---------------------------------------- --- ,note3 around word indicated italics ,erebus ---------------------------------------- --- ,illustration ,illustration3 ,,geofroy ,,tory ,,painter ,,and ,,engraver3 ,,first ,,royal ,,printer3 ,,reformer ,,of ,,orthography ,,and ,,typography ,,under ,,fran,,ois ,i4 ,,an ,,account ,,of ,,his ,,life ,,and ,,works1 ,,by ,,auguste ,,bernard1 ,,translated ,,by ,,george ,b4 ,,ives4 ,illustration ,,the ,,riverside ,,press3 ,,mdccccix ,illustration3 ,illustration ,,entered ,,according ,,to ,,act ,,of ,,congress ,,in ,,the ,,year #aiji1 ,,by ,,houghton ,,mifflin ,,co41 ,,in ,,the ,,office ,,of ,,the ,,librarian ,,of ,,congress1 ,,at ,,washington4 ,illustration ,illustration ,,printers' ,,preface4 ,illustration ,bernard's monograph on ,tory was first published in #aheg1 when ,m4 ,bernard was already a recognized authority on the history of typography4 ,in #ahfe1 after an interval devoted largely to a search for further information concerning ,tory1 and for probable examples of his work as an artist1 a second edition of the book appeared1 enlarged by more than one-half1 arranged more systematically1 and embellished with several additional engravings of designs which are1 in the author's opinion1 attributable to ,tory4 ,the ,iconography1 which forms the third part of this revised edition1 did not appear as such in the first edition1 although a small part of the material it contains may be found scattered through that edition4 ,it now occupies more space than the ,biography and ,bibliography combined4 ,the new arrangement necessitated more or less repetition where1 as in many instances1 the same book is referred to by ,m4 ,bernard in more than one section of his work2 and this repetition sometimes reveals discrepancies between the different descriptions4 ,where such discrepancies have been discovered by him the translator has endeavoured to correct them1 generally1 in the absence of an opportunity to inspect the volume in question1 assuming that the description in the bibliographical section is more likely to be trustworthy2 in a number of cases1 however1 inspection of title-pages themselves1 or of reproductions thereof1 has enabled him to correct numerous minor errors in transcription4 ,the kindness of the late ,mr4 ,amor ,l4 ,hollingsworth1 in lending his fine copy of the first edition of ',champ fleury1' made it possible to collate therewith ,m4 ,bernard's numerous extracts from that rare and interesting book1 and to ensure entire accuracy with respect to them4 ,as ,m4 ,bernard writes certain printers' names in different ways1 the translator has assumed that the names are printed differently in different books1 and has not attempted to make them uniform4 ,such names are ,dubois 7,du ,bois71 ,lecoq 7,le ,coq71 ,galliot 7,galiot74 ,the few notes supplied by the translator are inserted in square brackets4 ,the translations of ,tory's various ,latin effusions1 including the complete text of the little brochure called forth by the death of his daughter ,agnes1 were made by ,mr4 ,j4 ,w4 ,h4 ,walden of ,cambridge4 ,the ,latin originals will be found at the end of the book1 in ,appendix ,x4 ,since such authorities as ,m4 ,bernard and ,m4 ,renouvier differ as to the ascription to ,tory of many of the designs mentioned in this work1 it seemed the wiser course to choose for illustration only such subjects as are described by the author1 without questioning the soundness of his reasoning or the infallibility of his deductions4 ,the only exception is the beautiful design reproduced on the first page of the ,index4 ,this is taken from ,robert ,estienne's folio ,new ,testament 7in ,greek7 of #aeej1 where1 with two other similar decorations1 it occurs in conjunction with the friezes and floriated ,greek letters reproduced elsewhere in this volume4 ,they are unsigned1 but all are indubitably from the same hand4 ,although they are not mentioned by ,m4 ,bernard1 it seems incredible that he should never have seen them4 ,the printer of this volume has had more than ordinary good fortune in literally stumbling upon most of the designs here reproduced4 ,the pressure of other work has prohibited systematic research1 and the originals of these illustrations were nearly all discovered while he was engaged upon other matters4 ,many were found in the ,harvard ,library1 some in the reference library of the ,riverside ,press1 some in auction rooms1 and some in booksellers' catalogues4 ,the only exception is the series of borders from the ,hours of #aebd-be1 which were expressly photographed from the copy in the library of the ,british ,museum4 ,that so much has come to hand in so haphazard a way is but an additional proof of ,tory's industry and versatility4 ,there seems to be almost no limit to the work which may fairly be credited to him1 and ,m4 ,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 hand4 ,hours and ,classics1 ,bibles and ,testaments1 ,mathematical and ,medical works--all bear evidence to his prolific pen and graver1 and were time disregarded1 the preparation of this volume might be almost indefinitely prolonged4 ,incomplete as it is1 however1 it is hoped that it will measurably fulfill the desire expressed by ,mr4 ,a4 ,w4 ,pollard nearly fifteen years ago1 in the first issue of ',bibliographica4' ,speaking of ,bernard's monograph1 he said1 ',it would be pleasant if some ,french publisher would bring out a new edition worthily illustrated1 for in #ahfe the modern processes of reproduction were not yet invented1 and the few and poor woodcuts in ,m4 ,bernard's book give no just idea of the artistic powers of ,tory1 whose illustrated editions are so difficult to meet with that ,m4 ,bernard's admirable commentary loses half its value for lack of a proper accompaniment of text4' ,a word regarding the method of reproduction of these illustrations may not be out of place here4 ,more was aimed at than mere photographic copies1 which are in many ways inadequate4 ,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 type4 ,to attain this end1 more perfect printing plates were necessary than could be obtained directly from the old editions4 ,the designs1 therefore1 were all redrawn with the greatest care over photographs of the originals1 and from these drawings photo-engravings made1 which were afterward perfected by hand when the forms were on the press4 ,notwithstanding some inevitable slight divergences of line1 this method preserves with far greater faithfulness the spirit and effect of the original prints1 and the result is more truly a facsimile than a direct photographic copy would have been4 ,both drawing and engraving of ,tory's designs were exquisite1 and as a rule they were beautifully printed1 especially by ,colines and ,robert ,estienne4 ,some of them1 however1 suffered at the hands of inferior printers4 ,imperfections and irregularities due to the carelessness or unskilfullness of the printer are readily discernible1 and in the reproductions in this volume have been eliminated4 ,the preservation1 by this treatment1 of more of the beauty and interest of the originals is sufficient justification for departing to this extent from the usual methods of facsimile reproduction4 ,following the ,french fashion1 the ,table of ,contents and ,list of ,illustrations are printed at the end of the volume4 ,g4 ,b4 ,i4 ,b4 ,r4 ,january1 #aiji4 ,illustration3 ,,author',s ,,preface ,,to ,,the ,,second ,,edition4 ,illustration ,,author',s ,,preface ,,to ,,the ,,second ,,edition4 ,illustration ,the first half of the sixteenth century was with respect to printing 7as with respect to the other arts7 a period of renovation1 not in the matter of processes of execution1 which remained about the same as in the fifteenth century1 but in the matter of the make-up of books1 which was entirely revolutionized4 ,typographical arrangement1 appearance of the letters and ornaments1 everything1 even to the cover1 was changed almost at the same time1 or1 at all events1 within a very few years4 ,at that time printing gave over the servile copying of manuscripts1 which had at first served it as models1 and adopted special rules1 better adapted to its method of execution4 ,for instance1 it relegated notes to the foot of the pages1 calling attention to them by marks of reference1 instead of placing them at the side of the text1 as had previously been the custom1 at the cost of an enormous amount of labour1 without benefit to the reader4 ,it also abandoned the use of red capitals1#a which1 by increasing the labour twofold1 made books expensive1 and replaced them by floriated letters1 which were quite as distinctive1 but were set up and printed with the text4 ,this style of ornament1 so favourable to artistic results1 developed rapidly1 and soon extended from the letters to the illustrations1 which began to be introduced in books in constantly increasing numbers4 ,under the general impulsion of the ,renaissance1 engraving was transformed3 instead of the coarse woodcuts1 of the so-called cribl style1 in which the background was black sprinkled with white dots1#b and the design stamped in white1 as with a punch1 engraving in relief came into vogue1 just as we have it to-day1 identical in form1 although the processes have been perfected4 ,a similar revolution took place in the matter of letters3 the gothic or semi-gothic characters1 which had hitherto been used1 were replaced by roman characters of a novel shape1 borrowed from the monuments of antiquity 7then studied with great ardour71 which continued in use until the ,revolution4 ,lastly1 the covers of books also underwent a transformation brought about by the force of events3 the parchment rolls used by the ancients had been succeeded1 during the ,middle ,ages1 by bound volumes1 of a shape more convenient for reading2 these volumes1 of which those who were fortunate enough to own any never owned more than a very small number1 being intended to be arranged on the library shelves in such wise as to present one side to the visitor's eye1 were adorned with numerous ornaments of various sorts on that side1 so that they could easily be distinguished4 ,later1 these ornaments were omitted and the title of the book substituted1 in huge black or gauffered letters4 ,but the invention of printing soon caused that device to be abandoned4 ,as the increasing numbers of books made it impossible to give up so much space to them1 they were arranged side by side on the shelves1 care being taken to print the title in gold letters 7so that it might be more legible7 on the back of the book1 which was the only part of it in sight4 ,this innovation compelled the doing away with raised decorations1 especially those in precious stones or in metal1 which would have torn the books that stood next them4 ,thereafter leather binding came into general use2 the gauffering on the sides was continued for some time2 but in the sixteenth century this in turn was replaced by gold tooling ' filet1' and the transformation was complete4 99 99 99 99 99 ,the man who contributed most largely to the threefold evolution ,i have described was ,geofroy ,tory1 a man who is hardly known to-day1#c despite all his talents1 although he received in #aecj1 as reward of his labours1 the title of king's printer1 which ,franois ,i had never before bestowed upon any one4 ,i say that ,tory is hardly known to-day2 in truth1 it is1 in his case1 equivalent to being unknown1 to be known1 as he is1 only as a publisher4 ,some few scholars1 to be sure1 are aware that he was a printer2 but the fact is so little known that his biographer has denied it4#d ,as for his noblest title to fame1 that of engraver1 nobody is aware of it2 and yet we owe to ,tory the resuscitation of engraving in ,france4 ,as the historian of typography1#e ,i have thought that it was for me to describe with special care one of the fairest jewels in his crown4 ,such is the purpose of the work here presented1 wherein will also be found1 in connection with the honour paid to ,tory by ,franois ,i1 some information concerning the first royal printers1 and a list of those officers from the beginning down to the extinction of the office in #ahcj1 three centuries1 year for year1 after its creation4 ,franois ,i is1 in truth1 entitled to be considered the creator of the office of king's printer1 for prior to his reign we find but one typographer who bore that title1 while1 from ,franois ,i down1 the series of king's printers was not again interrupted4 ,the appointment of ,pierre le ,rouge1 on whom the title was bestowed in #adhh1f may be creditable to ,charles ,,viii1 but it was without result4 ,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 ,letters4 ,in truth that prince1 as we shall see hereafter1 was not content with a single printer2 he had several at once1 with distinct functions1 and appointed successors without loss of time to such as retired or died during his lifetime4 ,but1 ,i repeat1 the principal purpose of my work is to make ,tory known as one of the most skilful engravers we have ever had4 ,of course ,i cannot forget that he was the learned editor of the ',cosmographie du ,pape ,pie ,,ii1' the ',itinraire ,antonin1' etc42 the publisher1 of rare taste1 who put forth the ,hours of #aebe1 #aebg1 etc42 the accomplished printer of the ',sacre de la ,reine ,elonore1' and the distinguished philologist of ',champ fleury1' to whom1 as we shall see1 we owe the invention of the orthographic forms peculiar to the ,french language4#g ,but what has especially attracted me in ,tory is his work as an engraver4 ,in that rle he was without predecessor or rival1 for those persons who may be represented as such may have been his pupils1 nothing more4 ,jean ,duvet alone might quarrel with this limitation2 but1 although he was ,tory's contemporary1 he was not his teacher2 for ,tory had gone for his schooling in the art to the very fountain-head1 to ,italy1 before ,duvet produced anything4 ,as for ,jean ,cousin1 de ,laulne1 du ,cerceau1 ,lonard ,gauthier1 and the rest1 they did not come until after ,tory4 ,the honour of revivifying the art of engraving in ,france belongs to ,tory alone1 bestriding two centuries1 the fifteenth and sixteenth2 indeed1 some of his productions are pure gothic4 ,this ,i propose to demonstrate in the third part of my book1 after ,i have1 in the first part1 narrated the general facts of our artist's life1 in which we may observe also the development of a revolution in the matter of philology2 for ,tory was a devoted partisan of the classic tongues before he became one of the sturdiest champions of the ,french language4 ,in order to emphasize the importance of the orthographic reform achieved by ,tory1 ,i have usually followed the orthography of the time in my quotations from ancient works4 ,it is an anachronism1 to be sure1 but it is of no consequence when the reader is forewarned4 ,i have also felt at liberty to correct now and then1 without calling attention to them1 the typographical errors found in the texts quoted4 ,i will not conclude without thanking publicly those persons who have kindly assisted me in my researches concerning ,tory4 ,i have had occasion to mention their names in the course of my work1 but that is not enough3 ,i beg them to accept in this place the assurance of my gratitude4 ,there are two to whom ,i am especially grateful1 for they have considerably augmented my store of documents3 they are ,,mm4 ,achille ,devria#h and ,olivier ,barbier1 of the ,bibliothque ,impriale3 it is owing to their kind communications to me that the list of ,tory's artistic works will be found not far from complete4 ,illustration ,,footnotes3 ,footnote #a3 ,this term1 which is wrongfully used in printing today to denote all majuscules1 was formerly employed only for the initial letters of chapters4 ,it was in this sense that ,schoeffer used it when he said1 in #adeg1 that his ,psalter was venustate capitalium distinctus distinguished by the beauty of its capitals2 also ,chevillier1 when he wrote in the ,origine de l',imprimerie de ,paris 7page #cb71 that the books of the first printers of ,paris had no 'capitals1' the chapter initials being left blank1 to be made by the illuminators4 ,m4 ,crapelet1 taking the word in its present meaning1 concluded therefrom that the books of ,gering and his associates were without majuscules2 and he thereupon attributes the introduction of roman letters in ,paris to ,josse ,bade1 in the sixteenth century1 but he is altogether wrong4 ,footnote #b3 ,cribl1 lit4 sifted4 ,footnote #c3 ,i retain the phraseology of the first edition of my book1 published in #ahef2 but the fact is that1 thanks to that publication1 ,tory is no longer in the same plight4 ,his books have become formidable rivals to those of ,vostre1 ,vrard1 etc4 ,one of his ,books of ,hours sold recently for more than #cjjj francs4 ,note to #b;d edition1 #ahfe4 ,footnote #d3 ,see ,la ,biographie ,universelle1 article ',tory1' by ,m4 ,weiss1 ,city ,librarian of ,besanon4 ,footnote #e3 ,see my book1 entitled3 ,de l',origine et des ,dbuts de l',imprimerie en ,europe2 #b vols41 #hvo1 #ahec4 ,footnote #f3 ,in the imprint of the ,mer des ,histoires1 #b vols41 folio1 completed in #adhh 7#adhi1 new style71 we read3 ',imprimee par ,maistre ,pierre le ,rouge1 libraire et imprimeur du ,roy'2 but he assumed the latter title only once1 and in my opinion it was the result of a misapprehension4 ,he seems in fact to have been king's bookseller only2 at all events he assumes that title in the ,heures l',usage de ,rome1 which he published in #adia4 ,in any case1 his assumption of the title does not prove that he received royal letters patent1 as all the other printers did1 as we shall see later4 ,footnote #g3 ,tory also essayed a reform in ,latin orthography1 but it was less happily conceived1 and did not succeed4 ,footnote #h3 ,alas6 since this preface was first printed1 we have had the misfortune to lose the eminent artist whom ,i have named4 ,note to #b;d edition4 ,illustration3 ,,part ,i4 ,,biography4 ,illustration ,illustration ,,geofroy ,,tory ,,painter ,,and ,,engraver3 ,,first ,,royal ,,printer3 ,,reformer ,,of ,,orthography ,,and ,,typography ,,under ,,fran,,ois ,i4 ,,part ,i4 ,,biography4 ,illustration ,less than twenty years after the introduction of printing at ,paris1 there was born at ,bourges a child of the people1 destined to impart to ,french typography a vigorous artistic impulsion1 or1 to speak more accurately1 to work therein a genuine revolution4 ,geofroy ,tory#i was born in the capital of ,berry1 about #adhj1 of obscure1 middle-class parents1 as he himself tells us4#aj ,everything seems to indicate that he first saw the light of day in the faubourg of ,saint-,priv1 to this day the abode of humble vine-dressers4 ,how1 in that most lowly condition of life1 he succeeded in acquiring the degree of education which he afterward exhibited1 it is hard to say4 ,however1 it is proper to remember that ,bourges was at that time a metropolitan and university city1 where there were several schools1 both ecclesiastic and lay4 ,we may well believe that1 having1 at an early age1 aroused the interest of some patron by virtue of his fortunate natural endowments and his intelligence1 he was admitted to the schools attached to the chapter1 where he learned the first elements of grammar4 ,we shall soon find him dedicating the first fruits of his labours to a canon of the metropolitan church of ,bourges1 who seems to have been1 at that time1 his ,mcenas4 ,once master of the first rudiments of grammar1 ,tory perfected himself by following the curriculum of the university1 where1 as we learn from himself1 he had for his teacher a ,fleming named ,guillaume de ,ricke1 otherwise called 'le ,riche' in ,french and ',dives' in ,latin2 and for a fellow disciple under this ,ghent-born master1 a certain ,herverus de ,berna1 from ,saint-,amand1 who afterward wrote a panegyric of the ,comtes de ,nevers4#aa ,tory then went1 to finish his literary education1 to ,italy1 whither he betook himself early in the sixteenth century4 ,he sojourned principally in ,rome1 where he attended most frequently the famous college called ,la ,sapienza1#ab and in ,bologna1 where he attended the lectures of the celebrated ,filippo ,beroaldo1 who died in #aeje4ac ,tory returned to ,france a little before that event1 and established his domicile in ,paris1 which he always loved henceforward as one loves one's native city1#ad and where he began his literary career4 ,the first work of his of which we have any knowledge is an edition of ,pomponius ,mela1 which he prepared for the bookseller ,jean ,petit2 it was printed by ,gilles de ,gourmont because it required the use of some ,greek type4#ae ,this book was dedicated by ,tory to his compatriot ,philibert ,babou1 at that time valet de chambre to the king4 ,the dedicatory epistle is dated ,paris1 the ,,vi#af of the ,nones of ,december1 #aejg2 but the printing of the book was not completed until ,january #aj1 #aejh 7new style74#ag ,several articles in this volume1 which were written by ,tory1 are signed by the word ,,civis1 which he had adopted for his device4 ,that patriotic designation was well suited to a descendant of those ,bituriges who strove vainly at ,avaricum#ah to defend the autonomy of ,gaul against ,csar4 ,in any event it is interesting to find1 three hundred years before ,jean-,jacques ,rousseau1 a man1 justly proud of his learning1 which he owed entirely to himself1 clothing himself in that title of citizen1 which was formerly held in such honour in the provincial cities1 and especially in ,bourges1 whose name ,tory never fails to append to his own3 ',geofroy ,tory de ,bourges4' ,this erudite production and the patronage of ,philibert ,babou were perhaps responsible for ,tory's appointment to the office of regent1 otherwise called professor1 of the ,college of ,plessis1 where we find him installed in #aeji4 ,it was there that he edited for the first ,henri ,estienne the ',cosmographie du pape ,pie ,,ii4'#ai ,the dedication of this book1 addressed by ,tory to ,germain de ,gannay1 canon of the metropolitan church of ,bourges1 and recently appointed ,bishop of ,cahors by ,king ,louis ,,xii1#bj was dated at the ,college of ,plessis1 on the ,,vi of the ,nones of ,october1#ba #aeji4 ,tory's edition 7the third according to him7 contains forty-one quarto sheets of text1 and is accompanied by a map of the old world4 ,the 'avis au lecteur1' also written by ,tory1 is signed1 according to his custom1 with the word ,,civis4 ,in the following year1 in collaboration with a compatriot and fellow pupil1 ,herverus de ,berna1 ,tory published a short ,latin poem on the ,passion1 written by his former teacher1 ,guillaume de ,ricke4 ,in this wise he acquitted his debt of gratitude4#bb ,shortly after1 ,tory published for the ,marnef brothers an edition of ,berosus1 who was then much in vogue1 thanks to the fabrications of ,annius of ,viterbo4 ,this book1 the preface of which is dated ,may #i1 #aeaj1 went to no less than three editions1 to say nothing of those issued by other publishers4#bc ,in the same year ,tory published for the same booksellers a small volume of miscellanies1 under this title3 ',valerii ,probi grammatici de interpretandis ,romanorum literis opusculum1 cum aliis quibusdam scitu dignissimis4' ,it was probably printed by ,gilles de ,gourmont1 for we find in it his unaccented ,greek type4#bd ,this volume1 which contains twelve octavo sheets1 has two engravings on wood--the mark of the booksellers on the title-page1 and a ,roman portico a little farther on4 ,there are also a few small cuts engraved on metal in one of the articles4 ,the dedicatory epistle1 dated at the ,college of ,plessis the ,,vi of the ,ides of ,may 7,may #aj71 #aeaj1 and addressed by ,tory to two compatriots1 who had probably been his fellow pupils1 is signed by his device1 the word ,,civis4 ,the dedication begins thus3 ',godofredus ,torinus ,bituricus ornatissimos ,philibertum ,baboum et ,ioannem ,alemanum ,iuniorem1 cives ,bituricos1 pari inter se amicitia conjunctissimos1 salutat4' ,babou and ,lallemant were at this time two important personages in ,bourges3 the former was secretary and silversmith to the king1 the other1 mayor of the city4 ,we see that ,tory had acquired valuable connections in his native place1 despite his modest origin4 ,among the extracts from ancient authors in this book he interspersed several pieces of verse of his own composition4#be ,finally1 in the same year1 ,tory issued an edition of ,quintilian's ',institutiones1' carefully collated by him with several manuscripts4 ,this work was undertaken at the request of ,jean ,rousselet1 ,seigneur de ,la ,part-,dieu1 near ,lyon1 and an ancestor of ,chteau-,regnaud1 ,marchal de ,france4 ,this ,rousselet1 who died in #aebj1 belonged to one of the wealthy ,lombard families which had settled at ,lyon long before2 they made1 as we see1 a noble use of their wealth4 ,his real name was ,ruccelli4 ,he had married a young gentlewoman of ,bourges1 ,jeanne ,lallemant1 daughter of ,jean ,lallemant1 ,seigneur de ,marmagne1 a school friend of ,tory1 whom ,i have already had occasion to mention4 ,doubtless it was this connection which brought ,tory into relations with ,rousselet4 ,the text is preceded by the following dedicatory letter3 ,geofroy ,tory of ,bourges to ,jean ,rousselet1 devoted lover of letters1 long life and happiness4 ,never1 ,i think1 most illustrious ,jean1 will you omit or cease to have the aspiration of nobly justifying1 both by your character and by your good deeds1 the great hopes which your relatives and your country have of you4 ,that you might benefit the ,state by your counsel also1 you made it your interest that ,i should emend ,quintilian and have him printed as handsomely as might be4 ,after carefully collating a large number of manuscripts1 ,i industriously set to work and1 by eliminating almost countless errors1 ,i made a single manuscript of considerable accuracy4 ,this1 in accordance with your orders1 ,i sent from ,paris to ,lyon4 ,i only hope that the printers will not introduce other1 new1 errors4 ,farewell1 and love me4 ,paris1 at the ,college of ,plessis1 the third of the ,calends of ,march4#bf ,this book1 which forms a large octavo volume1 unpaged1 printed in italic type1 and in which we find some most attractive ,greek type1 with accents1 was finished on the ,,vii of the ,calends of ,july 7that is to say1 ,june #be71 #aeaj4 ,the printer's name does not anywhere appear1 and the place of printing 7,lyon7 is mentioned only in ,tory's letter4#bg ,i know of nothing of ,tory's dated in #aeaabh2 but that does not prove that he produced nothing in that year1 for it is certain that about that time he published several works which have not come down to us4 ,in fact1 he tells us in his ',champ fleury'#bi that he has 'caused to be printed and put before the eyes of worthy scholars divers little works in ,latin1 both in verse and in prose4' ,now we know of nothing of his in verse prior to #aebd1 except what we find at the end of the ',valerius ,probus' of #aeaj1 and of ,guillaume de ,ricke's ',passion4' ,moreover1 the absence of any publication by ,tory in #aeaa may be explained by the confusion incident to his retirement from the ,college of ,plessis and his installation at the ,college ,coqueret1 which seems to have taken place in that year1 but concerning which ,i have no other information than the imprint on two books published by him in the following year4 ,the first work edited by ,tory in #aeab was an architectural treatise entitled3 ',leonis ,baptist ,alberti ,florentini4--,libri de re dificatoria decem1' etc42 a quarto volume of #ad preliminary leaves and #agd leaves of text4 ,this book was printed by ,berthold ,rembolt 7whose mark it bears on the first page71 at the joint expense of that printer and the bookseller ,louis ,hornken1 whose mark is at the end of the book4 ,the dedication1 which is addressed to ,philibert ,babou1 and dated at the ,college ,coqueret on the ,,xv of the ,calends of ,september 7,august #ah71 #aeab1 informs us that ,tory received the manuscript of the book from his friend ,robert ,dure1#cj principal of the ,college of ,plessis1 who gave it to him four years earlier1 when ,tory himself was professor at the same college4 ,as always1 this dedication is signed ,,civis4 ,a note on the last page but one informs us that the printing was finished on ,august #bc1 #aeab4ca ,the second work put forth by ,tory in #aeab was the ',itinerarium ,antonini4' ,it was the second book that he prepared for ,henri ,estienne1 in whose establishment it has been said#cb 7erroneously1 ,i think7 that he filled the post of corrector of the press4 ,however that may be1 the dedication1 addressed by ,tory to ,philibert ,babou1 is dated at the ,college ,coqueret the ,,xiv of the ,calends of ,september 7,august #ai71 #aeab4 ,tory says to ,babou that he had dispatched a copy of the manuscript of this book to him at ,tours four years before 7that is to say1 in #aejh71 but that the person to whom it was entrusted for delivery to him had given it1 in his own name1 to somebody else4 ,this time1 in order not to be defrauded of the fruits of his labours1 he had caused the work to be printed from his own copy1 having carefully collated it with a manuscript lent him by ,christophe de ,longueil4#cc ,the volume is a sexto-decimo1 remarkable for the beauty of its execution4 ,the copy in vellum which ,i have seen at the ,bibliothque ,nationale is still redolent of the fifteenth century4 ,we find in it certain verses of the ,burgundian ,grard de ,vercel in honour of ,tory1 which prove that the latter was even then in some repute as a scholar1 and as a printer1 too2 for the author contrasts him with the wretched printers of the day4 ,the preliminary matter1 by ,geofroy ,tory1 is signed by the word ,,civis1 printed in red4 ,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 directions4 ,therein we may detect thus early ,tory's taste for ciphers and devices1 a taste to which he afterward gave free rein1 in his ',champ fleury4' ,illustration ,at this epoch occurs a momentous event in ,geofroy ,tory's life4 ,on ,august #bf1 #aeab1 he became the father of a daughter1 who was christened ,agnes4 ,i do not know the date of his marriage1 but it was at least as early as #aeaa4 ,a document of much later date1 to which we shall have occasion to refer hereafter1 informs us that his child's mother was named ,perrette le ,hullin4 ,there is reason to believe that she1 like her husband1 was of ,bourges1 as the name of ,hullin was common there at that time4 ,soon after the birth of ,agnes1 perhaps just at the opening of the term of #aeab1 ,tory entered the ,college of ,bourgogne as regent1 or professor of philosophy4 ,his lectures1 which were continued for several years1 were attended by a large number of hearers1 if we may believe a poetical epitaph composed in laudation of him and published by ,la ,caille4#cd ,tory himself seems to refer to this professorship in his ',champ fleury1'#ce but ,i have been unable to find any record of it1 because1 presumably1 the new direction in which he was then turning his faculties required a certain time of preparation4 ,this is what happened3 ,tory1 whose activity was very great1 did not confine himself to his professorship1#cf but set about learning drawing 7probably under the instruction of ,jean ,perreal1 of whom ,i shall have occasion to speak again71 and also engraving1 for which he had a special bent4 ,this apprenticeship1 with the duties of his professor's chair1--for ,tory drove art and philosophy side by side1 as the epitaph just quoted has it 7'philosophiam simulque artem exercuit typographicam'71#cg--;engrossed him completely for three or four years2 but at the end of that time1 being far from content with his attempts at printing and engraving1 or too enthusiastic to be satisfied with a partial result1 he determined to study classic forms and outlines in ,italy itself1 of which country he had retained such agreeable memories that he speaks of it constantly4 ,consequently he abandoned his professorship and started south again4 ,it was on this journey that he visited the ,coliseum 'more than a thousand times1'#ch that he saw the theatre of ,orange1#ci and the ancient monuments of ,languedoc#dj and of other places in ,france and ,italy1#da which he cites as his authorities on every page of his ',champ fleury4' ,tory does not give the precise date of this artistic journey2 but it is established by a passage in his book1 where he informs us that he saw the ',epitaphs of ,ancient ,rome' printed in that city4#db ,now this book of ,epitaphs can be no other than the collection published by the celebrated printer ,mazochi1 under the title3 ',epigrammata sive inscriptiones antiqu urbis1' folio1 dated #aeaf1 but preceded by a license from the ,pope1 of #aeag4dc ,this hint of ,tory's is doubly valuable to us1 for it not only tells us the date of our artist's second journey to ,italy1 but reveals his predilection for typography4 ,as we see1 he was already studying the printing art with interest4 ,on his return to ,paris1 about #aeah1 ,tory1 who was not a wealthy man1 was obliged to think about turning his talents to account1 in order to earn his living4 ,his principal resource seems to have been the painting of manuscripts1 otherwise called miniature2 but1 whether because he did not find sufficient work of that sort1 or because he considered another branch of art more useful1 he soon gave his entire attention to engraving on wood1 in which he speedily acquired considerable celebrity4 ,about the same time1 ,tory also joined the fraternity of booksellers1 following a custom then quite general among engravers1--a custom which their predecessors1 the miniaturists1 had handed down to them1 and which was continued down to the eighteenth century4#dd ,in truth1 it was not unnatural that those who decorated books should sell them1 or1 if you prefer1 that those who sold them should decorate them4 ,it was one way of earning more money4 ,desiring to signalize his dbut in the career of a bibliopole in a noteworthy way1 ,tory undertook to engrave for himself a series of borders ' l'antique1' which he intended for a book of ,hours1--a sort of book that was very profitable at that time1 because of the great amount of work which it required2 but the task was a long one1 and he was obliged to work for different printers in the mean time4 ,one of the first who employed him was ,simon de ,colines4 ,colines1 who became a printer in #aebj1 as a result of his marriage to ,henri ,estienne's widow1 commissioned ,tory to design marks1 floriated letters1 and borders for the books that he published in his own name2 he also entrusted him1 ,i think1 with the engraving of his italic type1 which he soon began to use in conjunction with the roman type that he had from his predecessor4 ,but ,tory's active mind could not be content with a single occupation4 ,he was a patriot first of all1 as his device proves4 ,and so1 far from allowing himself to be engrossed by his memories of the literary and artistic treasures of ,italy1 he began to study with ardour the monuments of his mother tongue1 not only in those books printed in ,french--very few as yet--which he had at hand in his shop1 but also1 and especially1 in divers fine manuscripts on parchment confided to him by 'his good friend and brother1 ,ren ,mass1 of ,vendme1 chronicler to the king1' whose merits1 entirely forgotten in our day1#de he warmly extols4#df ,now1 while studying that same ,french tongue1 so decried by the scholars of his time1 ,tory discovered therein beauties which required only a little cultivation to make of it the finest language in the world4 ,from that moment our ,berrichon1 hitherto a partisan of the classics1 shook off entirely the yoke of ,greek and ,latin1 and thought only of the means of making ,french take precedence everywhere4 ',i see1' he