the Latin title transcribed above. This frontispiece was, -doubtless, used with others of the works of Galen. - -Simon de Colines also published, in 1536, an edition of the works of -Galen, under the supervision of the same editor (folio of 172 pages), and -embellished with five beautiful floriated letters engraved by Tory. In it -we find also, at the head of the epistle to the reader, an ornamental S -surmounted by a coat of arms,--a charming design, but not signed. - - -1532 - -LATIN BIBLE of 1532; folio; Robert Estienne. - -The title-page is decorated with a frieze signed with the Lorraine cross, -bearing the word 'Biblia' in large letters. It is a scroll surrounded by -vines, with the brazen serpent at the left, and Jesus on the Cross at the -right. - - -1533 - -The BON MESNAGER of Pierre des Crescens, printed by Nicolas -Cousteau for Galliot Dupré. Folio, 1533. The frontispiece, representing -Dupré presenting the book to François I, is signed with the Lorraine cross. - - * * * * * - -Inasmuch as Tory died in 1533, it will, perhaps, seem that I ought to stop -here in this enumeration. But as many engravings executed by his own hand -were not printed until later, and, moreover, as those signed with the -Lorraine cross alone came from his establishment, which was managed by -his wife after his death, I have thought best to pursue my investigations -concerning the engravings with the Lorraine cross to the end. - - -1534 - - I. SERMONES IUDOCI CLICHTOVEI NEOPORTUEN. DOCTORIS - THEOLOGI ET CARNOTEN. CANONICI. - -Folio, Paris, Thielman Kerver's widow, 1534. The privilege is dated 1534. -(Bibliothèque S.-Geneviève, and Bibliothèque Mazarine.) - -The Latin title which I have transcribed is engraved in great gothic -letters, arranged in the shape of a cul-de-lampe, and terminated by a -small black heart-shaped ornament (not unlike those used by Simon de -Colines), in which is the Lorraine cross. This circumstance leads me to -believe that Tory engraved this title-page in gothic letters; a most -interesting fact if true, for they are probably the only letters in that -style that he ever engraved, after those on folios 42 verso, 74, etc. of -'Champ fleury'; and it is all the more strange because the rest of the -book is printed in roman type. It may be that there was another edition in -gothic type. - -However, this volume contains many other engravings signed with the -Lorraine cross, and others which, although unsigned, seem to be Tory's. - -Folio 1, following the title, a large T, adorned with fleurs-de-lis, on a -background strewn with the same flowers. - -Folio 5 verso, a large ornamental P, representing the Eternal Father. - -Folio 19, the Virgin in a halo of fire, with the Child Jesus (signed). - -Folio 21, Jesus among the Apostles, holding a saw (signed). - -Folio 43, Moses receiving the Tables (signed). - -Folio 63 verso, the Ark in the form of a church (signed). - -Folio 77, the Annunciation, in an oval border (octavo). - -Folio 88, Birth of Jesus (small octavo). - -Folio 135, the Resurrection (signed). - -Folio 148, the Ascension (signed). - -Folio 154 verso, the Virgin among the Apostles (small octavo). - -Folio 157 verso, the Trinity (signed). - -Folio 161, Easter (signed). - -Folio 221, Birth of the Virgin. She is in her mother's womb, holding the -Child Jesus (octavo). - -Folio 325, Jesus tempted by the Devil (octavo). - -The octavo engravings appear in several other books printed by the Kervers. - - * * * * * - - II. PAULI BELMISSERI PONTREMULANI, ARTIUM ET MEDICINÆ - DOCTORIS, EQUITIS, ET POETÆ LAUREATI, OPERA POETICA. - -Quarto, of 108 numbered, plus 4 preliminary unnumbered leaves. - -Printed in 1534, but with no name of printer or bookseller. On the -first page is a quarto plate, representing the author crowned with -laurel, standing between François I and Clement VII. Beneath these three -personages are their respective arms, and above their heads their names: -Franciscus, Paulus, Clemens. The Lorraine cross is at the foot, on the -left. The same plate appears on the last page. - - -1535 - - LES TROYS PREMIERS LIVRES DE L'HISTOIRE DE DIODORE SICILIEN, - TRANSLATEZ DE LATIN EN FRANÇOYS, PAR ANT. MACAULT.... On les - vent a Paris, en la rue de la Juifverie, devant la Magdaleine, à - l'enseigne du Pot Cassé....[367] - -Quarto, 1535. This book is embellished with a magnificent frontispiece -representing Macault presenting his book to François I. Although unsigned, -it is certainly Tory's. - -'His chef-d'œuvre,' says M. Renouvier,[368] 'is, perhaps, the frontispiece -of Macault's "Diodorus," in which we see François I seated in a chair -with a back carved with fleurs-de-lis, at table with his children, his -monkey, his greyhound, and his courtiers, while Macault reads his book to -him. This engraving, the authorship of which is unquestionable, does -not bear the Lorraine cross; the master published without that mark many -another work which M. Bernard, in his scrupulous exactitude, has chosen -not to mention. As some compensation for the works which I have denied -to Tory, I may be allowed the pleasure of mentioning here one which M. -Bernard has not attributed to him: "Les Fables d'Esopes mises en rithme -françois," by Gilles Corrozet (Paris, Denys Janot, 1542). As the copy that -I saw is not complete, it may be that the Lorraine cross might have been -found somewhere in the book; but, in any event, that would not change the -conviction based upon examination of the plates. The small engravings, -with the first four lines of the fables, are set in borders decorated with -pilasters and pediments in the master's style, and illustrated at the -base with tiny drawings of amorous subjects, treated with his somewhat -heavy-handed delicacy. - -[Illustration] - -'There came from Tory's establishment, in the later years, many engravings -of blended types which can be attributed to none but pupils, or even -apprentices; analysis will always be impossible; when we have cast a light -upon the head of a school, we must leave the tail to languish in the -shadow. I will mention here, however, one pupil of Geofroy Tory, whom M. -Bernard does not mention, namely, François Gryphe, brother of Sébastien -Gryphe of Lyon. He engraved and printed, in 1539, a New Testament which, -as very rarely happens, mentions the engraver of the plates on the -title-page as well as in the privileges from the King and the Parliament -which stand at the beginning and end of the book respectively. "Novum -testamentum illustratum insignium rerum simulacris, cum ad veritatem -historiæ, tum ad venustatem, singulari artificio expressis." (Here the -mark of the griffin.) "Excudebat Fran. Gryphius, AN. MDXXXIX." -And in the privilege: "Francoys Gryphius, bookseller, printer and -tradesman, commorant in Paris ... prayed that he be permitted to cause to -be printed and sold the New Testament, illustrated by him." - -'The volume is a small octavo; the Lorraine cross does not appear, but -there is a letter L engraved by Tory, and a series of small plates -executed with a delicacy instinct with firmness, in accordance with types, -attitudes and rules which can belong to no other school than his.'[369] - - -1536 - - I. HORÆ IN LAUDEM BEATISSIME VIRGINIS MARIÆ AD USUM - ROTHOMAGENSEM. PARISIIS, AD INSIGNE VASIS EFFRACTI, 1536. - -Small octavo, roman type, line engravings.[370] - - * * * * * - - II. LAZARII BAYFII ANNOTATIONES, etc. - -Quarto, Robert Estienne, 1536. - -Charles Estienne, brother of the printer, who seems to have been the -editor of this book, informs us, in a brief preface, that the drawings -scattered through it were taken by him from ancient monuments, and -especially from marbles still extant at Rome. Several of the plates bear -the Lorraine cross, Robert Estienne's mark, on the title-page; also the -engraving on page 19 of 'De re navali' (repeated on page 168), and those -on pages 4, 44 and 64 of 'De re vestiaria'. All the other engravings, -although not signed, probably came from Tory's workshop. This book was -reprinted by Robert Estienne, in 1549, in the same form. Here is a -summarized list of the engravings contained in it: In the first part, 'De -re navali,' are some twenty representations of antique vessels, biremes, -triremes, etc., of which one is signed; in the second part, 'De re -vestiaria,' three are signed: (1) a woman; (2) a man; (3) a soldier; in -the third part, 'De vasculis,' are eight or ten representations of vases, -etc., not signed. - -All these engravings were reproduced on copper in a reprint of Baïf's -work, published in Grævius's great collection called the 'Treasure of -Antiquities,'[371] and, strangely enough, the artist has left the Lorraine -cross on the first.[372] This mark appears again in column 1100 of the -same volume, in an analogous work by another author. The same engraving -was reëngraved on copper, with the cross, for the edition of Grævius's -'Thesaurus,' published at Venice in 1732, after the edition of Utrecht. -This later edition was like the earlier one, and the engraving in question -appears in the same volume and same column. So that we have an engraving -on copper, with the Lorraine cross, executed in the eighteenth century! - - -1536-1540 - -[Illustration] - -I. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, AD USUM -ROMANUM.--Parisiis, apud Simonem Colinæum, 1543. - -Large quarto of 44 sheets, in 22 signatures of 2 sheets, _encartées_, A to -Y. On the verso of the title-page is a table of Easter-Days from 1543 to -1566; then comes the calendar, which fills the next six sheets. There are -in the text fourteen large engravings, with a special border:-- - - 1. St. John writing his Gospel (which begins on the following leaf). - He is gazing at the Virgin, who appears to him in the sky, holding - the Child Jesus. - - 2. Jesus betrayed by Judas. - - 3. The Salutation, with this device in French: 'Fait ce que tu - vouras avoir fait quant tu moras.' ['Do what thou wouldst have done - when thou diest.'] - - 4. The Visitation (signed). - - 5. The Birth of Jesus. - - 6. The Annunciation to the Shepherds (with the date 1537). - - 7. The Adoration of the Magi (signed). - - 8. The Circumcision (signed). - - 9. The Flight into Egypt. - - 10. The Death of Mary (signed). - - 11. Jesus on the Cross (signed). - - 12. The Descent of the Holy Ghost upon the Apostles (signed). - - 13. The Penance of David (signed). - - 14. Jesus restoring Lazarus to life. - -[Illustration] - -All the pages are enclosed in borders, but the latter are of two sorts:-- - -1. Eight complete borders, that is to say, thirty-two compartments, in -simple line-engraving as in the Hours of 1524-1525. A single one of these -eight is signed; but they are all by the same artist. They bear the dates -of 1536, 1537, 1539, in little scrolls of the sort to which Tory was so -much addicted. These dates preclude our attributing these engravings to -himself, but they evidently came from his establishment which was then -conducted by his widow. One of these borders appears in a book published -in 1542: 'Rodolphi Agricolæ ... de inventione dialectica, libri III,' etc. -4to, Paris, Simon de Colines. - -2. There are also eight complete borders, or thirty-two compartments, -engraved in black in an entirely different style, alternating with those -engraved in line. [Four of them are reproduced in this volume, on the -pages bearing the Author's Preface.] They are in niello, are neither -signed nor dated, and I doubt whether they came from Tory's workshop, -although we shall see that he engraved some similar ones for Jean de -Tournes. In any event their inclusion in this book, side by side with the -borders and drawings engraved in line, seems to me in wretched taste which -would have disgusted our artist. - -We find also in this book some beautiful ornamental letters in the criblé -style, which may be Tory's. - -[Illustration] - -The book was reprinted in 1549, in the same form, by Renaud and Claude -Chaudière, successors to Simon de Colines. - - * * * * * - -II. In the same year 1543, Simon de Colines published another -book of Hours, octavo, which seems to be a smaller edition of the one I -have just described. Like that one, it is composed of 22 signatures, A to -Y. - -The title-page reads: HORÆ IN LAUDEM DEI AC BEATISSIMÆ VIRGINIS MARIÆ -AD USUM ROMANUM, UNA CUM CALENDARIO RECENS [_sic_] EMENDATO. -This within a portico-shaped border, at the top of which is the name -Simon de Colines. At the foot of the page: 'Parisiis, apud Simonem -Colinæum.--1543.' - -As in the quarto Hours of the same date the borders of the text pages are -arabesques of two styles, some in line and the others in black; and the -drawings, to the number of 13, are set in a special border. Some of these -borders bear the date 1537, and one of them has the name Simon de Colines -in full, which proves that the engravings were executed for him. A list of -the drawings follows; only one of them is signed, but all seem to be the -work of Tory. - - 1. St. John writing his Gospel (signed). - - 2. Calvary. - - 3. The Salutation. - - 4. The Visitation. - - 5. The Nativity. - - 6. The Annunciation to the Shepherds. - - 7. The Adoration of the Magi. - - 8. The Presentation. - - 9. The Flight into Egypt. - - 10. The Coronation of the Virgin. - - 11. Pentecost. - - 12. Bathsheba at the Bath. - - 13. Job on the Dunghill. - -The only copy of this book that I know of formerly belonged to the late -M. Renouvier, of Montpellier, who showed it to me in 1858. It lacks ten -leaves immediately following the title-page, which leaves undoubtedly -contained the calendar. - - -1537 - -I. LES ANGOISSES ET REMEDES DAMOUR DU TRAVERSEUR EN SON -ADOLESCENCE (Jean Bouchet). - -Quarto, gothic type, printed at Poitiers, January 8, 1536 (1537, new -style), by Jean and Engilbert de Marnef. The privilege is dated November -15, 1536. - -There are two woodcuts signed with the Lorraine cross: the printers' mark, -on the first page; and, at the end of the preliminary pages, an engraving -representing a man in a long robe engaged in writing; facing him and below -him are four persons, also in robes, from whom he is apparently deriving -his inspiration. Near these latter, at the left, is a woman holding a -light.[373] - - * * * * * - - II. LE JUGEMENT POETIC DE L'HONNEUR FEMININ ... PAR LE - TRAVERSEUR (Jean Bouchet). - -At the end are these words: 'Imprimé à Poictiers le premier d'avril M. -D. XXXVIII, par Jean et Engilbert de Marnef, freres.' This volume, -which is arranged like that last described, contains eleven engravings, -five of which are signed with the double cross. - -Folio A 5 verso. A large plate representing the author presenting his book -to François I. The King is seated on his throne and surrounded by his -court. (Signed at the left.) - -Folio B 1 recto. A meeting of the Parliament of Paris. (Signed at the -right.) - -Folio B 4 recto. Fame announcing the demise of Louise de Savoie, mother of -François I. (Signed at the left.) - -Folio B 7 recto. Mercury on his way to the field of Truth; below, Charon -in his boat. (Not signed.) - -Folio C 1 verso. The field of Truth. Four persons, of whom three are -seated in a sort of thicket; and above them, a château. (Signed in the -centre.) - -Folio C 7 verso. The deceased (Louise de Savoie), her head encircled by a -wreath and holding in her right hand a bunch of flowers. (Signed at the -right.) - -Folio D 3 recto. Fortune holding a wheel in one hand, and a standard in -the other. (Not signed.) - -Folio D 6 verso. Repetition of C 7. - -Folio E 5 verso. Mercury, with the caduceus in his hand, speaking to a man -in a robe, and pointing out a palace to him. (Not signed.) - -Folio E 7 recto. A large hall adorned with statues. (Not signed.) - -Folio L 8 verso. A winged personage, wrapped in a cloak, and having eyes -in his hands and feet. (Not signed.) - -At the end of the volume the mark of the Marnefs. (Signed.) - - -1538 - -MISSAL OF PARIS, 1539; folio. The Lorraine cross on two large -folio plates, one of which, dated 1538, represents God the Father seated -on his throne, his head surrounded by a halo; he is dressed like the Pope; -over his head, a triangular pediment. The other, not dated, represents -Christ on the Cross; the Blessed Virgin and St. John are standing at his -sides, and this inscription is printed in a semicircle over the cross: -'Absit michi gloriari nisi in crvce D[omi]ni n[ost]ri Jesvs Christi.' - -These two subjects, which are often found in collections, sometimes on -paper and sometimes on vellum, sometimes black and sometimes coloured -(the mark and the date very often disappear under the colours[374]), -were first printed, so far as my knowledge goes, in the Missal of Paris, -published in 1539 by Thielman Kerver's widow. There follows a description -of this priceless volume, of which I know but one copy in Paris.[375] It -is entitled: 'Missale ad usum Ecclesiæ Parisiensis, noviter impressum, -et emendatum per deputatos a reverendissimo domino Johanne de Bellayo, -Parisiensi episcopo,' etc. Then comes Thielman Kerver's usual mark, and -below: 'Prostat Parisiis in vico divi Jacobi, apud Iolandam Bonhomme, -vidue spectati viri Thielmanni Kerver, ad signum Unicornis, ubi et excusum -fuit, anno Domini M. D. XXXIX.' - -This work makes a large folio volume, printed in red and black, in gothic -type, with a large number of unsigned engravings in the text. These -engravings are of three sorts,--(1) floriated letters on a black ground; -(2) small drawings of the same size, but of a very graceful renaissance -type; (3) drawings of octavo size, which were commonly used by Thielman -Kerver's widow in the books of Hours published by her, and of which I have -already had occasion to speak.[376] - -The two large drawings signed with the Lorraine cross face each other -in signature V, in the second part of the book, where the pagination is -discontinued. They have been reprinted several times in other editions -of the same book. I will mention particularly the edition, undated, -published in the name of Guillaume Merlin, bookseller, a copy of which -is in the Bibliothèque Mazarine[377]; that of 1543, at the Bibliothèque -Sainte-Geneviève; that of 1559 (all published by Iolande Bonhomme or her -son Jacques Kerver); and lastly a Missal of Cluny, of which I shall speak -later. - -Although these books are printed on paper, the plates in question are -always printed on vellum in editions of the sixteenth century; but this -precaution was neglected in later centuries. - - -1538-1540 - -Latin Bible in two folio volumes, bearing the dates 1538, 1539, 1540. -Paris, Robert Estienne. The word 'Biblia' appears on the title-page in -a scroll signed with the Lorraine cross, of which I have already had -occasion to speak, under the date of 1532, and which appears in others of -Robert Estienne's books.[378] The second title follows: 'Hebræa, chaldæa, -græca et latina nomina ... restituta cum latina interpretatione.' This -has led some bibliographers to assume, erroneously, that the book was a -polyglot affair. It is printed throughout in Latin; there are simply a few -Hebrew words in the dissertation to which the second title in question -applies, and which is printed in the second volume, with a title-page -of its own, dated 1538. The New Testament, also in the second volume, -is dated 1539, not 1540, as M. Renouard mistakenly says.[379] The Bible -alone, that is to say, the first volume and the beginning of the second, -bears the date 1540. In each part we find Robert Estienne's large mark, -signed with the Lorraine cross. The first volume contains also eighteen -magnificent engravings representing the Tabernacle of Moses, Solomon's -Temple, etc., executed under the direction of François Vatable, Royal -Professor of Hebrew Literature. The Lorraine cross appears on the large -plate of the camp of the Israelites, on folio 35; but I dare not upon -this evidence alone attribute all the other engravings to Tory.[380] In -any event the floriated letters used in the book are certainly Tory's, -for we find the designs mentioned by him in his 'Champ fleury.' It is a -fact worth noting that these letters seem to have been cast, or, at least, -reproduced by stereotyping, for they are often repeated on the same page, -without the slightest change in the design. - -The Bibliothèque Nationale has a superb copy of this book on vellum, with -the arms of François I. It was reprinted in the same shape by Robert -Estienne in 1546, and by his son Henri in 1565. In this last edition, -printed at Geneva, we no longer find the two small drawings which appear, -with the frieze, on the title-page of the edition of 1532. (See p. 204, -supra.) The frieze in this later form appears in other books of the -Estiennes. I have seen it in a folio Xenophon printed for Fugger. - - -1540-1548 - -AMADIS DE GAULE, French translation by Nic. de Herberay, Seigneur -des Essarts, for the first eight books; first edition printed between 1540 -and 1548, by Denis Janot, for the booksellers, Vincent Sertenas, Estienne -Groullau, and Jean Longis. Folio, with engravings. - -I have seen only two of these engravings signed with the Lorraine cross, -but several others seem to have come from the same workshop. The great -majority of them, however, are of another _make_. The two that are signed -are: (1) Book II, chap. 2, a large plate representing a sort of -temple. A man armed cap-à-pie under a portico. At the right are shields -hanging upon posts; at the left, a man kneeling on the ground, holding a -naked sword in the air with his right hand, and another hand grasping it. -This represents a scene from the 'Île Ferme.' (2) Book VI, chap. -56, a small plate representing four persons on horseback near a château -in front of which stands an armed man. This cut does not seem to have any -connection with the subject, and may well have been taken from another -older work. - -There is a copy of this book on vellum in the Bibliothèque Nationale. - - -1541 - - I. PRAXIS CRIMINIS PERSEQUENDI, ELEGANTIBUS ALIQUOT - FIGURIS ILLUSTRATA, JOANNE MILLÆO ... AUCTORE. - -Folio; Paris, Simon de Colines, 1541. Some copies have on the title-page -only the names of the brothers Arnould and Charles les Angeliers. -(Bibliothèque Nationale.) - -There are in this book thirteen large folio cuts, besides the -frontispiece. A single one, the seventh, is signed, but all are by the -same hand. Following is a description of them, or, rather, a brief list; -for a description would lead us into too minute details:[381]-- - -1. Several men slain in divers ways, on a public square where there is a -large crucifix. - -2. Examination of the bodies of the wounded lying in a room. - -3. Examination of the witnesses. - -4. The accused summoned by public outcry. - -5. Arrest of the accused. - -6. Examination of the accused. - -7. Confrontation of the witnesses with the accused (signed). - -8. Ratification of decree of pardon. - -9. Torture by water. - -10. Torture by the boots. - -11. Torture by compressing the wrists. - -12. Condemnation of the guilty. - -13. Execution of the guilty. - -There is at the Bibliothèque Nationale a magnificent copy of this book -on vellum, with the arms of France in miniature on the verso of the -title-page. - - * * * * * - -II. The first volume of the CATHOLIQUES ŒUVRES ET ACTES -DES APOSTRES, by Simon de Greban; followed by the MYSTERE DE -L'APOCALYPSE, by Louis Choquet. Printed for Arnould and Charles les -Angeliers, May 27, 1541. 'On les vend en la grand salle du Palais, par -Arnould et Charles les Angeliers freres.' Folio; Paris, 1541. - -This work is embellished with engravings, of which only one is signed -with the Lorraine cross. This one, which is on folio I recto of -the Acts of the Apostles, represents the descent of the Holy Ghost upon -the Apostles. It is enclosed in a border, of octavo size, and belongs to -a series of engravings for a book of Hours published by Guillaume Merlin -in 1548.[382] The engraver's mark is in a small circle at the left of the -foot of the border. Beside it is an angel holding two shields in which are -the letters G. M. (Guillaume Merlin). The frontispiece of the Acts of the -Apostles has a border in which is the date 1537. The same border surrounds -the frontispiece of the Mystery of the Apocalypse, but there it is without -the date. This last-named portion of the volume contains 13 engravings -and a border, in Tory's style, but without the Lorraine cross. One of them -bears the letters P. R. There is a copy at the Bibliothèque Nationale. - - * * * * * - - III. HOURS OF THE VIRGIN, octavo, in roman type, - but with the borders 'à la moderne' described on page 128, supra. - -This book, printed by Olivier Mallard in 1541, was copied doubtless from -the edition made by Tory about 1531, which I have been unable to examine. -Mallard's edition, of which I have seen a copy on vellum, belonging to -M. Émilien Cabuchet, the painter, and another on paper, consists of -twenty-three octavo signatures, A to Y. The title-page reads; HORÆ -IN LAUDEM BEATISSIM. VIRGINIS MARIÆ, AD USUM ROMANUM. (Here the Pot -Cassé.) Parisiis, apud Oliverium Mallardum, sub signo Vasis Effracti, -1541. The last page, on which is printed a curious 'prescription against -the plague,' ends thus: 'Excudebat Parisiis Oliverius Mallard, bibliopola -regius, sub signo Vasis Effracti.'... - -In this edition there are 16 different borders; each leaf has the same -border on both recto and verso. There are also 16 of the engravings of the -sixteenmo Hours of 1529, those not reproduced being nos. 1, 19 and 21 of -that edition. - -The word 'Rom.' printed on the first page of each signature leads me to -believe that Mallard published at the same time, in the same format, an -edition of Hours 'ad usum Parisianum,' but I have found no trace of such -an edition. - -After Olivier Mallard's death, which occurred, as I have said heretofore, -in 1542, his typographical outfit seems to have been acquired by Thielman -Kerver II (son of the first Thielman and Iolande Bonhomme, who lived, as -did his father before him, on Rue Saint-Jacques); for he published in 1550 -a book of Hours similar to that printed in 1541 by Mallard. It contains -the same borders and the same drawings, but in a different arrangement. -The borders have been lengthened by means of a most ungraceful addition -to the side-pieces; as for the drawings in two parts, no pains has been -taken to place the parts facing each other, so that their meaning would -be uncertain if we had no other editions of the engravings. In fine, this -book is very imperfect. It consists of twenty-two and a half signatures, A -to Y. The title-page reads thus:-- - -HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM. (Here -the mark of Thielman Kerver, with the Lorraine cross.) 'Parisiis, apud -Thielmannum Kerver, vico sancti Jacobi, sub signo Cratis. M.D.L.' The -book closes with the curious 'prescription' found in Olivier Mallard's -edition of 1541, which is in these words: 'Approbatissima medicina contra -pestem.--Recipe quantum potes de amaritudine mentis contra peccata -commissa, cum vera cordis contritione, potius libram quam unciam. Hæc -misceantur cum aqua lacrymarum, et facies vomitum per puram confessionem. -Deinde sumas illud sacratiss. electuarium corporis Christi, et tutus eris -a peste.' - -The book is printed in red and black. I have seen a copy on paper at -M. Potier's bookshop. There is an imperfect copy at the Bibliothèque -Mazarine, and a perfect one at Sainte-Geneviève. - -About the same time there was published a small duodecimo volume of four -signatures, in French, with the same borders. It begins thus: 'Here -follows the method of receiving the blessed sacrament devoutly.' It is -like the book last-described except that it is printed in only one colour, -and that it is a little longer and wider.[383] To lengthen the borders, -sections have been added to them. It is most peculiar that a duodecimo -volume should be larger than an octavo, but the fact is unquestionable: -formats were already beginning to increase in size. Near the end of the -book is a little treatise with this heading: 'Here follows a devout -meditation as to the manner in which thou shouldst ordain and arrange the -whole day,' etc. And after that: 'The life of Madame Sainte-Marguerite, -with prayer to be said for women pregnant and in travail.' - -This book is in the Bibliothèque Mazarine, in the same collection as the -last. It contains four small engravings, of which only one seems to me to -belong to Tory: it is the Christ on the Cross, which appears in the quarto -Hours of 1542, now to be described. - - -1542 - -I. Hours, according to the Roman use, quarto, in Latin, published -by Olivier Mallard in 1542. This rare volume, of which I know only one -copy, belonging to M. Aerts, of Metz,[384] who himself kindly brought it -to me at Paris, is a reproduction of the Hours printed by Tory in 1531; -the type, however, is smaller. It consists of nineteen signatures of -two quarto sheets _encartées_, signatures A to T. The title-page reads: -HORAE IN LAUDEM BEATISS. VIRGINIS MARIÆ AD USUM ROMANUM. OFFICIUM -TRIPLEX.--Parrhisiis, apud Oliverium Mallard, impressorem Regium. -The rest is as in the edition of 1531. On the last page: 'Parrhisiis, ex -officina Oliverii Mallard, Regii impressoris, Ad insigna Vasis Effracti. -Anno salu. M. D. XLII. Mense Augusti.' Then come the two lines:-- - - 'Effracti, lector, subeas insignia vasis, - Egregios flores ut tibi habere queis.' - -The table of Easter-Days, on the verso of the title-page, goes from 1542 -to 1571; then comes the calendar, in which the order of the edition of -1531 has been followed in the arrangement of the borders, although the -type, being smaller, would have permitted the more regular arrangement of -the edition of 1524-25. - -The book is printed in two colours, except signatures B, C, and D, which -are in black only--a most unusual state of things. The engravings are -the same as those of the edition of 1531, but the floriated letters are -different. The Passion, which begins on folio B 3 verso, is enriched by -the small Christ on the Cross which we find in the Hours of 1529, but -without the four additional subjects (bees, etc.), which there accompany -it.[385] It is probable that some accident happened to the plate, and that -only the Christ was saved. We find also in this volume, at the foot of the -border, the crowned C of Queen Claude of France, who had then been dead -about fifteen years. - -The Lorraine cross, which had disappeared from several of the larger -engravings as early as the edition of 1531, appears on almost none of them -in that of 1542. For example, it has been expunged from the Birth of Jesus -and the Circumcision. The only ones which retain it are the Visitation, -the Crucifixion, and the Descent of the Holy Ghost. It remains on the -borders also. - -Signature E begins with a leaf the recto of which is blank, while on the -verso is the angel of the Annunciation, as in the edition of 1531. The -large plate, the Triumph of the Virgin Mary, is also included in this -edition. - - * * * * * - - II. HORE BEATE MARIE VIRGINIS AD USUM FRATRUM - PREDICATORUM ORDINIS SANCTI DOMINICI: FIGURIS UTRIUSQUE TESTAMENTI - AC PERVENUSTIS IMAGINIBUS ET IIS QUIDEM NON PAUCIS, PASSIM DECORATE, - ATQUE OFFICIO CONCEPTIONS IMMACULE VIRGINIS ET OFFICIO SANCTI - DOMINICI IN ALIIS ORARIIS ACTENUS IMPRESSUS NEQUAQUE INSERTIS - AD AUCTE. (Here the figure of St. Dominic holding an open - book in his left hand, and in the right a staff with the cross - at the end. At his feet lies a dog. The Lorraine cross is at the - left.) Venundantur Parisiis, in edibus vidue spectabilis viri - Thielmanni Kerver, in vico divi Jacobi, sub signo Unicornis, ubi et - impresse.--M.D. XLII.' - -Octavo; signatures A to X, and _a_ to _c_: in all, 26 forms. The -title-page engraving reappears on leaf R 4 verso. The others are not -signed. - - * * * * * - - III. HEURES À L'USAGE DE TOUL: AU LONG SANS - REQUERIR. - -Octavo of 156 unpaged leaves. Calendar from 1541 to 1564. At the bottom of -the last page are the words: 'Imprimé à Troyes chez Jean Lecoq.' Gothic -type, printed in red and black. - -The only copy of this book that I have seen is in the Bibliothèque -Publique of Besançon. It has 30 engravings, including the printer's -mark, which is on the title-page. The mark and three other engravings of -the first series are signed with the Lorraine cross. A list of all the -engravings follows:-- - -First series, .06 mm. by .043 mm. - - 1. Printer's mark (signed). - 2. Jesus in the Garden of Olives (signed). - 3. Annunciation of the Virgin. - 4. The Visitation. - 5. The Nativity. - 6. Adoration of the Shepherds. - 7. Adoration of the Magi. - 8. The Presentation in the Temple. - 9. Massacre of the Innocents. - 10. Death of the Virgin (signed). - 11. The Crucifix. - 12. Pentecost. - 13. Bathsheba at the Bath (signed). - 14. Resurrection of Lazarus. - 15. Vision of St. Gregory. - -Second series, .034 mm. by .022 mm. - - 1. The Trinity. - 2. Death piercing with a Spear the Great Men of Earth. - 3. St. Anne. - 4. All Saints. - 5. Ecce Homo. - 6. The Virgin. - 7. The Beheading of St. John Baptist. - 8. St. Sebastian. - 9. St. Nicholas. - 10. St. Martin. - 11. St. Catherine. - 12. St. Barbara. - 13. Our Lady of Pity. - 14. Virgo Gloriosa. - 15. Our Lady of the Seven Sorrows. - - IV. DYALOGUE INSTRUCTOIRE DES CHRESTIENS EN LA FOY, - ESPERANCE ET AMOUR DE DIEU COMPOSÉ PAR FRERE PIERRE DORÉ, DOCTEUR EN - THEOLOGIE.... Imprimé nouvellement par Denys Janot, demourant - en la rue Neufve Nostre Dame, à l'enseigne Sainct Jehan Baptiste, - pres Saincte Geneviefve des Ardens. - -Sixteenmo, 1542. On the verso of the title-page is an engraving signed -with the Lorraine cross. It represents the Virgin standing on a -crescent, holding the child Jesus in her arms, and surrounded by a halo. -(Bibliothèque Nationale.) - - -1543-1544 - - SOMMAIRE DE CHRONIQUES, CONTENANS LES VIES, GESTES ET CAS - FORTUITZ DE TOUS LES EMPEREURS D'EUROPE, etc. By J. B. - Egnatius, translated by G. Tory.[386] - -There were several other editions of these chronicles. M. Hippolyte -Boyer mentions one of 1541, in his 'Histoire des Imprimeurs et Libraires -de Bourges' (8vo, Bourges, 1854), p. 27; Antoine du Verdier, another, -of 1543, in his Bibliothèque françoise. This much is certain--that M. -Renouvier owned a copy, with illustrations, dated 1544. It is an octavo, -'for sale by Charles l'Angelier, in the "grand'salle du Palais."' It -contains 112 leaves (signatures A to O), plus 4 unnumbered leaves. The -engravings are of two sorts: the first represents an emperor on horseback, -carrying a battle-axe; there is no mark, but it is engraved with much -delicacy and distinguished by the little cartouches of which Tory was so -fond; this figure is reproduced several times. The others are busts of -emperors, roughly engraved, which cannot be Tory's. It may be noted that -the edition published by Tory in 1530 contains no engravings. - - -1545 - - DE DISSECTIONE PARTIUM CORPORIS HUMANI, etc. By Charles - Estienne. Folio, Simon de Colines, 1545. - -There are in this book about sixty large anatomical plates. Five are -signed with the Lorraine cross--folios 149, 150, 151, 154, 155. The last -four bear also the name of Jollat, with the dates 1530, 1531, 1532. Here -is what M. Renouvier has to say on the subject: 'Simon de Colines ... -employed another wood-engraver of some note, Mercure Jollat, to whom -Papillon attributed almost all of our gothic books of Hours. He should -be reckoned only among the engravers of an altogether modernized manner. -His name is written Iollat, the first letter in the zodiacal sign of -Mercury, followed by the dates 1530, 1531, and 1532, and accompanied by -the Lorraine cross, on four plates of Charles Estienne's book on the -dissection of the human body, representing the cadaver in its skin and -the cadaver with the skin removed. The drawing of the figures has been -attributed, even by Brulliot, to Woeiriot; but it is really the work of -the surgeon Estienne Rivière, who is named on the title-page and in the -preface as the painter of the bones, ligaments, and all the anatomical -details. His initials, S. R., appear on a tablet hanging from the branches -of a tree in the first plate. The engraving, which varies considerably, -would seem to be the work of different hands, or, at least, to have come -from an establishment which practised diverse styles and which sometimes -put forth work done by apprentices. The workmanship of the plates with -Jollat's mark seemed to me more monotonous--not unskilful although less -picturesque. I am not now passing upon their scientific merit, but upon -their picturesque interest simply.'[387] - -The inscription of Jollat's name on plates marked with the Lorraine cross -seems, at first glance, quite hard to explain, especially with the general -opinion concerning the former of these artists, based on Papillon's -statements. But as the story of Jollat's work as an engraver still remains -to be told, I think I may safely say that he simply designed the plates -that bear his name in Charles Estienne's book, and that they were engraved -by Tory, or, at least, in his workshop. We have seen, in fact, that Tory -was Simon de Colines' favourite engraver. To be sure, M. Renouvier seems -to be of opinion that all the plates were designed by Estienne Rivière, -whence he concludes that the engraving is by Jollat; but this is a -mistaken opinion, based on a sentence in the preface. Rivière, who was a -friend of Charles Estienne, may have designed the majority of the plates -in Charles Estienne's book, and yet not have designed all of them. Those -signed Jollat evidently belong to that artist, who seems to have designed -a number of them before the work was placed in Rivière's hands. - -I am confirmed in my belief that Jollat was the designer of the plates in -question by the fact that his name is always accompanied by the dates, and -that those dates are not those of the engraving, which I propose to prove. -There are only five plates signed with Jollat's name and with the Lorraine -cross in the Latin edition of Charles Estienne's book, published by Simon -de Colines in 1545. In the following year the same printer issued a French -edition of this work, under the title, 'La Dissection des parties du corps -humain' (folio, 1546), in which we find two additional plates so marked -and dated 1532. Why did not these plates appear in the first edition, if -they were engraved by Jollat? - -But here is another fact even more conclusive. In 1575 the bookseller -Jacques Kerver published a volume of engravings without text, entitled -'Les Figures et portraicts des parties du corps humain' (folio), in which -we find not only the seven engravings with the cross, of the edition of -1546, but three others, also bearing Jollat's mark and the Lorraine cross, -and dated 1533. Evidently these plates appeared in some earlier edition, -unknown to me,[388] for it was not Kerver who had them engraved; he simply -made use of the woodcuts of which he had become the owner. But why did -they not appear in the edition of 1546? That is a matter easily explained. - -Charles Estienne informs us in the preface to his book that the printing -was well advanced in 1539, but that it was interrupted by a lawsuit. We -give his own words in the French edition of 1546: 'All of which things -were well-nigh finished in the year 1539, and almost so far as the middle -of the third book printed, when, by reason of a suit that was begun, we -were forced (to your great discontent, methinks) to lay aside this work -and to desist from the completion thereof; for so long that in the mean -time it has been possible for many others to invent new ideas touching -this matter, and to make use at their will of many sheets filled with our -writings; for it was not possible for the printer so closely to safeguard -his book, so long suppressed, that some persons curious to learn of novel -things might not take away some sheets, still uncorrected, and send them -into Germany.' - -Now let us see what was the cause of this suit. Charles Estienne does not -inform us, but it has been disclosed by M. Ambroise Didot, in his 'Essai -sur la Gravure.' The famous Vésale had published at Venice, in 1538, -through the printer B. Vitalis, a treatise on anatomy, embellished with -numerous plates, which was copied in several places, and notably in Paris, -despite the privilege granted by the Republic. Later, wishing to issue a -new and improved edition of his book, Vésale applied to Oporin, professor -of Greek, and printer at Basle, to whom he sent his plates, which had been -engraved at Venice by Calcar, a pupil of Titian. In 1543 Oporin finished -printing this new edition, for which the author had, no doubt, obtained -privileges from various sovereigns, especially from the King of France. -This seems to be proved by the suit instituted against Charles Estienne. -That is why the latter could not publish, in his edition of 1545, all the -plates which he had had made, and which appeared only at intervals as the -date of Vésale's privilege was left behind. As we have seen, he gives it -to be understood in his preface that it was he who was robbed in Germany. - -As this is a favourable opportunity, I will say a few words concerning -Jacques Kerver's publication, of which I have never seen any mention,[389] -but which is of great interest to us. It is a folio volume, containing -61 large plates besides a considerable number of small ones. There is -no other text than the explanations printed on the plates,[390] and a -brief note to the reader, which begins thus: 'Friend reader, seeing that -medicine is not at all essential to preserve the health and to banish all -diseases, which often, on slight occasion, assail us, and that anatomy, or -the description of the parts of the human body, mainly serves us therein, -I have determined not to fail to exhibit them to you here.' We give a -description of those plates in the book which are of interest to us. - - -_Plates which appear only in Kerver's volume._ - -1. The human body in its relation to the signs of the zodiac (folio A 2 -verso). This bears Jollat's name, the date 1533, and the Lorraine cross. - -2 and 3. The human body in its relation to the seven planets (folio A 3 -recto and verso). These two bear the same marks as the preceding. - - -_Plates which appear in the edition of 1546._ - -4. Skeleton seen from the left side (folio 11 of the edition of 1546, and -A 3 verso of that of 1575). Jollat's name, the Lorraine cross, no date. - -5. Skeleton seen from the right side (folio 11, 1546, folio A 5 verso, -1575). Jollat's name, the date 1532, and the Lorraine cross. - - -_Plates which appear in all three editions._ - -6. Man flayed, front view (folio 149, 1545; folio 151, 1546; folio B 2 -recto, 1575). The cross alone. - -7. Man flayed, right side (folio 150, 1545; folio 152, 1546; folio B 2 -verso, 1575). Jollat's name, the date 1532, and the Lorraine cross. - -8. Man flayed, rear view (folio 151, 1545; folio 153, 1546; folio B 3 -recto, 1575). The same marks as in the last case. - -9. Man in his skin, front view (folio 154, 1545; folio 160, 1546; folio B -3 verso, 1575). The same marks as in the last case. - -10. Man in his skin, rear view (folio 155, 1545; folio 161, 1546; folio B -5 recto, 1575). The same marks, with the date 1531. - -Many others of the plates may belong to Tory, but as they are not marked, -I shall not speak of them here. - - * * * * * - -Something analogous to what I have just described took place with -reference to the engravings of Tory's Hours. Having become the property -of the Kervers, as we have seen,[391] they were used by them for a long -while. We shall mention later the octavo Hours published by Thielman II -in 1550, 1552, and 1556, in which he utilized the woodcuts of the edition -published by Olivier Mallard in 1541. His son Jacques did better than -that: in 1574 he published a large octavo edition of the Hours of the -Virgin, in which he used the woodcuts of the quarto editions issued by -Tory himself in 1524 and 1527. As the crosses were removed in almost every -instance, one might have some right to deny their source, were not the -books published by Tory a half century before, at our hand to demonstrate -it. Jacques Kerver's book being rare, and of a date subsequent to the -period covered by my work, it seems to me that it may be well to give a -bibliographical description of it, from the copy owned by M. Chedeau, -which M. Potier, bookseller, has kindly furnished me. - -'Officium beatæ Mariæ Virginis nuper reformatum et Pii V, pont. -max., jussu editum.--Apud Jacobum Kerver, via Jacobea, sub insigni -Unicornis.--1574.' Large octavo, with illustrations from the quarto -edition published by Tory in 1524-1525, surrounded by borders taken from -Tory's quarto edition of 1527, but reduced in size, mutilated, transposed, -etc. - -Here is a list of the plates:-- - - 1. The Annunciation (two plates). - 2. The Salutation. - 3. The Nativity. - 4. The Adoration of the Shepherds. - 5. The Adoration of the Magi. - 6. The Circumcision. - 7. The Flight into Egypt. - 8. The Coronation of the Virgin. - These eight plates are repeated three times. Then come:-- - 9. The Triumph of Death. - 10. David's Penance. - 11. Jesus on the Cross. - 12. Pentecost. - -Number 8 is taken from the quarto Hours of 1527; but all the others are in -the Hours of 1524-1525. Numbers 2 and 12 still bear the Lorraine cross. - -There is no doubt in my mind that the Kervers printed also the quarto -Hours (1531) which I mentioned on page 201, and in which we find the -borders of the Hours of 1524-1525, and the porticoes of the opuscula of -1530-1531. The plates are not signed and cannot be Tory's, but as a list -of them may assist in the discovery of this edition, I will mention here -those which are at the Bibliothèque Nationale:-- - - 1. The Annunciation. - 2. The Conception. - 3. The Visitation. - 4. The Nativity. - 5. The Circumcision. - 6. The Resurrection. - 7. The Descent of the Holy Ghost. - 8. All Saints. - 9. The Trinity. - - -1547 - -We place under this date three books of Hours which introduce us to -certain engravings signed with the Lorraine cross accompanied by initials. -1547 is not the exact date of the engravings to which we refer, for we -shall see that they are of earlier execution; but their first appearance -is so uncertain that we are forced to fall back upon the definite date -supplied by the books in question. - - * * * * * - - I. HOURS ACCORDING TO THE USE OF TOUL. - -Octavo. On the first page: 'The present hours according to the use of Tou -[_sic_], in full, _sans requerir_, newly printed at Paris.' (Here the mark -of François Regnault.) 'For sale in Paris, Rue Saint Jacques, at the sign -of the Elephant, opposite the Mathurins, by Françoys Regnault's widow.' - -On the verso is a table of Easter-Days for thirteen years, beginning in -1547. Next comes a calendar, with engravings and verses (some in Latin, -some in French), the 'Jours moralisez,' divers moral and religious axioms, -in verse and in prose, and, lastly, the four Gospels of the Passion, in -Latin. All these form the first part, with a special series of signatures, -_aa_ to _ee_. It is more than likely that this first part, which has no -application to any particular diocese, is printed, in the same form, -in the Hours which Veuve Regnault probably printed for other churches -about the same time. In signatures _cc_ and _ee_ there is an engraving -representing Jesus on the Cross, signed with the letters I, L, B and the -Lorraine cross, which appears in several other publications of the same -period. - -The second part of the book comprises the Hours properly so-called, -according to the ritual of the church of Toul. This part is made up of -eight signatures, _a_ to _h_, the word _Tou_ being printed on the first -page of each sheet. - -The volume contains a hundred leaves in all. In addition to the -bookseller's mark and the engraving signed with the Lorraine cross, there -are 55 large woodcuts, most of which are signed with the initials I, M -(without the cross), a few small engravings, and a large number of letters -in grisaille, but no borders. - -With a copy of these Hours, which I have seen, was bound the following -work:-- - -'The fifteen effusions of the blood of our Saviour and Redeemer Jesus -Christ, by Barbe Regnault, Rue Saint Jacques, at the sign of the Elephant, -opposite the Mathurins.' Eight leaves in two octavo folds, enriched with -fifteen pretty woodcuts, interspersed through the text, and marked, like -the one mentioned above, which is one of them, with the letters I, L, B -and the Lorraine cross. - -This little volume is undated, but it is known that Barbe Regnault -succeeded her mother, Madeleine Boursette, widow of François Regnault, -who was carrying on the business as late as 1555. So that the engravings -with the initials I, L, B might be of later date than that; but we have -seen that one of them had already appeared in the first part of the book; -therefore they are of earlier date than 1547. - -Here is a list of these engravings, which are the same ones mentioned by -M. Robert-Dumesnil under date of 1599:-- - - 1. The Circumcision. - 2. Jesus in the Garden of Olives. - 3. The Apprehension of Jesus. - 4. Jesus Beaten with Rods. - 5. Jesus before Pontius Pilate. - 6. Jesus King of the Jews. - 7. Jesus Bearing his Cross. - 8. Jesus Stripped of his Clothing. - 9. Jesus on the Cross. - 10. Same subject (without initials). - 11. Same subject (again without initials). - 12. Same subject (with initials and without the cross). - 13. Erection of the Cross. - 14. Jesus between the two Thieves. - 15. Same subject (without cross or initials). - -All of these are 4½ centimetres high and 5 wide. - -The 'Fifteen Effusions' was reprinted frequently during the sixteenth -century, in different formats and in different type, but with the same -engravings, and almost always without date, because it was added to -other books. I have, however, seen one copy in large type, dated 1584 -(Bibliothèque Nationale). These same engravings appear, with many others, -in a work entitled 'Abrégé des Méditations de la vie de Jésus-Christ'; -octavo, Paris, Guillaume Chaudière, 1599. - - * * * * * - - II. HORE BEATE MARIE VIRGINIS AD USUM PARISIENSEM, - TOTALITER AD LONGUM, CUM MULTIS ORATIONIBUS ET HISTORIIS, NOVITER - IMPRESSE ET EMENDATE. (Here the Triumph of the Virgin, an old - engraving with criblé background, with legends in gothic type, which - figures in all the Hours of this period.) 'On les vend a Paris, en - la rue Sainct Jacques, par la veufve Jehan de Brie, a l'enseigne de - la Lymace, pres Sainct Yves.' - -On the verso of the title, 'a calendar for XI years,' beginning -with 1548. Each month has its engraving, and the usual illustration is -placed within a circle; they are not signed. - -Printed in red and black, in large gothic type, the work consists of 8 -preliminary leaves and 16 folios of text, signatures A to Q, with the -letters _Pa_ (Paris). The folios do not begin until signature B, and -run without a break to the end of signature Q. On the last page of this -signature are these words: 'These present hours according to the use of -Paris, with several noble eulogies of Our Lady, have been printed by -Veufve Jehan de Brye [_sic_], living on rue sainct Jacques, at the sign -of the Snail, near Sainct Yves.--M. D. XLVIII.' - -Then follow 12 leaves of appendix, ending with a figure of the Virgin, -over which are the words 'Nostre Dame de Lorette,' in roman capitals. At -the foot of the page: 'Ave Sanctissima Maria,' etc. (5 lines in gothic -type). - -This curious volume is preserved in the Bibliothèque Nationale. - -Besides the 12 small engravings of the calendar, there are several other -small subjects, also unsigned, and 13 large ones with the letters L, R, -and the double cross. These latter, which measure 10 centimetres in height -and 7 in width, are as follows:-- - -1. St. John writing his Gospel. - -2. The Annunciation. - -3. The Visitation. - -4. The Crucifixion. - -5. The Descent of the Holy Ghost upon the Apostles (with the initials, but -without the cross). - -6. The Birth of Jesus. - -7. The Annunciation to the Shepherds. - -8. The Adoration of the Magi. - -9. The Circumcision. - -10. The Coronation of the Virgin. - -11. The Penance of David. He is saying to the Father Eternal these words, -which are written in a scroll: 'I who have sinned.'[392] - -12. The Last Judgement.[393] - -13. Notre-Dame de Lorette. - -As I have said heretofore (supra, p. 149), the first twelve of these are -improved copies of other, unsigned engravings, belonging to Thielman -Kerver I, which appear in many books published by him or by his widow, -Iolande Bonhomme, at least as early as 1522,[394] and which we find again -in the Paris missal published by their son Jacques in 1559. - -M. Brunet[395] suggests a very plausible theory, to the effect that the -engravings signed L. R. were executed by Louis Royer, who was in fact -the first to use them, in a book of Hours entitled: 'Horæ beatæ Mariæ ad -usum Rom.'; duodecimo, gothic type, with the mark of Jean de Brie, and -the following words at the foot: 'Parisiis, impressum in vico Jacobi per -Claudium Chevallon, impensis Ludovici Royer, librarii Parisiensis, in -eodem vico commorante, ad insigne vulgariter dictum la Lymace.' - -The book is not dated; but we see, on the one hand, that it was printed -by Claude Chevallon, who died in 1542, and, on the other hand, that Louis -Royer, at whose expense it was printed, had succeeded Jean de Brie at the -sign of the Snail. Now, the latter died about 1522; so that it was between -1522 and 1542 that this book saw the light, and that the engravings with -the letters L. R. first appeared. - -We know nothing of this Louis Royer, whom Lottin does not mention. Nor -do we know any more of Jean de Brie's widow, who seems to have succeeded -Louis Royer. And, as if everything in this matter were fated to remain -obscure, we find other octavo Hours according to the use of Rome, in -French gothic type, undated, but with a calendar from 1568 to 1578, -printed with the same woodcuts, and for sale 'at Paris, on Rue Saint -Jacques, at the sign of the Snail'; with no other details. In the book we -have described we find also:-- - -1. The Virgin and the Child Jesus (signed with the letters L. R. and the -cross). - -2. Jesus betrayed by Judas (same marks). - -3. Jesus bearing his Cross (same marks). - -4. Jesus on the Cross (same marks). - -5. Jesus in the Tomb (same marks). - -6. The Resurrection (same marks). - -7. The Flight into Egypt (same marks). - -8. Job (unsigned). - -9. Jesus at Emmaüs (unsigned). - - * * * * * - - III. HEURES EN FRANÇOYS A L'USAIGE DE ROME, - NOUVELLEMENT IMPRIMÉES À PARIS POUR GUILLAUME MERLIN. M. D. - XLVIII. - -Octavo, gothic type; printed in red and black. This book, which I saw at -the sale of M. Chedeau's library, is illustrated with engravings, most -of them signed with the Lorraine cross, to which the initials G. M. are -sometimes added. They are 8 centimetres high by 55 millimetres wide. The -list follows:-- - -1. Saint John writing his Gospel (unsigned). - -2. The Annunciation (unsigned). - -3. The Visitation (signed with the Lorraine cross and the initials G. M.). - -4. The Nativity (signed with the Lorraine cross only). - -5. The Annunciation to the Shepherds (the cross only). - -6. The Adoration of the Magi (the cross only). - -7. The Circumcision (the cross only). - -8. The Flight into Egypt (unsigned). - -9. The Coronation of the Virgin (the cross only). - -10. The Descent of the Holy Ghost upon the Apostles (signed with the -letters G. M. and the Lorraine cross in a small circle). - -11. Jesus on the Cross (the cross only). - -12. Bathsheba (the cross only). - -13. Job (the cross only). - -We think that we can safely attribute the designing of these engravings to -Guillaume Merlin, the publisher of this book of Hours. They must, at all -events, be much earlier than 1548, for we have already seen one of them -(no. 10) in a book of 1541 (supra, p. 217). - -Guillaume Merlin also published about 1559 a book of Hours embellished -with engravings signed with the Lorraine cross. It is entitled: 'Heures à -l'usage de Romme' [_sic_], and is undated, but has a calendar from 1559 -to 1570. It is a small octavo, printed in gothic characters, in red and -black. At the end are the words: 'Printed by Jean Bridier.' - -We find in this volume, which was in M. Chedeau's library, 12 engravings -representing the twelve months of the year. Three of them are signed with -the Lorraine cross, namely, January, May and December. The others have no -mark. They are 10 centimetres high by 7 wide. On folio 62 verso is the -Virgin holding the Child Jesus. She is within an aureole of flames, with -her feet on a crescent. - - -1548 - - THEODORI BEZÆ VEZELII POEMATA. Paris, Conrad Bade, 1548. - -Octavo of 100 pages printed in italic type. This is the first edition of -this book and contains a portrait of Théodore de Bèze signed with the -Lorraine cross. It is the oldest portrait that we know. Below it are the -following verses, alluding to a laurel wreath which Théodore has in his -hand:-- - - Vos docti docta præcingite tempora lauro: - Mi satis est illam uel tetigisse manu. - -[Illustration] - -The inscription 'An. 29,' at the top of the portrait, indicates that it -was engraved in the same year that the book was printed; for Théodore de -Bèze, born at Vezelay June 24, 1519, completed his twenty-ninth year in -1548, the date of the dedicatory epistle of this book, which the author -addressed to his teacher, Melchior Volmar. 'Vale. Lutetiæ, VII. -cal. Iul. qui dies est mihi natalis.' The mark of Conrad Bade, also signed -with the Lorraine cross, is on the first page of this book, which was -finished on July 15, 1548. 'Lutetiæ, Roberto Stephano, regio typographo, -et sibi, Conradus Badius excudebat, idibus Julii M. D. XLVIII.' -It was shortly after, in this same year, that Théodore de Bèze, on -recovering from a severe illness, withdrew to Geneva, and abjured 'the -papacy, as he had sworn to God to do at the age of sixteen.' The portrait -has been reproduced on copper; there is a copy of the reproduction in the -collection of Tory's work at the Bibliothèque Nationale. - -[Illustration: LVCHINVS] - - -1549 - - I. PAULI IOVII NOVOCOMENSIS VITÆ DUODECIM VICECOMITUM - MEDIOLANIPRINCIPUM.--EX BIBLIOTHECA REGIA.--LUTETIÆ. EX OFFICINA - ROB. STEPHANI, TYPOGRAPHI REGII. M. D. XLIX. - -Quarto of 199 pages. Paris, 1549. This book is a faithful copy of the -manuscript of the same work, preserved in the Bibliothèque Nationale.[396] -It is embellished with beautiful letters in grisaille with criblé -background, and with portraits of the ten dukes of Milan who figure in -the manuscript. These portraits, all marked with the Lorraine cross, -are faithful reproductions of those in the manuscript, but on a smaller -scale. Following is a list of the portraits, taken by Paulus Jovius from -originals which existed in his day and of which he gives, in each case, -the place where it may be found:-- - -1. Otho archiepiscopus. 2. Matthæus magnus. 3. Galeacius primus. 4. -Actius. 5. Luchinus. 6. Joannes archiepiscopus. 7. Galeacius secundus. 8. -Barnabas. 9. Joannes Galeacius primus. 10. Philippus. - -There is a French translation of this book, printed in 1552 by Charles -Estienne (Robert was then in exile at Geneva), with the same plates. -As for the Latin version, it was reprinted several times, in different -places, with engravings on copper copied from those of Robert Estienne's -edition. - - * * * * * - - II. ENTRÉE DE HENRI II À PARIS. - -Quarto; Paris, Jacques Roffet, called 'Le Faulcheur,' 1549. - -This book, of 38 leaves, consists of two parts: the 'Entrée du roi,' of -28 leaves, and the 'Entrée de la reine,' in which the pagination is -repeated, but with different signatures. The privilege, dated Chantilly -the last day of March, 1548 (1549 new style), grants to Roffet the sole -right to have printed and to offer for sale during one year 'the treatise -_which is to be written_ concerning the recent, joyful entrée,' etc. - -[Illustration] - -There were two editions of this book, or, at all events, there are some -copies with additions to the second part--after folio 34. There are also -copies with the imprint of Jean Dallier. A list of the engravings follows: - -1. A portico, above which we see Hercules holding, bound together by -the ears (by means of a chain issuing from his mouth and representing -eloquence), a wood-chopper, a soldier, a priest, and a noble (folio 4). -I can find no mark on this piece, but it is a reproduction of the Gallic -Hercules of 'Champ fleury.' - -2. A fountain (folio 5 verso). - -3. A triumphal arch surmounted by the arms of France (folio 9). - -4. An obelisk on a rhinoceros (folio 11). The cross is under the left foot -of the rhinoceros. - -5. A peristyle with pillars (folio 13). - -6. A triumphal arch surmounted by three nude men, one of whom holds a -standard (folio 15). - -7. A large vaulted hall, on the ceiling of which are H's and D's (folio -16). The cross is in a portico at the left. - -8. A mounted man, armed (folio 19). The cross is in the horse's harness, -on the breastplate, a little below his mouth. - -9. A triumphal arch, with two pillars (one on each side) surmounted by a -man on horseback (folio 38). The cross is on the left-hand pillar. - -10. A portico with two openings, separated by a pillar against which rests -the statue of a woman standing on books (folio 39 verso). - -11. A large plate, representing the façade of a palace with three porticos -(folio 40). - -Of these eleven plates only four are signed; but all of them must have -come from Tory's workshop, for the style is the same. The absence of the -signature may be explained by the haste with which the engravings were -executed in order that they might appear at the opportune moment. - -I cannot refrain from quoting M. Renouvier's remarks on the engravings in -this book, which, for lack of information, he attributed to Jean Cousin. - -'I will, however, mention in this place the "Entrée de Henri II à Paris" -in 1549, because it is the chef-d'œuvre of French wood-engraving, and -because I know of no one to whom it can with more reason be attributed -than to the Sénonais master.[397] If he did not work for the court, he -may very well have been employed upon works for the city. Those which -were executed to commemorate the coronation of Queen Catherine de Medici -are of a manner of composition and a style that belong only to him. -The Gallic Hercules, made in the likeness of the late King François I, -with the four estates of the realm chained to his mouth; the fountain -surmounted by statues of the Seine, the Marne, and Good Fortune; the -triumphal arch bearing a Typhis, whose face strongly resembles that of the -"rex triumphans"; and, lastly, the figure of Lutetia nova Pandora "clad -as a nymph, with her hair falling over her shoulders and drawn about her -face, kneeling on one knee with wondrous grace"; and all the other details -which the artist painted, as happening in the streets through which the -procession passed, and which he included by way of narrative, are in the -refined manner of the French school. The drawing is pure and full of -delicacy, and the engraving so skilfully handled that one cannot believe -it to be by a different hand. It would seem that none but a sculptor -could, within such narrow limits, have set in relief those interesting -faces, designed those graceful figures, and arranged those draperies; and -that sculptor--who could it have been if not the author of the mausoleum -of Admiral Chabot, the French artist who best represented the two sides -of art,--detail and strength, compression and grandeur, gothicism and the -Renaissance?'[398] - -While agreeing with M. Renouvier that these plates were drawn by Jean -Cousin, we may well, it seems to me, attribute the engraving of them to -Tory's workshop. - - * * * * * - - III. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, AD - USUM ROMANUM. (Here a small mark of the printer Chaudière, - representing Time, with this device, printed from type, occupying - three sides of the engraving: 'Hanc aciem | sola | retvndit - virtvs.') 'Parisiis, ex officina Reginaldi Calderii et Claudii ejus - filii.' 1549. - -Large quarto, divided into signatures of two sheets, _a_ to _y_ (the _k_, -probably because that letter was lacking in the font used, is represented -by an _l_ and a _z_ joined together), or 22 signatures of 8 leaves, making -176 leaves; printed in red and black. - -This volume corresponds in all respects with the one issued by Simon de -Colines in 1543[399]; but the Chaudières (Simon de Colines's successors) -have removed a French inscription which appeared below the third plate -(the Angelic Salutation) in the edition of 1543; and they have removed all -the dates inscribed in the borders of that edition. These dates are: 1536, -which appeared in large figures in a cartouche at the foot of the border -of folio _b_ 4 of the edition of 1543; 1537, in a cartouche at the foot -of the sixth plate (the Annunciation to the Shepherds); and 1539, in two -small cartouches at the top of the border of folio _a_ 2; so that all the -cartouches are empty in this edition of 1549. - -I know of only two copies of this edition, one belonging to M. Kühnholtz, -the learned librarian of the Faculty of Medicine of Montpellier, the -other offered for sale at Claudin's bookshop in 1860. This last copy, in -a state of perfect preservation, is still in its original binding, with -S's _barré_, and small tortoises (_tortues_) in wreaths of olive. These -are the allusive[400] arms of the Tourteron family near Attigny. There is -also, on one of the fly-leaves at the front of the book, a large tortoise -coloured from life, on a red ground, in a green olive wreath; and at the -four corners a monogram of an I and two G's, the initials of the original -owner's baptismal names. The volume afterwards belonged to J.-F. Corel du -Clos, priest and canon, who wrote his name on the title-page and pasted -his arms, engraved on copper, in an empty space at the foot of folio _h_ 3 -verso. Du Clos seems to have parted with it to the Cordeliers of Rheims, -in whose library it remained doubtless until the Revolution. - - * * * * * - - IV. PREMIER VOLUME DES ANTIQUITÉS DE LA GAULE BELGIQUE, - ROYAUME DE FRANCE, AUSTRASIE ET LORRAINE ... PAR M. RICHARD DE - WASSEBOURG, ARCHIDIACRE DE L'ÉGLISE DE VERDUN ... ACHEVÉ D'IMPRIMER - LE 13 NOVEMBRE 1549. - -A large folio of more than 600 leaves, printed at Paris by François -Girault. The privilege, in the name of Sertenas, bookseller, is dated -October 1, 1549. It was issued evidently while the printing was in -progress, for it is impossible that the volume was made in a month and a -half. - -On the first page is the fine frontispiece of the Dream of Poliphilus, -above which is the mark of Jacques Kerver. There is but one way to explain -this fact, and that is to assume that Kerver was the printer of the book. -It may be that there are copies in his name. In that case he may have -furnished the border, which was left in all the copies. - -On the second leaf is the representation of the 'Ymage de nostre Dame de -Verdun,' with the Lorraine cross. The Virgin, seated, has in her right -hand a flower, and in the left the Child Jesus, holding in his left hand -the globe surmounted by a cross. The Virgin's feet rest on a winged -dragon. Below her is a man kneeling, with his coat-of-arms before him. -Presumably it is the author of the book. - -After folio cccli, which concludes the first volume, comes the second -volume, the pagination of which follows on. The title-page of this volume, -while it is set in the border of the Poliphilus, differs slightly from -that of the first. It reads thus: 'Second volume des antiquités de la -Gaule Belgique et de plusieurs principautez contenues en icelle, extraites -soubs les vies des evesques de Verdun, par M. Richard de Wassebourg.... On -les vend à Paris, en la gallerie du Palais, par Vincent Sertenas, libraire -audit lieu. Et aussi, se vend en la cité de Verdun.' On the verso is the -engraving described above. The Lorraine cross is under the dragon's tail. - -[Illustration] - - * * * * * - - V. GERARD D'EUPHRATE. - -Folio, roman type, Paris, Estienne Groulleau, 1549. There are copies also -with the imprint of Longis, and others with that of Sertenas. - -This volume contains numerous engravings, large and small; but only 31 of -them are different, many being repeated once, twice, or thrice. Three are -signed with the Lorraine cross, as follows:-- - -Folios 5 verso, 64 verso, 89 verso, and 183. Vessels manned by soldiers. A -woman stands near the shield of him who seems to be in command.[401] - -Folio 46. A knight armed cap-à-pie standing in the recess of a portico. -His right foot is hidden by a sort of altar whereon are the names of -Madanil, Bruneo, Agradiis, and Amadis.[402] - -Folio 48. Bird's-eye view of a château which has been besieged, at whose -gate stands a warrior accompanied by a horse and a dog; he is parleying -with the keeper of the gate, who stands at the top of the entrance tower. -This last plate is a superb folio. - - -1550 - - * * * * * - - I. HORÆ IN LAUDEM, etc. - -Hours of the Virgin according to the use of Rome, in Greek and Latin. - -Small sixteenmo, Paris, Jean de Roigny, 1550. Printed in red and black. -One of the engravings, on leaf 113, representing the Sacrifice of David, -is signed with the Lorraine cross. The others are not signed, but are -absolutely in the same style; they are: the Annunciation, folio 38 -(repeated on 105), and the Resurrection of Lazarus, folio 133.[3] - - * * * * * - - II. BREVIARIUM AD RITUM DIOCESIS - EDUENSIS.--Parisiis, apud Iolandam Bonhomme, viduam Thielmani - Kerver, in via Jacobea, sub Unicorni. - -Small octavo, 1550. On the first page are the arms of Cardinal Hippolyte -d'Este, Bishop of Autun, signed with the Lorraine cross.[403] - - * * * * * - - III. L'HISTOIRE DE PRIMALEON DE GRECE, etc. - -Translated by Vernassal. Folio, Paris, 1550. - -This fine volume, printed by Pasquier Letellier for the bookseller Vincent -Sertenas, for whom Tory had engraved a mark, contains fifty engravings -in the text. A single one is signed with the Lorraine cross: it is found -on folio 137 verso, and represents a lion fawning upon a woman who sits -beside a fountain. - -There are copies of this book in the names of other booksellers--Étienne -Groulleau, Jean Longis, etc.; but the privilege is in the name of -Sertenas.[404] At the end of the volume is a note to the reader by -Letellier. 'Dear reader,' he says, 'if you have noticed, on reading this -book, the common orthography changed in some words, even as to the double -letter, which is not pronounced according to the true French method, -think not that that is of my doing, but that it accords with the earnest -recommendation of the author.' - - * * * * * - - IV. MISSALE SECUNDUM USUM CELEBRIS MONASTERII - CLUNIACENSIS, etc. Here the vignette described below, followed - by this imprint: 'Prostat Parisiis, apud Iolandam Bonhomme, in via - Jacobea, sub Unicorni, ubi et impressum est.--Anno D. M. CCCCC. - L.' - -This missal is embellished, on the title-page, with a cut signed with the -Lorraine cross, and representing Saint Peter and Saint Paul, patron saints -of the Abbey of Cluny. This cut appears in other parts of the book, where -we find also the two large cuts hitherto described (page 214) as included -in the Missal of Paris, of 1539, published by order of Jean de Bellay. We -find also a Saint John Baptist, with the Paschal Lamb under his left arm, -and pointing to it with his right hand. This cut, which is signed in two -different places, is on folio 49 of the second part. It is of quarto size. - -The book is in two parts, paged separately. The two large engravings are -on folios 116 and 117 of the first part. At the end of the Missal proper, -which is followed by a few other leaves, are these words: 'Ex officina -chalcographica matrone clarissime Iolande Bonhomme, vidue industrii -viri Thielmanni Kerver, Parisiis, in via Jacobea, sub Unicorni, anno D. -millesimo quingentesimo quinquagesimo, idib. septembris.' - -There are several copies of this book in the Bibliothèque Nationale. In -two of them the miniaturists have substituted for the date 1538, printed -on one of the large cuts, the dates on which they coloured it--1559 and -1567, respectively. It is well to call attention to such details as these, -which may give rise to mistakes. - -We also find in the Cluny Missal the unsigned drawings to which I have -previously referred[405] and which are in the Paris Missals of 1539 and -1559. - - * * * * * - - V. HEURES DE NOSTRE DAME À L'USAIGE DE ROMME - [_sic_], EN LATIN ET EN FRANÇOYS, NOUVELLEMENT IMPRIMÉES À - PARIS. (Here a vignette representing the Virgin under a - portico; at the foot the letters F. R., initials of François - Regnault, deceased husband of Madeleine Boursette.) 'A Paris, par - Magdaleine Boursette, à l'enseigne de l'Elephant, à la rue Sainct - Jacques.' - -On the verso of the title-page a table of Easter-Days from 1550 to 1566. - -Sixteenmo, in signatures of 8 leaves. The work is in two parts; the first -has 168 numbered leaves, signatures A to X; the second part has only 32 -leaves, signatures A to D. Roman type, double columns, printed in red -and black. On the recto of folio 168 of the first part, at the foot, are -these words: 'Parisiis excudebat Stephanus Mesviere in ædibus Vindocimis, -ex adverso collegii Becodiani.--1550.' And on the last leaf of the second -part: 'Cy finent ces presentes Heures a l'usaige de Romme, en latin et en -françoys, nouvellement imprimées à Paris, par Estienne Mesviere, demourant -a l'hostel de Vendosmes, devant le college de Boncourd.--M. D. L.' - -This precious book, of which I know of but one copy, owned by M. -Silvestre, author of 'Les Marques Typographiques,' contains many -engravings. The principal ones are: - - Folio 5 recto, Saint John writing his Gospel (signed). - 12 recto, Jesus at prayer in the Garden of Olives. - 33 recto, The Angelic Salutation (signed). - 47 verso, The Visitation (signed). - 56 verso, The Nativity of Jesus (signed). - 60 recto, The Annunciation to the Shepherds (signed). - 63 verso, The Adoration of the Magi (signed). - 67 recto, The Presentation in the Temple (signed). - 70 verso, The Flight into Egypt (signed). - 77 recto, The Coronation of the Virgin. - 89 recto, Jesus on the Cross. - 93 verso, The Descent of the Holy Ghost (signed). - 97 verso, The Penance of David (signed). - 109 verso, Job on the Dunghill. - 168 verso, Death (signed). - - * * * * * - - VI. HORÆ IN LAUDEM BEATISSIME VIRGINIS MARIE AD USUM - ROMANUM.--Parisiis, apud Thielmannum Kerver. M. D. L. - -On the verso of the last leaf: 'Excudebat Parisiis, Thielmannus Kerver, in -vico sancti Iacobi, sub signo Cratis.--M. D. L.' - -Small octavo of 172 unnumbered leaves; signatures A to X of 8 leaves and -Y of 4. Roman type, printed in red and black, with the small borders with -birds, etc., used by Mallard in his Hours of 1541.[406] - - -1551 - - I. DE SACRIS ECCLESIÆ MINISTERIIS AC BEN[E]FICIIS - LIBRI VIII ... AUTHORE FRANCISCO DUARENO JURECONSULTO ET ORDINARIO - JURIS CIVILIS DOCTORE IN CIVITATE BITURIG[I].--Lutetiæ, - ex typographia Matthæi Davidis, via Amygdalina, ad Veritatis - insigne.--1551. - -Quarto of 338 leaves, plus one unnumbered leaf, on which are the words: -'Parisiis, excudebat Matthæus David, prid. calend. nov. [October 31] 1551. - -On the title-page is David's mark, with the Lorraine cross. On the verso, -a portrait of Le Duaren, in the shape of a medallion, also signed with -the Lorraine cross. Encircling it, the legend: 'francisc. dvarenvs. -jvrisc.[407] - -The work opens with an epistle to Marguerite, Duchesse de Berry, and -sister of François I. This letter, dated Paris, the Ides of June, 1550, -is more properly a dedication, for in it Le Duaren mentions the death of -Marguerite, which took place in 1549. He tells us, further, in the title -of this epistle, that it was written before his return to Bourges, which -he had been obliged to leave in 1547, as the result of a love-affair -('antequam Lutetia Parisiorum Avaricum Biturigum migrasset').[408] - - * * * * * - - II. CICERO'S WORKS (in Latin), published by - Charles Estienne, from 1551 to 1555, in four folio volumes, usually - bound in two. - -This important work is embellished with a frieze engraved for Robert -Estienne, and signed with the Lorraine cross,--a frieze which appears in -the second volume of the works of Eusebius of 1544.[409] We also find -therein several floriated letters signed with the Lorraine cross.[410] -These are the E, the O, and the S of the medium alphabet,--for there -are three alphabets of different sizes, all three formed by Renaissance -arabesques. The largest is the one used in the folio Eusebius of 1544, -which, consequently, was engraved for Robert Estienne; but it has no -signature. The medium alphabet was, doubtless, engraved for Charles -Estienne in this same year 1551, in which he began to conduct a -printing-office. I cannot say whether any other letters of this medium -alphabet bore the Lorraine cross, for they do not all appear in the book, -but I am sure that the G has none. Of course, after Tory died, the artists -employed in the establishment carried on by his widow had no reason to -select the G rather than another letter. - -I give some details concerning this valuable edition, of which M. Didot -owned a copy annotated by Henri Estienne. The text of the first volume, -printed in 1551, as stated in an imprint at the end (dated the 3d of the -Nones of September), exhibits one of the letters mentioned above--the S -(on folios 56 and 298). This volume received later a large title-page -dated 1555, and a dedication, to the Cardinal de Lorraine, also dated 1555 -(the 6th of the Kalends of March), on which we find the frieze of the -Eusebius of 1544, signed, and bearing on a medallion Fame distributing -wreaths.[411] The text of the second volume, also of 1551, as I discovered -from an incomplete copy in the library at Montbrison (it has no final -imprint, but on the title-page some one has added III by hand -to the original numerals M. D. LI, so that it might correspond -with the other copies), contains the three floriated letters signed with -the Lorraine cross (folios 47, 122, 230, 313, 388, 398); we find also, -on the title-page, dated 1554, Charles Estienne's small mark described -later.[412] The text of the third volume was probably printed in 1552, but -it has no final imprint. The title-page is dated 1555; it has the small -mark with the Lorraine cross. The fourth bears on the title-page the date -1554, but it was not finished until 1555, as is shown by the final imprint -(3d of the Kalends of March, 1555); the vignette of the title-page is -unlike that in the second and third volumes, although of the same size, -and has not the cross. The work did not appear until 1555, as is shown by -the date on the title-page of the first volume, on which there is another -larger mark, also without the cross.[413] - - -1552 - - I. HEURES PARIS [_sic_], CONTENANT - PLUSIEURS ORAISONS DEVOTES, EN FRANÇOIS ET EN LATIN ET CONFESSION - GENERALE. (Here the mark of Thielman Kerver, with the Lorraine - cross.) Imprimé à Paris par Thielman Kerver, demourant rue Sainct - Jaques, à l'enseigne du Gril.--1552. - -Duodecimo, red and black; signatures A to O. Tory's small border with -decorations of birds. Plates of the Hours of 1541.[414] - - * * * * * - - II. TESTAMENTUM NOVUM.--ADDITIS PICTURIS IN EVANGELIA - ET APOCALYPSIM, QUIBUS MIRACULA ET VISIONES ELEGANTISSIME - EXPRIMUNTUR. (Mark of Madeleine Boursette, widow of François - Regnault; Silvestre, no. 396.) 'Parisiis. Apud viduam Francisci - Regnault, via Jacobæa.--1552.' - -At the end of the volume: 'Parisiis. Excudebat Stephanus Mesviere, in -ædibus Vindocimis, ex adverso collegii Becodiani.'--1552. - -Thirty-twomo; 45 signatures (_a_ to _z_, A to Y) of eight leaves each, -or 360 leaves in all. Only the first 350 are numbered; the last 10, -containing the index, are without folios. Printed in very small roman type. - -This book contains 120 engravings inserted in the text, and serving -thus 'to illustrate,' as we should say to-day, or 'to express,' as the -publisher says on the title-page, the Gospels and the Apocalypse. Those -relating to the Apocalypse, 22 in number, are of earlier date than the -others, and by another hand. Of those which illustrate the Gospels, many -are signed with the double cross. Although several of them relate to -subjects previously treated in the octavo Hours of 1527 and the sixteenmo -Hours of 1529, the engravings, while they are of nearly the same size, are -different none the less. A list of their titles follows:-- - - Folio 2 recto, St. Matthew writing his Gospel. - 3 verso, Adoration of the Magi. - 4 verso, The Flight into Egypt (signed). - 5 recto, Massacre of the Innocents (signed). - 5 verso, Baptism of Jesus. - 6 verso, Jesus carried up into a Mountain (signed). - 8 recto, Jesus bids Simon and Andrew to follow Him (signed). - 12 recto, Jesus curing the Paralytic. - 13 verso, Jesus expelling the Money-changers from the Temple - (signed). - 16 verso, St. John in Prison (signed). - 18 recto, The Apostles pardoned by Jesus. - 20 recto, Parable of the Sower. - 26 verso, Jesus teaching. - 27 verso, Jesus driving out the Devils (signed). - 30 recto, The Mother and Brothers of Jesus (signed). - 31 recto, Jesus and the Ass. - 31 verso, Jesus entering Jerusalem. - 32 recto, Jesus cursing the Fig-tree. - 33 recto, Parable of the Reapers (signed). - 33 verso, The Vine-Dresser slaying the only Son. - 36 recto, Jesus likens Himself to the Hen. - 37 recto, Jesus arguing with the Doctors (signed). - 39 recto, Parable of the Virgins (signed). - 41 verso, The Lord's Supper. - 47 verso, St. Mark writing his Gospel. - 50 recto, The Apostles pardoned by Jesus (as on p. 18). - 52 verso, One does not hide the Light under a Bushel (signed). - 53 recto, Jesus expelling the Devils, which enter into the - Swine (signed). - 56 recto, St. John's head borne by Herodias. - 57 verso, Jesus walking on the Water (signed). - 59 recto, The deaf and dumb Man (signed). - 59 verso, The Miracle of the Loaves. - 60 verso, Jesus curing a blind Man (signed). - 63 verso, Jesus blessing the little Children. - 69 verso, The Magdalen pouring Spices. - 75 verso, St. Luke writing his Gospel. - 77 recto, The Annunciation (signed). - 77 verso, The Visitation (signed). - 79 recto, The Nativity (signed). - 79 verso, The Annunciation to the Shepherds (signed). - 80 verso, The Circumcision (signed). - 81 verso, Jesus among the Doctors (signed). - 82 recto, St. John Baptist preaching (signed). - 83 recto, The Tree not bringing forth Fruits. - 84 verso, Jesus explaining the Writings in the Temple (signed). - 85 verso, Cure of Simon's Mother-in-law (signed). - 87 recto, Cure of the Paralytic (signed). - 88 verso, Jesus effecting Cures. - 90 recto, Jesus curing the Widow's Son (signed). - 97 recto, Jesus sends his Apostles forth to preach the Gospel. - 98 recto, Jesus discoursing to his Disciples. - 98 verso, Parable of the Good Samaritan (signed). - 100 verso, Jesus instructing a Woman (signed). - 101 recto, Jesus dining with a Pharisee (signed). - 107 verso, Return of the Prodigal Son. - 108 verso, The Rich Man in Flames and Lazarus in Abraham's Bosom. - 110 recto, Cure of the ten Lepers (signed). - 111 verso, The Shepherd and the Pharisee. - 112 recto, The Parable of the Camel. - 112 verso, Nicodemus on the Tree. - 118 recto, The Lord's Supper (as on p. 41). - 118 verso, Jesus in the Garden of Olives. - 122 verso, The Disciples at Emmaus. - 124 recto, The Ascension. - 125 verso, St. John writing his Gospel. - 126 verso, The Trinity. - 128 recto, The Marriage at Cana. - 128 verso, Jesus expelling the Money-Changers. - 131 recto, The Woman of Samaria. - 132 verso, Jesus curing the Son of a Wood-sawyer (signed). - 133 verso, The Pool (signed). - 134 recto, Jesus answering the Doctors (signed). - 135 verso, same as on p. 59.[415] - 137 recto, The Withered Hand. - 140 recto, The Woman taken in Adultery (signed). - 142 recto, Jesus leaving the Temple. - 142 verso, Jesus curing the blind Man. - 145 recto, Jesus in flight. - 146 verso, Resurrection of Lazarus (signed). - 147 verso, The Priests deliberating as to putting Jesus to Death - (signed). - 150 verso, The Lord's Supper (as on pp. 41 and 118). - 155 verso, St. Peter cutting off Malthus's Ear. - 156 recto, Jesus before Caiaphas. - 157 verso, Jesus before Pontius Pilate. - 158 recto, The Scourging. - 158 verso, The Crown of Thorns. - 159 recto, Jesus beneath the Cross. - 159 verso, Jesus Crucified. - 160 verso, Jesus Entombed. - 161 verso, The Women going to the Tomb. - 162 recto, The Women announcing the Resurrection to the Disciples - (signed). - 162 verso, The Magdalen takes Jesus for the Gardener. - 163 recto, The Ascension (signed). - 312 verso, St. John writing. - 321 verso, St. John receiving the Revelation. - 323 recto, Alpha and Omega. - 326 verso, A Throne erected in Heaven. - -Then follow the engravings of the Apocalypse, impossible to describe, and -in an entirely different manner. At the end of the book is an engraving of -the Christ on the Cross, surrounded by rays of light. - - * * * * * - - III. LE PREMIER LIVRE DE LA CHRONIQUE DU TRES VAILLANT - ET REDOUTÉ DOM FLORES DE GRECE. Folio, Jean Longis, 1552. - -There are many engravings in this book, but only one of them is signed -with the Lorraine cross. That one is on folio 90 verso, and represents -soldiers before a tower. It is reproduced in 'L'Histoire paladine,' folio, -Étienne Groulleau, 1555, on folio 56 verso. - - -1553 - -Ronsard's 'LES AMOURS' annotated by Marc-Antoine Muret. - -Octavo, printed by Maurice de la Porte's widow, 1553.[416] This edition -of 'Les Amours' is embellished with a portrait of Muret, signed with the -Lorraine cross, and bearing the inscription 'An. XXV,' which proves that -it was engraved that same year, for Muret was born in 1526.[417] This -portrait reappears, but without the inscription, in several other editions -of Ronsard. I will mention particularly the quarto edition of his works, -issued in 1567 by Gabriel Buon, successor to Maurice de la Porte's widow, -and the folio issued in 1623 by Nicolas Buon, Gabriel's son. - - -1554 - - LES OBSERVATIONS DE PLUSIEURS SINGULARITEZ ET CHOSES MEMORABLES - TROUVÉES EN GRECE. By Pierre Belon. Quarto, Paris, 1554. - -There were two editions of this book, printed by Benoît Prevost, for -Gilles Corrozet and Guillaume Cavellat, respectively, in 1553 and 1554. -The copies in Corrozet's name bear his mark, signed with the Lorraine -cross. There is a portrait of Belon signed with the cross at the end of -the front matter in the edition of 1554. I have not seen it in any copy -of the edition of 1553, which leads me to think that it had not then been -engraved. And, in effect, the fact that the portrait attributes to Belon -the age of thirty-six years seems to show that it was not drawn until -1554, as Belon is supposed to have been born in 1518. However that may be, -the portrait appeared afterward in several other books by the same author, -and particularly in his 'Histoire de la nature des oiseaux,' folio, 1555. - - -1555 - - HISTOIRE DE LA NATURE DES OISEAUX. By Pierre Belon. Folio, - Paris, G. Corrozet, 1555. - -In this book we find, in addition to the portrait of Belon, seven cuts of -birds, signed with the Lorraine cross. They are: the osprey, folio 96; the -sea-gull, 169; the bustard, 238; the pullet, 252; the loriot, 295; the -woodpecker, 304; the sparrow-hawk, 376. Some of the other engravings in -the volume are signed with a white cross on a black ground. - - -1556 - - I. LES SINGULARITEZ DE LA FRANCE ANTARCTIQUE, AUTREMENT - NOMMÉE AMERIQUE, ET DE PLUSIEURS TERRES ET ISLES DECOUVERTES DE - NOSTRE TEMPS. Par F. André Thevet, natif d'Angoulesme.--A - Paris, chez les héritiers de Maurice de la Porte, au clos Bruneau, à - l'enseigne S. Claude.--1558. - -This rare and curious volume is a quarto of 8 preliminary leaves, 166 -leaves of text, and 2 of index unnumbered,--in all, 46 signatures. The -privilege, which is printed on the verso of the title-page, is dated -Saint-Germain-en-Laye, December 18, 1556. In the dedication, addressed to -the Cardinal of Sens, Jean Bertrand, first Keeper of the Seals of France, -Thevet says that the country described by him maybe called the fourth part -of the world, 'for that no one has as yet made explorations there, all -geographers thinking that the world is limited to that which the ancients -have described to us.' - -There are 41 engravings in the text, not including borders, floriated -letters, and Jean Bertrand's arms on the title-page. Of the 41, only seven -are signed with the double cross; four of these represent scenes in the -life of the American savage,--they are on folios 6 verso, 31 recto, 47 -verso, and 151 recto; a fifth represents an extraordinary bird called _pa_ -(45 recto); and the other two, plants,--the pineapple (89 verso), and the -cassava (113 verso). The last three appear in André Thevet's 'Cosmographie -Universelle,' published in 1575, in two volumes, folio.[418] The others -also appear in that work, but reëngraved on a larger scale, and without -signature. - -The seven engravings signed with the double cross cannot have been -executed prior to 1556. For Thevet set out for the New World on November -4, 1555,[419] and remained there four months. So that it was not until -the early months of 1556, at the earliest, that the engravings could have -been executed. But, as the book did not appear until the beginning of -1558,[420] it may be that they were still in process of execution in 1557. - -In the same year with the publication of Thevet's 'Singularités,' an -octavo edition appeared at Antwerp, with the imprint of Christophe -Plantin, and a privilege from the King of Spain, dated Brussels, April 20, -1558. The haste with which this reprint was prepared shows the interest -with which the book was regarded. The woodcuts of the Antwerp edition -are nothing more than wretched copies of those in the Paris edition. We -find among them, however, in chapters 56, 58, 67, and 74, cuts of animals -bearing the cipher of Jost Amman. - - * * * * * - - II. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ AD USUM - ROMANUM. (Here the mark of T. Kerver, without the cross.) - Parisiis, apud Thielman Kerver, in via sancti Jacobi, sub signo - Cratis. - -Duodecimo, 1556. Signatures A to M, and A to C vi. Border decorated with -birds, with the small engravings of 1529. M. Niel owns a copy of this -book bound with Tory's toolings. It has the Pot Cassé on the edges. -Another copy, belonging to M. Portalis, is bound with the prayers (in -French) described on page 219. - - -1557 - - I. LES FIGURES ET PORTRAICTS DES PARTIES DU CORPS - HUMAIN.--A Paris, par Jaques Kerver, rue S. Jaques, aux deux - cochetz.--1557. - -Folio, containing 61 large anatomical plates, several of which are signed -with the Lorraine cross, and dated 1531, 1532, or 1533. This collection -was reprinted in the same form, by the same publisher, in 1575.[421] - - II. LES QUATRE LIVRES D'ALBERT DURER, PEINTRE ET - GEOMETRIEN EXCELLENT, DE LA PROPORTION DES PARTIES ET POURTRAITZ DES - CORPS HUMAINS, TRADUITS PAR LOYS MEIGRET, LIONNOIS, DE LANGUE LATINE - EN FRANÇOISE. - -Folio; Paris, chez Charles Perier, at the sign of the Bellerophon,[422] -1557. - -In the same year Perier published an edition of Durer's work in Latin, -similar in every respect to the French edition. It is entitled 'De -Symetria partium humanorum corporum.' I am unable to say which was printed -first. - - -1559 - - PSALTERIUM DAVIDICUM GRÆCOLATINUM.... Parisiis, - apud Ægidium Gorbinum, sub insigne Spei, prope collegium - Cameracense.--1559. - -On the last leaf: 'Parisiis, excudebat Benedictus Prævotius, ad Stellam -Auream, via Frumentello.' - -Twenty-fourmo of 278 numbered leaves of text, and 20 unnumbered -preliminary leaves; printed in red and black. - -This little volume, printed in Greek and Latin, two columns on a page, was -called to my attention by M. Lornier, barrister, of Rouen. Opposite the -first page of text is a small engraving, signed with the Lorraine cross, -representing the penance of David. David is on his knees, with a book -before him and his harp at his right hand; he is gazing at God the Father, -who is seen in the sky blessing him. Doubtless this engraving appears in -other books of earlier date. It is 73 millimetres high by 55 wide. - - -ENGRAVINGS OF UNCERTAIN DATE. - - I. FIGURE DE L'ANCIENNE ET DE LA NOUVELLE ALLIANCE. - -A large plate, 35 centimetres in width by 27 in height, divided into two -parts by a tree at the foot of which is Man, thus placed on the boundary -of the two worlds. The tree bears only withered branches on the left side -(the old alliance), whereas, on the right (the new alliance), it is green -and flourishing. - -In the compartment at the left we see Adam and Eve in the Garden of Eden. -Eve is offering Adam the apple. Beneath them is the word 'peche.'[423] -Lower still is a skeleton on a bier, with the words 'la mort' beneath. -Above the Garden is Mount Sinai, whereon Moses is receiving the tables of -the law; beneath, on the right, the 'terrestrial Jerusalem,' wherein are -devout persons being devoured by serpents, with the serpent of brass in -the midst, and above it the words, 'Similitvde de la ivstification.' Moses -appears on the right; at the left, and a little lower, Hagar and Ishmael; -lower still, the prophet pointing out to Man Jesus on the Cross at the -right. - -In the compartment at the right we see God standing on the terrestrial -globe, with the words, 'Iervsalem celeste'; above, 'Mont Sion,' on which -stands a woman's figure, with the words 'La Grace' over her head. An angel -bearing a cross descends from Heaven (where are the words, 'Emmanvel Diev -avec novs') amid rays of light which fall upon the woman. Lower, at the -left, is another angel announcing the birth of Christ to the shepherds. -Near by, at the right, the Christ on the Cross, with the words, 'nostre -ivstice,' and the Paschal Lamb, with the words, 'nostre innocence'; below, -Jesus coming forth from the tomb, with the words, 'nostre victoire'; still -lower, at the left, St. John Baptist pointing out to Man the Christ on the -Cross; the Forerunner is indicated by the words, 'Lenseignevr de Christ,' -in a cartouche; above St. John are Sarah and Isaac. - -In each of the compartments is a number of figures which apparently -correspond to some vanished text.[424] There are eight in the one at the -right and nine in the other. 'Man' is marked with a zero. I am unable to -give the origin of this plate, which is in the Cabinet des Estampes in the -Bibliothèque Nationale, and was for a long time attributed to Jean Cousin. -It was M. Devéria who removed it from that artist's work and placed it -with Tory's, whose double cross it bears, at the left, below the cartouche -containing the words 'Lenseignevr de Christ.' I believe that it belongs in -some large folio Bible; for I have seen the subject treated in a more or -less summary fashion[425] on the title-pages of several Bibles, in French -and other languages. I will mention particularly the following, all of -which are in the Bibliothèque Nationale. (1) A French Bible, printed at -Antwerp in 1530, by Martin l'Empereur; (2) A Bible in old Saxon, printed -at Lubeck in 1533 by Ludowich Dietz (the same woodcuts reappear in an -edition in Danish, issued by the same printer, at Copenhagen, in 1550); -(3) A Bible in Latin, from the text of Erasmus, published in 1543 or 1544, -with two engravings by Cranach; (4) A Bible in Flemish, printed at Antwerp -in 1556. I will mention also Luther's Latin Commentaries ('enarrationes') -on the Bible, printed at Nuremberg in 1555, with an engraving on the -title-page dated 1552. - -Whatever its source, this drawing was reproduced in 1562, on a large -enamelled plate in tinted grisaille, attributed to Pierre Rexmond, -enameller, at Limoges. The sketch for this plate was published in 1843, -after a copy in the collection of M. Baron, in the volume entitled -'Meubles et Armes du moyen âge,' a large quarto, published by Hauser, -dealer in prints on Boulevard des Italiens.[426] It is no. 127 in the -collection. In this drawing the groups are arranged in chronological -order, the circular form of the plate making it impossible to retain -the arrangement of the engraving. But the various subjects and their -respective inscriptions are identical, save for the errors in orthography -with which the Limousin artist has besprinkled the latter. The two -Jerusalems are separated by two trees, which, starting at the outer border -of the plate, formed of Renaissance arabesques, join their heads at the -centre, where there is a medallion containing the face of Marguerite de -Valois, sister of François I.[427] - -This subject has been treated also in a cameo now in the Bibliothèque -Nationale, but in a very summary fashion because of the small size of the -piece, which is only 57 millimetres in width by 72 in height. All the -essential details of the engraving are reproduced. A description of this -interesting cameo will be found under no. 317, in the 'Notice du Cabinet -des médailles,' published by M. Chabouillet, one of the conservators of -that priceless collection. It has been reproduced, too, in the collection -of 'Mémoires de la Société des antiquaires de Morinie,' and the curious -feature of the business is that the engraver has taken for his mark the -arms of the city of Saint-Omer, which are the Lorraine cross. - - II. RECUEIL DES ROIS DE FRANCE, LEURS COURONNE ET - MAISON, ENSEMBLE LES RENGS DES GRANDS DE FRANCE, par Jean du - Tillet, sieur de la Bussiere, protonotaire et secretaire du roy, - greffier de son parlement.--Plus, une chronique abrégée contenant - tout ce qui est advenu ... entre les roys et princes ... estrangers, - par M. Jean du Tillet, évêque de Maux.[428] - -Folio; one volume in two parts, Paris, J. du Puys, 1580. - -This volume is an exact reproduction of the manuscript preserved at the -Bibliothèque Nationale, which I have already described.[429] Although -dedicated to Charles IX, the book was prepared for publication at a much -earlier date. In fact, the author tells us, in the dedicatory epistle, -that he had presented a copy to Henri II; indeed, it seems that he had it -prepared for printing at the insistence of the King and Queen, who had -promised 'to take care of the expenses.' This fact explains why almost -all the portraits of the kings of France, from Clovis to François I, -are signed with the Lorraine cross. These portraits are copied from the -miniatures of the manuscript, but are on a smaller scale; furthermore they -are in oval instead of square borders. - -Du Tillet died in 1570, before he was able to carry out his project of -printing this work. On August 10, 1578,[430] his heirs obtained a license -to publish their 'late father's' work, which finally appeared in 1580; in -fact, one part is dated 1579. They made use of the woodcuts bearing the -Lorraine cross. Jean du Puys, the publisher,[431] added to the book some -portraits which are not in the manuscript (among others those of Henri II -and Charles IX), and which consequently do not bear Tory's mark. - -Following is a complete list of the portraits contained in this volume, -with indication of those not in the manuscript and of those signed with -the Lorraine cross. - - Folio 16, Clovis (signed). - 18, Childebert; added. - 19, Clotaire I (signed). - 23, Sigebert (signed). - 24, Chilperic and Fredegonde (signed). - 28, Dagobert; added. - 30, Clovis, son of Dagobert; added. - 31, Clotaire III. - 32, Childeric II; added. - 35, Dagobert II; added. - 41, Carloman I; added. - 42, Charlemagne. - 44, Louis le Debonnaire; modified. - 48, Charles le Chauve (signed). - 53, Charles le Simple. - 54, Raoul (signed). - 56, Louis d'Outre Mer. - 58, Lothaire (signed). - 75, Philippe I. - 76, Louis le Gros. - 92, Louis le Jeune. - 94, Philippe-Auguste (signed). - 101, Louis, père de Saint Louis (signed). - 109, Charles II; added. - 112, Saint Louis. - 121, Philippe III; added. - 133, Philippe le Bel (signed). - 134, Louis le Hutin. - 136, Philippe le Long. - 137, Charles le Bel (signed). - 138, Philippe de Valois. - 140, Jean. - 157, Charles V. - 160, Charles VI. - 164, Louis XI. - 165, Charles VIII (signed). - 166, Louis XII (signed); modified. - 167, François I (signed); modified. - 168, Henri II and Catherine de Médicis; added. - 169, François II; added. - 169, Charles IX; added. - -It will be seen that there are, in all, 10[432] portraits added to those -found in the manuscript. For the other princes mentioned in the work, -whose features it was impossible to present, empty frames are printed. -Naturally, none of the portraits added to du Tillet's book by the editor -are marked with the Lorraine cross, and of the other 31, there are only -15[433] on which it is found. - -These cuts were reproduced in a great many later editions of du Tillet's -work, both folio and quarto. I will mention particularly those of 1586, -1587, 1602, 1607, and 1608. - -The volume contains also many engravings of shields and seals. - - * * * * * - - III. LA CONFÉRENCE ACCORDÉE ENTRE LES PREDICATEURS - CATHOLIQUES DE L'ORDRE DES CAPUCINS ET LES MINISTRES DE GENEVE. - -Octavo; Paris, Denis Binet, near Porte S. Michel, 1598. - - * * * * * - - IV. LES THESES QUI ONT ESTÉ AFFIGÉES DANS LA VILLE DE - GENEVE. - -Octavo; Paris, Denis Binet, near Porte S. Michel, 1598. - -On the title-pages of these two volumes, both of which are in the -Bibliothèque Nationale, there is a woodcut signed with the Lorraine cross, -representing a cross with the crown of thorns, set in a border of the size -of a five-franc piece. It was undoubtedly engraved long before 1598. - - * * * * * - - V. ILLUSTRATION DE L'ANCIENNE IMPRIMERIE TROYENNE. - -Quarto, Troyes, 1850 and 1859. The first fascicle of this book, which -consists of a collection of old woodcuts gathered by M. Varlot in the -printing-offices of Troyes, contains two signed with the Lorraine cross. -They are nos. 50 and 188. The first represents the Coronation of the -Virgin; we may join with it a piece in the same manner representing the -Visitation, no. 51 in the same collection; and no. 5 (the Virgin holding -the Child Jesus) of the fascicle published in 1859. These cuts, which are -in format a small folio, doubtless formed part of a series of engravings -relating to the Virgin and intended for a book of Hours. - -MM. Alexis Socard and Alexandre Assier, in their work entitled 'Livres -liturgiques du diocèse de Troyes' (8vo, 1863), also give, on page 79, -an old Troyes woodcut, small folio, signed with the double cross, -representing the Descent of the Holy Ghost on the Virgin and the Apostles. -It is 135 millimetres high by 60 in width. - -No. 188 of M. Varlot's fascicle, which is only one inch high by two wide, -represents a harvest. It was undoubtedly one of a series of engravings -illustrative of the twelve months. MM. Socard and Assier saw it in a book -of Hours printed at Troyes in 1583, by Jean du Ruan, who seems to have -inherited a portion of the woodcuts of Jean Le Coq, printer, of the same -city. We find also in M. Varlot's collection two woodcuts marked with the -letters G. T., which may have been Geofroy Tory's earlier mark, before he -had adopted a special symbol. These two are no. 84, in the criblé style, -and no. 131, in the Renaissance style.[434] - -On account of the worn state of these cuts it is impossible to say whether -they are originals or copies. It is not impossible, however, that they -were executed by Tory for the printer Nicole Paris, or rather for Jean Le -Coq, whose mark he engraved also.[435] - - * * * * * - -VI. Not only at Paris and Troyes do we find woodcuts with the -Lorraine cross; we find them also at Orléans, at Chartres, at Poitiers, -and even at Lyon, although the last-named city had a most flourishing -school of engraving of its own; witness the illustrations of the Bible -after Holbein,[436] published by Jean Frellon, in 1547, and those of -Salomon Bernard, published by the de Tournes after 1553. But the works -executed by Tory for Simon de Colines, Robert Estienne, and the rest, had -so spread his name abroad, that there was not a printer of taste in France -who did not seek the honour of obtaining some work of our artist. In this -way Jean de Tournes, first of the name, who was unquestionably one of -the most famous printers of Lyon, had engraved by Tory, or by his widow, -borders and pictures in considerable numbers; unfortunately we find very -few of them signed, whether because Tory's mark was afterward removed from -the others, or because he omitted to place it upon them, in accordance -with the wish of Jean de Tournes; for in those days printers were very -desirous to appropriate the engravings that they ordered, especially at -Lyon, where, nominally at least, no other engraver was known than Salomon -Bernard; moreover, it is well to note that that artist, none of whose work -is signed, is known only because his name was afterward published by the -printers, in the very interest of their publications. - -However, I propose to give a list of the pieces signed with the Lorraine -cross which I have seen in books published by the de Tournes, that is, by -Jean I and Jean II, his son; for it is impossible, in default of any sort -of a catalogue, for me to decide what ones are attributable to each of -them. As a matter of fact, I should be justified in confining myself to -the second, if he had not himself said that he used woodcuts belonging to -his father. And, in truth, although we know of no books published by the -latter with engravings, except his edition of Petrarch of 1545 (reprinted -in 1547), and his book of Chiromancy and Physiognomy, also of 1545, -octavo, everything seems to indicate that those marked with the Lorraine -cross were made for Jean I, who died about 1550. - -The first book that I shall mention is an octavo volume, without title, -described thus by M. Didot in his 'Essai sur la Gravure,' col. 235; -'Pamphlet without title, printed on one side only, with this imprint on -page 1: "A Lion, Ian de Tournes, 1551." The border, composed of arabesques -in white on a black ground, has at the foot the Lorraine cross. Twenty-two -of these engravings represent scenes from the theatre of the ancients; the -ninth bears the Lorraine cross.' This pamphlet was reprinted in 1556, as -we shall see in a moment. - -The second book that I shall mention is an octavo volume, without date, -entitled: 'Thesaurus amicorum,' which is in the Bibliothèque Nationale. It -contains three series of borders: (1) Borders with arabesques in black on -a white ground (one of them is signed with a very small Lorraine cross); -(2) Borders with arabesques in white on a black ground (one of these also -is signed with a small white cross); (3) Borders with grotesque subjects, -licentious and otherwise. These last, none of which are signed, represent -figures analogous to those that are found in the 'Songes drolatiques' -attributed to Rabelais, and seem to be modelled upon them. - -In the first part of the book, the borders, 32 in number, are empty[437]; -in the second part, they enclose medallions of famous characters of -ancient times, with mottoes in all sorts of languages. There are -96 of these portraits. They were reproduced, with many others, in a -book printed in 1559, under the title, 'Insignium aliquot virorum -icones' (octavo).[438] In the dedication, to G. Tuffano, 'gymnasiarchæ -Nemausensi,' Jean de Tournes, second of the name, the printer of the -book, informs us that he undertook it in order to utilize the woodcuts -left by his father. 'Cum pater jamdudum haberet hasce icones inutiles ne -omnino perirent, hæc pauca, quæ huic opusculo insunt, ex variis auctoribus -accumulavi....' In this book the medallions number one hundred and -forty-three; none are signed, but they are altogether in Tory's manner. - -These same medallions, as well as the borders of the 'Thesaurus amicorum,' -have been used in a multitude of other publications, which are known to us -only through detached fragments. I will mention particularly eight leaves -preserved in the Cabinet des Estampes, printed on one side only, having -a border with a portrait on each page.[439] Also, four leaves without -borders, on each of which two portraits are printed, side by side.[440] - -As for the borders, they appear again,--first, in the edition of Marot's -Psalms, published by Jean de Tournes in 1557, in octavo; and second, with -less impropriety, in the various editions, both in French and in Italian, -of Ovid's 'Metamorphoses,' issued by the same printer. - -Jean de Tournes published also, in 1556, a small octavo volume of -specimens of his woodcuts, printed on one side only. This volume, which -is well known to collectors, and which may be found in the Cabinet -des Estampes, has on the first page these words alone: 'A Lion, Ian -de Tournes, M.D.LVI.'[441] This page has a border of white -arabesques on a black ground, in which the Lorraine cross is perfectly -visible, at the foot. There are 22 engravings representing scenes from the -theatre of the ancients. - -The ninth bears the Lorraine cross. In the midst of this series, on leaf -21, is a piece which does not belong to the series; it represents a dog -lying on a cushion.[442] After this series come various engravings which -we find in Maurice de Seve's 'Saulsaye' (octavo, Lyon, 1547), in Ovid's -'Metamorphoses,' and the 'Hymnes du Temps' of Guillaume Gueroult, which -were printed subsequently; then 11 plates bearing two figures facing -each other, taken from a work on Chiromancy and Physiognomy, by Indagine -(octavo, Lyon, 1549); 5 engravings from the edition of Petrarch issued -by the first Jean in 1545; and 9 small miscellaneous subjects.[443] The -Cabinet des Estampes also contains one leaf of a folio specimen of the -woodcuts of the de Tournes, in which we find again the plates of the -Petrarch. It lacks, however, the Lac d'Amour, which is on folio 5 of the -collection we are describing, and is altogether in the manner of the seven -epitaphs published by Tory in 1530.[444] - -I will not enumerate here the other books with engravings, of later date, -published by the second Jean de Tournes, because there is nothing to -justify me in attributing them to Tory's workshop; but one may conclude -from what I have said heretofore, that many engravings of the printers of -Lyon, hitherto attributed to Salomon Bernard, called Le Petit Bernard, -came from Tory's establishment. Indeed, we may well wish that Le Petit -Bernard might be relieved of the enormous mass of engravings which have -been attributed to him for lack of information concerning them, but which -render uncertain the attribution of those which most certainly belong to -him.[445] - -Our list includes only engravings on wood; but I have no doubt that Tory -engraved also on metal, and not alone letters, which we should naturally -expect from Garamond's master, but plates as well. Now that the eyes of -collectors are about to be opened, I should not be surprised if some one -should discover one marked with his cross.[446] To forward such discovery -I will insert the estimate of Tory's draughtsmanship formed by M. -Renouvier, who is so competent a judge of such matters. - -'The plates of "Champ fleury," the first of which is dated 1526, have -an Italian after-taste, which manifests itself by the correctness of -the figures, and by their costumes; but the delicacy of expression, the -fineness of line, distinguish them clearly from the Venetian vignettes. -The vignettes of the Hours published between 1524 and 1543, varying in -execution, always delicate and with little shading, exhibit a degree of -taste which the Parmesan School sometimes achieves; but by the delicacy -of their execution they deserve the praise bestowed upon them by Dibdin. -Even if the figures are slightly confused in their attitudes and in their -draperies, or defective at some of the extremities, still, the spirited -drawing of the heads, and the arrangement of the scenes, amid charming -architectural designs, or in very restricted fields, show that our -engravers of vignettes lost nothing of their talent in passing from gothic -to italic letters, and, despite the name of the latter, it is certain that -Italy never produced any like them. Simplicity took the place of Gothic -_goguenarderie_; their expression is in the most refined French sentiment -of the period.[447] - -'I seem to recognize Geofroy Tory's style in the "Tableau de Cèbes," -published by Denis Janot and Gilles Corrozet in 1543, the vignettes -of which are often attributed to Jean Cousin. As for Tory's drawing, I -should recognize it through several layers of wood, by the delicately -drawn heads, the slender figures, the split extremities, to say nothing -of the floriated letters and the borders, in which the Italian grotesques -are mingled with natural vegetations, and in which he has often engraved -his name, his Pot Cassé and his mottoes. In Tory's vignettes there are -doubtless qualities that are more subtle than great, but they are our -qualities.' - -[Illustration] - -[Illustration] - -[Illustration] - - -FOOTNOTES: - -[Footnote 319: See Part 1, Biography, supra, p. 7.] - -[Footnote 320: This plate was reproduced by MM. Alexis Socard and -Alexandre Assier in their work entitled: _Livres liturgiques du diocèse de -Troyes_, 8vo, 1863.] - -[Footnote 321: See what I have to say on this subject in § III, -under the word 'Colines' (infra, p. 268).] - -[Footnote 322: See what I have to say of this book in the _Bulletin du -Bouquiniste_, 1860, p. 101.] - -[Footnote 323: If necessary, four workmen would have sufficed,--two -compositors and two pressmen--Lefèvre d'Etaples being abundantly able to -perform the duties of corrector.] - -[Footnote 324: [An office-book formerly in use, containing the antiphones -called 'graduals,' as well as introits and other antiphones, etc., of -the mass. Also called the 'Cantatory' or 'Cantatorium.'--CENTURY -DICT.]] - -[Footnote 325: Bibliothèque Nationale.] - -[Footnote 326: Bibliothèque de l'Arsenal.] - -[Footnote 327: An additional proof in confirmation of what I have already -said as to the unscrupulous way in which artists copied one another. (See -page 149 note 1.)] - -[Footnote 328: This design is based upon a legend concerning Virgil, which -had some vogue in the Middle Ages] - -[Footnote 329: See pp. 101-129, supra.] - -[Footnote 330: _Revue universelle des Arts_, September, 1857 (vol. v, no. -6, p. 513).] - -[Footnote 331: - - In his game-bag we see that he hath rats, - Which are detestable, and gnawing vermin - Making shocking wounds in his vitals. - From his breast cometh a keen, darting flame, - Which burneth heart and lips and body. -] - -[Footnote 332: In an imperfect copy of this book, on parchment, which I -have seen at the shop of M. Potier, and which is illuminated, the artist -has erased Tory's mark, for what purpose I have no idea.] - -[Footnote 333: It seems that the Parliament proposed at first to prohibit -the publication of this book; but evidently it did not persist in its -opposition, for, besides the four quarto editions, I have seen four others -in octavo, which, however, are without interest for us. See Brunet's -_Manuel du Libraire_, under 'Gringoire.'] - -[Footnote 334: This deplorable practice of removing the text from -engravings, which was once rigourously followed in the Cabinet des -Estampes at the Bibliothèque Nationale, injured the collection materially. -There are many pieces of which neither the origin nor the meaning is -known, because of the removal of the legends which formerly accompanied -them.] - -[Footnote 335: _Number_ 3. - - Hell he defies (to him no arduous task), - And the dog Cerberus, him with the three heads; - He seeks the infernal regions, fighting hand to hand, - To set at liberty Theseus his good friend. - -_Number_ 9. - - The raging bulls (most marvellous to see) - With his two sinewy hands he masters easily, - Compels them by main force to bend the knee, - Albeit they were deemed unconquerable. - -_Number_ 10. - - A boar with frothing lips and long sharp tusks, - Who, in his rage, despoiled men, fields and vineyards, - And by whom the whole world was ravaged, - He, by his courage, all alone, did slay. -] - -[Footnote 336: On March 4, 1858, at the Lassus sale, I saw a complete set -of the Labours of Hercules, without the verses.] - -[Footnote 337: The earliest book in which I have seen it, excluding the -_Thesaurus latinæ linguæ_ of 1536, and the _Dictionarium Latino-Gallicum_ -of 1538, which was a sequel to the first, and in which it was necessarily -used (I saw these two books at M. Didot's), is a quarto pamphlet, -published in 1537, on the occasion of the discussions between François I -and Charles V, entitled: _Exemplaria litterarum_, etc.] - -[Footnote 338: Later, Estienne had other floriated letters engraved at -Tory's establishment, carried on by his widow. But the G was not then -chosen to receive the artist's mark. See infra, under 1551.] - -[Footnote 339: [These letters and friezes appear in the Works of Justin -Martyr printed by Estienne in 1541, from which they are reproduced for -this volume--some of the letters on pp. 190 and 191, and the friezes at -the beginning of the Printers' Preface, and of the three sections of the -Iconography.]] - -[Footnote 340: Papillon, who saw Woeiriot everywhere, says on page 509 of -the additions to his first volume: '_Champ fleury_ is filled with woodcuts -by Woeiriot,--among others several capital letters with nude human figures -for their limbs, and several vignettes about three inches by two and a -half, simply in outline, with the cross of Lorraine in every corner.' As -a matter of fact there are very few Lorraine crosses on the engravings of -_Champ fleury_.] - -[Footnote 341: [Reproduced on the title-page of the present volume.]] - -[Footnote 342: [See supra, p. 45, no. 4.]] - -[Footnote 343: [See supra, p. 100.]] - -[Footnote 344: See supra, p. 1. Neither this engraving nor those last -mentioned are found in the octavo edition of _Champ fleury_.] - -[Footnote 345: See the reproduction of this cut on p. 141, supra.] - -[Footnote 346: In the octavo edition it was found to be impossible to have -the two parts face each other, so that Apollo's chariot is cut in two.] - -[Footnote 347: [Reproduced on pp. 50 and 51 supra.]] - -[Footnote 348: [Reproduced on p. 48, supra.]] - -[Footnote 349: This cut does not appear in the octavo edition. It is -reproduced on p. 21, supra [where it is said to be on 43 recto].] - -[Footnote 350: [One of these is reproduced on this page.]] - -[Footnote 351: [Reproduced on p. 152, supra.]] - -[Footnote 352: [Reproduced on the following page.]] - -[Footnote 353: These letters do not appear in the octavo edition. -[Reproduced on p. 195, infra.]] - -[Footnote 354: This alphabet, which Tory used in several of the books -printed by him, as I have already stated, was replaced by a different one -in the octavo edition of _Champ fleury_.] - -[Footnote 355: Not in the octavo edition. [Reproduced on p. 49, supra.]] - -[Footnote 356: [See supra, pp. 120-122].] - -[Footnote 357: [See supra, pp. 122-124].] - -[Footnote 358: _Lutetiæ, sumptibus Ægidii Gormontii, studio Joannis -Cheradami, labore et industria Petri Vidovœi._] - -[Footnote 359: This engraving was used later as a model for a magnificent -plate placed at the beginning of the _Tableaux des arts libéraux de -Christophe de Savigny_, published in 1587, in folio, by Jean and François -de Gourmont, sons of Gilles. See my _Les Estienne_, p. 63, note.] - -[Footnote 360: For the family of Gourmont, see my _Les Estienne_, pp. 62 -and 63, notes.] - -[Footnote 361: Not all of the engravings are signed; but, as I have not -been able to inspect the volume, which was a part of the Boorluut library -of Noortdonck, sold at Ghent in April, 1858, I am obliged to resort to -the words of the compiler of the catalogue of that sale, my confrère M. -Vander-Meersch, who has kindly furnished me since with some more detailed -information (albeit less complete than I could have wished), after the -volume was sent to England. M. Boorluut had paid 1 franc 50 centimes for -the volume, which was sold to a London bookseller, Mr. Toovey, on April -19, 1858, for 270 francs. I wrote to him asking for details concerning it; -but, in accordance with the not over-courteous English custom, he did not -choose to tell me for whom he had purchased the book, so that I have been -unable to obtain more ample information.] - -[Footnote 362: I am not informed whether these cuts appear in _Hore Marie -Virginis ad usum Sarum_, 1532, or in _The Prymer of Salisbury_, 1534, both -of which were printed at the same establishment.] - -[Footnote 363: [See p. 125, supra].] - -[Footnote 364: See what I have heretofore said of this book, pp. 85-87 -supra.] - -[Footnote 365: [See pp. 126-128, supra].] - -[Footnote 366: See what I have had to say of this book, pp. 128-129, -supra; also, p. 218, infra, under the Hours of 1541, where we find these -same borders, called 'à la moderne,' together with the plates of the Hours -of 1529, described on p. 125, supra; which leads me to think that these -same plates appeared in the octavo edition now under consideration. See -also no. 1 of the year 1536 (p. 208, infra), which is a sort of -link between the editions of 1531 and 1541.] - -[Footnote 367: [See p. 136, supra.]] - -[Footnote 368: _Revue Universelle des Arts_, Sept. 1857 (vol. v, no. 3, p. -517).] - -[Footnote 369: I saw this volume at M. Potier's book-shop in 1865; it is -a 16mo, illustrated with a large number of fascinating engravings which -would assuredly do much honour to Tory. I freely admit that François -Gryphe was a pupil of our artist, but that is all. I do not understand why -M. Renouvier attributes to Tory a small plate of no interest, when the -privileges expressly attribute all the engravings to Gryphe.] - -[Footnote 370: Brunet, _Manuel du Libraire_, 5th edition, vol. v, col. -1660, no. 328. The line engravings are doubtless those of the 16mo Hours -of 1529 (see p. 125 supra). As for the borders, which M. Brunet does not -mention, I imagine that they are the same that I spoke of on p. 128. But -see no. III, under the year 1541 (infra, p. 218).] - -[Footnote 371: _Thesaurus antiquitatum romanarum_, etc., a J. C. Grævio; -folio, Utrecht, 1697. M. Olivier Barbier, sub-manager of the Bibliothèque -Nationale, owns the copy of the original edition which was used for this -reprint. It contains not only the additions that were made, but also -directions, in Dutch, concerning the size of the copper-plates, etc.] - -[Footnote 372: See vol. vi, col. 562.] - -[Footnote 373: Another edition of this book was published by the same -printers and with the same woodcuts, in 1545.] - -[Footnote 374: Sometimes, too, the colourist has substituted for the -printed date that at which he did his work. I have seen several cases of -such substitution.] - -[Footnote 375: Bibliothèque de l'Arsenal.] - -[Footnote 376: See pp. 149 and 205, supra.] - -[Footnote 377: The title-page of this rare volume reads: _Missale ecclesie -Parisiensis denuo ab aliquot ejusdem ecclesie canonicis ac doctoribus -theologis ad id a reverendiss. do. Joan. de Bellayo ... delegatis...._ -Then follows Merlin's mark, signed with the Lorraine cross. In addition -to 8 preliminary leaves this volume contains: _Calendarium temporale_, -signatures _a_ to _v_; _Sanctorale_, A to M; _Commun._, A to E, gothic; -etc. The first page of the text is in a border which has the Eternal -Father at the top, four popes at the sides, and at the foot the mark of -the widow Iolande Bonhomme, with the unicorns. The volume was probably -published about 1540.] - -[Footnote 378: See p. 204, supra. A copy of this frieze--a slavish -imitation--in which even the Lorraine cross is reproduced, appears in a -Flemish Bible, folio, printed at Antwerp in 1556 (Bibliothèque Nationale).] - -[Footnote 379: _Annales des Estienne_, 3d edition, p. 49.] - -[Footnote 380: The cross is not very distinct on the copies of 1540, -but, strangely enough, it is perfectly clear on those of 1546.--These -engravings, like the frieze on the title-page, have been copied by other -printers. Such copies may be found in a Bible published at Lyon in 1550, -by Sébastien Honorat, and in another published in 1554 by Jean de Tournes. -We find them also in a Bible published at Paris in 1586 by Sébastien -Nivelle and Gabriel Buon, etc., etc.] - -[Footnote 381: See concerning this book, the _Revue des Sociétés -Savantes_, vol. v, pp. 624 ff. The author's name was Milles. Some -information concerning him is given in the _Revue_.] - -[Footnote 382: [See p. 229, infra].] - -[Footnote 383: I have seen it bound with a book of Hours published by -Kerver in 1556: M. Portalis's copy.] - -[Footnote 384: It has since been sold at auction.] - -[Footnote 385: [See p. 115 supra.]] - -[Footnote 386: See what I have had to say concerning this book, pp. 88-91, -supra.] - -[Footnote 387: Renouvier, _Des Types_, etc., 16th century, p. 168.] - -[Footnote 388: The _Bibliophile Français_ (April 15, 1865) mentions an -edition of this book, with the date of 1557. I regret that I was not aware -of it before the above paragraph was _printed_, as I should have cited -that edition in preference to that of 1575. However, it is unimportant, as -the two editions are identical except in the order of the plates, which -differs slightly.] - -[Footnote 389: Neither the edition of 1557 nor that of 1575 was known -to M. Choulant, who published a curious monograph concerning works with -anatomical figures. (_Geschichte ... der anatomischen abbildung_; quarto, -Leipzig, 1852.)] - -[Footnote 390: These explanations are printed, in movable type, in -cartouches inserted for that purpose. The type is different in all four of -the editions known to me.] - -[Footnote 391: See p. 41, supra.] - -[Footnote 392: I have seen this engraving in a fragment of a book of -Hours, printed in Roman type at a date which I cannot fix although it was -contemporaneous. This fragment consists of signatures _Aa_ and _Bb_ (a -half-signature), that is, 12 leaves, numbered 185 to 196. Signature _Aa_ -begins (folio 185) with a title-page printed in red, in these words: 'Die -dominica ad vesperas. Psalmus.' The engraving in question is below them. -The last page of _Bb_ ends with the word 'finis,' which proves that the -book had but 25 signatures.] - -[Footnote 393: Or, better, Purgatory. In an octavo collection at the -Bibliothèque Mazarine, there is a little book entitled: 'Le Purgatoire -prouvé par la parole de Dieu' (octavo; Paris, Denis Basset, 1600), in -which this engraving, signed with the Lorraine cross, appears twice; -it represents a nude man standing in the flames, with this legend in a -scroll: 'Constitvas mihi tenrvs' (tempvs?) 'in qvo recorderis mei.'] - -[Footnote 394: Such is my opinion; but I am bound to say that M. Achille -Devéria, formerly Conservator of the Department of Engravings, was of the -opposite opinion. According to him the unsigned engravings were copies of -the others. It seems to me that the dates of printing confirm my theory. -For we find the unsigned engravings in an edition of 1522; so that we -must refer those with the cross to an earlier date; but this seems hardly -probable, since Louis Royer (to whom they are attributed, as we shall see, -because he was the first to use them) succeeded Jean de Brie, who did not -die until about 1522.] - -[Footnote 395: _Manuel du Libraire_, 5th edition, vol. v, col. 1672, no. -366 _bis_.] - -[Footnote 396: See supra, p. 168.] - -[Footnote 397: [Jean Cousin was born in 1501, and died at Sens about -1590.]] - -[Footnote 398: Renouvier, _Des Types_, etc., _Seizième siècle_, p. 162.] - -[Footnote 399: [See supra, p. 211.]] - -[Footnote 400: That is, having immediate reference to the bearer's name.] - -[Footnote 401: [Reproduced on the opposite page.]] - -[Footnote 402: This engraving had previously appeared in 'Amadis de -Gaule': see supra, p. 216.] - -[Footnote 403: Bibliothèque Nationale.] - -[Footnote 404: The copies in Sertenas's name bear a very curious mark, -which is reproduced in M. Silvestre's book, nos. 221 and 714.] - -[Footnote 405: [Supra, p. 149.]] - -[Footnote 406: See under that date for details (supra, p. 218).] - -[Footnote 407: This portrait was engraved on copper, in 1556, by -Woeiriot, printed separately, and pasted on the recto of the second leaf -of Le Duaren's works, printed at Lyon in 1558 by Guillaume Rouille, in -folio; on some copies Woeiriot's engraving of Le Duaren's portrait is -replaced by the one engraved by Georges Ghisy, called the Mantuan. See -_Robert-Dumesnil, Peintre-graveur français_, vol. vii, p. 109, no. 282.] - -[Footnote 408: See, too, the article on Le Duaren in the _Biographie -Universelle_.] - -[Footnote 409: Supra, p. 189, note 3.] - -[Footnote 410: These letters had already appeared in a book published by -Robert Estienne in 1549.] - -[Footnote 411: This frieze in 1561 came into the possession of the second -Robert Estienne, who used it in a book entitled: _Ordonnances de M. le duc -de Bouillon pour le règlement de la justice de ses terres_. Small folio, -1568.] - -[Footnote 412: Page 271.] - -[Footnote 413: Bibliothèque Nationale.] - -[Footnote 414: [Supra, p. 218.]] - -[Footnote 415: [The author forgets that he has listed two engravings on -folio 59, one on each side of the leaf.]] - -[Footnote 416: Bibliothèque Nationale.] - -[Footnote 417: [The inscription would seem to prove, on the contrary, that -the engraving was made] two years earlier, or in 1551.] - -[Footnote 418: Vol. ii, folios 936 recto, 948 verso, and 994 recto. -This work of Thevet's must not be confounded with that geographer's -_Cosmographie du Levant_, the fruit of an earlier journey, two editions of -which had been published at Lyon, in 1554 and 1556, by Jean de Tournes, in -quarto, with engravings in the text.] - -[Footnote 419: See the details of this voyage of Thevet given by M. -Ferdinand Denis in a letter printed at the beginning of a work by M. -Demersay, entitled: _Études économiques sur l'Amérique_; 8vo, 1851.] - -[Footnote 420: We shall see in the next paragraph that a reprint of it was -issued in April, 1558.] - -[Footnote 421: See what has been said concerning this volume, on pages 223 -and following, supra.] - -[Footnote 422: This sign was retained by Thomas Perier, Charles's son. See -Silvestre, _Marques Typographiques_, no. 386.] - -[Footnote 423: _Péché_ [sin].] - -[Footnote 424: I have previously had occasion to comment upon the -extraordinary custom that formerly prevailed in the Cabinet des Estampes -of removing from engravings, etc., every sort of extraneous matter. It is -impossible to measure the extent to which this custom has impaired the -value of the collection. Unfortunately it is followed by most collectors -of prints, who sometimes destroy a very valuable and unique volume for no -other purpose than to preserve an engraving unaccompanied by text.] - -[Footnote 425: We find some features of it in the frieze engraved by Tory -for the Bible published by Robert Estienne in 1532. See p. 202, supra.] - -[Footnote 426: This collection was sold in January, 1846, and the plate in -question was purchased, for about 2000 francs, for M. Cambacérès, Grand -Master of Ceremonies in the Imperial household, who now owns it [1857]. -This is what M. Baron says of it in his sale catalogue, no. 445: 'This -important piece, in the most perfect preservation, merits the attention of -collectors by virtue of its value and its rarity.' There is a copy also in -the Cabinet of Geneva.] - -[Footnote 427: According to the catalogue quoted in the last note, the -reverse of the plate also is embellished with arabesques.] - -[Footnote 428: Brother of the first-named Jean.] - -[Footnote 429: [See p. 169, supra.]] - -[Footnote 430: And not August 20, as it has sometimes been printed.] - -[Footnote 431: The 'Avis au lecteur' is by him.] - -[Footnote 432: [According to the list there are 11.]] - -[Footnote 433: [According to the list only 14.]] - -[Footnote 434: See what I have said on this subject on p. 173, supra.] - -[Footnote 435: See infra, § III, 'Le Coq.'] - -[Footnote 436: These engravings are, as is well known to-day, by -Luczelburger, of Basle, Holbein's regular engraver.] - -[Footnote 437: These pages were intended to be used as an album. I have -seen a very valuable copy at M. Potier's bookshop; he bought it of M. -Gaullieur, who has described it in his _Études sur l'imprimerie de -Genève_, p. 207. This copy, which was arranged by Durand the bookseller, -who emigrated to Geneva for religious reasons, has no title-page and -contains only the empty pages, that is to say those with borders alone, -within which Durand's friends, the most illustrious leaders of the -Reformation--de Bèze, Goulard, etc.--have inscribed each some sentence. -In some verses which come first, and which are admirably engrossed on -parchment, Durand tells us that he wrote them in 1583, without spectacles, -notwithstanding his great age and 'the gout in his fingers.'] - -[Footnote 438: Bibliothèque Nationale.] - -[Footnote 439: It may be that this fragment belongs to a collection -cited by M. Brunet (_Manuel du Libraire_, vol. iv, col. 850), under the -title, _Pourtraictz divers_, small octavo, Lyon, Jean de Tournes, 1557, -as containing 63 plates, including the title-page. M. Brunet then gives -a description of this collection, which cannot possibly fit it. 'These -plates represent factories, animals, scenes of divers sorts, mythological -subjects, and architectural designs.' This description evidently belongs -to the volume of 1556 mentioned on the next page.] - -[Footnote 440: These portraits and many other woodcuts of the de Tournes, -which are still preserved in the Fick Press, at Geneva, have lately -been reproduced in a sumptuous publication entitled: _Anciens bois de -l'imprimerie Fick_, folio, Geneva, 1864. It contains many engravings of -Petit Bernard.] - -[Footnote 441: I have already cited (page 259), on the authority of M. -Didot, an edition of this book under the date of 1551, but I doubt its -existence.] - -[Footnote 442: The first 24 pages of this collection are bound with an -edition of Claude Paradin's _Quadrins historiques_, published by Jean de -Tournes, in 1558.] - -[Footnote 443: This book was reprinted in 1557, with the title -_Pourtraictz Divers_; see p. 260, note 1.] - -[Footnote 444: [See pp. 201-202, supra.]] - -[Footnote 445: For instance, the anonymous author of a book entitled -_Notice sur les Graveurs_, printed at Besançon in 1807 (2 vols., octavo), -attributes to Salomon Bernard, whose period of activity he places between -1550 and 1580 (vol. i, p. 63 ), the engravings of Petrarch's _Triumphs_, -which appear in an edition of 1545, and a _Resurrection of the Dead_, -dated 1547 (vol. i, p. 64), which dates are inconsistent with those -mentioned above; he also attributes to him (vol. i, p. 65) the theatrical -scenes which we have with good reason ascribed to Tory, whose cross -appears on one of them; and, lastly, he attributes to him the story of -Psyche, in 32 duodecimo cuts, and the medallions of Jacques Strada's -_Epitome des Antiquités_ (Lyon, 1553), his authorship of which is very -doubtful. But there is no question at all concerning the following pieces, -which certainly belong to Salomon Bernard:-- - -I. The figures of the Bible, to the number of 251, reprinted -very frequently after 1553. In an edition of 1680, printed by Samuel de -Tournes, at Geneva, whither the second Jean withdrew about 1580, because -of his religion, is the following note: 'The figures that we offer you -here are from the hand of an excellent craftsman, known in his day under -the name of Salomon Bernard, called Le Petit Bernard, and have always been -held in esteem by those who are learned in works of this sort.' - -II. Claude Paradin's _Devises héroiques_, containing 184 -engravings, besides a border on the title-page. Large octavo, Jean de -Tournes, 1557 ( Bibliothèque Nationale). The license at the end of the -volume discloses the titles of several other volumes which Jean de Tournes -was then intending to publish, particularly the two following, which -appeared the same year. - -III. The Metamorphoses of Ovid; octavo, 1557; 178 engravings. - -IV. _L'Astronomique Discours_, by Jacques Bassentin; folio, 1557; -with a large number of astronomical plates. - -V. _Hymnes du temps_, by Guillaume Gueroult; quarto, 1560; 88 -pages, with borders and drawings. In the _avis au lecteur_ we read: 'I -hope that you will find some pleasure herein, for that the whole is -the work of a goodly hand; for the invention [of the engravings] is of -M. Bernard Salomon, an excellent painter as there has ever been in our -hemisphere.' - -VI. Virgil's Æneid, French translation; quarto, 1560; with 12 -vignettes. - -VII. A book of _Thermes_, in eighteen orders; printed at Lyon in -1572, by Jean Marcorelle.--At the tenth _therme_ is a genie carving on a -shield the letter S, the initial of Bernard's baptismal name. - -A large number of vignettes, and of letters in grisaille, used by the -printers of Lyon, are also attributed to this artist.] - -[Footnote 446: See what I have had to say on this subject apropos of -Baïf's _Annotations_, supra, p. 208.] - -[Footnote 447: _Des Types et des Manières des maîtres graveurs_, etc., -16th century, pp. 167, 168.] - - - - -SECTION III. MARKS OF BOOKSELLERS AND PRINTERS SIGNED WITH THE LORRAINE -CROSS. - - -[Illustration: PRINCIPIVM EX FIDE, FINIS IN CHARITATE.] - -The inventor of the Pot Cassé was chosen by his confrères, in preference -to all other engravers, to engrave their private marks. They had realized -the force of his 'kindly exhortation to practice and employ themselves in -goodly inventions,'[448] and had been impressed by the perfection with -which he executed that species of engraving, which he had completely -transformed. For, in lieu of the coarse vignettes with a black background, -on which the design stood out in white, as if cut with a die, Tory had -gradually introduced into these woodcuts all the delicacy of the Italian -engravings. The earliest ones of his of which we have any knowledge are -in the criblé style, which the Middle Ages had handed down to him; but he -soon rejected that style and not only adopted a new manner of engraving, -but altered the arrangement of the designs that were entrusted to him. -This fact is especially manifest if we compare the original mark of the de -Marnefs (Silvestre, 'Marques Typographiques' no. 151) with the one that -bears the motto, 'Principivm ex fide, finis in charitate' (Silvestre, no. -1043). Instead of the roughly drawn Pelican nourishing from its vitals -its still more roughly drawn young, in a nest perched on a tree of which -the leaves are larger than the trunk, we have, in the second engraving -[given above], an entirely new composition, of which both design and -execution are irreproachable. In the face of such results, we should not -be surprised by the predilection of the printer-booksellers for Tory; they -deemed it a duty to employ a confrère who poetized their profession: to -them it was a question of esprit de corps and of patriotism alike. - -That is why we have so many typographical marks signed with the Lorraine -cross. We propose to enumerate all of those which we have actually had -before us. As it was impossible to arrange them chronologically, we have -adopted the alphabetical order. - - * * * * * - -ALARD (GUILLAUME), bookseller at Paris in 1550. See -FEZANDAT. - -[Illustration: PRELVM ASCENSIANVM] - - * * * * * - -BADE (CONRAD), printer and bookseller at Paris from 1546 to -1560, when he withdrew to Geneva for religious reasons.--One mark, which -appears on the first edition of Théodore de Bèze's 'Poemata' (1548); the -volume contains also a portrait of the author signed with the double -cross. Conrad's mark, like that of his father, Josse Bade, represents -a printing-press. It contains also the words 'Prelum ascensianum'; -but, instead of being inscribed in a cartouche on the press, they are -in two cartouches, one at the top, the other at the bottom, of the -border (Silvestre, no. 867). When Conrad betook himself to Geneva, Eloi -Gibier,[449] a printer of Orléans, bought the mark. It afterwards passed -to Fabian Hotot, a printer in the same city, who was using it in 1609; but -before using it he had the word 'Ascensianum' removed. - - * * * * * - -BESSAULT (THIBAUT, and JEAN, his son), -booksellers at Paris. See REGNAULT (BARBE). - - * * * * * - -BONFONS (JEAN), bookseller at Paris from 1548 to 1572.--One mark -(Silvestre, no. 125), representing a dove on a tree, within a circle -formed by a serpent, and on the outside of the circle this sentence from -the Bible: 'Estote prudentes sicut serpentes, et simplices sicut columbæ.' -I have seen it in a quarto edition of 'Le Petit Jehan de Saintré,' -published by Bonfons in 1553, in gothic type. - - * * * * * - -BUON (GABRIEL). See PORTE (MAURICE DE LA). - - * * * * * - -CALVARIN (SIMON), printer-bookseller at Paris, from 1553 to 1593. -Two marks, representing a woman, seated, surrounded by the paraphernalia -of the arts and sciences, and holding in one hand a palm-tree decorated -with three wreaths. I have seen one of these marks, the larger, in an -edition of Rodolphe Agricola's book entitled: 'De Inventione dialectica -libri tres' (quarto, 1558), on the title-page of which is this imprint: -'Parisiis, ex officina Simonis Calvarini, in vico Belovaco, ad Virtutis -insigne.'[450] The smaller one appears at the end of a book entitled: -'Conservation de santé et prolongation de vie, etc., composé premierement -par noble homme H. [Hieronime] Monteux, conseiller et medecin ordinaire -du roi François II, et nouvellement traduit en nostre langue fraçoise -par maistre Claude de Valgelas, docteur medecin, etc. Paris, chez Simon -Calvarin, rue Saint-Jacques, à la Rose blanche couronnée, 1572.' This -is a 16mo, of which there is a copy in the Bibliothèque Nationale. This -Simon was, I have no doubt, a son of Prigent Calvarin, printer at Paris -from 1524 to 1582, whose mark is very different (Silvestre, no. 137).[451] -It represents two persons holding a shield which hangs from a vine, with -these sentences surrounding them: 'Deum time,' 'Pauperes sustine,' 'Finem -respice,' 'Prigent Calvarin.' Simon, having set up for himself during his -father's lifetime, had to adopt a different mark. - - * * * * * - -CHAUDIÈRE (REGNAULT), bookseller at Paris from 1516 to 1546, in -the latter year succeeded to the printing business of Simon de Colines, -whose marks 'au Temps' he used thereafter. He had a new one engraved in -Tory's establishment, with the same figure, but with a slightly different -motto: it reads: 'Virtus sola aciem retundit istam.' This mark appears in -the edition of the comedies of Terence printed in 1546. See COLINES -(SIMON DE). - -[Illustration] - - * * * * * - -COLINES (SIMON DE), printer-bookseller at Paris from 1520 to -1546. Four marks at least. See the two already described in the preceding -section, under 1520-1521, as forming a part of title-pages, and numbers -80 and 329 of M. Silvestre's 'Marques typographiques.' The last two -passed in 1546 into the hands of Regnault Chaudière, a bookseller since -1516. Chaudière had married Colines's daughter by the widow of Henri -Estienne, and by virtue of the connection inherited his father-in-law's -printing-office and bookshop. He himself printed, in 1546-1547, under the -Latin name Calderius, an edition of the comedies of Terence[452]; at the -end is M. Silvestre's no. 329, which (like no. 80) represents Time armed -with a scythe, and this devise in a scroll: 'Hanc aciem sola retundit -virtus.' Chaudière, who had previously used another mark (Silvestre, no. -96), employed thenceforth this one with the figure of Time, and handed it -down to his successors.[453] In 1548 he published an octavo catalogue of -his own books and those of Simon de Colines--'tum ab Simone Colinæi, tum -ab Calderio excusi.'[454] The following is, in my opinion, the order in -which Simon de Colines's various marks were engraved by Tory: In the first -place, in 1520, the one with the rabbits, or _conils_, which it has been -said that Colines adopted as a play upon his own name; but this conjecture -seems to me the more improbable because these same rabbits had been used -on the sign of Henri Estienne's shop as early as 1502.[455] However that -may be, Colines seems to have retained this mark during all the time -that he occupied Henri Estienne's house. When he turned over that abode, -in 1525, to Robert Estienne, who established himself in business on the -paternal premises, Colines went a little farther down rue de Beauvais, and -took for his sign the 'Soleil d'or,' which appears on the second mark; -finally, in 1528, he adopted the one with the figure of Time, which was -afterwards adopted by his son-in-law, Regnault Chaudière. - -[Illustration: S. DE COLLINES] - -[Illustration: GILLES CORROZET] - - * * * * * - -CORROZET (GILLES), bookseller at Paris from 1538 to 1568.--One -mark, representing, by way of allusion to the name of its owner, a rose -upon a heart ('cor'), and with 'Gilles Corrozet' at the foot (Silvestre, -no. 145). This mark, which I have seen on a book of 1539,[456] was -undoubtedly the first that Corrozet used. It descended to his heirs, and -his grandson Jean was still using it a century later, on the 'Trésor des -histoires de France,' the work of another Gilles Corrozet, which Jean -reprinted several times between 1622 and 1644. Jean simply removed from -the mark his grandfather's Christian name, regardless of the lack of -symmetry in the engraving caused by this subtraction. So that here was an -engraving that was in use more than a hundred years; it is an interesting -example of the durability of these woodcuts. - - * * * * * - -COTEREAU or COTTEREAU (RICHARD), bookseller at -Chartres;--(PHILIPPE), bookseller at Blois. - -[Illustration] - - * * * * * - -DAVID (MATHIEU), printer-bookseller at Paris from 1554 to 1566. -Three marks (Silvestre, nos. 227, 394, and 759). They represent a warrior -bearing on his shoulders a woman plunging a sword in his throat. One of -the marks has the word 'odiosa' in the border on one side, and 'veritas' -on the other. Another is printed in an octavo volume of 1539 (Bibliothèque -Nationale), Ravisius Textor's 'Epistolæ a mendis repurgata.' - -[Illustration: NOLI ALTVM SAPERE] - - * * * * * - -DUPUY (J.), printer at Paris in 1549. See FEZANDAT. - - * * * * * - -ESTIENNE (ROBERT), printer-bookseller at Paris, from 1526 to -1550. Six marks at least, representing the olive-tree in different -forms. Three of them are reproduced in M. Silvestre's work: nos. 162, -318,[457] and 319[458]; add to these the large folio mark that appears -on the Bible of 1528[459] and that of 1540, previously described; a -small mark which appears in the 16mo Virgil of 1549; and, lastly, a mark -similar to Silvestre's no. 163 (except that the figure is bald), which -appears in 'Caroli Stephani de Nutrimentis,' etc.[460] Probably most -of these marks were engraved for Robert Estienne at the outset of his -typographical career, that is to say, about 1526; he carried them with him -to Geneva in 1550; and his son, the second Henri, used them in his turn, -after his father's death, which occurred in 1559. It was undoubtedly the -widow of Tory who engraved the mark (in different sizes) which appears, -after 1544, on the Greek books printed with the royal types, and which -represents a basilisk entwined about a lance. - -[Illustration] - - * * * * * - -ESTIENNE (CHARLES), printer and bookseller at Paris from 1551 to -1561. Three marks at least. Upon entering the typographical profession -Charles adopted his brother's olive-tree; that is to say, he simply had -copies made of Robert's marks, as he succeeded to his business. I have -seen the first of these marks, similar to Silvestre's no. 163, in an -octavo edition of P. Bunel's 'Epîtres familières,' printed by Charles in -1551; the second appears in a folio edition of Cicero, in four volumes, -published by the same printer from 1551 to 1555[461]; and the third, like -Silvestre's no. 162, in the 'Petit Dictionnaire français-latin' (quarto), -published by Charles in 1559. It is probable that the second Robert used -these same marks after his uncle's retirement in 1561. - - * * * * * - -FEZANDAT (MICHEL), printer-bookseller at Paris from 1541 to 1553. -One mark (Silvestre, no. 423). This mark which, by way of allusion to the -name of its owner, represents a pheasant (_faisan_) on a dolphin, with -the letters M and F at the left and right, respectively, of the pheasant, -was used without the initials in 1549, as may be seen on the title of 'Le -Temple du chasteté,' printed in that year by Fezandat, in octavo.[462] - -In 1550, one Guillaume Alard (Fezandat's son-in-law, it may be), who -lived 'e regione collegii de la Mercy,' also used the mark in that -form.[463] The appearance of this mark on Alard's book may be due solely -to the fact that the book in question was printed by Fezandat. I have been -unable to ascertain the facts because the fragment of the title-page on -which I saw the mark and Alard's name does not contain the title of the -book. The only possible clue is the three Greek verses on the other side -of the page, which lead one to think that it may have been a work of Jean -Blaccus Danois, of whom we have a translation of Isocrates into Latin -verses, printed by Regnault Chaudière, also in 1550 (quarto).[464] This G. -Alard is not named by Lottin in his 'Catalogue des imprimeurs-libraires -de Paris.' I find the same mark in a small volume entitled 'Le Bouquet -des fleurs de Sénèque'; octavo; Caen, 'de l'imprimerie de Jacques le -Bas, imprimeur du roy,' 1590.[465] I find Fezandat's mark also in a book -published by the bookseller J. Dupuy in 1549: 'Novum Testamentum,' in -Greek and Latin; 16mo. Why? I have no idea. - -[Illustration] - - * * * * * - -GIBIER (ELOI), printer at Orléans. One mark, representing a -printing-press. This printer, whose oldest known imprint is dated 1559, -had evidently practised his trade several years earlier. This is what -we find concerning him in the 'Bibliothèque historique des auteurs -orléanais,' by Dom Gerou, which is preserved in manuscript in the Public -Library of Orléans: 'We may say that Eloy Gibier was in a certain sense -the first printer of Orléans; Mathieu Vivian and Pierre Asselin had -preceded him, but we know of only a single work printed by each of them, -whereas there are a great number by Eloy Gibier. We do not know when he -began, but the earliest book printed by him of which we have any knowledge -is of 1559. At first he put no symbol on the title-pages of his works; -the place where the symbol should be was entirely unoccupied; later, he -sometimes inserted one, but not always. This symbol was a printing-press, -about which were the words: "In sudore vultus tui vesceris pane tuo."' -I have seen this mark on the 'Coutumes générales d'Orléans,' printed by -Gibier in 1570, octavo.[466] But he afterward adopted the mark of Conrad -Bade. See that name. - -[Illustration] - - * * * * * - -GOURMONT (GILLES DE), printer-bookseller at Paris, from 1506 to -1530.--Three marks. The first, in the form of a border, is found on the -title-page of a volume containing nine comedies of Aristophanes, printed -by Pierre Vidoue, at Gilles de Gourmont's expense, in 1528 (quarto)[467]: -a description of it will be found above.[468] The second represents Fame: -it is a nude woman, winged, all over whose body are eyes, tongues, and -ears. At the foot, in a scroll, are the words: 'Ecqvis incvmbere famae' -('poterit' understood, no doubt). The Lorraine cross appears at the left -on the lower edge of the engraving. I have seen this mark on a small book -entitled: 'Alphabetum hebraicum,' consisting of 8 leaves, printed by -Pierre Vidoue (Silvestre, no. 98). Although the name of Gourmont nowhere -appears in this case, I have no doubt that the mark belongs to Gilles -de Gourmont, for it is accompanied by his initials, E and G (Egidius -Gourmontius), at the left and right respectively; and we shall see that -this same mark was afterward used by Jérôme de Gourmont, Gilles's son or -nephew. It maybe that it was because of the loan of Gourmont's Hebrew -type that his mark appears on this precious pamphlet, a description of -which follows. First leaf, beginning at the end (according to the Hebrew -and Arabic custom), Gourmont's mark in a border of detached compartments. -On the verso Pierre Vidoue's epistle to the reader, dated from his -workshop August 1, 1531. Then comes the text, followed by this subscript: -'Petrus Vidovæus Vernoliensis excudebat Lutetiæ' And, lastly, Vidoue's -mark--Fortune, with the words: 'Audentes juvo' (Silvestre, no. 65). The -third of Gilles de Gourmont's marks signed with the Lorraine cross is -given by M. Silvestre (no. 826). [This mark forms the lower part of the -border first described, and has evidently been cut from the border for use -separately.] It represents the Gourmont arms[469]: a shield coupé, three -roses in chief and a crescent in base; for crest a St. Michael, holding -a bare sword, supports two winged stags with ducal coronets about their -necks. This subject, much more fully developed, appears on the first page -of the 'Tableaux des Arts Libéraux de Savigny,' in-plano,[470] published -in 1587, by Jean and François, sons of Gilles de Gourmont, who succeeded -to his establishment on rue Saint-Jean-de-Latran. - - * * * * * - -GOURMONT (JÉRÔME DE), printer-bookseller at Paris from 1524 to -1533.--One mark representing Fame, copied from the second mark of Gilles -de Gourmont just described, but reversed. Beneath the inscription 'Ecqvis -incvmbere famae,' in a small cartouche, are the initials H. D. G. (Hierome -de Gourmont), with the Lorraine cross just above. I have seen this mark in -an octavo volume published at Paris in 1534 by Jérôme de Gourmont, under -this title: 'Pauli Paradisi ... de modo legendi hebraice dialogus,'[471] -and in another octavo, also published at Paris ('Dionysiæ') in 1535, under -a Greek title of which the Latin translation is: 'Apollonius Alexandrinus, -de Constructione.'[472] Jérôme de Gourmont published at least one other -book at 'Dionysiæ' in 1535; but I do not know the title, as I have not -seen the title-page. All that I can say is that Ausonius is quoted in the -Latin preface printed on the verso of the first leaf, of which I have seen -only a fragment, belonging to M. Silvestre. - -I believe that Jérôme de Gourmont did some printing, although he is -named only as a bookseller in the bibliographies. The books that I have -mentioned show that he was a scholar who followed in the tracks of Gilles -de Gourmont. Indeed, the one first described, which is in Latin, contains -some Hebrew words; the second is entirely in Greek. - -I have seen a little book, printed at Paris in 1539, with Jérôme de -Gourmont's mark: it is 'Pugna porcorum per J. Porcium,' octavo. The -subscript below the mark reads: 'Parisiis, apud Anthonium Bonnemere.' Was -Anthoine Bonnemere publisher for Jérôme de Gourmont, at the same sign? -That is something that I do not know. - - * * * * * - -GOURMONT (BENOÎT DE), bookseller at Paris.--One mark, -representing a man standing above two precipices; above him is a scroll -with the words: 'Vndiqve praecipitivm'; and at his feet the initials B. D. -G. (Silvestre, no. 838). - - * * * * * - -GRANDIN (LOUIS), printer-bookseller at Paris, from 1542 to -1553.--Two marks (Silvestre, nos. 277 and 416). They represent two men, -one of whom is receiving a sphere from the hand of God; the other holds -one which is crumbling in his fingers. On the second of the two marks are -the words: 'Confidere in Domino bonum esse quam confidere in homine. Ps. -117.' - -[Illustration] - - * * * * * - -GUEULLARD (JEAN), printer-bookseller at Paris, from 1552 to -1553.--Two marks representing the Phœnix rising from the flames,[473] in -an oval border. The smaller one has, within the border, the words, 'Amor -vitæ acer nimis,' with Gueullard's initials, I. G., below (Silvestre, no. -790). This mark is .055 of a millimetre high by .044 wide. I have seen it -in a book entitled: 'Petri Ruffi Druydæ dialectica, nuper ab eodem autore -emendatur,' quarto, 1553 (3d edition).[474] The larger one has this motto -within the border: 'Mori vivere mihi est'; it is .087 of a millimetre high -by .063 wide (Silvestre, no. 882). I have seen it in a book entitled, -'Hexastichorum moralium libri duo, per Nic. Querculum Tortronensem Rhemum; -quarto, Paris, 1552.'[475] See HARSY (OLIVIER DE). - - * * * * * - -GUILLARD (CHARLOTTE), printer-bookseller from 1518 to 1556.--One -mark representing her sign, a golden sun in a starry sky. Below, two lions -erect, holding a shield on which are the initials C. G. This lady carried -on the printing trade for more than fifty years. She married first, in -1502, Berthold Rembold, a partner of the first printer in Paris, Ulric -Gering. Berthold, who had established his domicile on rue Saint-Jacques, -'au Soleil d'Or,' having left Charlotte a widow in 1518, she carried on -the business alone until 1520, when she married Claude Chevallon, who took -up his abode on the same premises. Chevallon having departed this life, in -his turn, in 1542, Charlotte continued in the business until 1556. It was -during her second widowhood that the mark in question, which we reproduce -herewith, was engraved. I have seen it on a quarto volume entitled, -'Institutionum civilium libri quatuor, 1550. Parisiis, apud Carolam -Guillard, viduam Claudi Chevallonii, sub Soli aureo, et Guilelmum Desbois, -sub Cruce Alba, in via divi Jacobi.' Claude Chevallon had upon his mark, -by way of allusion to his name, two horses standing (cheval-long). But M. -Silvestre publishes as his (no. 395) a mark which has the lions. - -[Illustration] - - * * * * * - -HARSY (OLIVIER DE), bookseller at Paris, from 1556 to 1584, -used Gueullard's mark on several works written by Nicolas Ellain; -among others, 'Elegia libri duo ad Joach. Bellaium, quo adhuc vivo eos -scripsit.--Parisiis, e typogr. Olivarii de Harsy, ad Cornu cervi, in -clauso Brunello'; quarto, 1560.[476] I have no idea why de Harsy adopted -Gueullard's mark. - - * * * * * - -HOTOT (FABIAN), printer at Orléans. See BADE (CONRAD). - - * * * * * - -HOUIC (ANTOINE), bookseller at Paris. See REGNAULT -(BARBE). - - * * * * * - -KERVER (THIELMAN II), printer and bookseller at Paris, from -1530 to 1550.--One mark, representing the arms of the Kervers; a 'gril' -(_cratis_) held by two unicorns, with the letters T. K. Below is the -printer's name in full: 'Thieman [_sic_] Kerver.' This mark appears on a -book of Hours of 1550. - - * * * * * - -LE BAS. See FEZANDAT. - - * * * * * - -LE COQ (JEAN) printer at Troyes, from 1506 to 1525.--One mark, -representing Le Coq's arms (a cock), hanging from a tree; below is the -name, 'Jean Le Coq' (Silvestre, no. 875). This mark appears in a 'Graduel' -of 1521, previously described.[477] We find it again in a book of Hours -according to the use of Toul, published in 1541, which contains many -other engravings signed with the double cross.[478] Also in a small book -published in our own day by Aubry the bookseller[479]; that is to say, -this particular woodcut is still in existence and belongs to M. Aubry. - - * * * * * - -LE NOIR (PHILIPPE), printer-bookseller at Paris, from 1520 to -1539. Three marks,[480] representing two negroes (noirs) holding a shield -with Philippe le Noir's initials. - - * * * * * - -MALLARD (OLIVIER), printer-bookseller at Paris, from 1536 to 1542. - - * * * * * - -MALLARD (JEAN), bookseller at Rouen. - - * * * * * - -MARNEF, DE: Enguilbert, Jean and Geoffroy, brothers, were -printers and booksellers at Paris and Poitiers, together or separately, -from 1510 to 1550. Their mark was a pelican, piercing his side in order -to nourish his young. Tory engraved for them at least two marks: one -which appears on a book printed by Enguilbert and Jean, in Poitiers, in -1536,[481] entitled 'Les angoisses et remedes d'amour du Traverseur en son -adolescence' (by Jean Bouchet), with this device: 'Eximii amoris typus'; -it is reproduced by Dibdin,[482] and by Silvestre (no. 152).[483] The -other may be seen in the Print Section of the Bibliothèque Nationale, -among Tory's work; the pelican and its young are in an oval border, around -which is this device: 'Principium ex fide, finis in charitate' (Silvestre, -no. 1044). [See also the reproduction at the beginning of this section, -page 265.] - - * * * * * - -MENIER (MAURICE), printer at Paris, from 1545 to 1566.--One mark -(Silvestre, no. 789), representing a man closing a woman's mouth, with -this device, 'Coercenda volvptas.' - - * * * * * - -MERLIN (GUILLAUME), bookseller at Paris, from 1538 to 1570.--One -mark, representing a swan whose neck is twined about a cross, surrounded -by the device, 'In hoc signo vinces.' The Lorraine cross is barely visible -in the lowest ornament of the engraving. I have seen this mark on the -first page of a 'Missale ecclesie Parisiensis,' in folio, without date, -printed by Iolande Bonhomme, widow of the first Thielman Kerver, as is -shown by the presence of that printer's mark on the first page of the -text; it may be that there are copies in her name. This book is without -date, but should be placed between the years 1532 and 1552, which embrace -the incumbency of Jean du Bellay as Archbishop of Paris. Merlin's mark is -.095 of a millimetre high by .067 wide.[484] - - * * * * * - -MOREL (GUILLAUME), printer-bookseller at Paris, from 1548 to -1564.--One mark, reproduced by M. Silvestre (no. 164), who informs me -that his engraver accidentally omitted the Lorraine cross. 'This mark,' -he adds, 'was used later by Estienne Prevosteau, Morel's son-in-law, who -subsequently reëngraved it, or had it reëngraved, with his initials, E. P. -in place of Tory's mark.'[485] It represents a capital theta (Θ), about -which are twined two winged serpents, and in the centre an angel, seated -on the cross-piece of the Θ, with a lighted torch in her hand. - - * * * * * - -NIVELLE (SEBASTIEN), printer and bookseller, at Paris, from 1550 -to 1601. One mark, representing two storks in the air, one being carried -and fed by the other; with this verse from Exodus (XX, 12), to -explain the drawing: 'Honora patrem tuum et matrem tuam, et sis longævus -super terram.' I have seen this mark on an octavo edition of St. John -Chrysostom ('Homeliæ duæ'), printed by Sebastien Nivelle in 1554. It is -reproduced by M. Silvestre (no. 201), but the Lorraine cross is barely -visible on this impression. I have seen also another mark of Nivelle's -representing the same subject, with analogous designs suggesting filial -love in the four corners; but it is not signed with the cross although it -is absolutely in Tory's manner. - -[Illustration] - - * * * * * - -NYVERD (GUILLAUME), printer and bookseller at Paris, from -1516.--One mark, or, to speak more precisely, a small border in the style -of one of the marks of Simon de Colines. At the foot, in a scroll, are the -words, 'Nasci, laborare, mori.' This border appears in a small pamphlet, -undated, in pure gothic type, entitled, 'La Reformation des tavernes et -destruction de gourmandise, en forme de dialogue'; a small octavo of 4 -leaves, of which M. Cigogne possesses the only known copy (1856). At the -end are the words, 'Paris, by Guillaume Nyverd, printer.' So that Lottin -is mistaken in saying that he was a bookseller only. He gives only one -date for his career in the trade--1516--but our engraving is certainly -later than 1520. M. Silvestre extends Nyverd's business career to 1559, on -what grounds I do not know; but he also calls him a bookseller only. The -text of the 'Reformation des tavernes,' etc., was reprinted on page 223 -of the second volume of the 'Recueil des poésies françoises des XV et XVI -siècles,' collected and annotated by M. Anatole de Montaiglon.[486] - - * * * * * - -NYVERD (GUILLAUME DE), probably the son of the preceding, -printer-bookseller at Paris, from 1550 to 1580.--One mark, representing -the arms of France borne by two winged genii. Above them a head with -wings; from its mouth come two garlands in the style of those on the last -plate of 'Champ fleury.' At the left, at the foot of the cut, the letters -G. N., and at the right the Lorraine cross. This engraving, which is 8 -centimetres wide by 11 high, was undoubtedly executed when Guillaume -de Nyverd was appointed king's printer, which title he held in 1561, -according to Lottin. In all probability he held it earlier than that. -However that may be, I have seen this mark, already much worn, in an -impression of 1572: 'Prognostication touchant le mariage du tres honoré et -tres aimé Henry, par la grace de Dieu roy de Navarre, et de tres illustre -princesse Marguerite de France, calculée par maistre Bernard Abbatia, -docteur medecin et astrologue du tres chrestien roy de France' [Charles -IX]. There are in the Bibliothèque Nationale at least three editions of -the little pamphlet, made by the same printer at about the same time, -that is to say immediately after the marriage of the King of Navarre with -Marguerite de Valois. All three have this engraving on the last page, but -in every case it is accompanied by an addition of much later date, namely, -the device of Charles IX (two pillars joined by a scroll containing the -words, 'Pietate et Jvsticia'), above the arms of France. The volume -contains also numerous other engravings and letters bearing Guillaume de -Nyverd's initials. It is worth while to call attention to the fact that de -Nyverd does not assume the title of king's printer in this book, although, -as we have seen above, his appointment was of much earlier date. - - * * * * * - -PALLIER (JEAN), called 'Marchand,' printer and bookseller at -Metz, from 1539 to 1548.--One mark (Silvestre, no. 156), representing a -fleur-de-lis held in the air by two naked children, with the letters I. P. -in the field.[487] Jean Pallier, or, better, Palyer (in Latin, Palierus), -did business also in Paris, for I have seen several books of his dated -from that city in 1541 or 1542, with the mark described above. I will -mention, among others: (1) 'Epitomæ singularum distinctionum libri primi -sententiarum, cum versibus memorialibus Arnoldi Vesaliensis,' etc., 16mo, -Paris, 1541; and (2) 'Topica Marci Tullii Ciceronis,' etc., 'ex officina -Joannis Palierii, e regione Navarræ, sub signo Leonis Coronati,' 4to, -1542. - - * * * * * - -PARIS (NICOLE), printer at Troyes, from 1542 to 1547.--One mark -(Silvestre, no. 175), representing a child clinging to the branches of a -palm-tree (?), beneath the device, 'Et Colligam.' - -[Illustration] - - * * * * * - -PERIER (CHARLES), bookseller at Paris, from 1550 to 1557.--One -mark, found on the title of the folio entitled, 'Les quatre livres -d'Albert Durer ... de la proportion des parties et pourtraicts des corps -humains, traduits par Louys Meigret,' etc., 'chez Charles Perier ... à -l'enseigne du Bellerophon, 1557.'[488] This bookseller issued two editions -of Dürer's book in the same year, one in Latin and the other in French, -both illustrated with the same cuts. I am unable to say which appeared -first. He had already published, in 1555, for Louis Meigret, a translation -of 'Les XII livres de Robert Valturin, touchans la discipline militaire,' -in folio, with engravings, in which his mark appears, signed with the -double cross. The sign of Bellerophon was retained by Charles Perier's son -Thomas. - - * * * * * - -PETIT (OUDIN), bookseller at Paris from 1541.--One mark -(Silvestre, no. 103), representing a shield bearing a fleur-de-lis, and -held by two lions; in the field the letters O. P. - - * * * * * - -PORTE (MAURICE DE LA), bookseller at Paris from 1524 to -1548.--One mark used by his widow in the volume entitled, 'M. A. Mureti -Juvenilia'; octavo, 1553.[489] Maurice de la Porte's widow sold his plant -to Gabriel Buon, who used the marks of the deceased from 1558 to 1587. -They represent a man carrying a valise at the door (_à la porte_) of a -house; one of them has the device, 'Omnia mea mecum _porto_.' The man -is Bias,[490] according to La Caille. About the same time there was a -printer at Lyon named Hugues de la Porte, whose mark represented Samson -carrying away the gates (_portes_) of Gaza in his arms, with the device, -'Libertatem meam mecum _porto_.' (He also published a folio Latin Bible in -1542.)[491] - - * * * * * - -PREVOSTEAU (ESTIENNE). See MOREL (GUILLAUME). - - * * * * * - -REGNAULT (BARBE), bookseller at Paris from 1556 to about -1560.--One mark, representing an elephant carrying a tower on his back, -with the device, 'Sicut elephas sto'; height 7½ centimetres, width 5½ -centimetres. Barbe was undoubtedly the daughter of François Regnault, -who died in 1552, and who had a similar mark.[492] François Regnault's -mark was retained by his widow, Madeleine Boursette, who added to it -her initials, M. B., and did business in her own name until 1555. Barbe -Regnault's mark first appears, so far as my knowledge goes, in a small -octavo, printed about 1556, entitled, 'Description de la prinse de Calais -et de Guynes, composée par forme de style de proces par M. G. de M.' (Here -the mark.) 'A Paris, chez Barbe Regnault, rue Sainct-Jacques, à l'enseigne -de l'Elephant.'[493] La Caille informs us of other works published -about the same time by Barbe Regnault: 'Monstre d'abus contre Michel -Nostradamus,' 1558; J. Seve, 'Supplication aux rois,' ... 'de faire la -paix entre eux,' 1559. In 1560 she published a book by Estienne Brulefer, -in octavo, entitled, 'Identitatum et distinctionum ... traditarum -compendiosa contractio'; then comes the mark, and below it an imprint -in which Barbe styles herself the widow of André Barthelin.[494] I am -unable to say whether this is the same man whom La Caille and Lottin call -André Berthelin, and who published in 1544 a work entitled, 'Francisci -Georgii Venali ... de Harmonia mundi totius cantica tria'; folio, Paris, -'apud Andream Berthelin, via ad divum Jacobum, in domo Guilelmi Rolandi, -sub insigne Aureæ Coronæ, et in vico Longobardorum in domo ejusdem -Rolandi.'[495] If he is the same man, we must assume that he was not yet -married to Barbe Regnault, for we see that, while he lived, as she did, -on rue Saint-Jacques, he had a different sign. Indeed, I am inclined to -think that Barbe did not adopt the 'Elephant' until after the death of -Madeleine Boursette, François Regnault's widow, about 1556. However that -may be, La Caille says that Barbe Regnault's mark passed into the hands -of Thibault Bessault, then to his son Jean, and finally to Antoine Houic. -I have seen a book published by the last-named in 1582, embellished with -Barbe Regnault's 'Elephant.' - - * * * * * - -ROBINOT (GILLES I), bookseller at Paris, from 1554 to 1575.--One -mark (Silvestre, no. 686), representing Icarus hurled into the sea for not -following the advice of Dædalus, his father, not to approach too near the -sun lest that luminary should melt the wax with which the wings of our -presumptuous youth were fastened to his body. In a scroll are these words, -'Ne quid nimis.' This mark was used as late as 1619 by Gilles Robinot the -second, son of the first Gilles[496]; it is .05 of a millimetre high by -.047 wide. See SERTENAS. - -[Illustration] - - * * * * * - -ROFFET (PIERRE), called 'Le Faulchoir,' bookseller at Paris, -from 1525 to 1537.--One mark (Silvestre, no. 150) representing a mower -(_faucheur_) appears in a book printed in 1536.[497] - - * * * * * - -ROIGNY (JEAN DE), bookseller at Paris, from 1529 to 1562.--I -know two marks of de Roigny, signed with the Lorraine cross. The older is -the one that appears in a superb edition of Pliny's 'Letters,' printed -by Josse Bade in 1533, in folio (Silvestre, no. 674).[498] It represents -a man and a woman, each holding a scroll containing a Latin motto; the -man's reads thus: 'Nec me labor iste gravabit'; and the woman's, 'Spes -premii solatium est laboris.' In the sky is Fortune with her wheel -and the horn of plenty, and this device in a scroll beneath: 'Quod -differtur non aufertur.' The second mark, which was adopted by Jean de -Roigny after the death of his father-in-law, Josse Bade, in 1535, is the -'Prelum ascensianum,' but reëngraved (Silvestre, no. 787); for Bade's -typographical plant passed into the hands of another son-in-law of his, -Michel de Vascosan, who continued to use his father-in-law's old woodcuts, -especially his mark, badly worn as it was. As for Robert Estienne, Bade's -third son-in-law, his father-in-law's death caused no change in his -typographical arrangements; he still retained the 'Olive-tree' which he -has made so celebrated. - -[Illustration] - - * * * * * - -SERTENAS (VINCENT), bookseller at Paris, from 1534 to 1561.--One -mark, which was used on two opuscula, in octavo, of 1561; they are usually -bound in the same volume, and are entitled: (1) 'Régime de vivre et -conservation des corps humains,' etc.; (2) 'Recueil de plusieurs secrets -très-utiles pour la santé,' etc. This mark represents the initials V. S. -interlaced, in a medallion above which is the sun, with a genie on each -side; and below, the device, 'Vincenti non victo.' We also find Robinot's -mark, described above, in certain books published by Sertenas. I will -mention among others the 'Recueil des rimes et proses, by E. P.; octavo, -1555.[499] Presumably, it was because Robinot was the printer that he -placed his mark on the books. - - * * * * * - -VIVIAN (THIELMAN), bookseller at Paris in 1539.--One mark -(Silvestre, no. 725), which appears in the second part of the 'Grand -Marial de la mère de vie,'[500] translated by Adam de Saint-Victor. This -second part is entitled, 'A la très-pure et immaculée Conception de la -Vierge'; quarto, 1539. Vivian lived in Clos Bruneau; his mark bore this -device, 'Post tenebras spero lucem' in a scroll, above a fountain guarded -by two unicorns; below are the letters T. V., and still lower, 'Thielman -Vivian.' - -[Illustration: THIELMAN VIVIAN] - -[Illustration] - -[Illustration] - - -FOOTNOTES: - -[Footnote 448: _Champ fleury_, folio 43 verso.] - -[Footnote 449: Eloi Gibier used previously a similar mark, which bore -the following device: 'In sudore vultus tui vesceris pane tuo.' (See -Silvestre, no. 544.) He used it particularly at the end of the _Coutumes -générales d'Orléans_, 1570.] - -[Footnote 450: Bibliothèque Nationale.] - -[Footnote 451: Brunet, _Manuel de Libraire_, vol. ii, col. 1629.] - -[Footnote 452: This very rare and valuable edition contains a dissertation -on Latin accents. Bibliothèque Nationale.] - -[Footnote 453: See Silvestre, nos. 286 and 287.] - -[Footnote 454: See Mattaire, _Annales typographiques_, vol. iii, part 1 A, -p. 147.] - -[Footnote 455: See the subscription of the first book published by him -in conjunction with Wolfgang Hopyl, under the title, _Artificialis -introductio Jacobi Fabri Stapulensis_, etc.; folio, 1502. This book is in -the Bibliothèque Sainte-Geneviève.] - -[Footnote 456: According to Lottin, it was first used in 1555. See his -_Catalogue_, vol. ii, p. 30.] - -[Footnote 457: I have reproduced this mark on the title-page of my _Les -Estienne et les types grecs de François I_; octavo, 1856.] - -[Footnote 458: [Silvestre also gives three other variants, nos. 508, 542, -and 958, signed with the cross. No. 508 is reproduced above.]] - -[Footnote 459: [1538? M. Bernard mentions no Bible of 1528.]] - -[Footnote 460: Octavo; Paris, Robert Estienne, 1550. Bibliothèque -Nationale.] - -[Footnote 461: This book is described on p. 244, supra.] - -[Footnote 462: Bibliothèque Nationale.] - -[Footnote 463: See the collection of Tory's work in the Print Section of -the Bibliothèque Nationale.] - -[Footnote 464: _Sermonum liber unus ex Isocratis notione de regno, carmine -heroico._ Bibliothèque Mazarine.] - -[Footnote 465: Bibliothèque Nationale.] - -[Footnote 466: Bibliothèque de l'Institut.] - -[Footnote 467: Bibliothèque Nationale.] - -[Footnote 468: On p. 197. [Reproduced on p. 198.]] - -[Footnote 469: The placing of these arms on the typographical mark of -Gilles de Gourmont proves, in contradiction of the common opinion, that -the printer's trade was not degrading. (But see what I have said on this -subject in my book on the _Origin of Printing_, vol. i, p. 210, and vol. -ii, p. 89.) The Gourmonts of Paris were in fact descended from a noble -family of the Cotentin, which may still be in existence, and which bore -the same arms in the seventeenth century. Gilles de Gourmont had taken -up his abode in Paris in the last years of the fifteenth century, as had -several of his brothers, who practised the same trade. The oldest, Robert, -appears in that city as early as 1498; Jean, who was younger than Gilles, -not until 1507. We hear also of a Jérôme and a Benoît as booksellers in -Paris in the middle of the sixteenth century. I do not know what their -relationship to the earlier men was. Perhaps they were sons of Robert. -(Benoît, who married Catherine Goulard, had a son baptized by the name of -Gilles at the church of Sainte-Croix-en-la-Cité, on October 9, 1546.) We -also find a Jean Théobald de Gourmont at Antwerp in 1527. As for Gilles, -he was engaged in bookselling and printing from 1506 to about 1533, and -left two sons, Jean and François, who retained his establishment on rue -Saint-Jean-de-Latran, and printed there, in 1587, the _Tableaux des Arts -Libéraux de Christophe de Savigny_. This is an in-plano, at the beginning -of which is a superb engraving representing the arms of the family [as -described in the text]. This remarkable work, which bears the monogram -of the two brothers, was probably executed by Jean, the elder, who was a -painter and engraver. The Musée du Louvre has a picture supposed to be by -him (_Notice des tableaux du Louvre_, part 3, p. 156); he is the author -of a fine portrait of the Cardinal de Bourbon, mentioned by Mariette and -now in the Cabinet des Estampes; he is mentioned also by Abbé de Marolles -and by Papillon for certain pictures of equestrian groups and bits of -decoration. His mark (formed of the letters I D G entwined) and the name -accompanying it are found on several pieces cited by Brulliot, on the -plates of a Bible of 1560, and on certain pieces of Tortorel and Perissim -(Renouvier, _Maîtres Graveurs du Seizième Siècle_, p. 195 ). It will be -seen that Gilles had worthy successors; unfortunately the race of the -Gourmonts of Paris died out with them.] - -[Footnote 470: [That is, consisting of unfolded sheets, so that each sheet -forms only one leaf, or two pages.]] - -[Footnote 471: Bibliothèque Nationale.] - -[Footnote 472: Bibliothèque Mazarine.] - -[Footnote 473: Gueullard lived at the sign of the Phœnix, _e regione -collegii Remensis_.] - -[Footnote 474: Bibliothèque Mazarine.] - -[Footnote 475: Bibliothèque Nationale.] - -[Footnote 476: Bibliothèque Nationale.] - -[Footnote 477: [See p. 177, supra.]] - -[Footnote 478: [See p. 221, supra.]] - -[Footnote 479: _Bibliothèque de l'Amateur champenois_, 2d part: -'Construction d'une Notre-Dame.'] - -[Footnote 480: See Dibdin, _The Bibliographical Decameron_, vol. ii, p. -43; Silvestre, no. 61. The one in Silvestre is a reduced copy of that -at the end of _Des Coustumes et statuz particuliers de la pluspart des -baillages_, etc. (4to, 1527), which is of much larger format, and is also -signed with the Lorraine cross. [This magnificent mark is reproduced in -its full size on p. 264, supra.]] - -[Footnote 481: Quarto; finished Jan. 8, 1536 (1537 n. s.).] - -[Footnote 482: _Bibliographical Decameron_, vol. ii, p. 32.] - -[Footnote 483: Nos. 153 and 174 seem to be by the same artist, but they -are not signed.] - -[Footnote 484: Silvestre, no. 801. See a further description of this book, -supra, p. 215, note.] - -[Footnote 485: Indeed I have seen this mark, with the Lorraine cross, -on a Greek alphabet of 1560, printed by G. Morel (Bibl. Nat.), and on -several other works printed by Prevosteau, his son-in-law; I will mention -particularly _Adriani Behotii diluvium_, octavo, 1591 (Bibl. Nat.), where -the mark is cracked, which explains why it was reëngraved with the letters -E. P.] - -[Footnote 486: Sixteenmo; Paris, Janet, 1855.] - -[Footnote 487: See _Le Second Enfer d'Estienne Dolet_; quarto, 1544; -Bibliothèque Nationale.] - -[Footnote 488: Bibliothèque du Jardin des Plantes et Sainte-Geneviève.] - -[Footnote 489: Bibliothèque Mazarine.] - -[Footnote 490: One of the 'Seven Sages' of Greece.] - -[Footnote 491: Bibliothèque Nationale.] - -[Footnote 492: See Silvestre, nos. 42 and 43.] - -[Footnote 493: Bibliothèque Nationale.] - -[Footnote 494: Bibliothèque Nationale.] - -[Footnote 495: Bibliothèque Nationale.] - -[Footnote 496: See _Epistres morales d'Honoré d' Urfé_; 8vo, 1619.] - -[Footnote 497: [Reproduced on p. 137.]] - -[Footnote 498: [Reproduced on p. 286.]] - -[Footnote 499: Copies of both books are in the Bibliothèque Nationale.] - -[Footnote 500: This book is in the Bibliothèque de l'Arsenal. The first -part is in gothic type, without typographical signs; the second, in roman.] - - - - -APPENDICES. - - -I - -NOTE CONCERNING GEOFROY TORY'S FAMILY. - - -1. _Of his Forbears and Collateral Relations._ - -[Illustration] - -Genealogical investigation, supplemented with information furnished by two -learned Berrichons, enabled me to enumerate, in my first work on Tory, -a considerable number of members of his family, all, or almost all, of -whom lived in Faubourg Saint-Privé [Bourges]. The recent researches of my -friend M. Hippolyte Boyer, Deputy Archivist of the Department of the Cher, -make it possible for me to make known his grandfather, his father, and all -his brothers and sisters. - -'By deed of December 29, 1486, Robert Thory, husbandman, living in the -parish of Saint-Germain-du-Puy, conveys to Jean Thory, his brother, for 20 -livres tournois, his share in the heritage of the late Jean and Jeanne, -their father and mother.' - -'By contracts of September 5 and 8, 1507, Jean Thory, of Saint-Privé,[501] -and Philippe _Thoreye_, his wife, give their two daughters, Jehanne Thorye -and Perron Thorye, in marriage to Thevenin and François Leconte, sons of -Jean Leconte.' Among the provisions of Perron's contract is one to the -effect that Jean Thory and his wife settle a dowry of 40 livres tournois -on their daughter: 'and this in satisfaction of all claim upon father and -mother, be it in respect of furniture or of inheritance, which said claim -the said future bride, with the authority of her said future husband, -hath renounced and doth by these presents renounce, in favour of her -father and mother, of _maistre Geoffroye_, André, Antoine and Michell -Thoris, children of said Jean and Philippe, save for the power to,' -etc.