Fine Books

Renew：Part 22
Author：Alfred W. Pollard
Update：08-15-2023
Tags：Other Books
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Chapter House Library at Westminster Abbey; Selden"s books enriched the Bodleian; Laud was a generous benefactor alike to the Bodleian, to S. John"s College, Oxford, and to the library of Lambeth Palace; Sir Kenelm Digby gave both to Bodley and to Harvard; Ralph Sheldon benefited the Heralds" College; Pepys (through his nephew) bequeathed his collection to Magdalene College, Cambridge; Archbishop Marsh founded a library at Dublin; Richard Rawlinson gave his ma.n.u.scripts to the Bodleian, and Harley arranged that his should be offered to the nation.
Chapter 2
Chapter VII. The only other Mainz printer in the fifteenth century was Peter von Friedberg, who is chiefly notable as having printed a little series of works by Johannes Trithemius (Tritheim or Trittenheim), the erudite Abbot of Spanheim.
Chapter III.), his version of the origin of printing to the compiler of the Cologne Chronicle published in 1499, and was still alive as late as 1507.
Chapter 5
Chapter V, but it was at Augsburg in the early seventies that book-ill.u.s.tration first flourished.
Chapter II) the Low Countries had played a princ.i.p.al part, and we meet again with traces of them in later ill.u.s.trated books, cuts from the _Biblia Pauperum_ being used by Peter van Os at Zwolle in his _Episteln ende Evangelien_ of 5 January, 1487, and one from the _Cantic.u.m Canticorum_ in his edition of Mauberne"s _Rosetum Exercitiorum Spiritualium_ in 1494. Two cut-up pieces from the block-book _Speculum Humanae Saluationis_ were used by Veldener in his _Episteln ende Evangelien_ completed at Utrecht 19 April, 1481, and all the old blocks, each divided in two, in a new edition of the _Speculum_ printed at Kuilenburg 27 September, 1483, with twelve new cuts added to them. Sir W. M. Conway has also shown that a set of sixty-four cuts used in a _Boec van der Houte_ or Legend of the Holy Cross, issued by Veldener at Kuilenburg earlier in 1483 (on 6 March), must have been obtained by dividing in a similar manner the double cuts of a block-book now entirely lost.
Chapter XV) skilfully translated into duly bordered woodcuts, the first two filling a folio page, the third somewhat shorter. A _Mandeville_ with a single cut followed in June, and in December the _Trattati_ of Ugo Pantiera, also with a single cut, perhaps by the designer of the Calandri, since it employs the same trick of representing a master on a much larger scale than a disciple as is found in the picture of Pythagoras in the earlier book.[32] One of the earliest (and also most delightful) of the t.i.tle-cuts of another prolific publisher, the picture of a lecturer and his pupils in Antonio Miscomini"s 1492 edition of Landini"s _Formulario_,[33] measures about 6 inches by 4. But after this the period of experiment was at an end, and with very few exceptions the woodcuts in Florentine books for the rest of the century all measure either a little over or a little under 3 inches by 4, and are all surrounded by a narrow border with some simple design in white upon a black ground.
Chapter 9
Chapter 10
Chapter 11
Chapter XIII.
Chapter 13
Chapter XII, Wynkyn de Worde was singularly unenterprising as a publisher, and although he lived for nearly a quarter of a century after the accession of Henry VIII, during all this time he printed no new book which required copious ill.u.s.tration. On the other hand, he was a man of fixed habits, and one of these habits came to be the decoration of the t.i.tlepage of nearly every small quarto he issued with a woodcut of some kind or other, the t.i.tle itself being sometimes printed on a riband above it. When a new picture was absolutely necessary for this purpose it was forthcoming and generally fairly well cut, but a few stock woodcuts, a schoolmaster holding a birch for grammatical books, a knight on horseback for a romance, etc., were used again and again, and often the block was picked out (we are tempted to say "at random," but that would be an exaggeration) from one of the sets already described, which De Worde had commissioned in more lavish days.
Chapter I, Plate II) represents an author on one knee presenting a book to a lady who is attended by five maids-of-honour, while as many pages may be seen standing in various page-like att.i.tudes about the room. A canopy above a chair of state bears the initials CM and the motto _Bien en aveingne_, and it is thus clear that the lady represents Margaret d.u.c.h.ess of Burgundy, and that the offering of a book which it depicts must have taken place after her marriage with Charles the Bold, 3 July, 1468, and before the latter"s death at Nancy, 5 January, 1477. During the greater part of this time Caxton was in the service of the d.u.c.h.ess; the donor of the book is represented as a layman, and a layman not of n.o.ble birth, since there is no feather in his cap; he appears also to be approaching middle-age. All these points would be correct if the donor were intended for Caxton, and as we know from his own statement that before his _Recuyell of the histories of Troy_ was printed he had presented a copy of it (in ma.n.u.script) to the d.u.c.h.ess, probably in or soon after 1471, until some more plausible original is proposed the identification of the donor with our first printer must remain at least probable.
Chapter 16
Chapter 17
Chapter 18
Chapter 19
Chapter in the History of Typography._ London, 1893.
Chapter 21
Chapter 22