says1 'some who choose to write in ,greek and in ,latin1 and yet cannot speak ,french well4444 ,to me it seems1 with submission1 that it would better beseem a ,frenchman to write in ,french than in another tongue1 as well for the profit of his said ,french tongue1 as to adorn his nation and enrich his native language1 which is as fair and fine belle et bonne as another when it is well set down in writing4444 ,when ,i see a ,frenchman write in ,greek or in ,latin1 ,i seem to see a mason clad in philosopher's or king's garb1 who would fain recite a mask on the stage of ,la ,baroche#dg or in the confraternity of ,la ,trinit1 and cannot pronounce well enough1 as having too thick a tongue2 cannot bear himself well1 nor walk fittingly1 insomuch as his legs and feet are unwonted to the gait of philosopher or king4 ,who should see a ,frenchman clad in the native dress of a ,lombard1 which is most often long and scant1 of blue linen or of buckram1 methinks that ,frenchman would scarce jest at his ease without soon slashing it and taking from it its true form as a ,lombard dress1 which is but very rarely slashed1 for ,lombards do not often work havoc with their belongings4 ,however1 ,i leave all this to the wise guidance of learned men1 and will not burden myself with ,greek or ,latin save to cite them in due time and place1 or to talk with such as cannot speak ,french4'#dh ,tory had found his vocation at last4 ,he resolved to establish the superiority of his mother tongue in a special book1 illustrated by engravings by his own hand1 and intended particularly for printers and booksellers1 who were in a position to distribute it so rapidly with the aid of their connections4 ,but while he was engaged in his studies1 a terrible catastrophe fell upon him without warning1 and caused him to forget his new projects for some time4 ,his daughter ,agnes1 of whom he had conceived the most brilliant hopes1 was taken from him on ,august #be1 #aebb1 at the age of nine years eleven months and thirty days1 that is to say1 ten years less one day4 ,entirely absorbed by his grief1 ,tory wrote a short ,latin poem upon the sad event4 ,this poem1 dedicated1 like most of his other books1 to ,philibert ,babou1 was not published until ,february #ae1 #aebc 7#aebd1 new style74 ,in this little work1 consisting of two quarto sheets1 are contained some most interesting details of ,tory's life4 ,we learn here1 for example1 that he had grounded his daughter ,agnes1 young as she was1 in ,latin and the fine arts4 ',desiring to instruct me in the ,ausonian tongue1 and also to render me accomplished in the polite arts1 he1 like a most affectionate father1 teaching me night and day1 himself laid the foundations1 sweet and ample1 for my life4'#di ,farther on1 he makes his daughter speak thus1 from the depths of the urn in which she is supposed to repose3-- ,,monitor ,who made for you this urn set with brilliant gems8 ,,agnes ,who8 ,my father1 famed in this art4 ,,monitor ,your father is certainly an excellent potter4 ,,agnes ,he practises industriously every day the liberal arts4 ,,monitor ,does he also write melodies and poems8 ,,agnes ,he does4 ,he also blesses with sweet words this lot of mine4 ,,monitor ,yes1 the skill of the man is wonderful4 ,,agnes ,hardly has any land produced so famous a man4#ej ,we learn from this that ,tory was not only a scholar1 which we already knew1 but an artist of great merit4 ,who knows8 it may be that we had in him the making of a ,benvenuto ,cellini4 ,what more was necessary that he should reveal himself as such8 ,very little--perhaps the falling in with a wealthy ,mcenas4 ,in fact1 we find these lines in another piece of verse in the same collection3-- ,,wayfarer ,he is certainly well deserving of some ,mcenas4 ,,genius ,few are the ,mcenases who live in the ,french world4 ,no one to-day either encourages the liberal arts by appropriate gifts or undertakes to encourage them in any way4 ,uprightness and fair virtue are in no esteem4 ,so powerful is the sway of unhappy ,avarice4 ,treachery1 deceit1 and vice are in the ascendant4 ,virtues are put in the background1 and every form of wretched evil creeps abroad4 ,,wayfarer ,what1 therefore1 does he who is trained by the charming ,muses8 ,,genius ,he takes pleasure in being able to live in his own house4 ,,wayfarer ,he ought to go with hurried step to the courts of kings4 ,,genius ,he does not care to1 because he has a free heart4 ,your potentates sometimes take pleasure in looking at songs1 but what then8 ,they requite them with nods4 ,golden songs1 drawn from the high heavens1 they should reward with jewels and with pure gold4 ,but1 frivolous as they are1 they instead foolishly give their grand gifts to fools1 spendthrifts1 and rogues4#ea 99 99 99 99 99 ,alas6 this depiction of the vices of society is not peculiar to the sixteenth century4 ,the world is very old1 and it changes little4 ,if ,tory were living in our day1 it may be that he would use even darker colours2 for1 after all1 he was appreciated in his own time1 and perhaps he would die of hunger to-day4 ,as we see1 he was not fond of cooling his heels in the antechambers of the great1 and lived peacefully in his own house2 but honour came there to seek him4 ,unluckily it was a little late1 as will appear hereafter4 ,at the end of the poem is the design reproduced on the next page1 wherein we see for the first time the famous ',pot ,cass' broken jar which ,tory adopted thenceforth as the mark of his bookshop2 together with the device 'non plus1' which he used thereafter instead of the word 'civis4' ,tory subsequently offered1 in his ',champ fleury1' a very confused explanation of his ,pot ,cass1 doing his utmost to connect it with the ordinary events of life2 but everything tends to prove that it owes its origin to the death of ,agnes4 ,this shattered antique vessel represents ,tory's daughter1 whose career was shattered by destiny at the age of ten4 ,the book secured by padlocks suggests ,agnes's literary studies2 the little winged figure among the clouds is her soul flying up to heaven4 ,the device 'non plus' suggests the desperate grief of ,tory1 who seems to say3 ',i no longer non plus care for anything'2 or1 more laconically3 ',there is nothing more for me'2 after the example of ,valentine of ,milan when he found himself in a similar situation4#eb ,illustration ,luckily1 time1 which deadens all sorrows1 even those which seem likely to endure for ever1 assuaged ,tory's grief4 ,before his funeral poem saw the light1 he had returned to his beloved studies1 and they had restored tranquillity to his mind4 ,this is proved by the following passage from his ',champ fleury1' in which he tells us how1 on ,january #f1 #aebc 7or #aebd1 according to our method of computing time71 that is to say1 eighteen months after he lost his daughter1 the idea of that curious book came to his mind4 ,we are glad to recognize once more therein the patriotic ,berrichon who had taken for his device the word 'civis4' ',in the morning of the day of the feast of ,kings1'#ec he says1 '444 which was reckoned ,m4 ,d4 ,,xxiii1 the fancy came to me to muse in my bed1 and to move the wheel of my memory1 thinking on a thousand petty conceits1 both serious and merry1 whereamong ,i bethought me of a letter of ancient form1 which ,i not long since made for the house of my lord the treasurer of the wars1 ,maistre ,jehan ,groslier1 counsellor and secretary to the king our sire1 lover of goodly letters and of all learned persons1 of whom also he is greatly beloved and esteemed1 as well on this side as the other of the mountains4 ,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 ,offices1 where it is written3 ,non nobis solum nati sumus1 ortusque nostri partem patria vendicat1 partem amici4#ed ,which is to say1 in substance1 that we are not born into this world for ourselves alone1 but to do service and pleasure to our friends and our country4'#ee ,such was the origin of ',champ fleury4' ,here follows the composition of that work1 as the author himself gives it to us1 in the form of a table of contents1 at the beginning3#ef-- ',this whole work is divided into three books4 ',in the first book is contained the exhortation to establish and ordain the ,french language by fixed rule1 and to speak elegantly1 in good and soundest ,french4 ',in the second is treated the invention of antique letters1 and the proportionate coincidence thereof with the natural body and face of the perfect man4 ,with several happy inventions and reflections upon the said antique letters4 ',in the third and last book all the said antique letters1 in their alphabetical order1 are drawn and proportioned in height and width according to their proper formation and required articulation1 both ,latin and ,french1 as well in the ancient as in the modern fashion4 ',in two sheets at the end are added thirteen different sorts of letters1 to-wit3 ,hebrew1 ,greek1 ,latin1 ,french1--and these latter in four sorts1 which are3 cadeaulx1 forme1 bastarde1 and torneure4 ,then follow the ,persian1 ,arabic1 ,african1 ,turkish1 and ,tartar letters1 which have1 all five1 one and the same type of alphabet4 ,after these are the ,chaldaic1 the goffes1 which are otherwise called impriales et bullatiques1 the phantastiques letters1 the utopian letters1 which one may call voluntaires1 and1 lastly1 the floriated letters4#eg ,with instructions for making ciphers of letters for golden rings1 for tapestries1 stained-glass windows1 paintings1 and other things1 as may seem best4' ,i will say nothing here of the first book1 the excellence of which has recently been pointed out by ,m4 ,gnin1#eh who is much better versed in the subject than ,i1 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 language4 ,i will simply call attention to the fact that ,tory wrote shortly before ,rabelais1 who did not hesitate to borrow from him his criticism of the 'skimmers of ,latin1'#ei who were then changing the ,french language on the pretext of perfecting it4 ,the harangue of the ,limousin orator1 which is found in the sixth chapter of the second book of ',pantagruel1' is copied verbatim from ,tory's epistle to the reader4#fj ,rabelais has simply added to it some obscene reflections which did not enter our author's mind4 ,tory ends with a pathetic appeal to those who are interested in the mother tongue1 whose excellence he is never tired of extolling4 ',o ye devoted lovers of goodly letters6' he cries1 ',god grant that some noble heart may give itself to the task of establishing and ordering our ,french tongue according to rule6 ,by that means would many thousands of men set themselves to using often goodly words4 ,if it is not established and ordered1 we shall find that the ,french tongue will be in great part changed and ruined every fifty years4'#fa ,this patriotic prayer was soon granted4 ,as we know1 the sixteenth century did not lack great geniuses1 who set the ,french language in order and brought it to a great degree of perfection4 ,indeed1 some most expressive words1 the disuse of which ,tory deplored1#fc reappeared4 ,for instance1 'affaiss' and 'tourbillonner1' which in his time had been replaced by periphrases1 returned into use2 many others deserve the same honour and perhaps will receive it some day4 ,the second book of ',champ fleury' is1 ,i apprehend1 only a paradox2 but that paradox is maintained by arguments so ingenious1 that one lacks courage to condemn it4 ,tory holds that the shapes of all the roman capital letters are derived from the different parts of the human body1 which he looks upon as the type of the beautiful2 and he makes a most admirable use of wood engraving to explain his idea4 ,moreover1 if ,tory was mistaken1 we must acknowledge that he did not fall into the error inconsiderately4 ,indeed1 ,i believe that he had for confederate his friend ,perreal1 to whom we may attribute the greater number of the designs on wood in the second book1 judging from those in the third1 which are directly attributed to him by ,tory1 as we shall see hereafter4 ,however that may be1 ,tory seems to have studied his subject for a long time1 not only on ancient monuments1 but on modern ones as well1 and in the works of contemporary authors who had turned their attention to the shapes of letters4 ,his judgement of these latter is as follows3-- ',frre ,lucas ,paciol1 of ,bourg ,saint ,sepulchre1 of the order of ,frres ,mineurs1 and a theologian1 who has written in popular ,italian a book called ,divina proportione1#fd and who has essayed to represent the said antique letters1 does not give a true account of them nor explain them2 and ,i am not surprised thereat1 for ,i have heard from certain ,italians that he stole his said letters and took them from the late ,messere ,leonard ,vince ,leonardo da ,vinci1 who has of late died at ,amboise1 and was a most excellent philosopher and admirable painter1 and as it were another ,archimedes4 ,this said ,frre ,lucas has caused his antique letters to be printed as his own4 ,in sooth they may well be his1 for he has not drawn them in their due proportions1 as ,i shall show when ,i speak of said letters4 ,nor does ,sigismunde ,fante1 a noble of ,ferrara1 who teaches how to write many kinds of letters1 speak truly thereof4#fe ,nor does ,messere ,ludovico ,vincentino4#ff ,i know not whether ,albert ,drer writes justly thereof1#fg but none the less he goes astray in the due proportion of the figures of many letters1 in his book on ,perspective4#fh444 ,i see no man who makes them or understands them better than ,maistre ,simon ,hayeneufve1 otherwise called ,maistre ,simon du ,mans4 ,he makes them so well and in proper proportions1 that he satisfies the eye as well and better than any ,italian master on this side or the other of the mountains4 ,he is most excellent in the restoration of ancient architecture1 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 city4 ,he is worthy to be held in honoured memory1 as well for his upright life as for his noble learning4 ,and to this end1 let us not fail to consecrate and dedicate his name to immortality1 naming him a second ,vitruvius1 a holy man and good ,christian4 ,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 things4'#fi ,the eulogistic tone in which ,tory speaks here and elsewhere#gj of ,simon ,haieneuve leads ,m4 ,renouvier to think#ga that our artist may have learned the art of drawing letters from the ,mans architect2 but it is a mistaken supposition2 the phrase in quotation marks proves that they had never met4 ,moreover ,tory1 a little further on1 claims most reasonably the honour of having been his own master in this matter3 ',i know no ,greek1 ,latin nor ,french author who gives the explanation of such letters as ,i have described1 wherefore ,i may hold it for my own1 saying that ,i have excogitated and found it rather by divine inspiration than by anything written or heard4 ,if there be any one who has seen it written1 let him say so1 and he will give me pleasure4'#gb ,we see that ,tory does not beat about the bush concerning his theory1 which1 although it was different from those of his predecessors1 was not on that account better than theirs4#gc ,however1 let his opinion concerning the original design of the roman letters be what it may1 it is1 in my judgement1 simply a sort of preface which we may pass over without inconvenience4 ,the real substance of his work is in the third book4 ,but he does not leave the second without returning once more to the charge in favour of his mother tongue4 ',i know1' he says1 'that there are many goodly minds who would willingly write many excellent things if they thought they could write them well in ,greek or ,latin2 and yet they abstain for fear of making solecisms or some other fault that they dread2 or they choose not to write in ,french1 thinking the ,french tongue not good nor elegant enough4 ,with all respect to them1 it is one of the most beauteous and graceful of all human tongues1 as ,i have shown in the first book by the authority of noble and ancient authors1 poets and orators1 as well ,latin as ,greek4'#gd ,to be accurate1 ,i will say that this idea of the 'prexcellence of the ,french tongue1' which1 a little later1 was the subject of another special work on the part of another famous printer1 the second ,henri ,estienne1 was neither new nor original with ,tory4 ,no less than three hundred years before1 it had been set forth in honest ,french by an author who cannot be taxed with patriotic illusions1 for he was an ,italian4 ,this is what ,brunetto ,latini wrote at the beginning of a sort of encyclopdia which he prepared in the thirteenth century1 under the name of ',trsor'3-- ',et se aucuns demandoit por quoi cist livres est escriz en romans selonc le langage des ,franois1 puisque nos somes ,ytaliens1 je diroie que ce est por deux raisons3 lune1 car nos somes en ,france1 et lautre1 porce que la parleure est plus delitable et plus commune a toutes gens4'#ge ,as ,i have said1 the third book is the important part of ,tory's work4 ,laying theory aside1 he there gives us the exact design of the letters of the alphabet and the method of executing them4 ,he does not overlook1 moreover1 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#gf2 and at the same time that he gives us the shape of a letter1 he instructs us as to its value and pronunciation4 ,it is at this point that ,tory's book becomes especially interesting to us3 he passes in review the pronunciation in vogue in each of the ,french provinces1 or nations1 as they were called then4 ,one after another they appear before us1 with their special idioms1 which have become mere myths to-day1--,flemings1 ,burgundians1 ,lyonnaises1 ,forsiens1 ,manseaux1 ,berrichons1 ,normans1 ,bretons1 ,lorrainers1 ,gascons1 ,picards1 and even ,italians1 ,germans1 ,english1 ,scotch1 etc4 ,his observations do not stop at the somewhat mixed idioms of the men1#gg but extend to the more individual language of the women4 ,for