[502] - -Thus it appears that Geofroy was the oldest of the brothers and sisters, -as he is named first in the document. Now, as two of his sisters were of -marriageable age in 1507, and as he is called _maistre_, it is probable -that he himself was more than twenty-five. That is why I have placed his -birth about 1480. - - -2. _Of his Descendants._ - -Jean Toubeau, printer and bookseller at Bourges, who died at Paris in -1685, while on a mission for his native place,[503] wrote the following -in the preface to his 'Institutes consulaires,' printed by himself in -1682, three years before his death: 'I have not been impelled to undertake -and write this work by the examples of the illustrious members of my -profession. Nor is it the example of those of my own family who have given -their works to the public: Geofroy Tory, professor in the University -of Paris, and a printer and bookseller in the same city, who was so -prolific that, proposing to put forth a book which should teach the scope -and proportions of those beautiful roman letters which we use to-day -in printing, he could not forbear to produce a book overflowing with -learning, which was followed by numerous others of instruction, which are -so well known that it is needless to give a list of them here, especially -as M. de la Thaumassière gives them a whole chapter in our history.' - -It is evident from this passage that Toubeau was related to Tory, but it -is not clear how the relationship came about; and La Thaumassière does -not mention Tory in his 'Histoire du Berry,' printed a few years later -by François Toubeau, Jean's son, despite the promises which he seems to -have made to Jean, who had transferred to him the duty of making known to -posterity that illustrious son of his province. - -The only author able to assist us at all in our investigations is Moréri, -who, in the article on Jean Toubeau in his great historical dictionary, -says that he was the great-great-grandson of Tory, on his mother's side. -This statement should be exact, and the article appears to be written from -information furnished by the Toubeau family; but all that we can determine -from it is that Toubeau was a descendant of Tory in the fourth degree. -Whether he descended from a son or daughter of Geofroy, I have been -unable to discover. To elucidate this fact, I wrote to M. Auguste Toubeau, -judge of the civil court at Bourges, and this was his reply, dated March -5, 1856: 'I should have been glad to give you the information you desire -about Tory. But I have no documents or family papers which establish his -relationship to Jean and Hilaire Toubeau. I do not know what connection -there was between them and Tory, and I learned that there was such a -connection only from what Moréri says of it.' - -Failing family papers, I made fruitless efforts to fix the relationship -between the Toubeaus and Tory. Finding it impossible to reach any certain -result, I have abandoned this search, which has no bearing upon the -history of our illustrious typographer. The Toubeaus alone are interested -in the solution of the question; I leave to them the task of proving their -kinship. - -POSTSCRIPT.--It may be surmised that Bonaventure _Torinus_, -bookseller of Bourges, who caused to be printed at that city, in 1595, by -the widow of Nicolas Levez, the 'Epitome juris civilis,' by an unknown -author, and 'Julii Pauli receptarum sententiarum libri V,'[504] was Tory's -son, for he wrote his name in Latin in the same way that Tory wrote it; -but was it from a daughter of Tory or from a daughter of this Bonaventure -that Toubeau descended? It is impossible for me to say. The lateness of -the period at which Bonaventure makes his appearance leads me to believe -that he did not see the light until Tory had reached an advanced age. -Indeed, if we compare the dates, we shall find that this son of Tory -cannot have come into the world before 1530, for, starting from that year, -he would have been sixty-five years old in 1595, when his 'Epitome juris' -was printed, and there is no reason to believe that he died very soon -thereafter. For my own part, I believe that he was not born until after -the publication of 'Champ fleury,' and that his Christian name was an -allusion to his late birth.[505] In that case, we can understand why he -did not succeed to the paternal establishment: he was only two or three -years old at Geofroy's death--too young to think of taking his place; so -that that duty fell to Geofroy's pupils, whoever they may have been. As -for Bonaventure, the family traditions naturally led him back to Bourges, -and the trade that he adopted brought him still nearer to his father. - - -II - -VERSES IN HONOUR OF GEOFROY TORY, PRINTED AT THE HEAD OF PALSGRAVE'S -GRAMMAR.[506] - -'Ejusdem [Leonardi] Coxi ad eruditum virum Gefridum TROY[507] de -Burges[508] Gallum, Campi floridi authorem, quem ille sua lingua Champ -fleury vocat, nomine omnium Anglorum, phaleutium. - - 'Campo quod toties, Gefride docte, - 'In florente tuo cupisti habemus. - 'Nam sub legibus hic bene approbatis - 'Sermo gallicus ecce perdocetur. - 'Non rem grammaticam Palæmon ante - 'Tractarat melius suis latinis, - 'Quotquot floruerant ve posterorum, - 'Nec Græcis melius putato Gazam - 'Instruxisse suos libris politis, - 'Seu quotquot prætio prius fuere, - 'Quam nunc gallica iste noster tradit. - 'Est doctus, facilis, brevisque quantum - 'Res permittit, et inde nos ovamus, - 'Campo quod toties, Gefride docte, - 'In florente tuo cupisti, habentes.' - - -_Remarks on the foregoing lines._ - -The numerous errors of all sorts which disfigure Palsgrave's book (a very -interesting book, none the less)--errors of which the foregoing lines -afford several specimens--should have humbled to some extent the national -vanity of the author, who cries out incessantly, throughout his bulky -volume, against the ignorance of French printers. He should, in any event, -have remembered that English typography was the very humble daughter of -French typography, which latter not only trained the first English artist -(Caxton), but also gave him his two most illustrious successors,--Wynkyn -de Worde and Pinson,--the last named of whom did in fact print a part of -Palsgrave's book. - -A modern Englishman, David Baker, has gone even farther than Palsgrave; he -says, speaking of Palsgrave's work: 'the French nation, so proud to-day of -the universality of its language, seems to owe it to England.' To which M. -Génin retorts: 'Baker reasons backward. The French language did not come -into universal use because it pleased Palsgrave to write a grammar; on -the contrary, Palsgrave composed his grammar because the French language -was already universal. This universality was a fact, admitted before -Palsgrave's birth,[509] and others before him had tried to draw up rules -to facilitate the study of French by foreigners. Palsgrave names three to -whom he acknowledges that his work is greatly indebted. - -'Leonard Coxe exults more modestly and with more propriety than David -Baker, for he seems to attribute to Geofroy Tory the honour of having -called forth Palsgrave's grammar. To be sure, a comparison of dates seems -to leave little likelihood to that conjecture, for the Frenchman's work -and the Englishman's are only about a year apart; but I must notice here -one curious fact which has not been noticed by the bibliographers. On the -title-page of the English book we find the date 1530, and on the last -leaf, "Printing completed July 18, 1530." But the king's licence to print, -at the beginning of the volume, is dated, "At our Castle of Ampthill, -the second of September, in the year of our reign the XXII." -Now, as Henry VIII succeeded to the throne in 1509, after Easter, the -twenty-second year of his reign was the year 1531,[510] and "Champ fleury" -appeared early in 1529. So that this gives us an interval of three -years.[511] In this view Leonard Coxe's words have genuine force, and the -point of concurrence which Palsgrave congratulates himself upon finding -in "Champ fleury" and "Lesclaircissement" may not be so fortuitous as he -chooses to state.' - -However, as M. Génin goes on to say, 'this honour, claimed by the English, -of having been the first to write upon the French language, is, all things -considered, simply an act of homage to France; for if our neighbours had -awaited from a foreign nation the first book on the English language, -perhaps they would be awaiting it still.' - - -III - -TORY ADMITTED AS THE TWENTY-FIFTH BOOKSELLER TO THE UNIVERSITY. - -In the 'Acta Facultatis medicinæ Parisiensis,'[512] at the end, we read as -follows:-- - -'Die Martis 18 febr. 1532 [1533, n. s.].... - -'Die sabbati sequenti, vocata est Universitas in ecclesia Mathurinorum, -super tribus articulis: clausione rotuli, resignatione cure Sanctorum -Cosme et Damiani, et receptione vigesimi quinti librarii Universitatis. -Clausus est rotulus solito more; admissa est resignatio permutationis -causa et sine prejudicio turni, et admissus est vigesimus quintus -librarius Gauffridus Torier [_sic_], dono regio. Ubi supplicavit magister -Jacobus Japhet pro pastillaria.' - - (_Translation._) - - 'On the following Saturday [February 22, 1533], the University was - called together at the Church of the Mathurins. There were three - articles in the order of the day: Closing of the register [of - benefices]; resignation of the curé of Saint-Come and Saint-Damien; - reception of a twenty-fifth bookseller to the University. The - register was closed according to the usual form. The resignation - was accepted, by way of exchange, without prejudice to the next - in turn. Geofroy Tory was admitted as twenty-fifth bookseller, by - presentation of the king. At this same session Maître Jacques Japhet - prayed for leave to present his "pastillary" thesis.' - - * * * * * - -The only item that interests us in this extract from the proceedings of -the Faculty of Medicine is the passage relating to Tory. We see that in -1533 he was made the twenty-fifth bookseller to the University, by command -of King François I. Up to that time there had been only twenty-four (see -M. Didot's 'Essai,' col. 744), and they undoubtedly went back to that -consecrated number after the death of Tory, in whose behalf an exception -had been made. - - -IV - -NOTE CONCERNING TORY'S VARIOUS DOMICILES IN PARIS. - -The dedicatory epistle of Tory's edition of Pomponius Mela is dated Paris, -December, 1507; but it mentions no place of abode. - -The edition of the 'Cosmography' of Pope Pius II is dated at the Collège -du Plessis, October 2, 1509. Tory was at the Collège du Plessis as late as -May 10, 1510.[513] - -On August 18, 1512, we find him installed at the Collège Coqueret; and a -little later at the Collège de Bourgogne.[514] - -About 1518, having joined the fraternity of booksellers, he went to live -on rue Saint-Jacques, opposite the Écu de Bâle, which was then used as a -sign by the famous printer Chrétien Wechel. The latter's establishment was -on the right going up rue Saint-Jacques, near the church of Saint-Benoît. - -About 1526 Tory established himself on the Petit-Pont, near Hôtel-Dieu, -but did not give up his shop on rue Saint-Jacques, at the sign of the Pot -Cassé. - -Early in 1531, he changed his abode to rue de la Juiverie, the Halle aux -Blés de Beauce, where he set up his printing-press and his bookstall. He -retained his shop on rue Saint-Jacques for some time.[515] It was in his -house on rue de la Juiverie that he died, in 1533. - - -V - -OF THE FIRST USE BY PRINTERS, AND IN THE FRENCH LANGUAGE, OF THE -APOSTROPHE, THE ACCENT, AND THE CEDILLA. - -M. Francis Wey, in a report made by him to the Philological section of the -Committee on the Language, History, and Arts of France, on June 9, 1856, -and published in the 9th fascicle of volume three of that Committee's -'Bulletin' (page 437), seems to attribute to Jean Salomon, otherwise -called Montflory, or Florimond, the first philological dissertation -in which there is any mention of the accent, the apostrophe and the -cedilla,--signs peculiar to the French language, which, as every one -knows, was for many years content with the alphabet of the Latin tongue, -from which it descended; more than that, he attributes to that author the -first use of these signs in a printed book. In both respects the honour -is due to Geofroy Tory. In truth, in his 'Champ fleury,'--which was not -published until 1529, it is true, although begun in 1523, the license -to print being dated September 5, 1526,--Tory proposed to introduce the -accent, the apostrophe, and the cedilla into the French language; he -did more than that; for, having become a printer, he was the first to -introduce those signs into typography. They appeared for the first time in -the last of the four editions of the 'Adolescence Clementine' (by Clement -Marot), all four of which he published. This fourth edition appeared June -7, 1533, accompanied by an 'avis' in these words: 'With certain accents -noted, to wit, on the _é_ masculine, different from the feminine,[516] -on letters joined by synalephe, and under the _c_ when it is pronounced -like _s_, the which for lack of counsel has never been done in the French -language, albeit it was and is most essential.' This was the first work -in which Tory applied his orthographic system, as may be seen by the -inexperience of the compositors in his employ, who made several errors of -omission and transposition in this very notice. - -This so necessary reform spread very rapidly, thanks to the fact that the -necessity had already made itself felt, as is proved by the work of Jean -Salomon, published in that same year 1533. But it is Tory's especial glory -that only those changes which were proposed by him were retained, save a -few orthographic signs which have no other purpose than to distinguish -words spelled alike but of different meanings--and these signs were -introduced later: a, à; ou, où; du, dû, etc. - -With however good a will one might seek to deny Tory's precedence in the -use of orthographic signs in the French tongue, and to award it to Jean -Salomon, who used them in the same year, there are two facts that decide -the question in favour of the former: these are, the publication in April, -1529, of his 'Champ fleury' (the first book of which is entitled, 'An -exhortation to fix and ordain the French language by certain rules for -speaking with elegance in good sound French words'), and the formulation -of the 'General rules of orthography of the French language,' no copy of -which is known to exist, it is true, but for which Tory obtained a license -to print on September 28, 1529, four years before Salomon's work appeared. - -Nor must we lose sight of the fact that Tory was from Bourges, that is to -say, from the same province as Jacques Thiboust, Seigneur de Quantilly, -'friend of books, and distinguished penman,' who was Jean Salomon's -Mæcenas. There is nothing improbable in the supposition that Thiboust had -had his interest aroused by Tory, who is likely to have been a crony of -Thiboust in Paris by a two-fold claim,--as a Berrichon and as a 'friend -of books.' It seems to me that the alias 'Montflory' assumed by Salomon -is an allusion to 'Champ fleury.' That, in my opinion, is why he wrote -it 'Montflory' or 'Florimond,' indifferently, the word being an anagram -rather than a real surname. - -As the opportunity offers itself, I will add to M. Francis Wey's notes a -few remarks which may some day assist in writing the biography of Jean -Salomon, of whom nothing is known except the fact, told us by himself, -that he was an Angevin. - -We know now of three different editions of his work. The first, dated -1533, with no indication of the month, was printed in that year in three -pages and a half, octavo, under this title: 'Briefve doctrine pour -deuement escripre selon la propriete du langaige francoys.' We do not know -where or by whom it was published, but it certainly was printed at Paris, -where Salomon undoubtedly lived, and probably by Antoine Augereau, as was -the one next described, which seems to have been modelled upon it. Indeed, -like it, it is generally found between the same covers with an edition of -the 'Miroir de l'âme pécheresse' (of Marguerite of Navarre),--an edition -without date, name of place or of printer, which, therefore, should also -be attributed to Antoine Augereau and to the year 1533. This edition, -which M. Brunet does not mention,[517] has on the first page: 'Le Miroir -de lame pecheresse, auquel elle recongnoit ses fautes et pechez, aussi -les graces et benefices a elle faictz par Jesuchrist son espoux.' It -consists of nine half sheets in octavo, printed as four (signatures _a_ -to _i_). On the last leaf is a note to the reader wherein forgiveness is -asked for the first corrector (he who is called to-day 'the corrector -of first proofs'), who has inadvertently omitted three verses. 'Divers -other trivial errors may peradventure be found before or after, but they -must needs be charged rather to the variety of the copies than to the -negligence of the correctors or to the haste of the printers.'--As I -have said, it is at the end of this pamphlet that we find printed, with -separate signatures of its own, from _a_ to _d_, the little book described -by M. Wey after the copy in the Bibliothèque Nationale which contains the -'Briefve doctrine.' But one essential point, which M. Wey has forgotten to -mention, is that in the first edition not a word is said of the accent or -the cedilla; there is no mention of anything except the apostrophe. - -The second edition, printed at Paris by Antoine Augereau, in December, -1533, at the back of another edition of the 'Miroir de l'âme pécheresse' -(called 'Miroir de tres chrestienne princesse Marguerite, reine de -Navare'), is two-thirds larger. It was probably published (like the -preceding one) by the Queen of Navarre's secretary, Jean Thiboust, after a -manuscript which the author had dedicated to him as his Mæcenas. Indeed, -we find at the head of this reprint the words 'ex manuscriptis authoris,' -which seems to indicate further that the author was dead. A point worth -noting is that the 'Briefve doctrine' again forms a part of an appendix -distinguished by separate signature letters (and folios) from Marguerite's -poem, and bearing the same title as in the earlier print, despite -the additions that had been made to it (presumably based upon Tory's -publications), especially with respect to the cedilla and the accent, -which, moreover, are used throughout the volume. - -The third is the one which is still in manuscript at Bourges. It contains -several passages more than the preceding; but these passages, which are -of very debateable merit (as M. Wey, who reproduces them in his report, -declares), were probably added by one Jean Milon, of Arlenc in Auvergne, -calling himself a retainer ('serviteur') of Thiboust, who revised the -'Briefve doctrine' about 1542; so much at least we may infer from the -date of some other pieces in the collection containing it, which was -presented, in 1555, by Jacques Thiboust to the Collège de Bourges, whence -it found its way to the public library of the same city. It is exceedingly -interesting to find this document in Geofroy Tory's native place. It -is as if chance had chosen thereby to remind us of the source of the -orthographic reform proposed by Jean Salomon. - -To be entirely fair, we ought to say that certain other writers had even -anticipated Salomon. Thus Jacobus Silvius, otherwise called Jacques -Dubois, had published through Robert Estienne, on the 7th of the Ides -of January, 1531 (January 7, 1532, n. s.), a French grammar in Latin, -wherein he suggested a complete system of orthographic reform, including -the acute accent, the apostrophe, the cedilla, etc.; but his plan was so -complicated that it could not be followed in its entirety. Moreover, the -signs proposed by him were, for the most part, impossible of adoption -throughout a book. For instance, the cedilla consisted of an _s_ placed -about the _c_. The merit of Tory's system, over and above its priority, -was its simplicity. So we may say that it was generally adopted after 1533. - - -VI - -TRANSLATION OF THE LETTERS PATENT OF FRANÇOIS I, APPOINTING CONRAD -NÉOBAR KING'S PRINTER FOR GREEK.[518] - - January 17, 1539 [new style]. - -François, by the grace of God King of the French, to the French nation, -greeting.[519] - -We desire that it be known to one and all that our dearest wish is, and -has ever been, to accord to letters our support and especial favour, and -to do our utmost endeavours to supply the young with useful studies. -We are persuaded that such useful studies will produce in our realm -theologians who will teach the blessed doctrines of religion; magistrates -who will execute the laws, not with passion, but in a spirit of public -equity; and skilful administrators, the glory of the State, who will not -hesitate to sacrifice their private interests to love of the public weal. - -Such are in effect the advantages which we are justified in anticipating -from worthy studies almost alone. And that is why we did, not long since, -make liberal allotments of stipends to distinguished scholars that they -might teach the young the languages and sciences, and train them in the no -less valuable practice of good morals. But we have considered that there -was still lacking, in order to hasten the onward march of literature, -something no less essential than public instruction, namely, that a -capable person should be specially entrusted with the matter of printing -in Greek, under our auspices and with due encouragement from us, in order -to the correct printing of Greek authors for the use of the young people -of our realm. - -In truth men distinguished in letters have represented to us that the -arts, history, morality, philosophy, and almost all other branches of -knowledge, flow from the Greek authors as streams flow from their sources. -We know likewise that, Greek being more difficult to print than French -and Latin, it is indispensable for the successful administration of a -printing establishment of this sort, that the director thereof should be -well versed in the Greek tongue, extremely painstaking, and blessed with -abundant means; that it may be that there is not a single person among -the printers of our realm who combines all these qualifications (that is -to say, knowledge of the Greek language, painstaking energy and large -wealth), but that in one the fortune is lacking, in another the necessary -knowledge, and in others still different conditions. For those men who -possess at once wealth and learning prefer to pursue any other occupation -rather than turn their hands to typography, which demands a most toilsome -life. - -Accordingly we instructed several scholars whom we admit to our table or -to our intimacy, to point out to us a man overflowing with zeal for the -art of typography, and of proved learning and diligence, who, supported by -our generosity, should be employed to print Greek books. - -And we have a two-fold motive in thus serving the cause of study. Firstly, -as we hold this realm from the All-powerful God, which realm is abundantly -supplied with wealth and with all the conveniences of life, we choose that -it shall yield to no other in respect to the profundity of its studies, -the favour accorded to men of letters, and the variety and extent of the -instruction provided; secondly, in order that the studious youth, knowing -our good-will toward them, and the honour which it is our delight to -bestow upon learning, may give themselves with the greater ardour to the -study of letters and of the sciences, and that men of worth, incited by -our example, may redouble their zeal and efforts to train our youth to -goodly and useful studies. - -And even as we sought the person to whom we could with all confidence -entrust this function, Conrad Néobar presented himself most opportunely, -being most desirous to obtain some public employment which should -place him under our protection, and confer upon him personal benefits -proportioned to the importance of his service; and, acting upon the -testimony that has been laid before us of his learning and his skill, by -men of letters well known to us, it has pleased us to entrust to him the -matter of Greek typography, to the end that he may print correctly in our -kingdom, supported by our munificence, those Greek manuscripts which are -the source of all learning. - -But, desiring to provide at the same time for the public service, and -in order to forestall any possible fraud to the prejudice of Néobar our -printer, we establish him in his said office upon the following rules and -conditions:-- - -Firstly, we understand that all works not yet printed shall not be put -to press, still less published, before they have been submitted to the -judgement of our professors of the Académie of Paris who are charged with -the instruction of the young; so that the examination of works in profane -literature shall be entrusted to the professors of belles-lettres, and of -those on religious subjects to the professors of theology. By this means -the purity of our most sacred religion will be preserved from superstition -and heresy, and integrity of morals be removed beyond the reach of the -debasement and contagion of vice. - -Secondly, Conrad Néobar will deposit in our library a copy of all editions -of Greek texts which he shall first put forth, to the end that, in the -event of some occurrence calamitous to letters, posterity will have this -source to draw upon to repair the loss of books. - -Thirdly, all such books as Néobar may print shall contain an express -statement that he is our _printer for the Greek_, and that he is specially -entrusted with Greek printing under our auspices; to the end that not the -present age alone, but all posterity, may learn of the zeal and good-will -for letters whereby we are moved, and that, inspired by our example, it -may, like ourselves, prove itself disposed to strengthen the cause of -study and contribute to its progress. - -Furthermore, inasmuch as this office is of more benefit to the State than -any other, and as it demands from the man who desires to perform its -duties zealously such assiduous care and attention that he can not have -a single moment to devote to labours which might lead him to honours or -to wealth, we have chosen to provide in three ways for the interest and -support of our printer Néobar. - -Firstly, we award him an annual stipend of one hundred gold crowns, called -'écus au soleil,' by way of encouragement and to indemnify him in part for -his expenses. It is our will, further, that he be exempt from all imposts -and that he enjoy the other privileges which we and our predecessors have -accorded the clergy and the Académie of Paris, so that he may enjoy the -greater advantage from the disposal of his books and that he may the -more easily acquire all that is essential for a printing establishment. -Finally, we forbid everybody, printers and booksellers alike, to print or -to sell, in our realm, for the term of five years, such books in foreign -tongues, whether Latin or Greek, as Conrad Néobar shall have published -first, and for the term of two years such books as he shall have reprinted -more correctly, from ancient manuscripts, whether by his own labours or by -availing himself of the work of other scholars. - -Whoever violates the terms hereof shall be punishable with a fine for -the use of the treasury, and shall reimburse our printer all the cost of -his editions. Furthermore, we command the provost of our city of Paris, -or his lieutenant, as well as all other magistrates now in office, or -who hold public employments from us, to see to it that Conrad Néobar, -our printer, enjoys to the full all the privileges and immunities hereby -conferred upon him, and to inflict severe punishment upon whoever shall -cause him annoyance or hindrance in the performance of his duties: for -it is our will that he be protected from the evil-disposed and from the -malice of the envious, to the end that the tranquillity and security of an -unharrassed life may enable him to devote himself with the greater zeal to -his important duties. - -And that full and entire credence may be forever given to what is -hereinbefore commanded, we have confirmed it with our signature and have -caused our seal to be affixed. Adieu. - -Given at Paris, the seventeenth day of January, in the year of grace 1538, -and of our reign the twenty-fifth. - - -VII - -EXTRACT FROM THE LETTERS PATENT OF FRANÇOIS I, APPOINTING DENIS JANOT -KING'S PRINTER.[520] - -François, by the grace of God King of France, to all those who shall see -these letters, greeting. Be it known that we, having been well and duly -advised of the great skill and experience which our dear and well-beloved -Denis Janot has acquired in the art of printing and in the matters which -depend thereon, whereof he has ordinarily made great profession, and even -in the French language; and considering that we have already engaged and -constituted two printers of our own, one for the Latin, the other for -the Greek language; desiring to do no less honour to our own than to the -said two other languages, and to commit the printing thereof to some -person who is able to acquit himself thereof, as we hope that the said -Janot will prove himself well able to do, for these causes and others -moving us thereto, we have engaged and do by these presents engage him -to be our printer in the said French language, henceforward to print -well and duly, in good type and as correctly as may be, such books as -are and shall be written in said language, and such as he may be able to -recover; and to enjoy in that office the honours, authority, privileges, -precedencies, powers, liberties, and rights which may appertain thereto, -so long as it shall be our good pleasure. And in order to arouse in him -the greater ardour and to afford him better means and opportunity to -maintain and support the cost and outlays, the toil and labour which it -will be incumbent on him to make and undergo, as well in the printing and -correcting as in other matters depending thereon, we have decreed and -ordered, do decree and order, and it is our pleasure that the said Janot -be given permission, by these presents, to print all books composed in the -said French language which he may be able to recover, but only after they -shall have been well, duly, and sufficiently inspected and examined, and -found to be excellent and not scandalous.... Given at Paris the twelfth -day of April in the year of grace one thousand five hundred forty-three, -and of our reign the twenty-ninth. - -On the outside are the words: 'By the King--Present, the Bishop of -Thulles. Signed BAYARD; and sealed _sur double cueue_[521] with -that lord's great seal.' - - -VIII - -LIST OF KING'S PRINTERS WHO PERFORMED THEIR FUNCTIONS AT PARIS, FROM -THE ORIGINAL INSTITUTION OF THAT OFFICE. - - GEOFROY TORY, 1530-1533.[522] - - OLIVIER MALLARD, 1536-1542. - - DENIS JANOT, 1543-1550.[523] - - CHARLES ESTIENNE, 1551-1561. - - ROBERT ESTIENNE II (nephew of CHARLES), 1561-1570. - - JEAN METTAYER, 1575-1586. - - JAMET METTAYER (brother of JEAN), 1586-1602. - - PIERRE METTAYER (brother of JEAN and - JAMET), 1602-1639. - - MAMERT PATISSON, 1578-1601. His widow succeeded him and - held the office from 1602 to 1606. - - MICHEL DE VASCOSAN, 1560-1571. - - PIERRE LE VOIRRIER, 1583.[524] - - FEDERIC MOREL (VASCOSAN'S son-in-law), 1560-1581. - - FEDERIC MOREL II (son of FEDERIC), 1582-1630.[525] - - CLAUDE MOREL, 1617 (?). - - CHARLES MOREL (son of CLAUDE), 1635-1639. - - GILLES MOREL (son of CHARLES), 1639-1647. - - PIERRE LE PETIT. Succeeded MOREL, June, 1647 - 'with the privileges and salary of 225 livres charged upon the - State.'[526] He died in 1686. - - GUILLAUME NYVERD II, 1561. - - NICOLAS NIVELLE, } - GUILLAUME CHAUDIÈRE, } Printers of the Sacred Union, 1589-1594. - ROLIN THIERRY, } - - CLAUDE PREVOST, 1614-1629. - - NICOLAS CALLEMONT, 1622-1631. His widow held the office in - 1631. - - PIERRE L'HUILLIER, 1610. - - ANTOINE ESTIENNE, 1614-1664. In 1649 he called himself - '_first_ king's printer.'[527] - - HENRI ESTIENNE, his son, obtained the reversion of his - father's office in 1652, but he died before him, in 1661, probably - without acting.[528] - - PIERRE MOREAU, 1640-1647. (For his bastard italic.) - - ANTOINE VITRÉ, 1622-1674. 'Linguarum orientalium - typographus regius.' - - SÉBASTIEN CHAPELET, 1639. - - JACQUES DE GAST, 1640. - - SÉBASTIEN CRAMOISY, December 24, 1633. In 1640 he was - appointed manager of the royal printing-office of the Louvre; in - 1651 he resigned the office of king's printer in favour of his - grandson, SÉBASTIEN MÂBRE-CRAMOISY, and died in 1669. - - SÉBASTIEN MÂBRE-CRAMOISY (grandson of the preceding, - through his mother), 1661-1687. He also held the office of manager - of the royal printing-office. - - SÉBASTIEN HURÉ, August, 1650. - - SÉBASTIEN HURÉ II (son of the preceding), appointed in - 1662, in place of HENRI ESTIENNE, Antoine's son; died in - 1678. - - PIERRE ROCOLET, April 14, 1635; died in 1662. - - DAMIEN FOUCAULD (son-in-law of ROCOLET), succeeded - him; 1662-1687(?). - - FRANÇOIS MUGUET, appointed as locum tenens in November, - 1661, was definitively appointed in 1671; resigned his letters in - 1686, to replace PIERRE LE PETIT, at the salary of 225 - livres. Muguet died in 1702. - - FRANÇOIS-HUBERT MUGUET (son of the preceding) succeeded - him; 1702-1742. - - FRÉDÉRIC LÉONARD. Succeeded FRANÇOIS HURÉ; - 1678-1712. - - FRÉDÉRIC LÉONARD II (son of the preceding) succeeded him; - 1713-1714. - - JEAN DE LA CAILLE, 1644-1673. - - JEAN-BAPTISTE COGNARD. Succeeded FOUCAULD; - 1687-1737. - - COGNARD'S widow, 1737-1760. - - JEAN-BAPTISTE COGNARD II (son of JEAN-BAPTISTE), - 1717-1752, when he resigned. - - JACQUES LANGLOIS, 1660-1678. - - JACQUES LANGLOIS II (son of the preceding), 1678-1697. - - JEAN-BAPTISTE-ALEXANDRE DELESPINE, 1702-1746(?). - - GUILLAUME DESPREZ, 1686-1708. - - GUILLAUME DESPREZ II (son of the preceding), 1740-1743, - when he resigned. - - GUILLAUME-NICOLAS DESPREZ (son of the preceding), - 1743-1788. He was at the end the dean of the king's printers. - - PIERRE-ALEXANDRE LE PRIEUR, 1747-1785. - - CLAUDE-CHARLES THIBOUST, appointed king's printer in 1756, - died in 1757. - - N. DE MAISONROUGE (widow of the preceding), succeeded him, - and held the title of king's printer till 1788. - - LAURENT-FRANÇOIS PRAULT, 1780(?). - - LOUIS-FRANÇOIS PRAULT (son of LAURENT) succeeded - him; 1780-1788. - - ANTOINE BOUDET, 1768-1779. - - FRANÇOIS LE BRETON; died October 4, 1779. - - PHILIPPE-DENIS PIERRES; succeeded LE BRETON by - virtue of letters dated October 7, 1779.[529] He was appointed first - king's printer in August, 1785. - - JACQUES-GABRIEL CLOUSIER, 1788. - - AUGUSTE-MARTIN LOTTIN, 1775-1789. - - (Demoiselle) HÉRISSANT, 1788. - - -_King's Printers for Greek._[530] - - CONRAD NÉOBAR, 1538-1540. - ROBERT ESTIENNE, 1540-1550. - ADRIEN TURNÈBE, 1552-1555. - GUILLAUME MOREL, 1555-1564. - MICHEL DE VASCOSAN, 1560-1576. - ROBERT ESTIENNE II, 1561-1570. - FEDERIC MOREL, 1571-1581. - ÉTIENNE PREVOSTEAU, 1581-1600(?). - PIERRE PAUTONNIER, 1600-1605(?). - - -_Printers of the King's Closet._ - - JACQUES COLLOMBAT, in 1743. - N. DEHANSY (widow of the preceding), 1744. - JACQUES-FRANÇOIS COLLOMBAT (son of JACQUES), 1744-1751. - JACQUELINE TARLÉ (wife of JACQUES-FRANÇOIS), 1751-1752. - JEAN-JACQUES ESTIENNE COLLOMBAT (their son, 1752-1763). - - -_Printers of His Majesty's Closet, Household and Buildings._ - - JEAN-THOMAS HÉRISSANT, 1764-1772. - MARIE-NICOLE HÉRISSANT (his daughter), 1772-1788. - - -_King's Printers for Mathematics._ - - JEAN LEROYER, February 3, 1553 (1554, n. s.)-1565. - PIERRE LEVOYRIER, 1575-1584. - - -_King's Printer for Coins._ - -JEAN DALLIER, August 23, 1559. - - -_King's Printers for Engravings._ - - PIERRE LENGEVIN, buried February 5, 1609.[531] - MELCHIOR TAVERNIER, 'living on the Île du Palais.' - - -_King's Printers for Music._ - - ROBERT BALLARD, 1551-1606. Letters patent of May 5, - 1516,[532] inform us that he received 250 livres tournois in this - capacity. - - LUCRÈCE LE BÉ (BALLARD'S widow), 1606. - - PIERRE BALLARD (son of ROBERT I), 1608-1640. - - ROBERT II (son of PIERRE), 1640-1679. - - ----widow of ROBERT II, 1679-1693. - - J.-B.-CH. BALLARD (grandson of ROBERT II), - 1694-1750. - - ----(widow of the preceding), 1750-1758. - - ----CHR.-J.-F. BALLARD (son of J.-B.-CH.), - 1758-1765. - - ----(widow of the preceding), 1765-1792. - - PIERRE-ROBERT-CHRISTOPHE BALLARD (son of - CHR.-J.-F.), 1779-1792. - -After the Restoration Louis XVIII named as king's printers members of -certain families in the printing trade which had formerly borne that -title, and some others who had won great renown in their trade; such -are the first six in the following list, which includes all the king's -printers of the Restoration. - - LOTTIN DE SAINT-GERMAIN,[533] 1815-1828. - BALLARD,[534] 1815-1828. - BALLARD'S widow, 1828-1830. - VALADE,[535] 1815-1822. - PIERRE DIDOT, the elder, 1815-1822. - JULES DIDOT, his son, succeeded him; 1822-1830. - FIRMIN DIDOT (PIERRE'S younger brother), 1815-1827. - MADAME HÉRISSANT-LEDOUX, 1816-1822. - LEBEL, successor to VALADE, 1822-1825. - LEBEL'S widow, 1826. - LENORMANT, 1824-1830. - -AMBROISE DIDOT (son of FIRMIN) was appointed king's -printer by patent of December 7, 1829. The office became extinct in his -hands in July, 1830. M. Ambroise Firmin Didot, who thus closes the list -of king's printers, opened by Tory, has another bond of union with the -latter: like him he was an engraver. See what M. Firmin Didot père wrote -on this subject at the beginning of his tragedy, 'Annibal,' which was -printed by him in 1817, preceded by a letter from his son, who was then -travelling in Greece; the letter being printed in an 'English' type which -he tells us was engraved by his son Ambroise.[536] - - -IX - -NOTE CONCERNING THE KING'S BINDERS AND LIBRARIANS. - -There had long been functionaries known as 'libraires du roi' (king's -librarians), when François I instituted the office of king's printer. -Indeed, we find that Guillaume Eustace bore the title as early as 1574, -that is, under Louis XII. He is so styled in the subscript of an edition -of 'Les Chroniques de France,' in three volumes, folio. At the end of the -last volume, we read: 'Here endeth the third and last volume of the great -chronicles of France, printed at Paris in the year a thousand five hundred -and fourteen, the first day of October, for Guillaume Eustace, _libraire -du Roy_, and sworn binder to the University of Paris.' - -In our first edition we expressed the opinion that Eustace may have been -replaced in 1522 by Jean de Sansay, who is described as king's librarian, -in 1530, in the accounts published by M. de Laborde.[537] This is an -error. Eustace was still king's librarian in 1533. Jean de Sansay was not, -as Eustace was, _purveyor_ to the king's library, but _keeper_ thereof, a -title assumed in more exact terms by one of his successors, Jean Gosselin, -in a book which he caused to be printed in 1583.[538] - -Jean de Sansay's immediate successor, under François I, seems to have been -Claude Chappuis, who was king's librarian before March 28, 1543, as may be -seen from the following document, dated January 6, 1544, new style, the -original of which is in the Joursauvault collection at the Bibliothèque du -Louvre:-- - -'In the presence of me, notary and secretary of the state to the King our -sire, Jehan Estienne,[539] dealer in silversmithery to the queen, having -power of attorney from maistre Claude Chappuys, librarian to our said -lord, thereby sufficiently authorized, did by deed of the twenty-eighth -day of March a thousand five hundred forty-three, after Easter last -past, executed before Jehan Langlois, royal notary in the bailiwick or -chatelany of Moret, aver that he had had and received from maistre Jacques -Bouchetel, treasurer and paymaster of the household of our said lord, -the sum of two hundred forty livres tournois on account of his office of -librarian during the year beginning the first day of January a thousand -five hundred forty-two [1543, n. s.], and ending the last day of December -a thousand five hundred forty-three. For which sum of IIᶜ -XL livres tournois the said Jehan Estienne, as attorney as -aforesaid, hath held and doth hold himself accountable and duly paid, -and hath acquitted and doth acquit the said maistre Jacques Bouchetel, -treasurer as aforesaid, and all other persons. Witness my sign manual -hereto affixed at his request. The VI day of January in the year -a thousand five hundred forty-three. - - 'BURGENSIS.'[540] - -In 'La Renaissance des Arts,' M. de Laborde has published several extracts -from the royal accounts relative to this Claude Chappuis. - -'To maistre Claude Chappuis, librarian to our said lord, the sum of -thirty-three livres five sols tournois, to him ordered to be paid by our -said lord, to reimburse him for several small sums by him furnished and -paid for the embellishment of books which our said lord hath caused to be -brought from Thurin, for the carriage thereof from Fontainebleau to Paris -and to Sainct-Germain-en-Laye, and from said Sainct-Germain to Paris and -Fontainebleau, and for expense incurred by said Chappuis, say XXXIII -L. V. S.'[541] - -'To maistre Claude Chappuys, librarian to our said lord, the sum of six -times twenty and ten livres, and ten sols tournois to reimburse him for -the like sum which he hath paid of his own moneys to a bookseller of Paris -named Le Faucheux, for having, by command of our said lord, re-bound and -gilded divers books from his library, in the manner and guise of a gospel -heretofore bound and gilded by said Le Faucheux, written in letters of -gold and ink.'[542] - -Doubtless this Claude Chappuis is the same man who belonged to the -household of Jean du Bellay, Ambassador to Rome in 1536. Having become -librarian to the King, he probably used in gilding the books mentioned in -the last quotation, the irons which François I had bought in Venice, as we -learn from another account, undated, but a little earlier, preserved, like -the others, in the national archives. - -'To Loys Alleman, Fleurantin, for sending to Venice for irons to -print[543] certain Italian books, and for the cost of such printing, the -sum of V livres.' - -As for Le Faucheux, mentioned here as a binder, he is evidently Étienne -Roffet, called Le Faucheux, described as binder and librarian to the King -on the title-page of the 'Œuvres de Hugues Salel,' which he published, and -which was printed at Paris, in octavo, in 1540.[544] He was the son of -Pierre Roffet (publisher to the two Marots, father and son), who had for -his sign a 'faucheur,' mower.[545] - - -X - -PASSAGES WRITTEN IN LATIN, IN MOST CASES BY TORY, TRANSLATIONS OF -WHICH ARE INSERTED IN THE BODY OF THE BOOK. - - - A - - _Godofredus Torinus Bituricus Joanni Rosselletto, literarum - amantissimo, S. D. P._[546] - -Egregiam de te spem, Joannes ornatissime, tuis et cognatis et patriæ, non -solum moribus, imo et benefactis, te velle nobiliter ostendere, nunquam -(opinor) tu prætermittes neque desistes. Quo tu Reipubl. vel consilio -prodesses, curasti ut per me Quintilianus emendatior caracteribus et -impressioni daretur bellissime. Multis exemplariis diligenter collatis, -unum (mendis pene innumerabilibus deletis) castigatissimum non pigra -manu feci; ipsum, ut jussisti, a Parrhisiis Lugdunum misi. Utinam et qui -impriment novos non superinducant errores. Vale, et me ama. - -Parrhisiis, apud collegium Plesseiacum, tertio calendas Martias. - - -B - - Imbutam ausonia cupiens me reddere lingua - Artibus et pariter me decorare bonis, - Nocte dieque docens pater ut charissimus, ipse - Fundamenta mihi dulcia et ampla dabat. - - -C - - MONITOR. Hanc tibi quis struxit gemmis insignibus urnam? - - AGNES. Quis? Meus in tali nobilis arte pater. - - MON. Excellens certe est figulus genitor tuus. - - AGNES. Artes - Quottidie tractat sedulus ingenuas. - - MON. An ne etiam scribit modulos et carmina? - - AGNES. Scribit. - Dulcibus et verbis hæc mea fata beat. - - MON. Ipsius est nimirum hominis solertia mira? - - AGNES. Tam celebrem regio vix tulit ulla virum. - - -D - - VIATOR. Mecenate aliquo certe dignissimus ille est. - - GENIUS. Mecenas franco rarus in orbe viget. - Nemo hodie ingenuas donis conformibus artes - Aut fovet, aut ulla sorte fovere parat. - Non est in pretio probitas, nec candida virtus. - Infelix adeo regnat Avaricia. - Fraus, dolus et vitium præstant; virtutibus omne - Postpositis miserum serpit ubique nephas. - - VIA. Quid facit ille igitur Musis excultus amœnis? - - GEN. In propria gaudet vivere posse domo. - - VIA. Ad reges alacri deberet tendere passu. - - GEN. Non curat, quoniam libera corda gerit. - Isti nonnunquam gaudent spectare potentes - Carmina, sed quid tum? nictibus illa beant. - Deberent gemmis auroque rependere puro - Aurea de superis carmina ducta polis. - Sed potius fatuis, nebulonibus atque prophanis - Contribuunt stulti grandia dona leves. - - -E - -Egregii quidam sunt felici hoc seculo pictores, lector humanissime, -qui suis lineamentis, picturis et variis coloribus deos gentilitios et -homines, itemque alias res quascunque adeo exacte depingunt, ut illis vox -et anima deesse tantummodo videatur; sed ecce, lector humanissime, ego jam -tibi, illorum propemodum more, domum offero, non solum suis lineamentis et -partibus elegantem et absolutam, sed etiam pulchre loquentem et encomio -sese particulatim describentem. - - -F - -Godofredo Torino, quem Ulvaricum[547] Biturigum peperit, quem Lutetia -Parisiorum fovit, viro linguæ: turn latinæ turn græcæ peritissimo, -litterarum denique amantissimo, typographo solertissimo et bibliographo -doctissimo, quod de partibus ædium elegantissima distica scripserit, -tumulos aliquot ludicros veterrimo stylo latine condiderit, Xenophontis, -Luciani, Plutarchi tractatus e græco in gallicum converterit, Parisiis -in Burgundiæ gymnasio philosophiam edocuerit, primus omnium de re -typographica sedulo disseruerit, litterarum sive caracterum dimensiones -ediderit, et Garamundum calco-graphum principem edocuerit, viri boni -officio, quoad devixit, anno M.D.L. semper defunctus, a monente -Joanne Toubeau, etiam typographo et auctore, mercatorum prætore, ædili -Bituri-censi, ob negotia civitatis difficillima ad regem et concilium -legato, ejusdem Torini abnepote, et typographicorum insignium hærede, -Nicolaus Catharinus, nobilis Bituricus, regis advocatus et senator -in Biturigum metropoli, a teneris annis huc usque et deinceps rei -typographicæ addictissimus, cursim raptimque scripsit, exeunte novembri -M.DC.LXXIV. - - -G - - _Godofredus Torinus Bituricus Philiberto Baboo, civi Biturico, - serenissimi Gallorum regis dispensatori ac camerario meritissimo, - salutem dicit humilimam._ - -Pomponium Melam, ornatissime Philiberte, geographorum authorem -luculentissimum, quum nuper inspicerem, eum tot mendis depravatum ac -lacerum esse cognovi, ut - - ... Ecce ante oculos mœstissimus author - Visus adesse mihi, largosque effundere fletus; - _Vergilius_, _Eneid._ _ij._ - - Ecce inquam: - - Raptatus bigis (heu miserum) aterque cruento - Pulvere, perque pedes traiectus lora tumentes, - Quam graviter gemitus imo de pectore ducens. - _Id._, _ibid._ - -Talibus verbis conqueri videbatur: Siccine ego qui tot terras, tot gentes, -insulas, amnes, freta, vada, carybdes, tam eleganter descripsi, quique -totius orbis descriptionem tam confidenter aggressus sum, sic mancus, sic -mutilus, sic truncus habebor? - - Hei mihi! quam cæsus sum, quamque similimus illi - Hectori qui quondam concretos sanguine crines - Vulneraque illa tulit quæ circum plurima muros - Accepit patrios.... - _Id._, _ibid._ - -Nisi medicabiles aliquæ in me manus se extendant, sine dubio, iam emoriar. - - Tarda Philoctetæ sanavit crura Machaon, - Phœnicis Chyron lumina Philyrides; - Et Deus extinctum Cressis Epidaurius herbis - Restituit patriis Androgeona focis. - _Proper._, _lib. ij_, _ad Mæcenatem_. - - Sed sane credo quod - - Hoc si quis vitium possit[548] iam demere, solus - Tantalea poterit tradere poma manu. - Dolia virgineis idem ille repleverit urnis, - Ne tenera assidua colla graventur aqua; - Idem Caucasea solvet de rupe Promethei - Brachia, et a medio pectore pellet avem. - _Idem_, _ibid._ - -Certe statim apud me dixi: Si Machaon, si Chyron aut Æsculapius essem, -libens huic rei subvenirem. Sed quid autem si manuum mearum opellam -impenderem? Nonne remedio esse possem? Forte, at equidem expertus, et id -quo saltem emendatior habeatur. - - Quod si deficiant vires, audacia certe - Laus erit: in magnis et voluisse sat est. - _Idem_, _lib. ij_, _ad Musam_ [_Ad Augustum?_]. - -Pauculas ergo annotationes adiecimus[549] quibuscum sub tuo nomine -(quandoquidem[550] et literarum et literatorum amantissimus es) bonis ut -aiunt avibus Pomponius ipse Mela iam tutius exeat. Vale. - -Parrhisiis, vj no. decemb. MCCCCC vij. - - -H - -Habes, ornatissime Philiberte, Pomponium ipsum Melam pluribus quibus -scatebat mendis iam emendatum. Curavi siquidem accuratissimo (qui etiam -primus apud Parisios græcis caracteribus lotissimas addidit manus) -impressori dare. Eum diligentius, et quo politior ac absolutior in tuas -primum, deinde cæterorum manus perveniat, recognoscere pauculaque in -eum subannotare non ingratus volui. Tu nunc cum ipso per totum orbem, -quemadmodum et Phiclus, qui super aristas eas non frangendo cucurrisse -fertur, non tantum secure, sed confidenter ac præsentissime ire ac redire -vales. Si tigres animalium pernicissimos comprehendere, catoblepam sine -tui malo cernere; si dracones, feras, satyros, panes, silvanos; si Indos, - - Et penitus toto divisos orbi Britannos; - -si Sauromatas, Afros, eorum denique si medios omnes populos videre, -pariterque ipsorum mores mirabiles cognoscere desideras, hoc in orbe, id -est,[551] Pomponio, manibus tuis amplissime comprehenso, sine dubio, iam -optime dispicere potes. Vale et me tibi devotum semper ama. - -Parisiis, nono calen. januarias. - -Ω - -CIVIS. - - -_In Pomponium Melam._ - - Mela, quibus plænus fueras erroribus, es iam - Excussus, tecum paucula menda manet.[552] - Tu melior multo longeque probatior extas - Quam prius; hoc fecit tantula nostra manus. - - -_Ad Philibertum Baboum._ - - Quod mea vita tibi multos se debeat[553] annos, - Hoc duo versiculi iam, Philiberte, probant. - Αλϕα mihi teneris habui quodcumque sub annis, - Id voluit fœlix ωμεγα ferre tuum. - -Ω - -CIVIS. - - -I - -Quia nihil est diffilius (_sic_) quam in nullo errare, non absurdum esse -videtur si cum lectoris bona pace paucorum admodum erratorum paucula -retractentur, ut illo verbo cum dicit in epistola _potuit_, scribendum est -_possit_.... - - -J - - _Reverendo in Christo patri et domino D. Germano Gannaio, - Cathurcensium episcopo designato, Godofredus Torinus Bituricus - salutem dicit humilimam._ - -Pium papam, antistes excellentissime, au thorem et dignitate et -singularitate sine dubio venerandum, in Asiæ et Europæ descriptione, iam -tersiorem et emendatiorem quam antea legebatur in luce exire curavimus. -Quem autem ei recenter ex chalcotypea officina sese expedienti, virum -delectum, literarum amantissimum, et singulari virtute plenissimum, statim -devotissime salutatum iret, potiorem sane te, dignioremve, cognoscere -potui nullum. Summum ipsum pontificem te maxime venerabilem antistitem -invisere rem esse putavi non iniucundam. Ipsum, inquam, geographiæ et -lectu dignissimæ (uti videre poteris) historiæ non pœnitendum authorem, -te, bonarum omnium literarum amatorem et cultorem, accedere et amplecti, -factum opido quam decentissime existimavi, gemmam auro, encaustum, id -est opus igni pictum, argento, et palmam vincenti conferre, procul -dubio nihil aliud est quam bona bonis, splendida splendidis et merita -meritis addere. Tibi profecto et cum his alia ratione pulcherrimum hoc -opus meritissime dedicari debet, siquidem per capita distinctum, et in -commodiorem ordinem, te promotore et iubente, redactum est. Quo facilius -(ut voluisti) et melius, tibi in primis, consequenter aliis omnibus -studiosis et legentibus, regiones terræ, quæ numero sunt multæ, et in -eis res scitu periucundæ capiantur et memoriæ commendentur, capitatim -nominibus fluviorum, opidorum, locorum, ducum et aliarum rerum insignium -in margine coannotatis, quæ etiam omnia in indice numeratim inveniuntur, -divisimus, ipsam hanc nostram lucubratiunculam tibi antistiti, reverentia -percelebri, sincæro dedicamus animo. Impar sine controversia est, quam -tuæ reverendæ paternitati deberem offerre, tu tamen, cuius benignitatem -et integritatem omnes prædicant (et me minime latet) excellentissimam, ea -fronte qua huiusmodi alias solitus es ipsam purissimas in manus tuas, si -placet, accipies. Vale. - -Parrhisiis, apud collegium Plesseiacum, 6 nonas octobris anno Domini 1509. - - -K - - _Godofredus Torinus Bituricus ad lectorem._ - -Quod eruęre, contendęre, misęre et huiusmodi multa, per tale e -in penultima scripta leges, factum est ut ipsa indicativi præterita, quæ -regulariter penultimam habent longam, a presenti et præterito imperfecto -modi infinitivi, quæ in tertia coniugatione semper corripiunt penultimam, -suam quantitatem, et quam inter legendum proferre debes, tibi ostendant. -Illam Psalterii Quincuplicis nuper in lucem dati perelegantem et absolutam -scripturam libenter sum imitatus et insecutus. Invenies etiam ipsum e in -aliquibus dictionibus, similiter in genitivis et dativis singularibus, -nominativis et vocativis pluralibus primæ declinationis nonnunquam, more -quorumdam, pro ædiphtongo poni, sed rarius. Insuper hæc consulto scripsi -mistum per s, et non per x, nam misceo facit miscui in præterito, unde -et mistum analogice, intellego, toties, quoties, litus, opidum, litera, -tralatum, aliquando, et id genus alia, secundum ορθογραϕιαμ, -id est rectam scripturam, observanda. TVRCAM etiam in prima declinatione, -quod multi in secunda proferunt, scripsi. Michael Tarchaniota Marulus -Constantinopolitanus ad Carolum regem Franciæ plausibiliter author est -mihi. Eius sunt hæc verba:-- - - Invicte magni rex Caroli genus, - Quem tot virorum, tot superum piæ - Sortes iacentis vindicemque - Iusticiæ fideique poscunt; - Quem mesta tellus Ausonis hinc vocat, - Illinc solutis Grecia crinibus, - Et quicquid immanis profanat - TVRCA Asiæ, Syriæque pinguis, _et cætera_. - -Quod etiam plureis parteis, omneis monteis, accusativos in eis protuli, -grammatice quidem et latine, authore Prisciano, lib. 7, cap. de -accusativis pluribus tertiæ declinationis, facere visus sum. Ea est -pulchra ad accusativum a nominativo discriminandum diferentiam, et -qua mille sunt usi authores, de quibus multis Salustium, Vergilium et -Plautum hic testes habere sat erit. Salustius, quiquidem primo etiam -verbo est usus, sic ait in Catilinario bello: 'Omneis homines qui sese, -etc.' Vergilius in primo Eneidos: 'Hic fessas non vincula naveis Ulla -tenent....' Plaut. in Aulularia: 'Quid est? quid ridetis novi omneis, scio -fures hic esse complureis.' Hoc lubens annotare volui, ut (bone lector) -non tantum dicendi puritatem intellegas, sed et tanquam digitos inter et -legendum et dicendum pura verba festiviter in promptu habeas et dicas. -Vale. - -CIVIS. - - -L - - _Herverus de Berna Amandinus Iuventuti Bituricæ S. D._ - -Divitem, didascalum nostrum, sapientia clarum et musarum alumnum, de -vobis bene meritum, non ignoratis; docuit enim vos Musas, Heliconem, -Phœbi nemus, Mercuriumque; et enim innumeri (tanquam ex e quo Troiano) -ex officina eius prodiere litterati. Curæ sunt ei gloriosissim Musarum -labores, cuius nomen in honoribus et laurea immortale servandum censeo -maxime. Ipse non solum quod dicitur ad Aristophanis, sed etiam ad -Cleantis, lucernam lucubrasse fertur. Elegantia carminis laudatum haud -dubitatis, ex quo fit ut poema religiosum quod conscripsit de Passione -Dominica extet, tantoque splendore refulgeat, tanta suavitate redoleat, -tamque florido ornatu spectabile sit, ut cœlestis ingenii artificio -potius quam humani fabrefactum credatur. Nec dubito quin ex eo contingat -quod plurimum litteratis viris contingere consuevit: ut ait Claudianus, -minuet praesentia[554] famam. Non tamen sine Theseo, hoc est Torino -Biturico, commilitone nostro, antiquis moribus, et, ut Plautus ait, -Massiliensibus[555], et cum virtute doctissimo, voluimus ut Dives in -publicum volaret: speroque iterum secundis (ut aiunt) avibus. Valete -fœlicissime. Ex ædibus nostris Amandinis, calendis martii. - - -M - - _Godofredi Torini Biturici in preceptoris sui Guilielmi Divitis - Gandavensis commendationem dialogus._ - -_Interlocutores_: MONITOR _et_ LIBER. - - M. Sancte liber, passum qui defles carmine Christum, - Fare age: cuius opus tam potes esse pium? - - L. Cuius opus? videas. Sum Divitis. - - M. Illius euge - Ditia qui Bituris tot documenta dedit? - - L. Vera putas. - - M. Vere est sapienti pectore Dives. - - L. Aptius hoc nullum nomen habere potest. - - M. Ipse est qui Bituris florenti dicere lingua - Edocuit, faciles pangere et ore modos. - - L. Dicere non tantum docuit, nec texere carmen, - Corpora sed Christi cæsa videre dedit. - - M. Brachia fixa Dei si quisquam cernere vellet, - An satis ad vivum Dives et ipse darer?[556] - - L. Ferre crucem Domini, si vulnera sæva, coronam, - Discupis, in manibus me gere, cuncta feres. - - M. Omnia vota ferat semper fœlicia Dives, - Tale piis qui dat cordibus esse bonum! - - L. Nestoreos terris perstet victurus in annos, - Postque obitum cœli ditia regna petat. - - CIVIS. - - -N - - _Philibertum Baboum, virum honestissimum, Godofredus Torinus - Bituricus salutem plurima iubet impartitum._ - -Anno præterito, quo tempore Pii Pontificis Maximi Cosmographiam -imprimendam curavi, Berosum Babilonicum in antiquitatibus regnorum -bellissime recognoscere et impressoribus non immutare dare venerat in -mentem; at, nescio quo animo meo se tunc agente, in aliud tempus, opera -dedita, rem propemodum divinam facturus, differre decrevi, distulissem -quidem et in longissimum, atque, ut proverbio memoratur, ad calendas -græcas, nisi, ut ita dicam, Berosus ipse, et quod non parvi apud me est, -eritque semper, amicorum plusculi, quotidie ad aurem meam cum precibus -quodam modo simul innuentes, Myrsilum, de origine Turrenorum, Catonem, in -fragmentis, Archilocum, Methastenem, Philonem, Xenophontem, de æquivocis, -Sempronium, Fabium Pictorem, et Antoninum Pium, in fragmento itinerarii, -coimprimendos efflagitanter desiderassent. Avarissimum est genus hominum, -quod si librum (librum dico inventu rarum) trium aut quatuor versiculorum -habeat (more formicarum Indiæ, necnon griforum, qui aurum penitus egestum -cum summa pernicie attingentium custodire feruntur), continuo abstractum -servat, cathenis et compedibus captivum et misellum prorsus incarcerat. -Tale genus potius cum huiusmodi et formicis et grifis, quod et alii -grifibus declinant, curiosam et avaram illam singularis alicuius sibi -habendi cupiditatem exercere, quam cum hominibus inhumanitatem, quod et -melius forte dixerim immunitatem, habere deberet. Non solum nobis nati -sumus, debemur et amicis, debemur et patriæ. Igitur ne ardentis lucernæ -clarissimum lumen opprimere velle videar, sub nomine tuo, Philiberte, -civium Bituricorum ornatissime, gratiusculum reipublicæ factum opinor -daturus Berosianam antiquitatem cum aliis authoribus nominatim præscriptis -in apertum, et studium omnibus commune iam libentius emitto. Vale. - -Parrhisiis, apud collegium Plesseiacum, 6 nonas maias 1510. - -CIVIS. - - -O - - _Godofredus Torinus Bituricus ornatissimos Philibertum Baboum et - Ioannem Alemanum Iuniorem, cives Bituricos, pari inter se amicitia - conjunctissimos, salutat._ - -Debentur vobis, viri singulari virtute plenissimi, omnes quos et noctu et -interdiu assumere possum (etiam de industria) labores. Ecce. Quia moribus -antiquis, id est honestis et vere bonis, haud mediocriter utimini et -gaudetis, Probum Valerium scripturarum antiquarum et abbreviationum quæ -in numismatis, sepulchris et tabellis antiquitus perbelle consignabantur, -diligentissimum coacervatorem certissimumque explanatorem, sub vestro mihi -semper amando nomine, lubens ut vel tantillum reipublicæ valeam prodesse, -caracteribus et impressioni, cum nostra utinam tam felici quam diligenti -recognitiuncula, trado. Sinite, quæso, authorem perquam singularem primum -in vestras omnem ad virtutem aptissimas, deinde studiosorum omnium aliorum -manus, commode iam et festiviter exire. Valete. - -Parrhisiis, apud collegium Plesseiacum, 6 idus maias 1510. - -CIVIS. - - -P - - _Godofredus Torinus Bituricus lectori salutem._ - -A quo tempore Probum Valerium imprimere bonis, ut reor, avibus incœpi, ne -liber unius aut duorum codicum enchiridio minus aptus exiret, pluscula -scitu non indigna coimprimere venit in mentem. Tractatum de ponderibus -et mensuris, ex Prisciano; item, quemadmodum datæ formæ agrorum metiri -debeant, ex Columella; similiter figuras quæ sub dimensionem cadant, -ex Georgio Valla; dialogos etiam aliquot cum ænigmatis, ex diversis -authoribus diligenter pro tempore collectis, superaddimus. Ænigmata -consulto reliquimus inenarrata, ut tibi legenti (quod ait Gel. in 12 -libro, cap. 6) coniecturas in requirendo acueres. Da, precor (bone -lector), operam, ne tibi, quod etiam ænigmatice Plautus in Milite ait: -Glaucoma ob oculos obiecerim. Vale. - - -Q - - _Dialogus per Godofredum Torinum, in quo urbs Biturica, sub loquente - persona, describitur._ - - _Interlocutores_: MONITOR _et_ URBS. - - MON. Urbs, tibi quod nomen? - - BIT. Biturix. - - MON. Tu dic age quodnam - Hæc sibi quæ video tecta superba volunt? - - BIT. Templa, domos, turres, divina palatia spectas. - - MON. Hercle! suis cœlos molibus exuperant. - Hæc quæ templa, precor? - - BIT. Stephani protomartiris, ipsa - Quæ Triviæ excedunt marmora celsa deæ. - - MON. Quæ domus illa rubris excellens cordibus una, - Memnonis anne ipsa est ædificata manu? - - BIT. Hanc Iacobus homo Cordatus condidit olim, - Dives opum; nobis quem abstulit invidia. - - MON. Arcibus hæc Phariis quæ maior cernitur, heus tu! - Quæ turris? miror cum satis aspicio. - - BIT. Celtarum populos regeret cum maximus ille - Ambigatus, quondam condita tanta fuit. - - MON. Dic, ea, dic, palatia sunt Capitolia nunquid - Aurea? Responde, quid retices, Biturix? - Non loqueris facili quæ[557] iam sermone loquuta es, - Hic mihi vis fieri quod fuit Harpocrates? - - BIT. Non, ea sed tanta (videas) sunt arte probanda, - Talia quod totus non tulit orbis adhuc. - - MON. Terra quid hæc tanto quæ se distendit hiatu? - - BIT. Est ubi turris erat constituenda mihi. - - MON. Altera nonne tibi quanta est hæc? - - BIT. Altera tanta. - Turribus a binis inde vocor Biturix. - - MON. Nomine quo fertur nostro hoc sub tempore? - - BIT. Fossam - Vulgus arenarum dictitat et vocitat. - - MON. Quis tibi, quis fluvius memorandus? - - BIT. Avaricum. - - MON. An ille est - Quem memorat Cæsar Gallica bella notans? - - BIT. Ille est. - - MON. Sunt alii? - - BIT. Duo sunt: sunt Ultrio et ipsa - Innumeris pregnans Hebrya pisciculis. - - MON. Quæ tibi sunt dotes? - - BIT. Omnis veneranda facultas - Est mihi quæ nummos cudit et aula novos. - - MON. Nil aliud quicquam est? - - BIT. Aquitania primam - Me vocat, et leges accipit ipsa meas. - - MON. Numina quæ tecum? - - BIT. Sunt Juno, Jupiter et Pan, - Vesta, Diana, Ceres, Liber et ipse pater. - - -R - - _Godofredus Torinus Bituricus Philiberto Baboo et Ioanni Alemano - Iuniori, viris ornatissimis, S. P. D._ - -Maiores nostros sua probitate contentos modum suum ædificandi parva -cum arte et elegantia quondam exercuisse (viri singulari virtute -cumulatissimi) nemo est qui nesciat. Contenit siquidem ipsa mediocritate, -domos et habitacula magno sine luxu et splendore construebant et -inhabitabant. Eo tandem est perventum, ut ingeniis plusculum iam -expergefactis fiant et adstruantur ædificia passim non incelebria. Nempe -ab illo tempore quo magnanimus ille Rex, totius Italiæ terror, Carolus -Octavus, non sine magna gloria victor Neapoli rediit, ars ipsa ædificandi -sane quamvenusta, Dorica et Ionica, item Italica, totam hic apud -Galliam exerceri cœpit bellissime. Ambasiæ, Gallioni, Turoniæ, Blesis, -Parrhisiis et aliis centum nobilibus locis, publice et private conspicua -iam ædificia cernere licet antiqualia. Licet, inquam, adeo nitida et -ad unguem exculpta dispicere multa, ut non modo Italos, imo Dores et -Iones, Italorum magistros, ipsi Galli vincere videantur et iudicentur -manifestissime. Rebus huiusmodi et ingeniis tam excellenter florentibus -optimum esse duxi rem admodum utilem non ingratus obferre, diligensque -superaddere, Leo Baptista Albertus, author in architectura et familiaris -et luculentus, apud me quasi sopitus delitescebat. Visus est dignissimus -qui tempestive iam pro claris et melioribus ingeniis oblectandis et -adiuvandis in Gallia daretur impressioni. Dignissimus, inquam, visus est -mihi, et eo maxime, quod et libri ipsi decem, quibus totum opus constat, -per capita sunt distincti. Ipsa capita vir bonis literis eruditus Robertus -Duræus Fortunatus, meus apud suum collegium Plesseiacum Parrhisiis quatuor -annos quibus docebam olim primarius, accurate et diligenter digessit, -mihi exscribenda non gravate dono dedit. Exscripsi opusque totum, -insuper elimavi, mendis quamplurimis defecavi, succum textus in margine -transcripsi, chalcographo imprimendum dedi. Sinite, oro, viri Biturigum -celeberrimi, opus egregium in bonorum omnium ingeniorum et studiosorum -manus sub nomine vestro mihi semper excolendo fœliciter exire haberi, -legi. - -Valete patriæ columina et ornamenta speciosissima. - -Parrhisiis, e regione collegii Coqueretici, XV kal. septembris M. D. xij. - - CIVIS. - -Leonis Baptistæ Alberti Florentini, viri clarissimi, de re ædificatoria -opus elegantissimum et quammaxime utile, accuratissime Parisius in Sole -Aureo vici Divi Jacobi impræssum, opera magistri Bertholdi Rembolt et -Ludovici Hornken, in eodem vico ad intersignium Trium Coronarum, e regione -Divi Benedicti commoran. Anno Domini M. D. XII, die vero xxiii Augusti. - - -S - - _Godofredus Torinus Bituricus Philiberto Baboo, viro modestissimo, - S. P. D._ - -Itinerarium multis iam annis, vir ornatissime, situ propemodum obsitum, -quum ab amico michi semper excolendo Christophoro Longuolio, viro sine -controversia studiorum omnium bonorum excellentissimo, iam ab hinc -quatuor annos commodo primum exscribendum accepissem, unum tibi manu mea -scriptum, forma quidem non usque quaque ineptum, ad te ex Parrhisiis in -Turoniam mittere venerat in mentem. Viro cuius etiam nomini lubens parco -ad te dederam portandum; verum ipse alii nescio cui, te, me, et sua fide -posthabitis, satis impudenter dono dedit. Labore meo sic ego frustratus, -alterum tibi conscribere maturabam, nisi ipse Longuolius, qui exemplar -iam olim ex Morinis adportaverat, et michi, ut dixi, commodo dederat, -nuper ex Pictavis Parrhisios adveniens, monuisset imprimendum curarem. -Curavi equidem, nominibus opidorum seiunctim et seriatim coordinatis, -additis etiam suo loco plusculis aliter in altero exemplari scriptis. -Feci et indicem, quo facillime quodcumque opidi et loci nomen in toto -opere disquiri possit. Mirabitur fortassis aliquis ipsius operis stilum, -interdum etiam nonnullis in locis latinitatem. Stilum ipsum satis -laudabit studiosus; latinitatem vero antiquæ illi ætati lector non -malivolus condonabit. Multa subemendassem Ptholomeo, Strabone, Dionysio, -Mela, Plinio, Solino et authoribus aliis aliquot non omnino aspernandis -usus, sed et authori augusto reverentiam, et exemplari admodum vetusto -synceritatem observans, nichil immutare volui, Longuolii mei in aliud -tempus studia vigilantissima, vel alicujus Hermolai limam exactissimam -expectans. Unum est quod hic tangere non verebor, authoris nomen in -exemplari fuisse meo judicio imperfectum (nam et Antoninus Augustus -inscribitur). Ab Hermolao, viro alioqui nitido, Antoninus multis in locis -apud suas in Plinium castigationes allegatur. Viderint qui legent. In -textu exemplar ipsum secutus sum. In inscriptione libri Hermolaum sum -imitatus. Laborem meum quantulumcumque tibi (ut debeo), animo nequaquam -ingrato, nuncupatim dico. Suscipe, oro, qua fronte et optima quæque soles, -et permitte studiosissimorum quemque per insignes mille urbes, te duce, -cum hoc itinerario venire. Vale, studiorum meorum succollator humanissime. - -Parrhisiis, e regione collegii Coqueretici, 14 calendas septembris 1512. - - CIVIS. - - -T - - _Torinus lectori salutem._ - -Quo melius hoc Itinerario, iucunde lector, possis uti, admonendus es -quæcumque virgula miniacea notata deprehendes ea plura fuisse apud vetus -exemplar quam in altero recenti; quæ autem in ipso recenti diversa -legebantur minutula litera et ipsa quidem rubra suis locis sunt super -impressa. Quandocumque hujus modi signum ʌ interlegendum occurret, dictio -vel numerus eodem signo supra vel juxta notatus esse debet. Ilud etiam in -textu multis in locis hoc modo scriptum mpm. significat milia plus minus. -Scriptum est autem sic ne tam frequens et longula repetitio lectorem tedio -afficeret. In indice nonnumquam b. literam solam, post vel inter chartarum -numeros, invenies: ea significat dictionem ipsam bis ad minimum eadem in -charta posse inveniri. Vide ergo, et gratus attende, quod si quos hanc -nostram diligentiam non amare videas, Persianum illis hoc apud te dicas: -'Virtutem ut videant, intabescantque relicta.' Hoc ideo scribo quoniam -inter imprimendum quidam nichil tale intelligentes de more damnabant. - -Vale et vive diu fœlix. - - CIVIS. - - -U - - _Gerardi Versellani Burgundi carmen hendecasyllabon in malos - impressores._ - - Ergo hinc ergo procul manus profanæ - Vulgi chalcographon inauspicati, - Impuræque operæ procul facessant, - Ne interdicto aditu improbaque fronte - Res spurcetur et inquinetur alma. - Ne quis nesciat: hoc sacrum est volumen. - - Heu chalcographi mali et miselli, - Nullas ne scholicas quidem aut aniles - Nugellas dare formulis periti, - Quid sanctas male taminatis artes, - Incestaque manu novem Sororum - Funestatis opes laboriosas? - - Quid non promitis ita ab officina - Illuc projicier fodique dignum - Quo ventris retrimenta deferuntur? - - Ergo hinc ergo procul profani abite, - Vos, o chalcographi mali et miselli! - Sit dictum satis: hoc sacrum est volumen - Quod noster Godofredus, ille noster, - Ille, inquam, Biturix, Pii misertus, - Lethæa carie eruit sepultum, - Ductu Longuolii sui atque ope usus. - - -V - - _Torinus lectori felicitatem._ - -Hasce plusculas recognitiones, lector optime, oro non admirare. Sic eas ab -exemplari vetere diversas collegi, ut tibi non pigra manu librum emendare -possis. Errores chalcographis imponerem; sed ars ipsa prelaria suopte more -hoc in se habet, ut ne libellus quidem sine aliqua menda prorsus imprimi -possit. Vale. - - _Ad studiosum Epigramma per Torinum._ - - Oppida si centum, centum si sedulus urbes - Certo cum spacio, lector, adire paras, - Centena portus si cum statione marinos - Excupis, et recta doctior ire via, - Hunc tibi comprimis habilem studiose libellum - In dextra gratus semper habeto manu. - - -W - - _Torinus ad Librum._ - - I, Liber, ad vatum penetralia sacra piorum; - Es facilis, tersus, candidus, atque probus. - Exornatus habes nardosque, rosasque, crocosque, - Cum Phœbo et latias numina grata Deas. - Ne vereare Deos tecum vectare faventes, - Spirantem lauros te super astra ferent. - - _Agnes Torina, virguncularum modestissima suavissimaque, de tumulo - viatorem alloquitur._ - - Qui levibus transis pedibus, dilecte viator, - Siste parum; ecce, tibi dicere pauca libet. - Vive memor leti, viciis abstersus, et illam - Spem tibi vivendi, si sapis, abjicito. - Ore nites hodie pulchro, sed stamine secto - Protinus in nihilum te impia Parca rapit. - Hoc experta scio, quoniam virguncula nuper - Annos nata decem rapta repente fui. - Ut rosa florebam sociis virtutibus illis - Quæ cerni in tenera virginitate solent. - Sed tamen interii crudelibus obruta fatis, - Iam data carnivoris vermibus esca meis. - Vermibus esca meis iaceo data, non tamen usque - Usque adeo exanguis quin tibi vera loquar. - Ore loquor latio, nec mirum, candide amice, - Filia nam vatis sum memoranda pii. - Imbutam ausonia cupiens me reddere lingua - Artibus et pariter me decorare bonis, - Nocte dieque docens, pater ut charissimus, ipse - Fundamenta mihi dulcia et ampla dabat. - Docta forem celebres nimirum amplexa camænas, - Et canerem blandis carmina pulchra modis. - Oscula chara mihi genitor meus inde dedisset, - Imponens capiti laurea serta meo. - O miseras hominum sortes! O vota caduca! - In terris nihil est quod solidum esse queat. - Non solum miseris mortalibus obvia mors est, - Sed tacito insidians clam subit ilia pede. - Ah! caveas igitur, caveas moriture, profecto - Omnia sub modico tempore lapsa ruunt. - Tu dum vivis adhuc, magnos dum quæris honores, - Instabili[558] et rapide pergis obire gradu. - Si contentus abis hoc uno denique certo - Consilio, et tu me dicere vera putas, - Sparge mihi flores, violas et lilia, nardos; - Funde preces etiam, si placet, et lachrymas. - Me facies superum precibus conscendere ad axem, - Lux ubi perpetua est, pax et amœna quies. - Hoc erat exiguum quod ego te scire volebam, - Vive memor leti, mox periture. Vale. - - Obiit ubi erat nata, Parisiis, xxv augusti, - anno Do[mini] M.D.XXII. - -Vixit annos novem, menses undecim, dies fere triginta. Horas scit nemo. -Momenta solus novit Deus. - - * * * * * - - PATER _et_ FILIA _collocutores_. - - P. Vermibus esca iaces, charissima filia! tu me - Linquis in assiduis fletibus et lachrymis. - - F. Chare pater! lachrymis parcas et fletibus, actum - Est de me. Iuvenes mors rapit atque senes. - - P. Parcere non possum diris nec planctibus. Eia! - Debueram in mortem iustius ire prior. - - F. Sic fore non placuit fatis cœlestibus. Ad me, - Crede mihi, certo funere tu venies. - - P. Interea manibus violas et lilia plenis - Ad tua demissa fronte sepulchra feram. - - F. Adde preces, precibus supera ad convexa volabo: - Astra piæ faciunt scandere celsa preces. - - P. Est ut ais, tu gnata etiam pro patre precare, - Scilicet ut tecum sidera læta petat. - - F. Sidera læta petes curis exemptus amaris, - Omnibus et mentis sordibus expositis. - - P. Vera mones, et sic faciam. Deus optimus ad se - Te vocet in cœlum. Filia chara, vale. - - * * * * * - - P. Eia, mea dulcis anima, defuncta es. - - F. Euge, pater. Nemo immortalis. - - * * * * * - - _Disticha duodecim urnæ faciebus separatim inscribenda._ - - -In prima facie. - - Vis flores! violas! Vis lilia! serta! cyperos! - Hæc tibi, sume libens, fictilis urna dabit. - - -In secunda. - - Hac Agnes defuncta iacet virguncula in urna, - In cuius medio spirat amœnus odos. - - -In III. - - Hic locus, hic et Amor, Ludus, Virtus quoque, et ipsæ - Cum Musis Charites suntque sedentque Deæ. - - -In IIII. - - Hac amaracus inest urna, redolensque cyperus, - Insunt et violæ, lilia, serta, rosæ. - - -In V. - - Non iacet hic Agnes virguncula sola, sed ipsæ - Cum Phœbo Clariæ suntque sedentque Deæ. - - -In VI. - - Bracteolas gemmis iunctas viridesque lapillos - Hæc cum perpetuis floribus urna fovet. - - -In VII. - - Vis et amas urnam Agnetis cognoscere? Cerne, - Laurus ubi excellens alta sub astra viret. - - -In VIII. - - Hic defuncta iacet virgo memorabilis Agnes, - Quæ faciles tenero iam dabat ore modos. - - -In IX. - - Annos nata decem iacet hic virguncula vates, - Carminis ingenui et virginitatis honor. - - -In X. - - Si petis Agnetis cineres cognoscere certos, - Hic sunt, ne dubita credere, certus habes. - - -In XI. - - Vis Phœbum et Musas modulis cum dulcibus ipsas? - Hanc subeas urnam, protinus invenies. - - -In XII. - - Succrescens vates, teneris defuncta sub annis, - Hic cum laurigera virginitate iacet. - - * * * * * - - MONITOR _et_ AGNES _collocutores_. - - M. Dic mihi pauca, precor, vates virguncula? - - A. Dicam. - Dummodo pauca roges. - - M. Pauca rogabo. - - A. Roga. - - M. Quæ tibi defunctæ mens? - - A. Aurea. - - M. Quid tibi corpus? - - A. Pulvereum. - - M. Quisnam spiritus? - - A. Æthereus. - - M. Sufficit, alma quies tibi sit cum pace perennis. - - A. Et tibi viventi dulcis et ampla salus. - - _Disticha de lauro prope tumulum et urnam Agnetis in tabellis - scriptis pendentia._ - - -In prima tabella. - - Hic iacet eximiæ vates virtutis imago, - Naturæ specimen nobile et egregium. - - -In secunda. - - Hic confracta iacent pharetris languentibus arma, - Quæ quondam ingenuus ferre solebat Amor. - - -In III. - - Unio, chrystallus, magnes, viridisque smaragdus, - Hic cum virginea vate iacente nitent. - - -In IIII. - - Hic ver perpetuum vario cum flore virescet, - Dum carpenta micans aurea Phœbus aget. - - -In V. - - Hic Decor et Ludus, Risusque, Iocusque, quiescunt, - Hic cum laurigera est virgine inermis Amor. - - -In VI. - - Hac conclusus inest media thesaurus in urna; - Ne tangas, gemmæ sunt simul innumeræ. - - -In VII. - - Dum radiis Phœbus cœlestia templa replebit, - Hic violæ et flores, his et anetus erunt. - - -In VIII. - - Hic Amor, et Ludus, Risusque, Iocusque, Leposque, - Hic Musæ et Charites, hic et Apollo sedent. - - -In IX. - - Hic cum mellifluis habitat virguncula Musis, - Acceptura decus perpetuumque melos. - - -In X. - - Sponte sua tellus amaracina secta refundens - Hic viret, et verno rore benigna madet. - - -In XI. - - Hic violæ, hic flores, hic lilia, serta, coronæ, - Sponte sua increscunt, sponte suaque virent. - - -In XII. - - Hic sua signa manu Genius difringit acerba, - Naturæ specimen dum periisse videt. - - * * * * * - - MONITOR _et_ VIRGINITAS _collocutores_. - - M. Heus tu quæ roseo es virgo spectabilis ore, - Quid facis hic lachrymans anxia tota? - - V. Gemo. - - M. Quæ causa est gemitus? - - V. Agnes virguncula, cuius - Hæc prope me cineres fictilis urna tenet. - - M. Unde meis tam suavis odos est naribus? - - V. Urna - De media, Charites quem posuere Deæ. - - M. Quid posuere? - - V. Rosas et cinnama, balsama, nardos, - Flores et violas, lilia, serta, crocos. - - M. An amaracus inest etiam cum stacte cyperus? - - V. Omnis inest redolens herba et amænus odor. - - M. Urna gerit viridem pulchre insignita coronam? - - V. Ut decet et par est, laurea serta gerit. - - M. Quæ ratio? - - V. Musas in se comprendit ovantes, - Quæ teneræ cantant virginis exequias. - - M. An solæ recinunt? - - V. Solæ non. Phœbus Apollo - In medio modulans mystica sacra fovet. - - M. Quid tibi vis igitur, virgo suavissima, tanto - Cum gemitu, et superi te prope dulce canunt? - - V. Vera tibi dicam, nequeo non flere libenter, - Tam fuit egregio nobilis ingenio. - Annos nata decem, patris præcepta secuta, - Iam facilis vates carmen ab ore dabat. - - M. Tu mihi naturæ miracula grandia narras! - - V. Hisce nihil terris verius esse potest. - - M. Qui sunt quos video stantes? - - V. Ludus, locus, inde - Gestus, Honor, Virtus et genialis Amor. - - M. Arma iacent urnam circum quamplurima fracta? - - V. Ipsi gestabant integriora Dei. - - M. Quid facient fractis olim sic omnibus illis? - - V. Cum planctu et lachrymis assiduos gemitus. - - M. Tune etiam flebis? - - V. Flebo mœstissima semper. - - M. Nomen habes? - - V. Habeo. - - M. Quid tibi? - - V. Virginitas. - - M. Chara, vale. - - V. Valeas, Monitor charissime, et huius - Egregiæ quondam virginis esto memor. - - * * * * * - - MONITOR _et_ AGNES _collocutores_. - - M. Parva iacens vates celebri dignissima laude, - Sum potis his tecum dicere pauca? - - A. Potis. - - M. Hanc tibi quis struxit gemmis insignibus urnam? - - A. Quis? Meus in tali nobilis arte pater. - - M. Excellens certe est figulus genitor tuus. - - A. Artes - Quottidie tractat sedulus ingenuas. - - M. Anne etiam scribit modulos et carmina? - - A. Scribit. - Dulcibus et verbis hæc mea fata beat. - - M. Ipsius est nimirum hominis solertia mira? - - A. Tam celebrem regio vix tulit ulla virum. - - M. O tali virgo felix genitore! - - A. Profecto. - Ipse etiam nomen tollit inastra meum. - - M. Audio concentus. - - A. Clariæ modulamina Musæ - Cum Phœbo hic mecum nocte dieque canunt. - - M. Te prope conspicio Charites? - - A. Mihi serta ministrant. - - M. Unde legunt violas? - - A. Collibus Elysiis. - - M. Sunt alii tecum? - - A. Sunt et tria numina. - - M. Quænam? - - A. Ludus, Amor, Monitor candide, et inde Iocus. - - M. Quid faciunt? - - A. Holocausta mihi divina reponunt, - Et solitos implent fomite et igne focos. - - M. Es Dea de superis iamdudum sedibus una? - - A. De superis fio sedibus una Dea. - - M. Si Dea, cur charos in cœlica regna parentes - Scandere non curas? - - A. Scandet uterque parens. - - M. Sed quando? - - A. Quando certe sua fata videbunt - Esse opus. Ex fatis stat sua cuique dies. - - M. Stat sua cuique dies ergo certissima? - - A. Cuique - Eveniunt certo fata suprema die. - - M. Interea genitor tuus et tua mater in hisce - Quid facient terris? - - A. Quid? Pia, sacra, preces. - - M. Postea quid fiet? - - A. Cœlestia templa beati, - Æthereo et supero patre favente, petent. - - M. In mea iam redeo tractanda negocia. - - A. Quando - Nempe voles; felix vive, et amice vale. - - M. Tu quoque cum superis habita cœlestibus ut mens - Ætherea, ut sidus nobile, ut alma Dea. - - * * * * * - - GENIUS _et_ VIATOR _collocutores_. - - G. Siste parum, ulterius, quæso, nec tende viator, - Hanc urnam et tumulum quin prius aspicias. - - V. Quis tu? - - G. Sum Genius. - - V. Quid vis tibi? - - G. Pauca vicissim - Hic cupio tecum dicere, amice. - - V. Placet. - - G. Virgineam vatem fatis crudelibus haustam - Aspice ut hæc in se fictilis urna tenet! - - V. Annos quot vixit? - - G. Bis quinque. - - V. Canebat et ilia - Docta modos? - - G. Sic est. - - V. Tu mihi mira canis. - - G. Scribebat dulci genialia carmina versu, - Sponte sua modulans, sponte suapte canens. - - V. Naturae o rarum decus! o manifesta Deorum - Gloria, quod vates ilia tenella foret? - - G. Carmen erat quicquid casu proferre volebat, - Quicquid et optabat dicere carmen erat. - - V. Unde illi tantæ frugis veniebat origo? - - G. Sedibus a superis, unde venire solet. - - V. Ut divina igitur versus faciebat amœnos? - - G. Ut divina, sui et iussa secuta patris. - - V. Illius an etiam genitor modulamina tractat? - - G. Tractat, et est vates candidus atque probus. - Est probus et facilis, tersus, florensque, decensque. - Est quem divino carmine Musa beat. - - V. Mecenate aliquo certe dignissimus ille est. - - G. Mecenas Franco rarus in orbe viget. - Nemo hodie ingenuas donis conformibus artes - Aut fovet, aut ulla sorte fovere parat. - Non est in pretio probitas, nec candida virtus. - Infelix adeo regnat Avaricia. - Fraus, dolus et vitium prestant; virtutibus omne - Postpositis miserum serpit ubique nephas. - - V. Quid facit ille igitur Musis excultus amœnis? - - G. In propria gaudet vivere posse domo. - - V. Ad reges alacri deberet tendere passu. - - G. Non curat, quoniam libera corda gerit. - Isti nonnunquam gaudent spectare potentes - Carmina, sed quid tum: nictibus illa beant. - Deberent gemmis auroque rependere puro - Aurea de superis carmina ducta polis. - Sed potius fatuis, nebulonibus atque prophanis - Contribuunt stulti grandia dona leves. - - V. Ille suam natam studiis ornabat honestis? - - G. Ornabat studiis, artibus atque bonis, - - V. An quoque et illa libens patris præcepta tenebat? - - G. Nil magis optabat quam patris ora sequi. - - V. O quam grandis honor patriæque patrique fuisset - Integra si vitæ munia adepta foret! - - G. Nimirum Francis in sedibus illa puellas - Ante omneis alias gloria prima foret. - Insignis facie, vultu formosa modesto, - Moribus et dictis aurea tota bonis. - Ad se corda hominum, iuvenumque, senumque trahebat - In sua constanti vota sequenda fide. - - V. Mira mihi dicis? - - G. Dico tibi vera, viator. - Ingenuæ speculum nobilitatis erat. - - V. O nimis immensus dolor! o dolor asper et angor! - Tam rapido talem posse perire gradu! - Quid pater interea faciet? - - G. Mœstissimus ipse - Cordolium et lachrymas perferet assiduas. - - V. Ille preces melius superis cœlestibus amplas - Funderet et precibus iungeret exequias. - - G. Exequias precibus iungitque fovetque perennes, - Implet et assuetos fomite et ignefocos. - - V. O tam plausibili virguncula digna parente! - O etiam tali stirpe beate pater! - - G. Illa modo lætis in nubibus alma refulget, - Ut jubar exortum, sidus ut aureolum. - - V. Æthereis fulgens in sedibus illa triumphet, - Et patrem secum filia grata trahat. - - G. In rem vade tuam, si vis modo abire, viator: - Hæc sunt quæ volui dicere. Amice, vale. - - V. Sis felix tumuli custos, urnæque retector; - In rem vado meam sedulus et properus. - -Impressum Parrhisiis, e regione scholæ Decretorum, anno Do[mini] -M.D.XXIII, die xv mensis febr. - - -X - - _Godofredus Torinus Biturigicus lectori candido s(alutem)._ - -Egregii quidam sunt felici hoc seculo pictores, lector humanissime, -qui suis lineamentis, picturis et variis coloribus deos gentilitios et -homines, itemque alias res quascunque adeo exacte depingunt, ut illis vox -et anima deesse tantummodo videatur; sed ecce, lector humanissime, ego iam -tibi illorum propemodum more, domum offero, non solum suis lineamentis et -partibus elegantem et absolutam, sed etiam pulchre loquentem et encomio -sese particulatim describentem. Offero etiam tibi septem Epitaphia antiquo -more et sermone veterrimo conficta et conscripta, varios miserorum -hominum amantum affectus pervio quodam modo ostendentia. Ipsa tibi -(inquam) lubens offero, non ut ita verbis obsitis loquaris aut scribas, -sed ut antiquitatem ipsam tibi ante oculos tuos faciles et iucundissimos -habeas, et te a me benemonitum intelligas, ut in amoris insani laqueos et -angustias devenire caveas. Vale. - - -Y - - _Gotofredus Torinus Biturigicus ad reginam Leonoram._ - - Pergimus hunc, Leonora, tuum celebrare triumphum, - Quem tibi Parrhisii contribuere tui. - Tam pia tu nobis extas regina quod omnes - Dicere te veram possumus esse DEAM. - Esse DEAM sane te dicere possumus almam, - Quum nos optata denique pace beas. - Pace beas omneis qui Gallica regna frequentant, - Fata adeo nutu te statuere bono. - Ut proba, sancta etiam, clemens, et vera beatrix, - Adduxti patriæ Lilla nostra suæ. - Vis dicam paucis, et verum proloquar, in te - Omnibus est nobis publica et ampla salus. - - -_Idem ad eandem._ - - Di, Leonora, tibi felicia Fata perennent; - Lætitia es nobis, Pax, et amœna Quies. - - -_Idem Torinus ad Gentem Gallicam._ - - Exulta et lætare simul, gens Gallica, cernis - Quas tibi delicias iam Leonora facit. - Ipsa, Dei (credas) manifesto numine missa, - Te facit egregia denique pace frui. - Sparge rosas, lauros, violas, nardumque, crocumque, - Et genio indulge tota iocosa tuo. - Sed videas etiam ne tu gens optima cesses - Ante Deum laudes accumulare pias; - Si canis usque Deo laudes, et phana frequentas, - (Crede mihi), pacis commoda longa feres; - Aurea sub facili spectabis secula cœlo, - De terra et felix aurea farra metes. - Adde quod et pariter fies gens aurea tota. - Perge igitur summo sacra iterare Deo. - - -Z - - _Ludovica, regia mater, suam Galliam alloquitur et consolatur, Go. - Torino Bit. scribente._ - - Gallia, quid de me luges mæstissima? nescis - Quod genus omne hominum morte perire solet? - Respira, et tecum expende ut te provida ab atris - Hostibus et diris casibus eripui. - Linquo tibi gnatum cœlesti numine regem, - In pulchra qui te, me duce, pace fovet. - Te penes in gremio lætus sua pignora cernit, - Orbem quæ totum sub tua sceptra dabunt. - Reginam virtutis habes et pacis alumnam, - Sidere felici quæ tua fata beat. - Altera et una tibi est etiam regina sacrati - Quæ soror est regis et benesuada tui. - Principibus tantis non est tibi, chara, gemendum, - Gallia! tu felix talibus es ducibus. - Ipsa ego te prorsus moriens non desero, nanque - Immortale meum tu modo nomen habes. - Semper apud superum pro te devota Tonantem - Orabo, ut victrix et generosa regas. - Sparge mihi lauros, violas, nardosque crocosque; - Stracte (_sic_) etiam flores, lilia, serta, rosas; - His super adiungas summiscum laudibus hymnos, - Exequias, modulos, thura sabea, preces. - Aras ne dubita mihi tendere. Nam, Dea ut alma - In cœlos pergo ianque volare. Vale. - -[Illustration] - - -FOOTNOTES: - -[Footnote 501: Another document which M. Boyer has kindly made known -to me, dated in 1489, informs us that this Jean Thory lived on rue aux -Vaches, in Faubourg Saint-Privé; so that it was on that street that -Geofroy was born. 'Now,' M. Boyer writes me, 'as that street contains -only two houses, I am inclined to select as the house in question the -one designated by the name of _maison du perron_, because of a stoop -(_perron_) with a wooden roof which is still preserved, and which is -accounted for by the proximity of the river.' I saw the house in 1856; it -still belongs to the Toubeau family, which tends to confirm M. Boyer's -opinion.] - -[Footnote 502: Archives of the Department of the Cher, Series C, Notarial -Records; minutes of Jean Dujat, notary, 1507.] - -[Footnote 503: [See supra, p. 44.]] - -[Footnote 504: On the first page of both books are the words: 'Biturigis, -apud Bonaventuram Thorinum, sub signo Anchoræ, vico Maiore, 1595'; and -at the end: 'Excusus fuit hic liber typis viduæ Nicolai Levez, Avarici -Biturigum, juxta scholas utriusque juris.' (Bibliothèque Nationale.) The -first alone contains a license to print (dated August 29, 1595). Therein -the publisher is called, in French, 'Thorin,' the natural rendering of -the Latin name that we find in the 'note to the reader,' where the form -'Torinus' occurs four times, and 'Thorinus' once only; which confirms my -hypothesis relative to the descent of this bookseller of Bourges. For we -have seen that Tory wrote his name Torinus in Latin. I must not omit to -mention one objection suggested by a friend of mine at Bourges,--that our -man is called Bonaventure _Thorin_, in a book of imposts for the year -1588. But every one knows how irregular the spelling of names was in the -old days.] - -[Footnote 505: May not Tory's son have had for his godfather Bonaventure -des Périers, who committed suicide in 1544, in order to avoid a -prosecution on account of his religion?] - -[Footnote 506: This book, which bears a French title, _Lesclaircissement -de la langue françoise_, although written in English and for the English, -was printed at London shortly after the publication of Tory's _Champ -fleury_. M. Génin issued a second edition in 1852, quarto, Paris, -Imprimerie Nationale.] - -[Footnote 507: Read 'Tory'; letters transposed.] - -[Footnote 508: Read 'Bourges.' The error is due to the fact that the -London printers were much more familiar with Bruges, where Caxton, their -first master, lived a long while before he introduced printing in England, -than with Bourges in Berry. (See my book on the _Origin of Printing_, vol. -ii, pp. 347 ff.)] - -[Footnote 509: See what I have myself said on this subject, supra, p. 17.] - -[Footnote 510: In order to be fair to everybody I am bound to say that M. -Génin's reckoning is at fault. Henry VIII having succeeded to the throne -on April 22, 1509, the twenty-second year of his reign extends from April -22, 1530, to April 21, 1531, and consequently the license cited here must -have been dated September 2, 1530, that is to say, a month and a half -after the printing of Palsgrave's book was finished.] - -[Footnote 511: Say a year and a half, in consequence of the correction -suggested in the preceding note. However, Tory had announced a year -earlier the _Reigles de lorthographe du langaige françois._ See supra, p. -100.] - -[Footnote 512: Vol. iv, fol. 320 recto. MSS. folio preserved at the -Library of the École de Médecine in Paris.] - -[Footnote 513: [See supra, pp. 55 and 65.]] - -[Footnote 514: [See supra, pp. 69 and 44.]] - -[Footnote 515: [See supra, p. 96.]] - -[Footnote 516: The necessity of distinguishing between the final _e_ -which requires the acute accent (_aveuglé_) and that which does not -take it (_aveugle_) led to calling the former _masculine_ and the other -_feminine_. Hence the term 'feminine' still given in French poetry to mute -rhymes.] - -[Footnote 517: In the fourth edition of the _Manuel de Libraire_; he -does mention it in the fifth edition, however, citing me. It is not -mentioned either in the _Essai sur la Vie et les Ouvrages de Marguerite -d'Angoulême_, by M. de Lincy, prefixed to his edition of the _Heptameron_, -which was published by the Société des Bibliophiles Français in 1853-54. I -describe it from a copy owned by M. Ferdinand Denis.] - -[Footnote 518: The original text of these letters may be found in my book, -_Les Estienne et les types grecs de François Iᵉʳ_; I give here only a -translation borrowed from M. Crapelet, _Études pratiques_, p. 89.] - -[Footnote 519: By an inexplicable blunder M. Crapelet has thought fit -to render the two words 'Gallicæ reipublicæ,' _republic (of letters)_, -failing to understand that the word 'respublica' stands for the State. It -is needless to say that he has been followed by many others, particularly -M. Duprat in his 'Histoire de l'Imprimerie impériale,' 1861.] - -[Footnote 520: I borrow this fragment from M. Crapelet (_Études -pratiques_, p. 116), for I have been unable to inspect the volume from -which he took it, although he gives an interesting description of it.] - -[Footnote 521: [_Lettre à_ or _sur double queue_, letters on which the -seal is suspended from a strip of parchment passed through the document.]] - -[Footnote 522: See what I have to say in the Preface on the subject of -Pierre le Rouge, who is given the title of king's printer once, in 1488.] - -[Footnote 523: The dates that I give are those of the holding of the -office of _king's printer_, and not of the carrying on the trade of -printer, which, as a general rule, do not coincide, at least so far as the -earlier dates are concerned.] - -[Footnote 524: Brunet, _Manuel de Libraire_, 5th edit., vol. ii, col. -1672.--See infra, p. 307 _King's Printers for the Mathematics_.] - -[Footnote 525: He calls himself 'architypographus regius' in a work -printed by him in 1608.] - -[Footnote 526: See the _Recette générale des finances_ of Paris for 1671, -in the national archives, KK. 356, fol. 53.] - -[Footnote 527: See my _Les Estienne_, p. 35.] - -[Footnote 528: Renouard, _Annales des Estienne_, 3d edit., p. 228, col. 1. -See also my _Les Estienne_, p. 36.] - -[Footnote 529: This appointment involved him in some difficulty with his -colleagues, as may be seen from the following letter, of which I found a -copy in the Bibliothèque du Louvre, in the Nyon collection. - -'When I asked and obtained the office of king's printer, of which M. Le -Breton had been deprived by death, I had no idea that it could cause -any heart-burning on the part of my confrères, with whom I have always -earnestly desired to be on the best of terms. If I had been able to -foresee such a thing, I am too much a friend of peace to have voluntarily -exposed myself to it by assuming a title which was subject to dispute. -But, monsieur, when I submitted the question to you, I thought that I -could see that it did not seem to you free from doubt. For this reason I -cannot hesitate to abandon claims which seem to me well-founded. - -'I beg you therefore, monsieur, to regard as not having been made the -claims that I put forward on this subject, and as my confrères do not -pretend that any one of them has the right to style himself first king's -printer, in like manner I agree to assume simply the title of ordinary -printer to his Majesty, and that we shall be placed in the _Almanack -Royal_ in the order of our reception. - - 'Paris, 20 November, 1779. - - PIERRES.' - -For this famous printer, see Lottin, _Catalogue des Imprimeurs de Paris_, -vol. ii, p. 139.] - -[Footnote 530: For this paragraph, see my _Les Estienne_.] - -[Footnote 531: He is mentioned as 'imprimeur du roi,' without other -description, in the registers of the cemetery of Les Réformés de la -Trinité, rue Saint-Denis; but I think that he was simply an engraver on -copper, like Tavernier.] - -[Footnote 532: [Clearly a misprint; perhaps 1561.]] - -[Footnote 533: He had been in business since 1784.] - -[Footnote 534: He had been in business since 1813.] - -[Footnote 535: He had been in business since 1785.] - -[Footnote 536: There were royal printers in various cities of France after -the latter part of the sixteenth century; but the office was neither -regularly instituted nor general in its scope. These printers seem to have -had it specially in charge to print official documents in the provinces, -which function conferred on them certain privileges, and sometimes caused -difficulties with the local authorities, who also had their special -printers. The first editions of the edicts, ordinances, etc., emanating -from the central authority were afterwards placed in the hands of the -royal printing-office in Paris. See what I have to say on this subject in -my work on _Les Estienne_, p. 56. - -In 1844 M. Le Roux de Lincy published in the _Journal de l'Amateur de -livres_, and also had printed separately in an octavo pamphlet of 16 -leaves, a compilation entitled: _Catalogue chronologique des imprimeurs et -libraires du roi, par le père Adry_; but those shapeless memoranda were -not originally intended for printing, and I have been unable to obtain the -slightest particle of useful information from them.] - -[Footnote 537: Archives, reg. KK, 99, fol. 116 verso. '_Librairie._--To -maistre Jean de Sansay, _libraire ordinaire_ to the King our Sire, the -sum of two hundred forty livres tournoys, ordered [to be paid] to him by -our said lord and his warrant, for his wages as _libraire ordinaire_ to -our said lord, [said office being held] by him during this present year -beginning the first day of January a thousand five hundred twenty-eight -[1529 n. s.], and ending the last day of December following, a thousand -five hundred twenty-nine, of which sum this present clerk has made payment -to the said Sansay by virtue of said warrant, as appears by his receipt -signed at his request by Mᵉ Huault, notary and secretary to the King, -the twenty-third day of January in the year a thousand five hundred -twenty-nine now current. For the said sum of IIᶜ XL l. -t.'] - -[Footnote 538: Brunet, _Manuel de Libraire_, 5th edit., vol. ii, col. -1672.] - -[Footnote 539: Was this Jehan Estienne of the family of the great -printers? I am unable to say. He is not mentioned in any of their -genealogies, nor is the Gommer Estienne, whom I have referred to in my -_Les Estienne_.] - -[Footnote 540: The name is left blank at the beginning of the original -document, and the signature is very doubtful. But the name _Burgensis_ or -_Bourgeois_, is very common at that period. François I had a physician -called Louis Burgensis.] - -[Footnote 541: _La Renaissance des Arts_, vol. i, p. 973.] - -[Footnote 542: Ibid., p. 925.] - -[Footnote 543: That is to say, to _goffer_.] - -[Footnote 544: This volume is without date, but the license to print is -dated February 23, 1539 (1540, n. s.).] - -[Footnote 545: [See supra, p. 138.]] - -[Footnote 546: _Salutem dicit perpetuam._] - -[Footnote 547: Read _Avaricum_.] - -[Footnote 548: The book has _potuit_, but the errata informs us that we -should read _possit_.] - -[Footnote 549: The book has _adiiecimus_.] - -[Footnote 550: The book has _quandoquidam_, but the errata corrects the -error.] - -[Footnote 551: The book has _i._, which, the Middle Ages, stood for _id -est_.] - -[Footnote 552: Should we not read _manent?_] - -[Footnote 553: In the errata it is said that we should read _debebat_, but -that word does not fit the metre.] - -[Footnote 554: _Claud._, XV, 385: 'Minuit præsentia famam.'] - -[Footnote 555: Plautus, _Casine_, act. V, sc. IV, v. 1: Ubi tu -es, qui colere mores Massilienseis postulas.] - -[Footnote 556: Should we not say _daret_, or, rather, _dares?_] - -[Footnote 557: Read _quo_. At the best this verse is halting.] - -[Footnote 558: The book has _Istabili_. It was impossible to place the -sign of abbreviation over the capital I.] - - - - -INDEX - -[Illustration] - - - ABBATIA, _Bernard, 'Prognostication touchant le mariage du tres - honoré et tres aimé Henry,' etc._, 282. - - _Abrégé des Meditations de la vie de Jésus-Christ_, 229. - - _Accents. See Orthographic marks._ - - _Adolescence Clementine. See Marot, Clement._ - - _Adriani Behotii diluvium_, 280 _note_ 2. - - ÆDILOQUIUM, _etc._, 29-30, 31, 92-93, 201-202. - - _Agricola, Rodolphe, 'De inventione dialectica,'_ 267. - - _Alard, Guillaume, his mark_, 273. - - _Alphabetum hebraicum_, 274-275. - - _Amman, Jost_, 251. - - _Anciens bois de l'imprimerie Fick_, 260 _note_ 3. - - _Ange Bologninus, 'De la curation des ulceres exterieurs,'_ 41. - - _Annius of Viterbo_, 3, 61. - - _Antistitis incomparabilis Michaelis Bodeti_, 137. - - _Apollonius Alexandrinus, De constructione_, 276. - - _Apologie pour la foi chrestienne contre les erreurs contenues en - un petit livre de Messire Georges Halevin_, 138. - - _Apostrophe. See Orthographic marks._ - - _Aristophanes_, 197, 274. - - _Artificialis introductio Jacobi Fabri Stapulensis_, 268 _note_ 4. - - _Asselin, Pierre_, 273. - - _Assier, Alexandre. See Socard, Alexis._ - - _Aumale, Duc d'_, 144, 154, 163, 164 _note_ 1. - - _Aumont, Blanche d', arms of_, 171. - - _Avaricum. See Bourges._ - - - BABOU, _Philibert_, 2, 3, 4 5, 6, 10, 51-53, 60-61 65, 68, 69, 72. - - _Bade, Conrad_, 232, 233; - _his mark_, 266. - - _Bade, Josse_, 57, 145, 200, 201. - - _Baïf, Lazarus, 'Annotationes,' etc._, 208-209. - - _Baker, David_, 293. - - _Barbier, Olivier_, 208 _note_ 2. - - _Baron Collection_, 254 _and note_ 2. - - _Barra, Jean_, 148. - - _Bassentin, Jacques, 'L'astronomique discours,'_ 262, _note_ 4. - - _Basset, Denis_, 230 _note_ 2. - - _Beaupré, M., 'Notice bibliographique sur les livres liturgiques ... de - Toul et de Verdun,'_ 150 _note_ 4. - - _Beauvoys. See Delaigue, Étienne._ - - _Beckford, William_, 167. - - _Bellay, Jean du_, 214, 215 _note_ 1, 280. - - _Belon, Pierre, 'Histoire de la nature des oiseaux,'_ 250; - _'Les observations' etc._, 250. - - _Bernard, Auguste, 'Les Etiennes, et les types grecs de François - I,'_ 197 _note_ 4, 199 _note_ 1, 271 _note_ 1. - - _Bernard, Salomon ('Le Petit Bernard')_, 258, 261 _and note_ 4. - - _Beroaldo, Filippo_, 2. - - BEROSUS BABILONENSIS, _Tory's edition of_, 3, 60-64. - - _Bertaud, Jean, 'Encomium,' etc._, 200-201. - - _Berthelin, André_, 284. - - _Bertrand, Jean, Cardinal of Sens_, 250, 251. - - _Berty, Adolphe, 'Les trois îlots de la cité,'_ 35 _and note_ 3. - - _Bessault, Thibault_, 285. - - _Bèze, Theodore de, 'Poemata,'_ 232-235, 266. - - _Bible in French, Antwerp_, 1530, 254. - - _Bible in Latin_, 1532, 204. - - _Bible in Saxon, Lubeck_, 1533, 254. - - _Bible in Latin_, 1538-1540, 215. - - _Bible in Latin_, 1543, 254. - - _Bible after Holbein_, 1547, 258. - - _Bible in Flemish, Antwerp_, 1556, 254. - - _Bibliothèque de l'amateur champenois_, 279. - - _Binet, Denis_, 257. - - _Blazon des heretiques_, 180. - - _Blés de Beauce, Halle aux, Tory's removal to_, 35, 37, 38, 40 _and - note_ 4, 41, 97, 295. - - _Bonfons, Jean, his mark_, 266. - - _Bonhomme, Iolande, widow of Thielman Kerver I_, 149, 204, 214, 215 - _and note_ 1, 221, 230, 241, 242, 280. - - _Bonnemere, Anthoine_, 276. - - _Boorluut, M._, 199. - - _Bouchet, Jean, 'Les angoisses et remedes damour du Traverseur,' - etc._, 212-213, 279; - _'Le jugement poetic de l'honneur feminin,...par le Traverseur,'_ - 213. - - _Bouchetel, Guillaume, 'Le Sacre ... de la Royne,'_ 34; - _'Lentree de la Royne,' etc._, 34. - - _Boudet, Michael de_, 137. - _And see 'Antistitis incomparabilis.'_ - - _Bouillon, M. le duc de, 'Ordonnances,'_ 245 _note_ 2. - - _Boullé, Guillaume_, 98, 99. - - _Bouquet des fleurs de Sénèque, Le_, 273. - - _Bourges_, 1, 2, 4, 66-67; - _coat-of-arms of_, 129. - - _Bourgogne, Collège de_, 6, 7, 295. - - _Boursette, Madeleine, widow of François Regnault_, 228, 243, 246, - 284, 285. - - _Boyer, Hippolyte, 'Histoire des imprimeurs et libraires de Bourges,'_ - 91, 222, 289 _and note_ 1. - - _Breviarium ad ritum diocesis Eduensis_, 241. - - _Briçonnet, Guillaume, Bishop of Meaux_, 176. - - _Bridier, Jean_, 232. - - _Brie, Jehan de_, 230 _note_ 3, 231. - - _Brie, widow of Jehan de_, 149, 229, 231. - - _Brucherius, Joannes, 'Epitome of the Adages of Erasmus,'_ 174, 176. - - _Brulefer, Étienne, 'Identitatum et distinctionum,' etc._, 284. - - _Brunet, Jacques-Charles, 'Manuel du Libraire,'_ 64, 119, 120, 124, - 139 _note_ 1, 140, 149 _note_ 2, 150, 170 _note_ 1, 181 _note_ 2, - 208 _note_ 1, 231, 260 _note_ 2. - - '_Bulletin du bouquiniste_,' 1860, 174 _note_ 2. - - _Bunel, P., 'Epîtres familières,'_ 272. - - _Buon, Gabriel_, 215 _note_ 4, 249; - _his mark_, 284. - - _Buon, Nicolas_, 249. - - - CÆSAR, _'Commentaries,' translation of_, 178. - _See also 'César, Les Commentaires de.'_ - - _Calcar_, 225. - - _Calvarin, Prigent, his mark_, 267. - - _Calvarin, Simon, his marks_, 267. - - _Catherine de Medici_, 122. - - _Catherinot, Nicolas, his epitaph of Tory_, 43, 44, 55 _note_ 2. - - _Cavellat, Guillaume_, 250. - - 'CEBES, TABLE OF,' _Tory's translation of_, 27, 28, 85-87, 201. - - '_Cebes, Tableau de_,' 1543, 262. - - _Cedilla. See Orthographic marks._ - - _'César, Les Commentaires de,' manuscript (author unknown)_, 143-144, - 153; - _Comte Léon de Laborde's description of_, 154-164. - - _Chabouillet, M., Notice du Cabinet des médailles_, 255. - - 'CHAMP FLEURY,' _first conceived by Tory_, 9, 12; - _the first book of_, 14 _and note_ 3; - _the second book of_, 15-17; - _the third book of_, 17-20; - _published_ (1529), 26; - _effect of publication of_, 32-33; - _orthographic system of, first applied_, 37 _and note_ 1, 295-299; - _second edition of_ (1549), 42, 43, 84; - _bibliographical description of_, 81-84; - _description of engravings in_, 189-196; - _M. Renouvier on engravings in_, 262; - _quoted_, 1 _note_ 2, 2 _note_ 3, 5, 7 _note_ 8, 9, 12-14, 15-16, - 17, 18, 19-20, 21-22, 23, 26, 29 _note_ 1, 141, 145. - - _'Chants royaux.' See Gringoire._ - - _Charles IX_, 144. - - _Chaudière, Claude_, 238. - - _Chaudière, Guillaume_, 229. - - _Chaudière, Regnault_, 238, 273; - _his mark_, 267, 268, 269. - - _Cheradam, Jean, editor of Aristophanes_, 197. - - _Chevallon, Claude_, 231, 278. - - '_Chiromancy and Physiognomy_,' 259, 261. - - _Chrestien, Nicolas_, 41. - - _Choquet, Louis, 'Mystère de l'Apocalypse,'_ 217-218. - - '_Chronique du tres vaillant et redouté Dom Flores de Grece_,' 249. - - _Chrysostom, Saint, 'Homeliæ Duæ,'_ 281; - '_Liber contra gentiles_,' 120. - - _Cicero, 'Orator,'_ 42; - _works of_, 244-246, 272. - - _'Civis,' Tory's first device_, 2; - monogram of, 6. - - _Claude de France, queen of François I_, 127. - - _Colines, Simon de_, 24, 25, 29, 33, 72, 101-116, 120-122, 146, 174, - 175, 185, 189, 197, 201, 203, 223, 239, 258; - _his marks_, 174, 267-269. - - '_Compendium grammaticæ græcæ_,' 189. - - _'Conférence accordée entre les predicateurs, La,' etc._, 257. - - _'Copie de l'arrest du grand conseil,' etc._, 38. - - _'Copie d'une lettre de Constantinople,' etc._, 38. - - _Coqueret, Collège_, 5, 295. - - _Corrozet, Gilles_, 148, 250, 263; - '_Les Fables d'Esopes mises en rithme françois_,' 207; - _his mark_, 269-270. - - _Corrozet, Gilles II, 'Trésor des histoires de France,'_ 270. - - _Corrozet, Jean_, 270. - - COSMOGRAPHIE DU PAPE PIE II. _See Pius II._ - - _Cottereau (also Cotereau), Philippe_, 41, 47. - - _Cottereau, Richard_, 41, 47. - - _Cousin, Jean_, 237, 238, 254, 263. - - _Cousteau, Nicolas_, 204. - - _'Coustumier de la baronnye,' etc._, 41. - - '_Coutumes générales d'Orléans_,' 266 _note_ 1, 274. - - _Coxe, Leonard_, 34, 293. - - _Crescens, Pierre des, 'Bon Mesnager,'_ 204. - - - DALLIER, _Jean_, 237. - - _Danois, Jean Blaccus, translation of Isocrates_, 273 _and note_ 2. - - _David Matthæus_, 244; - _his mark_, 270. - - _'De judiciis urinarum,' etc._, 39. - - _Debure, M., and 'Les Commentaires de César,'_ 161. - - _Delaigue, Étienne_, 178. - - _Delange, MM._, 151. - - _'Description de la prinse de Calais,' etc._, 284. - - _Devéria, Achille_, 150 _note_ 2, 230 _note_ 3, 254. - - _Dibdin, Thomas F., 'Bibliographical Decameron,'_ 110, 123, 279 - _notes_ 4 _and_ 6. - - '_Dictionarium latino-gallicum_,' 189 _note_ 1. - - _Didot, Ambroise Firmin_, 28, 47, 91, 96, 98, 136 _note_ 3; - '_Essai sur la gravure_,' 150, 151, 225, 259. - - _Didot, Firmin, père_, 144, 166. - - _Dietz, Ludowich_, 254. - - _Diodorus Siculus, Macault's translation of first three books of_, 47, - 136, 205-207; - _manuscript of_, 144, 166-168. - - _Dives. See Ricke, Guillaume de._ - - '_Divi Joannis Chrisostomi liber contra gentiles_,' 120. - - _Dolet, Étienne_, 117. - - _Doré, Pìerre, 'Dyalogue instructoire des chrestiens,'_ 222. - - _Dubois, Simon_, 25, 196, 197. - - _Dupré, Galliot_, 135 _note_ 1, 178, 196, 204. - - _Dupuy, J._, 273. - - _Duradier, Dreux, 'Les Récréations historiques,'_ 170. - - _Durand, M._, 259 _note_ 1. - - _Dure (Duræus), Robert_, 5 _and note_ 3. - - _Dürer, Albrecht_, 16 _and note_ 2, 252. - _See also Meigret._ - - _Duverdier, M._, 98. - - - 'ECONOMIC XENOPHON,' _Tory's translation of_, 30-31, 93-97. - - EGNASIO, J. B., SUMMAIRE DE CHRONIQUES, _Tory's translation_, 28, 42, - 88-91, 222. - - _'Elegia ... ad Joach. Bellaium,' etc._, 278. - - _Eleonora of Austria, queen of François I_, 'LE SACRE ET CORONNEMENT - DE,' 34, 130-131, 202; - 'ENTRÉE DE, EN SA VILLE ET CITÉ DE PARIS,' 34, 131-133, 202; - _Tory's verses to_, 35, 132-133. - - '_Empereurs de Turquie, Histoire des_,' 138. - - _'Enchiridion, preclare ecclesie Sarum,' etc._, 199-200. - - _English booksellers, idiosyncrasies of_, 199 _note_ 2. - - _'Entrée de la Royne,' etc. See Eleonora._ - - 'EPITAPHIA LATINA ET GALLICA' (_on Louise de Savoie_), 35. - - _'Epitomæ singularum distinctionum,' etc._, 282. - - _Estienne, Charles_, 235, 244-245; - '_De dissectione partium corporis humani_,' 223-226; - '_De nutrimentis_,' 271; - _his marks_, 272. - - _Estienne, Henri I_, 174. - - _Estienne, Henri II_, 17, 69, 268, 269, 271. - - _Estienne, Robert_, 33, 146, 175, 185, 189 _and notes_ 2 _and_ 3, 204, - 208, 215, 216, 235, 244, 245, 258, 269, 286; - _king's printer_, 39, 40; - _his marks_, 270-272. - - _Eusebius, 'Ecclesiastical history,'_ 135, 189. - - _'Exemplaria litterarum,' etc._, 189 _note_ 1. - - - FANTE, _Sigismunde, 'Thesauro de' scrittori,'_ 15 _and note_ 3. - - _'Faulcheur, Le.' See Roffet, Jacques._ - - _Féret, Martin_, 37. - - _Fezandat, Michel, his mark_, 272-273. - - _Fick Press, Geneva_, 260 _note_ 3. - - '_Fifteen Effusions of the Blood of our Saviour_,' 228, 229. - - '_Figure de l'ancienne et de la nouvelle alliance_,' 253-255. - - '_Figures et portraicts des parties du corps humain, Les_,' 252. - - _Fortunatus, Robertus. See Dure, Robert._ - - _Fouquet, Jean_, 171. - - _France, Collège de_, 39. - - _François I_, 29, _note_ 1; - _appoints Tory king's printer_, 32-34; - _and extra bookseller to the University_, 36, 294; - _remodels institution of king's printers_, 39-40; - _ordinances of_, 134-135; - _in 'Les Commentaires de César,'_ 157-163; - _and in Macault's translation of Diodorus_, 167-168. - - _François de Valois, Dauphin of France_, 31, 38, 97-98. - - _Frellon, Jean_, 258. - - - GAGUIN, _Robert_, 178. - - _Galen, 'De anatomicis administrationibus,'_ 203. - - '_Gallic Hercules, The_,' 141. - - _Gannay, Germain de_, 3 _and note_ 2, 54. - - _Garamond, Claude_, 33, 145. - - _Génin, M., 'Introduction to Palsgrave's Lesclaircissement de la - langue françoise,'_ 14, 292 _note_ 1, 293-294. - - '_Gerard d'Euphrate_,' 241. - - _Gérard de Vercel, verses of_, 6, 71. - - _Gering, Ulric_, 277. - - _Gerou, Dom, 'Bibliothèque historique des auteurs orléanais,'_ 273. - - _Ghisy, Georges_, 244 _note_ 2. - - _Gibier, Eloi_, 266 _and note_ 1; - _his mark_, 273-274. - - _Gillot, Jean, 'De juridictione et imperio,' etc._, 39; - '_Isagoge in juris civilis sanctionem_,' 39. - - _Girault, François_, 239. - - _Godefroy, miniaturist, identity of with Tory discussed_, 142-144, - 153-166. - - _Gourmont, Benoît de, his mark_, 276. - - _Gourmont, François de_, 197 _note_ 4, 271. - - _Gourmont, Gilles de_, 3, 26, 28, 50 _and note_ 3, 54, 64, 197; - _the first printer of Greek in Paris_, 26; - _his marks_, 274-276. - - _Gourmont, Jean de_, 197 _note_ 4, 271. - - _Gourmont, Jérôme de_, 275; - _his mark_, 276. - - _Gourmont arms_, 275 _note_ 1. - - _Gourmont family_, 275 _note_ 1. - - '_Gradual_,' 177. - - _Grævius, J. C., 'Thesaurus antiquitatum romanarum,'_ 208 _and note_ 2. - - _Graf, Urs_, 179. - - _Grandin, Louis, his marks_, 277. - - _Greban, Simon de, 'Catholiques œuvres et actes des Apostres,'_ - 217-218. - - _Greek, Tory's unfamiliarity with_, 27 _note_. - - _Greek alphabet_, 189, 280 _note_ 2. - - _Gringoire, Pierre, 'Chants royaux,'_ 180-181, 183, 184; - _Hours in rhyme_, 180; - _'Notables enseignemens,' etc._, 196. - - _Grolier (Groslier), Jean_, 12, 45, 145. - - _Groulleau, Estienne_, 241, 249. - - _Gryphe, François_, 207 _and note_ 1. - - _Gualtherot, Vivant_, 43. - - _Gueroult, Guillaume, 'Hymnes du temps,'_ 261 _and note_ 4. - - _Gueullard, Jean, his marks_, 277. - - _Guillard, Charlotte, her mark_, 277-278. - - - HAIENEUVE, _Simon_, 16. - - _Halevin, Georges_, 138. - - _Harleian MSS._, 158. - - _Harley, Robert, Earl of Oxford_, 158. - - _Harsy, Olivier de_, 278. - - _Henon, Jean_, 38. - - _Henri II_, 169; - _Entrée de_, 235-238. - - _Herverus de Berna_, 2, 3, 57, 58. - - _'Hexastichorum moralium,' etc._, 277. - - '_Histoire du Saint Graal_,' 178. - - '_Histoire paladine_,' 249. - - _Hongont, Jean_, 57 _and note_ 1. - - _Honorat, Sébastien_, 215 _note_ 4. - - _Hopyl, Wolfgang_, 150, 268 _note_ 4. - - _Hornken, Louis_, 5, 68, 69. - - _Hotot, Fabian_, 266. - - _Houic, Antoine_, 285. - - HOURS OF 1524-25, _quarto_, 24, 45, 47, 101-119; - _sales of_, 119 _note_ 1. - - HOURS OF 1527, _octavo, Colines_, 25, 45, 47, 120-122. - - HOURS OF 1527, _quarto, Dubois_, 25, 45, 47, 122-124. - - HOURS OF 1529, 16_mo_, 29, 125-126. - - HOURS OF 1531, _quarto_, 25, 126-128. - - HOURS OF (?), _octavo_, 25, 128-129. - - _Hours of_ 1515, _Simon Vostre_, 172. - - _Hours of_ 1536, _octavo_, 208. - - _Hours of_ 1541, _Mallard_, 40, 218. - - _Hours of_ 1542, _Bonhomme_, 220-221. - - _Hours of_ 1542, _Lecoq_, 221-222. - - _Hours of_ 1542, _Mallard_, 40, 219-220. - - _Hours of_ 1543, _Colines_, _quarto_, 209-212. - - _Hours of_ 1543, _Colines_, _octavo_, 212. - - _Hours of_ 1547 (?), _Regnault_, 227-229. - - _Hours of_ 1547 (?), _Brie_, 229-231. - - _Hours of_ 1548, _Merlin_, 231-232. - - _Hours of_ 1549, _Chaudière_, 238-239. - - _Hours of_ 1550, _Boursette_, 16_mo_, 243. - - _Hours of_ 1550, _Kerver_, _octavo_, 218-219, 243-244. - - _Hours of_ 1550, _Roigny_, 16_mo_, 241. - - _Hours of_ 1552, _Kerver_, 246. - - _Hours of_ 1556, _Kerver_, 251-252. - - _Hours of_ 1574, _Kerver_, 226-227. - - _Hours in rhyme. See Gringoire._ - - - 'INSIGNIUM _aliquot virorum icones_,' 260. - - _'Institutionum civilium,' etc._, 278. - - 'ITINERARIVM PROVINCIARUM OMNIUM ANTONINI AUGUSTI,' _etc., Tory's - edition of_, 5, 69-72. - - - JANOT, _Denys_, 222, 263; - _appointed king's printer_, 302-303. - - _Joly, Abbé de_, 55 _note_ 2. - - _Jollat, Mercure_, 223, 224. - - '_Jours moralisez, Les_,' 228. - - _Justel, Christophe_, 158. - - _Justel, Henri_, 158. - - _Justin Martyr, Works of_, 189 _note_ 3. - - - KERVER, _Jacques_, 149, 224-226, 230, 239, 252. - - _Kerver, Jean_, 41. - - _Kerver, Thielman I_, 41, 149, 199, 230. - _And see Bonhomme._ - - _Kerver, Thielman II_, 218, 226, 243, 246, 251, 279. - - _King's binders_, 308-311. - - _King's librarians_, 308-311. - - _King's printer, Institution of office of_, 32, 34 _and note_ 2; - _title bestowed on Tory_, 34-36; - _institution of, remodeled_, 39; - _list of holders of the office_, 303-308. - - - LA BARRE, _Jean de_, 34 _note_ 3, 35 _note_ 1. - - _Laborde, Comte Léon de_, 24 _note_, 143; - _his description of the MSS. of 'Les Commentaires de César' and - 'Les Triomphes de Pétrarque,' illustrated by 'Godefroy,'_ 154-166. - - '_Labours of Hercules, The_,' 182, 184. - - _La Caille, 'Histoire de l'imprimerie,'_ 6, 24 _note_ 1, 28, 40, 43, - 44, 99, 175, 284, 285. - - _La Croix du Maine_, 143, 145. - - _La Guierche, Michel de_, 42. - - _Lallemand, Jean_, 3, 4, 65, 68. - - _Lallemand, Jeanne_, 4. - - _Lancelot, M._, 170. - - _La Porte, Heirs of Maurice de_, 250. - - _La Porte, Widow of Maurice de_, 249; - _her mark_, 283-284. - - _La Sapienza (college at Rome)_, 2. - - _La Thaumassière, 'Histoire du Berry,'_ 290. - - _Latini, Brunetto, 'Le Trésor,'_ 17 _and note_ 3. - - _Laulne, Étienne de_, 163. - - _'Laurentii Vallæ de linguæ latinæ elegantia,' etc._, 120 _and note_ 1. - - _Le Bas, Jacques_, 273. - - _Lecoq, Jean_, 177, 196, 221, 258, 279. - - _Le Duaren, François, 'De sacris ecclesiæ ministeriis ac beneficiis,' - etc._, 244. - - _Lefèvre d'Etaples, Jacques, 'Commentarii initiatorii in quatuor - Evangelia,'_ 174-176. - _See also 'Artificialis introductio.'_ - - _Le Hullin, Perrette, wife of Tory_, 6, 37; - _and his successor_, 38, 42, 144, 150. - - _L'Empereur, Martin_, 254. - - _Le Noir, Philippe_, 178, 180; - _his marks_, 279. - - LEO BAPTISTA ALBERTUS, _Tory's edition of_, 5, 68-69. - - _Leonardo da Vinci_, 15. - - _Le Petit, Pierre_, 36. - - _Le Preux, Poncet_, 178. - - _Le Prince, 'Essai historique sur la bibliothèque du roi,'_ 169 - _note_ 2. - - _Le Riche. See Ricke, Guillaume de._ - - _Les Angeliers, Arnould_, 216, 217. - - _Les Angeliers, Charles_, 216, 217, 222. - - _Letellier, Pasquier_, 241, 242. - - '_Liber de opificio dei_,' 189. - - _Libraires jurés. See Paris, University of._ - - _Livy, translation of, MS._, 171. - - _Longis, Jean_, 241, 249. - - _Longueil, Christophe de_, 6, 70, 72 _note_ 1. - - _Lorraine, Duchesse Regnee de Bourbon_, 180. - - _Lorraine cross, The_, 47, 91, 178; - _how far a guide to Tory's work_, 147-152; - _in the 18th century_, 208; - _at Orléans, Chartres, Poitiers and Lyon_, 258. - - _Lottin, 'Catalogue des libraires,'_ 99, 270 _note_ 1, 273, 281. - - LOUISE DE SAVOIE, MOTHER OF FRANÇOIS I, EPITAPHS ON, 35, 133-134, - 202-203. - - _Lucas Paciol, 'Divina proportione,'_ 15. - - LUCIAN, DIALOGUES OF, _Tory's translation of_, 27, 85-87. - - LUCIAN, 'LA MOUCHE,' _Tory's translation of_, 32, 99-100. - - _Lud, Gauthier_, 150. - - _Luther, 'Enarrationes' (on the Bible), Nuremberg_, 1555, 254. - - - MACAULT, _Antoine. See Diodorus Siculus._ - - _Maittaire, M., 'Annales Typographiques,'_ 176, 268 _note_ 3. - - _Mallard, Olivier, Tory's successor at the sign of the Pot Cassé_, - 38-39; - _king's printer_, 39, 40, 41, 43, 128, 129, 218. - - _Marchand, J._, 60. - - _Marcorelle, Jean, 'Book of Thermes,'_ 261 _note_ 4. - - _Marguerite d'Angoulême, Queen of Navarre (sister of François I)_, - 123, 124 _note_ 1, 244. - - _Marnef, Geofroy de_, 60, 64. - - _Marnef Frères_, 3, 213; - _their mark_, 279-280. - - _Marot, Clément, 'Ladolescence Clementine,'_ 36-37, 138-140, 296; - '_Psalms_,' 1557, 260. - - _Marot, Jan (father of Clément), 'Sur les deux heureux voyages de Genes - & Venise,' etc._, 140. - - _'Marques Typographiques.' See Silvestre._ - - _Massé, René_, 33. - - _Mauroy, Nicolas, 'Les hymnes communes de l'annee,'_ 196. - - _Mazochi, 'Epigrammata,' etc._, 7 _and notes_ 8 _and_ 9. - - _Meigret, Louys, 'Les quatre livres d'Albert Durer' (translation)_, - 252, 283. - - '_Mémoires de la société des antiquaires de Morinie_,' 255. - - '_Menagiana_,' 55 _note_ 2, 93. - - _Menier, Maurice, his mark_, 280. - - _Merlin, Guillaume_, 215, 217, 231, 232; - _his mark_, 280. - - _Mesviere, Estienne_, 243, 246. - - '_Meubles et armes du moyen âge_,' 254. - - _Milan, Paulus Jovius's Lives of the Dukes of. See Paulus Jovius._ - - _Millæus, Johannes, 'Praxis criminis persequendi,' etc._, 216-217. - - _Missal (Toul)_, 1508, 150. - - _Missal (Paris)_, 1539, 148, 214-215, 242. - - _Missal (Paris), folio, no date_, 280. - - _Missal (Cluny)_, 1550, 242. - - _Missal (Paris)_, 1559, 149. - - '_Monstre d'abus contre Nostradamus_,' 284. - - _Montaiglon, A. de, 'Archives de l'art français,'_ 132 _note_ 1; - _Recueil des poésies, etc._, 281. - - _Montenay, Georgette de, 'Emblesmes et devises chrestiennes,'_ 148. - - _Monteux, Hieronime, 'Conservation de santé,' etc._, 267. - - _Montpellier_, 137. - - _Morante, Marquis de_, 73. - - _Morel, Guillaume, his mark_, 280. - - _Moréri, Historical Dictionary_, 290-291. - - _Muret, Marc-Antoine, 'Juvenilia,'_ 249, 283. - - - NÉOBAR, _Conrad, king's printer for Greek_, 36, 39, 40; - _letters patent of_, 299-302. - - _New Testament and Apocalypse (Boursette)_, 246. - - _New Testament in Greek and Latin_, 1549, 273. - - _Nivelle, Sébastien_, 215 _note_ 4; - _his mark_, 280-281. - - '_Notice sur les graveurs_' (1807), 261, _note_ 4. - - _Nyverd, Guillaume, his mark_, 281. - - _Nyverd, Guillaume de, his mark_, 282. - - - OPORIN _(Basle)_, 225. - - 'ORDONNANCES DU ROY,' _published by Tory_, 134-135. - - _Orthographic marks_, 19-20, 100, 140, 295-299. - - ORUS APOLLO, HIEROGLYPHS OF, _translated by Tory_, 25, 100. - - _Ovid, 'Metamorphoses,'_ 260, 261 _and note_ 4. - - - PALATINO, _Giovanbattista_, 42 _note_ 2. - - _Pallier, Jean, his mark_, 282. - - _Palsgrave, 'Lesclaircissement de la langue françoise,'_ 14 _note_ 1, - 34, 292-294. - - _Panzer, M._, 176. - - _Papillon, 'Traité de la gravure sur bois,'_ 127, 145, 189 _note_ 4. - - _Paradin, Claude, 'Devises héroïques,'_ 261 _note_ 4; - '_Quadrins historiques_,' 261 _note_ 1. - - _Paris, Nicole, his mark_, 283. - - _Paris, University of, libraires jurés of_, 32 _note_ 2, 36. - - PASSION, THE, _G. de Ricke's Latin poem on, edited by Tory_, 3, 57-59. - - _Paulus Belmisserus Pontremulanus, 'Opera poetica,'_ 205. - - _Paulus Jovius Novocomensis, 'Vitæ duodecim vicecomitum Mediolani,' - MS. of_, 168-169, 235. - - _Paulus Paradisus, 'De modo legendi hebraice dialogus,'_ 276. - - _Perier, Charles_, 252; - _his mark_, 283. - - _Perier, Thomas_, 283. - - _Périers, Bonaventure des_, 291 _note_ 2. - - _Perot_, 159 _and note_ 2. - - _Perreal, Jean, Tory's instructor in drawing_, 7, 15, 23 _and note_ 1, - 24, 123. - - _Petit, Guillaume, Bishop of Senlis_, 203. - - _Petit, Jean_, 2, 50, 85. - - _Petit, Oudin, his mark_, 283. - - _Petit dictionnaire français-latin_, 272. - - '_Petit Jehan de Saintré, Le_,' 267. - - _Petrarch_, 259, 261. - - _Petrarque, 'Les Triumphes' de, MS._, 144; - _described by M. de Laborde_, 164-166. - - _'Petri Ruffi Druydæ dialectica,' etc._, 277. - - _Piccolomini, Enea Silvio. See Pius II._ - - PIUS II (POPE), COSMOGRAPHY OF, _Tory's edition of_, 3 _and note_ 1, - 54-57. - - _Plantin, Christophe_, 251. - - _Plato, Dialogues of_, 41. - - _Plessis, Collège of_, 3, 295. - - _Pliny, 'Letters,'_ 285. - - PLUTARCH, POLITICS, _Tory's translation of_, 31, 97, 99. - - POMPONIUS MELA, _Tory's translation of_, 2, 50-54. - - _Porcium, J., 'Pugna porcorum,'_ 276. - - _Pot Cassé, Tory's first use of_, 11; - _explanation of_, 12; - _modifications of_, 20; - _interpreted by Tory in 'Champ fleury,'_ 21-22, 35, 38, 39, 41, 42, - 45-47, 72. - - '_Pourtraictz divers_,' 260 _note_ 2. - - _Prevost, Benoît_, 250. - - _Prevosteau, Estienne, his mark_, 280. - - _Printers' marks signed with the Lorraine cross_, 65-287. - - _'Procession de Soissons, Le,' etc._, 91-92. - - '_Psalterium Davidicum Græcolatinum_,' 252. - - '_Psalterium Quincuplex_,' 55 _note_ 2. - - _'Purgatoire, Le,' 'prouvé par la parole de Dieu,'_ 230 _note_ 2. - - _Puys, Jean du_, 255. - - - QUINTILIAN, 'INSTITUTIONES,' _Tory's edition of_, 4, 67. - - - RABELAIS, '_Pantagruel_,' 14 _and note_ 3. - - '_Recueil de plusieurs secrets très-utiles pour la santé_,' 287. - - _'Recueil des rimes,' etc._, 287. - - _'Recueil des Rois de France.' See Tillet, Jean du._ - - '_Reformation, La, des tavernes et destruction de gourmandise_,' 281. - - _'Régime de vivre,' etc._, 287. - - _'Reglement pour l'instruction des proces,' etc._, 41. - - _Regnault, Barbe_, 228; - _her mark_, 284-285. - - _Regnault, François_, 178, 228, 284. - - _Regnault, Widow of François. See Boursette, Madeleine._ - - 'REIGLES GENERALES DE LORTHOGRAPHE DU LANGAIGE FRANÇOIS,' _a lost work - of Tory_, 29, 100, 297. - - _Rembolt, Berthold_, 5, 68, 69, 277, 278. - - _Renouard, M., 'Annales des Estienne,'_ 215. - - _Renouvier, Jules, 'Des types et des manières des maîtres-graveurs,'_ - 16, 119, 145, 146, 147 _note_ 2, 149-150, 172, 184-185, 223, - 237-238, 262-263; - _in 'Revue Universelle des Arts,'_ 153-154, 179, 205-207. - - '_Repertorium Bibliographicum_,' 167-168. - - _Rexmond, Pierre_, 254. - - _Ricke, Guillaume de, Tory's teacher at Bourges_, 1, 2; - _Latin poem of on_ THE PASSION, _Tory's edition of_, 3, 57-59; - _Jules de Saint-Genois on_, 59. - - _Rivard, Claude_, 148. - - _Riviere, Estienne_, 223. - - _Robert-Dumesnil, M., 'Le peintre-graveur français,'_ 138 _note_ 2, - 147, 148, 149, 228. - - _Robinot, Gilles I_, 287; - _his mark_, 285. - - _Robinot, Gilles II_, 285. - - _Rochechouart, François de, arms of_, 171. - - _Rodolphi Agricolæ Phrisii, 'De inventione dialectica,'_ 120, 211. - - _Roffet, Jacques, called 'Le Faulcheur,'_ 235, 237. - - _Roffet, Pierre_, 138; - _his mark_, 285. - - _Roigny, Jean de_, 241; - _his marks_, 285-286. - - _Ronsard, 'Les amours,'_ 249. - - _Rothschild, Solomon de_, 120, 126 _note_ 1, 127-128. - - _Rousselet, Jean, Seigneur de la Part-Dieu_, 4, 67. - - _Royer, Louis_, 230 _note_ 3, 231. - - '_Rozier historial de France_,' 178. - - _Ruan, Jean du_, 258. - - _Ruccelli. See Rousselet._ - - - SACRE ET CORONNEMENT DE LA ROYNE, LE. _See Eleonora of Austria._ - - _Saint-Amand, Chevalier de, biographer of Tory_, 138. - - _Saint-Genois, Jules de_, 59. - - _Saint-Victor, Adam de, translation of the 'Grand Marial de la mère - de vie,'_ 287. - - _Sainte-Marguerite, Life of_, 219. - - _Saix, Antoine du_, 33. - - _Salomon, Jean, 'Briefve doctrine pour deuement escripre selon la - propriete du langaige francoys,'_ 296-298. - - _Savigny, Christophe de, 'Tableaux des arts libéraux,'_ 197 _note_ 4, - 276. - - _Schoiffer, Pierre_, 109. - - '_Sermones Iudoci Clichtovei Neoportuen_,' 204-205. - - _Sertenas, Vincent_, 239, 241, 242; - _his mark_, 287. - - _Seve, J., 'Supplication aux rois,' etc._, 284. - - _Seve, Maurice de, 'Saulsaye,'_ 261. - - _Seyssel, Claude de, translation of Eusebius_, 135. - - _Silvestre, 'Marques Typographiques,'_ 45, 46, 47, 265, 271, 279 - _and note_ 4. - - _Sirand, Alexandre, 'Courses archéologiques,'_ 24 _note_. - - _Socard, Alexis, and Alexandre Assier, 'Livres liturgiques du diocèse - de Troyes,'_ 173 _note_ 2, 257-258. - - 'SUMMAIRE DE CHRONIQUES.' _See Egnasio._ - - - 'TEMPLE _de Chasteté, La_,' 272. - - _Terence, Comedies of_, 1546, 267. - - _Terentianus Maurus, 'De literis,' etc._, 203. - - _Textor, Ravisius, 'Epistolæ a mendis repurgata,'_ 270. - - '_Thesaurus amicorum_,' 259 _and note_ 1, 260. - - '_Thesaurus latinæ linguæ_,' 189 _note_ 1. - - '_Theses, Les, qui ont esté affigées dans la ville de Geneve_,' 257. - - _Thevet, F. André, 'Les Singularitez de la France antarctique,' - etc._, 250-251; - '_Cosmographie universelle_,' 251. - - _Thiboust, Jacques_, 297. - - _Thory. See Tory._ - - _Thucydides_, 30. - - _Tillet, Jean du, 'Recueil des portraits des rois de France,' - manuscript of_, 144, 169-170, 255-257. - - '_Topica Marci Tullii Ciceronis_,' 282. - - _Toret, symbolic use of, in modified form of the Pot Cassé_, 22. - - _Torinus, Bonaventure_, 291 _and note_ 1, 292. - - _Tory, divers spellings of the name_, 1 _note_ 1. - - _Tory, Agnes, daughter of Geofroy, birth of_, 6, 73; - _death of_, 10, 73; - _and the Pot Cassé_, 21. - - TORY, AGNES, LATIN POEM ON THE DEATH OF, 10-11, 46, 73-81. - - _Tory, Geofroy, birth_, 1; - _ancestry_, 1; - _early life_, 1-2; - _first journey to Italy_, 2; - _settles in - Paris_, 2; - _his first device_, 2; - _at the Collège of Plessis_, 3; - _at the Collège Coqueret_, 5; - _his marriage_, 6, 73; - _birth of his daughter Agnes_, 6, 73; - _at the College de Bourgogne_, 6, 7; - _first steps in art_, 7; - _second journey to Italy_, 7, 8; - _returns to Paris_, 8; - _becomes an engraver_, 8; - _and a bookseller_, 8; - _employed by Simon de Colines_, 8; - _his study of the French language_, 9; - _'Champ fleury' conceived_, 9, 12; - _death of Agnes_, 10, 73; - _adopts the Pot Cassé and the device 'non plus,'_ 11; - _and Rabelais_, 14 _and note 3_; - _his scheme of orthographic marks_, 20, 55 _and note 2_; - _elucidation of the Pot Cassé_, 21-22; - _'Champ fleury' completed_, 24; - _first books of Hours_, 24-25; - _begins translator_, 25; - _'Champ fleury' published_, 26; - _removes to the Petit Pont_, 26, 119; - _first book printed by_, 27; - _is made 'libraire juré' of the University_, 32, 36, 100, 294-295; - _and king's printer_, 34, 35, 36; - _Latin verses of_, 35, 91; - _removes to the Halle aux Blés de Beauce_, 35; - _last book printed by_, 37; - _probable date of death of_, 37, 43; - _epitaph on_, 44; - _autograph of_, 45; - _his work as a binder_, 47; - _scope of artistic acquirements of_, 141-152; - _identity of, with 'Godefroy,' discussed_, 142-144; - _was he an engraver?_, 144-147; - _how far the Lorraine cross is a reliable guide to the work - of_, 147-152; - _M. Renouvier on identity of, with 'Godefroy,'_ 153; - _and Simon Vostre's Hours_, 172; - _and Simon de Colines_, 174; - _engravings marked 'G. T.' attributed to_, 173; - _monogram of_, 179; - _and the 'Labours of Hercules' plates_, 184; - _vogue of, among printers_, 258; - _as an engraver on metal and of printers' marks_, 262, 265; - _domiciles of, in Paris_, 295; - _brothers and sisters of_, 289-290; - _descendants of_, 290-292. - _See also, 'Ædiloquium,' Antoninus, Berosus Babilonensis, Cebes, - 'Champ fleury,' 'Economic Xenophon,' Egnasio, Eleonora of - Austria, Hours of_ 1524-25, 1527, 1529, 1531, _Leo Baptista - Albertus, Louise de Savoie, Lucian, Marot (Clement), Pope - Pius II, Plutarch ('Politics'), Pomponius Mela, Pot Cassé, - Quintilian, Guillaume de Ricke, Valerius Probus, Volaterran._ - - _Tory, Jean, father of Geofroy_, 289, 290. - - _Tory, Madame Geofroy. See Le Hullin, Perrette._ - - _Tory, Philippe, mother of Geofroy_, 289, 290. - - _Toubeau, Jean_, 43, 44, 290-291. - - _Tournes, Jean de_, 211, 258, 259, 260, 261 _and note_ 4. - - _'Traverseur, Le.' See Bouchet, Jean._ - - _'Triumphes, Les de Pétrarque.' See Pétrarque._ - - _Trois Couronnes, Les_, 26. - - _Types used by Tory_, 35. - - - VALEMBERT, _Simon de, translation of Plato's Dialogues_, 41. - - VALERIUS PROBUS, _Tory's edition of_, 3, 59, 64-67. - - _Van Praët, M., and the MS. of 'Les Commentaires de César,'_ 161. - - _Varlot, M., 'Illustration de l'ancienne imprimerie troyenne,'_ 173, - 197, 257-258. - - _Vascosan, Michel de_, 286. - - _Vaudemont. See Gringoire._ - - _Verdier, Antoine du_, 143. - - _Vernassal, M., 'Histoire de Primaleon de Grèce' (translation)_, 241. - - _Vésale's Anatomy_, 225. - - _Vidoue, Pierre_, 178, 179, 197, 274, 275. - - _Vincentino, Ludovico_, 16 _and note_ 1. - - _Virgil, Æneid in French_, 261 _note_ 4; (1549) 271. - - _Viriville, Vallet de_, 171 _note_ 1. - - _Vivian, Mathieu_, 273. - - _Vivian, Thielman, his mark_, 287. - - VOLATERRAN, LA MANIERE DE PARLER ET SE TAIRE, _Tory's translation of_, - 32, 99-100. - - _Volcyr, Nicole, de Serouville, 'Histoire de la glorieuse victoire,' - etc._, 181-182, 184. - - _Vostre, Simon, Hours published by_, 172. - - - WASSEBOURG, _Richard de, 'Antiquités de la Gaule belgique,' etc._, - 239-240. - - _Wey, Francis_, 295-296. - - _Willemin, 'Monuments français inédits,'_ 114. - - _Woeiriot_, 127, 147, 189 _note_ 4, 244 _note_ 2. - - - XENOPHON, _'Œconomicus.' See 'Economic Xenophon.'_ - - - ZANI, 145. - - - - -A LIST OF THE REPRODUCTIONS IN THIS VOLUME OF DESIGNS ATTRIBUTED TO TORY -BY M. BERNARD. - -[Illustration] - - - REPRODUCED - ON PAGE - - DESCRIBED - ON PAGE - - Design on covers: from the binding of a copy of Petrarch, Venice, - 1525, in the Library of the British Museum. 47 - - I The letter Alpha: from the Greek alphabet of Robert Estienne. 189 - - III Border: from the title-page of 'Champ fleury.' 192 - - IV Border: from Ovid's 'Tristia,' 'Fasti,' etc. Paris, Colines, - 1541. - - V Frieze: from the Works of Justin Martyr. Paris, Robert Estienne, - 1551 (slightly reduced). 189 - - V Initial: from the Greek alphabet of Robert Estienne (1541). 189 - - IX Border: from the Colines Hours of 1543. 210 - - X-XIX Borders in niello: from the Colines Hours of 1543. 211 - - XXI Border used by Colines on the title-pages of various works. 174 - - 1 Frieze: from a border of the Colines Hours of 1543 (reduced). 210 - - 1 Initial letter L: from folio 1 of 'Champ fleury.' 22 - - 6 Monogram of 'Civis.' 6 - - 12 Pot Cassé, as printed in Tory's poem on his daughter's death. 12 - - 20 Pot Cassé, as used by Tory on bindings. 20 - - 21 Pot Cassé: from 'Champ fleury,' folio 43. 21 - - 23 Letters I and K, by Jean Perreal: from 'Champ fleury,' folio - 46. 23 - - 45 Tory's autograph, on Manuscript of Cicero's orations against - Verres: from Bernard. 45 - - 45-47 Various forms of the Pot Cassé. 45-47 - - 48 Letter A with the 'lisflambe': from 'Champ fleury.' 192 - - 49 Border: from 'Champ fleury.' Afterwards used on various works. 196 - - 50-51 Triumph of Apollo and the Muses: from 'Champ fleury,' - folios 29 verso and 30 recto. 192 - - 100 Arms of France: from 'Champ fleury' verso of title. 192 - - 101-117 Borders and illustrations: from the Hours of 1524-1525; - from the copy in the British Museum. 109-116 - - 129 The Visitation: from Mallard's octavo Hours of 1542. Bernard - describes only the octavo edition of 1541. 129, 218 - - 130 Border: from title-page of Macault's translation of Diodorus - Siculus. 136 - - 137 Mark of Pierre Roffet. 140, 285 - - 140 Border of title: 'Isocratis Oratoris dissertissimi sermo,' - etc. Paris, Simonem Colinæum, 1529. Not mentioned by Bernard. - - 141 The 'Gallic Hercules': from 'Champ fleury,' folio 3. 192 - - 152 Allegorical letter Z: from 'Champ fleury,' folio 65. 193 - - 153 Frieze (slightly reduced). See under page v. 189 - - 171 Coronation of the Virgin: from the quarto Hours of 1527. 124 - - 172 Frieze (slightly reduced). See under page v. 189 - - 172 Monogram: from Vostre's Hours of 1515; from Bernard. 172 - - 179 Monogram of Tory. 179 - - 183 Monogram of Tory: from 'The Labours of Hercules'; from Bernard. - - 186-188 Floriated (Roman) letters engraved for Robert Estienne. 185 - - 190-191 Floriated (Greek) letters: engraved for Robert Estienne. 189 - - 193 Letter Y: from 'Champ fleury,' folio 63. 193 - - 194 Greek Alphabet: from 'Champ fleury,' folio 71. 193 - - 195 Latin Alphabet: from 'Champ fleury,' folio 72. 193 - - 198 Title-page of the Aristophanes of 1528, with the sign of - Gilles de Gourmont and the Gourmont arms. 197 - - 206 Frontispiece of Macault's translation of Diodorus Siculus. 205 - - 209-211 Borders: from Colines quarto Hours of 1543. 210 - - 233 Portrait of Theodore de Bèze: from 'Theodori Bezæ Vezelii - Poemata,' 1548. 233 - - 234 Portrait of Luchinus, Duke of Milan: from Pauli Jovii - Novocomensis, etc., 1549. 235 - - 236 A man on horseback: from the Entrée de Henri II à Paris, 1549. - Usually attributed to Bernard Salomon (Le petit Bernard). 237 - - 240 A fleet of ships: from 'Gerard d'Euphrate,' 1549. 241 - - 263 Frontispiece of 'Textus de Sphæra' Joannis de Sacrobosco. - Paris, Simon de Colines, 1527 (reduced). Not mentioned by - Bernard. - - 264 Mark of Philippe Le Noir. 279 - - 265 Frieze (slightly reduced.) See under page v. 189 - - 265 Mark of the Marnefs. 265 - - 266 Mark of Conrad Bade. 266 - - 268 Mark of Simon de Colines. 268 - - 269 Mark of Simon de Colines. 268 - - 269 Mark of Gilles Corrozet. 269 - - 270 Mark of Mathieu David. 270 - - 271 Mark of Robert Estienne. 271 - - 272 Mark of Robert Estienne. 272 - - 273 Mark of Michel Fezandat. 272 - - 274 Mark of Gilles de Gourmont. 274 - - 277 Mark of Louis Grandin. 277 - - 278 Mark of Charlotte Guillard. 277 - - 281 Mark of Sebastien Nivelle. 280 - - 283 Mark of Nicole Paris. 283 - - 285 Mark of Gilles Robinot. 285 - - 286 Mark of Jean de Roigny. 285 - - 287 Mark of Thielman Vivian. 287 - - 288 The Triumph of Death: from the quarto Hours of 1527. 124 - - 289 Frieze: from Orontius Finæus. Colines, 1544 (slightly - reduced). Not mentioned by Bernard. - - 289 Initial G, with Lorraine cross: from the Roman alphabet - engraved for Robert Estienne. 185 - - 325 Border: from Robert Estienne's Greek testament, folio, 1550. - Not mentioned by Bernard. - - 338 Letter Omega: from the Greek alphabet, engraved for Robert - Estienne. 189 - - 339 Illustration from Mallard's octavo Hours of 1542. 129, 218 - -[Illustration] - - - - -TABLE OF CONTENTS. - - - PRINTERS' PREFACE. PAGE V - - - AUTHOR'S PREFACE. IX - - - PART I. BIOGRAPHY. 1 - - - PART II. BIBLIOGRAPHY. 49 - - I. WORKS WRITTEN OR ANNOTATED BY TORY. 50 - - II. BOOKS OF HOURS PUBLISHED BY TORY FOR HIMSELF. 101 - - III. WORKS PUBLISHED BY TORY FOR FRANÇOIS I. 130 - - IV. WORKS PRINTED BY TORY FOR PRIVATE INDIVIDUALS. 137 - - - PART III. ICONOGRAPHY. 141 - - I. MANUSCRIPTS DECORATED WITH MINIATURES BY TORY. 153 - - II. PRINTED BOOKS ILLUSTRATED WITH ENGRAVINGS BY TORY OR HIS - PUPILS. 172 - - III. MARKS OF BOOKSELLERS AND PRINTERS WITH THE LORRAINE CROSS. 265 - - - APPENDICES. - - I. CONCERNING GEOFROY TORY'S FAMILY. 289 - - II. VERSES IN HONOUR OF TORY. 292 - - III. TORY ADMITTED AS TWENTY-FIFTH BOOKSELLER TO THE UNIVERSITY. 294 - - IV. CONCERNING TORY'S VARIOUS DOMICILES IN PARIS. 295 - - V. OF THE FIRST USE OF THE APOSTROPHE, ETC. 295 - - VI. TRANSLATION OF THE LETTERS PATENT APPOINTING CONRAD NÉOBAR - KING'S PRINTER FOR GREEK. 299 - - VII. EXTRACT FROM LETTERS PATENT APPOINTING DENIS JANOT KING'S - PRINTER. 302 - - VIII. LIST OF KING'S PRINTERS IN PARIS FROM THE ORIGINAL - INSTITUTION OF THAT OFFICE. 303 - - IX. CONCERNING THE KING'S BINDERS AND LIBRARIANS. 308 - - X. LATIN PASSAGES TRANSLATED IN THIS BOOK. 311 - - - INDEX. 325 - - - LIST OF REPRODUCTIONS. 333 - -[Illustration] - - - - - TOUT - BIEN - - [Illustration] - - OU - RIEN - - PRINTED AT THE RIVERSIDE PRESS FOR - HOUGHTON MIFFLIN COMPANY - BOSTON AND NEW YORK. - CCCLXX COPIES. - - NO. 288 - - * * * * * - - +--------------------------------------------------------------------+ - | Transcriber notes: | - | | - | P. 298. 'M. Wey has forgotton', changed 'forgotton' to 'forgotten'.| - | Index: 'Barthelin' changed to 'Berthelin' and moved to alphabetic | - | position. | - | Index: 'Bassentin, Jacques, 'L'astronomique discours,' 261', page | - | number should be 262, changed. | - | Index: 'Champ Fleury, p. 29: added 'note 1'. | - | Changed all instances of 'francois' to 'françois' when in Latin or | - | French. | - | Fixed various punctuation and latin accents. | - +--------------------------------------------------------------------+ - - - - - -End of the Project Gutenberg EBook of Geofroy Tory, by Auguste Bernard - -*** END OF THIS PROJECT GUTENBERG EBOOK GEOFROY TORY *** - -***** This file should be named 60542-0.txt or 60542-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/5/4/60542/ - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Geofroy Tory - Painter and engraver; first royal printer; reformer of - orthography and typography under François I. - -Author: Auguste Bernard - -Translator: George B. Ives - -Release Date: October 21, 2019 [EBook #60542] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK GEOFROY TORY *** - - - - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - - - - - -</pre> - - -<div class="figcenter"> -<img src="images/coverpage.jpg" width="478" height="700" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_001.jpg" width="315" height="370" alt="" /> -</div> - - - -<div class="figcenter"> -<img src="images/i_title.jpg" width="433" height="700" alt="" /> -</div> - - -<hr class="chap" /> - - -<h1>GEOFROY TORY</h1> - -<p class="ph3">PAINTER AND ENGRAVER: -FIRST ROYAL PRINTER: REFORMER -OF ORTHOGRAPHY -AND TYPOGRAPHY UNDER -FRANÇOIS I.</p> - -<p class="ph3">AN ACCOUNT OF HIS LIFE -AND WORKS, BY AUGUSTE -BERNARD, TRANSLATED BY -GEORGE B. IVES.</p> - -<p class="ph4">THE RIVERSIDE PRESS: MDCCCCIX</p> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/i_a_004.jpg" width="353" height="560" alt=" ENTERED ACCORDING TO ACT OF CONGRESS IN THE YEAR 1909" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_v" id="Page_v"></a></span></p> - -<div class="figcenter"> -<img src="images/i_a_005a.jpg" width="800" height="192" alt="" /> -</div> - -<h2 class="nobreak"><a name="PRINTERS_PREFACE" id="PRINTERS_PREFACE"></a>PRINTERS' PREFACE.</h2> - -<p><span class="figleft200"> -<img src="images/i_a_005_b.jpg" width="200" height="236" alt="B" /></span>ERNARD'S <em>monograph on Tory was first -published in </em>1857, <em>when M. Bernard was -already a recognized authority on the history -of typography. In</em> 1865, <em>after an interval -devoted largely to a search for further -information concerning Tory</em>, <em>and for probable -examples of his work as an artist</em>, <em>a -second edition of the book appeared</em>, <em>enlarged -by more than one-half</em>, <em>arranged more systematically</em>, -<em>and embellished with several -additional engravings of designs which are</em>, <em>in the author's opinion</em>, <em>attributable -to Tory. The Iconography, which forms the third part of this -revised edition, did not appear as such in the first edition, although a -small part of the material it contains may be found scattered through -that edition. It now occupies more space than the Biography and Bibliography -combined. The new arrangement necessitated more or less repetition -where, as in many instances, the same book is referred to by M. -Bernard in more than one section of his work; and this repetition sometimes -reveals discrepancies between the different descriptions. Where -such discrepancies have been discovered by him the translator has endeavoured -to correct them, generally, in the absence of an opportunity -to inspect the volume in question, assuming that the description in the -bibliographical section is more likely to be trustworthy; in a number of -cases, however, inspection of title-pages themselves, or of reproductions -thereof, has enabled him to correct numerous minor errors in transcription.</em></p> - -<p><em>The kindness of the late Mr. Amor L. Hollingsworth, in lending his -fine copy of the first edition of 'Champ fleury,' made it possible to collate -therewith M. Bernard's numerous extracts from that rare and interesting -book, and to ensure entire accuracy with respect to them.</em></p> - -<p><em>As M. Bernard writes certain printers' names in different ways, the -translator has assumed that the names are printed differently in different -books, and has not attempted to make them uniform. Such names -are Dubois</em> (<em>Du Bois</em>), <em>Lecoq</em> (<em>Le Coq</em>), <em>Galliot</em> (<em>Galiot</em>). <em>The few notes -supplied by the translator are inserted in square brackets.</em></p> - -<p><em>The translations of Tory's various Latin effusions, including the complete -text of the little brochure called forth by the death of his daughter -Agnes, were made by Mr. J. W. H. Walden of Cambridge. The Latin -originals will be found at the end of the book, in Appendix X.</em></p> - -<p><em>Since such authorities as M. Bernard and M. Renouvier differ as to -the ascription to Tory of many of the designs mentioned in this work, it -seemed the wiser course to choose for illustration only such subjects as are -described by the author, without questioning the soundness of his reasoning -or the infallibility of his deductions. The only exception is the beautiful -design reproduced on the first page of the Index. This is taken from -Robert Estienne's folio New Testament</em> (<em>in Greek</em>) <em>of</em> 1550, <em>where</em>, <em>with -two other similar decorations</em>, <em>it occurs in conjunction with the friezes -and floriated Greek letters reproduced elsewhere in this volume</em>. <em>They are -unsigned, but all are indubitably from the same hand. Although they are -not mentioned by M. Bernard, it seems incredible that he should never -have seen them.</em></p> - -<p><em>The printer of this volume has had more than ordinary good fortune -in literally stumbling upon most of the designs here reproduced. The pressure -of other work has prohibited systematic research, and the originals -of these illustrations were nearly all discovered while he was engaged -upon other matters. Many were found in the Harvard Library, some in -the reference library of the Riverside Press, some in auction rooms, and -some in booksellers' catalogues. The only exception is the series of borders -from the Hours of</em> 1524-25, <em>which were expressly photographed from -the copy in the library of the British Museum.</em></p> - -<p><em>That so much has come to hand in so haphazard a way is but an additional -proof of Tory's industry and versatility. There seems to be almost -no limit to the work which may fairly be credited to him, and M. Bernard -hardly exaggerated when he said that there was scarcely an illustrated -volume of any importance issued in Paris during the first half of -the</em> XVI <em>th century in which the artist of the Lorraine cross did not have -a hand</em>.<em> Hours and Classics, Bibles and Testaments, Mathematical and -Medical works—all bear evidence to his prolific pen and graver, and -were time disregarded, the preparation of this volume might be almost indefinitely -prolonged. Incomplete as it is, however, it is hoped that it will -measurably fulfill the desire expressed by Mr. A. W. Pollard nearly fifteen -years ago, in the first issue of 'Bibliographica.' Speaking of Bernard's -monograph</em>, <em>he said</em>, '<em>It would be pleasant if some French publisher -would bring out a new edition worthily illustrated</em>, <em>for in</em> 1865 <em>the modern -processes of reproduction were not yet invented</em>, <em>and the few and poor -woodcuts in M. Bernard's book give no just idea of the artistic powers -of Tory</em>, <em>whose illustrated editions are so difficult to meet with that M. -Bernard's admirable commentary loses half its value for lack of a proper -accompaniment of text.'</em></p> - -<p><em>A word regarding the method of reproduction of these illustrations -may not be out of place here. More was aimed at than mere photographic -copies, which are in many ways inadequate. It was thought desirable to -make the decorations an integral part of the typographic treatment of -the volume and to preserve when practicable their original relations to -the type. To attain this end, more perfect printing plates were necessary -than could be obtained directly from the old editions. The designs, therefore, -were all redrawn with the greatest care over photographs of the -originals, and from these drawings photo-engravings made, which were -afterward perfected by hand when the forms were on the press.</em></p> - -<p><em>Notwithstanding some inevitable slight divergences of line, this -method preserves with far greater faithfulness the spirit and effect of the -original prints, and the result is more truly a facsimile than a direct photographic -copy would have been. Both drawing and engraving of Tory's -designs were exquisite, and as a rule they were beautifully printed, especially -by Colines and Robert Estienne. Some of them, however, suffered -at the hands of inferior printers. Imperfections and irregularities due to -the carelessness or unskilfullness of the printer are readily discernible, -and in the reproductions in this volume have been eliminated. The preservation, -by this treatment, of more of the beauty and interest of the originals -is sufficient justification for departing to this extent from the usual -methods of facsimile reproduction.</em></p> - -<p><em>Following the French fashion, the Table of Contents and List of -Illustrations are printed at the end of the volume.</em></p> - -<p class="center">G. B. I.<br /> -B. R.</p> - -<blockquote> - -<p><em>January</em>, 1909.</p></blockquote> - -<hr class="chap" /> - -<div class="figcenter"> -<img src="images/i_a_009.jpg" width="362" height="560" alt="AUTHORS PREFACE TO THE SECOND EDITION" /> -</div> - - - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_ix" id="Page_ix"></a></span></p> - - -<h2><a name="AUTHORS_PREFACE_TO_THE_SECOND_EDITION" id="AUTHORS_PREFACE_TO_THE_SECOND_EDITION"></a>AUTHOR'S PREFACE TO THE<br /> - -SECOND EDITION.</h2> - - -<p><span class="figleft150"><img src="images/i_a_010_t.jpg" width="150" height="145" alt="T" /></span>HE first half of the -sixteenth century was -with respect to printing -(as with respect to -the other arts) a period -of renovation, not in -the matter of processes -of execution, which remained about the -same as in the fifteenth century, but in the -matter of the make-up of books, which was -entirely revolutionized. Typographical arrangement, -appearance of the letters and -ornaments, everything, even to the cover, -was changed almost at the same time, or, at -all events, within a very few years. At that -time printing gave over the servile copying -of manuscripts, which had at first served it -as models, and adopted special rules, better -adapted to its method of execution. For instance, -it relegated notes to the foot of the -pages, calling attention to them by marks of -reference, instead of placing them at the -side of the text, as had previously been the -custom, at the cost of an enormous amount -of labour, without benefit to the reader. It -also abandoned the use of red capitals,<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> -which, by increasing the labour twofold, -made books expensive, and replaced them -by floriated letters, which were quite as distinctive, -but were set up and printed with -the text. This style of ornament, so favourable -to artistic results, developed rapidly, -and soon extended from the letters to the -illustrations, which began to be introduced -in books in constantly increasing numbers. -Under the general impulsion of the Renaissance, -engraving was transformed: instead -of the coarse woodcuts, of the so-called criblé -style, in which the background was black -sprinkled with white dots,<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> and the design -stamped in white, as with a punch, engraving in relief came into -vogue, just as we have it to-day, identical in -form, although the processes have been perfected. A similar revolution -took place in the matter of letters: the gothic or semi-gothic characters, -which had hitherto been used, were replaced by roman characters of a novel -shape, borrowed from the monuments of antiquity (then studied with great -ardour), which continued in use until the Revolution. Lastly, the covers -of books also underwent a transformation brought about by the force of -events: the parchment rolls used by the ancients had been succeeded, -during the Middle Ages, by bound volumes, of a shape more convenient -for reading; these volumes, of which those who were fortunate enough to -own any never owned more than a very small number, being intended to be -arranged on the library shelves in such wise as to present one side to -the visitor's eye, were adorned with numerous ornaments of various sorts -on that side, so that they could easily be distinguished. -Later, these ornaments were omitted and the title of the book substituted, -in huge black or gauffered letters. But the invention of printing soon -caused that device to be abandoned. As the increasing numbers of books -made it impossible to give up so much space to them, they were arranged -side by side on the shelves, care being taken to print the title in gold -letters (so that it might be more legible) on the back of the book, which -was the only part of it in sight. This innovation compelled the doing away -with raised decorations, especially those in precious stones or in metal, -which would have torn the books that stood next them. Thereafter leather -binding came into general use; the gauffering on the sides was continued -for some time; but in the sixteenth century this in turn was replaced by -gold tooling 'à filet,' and the transformation was complete.</p> - -<p><span class="drop-cap">T</span>HE man who contributed most largely -to the threefold evolution I have -described was Geofroy Tory, a man who is -hardly known to-day,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> despite all his talents, -although he received in 1530, as reward of -his labours, the title of king's printer, which -François I had never before bestowed upon -any one. I say that Tory is hardly known to-day; -in truth, it is, in his case, equivalent -to being unknown, to be known, as he is, -only as a publisher. Some few scholars, to -be sure, are aware that he was a printer; but -the fact is so little known that his biographer -has denied it.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> As for his noblest title -to fame, that of engraver, nobody is aware -of it; and yet we owe to Tory the resuscitation -of engraving in France. As the historian -of typography,<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> I have thought that -it was for me to describe with special care -one of the fairest jewels in his crown. Such -is the purpose of the work here presented, -wherein will also be found, in connection -with the honour paid to Tory by François -I, some information concerning the first -royal printers, and a list of those officers -from the beginning down to the extinction -of the office in 1830, three centuries, year -for year, after its creation. François I is, in -truth, entitled to be considered the creator -of the office of king's printer, for prior to -his reign we find but one typographer who -bore that title, while, from François I down, -the series of king's printers was not again -interrupted. The appointment of Pierre le -Rouge, on whom the title was bestowed in -1488,<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> may be creditable to Charles VIII, -but it was without result. The honour of -having made of the eminently literary post -of king's printer a permanent office reverts -of right and naturally to the prince who has -been called the Father of Letters. In truth -that prince, as we shall see hereafter, was not -content with a single printer; he had several -at once, with distinct functions, and appointed -successors without loss of time to -such as retired or died during his lifetime.</p> - -<p>But, I repeat, the principal purpose of my -work is to make Tory known as one of the -most skilful engravers we have ever had. -Of course I cannot forget that he was the -learned editor of the 'Cosmographie du -Pape Pie II,' the 'Itinéraire Antonin,' etc.; -the publisher, of rare taste, who put forth -the Hours of 1525, 1527, etc.; the accomplished -printer of the 'Sacre de la Reine -Eléonore,' and the distinguished philologist -of 'Champ fleury,' to whom, as we shall see, -we owe the invention of the orthographic -forms peculiar to the French language.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> But -what has especially attracted me in Tory is -his work as an engraver. In that rôle he was -without predecessor or rival, for those persons -who may be represented as such may -have been his pupils, nothing more. Jean -Duvet alone might quarrel with this limitation; -but, although he was Tory's contemporary, -he was not his teacher; for Tory -had gone for his schooling in the art to the -very fountain-head, to Italy, before Duvet -produced anything. As for Jean Cousin, de -Laulne, du Cerceau, Léonard Gauthier, and -the rest, they did not come until after Tory. -The honour of revivifying the art of engraving -in France belongs to Tory alone, bestriding -two centuries, the fifteenth and -sixteenth; indeed, some of his productions are -pure gothic. This I propose to demonstrate -in the third part of my book, after I have, -in the first part, narrated the general facts -of our artist's life, in which we may observe -also the development of a revolution in the -matter of philology; for Tory was a devoted -partisan of the classic tongues before he became -one of the sturdiest champions of the -French language.</p> - -<p>In order to emphasize the importance of -the orthographic reform achieved by Tory, -I have usually followed the orthography of -the time in my quotations from ancient -works. It is an anachronism, to be sure, but -it is of no consequence when the reader is -forewarned. - -I have also felt at liberty to correct -now and then, without calling attention -to them, the typographical errors found -in the texts quoted.</p> - -<p>I will not conclude without thanking publicly -those persons who have kindly assisted -me in my researches concerning Tory. I -have had occasion to mention their names -in the course of my work, but that is not -enough: I beg them to accept in this place -the assurance of my gratitude. There are two -to whom I am especially grateful, for they -have considerably augmented my store of -documents: they are MM. Achille Devéria<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a> -and Olivier Barbier, of the Bibliothèque Impériale: -it is owing to their kind communications -to me that the list of Tory's artistic -works will be found not far from complete.</p> - - -<hr class="tb" /> - -<div class="figcenter"> -<img src="images/i_a_010.jpg" width="331" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_011.jpg" width="324" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_012.jpg" width="323" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_013.jpg" width="323" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_014.jpg" width="324" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_015.jpg" width="320" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_016.jpg" width="327" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_017.jpg" width="317" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_018.jpg" width="323" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_a_019.jpg" width="326" height="500" alt="" /> -</div> - - - -<hr class="chap" /> - - - - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> - -<div class="figcenter"> -<img src="images/i_a_021.jpg" width="321" height="500" alt="PART I BIOGRAPHY" /> -</div> - - -<hr class="chap" /> - -<div class="figcenter" style="width: 800px;"> -<img src="images/i_b_001a.jpg" width="800" height="75" alt="" /> -</div> - -<h2 class="nobreak"><a name="GEOFROY_TORY" id="GEOFROY_TORY"></a>GEOFROY TORY</h2> - -<blockquote><p>PAINTER AND ENGRAVER: FIRST ROYAL PRINTER: -REFORMER OF ORTHOGRAPHY AND TYPOGRAPHY -UNDER FRANÇOIS I.</p></blockquote> - - -<p class="p6">PART I. BIOGRAPHY.</p> - - -<p><span class="figleft200"><img src="images/i_b_001_l.jpg" width="200" height="196" alt="L" /></span>ESS than twenty years after the introduction -of printing at Paris, there was born -at Bourges a child of the people, destined -to impart to French typography a vigorous -artistic impulsion, or, to speak more -accurately, to work therein a genuine -revolution. Geofroy Tory<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> was born in the -capital of Berry, about 1480, of obscure, -middle-class parents, as he himself tells -us.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> Everything seems to indicate that he -first saw the light of day in the faubourg of Saint-Privé, to this day the -abode of humble vine-dressers. How, in that most lowly condition of -life, he succeeded in acquiring the degree of education which he afterward -exhibited, it is hard to say. However, it is proper to remember that -Bourges was at that time a metropolitan and university city, where there -were several schools, both ecclesiastic and lay. We may well believe -that, having, at an early age, aroused the interest of some patron by -virtue of his fortunate natural endowments and his intelligence, he was -admitted to the schools attached to the chapter, where he learned the -first elements of grammar. We shall soon find him dedicating the first -fruits of his labours to a canon of the metropolitan church of Bourges, -who seems to have been, at that time, his Mæcenas.</p> - -<p>Once master of the first rudiments of grammar, Tory perfected himself -by following the curriculum of the university, where, as we learn -from himself, he had for his teacher a Fleming named Guillaume de -<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>Ricke, otherwise called 'le Riche' in French and 'Dives' in Latin; and -for a fellow disciple under this Ghent-born master, a certain Herverus -de Berna, from Saint-Amand, who afterward wrote a panegyric of the -Comtes de Nevers.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p> - -<p>Tory then went, to finish his literary education, to Italy, whither he -betook himself early in the sixteenth century. He sojourned principally -in Rome, where he attended most frequently the famous college called -La Sapienza,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> and in Bologna, where he attended the lectures of the -celebrated Filippo Beroaldo, who died in 1505.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> Tory returned to France -a little before that event, and established his domicile in Paris, which -he always loved henceforward as one loves one's native city,<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> and where -he began his literary career.</p> - -<p>The first work of his of which we have any knowledge is an edition -of Pomponius Mela, which he prepared for the bookseller Jean Petit; -it was printed by Gilles de Gourmont because it required the use of -some Greek type.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> This book was dedicated by Tory to his compatriot -Philibert Babou, at that time valet de chambre to the king. The dedicatory -epistle is dated Paris, the VI<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> of the Nones of December, 1507; -but the printing of the book was not completed until January 10, 1508 -(new style).<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> Several articles in this volume, which were written by -Tory, are signed by the word <span class="smcapa">CIVIS</span>, which he had adopted for his device. -That patriotic designation was well suited to a descendant of those -Bituriges who strove vainly at Avaricum<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> to defend the autonomy of -Gaul against Cæsar. In any event it is interesting to find, three hundred -years before Jean-Jacques Rousseau, a man, justly proud of his learning, -which he owed entirely to himself, clothing himself in that title of -citizen, which was formerly held in such honour in the provincial -cities, and especially in Bourges, whose name Tory never fails to append -to his own: 'Geofroy Tory de Bourges.'</p> - -<p>This erudite production and the patronage of Philibert Babou were -perhaps responsible for Tory's appointment to the office of regent, otherwise<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> -called professor, of the College of Plessis, where we find him installed -in 1509. It was there that he edited for the first Henri Estienne -the 'Cosmographie du pape Pie II.'<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></p> - -<p>The dedication of this book, addressed by Tory to Germain de Gannay, -canon of the metropolitan church of Bourges, and recently appointed -Bishop of Cahors by King Louis XII,<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> was dated at the College of Plessis, -on the VI of the Nones of October,<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> 1509. Tory's edition (the third -according to him) contains forty-one quarto sheets of text, and is accompanied -by a map of the old world. The 'avis au lecteur,' also written by -Tory, is signed, according to his custom, with the word <span class="smcapa">CIVIS</span>. In the -following year, in collaboration with a compatriot and fellow pupil, -Herverus de Berna, Tory published a short Latin poem on the Passion, -written by his former teacher, Guillaume de Ricke. In this wise he acquitted -his debt of gratitude.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> Shortly after, Tory published for the Marnef -brothers an edition of Berosus, who was then much in vogue, thanks -to the fabrications of Annius of Viterbo. This book, the preface of which -is dated May 9, 1510, went to no less than three editions, to say nothing -of those issued by other publishers.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></p> - -<p>In the same year Tory published for the same booksellers a small -volume of miscellanies, under this title: 'Valerii Probi grammatici de -interpretandis Romanorum literis opusculum, cum aliis quibusdam scitu -dignissimis.' It was probably printed by Gilles de Gourmont, for we find -in it his unaccented Greek type.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a> This volume, which contains twelve -octavo sheets, has two engravings on wood—the mark of the booksellers -on the title-page, and a Roman portico a little farther on. There are -also a few small cuts engraved on metal in one of the articles. The dedicatory -epistle, dated at the College of Plessis the VI of the Ides of May -(May 10), 1510, and addressed by Tory to two compatriots, who had -probably been his fellow pupils, is signed by his device, the word <span class="smcapa">CIVIS</span>. -The dedication begins thus: 'Godofredus Torinus Bituricus ornatissimos -Philibertum Baboum et Ioannem Alemanum Iuniorem, cives Bituricos,<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> -pari inter se amicitia conjunctissimos, salutat.' Babou and Lallemant were -at this time two important personages in Bourges: the former was secretary -and silversmith to the king, the other, mayor of the city. We see that -Tory had acquired valuable connections in his native place, despite his -modest origin. Among the extracts from ancient authors in this book he -interspersed several pieces of verse of his own composition.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> - -<p>Finally, in the same year, Tory issued an edition of Quintilian's 'Institutiones,' -carefully collated by him with several manuscripts. This -work was undertaken at the request of Jean Rousselet, Seigneur de La -Part-Dieu, near Lyon, and an ancestor of Château-Regnaud, Maréchal -de France. This Rousselet, who died in 1520, belonged to one of the -wealthy Lombard families which had settled at Lyon long before; they -made, as we see, a noble use of their wealth. His real name was Ruccelli. -He had married a young gentlewoman of Bourges, Jeanne Lallemant, -daughter of Jean Lallemant, Seigneur de Marmagne, a school friend of -Tory, whom I have already had occasion to mention. Doubtless it was -this connection which brought Tory into relations with Rousselet. The -text is preceded by the following dedicatory letter:</p> - -<blockquote> - -<p class="center"><em>Geofroy Tory of Bourges to Jean Rousselet, devoted lover of letters, -long life and happiness.</em></p> - -<p>Never, I think, most illustrious Jean, will you omit or cease to have -the aspiration of nobly justifying, both by your character and by your -good deeds, the great hopes which your relatives and your country have -of you. That you might benefit the State by your counsel also, you made -it your interest that I should emend Quintilian and have him printed -as handsomely as might be. After carefully collating a large number of -manuscripts, I industriously set to work and, by eliminating almost countless -errors, I made a single manuscript of considerable accuracy. This, in -accordance with your orders, I sent from Paris to Lyon. I only hope that -the printers will not introduce other, new, errors. Farewell, and love me.</p> - -<p>Paris, at the College of Plessis, the third of the Calends of March.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p></blockquote> - -<p>This book, which forms a large octavo volume, unpaged, printed in -italic type, and in which we find some most attractive Greek type, with -accents, was finished on the VII of the Calends of July (that is to say, -June 25), 1510. The printer's name does not anywhere appear, and the -place of printing (Lyon) is mentioned only in Tory's letter.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p> - -<p><span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span></p> - -<p>I know of nothing of Tory's dated in 1511<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a>; but that does not prove -that he produced nothing in that year, for it is certain that about that -time he published several works which have not come down to us. In -fact, he tells us in his 'Champ fleury'<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> that he has 'caused to be printed -and put before the eyes of worthy scholars divers little works in Latin, -both in verse and in prose.' Now we know of nothing of his in verse -prior to 1524, except what we find at the end of the 'Valerius Probus' -of 1510, and of Guillaume de Ricke's 'Passion.' Moreover, the absence -of any publication by Tory in 1511 may be explained by the confusion -incident to his retirement from the College of Plessis and his installation -at the College Coqueret, which seems to have taken place in that year, -but concerning which I have no other information than the imprint on -two books published by him in the following year.</p> - -<p>The first work edited by Tory in 1512 was an architectural treatise -entitled: 'Leonis Baptistæ Alberti Florentini.—Libri de re ædificatoria -decem,' etc.; a quarto volume of 14 preliminary leaves and 174 leaves -of text. This book was printed by Berthold Rembolt (whose mark it -bears on the first page), at the joint expense of that printer and the -bookseller Louis Hornken, whose mark is at the end of the book. The -dedication, which is addressed to Philibert Babou, and dated at the College -Coqueret on the XV of the Calends of September (August 18), -1512, informs us that Tory received the manuscript of the book from -his friend Robert Dure,<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> principal of the College of Plessis, who gave -it to him four years earlier, when Tory himself was professor at the -same college. As always, this dedication is signed <span class="smcapa">CIVIS</span>. A note on the -last page but one informs us that the printing was finished on August -23, 1512.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p> - -<p>The second work put forth by Tory in 1512 was the 'Itinerarium Antonini.' -It was the second book that he prepared for Henri Estienne, in -whose establishment it has been said<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> (erroneously, I think) that he filled -the post of corrector of the press. However that may be, the dedication, -addressed by Tory to Philibert Babou, is dated at the College Coqueret -<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>the XIV of the Calends of September (August 19), 1512. Tory says to -Babou that he had dispatched a copy of the manuscript of this book to -him at Tours four years before (that is to say, in 1508), but that the person -to whom it was entrusted for delivery to him had given it, in his own -name, to somebody else. This time, in order not to be defrauded of the -fruits of his labours, he had caused the work to be printed from his own -copy, having carefully collated it with a manuscript lent him by Christophe -de Longueil.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> The volume is a sexto-decimo, remarkable for the -beauty of its execution. The copy in vellum which I have seen at the Bibliothèque -Nationale is still redolent of the fifteenth century. We find in -it certain verses of the Burgundian Gérard de Vercel in honour of Tory, -which prove that the latter was even then in -some repute as a scholar, and as a printer, -too; for the author contrasts him with the -wretched printers of the day. The preliminary -matter, by Geofroy Tory, is signed by -the word <span class="smcapa">CIVIS</span>, printed in red. At the end -of the volume the same word reappears in a -very curious monogram composed of the letters -CIVS so arranged that we can read the -word <span class="smcapa">CIVIS</span> in all directions. Therein we may -detect thus early Tory's taste for ciphers and devices, a taste to which he -afterward gave free rein, in his 'Champ fleury.'</p> - -<div class="figleft" style="width: 200px;"> -<img src="images/i_b_006.jpg" width="200" height="226" alt="" /> -</div> - -<p>At this epoch occurs a momentous event in Geofroy Tory's life. On -August 26, 1512, he became the father of a daughter, who was christened -Agnes. I do not know the date of his marriage, but it was at least -as early as 1511. A document of much later date, to which we shall have -occasion to refer hereafter, informs us that his child's mother was named -Perrette le Hullin. There is reason to believe that she, like her husband, -was of Bourges, as the name of Hullin was common there at that time. -Soon after the birth of Agnes, perhaps just at the opening of the term -of 1512, Tory entered the College of Bourgogne as regent, or professor -of philosophy. His lectures, which were continued for several years, were -attended by a large number of hearers, if we may believe a poetical epitaph -composed in laudation of him and published by La Caille.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> Tory -<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>himself seems to refer to this professorship in his 'Champ fleury,'<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> but -I have been unable to find any record of it, because, presumably, the new -direction in which he was then turning his faculties required a certain -time of preparation.</p> - -<p>This is what happened: Tory, whose activity was very great, did not -confine himself to his professorship,<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> but set about learning drawing -(probably under the instruction of Jean Perreal, of whom I shall have -occasion to speak again), and also engraving, for which he had a special -bent. This apprenticeship, with the duties of his professor's chair,—for -Tory drove art and philosophy side by side, as the epitaph just quoted -has it ('philosophiam simulque artem exercuit typographicam'),<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a>—engrossed -him completely for three or four years; but at the end of that -time, being far from content with his attempts at printing and engraving, -or too enthusiastic to be satisfied with a partial result, he determined to -study classic forms and outlines in Italy itself, of which country he had -retained such agreeable memories that he speaks of it constantly. Consequently -he abandoned his professorship and started south again. It was -on this journey that he visited the Coliseum 'more than a thousand -times,'<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> that he saw the theatre of Orange,<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> and the ancient monuments -of Languedoc<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> and of other places in France and Italy,<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> which he cites -as his authorities on every page of his 'Champ fleury.'</p> - -<p>Tory does not give the precise date of this artistic journey; but it is -established by a passage in his book, where he informs us that he saw -the 'Epitaphs of Ancient Rome' printed in that city.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a> Now this book -of Epitaphs can be no other than the collection published by the celebrated -printer Mazochi, under the title: 'Epigrammata sive inscriptiones -antiquæ urbis,' folio, dated 1516, but preceded by a license from the -Pope, of 1517.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> This hint of Tory's is doubly valuable to us, for it not<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -only tells us the date of our artist's second journey to Italy, but reveals -his predilection for typography. As we see, he was already studying the -printing art with interest.</p> - -<p>On his return to Paris, about 1518, Tory, who was not a wealthy man, -was obliged to think about turning his talents to account, in order to -earn his living. His principal resource seems to have been the painting -of manuscripts, otherwise called miniature; but, whether because he did -not find sufficient work of that sort, or because he considered another -branch of art more useful, he soon gave his entire attention to engraving -on wood, in which he speedily acquired considerable celebrity. About -the same time, Tory also joined the fraternity of booksellers, following -a custom then quite general among engravers,—a custom which their -predecessors, the miniaturists, had handed down to them, and which was -continued down to the eighteenth century.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a> In truth, it was not unnatural -that those who decorated books should sell them, or, if you prefer, -that those who sold them should decorate them. It was one way of earning -more money. Desiring to signalize his début in the career of a bibliopole -in a noteworthy way, Tory undertook to engrave for himself a -series of borders 'à l'antique,' which he intended for a book of Hours,—a -sort of book that was very profitable at that time, because of the -great amount of work which it required; but the task was a long one, -and he was obliged to work for different printers in the mean time. One -of the first who employed him was Simon de Colines. Colines, who became -a printer in 1520, as a result of his marriage to Henri Estienne's -widow, commissioned Tory to design marks, floriated letters, and borders -for the books that he published in his own name; he also entrusted him, -I think, with the engraving of his italic type, which he soon began to use -in conjunction with the roman type that he had from his predecessor.</p> - -<p>But Tory's active mind could not be content with a single occupation. -He was a patriot first of all, as his device proves. And so, far from allowing -himself to be engrossed by his memories of the literary and artistic<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -treasures of Italy, he began to study with ardour the monuments of his -mother tongue, not only in those books printed in French—very few as -yet—which he had at hand in his shop, but also, and especially, in divers -fine manuscripts on parchment confided to him by 'his good friend and -brother, René Massé, of Vendôme, chronicler to the king,' whose merits, -entirely forgotten in our day,<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> he warmly extols.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p> - -<p>Now, while studying that same French tongue, so decried by the -scholars of his time, Tory discovered therein beauties which required -only a little cultivation to make of it the finest language in the world. -From that moment our Berrichon, hitherto a partisan of the classics, -shook off entirely the yoke of Greek and Latin, and thought only of the -means of making French take precedence everywhere.</p> - -<p>'I see,' he says, 'some who choose to write in Greek and in Latin, -and yet cannot speak French well.... To me it seems, with submission, -that it would better beseem a Frenchman to write in French than in another -tongue, as well for the profit of his said French tongue, as to adorn -his nation and enrich his native language, which is as fair and fine [belle -et bonne] as another when it is well set down in writing.... When I see -a Frenchman write in Greek or in Latin, I seem to see a mason clad in -philosopher's or king's garb, who would fain recite a mask on the stage -of La Baroche<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> or in the confraternity of La Trinité, and cannot pronounce -well enough, as having too thick a tongue; cannot bear himself -well, nor walk fittingly, insomuch as his legs and feet are unwonted to -the gait of philosopher or king. Who should see a Frenchman clad in the -native dress of a Lombard, which is most often long and scant, of blue -linen or of buckram, methinks that Frenchman would scarce jest at his -ease without soon slashing it and taking from it its true form as a Lombard -dress, which is but very rarely slashed, for Lombards do not often -work havoc with their belongings. However, I leave all this to the wise -guidance of learned men, and will not burden myself with Greek or -Latin save to cite them in due time and place, or to talk with such as -cannot speak French.'<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p> - -<p>Tory had found his vocation at last. He resolved to establish the superiority -of his mother tongue in a special book, illustrated by engravings -by his own hand, and intended particularly for printers and booksellers, -who were in a position to distribute it so rapidly with the aid of their -connections.</p> - -<p><span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p> - -<p>But while he was engaged in his studies, a terrible catastrophe fell -upon him without warning, and caused him to forget his new projects -for some time. His daughter Agnes, of whom he had conceived the most -brilliant hopes, was taken from him on August 25, 1522, at the age of -nine years eleven months and thirty days, that is to say, ten years less one -day. Entirely absorbed by his grief, Tory wrote a short Latin poem upon -the sad event. This poem, dedicated, like most of his other books, to -Philibert Babou, was not published until February 15, 1523 (1524, new -style). In this little work, consisting of two quarto sheets, are contained -some most interesting details of Tory's life. We learn here, for example, -that he had grounded his daughter Agnes, young as she was, in Latin and -the fine arts.</p> - -<p>'Desiring to instruct me in the Ausonian tongue, and also to render -me accomplished in the polite arts, he, like a most affectionate father, -teaching me night and day, himself laid the foundations, sweet and -ample, for my life.'<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a></p> - -<p>Farther on, he makes his daughter speak thus, from the depths of -the urn in which she is supposed to repose:—</p> - - -<blockquote><p class="center">MONITOR</p> - -<p>Who made for you this urn set with brilliant gems?</p> - -<p class="center">AGNES</p> - -<p>Who? My father, famed in this art.</p> - -<p class="center">MONITOR</p> - -<p>Your father is certainly an excellent potter.</p> - -<p class="center">AGNES</p> - -<p>He practises industriously every day the liberal arts.</p> - -<p class="center">MONITOR</p> - -<p>Does he also write melodies and poems?</p> - -<p class="center">AGNES</p> - -<p>He does. He also blesses with sweet words this lot of mine.</p> - -<p class="center">MONITOR</p> - -<p>Yes, the skill of the man is wonderful.</p> - -<p class="center">AGNES</p> - -<p>Hardly has any land produced so famous a man.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p></blockquote> - -<p>We learn from this that Tory was not only a scholar, which we already -knew, but an artist of great merit. Who knows? it may be that we had in -him the making of a Benvenuto Cellini. What more was necessary that he -<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>should reveal himself as such? Very little—perhaps the falling in with -a wealthy Mæcenas. In fact, we find these lines in another piece of verse -in the same collection:—</p> - -<blockquote> -<p class="center">WAYFARER</p> - -<p>He is certainly well deserving of some Mæcenas.</p> - -<p class="center">GENIUS</p> - -<p>Few are the Mæcenases who live in the French world. No one to-day -either encourages the liberal arts by appropriate gifts or undertakes to -encourage them in any way. Uprightness and fair virtue are in no esteem. -So powerful is the sway of unhappy Avarice. Treachery, deceit, and vice -are in the ascendant. Virtues are put in the background, and every form -of wretched evil creeps abroad.</p> - -<p class="center">WAYFARER</p> - -<p>What, therefore, does he who is trained by the charming Muses?</p> - -<p class="center">GENIUS</p> - -<p>He takes pleasure in being able to live in his own house.</p> - -<p class="center">WAYFARER</p> - -<p>He ought to go with hurried step to the courts of kings.</p> - -<p class="center">GENIUS</p> - -<p>He does not care to, because he has a free heart. Your potentates sometimes -take pleasure in looking at songs, but what then? They requite -them with nods. Golden songs, drawn from the high heavens, they should -reward with jewels and with pure gold. But, frivolous as they are, they -instead foolishly give their grand gifts to fools, spendthrifts, and rogues.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p></blockquote> - -<hr class="tb" /> - -<p>Alas! this depiction of the vices of society is not peculiar to the sixteenth century. -The world is very old, and it changes little. If Tory were -living in our day, it may be that he would use even darker colours; for, -after all, he was appreciated in his own time, and perhaps he would die -of hunger to-day. As we see, he was not fond of cooling his heels in the -antechambers of the great, and lived peacefully in his own house; but -honour came there to seek him. Unluckily it was a little late, as will appear -hereafter.</p> - -<p>At the end of the poem is the design reproduced on the next page, -wherein we see for the first time the famous 'Pot Cassé' [broken jar] -which Tory adopted thenceforth as the mark of his bookshop; together -with the device 'non plus,' which he used thereafter instead of the word -'civis.'</p> - -<p><span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span></p> - -<p>Tory subsequently offered, in his 'Champ fleury,' a very confused -explanation of his Pot Cassé, doing his utmost to connect it with the -ordinary events of life; but everything tends to prove that it owes its -origin to the death of Agnes. This shattered antique vessel represents -Tory's daughter, whose career was shattered by destiny at the age of -ten. The book secured by padlocks -suggests Agnes's literary studies; -the little winged figure among the -clouds is her soul flying up to heaven. -The device 'non plus' suggests -the desperate grief of Tory, who -seems to say: 'I no longer [non plus] -care for anything'; or, more laconically: -'There is nothing more for -me'; after the example of Valentine -of Milan when he found himself -in a similar situation.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p> - -<div class="figright" style="width: 250px;"> -<img src="images/i_b_012.jpg" width="250" height="400" alt="" /> -</div> - -<p>Luckily, time, which deadens -all sorrows, even those which seem -likely to endure for ever, assuaged -Tory's grief. Before his funeral poem -saw the light, he had returned -to his beloved studies, and they had -restored tranquillity to his mind. -This is proved by the following -passage from his 'Champ fleury,' in which he tells us how, on January 6, -1523 (or 1524, according to our method of computing time), that is to -say, eighteen months after he lost his daughter, the idea of that curious -book came to his mind. We are glad to recognize once more therein the -patriotic Berrichon who had taken for his device the word 'civis.'</p> - -<p>'In the morning of the day of the feast of Kings,'<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> he says, '... which -was reckoned <span class="smcapa">M. D. XXIII</span>, the fancy came to me to muse in my bed, and -to move the wheel of my memory, thinking on a thousand petty conceits, -both serious and merry, whereamong I bethought me of a letter -of ancient form, which I not long since made for the house of my lord -the treasurer of the wars, Maistre Jehan Groslier, counsellor and secretary -to the king our sire, lover of goodly letters and of all learned persons, -of whom also he is greatly beloved and esteemed, as well on this<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -side as the other of the mountains. And while thinking of that said antique -letter there came of a sudden to my memory a pithy sentence of -the first book and eighth chapter of Cicero's "Offices," where it is written: -"Non nobis solum nati sumus, ortusque nostri partem patria vendicat, -partem amici."<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> Which is to say, in substance, that we are not born into -this world for ourselves alone, but to do service and pleasure to our friends -and our country.'<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p> - -<p>Such was the origin of 'Champ fleury.' Here follows the composition -of that work, as the author himself gives it to us, in the form of a table -of contents, at the beginning:<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a>—</p> - -<p>'This whole work is divided into three books.</p> - -<p>'In the first book is contained the exhortation to establish and ordain -the French language by fixed rule, and to speak elegantly, in good and -soundest French.</p> - -<p>'In the second is treated the invention of antique letters, and the proportionate -coincidence thereof with the natural body and face of the -perfect man. With several happy inventions and reflections upon the said -antique letters.</p> - -<p>'In the third and last book all the said antique letters, in their alphabetical -order, are drawn and proportioned in height and width according -to their proper formation and required articulation, both Latin and -French, as well in the ancient as in the modern fashion.</p> - -<p>'In two sheets at the end are added thirteen different sorts of letters, -to-wit: Hebrew, Greek, Latin, French,—and these latter in four sorts, -which are: "cadeaulx," "forme," "bastarde," and "torneure." Then follow -the Persian, Arabic, African, Turkish, and Tartar letters, which have, -all five, one and the same type of alphabet. After these are the Chaldaic, -the "goffes," which are otherwise called "impériales et bullatiques," the -"phantastiques" letters, the utopian letters, which one may call "voluntaires," -and, lastly, the floriated letters.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> With instructions for making<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -ciphers of letters for golden rings, for tapestries, stained-glass windows, -paintings, and other things, as may seem best.'</p> - -<p>I will say nothing here of the first book, the excellence of which has -recently been pointed out by M. Génin,<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a> who is much better versed in -the subject than I, and who has at the same stroke exculpated the French -from the charge that has been brought against them of having allowed -themselves to be anticipated by foreigners in the careful study of their -language. I will simply call attention to the fact that Tory wrote shortly -before Rabelais, who did not hesitate to borrow from him his criticism -of the 'skimmers of Latin,'<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> who were then changing the French language -on the pretext of perfecting it. The harangue of the Limousin -orator, which is found in the sixth chapter of the second book of 'Pantagruel,' -is copied verbatim from Tory's epistle to the reader.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> Rabelais has -simply added to it some obscene reflections which did not enter our author's -mind. Tory ends with a pathetic appeal to those who are interested -in the mother tongue, whose excellence he is never tired of extolling. -'O ye devoted lovers of goodly letters!' he cries, 'God grant that some -noble heart may give itself to the task of establishing and ordering our -French tongue according to rule! By that means would many thousands -of men set themselves to using often goodly words. If it is not established -and ordered, we shall find that the French tongue will be in great part -changed and ruined every fifty years.'<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a> This patriotic prayer was soon -granted. As we know, the sixteenth century did not lack great geniuses,<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -who set the French language in order and brought it to a great degree -of perfection. Indeed, some most expressive words, the disuse of which -Tory deplored,<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a> reappeared. For instance, 'affaissé' and 'tourbillonner,' -which in his time had been replaced by periphrases, returned into use; -many others deserve the same honour and perhaps will receive it some -day.</p> - -<p>The second book of 'Champ fleury' is, I apprehend, only a paradox; -but that paradox is maintained by arguments so ingenious, that one -lacks courage to condemn it. Tory holds that the shapes of all the -roman capital letters are derived from the different parts of the human -body, which he looks upon as the type of the beautiful; and he makes -a most admirable use of wood engraving to explain his idea. Moreover, -if Tory was mistaken, we must acknowledge that he did not fall into -the error inconsiderately. Indeed, I believe that he had for confederate -his friend Perreal, to whom we may attribute the greater number of the -designs on wood in the second book, judging from those in the third, -which are directly attributed to him by Tory, as we shall see hereafter. -However that may be, Tory seems to have studied his subject for a long -time, not only on ancient monuments, but on modern ones as well, and -in the works of contemporary authors who had turned their attention -to the shapes of letters. His judgement of these latter is as follows:—</p> - -<p>'Frère Lucas Paciol, of Bourg Saint Sepulchre, of the order of Frères -Mineurs, and a theologian, who has written in popular Italian a book -called "Divina proportione,"<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> and who has essayed to represent the said -antique letters, does not give a true account of them nor explain them; -and I am not surprised thereat, for I have heard from certain Italians that -he stole his said letters and took them from the late Messere Leonard -Vince [Leonardo da Vinci], who has of late died at Amboise, and was a -most excellent philosopher and admirable painter, and as it were another -Archimedes. This said Frère Lucas has caused his antique letters -to be printed as his own. In sooth they may well be his, for he has not -drawn them in their due proportions, as I shall show when I speak of -said letters. Nor does Sigismunde Fante, a noble of Ferrara, who teaches -how to write many kinds of letters, speak truly thereof.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a> Nor does Messere<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -Ludovico Vincentino.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> I know not whether Albert Dürer writes -justly thereof,<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> but none the less he goes astray in the due proportion of -the figures of many letters, in his book on "Perspective."<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a>... I see no -man who makes them or understands them better than Maistre Simon -Hayeneufve, otherwise called Maistre Simon du Mans. He makes them -so well and in proper proportions, that he satisfies the eye as well and -better than any Italian master on this side or the other of the mountains. -He is most excellent in the restoration of ancient architecture, as one -may see in a thousand excellent designs and portraits that he has made -in the noble city of Mans and in many a foreign city. He is worthy to -be held in honoured memory, as well for his upright life as for his noble -learning. And to this end, let us not fail to consecrate and dedicate his -name to immortality, naming him a second Vitruvius, a holy man and -good Christian. I write this with good will because of the virtues and -great praise "which I have heard said of him" by many great and humble -good men and true lovers of all goodly and honest things.'<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a></p> - -<p>The eulogistic tone in which Tory speaks here and elsewhere<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> of -Simon Haieneuve leads M. Renouvier to think<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> that our artist may have -learned the art of drawing letters from the Mans architect; but it is -a mistaken supposition; the phrase in quotation marks proves that they -had never met. Moreover Tory, a little further on, claims most reasonably -the honour of having been his own master in this matter: 'I know -no Greek, Latin nor French author who gives the explanation of such -letters as I have described, wherefore I may hold it for my own, saying -that I have excogitated and found it rather by divine inspiration than by -anything written or heard. If there be any one who has seen it written, -let him say so, and he will give me pleasure.'<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a></p> - -<p>We see that Tory does not beat about the bush concerning his theory,<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -which, although it was different from those of his predecessors, was not -on that account better than theirs.<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a> However, let his opinion concerning -the original design of the roman letters be what it may, it is, in my judgement, -simply a sort of preface which we may pass over without inconvenience. -The real substance of his work is in the third book. But he -does not leave the second without returning once more to the charge in -favour of his mother tongue.</p> - -<p>'I know,' he says, 'that there are many goodly minds who would -willingly write many excellent things if they thought they could write -them well in Greek or Latin; and yet they abstain for fear of making -solecisms or some other fault that they dread; or they choose not to write -in French, thinking the French tongue not good nor elegant enough. -With all respect to them, it is one of the most beauteous and graceful -of all human tongues, as I have shown in the first book by the authority -of noble and ancient authors, poets and orators, as well Latin as Greek.'<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a></p> - -<p>To be accurate, I will say that this idea of the 'preëxcellence of the -French tongue,' which, a little later, was the subject of another special -work on the part of another famous printer, the second Henri Estienne, -was neither new nor original with Tory. No less than three hundred years -before, it had been set forth in honest French by an author who cannot -be taxed with patriotic illusions, for he was an Italian. This is what -Brunetto Latini wrote at the beginning of a sort of encyclopædia which -he prepared in the thirteenth century, under the name of 'Trésor':—</p> - -<p>'Et se aucuns demandoit por quoi cist livres est escriz en romans selonc -le langage des François, puisque nos somes Ytaliens, je diroie que -ce est por deux raisons: lune, car nos somes en France, et lautre, porce -que la parleure est plus delitable et plus commune a toutes gens.'<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a></p> - -<p>As I have said, the third book is the important part of Tory's work. -Laying theory aside, he there gives us the exact design of the letters of -the alphabet and the method of executing them. He does not overlook, -moreover, this essential fact—that the designer of letters and the printer -ought before all else to be grammarians in the ancient meaning of the<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -word<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a>; and at the same time that he gives us the shape of a letter, he -instructs us as to its value and pronunciation. It is at this point that Tory's -book becomes especially interesting to us: he passes in review the pronunciation -in vogue in each of the French provinces, or nations, as they -were called then. One after another they appear before us, with their -special idioms, which have become mere myths to-day,—Flemings, -Burgundians, Lyonnaises, Forésiens, Manseaux, Berrichons, Normans, -Bretons, Lorrainers, Gascons, Picards, and even Italians, Germans, English, -Scotch, etc. His observations do not stop at the somewhat mixed idioms -of the men,<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a> but extend to the more individual language of the women. -For instance, he informs us that 'the ladies of Lyon often gracefully -pronounce A for E, as when they say, "Choma vous choma chat effeta,"<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> -and a thousand other like expressions'; whereas, on the contrary, 'the -ladies of Paris very often pronounce E instead of A, as when they say: -"Mon mery est a la porte de Peris, ou il se faict peier"; instead of saying, -"Mon mary est a la porte de Paris, ou il se faict paier."'<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a></p> - -<p>It will be noticed that in this particular the 'ladies of Paris' succeeded -in perpetuating their pronunciation in part, for we do not now say 'paier.' -They had equal success in many other cases. For example, it seems to -be due to them that the final S of the plural is not pronounced except -under exceptional circumstances<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a>: as, for instance, when it is followed -by a word beginning with a vowel; for, speaking of the cases in which -that letter is elided in Latin, Tory expresses himself thus: 'The ladies of -Paris for the most part observe this poetic figure of speech, dropping -the final S in many words, as when, instead of saying: "Nous avons disne -en ung iardin, & y avons menge des prunes blanches et noires, des amendes -doulces & ameres, des figues molles, des pomes, des poires & des -gruselles," they say and pronounce: "Nous avon disne en ung iardin, & -y avon menge des prune blanche & noire, des amende doulce & amere, -des figue molle, des pome, des poyre & des gruselle."' The thing that -seems especially offensive to Tory is that they make the men join them<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -in this faulty pronunciation. 'This fault,' he says, 'would be pardonable -in them, were it not that it passes from woman to man, and that there -is entire absence of perfect pronunciation in speaking.'<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></p> - -<p>Moreover, if we are to credit Tory, the provincials have also, in certain -cases, succeeded in establishing their pronunciation, as we may conclude -from the following passage, relative to the letter T: 'The Italians -pronounce it so full and resonant that it seems that they add an E thereto, -as when, for and instead of saying: "Caput vertigine laborat," they pronounce: -"Capute vertigine laborate." I have seen and heard it pronounced -so in Rome at the schools called La Sapienza, and in many another noble -place in Italy. Which pronunciation is no wise held or used by the -Lionnois, who drop the said T, and do not pronounce it any wise at the -end of the third person plural of verbs active and neuter, saying "Amaverun" -and "Araverun," for "Amaverunt" and "Araverunt." In like manner -some Picards drop this T at the end of some words in French, as when -they would say: "Comant cela, comant? monsieur, c'est une jument," -they pronounce: "Coman chela, coman? monsieur, chest une jumen."'<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> -We see that the Picard pronunciation has prevailed in this instance, for -we no longer pronounce the final T at the end of the words 'comment,' -'jument,' and the like.</p> - -<p>Tory did not content himself with setting forth the state of things -existent in his day: he suggested improvements, almost all of which -have been sanctioned by usage. For instance, at the beginning of the sixteenth -century, the pronunciation was very difficult to grasp for lack of -accents; he proposed to supply them. 'In our French language,' he -says, 'we have no symbol of accent in writing, and it is on account of -this lack that our language is not yet established nor submitted to fixed -rules, like the Hebrew, Greek and Latin. I would like that it should be, -as might well be done.... In French,' he says farther on, 'as I have -said, we do not write the accent over O vocative, but pronounce it full, -as when we say:</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'O pain du ciel angelique,</div> - <div class="i0">Tu es nostre salut antique.</div> - </div> -</div> -</div> - -<p>'In this lack of accent we have an imperfection, which we ought to -remedy by purifying and subjecting to fixed rule and art our language,<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span> -which is the most graceful language known.'<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> Elsewhere he suggests -replacing elided letters by an apostrophe, which had not then been done -in French. 'I say and allege these things in this place to the end that if -it should happen that one had to write in antique letters verses where -the S must disappear, one may write them honestly and purposely without -using the said letter, ... and place a hooked point over the place -where it should be.'<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a> In another place he emphasizes the necessity of -the cedilla, which we find in French manuscripts from the thirteenth -century, but which typography had not as yet adopted. 'C before O,' -he says, 'in French pronunciation and language, is sometimes hard, as -in saying "coquin," "coq," "coquillard"; sometimes it is soft, as in saying -"garcon," "macon," "françois," and other like words.'<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a></p> - -<p>Tory could hardly overlook the matter of punctuation, that most essential, -and even in our day so sadly neglected, branch of orthography; -but as he had only 'antique' letters to deal with, he presented only three -sorts of punctuation marks, without going into details as to their use, -which, in truth, if we may judge by his own book, was not as yet fully -settled. The comma, for instance, which has so much to do with the -clearness of the sentence, is frequently there inserted in a far from rational -way.</p> - -<div class="figright" style="width: 123px;"> -<img src="images/i_b_020.jpg" width="123" height="200" alt="" /> -</div> - -<p>I have said above that Tory had adopted about 1523, for the mark of -his bookshop, the Pot Cassé represented in the engraving -placed at the end of his poem on his daughter's death. -To make it more appropriate for that purpose, he subjected -it to various modifications. At first we find it alone, -as in the accompanying cut, on the cover,<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> or on the back,<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a> -of a number of octavo books bound at his establishment. -Other bindings, in quarto, exhibit the broken jar with -the drill (<em>toret</em>).<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a></p> - -<p>Afterward, Tory placed the jar on a closed book, and still later he -modified the design by the introduction of other additions.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a></p> - -<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p> - -<p>Finally, we have Geofroy Tory's device, or mark, definitively constituted -in his 'Champ fleury,' thus:<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a>—</p> - -<p>'Behold,' he says, 'my declared device and -mark, drawn as I have cogitated and conceived -it, imparting moral meaning thereto, to give -friendly admonition to the printers and booksellers -beyond the mountains<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a> to practise and -employ themselves in goodly inventions and delectable -execution, to show that their wits have -not been always useless, but eager to serve the -public weal by labouring to that end and living -uprightly.'</p> - -<p>Then follows his explanation of this mark,<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a>—an -explanation which does not invalidate that -suggested above.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a> In truth, all that Tory says -here in general terms may be applied to his -daughter Agnes.</p> - -<div class="figright" style="width: 200px;"> -<img src="images/i_b_021.jpg" width="200" height="417" alt="MENTI BONAE DEVS OCCVRRIT SIC VT VEL VT NON PLVS" /> -</div> - -<p>'In the first place, there is herein an ancient -jar, which is broken, through which is passed -a toret. This said broken jar signifies our body, which is an earthen -jar. The toret signifies Fate, which pierces and passes through weak and -strong. Beneath this broken jar there is a book secured by three chains -and padlocks, which signifies that after our body is broken by death, its -life is closed by the three fatal goddesses.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a> This book is so firmly closed -that there is no man who may come to see anything therein, except he -know the secret of the padlocks, and above all of the round padlock, -which is locked and signed by letters. Even so, after the book of our life -is closed, there is no man who may in any wise open it, except it be he -who knows the secrets, and he is God, who alone knows, before and after -our death, what has been, what is, and what will be our fate. The foliage -and flowers in the said jar signify the virtues which our body may have -in itself during its life. The sun-rays which are above and beside the toret -and the jar signify the inspiration that God gives us by impelling us to<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span> -virtue and worthy acts. Near the said broken jar it is written: "Non -plvs," which are two monosyllabic words, as well in French as in Latin, -signifying that which Pittacus said long since in Greek: ΜΗΔΕΝΑΓΑΝ,<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a> -"nihil nimis." Let us not say, let us not do aught beyond measure or beyond -reason, except it be in the last necessity: "aduersus quā nec Dij -quidē pugnant."<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a> But let us say and let us do "Sic. vt. vel. vt." That is to -say, as we ought, or as little wrongly as we may. If we seek to do well, -God will aid us, and therefore have I written above: "Menti bonæ Deus -occurrit," that is to say, God goes out to meet the desire to do good, and -gives it aid.'</p> - -<p>I believe that we should see in the toret an 'enseigne parlante,' alluding -at once to Tory's name and to his various professions. The way in -which the name of the instrument was pronounced, its shape, resembling -that of a T, and, lastly, its use by the engravers, were doubtless the -considerations that led Tory to adopt it. But let us not subtilize too far.</p> - -<p>Tory was not content with giving us his symbol in 'Champ fleury': -he engraved on the first page of that book, that is to say, in the place of -honour, what would be called to-day the blazonry of his artistic acquirements,—in -other words, a collection of all the tools that he used. Unfortunately, -he did not feel called upon, as in the case of his mark, to supply -an explanation, deeming the matter clear enough; whereas, in our day -it has become rather difficult, because of the changes that have taken -place in the customs of artists, to state the exact use of some of the tools. -The order in which they are arranged, however, may assist us, to a certain -extent, in identifying them. An exact reproduction of this engraving, -the initial letter of the first page of the text of 'Champ fleury,' is -given at the beginning of this section.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a></p> - -<p>The first series of tools, suspended in the first arabesque, embraces a -pair of compasses, a rule, and a square: these are the fundamental instruments -of art and of geometry. In the second arabesque, if I am not mistaken, -we find an 'échoppe' and a burin, engravers' tools; in the third, -a writing-case (or 'galimart'), a pencil, and a knife, above a book; these -are the tools of the writer and the draughtsman. In the fourth, we find -an object which I take to be a small box of colours, hanging from a case -of brushes; these appertain to the painter. Tory was, in fact, draughtsman, -painter and engraver.</p> - -<p><span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - -<div class="figleft" style="width: 250px;"> -<img src="images/i_b_023.jpg" width="250" height="407" alt="" /> -</div> - -<p>I have already said that Tory was probably instructed in the art of -drawing by the famous Jean Perreal. He was on terms of the closest -friendship with that artist, who drew several of the vignettes in 'Champ -fleury,' if we may judge by the one positively attributed to him, which -is printed on the verso of folio 46. Geofroy informs us that this plate, -insignificant in itself (it represents two circles in which are the letters -I and K, modelled on the human body), was engraved from the design -of a friend of his, 'from that which a noble lord and good friend of -mine, Jehan Perreal, who is otherwise called Jehan de Paris, valet de -chambre and excellent painter to King Charles VIII, Louis XII, and -François, first of the name, made known and gave to me, most -excellently drawn by his hand.' Now this engraving is in all respects -similar to those to be found in the second book of 'Champ fleury.' Both in -form and subject, it is altogether different from those in the third book, -in which Tory printed it. Probably Perreal died while the -work was on the press, and Tory, who had not thought of naming him -while he was alive, in connection with his first drawings, did so after his -death, by publishing the last souvenir of this sort which he possessed from -the hand of his friend, although it did not fit perfectly with the subject; -he laid, as it were, a flower on the dead man's grave.<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a></p> - -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> - -<p>We give this drawing also, as the only work which can be with certainty -attributed to Jean Perreal, and as a specimen of the engravings -which serve as a foundation for the reformation of the roman letters -proposed by Tory in the second book of his 'Champ fleury.'</p> - -<p>From what I have said it will be seen that Tory's book required several -years of labour. Nor is one surprised thereat when one considers the -great number of engravings which it contains. But even without the engravings, -it will readily be understood that a work which necessitated so -much observation required a vast expenditure of time. Begun, as we have -seen, in 1523 (1524, new style), it was not finally completed until 1529, -that is to say, after six years of toil. However, Tory did not propose that -those years should be lost for art. Desirous to preach by example rather -than by precept, he determined to publish, in the interim, other books -wherein he might give utterance to his artistic taste. And he did in fact -print books of Hours, admirably executed, which, although in different -form, may fitly be compared to the Hours of Simon Vostre, who had -acquired so great a reputation in that typographical specialty. Tory received -from François I a 'privilége' (license) for this work, to run six -years, dated at Avignon, September 23, 1524.<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a> This license to print<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a> informs -us that Tory had 'made and caused to be made<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> certain illustrations -[<i>histoires</i>] and vignettes "a lantique" and likewise some "a la -moderne," in order to have the same printed, and to serve <i>a plusieurs -usages dheures</i>,' and that to that end he had 'expended an exceeding -long time and incurred divers great expenses and outlays.'</p> - -<p>The first book of this sort which he published, so far as I have learned, -is an edition in quarto of the Hours of the Virgin, according to the -Roman use, in Latin. It is a superb volume, printed by Simon de Colines, -with borders and illustrations 'à l'antique,' perfect in taste and execution.</p> - -<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> - -<p>The book was undoubtedly printed by Colines as a joint venture with -Tory, for there are copies in existence in the name of each. Those in the -name of Colines bear on the title-page the date 1524, and, at the end, -that of the 17th of the Calends of February (January 16), 1525; those -in the name of Tory (there are two varieties of these) bear but one date, -1525, and that at the end. I shall speak of this book later, in detail.<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a></p> - -<p>Two years later Tory published a new edition of the same Hours, -in a small octavo volume, also printed by Simon de Colines, in roman -type, with borders and illustrations of the same kind but much smaller.<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a> -The printing was finished October 21, 1527. It is preceded by a new -license from François I, extending Tory's rights for ten years, not for -this book alone, but for the earlier one as well, 'for certain illustrations -and vignettes "a lantique" by him heretofore printed,' and in consideration -of the great outlay which his engravings had caused him to make. -This license is dated at Chenonceaux, September 5, 1526, and includes -'Champ fleury,' the printing of which had begun, but which had not -yet received its poetic title, for it was still referred to as 'Lart et science -de la deue et vraye proportion des lettres.' In the same year Tory published -an edition in quarto of these same Hours, according to the use -of Paris, printed by Simon Dubois (Silvius). This book, in which we find -again the license of 1526, is printed in gothic type, with borders and illustrations -of a special style, called 'à la moderne.' The borders are arabesques -formed of plants, insects, birds, animals, etc. At the foot we see -the F, crowned, of François I, and the salamander; the L, crowned, of -Louise of Savoy, the king's mother; and the impaled shield of France -and Savoy, etc. Of this book also I shall speak in detail hereafter.<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a> Finally, -a little later, at a time which I am unable to fix precisely, but prior to -1531, Tory caused to be printed another book of Hours of the same -description, that is to say, with borders of plants, insects, birds, etc., but -in a smaller format—small octavo. I shall describe it in its place.<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a></p> - -<p>These publications did not prevent our artist from giving his attention -to literature. While he was overlooking the impression of his Hours -and his 'Champ fleury,' he was preparing various works to which we -shall have occasion to refer hereafter. Generally speaking, they are translations -intended to enrich the French tongue; for Tory did not lose sight -of his patriotic purpose. All of these works were printed subsequently, -save one, perhaps—a translation of the hieroglyphs of Orus Apollo,<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -which he gave to a 'noble lord and good friend of his.'<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a> It is not known -whether this translation was ever printed. There are many editions of -Orus in existence, but no one of them bears the name of Tory.</p> - -<p>'Champ fleury' appeared at last in 1529. We have seen that this book -was conceived on 'the day of the feast of Kings, which was reckoned -<span class="smcapa">M. D. XXIII</span>,' that is to say, January 6, 1524, new style. The printing was -not completed until 'the <span class="smcapa">XXVIII</span> day of the month of April one thousand -five hundred <span class="smcapa">XXIX</span>,'<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a> as we learn from the subscription at the end; -that is to say, it cost nearly six years of toil. The following is an exact -copy of the title-page as it appears in the first edition:—</p> - -<blockquote> - -<p>CHAMP FLEVRY. Au quel est contenu Lart & Science de la deue -& vraye Proportiõ des Lettres Attiques, quõ dit autremēt Lettres Antiques, -& vulgairement Lettres Romaines, proportionnees selon le Corps -& Visage humain.—Ce Liure est Priuilegie pour Dix Ans Par Le Roy -nostre Sire, & est a vendre a Paris sus Petit Pont a Lenseigne du Pot -Casse par Maistre Geofroy Tory de Bourges/Libraire, & Autheur du dict -Liure. Et par Giles Gourmont aussi Libraire demourant en la Rue sainct -Iaques a Lenseigne des Trois Coronnes.</p></blockquote> - -<p>It is gratifying to see here the name of the first printer in Greek type -in Paris. It was Gourmont himself who printed this learned book, wherein -we find some very interesting details concerning the Hebrew, Greek and -Latin letters, of which he exhibits models which have not changed since -that time.<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a> The workshop of Gilles de Gourmont was on rue Saint-Jean-de-Latran; -but we see that in 1529 he had a bookshop on rue Saint-Jacques, -at the sign of the Trois Couronnes,—an allusion doubtless to -the three roses which adorned the chief, or top, of his shield. This shop -adjoined the church of Saint-Benoît on the north.<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a> As for Tory, he seems -to have lived at this time on the Petit-Pont, 'next to Hostel-Dieu.' It -was there that he wrote his book, for he dates his epistle to the reader -thus: 'En Paris ce. <span class="smcapa">XXVIII</span>. Jour Dapvril sus Petit Pont, a Lenseigne du Pot -Casse.' He had, however, another abode on rue Saint-Jacques, opposite -the 'Écu de Bâle,' the sign of Chrétien Wechel.</p> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> - -<p>At the beginning of 'Champ fleury' is printed the license of September -5, 1526, already published in the two editions of the Hours of 1527, -which granted to Tory a ten years' right, not only for the Hours, but -also for 'Champ fleury,' which was then being printed, but, as I have -already said, had not then received that graceful title. This license makes -it clear that as early as 1526 Tory was thinking of joining the brotherhood -of printers. He became a printer in fact soon after the publication -of his book, and proceeded to print several works of his own composition. -I give here a list of these various publications, in the order of their -dates.</p> - -<blockquote> - -<p>I. La Table de lancien philosophe Cebes ... Avec trente Dialogues -moraulx de Lucian ... translate de latin en vulgaire françois par maistre -Geofroy Tory de Bourges...<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a></p></blockquote> - -<p>The license is of September 18, 1529, for ten years. The printing was -finished October 5, 1529. It is a small octavo volume, in two parts, with -roughly executed borders on each page. There are twelve preliminary -leaves, containing a long list of errata, and two series of signatures, the -first running from A to T, the second from <i>a</i> to <i>v</i>. The book was for -sale at the translator's shop, 'rue Sainct Iaques, devant lescu de Basle,<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a> a -lenseigne du Pot Casse,' and at Jean Petit's on 'rue Sainct Iaques, a lenseigne -de la Fleur de lys.' There is nothing to indicate where the book -was printed; but as it is set in the type used for the 'Epitaphs' of Louise -of Savoy, I am inclined to think that it came from Tory's workshop. -In that case it was the first book that he printed.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a> The long list of errata -would seem, in truth, to suggest a novice, and would explain why -no printer's name is given.</p> - -<p>In the letter 'to the readers' at the beginning of this book, Tory returns -to the charge against the villains [<i>rufients</i>] who were changing the -French language on the pretext of perfecting it. There are some tirades -quite worthy of a place in 'Champ fleury.' He ends his preamble with -a curious passage which gives us an idea of his tastes. 'I believe that if<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -the ancient and noble painter Zeuxis of Heraclea, if Raphael of Urbino, -Michel Angelo, Leonardo da Vinci or Albrecht Dürer<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a> should try to -paint philosophers and their various aspects, they could not paint them -so well nor so to the life as our Lucian paints them herein.' Lastly, he -informs the reader that he will soon make him 'another new gift';<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a> and -he kept his promise by publishing the following work.</p> - -<blockquote> - -<p>II. Summaire de chroniques contenans les vies, gestes et cas fortuitz -de tous les empereurs Deurope, depuis Iules Cesar iusques a Maximilien -dernier decede ... par ... Iehan Baptiste Egnace, Venicien. Et translate -de ladicte langue latine en langaige francoys par maistre Geofroy Tory de -Bourges.</p></blockquote> - -<p>An octavo volume, containing 16 leaves of preface, 99 of text, and an -index containing 13 leaves—128 in all. At the end, we read: 'The printing -of this book was finished at Paris the <span class="smcapa">XIII</span> day of April, <span class="smcapa">M. D. XXIX</span>, for -maistre Geofroy Tory de Bourges, who sells it at said Paris, at the sign of -the Pot Casse.' In Tory's preface, addressed 'to all studious and true lovers -of honest letters,' he says: 'I promised you of late in the preface to the -"Table of Cebes" that in a short space I would make for you another -new book.' It was in fulfilment of that promise that he published the -'Summaire de Chroniques' of Egnasio.</p> - -<p>The date of printing given above corresponds to April 13, 1530, new -style; for Easter fell in that year on April 15. Some bibliographers mention -an edition of this book of 1520; but it is an error, for the license is -dated 1529. La Caille<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a> says that the edition of 1529 was printed by Tory; -this is possible, but not certain. It may even be that it was printed by -Gourmont, for it is set in the same type used in 'Champ fleury.'<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a> There -are three later editions of this book, printed by Charles l'Angelier in 1541, -1543, 1544 (octavo); we shall speak of them hereafter. As for the edition -of 1529, I found it only in the library of M. Ambroise Firmin Didot, -who kindly allowed me to describe it. This copy is still in the original -binding, with the Pot Cassé.</p> - -<p>But all these works did not cause Tory to lose sight of his great patriotic -idea. He did not confine himself to simple wishes for the welfare -of the French language. In default of the other 'noble hearts' whom he<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span> -invited 'to establish and order our language by rule,'<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a> he himself undertook -that work. Rich in materials as he was, and with the ardor with -which he entered into everything, he soon completed his task. The license -to print the 'Summaire de Chroniques' includes a book by Tory -entitled: 'Les Reigles generales de lorthographe du langaige françois,' -which he proposed soon to put on the press. Was this book ever printed? -was it ever finished? These are questions which I am unable to answer, -for I have discovered no trace of it elsewhere; but so many other books -have disappeared that I should not be surprised to learn that this one had -undergone the same fate.</p> - -<blockquote> - -<p>III. Hours (in Latin) according to the Roman use; sixteenmo, with -illustrations and borders; printed in roman type; finished February 8, -1529, which date corresponds to February 8, 1530, new style, and proves -that Tory had become a printer in 1529. Here is the exact title of this -book, which I shall describe in detail later:<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> 'Horæ in laudem beatissimæ -Virginis Mariæ secundum usum romanum.' On the last leaf are these -words: 'Parrhisiis, apud Gotofredum Torinum Biturigum. <span class="smcapa">VIII</span>. die febr. -anno sal. <span class="smcapa">M. D. XXIX.</span> Ad insigne Vasis effracti.'</p> - -<p>IV. Ædiloquium ceu (<i>sic</i>) disticha partibus ædium urbanarum et -rusticarum suis quæque locis adscribenda. Item, epitaphia septem de -amorum aliquot passionibus, etc. Authore Gotofredo Torino Biturigico.</p></blockquote> - -<p>Paris, Simon de Colines, 1530;<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> italic type; 3 octavo sheets, with license -for two years. This book has, in the second part, seven charming -engravings on wood. I cannot understand why Tory did not print it, as -he was then a printer. May it have been because it was customary at -that time to print poetical works in italic type, and he had none in his -printing office? Copies of the book are preserved in the Bibliothèque -Nationale, at the Arsenal [two] and at Sainte-Geneviève. The copy in<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span> -the Bibliothèque Nationale is still in the original binding, with the Pot -Cassé.<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a></p> - -<p>Alluding to the first part of his book, Tory expresses himself thus in -his 'avis au lecteur': 'There are certain eminent painters in this prolific -age, most gentle reader, who, by their drawings, paintings, and varied -colouring, depict the tribal gods and human beings, as also other things -of different sorts, with such exactness that a voice and a soul seem the -only things wanting to them; but here, most gentle reader, I offer you, -nearly in the manner of these painters, a house, which not only is elegant -and finished in its outlines and parts, but even speaks prettily and describes -itself part by part in a eulogy.'<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> It will be seen that Tory's thoughts -were still engrossed by art.</p> - -<blockquote> - -<p>V. Science pour senrichir honnestement et facilement, intitulée Leconomic -Xenophon, nagueres translatee de grec et latin en langaige francoys, -par maistre Geofroy Tory de Bourges.—On les vend a Paris, en la -rue Sainct Iaques, devant lescu de Basle, et devant lesglise de la Magdalaine, -a lenseigne du Pot Casse.</p></blockquote> - -<p>Octavo, of 9 sheets; printing finished July 5, 1531.<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> On the back of the -title-page are these words: 'At the said sign of the Pot Casse are also for -sale Thucydides and Diodorus, with some other excellent books translated -from Greek and Latin into French. Likewise there are fine Hours -and Offices of Our Lady, large, medium and small, with illustrations and -vignettes "a l'antique."'</p> - -<p>Were the Thucydides and Diodorus printed by Tory, as well as the -large, medium and small Hours? Possibly, but I have found no indication -of it. As for attributing the translations to him, that is out of the -question, for he says nothing of it in the dedication, addressed to Antoine -du Prat, Cardinal de Sens, etc., wherein he mentions the preceding works -of the same sort:—</p> - -<p>'After the book of the Explanation of the antique letters, called -"Champ Fleury," which I put together in the French language, and -the "Table de Cebes," with thirty moral dialogues; likewise the "Summaire -de Chroniques," which I translated into our said language, to confer -a benefit on the studious, ... it seemed to me to be a worthy way of -passing my time to employ myself in translating the "Economic Xenophon" -also.'</p> - -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<p>Tory does not mention here the 'Ædiloquium,' probably because that -book was in Latin, or, rather, because it was not printed at the time of -the composition of this dedication, which was in all probability written -in the first three months of 1531, then reckoned in the year 1530,<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> a -circumstance which, in my opinion, explains the date of the 'Ædiloquium.' -In fact, that book cannot have been printed before 1531, for the -license of the 'Economic Xenophon,' which includes the 'Ædiloquium' -(to which, by the way, it gives a sub-title, 'et Erotica,' which was rejected -when it was printed, as likely to give a false idea of the book), is -dated June 18, 1531, and extends Tory's rights to four years instead of -the two mentioned on the title-page of the 'Ædiloquium.' From all of -which I conclude that the last-named book was printed before the license -was obtained, but only a short time before, and while the application was -pending.</p> - -<p>The license first mentioned<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> also concedes to Tory an extension of -four years 'for certain other books, illustrations and vignettes, to cause -to be printed the Hours and Offices of Our Lady, mentioned in two -licenses heretofore granted to him,' dated September 23, 1524, and September -5, 1526. Tory requested this extension of time because he was -preparing to reprint the Hours, as we see by the date of the following -book.</p> - -<blockquote> - -<p>VI. Hours according to the Roman use, quarto; published October -20, 1531, in Latin. This was a new edition of the Hours printed in 1524-1525 -by Simon de Colines. We find the same borders and illustrations -as before; but several engravings which had already appeared in some -of the earlier books just described are added. I shall describe this book -later. It seems to be printed from the 'Champ fleury' type, and bears the -following title: Horæ in laudem beatiss. Virginis Mariæ. Ad usum romanum. -Parrhisiis apud Gotofredum Torinum Biturigicum, regium -impressorem.<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a></p> - -<p>VII. Politiques de Plutarque, cest a dire: Civiles Institutions et enseignemens -pour bien regir la chose pu[blique] ... translatees ... par -maistre Geofroy Tory de Bourges. Dediees ... a tresilustre ... François -de Vallois, Daulphin de France.</p></blockquote> - -<p>Octavo, with 8 preliminary leaves, and 67 numbered leaves of text.</p> - -<p><span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span></p> - -<p>On the verso of leaf 67 we read: 'The printing of this book was finished -Saturday the <span class="smcapa">XV.</span> day of June, <span class="smcapa">M. D. XXXII.</span> by maistre Geofroy Tory de -Bourges, bookseller and king's printer, dwelling in Paris, opposite the -church of La Magdaleine, at the sign of the Pot Casse.'</p> - -<p>Another edition was published at Lyon in 1534. We shall refer to it, -as well as to the earlier edition, hereafter.<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a></p> - -<blockquote> - -<p>VIII. La Mouche de Lucian et la Maniere de parler et se taire [de -Volaterran].—Le tout [translaté] par maistre Geofroy Tory de Bourges, -imprimeur du Roy et libraire juré en luniversité de Paris. On les vend -a Paris, devant leglise de la Magdaleine, a lenseigne du Pot Casse.</p></blockquote> - -<p>Octavo, 8 leaves; without date of printing or license, but printed by -Geofroy Tory himself, after February 22, 1533; for he assumes the title -of 'libraire juré'<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a> of the University, which did not belong to him until -that day. Moreover he makes use in this book of the acute accent, the -apostrophe and the cedilla, which he never used, as we shall soon see, -until after the edition of Clement Marot, dated June 7, 1533. It was -therefore subsequent to that date, but prior to October of the same year, -that 'La Mouche' was published.<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a></p> - -<hr class="tb" /> - -<p>In several of the works we have described, Tory assumes the title of -printer; in the last three he describes himself as king's printer, and in -one of them as a 'libraire juré' of the University. These last two dignities -he owed to the initiative of François I. That king, who had never -before conferred that honour upon any one, deemed it his duty to make -the author of 'Champ fleury' king's printer. In truth it was natural -enough to confer that title upon him who had displayed so perfect an -understanding of the art of typography, combined with such a store of -literary knowledge, and whose book caused a veritable revolution in -printing, no less from the technical and practical than from the grammatical -and philological standpoint; for there is one fact which I have -not as yet mentioned and which I am glad to set down here: immediately -after the publication of 'Champ fleury' French typography began to include -in its fonts of type accents, apostrophes and cedillas,<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a> the absence<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> -of which Tory deplored, and which he himself used soon after, and before -any other printer, as we shall see.</p> - -<p>But the most noteworthy result produced by the publication of -'Champ fleury' was the reformation of the old types. That book not only -contributed to the abandonment of gothic letters, but brought about the -remodelling of the old roman letters. Robert Estienne, among others, re-cast -at this time all those that had come down to him from his father, -the first Henri (or, to speak more accurately, from his father-in-law Simon -de Colines), and replaced them by types of a new shape, which were cut, -I think, by Tory (for his pupil, Garamond, seems not to have been capable -of doing it at this time), and which continued to be used, almost -without change, down to the time of the Revolution. It is in this sense -only that it can properly be said that Tory perfected the types of Josse -Bade; for I think that he did not cut any type for that celebrated printer, -who was established in Paris long before Tory turned his attention to -engraving, and who died in 1535, a few years after the publication of -'Champ fleury,' without changing in any way his method of printing. -It was Tory too, doubtless, who cut Robert Estienne's italic type; for it -bears a strong resemblance to Simon de Colines's, which I have already -attributed to him.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a></p> - -<p>The sensation caused by Tory's book, in foreign countries as well as -in France, is evidenced also by the writings of his contemporaries. In Paris, -Antoine du Saix, author of the 'Esperon de discipline,' expresses himself -thus in an epistle in verse dedicated to his friends,<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a> among whom we find -mentioned René Massé, also a friend of Tory, and several other littérateurs -of the time:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Geoffroy Thory, qui divine as heu main</div> - <div class="i0">Pour figurer dessus le corps humain</div> - <div class="i0">La lettre anticque, ouyant que plume ay prise</div> - <div class="i0">Pour te imiter, ce bourgeon ne meprise,</div> - <div class="i0">Raisin sera, sil a temps de meurer [mûrir].</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span></p> - -<p>In London, Leonard Coxe, alluding to the grammar published shortly -after by his compatriot Palsgrave, exclaims: 'Learned Geofroy, he has -fulfilled the wish so often expressed in thy "Champ fleury," for here we -have the French language taught thoroughly, by virtue of rules duly authorized.'<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a></p> - -<p>Tory probably received the title of king's printer in 1530, but I do not -find that he assumed it earlier than 1531, and, failing documentary -evidence, I cannot accredit him with it at an earlier date. It was, I fancy, -his appointment which led the authors of the 'Art de vérifier les dates' -to say that 'François I established the Imprimerie Royale in Paris' on his -return from the Abbaye de Veyen, where he had espoused, on July 4, -1530, Eleonora, sister of the Emperor Charles V.<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a> It is the fact that at -that time Tory was entrusted with several 'royal printings' concerning -this marriage of the king. Thus he published, March 16, 1530 (1531, -new style), a little work of Guillaume Bochetel, entitled: 'Le Sacre et -coronnement de la Royne, imprimé par le commandement du Roy nostre -sire.' It is a thin quarto of 12 leaves, printed with a certain sumptuousness, -and the license, signed 'de la Barre,'<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a> is thus conceived:—</p> - -<p>'We have granted to maistre Geofroy Tory, "marchant libraire, imprimeur," -license to print the "Coronnement de la Royne," and all other -printers are forbidden to print it for one year,<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a> upon pain of a discretionary -fine and of the confiscation of said book, etc. Done at Paris the tenth day -of March.' The consecration of the queen had taken place at Saint-Denis -five days earlier, March 5, 1530 (1531, new style).</p> - -<p>A few days later Tory published another little book by the same author: -'Lentree de la Royne en sa ville et cite de Paris, imprimee par -commandement du Roy nostre sire.' Quarto, 24 leaves; same arrangement -as in 'le Sacre,' etc.<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a> The license, dated at Anet, April 26, 1531 (Easter -fell that year on April 9), gives Tory no other title than 'libraire,' but<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span> -the omission is evidently accidental.<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a> The volume contains three pieces -in Latin verse by Geofroy Tory, two addressed to the queen ('ad reginam -Leonorem'), the other to the French people ('ad gentem gallicam'). On -the verso of the last leaf are these words: 'The printing of this book -was finished Tuesday the ninth day of May <span class="smcapa">M. D. XXXI.</span>' This book exhibits -specimens of three different types used by Geofroy Tory: a 'saint-augustin,' -in which the text is printed, a 'philosophie,'<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a> and a brevier. In -all these publications we find Tory's borders and his broken jar, and these -words at the foot of the title: On les vend a Paris, en la rue Sainct Jacques, -devant lescu de Basle, et devant lesglise de la Magdaleine, a lenseigne -du Pot Casse.'</p> - -<p>It will be noticed that Tory had left his second domicile, on the Petit-Pont, -which was too small, doubtless, for his printing establishment, and -had settled in the heart of the Cité, almost opposite the church of La -Madeleine, which then stood very near the corner of rue de la Juiverie -and rue de Marmouzets. His new abode was on the site of the old and -famous Halle aux Blés de Beauce, in a house to which he transported -his sign of the Pot Cassé (which it retained for several years), and which -corresponds to the present number 16 rue de la Cité, according to the evidence -courteously furnished me by M. Adolphe Berty, whose knowledge -of old Paris is so thorough.<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a> However that may be, the first work in which -to my knowledge Geofroy Tory assumes the title of king's printer is a -thin volume of two and a half quarto sheets, of the same typographical -arrangement as those last described, but printed in different type, which -seems to me to have been cut by Tory. It was published on the occasion -of the death of Louise of Savoy, mother of François I, which occurred September -22, 1531. The contents consist of Latin and French epitaphs composed -in honour of the deceased, and it bears on its first page the following -title, bisected:—</p> - -<p>'In Lodoicæ regis matris mortem epitaphia latina et gallica.—Epitaphes -a la louenge de ma dame mere du Roy faictz par plusieurs recommendables -autheurs.' Below this are these words: 'On les vend a Paris, -devant Leglise de la Magdaleine, a Lenseigne du Pot Casse.'</p> - -<p>The license, dated at Paris, October 15, 1531, and signed de la Barre, accords<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span> -unequivocally to Tory the title of king's printer: 'We have granted -to maistre Geofroy Tory, merchant, bookseller and <em>imprimeur du roy</em>, -leave,' etc. On the last page, which, like the first, is enclosed in a border, -are the words: 'Printed at Paris at the sign of the Pot Cassé, by maistre -Geofroy Tory de Bourges, Marchant, Libraire et Imprimeur du Roy. The -<span class="smcapa">XVII</span> day of October <span class="smcapa">M. D. XXXI</span>.'<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a></p> - -<p>What salary did Tory receive as king's printer? It is impossible for -me to say positively; however, if we may judge from what happened -in 1538, in the case of Conrad Néobar,<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a> he probably received 100 'écus -au soleil'<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a> per year, which, at the current valuation of 45 sous each, -would make 225 'livres tournois.' Indeed, that sum was paid in 1671, -more than a century later, to Pierre Le Petit, king's printer.<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a></p> - -<p>If François I manifested his good will to Geofroy Tory in appointing -him king's printer, he manifested it even more signally by causing him to -be admitted to the brotherhood of 'libraires jurés' of the University, with -all the privileges appurtenant to that office.<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a> For, in the first instance, he -simply made use of his prerogative; in the second he imposed his will -on the University: the number of 'libraires jurés,' which was fixed at -twenty-four, being full, François I created a twenty-fifth membership -in Tory's favour, and the University ratified that creation at its sitting -of February 22, 1532 (1533, new style), minuting, however, that it was -a gift of the King,<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a> as if to imply that it was not to be taken as a precedent. -In fact, they returned to the number twenty-four on the death -of Tory, which unfortunately was not long delayed.</p> - -<p>Farther on will be found a list of the works published by Tory as -king's printer, both for the king and for private individuals.<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a> I will mention -here a single one, which is of some interest in connection with the biography -of our artist: the 'Adolescence Clementine' (of Clement Marot), -fourth edition, published by Tory June 7, 1533. On the title-page is a -note in these words: 'With certain accents noted, namely, on É masculine -different from the feminine, between words joined by synalephe, and -under Ç when it is pronounced like S, the which heretofore, for lack of<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -suggestion, has not been done in the French language, although it was -and is most essential.' This was the first work in which Tory applied the -orthographic system he had suggested in 'Champ fleury.'<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a> The fact is -evident from the inexperience of the compositors, who made several -blunders in this very note.</p> - -<p>This book, one of the rare copies of which is in the Bibliothèque Nationale, -presents still another interesting peculiarity. The title-page is -arranged in a different way from that in vogue at the time. In the first -three editions the first two words form four lines of capitals of the same -size and length, by virtue of the spacing: LADOLE—SCENCE—CLEMEN—TINE. -In the fourth edition they fill two lines only -(LADOLESCENCE—CLEMENTINE), but still in type of the same -size, contrary to the practice of other printers, who would have diminished -by at least one degree the size and length of the lines, without regard -to logic. They would probably have printed the title thus:</p> - -<p class="center"><span class="bigger110">L A D O L E S</span><br /> -CENCE CLEMEN<br /> -tine</p> - -<p>Tory's method of execution, which he borrowed from the arrangement -of ancient inscriptions, was less agreeable to the eye perhaps, but it was -more logical. It was a step toward the practice of the present day, in -which the size of the letters on a title-page is varied, but is made consistent -with the importance of the respective words. As will be seen, Tory -was, in everything, an initiator.</p> - -<p>This book was the last one printed by Tory, to my knowledge. He -probably died shortly after, for we find that his wife was a widow on -October 14 [1533], when she executed a lease for nine years of that part -of the Halle de Beauce occupied by her husband's establishment. This -lease, covering the whole house, was made in consideration of 122 livres -10 sous tournois. The lessors were agents of the Chapitre Notre-Dame, -and the lessees, 'Martin Féret, baker, and Perrette Le Hullin, widow of<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -Geofroy Tory, in his lifetime bookseller and king's printer, living on rue -de la Juifverie in one of the wings [corps d'hostel] of the building hereinafter -mentioned' (the Halle de Beauce).<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a></p> - -<p>Perrette Le Hullin continued for some time to carry on her husband's -various enterprises. Thus, she published in 1535 a remarkable work, -doubtless begun by him, by command of François I, to whom it is dedicated. -It certainly should be placed to the credit of Tory, although it -does not bear his name, but simply a mention of his sign: 'Au Pot Casse.' -It is a translation of Diodorus Siculus, of which I shall speak later.<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a></p> - -<p>But the burden of so considerable an undertaking—printing-office, -bookshop, bindery,<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a> engraving, etc.—soon compelled Perrette Le Hullin -to abandon a part of it. At the end of the year 1535 she transferred the -printing-office, the bookshop, and the bindery to Olivier Mallard, who -established himself on the same premises occupied by Tory, and under -the same sign of the Pot Cassé, as we see by a thin volume published -by him on January 19, 1535 (1536, new style), entitled: 'Copie d'une -lettre de Constantinople, de la victoire du grand Sophy contre le grand -Turc.—Paris, Olivier Mallard, à l'enseigne du Pot Cassé, rue de la Juifverie.' -Quarto, of 4 leaves; gothic type.<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a></p> - -<p>Towards the end of 1536, Mallard published the 'Copie de l'arrest du -grand conseil donné à l'encontre du miserable empoisonneur de monseigneur -le dauphin,' etc. An octavo sheet printed in two signatures. On -the verso of the title begins the text of the decree, promulgated at -Lyon Saturday, October 7, 1536; then come several pieces by Jean Henon -and 'a "dizain" by the printer hereof in sorrow for the death of the Dauphin': -ten wretched lines, ending, by way of signature, with the words<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -'tout par moien,' of which I have been unable to discover the anagrammatic -significance. On the verso of the last leaf we read: 'All booksellers -and printers in the city and provostry of Paris are forbidden to print or -put on sale this present "copie" within three months, on pain of confiscation -thereof, and of a fine, save only M. O. Mallard. Given at Paris this -<span class="smcapa">XVIII</span> October, 1536.—I. M<span class="smcapa">ORIN.</span>'</p> - -<p>Thus we see that, even if Mallard was not as yet king's printer, he was at -least the official printer. I cannot give the exact date of his appointment -as king's printer; but he certainly held that office in 1537, since in that -year he published a little octavo volume in which he assumed the title.<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a> -The book is entitled: 'De judiciis urinarum tractatus exprobatis collectus -authoribus, etc.—Excudebat O. Mallardus, bibliopola ac impressor regius.—Anno -Domini 1537, 8 id. Martii' (March 8).<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a> He also published in that -year, in the same capacity, two works of Jean Gillot:<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a> 'De juridictione -et imperio libri duo,' and 'Isagoge in juris civilis sanctionem' (quarto), -on the title-page of which, below the Pot Cassé, are the words: 'Vænit -O. Mallardo, regio typographo ac librario, sub signo Vasis fracti.'<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a></p> - -<p>It is probable that François I made no difficulty about accepting -Tory's successor as his printer; but he availed himself of Tory's death -to remodel the institution of king's printers. He restricted Mallard's -functions to the printing of French, and in the year 1538 appointed two -other king's printers, one, Conrad Néobar, for Greek, the other, Robert -Estienne, for Latin and Hebrew, as an essential complement to the 'Collége -des trois langues,' now the Collége de France, which he had recently -founded. We have not the document which conferred upon Robert -Estienne the title of king's printer; but we have proof that he held that -title in 1539. Maittaire declares, upon what evidence I know not, that -Robert was appointed on June 24 of that year. I am of the opinion that -his appointment was of earlier date, that is to say, that it goes back, like -Néobar's, to 1538, or, to speak more accurately, to the beginning of -1539. In fact, we find him assuming the title of king's printer ('typographus -regius') in several works printed by him during that year. -Furthermore, I may mention the fact that, in a most interesting edict -concerning the printers of France, dated August 31, 1539, the king<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -already refers to the fact that he has 'of late created and ordained—in -order to have a copious supply of useful and essential books—royal -printers in the Latin, Greek, and Hebrew tongues.'<a name="FNanchor_156_156" id="FNanchor_156_156"></a><a href="#Footnote_156_156" class="fnanchor">[156]</a></p> - -<p>We have not the letters patent of Robert Estienne, but we are more -fortunate in respect to Néobar, for we have the document by which he -was created king's printer for Greek.<a name="FNanchor_157_157" id="FNanchor_157_157"></a><a href="#Footnote_157_157" class="fnanchor">[157]</a> This curious document, which -does so much honour to François I, well deserves to win oblivion for his -unlucky edict of proscription against printing, rendered January 13, 1535 -(new style), which has been invoked against his memory several times in -recent years, although it was never put in execution. On Néobar's death -in 1540, Robert Estienne succeeded him as king's printer for Greek, retaining -the title for Latin and Hebrew.</p> - -<p>The king's fondness for the classics did not lead him to neglect the -French language: in 1539 he promulgated a celebrated ordinance, to the -effect that 'henceforth all decrees, etc., shall be pronounced, recorded, and -delivered to the parties concerned, in the mother tongue.'</p> - -<p>In 1541, Olivier Mallard, who had acquired all of Tory's typographic -paraphernalia, published a book of Hours of the Virgin, in Latin, octavo, -with the borders 'à la moderne' to which I referred on page 25. It is -copied doubtless from the edition put forth by Tory about 1530, which -I have never been fortunate enough to see. Of the edition of 1541, I have -seen one copy on vellum, and another on paper. It consists of 23 octavo -sheets (signatures A to Y), and has on the title-page: 'Horæ in laudem -beatissim. Virginis Mariæ ad usum Romanum.' (Pot Cassé) 'Parisiis, apud -Oliverium Mallardum, sub signo Vasis effracti.—1541.'</p> - -<p>In the following year Mallard published another edition of the Hours -of the Virgin, in quarto, like the one issued by Tory in 1531. I shall speak -of it in detail in its place.<a name="FNanchor_158_158" id="FNanchor_158_158"></a><a href="#Footnote_158_158" class="fnanchor">[158]</a> Here I will simply say that the book was finished -in the month of August, 1542.</p> - -<p>On the twenty-second of the same month, Mallard renewed the lease -of his quarters in the Halle aux Blés de Beauce, which lease had been -given nine years earlier to Tory's widow and Martin Féret, at a rental of -122 livres 10 sous, tournois. The rental was increased for Mallard, who -had to pay 130 livres, plus 4 écus d'or au soleil 'for the time of the said -leasing.'<a name="FNanchor_159_159" id="FNanchor_159_159"></a><a href="#Footnote_159_159" class="fnanchor">[159]</a> Olivier Mallard did not long enjoy his lease, for he died that<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -same year. His last printing, according to La Caille, who writes the name -Maillard,<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a> was a translation of the Dialogues of Plato, by Simon de Valembert, -published in 1542. I have been unable to find this book in Paris, -but I have seen another, probably of later date, at the bookshop of M. -Techener; it is entitled: 'Le livre de Ange Bologninus, de la curation des -ulceres exterieurs, traduit de latin en francoys.—Paris, au Pot Cassé, en -limprimerie de Olivier Mallard, libraire et imprimeur du roy. 1542.' It -is an octavo of four signatures. As the license is dated December 1, this -little book is probably the last one printed by Mallard, as he was succeeded -in the following year, as king's printer for French works, by Denis -Janot (one of the most skilful printers in Paris), as is set forth in the letters -patent, which will be found in Appendix VII. Appendix VIII contains -a complete list of the king's printers who lived in Paris.</p> - -<p>Mallard's typographical apparatus seems to have been acquired by Jean -Kerver, son of the first Thielman Kerver, living on rue Saint-Jacques,<a name="FNanchor_161_161" id="FNanchor_161_161"></a><a href="#Footnote_161_161" class="fnanchor">[161]</a> at -the sign of the Gril ('sub signo Cratis'), who printed several editions of the -Hours in octavo, with the borders 'à la moderne' used by Mallard in 1541. -The sign of the Pot Cassé, which Kerver did not need, was adopted by a -bookseller of Chartres, named Richard Cotereau, who seems also to have -bought some of Tory's woodcuts representing that mark. In fact I have -seen one, which I have never seen on any of Tory's books, in a book -printed in Paris for Cotereau by Nicolas Chrestien; it is: 'Le Coustumier -de la baronnye, chastellenie, terre et seigneurie de Chasteauneuf en Tymerays'; -octavo, 1557. The title-page is an engraving of the Pot Cassé, with -the design reversed,<a name="FNanchor_162_162" id="FNanchor_162_162"></a><a href="#Footnote_162_162" class="fnanchor">[162]</a> like that of the title of 'Champ fleury,' but signed -with the double cross; and beneath are the words: 'Pour Richard Cotereau, -libraire, demeurant à Chartres, en la grande rue, à l'enseigne du Pot -Cassé.'</p> - -<p>Philippe Cottereau, evidently the son of Richard, and king's printer -at Blois, used the same mark. I have seen it on a small book printed by -him in 1603: 'Reglement pour l'instruction des proces qui se conduiront -au bailliage et siege presidial de Bloys.' Two octavo sheets.</p> - -<p>It would seem, however, that the sign of the Pot Cassé, which remained -for some time longer on the Halle de Beauce, also remained on the house -originally occupied by Tory, on rue Saint-Jacques, for we find a printer<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -named Michel de la Guierche living at that sign. See, among other works, -'M. T. Ciceronis ad M. Brutum Orat.—Paris, apud Mich. de la Guierche, -sub signo Vasis effracti, in vico Jacobeo.' Quarto, without date, but with -documents of 1542 and 1543.<a name="FNanchor_163_163" id="FNanchor_163_163"></a><a href="#Footnote_163_163" class="fnanchor">[163]</a> But the Pot Cassé itself does not figure in -his books.</p> - -<p>Tory's widow seems to have retained his engraving establishment for -a considerable further time. Although engrossed by her numerous undertakings, -she found time nevertheless to have some of her husband's books -reprinted, and among others the 'Sommaire de Chroniques d'Egnasius,' -in 1541, 1543, 1544, for the bookseller Charles L'Angelier, and 'Champ -fleury,' in 1549, for the bookseller Gualtherot. I say that she had these -books reprinted, but I ought rather to say, perhaps, that she allowed them -to be reprinted, for there is nothing to suggest her coöperation in the -work. Literary property did not then exist.</p> - -<p>In the new edition of 'Champ fleury,' which by the way no longer -bears that graceful title, the Pot Cassé does not even appear, although -the explanation of the mark is allowed to remain. It was doubtless a bookseller's -speculation.<a name="FNanchor_164_164" id="FNanchor_164_164"></a><a href="#Footnote_164_164" class="fnanchor">[164]</a> However that may be, this reprint forms an octavo -volume of 160 leaves (the folio has 80), in addition to the preliminary -matter, of which there are 16 leaves (8 in the folio); it is entitled: 'L'Art -et Science de la vraye proportion des Lettres Attiques, ou Antiques, autrement -dictes Romaines, selon le corps et visaige humain, avec l'instruction -et maniere de faire chiffres et lettres pour bagues d'or, pour tapisserie, -vitres et painctures. Item de treize diverses sortes et façons de lettres; -d'avantage la maniere d'ordonner la langue françoise par certaine regle -de parler elegamment en bon et plus sain langage françois que par cy-devant, -avec figures à ce convenantes, et autres choses dignes de memoire, -comme on pourra veoir par la table, le tout inventé par maistre Geoffroy -Tory de Bourges.'</p> - -<p>I have copied this long title at full length only to give myself an opportunity -to call attention to the progress that had been made by French -typography since the day when Geofroy Tory published his first edition, -and, indeed, as a result of that same publication. We find here the accents, -the apostrophe and the cedilla, upon the absence of which the author had -commented in 1529. So that we may say that the whole grammatical<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -portion of his book had become useless as a direct result of the first edition -of that book. This is a fact to which the editors of the second edition paid -no heed, as they allowed Tory's observations to stand as they were written, -while introducing into their text the novel signs I have just mentioned. -For instance, they repeat that <em>c</em> has two sounds, one hard, as in -'coquin,' etc., the other soft, as in 'françois,' etc. But by adding the cedilla -in the last word they destroy the sense of the criticism made by Tory -in 1529.<a name="FNanchor_165_165" id="FNanchor_165_165"></a><a href="#Footnote_165_165" class="fnanchor">[165]</a></p> - -<p>It does not appear by whom the book was printed; we learn only on -the last leaf that it was finished August 26, 1549, 'pour Vivant Gualtherot, -libraire juré en l'Université de Paris, en la rue Saint-Jacques, à -l'enseigne de Saint Martin.'</p> - -<p>In order to adjust Tory's woodcuts to the smaller format, they were -somewhat mutilated; indeed some of them were omitted altogether, -among the number those representing the Pot Cassé, which probably -remained in the possession of Olivier Mallard or his successors, and which -it was not deemed essential to have engraved anew for this reprint, for -it was executed as cheaply as possible, and as if for the purpose of utilizing -such woodcuts as remained at the disposal of Tory's widow.<a name="FNanchor_166_166" id="FNanchor_166_166"></a><a href="#Footnote_166_166" class="fnanchor">[166]</a> The -work was subjected to some further modifications in this edition. For -instance, all dates were suppressed in the preliminary matter, which also -was arranged in a different order. Even the license granted by François I -was omitted as having become useless; but no change was made in the -actual arrangement of the work, nor was there a single addition or emendation.</p> - -<p>Thus Tory, at his death, was able to flatter himself that he had contributed -materially to the improvement of his mother tongue, which he -loved so well. He died, as I have said, in 1533, and not in 1550, as is erroneously -stated in a poetical epitaph composed nearly a century after our -printer's death, by his compatriot, Nicolas Catherinot, at the request and -from the notes of Jean Toubeau, himself a printer of Bourges, and a descendant -of Tory, through his mother.</p> - -<p>Here is the epitaph, as given by La Caille:<a name="FNanchor_167_167" id="FNanchor_167_167"></a><a href="#Footnote_167_167" class="fnanchor">[167]</a>—</p> - -<p><span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i11">To Geofroy Tory,</div> - <div class="i11">Born at Bourges,</div> - <div class="i11">Educated at Paris,</div> - <div class="i4">Accomplished Scholar in both Latin and Greek,</div> - <div class="i7">Most devoted Lover of Letters,</div> - <div class="i10">Very expert Printer</div> - <div class="i13">And</div> - <div class="i11">Learned Author,</div> - <div class="i0">Inasmuch as he wrote elegant Distichs on the Parts of the House,</div> - <div class="i1">Composed some humorous Epitaphs in Latin in very ancient Style,</div> - <div class="i3">Translated Treatises of Xenophon, Lucian, and Plutarch</div> - <div class="i10">From Greek into French,</div> - <div class="i3">Taught Philosophy at Paris in the College of Burgundy,</div> - <div class="i2">Was the first Man to discuss seriously the Art of Printing,</div> - <div class="i1">Described the Forms of the Letters, or Characters, of the Alphabet,</div> - <div class="i8">Taught Garamond, Chief of Engravers,</div> - <div class="i2">Always performed the Duties of a good Man until he died</div> - <div class="i10">In the Year MDL:<a name="FNanchor_168_168" id="FNanchor_168_168"></a><a href="#Footnote_168_168" class="fnanchor">[168]</a></div> - <div class="i11">At the Instance</div> - <div class="i10">Of Jean Toubeau,</div> - <div class="i8">Likewise Printer and Author,</div> - <div class="i13">Mayor,</div> - <div class="i9">Alderman of Bourges,</div> - <div class="i5">Ambassador on very delicate State-matters</div> - <div class="i9">To the King and Council,</div> - <div class="i6">Great-great-grandson of the same Tory,</div> - <div class="i5">Heir of a famous Printing Establishment,</div> - <div class="i4">Nicolas Catherinot, noble Citizen of Bourges,</div> - <div class="i0">Counsellor of the King, and Senator, in the Metropolis of Bourges,</div> - <div class="i2">From his tender Years uninterruptedly to the present Day</div> - <div class="i3">Most closely associated with the Business of Printing,</div> - <div class="i0">Wrote this Epitaph, hastily and rapidly, at the End of November,</div> - <div class="i11">MDCLXXXIV.<a name="FNanchor_169_169" id="FNanchor_169_169"></a><a href="#Footnote_169_169" class="fnanchor">[169]</a></div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span></p> - -<p>The only relic that we have of Tory to-day, outside of his books and -works of art, is a volume from his library, as his signature in the genitive -case indicates. It is a manuscript on vellum, containing the orations of -Cicero against Verres, in Latin. This volume was acquired, presumably -after Tory's death, by his patron Jean Grolier, who wrote his motto at -the end of the text: 'Joannis Grolierii Lugdunensis et amicorum.' From -the library of this illustrious bibliophile, the manuscript passed to Colbert's -library, then to the king's. It is preserved to-day [1857] in the Bibliothèque -Nationale. We give below a facsimile of Tory's signature, which -appears on the first flyleaf:—</p> - -<div class="figcenter"> -<img src="images/i_b_045a.jpg" width="400" height="69" alt="" /> -<div class="caption"><p>God. Torini Biturici</p></div> -</div> - -<p>Tory made use of ten marks, besides the Pot Cassé that appears on -his bindings. We reproduce them all, although only two (nos. 5 and 10) -are signed.<a name="FNanchor_170_170" id="FNanchor_170_170"></a><a href="#Footnote_170_170" class="fnanchor">[170]</a> Some of them were used by other booksellers after him, as -we have already seen.</p> - -<div class="figleft" style="width: 120px;"> -<img src="images/i_b_045b.jpg" width="120" height="153" alt="1" /> -</div> - -<div class="figright" style="width: 100px;"> -<img src="images/i_b_045c.jpg" width="100" height="156" alt="2" /> -</div> - - -<p class="p6">No. 1</p> - -<p>This mark is to be found in the borders of the -Hours (quarto) of 1527. (See page <a href="#Page_37">37</a>, supra.)</p> - - -<p class="p6">No. 2</p> - -<p>This form of the Pot Cassé appears in the borders -of the Hours (quarto) of 1524-1525, -alike in the copies which bear the imprint of Tory and in those printed -by Simon de Colines. (See page <a href="#Page_37">37</a>, supra; also Part 2, § 2, no. 1, infra.)</p> - -<div class="figleft" style="width: 140px;"> -<img src="images/i_b_045d.jpg" width="140" height="233" alt="3" /> -</div> - -<div class="figright" style="width: 132px;"> -<img src="images/i_b_045e.jpg" width="132" height="240" alt="4" /> -</div> - - -<p class="p6">No. 3</p> - -<p>This variation will be found on -the first page of those copies of -the Hours (quarto) of 1524-1525 -which bear the imprint of Tory. -(See Part 2, § 2, no. 1 (2d and 3d), -infra.)</p> - - -<p class="p6">No. 4</p> - -<p>This appears on the title-page of -'Champ fleury.' (Silvestre, 'Marques -Typographiques,' no. 931.)</p> - -<p><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span></p> - -<div class="figleft" style="width: 120px;"> -<img src="images/i_b_046a.jpg" width="120" height="214" alt="5" /> -</div> - -<div class="figright" style="width: 120px;"> -<img src="images/i_b_046b.jpg" width="120" height="221" alt="6" /> -</div> - - -<p class="p6">No. 5</p> - -<p>This appears on folio 43 -verso, of 'Champ fleury.' -(Silvestre, no. 803.)</p> - - -<p class="p6">No. 6</p> - -<p>This mark, which differs -from no. 5 only in the absence -of the cross of Lorraine, -appears on the last -page of 'Champ fleury.' I -am unable to suggest any -reason for the removal of -the cross. (Silvestre, no. -171.)</p> - - -<p class="p6">No. 7</p> - -<p>This mark is found only at the end of the little poem written by Tory -on the death of his daughter, which was published February 15, 1524, -new style. We have already referred to this poem on page <a href="#Page_15">15</a>; but it is -reproduced at length in Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_72">9</a>.</p> - - -<div class="figcenter" style="width: 560px;"> -<img src="images/i_b_046c.jpg" width="560" height="465" alt="7 8" /> -</div> - - -<p><span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span></p> - -<p class="p6">No. 8</p> - -<p>This mark, which differs from the preceding only in the omission of the -little figure in the clouds, appears on the last page of the Hours of 1524-1525 -(those copies with Tory's imprint) in Latin. (Silvestre, no. 356.)<a name="FNanchor_171_171" id="FNanchor_171_171"></a><a href="#Footnote_171_171" class="fnanchor">[171]</a></p> - -<div class="figleft" style="width: 120px;"> -<img src="images/i_b_047a.jpg" width="120" height="226" alt="9" /> -</div> - - -<p class="p6">No. 9</p> - -<p>This mark appears on the title-page of the Hours -(quarto) of 1527. It was used by Jean Mallard, -bookseller at Rouen, 1542.<a name="FNanchor_172_172" id="FNanchor_172_172"></a><a href="#Footnote_172_172" class="fnanchor">[172]</a> (Silvestre, no. 604.)</p> - -<div class="figright" style="width: 90px;"> -<img src="images/i_b_047b.jpg" width="90" height="158" alt="10" /> -</div> - - -<p class="p6">No. 10</p> - -<p>I have never as yet seen this -mark in any book of Tory's; -but I have found it in books -published by Richard Cotereau, -bookseller at Chartres, -in 1557, and by Philippe Cotereau, -bookseller at Blois, in -1603. (See p. <a href="#Page_41">41</a>, supra.) The -presence of the Lorraine cross -is, it seems to me, a sufficient -proof that it should be attributed to Tory. -(Silvestre, no. 929.)</p> - -<p>We have already observed that Tory was not only a bookseller and -printer, but a binder as well. To complete the list of our artist's professional -acquirements an example of the toolings that he used to decorate -the covers of some of the volumes bound by him, is reproduced [on the -cover of the present volume.<a name="FNanchor_173_173" id="FNanchor_173_173"></a><a href="#Footnote_173_173" class="fnanchor">[173]</a> The reproduction is from the cover of a copy -of the works of Petrarch, printed at Venice in 1525, and now preserved -in the Library of the British Museum.] The Pot Cassé, in its simplest form, -appears among the arabesques of this binding. Tory had also had engraved -a larger plate of the same, for use on the binding of quartos, or, rather, -of folios. The design is almost identical. Sometimes the Pot Cassé is accompanied -by the drill. This design appears on a copy of Macault's translation -of Diodorus Siculus, printed as late as 1536, 'au Pot Cassé.' This -beautiful volume, in M. Didot's magnificent library, is sufficient proof -that Tory's widow continued his various industries for a considerable time.</p> - -<p>It is hardly necessary to say that the same tools could, with some slight -additions, be used in binding volumes of all sizes, from the octavo up.</p> - -<p><span class="pagenum"><a name="Page_48" id="Page_48"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_048.jpg" width="213" height="700" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span></p> - -<div class="figcenter" style="width: 295px;"> -<img src="images/i_b_049.jpg" width="295" height="500" alt="" /> -</div> - - - - -<h2><a name="PART_II" id="PART_II"></a>PART II.<br /> - -<span class="small90">BIBLIOGRAPHY.</span></h2> - - -<p><span class="drop-cap">I</span>N the first part of this volume -I have made cursory -mention of some of the books -published by Tory, and especially -of those which may be -said to offer some biographical -information; in this part -I propose to describe in detail -all the books to which he -put his name in any capacity, -and of which we of to-day -have knowledge. To make -my description clearer I shall -divide these books into four -sections, the titles of which -will explain themselves.</p> - - -<p class="center">OMNIS TANDEM<br /> -MARCESCIT<br /> -FLOS.</p> - -<p><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p> - -<hr class="chap" /> - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_b_050.jpg" width="500" height="192" alt="" /> -</div> - - - - -<h2><a name="SECTION_I_WORKS_WRITTEN_OR_ANNOTATED_BY_TORY" id="SECTION_I_WORKS_WRITTEN_OR_ANNOTATED_BY_TORY"></a>SECTION I.<br /> - -<span class="small80">WORKS WRITTEN OR ANNOTATED BY TORY.</span></h2> - - -<p class="p6">1</p> - -<blockquote> - -<p>P<span class="smcapa">OMPONIUS</span> M<span class="smcapa">ELA</span>, D<span class="smcapa">E TOTIUS ORBIS DESCRIPTIONE</span>. A<span class="smcapa">UTHOR LUCULENTISSIMUS</span>, -<span class="smcapa">NUNQUAM ANTEA CITRA MONTES IMPRESSUS.</span><a name="FNanchor_174_174" id="FNanchor_174_174"></a><a href="#Footnote_174_174" class="fnanchor">[174]</a> (Mark -of Jehan Petit.)<a name="FNanchor_175_175" id="FNanchor_175_175"></a><a href="#Footnote_175_175" class="fnanchor">[175]</a></p></blockquote> - -<p><span class="drop-cap">Q</span>UARTO, of 45 numbered leaves, plus 11 leaves of index; in all, 56 -leaves, or 14 sheets, arranged in 9 signatures of two sheets and one, -alternately. Signatures <em>a</em>, <em>c</em>, <em>e</em>, <em>g</em>, and <em>i</em> have two sheets [16 pages] each; signatures -<em>b</em>, <em>d</em>, <em>f</em>, <em>h</em>, one sheet [8 pages] each.</p> - -<p>The whole book is printed in roman type, except the first line of the -title-page, which is gothic, and a few Greek words here and there.</p> - -<p>As we have seen, this book was for sale by Jean Petit, but it was printed -by Gilles de Gourmont, solely because of the Greek words just mentioned. -So Tory himself tells us in a note at the end of the text, folio 45: 'Curavi -siquidem accuratissimo impressori dare, qui etiam primus apud Parisios -græcis caracteribus lotissimas addidit manus.'<a name="FNanchor_176_176" id="FNanchor_176_176"></a><a href="#Footnote_176_176" class="fnanchor">[176]</a></p> - -<p>On the verso of the first leaf is a letter of the publisher, Geofroy Tory, -to his friend Babou, thus conceived:—</p> - -<p><span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span></p> - - -<div class="figcenter" style="width: 500px;"> -<img src="images/i_b_051.jpg" width="500" height="209" alt="" /> -</div> - -<blockquote> - -<p><i>Geofroy Tory of Bourges to Philibert Babou, citizen of Bourges, very -deserving treasurer and valet-de-chambre of the most serene king of -the French, humblest greeting.</i></p></blockquote> - -<p>On looking recently into Pomponius Mela, most illustrious Philibert, -Mela who is the most trustworthy of the writers on geography, I found -him so corrupt and so badly mutilated that</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">—Lo, before my eyes, in saddest plight,</div> - <div class="i0">The author seemed to stand and burst in tears.<a name="FNanchor_177_177" id="FNanchor_177_177"></a><a href="#Footnote_177_177" class="fnanchor">[177]</a> <span class="mleft3">Virg. <em>Æn.</em> ii.</span></div> - </div> -</div> -</div> - -<p>Lo, I say,</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">All black with dust and blood,—ah, sad, sad sight,—</div> - <div class="i0">By two-horse chariot dragged, his swollen feet</div> - <div class="i0">Torn through with thongs ...</div> - <div class="i0">How from the bottom of his heart he groaned. <span class="mleft3"><em>Id. Ibid.</em></span></div> - </div> -</div> -</div> - -<p>In such words as these did he seem to complain: Am I, then, who described -so elegantly all those many lands, those many peoples, those -islands, rivers, straits, seas, and whirlpools, I who ventured so confidently -upon the description of the whole world, am I to remain thus maimed, -thus mutilated, thus disfigured?</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">—Ah me, how hacked am I,</div> - <div class="i0">How like that Hector who erstwhile brought back</div> - <div class="i0">... his squalid ... locks</div> - <div class="i0">All stiff with blood, and many a wound he got</div> - <div class="i0">About his country's walls. <span class="mleft10"><em>Id. Ibid.</em></span></div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span></p> - -<p>Unless some helping hand be stretched forth, I shall soon surely die.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">In time Machaon healed the loathsome limbs of Philoctetes,</div> - <div class="i1">And Phillyreian Chiron gave to blinded Phœnix sight;</div> - <div class="i0">The god of Epidaurus, at a father's fond entreaties,</div> - <div class="i1">By Cretan herbs Androgeos brought again to realms of light.[1]</div> - </div> -</div> -</div> - -<p>But verily I believe that</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">He who'll cure this pain of mine is certain of succeeding</div> - <div class="i1">In giving Tantalus the fruit that cheats his eager palm.</div> - <div class="i0">Yea, he the piercèd pails may fill, and heavy burden lighten,</div> - <div class="i1">The slender Danaïds endure, with ceaseless toil opprest;</div> - <div class="i0">From the bleak cliff of Caucasus unchain the fettered Titan,</div> - <div class="i1">And scare away the bird of prey that tears his mangled breast.<a name="FNanchor_178_178" id="FNanchor_178_178"></a><a href="#Footnote_178_178" class="fnanchor">[178]</a></div> - </div> -</div> -</div> - -<p>I naturally said to myself on the spot: If I were Machaon, or Chyron, or -Æsculapius, I should be glad to remedy this matter. But what if I were -to make such slight effort as I can? Might I not be able to be of service? -Perhaps; at least, I should have tried, and I should have had this object -in view: to make him somewhat more free from faults.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">And if my powers of song should fail—to dare were surely fame:</div> - <div class="i0">Enough that I have had the will; no higher praise I claim.</div> - <div class="i10">Proper. ii, <em>ad Musam</em> (<em>ad Augustum?</em>).</div> - </div> -</div> -</div> - -<blockquote> -<p>I have accordingly added a very few annotations; provided with which, -under the protection of your name (for you are a devoted admirer of -letters and lettered men), under, as the saying is, favourable auspices, let -Pomponius Mela now go forth in greater security than before. Farewell.</p> - -<p>Paris, vj no. Decemb. <span class="smcapa">MCCCCCVII</span>.<a name="FNanchor_179_179" id="FNanchor_179_179"></a><a href="#Footnote_179_179" class="fnanchor">[179]</a></p></blockquote> - -<p>At the end of the text, on folio xlv, we find the following:<a name="FNanchor_180_180" id="FNanchor_180_180"></a><a href="#Footnote_180_180" class="fnanchor">[180]</a>—</p> - -<p>Here, then, you have, most illustrious Philibert, Pomponius Mela, -purged of the many errors in which he abounded. I took the trouble to -put him in the hands of a very careful printer, one who was, besides, the<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -first Parisian to give to the Greek characters a form of superior elegance. -I have been pleased to revise the text with special care and to add a very -few annotations, so that, when it should come into your hands, and later -on into the hands of the public, it might come in a more polished and -finished form. You, now, with Mela in hand, may, like Phiclus, who, as -the story goes, ran over the tops of the grain-fields without breaking the -ears, traverse and re-traverse, not only in security, but confidently and -resolutely, the whole world. If you wish to lay hold of tigers, swiftest of -animals, and to see from a safe vantage the catoblepas, if you wish to -meet dragons and wild beasts, Satyrs, Pans, and Silvani, if you wish to see -the Indians, 'the Britons, separated by a world between,' the Sauromatae, -the Africans, and all the peoples that lie between these, and learn of -their wonderful habits, then take but this world, I mean Pomponius, -many times in hand, and without doubt you will there be able to see -and to know them all as in no other way. Farewell and forget not yours -ever faithfully.</p> - -<p> -Paris, 24 December.<br /> -<br /> -<span class="mleft10"><span class="smcapa">CIVIS</span>.</span></p> - -<blockquote> - -<p class="center"><em>To Pomponius Mela.</em></p> - -<p>Mela, the many errors in which you abounded have been cast forth; -few are the faults that remain with you. Better far and more perfect in -form do you stand forth now than formerly you did. This is the accomplishment -of my small hand.</p> - - -<p class="center"><em>To Philibert Babou.</em></p> - -<p>That my life for many years has been due to you, these two short -verses, Philibert, now testify. Whatever 'alpha' belonged to me in my -tender years, that your happy 'omega' wished to bear.</p> - -<p class="center">Ω</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p>At the end of the index, on the verso of the penultimate sheet, is a -list of errata beginning thus:—</p> - -<p><a name="FNanchor_181_181" id="FNanchor_181_181"></a><a href="#Footnote_181_181" class="fnanchor">[181]</a>'Since nothing is more difficult than to be wholly free from error, it -seems quite proper that I should, with the kind consent of the reader, consider -a very few of the very few mistakes of this book: thus, for example, -where "potuit" is found in the epistle, "possit" should be written.'</p> - -<p><span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span></p> - -<p>This list also is signed 'civis.' Beneath it is a short poem entitled: -'Carolus Rousseus ad lectorem tetrastichon.' And on the recto of the last -leaf: 'In the year of the incarnation and of our salvation, 1507, the tenth -day of January,<a name="FNanchor_182_182" id="FNanchor_182_182"></a><a href="#Footnote_182_182" class="fnanchor">[182]</a> this work was printed by Gilles de Gourmont, and was -very carefully revised by Tory of Bourges, at Paris.' (Mark of Gilles de -Gourmont.)</p> - - -<p class="p6">2</p> - -<blockquote> - -<p>C<span class="smcapa">OSMOGRAPHIA</span> P<span class="smcapa">II</span> P<span class="smcapa">APÆ IN</span> A<span class="smcapa">SIÆ ET</span> E<span class="smcapa">UROPÆ ELEGANTI DESCRIPTIONE</span>, -etc. Paris, Henri Estienne [1509].</p></blockquote> - -<p>Quarto, of 152 leaves of text, preceded by 12 unnumbered leaves and -a folio cut representing the ancient world. On the second preliminary -leaf is Tory's dedicatory epistle to Germain de Gannay, thus conceived:</p> - -<blockquote> - -<p><em>To the reverend Father and Lord in Christ, Germain de Gannay, -bishop-elect of Cahors, Geofroy Tory of Bourges proffers most humble -greeting.</em><a name="FNanchor_183_183" id="FNanchor_183_183"></a><a href="#Footnote_183_183" class="fnanchor">[183]</a></p></blockquote> - -<blockquote> - -<p>I here present, most excellent prelate, in more accurate and emended -form than that in which he has hitherto been read, Pope Pius, an author -who, in his Description of Asia and Europe, is much to be admired both -for the dignity and for the singular worth of his work. In looking for some -one to whom he, in behalf of his book, freshly issuing from the printing-office, -might straightway most devotedly offer his respects, some one -select, devoted to letters, and possessed of the highest virtue, I could think -of no one more to be desired, more worthy than you. That the Supreme -Pontiff himself should go to visit you, a most venerable bishop, seemed to -me a thing not without humour. That he, I say, who was a meritorious -writer of geography, and, as you will be able to see, of history well deserving -to be read, should come and embrace you, lover and cultivator of every -form of polite literature, I thought a thing very appropriate. It was like -setting the gem to the gold, or the 'encaustum,' that is picture drawn with -fire, to the silver, it was like conferring the palm upon the victor; and that -most certainly is nothing other than to join the good to the good, the glorious -to the glorious, the deserving to the deserving. But along with these -reasons there is still another reason why to you of all persons this most -illustrious work should very properly be dedicated: it was at your instance -and suggestion that I divided the work into chapters and gave to its parts<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> -a more convenient arrangement. That you first, and then that all other -students and readers, may, as was your wish, find and remember the parts -of the earth, which are many in number, and the things in them that are -interesting to know about, more easily and conveniently, I have divided -the book thus: the names of rivers, towns, places, rulers, and other important -matters I have put in separate chapters and marked with marginal -captions; these names are also all to be found, provided with numbers, -in the index. This little work of mine, therefore, I dedicate to you, -my lord, in deepest reverence and with sincere feeling. It is certainly -far from being what I should offer to so reverend a father, but you, -whose goodness and integrity, which are perfectly evident to me, all -praise in the highest terms, will, if it so please you, take the book into -your most pure hands and bestow upon it the favour which you are accustomed -to bestow upon works of this kind. Farewell.</p> - -<p>Paris, at the College of Plessis, 2 Oct., <span class="smcapa">A.D.</span> 1509.</p></blockquote> - -<p>Next comes a 'table,' which fills eleven leaves, on the verso of the last -of which we find the following note to the reader:—</p> - -<blockquote> - -<p class="center"><em>Geofroy Tory of Bourges to the Reader.</em><a name="FNanchor_184_184" id="FNanchor_184_184"></a><a href="#Footnote_184_184" class="fnanchor">[184]</a></p> - -<p>You will find the words 'eruȩre, contendȩre, misȩre,' and many others -of the same sort, written with an <em>ȩ</em> in the penult: this was done in order -that the perfect indicative, which regularly has a long penult, might -show its quantity (which you are to utter in reading), as distinguished -from that of the present and past imperfect infinitive, which in the third -conjugation always shortens its penult. It is with pleasure that I have -imitated and adopted the very elegant and finished form of writing which -is used in the 'Psalterium Quincuplex,'<a name="FNanchor_185_185" id="FNanchor_185_185"></a><a href="#Footnote_185_185" class="fnanchor">[185]</a> recently published. You will also, -though rarely, find this <em>ȩ</em> used, after the fashion of certain authors, for <em>æ</em><span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span> -in some words, and similarly at times in the genitive and dative singular, -and in the nominative and vocative plural, of the first declension. I have -furthermore written designedly 'mistum' with an <em>s</em> instead of an <em>x</em>,—for -'misceo' makes its perfect 'miscui,' whence by analogy 'mistum,'—'intellego,' -'toties,' 'quoties,' 'litus,' 'opidum,' 'litera,' 'tralatum,' 'aliquando,' -and other similar forms, which are to be written according to -ὀρθογραϕία, that is to say, correct spelling. The word 'Turca' also, which -many make in the second declension, I have written in the first. I follow -herein with approval Michael Tarchaniota Marulus of Constantinople in -his lines addressed to Charles, King of France. These are his words: 'Invincible -king, scion of the race of Charles the Great, whom the holy prophecies -of so many men, of so many gods, demand as the vindicator of fallen -justice and loyalty; whom here the sad Ausonian land, there Greece with -streaming locks, calls, and whate'er of Asia and wealthy Syria the cruel -Turk profanes,' etc.</p> - -<p>In writing the accusatives 'plureis,' 'parteis,' 'omneis,' 'monteis,' in '<em>eis</em>,' -I have believed that I was writing good grammar and good Latin, following -therein Priscian, book 7, the chapter on the accusative plural of the -third declension. This form is valuable for distinguishing the accusative -from the nominative, and has been used by a thousand authors, of which -great number it is sufficient at present to cite as witnesses Sallust, Virgil, -and Plautus. Sallust, who used the first word also, says in the Catilinarian -War: 'Omneis homines qui sese,' etc. Virgil in the first Æneid: 'Hic -fessas non vincula naveis Ulla tenent....' Plautus in the Aulularia: 'Quid -est? quid ridetis novi omneis, scio fures hic esse complureis.' I have been -pleased to make this explanation, good reader, so that you not only might -know what pure speech is, but also, both in reading and in speaking, -might have pleasantly at hand, like finger-posts, and might use, pure -words. Farewell.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p>On folio 152, after the errata, we read: 'Impressa est hæc Asiæ et -Europæ quam elegantissima historia per Henricum Stephanum, impressorem<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -diligentissimum, Parrhisiis, e regione scholæ decretorum, -sumptibus eiusdem Henrici et Ioannis Hongonti,<a name="FNanchor_186_186" id="FNanchor_186_186"></a><a href="#Footnote_186_186" class="fnanchor">[186]</a> <span class="smcapa">VI</span> idus Octobris anno -Domini <span class="smcapa">M. D. IX.</span><a name="FNanchor_187_187" id="FNanchor_187_187"></a><a href="#Footnote_187_187" class="fnanchor">[187]</a></p> - - -<p class="p6">3</p> - -<blockquote> - -<p>D<span class="smcapa">E</span> P<span class="smcapa">ASSIONE</span> D<span class="smcapa">OMINICA CARMEN ELEGIACUM</span> G<span class="smcapa">UILIELMI</span> D<span class="smcapa">IVITIS, CIVIS</span> -G<span class="smcapa">ANDAVENSIS, ARTIFICIOSÆ PIETATIS PLENISSIMUM.</span>—<em>Item.</em> N<span class="smcapa">ENIA</span> -L<span class="smcapa">ACTANTII</span> F<span class="smcapa">IRMIANI VERBIS</span> S<span class="smcapa">ALVATORIS NOSTRI E CRUCE.</span>—Mark -of Josse Bade ('Prelum ascensianum').<a name="FNanchor_188_188" id="FNanchor_188_188"></a><a href="#Footnote_188_188" class="fnanchor">[188]</a></p></blockquote> - -<p>One octavo sheet, printed by Josse Bade, dated the 5th of the Ides of -March, 1509; that is to say, March 11, 1510, new style.<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footnote_189_189" class="fnanchor">[189]</a></p> - -<p>On the verso of the title-page is this letter from Herverus de Berna -(of Saint-Amand-Montrond) to the young people of Bourges:—</p> - -<blockquote> - -<p><i>Herverus de Berna of Amand to the youth of Bourges, greeting.</i><a name="FNanchor_190_190" id="FNanchor_190_190"></a><a href="#Footnote_190_190" class="fnanchor">[190]</a></p> - -<p>You are acquainted with Dives, our teacher, famed for his wisdom, -a foster-child of the Muses, who well deserves your gratitude. He it is -who introduced you to the Muses, Helicon, Phœbus' grove, and Mercury, -and from his school, as from the Trojan horse, have issued men of -education without number. His heart is in the Muses' glorious service, -and his memory, it seems to me, should be forever honoured and kept -green. He is reported, as the saying is, to have toiled not only by the lamp -of Aristophanes, but by that of Cleanthes as well.<a name="FNanchor_191_191" id="FNanchor_191_191"></a><a href="#Footnote_191_191" class="fnanchor">[191]</a> You do not doubt that -he is deserving of praise for the elegance of his song; whence it happens -that there is a religious poem of his written on the Passion of Our Lord,—a -poem of such brilliancy, such sweetness, such ornateness, that one -could believe it to be the work of the divine, rather than of a human, -mind. I do not doubt that, as a result of this fact, the same thing will fall -to his lot that usually falls to the lot of literary men: as Claudian says, -'His presence will diminish his fame.'<a name="FNanchor_192_192" id="FNanchor_192_192"></a><a href="#Footnote_192_192" class="fnanchor">[192]</a> Not, however, without Theseus,<a name="FNanchor_193_193" id="FNanchor_193_193"></a><a href="#Footnote_193_193" class="fnanchor">[193]</a><span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -that is Tory of Bourges, my fellow-student, a man of the old, and, as Plautus -says, of the Massilian, school,<a name="FNanchor_194_194" id="FNanchor_194_194"></a><a href="#Footnote_194_194" class="fnanchor">[194]</a> one who combines sound learning with -virtue, have I wished Dives to issue forth into the world; again, I hope, -with favourable auspices, as the saying is. Farewell, with best wishes.</p> - -<p>From my house at Amand, 1 March.</p></blockquote> - -<p>Then follows the elegy by Wilhelm de Ricke, which has 140 verses -and occupies 4 leaves; on the verso of the last of the four is this dialogue -in verse by Tory:—</p> - -<blockquote> - -<p class="center"><em>Dialogue by Geofroy Tory of Bourges in praise of his teacher, -Wilhelm de Ricke of Ghent.</em><a name="FNanchor_195_195" id="FNanchor_195_195"></a><a href="#Footnote_195_195" class="fnanchor">[195]</a></p> - -<p><em>Speakers</em>: M<span class="smcapa">ONITOR</span> <em>and</em> L<span class="smcapa">IBER</span>.</p> - -<p><span class="smcapa">M.</span> Sacred book, who in song mourn Christ's Passion, now speak: -whose holy work can you be?</p> - -<p><span class="smcapa">L.</span> Whose work? Behold! Rich's work am I.</p> - -<p><span class="smcapa">M.</span> Well done! That Rich who to the people of Bourges has given -so many rich examples?</p> - -<p><span class="smcapa">L.</span> You judge rightly.</p> - -<p><span class="smcapa">M.</span> Rich truly has a wise heart.</p> - -<p><span class="smcapa">L.</span> No fitter name than this can be given him.</p> - -<p><span class="smcapa">M.</span> He it is who taught the people of Bourges to speak with flowery -tongue and to make facile verses with the mouth.</p> - -<p><span class="smcapa">L.</span> He not only taught them to speak and to weave song, but he also -gave them the power to see Christ's wounded body.</p> - -<p><span class="smcapa">M.</span> If one wished to see the arms of God fixed to the cross, could -even Rich grant him that to the life?</p> - -<p><span class="smcapa">L.</span> Should you desire to carry the cross of God, his cruel wounds, the -crown, hold me in hand, you will carry all.</p> - -<p><span class="smcapa">M.</span> May Rich's every prayer be ever happily granted, such good he -grants to pious hearts.</p> - -<p><span class="smcapa">L.</span> May he live and continue on earth through Nestorian years, and -after death gain the rich kingdom of Heaven.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p>The little book comes to an end with the poem by Lactantius mentioned -on the title-page. It fills the third and second last leaves, and the<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -recto of the last, at the foot of which we read: 'Finis. Ex ædibus Ascensianis -ad v idus martias <span class="smcapa">MDIX</span>.' This date corresponds with March 11, -1510, new style.</p> - -<p>M. Jules de Saint-Genois, librarian of the University of Ghent, writes -me as follows concerning his fellow-townsman, the author of the verses -on the Passion:—</p> - -<p>'The name of the person in whom you are interested was not le Riche, -but de Rycke, in Flemish, which in the Latin rendering becomes Dives. -This is what Sanderus says of him in "Flandria Illustrata," 1, 386 (edition -Hagæ-Comitis, 1735): "Gulielmus Dives, vulgo de Rycke, Gandavensis -poeta: ejus exstat 'Carmen elegiacum de Passione Dominica,' artificiosæ -pietatis plenissimum, quod inter illustrium poetarum opera impressit -Judocus Badius Ascensius Parisiis."</p> - -<p>'Valère André, too, devotes a few lines to him in his "Bibliotheca Belgica" -(Lovanii, 1623, p. 344): "Elegiam de Passione Dominica edidit Antverpiæ -cum Dominici Mancini, Phil. Beroaldi et aliorum similis argumenti -libellis, 1527, Mich. Hellenii typis."</p> - -<p>'P. Hofmann Peerlkamp says in his "Liber de vita, doctrina et facultate -Nederlandorum qui carmina latina composuerunt" (2d edition, Harlem, -1838, p. 29): "Gulielmus Dives Gandensis floruit 1520. Scripsit 'Carmen -elegiacum de Passione Dominica,' artificiosæ pietatis plenissimum.... -Hæc sæpius prodiit, addita etiam <em xml:lang="la" lang="la">uatuor virtutibus</em> Dominici Mancini, -Antverpiæ, a. 1562. Si vocabulum his illic excipias minus latinum, Carmen -est melioris notæ quam multa ejusdem temporis de hoc argumento."</p> - -<p>'As for the edition which you mention, said to have been printed "in -ædibus Ascensianis," in 1509, the library does not own it; but Gulielmus -Dives' little poem is printed in "Dominici Mancini Poemata," Antverpiæ, -1559, 12mo.'</p> - -<p>This is all that I have been able to learn concerning Guillaume le Riche -or de Rycke; we do not know how this burgess of Ghent became a professor -at Bourges. And yet the fact itself is not extraordinary, for, not long -after, about 1530, another Belgian, named Hanneton, gave instruction in -feudal law there.</p> - -<p>Tory published also at the end of his edition of Valerius Probus [see -number 5, infra], the following Latin distich,—an enigma,—written by -his master:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Dic age, quæ volucres gignunt animalia foetæe</div> - <div class="i1">Et præbent natis ubera plena suis?<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a></div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span></p> - -<p>As for Herverus de Berna, Tory's fellow-pupil, I know even less of -him. All that I have been able to learn is that he published in 1543 a -short poem in praise of the dukes of Nevers, lords of Orval near Saint-Amand, -where Herverus was born, and of which he was then curé, if I -read aright his bombastic Latin. This is the title of the book, which was -for sale at the shop of Vivant Gualtherot: 'Panegyricon illustrissimorum -principum comitum Druydarum et Aurivallensium et Nivernensium, -Hervero a Berna, curione Amandino Allifero, auctore. Parisiis, 1543.' (I -fancy that the words 'curione Amandino Allifero' mean: curé of Saint-Amand-l'Allier, -now Saint-Amand-Montrond.)</p> - -<p>The work is dedicated to a friend of the author, and perhaps of Tory -as well, named Nicolas Rocheus (La Roche?), described as 'Apollineæ -artis doctor eximius' in the dedicatory epistle, which is dated: 'Tumultuarie, -ex ædibus nostris Amandinis, kalendis ianuarii, 1542.'</p> - - -<p class="p6">4</p> - -<blockquote> - -<p>B<span class="smcapa">EROSUS</span> B<span class="smcapa">ABILONENSIS, DE HIS QUÆ PRÆCESSERUNT INUNDATIONEM</span> -<span class="smcapa">TERRARUM; ITEM</span> M<span class="smcapa">YRSILUS, DE ORIGINE</span> T<span class="smcapa">URRENORUM</span>, etc.</p></blockquote> - -<p>Quarto, Paris, 1510; with the small mark of the Marnefs (the Pelican),<a name="FNanchor_197_197" id="FNanchor_197_197"></a><a href="#Footnote_197_197" class="fnanchor">[197]</a> -with the letters E. I. G.</p> - -<p>This work, which was printed by J. Marchand, at the expense of -Geofroy de Marnef, bookseller and publisher, was prepared for the press -by Geofroy Tory, who placed at the beginning the following letter:—</p> - -<blockquote> - -<p class="center"><em>To the most distinguished Philibert Babou, Geofroy Tory of Bourges, -heartiest greeting.</em><a name="FNanchor_198_198" id="FNanchor_198_198"></a><a href="#Footnote_198_198" class="fnanchor">[198]</a></p> - -<p>Last year, when I was attending to the printing of Pope Pius's Cosmography, -the idea occurred to me of thoroughly revising and handing -to the printer at an early date the Babylonian Berosus's work on the 'Antiquities -of the Kingdoms'; but, my mind at that time taking another -turn, I determined to postpone this work, for the reason that I had a -project of almost divine character on hand; and indeed I should have -postponed it for a long time,—as the saying is, to the Greek Calends,—had -not Berosus himself, so to speak, and, what is and always will be of -no little importance to me, a number of my friends, daily whispering in -my ear, as it were, their prayers, demanded of me most earnestly that -I should print, along with Berosus, Myrsilus 'De origine Turrenorum,'<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -Cato's fragments, Archilochus, Metasthenes, Philo, Xenophon 'De æquivocis,' -Sempronius, Fabius Pictor, and Antoninus Pius's fragments of the -'Itinerarium.' There is a very avaricious class of human beings, which, -if it has a book—a book that is hard to find—consisting of three or four -short lines, straightway,—like the ants of India, or the griffins, which -are fabled to carry gold to a remote spot and there keep watch over it, -threatening with dire destruction any one who attempts to touch it,—carries -it off and guards it, and loading it with chains and fetters, keeps -it imprisoned like a miserable captive. Such people ought to display their -officious greed—the greed of possessing something unique all to one's -self—in company with the ants and griffins, which other people avoid, -rather than to continue their incivility, or perhaps I should rather say -immunity, among human beings. We are born not alone for ourselves: -we owe something also to our friends, something to our country. Therefore, -that it may not seem to be my desire to extinguish the brilliant -light of a burning lamp, I the more willingly, under your name, Philibert, -most illustrious citizen of Bourges, send forth Berosus's 'Antiquities,' -together with the other authors mentioned above, for the common study -of all, and I believe that I shall therein be doing an act that will gain the -gratitude, in some small measure, of my country. Farewell.</p> - -<p>Paris, at the College of Plessis, 2 May, 1510.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p>Tory's letter is dated May 2, 1510; but the printing of the book was -not finished until the ninth of that month, as we see by the subscription -of the first edition; for there were at least three distinct editions in Tory's -name, to say nothing of a multitude of others issued by different publishers. -Annius of Viterbo, otherwise known as Jean Nanni, had recently -brought into fashion the fables of Berosus, which he attempted to palm -off as an ancient work; and scholars were still at odds as to the authenticity -of the book, the sale of which their discussions aided to maintain. -Tory seems to have taken sides with Annius of Viterbo, as he himself -prepared an edition of the supposititious Berosus, the preface of which -we have just quoted. We have said that there were three editions in his -name. They may be described thus:—</p> - - -<p class="center"><em>First Edition</em></p> - -<p>Quarto; 28 leaves numbered in Arabic figures, and 4 preliminary -leaves.</p> - -<p>Folio 1 recto, title: 'Berosus Babilonicus, de his quæ præcesserunt inundationem<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span> -terrarum; item Myrsilus, de origine Turrenorum; Cato, in fragmentis; -Archilocus, in epitheto de temporibus; Metasthenes, de judicio -temporum; Philo, in breviario temporum; Xenophon, de equivocis temporum; -Sempronius, de divisione Italiæ; Q. Fab. Pictor, de aureo seculo -et origine urbis Romæ; fragmentum itinerarii Antonini Pii; altercatio -Adriani Augusti et Epictici.' Then comes the mark of the Marnefs, with -the letters E. I. G., and the words 'Le Pelican' in a scroll at the left. (No. -15 of M. Silvestre's 'Marques Typographiques.')</p> - -<p>On the verso of this leaf is Tory's letter, quoted above. Four unnumbered -intercalated leaves follow, containing the table of contents and a list -of errata.</p> - -<p>Folio 2, recto: 'Berosus, de his quæ præscesserunt inundationem terrarum.'</p> - -<p>The articles mentioned on the title-page follow, up to folio 28, where -we find these words:—</p> - -<p>'Impressum est hoc opus Parrhisiis, in Bellovisu, per Joannem Marchant, -impensis Godofredi de Marnef, anno Domini 1510, septimo idus -maias.<a name="FNanchor_199_199" id="FNanchor_199_199"></a><a href="#Footnote_199_199" class="fnanchor">[199]</a>—<span class="smcapa">CIVIS.</span>'</p> - - -<p class="center"><em>Second Edition</em></p> - -<p>Quarto; 4 unnumbered preliminary leaves, and 30 leaves of text numbered -in roman figures; in all, 34 printed leaves.</p> - -<p>On the first of the unnumbered leaves is the title, 'Berosus Babilonicus,' -etc. (as in the first edition), but with the following additional words: -'Vertumniana Propertii. Manethon.' Same mark as in the first edition, but -smaller.<a name="FNanchor_200_200" id="FNanchor_200_200"></a><a href="#Footnote_200_200" class="fnanchor">[200]</a></p> - -<p>On the second leaf, Tory's letter. On the verso of this leaf the index -begins, and fills the two leaves following.</p> - -<p>Folio i. 'Berosus,' etc. The text corresponds with that of the first edition<a name="FNanchor_201_201" id="FNanchor_201_201"></a><a href="#Footnote_201_201" class="fnanchor">[201]</a> -to folio xxvii, where the additions begin.</p> - -<p>Fol. xxvii, recto. End of the 'Altercatio.'<br /> -<span class="mleft4"> verso. 'Vertumniana Propertii.'</span><br /> -<span class="mleft1"> xxviii, verso. 'Manethonis, prima pars.'</span></p> - -<p>Fol. xxx (not numbered), several pieces of verse [not mentioned on the -title-page], perhaps by Tory, but not signed:—</p> - -<p>1. 'Ad reverendissimum ac religiosissimum Arturum Calphurnium, -Sancti Georgii de Nemore antistitem.'</p> - -<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> - -<p>2. 'Ad eruditissimum Nicolaum Corbinum, Vindocinensis plage judicem.'</p> - -<p>3. 'Ad bonarum literarum vere amatorem amicum sibi fidelem Philippum -Morinensem.'</p> - -<p>This edition, which seems never to have been described by any bibliophile, -is in the Bibliothèque Mazarine, and at Sainte-Geneviève. It was -undoubtedly published in 1511, but it bears no indication of its date.</p> - - -<p class="center"><em>Third Edition</em></p> - -<p>Quarto; 6 preliminary leaves, unnumbered, and 51 leaves numbered -in roman figures, divided into ten signatures (A to K), containing alternately -one and a half and two leaves. In all, 57 printed leaves, and one -blank.</p> - -<p>On the first unnumbered leaf is the title: 'Berosus,' etc. (as in the first -edition), but with the following addition: 'Cornelii Taciti de origine et -situ Germanorum opusculum. C. C. de situ et moribus Germanorum.—Anno -Domini 1511.' Then follows a shocking imitation of the mark of -the Marnefs in the first edition. The gothic initials E and G are changed -to C and O, and the I, which in the other editions stands between the -E and the G, is omitted. The words 'Le Pelican,' in a scroll at the left, -are reduced to the three letters L, P, and A, the foreign artist having -been either unable or unwilling to read what was printed on the copy -put before him, which, it is true, may have been imperfect. The first -decorated letter, also, has been copied, in order to deceive the reader, who, -if we may judge from appearances, was assumed to be seeking the edition -prepared by Tory.</p> - -<p>On the second leaf is the letter of the editor, from which the word -'civis,' Tory's device, has been omitted, the foreign printer apparently not -knowing its meaning. The four leaves following are taken up with the -table of contents.</p> - -<p>Folio i of the text: 'Berosus,' etc. The text which follows corresponds -with that of the first edition down to folio xxxii (erroneously numbered -xxxiii), which ends with the word 'finis.'</p> - -<p>On folio xxxiii recto, the work of Tacitus mentioned above ['Germania'] -begins. Next, on folio xliii verso, a work in verse by Conrad -Celtès, the title of which is given above, and on folio xlviii, another work, -in prose, by the same author, with this title: 'Ex libro C. C. de situ et -moribus Norimberge, de Herciniæ silvæ magnitudine, et de eius in -Europa definitione et populis incolis.'</p> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span></p> - -<p>There is nothing to indicate where the book was printed; but everything -leads me to believe that it is a German counterfeit. My opinion is -based upon, first, the stupid imitation of the printer's mark of the first -edition; second, the omission of Tory's device at the end of the letter; -third, the additions, all of which relate to Germany; fourth, the fact that -two of the three known copies of this edition were recently to be found -in the same country. One belonged to Panzer, who has described it in -his 'Annales Typographiques'<a name="FNanchor_202_202" id="FNanchor_202_202"></a><a href="#Footnote_202_202" class="fnanchor">[202]</a>; I do not know what has become of it; -a second copy was formerly in the library of M. Bunau,<a name="FNanchor_203_203" id="FNanchor_203_203"></a><a href="#Footnote_203_203" class="fnanchor">[203]</a> whence it passed -to the Dresden Library; the third is in Paris, in the Bibliothèque Nationale, -which also possesses a copy of the first edition. It was by comparing -the two editions that I discovered the fraud committed by the printer of -the edition of 1511 with respect to the typographical mark. The description -of this mark given by Panzer, with that courteously sent me from -Dresden by the learned bibliographer Herr Graesse, before I was aware -of the existence of the copy of the third edition in the Bibliothèque Nationale, -had utterly baffled such bibliographical knowledge as I possess. -I sought a meaning for the letters inscribed on the mark in the third -edition; of course I could not find any. M. Brunet has since produced a -facsimile of this mark, in the fifth edition of his 'Manuel.'<a name="FNanchor_204_204" id="FNanchor_204_204"></a><a href="#Footnote_204_204" class="fnanchor">[204]</a></p> - - -<p class="p6">5</p> - -<blockquote> - -<p>V<span class="smcapa">ALERII PROBI</span> G<span class="smcapa">RAMMATICI DE INTERPRETANDIS</span> R<span class="smcapa">OMANORUM LITERIS OPUSCULUM</span>, -<span class="smcapa">CUM ALIIS QUIBUSDAM SCITU DIGNISSIMIS</span>, -<span class="smcapa">FŒLICITER INCIPIT.</span>—Mark: Marnef's E. I. G. (Silvestre, no. 974.)</p></blockquote> - -<p>Octavo; 6 printed sheets (signatures A to I). Paris, E. I. G. de Marnef -[1510]. This book was probably printed by Gilles de Gourmont, for we -find in it his unaccented Greek type. It contains two engravings on wood,—the -mark on the title-page, and a Roman portico farther on. There are -also some small cuts engraved on metal in one of the pieces; but none of -them have any artistic merit, and they cannot be attributed to Tory.</p> - -<p>On the verso of the title is the following letter, addressed by Tory to -two of his old college friends, who were at this time personages of note: -the first, Philibert Babou, was secretary and silversmith to the king; the -second, Jean Lallemand, was Mayor of Bourges.</p> - -<p><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span></p> - -<blockquote> - -<p><em>Geofroy Tory of Bourges to the most illustrious Philibert Babou and -Jean Lallemand, the younger, citizens of Bourges, united in mutual -friendship, greeting.</em><a name="FNanchor_205_205" id="FNanchor_205_205"></a><a href="#Footnote_205_205" class="fnanchor">[205]</a></p></blockquote> - -<blockquote> - -<p>I owe to you, most estimable of men, the fruit of whatever toil I may -undertake—even purposely for your sakes—by night or day. Behold! -Since you in no slight degree practise and admire the old school of morals, -the school, that is, of respectability and true worth, I now, under the -protection of your names, ever to be cherished by me, commit to print -Probus Valerius, a most diligent collector and accurate interpreter of the -old writings and abbreviations which appear, elegantly drawn, on the ancient -coins, tombs, and tablets; glad am I to be of even such small service -to my country, and hopeful that the slight revision to which I have subjected -the work will prove to have been as happily, as it has been carefully, -done. Permit, I beg, an author of exceeding merit to come first of -all into your hands, which are most fitted for every excellence, and then -to go forth brightly and cheerfully into the hands of all other students. -Farewell.</p> - -<p>Paris, at the College of Plessis, 10 May, 1510.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> -</blockquote> - -<p>And at the end of the book is this other letter, which gives us to know -that the volume is a collection of fragments of ancient authors.</p> - -<blockquote> - -<p class="center"><em>Geofroy Tory of Bourges to the Reader, greeting.</em><a name="FNanchor_206_206" id="FNanchor_206_206"></a><a href="#Footnote_206_206" class="fnanchor">[206]</a></p> - -<p>When I began, I believe under favourable auspices, to print Valerius -Probus, it occurred to me, not wishing a book of one or two codices to be -unsuitable as a manual, to print, along with Probus, several articles well -worth making the acquaintance of. I have added to Probus, Priscian's -treatise 'De ponderibus et mensuris'; likewise Columella's 'Quemadmodum -datæ formæ agrorum metiri debeant'; also Georgius Valla's -'Figuras quæ sub dimensionem cadant'; and, further, some dialogues, -together with some enigmas, carefully collected, as occasion allowed, -from various authors. The enigmas I have designedly left unexplained, -so that, when you come to read them (as Gellius says in book xii, ch. 6), -you may sharpen your wits by trying to puzzle them out.<a name="FNanchor_207_207" id="FNanchor_207_207"></a><a href="#Footnote_207_207" class="fnanchor">[207]</a> Give your<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span> -attention to them, I beg, good reader, so that I may not, as Plautus enigmatically -observes in the 'Miles,' throw dust in your eyes. Farewell.</p></blockquote> - -<p>In addition to the pieces which Tory here mentions, there are many -others in this volume of miscellanies.<a name="FNanchor_208_208" id="FNanchor_208_208"></a><a href="#Footnote_208_208" class="fnanchor">[208]</a> It contains also several pieces of -verse by Tory himself. Here is one which will give an idea of his literary -tastes:—</p> - -<blockquote> - -<p class="center"><em>Dialogue by Geofroy Tory, in which the City of Bourges is described -in the rôle of a speaking character.</em><a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a></p> - -<p class="center"><em>Speakers</em>: M<span class="smcapa">ONITOR</span> <em>and</em> C<span class="smcapa">ITY</span>.</p> - -<p><span class="smcapa">MON.</span> City, what is your name?</p> - -<p><span class="smcapa">CITY.</span> Bourges.</p> - -<p><span class="smcapa">MON.</span> Now, tell me, what mean those proud buildings that I see?</p> - -<p><span class="smcapa">CITY.</span> Temples, houses, towers, divine palaces you see.</p> - -<p><span class="smcapa">MON.</span> Ah! they overtop the heavens with their piles. What temple is -that, I pray?</p> - -<p><span class="smcapa">CITY.</span> The Cathedral of St. Etienne, first of martyrs; it overtops even -the lofty marbles of the goddess Trivia.</p> - -<p><span class="smcapa">MON.</span> What is that single house which stands distinguished for its red -hearts? Was it built by the hand of Memnon?</p> - -<p><span class="smcapa">CITY.</span> This was built in an earlier time by the mortal Jacques Cœur -[Heart],<a name="FNanchor_210_210" id="FNanchor_210_210"></a><a href="#Footnote_210_210" class="fnanchor">[210]</a> a man of wealth; him envy took from us.</p> - -<p><span class="smcapa">MON.</span> Say! what tower is that that is seen standing higher than the -lighthouse of Pharos? I am filled with wonder when I see it fully.</p> - -<p><span class="smcapa">CITY.</span> When the mighty Ambigatus ruled the Celtic peoples, in an -earlier time, this great tower was built.</p> - -<p><span class="smcapa">MON.</span> Say, oh, say, that golden palace, is it the Capitol? Answer; why -do you not speak, Bourges? You who just now talked with easy speech say -nothing. Do you wish to become to me what Harpocrates was of yore?</p> - -<p><span class="smcapa">CITY.</span> No, but, see you, this palace is to be approved for its great art, -because the world has not yet produced another like it.</p></blockquote> - -<p><span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span></p> - -<blockquote> - -<p><span class="smcapa">MON.</span> What is this earth that yawns with such an opening?</p> - -<p><span class="smcapa">CITY.</span> It is the place where a tower was to be erected for me.</p> - -<p><span class="smcapa">MON.</span> Have you not another as great as that?</p> - -<p><span class="smcapa">CITY.</span> I have. From two towers I get my name Bourges [Biturix].</p> - -<p><span class="smcapa">MON.</span> By what name is it called in this time of ours?</p> - -<p><span class="smcapa">CITY.</span> The people name and call it 'the fosse of sands.'</p> - -<p><span class="smcapa">MON.</span> What river, what river have you to mention?</p> - -<p><span class="smcapa">CITY.</span> The Auron.</p> - -<p><span class="smcapa">MON.</span> Is it the one Cæsar mentions in describing the Gallic Wars?</p> - -<p><span class="smcapa">CITY.</span> It is.</p> - -<p><span class="smcapa">MON.</span> Are there others?</p> - -<p><span class="smcapa">CITY.</span> There are two: they are the Voiselle and the Yèvre herself, -swarming with numberless fishes.</p> - -<p><span class="smcapa">MON.</span> What privileges have you?</p> - -<p><span class="smcapa">CITY.</span> The all-valuable privilege have I, and the hall, that coin money.</p> - -<p><span class="smcapa">MON.</span> Is there nothing else?</p> - -<p><span class="smcapa">CITY.</span> Aquitaine calls me capital and receives her laws from me.</p> - -<p><span class="smcapa">MON.</span> What divinities are with you?</p> - -<p><span class="smcapa">CITY.</span> There are Juno, Jupiter, and Pan, Vesta, Diana, Ceres, Liber, -and the Father himself.</p></blockquote> - - -<p class="p6">6</p> - -<blockquote> - -<p>Q<span class="smcapa">UINTILIANUS.</span></p></blockquote> - -<p>Such is the complete title of an edition of Quintilian's 'Institutes,' -produced by Tory, in 1510, at the request of Jean Rousselet, of Lyon.<a name="FNanchor_211_211" id="FNanchor_211_211"></a><a href="#Footnote_211_211" class="fnanchor">[211]</a></p> - -<p>This is a large octavo volume, printed in italic (without pagination), -composed of 46 quarto sheets (signatures A to ZZv): there are several -passages in Greek type of excellent appearance, but without accents. -Undertaken at the request of Jean Rousselet, and printed at his expense, -this book probably was not put on the market. In fact it bears no bookseller's -nor any printer's name. We should not even know where it was -printed, were it not for the fact that the dedication, dated the third of -the Calends of March,<a name="FNanchor_212_212" id="FNanchor_212_212"></a><a href="#Footnote_212_212" class="fnanchor">[212]</a> states that the manuscript was sent by Tory from -Paris to Lyon. At the end of the volume we find these words only: 'Impressum -fuit hoc opus anno Domini <span class="smcapa">M. CCCCCX</span>, septimo calend. Julii.' -This date corresponds to June 25, 1510.</p> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span></p> - -<p class="p6">7</p> - -<blockquote> - -<p>L<span class="smcapa">EONIS</span> B<span class="smcapa">APTISTÆ</span> A<span class="smcapa">LBERTI</span> F<span class="smcapa">LORENTINI</span> ... <span class="smcapa">LIBRI DE RE ÆDIFICATORIA DECEM.</span> -(Mark of B. Rembolt.) Venundantur Parrhisiis, in Sole -Aureo vici Sancti Jacobi, et in intersignio Trium Coronarum, e regione -Divi Benedicti.</p></blockquote> - -<p>Quarto; 14 preliminary leaves and 174 of text (signatures A to Y). On -the last page is the mark of Louis Hornken, 'aux Trois Couronnes.' On -the second preliminary leaf is printed the following dedication:—</p> - -<blockquote> - -<p class="center"><em>Geofroy Tory of Bourges to Philibert Babou and Jean Lallemand, the -younger, most illustrious men, heartiest greeting.</em><a name="FNanchor_213_213" id="FNanchor_213_213"></a><a href="#Footnote_213_213" class="fnanchor">[213]</a></p> - -<p>Everybody knows, most estimable of men, that our forefathers, contented -with their own goodness, practised in the olden times a kind of -architecture that had in it little art and little elegance. Satisfied with -mediocrity, they built and inhabited houses and dwellings of no great -cost or splendour. Matters have finally reached the point that now, men's -intelligence having somewhat awakened, new buildings are everywhere -being erected which have considerable celebrity. In fact, beginning -with the time when the magnanimous King Charles VIII, who was the -terror of all Italy, returned, victorious and crowned with glory, from -Naples, architecture, certainly a beautiful art, began, not only in its Doric -and Ionic forms, but also in its Italian form, to be practised with great -elegance throughout this country of France. At Amiens, at Gaillon, at -Tours, at Blois, at Paris, and in a hundred other well-known places, one -may now see striking buildings, public and private, in the ancient style -of architecture. One may now, I say, see many buildings of such beauty -and so nicely carved that the French actually seem, and are generally -considered, to surpass, not only the Italians, but also the Dorians and the -Ionians, who were the teachers of the Italians. Notwithstanding the brilliancy -of these performances and these artists, I have thought it best to -offer gratefully, and carefully to add, a contribution of some worth. Leo -Baptista Albertus, a writer on architecture who is trustworthy and -familiar with his subject, was lying stored away in my house as if in his -last sleep. It seemed to me that he thoroughly deserved to be printed in -France just at this time, for the delight and benefit of other famous artists -who are better than he. It seemed to me, I say, that he thoroughly deserved -to be printed, and for this reason especially, that the ten books,<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span> -of which the whole work consists, have been divided into chapters. These -chapters were accurately and carefully arranged by Robertus Duræus -Fortunatus,<a name="FNanchor_214_214" id="FNanchor_214_214"></a><a href="#Footnote_214_214" class="fnanchor">[214]</a> a man of education and culture, who was the Head of his -College of Plessis at Paris four years ago when I taught there, and they -were generously given to me by him to be copied. I copied them, and I -furthermore polished up the whole work and cleared it of all the errors -possible; I wrote the gist of the text on the margin, and gave the work -to the printer to be printed. Permit, I pray, most distinguished citizens -of Bourges, that this excellent work come auspiciously into the hands of -all good artists and students, and that it be handled and read under the -protection of your names ever to be cherished by me. Farewell, you who -are the support and the most distinguished glory of your country.<a name="FNanchor_215_215" id="FNanchor_215_215"></a><a href="#Footnote_215_215" class="fnanchor">[215]</a></p> - -<p>Paris, near the College Coqueret, 18 August, 1512.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p>At the end of the volume (penultimate page) we read:—</p> - -<p>'This most elegant and useful work on architecture of Leo Baptista -Albertus of Florence, a man of great distinction, was printed with great -accuracy at Paris at the Golden Sun in the street of St. Jacques, at the -expense of Master Berthold Rembolt and Louis Hornken, who live in the -same street, at the sign of the Three Crowns, near St. Benedict, <span class="smcapa">A.D.</span> 1512, -23rd day of August.'</p> - - -<p class="p6">8</p> - -<blockquote> - -<p>I<span class="smcapa">TINERARIVM PROVINCIARUM OMNIUM</span> A<span class="smcapa">NTONINI</span> A<span class="smcapa">UGUSTI</span>, <span class="smcapa">CUM FRAGMENTO -EIUSDEM, NECNON INDICE HAUD QUAQUAM ASPERNANDO</span>.—C<span class="smcapa">UM</span> -<span class="smcapa">PRIVILEGIO, NE QUIS TEMERE HOC AB HINC DUOS ANNOS IMPRIMAT.</span>—Venale -habetur ubi impressum est, in domo Henrici Stephani, -e regione Scholæ decretorum, Parrhisiis.</p></blockquote> - -<p>Sixteenmo (printed as 16s.); 120 leaves (signatures A to T), plus 8 -preliminary leaves. [1512.] Printed in black and red.</p> - -<p>The volume begins with this dedicatory epistle:—</p> - -<blockquote> - -<p><i>Geofroy Tory of Bourges to Philibert Babou, most modest of men, -heartiest greeting.</i><a name="FNanchor_216_216" id="FNanchor_216_216"></a><a href="#Footnote_216_216" class="fnanchor">[216]</a></p> - -<p>The 'Itinerarium,' most illustrious of men, which for many years had -lain in almost entire neglect, I first received four years ago from a friend<span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span> -whom I must ever cherish, Christophe de Longueil, who is beyond question -a scholar of the highest standing in all branches of polite learning. -He gave it to me that I might make a copy of it. It had occurred to me -to send to you from Paris to Tours a copy which, though written in my -own hand, was not wholly without elegance of form. I had given it to a -man to bring to you whose name I purposely spare, but he, regardless -alike of both of us and of his trust, quite shamelessly made a present of it -to some one else. Thus cheated of the fruit of my labour, I was preparing -to make for you another copy, when Longueil himself, who had formerly -brought the original from Picardy, and, as I have said, had given it to me, -having recently come to Paris from Poictiers, urged me to have the work -printed. This I have done, having arranged the names of the towns separately -and in order, and also added in the proper places some matter taken -from another manuscript. I have also made an index, to facilitate the finding -of the name of any town or place in the whole work. Some perhaps -will wonder at the style of the work, and also occasionally in places at the -Latinity. The style, however, will receive sufficient approval from the -student, while the Latinity, in consideration of the early time in which -the work was written, will be condoned by the well-disposed reader. I -should have been disposed to make a number of emendations, using for -the purpose Ptolemy, Strabo, Dionysius, Mela, Pliny, Solinus, and some -others who are not at all to be despised, but out of regard for the venerable -author and in the desire to keep the manuscript, which is very old, -unchanged, I determined to make no alterations. I am waiting for my -friend Longueil to subject it some day to his scrutinizing study, or for -some Hermolaus to apply his exacting file. One thing there is here which -I shall not hesitate to touch: the author's name in the manuscript was, in -my judgement, wrong, for it is written 'Antonius Augustus.' Hermolaus, -a man of culture withal, calls it in a number of places in his Corrections -to Pliny, 'Antoninus.' Those who read will see for themselves. In the -text I have followed the manuscript itself; in the title of the book I have -followed Hermolaus. The fruit of my labour, such as it is, I dedicate, as -in duty bound, to you personally, in a spirit abounding in gratitude. Accept -it, I pray, with the favour with which you are accustomed to accept -all good things, and allow the studious to pass, under your guidance, with -this Itinerary in hand, through a thousand famous cities. Farewell, most -cultured patron of my studies.</p> - -<p>Paris, near the College Coqueret, August 19, 1512.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p><span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span></p> - -<p>Then comes a letter from the publisher to the reader:—</p> - -<blockquote> - -<p class="center"><em>Tory to the Reader, greeting.</em><a name="FNanchor_217_217" id="FNanchor_217_217"></a><a href="#Footnote_217_217" class="fnanchor">[217]</a></p> - -<p>In order, gentle reader, that you may be able to use this 'Itinerarium' -to better advantage, you must be advised that whatever you find marked -with a red virgule was larger in number in the old manuscript than in -the other which is more recent. Words which had a different reading in -the recent manuscript have small red letters printed above in the proper -places. Whenever the sign (˄) occurs between words, a word or number -should be marked above or at the side by the same sign. The sign 'mpm.,' -so written, also frequently occurs in the text, and signifies 'milia plus -minus.' It was written thus so that the reader might not be wearied by -the frequent repetition of the long form. In the index you will sometimes -find the letter <em>b</em> alone, either following or between the page-numbers: -this signifies that the word in question is found at least twice on the same -page. Pay attention, therefore, and kindly see to it that in case you notice -any who are displeased with my work, you may say to yourself with reference -to them that Persian saying: 'that they may see virtue, and pine -away leaving it behind.' I write this because at the time of printing there -were some who, understanding nothing of this sort, condemned the matter -according to their usual practice. Farewell and live long in happiness.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p></blockquote> - -<p>Next to this comes a summary of the life of Antoninus, and, lastly, -some verses by the Burgundian Gérard de Vercel, in laudation of Tory -and against poor printers. Here are the verses:—</p> - -<blockquote> - -<p class="center"><em>Hendecasyllabic Poem of the Burgundian Gérard de Vercel, on -poor printers.</em><a name="FNanchor_218_218" id="FNanchor_218_218"></a><a href="#Footnote_218_218" class="fnanchor">[218]</a></p> - -<p>Therefore hence, away therefore, profane hands of the inauspicious -throng of printers; your impure works be off; that by your forbidden -coming and impious front you may not stain and soil this heavenly thing. -Let no man fail to know: this volume is sacred.</p> - -<p>Ah! vile and wretched printers, unskilled to put in print even the trifles -of the schools or old women's tales, why do you spoil arts that are -holy, and pollute with impure hand the laborious works of the nine<a name="FNanchor_219_219" id="FNanchor_219_219"></a><a href="#Footnote_219_219" class="fnanchor">[219]</a> -sisters?</p></blockquote> - -<p><span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span></p> - -<blockquote> - -<p>What do you not put forth from your office that is worthy to be cast -forth and buried where the refuse of the stomach is placed?</p> - -<p>Therefore hence, away therefore, oh ye profane, ye vile and wretched -printers. Be this word enough: sacred is this volume, which our Geofroy, -our famous Geofroy, he, I say, of Bourges, taking pity on Pius, unearthed -from its Lethæan rust and sleep, employing the guidance and assistance -of his friend Longueil.<a name="FNanchor_220_220" id="FNanchor_220_220"></a><a href="#Footnote_220_220" class="fnanchor">[220]</a></p></blockquote> - -<p>The book is brought to a close by an 'avis au lecteur' thus conceived:</p> - -<blockquote> - -<p class="center"><em>Tory to the Reader, happiness.</em><a name="FNanchor_221_221" id="FNanchor_221_221"></a><a href="#Footnote_221_221" class="fnanchor">[221]</a></p> - -<p>These few corrections, excellent reader, I beg you not to wonder at. -I have collected them, such as differ from the readings of the old manuscript, -so that you may be able readily to emend the book for yourself. -I should lay the burden of the errors on the printers, but the art of printing -has this natural peculiarity, that the smallest book cannot be printed -from beginning to end without some mistakes. Farewell.</p> - -<p class="center"><em>Epigram to the Student by Tory.</em></p> - -<p>If, reader, you are preparing to journey in a fixed course to a hundred -towns, to a hundred cities, if you desire to travel, better instructed and on -the direct road, to a hundred seaports with their bays, then ever gratefully -and carefully hold this little book in your right hand ready to consult.<a name="FNanchor_222_222" id="FNanchor_222_222"></a><a href="#Footnote_222_222" class="fnanchor">[222]</a></p></blockquote> - - -<p class="p6">9</p> - -<blockquote> - -<p>G<span class="smcapa">OTOFREDI</span> T<span class="smcapa">ORINI</span> B<span class="smcapa">ITURICI IN FILIAM CHARISSIMAM</span>, -<span class="smcapa">VIRGUNCULARUM ELEGANTISSIMAM</span>, E<span class="smcapa">PITAPHIA ET</span> D<span class="smcapa">IALOGI</span>.—I<span class="smcapa">N EANDEM ETIAM QUATOUR</span> -<span class="smcapa">ET VIGINTI DISTICHA UNUM ET EUNDEM SENSUM COPIA VERBORUM</span> -<span class="smcapa">ET INGENII FŒCUNDITATE PULCHRE REPETENTIA.</span></p></blockquote> - -<p>These verses of Tory on the death of his daughter Agnes form a small -volume of two quarto sheets (or eight leaves). The book is dedicated to -Philibert Babou; it was printed February 15, 1523, old style (1524), a few -days after Tory had conceived the idea of his 'Champ fleury' (January 6, -1524). The printer, who is not named, was Simon de Colines, then living -near the School of Law ('e regione scholæ decretorum').</p> - -<p>On the last page appears a mark engraved specially for this little book, -for it includes a tiny winged figure ascending heavenward, which doubtless<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span> -represents the soul of Tory's daughter returning to God. This mark -reappears at the end of the Hours of 1524-1525, but minus the small figure -just mentioned.<a name="FNanchor_223_223" id="FNanchor_223_223"></a><a href="#Footnote_223_223" class="fnanchor">[223]</a></p> - -<p>As we learn from the text, Agnes, who died August 25, 1522, at the -age of nine years eleven months and thirty days, was born August 26, -1512. So that Tory was married at least as early as 1511. We know from -another document that his wife's name was Perrette le Hullin.</p> - -<p>The only known copy of this little volume, the text of which I reproduce -in extenso, belonged [in 1865] to M. Joachim Gomez de la Cortina, -Marquis de Morante, who was so exceedingly kind as to send it from -Madrid to Paris, that I might examine it at my leisure. M. de la Cortina -has described it in the fifth volume of the catalogue of his library (Madrid, -1859; octavo). My only previous knowledge of it was derived from -that catalogue, although it was bought of M. Techener not more than -ten years ago, for 80 reals (20 francs).</p> - -<blockquote> - -<p class="center"><em>Tory to his Book.</em><a name="FNanchor_224_224" id="FNanchor_224_224"></a><a href="#Footnote_224_224" class="fnanchor">[224]</a></p> - -<p>Go, book, to the sacred sanctuaries of pious poets; you are light, polished, -radiant, and neat. Splendidly arrayed you are, and have nard, and -roses, and saffron; the Latin goddesses, gracious divinities, together with -Phœbus. Be not afraid lest you do not carry with you the favour of the -gods; they will lift you, laurel-scented, above the stars.</p> - -<p class="center"><em>Agnes Tory, sweetest and most modest of maidens, addresses the -wayfarer from her tomb.</em></p> - -<p>Thou who passest with light foot, beloved wayfarer, stay thy step a -little; lo, I wish to say a few words to thee. Live in remembrance of -death, free from vices, and, if thou art wise, cast aside that hope of life -which thou cherishest. Thou art radiant with beauty to-day, but, when -the thread is cut, impious Fate hurries thee straight on to nought. I know -this by experience, for, lately but a young girl of ten, I was suddenly -snatched away. Like a rose I bloomed, sharer in those virtues which are -usually seen in tender maidenhood. But yet I died, overwhelmed by the -cruel fates, and now I am food for the flesh-eating worms. Food for the -flesh-eating worms I lie, but not so wholly lifeless that I cannot speak -the truth to thee. I speak in the Latin tongue, and this is not strange, fair -friend, for I am to be named the daughter of a pious poet. Desiring to<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span> -instruct me in the Ausonian tongue, and also to render me accomplished -in the polite arts, he, like a most affectionate father, teaching me night -and day, himself laid the foundations, sweet and ample, for my life. I -should be accomplished in the learning of the famous Muses, and I should -sing beautiful songs in pleasing measure; and then my sire would have -given me fond kisses, placing the laurel-wreath upon my head. O pitiful -lot of human beings! O hopes doomed to perish! On earth there is nothing -that can be lasting. Not only does death show herself face to face -to wretched mortals, but with silent step she steals upon them secretly -and unbeknown. Ah! beware, therefore, beware, thou who art doomed -to die, the world will certainly in a moment's time fall and crash about -thee. Thou, while thou still livest, while thou seekest great honours, art -with infirm and rapid step steadily approaching thy doom. If thou departest -satisfied with this one certain warning, and if thou believest that -I speak the truth, bestrew me with flowers, violets and lilies, and nard. -Pray for me too, if it please thee, and weep. Me thou wilt cause by thy -prayers to mount to the lofty vault of Heaven, where is perpetual light, -peace, and grateful rest. This was the little that I wished thee to know. -Live in remembrance of death, thou who art destined soon to die. Farewell.</p> - -<p>She died where she was born, at Paris, 25 August, <span class="smcapa">A.D.</span> 1522.</p> - -<p>She lived nine years, eleven months, about thirty days; the hours are -known to none; God alone knows the minutes.</p> - -<p class="center">F<span class="smcapa">ATHER</span> <em>and</em> D<span class="smcapa">AUGHTER</span>, <em>Speakers</em>.</p> - -<p><span class="smcapa">F.</span> Food for the worms you lie, dearest daughter. Me you leave in -perpetual tears and weeping.</p> - -<p><span class="smcapa">D.</span> Dear father, spare your weeping and tears. It is all over with me. -Death carries away both young and old.</p> - -<p><span class="smcapa">F.</span> Nor can I refrain from terrible wailing. Alas! I should have more -rightly died before you.</p> - -<p><span class="smcapa">D.</span> Such was not the will of the heavenly fates. At your death, believe -me, you shall most certainly come to me.</p> - -<p><span class="smcapa">F.</span> In the meantime, with bended head, I will bring with full hands -violets and lilies to your tomb.</p> - -<p><span class="smcapa">D.</span> Add your prayers; through prayers I shall fly to the high vault of -Heaven. Pious prayers enable us to ascend to the lofty stars.</p> - -<p><span class="smcapa">F.</span> It is as you say; and do you too, my daughter, pray for your father; -pray that he may rise with you to the glad Heavens.</p> - -<p><span class="smcapa">D.</span> To the glad Heavens you shall rise, free from bitter cares, and -with all the trouble of your mind removed.</p> - -<p><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span></p> - -<p><span class="smcapa">F.</span> You speak the truth, and so I will do. The good God calls you to -himself in Heaven? Dear daughter, farewell.</p> - -<p><span class="smcapa">F.</span> Alas! my sweet soul, you are dead.</p> - -<p><span class="smcapa">D.</span> Courage, father, no one is immortal.</p> - -<p class="center"><em>Twelve distichs to be inscribed on the twelve different sides of an urn.</em></p> - -<p class="center">On the first side.</p> - -<p>You wish flowers! violets! you wish lilies! garlands! cyperus! These -this earthen urn will give you, take them and be glad.</p> - -<p class="center">On the second.</p> - -<p>In this urn the deceased maiden Agnes lies; in its centre breathes a -delightful odour.</p> - -<p class="center">On the third.</p> - -<p>Here is Merriment, here Love too, Sport, and Virtue; and here the -Graces' selves, beings divine, with the Muses, sit and dwell.</p> - -<p class="center">On the fourth.</p> - -<p>In this urn are marjoram and sweet-smelling cyperus; here are violets, -lilies, garlands, roses.</p> - -<p class="center">On the fifth.</p> - -<p>Not alone does the maiden Agnes here abide, but, with Phœbus, the -Clarian goddesses themselves sit and dwell.</p> - -<p class="center">On the sixth.</p> - -<p>Gold-leaf joined with gems, and green jewels, are kept with everlasting -flowers in this urn.</p> - -<p class="center">On the seventh.</p> - -<p>Do you wish and long to become acquainted with Agnes' urn? See, -where the laurel grows upward to the lofty sky.</p> - -<p class="center">On the eighth.</p> - -<p>Here lies in death Agnes of memory dear; she could already sing -tripping measures with tender voice.</p> - -<p class="center">On the ninth.</p> - -<p>Here lies the maiden poet ten years of age, an honour to freeborn song -and maidenhood.</p> - -<p class="center">On the tenth.</p> - -<p>If you wish to know where Agnes' ashes really lie, they are here; hesitate -not in your belief, but be assured.</p> - -<p class="center">On the eleventh.</p> - -<p>Do you wish to hear Phœbus and the Muses' selves singing in sweet -strains? Approach this urn, and you will straightway hear.</p> - -<p><span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span></p> - -<p class="center">On the twelfth.</p> - -<p>A rising poet, deceased in tender years, lies here with laurel-crowned -maidenhood.</p> - -<p class="center">M<span class="smcapa">ONITOR</span> <em>and</em> A<span class="smcapa">GNES</span>, <em>Speakers</em>.</p> - -<p><span class="smcapa">MON.</span> Answer me a few questions, I pray, maiden poet.</p> - -<p><span class="smcapa">A.</span> I will, provided you ask but few.</p> - -<p><span class="smcapa">MON.</span> I will ask but few.</p> - -<p><span class="smcapa">A.</span> Ask.</p> - -<p><span class="smcapa">MON.</span> What is your mind in death?</p> - -<p><span class="smcapa">A.</span> Of gold.</p> - -<p><span class="smcapa">MON.</span> What is your body?</p> - -<p><span class="smcapa">A.</span> Of dust.</p> - -<p><span class="smcapa">MON.</span> What is your spirit?</p> - -<p><span class="smcapa">A.</span> Of air.</p> - -<p><span class="smcapa">MON.</span> Enough; calm repose and peace be for ever yours.</p> - -<p><span class="smcapa">A.</span> And yours in life a full measure of sweet health.</p> - -<p><em>Distichs hanging on written tablets from a laurel-tree near the tomb -and urn of Agnes.</em></p> - -<p class="center">On the first tablet.</p> - -<p>Here lies a poet, image of distinguished virtue, noble and illustrious -type of nature.</p> - -<p class="center">On the second.</p> - -<p>Here, with drooping quiver, lie the broken arms which freeborn Love -once used to carry.</p> - -<p class="center">On the third.</p> - -<p>Pearl, crystal, magnet, and the green emerald gleam with the virgin -poet that lieth here.</p> - -<p class="center">On the fourth.</p> - -<p>Here will be perpetual spring with various flowers as long as flashing -Phœbus drives his golden chariot.</p> - -<p class="center">On the fifth.</p> - -<p>Here rest Comeliness and Sport, and Laughter, and Merriment; here -is Love, unarmed, with the laurel-crowned maid.</p> - -<p class="center">On the sixth.</p> - -<p>Inside this urn is a treasure; touch it not, countless gems are within it.</p> - -<p class="center">On the seventh.</p> - -<p>As long as Phœbus shall fill the regions of the heavens with his rays, -here will be violets and flowers, here will be the anise.</p> - -<p><span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<p class="center">On the eighth.</p> - -<p>Here abide Love, and Sport, and Laughter, and Merriment, and Wit; -here abide the Muses and the Graces; here abides Apollo.</p> - -<p class="center">On the ninth.</p> - -<p>Here dwells, with the honey-dropping Muses, a maiden destined to -receive glory and perpetual song.</p> - -<p class="center">On the tenth.</p> - -<p>Here the earth is green, producing spontaneously marjoram-garlands, -and here it is damp and fertile with vernal dews.</p> - -<p class="center">On the eleventh.</p> - -<p>Here violets, here flowers, here lilies, garlands, crowns grow spontaneously, -and spontaneously thrive.</p> - -<p class="center">On the twelfth.</p> - -<p>Here Genius with cruel hand breaks in twain his standards, seeing -that the type of nature has perished.</p> - -<p class="center">M<span class="smcapa">ONITOR</span> <em>and</em> M<span class="smcapa">AIDENHOOD</span>, <em>Speakers</em>.</p> - -<p><span class="smcapa">MON.</span> Ho there! maiden, beauteous with your rosy face, what do you -here, weeping in deep distress?</p> - -<p><span class="smcapa">MA.</span> I am moaning.</p> - -<p><span class="smcapa">MON.</span> What is the reason for your moaning?</p> - -<p><span class="smcapa">MA.</span> The maiden Agnes, whose ashes this earthen urn beside me holds.</p> - -<p><span class="smcapa">MON.</span> Whence comes this sweet odour to my nostrils?</p> - -<p><span class="smcapa">MA.</span> From the urn, an odour placed there by the Graces, beings divine.</p> - -<p><span class="smcapa">MON.</span> What did they place there?</p> - -<p><span class="smcapa">MA.</span> Roses and cinnamon, balsam and nard, flowers and violets, lilies, -garlands, and saffron.</p> - -<p><span class="smcapa">MON.</span> Is there marjoram also in the urn, the cyperus with oil of myrrh?</p> - -<p><span class="smcapa">MA.</span> There is in it every fragrant herb and pleasant odour.</p> - -<p><span class="smcapa">MON.</span> Does the urn, beautifully decked, wear a green crown?</p> - -<p><span class="smcapa">MA.</span> As is fitting and right, it wears a laurel-wreath.</p> - -<p><span class="smcapa">MON.</span> What is the reason?</p> - -<p><span class="smcapa">MA.</span> It contains the rejoicing Muses, who celebrate with song the rites -of the tender maiden.</p> - -<p><span class="smcapa">MON.</span> Do they sing alone?</p> - -<p><span class="smcapa">MA.</span> Alone? No. Phœbus Apollo in the centre tunes his lyre and performs -the mystic rites.</p> - -<p><span class="smcapa">MON.</span> What, then, do you mean, sweetest maid, by this great moaning, -and why do the divinities beside you sweetly sing?</p> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span></p> - -<p><span class="smcapa">MA.</span> I will tell you the truth. I cannot but willingly weep; so nobly -gifted was she in intellect. But ten years of age, having followed her father's -precepts, she was even then a poet who could sing in tripping -measure.</p> - -<p><span class="smcapa">MON.</span> A mighty miracle of nature you recount to me.</p> - -<p><span class="smcapa">MA.</span> Nothing on this earth can be truer.</p> - -<p><span class="smcapa">MON.</span> Who are these whom I see standing here?</p> - -<p><span class="smcapa">MA.</span> Sport, Merriment, then Gesture, Honour, Virtue, and festive -Love.</p> - -<p><span class="smcapa">MON.</span> And these shattered arms that lie in great numbers around the -urn?</p> - -<p><span class="smcapa">MA.</span> The gods themselves carried them when they were whole.</p> - -<p><span class="smcapa">MON.</span> What will they do now that all these arms have been thus broken?</p> - -<p><span class="smcapa">MA.</span> They will lament and weep and groan for all time.</p> - -<p><span class="smcapa">MON.</span> Shall you too weep?</p> - -<p><span class="smcapa">MA.</span> I shall weep in sorrow all my days.</p> - -<p><span class="smcapa">MON.</span> Have you a name?</p> - -<p><span class="smcapa">MA.</span> I have.</p> - -<p><span class="smcapa">MON.</span> What is it?</p> - -<p><span class="smcapa">MA.</span> Maidenhood.</p> - -<p><span class="smcapa">MON.</span> Dear one, farewell.</p> - -<p><span class="smcapa">MA.</span> Farewell, dearest Monitor, and forget not her who lieth here and -was once a beautiful maiden.</p> - -<p class="center">M<span class="smcapa">ONITOR</span> <em>and</em> A<span class="smcapa">GNES</span>, <em>Speakers</em>.</p> - -<p><span class="smcapa">MON.</span> Little poet, lying here, all-deserving of famous praise, may I -speak a few words with you?</p> - -<p><span class="smcapa">A.</span> You may.</p> - -<p><span class="smcapa">MON.</span> Who made for you this urn set with brilliant gems?</p> - -<p><span class="smcapa">A.</span> Who? My father, famed in this art.</p> - -<p><span class="smcapa">MON.</span> Your father is certainly an excellent potter.</p> - -<p><span class="smcapa">A.</span> He practises industriously every day the liberal arts.</p> - -<p><span class="smcapa">MON.</span> Does he also write melodies and poems?</p> - -<p><span class="smcapa">A.</span> He does. He also blesses with sweet words this lot of mine.</p> - -<p><span class="smcapa">MON.</span> Yes, the skill of the man is wonderful.</p> - -<p><span class="smcapa">A.</span> Hardly has any land produced so famous a man.</p> - -<p><span class="smcapa">MON.</span> O maiden happy in such a father!</p> - -<p><span class="smcapa">A.</span> I certainly am so. He also exalts my name to the skies.</p> - -<p><span class="smcapa">MON.</span> I hear the symphony.</p> - -<p><span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span></p> - -<p><span class="smcapa">A.</span> The Clarian Muses, together with Phœbus, sing their melodies here -with me night and day.</p> - -<p><span class="smcapa">MON.</span> Near you I see the Graces.</p> - -<p><span class="smcapa">A.</span> They tender garlands to me.</p> - -<p><span class="smcapa">MON.</span> Whence do they pluck violets?</p> - -<p><span class="smcapa">A.</span> On the Elysian Hills.</p> - -<p><span class="smcapa">MON.</span> Are there others with you?</p> - -<p><span class="smcapa">A.</span> There are also three divinities.</p> - -<p><span class="smcapa">MON.</span> What are they?</p> - -<p><span class="smcapa">A.</span> Sport, and Love, fair Monitor, and Merriment.</p> - -<p><span class="smcapa">MON.</span> What do they?</p> - -<p><span class="smcapa">A.</span> They lay in place for me holy holocausts, and they fill the accustomed -hearths with tinder and with fire.</p> - -<p><span class="smcapa">MON.</span> Have you long been a goddess of the upper regions?</p> - -<p><span class="smcapa">A.</span> I am becoming a goddess of the upper regions.</p> - -<p><span class="smcapa">MON.</span> If you are a goddess, why do you not have your dear parents -ascend to the heavenly realms?</p> - -<p><span class="smcapa">A.</span> They will both ascend.</p> - -<p><span class="smcapa">MON.</span> But when?</p> - -<p><span class="smcapa">A.</span> When their fates clearly see that it is necessary. Each man has his -fixed day, appointed for him by the fates.</p> - -<p><span class="smcapa">MON.</span> Each man, therefore, has his fixed and immovable day?</p> - -<p><span class="smcapa">A.</span> To every man comes death on a certain day.</p> - -<p><span class="smcapa">MON.</span> Meanwhile what will your father and mother do here on earth?</p> - -<p><span class="smcapa">A.</span> What? They will perform their holy, sacred duties, and pray.</p> - -<p><span class="smcapa">MON.</span> Afterwards what will happen?</p> - -<p><span class="smcapa">A.</span> In blessedness they will ascend to the heavenly realms, when the -Heavenly Father above so wills.</p> - -<p><span class="smcapa">MON.</span> I will now go back to my duties.</p> - -<p><span class="smcapa">A.</span> When you wish, of course; live in happiness, and a kind farewell.</p> - -<p><span class="smcapa">MON.</span> And may you live with the gods above, as a heavenly intelligence, -as a famous constellation, as a benign goddess.</p> - -<p class="center">G<span class="smcapa">ENIUS</span> <em>and</em> W<span class="smcapa">AYFARER</span>, <em>Speakers</em>.</p> - -<p><span class="smcapa">G.</span> Stay a little, I beg, and go no farther, wayfarer, before looking at -this urn and tomb.</p> - -<p><span class="smcapa">W.</span> Who are you?</p> - -<p><span class="smcapa">G.</span> I am Tutelary Genius.</p> - -<p><span class="smcapa">W.</span> What would you have?</p> - -<p><span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span></p> - -<p><span class="smcapa">G.</span> I wish to converse a little with you here, friend.</p> - -<p><span class="smcapa">W.</span> I am willing.</p> - -<p><span class="smcapa">G.</span> See how a maiden poet, taken away by cruel fate, is contained in -this earthen urn.</p> - -<p><span class="smcapa">W.</span> How old was she?</p> - -<p><span class="smcapa">G.</span> Twice five years.</p> - -<p><span class="smcapa">W.</span> And did she, well-skilled, sing poetic measures?</p> - -<p><span class="smcapa">G.</span> She did.</p> - -<p><span class="smcapa">W.</span> 'Tis a wonder that you tell me of.</p> - -<p><span class="smcapa">G.</span> She wrote festive songs in sweet verse, spontaneously playing, spontaneously -singing.</p> - -<p><span class="smcapa">W.</span> O rare grace of nature! O manifest glory of the gods! That so -tender a maiden should be a poet!</p> - -<p><span class="smcapa">G.</span> 'Twas a song, whatever she by chance wished to utter; whatever -she desired to say, 'twas a song.</p> - -<p><span class="smcapa">W.</span> Whence came to her the source of such a power?