instance1 he informs us that 'the ladies of ,lyon often gracefully pronounce ,a for ,e1 as when they say1 ,choma vous choma chat effeta1#gh and a thousand other like expressions'2 whereas1 on the contrary1 'the ladies of ,paris very often pronounce ,e instead of ,a1 as when they say3 ,mon mery est a la porte de ,peris1 ou il se faict peier2 instead of saying1 ,mon mary est a la porte de ,paris1 ou il se faict paier4'#gi ,it will be noticed that in this particular the 'ladies of ,paris' succeeded in perpetuating their pronunciation in part1 for we do not now say 'paier4' ,they had equal success in many other cases4 ,for example1 it seems to be due to them that the final ,s of the plural is not pronounced except under exceptional circumstances#hj3 as1 for instance1 when it is followed by a word beginning with a vowel2 for1 speaking of the cases in which that letter is elided in ,latin1 ,tory expresses himself thus3 ',the ladies of ,paris for the most part observe this poetic figure of speech1 dropping the final ,s in many words1 as when1 instead of saying3 ,nous avons disne en ung iardin1 y avons menge des prunes blanches et noires1 des amendes doulces ameres1 des figues molles1 des pomes1 des poires des gruselles1 they say and pronounce3 ,nous avon disne en ung iardin1 y avon menge des prune blanche noire1 des amende doulce amere1 des figue molle1 des pome1 des poyre des gruselle4' ,the thing that seems especially offensive to ,tory is that they make the men join them in this faulty pronunciation4 ',this fault1' he says1 'would be pardonable in them1 were it not that it passes from woman to man1 and that there is entire absence of perfect pronunciation in speaking4'#ha ,moreover1 if we are to credit ,tory1 the provincials have also1 in certain cases1 succeeded in establishing their pronunciation1 as we may conclude from the following passage1 relative to the letter ,t3 ',the ,italians pronounce it so full and resonant that it seems that they add an ,e thereto1 as when1 for and instead of saying3 ,caput vertigine laborat1 they pronounce3 ,capute vertigine laborate4 ,i have seen and heard it pronounced so in ,rome at the schools called ,la ,sapienza1 and in many another noble place in ,italy4 ,which pronunciation is no wise held or used by the ,lionnois1 who drop the said ,t1 and do not pronounce it any wise at the end of the third person plural of verbs active and neuter1 saying ,amaverun and ,araverun1 for ,amaverunt and ,araverunt4 ,in like manner some ,picards drop this ,t at the end of some words in ,french1 as when they would say3 ,comant cela1 comant8 monsieur1 c'est une jument1 they pronounce3 ,coman chela1 coman8 monsieur1 chest une jumen4'#hb ,we see that the ,picard pronunciation has prevailed in this instance1 for we no longer pronounce the final ,t at the end of the words 'comment1' 'jument1' and the like4 ,tory did not content himself with setting forth the state of things existent in his day3 he suggested improvements1 almost all of which have been sanctioned by usage4 ,for instance1 at the beginning of the sixteenth century1 the pronunciation was very difficult to grasp for lack of accents2 he proposed to supply them4 ',in our ,french language1' he says1 'we have no symbol of accent in writing1 and it is on account of this lack that our language is not yet established nor submitted to fixed rules1 like the ,hebrew1 ,greek and ,latin4 ,i would like that it should be1 as might well be done4444 ,in ,french1' he says farther on1 'as ,i have said1 we do not write the accent over ,o vocative1 but pronounce it full1 as when we say3 ',o pain du ciel angelique1 ,tu es nostre salut antique4 ',in this lack of accent we have an imperfection1 which we ought to remedy by purifying and subjecting to fixed rule and art our language1 which is the most graceful language known4'#hc ,elsewhere he suggests replacing elided letters by an apostrophe1 which had not then been done in ,french4 ',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 disappear1 one may write them honestly and purposely without using the said letter1 444 and place a hooked point over the place where it should be4'#hd ,in another place he emphasizes the necessity of the cedilla1 which we find in ,french manuscripts from the thirteenth century1 but which typography had not as yet adopted4 ',c before ,o1' he says1 'in ,french pronunciation and language1 is sometimes hard1 as in saying coquin1 coq1 coquillard2 sometimes it is soft1 as in saying garcon1 macon1 franois1 and other like words4'#he ,tory could hardly overlook the matter of punctuation1 that most essential1 and even in our day so sadly neglected1 branch of orthography2 but as he had only 'antique' letters to deal with1 he presented only three sorts of punctuation marks1 without going into details as to their use1 which1 in truth1 if we may judge by his own book1 was not as yet fully settled4 ,the comma1 for instance1 which has so much to do with the clearness of the sentence1 is frequently there inserted in a far from rational way4 ,illustration ,i have said above that ,tory had adopted about #aebc1 for the mark of his bookshop1 the ,pot ,cass represented in the engraving placed at the end of his poem on his daughter's death4 ,to make it more appropriate for that purpose1 he subjected it to various modifications4 ,at first we find it alone1 as in the accompanying cut1 on the cover1#hf or on the back1#hg of a number of octavo books bound at his establishment4 ,other bindings1 in quarto1 exhibit the broken jar with the drill 7toret74#hh ,afterward1 ,tory placed the jar on a closed book1 and still later he modified the design by the introduction of other additions4#hi ,finally1 we have ,geofroy ,tory's device1 or mark1 definitively constituted in his ',champ fleury1' thus3#ij-- ',behold1' he says1 'my declared device and mark1 drawn as ,i have cogitated and conceived it1 imparting moral meaning thereto1 to give friendly admonition to the printers and booksellers beyond the mountains#ia to practise and employ themselves in goodly inventions and delectable execution1 to show that their wits have not been always useless1 but eager to serve the public weal by labouring to that end and living uprightly4' ,then follows his explanation of this mark1#ib--;an explanation which does not invalidate that suggested above4#ic ,in truth1 all that ,tory says here in general terms may be applied to his daughter ,agnes4 ,illustration3 ,,menti ,,bonae ,,devs ,,occvrrit4 ,,sic1 ,,vt4 ,,vel1 ,,vt4 ,,non ,,plvs4 ',in the first place1 there is herein an ancient jar1 which is broken1 through which is passed a toret4 ,this said broken jar signifies our body1 which is an earthen jar4 ,the toret signifies ,fate1 which pierces and passes through weak and strong4 ,beneath this broken jar there is a book secured by three chains and padlocks1 which signifies that after our body is broken by death1 its life is closed by the three fatal goddesses4#id ,this book is so firmly closed that there is no man who may come to see anything therein1 except he know the secret of the padlocks1 and above all of the round padlock1 which is locked and signed by letters4 ,even so1 after the book of our life is closed1 there is no man who may in any wise open it1 except it be he who knows the secrets1 and he is ,god1 who alone knows1 before and after our death1 what has been1 what is1 and what will be our fate4 ,the foliage and flowers in the said jar signify the virtues which our body may have in itself during its life4 ,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 acts4 ,near the said broken jar it is written3 ,non plvs1 which are two monosyllabic words1 as well in ,french as in ,latin1 signifying that which ,pittacus said long since in ,greek3 1#ie nihil nimis4 ,let us not say1 let us not do aught beyond measure or beyond reason1 except it be in the last necessity3 aduersus qu nec ,dij quid pugnant4#if ,but let us say and let us do ,sic4 vt4 vel4 vt4 ,that is to say1 as we ought1 or as little wrongly as we may4 ,if we seek to do well1 ,god will aid us1 and therefore have ,i written above3 ,menti bon ,deus occurrit1 that is to say1 ,god goes out to meet the desire to do good1 and gives it aid4' ,i believe that we should see in the toret an 'enseigne parlante1' alluding at once to ,tory's name and to his various professions4 ,the way in which the name of the instrument was pronounced1 its shape1 resembling that of a ,t1 and1 lastly1 its use by the engravers1 were doubtless the considerations that led ,tory to adopt it4 ,but let us not subtilize too far4 ,tory was not content with giving us his symbol in ',champ fleury'3 he engraved on the first page of that book1 that is to say1 in the place of honour1 what would be called to-day the blazonry of his artistic acquirements1--in other words1 a collection of all the tools that he used4 ,unfortunately1 he did not feel called upon1 as in the case of his mark1 to supply an explanation1 deeming the matter clear enough2 whereas1 in our day it has become rather difficult1 because of the changes that have taken place in the customs of artists1 to state the exact use of some of the tools4 ,the order in which they are arranged1 however1 may assist us1 to a certain extent1 in identifying them4 ,an exact reproduction of this engraving1 the initial letter of the first page of the text of ',champ fleury1' is given at the beginning of this section4#ig ,the first series of tools1 suspended in the first arabesque1 embraces a pair of compasses1 a rule1 and a square3 these are the fundamental instruments of art and of geometry4 ,in the second arabesque1 if ,i am not mistaken1 we find an 'choppe' and a burin1 engravers' tools2 in the third1 a writing-case 7or 'galimart'71 a pencil1 and a knife1 above a book2 these are the tools of the writer and the draughtsman4 ,in the fourth1 we find an object which ,i take to be a small box of colours1 hanging from a case of brushes2 these appertain to the painter4 ,tory was1 in fact1 draughtsman1 painter and engraver4 ,illustration ,i have already said that ,tory was probably instructed in the art of drawing by the famous ,jean ,perreal4 ,he was on terms of the closest friendship with that artist1 who drew several of the vignettes in ',champ fleury1' if we may judge by the one positively attributed to him1 which is printed on the verso of folio #df4 ,geofroy informs us that this plate1 insignificant in itself 7it represents two circles in which are the letters ,i and ,k1 modelled on the human body71 was engraved from the design of a friend of his1 'from that which a noble lord and good friend of mine1 ,jehan ,perreal1 who is otherwise called ,jehan de ,paris1 valet de chambre and excellent painter to ,king ,charles ,,viii1 ,louis ,,xii1 and ,franois1 first of the name1 made known and gave to me1 most excellently drawn by his hand4' ,now this engraving is in all respects similar to those to be found in the second book of ',champ fleury4' ,both in form and subject1 it is altogether different from those in the third book1 in which ,tory printed it4 ,probably ,perreal died while the work was on the press1 and ,tory1 who had not thought of naming him while he was alive1 in connection with his first drawings1 did so after his death1 by publishing the last souvenir of this sort which he possessed from the hand of his friend1 although it did not fit perfectly with the subject2 he laid1 as it were1 a flower on the dead man's grave4#ih ,we give this drawing also1 as the only work which can be with certainty attributed to ,jean ,perreal1 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 fleury4' ,from what ,i have said it will be seen that ,tory's book required several years of labour4 ,nor is one surprised thereat when one considers the great number of engravings which it contains4 ,but even without the engravings1 it will readily be understood that a work which necessitated so much observation required a vast expenditure of time4 ,begun1 as we have seen1 in #aebc 7#aebd1 new style71 it was not finally completed until #aebi1 that is to say1 after six years of toil4 ,however1 ,tory did not propose that those years should be lost for art4 ,desirous to preach by example rather than by precept1 he determined to publish1 in the interim1 other books wherein he might give utterance to his artistic taste4 ,and he did in fact print books of ,hours1 admirably executed1 which1 although in different form1 may fitly be compared to the ,hours of ,simon ,vostre1 who had acquired so great a reputation in that typographical specialty4 ,tory received from ,franois ,i a 'privilge' 7license7 for this work1 to run six years1 dated at ,avignon1 ,september #bc1 #aebd4ii ,this license to print#ajj informs us that ,tory had 'made and caused to be made#aja certain illustrations histoires and vignettes a lantique and likewise some a la moderne1 in order to have the same printed1 and to serve a plusieurs usages dheures1' and that to that end he had 'expended an exceeding long time and incurred divers great expenses and outlays4' ,the first book of this sort which he published1 so far as ,i have learned1 is an edition in quarto of the ,hours of the ,virgin1 according to the ,roman use1 in ,latin4 ,it is a superb volume1 printed by ,simon de ,colines1 with borders and illustrations ' l'antique1' perfect in taste and execution4 ,the book was undoubtedly printed by ,colines as a joint venture with ,tory1 for there are copies in existence in the name of each4 ,those in the name of ,colines bear on the title-page the date #aebd1 and1 at the end1 that of the #agth of the ,calends of ,february 7,january #af71 #aebe2 those in the name of ,tory 7there are two varieties of these7 bear but one date1 #aebe1 and that at the end4 ,i shall speak of this book later1 in detail4#ajb ,two years later ,tory published a new edition of the same ,hours1 in a small octavo volume1 also printed by ,simon de ,colines1 in roman type1 with borders and illustrations of the same kind but much smaller4#ajc ,the printing was finished ,october #ba1 #aebg4 ,it is preceded by a new license from ,franois ,i1 extending ,tory's rights for ten years1 not for this book alone1 but for the earlier one as well1 'for certain illustrations and vignettes a lantique by him heretofore printed1' and in consideration of the great outlay which his engravings had caused him to make4 ,this license is dated at ,chenonceaux1 ,september #e1 #aebf1 and includes ',champ fleury1' the printing of which had begun1 but which had not yet received its poetic title1 for it was still referred to as ',lart et science de la deue et vraye proportion des lettres4' ,in the same year ,tory published an edition in quarto of these same ,hours1 according to the use of ,paris1 printed by ,simon ,dubois 7,silvius74 ,this book1 in which we find again the license of #aebf1 is printed in gothic type1 with borders and illustrations of a special style1 called ' la moderne4' ,the borders are arabesques formed of plants1 insects1 birds1 animals1 etc4 ,at the foot we see the ,f1 crowned1 of ,franois ,i1 and the salamander2 the ,l1 crowned1 of ,louise of ,savoy1 the king's mother2 and the impaled shield of ,france and ,savoy1 etc4 ,of this book also ,i shall speak in detail hereafter4#ajd ,finally1 a little later1 at a time which ,i am unable to fix precisely1 but prior to #aeca1 ,tory caused to be printed another book of ,hours of the same description1 that is to say1 with borders of plants1 insects1 birds1 etc41 but in a smaller format--small octavo4 ,i shall describe it in its place4#aje ,these publications did not prevent our artist from giving his attention to literature4 ,while he was overlooking the impression of his ,hours and his ',champ fleury1' he was preparing various works to which we shall have occasion to refer hereafter4 ,generally speaking1 they are translations intended to enrich the ,french tongue2 for ,tory did not lose sight of his patriotic purpose4 ,all of these works were printed subsequently1 save one1 perhaps--a translation of the hieroglyphs of ,orus ,apollo1 which he gave to a 'noble lord and good friend of his4'#ajf ,it is not known whether this translation was ever printed4 ,there are many editions of ,orus in existence1 but no one of them bears the name of ,tory4 ',champ fleury' appeared at last in #aebi4 ,we have seen that this book was conceived on 'the day of the feast of ,kings1 which was reckoned ,m4 ,d4 ,,xxiii1' that is to say1 ,january #f1 #aebd1 new style4 ,the printing was not completed until 'the ,,xxviii day of the month of ,april one thousand five hundred ,,xxix1'#ajg as we learn from the subscription at the end2 that is to say1 it cost nearly six years of toil4 ,the following is an exact copy of the title-page as it appears in the first edition3-- ,,champ ,,flevry4 ,au quel est contenu ,lart ,science de la deue vraye ,proporti des ,lettres ,attiques1 qu dit autremt ,lettres ,antiques1 vulgairement ,lettres ,romaines1 proportionnees selon le ,corps ,visage humain4--,ce ,liure est ,priuilegie pour ,dix ,ans ,par ,le ,roy nostre ,sire1 est a vendre a ,paris sus ,petit ,pont a ,lenseigne du ,pot ,casse par ,maistre ,geofroy ,tory de ,bourges_/,libraire1 ,autheur du dict ,liure4 ,et par ,giles ,gourmont aussi ,libraire demourant en la ,rue sainct ,iaques a ,lenseigne des ,trois ,coronnes4 ,it is gratifying to see here the name of the first printer in ,greek type in ,paris4 ,it was ,gourmont himself who printed this learned book1 wherein we find some very interesting details concerning the ,hebrew1 ,greek and ,latin letters1 of which he exhibits models which have not changed since that time4#ajh ,the workshop of ,gilles de ,gourmont was on rue ,saint-,jean-de-,latran2 but we see that in #aebi he had a bookshop on rue ,saint-,jacques1 at the sign of the ,trois ,couronnes1--an allusion doubtless to the three roses which adorned the chief1 or top1 of his shield4 ,this shop adjoined the church of ,saint-,benot on the north4#aji ,as for ,tory1 he seems to have lived at this time on the ,petit-,pont1 'next to ,hostel-,dieu4' ,it was there that he wrote his book1 for he dates his epistle to the reader thus3 ',en ,paris ce4 ,,xxviii4 ,jour ,dapvril sus ,petit ,pont1 a ,lenseigne du ,pot ,casse4' ,he had1 however1 another abode on rue ,saint-,jacques1 opposite the 'cu de ,ble1' the sign of ,chrtien ,wechel4 ,at the beginning of ',champ fleury' is printed the license of ,september #e1 #aebf1 already published in the two editions of the ,hours of #aebg1 which granted to ,tory a ten years' right1 not only for the ,hours1 but also for ',champ fleury1' which was then being printed1 but1 as ,i have already said1 had not then received that graceful title4 ,this license makes it clear that as early as #aebf ,tory was thinking of joining the brotherhood of printers4 ,he became a printer in fact soon after the publication of his book1 and proceeded to print several works of his own composition4 ,i give here a list of these various publications1 in the order of their dates4 ,i4 ,la ,table de lancien philosophe ,cebes 444 ,avec trente ,dialogues moraulx de ,lucian 444 translate de latin en vulgaire franois par maistre ,geofroy ,tory de ,bourges444#aaj ,the license is of ,september #ah1 #aebi1 for ten years4 ,the printing was finished ,october #e1 #aebi4 ,it is a small octavo volume1 in two parts1 with roughly executed borders on each page4 ,there are twelve preliminary leaves1 containing a long list of errata1 and two series of signatures1 the first running from ,a to ,t1 the second from a to v4 ,the book was for sale at the translator's shop1 'rue ,sainct ,iaques1 devant lescu de ,basle1#aaa a lenseigne du ,pot ,casse1' and at ,jean ,petit's on 'rue ,sainct ,iaques1 a lenseigne de la ,fleur de lys4' ,there is nothing to indicate where the book was printed2 but as it is set in the type used for the ',epitaphs' of ,louise of ,savoy1 ,i am inclined to think that it came from ,tory's workshop4 ,in that case it was the first book that he printed4#aab ,the long list of errata would seem1 in truth1 to suggest a novice1 and would explain why no printer's name is given4 ,in the letter 'to the readers' at the beginning of this book1 ,tory returns to the charge against the villains rufients who were changing the ,french language on the pretext of perfecting it4 ,there are some tirades quite worthy of a place in ',champ fleury4' ,he ends his preamble with a curious passage which gives us an idea of his tastes4 ',i believe that if the ancient and noble painter ,zeuxis of ,heraclea1 if ,raphael of ,urbino1 ,michel ,angelo1 ,leonardo da ,vinci or ,albrecht ,drer#aac should try to paint philosophers and their various aspects1 they could not paint them so well nor so to the life as our ,lucian paints them herein4' ,lastly1 he informs the reader that he will soon make him 'another new gift'2#aad and he kept his promise by publishing the following work4 ,,ii4 ,summaire de chroniques contenans les vies1 gestes et cas fortuitz de tous les empereurs ,deurope1 depuis ,iules ,cesar iusques a ,maximilien dernier decede 444 par 444 ,iehan ,baptiste ,egnace1 ,venicien4 ,et translate de ladicte langue latine en langaige francoys par maistre ,geofroy ,tory de ,bourges4 ,an octavo volume1 containing #af leaves of preface1 #ii of text1 and an index containing #ac leaves--#abh in all4 ,at the end1 we read3 ',the printing of this book was finished at ,paris the ,,xiii day of ,april1 ,m4 ,d4 ,,xxix1 for maistre ,geofroy ,tory de ,bourges1 who sells it at said ,paris1 at the sign of the ,pot ,casse4' ,in ,tory's preface1 addressed 'to all studious and true lovers of honest letters1' he says3 ',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 book4' ,it was in fulfilment of that promise that he published the ',summaire de ,chroniques' of ,egnasio4 ,the date of printing given above corresponds to ,april #ac1 #aecj1 new style2 for ,easter fell in that year on ,april #ae4 ,some bibliographers mention an edition of this book of #aebj2 but it is an error1 for the license is dated #aebi4 ,la ,caille#aae says that the edition of #aebi was printed by ,tory2 this is possible1 but not certain4 ,it may even be that it was printed by ,gourmont1 for it is set in the same type used in ',champ fleury4'#aaf ,there are three later editions of this book1 printed by ,charles l',angelier in #aeda1 #aedc1 #aedd 7octavo72 we shall speak of them hereafter4 ,as for the edition of #aebi1 ,i found it only in the library of ,m4 ,ambroise ,firmin ,didot1 who kindly allowed me to describe it4 ,this copy is still in the original binding1 with the ,pot ,cass4 ,but all these works did not cause ,tory to lose sight of his great patriotic idea4 ,he did not confine himself to simple wishes for the welfare of the ,french language4 ,in default of the other 'noble hearts' whom he invited 'to establish and order our language by rule1'#aag he himself undertook that work4 ,rich in materials as he was1 and with the ardor with which he entered into everything1 he soon completed his task4 ,the license to print the ',summaire de ,chroniques' includes a book by ,tory entitled3 ',les ,reigles generales de lorthographe du langaige franois1' which he proposed soon to put on the press4 ,was this book ever printed8 was it ever finished8 ,these are questions which ,i am unable to answer1 for ,i have discovered no trace of it elsewhere2 but so many other books have disappeared that ,i should not be surprised to learn that this one had undergone the same fate4 ,,iii4 ,hours 7in ,latin7 according to the ,roman use2 sixteenmo1 with illustrations and borders2 printed in roman type2 finished ,february #h1 #aebi1 which date corresponds to ,february #h1 #aecj1 new style1 and proves that ,tory had become a printer in #aebi4 ,here is the exact title of this book1 which ,i shall describe in detail later3#aah ',hor in laudem beatissim ,virginis ,mari secundum usum romanum4' ,on the last leaf are these words3 ',parrhisiis1 apud ,gotofredum ,torinum ,biturigum4 ,,viii4 die febr4 anno sal4 ,m4 ,d4 ,,xxix4 ,ad insigne ,vasis effracti4' ,,iv4 diloquium ceu 7sic7 disticha partibus dium urbanarum et rusticarum suis quque locis adscribenda4 ,item1 epitaphia septem de amorum aliquot passionibus1 etc4 ,authore ,gotofredo ,torino ,biturigico4 ,paris1 ,simon de ,colines1 #aecj2aai italic type2 #c octavo sheets1 with license for two years4 ,this book has1 in the second part1 seven charming engravings on wood4 ,i cannot understand why ,tory did not print it1 as he was then a printer4 ,may it have been because it was customary at that time to print poetical works in italic type1 and he had none in his printing office8 ,copies of the book are preserved in the ,bibliothque ,nationale1 at the ,arsenal two and at ,sainte-,genevive4 ,the copy in the ,bibliothque ,nationale is still in the original binding1 with the ,pot ,cass4#abj ,alluding to the first part of his book1 ,tory expresses himself thus in his 'avis au lecteur'3 ',there are certain eminent painters in this prolific age1 most gentle reader1 who1 by their drawings1 paintings1 and varied colouring1 depict the tribal gods and human beings1 as also other things of different sorts1 with such exactness that a voice and a soul seem the only things wanting to them2 but here1 most gentle reader1 ,i offer you1 nearly in the manner of these painters1 a house1 which not only is elegant and finished in its outlines and parts1 but even speaks prettily and describes itself part by part in a eulogy4'#aba ,it will be seen that ,tory's thoughts were still engrossed by art4 ,v4 ,science pour senrichir honnestement et facilement1 intitule ,leconomic ,xenophon1 nagueres translatee de grec et latin en langaige francoys1 par maistre ,geofroy ,tory de ,bourges4--,on les vend a ,paris1 en la rue ,sainct ,iaques1 devant lescu de ,basle1 et devant lesglise de la ,magdalaine1 a lenseigne du ,pot ,casse4 ,octavo1 of #i sheets2 printing finished ,july #e1 #aeca4abb ,on the back of the title-page are these words3 ',at the said sign of the ,pot ,casse are also for sale ,thucydides and ,diodorus1 with some other excellent books translated from ,greek and ,latin into ,french4 ,likewise there are fine ,hours and ,offices of ,our ,lady1 large1 medium and small1 with illustrations and vignettes a l'antique4' ,were the ,thucydides and ,diodorus printed by ,tory1 as well as the large1 medium and small ,hours8 ,possibly1 but ,i have found no indication of it4 ,as for attributing the translations to him1 that is out of the question1 for he says nothing of it in the dedication1 addressed to ,antoine du ,prat1 ,cardinal de ,sens1 etc41 wherein he mentions the preceding works of the same sort3-- ',after the book of the ,explanation of the antique letters1 called ,champ ,fleury1 which ,i put together in the ,french language1 and the ,table de ,cebes1 with thirty moral dialogues2 likewise the ,summaire de ,chroniques1 which ,i translated into our said language1 to confer a benefit on the studious1 444 it seemed to me to be a worthy way of passing my time to employ myself in translating the ,economic ,xenophon also4' ,tory does not mention here the 'diloquium1' probably because that book was in ,latin1 or1 rather1 because it was not printed at the time of the composition of this dedication1 which was in all probability written in the first three months of #aeca1 then reckoned in the year #aecj1abc a circumstance which1 in my opinion1 explains the date of the 'diloquium4' ,in fact1 that book cannot have been printed before #aeca1 for the license of the ',economic ,xenophon1' which includes the 'diloquium' 7to which1 by the way1 it gives a sub-title1 'et ,erotica1' which was rejected when it was printed1 as likely to give a false idea of the book71 is dated ,june #ah1 #aeca1 and extends ,tory's rights to four years instead of the two mentioned on the title-page of the 'diloquium4' ,from all of which ,i conclude that the last-named book was printed before the license was obtained1 but only a short time before1 and while the application was pending4 ,the license first mentioned#abd also concedes to ,tory an extension of four years 'for certain other books1 illustrations and vignettes1 to cause to be printed the ,hours and ,offices of ,our ,lady1 mentioned in two licenses heretofore granted to him1' dated ,september #bc1 #aebd1 and ,september #e1 #aebf4 ,tory requested this extension of time because he was preparing to reprint the ,hours1 as we see by the date of the following book4 ,,vi4 ,hours according to the ,roman use1 quarto2 published ,october #bj1 #aeca1 in ,latin4 ,this was a new edition of the ,hours printed in #aebd-aebe by ,simon de ,colines4 ,we find the same borders and illustrations as before2 but several engravings which had already appeared in some of the earlier books just described are added4 ,i shall describe this book later4 ,it seems to be printed from the ',champ fleury' type1 and bears the following title3 ,hor in laudem beatiss4 ,virginis ,mari4 ,ad usum romanum4 ,parrhisiis apud ,gotofredum ,torinum ,biturigicum1 regium impressorem4#abe ,,vii4 ,politiques de ,plutarque1 cest a dire3 ,civiles ,institutions et enseignemens pour bien regir la chose publique 444 translatees 444 par maistre ,geofroy ,tory de ,bourges4 ,dediees 444 a tresilustre 444 ,franois de ,vallois1 ,daulphin de ,france4 ,octavo1 with #h preliminary leaves1 and #fg numbered leaves of text4 ,on the verso of leaf #fg we read3 ',the printing of this book was finished ,saturday the ,,xv4 day of ,june1 ,m4 ,d4 ,,xxxii4 by maistre ,geofroy ,tory de ,bourges1 bookseller and king's printer1 dwelling in ,paris1 opposite the church of ,la ,magdaleine1 at the sign of the ,pot ,casse4' ,another edition was published at ,lyon in #aecd4 ,we shall refer to it1 as well as to the earlier edition1 hereafter4#abf ,,viii4 ,la ,mouche de ,lucian et la ,maniere de parler et se taire de ,volaterran4--,le tout translat par maistre ,geofroy ,tory de ,bourges1 imprimeur du ,roy et libraire jur en luniversit de ,paris4 ,on les vend a ,paris1 devant leglise de la ,magdaleine1 a lenseigne du ,pot ,casse4 ,octavo1 #h leaves2 without date of printing or license1 but printed by ,geofroy ,tory himself1 after ,february #bb1 #aecc2 for he assumes the title of 'libraire jur'#abg of the ,university1 which did not belong to him until that day4 ,moreover he makes use in this book of the acute accent1 the apostrophe and the cedilla1 which he never used1 as we shall soon see1 until after the edition of ,clement ,marot1 dated ,june #g1 #aecc4 ,it was therefore subsequent to that date1 but prior to ,october of the same year1 that ',la ,mouche' was published4#abh 99 99 99 99 99 ,in several of the works we have described1 ,tory assumes the title of printer2 in the last three he describes himself as king's printer1 and in one of them as a 'libraire jur' of the ,university4 ,these last two dignities he owed to the initiative of ,franois ,i4 ,that king1 who had never before conferred that honour upon any one1 deemed it his duty to make the author of ',champ fleury' king's printer4 ,in truth it was natural enough to confer that title upon him who had displayed so perfect an understanding of the art of typography1 combined with such a store of literary knowledge1 and whose book caused a veritable revolution in printing1 no less from the technical and practical than from the grammatical and philological standpoint2 for there is one fact which ,i have not as yet mentioned and which ,i am glad to set down here3 immediately after the publication of ',champ fleury' ,french typography began to include in its fonts of type accents1 apostrophes and cedillas1#abi the absence of which ,tory deplored1 and which he himself used soon after1 and before any other printer1 as we shall see4 ,but the most noteworthy result produced by the publication of ',champ fleury' was the reformation of the old types4 ,that book not only contributed to the abandonment of gothic letters1 but brought about the remodelling of the old roman letters4 ,robert ,estienne1 among others1 re-cast at this time all those that had come down to him from his father1 the first ,henri 7or1 to speak more accurately1 from his father-in-law ,simon de ,colines71 and replaced them by types of a new shape1 which were cut1 ,i think1 by ,tory 7for his pupil1 ,garamond1 seems not to have been capable of doing it at this time71 and which continued to be used1 almost without change1 down to the time of the ,revolution4 ,it is in this sense only that it can properly be said that ,tory perfected the types of ,josse ,bade2 for ,i think that he did not cut any type for that celebrated printer1 who was established in ,paris long before ,tory turned his attention to engraving1 and who died in #aece1 a few years after the publication of ',champ fleury1' without changing in any way his method of printing4 ,it was ,tory too1 doubtless1 who cut ,robert ,estienne's italic type2 for it bears a strong resemblance to ,simon de ,colines's1 which ,i have already attributed to him4#acj ,the sensation caused by ,tory's book1 in foreign countries as well as in ,france1 is evidenced also by the writings of his contemporaries4 ,in ,paris1 ,antoine du ,saix1 author of the ',esperon de discipline1' expresses himself thus in an epistle in verse dedicated to his friends1#aca among whom we find mentioned ,ren ,mass1 also a friend of ,tory1 and several other littrateurs of the time3-- ,geoffroy ,thory1 qui divine as heu main ,pour figurer dessus le corps humain ,la lettre anticque1 ouyant que plume ay prise ,pour te imiter1 ce bourgeon ne meprise1 ,raisin sera1 sil a temps de meurer mrir4 ,in ,london1 ,leonard ,coxe1 alluding to the grammar published shortly after by his compatriot ,palsgrave1 exclaims3 ',learned ,geofroy1 he has fulfilled the wish so often expressed in thy ,champ fleury1 for here we have the ,french language taught thoroughly1 by virtue of rules duly authorized4'#acb ,tory probably received the title of king's printer in #aecj1 but ,i do not find that he assumed it earlier than #aeca1 and1 failing documentary evidence1 ,i cannot accredit him with it at an earlier date4 ,it was1 ,i fancy1 his appointment which led the authors of the ',art de vrifier les dates' to say that ',franois ,i established the ,imprimerie ,royale in ,paris' on his return from the ,abbaye de ,veyen1 where he had espoused1 on ,july #d1 #aecj1 ,eleonora1 sister of the ,emperor ,charles ,v4#acc ,it is the fact that at that time ,tory was entrusted with several 'royal printings' concerning this marriage of the king4 ,thus he published1 ,march #af1 #aecj 7#aeca1 new style71 a little work of ,guillaume ,bochetel1 entitled3 ',le ,sacre et coronnement de la ,royne1 imprim par le commandement du ,roy nostre sire4' ,it is a thin quarto of #ab leaves1 printed with a certain sumptuousness1 and the license1 signed 'de la ,barre1'#acd is thus conceived3-- ',we have granted to maistre ,geofroy ,tory1 marchant libraire1 imprimeur1 license to print the ,coronnement de la ,royne1 and all other printers are forbidden to print it for one year1#ace upon pain of a discretionary fine and of the confiscation of said book1 etc4 ,done at ,paris the tenth day of ,march4' ,the consecration of the queen had taken place at ,saint-,denis five days earlier1 ,march #e1 #aecj 7#aeca1 new style74 ,a few days later ,tory published another little book by the same author3 ',lentree de la ,royne en sa ville et cite de ,paris1 imprimee par commandement du ,roy nostre sire4' ,quarto1 #bd leaves2 same arrangement as in 'le ,sacre1' etc4#acf ,the license1 dated at ,anet1 ,april #bf1 #aeca 7,easter fell that year on ,april #i71 gives ,tory no other title than 'libraire1' but the omission is evidently accidental4#acg ,the volume contains three pieces in ,latin verse by ,geofroy ,tory1 two addressed to the queen 7'ad reginam ,leonorem'71 the other to the ,french people 7'ad gentem gallicam'74 ,on the verso of the last leaf are these words3 ',the printing of this book was finished ,tuesday the ninth day of ,may ,m4 ,d4 ,,xxxi4' ,this book exhibits specimens of three different types used by ,geofroy ,tory3 a 'saint-augustin1' in which the text is printed1 a 'philosophie1'#ach and a brevier4 ,in all these publications we find ,tory's borders and his broken jar1 and these words at the foot of the title3 ,on les vend a ,paris1 en la rue ,sainct ,jacques1 devant lescu de ,basle1 et devant lesglise de la ,magdaleine1 a lenseigne du ,pot ,casse4' ,it will be noticed that ,tory had left his second domicile1 on the ,petit-,pont1 which was too small1 doubtless1 for his printing establishment1 and had settled in the heart of the ,cit1 almost opposite the church of ,la ,madeleine1 which then stood very near the corner of rue de la ,juiverie and rue de ,marmouzets4 ,his new abode was on the site of the old and famous ,halle aux ,bls de ,beauce1 in a house to which he transported his sign of the ,pot ,cass 7which it retained for several years71 and which corresponds to the present number #af rue de la ,cit1 according to the evidence courteously furnished me by ,m4 ,adolphe ,berty1 whose knowledge of old ,paris is so thorough4#aci ,however that may be1 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 sheets1 of the same typographical arrangement as those last described1 but printed in different type1 which seems to me to have been cut by ,tory4 ,it was published on the occasion of the death of ,louise of ,savoy1 mother of ,franois ,i1 which occurred ,september #bb1 #aeca4 ,the contents consist of ,latin and ,french epitaphs composed in honour of the deceased1 and it bears on its first page the following title1 bisected3-- ',in ,lodoic regis matris mortem epitaphia latina et gallica4--,epitaphes a la louenge de ma dame mere du ,roy faictz par plusieurs recommendables autheurs4' ,below this are these words3 ',on les vend a ,paris1 devant ,leglise de la ,magdaleine1 a ,lenseigne du ,pot ,casse4' ,the license1 dated at ,paris1 ,october #ae1 #aeca1 and signed de la ,barre1 accords unequivocally to ,tory the title of king's printer3 ',we have granted to maistre ,geofroy ,tory1 merchant1 bookseller and imprimeur du roy1 leave1' etc4 ,on the last page1 which1 like the first1 is enclosed in a border1 are the words3 ',printed at ,paris at the sign of the ,pot ,cass1 by maistre ,geofroy ,tory de ,bourges1 ,marchant1 ,libraire et ,imprimeur du ,roy4 ,the ,,xvii day of ,october ,m4 ,d4 ,,xxxi4'#adj ,what salary did ,tory receive as king's printer8 ,it is impossible for me to say positively2 however1 if we may judge from what happened in #aech1 in the case of ,conrad ,nobar1#ada he probably received #ajj 'cus au soleil'#adb per year1 which1 at the current valuation of #de sous each1 would make #bbe 'livres tournois4' ,indeed1 that sum was paid in #afga1 more than a century later1 to ,pierre ,le ,petit1 king's printer4#adc ,if ,franois ,i manifested his good will to ,geofroy ,tory in appointing him king's printer1 he manifested it even more signally by causing him to be admitted to the brotherhood of 'libraires jurs' of the ,university1 with all the privileges appurtenant to that office4#add ,for1 in the first instance1 he simply made use of his prerogative2 in the second he imposed his will on the ,university3 the number of 'libraires jurs1' which was fixed at twenty-four1 being full1 ,franois ,i created a twenty-fifth membership in ,tory's favour1 and the ,university ratified that creation at its sitting of ,february #bb1 #aecb 7#aecc1 new style71 minuting1 however1 that it was a gift of the ,king1#ade as if to imply that it was not to be taken as a precedent4 ,in fact1 they returned to the number twenty-four on the death of ,tory1 which unfortunately was not long delayed4 ,farther on will be found a list of the works published by ,tory as king's printer1 both for the king and for private individuals4#adf ,i will mention here a single one1 which is of some interest in connection with the biography of our artist3 the ',adolescence ,clementine' 7of ,clement ,marot71 fourth edition1 published by ,tory ,june #g1 #aecc4 ,on the title-page is a note in these words3 ',with certain accents noted1 namely1 on masculine different from the feminine1 between words joined by synalephe1 and under when it is pronounced like ,s1 the which heretofore1 for lack of suggestion1 has not been done in the ,french language1 although it was and is most essential4' ,this was the first work in which ,tory applied the orthographic system he had suggested in ',champ fleury4'#adg ,the fact is evident from the inexperience of the compositors1 who made several blunders in this very note4 ,this book1 one of the rare copies of which is in the ,bibliothque ,nationale1 presents still another interesting peculiarity4 ,the title-page is arranged in a different way from that in vogue at the time4 ,in the first three editions the first two words form four lines of capitals of the same size and length1 by virtue of the spacing3 ,,ladole--,,scence--,,clemen--,,tine4 ,in the fourth edition they fill two lines only 7,,ladolescence--,,clementine71 but still in type of the same size1 contrary to the practice of other printers1 who would have diminished by at least one degree the size and length of the lines1 without regard to logic4 ,they would probably have printed the title thus3 ,l ,a ,d ,o ,l ,e ,s ,,cence ,,clemen tine ,tory's method of execution1 which he borrowed from the arrangement of ancient inscriptions1 was less agreeable to the eye perhaps1 but it was more logical4 ,it was a step toward the practice of the present day1 in which the size of the letters on a title-page is varied1 but is made consistent with the importance of the respective words4 ,as will be seen1 ,tory was1 in everything1 an initiator4 ,this book was the last one printed by ,tory1 to my knowledge4 ,he probably died shortly after1 for we find that his wife was a widow on ,october #ad #aecc1 when she executed a lease for nine years of that part of the ,halle de ,beauce occupied by her husband's establishment4 ,this lease1 covering the whole house1 was made in consideration of #abb livres #aj sous tournois4 ,the lessors were agents of the ,chapitre ,notre-,dame1 and the lessees1 ',martin ,fret1 baker1 and ,perrette ,le ,hullin1 widow of ,geofroy ,tory1 in his lifetime bookseller and king's printer1 living on rue de la ,juifverie in one of the wings corps d'hostel of the building hereinafter mentioned' 7the ,halle de ,beauce74#adh ,perrette ,le ,hullin continued for some time to carry on her husband's various enterprises4 ,thus1 she published in #aece a remarkable work1 doubtless begun by him1 by command of ,franois ,i1 to whom it is dedicated4 ,it certainly should be placed to the credit of ,tory1 although it does not bear his name1 but simply a mention of his sign3 ',au ,pot ,casse4' ,it is a translation of ,diodorus ,siculus1 of which ,i shall speak later4#adi ,but the burden of so considerable an undertaking--printing-office1 bookshop1 bindery1#aej engraving1 etc4--soon compelled ,perrette ,le ,hullin to abandon a part of it4 ,at the end of the year #aece she transferred the printing-office1 the bookshop1 and the bindery to ,olivier ,mallard1 who established himself on the same premises occupied by ,tory1 and under the same sign of the ,pot ,cass1 as we see by a thin volume published by him on ,january #ai1 #aece 7#aecf1 new style71 entitled3 ',copie d'une lettre de ,constantinople1 de la victoire du grand ,sophy contre le grand ,turc4--,paris1 ,olivier ,mallard1 l'enseigne du ,pot ,cass1 rue de la ,juifverie4' ,quarto1 of #d leaves2 gothic type4#aea ,towards the end of #aecf1 ,mallard published the ',copie de l'arrest du grand conseil donn l'encontre du miserable empoisonneur de monseigneur le dauphin1' etc4 ,an octavo sheet printed in two signatures4 ,on the verso of the title begins the text of the decree1 promulgated at ,lyon ,saturday1 ,october #g1 #aecf2 then come several pieces by ,jean ,henon and 'a dizain by the printer hereof in sorrow for the death of the ,dauphin'3 ten wretched lines1 ending1 by way of signature1 with the words 'tout par moien1' of which ,i have been unable to discover the anagrammatic significance4 ,on the verso of the last leaf we read3 ',all booksellers and printers in the city and provostry of ,paris are forbidden to print or put on sale this present copie within three months1 on pain of confiscation thereof1 and of a fine1 save only ,m4 ,o4 ,mallard4 ,given at ,paris this ,,xviii ,october1 #aecf4--;,i4 ,,morin4' ,thus we see that1 even if ,mallard was not as yet king's printer1 he was at least the official printer4 ,i cannot give the exact date of his appointment as king's printer2 but he certainly held that office in #aecg1 since in that year he published a little octavo volume in which he assumed the title4#aeb ,the book is entitled3 ',de judiciis urinarum tractatus exprobatis collectus authoribus1 etc4--,excudebat ,o4 ,mallardus1 bibliopola ac impressor regius4--,anno ,domini #aecg1 #h id4 ,martii' 7,march #h74aec ,he also published in that year1 in the same capacity1 two works of ,jean ,gillot3#aed ',de juridictione et imperio libri duo1' and ',isagoge in juris civilis sanctionem' 7quarto71 on the title-page of which1 below the ,pot ,cass1 are the words3 ',vnit ,o4 ,mallardo1 regio typographo ac librario1 sub signo ,vasis fracti4'#aee ,it is probable that ,franois ,i made no difficulty about accepting ,tory's successor as his printer2 but he availed himself of ,tory's death to remodel the institution of king's printers4 ,he restricted ,mallard's functions to the printing of ,french1 and in the year #aech appointed two other king's printers1 one1 ,conrad ,nobar1 for ,greek1 the other1 ,robert ,estienne1 for ,latin and ,hebrew1 as an essential complement to the ',collge des trois langues1' now the ,collge de ,france1 which he had recently founded4 ,we have not the document which conferred upon ,robert ,estienne the title of king's printer2 but we have proof that he held that title in #aeci4 ,maittaire declares1 upon what evidence ,i know not1 that ,robert was appointed on ,june #bd of that year4 ,i am of the opinion that his appointment was of earlier date1 that is to say1 that it goes back1 like ,nobar's1 to #aech1 or1 to speak more accurately1 to the beginning of #aeci4 ,in fact1 we find him assuming the title of king's printer 7'typographus regius'7 in several works printed by him during that year4 ,furthermore1 ,i may mention the fact that1 in a most interesting edict concerning the printers of ,france1 dated ,august #ca1 #aeci1 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 ,latin1 ,greek1 and ,hebrew tongues4'#aef ,we have not the letters patent of ,robert ,estienne1 but we are more fortunate in respect to ,nobar1 for we have the document by which he was created king's printer for ,greek4#aeg ,this curious document1 which does so much honour to ,franois ,i1 well deserves to win oblivion for his unlucky edict of proscription against printing1 rendered ,january #ac1 #aece 7new style71 which has been invoked against his memory several times in recent years1 although it was never put in execution4 ,on ,nobar's death in #aedj1 ,robert ,estienne succeeded him as king's printer for ,greek1 retaining the title for ,latin and ,hebrew4 ,the king's fondness for the classics did not lead him to neglect the ,french language3 in #aeci he promulgated a celebrated ordinance1 to the effect that 'henceforth all decrees1 etc41 shall be pronounced1 recorded1 and delivered to the parties concerned1 in the mother tongue4' ,in #aeda1 ,olivier ,mallard1 who had acquired all of ,tory's typographic paraphernalia1 published a book of ,hours of the ,virgin1 in ,latin1 octavo1 with the borders ' la moderne' to which ,i referred on page #be4 ,it is copied doubtless from the edition put forth by ,tory about #aecj1 which ,i have never been fortunate enough to see4 ,of the edition of #aeda1 ,i have seen one copy on vellum1 and another on paper4 ,it consists of #bc octavo sheets 7signatures ,a to ,y71 and has on the title-page3 ',hor in laudem beatissim4 ,virginis ,mari ad usum ,romanum4' 7,pot ,cass7 ',parisiis1 apud ,oliverium ,mallardum1 sub signo ,vasis effracti4--#aeda4' ,in the following year ,mallard published another edition of the ,hours of the ,virgin1 in quarto1 like the one issued by ,tory in #aeca4 ,i shall speak of it in detail in its place4#aeh ,here ,i will simply say that the book was finished in the month of ,august1 #aedb4 ,on the twenty-second of the same month1 ,mallard renewed the lease of his quarters in the ,halle aux ,bls de ,beauce1 which lease had been given nine years earlier to ,tory's widow and ,martin ,fret1 at a rental of #abb livres #aj sous1 tournois4 ,the rental was increased for ,mallard1 who had to pay #acj livres1 plus #d cus d'or au soleil 'for the time of the said leasing4'#aei ,olivier ,mallard did not long enjoy his lease1 for he died that same year4 ,his last printing1 according to ,la ,caille1 who writes the name ,maillard1#afj was a translation of the ,dialogues of ,plato1 by ,simon de ,valembert1 published in #aedb4 ,i have been unable to find this book in ,paris1 but ,i have seen another1 probably of later date1 at the bookshop of ,m4 ,techener2 it is entitled3 ',le livre de ,ange ,bologninus1 de la curation des ulceres exterieurs1 traduit de latin en francoys4--,paris1 au ,pot ,cass1 en limprimerie de ,olivier ,mallard1 libraire et imprimeur du roy4 #aedb4' ,it is an octavo of four signatures4 ,as the license is dated ,december #a1 this little book is probably the last one printed by ,mallard1 as he was succeeded in the following year1 as king's printer for ,french works1 by ,denis ,janot 7one of the most skilful printers in ,paris71 as is set forth in the letters patent1 which will be found in ,appendix ,,vii4 ,appendix ,,viii contains a complete list of the king's printers who lived in ,paris4 ,mallard's typographical apparatus seems to have been acquired by ,jean ,kerver1 son of the first ,thielman ,kerver1 living on rue ,saint-,jacques1#afa at the sign of the ,gril 7'sub signo ,cratis'71 who printed several editions of the ,hours in octavo1 with the borders ' la moderne' used by ,mallard in #aeda4 ,the sign of the ,pot ,cass1 which ,kerver did not need1 was adopted by a bookseller of ,chartres1 named ,richard ,cotereau1 who seems also to have bought some of ,tory's woodcuts representing that mark4 ,in fact ,i have seen one1 which ,i have never seen on any of ,tory's books1 in a book printed in ,paris for ,cotereau by ,nicolas ,chrestien2 it is3 ',le ,coustumier de la baronnye1 chastellenie1 terre et seigneurie de ,chasteauneuf en ,tymerays'2 octavo1 #aeeg4 ,the title-page is an engraving of the ,pot ,cass1 with the design reversed1#afb like that of the title of ',champ fleury1' but signed with the double cross2 and beneath are the words3 ',pour ,richard ,cotereau1 libraire1 demeurant ,chartres1 en la grande rue1 l'enseigne du ,pot ,cass4' ,philippe ,cottereau1 evidently the son of ,richard1 and king's printer at ,blois1 used the same mark4 ,i have seen it on a small book printed by him in #afjc3 ',reglement pour l'instruction des proces qui se conduiront au bailliage et siege presidial de ,bloys4' ,two octavo sheets4 ,it would seem1 however1 that the sign of the ,pot ,cass1 which remained for some time longer on the ,halle de ,beauce1 also remained on the house originally occupied by ,tory1 on rue ,saint-,jacques1 for we find a printer named ,michel de la ,guierche living at that sign4 ,see1 among other works1 ',m4 ,t4 ,ciceronis ad ,m4 ,brutum ,orat4--,paris1 apud ,mich4 de la ,guierche1 sub signo ,vasis effracti1 in vico ,jacobeo4' ,quarto1 without date1 but with documents of #aedb and #aedc4afc ,but the ,pot ,cass itself does not figure in his books4 ,tory's widow seems to have retained his engraving establishment for a considerable further time4 ,although engrossed by her numerous undertakings1 she found time nevertheless to have some of her husband's books reprinted1 and among others the ',sommaire de ,chroniques d',egnasius1' in #aeda1 #aedc1 #aedd1 for the bookseller ,charles ,l',angelier1 and ',champ fleury1' in #aedi1 for the bookseller ,gualtherot4 ,i say that she had these books reprinted1 but ,i ought rather to say1 perhaps1 that she allowed them to be reprinted1 for there is nothing to suggest her coperation in the work4 ,literary property did not then exist4 ,in the new edition of ',champ fleury1' which by the way no longer bears that graceful title1 the ,pot ,cass does not even appear1 although the explanation of the mark is allowed to remain4 ,it was doubtless a bookseller's speculation4#afd ,however that may be1 this reprint forms an octavo volume of #afj leaves 7the folio has #hj71 in addition to the preliminary matter1 of which there are #af leaves 7#h in the folio72 it is entitled3 ',l',art et ,science de la vraye proportion des ,lettres ,attiques1 ou ,antiques1 autrement dictes ,romaines1 selon le corps et visaige humain1 avec l'instruction et maniere de faire chiffres et lettres pour bagues d'or1 pour tapisserie1 vitres et painctures4 ,item de treize diverses sortes et faons de lettres2 d'avantage la maniere d'ordonner la langue franoise par certaine regle de parler elegamment en bon et plus sain langage franois que par cy-devant1 avec figures ce convenantes1 et autres choses dignes de memoire1 comme on pourra veoir par la table1 le tout invent par maistre ,geoffroy ,tory de ,bourges4' ,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 edition1 and1 indeed1 as a result of that same publication4 ,we find here the accents1 the apostrophe and the cedilla1 upon the absence of which the author had commented in #aebi4 ,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 book4 ,this is a fact to which the editors of the second edition paid no heed1 as they allowed ,tory's observations to stand as they were written1 while introducing