</p> - -<p><span class="smcapa">G.</span> From the realms above, whence it is used to come.</p> - -<p><span class="smcapa">W.</span> As one divine, therefore, she wrote charming verses?</p> - -<p><span class="smcapa">G.</span> As one divine, following her own and her father's precepts.</p> - -<p><span class="smcapa">W.</span> Does her father too compose melodies?</p> - -<p><span class="smcapa">G.</span> He does, he is a poet fair and proper. He is proper and deft and neat, -bright and decent. He is one whom the Muse blesses with divine song.</p> - -<p><span class="smcapa">W.</span> He is certainly well-deserving of some Mæcenas.</p> - -<p><span class="smcapa">G.</span> Few are the Mæcenases that live in the French world. No one -to-day either encourages the liberal arts by appropriate gifts or undertakes -to encourage them in any way. Uprightness and fair virtue are in -no esteem. So powerful is the sway of unhappy Avarice. Treachery, deceit, -and vice are in the ascendant. Virtues are put in the background, -and every form of wretched evil creeps abroad.</p> - -<p><span class="smcapa">W.</span> What, therefore, does he who is trained by the charming Muses?</p> - -<p><span class="smcapa">G.</span> He takes pleasure in being able to live in his own house.</p> - -<p><span class="smcapa">W.</span> He ought to go with hurried step to the courts of kings.</p> - -<p><span class="smcapa">G.</span> He does not care to, because he has a free heart. Your potentates -sometimes take pleasure in looking at songs, but what then? They requite -them with nods. Golden songs, drawn from the high heavens, they -should reward with jewels and with pure gold. But, frivolous as they are, -they foolishly give their grand gifts to fools, spendthrifts, and rogues.</p> - -<p><span class="smcapa">W.</span> Did he educate his own daughter in studies befitting her birth?</p> - -<p><span class="smcapa">G.</span> He did, and in the fine arts besides.</p> - -<p><span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span></p> - -<p><span class="smcapa">W.</span> And was she earnest to retain her father's precepts?</p> - -<p><span class="smcapa">G.</span> She had no greater wish than to follow her father's words.</p> - -<p><span class="smcapa">W.</span> Oh, what a great honour she would have been to her country and -her father, had she lived to undertake the duties of life.</p> - -<p><span class="smcapa">G.</span> Yes, her glory would have excelled that of all other girls in French -lands. She was distinguished in appearance, her face was beautiful in its -modesty, and she was all compact of golden words and ways. She drew -to herself the hearts of men, young and old, and made them follow her -wishes with constant loyalty.</p> - -<p><span class="smcapa">W.</span> This is a miracle you tell me of.</p> - -<p><span class="smcapa">G.</span> I tell you the truth, wayfarer. She was a mirror of true-born nobility.</p> - -<p><span class="smcapa">W.</span> Oh, overwhelming grief! Oh, bitter grief and pain! That such a -one could die so suddenly! What will her father do in the meantime?</p> - -<p><span class="smcapa">G.</span> Bowed down with grief, he will suffer pain of heart and shed unceasing -tears.</p> - -<p><span class="smcapa">W.</span> He would do better to pour forth a flood of prayers to the heavenly -gods and to join to his prayers the last rites to the dead.</p> - -<p><span class="smcapa">G.</span> He joins the last rites to his prayers and never ceases. He fills the -customary hearths with tinder and fire.</p> - -<p><span class="smcapa">W.</span> O maiden worthy of so deserving a father! O father, too, blessed -in such a daughter!</p> - -<p><span class="smcapa">G.</span> She now shines benign in the glad clouds, like a radiance newly-risen, -like a golden constellation.</p> - -<p><span class="smcapa">W.</span> May she triumph, shining in the ethereal realms, and may the -daughter graciously take her father with her.</p> - -<p><span class="smcapa">G.</span> Go about your affairs, if you will depart, wayfarer. This is what I -wished to say. Friend, farewell.</p> - -<p><span class="smcapa">W.</span> Live in happiness, guardian of the tomb and revealer of the urn. -I go about my affairs diligently and in haste.</p> - -<p>Printed at Paris, near the Law School, <span class="smcapa">A.D.</span> 1523, 15th day of Feb'y.</p></blockquote> - - -<p class="p6">10</p> - -<blockquote> - -<p>C<span class="smcapa">HAMP</span> F<span class="smcapa">LEVRY</span> A<span class="smcapa">U QUEL EST CONTENU</span> L<span class="smcapa">ART</span> & S<span class="smcapa">CIENCE DE LA DEUE</span> -& <span class="smcapa">VRAYE</span> P<span class="smcapa">ROPORTIÕ</span> <span class="smcapa">DES</span> L<span class="smcapa">ETTRES</span> A<span class="smcapa">TTIQUES</span>, <span class="smcapa">QUŌ DIT AUTREMĒT</span> -L<span class="smcapa">ETTRES</span> A<span class="smcapa">NTIQUES</span>, & <span class="smcapa">VULGAIREMENT</span> L<span class="smcapa">ETTRES</span> R<span class="smcapa">OMAINES PROPORTIONNEES</span> -<span class="smcapa">SELON LE</span> C<span class="smcapa">ORPS</span> & V<span class="smcapa">ISAGE HUMAIN.</span>—Ce Liure est -Priuilegie pour Dix Ans Par Le Roy nostre Sire, & est a vendre a Paris<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span> -sus Petit Pont a Lenseigne du Pot Casse, par maistre Geofroy Tory de -Bourges Libraire, & Autheur du dict Liure. Et par Giles Gourmont -aussi libraire demourant en la Rue sainct Iaques a Lenseigne des Trois -Coronnes.</p></blockquote> - -<p class="center">[Here the Pot Cassé, no. 4 (see p. 45 supra).]</p> - -<p>Privilegie povr dix ans.</p> - -<hr class="tb" /> - -<p>A small folio of 8 preliminary leaves (signature A), comprising the -title, the <em>privilège</em>, etc., and <span class="smcapa">LXXX</span> numbered leaves (signatures B to O); -in all, 14 signatures. The first and last have 8 leaves each, the others 6.</p> - -<p>I have already spoken of this book at considerable length in the first -part, and shall refer to it again in the third; but in this place I must at -least describe it from a bibliographical standpoint.</p> - -<p>On the verso of the title-page which I have just quoted, we read what -follows:<a name="FNanchor_225_225" id="FNanchor_225_225"></a><a href="#Footnote_225_225" class="fnanchor">[225]</a>—</p> - -<p>Ce toutal Oeuure est diuise en Trois Liures.</p> - -<p>Au Premier Liure est contenue Lexhortation a mettre & ordonner -la Lāgue Françoise par certaine Reigle de parler elagāment en bon & -plussain Langage François.</p> - -<p>Au Segond est traicte de Linuention des Lettres Attiques, & de la conference -proportionnalle dicelles au Corps & Visage naturel de Lhomme -parfaict. Auec plusieurs belles inuentions & moralitez sus lesdittes Lettres -Attiques.</p> - -<p>Au Tiers & dernier Liure sont deseignees & proportionnees toutes lesdittes -Lettres Attiques selon leur Ordre Abecedaire en leur haulteur & -largeur chascune a part soy, en y enseignant leur deue facon & requise -pronunciation Latine et Françoise, tant a Lantique maniere que a la Moderne.</p> - -<p>En deux Caietz a la fin sont adiouxtees Treze diuerses facōs de Lettres. -Cest a scauoir. Lettres Hebraiques. Greques. Latines. Lettres Françoises. -& icelles en Quatre facons, qui sont. Cadeaulx. Forme. Bastarde, & Torneure. -Puis ensuyuant sont les Lettres Persiennes. Arabiques. Africaines. -Turques. & Tartariennes. qui sont toutes cinq en vne mesme Figure -Dalphabet. En apres sont les Caldaiques. Les Goffes, quō dit autrement -Imperiales & Bullatiques. Les Lettres Phantastiques. Les Vtopiques, -quon peut dire Voluntaires. Et finablement Les Lettres Floryes. Auec<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span> -Linstruction & Maniere de faire Chifres de Lettres pour Bagues dor, pour -Tapisseries, Vistres, Paintures & autres chouses que bel & bon semblera.</p> - -<p>On the following leaf is the license, an extract from which will be -found on a subsequent page (Part 2, § <span class="smcapa">II</span>, no. <a href="#Page_102">2</a>); then a letter from Tory -'à tous vrayz et deuotz Amateurs de bonnes lettres,' beginning thus:—</p> - -<p>'Poets, orators, and others learned in letters and sciences, when they -have made and composed some work of their studious diligence and their -hand, are wont to make gift thereof to some great lord of court or church, -commending him by letters and by words of praise to the knowledge of -other men; and this in order to please him and to the end that they may -be able always to be so welcome in his sight that he shall seem to be -obliged and bound to give to them some great gift, some cure or some -office, in recompense of the toil and night-watches they have employed -in the making and composing of their said works and gifts. I could readily -do the same with this little book; but, considering that, if I should give -it to one rather than to another, there might arise envy and detraction, -I have thought that it would be well and wisely done of me to make of -it a gift to ye all, O ye devout lovers of goodly letters! nor to prefer the -great to the humble, save in so far as he loves letters the more and is the -more at home in virtue.'</p> - -<p>Then comes a table, filling eight pages, and another letter of Tory, -from which we make a few extracts.</p> - -<blockquote> - -<p class="center"><em>To the readers of this book, humble greeting.</em></p> - -<p>It is commonly said, and truly said, that there is great natural virtue -in plants, in stones, and in words. To offer examples would be superfluous, -so certainly is it true. But I would that God might be pleased to give me -grace so to prevail by my words and entreaties that I may persuade some -persons that, if they will not do homage to our French tongue, they will -at the least cease to corrupt it. I find that there be three sorts of men -who strive and exert themselves to corrupt and debase it: they are the -'skimmers of Latin,' the 'jesters,' and the 'jargoners.' When the skimmers -of Latin say: 'Despumon la verbocination latiale, & transfreton la -Sequane au dilucule & crepuscule, puis deãbulon par les Quadrivies & -Platees de Lutece, & comme verisimiles amorabundes captiuon la beniuolence -de lomnigene & omniforme sexe feminin,'<a name="FNanchor_226_226" id="FNanchor_226_226"></a><a href="#Footnote_226_226" class="fnanchor">[226]</a> it seems to me -that they make sport not of their fellows alone, but of themselves. When -the jesters, whom I may fairly call 'slashers [dechiqueteurs] of language,'<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span> -say: 'Monsieur du Page, si vous ne me baillez vne lesche du iour, -ie me rue a Dieu, & vous dis du cas, vo⁹ aures nasarde sanguine,' they seem -to me to do as great harm to our language as they do to their coats, by -slashing and destroying with contumely that which is of more worth -whole than when maliciously torn and defaced. And in like manner -when jargoners<a name="FNanchor_227_227" id="FNanchor_227_227"></a><a href="#Footnote_227_227" class="fnanchor">[227]</a> make their remarks in their malicious and wicked jargon, -it seems to me not only that they prove themselves dedicate to the -gibbet, but that it would be well if they had never been born. Although -Master François Villon was in his day mightily ingenious therein, yet -would he have done better to have essayed to do some other more goodly -thing.... I consider moreover that there is another sort of men who -corrupt our language even more: they are the innovators and forgers of -new words. If such forgers are not villains, I deem them little better. -Think you that they show great refinement when they say after drinking -that they have 'le Cerueau tout encornimatibule & emburelicoque -dũg tas de mirilifiques & triquedondaines, dung tas de gringuenauldes -& guylleroches qui les fatrouillēt incessammēt?' I would not quote such -foolish words, were it not that my scorn in thinking of them forces me -to do it. 'Si natura negat, facit indignatio versum....'</p> - -<p>Yours in everything,</p> - -<p class="center">Geofroy Tory de Bourges.<br /> -</p></blockquote> - -<p>After this letter comes the text of the book, which occupies, as I have -said, eighty numbered leaves.<a name="FNanchor_228_228" id="FNanchor_228_228"></a><a href="#Footnote_228_228" class="fnanchor">[228]</a></p> - -<p>At the end we read: 'Here endeth this present book ... the printing -of which was finished Wednesday the twenty-eighth day of the month -of April, in the year 1529, for Maistre Geofroy Tory of Bourges, author -of the said book, and bookseller, living in Paris, who has it for sale on the -Petit Pont, at the sign of the Pot Casse, and for Giles Gourmont, also a -bookseller, living in said Paris, who likewise has it for sale on Rue Sainct -Jaques, at the sign of the Trois Couronnes.'<a name="FNanchor_229_229" id="FNanchor_229_229"></a><a href="#Footnote_229_229" class="fnanchor">[229]</a></p> - -<hr class="tb" /> - -<p>This work was reprinted in 1549, in octavo,<a name="FNanchor_230_230" id="FNanchor_230_230"></a><a href="#Footnote_230_230" class="fnanchor">[230]</a> with the same woodcuts, -but with some variations in other respects.</p> - -<p><span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span></p> - -<p class="p6">11</p> - -<blockquote> - -<p>L<span class="smcapa">A</span> T<span class="smcapa">ABLE DE LANCIEN PHILOSOPHE</span> C<span class="smcapa">EBES</span>, -<span class="smcapa">NATIF DE</span> T<span class="smcapa">HEBES, ET AUDITEUR</span> D<span class="smcapa">ARISTOTE</span>. -E<span class="smcapa">N LAQUELLE EST DESCRIPTE ET PAINCTE LA VOYE DE</span> -<span class="smcapa">LHOMME HUMAIN TENDANT A VERTUS ET PARFAICTE SCIENCE.</span> -A<span class="smcapa">VEC TRENTE</span> D<span class="smcapa">IALOGUES MORAULX DE</span> L<span class="smcapa">UCIAN</span>, -<span class="smcapa">AUTHEUR JADIS GREC.</span> Le tout pieca translate de grec en langue latine par plusieurs -scavans et recommandables autheurs. Et nagueres translate de -latin en vulgaire françois par maistre Geofroy Tory de Bourges, libraire, -demourant a Paris, rue Sainct Iaques, devant lescu de Basle, a -lenseigne du Pot Casse. Sont en ung volume ou en deux qui veult, a -vendre audict lieu par ledict translateur, et par Iean Petit, libraire jure -en luniversite de Paris, demourant aussi en la rue Sainct Iaques, a lenseigne -de la Fleur de Lys.</p></blockquote> - -<p>Twelvemo; divided into signatures of 8 leaves. In the first volume, 10 -preliminary leaves and signatures A to T; in the second volume, signatures -<em>a</em> to <em>vij</em>. All the pages are embellished with narrow filleted borders, -on some of which the Lorraine cross appears.</p> - -<p>On the first page is Tory's Pot Cassé (no. 6), or Jean Petit's mark, -according as the copies were issued by one or the other of those publishers, -who divided the edition.</p> - -<p>On the second leaf is an extract from the license (dated September -18, 1529<a name="FNanchor_231_231" id="FNanchor_231_231"></a><a href="#Footnote_231_231" class="fnanchor">[231]</a>), in so far as it concerns this book, 'the printing of which was -finished the fifth day of October, in the year above named.'</p> - -<p>On the third leaf is the dedicatory epistle, the essential part of which -is as follows:—</p> - -<blockquote> - -<p class="center"><em>Geofroy Tory of Bourges doth say and give humble greetings to all -studious and true lovers of excellent pastime in reading.</em></p> - -<p>Horace, a poet of old surnamed Flaccus, hath told us in writing in -his 'Ars Poetica' that philosophers and poets are wont, under the outer -bark of deceitful words, to convey a moral meaning which may profit -us in the knowledge of virtue or give us pleasure in the charm of their -style and their pleasing invention. Wherefore, seeing this to be true, and -reading all day the Table of the ancient philosopher Cebes, likewise -the Dialogues of the very learned and graceful Greek author Lucian, -methought that it would be well done of me to translate them into our -French tongue also, and cause them to be printed, to the end that each<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span> -one of you, upon reading the said Table, may readily recognize what pure -virtue is, and may find honest pleasure in the ingenious and moral Dialogues -of the said Lucian. I offer them with a most humble and devout -heart to you, O scholars and lovers of pure worth! giving you to know -that, in so far as it hath been possible for me so to do, I have followed -the true text, adding nothing of my own thereto, neither using nor misusing -any modification or stuffing whatsoever. I have most gladly written -them down for you in flowing language, in your domestic mother tongue, -without attempting to mix therein refinements of phrase, strange words, -or such language as Carmentes, mother of Evander, might be unable to -understand or decipher. I see some who, if they should write but six -words, four will be either out of use, or manufactured, or stretched out -longer than a spear. Like him who said in the laments and epitaphs of -a king of the Basoche:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Au point prefix que spondile et muscule,</div> - <div class="i0">Sens vernacule, cartilaige auricule,</div> - <div class="i0">DIsis acule, Diana crepuscule,</div> - <div class="i0">Et lheure acculle pour son lustre assoupir.'</div> - </div> -</div> -</div> - -<p>And a thousand other like sayings which I leave to him. I know not to -whom such language gives pleasure; but to me it seems scarce fair or -fine. It would seem, and yet I misdoubt, as if such a battery of behorned -and overrefined words had come or been hurled down from the Latin -language to ours; for there have been, and there are to this day many -who think that they have done a wondrous thing if they have written -in Latin a strange and unduly long word, like him who said, and ingeniously -none the less: 'Conturbabuntur Constantinopolitani innumerabilibus -sollicitudinibus.' And that other, Hermes by name, who took such -delight in writing long and refined words that he was hoist with his own -petard when another ingenious man composed against him, in manufactured -words, with an armful of syllables, the distich which follows:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Gaudet honorificabilitudinitatibus Hermes,</div> - <div class="i1">Consuetudinibus, sollicitudinibus.'</div> - </div> -</div> -</div> - -<p>I say this in passing, that you may not expect to find unwonted words -in this your little book. I know that there was once a wise man and philosopher -who said one day to his friend: 'Loquere verbis presentibus et -utere moribus antiquis,' which is to say, 'Speak in ordinary language -and live according to the manners of the good old days.' In this your said<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span> -little book you will, I think, find charm, for it is full of many goodly -and ingenious conceits both of Cebes and of Lucian. I have placed first -herein, as I have said, the Table of this man Cebes, to the end that you -may see at the outset that 'poesis est pictura loquens': a poetical work -is a speaking picture. Touching the Dialogues of the learned Lucian, I -have not included them all, nor translated all; but I have chosen thirty -only of those which in my opinion are the finest and most moral, which -you may readily discover to be not only pleasant to read, but most profitable -in goodly moral teaching. You will accept them then, if it please -you, with kindly face and heart, remembering that with God's help I -will shortly make you some other new gift, to the best of my ability. -And meanwhile I will pray to our Lord Jesus to have you in his keeping -according to your wishes.</p> - -<p>From Paris; in all things your devoted servant,</p> - -<p class="center">Geofroy Tory.<br /> -</p></blockquote> - -<p>Follows a long list of errata, and a table of the Dialogues, followed -by another letter, 'aux lecteurs des Dialogues de Lucian contenuz en -ce present livre.' This letter contains nothing personal to Tory, and I -will quote only the closing passage, where, speaking of the Dialogues, -he says:—</p> - -<blockquote> - -<p>I believe that, if the ancient and noble painter Zeuxis of Heracleia, -if Raphael of Urbino, Michel Angelo, Leonardo da Vinci, or Albrecht -Dürer should try to paint philosophers and their various aspects, they -could not paint them so well nor so to the life as our Lucian paints them -herein. It will seem to you that you do verily see them and hear them -speak, and that Menippus, before your wondering eyes, doth fly up to -heaven to learn the truth concerning all the falsehoods of the said philosophers. -May God have you in his keeping according to your noble and -goodly desire.</p> - -<p>From the University of Paris; in all things your devoted servant,</p> - -<p class="center">Geofroy Tory.<br /> -</p></blockquote> - -<p>At the end of the book, after the Dialogues, Tory introduced a -number of moral apothegms and plays upon words, probably of his own -invention.</p> - -<p>This volume is printed with the type and decorative letters of -'Champ fleury.'</p> - -<p><span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span></p> - - -<p class="p6">12</p> - -<blockquote> - -<p>S<span class="smcapa">UMMAIRE DE CHRONIQUES, CONTENANS LES VIES</span>, -<span class="smcapa">GESTES ET CAS FORTUITZ DE TOUS LES EMPEREURS</span> D<span class="smcapa">EUROPE</span>, -<span class="smcapa">DEPUIS</span> I<span class="smcapa">ULES</span> C<span class="smcapa">ESAR IUSQUES A</span> M<span class="smcapa">AXIMILIEN, DERNIER DECEDE.</span>—Avec -maintes belles histoires et mensions de plusieurs roys, ducs, contes, -princes, capitaines et aultres, tant chrestiens que non, tant de hault -que de has estat et condition.—Faict premierement en langue -latine par venerable et discrete personne Iehan Baptiste Egnace, -Venicien.—Et translate de ladicte langue latine en langaige -francoys par maistre Geofroy Tory de Bourges.—On les vend a Paris, -a lenseigne du Pot Casse.—Avec privilege du Roy nostre sire pour X -ans.'</p></blockquote> - -<p>Octavo; 16 preliminary leaves (signatures <em>a</em> and <em>b</em>), 99 leaves of text, -numbered, and 13 leaves of index and errata, not numbered (signatures -A to O); in all, 128 leaves, or 16 octavo sheets. All the pages are enclosed -in threefold fillets, with compartments running into one another, such -as were still used in printing-offices until quite recently. I will remark -in passing that the sheets of this book bear only two signature letters -each, one on the first page (for the first form), the other on the third -page (for the second form), as is the general practice to-day, instead -of the four which were commonly inserted, to no useful end.</p> - -<p>On the verso of the first leaf, the recto of which is occupied by the -title, is printed the king's license, in these terms:—</p> - -<blockquote> - -<p>Francoys, by the grace of God King of France, to the Provost of -Paris, Bailly of Rouen, Seneschal of Lion, and to all other our justiciars -and officials, or to their lieutenants, greeting. Our dear and well-beloved -maistre Geofroy Tory of Bourges, bookseller, dwelling in our city of -Paris, hath caused it to be said and shown to us that he hath of late translated -from the Latin into vernacular French two books, one having been -formerly translated from the Greek into the Latin by several learned and -commendable authors, entitled: 'La Table du philosophe ancien Cebes, -natif de Thebes, et auditeur Daristote,' together with certain moral Dialogues -of Lucian; the other originally composed in the Latin tongue by -Jehan Baptiste Egnace, entitled: 'Summaire de Chroniques, contenant -les gestes et faictz de tous les empereurs Deurope, depuis Iules Cesar -jusques a Maximilian'; likewise another book, entitled: 'Les Reigles generales -de Lorthographe du langaige francoys'; the which books he is -desirous to print, were it our pleasure to permit him so to do, and at the<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span> -same time to forbid all booksellers, printers, and all other persons whatsoever -to print, cause to be printed, or expose for sale the said books—Wherefore -is it that we, having regard to the trouble and labour which -the said Tory hath had herein, have given unto him license and permission -to print, cause to be printed, and expose for sale at a fair and reasonable -price, by himself, his servants, agents and factors, the said books -above described, during ten years following and subsequent to the printing -thereof. Such is our will, etc. Given at Paris the xxviii day of September, -in the year of grace <span class="smcapa">M. D. XXIX</span>, and of our reign the <span class="smcapa">XV</span>.</p> - -<p class="center">Heruoet.<br /> -</p></blockquote> - -<p>Next comes the following letter of Tory, by way of preface:—</p> - -<blockquote> - -<p class="center"><em>Geofroy Tory of Bourges, to all studious and true lovers of goodly -reading and profitable pastime, doth humbly bid and offer greeting.</em></p> - -<p>I promised you not long since, in the preface to the Table of Cebes -and the thirty new Dialogues of Lucian, that I would ere long, by my -humble efforts, make for you another new book, which, to my thinking, -might afford you pleasing and useful pastime, by enticing you to read -and see therein things wherewith your mind might well in due time and -place be entertained and deliciously soothed. At this present time (my -most honourable lords), as your humble servant, who is entirely devoted -to you, I present to you a 'Summaire de Chroniques,' the which I have -translated for you, as I translated the said Cebes and Dialogues, from -the Latin into French, to the best of my poor ability, forewarning you -that, after the manner of Jehan Baptiste Egnatius, the present author, -I have neither modified nor changed the meaning of the story in favour -of any man whatsoever. Nor is my translation made word for word, because -that would have been a too barren style and devoid of charm. I -know that, according to Horace ('nec verbo verbum curabit reddere -fidus interpres'), a translator should not vex his wits about rendering -each word that he translates into a word of his language; but should retain -the meaning and set it forth in the best style that shall be possible -for him. So I have done the best that I could, as well for the love and -respect that I owe you, as not to depart from the pure truth of history, -which is of such nature that it will not brook to be in any way turned -aside from its purity. Marcus Tullius Cicero doth well enjoin it upon us, -when he writes in the second book of his 'Orator': 'Nam quis nescit primam -esse historiæ legem, ne quid falsi dicere audeat, deinde ne quid veri<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span> -non audeat, ne qua suspitio gratiæ sit in scribendo, ne qua simulatis?' -'But who is there [he says] who does not know that the first law of history -is to dare to tell nothing that is untrue, and to tell the truth without -feigning, to the end that there may be no suspicion of partiality or of -envy in that which one writes?' Of a surety history should be entirely -true, not only for the reasons already given, but because, as Cicero says -a little before the place already quoted: 'Historia est testis temporum, -lux veritatis, vita memoriæ, magistra vitas, et nuncia vetustatis.' 'History -[he says] is the testimony of the times, the torch of truth, the nurse and -life of the memory, teacher and schoolmistress of our life, and messenger -of antiquity.' I have chosen to make you a present of a history, and -a history abridged to the limits of a summary, rather than of something -else, for the reason that while engaging yourselves, you may see therein, -as in a mirror, a thousand excellent things, wherefrom you shall be able -to hear and recognize innumerable useful suggestions which shall do you -good service on occasion in due time and place. Titus Livius says, in the -preface to the first book of his first Decade: 'Hoc illud est precipue in -cognitione rerum salubre ac frugiferum, omnis te exempli documenta -in illustri posita monumento intueri, unde tibi tuasque Reipublicæ quod -imitare cupias, unde fœdum inceptum, fœdum exitu quod vites.' 'It is -[he says] peculiarly good and useful in the knowledge of things, to see -and learn in noble history the teachings of worthy example, by the imitation -and likeness whereof you may choose for yourselves and for your -country that which you ought to imitate and follow, and that which you -ought to avoid as an abomination, at the beginning as well as at the end.' -Take therefore in good part, an it please you, this little work, and accept -it with a gracious face and expression, as of your kindliness you are -wont to do; even so you will invite me, of your courteous and singular -grace, henceforward to do better, with the aid of Our Lord Iesus, to -whom I pray that he will give to you all his love and blessed grace, at -your noble and worthy desire.</p> - -<p>At Paris, this <span class="smcapa">X</span> day of April, <span class="smcapa">M. D. XXIX</span>.</p></blockquote> - -<p>On the last leaf of the book we find the Pot Cassé, with these words -beneath: 'The printing of this present book was finished at Paris, the -<span class="smcapa">XIII</span> day of April, <span class="smcapa">M. D. XXIX</span>,<a name="FNanchor_232_232" id="FNanchor_232_232"></a><a href="#Footnote_232_232" class="fnanchor">[232]</a> for maistre Geofroy Tory de Bourges, who -sells it in said Paris, at the sign of the Pot Casse.'</p> - -<p>The only copy that I have seen of this edition was then owned by</p> - -<p><span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p> - -<p>M. Ambroise Didot, who courteously permitted me to examine it at -my leisure. It was in its original binding with the Pot Cassé. The book is -printed in the 'Champ fleury' type.</p> - -<p>There are several other editions. I am familiar with two of them, published -by Charles L'Angelier, both in octavo, in 1543 and 1544. M. Hippolyte -Boyer mentions one of 1541, in his 'Histoire des Imprimeurs et -Libraries de Bourges' (octavo, Bourges, 1854), page 27; but I have not seen -it: whereas I have had the privilege of examining the other two. Each -of them contains 112 leaves (signatures A to O), plus 4 unnumbered -ones. The book is illustrated with engravings of two kinds, in addition -to the bookseller's mark on the title-page: the first, reproduced several -times, represents an emperor, mounted, holding a battle-axe; it is not -signed, but is engraved with much delicacy, and embellished with the -little cartouches so much affected by Tory. The others represent busts -of emperors roughly engraved, which cannot be the work of that artist.</p> - - -<p class="p6">13</p> - -<blockquote> - -<p>L<span class="smcapa">A PROCESSION DE</span> S<span class="smcapa">OISSONS DEVOTE ET MEMORABLE FAICTE</span> -<span class="smcapa">A LA LOUANGE DE</span> D<span class="smcapa">IEU, POUR LA DELIVRANCE DE NOSSEIGNEURS</span> -<span class="smcapa">LES ENFANS DE</span> F<span class="smcapa">RANCE.</span>—On les vend a Paris, a lenseigne du Pot Casse, rue Sainct -Iaques, devant lescu<a name="FNanchor_233_233" id="FNanchor_233_233"></a><a href="#Footnote_233_233" class="fnanchor">[233]</a> de Basle, et en la halle de Beausse, a la mesme -enseigne du Pot Casse, devant leglise de la glorieuse Madalaine, avec -privilege pour deux ans.</p></blockquote> - -<p>At the end of the book: 'The printing of this present book was finished -the <span class="smcapa">XXIX</span> day of August <span class="smcapa">M. D. XXX</span>, and it is for sale at Paris by -maistre Geofroy Tory de Bourges.'</p> - -<p>Small quarto of 20 leaves with borders, signatures Aij to Cij.</p> - -<p>This exceedingly rare little volume has a title-page with a border of -arabesques engraved on wood, with the Lorraine cross. Beneath Tory's -mark are four Latin verses, probably of his composition, as are the six -which bring the narrative to a close and which are entitled: 'Torinus -Biturigicus ad Galliam.' On the verso of the title is the preface, dated -August 25, 1530, and beginning thus: 'Geofroy Tory of Bourges to the -devoted lovers of good reading doth bid and offer humble greeting.'</p> - -<p>At the top of leaf Aij we read: 'The order of the grand procession -ordained at Soissons by the reverend father in God Monseigneur Iehan -Olivier, Abbé de Saint Mard at said Soissons, Councillor to the King our<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span> -Sire, and Chronicler of France, on Sunday the last day of July in the year -of grace one thousand five hundred and thirty, to give thanks to our Lord -for the deliverance of our lords the Children of France.'</p> - -<hr class="tb" /> - -<p>These particulars are taken from the fifth edition of Brunet's 'Manual -de Libraire.' I have not been able to find the volume, despite my thorough -search in the various libraries of Paris.</p> - - -<p class="p6">14</p> - -<blockquote> - -<p>Æ<span class="smcapa">DILOQUIUM CEU DISTICHA PARTIBUS ÆDIUM URBANARUM ET RUSTICARUM</span> -<span class="smcapa">SUIS QUÆQUE LOCIS ADSCRIBENDa</span>. I<span class="smcapa">TEM</span>, E<span class="smcapa">PITAPHIA SEPTEM</span> -<span class="smcapa">DE AMORUM ALIQUOT PASSIONIBUS ANTIQUO MORE ET SERMONE</span> -<span class="smcapa">VETERI, VIETOQUE CONFICTA</span>. A<span class="smcapa">UTHORE</span> G<span class="smcapa">OTOFREDO</span> T<span class="smcapa">ORINO</span>, B<span class="smcapa">ITURIGICO.</span>—Parisiis, -apud Simonem Colinæum. 1530. Cum privilegio -ad biennium.<a name="FNanchor_234_234" id="FNanchor_234_234"></a><a href="#Footnote_234_234" class="fnanchor">[234]</a></p></blockquote> - -<p>Octavo; 3 sheets, printed in italic. The title is set in an exceedingly -graceful border, borrowed from the Hours in octavo of 1527. The verso -of the title is blank, and on the second leaf is the following preface:—</p> - - -<p class="center"><em>Geofroy Tory of Bourges to the fair reader, greeting.</em><a name="FNanchor_235_235" id="FNanchor_235_235"></a><a href="#Footnote_235_235" class="fnanchor">[235]</a></p> - -<p>There are certain eminent painters in this prolific age, most gentle -reader, who, by their drawings, paintings, and varied colouring, depict the -tribal gods and human beings, as also other things of different sorts, with -such exactness that a voice and a soul seem the only things wanting to -them; but here, most gentle reader, I offer you, nearly in the manner of -these painters, a house, which not only is elegant and finished in its outlines -and parts, but speaks prettily and describes itself part by part in a -eulogy. I also offer you seven epitaphs, composed and written in the ancient -style and in very ancient language. These epitaphs show, in a way -that we may call comprehensible, the various affections to which unhappy -mortals who are in love are subject. I am, I say, pleased to offer you these, -not that you may speak or write in obsolete words such as you here find,<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span> -but that you may have before your eyes, so bright and full of charm, -a sample of antiquity, and may know that you have been thoroughly -warned by me to be on your guard against falling into the snares and -perplexities of an insane love. Farewell.</p> - -<hr class="tb" /> - -<p>In addition to the border of the title-page, the book contains seven exquisite -little engravings, corresponding to Tory's seven 'love epitaphs,'—engravings -which are certainly his, in design at least, although unsigned. -Here is a list of them:—</p> - -<p>1. Two hearts pierced by an arrow.</p> - -<p>2. Two hearts in a circle.</p> - -<p>3. Two hearts bound together by cords.</p> - -<p>4. Two hearts in a boat.</p> - -<p>5. A pig sniffing at two hearts.</p> - -<p>6. Two hearts, a distaff, etc.</p> - -<p>7. Two hearts being kicked by a horse.</p> - -<p>As for the text of the book, it has been variously judged. Catherinot -was delighted with it; but the author of the 'Menagiana' reproves Tory -for manufacturing Latin words after the style of the author of the 'Songe -du Poliphile' (see supra, page 55, note 2). We have seen that Tory himself -did not recommend such words to the reader.</p> - -<p>The Bibliothèque Nationale has a copy of this little book, still in its -original binding, with the Pot Cassé.</p> - - -<p class="p6">15</p> - -<blockquote> - -<p>S<span class="smcapa">CIENCE POUR</span> S<span class="smcapa">ENRICHIR HONNESTEMENT ET FACILEMENT</span>, -<span class="smcapa">INTITULEE</span>: L<span class="smcapa">ECONOMIC</span> X<span class="smcapa">ENOPHON</span>, <span class="smcapa">NAGUERES TRANSLATEE DE GREC ET LATIN</span> -<span class="smcapa">EN LANGAIGE FRANCOYS PAR MAISTRE</span> G<span class="smcapa">EOFROY</span> T<span class="smcapa">ORY DE</span> B<span class="smcapa">OURGES</span>. -[Here the Pot Cassé, no. 4] On les vend a Paris, en la rue Sainct Iaques, -devant lescu de Basle, et devant lesglise de la Magdalaine, a lenseigne -du Pot Casse.—Avec privilege.</p></blockquote> - -<p>Octavo of 9 sheets (signatures <em>a</em> to <em>i</em>). As in the 'Sommaire de Chroniques' -of Egnasius, there are only two signature marks to the sheet (one -for the first form and one for the second), and each page is enclosed in -a three-line fillet. The title-page alone is set in a border of arabesques of -pleasing design.</p> - -<p>On the verso of the title: 'At the aforesaid sign of the Pot Casse there -be also for sale Thucydides and Diodorus, with several other excellent<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span> -books translated from Greek and Latin into French. Likewise there be -beautiful Hours and Offices of Our Lady, large, medium, and small, illustrated -and vignetted in ancient and modern fashion.'</p> - -<p>On the second leaf is an explanation of the words 'Economic' and -'Xenophon'; and on the third a dedication, extracts from which follow.</p> - -<blockquote> - -<p><em>Geofroy Tory of Bourges to his most reverend father in God, Antoine -du Prat, Cardinal de Sens, legate in ordinary and Chancellor of -France, doth say and proffer most humble greeting.</em></p></blockquote> - -<blockquote> - -<p>After the book treating of the meaning of the ancient letters, called -'Champ fleury,' the which I composed in the French tongue, and the -'Table of Cebes,' with thirty moral dialogues, likewise the 'Sommaire -de Chroniques,' the which I translated into our said tongue,<a name="FNanchor_236_236" id="FNanchor_236_236"></a><a href="#Footnote_236_236" class="fnanchor">[236]</a> to confer -a benefit on the studiously inclined, most reverend father in God, it hath -seemed to me a worthy occupation, if I should employ myself in translating -also the 'Economic Xenophon'; and beneath the shadow of your -most honourable wing, first presenting the same with humble devotion -unto you, I have published the same and placed it in the hands of all virtuous -and worthy persons, to pass the time studiously therewith and therein -to find good counsel for directing their families worthily and increasing -their wealth by honest means.</p> - -<p>Wherefore, most reverend father in God, under your venerable favour -and blessing, the studious and veritable lovers of goodly reading and -fruitful occupation will kindly take this little book in their condescending -hands, and all will bear you good will, not for the book alone, but for -that you are he to whom all owe honour and service, as to whom all the -public welfare and all Christendom are deeply indebted.</p> - -<p>I shall continue to be, if it so please you, in your good favour, and I -will pray to Our Lord that he will give you his love according to your -noble and estimable desire.</p> - -<p>From Paris this Wednesday, the fifth day of July, <span class="smcapa">M. D. XXXI</span>.</p></blockquote> - -<p>Following this document, which fills three leaves, comes an epistle -from Geofroy Tory of Bourges to 'studious and worthy readers,' by way -of preface. It fills two leaves. The eighth leaf is entirely blank. On the -ninth, the 'Economic Xenophon' begins, and extends from <em>b</em> to <em>i</em> 4; the -fifth and sixth leaves of <em>i</em> contain an 'Epistle from Seigneur Elisee Calense, -native of Amphrates, which he sent to Rufinius, guardian of the<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span> -Emperor Arcadius, replying to him touching the matter of managing -his family and of keeping in order his domestic goods and chattels, translated -from Latin into French by maistre Geofroy Tory de Bourges.'</p> - -<p>On the last leaf but one appears a 'duplicate of the license granted to -maistre Geofroy Tory de Bourges, by the King our Sire, for this present -book and others named in this said license,' in these words:—</p> - -<blockquote> - -<p>Francoys, by the grace of God King of France, to the Provost of -Paris, Bailly of Rouen, Seneschal of Lyon, and to all other our justiciars -and officials or their deputies, greeting. Our dear well-beloved maistre -Geofroy Tory of Bourges, bookseller, dwelling in our city of Paris, hath -caused it to be made known to us that he hath of late made and composed -in the Latin tongue a certain book entitled; 'Ædiloquium et -Erotica'<a name="FNanchor_237_237" id="FNanchor_237_237"></a><a href="#Footnote_237_237" class="fnanchor">[237]</a>; likewise, that he hath translated from Greek and Latin into -French the 'Economic Xenophon'; which books he would fain print, -or cause to be printed, if it should be our pleasure to permit him so to do, -at the same time causing all tradesmen, booksellers, printers, and other -persons whomsoever, to be forbidden to print or to expose for sale in any -manner the said books; and that, if any should be brought hither by foreigners, -other than those of the said Tory's printing, they may not be -sold within our realm during the period of the four years reckoned from -the date of the printing of said books, with an extension for a like period -for certain other books, illustrations, and vignettes to be printed in the -'Heures et Office de Nostre Dame' mentioned in two licenses heretofore -granted to him by our favour.<a name="FNanchor_238_238" id="FNanchor_238_238"></a><a href="#Footnote_238_238" class="fnanchor">[238]</a> Wherefore, having regard and consideration -for the time and toil which it hath cost the said Tory to compile -and translate the said books, and for such expense as it shall be his -pleasure to incur in printing the same,—for these reasons we have given -and granted to him permission to print or cause to be printed and to offer -for sale the said books above mentioned for four years following and succeeding -the printing thereof. And so we command you, that by virtue -of this our present favour, warrant and permission, you do allow the said -petitioner to use and enjoy the same, and do forbid in our name all -tradesmen, printers, booksellers, to print or cause to be printed, or to expose -for sale in any manner the said books during four years, on pain of<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span> -twenty-five silver marcs to be paid to us, and confiscation of the books -as to which they shall have been guilty; for such is our pleasure. Given at -Vannes, the <span class="smcapa">XVIII</span> day of June in the year of grace one thousand five hundred -thirty-one, and of our reign the seventeenth.—Signed, Heruoet.</p></blockquote> - -<p>On the last page: 'The printing of this present book was finished by -maistre Geofroy Tory of Bourges Wednesday the fifth day of July in the -year <span class="smcapa">M. D. XXXI</span>. And it is for sale at Paris, opposite the "Escu de Basle," -Rue Sainct Iaques, and opposite the Church of La Magdeleine, at the -sign of the ("a leeseigne [<em>sic</em>] du") Pot Casse.'</p> - -<p>The description we have given is that of the very complete copy -owned by M. Ambroise Didot. M. Chedeau, an attorney at Saumur, -owned a copy the title-page of which is different. It reads thus:—</p> - -<blockquote> - -<p>E<span class="smcapa">CONOMIC DE</span>: X<span class="smcapa">ENOPHON, CEST A DIRE</span>: -D<span class="smcapa">OMESTIQUES</span> I<span class="smcapa">NSTITUTIONS ET</span> E<span class="smcapa">NSEIGNEMENS POUR BIEN REGIR SA FAMILLE</span> -<span class="smcapa">ET AUGMENTER SON BIEN PARTICULIER</span>. I<span class="smcapa">ADIS COMPOSE EN GREC PAR LANCIEN AUTHEUR</span> X<span class="smcapa">ENOPHON</span>, -<span class="smcapa">ET TRANSLATE DE GREC ET LATIN EN LANGAIGE</span> F<span class="smcapa">RANÇOIS PAR MAISTRE</span> T<span class="smcapa">ORY DE</span> B<span class="smcapa">OURGES</span>. [Here the Pot Cassé.] -Imprimees a Paris, a lenseigne du Pot Casse, par ledict maistre -Geofroy Tory, marchant libraire et imprimeur du roy.—Avec privilege.</p></blockquote> - -<p>This title-page has the same border and the same form of the Pot -Cassé as the other copy; but it has not on the verso the little list of -other publications which we find on the latter, and which we have reproduced -above. As the first signature (A) of M. Chedeau's copy lacks four -leaves, we cannot say whether there are other differences in that signature; -but as to the other signatures, B to I, they are identical in the two -copies. Thus we find in both the error to which we called attention above -in the word 'enseigne' [printed 'eeseigne'], in the final note; better still, -this error has been corrected by hand, in the same way, in both copies, -probably by Tory himself. Which of the two is the earlier? I should not -venture to say; however, it seems to me that the additional matter on -the verso of the title-page of M. Didot's copy tends to prove that it is -the later of the two. In any event, the interval between the two impressions -cannot have been a long one. If I interpret rightly certain circumstances, -the first signature, which had been kept in type (as is proved -by a number of typographical defects which appear in both copies), was -reprinted at the same time with the last signature. Tory's dedicatory<span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span> -epistle, in M. Didot's copy, is dated July 5, the day when the printing -of the book was finished according to the final note. Now, to make it possible -for him to affix this date to his preliminary epistle, we must concede -that it had been kept in type until the book was finished. But may -it not be that no date was affixed on the first signature of the first impression? -That is a question that I am unable to answer, in view of the -imperfect state of M. Chedeau's copy. It may be, too, that the first signature -was reprinted in order to announce Tory's new address, he having -very recently installed his printing establishment in the famous old Halle -au Blé de Beauce, on Rue de la Juiverie, opposite the Church of La Madeleine. -For it will be observed that this address does not appear on the title-page -of M. Chedeau's copy, although we do find it in the note on the -last page.</p> - -<p>This volume is printed in the 'Champ fleury' type.</p> - - -<p class="p6">16</p> - -<blockquote> - -<p>P<span class="smcapa">OLITIQUES DE</span> P<span class="smcapa">LUTARCHE, CEST A DIRE</span>: -C<span class="smcapa">IVILES</span> I<span class="smcapa">NSTITUTIONS ET ENSEIGNEMENS POUR BIEN REGIR LA CHOSE PU[BLIQUE]</span>, -<span class="smcapa">IADIS COMPOSEES EN GREC PAR</span> P<span class="smcapa">LUTARCHE</span>, <span class="smcapa">ET DEPUIS TRANSLATEES DE GREC</span> -<span class="smcapa">EN LATIN PAR LE SEIGNEUR</span> N<span class="smcapa">ICOLE</span> S<span class="smcapa">AGUNDIN</span>, <span class="smcapa">ET A PRESENT DE</span> -<span class="smcapa">LANGUE GRECQUE ET LATINE EN LANGAIGE FRANÇOIS PAR MAISTRE</span> -G<span class="smcapa">EOFROY</span> T<span class="smcapa">ORY DE</span> B<span class="smcapa">OURGES</span>.—Dediees par le dit autheur a lempereur -Trajan, et par le translateur en langaige françois a tresilustre -et plain de bon espoir en toute heureuse vertu, son seigneur, François -de Vallois, Daulphin de France. [Here the Pot Cassé, no. 4.] Imprimees -en Paris, a lenseigne de Pot Casse, par maistre Geofroy Tory de -Bourges, marchant libraire et imprimeur du Roy.—Avec privilege -tresample.<a name="FNanchor_239_239" id="FNanchor_239_239"></a><a href="#Footnote_239_239" class="fnanchor">[239]</a></p></blockquote> - -<p>Octavo, of 8 preliminary unnumbered leaves, and 67 numbered leaves -of text (signatures A to Iij). The pages have no borders. There are marginal -remarks. The type and the ornamental letters are the same as in -'Champ fleury.'</p> - -<p>On the second leaf is the following dedicatory epistle:—</p> - -<blockquote> - -<p><em>Geofroy Tory de Bourges to his most debonair lord, François de Vallois, -Daulphin de France, doth say and proffer most humble greeting.</em></p> - -<p><span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span></p> - -<p>My lord, while translating this little book, I have oftentimes reflected to -whom of all my good friends I should the sooner dedicate it, or whether -I should dedicate it (as I have heretofore done with certain other books -which I have composed and translated into the French tongue) to all -studious and genuine lovers of excellent reading and worthy pastime. -But in fine, knowing thy virtuous nature, likewise the mirror of all goodness -and perfect nobility wherein thou dost abundantly excel, and art -ever disposed for every blessed and goodly enterprise, I have considered -that before all other living men, of what state soever they may be, it is -to thy glorious lordship that I ought and am in duty bounden to consecrate -it, since it is thou under whom the public, not of France alone, but -of all Christendom, has its hope of living hereafter in all felicity. I dedicate -it to thee, not forgetting that thou hast thy noble father the King, -who, as Philip of Macedon did of yore to his son Alexander, doth set before -thee noble and goodly instruction and examples of upright living; -but also to the end that thou mayst by times amuse thyself and read the -excellent tales and teachings which are marshalled herein as in a well-chosen -library; and also that, following thy noble and generous example, -the studiously inclined may, by reading the same, worthily profit thereby. -Thou mayst find herein many excellent passages, which will sometimes -help to comfort thee, and will be in some degree the means whereby -thou and thy Realm, with the grace of God, wilt ever prosper more and -more.</p> - -<p>Paris, this <span class="smcapa">XIIII</span> day of June, <span class="smcapa">M. D. XXXII</span>.</p></blockquote> - -<p>On the verso of the last leaf: 'The printing of this present book was -finished Saturday the <span class="smcapa">XV</span> day of June, <span class="smcapa">M. D. XXXII</span>, by maistre Geofroy -Tory of Bourges, bookseller and king's printer, living in Paris, opposite -the church of La Magdeleine, at the sign of the Pot Casse.' [Here the -Pot Cassé, no. 9.]</p> - -<p>I have seen two copies of this book, one in M. Didot's library, the other -in M. Alkan's.</p> - -<p>Another edition was published at Lyon, in 1534, in 16mo, by Guillaume -Boulle (or Boullé, for the name, in accordance with the custom -of the time, has no accent on the <em>e</em>). This is undoubtedly the one mentioned -by Duverdier<a name="FNanchor_240_240" id="FNanchor_240_240"></a><a href="#Footnote_240_240" class="fnanchor">[240]</a> as having been printed at Paris, in octavo, in 1530, -by Guillaume Boullé. In this statement there are as many errors as there -are words. Guillaume Boullé's edition was not printed in Paris, it was not<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span> -an octavo, and it cannot be dated 1530, as the first edition did not appear -until 1532. Unfortunately La Caille did not take the trouble to verify -Duverdier's statement, and he makes Guillaume Boullé a bookseller-printer -of Paris.<a name="FNanchor_241_241" id="FNanchor_241_241"></a><a href="#Footnote_241_241" class="fnanchor">[241]</a> Lottin, in his 'Catalogue des Libraries et Imprimeurs -de Paris,'<a name="FNanchor_242_242" id="FNanchor_242_242"></a><a href="#Footnote_242_242" class="fnanchor">[242]</a> has not failed to copy La Caille, and to mention, under the -year 1530, a Guillaume Boullé, bookseller and printer in Paris, side by -side with Jean Boullé, bookseller. Was this Jean, whom La Caille calls -simply Boulle, and whom he places in 1543, a kinsman of Guillaume? -I cannot answer. However that may be, here is a full description of the -edition of the 'Politiques' published by the latter. It is a 16mo volume -containing 8 leaves of front matter and 104 of text. On the title-page, -which is embellished by a roughly executed border, are these words:—</p> - -<p>'Politiques ou Civiles Institutions pour bien regir la Chose publ., iadis -composees en grec par Plutarche, et despuys translatees en francoys par -maistre Geofroy Tory, et dediees par ledict translateur a tres illustre -prince et plein de bon espoir en toute heureuse vertu, Francoys de Valloys, -Daulphin de France.</p> - -<p>'Disputation de Phavorin, philosophe, nouvellement y a este adioustee. -Item chapitre demonstrant combien sont destatz de la Chose publ.</p> - -<p>'On les vend a Lyon, en la rue Merciere, a la boutique de Guillaume -Boulle, libraire, a la fleur de lys d'or.—Avec privilege. 1534.'</p> - -<p>On the verso of the title-page is an engraving representing Justice, -with this inscription: 'Justitia in sese virtutes continet omnes.'</p> - -<p>On the following leaf is the dedication to the Dauphin.</p> - -<p>At the end of the volume is the mark of Guillaume Boullé, or Boulle.</p> - -<p>There is a copy of this little book at the Arsenal, and also one in the -Bibliothèque Nationale. The latter lacks the final leaf bearing the bookseller's -mark, which some collector (!) has cut out, to enrich his collection.</p> - - -<p class="p6">17</p> - -<blockquote> - -<p>L<span class="smcapa">A</span> M<span class="smcapa">OUCHE DE</span> L<span class="smcapa">UCIAN, ET LA</span> M<span class="smcapa">ANIERE DE PARLER ET SE TAIRE</span> [de -Volaterran]. [Pot Cassé, no. 6.] L<span class="smcapa">A</span> M<span class="smcapa">OUSCHE EST TRANSLATEE DE</span> -<span class="smcapa">GREC ET DE LATIN EN LANGAIGE FRANÇOIS</span>. L<span class="smcapa">A</span> M<span class="smcapa">ANIERE DE PARLER</span> -<span class="smcapa">ET SE TAIRE EST TRANSLATEE SEULLEMENT DE LATIN EN FRANÇOIS.</span> -Le tout par maistre Geofroy Tory de Bourges, imprimeur du Roy et -libraire juré en l'université de Paris.—On les vend a Paris devant -l'eglise de la Magdeleine, a l'enseigne du Pot Cassé.</p></blockquote> - -<p><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span></p> - -<p>Eight octavo leaves, without date of printing or license. This pamphlet -was undoubtedly printed by Tory himself, subsequent to February 22, -1533; for he assumes the title of bookseller to the University, which he -did not obtain until that date. Moreover, the acute accent, the apostrophe -and the cedilla are used therein, and he did not make use of those marks -until 1533. Lucian's 'La Mouche' [The Fly] fills 11 pages; the 'Maniere -de Parler' (an extract from the eighteenth book of Volaterran's 'Philosophy') -3 pages. The first leaf has the title, and, on the verso, a note -'aux lecteurs.' The type used is the same as in 'Champ fleury.'</p> - - -<p class="p6">18</p> - -<blockquote> - -<p>L<span class="smcapa">ES REIGLES GENERALES DE LORTHOGRAPHE DU LANGAIGE FRANCOYS.</span></p></blockquote> - -<p>Such is the title of a book written by Tory, of which no trace remains. -We do not know even whether it was printed, although it is included -in the license of the first edition of the 'Sommaire de Chroniques' of -Egnasius, dated September 28, 1529. (See page 88.) Doubtless it was the -complement of 'Champ fleury,' from a grammatical standpoint.</p> - - -<p class="p6">19</p> - -<blockquote> - -<p>T<span class="smcapa">RANSLATION OF THE HIEROGLYPHS OF</span> O<span class="smcapa">RUS</span> A<span class="smcapa">POLLO</span>; a manuscript -given by Tory to 'a noble and excellent friend' of his.<a name="FNanchor_243_243" id="FNanchor_243_243"></a><a href="#Footnote_243_243" class="fnanchor">[243]</a></p></blockquote> - -<p>It is not known whether this translation was printed. There are in -existence several old translations of Orus Apollo, but they do not bear -Tory's name.</p> - -<div class="figcenter"> -<img src="images/i_b_100.jpg" width="250" height="151" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_101.jpg" width="302" height="500" alt="" /> -</div> - - - - -<h2><a name="SECTION_II_BOOKS_OF_HOURS_PUBLISHED_BY_TORY_FOR_HIMSELF" id="SECTION_II_BOOKS_OF_HOURS_PUBLISHED_BY_TORY_FOR_HIMSELF"></a>SECTION II. BOOKS OF<br /> -HOURS PUBLISHED<br /> -BY TORY FOR<br /> -HIMSELF.</h2> - - -<p class="p6">1</p> - -<h3>HOURS OF THE VIRGIN.</h3> - -<p>Quarto, in Latin.</p> - -<p>This is a superb volume, printed -by Simon de Colines, with borders -and illustrations 'à l'antique,' perfect -in taste and in the execution -of the engravings. The book was, -in all probability, printed by Tory -and Colines on joint account, as -copies are extant in the name of -each.</p> - -<p>Following are descriptions of -three sorts of copies which I have -seen, and which have been mistakenly -assumed by bibliographers to -be distinct editions.</p> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_102.jpg" width="307" height="500" alt="" /> -</div> - -<blockquote> - -<p>I. H<span class="smcapa">ORÆ, IN LAUDEM BEATISS. SEMPER</span> -<span class="smcapa">VIRGINIS MARIÆ SECUNDUM</span> -<span class="smcapa">CONSUETUDINEM CURIÆ</span> R<span class="smcapa">OMANÆ.</span> -<span class="smcapa">VBI ORTHOGRÁPHIA, PUNCTA & ACCENTUS</span> -<span class="smcapa">SUIS LOCIS HABENTUR.</span></p></blockquote> - -<p><span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_103.jpg" width="306" height="500" alt="" /> -</div> - -<p>Below is Colines's large mark with -the rabbits and the letters S. D. C. in -the centre, and at the foot, S. <span class="smcapa">DE</span> C<span class="smcapa">OLINES</span>. -The imprint is: 'Parisiis. Apud -Simonem Colinæum. <span class="smcapa">M.D.XXIIII.</span></p> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_104.jpg" width="304" height="500" alt="" /> -</div> - -<p>The first page is ornamented with a -special border, which we shall find in -others of Tory's books. The only copy -of this form of the book which I -have had an opportunity to examine, -namely, the one in the Bibliothèque -de l'Arsenal, although it is bound in -paper only, has a beautiful drawing in -miniature which occupies the whole -of this page. It represents two printers -working at a press, and a compositor -in front of his case. None of the -printing has been retained, save the -five lines of the title, 'Horæ,' etc., -which are enclosed in a scroll hanging -from the upper branches of two -trees which form the frame of the -miniature. I do not know the name of -the fortunate recipient of this gift. One -sees only his initials (R. P.) in a heart -above the press.</p> - -<p><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_105.jpg" width="306" height="500" alt="" /> -</div> - -<p>On the verso of the title we find, in -accordance with custom, the table of -Easter Days, etc., from 1523 to 1551. -The border of the page has, in three -small reserved scrolls in the midst of -the arabesques, the words: <span class="smcapa">GEOFROY—TORY—SIC -VT NON PLVS</span>, which recur -from time to time on the following -pages. This border is reproduced -on the title-page of each part of the -book.</p> - -<p>The license occupies the whole of -both sides of the second leaf, which is -without borders, for a special reason: -it is printed in gothic type of the -period (to imitate the script of the -diploma) and that style of type would -have quarrelled with the antique arabesques -of Tory, whose refined taste -avoided incongruities of that sort.</p> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_106.jpg" width="307" height="500" alt="" /> -</div> - -<p>An extract from the license follows:—</p> - -<p>'Francoys, by the grace of God -King of France, to the Bailli and -Provost of Paris, the Seneschal of -Lyon, and all other justiciars, officials, -or their deputies, and to each of them -in his jurisdiction, and as to him shall -appertain, greeting. Our dear and -well-beloved maistre Geofroy Tory, -bookseller, living at Paris, hath now -caused it to be made known and shown -unto us that he hath of late made and -caused to be made certain pictures -and vignettes "à l'antique," and likewise -certain others "à la moderne," to -the end that the same may be printed -and made use of in divers books of -Hours, whereupon he hath employed -himself a very long time, and hath -made divers great expenditures, and -outlay. Wherefore, and to enable him -to recover a part of the outlay that he -hath made and undergone while employed -in procuring the aforementioned -drawings and vignettes to be -made; and to the end that he may have -the wherewithal to live with more -ease, he hath most humbly caused to -be laid before us his petition and request -that he alone and no other may<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span> -have authority to cause the aforementioned -drawings and vignettes to be -printed, for the space and term of six -years, beginning on the day of the -printing of said Hours, and that all<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span> -booksellers be forbidden to make or to -cause to be made any impression thereof, -whether on a white, grey, or red -field, not omitting any of the said black -vignettes, or to reduce them "a petit -ou grant pied"; humbly beseeching -us to that end. Wherefore we, having -duly considered these matters, and -generously acceding to the petition -and request of the said petitioner, and -likewise in recognition of his learning, -literary talent, and the excellent and -praiseworthy report made to us of his -person, and of his talents, competency, -loyalty, wisdom, and goodly -diligence, have granted to him the -privilege that he and no other may -print and cause to be printed the said -vignettes and drawings, and do forbid -all booksellers and printers whomsoever -within our realm, to make or -procure to be made and printed the -said vignettes and drawings, on pain of -a fine of five and twenty silver marks<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span> -to be paid to us, and confiscation of -the Hours, vignettes, and pictures by -them so printed. Given at Avignon, -the <span class="smcapa">XXIII</span> day of September, in the -year of grace one thousand five hundred -twenty-four, and of our reign -the tenth.'</p> - -<div class="figcenter"> -<img src="images/i_b_107.jpg" width="305" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_b_108.jpg" width="304" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_b_109.jpg" width="307" height="500" alt="" /> -</div> - -<p>The third leaf contains some details -concerning the calendar, which begins -on the fourth leaf and ends on the -ninth. The border of the lower part -of leaf Avij is turned upside down. -The Hours begin on the tenth leaf.</p> - -<p>The book is a quarto, but the sheets -are folded two by two, after the style -introduced by Pierre Schoiffer himself, -which gives it the appearance of -an octavo. The signatures run from -A to T, which makes eighteen folds, -or one hundred and forty-four leaves.</p> - -<div class="figcenter"> -<img src="images/i_b_110.jpg" width="320" height="500" alt="" /> -</div> - -<p>The engravings consist of sixteen -complete borders, one of which is repeated -on the recto and verso of each -of the first sixteen leaves, embracing<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span> -thirty-two pages of text, after which -the same decorations reappear. They -are composed of arabesques in which, -from time to time, these words appear -at the sides: <span class="smcapa">SOLI DEO—LAVS—HONOR—GEOFROY—TORY—NON -PLVS</span>. At the foot of certain pages we -see a crowned F (the first letter of the -king's name), a crowned C (the first -letter of the name of Queen Claude, -daughter of Louis XII), and a crowned -dolphin (daulphin), in allusion to the -title of the king's eldest son. Queen -Claude died before the book was finished, -perhaps even before the printing -was begun; but Tory did not choose to -waste the woodcut of her, so it was preserved -and was used for more than fifteen -years, as we shall see. These three -subjects are reproduced in Dibdin's -'Bibliographical Decameron' (vol. i, -page 99); there are two others in the -same work (vol. ii, page 65). At the -foot of the other pages are arabesques,<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span> -among which we find the Pot Cassé, -no. 2. In the text there are thirteen -large drawings, which harmonize admirably -with the borders. All the illustrations, -or almost all, borders and -drawings alike, are signed with the -Lorraine cross.</p> - -<div class="figcenter"> -<img src="images/i_b_111.jpg" width="312" height="500" alt="" /> -</div> - -<p>The book ends on the recto of a leaf -on the verso of which is this colophon: -E<span class="smcapa">XCVDEBAT</span> S<span class="smcapa">IMON</span> C<span class="smcapa">OLINÆVS</span> -P<span class="smcapa">ARISIIS E REGIONE SCHOLARVM DECRETORVM: -ANNO A</span> C<span class="smcapa">HRISTI</span> I<span class="smcapa">ESV NATIVITATE -M. D. XXV. XVII. CAL. FEBR.</span></p> - -<p>This date coincides with January 16, -1525. We have seen that the title-page -bears the date 1524, that is to say, the -year when the book was begun. These -two dates, cited separately, have led -bibliographers astray, and have given -rise to a theory that there are two -different editions of the same book.</p> - -<div class="figcenter"> -<img src="images/i_b_112.jpg" width="309" height="500" alt="" /> -</div> - -<p>Here and there throughout the volume -we find figures in the borders. -These figures are: 16, which appears<span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span> -on the inner side of leaves Ai verso and -Cvij recto and verso; 3, on the outer -side of the border of leaves Aiiij recto -and verso, and Ciiij recto and verso; -10, at the foot of leaf Biij; 12, on the -outer side of the border of leaf Bvi. -Here and elsewhere, to make my descriptions -more clear, these books having -no pagination, I assign signature -letters to the eight sheets of each fold; -but it is common knowledge that they -actually appear on the first four only. I -feel justified in concluding from these -figures that at first certain numbers, -running from 1 to 16, were engraved, -and repeated on each compartment -of the same border, in order to enable -the compositor to assort the pages -properly. Later these numbers were -probably deemed to be of no use and -were cut off. The four that I have noticed, -having inadvertently been left, -were finally removed before the printing -was concluded. The scheme of re<span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>peating -each border on the recto and -verso of the same leaf was very ingenious, -for it permitted the imposition -of a larger number of pages without -calling attention to the repetition, as<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span> -the two similar pages were never seen -at the same time. This required no -more work, for it is very clear that the -borders were not added to the pages -until the very moment of printing, so -that they might not be exposed to the -accidents inherent in the preparatory -handling. M. Willemin has reproduced -several specimens of these borders in -his 'Monuments Français Inêdits' (folio, -1839), page 296.</p> - -<div class="figcenter"> -<img src="images/i_b_113.jpg" width="300" height="500" alt="" /> -</div> - -<div class="figcenter"> -<img src="images/i_b_114.jpg" width="312" height="500" alt="" /> -</div> - -<p>The book contains, as we have said, -thirteen large cuts (all of which except -the second are signed with the -Lorraine cross). They are as follows:</p> - -<p>1 and 2. The Angelic Salutation, in -two plates facing each other.</p> - -<p>3. The Visitation of the Virgin, with -the device 'non plus' in a scroll suspended -from a tree.</p> - -<p>4. The Birth of Jesus.</p> - -<p>5. The Adoration of the Shepherds.</p> - -<p>6. The Adoration of the Magi.</p> - -<p>7. The Circumcision.</p> - -<p><span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_115.jpg" width="301" height="500" alt="" /> -</div> - -<p>8. The Flight into Egypt.</p> - -<p>9. The Coronation of the Virgin.</p> - -<p>10. The Crucifixion of Jesus. This design -has five compartments. In addition -to the Crucifixion, there are bees<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span> -at work, birds building their nests, a -peasant ploughing a field, and another -shearing sheep. Each of these four is -accompanied by the device 'sic vos non -vobis.'</p> - -<div class="figcenter"> -<img src="images/i_b_116.jpg" width="313" height="500" alt="" /> -</div> - -<p>11. The Descent of the Holy Spirit -on the Apostles, with the device 'non -plus' on the pediment of a temple.</p> - -<p>12. The Penance of David, with the -same device, and the word 'peccavi' -in a scroll suspended from a tree.</p> - -<p>13. The Triumph of Death. This last -cut represents Death, armed with a -spear treading on corpses. A crow on -a tree above him has the words 'cras, -cras,' issuing from its beak. At either -side are the devices 'non plus' and 'sic -ut,' on neighbouring buildings.</p> - -<hr class="tb" /> - -<p><span class="smcapa">II.</span> There are two sorts of copies in -Tory's name. The first are identical in -every respect with those of Colines, -except as to the first page, where, after -the title: 'Horæ ... habentur,' we find -this imprint: 'Parisiis, apud Magistrum<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span> -Gotofredum Torinum Bituricum. -Ad insigne vasis effracti, in via -Iacobæa; gallice, Au pot casse, en la -rue sainct Iaques.'</p> - -<div class="figcenter"> -<img src="images/i_b_117.jpg" width="303" height="500" alt="" /> -</div> - -<p>Here the Pot Cassé, no. 3, with the -device 'menti bonæ deus occurrit' at -the top, and 'non plus' at the foot.</p> - -<p>There is no date on the title-page, -but there is one on the last page,—the -same that we find in the copies in -Colines's name (see page 111). I have -seen a copy of this book in the collection -of M. Double, who kindly allowed -me to study it in detail. It is still in its -antique binding, and on the covers, -in large roman letters, is this device, -which is believed to be that adopted -by the unfortunate Dolet:</p> - -<p class="center">D[OMI]NE REDIME ME A CALVMNIIS<br /> -HOMINVM VT CVSTODIAM<br /> -MANDATA TVA.</p> - -<p class="center">D[OMI]NE IVSTICIA TVA IVSTICIA<br /> -IN ETERNVM ET LEX<br /> -TVA VERITAS.</p> - -<p><span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span></p> - -<p><span class="smcapa">III.</span> Other copies in Tory's name have a title-page in French, with no -border. This title-page reads as follows:—</p> - -<p>'H<span class="smcapa">EURES, A LA LOUANGE DE LA</span> V<span class="smcapa">IERGE</span> MARIE, <span class="smcapa">SELON LUSAGE DE</span> -R<span class="smcapa">OME.</span> E<span class="smcapa">SQUELLES SONT CONTENUES LES QUATRE</span> P<span class="smcapa">ASSIONS</span>, L<span class="smcapa">E SERUICE</span> -<span class="smcapa">COMMUN POUR LE TEMPS DAPRES</span> P<span class="smcapa">ASQUES, ET POUR LE</span> C<span class="smcapa">ARESME</span>, L<span class="smcapa">E</span> -<span class="smcapa">SERUICE DE</span> L<span class="smcapa">ADUENT</span>, E<span class="smcapa">T DUDIT</span> A<span class="smcapa">DUENT JUSQUES A LA</span> P<span class="smcapa">URIFICATION -NOSTRE</span> D<span class="smcapa">AME</span>. P<span class="smcapa">AREILLEMENT, LES HEURES DE LA</span> C<span class="smcapa">ROIX, ET DU</span> S<span class="smcapa">AINCT</span> -E<span class="smcapa">SPERIT</span>, L<span class="smcapa">ES SEPT</span> P<span class="smcapa">SEAUMES</span>, V<span class="smcapa">ESPRES</span>, V<span class="smcapa">IGILES, ET</span> C<span class="smcapa">OMMENDACES</span> -<span class="smcapa">DES</span> T<span class="smcapa">RESPASSEZ, AVEC RAISONNABLE NOMBRE DORAISONS, ET SUFFRAGES -DES SAINCTZ ET SAINCTES.</span></p> - -<p>A la fin sont les heures de la Conception nostre Dame, et le symbole de -Athanase. Le tout au long, sans y rien requerir, est tres correcte, en bonne -orthographie de poinctz, daccens, et diphthongues situez aux lieux a ce -requis. Et sont a vendre par Maistre Geofroy Tory de Bourges, libraire demourant -a Paris sus Petit pont, ioignant lhostel Dieu, a lenseigne du Pot -Casse.' Then follows the device 'menti bonæ devs occvrrit,' and the Pot -Cassé in the same form as that on the title-page of the preceding number.</p> - -<p>The order of the contents of the first signature is here a little different -from that followed in numbers one and two. On the verso of the title -the license begins, set in roman letters, which Tory preferred to the -gothic; it occupies two pages, as in the other copies, but those pages are -supplied with the antique borders. On the verso of the second leaf is -the table of Easter-Days, from 1525 to 1552. It is more conveniently -placed here than on the verso of the title, where it is separated from -the calendar by the license. Advantage was taken of the reprinting of -the first signature to remove the figure 16 from the border of the page -containing the table of Easter-Days, and to set right the lower section -of the border of page A vij recto, which is upside down in the other -copies. The figure 3 was not removed from page A iiij, probably because -the second side of that signature was not reprinted; but the 10 has disappeared -from page B iij, which would seem to show that the second -side of signature B was reprinted. The first side of signature T was reprinted -also, in order to change the colophon on the last page, for which -this is substituted: 'Ces presentes heures a lusage de R<span class="smcapa">OME</span> furent acheuees -de imprimer le M<span class="smcapa">ARDY</span> dixseptiesme iour de I<span class="smcapa">ANVIER</span> Mil cinq -cens vingtcinq: pour maistre G<span class="smcapa">EOFROY</span> T<span class="smcapa">ORY</span> de B<span class="smcapa">OURGES</span>, libraire demorant -a P<span class="smcapa">ARIS</span> sus P<span class="smcapa">ETIT PONT</span>, ioignant lhostel D<span class="smcapa">IEU</span>, a lenseigne du -P<span class="smcapa">OT</span> C<span class="smcapa">ASSE</span>.' (The words printed in small capitals are printed in red in the -book.) This is followed by the mark no. 5, with the two mottoes<span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span> -('menti,' etc., and 'sic,' etc.), which accompany that mark on page 43 of -'Champ fleury.' (See supra, p. <a href="#Page_21">21</a>.)</p> - -<p>Tory had several copies printed on vellum; I myself have seen one of -them, belonging to the collection of M. Sauvageot.<a name="FNanchor_244_244" id="FNanchor_244_244"></a><a href="#Footnote_244_244" class="fnanchor">[244]</a></p> - -<p>It will be seen from the date affixed to these copies that they were -not printed until the day following the printing of those which bear the -name of Colines; for it is worth noting that the Tuesday, January 17, -is of 1525, and not of 1526 new style, as would have been the case had -the 'use of Paris' been followed. But Tory thought, doubtless, that he -should follow the Roman usage in a book of Hours to the use of Rome.</p> - -<p>I imagine that this reprinting of three signatures of the Hours of -1524-1525 was done mainly to direct the attention of the public to -Tory's new establishment 'sus Petit Pont.' And this circumstance leads -me to believe that it was done subsequent to January 17, 1525, for it is -not conceivable that Tory would have left his former address, rue Saint-Jacques, -on the copies printed as late as January 16, if he was to be settled -'sus Petit Pont' on the 17th. He retained that date on the reissue, -although it really took place later, in order to conform to the terms of -the license, which imposed upon the beneficiary the duty of specifying -on the books the date when they were first published, so that the date -of its expiration might be fixed, unless the term should be extended, as -was done in the case of this very book of Hours; witness the license of -'Champ fleury,' dated September 5, 1526. Indeed, my own opinion is that -Tory did not remove to the Petit-Pont until about the date last mentioned. -We shall see that he remained there until 1530, when the installation -of his printing-office required him to take more roomy quarters. -However, when he opened his shop on the Petit-Pont he did not abandon -his place on rue Saint-Jacques, which he still occupied at least as late -as 1531.</p> - -<p>M. Niel owns a copy of this book, in which the cuts are coloured in -water-colour, lined with gold. M. Niel thinks that the arabesques are -adapted from those of Raphael in the Vatican, which had lately been reproduced; -the lamented Renouvier, who agreed with M. Niel in attributing -the colouring to Tory, considered it an admirable piece of work.</p> - -<p><span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span></p> - -<p>It will not fail to be noticed, moreover, that Tory calls attention on the -title-page of his copies to the excellent orthography of his book: an additional -proof that this reimpression was subsequent to 1525.</p> - -<p>Tory lent his borders and his engravings to several printers, who frequently -removed his mark therefrom. I will mention particularly five -publications of Simon de Colines on the title-pages of which we find -Tory's borders.</p> - -<p><span class="smcapa">I.</span> 'Divi Joannis Chrisostomi liber contra Gentiles,' etc.; quarto, 1528. -The title-page is surrounded by one of Tory's borders, with the crowned -F at the foot, and the broad upright section with the two scrolls containing -the words 'Geofroy Tory,' which have been removed.—There is a -copy of this volume, in vellum, in the library of M. Solomon de Rothschild, -who has kindly sent me this information.</p> - -<p><span class="smcapa">II.</span> 'Rodolphi Agricolæ Phrisii de inventione dialectica libri tres, cum -scholiis Joannis Matthæi Phrissemii'; quarto, 1529 and 1538. Border composed -of two broad upright sections, one of which was used in the preceding. -A crowned F at the top, and another broad section at the foot.</p> - -<p><span class="smcapa">III.</span> 'Laurentii Vallæ de linguæ latinæ elegantia libri III'; quarto, 1535 -and 1538. Same border as in the preceding.<a name="FNanchor_245_245" id="FNanchor_245_245"></a><a href="#Footnote_245_245" class="fnanchor">[245]</a></p> - - -<p class="p6">2</p> - -<p>I<span class="smcapa">N</span> 1527 Tory published a new edition of his Hours, in one volume, octavo, -printed as before by Simon de Colines, in roman type, with vignettes of -the same sort, but much smaller. There is a copy on vellum at the Bibliothèque -de l'Arsenal; unluckily it lacks the first and last leaves. According -to M. Brunet,<a name="FNanchor_246_246" id="FNanchor_246_246"></a><a href="#Footnote_246_246" class="fnanchor">[246]</a> to whom M. Tosi, of Milan, sent the description of -a perfect copy, also on vellum, the first page reads: 'Horæ in laudem -Beatiss. Virg. Mariæ ad usum Romanum venales extant Parrhisiis ad insigne -vasis effracti.' And the last: 'Hujusmodi Horæ nuper absoluebantur -a prælo Colineo, die vicesima prima Octobris anno Domini 1527, pro magistro -Gotofredo Torino Biturigico Bibliopola ad insigne vasis effracti Parrhisiis -commorante, ubi venales beneuolis omnibus amicabiliter extant.'</p> - -<p>We give herewith an extract from the license of this new publication, -which license included also 'Champ fleury' and the Hours of 1524-1525:</p> - -<p><span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span></p> - -<p>François, by the grace of God King of France, to the Provost of Paris, -the Bailli of Rouen and the Seneschal of Lyon, and to all our other justiciars -and officials and their deputies, and to each of them as to him shall -appertain, greeting. Our dear and well-beloved maistre Geofroy Tory de -Bourges, bookseller, living at Paris, hath now caused it to be made known -and shown unto us that, in order to proclaim, exalt and embellish the -Latin and French tongues, he hath not long since made and composed -a book in prose and in the French language entitled: 'Lart et science de -la deue et vraye proportion des lettres attiques, autrement dictes antiques -et vulgairement lettres romaines, proportionnees selon le corps et visaige -humain'; the which book he hath caused to be placed before us, soliciting -and requesting us to grant unto him leave, permission and license to print, -or cause to be printed the said book, together with certain drawings and -vignettes 'à l'antique and à la moderne'; likewise friezes, borders, crowns -and scrolls; also to cause to be printed books of Hours, in such form and -of such size as to him shall seem good, during the time and term of ten -years, beginning on the day of the printing of said Book and said Hours; -together with an extension for the same term for certain drawings and -vignettes by him heretofore printed.—We hereby give you to know, -that we, in consideration of the foregoing, generously acceding to the -petition and request of the said maistre Geofroy Tory, and having regard -to the toil, labour, outlays and expense which it hath behooved him -to undergo and sustain, as well in the composition of the said books, as for -the engraving of the said drawings, vignettes, friezes, borders, crowns -and scrolls to accompany the said Hours, as hereinbefore mentioned, in -divers forms and sizes,—have granted to him the privilege of printing -the said books, enjoining you not to allow any other printers or booksellers -within our realm, domains and seignories to print the said books -and Hours, on pain of one hundred silver marcs to be paid to us, and of -confiscation of said books. Given at Chenonceau the fifth day of September, -in the year of grace one thousand five hundred twenty-six, and of -our reign the twelfth.</p> - -<hr class="tb" /> - -<p>In this new book of Hours there are thirty-two different borders, -which reappear on every second leaf—one hundred and twenty-eight -in all. The text is embellished by sixteen large subjects, naturally smaller, -however, than those in the quarto. In the copy at the Arsenal, the only -one that I have seen, these subjects are coloured. I did not discover Tory's -mark anywhere; but his mottoes do appear,—'menti bonæ devs occvrrit';<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span> -'sic vt, vel vt'; 'non plvs';—which proves that these plates were engraved -for him, if not by him.</p> - -<p>A list of the drawings follows:—</p> - -<blockquote> - -<p>1 and 2. The Angelic Salutation; two plates on adjoining pages, as -in the quarto of 1524-1525.</p> - -<p>3. The Visitation of the Virgin.</p> - -<p>4. The Birth of Jesus.</p> - -<p>5. The Annunciation to the Shepherds.</p> - -<p>6. The Adoration of the Magi.</p> - -<p>7. The Circumcision.</p> - -<p>8. The Flight into Egypt.</p> - -<p>9. The Coronation of the Virgin.</p> - -<p>10. St. Joachim and St. Anne Embracing (this is not included in the -edition of 1524-1525).</p> - -<p>11. The Crucifixion.</p> - -<p>12. The Descent of the Holy Spirit on the Apostles.</p> - -<p>13. The Penance of David.</p> - -<p>14. The Triumph of Death.</p> - -<p>15. The Holy Trinity.</p> - -<p>16. The Virgin and the Child Jesus.</p> - -<p>(The last two are not included in the edition of 1524-1525.)</p></blockquote> - -<p>The signatures run from A to Z; that is to say, there are twenty-three -octavo sheets.</p> - -<p>The copy of the octavo Hours of 1527 at the Arsenal is a lovely volume -printed on vellum, with a number of manuscript prayers in French -added at the end. The calligraphic execution of these prayers, which are -surrounded by borders in imitation of those in the book, is wonderfully -fine. The colouring of the plates and the illuminating of the initial letters -and of those at the ends of paragraphs make the volume of great value. -It is still in its original binding (once very sumptuous, but now sadly out -of repair), on the covers of which one can distinguish interlaced C's, -barred S's, and star-shaped figures formed of two triangles turned end for -end. Can it have belonged to Catherine de Médicis, who became the consort -of Henri II in 1533? Unluckily it lacks two essential leaves, the first -and the last.</p> - - -<p class="p6">3</p> - -<p>I<span class="smcapa">N</span> the same year, Tory had printed by Simon Dubois ('Silvius') a quarto -edition of this same book of Hours, 'suivant l'usage de Paris.'</p> - -<p><span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span></p> - -<p>It is dated October 22, 1527. It contains the new license, and comprises -thirty-six quarto sheets, folded two by two according to custom, and forming -eighteen octavo signatures, A to S. The book is printed throughout -in the gothic type of that time, with the borders 'à la moderne' mentioned -in the license of 1524, consisting of arabesques of flowers, insects, -animals, etc. There are twenty-six complete borders, which recur in -regular order. We find again here, as in the first quarto, thirteen large -subjects interspersed through the text. But a noteworthy fact is, that although -these subjects, with two exceptions,<a name="FNanchor_247_247" id="FNanchor_247_247"></a><a href="#Footnote_247_247" class="fnanchor">[247]</a> are the same as those in the -first quarto, they are of entirely different designs, appropriate to the -'modern' borders and type. It would be difficult to carry further the love -of artistic harmony. Neither the borders nor the illustrations bear Tory's -mark, and I doubt whether they are his. Perhaps the design was Perreal's -and the engraving by one of the artists employed by Tory, who must -then have had an organized workshop, if we may judge from the number -of works which he produced about that time.</p> - -<p>Dibdin speaks enthusiastically of this edition of the Hours, in his -'Bibliographical Decameron'; he even reproduces four of the large cuts -by which it is illustrated.<a name="FNanchor_248_248" id="FNanchor_248_248"></a><a href="#Footnote_248_248" class="fnanchor">[248]</a> He says that it is the 'most beautiful work' -of that sort that he has ever seen, and expresses great surprise that the -arabesques have been cast aside. I confess that I do not share his feeling. -The book seems to me badly done, both from the artistic and from the -typographical standpoint: the borders do not harmonize, they are out -of proportion, and the engraving does not impress me as beyond reproach. -But Dibdin's opinion is, as everybody knows, very unreliable; his carelessness -is proverbial. Indeed, he gives us a striking instance of it in this very -passage: for he tells us that this book was published by Tory of 'Bruges,' -and that it has on the title, the Pot Cassé of Simon du Bois<a name="FNanchor_249_249" id="FNanchor_249_249"></a><a href="#Footnote_249_249" class="fnanchor">[249]</a>; two errors -in one line!</p> - -<p>Among the small cuts at the foot of the pages, we observe the shield -of France; the crowned F; the crowned salamander; the crest of the king's -mother, 'party' of France and of Savoy, with her widow's girdle; her initial -(L), crowned; the shield 'party' of Navarre and of France, with the -letters H and M intertwined (the initials of Henri d'Albert, King of -Navarre, and Marguerite, sister of François I, whose marriage had been<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span> -celebrated January 24, 1526<a name="FNanchor_250_250" id="FNanchor_250_250"></a><a href="#Footnote_250_250" class="fnanchor">[250]</a>); the Pot Cassé, no. 1, that is to say, in its -simplest form, etc.</p> - -<p>The exact title of this book is as follows: 'Hore in laudem beatissime -Virginis M<span class="smcapa">ARIE</span>: secundum consuetudinem E<span class="smcapa">CCLESIE</span> P<span class="smcapa">ARISIENSIS</span>.' -(Here the Pot Cassé, no. 9.) 'Venales habentur P<span class="smcapa">ARRHISIIS</span>, -<span class="smcapa">APUD</span> M<span class="smcapa">AGISTRUM</span> G<span class="smcapa">OTOFREDUM</span> Torinum Biturigicum: <span class="smcapa">SUB INSIGNE</span> V<span class="smcapa">ASIS EFFRACTI</span>: -<span class="smcapa">GALLICO SERMONE</span> A<span class="smcapa">U</span> P<span class="smcapa">OT</span> C<span class="smcapa">ASSE</span>.'—All the words here printed -in small capitals are printed in red. On the verso of the title-page is the -license, dated September 5, 1526. At the end of the book is the following: -'Ces presentes Heures a lusage de Paris, privilegiees pour dix ans -commenceans a la presente date de leur impression, furent achevees dimprimer -le vingt deuxiesme iour Doctobre, Mil cinq cens vingt sept, par -maistre Simon du bois, imprimeur, pour maistre Geofroy Tory de Bourges, -qui les vend a Paris a lenseigne du Pot Casse.' (Here the same mark as on -the first page.)</p> - -<p>It will be noticed that, although Tory felt bound to give the title of -the book in Latin, he could not forbear to print his address in French.</p> - -<p>This is the order of the plates, all of which measure nine centimetres -by six:—</p> - -<blockquote> - -<p>1 and 2. The Angelic Salutation, in two plates on successive pages -(fol. f 3 verso, and f 4 recto).</p> - -<p>3. The Sibyl of Tibur (see the description on page 123, note 1), fol. g -8 recto.</p> - -<p>4. Jesus on the Cross, fol. h 6 recto.</p> - -<p>5. The Descent of the Holy Spirit on the Apostles, fol. h 7 recto.</p> - -<p>6. The Birth of Jesus, fol. i 1 recto.</p> - -<p>7. The Annunciation to the Shepherds, fol. i 6 recto.</p> - -<p>8. The Adoration of the Magi, fol. k 2 recto.</p> - -<p>9. The Presentation in the Temple, fol. k 6 recto.</p> - -<p>10. The Flight into Egypt, fol. l 2 recto.</p> - -<p>11. The Coronation of the Virgin, fol. l 7 recto.</p> - -<p>12. David Playing the Harp, fol. m 5 recto.</p> - -<p>13. The Triumph of Death, fol. n 7 recto.</p></blockquote> - -<p>M. Brunet<a name="FNanchor_251_251" id="FNanchor_251_251"></a><a href="#Footnote_251_251" class="fnanchor">[251]</a> mentions a copy of this book on vellum. The Bibliothèque -Nationale owns one on paper, bound by Capé, with tooling copied from -Tory's.</p> - -<p><span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span></p> - -<p class="p6">4</p> - -<p>H<span class="smcapa">OURS OF THE</span> V<span class="smcapa">IRGIN</span>, in roman type, with borders and arabesques 'à -l'antique' on each page. A small 16mo volume, printed by Tory, February -8, 1529 (old style).</p> - -<p>Here is a description of this little gem, taken from the only copy that -I have seen, M. Niel's, which is on vellum.</p> - -<p>The title reads thus:—</p> - -<p>'HORÆ <span class="smcapa">IN LAUDEM BEATISSIMÆ</span> V<span class="smcapa">IRGINIS</span> M<span class="smcapa">ARIÆ, SECUNDUM USUM</span> R<span class="smcapa">OMANUM</span>.' -Then the Pot Cassé, and at the foot of the page: 'Menti bonæ -Deus occurrit.'</p> - -<p>On the verso of the title-page:—</p> - -<p>'Rex christianiss. statuit ne quis alius a Gotofredo Torino Biturigico, -Bibliopola Parrhisiis habitante, imprimat aut imprimi faciat infra decennium -in toto regno hujusmodi coronamenta et figuras, sub pœna gravissima, -ut in diplomate ad hoc obtento latissime patet.'</p> - -<p>Then comes an abstract of the pontifical license, undated; and on the -following leaf the table of Easter-Days from 1530 to 1552.</p> - -<p>On the last page: 'Parrhisiis, apud Gotofredum Torinum Biturigicum, -viii. die febr. anno sal. <span class="smcapa">M. D. XXIX</span>,<a name="FNanchor_252_252" id="FNanchor_252_252"></a><a href="#Footnote_252_252" class="fnanchor">[252]</a> ad insigne Vasis effracti.'</p> - -<p>The signatures run from A to Y; that is to say, the book consists of -22 octavo forms, or 176 leaves. The pages, which contain 21 lines of brevier, -measure thus:—</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="SIGNATURES"> -<tr> - <td class="tdl">Height, text alone</td> - <td class="tdl">77 millimetres.</td> -</tr> -<tr> - <td class="tdl">Height, with border</td> - <td class="tdl">96 millimetres.</td> -</tr> -<tr> - <td class="tdl">Width, text alone</td> - <td class="tdl">29 millimetres.</td> -</tr> -<tr> - <td class="tdl">Width, with border </td> - <td class="tdl">48 millimetres.</td> -</tr> -</table></div> - -<p>The volume contains twenty-one small cuts, unsigned, but all engraved -in Tory's manner. Here is a list of them:—</p> - -<blockquote> - -<p>1. Jesus on the Cross; a very small cut with five sections, like the -Crucifixion of the quarto of 1524-1525; that is to say, there are bees at -work, birds building their nests, a peasant ploughing, and another shearing -sheep.</p> - -<p>2 and 3. The Angelic Salutation; two cuts facing each other, as in -the Hours of 1524-1525.</p> - -<p>4 and 5. The Visitation (idem).</p> - -<p>6 and 7. The Birth of Jesus (idem).</p> - -<p>8 and 9. The Annunciation to the Shepherds (idem).</p> -<p><span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span></p> -<p>10 and 11. The Adoration of the Magi (idem).</p> - -<p>12 and 13. The Circumcision (idem).</p> - -<p>14. The Massacre of the Innocents.</p> - -<p>15. The Coronation of the Virgin.</p> - -<p>16. The Crucifixion.</p> - -<p>17. The Descent of the Holy Spirit.</p> - -<p>18. Bathsheba at the Bath.</p> - -<p>19. The Triumph of Death.</p> - -<p>20. The Trinity (small cut).</p> - -<p>21. The Virgin in a halo, with an angel on each side.<a name="FNanchor_253_253" id="FNanchor_253_253"></a><a href="#Footnote_253_253" class="fnanchor">[253]</a></p></blockquote> - - -<p class="p6">5</p> - -<p>B<span class="smcapa">OOK OF</span> H<span class="smcapa">OURS</span>, quarto; same typographical arrangement as in the -quarto of 1524-1525. On the title-page, which has the border of those -copies of the earlier edition which bear the imprint of Simon de Colines, -we read:—</p> - -<p>'HORÆ <span class="smcapa">IN LAUDEM BEATISS. VIRGINIS</span> MARIÆ. A<span class="smcapa">D USUM</span> R<span class="smcapa">OMANUM</span>.—P<span class="smcapa">ARRHISIIS</span>, -<span class="smcapa">APUD</span> G<span class="smcapa">OTOFREDUM</span> T<span class="smcapa">ORINUM</span> B<span class="smcapa">ITURIGICUM, REGIUM IMPRESSOREM.</span> (Then comes the motto: M<span class="smcapa">ENTI BONÆ</span> D<span class="smcapa">EVS OCCVRRIT</span>, -and beneath it the Pot Cassé.) Cum privilegio summi Pont. et -Regis christianiss. ad decennium et ultra, ut in calce hujus operis patet.'<a name="FNanchor_254_254" id="FNanchor_254_254"></a><a href="#Footnote_254_254" class="fnanchor">[254]</a></p> - -<p>On the verso of the title the list of Easter-Days, from 1531 to 1560; -then the Calendar, the type in which this is set being so large that it was -necessary to omit the arabesques with figures at the foot of the border -and substitute simple arabesques like those at the top.</p> - -<p>On the recto of the last leaf is the abstract of the licenses, papal and -royal, and on the verso this colophon, set in the border of the last page of -'Champ fleury': 'Parrhisiis, ex officina Gotofredi Torini Biturigici, regii -impressoris, ad insigne Vasis effracti, anno salu[tis] <span class="smcapa">M. D. XXXI</span>, die <span class="smcapa">XX</span> mensis -octo[bris].' Then the Pot Cassé and at the foot of the page:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Effracti, lector, subeas insignia vasis,</div> - <div class="i1">Egregios flores ut tibi habere queis.'</div> - </div> -</div> -</div> - -<p>The volume consists of twenty signatures (A to V) of two sheets -each, set in the roman type used in 'Champ fleury'; borders of the Hours<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span> -of 1524-1525; also the thirteen drawings of that edition, but with special -borders in the form of porticoes, which appear in other minor works -of Tory published in 1531, of which we shall speak in the following section. -It is a fact worthy of remark that we no longer find the name Geofroy -Tory on his borders, and that even his mark has disappeared from several -of the cuts, particularly the first cut of the Angelic Salutation,<a name="FNanchor_255_255" id="FNanchor_255_255"></a><a href="#Footnote_255_255" class="fnanchor">[255]</a> the Adoration -of the Shepherds, the Adoration of the Magi, the Flight into -Egypt, the Coronation of the Virgin, the Penance of David, and the -Triumph of Death. This circumstance leads me to believe that Tory had -lent these plates to other publishers, as he had lent his borders to Simon de -Colines, and that they removed the marks in order to appropriate more -completely the publications in which the plates were used. This was what -Simon de Colines did, as we have already seen (page 120).</p> - -<p>A no less interesting fact is that, in the borders, the crowned C's are -retained, which refer to Claude de France, the first wife of François I, -who died in 1524 and was succeeded in 1530 by Eleonora of Austria.</p> - -<p>We find also in this edition four unsigned cuts which do not appear -in the quarto of 1524-1525:—</p> - -<p>Fol. H 8. The Angelic Salutation; a special design, quarto size.</p> - -<p>Fol. L 6. The Angelic Salutation; quite small, occupying only the -upper part of a page.</p> - -<p>Fol. R 7. The Trinity; small, with a special border.</p> - -<p>Fol. V 3. The Virgin; small, with a special border.</p> - -<p>The last two are taken from the 16mo Hours of 1529. The floriated -letters are the same as in 'Champ fleury.'</p> - -<p>Papillon, who speaks of this book,<a name="FNanchor_256_256" id="FNanchor_256_256"></a><a href="#Footnote_256_256" class="fnanchor">[256]</a> without giving the title, and attributes -it to Woeiriot, who was not born in 1531, expresses himself -thus concerning it: 'I have seen an old book in which there are some of -his engravings; it is an octavo, each page of which is surrounded by a decorative -border, in compartments, of a beautiful gothic type. They are engraved -very correctly, even though it is line engraving, which is so fine, -so even and so accurate, that I am at a loss to understand how it could -have been done. There are in this book fifteen or sixteen large cuts, also -engraved in line; the drawing of the figures is passable. The little Lorraine -cross, which Woeiriot used as a mark, may be seen in several places -in the borders of this book.'</p> - -<p>M. de Rothschild's copy of this edition has one interesting peculiarity:<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span> -it is enriched by a large plate, unsigned, printed on an oblong -half-sheet, representing the Triumph of the Virgin Mary, which seems -to be an imitation of the Triumph of Apollo in 'Champ fleury.' The -Virgin appears in a chariot drawn by unicorns; behind the chariot are -the Captive Women; around the chariot, Prudence, Temperance, Justice -and Strength; in front of the unicorns, Hope, Faith, Charity; and -farther in front the Nine Muses, the Seven Liberal Arts, the handmaidens -of the Virgin. In the background, we see the Virginal Palace, the Palace -of Jesse, and the Temple of Honour. Beneath the picture is an explanation -in French verse, which begins thus:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Les antiques Cesars triompherent par gloire,</div> - <div class="i0">Mais par humilite (ainsi le faut il croire)</div> - <div class="i0">La noble Vierge va triomphante en bon heur</div> - <div class="i0">Du palais virginal jusquau temple dhonneur.'</div> - </div> -</div> -</div> - -<p>I have seen this engraving nowhere else except in a copy of the edition -of the Hours published in 1542 by Olivier Mallard, of which I shall -speak in the third part; but I have no doubt that it was included originally -in all copies of the edition of 1531, perhaps also in that of 1524-1525. -Its chances of preservation were injured by its being bound in the -form of a map. At all events this unsigned plate is in Tory's manner, -and it can hardly be denied that it belongs to him.</p> - - -<p class="p6">6</p> - -<p>At a time which I am unable to fix with precision, but not earlier than -the month of September, 1531, Tory printed another book, in octavo, with -borders made up of plants, animals, insects, birds, etc., like those in the -quarto Hours of 1527, but, naturally, on a smaller scale. I have never -seen this book, but its existence is established to my satisfaction by the -publication of a book of Hours, at a later date, by Olivier Mallard, with -the same borders and vignettes. I can give with certainty neither the title -nor the date of printing of Tory's book; but the date of the engravings -is readily determined approximately, thanks to certain ornaments of -Mallard's book. For instance, we find in it, as in the Hours of 1527, the -crowned F and the salamander of François I, the crowned L and the -biparted shield (France and Savoy) of his mother, who died in 1531, -and a blank shield which suggests the widowhood of François, and consequently -proves that these cuts were designed before July, 1530. As for<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span> -my ascription of these cuts to Tory, it is due to the style of the borders, -which are copied from the Hours of 1527. Moreover, he has added a -special symbol, namely, the coat-of-arms of Bourges (three sheep, placed -two and one, and wearing collars), which appears now and again at the -foot of the page, beside the symbols of François I and his mother. As I -have said, I do not know the title of the book in which Tory first used -these cuts; it seems to me, however, that we may fairly conclude from -the use Olivier Mallard made of them that it was a book of Hours; Tory -probably decided to publish an octavo edition of his Hours 'à la moderne' -of 1527, as he had published in 1527 an octavo edition of his Hours -'à l'antique' of 1524-1525. Indeed, it may be that the book in question is -the one thus described by M. Brunet: 'Horæ in laudem beatissimæ Virginis -Mariæ ad usum Rothomagensem.—Parisiis, ad insigne Vasis effracti. -1536.' Small octavo, roman type, line engravings.</p> - -<p>It will be seen that the book is said to be printed at the sign of the -Pot Cassé, without mention of the printer's name. This may mean that -it was printed by Tory's widow, who published Macault's work in the -same way in 1535.</p> - -<p>We shall speak elsewhere of Mallard's book, but this is the place -to mention the engravings it contains, which doubtless appeared also in -Tory's book. In Mallard's publication of 1541 there are sixteen different -borders, the same one being always placed on the recto and verso of each -leaf, and nineteen of the plates of the 16mo edition of 1529. The two -lacking are number 1 and number 21. [The engravings of The Visitation -are reproduced below.]</p> - -<div class="figcenter"> -<img src="images/i_b_129.jpg" width="500" height="429" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span></p> - - - -<div class="figcenter"> -<img src="images/i_b_130.jpg" width="320" height="520" alt="" /> -</div> - -<h2><a name="SECTION_III_WORKS_PUBLISHED_BY_TORY_FOR_FRANCOIS_I" id="SECTION_III_WORKS_PUBLISHED_BY_TORY_FOR_FRANCOIS_I"></a>SECTION III.<br /> -<br /> -WORKS PUBLISHED BY TORY -FOR FRANÇOIS I.</h2> - - -<p class="p6">1</p> - -<p>L<span class="smcapa">E</span> S<span class="smcapa">ACRE ET</span> C<span class="smcapa">ORONNEMENT DE LA</span> R<span class="smcapa">OYNE</span>, -<span class="smcapa">IMPRIME PAR LE COMMANDEMENT DU</span> R<span class="smcapa">OY NOSTRE</span> S<span class="smcapa">IRE</span>. (Pot -Cassé no. 6.) On le vend a Paris, en -la rue Sainct Iaques, devant lescu de -Basle, et devant leglise de la Magdaleine, -a lenseigne du Pot Cassé.—Avec -privilege.</p> - -<p>Quarto, of three signatures. [Paris, -Geofroy Tory, 1531.]</p> - -<p>The title which I have transcribed is -set in a pretty portico-shaped border, -decorated with arabesques, at the foot -of which is found the word 'salvs.'</p> - -<p><span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span></p> - -<p>On the verso: 'Il est permis a maistre Geoffroy Tory de Bourges, marchant -libraire, demourant a Paris, imprimer et mettre en vente ce present -livre,' etc. On the recto of the second leaf: 'Cest Lordre et forme qui -a este faicte et tenue par le commandement du Roy nostre Sire au Sacre -et Coronnement de la Royne ma dame Leonore Daustriche, seur aisnee -de Lempereur, le cinquiesme iour de mars <span class="smcapa">M. D. XXX</span>. Lequel ... a este -mis et redige par escript au vray par moy Guillaume Bochetel, son notaire -et secretaire, signant en ses finances....'</p> - -<p>The text begins immediately under this, with the beautiful decorated -letter (L) which is reproduced on page 1 of this book.</p> - -<p>The license, printed on the last leaf but one, informs us that Tory had -then become a printer, whence we may conclude that it was he who -printed the volume, although there is no definite statement to that effect.</p> - -<p>'We have given to maistre Geoffroy Tory, bookseller, and printer, -leave to print the Queen's Coronation, and do forbid all other printers to -print the same for the term of one year,<a name="FNanchor_257_257" id="FNanchor_257_257"></a><a href="#Footnote_257_257" class="fnanchor">[257]</a> on pain of summary fine on -conviction thereof. Done at Paris the tenth day of March one thousand -five hundred and thirty. D<span class="smcapa">E LA</span> B<span class="smcapa">ARRE</span>.'</p> - -<p>On the last page, which is set in a border of the same type as that of -the title-page, we read, above the Pot Cassé: 'The printing of this present -book was finished the <span class="smcapa">XVI</span> day of March <span class="smcapa">M. D. XXX</span>,<a name="FNanchor_258_258" id="FNanchor_258_258"></a><a href="#Footnote_258_258" class="fnanchor">[258]</a> and it is for sale,'<a name="FNanchor_259_259" id="FNanchor_259_259"></a><a href="#Footnote_259_259" class="fnanchor">[259]</a> etc.</p> - - -<p class="p6">2</p> - -<blockquote> - -<p>L<span class="smcapa">ENTREE DE LA</span> R<span class="smcapa">OYNE EN SA VILLE</span> & <span class="smcapa">CITE DE</span> P<span class="smcapa">ARIS</span>, -<span class="smcapa">IMPRIMEE PAR LE</span> C<span class="smcapa">OMMANDEMENT DU</span> R<span class="smcapa">OY NOSTRE</span> S<span class="smcapa">IRE</span>. (Pot Cassé, no. 6.) On la -vend a Paris, en la Rue Sainct Iaques devant Lescu De Basle, & devant -leglise de la Magdaleine, A Lenseigne du Pot Casse.—Avec Privilege. -Quarto, of six signatures. [Paris, Geofroy Tory, 1531.]</p></blockquote> - -<p>This title is set within the charming title-page border of the Colines -copies of the Hours of 1524-1525. On the verso of the title-page: 'Il est -permis,' etc., as in the preceding volume. On the second leaf the text begins -with a beautiful decorated letter (A) after the style of the L of the -volume last described. This page also is set in a portico-shaped border, -with arabesques; but the latter are different from those in the 'Sacre.'</p> - -<p><span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p> - -<p>We find, too, three other and different borders in the balance of the -work, which gives us in all six pages with borders in addition to that -of the title-page and that of the last page, which is identical with that of -the last page of 'Champ fleury'; some floriated letters also have been -borrowed from this last-named work. Though none of these are signed, -they are surely Tory's, so far as the designs are concerned, at least.</p> - -<p>The text of this book, as of the preceding, is by Guillaume Bochetel, -who signed it. Following his text, Tory inserted a charming cut, representing -the gift presented by the city of Paris to the Queen—a magnificent -candelabrum. At the top are the words: 'Deseing du present faict a la -Royne en deux chandeliers.'<a name="FNanchor_260_260" id="FNanchor_260_260"></a><a href="#Footnote_260_260" class="fnanchor">[260]</a> The license granted to Tory for printing -this book is identical with that of the preceding, except that it is dated -at Anet, April 26, 1531. We learn from the last page that the printing was -finished on Tuesday, May 9, 1531.</p> - -<p>Geofroy Tory was not simply the printer of this little volume; he -was also the publisher, and he added to the text three poems in Latin, of -his own composition. Here they are:—</p> - - -<p class="center"><em>Geofroy Tory of Bourges to Queen Leonora.</em><a name="FNanchor_261_261" id="FNanchor_261_261"></a><a href="#Footnote_261_261" class="fnanchor">[261]</a></p> - -<p>We are about to celebrate this triumph of yours, Leonora, which -your Parisians have conferred upon you. You are a queen so loving-kind -to us that we all can say that you are a real goddess. We can certainly -say that you are a benign goddess, since you at last bless us with grateful -peace. With peace you bless all who inhabit the French kingdom, -so kind have been the fates in establishing you in power. As one upright, -aye, holy, gentle, and a true bestower of blessings, you have -brought our lilies back to their country. By your leave, I will speak in -few words, and I will proclaim the truth: in you resides full national salvation -for us all.</p> - - -<p class="center"><em>The same to the same.</em></p> - -<p>May the gods long continue your happy lot, Leonora. You are our -Joy, our Peace, and our grateful Repose.</p> - - -<p class="center"><em>The same Tory to the French People.</em></p> - -<p>Exult and be glad, people of France; you see what happiness Leonora -now brings to you. She, sent, be sure, by the manifest will of God, enables -you at last to enjoy the blessings of peace. Strew roses, laurel, violets,<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span> -nard, and saffron, and merrily revel to your hearts' content. But be -careful too that you, best of people, be not backward in rendering pious -prayers to God. If you never cease to sing God's praises and to frequent -his temples, believe me, you will long enjoy the blessings of peace. You -will behold the golden ages beneath the smiling heaven, and on earth you -will reap in prosperity golden harvests. Add to this that you will in similar -manner become a race all golden too. Continue, therefore, your holy services -to the most high God.</p> - - -<p class="p6">3</p> - -<blockquote> - -<p>I<span class="smcapa">N</span> L<span class="smcapa">ODOICÆ REGIS MATRIS MORTEM EPITAPHIA LATINA ET GALLICA</span>.—E<span class="smcapa">PITAPHES</span> -<span class="smcapa">A LA LOUENGE DE MA DAME MERE DU ROY FAICTZ PAR</span> -<span class="smcapa">PLUSIEURS RECOMMENDABLES AUTHEURS.</span> (Pot Cassé no. 6.) On les -vend a Paris devant Leglise de la Magdeleine, a Lenseigne du Pot -Casse.—Avec privilege.</p></blockquote> - -<p>Quarto, of two and a half signatures. [Paris, G. Tory, 1531.]</p> - -<p>The license, dated Paris, October 13, 1531, and signed <span class="smcapa">DE LA</span> B<span class="smcapa">ARRE</span>, -like the two preceding, gives Tory at last the title of king's printer: -'We have granted to maistre Geofroy Tory, marchant libraire et <em>imprimeur -du Roy</em>, leave,' etc. On the last page, which, as well as the first, -is set in a border,<a name="FNanchor_262_262" id="FNanchor_262_262"></a><a href="#Footnote_262_262" class="fnanchor">[262]</a> are the words: 'Printed at Paris, at the sign of the Pot -Cassé, by maistre Geofroy Tory de Bourges, bookseller and king's printer. -The <span class="smcapa">XVII</span> day of October, <span class="smcapa">M. D. XXXI</span>.'</p> - -<p>As the title-page indicates, this volume contains verses in Latin and -in French by divers contemporary authors. Among the former is one -by Geofroy Tory himself, which I will give as a specimen.</p> - - -<p class="center"><em>Louise, royal mother, addresses and consoles her France: written by -Geofroy Tory of Bourges.</em><a name="FNanchor_263_263" id="FNanchor_263_263"></a><a href="#Footnote_263_263" class="fnanchor">[263]</a></p> - -<p>France, why do you in deepest sorrow mourn for me? Do you not -know that the whole human race is destined to die? Revive, and consider -how I by my foresight preserved you from the bitter and ruthless enemy. -I leave to you a son, king by divine will, who under my guidance cherishes -you in glorious peace. Joyfully he beholds in your arms his pledges, -who will bring the whole world under your sway. You have a queen -who is the foster-daughter of virtue and peace, and who blesses your lot -with good fortune. You have also another queen, who is the sister and<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span> -good counselor of your consecrated king. With such guides as these, dear -France, you should not complain. You are fortunate in having such leaders. -Moreover, when I die, I will not desert you, for you have my immortal -name. Devotedly I will ever pray for you before the mighty -Thunderer, asking that you may reign victoriously and nobly. Strew -laurel for me, violets, nard, and saffron; strew also flowers, lilies, garlands, -and roses. Add to these, moreover, hymns with most exalted praises, -rites, melodies, incense, myrrh, and prayers. Hesitate not to erect altars to -me. For, as a benign goddess, I now proceed to fly to Heaven. Farewell.</p> - -<hr class="tb" /> - -<p>The first two of these three opuscula exhibit three different kinds of -type: that of 'Champ fleury' and two others. In the third we find a fourth -size. It will be seen that Tory's printing-office was increasing in importance.<a name="FNanchor_264_264" id="FNanchor_264_264"></a><a href="#Footnote_264_264" class="fnanchor">[264]</a></p> - - -<p class="p6">4</p> - -<blockquote> - -<p>O<span class="smcapa">RDONNANCES DU</span> R<span class="smcapa">OY</span> (François I), etc.</p></blockquote> - -<p>Quarto, of four signatures (A to D). Paris, 1532.</p> - -<p>I have seen only the last signature of this collection. It has a special -title-page, embellished by the border of the Colines copies of the Hours -of 1524-1525; but the signature letter (D) and the first word of the title -demonstrate the existence of at least three others. It seems that Geofroy -Tory treated the legislative documents of François I in the sixteenth century -as the Imperial printing-office treats the 'Bulletin des Lois' to-day: -that is to say, each fold has a title, although it forms a part of the same -publication with that which precedes and that which follows.</p> - -<p>I transcribe the title of the signature that I have seen,<a name="FNanchor_265_265" id="FNanchor_265_265"></a><a href="#Footnote_265_265" class="fnanchor">[265]</a> made up of six -leaves, that is a sheet and a half quarto<a name="FNanchor_266_266" id="FNanchor_266_266"></a><a href="#Footnote_266_266" class="fnanchor">[266]</a> (<em>encartées</em>):—</p> - -<p>A<span class="smcapa">UTRES ORDONNANCES NOUVELLES DU</span> R<span class="smcapa">OY NOSTRE</span> S<span class="smcapa">IRE SUR</span> -<span class="smcapa">LESTAT DES TRESORIERS ET MANYMENT DES FINANCES, PUBLIEES EN LA</span> -<span class="smcapa">CHAMBRE DES COMPTES ET AU CONSEIL DE LA</span> T<span class="smcapa">OUR</span> C<span class="smcapa">ARREE</span>. (Pot -Cassé.) Imprimees a Paris par maistre Geofroy Tory de Bourges, libraire -et imprimeur du Roy. Devant Leglise de la Madeleine, a lenseigne du -Pot Casse.—Avec privilege comme il appert cy apres en la fin.</p> - -<p><span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span></p> - -<p>Then follow four ordinances of the king, of the year 1532, 'sur lestat -des tresoriers,' etc. They are dated, the first at Hamby, April 19, the second -at Châteaubriant, June 14, the third and fourth also at Châteaubriant, -May 16. On the recto of the last leaf is the duplicate of the license, in -these words:—</p> - -<p>'The judges appointed by the king in the Chambre de la Tour Carree -to administer the finances, having considered the petition presented by -Geofroy Tory, bookseller and king's printer, praying that he may have -permission to print the ordinances of late issued by the king touching -the administration of his finances and the officers engaged therein, which -have been published in said chamber, and that all other booksellers and -printers may be forbidden to print or to cause to be printed the said -ordinances until the expiration of three years next ensuing, on pain of -summary fine, the said judges have permitted and do permit the said -Geofroy Tory to print the said ordinances, and forbid all other booksellers -and printers to print or cause to be printed the said ordinances for -one year,<a name="FNanchor_267_267" id="FNanchor_267_267"></a><a href="#Footnote_267_267" class="fnanchor">[267]</a> on pain of summary fine. Done at Paris the eighteenth day of -July, in the year one thousand five hundred thirty-two. Signed: Bordel.'</p> - -<p>On the last page is the beautiful final border of 'Champ fleury,' in -which is the Pot Cassé; and beneath it are the words: 'The printing of -these present ordinances was finished the twentieth day of July <span class="smcapa">M. D. XXXII</span>, -by maistre Geofroy Tory de Bourges, bookseller and king's printer.'</p> - - -<p class="p6">5</p> - -<blockquote> - -<p>L<span class="smcapa">HISTOIRE ECCLESIASTIQUE</span> [of Eusebius] <span class="smcapa">TRANSLATEE DE LATIN EN</span> -<span class="smcapa">FRANÇois</span> <span class="smcapa">PAR MESSIRE</span> C<span class="smcapa">LAUDE DE</span> S<span class="smcapa">EYSSEL</span>, <span class="smcapa">EVESQUE LORS DE</span> M<span class="smcapa">ARSEILLE</span>, -<span class="smcapa">DEPUIS ARCHEVESQUE DE</span> T<span class="smcapa">HURIN.</span>—Imprimee par le commandement -du Roy (Pot Cassé).—On les vend a Paris, devant leglise -de la Magdelaine, a lenseigne du Pot Casse. Par maistre Geofroy Tory -de Bourges, marchant libraire et imprimeur du Roy.—Avec privilege -pour six ans.</p></blockquote> - -<p>Paris, G. Tory, 1532. Folio; 6 preliminary leaves, 151 leaves of text, -numbered, and a final unnumbered leaf, on the verso of which are the -words: 'The printing of this present book was finished the <span class="smcapa">XXI</span> day of -October, <span class="smcapa">M. D. XXXII</span>, by maistre Geofroy Tory,' etc. Then follows the Pot -Cassé, surmounted by the arms of France, borrowed from the verso of the -title-page of 'Champ fleury.'</p> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p> - - -<p class="p6">6</p> - -<blockquote> - -<p>L<span class="smcapa">ES TROYS PREMIERS LIVRES DE LHISTOIRE DE</span> D<span class="smcapa">IODORE</span> S<span class="smcapa">ICILIEN</span>, <span class="smcapa">HISTORIOGRAPHE</span> -<span class="smcapa">GREC. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE</span> -A<span class="smcapa">NTHOINE</span> M<span class="smcapa">ACAULT NOTAIRE SECRETAIRE ET VALLET DE CHAMBRE</span> -<span class="smcapa">ORDINAIRE DU ROY</span>, F<span class="smcapa">RANCOYS PREMIER.</span>—Imprimez de l'ordonnance -et commandement dudit seigneur.—Avecques privilege a six ans.—On -les vent a Paris en la rue de la Iuifverie, devant la Magdalaine, a -l'enseigne<a name="FNanchor_268_268" id="FNanchor_268_268"></a><a href="#Footnote_268_268" class="fnanchor">[268]</a> du pot cassé.</p></blockquote> - -<p>At the end: 'Imprimé a Paris, en avril <span class="smcapa">M. D. XXXV</span>.'<a name="FNanchor_269_269" id="FNanchor_269_269"></a><a href="#Footnote_269_269" class="fnanchor">[269]</a>—Quarto.</p> - -<p>The title-page of this book is embellished by a portico-shaped border, -which is found in the first three opuscula described in this section. On -the verso of the title, in the vellum copy at the Bibliothèque Nationale, -is the final border of 'Champ fleury,' in which are depicted the arms of -England, with the device, DIEV EST [<em>sic</em>] MON DROICT.</p> - -<p>The author's exordium begins with a large letter S, decorated with -an escutcheon bearing two fasces accompanied by nine besants, three -by three, with this device in Greek: <span class="smcapa">MHKETI</span> ('not at all'); these are -Macault's arms, doubtless. This letter appears again on folio 148. Facing -the first page of text is a magnificent engraving representing François I -surrounded by his court, listening to Macault as he reads his book to -the king. The author is represented in a clerical costume, with a calotte -on his head. Beside him are the three sons of François I: François, who -died a few years later, Henri, who became Henri II, and Charles, Duc d'Orléans. -This engraving is a faithful copy of the painting on Macault's original -manuscript, which was still in France in 1811, but has since crossed -over to England. It is described in Part 3, section 1 (pages <a href="#Page_166">166</a>-<a href="#Page_168">168</a>).</p> - -<p>The printed book forms a quarto volume of 8 unnumbered preliminary -leaves, 152 numbered leaves (signatures A to Q), and 8 leaves of -index: 168 leaves in all. On the last page is the final border of 'Champ -fleury,' which appears also on the verso of the title.<a name="FNanchor_270_270" id="FNanchor_270_270"></a><a href="#Footnote_270_270" class="fnanchor">[270]</a></p> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_137.jpg" width="313" height="450" alt="" /> -<div class="caption"><p>PIERRE ROFFET</p></div> -</div> - - - -<h2 class="nobreak"><a name="SECTION_IV_WORKS_PRINTED_BY_TORY_FOR_PRIVATE_INDIVIDUALS" id="SECTION_IV_WORKS_PRINTED_BY_TORY_FOR_PRIVATE_INDIVIDUALS"></a>SECTION IV. WORKS PRINTED BY TORY -FOR PRIVATE INDIVIDUALS.</h2> - - -<p class="p6">1</p> - -<blockquote> - -<p>A<span class="smcapa">NTISTITIS INCOMPARABILIS</span> M<span class="smcapa">ICHÆLIS</span> B<span class="smcapa">ODETI, DUM VIVERET EPISCOPI -DUCIS</span> L<span class="smcapa">INGONENSIS ET PARIS</span> F<span class="smcapa">RANCIÆ</span> E<span class="smcapa">PICEDIUM</span>.</p></blockquote> - -<p>Below this title, the arms of Michel de Boudet, engraved on wood. -At the end is the Pot Cassé, with this colophon: 'Parisiis anno salutis -humanæ 1530.' (Michel de Boudet had died in 1529, with the title of -duke and peer, which the Bishops of Langres had borne since the twelfth -century.) Six quarto leaves [Paris, G. Tory, 1530]. Library of the Faculty -of Medicine of Montpellier, no. 292.</p> - -<p>Having had occasion to visit the neighbourhood of Montpellier for -reasons connected with my health, I seized the opportunity to examine -this volume and complete my information concerning it. On the -first page, surrounded by the border of the Colines copies of the Hours -of 1524-1525, are these words: 'Antistitis Incomparabilis Michælis -Bodeti dum viveret Episcopi Ducis Lingonensis et Franciæ Paris Epicedium.' -Then the arms of Michel de Boudet. On the verso: 'Cautum -est privilegio, ne quis hoc Epicedium imprimat aut imprimi curet infra -biennium subpöena in diplomate ad hoc obtento contenta.' The four -following leaves contain a poem in honour of Michel de Boudet; on the -sixth is the Pot Cassé, no. 6, and beneath it: 'Parrhisiis, Anno salutis -humanæ, <span class="smcapa">M. D. XXX</span>.' There is nothing to indicate the author of this<span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span> -little work, which is printed in the same type as the Epitaphs in honour -of the mother of François I.<a name="FNanchor_271_271" id="FNanchor_271_271"></a><a href="#Footnote_271_271" class="fnanchor">[271]</a></p> - - -<p class="p6">2</p> - -<blockquote> - -<p>A<span class="smcapa">POLOGIE POUR LA FOI CHRESTIENNE CONTRE LES ERREURS CONTENUES</span> -<span class="smcapa">EN UN PETIT LIVRE DE MESSIRE</span> G<span class="smcapa">EORGES</span> H<span class="smcapa">ALEVIN</span>.</p></blockquote> - -<p>Paris, G. Tory, 1531. Octavo.</p> - -<p>I borrow this description from the 'Catalogue de la Bibliothèque de -feu M. de La Vallière' (vol. i, p. 275), for I have not been able to inspect -this work, which, however, should be in the Bibliothèque de l'Arsenal -with M. de La Vallière's other books, and in the library at Sainte-Geneviève, -whither it must have gone with the collection of Le Tellier in -whose catalogue it also appears.</p> - - -<p class="p6">3</p> - -<blockquote> - -<p>H<span class="smcapa">ISTOIRE DES</span> E<span class="smcapa">MPEREURS DE</span> T<span class="smcapa">URQUIE</span>, translated from Latin into -French by Barthélemy Dupré. 1532.</p></blockquote> - -<p>I borrow this abridged description from a biography of Tory published -by M. Chevalier de Saint-Amand, honorary librarian of Bourges, -in the 'Annonces Berruyères,' no. 38 (September, 21, 1837).<a name="FNanchor_272_272" id="FNanchor_272_272"></a><a href="#Footnote_272_272" class="fnanchor">[272]</a></p> - - -<p class="p6">4</p> - -<blockquote> - -<p>L<span class="smcapa">ADOLESCENCE CLEMENTINE</span>. A<span class="smcapa">UTREMENT</span>, L<span class="smcapa">ES</span> O<span class="smcapa">EUVRES DE</span> C<span class="smcapa">LEMENT</span> -M<span class="smcapa">AROT DE</span> C<span class="smcapa">AHORS EN</span> Q<span class="smcapa">UERCY</span>, <span class="smcapa">VALET DE CHAMBRE DU</span> R<span class="smcapa">OY, COMPOSEES</span> -<span class="smcapa">EN LEAGE DE SON</span> A<span class="smcapa">DOLESCENCE</span>.—A<span class="smcapa">VEC LA</span> C<span class="smcapa">OMPLAINCTE</span> -<span class="smcapa">SUR LE</span> T<span class="smcapa">RESPAS DE FEU</span> M<span class="smcapa">ESSIRE</span> F<span class="smcapa">LORIMOND</span> R<span class="smcapa">OBERTET</span>.E<span class="smcapa">T PLUSIEURS</span> -<span class="smcapa">AUTRES</span> O<span class="smcapa">EUVRES FAICTES PAR LEDICT</span> M<span class="smcapa">AROT DEPUIS</span> -<span class="smcapa">LEAGE DE SA DICTE</span> A<span class="smcapa">DOLESCENCE</span>. Le tout reveu, corrige & mis en -bon ordre.—On les vend a Paris, devant Lesglise Saincte Geneviefve -des Ardens, Rue Neufve nostre Dame. A Lenseigne du Faulcheur.—Avec -privilege pour Trois Ans.</p></blockquote> - -<p>At the end: 'The printing of this present book was finished on Monday -the <span class="smcapa">XII</span> day of August. Year <span class="smcapa">M. D. XXXII</span>. For Pierre Roffet, called le -Faulcheur. By maistre Geofroy Tory de Bourges, king's printer.</p> - -<p><span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p> - -<p>Octavo, 1st edition. Only a single copy is known, now in the Bibliothèque -Nationale. The volume consists, first, of four preliminary leaves -(half a fold), comprising: (1) the title which I have just transcribed; -(2) on the verso, some laudatory verses, among which figures this distich -of Tory, who was not only Marot's printer, but his friend:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Vis lauros cypriasque comas, charitesque, iocosque,</div> - <div class="i1">Inde sales etiam nosse? Marotus habet';</div> - </div> -</div> -</div> - -<p>(3) Clément's letter 'to a large number of brethren,' dated August 12, -1532, that is to say, on the same day that Tory finished printing the -book, and not August 12, 1530, as was erroneously printed in some subsequent -editions, which has given rise to a theory of an earlier issue<a name="FNanchor_273_273" id="FNanchor_273_273"></a><a href="#Footnote_273_273" class="fnanchor">[273]</a>; -(4) the table of contents; (5) a leaf entirely blank. Then comes the -text of the 'Adolescence Clementine,' extending from folio 1 to folio -104, on which is the word 'finis'; and after that the 'Chant royal,' etc., -from 105 to 115. The book ends with a list of errata on an unnumbered -folio (116). The table of contents, on one of the preliminary leaves, informs -us that one ode had previously been published separately, but no -copy of it is known.</p> - - -<p class="p6">5</p> - -<p><em>The Same.</em></p> - -<p>A second edition of this book was published by the same bookseller, -and the printing finished by Tory on November 13, 1532. It differs from -the first in this respect, that the text and preliminary leaves are joined, -or, to speak more accurately, the first two of those leaves; for the table -of contents is relegated to the end of the volume, in place of the errata, -which no longer appear. The volume consists of a hundred and nineteen -leaves, the last unnumbered. The word 'finis' still appears on folio -104, after the 'Adolescence Clementine'; then comes the 'Chant royal,' -etc.; and lastly two leaves entitled: 'Autres Œuvres faictes en sa dicte -maladie,' indicated by this phrase on the title-page: 'Plus amples que -les premiers imprimez de ceste, ny autre impression.' (Bibliothèque -Mazarine.)</p> - - -<p class="p6">6</p> - -<p><em>The Same.</em></p> - -<p>A third edition was printed by Tory on February 12, 1532 (1533, -new style), like the preceding in every respect, but having only 118 leaves.</p> - -<p><span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span></p> - -<p class="p6">7</p> - -<p><em>The Same.</em></p> - -<p>A fourth edition appeared June 7, 1533, identical with the preceding, -except that the words on the title-page, 'plus amples,' etc. are replaced -by these: 'Avec certains accens notez, cest assavoir sur le é masculin -different du feminim [<em>sic</em>], sur les dictions ioinctes ensembles par -sinalephes, et soubz le ç quant il tient de la prononciation de le s, ce qui -par cy devant par faulte daduis n'a este faict au langaige françoys, combien -q'uil [<em>sic</em>] y fust et soit tres necessaire.'</p> - -<p>This fourth edition of the 'Adolescence Clementine' was the last work -printed by Tory to my knowledge. In the intervals between these four -editions, however, he had published the works of Clément Marot's father, -edited by Clément himself, under the following title:—</p> - - -<p class="p6">8</p> - -<blockquote> - -<p>I<span class="smcapa">AN</span> M<span class="smcapa">AROT DE</span> C<span class="smcapa">AEN</span>, <span class="smcapa">SUR LES DEUX HEUREUX</span> V<span class="smcapa">OYAGES DE</span> G<span class="smcapa">ENES</span> & -V<span class="smcapa">ENISE, VICTORIEUSEMENT MYS A FIN</span>, P<span class="smcapa">AR LE TRESCHRESTIEN</span> R<span class="smcapa">OY</span> -L<span class="smcapa">OYS</span> D<span class="smcapa">OUZIESME DE CE NOM</span>, P<span class="smcapa">ERE DU</span> P<span class="smcapa">EUPLE</span>. E<span class="smcapa">T VERITABLEMENT</span> -<span class="smcapa">ESCRIPTZ PAR ICELUY</span> I<span class="smcapa">AN</span> M<span class="smcapa">AROT</span>, <span class="smcapa">ALORS</span> P<span class="smcapa">OETE</span> E<span class="smcapa">SCRIUAIN DE</span> -L<span class="smcapa">A TRESMAGNANIME</span> R<span class="smcapa">OYNE</span> A<span class="smcapa">NNE</span>, D<span class="smcapa">UCHESSE DE</span> B<span class="smcapa">RETAIGNE</span>, & <span class="smcapa">DEPUYS</span> -V<span class="smcapa">ALET DE CHAMBRE DU TRESCHRESTIĒ</span> R<span class="smcapa">OY</span> F<span class="smcapa">RANCOYS PREMIER</span> -<span class="smcapa">DU NOM</span>. On les vent a Paris, deuant Lesglise Saincte Geneuiefue -des Ardens, Rue Neufue Nostre Dame, A Lenseigne du Faulcheur.—Auec -priuilege pour Trois Ans.<a name="FNanchor_274_274" id="FNanchor_274_274"></a><a href="#Footnote_274_274" class="fnanchor">[274]</a></p></blockquote> - -<p>At the end: 'The printing of this present book was finished the <span class="smcapa">XXII</span> -day of January, <span class="smcapa">M. D. XXXII</span> [1533, new style], for Pierre Roufet, called -Le Faulcheur, by maistre Geufroy Tory de Bourges, king's printer.'</p> - -<p>Octavo of 101 leaves. (Bibliothèque Nationale.)</p> - -<p>In this edition there is a letter of Clément Marot mentioning the -death of his father, 'author of this book.'</p> - - -<p class="p6">9</p> - -<p><em>The Same.</em></p> - -<p>M. Brunet cites a second edition of this book, executed by Tory for -the same bookseller in 1533.</p> - - - -<hr class="chap" /> - -<div class="figcenter" style="width: 487px;"> -<img src="images/i_b_140a.jpg" width="383" height="550" alt="PART III ICONOGRAPHY" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span></p> - - - -<div class="figcenter"> -<img src="images/i_b_141.jpg" width="560" height="222" alt="" /> -</div> - - - - -<h2 class="nobreak"><a name="PART_III_ICONOGRAPHY" id="PART_III_ICONOGRAPHY"></a>PART III. ICONOGRAPHY.</h2> - - -<p> <span class="drop-cap">A</span><span class="smcapa">S</span> I have hitherto called attention to the books that we owe to Tory -whether as publisher, as author, or as printer and bookseller, so it will -be well to notice those which he enriched with his paintings and engravings -during twenty years of his life. This is a new aspect of his whole -career which it is our present purpose to bring into view; for, while Tory -was for some time teacher, bookseller, printer, he was always a draughtsman -and engraver, from the day that he was a man grown.</p> - -<p>But, first of all, there is a preliminary question to be decided: Was -Tory really a painter and engraver? In the first part of this book I said -that he was, but I did not furnish proofs of the fact, and none of the historians -of painting or of engraving have mentioned him in that connection. -It is advisable therefore, first of all, to demonstrate the accuracy of -my assertion. In order to solve this complicated question more easily, let -us divide it.</p> - -<p>Was Tory a painter?</p> - -<p>That Tory was a painter-draughtsman, there can be no doubt, for he -himself makes the assertion in express terms on each page of 'Champ -fleury.' For instance, we read on folio 3 verso of that work, apropos of -the Gallic Hercules:—</p> - -<p>'I saw this same fable in rich painting within the city of Rome near -the Sanguine tower, not far from the Church of Saint Louis, ... and -the better to keep the thing in my eye, I made this drawing....'</p> - -<p>In the collection of verses written by him on the occasion of the -death of his daughter Agnes, Tory makes her speak thus from the urn -wherein she is supposed to repose:—</p> - -<p><span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span></p> - -<blockquote> - -<p class="center">MONITOR.</p> - -<p>Who made for you this urn, set with brilliant gems?</p> - -<p class="center">AGNES.</p> - -<p>Who? My father; famed in this art.</p> - -<p class="center">MONITOR.</p> - -<p>Certes, your father is an excellent potter.</p> - -<p class="center">AGNES.</p> - -<p>He practises industriously every day the liberal arts.</p></blockquote> - -<p>Thus Geofroy Tory himself informs us in 1523 that he industriously -practised the arts. Now, if this were true, he could not have been ignorant -of drawing, which is the first of all the arts. Moreover, it is plain -that in those days an engraver (and we shall prove in a moment that -Tory was one) could not fail to be a draughtsman. The artist was at that -time an all-round workman, embracing all the special branches of his -profession: painting, drawing, engraving, he took a hand at them all. -Not until it became vulgarized, until it became a trade, was art subdivided—and -greatly to its prejudice. In truth, one cannot but realize all -that there is to be desired in the work of those mercenaries of the engraver's -art, who, having no knowledge of the first elements of drawing, -are bidden to reproduce, with the aid of the graving tool, lines which -they do not understand.</p> - -<p>We can therefore assert that, as a general rule, the engravings found -in Tory's books were drawn by him.</p> - -<p>But this is not all: I believe that we should also attribute to him the -admirable miniatures<a name="FNanchor_275_275" id="FNanchor_275_275"></a><a href="#Footnote_275_275" class="fnanchor">[275]</a> that have come down to us of the painter known by -the name of 'Godefroy.' If, indeed, we compare the engravings in Tory's -books with the designs of that painter, we readily recognize a similarity -of execution which seems to establish the identity of the two men. This -Godefroy, who signs his works sometimes with the full name, sometimes -with a simple G, but always in roman letters,—a noteworthy thing at a -time when the gothic was in its most flourishing state,—was no other -than Tory, whose baptismal name, as we have seen, was in Latin Godofredus. -We know how little was thought of family names in the old -days. As late as the sixteenth century it was no uncommon thing to see<span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span> -persons designated by their baptismal names alone, or, at most, with the -name of their native place added. We have seen<a name="FNanchor_276_276" id="FNanchor_276_276"></a><a href="#Footnote_276_276" class="fnanchor">[276]</a> that the famous painter -Jean Perreal, Tory's master and friend, was little known except by the -name of Jean de Paris. Tory himself is called Godefroy the Berrichon -(Godofredus Biturix) in some verses which his friend Gérard de Vercel -composed in his praise in 1512.<a name="FNanchor_277_277" id="FNanchor_277_277"></a><a href="#Footnote_277_277" class="fnanchor">[277]</a> Even at the close of the sixteenth century -our two leading bibliographers, Antoine du Verdier and La Croix -du Maine, who also bore geographical names, deemed it proper to adopt -no other order than that of baptismal names in arranging alphabetically -the authors who are mentioned in their books entitled 'Bibliothèque -Françoise.' There is nothing extraordinary therefore in Tory's signing -his first works with a baptismal name alone. It is true that that name is -slightly different, orthographically speaking, from the one that he used -later; but it is well to remember the change that took place about that -time in our author's customs. Doubtless he signed 'Godefroy' before he -had entirely shaken off the yoke of the classical languages,<a name="FNanchor_278_278" id="FNanchor_278_278"></a><a href="#Footnote_278_278" class="fnanchor">[278]</a> and had -adopted the more French form 'Geofroy,' which was about the year -1523.</p> - -<p>The dates inscribed upon some of Godefroy's paintings, 1519 and 1520, -coincide perfectly with the known facts of Tory's life: that was the -period when, after his second return from Italy, he was fain to utilize -his talents for his livelihood. I may add that we have several engravings -of that same period signed with a G alone, or with a G within which appears -a small <span class="smcapa">F</span>; others signed with a G surmounted by the double cross, -with a small <span class="smcapa">S</span> within; and others signed G. T., which serve to mark the -transition between Tory's use of the simple G and the inscription in full -of his two names, Geofroy Tory. These two names appear together in -one of the borders of his Hours of 1524-1525 [the border which is to -be found on p. 105].</p> - -<p>Whatever the fact may be, we propose to give here, by way of memorandum, -at least a brief list of the works of the painter Godefroy, referring -the reader for fuller information to the interesting article which M. -Léon de Laborde has published upon this subject in the 'Renaissance des -Arts,' vol. i. pp. 891-913, and, later, in the 'Revue Universelle des Arts,' no. -1 (1855), which article we reproduce below with the author's consent.</p> - -<p>The only manuscripts known to contain drawings of this artist are -'Les Commentaires de César,' in three small quarto volumes; and 'Les<span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span> -Triomphes de Petrarque,' in one small octavo volume—all written in -French and bound in vellum.</p> - -<p>The first-named work is not, as one might suppose from its title, a -translation of the famous work of the conqueror of Gaul, but a commentary -thereon in the form of a dialogue between Cæsar and François -I, to whom the book is dedicated. The first volume is now in the British -Museum at London, the second in the Bibliothèque Nationale at Paris, -and the third in the collection of M. le Duc d'Aumale. All the miniatures -in the first volume, and there is a great number of them, are signed -with a G; some bear the date 1519. The same is true of the second volume. -One of the miniatures in the third volume is signed in full, 'Godefroy' -(folio 52); several others, signed G only, are dated 1520.</p> - -<p>As for the 'Triumphs' of Petrarch, which is in the Bibliothèque de -l'Arsenal, the miniatures bear no dates, but they are all signed with a G, -and one has in addition the full name, 'Godefroy.' In the two works the -drawings have the same general appearance; they are distinguished from -those of the professional miniaturists by a very marked sobriety of colouring. -They are noticeable, moreover, by reason of a delicacy of execution -and, at the same time, a sharpness of outline which can have come -from no other hand than that of an engraver; now the engraver can -have been no other than Tory, whose shields and even his antique arabesques -we find in these designs.</p> - -<p>In addition to these two works, of which the name and the <em>style</em> of -the artist seem to me to permit their being attributed to Tory, I will -mention here several others, of a somewhat later date, which likewise -various circumstances make it possible to attribute to him.</p> - -<p>The first is a translation of the first three books of Diodorus Siculus, -by Antoine Macault. This superb manuscript, which was in the library -of M. Firmin Didot <em>père</em> in 1810, is to-day buried in one of the private -libraries of England. A description will be found on pp. 166-168. It is true -that there is nothing about it to suggest Tory, but the style of the painting -and of the engraving (the book was printed by Tory's widow in -1535) leaves no doubt as to his authorship. The second is a collection of -portraits of the kings of France, by Jean du Tillet, the manuscript of -which, presented by the author to Charles IX, is still preserved in the -Bibliothèque du Roi. See the description of this priceless manuscript, and -of several others preserved in the same collection.<a name="FNanchor_279_279" id="FNanchor_279_279"></a><a href="#Footnote_279_279" class="fnanchor">[279]</a></p> - -<p>We come now to the second question:—Was Tory an engraver?</p> - -<p><span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span></p> - -<p>Neither Zani nor Papillon mentions him as such; nevertheless, there -is one presumption in his favour. La Croix du Maine, who was almost his -contemporary, tells us<a name="FNanchor_280_280" id="FNanchor_280_280"></a><a href="#Footnote_280_280" class="fnanchor">[280]</a>, without going into details, it is true, that Tory -was known by the name 'maître au Pot Cassé'; others have said that he -perfected Josse Bade's letters.<a name="FNanchor_281_281" id="FNanchor_281_281"></a><a href="#Footnote_281_281" class="fnanchor">[281]</a> M. Renouvier has recently written<a name="FNanchor_282_282" id="FNanchor_282_282"></a><a href="#Footnote_282_282" class="fnanchor">[282]</a> that -Tory possessed the rare faculty of using the 'eschoppe' [graver] as well as -the pen. 'Le Champ fleury,' he says, 'is a treatise on æsthetics such as none -but an engraver of types could conceive.' What M. Renouvier conjectured, -I assert, with no fear of being contradicted by the facts. To be sure, Tory -did not anywhere state categorically that he was an engraver; but he gave -it to be understood indirectly. For example, he tells us that, among the -fancies that came to his mind on the 6th of January, 1523, and resulted in -the composition of 'Champ fleury,' he remembered 'a letter of ancient -form,' which he had 'not long since made for the house of my lord the -treasurer of the wars, maistre Jehan Groslier, counsellor and secretary to -the king our sire.'<a name="FNanchor_283_283" id="FNanchor_283_283"></a><a href="#Footnote_283_283" class="fnanchor">[283]</a> What was this ancient letter made for the famous bibliophile -Grolier, if not the basis of the beautiful roman characters which -were used in that scholar's establishment to decorate his books, and to -stamp upon them, in gold, this excellent device, among others, 'Ioannis -Grolierii et Amicorum?'<a name="FNanchor_284_284" id="FNanchor_284_284"></a><a href="#Footnote_284_284" class="fnanchor">[284]</a></p> - -<p>Again, all the authorities agree that Claude Garamond was a pupil of -Tory. Now, what could he have learned from his master, if not the art of -engraving types,—he who did nothing else in his whole life?</p> - -<p>Furthermore, it is impossible to doubt that Tory engraved types when -one runs through his 'Champ fleury.' Note especially what he says on folio -34 recto, where, having given a drawing of a capital A reversed, he explains -it in the technical terms of the engraver.</p> - -<p>'This,' he says, 'is done to help and give hints to goldsmiths and engravers, -who, with their burin, graver, or other tool, engrave and cut an -ancient letter reversed [à l'envers], or, as we say, to the left, so that it -may appear to the right when it is printed and placed in its proper aspect. -I have purposely made it white, and its background black, the -opposite of the one that is drawn to the right, so that no one may be<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span> -misled. For, as I have said, I have seen and do see many persons who are -misled. Before the letter to be printed is finished, it is made twice reversed -and twice to the right. In the first of the reversed there are the -punches<a name="FNanchor_285_285" id="FNanchor_285_285"></a><a href="#Footnote_285_285" class="fnanchor">[285]</a> of steel, in which the letter is wholly left-handed. The matrices -have the letter to the right. The letter then cast is, as I have said -of the punches, left-handed. Then finally on the printed paper the whole -appears to the right, and in its proper aspect to be read currently. I had -forgotten to say that the broad leg of the A is one tenth of its square in -width, and the other leg one third as wide. The transverse limb should be -three fourths as wide as the broad leg, as you may see by the drawings -herewith made and duly proportioned.'</p> - -<p>After this, and knowing as we do the relations between Geofroy Tory -and the Estienne family, it will not be deemed extraordinary that I attribute -to our artist the italic letters of Simon de Colines, engraved about -1525, and the roman and italic letters of Robert Estienne, engraved a little -later.</p> - -<p>But Tory not only engraved letters, that is to say, punches on steel, -as some authors have stated: he signalized himself above all by his engravings -on wood, and he illustrated almost all the books of his time, -which fact is almost wholly unknown. I shall be asked, doubtless, upon -what evidence my opinion is based. It is this: In the license to print the -book of Hours, granted to Tory by François I on September 23, 1524, -we read:<a name="FNanchor_286_286" id="FNanchor_286_286"></a><a href="#Footnote_286_286" class="fnanchor">[286]</a> 'Our dear and well-beloved maistre Geofroy Tory ... hath -now caused it to be made known and shown unto us that <em>he hath of late -made</em> and caused to be made certain pictures and vignettes "à l'antique," -and likewise certain others, "à la moderne," to the end that the same may -be printed and made use of in divers books of Hours, whereupon he -hath employed himself a very long time, and hath made divers great -expenditures and outlays.' Evidently the words 'he hath made' do not -here apply to the drawing, but to the engraving of these pictures and -vignettes, which he had previously drawn. Moreover, Tory himself betrayed -his profession of engraver on wood in a charming vignette which -he used as an initial in 'Champ fleury,' and which is reproduced on page 1. -For we see therein, besides a compass, a square, etc., a pen and several -varieties of knives used in wood-engraving; all of which justifies the remark -of M. Renouvier: 'Tory possessed the rare faculty of using the graver -as well as the pen.'</p> - -<p><span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span></p> - -<p>But, I shall be told, it avails nothing to prove vaguely that Tory dabbled -in wood-engraving, if we can point to no works of his in that branch -of the art,—for no one has done so hitherto. I propose to try to gratify -the reader's desire, by proving that there is a way to recognize the engravings -executed by Tory.</p> - -<p>Many persons have already observed that the principal engravings in -Tory's books, those which are most individual, as, for example, the Gallic -Hercules (reproduced on page <a href="#Page_141">141</a>), and that of the Pot Cassé which -accompanies the description of that emblem in 'Champ fleury' (reproduced -on page <a href="#Page_21">21</a>) bear a mark; but this mark they dare not attribute -to him, because it is constantly found upon engravings, alone or accompanied -by initials, for more than a century. M. Robert-Dumesnil, in his -interesting work entitled 'Le Peintre-Graveur français,' published in the -course of his article on Woeiriot,<a name="FNanchor_287_287" id="FNanchor_287_287"></a><a href="#Footnote_287_287" class="fnanchor">[287]</a> who himself used this same mark, a -catalogue of engravings signed with the double cross,—which he calls -the cross of Lorraine or of Jerusalem,—extending from 1522 to 1632. He -concludes that this mark was 'frequently employed in France, as a fictitious -signature, on engravings on wood, by artists whose names will probably -remain forever buried in oblivion.'</p> - -<p>To banish this phantom, which caused M. Renouvier himself to -pause on the pathway of truth,<a name="FNanchor_288_288" id="FNanchor_288_288"></a><a href="#Footnote_288_288" class="fnanchor">[288]</a> it is sufficient to come to close quarters -with it. This is what I propose to do; but first I must thank M. Robert-Dumesnil -for having satisfactorily cleared up one important point. Until -his book appeared, almost all the engravings marked with the double -cross had been attributed to Woeiriot; or, rather, the engravings of the -latter had added to the perplexity of classifiers. By identifying Woeiriot's -work, M. Robert-Dumesnil has simplified the problem considerably. Only -a small number of pieces remain to be ascribed to their authors, and as to -these M. Robert-Dumesnil expresses himself thus: 'None of the works -executed prior to Woeiriot's birth and the beginning of his career as an artist -can be by him; of the others we hasten to say that not one seems to us -to have been designed or executed by him.'</p> - -<p>Nothing could be clearer. Let us add, to close the discussion, that -Woeiriot did not begin to engrave until long after Tory had ceased, as -he was barely two years old when Tory died; and, furthermore, that his -cross is almost always accompanied by his initials; sometimes, however,<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span> -he uses the cross alone, but in that case the date prevents confusion. -Take, for example, the 'Emblesmes et devises chrestiennes composées par -damoiselle Georgette de Montenay,' the first edition of which was in 1571. -It is impossible to attribute these engravings to Tory, who died nearly forty -years earlier.</p> - -<p>The other artists who used the cross may be divided into three classes, -according to M. Robert-Dumesnil's book. First, we find the cross alone, -from 1522 to 1561; secondly, after a long interval, in 1599, the cross appears -accompanied by the initials I, L, B; and, lastly, a little later, two engravers -on copper, named Jean Barra and Claude Rivard, signed their works with -the cross. I do not include here the double cross discovered by M. Robert-Dumesnil -on the printer's mark of a book dated 1632, because it is the mark -of Gilles Corrozet, engraved a century earlier, as we shall see further on.</p> - -<p>To sum up, then, there are no anonymous works bearing the cross -except those produced between 1522 and 1561. The only question is -whether the engravings executed between those dates, which bear the -cross without initials, belong to one or to several artists.</p> - -<p>I will, first of all, call attention to the fact that this interval embraces -only forty years, and that there is no reason to attribute to several contemporaneous -and anonymous artists a very peculiar mark which a single -artist might have used during an even longer time. But this is not all: -this interval can be reduced by several years; for the examples alleged -to be subsequent to 1557, mentioned by M. Robert-Dumesnil, bear no date; -they appear, it is true, in books printed after that year, but they were engraved -earlier, as I shall prove in due time. Blocks are not ephemeral objects; -like type, they can be used indefinitely, and their use at a certain -date does not prove that they had been made within a short time. We -have just cited one—Gilles Corrozet's mark—which, simply by lack of -use, it was possible to reproduce in books for more than a century.</p> - -<p>What surprises me is not that M. Robert-Dumesnil has seen engravings -with the cross printed in 1561, but that he has found none of a later -date, which would have allowed him to fill up the gap that he has left -between the anonymous artist of the cross alone and him who accompanied -it with the letters I, L, B; he might have discovered the beautiful -illustration of the Missal of 1539, which is described hereafter, in -books of the seventeenth and eighteenth centuries. Indeed, we find wood -engravings of the sixteenth century, bearing the double cross, in a book -published at Troyes in 1850!</p> - -<p>On the other hand, I am surprised that M. Robert-Dumesnil found<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span> -no engravings with the cross, accompanied by initials, of a date much -earlier than 1599, for I myself have seen some that were contemporaneous -with Tory. In fact, the Bibliothèque Nationale possesses a book of -Hours according to the use of Paris, printed in that city in 1548, by Jean -de Brye's widow, in which all the engravings are marked with the cross -and the initials L, R. It is an octavo volume, printed in gothic type, and -in red and black. An interesting fact to be noted here is that these engravings -are improved copies of other unsigned engravings belonging -to the printer Thielman Kerver,<a name="FNanchor_289_289" id="FNanchor_289_289"></a><a href="#Footnote_289_289" class="fnanchor">[289]</a> and printed in a large number of books -issued by him or his widow, Iolande Bonhomme, at least as early as 1522,<a name="FNanchor_290_290" id="FNanchor_290_290"></a><a href="#Footnote_290_290" class="fnanchor">[290]</a> -and still to be seen in the Paris Missal, published by his son Jacques in -1559. I have seen also engravings of the artist with the initials I, L, B -(cited by M. Robert-Dumesnil under the date of 1599), in a book of 1547.</p> - -<p>These facts do not tend to contradict my proposition; they prove that -Tory founded a school, and that his pupils adopted his mark (which is -nothing more than his initial, or, rather, his toret, transferred from the -Pot Cassé, of which it was the essential feature, to his engravings), adding -thereto their initials, to distinguish themselves from the master whose -ensign they hoisted, and to preserve their own individuality. I shall recur -to this subject later.</p> - -<p>The principal reason which prevented M. Renouvier from attributing -to Tory, as he was naturally inclined to do, the engravings marked -with the double cross alone, was the impossibility, in his judgement, of -attributing them all to the same artist. 'M. Robert-Dumesnil,' he says, -'has noted a large number of books of 1522 to 1599, on the title-pages -and plates of which the cross of Lorraine is found. This list might be -increased, and the items should be carefully compared by whoever would -try to find on them the mark of a wood-engraving establishment, or of<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span> -several engravers on wood who worked for the booksellers Pierre Gaudoul, -Simon de Colines, Robert Estienne, Grouleau, Gilles Corrozet, Vincent -Sertenas,<a name="FNanchor_291_291" id="FNanchor_291_291"></a><a href="#Footnote_291_291" class="fnanchor">[291]</a> etc.'</p> - -<p>I have already answered the objection based upon M. Robert-Dumesnil's -book, which he himself has abandoned with great pleasure, taking -a deep interest in my discovery.<a name="FNanchor_292_292" id="FNanchor_292_292"></a><a href="#Footnote_292_292" class="fnanchor">[292]</a> As for what M. Renouvier adds, it does -not run counter to my suggestion, for I have already mentioned that, -after Tory's death, his widow carried on his engraving establishment for -several years, retaining the same mark. This, doubtless, is the explanation -of the differences to be noticed in the works signed with the Lorraine -cross; for Perrette le Hullin, not being an engraver herself, must have -employed different workmen.</p> - -<p>This leads me to answer an objection that has been made to my -theory. My attention has been called to the fact that the Lorraine cross -appears on works anterior to Tory,—such, for example, as the mark of -Gauthier Lud, the first printer of Saint-Dié in Lorraine. I have no purpose -to claim the Lorraine cross for Tory alone. He was not its inventor, -nor did it die with him; but there is a distinction to be made between -an emblem employed in a general way, and one employed as the special -mark of an artist. Not only do I not claim for Tory the Lorraine cross surmounting -a circle, which appears on the mark of the Lorraine printer, -Gauthier Lud,<a name="FNanchor_293_293" id="FNanchor_293_293"></a><a href="#Footnote_293_293" class="fnanchor">[293]</a> in 1507, but I exclude the Lorraine cross surmounting a -large gothic G, found on the title-page of a folio Missal according to the -use of the church of Toul, printed at Paris by Wolfgang Hopyl, in 1508.<a name="FNanchor_294_294" id="FNanchor_294_294"></a><a href="#Footnote_294_294" class="fnanchor">[294]</a> -To my mind nothing could be more natural than that the Lorraine cross -should be used in Lorraine; but that does not prove that an artist at -Bourges may not have adopted it as the mark of his establishment.</p> - -<p>I mention hereafter as one of Tory's first engravings on wood the -title-page of a book printed at Meaux in 1522, and I then say that the -preface of that book was dated 'Meldis, anno <span class="smcapa">M. D. XXI</span>.'<a name="FNanchor_295_295" id="FNanchor_295_295"></a><a href="#Footnote_295_295" class="fnanchor">[295]</a> M. Brunet -makes me say,<a name="FNanchor_296_296" id="FNanchor_296_296"></a><a href="#Footnote_296_296" class="fnanchor">[296]</a> I cannot imagine why, 'Metis' instead of 'Meldis'; and -M. Didot, misled by that statement, says that the book in question was -published at Metz,<a name="FNanchor_297_297" id="FNanchor_297_297"></a><a href="#Footnote_297_297" class="fnanchor">[297]</a> which fact seems to him to explain the presence of<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span> -the Lorraine cross on the title. This shows how an error may be appealed -to in support of a theory.</p> - -<p>Not only have I not exaggerated the part played by my hero, as authors -are somewhat in the habit of doing,—on the contrary, I have restricted -it as much as possible. Since the publication of my first edition, -an attempt has been made to prove Tory to be the maker, or, at least, -the decorator, of the beautiful Henri II porcelains, so-called, the subject -of a recent publication of MM. Delange, father and son. M. Didot himself -adopted this opinion,<a name="FNanchor_298_298" id="FNanchor_298_298"></a><a href="#Footnote_298_298" class="fnanchor">[298]</a> which is based upon a vague similarity, but is -completely refuted by the date of Tory's death. So far as I am concerned, -appearances are of no consequence, unless they are accompanied by some -substantial evidence; and that is why I have excluded from the list of -Tory's works some engravings that Messrs. Renouvier and Didot do not -hesitate to attribute to him because of certain similarities, but which do -not bear his mark. It is that mark which has served me as a guide in identifying -Tory's work. The objection is made, to be sure, that this plan requires -the attribution to Tory of engravings of very dissimilar styles. Every -plan has its disadvantages; but, all things considered, I prefer one that has -something to stand upon to one that has nothing. Moreover, it is easy to -explain the different styles of the artist of the Lorraine cross by referring -to what has often taken place in the careers of other artists. In truth, how -many painters have we seen change their style of painting at a certain -period of their lives! But there is an even simpler way of explaining these -dissimilarities in different engravings, namely, by admitting with me that -the Lorraine cross was the mark of Tory's workshop, but that in that workshop -there were other artists of very diverse abilities. In the same way, we -see to-day a multitude of engravings signed 'Andrew,' 'Best,' 'Leloir,' to -which those artists certainly never put their hands.</p> - -<p>But let us have done with argument and come to the facts: they will -prove more conclusively than any number of dissertations the truth of -our statement concerning Tory; they will prove, in fact, that all the -works signed by the cross alone were engraved during that artist's lifetime, -or in the establishment which he founded and which his widow retained -until about 1556.</p> - -<p>To make the demonstration clearer, I will divide what I still have to -say into three sections. In the first I will include all the manuscripts the -decoration of which can be attributed to Tory; in the second I will describe -all the engravings marked with the Lorraine cross that are known<span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span> -to me, arranging them in chronological order; and in the third I will -mention such marks of printer-booksellers bearing the aforesaid cross, -as I have been able to discover. As it is impossible for me to follow the -chronological order in this last category, I have adopted the alphabetical -order, which will enable one to find at once such of these marks as are -mentioned in the second section.</p> - -<div class="figcenter"> -<img src="images/i_b_152.jpg" width="320" height="538" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_153.jpg" width="800" height="209" alt="" /> -</div> - - - -<h2 class="nobreak"><a name="SECTION_I_MANUSCRIPTS_DECORATED_WITH_MINIATURES_BY_TORY" id="SECTION_I_MANUSCRIPTS_DECORATED_WITH_MINIATURES_BY_TORY"></a>SECTION I. MANUSCRIPTS DECORATED WITH -MINIATURES BY TORY.</h2> - -<p class="p6">1. C<span class="smcapa">OMMENTAIRES DE</span> C<span class="smcapa">ÉSAR</span>.</p> - -<p class="p6">2. T<span class="smcapa">RIOMPHES DE</span> P<span class="smcapa">ÉTRARQUE</span>.</p> - - -<p>For a description of these two manuscripts<a name="FNanchor_299_299" id="FNanchor_299_299"></a><a href="#Footnote_299_299" class="fnanchor">[299]</a> I cannot do better than transcribe -in this place the interesting work of Comte Léon de Laborde. I -print this work just as it was published several years ago, having no authority -to modify it. But I think that I may venture to say that if it had -been prepared since the publication of my book on Tory, it would contain -a judgement in his favour. That seems to me to be the result of my -conversations with M. de Laborde. My friend M. Jules Renouvier, whose -death is so deeply to be deplored, and in whose company I examined the -volume of the 'Commentaires' in the Bibliothèque Nationale, was entirely -of my opinion. He spoke of the manuscript in question in these -terms in a critical review of the first edition of my book on Tory, printed -in the 'Revue Universelle des Arts' for September, 1857 (vol. v, no. 6, -p. 511):—</p> - -<p>'The point that we knew least about was Tory's début in the career -of an artist. It was most brilliant if we agree with M. Bernard that he -was the author of the miniatures found in two well-known manuscripts, -the "Commentaires de César" in three volumes and the "Triomphes de -Pétrarque," in which we find the signatures "G," and "Godefroy," and the -dates 1519 and 1520. M. de Laborde has recently described them with all -the care that they deserve, without discovering who this Godefroy was. -He was no other than Geofroy Tory, says M. Bernard, and this opinion -is plausible; for, if the subsequent work of the engraver on wood does -not fulfil the promise of the miniaturist, the drawing is governed by -identical characteristics, and the similarity of style is striking, especially -when we consider the engravings that are nearest in point of time, as<span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span> -those of "Champ fleury," dated 1526. Considered from this point of view, -Geofroy Tory is the most precocious of the artists of the Renaissance: -before the masters of Fontainebleau, he introduced the stately, graceful -and individualized figures, which aroused enthusiasm in the time of -François I, to which Italy lent much of her style, and Germany a little -of her force, but which were more thoroughly French than is generally -admitted. It is well known, moreover, that these miniatures were originally, -even in the "camaieu" process, heightened in effect by chatoyant -tones, with subtleties of drawing which denote a hand more apt to -handle the pencil than the brush, and altogether adapted to the tools of -the engraver. The draughtsman loses a part of his distinction in passing -from a privileged to a commonplace form of art; but so the progress -of art willed.'</p> - -<p>The work of M. Léon de Laborde follows:—</p> - - -<p class="p6">G<span class="smcapa">ODEFROY</span>, P<span class="smcapa">AINTER TO</span> F<span class="smcapa">RANÇOIS</span> I.</p> - -<p>Godefroy has left us, in four small volumes,—the first three entitled -'Commentaires de César,' the fourth 'Triomphes de Pétrarque'—the -proof of a fruitful imagination, of a talent in portrait-painting no less -flexible than varied, and of a superiority original with himself, and thoroughly -French,—a very unusual combination of the qualities peculiar to -our school prior to the formation of the school of Fontainebleau, and of -the qualities—or, to speak more accurately, the defects—which that colony -of foreign artists was soon to introduce in our midst.</p> - -<p>These four volumes, after divers vicissitudes, repose at last, at the end -of their journeyings and safe from the risk of destruction, the first in the -British Museum at London, the second in the Bibliothèque Nationale at -Paris, the third in the collection of H. R. H. the Duc d'Aumale, and the -fourth in the Bibliothèque de l'Arsenal. I will describe first the 'Commentaires -de César,' a beautiful manuscript, the three volumes of which -I have had before me one by one. There are in this work three things -worthy of remark, to which I shall direct the reader's attention for a -brief space. First, the composition of the work; second, the painting of -the decorations; and lastly, the portraits.</p> - -<p>The author, a native of Flanders or Artois, transplanted to the Court -of France, displays no overplus of wit or imagination. He supposes that -King François I, in one of his excursions, or while hunting, meets Julius -Cæsar, and that they converse. The subject of their dialogue is the Gallic -war; it is a sort of commentary on Cæsar's Commentaries, with transparent<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span> -allusions to the events of the reign of François I. It is in these allusions -that we detect the author's predilection for the Belgæ,<a name="FNanchor_300_300" id="FNanchor_300_300"></a><a href="#Footnote_300_300" class="fnanchor">[300]</a> with whose country -he is familiar, and particularly for the city of Tournay,<a name="FNanchor_301_301" id="FNanchor_301_301"></a><a href="#Footnote_301_301" class="fnanchor">[301]</a> which may -well have been his native place. I do not propose to draw any inference -from his hatred of the English<a name="FNanchor_302_302" id="FNanchor_302_302"></a><a href="#Footnote_302_302" class="fnanchor">[302]</a>; although more violent in our northern -provinces than elsewhere, that sentiment was then universal in France. -It would seem, at least so far as the implements of war are concerned, that -the painter who was employed to embellish the manuscript worked under -the author's direction. We find in several places remarks like this: 'The -tower is sufficiently described by the engines that I have caused to be drawn -herein.'</p> - -<p>For the rest, we feel that we have to do with a conscientious author; -and simply by the extracts which follow, we may recognize the man -who is uncertain and hesitates, the student who leaves every one in possession -of his rights and who confides his doubts to the reader. On the -eighth leaf of volume two he has instructed Godefroy, the painter, to -reproduce an antique medallion; he writes in the margin: 'I fear that it -is not that Cassius who was a conspirator in the death of Cæsar, for his -name was Caius Cassius, and I find on the medallion Quintus Cassius.' -As to one of the pictures of machines of war he makes this comment: -'Certain pictures of implements of war, as they are portrayed by Frère -Jocunde in book x of Vitruvius.' Beside another, he says: 'I am not the -inventor of the machines which follow, for I found them in a book that -I secured long ago at Chastellerault, at the Lyon d'or.'</p> - -<p>To this curious piece of information let us add another,<a name="FNanchor_303_303" id="FNanchor_303_303"></a><a href="#Footnote_303_303" class="fnanchor">[303]</a> which tells -us that the author of the book was in relations with an artist of Blois, -a clock-maker and inventive genius: 'The two pictures that follow [two -warlike machines] were taken from a book that Julian, clock-maker at -Bloys, gave me.—Julian is a man of great wit and knows many things.'</p> - -<p>A passage on folio xxii verso of the second volume seems to prove -that the manuscript was written during the years 1519 and 1520: 'By -the map [a map of Gaul] placed at the beginning of the translation of the -first book made at Saint Germain en Laye in the month of April in the -year one thousand five hundred nineteen, you will see clearly who the -Belgæ are.'</p> - -<p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p> - -<p>After the author, it is proper to speak of the calligrapher who wrote -the manuscript; but there is nothing to be said save that it is in a fair -hand. The painter Godefroy deserves more consideration and careful attention. -Let us not forgot that we are dealing with a perfectly well-fixed -time, limited to the years 1519 and 1520; let us, at the same time, recall -the great national movement in art in France from 1450 to 1500, the Italian -campaigns, the arrival of artists and objects of art from Italy during -the reigns of Charles VIII and Louis XII, and lastly, and above all, the sojourn -in France of the two great Italian masters, Leonardo da Vinci and -Andrea del Sarto, from 1515 to 1518. Born and trained amid such influences, -a French painter undertakes to decorate a manuscript for King -François I. What does he do to satisfy the prevailing taste, the fashion, -without denying his past? He divides his talent into two parts,<a name="FNanchor_304_304" id="FNanchor_304_304"></a><a href="#Footnote_304_304" class="fnanchor">[304]</a> and devotes -one, the French part, to the portraits, the other, the Italian imitation, -to the decorations; in both he gives proof of abundant talent. In the -one case, an exact, shrewd observer, he paints faces by faithfully reproducing -their individual traits; in the other, fertile, never the same, abounding -in resources in the ensemble and the details of his compositions, he -is the pupil of Leonardo da Vinci, with suggestions of Mantegna and the -artists of the first Italian Renaissance in the proportion of the figures, in -the ungracefulness of the attitudes, and in the types of the heads.</p> - -<p>From this period, from these influences, and not from Primaticcio, -who was himself subjected to them, dates the Fontainebleau school. It -was adapted to the figure and the type of beauty of Diana de Poitiers; -she encouraged it; but, I say again, it was formed, it was current, before -the reign of the mistress of Henri II and before the painter who is its -most characteristic expression. If we seek to discover what method of -execution was adopted by Godefroy, we see that his portraits are charming -miniatures, comparable with the finest examples that we have of -French miniature-painting; as for the drawings,<a name="FNanchor_305_305" id="FNanchor_305_305"></a><a href="#Footnote_305_305" class="fnanchor">[305]</a> there are some that are -almost grisailles, almost coloured—a mongrel and conventional scheme, -of very doubtful taste. The painter drew his whole subject with the pen, -with a sureness of touch which, it must be said, has no parallel in such<span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span> -microscopical dimensions, especially with respect to the faces and the -landscapes; then he laid in the general outline, with the brush and with -sepia, in flat tones, rather lacking in life. Thus far he did not depart from -the canons of art; but he added coloured costumes, suits of armour, gilded -trappings, and a multitude of details which flutter about in his grisaille -and depart from nature in a most extraordinary way. I have said that his -figures are reminiscences of Italian works. We find among them Donatellesque -forms, profiles perdus, and bold gestures that recall Mantegna, -Perugino-like graceful attitudes and ways of carrying the head, and, in -spite of everything, a French background, and points of resemblance to -Holbein, which might be taken to signify that Godefroy had never seen -Italy. Our national Renaissance had made such progress in nearly a century -that our artists needed only a few drawings, a few engravings, with the -impulsion given by Leonardo da Vinci and Andrea del Sarto, to enter that -Italian current. It may be that our compatriot, like Holbein, was subjected -to this influence from afar, at second hand, without having crossed the -mountains.</p> - -<p><em>First volume.</em><a name="FNanchor_306_306" id="FNanchor_306_306"></a><a href="#Footnote_306_306" class="fnanchor">[306]</a>—The book opens with a map of Gaul, and we read -on the verso of the first leaf the following passage, written within a cartouche: -'Françoys, by the grace of God, King of France, a second Cæsar, -vanquisher and subduer of the Souycez [Swiss], on the last day of April, -one month after the birth of his second son, in his park of Sainct-Germain-en-Laye, -fell in with Julius Cæsar and questioned him shrewdly concerning -the contents of the first book of the Commentaries.' In another cartouche -is a passage of which we need transcribe no more than the first -words: 'Cæsar, first subjugator of the Helvecez [Helvetii, Swiss], graciously -made reply to him,' etc.</p> - -<p>On the third leaf Godefroy has painted the portrait of François I, head -and shoulders alone, in a medallion. He wears his usual costume and the -cap, without a feather, adorned with a banner. His features and his whole -countenance are idealized—they are a little stiff and sharp; the artist -has sought to produce an ideal antique head. The first miniature, on the -verso of the fifth leaf, bears the date 1519, with no monogram; the others—folios -9, 13, 17, 21, 23, 31, 33, 36, 43, 53, 60, and so on to the end—are -signed with a G, and dated the same year. On the miniature painted -on the recto of folio 53, the initial of the artist's name is traced on the -trunk of a tree from which hangs a small cartouche with the words, -'Besanson, 1519.' To be sure, the corresponding passage in the text requires<span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span> -that the miniature in question should represent that venerable city, -but a certain precision in the details, and a sort of predilection manifested -in the care bestowed upon the execution, lead me to believe that the view -was painted after nature, and that Godefroy was attached to that city by -some bond.</p> - -<p>I have already spoken of the special characteristics of these miniatures, -and I will mention here only the one on folio 23, which represents the -building of a bridge over the Saône. In the foreground we see figures -reminiscent of the painter Mantegna in their activity, their vigour, and -a certain almost antique grace. The artist has retained the long pointed -shoes to mark the Frenchman; this is an ill-timed display of archæological -learning.</p> - -<p>The volume, a large octavo, shaped like a notebook, contains 76 leaves, -including the map. It is in its original binding of red morocco, with ornaments -of wreaths of fleurs-de-lis, stamped with small tools. One can see -the marks of the ribbons which were used to close it and to keep the vellum -from puckering. On the recto of the first leaf, below the map of -Gaul, are the words: 'Bibliothecæ Christophori Justelli.' This note, while -it establishes the antiquity of the manuscript, also explains its emigration -to England. Christophe Justel, Councillor and Secretary to the King, -died at Paris in 1649, at the age of seventy, leaving to his son, together -with the taste for study, a valuable collection of books and manuscripts. -Among the latter was this first volume of the 'Commentaires de César.' -Henri Justel succeeded his father in the office of Secretary to the King; -also in his literary studies and in the liberality with which his library and -house were thrown open to scholars. The letters of all the learned men of -the time bear witness to his hospitality offered to learning.</p> - -<p>He published at Paris, in 1661, the 'Bibliotheca juris canonici veteris -ex antiquis codd. mss. bibliothecæ Christophori Justelli,' in two folio volumes, -and he seemed destined to pursue in peace his erudite career. But -the tempest called the Revocation of the Edict of Nantes was preceded, -for far-seeing Protestants, by premonitory signs which were enough for -Henri Justel. He packed up his books and crossed to England, where he -was appointed Librarian to the King—an office which he held until his -death in 1698. The manuscript of the 'Commentaires' was probably purchased -at the sale of his library by Robert Harley, Earl of Oxford. The -Lord Treasurer of England (1661-1724) found consolation for the ingratitude -of men in forming that magnificent collection, which retains the -name of the Harleian Collection in the British Museum.</p> - -<p><span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span></p> - -<p>Our manuscript, however, reached that haven only with the second -part of Robert Harley's books and manuscripts, in 1754.</p> - -<p><em>Second Volume.</em><a name="FNanchor_307_307" id="FNanchor_307_307"></a><a href="#Footnote_307_307" class="fnanchor">[307]</a>—The first miniature represents François I on horseback, -in hunting costume, wearing the chapeau with plumes. The King -is urging his horse to the right. Above his head a crowned F in gold stands -out against the blue background of a shield. This was a device for disclosing -his identity to those who were not struck by the likeness. In the -middle distance is a huntsman, galloping in the same direction as the -King and blowing his horn. Over his head floats a banderole, bearing -the name 'P<span class="smcapa">EROT</span>.'<a name="FNanchor_308_308" id="FNanchor_308_308"></a><a href="#Footnote_308_308" class="fnanchor">[308]</a> On a stone between the legs of the King's horse is -the initial letter of the artist's name; and beneath, in a frame (separated, -however, by a running dog), the date 1519. The border is of the utmost -grace of design, and leaves room for a few words of the text, which begins -thus:—</p> - -<p>'Françoys, by the grace of God King of France, desiring to exercise -his lusty youth by violent labour, early in the month of August in the -year one thousand five hundred nineteen, went forth to course the stag -in the forest of Byevre, and gave order that on that day those dogs should -course which he had chosen to lead the pack, because they are surer -than the others. Gaillart was of the number, as was Gallehault, and pretty -Rameau. Arbault, Gerfault, and Billehault went in their company.</p> - -<p>'The King was following the stag very close and was riding at full -speed when he fell in with the chaste Diana. The King was overcome -with joy, and having forgotten his quarry, he was all amazed that the -vision vanished and he remained all alone in deepest thought. But soon -after he saw beside him an ancient man of venerable aspect. He knew -upon hearing him speak that it was his friend Julius Cæsar, whom he<span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span> -had met in like manner, only three months before, in his park at Sainte-Germain-en-Laye.'</p> - -<p>Thereupon they enter into conversation upon Cæsar's campaigns.</p> - -<p>Godefroy's plates, almost all of which are signed with a G and dated -1519, are on these leaves: 2 verso, 3 verso, 4 verso, 5 verso, 7 verso, 9 verso, -20 recto, 22 verso, 28 recto, 33 verso, 34 verso, 36 verso, 37 verso, 43 recto, -46 verso, 48 verso, 59 verso, 62 verso, 78 verso, 90 recto.</p> - -<p>The medallions, which are copied from the antique, are admirably -executed in gold on a blue ground, the models being delicately outlined -in sepia. They are on leaves 6 verso, 8 recto, 9 verso, 10 verso, 11 recto and -verso, 12 recto and verso, 13 recto and verso.</p> - -<p>Warlike machines, copied from other drawings, and consequently -lacking the life imparted by the representation of real objects, fill leaves -39 recto and verso, 40 recto and verso, 41 recto, 91 recto and verso, 92 -recto and verso, 93 recto and verso, 94 recto.</p> - -<p>Lastly, the portraits may be found on the leaves which I am now -about to enumerate. I will add nothing to what I have said of their perfection, -generally speaking, reserving my comments for the points of -interest suggested by the manuscript itself. These portraits, as one might -have anticipated, and as is proved by leaf 52 most directly, are copies of -originals which antedate the manuscript. They are painted in miniature, -surrounded by three circles of black and gold; the whole medallion is -fifty-two millimeters in diameter, the miniature forty.</p> - -<p>Leaf 25 verso: Quintus Pedius. Such is the title given by the scribe; -but a different hand has written in the margin, in cursive characters: -'Le grand maistre de Boissy, aged 41 years.' I am inclined to see in these -marginal annotations the hand of the author rather than that of the -artist. This portrait is three-quarters full, turned to the left, with a cap -on its head, the hair in a net, a collar of some order around the neck, face -tranquil, expression shrewd.</p> - -<p>Leaf 35 recto: Le Fiable Divitiacus Dautun. ('Admiral de Boissy, seigneur -de Bonivet, aged 34 years.') Three-quarters full, turned to the right.</p> - -<p>Leaf 36: Quintus Titurius Sabinus. ('Odet de Foues, Sieur de Lautrec, -aged 41 years.') Three-quarters full, turned to the left.</p> - -<p>Leaf 42: Iccius. ('Le mareschal de Chabanes, seigneur de la Palice, aged -57 years.') Three-quarters full, turned to the left, expression slightly -haughty.</p> - -<p>Leaf 52: Lucius Aruculeius Cotta. ('Anne de Montmorency, aged 22 -years, afterwards connestable de France.')</p> - -<p><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span></p> - -<p>Leaf 73: Publius Sextius Baculus. ('Le mareschal de Fleuranges, son -of Robert de la Marche, first seigneur de Sedan, aged 24 years.') Three-quarters -full, turned to the left.</p> - -<p>Leaf 76 verso: Publius Crassus. ('Le sieur de Tournon who was killed -at the battle of Pavia, aged 36 years.') Three-quarters full, turned to the left.</p> - -<p>On the verso of leaf 89 we find these words: 'Thus Cæsar made an -end of speaking and forthwith disappeared. The radiant Diana, who -knew the paths of the forest of Bièvre, and of all time was privy to and -understood the laws of the chase, remounted, and by so straight a course -led the King, who had lost the dogs, that within a few hours, near the -forest of Fontainebleau, he saw them hunting better than before. And -he was the first of all at the death of the stag, but he had with him only -pretty Arbault and the beautiful Greffière, for Diana and Aurora had left -him and had gone their ways.'</p> - -<p>The two dogs are represented in the miniature; they are attacking -the stag, while the King makes ready to stab him.</p> - -<p>This volume, containing 98 leaves, is bound in black morocco, which -has grown rusty; it bears these words stamped in the leather: 'Tomus -Secundus.' It is catalogued in the Supplément Français, as no. 1328. Its -history, as told among the habitués of the Bibliothèque Nationale, is as -follows: M. Van-Praët appeared at the Conservatoire one day with an -exultant air; he had this fascinating manuscript in his hand, and announced -that he had purchased it for the Bibliothèque for 1200 francs. -He expected to gladden the hearts of his comrades, to call forth expressions -of gratitude; far from it; on the contrary, they found fault both -with that method of purchasing, without authority, and with the price -that he had paid. M. Van-Praët made haste to banish the scruples of his -inflexible directors, and to put an end to the unpleasant discussion that -was beginning, by declaring that the purchase had been made for himself -and not for the Bibliothèque; then, when the meeting was adjourned, he -hastened to his friends the brothers Debure, and, with a bursting heart, -told them of his misadventure. They appreciated Van-Praët's regrets too -thoroughly to try to calm them; but they knew also that he was not rich -enough to keep the manuscript, and they bought for their own little collection, -at the price that he had paid, that charming product of French -art, still bleeding from the reception that it had met with at the hands of -the great so-called 'national' collection. Years and years had passed since -this strange performance, when, in 1852, a small package was brought to -M. Naudet, with the information that M. Debure, by his last will, had<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span> -ordered that this manuscript, embellished with paintings by Godefroy, -which had been purchased for the Bibliothèque and spurned by it, should -be restored to it as its property.</p> - -<p>One does not know which to admire more in this testamentary disposition -of the famous bookseller—the keenness of his irony or the nobility -of his act. Without exerting itself overmuch to decide that point -the Conservatoire of the Bibliothèque Impériale welcomed the prodigal -child and deposited it in the Supplément Français. But, with a lingering -remnant of spite, its light was hidden under the bushel of 'la réserve'; -which is one way of preventing people from having access to it with the -facility which assists investigations, under the protection of that liberality -which is one of our claims to honour among foreign nations, and which -the government of the Bibliothèque should have preserved, even at the -price of the inconvenience that it might have caused.</p> - -<p><em>Third Volume.</em><a name="FNanchor_309_309" id="FNanchor_309_309"></a><a href="#Footnote_309_309" class="fnanchor">[309]</a>—Original binding, with the title: 'Cæsaris liber tertius.' -The text begins thus:—</p> - -<p>'On the twenty-seventh day of February, one thousand five hundred -<span class="smcapa">XX</span>, the King being in his park of Congnac, seeing that the splendour of -his entry was like to be marred by the inclemency of the weather, took -shelter in the house of the labyrinth, having with him monsieur l'Admiral -and the young and discreet Sieur de la Rochepot. At the entrance to the -lower room he feels and hears so violent a wind that it seems to him -"quam spiritu vehementi" the lofty trees fall to the earth as on Friday the -ninth day of March one thousand Vᶜᶜ<span class="smcapa">XX</span> in divers places about Paris.'</p> - -<p>The result of all this uproar is the appearance of Julius Cæsar. François -I questions him as to what he did after pacifying Gaul. Whereupon Cæsar -replies:—</p> - -<p>'I tell you that, after divers victories won by me, so high an opinion -of me and so great renown were spread among the barbarian peoples, -that ambassadors were sent to me by the nations beyond the Rhine, who -in the name of their cities promised to give hostages to me and to obey -my commands. But, for that I was in haste to go thence, I bade them -return to me in the summer season. Thereafter I led my legions to winter -quarters in the land of Touraine and in the duchy of Madame your -mother. And that done, I went hence to Italy.'</p> - -<p>This volume is supplied with two maps: one, of Aquitaine, is at the -beginning, the other, of Bretagne, at the end of the volume, which contains<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span> -also no less than twelve large miniatures. The King, in hunting costume, -figures again and again in them. The execution is as careful, and -the paintings of the same type, as in the two earlier volumes. All the miniatures -and the maps are signed with a G, and some of them are dated -1520. On folio 52, the painter's name is written in full: 'Godefroy.'</p> - -<p>The former owner of this fine manuscript writes to me: 'I cannot -furnish you with any interesting information concerning the manuscript -of the "Commentaires de César." It was given to me, only the slightest -importance being attached to the gift, by a resident of Tours, who owned -no books, and who had kept it for forty years in his closet. To tell you -how it came into my hands would be the more difficult because that -person has long been dead. The volume was delivered to me in very bad -condition. I employed Duru to repair the back and to rebind it, leaving -intact the covers, which were of the original sixteenth-century binding. -A small engraving, which resembled niello-work, but was recognized as -the work of Étienne de Laulne, an engraver of Orléans, was at the beginning -of the book.'</p> - -<p>Obliged, in 1850, by circumstances which it is needless to detail, although -they were to his honour, to part with this precious volume, its -owner sent it to Paris, to M. Techener, for sale on commission. He -wanted 2000 francs for it, and first of all the bookseller offered it to the -Bibliothèque Nationale. The Conservatoire of that great collection could -not find that amount in its annual credit of 80,000 francs, and it renewed -the old joke which had temporarily banished the second volume. Unfortunately -one does not meet every day, to repair its errors, generous booksellers -like M. Debure, or those who have it in their power to be as generous -as he; and M. Techener, who was richer than our rich collection of books -for the purpose of purchasing this manuscript, was not rich enough to -present it to that collection. He advertised it in the 'Bulletin du Bibliophile' -for 1850 (no. 1222), for 3000 francs. During a whole year, artists and -curious folk (I was among the latter) were at liberty to examine it at leisure -and to lament the advent of English dealers who threatened every moment -to take it from us. At last, Monseigneur le Duc d'Aumale added it to his -treasures of printed books and manuscripts, and, although in England, one -may say now that it belongs to France. Indeed, it may be that M. Debure's -example will be followed some day, and that this third volume will come -to join the second on the shelves of our magnificent department of manuscripts, -awaiting the time when the fortunate result of negotiations with<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span> -the British Museum shall permit the consummation of the work by means -of exchanges.<a name="FNanchor_310_310" id="FNanchor_310_310"></a><a href="#Footnote_310_310" class="fnanchor">[310]</a></p> - -<hr class="tb" /> - -<p>Godefroy's facile talent could not fail to be fruitful of results, and some -of his works may be found in several collections. The Bibliothèque de -l'Arsenal owns one of them, the 'Triomphes de Pétrarque,' which seems, -in view of the exuberance of the subjects, the exaggeration of the artist's -defects, and the laxness of execution, to be of later date than the 'Commentaires -de César'; and, whether because the artist had visited Italy, or -because, the better to interpret the poet's ideas, he sought inspiration in -Italian works, it is certain that he is less French in the illustrations of this -manuscript than in the others. He is more perfect, too, in the art of composition, -his distances are more accurately measured, his groups are more -in harmony with one another; in a word, he displays an inspiration, or resources, -altogether new: such, for example, as the device of cutting off the -figures in the foreground at the waist, by means of rising ground, whereby -he is able to give them strongly proportioned frames without filling up -his whole picture.</p> - -<p>I will describe this manuscript briefly. It is a small octavo volume of -ten leaves (not including the covers), written on fine parchment. It is -about 10 centimetres in height by 8 in width. It was rebound in the eighteenth -century, in lemon-colored morocco.</p> - -<p>'Here followeth the first of the six triumphs of the most illustrious and -venerable poet Messire Francisque Petrarque: the which is the triumph -of Love and containeth four chapters.'</p> - -<p>Chapter I. A miniature painted on pages 2 and 3, which face each other. -It represents the triumph of Love, with a deal of disorder and somewhat -licentious details. The G can be seen in the foreground, in the centre of the -picture, on the ground.</p> - -<p>Chapter II. The miniature has been removed.</p> - -<p>Chapter III. The miniature occupies the verso of the title of the chapter. -In the foreground are amorous couples discoursing together, some -seated, some walking about. The men wear caps with long feathers, as in -the bas-reliefs of the hôtel de Bourgtheroude. The architectural arrangement<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span> -in the background is charming. Beside a triumphal arch rises the -tower of love. Flames are darting from all its windows, and meanwhile a -long procession of women rushes through the door, followed by a Cupid -with bandaged eyes. The artist has painted his initial on the tower.</p> - -<p>Chapter IV. In this miniature, Petrarch's face, twice repeated, seems -to be a reproduction of an original portrait. The G can just be distinguished -on a rock in the foreground; it has been effaced.</p> - -<p>'Here followeth the second triumph of Messire Francisque Petrarque, -the which is the triumph of Chastity.'</p> - -<p>The miniature occupies two facing pages, but it forms two distinct -pictures. The buildings in the background are arranged in a quasi-Italian -style, but are not a reproduction of any known structure. Godefroy -has placed his G on a tree, at the left, accompanied by three lizards—a -detail which should not be passed over, for it is repeated several times, as if -the name of those creatures bore some relation to that of the artist.</p> - -<p>'Triumph of Death, the which is the third triumph of Petrarque.'</p> - -<p>[Chapter I.] This miniature is one of the most interesting and best preserved. -Death, grasping his scythe, stands over the body of a young woman -lying dead on the triumphal chariot. It is, in fact, the Italian triumph, as -we have it represented in so many works. In this case the miniature is in -duplicate, as well as the painting. The G is at the bottom.</p> - -<p>Chapter II. Miniature on a single page: the death of Laura. The young -woman is lying on the bed of death. She is surrounded by her friends, with -palms in their hands. Above, in the sky, is seen the form of the Virgin. It -is a very pleasing composition, nearly filling the frame, and the effect is -charming.</p> - -<p>Chapter III. Petrarch and Laura are seated in the shade of tall trees, on -the bank of a pond in which two swans are floating. The same two persons -are seen farther back, twice repeated, and diminishing in size according -to the distance. An architectural structure, decidedly Italian in type, closes -the view at the back. The G is painted on a stone at the feet of Petrarch -and Laura. Evidently Godefroy had studied several portraits of the two, -and he copies them with some success in their various attitudes. The trees -are done so skilfully that one might well believe that he could recognize the -touch of a landscape artist, and a generally happy effect gives to this miniature -all the value of a painting.</p> - -<p>'Here followeth the fifth triumph of Messire Francisque Petrarque, -the which is the triumph of Time.'</p> - -<p>The miniature occupies two pages and includes two subjects. In one,<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span> -Time, represented by the signs of the zodiac, and by the allegorical figures -of antiquity, marks his progress in the sky; mortals undergo his influence -on the earth. The artist has signed his work at the right, at the foot of the -picture, this time with his full name: 'Godefroy.' In the other miniature -the triumph of Time is represented. He is passing in his chariot, drawn by -four horses at a gallop, between the four Seasons. On the left, at the foot, -we see a G and two lizards.</p> - -<p>'Here followeth the sixth and last triumph of Messire Francisque -Petrarque, the which is the triumph of the Deity.'</p> - -<p>This title is followed by a double miniature. In one, we see God the -Father and Jesus Christ, with the Holy Spirit soaring above their heads, -seated on the globe and presiding at the last day. Flames fall from the skies -upon mankind, who are divided into the good and the bad; angels tranquilly -lead the former, while devils brutally pursue the others. At the foot, -on the right, is the G. On the other page, God the Father and God the -Son (the Holy Spirit hovering over them as before) are seated in a triumphal -chariot drawn by the ox, the lion, the eagle, and the angel, which are -the symbols of the evangelists. They come forward, surrounded by all the -dignitaries of the Church. Pagan Love, with bandaged eyes, lies dead on -the ground near the chariot wheels; a long procession of saints, male and -female, concealed below the waist by an elevation, are following the course -of the chariot in the foreground. This arrangement made it possible for -the artist to make his figures larger and to delineate their features with care. -The G is at the foot of the miniature, on the ground.</p> - -<p>All these miniatures, painted in grisaille, with blue skies and water, -and with some few details in colour, are 86 millimetres high and 68 wide.</p> - -<p class="center">Comte Léon de Laborde.</p> - - -<p class="p6">3</p> - -<p>In the catalogue of the library of M. Firmin Didot père, sold in 1811, -is the following description of a magnificent manuscript:<a name="FNanchor_311_311" id="FNanchor_311_311"></a><a href="#Footnote_311_311" class="fnanchor">[311]</a>—</p> - -<p>'The first three books of Diodorus Siculus, translated from Latin into -French by Antoine Macault. Small folio, in blue morocco, with dentelles, -<em>lavé</em>, <em>réglé</em>, bound with the arms of François I, whose cipher it bears on -the back and on the cover.</p> - -<p>'A superb manuscript on vellum, presented to François I, containing -173 leaves, 30 lines to the page. It is illustrated with miniatures and with<span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span> -a large number of initial letters painted with the utmost care. The first -miniature represents François I surrounded by the nobles and scholars of -his court; it is 10 inches high and 6½ wide. This painting, of the most finished -workmanship, has the additional merit of presenting the features of -several great men of that time. All the pages on which chapters begin -are set in fillets of gold and ultramarine. The initials are 19 lines high and -12 wide. More than fifty of these initials represent the principal subjects -of their respective chapters. The third book is especially noteworthy, for, -beginning with page 130, there is a series of small miniatures, admirable -in execution and of the greatest exactness in respect of forms.</p> - -<p>'This manuscript has the advantage of being in a most excellent state -of preservation.'</p> - -<p>It was sold to M. Brunet, author of the 'Manuel du Libraire,' for 1476 -francs (not including the usual expenses); he bought for William Beckford, -Esq., of Fonthill Abbey in the County of Wilts, of which Salisbury is -the shire town. The author of the 'Repertorium Bibliographicum,' printed -at London in 1819, informs us that Macault's manuscript was at that time -in the library of that distinguished collector, which is described on pages -203 to 230 of the 'Repertorium.'<a name="FNanchor_312_312" id="FNanchor_312_312"></a><a href="#Footnote_312_312" class="fnanchor">[312]</a></p> - -<p>The description of the manuscript is as follows:—</p> - -<blockquote> - -<p>D<span class="smcapa">IODORE</span>.—L<span class="smcapa">ES TROIS PREMIERS LIVRES DE</span> D<span class="smcapa">IODORE</span> S<span class="smcapa">ICILIEN</span>, <span class="smcapa">HISTORIOGRAPHE</span> -<span class="smcapa">GREC DES ANTIQUITEZ D</span>E<span class="smcapa">GIPTE</span>, E<span class="smcapa">THIOPIE ET AUTRES PAYS</span> -<span class="smcapa">D</span>A<span class="smcapa">SIE ET D</span>A<span class="smcapa">FFRIQUE</span>. T<span class="smcapa">RANSLATEZ DE LATIN EN FRANCOYS PAR</span> -<span class="smcapa">MAISTRE</span> A<span class="smcapa">NTHOINE</span> M<span class="smcapa">ACAULT</span>, <span class="smcapa">NOTAIRE</span>, <span class="smcapa">SECRETAIRE ET VALET DE</span> -<span class="smcapa">CHAMBRE ORDINAIRE DU ROY</span>.</p></blockquote> - -<p>'Folio, ms. on vellum, in the original binding; the sides strewn with -fleurs-de-lis and the initial letter F. On one side, in a square compartment, -in gold letters: D<span class="smcapa">IODORE</span> S<span class="smcapa">ICILIEN</span>. On the opposite side: A<span class="smcapa">V ROY FRANCOYS PREMIER</span>.</p> - -<p>'This fine manuscript, formerly in the possession of Francis the First, appears -to have been executed by his express command. Prefixed to the history -is a painting of the King seated under a canopy powdered with fleurs-de-lis, -surrounded by his courtiers: his three sons, the Dauphin Francis, -Henry, afterwards Henry II, and Charles, Duke of Orleans, dressed in rich -habits, appear in the foreground. The King seems to direct his attention -to a person reading, dressed as an ecclesiastic, probably the translator of the<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span> -History. A beautiful greyhound on the floor, and a marmoset, sitting on -the table, near the King's left hand, are prominent figures in the groupe -[<em>sic</em>]. In addition to this exquisite illumination, the volume is enriched with -numerous large initial letters, painted with peculiar delicacy, representing -occurrences described in the book, manners of various nations, and portraits -of their early emperors and kings.'<a name="FNanchor_313_313" id="FNanchor_313_313"></a><a href="#Footnote_313_313" class="fnanchor">[313]</a></p> - -<p>This description is accompanied by an engraving on copper of the -figure of François I, after the Macault MS. The King is depicted full face, -seated before a table on which, near his left hand, is a monkey. The background -is a tapestry covered with fleurs-de-lis. This engraving is dated July -1, 1817, and is the work of M. Behnes. It differs from the engraving on -wood found in Macault's printed volume, not only in that it does not include -the various persons of the original drawing, but also in the details -of the King's costume. I have every reason to believe that the wood engraving -is a faithful reproduction of the original, just as the book itself is -a reproduction of the manuscript, except for the other drawings, which -were omitted, from economical motives, no doubt.</p> - -<p>Macault's volume is a quarto, consisting of 8 leaves of preface, 154 of -text (signatures A to Q), and 8 of index. The author's preface begins -with an S from which depends a shield (probably Macault's), bearing two -fasces accompanied by nine bezants arranged in threes, and having for a -motto the Greek word <span class="smcapa">ΜΗΚΕΤΙ</span> (not at all). The letter is repeated on folio -148. The first page has a border in the shape of a portico, like those in the -opuscula published by Tory in 1531 and described on pp. 202-203. At the -foot is the date 1535. On the verso we find the final border of 'Champ fleury,' -within which are drawn, in the vellum copy preserved at the Bibliothèque -Nationale, the royal arms of England, with the motto <span class="smcapa">DIEV EST</span> [<em>sic</em>] -<span class="smcapa">MON DROICT</span>, below.<a name="FNanchor_314_314" id="FNanchor_314_314"></a><a href="#Footnote_314_314" class="fnanchor">[314]</a></p> - - -<p class="p6">4</p> - -<blockquote> - -<p>P<span class="smcapa">AULI</span> J<span class="smcapa">OVII</span> N<span class="smcapa">OVOCOMENSIS</span> <span class="smcapa">VITÆ</span> <span class="smcapa">DUODECIM VICECOMITUM</span> M<span class="smcapa">EDIOLANI PRINCIPUM</span>.</p></blockquote> - -<p>Folio manuscript of 137 leaves. Bibliothèque Nationale.</p> - -<p>This manuscript is enriched with ten portraits of dukes of Milan, -painted from originals, of each of which Paulus Jovius gives the abiding-place.</p> - -<p><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span></p> - -<blockquote><p>1. Otho archiepiscopus.<br /> -2. Matthæus magnus.<br /> -3. Galeacius [Galeazzo] primus.<br /> -4. Actius.<br /> -5. Luchinus.<br /> -6. Joannes archiepiscopus.<br /> -7. Galeacius secundus.<br /> -8. Barnabas.<br /> -9. Jo. Galeacius [Gian Galeazzo] primus.<br /> -10. Philippus.</p></blockquote> - -<p>The dedicatory epistle of this book, which was at first intended to be -addressed to François's third son, Charles de Valois, as the author informs -us, was addressed to the Dauphin, Henri, afterwards Henri II, who succeeded -to the rights of his elder brother, deceased in 1536, and of his -younger brother, who died in 1545. It is dated at Rome, the 4th of the -Kalends of April (March 29), 1547.</p> - -<p>It is not certain that Tory did any work on this manuscript, but I -mention it because of the engravings of the portraits, which appeared in -the edition published in 1549.<a name="FNanchor_315_315" id="FNanchor_315_315"></a><a href="#Footnote_315_315" class="fnanchor">[315]</a></p> - - -<p class="p6">5</p> - -<blockquote> - -<p>R<span class="smcapa">ECUEIL DES</span> R<span class="smcapa">OIS DE</span> F<span class="smcapa">RANCE, LEURS COURONNE ET MAISON</span>, etc., by -Jean du Tillet, register in chief of the Parliament of Paris.</p></blockquote> - -<p>Large folio manuscript on vellum; Bibliothèque Nationale. It is the -original manuscript given to Charles IX, to whom it is dedicated. It is -bound in red morocco, with that prince's arms.<a name="FNanchor_316_316" id="FNanchor_316_316"></a><a href="#Footnote_316_316" class="fnanchor">[316]</a></p> - -<p>This manuscript is embellished with a large number of miniatures and -with thirty full-length portraits of kings of France, very carefully executed, -which remind one of the portraits accompanying the manuscript -of the 'Commentaires de César.' We also find there the escutcheons of the -principal officers of the crown.</p> - -<p>Here is the list of the kings represented: each portrait occupies a full -page.</p> - -<blockquote><p>1. Clovis.<br /> -2. Clotaire I.<br /> -3. Sigebert.<br /> -4. Chilpéric and Frédégonde.<br /> -5. Clotaire III.<br /> -6. Charlemagne.<br /> -<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span> -7. Louis le Débonnaire.<br /> -8. Charles le Chauve.<br /> -9. Charles le Simple.<br /> -10. Raoul.<br /> -11. Louis d'Outre Mer.<br /> -12. Lothaire.<br /> -13. Philippe I.<br /> -14. Louis le Gros.<br /> -15. Louis le Jeune.<br /> -16. Philippe-Auguste.<br /> -17. Louis, père de Saint-Louis.<br /> -18. Saint-Louis.<br /> -19. Philippe le Bel.<br /> -20. Louis le Hutin.<br /> -21. Philippe le Long.<br /> -22. Charles le Bel.<br /> -23. Philippe de Valois.<br /> -24. Jean.<br /> -25. Charles V.<br /> -26. Charles VI.<br /> -27. Louis XI.<br /> -28. Charles VIII.<br /> -29. Louis XII.<br /> -30. François I.</p></blockquote> - -<p>As we see, the book was originally intended to stop with François I; -but as circumstances prevented the author from printing it thus, du Tillet -included the reigns of Henri II, François II, and Charles IX, who succeeded -one another at brief intervals. The work was still unpublished -when the author died, in 1570; it would seem, however, that he had long -been preparing to print, since we find in the edition of 1580 engravings -signed with the Lorraine cross.<a name="FNanchor_317_317" id="FNanchor_317_317"></a><a href="#Footnote_317_317" class="fnanchor">[317]</a></p> - - -<p class="p6">6</p> - -<p>In 'Les Récréations historiques,' by Dreux Duradier, on page 102 of -volume one, we read:</p> - -<p>'In the manuscript of the late M. Lancelot, written, it is said, by the -hand of G. Tory, with the date of 1546, is found this ballad in honour of -the Virgin:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'"Balade de Lyon Jamet sur la Vierge:</div> - <div class="i0a">Qui me crea je l'ai conçu," etc.'</div> - </div> -</div> -</div> - -<p>I have vainly sought this manuscript among all those of Lancelot owned -by the Bibliothèque, of which there is a special catalogue; but I have been -unable to find it.</p> - - -<p class="p6">7</p> - -<p>In order to omit nothing, I will also mention here another valuable -manuscript of the Bibliothèque Nationale, on one of the miniatures of<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span> -which is a G, followed by a small <span class="smcapa">T</span> or <span class="smcapa">F</span>, which may fairly be attributed -to Geofroy Tory. It is a translation of Livy, in two large folio volumes, -on vellum, acquired from the Bibliothèque de la Sorbonne, and enriched -with magnificent engravings, attributed to Jean Fouquet, which, however, -cannot be his, for the book has, on the first page, the arms of François -de Rochechouart and Blanche d'Aumont, who were married about -1480 and died, both, in 1530. Evidently it was not in the early years of -their marriage that the book was written; and, as it must have occupied -several years, and, in fact, was never finished, there is nothing extraordinary -in the idea that Tory may have executed some of the miniatures -about 1520. Furthermore, in order to place the reader in a position to -judge for himself, I will add that the cipher mentioned above is painted -on the leg of the figures in the miniature on page 123 of volume one.<a name="FNanchor_318_318" id="FNanchor_318_318"></a><a href="#Footnote_318_318" class="fnanchor">[318]</a></p> - -<div class="figcenter"> -<img src="images/i_b_171.jpg" width="345" height="500" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_172.jpg" width="560" height="148" alt="" /> -</div> - - - - -<h2 class="nobreak"><a name="SECTION_II_PRINTED_BOOKS_ILLUSTRATED_WITH_ENGRAVINGS_BY_TORY_OR_HIS_PUPILS" id="SECTION_II_PRINTED_BOOKS_ILLUSTRATED_WITH_ENGRAVINGS_BY_TORY_OR_HIS_PUPILS"></a>SECTION II. PRINTED BOOKS ILLUSTRATED WITH -ENGRAVINGS BY TORY OR HIS PUPILS.</h2> - - -<p class="p6">1515</p> - -<p>There appeared for the first time, in the books of Hours published by -Simon Vostre about 1515, three engravings which are clearly distinguishable -in method of execution from those previously used by the same bookseller, -to which the three new ones were thereafter added.</p> - -<p>Thenceforth Vostre's Hours contained three varieties of engraving: -(1) The old gothic woodcuts (among which must be reckoned the Dance -of Death with dotted background), which figure in the editions issued -by that bookseller even in the fifteenth century; (2) Two large drawings -in the Renaissance style, which appear in his editions of 1507 and which -may be attributed to Jean Perreal, Tory's teacher; (3) The three in question, -which do not appear earlier than 1514 or 1515. These engravings are: -(<span class="smcapa">I</span>) The Adoration of the Shepherds, signed with the letter G in a gothic -shield; (<span class="smcapa">II</span>) The Adoration of the Magi; (<span class="smcapa">III</span>) The Circumcision; the last -two signed with this monogram: <img src="images/i_b_172.png" width="35" height="26" alt="" />. The G is still inclined to the gothic, -but the second letter is altogether roman. In my judgement, this monogram -should be translated by the words, 'Godofredus faciebat,' or 'fecit.' It is true -that the ascription of these engravings to Tory has been contested; but -Jules Renouvier, whose taste was so unerring, and who cannot be accused -of infatuation for Tory, did not hesitate to adopt my hypothesis. 'In the last -of Vostre's Hours,' he says, in the pamphlet that he published concerning -that bookseller, 'we see, besides the plates executed in the old French manner, -which have not disappeared as yet, other plates in the Italian and German -manners, subjects treated in an altogether novel style: the Adoration -of the Shepherds, the Adoration of the Kings, and the Circumcision, are -composed of small figures in a large ground; the design has recovered all -its delicacy, in its clearly drawn forms, and the cutting is done with no less -diversity than care. Here, luckily,' continues Renouvier, 'a monogram enables -us to attribute the engravings to their author. It is a G alone, or enclosing -an <span class="smcapa">F</span>, subscribed on a shield or in a cartouche hanging from a branch.<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span> -They have been claimed for Geofroy Tory, and with good reason, for the -manner in which these plates are executed accords with what we know -of that excellent artist.'</p> - -<p>It is, perhaps, to these engravings, so successfully executed, that we -should ascribe the partiality that Tory afterwards displayed for books of -Hours, of which, as we have seen, he put forth several editions, in diverse -formats, and with a large number of engravings on wood done by himself.</p> - - -<p class="p6">1516-1518</p> - -<p>Here is to be placed Tory's second journey to Rome,<a name="FNanchor_319_319" id="FNanchor_319_319"></a><a href="#Footnote_319_319" class="fnanchor">[319]</a> from which he -returned more Italian than ever, in respect to art.</p> - - -<p class="p6">1519-1520</p> - -<p>Under this date, which was when Tory was working at the manuscripts -I have described above, I shall place, albeit somewhat conjecturally, -two small engravings on wood, signed with the letters G T, which appear -in a publication of M. Varlot entitled: 'Illustration de l'ancienne -imprimerie troyenne' (4to, 1850). They are numbers 84 and 131, the first -in the criblé style, the second in the style of the Renaissance. My ascription -of them to Tory is based upon the facts that they are of his time, as -we may infer from the one in the criblé style, and that the initials G T -are entirely consistent with that period of the life of our artist, who sometimes -signed his name in full, Geofroy Tory, as witness his Hours of 1524.</p> - -<p>The first of these engravings, number 84, represents a Descent from the -Cross. The letters G T are at the foot of the plate, and are some distance -apart.<a name="FNanchor_320_320" id="FNanchor_320_320"></a><a href="#Footnote_320_320" class="fnanchor">[320]</a> In the same collection there is another engraving of the same series, -but not signed—number 78. It represents a bishop blessing a sick man who -lies entirely nude before him. These two are 48 millimetres wide by 62 high.</p> - -<p>Number 131 represents a scene from Terence. The letters G T are side -by side at the foot of the plate, which is 33 millimetres high by 55 wide. -In the same collection, numbers 132 and 133, are two other woodcuts of -the same series, but not signed. Lastly, in an edition of Æsop, published -recently at Troyes, by the printer Baudot, we find a woodcut which probably -had the same origin, and found its way into this volume by chance. -These four engravings are evidently from an edition of Terence in a small -format; I have been unable to find it.</p> - -<p><span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span></p> - -<p class="p6">1520-1521</p> - -<p>I shall place under this date a title-page, in octavo, forming a border, -engraved for Simon de Colines, and bearing his mark and his initials. -This printer, who succeeded in 1520 Henri Estienne, the first of the name, -whose widow he married, wished to mark his printings in some special -way, and to that end applied to Tory, who was a friend of the family. -Tory engraved the title-page in question, in the criblé style, then much -in vogue; and on it are seen rabbits, or <em>conils</em>, which is believed to be an allusion -to the name of Colines.<a name="FNanchor_321_321" id="FNanchor_321_321"></a><a href="#Footnote_321_321" class="fnanchor">[321]</a> Tory's mark appears in white, at the foot of -the engraving, to the right. I have seen this engraving in an Epitome of -the 'Adages' of Erasmus, in Latin, printed by Simon de Colines, in 1523, -in octavo, under this title: 'Johannis Brucherii Trecensis Adagiorum ad -studiosæ juventutis utilitatem ex Erasmicis chiliadibus excerptorum epitome.' -It was probably Tory, too, who engraved Colines's large mark with -the rabbits (Silvestre, no. 79), which is in the same style, and which appears -in the Hours of 1524; but it does not bear the double cross. Tory also -engraved for Colines two other marks in a very different style (Silvestre, -nos. 80 and 329), and a multitude of borders and illustrations for his books.</p> - -<p>Colines certainly employed Tory more than any other printer did, as we -shall see in the sequel. This fact leads me to believe that Lottin is mistaken -in bestowing upon Colines the title of engraver of letters, attributing to -him doubtless the engraving of the graceful italics that he used in works -written in verse; I am convinced that those letters are the work of Tory. -I will call attention, however, to the fact that the capitals that go with these -italics are roman, and may belong to the roman letters which Simon de -Colines had from Henri Estienne. But the font is enriched with some -white two-line letters, of a charming design, which are certainly Tory's, -as are the floriated letters used by Colines and his stepson Robert Estienne.</p> - - -<p class="p6">1521-1522</p> - -<p><span class="smcapa">I.</span> Tory engraved also for Simon de Colines a magnificent title-page -intended for a very rare work, which, for that reason, I think that I ought -to describe in detail (after one of the copies in the Bibliothèque Nationale), -for its existence has been doubted.<a name="FNanchor_322_322" id="FNanchor_322_322"></a><a href="#Footnote_322_322" class="fnanchor">[322]</a></p> - -<p>The book is entitled: 'Commentarii initiatorii in quatuor Evangelia,' -etc., with no author's name on the title-page; but it was written by Jacques<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span> -Lefèvre d'Etaples, as we shall see in a moment. It is a folio, of 6 unnumbered -preliminary leaves, and of 377 numbered leaves, making 192 -sheets, divided into 50 folds of 4 sheets each, except the first, which has -only 3. The signatures go from <em>a</em> to <em>ddd</em> consecutively. The text of the -Gospels is set in large type (great primer), the notes in smaller type -(pica), in which there are some very handsome Greek characters, with -accents, which were still a novelty at that time.</p> - -<p>The title is in a wide border, engraved on wood, decorated with the -symbols of the four evangelists, beneath which are printed passages from -their works. This border, which is signed with the Lorraine cross at the -foot, on the right side, is .225 metre high by .166 wide.</p> - -<p>On the second preliminary leaf the author's preface begins, under this -heading: 'Jacobi Fabri Stapulensis ad Christianos lectores in sequens -opus Præfatio.' It ends on the fourth preliminary leaf, with the date, 'Meldis, -anno <span class="smcapa">M. D. XXI</span>.' Then follows a concordance of the four Gospels, in -the form of tablets closed at top and bottom by unsigned engravings.</p> - -<p>The Gospel according to St. Matthew, which opens the book, begins -with a superb ornamented L, on a criblé background, .058 metre in -height by .055 in width. The Gospel according to St. Mark, which opens -on leaf 115 (erroneously printed 215), begins with an I of the same style -and dimensions. The Gospel according to St. Luke begins on folio 175 -verso, with an F like the two preceding letters. The Gospel according -to St. John begins on folio 259, with the I that has already done duty -in the Gospel of St. Mark. These letters, which are altogether in the -style of those afterwards engraved by Tory for Robert Estienne, seem to -me to be fairly attributable to him, although unsigned.</p> - -<p>In the balance of the book we find a large number of other letters ornamented -in the criblé style, but of smaller size, which cannot be Tory's.</p> - -<p>On folios 101 verso and 102 recto are certain astronomical figures, unsigned, -which I dare not attribute to Tory; but I do not hesitate to attribute -to him a large engraving on folio 182 verso. It represents Jesus in an -aureole of flame. Below him is the sea; above him the Father Everlasting, -blessing with the right hand, and holding in his left hand the globe surmounted -by a cross. He is uttering these words which we read in a scroll: -'Hic est filius meus dilectus in quo mihi bene complacui.' This engraving, -including its border, is .210 metre in height by .137 wide.</p> - -<p>On the last page is a subscription in these words: <span class="smcapa">MELDIS</span>, -<span class="smcapa">IMPENSIS SIMONIS COLINAEI ANNO SALVTIS HVMANAE</span> <span class="smcapa">M. D. XXII</span>. <span class="smcapa">MENSE IVNIO</span>.</p> - -<p>Who printed this book? Not Simon de Colines, as La Caille said, and as<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span> -Maittaire and Panzer have repeated after him, for the subscription means -simply that the printing was done at his expense. One can understand, in -truth, that Simon de Colines, who had at the time an extensive typographical -establishment at Paris in full blast, could not leave that city to print a -book at Meaux. Nor was it a local printer, for no other contemporary printing -at Meaux is known; moreover, the mechanical execution of this volume, -and the engravings with which it is embellished, prove that it did not -come from a wretched provincial workshop.</p> - -<p>In my opinion there is but one way of explaining this typographical -enigma. It is this: Guillaume Briçonnet (second of the name), having been -appointed Bishop of Meaux in 1518, took with him to that town his friend -Lefèvre d'Etaples, to whom he entrusted the administration of his diocese. -Etaples employed his leisure in writing various religious works, among -others the Commentaries on the Gospels, which were finished in 1521. Wishing -to have this bulky volume, which was of capital importance to him, -printed under his own eyes, and being unable to leave Meaux, where he -was detained by his duties, Lefèvre simply imported from Paris a portion -of Simon de Colines's printing-office, with a small staff.<a name="FNanchor_323_323" id="FNanchor_323_323"></a><a href="#Footnote_323_323" class="fnanchor">[323]</a> In this way he -could not only superintend the printing of his book, but also lend a hand -at need, after the example of many another scholar of that time who did -not scorn to practise the printing art.</p> - -<p>What I have said is a mere hypothesis, it is true; but this hypothesis -is surrounded by circumstances which give it a powerful appearance of -truth. In addition to what I have said above, I will say that the types of -Lefèvre d'Etaples' book are the same as those used in an octavo printed -at Paris by Simon de Colines in 1523,—a book which I have already cited -and which I now have before me. It is entitled: 'Joannis Brucherii Trecensis -Adagiorum ... ex Erasmicis chiliadibus excerptorum Epitome.' The -title-page has a border signed with the Lorraine cross. More than that, the -first ornamental letter in Etaples' book, which is an A on a criblé background, -is also the first letter of the book of Johannes Brucherius; whence -we see that the typographical material sent to Meaux returned to Paris -immediately after Etaples' book was printed.</p> - -<p>Doubtless that is why we have only one book dated at Meaux at that -period; it might be, however, that advantage was taken of the momentary -existence of this printing-office at Meaux to set up some trifling work, -in 1521 or 1522; but that would not in any wise modify my conclusion.</p> - -<p><span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span></p> - -<p><span class="smcapa">II.</span> Tory engraved also, at about the same time, for a printer at Troyes -named Jean Lecoq, the title-page, in the shape of a border, of a 'Gradual'<a name="FNanchor_324_324" id="FNanchor_324_324"></a><a href="#Footnote_324_324" class="fnanchor">[324]</a> -of the Cistercian Order—a very large and handsome folio, printed at -Troyes in 1521. This engraving is in the criblé style, with the double -cross in white at the foot, on the right. At about the same time he engraved -in the same style Jean Lecoq's mark, which appears at the end of -the volume, and of which a reproduction may be seen in M. Silvestre's -book, no. 875.</p> - -<p>As this Gradual is very rare (only one copy of it is known to exist, which -I have seen in M. Tross's collection) and very beautiful, I think it well to -describe it. It is almost needless to say that it is printed in gothic type.</p> - -<p>First of all, above the title there is a line printed in black:—</p> - -<p class="center">Jesus ✥ Maria Bernard</p> - -<p>(It is well known that St. Bernard was the founder of the Cistercian Order.) -Then, in red (I complete the abbreviated words):—</p> - -<p>'Graduale ad usum Cisterciensis ordinis: secundum capituli generalis -venerabilium patrum ejusdem ordinis diffinitionem in sequenti paginas -declarata: noviter per quendam Clarevallensem monachum ad debitam -formam utiliter redactum. Et Johannis Lecoq impressoris Trecis commorantis -solertia diligenter impressum. Anno Domini Millesimo quingentesimo -vicesimo primo.' (Here Lecoq's large mark: Silvestre, no. 877.) -'Cum privilegio.'</p> - -<p>The volume is made up of 2 preliminary leaves, for the title, etc., and -252 pages of text, divided as follows: First part, without pagination, of 18 -signatures (<em>a</em> to <em>s</em>) of 4 sheets each, except the last, which has only 2,—in -all, 140 leaves. Second part, folios 1 to 112, having 14 signatures (A to O) -of 4 sheets—in all, 112 leaves.</p> - -<p>The paper is very strong and fine. It is one of the earliest books printed -with music in France, and it reflects great credit on the presses of Troyes, -and especially upon Jean Lecoq, first of the name. Names of places and -persons are consistently printed with capitals. The work is illustrated with -a few engravings; but its most remarkable feature is the ornamental initials -and uncial letters with which it is embellished.</p> - -<p>At the end, by way of colophon, are these words:—</p> - -<p>'Explicit Graduale secundum usum ordinis Cisterciensis, Trecis impressum</p> - -<p><span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span></p> - -<p>Per Johannem Lecoq, Anno Domini Millesimo quingentesimo -vigesimo primo Die sexta mensis Martii. Laus Deo.'</p> - -<p>Here Lecoq's mark with the Lorraine cross in white.</p> - -<p>This volume came from the ancient monastery of Oliva, near Dantzig.</p> - - -<p class="p6">1522</p> - -<p><span class="smcapa">I.</span> We may place under this date two other frontispieces signed with the -Lorraine cross. The first is a large engraving divided into four compartments, -and representing armies in battle array, with cannon. The two -upper compartments are connected by the shield of France, surmounted -by a crown and encircled by the order of Saint-Michel, from which -branches of rose-bushes depend on either side. In each compartment there -is a cartouche. Tory's mark is at the foot of the lower left-hand compartment, -in which the banner of France is seen waving. This engraving -appears in the 'Rozier historial de France,' a folio printed in gothic type, at -Paris, for François Regnault, February 10, 1522, before Easter; that is to -say, 1523 new style. In the cartouches the following words are printed in -red, in gothic type: 'Bataille ronde,' 'Bataille de pointe,' 'Bataille de feu,' -'Bataille de fourche.'<a name="FNanchor_325_325" id="FNanchor_325_325"></a><a href="#Footnote_325_325" class="fnanchor">[325]</a> It appears in another edition of the same book, -printed in 1528 for the same bookseller; also, in a translation of Cæsar's -'Commentaries,' printed by Pierre Vidoue, in 1531, for the booksellers Poncet -Le Preux and Galiot du Pré. This translation is a folio volume divided -into two parts, the first translated by Étienne Delaigue, called Beauvoys, -the second by Robert Gaguin. The plate in question is at the end of the -first part, folio 95 verso. The whole book is printed in black, both text and -engraving. I am indebted for my knowledge of the engraving to M. Robert-Dumesnil -<i>fils</i>.</p> - -<p><span class="smcapa">II.</span> The second engraving, in the form of a border (folio size), representing -a number of grotesque and licentious subjects, appears in an edition -of the 'Histoire du saint Graal,' published by Philippe le Noir, sworn -bookseller and binder to the University of Paris, on October 24, 1523. The -bookseller's initials are in the compartment at the top of the border.<a name="FNanchor_326_326" id="FNanchor_326_326"></a><a href="#Footnote_326_326" class="fnanchor">[326]</a></p> - -<p>In this book, as well as in those last described, there are other engravings; -but they are not the work of Tory, to whom only the important -pieces were assigned. These other engravings had, doubtless, appeared elsewhere.</p> - -<p>As for the engraving executed by Tory (which reappears in many other<span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span> -works printed by Philippe le Noir), it is a copy of a plate engraved by Urs -Graf, dated 1519, and used by Pierre Vidoue, printer at Paris,<a name="FNanchor_327_327" id="FNanchor_327_327"></a><a href="#Footnote_327_327" class="fnanchor">[327]</a> particularly -in a Virgil of 1529, folio, which is now in the Bibliothèque Mazarine. The -four principal subjects of this engraving, placed at the four corners of the -border, represent: (1) Men lighting torches at a woman's posterior; (2) A -woman carrying off a man in a basket<a name="FNanchor_328_328" id="FNanchor_328_328"></a><a href="#Footnote_328_328" class="fnanchor">[328]</a>; (3) The death of Pyramus and Thisbe; -(4) The judgement of Paris.</p> - - -<p class="p6">1523</p> - -<p>While working for others, Tory busied himself with a long series of -engravings intended for books of Hours to be published by himself.<a name="FNanchor_329_329" id="FNanchor_329_329"></a><a href="#Footnote_329_329" class="fnanchor">[329]</a></p> - -<p>'It is upon turning over these plates,' says M. Renouvier,<a name="FNanchor_330_330" id="FNanchor_330_330"></a><a href="#Footnote_330_330" class="fnanchor">[330]</a> 'that one appreciates -to the full his style—rich, diversified and immeasurably clever -in ornamentation, distorted out of proportion, diabolic in the drawing of -faces, descending too often to downright awkwardness in the carriage of -the head and to a habit of bellying out draperies; and, finally, overweighted -by a sort of heaviness in the forms. The artist's greatest facility is shown -in the arrangement of his figures, and in the decoration of his porticoes. -Whatever he may say, it would seem that what he studied at Rome with -the best results were the baths of Titus and the arabesques of Giovanni da -Udino.'</p> - - -<p class="p6">1524-1525</p> - -<p>We have seen that Tory had been in the habit for some time of signing -his engravings with a double cross; but this had not yet become an -invariable signature. For instance, about 1524 he often used a monogram -in which his name and surname—or, to use the terms of the present -day his Christian name [<em>prénom</em>] and his family name [<em>nom de famille</em>]—both -appear. It consists of a capital G, enclosing a smaller S, with the <img src="images/i_b_179.png" class="figright60" alt="" /> -double cross above. This means, in my opinion, that Tory was the -<em>engraver</em> only ('Godofredus Torinus sculpsit'), in distinction from the -cross alone, which means that Tory both drew and engraved the pieces on -which it appears. In fact, we find in most of those signed with the monogram -a roughness of aspect which is not characteristic of Tory's usual style.</p> - -<p>However that may be, here is a list of the pieces known to me on which -this monogram appears.</p> - -<p><span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span></p> - -<hr class="tb" /> - -<p><span class="smcapa">I.</span> L<span class="smcapa">E</span> B<span class="smcapa">LAZON DES HERETIQUES</span>.</p> - -<p>Quarto of 14 leaves, in gothic type, printed by Philippe Le Noir, 'sworn -binder to the University of Paris,' with a privilege from the court of the -Parliament of Paris, dated December 21, 1524. This is a satirical production, -in verse, attributed to Pierre Gringoire, otherwise called Vaudemont, -at the head of which appears the figure, or effigy, of the 'heretic,' signed -with the monogram in question. The description of the effigy is as follows:</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">En gibeciere on luy voit ratz avoir,</div> - <div class="i0">Qui sont rongeans et serpens detestables</div> - <div class="i0">En son giron faisant mords diffamables.</div> - <div class="i0">De son sian sort ung aspre feu vollant,</div> - <div class="i0">Qui cueur et corps et livres est bruslant.<a name="FNanchor_331_331" id="FNanchor_331_331"></a><a href="#Footnote_331_331" class="fnanchor">[331]</a></div> - </div> -</div> -</div> - -<p>This very rare work was reprinted at Chartres, in 1832, under the auspices -of M. Hérisson, the librarian of that city. The reprint contains a -facsimile of the engraving.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> H<span class="smcapa">EURES DE</span> N<span class="smcapa">OSTRE</span> D<span class="smcapa">AME</span>, <span class="smcapa">TRANSLATEES EN FRANCOYS ET MISES</span> -<span class="smcapa">EN RITHME PAR</span> P<span class="smcapa">IERRE</span> G<span class="smcapa">RINGOIRE</span>, <span class="smcapa">DIT</span> V<span class="smcapa">AUDEMONT</span>, <span class="smcapa">PAR LE COMMANDEMENT DE</span> ... <span class="smcapa">MADAME</span> R<span class="smcapa">EGNEE DE</span> B<span class="smcapa">OURBON</span>, -<span class="smcapa">DUCHESSE DE</span> L<span class="smcapa">ORRAINE</span>, etc.</p></blockquote> - -<p>A quarto, in gothic type, undated, but containing a table of Easter-Days -beginning with 1524, and a privilege dated October 10, 1525.</p> - -<p>This book, which was published by the bookseller Jean Petit, contains -13 large engravings, a list of which follows:—</p> - -<ul class="index"> -<li>1. The Annunciation.</li> -<li>2. Adam and Eve.</li> -<li>3. The Cross.</li> -<li>4. The Holy Ghost.</li> -<li>5. The Descent of the Holy Ghost upon the Apostles.</li> -<li>6. David praying for Zion, threatened with the divine thunderbolts.</li> -<li>7. The Virgin and the Child Jesus.</li> -<li>8. A Family at Table (Pentecost?).</li> -<li>9. Eight Naked Children Praying; the Holy Trinity in the Heavens.</li> -<li>10. The Manna.</li> -<li>11. David's Penance.</li> -<li>12. The Triumph of Death.</li> -<li>13. Jesus receiving the Crown of Thorns and the Reed.</li> -</ul> - - -<p><span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span></p> - -<p>Only the last of these bears the monogram that I have described<a name="FNanchor_332_332" id="FNanchor_332_332"></a><a href="#Footnote_332_332" class="fnanchor">[332]</a>; -but the other engravings, being in the same style, should all be attributed -to Tory. We might perhaps also attribute to him the six analogous engravings -which appear in the same author's 'Chants royaux' (printed at -the same time and usually bound with the Hours), but not one of which -is signed. They represent:—</p> - -<ul class="index"> -<li>1. The Synagogue: Jesus in the background, entering a pillar.</li> -<li>2. The Prodigal Son: Jesus in the background, curing a woman.</li> -<li>3. Hunters: Jesus in the background, curing one possessed of devils.</li> -<li>4. The Miracle of the Loaves and Fishes.</li> -<li>5. Entrance of Jesus into Jerusalem.</li> -<li>6. The Crowning with Thorns.</li> -</ul> - - -<p>These two books have been reprinted several times. I know of four -quarto editions of the Hours.<a name="FNanchor_333_333" id="FNanchor_333_333"></a><a href="#Footnote_333_333" class="fnanchor">[333]</a> The first is the one I have just described. -It contains some other engravings, in an entirely different style from Tory's, -which appear also in other books of Hours of older date. The second has -a table of Easter-Days beginning with 1528, and a privilege dated November -15, 1527. In other respects it is similar to the earlier one. The third has -a table of Easter-Days beginning with 1534. It is like the last except in -one point: in place of the final engraving there is a different one, signed -in the same way, representing Job at prayer before his burning house, -and his neighbours reviling him. This engraving proves that Tory must -have engraved a longer series from which the printer took this one at -random, being unable at the moment to find the one that he required. The -fourth has a calendar beginning with 1540. It is like the second, except for -the privilege, which is dated November, 1525, doubtless by mistake. These -four editions are all in the Bibliothèque de l'Arsenal.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> H<span class="smcapa">ISTOIRE</span> ... <span class="smcapa">DE LA</span> ... <span class="smcapa">GLORIEUSE VICTOIRE OBTENUE CONTRE LES</span> -<span class="smcapa">SEDUITZ ET ABUSEZ LUTHERIENS MESCREANZ DU PAYS DAULSAYS</span> ... -<span class="smcapa">PAR</span> ... A<span class="smcapa">NTHOINE</span> ... <span class="smcapa">DUC DE</span> C<span class="smcapa">ALABRE</span> ..., <span class="smcapa">PAR</span> N<span class="smcapa">ICOLE</span> V<span class="smcapa">OLCYR</span> -(otherwise called Volkire) <span class="smcapa">DE</span> S<span class="smcapa">EROUVILLE</span>, etc.</p></blockquote> - -<p><span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p> - -<p>Small folio, in gothic type, without date of printing, but with a privilege -dated January 12, 1526 (1527 new style), issued by Jean de la Barre, -'garde de la prévôté' of Paris. The battle took place in 1525.</p> - -<p>Volcyr's work contains seven engravings, but only the last two, at the -beginning of the last two books, are signed. We may, however, I think, -attribute to Tory the one at the head of the first book also. A description -of these engravings follows:—</p> - -<p>1. Frontispiece representing Faith: a helmeted woman trampling upon -the dragon.</p> - -<p>2. The author, seated, writing his book.</p> - -<p>3. A large plate representing a warrior (the Duke of Calabria?) amidst -his men, waving his sword.</p> - -<p>4. A bishop praying.</p> - -<p>5. The author offering his book to the prince. A fine plate on which are -several scattered letters, the meaning of which I am unable to conceive.</p> - -<p>6. A large plate representing the attack on the town of Saverne. At the -top is the word 'Saberna.'</p> - -<p>7. A large plate representing the vision of the Passion. Jesus at prayer, -a halo about his head; facing him, angels presenting the Cross; behind -him, other angels bearing the post to which he was bound; all about him, -the instruments of his torture. This plate is altogether in the manner of -those in the following work.</p> - -<hr class="tb" /> - -<p><span class="smcapa">IV.</span> T<span class="smcapa">HE</span> L<span class="smcapa">ABOURS OF</span> H<span class="smcapa">ERCULES</span>.</p> - -<p>Twelve large plates, folio, owned by the Bibliothèque Nationale. Each -of them was formerly accompanied by a number and by a quatrain in -French explaining the subject; unfortunately these have been removed -from most of the plates,<a name="FNanchor_334_334" id="FNanchor_334_334"></a><a href="#Footnote_334_334" class="fnanchor">[334]</a> and it is impossible for me to-day to place them -with full assurance in the order in which they belong. However, that -given below seems to me most natural. The three which retain their numbers -are marked by an asterisk.</p> - -<ul class="index"> -<li>1. The Nemean Lion.</li> -<li>2. The Lernean Hydra.</li> -<li>*3. Cerberus.</li> -<li>4. Antæus.</li> -<li>5. Archelaus.</li> -<li>6. Hippodamia.</li> -<li>7. Geryon.</li> -<li>8. The Pillars of Hercules.</li> -<li>*9.The Cretan Bull.</li> -<li>*10. The Erymanthian Boar.</li> -<li>11. Cacus.</li> -<li>12. Hercules at the Stake.</li> -</ul> - - -<p><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span></p> - -<p>All of these engravings are signed: <img src="images/i_b_183.png" width="42" height="80" alt="" /></p> - -<p>We give here, as specimens, three of the quatrains accompanying the -engravings; they are the only ones preserved at the Bibliothèque Nationale. -They may very well be the work of Gringoire, like the verses of the -'Blazon des Hérétiques,' of the same date.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><em>Number</em> 3</div> - </div> - <div class="stanza"> - <div class="i2">Il braue les enffers (chose à luy tresaisee),</div> - <div class="i2">Et le chien Cerberus, aux trois chefz surmontant;</div> - <div class="i2">Il va les Infernaux main à main combattant,</div> - <div class="i2">Pour mettre en liberté son bon amy Thesee.</div> - </div> -</div> -</div> - - - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><em>Number</em> 9</div> - </div> - <div class="stanza"> - <div class="i2">Les furieux Thaureaux (choses esmerveillables)</div> - <div class="i2">De ses deux bras nerveux Il maitrise aisement,</div> - <div class="i2">Et leur faict faire Ioug desoubs luy forcement</div> - <div class="i2">Encor qu'on estimat qu'ils fussent indomptables.</div> - </div> -</div> -</div> - - - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><em>Number</em> 10</div> - </div> - <div class="stanza"> - <div class="i2">Ung sanglier escumeux à la grand' dent pointue,</div> - <div class="i2">Qui hommes, vignes et bleds degatoient enragé,</div> - <div class="i2">Et par qui l'vniuers estoit endommagé,</div> - <div class="i2">Seul, par sa hardiesse, Il acreuante et tue.<a name="FNanchor_335_335" id="FNanchor_335_335"></a><a href="#Footnote_335_335" class="fnanchor">[335]</a></div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p> - -<p>The orthography of these verses proves that they were printed in the -seventeenth century<a name="FNanchor_336_336" id="FNanchor_336_336"></a><a href="#Footnote_336_336" class="fnanchor">[336]</a>; but the very appearance of the verses, and the condition -of the plates, which are already worm-eaten, are sufficient to justify -one in assigning to the latter a very much earlier date than to the former. -So that I can do no better than to refer them to the year 1525, when we -find Tory using the same monogram.</p> - -<p>Tory seems to have attempted in these plates to imitate Mantegna, -whose work he may have studied in Italy; but he had the good sense to -abandon this manner, which was not his own; or perhaps we should say -that he did no more than follow designs which were supplied to him.</p> - -<p>This is what M. Renouvier has to say on this subject:—</p> - -<p>'The plates signed with a G surmounted by the Lorraine cross are -of more importance. The Labours of Hercules, in twelve plates, are the -work of no commonplace artist. The drawing assumes a masterly, even a -rough, character, seeking effects in the play of muscles and of facial expression -in imitation of Mantegna and Albrecht Dürer; the cutting follows -up the effect of the burin. Bartsch mentioned them among the old -German masters, and the monogrammatists wavered between Jean Schoorel, -Georges Scharfenberg, Giuseppe Scolari, etc.; their French origin was -not suspected until some proofs were found on which the engravings -were accompanied by French quatrains. Then, when the same mark was -found on a plate used as a frontispiece to Pierre Gringoire's "Blazon des -Hérétiques" (1524), and on several vignettes in the Hours <em>rendered into -verse</em>, by the same poet, it was attempted to make a wood-engraver of -Gringoire, who was a Lorrainer, herald-at-arms to Duc René II, and likely -enough to display the cross of Lorraine over his initial. This much is certain: -that the mark consisting of a G with the cross of Lorraine is found -also on the plates of a Lorraine book—"Duc Anthoine's Victory over the -Lutherans"—published by his secretary Volcyr, who paid the expenses -of the publication, "being unable to find any bookseller who was willing -to undertake it, as well because of the portraits and cuts of the illustrations -as of the printing hereof," and caused it to be issued, not in Lorraine, -but in Paris, by Galliot Dupré, in 1526. It is to be noticed that this<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span> -bookseller's mark, which represents a galliot, also has a Lorraine cross surmounting -his cipher. Now, the attribution of these plates to Geofroy -Tory is based upon some very ingenious comparisons of marks; the style -of the engravings places no insurmountable obstacle in the way of such -attribution, but it must be admitted that the engraver was led very far -astray from his earlier works by his imitation of the German manner. It -is possible, because French engraving, at the beginning of the sixteenth -century, was pulled in four directions at once, so to speak, by national -habit, by Flemish taste, by German mania, and by Italian charm. M. Bernard -would give the fullest sanction to this second attribution if he could -find any evidence of a journey of Tory's to Alsace or Lorraine of a later -date than his journey to Italy; the importation of woodcuts from those -provinces, then a common occurrence, would indeed suffice, so far as the -common herd of our engravers is concerned, to explain this alteration in -their manner. I will mention in a moment an example, also out of Lorraine, -which must certainly have been known to Tory. Whatever the fact -may be, the Labours of Hercules deserve an honourable place among the -first attempts on a large scale of French engraving, beside the plates of -Jean Duvet. The British Museum, like our Cabinet des Estampes, has acquired -a set of them. Two of the plates in the latter set have the quatrains -which are lacking in the corresponding ones in the Paris set; these are, the -fifth: "The sly Archelaus 'gainst Hercules doth contend"; and the seventh: -"The mighty Geryon, despicable tyrant," etc.'</p> - - -<p class="p6">1526</p> - -<p><span class="smcapa">I.</span> I have said that the floriated letters of Simon de Colines and Robert -Estienne were engraved by Geofroy Tory. I cannot furnish material proof -of the fact with regard to those of Colines; but I am about to produce -incontestable evidence with regard to Estienne's. A letter in one of his -alphabets is signed with the Lorraine cross, and that letter is the G, the -initial of Tory's own name, or, as we say to-day, his first name (<em>prénom</em>). It -is as if he had written 'Geofroy Tory' in full. But in this case, in opposition -to what we find in the preceding engravings, the cross, instead of -being above the G, is below it, and hidden as much as possible in order -not to injure the design of the 'antique letter.' This circumstance proves -not only that Tory was the engraver of Robert Estienne's floriated letters, -but also that the double cross was that artist's mark.</p> - -<p><span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_186.jpg" width="350" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_187.jpg" width="352" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_188.jpg" width="353" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span></p> - -<p>Is it not, in truth, a striking fact that Tory chose the letter G to place -his mark upon? He was not withheld by the consideration that that letter, -not being in very common use, especially at the beginning of words, -appeared rather infrequently in books.<a name="FNanchor_337_337" id="FNanchor_337_337"></a><a href="#Footnote_337_337" class="fnanchor">[337]</a> As always, logic prevailed with -him over every other consideration. Let us see how far it carried him.</p> - -<p>Later, he engraved a Greek alphabet, in the same style, for Robert -Estienne; as he could not put his mark on the <em>gamma</em>, which bears no -resemblance to the G, he put it on no letter, but on one of the friezes -executed to accompany those beautiful floriated letters.<a name="FNanchor_338_338" id="FNanchor_338_338"></a><a href="#Footnote_338_338" class="fnanchor">[338]</a> See the frieze -in question at the beginning of the second volume of the Works of -Eusebius, three volumes, folio, 1544.<a name="FNanchor_339_339" id="FNanchor_339_339"></a><a href="#Footnote_339_339" class="fnanchor">[339]</a></p> - -<p><span class="smcapa">II.</span> Besides these two alphabets of capital letters, Tory engraved for -Robert Estienne about the same time, six different marks for his typographical -sign, the 'Olive-Tree,' of which a description will be found -later on, in section 3.</p> - -<p><span class="smcapa">III.</span> Tory also engraved, about the same time, for Simon de Colines, -a border in the criblé style, at the foot of which is a sun which certain -centaurs, incited thereto by women, are trying to seize. (Silvestre, no. -523). This border is probably of 1526, when Colines turned over to -Robert Estienne his father's establishment and set up for himself at the -'Soleil d'Or,' opposite the Collège de Beauvais. It appears, to my knowledge, -in two octavo volumes of 1529: 'Compendium Grammaticæ -græcæ Jacobi Ceporini,' and 'Liber de opificio Dei.'</p> - - -<p class="p6">1526-1528</p> - -<p>This whole period was, in all probability, absorbed by the labour of engraving -and editing 'Champ fleury.' For one of the first engravings in -that book is dated 1526, and it was finished early in 1529. Although the -majority of these engravings are not signed, they must all belong to Tory, -at all events so far as the designs are concerned.<a name="FNanchor_340_340" id="FNanchor_340_340"></a><a href="#Footnote_340_340" class="fnanchor">[340]</a> I cannot attempt to enumerate -them all here, for there are more than five hundred, counting as -one each of the letters in the various alphabets; but I propose to mention -the more important ones. For historical information concerning the book, -I refer the reader back to what I have said thereon in the first and second -parts of this volume.</p> - -<p><span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_190.jpg" width="318" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_191.jpg" width="328" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span></p> - -<p>The title-page is enclosed in a very pleasing border,<a name="FNanchor_341_341" id="FNanchor_341_341"></a><a href="#Footnote_341_341" class="fnanchor">[341]</a> and it has moreover -an engraving of the Pot Cassé reversed.<a name="FNanchor_342_342" id="FNanchor_342_342"></a><a href="#Footnote_342_342" class="fnanchor">[342]</a> On the verso are the arms -of France.<a name="FNanchor_343_343" id="FNanchor_343_343"></a><a href="#Footnote_343_343" class="fnanchor">[343]</a></p> - -<p>Folio 1 of text: the letter L, which I have already reproduced.<a name="FNanchor_344_344" id="FNanchor_344_344"></a><a href="#Footnote_344_344" class="fnanchor">[344]</a></p> - -<p>Folio 3 verso: the Gallic Hercules. This engraving, dated 1526, and signed -with the Lorraine cross, represents Hercules holding his club in one hand -and a bow in the other. He is followed by divers persons of all conditions, -fastened by the ear to a chain that issues from the hero's mouth. This is -an allusion to the power of eloquence over the French. The strength of -the Gallic Hercules lies not in his arms but in his mouth.<a name="FNanchor_345_345" id="FNanchor_345_345"></a><a href="#Footnote_345_345" class="fnanchor">[345]</a></p> - -<p>Folio 9 verso: cut of the <em>lisflambe</em>, a species of lily; it is the swamp iris, -called to-day the <em>iris flambe</em>.</p> - -<p>Here the first book ends.</p> - -<p>The second contains thirty-seven geometrical figures, which it would -be no less difficult than unprofitable to describe. They are, for the most -part, representations of different letters. At the end of this book is the 'Triumph -of Apollo and the Muses,' 'to show that they who have knowledge -of goodly letters have the advantage over the ignorant.' This engraving, -which is in two parts,<a name="FNanchor_346_346" id="FNanchor_346_346"></a><a href="#Footnote_346_346" class="fnanchor">[346]</a> both signed with the Lorraine cross (folios 29 verso -and 30 recto), represents Apollo in a chariot, escorted by the Muses, Liberal -Arts, etc., and followed by Bacchus, Ceres and Venus as prisoners.<a name="FNanchor_347_347" id="FNanchor_347_347"></a><a href="#Footnote_347_347" class="fnanchor">[347]</a></p> - -<p>On the very last page (folio 30 recto) is an engraving of the <em>lisflambe</em> -surmounted by an A made up of three I's.<a name="FNanchor_348_348" id="FNanchor_348_348"></a><a href="#Footnote_348_348" class="fnanchor">[348]</a></p> - -<p>The third book has, in the first place, twenty-eight engravings of Roman<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span> -letters. The twenty-ninth represents a gothic S (folio 42 verso). The -thirtieth is a representation of the Pot Cassé, signed with the Lorraine cross -(folio 43 verso).<a name="FNanchor_349_349" id="FNanchor_349_349"></a><a href="#Footnote_349_349" class="fnanchor">[349]</a></p> - -<div class="figcenter"> -<img src="images/i_b_193.jpg" width="374" height="500" alt="" /> -</div> - -<p>Next come thirty-eight other cuts of letters, and two curious drawings -of the letter Y (folio 63 recto and verso).<a name="FNanchor_350_350" id="FNanchor_350_350"></a><a href="#Footnote_350_350" class="fnanchor">[350]</a> Then two ordinary copies of the -letter Z, and an allegory based on the shape of that letter (folio 65).<a name="FNanchor_351_351" id="FNanchor_351_351"></a><a href="#Footnote_351_351" class="fnanchor">[351]</a></p> - -<p>On folio 65 verso -is a representation -of various punctuation -marks.</p> - -<p>Folios 68 verso and -69 recto: a Hebrew -alphabet of forty letters -or symbols.</p> - -<p>Folio 71 recto: the -Greek alphabet of -twenty-four letters -and three accents.<a name="FNanchor_352_352" id="FNanchor_352_352"></a><a href="#Footnote_352_352" class="fnanchor">[352]</a></p> - -<p>Folio 72 recto: the -Latin alphabet<a name="FNanchor_353_353" id="FNanchor_353_353"></a><a href="#Footnote_353_353" class="fnanchor">[353]</a> of -twenty-three letters, -with three punctuation -marks, and the -Greek abbreviation -of the name of Jesus.</p> - -<p>Folio 74 recto: the -alphabet of <em>cadeaulx</em> -letters, consisting of -twenty-three letters -and one mark.</p> - -<p>Folio 74 verso: the alphabet of letters <em xml:lang="fr" lang="fr">de forme</em>, consisting of twenty-nine -letters or symbols, with two lines of text added.</p> - -<p>Folio 75 recto: the alphabet of <em>bastardes</em> letters, consisting of twenty-eight -letters or symbols, followed by two lines of text.</p> - -<p>Folio 75 verso: the alphabet of <em>tourneures</em> letters, consisting of twenty-three -letters.</p> - -<p><span class="pagenum"><a name="Page_194" id="Page_194"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_194.jpg" width="349" height="500" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_195" id="Page_195"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_195.jpg" width="339" height="500" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span></p> - -<p>Folio 76 recto: the alphabet of Persian, Arabic, African, Turkish and -Tartar letters, thirty in all.</p> - -<p>Folio 76 verso: the alphabet of Chaldæan letters, consisting of twenty-three.</p> - -<p>Folio 77 recto: the alphabet of <em>goffes</em> letters, otherwise called <i>imperiales</i> -and <i>bullatiques</i>, twenty-three in number.</p> - -<p>Folio 77 verso: the alphabet of <em>fantastic</em> letters, to the number of -twenty-three.</p> - -<p>Folio 78 recto: the alphabet of <em>utopiques</em> and <em>voluntaires</em> letters, to the -number of twenty-three.</p> - -<p>Folio 78 verso: an alphabet of floriated letters used in the course of the -book, twenty-three in number.<a name="FNanchor_354_354" id="FNanchor_354_354"></a><a href="#Footnote_354_354" class="fnanchor">[354]</a></p> - -<p>Folio 79 recto: a series of ciphers or intertwined letters, to the number -of ten.</p> - -<p>Folio 80 recto, and last: a border of graceful design,<a name="FNanchor_355_355" id="FNanchor_355_355"></a><a href="#Footnote_355_355" class="fnanchor">[355]</a> in which occur -Tory's mottoes: 'Menti bonæ Deus occurrit'; 'Sic ut, vel ut'; 'Omnis -tandem marcescit flos.' And in the centre is the Pot Cassé, unsigned, although -it seems to be the same cut that appears on folio 43 verso, with the -cross removed.</p> - - -<p class="p6">1527</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> N<span class="smcapa">OTABLES ENSEIGNEMENS, ADAGES ET PROVERBES, FAICTZ ET COMPOSÉS -PAR</span> P<span class="smcapa">IERRE</span> G<span class="smcapa">RINGOIRE, DIT</span> V<span class="smcapa">AULDEMONT</span>.</p></blockquote> - -<p>Octavo, in gothic type, of 68 leaves; for sale by Galliot du Pré; printed -by Simon du Boys, February 1, 1527 (1528 new style).</p> - -<p>On the verso of the second leaf is a wood-engraving with the Lorraine -cross at the right. It represents Gringoire offering his book to the king, -who is seated. In the background, a garden with a bee-hive and bees flying -about it. (Bibliothèque Nationale.)</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> L<span class="smcapa">ES HYMNES COMMUNES DE L'ANNEE: TRANSLATEZ DE LATIN EN FRANÇOIS</span> -<span class="smcapa">EN RITHME, PAR</span> N<span class="smcapa">ICOLAS</span> M<span class="smcapa">AUROY LE JEUNE, DE</span> T<span class="smcapa">ROYES</span>, avec -privilege du roy pour trois ans. (Mark of Jean Lecoq.) On les vend à -Troyes es hostels de Nicolas Mauroy, etc.</p></blockquote> - -<p>The privilege is of 1527. Small folio, in gothic type, printed in red and -black; signatures A to T.</p> - -<p><span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span></p> - -<p>This volume, which I saw in 1858, at M. Techener's, contains a large -number of engravings in the criblé style, and others in the modern style; -but only three of them are signed; these are:—</p> - -<ul class="index"> -<li>1. A Last Supper, criblé.</li> -<li>2. A Last Supper, 'à la moderne.'</li> -<li>3. The Virgin, seated, holding the Child Jesus (folio 89 verso).</li> -</ul> - - -<p>This book may give us the date of the other signed engravings found -at Troyes, which were published by M. Varlot in his 'Illustration de -l'imprimerie troyenne' (Troyes, 1850, folio).</p> - -<hr class="tb" /> - -<p><span class="smcapa">III.</span> H<span class="smcapa">OURS OF THE</span> V<span class="smcapa">IRGIN</span>, in Latin, published by Tory, but printed by -Simon de Colines; octavo.<a name="FNanchor_356_356" id="FNanchor_356_356"></a><a href="#Footnote_356_356" class="fnanchor">[356]</a></p> - -<hr class="tb" /> - -<p><span class="smcapa">IV.</span> H<span class="smcapa">OURS OF THE</span> V<span class="smcapa">IRGIN</span>, in Latin, published by Tory, but printed by -Simon Dubois; quarto.<a name="FNanchor_357_357" id="FNanchor_357_357"></a><a href="#Footnote_357_357" class="fnanchor">[357]</a></p> - - -<p class="p6">1528</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> A<span class="smcapa">RISTOPHANES</span>.</p></blockquote> - -<p>In 1528 Pierre Vidoue printed, at the expense of Gilles de Gourmont, -nine comedies of Aristophanes, in Greek, which were published separately, -in quarto form, under the editorship of Jean Cheradam.<a name="FNanchor_358_358" id="FNanchor_358_358"></a><a href="#Footnote_358_358" class="fnanchor">[358]</a> All of these have -a frontispiece engraved by Tory, of which a description follows. At the -foot, under the words 'Egidivs Gormontivs' in large letters, is a shield -with the Gourmont arms (three roses in chief and a crescent in point), -supported by two winged stags with ducal coronets about their necks, the -crest being a helmet above which is a St. Michael holding a naked sword.<a name="FNanchor_359_359" id="FNanchor_359_359"></a><a href="#Footnote_359_359" class="fnanchor">[359]</a> -At the left, a Greek inscription; at the right, an inscription in Hebrew. -The two uprights represent the wise men offering their gifts to the Child -Jesus lying on his mother's knees. At the top is a shield with three crowns -in chief (this was the sign of Gilles de Gourmont, as may be seen on the -title-page of 'Champ fleury'), and tears in the field. This shield has for -supporters, on the right a lion, on the left a griffin, and for crest a helmet -surmounted by a fan-shaped ornament. On either side is an angel with -wings holding a shield; that on the left enclosing an E, that on the right<span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span> -a G, the initials of Gilles de Gourmont's name in Latin (Egidius Gourmontius). -The Lorraine cross is at the foot of the border, on the left.<a name="FNanchor_360_360" id="FNanchor_360_360"></a><a href="#Footnote_360_360" class="fnanchor">[360]</a></p> - -<div class="figcenter"> -<img src="images/i_b_198.jpg" width="386" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> E<span class="smcapa">NCHIRIDION PRECLARE ECCLESIE</span> S<span class="smcapa">ARUM</span>, <span class="smcapa">DEVOTISSIMIS PRECATIONIBUS -AC VENUSTISSIMIS IMAGINIBUS</span>, <span class="smcapa">ET IIS QUIDEM NON PAUCIS REFERTUM</span>. -(Here the mark of Thielman Kerver—two unicorns holding a -shield <em xml:lang="fr" lang="fr">au Gril</em>, with the T. K., and, beneath, the full name, Thielman -Kerver.) Parisiis ex officina librarie vidue spectabilis viri Thielmanni.</p></blockquote> - -<p>Small octavo, Paris, 1528, with engravings signed with the Lorraine -cross.<a name="FNanchor_361_361" id="FNanchor_361_361"></a><a href="#Footnote_361_361" class="fnanchor">[361]</a> Printed in red and black, in gothic type. There are 31 signatures of -8 leaves,—<em>a</em> to <em>z</em>, and A to G (signatures <em>x</em> and <em>y</em> have only four leaves -each). In all there are 232 numbered leaves, plus 4 leaves of index not -numbered.</p> - -<p>The volume begins with the title-page, followed by a calendar, the -whole occupying 13 leaves, after which comes the text. It contains 54 engraved -plates, 12 of which are in the calendar, and a large number of -initial letters representing sacred subjects. Beneath each plate is a quatrain -in English.</p> - -<p>The 12 plates in the calendar represent allegorical subjects. They are -enclosed in oval borders, and are 71 millimetres by 55. Consequently they -are all out of proportion to the size of the book, which is 84 millimetres -by 48. It is evident therefore that they were not made for it. At the foot -of each, in the border, is the name of the month. The engraving for the -month of February represents a school; that for March, a hunt; that for -April, a gentleman and lady, walking in the country, arm in arm; that for -July, a domestic interior. The last is the only one of these engravings -that I have seen, and that only in a copy. The Lorraine cross may be -seen at the foot.</p> - -<p>Here follows a list of the other engravings of this priceless volume, of -which only a single copy is known to exist. It is to be observed that the -pages on which they appear are not numbered, as the cuts occupy the whole -space.</p> - -<p><span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span></p> - -<ul class="index"> -<li>1. The Trinity.</li> -<li>2. The Annunciation.</li> -<li>3. The Visitation.</li> -<li>4. Jesus arrested by the Jews.</li> -<li>5. Nativity of Jesus.</li> -<li>6. Jesus before Pilate.</li> -<li>7. The Annunciation to the Shepherds.</li> -<li>8. The Crowning with Thorns.</li> -<li>9. The Adoration of the Magi.</li> -<li>10. The Bearing of the Cross.</li> -<li>11. The Circumcision.</li> -<li>12. Jesus on the Cross.</li> -<li>13. The Flight into Egypt.</li> -<li>14. The Descent from the Cross.</li> -<li>15. The Coronation of the Virgin.</li> -<li>16. The Placing in the Tomb.</li> -<li>17. David and Bathsheba.</li> -<li>18. David and Joab.</li> -<li>19 to 23. The Story of David.</li> -<li>24. Dance of the Dead.</li> -<li>25. Three Men on Horseback in a Forest.</li> -<li>26. Adam and Eve expelled from Paradise.</li> -<li>27. Adam and Eve condemned to labour.</li> -<li>28. The Creation of Man.</li> -<li>29. Six Men praying before a Bier.</li> -<li>30. Birth and Death.</li> -<li>31. Purgatory.</li> -<li>32. Extreme Unction.</li> -<li>33. Job.</li> -<li>34. A Woman, seated, surrounded by</li> -<li>the Virgin, the Evil One, and a</li> -<li>Man bearing the World.</li> -<li>35. The Trinity (same as no. 1).</li> -<li>36. Jesus in Limbo.</li> -<li>37. The Resurrection.</li> -<li>38. Jesus appearing to His Mother.</li> -<li>39. Jesus appearing to Mary Magdalen.</li> -<li>40. Jesus at Emmaus.</li> -<li>41. The Incredulity of St. Thomas.</li> -<li>42. The Ascent of the Virgin.<a name="FNanchor_362_362" id="FNanchor_362_362"></a><a href="#Footnote_362_362" class="fnanchor">[362]</a></li> -</ul> - - -<p class="p6">1529</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> E<span class="smcapa">NCOMIUM TRIUM</span> M<span class="smcapa">ARIARUM</span>, etc., J<span class="smcapa">OANNIS</span> B<span class="smcapa">ERTAUDI</span>.</p></blockquote> - -<p>Quarto, Paris, Josse Bade, 1529.</p> - -<p>The Bibliothèque Mazarine has two copies of this priceless volume, -one on paper, the other on vellum, which differ slightly in respect to the -title-page. The one on vellum reads: 'Encomium Joannis Bertaudi Petragorici -Turrisalbæ in ducatu Engolismensi alumni, de cultu trium Mariarum -adversus Lutheranos, cum missa solemniore et officio canonico -earundem, auspiciis augustissimæ principis Joannæ, Aurelianensis, Gyveriensium -dominæ ac comitis de Barcq.' This is followed by a large plate -signed with the Lorraine cross, and representing the three Maries, etc. -There is no publisher's name; nothing but Josse Bade's mark at the end of -the book.</p> - -<p><span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span></p> - -<p>The title-page of the copy on paper reads: 'Encomium trium Mariarum -cum earumdem cultus defensione adversus Lutheranos, solemnique -missa et officio canonico, in quibus omnibus desideres nihil, emissum opera -et industria Joannis Bertaudi Petragorici, utriusque juris licentiati, Turrisque -Albæ in ducatu Engolismensi alumni, auspiciis augustissimæ principis -Joannæ Aurelianensis, Gyveriensium dominæ ac comitis de Barcq.' -Then follows Josse Bade's mark: 'Prelum Ascensianum,' taking the place -of the engraving of the three Maries. And below, 'Venundatur Jodoco -Badio et Galeoto a Pratis.'</p> - -<p>This difference is explained by the fact that the copies on vellum were -not intended for sale, so that no bookseller's name was placed on them, -and, furthermore, they were embellished with the cut of the three Maries.</p> - -<p>This volume contains three short productions by Jean Bertaud, all directed -to the same end—the defence of the worship of the three Maries.</p> - -<p>They are entitled:</p> - -<p>(1) Encomium trium Mariarum. (2) Officium trium filiarum beatæ -Annæ. (3) De cognatione sacerrimi Joannis Baptistæ.</p> - -<p>There are some twenty engravings, but none of them are signed except -that of the three Maries. And, as Josse Bade was an old printer, who -had no known relations with Tory, we may assume that these engravings -are not by our artist. At most, we may attribute to him the shield of Orléans, -at page 4 of the first work.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> H<span class="smcapa">OURS OF THE</span> V<span class="smcapa">IRGIN</span> (sixteenmo), in Latin, published by Tory, for -himself.<a name="FNanchor_363_363" id="FNanchor_363_363"></a><a href="#Footnote_363_363" class="fnanchor">[363]</a></p></blockquote> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> L<span class="smcapa">A</span> T<span class="smcapa">ABLE DE L'ANCIEN PHILOSOPHE</span> C<span class="smcapa">EBES</span>.</p></blockquote> - -<p>Two small volumes, octavo, with a border for each page. The double -cross appears on some, not all, of these borders.<a name="FNanchor_364_364" id="FNanchor_364_364"></a><a href="#Footnote_364_364" class="fnanchor">[364]</a></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">IV.</span> Æ<span class="smcapa">DILOQUIUM</span> ... Item: E<span class="smcapa">PITAPHIA SEPTEM DE AMORUM ALIQUOT PASSIONIBUS</span>, -etc.</p></blockquote> - -<p>Octavo, Simon de Colines, 1530.</p> - -<p>This little book is enriched by eight engravings: a frontispiece borrowed -from the octavo Hours of 1527, and seven small subjects corresponding -to the seven epitaphs. The latter are certainly Tory's, although -not signed. They are:—</p> - -<p><span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span></p> - -<ul class="index"> -<li>1. Two hearts pierced by an arrow.</li> -<li>2. Two hearts in a circle.</li> -<li>3. Two hearts bound together by cords.</li> -<li>4. Two hearts in a boat.</li> -<li>5. A pig sniffing at two hearts.</li> -<li>6. Two hearts, a distaff, etc.</li> -<li>7. Two hearts being kicked by a horse.</li> -</ul> - - -<p>See, for other details, what I have said of this book on pages 92 and 93.</p> - - -<p class="p6">1530-1531</p> - -<p>Queen Eléonore's C<span class="smcapa">ORONATION</span> and E<span class="smcapa">NTRÉE</span>, and the E<span class="smcapa">PITAPHS</span> of -the Queen-Mother, Louise de Savoie:—three quarto brochures, of which -I have spoken on pages 130 to 134; a description of the engravings follows.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> T<span class="smcapa">HE</span> C<span class="smcapa">ONSECRATION AND</span> C<span class="smcapa">ORONATION OF THE</span> Q<span class="smcapa">UEEN</span>; three sheets, -quarto.</p></blockquote> - -<p>On the first page, a border, with the word 'Salus' at the foot; the privilege -is on the verso. The text begins on the second leaf, with the letter L -reproduced on page 1. On the last page is another border, with the word -'Salus,' and the date of printing, March 16, 1530, old style.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> E<span class="smcapa">NTRÉE OF THE</span> Q<span class="smcapa">UEEN</span>; six sheets, quarto.</p></blockquote> - -<p>On the first page the same border as on the first page of the Hours of -1524-25; the privilege is on the verso. On page A ij recto, another border -and an ornamental letter R, after the style of the L in the work last described. -A iiij recto, another border. B iij recto, a border, with the motto -'non plus' at the top. B viij verso, another border, with the word 'Salus' -at the foot; this is identical with that of the last page of the 'Coronation.' -E viij recto, another border. F i verso, a lovely drawing of a 'present made -to the queen, of two candlesticks.' On the last page the border of the last -page of 'Champ fleury,' and the date of the printing, Tuesday, May 9, 1531.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> E<span class="smcapa">PITAPHS OF</span> L<span class="smcapa">OUISE DE</span> S<span class="smcapa">AVOIE</span>; two sheets and a half.</p></blockquote> - -<p>First page, the border of the frontispiece of the Hours of 1524-25, with -the Pot Cassé of the first page of 'Champ fleury.' Last page, the border -of the last page of 'Champ fleury' and the Pot Cassé of the first page; also -the date of printing, October 17, 1531. In all three we find the decorated -letters of 'Champ fleury.'</p> - -<p>These three brochures, bound together in a small volume, are in the<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span> -Bibliothèque de l'Arsenal. The borders used in them reappear later as -frames for the engravings of a book of Hours, quarto, printed in roman -type, in red and black, of which I know neither date nor place of printing -nor name of printer, as I have seen nothing except a few leaves of the book, -preserved at the Bibliothèque Nationale, with the works of Tory.</p> - - -<p class="p6">1531</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> B<span class="smcapa">OOK OF</span> H<span class="smcapa">OURS</span>, quarto, printed by Tory for himself.<a name="FNanchor_365_365" id="FNanchor_365_365"></a><a href="#Footnote_365_365" class="fnanchor">[365]</a></p></blockquote> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> B<span class="smcapa">OOK OF</span> H<span class="smcapa">OURS</span>, octavo, with arabesques of flowers, insects, animals, -etc., as in the quarto Hours of 1527.<a name="FNanchor_366_366" id="FNanchor_366_366"></a><a href="#Footnote_366_366" class="fnanchor">[366]</a></p></blockquote> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> T<span class="smcapa">ERENTIANUS</span> M<span class="smcapa">AURUS, DE LITERIS</span>, etc. N<span class="smcapa">ICOLAO</span> B<span class="smcapa">RISSÆO</span> ... -<span class="smcapa">COMMENTATORE</span>.</p></blockquote> - -<p>Quarto, Simon de Colines, 1531.</p> - -<p>This book is dedicated to Guillaume Petit, Bishop of Senlis, whose -arms, with the Lorraine cross, appear on the verso of leaf 8 of the front -matter. The motto is: 'Utinam novissima providerent.'</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">IV.</span> C<span class="smcapa">LAUDII</span> G<span class="smcapa">ALENI</span> P<span class="smcapa">ERGAMENI DE ANATOMICIS ADMINISTRATIONIBUS</span> -<span class="smcapa">LIBRI NOVEM</span>, J<span class="smcapa">OANNE</span> G<span class="smcapa">UNTERIO</span> A<span class="smcapa">NDERNACO, MEDICO, INTERPRETE</span>.—Parisiis, -apud Simonem Colinæum, 1531.</p></blockquote> - -<p>Large folio, with an engraved frontispiece having the Lorraine cross -at the foot, on the left.</p> - -<p>The frontispiece represents several different subjects. At the top is -Jesus healing the leper; at the foot, doctors dissecting a dead body and -lecturing to a numerous audience; at the sides, full-length portraits of -the most celebrated physicians of antiquity; in the centre of the plate is -a scroll bearing the Latin title transcribed above. This frontispiece was, -doubtless, used with others of the works of Galen.</p> - -<p>Simon de Colines also published, in 1536, an edition of the works of -Galen, under the supervision of the same editor (folio of 172 pages), and -embellished with five beautiful floriated letters engraved by Tory. In it -we find also, at the head of the epistle to the reader, an ornamental S surmounted -by a coat of arms,—a charming design, but not signed.</p> - -<p><span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span></p> - - -<p class="p6">1532</p> - -<p>L<span class="smcapa">ATIN</span> B<span class="smcapa">IBLE</span> of 1532; folio; Robert Estienne.</p> - -<p>The title-page is decorated with a frieze signed with the Lorraine cross, -bearing the word 'Biblia' in large letters. It is a scroll surrounded by vines, -with the brazen serpent at the left, and Jesus on the Cross at the right.</p> - - -<p class="p6">1533</p> - -<p>The B<span class="smcapa">ON</span> M<span class="smcapa">ESNAGER</span> of Pierre des Crescens, printed by Nicolas Cousteau -for Galliot Dupré. Folio, 1533. The frontispiece, representing Dupré -presenting the book to François I, is signed with the Lorraine cross.</p> - -<hr class="tb" /> - -<p>Inasmuch as Tory died in 1533, it will, perhaps, seem that I ought to -stop here in this enumeration. But as many engravings executed by his -own hand were not printed until later, and, moreover, as those signed with -the Lorraine cross alone came from his establishment, which was managed -by his wife after his death, I have thought best to pursue my investigations -concerning the engravings with the Lorraine cross to the end.</p> - - -<p class="p6">1534</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> S<span class="smcapa">ERMONES</span> I<span class="smcapa">UDOCI</span> C<span class="smcapa">LICHTOVEI</span> N<span class="smcapa">EOPORTUEN</span>. <span class="smcapa">DOCTORIS THEOLOGI ET</span> -C<span class="smcapa">ARNOTEN</span>. C<span class="smcapa">ANONICI</span>.</p></blockquote> - -<p>Folio, Paris, Thielman Kerver's widow, 1534. The privilege is dated -1534. (Bibliothèque S.-Geneviève, and Bibliothèque Mazarine.)</p> - -<p>The Latin title which I have transcribed is engraved in great gothic -letters, arranged in the shape of a cul-de-lampe, and terminated by a small -black heart-shaped ornament (not unlike those used by Simon de Colines), -in which is the Lorraine cross. This circumstance leads me to believe that -Tory engraved this title-page in gothic letters; a most interesting fact if -true, for they are probably the only letters in that style that he ever engraved, -after those on folios 42 verso, 74, etc. of 'Champ fleury'; and it is -all the more strange because the rest of the book is printed in roman type. -It may be that there was another edition in gothic type.</p> - -<p>However, this volume contains many other engravings signed with the -Lorraine cross, and others which, although unsigned, seem to be Tory's.</p> - -<p>Folio 1, following the title, a large T, adorned with fleurs-de-lis, on a -background strewn with the same flowers.</p> - -<p>Folio 5 verso, a large ornamental P, representing the Eternal Father.</p> - -<p>Folio 19, the Virgin in a halo of fire, with the Child Jesus (signed).</p> - -<p><span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span></p> - -<p>Folio 21, Jesus among the Apostles, holding a saw (signed).</p> - -<p>Folio 43, Moses receiving the Tables (signed).</p> - -<p>Folio 63 verso, the Ark in the form of a church (signed).</p> - -<p>Folio 77, the Annunciation, in an oval border (octavo).</p> - -<p>Folio 88, Birth of Jesus (small octavo).</p> - -<p>Folio 135, the Resurrection (signed).</p> - -<p>Folio 148, the Ascension (signed).</p> - -<p>Folio 154 verso, the Virgin among the Apostles (small octavo).</p> - -<p>Folio 157 verso, the Trinity (signed).</p> - -<p>Folio 161, Easter (signed).</p> - -<p>Folio 221, Birth of the Virgin. She is in her mother's womb, holding -the Child Jesus (octavo).</p> - -<p>Folio 325, Jesus tempted by the Devil (octavo).</p> - -<p>The octavo engravings appear in several other books printed by the -Kervers.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> P<span class="smcapa">AULI</span> B<span class="smcapa">ELMISSERI</span> P<span class="smcapa">ONTREMULANI, ARTIUM ET MEDICINÆ DOCTORIS</span>, -<span class="smcapa">EQUITIS, ET POETÆ LAUREATI, OPERA POETICA</span>.</p></blockquote> - -<p>Quarto, of 108 numbered, plus 4 preliminary unnumbered leaves.</p> - -<p>Printed in 1534, but with no name of printer or bookseller. On the first -page is a quarto plate, representing the author crowned with laurel, standing -between François I and Clement VII. Beneath these three personages -are their respective arms, and above their heads their names: Franciscus, -Paulus, Clemens. The Lorraine cross is at the foot, on the left. The same -plate appears on the last page.</p> - - -<p class="p6">1535</p> - -<hr class="tb" /> - -<blockquote> - -<p>L<span class="smcapa">ES TROYS PREMIERS LIVRES DE L'HISTOIRE DE</span> D<span class="smcapa">IODORE</span> S<span class="smcapa">ICILIEN</span>, -<span class="smcapa">TRANSLATEZ DE LATIN EN FRANÇOYS, PAR</span> A<span class="smcapa">NT</span>. M<span class="smcapa">ACAULT</span>.... On les -vent a Paris, en la rue de la Juifverie, devant la Magdaleine, à l'enseigne -du Pot Cassé....<a name="FNanchor_367_367" id="FNanchor_367_367"></a><a href="#Footnote_367_367" class="fnanchor">[367]</a></p></blockquote> - -<p>Quarto, 1535. This book is embellished with a magnificent frontispiece -representing Macault presenting his book to François I. Although unsigned, -it is certainly Tory's.</p> - -<p><span class="pagenum"><a name="Page_206" id="Page_206"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_206.jpg" width="345" height="550" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span></p> - -<p>'His chef-d'œuvre,' says M. Renouvier,<a name="FNanchor_368_368" id="FNanchor_368_368"></a><a href="#Footnote_368_368" class="fnanchor">[368]</a> 'is, perhaps, the frontispiece -of Macault's "Diodorus," in which we see François I seated in a chair with -a back carved with fleurs-de-lis, at table with his children, his monkey, his -greyhound, and his courtiers, while Macault reads his book to him. This -engraving, the authorship of which is unquestionable, does not bear the -Lorraine cross; the master published without that mark many another -work which M. Bernard, in his scrupulous exactitude, has chosen not to -mention. As some compensation for the works which I have denied to -Tory, I may be allowed the pleasure of mentioning here one which M. -Bernard has not attributed to him: "Les Fables d'Esopes mises en rithme -françois," by Gilles Corrozet (Paris, Denys Janot, 1542). As the copy that -I saw is not complete, it may be that the Lorraine cross might have been -found somewhere in the book; but, in any event, that would not change -the conviction based upon examination of the plates. The small engravings, -with the first four lines of the fables, are set in borders decorated with -pilasters and pediments in the master's style, and illustrated at the base -with tiny drawings of amorous subjects, treated with his somewhat heavy-handed -delicacy.</p> - -<p>'There came from Tory's establishment, in the later years, many engravings -of blended types which can be attributed to none but pupils, -or even apprentices; analysis will always be impossible; when we have -cast a light upon the head of a school, we must leave the tail to languish -in the shadow. I will mention here, however, one pupil of Geofroy Tory, -whom M. Bernard does not mention, namely, François Gryphe, brother -of Sébastien Gryphe of Lyon. He engraved and printed, in 1539, a New -Testament which, as very rarely happens, mentions the engraver of the -plates on the title-page as well as in the privileges from the King and the -Parliament which stand at the beginning and end of the book respectively. -"Novum testamentum illustratum insignium rerum simulacris, cum ad -veritatem historiæ, tum ad venustatem, singulari artificio expressis." (Here -the mark of the griffin.) "Excudebat Fran. Gryphius, <span class="smcapa">AN. MDXXXIX</span>." And -in the privilege: "Francoys Gryphius, bookseller, printer and tradesman, -commorant in Paris ... prayed that he be permitted to cause to be printed -and sold the New Testament, illustrated by him."</p> - -<p>'The volume is a small octavo; the Lorraine cross does not appear, but -there is a letter L engraved by Tory, and a series of small plates executed -with a delicacy instinct with firmness, in accordance with types, attitudes -and rules which can belong to no other school than his.'<a name="FNanchor_369_369" id="FNanchor_369_369"></a><a href="#Footnote_369_369" class="fnanchor">[369]</a></p> - -<p><span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span></p> - -<p class="p6">1536</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> H<span class="smcapa">ORÆ IN LAUDEM BEATISSIME VIRGINIS</span> M<span class="smcapa">ARIÆ AD USUM</span> R<span class="smcapa">OTHOMAGENSEM</span>. -P<span class="smcapa">ARISIIS</span>, <span class="smcapa">AD INSIGNE</span> V<span class="smcapa">ASIS</span> E<span class="smcapa">FFRACTI</span>, 1536.</p></blockquote> - -<p>Small octavo, roman type, line engravings.<a name="FNanchor_370_370" id="FNanchor_370_370"></a><a href="#Footnote_370_370" class="fnanchor">[370]</a></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> L<span class="smcapa">AZARII</span> B<span class="smcapa">AYFII ANNOTATIONES</span>, etc.</p></blockquote> - -<p>Quarto, Robert Estienne, 1536.</p> - -<p>Charles Estienne, brother of the printer, who seems to have been the -editor of this book, informs us, in a brief preface, that the drawings scattered -through it were taken by him from ancient monuments, and especially -from marbles still extant at Rome. Several of the plates bear the -Lorraine cross, Robert Estienne's mark, on the title-page; also the engraving -on page 19 of 'De re navali' (repeated on page 168), and those on -pages 4, 44 and 64 of 'De re vestiaria'. All the other engravings, although -not signed, probably came from Tory's workshop. This book was reprinted -by Robert Estienne, in 1549, in the same form. Here is a summarized -list of the engravings contained in it: In the first part, 'De re -navali,' are some twenty representations of antique vessels, biremes, triremes, -etc., of which one is signed; in the second part, 'De re vestiaria,' -three are signed: (1) a woman; (2) a man; (3) a soldier; in the third part, -'De vasculis,' are eight or ten representations of vases, etc., not signed.</p> - -<p>All these engravings were reproduced on copper in a reprint of Baïf's -work, published in Grævius's great collection called the 'Treasure of Antiquities,'<a name="FNanchor_371_371" id="FNanchor_371_371"></a><a href="#Footnote_371_371" class="fnanchor">[371]</a> -and, strangely enough, the artist has left the Lorraine cross on -the first.<a name="FNanchor_372_372" id="FNanchor_372_372"></a><a href="#Footnote_372_372" class="fnanchor">[372]</a> This mark appears again in column 1100 of the same volume, in -an analogous work by another author. The same engraving was reëngraved -on copper, with the cross, for the edition of Grævius's 'Thesaurus,' -published at Venice in 1732, after the edition of Utrecht. This later edition -was like the earlier one, and the engraving in question appears in -the same volume and same column. So that we have an engraving on -copper, with the Lorraine cross, executed in the eighteenth century!</p> - -<p><span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span></p> - -<p class="p6">1536-1540</p> - -<div class="figcenter"> -<img src="images/i_b_209.jpg" width="355" height="560" alt="" /> -</div> - -<blockquote><p><span class="smcapa">I.</span> H<span class="smcapa">ORÆ IN LAUDEM BEATISSIMÆ</span> V<span class="smcapa">IRGINIS</span> -M<span class="smcapa">ARIÆ, AD USUM</span> R<span class="smcapa">OMANUM</span>.—Parisiis, -apud Simonem Colinæum, 1543.</p></blockquote> - -<p>Large quarto of 44 sheets, in 22 signatures -of 2 sheets, <em xml:lang="fr" lang="fr">encartées</em>, A to Y. On the verso -of the title-page is a table of Easter-Days -from 1543 to 1566; then comes the calendar, -which fills the next six sheets. There are in -the text fourteen large engravings, with a -special border:—</p> - -<blockquote> - -<p>1. St. John writing his Gospel (which begins -on the following leaf). He is gazing at -the Virgin, who appears to him in the sky, -holding the Child Jesus.</p> - -<p>2. Jesus betrayed by Judas.</p> - -<p>3. The Salutation, with this device in -French: 'Fait ce que tu vouras avoir fait -quant tu moras.' ['Do what thou wouldst -have done when thou diest.']</p> - -<p>4. The Visitation (signed).</p> - -<p><span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span></p> - -<p>5. The Birth of Jesus.</p> - -<p>6. The Annunciation to the Shepherds -(with the date 1537).</p> - -<p>7. The Adoration of the Magi (signed).</p> - -<p>8. The Circumcision (signed).</p> - -<p>9. The Flight into Egypt.</p> - -<p>10. The Death of Mary (signed).</p> - -<p>11. Jesus on the Cross (signed).</p> - -<p>12. The Descent of the Holy Ghost upon -the Apostles (signed).</p> - -<p>13. The Penance of David (signed).</p> - -<p>14. Jesus restoring Lazarus to life.</p></blockquote> - -<div class="figcenter"> -<img src="images/i_b_210.jpg" width="362" height="560" alt="" /> -</div> - -<p>All the pages are enclosed in borders, but -the latter are of two sorts:—</p> - -<p>1. Eight complete borders, that is to say, -thirty-two compartments, in simple line-engraving -as in the Hours of 1524-1525. A -single one of these eight is signed; but they -are all by the same artist. They bear the dates -of 1536, 1537, 1539, in little scrolls of the -sort to which Tory was so much addicted. -These dates preclude our attributing these -engravings to himself, but they evidently<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span> -came from his establishment which was then -conducted by his widow. One of these borders -appears in a book published in 1542: -'Rodolphi Agricolæ ... de inventione dialectica, -libri III,' etc. 4to, Paris, Simon de -Colines.</p> - -<p>2. There are also eight complete borders, -or thirty-two compartments, engraved in -black in an entirely different style, alternating -with those engraved in line. [Four of them -are reproduced in this volume, on the pages -bearing the Author's Preface.] They are in -niello, are neither signed nor dated, and I -doubt whether they came from Tory's workshop, -although we shall see that he engraved -some similar ones for Jean de Tournes. In any -event their inclusion in this book, side by side -with the borders and drawings engraved in -line, seems to me in wretched taste which -would have disgusted our artist.</p> - -<p>We find also in this book some beautiful -ornamental letters in the criblé style, which -may be Tory's.</p> - -<div class="figcenter"> -<img src="images/i_b_211.jpg" width="362" height="560" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span></p> - -<p>The book was reprinted in 1549, in the same form, by Renaud and -Claude Chaudière, successors to Simon de Colines.</p> - -<hr class="tb" /> - -<blockquote><p><span class="smcapa">II.</span> In the same year 1543, Simon de Colines published another book of -Hours, octavo, which seems to be a smaller edition of the one I have just -described. Like that one, it is composed of 22 signatures, A to Y.</p></blockquote> - -<p>The title-page reads: H<span class="smcapa">ORÆ IN LAUDEM</span> D<span class="smcapa">EI AC BEATISSIMÆ</span> V<span class="smcapa">IRGINIS</span> -M<span class="smcapa">ARIÆ</span> <span class="smcapa">AD USUM ROMANUM, UNA CUM CALENDARIO RECENS</span> [<em>sic</em>] <span class="smcapa">EMENDATO</span>. -This within a portico-shaped border, at the top of which is the name -Simon de Colines. At the foot of the page: 'Parisiis, apud Simonem Colinæum.—1543.'</p> - -<p>As in the quarto Hours of the same date the borders of the text pages -are arabesques of two styles, some in line and the others in black; and the -drawings, to the number of 13, are set in a special border. Some of these -borders bear the date 1537, and one of them has the name Simon de Colines -in full, which proves that the engravings were executed for him. A list of -the drawings follows; only one of them is signed, but all seem to be the work -of Tory.</p> - -<ul class="index"> -<li>1. St. John writing his Gospel (signed).</li> - -<li>2. Calvary.</li> - -<li>3. The Salutation.</li> - -<li>4. The Visitation.</li> - -<li>5. The Nativity.</li> - -<li>6. The Annunciation to the Shepherds.</li> - -<li>7. The Adoration of the Magi.</li> - -<li>8. The Presentation.</li> - -<li>9. The Flight into Egypt.</li> - -<li>10. The Coronation of the Virgin.</li> - -<li>11. Pentecost.</li> - -<li>12. Bathsheba at the Bath.</li> - -<li>13. Job on the Dunghill.</li> -</ul> - - -<p>The only copy of this book that I know of formerly belonged to the -late M. Renouvier, of Montpellier, who showed it to me in 1858. It lacks -ten leaves immediately following the title-page, which leaves undoubtedly -contained the calendar.</p> - - -<p class="p6">1537</p> - -<blockquote><p><span class="smcapa">I.</span> L<span class="smcapa">ES</span> A<span class="smcapa">NGOISSES ET REMEDES DAMOUR DU</span> T<span class="smcapa">RAVERSEUR EN SON ADOLESCENCE</span> -(Jean Bouchet).</p></blockquote> - -<p><span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span></p> - -<p>Quarto, gothic type, printed at Poitiers, January 8, 1536 (1537, new -style), by Jean and Engilbert de Marnef. The privilege is dated November -15, 1536.</p> - -<p>There are two woodcuts signed with the Lorraine cross: the printers' -mark, on the first page; and, at the end of the preliminary pages, an engraving -representing a man in a long robe engaged in writing; facing him and -below him are four persons, also in robes, from whom he is apparently -deriving his inspiration. Near these latter, at the left, is a woman holding a -light.<a name="FNanchor_373_373" id="FNanchor_373_373"></a><a href="#Footnote_373_373" class="fnanchor">[373]</a></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> L<span class="smcapa">E</span> J<span class="smcapa">UGEMENT</span> <span class="smcapa">POETIC DE L'HONNEUR FEMININ</span> ... <span class="smcapa">PAR LE TRAVERSEUR</span> -(Jean Bouchet).</p></blockquote> - -<p>At the end are these words: 'Imprimé à Poictiers le premier d'avril -<span class="smcapa">M. D. XXXVIII</span>, par Jean et Engilbert de Marnef, freres.' This volume, which -is arranged like that last described, contains eleven engravings, five of -which are signed with the double cross.</p> - -<p>Folio A 5 verso. A large plate representing the author presenting his -book to François I. The King is seated on his throne and surrounded by his -court. (Signed at the left.)</p> - -<p>Folio B 1 recto. A meeting of the Parliament of Paris. (Signed at the -right.)</p> - -<p>Folio B 4 recto. Fame announcing the demise of Louise de Savoie, mother -of François I. (Signed at the left.)</p> - -<p>Folio B 7 recto. Mercury on his way to the field of Truth; below, -Charon in his boat. (Not signed.)</p> - -<p>Folio C 1 verso. The field of Truth. Four persons, of whom three are -seated in a sort of thicket; and above them, a château. (Signed in the -centre.)</p> - -<p>Folio C 7 verso. The deceased (Louise de Savoie), her head encircled by -a wreath and holding in her right hand a bunch of flowers. (Signed at the -right.)</p> - -<p>Folio D 3 recto. Fortune holding a wheel in one hand, and a standard -in the other. (Not signed.)</p> - -<p>Folio D 6 verso. Repetition of C 7.</p> - -<p>Folio E 5 verso. Mercury, with the caduceus in his hand, speaking to -a man in a robe, and pointing out a palace to him. (Not signed.)</p> - -<p>Folio E 7 recto. A large hall adorned with statues. (Not signed.)</p> - -<p><span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span></p> - -<p>Folio L 8 verso. A winged personage, wrapped in a cloak, and having -eyes in his hands and feet. (Not signed.)</p> - -<p>At the end of the volume the mark of the Marnefs. (Signed.)</p> - - -<p class="p6">1538</p> - -<p>M<span class="smcapa">ISSAL OF</span> P<span class="smcapa">ARIS</span>, 1539; folio. The Lorraine cross on two large folio plates, -one of which, dated 1538, represents God the Father seated on his throne, his -head surrounded by a halo; he is dressed like the Pope; over his head, a triangular -pediment. The other, not dated, represents Christ on the Cross; -the Blessed Virgin and St. John are standing at his sides, and this inscription -is printed in a semicircle over the cross: 'Absit michi gloriari nisi in -crvce D[omi]ni n[ost]ri Jesvs Christi.'</p> - -<p>These two subjects, which are often found in collections, sometimes on -paper and sometimes on vellum, sometimes black and sometimes coloured -(the mark and the date very often disappear under the colours<a name="FNanchor_374_374" id="FNanchor_374_374"></a><a href="#Footnote_374_374" class="fnanchor">[374]</a>), were first -printed, so far as my knowledge goes, in the Missal of Paris, published in -1539 by Thielman Kerver's widow. There follows a description of this -priceless volume, of which I know but one copy in Paris.<a name="FNanchor_375_375" id="FNanchor_375_375"></a><a href="#Footnote_375_375" class="fnanchor">[375]</a> It is entitled: -'Missale ad usum Ecclesiæ Parisiensis, noviter impressum, et emendatum -per deputatos a reverendissimo domino Johanne de Bellayo, Parisiensi episcopo,' -etc. Then comes Thielman Kerver's usual mark, and below: 'Prostat -Parisiis in vico divi Jacobi, apud Iolandam Bonhomme, vidue spectati -viri Thielmanni Kerver, ad signum Unicornis, ubi et excusum fuit, anno -Domini <span class="smcapa">M. D. XXXIX</span>.'</p> - -<p>This work makes a large folio volume, printed in red and black, in gothic -type, with a large number of unsigned engravings in the text. These engravings -are of three sorts,—(1) floriated letters on a black ground; (2) -small drawings of the same size, but of a very graceful renaissance type; (3) -drawings of octavo size, which were commonly used by Thielman Kerver's -widow in the books of Hours published by her, and of which I have -already had occasion to speak.<a name="FNanchor_376_376" id="FNanchor_376_376"></a><a href="#Footnote_376_376" class="fnanchor">[376]</a></p> - -<p>The two large drawings signed with the Lorraine cross face each other -in signature V, in the second part of the book, where the pagination is discontinued. -They have been reprinted several times in other editions of the -same book. I will mention particularly the edition, undated, published in<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span> -the name of Guillaume Merlin, bookseller, a copy of which is in the Bibliothèque -Mazarine<a name="FNanchor_377_377" id="FNanchor_377_377"></a><a href="#Footnote_377_377" class="fnanchor">[377]</a>; that of 1543, at the Bibliothèque Sainte-Geneviève; -that of 1559 (all published by Iolande Bonhomme or her son Jacques Kerver); -and lastly a Missal of Cluny, of which I shall speak later.</p> - -<p>Although these books are printed on paper, the plates in question are -always printed on vellum in editions of the sixteenth century; but this precaution -was neglected in later centuries.</p> - - -<p class="p6">1538-1540</p> - -<p>Latin Bible in two folio volumes, bearing the dates 1538, 1539, 1540. -Paris, Robert Estienne. The word 'Biblia' appears on the title-page in a -scroll signed with the Lorraine cross, of which I have already had occasion -to speak, under the date of 1532, and which appears in others of -Robert Estienne's books.<a name="FNanchor_378_378" id="FNanchor_378_378"></a><a href="#Footnote_378_378" class="fnanchor">[378]</a> The second title follows: 'Hebræa, chaldæa, -græca et latina nomina ... restituta cum latina interpretatione.' This has led -some bibliographers to assume, erroneously, that the book was a polyglot -affair. It is printed throughout in Latin; there are simply a few Hebrew -words in the dissertation to which the second title in question applies, -and which is printed in the second volume, with a title-page of its own, -dated 1538. The New Testament, also in the second volume, is dated 1539, -not 1540, as M. Renouard mistakenly says.<a name="FNanchor_379_379" id="FNanchor_379_379"></a><a href="#Footnote_379_379" class="fnanchor">[379]</a> The Bible alone, that is to -say, the first volume and the beginning of the second, bears the date 1540. -In each part we find Robert Estienne's large mark, signed with the Lorraine -cross. The first volume contains also eighteen magnificent engravings -representing the Tabernacle of Moses, Solomon's Temple, etc., executed -under the direction of François Vatable, Royal Professor of Hebrew -Literature. The Lorraine cross appears on the large plate of the camp of -the Israelites, on folio 35; but I dare not upon this evidence alone attribute -all the other engravings to Tory.<a name="FNanchor_380_380" id="FNanchor_380_380"></a><a href="#Footnote_380_380" class="fnanchor">[380]</a> In any event the floriated letters used in -<span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>the book are certainly Tory's, for we find the designs mentioned by him in -his 'Champ fleury.' It is a fact worth noting that these letters seem to have -been cast, or, at least, reproduced by stereotyping, for they are often repeated -on the same page, without the slightest change in the design.</p> - -<p>The Bibliothèque Nationale has a superb copy of this book on vellum, -with the arms of François I. It was reprinted in the same shape by Robert -Estienne in 1546, and by his son Henri in 1565. In this last edition, printed -at Geneva, we no longer find the two small drawings which appear, with -the frieze, on the title-page of the edition of 1532. (See p. 204, supra.) The -frieze in this later form appears in other books of the Estiennes. I have -seen it in a folio Xenophon printed for Fugger.</p> - - -<p class="p6">1540-1548</p> - -<p>A<span class="smcapa">MADIS DE</span> G<span class="smcapa">AULE</span>, French translation by Nic. de Herberay, Seigneur des -Essarts, for the first eight books; first edition printed between 1540 and -1548, by Denis Janot, for the booksellers, Vincent Sertenas, Estienne Groullau, -and Jean Longis. Folio, with engravings.</p> - -<p>I have seen only two of these engravings signed with the Lorraine cross, -but several others seem to have come from the same workshop. The great -majority of them, however, are of another <em>make</em>. The two that are signed -are: (1) Book <span class="smcapa">II</span>, chap. 2, a large plate representing a sort of temple. A man -armed cap-à-pie under a portico. At the right are shields hanging upon -posts; at the left, a man kneeling on the ground, holding a naked sword in -the air with his right hand, and another hand grasping it. This represents -a scene from the 'Île Ferme.' (2) Book <span class="smcapa">VI</span>, chap. 56, a small plate representing -four persons on horseback near a château in front of which stands -an armed man. This cut does not seem to have any connection with the subject, -and may well have been taken from another older work.</p> - -<p>There is a copy of this book on vellum in the Bibliothèque Nationale.</p> - - -<p class="p6">1541</p> - -<blockquote> - -<p><span class="smcapa">I.</span> P<span class="smcapa">RAXIS</span> <span class="smcapa">CRIMINIS PERSEQUENDI</span>, <span class="smcapa">ELEGANTIBUS ALIQUOT FIGURIS ILLUSTRATA</span>, -J<span class="smcapa">OANNE</span> M<span class="smcapa">ILLÆO</span> ... <span class="smcapa">AUCTORE</span>.</p></blockquote> - -<p>Folio; Paris, Simon de Colines, 1541. Some copies have on the title-page -only the names of the brothers Arnould and Charles les Angeliers. -(Bibliothèque Nationale.)</p> - -<p><span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span></p> - -<p>There are in this book thirteen large folio cuts, besides the frontispiece. -A single one, the seventh, is signed, but all are by the same hand. -Following is a description of them, or, rather, a brief list; for a description -would lead us into too minute details:<a name="FNanchor_381_381" id="FNanchor_381_381"></a><a href="#Footnote_381_381" class="fnanchor">[381]</a>—</p> - -<ul class="index"> -<li>1. Several men slain in divers ways, on a public square where there is a large crucifix.</li> - -<li>2. Examination of the bodies of the wounded lying in a room.</li> - -<li>3. Examination of the witnesses.</li> - -<li>4. The accused summoned by public outcry.</li> - -<li>5. Arrest of the accused.</li> - -<li>6. Examination of the accused.</li> - -<li>7. Confrontation of the witnesses with the accused (signed).</li> - -<li>8. Ratification of decree of pardon.</li> - -<li>9. Torture by water.</li> - -<li>10. Torture by the boots.</li> - -<li>11. Torture by compressing the wrists.</li> - -<li>12. Condemnation of the guilty.</li> - -<li>13. Execution of the guilty.</li> -</ul> - - -<p>There is at the Bibliothèque Nationale a magnificent copy of this book -on vellum, with the arms of France in miniature on the verso of the title-page.</p> - -<hr class="tb" /> - -<p><span class="smcapa">II.</span> T<span class="smcapa">HE FIRST VOLUME OF THE</span> C<span class="smcapa">ATHOLIQUES</span> Œ<span class="smcapa">UVRES ET</span> A<span class="smcapa">CTES DES</span> -A<span class="smcapa">POSTRES</span>, by Simon de Greban; followed by the M<span class="smcapa">YSTERE DE L</span>'A<span class="smcapa">POCALYPSE</span>, -by Louis Choquet. Printed for Arnould and Charles les Angeliers, -May 27, 1541. 'On les vend en la grand salle du Palais, par Arnould et -Charles les Angeliers freres.' Folio; Paris, 1541.</p> - -<p>This work is embellished with engravings, of which only one is signed -with the Lorraine cross. This one, which is on folio <span class="smcapa">I</span> recto of the Acts of -the Apostles, represents the descent of the Holy Ghost upon the Apostles. -It is enclosed in a border, of octavo size, and belongs to a series of engravings -for a book of Hours published by Guillaume Merlin in 1548.<a name="FNanchor_382_382" id="FNanchor_382_382"></a><a href="#Footnote_382_382" class="fnanchor">[382]</a> The engraver's -mark is in a small circle at the left of the foot of the border. Beside -it is an angel holding two shields in which are the letters G. M. (Guillaume -Merlin). The frontispiece of the Acts of the Apostles has a border in which -is the date 1537. The same border surrounds the frontispiece of the Mystery -of the Apocalypse, but there it is without the date. This last-named portion<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span> -of the volume contains 13 engravings and a border, in Tory's style, but -without the Lorraine cross. One of them bears the letters P. R. There is a -copy at the Bibliothèque Nationale.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> H<span class="smcapa">OURS OF THE</span> V<span class="smcapa">IRGIN</span>, octavo, in roman type, but with the borders -'à la moderne' described on page 128, supra.</p></blockquote> - -<p>This book, printed by Olivier Mallard in 1541, was copied doubtless -from the edition made by Tory about 1531, which I have been unable to -examine. Mallard's edition, of which I have seen a copy on vellum, belonging -to M. Émilien Cabuchet, the painter, and another on paper, consists of -twenty-three octavo signatures, A to Y. The title-page reads; H<span class="smcapa">ORÆ IN</span> -<span class="smcapa">LAUDEM BEATISSIM</span>. V<span class="smcapa">IRGINIS</span> M<span class="smcapa">ARIÆ, AD USUM ROMANUM</span>. (Here the Pot -Cassé.) Parisiis, apud Oliverium Mallardum, sub signo Vasis Effracti, 1541. -The last page, on which is printed a curious 'prescription against the -plague,' ends thus: 'Excudebat Parisiis Oliverius Mallard, bibliopola regius, -sub signo Vasis Effracti.'...</p> - -<p>In this edition there are 16 different borders; each leaf has the same -border on both recto and verso. There are also 16 of the engravings of the -sixteenmo Hours of 1529, those not reproduced being nos. 1, 19 and 21 of -that edition.</p> - -<p>The word 'Rom.' printed on the first page of each signature leads me -to believe that Mallard published at the same time, in the same format, an -edition of Hours 'ad usum Parisianum,' but I have found no trace of such -an edition.</p> - -<p>After Olivier Mallard's death, which occurred, as I have said heretofore, -in 1542, his typographical outfit seems to have been acquired by -Thielman Kerver II (son of the first Thielman and Iolande Bonhomme, -who lived, as did his father before him, on Rue Saint-Jacques); for he -published in 1550 a book of Hours similar to that printed in 1541 by Mallard. -It contains the same borders and the same drawings, but in a different -arrangement. The borders have been lengthened by means of a most -ungraceful addition to the side-pieces; as for the drawings in two parts, -no pains has been taken to place the parts facing each other, so that their -meaning would be uncertain if we had no other editions of the engravings. -In fine, this book is very imperfect. It consists of twenty-two and a -half signatures, A to Y. The title-page reads thus:—</p> - -<p>H<span class="smcapa">ORÆ IN LAUDEM BEATISSIMÆ</span> V<span class="smcapa">IRGINIS</span> M<span class="smcapa">ARIÆ AD USUM ROMANUM</span>. -(Here the mark of Thielman Kerver, with the Lorraine cross.) 'Parisiis, -apud Thielmannum Kerver, vico sancti Jacobi, sub signo Cratis.<span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span> -M.D.L.' The book closes with the curious 'prescription' found in Olivier -Mallard's edition of 1541, which is in these words: 'Approbatissima -medicina contra pestem.—Recipe quantum potes de amaritudine mentis -contra peccata commissa, cum vera cordis contritione, potius libram quam -unciam. Hæc misceantur cum aqua lacrymarum, et facies vomitum per -puram confessionem. Deinde sumas illud sacratiss. electuarium corporis -Christi, et tutus eris a peste.'</p> - -<p>The book is printed in red and black. I have seen a copy on paper at M. -Potier's bookshop. There is an imperfect copy at the Bibliothèque Mazarine, -and a perfect one at Sainte-Geneviève.</p> - -<p>About the same time there was published a small duodecimo volume -of four signatures, in French, with the same borders. It begins thus: 'Here -follows the method of receiving the blessed sacrament devoutly.' It is like -the book last-described except that it is printed in only one colour, and that -it is a little longer and wider.<a name="FNanchor_383_383" id="FNanchor_383_383"></a><a href="#Footnote_383_383" class="fnanchor">[383]</a> To lengthen the borders, sections have been -added to them. It is most peculiar that a duodecimo volume should be larger -than an octavo, but the fact is unquestionable: formats were already -beginning to increase in size. Near the end of the book is a little treatise -with this heading: 'Here follows a devout meditation as to the manner -in which thou shouldst ordain and arrange the whole day,' etc. And -after that: 'The life of Madame Sainte-Marguerite, with prayer to be -said for women pregnant and in travail.'</p> - -<p>This book is in the Bibliothèque Mazarine, in the same collection as the -last. It contains four small engravings, of which only one seems to me to -belong to Tory: it is the Christ on the Cross, which appears in the quarto -Hours of 1542, now to be described.</p> - - -<p class="p6">1542</p> - -<p><span class="smcapa">I.</span> Hours, according to the Roman use, quarto, in Latin, published by -Olivier Mallard in 1542. This rare volume, of which I know only one copy, -belonging to M. Aerts, of Metz,<a name="FNanchor_384_384" id="FNanchor_384_384"></a><a href="#Footnote_384_384" class="fnanchor">[384]</a> who himself kindly brought it to me at -Paris, is a reproduction of the Hours printed by Tory in 1531; the type, -however, is smaller. It consists of nineteen signatures of two quarto sheets -<em>encartées</em>, signatures A to T. The title-page reads: HORAE <span class="smcapa">IN LAUDEM -BEATISS</span>. V<span class="smcapa">IRGINIS MARIÆ</span> A<span class="smcapa">D USUM</span> R<span class="smcapa">OMANUM</span>. O<span class="smcapa">FFICIUM</span> T<span class="smcapa">RIPLEX</span>.—Parrhisiis, -apud Oliverium Mallard, impressorem Regium. The rest is as<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span> -in the edition of 1531. On the last page: 'Parrhisiis, ex officina Oliverii -Mallard, Regii impressoris, Ad insigna Vasis Effracti. Anno salu. <span class="smcapa">M. D. XLII</span>. Mense Augusti.' Then come the two lines:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Effracti, lector, subeas insignia vasis,</div> - <div class="i1">gregios flores ut tibi habere queis.'</div> - </div> -</div> -</div> - -<p>The table of Easter-Days, on the verso of the title-page, goes from 1542 to -1571; then comes the calendar, in which the order of the edition of 1531 -has been followed in the arrangement of the borders, although the type, -being smaller, would have permitted the more regular arrangement of the -edition of 1524-25.</p> - -<p>The book is printed in two colours, except signatures B, C, and D, -which are in black only—a most unusual state of things. The engravings -are the same as those of the edition of 1531, but the floriated letters are -different. The Passion, which begins on folio B 3 verso, is enriched by the -small Christ on the Cross which we find in the Hours of 1529, but without -the four additional subjects (bees, etc.), which there accompany it.<a name="FNanchor_385_385" id="FNanchor_385_385"></a><a href="#Footnote_385_385" class="fnanchor">[385]</a> It is -probable that some accident happened to the plate, and that only the Christ -was saved. We find also in this volume, at the foot of the border, the -crowned C of Queen Claude of France, who had then been dead about -fifteen years.</p> - -<p>The Lorraine cross, which had disappeared from several of the larger -engravings as early as the edition of 1531, appears on almost none of -them in that of 1542. For example, it has been expunged from the Birth -of Jesus and the Circumcision. The only ones which retain it are the Visitation, -the Crucifixion, and the Descent of the Holy Ghost. It remains on -the borders also.</p> - -<p>Signature E begins with a leaf the recto of which is blank, while on the -verso is the angel of the Annunciation, as in the edition of 1531. The large -plate, the Triumph of the Virgin Mary, is also included in this edition.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> H<span class="smcapa">ORE BEATE</span> M<span class="smcapa">ARIE</span> V<span class="smcapa">IRGINIS</span> <span class="smcapa">AD USUM FRATRUM PREDICATORUM -ORDINIS SANCTI</span> D<span class="smcapa">OMINICI</span>: <span class="smcapa">FIGURIS UTRIUSQUE</span> T<span class="smcapa">ESTAMENTI</span> <span class="smcapa">AC PERVENUSTIS -IMAGINIBUS ET IIS QUIDEM NON PAUCIS, PASSIM DECORATE, -ATQUE OFFICIO CONCEPTIONS IMMACULE</span> V<span class="smcapa">IRGINIS</span> <span class="smcapa">ET OFFICIO SANCTI</span> -D<span class="smcapa">OMINICI</span> <span class="smcapa">IN ALIIS ORARIIS ACTENUS IMPRESSUS NEQUAQUE INSERTIS -AD AUCTE.</span> (Here the figure of St. Dominic holding an open book in his -left hand, and in the right a staff with the cross at the end. At his feet -lies a dog. The Lorraine cross is at the left.) Venundantur Parisiis, in edibus<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span> -vidue spectabilis viri Thielmanni Kerver, in vico divi Jacobi, sub -signo Unicornis, ubi et impresse.—<span class="smcapa">M.D. XLII.</span>'</p></blockquote> - -<p>Octavo; signatures A to X, and <em>a</em> to <em>c</em>: in all, 26 forms. The title-page -engraving reappears on leaf R 4 verso. The others are not signed.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> H<span class="smcapa">EURES À L'USAGE DE</span> T<span class="smcapa">OUL: AU LONG SANS REQUERIR</span>.</p></blockquote> - -<p>Octavo of 156 unpaged leaves. Calendar from 1541 to 1564. At the -bottom of the last page are the words: 'Imprimé à Troyes chez Jean -Lecoq.' Gothic type, printed in red and black.</p> - -<p>The only copy of this book that I have seen is in the Bibliothèque -Publique of Besançon. It has 30 engravings, including the printer's mark, -which is on the title-page. The mark and three other engravings of the -first series are signed with the Lorraine cross. A list of all the engravings -follows:—</p> - -<ul class="index"> -<li>First series, .06 mm. by .043 mm.</li> -<li>1. Printer's mark (signed).</li> -<li>2. Jesus in the Garden of Olives (signed).</li> -<li>3. Annunciation of the Virgin.</li> -<li>4. The Visitation.</li> -<li>5. The Nativity.</li> -<li>6. Adoration of the Shepherds.</li> -<li>7. Adoration of the Magi.</li> -<li>8. The Presentation in the Temple.</li> -<li>9. Massacre of the Innocents.</li> -<li>10. Death of the Virgin (signed).</li> -<li>11. The Crucifix.</li> -<li>12. Pentecost.</li> -<li>13. Bathsheba at the Bath (signed).</li> -<li>14. Resurrection of Lazarus.</li> -<li>15. Vision of St. Gregory.</li> -</ul> - - -<ul class="index"> -<li>Second series, .034 mm. by .022 mm.</li> -<li>1. The Trinity.</li> -<li>2. Death piercing with a Spear the Great Men of Earth.</li> -<li>3. St. Anne.</li> -<li>4. All Saints.</li> -<li>5. Ecce Homo.</li> -<li>6. The Virgin.</li> -<li>7. The Beheading of St. John Baptist.<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span></li> -<li>8. St. Sebastian.</li> -<li>9. St. Nicholas.</li> -<li>10. St. Martin.</li> -<li>11. St. Catherine.</li> -<li>12. St. Barbara.</li> -<li>13. Our Lady of Pity.</li> -<li>14. Virgo Gloriosa.</li> -<li>15. Our Lady of the Seven Sorrows.</li> -</ul> - - -<blockquote> - -<p><span class="smcapa">IV.</span> D<span class="smcapa">YALOGUE</span> <span class="smcapa">INSTRUCTOIRE DES CHRESTIENS EN LA FOY, ESPERANCE -ET AMOUR DE</span> D<span class="smcapa">IEU</span> <span class="smcapa">COMPOSÉ PAR FRERE</span> P<span class="smcapa">IERRE</span> D<span class="smcapa">ORÉ</span>, <span class="smcapa">DOCTEUR -EN THEOLOGIE</span>.... Imprimé nouvellement par Denys Janot, demourant -en la rue Neufve Nostre Dame, à l'enseigne Sainct Jehan Baptiste, -pres Saincte Geneviefve des Ardens.</p></blockquote> - -<p>Sixteenmo, 1542. On the verso of the title-page is an engraving signed -with the Lorraine cross. It represents the Virgin standing on a crescent, -holding the child Jesus in her arms, and surrounded by a halo. (Bibliothèque -Nationale.)</p> - - -<p class="p6">1543-1544</p> - -<blockquote> - -<p>S<span class="smcapa">OMMAIRE DE CHRONIQUES</span>, <span class="smcapa">CONTENANS LES VIES, GESTES ET CAS FORTUITZ</span> -<span class="smcapa">DE TOUS LES EMPEREURS D</span>'E<span class="smcapa">UROPE</span>, etc. By J. B. Egnatius, -translated by G. Tory.<a name="FNanchor_386_386" id="FNanchor_386_386"></a><a href="#Footnote_386_386" class="fnanchor">[386]</a></p></blockquote> - -<p>There were several other editions of these chronicles. M. Hippolyte -Boyer mentions one of 1541, in his 'Histoire des Imprimeurs et Libraires -de Bourges' (8vo, Bourges, 1854), p. 27; Antoine du Verdier, another, of -1543, in his Bibliothèque françoise. This much is certain—that M. Renouvier -owned a copy, with illustrations, dated 1544. It is an octavo, 'for sale -by Charles l'Angelier, in the "grand'salle du Palais."' It contains 112 leaves -(signatures A to O), plus 4 unnumbered leaves. The engravings are of two -sorts: the first represents an emperor on horseback, carrying a battle-axe; -there is no mark, but it is engraved with much delicacy and distinguished -by the little cartouches of which Tory was so fond; this figure is reproduced -several times. The others are busts of emperors, roughly engraved, which -cannot be Tory's. It may be noted that the edition published by Tory in -1530 contains no engravings.</p> - -<p><span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span></p> - -<p class="p6">1545</p> - -<blockquote> - -<p>D<span class="smcapa">E</span> D<span class="smcapa">ISSECTIONE</span> <span class="smcapa">PARTIUM CORPORIS HUMANI</span>, etc. By Charles Estienne. -Folio, Simon de Colines, 1545.</p></blockquote> - -<p>There are in this book about sixty large anatomical plates. Five are -signed with the Lorraine cross—folios 149, 150, 151, 154, 155. The last -four bear also the name of Jollat, with the dates 1530, 1531, 1532. Here is -what M. Renouvier has to say on the subject: 'Simon de Colines ... employed -another wood-engraver of some note, Mercure Jollat, to whom Papillon -attributed almost all of our gothic books of Hours. He should be reckoned -only among the engravers of an altogether modernized manner. His -name is written Iollat, the first letter in the zodiacal sign of Mercury, followed -by the dates 1530, 1531, and 1532, and accompanied by the Lorraine -cross, on four plates of Charles Estienne's book on the dissection of the human -body, representing the cadaver in its skin and the cadaver with the skin -removed. The drawing of the figures has been attributed, even by Brulliot, -to Woeiriot; but it is really the work of the surgeon Estienne Rivière, who -is named on the title-page and in the preface as the painter of the bones, -ligaments, and all the anatomical details. His initials, S. R., appear on a -tablet hanging from the branches of a tree in the first plate. The engraving, -which varies considerably, would seem to be the work of different hands, -or, at least, to have come from an establishment which practised diverse -styles and which sometimes put forth work done by apprentices. The workmanship -of the plates with Jollat's mark seemed to me more monotonous—not -unskilful although less picturesque. I am not now passing upon their -scientific merit, but upon their picturesque interest simply.'<a name="FNanchor_387_387" id="FNanchor_387_387"></a><a href="#Footnote_387_387" class="fnanchor">[387]</a></p> - -<p>The inscription of Jollat's name on plates marked with the Lorraine -cross seems, at first glance, quite hard to explain, especially with the general -opinion concerning the former of these artists, based on Papillon's -statements. But as the story of Jollat's work as an engraver still remains -to be told, I think I may safely say that he simply designed the plates that -bear his name in Charles Estienne's book, and that they were engraved by -Tory, or, at least, in his workshop. We have seen, in fact, that Tory was -Simon de Colines' favourite engraver. To be sure, M. Renouvier seems to -be of opinion that all the plates were designed by Estienne Rivière, whence -he concludes that the engraving is by Jollat; but this is a mistaken opinion, -based on a sentence in the preface. Rivière, who was a friend of Charles Estienne, -may have designed the majority of the plates in Charles Estienne's<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span> -book, and yet not have designed all of them. Those signed Jollat evidently -belong to that artist, who seems to have designed a number of them before -the work was placed in Rivière's hands.</p> - -<p>I am confirmed in my belief that Jollat was the designer of the plates -in question by the fact that his name is always accompanied by the dates, -and that those dates are not those of the engraving, which I propose to -prove. There are only five plates signed with Jollat's name and with the -Lorraine cross in the Latin edition of Charles Estienne's book, published -by Simon de Colines in 1545. In the following year the same printer issued -a French edition of this work, under the title, 'La Dissection des parties -du corps humain' (folio, 1546), in which we find two additional plates so -marked and dated 1532. Why did not these plates appear in the first edition, -if they were engraved by Jollat?</p> - -<p>But here is another fact even more conclusive. In 1575 the bookseller -Jacques Kerver published a volume of engravings without text, entitled -'Les Figures et portraicts des parties du corps humain' (folio), in which we -find not only the seven engravings with the cross, of the edition of 1546, -but three others, also bearing Jollat's mark and the Lorraine cross, and -dated 1533. Evidently these plates appeared in some earlier edition, unknown -to me,<a name="FNanchor_388_388" id="FNanchor_388_388"></a><a href="#Footnote_388_388" class="fnanchor">[388]</a> for it was not Kerver who had them engraved; he simply -made use of the woodcuts of which he had become the owner. But why did -they not appear in the edition of 1546? That is a matter easily explained.</p> - -<p>Charles Estienne informs us in the preface to his book that the printing -was well advanced in 1539, but that it was interrupted by a lawsuit. -We give his own words in the French edition of 1546: 'All of which -things were well-nigh finished in the year 1539, and almost so far as the -middle of the third book printed, when, by reason of a suit that was begun, -we were forced (to your great discontent, methinks) to lay aside this -work and to desist from the completion thereof; for so long that in the -mean time it has been possible for many others to invent new ideas touching -this matter, and to make use at their will of many sheets filled with -our writings; for it was not possible for the printer so closely to safeguard -his book, so long suppressed, that some persons curious to learn of novel -things might not take away some sheets, still uncorrected, and send them -into Germany.'</p> - -<p>Now let us see what was the cause of this suit. Charles Estienne does<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span> -not inform us, but it has been disclosed by M. Ambroise Didot, in his -'Essai sur la Gravure.' The famous Vésale had published at Venice, in 1538, -through the printer B. Vitalis, a treatise on anatomy, embellished with -numerous plates, which was copied in several places, and notably in Paris, -despite the privilege granted by the Republic. Later, wishing to issue a -new and improved edition of his book, Vésale applied to Oporin, professor -of Greek, and printer at Basle, to whom he sent his plates, which had been -engraved at Venice by Calcar, a pupil of Titian. In 1543 Oporin finished -printing this new edition, for which the author had, no doubt, obtained -privileges from various sovereigns, especially from the King of France. -This seems to be proved by the suit instituted against Charles Estienne. -That is why the latter could not publish, in his edition of 1545, all the -plates which he had had made, and which appeared only at intervals as the -date of Vésale's privilege was left behind. As we have seen, he gives it to -be understood in his preface that it was he who was robbed in Germany.</p> - -<p>As this is a favourable opportunity, I will say a few words concerning -Jacques Kerver's publication, of which I have never seen any mention,<a name="FNanchor_389_389" id="FNanchor_389_389"></a><a href="#Footnote_389_389" class="fnanchor">[389]</a> -but which is of great interest to us. It is a folio volume, containing 61 large -plates besides a considerable number of small ones. There is no other text -than the explanations printed on the plates,<a name="FNanchor_390_390" id="FNanchor_390_390"></a><a href="#Footnote_390_390" class="fnanchor">[390]</a> and a brief note to the reader, -which begins thus: 'Friend reader, seeing that medicine is not at all essential -to preserve the health and to banish all diseases, which often, on slight -occasion, assail us, and that anatomy, or the description of the parts of the -human body, mainly serves us therein, I have determined not to fail to -exhibit them to you here.' We give a description of those plates in the book -which are of interest to us.</p> - - -<p class="center"><em>Plates which appear only in Kerver's volume.</em></p> - -<p>1. The human body in its relation to the signs of the zodiac (folio A 2 -verso). This bears Jollat's name, the date 1533, and the Lorraine cross.</p> - -<p>2 and 3. The human body in its relation to the seven planets (folio A -3 recto and verso). These two bear the same marks as the preceding.</p> - - -<p class="center"><em>Plates which appear in the edition of 1546.</em></p> - -<p>4. Skeleton seen from the left side (folio 11 of the edition of 1546, and -A 3 verso of that of 1575). Jollat's name, the Lorraine cross, no date.</p> - -<p><span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span></p> - -<p>5. Skeleton seen from the right side (folio 11, 1546, folio A 5 verso, -1575). Jollat's name, the date 1532, and the Lorraine cross.</p> - - -<p class="center"><em>Plates which appear in all three editions.</em></p> - -<p>6. Man flayed, front view (folio 149, 1545; folio 151, 1546; folio B 2 -recto, 1575). The cross alone.</p> - -<p>7. Man flayed, right side (folio 150, 1545; folio 152, 1546; folio B 2 verso, -1575). Jollat's name, the date 1532, and the Lorraine cross.</p> - -<p>8. Man flayed, rear view (folio 151, 1545; folio 153, 1546; folio B 3 -recto, 1575). The same marks as in the last case.</p> - -<p>9. Man in his skin, front view (folio 154, 1545; folio 160, 1546; folio -B 3 verso, 1575). The same marks as in the last case.</p> - -<p>10. Man in his skin, rear view (folio 155, 1545; folio 161, 1546; folio B 5 -recto, 1575). The same marks, with the date 1531.</p> - -<p>Many others of the plates may belong to Tory, but as they are not -marked, I shall not speak of them here.</p> - -<hr class="tb" /> - -<p>Something analogous to what I have just described took place with -reference to the engravings of Tory's Hours. Having become the property -of the Kervers, as we have seen,<a name="FNanchor_391_391" id="FNanchor_391_391"></a><a href="#Footnote_391_391" class="fnanchor">[391]</a> they were used by them for a long -while. We shall mention later the octavo Hours published by Thielman II -in 1550, 1552, and 1556, in which he utilized the woodcuts of the edition -published by Olivier Mallard in 1541. His son Jacques did better than that: -in 1574 he published a large octavo edition of the Hours of the Virgin, in -which he used the woodcuts of the quarto editions issued by Tory himself -in 1524 and 1527. As the crosses were removed in almost every instance, -one might have some right to deny their source, were not the books published -by Tory a half century before, at our hand to demonstrate it. Jacques -Kerver's book being rare, and of a date subsequent to the period covered -by my work, it seems to me that it may be well to give a bibliographical -description of it, from the copy owned by M. Chedeau, which M. Potier, -bookseller, has kindly furnished me.</p> - -<p>'Officium beatæ Mariæ Virginis nuper reformatum et Pii V, pont. max., -jussu editum.—Apud Jacobum Kerver, via Jacobea, sub insigni Unicornis.—1574.' -Large octavo, with illustrations from the quarto edition published -by Tory in 1524-1525, surrounded by borders taken from Tory's quarto edition -of 1527, but reduced in size, mutilated, transposed, etc.</p> - -<p>Here is a list of the plates:—</p> - -<p><span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span></p> - -<ul class="index"> -<li>1. The Annunciation (two plates).</li> -<li>2. The Salutation.</li> -<li>3. The Nativity.</li> -<li>4. The Adoration of the Shepherds.</li> -<li>5. The Adoration of the Magi.</li> -<li>6. The Circumcision.</li> -<li>7. The Flight into Egypt.</li> -<li>8. The Coronation of the Virgin.</li> -<li>These eight plates are repeated three times. Then come:—</li> -<li>9. The Triumph of Death.</li> -<li>10. David's Penance.</li> -<li>11. Jesus on the Cross.</li> -<li>12. Pentecost.</li> -</ul> - - -<p>Number 8 is taken from the quarto Hours of 1527; but all the others are -in the Hours of 1524-1525. Numbers 2 and 12 still bear the Lorraine cross.</p> - -<p>There is no doubt in my mind that the Kervers printed also the quarto -Hours (1531) which I mentioned on page 201, and in which we find the -borders of the Hours of 1524-1525, and the porticoes of the opuscula of -1530-1531. The plates are not signed and cannot be Tory's, but as a list of -them may assist in the discovery of this edition, I will mention here those -which are at the Bibliothèque Nationale:—</p> - -<ul class="index"> -<li>1. The Annunciation.</li> -<li>2. The Conception.</li> -<li>3. The Visitation.</li> -<li>4. The Nativity.</li> -<li>5. The Circumcision.</li> -<li>6. The Resurrection.</li> -<li>7. The Descent of the Holy Ghost.</li> -<li>8. All Saints.</li> -<li>9. The Trinity.</li> -</ul> - - -<p class="p6">1547</p> - -<p>We place under this date three books of Hours which introduce us to -certain engravings signed with the Lorraine cross accompanied by initials. -1547 is not the exact date of the engravings to which we refer, for we shall -see that they are of earlier execution; but their first appearance is so uncertain -that we are forced to fall back upon the definite date supplied by the -books in question.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">I.</span> H<span class="smcapa">OURS</span> <span class="smcapa">ACCORDING TO THE USE OF</span> T<span class="smcapa">OUL</span>.</p></blockquote> - -<p>Octavo. On the first page: 'The present hours according to the use<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span> -of Tou [<em>sic</em>], in full, <em>sans requerir</em>, newly printed at Paris.' (Here the mark -of François Regnault.) 'For sale in Paris, Rue Saint Jacques, at the sign of -the Elephant, opposite the Mathurins, by Françoys Regnault's widow.'</p> - -<p>On the verso is a table of Easter-Days for thirteen years, beginning in -1547. Next comes a calendar, with engravings and verses (some in Latin, -some in French), the 'Jours moralisez,' divers moral and religious axioms, -in verse and in prose, and, lastly, the four Gospels of the Passion, in Latin. -All these form the first part, with a special series of signatures, <em>aa</em> to <em>ee</em>. -It is more than likely that this first part, which has no application to any -particular diocese, is printed, in the same form, in the Hours which Veuve -Regnault probably printed for other churches about the same time. In -signatures <em>cc</em> and <em>ee</em> there is an engraving representing Jesus on the Cross, -signed with the letters I, L, B and the Lorraine cross, which appears in -several other publications of the same period.</p> - -<p>The second part of the book comprises the Hours properly so-called, -according to the ritual of the church of Toul. This part is made up of eight -signatures, <em>a</em> to <em>h</em>, the word <em>Tou</em> being printed on the first page of each -sheet.</p> - -<p>The volume contains a hundred leaves in all. In addition to the bookseller's -mark and the engraving signed with the Lorraine cross, there are -55 large woodcuts, most of which are signed with the initials I, M (without -the cross), a few small engravings, and a large number of letters in -grisaille, but no borders.</p> - -<p>With a copy of these Hours, which I have seen, was bound the following -work:—</p> - -<p>'The fifteen effusions of the blood of our Saviour and Redeemer Jesus -Christ, by Barbe Regnault, Rue Saint Jacques, at the sign of the Elephant, -opposite the Mathurins.' Eight leaves in two octavo folds, enriched with -fifteen pretty woodcuts, interspersed through the text, and marked, like -the one mentioned above, which is one of them, with the letters I, L, B -and the Lorraine cross.</p> - -<p>This little volume is undated, but it is known that Barbe Regnault succeeded -her mother, Madeleine Boursette, widow of François Regnault, -who was carrying on the business as late as 1555. So that the engravings -with the initials I, L, B might be of later date than that; but we have seen -that one of them had already appeared in the first part of the book; therefore -they are of earlier date than 1547.</p> - -<p>Here is a list of these engravings, which are the same ones mentioned -by M. Robert-Dumesnil under date of 1599:—</p> - -<p><span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p> - -<ul class="index"> -<li>1. The Circumcision.</li> -<li>2. Jesus in the Garden of Olives.</li> -<li>3. The Apprehension of Jesus.</li> -<li>4. Jesus Beaten with Rods.</li> -<li>5. Jesus before Pontius Pilate.</li> -<li>6. Jesus King of the Jews.</li> -<li>7. Jesus Bearing his Cross.</li> -<li>8. Jesus Stripped of his Clothing.</li> -<li>9. Jesus on the Cross.</li> -<li>10. Same subject (without initials).</li> -<li>11. Same subject (again without initials).</li> -<li>12. Same subject (with initials and without the cross).</li> -<li>13. Erection of the Cross.</li> -<li>14. Jesus between the two Thieves.</li> -<li>15. Same subject (without cross or initials).</li> -</ul> - -<p>All of these are 4½ centimetres high and 5 wide.</p> - -<p>The 'Fifteen Effusions' was reprinted frequently during the sixteenth -century, in different formats and in different type, but with the same engravings, -and almost always without date, because it was added to other -books. I have, however, seen one copy in large type, dated 1584 (Bibliothèque -Nationale). These same engravings appear, with many others, in -a work entitled 'Abrégé des Méditations de la vie de Jésus-Christ'; octavo, -Paris, Guillaume Chaudière, 1599.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> H<span class="smcapa">ORE BEATE</span> M<span class="smcapa">ARIE</span> <span class="smcapa">VIRGINIS AD USUM</span> P<span class="smcapa">ARISIENSEM</span>, <span class="smcapa">TOTALITER AD</span> -<span class="smcapa">LONGUM, CUM MULTIS ORATIONIBUS ET HISTORIIS, NOVITER IMPRESSE -ET EMENDATE.</span> (Here the Triumph of the Virgin, an old engraving with -criblé background, with legends in gothic type, which figures in all the -Hours of this period.) 'On les vend a Paris, en la rue Sainct Jacques, par -la veufve Jehan de Brie, a l'enseigne de la Lymace, pres Sainct Yves.'</p></blockquote> - -<p>On the verso of the title, 'a calendar for <span class="smcapa">XI</span> years,' beginning with 1548. -Each month has its engraving, and the usual illustration is placed within -a circle; they are not signed.</p> - -<p>Printed in red and black, in large gothic type, the work consists of 8 -preliminary leaves and 16 folios of text, signatures A to Q, with the letters -<em>Pa</em> (Paris). The folios do not begin until signature B, and run without -a break to the end of signature Q. On the last page of this signature are -these words: 'These present hours according to the use of Paris, with several -noble eulogies of Our Lady, have been printed by Veufve Jehan de<span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span> -Brye [<em>sic</em>], living on rue sainct Jacques, at the sign of the Snail, near Sainct -Yves.—<span class="smcapa">M. D. XLVIII.</span>'</p> - -<p>Then follow 12 leaves of appendix, ending with a figure of the Virgin, -over which are the words 'Nostre Dame de Lorette,' in roman capitals. At -the foot of the page: 'Ave Sanctissima Maria,' etc. (5 lines in gothic type).</p> - -<p>This curious volume is preserved in the Bibliothèque Nationale.</p> - -<p>Besides the 12 small engravings of the calendar, there are several other -small subjects, also unsigned, and 13 large ones with the letters L, R, and the -double cross. These latter, which measure 10 centimetres in height and 7 in -width, are as follows:—</p> - -<p>1. St. John writing his Gospel.</p> - -<p>2. The Annunciation.</p> - -<p>3. The Visitation.</p> - -<p>4. The Crucifixion.</p> - -<p>5. The Descent of the Holy Ghost upon the Apostles (with the initials, -but without the cross).</p> - -<p>6. The Birth of Jesus.</p> - -<p>7. The Annunciation to the Shepherds.</p> - -<p>8. The Adoration of the Magi.</p> - -<p>9. The Circumcision.</p> - -<p>10. The Coronation of the Virgin.</p> - -<p>11. The Penance of David. He is saying to the Father Eternal these -words, which are written in a scroll: 'I who have sinned.'<a name="FNanchor_392_392" id="FNanchor_392_392"></a><a href="#Footnote_392_392" class="fnanchor">[392]</a></p> - -<p>12. The Last Judgement.<a name="FNanchor_393_393" id="FNanchor_393_393"></a><a href="#Footnote_393_393" class="fnanchor">[393]</a></p> - -<p>13. Notre-Dame de Lorette.</p> - -<p>As I have said heretofore (supra, p. 149), the first twelve of these are -improved copies of other, unsigned engravings, belonging to Thielman -Kerver I, which appear in many books published by him or by his widow, -Iolande Bonhomme, at least as early as 1522,<a name="FNanchor_394_394" id="FNanchor_394_394"></a><a href="#Footnote_394_394" class="fnanchor">[394]</a> and which we find again in -the Paris missal published by their son Jacques in 1559.</p> - -<p><span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span></p> - -<p>M. Brunet<a name="FNanchor_395_395" id="FNanchor_395_395"></a><a href="#Footnote_395_395" class="fnanchor">[395]</a> suggests a very plausible theory, to the effect that the engravings -signed L. R. were executed by Louis Royer, who was in fact the -first to use them, in a book of Hours entitled: 'Horæ beatæ Mariæ ad usum -Rom.'; duodecimo, gothic type, with the mark of Jean de Brie, and the following -words at the foot: 'Parisiis, impressum in vico Jacobi per Claudium -Chevallon, impensis Ludovici Royer, librarii Parisiensis, in eodem vico commorante, -ad insigne vulgariter dictum la Lymace.'</p> - -<p>The book is not dated; but we see, on the one hand, that it was printed -by Claude Chevallon, who died in 1542, and, on the other hand, that Louis -Royer, at whose expense it was printed, had succeeded Jean de Brie at the -sign of the Snail. Now, the latter died about 1522; so that it was between -1522 and 1542 that this book saw the light, and that the engravings with -the letters L. R. first appeared.</p> - -<p>We know nothing of this Louis Royer, whom Lottin does not mention. -Nor do we know any more of Jean de Brie's widow, who seems to have -succeeded Louis Royer. And, as if everything in this matter were fated -to remain obscure, we find other octavo Hours according to the use of -Rome, in French gothic type, undated, but with a calendar from 1568 -to 1578, printed with the same woodcuts, and for sale 'at Paris, on Rue -Saint Jacques, at the sign of the Snail'; with no other details. In the book -we have described we find also:—</p> - -<p>1. The Virgin and the Child Jesus (signed with the letters L. R. and the -cross).</p> - -<p>2. Jesus betrayed by Judas (same marks).</p> - -<p>3. Jesus bearing his Cross (same marks).</p> - -<p>4. Jesus on the Cross (same marks).</p> - -<p>5. Jesus in the Tomb (same marks).</p> - -<p>6. The Resurrection (same marks).</p> - -<p>7. The Flight into Egypt (same marks).</p> - -<p>8. Job (unsigned).</p> - -<p>9. Jesus at Emmaüs (unsigned).</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> H<span class="smcapa">EURES</span> <span class="smcapa">EN FRANÇOYS A L'USAIGE DE ROME, NOUVELLEMENT IMPRIMÉES -À</span> P<span class="smcapa">ARIS POUR</span> G<span class="smcapa">UILLAUME</span> M<span class="smcapa">ERLIN</span>. <span class="smcapa">M. D. XLVIII.</span></p></blockquote> - -<p><span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span></p> - -<p>Octavo, gothic type; printed in red and black. This book, which I saw -at the sale of M. Chedeau's library, is illustrated with engravings, most of -them signed with the Lorraine cross, to which the initials G. M. are sometimes -added. They are 8 centimetres high by 55 millimetres wide. The list -follows:—</p> - -<p>1. Saint John writing his Gospel (unsigned).</p> - -<p>2. The Annunciation (unsigned).</p> - -<p>3. The Visitation (signed with the Lorraine cross and the initials G. M.).</p> - -<p>4. The Nativity (signed with the Lorraine cross only).</p> - -<p>5. The Annunciation to the Shepherds (the cross only).</p> - -<p>6. The Adoration of the Magi (the cross only).</p> - -<p>7. The Circumcision (the cross only).</p> - -<p>8. The Flight into Egypt (unsigned).</p> - -<p>9. The Coronation of the Virgin (the cross only).</p> - -<p>10. The Descent of the Holy Ghost upon the Apostles (signed with the -letters G. M. and the Lorraine cross in a small circle).</p> - -<p>11. Jesus on the Cross (the cross only).</p> - -<p>12. Bathsheba (the cross only).</p> - -<p>13. Job (the cross only).</p> - -<p>We think that we can safely attribute the designing of these engravings -to Guillaume Merlin, the publisher of this book of Hours. They must, at -all events, be much earlier than 1548, for we have already seen one of them -(no. 10) in a book of 1541 (supra, p. 217).</p> - -<p>Guillaume Merlin also published about 1559 a book of Hours embellished -with engravings signed with the Lorraine cross. It is entitled: -'Heures à l'usage de Romme' [<em>sic</em>], and is undated, but has a calendar -from 1559 to 1570. It is a small octavo, printed in gothic characters, in -red and black. At the end are the words: 'Printed by Jean Bridier.'</p> - -<p>We find in this volume, which was in M. Chedeau's library, 12 engravings -representing the twelve months of the year. Three of them are -signed with the Lorraine cross, namely, January, May and December. -The others have no mark. They are 10 centimetres high by 7 wide. On -folio 62 verso is the Virgin holding the Child Jesus. She is within an -aureole of flames, with her feet on a crescent.</p> - - -<p class="p6">1548</p> - -<blockquote> - -<p>T<span class="smcapa">HEODORI</span> B<span class="smcapa">EZÆ</span> V<span class="smcapa">EZELII POEMATA</span>. Paris, Conrad Bade, 1548.</p></blockquote> - -<p>Octavo of 100 pages printed in italic type. This is the first edition of this<span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span> -book and contains a portrait of Théodore de Bèze signed with the Lorraine -cross. It is the oldest portrait that we know. Below it are the following -verses, alluding to a laurel wreath which Théodore has in his hand:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Vos docti docta præcingite tempora lauro:</div> - <div class="i1">Mi satis est illam uel tetigisse manu.</div> - </div> -</div> -</div> - -<div class="figcenter"> -<img src="images/i_b_233.jpg" width="400" height="533" alt="" /> -</div> - -<p>The inscription 'An. 29,' at the top of the portrait, indicates that it -was engraved in the same year that the book was printed; for Théodore -de Bèze, born at Vezelay June 24, 1519, completed his twenty-ninth year -in 1548, the date of the dedicatory epistle of this book, which the author -addressed to his teacher, Melchior Volmar. 'Vale. Lutetiæ, <span class="smcapa">VII.</span> cal. Iul. -qui dies est mihi natalis.' The mark of Conrad Bade, also signed with the -Lorraine cross, is on the first page of this book, which was finished on<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span> -July 15, 1548. 'Lutetiæ, Roberto Stephano, regio typographo, et sibi, Conradus -Badius excudebat, idibus Julii <span class="smcapa">M. D. XLVIII</span>.' It was shortly after, in -this same year, that Théodore de Bèze, on recovering from a severe illness, -withdrew to Geneva, and abjured 'the papacy, as he had sworn to -God to do at the age of sixteen.' The portrait has been reproduced on copper; -there is a copy of the reproduction in the collection of Tory's work at -the Bibliothèque Nationale.</p> - -<div class="figcenter" style="width: 400px;"> -<img src="images/i_b_234.jpg" width="400" height="535" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span></p> - - -<p class="p6">1549</p> - -<blockquote> - -<p><span class="smcapa">I.</span> P<span class="smcapa">AULI</span> I<span class="smcapa">OVII</span> N<span class="smcapa">OVOCOMENSIS</span> <span class="smcapa">VITÆ DUODECIM VICECOMITUM</span> M<span class="smcapa">EDIOLANIPRINCIPUM</span>.—E<span class="smcapa">X</span> -<span class="smcapa">BIBLIOTHECA REGIA</span>.—L<span class="smcapa">UTETIÆ</span>. E<span class="smcapa">X</span> <span class="smcapa">OFFICINA</span> -R<span class="smcapa">OB</span>. S<span class="smcapa">TEPHANI</span>, <span class="smcapa">TYPOGRAPHI REGII</span>. <span class="smcapa">M. D. XLIX.</span></p></blockquote> - -<p>Quarto of 199 pages. Paris, 1549. This book is a faithful copy of the manuscript -of the same work, preserved in the Bibliothèque Nationale.<a name="FNanchor_396_396" id="FNanchor_396_396"></a><a href="#Footnote_396_396" class="fnanchor">[396]</a> It is embellished -with beautiful letters in grisaille with criblé background, and with -portraits of the ten dukes of Milan who figure in the manuscript. These -portraits, all marked with the Lorraine cross, are faithful reproductions -of those in the manuscript, but on a smaller scale. Following is a list of the -portraits, taken by Paulus Jovius from originals which existed in his day -and of which he gives, in each case, the place where it may be found:—</p> - -<ul class="index"> -<li>1. Otho archiepiscopus.</li> -<li>2. Matthæus magnus.</li> -<li>3. Galeacius primus.</li> -<li>4. Actius.</li> -<li>5. Luchinus.</li> -<li>6. Joannes archiepiscopus.</li> -<li>7. Galeacius secundus.</li> -<li>8. Barnabas.</li> -<li>9. Joannes Galeacius primus.</li> -<li>10. Philippus.</li> -</ul> - -<p>There is a French translation of this book, printed in 1552 by Charles -Estienne (Robert was then in exile at Geneva), with the same plates. As for -the Latin version, it was reprinted several times, in different places, with -engravings on copper copied from those of Robert Estienne's edition.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> E<span class="smcapa">NTRÉE</span> <span class="smcapa">DE</span> H<span class="smcapa">ENRI</span> II <span class="smcapa">À</span> P<span class="smcapa">ARIS.</span></p></blockquote> - -<p>Quarto; Paris, Jacques Roffet, called 'Le Faulcheur,' 1549.</p> - -<p>This book, of 38 leaves, consists of two parts: the 'Entrée du roi,' of -28 leaves, and the 'Entrée de la reine,' in which the pagination is repeated, -but with different signatures. The privilege, dated Chantilly the last day -of March, 1548 (1549 new style), grants to Roffet the sole right to have -printed and to offer for sale during one year 'the treatise <i>which is to be -written</i> concerning the recent, joyful entrée,' etc.</p> - -<p><span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_236.jpg" width="350" height="500" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span></p> - -<p>There were two editions of this book, or, at all events, there are some -copies with additions to the second part—after folio 34. There are also -copies with the imprint of Jean Dallier. A list of the engravings follows:</p> - -<p>1. A portico, above which we see Hercules holding, bound together -by the ears (by means of a chain issuing from his mouth and representing -eloquence), a wood-chopper, a soldier, a priest, and a noble (folio 4). -I can find no mark on this piece, but it is a reproduction of the Gallic -Hercules of 'Champ fleury.'</p> - -<p>2. A fountain (folio 5 verso).</p> - -<p>3. A triumphal arch surmounted by the arms of France (folio 9).</p> - -<p>4. An obelisk on a rhinoceros (folio 11). The cross is under the left -foot of the rhinoceros.</p> - -<p>5. A peristyle with pillars (folio 13).</p> - -<p>6. A triumphal arch surmounted by three nude men, one of whom -holds a standard (folio 15).</p> - -<p>7. A large vaulted hall, on the ceiling of which are H's and D's (folio -16). The cross is in a portico at the left.</p> - -<p>8. A mounted man, armed (folio 19). The cross is in the horse's -harness, on the breastplate, a little below his mouth.</p> - -<p>9. A triumphal arch, with two pillars (one on each side) surmounted -by a man on horseback (folio 38). The cross is on the left-hand pillar.</p> - -<p>10. A portico with two openings, separated by a pillar against which -rests the statue of a woman standing on books (folio 39 verso).</p> - -<p>11. A large plate, representing the façade of a palace with three porticos -(folio 40).</p> - -<p>Of these eleven plates only four are signed; but all of them must -have come from Tory's workshop, for the style is the same. The absence -of the signature may be explained by the haste with which the -engravings were executed in order that they might appear at the opportune -moment.</p> - -<p>I cannot refrain from quoting M. Renouvier's remarks on the engravings -in this book, which, for lack of information, he attributed to -Jean Cousin.</p> - -<p>'I will, however, mention in this place the "Entrée de Henri II à<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span> -Paris" in 1549, because it is the chef-d'œuvre of French wood-engraving, -and because I know of no one to whom it can with more reason -be attributed than to the Sénonais master.<a name="FNanchor_397_397" id="FNanchor_397_397"></a><a href="#Footnote_397_397" class="fnanchor">[397]</a> If he did not work for the -court, he may very well have been employed upon works for the city. -Those which were executed to commemorate the coronation of Queen -Catherine de Medici are of a manner of composition and a style that -belong only to him. The Gallic Hercules, made in the likeness of the -late King François I, with the four estates of the realm chained to his -mouth; the fountain surmounted by statues of the Seine, the Marne, -and Good Fortune; the triumphal arch bearing a Typhis, whose face -strongly resembles that of the "rex triumphans"; and, lastly, the figure -of Lutetia nova Pandora "clad as a nymph, with her hair falling over her -shoulders and drawn about her face, kneeling on one knee with wondrous -grace"; and all the other details which the artist painted, as happening -in the streets through which the procession passed, and which -he included by way of narrative, are in the refined manner of the French -school. The drawing is pure and full of delicacy, and the engraving so -skilfully handled that one cannot believe it to be by a different hand. It -would seem that none but a sculptor could, within such narrow limits, -have set in relief those interesting faces, designed those graceful figures, -and arranged those draperies; and that sculptor—who could it have -been if not the author of the mausoleum of Admiral Chabot, the French -artist who best represented the two sides of art,—detail and strength, -compression and grandeur, gothicism and the Renaissance?'<a name="FNanchor_398_398" id="FNanchor_398_398"></a><a href="#Footnote_398_398" class="fnanchor">[398]</a></p> - -<p>While agreeing with M. Renouvier that these plates were drawn by -Jean Cousin, we may well, it seems to me, attribute the engraving of -them to Tory's workshop.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> H<span class="smcapa">ORÆ IN LAUDEM BEATISSIMÆ</span> V<span class="smcapa">IRGINIS</span> M<span class="smcapa">ARIÆ</span>, <span class="smcapa">AD USUM</span> R<span class="smcapa">OMANUM</span>. -(Here a small mark of the printer Chaudière, representing -Time, with this device, printed from type, occupying three sides of -the engraving: 'Hanc aciem | sola | retvndit virtvs.') 'Parisiis, ex -officina Reginaldi Calderii et Claudii ejus filii.' 1549.</p></blockquote> - -<p>Large quarto, divided into signatures of two sheets, <em>a</em> to <em>y</em> (the <em>k</em>, probably -because that letter was lacking in the font used, is represented by -an <em>l</em> and a <em>z</em> joined together), or 22 signatures of 8 leaves, making 176 -leaves; printed in red and black.</p> - -<p><span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span></p> - -<p>This volume corresponds in all respects with the one issued by Simon -de Colines in 1543<a name="FNanchor_399_399" id="FNanchor_399_399"></a><a href="#Footnote_399_399" class="fnanchor">[399]</a>; but the Chaudières (Simon de Colines's successors) -have removed a French inscription which appeared below the third -plate (the Angelic Salutation) in the edition of 1543; and they have removed -all the dates inscribed in the borders of that edition. These dates -are: 1536, which appeared in large figures in a cartouche at the foot of -the border of folio <em>b</em> 4 of the edition of 1543; 1537, in a cartouche at the -foot of the sixth plate (the Annunciation to the Shepherds); and 1539, -in two small cartouches at the top of the border of folio <em>a</em> 2; so that all -the cartouches are empty in this edition of 1549.</p> - -<p>I know of only two copies of this edition, one belonging to M. Kühnholtz, -the learned librarian of the Faculty of Medicine of Montpellier, -the other offered for sale at Claudin's bookshop in 1860. This last copy, -in a state of perfect preservation, is still in its original binding, with S's -<em>barré</em>, and small tortoises (<em>tortues</em>) in wreaths of olive. These are the allusive<a name="FNanchor_400_400" id="FNanchor_400_400"></a><a href="#Footnote_400_400" class="fnanchor">[400]</a> -arms of the Tourteron family near Attigny. There is also, on one -of the fly-leaves at the front of the book, a large tortoise coloured from -life, on a red ground, in a green olive wreath; and at the four corners a -monogram of an I and two G's, the initials of the original owner's baptismal -names. The volume afterwards belonged to J.-F. Corel du Clos, -priest and canon, who wrote his name on the title-page and pasted his -arms, engraved on copper, in an empty space at the foot of folio <em>h</em> 3 -verso. Du Clos seems to have parted with it to the Cordeliers of Rheims, -in whose library it remained doubtless until the Revolution.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">IV.</span> P<span class="smcapa">REMIER VOLUME DES ANTIQUITÉS DE LA</span> G<span class="smcapa">AULE</span> B<span class="smcapa">ELGIQUE</span>, -<span class="smcapa">ROYAUME DE</span> F<span class="smcapa">RANCE</span>, A<span class="smcapa">USTRASIE ET</span> L<span class="smcapa">ORRAINE</span> ... <span class="smcapa">PAR</span> M. R<span class="smcapa">ICHARD</span> -<span class="smcapa">DE</span> W<span class="smcapa">ASSEBOURG</span>, <span class="smcapa">ARCHIDIACRE DE L'ÉGLISE DE</span> V<span class="smcapa">ERDUN</span> ... -A<span class="smcapa">CHEVÉ D'IMPRIMER LE</span> 13 <span class="smcapa">NOVEMBRE</span> 1549.</p></blockquote> - -<p>A large folio of more than 600 leaves, printed at Paris by François -Girault. The privilege, in the name of Sertenas, bookseller, is dated October -1, 1549. It was issued evidently while the printing was in progress, -for it is impossible that the volume was made in a month and a half.</p> - -<p>On the first page is the fine frontispiece of the Dream of Poliphilus, -above which is the mark of Jacques Kerver. There is but one way to explain -this fact, and that is to assume that Kerver was the printer of the -book. It may be that there are copies in his name. In that case he may -have furnished the border, which was left in all the copies.