into their text the novel signs ,i have just mentioned4 ,for instance1 they repeat that c has two sounds1 one hard1 as in 'coquin1' etc41 the other soft1 as in 'franois1' etc4 ,but by adding the cedilla in the last word they destroy the sense of the criticism made by ,tory in #aebi4afe ,it does not appear by whom the book was printed2 we learn only on the last leaf that it was finished ,august #bf1 #aedi1 'pour ,vivant ,gualtherot1 libraire jur en l',universit de ,paris1 en la rue ,saint-,jacques1 l'enseigne de ,saint ,martin4' ,in order to adjust ,tory's woodcuts to the smaller format1 they were somewhat mutilated2 indeed some of them were omitted altogether1 among the number those representing the ,pot ,cass1 which probably remained in the possession of ,olivier ,mallard or his successors1 and which it was not deemed essential to have engraved anew for this reprint1 for it was executed as cheaply as possible1 and as if for the purpose of utilizing such woodcuts as remained at the disposal of ,tory's widow4#aff ,the work was subjected to some further modifications in this edition4 ,for instance1 all dates were suppressed in the preliminary matter1 which also was arranged in a different order4 ,even the license granted by ,franois ,i was omitted as having become useless2 but no change was made in the actual arrangement of the work1 nor was there a single addition or emendation4 ,thus ,tory1 at his death1 was able to flatter himself that he had contributed materially to the improvement of his mother tongue1 which he loved so well4 ,he died1 as ,i have said1 in #aecc1 and not in #aeej1 as is erroneously stated in a poetical epitaph composed nearly a century after our printer's death1 by his compatriot1 ,nicolas ,catherinot1 at the request and from the notes of ,jean ,toubeau1 himself a printer of ,bourges1 and a descendant of ,tory1 through his mother4 ,here is the epitaph1 as given by ,la ,caille3#afg-- ,to ,geofroy ,tory1 ,born at ,bourges1 ,educated at ,paris1 ,accomplished ,scholar in both ,latin and ,greek1 ,most devoted ,lover of ,letters1 ,very expert ,printer ,and ,learned ,author1 ,inasmuch as he wrote elegant ,distichs on the ,parts of the ,house1 ,composed some humorous ,epitaphs in ,latin in very ancient ,style1 ,translated ,treatises of ,xenophon1 ,lucian1 and ,plutarch ,from ,greek into ,french1 ,taught ,philosophy at ,paris in the ,college of ,burgundy1 ,was the first ,man to discuss seriously the ,art of ,printing1 ,described the ,forms of the ,letters1 or ,characters1 of the ,alphabet1 ,taught ,garamond1 ,chief of ,engravers1 ,always performed the ,duties of a good ,man until he died ,in the ,year ,,mdl3#afh ,at the ,instance ,of ,jean ,toubeau1 ,likewise ,printer and ,author1 ,mayor1 ,alderman of ,bourges1 ,ambassador on very delicate ,state-matters ,to the ,king and ,council1 ,great-great-grandson of the same ,tory1 ,heir of a famous ,printing ,establishment1 ,nicolas ,catherinot1 noble ,citizen of ,bourges1 ,counsellor of the ,king1 and ,senator1 in the ,metropolis of ,bourges1 ,from his tender ,years uninterruptedly to the present ,day ,most closely associated with the ,business of ,printing1 ,wrote this ,epitaph1 hastily and rapidly1 at the ,end of ,november1 ,,mdclxxxiv4#afi ,the only relic that we have of ,tory to-day1 outside of his books and works of art1 is a volume from his library1 as his signature in the genitive case indicates4 ,it is a manuscript on vellum1 containing the orations of ,cicero against ,verres1 in ,latin4 ,this volume was acquired1 presumably after ,tory's death1 by his patron ,jean ,grolier1 who wrote his motto at the end of the text3 ',joannis ,grolierii ,lugdunensis et amicorum4' ,from the library of this illustrious bibliophile1 the manuscript passed to ,colbert's library1 then to the king's4 ,it is preserved to-day #aheg in the ,bibliothque ,nationale4 ,we give below a facsimile of ,tory's signature1 which appears on the first flyleaf3-- ,illustration3 ,god4 ,torini ,biturici ,tory made use of ten marks1 besides the ,pot ,cass that appears on his bindings4 ,we reproduce them all1 although only two 7nos4 #e and #aj7 are signed4#agj ,some of them were used by other booksellers after him1 as we have already seen4 ,illustration3 #a ,illustration3 #b ,no4 #a ,this mark is to be found in the borders of the ,hours 7quarto7 of #aebg4 7,see page #cg1 supra47 ,no4 #b ,this form of the ,pot ,cass appears in the borders of the ,hours 7quarto7 of #aebd-aebe1 alike in the copies which bear the imprint of ,tory and in those printed by ,simon de ,colines4 7,see page #cg1 supra2 also ,part #b1 #b1 no4 #a1 infra47 ,illustration3 #c ,illustration3 #d ,no4 #c ,this variation will be found on the first page of those copies of the ,hours 7quarto7 of #aebd-aebe which bear the imprint of ,tory4 7,see ,part #b1 #b1 no4 #a 7#b;d and #c;d71 infra47 ,no4 #d ,this appears on the title-page of ',champ fleury4' 7,silvestre1 ',marques ,typographiques1' no4 #ica47 ,illustration3 #e ,illustration3 #f ,no4 #e ,this appears on folio #dc verso1 of ',champ fleury4' 7,silvestre1 no4 #hjc47 ,no4 #f ,this mark1 which differs from no4 #e only in the absence of the cross of ,lorraine1 appears on the last page of ',champ fleury4' ,i am unable to suggest any reason for the removal of the cross4 7,silvestre1 no4 #aga47 ,no4 #g ,this mark is found only at the end of the little poem written by ,tory on the death of his daughter1 which was published ,february #ae1 #aebd1 new style4 ,we have already referred to this poem on page #ae2 but it is reproduced at length in ,part #b1 ,i1 no4 #i4 ,illustration3 #g ,illustration3 #h ,no4 #h ,this mark1 which differs from the preceding only in the omission of the little figure in the clouds1 appears on the last page of the ,hours of #aebd-aebe 7those copies with ,tory's imprint7 in ,latin4 7,silvestre1 no4 #cef47aga ,illustration3 #i ,no4 #i ,this mark appears on the title-page of the ,hours 7quarto7 of #aebg4 ,it was used by ,jean ,mallard1 bookseller at ,rouen1 #aedb4agb 7,silvestre1 no4 #fjd47 ,illustration3 #aj ,no4 #aj ,i have never as yet seen this mark in any book of ,tory's2 but ,i have found it in books published by ,richard ,cotereau1 bookseller at ,chartres1 in #aeeg1 and by ,philippe ,cotereau1 bookseller at ,blois1 in #afjc4 7,see p4 #da1 supra47 ,the presence of the ,lorraine cross is1 it seems to me1 a sufficient proof that it should be attributed to ,tory4 7,silvestre1 no4 #ibi47 ,we have already observed that ,tory was not only a bookseller and printer1 but a binder as well4 ,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 him1 is reproduced on the cover of the present volume4#agc ,the reproduction is from the cover of a copy of the works of ,petrarch1 printed at ,venice in #aebe1 and now preserved in the ,library of the ,british ,museum4 ,the ,pot ,cass1 in its simplest form1 appears among the arabesques of this binding4 ,tory had also had engraved a larger plate of the same1 for use on the binding of quartos1 or1 rather1 of folios4 ,the design is almost identical4 ,sometimes the ,pot ,cass is accompanied by the drill4 ,this design appears on a copy of ,macault's translation of ,diodorus ,siculus1 printed as late as #aecf1 'au ,pot ,cass4' ,this beautiful volume1 in ,m4 ,didot's magnificent library1 is sufficient proof that ,tory's widow continued his various industries for a considerable time4 ,it is hardly necessary to say that the same tools could1 with some slight additions1 be used in binding volumes of all sizes1 from the octavo up4 ,illustration ,illustration ,,footnotes3 ,footnote #i3 ,i write these two names as our artist himself wrote them2 but it is a well-known fact that the orthography of proper names in the sixteenth century was very uncertain4 ,as to the family name especially1 ,geofroy's ancestors and descendants wrote it indifferently ,toury1 ,tory1 and ,thory2 but ,geofroy never varied3 he always wrote ,tory in ,french1 ,torinus in ,latin 7which should1 strictly speaking1 be translated ,torin74 ,see further1 on this subject1 ,appendix ,a4 ,footnote #aj3 ,champ fleury1 fol4 #a verso3 ',combiem sic que ie soye de petitz humbles pars1 aussi que ie soye pouure de biens caduques4' ,footnote #aa3 ,see ,part #b1 infra1 ,bibliography1 ,i1 no4 #c4 ,footnote #ab3 ,he mentions it on every page of his ,champ fleury4 ,footnote #ac3 ,we read in ,champ fleury1 fol4 #di verso3 ',come lexposent tresingenieusem elegtemt ,philipes ,beroal ,jehan baptiste le piteable1 iay veuz ouyz lire publiquemt1 il ya4 xx4 ans1 en ,bonoigne la grace4' ,champ fleury was conceived in #aebd1 but was not finished until #aebf1 the date of the license to print4 ,footnote #ad3 ,see ,champ fleury1 fol4 #f recto4 ,footnote #ae3 ,as to ,gourmont's ,greek type1 see my ,les ,estienne1 pp4 #fb ff4 ,footnote #af3 ,doubtless we should read ,,iv 7,december #b71 for there is no ,,vi of the ,nones of ,december4 ,footnote #ag3 ,see the description of the book in ,part #b1 ,i1 no4 #a4 ,footnote #ah3 ,the modern ,bourges4 ,footnote #ai3 ,enea ,silvio ,piccolomini1 commonly called neas ,sylvius4 ,see ,part #b1 ,i1 no4 #b4 ,footnote #bj3 ,germain de ,gannay1 ,ganaye1 or ,gannaye1 son of ,nicolas and brother of ,jean1 ,chancellor of ,france1 had become a counsellor in the ,parliament of ,paris1 on the resignation of ,jean ,jouvenel des ,ursins1 by letters patent of #adhe2 appointed ,bishop of ,cahors1 by royal letters issued at ,vienne in ,dauphin1 ,august #ad1 #aeji1 in opposition to ,guy de ,chteauneuf1 who was chosen by election but yielded his claim to him1 he was consecrated ,may #d1 #aeaa4 ,in #aeab he inherited the property of his brother the ,chancellor1 and did homage for the seigniory of ,persan on ,june #ah4 ,he was translated to the bishopric of ,orlans in #aead1 and died in #aebj4 ,footnote #ba3 ,october #b4 ,footnote #bb3 ,see ,part #b1 ,i1 no4 #c4 ,footnote #bc3 ,ibid4 no4 #d4 ,footnote #bd3 ,see my ,les ,estienne1 pp4 #fb ff4 ,footnote #be3 ,see ,part #b1 ,i1 no4 #e4 ,footnote #bf3 ,for ,latin text1 see ,appendix ,x1 a4 ,footnote #bg3 ,see ,part #b1 ,i1 no4 #f4 ,footnote #bh3 ,one of the three editions of ,berosus bears that date1 but our artist probably had nothing to do with that edition4 ,note added by the author after the book had gone through the press4 ,footnote #bi3 ,fol4 #a recto4 ,footnote #cj3 ,this principal of the ,college of ,plessis is here called ,robertus ,durus ,fortunatus4 ,du ,boulay calls him simply ,robertus ,fortunatus1 in his ,histoire de l',universit de ,paris1 vol4 vi4 p4 #aei4 ,elsewhere he is called ,dure 7,dur874 ,in the index of the same volume1 ,du ,boulay1 under the name of ,robertus ,fortunatus1 refers to a list of the principals of the ,college of ,plessis1 which he omitted to publish4 ,footnote #ca3 ,see ,part #b1 ,i1 no4 #g4 ,footnote #cb3 ,biographie ,universelle1 art4 ',tory4' ,footnote #cc3 ,see ,part #b1 ,i1 no4 #h 7p4 #gj74 ,footnote #cd3 ,histoire de l',imprimerie1 p4 #ajj3 ,siste1 viator1--et jacentes etiam artes colito4--,hic--,godofredus ,torinus ,bituricus1--ubique litteris librisque clarissimus1--qui--,parisiis multos per annos philosophiam--docuit maximo concursu1--in regio ,burgundi collegio1--simulque artem exercuit typographicam1--novam tunc ac recentem brevi perpolitam--tamen reddidit4--,quisquis ad stadium animum applicas--et inde quris immortalitatem1--prcipuo cultori prius apprecare4--,amen4 ,footnote #ce3 ,fol4 #di recto4 ,footnote #cf3 ,according to the ,biographie ,universelle1 ,tory joined the fraternity of booksellers in #aeab2 but ,i have found no evidence of this1 and it seems to me most improbable4 ,footnote #cg3 ,it was this sentence1 no doubt1 which gave birth to the idea that ,tory was a bookseller at the same time that he was a professor2 but it is evident that it refers to ,tory's labours as an engraver1 and not to bookselling or printing properly so called1 as ,tory did not become1 successively1 bookseller and printer1 until later4 ,footnote #ch3 ,champ fleury1 fol4 #bj verso4 ,footnote #ci3 ,ibid4 ,tory spells it ',aurenges4' ,footnote #dj3 ,ibid4 fol4 #ai verso4 ,footnote #da3 ,ibid4 and elsewhere4 ,footnote #db3 ',one may see many another example in the book of ,epitaphs of ,ancient ,rome1 which ,i saw printed at the time ,i sojourned in said ,rome4' ,champ fleury1 fol4 #da recto4 ,he refers to the same book again on folios #dh recto and #fj verso3 ',in the book of ,epitaphs of ,ancient ,rome1 lately printed in said ,rome1 where ,i was then living4' ,footnote #dc3 ,this book is the oldest printed collection of inscriptions4 ,unfortunately1 instead of being copied from the original monuments1 which still existed at ,rome in such great numbers1 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 old4 ,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 printer4 ,he tried to correct them in a supplement which appeared in #aebc1 but his corrections did not extend to all the inscriptions1 which might still have been restored by reference to the ancient monuments4 ,a contemporary scholar1 whose name is not known1 undertook to continue these corrections on his printed copy1 and his emendations were transferred to three other copies4 ,these annotations impart great value to these four volumes in the eyes of epigraphists4 ,footnote #dd3 ,during the first centuries of printing in ,france1 all engravers were also booksellers4 ,footnote #de3 ,he has an article in the ,biographie ,universelle1 however4 ,footnote #df3 ,champ fleury1 fol4 #d recto4 ,footnote #dg3 ,we say ,basoche to-day4 ,footnote #dh3 ,champ fleury1 fol4 #ab recto and verso4 ,footnote #di3 ,for the ,latin text1 see ,appendix ,x1 b4 ,footnote #ej3 ,ibid41 c4 ,footnote #ea3 ,see ,appendix ,x1 d4 ,footnote #eb3 ,see ,part #b1 ,i1 no4 #i4 ,footnote #ec3 ,twelfth-day1 or ,epiphany4 ,footnote #ed3 ,cicero says that he borrowed this maxim from ,plato3 ,ut prclare scriptum est ,platone4 ,footnote #ee3 ,champ fleury1 fol4 #a recto4 ,footnote #ef3 ,ibid41 verso of title-page4 ,footnote #eg3 ,as ,champ fleury is not among the works cited by ,french lexicographers to illustrate the historical development of the language1 we search in vain for adequate explanation of some of the terms used by ,tory therein4 ,littr defines as follows such of these varieties of letters as he includes in his dictionary3 ,,cadeaux3 ,grandes lettres places en ttes des actes ou des chapitres dans les manuscrits en criture cursive4--,,forme3 ,lettre de la belle criture1 des belles ditions1 par opposition la lettre cursive4--,b,,tarde3 criture ordinairement penche1 jambages pleins1 liaisons arrondies par le haut1 et tetes sans boucles4--,,goffes3 ,nom donn une sorte de majuscules gothiques dans le commencement du ,,xvi sicle4 ,see1 also1 for some of these alphabets1 ,pantographia2 ,containing ,accurate ,copies of all the known ,alphabets in the world4 ,by ,edmund ,fry4 ,london1 #agii4 ,footnote #eh3 ,see his introduction to ,palsgrave's ,lesclaircissement de la langue franoise4 ,see also ,appendix ,,ii4 ,footnote #ei3 ,escumeurs de latin4 ,rabelais's word is escorcher1 to flay4 ,footnote #fj3 ,one of the annotators of ,rabelais 7,i do not now remember which one1 but his name is of little consequence#fb7 maintains that ,tory intended to criticize in that epistle the author of ,pantagruel1 who had introduced him in his romance under the name of ,raminagrobis4 ,there is but one little flaw in this story1 namely1 that the dates are against it3 ,champ fleury antedates ,pantagruel1 by several years4 ,this fact1 to be sure1 does not prove that ,rabelais did not make ,tory a character in his work2 but what foundation is there1 ,i ask1 for attributing the character of ,raminagrobis to ,tory8 ,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 them4 ,what possible connection is there between ,raminagrobis1 canon and poet1 whom ,rabelais represents as dying about #aedf1 and ,tory1 layman and prose writer1 who died twelve years earlier8 ,does it not remind one of the famous key to ,astre1 of which ,i had occasion to prove1 in my monograph upon the d',urfs1 that not a word was true8 ,almost the same course has been pursued with reference to the ,satire ,menippe1 which has in our own day been ascribed to persons who would be greatly surprised1 and far from proud of their alleged work4 ,see what ,i had to say on this subject in the ,revue de la ,province et de ,paris of ,september #cj1 #ahdb4 ,footnote #fa3 ,champ fleury1 ',aux ,lecteurs4' ,footnote #fb3 ,it was ,pasquier1 ,i think1 who first gave currency to this fable2 and his opinion is the less admissible because he did not even know ,tory's name1 but calls him ',georges ,tor4' ,see ,baillet1 ,jugements des ,savants1 vol4 i1 and ,gnin's introduction to ,palsgrave1 p4 #aj1 note #d4 ,footnote #fc3 ,champ fleury1 ',aux ,lecteurs4' ,footnote #fd3 ,folio1 ,venice1 #aeji2 with #fb plates engraved on wood4 ,footnote #fe3 ,in his book entitled ,thesauro de' scrittori 7,champ fleury1 fol4 #ce recto74 ,i have not seen this book1 but ,i have seen his ,theorica et pratica 444 de modo scribendi fabricandique omnes litterarum species 7,venice1 ,dec4 #a1 #aebd2 quarto74 ,this work is divided into four books and contains engravings not unlike those in ,champ fleury4 ,m4 ,brunet mentions ,fante's ,liber elementorum litterarum 7,venice1 #aead2 quarto71 which probably was the foundation of the ,thesauro de' scrittori1 published by ,ugo da ,carpi4 ,footnote #ff3 ,i do not know the title of his work1 but ,i think that the reference is to the book thus described in the ,libri catalogue of #ahei3 ,la ,operina da imparare discrivere littera cancellarescha4 ,roma1 per invenzione di ,lodovico ,vicentino1 in quarto 7#aebc74 ,as for the variant spelling of the author's name1 which ,tory calls ,vincentino1 it is explainable2 for we find in the ,libri catalogue of #aheg3 ,ragola da imparare scrivere varii caratteri di lettere1 di ,l4 ,vincentino4 7,venetia1 ,zoppino1 #aecc1 in quarto47 ,i have also seen mentioned a work of the same sort entitled3 ,regula