</p> - -<p><span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span></p> - -<p>On the second leaf is the representation of the 'Ymage de nostre -Dame de Verdun,' with the Lorraine cross. The Virgin, seated, has in -her right hand a flower, and in the left the Child Jesus, holding in his -left hand the globe surmounted by a cross. The Virgin's feet rest on a -winged dragon. Below her is a man kneeling, with his coat-of-arms before -him. Presumably it is the author of the book.</p> - -<p>After folio cccli, which concludes the first volume, comes the second -volume, the pagination of which follows on. The title-page of this volume, -while it is set in the border of the Poliphilus, differs slightly from -that of the first. It reads thus: 'Second volume des antiquités de la Gaule -Belgique et de plusieurs principautez contenues en icelle, extraites soubs -les vies des evesques de Verdun, par M. Richard de Wassebourg.... On -les vend à Paris, en la gallerie du Palais, par Vincent Sertenas, libraire audit -lieu. Et aussi, se vend en la cité de Verdun.' On the verso is the engraving -described above. The Lorraine cross is under the dragon's tail.</p> - -<div class="figcenter"> -<img src="images/i_b_240.jpg" width="389" height="450" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">V.</span> G<span class="smcapa">ERARD D</span>'E<span class="smcapa">UPHRATE</span>.</p></blockquote> - -<p>Folio, roman type, Paris, Estienne Groulleau, 1549. There are copies -also with the imprint of Longis, and others with that of Sertenas.</p> - -<p>This volume contains numerous engravings, large and small; but -only 31 of them are different, many being repeated once, twice, or thrice. -Three are signed with the Lorraine cross, as follows:—</p> - -<p>Folios 5 verso, 64 verso, 89 verso, and 183. Vessels manned by soldiers. -A woman stands near the shield of him who seems to be in command.<a name="FNanchor_401_401" id="FNanchor_401_401"></a><a href="#Footnote_401_401" class="fnanchor">[401]</a></p> - -<p>Folio 46. A knight armed cap-à-pie standing in the recess of a portico. -His right foot is hidden by a sort of altar whereon are the names of -Madanil, Bruneo, Agradiis, and Amadis.<a name="FNanchor_402_402" id="FNanchor_402_402"></a><a href="#Footnote_402_402" class="fnanchor">[402]</a></p> - -<p>Folio 48. Bird's-eye view of a château which has been besieged, at -whose gate stands a warrior accompanied by a horse and a dog; he is -parleying with the keeper of the gate, who stands at the top of the entrance -tower. This last plate is a superb folio.</p> - - -<p class="p6">1550</p> - -<blockquote> - -<p><span class="smcapa">I.</span> H<span class="smcapa">ORÆ IN LAUDEM</span>, etc.</p></blockquote> - -<p>Hours of the Virgin according to the use of Rome, in Greek and Latin.</p> - -<p>Small sixteenmo, Paris, Jean de Roigny, 1550. Printed in red and -black. One of the engravings, on leaf 113, representing the Sacrifice of -David, is signed with the Lorraine cross. The others are not signed, but -are absolutely in the same style; they are: the Annunciation, folio 38 -(repeated on 105), and the Resurrection of Lazarus, folio 133.[3]</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> B<span class="smcapa">REVIARIUM AD RITUM DIOCESIS</span> E<span class="smcapa">DUENSIS</span>.—Parisiis, apud Iolandam -Bonhomme, viduam Thielmani Kerver, in via Jacobea, sub Unicorni.</p></blockquote> - -<p>Small octavo, 1550. On the first page are the arms of Cardinal Hippolyte -d'Este, Bishop of Autun, signed with the Lorraine cross.<a name="FNanchor_403_403" id="FNanchor_403_403"></a><a href="#Footnote_403_403" class="fnanchor">[403]</a></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> L'H<span class="smcapa">ISTOIRE DE</span> P<span class="smcapa">RIMALEON DE</span> G<span class="smcapa">RECE</span>, etc.</p></blockquote> - -<p>Translated by Vernassal. Folio, Paris, 1550.</p> - -<p>This fine volume, printed by Pasquier Letellier for the bookseller -Vincent Sertenas, for whom Tory had engraved a mark, contains fifty -engravings in the text. A single one is signed with the Lorraine cross: -it is found on folio 137 verso, and represents a lion fawning upon a -woman who sits beside a fountain.</p> - -<p><span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span></p> - -<p>There are copies of this book in the names of other booksellers—Étienne -Groulleau, Jean Longis, etc.; but the privilege is in the name -of Sertenas.<a name="FNanchor_404_404" id="FNanchor_404_404"></a><a href="#Footnote_404_404" class="fnanchor">[404]</a> At the end of the volume is a note to the reader by Letellier. -'Dear reader,' he says, 'if you have noticed, on reading this book, -the common orthography changed in some words, even as to the double -letter, which is not pronounced according to the true French method, -think not that that is of my doing, but that it accords with the earnest -recommendation of the author.'</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">IV.</span> M<span class="smcapa">ISSALE SECUNDUM USUM CELEBRIS MONASTERII</span> C<span class="smcapa">LUNIACENSIS</span>, -etc. Here the vignette described below, followed by this imprint: -'Prostat Parisiis, apud Iolandam Bonhomme, in via Jacobea, -sub Unicorni, ubi et impressum est.—Anno D. <span class="smcapa">M. CCCCC. L.</span>'</p></blockquote> - -<p>This missal is embellished, on the title-page, with a cut signed with -the Lorraine cross, and representing Saint Peter and Saint Paul, patron -saints of the Abbey of Cluny. This cut appears in other parts of the book, -where we find also the two large cuts hitherto described (page 214) as -included in the Missal of Paris, of 1539, published by order of Jean de Bellay. -We find also a Saint John Baptist, with the Paschal Lamb under -his left arm, and pointing to it with his right hand. This cut, which is -signed in two different places, is on folio 49 of the second part. It is of -quarto size.</p> - -<p>The book is in two parts, paged separately. The two large engravings -are on folios 116 and 117 of the first part. At the end of the Missal -proper, which is followed by a few other leaves, are these words: 'Ex -officina chalcographica matrone clarissime Iolande Bonhomme, vidue -industrii viri Thielmanni Kerver, Parisiis, in via Jacobea, sub Unicorni, -anno D. millesimo quingentesimo quinquagesimo, idib. septembris.'</p> - -<p>There are several copies of this book in the Bibliothèque Nationale. -In two of them the miniaturists have substituted for the date 1538, -printed on one of the large cuts, the dates on which they coloured it—1559 -and 1567, respectively. It is well to call attention to such details -as these, which may give rise to mistakes.</p> - -<p>We also find in the Cluny Missal the unsigned drawings to which I -have previously referred<a name="FNanchor_405_405" id="FNanchor_405_405"></a><a href="#Footnote_405_405" class="fnanchor">[405]</a> and which are in the Paris Missals of 1539 and -1559.</p> - -<p><span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">V.</span> H<span class="smcapa">EURES DE</span> N<span class="smcapa">OSTRE</span> D<span class="smcapa">AME À L'USAIGE DE</span> R<span class="smcapa">OMME</span> [<em>sic</em>], <span class="smcapa">EN LATIN ET EN FRANÇOYS</span>, -<span class="smcapa">NOUVELLEMENT IMPRIMÉES À</span> P<span class="smcapa">ARIS</span>. (Here a -vignette representing the Virgin under a portico; at the foot the letters -F. R., initials of François Regnault, deceased husband of Madeleine -Boursette.) 'A Paris, par Magdaleine Boursette, à l'enseigne de -l'Elephant, à la rue Sainct Jacques.'</p></blockquote> - -<p>On the verso of the title-page a table of Easter-Days from 1550 to -1566.</p> - -<p>Sixteenmo, in signatures of 8 leaves. The work is in two parts; the -first has 168 numbered leaves, signatures A to X; the second part has -only 32 leaves, signatures A to D. Roman type, double columns, printed -in red and black. On the recto of folio 168 of the first part, at the foot, are -these words: 'Parisiis excudebat Stephanus Mesviere in ædibus Vindocimis, -ex adverso collegii Becodiani.—1550.' And on the last leaf of -the second part: 'Cy finent ces presentes Heures a l'usaige de Romme, -en latin et en françoys, nouvellement imprimées à Paris, par Estienne -Mesviere, demourant a l'hostel de Vendosmes, devant le college de Boncourd.—M. -D. L.'</p> - -<p>This precious book, of which I know of but one copy, owned by M. -Silvestre, author of 'Les Marques Typographiques,' contains many engravings. -The principal ones are:</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="engravings"> -<tbody> -<tr> - <td class="tdl">Folio</td> - <td class="tdla">5 recto, Saint John writing his Gospel (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">12 recto, Jesus at prayer in the Garden of Olives.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">33 recto, The Angelic Salutation (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">47 verso, The Visitation (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">56 verso, The Nativity of Jesus (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">60 recto, The Annunciation to the Shepherds (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">63 verso, The Adoration of the Magi (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">67 recto, The Presentation in the Temple (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">70 verso, The Flight into Egypt (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">77 recto, The Coronation of the Virgin.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">89 recto, Jesus on the Cross.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">93 verso, The Descent of the Holy Ghost (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">97 verso, The Penance of David (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">109 verso, Job on the Dunghill.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">168 verso, Death (signed).</td> -</tr> -</tbody> -</table></div> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">VI.</span> H<span class="smcapa">ORÆ IN LAUDEM BEATISSIME</span> V<span class="smcapa">IRGINIS</span> M<span class="smcapa">ARIE AD USUM</span> R<span class="smcapa">OMANUM</span>.—Parisiis, -apud Thielmannum Kerver. M. D. L.</p></blockquote> - -<p><span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span></p> - -<p>On the verso of the last leaf: 'Excudebat Parisiis, Thielmannus Kerver, -in vico sancti Iacobi, sub signo Cratis.—M. D. L.'</p> - -<p>Small octavo of 172 unnumbered leaves; signatures A to X of 8 leaves -and Y of 4. Roman type, printed in red and black, with the small borders -with birds, etc., used by Mallard in his Hours of 1541.<a name="FNanchor_406_406" id="FNanchor_406_406"></a><a href="#Footnote_406_406" class="fnanchor">[406]</a></p> - - -<p class="p6">1551</p> - -<blockquote> - -<p><span class="smcapa">I.</span> D<span class="smcapa">E</span> <span class="smcapa">SACRIS ECCLESIÆ MINISTERIIS AC BEN[E]FICIIS LIBRI</span> VIII ... -<span class="smcapa">AUTHORE FRANCISCO DUARENO JURECONSULTO ET ORDINARIO</span> -<span class="smcapa">JURIS CIVILIS DOCTORE IN CIVITATE</span> B<span class="smcapa">ITURIG[I]</span>.—Lutetiæ, ex -typographia Matthæi Davidis, via Amygdalina, ad Veritatis insigne.—1551.</p></blockquote> - -<p>Quarto of 338 leaves, plus one unnumbered leaf, on which are the -words: 'Parisiis, excudebat Matthæus David, prid. calend. nov. [October -31] 1551.</p> - -<p>On the title-page is David's mark, with the Lorraine cross. On the -verso, a portrait of Le Duaren, in the shape of a medallion, also signed -with the Lorraine cross. Encircling it, the legend: 'francisc. dvarenvs. -jvrisc.<a name="FNanchor_407_407" id="FNanchor_407_407"></a><a href="#Footnote_407_407" class="fnanchor">[407]</a></p> - -<p>The work opens with an epistle to Marguerite, Duchesse de Berry, and -sister of François I. This letter, dated Paris, the Ides of June, 1550, is more -properly a dedication, for in it Le Duaren mentions the death of Marguerite, -which took place in 1549. He tells us, further, in the title of this -epistle, that it was written before his return to Bourges, which he had -been obliged to leave in 1547, as the result of a love-affair ('antequam Lutetia -Parisiorum Avaricum Biturigum migrasset').<a name="FNanchor_408_408" id="FNanchor_408_408"></a><a href="#Footnote_408_408" class="fnanchor">[408]</a></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> C<span class="smcapa">ICERO'S</span> W<span class="smcapa">ORKS</span> (in Latin), published by Charles Estienne, from -1551 to 1555, in four folio volumes, usually bound in two.</p></blockquote> - -<p>This important work is embellished with a frieze engraved for Robert -Estienne, and signed with the Lorraine cross,—a frieze which appears -in the second volume of the works of Eusebius of 1544.<a name="FNanchor_409_409" id="FNanchor_409_409"></a><a href="#Footnote_409_409" class="fnanchor">[409]</a> We also find<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span> -therein several floriated letters signed with the Lorraine cross.<a name="FNanchor_410_410" id="FNanchor_410_410"></a><a href="#Footnote_410_410" class="fnanchor">[410]</a> These are -the E, the O, and the S of the medium alphabet,—for there are three -alphabets of different sizes, all three formed by Renaissance arabesques. -The largest is the one used in the folio Eusebius of 1544, which, consequently, -was engraved for Robert Estienne; but it has no signature. The -medium alphabet was, doubtless, engraved for Charles Estienne in this -same year 1551, in which he began to conduct a printing-office. I cannot -say whether any other letters of this medium alphabet bore the Lorraine -cross, for they do not all appear in the book, but I am sure that the -G has none. Of course, after Tory died, the artists employed in the establishment -carried on by his widow had no reason to select the G -rather than another letter.</p> - -<p>I give some details concerning this valuable edition, of which M. -Didot owned a copy annotated by Henri Estienne. The text of the first -volume, printed in 1551, as stated in an imprint at the end (dated the -3d of the Nones of September), exhibits one of the letters mentioned -above—the S (on folios 56 and 298). This volume received later a -large title-page dated 1555, and a dedication, to the Cardinal de Lorraine, -also dated 1555 (the 6th of the Kalends of March), on which we -find the frieze of the Eusebius of 1544, signed, and bearing on a medallion -Fame distributing wreaths.<a name="FNanchor_411_411" id="FNanchor_411_411"></a><a href="#Footnote_411_411" class="fnanchor">[411]</a> The text of the second volume, -also of 1551, as I discovered from an incomplete copy in the library at -Montbrison (it has no final imprint, but on the title-page some one has -added <span class="smcapa">III</span> by hand to the original numerals <span class="smcapa">M. D. LI</span>, so that it might -correspond with the other copies), contains the three floriated letters -signed with the Lorraine cross (folios 47, 122, 230, 313, 388, 398); we -find also, on the title-page, dated 1554, Charles Estienne's small mark -described later.<a name="FNanchor_412_412" id="FNanchor_412_412"></a><a href="#Footnote_412_412" class="fnanchor">[412]</a> The text of the third volume was probably printed in -1552, but it has no final imprint. The title-page is dated 1555; it has -the small mark with the Lorraine cross. The fourth bears on the title-page -the date 1554, but it was not finished until 1555, as is shown by -the final imprint (3d of the Kalends of March, 1555); the vignette of -the title-page is unlike that in the second and third volumes, although -of the same size, and has not the cross. The work did not appear until -1555, as is shown by the date on the title-page of the first volume, on -which there is another larger mark, also without the cross.<a name="FNanchor_413_413" id="FNanchor_413_413"></a><a href="#Footnote_413_413" class="fnanchor">[413]</a></p> - -<p><span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span></p> - -<p class="p6">1552</p> - -<blockquote> - -<p><span class="smcapa">I.</span> H<span class="smcapa">EURES</span> P<span class="smcapa">ARIS</span> [<em>sic</em>], <span class="smcapa">CONTENANT PLUSIEURS ORAISONS DEVOTES</span>, -<span class="smcapa">EN FRANÇOIS ET EN LATIN ET CONFESSION GENERALE.</span> (Here -the mark of Thielman Kerver, with the Lorraine cross.) Imprimé -à Paris par Thielman Kerver, demourant rue Sainct Jaques, à l'enseigne -du Gril.—1552.</p></blockquote> - -<p>Duodecimo, red and black; signatures A to O. Tory's small border -with decorations of birds. Plates of the Hours of 1541.<a name="FNanchor_414_414" id="FNanchor_414_414"></a><a href="#Footnote_414_414" class="fnanchor">[414]</a></p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> T<span class="smcapa">ESTAMENTUM NOVUM</span>.—A<span class="smcapa">DDITIS PICTURIS IN</span> E<span class="smcapa">VANGELIA ET</span> -A<span class="smcapa">POCALYPSIM</span>, <span class="smcapa">QUIBUS MIRACULA ET VISIONES ELEGANTISSIME -EXPRIMUNTUR</span>. (Mark of Madeleine Boursette, widow of François -Regnault; Silvestre, no. 396.) 'Parisiis. Apud viduam Francisci Regnault, -via Jacobæa.—1552.'</p></blockquote> - -<p>At the end of the volume: 'Parisiis. Excudebat Stephanus Mesviere, -in ædibus Vindocimis, ex adverso collegii Becodiani.'—1552.</p> - -<p>Thirty-twomo; 45 signatures (<em>a</em> to <em>z</em>, A to Y) of eight leaves each, -or 360 leaves in all. Only the first 350 are numbered; the last 10, containing -the index, are without folios. Printed in very small roman type.</p> - -<p>This book contains 120 engravings inserted in the text, and serving -thus 'to illustrate,' as we should say to-day, or 'to express,' as the publisher -says on the title-page, the Gospels and the Apocalypse. Those relating -to the Apocalypse, 22 in number, are of earlier date than the -others, and by another hand. Of those which illustrate the Gospels, -many are signed with the double cross. Although several of them relate -to subjects previously treated in the octavo Hours of 1527 and the sixteenmo -Hours of 1529, the engravings, while they are of nearly the same -size, are different none the less. A list of their titles follows:—</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="LIST"> -<tbody> -<tr> - <td class="tdl">Folio</td> - <td class="tdla">2 recto, St. Matthew writing his Gospel.</td> -</tr> -<tr> - <td> </td> - <td class="tdla">3 verso, Adoration of the Magi.</td> -</tr> -<tr> - <td> </td> - <td class="tdla">4 verso, The Flight into Egypt (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdla">5 recto, Massacre of the Innocents (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdla">5 verso, Baptism of Jesus.</td> -</tr> -<tr> - <td> </td> - <td class="tdla">6 verso, Jesus carried up into a Mountain (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdla">8 recto, Jesus bids Simon and Andrew to follow Him (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">12 recto, Jesus curing the Paralytic.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">13 verso, Jesus expelling the Money-changers from the Temple (signed).<span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span></td> -</tr> -<tr> - <td> </td> - <td class="tdlb">16 verso, St. John in Prison (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">18 recto, The Apostles pardoned by Jesus.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">20 recto, Parable of the Sower.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">26 verso, Jesus teaching.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">27 verso, Jesus driving out the Devils (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">30 recto, The Mother and Brothers of Jesus (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">31 recto, Jesus and the Ass.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">31 verso, Jesus entering Jerusalem.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">32 recto, Jesus cursing the Fig-tree.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">33 recto, Parable of the Reapers (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">33 verso, The Vine-Dresser slaying the only Son.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">36 recto, Jesus likens Himself to the Hen.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">37 recto, Jesus arguing with the Doctors (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">39 recto, Parable of the Virgins (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">41 verso, The Lord's Supper.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">47 verso, St. Mark writing his Gospel.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">50 recto, The Apostles pardoned by Jesus (as on p. 18).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">52 verso, One does not hide the Light under a Bushel (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">53 recto, Jesus expelling the Devils, which enter into the Swine (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">56 recto, St. John's head borne by Herodias.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">57 verso, Jesus walking on the Water (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">59 recto, The deaf and dumb Man (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">59 verso, The Miracle of the Loaves.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">60 verso, Jesus curing a blind Man (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">63 verso, Jesus blessing the little Children.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">69 verso, The Magdalen pouring Spices.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">75 verso, St. Luke writing his Gospel.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">77 recto, The Annunciation (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">77 verso, The Visitation (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">79 recto, The Nativity (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">79 verso, The Annunciation to the Shepherds (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">80 verso, The Circumcision (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">81 verso, Jesus among the Doctors (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">82 recto, St. John Baptist preaching (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">83 recto, The Tree not bringing forth Fruits.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">84 verso, Jesus explaining the Writings in the Temple (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">85 verso, Cure of Simon's Mother-in-law (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">87 recto, Cure of the Paralytic (signed).<span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span></td> -</tr> -<tr> - <td> </td> - <td class="tdlb">88 verso, Jesus effecting Cures.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">90 recto, Jesus curing the Widow's Son (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">97 recto, Jesus sends his Apostles forth to preach the Gospel.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">98 recto, Jesus discoursing to his Disciples.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">98 verso, Parable of the Good Samaritan (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">100 verso, Jesus instructing a Woman (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">101 recto, Jesus dining with a Pharisee (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">107 verso, Return of the Prodigal Son.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">108 verso, The Rich Man in Flames and Lazarus in Abraham's Bosom.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">110 recto, Cure of the ten Lepers (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">111 verso, The Shepherd and the Pharisee.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">112 recto, The Parable of the Camel.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">112 verso, Nicodemus on the Tree.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">118 recto, The Lord's Supper (as on p. 41).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">118 verso, Jesus in the Garden of Olives.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">122 verso, The Disciples at Emmaus.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">124 recto, The Ascension.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">125 verso, St. John writing his Gospel.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">126 verso, The Trinity.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">128 recto, The Marriage at Cana.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">128 verso, Jesus expelling the Money-Changers.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">131 recto, The Woman of Samaria.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">132 verso, Jesus curing the Son of a Wood-sawyer (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">133 verso, The Pool (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">134 recto, Jesus answering the Doctors (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">135 verso, same as on p. 59.<a name="FNanchor_415_415" id="FNanchor_415_415"></a><a href="#Footnote_415_415" class="fnanchor">[415]</a></td> -</tr> -<tr> - <td> </td> - <td class="tdl">137 recto, The Withered Hand.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">140 recto, The Woman taken in Adultery (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">142 recto, Jesus leaving the Temple.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">142 verso, Jesus curing the blind Man.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">145 recto, Jesus in flight.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">146 verso, Resurrection of Lazarus (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">147 verso, The Priests deliberating as to putting Jesus to Death (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">150 verso, The Lord's Supper (as on pp. 41 and 118).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">155 verso, St. Peter cutting off Malthus's Ear.<span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></td> -</tr> -<tr> - <td> </td> - <td class="tdl">156 recto, Jesus before Caiaphas.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">157 verso, Jesus before Pontius Pilate.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">158 recto, The Scourging.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">158 verso, The Crown of Thorns.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">159 recto, Jesus beneath the Cross.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">159 verso, Jesus Crucified.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">160 verso, Jesus Entombed.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">161 verso, The Women going to the Tomb.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">162 recto, The Women announcing the Resurrection to the Disciples (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">162 verso, The Magdalen takes Jesus for the Gardener.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">163 recto, The Ascension (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">312 verso, St. John writing.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">321 verso, St. John receiving the Revelation.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">323 recto, Alpha and Omega.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">326 verso, A Throne erected in Heaven.</td> -</tr> -</tbody> -</table></div> - -<p>Then follow the engravings of the Apocalypse, impossible to describe, -and in an entirely different manner. At the end of the book is an engraving -of the Christ on the Cross, surrounded by rays of light.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> L<span class="smcapa">E PREMIER LIVRE DE LA</span> C<span class="smcapa">HRONIQUE DU TRES VAILLANT ET</span> -<span class="smcapa">REDOUTÉ DOM</span> F<span class="smcapa">LORES DE</span> G<span class="smcapa">RECE</span>. Folio, Jean Longis, 1552.</p></blockquote> - -<p>There are many engravings in this book, but only one of them is -signed with the Lorraine cross. That one is on folio 90 verso, and represents -soldiers before a tower. It is reproduced in 'L'Histoire paladine,' -folio, Étienne Groulleau, 1555, on folio 56 verso.</p> - - -<p class="p6">1553</p> - -<p>Ronsard's 'L<span class="smcapa">ES</span> A<span class="smcapa">MOURS</span>' annotated by Marc-Antoine Muret.</p> - -<p>Octavo, printed by Maurice de la Porte's widow, 1553.<a name="FNanchor_416_416" id="FNanchor_416_416"></a><a href="#Footnote_416_416" class="fnanchor">[416]</a> This edition -of 'Les Amours' is embellished with a portrait of Muret, signed with -the Lorraine cross, and bearing the inscription 'An. <span class="smcapa">XXV</span>,' which -proves that it was engraved that same year, for Muret was born in 1526.<a name="FNanchor_417_417" id="FNanchor_417_417"></a><a href="#Footnote_417_417" class="fnanchor">[417]</a> -This portrait reappears, but without the inscription, in several other -editions of Ronsard. I will mention particularly the quarto edition of -his works, issued in 1567 by Gabriel Buon, successor to Maurice de la -Porte's widow, and the folio issued in 1623 by Nicolas Buon, Gabriel's son.</p> - -<p><span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p> - -<p class="p6">1554</p> - -<blockquote> - -<p>L<span class="smcapa">ES</span> O<span class="smcapa">BSERVATIONS</span> <span class="smcapa">DE PLUSIEURS SINGULARITEZ ET CHOSES MEMORABLES</span> -<span class="smcapa">TROUVÉES EN</span> G<span class="smcapa">RECE</span>. By Pierre Belon. Quarto, Paris, 1554.</p></blockquote> - -<p>There were two editions of this book, printed by Benoît Prevost, -for Gilles Corrozet and Guillaume Cavellat, respectively, in 1553 and -1554. The copies in Corrozet's name bear his mark, signed with the -Lorraine cross. There is a portrait of Belon signed with the cross at -the end of the front matter in the edition of 1554. I have not seen it -in any copy of the edition of 1553, which leads me to think that it had -not then been engraved. And, in effect, the fact that the portrait attributes -to Belon the age of thirty-six years seems to show that it was not -drawn until 1554, as Belon is supposed to have been born in 1518. -However that may be, the portrait appeared afterward in several other -books by the same author, and particularly in his 'Histoire de la nature -des oiseaux,' folio, 1555.</p> - - -<p class="p6">1555</p> - -<blockquote> - -<p>H<span class="smcapa">ISTOIRE DE LA NATURE DES OISEAUX</span>. By Pierre Belon. Folio, Paris, -G. Corrozet, 1555.</p></blockquote> - -<p>In this book we find, in addition to the portrait of Belon, seven cuts -of birds, signed with the Lorraine cross. They are: the osprey, folio 96; -the sea-gull, 169; the bustard, 238; the pullet, 252; the loriot, 295; the -woodpecker, 304; the sparrow-hawk, 376. Some of the other engravings -in the volume are signed with a white cross on a black ground.</p> - - -<p class="p6">1556</p> - -<blockquote> - -<p><span class="smcapa">I.</span> L<span class="smcapa">ES</span> S<span class="smcapa">INGULARITEZ DE LA</span> F<span class="smcapa">RANCE ANTARCTIQUE</span>, <span class="smcapa">AUTREMENT</span> -<span class="smcapa">NOMMÉE</span> A<span class="smcapa">MERIQUE</span>, <span class="smcapa">ET DE PLUSIEURS TERRES ET ISLES DECOUVERTES</span> -<span class="smcapa">DE NOSTRE TEMPS</span>. Par F. André Thevet, natif d'Angoulesme.—A -Paris, chez les héritiers de Maurice de la Porte, au clos -Bruneau, à l'enseigne S. Claude.—1558.</p></blockquote> - -<p>This rare and curious volume is a quarto of 8 preliminary leaves, -166 leaves of text, and 2 of index unnumbered,—in all, 46 signatures. -The privilege, which is printed on the verso of the title-page, is dated -Saint-Germain-en-Laye, December 18, 1556. In the dedication, addressed -to the Cardinal of Sens, Jean Bertrand, first Keeper of the Seals -of France, Thevet says that the country described by him maybe called -the fourth part of the world, 'for that no one has as yet made explora<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>tions -there, all geographers thinking that the world is limited to that -which the ancients have described to us.'</p> - -<p>There are 41 engravings in the text, not including borders, floriated -letters, and Jean Bertrand's arms on the title-page. Of the 41, only seven -are signed with the double cross; four of these represent scenes in the life -of the American savage,—they are on folios 6 verso, 31 recto, 47 verso, -and 151 recto; a fifth represents an extraordinary bird called <i>pa</i> (45 -recto); and the other two, plants,—the pineapple (89 verso), and the -cassava (113 verso). The last three appear in André Thevet's 'Cosmographie -Universelle,' published in 1575, in two volumes, folio.<a name="FNanchor_418_418" id="FNanchor_418_418"></a><a href="#Footnote_418_418" class="fnanchor">[418]</a> The -others also appear in that work, but reëngraved on a larger scale, and -without signature.</p> - -<p>The seven engravings signed with the double cross cannot have been -executed prior to 1556. For Thevet set out for the New World on -November 4, 1555,<a name="FNanchor_419_419" id="FNanchor_419_419"></a><a href="#Footnote_419_419" class="fnanchor">[419]</a> and remained there four months. So that it was -not until the early months of 1556, at the earliest, that the engravings -could have been executed. But, as the book did not appear until the -beginning of 1558,<a name="FNanchor_420_420" id="FNanchor_420_420"></a><a href="#Footnote_420_420" class="fnanchor">[420]</a> it may be that they were still in process of execution -in 1557.</p> - -<p>In the same year with the publication of Thevet's 'Singularités,' an -octavo edition appeared at Antwerp, with the imprint of Christophe -Plantin, and a privilege from the King of Spain, dated Brussels, April -20, 1558. The haste with which this reprint was prepared shows the -interest with which the book was regarded. The woodcuts of the Antwerp -edition are nothing more than wretched copies of those in the -Paris edition. We find among them, however, in chapters 56, 58, 67, -and 74, cuts of animals bearing the cipher of Jost Amman.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">II.</span> H<span class="smcapa">ORÆ IN LAUDEM BEATISSIMÆ</span> V<span class="smcapa">IRGINIS</span> M<span class="smcapa">ARIÆ AD USUM</span> R<span class="smcapa">OMANUM</span>. -(Here the mark of T. Kerver, without the cross.) Parisiis, -apud Thielman Kerver, in via sancti Jacobi, sub signo Cratis.</p></blockquote> - -<p>Duodecimo, 1556. Signatures A to M, and A to C vi. Border decorated -with birds, with the small engravings of 1529. M. Niel owns a<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span> -copy of this book bound with Tory's toolings. It has the Pot Cassé on the -edges. Another copy, belonging to M. Portalis, is bound with the prayers -(in French) described on page 219.</p> - - -<p class="p6">1557</p> - -<blockquote> - -<p><span class="smcapa">I.</span> L<span class="smcapa">ES</span> <span class="smcapa">FIGURES ET PORTRAICTS DES PARTIES DU CORPS HUMAIN</span>.—A -Paris, par Jaques Kerver, rue S. Jaques, aux deux cochetz.—1557.</p></blockquote> - -<p>Folio, containing 61 large anatomical plates, several of which are -signed with the Lorraine cross, and dated 1531, 1532, or 1533. This collection -was reprinted in the same form, by the same publisher, in 1575.<a name="FNanchor_421_421" id="FNanchor_421_421"></a><a href="#Footnote_421_421" class="fnanchor">[421]</a></p> - -<blockquote> - -<p><span class="smcapa">II.</span> L<span class="smcapa">ES</span> <span class="smcapa">QUATRE LIVRES D'ALBERT DURER, PEINTRE ET GEOMETRIEN</span> -<span class="smcapa">EXCELLENT, DE LA PROPORTION DES PARTIES ET POURTRAITZ DES</span> -<span class="smcapa">CORPS HUMAINS, TRADUITS PAR</span> L<span class="smcapa">OYS</span> M<span class="smcapa">EIGRET</span>, L<span class="smcapa">IONNOIS</span>, <span class="smcapa">DE</span> -<span class="smcapa">LANGUE LATINE EN FRANÇOISE.</span></p></blockquote> - -<p>Folio; Paris, chez Charles Perier, at the sign of the Bellerophon,<a name="FNanchor_422_422" id="FNanchor_422_422"></a><a href="#Footnote_422_422" class="fnanchor">[422]</a> 1557.</p> - -<p>In the same year Perier published an edition of Durer's work in Latin, -similar in every respect to the French edition. It is entitled 'De Symetria -partium humanorum corporum.' I am unable to say which was -printed first.</p> - - -<p class="p6">1559</p> - -<blockquote> - -<p>P<span class="smcapa">SALTERIUM</span> D<span class="smcapa">AVIDICUM GRÆCOLATINUM</span>.... Parisiis, apud Ægidium -Gorbinum, sub insigne Spei, prope collegium Cameracense.—1559.</p></blockquote> - -<p>On the last leaf: 'Parisiis, excudebat Benedictus Prævotius, ad Stellam -Auream, via Frumentello.'</p> - -<p>Twenty-fourmo of 278 numbered leaves of text, and 20 unnumbered -preliminary leaves; printed in red and black.</p> - -<p>This little volume, printed in Greek and Latin, two columns on a -page, was called to my attention by M. Lornier, barrister, of Rouen. -Opposite the first page of text is a small engraving, signed with the Lorraine -cross, representing the penance of David. David is on his knees, -with a book before him and his harp at his right hand; he is gazing at -God the Father, who is seen in the sky blessing him. Doubtless this engraving -appears in other books of earlier date. It is 73 millimetres high -by 55 wide.</p> - -<p><span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span></p> - -<h3>ENGRAVINGS OF UNCERTAIN DATE.</h3> - -<blockquote> - -<p><span class="smcapa">I.</span> F<span class="smcapa">IGURE</span> <span class="smcapa">DE L'ANCIENNE ET DE LA NOUVELLE ALLIANCE</span>.</p></blockquote> - -<p>A large plate, 35 centimetres in width by 27 in height, divided into two -parts by a tree at the foot of which is Man, thus placed on the boundary -of the two worlds. The tree bears only withered branches on the left side -(the old alliance), whereas, on the right (the new alliance), it is green and -flourishing.</p> - -<p>In the compartment at the left we see Adam and Eve in the Garden -of Eden. Eve is offering Adam the apple. Beneath them is the word -'peche.'<a name="FNanchor_423_423" id="FNanchor_423_423"></a><a href="#Footnote_423_423" class="fnanchor">[423]</a> Lower still is a skeleton on a bier, with the words 'la mort' -beneath. Above the Garden is Mount Sinai, whereon Moses is receiving -the tables of the law; beneath, on the right, the 'terrestrial Jerusalem,' -wherein are devout persons being devoured by serpents, with -the serpent of brass in the midst, and above it the words, 'Similitvde de -la ivstification.' Moses appears on the right; at the left, and a little lower, -Hagar and Ishmael; lower still, the prophet pointing out to Man Jesus -on the Cross at the right.</p> - -<p>In the compartment at the right we see God standing on the terrestrial -globe, with the words, 'Iervsalem celeste'; above, 'Mont Sion,' on -which stands a woman's figure, with the words 'La Grace' over her -head. An angel bearing a cross descends from Heaven (where are the -words, 'Emmanvel Diev avec novs') amid rays of light which fall upon -the woman. Lower, at the left, is another angel announcing the birth -of Christ to the shepherds. Near by, at the right, the Christ on the Cross, -with the words, 'nostre ivstice,' and the Paschal Lamb, with the words, -'nostre innocence'; below, Jesus coming forth from the tomb, with the -words, 'nostre victoire'; still lower, at the left, St. John Baptist pointing -out to Man the Christ on the Cross; the Forerunner is indicated by -the words, 'Lenseignevr de Christ,' in a cartouche; above St. John are -Sarah and Isaac.</p> - -<p>In each of the compartments is a number of figures which apparently -correspond to some vanished text.<a name="FNanchor_424_424" id="FNanchor_424_424"></a><a href="#Footnote_424_424" class="fnanchor">[424]</a> There are eight in the one at -the right and nine in the other. 'Man' is marked with a zero. I am<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span> -unable to give the origin of this plate, which is in the Cabinet des Estampes -in the Bibliothèque Nationale, and was for a long time attributed -to Jean Cousin. It was M. Devéria who removed it from that -artist's work and placed it with Tory's, whose double cross it bears, at the -left, below the cartouche containing the words 'Lenseignevr de Christ.' -I believe that it belongs in some large folio Bible; for I have seen the -subject treated in a more or less summary fashion<a name="FNanchor_425_425" id="FNanchor_425_425"></a><a href="#Footnote_425_425" class="fnanchor">[425]</a> on the title-pages -of several Bibles, in French and other languages. I will mention particularly -the following, all of which are in the Bibliothèque Nationale. -(1) A French Bible, printed at Antwerp in 1530, by Martin l'Empereur; -(2) A Bible in old Saxon, printed at Lubeck in 1533 by Ludowich Dietz -(the same woodcuts reappear in an edition in Danish, issued by the same -printer, at Copenhagen, in 1550); (3) A Bible in Latin, from the text of -Erasmus, published in 1543 or 1544, with two engravings by Cranach; -(4) A Bible in Flemish, printed at Antwerp in 1556. I will mention also -Luther's Latin Commentaries ('enarrationes') on the Bible, printed at -Nuremberg in 1555, with an engraving on the title-page dated 1552.</p> - -<p>Whatever its source, this drawing was reproduced in 1562, on a large -enamelled plate in tinted grisaille, attributed to Pierre Rexmond, enameller, -at Limoges. The sketch for this plate was published in 1843, after -a copy in the collection of M. Baron, in the volume entitled 'Meubles -et Armes du moyen âge,' a large quarto, published by Hauser, dealer in -prints on Boulevard des Italiens.<a name="FNanchor_426_426" id="FNanchor_426_426"></a><a href="#Footnote_426_426" class="fnanchor">[426]</a> It is no. 127 in the collection. In this -drawing the groups are arranged in chronological order, the circular -form of the plate making it impossible to retain the arrangement of -the engraving. But the various subjects and their respective inscriptions -are identical, save for the errors in orthography with which the Limousin -artist has besprinkled the latter. The two Jerusalems are separated -by two trees, which, starting at the outer border of the plate, -formed of Renaissance arabesques, join their heads at the centre, where -there is a medallion containing the face of Marguerite de Valois, sister -of François I.<a name="FNanchor_427_427" id="FNanchor_427_427"></a><a href="#Footnote_427_427" class="fnanchor">[427]</a></p> - -<p><span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span></p> - -<p>This subject has been treated also in a cameo now in the Bibliothèque -Nationale, but in a very summary fashion because of the small size of -the piece, which is only 57 millimetres in width by 72 in height. All -the essential details of the engraving are reproduced. A description of -this interesting cameo will be found under no. 317, in the 'Notice du -Cabinet des médailles,' published by M. Chabouillet, one of the conservators -of that priceless collection. It has been reproduced, too, in the -collection of 'Mémoires de la Société des antiquaires de Morinie,' and -the curious feature of the business is that the engraver has taken for his -mark the arms of the city of Saint-Omer, which are the Lorraine cross.</p> - -<blockquote> - -<p><span class="smcapa">II.</span> R<span class="smcapa">ECUEIL DES</span> R<span class="smcapa">OIS DE</span> F<span class="smcapa">RANCE</span>, <span class="smcapa">LEURS COURONNE ET MAISON, -ENSEMBLE LES RENGS DES GRANDS DE</span> F<span class="smcapa">RANCE</span>, par Jean du Tillet, -sieur de la Bussiere, protonotaire et secretaire du roy, greffier de -son parlement.—Plus, une chronique abrégée contenant tout ce qui -est advenu ... entre les roys et princes ... estrangers, par M. Jean du -Tillet, évêque de Maux.<a name="FNanchor_428_428" id="FNanchor_428_428"></a><a href="#Footnote_428_428" class="fnanchor">[428]</a></p></blockquote> - -<p>Folio; one volume in two parts, Paris, J. du Puys, 1580.</p> - -<p>This volume is an exact reproduction of the manuscript preserved -at the Bibliothèque Nationale, which I have already described.<a name="FNanchor_429_429" id="FNanchor_429_429"></a><a href="#Footnote_429_429" class="fnanchor">[429]</a> Although -dedicated to Charles IX, the book was prepared for publication -at a much earlier date. In fact, the author tells us, in the dedicatory epistle, -that he had presented a copy to Henri II; indeed, it seems that he -had it prepared for printing at the insistence of the King and Queen, who -had promised 'to take care of the expenses.' This fact explains why almost -all the portraits of the kings of France, from Clovis to François I, -are signed with the Lorraine cross. These portraits are copied from the -miniatures of the manuscript, but are on a smaller scale; furthermore -they are in oval instead of square borders.</p> - -<p>Du Tillet died in 1570, before he was able to carry out his project -of printing this work. On August 10, 1578,<a name="FNanchor_430_430" id="FNanchor_430_430"></a><a href="#Footnote_430_430" class="fnanchor">[430]</a> his heirs obtained a license -to publish their 'late father's' work, which finally appeared in 1580; -in fact, one part is dated 1579. They made use of the woodcuts bearing -the Lorraine cross. Jean du Puys, the publisher,<a name="FNanchor_431_431" id="FNanchor_431_431"></a><a href="#Footnote_431_431" class="fnanchor">[431]</a> added to the book some -portraits which are not in the manuscript (among others those of Henri -II and Charles IX), and which consequently do not bear Tory's mark.</p> - -<p><span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span></p> - -<p>Following is a complete list of the portraits contained in this volume, -with indication of those not in the manuscript and of those signed -with the Lorraine cross.</p> - - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="PORTRAITS"> -<tbody> -<tr> - <td class="tdl">Folio</td> - <td class="tdlb">16, Clovis (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">18, Childebert; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">19, Clotaire I (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">23, Sigebert (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">24, Chilperic and Fredegonde (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">28, Dagobert; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">30, Clovis, son of Dagobert; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">31, Clotaire III.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">32, Childeric II; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">35, Dagobert II; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">41, Carloman I; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">42, Charlemagne.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">44, Louis le Debonnaire; modified.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">48, Charles le Chauve (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">53, Charles le Simple.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">54, Raoul (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">56, Louis d'Outre Mer.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">58, Lothaire (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">75, Philippe I.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">76, Louis le Gros.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">92, Louis le Jeune.</td> -</tr> -<tr> - <td> </td> - <td class="tdlb">94, Philippe-Auguste (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">101, Louis, père de Saint Louis (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">109, Charles II; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">112, Saint Louis.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">121, Philippe III; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">133, Philippe le Bel (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">134, Louis le Hutin.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">136, Philippe le Long.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">137, Charles le Bel (signed).</td> -</tr> -<tr> - <td> </td> - <td class="tdl">138, Philippe de Valois.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">140, Jean.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">157, Charles V.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">160, Charles VI.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">164, Louis XI.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">165, Charles VIII (signed).<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span></td> -</tr> -<tr> - <td> </td> - <td class="tdl">166, Louis XII (signed); modified.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">167, François I (signed); modified.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">168, Henri II and Catherine de Médicis; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">169, François II; added.</td> -</tr> -<tr> - <td> </td> - <td class="tdl">169, Charles IX; added.</td> -</tr> -</tbody> -</table></div> - -<p>It will be seen that there are, in all, 10<a name="FNanchor_432_432" id="FNanchor_432_432"></a><a href="#Footnote_432_432" class="fnanchor">[432]</a> portraits added to those found -in the manuscript. For the other princes mentioned in the work, whose -features it was impossible to present, empty frames are printed. Naturally, -none of the portraits added to du Tillet's book by the editor are -marked with the Lorraine cross, and of the other 31, there are only 15<a name="FNanchor_433_433" id="FNanchor_433_433"></a><a href="#Footnote_433_433" class="fnanchor">[433]</a> -on which it is found.</p> - -<p>These cuts were reproduced in a great many later editions of du Tillet's -work, both folio and quarto. I will mention particularly those of -1586, 1587, 1602, 1607, and 1608.</p> - -<p>The volume contains also many engravings of shields and seals.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">III.</span> L<span class="smcapa">A CONFÉRENCE ACCORDÉE ENTRE LES PREDICATEURS CATHOLIQUES</span> -<span class="smcapa">DE L'ORDRE DES CAPUCINS ET LES MINISTRES DE GENEVE.</span></p></blockquote> - -<p>Octavo; Paris, Denis Binet, near Porte S. Michel, 1598.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">IV.</span> L<span class="smcapa">ES</span> T<span class="smcapa">HESES QUI ONT ESTÉ AFFIGÉES DANS LA VILLE DE</span> G<span class="smcapa">ENEVE</span>.</p></blockquote> - -<p>Octavo; Paris, Denis Binet, near Porte S. Michel, 1598.</p> - -<p>On the title-pages of these two volumes, both of which are in the Bibliothèque -Nationale, there is a woodcut signed with the Lorraine cross, -representing a cross with the crown of thorns, set in a border of the size -of a five-franc piece. It was undoubtedly engraved long before 1598.</p> - -<hr class="tb" /> - -<blockquote> - -<p><span class="smcapa">V.</span> I<span class="smcapa">LLUSTRATION DE L'ANCIENNE IMPRIMERIE TROYENNE.</span></p></blockquote> - -<p>Quarto, Troyes, 1850 and 1859. The first fascicle of this book, which -consists of a collection of old woodcuts gathered by M. Varlot in the -printing-offices of Troyes, contains two signed with the Lorraine cross. -They are nos. 50 and 188. The first represents the Coronation of the -Virgin; we may join with it a piece in the same manner representing -the Visitation, no. 51 in the same collection; and no. 5 (the Virgin holding -the Child Jesus) of the fascicle published in 1859. These cuts, which -are in format a small folio, doubtless formed part of a series of engravings -relating to the Virgin and intended for a book of Hours.</p> - -<p>MM. Alexis Socard and Alexandre Assier, in their work entitled -'Livres liturgiques du diocèse de Troyes' (8vo, 1863), also give, on page<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span> -79, an old Troyes woodcut, small folio, signed with the double cross, -representing the Descent of the Holy Ghost on the Virgin and the -Apostles. It is 135 millimetres high by 60 in width.</p> - -<p>No. 188 of M. Varlot's fascicle, which is only one inch high by two -wide, represents a harvest. It was undoubtedly one of a series of engravings -illustrative of the twelve months. MM. Socard and Assier saw it in -a book of Hours printed at Troyes in 1583, by Jean du Ruan, who seems -to have inherited a portion of the woodcuts of Jean Le Coq, printer, -of the same city. We find also in M. Varlot's collection two woodcuts -marked with the letters G. T., which may have been Geofroy Tory's -earlier mark, before he had adopted a special symbol. These two are -no. 84, in the criblé style, and no. 131, in the Renaissance style.<a name="FNanchor_434_434" id="FNanchor_434_434"></a><a href="#Footnote_434_434" class="fnanchor">[434]</a></p> - -<p>On account of the worn state of these cuts it is impossible to say -whether they are originals or copies. It is not impossible, however, -that they were executed by Tory for the printer Nicole Paris, or rather -for Jean Le Coq, whose mark he engraved also.<a name="FNanchor_435_435" id="FNanchor_435_435"></a><a href="#Footnote_435_435" class="fnanchor">[435]</a></p> - -<hr class="tb" /> - -<p><span class="smcapa">VI.</span> Not only at Paris and Troyes do we find woodcuts with the Lorraine -cross; we find them also at Orléans, at Chartres, at Poitiers, and -even at Lyon, although the last-named city had a most flourishing school -of engraving of its own; witness the illustrations of the Bible after Holbein,<a name="FNanchor_436_436" id="FNanchor_436_436"></a><a href="#Footnote_436_436" class="fnanchor">[436]</a> -published by Jean Frellon, in 1547, and those of Salomon Bernard, -published by the de Tournes after 1553. But the works executed by Tory -for Simon de Colines, Robert Estienne, and the rest, had so spread his -name abroad, that there was not a printer of taste in France who did -not seek the honour of obtaining some work of our artist. In this way -Jean de Tournes, first of the name, who was unquestionably one of the -most famous printers of Lyon, had engraved by Tory, or by his widow, -borders and pictures in considerable numbers; unfortunately we find -very few of them signed, whether because Tory's mark was afterward -removed from the others, or because he omitted to place it upon them, -in accordance with the wish of Jean de Tournes; for in those days printers -were very desirous to appropriate the engravings that they ordered, -especially at Lyon, where, nominally at least, no other engraver was -known than Salomon Bernard; moreover, it is well to note that that -artist, none of whose work is signed, is known only because his name<span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span> -was afterward published by the printers, in the very interest of their -publications.</p> - -<p>However, I propose to give a list of the pieces signed with the Lorraine -cross which I have seen in books published by the de Tournes, -that is, by Jean I and Jean II, his son; for it is impossible, in default of -any sort of a catalogue, for me to decide what ones are attributable to -each of them. As a matter of fact, I should be justified in confining -myself to the second, if he had not himself said that he used woodcuts -belonging to his father. And, in truth, although we know of no books -published by the latter with engravings, except his edition of Petrarch -of 1545 (reprinted in 1547), and his book of Chiromancy and Physiognomy, -also of 1545, octavo, everything seems to indicate that those -marked with the Lorraine cross were made for Jean I, who died about -1550.</p> - -<p>The first book that I shall mention is an octavo volume, without -title, described thus by M. Didot in his 'Essai sur la Gravure,' col. 235; -'Pamphlet without title, printed on one side only, with this imprint on -page 1: "A Lion, Ian de Tournes, 1551." The border, composed of arabesques -in white on a black ground, has at the foot the Lorraine cross. -Twenty-two of these engravings represent scenes from the theatre of -the ancients; the ninth bears the Lorraine cross.' This pamphlet was -reprinted in 1556, as we shall see in a moment.</p> - -<p>The second book that I shall mention is an octavo volume, without -date, entitled: 'Thesaurus amicorum,' which is in the Bibliothèque Nationale. -It contains three series of borders: (1) Borders with arabesques -in black on a white ground (one of them is signed with a very small -Lorraine cross); (2) Borders with arabesques in white on a black ground -(one of these also is signed with a small white cross); (3) Borders with -grotesque subjects, licentious and otherwise. These last, none of which -are signed, represent figures analogous to those that are found in the -'Songes drolatiques' attributed to Rabelais, and seem to be modelled -upon them.</p> - -<p>In the first part of the book, the borders, 32 in number, are empty<a name="FNanchor_437_437" id="FNanchor_437_437"></a><a href="#Footnote_437_437" class="fnanchor">[437]</a>; -in the second part, they enclose medallions of famous characters of ancient<span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span> -times, with mottoes in all sorts of languages. There are 96 of these -portraits. They were reproduced, with many others, in a book printed in -1559, under the title, 'Insignium aliquot virorum icones' (octavo).<a name="FNanchor_438_438" id="FNanchor_438_438"></a><a href="#Footnote_438_438" class="fnanchor">[438]</a> In -the dedication, to G. Tuffano, 'gymnasiarchæ Nemausensi,' Jean de -Tournes, second of the name, the printer of the book, informs us that he -undertook it in order to utilize the woodcuts left by his father. 'Cum -pater jamdudum haberet hasce icones inutiles ne omnino perirent, hæc -pauca, quæ huic opusculo insunt, ex variis auctoribus accumulavi....' -In this book the medallions number one hundred and forty-three; none -are signed, but they are altogether in Tory's manner.</p> - -<p>These same medallions, as well as the borders of the 'Thesaurus amicorum,' -have been used in a multitude of other publications, which are -known to us only through detached fragments. I will mention particularly -eight leaves preserved in the Cabinet des Estampes, printed on one -side only, having a border with a portrait on each page.<a name="FNanchor_439_439" id="FNanchor_439_439"></a><a href="#Footnote_439_439" class="fnanchor">[439]</a> Also, four leaves -without borders, on each of which two portraits are printed, side by side.<a name="FNanchor_440_440" id="FNanchor_440_440"></a><a href="#Footnote_440_440" class="fnanchor">[440]</a></p> - -<p>As for the borders, they appear again,—first, in the edition of Marot's -Psalms, published by Jean de Tournes in 1557, in octavo; and second, -with less impropriety, in the various editions, both in French and in -Italian, of Ovid's 'Metamorphoses,' issued by the same printer.</p> - -<p>Jean de Tournes published also, in 1556, a small octavo volume of -specimens of his woodcuts, printed on one side only. This volume, which -is well known to collectors, and which may be found in the Cabinet -des Estampes, has on the first page these words alone: 'A Lion, Ian de -Tournes, <span class="smcapa">M.D.LVI.</span>'<a name="FNanchor_441_441" id="FNanchor_441_441"></a><a href="#Footnote_441_441" class="fnanchor">[441]</a> This page has a border of white arabesques on a black -ground, in which the Lorraine cross is perfectly visible, at the foot. There -are 22 engravings representing scenes from the theatre of the ancients.</p> - -<p><span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span></p> - -<p>The ninth bears the Lorraine cross. In the midst of this series, on leaf 21, -is a piece which does not belong to the series; it represents a dog lying -on a cushion.<a name="FNanchor_442_442" id="FNanchor_442_442"></a><a href="#Footnote_442_442" class="fnanchor">[442]</a> After this series come various engravings which we find -in Maurice de Seve's 'Saulsaye' (octavo, Lyon, 1547), in Ovid's 'Metamorphoses,' -and the 'Hymnes du Temps' of Guillaume Gueroult, which -were printed subsequently; then 11 plates bearing two figures facing -each other, taken from a work on Chiromancy and Physiognomy, by Indagine -(octavo, Lyon, 1549); 5 engravings from the edition of Petrarch -issued by the first Jean in 1545; and 9 small miscellaneous subjects.<a name="FNanchor_443_443" id="FNanchor_443_443"></a><a href="#Footnote_443_443" class="fnanchor">[443]</a> -The Cabinet des Estampes also contains one leaf of a folio specimen of -the woodcuts of the de Tournes, in which we find again the plates of the -Petrarch. It lacks, however, the Lac d'Amour, which is on folio 5 of -the collection we are describing, and is altogether in the manner of the -seven epitaphs published by Tory in 1530.<a name="FNanchor_444_444" id="FNanchor_444_444"></a><a href="#Footnote_444_444" class="fnanchor">[444]</a></p> - -<p>I will not enumerate here the other books with engravings, of later -date, published by the second Jean de Tournes, because there is nothing -to justify me in attributing them to Tory's workshop; but one may conclude -from what I have said heretofore, that many engravings of the -printers of Lyon, hitherto attributed to Salomon Bernard, called Le Petit -Bernard, came from Tory's establishment. Indeed, we may well wish -that Le Petit Bernard might be relieved of the enormous mass of engravings -which have been attributed to him for lack of information concerning -them, but which render uncertain the attribution of those which -most certainly belong to him.<a name="FNanchor_445_445" id="FNanchor_445_445"></a><a href="#Footnote_445_445" class="fnanchor">[445]</a></p> - -<p><span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span></p> - -<p>Our list includes only engravings on wood; but I have no doubt that -Tory engraved also on metal, and not alone letters, which we should naturally -expect from Garamond's master, but plates as well. Now that the -eyes of collectors are about to be opened, I should not be surprised if some -one should discover one marked with his cross.<a name="FNanchor_446_446" id="FNanchor_446_446"></a><a href="#Footnote_446_446" class="fnanchor">[446]</a> To forward such discovery -I will insert the estimate of Tory's draughtsmanship formed by M. -Renouvier, who is so competent a judge of such matters.</p> - -<p>'The plates of "Champ fleury," the first of which is dated 1526, have -an Italian after-taste, which manifests itself by the correctness of the figures, -and by their costumes; but the delicacy of expression, the fineness -of line, distinguish them clearly from the Venetian vignettes. The vignettes -of the Hours published between 1524 and 1543, varying in execution, -always delicate and with little shading, exhibit a degree of taste -which the Parmesan School sometimes achieves; but by the delicacy of -their execution they deserve the praise bestowed upon them by Dibdin. -Even if the figures are slightly confused in their attitudes and in their -draperies, or defective at some of the extremities, still, the spirited drawing -of the heads, and the arrangement of the scenes, amid charming architectural -designs, or in very restricted fields, show that our engravers -of vignettes lost nothing of their talent in passing from gothic to italic -letters, and, despite the name of the latter, it is certain that Italy never -produced any like them. Simplicity took the place of Gothic <i>goguenarderie</i>; -their expression is in the most refined French sentiment of the -period.<a name="FNanchor_447_447" id="FNanchor_447_447"></a><a href="#Footnote_447_447" class="fnanchor">[447]</a></p> - -<p>'I seem to recognize Geofroy Tory's style in the "Tableau de Cèbes,"<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span> -published by Denis Janot and Gilles Corrozet in 1543, the vignettes of -which are often attributed to Jean Cousin. As for Tory's drawing, I -should recognize it through several layers of wood, by the delicately -drawn heads, the slender figures, the split extremities, to say nothing -of the floriated letters and the borders, in which the Italian grotesques -are mingled with natural vegetations, and in which he has often engraved -his name, his Pot Cassé and his mottoes. In Tory's vignettes there -are doubtless qualities that are more subtle than great, but they are our -qualities.'</p> - -<div class="figcenter"> -<img src="images/i_b_263.jpg" width="309" height="500" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_264.jpg" width="353" height="480" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_265.jpg" width="560" height="135" alt="" /> -</div> - - - - -<h2 class="nobreak"><a name="SECTION_III_MARKS_OF_BOOKSELLERS_AND_PRINTERS_WITH_THE_LORRAINE_CROSS" id="SECTION_III_MARKS_OF_BOOKSELLERS_AND_PRINTERS_WITH_THE_LORRAINE_CROSS"></a>SECTION III. MARKS OF BOOKSELLERS AND PRINTERS -SIGNED WITH THE LORRAINE CROSS.</h2> - - -<p><span class="figleft150"><img src="images/i_b_265a.jpg" width="200" height="226" alt="" /></span>The inventor of the Pot Cassé was chosen -by his confrères, in preference to all other -engravers, to engrave their private marks. -They had realized the force of his 'kindly -exhortation to practice and employ themselves -in goodly inventions,'<a name="FNanchor_448_448" id="FNanchor_448_448"></a><a href="#Footnote_448_448" class="fnanchor">[448]</a> and had been -impressed by the perfection with which he -executed that species of engraving, which -he had completely transformed. For, in lieu -of the coarse vignettes with a black background, -on which the design stood out in -white, as if cut with a die, Tory had gradually introduced into these -woodcuts all the delicacy of the Italian engravings. The earliest ones of -his of which we have any knowledge are in the criblé style, which the -Middle Ages had handed down to him; but he soon rejected that style and -not only adopted a new manner of engraving, but altered the arrangement -of the designs that were entrusted to him. This fact is especially -manifest if we compare the original mark of the de Marnefs (Silvestre, -'Marques Typographiques' no. 151) with the one that bears the motto, -'Principivm ex fide, finis in charitate' (Silvestre, no. 1043). Instead -of the roughly drawn Pelican nourishing from its vitals its still more -roughly drawn young, in a nest perched on a tree of which the leaves are -larger than the trunk, we have, in the second engraving [given above], -an entirely new composition, of which both design and execution are -irreproachable. In the face of such results, we should not be surprised -by the predilection of the printer-booksellers for Tory; they deemed it a -duty to employ a confrère who poetized their profession: to them it -was a question of esprit de corps and of patriotism alike.</p> - -<p>That is why we have so many typographical marks signed with the<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span> -Lorraine cross. We propose to enumerate all of those which we have -actually had before us. As it was impossible to arrange them chronologically, -we have adopted the alphabetical order.</p> - -<hr class="tb" /> - -<p>A<span class="smcapa">LARD</span> (G<span class="smcapa">UILLAUME</span>), bookseller at Paris in 1550. See F<span class="smcapa">EZANDAT</span>.</p> - -<div class="figcenter"> -<img src="images/i_b_266.jpg" width="400" height="508" alt="" /> -</div> - -<hr class="tb" /> - -<p>B<span class="smcapa">ADE</span> (C<span class="smcapa">ONRAD</span>), printer and bookseller at Paris from 1546 to 1560, -when he withdrew to Geneva for religious reasons.—One mark, which -appears on the first edition of Théodore de Bèze's 'Poemata' (1548); the -volume contains also a portrait of the author signed with the double -cross. Conrad's mark, like that of his father, Josse Bade, represents a -printing-press. It contains also the words 'Prelum ascensianum'; but, -instead of being inscribed in a cartouche on the press, they are in two -cartouches, one at the top, the other at the bottom, of the border (Silvestre, -no. 867). When Conrad betook himself to Geneva, Eloi Gibier,<a name="FNanchor_449_449" id="FNanchor_449_449"></a><a href="#Footnote_449_449" class="fnanchor">[449]</a> -a printer of Orléans, bought the mark. It afterwards passed to Fabian -Hotot, a printer in the same city, who was using it in 1609; but before -using it he had the word 'Ascensianum' removed.</p> - -<hr class="tb" /> - -<p>B<span class="smcapa">ESSAULT</span> (T<span class="smcapa">HIBAUT</span>, and J<span class="smcapa">EAN</span>, his son), booksellers at Paris. See -R<span class="smcapa">EGNAULT</span> (B<span class="smcapa">ARBE</span>).</p> - -<hr class="tb" /> - -<p>B<span class="smcapa">ONFONS</span> (J<span class="smcapa">EAN</span>), bookseller at Paris from 1548 to 1572.—One mark -(Silvestre, no. 125), representing a dove on a tree, within a circle formed<span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span> -by a serpent, and on the outside of the circle this sentence from the Bible: -'Estote prudentes sicut serpentes, et simplices sicut columbæ.' I have -seen it in a quarto edition of 'Le Petit Jehan de Saintré,' published by -Bonfons in 1553, in gothic type.</p> - -<hr class="tb" /> - -<p>B<span class="smcapa">UON</span> (G<span class="smcapa">ABRIEL</span>). See P<span class="smcapa">ORTE</span> (M<span class="smcapa">AURICE DE LA</span>).</p> - -<hr class="tb" /> - -<p>C<span class="smcapa">ALVARIN</span> (S<span class="smcapa">IMON</span>), printer-bookseller at Paris, from 1553 to 1593. -Two marks, representing a woman, seated, surrounded by the paraphernalia -of the arts and sciences, and holding in one hand a palm-tree decorated -with three wreaths. I have seen one of these marks, the larger, in -an edition of Rodolphe Agricola's book entitled: 'De Inventione dialectica -libri tres' (quarto, 1558), on the title-page of which is this imprint: -'Parisiis, ex officina Simonis Calvarini, in vico Belovaco, ad Virtutis insigne.'<a name="FNanchor_450_450" id="FNanchor_450_450"></a><a href="#Footnote_450_450" class="fnanchor">[450]</a> -The smaller one appears at the end of a book entitled: 'Conservation -de santé et prolongation de vie, etc., composé premierement par -noble homme H. [Hieronime] Monteux, conseiller et medecin ordinaire -du roi François II, et nouvellement traduit en nostre langue fraçoise -par maistre Claude de Valgelas, docteur medecin, etc. Paris, chez Simon -Calvarin, rue Saint-Jacques, à la Rose blanche couronnée, 1572.' This -is a 16mo, of which there is a copy in the Bibliothèque Nationale. This -Simon was, I have no doubt, a son of Prigent Calvarin, printer at Paris -from 1524 to 1582, whose mark is very different (Silvestre, no. 137).<a name="FNanchor_451_451" id="FNanchor_451_451"></a><a href="#Footnote_451_451" class="fnanchor">[451]</a> It -represents two persons holding a shield which hangs from a vine, with -these sentences surrounding them: 'Deum time,' 'Pauperes sustine,' -'Finem respice,' 'Prigent Calvarin.' Simon, having set up for himself -during his father's lifetime, had to adopt a different mark.</p> - -<hr class="tb" /> - -<p>C<span class="smcapa">HAUDIÈRE</span> (R<span class="smcapa">EGNAULT</span>), bookseller at Paris from 1516 to 1546, in -the latter year succeeded to the printing business of Simon de Colines, -whose marks 'au Temps' he used thereafter. He had a new one engraved -in Tory's establishment, with the same figure, but with a slightly -different motto: it reads: 'Virtus sola aciem retundit istam.' This mark -appears in the edition of the comedies of Terence printed in 1546. See -C<span class="smcapa">OLINES</span> (S<span class="smcapa">IMON DE</span>).</p> - -<p><span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_268.jpg" width="350" height="478" alt="" /> -</div> - -<hr class="tb" /> - -<p>C<span class="smcapa">OLINES</span> (S<span class="smcapa">IMON DE</span>), printer-bookseller at Paris from 1520 to 1546. -Four marks at least. See the two already described in the preceding section, -under 1520-1521, as forming a part of title-pages, and numbers -80 and 329 of M. Silvestre's 'Marques typographiques.' The last two -passed in 1546 into the hands of Regnault Chaudière, a bookseller since -1516. Chaudière had married Colines's daughter by the widow of Henri -Estienne, and by virtue of the connection inherited his father-in-law's -printing-office and bookshop. He himself printed, in 1546-1547, under -the Latin name Calderius, an edition of the comedies of Terence<a name="FNanchor_452_452" id="FNanchor_452_452"></a><a href="#Footnote_452_452" class="fnanchor">[452]</a>; at -the end is M. Silvestre's no. 329, which (like no. 80) represents Time -armed with a scythe, and this devise in a scroll: 'Hanc aciem sola retundit -virtus.' Chaudière, who had previously used another mark (Silvestre, -no. 96), employed thenceforth this one with the figure of Time, -and handed it down to his successors.<a name="FNanchor_453_453" id="FNanchor_453_453"></a><a href="#Footnote_453_453" class="fnanchor">[453]</a> In 1548 he published an octavo -catalogue of his own books and those of Simon de Colines—'tum ab -Simone Colinæi, tum ab Calderio excusi.'<a name="FNanchor_454_454" id="FNanchor_454_454"></a><a href="#Footnote_454_454" class="fnanchor">[454]</a> The following is, in my opinion, -the order in which Simon de Colines's various marks were engraved -by Tory: In the first place, in 1520, the one with the rabbits, or <em>conils</em>, -which it has been said that Colines adopted as a play upon his own name; -but this conjecture seems to me the more improbable because these -same rabbits had been used on the sign of Henri Estienne's shop as early -as 1502.<a name="FNanchor_455_455" id="FNanchor_455_455"></a><a href="#Footnote_455_455" class="fnanchor">[455]</a> However that may be, Colines seems to have retained this mark<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span> -during all the time that he occupied Henri Estienne's house. When he -turned over that abode, in 1525, to Robert Estienne, who established -himself in business on the paternal premises, Colines went a little farther -down rue de Beauvais, and took for his sign the 'Soleil d'or,' which -appears on the second mark; finally, in 1528, he adopted the one with -the figure of Time, which was afterwards adopted by his son-in-law, -Regnault Chaudière.</p> - -<div class="figcenter" style="width: 320px;"> -<img src="images/i_b_269a.jpg" width="320" height="473" alt="S DE COLLINES" /> -</div> - -<hr class="tb" /> - -<div class="figcenter" style="width: 300px;"> -<img src="images/i_b_269b.jpg" width="300" height="399" alt="GILLES CORROZET" /> -</div> - -<hr class="tb" /> - -<p>C<span class="smcapa">ORROZET</span> (G<span class="smcapa">ILLES</span>), bookseller at Paris from 1538 to 1568.—One -mark, representing, by way of allusion to the name of its owner, a rose<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span> -upon a heart ('cor'), and with 'Gilles Corrozet' at the foot (Silvestre, no. -145). This mark, which I have seen on a book of 1539,<a name="FNanchor_456_456" id="FNanchor_456_456"></a><a href="#Footnote_456_456" class="fnanchor">[456]</a> was undoubtedly -the first that Corrozet used. It descended to his heirs, and his grandson -Jean was still using it a century later, on the 'Trésor des histoires -de France,' the work of another Gilles Corrozet, which Jean reprinted -several times between 1622 and 1644. Jean simply removed from the -mark his grandfather's Christian name, regardless of the lack of symmetry -in the engraving caused by this subtraction. So that here was an -engraving that was in use more than a hundred years; it is an interesting -example of the durability of these woodcuts.</p> - -<hr class="tb" /> - -<p>C<span class="smcapa">OTEREAU</span> or C<span class="smcapa">OTTEREAU</span> (R<span class="smcapa">ICHARD</span>), bookseller at Chartres;—(P<span class="smcapa">HILIPPE</span>), -bookseller at Blois.</p> - -<div class="figcenter"> -<img src="images/i_b_270.jpg" width="351" height="450" alt="" /> -</div> - -<hr class="tb" /> - -<p>D<span class="smcapa">AVID</span> (M<span class="smcapa">ATHIEU</span>), printer-bookseller at Paris from 1554 to 1566. -Three marks (Silvestre, nos. 227, 394, and 759). They represent a warrior -bearing on his shoulders a woman plunging a sword in his throat. One -of the marks has the word 'odiosa' in the border on one side, and 'veritas' -on the other. Another is printed in an octavo volume of 1539 (Bibliothèque -Nationale), Ravisius Textor's 'Epistolæ a mendis repurgata.'</p> - -<hr class="tb" /> - -<p>D<span class="smcapa">UPUY</span> (J.), printer at Paris in 1549. See F<span class="smcapa">EZANDAT</span>.</p> - -<p><span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_271.jpg" width="369" height="500" alt="" /> -</div> - -<hr class="tb" /> - -<p>E<span class="smcapa">STIENNE</span> (R<span class="smcapa">OBERT</span>), printer-bookseller at Paris, from 1526 to 1550. -Six marks at least, representing the olive-tree in different forms. Three -of them are reproduced in M. Silvestre's work: nos. 162, 318,<a name="FNanchor_457_457" id="FNanchor_457_457"></a><a href="#Footnote_457_457" class="fnanchor">[457]</a> and 319<a name="FNanchor_458_458" id="FNanchor_458_458"></a><a href="#Footnote_458_458" class="fnanchor">[458]</a>; -add to these the large folio mark that appears on the Bible of 1528<a name="FNanchor_459_459" id="FNanchor_459_459"></a><a href="#Footnote_459_459" class="fnanchor">[459]</a> and -that of 1540, previously described; a small mark which appears in the -16mo Virgil of 1549; and, lastly, a mark similar to Silvestre's no. 163 -(except that the figure is bald), which appears in 'Caroli Stephani de -Nutrimentis,' etc.<a name="FNanchor_460_460" id="FNanchor_460_460"></a><a href="#Footnote_460_460" class="fnanchor">[460]</a> Probably most of these marks were engraved for -Robert Estienne at the outset of his typographical career, that is to say, -about 1526; he carried them with him to Geneva in 1550; and his son, -the second Henri, used them in his turn, after his father's death, which -occurred in 1559. It was undoubtedly the widow of Tory who engraved<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span> -the mark (in different sizes) which appears, after 1544, on the Greek -books printed with the royal types, and which represents a basilisk entwined -about a lance.</p> - -<div class="figcenter"> -<img src="images/i_b_272.jpg" width="160" height="484" alt="" /> -</div> - -<hr class="tb" /> - -<p>E<span class="smcapa">STIENNE</span> (C<span class="smcapa">HARLES</span>), printer and bookseller at Paris from 1551 to -1561. Three marks at least. Upon entering the typographical profession -Charles adopted his brother's olive-tree; that is to say, he simply had -copies made of Robert's marks, as he succeeded to his business. I have -seen the first of these marks, similar to Silvestre's no. 163, in an octavo -edition of P. Bunel's 'Epîtres familières,' printed by Charles in 1551; the -second appears in a folio edition of Cicero, in four volumes, published -by the same printer from 1551 to 1555<a name="FNanchor_461_461" id="FNanchor_461_461"></a><a href="#Footnote_461_461" class="fnanchor">[461]</a>; and the third, like Silvestre's -no. 162, in the 'Petit Dictionnaire français-latin' (quarto), published by -Charles in 1559. It is probable that the second Robert used these same -marks after his uncle's retirement in 1561.</p> - -<hr class="tb" /> - -<p>F<span class="smcapa">EZANDAT</span> (M<span class="smcapa">ICHEL</span>), printer-bookseller at Paris from 1541 to 1553. -One mark (Silvestre, no. 423). This mark which, by way of allusion to -the name of its owner, represents a pheasant (<em>faisan</em>) on a dolphin, with -the letters M and F at the left and right, respectively, of the pheasant, -was used without the initials in 1549, as may be seen on the title of -'Le Temple du chasteté,' printed in that year by Fezandat, in octavo.<a name="FNanchor_462_462" id="FNanchor_462_462"></a><a href="#Footnote_462_462" class="fnanchor">[462]</a></p> - -<p><span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span></p> - -<p>In 1550, one Guillaume Alard (Fezandat's son-in-law, it may be), who -lived 'e regione collegii de la Mercy,' also used the mark in that form.<a name="FNanchor_463_463" id="FNanchor_463_463"></a><a href="#Footnote_463_463" class="fnanchor">[463]</a> -The appearance of this mark on Alard's book may be due solely to the -fact that the book in question was printed by Fezandat. I have been -unable to ascertain the facts because the fragment of the title-page on -which I saw the mark and Alard's name does not contain the title of -the book. The only possible clue is the three Greek verses on the other -side of the page, which lead one to think that it may have been a work -of Jean Blaccus Danois, of whom we have a translation of Isocrates into -Latin verses, printed by Regnault Chaudière, also in 1550 (quarto).<a name="FNanchor_464_464" id="FNanchor_464_464"></a><a href="#Footnote_464_464" class="fnanchor">[464]</a> -This G. Alard is not named by Lottin in his 'Catalogue des imprimeurs-libraires -de Paris.' I find the same mark in a small volume entitled -'Le Bouquet des fleurs de Sénèque'; octavo; Caen, 'de l'imprimerie de -Jacques le Bas, imprimeur du roy,' 1590.<a name="FNanchor_465_465" id="FNanchor_465_465"></a><a href="#Footnote_465_465" class="fnanchor">[465]</a> I find Fezandat's mark also in -a book published by the bookseller J. Dupuy in 1549: 'Novum Testamentum,' -in Greek and Latin; 16mo. Why? I have no idea.</p> - -<div class="figcenter"> -<img src="images/i_b_273.jpg" width="350" height="474" alt="" /> -</div> - -<hr class="tb" /> - -<p>G<span class="smcapa">IBIER</span> (E<span class="smcapa">LOI</span>), printer at Orléans. One mark, representing a printing-press. -This printer, whose oldest known imprint is dated 1559, had -evidently practised his trade several years earlier. This is what we find -concerning him in the 'Bibliothèque historique des auteurs orléanais,' -by Dom Gerou, which is preserved in manuscript in the Public Library -of Orléans: 'We may say that Eloy Gibier was in a certain sense the first -printer of Orléans; Mathieu Vivian and Pierre Asselin had preceded him, -but we know of only a single work printed by each of them, whereas there<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span> -are a great number by Eloy Gibier. We do not know when he began, -but the earliest book printed by him of which we have any knowledge -is of 1559. At first he put no symbol on the title-pages of his works; the -place where the symbol should be was entirely unoccupied; later, he -sometimes inserted one, but not always. This symbol was a printing-press, -about which were the words: "In sudore vultus tui vesceris pane -tuo."' I have seen this mark on the 'Coutumes générales d'Orléans,' -printed by Gibier in 1570, octavo.<a name="FNanchor_466_466" id="FNanchor_466_466"></a><a href="#Footnote_466_466" class="fnanchor">[466]</a> But he afterward adopted the mark -of Conrad Bade. See that name.</p> - -<div class="figcenter"> -<img src="images/i_b_274.jpg" width="350" height="495" alt="" /> -</div> - -<hr class="tb" /> - -<p>G<span class="smcapa">OURMONT</span> (G<span class="smcapa">ILLES DE</span>), printer-bookseller at Paris, from 1506 to -1530.—Three marks. The first, in the form of a border, is found on the -title-page of a volume containing nine comedies of Aristophanes, printed -by Pierre Vidoue, at Gilles de Gourmont's expense, in 1528 (quarto)<a name="FNanchor_467_467" id="FNanchor_467_467"></a><a href="#Footnote_467_467" class="fnanchor">[467]</a>: -a description of it will be found above.<a name="FNanchor_468_468" id="FNanchor_468_468"></a><a href="#Footnote_468_468" class="fnanchor">[468]</a> The second represents Fame: -it is a nude woman, winged, all over whose body are eyes, tongues, and -ears. At the foot, in a scroll, are the words: 'Ecqvis incvmbere famae' -('poterit' understood, no doubt). The Lorraine cross appears at the left -on the lower edge of the engraving. I have seen this mark on a small -book entitled: 'Alphabetum hebraicum,' consisting of 8 leaves, printed<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span> -by Pierre Vidoue (Silvestre, no. 98). Although the name of Gourmont -nowhere appears in this case, I have no doubt that the mark belongs to -Gilles de Gourmont, for it is accompanied by his initials, E and G (Egidius -Gourmontius), at the left and right respectively; and we shall see -that this same mark was afterward used by Jérôme de Gourmont, Gilles's -son or nephew. It maybe that it was because of the loan of Gourmont's -Hebrew type that his mark appears on this precious pamphlet, a description -of which follows. First leaf, beginning at the end (according -to the Hebrew and Arabic custom), Gourmont's mark in a border of -detached compartments. On the verso Pierre Vidoue's epistle to the -reader, dated from his workshop August 1, 1531. Then comes the text, -followed by this subscript: 'Petrus Vidovæus Vernoliensis excudebat -Lutetiæ' And, lastly, Vidoue's mark—Fortune, with the words: 'Audentes -juvo' (Silvestre, no. 65). The third of Gilles de Gourmont's marks -signed with the Lorraine cross is given by M. Silvestre (no. 826). [This -mark forms the lower part of the border first described, and has evidently -been cut from the border for use separately.] It represents the -Gourmont arms<a name="FNanchor_469_469" id="FNanchor_469_469"></a><a href="#Footnote_469_469" class="fnanchor">[469]</a>: a shield coupé, three roses in chief and a crescent in -base; for crest a St. Michael, holding a bare sword, supports two winged<span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span> -stags with ducal coronets about their necks. This subject, much more -fully developed, appears on the first page of the 'Tableaux des Arts Libéraux -de Savigny,' in-plano,<a name="FNanchor_470_470" id="FNanchor_470_470"></a><a href="#Footnote_470_470" class="fnanchor">[470]</a> published in 1587, by Jean and François, -sons of Gilles de Gourmont, who succeeded to his establishment on rue -Saint-Jean-de-Latran.</p> - -<hr class="tb" /> - -<p>G<span class="smcapa">OURMONT</span> (J<span class="smcapa">ÉRÔME DE</span>), printer-bookseller at Paris from 1524 to -1533.—One mark representing Fame, copied from the second mark of -Gilles de Gourmont just described, but reversed. Beneath the inscription -'Ecqvis incvmbere famae,' in a small cartouche, are the initials H. D. G. -(Hierome de Gourmont), with the Lorraine cross just above. I have seen -this mark in an octavo volume published at Paris in 1534 by Jérôme de -Gourmont, under this title: 'Pauli Paradisi ... de modo legendi hebraice -dialogus,'<a name="FNanchor_471_471" id="FNanchor_471_471"></a><a href="#Footnote_471_471" class="fnanchor">[471]</a> and in another octavo, also published at Paris ('Dionysiæ') in -1535, under a Greek title of which the Latin translation is: 'Apollonius -Alexandrinus, de Constructione.'<a name="FNanchor_472_472" id="FNanchor_472_472"></a><a href="#Footnote_472_472" class="fnanchor">[472]</a> Jérôme de Gourmont published at -least one other book at 'Dionysiæ' in 1535; but I do not know the title, as -I have not seen the title-page. All that I can say is that Ausonius is quoted -in the Latin preface printed on the verso of the first leaf, of which I have -seen only a fragment, belonging to M. Silvestre.</p> - -<p>I believe that Jérôme de Gourmont did some printing, although he -is named only as a bookseller in the bibliographies. The books that I -have mentioned show that he was a scholar who followed in the tracks -of Gilles de Gourmont. Indeed, the one first described, which is in Latin, -contains some Hebrew words; the second is entirely in Greek.</p> - -<p>I have seen a little book, printed at Paris in 1539, with Jérôme de Gourmont's -mark: it is 'Pugna porcorum per J. Porcium,' octavo. The subscript -below the mark reads: 'Parisiis, apud Anthonium Bonnemere.' -Was Anthoine Bonnemere publisher for Jérôme de Gourmont, at the -same sign? That is something that I do not know.</p> - -<hr class="tb" /> - -<p>G<span class="smcapa">OURMONT</span> (B<span class="smcapa">ENOÎT DE</span>), bookseller at Paris.—One mark, representing -a man standing above two precipices; above him is a scroll with -the words: 'Vndiqve praecipitivm'; and at his feet the initials B. D. G. -(Silvestre, no. 838).</p> - -<p><span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span></p> - -<hr class="tb" /> - -<p>G<span class="smcapa">RANDIN</span> (L<span class="smcapa">OUIS</span>), printer-bookseller at Paris, from 1542 to 1553.—Two -marks (Silvestre, nos. 277 and 416). They represent two men, one -of whom is receiving a sphere from the hand of God; the other holds -one which is crumbling in his fingers. On the second of the two marks -are the words: 'Confidere in Domino bonum esse quam confidere in -homine. Ps. 117.'</p> - -<div class="figcenter"> -<img src="images/i_b_277.jpg" width="300" height="350" alt="" /> -</div> - -<hr class="tb" /> - -<p>G<span class="smcapa">UEULLARD</span> (J<span class="smcapa">EAN</span>), printer-bookseller at Paris, from 1552 to 1553.—Two -marks representing the Phœnix rising from the flames,<a name="FNanchor_473_473" id="FNanchor_473_473"></a><a href="#Footnote_473_473" class="fnanchor">[473]</a> in an -oval border. The smaller one has, within the border, the words, 'Amor -vitæ acer nimis,' with Gueullard's initials, I. G., below (Silvestre, no. -790). This mark is .055 of a millimetre high by .044 wide. I have seen -it in a book entitled: 'Petri Ruffi Druydæ dialectica, nuper ab eodem -autore emendatur,' quarto, 1553 (3d edition).<a name="FNanchor_474_474" id="FNanchor_474_474"></a><a href="#Footnote_474_474" class="fnanchor">[474]</a> The larger one has this -motto within the border: 'Mori vivere mihi est'; it is .087 of a millimetre -high by .063 wide (Silvestre, no. 882). I have seen it in a book -entitled, 'Hexastichorum moralium libri duo, per Nic. Querculum Tortronensem -Rhemum; quarto, Paris, 1552.'<a name="FNanchor_475_475" id="FNanchor_475_475"></a><a href="#Footnote_475_475" class="fnanchor">[475]</a> See H<span class="smcapa">ARSY</span> (O<span class="smcapa">LIVIER DE</span>).</p> - -<hr class="tb" /> - -<p>G<span class="smcapa">UILLARD</span> (C<span class="smcapa">HARLOTTE</span>), printer-bookseller from 1518 to 1556.—One -mark representing her sign, a golden sun in a starry sky. Below, two -lions erect, holding a shield on which are the initials C. G. This lady -carried on the printing trade for more than fifty years. She married first, -in 1502, Berthold Rembold, a partner of the first printer in Paris, Ulric<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span> -Gering. Berthold, who had established his domicile on rue Saint-Jacques, -'au Soleil d'Or,' having left Charlotte a widow in 1518, she carried on -the business alone until 1520, when she married Claude Chevallon, who -took up his abode on the same premises. Chevallon having departed -this life, in his turn, in 1542, Charlotte continued in the business until -1556. It was during her second widowhood that the mark in question, -which we reproduce herewith, was engraved. I have seen it on a quarto -volume entitled, 'Institutionum civilium libri quatuor, 1550. Parisiis, -apud Carolam Guillard, viduam Claudi Chevallonii, sub Soli aureo, et -Guilelmum Desbois, sub Cruce Alba, in via divi Jacobi.' Claude Chevallon -had upon his mark, by way of allusion to his name, two horses standing -(cheval-long). But M. Silvestre publishes as his (no. 395) a mark -which has the lions.</p> - -<div class="figcenter"> -<img src="images/i_b_278.jpg" width="250" height="371" alt="" /> -</div> - -<hr class="tb" /> - -<p>H<span class="smcapa">ARSY</span> (O<span class="smcapa">LIVIER DE</span>), bookseller at Paris, from 1556 to 1584, used -Gueullard's mark on several works written by Nicolas Ellain; among -others, 'Elegia libri duo ad Joach. Bellaium, quo adhuc vivo eos scripsit.—Parisiis, -e typogr. Olivarii de Harsy, ad Cornu cervi, in clauso Brunello'; -quarto, 1560.<a name="FNanchor_476_476" id="FNanchor_476_476"></a><a href="#Footnote_476_476" class="fnanchor">[476]</a> I have no idea why de Harsy adopted Gueullard's mark.</p> - -<hr class="tb" /> - -<p>H<span class="smcapa">OTOT</span> (F<span class="smcapa">ABIAN</span>), printer at Orléans. See B<span class="smcapa">ADE</span> (C<span class="smcapa">ONRAD</span>).</p> - -<hr class="tb" /> - -<p>H<span class="smcapa">OUIC</span> (A<span class="smcapa">NTOINE</span>), bookseller at Paris. See R<span class="smcapa">EGNAULT</span> (B<span class="smcapa">ARBE</span>).</p> - -<p><span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span></p> - -<hr class="tb" /> - -<p>K<span class="smcapa">ERVER</span> (T<span class="smcapa">HIELMAN</span> II), printer and bookseller at Paris, from 1530 to -1550.—One mark, representing the arms of the Kervers; a 'gril' (<em>cratis</em>) -held by two unicorns, with the letters T. K. Below is the printer's -name in full: 'Thieman [<em>sic</em>] Kerver.' This mark appears on a book of -Hours of 1550.</p> - -<hr class="tb" /> - -<p>L<span class="smcapa">E</span> BL<span class="smcapa">AS</span>. See F<span class="smcapa">EZANDAT</span>.</p> - -<hr class="tb" /> - -<p>L<span class="smcapa">E</span> C<span class="smcapa">OQ</span> (J<span class="smcapa">EAN</span>) printer at Troyes, from 1506 to 1525.—One mark, -representing Le Coq's arms (a cock), hanging from a tree; below is the -name, 'Jean Le Coq' (Silvestre, no. 875). This mark appears in a 'Graduel' -of 1521, previously described.<a name="FNanchor_477_477" id="FNanchor_477_477"></a><a href="#Footnote_477_477" class="fnanchor">[477]</a> We find it again in a book of Hours according -to the use of Toul, published in 1541, which contains many other -engravings signed with the double cross.<a name="FNanchor_478_478" id="FNanchor_478_478"></a><a href="#Footnote_478_478" class="fnanchor">[478]</a> Also in a small book published -in our own day by Aubry the bookseller<a name="FNanchor_479_479" id="FNanchor_479_479"></a><a href="#Footnote_479_479" class="fnanchor">[479]</a>; that is to say, this particular -woodcut is still in existence and belongs to M. Aubry.</p> - -<hr class="tb" /> - -<p>L<span class="smcapa">E</span> N<span class="smcapa">OIR</span> (P<span class="smcapa">HILIPPE</span>), printer-bookseller at Paris, from 1520 to 1539. -Three marks,<a name="FNanchor_480_480" id="FNanchor_480_480"></a><a href="#Footnote_480_480" class="fnanchor">[480]</a> representing two negroes (noirs) holding a shield with -Philippe le Noir's initials.</p> - -<hr class="tb" /> - -<p>M<span class="smcapa">ALLARD</span> (O<span class="smcapa">LIVIER</span>), printer-bookseller at Paris, from 1536 to 1542.</p> - -<hr class="tb" /> - -<p>M<span class="smcapa">ALLARD</span> (J<span class="smcapa">EAN</span>), bookseller at Rouen.</p> - -<hr class="tb" /> - -<p>M<span class="smcapa">ARNEF, DE</span>: Enguilbert, Jean and Geoffroy, brothers, were printers -and booksellers at Paris and Poitiers, together or separately, from 1510 -to 1550. Their mark was a pelican, piercing his side in order to nourish -his young. Tory engraved for them at least two marks: one which appears -on a book printed by Enguilbert and Jean, in Poitiers, in 1536,<a name="FNanchor_481_481" id="FNanchor_481_481"></a><a href="#Footnote_481_481" class="fnanchor">[481]</a> entitled -'Les angoisses et remedes d'amour du Traverseur en son adolescence' -(by Jean Bouchet), with this device: 'Eximii amoris typus'; it -is reproduced by Dibdin,<a name="FNanchor_482_482" id="FNanchor_482_482"></a><a href="#Footnote_482_482" class="fnanchor">[482]</a> and by Silvestre (no. 152).<a name="FNanchor_483_483" id="FNanchor_483_483"></a><a href="#Footnote_483_483" class="fnanchor">[483]</a> The other may be -<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span> -seen in the Print Section of the Bibliothèque Nationale, among Tory's -work; the pelican and its young are in an oval border, around which is -this device: 'Principium ex fide, finis in charitate' (Silvestre, no. 1044). -[See also the reproduction at the beginning of this section, page <a href="#Page_265">265</a>.]</p> - -<hr class="tb" /> - -<p>M<span class="smcapa">ENIER</span> (M<span class="smcapa">AURICE</span>), printer at Paris, from 1545 to 1566.—One mark -(Silvestre, no. 789), representing a man closing a woman's mouth, with -this device, 'Coercenda volvptas.'</p> - -<hr class="tb" /> - -<p>M<span class="smcapa">ERLIN</span> (G<span class="smcapa">UILLAUME</span>), bookseller at Paris, from 1538 to 1570.—One -mark, representing a swan whose neck is twined about a cross, surrounded -by the device, 'In hoc signo vinces.' The Lorraine cross is barely -visible in the lowest ornament of the engraving. I have seen this mark -on the first page of a 'Missale ecclesie Parisiensis,' in folio, without date, -printed by Iolande Bonhomme, widow of the first Thielman Kerver, -as is shown by the presence of that printer's mark on the first page of -the text; it may be that there are copies in her name. This book is without -date, but should be placed between the years 1532 and 1552, which -embrace the incumbency of Jean du Bellay as Archbishop of Paris. Merlin's -mark is .095 of a millimetre high by .067 wide.<a name="FNanchor_484_484" id="FNanchor_484_484"></a><a href="#Footnote_484_484" class="fnanchor">[484]</a></p> - -<hr class="tb" /> - -<p>M<span class="smcapa">OREL</span> (G<span class="smcapa">UILLAUME</span>), printer-bookseller at Paris, from 1548 to 1564.—One -mark, reproduced by M. Silvestre (no. 164), who informs me -that his engraver accidentally omitted the Lorraine cross. 'This mark,' -he adds, 'was used later by Estienne Prevosteau, Morel's son-in-law, who -subsequently reëngraved it, or had it reëngraved, with his initials, E. P. -in place of Tory's mark.'<a name="FNanchor_485_485" id="FNanchor_485_485"></a><a href="#Footnote_485_485" class="fnanchor">[485]</a> It represents a capital theta (Θ), about which -are twined two winged serpents, and in the centre an angel, seated on -the cross-piece of the Θ, with a lighted torch in her hand.</p> - -<hr class="tb" /> - -<p>N<span class="smcapa">IVELLE</span> (S<span class="smcapa">EBASTIEN</span>), printer and bookseller, at Paris, from 1550 to -1601. One mark, representing two storks in the air, one being carried -and fed by the other; with this verse from Exodus (<span class="smcapa">XX</span>, 12), to explain -the drawing: 'Honora patrem tuum et matrem tuam, et sis longævus -super terram.' I have seen this mark on an octavo edition of St. John<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span> -Chrysostom ('Homeliæ duæ'), printed by Sebastien Nivelle in 1554. It -is reproduced by M. Silvestre (no. 201), but the Lorraine cross is barely -visible on this impression. I have seen also another mark of Nivelle's -representing the same subject, with analogous designs suggesting filial -love in the four corners; but it is not signed with the cross although it -is absolutely in Tory's manner.</p> - -<div class="figcenter"> -<img src="images/i_b_281.jpg" width="350" height="409" alt="" /> -</div> - -<hr class="tb" /> - -<p>N<span class="smcapa">YVERD</span> (G<span class="smcapa">UILLAUME</span>), printer and bookseller at Paris, from 1516.—One -mark, or, to speak more precisely, a small border in the style of -one of the marks of Simon de Colines. At the foot, in a scroll, are the -words, 'Nasci, laborare, mori.' This border appears in a small pamphlet, -undated, in pure gothic type, entitled, 'La Reformation des tavernes et -destruction de gourmandise, en forme de dialogue'; a small octavo of 4 -leaves, of which M. Cigogne possesses the only known copy (1856). At -the end are the words, 'Paris, by Guillaume Nyverd, printer.' So that -Lottin is mistaken in saying that he was a bookseller only. He gives only -one date for his career in the trade—1516—but our engraving is certainly -later than 1520. M. Silvestre extends Nyverd's business career to -1559, on what grounds I do not know; but he also calls him a bookseller -only. The text of the 'Reformation des tavernes,' etc., was reprinted on -page 223 of the second volume of the 'Recueil des poésies françoises -des XV et XVI siècles,' collected and annotated by M. Anatole de Montaiglon.<a name="FNanchor_486_486" id="FNanchor_486_486"></a><a href="#Footnote_486_486" class="fnanchor">[486]</a></p> - -<p><span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span></p> - -<hr class="tb" /> - -<p>N<span class="smcapa">YVERD</span> (G<span class="smcapa">UILLAUME DE</span>), probably the son of the preceding, printer-bookseller -at Paris, from 1550 to 1580.—One mark, representing the -arms of France borne by two winged genii. Above them a head with -wings; from its mouth come two garlands in the style of those on the -last plate of 'Champ fleury.' At the left, at the foot of the cut, the letters -G. N., and at the right the Lorraine cross. This engraving, which is 8 -centimetres wide by 11 high, was undoubtedly executed when Guillaume -de Nyverd was appointed king's printer, which title he held in -1561, according to Lottin. In all probability he held it earlier than that. -However that may be, I have seen this mark, already much worn, in an -impression of 1572: 'Prognostication touchant le mariage du tres honoré -et tres aimé Henry, par la grace de Dieu roy de Navarre, et de tres -illustre princesse Marguerite de France, calculée par maistre Bernard -Abbatia, docteur medecin et astrologue du tres chrestien roy de France' -[Charles IX]. There are in the Bibliothèque Nationale at least three editions -of the little pamphlet, made by the same printer at about the same -time, that is to say immediately after the marriage of the King of Navarre -with Marguerite de Valois. All three have this engraving on the -last page, but in every case it is accompanied by an addition of much -later date, namely, the device of Charles IX (two pillars joined by a scroll -containing the words, 'Pietate et Jvsticia'), above the arms of France. -The volume contains also numerous other engravings and letters bearing -Guillaume de Nyverd's initials. It is worth while to call attention to -the fact that de Nyverd does not assume the title of king's printer in this -book, although, as we have seen above, his appointment was of much -earlier date.</p> - -<hr class="tb" /> - -<p>P<span class="smcapa">ALLIER</span> (J<span class="smcapa">EAN</span>), called 'Marchand,' printer and bookseller at Metz, -from 1539 to 1548.—One mark (Silvestre, no. 156), representing a fleur-de-lis -held in the air by two naked children, with the letters I. P. in -the field.<a name="FNanchor_487_487" id="FNanchor_487_487"></a><a href="#Footnote_487_487" class="fnanchor">[487]</a> Jean Pallier, or, better, Palyer (in Latin, Palierus), did business -also in Paris, for I have seen several books of his dated from that -city in 1541 or 1542, with the mark described above. I will mention, -among others: (1) 'Epitomæ singularum distinctionum libri primi sententiarum, -cum versibus memorialibus Arnoldi Vesaliensis,' etc., 16mo, -Paris, 1541; and (2) 'Topica Marci Tullii Ciceronis,' etc., 'ex officina -Joannis Palierii, e regione Navarræ, sub signo Leonis Coronati,' 4to, -1542.</p> -<p><span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span></p> -<hr class="tb" /> - -<p>P<span class="smcapa">ARIS</span> (N<span class="smcapa">ICOLE</span>), printer at Troyes, from 1542 to 1547.—One mark -(Silvestre, no. 175), representing a child clinging to the branches of a -palm-tree (?), beneath the device, 'Et Colligam.'</p> - -<div class="figcenter"> -<img src="images/i_b_283.jpg" width="350" height="443" alt="" /> -</div> - -<hr class="tb" /> - -<p>P<span class="smcapa">ERIER</span> (C<span class="smcapa">HARLES</span>), bookseller at Paris, from 1550 to 1557.—One -mark, found on the title of the folio entitled, 'Les quatre livres d'Albert -Durer ... de la proportion des parties et pourtraicts des corps humains, -traduits par Louys Meigret,' etc., 'chez Charles Perier ... à l'enseigne -du Bellerophon, 1557.'<a name="FNanchor_488_488" id="FNanchor_488_488"></a><a href="#Footnote_488_488" class="fnanchor">[488]</a> This bookseller issued two editions of Dürer's -book in the same year, one in Latin and the other in French, both illustrated -with the same cuts. I am unable to say which appeared first. He -had already published, in 1555, for Louis Meigret, a translation of 'Les -XII livres de Robert Valturin, touchans la discipline militaire,' in folio, -with engravings, in which his mark appears, signed with the double -cross. The sign of Bellerophon was retained by Charles Perier's son -Thomas.</p> - -<hr class="tb" /> - -<p>P<span class="smcapa">ETIT</span> (O<span class="smcapa">UDIN</span>), bookseller at Paris from 1541.—One mark (Silvestre, -no. 103), representing a shield bearing a fleur-de-lis, and held by two -lions; in the field the letters O. P.</p> - -<hr class="tb" /> - -<p>P<span class="smcapa">ORTE</span> (M<span class="smcapa">AURICE DE LA</span>), bookseller at Paris from 1524 to 1548.—One -mark used by his widow in the volume entitled, 'M. A. Mureti -Juvenilia'; octavo, 1553.<a name="FNanchor_489_489" id="FNanchor_489_489"></a><a href="#Footnote_489_489" class="fnanchor">[489]</a> Maurice de la Porte's widow sold his plant<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span> -to Gabriel Buon, who used the marks of the deceased from 1558 to 1587. -They represent a man carrying a valise at the door (<em>à la porte</em>) of a house; -one of them has the device, 'Omnia mea mecum <em>porto</em>.' The man is Bias,<a name="FNanchor_490_490" id="FNanchor_490_490"></a><a href="#Footnote_490_490" class="fnanchor">[490]</a> -according to La Caille. About the same time there was a printer at Lyon -named Hugues de la Porte, whose mark represented Samson carrying -away the gates (<em>portes</em>) of Gaza in his arms, with the device, 'Libertatem -meam mecum <em>porto</em>.' (He also published a folio Latin Bible in 1542.)<a name="FNanchor_491_491" id="FNanchor_491_491"></a><a href="#Footnote_491_491" class="fnanchor">[491]</a></p> - -<hr class="tb" /> - -<p>P<span class="smcapa">REVOSTEAU</span> (E<span class="smcapa">STIENNE</span>). See M<span class="smcapa">OREL</span> (G<span class="smcapa">UILLAUME</span>).</p> - -<hr class="tb" /> - -<p>R<span class="smcapa">EGNAULT</span> (B<span class="smcapa">ARBE</span>), bookseller at Paris from 1556 to about 1560.—One -mark, representing an elephant carrying a tower on his back, with -the device, 'Sicut elephas sto'; height 7½ centimetres, width 5½ centimetres. -Barbe was undoubtedly the daughter of François Regnault, -who died in 1552, and who had a similar mark.<a name="FNanchor_492_492" id="FNanchor_492_492"></a><a href="#Footnote_492_492" class="fnanchor">[492]</a> François Regnault's -mark was retained by his widow, Madeleine Boursette, who added to it -her initials, M. B., and did business in her own name until 1555. Barbe -Regnault's mark first appears, so far as my knowledge goes, in a small -octavo, printed about 1556, entitled, 'Description de la prinse de Calais -et de Guynes, composée par forme de style de proces par M. G. de M.' -(Here the mark.) 'A Paris, chez Barbe Regnault, rue Sainct-Jacques, -à l'enseigne de l'Elephant.'<a name="FNanchor_493_493" id="FNanchor_493_493"></a><a href="#Footnote_493_493" class="fnanchor">[493]</a> La Caille informs us of other works published -about the same time by Barbe Regnault: 'Monstre d'abus contre -Michel Nostradamus,' 1558; J. Seve, 'Supplication aux rois,' ... -'de faire la paix entre eux,' 1559. In 1560 she published a book by Estienne -Brulefer, in octavo, entitled, 'Identitatum et distinctionum ... -traditarum compendiosa contractio'; then comes the mark, and below -it an imprint in which Barbe styles herself the widow of André Barthelin.<a name="FNanchor_494_494" id="FNanchor_494_494"></a><a href="#Footnote_494_494" class="fnanchor">[494]</a> -I am unable to say whether this is the same man whom La Caille -and Lottin call André Berthelin, and who published in 1544 a work -entitled, 'Francisci Georgii Venali ... de Harmonia mundi totius cantica -tria'; folio, Paris, 'apud Andream Berthelin, via ad divum Jacobum, in -domo Guilelmi Rolandi, sub insigne Aureæ Coronæ, et in vico Longobardorum -in domo ejusdem Rolandi.'<a name="FNanchor_495_495" id="FNanchor_495_495"></a><a href="#Footnote_495_495" class="fnanchor">[495]</a> If he is the same man, we must -assume that he was not yet married to Barbe Regnault, for we see that, -while he lived, as she did, on rue Saint-Jacques, he had a different sign. -Indeed, I am inclined to think that Barbe did not adopt the 'Elephant'<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span> -until after the death of Madeleine Boursette, François Regnault's widow, -about 1556. However that may be, La Caille says that Barbe Regnault's -mark passed into the hands of Thibault Bessault, then to his son Jean, -and finally to Antoine Houic. I have seen a book published by the last-named -in 1582, embellished with Barbe Regnault's 'Elephant.'</p> - -<hr class="tb" /> - -<p>R<span class="smcapa">OBINOT</span> (G<span class="smcapa">ILLES</span> I), bookseller at Paris, from 1554 to 1575.—One -mark (Silvestre, no. 686), representing Icarus hurled into the sea -for not following the advice of Dædalus, his father, not to approach too -near the sun lest that luminary should melt the wax with which the -wings of our presumptuous youth were fastened to his body. In a scroll -are these words, 'Ne quid nimis.' This mark was used as late as 1619 by -Gilles Robinot the second, son of the first Gilles<a name="FNanchor_496_496" id="FNanchor_496_496"></a><a href="#Footnote_496_496" class="fnanchor">[496]</a>; it is .05 of a millimetre -high by .047 wide. See S<span class="smcapa">ERTENAS</span>.</p> - -<div class="figcenter"> -<img src="images/i_b_285.jpg" width="320" height="331" alt="" /> -</div> - -<hr class="tb" /> - -<p>R<span class="smcapa">OFFET</span> (P<span class="smcapa">IERRE</span>), called 'Le Faulchoir,' bookseller at Paris, from -1525 to 1537.—One mark (Silvestre, no. 150) representing a mower -(<em>faucheur</em>) appears in a book printed in 1536.<a name="FNanchor_497_497" id="FNanchor_497_497"></a><a href="#Footnote_497_497" class="fnanchor">[497]</a></p> - -<hr class="tb" /> - -<p>R<span class="smcapa">OIGNY</span> (J<span class="smcapa">EAN DE</span>), bookseller at Paris, from 1529 to 1562.—I -know two marks of de Roigny, signed with the Lorraine cross. The -older is the one that appears in a superb edition of Pliny's 'Letters,' -printed by Josse Bade in 1533, in folio (Silvestre, no. 674).<a name="FNanchor_498_498" id="FNanchor_498_498"></a><a href="#Footnote_498_498" class="fnanchor">[498]</a> It represents -a man and a woman, each holding a scroll containing a Latin motto; -the man's reads thus: 'Nec me labor iste gravabit'; and the woman's,<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span> -'Spes premii solatium est laboris.' In the sky is Fortune with her wheel -and the horn of plenty, and this device in a scroll beneath: 'Quod differtur -non aufertur.' The second mark, which was adopted by Jean de -Roigny after the death of his father-in-law, Josse Bade, in 1535, is the -'Prelum ascensianum,' but reëngraved (Silvestre, no. 787); for Bade's -typographical plant passed into the hands of another son-in-law of his, -Michel de Vascosan, who continued to use his father-in-law's old woodcuts, -especially his mark, badly worn as it was. As for Robert Estienne, -Bade's third son-in-law, his father-in-law's death caused no change in -his typographical arrangements; he still retained the 'Olive-tree' which -he has made so celebrated.</p> - -<div class="figcenter"> -<img src="images/i_b_286.jpg" width="380" height="500" alt="" /> -</div> - -<hr class="tb" /> - -<p>S<span class="smcapa">ERTENAS</span> (V<span class="smcapa">INCENT</span>), bookseller at Paris, from 1534 to 1561.—One -mark, which was used on two opuscula, in octavo, of 1561; they -are usually bound in the same volume, and are entitled: (1) 'Régime<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span> -de vivre et conservation des corps humains,' etc.; (2) 'Recueil de plusieurs -secrets très-utiles pour la santé,' etc. This mark represents the -initials V. S. interlaced, in a medallion above which is the sun, with a -genie on each side; and below, the device, 'Vincenti non victo.' We -also find Robinot's mark, described above, in certain books published -by Sertenas. I will mention among others the 'Recueil des rimes et -proses, by E. P.; octavo, 1555.<a name="FNanchor_499_499" id="FNanchor_499_499"></a><a href="#Footnote_499_499" class="fnanchor">[499]</a> Presumably, it was because Robinot -was the printer that he placed his mark on the books.</p> - -<hr class="tb" /> - -<p>V<span class="smcapa">IVIAN</span> (T<span class="smcapa">HIELMAN</span>), bookseller at Paris in 1539.—One mark (Silvestre, -no. 725), which appears in the second part of the 'Grand Marial -de la mère de vie,'<a name="FNanchor_500_500" id="FNanchor_500_500"></a><a href="#Footnote_500_500" class="fnanchor">[500]</a> translated by Adam de Saint-Victor. This second part -is entitled, 'A la très-pure et immaculée Conception de la Vierge'; -quarto, 1539. Vivian lived in Clos Bruneau; his mark bore this device, -'Post tenebras spero lucem' in a scroll, above a fountain guarded by two -unicorns; below are the letters T. V., and still lower, 'Thielman Vivian.'</p> - -<div class="figcenter"> -<img src="images/i_b_287.jpg" width="320" height="454" alt="" /> -</div> - -<hr class="tb" /> - -<p><span class="pagenum"><a name="Page_288" id="Page_288"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_288.jpg" width="350" height="512" alt="" /> -</div> - -<p><span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span></p> - -<hr class="chap" /> - - - -<div class="figcenter"> -<img src="images/i_b_289.jpg" width="800" height="80" alt="" /> -</div> - - - - -<h2 class="nobreak"><a name="APPENDICES" id="APPENDICES"></a>APPENDICES.<br /> - -<a name="I" id="I"></a>I</h2> - -<p class="p6">NOTE CONCERNING GEOFROY TORY'S FAMILY.</p> - - -<p class="center"><strong>1.</strong> <em>Of his Forbears and Collateral Relations.</em></p> - -<p><span class="figleft150"><img src="images/i_c_289.jpg" width="150" height="149" alt="G" /></span>ENEALOGICAL investigation, supplemented -with information furnished -by two learned Berrichons, enabled me -to enumerate, in my first work on Tory, -a considerable number of members of -his family, all, or almost all, of whom -lived in Faubourg Saint-Privé [Bourges]. -The recent researches of my friend M. -Hippolyte Boyer, Deputy Archivist of -the Department of the Cher, make it possible -for me to make known his grandfather, -his father, and all his brothers and sisters.</p> - -<p>'By deed of December 29, 1486, Robert Thory, husbandman, living -in the parish of Saint-Germain-du-Puy, conveys to Jean Thory, his brother, -for 20 livres tournois, his share in the heritage of the late Jean and -Jeanne, their father and mother.'</p> - -<p>'By contracts of September 5 and 8, 1507, Jean Thory, of Saint-Privé,<a name="FNanchor_501_501" id="FNanchor_501_501"></a><a href="#Footnote_501_501" class="fnanchor">[501]</a> -and Philippe <em>Thoreye</em>, his wife, give their two daughters, Jehanne -Thorye and Perron Thorye, in marriage to Thevenin and François Leconte, -sons of Jean Leconte.' Among the provisions of Perron's contract -is one to the effect that Jean Thory and his wife settle a dowry of 40 livres -tournois on their daughter: 'and this in satisfaction of all claim upon -father and mother, be it in respect of furniture or of inheritance, which -said claim the said future bride, with the authority of her said future husband,<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span> -hath renounced and doth by these presents renounce, in favour of -her father and mother, of <em>maistre Geoffroye</em>, André, Antoine and Michell -Thoris, children of said Jean and Philippe, save for the power to,' etc.<a name="FNanchor_502_502" id="FNanchor_502_502"></a><a href="#Footnote_502_502" class="fnanchor">[502]</a></p> - -<p>Thus it appears that Geofroy was the oldest of the brothers and sisters, -as he is named first in the document. Now, as two of his sisters were -of marriageable age in 1507, and as he is called <i>maistre</i>, it is probable -that he himself was more than twenty-five. That is why I have placed -his birth about 1480.</p> - - -<p class="center"><strong>2.</strong> <em>Of his Descendants.</em></p> - -<p>Jean Toubeau, printer and bookseller at Bourges, who died at Paris in -1685, while on a mission for his native place,<a name="FNanchor_503_503" id="FNanchor_503_503"></a><a href="#Footnote_503_503" class="fnanchor">[503]</a> wrote the following in the -preface to his 'Institutes consulaires,' printed by himself in 1682, three -years before his death: 'I have not been impelled to undertake and write -this work by the examples of the illustrious members of my profession. -Nor is it the example of those of my own family who have given their -works to the public: Geofroy Tory, professor in the University of Paris, -and a printer and bookseller in the same city, who was so prolific that, -proposing to put forth a book which should teach the scope and proportions -of those beautiful roman letters which we use to-day in printing, he -could not forbear to produce a book overflowing with learning, which -was followed by numerous others of instruction, which are so well -known that it is needless to give a list of them here, especially as M. de la -Thaumassière gives them a whole chapter in our history.'</p> - -<p>It is evident from this passage that Toubeau was related to Tory, but it -is not clear how the relationship came about; and La Thaumassière does -not mention Tory in his 'Histoire du Berry,' printed a few years later by -François Toubeau, Jean's son, despite the promises which he seems to -have made to Jean, who had transferred to him the duty of making known -to posterity that illustrious son of his province.</p> - -<p>The only author able to assist us at all in our investigations is Moréri, -who, in the article on Jean Toubeau in his great historical dictionary, says -that he was the great-great-grandson of Tory, on his mother's side. This -statement should be exact, and the article appears to be written from -information furnished by the Toubeau family; but all that we can determine -from it is that Toubeau was a descendant of Tory in the fourth -degree. Whether he descended from a son or daughter of Geofroy, I<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span> -have been unable to discover. To elucidate this fact, I wrote to M. Auguste -Toubeau, judge of the civil court at Bourges, and this was his reply, dated -March 5, 1856: 'I should have been glad to give you the information you -desire about Tory. But I have no documents or family papers which establish -his relationship to Jean and Hilaire Toubeau. I do not know what -connection there was between them and Tory, and I learned that there -was such a connection only from what Moréri says of it.'</p> - -<p>Failing family papers, I made fruitless efforts to fix the relationship -between the Toubeaus and Tory. Finding it impossible to reach any certain -result, I have abandoned this search, which has no bearing upon the -history of our illustrious typographer. The Toubeaus alone are interested -in the solution of the question; I leave to them the task of proving -their kinship.</p> - -<p>P<span class="smcapa">OSTSCRIPT.</span>—It may be surmised that Bonaventure <em>Torinus</em>, bookseller -of Bourges, who caused to be printed at that city, in 1595, by the -widow of Nicolas Levez, the 'Epitome juris civilis,' by an unknown author, -and 'Julii Pauli receptarum sententiarum libri V,'<a name="FNanchor_504_504" id="FNanchor_504_504"></a><a href="#Footnote_504_504" class="fnanchor">[504]</a> was Tory's son, -for he wrote his name in Latin in the same way that Tory wrote it; but -was it from a daughter of Tory or from a daughter of this Bonaventure -that Toubeau descended? It is impossible for me to say. The lateness of -the period at which Bonaventure makes his appearance leads me to believe -that he did not see the light until Tory had reached an advanced age. -Indeed, if we compare the dates, we shall find that this son of Tory cannot -have come into the world before 1530, for, starting from that year, he -would have been sixty-five years old in 1595, when his 'Epitome juris' -was printed, and there is no reason to believe that he died very soon thereafter. -For my own part, I believe that he was not born until after the publication -of 'Champ fleury,' and that his Christian name was an allusion to -his late birth.<a name="FNanchor_505_505" id="FNanchor_505_505"></a><a href="#Footnote_505_505" class="fnanchor">[505]</a> In that case, we can understand why he did not succeed to -<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span> -the paternal establishment: he was only two or three years old at Geofroy's -death—too young to think of taking his place; so that that duty fell -to Geofroy's pupils, whoever they may have been. As for Bonaventure, -the family traditions naturally led him back to Bourges, and the trade -that he adopted brought him still nearer to his father.</p> - - -<h3><a name="II" id="II"></a><a name="AppNote_292" id="AppNote_292"></a><a name="AppNote_II" id="AppNote_II"></a>II</h3> - -<p>V<span class="smcapa">ERSES IN HONOUR OF</span> G<span class="smcapa">EOFROY</span> T<span class="smcapa">ORY</span>, <span class="smcapa">PRINTED AT THE HEAD</span> -<span class="smcapa">OF</span> P<span class="smcapa">ALSGRAVE'S</span> G<span class="smcapa">RAMMAR</span>.<a name="FNanchor_506_506" id="FNanchor_506_506"></a><a href="#Footnote_506_506" class="fnanchor">[506]</a></p> - -<p>'Ejusdem [Leonardi] Coxi ad eruditum virum Gefridum T<span class="smcapa">ROY</span><a name="FNanchor_507_507" id="FNanchor_507_507"></a><a href="#Footnote_507_507" class="fnanchor">[507]</a> de -Burges<a name="FNanchor_508_508" id="FNanchor_508_508"></a><a href="#Footnote_508_508" class="fnanchor">[508]</a> Gallum, Campi floridi authorem, quem ille sua lingua Champ -fleury vocat, nomine omnium Anglorum, phaleutium.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">'Campo quod toties, Gefride docte,</div> - <div class="i0">'In florente tuo cupisti habemus.</div> - <div class="i0">'Nam sub legibus hic bene approbatis</div> - <div class="i0">'Sermo gallicus ecce perdocetur.</div> - <div class="i0">'Non rem grammaticam Palæmon ante</div> - <div class="i0">'Tractarat melius suis latinis,</div> - <div class="i0">'Quotquot floruerant ve posterorum,</div> - <div class="i0">'Nec Græcis melius putato Gazam</div> - <div class="i0">'Instruxisse suos libris politis,</div> - <div class="i0">'Seu quotquot prætio prius fuere,</div> - <div class="i0">'Quam nunc gallica iste noster tradit.</div> - <div class="i0">'Est doctus, facilis, brevisque quantum</div> - <div class="i0">'Res permittit, et inde nos ovamus,</div> - <div class="i0">'Campo quod toties, Gefride docte,</div> - <div class="i0">'In florente tuo cupisti, habentes.'</div> - </div> -</div> -</div> - - -<p class="center"><em>Remarks on the foregoing lines.</em></p> - -<p>The numerous errors of all sorts which disfigure Palsgrave's book (a -very interesting book, none the less)—errors of which the foregoing<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span> -lines afford several specimens—should have humbled to some extent -the national vanity of the author, who cries out incessantly, throughout -his bulky volume, against the ignorance of French printers. He should, -in any event, have remembered that English typography was the very -humble daughter of French typography, which latter not only trained -the first English artist (Caxton), but also gave him his two most illustrious -successors,—Wynkyn de Worde and Pinson,—the last named of -whom did in fact print a part of Palsgrave's book.</p> - -<p>A modern Englishman, David Baker, has gone even farther than Palsgrave; -he says, speaking of Palsgrave's work: 'the French nation, so proud -to-day of the universality of its language, seems to owe it to England.' -To which M. Génin retorts: 'Baker reasons backward. The French language -did not come into universal use because it pleased Palsgrave to -write a grammar; on the contrary, Palsgrave composed his grammar because -the French language was already universal. This universality was -a fact, admitted before Palsgrave's birth,<a name="FNanchor_509_509" id="FNanchor_509_509"></a><a href="#Footnote_509_509" class="fnanchor">[509]</a> and others before him had tried -to draw up rules to facilitate the study of French by foreigners. Palsgrave -names three to whom he acknowledges that his work is greatly indebted.</p> - -<p>'Leonard Coxe exults more modestly and with more propriety than -David Baker, for he seems to attribute to Geofroy Tory the honour of -having called forth Palsgrave's grammar. To be sure, a comparison of -dates seems to leave little likelihood to that conjecture, for the Frenchman's -work and the Englishman's are only about a year apart; but I -must notice here one curious fact which has not been noticed by the -bibliographers. On the title-page of the English book we find the date -1530, and on the last leaf, "Printing completed July 18, 1530." But the -king's licence to print, at the beginning of the volume, is dated, "At our -Castle of Ampthill, the second of September, in the year of our reign the -<span class="smcapa">XXII</span>." Now, as Henry VIII succeeded to the throne in 1509, after Easter, -the twenty-second year of his reign was the year 1531,<a name="FNanchor_510_510" id="FNanchor_510_510"></a><a href="#Footnote_510_510" class="fnanchor">[510]</a> and "Champ -fleury" appeared early in 1529. So that this gives us an interval of three -years.<a name="FNanchor_511_511" id="FNanchor_511_511"></a><a href="#Footnote_511_511" class="fnanchor">[511]</a> In this view Leonard Coxe's words have genuine force, and the<span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span> -point of concurrence which Palsgrave congratulates himself upon finding -in "Champ fleury" and "Lesclaircissement" may not be so fortuitous -as he chooses to state.'</p> - -<p>However, as M. Génin goes on to say, 'this honour, claimed by the -English, of having been the first to write upon the French language, is, -all things considered, simply an act of homage to France; for if our -neighbours had awaited from a foreign nation the first book on the -English language, perhaps they would be awaiting it still.'</p> - - -<h3><a name="III" id="III"></a><a name="AppNote_III" id="AppNote_III"></a>III</h3> - -<p>T<span class="smcapa">ORY ADMITTED AS THE TWENTY-FIFTH</span> B<span class="smcapa">OOKSELLER TO THE</span> U<span class="smcapa">NIVERSITY</span>.</p> - -<p>In the 'Acta Facultatis medicinæ Parisiensis,'<a name="FNanchor_512_512" id="FNanchor_512_512"></a><a href="#Footnote_512_512" class="fnanchor">[512]</a> at the end, we read as -follows:—</p> - -<p>'Die Martis 18 febr. 1532 [1533, n. s.]....</p> - -<p>'Die sabbati sequenti, vocata est Universitas in ecclesia Mathurinorum, -super tribus articulis: clausione rotuli, resignatione cure Sanctorum -Cosme et Damiani, et receptione vigesimi quinti librarii Universitatis. -Clausus est rotulus solito more; admissa est resignatio permutationis -causa et sine prejudicio turni, et admissus est vigesimus -quintus librarius Gauffridus Torier [<em>sic</em>], dono regio. Ubi supplicavit -magister Jacobus Japhet pro pastillaria.'</p> - -<p class="center">(<em>Translation.</em>)</p> - -<blockquote> - -<p>'On the following Saturday [February 22, 1533], the University -was called together at the Church of the Mathurins. There were three -articles in the order of the day: Closing of the register [of benefices]; -resignation of the curé of Saint-Come and Saint-Damien; reception of -a twenty-fifth bookseller to the University. The register was closed according -to the usual form. The resignation was accepted, by way of -exchange, without prejudice to the next in turn. Geofroy Tory was -admitted as twenty-fifth bookseller, by presentation of the king. At -this same session Maître Jacques Japhet prayed for leave to present his -"pastillary" thesis.'</p></blockquote> - -<hr class="tb" /> - -<p>The only item that interests us in this extract from the proceedings -of the Faculty of Medicine is the passage relating to Tory. We see that<span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span> -in 1533 he was made the twenty-fifth bookseller to the University, by -command of King François I. Up to that time there had been only -twenty-four (see M. Didot's 'Essai,' col. 744), and they undoubtedly -went back to that consecrated number after the death of Tory, in whose -behalf an exception had been made.</p> - - -<h3><a name="IV" id="IV"></a><a name="AppNote_IV" id="AppNote_IV"></a>IV</h3> - -<p>N<span class="smcapa">OTE CONCERNING</span> T<span class="smcapa">ORY'S VARIOUS</span> D<span class="smcapa">OMICILES IN</span> P<span class="smcapa">ARIS</span>.</p> - -<p>The dedicatory epistle of Tory's edition of Pomponius Mela is dated -Paris, December, 1507; but it mentions no place of abode.</p> - -<p>The edition of the 'Cosmography' of Pope Pius II is dated at the -Collège du Plessis, October 2, 1509. Tory was at the Collège du Plessis -as late as May 10, 1510.<a name="FNanchor_513_513" id="FNanchor_513_513"></a><a href="#Footnote_513_513" class="fnanchor">[513]</a></p> - -<p>On August 18, 1512, we find him installed at the Collège Coqueret; -and a little later at the Collège de Bourgogne.<a name="FNanchor_514_514" id="FNanchor_514_514"></a><a href="#Footnote_514_514" class="fnanchor">[514]</a></p> - -<p>About 1518, having joined the fraternity of booksellers, he went to -live on rue Saint-Jacques, opposite the Écu de Bâle, which was then used -as a sign by the famous printer Chrétien Wechel. The latter's establishment -was on the right going up rue Saint-Jacques, near the church of -Saint-Benoît.</p> - -<p>About 1526 Tory established himself on the Petit-Pont, near Hôtel-Dieu, -but did not give up his shop on rue Saint-Jacques, at the sign of -the Pot Cassé.</p> - -<p>Early in 1531, he changed his abode to rue de la Juiverie, the Halle -aux Blés de Beauce, where he set up his printing-press and his bookstall. -He retained his shop on rue Saint-Jacques for some time.<a name="FNanchor_515_515" id="FNanchor_515_515"></a><a href="#Footnote_515_515" class="fnanchor">[515]</a> It was -in his house on rue de la Juiverie that he died, in 1533.</p> - - -<h3><a name="V" id="V"></a><a name="AppNote_V" id="AppNote_V"></a>V</h3> - -<p>O<span class="smcapa">F THE FIRST USE BY PRINTERS, AND IN THE</span> F<span class="smcapa">RENCH LANGUAGE</span>, -<span class="smcapa">OF THE APOSTROPHE, THE ACCENT, AND THE CEDILLA</span>.</p> - -<p>M. Francis Wey, in a report made by him to the Philological section -of the Committee on the Language, History, and Arts of France, on -June 9, 1856, and published in the 9th fascicle of volume three of that<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span> -Committee's 'Bulletin' (page 437), seems to attribute to Jean Salomon, -otherwise called Montflory, or Florimond, the first philological dissertation -in which there is any mention of the accent, the apostrophe and -the cedilla,—signs peculiar to the French language, which, as every -one knows, was for many years content with the alphabet of the Latin -tongue, from which it descended; more than that, he attributes to that -author the first use of these signs in a printed book. In both respects -the honour is due to Geofroy Tory. In truth, in his 'Champ fleury,'—which -was not published until 1529, it is true, although begun in 1523, -the license to print being dated September 5, 1526,—Tory proposed to -introduce the accent, the apostrophe, and the cedilla into the French -language; he did more than that; for, having become a printer, he was -the first to introduce those signs into typography. They appeared for -the first time in the last of the four editions of the 'Adolescence Clementine' -(by Clement Marot), all four of which he published. This fourth -edition appeared June 7, 1533, accompanied by an 'avis' in these words: -'With certain accents noted, to wit, on the <em>é</em> masculine, different from -the feminine,<a name="FNanchor_516_516" id="FNanchor_516_516"></a><a href="#Footnote_516_516" class="fnanchor">[516]</a> on letters joined by synalephe, and under the <i>c</i> when it is -pronounced like <em>s</em>, the which for lack of counsel has never been done in -the French language, albeit it was and is most essential.' This was the -first work in which Tory applied his orthographic system, as may be -seen by the inexperience of the compositors in his employ, who made -several errors of omission and transposition in this very notice.</p> - -<p>This so necessary reform spread very rapidly, thanks to the fact that -the necessity had already made itself felt, as is proved by the work of Jean -Salomon, published in that same year 1533. But it is Tory's especial glory -that only those changes which were proposed by him were retained, save -a few orthographic signs which have no other purpose than to distinguish -words spelled alike but of different meanings—and these signs -were introduced later: a, à; ou, où; du, dû, etc.</p> - -<p>With however good a will one might seek to deny Tory's precedence -in the use of orthographic signs in the French tongue, and to award it to -Jean Salomon, who used them in the same year, there are two facts that -decide the question in favour of the former: these are, the publication -in April, 1529, of his 'Champ fleury' (the first book of which is entitled, -'An exhortation to fix and ordain the French language by certain rules<span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span> -for speaking with elegance in good sound French words'), and the formulation -of the 'General rules of orthography of the French language,' -no copy of which is known to exist, it is true, but for which Tory obtained -a license to print on September 28, 1529, four years before Salomon's -work appeared.</p> - -<p>Nor must we lose sight of the fact that Tory was from Bourges, that is -to say, from the same province as Jacques Thiboust, Seigneur de Quantilly, -'friend of books, and distinguished penman,' who was Jean Salomon's -Mæcenas. There is nothing improbable in the supposition that -Thiboust had had his interest aroused by Tory, who is likely to have been -a crony of Thiboust in Paris by a two-fold claim,—as a Berrichon and as -a 'friend of books.' It seems to me that the alias 'Montflory' assumed by -Salomon is an allusion to 'Champ fleury.' That, in my opinion, is why he -wrote it 'Montflory' or 'Florimond,' indifferently, the word being an -anagram rather than a real surname.</p> - -<p>As the opportunity offers itself, I will add to M. Francis Wey's notes a -few remarks which may some day assist in writing the biography of Jean -Salomon, of whom nothing is known except the fact, told us by himself, -that he was an Angevin.</p> - -<p>We know now of three different editions of his work. The first, dated -1533, with no indication of the month, was printed in that year in three -pages and a half, octavo, under this title: 'Briefve doctrine pour deuement -escripre selon la propriete du langaige francoys.' We do not know where -or by whom it was published, but it certainly was printed at Paris, where -Salomon undoubtedly lived, and probably by Antoine Augereau, as was -the one next described, which seems to have been modelled upon it. Indeed, -like it, it is generally found between the same covers with an edition -of the 'Miroir de l'âme pécheresse' (of Marguerite of Navarre),—an edition -without date, name of place or of printer, which, therefore, should -also be attributed to Antoine Augereau and to the year 1533. This edition, -which M. Brunet does not mention,<a name="FNanchor_517_517" id="FNanchor_517_517"></a><a href="#Footnote_517_517" class="fnanchor">[517]</a> has on the first page: 'Le -Miroir de lame pecheresse, auquel elle recongnoit ses fautes et pechez, -aussi les graces et benefices a elle faictz par Jesuchrist son espoux.' It consists -of nine half sheets in octavo, printed as four (signatures <em>a</em> to <em>i</em>). On -the last leaf is a note to the reader wherein forgiveness is asked for the<span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span> -first corrector (he who is called to-day 'the corrector of first proofs'), who -has inadvertently omitted three verses. 'Divers other trivial errors may -peradventure be found before or after, but they must needs be charged -rather to the variety of the copies than to the negligence of the correctors -or to the haste of the printers.'—As I have said, it is at the end of this -pamphlet that we find printed, with separate signatures of its own, from -<em>a</em> to <em>d</em>, the little book described by M. Wey after the copy in the Bibliothèque -Nationale which contains the 'Briefve doctrine.' But one essential -point, which M. Wey has forgotten to mention, is that in the first -edition not a word is said of the accent or the cedilla; there is no mention -of anything except the apostrophe.</p> - -<p>The second edition, printed at Paris by Antoine Augereau, in December, -1533, at the back of another edition of the 'Miroir de l'âme pécheresse' -(called 'Miroir de tres chrestienne princesse Marguerite, reine de -Navare'), is two-thirds larger. It was probably published (like the preceding -one) by the Queen of Navarre's secretary, Jean Thiboust, after a -manuscript which the author had dedicated to him as his Mæcenas. Indeed, -we find at the head of this reprint the words 'ex manuscriptis authoris,' -which seems to indicate further that the author was dead. A point -worth noting is that the 'Briefve doctrine' again forms a part of an appendix -distinguished by separate signature letters (and folios) from Marguerite's -poem, and bearing the same title as in the earlier print, despite the -additions that had been made to it (presumably based upon Tory's publications), -especially with respect to the cedilla and the accent, which, -moreover, are used throughout the volume.</p> - -<p>The third is the one which is still in manuscript at Bourges. It contains -several passages more than the preceding; but these passages, -which are of very debateable merit (as M. Wey, who reproduces them in -his report, declares), were probably added by one Jean Milon, of Arlenc -in Auvergne, calling himself a retainer ('serviteur') of Thiboust, who revised -the 'Briefve doctrine' about 1542; so much at least we may infer -from the date of some other pieces in the collection containing it, which -was presented, in 1555, by Jacques Thiboust to the Collège de Bourges, -whence it found its way to the public library of the same city. It is exceedingly -interesting to find this document in Geofroy Tory's native place. -It is as if chance had chosen thereby to remind us of the source of the -orthographic reform proposed by Jean Salomon.</p> - -<p>To be entirely fair, we ought to say that certain other writers had even -anticipated Salomon. Thus Jacobus Silvius, otherwise called Jacques<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span> -Dubois, had published through Robert Estienne, on the 7th of the Ides -of January, 1531 (January 7, 1532, n. s.), a French grammar in Latin, -wherein he suggested a complete system of orthographic reform, including -the acute accent, the apostrophe, the cedilla, etc.; but his plan -was so complicated that it could not be followed in its entirety. Moreover, -the signs proposed by him were, for the most part, impossible of adoption -throughout a book. For instance, the cedilla consisted of an <i>s</i> placed about -the <em>c</em>. The merit of Tory's system, over and above its priority, was its -simplicity. So we may say that it was generally adopted after 1533.</p> - - -<h3><a name="VI" id="VI"></a><a name="AppNote_VI" id="AppNote_VI"></a>VI</h3> - -<p>T<span class="smcapa">RANSLATION OF THE</span> L<span class="smcapa">ETTERS</span> P<span class="smcapa">ATENT OF</span> F<span class="smcapa">RANÇOIS</span> I, <span class="smcapa">APPOINTING</span> -C<span class="smcapa">ONRAD</span> N<span class="smcapa">ÉOBAR</span> K<span class="smcapa">ING'S</span> P<span class="smcapa">RINTER FOR</span> G<span class="smcapa">REEK</span>.<a name="FNanchor_518_518" id="FNanchor_518_518"></a><a href="#Footnote_518_518" class="fnanchor">[518]</a></p> - -<p class="center">January 17, 1539 [new style].</p> - -<p>François, by the grace of God King of the French, to the French nation, -greeting.<a name="FNanchor_519_519" id="FNanchor_519_519"></a><a href="#Footnote_519_519" class="fnanchor">[519]</a></p> - -<p>We desire that it be known to one and all that our dearest wish is, -and has ever been, to accord to letters our support and especial favour, -and to do our utmost endeavours to supply the young with useful studies. -We are persuaded that such useful studies will produce in our realm -theologians who will teach the blessed doctrines of religion; magistrates -who will execute the laws, not with passion, but in a spirit of public -equity; and skilful administrators, the glory of the State, who will not -hesitate to sacrifice their private interests to love of the public weal.</p> - -<p>Such are in effect the advantages which we are justified in anticipating -from worthy studies almost alone. And that is why we did, not -long since, make liberal allotments of stipends to distinguished scholars -that they might teach the young the languages and sciences, and train -them in the no less valuable practice of good morals. But we have considered -that there was still lacking, in order to hasten the onward march -of literature, something no less essential than public instruction, namely, -that a capable person should be specially entrusted with the matter of -printing in Greek, under our auspices and with due encouragement<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span> -from us, in order to the correct printing of Greek authors for the use of -the young people of our realm.</p> - -<p>In truth men distinguished in letters have represented to us that the -arts, history, morality, philosophy, and almost all other branches of -knowledge, flow from the Greek authors as streams flow from their -sources. We know likewise that, Greek being more difficult to print -than French and Latin, it is indispensable for the successful administration -of a printing establishment of this sort, that the director thereof -should be well versed in the Greek tongue, extremely painstaking, and -blessed with abundant means; that it may be that there is not a single -person among the printers of our realm who combines all these qualifications -(that is to say, knowledge of the Greek language, painstaking -energy and large wealth), but that in one the fortune is lacking, in another -the necessary knowledge, and in others still different conditions. -For those men who possess at once wealth and learning prefer to pursue -any other occupation rather than turn their hands to typography, which -demands a most toilsome life.</p> - -<p>Accordingly we instructed several scholars whom we admit to our -table or to our intimacy, to point out to us a man overflowing with zeal -for the art of typography, and of proved learning and diligence, who, -supported by our generosity, should be employed to print Greek books.</p> - -<p>And we have a two-fold motive in thus serving the cause of study. -Firstly, as we hold this realm from the All-powerful God, which realm -is abundantly supplied with wealth and with all the conveniences of life, -we choose that it shall yield to no other in respect to the profundity of -its studies, the favour accorded to men of letters, and the variety and -extent of the instruction provided; secondly, in order that the studious -youth, knowing our good-will toward them, and the honour which it -is our delight to bestow upon learning, may give themselves with the -greater ardour to the study of letters and of the sciences, and that men of -worth, incited by our example, may redouble their zeal and efforts to -train our youth to goodly and useful studies.</p> - -<p>And even as we sought the person to whom we could with all confidence -entrust this function, Conrad Néobar presented himself most -opportunely, being most desirous to obtain some public employment -which should place him under our protection, and confer upon him personal -benefits proportioned to the importance of his service; and, acting -upon the testimony that has been laid before us of his learning and his -skill, by men of letters well known to us, it has pleased us to entrust to him<span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span> -the matter of Greek typography, to the end that he may print correctly -in our kingdom, supported by our munificence, those Greek manuscripts -which are the source of all learning.</p> - -<p>But, desiring to provide at the same time for the public service, and -in order to forestall any possible fraud to the prejudice of Néobar our -printer, we establish him in his said office upon the following rules and -conditions:—</p> - -<p>Firstly, we understand that all works not yet printed shall not be put -to press, still less published, before they have been submitted to the judgement -of our professors of the Académie of Paris who are charged with -the instruction of the young; so that the examination of works in profane -literature shall be entrusted to the professors of belles-lettres, and of those -on religious subjects to the professors of theology. By this means the -purity of our most sacred religion will be preserved from superstition -and heresy, and integrity of morals be removed beyond the reach of the -debasement and contagion of vice.</p> - -<p>Secondly, Conrad Néobar will deposit in our library a copy of all editions -of Greek texts which he shall first put forth, to the end that, in the -event of some occurrence calamitous to letters, posterity will have this -source to draw upon to repair the loss of books.</p> - -<p>Thirdly, all such books as Néobar may print shall contain an express -statement that he is our <em>printer for the Greek</em>, and that he is specially entrusted -with Greek printing under our auspices; to the end that not the -present age alone, but all posterity, may learn of the zeal and good-will -for letters whereby we are moved, and that, inspired by our example, it -may, like ourselves, prove itself disposed to strengthen the cause of study -and contribute to its progress.</p> - -<p>Furthermore, inasmuch as this office is of more benefit to the State -than any other, and as it demands from the man who desires to perform -its duties zealously such assiduous care and attention that he can not have -a single moment to devote to labours which might lead him to honours -or to wealth, we have chosen to provide in three ways for the interest -and support of our printer Néobar.</p> - -<p>Firstly, we award him an annual stipend of one hundred gold crowns, -called 'écus au soleil,' by way of encouragement and to indemnify him -in part for his expenses. It is our will, further, that he be exempt from all -imposts and that he enjoy the other privileges which we and our predecessors -have accorded the clergy and the Académie of Paris, so that he -may enjoy the greater advantage from the disposal of his books and that<span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span> -he may the more easily acquire all that is essential for a printing establishment. -Finally, we forbid everybody, printers and booksellers alike, to -print or to sell, in our realm, for the term of five years, such books in foreign -tongues, whether Latin or Greek, as Conrad Néobar shall have published -first, and for the term of two years such books as he shall have reprinted -more correctly, from ancient manuscripts, whether by his own -labours or by availing himself of the work of other scholars.</p> - -<p>Whoever violates the terms hereof shall be punishable with a fine for -the use of the treasury, and shall reimburse our printer all the cost of his -editions. Furthermore, we command the provost of our city of Paris, or -his lieutenant, as well as all other magistrates now in office, or who hold -public employments from us, to see to it that Conrad Néobar, our printer, -enjoys to the full all the privileges and immunities hereby conferred -upon him, and to inflict severe punishment upon whoever shall cause -him annoyance or hindrance in the performance of his duties: for it is our -will that he be protected from the evil-disposed and from the malice of -the envious, to the end that the tranquillity and security of an unharrassed -life may enable him to devote himself with the greater zeal to his important -duties.</p> - -<p>And that full and entire credence may be forever given to what is -hereinbefore commanded, we have confirmed it with our signature and -have caused our seal to be affixed. Adieu.</p> - -<p>Given at Paris, the seventeenth day of January, in the year of grace -1538, and of our reign the twenty-fifth.</p> - - -<h3><a name="VII" id="VII"></a><a name="AppNote_VII" id="AppNote_VII"></a>VII</h3> - -<p>E<span class="smcapa">XTRACT FROM THE</span> L<span class="smcapa">ETTERS</span> P<span class="smcapa">ATENT OF</span> F<span class="smcapa">RANÇOIS</span> I, <span class="smcapa">APPOINTING</span> -D<span class="smcapa">ENIS</span> J<span class="smcapa">ANOT</span> K<span class="smcapa">ING'S</span> P<span class="smcapa">RINTER</span>.<a name="FNanchor_520_520" id="FNanchor_520_520"></a><a href="#Footnote_520_520" class="fnanchor">[520]</a></p> - -<p>François, by the grace of God King of France, to all those who shall -see these letters, greeting. Be it known that we, having been well and duly -advised of the great skill and experience which our dear and well-beloved -Denis Janot has acquired in the art of printing and in the matters which -depend thereon, whereof he has ordinarily made great profession, and -even in the French language; and considering that we have already engaged -and constituted two printers of our own, one for the Latin, the<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span> -other for the Greek language; desiring to do no less honour to our own -than to the said two other languages, and to commit the printing thereof -to some person who is able to acquit himself thereof, as we hope that the -said Janot will prove himself well able to do, for these causes and others -moving us thereto, we have engaged and do by these presents engage him -to be our printer in the said French language, henceforward to print well -and duly, in good type and as correctly as may be, such books as are and -shall be written in said language, and such as he may be able to recover; -and to enjoy in that office the honours, authority, privileges, precedencies, -powers, liberties, and rights which may appertain thereto, so long as -it shall be our good pleasure. And in order to arouse in him the greater -ardour and to afford him better means and opportunity to maintain and -support the cost and outlays, the toil and labour which it will be incumbent -on him to make and undergo, as well in the printing and correcting -as in other matters depending thereon, we have decreed and ordered, do -decree and order, and it is our pleasure that the said Janot be given permission, -by these presents, to print all books composed in the said French -language which he may be able to recover, but only after they shall have -been well, duly, and sufficiently inspected and examined, and found to -be excellent and not scandalous.... Given at Paris the twelfth day of -April in the year of grace one thousand five hundred forty-three, and of -our reign the twenty-ninth.</p> - -<p>On the outside are the words: 'By the King—Present, the Bishop of -Thulles. Signed B<span class="smcapa">AYARD</span>; and sealed <em>sur double cueue</em><a name="FNanchor_521_521" id="FNanchor_521_521"></a><a href="#Footnote_521_521" class="fnanchor">[521]</a> with that lord's -great seal.'</p> - - -<h3><a name="VIII" id="VIII"></a><a name="AppNote_VIII" id="AppNote_VIII"></a>VIII</h3> - -<p>L<span class="smcapa">IST OF</span> K<span class="smcapa">ING'S</span> P<span class="smcapa">RINTERS WHO PERFORMED THEIR FUNCTIONS -AT</span> P<span class="smcapa">ARIS, FROM THE ORIGINAL INSTITUTION OF THAT OFFICE</span>.</p> - -<blockquote> - -<p>G<span class="smcapa">EOFROY</span> T<span class="smcapa">ORY</span>, 1530-1533.<a name="FNanchor_522_522" id="FNanchor_522_522"></a><a href="#Footnote_522_522" class="fnanchor">[522]</a></p> - -<p>O<span class="smcapa">LIVIER</span> M<span class="smcapa">ALLARD</span>, 1536-1542.</p> - -<p>D<span class="smcapa">ENIS</span> J<span class="smcapa">ANOT</span>, 1543-1550.<a name="FNanchor_523_523" id="FNanchor_523_523"></a><a href="#Footnote_523_523" class="fnanchor">[523]</a></p> - -<p>C<span class="smcapa">HARLES</span> E<span class="smcapa">STIENNE</span>, 1551-1561.</p> - -<p>R<span class="smcapa">OBERT</span> E<span class="smcapa">STIENNE</span> II (nephew of C<span class="smcapa">HARLES</span>), 1561-1570.</p></blockquote> - -<p><span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span></p> - -<blockquote> - -<p>J<span class="smcapa">EAN</span> M<span class="smcapa">ETTAYER</span>, 1575-1586.</p> - -<p>J<span class="smcapa">AMET</span> M<span class="smcapa">ETTAYER</span> (brother of J<span class="smcapa">EAN</span>), 1586-1602.</p> - -<p>P<span class="smcapa">IERRE</span> M<span class="smcapa">ETTAYER</span> (brother of J<span class="smcapa">EAN</span> and J<span class="smcapa">AMET</span>), 1602-1639.</p> - -<p>M<span class="smcapa">AMERT</span> P<span class="smcapa">ATISSON</span>, 1578-1601. His widow succeeded him and held -the office from 1602 to 1606.</p> - -<p>M<span class="smcapa">ICHEL DE</span> V<span class="smcapa">ASCOSAN</span>, 1560-1571.</p> - -<p>P<span class="smcapa">IERRE LE</span> V<span class="smcapa">OIRRIER</span>, 1583.<a name="FNanchor_524_524" id="FNanchor_524_524"></a><a href="#Footnote_524_524" class="fnanchor">[524]</a></p> - -<p>F<span class="smcapa">EDERIC</span> M<span class="smcapa">OREL</span> (V<span class="smcapa">ASCOSAN'S</span> son-in-law), 1560-1581.</p> - -<p>F<span class="smcapa">EDERIC</span> M<span class="smcapa">OREL</span> II (son of F<span class="smcapa">EDERIC</span>), 1582-1630.<a name="FNanchor_525_525" id="FNanchor_525_525"></a><a href="#Footnote_525_525" class="fnanchor">[525]</a></p> - -<p>C<span class="smcapa">LAUDE</span> M<span class="smcapa">OREL</span>, 1617 (?).</p> - -<p>C<span class="smcapa">HARLES</span> M<span class="smcapa">OREL</span> (son of C<span class="smcapa">LAUDE</span>), 1635-1639.</p> - -<p>G<span class="smcapa">ILLES</span> M<span class="smcapa">OREL</span> (son of C<span class="smcapa">HARLES</span>), 1639-1647.</p> - -<p>P<span class="smcapa">IERRE LE</span> P<span class="smcapa">ETIT.</span> Succeeded M<span class="smcapa">OREL</span>, June, 1647 'with the privileges -and salary of 225 livres charged upon the State.'<a name="FNanchor_526_526" id="FNanchor_526_526"></a><a href="#Footnote_526_526" class="fnanchor">[526]</a> He died in 1686.</p> - -<p>G<span class="smcapa">UILLAUME</span> N<span class="smcapa">YVERD</span> II, 1561.</p> - -<table id="t01" border="0" cellpadding="2" cellspacing="0" summary=""> -<tr> - <td class="tdl">N<span class="smcapa">ICOLAS</span> N<span class="smcapa">IVELLE</span>,</td> - <td class="tdc" rowspan="3"><span class="drop-cap">}</span></td> - <td> </td> -</tr> -<tr> - <td class="tdl">G<span class="smcapa">UILLAUME</span> C<span class="smcapa">HAUDIÈRE</span>,</td> - <td> </td> - <td class="tdl">Printers of the Sacred Union, 1589-1594.</td> -</tr> -<tr> - <td class="tdl">R<span class="smcapa">OLIN</span> T<span class="smcapa">HIERRY</span>,</td> - <td> </td> - <td> </td> -</tr> -</table> - -<p>C<span class="smcapa">LAUDE</span> P<span class="smcapa">REVOST</span>, 1614-1629.</p> - -<p>N<span class="smcapa">ICOLAS</span> C<span class="smcapa">ALLEMONT</span>, 1622-1631. His widow held the office in 1631.</p> - -<p>P<span class="smcapa">IERRE</span> L'H<span class="smcapa">UILLIER</span>, 1610.</p> - -<p>A<span class="smcapa">NTOINE</span> E<span class="smcapa">STIENNE</span>, 1614-1664. In 1649 he called himself '<em>first</em> king's -printer.'<a name="FNanchor_527_527" id="FNanchor_527_527"></a><a href="#Footnote_527_527" class="fnanchor">[527]</a></p> - -<p>H<span class="smcapa">ENRI</span> E<span class="smcapa">STIENNE</span>, his son, obtained the reversion of his father's office -in 1652, but he died before him, in 1661, probably without acting.<a name="FNanchor_528_528" id="FNanchor_528_528"></a><a href="#Footnote_528_528" class="fnanchor">[528]</a></p> - -<p>P<span class="smcapa">IERRE</span> M<span class="smcapa">OREAU</span>, 1640-1647. (For his bastard italic.)</p> - -<p>A<span class="smcapa">NTOINE</span> V<span class="smcapa">ITRÉ</span>, 1622-1674. 'Linguarum orientalium typographus -regius.'</p> - -<p>S<span class="smcapa">ÉBASTIEN</span> C<span class="smcapa">HAPELET</span>, 1639.</p> - -<p>J<span class="smcapa">ACQUES DE</span> G<span class="smcapa">AST</span>, 1640.</p> - -<p>S<span class="smcapa">ÉBASTIEN</span> C<span class="smcapa">RAMOISY</span>, December 24, 1633. In 1640 he was appointed -manager of the royal printing-office of the Louvre; in 1651 he resigned -the office of king's printer in favour of his grandson, S<span class="smcapa">ébastien Mâbre-Cramoisy</span>, and died in 1669.</p> - -<p><span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span></p> - -<p>S<span class="smcapa">ÉBASTIEN</span> M<span class="smcapa">ÂBRE</span>-C<span class="smcapa">RAMOISY</span> (grandson of the preceding, through his -mother), 1661-1687. He also held the office of manager of the royal -printing-office.</p> - -<p>S<span class="smcapa">ÉBASTIEN</span> H<span class="smcapa">URÉ</span>, August, 1650.</p> - -<p>S<span class="smcapa">ÉBASTIEN</span> H<span class="smcapa">URÉ</span> II (son of the preceding), appointed in 1662, in -place of H<span class="smcapa">ENRI</span> E<span class="smcapa">STIENNE</span>, Antoine's son; died in 1678.</p> - -<p>P<span class="smcapa">IERRE</span> R<span class="smcapa">OCOLET</span>, April 14, 1635; died in 1662.</p> - -<p>D<span class="smcapa">AMIEN</span> F<span class="smcapa">OUCAULD</span> (son-in-law of R<span class="smcapa">OCOLET</span>), succeeded him; 1662-1687(?).</p> - -<p>F<span class="smcapa">RANÇOIS</span> M<span class="smcapa">UGUET</span>, appointed as locum tenens in November, 1661, -was definitively appointed in 1671; resigned his letters in 1686, to -replace P<span class="smcapa">IERRE LE</span> P<span class="smcapa">ETIT</span>, at the salary of 225 livres. Muguet died -in 1702.</p> - -<p>F<span class="smcapa">RANÇOIS</span>-H<span class="smcapa">UBERT</span> M<span class="smcapa">UGUET</span> (son of the preceding) succeeded him; -1702-1742.</p> - -<p>F<span class="smcapa">RÉDÉRIC</span> L<span class="smcapa">ÉONARD.</span> Succeeded F<span class="smcapa">RANÇOIS</span> H<span class="smcapa">URÉ</span>; 1678-1712.</p> - -<p>F<span class="smcapa">RÉDÉRIC</span> L<span class="smcapa">ÉONARD</span> II (son of the preceding) succeeded him; 1713-1714.</p> - -<p>J<span class="smcapa">EAN DE LA</span> C<span class="smcapa">AILLE</span>, 1644-1673.</p> - -<p>J<span class="smcapa">EAN</span>-B<span class="smcapa">APTISTE</span> C<span class="smcapa">OGNARD.</span> Succeeded F<span class="smcapa">OUCAULD</span>; 1687-1737.</p> - -<p>C<span class="smcapa">OGNARD'S</span> widow, 1737-1760.</p> - -<p>J<span class="smcapa">EAN</span>-B<span class="smcapa">APTISTE</span> C<span class="smcapa">OGNARD</span> II (son of J<span class="smcapa">ean-Baptiste</span>), 1717-1752, -when he resigned.</p> - -<p>J<span class="smcapa">ACQUES</span> L<span class="smcapa">ANGLOIS</span>, 1660-1678.</p> - -<p>J<span class="smcapa">ACQUES</span> L<span class="smcapa">ANGLOIS</span> II (son of the preceding), 1678-1697.</p> - -<p>J<span class="smcapa">EAN</span>-B<span class="smcapa">APTISTE</span>-A<span class="smcapa">LEXANDRE</span> D<span class="smcapa">ELESPINE</span>, 1702-1746(?).</p> - -<p>G<span class="smcapa">UILLAUME</span> D<span class="smcapa">ESPREZ</span>, 1686-1708.</p> - -<p>G<span class="smcapa">UILLAUME</span> D<span class="smcapa">ESPREZ</span> II (son of the preceding), 1740-1743, when he -resigned.</p> - -<p>G<span class="smcapa">UILLAUME</span>-N<span class="smcapa">ICOLAS</span> D<span class="smcapa">ESPREZ</span> (son of the preceding), 1743-1788. -He was at the end the dean of the king's printers.</p> - -<p>P<span class="smcapa">IERRE</span>-A<span class="smcapa">LEXANDRE LE</span> P<span class="smcapa">RIEUR</span>, 1747-1785.</p> - -<p>C<span class="smcapa">LAUDE</span>-C<span class="smcapa">HARLES</span> T<span class="smcapa">HIBOUST</span>, appointed king's printer in 1756, died -in 1757.</p> - -<p>N. <span class="smcapa">DE</span> M<span class="smcapa">AISONROUGE</span> (widow of the preceding), succeeded him, and -held the title of king's printer till 1788.</p> - -<p>L<span class="smcapa">AURENT</span>-F<span class="smcapa">RANÇOIS</span> P<span class="smcapa">RAULT</span>, 1780(?).</p> - -<p>L<span class="smcapa">OUIS</span>-F<span class="smcapa">RANÇOIS</span> P<span class="smcapa">RAULT</span> (son of L<span class="smcapa">AURENT</span>) succeeded him; 1780-1788.</p> - -<p><span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span></p> - -<p>A<span class="smcapa">NTOINE</span> B<span class="smcapa">OUDET</span>, 1768-1779.</p> - -<p>F<span class="smcapa">RANÇOIS LE</span> B<span class="smcapa">RETON</span>; died October 4, 1779.</p> - -<p>P<span class="smcapa">HILIPPE</span>-D<span class="smcapa">ENIS</span> P<span class="smcapa">IERRES</span>; succeeded L<span class="smcapa">E</span> B<span class="smcapa">RETON</span> by virtue of letters -dated October 7, 1779.<a name="FNanchor_529_529" id="FNanchor_529_529"></a><a href="#Footnote_529_529" class="fnanchor">[529]</a> He was appointed first king's printer in -August, 1785.</p> - -<p>J<span class="smcapa">ACQUES</span>-G<span class="smcapa">ABRIEL</span> C<span class="smcapa">LOUSIER</span>, 1788.</p> - -<p>A<span class="smcapa">UGUSTE</span>-M<span class="smcapa">ARTIN</span> L<span class="smcapa">OTTIN</span>, 1775-1789.</p> - -<p>(Demoiselle) H<span class="smcapa">ÉRISSANT</span>, 1788.</p></blockquote> - - -<p class="center"><em>King's Printers for Greek.</em><a name="FNanchor_530_530" id="FNanchor_530_530"></a><a href="#Footnote_530_530" class="fnanchor">[530]</a></p> - -<blockquote><p>C<span class="smcapa">ONRAD</span> N<span class="smcapa">ÉOBAR</span>, 1538-1540.</p> -<p>R<span class="smcapa">OBERT</span> E<span class="smcapa">STIENNE</span>, 1540-1550.</p> -<p>A<span class="smcapa">DRIEN</span> T<span class="smcapa">URNÈBE</span>, 1552-1555.</p> -<p>G<span class="smcapa">UILLAUME</span> M<span class="smcapa">OREL</span>, 1555-1564.</p> -<p>M<span class="smcapa">ICHEL DE</span> V<span class="smcapa">ASCOSAN</span>, 1560-1576.</p> -<p>R<span class="smcapa">OBERT</span> E<span class="smcapa">STIENNE</span> II, 1561-1570.</p> -<p>F<span class="smcapa">EDERIC</span> M<span class="smcapa">OREL</span>, 1571-1581.</p> -<p>É<span class="smcapa">TIENNE</span> P<span class="smcapa">REVOSTEAU</span>, 1581-1600(?).</p> -<p>P<span class="smcapa">IERRE</span> P<span class="smcapa">AUTONNIER</span>, 1600-1605(?).</p></blockquote> - - -<p class="center"><em>Printers of the King's Closet.</em></p> - -<blockquote><p>J<span class="smcapa">ACQUES</span> C<span class="smcapa">OLLOMBAT</span>, in 1743.</p> -<p>N. D<span class="smcapa">EHANSY</span> (widow of the preceding), 1744.</p> -<p>J<span class="smcapa">ACQUES</span>-F<span class="smcapa">RANÇOIS</span> C<span class="smcapa">OLLOMBAT</span> (son of J<span class="smcapa">ACQUES</span>), 1744-1751.</p> - -<p><span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span></p> - -<p>J<span class="smcapa">ACQUELINE</span> T<span class="smcapa">ARLÉ</span> (wife of J<span class="smcapa">ACQUES</span>-F<span class="smcapa">RANÇOIS</span>), 1751-1752.</p> - -<p>J<span class="smcapa">EAN</span>-J<span class="smcapa">ACQUES</span> E<span class="smcapa">STIENNE</span> C<span class="smcapa">OLLOMBAT</span> (their son, 1752-1763).</p></blockquote> - - -<p class="center"><em>Printers of His Majesty's Closet, Household and Buildings.</em></p> - -<blockquote><p>J<span class="smcapa">EAN</span>-T<span class="smcapa">HOMAS</span> H<span class="smcapa">ÉRISSANT</span>, 1764-1772..</p> -<p>M<span class="smcapa">ARIE</span>-N<span class="smcapa">ICOLE</span> H<span class="smcapa">ÉRISSANT</span> (his daughter), 1772-1788.</p></blockquote> - - -<p class="center"><em>King's Printers for Mathematics.</em></p> - -<blockquote><p>J<span class="smcapa">EAN</span> L<span class="smcapa">EROYER</span>, February 3, 1553 (1554, n. s.)-1565.</p> -<p>P<span class="smcapa">IERRE</span> L<span class="smcapa">EVOYRIER</span>, 1575-1584.</p></blockquote> - - -<p class="center"><em>King's Printer for Coins.</em></p> - -<blockquote><p>J<span class="smcapa">EAN</span> D<span class="smcapa">ALLIER</span>, August 23, 1559.</p></blockquote> - - -<p class="center"><em>King's Printers for Engravings.</em></p> - -<blockquote><p>P<span class="smcapa">IERRE</span> L<span class="smcapa">ENGEVIN</span>, buried February 5, 1609.<a name="FNanchor_531_531" id="FNanchor_531_531"></a><a href="#Footnote_531_531" class="fnanchor">[531]</a></p> -<p>M<span class="smcapa">ELCHIOR</span> T<span class="smcapa">AVERNIER</span>, 'living on the Île du Palais.'</p></blockquote> - - -<p class="center"><em>King's Printers for Music.</em></p> - -<blockquote> - -<p>R<span class="smcapa">OBERT</span> B<span class="smcapa">ALLARD</span>, 1551-1606. Letters patent of May 5, 1516,<a name="FNanchor_532_532" id="FNanchor_532_532"></a><a href="#Footnote_532_532" class="fnanchor">[532]</a> inform -us that he received 250 livres tournois in this capacity.</p> - -<p>L<span class="smcapa">UCRÈCE</span> L<span class="smcapa">E</span> B<span class="smcapa">É</span> (B<span class="smcapa">ALLARD'S</span> widow), 1606.</p> - -<p>P<span class="smcapa">IERRE</span> B<span class="smcapa">ALLARD</span> (son of R<span class="smcapa">OBERT</span> I), 1608-1640.</p> - -<p>R<span class="smcapa">OBERT</span> II (son of P<span class="smcapa">IERRE</span>), 1640-1679.</p> - -<p>——widow of R<span class="smcapa">OBERT</span> II, 1679-1693.</p> - -<p>J.-B.-C<span class="smcapa">H</span>. B<span class="smcapa">ALLARD</span> (grandson of R<span class="smcapa">OBERT</span> II), 1694-1750.</p> - -<p>——(widow of the preceding), 1750-1758.</p> - -<p>——C<span class="smcapa">HR</span>.-J.-F. B<span class="smcapa">ALLARD</span> (son of J.-B.-C<span class="smcapa">H.</span>), 1758-1765.</p> - -<p>——(widow of the preceding), 1765-1792.</p> - -<p>P<span class="smcapa">IERRE</span>-R<span class="smcapa">OBERT</span>-C<span class="smcapa">HRISTOPHE</span> B<span class="smcapa">ALLARD</span> (son of C<span class="smcapa">HR</span>.-J.-F.), 1779-1792.</p></blockquote> - -<p>After the Restoration Louis XVIII named as king's printers members -of certain families in the printing trade which had formerly borne -that title, and some others who had won great renown in their trade;<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span> -such are the first six in the following list, which includes all the king's -printers of the Restoration.</p> - -<blockquote><p>L<span class="smcapa">OTTIN DE</span> S<span class="smcapa">AINT</span>-G<span class="smcapa">ERMAIN</span>,<a name="FNanchor_533_533" id="FNanchor_533_533"></a><a href="#Footnote_533_533" class="fnanchor">[533]</a> 1815-1828.</p> -<p>B<span class="smcapa">ALLARD</span>,<a name="FNanchor_534_534" id="FNanchor_534_534"></a><a href="#Footnote_534_534" class="fnanchor">[534]</a> 1815-1828.</p> -<p>B<span class="smcapa">ALLARD'S</span> widow, 1828-1830.</p> -<p>V<span class="smcapa">ALADE</span>,<a name="FNanchor_535_535" id="FNanchor_535_535"></a><a href="#Footnote_535_535" class="fnanchor">[535]</a> 1815-1822.</p> -<p>P<span class="smcapa">IERRE</span> D<span class="smcapa">IDOT</span>, the elder, 1815-1822.</p> -<p>J<span class="smcapa">ULES</span> D<span class="smcapa">IDOT</span>, his son, succeeded him; 1822-1830.</p> -<p>F<span class="smcapa">IRMIN</span> D<span class="smcapa">IDOT</span> (P<span class="smcapa">IERRE'S</span> younger brother), 1815-1827.</p> -<p>M<span class="smcapa">ADAME</span> H<span class="smcapa">ÉRISSANT</span>-L<span class="smcapa">EDOUX</span>, 1816-1822.</p> -<p>L<span class="smcapa">EBEL</span>, successor to V<span class="smcapa">ALADE</span>, 1822-1825.</p> -<p>L<span class="smcapa">EBEL'S</span> widow, 1826.</p> -<p>L<span class="smcapa">ENORMANT</span>, 1824-1830.</p></blockquote> - -<p>A<span class="smcapa">MBROISE</span> D<span class="smcapa">IDOT</span> (son of F<span class="smcapa">IRMIN</span>) was appointed king's printer by -patent of December 7, 1829. The office became extinct in his hands in -July, 1830. M. Ambroise Firmin Didot, who thus closes the list of king's -printers, opened by Tory, has another bond of union with the latter: like -him he was an engraver. See what M. Firmin Didot père wrote on this -subject at the beginning of his tragedy, 'Annibal,' which was printed -by him in 1817, preceded by a letter from his son, who was then travelling -in Greece; the letter being printed in an 'English' type which he -tells us was engraved by his son Ambroise.<a name="FNanchor_536_536" id="FNanchor_536_536"></a><a href="#Footnote_536_536" class="fnanchor">[536]</a></p> - - -<h3><a name="IX" id="IX"></a><a name="AppNote_IX" id="AppNote_IX"></a>IX</h3> - -<p class="center">N<span class="smcapa">OTE CONCERNING THE</span> K<span class="smcapa">ING'S</span> B<span class="smcapa">INDERS AND</span> L<span class="smcapa">IBRARIANS.</span></p> - -<p>There had long been functionaries known as 'libraires du roi' (king's -librarians), when François I instituted the office of king's printer. Indeed,<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span> -we find that Guillaume Eustace bore the title as early as 1574, that -is, under Louis XII. He is so styled in the subscript of an edition of 'Les -Chroniques de France,' in three volumes, folio. At the end of the last volume, -we read: 'Here endeth the third and last volume of the great chronicles -of France, printed at Paris in the year a thousand five hundred and -fourteen, the first day of October, for Guillaume Eustace, <em xml:lang="fr" lang="fr">libraire du Roy</em>, -and sworn binder to the University of Paris.'</p> - -<p>In our first edition we expressed the opinion that Eustace may have -been replaced in 1522 by Jean de Sansay, who is described as king's librarian, -in 1530, in the accounts published by M. de Laborde.<a name="FNanchor_537_537" id="FNanchor_537_537"></a><a href="#Footnote_537_537" class="fnanchor">[537]</a> This is an -error. Eustace was still king's librarian in 1533. Jean de Sansay was not, -as Eustace was, <em>purveyor</em> to the king's library, but <em>keeper</em> thereof, a title -assumed in more exact terms by one of his successors, Jean Gosselin, in -a book which he caused to be printed in 1583.<a name="FNanchor_538_538" id="FNanchor_538_538"></a><a href="#Footnote_538_538" class="fnanchor">[538]</a></p> - -<p>Jean de Sansay's immediate successor, under François I, seems to have -been Claude Chappuis, who was king's librarian before March 28, 1543, -as may be seen from the following document, dated January 6, 1544, new -style, the original of which is in the Joursauvault collection at the Bibliothèque -du Louvre:—</p> - -<p>'In the presence of me, notary and secretary of the state to the King our -sire, Jehan Estienne,<a name="FNanchor_539_539" id="FNanchor_539_539"></a><a href="#Footnote_539_539" class="fnanchor">[539]</a> dealer in silversmithery to the queen, having power -of attorney from maistre Claude Chappuys, librarian to our said lord, -thereby sufficiently authorized, did by deed of the twenty-eighth day of -March a thousand five hundred forty-three, after Easter last past, executed -before Jehan Langlois, royal notary in the bailiwick or chatelany of -Moret, aver that he had had and received from maistre Jacques Bouchetel, -treasurer and paymaster of the household of our said lord, the sum of -two hundred forty livres tournois on account of his office of librarian during -the year beginning the first day of January a thousand five hundred<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span> -forty-two [1543, n. s.], and ending the last day of December a thousand -five hundred forty-three. For which sum of <span class="smcapa">II</span>ᶜ <span class="smcapa">XL</span> livres tournois the said -Jehan Estienne, as attorney as aforesaid, hath held and doth hold himself -accountable and duly paid, and hath acquitted and doth acquit the said -maistre Jacques Bouchetel, treasurer as aforesaid, and all other persons. -Witness my sign manual hereto affixed at his request. The <span class="smcapa">VI</span> day of -January in the year a thousand five hundred forty-three. <span class="shiftright">'B<span class="smcapa">URGENSIS.</span>'<a name="FNanchor_540_540" id="FNanchor_540_540"></a><a href="#Footnote_540_540" class="fnanchor">[540]</a></span><br /></p> - -<p>In 'La Renaissance des Arts,' M. de Laborde has published several -extracts from the royal accounts relative to this Claude Chappuis.</p> - -<p>'To maistre Claude Chappuis, librarian to our said lord, the sum of -thirty-three livres five sols tournois, to him ordered to be paid by our said -lord, to reimburse him for several small sums by him furnished and paid -for the embellishment of books which our said lord hath caused to be -brought from Thurin, for the carriage thereof from Fontainebleau to -Paris and to Sainct-Germain-en-Laye, and from said Sainct-Germain to -Paris and Fontainebleau, and for expense incurred by said Chappuis, say -<span class="smcapa">XXXIII L. V. S.</span>'<a name="FNanchor_541_541" id="FNanchor_541_541"></a><a href="#Footnote_541_541" class="fnanchor">[541]</a></p> - -<p>'To maistre Claude Chappuys, librarian to our said lord, the sum of six -times twenty and ten livres, and ten sols tournois to reimburse him for the -like sum which he hath paid of his own moneys to a bookseller of Paris -named Le Faucheux, for having, by command of our said lord, re-bound -and gilded divers books from his library, in the manner and guise of a -gospel heretofore bound and gilded by said Le Faucheux, written in letters -of gold and ink.'<a name="FNanchor_542_542" id="FNanchor_542_542"></a><a href="#Footnote_542_542" class="fnanchor">[542]</a></p> - -<p>Doubtless this Claude Chappuis is the same man who belonged to the -household of Jean du Bellay, Ambassador to Rome in 1536. Having become -librarian to the King, he probably used in gilding the books mentioned -in the last quotation, the irons which François I had bought in -Venice, as we learn from another account, undated, but a little earlier, -preserved, like the others, in the national archives.</p> - -<p>'To Loys Alleman, Fleurantin, for sending to Venice for irons to print<a name="FNanchor_543_543" id="FNanchor_543_543"></a><a href="#Footnote_543_543" class="fnanchor">[543]</a> -certain Italian books, and for the cost of such printing, the sum of V -livres.'</p> - -<p>As for Le Faucheux, mentioned here as a binder, he is evidently Étinne<span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>e -Roffet, called Le Faucheux, described as binder and librarian to the -King on the title-page of the 'Œuvres de Hugues Salel,' which he published, -and which was printed at Paris, in octavo, in 1540.<a name="FNanchor_544_544" id="FNanchor_544_544"></a><a href="#Footnote_544_544" class="fnanchor">[544]</a> He was the -son of Pierre Roffet (publisher to the two Marots, father and son), who -had for his sign a 'faucheur,' mower.<a name="FNanchor_545_545" id="FNanchor_545_545"></a><a href="#Footnote_545_545" class="fnanchor">[545]</a></p> - - -<h3><a name="X" id="X"></a><a name="Note_121" id="Note_121"></a><a name="AppNote_X" id="AppNote_X"></a>X</h3> - -<p class="center">P<span class="smcapa">ASSAGES WRITTEN IN</span> L<span class="smcapa">ATIN, IN MOST CASES BY</span> T<span class="smcapa">ORY, TRANSLATIONS -OF WHICH ARE INSERTED IN THE BODY OF THE BOOK.</span></p> - - -<p class="p6"><a name="AppNote_Xa" id="AppNote_Xa"></a><a name="AppNote_A" id="AppNote_A"></a>A</p> - -<blockquote> - -<p><em>Godofredus Torinus Bituricus Joanni Rosselletto, -literarum amantissimo, S. D. P.</em><a name="FNanchor_546_546" id="FNanchor_546_546"></a><a href="#Footnote_546_546" class="fnanchor">[546]</a></p></blockquote> - -<p>Egregiam de te spem, Joannes ornatissime, tuis -et cognatis et patriæ, non solum moribus, imo -et benefactis, te velle nobiliter ostendere, nunquam -(opinor) tu prætermittes neque desistes. -Quo tu Reipubl. vel consilio prodesses, curasti -ut per me Quintilianus emendatior caracteribus -et impressioni daretur bellissime. Multis -exemplariis diligenter collatis, unum (mendis -pene innumerabilibus deletis) castigatissimum -non pigra manu feci; ipsum, ut jussisti, a Parrhisiis -Lugdunum misi. Utinam et qui impriment -novos non superinducant errores. Vale, et -me ama.</p> - -<p>Parrhisiis, apud collegium Plesseiacum, tertio -calendas Martias.</p> - - -<p class="p6"><a name="AppNote_Xb" id="AppNote_Xb"></a>B</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Imbutam ausonia cupiens me reddere lingua</div> - <div class="i1">Artibus et pariter me decorare bonis,</div> - <div class="i0">Nocte dieque docens pater ut charissimus, ipse</div> - <div class="i1">Fundamenta mihi dulcia et ampla dabat.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xc" id="AppNote_Xc"></a>C</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">MONITOR.</span> Hanc tibi quis struxit gemmis insignibus urnam?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">AGNES.</span> Quis? Meus in tali nobilis arte pater.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Excellens certe est figulus genitor tuus.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">AGNES.</span> <span class="mleft10"> </span>Artes</div> - <div class="i3">Quottidie tractat sedulus ingenuas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> An ne etiam scribit modulos et carmina?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">AGNES.</span> <span class="mleft10"> </span>Scribit.</div> - <div class="i3">Dulcibus et verbis hæc mea fata beat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Ipsius est nimirum hominis solertia mira?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">AGNES.</span> Tam celebrem regio vix tulit ulla virum.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xd" id="AppNote_Xd"></a>D</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">VIATOR.</span> Mecenate aliquo certe dignissimus ille est.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">GENIUS.</span> Mecenas franco rarus in orbe viget.</div> - <div class="i0">Nemo hodie ingenuas donis conformibus artes</div> - <div class="i1">Aut fovet, aut ulla sorte fovere parat.</div> - <div class="i0">Non est in pretio probitas, nec candida virtus.</div> - <div class="i1">Infelix adeo regnat Avaricia.</div> - <div class="i0">Fraus, dolus et vitium præstant; virtutibus omne</div> - <div class="i1">Postpositis miserum serpit ubique nephas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">VIA.</span> Quid facit ille igitur Musis excultus amœnis?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">GEN.</span> In propria gaudet vivere posse domo.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">VIA.</span> Ad reges alacri deberet tendere passu.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">GEN.</span> Non curat, quoniam libera corda gerit.</div> - <div class="i0">Isti nonnunquam gaudent spectare potentes</div> - <div class="i1">Carmina, sed quid tum? nictibus illa beant.</div> - <div class="i0">Deberent gemmis auroque rependere puro</div> - <div class="i1">Aurea de superis carmina ducta polis.</div> - <div class="i0">Sed potius fatuis, nebulonibus atque prophanis</div> - <div class="i1">Contribuunt stulti grandia dona leves.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xe" id="AppNote_Xe"></a>E</p> - -<p>Egregii quidam sunt felici hoc seculo pictores, -lector humanissime, qui suis lineamentis, -picturis et variis coloribus deos gentilitios et -homines, itemque alias res quascunque adeo -exacte depingunt, ut illis vox et anima deesse -tantummodo videatur; sed ecce, lector humanissime, -ego jam tibi, illorum propemodum more, -domum offero, non solum suis lineamentis et -partibus elegantem et absolutam, sed etiam pulchre -loquentem et encomio sese particulatim describentem.</p> - - -<p class="p6"><a name="AppNote_Xf" id="AppNote_Xf"></a>F</p> - -<p>Godofredo Torino, quem Ulvaricum<a name="FNanchor_547_547" id="FNanchor_547_547"></a><a href="#Footnote_547_547" class="fnanchor">[547]</a> Biturigum -peperit, quem Lutetia Parisiorum fovit,<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span> -viro linguæ: turn latinæ turn græcæ peritissimo, -litterarum denique amantissimo, typographo -solertissimo et bibliographo doctissimo, quod -de partibus ædium elegantissima distica scripserit, -tumulos aliquot ludicros veterrimo stylo -latine condiderit, Xenophontis, Luciani, Plutarchi -tractatus e græco in gallicum converterit, -Parisiis in Burgundiæ gymnasio philosophiam -edocuerit, primus omnium de re typographica -sedulo disseruerit, litterarum sive caracterum -dimensiones ediderit, et Garamundum calco-graphum -principem edocuerit, viri boni officio, -quoad devixit, anno <span class="smcapa">M.D.L.</span> semper defunctus, -a monente Joanne Toubeau, etiam typographo -et auctore, mercatorum prætore, ædili Bituri-censi, -ob negotia civitatis difficillima ad regem -et concilium legato, ejusdem Torini abnepote, -et typographicorum insignium hærede, Nicolaus -Catharinus, nobilis Bituricus, regis advocatus -et senator in Biturigum metropoli, a teneris -annis huc usque et deinceps rei typographicæ -addictissimus, cursim raptimque scripsit, exeunte -novembri <span class="smcapa">M.DC.LXXIV.</span></p> - - -<p class="p6"><a name="AppNote_Xg" id="AppNote_Xg"></a>G</p> - -<blockquote> - -<p><em>Godofredus Torinus Bituricus Philiberto Baboo, -civi Biturico, serenissimi Gallorum regis -dispensatori ac camerario meritissimo, salutem -dicit humilimam.</em></p></blockquote> - -<p>Pomponium Melam, ornatissime Philiberte, -geographorum authorem luculentissimum, -quum nuper inspicerem, eum tot mendis depravatum -ac lacerum esse cognovi, ut</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">... Ecce ante oculos mœstissimus author</div> - <div class="i1">Visus adesse mihi, largosque effundere fletus;</div> - <div class="i8"><em>Vergilius</em>, <em>Eneid.</em> <em>ij.</em></div> - </div> - <div class="stanza"> - <div class="i0">Ecce inquam:</div> - </div> - <div class="stanza"> - <div class="i0">Raptatus bigis (heu miserum) aterque cruento</div> - <div class="i0">Pulvere, perque pedes traiectus lora tumentes,</div> - <div class="i0">Quam graviter gemitus imo de pectore ducens.</div> - <div class="i10"><em>Id.</em>, <em>ibid.</em></div> - </div> -</div> -</div> - -<p>Talibus verbis conqueri videbatur: Siccine ego -qui tot terras, tot gentes, insulas, amnes, freta, -vada, carybdes, tam eleganter descripsi, quique -totius orbis descriptionem tam confidenter aggressus -sum, sic mancus, sic mutilus, sic truncus -habebor?</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hei mihi! quam cæsus sum, quamque similimus illi</div> - <div class="i0">Hectori qui quondam concretos sanguine crines</div> - <div class="i0">Vulneraque illa tulit quæ circum plurima muros</div> - <div class="i0">Accepit patrios....</div> - <div class="i10"><em>Id.</em>, <em>ibid.</em></div> - </div> -</div> -</div> - -<p>Nisi medicabiles aliquæ in me manus se extendant, -sine dubio, iam emoriar.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Tarda Philoctetæ sanavit crura Machaon,</div> - <div class="i1">Phœnicis Chyron lumina Philyrides;</div> - <div class="i0">Et Deus extinctum Cressis Epidaurius herbis</div> - <div class="i1">Restituit patriis Androgeona focis.</div> - <div class="i5"><em>Proper.</em>, <em>lib. ij</em>, <em xml:lang="la" lang="la">ad Mæcenatem</em>.</div> - </div> - <div class="stanza"> - <div class="i0">Sed sane credo quod</div> - </div> - <div class="stanza"> - <div class="i0">Hoc si quis vitium possit<a name="FNanchor_548_548" id="FNanchor_548_548"></a><a href="#Footnote_548_548" class="fnanchor">[548]</a> iam demere, solus</div> - <div class="i1">Tantalea poterit tradere poma manu.</div> - <div class="i0">Dolia virgineis idem ille repleverit urnis,</div> - <div class="i1">Ne tenera assidua colla graventur aqua;</div> - <div class="i0">Idem Caucasea solvet de rupe Promethei</div> - <div class="i1">Brachia, et a medio pectore pellet avem.</div> - <div class="i10"><em>Idem</em>, <em>ibid.</em></div> - </div> -</div> -</div> - -<p>Certe statim apud me dixi: Si Machaon, si -Chyron aut Æsculapius essem, libens huic rei -subvenirem. Sed quid autem si manuum mearum -opellam impenderem? Nonne remedio esse -possem? Forte, at equidem expertus, et id quo -saltem emendatior habeatur.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Quod si deficiant vires, audacia certe</div> - <div class="i1">Laus erit: in magnis et voluisse sat est.</div> - <div class="i2"><em>Idem</em>, <em>lib. ij</em>, <em>ad Musam</em> [<em>Ad Augustum?</em>].</div> - </div> -</div> -</div> - -<p>Pauculas ergo annotationes adiecimus<a name="FNanchor_549_549" id="FNanchor_549_549"></a><a href="#Footnote_549_549" class="fnanchor">[549]</a> quibuscum -sub tuo nomine (quandoquidem<a name="FNanchor_550_550" id="FNanchor_550_550"></a><a href="#Footnote_550_550" class="fnanchor">[550]</a> et -literarum et literatorum amantissimus es) bonis -ut aiunt avibus Pomponius ipse Mela iam tutius -exeat. Vale.</p> - -<p>Parrhisiis, vj no. decemb. MCCCCC vij.</p> - - -<p class="p6"><a name="AppNote_Xh" id="AppNote_Xh"></a>H</p> - -<p>Habes, ornatissime Philiberte, Pomponium -ipsum Melam pluribus quibus scatebat mendis -iam emendatum. Curavi siquidem accuratissimo -(qui etiam primus apud Parisios græcis -caracteribus lotissimas addidit manus) impressori -dare. Eum diligentius, et quo politior ac -absolutior in tuas primum, deinde cæterorum -manus perveniat, recognoscere pauculaque in -eum subannotare non ingratus volui. Tu nunc -cum ipso per totum orbem, quemadmodum et<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span> -Phiclus, qui super aristas eas non frangendo -cucurrisse fertur, non tantum secure, sed confidenter -ac præsentissime ire ac redire vales. -Si tigres animalium pernicissimos comprehendere, -catoblepam sine tui malo cernere; si dracones, -feras, satyros, panes, silvanos; si Indos,</p> - -<p class="center">Et penitus toto divisos orbi Britannos;</p> - -<p>si Sauromatas, Afros, eorum denique si medios -omnes populos videre, pariterque ipsorum -mores mirabiles cognoscere desideras, hoc -in orbe, id est,<a name="FNanchor_551_551" id="FNanchor_551_551"></a><a href="#Footnote_551_551" class="fnanchor">[551]</a> Pomponio, manibus tuis amplissime -comprehenso, sine dubio, iam optime -dispicere potes. Vale et me tibi devotum semper -ama.</p> - -<p>Parisiis, nono calen. januarias.</p> - -<p class="center">Ω</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="center"><em>In Pomponium Melam.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Mela, quibus plænus fueras erroribus, es iam</div> - <div class="i1">Excussus, tecum paucula menda manet.<a name="FNanchor_552_552" id="FNanchor_552_552"></a><a href="#Footnote_552_552" class="fnanchor">[552]</a></div> - <div class="i0">Tu melior multo longeque probatior extas</div> - <div class="i1">Quam prius; hoc fecit tantula nostra manus.</div> - </div> -</div> -</div> - - -<p class="center"><em>Ad Philibertum Baboum.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Quod mea vita tibi multos se debeat<a name="FNanchor_553_553" id="FNanchor_553_553"></a><a href="#Footnote_553_553" class="fnanchor">[553]</a> annos,</div> - <div class="i1">Hoc duo versiculi iam, Philiberte, probant.</div> - <div class="i0">Αλϕα mihi teneris habui quodcumque sub annis,</div> - <div class="i1">Id voluit fœlix ωμεγα ferre tuum.</div> - </div> -</div> -</div> - -<p class="center">Ω</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xi" id="AppNote_Xi"></a>I</p> - -<p>Quia nihil est diffilius (<i>sic</i>) quam in nullo -errare, non absurdum esse videtur si cum lectoris -bona pace paucorum admodum erratorum -paucula retractentur, ut illo verbo cum dicit in -epistola <i>potuit</i>, scribendum est <i>possit</i>....</p> - - -<p class="p6"><a name="AppNote_Xj" id="AppNote_Xj"></a>J</p> - -<blockquote> - -<p><em>Reverendo in Christo patri et domino D. -Germano Gannaio, Cathurcensium episcopo -designato, Godofredus Torinus Bituricus -salutem dicit humilimam.</em></p></blockquote> - -<p>Pium papam, antistes excellentissime, au -thorem et dignitate et singularitate sine dubio -venerandum, in Asiæ et Europæ descriptione, -iam tersiorem et emendatiorem quam antea -legebatur in luce exire curavimus. Quem -autem ei recenter ex chalcotypea officina sese -expedienti, virum delectum, literarum amantissimum, -et singulari virtute plenissimum, statim -devotissime salutatum iret, potiorem sane -te, dignioremve, cognoscere potui nullum. -Summum ipsum pontificem te maxime venerabilem -antistitem invisere rem esse putavi non -iniucundam. Ipsum, inquam, geographiæ et -lectu dignissimæ (uti videre poteris) historiæ -non pœnitendum authorem, te, bonarum omnium -literarum amatorem et cultorem, accedere -et amplecti, factum opido quam decentissime -existimavi, gemmam auro, encaustum, id -est opus igni pictum, argento, et palmam vincenti -conferre, procul dubio nihil aliud est -quam bona bonis, splendida splendidis et merita -meritis addere. Tibi profecto et cum his alia -ratione pulcherrimum hoc opus meritissime dedicari -debet, siquidem per capita distinctum, et -in commodiorem ordinem, te promotore et iubente, -redactum est. Quo facilius (ut voluisti) -et melius, tibi in primis, consequenter aliis -omnibus studiosis et legentibus, regiones terræ, -quæ numero sunt multæ, et in eis res scitu -periucundæ capiantur et memoriæ commendentur, -capitatim nominibus fluviorum, opidorum, -locorum, ducum et aliarum rerum insignium -in margine coannotatis, quæ etiam -omnia in indice numeratim inveniuntur, divisimus, -ipsam hanc nostram lucubratiunculam tibi -antistiti, reverentia percelebri, sincæro dedicamus -animo. Impar sine controversia est, quam -tuæ reverendæ paternitati deberem offerre, tu -tamen, cuius benignitatem et integritatem omnes -prædicant (et me minime latet) excellentissimam, -ea fronte qua huiusmodi alias solitus es -ipsam purissimas in manus tuas, si placet, accipies. -Vale.</p> - -<p>Parrhisiis, apud collegium Plesseiacum, 6 -nonas octobris anno Domini 1509.</p> - - -<p class="p6"><a name="AppNote_Xk" id="AppNote_Xk"></a>K</p> - -<blockquote> - -<p><em>Godofredus Torinus Bituricus ad lectorem.</em></p></blockquote> - -<p>Quod eruęre, contendęre, misęre et huiusmodi -multa, per tale e in penultima scripta -leges, factum est ut ipsa indicativi præterita, -quæ regulariter penultimam habent longam, -a presenti et præterito imperfecto modi infinitivi, -quæ in tertia coniugatione semper -corripiunt penultimam, suam quantitatem, et -quam inter legendum proferre debes, tibi ostendant.<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span> -Illam Psalterii Quincuplicis nuper in -lucem dati perelegantem et absolutam scripturam -libenter sum imitatus et insecutus. Invenies -etiam ipsum e in aliquibus dictionibus, -similiter in genitivis et dativis singularibus, -nominativis et vocativis pluralibus primæ declinationis -nonnunquam, more quorumdam, pro -ædiphtongo poni, sed rarius. Insuper hæc consulto -scripsi mistum per s, et non per x, nam -misceo facit miscui in præterito, unde et mistum -analogice, intellego, toties, quoties, litus, -opidum, litera, tralatum, aliquando, et id genus -alia, secundum ορθογραϕιαμ, id est rectam -scripturam, observanda. TVRCAM etiam in -prima declinatione, quod multi in secunda proferunt, -scripsi. Michael Tarchaniota Marulus -Constantinopolitanus ad Carolum regem Franciæ -plausibiliter author est mihi. Eius sunt hæc -verba:—</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Invicte magni rex Caroli genus,</div> - <div class="i1">Quem tot virorum, tot superum piæ</div> - <div class="i1">Sortes iacentis vindicemque</div> - <div class="i1">Iusticiæ fideique poscunt;</div> - <div class="i1">Quem mesta tellus Ausonis hinc vocat,</div> - <div class="i1">Illinc solutis Grecia crinibus,</div> - <div class="i1">Et quicquid immanis profanat</div> - <div class="i1">TVRCA Asiæ, Syriæque pinguis, <em>et cætera</em>.</div> - </div> -</div> -</div> - -<p>Quod etiam plureis parteis, omneis monteis, -accusativos in eis protuli, grammatice quidem -et latine, authore Prisciano, lib. 7, cap. de accusativis -pluribus tertiæ declinationis, facere -visus sum. Ea est pulchra ad accusativum a -nominativo discriminandum diferentiam, et qua -mille sunt usi authores, de quibus multis Salustium, -Vergilium et Plautum hic testes habere sat -erit. Salustius, quiquidem primo etiam verbo est -usus, sic ait in Catilinario bello: 'Omneis homines -qui sese, etc.' Vergilius in primo Eneidos: -'Hic fessas non vincula naveis Ulla tenent....' -Plaut. in Aulularia: 'Quid est? quid ridetis novi -omneis, scio fures hic esse complureis.' Hoc lubens -annotare volui, ut (bone lector) non tantum -dicendi puritatem intellegas, sed et tanquam -digitos inter et legendum et dicendum pura verba -festiviter in promptu habeas et dicas. Vale.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xl" id="AppNote_Xl"></a>L</p> - -<p class="center"><em>Herverus de Berna Amandinus Iuventuti -Bituricæ S. D.</em></p> - -<p>Divitem, didascalum nostrum, sapientia -clarum et musarum alumnum, de vobis bene -meritum, non ignoratis; docuit enim vos -Musas, Heliconem, Phœbi nemus, Mercuriumque; -et enim innumeri (tanquam ex -e quo Troiano) ex officina eius prodiere litterati. -Curæ sunt ei gloriosissim Musarum -labores, cuius nomen in honoribus et laurea -immortale servandum censeo maxime. Ipse -non solum quod dicitur ad Aristophanis, sed -etiam ad Cleantis, lucernam lucubrasse fertur. -Elegantia carminis laudatum haud dubitatis, -ex quo fit ut poema religiosum quod conscripsit -de Passione Dominica extet, tantoque -splendore refulgeat, tanta suavitate redoleat, -tamque florido ornatu spectabile sit, ut cœlestis -ingenii artificio potius quam humani fabrefactum -credatur. Nec dubito quin ex eo -contingat quod plurimum litteratis viris contingere -consuevit: ut ait Claudianus, minuet -praesentia<a name="FNanchor_554_554" id="FNanchor_554_554"></a><a href="#Footnote_554_554" class="fnanchor">[554]</a> famam. Non tamen sine Theseo, -hoc est Torino Biturico, commilitone nostro, -antiquis moribus, et, ut Plautus ait, Massiliensibus<a name="FNanchor_555_555" id="FNanchor_555_555"></a><a href="#Footnote_555_555" class="fnanchor">[555]</a>, -et cum virtute doctissimo, voluimus -ut Dives in publicum volaret: speroque iterum -secundis (ut aiunt) avibus. Valete fœlicissime. -Ex ædibus nostris Amandinis, calendis -martii.</p> - - -<p class="p6"><a name="AppNote_Xm" id="AppNote_Xm"></a>M</p> - -<blockquote> - -<p><em>Godofredi Torini Biturici in preceptoris sui -Guilielmi Divitis Gandavensis commendationem -dialogus.</em></p></blockquote> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i3"><em>Interlocutores</em>: M<span class="smcapa">ONITOR</span> <em>et</em> L<span class="smcapa">IBER</span>.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Sancte liber, passum qui defles carmine Christum,</div> - <div class="i1">Fare age: cuius opus tam potes esse pium?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">L.</span> Cuius opus? videas. Sum Divitis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Illius euge</div> - <div class="i1">Ditia qui Bituris tot documenta dedit?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">L.</span> Vera putas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Vere est sapienti pectore Dives.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">L.</span> Aptius hoc nullum nomen habere potest.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Ipse est qui Bituris florenti dicere lingua</div> - <div class="i1">Edocuit, faciles pangere et ore modos.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">L.</span> Dicere non tantum docuit, nec texere carmen,</div> - <div class="i1">Corpora sed Christi cæsa videre dedit.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Brachia fixa Dei si quisquam cernere vellet,</div> - <div class="i1">An satis ad vivum Dives et ipse darer?<a name="FNanchor_556_556" id="FNanchor_556_556"></a><a href="#Footnote_556_556" class="fnanchor">[556]</a></div> - </div> - <div class="stanza"> -<span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span> - <div class="i0"><span class="smcapa">L.</span> Ferre crucem Domini, si vulnera sæva, coronam,</div> - <div class="i1">Discupis, in manibus me gere, cuncta feres.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Omnia vota ferat semper fœlicia Dives,</div> - <div class="i1">Tale piis qui dat cordibus esse bonum!</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">L.</span> Nestoreos terris perstet victurus in annos,</div> - <div class="i1">Postque obitum cœli ditia regna petat.</div> - </div> -</div> -</div> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xn" id="AppNote_Xn"></a>N</p> - -<blockquote> - -<p><i>Philibertum Baboum, virum honestissimum, -Godofredus Torinus Bituricus salutem plurima -iubet impartitum.</i></p></blockquote> - -<p>Anno præterito, quo tempore Pii Pontificis -Maximi Cosmographiam imprimendam curavi, -Berosum Babilonicum in antiquitatibus -regnorum bellissime recognoscere et impressoribus -non immutare dare venerat in mentem; -at, nescio quo animo meo se tunc agente, in -aliud tempus, opera dedita, rem propemodum -divinam facturus, differre decrevi, distulissem -quidem et in longissimum, atque, ut proverbio -memoratur, ad calendas græcas, nisi, ut ita -dicam, Berosus ipse, et quod non parvi apud me -est, eritque semper, amicorum plusculi, quotidie -ad aurem meam cum precibus quodam -modo simul innuentes, Myrsilum, de origine -Turrenorum, Catonem, in fragmentis, Archilocum, -Methastenem, Philonem, Xenophontem, -de æquivocis, Sempronium, Fabium Pictorem, -et Antoninum Pium, in fragmento -itinerarii, coimprimendos efflagitanter desiderassent. -Avarissimum est genus hominum, -quod si librum (librum dico inventu rarum) -trium aut quatuor versiculorum habeat (more -formicarum Indiæ, necnon griforum, qui aurum -penitus egestum cum summa pernicie attingentium -custodire feruntur), continuo abstractum -servat, cathenis et compedibus captivum -et misellum prorsus incarcerat. Tale -genus potius cum huiusmodi et formicis et -grifis, quod et alii grifibus declinant, curiosam -et avaram illam singularis alicuius sibi habendi -cupiditatem exercere, quam cum hominibus -inhumanitatem, quod et melius forte dixerim -immunitatem, habere deberet. Non solum nobis -nati sumus, debemur et amicis, debemur et -patriæ. Igitur ne ardentis lucernæ clarissimum -lumen opprimere velle videar, sub nomine tuo, -Philiberte, civium Bituricorum ornatissime, -gratiusculum reipublicæ factum opinor daturus -Berosianam antiquitatem cum aliis authoribus -nominatim præscriptis in apertum, et studium -omnibus commune iam libentius emitto. Vale.</p> - -<p>Parrhisiis, apud collegium Plesseiacum, 6 -nonas maias 1510.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xo" id="AppNote_Xo"></a>O</p> - -<blockquote> - -<p><em>Godofredus Torinus Bituricus ornatissimos -Philibertum Baboum et Ioannem Alemanum -Iuniorem, cives Bituricos, pari -inter se amicitia conjunctissimos, salutat.</em></p></blockquote> - -<p>Debentur vobis, viri singulari virtute plenissimi, -omnes quos et noctu et interdiu assumere -possum (etiam de industria) labores. Ecce. -Quia moribus antiquis, id est honestis et vere -bonis, haud mediocriter utimini et gaudetis, -Probum Valerium scripturarum antiquarum et -abbreviationum quæ in numismatis, sepulchris -et tabellis antiquitus perbelle consignabantur, -diligentissimum coacervatorem certissimumque -explanatorem, sub vestro mihi semper -amando nomine, lubens ut vel tantillum reipublicæ -valeam prodesse, caracteribus et impressioni, -cum nostra utinam tam felici quam diligenti -recognitiuncula, trado. Sinite, quæso, authorem -perquam singularem primum in vestras -omnem ad virtutem aptissimas, deinde studiosorum -omnium aliorum manus, commode -iam et festiviter exire. Valete.</p> - -<p>Parrhisiis, apud collegium Plesseiacum, 6 -idus maias 1510.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xp" id="AppNote_Xp"></a>P</p> - -<blockquote> - -<p><em>Godofredus Torinus Bituricus lectori salutem.</em></p></blockquote> - -<p>A quo tempore Probum Valerium imprimere -bonis, ut reor, avibus incœpi, ne liber -unius aut duorum codicum enchiridio minus -aptus exiret, pluscula scitu non indigna coimprimere -venit in mentem. Tractatum de ponderibus -et mensuris, ex Prisciano; item, quemadmodum -datæ formæ agrorum metiri debeant, -ex Columella; similiter figuras quæ sub -dimensionem cadant, ex Georgio Valla; dialogos -etiam aliquot cum ænigmatis, ex diversis -authoribus diligenter pro tempore collectis, -superaddimus. Ænigmata consulto reliquimus -inenarrata, ut tibi legenti (quod ait Gel. in -12 libro, cap. 6) coniecturas in requirendo -acueres. Da, precor (bone lector), operam, -ne tibi, quod etiam ænigmatice Plautus in -Milite ait: Glaucoma ob oculos obiecerim. -Vale.</p> - -<p><span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span></p> - - -<p class="p6"><a name="AppNote_Xq" id="AppNote_Xq"></a>Q</p> - -<blockquote> - -<p><em>Dialogus per Godofredum Torinum, in quo urbs -Biturica, sub loquente persona, describitur.</em></p> - -<p><em>Interlocutores</em>: M<span class="smcapa">ONITOR</span> <em>et</em> U<span class="smcapa">RBS</span>.</p></blockquote> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Urbs, tibi quod nomen?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Biturix.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> <span class="mleft3"> </span>Tu dic age quodnam</div> - <div class="i2">Hæc sibi quæ video tecta superba volunt?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Templa, domos, turres, divina palatia spectas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Hercle! suis cœlos molibus exuperant.</div> - <div class="i2">Hæc quæ templa, precor?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft10"> </span>Stephani protomartiris, ipsa</div> - <div class="i2">Quæ Triviæ excedunt marmora celsa deæ.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Quæ domus illa rubris excellens cordibus una,</div> - <div class="i2">Memnonis anne ipsa est ædificata manu?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Hanc Iacobus homo Cordatus condidit olim,</div> - <div class="i2">Dives opum; nobis quem abstulit invidia.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Arcibus hæc Phariis quæ maior cernitur, heus tu!</div> - <div class="i2">Quæ turris? miror cum satis aspicio.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Celtarum populos regeret cum maximus ille</div> - <div class="i2">Ambigatus, quondam condita tanta fuit.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Dic, ea, dic, palatia sunt Capitolia nunquid</div> - <div class="i3">Aurea? Responde, quid retices, Biturix?</div> - <div class="i2">Non loqueris facili quæ<a name="FNanchor_557_557" id="FNanchor_557_557"></a><a href="#Footnote_557_557" class="fnanchor">[557]</a> iam sermone loquuta es,</div> - <div class="i3">Hic mihi vis fieri quod fuit Harpocrates?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Non, ea sed tanta (videas) sunt arte probanda,</div> - <div class="i3">Talia quod totus non tulit orbis adhuc.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Terra quid hæc tanto quæ se distendit hiatu?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Est ubi turris erat constituenda mihi.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Altera nonne tibi quanta est hæc?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft12"> </span>Altera tanta.</div> - <div class="i3">Turribus a binis inde vocor Biturix.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Nomine quo fertur nostro hoc sub tempore?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft10"> </span>Fossam</div> - <div class="i0">Vulgus arenarum dictitat et vocitat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Quis tibi, quis fluvius memorandus?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft8"> </span>Avaricum.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> <span class="mleft12"> </span>An ille est</div> - <div class="i3">Quem memorat Cæsar Gallica bella notans?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Ille est.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Sunt alii?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> Duo sunt: sunt Ultrio et ipsa</div> - <div class="i3">Innumeris pregnans Hebrya pisciculis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Quæ tibi sunt dotes?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft8"> </span>Omnis veneranda facultas</div> - <div class="i3">Est mihi quæ nummos cudit et aula novos.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Nil aliud quicquam est?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft10"> </span>Aquitania primam</div> - <div class="i3">Me vocat, et leges accipit ipsa meas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">MON.</span> Numina quæ tecum?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">BIT.</span> <span class="mleft8"> </span>Sunt Juno, Jupiter et Pan,</div> - <div class="i3">Vesta, Diana, Ceres, Liber et ipse pater.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xr" id="AppNote_Xr"></a>R</p> - -<blockquote> - -<p><em>Godofredus Torinus Bituricus Philiberto Baboo -et Ioanni Alemano Iuniori, viris ornatissimis, -S. P. D.</em></p></blockquote> - -<p>Maiores nostros sua probitate contentos modum -suum ædificandi parva cum arte et elegantia -quondam exercuisse (viri singulari virtute -cumulatissimi) nemo est qui nesciat. Contenit -siquidem ipsa mediocritate, domos et habitacula -magno sine luxu et splendore construebant et -inhabitabant. Eo tandem est perventum, ut ingeniis -plusculum iam expergefactis fiant et adstruantur -ædificia passim non incelebria. Nempe -ab illo tempore quo magnanimus ille Rex, totius -Italiæ terror, Carolus Octavus, non sine magna -gloria victor Neapoli rediit, ars ipsa ædificandi -sane quamvenusta, Dorica et Ionica, item Italica, -totam hic apud Galliam exerceri cœpit bellissime. -Ambasiæ, Gallioni, Turoniæ, Blesis, -Parrhisiis et aliis centum nobilibus locis, publice -et private conspicua iam ædificia cernere -licet antiqualia. Licet, inquam, adeo nitida et ad -unguem exculpta dispicere multa, ut non modo -Italos, imo Dores et Iones, Italorum magistros, -ipsi Galli vincere videantur et iudicentur -manifestissime. Rebus huiusmodi et ingeniis -tam excellenter florentibus optimum esse duxi -rem admodum utilem non ingratus obferre, -diligensque superaddere, Leo Baptista Albertus, -author in architectura et familiaris et luculentus, -apud me quasi sopitus delitescebat. Visus<span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span> -est dignissimus qui tempestive iam pro claris -et melioribus ingeniis oblectandis et adiuvandis -in Gallia daretur impressioni. Dignissimus, inquam, -visus est mihi, et eo maxime, quod et libri -ipsi decem, quibus totum opus constat, per -capita sunt distincti. Ipsa capita vir bonis literis -eruditus Robertus Duræus Fortunatus, meus -apud suum collegium Plesseiacum Parrhisiis -quatuor annos quibus docebam olim primarius, -accurate et diligenter digessit, mihi exscribenda -non gravate dono dedit. Exscripsi opusque totum, -insuper elimavi, mendis quamplurimis defecavi, -succum textus in margine transcripsi, -chalcographo imprimendum dedi. Sinite, oro, -viri Biturigum celeberrimi, opus egregium in -bonorum omnium ingeniorum et studiosorum -manus sub nomine vestro mihi semper excolendo -fœliciter exire haberi, legi.</p> - -<p>Valete patriæ columina et ornamenta speciosissima.</p> - -<p>Parrhisiis, e regione collegii Coqueretici, -XV kal. septembris M. D. xij.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - -<p>Leonis Baptistæ Alberti Florentini, viri -clarissimi, de re ædificatoria opus elegantissimum -et quammaxime utile, accuratissime Parisius -in Sole Aureo vici Divi Jacobi impræssum, -opera magistri Bertholdi Rembolt et -Ludovici Hornken, in eodem vico ad intersignium -Trium Coronarum, e regione Divi Benedicti -commoran. Anno Domini M. D. XII, -die vero xxiii Augusti.</p> - - -<p class="p6"><a name="AppNote_Xs" id="AppNote_Xs"></a>S</p> - -<blockquote> - -<p><i>Godofredus Torinus Bituricus Philiberto Baboo, -viro modestissimo, S. P. D.</i></p></blockquote> - -<p>Itinerarium multis iam annis, vir ornatissime, -situ propemodum obsitum, quum ab -amico michi semper excolendo Christophoro -Longuolio, viro sine controversia studiorum -omnium bonorum excellentissimo, iam ab -hinc quatuor annos commodo primum exscribendum -accepissem, unum tibi manu mea -scriptum, forma quidem non usque quaque ineptum, -ad te ex Parrhisiis in Turoniam mittere -venerat in mentem. Viro cuius etiam nomini -lubens parco ad te dederam portandum; -verum ipse alii nescio cui, te, me, et sua fide -posthabitis, satis impudenter dono dedit. Labore -meo sic ego frustratus, alterum tibi conscribere -maturabam, nisi ipse Longuolius, qui -exemplar iam olim ex Morinis adportaverat, -et michi, ut dixi, commodo dederat, nuper ex -Pictavis Parrhisios adveniens, monuisset imprimendum -curarem. Curavi equidem, nominibus -opidorum seiunctim et seriatim coordinatis, -additis etiam suo loco plusculis aliter in -altero exemplari scriptis. Feci et indicem, quo -facillime quodcumque opidi et loci nomen in -toto opere disquiri possit. Mirabitur fortassis -aliquis ipsius operis stilum, interdum etiam -nonnullis in locis latinitatem. Stilum ipsum -satis laudabit studiosus; latinitatem vero antiquæ -illi ætati lector non malivolus condonabit. -Multa subemendassem Ptholomeo, -Strabone, Dionysio, Mela, Plinio, Solino et -authoribus aliis aliquot non omnino aspernandis -usus, sed et authori augusto reverentiam, -et exemplari admodum vetusto synceritatem -observans, nichil immutare volui, Longuolii -mei in aliud tempus studia vigilantissima, vel -alicujus Hermolai limam exactissimam expectans. -Unum est quod hic tangere non verebor, -authoris nomen in exemplari fuisse meo -judicio imperfectum (nam et Antoninus Augustus -inscribitur). Ab Hermolao, viro alioqui -nitido, Antoninus multis in locis apud suas -in Plinium castigationes allegatur. Viderint qui -legent. In textu exemplar ipsum secutus sum. -In inscriptione libri Hermolaum sum imitatus. -Laborem meum quantulumcumque tibi (ut debeo), -animo nequaquam ingrato, nuncupatim -dico. Suscipe, oro, qua fronte et optima quæque -soles, et permitte studiosissimorum quemque -per insignes mille urbes, te duce, cum hoc -itinerario venire. Vale, studiorum meorum succollator -humanissime.</p> - -<p>Parrhisiis, e regione collegii Coqueretici, -14 calendas septembris 1512.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xt" id="AppNote_Xt"></a>T</p> - -<p class="center"><em>Torinus lectori salutem.</em></p> - -<p>Quo melius hoc Itinerario, iucunde lector, -possis uti, admonendus es quæcumque virgula -miniacea notata deprehendes ea plura fuisse -apud vetus exemplar quam in altero recenti; -quæ autem in ipso recenti diversa legebantur -minutula litera et ipsa quidem rubra suis locis -sunt super impressa. Quandocumque hujus -modi signum ʌ interlegendum occurret, dictio -vel numerus eodem signo supra vel juxta notatus -esse debet. Ilud etiam in textu multis in -locis hoc modo scriptum mpm. significat milia -plus minus. Scriptum est autem sic ne tam frequens -et longula repetitio lectorem tedio afficeret. -In indice nonnumquam b. literam solam, -post vel inter chartarum numeros, invenies: ea<span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span> -significat dictionem ipsam bis ad minimum -eadem in charta posse inveniri. Vide ergo, et -gratus attende, quod si quos hanc nostram diligentiam -non amare videas, Persianum illis hoc -apud te dicas: 'Virtutem ut videant, intabescantque -relicta.' Hoc ideo scribo quoniam inter -imprimendum quidam nichil tale intelligentes -de more damnabant.</p> - -<p>Vale et vive diu fœlix.</p> - -<p class="center"><span class="smcapa">CIVIS</span>.</p> - - -<p class="p6"><a name="AppNote_Xu" id="AppNote_Xu"></a>U</p> - -<blockquote> - -<p><em>Gerardi Versellani Burgundi carmen hendecasyllabon -in malos impressores.</em></p></blockquote> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i1">Ergo hinc ergo procul manus profanæ</div> - <div class="i0">Vulgi chalcographon inauspicati,</div> - <div class="i0">Impuræque operæ procul facessant,</div> - <div class="i0">Ne interdicto aditu improbaque fronte</div> - <div class="i0">Res spurcetur et inquinetur alma.</div> - <div class="i0">Ne quis nesciat: hoc sacrum est volumen.</div> - </div> - <div class="stanza"> - <div class="i1">Heu chalcographi mali et miselli,</div> - <div class="i0">Nullas ne scholicas quidem aut aniles</div> - <div class="i0">Nugellas dare formulis periti,</div> - <div class="i0">Quid sanctas male taminatis artes,</div> - <div class="i0">Incestaque manu novem Sororum</div> - <div class="i0">Funestatis opes laboriosas?</div> - </div> - <div class="stanza"> - <div class="i1">Quid non promitis ita ab officina</div> - <div class="i0">Illuc projicier fodique dignum</div> - <div class="i0">Quo ventris retrimenta deferuntur?</div> - </div> - <div class="stanza"> - <div class="i1">Ergo hinc ergo procul profani abite,</div> - <div class="i0">Vos, o chalcographi mali et miselli!</div> - <div class="i0">Sit dictum satis: hoc sacrum est volumen</div> - <div class="i0">Quod noster Godofredus, ille noster,</div> - <div class="i0">Ille, inquam, Biturix, Pii misertus,</div> - <div class="i0">Lethæa carie eruit sepultum,</div> - <div class="i0">Ductu Longuolii sui atque ope usus.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xv" id="AppNote_Xv"></a>V</p> - -<p class="center"><em>Torinus lectori felicitatem.</em></p> - -<p>Hasce plusculas recognitiones, lector optime, -oro non admirare. Sic eas ab exemplari -vetere diversas collegi, ut tibi non pigra manu -librum emendare possis. Errores chalcographis -imponerem; sed ars ipsa prelaria suopte more -hoc in se habet, ut ne libellus quidem sine aliqua -menda prorsus imprimi possit. Vale.</p> - -<p class="center"><em>Ad studiosum Epigramma per Torinum.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Oppida si centum, centum si sedulus urbes</div> - <div class="i1">Certo cum spacio, lector, adire paras,</div> - <div class="i0">Centena portus si cum statione marinos</div> - <div class="i1">Excupis, et recta doctior ire via,</div> - <div class="i0">Hunc tibi comprimis habilem studiose libellum</div> - <div class="i1">In dextra gratus semper habeto manu.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xw" id="AppNote_Xw"></a>W</p> - -<p class="center"><em>Torinus ad Librum.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">I, Liber, ad vatum penetralia sacra piorum;</div> - <div class="i1">Es facilis, tersus, candidus, atque probus.</div> - <div class="i0">Exornatus habes nardosque, rosasque, crocosque,</div> - <div class="i1">Cum Phœbo et latias numina grata Deas.</div> - <div class="i0">Ne vereare Deos tecum vectare faventes,</div> - <div class="i1">Spirantem lauros te super astra ferent.</div> - </div> -</div> -</div> - -<blockquote> - -<p><em>Agnes Torina, virguncularum modestissima -suavissimaque, de tumulo viatorem alloquitur.</em></p></blockquote> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Qui levibus transis pedibus, dilecte viator,</div> - <div class="i1">Siste parum; ecce, tibi dicere pauca libet.</div> - <div class="i0">Vive memor leti, viciis abstersus, et illam</div> - <div class="i1">Spem tibi vivendi, si sapis, abjicito.</div> - <div class="i0">Ore nites hodie pulchro, sed stamine secto</div> - <div class="i1">Protinus in nihilum te impia Parca rapit.</div> - <div class="i0">Hoc experta scio, quoniam virguncula nuper</div> - <div class="i1">Annos nata decem rapta repente fui.</div> - <div class="i0">Ut rosa florebam sociis virtutibus illis</div> - <div class="i1">Quæ cerni in tenera virginitate solent.</div> - <div class="i0">Sed tamen interii crudelibus obruta fatis,</div> - <div class="i1">Iam data carnivoris vermibus esca meis.</div> - <div class="i0">Vermibus esca meis iaceo data, non tamen usque</div> - <div class="i1">Usque adeo exanguis quin tibi vera loquar.</div> - <div class="i0">Ore loquor latio, nec mirum, candide amice,</div> - <div class="i1">Filia nam vatis sum memoranda pii.</div> - <div class="i0">Imbutam ausonia cupiens me reddere lingua</div> - <div class="i1">Artibus et pariter me decorare bonis,</div> - <div class="i0">Nocte dieque docens, pater ut charissimus, ipse</div> - <div class="i1">Fundamenta mihi dulcia et ampla dabat.</div> - <div class="i0">Docta forem celebres nimirum amplexa camænas,</div> - <div class="i1">Et canerem blandis carmina pulchra modis.</div> - <div class="i0">Oscula chara mihi genitor meus inde dedisset,</div> - <div class="i1">Imponens capiti laurea serta meo.</div> - <div class="i0">O miseras hominum sortes! O vota caduca!</div> - <div class="i1">In terris nihil est quod solidum esse queat.</div> - <div class="i0">Non solum miseris mortalibus obvia mors est,</div> - <div class="i1">Sed tacito insidians clam subit ilia pede.</div> - <div class="i0">Ah! caveas igitur, caveas moriture, profecto</div> - <div class="i1">Omnia sub modico tempore lapsa ruunt.</div> - <div class="i0">Tu dum vivis adhuc, magnos dum quæris honores,</div> - <div class="i1">Instabili<a name="FNanchor_558_558" id="FNanchor_558_558"></a><a href="#Footnote_558_558" class="fnanchor">[558]</a> et rapide pergis obire gradu.</div> - <div class="i0">Si contentus abis hoc uno denique certo</div> - <div class="i1">Consilio, et tu me dicere vera putas,</div> -<span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span> - <div class="i0">Sparge mihi flores, violas et lilia, nardos;</div> - <div class="i1">Funde preces etiam, si placet, et lachrymas.</div> - <div class="i0">Me facies superum precibus conscendere ad axem,</div> - <div class="i1">Lux ubi perpetua est, pax et amœna quies.</div> - <div class="i0">Hoc erat exiguum quod ego te scire volebam,</div> - <div class="i1">Vive memor leti, mox periture. Vale.</div> - </div> - <div class="stanza"> - <div class="i3">Obiit ubi erat nata, Parisiis, xxv augusti,</div> - <div class="i4">anno Do[mini] M.D.XXII.</div> - </div> -</div> -</div> - -<p>Vixit annos novem, menses undecim, dies -fere triginta. Horas scit nemo. Momenta solus -novit Deus.</p> - -<hr class="tb" /> - -<blockquote> - -<p class="center">P<span class="smcapa">ATER</span> <em>et</em> F<span class="smcapa">ILIA</span> <em>collocutores</em>.</p></blockquote> -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">P.</span> Vermibus esca iaces, charissima filia! tu me</div> - <div class="i1">Linquis in assiduis fletibus et lachrymis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">F.</span> Chare pater! lachrymis parcas et fletibus, actum</div> - <div class="i1">Est de me. Iuvenes mors rapit atque senes.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">P.</span> Parcere non possum diris nec planctibus. Eia!</div> - <div class="i1">Debueram in mortem iustius ire prior.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">F.</span> Sic fore non placuit fatis cœlestibus. Ad me,</div> - <div class="i1">Crede mihi, certo funere tu venies.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">P.</span> Interea manibus violas et lilia plenis</div> - <div class="i1">Ad tua demissa fronte sepulchra feram.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">F.</span> Adde preces, precibus supera ad convexa volabo:</div> - <div class="i1">Astra piæ faciunt scandere celsa preces.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">P.</span> Est ut ais, tu gnata etiam pro patre precare,</div> - <div class="i1">Scilicet ut tecum sidera læta petat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">F.</span> Sidera læta petes curis exemptus amaris,</div> - <div class="i1">Omnibus et mentis sordibus expositis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">P.</span> Vera mones, et sic faciam. Deus optimus ad se</div> - <div class="i1">Te vocet in cœlum. Filia chara, vale.</div> - </div> - <div class="stanza"> - <div class="i0"><hr class="tb" /></div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">P.</span> Eia, mea dulcis anima, defuncta es.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">F.</span> Euge, pater. Nemo immortalis.</div> - </div> -</div> -</div> - -<hr class="tb" /> - -<blockquote> - -<p><em>Disticha duodecim urnæ faciebus separatim inscribenda.</em></p></blockquote> - - -<p class="center">In prima facie.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Vis flores! violas! Vis lilia! serta! cyperos!</div> - <div class="i1">Hæc tibi, sume libens, fictilis urna dabit.</div> - </div> -</div> -</div> - - -<p class="center">In secunda.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hac Agnes defuncta iacet virguncula in urna,</div> - <div class="i1">In cuius medio spirat amœnus odos.</div> - </div> -</div> -</div> - - -<p class="center">In III.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic locus, hic et Amor, Ludus, Virtus quoque, et ipsæ</div> - <div class="i1">Cum Musis Charites suntque sedentque Deæ.</div> - </div> -</div> -</div> - - -<p class="center">In IIII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hac amaracus inest urna, redolensque cyperus,</div> - <div class="i1">Insunt et violæ, lilia, serta, rosæ.</div> - </div> -</div> -</div> - - -<p class="center">In V.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Non iacet hic Agnes virguncula sola, sed ipsæ</div> - <div class="i1">Cum Phœbo Clariæ suntque sedentque Deæ.</div> - </div> -</div> -</div> - - -<p class="center">In VI.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Bracteolas gemmis iunctas viridesque lapillos</div> - <div class="i1">Hæc cum perpetuis floribus urna fovet.</div> - </div> -</div> -</div> - - -<p class="center">In VII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Vis et amas urnam Agnetis cognoscere? Cerne,</div> - <div class="i1">Laurus ubi excellens alta sub astra viret.</div> - </div> -</div> -</div> - - -<p class="center">In VIII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic defuncta iacet virgo memorabilis Agnes,</div> - <div class="i1">Quæ faciles tenero iam dabat ore modos.</div> - </div> -</div> -</div> - - -<p class="center">In IX.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Annos nata decem iacet hic virguncula vates,</div> - <div class="i1">Carminis ingenui et virginitatis honor.</div> - </div> -</div> -</div> - - -<p class="center">In X.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Si petis Agnetis cineres cognoscere certos,</div> - <div class="i1">Hic sunt, ne dubita credere, certus habes.</div> - </div> -</div> -</div> - - -<p class="center">In XI.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Vis Phœbum et Musas modulis cum dulcibus ipsas?</div> - <div class="i1">Hanc subeas urnam, protinus invenies.</div> - </div> -</div> -</div> - - -<p class="center">In XII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Succrescens vates, teneris defuncta sub annis,</div> - <div class="i1">Hic cum laurigera virginitate iacet.</div> - </div> -</div> -</div> - -<hr class="tb" /> - - -<p class="center"><span class="smcapa">MONITOR</span> <em>et</em> <span class="smcapa">AGNES</span> <em>collocutores</em>.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Dic mihi pauca, precor, vates virguncula?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft12"> </span>Dicam.</div> - <div class="i1">Dummodo pauca roges.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> <span class="mleft9"> </span>Pauca rogabo.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft15"> </span>Roga.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quæ tibi defunctæ mens?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft10"> </span>Aurea.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> <span class="mleft12"> </span>Quid tibi corpus?</div> -<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> Pulvereum.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> <span class="mleft4"> </span>Quisnam spiritus?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft12"> </span>Æthereus.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Sufficit, alma quies tibi sit cum pace perennis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft1"> </span>Et tibi viventi dulcis et ampla salus.</div> - </div> -</div> -</div> - -<blockquote> - -<p><em>Disticha de lauro prope tumulum et urnam -Agnetis in tabellis scriptis pendentia.</em></p></blockquote> - - -<p class="center">In prima tabella.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic iacet eximiæ vates virtutis imago,</div> - <div class="i1">Naturæ specimen nobile et egregium.</div> - </div> -</div> -</div> - - -<p class="center">In secunda.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic confracta iacent pharetris languentibus arma,</div> - <div class="i1">Quæ quondam ingenuus ferre solebat Amor.</div> - </div> -</div> -</div> - - -<p class="center">In III.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Unio, chrystallus, magnes, viridisque smaragdus,</div> - <div class="i1">Hic cum virginea vate iacente nitent.</div> - </div> -</div> -</div> - - -<p class="center">In IIII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic ver perpetuum vario cum flore virescet,</div> - <div class="i1">Dum carpenta micans aurea Phœbus aget.</div> - </div> -</div> -</div> - - -<p class="center">In V.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic Decor et Ludus, Risusque, Iocusque, quiescunt,</div> - <div class="i1">Hic cum laurigera est virgine inermis Amor.</div> - </div> -</div> -</div> - - -<p class="center">In VI.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hac conclusus inest media thesaurus in urna;</div> - <div class="i1">Ne tangas, gemmæ sunt simul innumeræ.</div> - </div> -</div> -</div> - - -<p class="center">In VII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Dum radiis Phœbus cœlestia templa replebit,</div> - <div class="i1">Hic violæ et flores, his et anetus erunt.</div> - </div> -</div> -</div> - - -<p class="center">In VIII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic Amor, et Ludus, Risusque, Iocusque, Leposque,</div> - <div class="i1">Hic Musæ et Charites, hic et Apollo sedent.</div> - </div> -</div> -</div> - - -<p class="center">In IX.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic cum mellifluis habitat virguncula Musis,</div> - <div class="i1">Acceptura decus perpetuumque melos.</div> - </div> -</div> -</div> - - -<p class="center">In X.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Sponte sua tellus amaracina secta refundens</div> - <div class="i1">Hic viret, et verno rore benigna madet.</div> - </div> -</div> -</div> - - -<p class="center">In XI.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic violæ, hic flores, hic lilia, serta, coronæ,</div> - <div class="i1">Sponte sua increscunt, sponte suaque virent.</div> - </div> -</div> -</div> - - -<p class="center">In XII.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hic sua signa manu Genius difringit acerba,</div> - <div class="i1">Naturæ specimen dum periisse videt.</div> - </div> -</div> -</div> - -<hr class="tb" /> - - -<p class="center">M<span class="smcapa">ONITOR</span> <em>et</em> V<span class="smcapa">IRGINITAS</span> <em>collocutores</em>.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Heus tu quæ roseo es virgo spectabilis ore,</div> - <div class="i1">Quid facis hic lachrymans anxia tota?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft15"> </span>Gemo.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quæ causa est gemitus?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft10"> </span>Agnes virguncula, cuius</div> - <div class="i1">Hæc prope me cineres fictilis urna tenet.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Unde meis tam suavis odos est naribus?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft15"> </span>Urna</div> - <div class="i1">De media, Charites quem posuere Deæ.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quid posuere?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft5"> </span>Rosas et cinnama, balsama, nardos,</div> - <div class="i1">Flores et violas, lilia, serta, crocos.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> An amaracus inest etiam cum stacte cyperus?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Omnis inest redolens herba et amænus odor.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Urna gerit viridem pulchre insignita coronam?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Ut decet et par est, laurea serta gerit.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quæ ratio?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft5"> </span>Musas in se comprendit ovantes,</div> - <div class="i1">Quæ teneræ cantant virginis exequias.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> An solæ recinunt?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft7"> </span>Solæ non. Phœbus Apollo</div> - <div class="i1">In medio modulans mystica sacra fovet.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quid tibi vis igitur, virgo suavissima, tanto</div> - <div class="i1">Cum gemitu, et superi te prope dulce canunt?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Vera tibi dicam, nequeo non flere libenter,</div> - <div class="i1">Tam fuit egregio nobilis ingenio.</div> - <div class="i0">Annos nata decem, patris præcepta secuta,</div> - <div class="i1">Iam facilis vates carmen ab ore dabat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Tu mihi naturæ miracula grandia narras!</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Hisce nihil terris verius esse potest.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Qui sunt quos video stantes?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft11"> </span>Ludus, locus, inde</div> - <div class="i1">Gestus, Honor, Virtus et genialis Amor.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Arma iacent urnam circum quamplurima fracta?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Ipsi gestabant integriora Dei.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quid facient fractis olim sic omnibus illis?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Cum planctu et lachrymis assiduos gemitus.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Tune etiam flebis?</div> -<span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft7"> </span>Flebo mœstissima semper.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Nomen habes?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft3"> </span>Habeo.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> <span class="mleft5"> </span>Quid tibi?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft8"> </span>Virginitas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Chara, vale.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Valeas, Monitor charissime, et huius</div> - <div class="i1">Egregiæ quondam virginis esto memor.</div> - </div> -</div> -</div> - -<hr class="tb" /> - - -<p class="center">M<span class="smcapa">ONITOR</span> <em>et</em> A<span class="smcapa">GNES</span> <em>collocutores</em>.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Parva iacens vates celebri dignissima laude,</div> - <div class="i1">Sum potis his tecum dicere pauca?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft13"> </span>Potis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Hanc tibi quis struxit gemmis insignibus urnam?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft2"> </span>Quis? Meus in tali nobilis arte pater.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Excellens certe est figulus genitor tuus.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft15"> </span>Artes</div> - <div class="i1">Quottidie tractat sedulus ingenuas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Anne etiam scribit modulos et carmina?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft15"> </span>Scribit.</div> - <div class="i1">Dulcibus et verbis hæc mea fata beat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Ipsius est nimirum hominis solertia mira?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft2"> </span>Tam celebrem regio vix tulit ulla virum.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> O tali virgo felix genitore!</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft10"> </span>Profecto.</div> - <div class="i1">Ipse etiam nomen tollit inastra meum.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Audio concentus.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft7"> </span>Clariæ modulamina Musæ</div> - <div class="i1">Cum Phœbo hic mecum nocte dieque canunt.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Te prope conspicio Charites?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft10"> </span>Mihi serta ministrant.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Unde legunt violas?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft8"> </span>Collibus Elysiis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Sunt alii tecum?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft6"> </span>Sunt et tria numina.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> <span class="mleft13"> </span>Quænam?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft2"> </span>Ludus, Amor, Monitor candide, et inde Iocus.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Quid faciunt?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft5"> </span>Holocausta mihi divina reponunt,</div> - <div class="i1">Et solitos implent fomite et igne focos.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Es Dea de superis iamdudum sedibus una?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft2"> </span>De superis fio sedibus una Dea.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Si Dea, cur charos in cœlica regna parentes</div> - <div class="i1">Scandere non curas?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft8"> </span>Scandet uterque parens.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Sed quando?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft5"> </span>Quando certe sua fata videbunt</div> - <div class="i1">Esse opus. Ex fatis stat sua cuique dies.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Stat sua cuique dies ergo certissima?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft14"> </span>Cuique</div> - <div class="i1">Eveniunt certo fata suprema die.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Interea genitor tuus et tua mater in hisce</div> - <div class="i2">Quid facient terris?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft8"> </span>Quid? Pia, sacra, preces.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Postea quid fiet?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft6"> </span>Cœlestia templa beati,</div> - <div class="i1">Æthereo et supero patre favente, petent.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> In mea iam redeo tractanda negocia.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">A.</span> <span class="mleft14"> </span>Quando</div> - <div class="i1">Nempe voles; felix vive, et amice vale.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">M.</span> Tu quoque cum superis habita cœlestibus ut mens</div> - <div class="i2">Ætherea, ut sidus nobile, ut alma Dea.</div> - </div> -</div> -</div> - -<hr class="tb" /> - - -<p class="center">G<span class="smcapa">ENIUS</span> <em>et</em> V<span class="smcapa">IATOR</span> <em>collocutores</em>.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Siste parum, ulterius, quæso, nec tende viator,</div> - <div class="i1">Hanc urnam et tumulum quin prius aspicias.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Quis tu?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft4"> </span>Sum Genius.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft2"> </span>Quid vis tibi?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft8"> </span>Pauca vicissim</div> - <div class="i1">Hic cupio tecum dicere, amice.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft12"> </span>Placet.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Virgineam vatem fatis crudelibus haustam</div> - <div class="i2">Aspice ut hæc in se fictilis urna tenet!</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Annos quot vixit?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft7"> </span>Bis quinque.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft10"> </span>Canebat et ilia</div> - <div class="i2">Docta modos?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft6"> </span>Sic est.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> <span class="mleft9"> </span>Tu mihi mira canis.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Scribebat dulci genialia carmina versu,</div> - <div class="i2">Sponte sua modulans, sponte suapte canens.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Naturae o rarum decus! o manifesta Deorum</div> - <div class="i2">Gloria, quod vates ilia tenella foret?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Carmen erat quicquid casu proferre volebat,</div> - <div class="i2">Quicquid et optabat dicere carmen erat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Unde illi tantæ frugis veniebat origo?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft2"> </span>Sedibus a superis, unde venire solet.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Ut divina igitur versus faciebat amœnos?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft2"> </span>Ut divina, sui et iussa secuta patris.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Illius an etiam genitor modulamina tractat?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft1"> </span>Tractat, et est vates candidus atque probus.</div> - <div class="i0">Est probus et facilis, tersus, florensque, decensque.</div> - <div class="i2">Est quem divino carmine Musa beat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Mecenate aliquo certe dignissimus ille est.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft1"> </span>Mecenas Franco rarus in orbe viget.</div> - <div class="i0">Nemo hodie ingenuas donis conformibus artes</div> -<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span> - <div class="i2">Aut fovet, aut ulla sorte fovere parat.</div> - <div class="i0">Non est in pretio probitas, nec candida virtus.</div> - <div class="i2">Infelix adeo regnat Avaricia.</div> - <div class="i0">Fraus, dolus et vitium prestant; virtutibus omne</div> - <div class="i2">Postpositis miserum serpit ubique nephas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Quid facit ille igitur Musis excultus amœnis?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft2"> </span>In propria gaudet vivere posse domo.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Ad reges alacri deberet tendere passu.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft2"> </span>Non curat, quoniam libera corda gerit.</div> - <div class="i0">Isti nonnunquam gaudent spectare potentes</div> - <div class="i2">Carmina, sed quid tum: nictibus illa beant.</div> - <div class="i0">Deberent gemmis auroque rependere puro</div> - <div class="i2">Aurea de superis carmina ducta polis.</div> - <div class="i0">Sed potius fatuis, nebulonibus atque prophanis</div> - <div class="i2">Contribuunt stulti grandia dona leves.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Ille suam natam studiis ornabat honestis?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft2"> </span>Ornabat studiis, artibus atque bonis,</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> An quoque et illa libens patris præcepta tenebat?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft2"> </span>Nil magis optabat quam patris ora sequi.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> O quam grandis honor patriæque patrique fuisset</div> - <div class="i2">Integra si vitæ munia adepta foret!</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Nimirum Francis in sedibus illa puellas</div> - <div class="i2">Ante omneis alias gloria prima foret.</div> - <div class="i0">Insignis facie, vultu formosa modesto,</div> - <div class="i2">Moribus et dictis aurea tota bonis.</div> - <div class="i0">Ad se corda hominum, iuvenumque, senumque trahebat</div> - <div class="i2">In sua constanti vota sequenda fide.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Mira mihi dicis?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft6"> </span>Dico tibi vera, viator.</div> - <div class="i2">Ingenuæ speculum nobilitatis erat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> O nimis immensus dolor! o dolor asper et angor!</div> - <div class="i2">Tam rapido talem posse perire gradu!</div> - <div class="i0">Quid pater interea faciet?</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> <span class="mleft9"> </span>Mœstissimus ipse</div> - <div class="i2">Cordolium et lachrymas perferet assiduas.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Ille preces melius superis cœlestibus amplas</div> - <div class="i2">Funderet et precibus iungeret exequias.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Exequias precibus iungitque fovetque perennes,</div> - <div class="i1">Implet et assuetos fomite et ignefocos.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> O tam plausibili virguncula digna parente!</div> - <div class="i2">O etiam tali stirpe beate pater!</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> Illa modo lætis in nubibus alma refulget,</div> - <div class="i2">Ut jubar exortum, sidus ut aureolum.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Æthereis fulgens in sedibus illa triumphet,</div> - <div class="i2">Et patrem secum filia grata trahat.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">G.</span> In rem vade tuam, si vis modo abire, viator:</div> - <div class="i2">Hæc sunt quæ volui dicere. Amice, vale.</div> - </div> - <div class="stanza"> - <div class="i0"><span class="smcapa">V.</span> Sis felix tumuli custos, urnæque retector;</div> - <div class="i2">In rem vado meam sedulus et properus.</div> - </div> -</div> -</div> - -<p>Impressum Parrhisiis, e regione scholæ -Decretorum, anno Do[mini] M.D.XXIII, -die xv mensis febr.</p> - - -<p class="p6"><a name="AppNote_Xx" id="AppNote_Xx"></a>X</p> - -<blockquote> - -<p><em>Godofredus Torinus Biturigicus lectori candido -s(alutem).</em></p></blockquote> - -<p>Egregii quidam sunt felici hoc seculo pictores, -lector humanissime, qui suis lineamentis, -picturis et variis coloribus deos gentilitios et -homines, itemque alias res quascunque adeo -exacte depingunt, ut illis vox et anima deesse -tantummodo videatur; sed ecce, lector humanissime, -ego iam tibi illorum propemodum -more, domum offero, non solum suis lineamentis -et partibus elegantem et absolutam, sed -etiam pulchre loquentem et encomio sese particulatim -describentem. Offero etiam tibi septem -Epitaphia antiquo more et sermone veterrimo -conficta et conscripta, varios miserorum -hominum amantum affectus pervio quodam -modo ostendentia. Ipsa tibi (inquam) lubens -offero, non ut ita verbis obsitis loquaris aut -scribas, sed ut antiquitatem ipsam tibi ante oculos -tuos faciles et iucundissimos habeas, et te -a me benemonitum intelligas, ut in amoris insani -laqueos et angustias devenire caveas. -Vale.</p> - - -<p class="p6"><a name="AppNote_Xy" id="AppNote_Xy"></a>Y</p> - -<p class="center"><em>Gotofredus Torinus Biturigicus ad reginam -Leonoram.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Pergimus hunc, Leonora, tuum celebrare triumphum,</div> - <div class="i1">Quem tibi Parrhisii contribuere tui.</div> - <div class="i0">Tam pia tu nobis extas regina quod omnes</div> - <div class="i1">Dicere te veram possumus esse D<span class="smcapa">EAM</span>.</div> - <div class="i0">Esse D<span class="smcapa">EAM</span> sane te dicere possumus almam,</div> - <div class="i1">Quum nos optata denique pace beas.</div> - <div class="i0">Pace beas omneis qui Gallica regna frequentant,</div> - <div class="i1">Fata adeo nutu te statuere bono.</div> - <div class="i0">Ut proba, sancta etiam, clemens, et vera beatrix,</div> - <div class="i1">Adduxti patriæ Lilla nostra suæ.</div> - <div class="i0">Vis dicam paucis, et verum proloquar, in te</div> - <div class="i1">Omnibus est nobis publica et ampla salus.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span></p> - - -<p class="center"><em>Idem ad eandem.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Di, Leonora, tibi felicia Fata perennent;</div> - <div class="i1">Lætitia es nobis, Pax, et amœna Quies.</div> - </div> -</div> -</div> - - -<p class="center"><em>Idem Torinus ad Gentem Gallicam.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Exulta et lætare simul, gens Gallica, cernis</div> - <div class="i1">Quas tibi delicias iam Leonora facit.</div> - <div class="i0">Ipsa, Dei (credas) manifesto numine missa,</div> - <div class="i1">Te facit egregia denique pace frui.</div> - <div class="i0">Sparge rosas, lauros, violas, nardumque, crocumque,</div> - <div class="i1">Et genio indulge tota iocosa tuo.</div> - <div class="i0">Sed videas etiam ne tu gens optima cesses</div> - <div class="i1">Ante Deum laudes accumulare pias;</div> - <div class="i0">Si canis usque Deo laudes, et phana frequentas,</div> - <div class="i1">(Crede mihi), pacis commoda longa feres;</div> - <div class="i0">Aurea sub facili spectabis secula cœlo,</div> - <div class="i1">De terra et felix aurea farra metes.</div> - <div class="i0">Adde quod et pariter fies gens aurea tota.</div> - <div class="i1">Perge igitur summo sacra iterare Deo.</div> - </div> -</div> -</div> - - -<p class="p6"><a name="AppNote_Xz" id="AppNote_Xz"></a>Z</p> - -<p class="center"><em>Ludovica, regia mater, suam Galliam alloquitur -et consolatur, Go. Torino Bit. scribente.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Gallia, quid de me luges mæstissima? nescis</div> - <div class="i1">Quod genus omne hominum morte perire solet?</div> - <div class="i0">Respira, et tecum expende ut te provida ab atris</div> - <div class="i1">Hostibus et diris casibus eripui.</div> - <div class="i0">Linquo tibi gnatum cœlesti numine regem,</div> - <div class="i1">In pulchra qui te, me duce, pace fovet.</div> - <div class="i0">Te penes in gremio lætus sua pignora cernit,</div> - <div class="i1">Orbem quæ totum sub tua sceptra dabunt.</div> - <div class="i0">Reginam virtutis habes et pacis alumnam,</div> - <div class="i1">Sidere felici quæ tua fata beat.</div> - <div class="i0">Altera et una tibi est etiam regina sacrati</div> - <div class="i1">Quæ soror est regis et benesuada tui.</div> - <div class="i0">Principibus tantis non est tibi, chara, gemendum,</div> - <div class="i1">Gallia! tu felix talibus es ducibus.</div> - <div class="i0">Ipsa ego te prorsus moriens non desero, nanque</div> - <div class="i1">Immortale meum tu modo nomen habes.</div> - <div class="i0">Semper apud superum pro te devota Tonantem</div> - <div class="i1">Orabo, ut victrix et generosa regas.</div> - <div class="i0">Sparge mihi lauros, violas, nardosque crocosque;</div> - <div class="i1">Stracte (<i>sic</i>) etiam flores, lilia, serta, rosas;</div> - <div class="i0">His super adiungas summiscum laudibus hymnos,</div> - <div class="i1">Exequias, modulos, thura sabea, preces.</div> - <div class="i0">Aras ne dubita mihi tendere. Nam, Dea ut alma</div> - <div class="i1">In cœlos pergo ianque volare. Vale.</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span></p> - -<div class="figcenter"> -<img src="images/i_b_325.jpg" width="211" height="350" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span></p> - - -<h2><a name="INDEX" id="INDEX"></a>INDEX</h2> - - -<ul class="index"> -<li>ABBATIA, <em>Bernard, 'Prognostication touchant le mariage du tres honoré et tres aimé Henry,' etc.</em>, <a href="#Page_282">282</a>.</li> - -<li><em>Abrégé des Meditations de la vie de Jésus-Christ</em>, <a href="#Page_229">229</a>.</li> - -<li><em>Accents. See Orthographic marks.</em></li> - -<li><em>Adolescence Clementine. See Marot, Clement.</em></li> - -<li><em>Adriani Behotii diluvium</em>, <a href="#Page_280">280</a> <em>note</em> <a href="#Note_485">2</a>.</li> - -<li>Æ<span class="smcapa">DILOQUIUM</span>, <em>etc.</em>, <a href="#Page_29">29</a>-<a href="#Page_30">30</a>, <a href="#Page_31">31</a>, <a href="#Page_92">92</a>-<a href="#Page_93">93</a>, <a href="#Page_201">201</a>-<a href="#Page_202">202</a>.</li> - -<li><em>Agricola, Rodolphe, 'De inventione dialectica,'</em> <a href="#Page_267">267</a>.</li> - -<li><em>Alard, Guillaume, his mark</em>, <a href="#Page_273">273</a>.</li> - -<li><em>Alphabetum hebraicum</em>, <a href="#Page_274">274</a>-<a href="#Page_275">275</a>.</li> - -<li><em>Amman, Jost</em>, <a href="#Page_251">251</a>.</li> - -<li><em>Anciens bois de l'imprimerie Fick</em>, <a href="#Page_260">260</a> <em>note</em> <a href="#Note_440">3</a>.</li> - -<li><em>Ange Bologninus, 'De la curation des ulceres exterieurs,'</em> <a href="#Page_41">41</a>.</li> - -<li><em>Annius of Viterbo</em>, <a href="#Page_3">3</a>, <a href="#Page_61">61</a>.</li> - -<li><em>Antistitis incomparabilis Michaelis Bodeti</em>, <a href="#Page_137">137</a>.</li> - -<li><em>Apollonius Alexandrinus, De constructione</em>, <a href="#Page_276">276</a>.</li> - -<li><em>Apologie pour la foi chrestienne contre les erreurs contenues en un petit livre de Messire Georges Halevin</em>, <a href="#Page_138">138</a>.</li> - -<li><em>Apostrophe. See Orthographic marks.</em></li> - -<li><em>Aristophanes</em>, <a href="#Page_197">197</a>, <a href="#Page_274">274</a>.</li> - -<li><em>Artificialis introductio Jacobi Fabri Stapulensis</em>, <a href="#Page_268">268</a> <em>note</em> <a href="#Note_455">4</a>.</li> - -<li><em>Asselin, Pierre</em>, <a href="#Page_273">273</a>.</li> - -<li><em>Assier, Alexandre. See Socard, Alexis.</em></li> - -<li><em>Aumale, Duc d'</em>, <a href="#Page_144">144</a>, <a href="#Page_154">154</a>, <a href="#Page_163">163</a>, <a href="#Page_164">164</a> <em>note</em> <a href="#Note_310">1</a>.</li> - -<li><em>Aumont, Blanche d', arms of</em>, <a href="#Page_171">171</a>.</li> - -<li><em>Avaricum. See Bourges.</em></li> - - -<li class="ifrst">BABOU, <em>Philibert</em>, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_4">4</a> <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_10">10</a>, <a href="#Page_51">51</a>-<a href="#Page_53">53</a>, <a href="#Page_60">60</a>-<a href="#Page_61">61</a> <a href="#Page_65">65</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_72">72</a>.</li> - -<li><em>Bade, Conrad</em>, <a href="#Page_232">232</a>, <a href="#Page_233">233</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_266">266</a>.</li> - -<li><em>Bade, Josse</em>, <a href="#Page_57">57</a>, <a href="#Page_145">145</a>, <a href="#Page_200">200</a>, <a href="#Page_201">201</a>.</li> - -<li><em>Baïf, Lazarus, 'Annotationes,' etc.</em>, <a href="#Page_208">208</a>-<a href="#Page_209">209</a>.</li> - -<li><em>Baker, David</em>, <a href="#Page_293">293</a>.</li> - -<li><em>Barbier, Olivier</em>, <a href="#Page_208">208</a> <em>note</em> <a href="#Note_371">2</a>.</li> - -<li><em>Baron Collection</em>, <a href="#Page_254">254</a> <em>and note</em> <a href="#Note_426">2</a>.</li> - -<li><em>Barra, Jean</em>, <a href="#Page_148">148</a>.</li> - -<li><em>Bassentin, Jacques, 'L'astronomique discours,'</em> <a href="#Page_262">262</a>, <em>note</em> <a href="#Note_445d">4</a>.</li> - -<li><em>Basset, Denis</em>, <a href="#Page_230">230</a> <em>note</em> <a href="#Note_393">2</a>.</li> - -<li><em>Beaupré, M., 'Notice bibliographique sur les livres liturgiques ... de Toul et de Verdun,'</em> <a href="#Page_150">150</a> <em>note</em> <a href="#Note_294">4</a>.</li> - -<li><em>Beauvoys. See Delaigue, Étienne.</em></li> - -<li><em>Beckford, William</em>, <a href="#Page_167">167</a>.</li> - -<li><em>Bellay, Jean du</em>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a> <em>note</em> <a href="#Note_215">1</a>, <a href="#Page_280">280</a>.</li> - -<li><em>Belon, Pierre, 'Histoire de la nature des oiseaux,'</em> <a href="#Page_250">250</a>;</li> -<li class="isub1"><em>'Les observations' etc.</em>, <a href="#Page_250">250</a>.</li> - -<li><em>Bernard, Auguste, 'Les Etiennes, et les types grecs de François I,'</em> <a href="#Page_197">197</a> <em>note</em> <a href="#Note_359">4</a>, <a href="#Page_199">199</a> <em>note</em> <a href="#Note_360">1</a>, <a href="#Page_271">271</a> <em>note</em> <a href="#Note_457">1</a>.</li> - -<li><em>Bernard, Salomon ('Le Petit Bernard')</em>, <a href="#Page_258">258</a>, <a href="#Page_261">261</a> <em>and note</em> <a href="#Note_445">4</a>.</li> - -<li><em>Beroaldo, Filippo</em>, <a href="#Page_2">2</a>.</li> - -<li>B<span class="smcapa">EROSUS</span> B<span class="smcapa">ABILONENSIS</span>, <em>Tory's edition of</em>, <a href="#Page_3">3</a>, <a href="#Page_60">60</a>-<a href="#Page_64">64</a>.</li> - -<li><em>Bertaud, Jean, 'Encomium,' etc.</em>, <a href="#Page_200">200</a>-<a href="#Page_201">201</a>.</li> - -<li><em>Berthelin, André</em>, <a href="#Page_284">284</a>.</li> - -<li><em>Bertrand, Jean, Cardinal of Sens</em>, <a href="#Page_250">250</a>, <a href="#Page_251">251</a>.</li> - -<li><em>Berty, Adolphe, 'Les trois îlots de la cité,'</em> <a href="#Page_35">35</a> <em>and note</em> <a href="#Note_139">3</a>.</li> - -<li><em>Bessault, Thibault</em>, <a href="#Page_285">285</a>.</li> - -<li><em>Bèze, Theodore de, 'Poemata,'</em> <a href="#Page_232">232</a>-<a href="#Page_235">235</a>, <a href="#Page_266">266</a>.</li> - -<li><em>Bible in French, Antwerp</em>, 1530, <a href="#Page_254">254</a>.</li> - -<li><em>Bible in Latin</em>, 1532, <a href="#Page_204">204</a>.</li> - -<li><em>Bible in Saxon, Lubeck</em>, 1533, <a href="#Page_254">254</a>.</li> - -<li><em>Bible in Latin</em>, 1538-1540, <a href="#Page_215">215</a>.</li> - -<li><em>Bible in Latin</em>, 1543, <a href="#Page_254">254</a>.</li> - -<li><em>Bible after Holbein</em>, 1547, <a href="#Page_258">258</a>.</li> - -<li><em>Bible in Flemish, Antwerp</em>, 1556, <a href="#Page_254">254</a>.</li> - -<li><em>Bibliothèque de l'amateur champenois</em>, <a href="#Page_279">279</a>.</li> - -<li><em>Binet, Denis</em>, <a href="#Page_257">257</a>.</li> - -<li><em>Blazon des heretiques</em>, <a href="#Page_180">180</a>.</li> - -<li><em>Blés de Beauce, Halle aux, Tory's removal to</em>, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_40">40</a> <em>and note</em> <a href="#Page_4">4</a>, <a href="#Page_41">41</a>, <a href="#Page_97">97</a>, <a href="#Page_295">295</a>.</li> - -<li><em>Bonfons, Jean, his mark</em>, <a href="#Page_266">266</a>.</li> - -<li><em>Bonhomme, Iolande, widow of Thielman Kerver I</em>, <a href="#Page_149">149</a>, <a href="#Page_204">204</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a> <em>and note</em> <a href="#Note_377">1</a>, <a href="#Page_221">221</a>, <a href="#Page_230">230</a>, <a href="#Page_241">241</a>, <a href="#Page_242">242</a>, <a href="#Page_280">280</a>.</li> - -<li><em>Bonnemere, Anthoine</em>, <a href="#Page_276">276</a>.</li> - -<li><em>Boorluut, M.</em>, <a href="#Page_199">199</a>.</li> - -<li><em>Bouchet, Jean, 'Les angoisses et remedes damour du Traverseur,' etc.</em>, <a href="#Page_212">212</a>-<a href="#Page_213">213</a>, <a href="#Page_279">279</a>;</li> -<li class="isub1"><em>'Le jugement poetic de l'honneur feminin,...par le Traverseur,'</em> <a href="#Page_213">213</a>.</li> - -<li><em>Bouchetel, Guillaume, 'Le Sacre ... de la Royne,'</em> <a href="#Page_34">34</a>;</li> -<li class="isub1"><em>'Lentree de la Royne,' etc.</em>, <a href="#Page_34">34</a>.</li> - -<li><em>Boudet, Michael de</em>, <a href="#Page_137">137</a>.</li> -<li class="isub1"><em>And see 'Antistitis incomparabilis.'</em></li> - -<li><em>Bouillon, M. le duc de, 'Ordonnances,'</em> <a href="#Page_245">245</a> <em>note</em> <a href="#Note_411">2</a>.</li> - -<li><em>Boullé, Guillaume</em>, <a href="#Page_98">98</a>, <a href="#Page_99">99</a>.</li> - -<li><em>Bouquet des fleurs de Sénèque, Le</em>, <a href="#Page_273">273</a>.</li> - -<li><em>Bourges</em>, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>, <a href="#Page_4">4</a>, <a href="#Page_66">66</a>-<a href="#Page_67">67</a>;</li> -<li class="isub1"><em>coat-of-arms of</em>, <a href="#Page_129">129</a>.</li> - -<li><em>Bourgogne, Collège de</em>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_295">295</a>.</li> - -<li><em>Boursette, Madeleine, widow of François Regnault</em>, <a href="#Page_228">228</a>, <a href="#Page_243">243</a>, <a href="#Page_246">246</a>, <a href="#Page_284">284</a>, <a href="#Page_285">285</a>.</li> - -<li><em>Boyer, Hippolyte, 'Histoire des imprimeurs et libraires de Bourges,'</em> <a href="#Page_91">91</a>, <a href="#Page_222">222</a>, <a href="#Page_289">289</a> <em>and note</em> <a href="#Note_501">1</a>.</li> - -<li><em>Breviarium ad ritum diocesis Eduensis</em>, <a href="#Page_241">241</a>.</li> - -<li><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span><em>Briçonnet, Guillaume, Bishop of Meaux</em>, <a href="#Page_176">176</a>.</li> - -<li><em>Bridier, Jean</em>, <a href="#Page_232">232</a>.</li> - -<li><em>Brie, Jehan de</em>, <a href="#Page_230">230</a> <em>note</em> <a href="#Note_394">3</a>, <a href="#Page_231">231</a>.</li> - -<li><em>Brie, widow of Jehan de</em>, <a href="#Page_149">149</a>, <a href="#Page_229">229</a>, <a href="#Page_231">231</a>.</li> - -<li><em>Brucherius, Joannes, 'Epitome of the Adages of Erasmus,'</em> <a href="#Page_174">174</a>, <a href="#Page_176">176</a>.</li> - -<li><em>Brulefer, Étienne, 'Identitatum et distinctionum,' etc.</em>, <a href="#Page_284">284</a>.</li> - -<li><em>Brunet, Jacques-Charles, 'Manuel du Libraire,'</em> <a href="#Page_64">64</a>, <a href="#Page_119">119</a>, <a href="#Page_120">120</a>, <a href="#Page_124">124</a>, <a href="#Page_139">139</a> <em>note</em> <a href="#Note_273">1</a>, <a href="#Page_140">140</a>, <a href="#Page_149">149</a> <em>note</em> <a href="#Note_290">2</a>, <a href="#Page_150">150</a>, <a href="#Page_170">170</a> <em>note</em> <a href="#Note_317">1</a>, <a href="#Page_181">181</a> <em>note</em> <a href="#Note_333">2</a>, <a href="#Page_208">208</a> <em>note</em> <a href="#Note_370">1</a>, <a href="#Page_231">231</a>, <a href="#Page_260">260</a> <em>note</em> <a href="#Note_439">2</a>.</li> - -<li>'<em>Bulletin du bouquiniste</em>,' 1860, <a href="#Page_174">174</a> <em>note</em> <a href="#Note_322">2</a>.</li> - -<li><em>Bunel, P., 'Epîtres familières,'</em> <a href="#Page_272">272</a>.</li> - -<li><em>Buon, Gabriel</em>, <a href="#Page_215">215</a> <em>note</em> <a href="#Note_380">4</a>, <a href="#Page_249">249</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_284">284</a>.</li> - -<li><em>Buon, Nicolas</em>, <a href="#Page_249">249</a>.</li> - - -<li class="ifrst">CÆSAR, <em>'Commentaries,' translation of</em>, <a href="#Page_178">178</a>.</li> -<li class="isub1"><em>See also 'César, Les Commentaires de.'</em></li> - -<li><em>Calcar</em>, <a href="#Page_225">225</a>.</li> - -<li><em>Calvarin, Prigent, his mark</em>, <a href="#Page_267">267</a>.</li> - -<li><em>Calvarin, Simon, his marks</em>, <a href="#Page_267">267</a>.</li> - -<li><em>Catherine de Medici</em>, <a href="#Page_122">122</a>.</li> - -<li><em>Catherinot, Nicolas, his epitaph of Tory</em>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_55">55</a> <em>note</em> <a href="#Note_185">2</a>.</li> - -<li><em>Cavellat, Guillaume</em>, <a href="#Page_250">250</a>.</li> - -<li>'C<span class="smcapa">EBES</span>, T<span class="smcapa">ABLE OF</span>,' <em>Tory's translation of</em>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_85">85</a>-<a href="#Page_87">87</a>, <a href="#Page_201">201</a>.</li> - -<li>'<em>Cebes, Tableau de</em>,' 1543, <a href="#Page_262">262</a>.</li> - -<li><em>Cedilla. See Orthographic marks.</em></li> - -<li><em>'César, Les Commentaires de,' manuscript (author unknown)</em>, <a href="#Page_143">143</a>-<a href="#Page_144">144</a>, <a href="#Page_153">153</a>;</li> -<li class="isub1"><em>Comte Léon de Laborde's description of</em>, <a href="#Page_154">154</a>-<a href="#Page_164">164</a>.</li> - -<li><em>Chabouillet, M., Notice du Cabinet des médailles</em>, <a href="#Page_255">255</a>.</li> - -<li>'C<span class="smcapa">HAMP FLEURY</span>,' <em>first conceived by Tory</em>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>;</li> -<li class="isub1"><em>the first book of</em>, <a href="#Page_14">14</a> <em>and note</em> <a href="#Note_60">3</a>;</li> -<li class="isub1"><em>the second book of</em>, <a href="#Page_15">15</a>-<a href="#Page_17">17</a>;</li> -<li class="isub1"><em>the third book of</em>, <a href="#Page_17">17</a>-<a href="#Page_20">20</a>;</li> -<li class="isub1"><em>published</em> (1529), <a href="#Page_26">26</a>;</li> -<li class="isub1"><em>effect of publication of</em>, <a href="#Page_32">32</a>-<a href="#Page_33">33</a>;</li> -<li class="isub1"><em>orthographic system of, first applied</em>, <a href="#Page_37">37</a> <em>and note</em> <a href="#Note_147">1</a>, <a href="#Page_295">295</a>-<a href="#Page_299">299</a>;</li> -<li class="isub1"><em>second edition of</em> (1549), <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_84">84</a>;</li> -<li class="isub1"><em>bibliographical description of</em>, <a href="#Page_81">81</a>-<a href="#Page_84">84</a>;</li> -<li class="isub1"><em>description of engravings in</em>, <a href="#Page_189">189</a>-<a href="#Page_196">196</a>;</li> -<li class="isub1"><em>M. Renouvier on engravings in</em>, <a href="#Page_262">262</a>;</li> -<li class="isub1"><em>quoted</em>, <a href="#Page_1">1</a> <em>note</em> <a href="#Note_10">2</a>, <a href="#Page_2">2</a> <em>note</em> <a href="#Note_13">3</a>, <a href="#Page_5">5</a>, <a href="#Page_7">7</a> <em>note</em> <a href="#Note_42">8</a>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>-<a href="#Page_14">14</a>, <a href="#Page_15">15</a>-<a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>-<a href="#Page_20">20</a>, <a href="#Page_21">21</a>-<a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>, <a href="#Page_29">29</a> <em>note</em> <a href="#Note_117">1</a>, <a href="#Page_141">141</a>, <a href="#Page_145">145</a>.</li> - -<li><em>'Chants royaux.' See Gringoire.</em></li> - -<li><em>Charles IX</em>, <a href="#Page_144">144</a>.</li> - -<li><em>Chaudière, Claude</em>, <a href="#Page_238">238</a>.</li> - -<li><em>Chaudière, Guillaume</em>, <a href="#Page_229">229</a>.</li> - -<li><em>Chaudière, Regnault</em>, <a href="#Page_238">238</a>, <a href="#Page_273">273</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_267">267</a>, <a href="#Page_268">268</a>, <a href="#Page_269">269</a>.</li> - -<li><em>Cheradam, Jean, editor of Aristophanes</em>, <a href="#Page_197">197</a>.</li> - -<li><em>Chevallon, Claude</em>, <a href="#Page_231">231</a>, <a href="#Page_278">278</a>.</li> - -<li>'<em>Chiromancy and Physiognomy</em>,' <a href="#Page_259">259</a>, <a href="#Page_261">261</a>.</li> - -<li><em>Chrestien, Nicolas</em>, <a href="#Page_41">41</a>.</li> - -<li><em>Choquet, Louis, 'Mystère de l'Apocalypse,'</em> <a href="#Page_217">217</a>-<a href="#Page_218">218</a>.</li> - -<li>'<em>Chronique du tres vaillant et redouté Dom Flores de Grece</em>,' <a href="#Page_249">249</a>.</li> - -<li><em>Chrysostom, Saint, 'Homeliæ Duæ,'</em> <a href="#Page_281">281</a>;</li> -<li class="isub1">'<em>Liber contra gentiles</em>,' <a href="#Page_120">120</a>.</li> - -<li><em>Cicero, 'Orator,'</em> <a href="#Page_42">42</a>;</li> -<li class="isub1"><em>works of</em>, <a href="#Page_244">244</a>-<a href="#Page_246">246</a>, <a href="#Page_272">272</a>.</li> - -<li><em>'Civis,' Tory's first device</em>, <a href="#Page_2">2</a>;</li> -<li class="isub1">monogram of, <a href="#Page_6">6</a>.</li> - -<li><em>Claude de France, queen of François I</em>, <a href="#Page_127">127</a>.</li> - -<li><em>Colines, Simon de</em>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_72">72</a>, <a href="#Page_101">101</a>-<a href="#Page_116">116</a>, <a href="#Page_120">120</a>-<a href="#Page_122">122</a>, <a href="#Page_146">146</a>, <a href="#Page_174">174</a>, <a href="#Page_175">175</a>, <a href="#Page_185">185</a>, <a href="#Page_189">189</a>, <a href="#Page_197">197</a>, <a href="#Page_201">201</a>, <a href="#Page_203">203</a>, <a href="#Page_223">223</a>, <a href="#Page_239">239</a>, <a href="#Page_258">258</a>;</li> -<li class="isub1"><em>his marks</em>, <a href="#Page_174">174</a>, <a href="#Page_267">267</a>-<a href="#Page_269">269</a>.</li> - -<li>'<em>Compendium grammaticæ græcæ</em>,' <a href="#Page_189">189</a>.</li> - -<li><em>'Conférence accordée entre les predicateurs, La,' etc.</em>, <a href="#Page_257">257</a>.</li> - -<li><em>'Copie de l'arrest du grand conseil,' etc.</em>, <a href="#Page_38">38</a>.</li> - -<li><em>'Copie d'une lettre de Constantinople,' etc.</em>, <a href="#Page_38">38</a>.</li> - -<li><em>Coqueret, Collège</em>, <a href="#Page_5">5</a>, <a href="#Page_295">295</a>.</li> - -<li><em>Corrozet, Gilles</em>, <a href="#Page_148">148</a>, <a href="#Page_250">250</a>, <a href="#Page_263">263</a>;</li> -<li class="isub1">'<em>Les Fables d'Esopes mises en rithme françois</em>,' <a href="#Page_207">207</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_269">269</a>-<a href="#Page_270">270</a>.</li> - -<li><em>Corrozet, Gilles II, 'Trésor des histoires de France,'</em> <a href="#Page_270">270</a>.</li> - -<li><em>Corrozet, Jean</em>, <a href="#Page_270">270</a>.</li> - -<li>C<span class="smcapa">OSMOGRAPHIE DU</span> P<span class="smcapa">APE</span> P<span class="smcapa">IE</span> II. <em>See Pius II.</em></li> - -<li><em>Cottereau (also Cotereau), Philippe</em>, <a href="#Page_41">41</a>, <a href="#Page_47">47</a>.</li> - -<li><em>Cottereau, Richard</em>, <a href="#Page_41">41</a>, <a href="#Page_47">47</a>.</li> - -<li><em>Cousin, Jean</em>, <a href="#Page_237">237</a>, <a href="#Page_238">238</a>, <a href="#Page_254">254</a>, <a href="#Page_263">263</a>.</li> - -<li><em>Cousteau, Nicolas</em>, <a href="#Page_204">204</a>.</li> - -<li><em>'Coustumier de la baronnye,' etc.</em>, <a href="#Page_41">41</a>.</li> - -<li>'<em>Coutumes générales d'Orléans</em>,' <a href="#Page_266">266</a> <em>note</em> <a href="#Note_449">1</a>, <a href="#Page_274">274</a>.</li> - -<li><em>Coxe, Leonard</em>, <a href="#Page_34">34</a>, <a href="#Page_293">293</a>.</li> - -<li><em>Crescens, Pierre des, 'Bon Mesnager,'</em> <a href="#Page_204">204</a>.</li> - - -<li class="ifrst">DALLIER, <em>Jean</em>, <a href="#Page_237">237</a>.</li> - -<li><em>Danois, Jean Blaccus, translation of Isocrates</em>, <a href="#Page_273">273</a> <em>and note</em> <a href="#Note_464">2</a>.</li> - -<li><em>David Matthæus</em>, <a href="#Page_244">244</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_270">270</a>.</li> - -<li><em>'De judiciis urinarum,' etc.</em>, <a href="#Page_39">39</a>.</li> - -<li><em>Debure, M., and 'Les Commentaires de César,'</em> <a href="#Page_161">161</a>.</li> - -<li><em>Delaigue, Étienne</em>, <a href="#Page_178">178</a>.</li> - -<li><em>Delange, MM.</em>, <a href="#Page_151">151</a>.</li> - -<li><em>'Description de la prinse de Calais,' etc.</em>, <a href="#Page_284">284</a>.</li> - -<li><em>Devéria, Achille</em>, <a href="#Page_150">150</a> <em>note</em> <a href="#Note_292">2</a>, <a href="#Page_230">230</a> <em>note</em> <a href="#Note_394">3</a>, <a href="#Page_254">254</a>.</li> - -<li><em>Dibdin, Thomas F., 'Bibliographical Decameron,'</em> <a href="#Page_110">110</a>, <a href="#Page_123">123</a>, <a href="#Page_279">279</a> <em>notes</em> <a href="#Note_480">4</a> <em>and</em> <a href="#Note_482">6</a>.<span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span></li> - -<li>'<em>Dictionarium latino-gallicum</em>,' <a href="#Page_189">189</a> <em>note</em> <a href="#Note_337">1</a>.</li> - -<li><em>Didot, Ambroise Firmin</em>, <a href="#Page_28">28</a>, <a href="#Page_47">47</a>, <a href="#Page_91">91</a>, <a href="#Page_96">96</a>, <a href="#Page_98">98</a>, <a href="#Page_136">136</a> <em>note</em> <a href="#Note_270">3</a>;</li> -<li class="isub1">'<em>Essai sur la gravure</em>,' <a href="#Page_150">150</a>, <a href="#Page_151">151</a>, <a href="#Page_225">225</a>, <a href="#Page_259">259</a>.</li> - -<li><em>Didot, Firmin, père</em>, <a href="#Page_144">144</a>, <a href="#Page_166">166</a>.</li> - -<li><em>Dietz, Ludowich</em>, <a href="#Page_254">254</a>.</li> - -<li><em>Diodorus Siculus, Macault's translation of first three books of</em>, <a href="#Page_47">47</a>, <a href="#Page_136">136</a>, <a href="#Page_205">205</a>-<a href="#Page_207">207</a>;</li> -<li class="isub1"><em>manuscript of</em>, <a href="#Page_144">144</a>, <a href="#Page_166">166</a>-<a href="#Page_168">168</a>.</li> - -<li><em>Dives. See Ricke, Guillaume de.</em></li> - -<li>'<em>Divi Joannis Chrisostomi liber contra gentiles</em>,' <a href="#Page_120">120</a>.</li> - -<li><em>Dolet, Étienne</em>, <a href="#Page_117">117</a>.</li> - -<li><em>Doré, Pìerre, 'Dyalogue instructoire des chrestiens,'</em> <a href="#Page_222">222</a>.</li> - -<li><em>Dubois, Simon</em>, <a href="#Page_25">25</a>, <a href="#Page_196">196</a>, <a href="#Page_197">197</a>.</li> - -<li><em>Dupré, Galliot</em>, <a href="#Page_135">135</a> <em>note</em> <a href="#Note_267">1</a>, <a href="#Page_178">178</a>, <a href="#Page_196">196</a>, <a href="#Page_204">204</a>.</li> - -<li><em>Dupuy, J.</em>, <a href="#Page_273">273</a>.</li> - -<li><em>Duradier, Dreux, 'Les Récréations historiques,'</em> <a href="#Page_170">170</a>.</li> - -<li><em>Durand, M.</em>, <a href="#Page_259">259</a> <em>note</em> <a href="#Note_437">1</a>.</li> - -<li><em>Dure (Duræus), Robert</em>, <a href="#Page_5">5</a> <em>and note</em> <a href="#Note_30">3</a>.</li> - -<li><em>Dürer, Albrecht</em>, <a href="#Page_16">16</a> <em>and note</em> <a href="#Note_67">2</a>, <a href="#Page_252">252</a>.</li> -<li class="isub1"><em>See also Meigret.</em></li> - -<li><em>Duverdier, M.</em>, <a href="#Page_98">98</a>.</li> - - -<li class="ifrst">'ECONOMIC XENOPHON,' <em>Tory's translation of</em>, <a href="#Page_30">30</a>-<a href="#Page_31">31</a>, <a href="#Page_93">93</a>-<a href="#Page_97">97</a>.</li> - -<li>E<span class="smcapa">GNASIO</span>, J. B., S<span class="smcapa">UMMAIRE DE</span> C<span class="smcapa">HRONIQUES</span>, <em>Tory's translation</em>, <a href="#Page_28">28</a>, <a href="#Page_42">42</a>, <a href="#Page_88">88</a>-<a href="#Page_91">91</a>, <a href="#Page_222">222</a>.</li> - -<li><em>'Elegia ... ad Joach. Bellaium,' etc.</em>, <a href="#Page_278">278</a>.</li> - -<li><em>Eleonora of Austria, queen of François I</em>, 'L<span class="smcapa">E</span> S<span class="smcapa">ACRE ET CORONNEMENT DE</span>,' <a href="#Page_34">34</a>, <a href="#Page_130">130</a>-<a href="#Page_131">131</a>, <a href="#Page_202">202</a>;</li> -<li class="isub1">'E<span class="smcapa">NTRÉE DE, EN SA VILLE ET CITÉ DE</span> P<span class="smcapa">ARIS</span>,' <a href="#Page_34">34</a>, <a href="#Page_131">131</a>-<a href="#Page_133">133</a>, <a href="#Page_202">202</a>;</li> -<li class="isub1"><em>Tory's verses to</em>, <a href="#Page_35">35</a>, <a href="#Page_132">132</a>-<a href="#Page_133">133</a>.</li> - -<li>'<em>Empereurs de Turquie, Histoire des</em>,' <a href="#Page_138">138</a>.</li> - -<li><em>'Enchiridion, preclare ecclesie Sarum,' etc.</em>, <a href="#Page_199">199</a>-<a href="#Page_200">200</a>.</li> - -<li><em>English booksellers, idiosyncrasies of</em>, <a href="#Page_199">199</a> <em>note</em> <a href="#Note_361">2</a>.</li> - -<li><em>'Entrée de la Royne,' etc. See Eleonora.</em></li> - -<li>'E<span class="smcapa">PITAPHIA LATINA ET GALLICA</span>' (<em>on Louise de Savoie</em>), <a href="#Page_35">35</a>.</li> - -<li><em>'Epitomæ singularum distinctionum,' etc.</em>, <a href="#Page_282">282</a>.</li> - -<li><em>Estienne, Charles</em>, <a href="#Page_235">235</a>, <a href="#Page_244">244</a>-<a href="#Page_245">245</a>;</li> -<li class="isub1">'<em>De dissectione partium corporis humani</em>,' <a href="#Page_223">223</a>-<a href="#Page_226">226</a>;</li> -<li class="isub1">'<em>De nutrimentis</em>,' <a href="#Page_271">271</a>;</li> -<li class="isub1"><em>his marks</em>, <a href="#Page_272">272</a>.</li> - -<li><em>Estienne, Henri I</em>, <a href="#Page_174">174</a>.</li> - -<li><em>Estienne, Henri II</em>, <a href="#Page_17">17</a>, <a href="#Page_69">69</a>, <a href="#Page_268">268</a>, <a href="#Page_269">269</a>, <a href="#Page_271">271</a>.</li> - -<li><em>Estienne, Robert</em>, <a href="#Page_33">33</a>, <a href="#Page_146">146</a>, <a href="#Page_175">175</a>, <a href="#Page_185">185</a>, <a href="#Page_189">189</a> <em>and notes</em> <a href="#Note_338">2</a> <em>and</em> <a href="#Note_339">3</a>, <a href="#Page_204">204</a>, <a href="#Page_208">208</a>, <a href="#Page_215">215</a>, <a href="#Page_216">216</a>, -<a href="#Page_235">235</a>, <a href="#Page_244">244</a>, <a href="#Page_245">245</a>, <a href="#Page_258">258</a>, <a href="#Page_269">269</a>, <a href="#Page_286">286</a>;</li> -<li class="isub1"><em>king's printer</em>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>;</li> -<li class="isub1"><em>his marks</em>, <a href="#Page_270">270</a>-<a href="#Page_272">272</a>.</li> - -<li><em>Eusebius, 'Ecclesiastical history,'</em> <a href="#Page_135">135</a>, <a href="#Page_189">189</a>.</li> - -<li><em>'Exemplaria litterarum,' etc.</em>, <a href="#Page_189">189</a> <em>note</em> <a href="#Note_337">1</a>.</li> - - -<li class="ifrst">FANTE, <em>Sigismunde, 'Thesauro de' scrittori,'</em> <a href="#Page_15">15</a> <em>and note</em> <a href="#Note_65">3</a>.</li> - -<li><em>'Faulcheur, Le.' See Roffet, Jacques.</em></li> - -<li><em>Féret, Martin</em>, <a href="#Page_37">37</a>.</li> - -<li><em>Fezandat, Michel, his mark</em>, <a href="#Page_272">272</a>-<a href="#Page_273">273</a>.</li> - -<li><em>Fick Press, Geneva</em>, <a href="#Page_260">260</a> <em>note</em> <a href="#Note_440">3</a>.</li> - -<li>'<em>Fifteen Effusions of the Blood of our Saviour</em>,' <a href="#Page_228">228</a>, <a href="#Page_229">229</a>.</li> - -<li>'<em>Figure de l'ancienne et de la nouvelle alliance</em>,' <a href="#Page_253">253</a>-<a href="#Page_255">255</a>.</li> - -<li>'<em>Figures et portraicts des parties du corps humain, Les</em>,' <a href="#Page_252">252</a>.</li> - -<li><em>Fortunatus, Robertus. See Dure, Robert.</em></li> - -<li><em>Fouquet, Jean</em>, <a href="#Page_171">171</a>.</li> - -<li><em>France, Collège de</em>, <a href="#Page_39">39</a>.</li> - -<li><em>François I</em>, <a href="#Page_29">29</a>, <em>note</em> <a href="#Note_117">1</a>;</li> -<li class="isub1"><em>appoints Tory king's printer</em>, <a href="#Page_32">32</a>-<a href="#Page_34">34</a>;</li> -<li class="isub1"><em>and extra bookseller to the University</em>, <a href="#Page_36">36</a>, <a href="#Page_294">294</a>;</li> -<li class="isub1"><em>remodels institution of king's printers</em>, <a href="#Page_39">39</a>-<a href="#Page_40">40</a>;</li> -<li class="isub1"><em>ordinances of</em>, <a href="#Page_134">134</a>-<a href="#Page_135">135</a>;</li> -<li class="isub1"><em>in 'Les Commentaires de César,'</em> <a href="#Page_157">157</a>-<a href="#Page_163">163</a>;</li> -<li class="isub1"><em>and in Macault's translation of Diodorus</em>, <a href="#Page_167">167</a>-<a href="#Page_168">168</a>.</li> - -<li><em>François de Valois, Dauphin of France</em>, <a href="#Page_31">31</a>, <a href="#Page_38">38</a>, <a href="#Page_97">97</a>-<a href="#Page_98">98</a>.</li> - -<li><em>Frellon, Jean</em>, <a href="#Page_258">258</a>.</li> - - -<li class="ifrst">GAGUIN, <em>Robert</em>, <a href="#Page_178">178</a>.</li> - -<li><em>Galen, 'De anatomicis administrationibus,'</em> <a href="#Page_203">203</a>.</li> - -<li>'<em>Gallic Hercules, The</em>,' <a href="#Page_141">141</a>.</li> - -<li><em>Gannay, Germain de</em>, <a href="#Page_3">3</a> <em>and note</em> <a href="#Page_2">2</a>, <a href="#Page_54">54</a>.</li> - -<li><em>Garamond, Claude</em>, <a href="#Page_33">33</a>, <a href="#Page_145">145</a>.</li> - -<li><em>Génin, M., 'Introduction to Palsgrave's Lesclaircissement de la langue françoise,'</em> <a href="#Page_14">14</a>, <a href="#Page_292">292</a> <em>note</em> <a href="#Note_506">1</a>, <a href="#Page_293">293</a>-<a href="#Page_294">294</a>.</li> - -<li>'<em>Gerard d'Euphrate</em>,' <a href="#Page_241">241</a>.</li> - -<li><em>Gérard de Vercel, verses of</em>, <a href="#Page_6">6</a>, <a href="#Page_71">71</a>.</li> - -<li><em>Gering, Ulric</em>, <a href="#Page_277">277</a>.</li> - -<li><em>Gerou, Dom, 'Bibliothèque historique des auteurs orléanais,'</em> <a href="#Page_273">273</a>.</li> - -<li><em>Ghisy, Georges</em>, <a href="#Page_244">244</a> <em>note</em> <a href="#Page_2">2</a>.</li> - -<li><em>Gibier, Eloi</em>, <a href="#Page_266">266</a> <em>and note</em> <a href="#Note_449">1</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_273">273</a>-<a href="#Page_274">274</a>.</li> - -<li><em>Gillot, Jean, 'De juridictione et imperio,' etc.</em>, <a href="#Page_39">39</a>;</li> -<li class="isub1">'<em>Isagoge in juris civilis sanctionem</em>,' <a href="#Page_39">39</a>.</li> - -<li><em>Girault, François</em>, <a href="#Page_239">239</a>.</li> - -<li><em>Godefroy, miniaturist, identity of with Tory discussed</em>, <a href="#Page_142">142</a>-<a href="#Page_144">144</a>, <a href="#Page_153">153</a>-<a href="#Page_166">166</a>.</li> - -<li><em>Gourmont, Benoît de, his mark</em>, <a href="#Page_276">276</a>.<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span></li> - -<li><em>Gourmont, François de</em>, <a href="#Page_197">197</a> <em>note</em> <a href="#Note_359">4</a>, <a href="#Page_271">271</a>.</li> - -<li><em>Gourmont, Gilles de</em>, <a href="#Page_3">3</a>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_50">50</a> <em>and note</em> <a href="#Note_176">3</a>, <a href="#Page_54">54</a>, <a href="#Page_64">64</a>, <a href="#Page_197">197</a>;</li> -<li class="isub1"><em>the first printer of Greek in Paris</em>, <a href="#Page_26">26</a>;</li> -<li class="isub1"><em>his marks</em>, <a href="#Page_274">274</a>-<a href="#Page_276">276</a>.</li> - -<li><em>Gourmont, Jean de</em>, <a href="#Page_197">197</a> <em>note</em> <a href="#Note_359">4</a>, <a href="#Page_271">271</a>.</li> - -<li><em>Gourmont, Jérôme de</em>, <a href="#Page_275">275</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_276">276</a>.</li> - -<li><em>Gourmont arms</em>, <a href="#Page_275">275</a> <em>note</em> <a href="#Note_469">1</a>.</li> - -<li><em>Gourmont family</em>, <a href="#Page_275">275</a> <em>note</em> <a href="#Note_469">1</a>.</li> - -<li>'<em>Gradual</em>,' <a href="#Page_177">177</a>.</li> - -<li><em>Grævius, J. C., 'Thesaurus antiquitatum romanarum,'</em> <a href="#Page_208">208</a> <em>and note</em> <a href="#Note_371">2</a>.</li> - -<li><em>Graf, Urs</em>, <a href="#Page_179">179</a>.</li> - -<li><em>Grandin, Louis, his marks</em>, <a href="#Page_277">277</a>.</li> - -<li><em>Greban, Simon de, 'Catholiques œuvres et actes des Apostres,'</em> <a href="#Page_217">217</a>-<a href="#Page_218">218</a>.</li> - -<li><em>Greek, Tory's unfamiliarity with</em>, <a href="#Page_27">27</a> <em>note</em>.</li> - -<li><em>Greek alphabet</em>, <a href="#Page_189">189</a>, <a href="#Page_280">280</a> <em>note</em> <a href="#Note_485">2</a>.</li> - -<li><em>Gringoire, Pierre, 'Chants royaux,'</em> <a href="#Page_180">180</a>-<a href="#Page_181">181</a>, <a href="#Page_183">183</a>, <a href="#Page_184">184</a>;</li> -<li class="isub1"><em>Hours in rhyme</em>, <a href="#Page_180">180</a>;</li> -<li class="isub1"><em>'Notables enseignemens,' etc.</em>, <a href="#Page_196">196</a>.</li> - -<li><em>Grolier (Groslier), Jean</em>, <a href="#Page_12">12</a>, <a href="#Page_45">45</a>, <a href="#Page_145">145</a>.</li> - -<li><em>Groulleau, Estienne</em>, <a href="#Page_241">241</a>, <a href="#Page_249">249</a>.</li> - -<li><em>Gryphe, François</em>, <a href="#Page_207">207</a> <em>and note</em> <a href="#Note_369">1</a>.</li> - -<li><em>Gualtherot, Vivant</em>, <a href="#Page_43">43</a>.</li> - -<li><em>Gueroult, Guillaume, 'Hymnes du temps,'</em> <a href="#Page_261">261</a> <em>and note</em> <a href="#Note_445e">4</a>.</li> - -<li><em>Gueullard, Jean, his marks</em>, <a href="#Page_277">277</a>.</li> - -<li><em>Guillard, Charlotte, her mark</em>, <a href="#Page_277">277</a>-<a href="#Page_278">278</a>.</li> - - -<li class="ifrst">HAIENEUVE, <em>Simon</em>, <a href="#Page_16">16</a>.</li> - -<li><em>Halevin, Georges</em>, <a href="#Page_138">138</a>.</li> - -<li><em>Harleian MSS.</em>, <a href="#Page_158">158</a>.</li> - -<li><em>Harley, Robert, Earl of Oxford</em>, <a href="#Page_158">158</a>.</li> - -<li><em>Harsy, Olivier de</em>, <a href="#Page_278">278</a>.</li> - -<li><em>Henon, Jean</em>, <a href="#Page_38">38</a>.</li> - -<li><em>Henri II</em>, <a href="#Page_169">169</a>;</li> -<li class="isub1"><em>Entrée de</em>, <a href="#Page_235">235</a>-<a href="#Page_238">238</a>.</li> - -<li><em>Herverus de Berna</em>, <a href="#Page_2">2</a>, <a href="#Page_3">3</a>, <a href="#Page_57">57</a>, <a href="#Page_58">58</a>.</li> - -<li><em>'Hexastichorum moralium,' etc.</em>, <a href="#Page_277">277</a>.</li> - -<li>'<em>Histoire du Saint Graal</em>,' <a href="#Page_178">178</a>.</li> - -<li>'<em>Histoire paladine</em>,' <a href="#Page_249">249</a>.</li> - -<li><em>Hongont, Jean</em>, <a href="#Page_57">57</a> <em>and note</em> <a href="#Note_186">1</a>.</li> - -<li><em>Honorat, Sébastien</em>, <a href="#Page_215">215</a> <em>note</em> <a href="#Note_380">4</a>.</li> - -<li><em>Hopyl, Wolfgang</em>, <a href="#Page_150">150</a>, <a href="#Page_268">268</a> <em>note</em> <a href="#Note_455">4</a>.</li> - -<li><em>Hornken, Louis</em>, <a href="#Page_5">5</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>.</li> - -<li><em>Hotot, Fabian</em>, <a href="#Page_266">266</a>.</li> - -<li><em>Houic, Antoine</em>, <a href="#Page_285">285</a>.</li> - -<li>H<span class="smcapa">OURS OF</span> 1524-25, <em>quarto</em>, <a href="#Page_24">24</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a>, <a href="#Page_101">101</a>-<a href="#Page_119">119</a>;</li> -<li class="isub1"><em>sales of</em>, <a href="#Page_119">119</a> <em>note</em> <a href="#Note_244">1</a>.</li> - -<li>H<span class="smcapa">OURS OF</span> 1527, <em>octavo, Colines</em>, <a href="#Page_25">25</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a>, <a href="#Page_120">120</a>-<a href="#Page_122">122</a>.</li> - -<li>H<span class="smcapa">OURS OF</span> 1527, <em>quarto, Dubois</em>, <a href="#Page_25">25</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a>, <a href="#Page_122">122</a>-<a href="#Page_124">124</a>.</li> - -<li>H<span class="smcapa">OURS OF</span> 1529, 16<em>mo</em>, <a href="#Page_29">29</a>, <a href="#Page_125">125</a>-<a href="#Page_126">126</a>.</li> - -<li>H<span class="smcapa">OURS OF</span> 1531, <em>quarto</em>, <a href="#Page_25">25</a>, <a href="#Page_126">126</a>-<a href="#Page_128">128</a>.</li> - -<li>H<span class="smcapa">OURS OF</span> (?), <em>octavo</em>, <a href="#Page_25">25</a>, <a href="#Page_128">128</a>-<a href="#Page_129">129</a>.</li> - -<li><em>Hours of</em> 1515, <em>Simon Vostre</em>, <a href="#Page_172">172</a>.</li> - -<li><em>Hours of</em> 1536, <em>octavo</em>, <a href="#Page_208">208</a>.</li> - -<li><em>Hours of</em> 1541, <em>Mallard</em>, <a href="#Page_40">40</a>, <a href="#Page_218">218</a>.</li> - -<li><em>Hours of</em> 1542, <em>Bonhomme</em>, <a href="#Page_220">220</a>-<a href="#Page_221">221</a>.</li> - -<li><em>Hours of</em> 1542, <em>Lecoq</em>, <a href="#Page_221">221</a>-<a href="#Page_222">222</a>.</li> - -<li><em>Hours of</em> 1542, <em>Mallard</em>, <a href="#Page_40">40</a>, <a href="#Page_219">219</a>-<a href="#Page_220">220</a>.</li> - -<li><em>Hours of</em> 1543, <em>Colines</em>, <em>quarto</em>, <a href="#Page_209">209</a>-<a href="#Page_212">212</a>.</li> - -<li><em>Hours of</em> 1543, <em>Colines</em>, <em>octavo</em>, <a href="#Page_212">212</a>.</li> - -<li><em>Hours of</em> 1547 (?), <em>Regnault</em>, <a href="#Page_227">227</a>-<a href="#Page_229">229</a>.</li> - -<li><em>Hours of</em> 1547 (?), <em>Brie</em>, <a href="#Page_229">229</a>-<a href="#Page_231">231</a>.</li> - -<li><em>Hours of</em> 1548, <em>Merlin</em>, <a href="#Page_231">231</a>-<a href="#Page_232">232</a>.</li> - -<li><em>Hours of</em> 1549, <em>Chaudière</em>, <a href="#Page_238">238</a>-<a href="#Page_239">239</a>.</li> - -<li><em>Hours of</em> 1550, <em>Boursette</em>, 16<em>mo</em>, <a href="#Page_243">243</a>.</li> - -<li><em>Hours of</em> 1550, <em>Kerver</em>, <em>octavo</em>, <a href="#Page_218">218</a>-<a href="#Page_219">219</a>, <a href="#Page_243">243</a>-<a href="#Page_244">244</a>.</li> - -<li><em>Hours of</em> 1550, <em>Roigny</em>, 16<em>mo</em>, <a href="#Page_241">241</a>.</li> - -<li><em>Hours of</em> 1552, <em>Kerver</em>, <a href="#Page_246">246</a>.</li> - -<li><em>Hours of</em> 1556, <em>Kerver</em>, <a href="#Page_251">251</a>-<a href="#Page_252">252</a>.</li> - -<li><em>Hours of</em> 1574, <em>Kerver</em>, <a href="#Page_226">226</a>-<a href="#Page_227">227</a>.</li> - -<li><em>Hours in rhyme. See Gringoire.</em></li> - - -<li class="ifrst">'INSIGNIUM <em>aliquot virorum icones</em>,' <a href="#Page_260">260</a>.</li> - -<li><em>'Institutionum civilium,' etc.</em>, <a href="#Page_278">278</a>.</li> - -<li>'I<span class="smcapa">TINERARIVM PROVINCIARUM OMNIUM</span> A<span class="smcapa">NTONINI</span> A<span class="smcapa">UGUSTI</span>,' <em>etc., Tory's edition of</em>, 5, <a href="#Page_69">69</a>-<a href="#Page_72">72</a>.</li> - - -<li class="ifrst">JANOT, <em>Denys</em>, <a href="#Page_222">222</a>, <a href="#Page_263">263</a>;</li> -<li class="isub1"><em>appointed king's printer</em>, <a href="#Page_302">302</a>-<a href="#Page_303">303</a>.</li> - -<li><em>Joly, Abbé de</em>, <a href="#Page_55">55</a> <em>note</em> <a href="#Note_185">2</a>.</li> - -<li><em>Jollat, Mercure</em>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a>.</li> - -<li>'<em>Jours moralisez, Les</em>,' <a href="#Page_228">228</a>.</li> - -<li><em>Justel, Christophe</em>, <a href="#Page_158">158</a>.</li> - -<li><em>Justel, Henri</em>, <a href="#Page_158">158</a>.</li> - -<li><em>Justin Martyr, Works of</em>, <a href="#Page_189">189</a> <em>note</em> <a href="#Note_339">3</a>.</li> - - -<li class="ifrst">KERVER, <em>Jacques</em>, <a href="#Page_149">149</a>, <a href="#Page_224">224</a>-<a href="#Page_226">226</a>, <a href="#Page_230">230</a>, <a href="#Page_239">239</a>, <a href="#Page_252">252</a>.</li> - -<li><em>Kerver, Jean</em>, <a href="#Page_41">41</a>.</li> - -<li><em>Kerver, Thielman I</em>, <a href="#Page_41">41</a>, <a href="#Page_149">149</a>, <a href="#Page_199">199</a>, <a href="#Page_230">230</a>.</li> -<li class="isub1"><em>And see Bonhomme.</em></li> - -<li><em>Kerver, Thielman II</em>, <a href="#Page_218">218</a>, <a href="#Page_226">226</a>, <a href="#Page_243">243</a>, <a href="#Page_246">246</a>, <a href="#Page_251">251</a>, <a href="#Page_279">279</a>.</li> - -<li><em>King's binders</em>, <a href="#Page_308">308</a>-<a href="#Page_311">311</a>.</li> - -<li><em>King's librarians</em>, <a href="#Page_308">308</a>-<a href="#Page_311">311</a>.</li> - -<li><em>King's printer, Institution of office of</em>, <a href="#Page_32">32</a>, <a href="#Page_34">34</a> <em>and note</em> <a href="#Note_133">2</a>;</li> -<li class="isub1"><em>title bestowed on Tory</em>, <a href="#Page_34">34</a>-<a href="#Page_36">36</a>;</li> -<li class="isub1"><em>institution of, remodeled</em>, <a href="#Page_39">39</a>;</li> -<li class="isub1"><em>list of holders of the office</em>, <a href="#Page_303">303</a>-<a href="#Page_308">308</a>.</li> - - -<li class="ifrst">LA BARRE, <em>Jean de</em>, <a href="#Page_34">34</a> <em>note</em> <a href="#Note_134">3</a>, <a href="#Page_35">35</a> <em>note</em> <a href="#Note_137">1</a>.</li> - -<li><em>Laborde, Comte Léon de</em>, <a href="#Page_24">24</a> <em>note</em> <a href="#Note_98">1</a>, <a href="#Page_143">143</a>; -<em>his description of the MSS. of 'Les Commentaires de César' and 'Les Triomphes de</em><span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span> -<em>Pétrarque,' illustrated by 'Godefroy,'</em> <a href="#Page_154">154</a>-<a href="#Page_166">166</a>.</li> - -<li>'<em>Labours of Hercules, The</em>,' <a href="#Page_182">182</a>, <a href="#Page_184">184</a>.</li> - -<li><em>La Caille, 'Histoire de l'imprimerie,'</em> <a href="#Page_6">6</a>, <a href="#Page_24">24</a> <em>note</em> <a href="#Note_99">1</a>, <a href="#Page_28">28</a>, <a href="#Page_40">40</a>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_99">99</a>, <a href="#Page_175">175</a>, <a href="#Page_284">284</a>, <a href="#Page_285">285</a>.</li> - -<li><em>La Croix du Maine</em>, <a href="#Page_143">143</a>, <a href="#Page_145">145</a>.</li> - -<li><em>La Guierche, Michel de</em>, <a href="#Page_42">42</a>.</li> - -<li><em>Lallemand, Jean</em>, <a href="#Page_3">3</a>, <a href="#Page_4">4</a>, <a href="#Page_65">65</a>, <a href="#Page_68">68</a>.</li> - -<li><em>Lallemand, Jeanne</em>, <a href="#Page_4">4</a>.</li> - -<li><em>Lancelot, M.</em>, <a href="#Page_170">170</a>.</li> - -<li><em>La Porte, Heirs of Maurice de</em>, <a href="#Page_250">250</a>.</li> - -<li><em>La Porte, Widow of Maurice de</em>, <a href="#Page_249">249</a>;</li> -<li class="isub1"><em>her mark</em>, <a href="#Page_283">283</a>-<a href="#Page_284">284</a>.</li> - -<li><em>La Sapienza (college at Rome)</em>, <a href="#Page_2">2</a>.</li> - -<li><em>La Thaumassière, 'Histoire du Berry,'</em> <a href="#Page_290">290</a>.</li> - -<li><em>Latini, Brunetto, 'Le Trésor,'</em> <a href="#Page_17">17</a> <em>and note</em> <a href="#Note_75">3</a>.</li> - -<li><em>Laulne, Étienne de</em>, <a href="#Page_163">163</a>.</li> - -<li><em>'Laurentii Vallæ de linguæ latinæ elegantia,' etc.</em>, <a href="#Page_120">120</a> <em>and note</em> <a href="#Note_245">1</a>.</li> - -<li><em>Le Bas, Jacques</em>, <a href="#Page_273">273</a>.</li> - -<li><em>Lecoq, Jean</em>, <a href="#Page_177">177</a>, <a href="#Page_196">196</a>, <a href="#Page_221">221</a>, <a href="#Page_258">258</a>, <a href="#Page_279">279</a>.</li> - -<li><em>Le Duaren, François, 'De sacris ecclesiæ ministeriis ac beneficiis,' etc.</em>, <a href="#Page_244">244</a>.</li> - -<li><em>Lefèvre d'Etaples, Jacques, 'Commentarii initiatorii in quatuor Evangelia,'</em> <a href="#Page_174">174</a>-<a href="#Page_176">176</a>.</li> -<li class="isub1"><em>See also 'Artificialis introductio.'</em></li> - -<li><em>Le Hullin, Perrette, wife of Tory</em>, <a href="#Page_6">6</a>, <a href="#Page_37">37</a>;</li> -<li class="isub1"><em>and his successor</em>, <a href="#Page_38">38</a>, <a href="#Page_42">42</a>, <a href="#Page_144">144</a>, <a href="#Page_150">150</a>.</li> - -<li><em>L'Empereur, Martin</em>, <a href="#Page_254">254</a>.</li> - -<li><em>Le Noir, Philippe</em>, <a href="#Page_178">178</a>, <a href="#Page_180">180</a>;</li> -<li class="isub1"><em>his marks</em>, <a href="#Page_279">279</a>.</li> - -<li>L<span class="smcapa">EO</span> B<span class="smcapa">APTISTA</span> A<span class="smcapa">LBERTUS</span>, <em>Tory's edition of</em>, <a href="#Page_5">5</a>, <a href="#Page_68">68</a>-<a href="#Page_69">69</a>.</li> - -<li><em>Leonardo da Vinci</em>, <a href="#Page_15">15</a>.</li> - -<li><em>Le Petit, Pierre</em>, <a href="#Page_36">36</a>.</li> - -<li><em>Le Preux, Poncet</em>, <a href="#Page_178">178</a>.</li> - -<li><em>Le Prince, 'Essai historique sur la bibliothèque du roi,'</em> <a href="#Page_169">169</a> <em>note</em> <a href="#Note_316">2</a>.</li> - -<li><em>Le Riche. See Ricke, Guillaume de.</em></li> - -<li><em>Les Angeliers, Arnould</em>, <a href="#Page_216">216</a>, <a href="#Page_217">217</a>.</li> - -<li><em>Les Angeliers, Charles</em>, <a href="#Page_216">216</a>, <a href="#Page_217">217</a>, <a href="#Page_222">222</a>.</li> - -<li><em>Letellier, Pasquier</em>, <a href="#Page_241">241</a>, <a href="#Page_242">242</a>.</li> - -<li>'<em>Liber de opificio dei</em>,' <a href="#Page_189">189</a>.</li> - -<li><em>Libraires jurés. See Paris, University of.</em></li> - -<li><em>Livy, translation of, MS.</em>, <a href="#Page_171">171</a>.</li> - -<li><em>Longis, Jean</em>, <a href="#Page_241">241</a>, <a href="#Page_249">249</a>.</li> - -<li><em>Longueil, Christophe de</em>, <a href="#Page_6">6</a>, <a href="#Page_70">70</a>, <a href="#Page_72">72</a> <em>note</em> <a href="#Note_220">1</a>.</li> - -<li><em>Lorraine, Duchesse Regnee de Bourbon</em>, <a href="#Page_180">180</a>.</li> - -<li><em>Lorraine cross, The</em>, <a href="#Page_47">47</a>, <a href="#Page_91">91</a>, <a href="#Page_178">178</a>;</li> -<li class="isub1"><em>how far a guide to Tory's work</em>, <a href="#Page_147">147</a>-<a href="#Page_152">152</a>;</li> -<li class="isub1"><em>in the 18th century</em>, <a href="#Page_208">208</a>;</li> -<li class="isub1"><em>at Orléans, Chartres, Poitiers and Lyon</em>, <a href="#Page_258">258</a>.</li> - -<li><em>Lottin, 'Catalogue des libraires,'</em> <a href="#Page_99">99</a>, <a href="#Page_270">270</a> <em>note</em> <a href="#Note_456">1</a>, <a href="#Page_273">273</a>, <a href="#Page_281">281</a>.</li> - -<li>L<span class="smcapa">OUISE DE</span> S<span class="smcapa">AVOIE, MOTHER OF</span> F<span class="smcapa">RANÇOIS</span> I, E<span class="smcapa">PITAPHS ON</span>, <a href="#Page_35">35</a>, <a href="#Page_133">133</a>-<a href="#Page_134">134</a>, <a href="#Page_202">202</a>-<a href="#Page_203">203</a>.</li> - -<li><em>Lucas Paciol, 'Divina proportione,'</em> <a href="#Page_15">15</a>.</li> - -<li>L<span class="smcapa">UCIAN</span>, D<span class="smcapa">IALOGUES OF</span>, <em>Tory's translation of</em>, <a href="#Page_27">27</a>, <a href="#Page_85">85</a>-<a href="#Page_87">87</a>.</li> - -<li>L<span class="smcapa">UCIAN</span>, 'L<span class="smcapa">A</span> M<span class="smcapa">OUCHE</span>,' <em>Tory's translation of</em>, <a href="#Page_32">32</a>, <a href="#Page_99">99</a>-<a href="#Page_100">100</a>.</li> - -<li><em>Lud, Gauthier</em>, <a href="#Page_150">150</a>.</li> - -<li><em>Luther, 'Enarrationes' (on the Bible), Nuremberg</em>, <a href="#Page_155">155</a>5, <a href="#Page_254">254</a>.</li> - - -<li class="ifrst">MACAULT, <em>Antoine. See Diodorus Siculus.</em></li> - -<li><em>Maittaire, M., 'Annales Typographiques,'</em> <a href="#Page_176">176</a>, <a href="#Page_268">268</a> <em>note</em> <a href="#Note_454">3</a>.</li> - -<li><em>Mallard, Olivier, Tory's successor at the sign of the Pot Cassé</em>, <a href="#Page_38">38</a>-<a href="#Page_39">39</a>;</li> -<li class="isub1"><em>king's printer</em>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>, <a href="#Page_41">41</a>, <a href="#Page_43">43</a>, <a href="#Page_128">128</a>, <a href="#Page_129">129</a>, <a href="#Page_218">218</a>.</li> - -<li><em>Marchand, J.</em>, <a href="#Page_60">60</a>.</li> - -<li><em>Marcorelle, Jean, 'Book of Thermes,'</em> <a href="#Page_261">261</a> <em>note</em> <a href="#Note_445g">4</a>.</li> - -<li><em>Marguerite d'Angoulême, Queen of Navarre (sister of François I)</em>, <a href="#Page_123">123</a>, <a href="#Page_124">124</a> <em>note</em> <a href="#Note_250">1</a>, <a href="#Page_244">244</a>.</li> - -<li><em>Marnef, Geofroy de</em>, <a href="#Page_60">60</a>, <a href="#Page_64">64</a>.</li> - -<li><em>Marnef Frères</em>, <a href="#Page_3">3</a>, <a href="#Page_213">213</a>;</li> -<li class="isub1"><em>their mark</em>, <a href="#Page_279">279</a>-<a href="#Page_280">280</a>.</li> - -<li><em>Marot, Clément, 'Ladolescence Clementine,'</em> <a href="#Page_36">36</a>-<a href="#Page_37">37</a>, <a href="#Page_138">138</a>-<a href="#Page_140">140</a>, <a href="#Page_296">296</a>;</li> -<li class="isub1">'<em>Psalms</em>,' <a href="#Page_155">155</a>7, <a href="#Page_260">260</a>.</li> - -<li><em>Marot, Jan (father of Clément), 'Sur les deux heureux voyages de Genes & Venise,' etc.</em>, <a href="#Page_140">140</a>.</li> - -<li><em>'Marques Typographiques.' See Silvestre.</em></li> - -<li><em>Massé, René</em>, <a href="#Page_33">33</a>.</li> - -<li><em>Mauroy, Nicolas, 'Les hymnes communes de l'annee,'</em> <a href="#Page_196">196</a>.</li> - -<li><em>Mazochi, 'Epigrammata,' etc.</em>, <a href="#Page_7">7</a> <em>and notes</em> <a href="#Note_42">8</a> <em>and</em> <a href="#Note_43">9</a>.</li> - -<li><em>Meigret, Louys, 'Les quatre livres d'Albert Durer' (translation)</em>, <a href="#Page_252">252</a>, <a href="#Page_283">283</a>.</li> - -<li>'<em>Mémoires de la société des antiquaires de Morinie</em>,' <a href="#Page_255">255</a>.</li> - -<li>'<em>Menagiana</em>,' <a href="#Page_55">55</a> <em>note</em> <a href="#Note_185">2</a>, <a href="#Page_93">93</a>.</li> - -<li><em>Menier, Maurice, his mark</em>, <a href="#Page_280">280</a>.</li> - -<li><em>Merlin, Guillaume</em>, <a href="#Page_215">215</a>, <a href="#Page_217">217</a>, <a href="#Page_231">231</a>, <a href="#Page_232">232</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_280">280</a>.</li> - -<li><em>Mesviere, Estienne</em>, <a href="#Page_243">243</a>, <a href="#Page_246">246</a>.</li> - -<li>'<em>Meubles et armes du moyen âge</em>,' <a href="#Page_254">254</a>.</li> - -<li><em>Milan, Paulus Jovius's Lives of the Dukes of. See Paulus Jovius.</em></li> - -<li><em>Millæus, Johannes, 'Praxis criminis persequendi,' etc.</em>, <a href="#Page_216">216</a>-<a href="#Page_217">217</a>.</li> - -<li><em>Missal (Toul)</em>, 1508, <a href="#Page_150">150</a>.</li> - -<li><em>Missal (Paris)</em>, 1539, <a href="#Page_148">148</a>, <a href="#Page_214">214</a>-<a href="#Page_215">215</a>, <a href="#Page_242">242</a>.</li> - -<li><em>Missal (Paris), folio, no date</em>, <a href="#Page_280">280</a>.</li> - -<li><em>Missal (Cluny)</em>, 1550, <a href="#Page_242">242</a>.</li> - -<li><em>Missal (Paris)</em>, 1559, <a href="#Page_149">149</a>.</li> - -<li>'<em>Monstre d'abus contre Nostradamus</em>,' <a href="#Page_284">284</a>.<span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span></li> - -<li><em>Montaiglon, A. de, 'Archives de l'art français,'</em> <a href="#Page_132">132</a> <em>note</em> <a href="#Note_260">1</a>;</li> -<li class="isub1"><em>Recueil des poésies, etc.</em>, <a href="#Page_281">281</a>.</li> - -<li><em>Montenay, Georgette de, 'Emblesmes et devises chrestiennes,'</em> <a href="#Page_148">148</a>.</li> - -<li><em>Monteux, Hieronime, 'Conservation de santé,' etc.</em>, <a href="#Page_267">267</a>.</li> - -<li><em>Montpellier</em>, <a href="#Page_137">137</a>.</li> - -<li><em>Morante, Marquis de</em>, <a href="#Page_73">73</a>.</li> - -<li><em>Morel, Guillaume, his mark</em>, <a href="#Page_280">280</a>.</li> - -<li><em>Moréri, Historical Dictionary</em>, <a href="#Page_290">290</a>-<a href="#Page_291">291</a>.</li> - -<li><em>Muret, Marc-Antoine, 'Juvenilia,'</em> <a href="#Page_249">249</a>, <a href="#Page_283">283</a>.</li> - - -<li class="ifrst">NÉOBAR, <em>Conrad, king's printer for Greek</em>, <a href="#Page_36">36</a>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>;</li> -<li class="isub1"><em>letters patent of</em>, <a href="#Page_299">299</a>-<a href="#Page_302">302</a>.</li> - -<li><em>New Testament and Apocalypse (Boursette)</em>, <a href="#Page_246">246</a>.</li> - -<li><em>New Testament in Greek and Latin</em>, 1549, <a href="#Page_273">273</a>.</li> - -<li><em>Nivelle, Sébastien</em>, <a href="#Page_215">215</a> <em>note</em> <a href="#Note_380">4</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_280">280</a>-<a href="#Page_281">281</a>.</li> - -<li>'<em>Notice sur les graveurs</em>' (1807), <a href="#Page_261">261</a>, <em>note</em> <a href="#Note_445">4</a>.</li> - -<li><em>Nyverd, Guillaume, his mark</em>, <a href="#Page_281">281</a>.</li> - -<li><em>Nyverd, Guillaume de, his mark</em>, <a href="#Page_282">282</a>.</li> - - -<li class="ifrst">OPORIN <em>(Basle)</em>, <a href="#Page_225">225</a>.</li> - -<li>'O<span class="smcapa">RDONNANCES DU</span> R<span class="smcapa">OY</span>,' <em>published by Tory</em>, <a href="#Page_134">134</a>-<a href="#Page_135">135</a>.</li> - -<li><em>Orthographic marks</em>, <a href="#Page_19">19</a>-<a href="#Page_20">20</a>, <a href="#Page_100">100</a>, <a href="#Page_140">140</a>, <a href="#Page_295">295</a>-<a href="#Page_299">299</a>.</li> - -<li>O<span class="smcapa">RUS</span> A<span class="smcapa">POLLO</span>, H<span class="smcapa">IEROGLYPHS OF</span>, <em>translated by Tory</em>, <a href="#Page_25">25</a>, <a href="#Page_100">100</a>.</li> - -<li><em>Ovid, 'Metamorphoses,'</em> <a href="#Page_260">260</a>, <a href="#Page_261">261</a> <em>and note</em> <a href="#Note_445c">4</a>.</li> - - -<li class="ifrst">PALATINO, <em>Giovanbattista</em>, <a href="#Page_42">42</a> <em>note</em> <a href="#Note_164">2</a>.</li> - -<li><em>Pallier, Jean, his mark</em>, <a href="#Page_282">282</a>.</li> - -<li><em>Palsgrave, 'Lesclaircissement de la langue françoise,'</em> <a href="#Page_14">14</a> <em>note</em> <a href="#Note_58">1</a>, <a href="#Page_34">34</a>, <a href="#Page_292">292</a>-<a href="#Page_294">294</a>.</li> - -<li><em>Panzer, M.</em>, <a href="#Page_176">176</a>.</li> - -<li><em>Papillon, 'Traité de la gravure sur bois,'</em> <a href="#Page_127">127</a>, <a href="#Page_145">145</a>, <a href="#Page_189">189</a> <em>note</em> <a href="#Note_340">4</a>.</li> - -<li><em>Paradin, Claude, 'Devises héroïques,'</em> <a href="#Page_261">261</a> <em>note</em> <a href="#Note_445b">4</a>;</li> -<li class="isub1">'<em>Quadrins historiques</em>,' <a href="#Page_261">261</a> <em>note</em> <a href="#Note_442">1</a>.</li> - -<li><em>Paris, Nicole, his mark</em>, <a href="#Page_283">283</a>.</li> - -<li><em>Paris, University of, libraires jurés of</em>, <a href="#Page_32">32</a> <em>note</em> <a href="#Note_127">2</a>, <a href="#Page_36">36</a>.</li> - -<li>P<span class="smcapa">ASSION</span>, T<span class="smcapa">HE</span>, <em>G. de Ricke's Latin poem on, edited by Tory</em>, <a href="#Page_3">3</a>, <a href="#Page_57">57</a>-<a href="#Page_59">59</a>.</li> - -<li><em>Paulus Belmisserus Pontremulanus, 'Opera poetica,'</em> <a href="#Page_205">205</a>.</li> - -<li><em>Paulus Jovius Novocomensis, 'Vitæ duodecim vicecomitum Mediolani,' MS. of</em>, <a href="#Page_168">168</a>-<a href="#Page_169">169</a>, <a href="#Page_235">235</a>.</li> - -<li><em>Paulus Paradisus, 'De modo legendi hebraice dialogus,'</em> <a href="#Page_276">276</a>.</li> - -<li><em>Perier, Charles</em>, <a href="#Page_252">252</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_283">283</a>.</li> - -<li><em>Perier, Thomas</em>, <a href="#Page_283">283</a>.</li> - -<li><em>Périers, Bonaventure des</em>, <a href="#Page_291">291</a> <em>note</em> <a href="#Note_505">2</a>.</li> - -<li><em>Perot</em>, <a href="#Page_159">159</a> <em>and note</em> <a href="#Note_308">2</a>.</li> - -<li><em>Perreal, Jean, Tory's instructor in drawing</em>, <a href="#Page_7">7</a>, <a href="#Page_15">15</a>, <a href="#Page_23">23</a> <em>and note</em> <a href="#Note_98">1</a>, <a href="#Page_24">24</a>, <a href="#Page_123">123</a>.</li> - -<li><em>Petit, Guillaume, Bishop of Senlis</em>, <a href="#Page_203">203</a>.</li> - -<li><em>Petit, Jean</em>, <a href="#Page_2">2</a>, <a href="#Page_50">50</a>, <a href="#Page_85">85</a>.</li> - -<li><em>Petit, Oudin, his mark</em>, <a href="#Page_283">283</a>.</li> - -<li><em>Petit dictionnaire français-latin</em>, <a href="#Page_272">272</a>.</li> - -<li>'<em>Petit Jehan de Saintré, Le</em>,' <a href="#Page_267">267</a>.</li> - -<li><em>Petrarch</em>, <a href="#Page_259">259</a>, <a href="#Page_261">261</a>.</li> - -<li><em>Petrarque, 'Les Triumphes' de, MS.</em>, <a href="#Page_144">144</a>;</li> -<li class="isub1"><em>described by M. de Laborde</em>, <a href="#Page_164">164</a>-<a href="#Page_166">166</a>.</li> - -<li><em>'Petri Ruffi Druydæ dialectica,' etc.</em>, <a href="#Page_277">277</a>.</li> - -<li><em>Piccolomini, Enea Silvio. See Pius II.</em></li> - -<li>P<span class="smcapa">IUS</span> II (P<span class="smcapa">OPE</span>), C<span class="smcapa">OSMOGRAPHY OF</span>, <em>Tory's edition of</em>, <a href="#Page_3">3</a> <em>and note</em> <a href="#Note_19">1</a>, <a href="#Page_54">54</a>-<a href="#Page_57">57</a>.</li> - -<li><em>Plantin, Christophe</em>, <a href="#Page_251">251</a>.</li> - -<li><em>Plato, Dialogues of</em>, <a href="#Page_41">41</a>.</li> - -<li><em>Plessis, Collège of</em>, <a href="#Page_3">3</a>, <a href="#Page_295">295</a>.</li> - -<li><em>Pliny, 'Letters,'</em> <a href="#Page_285">285</a>.</li> - -<li>P<span class="smcapa">LUTARCH</span>, P<span class="smcapa">OLITICS</span>, <em>Tory's translation of</em>, <a href="#Page_31">31</a>, <a href="#Page_97">97</a>, <a href="#Page_99">99</a>.</li> - -<li>P<span class="smcapa">OMPONIUS</span> M<span class="smcapa">ELA</span>, <em>Tory's translation of</em>, <a href="#Page_2">2</a>, <a href="#Page_50">50</a>-<a href="#Page_54">54</a>.</li> - -<li><em>Porcium, J., 'Pugna porcorum,'</em> <a href="#Page_276">276</a>.</li> - -<li><em>Pot Cassé, Tory's first use of</em>, <a href="#Page_11">11</a>;</li> -<li class="isub1"><em>explanation of</em>, <a href="#Page_12">12</a>;</li> -<li class="isub1"><em>modifications of</em>, <a href="#Page_20">20</a>;</li> -<li class="isub1"><em>interpreted by Tory in 'Champ fleury,'</em> <a href="#Page_21">21</a>-<a href="#Page_22">22</a>, <a href="#Page_35">35</a>, <a href="#Page_38">38</a>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>, <a href="#Page_42">42</a>, <a href="#Page_45">45</a>-<a href="#Page_47">47</a>, <a href="#Page_72">72</a>.</li> - -<li>'<em>Pourtraictz divers</em>,' <a href="#Page_260">260</a> <em>note</em> <a href="#Note_439">2</a>.</li> - -<li><em>Prevost, Benoît</em>, <a href="#Page_250">250</a>.</li> - -<li><em>Prevosteau, Estienne, his mark</em>, <a href="#Page_280">280</a>.</li> - -<li><em>Printers' marks signed with the Lorraine cross</em>, <a href="#Page_65">65</a>-<a href="#Page_287">287</a>.</li> - -<li><em>'Procession de Soissons, Le,' etc.</em>, <a href="#Page_91">91</a>-<a href="#Page_92">92</a>.</li> - -<li>'<em>Psalterium Davidicum Græcolatinum</em>,' <a href="#Page_252">252</a>.</li> - -<li>'<em>Psalterium Quincuplex</em>,' <a href="#Page_55">55</a> <em>note</em> <a href="#Note_185">2</a>.</li> - -<li><em>'Purgatoire, Le,' 'prouvé par la parole de Dieu,'</em> <a href="#Page_230">230</a> <em>note</em> <a href="#Note_393">2</a>.</li> - -<li><em>Puys, Jean du</em>, <a href="#Page_255">255</a>.</li> - - -<li class="ifrst">QUINTILIAN, 'I<span class="smcapa">NSTITUTIONES</span>,' <em>Tory's edition of</em>, <a href="#Page_4">4</a>, <a href="#Page_67">67</a>.</li> - - -<li class="ifrst">RABELAIS, '<em>Pantagruel</em>,' <a href="#Page_14">14</a> <em>and note</em> <a href="#Note_60">3</a>.</li> - -<li>'<em>Recueil de plusieurs secrets très-utiles pour la santé</em>,' <a href="#Page_287">287</a>.</li> - -<li><em>'Recueil des rimes,' etc.</em>, <a href="#Page_287">287</a>.</li> - -<li><em>'Recueil des Rois de France.' See Tillet, Jean du.</em></li> - -<li>'<em>Reformation, La, des tavernes et destruction de gourmandise</em>,' <a href="#Page_281">281</a>.<span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span></li> - -<li><em>'Régime de vivre,' etc.</em>, <a href="#Page_287">287</a>.</li> - -<li><em>'Reglement pour l'instruction des proces,' etc.</em>, <a href="#Page_41">41</a>.</li> - -<li><em>Regnault, Barbe</em>, <a href="#Page_228">228</a>;</li> -<li class="isub1"><em>her mark</em>, <a href="#Page_284">284</a>-<a href="#Page_285">285</a>.</li> - -<li><em>Regnault, François</em>, <a href="#Page_178">178</a>, <a href="#Page_228">228</a>, <a href="#Page_284">284</a>.</li> - -<li><em>Regnault, Widow of François. See Boursette, Madeleine.</em></li> - -<li>'R<span class="smcapa">EIGLES GENERALES DE LORTHOGRAPHE DU LANGAIGE FRANÇOIS</span>,' <em>a lost work of Tory</em>, <a href="#Page_29">29</a>, <a href="#Page_100">100</a>, <a href="#Page_297">297</a>.</li> - -<li><em>Rembolt, Berthold</em>, <a href="#Page_5">5</a>, <a href="#Page_68">68</a>, <a href="#Page_69">69</a>, <a href="#Page_277">277</a>, <a href="#Page_278">278</a>.</li> - -<li><em>Renouard, M., 'Annales des Estienne,'</em> <a href="#Page_215">215</a>.</li> - -<li><em>Renouvier, Jules, 'Des types et des manières des maîtres-graveurs,'</em> <a href="#Page_16">16</a>, <a href="#Page_119">119</a>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a>, <a href="#Page_147">147</a> <em>note</em> <a href="#Note_288">2</a>, <a href="#Page_149">149</a>-<a href="#Page_150">150</a>, <a href="#Page_172">172</a>, <a href="#Page_184">184</a>-<a href="#Page_185">185</a>, <a href="#Page_223">223</a>, <a href="#Page_237">237</a>-<a href="#Page_238">238</a>, <a href="#Page_262">262</a>-<a href="#Page_263">263</a>;</li> -<li class="isub1"><em>in 'Revue Universelle des Arts,'</em> <a href="#Page_153">153</a>-<a href="#Page_154">154</a>, <a href="#Page_179">179</a>, <a href="#Page_205">205</a>-<a href="#Page_207">207</a>.</li> - -<li>'<em>Repertorium Bibliographicum</em>,' <a href="#Page_167">167</a>-<a href="#Page_168">168</a>.</li> - -<li><em>Rexmond, Pierre</em>, <a href="#Page_254">254</a>.</li> - -<li><em>Ricke, Guillaume de, Tory's teacher at Bourges</em>, <a href="#Page_1">1</a>, <a href="#Page_2">2</a>;</li> -<li class="isub1"><em>Latin poem of on</em> T<span class="smcapa">HE</span> P<span class="smcapa">ASSION</span>, <em>Tory's edition of</em>, <a href="#Page_3">3</a>, <a href="#Page_57">57</a>-<a href="#Page_59">59</a>;</li> -<li class="isub1"><em>Jules de Saint-Genois on</em>, <a href="#Page_59">59</a>.</li> - -<li><em>Rivard, Claude</em>, <a href="#Page_148">148</a>.</li> - -<li><em>Riviere, Estienne</em>, <a href="#Page_223">223</a>.</li> - -<li><em>Robert-Dumesnil, M., 'Le peintre-graveur français,'</em> <a href="#Page_138">138</a> <em>note</em> <a href="#Note_272">2</a>, <a href="#Page_147">147</a>, <a href="#Page_148">148</a>, <a href="#Page_149">149</a>, <a href="#Page_228">228</a>.</li> - -<li><em>Robinot, Gilles I</em>, <a href="#Page_287">287</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_285">285</a>.</li> - -<li><em>Robinot, Gilles II</em>, <a href="#Page_285">285</a>.</li> - -<li><em>Rochechouart, François de, arms of</em>, <a href="#Page_171">171</a>.</li> - -<li><em>Rodolphi Agricolæ Phrisii, 'De inventione dialectica,'</em> <a href="#Page_120">120</a>, <a href="#Page_211">211</a>.</li> - -<li><em>Roffet, Jacques, called 'Le Faulcheur,'</em> <a href="#Page_235">235</a>, <a href="#Page_237">237</a>.</li> - -<li><em>Roffet, Pierre</em>, <a href="#Page_138">138</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_285">285</a>.</li> - -<li><em>Roigny, Jean de</em>, <a href="#Page_241">241</a>;</li> -<li class="isub1"><em>his marks</em>, <a href="#Page_285">285</a>-<a href="#Page_286">286</a>.</li> - -<li><em>Ronsard, 'Les amours,'</em> <a href="#Page_249">249</a>.</li> - -<li><em>Rothschild, Solomon de</em>, <a href="#Page_120">120</a>, <a href="#Page_126">126</a> <em>note</em> <a href="#Note_253">1</a>, <a href="#Page_127">127</a>-<a href="#Page_128">128</a>.</li> - -<li><em>Rousselet, Jean, Seigneur de la Part-Dieu</em>, <a href="#Page_4">4</a>, <a href="#Page_67">67</a>.</li> - -<li><em>Royer, Louis</em>, <a href="#Page_230">230</a> <em>note</em> <a href="#Note_394">3</a>, <a href="#Page_231">231</a>.</li> - -<li>'<em>Rozier historial de France</em>,' <a href="#Page_178">178</a>.</li> - -<li><em>Ruan, Jean du</em>, <a href="#Page_258">258</a>.</li> - -<li><em>Ruccelli. See Rousselet.</em></li> - - -<li class="ifrst">SACRE ET CORONNEMENT DE LA ROYNE, LE. <em>See Eleonora of Austria.</em></li> - -<li><em>Saint-Amand, Chevalier de, biographer of Tory</em>, <a href="#Page_138">138</a>.</li> - -<li><em>Saint-Genois, Jules de</em>, <a href="#Page_59">59</a>.</li> - -<li><em>Saint-Victor, Adam de, translation of the 'Grand Marial de la mère de vie,'</em> <a href="#Page_287">287</a>.</li> - -<li><em>Sainte-Marguerite, Life of</em>, <a href="#Page_219">219</a>.</li> - -<li><em>Saix, Antoine du</em>, <a href="#Page_33">33</a>.</li> - -<li><em>Salomon, Jean, 'Briefve doctrine pour deuement escripre selon la propriete du langaige francoys,'</em> <a href="#Page_296">296</a>-<a href="#Page_298">298</a>.</li> - -<li><em>Savigny, Christophe de, 'Tableaux des arts libéraux,'</em> <a href="#Page_197">197</a> <em>note</em> <a href="#Note_359">4</a>, <a href="#Page_276">276</a>.</li> - -<li><em>Schoiffer, Pierre</em>, <a href="#Page_109">109</a>.</li> - -<li>'<em>Sermones Iudoci Clichtovei Neoportuen</em>,' <a href="#Page_204">204</a>-<a href="#Page_205">205</a>.</li> - -<li><em>Sertenas, Vincent</em>, <a href="#Page_239">239</a>, <a href="#Page_241">241</a>, <a href="#Page_242">242</a>;</li> -<li class="isub1"><em>his mark</em>, <a href="#Page_287">287</a>.</li> - -<li><em>Seve, J., 'Supplication aux rois,' etc.</em>, <a href="#Page_284">284</a>.</li> - -<li><em>Seve, Maurice de, 'Saulsaye,'</em> <a href="#Page_261">261</a>.</li> - -<li><em>Seyssel, Claude de, translation of Eusebius</em>, <a href="#Page_135">135</a>.</li> - -<li><em>Silvestre, 'Marques Typographiques,'</em> <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_265">265</a>, <a href="#Page_271">271</a>, <a href="#Page_279">279</a> <em>and note</em> <a href="#Note_480">4</a>.</li> - -<li><em>Sirand, Alexandre, 'Courses archéologiques,'</em> <a href="#Page_24">24</a> <em>note</em> <a href="#Note_98">1</a>.</li> - -<li><em>Socard, Alexis, and Alexandre Assier, 'Livres liturgiques du diocèse de Troyes,'</em> <a href="#Page_173">173</a> <em>note</em> <a href="#Note_320">2</a>, <a href="#Page_257">257</a>-<a href="#Page_258">258</a>.</li> - -<li>'S<span class="smcapa">UMMAIRE DE CHRONIQUES.</span>' <em>See Egnasio.</em></li> - - -<li class="ifrst">'TEMPLE <em>de Chasteté, La</em>,' <a href="#Page_272">272</a>.</li> - -<li><em>Terence, Comedies of</em>, 1546, <a href="#Page_267">267</a>.</li> - -<li><em>Terentianus Maurus, 'De literis,' etc.</em>, <a href="#Page_203">203</a>.</li> - -<li><em>Textor, Ravisius, 'Epistolæ a mendis repurgata,'</em> <a href="#Page_270">270</a>.</li> - -<li>'<em>Thesaurus amicorum</em>,' <a href="#Page_259">259</a> <em>and note</em> <a href="#Note_437">1</a>, <a href="#Page_260">260</a>.</li> - -<li>'<em>Thesaurus latinæ linguæ</em>,' <a href="#Page_189">189</a> <em>note</em> <a href="#Note_337">1</a>.</li> - -<li>'<em>Theses, Les, qui ont esté affigées dans la ville de Geneve</em>,' <a href="#Page_257">257</a>.</li> - -<li><em>Thevet, F. André, 'Les Singularitez de la France antarctique,' etc.</em>, <a href="#Page_250">250</a>-<a href="#Page_251">251</a>;</li> -<li class="isub1">'<em>Cosmographie universelle</em>,' <a href="#Page_251">251</a>.</li> - -<li><em>Thiboust, Jacques</em>, <a href="#Page_297">297</a>.</li> - -<li><em>Thory. See Tory.</em></li> - -<li><em>Thucydides</em>, <a href="#Page_30">30</a>.</li> - -<li><em>Tillet, Jean du, 'Recueil des portraits des rois de France,' manuscript of</em>, <a href="#Page_144">144</a>, <a href="#Page_169">169</a>-<a href="#Page_170">170</a>, <a href="#Page_255">255</a>-<a href="#Page_257">257</a>.</li> - -<li>'<em>Topica Marci Tullii Ciceronis</em>,' <a href="#Page_282">282</a>.</li> - -<li><em>Toret, symbolic use of, in modified form of the Pot Cassé</em>, <a href="#Page_22">22</a>.</li> - -<li><em>Torinus, Bonaventure</em>, <a href="#Page_291">291</a> <em>and note</em> <a href="#Note_504">1</a>, <a href="#Page_292">292</a>.</li> - -<li><em>Tory, divers spellings of the name</em>, <a href="#Page_1">1</a> <em>note</em> <a href="#Note_9">1</a>.</li> - -<li><em>Tory, Agnes, daughter of Geofroy, birth of</em>, <a href="#Page_6">6</a>, <a href="#Page_73">73</a>;</li> -<li class="isub1"><em>death of</em>, <a href="#Page_10">10</a>, <a href="#Page_73">73</a>;</li> -<li class="isub1"><em>and the Pot Cassé</em>, <a href="#Page_21">21</a>.</li> - -<li>T<span class="smcapa">ORY</span>, A<span class="smcapa">GNES</span>, L<span class="smcapa">ATIN POEM ON THE DEATH OF</span>, <a href="#Page_10">10</a>-<a href="#Page_11">11</a>, <a href="#Page_46">46</a>, <a href="#Page_73">73</a>-<a href="#Page_81">81</a>.</li> - -<li><em>Tory, Geofroy, birth</em>, <a href="#Page_1">1</a>;</li> -<li class="isub1"><em>ancestry</em>, <a href="#Page_1">1</a>;</li> -<li class="isub1"><em>early life</em>, <a href="#Page_1">1</a>-<a href="#Page_2">2</a>;</li> -<li class="isub1"><em>first journey to Italy</em>, <a href="#Page_2">2</a>;</li> -<li class="isub1"><em>settles in Paris</em>, <a href="#Page_2">2</a>;<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span></li> -<li class="isub1"><em>his first device</em>, <a href="#Page_2">2</a>;</li> -<li class="isub1"><em>at the Collège of Plessis</em>, <a href="#Page_3">3</a>;</li> -<li class="isub1"><em>at the Collège Coqueret</em>, <a href="#Page_5">5</a>;</li> -<li class="isub1"><em>his marriage</em>, <a href="#Page_6">6</a>, <a href="#Page_73">73</a>;</li> -<li class="isub1"><em>birth of his daughter Agnes</em>, <a href="#Page_6">6</a>, <a href="#Page_73">73</a>;</li> -<li class="isub1"><em>at the College de Bourgogne</em>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>;</li> -<li class="isub1"><em>first steps in art</em>, <a href="#Page_7">7</a>;</li> -<li class="isub1"><em>second journey to Italy</em>, <a href="#Page_7">7</a>, <a href="#Page_8">8</a>;</li> -<li class="isub1"><em>returns to Paris</em>, <a href="#Page_8">8</a>;</li> -<li class="isub1"><em>becomes an engraver</em>, <a href="#Page_8">8</a>;</li> -<li class="isub1"><em>and a bookseller</em>, <a href="#Page_8">8</a>;</li> -<li class="isub1"><em>employed by Simon de Colines</em>, <a href="#Page_8">8</a>;</li> -<li class="isub1"><em>his study of the French language</em>, <a href="#Page_9">9</a>;</li> -<li class="isub1"><em>'Champ fleury' conceived</em>, <a href="#Page_9">9</a>, <a href="#Page_12">12</a>;</li> -<li class="isub1"><em>death of Agnes</em>, <a href="#Page_10">10</a>, <a href="#Page_73">73</a>;</li> -<li class="isub1"><em>adopts the Pot Cassé and the device 'non plus,'</em> <a href="#Page_11">11</a>;</li> -<li class="isub1"><em>and Rabelais</em>, <a href="#Page_14">14</a> <em>and note</em> <a href="#Note_60">3</a>;</li> -<li class="isub1"><em>his scheme of orthographic marks</em>, <a href="#Page_20">20</a>, <a href="#Page_55">55</a> <em>and note</em> <a href="#Note_185">2</a>;</li> -<li class="isub1"><em>elucidation of the Pot Cassé</em>, <a href="#Page_21">21</a>-<a href="#Page_22">22</a>;</li> -<li class="isub1"><em>'Champ fleury' completed</em>, <a href="#Page_24">24</a>;</li> -<li class="isub1"><em>first books of Hours</em>, <a href="#Page_24">24</a>-<a href="#Page_25">25</a>;</li> -<li class="isub1"><em>begins translator</em>, <a href="#Page_25">25</a>;</li> -<li class="isub1"><em>'Champ fleury' published</em>, <a href="#Page_26">26</a>;</li> -<li class="isub1"><em>removes to the Petit Pont</em>, <a href="#Page_26">26</a>, <a href="#Page_119">119</a>;</li> -<li class="isub1"><em>first book printed by</em>, <a href="#Page_27">27</a>;</li> -<li class="isub1"><em>is made 'libraire juré' of the University</em>, <a href="#Page_32">32</a>, <a href="#Page_36">36</a>, <a href="#Page_100">100</a>, <a href="#Page_294">294</a>-<a href="#Page_295">295</a>;</li> -<li class="isub1"><em>and king's printer</em>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>;</li> -<li class="isub1"><em>Latin verses of</em>, <a href="#Page_35">35</a>, <a href="#Page_91">91</a>;</li> -<li class="isub1"><em>removes to the Halle aux Blés de Beauce</em>, <a href="#Page_35">35</a>;</li> -<li class="isub1"><em>last book printed by</em>, <a href="#Page_37">37</a>;</li> -<li class="isub1"><em>probable date of death of</em>, <a href="#Page_37">37</a>, <a href="#Page_43">43</a>;</li> -<li class="isub1"><em>epitaph on</em>, <a href="#Page_44">44</a>;</li> -<li class="isub1"><em>autograph of</em>, <a href="#Page_45">45</a>;</li> -<li class="isub1"><em>his work as a binder</em>, <a href="#Page_47">47</a>;</li> -<li class="isub1"><em>scope of artistic acquirements of</em>, <a href="#Page_141">141</a>-<a href="#Page_152">152</a>;</li> -<li class="isub1"><em>identity of, with 'Godefroy,' discussed</em>, <a href="#Page_142">142</a>-<a href="#Page_144">144</a>;</li> -<li class="isub1"><em>was he an engraver?</em>, <a href="#Page_144">144</a>-<a href="#Page_147">147</a>;</li> -<li class="isub1"><em>how far the Lorraine cross is a reliable guide to the work of</em>, <a href="#Page_147">147</a>-<a href="#Page_152">152</a>;</li> -<li class="isub1"><em>M. Renouvier on identity of, with 'Godefroy,'</em> <a href="#Page_153">153</a>;</li> -<li class="isub1"><em>and Simon Vostre's Hours</em>, <a href="#Page_172">172</a>;</li> -<li class="isub1"><em>and Simon de Colines</em>, <a href="#Page_174">174</a>;</li> -<li class="isub1"><em>engravings marked 'G. T.' attributed to</em>, <a href="#Page_173">173</a>;</li> -<li class="isub1"><em>monogram of</em>, <a href="#Page_179">179</a>;</li> -<li class="isub1"><em>and the 'Labours of Hercules' plates</em>, <a href="#Page_184">184</a>;</li> -<li class="isub1"><em>vogue of, among printers</em>, <a href="#Page_258">258</a>;</li> -<li class="isub1"><em>as an engraver on metal and of printers' marks</em>, <a href="#Page_262">262</a>, <a href="#Page_265">265</a>;</li> -<li class="isub1"><em>domiciles of, in Paris</em>, <a href="#Page_295">295</a>;</li> -<li class="isub1"><em>brothers and sisters of</em>, <a href="#Page_289">289</a>-<a href="#Page_290">290</a>;</li> -<li class="isub1"><em>descendants of</em>, <a href="#Page_290">290</a>-<a href="#Page_292">292</a>.</li> -<li class="isub1"><em>See also, 'Ædiloquium,' Antoninus, Berosus Babilonensis, Cebes, 'Champ fleury,' 'Economic Xenophon,' Egnasio, Eleonora of Austria, Hours of</em> 1524-25, 1527, 1529, 1531, <em>Leo Baptista Albertus, Louise de Savoie, Lucian, Marot (Clement), Pope Pius II, Plutarch ('Politics'), Pomponius Mela, Pot Cassé, Quintilian, Guillaume de Ricke, Valerius Probus, Volaterran.</em></li> - -<li><em>Tory, Jean, father of Geofroy</em>, <a href="#Page_289">289</a>, <a href="#Page_290">290</a>.</li> - -<li><em>Tory, Madame Geofroy. See Le Hullin, Perrette.</em></li> - -<li><em>Tory, Philippe, mother of Geofroy</em>, <a href="#Page_289">289</a>, <a href="#Page_290">290</a>.</li> - -<li><em>Toubeau, Jean</em>, <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_290">290</a>-<a href="#Page_291">291</a>.</li> - -<li><em>Tournes, Jean de</em>, <a href="#Page_211">211</a>, <a href="#Page_258">258</a>, <a href="#Page_259">259</a>, <a href="#Page_260">260</a>, <a href="#Page_261">261</a> <em>and note</em> <a href="#Note_445b">4</a>.</li> - -<li><em>'Traverseur, Le.' See Bouchet, Jean.</em></li> - -<li><em>'Triumphes, Les de Pétrarque.' See Pétrarque.</em></li> - -<li><em>Trois Couronnes, Les</em>, <a href="#Page_26">26</a>.</li> - -<li><em>Types used by Tory</em>, <a href="#Page_35">35</a>.</li> - - -<li class="ifrst">VALEMBERT, <em>Simon de, translation of Plato's Dialogues</em>, <a href="#Page_41">41</a>.</li> - -<li>V<span class="smcapa">ALERIUS</span> P<span class="smcapa">ROBUS</span>, <em>Tory's edition of</em>, <a href="#Page_3">3</a>, <a href="#Page_59">59</a>, <a href="#Page_64">64</a>-<a href="#Page_67">67</a>.</li> - -<li><em>Van Praët, M., and the MS. of 'Les Commentaires de César,'</em> <a href="#Page_161">161</a>.</li> - -<li><em>Varlot, M., 'Illustration de l'ancienne imprimerie troyenne,'</em> <a href="#Page_173">173</a>, <a href="#Page_197">197</a>, <a href="#Page_257">257</a>-<a href="#Page_258">258</a>.</li> - -<li><em>Vascosan, Michel de</em>, <a href="#Page_286">286</a>.</li> - -<li><em>Vaudemont. See Gringoire.</em></li> - -<li><em>Verdier, Antoine du</em>, <a href="#Page_143">143</a>.</li> - -<li><em>Vernassal, M., 'Histoire de Primaleon de Grèce' (translation)</em>, <a href="#Page_241">241</a>.</li> - -<li><em>Vésale's Anatomy</em>, <a href="#Page_225">225</a>.</li> - -<li><em>Vidoue, Pierre</em>, <a href="#Page_178">178</a>, <a href="#Page_179">179</a>, <a href="#Page_197">197</a>, <a href="#Page_274">274</a>, <a href="#Page_275">275</a>.</li> - -<li><em>Vincentino, Ludovico</em>, <a href="#Page_16">16</a> <em>and note</em> <a href="#Note_66">1</a>.</li> - -<li><em>Virgil, Æneid in French</em>, <a href="#Page_261">261</a> <em>note</em> <a href="#Note_445f">4</a>; (1549) <a href="#Page_271">271</a>.</li> - -<li><em>Viriville, Vallet de</em>, <a href="#Page_171">171</a> <em>note</em> <a href="#Note_318">1</a>.</li> - -<li><em>Vivian, Mathieu</em>, <a href="#Page_273">273</a>.</li> - -<li><em>Vivian, Thielman, his mark</em>, <a href="#Page_287">287</a>.</li> - -<li>V<span class="smcapa">OLATERRAN</span>, L<span class="smcapa">A</span> M<span class="smcapa">ANIERE DE PARLER ET SE TAIRE</span>, <em>Tory's translation of</em>, <a href="#Page_32">32</a>, <a href="#Page_99">99</a>-<a href="#Page_100">100</a>.</li> - -<li><em>Volcyr, Nicole, de Serouville, 'Histoire de la glorieuse victoire,' etc.</em>, <a href="#Page_181">181</a>-<a href="#Page_182">182</a>, <a href="#Page_184">184</a>.</li> - -<li><em>Vostre, Simon, Hours published by</em>, <a href="#Page_172">172</a>.</li> - - -<li class="ifrst">WASSEBOURG, <em>Richard de, 'Antiquités de la Gaule belgique,' etc.</em>, <a href="#Page_239">239</a>-<a href="#Page_240">240</a>.</li> - -<li><em>Wey, Francis</em>, <a href="#Page_295">295</a>-<a href="#Page_296">296</a>.</li> - -<li><em>Willemin, 'Monuments français inédits,'</em> <a href="#Page_114">114</a>.</li> - -<li><em>Woeiriot</em>, <a href="#Page_127">127</a>, <a href="#Page_147">147</a>, <a href="#Page_189">189</a> <em>note</em> <a href="#Note_340">4</a>, <a href="#Page_244">244</a> <em>note</em> <a href="#Note_407">2</a>.</li> - - -<li class="ifrst">XENOPHON, <em>'Œconomicus.' See 'Economic Xenophon.'</em></li> - - -<li class="ifrst">ZANI, <a href="#Page_145">145</a>.</li> -</ul> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_333" id="Page_333"></a></span></p> - - -<h2><a name="A_LIST_OF_THE_REPRODUCTIONS" id="A_LIST_OF_THE_REPRODUCTIONS"></a>A LIST OF THE REPRODUCTIONS IN THIS VOLUME<br /> -OF DESIGNS ATTRIBUTED TO TORY<br /> -BY M. BERNARD.</h2> - -<div class="figcenter"> -<img src="images/i_b_333.png" width="46" height="80" alt="" /> -</div> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="A LIST OF THE REPRODUCTIONS"> -<tbody> -<tr> - <td class="tdc"><span class="smcapa">REPRODUCED</span><br /> <span class="smcapa">ON PAGE</span></td> - <td> </td> - <td class="tdc"><span class="smcapa">DESCRIBED</span><br /> <span class="smcapa">ON PAGE</span></td> -</tr> -<tr> - <td> </td> - <td class="tdl">Design on covers: from the binding of a copy of<br />Petrarch, Venice, 1525, in the Library of the British<br /> Museum.</td> - <td class="tdr"><a href="#Page_47">47</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189"><span class="smcapa">I</span></a></td> - <td class="tdl">The letter Alpha: from the Greek alphabet of Robert Estienne.</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_192"><span class="smcapa">III</span></a></td> - <td class="tdl">Border: from the title-page of 'Champ fleury.'</td> - <td class="tdr"><a href="#Page_192">192</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189"><span class="smcapa">IV</span></a></td> - <td class="tdl">Border: from Ovid's 'Tristia,' 'Fasti,' etc. Paris, Colines, 1541.</td> - <td> </td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189"><span class="smcapa">V</span></a></td> - <td class="tdl">Frieze: from the Works of Justin Martyr. Paris, Robert Estienne, 1551 (slightly reduced).</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189"><span class="smcapa">V</span></a></td> - <td class="tdl">Initial: from the Greek alphabet of Robert Estienne (1541).</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_210"><span class="smcapa">IX</span></a></td> - <td class="tdl">Border: from the Colines Hours of 1543.</td> - <td class="tdr"><a href="#Page_210">210</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_211"><span class="smcapa">X</span></a>-<a href="#Page_211"><span class="smcapa">XIX</span></a></td> - <td class="tdl">Borders in niello: from the Colines Hours of 1543.</td> - <td class="tdr"><a href="#Page_211">211</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_174"><span class="smcapa">XXI</span></a></td> - <td class="tdl">Border used by Colines on the title-pages of various works.</td> - <td class="tdr"><a href="#Page_174">174</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_210">1</a></td> - <td class="tdl">Frieze: from a border of the Colines Hours of 1543 (reduced).</td> - <td class="tdr"><a href="#Page_210">210</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_22">1</a></td> - <td class="tdl">Initial letter L: from folio 1 of 'Champ fleury.'</td> - <td class="tdr"><a href="#Page_22">22</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_6">6</a></td> - <td class="tdl">Monogram of 'Civis.'</td> - <td class="tdr"><a href="#Page_6">6</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_12">12</a></td> - <td class="tdl">Pot Cassé, as printed in Tory's poem on his daughter's death.</td> - <td class="tdr"><a href="#Page_12">12</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_20">20</a></td> - <td class="tdl">Pot Cassé, as used by Tory on bindings.</td> - <td class="tdr"><a href="#Page_20">20</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_21">21</a></td> - <td class="tdl">Pot Cassé: from 'Champ fleury,' folio 43.</td> - <td class="tdr"><a href="#Page_21">21</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_23">23</a></td> - <td class="tdl">Letters I and K, by Jean Perreal: from 'Champ fleury,' folio 46.</td> - <td class="tdr"><a href="#Page_23">23</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_45">45</a></td> - <td class="tdl">Tory's autograph, on Manuscript of Cicero's orations against Verres: from Bernard.</td> - <td class="tdr"><a href="#Page_45">45</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_45">45</a>-<a href="#Page_47">47</a></td> - <td class="tdl">Various forms of the Pot Cassé.</td> - <td class="tdr"><a href="#Page_45">45</a>-<a href="#Page_47">47</a></td></tr> -<tr> - <td class="tdl"><a href="#Page_192">48</a></td> - <td class="tdl">Letter A with the 'lisflambe': from 'Champ fleury.'</td> - <td class="tdr"><a href="#Page_192">192</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_196">49</a></td> - <td class="tdl">Border: from 'Champ fleury.' Afterwards used on various works.</td> - <td class="tdr"><a href="#Page_196">196</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_192">50</a>-<a href="#Page_192">51</a></td> - <td class="tdl">Triumph of Apollo and the Muses: from 'Champ fleury,' folios 29 verso and 30 recto.</td> - <td class="tdr"><a href="#Page_192">192</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_192">100</a></td> - <td class="tdl">Arms of France: from 'Champ fleury' verso of title.</td> - <td class="tdr"><a href="#Page_192">192</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_109">101</a>-<a href="#Page_116">117</a></td> - <td class="tdl">Borders and illustrations: from the Hours of 1524-1525; from the copy in the British Museum.</td> - <td class="tdr"><a href="#Page_109">109</a>-<a href="#Page_116">116</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_129">129</a></td> - <td class="tdl">The Visitation: from Mallard's octavo Hours of 1542. Bernard describes only the octavo edition of 1541.</td> - <td class="tdr"><a href="#Page_129">129</a>, <a href="#Page_218">218</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_136">130</a></td> - <td class="tdl">Border: from title-page of Macault's translation of Diodorus Siculus.</td> - <td class="tdr"><a href="#Page_136">136</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_140">137</a></td> - <td class="tdl">Mark of Pierre Roffet.</td> - <td class="tdr"><a href="#Page_140">140</a>, <a href="#Page_285">285</a></td> -</tr> -<tr> - <td class="tdl top"><a href="#Page_140">140</a></td> - <td class="tdl top">Border of title: 'Isocratis Oratoris dissertissimi sermo,' etc. Paris, Simonem Colinæum, 1529.<br /> Not mentioned by Bernard.</td> - <td> </td> -</tr> -<tr> - <td class="tdl"><a href="#Page_192">141</a></td> - <td class="tdl">The 'Gallic Hercules': from 'Champ fleury,' folio 3.</td> - <td class="tdr"><a href="#Page_192">192</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_193">152</a></td> - <td class="tdl">Allegorical letter Z: from 'Champ fleury,' folio 65.</td> - <td class="tdr"><a href="#Page_193">193</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189">153</a></td> - <td class="tdl">Frieze (slightly reduced). See under page <a href="#Page_v">v.</a></td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_124">171</a></td> - <td class="tdl">Coronation of the Virgin: from the quarto Hours of 1527.</td> - <td class="tdr"><a href="#Page_124">124</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189">172</a></td> - <td class="tdl">Frieze (slightly reduced). See under page <a href="#Page_v">v.</a></td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_172">172</a></td> - <td class="tdl">Monogram: from Vostre's Hours of 1515; from Bernard.</td> - <td class="tdr"><a href="#Page_172">172</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_179">179</a></td> - <td class="tdl">Monogram of Tory.</td> - <td class="tdr"><a href="#Page_179">179</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_183">183</a></td> - <td class="tdl">Monogram of Tory: from 'The Labours of Hercules'; from Bernard.</td> - <td> </td> -</tr> -<tr> - <td class="tdl"><a href="#Page_185">186</a>-<a href="#Page_185">188</a></td> - <td class="tdl">Floriated (Roman) letters engraved for Robert Estienne.</td> - <td class="tdr"><a href="#Page_185">185</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189">190</a>-<a href="#Page_189">191</a></td> - <td class="tdl">Floriated (Greek) letters: engraved for Robert Estienne.</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_193">193</a></td> - <td class="tdl">Letter Y: from 'Champ fleury,' folio 63.</td> - <td class="tdr"><a href="#Page_193">193</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_193">194</a></td> - <td class="tdl">Greek Alphabet: from 'Champ fleury,' folio 71.</td> - <td class="tdr"><a href="#Page_193">193</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_193">195</a></td> - <td class="tdl">Latin Alphabet: from 'Champ fleury,' folio 72.</td> - <td class="tdr"><a href="#Page_193">193</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_197">198</a></td> - <td class="tdl">Title-page of the Aristophanes of 1528, with the sign of Gilles de Gourmont and the Gourmont arms.</td> - <td class="tdr"><a href="#Page_197">197</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_205">206</a></td> - <td class="tdl">Frontispiece of Macault's translation of Diodorus Siculus.</td> - <td class="tdr"><a href="#Page_205">205</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_210">209</a>-<a href="#Page_211">211</a></td> - <td class="tdl">Borders: from Colines quarto Hours of 1543.</td> - <td class="tdr"><a href="#Page_210">210</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_233">233</a></td> - <td class="tdl">Portrait of Theodore de Bèze: from 'Theodori Bezæ Vezelii Poemata,' 1548.</td> - <td class="tdr"><a href="#Page_233">233</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_235">234</a></td> - <td class="tdl">Portrait of Luchinus, Duke of Milan: from Pauli Jovii Novocomensis, etc., 1549.</td> - <td class="tdr"><a href="#Page_235">235</a></td> -</tr> -<tr> - <td class="tdl top"><a href="#Page_237">236</a></td> - <td class="tdl top">A man on horseback: from the Entrée de Henri II à Paris, 1549. Usually attributed to Bernard Salomon<br /> (Le petit Bernard).</td> - <td class="tdr top"><a href="#Page_237">237</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_241">240</a></td> - <td class="tdl">A fleet of ships: from 'Gerard d'Euphrate,' 1549.</td> - <td class="tdr"><a href="#Page_241">241</a></td> -</tr> -<tr> - <td class="tdl top"><a href="#Page_263">263</a></td> - <td class="tdl top">Frontispiece of 'Textus de Sphæra' Joannis de Sacrobosco. Paris, Simon de Colines, 1527 (reduced).<br /> Not mentioned by Bernard.</td> - <td> </td> -</tr> -<tr> - <td class="tdl"><a href="#Page_279">264</a></td> - <td class="tdl">Mark of Philippe Le Noir.</td> - <td class="tdr"><a href="#Page_279">279</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189">265</a></td> - <td class="tdl">Frieze (slightly reduced.) See under page <a href="#Page_v">v</a>.</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_265">265</a></td> - <td class="tdl">Mark of the Marnefs.</td> - <td class="tdr"><a href="#Page_265">265</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_266">266</a></td> - <td class="tdl">Mark of Conrad Bade.</td> - <td class="tdr"><a href="#Page_266">266</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_268">268</a></td> - <td class="tdl">Mark of Simon de Colines.</td> - <td class="tdr"><a href="#Page_268">268</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_268">269</a></td> - <td class="tdl">Mark of Simon de Colines.</td> - <td class="tdr"><a href="#Page_268">268</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_269">269</a></td> - <td class="tdl">Mark of Gilles Corrozet.</td> - <td class="tdr"><a href="#Page_269">269</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_270">270</a></td> - <td class="tdl">Mark of Mathieu David.</td> - <td class="tdr"><a href="#Page_270">270</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_271">271</a></td> - <td class="tdl">Mark of Robert Estienne.</td> - <td class="tdr"><a href="#Page_271">271</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_272">272</a></td> - <td class="tdl">Mark of Robert Estienne.</td> - <td class="tdr"><a href="#Page_272">272</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_272">273</a></td> - <td class="tdl">Mark of Michel Fezandat.</td> - <td class="tdr"><a href="#Page_272">272</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_274">274</a></td> - <td class="tdl">Mark of Gilles de Gourmont.</td> - <td class="tdr"><a href="#Page_274">274</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_277">277</a></td> - <td class="tdl">Mark of Louis Grandin.</td> - <td class="tdr"><a href="#Page_277">277</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_278">278</a></td> - <td class="tdl">Mark of Charlotte Guillard.</td> - <td class="tdr"><a href="#Page_277">277</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_280">281</a></td> - <td class="tdl">Mark of Sebastien Nivelle.</td> - <td class="tdr"><a href="#Page_280">280</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_283">283</a></td> - <td class="tdl">Mark of Nicole Paris.</td> - <td class="tdr"><a href="#Page_283">283</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_285">285</a></td> - <td class="tdl">Mark of Gilles Robinot.</td> - <td class="tdr"><a href="#Page_285">285</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_285">286</a></td> - <td class="tdl">Mark of Jean de Roigny.</td> - <td class="tdr"><a href="#Page_285">285</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_287">287</a></td> - <td class="tdl">Mark of Thielman Vivian.</td> - <td class="tdr"><a href="#Page_287">287</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_124">288</a></td> - <td class="tdl">The Triumph of Death: from the quarto Hours of 1527.</td> - <td class="tdr"><a href="#Page_124">124</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_289">289</a></td> - <td class="tdl">Frieze: from Orontius Finæus. Colines, 1544 (slightly reduced). Not mentioned by Bernard.</td> - <td> </td> -</tr> -<tr> - <td class="tdl"><a href="#Page_185">289</a></td> - <td class="tdl">Initial G, with Lorraine cross: from the Roman alphabet engraved for Robert Estienne.</td> - <td class="tdr"><a href="#Page_185">185</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_325">325</a></td> - <td class="tdl">Border: from Robert Estienne's Greek testament, folio, 1550. Not mentioned by Bernard.</td> - <td> </td> -</tr> -<tr> - <td class="tdl"><a href="#Page_189">338</a></td> - <td class="tdl">Letter Omega: from the Greek alphabet, engraved for Robert Estienne.</td> - <td class="tdr"><a href="#Page_189">189</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_129">339</a></td> - <td class="tdl">Illustration from Mallard's octavo Hours of 1542.</td> - <td class="tdr"><a href="#Page_129">129</a>, <a href="#Page_218">218</a></td> -</tr> -</tbody> -</table></div> - -<div class="figcenter"> -<img src="images/i_b_336.png" width="120" height="100" alt="" /> -</div> - -<hr class="chap" /> - - -<h2><a name="TABLE_OF_CONTENTS" id="TABLE_OF_CONTENTS"></a>TABLE OF CONTENTS.</h2> - -<div class="center"> -<table border="0" cellpadding="4" cellspacing="0" summary="TABLE OF CONTENTS"> -<tbody> -<tr> - <td class="tdl"><a href="#PRINTERS_PREFACE">PRINTERS' PREFACE.</a></td> - <td class="tdr"><span class="smcapa">PAGE <a href="#Page_v">V</a></span></td> -</tr> -<tr> - <td class="tdl"><a href="#AUTHORS_PREFACE_TO_THE_SECOND_EDITION">AUTHOR'S PREFACE.</a></td> - <td class="tdr"><a href="#Page_ix"><span class="smcapa">IX</span></a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_1">PART I</a> BIOGRAPHY.</td> - <td class="tdr"><a href="#Page_1">1</a></td> -</tr> -<tr> - <td class="tdl"><a href="#Page_49">PART II.</a> BIBLIOGRAPHY.</td> - <td class="tdr"><a href="#Page_49">49</a></td> -</tr> -<tr> - <td class="tdle"><span class="smcapa"><a href="#SECTION_I_WORKS_WRITTEN_OR_ANNOTATED_BY_TORY">I.</a> WORKS WRITTEN OR ANNOTATED BY TORY.</span></td> - <td class="tdr"><a href="#Page_50">50</a></td> -</tr> -<tr> - <td class="tdld"><span class="smcapa"><a href="#SECTION_II_BOOKS_OF_HOURS_PUBLISHED_BY_TORY_FOR_HIMSELF">II.</a> BOOKS OF HOURS PUBLISHED BY TORY FOR HIMSELF.</span></td> - <td class="tdr"><a href="#Page_101">101</a></td> -</tr> -<tr> - <td class="tdla"><span class="smcapa"><a href="#SECTION_III_WORKS_PUBLISHED_BY_TORY_FOR_FRANCOIS_I">III.</a> WORKS PUBLISHED BY TORY FOR FRANÇOIS I.</span></td> - <td class="tdr"><a href="#Page_130">130</a></td> -</tr> -<tr> - <td class="tdla"><span class="smcapa"><a href="#SECTION_IV_WORKS_PRINTED_BY_TORY_FOR_PRIVATE_INDIVIDUALS">IV.</a> WORKS PRINTED BY TORY FOR PRIVATE INDIVIDUALS.</span></td> - <td class="tdr"><a href="#Page_137">137</a></td> -</tr> -<tr> - <td class="tdl"><a href="#PART_III_ICONOGRAPHY">PART III.</a> ICONOGRAPHY.</td> - <td class="tdr"><a href="#Page_141">141</a></td> -</tr> -<tr> - <td class="tdle"><a href="#SECTION_I_MANUSCRIPTS_DECORATED_WITH_MINIATURES_BY_TORY">I.</a> <span class="smcapa">MANUSCRIPTS DECORATED WITH MINIATURES BY TORY</span>.</td> - <td class="tdr"><a href="#Page_153">153</a></td> -</tr> -<tr> - <td class="tdld"><a href="#SECTION_II_PRINTED_BOOKS_ILLUSTRATED_WITH_ENGRAVINGS_BY_TORY_OR_HIS_PUPILS">II.</a> <span class="smcapa">PRINTED BOOKS ILLUSTRATED WITH ENGRAVINGS BY TORY OR HIS PUPILS.</span></td> - <td class="tdr"><a href="#Page_172">172</a></td> -</tr> -<tr> - <td class="tdla"><a href="#SECTION_III_MARKS_OF_BOOKSELLERS_AND_PRINTERS_WITH_THE_LORRAINE_CROSS">III.</a> <span class="smcapa">MARKS OF BOOKSELLERS AND PRINTERS WITH THE LORRAINE CROSS.</span></td> - <td class="tdr"><a href="#Page_265">265</a></td> -</tr> -<tr> - <td class="tdl"><a href="#APPENDICES">APPENDICES.</a></td> - <td> </td> -</tr> -<tr> - <td class="tdlc"><a href="#I">I.</a> <span class="smcapa">CONCERNING GEOFROY TORY'S FAMILY.</span></td> - <td class="tdr"><a href="#Page_289">289</a></td> -</tr> -<tr> - <td class="tdlg"><a href="#II">II.</a> <span class="smcapa">VERSES IN HONOUR OF TORY.</span></td> - <td class="tdr"><a href="#Page_292">292</a></td> -</tr> -<tr> - <td class="tdle"><a href="#III">III.</a> <span class="smcapa">TORY ADMITTED AS TWENTY-FIFTH BOOKSELLER TO THE UNIVERSITY.</span></td> - <td class="tdr"><a href="#Page_294">294</a></td> -</tr> -<tr> - <td class="tdle"><a href="#IV">IV.</a> <span class="smcapa">CONCERNING TORY'S VARIOUS DOMICILES IN PARIS.</span></td> - <td class="tdr"><a href="#Page_295">295</a></td> -</tr> -<tr> - <td class="tdlg"><a href="#V">V.</a> <span class="smcapa">OF THE FIRST USE OF THE APOSTROPHE, ETC.</span></td> - <td class="tdr"><a href="#Page_295">295</a></td> -</tr> -<tr> - <td class="tdle"><a href="#VI">VI.</a> <span class="smcapa">TRANSLATION OF THE LETTERS PATENT APPOINTING CONRAD NÉOBAR KING'S PRINTER FOR GREEK.</span></td> - <td class="tdr"><a href="#Page_299">299</a></td> -</tr> -<tr> - <td class="tdld"><a href="#VII">VII.</a> <span class="smcapa">EXTRACT FROM LETTERS PATENT APPOINTING DENIS JANOT KING'S PRINTER.</span></td> - <td class="tdr"><a href="#Page_302">302</a></td> -</tr> -<tr> - <td class="tdla"><a href="#VIII">VIII.</a> <span class="smcapa">LIST OF KING'S PRINTERS IN PARIS FROM THE ORIGINAL INSTITUTION OF THAT OFFICE.</span></td> - <td class="tdr"><a href="#Page_303">303</a></td> -</tr> -<tr> - <td class="tdle"><a href="#IX">IX.</a> <span class="smcapa">CONCERNING THE KING'S BINDERS AND LIBRARIANS.</span></td> - <td class="tdr"><a href="#Page_308">308</a></td> -</tr> -<tr> - <td class="tdlg"><a href="#X">X.</a> <span class="smcapa">LATIN PASSAGES TRANSLATED IN THIS BOOK.</span></td> - <td class="tdr"><a href="#Page_311">311</a></td> -</tr> -<tr> - <td class="tdl"><a href="#INDEX">INDEX.</a></td> - <td class="tdr"><a href="#Page_325">325</a></td> -</tr> -<tr> - <td class="tdl"><a href="#A_LIST_OF_THE_REPRODUCTIONS">LIST OF REPRODUCTIONS.</a></td> - <td class="tdr"><a href="#Page_333">333</a></td> -</tr> -</tbody> -</table></div> - -<p><span class="pagenum"><a name="Page_338" id="Page_338"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_338.jpg" width="350" height="399" alt="" /> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_339" id="Page_339"></a></span></p> - -<div class="figcenter"> -<img src="images/i_b_339.jpg" width="450" height="419" alt="" /> -</div> - -<p class="p6">PRINTED AT THE RIVERSIDE PRESS FOR<br /> -HOUGHTON MIFFLIN COMPANY<br /> -BOSTON AND NEW YORK.<br /> -CCCLXX COPIES.<br /> -<br /> -NO. 288</p> - -<hr class="chap" /> - -<div class="footnotes"><h3>FOOTNOTES:</h3> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a><a name="Note_1" id="Note_1"></a> This term, which is wrongfully used in printing today -to denote all majuscules, was formerly employed only -for the initial letters of <em>chapters</em>. It was in this sense that -Schoeffer used it when he said, in 1457, that his Psalter -was <em>venustate capitalium distinctus</em> [distinguished by the -beauty of its capitals]; also Chevillier, when he wrote in -the <em>Origine de l'Imprimerie de Paris</em> (page 32), that the -books of the first printers of Paris had no 'capitals,' the -chapter initials being left blank, to be made by the illuminators. -M. Crapelet, taking the word in its present meaning, -concluded therefrom that the books of Gering and his -associates were without majuscules; and he thereupon attributes -the introduction of roman letters in Paris to Josse -Bade, in the sixteenth century, but he is altogether wrong.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a><a name="Note_2" id="Note_2"></a> [<cite>Criblé</cite>, lit. sifted.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a><a name="Note_3" id="Note_3"></a> I retain the phraseology of the first edition of my -book, published in 1856; but the fact is that, thanks to -that publication, Tory is no longer in the same plight. His -books have become formidable rivals to those of Vostre, -Vérard, etc. One of his Books of Hours sold recently for -more than 3000 francs. [Note to 2d edition, 1865.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a><a name="Note_4" id="Note_4"></a> See <em>La Biographie Universelle</em>, article 'Tory,' by -M. Weiss, City Librarian of Besançon.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a><a name="Note_5" id="Note_5"></a> See my book, entitled: <cite>De l'Origine et des Débuts -de l'Imprimerie en Europe</cite>; 2 vols., 8vo, 1853.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a><a name="Note_6" id="Note_6"></a> In the imprint of the <cite>Mer des Histoires</cite>, 2 vols., folio, -completed in 1488 (1489, new style), we read: '<em>Imprimee -par Maistre Pierre le Rouge, libraire et imprimeur -du Roy</em>'; but he assumed the latter title only once, and in -my opinion it was the result of a misapprehension. He -seems in fact to have been king's bookseller only; at all -events he assumes that title in the <cite>Heures à l'Usage de -Rome</cite>, which he published in 1491. In any case, his assumption -of the title does not prove that he received royal -letters patent, as all the other printers did, as we shall see -later.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a><a name="Note_7" id="Note_7"></a> Tory also essayed a reform in Latin orthography, but -it was less happily conceived, and did not succeed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a><a name="Note_8" id="Note_8"></a> Alas! since this preface was first printed, we have -had the misfortune to lose the eminent artist whom I have -named. [Note to 2d edition.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a><a name="Note_9" id="Note_9"></a> I write these two names as our artist himself wrote them; but it is a well-known fact that -the orthography of proper names in the sixteenth century was very uncertain. As to the family -name especially, Geofroy's ancestors and descendants wrote it indifferently <em>Toury</em>, <em>Tory</em>, and -<em>Thory</em>; but Geofroy never varied: he always wrote <em>Tory</em> in French, <em>Torinus</em> in Latin (which -should, strictly speaking, be translated <em>Torin</em>). See further, on this subject, Appendix <a href="#AppNote_A">A.</a></p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a><a name="Note_10" id="Note_10"></a> <em>Champ fleury</em>, fol. 1 verso: 'Combiem [<em>sic</em>] que ie soye de petitz & humbles parēs, & -aussi que ie soye pouure de biens caduques.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a><a name="Note_11" id="Note_11"></a> See Part 2, infra, Bibliography, § <span class="smcapa">I</span>, no. <a href="#Page_57">3</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a><a name="Note_12" id="Note_12"></a> He mentions it on every page of his <cite>Champ fleury</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a><a name="Note_13" id="Note_13"></a> We read in <cite>Champ fleury</cite>, fol. 49 verso: 'Come lexposent tresingenieusemē & elegātemēt -Philipes Beroal & Jehan baptiste le piteable, ɋ iay veuz & ouyz lire publiquemt, il ya. -xx. ans, en Bonoigne la grace.' <cite>Champ fleury</cite> was conceived in 1524, but was not finished -until 1526, the date of the license to print.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a><a name="Note_14" id="Note_14"></a> See <cite>Champ fleury</cite>, fol. 6 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a><a name="Note_15" id="Note_15"></a> As to Gourmont's Greek type, see my <cite>Les Estienne</cite>, pp. 62 ff.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a><a name="Note_16" id="Note_16"></a> Doubtless we should read IV (December 2), for there is no VI of the Nones of December.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a><a name="Note_17" id="Note_17"></a> See the description of the book in Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_50">1</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a><a name="Note_18" id="Note_18"></a> [The modern Bourges.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a><a name="Note_19" id="Note_19"></a> Enea Silvio Piccolomini, commonly called Æneas Sylvius. See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_54">2.</a></p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a><a name="Note_20" id="Note_20"></a> Germain de Gannay, Ganaye, or Gannaye, son of Nicolas and brother of Jean, Chancellor -of France, had become a counsellor in the Parliament of Paris, on the resignation of Jean -Jouvenel des Ursins, by letters patent of 1485; appointed Bishop of Cahors, by royal letters -issued at Vienne in Dauphiné, August 14, 1509, in opposition to Guy de Châteauneuf, who -was chosen by election but yielded his claim to him, he was consecrated May 4, 1511. In -1512 he inherited the property of his brother the Chancellor, and did homage for the seigniory -of Persan on June 18. He was translated to the bishopric of Orléans in 1514, and died in 1520.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a><a name="Note_21" id="Note_21"></a> October 2.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a><a name="Note_22" id="Note_22"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_57">3</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a><a name="Note_23" id="Note_23"></a> Ibid. no. <a href="#Page_60">4</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a><a name="Note_24" id="Note_24"></a> See my <cite>Les Estienne</cite>, pp. 62 ff.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a><a name="Note_25" id="Note_25"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_64">5</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a><a name="Note_26" id="Note_26"></a> For Latin text, see Appendix <a href="#AppNote_Xa">X</a>, <em>a</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a><a name="Note_27" id="Note_27"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_67">6</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a><a name="Note_28" id="Note_28"></a> One of the three editions of Berosus bears that date, but our artist probably had nothing to -do with that edition. [Note added by the author after the book had gone through the press.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a><a name="Note_29" id="Note_29"></a> Fol. 1 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a><a name="Note_30" id="Note_30"></a> This principal of the College of Plessis is here called Robertus Duræus Fortunatus. Du -Boulay calls him simply Robertus Fortunatus, in his <cite>Histoire de l'Université de Paris</cite>, vol. -vi. p. 159. Elsewhere he is called Dure (Duré?). In the index of the same volume, Du Boulay, -under the name of Robertus Fortunatus, refers to a list of the principals of the College of -Plessis, which he omitted to publish.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a><a name="Note_31" id="Note_31"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_68">7</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a><a name="Note_32" id="Note_32"></a> <cite>Biographie Universelle</cite>, art. 'Tory.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a><a name="Note_33" id="Note_33"></a> See Part 2, § <span class="smcapa">I</span>, no. 8 (p. <a href="#Page_70">70</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a><a name="Note_34" id="Note_34"></a> <cite>Histoire de l'Imprimerie</cite>, p. 100: <em>Siste, viator,—et jacentes etiam artes colito.—Hic—Godofredus -Torinus Bituricus,—ubique litteris librisque clarissimus,—qui—Parisiis -multos per annos philosophiam—docuit maximo concursu,—in regio Burgundiæ collegio,—simulque -artem exercuit typographicam,—novam tunc ac recentem brevi perpolitam—tamen -reddidit.—Quisquis ad stadium animum applicas—et inde quæris immortalitatem,—præcipuo -cultori prius apprecare.—Amen.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a><a name="Note_35" id="Note_35"></a> Fol. 49 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a><a name="Note_36" id="Note_36"></a> According to the <cite>Biographie Universelle</cite>, Tory joined the fraternity of booksellers in -1512; but I have found no evidence of this, and it seems to me most improbable.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a><a name="Note_37" id="Note_37"></a> It was this sentence, no doubt, which gave birth to the idea that Tory was a bookseller -at the same time that he was a professor; but it is evident that it refers to Tory's labours as -an engraver, and not to bookselling or printing properly so called, as Tory did not become, -successively, bookseller and printer, until later.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a><a name="Note_38" id="Note_38"></a> <cite>Champ fleury</cite>, fol. 20 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a><a name="Note_39" id="Note_39"></a> Ibid. [Tory spells it 'Aurenges.']</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a><a name="Note_40" id="Note_40"></a> Ibid. fol. 19 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a><a name="Note_41" id="Note_41"></a> Ibid. and elsewhere.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a><a name="Note_42" id="Note_42"></a> 'One may see many another example in the book of <i>Epitaphs of Ancient Rome</i>, which -I saw printed at the time I sojourned in said Rome.' <cite>Champ fleury</cite>, fol. 41 recto. He refers -to the same book again on folios 48 recto and 60 verso: 'In the book of <cite>Epitaphs of Ancient -Rome</cite>, lately printed in said Rome, where I was then living.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a><a name="Note_43" id="Note_43"></a> This book is the oldest printed collection of inscriptions. Unfortunately, instead of being -copied from the original monuments, which still existed at Rome in such great numbers, these -inscriptions were simply reproduced from one of the manuscript collections which were to be -found in the libraries and some of which were themselves very old. Mazochi's book had no -sooner been published than the errors which had found their way into it began to be pointed out -to the printer. He tried to correct them in a supplement which appeared in 1523, but his corrections -did not extend to all the inscriptions, which might still have been restored by reference -to the ancient monuments. A contemporary scholar, whose name is not known, undertook to -continue these corrections on his printed copy, and his emendations were transferred to three -other copies. These annotations impart great value to these four volumes in the eyes of epigraphists.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a><a name="Note_44" id="Note_44"></a> During the first centuries of printing in France, all engravers were also booksellers.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a><a name="Note_45" id="Note_45"></a> He has an article in the <cite>Biographie Universelle</cite>, however.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a><a name="Note_46" id="Note_46"></a> <cite>Champ fleury</cite>, fol. 4 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a><a name="Note_47" id="Note_47"></a> We say <em>Basoche</em> to-day.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a><a name="Note_48" id="Note_48"></a> <cite>Champ fleury</cite>, fol. 12 recto and verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a><a name="Note_49" id="Note_49"></a> For the Latin text, see Appendix <a href="#AppNote_Xb">X</a>, <em>b</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a><a name="Note_50" id="Note_50"></a> Ibid., <a href="#AppNote_Xc"><em>c</em></a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a><a name="Note_51" id="Note_51"></a> See Appendix <a href="#AppNote_Xd">X</a>, <em>d</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a><a name="Note_52" id="Note_52"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_72">9</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a><a name="Note_53" id="Note_53"></a> [Twelfth-day, or Epiphany.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a><a name="Note_54" id="Note_54"></a> Cicero says that he borrowed this maxim from Plato: <em>Ut præclare scriptum est Platone.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a><a name="Note_55" id="Note_55"></a> <cite>Champ fleury</cite>, fol. 1 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a><a name="Note_56" id="Note_56"></a> Ibid., verso of title-page.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a><a name="Note_57" id="Note_57"></a> [As <em>Champ fleury</em> is not among the works cited by French lexicographers to illustrate the -historical development of the language, we search in vain for adequate explanation of some of -the terms used by Tory therein. Littré defines as follows such of these varieties of letters as he -includes in his dictionary: C<span class="smcapa">ADEAUX</span>: <em xml:lang="fr" lang="fr">Grandes lettres placées en têtes des actes ou des chapitres -dans les manuscrits en écriture cursive.</em>—F<span class="smcapa">ORME</span>: <em xml:lang="fr" lang="fr">Lettre de la belle écriture, des belles éditions, -par opposition à la lettre cursive.</em>—B<span class="smcapa">ÂTARDE</span>: <em xml:lang="fr" lang="fr">Écriture ordinairement penchée, à jambages -pleins, à liaisons arrondies par le haut, et à tetes sans boucles.</em>—G<span class="smcapa">OFFES</span>: <em xml:lang="fr" lang="fr">Nom donné à une sorte -de majuscules gothiques dans le commencement du XVI siècle.</em> See, also, for some of these alphabets, -<cite>Pantographia; Containing Accurate Copies of all the known Alphabets in the world</cite>. By -Edmund Fry. London, 1799.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a><a name="Note_58" id="Note_58"></a> See his introduction to Palsgrave's <cite>Lesclaircissement de la langue françoise</cite>. See also -Appendix <a href="#AppNote_II">II</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a><a name="Note_59" id="Note_59"></a> [<cite>Escumeurs de latin.</cite> Rabelais's word is <em>escorcher</em>, to flay.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a><a name="Note_60" id="Note_60"></a> One of the annotators of Rabelais (I do not now remember which one, but his name is of -little consequence<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a>) maintains that Tory intended to criticize in that epistle the author of <cite>Pantagruel</cite>, -who had introduced him in his romance under the name of Raminagrobis. There is -but one little flaw in this story, namely, that the dates are against it: <cite>Champ fleury</cite> antedates -<cite>Pantagruel</cite>, by several years. This fact, to be sure, does not prove that Rabelais did not make -Tory a character in his work; but what foundation is there, I ask, for attributing the character -of Raminagrobis to Tory? Simply the assertion of one of those seventeenth-century scribblers -of marginal notes who lived on the great authors of the sixteenth as rats live on the most valuable -manuscripts—by nibbling at them. What possible connection is there between Raminagrobis, -canon and poet, whom Rabelais represents as dying about 1546, and Tory, layman and prose -writer, who died twelve years earlier? Does it not remind one of the famous key to <cite>Astrée</cite>, -of which I had occasion to prove, in my monograph upon the d'Urfés, that not a word was -true? Almost the same course has been pursued with reference to the <cite>Satire Menippée</cite>, which -has in our own day been ascribed to persons who would be greatly surprised, and far from proud -of their alleged work. See what I had to say on this subject in the <cite>Revue de la Province et de -Paris</cite> of September 30, 1842.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a><a name="Note_61" id="Note_61"></a> <cite>Champ fleury</cite>, 'Aux Lecteurs.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a><a name="Note_62" id="Note_62"></a> It was Pasquier, I think, who first gave currency to this fable; and his opinion is the less admissible because he -did not even know Tory's name, but calls him 'Georges Toré.' See Baillet, <i>Jugements des Savants</i>, vol. i, and Génin's -introduction to Palsgrave, p. 10, note 4.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a><a name="Note_63" id="Note_63"></a> <cite>Champ fleury</cite>, 'Aux Lecteurs.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a><a name="Note_64" id="Note_64"></a> Folio, Venice, 1509; with 62 plates engraved on wood.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a><a name="Note_65" id="Note_65"></a> In his book entitled <cite>Thesauro de' scrittori</cite> (<cite>Champ fleury</cite>, fol. 35 recto). I have not seen -this book, but I have seen his <em xml:lang="la" lang="la">Theorica et pratica ... de modo scribendi fabricandique omnes -litterarum species</em> (Venice, Dec. 1, 1524; quarto). This work is divided into four books and -contains engravings not unlike those in <cite>Champ fleury</cite>. M. Brunet mentions Fante's <cite>Liber elementorum -litterarum</cite> (Venice, 1514; quarto), which probably was the foundation of the -<cite>Thesauro de' scrittori</cite>, published by Ugo da Carpi.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a><a name="Note_66" id="Note_66"></a> I do not know the title of his work, but I think that the reference is to the book thus described -in the Libri catalogue of 1859: <em xml:lang="it" lang="it">La Operina da imparare discrivere littera cancellarescha. -Roma, per invenzione di Lodovico Vicentino</em>, in quarto (1523). As for the variant spelling of the -author's name, which Tory calls Vincentino, it is explainable; for we find in the Libri catalogue -of 1857: <em xml:lang="it" lang="it">Ragola da imparare scrivere varii caratteri di lettere, di L. Vincentino</em>. (Venetia, -Zoppino, 1533, in quarto.) I have also seen mentioned a work of the same sort entitled: <em xml:lang="la" lang="la">Regula -occulte scribendi seu componendi cipharam itaquenemo litteras interpretari possit communes omnibus, -inventa et composita a domino Jacobo Silvestro sive Florentino</em>. (Rome, 1526, quarto.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a><a name="Note_67" id="Note_67"></a> The doubt expressed by Tory is due to the fact that he was unable to read the text of -Dürer's work, which was published in German in 1525. The Latin translation was not published -until 1532, and the French still later.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a><a name="Note_68" id="Note_68"></a> <cite>Champ fleury</cite>, fol. 13 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a><a name="Note_69" id="Note_69"></a> Ibid. fol. 14 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a><a name="Note_70" id="Note_70"></a> Ibid. fol. 41 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a><a name="Note_71" id="Note_71"></a> <cite>Des Types</cite>, etc., 2d part, 16th century, p. 166.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a><a name="Note_72" id="Note_72"></a> <cite>Champ fleury</cite>, fol. 14 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a><a name="Note_73" id="Note_73"></a> It was the fashion, in that epoch of renascence, to treat everything allegorically. Tory -was not the only one who propounded a theory to explain the shapes of letters.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a><a name="Note_74" id="Note_74"></a> <cite>Champ fleury</cite>, fol. 24 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a><a name="Note_75" id="Note_75"></a> [And if any wonder why this book is written in Romance, according to the language of -the French, when we are Italians, I will say that it is for two reasons: one, for that we are in -France, and the other, for that the speaking of it is more delectable and more common to all -people.] Prologue to the <cite>Trésor</cite>, published by M. Pierre Chabaille (quarto; Imprimerie Impérial, -1863; p. 3). The second reason probably explains why Marco Polo printed the narrative -of his voyage in French.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a><a name="Note_76" id="Note_76"></a> [That is to say, philologists.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a><a name="Note_77" id="Note_77"></a> [That is to say, the lines between the different dialects are less clearly marked in the case -of the men.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a><a name="Note_78" id="Note_78"></a> Although myself a native of Lyon, I confess that I do not understand the meaning of these -words, of which Tory, by a regrettable exception, gives no translation. A friend of mine in that -city, M. Ant. Péricaud, thinks that the meaning is: 'Chômez-vous? Chômez cette fête.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a><a name="Note_79" id="Note_79"></a> <cite>Champ fleury</cite>, fol. 33 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a><a name="Note_80" id="Note_80"></a> There are some provinces where the final S is still pronounced. The English also have retained -the custom, which is a necessity with them because the article is invariable, so that the -plural cannot otherwise be distinguished from the singular.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a><a name="Note_81" id="Note_81"></a> <em>Champ fleury</em>, fol. 57 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a><a name="Note_82" id="Note_82"></a> Ibid., fol. 58 verso. Again, as in note 5 on page 18, I will call attention to the fact that -the English, who are much more French in this respect than is generally supposed, have retained -the old pronunciation. They sound the final T in words borrowed from us.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a><a name="Note_83" id="Note_83"></a> <cite>Champ fleury</cite>, fol. 52 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a><a name="Note_84" id="Note_84"></a> Ibid. fol. 56 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a><a name="Note_85" id="Note_85"></a> Ibid. fol. 37 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a><a name="Note_86" id="Note_86"></a> I have seen this binding on an octavo copy of the <cite>Ædiloquium</cite> of 1530, now in the Bibliothèque -Nationale and on the <cite>Sommaire de Chroniques de J. B. Egnasio</cite>, of 1529, owned by -M. Didot. [The famous collection of M. Didot has since been dispersed.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a><a name="Note_87" id="Note_87"></a> Book of Hours of 1556, owned by M. Niel. This volume was printed by the Kervers, -who had bought Tory's old plant.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a><a name="Note_88" id="Note_88"></a> I have seen it on the Hours of 1531, and the <cite>Diodorus</cite> of 1535, which two volumes also -are [1865] owned by M. Didot.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a><a name="Note_89" id="Note_89"></a> [See nos. 1 and 2, on p. <a href="#Page_45">45</a>, infra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a><a name="Note_90" id="Note_90"></a> Fol. 43 verso. Inadvertently, no doubt, this mark is reversed on the first page of <cite>Champ -fleury</cite>. Tory attached little importance to the error, for the same engraving often appeared -afterward. It is not signed [with the double cross], like the one here reproduced.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a><a name="Note_91" id="Note_91"></a> Here, and in numberless other passages in his books, Tory alludes to Italy, of which he -always retained a grateful memory.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a><a name="Note_92" id="Note_92"></a> <cite>Champ fleury</cite>, fol. 43 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a><a name="Note_93" id="Note_93"></a> [See page <a href="#Page_12">12</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a><a name="Note_94" id="Note_94"></a> The Renaissance, at this time, was at its height.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a><a name="Note_95" id="Note_95"></a> Read Μηδὲν ἄγαν.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a><a name="Note_96" id="Note_96"></a> [Against which not even the gods contend.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a><a name="Note_97" id="Note_97"></a> [See page <a href="#Page_1">1</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a><a name="Note_98" id="Note_98"></a> This eminent artist, who has no article in the <cite>Biographie Universelle</cite>, and who is not -even mentioned in the <em>desiderata</em> of the <cite>Notice des tableaux du Louvre de l'école française</cite>, -published by M. Villot, did not die until about 1528, if my reckoning is accurate. We can establish -the fact of his existence so late as 1522 by the documents published by M. de Laborde -in his book on the Renaissance. I once owned an original letter of Perreal, which shows him -in full vigour in 1511. That letter, which I presented to M. Alexandre Sirand, magistrate at -Bourg, has been published by him in his <cite>Courses Archéologiques</cite>, vol. iii, p. 5, in connection -with the church at Brou, in which Perreal was deeply interested. The letter I refer to is dated -November 15 (1511) and addressed to Margaret of Austria (widow of the Duke of Savoy), -to whom Perreal offers his services as superintendent of the work of building the church. That -princess accepted his offer, as we see by her reply of February, 1511 (1512 new style): -'Since Jehan Le Maire hath left us, we choose to have no other overseer in our edifices at Brou -than yourself.' (See the work last cited.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99"><span class="label">[99]</span></a><a name="Note_99" id="Note_99"></a> La Caille, in his <cite>Histoire de l'Imprimerie</cite>, p. 98, gives the date erroneously as September -28, 1584.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100"><span class="label">[100]</span></a><a name="Note_100" id="Note_100"></a> See an extract from it in Part 2, § 2, no. <a href="#Page_101">1</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101"><span class="label">[101]</span></a><a name="Note_101" id="Note_101"></a> [<em xml:lang="fr" lang="fr">fait et fait faire.</em>]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102"><span class="label">[102]</span></a><a name="Note_102" id="Note_102"></a> See Part 2, § 2, no. <a href="#Page_101">1</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103"><span class="label">[103]</span></a><a name="Note_103" id="Note_103"></a> Ibid. no. <a href="#Page_120">2</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104"><span class="label">[104]</span></a><a name="Note_104" id="Note_104"></a> Ibid. no. <a href="#Page_122">3</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105"><span class="label">[105]</span></a><a name="Note_105" id="Note_105"></a> Ibid. no. <a href="#Page_128">6</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106"><span class="label">[106]</span></a><a name="Note_106" id="Note_106"></a> <cite>Champ fleury</cite>, fol. 73 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107"><span class="label">[107]</span></a><a name="Note_107" id="Note_107"></a> Several bibliographers, misled doubtless by the date of the license, mention an edition -of <cite>Champ fleury</cite> of 1526; but there is none. Not until 1549 was there an octavo edition, -printed for the bookseller Vivant Gautherot. I shall speak of it hereafter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108"><span class="label">[108]</span></a><a name="Note_108" id="Note_108"></a> See the description of <em>Champ fleury</em>, Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_81">10</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109"><span class="label">[109]</span></a><a name="Note_109" id="Note_109"></a> For Gourmont, see the <cite>Notice historique</cite> which follows my work entitled: <cite>Les Estienne -et les types grecs de François I<span class="smcapa">er</span></cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110"><span class="label">[110]</span></a><a name="Note_110" id="Note_110"></a> Gilles de Gourmont had just published Lucian's <cite>Dialogues</cite> in Greek (quarto, 1528); -but Tory's translation was made from a Latin version. Although he knew Greek, he did not -use it when he could avoid it. As a general rule he translated from Latin versions such Greek -authors as he dealt with.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111"><span class="label">[111]</span></a><a name="Note_111" id="Note_111"></a> This was, as we have seen, the sign of the famous printer Chrétien Wechel; it was on -the right as one ascends rue Saint-Jacques, near the church of Saint-Benoît. The Pot Cassé -was opposite.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112"><span class="label">[112]</span></a><a name="Note_112" id="Note_112"></a> See a description of it in Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_85">11</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113"><span class="label">[113]</span></a><a name="Note_113" id="Note_113"></a> [<em>Raphael durbin</em>, <em>Michel lange</em>, <em>Leonard vince</em>, <em>Albert durer</em>, are Tory's versions of -these names.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114"><span class="label">[114]</span></a><a name="Note_114" id="Note_114"></a> The description of the volume in Part 2 (p. <a href="#Page_87">87</a> infra), places this promise in the dedicatory -letter.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115"><span class="label">[115]</span></a><a name="Note_115" id="Note_115"></a> <cite>Histoire de l'Imprimerie</cite>, p. 98.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116"><span class="label">[116]</span></a><a name="Note_116" id="Note_116"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_91">13</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117"><span class="label">[117]</span></a><a name="Note_117" id="Note_117"></a> <cite>Champ fleury</cite>, 'avis au lecteur.'—See also fol. 1 verso: 'And so I will write in French -according to my own humble style and mother tongue, nor fail, albeit I am of lowly and humble -parents, and poor in paltry goods, to give pleasure to the devoted lovers of goodly letters. -Herein it may be I shall seem a new man, for that no one has heretofore been known to teach -the fashioning and quality of letters by writing in the French language; but, desirous to cast -some light on our language, I am content to be the first little pointer to arouse some noble mind -which shall put forth greater efforts, as did the Greeks and Romans of old, to establish and ordain -the French language by fixed rules for pronouncing and speaking well. God grant that -some noble lord may be pleased to offer pledges and worthy gifts to those who shall be able to -do this well.'—François I himself was the noble lord referred to.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118"><span class="label">[118]</span></a><a name="Note_118" id="Note_118"></a> See Part 2, § <span class="smcapa">II</span>, no. <a href="#Page_125">4</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119"><span class="label">[119]</span></a><a name="Note_119" id="Note_119"></a> As to this date, see no. <a href="#Note_125">v</a> below, p. 31, and note 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120"><span class="label">[120]</span></a><a name="Note_120" id="Note_120"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_92">14</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121"><span class="label">[121]</span></a> See Appendix <a href="#AppNote_Xe">X</a>, <em>e</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122"><span class="label">[122]</span></a><a name="Note_122" id="Note_122"></a> This volume contains also: <em xml:lang="fr" lang="fr">Epistre du seigneur Elisee Calense, natif Damphrate, quil -envoya a Rufin ... translatee .... par maistre Geofroy Tory de Bourges.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123"><span class="label">[123]</span></a><a name="Note_123" id="Note_123"></a> The year 1531 did not begin until Easter Sunday, April 9.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124"><span class="label">[124]</span></a><a name="Note_124" id="Note_124"></a> See, for other details concerning Tory's <cite>Xenophon</cite>, Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_93">15</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125"><span class="label">[125]</span></a><a name="Note_125" id="Note_125"></a> Ibid. § <span class="smcapa">II</span>, no. <a href="#Page_126">5</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126"><span class="label">[126]</span></a><a name="Note_126" id="Note_126"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_97">16</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127"><span class="label">[127]</span></a><a name="Note_127" id="Note_127"></a> [<cite>A libraire juré</cite> was a bookseller who had taken the oath to follow the rules prescribed by -the University.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128"><span class="label">[128]</span></a><a name="Note_128" id="Note_128"></a> See Part 2, § <span class="smcapa">I</span>, no. <a href="#Page_99">17</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129"><span class="label">[129]</span></a><a name="Note_129" id="Note_129"></a> The reform went even further than Tory suggested, for orthographic accents were invented, -which have no other purpose than to distinguish words of the same sound but of different -meaning; and therein it disregarded logic, for it not only did not distinguish in this way all -words of the same sound (<em>son</em>, for example, which has three totally different meanings, received -no accent), but it placed accents on words which had but one meaning,—<em>déjà</em>, for example; -of what use is the grave accent on the <em>a?</em> Moreover, it placed accents in certain cases on words -which in other cases have none. Thus it wrote '<em>votre</em> ami et le <em>nôtre</em>,' and '<em>notre</em> ami et le -<i>vôtre</i>.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130"><span class="label">[130]</span></a><a name="Note_130" id="Note_130"></a> See supra, p. <a href="#Page_8">8</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131"><span class="label">[131]</span></a><a name="Note_131" id="Note_131"></a> It is printed at the end of his book, which has some similarity to Tory's. The full title is: -<em xml:lang="fr" lang="fr">Lesperon de discipline pour inciter les humains aux bonnes lettres</em>, etc. On the title-page are the -arms of Savoy, to indicate the nativity of the author, who was born in La Bresse, which then -belonged to the House of Savoy.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132"><span class="label">[132]</span></a><a name="Note_132" id="Note_132"></a> See in Appendix <a href="#AppNote_II">II</a>, the Latin verses printed on the verso of the title of <em xml:lang="fr" lang="fr">Lesclaircissement -de la langue françoise</em>, an English work reprinted in 1852 at M. Génin's instance.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133"><span class="label">[133]</span></a><a name="Note_133" id="Note_133"></a> This error has been made by many writers. The creation of king's printer was so far from -being identical with the foundation of the Imprimerie Royale, that there continued to be functionaries -bearing that title even after the foundation of the Imprimerie du Louvre, in 1640, as -we shall see later (Appendix <a href="#AppNote_IX">IX</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134"><span class="label">[134]</span></a><a name="Note_134" id="Note_134"></a> Jean de la Barre, chevalier, Comte d'Étampes, counsellor and chamberlain in ordinary -to the king, first gentleman of his chamber, and keeper of the provostry of Paris, granted the -licenses to print at this time.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135"><span class="label">[135]</span></a><a name="Note_135" id="Note_135"></a> The license had no sooner expired than the work was reprinted, as may be seen by a copy -of an edition of 8 leaves, octavo, in gothic type, dated 1531, now in the Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136"><span class="label">[136]</span></a><a name="Note_136" id="Note_136"></a> See the description of these two opuscula in Part 2, § <span class="smcapa">III</span>, nos. <a href="#Page_130">1</a> and <a href="#Page_131">2</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137"><span class="label">[137]</span></a><a name="Note_137" id="Note_137"></a> A much stranger omission is that of de la Barre's signature, which had to be added by -hand to every copy, at the foot of the license.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138"><span class="label">[138]</span></a><a name="Note_138" id="Note_138"></a> [The <em>saint-augustin</em> was a 13-point type, so called because it was used in 1467 to print -St. Augustine's <cite>De Civitate Dei</cite>. The <em xml:lang="fr" lang="fr">philosophie</em> was 10-point.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139"><span class="label">[139]</span></a><a name="Note_139" id="Note_139"></a> See his little book entitled <cite>Les Trois Ilots de la Cité</cite>; octavo, 1860 (an extract from the -<i>Revue Archéologique</i>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140"><span class="label">[140]</span></a><a name="Note_140" id="Note_140"></a> See Part 2, § <span class="smcapa">III</span>, no. <a href="#Page_133">3</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141"><span class="label">[141]</span></a><a name="Note_141" id="Note_141"></a> See Appendix <a href="#AppNote_VI">VI</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142"><span class="label">[142]</span></a><a name="Note_142" id="Note_142"></a> [The <em xml:lang="fr" lang="fr">écu au soleil</em> was a coin issued under Louis XI and Charles VIII, with a sun above -the crown. The <em xml:lang="fr" lang="fr">livre tournois</em> was worth 20 sous.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143"><span class="label">[143]</span></a><a name="Note_143" id="Note_143"></a> See Appendix <a href="#AppNote_VIII">VIII</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144"><span class="label">[144]</span></a><a name="Note_144" id="Note_144"></a> Concerning the <em xml:lang="fr" lang="fr">libraires jurés</em> and <em xml:lang="fr" lang="fr">non jurés</em>, see Chevillier, <cite>Origine de l'imprimerie de -Paris</cite>, part 4.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145"><span class="label">[145]</span></a><a name="Note_145" id="Note_145"></a> [<cite>Don du roi.</cite>] See Appendix <a href="#AppNote_III">III</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146"><span class="label">[146]</span></a><a name="Note_146" id="Note_146"></a> See Part 2, §§ <span class="smcapa">III</span> and <span class="smcapa">IV</span>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147"><span class="label">[147]</span></a><a name="Note_147" id="Note_147"></a> This most necessary reform spread very rapidly. The year had not ended when another -Paris printer, Antoine Augereau, published a small treatise on the subject, entitled: <cite>Briefve doctrine -pour deuement escripre selon la proprieté du langaige françoys</cite>. ['Brief instructions for writing -the French language properly.'] This curious work, which is printed with the <cite>Miroir de très -chrestienne princesse Marguerite de France</cite>, in an octavo volume, 1533, informs us among other -things that the final E which requires the acute accent was at that time called <em>masculine</em>, and -that the word <em>feminine</em> was applied to it when it did not take the accent. These are, as we see, -the terms used by Tory. Hence doubtless the term <i>féminine</i>, which is still applied to-day, in -French poetry, to silent rhymes. (See Appendix <a href="#Page_295">V.</a>)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148"><span class="label">[148]</span></a><a name="Note_148" id="Note_148"></a> <cite>Archives de l'Empire</cite>, carton S, no. 18.—See also <cite>Les Trois Ilots de la Cité</cite>, by M. -Adolphe Berty, p. 15.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149"><span class="label">[149]</span></a><a name="Note_149" id="Note_149"></a> See Part 2, § <span class="smcapa">III</span>, no. <a href="#Page_136">6</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150"><span class="label">[150]</span></a><a name="Note_150" id="Note_150"></a> The existence of Tory's bindery is proved by the numerous bindings with the Pot Cassé, -not only of books from that artist's presses, to which I have already referred, but of books -printed by others. I will mention particularly a lovely book of Hours, octavo, on vellum, printed -by Herman Hardoin about 1527, and preserved in the Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151"><span class="label">[151]</span></a><a name="Note_151" id="Note_151"></a> Olivier Mallard the printer was probably a relative of Jean Mallart the writer, whose -name appears about the same time in the accounts of François I: 'To Jehan Mallart, writer, -for writing <em xml:lang="fr" lang="fr">unes heures</em> [a book of Hours] on parchment, presented to the king to be illuminated, -<span class="smcapa">XLV</span> livres as a gift, charged upon the <em xml:lang="fr" lang="fr">deniers de l'espargne à l'entour du roy</em>.' (From a -roll not dated, but <em>circa</em> 1538, published by M. de Laborde, <cite>Renaissance des Arts</cite>, vol. i, p. -924.) These Mallards were probably of Norman origin, for there were about the same time -several booksellers of that name at Rouen. One of them, indeed, Jean Mallard, had the Pot -Cassé for his sign in 1542. He was probably a brother of Olivier, who had authorized him to -adopt that symbol. (See <cite>Heures a l'usage de Rouen</cite>, octavo, gothic type, 1542.) I am indebted -for this information to the learned author of the <cite>Manuel du Bibliophile normand</cite>, M. Ed. -Frère.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152"><span class="label">[152]</span></a><a name="Note_152" id="Note_152"></a> It was this publication, no doubt, that led Papillon to say that Tory died in 1536. -(<em xml:lang="fr" lang="fr">Traité de la gravure sur bois</em>, vol. i, p. 509.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153"><span class="label">[153]</span></a><a name="Note_153" id="Note_153"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154"><span class="label">[154]</span></a><a name="Note_154" id="Note_154"></a> 'Caussarum in suprema Parisiorum curia patronus.' This mouth-filling phrase presumably -means <em>avocat</em> in the Parliament of Paris.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155"><span class="label">[155]</span></a><a name="Note_155" id="Note_155"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_156_156" id="Footnote_156_156"></a><a href="#FNanchor_156_156"><span class="label">[156]</span></a><a name="Note_156" id="Note_156"></a> Crapelet, <em xml:lang="fr" lang="fr">Études pratiques</em>, etc., p. 48.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_157_157" id="Footnote_157_157"></a><a href="#FNanchor_157_157"><span class="label">[157]</span></a><a name="Note_157" id="Note_157"></a> In Appendix <a href="#AppNote_VI">VI</a> will be found [an English version of] M. Crapelet's [French] translation. -I have given the original text in my work on the Estiennes, pp. 11 ff.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_158_158" id="Footnote_158_158"></a><a href="#FNanchor_158_158"><span class="label">[158]</span></a><a name="Note_158" id="Note_158"></a> See Part 3 (<cite>Iconography</cite>), under 1541 and 1542.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_159_159" id="Footnote_159_159"></a><a href="#FNanchor_159_159"><span class="label">[159]</span></a><a name="Note_159" id="Note_159"></a> The rent of these premises, which was only 16 livres in 1420, and 22 in 1498, was -raised to 160 livres in 1551, to 200 in 1567, and to 400 in 1605. (<em xml:lang="fr" lang="fr">Les Trois Ilots de la Cité</em>, -by Adolphe Berty, p. 15). It seems that the raising of rents in Paris is not a modern invention.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_160_160" id="Footnote_160_160"></a><a href="#FNanchor_160_160"><span class="label">[160]</span></a><a name="Note_160" id="Note_160"></a> <cite>Histoire de l'Imprimerie</cite>, p. 110.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_161_161" id="Footnote_161_161"></a><a href="#FNanchor_161_161"><span class="label">[161]</span></a><a name="Note_161" id="Note_161"></a> His mother, Iolande Bonhomme, widow of Thielman Kerver, first of the name, also -lived on rue Saint-Jacques, at the sign of the <cite>Licorne</cite> (<cite>Unicornis</cite>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_162_162" id="Footnote_162_162"></a><a href="#FNanchor_162_162"><span class="label">[162]</span></a><a name="Note_162" id="Note_162"></a> See p. <a href="#Page_47">47</a> infra, no. 10.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_163_163" id="Footnote_163_163"></a><a href="#FNanchor_163_163"><span class="label">[163]</span></a><a name="Note_163" id="Note_163"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_164_164" id="Footnote_164_164"></a><a href="#FNanchor_164_164"><span class="label">[164]</span></a><a name="Note_164" id="Note_164"></a> In the preceding year, an analogous book was published at Rome, under this title: <em xml:lang="it" lang="it">Libro -di M. Giovanbattista Palatino, cittadino Romano, nel quel s'insegna a scrivere ogni sorte lettera, -antica et moderna, di qualunque natione, con le sue regole et misure, et essempi: et con un breve -et util discorso de le cifre</em>, etc. Quarto, Rome, 1548; with 15 plates.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_165_165" id="Footnote_165_165"></a><a href="#FNanchor_165_165"><span class="label">[165]</span></a><a name="Note_165" id="Note_165"></a> It might perhaps be interesting to publish this book to-day (it is now very rare), scrupulously -following the first edition, as has been done in the case of Palsgrave's <cite>Lesclaircissement -de la langue françoise</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_166_166" id="Footnote_166_166"></a><a href="#FNanchor_166_166"><span class="label">[166]</span></a><a name="Note_166" id="Note_166"></a> The floriated letters engraved by Tory which appear in the course of the book, and of -which the entire alphabet is given on the verso of folio 78 of the first edition, are replaced in -the second by letters of an entirely different make.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_167_167" id="Footnote_167_167"></a><a href="#FNanchor_167_167"><span class="label">[167]</span></a><a name="Note_167" id="Note_167"></a> <cite>Histoire de l'Imprimerie</cite>, p. 99.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_168_168" id="Footnote_168_168"></a><a href="#FNanchor_168_168"><span class="label">[168]</span></a><a name="Note_168" id="Note_168"></a> It will be seen that I apparently had most excellent grounds for saying in my first edition -that Tory lived until after 1550. Could one imagine that a historian of Berry, a townsman -of Tory and friend of Jean Toubeau, could blunder so stupidly concerning the date of our artist's -death? La Caille even makes him live until the close of the sixteenth century.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_169_169" id="Footnote_169_169"></a><a href="#FNanchor_169_169"><span class="label">[169]</span></a><a name="Note_169" id="Note_169"></a> [For the Latin original, see Appendix <a href="#AppNote_Xf">X</a>, <em>f</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_170_170" id="Footnote_170_170"></a><a href="#FNanchor_170_170"><span class="label">[170]</span></a><a name="Note_170" id="Note_170"></a> [Tory's signature referred to consists in the double, or Lorraine, cross found on nos. -5 and 10.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_171_171" id="Footnote_171_171"></a><a href="#FNanchor_171_171"><span class="label">[171]</span></a><a name="Note_171" id="Note_171"></a> See Part 2, § <span class="smcapa">II</span>, no. <a href="#Page_122">2</a> (2).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_172_172" id="Footnote_172_172"></a><a href="#FNanchor_172_172"><span class="label">[172]</span></a><a name="Note_172" id="Note_172"></a> See p. 38, note <a href="#Note_151">4</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_173_173" id="Footnote_173_173"></a><a href="#FNanchor_173_173"><span class="label">[173]</span></a><a name="Note_173" id="Note_173"></a> One of our most skilful binders, M. Capé, used this design in his bindings. An example -may be seen on a copy of the Hours (quarto) of 1527 in the Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_174_174" id="Footnote_174_174"></a><a href="#FNanchor_174_174"><span class="label">[174]</span></a><a name="Note_174" id="Note_174"></a> It goes without saying that in the numerous quotations which I shall make from these -books I shall do away with abbreviations and supply punctuation. To do otherwise would be -to give the reader of to-day, who is unfamiliar with the tachygraphy of the Middle Ages, simply -a succession of undecipherable puzzles. It is a difficult task to restore the Latin texts according -to the first impressions. I have taken it upon myself, so that the reader may have the pleasure -of reading without difficulty. What I have said must be my apology for such errors as I may -have made in my work of restoration.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_175_175" id="Footnote_175_175"></a><a href="#FNanchor_175_175"><span class="label">[175]</span></a><a name="Note_175" id="Note_175"></a> Bibliothèque Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_176_176" id="Footnote_176_176"></a><a href="#FNanchor_176_176"><span class="label">[176]</span></a><a name="Note_176" id="Note_176"></a> Gilles de Gourmont was in fact the first printer in Paris who had Greek type. See my -<cite>Les Estienne</cite>, pp. 62, 67.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_177_177" id="Footnote_177_177"></a><a href="#FNanchor_177_177"><span class="label">[177]</span></a><a name="Note_177" id="Note_177"></a> I have arranged these verses in lines, although in the book the lines are indicated simply -by capital letters; and I warn the reader that several words were changed by Tory in order to -adapt the verses to his subject. [The changes are in fact considerable, especially in the third passage, -which is made up of parts of five lines, with several changes, one of which results in an -entire reversal of the meaning. The English versions of these passages are adapted from Long's -translation of the <cite>Æneid</cite>. For the Latin original, see Appendix <a href="#AppNote_Xg">X</a>, <em>g</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_178_178" id="Footnote_178_178"></a><a href="#FNanchor_178_178"><span class="label">[178]</span></a><a name="Note_178" id="Note_178"></a> Proper. ii, <cite>ad Mæcenatem</cite>. [The translations from Propertius are those of Cranstoun.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_179_179" id="Footnote_179_179"></a><a href="#FNanchor_179_179"><span class="label">[179]</span></a><a name="Note_179" id="Note_179"></a> Doubtless we should read 'iv no.' for there was no sixth of the nones of December. The -fourth of the nones fell on Dec. 2. But perhaps we should read 'vj id.'; the sixth of the ides -of December fell on Dec. 8.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180"><span class="label">[180]</span></a><a name="Note_180" id="Note_180"></a> [For the Latin original, see Appendix <a href="#AppNote_Xb">X</a>, <em>b</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181"><span class="label">[181]</span></a><a name="Note_181" id="Note_181"></a> [For the Latin original, see Appendix <a href="#AppNote_Xi">X</a>, <em>i</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_182_182" id="Footnote_182_182"></a><a href="#FNanchor_182_182"><span class="label">[182]</span></a><a name="Note_182" id="Note_182"></a> Jan. 10, 1508, new style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_183_183" id="Footnote_183_183"></a><a href="#FNanchor_183_183"><span class="label">[183]</span></a><a name="Note_183" id="Note_183"></a> [For the Latin original, see Appendix <a href="#AppNote_Xj">X</a>, <em>j</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_184_184" id="Footnote_184_184"></a><a href="#FNanchor_184_184"><span class="label">[184]</span></a><a name="Note_184" id="Note_184"></a> [For the Latin original, see Appendix <a href="#AppNote_Xk">X</a>, <em>k</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_185_185" id="Footnote_185_185"></a><a href="#FNanchor_185_185"><span class="label">[185]</span></a><a name="Note_185" id="Note_185"></a> Following the course pursued in the <cite>Psalterium Quincuplex</cite>, published shortly before by -Henri Estienne, Tory proposed to write with a cedilla the last <em>e</em> but one of the third person -plural of the perfect tense of verbs of the third conjugation (<em xml:lang="la" lang="la">emere</em>, <em xml:lang="it" lang="it">contendere</em>, etc.), to distinguish -it from the infinitive. In our day the circumflex accent has been adopted for this purpose; -but accented letters did not exist in Tory's time, and he sought to utilise, in the interest of the -metre, the only distinctive sign at the disposal of typography, the <em>e</em> with the cedilla, which was -then generally used for <em>æ</em>, in imitation of the manuscripts of the Middle Ages. Tory also proposed -to spell with <em>s</em>, instead of <em>x</em>, certain words like <em xml:lang="la" lang="la">mixtum</em>; 'for,' he said, '<em xml:lang="la" lang="la">misceo</em> has -<em xml:lang="la" lang="la">miscui</em> in the perfect; and so, by analogy, we must say <em xml:lang="la" lang="la">mistum</em>.'</p> - -<p>I will not comment here on some other observations of the same sort made by Tory in this -same note to the reader; I will say simply that they all tend to prove his erudition and peremptorily -contradict the extraordinary assertion of a certain Abbé Joly, who, in a huge folio, entitled -<cite>Remarques critiques sur le Dictionnaire de Bayle</cite>, and published in 1740, observes that -Tory was 'very ignorant,' without adducing a single fact in support of his opinion. In the -<cite>Menagiana</cite> (vol. iv, p. 84 of the 12mo edition of 1729) Tory is rebuked, to be sure, for -forging Latin words, after the example of the author of the <cite>Songe du Poliphile</cite>; but this is a -less serious charge, and is not a proof of ignorance; on the contrary it proves misuse of knowledge. -Geofroy Tory, says the author, attracted by the style of the <cite>Poliphile</cite>, composed seven -epitaphs filled with words most worthy of a place in that work, 'such as <em xml:lang="la" lang="la">murmurillare</em>, <em xml:lang="la" lang="la">insatianter</em>, -<em xml:lang="la" lang="la">hilaranter</em>, <em xml:lang="la" lang="la">pederaptim</em>, <em xml:lang="la" lang="la">velocipediter</em>, <em xml:lang="la" lang="la">ægrimoniosius</em>, <em xml:lang="la" lang="la">avicipes</em>, <em xml:lang="la" lang="la">conspergitare</em>, <em xml:lang="la" lang="la">venustulentissus</em>, -<em xml:lang="la" lang="la">vinulentibibulus</em>, <em xml:lang="la" lang="la">apneumaticus</em>, and <em xml:lang="la" lang="la">collifrangibulum</em>, which he represented as -ancient words, and which the excellent Catherinot, in his epitaph of this same Tory, did not -fail to guarantee to be such.'—See what Catherinot has to say of Tory's <cite>Epitaphs</cite> in his epitaph -of Tory, p. 44 supra. [<em xml:lang="la" lang="la">Tumulos aliquot ludicros veterrimo stylo latine condiderit.</em>]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_186_186" id="Footnote_186_186"></a><a href="#FNanchor_186_186"><span class="label">[186]</span></a><a name="Note_186" id="Note_186"></a> This is the correct reading, not <cite>Hongoti</cite>, which M. Renouard mistakenly adopts (<cite>Ann. -des Estienne</cite>, 3d ed., p. 6, 2d col., no. 3; and p. 276), having failed to notice the line over -the <em>o</em> in the second syllable of the word. However, this is the only place in which this Jean -Hongont is mentioned, and nothing is known of him save that he was associated with the first -Henri Estienne in the publication of this edition of the <cite>Cosmography</cite> of Pope Pius II, otherwise -called Æneas Sylvius, edited by Tory. This book is in the Bibliothèque Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_187_187" id="Footnote_187_187"></a><a href="#FNanchor_187_187"><span class="label">[187]</span></a><a name="Note_187" id="Note_187"></a> October 10, 1509.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_188_188" id="Footnote_188_188"></a><a href="#FNanchor_188_188"><span class="label">[188]</span></a><a name="Note_188" id="Note_188"></a> See infra, Part 3, § <span class="smcapa">III</span>, <em xml:lang="la" lang="la">sub nomine</em> Bade.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_189_189" id="Footnote_189_189"></a><a href="#FNanchor_189_189"><span class="label">[189]</span></a><a name="Note_189" id="Note_189"></a> Bibliothèque Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_190_190" id="Footnote_190_190"></a><a href="#FNanchor_190_190"><span class="label">[190]</span></a><a name="Note_190" id="Note_190"></a> [For Latin original, see Appendix <a href="#AppNote_Xl">X</a>, <em>l</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_191_191" id="Footnote_191_191"></a><a href="#FNanchor_191_191"><span class="label">[191]</span></a><a name="Note_191" id="Note_191"></a> As to this adage, see the <cite>Collection</cite> of Erasmus (folio, Basle, 1574), p. 302: <i>Aristophanis -et Cleantis lucerna</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_192_192" id="Footnote_192_192"></a><a href="#FNanchor_192_192"><span class="label">[192]</span></a><a name="Note_192" id="Note_192"></a> <cite>Claudian</cite>, xv, 385: <em xml:lang="la" lang="la">Minuit præsentia famam</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_193_193" id="Footnote_193_193"></a><a href="#FNanchor_193_193"><span class="label">[193]</span></a><a name="Note_193" id="Note_193"></a> As to this adage, see the <cite>Collection</cite> of Erasmus, ubi sup., p. 134 a: <em xml:lang="la" lang="la">Non absque Theseo</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_194_194" id="Footnote_194_194"></a><a href="#FNanchor_194_194"><span class="label">[194]</span></a><a name="Note_194" id="Note_194"></a> Plautus, <cite>Casinus</cite>, Act V, 4, 1: <em xml:lang="la" lang="la">Ubi tu es, qui colere mores Massilienseis postulas.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_195_195" id="Footnote_195_195"></a><a href="#FNanchor_195_195"><span class="label">[195]</span></a><a name="Note_195" id="Note_195"></a> [For the Latin original, see Appendix <a href="#AppNote_Xm">X</a>, <em>m</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_196_196" id="Footnote_196_196"></a><a href="#FNanchor_196_196"><span class="label">[196]</span></a><a name="Note_196" id="Note_196"></a> The answer seems to be <em>bat</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_197_197" id="Footnote_197_197"></a><a href="#FNanchor_197_197"><span class="label">[197]</span></a><a name="Note_197" id="Note_197"></a> [See p. 265 infra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_198_198" id="Footnote_198_198"></a><a href="#FNanchor_198_198"><span class="label">[198]</span></a><a name="Note_198" id="Note_198"></a> [For the Latin original, see Appendix <a href="#AppNote_Xn">X</a>, <em>n</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199"><span class="label">[199]</span></a><a name="Note_199" id="Note_199"></a> May 9, 1510.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_200_200" id="Footnote_200_200"></a><a href="#FNanchor_200_200"><span class="label">[200]</span></a><a name="Note_200" id="Note_200"></a> Silvestre, no. 974.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_201_201" id="Footnote_201_201"></a><a href="#FNanchor_201_201"><span class="label">[201]</span></a><a name="Note_201" id="Note_201"></a> On folio 26 of the first edition there is a small plan of Rome, doubtless a reminiscent -work of Tory's, which is lacking in the second and third editions.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_202_202" id="Footnote_202_202"></a><a href="#FNanchor_202_202"><span class="label">[202]</span></a><a name="Note_202" id="Note_202"></a> Vol. vii, p. 548, no. 411.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_203_203" id="Footnote_203_203"></a><a href="#FNanchor_203_203"><span class="label">[203]</span></a><a name="Note_203" id="Note_203"></a> <cite>Catal. bibl. Bunav.</cite> vol. i, p. 417 a.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_204_204" id="Footnote_204_204"></a><a href="#FNanchor_204_204"><span class="label">[204]</span></a><a name="Note_204" id="Note_204"></a> Vol. i, col. 810, under 'Berosus.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205"><span class="label">[205]</span></a><a name="Note_205" id="Note_205"></a> [For the Latin original, see Appendix <a href="#AppNote_Xo">X</a>, <em>o</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_206_206" id="Footnote_206_206"></a><a href="#FNanchor_206_206"><span class="label">[206]</span></a><a name="Note_206" id="Note_206"></a> [For the Latin original, see Appendix <a href="#AppNote_Xp">X</a>, <em>p</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_207_207" id="Footnote_207_207"></a><a href="#FNanchor_207_207"><span class="label">[207]</span></a><a name="Note_207" id="Note_207"></a> For example, here are two riddles by Tory, the labour of solving which, I leave, as he -did, to the reader:—</p> - -<p class="center"><em>Godofredus To. Bi.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Tu caput Adrasti capias morientis, et adde</div> - <div class="i1">(Si modo grande bonum vis mihi) te socium.</div> - </div> -</div> -</div> - -<p class="center"><em>Idem.</em></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Quæ fuit ilia Cato Romæ legatio quondam</div> - <div class="i1">Cor, caput, atque pedem cui nec habere fuit?</div> - </div> -</div> -</div> -</div> - -<div class="footnote"> - -<p><a name="Footnote_208_208" id="Footnote_208_208"></a><a href="#FNanchor_208_208"><span class="label">[208]</span></a><a name="Note_208" id="Note_208"></a> This book may be found in the Bibliothèque Mazarine, and at the Arsenal.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_209_209" id="Footnote_209_209"></a><a href="#FNanchor_209_209"><span class="label">[209]</span></a><a name="Note_209" id="Note_209"></a> [For the Latin original, see Appendix <a href="#AppNote_Xq">X</a>, <em>q</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_210_210" id="Footnote_210_210"></a><a href="#FNanchor_210_210"><span class="label">[210]</span></a><a name="Note_210" id="Note_210"></a> In original, <cite>Cordatus</cite>. His house [in Bourges] is now used as the hôtel de ville.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_211_211" id="Footnote_211_211"></a><a href="#FNanchor_211_211"><span class="label">[211]</span></a><a name="Note_211" id="Note_211"></a> As to this gentleman, see page 4, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_212_212" id="Footnote_212_212"></a><a href="#FNanchor_212_212"><span class="label">[212]</span></a><a name="Note_212" id="Note_212"></a> February 27, 1510, or rather, 1509, for it is hardly probable that the bulky volume was -printed in four months. See the dedication in question, on page 4, supra. The book may be -found in the Bibliothèque Sainte-Geneviève.</p></div> - - -<div class="footnote"> - -<p><a name="Footnote_213_213" id="Footnote_213_213"></a><a href="#FNanchor_213_213"><span class="label">[213]</span></a><a name="Note_213" id="Note_213"></a> [For the original Latin, see Appendix <a href="#AppNote_Xr">X</a>, <em>r</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_214_214" id="Footnote_214_214"></a><a href="#FNanchor_214_214"><span class="label">[214]</span></a><a name="Note_214" id="Note_214"></a> As to this person, see note <a href="#Note_30">3</a> on page <a href="#Page_5">5</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_215_215" id="Footnote_215_215"></a><a href="#FNanchor_215_215"><span class="label">[215]</span></a><a name="Note_215" id="Note_215"></a> We have mentioned heretofore (page <a href="#Page_4">4</a>, supra) the eminent posts occupied at this time -by Philibert Babou and Jean Lallemand.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_216_216" id="Footnote_216_216"></a><a href="#FNanchor_216_216"><span class="label">[216]</span></a><a name="Note_216" id="Note_216"></a> [For the original Latin, see Appendix <a href="#AppNote_Xs">X</a>, <em>s</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_217_217" id="Footnote_217_217"></a><a href="#FNanchor_217_217"><span class="label">[217]</span></a><a name="Note_217" id="Note_217"></a> [For the Latin original, see Appendix <a href="#AppNote_Xt">X</a>, <em>t</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_218_218" id="Footnote_218_218"></a><a href="#FNanchor_218_218"><span class="label">[218]</span></a><a name="Note_218" id="Note_218"></a> [For the Latin original, see Appendix <a href="#AppNote_Xu">X</a>, <em>u</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_219_219" id="Footnote_219_219"></a><a href="#FNanchor_219_219"><span class="label">[219]</span></a><a name="Note_219" id="Note_219"></a> The text has <em>nomen</em> instead of <em>novem</em>, but the correction is made in the errata.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_220_220" id="Footnote_220_220"></a><a href="#FNanchor_220_220"><span class="label">[220]</span></a><a name="Note_220" id="Note_220"></a> Christophe de Longueil, to whom the manuscript published by Tory belonged.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_221_221" id="Footnote_221_221"></a><a href="#FNanchor_221_221"><span class="label">[221]</span></a><a name="Note_221" id="Note_221"></a> [For the Latin original, see Appendix <a href="#AppNote_Xv">X</a>, <em>v</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_222_222" id="Footnote_222_222"></a><a href="#FNanchor_222_222"><span class="label">[222]</span></a><a name="Note_222" id="Note_222"></a> For the monogram appended to this final <em>avis</em>, see p. <a href="#Page_6">6</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_223_223" id="Footnote_223_223"></a><a href="#FNanchor_223_223"><span class="label">[223]</span></a><a name="Note_223" id="Note_223"></a> See these two marks, p. <a href="#Page_46">46</a>, supra [nos. 7 and 8].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_224_224" id="Footnote_224_224"></a><a href="#FNanchor_224_224"><span class="label">[224]</span></a><a name="Note_224" id="Note_224"></a> [For the Latin original, see Appendix <a href="#AppNote_Xw">X</a>, <em>w</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_225_225" id="Footnote_225_225"></a><a href="#FNanchor_225_225"><span class="label">[225]</span></a> [This same passage is quoted at length by M. Bernard in Part 1 (see pp. <a href="#Page_13">13</a>-<a href="#Page_14">14</a>, supra), -where the translator has attempted to render it intelligibly in English. As the present section of -the book is intended to assist the bibliographer, it seems proper to reproduce it here exactly in -its original form.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_226_226" id="Footnote_226_226"></a><a href="#FNanchor_226_226"><span class="label">[226]</span></a><a name="Note_226" id="Note_226"></a> See, as to this passage, the remarks on p. <a href="#Page_14">14</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_227_227" id="Footnote_227_227"></a><a href="#FNanchor_227_227"><span class="label">[227]</span></a><a name="Note_227" id="Note_227"></a> Those who use thieves' slang.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_228_228" id="Footnote_228_228"></a><a href="#FNanchor_228_228"><span class="label">[228]</span></a><a name="Note_228" id="Note_228"></a> [There is no leaf numbered lix; the leaf between lviii and lx is numbered lxx.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_229_229" id="Footnote_229_229"></a><a href="#FNanchor_229_229"><span class="label">[229]</span></a><a name="Note_229" id="Note_229"></a> Cy finist ce present Liure, ... Qui fut acheue dimprimer Le mercredy .xxviij. Iour du -Mois Dapuril, Lan Mil Cincq Cens. <span class="smcapa">XXIX</span>. Pour Maistre Geofroy Tory de Bourges, Autheur -dudict Liure, & Libraire, demorãt a Paris, qui le vent sus Petit Pont a Lenseigne du Pot Casse. -Et pour Giles Gourmont aussi Libraire demorant au dict Paris, qui le vent pareillement en La -Rue Sainct Iaques a Lenseigne des Trois Coronnes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_230_230" id="Footnote_230_230"></a><a href="#FNanchor_230_230"><span class="label">[230]</span></a><a name="Note_230" id="Note_230"></a> See what I have said of this second edition on p. <a href="#Page_42">42</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_231_231" id="Footnote_231_231"></a><a href="#FNanchor_231_231"><span class="label">[231]</span></a><a name="Note_231" id="Note_231"></a> See the exact text of this license, which includes three works of Tory, under no. 12, -infra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_232_232" id="Footnote_232_232"></a><a href="#FNanchor_232_232"><span class="label">[232]</span></a><a name="Note_232" id="Note_232"></a> 1530, new style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_233_233" id="Footnote_233_233"></a><a href="#FNanchor_233_233"><span class="label">[233]</span></a><a name="Note_233" id="Note_233"></a> Not <em>à l'escu de Basle</em>, as in the note printed by M. Brunet.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_234_234" id="Footnote_234_234"></a><a href="#FNanchor_234_234"><span class="label">[234]</span></a><a name="Note_234" id="Note_234"></a> The license, which embraces the <cite>Economic Xenophon</cite>, and is printed at the end of the last-named -book, extends the author's rights for four years, not for two. The discrepancy may be -explained by the fact that the <cite>Ædiloquium</cite> was printed while Tory's application for the license -was pending,—that is to say, in the first three months of 1531, which were then reckoned in -the year 1530, according to the old computation. In fact, the license is dated June 18, 1531, -which seems to conflict with the date of printing of the <cite>Ædiloquium</cite>. This circumstance also -explains why the second title of the book is different in the printed volume from that given in -the license (<cite>Erotica</cite>). See p. <a href="#Page_31">31</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_235_235" id="Footnote_235_235"></a><a href="#FNanchor_235_235"><span class="label">[235]</span></a><a name="Note_235" id="Note_235"></a> [For the Latin original, see Appendix <a href="#AppNote_Xx">X</a>, <em>x</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_236_236" id="Footnote_236_236"></a><a href="#FNanchor_236_236"><span class="label">[236]</span></a><a name="Note_236" id="Note_236"></a> He does not mention the <cite>Ædiloquium</cite>, because it was in Latin.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_237_237" id="Footnote_237_237"></a><a href="#FNanchor_237_237"><span class="label">[237]</span></a><a name="Note_237" id="Note_237"></a> In the printed volume of the <cite>Ædiloquium</cite>, Tory modified this sub-title; for it might well -have marred his epitaphs with a suspicion of obscenity which was very far from his thought.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_238_238" id="Footnote_238_238"></a><a href="#FNanchor_238_238"><span class="label">[238]</span></a><a name="Note_238" id="Note_238"></a> On September 23, 1524, and September 5, 1526. Tory requested an extension of the -licenses for his Hours because he was about to reprint them. The second edition of the quarto -Hours appeared on October 20, 1531.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_239_239" id="Footnote_239_239"></a><a href="#FNanchor_239_239"><span class="label">[239]</span></a><a name="Note_239" id="Note_239"></a> We have not this 'privilege tresample,' which probably was printed in some other of -Tory's books, now lost. In truth, that accomplished man was accustomed to have several -books included in each of his licenses.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_240_240" id="Footnote_240_240"></a><a href="#FNanchor_240_240"><span class="label">[240]</span></a><a name="Note_240" id="Note_240"></a> <cite>Bibliothèque Françoise</cite>, article 'Geofroy Tory.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_241_241" id="Footnote_241_241"></a><a href="#FNanchor_241_241"><span class="label">[241]</span></a><a name="Note_241" id="Note_241"></a> <cite>Histoire de l'Imprimerie</cite>, p. 102.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_242_242" id="Footnote_242_242"></a><a href="#FNanchor_242_242"><span class="label">[242]</span></a><a name="Note_242" id="Note_242"></a> Vol. i, p. 24. Lottin also writes <cite>Beulle</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_243_243" id="Footnote_243_243"></a><a href="#FNanchor_243_243"><span class="label">[243]</span></a><a name="Note_243" id="Note_243"></a> <cite>Champ fleury</cite>, fol. 43 recto.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_244_244" id="Footnote_244_244"></a><a href="#FNanchor_244_244"><span class="label">[244]</span></a><a name="Note_244" id="Note_244"></a> It was bought for 3025 francs, exclusive of commissions, for the Bibliothèque Impériale -(in December, 1860). It is a superb copy, still in its original binding. M. Brunet mentions two -other copies: (1) That of Baron de Heiss, the cuts in which were coloured, and which brought -only 60 francs in 1785. It was the same copy, apparently, which was sold for 13 pounds at -the sale of Richard Heber. (2) The McCarthy copy, extra illustrated with 19 lovely miniatures -from an old manuscript, has brought 450 francs.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_245_245" id="Footnote_245_245"></a><a href="#FNanchor_245_245"><span class="label">[245]</span></a><a name="Note_245" id="Note_245"></a> [The translator has before him a copy of an earlier edition (1529) of this work, the title-page -of which reads as follows: 'Lavrentii Vallae de Lingvae Latinae Elegantia libri sex, iam -tertiu de integro bona fide emaculati. Eiusdem de Reciprocatione Sui & Suus libellus apprime -vtilis. Cum indice amplissimo. Parisiis Apud Simonem Colinæum.' 1529. The border differs -slightly from that described above. In this case Tory's mark was not removed by Colines, -but appears twice.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_246_246" id="Footnote_246_246"></a><a href="#FNanchor_246_246"><span class="label">[246]</span></a><a name="Note_246" id="Note_246"></a> <cite>Manuel de Libraire</cite>, 5th ed., vol. v, col. 1658.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_247_247" id="Footnote_247_247"></a><a href="#FNanchor_247_247"><span class="label">[247]</span></a><a name="Note_247" id="Note_247"></a> The Adoration of the Shepherds is replaced, as in the octavo edition, by the Annunciation -to the Shepherds, and the Visitation by an entirely different subject, taken from a Christian -legend: the Emperor Augustus, kneeling on the ground, holds one hand of the Sibyl of -Tibur, who with the other hand points to the Virgin and the Child Jesus in Heaven.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_248_248" id="Footnote_248_248"></a><a href="#FNanchor_248_248"><span class="label">[248]</span></a><a name="Note_248" id="Note_248"></a> Vol. i, pp. 94-98.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_249_249" id="Footnote_249_249"></a><a href="#FNanchor_249_249"><span class="label">[249]</span></a><a name="Note_249" id="Note_249"></a> <cite>Bibliographical Decameron</cite>, vol. i, p. 98.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_250_250" id="Footnote_250_250"></a><a href="#FNanchor_250_250"><span class="label">[250]</span></a><a name="Note_250" id="Note_250"></a> This princess, born in 1492, was the grandmother of Henri IV; she married, first, -Charles, duc d'Alençon. She was famous for her intellectual qualities, and we owe to her several -noteworthy works.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_251_251" id="Footnote_251_251"></a><a href="#FNanchor_251_251"><span class="label">[251]</span></a><a name="Note_251" id="Note_251"></a> <cite>Manuel de Libraire</cite>, vol. iv, 4th edit., p. 802, col. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_252_252" id="Footnote_252_252"></a><a href="#FNanchor_252_252"><span class="label">[252]</span></a><a name="Note_252" id="Note_252"></a> 1530 new style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_253_253" id="Footnote_253_253"></a><a href="#FNanchor_253_253"><span class="label">[253]</span></a><a name="Note_253" id="Note_253"></a> In my first edition I described only 19 cuts, after the imperfect copy of M. de Rothschild.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_254_254" id="Footnote_254_254"></a><a href="#FNanchor_254_254"><span class="label">[254]</span></a><a name="Note_254" id="Note_254"></a> Tory had already received licenses for twenty years for his Hours (see supra, pp. <a href="#Page_105">105</a>-9, -<a href="#Page_121">121</a>), so that he did not need this further grant, which, indeed, he did not print at the end of -his book.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_255_255" id="Footnote_255_255"></a><a href="#FNanchor_255_255"><span class="label">[255]</span></a><a name="Note_255" id="Note_255"></a> This cut, on the verso of a leaf of which the recto is blank, is missing in many copies.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_256_256" id="Footnote_256_256"></a><a href="#FNanchor_256_256"><span class="label">[256]</span></a><a name="Note_256" id="Note_256"></a> <cite>Traité de la Gravure sur Bois</cite>, vol. i, p. 193.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_257_257" id="Footnote_257_257"></a><a href="#FNanchor_257_257"><span class="label">[257]</span></a><a name="Note_257" id="Note_257"></a> The license had no sooner expired than the book was reprinted, as may be seen by a copy -of an edition in gothic type, of eight octavo signatures, dated 1531, in the Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_258_258" id="Footnote_258_258"></a><a href="#FNanchor_258_258"><span class="label">[258]</span></a><a name="Note_258" id="Note_258"></a> 1531 new style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_259_259" id="Footnote_259_259"></a><a href="#FNanchor_259_259"><span class="label">[259]</span></a><a name="Note_259" id="Note_259"></a> A new edition of this book has recently been published at Brussels, being a photo-lithographic -reproduction of the copy in the Bibliothèque du Roi.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_260_260" id="Footnote_260_260"></a><a href="#FNanchor_260_260"><span class="label">[260]</span></a><a name="Note_260" id="Note_260"></a> See what M. A. de Montaiglon says of this engraving in the <cite>Archives de l'Art français</cite>, -vol. ix, p. 266.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_261_261" id="Footnote_261_261"></a><a href="#FNanchor_261_261"><span class="label">[261]</span></a><a name="Note_261" id="Note_261"></a> [For original Latin, see Appendix <a href="#AppNote_Xy">X</a>, <em>y</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_262_262" id="Footnote_262_262"></a><a href="#FNanchor_262_262"><span class="label">[262]</span></a><a name="Note_262" id="Note_262"></a> The borders are the same as those at the beginning and end of the <cite>Entree de la Royne</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_263_263" id="Footnote_263_263"></a><a href="#FNanchor_263_263"><span class="label">[263]</span></a><a name="Note_263" id="Note_263"></a> [For original Latin, see Appendix <a href="#AppNote_Xz">X</a>, <em>z</em>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_264_264" id="Footnote_264_264"></a><a href="#FNanchor_264_264"><span class="label">[264]</span></a><a name="Note_264" id="Note_264"></a> These three opuscula are bound together in one volume at the Bibliothèque de l'Arsenal. -The Bibliothèque Nationale also owns them all, bound separately and more or less imperfect. -The omission of the last of the three from the new catalogue is an error, for it is in the library.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_265_265" id="Footnote_265_265"></a><a href="#FNanchor_265_265"><span class="label">[265]</span></a><a name="Note_265" id="Note_265"></a> At the shop of M. Potier, bookseller, Paris. M. Alkan, senior, also owns the last leaf of -this signature.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_266_266" id="Footnote_266_266"></a><a href="#FNanchor_266_266"><span class="label">[266]</span></a><a name="Note_266" id="Note_266"></a> If the other three signatures are complete, they should contain six sheets, folded two and -two, according to custom.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_267_267" id="Footnote_267_267"></a><a href="#FNanchor_267_267"><span class="label">[267]</span></a><a name="Note_267" id="Note_267"></a> It will be observed that the judges granted the license for but one year, instead of the -three that Tory had asked. I have seen another similar collection of ordinances in the name -of Galiot Dupré, dated 1528, for which the judges extended the license to two years.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_268_268" id="Footnote_268_268"></a><a href="#FNanchor_268_268"><span class="label">[268]</span></a><a name="Note_268" id="Note_268"></a> Here and elsewhere we find the apostrophe, but its use is not yet constant. The compositors -were not used to the sign, which was employed to designate the suppression of a letter -for euphony's sake.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_269_269" id="Footnote_269_269"></a><a href="#FNanchor_269_269"><span class="label">[269]</span></a><a name="Note_269" id="Note_269"></a> It may be that we should read 1536 new style, as Easter fell in that year on April 16. -We add this book to Tory's list, although he was dead at that time, because it was evidently -begun by him and finished by his widow.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_270_270" id="Footnote_270_270"></a><a href="#FNanchor_270_270"><span class="label">[270]</span></a><a name="Note_270" id="Note_270"></a> M. Ambroise Firmin Didot owned a copy of this book, on paper, in its ancient binding, -with the Pot Cassé. He owned also another copy, on vellum.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_271_271" id="Footnote_271_271"></a><a href="#FNanchor_271_271"><span class="label">[271]</span></a><a name="Note_271" id="Note_271"></a> [This paragraph was added by the author after his second edition had gone through the -press.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_272_272" id="Footnote_272_272"></a><a href="#FNanchor_272_272"><span class="label">[272]</span></a><a name="Note_272" id="Note_272"></a> In his <cite>Peintre-graveur français</cite>, M. Robert-Dumesnil mentions an edition of this book -with the date 1538, Paris, G. Tory; which is impossible, as Tory died in 1533.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_273_273" id="Footnote_273_273"></a><a href="#FNanchor_273_273"><span class="label">[273]</span></a><a name="Note_273" id="Note_273"></a> See M. Brunet's <cite>Manuel de Libraire</cite>, 5th edit. vol. iii, col. 144.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_274_274" id="Footnote_274_274"></a><a href="#FNanchor_274_274"><span class="label">[274]</span></a><a name="Note_274" id="Note_274"></a> There is a copy in the Bibliothèque Nationale, to which is added: <cite>La suite de l'Adolescence -clémentine</cite>, with 3 preliminary leaves and 126 of text, on the last of which is the mark -of Pierre Roffet, signed with the Lorraine cross [see page 137, supra]; but not printed by -Tory, for the book was printed for the widow of Roffet, and the latter did not die, it is supposed, -until 1537, after Tory's death.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_275_275" id="Footnote_275_275"></a><a href="#FNanchor_275_275"><span class="label">[275]</span></a><a name="Note_275" id="Note_275"></a> [It should be borne in mind that the word <em>miniature</em> as used in this book has not its ordinary -present-day signification; it means here any ornamented or coloured design of small dimensions.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_276_276" id="Footnote_276_276"></a><a href="#FNanchor_276_276"><span class="label">[276]</span></a><a name="Note_276" id="Note_276"></a> [See supra, p. <a href="#Page_23">23</a>, and note <a href="#Note_98">1</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_277_277" id="Footnote_277_277"></a><a href="#FNanchor_277_277"><span class="label">[277]</span></a><a name="Note_277" id="Note_277"></a> [See supra, p. <a href="#Page_71">71</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_278_278" id="Footnote_278_278"></a><a href="#FNanchor_278_278"><span class="label">[278]</span></a><a name="Note_278" id="Note_278"></a> [See supra, p. <a href="#Page_9">9</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_279_279" id="Footnote_279_279"></a><a href="#FNanchor_279_279"><span class="label">[279]</span></a><a name="Note_279" id="Note_279"></a> Infra, pp. <a href="#Page_169">169</a>-<a href="#Page_171">171</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_280_280" id="Footnote_280_280"></a><a href="#FNanchor_280_280"><span class="label">[280]</span></a><a name="Note_280" id="Note_280"></a> <em>Bibliothèque françoise</em>, article 'Geufroy Tory.' The author of <em>Recueil T</em> (vol. xix, p. -20) of the <cite>Mélanges tirés d'une grande bibliothèque</cite>, published by M. de Paulmy, also says -that Tory was an excellent engraver, the <cite>maître au Pot Cassé</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_281_281" id="Footnote_281_281"></a><a href="#FNanchor_281_281"><span class="label">[281]</span></a><a name="Note_281" id="Note_281"></a> Lottin, <cite>Catalogue des libraires</cite>, vol. ii, p. 234.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_282_282" id="Footnote_282_282"></a><a href="#FNanchor_282_282"><span class="label">[282]</span></a><a name="Note_282" id="Note_282"></a> <em>Des Types et des manières des maîtres graveurs</em>, etc., xv<span class="smcapa">e</span> siècle, p. 165.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_283_283" id="Footnote_283_283"></a><a href="#FNanchor_283_283"><span class="label">[283]</span></a><a name="Note_283" id="Note_283"></a> <em>Champ fleury</em>, fol. 1. See also supra, p. <a href="#Page_12">12</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_284_284" id="Footnote_284_284"></a><a href="#FNanchor_284_284"><span class="label">[284]</span></a><a name="Note_284" id="Note_284"></a> ['Jean Grolier's and his friends'.'] The ordinary motto of Grolier's books is: <i>Portio -mea, Domine, sit in terra viventium.</i> [May my lot be cast, O Lord, in the land of the living.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_285_285" id="Footnote_285_285"></a><a href="#FNanchor_285_285"><span class="label">[285]</span></a><a name="Note_285" id="Note_285"></a> [<em>Poinçons</em>: that is to say, the engraved model of a type, on the end of a steel bar.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_286_286" id="Footnote_286_286"></a><a href="#FNanchor_286_286"><span class="label">[286]</span></a><a name="Note_286" id="Note_286"></a> [See p. <a href="#Page_106">106</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_287_287" id="Footnote_287_287"></a><a href="#FNanchor_287_287"><span class="label">[287]</span></a><a name="Note_287" id="Note_287"></a> Vol. vii, pp. 48 ff.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_288_288" id="Footnote_288_288"></a><a href="#FNanchor_288_288"><span class="label">[288]</span></a><a name="Note_288" id="Note_288"></a> [On this subject M. Renouvier says (<em>Des Types et des Manières des Maîtres Graveurs</em>, -xvi<span class="smcapa">e</span> <em>siècle</em>, 1854, p. 167): 'We cannot attribute it [the double cross] to Geoffroy Tory exclusively, -for we find it on many woodcuts which cannot be his.']</p></div> - -<div class="footnote"> - -<p><a name="Footnote_289_289" id="Footnote_289_289"></a><a href="#FNanchor_289_289"><span class="label">[289]</span></a><a name="Note_289" id="Note_289"></a> This should cause no surprise: the idea of <em>property</em>, in respect to artistic productions, is -altogether modern. The first engravers signed almost nothing; it was not until the sixteenth century -that they marked their works with special emblems, and even then it was not so much with -the object of assuring themselves a monopoly in them, as with that of making themselves known -to persons who might require their services for other works. Little by little this species of advertisement -became an effective muniment of title,—in the natural order of things. It was the -same with works of the mind. Not until quite a late period were scholars and other men of letters -able to derive any profit from their works. In the early days of printing, even, a printer who -proposed to reprint a book did not consider himself bound to obtain the author's consent. From -the moment that he made his book public, it was regarded as a treasure belonging to society at -large.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_290_290" id="Footnote_290_290"></a><a href="#FNanchor_290_290"><span class="label">[290]</span></a><a name="Note_290" id="Note_290"></a> Hours in quarto in the Bibliothèque Nationale (Brunet, <cite>Manuel de Libraire</cite>, 5th ed. -vol. v, col. 1623, no. 197). There is also an edition of 1525 (ibid., no. 198), and one much -later, but lacking the first and last leaves. M. Silvestre owns an octavo edition of 1530.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_291_291" id="Footnote_291_291"></a><a href="#FNanchor_291_291"><span class="label">[291]</span></a><a name="Note_291" id="Note_291"></a> <em>Des Types</em>, etc., xvi<span class="smcapa">e</span> siecle, p. <a href="#Page_167">167</a>, note.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_292_292" id="Footnote_292_292"></a><a href="#FNanchor_292_292"><span class="label">[292]</span></a><a name="Note_292" id="Note_292"></a> MM. A. Devéria, Robert-Dumesnil, and J. Renouvier have all died since the first edition -of this book.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_293_293" id="Footnote_293_293"></a><a href="#FNanchor_293_293"><span class="label">[293]</span></a><a name="Note_293" id="Note_293"></a> See Brunet, <i>Manuel de Libraire</i>, 5th edition, article <cite>Cosmographia</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_294_294" id="Footnote_294_294"></a><a href="#FNanchor_294_294"><span class="label">[294]</span></a><a name="Note_294" id="Note_294"></a> Beaupré, <em>Notice bibliographique sur les livres liturgiques des diocèses de Toul et de Verdun</em>, -8vo, 1843, p. 16.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_295_295" id="Footnote_295_295"></a><a href="#FNanchor_295_295"><span class="label">[295]</span></a><a name="Note_295" id="Note_295"></a> Infra, § 2; 1521-1522 (p. 175).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_296_296" id="Footnote_296_296"></a><a href="#FNanchor_296_296"><span class="label">[296]</span></a><a name="Note_296" id="Note_296"></a> <em>Manuel</em>, etc., 5th edition, vol. ii, col. 1186.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_297_297" id="Footnote_297_297"></a><a href="#FNanchor_297_297"><span class="label">[297]</span></a><a name="Note_297" id="Note_297"></a> <em>Essai sur la gravure sur bois</em>, col. 147 and 150.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_298_298" id="Footnote_298_298"></a><a href="#FNanchor_298_298"><span class="label">[298]</span></a><a name="Note_298" id="Note_298"></a> <em>Essai sur la gravure sur bois</em>, col. 138.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_299_299" id="Footnote_299_299"></a><a href="#FNanchor_299_299"><span class="label">[299]</span></a><a name="Note_299" id="Note_299"></a> According to M. Dussieux, <em>Les Artistes français à l'étranger</em>, p. 67, the first is unquestionably -the chef-d'œuvre of miniature-painting in the Italian style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_300_300" id="Footnote_300_300"></a><a href="#FNanchor_300_300"><span class="label">[300]</span></a><a name="Note_300" id="Note_300"></a> See folio 86 of the second volume: 'The Aduatuci, that is to say those of Bois le Duc, are -in Brabant, within xii leagues of Envers, neighbours of Monsieur de Gueldres.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_301_301" id="Footnote_301_301"></a><a href="#FNanchor_301_301"><span class="label">[301]</span></a><a name="Note_301" id="Note_301"></a> Folios 59, 64, 69, 72, and 77 of the second volume.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_302_302" id="Footnote_302_302"></a><a href="#FNanchor_302_302"><span class="label">[302]</span></a><a name="Note_302" id="Note_302"></a> Folios 30 recto and 31 verso of the second volume.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_303_303" id="Footnote_303_303"></a><a href="#FNanchor_303_303"><span class="label">[303]</span></a><a name="Note_303" id="Note_303"></a> Vol. ii, folio 93.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_304_304" id="Footnote_304_304"></a><a href="#FNanchor_304_304"><span class="label">[304]</span></a><a name="Note_304" id="Note_304"></a> I hesitated a long time before adhering definitely to this opinion; at the outset I thought -that I detected two painters, one for the portraits, one for the decorations; but soon, after studying -more closely, after comparing the miniatures, the small figures in the columns, the amazing -imitations of ancient medallions, and lastly the portraits, I became absolutely certain that a single -hand, guided by a flexible and varied talent, combined these different types and produced the -whole.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_305_305" id="Footnote_305_305"></a><a href="#FNanchor_305_305"><span class="label">[305]</span></a><a name="Note_305" id="Note_305"></a> Their dimensions vary from 90 to 100 millimeters in height, and from 60 to 70 in width.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_306_306" id="Footnote_306_306"></a><a href="#FNanchor_306_306"><span class="label">[306]</span></a><a name="Note_306" id="Note_306"></a> British Museum (Harleian), no. 6205.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_307_307" id="Footnote_307_307"></a><a href="#FNanchor_307_307"><span class="label">[307]</span></a><a name="Note_307" id="Note_307"></a> <em>Bibliothèque Nationale.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_308_308" id="Footnote_308_308"></a><a href="#FNanchor_308_308"><span class="label">[308]</span></a><a name="Note_308" id="Note_308"></a> This Perot was a favourite huntsman of whom François I speaks in one of his letters to -the Connétable de Montmorency: 'I am obliged to confess that we lost the stag, and Perot has -buried himself; he dares not show himself in my presence.' M. Génin, who published this -letter among the <em>pièces justificatives</em> of his edition of the <cite>Lettres de la Reine de Navarre</cite> (8vo, -Paris, 1841; p. 468), says in a note to the name Perot that he was a dog. I should probably -have made the same mistake, had I not, even before I saw this miniature, made the acquaintance -of the huntsman in question upon reading the accounts of the expenditure of François I, the -lists of his household, and the rolls of receipts given to his treasurer. I find, for example, under -date of July 12, 1531: 'Due to Perot de Ruthie, in payment of such emoluments and privileges -as he has by virtue of his office of keeper of the park and castle of Saincte Jame, and of -the forests and four ponds of Raiz.' Five years later, I find this entry: 'To Perot de Ruthie, to -be used for the necessary expenses of sending for and causing to be brought to him a part of the -dogs, with their whippers-in, from his kennels in the forest of Chenonces.' (Roll of Receipts -for 1536). Still later, he became lieutenant of venery and gentleman of the chamber. He was -one of those favoured retainers who know how to make their way.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_309_309" id="Footnote_309_309"></a><a href="#FNanchor_309_309"><span class="label">[309]</span></a><a name="Note_309" id="Note_309"></a> Library of S. A. R. le Duc d'Aumale, at Twickenham, near London.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_310_310" id="Footnote_310_310"></a><a href="#FNanchor_310_310"><span class="label">[310]</span></a><a name="Note_310" id="Note_310"></a> [The Duc d'Aumale (fourth son of Louis Philippe), who lived in exile in England during -the Second Empire, returned to France soon after the fall of Louis Napoleon, and held a -notable position in society, politics, and literature, until his death in 1897. By his will he left -his Château of Chantilly, with his very valuable collections, to the Institut de France, in trust -for the French nation. The translator regrets his inability to state definitely the present whereabouts -of volume 1.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_311_311" id="Footnote_311_311"></a><a href="#FNanchor_311_311"><span class="label">[311]</span></a><a name="Note_311" id="Note_311"></a> Octavo, 1810; p. 124, no. 880.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_312_312" id="Footnote_312_312"></a><a href="#FNanchor_312_312"><span class="label">[312]</span></a><a name="Note_312" id="Note_312"></a> According to information supplied to me from England, it would seem that this fine manuscript -is to-day [1865] in the library of the Duke of Hamilton (Hamilton House, 22 Arlington -St., Piccadilly, London).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_313_313" id="Footnote_313_313"></a><a href="#FNanchor_313_313"><span class="label">[313]</span></a><a name="Note_313" id="Note_313"></a> [This description is copied verbatim from the <em>Repertorium</em>, by M. Bernard; the English -is evidently a translation of some French original.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_314_314" id="Footnote_314_314"></a><a href="#FNanchor_314_314"><span class="label">[314]</span></a><a name="Note_314" id="Note_314"></a> See the following section, under the date of 1535 (infra, p. <a href="#Page_205">205</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_315_315" id="Footnote_315_315"></a><a href="#FNanchor_315_315"><span class="label">[315]</span></a><a name="Note_315" id="Note_315"></a> See the following section, under the date of 1549 (infra, p. <a href="#Page_234">234</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_316_316" id="Footnote_316_316"></a><a href="#FNanchor_316_316"><span class="label">[316]</span></a><a name="Note_316" id="Note_316"></a> See what is said of this MS. in Le Prince's <cite>Essai historique sur la Bibliothèque du Roi</cite>, -edit. 1856, pp. 28 and 47.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_317_317" id="Footnote_317_317"></a><a href="#FNanchor_317_317"><span class="label">[317]</span></a><a name="Note_317" id="Note_317"></a> See what I have to say later on this subject under the heading 'Engravings of Uncertain -Date' (infra, p. 255).—According to M. Brunet (<cite>Manuel de Libraire</cite>, 5th edit., vol. ii, col. -929), the first edition of this book was published at Rouen in 1577, under this title: <cite>Mémoires -et recherches touchant plusieurs choses mémorables pour l'intelligence de l'estat et des affaires de -France</cite>. But I find it difficult to credit the accuracy of this statement, as the edition of 1580 -prints a license dated no earlier than August 10, 1578.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_318_318" id="Footnote_318_318"></a><a href="#FNanchor_318_318"><span class="label">[318]</span></a><a name="Note_318" id="Note_318"></a> I am indebted for this information to M. Vallet de Viriville, who is devoting himself to -looking up the works of Jean Fouquet, as I myself am looking up Tory's.</p></div> - - -<div class="footnote"> - -<p><a name="Footnote_319_319" id="Footnote_319_319"></a><a href="#FNanchor_319_319"><span class="label">[319]</span></a><a name="Note_319" id="Note_319"></a> See Part 1, Biography, supra, p. <a href="#Page_7">7</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_320_320" id="Footnote_320_320"></a><a href="#FNanchor_320_320"><span class="label">[320]</span></a><a name="Note_320" id="Note_320"></a> This plate was reproduced by MM. Alexis Socard and Alexandre Assier in their work -entitled: <i>Livres liturgiques du diocèse de Troyes</i>, 8vo, 1863.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_321_321" id="Footnote_321_321"></a><a href="#FNanchor_321_321"><span class="label">[321]</span></a><a name="Note_321" id="Note_321"></a> See what I have to say on this subject in § <span class="smcapa">III</span>, under the word 'Colines' (infra, p. <a href="#Page_268">268</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_322_322" id="Footnote_322_322"></a><a href="#FNanchor_322_322"><span class="label">[322]</span></a><a name="Note_322" id="Note_322"></a> See what I have to say of this book in the <cite>Bulletin du Bouquiniste</cite>, 1860, p. 101.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_323_323" id="Footnote_323_323"></a><a href="#FNanchor_323_323"><span class="label">[323]</span></a><a name="Note_323" id="Note_323"></a> If necessary, four workmen would have sufficed,—two compositors and two pressmen—Lefèvre -d'Etaples being abundantly able to perform the duties of corrector.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_324_324" id="Footnote_324_324"></a><a href="#FNanchor_324_324"><span class="label">[324]</span></a><a name="Note_324" id="Note_324"></a> [An office-book formerly in use, containing the antiphones called 'graduals,' as well as -introits and other antiphones, etc., of the mass. Also called the 'Cantatory' or 'Cantatorium.'—C<span class="smcapa">ENTURY</span> -D<span class="smcapa">ICT.</span>]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_325_325" id="Footnote_325_325"></a><a href="#FNanchor_325_325"><span class="label">[325]</span></a><a name="Note_325" id="Note_325"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_326_326" id="Footnote_326_326"></a><a href="#FNanchor_326_326"><span class="label">[326]</span></a><a name="Note_326" id="Note_326"></a> Bibliothèque de l'Arsenal.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_327_327" id="Footnote_327_327"></a><a href="#FNanchor_327_327"><span class="label">[327]</span></a><a name="Note_327" id="Note_327"></a> An additional proof in confirmation of what I have already said as to the unscrupulous -way in which artists copied one another. (See page <a href="#Page_149">149</a> note <a href="#Note_289">1</a>.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_328_328" id="Footnote_328_328"></a><a href="#FNanchor_328_328"><span class="label">[328]</span></a><a name="Note_328" id="Note_328"></a> This design is based upon a legend concerning Virgil, which had some vogue in the Middle -Ages</p></div> - -<div class="footnote"> - -<p><a name="Footnote_329_329" id="Footnote_329_329"></a><a href="#FNanchor_329_329"><span class="label">[329]</span></a><a name="Note_329" id="Note_329"></a> See pp. <a href="#Page_101">101</a>-<a href="#Page_129">129</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_330_330" id="Footnote_330_330"></a><a href="#FNanchor_330_330"><span class="label">[330]</span></a><a name="Note_330" id="Note_330"></a> <cite>Revue universelle des Arts</cite>, September, 1857 (vol. v, no. 6, p. 513).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_331_331" id="Footnote_331_331"></a><a href="#FNanchor_331_331"><span class="label">[331]</span></a><a name="Note_331" id="Note_331"></a></p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">In his game-bag we see that he hath rats,</div> - <div class="i0">Which are detestable, and gnawing vermin</div> - <div class="i0">Making shocking wounds in his vitals.</div> - <div class="i0">From his breast cometh a keen, darting flame,</div> - <div class="i0">Which burneth heart and lips and body.</div> - </div> -</div> -</div></div> - -<div class="footnote"> - -<p><a name="Footnote_332_332" id="Footnote_332_332"></a><a href="#FNanchor_332_332"><span class="label">[332]</span></a><a name="Note_332" id="Note_332"></a> In an imperfect copy of this book, on parchment, which I have seen at the shop of M. -Potier, and which is illuminated, the artist has erased Tory's mark, for what purpose I have -no idea.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_333_333" id="Footnote_333_333"></a><a href="#FNanchor_333_333"><span class="label">[333]</span></a><a name="Note_333" id="Note_333"></a> It seems that the Parliament proposed at first to prohibit the publication of this book; but -evidently it did not persist in its opposition, for, besides the four quarto editions, I have seen four -others in octavo, which, however, are without interest for us. See Brunet's <cite>Manuel du Libraire</cite>, -under 'Gringoire.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_334_334" id="Footnote_334_334"></a><a href="#FNanchor_334_334"><span class="label">[334]</span></a><a name="Note_334" id="Note_334"></a> This deplorable practice of removing the text from engravings, which was once rigourously -followed in the Cabinet des Estampes at the Bibliothèque Nationale, injured the collection -materially. There are many pieces of which neither the origin nor the meaning is known, -because of the removal of the legends which formerly accompanied them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_335_335" id="Footnote_335_335"></a><a href="#FNanchor_335_335"><span class="label">[335]</span></a><a name="Note_335" id="Note_335"></a> <em>Number</em> 3.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">Hell he defies (to him no arduous task),</div> - <div class="i0">And the dog Cerberus, him with the three heads;</div> - <div class="i0">He seeks the infernal regions, fighting hand to hand,</div> - <div class="i0">To set at liberty Theseus his good friend.</div> - </div> -</div> -</div> - -<p><em>Number</em> 9.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">The raging bulls (most marvellous to see)</div> - <div class="i0">With his two sinewy hands he masters easily,</div> - <div class="i0">Compels them by main force to bend the knee,</div> - <div class="i0">Albeit they were deemed unconquerable.</div> - </div> -</div> -</div> - -<p><em>Number</em> 10.</p> - -<div class="container"> -<div class="poem"> - <div class="stanza"> - <div class="i0">A boar with frothing lips and long sharp tusks,</div> - <div class="i0">Who, in his rage, despoiled men, fields and vineyards,</div> - <div class="i0">And by whom the whole world was ravaged,</div> - <div class="i0">He, by his courage, all alone, did slay.</div> - </div> -</div> -</div></div> - -<div class="footnote"> - -<p><a name="Footnote_336_336" id="Footnote_336_336"></a><a href="#FNanchor_336_336"><span class="label">[336]</span></a><a name="Note_336" id="Note_336"></a> On March 4, 1858, at the Lassus sale, I saw a complete set of the Labours of Hercules, -without the verses.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_337_337" id="Footnote_337_337"></a><a href="#FNanchor_337_337"><span class="label">[337]</span></a><a name="Note_337" id="Note_337"></a> The earliest book in which I have seen it, excluding the <cite>Thesaurus latinæ linguæ</cite> of 1536, -and the <cite>Dictionarium Latino-Gallicum</cite> of 1538, which was a sequel to the first, and in which -it was necessarily used (I saw these two books at M. Didot's), is a quarto pamphlet, published -in 1537, on the occasion of the discussions between François I and Charles V, entitled: -<cite>Exemplaria litterarum</cite>, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_338_338" id="Footnote_338_338"></a><a href="#FNanchor_338_338"><span class="label">[338]</span></a><a name="Note_338" id="Note_338"></a> Later, Estienne had other floriated letters engraved at Tory's establishment, carried on by -his widow. But the G was not then chosen to receive the artist's mark. See infra, under 1551.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_339_339" id="Footnote_339_339"></a><a href="#FNanchor_339_339"><span class="label">[339]</span></a><a name="Note_339" id="Note_339"></a> [These letters and friezes appear in the Works of Justin Martyr printed by Estienne in 1541, -from which they are reproduced for this volume—some of the letters on pp. 190 and 191, and -the friezes at the beginning of the Printers' Preface, and of the three sections of the Iconography.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_340_340" id="Footnote_340_340"></a><a href="#FNanchor_340_340"><span class="label">[340]</span></a><a name="Note_340" id="Note_340"></a> Papillon, who saw Woeiriot everywhere, says on page 509 of the additions to his first -volume: '<cite>Champ fleury</cite> is filled with woodcuts by Woeiriot,—among others several capital -letters with nude human figures for their limbs, and several vignettes about three inches by two -and a half, simply in outline, with the cross of Lorraine in every corner.' As a matter of fact -there are very few Lorraine crosses on the engravings of <cite>Champ fleury</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_341_341" id="Footnote_341_341"></a><a href="#FNanchor_341_341"><span class="label">[341]</span></a><a name="Note_341" id="Note_341"></a> [Reproduced on the title-page of the present volume.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_342_342" id="Footnote_342_342"></a><a href="#FNanchor_342_342"><span class="label">[342]</span></a><a name="Note_342" id="Note_342"></a> [See supra, p. <a href="#Page_45">45</a>, no. 4.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_343_343" id="Footnote_343_343"></a><a href="#FNanchor_343_343"><span class="label">[343]</span></a><a name="Note_343" id="Note_343"></a> [See supra, p. <a href="#Page_100">100</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_344_344" id="Footnote_344_344"></a><a href="#FNanchor_344_344"><span class="label">[344]</span></a><a name="Note_344" id="Note_344"></a> See supra, p. <a href="#Page_1">1</a>. Neither this engraving nor those last mentioned are found in the octavo -edition of <cite>Champ fleury</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_345_345" id="Footnote_345_345"></a><a href="#FNanchor_345_345"><span class="label">[345]</span></a><a name="Note_345" id="Note_345"></a> See the reproduction of this cut on p. <a href="#Page_141">141</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_346_346" id="Footnote_346_346"></a><a href="#FNanchor_346_346"><span class="label">[346]</span></a><a name="Note_346" id="Note_346"></a> In the octavo edition it was found to be impossible to have the two parts face each other, -so that Apollo's chariot is cut in two.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_347_347" id="Footnote_347_347"></a><a href="#FNanchor_347_347"><span class="label">[347]</span></a><a name="Note_347" id="Note_347"></a> [Reproduced on pp. <a href="#Page_50">50</a> and <a href="#Page_51">51</a> supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_348_348" id="Footnote_348_348"></a><a href="#FNanchor_348_348"><span class="label">[348]</span></a><a name="Note_348" id="Note_348"></a> [Reproduced on p. <a href="#Page_48">48</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_349_349" id="Footnote_349_349"></a><a href="#FNanchor_349_349"><span class="label">[349]</span></a><a name="Note_349" id="Note_349"></a> This cut does not appear in the octavo edition. It is reproduced on p. <a href="#Page_21">21</a>, supra [where -it is said to be on 43 recto].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_350_350" id="Footnote_350_350"></a><a href="#FNanchor_350_350"><span class="label">[350]</span></a><a name="Note_350" id="Note_350"></a> [One of these is reproduced on this page.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_351_351" id="Footnote_351_351"></a><a href="#FNanchor_351_351"><span class="label">[351]</span></a><a name="Note_351" id="Note_351"></a> [Reproduced on p. <a href="#Page_152">152</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_352_352" id="Footnote_352_352"></a><a href="#FNanchor_352_352"><span class="label">[352]</span></a><a name="Note_352" id="Note_352"></a> [Reproduced on the following page.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_353_353" id="Footnote_353_353"></a><a href="#FNanchor_353_353"><span class="label">[353]</span></a><a name="Note_353" id="Note_353"></a> These letters do not appear in the octavo edition. [Reproduced on p. <a href="#Page_195">195</a>, infra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_354_354" id="Footnote_354_354"></a><a href="#FNanchor_354_354"><span class="label">[354]</span></a><a name="Note_354" id="Note_354"></a> This alphabet, which Tory used in several of the books printed by him, as I have already -stated, was replaced by a different one in the octavo edition of <cite>Champ fleury</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_355_355" id="Footnote_355_355"></a><a href="#FNanchor_355_355"><span class="label">[355]</span></a><a name="Note_355" id="Note_355"></a> Not in the octavo edition. [Reproduced on p. <a href="#Page_49">49</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_356_356" id="Footnote_356_356"></a><a href="#FNanchor_356_356"><span class="label">[356]</span></a><a name="Note_356" id="Note_356"></a> [See supra, pp. <a href="#Page_120">120</a>-<a href="#Page_122">122</a>].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_357_357" id="Footnote_357_357"></a><a href="#FNanchor_357_357"><span class="label">[357]</span></a><a name="Note_357" id="Note_357"></a> [See supra, pp. <a href="#Page_122">122</a>-<a href="#Page_124">124</a>].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_358_358" id="Footnote_358_358"></a><a href="#FNanchor_358_358"><span class="label">[358]</span></a><a name="Note_358" id="Note_358"></a> <em>Lutetiæ, sumptibus Ægidii Gormontii, studio Joannis Cheradami, labore et industria -Petri Vidovœi.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_359_359" id="Footnote_359_359"></a><a href="#FNanchor_359_359"><span class="label">[359]</span></a><a name="Note_359" id="Note_359"></a> This engraving was used later as a model for a magnificent plate placed at the beginning -of the <cite>Tableaux des arts libéraux de Christophe de Savigny</cite>, published in 1587, in folio, by -Jean and François de Gourmont, sons of Gilles. See my <cite>Les Estienne</cite>, p. 63, note.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_360_360" id="Footnote_360_360"></a><a href="#FNanchor_360_360"><span class="label">[360]</span></a><a name="Note_360" id="Note_360"></a> For the family of Gourmont, see my <cite>Les Estienne</cite>, pp. <a href="#Page_62">62</a> and <a href="#Page_63">63</a>, notes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_361_361" id="Footnote_361_361"></a><a href="#FNanchor_361_361"><span class="label">[361]</span></a><a name="Note_361" id="Note_361"></a> Not all of the engravings are signed; but, as I have not been able to inspect the volume, -which was a part of the Boorluut library of Noortdonck, sold at Ghent in April, 1858, I am -obliged to resort to the words of the compiler of the catalogue of that sale, my confrère M. -Vander-Meersch, who has kindly furnished me since with some more detailed information -(albeit less complete than I could have wished), after the volume was sent to England. M. -Boorluut had paid 1 franc 50 centimes for the volume, which was sold to a London bookseller, -Mr. Toovey, on April 19, 1858, for 270 francs. I wrote to him asking for details concerning it; -but, in accordance with the not over-courteous English custom, he did not choose to tell me for -whom he had purchased the book, so that I have been unable to obtain more ample information.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_362_362" id="Footnote_362_362"></a><a href="#FNanchor_362_362"><span class="label">[362]</span></a><a name="Note_362" id="Note_362"></a> I am not informed whether these cuts appear in <cite>Hore Marie Virginis ad usum Sarum</cite>, -1532, or in <cite>The Prymer of Salisbury</cite>, 1534, both of which were printed at the same establishment.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_363_363" id="Footnote_363_363"></a><a href="#FNanchor_363_363"><span class="label">[363]</span></a><a name="Note_363" id="Note_363"></a> [See p. <a href="#Page_125">125</a>, supra].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_364_364" id="Footnote_364_364"></a><a href="#FNanchor_364_364"><span class="label">[364]</span></a><a name="Note_364" id="Note_364"></a> See what I have heretofore said of this book, pp. <a href="#Page_85">85</a>-<a href="#Page_87">87</a> supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_365_365" id="Footnote_365_365"></a><a href="#FNanchor_365_365"><span class="label">[365]</span></a><a name="Note_365" id="Note_365"></a> [See pp. <a href="#Page_126">126</a>-<a href="#Page_128">128</a>, supra].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_366_366" id="Footnote_366_366"></a><a href="#FNanchor_366_366"><span class="label">[366]</span></a><a name="Note_366" id="Note_366"></a> See what I have had to say of this book, pp. <a href="#Page_128">128</a>-<a href="#Page_129">129</a>, supra; also, p. <a href="#Page_218">218</a>, infra, under -the Hours of 1541, where we find these same borders, called 'à la moderne,' together with the -plates of the Hours of 1529, described on p. <a href="#Page_125">125</a>, supra; which leads me to think that these -same plates appeared in the octavo edition now under consideration. See also no. <span class="smcapa">1</span> of the year -1536 (p. <a href="#Page_208">208</a>, infra), which is a sort of link between the editions of 1531 and 1541.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_367_367" id="Footnote_367_367"></a><a href="#FNanchor_367_367"><span class="label">[367]</span></a><a name="Note_367" id="Note_367"></a> [See p. <a href="#Page_136">136</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_368_368" id="Footnote_368_368"></a><a href="#FNanchor_368_368"><span class="label">[368]</span></a><a name="Note_368" id="Note_368"></a> <em>Revue Universelle des Arts</em>, Sept. 1857 (vol. v, no. 3, p. 517).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_369_369" id="Footnote_369_369"></a><a href="#FNanchor_369_369"><span class="label">[369]</span></a><a name="Note_369" id="Note_369"></a> I saw this volume at M. Potier's book-shop in 1865; it is a 16mo, illustrated with a large -number of fascinating engravings which would assuredly do much honour to Tory. I freely admit -that François Gryphe was a pupil of our artist, but that is all. I do not understand why M. Renouvier -attributes to Tory a small plate of no interest, when the privileges expressly attribute all the -engravings to Gryphe.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_370_370" id="Footnote_370_370"></a><a href="#FNanchor_370_370"><span class="label">[370]</span></a><a name="Note_370" id="Note_370"></a> Brunet, <cite>Manuel du Libraire</cite>, 5th edition, vol. v, col. 1660, no. 328. The line engravings -are doubtless those of the 16mo Hours of 1529 (see p. 125 supra). As for the borders, which -M. Brunet does not mention, I imagine that they are the same that I spoke of on p. <a href="#Page_128">128</a>. But see -no. <span class="smcapa">III</span>, under the year 1541 (infra, p. <a href="#Page_218">218</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_371_371" id="Footnote_371_371"></a><a href="#FNanchor_371_371"><span class="label">[371]</span></a><a name="Note_371" id="Note_371"></a> <cite>Thesaurus antiquitatum romanarum</cite>, etc., a J. C. Grævio; folio, Utrecht, 1697. M. -Olivier Barbier, sub-manager of the Bibliothèque Nationale, owns the copy of the original edition -which was used for this reprint. It contains not only the additions that were made, but also -directions, in Dutch, concerning the size of the copper-plates, etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_372_372" id="Footnote_372_372"></a><a href="#FNanchor_372_372"><span class="label">[372]</span></a><a name="Note_372" id="Note_372"></a> See vol. vi, col. 562.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_373_373" id="Footnote_373_373"></a><a href="#FNanchor_373_373"><span class="label">[373]</span></a><a name="Note_373" id="Note_373"></a> Another edition of this book was published by the same printers and with the same woodcuts, -in 1545.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_374_374" id="Footnote_374_374"></a><a href="#FNanchor_374_374"><span class="label">[374]</span></a><a name="Note_374" id="Note_374"></a> Sometimes, too, the colourist has substituted for the printed date that at which he did his -work. I have seen several cases of such substitution.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_375_375" id="Footnote_375_375"></a><a href="#FNanchor_375_375"><span class="label">[375]</span></a><a name="Note_375" id="Note_375"></a> Bibliothèque de l'Arsenal.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_376_376" id="Footnote_376_376"></a><a href="#FNanchor_376_376"><span class="label">[376]</span></a><a name="Note_376" id="Note_376"></a> See pp. <a href="#Page_149">149</a> and <a href="#Page_205">205</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_377_377" id="Footnote_377_377"></a><a href="#FNanchor_377_377"><span class="label">[377]</span></a><a name="Note_377" id="Note_377"></a> The title-page of this rare volume reads: <em>Missale ecclesie Parisiensis denuo ab aliquot -ejusdem ecclesie canonicis ac doctoribus theologis ad id a reverendiss. do. Joan. de Bellayo ... -delegatis....</em> Then follows Merlin's mark, signed with the Lorraine cross. In addition to 8 -preliminary leaves this volume contains: <em>Calendarium temporale</em>, signatures <em>a</em> to <em>v</em>; <em>Sanctorale</em>, -A to M; <em>Commun.</em>, A to E, gothic; etc. The first page of the text is in a border which has the -Eternal Father at the top, four popes at the sides, and at the foot the mark of the widow Iolande -Bonhomme, with the unicorns. The volume was probably published about 1540.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_378_378" id="Footnote_378_378"></a><a href="#FNanchor_378_378"><span class="label">[378]</span></a><a name="Note_378" id="Note_378"></a> See p. 204, supra. A copy of this frieze—a slavish imitation—in which even the Lorraine -cross is reproduced, appears in a Flemish Bible, folio, printed at Antwerp in 1556 (Bibliothèque -Nationale).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_379_379" id="Footnote_379_379"></a><a href="#FNanchor_379_379"><span class="label">[379]</span></a><a name="Note_379" id="Note_379"></a> <cite>Annales des Estienne</cite>, 3d edition, p. 49.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_380_380" id="Footnote_380_380"></a><a href="#FNanchor_380_380"><span class="label">[380]</span></a><a name="Note_380" id="Note_380"></a> The cross is not very distinct on the copies of 1540, but, strangely enough, it is perfectly -clear on those of 1546.—These engravings, like the frieze on the title-page, have been copied -by other printers. Such copies may be found in a Bible published at Lyon in 1550, by Sébastien -Honorat, and in another published in 1554 by Jean de Tournes. We find them also in a Bible -published at Paris in 1586 by Sébastien Nivelle and Gabriel Buon, etc., etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_381_381" id="Footnote_381_381"></a><a href="#FNanchor_381_381"><span class="label">[381]</span></a><a name="Note_381" id="Note_381"></a> See concerning this book, the <cite>Revue des Sociétés Savantes</cite>, vol. v, pp. 624 ff. The author's -name was Milles. Some information concerning him is given in the <cite>Revue</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_382_382" id="Footnote_382_382"></a><a href="#FNanchor_382_382"><span class="label">[382]</span></a><a name="Note_382" id="Note_382"></a> [See p. <a href="#Page_229">229</a>, infra].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_383_383" id="Footnote_383_383"></a><a href="#FNanchor_383_383"><span class="label">[383]</span></a><a name="Note_383" id="Note_383"></a> I have seen it bound with a book of Hours published by Kerver in 1556: M. Portalis's -copy.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_384_384" id="Footnote_384_384"></a><a href="#FNanchor_384_384"><span class="label">[384]</span></a><a name="Note_384" id="Note_384"></a> It has since been sold at auction.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_385_385" id="Footnote_385_385"></a><a href="#FNanchor_385_385"><span class="label">[385]</span></a><a name="Note_385" id="Note_385"></a> [See p. <a href="#Page_115">115</a> supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_386_386" id="Footnote_386_386"></a><a href="#FNanchor_386_386"><span class="label">[386]</span></a><a name="Note_386" id="Note_386"></a> See what I have had to say concerning this book, pp. <a href="#Page_88">88</a>-<a href="#Page_91">91</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_387_387" id="Footnote_387_387"></a><a href="#FNanchor_387_387"><span class="label">[387]</span></a><a name="Note_387" id="Note_387"></a> Renouvier, <cite>Des Types</cite>, etc., 16th century, p. 168.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_388_388" id="Footnote_388_388"></a><a href="#FNanchor_388_388"><span class="label">[388]</span></a><a name="Note_388" id="Note_388"></a> The <cite>Bibliophile Français</cite> (April 15, 1865) mentions an edition of this book, with the -date of 1557. I regret that I was not aware of it before the above paragraph was <i>printed</i>, as -I should have cited that edition in preference to that of 1575. However, it is unimportant, as -the two editions are identical except in the order of the plates, which differs slightly.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_389_389" id="Footnote_389_389"></a><a href="#FNanchor_389_389"><span class="label">[389]</span></a><a name="Note_389" id="Note_389"></a> Neither the edition of 1557 nor that of 1575 was known to M. Choulant, who published -a curious monograph concerning works with anatomical figures. (<em>Geschichte ... der -anatomischen abbildung</em>; quarto, Leipzig, 1852.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_390_390" id="Footnote_390_390"></a><a href="#FNanchor_390_390"><span class="label">[390]</span></a><a name="Note_390" id="Note_390"></a> These explanations are printed, in movable type, in cartouches inserted for that purpose. -The type is different in all four of the editions known to me.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_391_391" id="Footnote_391_391"></a><a href="#FNanchor_391_391"><span class="label">[391]</span></a><a name="Note_391" id="Note_391"></a> See p. <a href="#Page_41">41</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_392_392" id="Footnote_392_392"></a><a href="#FNanchor_392_392"><span class="label">[392]</span></a><a name="Note_392" id="Note_392"></a> I have seen this engraving in a fragment of a book of Hours, printed in Roman type at a -date which I cannot fix although it was contemporaneous. This fragment consists of signatures -<em>Aa</em> and <em>Bb</em> (a half-signature), that is, 12 leaves, numbered 185 to 196. Signature <em>Aa</em> begins -(folio 185) with a title-page printed in red, in these words: 'Die dominica ad vesperas. Psalmus.' -The engraving in question is below them. The last page of <em>Bb</em> ends with the word -'finis,' which proves that the book had but 25 signatures.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_393_393" id="Footnote_393_393"></a><a href="#FNanchor_393_393"><span class="label">[393]</span></a><a name="Note_393" id="Note_393"></a> Or, better, Purgatory. In an octavo collection at the Bibliothèque Mazarine, there is a -little book entitled: 'Le Purgatoire prouvé par la parole de Dieu' (octavo; Paris, Denis Basset, -1600), in which this engraving, signed with the Lorraine cross, appears twice; it represents a -nude man standing in the flames, with this legend in a scroll: 'Constitvas mihi tenrvs' (tempvs?) -'in qvo recorderis mei.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_394_394" id="Footnote_394_394"></a><a href="#FNanchor_394_394"><span class="label">[394]</span></a><a name="Note_394" id="Note_394"></a> Such is my opinion; but I am bound to say that M. Achille Devéria, formerly Conservator -of the Department of Engravings, was of the opposite opinion. According to him the unsigned -engravings were copies of the others. It seems to me that the dates of printing confirm my theory. -For we find the unsigned engravings in an edition of 1522; so that we must refer those -with the cross to an earlier date; but this seems hardly probable, since Louis Royer (to whom -they are attributed, as we shall see, because he was the first to use them) succeeded Jean de Brie, -who did not die until about 1522.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_395_395" id="Footnote_395_395"></a><a href="#FNanchor_395_395"><span class="label">[395]</span></a><a name="Note_395" id="Note_395"></a> <cite>Manuel du Libraire</cite>, 5th edition, vol. v, col. 1672, no. 366 <em>bis</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_396_396" id="Footnote_396_396"></a><a href="#FNanchor_396_396"><span class="label">[396]</span></a><a name="Note_396" id="Note_396"></a> See supra, p. <a href="#Page_168">168</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_397_397" id="Footnote_397_397"></a><a href="#FNanchor_397_397"><span class="label">[397]</span></a><a name="Note_397" id="Note_397"></a> [Jean Cousin was born in 1501, and died at Sens about 1590.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_398_398" id="Footnote_398_398"></a><a href="#FNanchor_398_398"><span class="label">[398]</span></a><a name="Note_398" id="Note_398"></a> Renouvier, <cite>Des Types</cite>, etc., <cite>Seizième siècle</cite>, p. 162.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_399_399" id="Footnote_399_399"></a><a href="#FNanchor_399_399"><span class="label">[399]</span></a><a name="Note_399" id="Note_399"></a> [See supra, p. <a href="#Page_211">211</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_400_400" id="Footnote_400_400"></a><a href="#FNanchor_400_400"><span class="label">[400]</span></a><a name="Note_400" id="Note_400"></a> That is, having immediate reference to the bearer's name.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_401_401" id="Footnote_401_401"></a><a href="#FNanchor_401_401"><span class="label">[401]</span></a><a name="Note_401" id="Note_401"></a> [Reproduced on the opposite page.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_402_402" id="Footnote_402_402"></a><a href="#FNanchor_402_402"><span class="label">[402]</span></a><a name="Note_402" id="Note_402"></a> This engraving had previously appeared in 'Amadis de Gaule': see supra, p. <a href="#Page_216">216</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_403_403" id="Footnote_403_403"></a><a href="#FNanchor_403_403"><span class="label">[403]</span></a><a name="Note_403" id="Note_403"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_404_404" id="Footnote_404_404"></a><a href="#FNanchor_404_404"><span class="label">[404]</span></a><a name="Note_404" id="Note_404"></a> The copies in Sertenas's name bear a very curious mark, which is reproduced in M. Silvestre's -book, nos. 221 and 714.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_405_405" id="Footnote_405_405"></a><a href="#FNanchor_405_405"><span class="label">[405]</span></a><a name="Note_405" id="Note_405"></a> [Supra, p. <a href="#Page_149">149</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_406_406" id="Footnote_406_406"></a><a href="#FNanchor_406_406"><span class="label">[406]</span></a><a name="Note_406" id="Note_406"></a> See under that date for details (supra, p. <a href="#Page_218">218</a>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_407_407" id="Footnote_407_407"></a><a href="#FNanchor_407_407"><span class="label">[407]</span></a><a name="Note_407" id="Note_407"></a> This portrait was engraved on copper, in 1556, by Woeiriot, printed separately, and -pasted on the recto of the second leaf of Le Duaren's works, printed at Lyon in 1558 by Guillaume -Rouille, in folio; on some copies Woeiriot's engraving of Le Duaren's portrait is replaced -by the one engraved by Georges Ghisy, called the Mantuan. See <cite>Robert-Dumesnil, Peintre-graveur -français</cite>, vol. vii, p. 109, no. 282.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_408_408" id="Footnote_408_408"></a><a href="#FNanchor_408_408"><span class="label">[408]</span></a><a name="Note_408" id="Note_408"></a> See, too, the article on Le Duaren in the <cite>Biographie Universelle</cite>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_409_409" id="Footnote_409_409"></a><a href="#FNanchor_409_409"><span class="label">[409]</span></a><a name="Note_409" id="Note_409"></a> Supra, p. <a href="#Page_189">189</a>, note <a href="#Note_339">3</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_410_410" id="Footnote_410_410"></a><a href="#FNanchor_410_410"><span class="label">[410]</span></a><a name="Note_410" id="Note_410"></a> These letters had already appeared in a book published by Robert Estienne in 1549.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_411_411" id="Footnote_411_411"></a><a href="#FNanchor_411_411"><span class="label">[411]</span></a><a name="Note_411" id="Note_411"></a> This frieze in 1561 came into the possession of the second Robert Estienne, who used -it in a book entitled: <cite>Ordonnances de M. le duc de Bouillon pour le règlement de la justice de -ses terres</cite>. Small folio, 1568.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_412_412" id="Footnote_412_412"></a><a href="#FNanchor_412_412"><span class="label">[412]</span></a><a name="Note_412" id="Note_412"></a> Page <a href="#Page_271">271</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_413_413" id="Footnote_413_413"></a><a href="#FNanchor_413_413"><span class="label">[413]</span></a><a name="Note_413" id="Note_413"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_414_414" id="Footnote_414_414"></a><a href="#FNanchor_414_414"><span class="label">[414]</span></a><a name="Note_414" id="Note_414"></a> [Supra, p. <a href="#Page_218">218</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_415_415" id="Footnote_415_415"></a><a href="#FNanchor_415_415"><span class="label">[415]</span></a><a name="Note_415" id="Note_415"></a> [The author forgets that he has listed two engravings on folio 59, one on each side of the -leaf.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_416_416" id="Footnote_416_416"></a><a href="#FNanchor_416_416"><span class="label">[416]</span></a><a name="Note_416" id="Note_416"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_417_417" id="Footnote_417_417"></a><a href="#FNanchor_417_417"><span class="label">[417]</span></a><a name="Note_417" id="Note_417"></a> [The inscription would seem to prove, on the contrary, that the engraving was made] -two years earlier, or in 1551.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_418_418" id="Footnote_418_418"></a><a href="#FNanchor_418_418"><span class="label">[418]</span></a><a name="Note_418" id="Note_418"></a> Vol. ii, folios 936 recto, 948 verso, and 994 recto. This work of Thevet's must not be -confounded with that geographer's <cite>Cosmographie du Levant</cite>, the fruit of an earlier journey, two -editions of which had been published at Lyon, in 1554 and 1556, by Jean de Tournes, in quarto, -with engravings in the text.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_419_419" id="Footnote_419_419"></a><a href="#FNanchor_419_419"><span class="label">[419]</span></a><a name="Note_419" id="Note_419"></a> See the details of this voyage of Thevet given by M. Ferdinand Denis in a letter printed -at the beginning of a work by M. Demersay, entitled: <i>Études économiques sur l'Amérique</i>; -8vo, 1851.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_420_420" id="Footnote_420_420"></a><a href="#FNanchor_420_420"><span class="label">[420]</span></a><a name="Note_420" id="Note_420"></a> We shall see in the next paragraph that a reprint of it was issued in April, 1558.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_421_421" id="Footnote_421_421"></a><a href="#FNanchor_421_421"><span class="label">[421]</span></a><a name="Note_421" id="Note_421"></a> See what has been said concerning this volume, on pages <a href="#Page_223">223</a> and following, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_422_422" id="Footnote_422_422"></a><a href="#FNanchor_422_422"><span class="label">[422]</span></a><a name="Note_422" id="Note_422"></a> This sign was retained by Thomas Perier, Charles's son. See Silvestre, <i>Marques Typographiques</i>, -no. 386.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_423_423" id="Footnote_423_423"></a><a href="#FNanchor_423_423"><span class="label">[423]</span></a><a name="Note_423" id="Note_423"></a> <cite>Péché</cite> [sin].</p></div> - -<div class="footnote"> - -<p><a name="Footnote_424_424" id="Footnote_424_424"></a><a href="#FNanchor_424_424"><span class="label">[424]</span></a><a name="Note_424" id="Note_424"></a> I have previously had occasion to comment upon the extraordinary custom that formerly -prevailed in the Cabinet des Estampes of removing from engravings, etc., every sort of extraneous -matter. It is impossible to measure the extent to which this custom has impaired the value -of the collection. Unfortunately it is followed by most collectors of prints, who sometimes destroy -a very valuable and unique volume for no other purpose than to preserve an engraving -unaccompanied by text.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_425_425" id="Footnote_425_425"></a><a href="#FNanchor_425_425"><span class="label">[425]</span></a><a name="Note_425" id="Note_425"></a> We find some features of it in the frieze engraved by Tory for the Bible published by -Robert Estienne in 1532. See p. <a href="#Page_202">202</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_426_426" id="Footnote_426_426"></a><a href="#FNanchor_426_426"><span class="label">[426]</span></a><a name="Note_426" id="Note_426"></a> This collection was sold in January, 1846, and the plate in question was purchased, for -about 2000 francs, for M. Cambacérès, Grand Master of Ceremonies in the Imperial household, -who now owns it [1857]. This is what M. Baron says of it in his sale catalogue, no. -445: 'This important piece, in the most perfect preservation, merits the attention of collectors -by virtue of its value and its rarity.' There is a copy also in the Cabinet of Geneva.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_427_427" id="Footnote_427_427"></a><a href="#FNanchor_427_427"><span class="label">[427]</span></a><a name="Note_427" id="Note_427"></a> According to the catalogue quoted in the last note, the reverse of the plate also is embellished -with arabesques.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_428_428" id="Footnote_428_428"></a><a href="#FNanchor_428_428"><span class="label">[428]</span></a><a name="Note_428" id="Note_428"></a> Brother of the first-named Jean.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_429_429" id="Footnote_429_429"></a><a href="#FNanchor_429_429"><span class="label">[429]</span></a><a name="Note_429" id="Note_429"></a> [See p. <a href="#Page_169">169</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_430_430" id="Footnote_430_430"></a><a href="#FNanchor_430_430"><span class="label">[430]</span></a><a name="Note_430" id="Note_430"></a> And not August 20, as it has sometimes been printed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_431_431" id="Footnote_431_431"></a><a href="#FNanchor_431_431"><span class="label">[431]</span></a><a name="Note_431" id="Note_431"></a> The 'Avis au lecteur' is by him.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_432_432" id="Footnote_432_432"></a><a href="#FNanchor_432_432"><span class="label">[432]</span></a><a name="Note_432" id="Note_432"></a> [According to the list there are 11.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_433_433" id="Footnote_433_433"></a><a href="#FNanchor_433_433"><span class="label">[433]</span></a><a name="Note_433" id="Note_433"></a> [According to the list only 14.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_434_434" id="Footnote_434_434"></a><a href="#FNanchor_434_434"><span class="label">[434]</span></a><a name="Note_434" id="Note_434"></a> See what I have said on this subject on p. <a href="#Page_173">173</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_435_435" id="Footnote_435_435"></a><a href="#FNanchor_435_435"><span class="label">[435]</span></a><a name="Note_435" id="Note_435"></a> See infra, § <span class="smcapa">III</span>, 'Le Coq.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_436_436" id="Footnote_436_436"></a><a href="#FNanchor_436_436"><span class="label">[436]</span></a><a name="Note_436" id="Note_436"></a> These engravings are, as is well known to-day, by Luczelburger, of Basle, Holbein's -regular engraver.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_437_437" id="Footnote_437_437"></a><a href="#FNanchor_437_437"><span class="label">[437]</span></a><a name="Note_437" id="Note_437"></a> These pages were intended to be used as an album. I have seen a very valuable copy at -M. Potier's bookshop; he bought it of M. Gaullieur, who has described it in his <em>études sur -l'imprimerie de Genève</em>, p. 207. This copy, which was arranged by Durand the bookseller, -who emigrated to Geneva for religious reasons, has no title-page and contains only the empty -pages, that is to say those with borders alone, within which Durand's friends, the most illustrious -leaders of the Reformation—de Bèze, Goulard, etc.—have inscribed each some sentence. -In some verses which come first, and which are admirably engrossed on parchment, -Durand tells us that he wrote them in 1583, without spectacles, notwithstanding his great age -and 'the gout in his fingers.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_438_438" id="Footnote_438_438"></a><a href="#FNanchor_438_438"><span class="label">[438]</span></a><a name="Note_438" id="Note_438"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_439_439" id="Footnote_439_439"></a><a href="#FNanchor_439_439"><span class="label">[439]</span></a><a name="Note_439" id="Note_439"></a> It may be that this fragment belongs to a collection cited by M. Brunet (<cite>Manuel du -Libraire</cite>, vol. iv, col. 850), under the title, <cite>Pourtraictz divers</cite>, small octavo, Lyon, Jean -de Tournes, 1557, as containing 63 plates, including the title-page. M. Brunet then gives a -description of this collection, which cannot possibly fit it. 'These plates represent factories, -animals, scenes of divers sorts, mythological subjects, and architectural designs.' This description -evidently belongs to the volume of 1556 mentioned on the next page.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_440_440" id="Footnote_440_440"></a><a href="#FNanchor_440_440"><span class="label">[440]</span></a><a name="Note_440" id="Note_440"></a> These portraits and many other woodcuts of the de Tournes, which are still preserved -in the Fick Press, at Geneva, have lately been reproduced in a sumptuous publication entitled: -<em>Anciens bois de l'imprimerie Fick</em>, folio, Geneva, 1864. It contains many engravings of Petit -Bernard.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_441_441" id="Footnote_441_441"></a><a href="#FNanchor_441_441"><span class="label">[441]</span></a><a name="Note_441" id="Note_441"></a> I have already cited (page <a href="#Page_259">259</a>), on the authority of M. Didot, an edition of this book -under the date of 1551, but I doubt its existence.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_442_442" id="Footnote_442_442"></a><a href="#FNanchor_442_442"><span class="label">[442]</span></a><a name="Note_442" id="Note_442"></a> The first 24 pages of this collection are bound with an edition of Claude Paradin's <cite>Quadrins -historiques</cite>, published by Jean de Tournes, in 1558.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_443_443" id="Footnote_443_443"></a><a href="#FNanchor_443_443"><span class="label">[443]</span></a><a name="Note_443" id="Note_443"></a> This book was reprinted in 1557, with the title <cite>Pourtraictz Divers</cite>; see p. <a href="#Page_260">260</a>, note <a href="#Note_438">1</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_444_444" id="Footnote_444_444"></a><a href="#FNanchor_444_444"><span class="label">[444]</span></a><a name="Note_444" id="Note_444"></a> [See pp. <a href="#Page_201">201</a>-<a href="#Page_202">202</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_445_445" id="Footnote_445_445"></a><a href="#FNanchor_445_445"><span class="label">[445]</span></a><a name="Note_445" id="Note_445"></a> For instance, the anonymous author of a book entitled <cite>Notice sur les Graveurs</cite>, printed -at Besançon in 1807 (2 vols., octavo), attributes to Salomon Bernard, whose period of activity -he places between 1550 and 1580 (vol. i, p. 63 ), the engravings of Petrarch's <cite>Triumphs</cite>, -which appear in an edition of 1545, and a <cite>Resurrection of the Dead</cite>, dated 1547 (vol. i, p. -64), which dates are inconsistent with those mentioned above; he also attributes to him (vol. -i, p. 65) the theatrical scenes which we have with good reason ascribed to Tory, whose cross -appears on one of them; and, lastly, he attributes to him the story of Psyche, in 32 duodecimo -cuts, and the medallions of Jacques Strada's <cite>Epitome des Antiquités</cite> (Lyon, 1553), his authorship -of which is very doubtful. But there is no question at all concerning the following pieces, -which certainly belong to Salomon Bernard:— -</p> -<p> -<span class="smcapa">I.</span><a name="Note_445a" id="Note_445a"></a> The figures of the Bible, to the number of 251, reprinted very frequently after 1553. In -an edition of 1680, printed by Samuel de Tournes, at Geneva, whither the second Jean withdrew -about 1580, because of his religion, is the following note: 'The figures that we offer you -here are from the hand of an excellent craftsman, known in his day under the name of Salomon -Bernard, called Le Petit Bernard, and have always been held in esteem by those who are learned -in works of this sort.' -</p> -<p> -<span class="smcapa">II.</span><a name="Note_445b" id="Note_445b"></a> Claude Paradin's <cite>Devises héroiques</cite>, containing 184 engravings, besides a border on the -title-page. Large octavo, Jean de Tournes, 1557 ( Bibliothèque Nationale). The license at the -end of the volume discloses the titles of several other volumes which Jean de Tournes was then -intending to publish, particularly the two following, which appeared the same year. -</p> -<p> -<span class="smcapa">III.</span><a name="Note_445c" id="Note_445c"></a> The Metamorphoses of Ovid; octavo, 1557; 178 engravings. -</p> -<p><a name="Note_445d" id="Note_445d"></a> -<span class="smcapa">IV.</span> <cite>L'Astronomique Discours</cite>, by Jacques Bassentin; folio, 1557; with a large number of -astronomical plates. -</p> -<p> -<span class="smcapa">V.</span><a name="Note_445e" id="Note_445e"></a> <cite>Hymnes du temps</cite>, by Guillaume Gueroult; quarto, 1560; 88 pages, with borders and -drawings. In the <em>avis au lecteur</em> we read: 'I hope that you will find some pleasure herein, for -that the whole is the work of a goodly hand; for the invention [of the engravings] is of M. -Bernard Salomon, an excellent painter as there has ever been in our hemisphere.' -</p> -<p> -<span class="smcapa">VI.</span><a name="Note_445f" id="Note_445f"></a> Virgil's Æneid, French translation; quarto, 1560; with 12 vignettes. -</p> -<p> -<span class="smcapa">VII.</span><a name="Note_445g" id="Note_445g"></a> A book of <cite>Thermes</cite>, in eighteen orders; printed at Lyon in 1572, by Jean Marcorelle.—At -the tenth <i>therme</i> is a genie carving on a shield the letter S, the initial of Bernard's baptismal -name. -</p> -<p> -A large number of vignettes, and of letters in grisaille, used by the printers of Lyon, are also -attributed to this artist.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_446_446" id="Footnote_446_446"></a><a href="#FNanchor_446_446"><span class="label">[446]</span></a><a name="Note_446" id="Note_446"></a> See what I have had to say on this subject apropos of Baïf's <cite>Annotations</cite>, supra, p. <a href="#Page_208">208</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_447_447" id="Footnote_447_447"></a><a href="#FNanchor_447_447"><span class="label">[447]</span></a><a name="Note_447" id="Note_447"></a> <cite>Des Types et des Manières des maîtres graveurs</cite>, etc., 16th century, pp. 167, 168.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_448_448" id="Footnote_448_448"></a><a href="#FNanchor_448_448"><span class="label">[448]</span></a><a name="Note_448" id="Note_448"></a> <em>Champ fleury</em>, folio 43 verso.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_449_449" id="Footnote_449_449"></a><a href="#FNanchor_449_449"><span class="label">[449]</span></a><a name="Note_449" id="Note_449"></a> Eloi Gibier used previously a similar mark, which bore the following device: 'In sudore -vultus tui vesceris pane tuo.' (See Silvestre, no. 544.) He used it particularly at the end of the -<i>Coutumes générales d'Orléans</i>, 1570.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_450_450" id="Footnote_450_450"></a><a href="#FNanchor_450_450"><span class="label">[450]</span></a><a name="Note_450" id="Note_450"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_451_451" id="Footnote_451_451"></a><a href="#FNanchor_451_451"><span class="label">[451]</span></a><a name="Note_451" id="Note_451"></a> Brunet, <em>Manuel de Libraire</em>, vol. ii, col. 1629.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_452_452" id="Footnote_452_452"></a><a href="#FNanchor_452_452"><span class="label">[452]</span></a><a name="Note_452" id="Note_452"></a> This very rare and valuable edition contains a dissertation on Latin accents. Bibliothèque -Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_453_453" id="Footnote_453_453"></a><a href="#FNanchor_453_453"><span class="label">[453]</span></a><a name="Note_453" id="Note_453"></a> See Silvestre, nos. 286 and 287.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_454_454" id="Footnote_454_454"></a><a href="#FNanchor_454_454"><span class="label">[454]</span></a><a name="Note_454" id="Note_454"></a> See Mattaire, <em xml:lang="fr" lang="fr">Annales typographiques</em>, vol. iii, part 1 A, p. 147.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_455_455" id="Footnote_455_455"></a><a href="#FNanchor_455_455"><span class="label">[455]</span></a><a name="Note_455" id="Note_455"></a> See the subscription of the first book published by him in conjunction with Wolfgang -Hopyl, under the title, <em>Artificialis introductio Jacobi Fabri Stapulensis</em>, etc.; folio, 1502. This -book is in the Bibliothèque Sainte-Geneviève.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_456_456" id="Footnote_456_456"></a><a href="#FNanchor_456_456"><span class="label">[456]</span></a><a name="Note_456" id="Note_456"></a> According to Lottin, it was first used in 1555. See his <cite>Catalogue</cite>, vol. ii, p. 30.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_457_457" id="Footnote_457_457"></a><a href="#FNanchor_457_457"><span class="label">[457]</span></a><a name="Note_457" id="Note_457"></a> I have reproduced this mark on the title-page of my <i>Les Estienne et les types grecs de -François I</i>; octavo, 1856.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_458_458" id="Footnote_458_458"></a><a href="#FNanchor_458_458"><span class="label">[458]</span></a><a name="Note_458" id="Note_458"></a> [Silvestre also gives three other variants, nos. 508, 542, and 958, signed with the cross. -No. 508 is reproduced above.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_459_459" id="Footnote_459_459"></a><a href="#FNanchor_459_459"><span class="label">[459]</span></a><a name="Note_459" id="Note_459"></a> [1538? M. Bernard mentions no Bible of 1528.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_460_460" id="Footnote_460_460"></a><a href="#FNanchor_460_460"><span class="label">[460]</span></a><a name="Note_460" id="Note_460"></a> Octavo; Paris, Robert Estienne, 1550. Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_461_461" id="Footnote_461_461"></a><a href="#FNanchor_461_461"><span class="label">[461]</span></a><a name="Note_461" id="Note_461"></a> This book is described on p. <a href="#Page_244">244</a>, supra.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_462_462" id="Footnote_462_462"></a><a href="#FNanchor_462_462"><span class="label">[462]</span></a><a name="Note_462" id="Note_462"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_463_463" id="Footnote_463_463"></a><a href="#FNanchor_463_463"><span class="label">[463]</span></a><a name="Note_463" id="Note_463"></a> See the collection of Tory's work in the Print Section of the Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_464_464" id="Footnote_464_464"></a><a href="#FNanchor_464_464"><span class="label">[464]</span></a><a name="Note_464" id="Note_464"></a> <em>Sermonum liber unus ex Isocratis notione de regno, carmine heroico.</em> Bibliothèque -Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_465_465" id="Footnote_465_465"></a><a href="#FNanchor_465_465"><span class="label">[465]</span></a><a name="Note_465" id="Note_465"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_466_466" id="Footnote_466_466"></a><a href="#FNanchor_466_466"><span class="label">[466]</span></a><a name="Note_466" id="Note_466"></a> Bibliothèque de l'Institut.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_467_467" id="Footnote_467_467"></a><a href="#FNanchor_467_467"><span class="label">[467]</span></a><a name="Note_467" id="Note_467"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_468_468" id="Footnote_468_468"></a><a href="#FNanchor_468_468"><span class="label">[468]</span></a><a name="Note_468" id="Note_468"></a> On p. 197. [Reproduced on p. <a href="#Page_198">198</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_469_469" id="Footnote_469_469"></a><a href="#FNanchor_469_469"><span class="label">[469]</span></a><a name="Note_469" id="Note_469"></a> The placing of these arms on the typographical mark of Gilles de Gourmont proves, in -contradiction of the common opinion, that the printer's trade was not degrading. (But see -what I have said on this subject in my book on the <cite>Origin of Printing</cite>, vol. i, p. 210, and -vol. ii, p. 89.) The Gourmonts of Paris were in fact descended from a noble family of the -Cotentin, which may still be in existence, and which bore the same arms in the seventeenth -century. Gilles de Gourmont had taken up his abode in Paris in the last years of the fifteenth -century, as had several of his brothers, who practised the same trade. The oldest, Robert, appears -in that city as early as 1498; Jean, who was younger than Gilles, not until 1507. We -hear also of a Jérôme and a Benoît as booksellers in Paris in the middle of the sixteenth century. -I do not know what their relationship to the earlier men was. Perhaps they were sons of Robert. -(Benoît, who married Catherine Goulard, had a son baptized by the name of Gilles at the -church of Sainte-Croix-en-la-Cité, on October 9, 1546.) We also find a Jean Théobald de -Gourmont at Antwerp in 1527. As for Gilles, he was engaged in bookselling and printing from -1506 to about 1533, and left two sons, Jean and François, who retained his establishment on -rue Saint-Jean-de-Latran, and printed there, in 1587, the <em>Tableaux des Arts Libéraux de Christophe -de Savigny</em>. This is an in-plano, at the beginning of which is a superb engraving representing -the arms of the family [as described in the text]. This remarkable work, which bears -the monogram of the two brothers, was probably executed by Jean, the elder, who was a -painter and engraver. The Musée du Louvre has a picture supposed to be by him (<em>Notice des -tableaux du Louvre</em>, part 3, p. 156); he is the author of a fine portrait of the Cardinal de -Bourbon, mentioned by Mariette and now in the Cabinet des Estampes; he is mentioned also -by Abbé de Marolles and by Papillon for certain pictures of equestrian groups and bits of decoration. -His mark (formed of the letters I D G entwined) and the name accompanying it are -found on several pieces cited by Brulliot, on the plates of a Bible of 1560, and on certain pieces -of Tortorel and Perissim (Renouvier, <em>Maîtres Graveurs du Seizième Siècle</em>, p. 195 ). It will -be seen that Gilles had worthy successors; unfortunately the race of the Gourmonts of Paris -died out with them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_470_470" id="Footnote_470_470"></a><a href="#FNanchor_470_470"><span class="label">[470]</span></a><a name="Note_470" id="Note_470"></a> [That is, consisting of unfolded sheets, so that each sheet forms only one leaf, or two -pages.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_471_471" id="Footnote_471_471"></a><a href="#FNanchor_471_471"><span class="label">[471]</span></a><a name="Note_471" id="Note_471"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_472_472" id="Footnote_472_472"></a><a href="#FNanchor_472_472"><span class="label">[472]</span></a><a name="Note_472" id="Note_472"></a> Bibliothèque Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_473_473" id="Footnote_473_473"></a><a href="#FNanchor_473_473"><span class="label">[473]</span></a><a name="Note_473" id="Note_473"></a> Gueullard lived at the sign of the Phœnix, <em>e regione collegii Remensis</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_474_474" id="Footnote_474_474"></a><a href="#FNanchor_474_474"><span class="label">[474]</span></a><a name="Note_474" id="Note_474"></a> Bibliothèque Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_475_475" id="Footnote_475_475"></a><a href="#FNanchor_475_475"><span class="label">[475]</span></a><a name="Note_475" id="Note_475"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_476_476" id="Footnote_476_476"></a><a href="#FNanchor_476_476"><span class="label">[476]</span></a><a name="Note_476" id="Note_476"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_477_477" id="Footnote_477_477"></a><a href="#FNanchor_477_477"><span class="label">[477]</span></a><a name="Note_477" id="Note_477"></a> [See p. <a href="#Page_177">177</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_478_478" id="Footnote_478_478"></a><a href="#FNanchor_478_478"><span class="label">[478]</span></a><a name="Note_478" id="Note_478"></a> [See p. <a href="#Page_221">221</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_479_479" id="Footnote_479_479"></a><a href="#FNanchor_479_479"><span class="label">[479]</span></a><a name="Note_479" id="Note_479"></a> <em>Bibliothèque de l'Amateur champenois</em>, 2d part: 'Construction d'une Notre-Dame.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_480_480" id="Footnote_480_480"></a><a href="#FNanchor_480_480"><span class="label">[480]</span></a><a name="Note_480" id="Note_480"></a> See Dibdin, <em>The Bibliographical Decameron</em>, vol. ii, p. 43; Silvestre, no. 61. The one -in Silvestre is a reduced copy of that at the end of <i>Des Coustumes et statuz particuliers de la pluspart -des baillages</i>, etc. (4to, 1527), which is of much larger format, and is also signed with the -Lorraine cross. [This magnificent mark is reproduced in its full size on p. <a href="#Page_264">264</a>, supra.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_481_481" id="Footnote_481_481"></a><a href="#FNanchor_481_481"><span class="label">[481]</span></a><a name="Note_481" id="Note_481"></a> Quarto; finished Jan. 8, 1536 (1537 n. s.).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_482_482" id="Footnote_482_482"></a><a href="#FNanchor_482_482"><span class="label">[482]</span></a><a name="Note_482" id="Note_482"></a> <em>Bibliographical Decameron</em>, vol. ii, p. 32.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_483_483" id="Footnote_483_483"></a><a href="#FNanchor_483_483"><span class="label">[483]</span></a><a name="Note_483" id="Note_483"></a> Nos. 153 and 174 seem to be by the same artist, but they are not signed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_484_484" id="Footnote_484_484"></a><a href="#FNanchor_484_484"><span class="label">[484]</span></a><a name="Note_484" id="Note_484"></a> Silvestre, no. 801. See a further description of this book, supra, p. <a href="#Page_215">215</a>, note.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_485_485" id="Footnote_485_485"></a><a href="#FNanchor_485_485"><span class="label">[485]</span></a><a name="Note_485" id="Note_485"></a> Indeed I have seen this mark, with the Lorraine cross, on a Greek alphabet of 1560, -printed by G. Morel (Bibl. Nat.), and on several other works printed by Prevosteau, his son-in-law; -I will mention particularly <em>Adriani Behotii diluvium</em>, octavo, 1591 (Bibl. Nat.), -where the mark is cracked, which explains why it was reëngraved with the letters E. P.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_486_486" id="Footnote_486_486"></a><a href="#FNanchor_486_486"><span class="label">[486]</span></a><a name="Note_486" id="Note_486"></a> Sixteenmo; Paris, Janet, 1855.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_487_487" id="Footnote_487_487"></a><a href="#FNanchor_487_487"><span class="label">[487]</span></a><a name="Note_487" id="Note_487"></a> See <cite>Le Second Enfer d'Estienne Dolet</cite>; quarto, 1544; Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_488_488" id="Footnote_488_488"></a><a href="#FNanchor_488_488"><span class="label">[488]</span></a><a name="Note_488" id="Note_488"></a> Bibliothèque du Jardin des Plantes et Sainte-Geneviève.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_489_489" id="Footnote_489_489"></a><a href="#FNanchor_489_489"><span class="label">[489]</span></a><a name="Note_489" id="Note_489"></a> Bibliothèque Mazarine.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_490_490" id="Footnote_490_490"></a><a href="#FNanchor_490_490"><span class="label">[490]</span></a><a name="Note_490" id="Note_490"></a> One of the 'Seven Sages' of Greece.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_491_491" id="Footnote_491_491"></a><a href="#FNanchor_491_491"><span class="label">[491]</span></a><a name="Note_491" id="Note_491"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_492_492" id="Footnote_492_492"></a><a href="#FNanchor_492_492"><span class="label">[492]</span></a><a name="Note_492" id="Note_492"></a> See Silvestre, nos. 42 and 43.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_493_493" id="Footnote_493_493"></a><a href="#FNanchor_493_493"><span class="label">[493]</span></a><a name="Note_493" id="Note_493"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_494_494" id="Footnote_494_494"></a><a href="#FNanchor_494_494"><span class="label">[494]</span></a><a name="Note_494" id="Note_494"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_495_495" id="Footnote_495_495"></a><a href="#FNanchor_495_495"><span class="label">[495]</span></a><a name="Note_495" id="Note_495"></a> Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_496_496" id="Footnote_496_496"></a><a href="#FNanchor_496_496"><span class="label">[496]</span></a><a name="Note_496" id="Note_496"></a> See <cite>Epistres morales d'Honoré d' Urfé</cite>; 8vo, 1619.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_497_497" id="Footnote_497_497"></a><a href="#FNanchor_497_497"><span class="label">[497]</span></a><a name="Note_497" id="Note_497"></a> [Reproduced on p. <a href="#Page_137">137</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_498_498" id="Footnote_498_498"></a><a href="#FNanchor_498_498"><span class="label">[498]</span></a><a name="Note_498" id="Note_498"></a> [Reproduced on p. <a href="#Page_286">286</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_499_499" id="Footnote_499_499"></a><a href="#FNanchor_499_499"><span class="label">[499]</span></a><a name="Note_499" id="Note_499"></a> Copies of both books are in the Bibliothèque Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_500_500" id="Footnote_500_500"></a><a href="#FNanchor_500_500"><span class="label">[500]</span></a><a name="Note_500" id="Note_500"></a> This book is in the Bibliothèque de l'Arsenal. The first part is in gothic type, without -typographical signs; the second, in roman.</p></div> - - -<div class="footnote"> - -<p><a name="Footnote_501_501" id="Footnote_501_501"></a><a href="#FNanchor_501_501"><span class="label">[501]</span></a><a name="Note_501" id="Note_501"></a> Another document which M. Boyer has kindly made known to me, dated in 1489, informs -us that this Jean Thory lived on rue aux Vaches, in Faubourg Saint-Privé; so that it was -on that street that Geofroy was born. 'Now,' M. Boyer writes me, 'as that street contains only -two houses, I am inclined to select as the house in question the one designated by the name -of <i>maison du perron</i>, because of a stoop (<em>perron</em>) with a wooden roof which is still preserved, -and which is accounted for by the proximity of the river.' I saw the house in 1856; it still belongs -to the Toubeau family, which tends to confirm M. Boyer's opinion.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_502_502" id="Footnote_502_502"></a><a href="#FNanchor_502_502"><span class="label">[502]</span></a><a name="Note_502" id="Note_502"></a> Archives of the Department of the Cher, Series C, Notarial Records; minutes of Jean -Dujat, notary, 1507.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_503_503" id="Footnote_503_503"></a><a href="#FNanchor_503_503"><span class="label">[503]</span></a><a name="Note_503" id="Note_503"></a> [See supra, p. <a href="#Page_44">44</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_504_504" id="Footnote_504_504"></a><a href="#FNanchor_504_504"><span class="label">[504]</span></a><a name="Note_504" id="Note_504"></a> On the first page of both books are the words: 'Biturigis, apud Bonaventuram Thorinum, -sub signo Anchoræ, vico Maiore, 1595'; and at the end: 'Excusus fuit hic liber typis viduæ -Nicolai Levez, Avarici Biturigum, juxta scholas utriusque juris.' (Bibliothèque Nationale.) -The first alone contains a license to print (dated August 29, 1595). Therein the publisher is -called, in French, 'Thorin,' the natural rendering of the Latin name that we find in the 'note -to the reader,' where the form 'Torinus' occurs four times, and 'Thorinus' once only; which -confirms my hypothesis relative to the descent of this bookseller of Bourges. For we have seen -that Tory wrote his name Torinus in Latin. I must not omit to mention one objection suggested -by a friend of mine at Bourges,—that our man is called Bonaventure <i>Thorin</i>, in a book -of imposts for the year 1588. But every one knows how irregular the spelling of names was in -the old days.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_505_505" id="Footnote_505_505"></a><a href="#FNanchor_505_505"><span class="label">[505]</span></a><a name="Note_505" id="Note_505"></a> May not Tory's son have had for his godfather Bonaventure des Périers, who committed -suicide in 1544, in order to avoid a prosecution on account of his religion?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_506_506" id="Footnote_506_506"></a><a href="#FNanchor_506_506"><span class="label">[506]</span></a><a name="Note_506" id="Note_506"></a> This book, which bears a French title, <em xml:lang="fr" lang="fr">Lesclaircissement de la langue françoise</em>, although -written in English and for the English, was printed at London shortly after the publication of -Tory's <cite>Champ fleury</cite>. M. Génin issued a second edition in 1852, quarto, Paris, Imprimerie -Nationale.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_507_507" id="Footnote_507_507"></a><a href="#FNanchor_507_507"><span class="label">[507]</span></a><a name="Note_507" id="Note_507"></a> Read 'Tory'; letters transposed.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_508_508" id="Footnote_508_508"></a><a href="#FNanchor_508_508"><span class="label">[508]</span></a><a name="Note_508" id="Note_508"></a> Read 'Bourges.' The error is due to the fact that the London printers were much more -familiar with Bruges, where Caxton, their first master, lived a long while before he introduced -printing in England, than with Bourges in Berry. (See my book on the <cite>Origin of Printing</cite>, vol. -ii, pp. 347 ff.)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_509_509" id="Footnote_509_509"></a><a href="#FNanchor_509_509"><span class="label">[509]</span></a><a name="Note_509" id="Note_509"></a> See what I have myself said on this subject, supra, p. <a href="#Page_17">17</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_510_510" id="Footnote_510_510"></a><a href="#FNanchor_510_510"><span class="label">[510]</span></a><a name="Note_510" id="Note_510"></a> In order to be fair to everybody I am bound to say that M. Génin's reckoning is at fault. -Henry VIII having succeeded to the throne on April 22, 1509, the twenty-second year of his -reign extends from April 22, 1530, to April 21, 1531, and consequently the license cited here -must have been dated September 2, 1530, that is to say, a month and a half after the printing of -Palsgrave's book was finished.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_511_511" id="Footnote_511_511"></a><a href="#FNanchor_511_511"><span class="label">[511]</span></a><a name="Note_511" id="Note_511"></a> Say a year and a half, in consequence of the correction suggested in the preceding note. -However, Tory had announced a year earlier the <cite>Reigles de lorthographe du langaige françois.</cite> -See supra, p. <a href="#Page_100">100</a>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_512_512" id="Footnote_512_512"></a><a href="#FNanchor_512_512"><span class="label">[512]</span></a><a name="Note_512" id="Note_512"></a> Vol. iv, fol. 320 recto. MSS. folio preserved at the Library of the École de Médecine -in Paris.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_513_513" id="Footnote_513_513"></a><a href="#FNanchor_513_513"><span class="label">[513]</span></a><a name="Note_513" id="Note_513"></a> [See supra, pp. <a href="#Page_55">55</a> and <a href="#Page_65">65</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_514_514" id="Footnote_514_514"></a><a href="#FNanchor_514_514"><span class="label">[514]</span></a><a name="Note_514" id="Note_514"></a> [See supra, pp. <a href="#Page_69">69</a> and <a href="#Page_44">44</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_515_515" id="Footnote_515_515"></a><a href="#FNanchor_515_515"><span class="label">[515]</span></a><a name="Note_515" id="Note_515"></a> [See supra, p. <a href="#Page_96">96</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_516_516" id="Footnote_516_516"></a><a href="#FNanchor_516_516"><span class="label">[516]</span></a><a name="Note_516" id="Note_516"></a> The necessity of distinguishing between the final <em>e</em> which requires the acute accent (<em>aveuglé</em>) -and that which does not take it (<em>aveugle</em>) led to calling the former <i>masculine</i> and the other -<i>feminine</i>. Hence the term 'feminine' still given in French poetry to mute rhymes.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_517_517" id="Footnote_517_517"></a><a href="#FNanchor_517_517"><span class="label">[517]</span></a><a name="Note_517" id="Note_517"></a> In the fourth edition of the <em xml:lang="fr" lang="fr">Manuel de Libraire</em>; he does mention it in the fifth edition, -however, citing me. It is not mentioned either in the <em xml:lang="fr" lang="fr">Essai sur la Vie et les Ouvrages de Marguerite -d'Angoulême</em>, by M. de Lincy, prefixed to his edition of the <em>Heptameron</em>, which was -published by the Société des Bibliophiles Français in 1853-54. I describe it from a copy owned -by M. Ferdinand Denis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_518_518" id="Footnote_518_518"></a><a href="#FNanchor_518_518"><span class="label">[518]</span></a><a name="Note_518" id="Note_518"></a> The original text of these letters may be found in my book, <em xml:lang="fr" lang="fr">Les Estienne et les types grecs de -François I<span class="smcapa">er</span></em>; I give here only a translation borrowed from M. Crapelet, <cite>Études pratiques</cite>, p. 89.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_519_519" id="Footnote_519_519"></a><a href="#FNanchor_519_519"><span class="label">[519]</span></a><a name="Note_519" id="Note_519"></a> By an inexplicable blunder M. Crapelet has thought fit to render the two words 'Gallicæ -reipublicæ,' <em>republic (of letters)</em>, failing to understand that the word 'respublica' stands -for the State. It is needless to say that he has been followed by many others, particularly M. -Duprat in his 'Histoire de l'Imprimerie impériale,' 1861.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_520_520" id="Footnote_520_520"></a><a href="#FNanchor_520_520"><span class="label">[520]</span></a><a name="Note_520" id="Note_520"></a> I borrow this fragment from M. Crapelet (<em>Études pratiques</em>, p. 116), for I have been unable -to inspect the volume from which he took it, although he gives an interesting description -of it.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_521_521" id="Footnote_521_521"></a><a href="#FNanchor_521_521"><span class="label">[521]</span></a><a name="Note_521" id="Note_521"></a> [<em>Lettre à</em> or <em xml:lang="fr" lang="fr">sur double queue</em>, letters on which the seal is suspended from a strip of parchment -passed through the document.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_522_522" id="Footnote_522_522"></a><a href="#FNanchor_522_522"><span class="label">[522]</span></a><a name="Note_522" id="Note_522"></a> See what I have to say in the Preface on the subject of Pierre le Rouge, who is given the -title of king's printer once, in 1488.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_523_523" id="Footnote_523_523"></a><a href="#FNanchor_523_523"><span class="label">[523]</span></a><a name="Note_523" id="Note_523"></a> The dates that I give are those of the holding of the office of <em>king's printer</em>, and not of the -carrying on the trade of printer, which, as a general rule, do not coincide, at least so far as the -earlier dates are concerned.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_524_524" id="Footnote_524_524"></a><a href="#FNanchor_524_524"><span class="label">[524]</span></a><a name="Note_524" id="Note_524"></a> Brunet, <em xml:lang="fr" lang="fr">Manuel de Libraire</em>, 5th edit., vol. ii, col. 1672.—See infra, p. 307 <em>King's -Printers for the Mathematics</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_525_525" id="Footnote_525_525"></a><a href="#FNanchor_525_525"><span class="label">[525]</span></a><a name="Note_525" id="Note_525"></a> He calls himself 'architypographus regius' in a work printed by him in 1608.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_526_526" id="Footnote_526_526"></a><a href="#FNanchor_526_526"><span class="label">[526]</span></a><a name="Note_526" id="Note_526"></a> See the <em xml:lang="fr" lang="fr">Recette générale des finances</em> of Paris for 1671, in the national archives, KK. 356, -fol. 53.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_527_527" id="Footnote_527_527"></a><a href="#FNanchor_527_527"><span class="label">[527]</span></a><a name="Note_527" id="Note_527"></a> See my <em>Les Estienne</em>, p. 35.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_528_528" id="Footnote_528_528"></a><a href="#FNanchor_528_528"><span class="label">[528]</span></a><a name="Note_528" id="Note_528"></a> Renouard, <em xml:lang="fr" lang="fr">Annales des Estienne</em>, 3d edit., p. 228, col. 1. See also my <em xml:lang="fr" lang="fr">Les Estienne</em>, p. 36.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_529_529" id="Footnote_529_529"></a><a href="#FNanchor_529_529"><span class="label">[529]</span></a><a name="Note_529" id="Note_529"></a> This appointment involved him in some difficulty with his colleagues, as may be seen from -the following letter, of which I found a copy in the Bibliothèque du Louvre, in the Nyon collection. -</p> -<p> -'When I asked and obtained the office of king's printer, of which M. Le Breton had been -deprived by death, I had no idea that it could cause any heart-burning on the part of my confrères, -with whom I have always earnestly desired to be on the best of terms. If I had been able -to foresee such a thing, I am too much a friend of peace to have voluntarily exposed myself to -it by assuming a title which was subject to dispute. But, monsieur, when I submitted the question -to you, I thought that I could see that it did not seem to you free from doubt. For this -reason I cannot hesitate to abandon claims which seem to me well-founded. -</p> -<p> -'I beg you therefore, monsieur, to regard as not having been made the claims that I put -forward on this subject, and as my confrères do not pretend that any one of them has the -right to style himself first king's printer, in like manner I agree to assume simply the title of ordinary -printer to his Majesty, and that we shall be placed in the <em>Almanack Royal</em> in the order -of our reception.</p> - -<p class="center">'Paris, 20 November, 1779.</p> - -<p class="center">P<span class="smcapa">IERRES.</span>'</p> - -<p>For this famous printer, see Lottin, <em xml:lang="fr" lang="fr">Catalogue des Imprimeurs de Paris</em>, vol. ii, p. 139.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_530_530" id="Footnote_530_530"></a><a href="#FNanchor_530_530"><span class="label">[530]</span></a><a name="Note_530" id="Note_530"></a> For this paragraph, see my <em xml:lang="fr" lang="fr">Les Estienne</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_531_531" id="Footnote_531_531"></a><a href="#FNanchor_531_531"><span class="label">[531]</span></a><a name="Note_531" id="Note_531"></a> He is mentioned as 'imprimeur du roi,' without other description, in the registers of the -cemetery of Les Réformés de la Trinité, rue Saint-Denis; but I think that he was simply an -engraver on copper, like Tavernier.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_532_532" id="Footnote_532_532"></a><a href="#FNanchor_532_532"><span class="label">[532]</span></a><a name="Note_532" id="Note_532"></a> [Clearly a misprint; perhaps 1561.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_533_533" id="Footnote_533_533"></a><a href="#FNanchor_533_533"><span class="label">[533]</span></a><a name="Note_533" id="Note_533"></a> He had been in business since 1784.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_534_534" id="Footnote_534_534"></a><a href="#FNanchor_534_534"><span class="label">[534]</span></a><a name="Note_534" id="Note_534"></a> He had been in business since 1813.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_535_535" id="Footnote_535_535"></a><a href="#FNanchor_535_535"><span class="label">[535]</span></a><a name="Note_535" id="Note_535"></a> He had been in business since 1785.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_536_536" id="Footnote_536_536"></a><a href="#FNanchor_536_536"><span class="label">[536]</span></a><a name="Note_536" id="Note_536"></a> There were royal printers in various cities of France after the latter part of the sixteenth -century; but the office was neither regularly instituted nor general in its scope. These printers -seem to have had it specially in charge to print official documents in the provinces, which function -conferred on them certain privileges, and sometimes caused difficulties with the local authorities, -who also had their special printers. The first editions of the edicts, ordinances, etc., -emanating from the central authority were afterwards placed in the hands of the royal printing-office -in Paris. See what I have to say on this subject in my work on <em>Les Estienne</em>, p. 56. -</p> -<p> -In 1844 M. Le Roux de Lincy published in the <em>Journal de l'Amateur de livres</em>, and also -had printed separately in an octavo pamphlet of 16 leaves, a compilation entitled: <em xml:lang="fr" lang="fr">Catalogue -chronologique des imprimeurs et libraires du roi, par le père Adry</em>; but those shapeless memoranda -were not originally intended for printing, and I have been unable to obtain the slightest -particle of useful information from them.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_537_537" id="Footnote_537_537"></a><a href="#FNanchor_537_537"><span class="label">[537]</span></a><a name="Note_537" id="Note_537"></a> Archives, reg. KK, 99, fol. 116 verso. '<em xml:lang="fr" lang="fr">Librairie.</em>—To maistre Jean de Sansay, <em xml:lang="fr" lang="fr">libraire -ordinaire</em> to the King our Sire, the sum of two hundred forty livres tournoys, ordered -[to be paid] to him by our said lord and his warrant, for his wages as <em xml:lang="fr" lang="fr">libraire ordinaire</em> to our -said lord, [said office being held] by him during this present year beginning the first day of January -a thousand five hundred twenty-eight [1529 n. s.], and ending the last day of December -following, a thousand five hundred twenty-nine, of which sum this present clerk has made payment -to the said Sansay by virtue of said warrant, as appears by his receipt signed at his request -by Mᵉ Huault, notary and secretary to the King, the twenty-third day of January in the year a -thousand five hundred twenty-nine now current. For the said sum of <span class="smcapa">II</span><span class="smcapa">e XL</span> l. t.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_538_538" id="Footnote_538_538"></a><a href="#FNanchor_538_538"><span class="label">[538]</span></a><a name="Note_538" id="Note_538"></a> Brunet, <em xml:lang="fr" lang="fr">Manuel de Libraire</em>, 5th edit., vol. ii, col. 1672.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_539_539" id="Footnote_539_539"></a><a href="#FNanchor_539_539"><span class="label">[539]</span></a><a name="Note_539" id="Note_539"></a> Was this Jehan Estienne of the family of the great printers? I am unable to say. He is not -mentioned in any of their genealogies, nor is the Gommer Estienne, whom I have referred to in -my <em xml:lang="fr" lang="fr">Les Estienne</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_540_540" id="Footnote_540_540"></a><a href="#FNanchor_540_540"><span class="label">[540]</span></a><a name="Note_540" id="Note_540"></a> The name is left blank at the beginning of the original document, and the signature is very -doubtful. But the name <em xml:lang="la" lang="la">Burgensis</em> or <em>Bourgeois</em>, is very common at that period. François I had a -physician called Louis Burgensis.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_541_541" id="Footnote_541_541"></a><a href="#FNanchor_541_541"><span class="label">[541]</span></a><a name="Note_541" id="Note_541"></a> <em xml:lang="fr" lang="fr">La Renaissance des Arts</em>, vol. i, p. 973.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_542_542" id="Footnote_542_542"></a><a href="#FNanchor_542_542"><span class="label">[542]</span></a><a name="Note_542" id="Note_542"></a> Ibid., p. 925.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_543_543" id="Footnote_543_543"></a><a href="#FNanchor_543_543"><span class="label">[543]</span></a><a name="Note_543" id="Note_543"></a> That is to say, to <em>goffer</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_544_544" id="Footnote_544_544"></a><a href="#FNanchor_544_544"><span class="label">[544]</span></a><a name="Note_544" id="Note_544"></a> This volume is without date, but the license to print is dated February 23, 1539 (1540, -n. s.).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_545_545" id="Footnote_545_545"></a><a href="#FNanchor_545_545"><span class="label">[545]</span></a><a name="Note_545" id="Note_545"></a> [See supra, p. <a href="#Page_138">138</a>.]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_546_546" id="Footnote_546_546"></a><a href="#FNanchor_546_546"><span class="label">[546]</span></a><a name="Note_546" id="Note_546"></a> <em xml:lang="la" lang="la">Salutem dicit perpetuam.</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_547_547" id="Footnote_547_547"></a><a href="#FNanchor_547_547"><span class="label">[547]</span></a><a name="Note_547" id="Note_547"></a> Read <em>Avaricum</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_548_548" id="Footnote_548_548"></a><a href="#FNanchor_548_548"><span class="label">[548]</span></a><a name="Note_548" id="Note_548"></a> The book has <em xml:lang="la" lang="la">potuit</em>, but the errata informs us that we should read <em xml:lang="la" lang="la">possit</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_549_549" id="Footnote_549_549"></a><a href="#FNanchor_549_549"><span class="label">[549]</span></a><a name="Note_549" id="Note_549"></a> The book has <em xml:lang="la" lang="la">adiiecimus</em>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_550_550" id="Footnote_550_550"></a><a href="#FNanchor_550_550"><span class="label">[550]</span></a><a name="Note_550" id="Note_550"></a> The book has <em>quandoquidam</em>, but the errata corrects the error.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_551_551" id="Footnote_551_551"></a><a href="#FNanchor_551_551"><span class="label">[551]</span></a><a name="Note_551" id="Note_551"></a> The book has <em>i.</em>, which, the Middle Ages, stood for <i>id est</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_552_552" id="Footnote_552_552"></a><a href="#FNanchor_552_552"><span class="label">[552]</span></a><a name="Note_552" id="Note_552"></a> Should we not read <em>manent?</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_553_553" id="Footnote_553_553"></a><a href="#FNanchor_553_553"><span class="label">[553]</span></a><a name="Note_553" id="Note_553"></a> In the errata it is said that we should read <em>debebat</em>, but that word does not fit the metre.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_554_554" id="Footnote_554_554"></a><a href="#FNanchor_554_554"><span class="label">[554]</span></a><a name="Note_554" id="Note_554"></a> <em>Claud.</em>, XV, 385: 'Minuit præsentia famam.'</p></div> - -<div class="footnote"> - -<p><a name="Footnote_555_555" id="Footnote_555_555"></a><a href="#FNanchor_555_555"><span class="label">[555]</span></a><a name="Note_555" id="Note_555"></a> Plautus, <em>Casine</em>, act. V, sc. <span class="smcapa">IV</span>, v. 1: Ubi tu es, qui colere mores Massilienseis postulas.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_556_556" id="Footnote_556_556"></a><a href="#FNanchor_556_556"><span class="label">[556]</span></a><a name="Note_556" id="Note_556"></a> Should we not say <em>daret</em>, or, rather, <em>dares?</em></p></div> - -<div class="footnote"> - -<p><a name="Footnote_557_557" id="Footnote_557_557"></a><a href="#FNanchor_557_557"><span class="label">[557]</span></a><a name="Note_557" id="Note_557"></a> Read <em>quo</em>. At the best this verse is halting.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_558_558" id="Footnote_558_558"></a><a href="#FNanchor_558_558"><span class="label">[558]</span></a><a name="Note_558" id="Note_558"></a> The book has <em>Istabili</em>. It was impossible to place the sign of abbreviation over the capital I.</p></div></div> - -<hr class="tb" /> - -<div class="transnote"> - -<h5>Transcriber notes:</h5> - -<p>P. <a href="#Page_298">298</a>. 'M. Wey has forgotton', changed 'forgotton' to 'forgotten'.</p> -<p>Index: 'Barthelin' changed to 'Berthelin' and moved to alphabetic position.</p> -<p>Index: 'Bassentin, Jacques, 'L'astronomique discours,' 261', page number should be 262, changed.</p> -<p>Index: 'Champ Fleury, p. 29: added 'note 1'.</p> -<p>Index: 'Laborde, Comte Léon de', p. 24 note 1; added note '1'.</p> -<p>Index: 'Sirand, Alexandre', p. 24 note is a part of p. 23 note 1; added note '1'.</p> -<p>Changed all instances of 'francois' to 'françois' when in Latin or French.</p> -<p>Fixed various punctuation and latin accents.</p> -</div> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Geofroy Tory, by Auguste Bernard - -*** END OF THIS PROJECT GUTENBERG EBOOK GEOFROY TORY *** - -***** This file should be named 60542-h.htm or 60542-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/6/0/5/4/60542/ - -Produced by Chris Curnow, Jane Robins and the Online -Distributed Proofreading Team at http://www.pgdp.net (This -file was produced from images generously made available -by The Internet Archive) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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