occulte scribendi seu componendi cipharam itaquenemo litteras interpretari possit communes omnibus1 inventa et composita a domino ,jacobo ,silvestro sive ,florentino4 7,rome1 #aebf1 quarto47 ,footnote #fg3 ,the doubt expressed by ,tory is due to the fact that he was unable to read the text of ,drer's work1 which was published in ,german in #aebe4 ,the ,latin translation was not published until #aecb1 and the ,french still later4 ,footnote #fh3 ,champ fleury1 fol4 #ac recto4 ,footnote #fi3 ,ibid4 fol4 #ad recto4 ,footnote #gj3 ,ibid4 fol4 #da verso4 ,footnote #ga3 ,des ,types1 etc41 #b;d part1 #afth century1 p4 #aff4 ,footnote #gb3 ,champ fleury1 fol4 #ad recto4 ,footnote #gc3 ,it was the fashion1 in that epoch of renascence1 to treat everything allegorically4 ,tory was not the only one who propounded a theory to explain the shapes of letters4 ,footnote #gd3 ,champ fleury1 fol4 #bd recto4 ,footnote #ge3 ,and if any wonder why this book is written in ,romance1 according to the language of the ,french1 when we are ,italians1 ,i will say that it is for two reasons3 one1 for that we are in ,france1 and the other1 for that the speaking of it is more delectable and more common to all people4 ,prologue to the ,trsor1 published by ,m4 ,pierre ,chabaille 7quarto2 ,imprimerie ,imprial1 #ahfc2 p4 #c74 ,the second reason probably explains why ,marco ,polo printed the narrative of his voyage in ,french4 ,footnote #gf3 ,that is to say1 philologists4 ,footnote #gg3 ,that is to say1 the lines between the different dialects are less clearly marked in the case of the men4 ,footnote #gh3 ,although myself a native of ,lyon1 ,i confess that ,i do not understand the meaning of these words1 of which ,tory1 by a regrettable exception1 gives no translation4 ,a friend of mine in that city1 ,m4 ,ant4 ,pricaud1 thinks that the meaning is3 ',chmez-vous8 ,chmez cette fte4' ,footnote #gi3 ,champ fleury1 fol4 #cc verso4 ,footnote #hj3 ,there are some provinces where the final ,s is still pronounced4 ,the ,english also have retained the custom1 which is a necessity with them because the article is invariable1 so that the plural cannot otherwise be distinguished from the singular4 ,footnote #ha3 ,champ fleury1 fol4 #eg recto4 ,footnote #hb3 ,ibid41 fol4 #eh verso4 ,again1 as in note #e on page #ah1 ,i will call attention to the fact that the ,english1 who are much more ,french in this respect than is generally supposed1 have retained the old pronunciation4 ,they sound the final ,t in words borrowed from us4 ,footnote #hc3 ,champ fleury1 fol4 #eb recto4 ,footnote #hd3 ,ibid4 fol4 #ef verso4 ,footnote #he3 ,ibid4 fol4 #cg verso4 ,footnote #hf3 ,i have seen this binding on an octavo copy of the diloquium of #aecj1 now in the ,bibliothque ,nationale and on the ,sommaire de ,chroniques de ,j4 ,b4 ,egnasio1 of #aebi1 owned by ,m4 ,didot4 ,the famous collection of ,m4 ,didot has since been dispersed4 ,footnote #hg3 ,book of ,hours of #aeef1 owned by ,m4 ,niel4 ,this volume was printed by the ,kervers1 who had bought ,tory's old plant4 ,footnote #hh3 ,i have seen it on the ,hours of #aeca1 and the ,diodorus of #aece1 which two volumes also are #ahfe owned by ,m4 ,didot4 ,footnote #hi3 ,see nos4 #a and #b1 on p4 #de1 infra4 ,footnote #ij3 ,fol4 #dc verso4 ,inadvertently1 no doubt1 this mark is reversed on the first page of ,champ fleury4 ,tory attached little importance to the error1 for the same engraving often appeared afterward4 ,it is not signed with the double cross1 like the one here reproduced4 ,footnote #ia3 ,here1 and in numberless other passages in his books1 ,tory alludes to ,italy1 of which he always retained a grateful memory4 ,footnote #ib3 ,champ fleury1 fol4 #dc recto4 ,footnote #ic3 ,see page #ab1 supra4 ,footnote #id3 ,the ,renaissance1 at this time1 was at its height4 ,footnote #ie3 ,read 4 ,footnote #if3 ,against which not even the gods contend4 ,footnote #ig3 ,see page #a1 supra4 ,footnote #ih3 ,this eminent artist1 who has no article in the ,biographie ,universelle1 and who is not even mentioned in the desiderata of the ,notice des tableaux du ,louvre de l'cole franaise1 published by ,m4 ,villot1 did not die until about #aebh1 if my reckoning is accurate4 ,we can establish the fact of his existence so late as #aebb by the documents published by ,m4 de ,laborde in his book on the ,renaissance4 ,i once owned an original letter of ,perreal1 which shows him in full vigour in #aeaa4 ,that letter1 which ,i presented to ,m4 ,alexandre ,sirand1 magistrate at ,bourg1 has been published by him in his ,courses ,archologiques1 vol4 iii1 p4 #e1 in connection with the church at ,brou1 in which ,perreal was deeply interested4 ,the letter ,i refer to is dated ,november #ae 7#aeaa7 and addressed to ,margaret of ,austria 7widow of the ,duke of ,savoy71 to whom ,perreal offers his services as superintendent of the work of building the church4 ,that princess accepted his offer1 as we see by her reply of ,february1 #aeaa 7#aeab new style73 ',since ,jehan ,le ,maire hath left us1 we choose to have no other overseer in our edifices at ,brou than yourself4' 7,see the work last cited47 ,footnote #ii3 ,la ,caille1 in his ,histoire de l',imprimerie1 p4 #ih1 gives the date erroneously as ,september #bh1 #aehd4 ,footnote #ajj3 ,see an extract from it in ,part #b1 #b1 no4 #a4 ,footnote #aja3 fait et fait faire4 ,footnote #ajb3 ,see ,part #b1 #b1 no4 #a4 ,footnote #ajc3 ,ibid4 no4 #b4 ,footnote #ajd3 ,ibid4 no4 #c4 ,footnote #aje3 ,ibid4 no4 #f4 ,footnote #ajf3 ,champ fleury1 fol4 #gc recto4 ,footnote #ajg3 ,several bibliographers1 misled doubtless by the date of the license1 mention an edition of ,champ fleury of #aebf2 but there is none4 ,not until #aedi was there an octavo edition1 printed for the bookseller ,vivant ,gautherot4 ,i shall speak of it hereafter4 ,footnote #ajh3 ,see the description of ,champ fleury1 ,part #b1 ,i1 no4 #aj4 ,footnote #aji3 ,for ,gourmont1 see the ,notice historique which follows my work entitled3 ,les ,estienne et les types grecs de ,franois ,i4 ,footnote #aaj3 ,gilles de ,gourmont had just published ,lucian's ,dialogues in ,greek 7quarto1 #aebh72 but ,tory's translation was made from a ,latin version4 ,although he knew ,greek1 he did not use it when he could avoid it4 ,as a general rule he translated from ,latin versions such ,greek authors as he dealt with4 ,footnote #aaa3 ,this was1 as we have seen1 the sign of the famous printer ,chrtien ,wechel2 it was on the right as one ascends rue ,saint-,jacques1 near the church of ,saint-,benot4 ,the ,pot ,cass was opposite4 ,footnote #aab3 ,see a description of it in ,part #b1 ,i1 no4 #aa4 ,footnote #aac3 ,raphael durbin1 ,michel lange1 ,leonard vince1 ,albert durer1 are ,tory's versions of these names4 ,footnote #aad3 ,the description of the volume in ,part #b 7p4 #hg infra71 places this promise in the dedicatory letter4 ,footnote #aae3 ,histoire de l',imprimerie1 p4 #ih4 ,footnote #aaf3 ,see ,part #b1 ,i1 no4 #ac4 ,footnote #aag3 ,champ fleury1 'avis au lecteur4'--,see also fol4 #a verso3 ',and so ,i will write in ,french according to my own humble style and mother tongue1 nor fail1 albeit ,i am of lowly and humble parents1 and poor in paltry goods1 to give pleasure to the devoted lovers of goodly letters4 ,herein it may be ,i shall seem a new man1 for that no one has heretofore been known to teach the fashioning and quality of letters by writing in the ,french language2 but1 desirous to cast some light on our language1 ,i am content to be the first little pointer to arouse some noble mind which shall put forth greater efforts1 as did the ,greeks and ,romans of old1 to establish and ordain the ,french language by fixed rules for pronouncing and speaking well4 ,god grant that some noble lord may be pleased to offer pledges and worthy gifts to those who shall be able to do this well4'--,franois ,i himself was the noble lord referred to4 ,footnote #aah3 ,see ,part #b1 ,,ii1 no4 #d4 ,footnote #aai3 ,as to this date1 see no4 v below1 p4 #ca1 and note #a4 ,footnote #abj3 ,see ,part #b1 ,i1 no4 #ad4 ,footnote #aba3 ,see ,appendix ,x1 e4 ,footnote #abb3 ,this volume contains also3 ,epistre du seigneur ,elisee ,calense1 natif ,damphrate1 quil envoya a ,rufin 444 translatee 4444 par maistre ,geofroy ,tory de ,bourges4 ,footnote #abc3 ,the year #aeca did not begin until ,easter ,sunday1 ,april #i4 ,footnote #abd3 ,see1 for other details concerning ,tory's ,xenophon1 ,part #b1 ,i1 no4 #ae4 ,footnote #abe3 ,ibid4 ,,ii1 no4 #e4 ,footnote #abf3 ,see ,part #b1 ,i1 no4 #af4 ,footnote #abg3 ,a libraire jur was a bookseller who had taken the oath to follow the rules prescribed by the ,university4 ,footnote #abh3 ,see ,part #b1 ,i1 no4 #ag4 ,footnote #abi3 ,the reform went even further than ,tory suggested1 for orthographic accents were invented1 which have no other purpose than to distinguish words of the same sound but of different meaning2 and therein it disregarded logic1 for it not only did not distinguish in this way all words of the same sound 7son1 for example1 which has three totally different meanings1 received no accent71 but it placed accents on words which had but one meaning1--dj1 for example2 of what use is the grave accent on the a8 ,moreover1 it placed accents in certain cases on words which in other cases have none4 ,thus it wrote 'votre ami et le ntre1' and 'notre ami et le vtre4' ,footnote #acj3 ,see supra1 p4 #h4 ,footnote #aca3 ,it is printed at the end of his book1 which has some similarity to ,tory's4 ,the full title is3 ,lesperon de discipline pour inciter les humains aux bonnes lettres1 etc4 ,on the title-page are the arms of ,savoy1 to indicate the nativity of the author1 who was born in ,la ,bresse1 which then belonged to the ,house of ,savoy4 ,footnote #acb3 ,see in ,appendix ,,ii1 the ,latin verses printed on the verso of the title of ,lesclaircissement de la langue franoise1 an ,english work reprinted in #aheb at ,m4 ,gnin's instance4 ,footnote #acc3 ,this error has been made by many writers4 ,the creation of king's printer was so far from being identical with the foundation of the ,imprimerie ,royale1 that there continued to be functionaries bearing that title even after the foundation of the ,imprimerie du ,louvre1 in #afdj1 as we shall see later 7,appendix ,,ix74 ,footnote #acd3 ,jean de la ,barre1 chevalier1 ,comte d'tampes1 counsellor and chamberlain in ordinary to the king1 first gentleman of his chamber1 and keeper of the provostry of ,paris1 granted the licenses to print at this time4 ,footnote #ace3 ,the license had no sooner expired than the work was reprinted1 as may be seen by a copy of an edition of #h leaves1 octavo1 in gothic type1 dated #aeca1 now in the ,bibliothque ,nationale4 ,footnote #acf3 ,see the description of these two opuscula in ,part #b1 ,,iii1 nos4 #a and #b4 ,footnote #acg3 ,a much stranger omission is that of de la ,barre's signature1 which had to be added by hand to every copy1 at the foot of the license4 ,footnote #ach3 ,the saint-augustin was a #ac-point type1 so called because it was used in #adfg to print ,st4 ,augustine's ,de ,civitate ,dei4 ,the philosophie was #aj-point4 ,footnote #aci3 ,see his little book entitled ,les ,trois ,ilots de la ,cit2 octavo1 #ahfj 7an extract from the ,revue ,archologique74 ,footnote #adj3 ,see ,part #b1 ,,iii1 no4 #c4 ,footnote #ada3 ,see ,appendix ,,vi4 ,footnote #adb3 ,the cu au soleil was a coin issued under ,louis ,,xi and ,charles ,,viii1 with a sun above the crown4 ,the livre tournois was worth #bj sous4 ,footnote #adc3 ,see ,appendix ,,viii4 ,footnote #add3 ,concerning the libraires jurs and non jurs1 see ,chevillier1 ,origine de l'imprimerie de ,paris1 part #d4 ,footnote #ade3 ,don du roi4 ,see ,appendix ,,iii4 ,footnote #adf3 ,see ,part #b1 ,,iii and ,,iv4 ,footnote #adg3 ,this most necessary reform spread very rapidly4 ,the year had not ended when another ,paris printer1 ,antoine ,augereau1 published a small treatise on the subject1 entitled3 ,briefve doctrine pour deuement escripre selon la propriet du langaige franoys4 ',brief instructions for writing the ,french language properly4' ,this curious work1 which is printed with the ,miroir de trs chrestienne princesse ,marguerite de ,france1 in an octavo volume1 #aecc1 informs us among other things that the final ,e which requires the acute accent was at that time called masculine1 and that the word feminine was applied to it when it did not take the accent4 ,these are1 as we see1 the terms used by ,tory4 ,hence doubtless the term fminine1 which is still applied to-day1 in ,french poetry1 to silent rhymes4 7,see ,appendix ,v47 ,footnote #adh3 ,archives de l',empire1 carton ,s1 no4 #ah4--,see also ,les ,trois ,ilots de la ,cit1 by ,m4 ,adolphe ,berty1 p4 #ae4 ,footnote #adi3 ,see ,part #b1 ,,iii1 no4 #f4 ,footnote #aej3 ,the existence of ,tory's bindery is proved by the numerous bindings with the ,pot ,cass1 not only of books from that artist's presses1 to which ,i have already referred1 but of books printed by others4 ,i will mention particularly a lovely book of ,hours1 octavo1 on vellum1 printed by ,herman ,hardoin about #aebg1 and preserved in the ,bibliothque ,nationale4 ,footnote #aea3 ,olivier ,mallard the printer was probably a relative of ,jean ,mallart the writer1 whose name appears about the same time in the accounts of ,franois ,i3 ',to ,jehan ,mallart1 writer1 for writing unes heures a book of ,hours on parchment1 presented to the king to be illuminated1 ,,xlv livres as a gift1 charged upon the deniers de l'espargne l'entour du roy4' 7,from a roll not dated1 but circa #aech1 published by ,m4 de ,laborde1 ,renaissance des ,arts1 vol4 i1 p4 #ibd47 ,these ,mallards were probably of ,norman origin1 for there were about the same time several booksellers of that name at ,rouen4 ,one of them1 indeed1 ,jean ,mallard1 had the ,pot ,cass for his sign in #aedb4 ,he was probably a brother of ,olivier1 who had authorized him to adopt that symbol4 7,see ,heures a l'usage de ,rouen1 octavo1 gothic type1 #aedb47 ,i am indebted for this information to the learned author of the ,manuel du ,bibliophile normand1 ,m4 ,ed4 ,frre4 ,footnote #aeb3 ,it was this publication1 no doubt1 that led ,papillon to say that ,tory died in #aecf4 7,trait de la gravure sur bois1 vol4 i1 p4 #eji47 ,footnote #aec3 ,bibliothque ,nationale4 ,footnote #aed3 ',caussarum in suprema ,parisiorum curia patronus4' ,this mouth-filling phrase presumably means avocat in the ,parliament of ,paris4 ,footnote #aee3 ,bibliothque ,nationale4 ,footnote #aef3 ,crapelet1 tudes pratiques1 etc41 p4 #dh4 ,footnote #aeg3 ,in ,appendix ,,vi will be found an ,english version of ,m4 ,crapelet's ,french translation4 ,i have given the original text in my work on the ,estiennes1 pp4 #aa ff4 ,footnote #aeh3 ,see ,part #c 7,iconography71 under #aeda and #aedb4 ,footnote #aei3 ,the rent of these premises1 which was only #af livres in #adbj1 and #bb in #adih1 was raised to #afj livres in #aeea1 to #bjj in #aefg1 and to #djj in #afje4 7,les ,trois ,ilots de la ,cit1 by ,adolphe ,berty1 p4 #ae74 ,it seems that the raising of rents in ,paris is not a modern invention4 ,footnote #afj3 ,histoire de l',imprimerie1 p4 #aaj4 ,footnote #afa3 ,his mother1 ,iolande ,bonhomme1 widow of ,thielman ,kerver1 first of the name1 also lived on rue ,saint-,jacques1 at the sign of the ,licorne 7,unicornis74 ,footnote #afb3 ,see p4 #dg infra1 no4 #aj4 ,footnote #afc3 ,bibliothque ,nationale4 ,footnote #afd3 ,in the preceding year1 an analogous book was published at ,rome1 under this title3 ,libro di ,m4 ,giovanbattista ,palatino1 cittadino ,romano1 nel quel s'insegna a scrivere ogni sorte lettera1 antica et moderna1 di qualunque natione1 con le sue regole et misure1 et essempi3 et con un breve et util discorso de le cifre1 etc4 ,quarto1 ,rome1 #aedh2 with #ae plates4 ,footnote #afe3 ,it might perhaps be interesting to publish this book to-day 7it is now very rare71 scrupulously following the first edition1 as has been done in the case of ,palsgrave's ,lesclaircissement de la langue franoise4 ,footnote #aff3 ,the floriated letters engraved by ,tory which appear in the course of the book1 and of which the entire alphabet is given on the verso of folio #gh of the first edition1 are replaced in the second by letters of an entirely different make4 ,footnote #afg3 ,histoire de l',imprimerie1 p4 #ii4 ,footnote #afh3 ,it will be seen that ,i apparently had most excellent grounds for saying in my first edition that ,tory lived until after #aeej4 ,could one imagine that a historian of ,berry1 a townsman of ,tory and friend of ,jean ,toubeau1 could blunder so stupidly concerning the date of our artist's death8 ,la ,caille even makes him live until the close of the sixteenth century4 ,footnote #afi3 ,for the ,latin original1 see ,appendix ,x1 f4 ,footnote #agj3 ,tory's signature referred to consists in the double1 or ,lorraine1 cross found on nos4 #e and #aj4 ,footnote #aga3 ,see ,part #b1 ,,ii1 no4 #b 7#b74 ,footnote #agb3 ,see p4 #ch1 note #d1 supra4 ,footnote #agc3 ,one of our most skilful binders1 ,m4 ,cap1 used this design in his bindings4 ,an example may be seen on a copy of the ,hours 7quarto7 of #aebg in the ,bibliothque ,nationale4 ,,part ,,ii4 ,,bibliography4 ,in the first part of this volume ,i have made cursory mention of some of the books published by ,tory1 and especially of those which may be said to offer some biographical information2 in this part ,i propose to describe in detail all the books to which he put his name in any capacity1 and of which we of to-day have knowledge4 ,to make my description clearer ,i shall divide these books into four sections1 the titles of which will explain themselves4 ,,omnis ,,tandem ,,marcescit ,,flos4 ,illustration3 ,,le ,,trivm ,,phe-,,dapollo ,,et ,,deses ,,mvses4 ,,section ,i4 ,,works ,,written ,,or ,,annotated ,,by ,,tory4 #a ,,pomponius ,,mela1 ,,de ,,totius ,,orbis ,,descriptione4 ,,author ,,luculentissimus1 ,,nunquam ,,antea ,,citra ,,montes ,,impressus4#agd 7,mark of ,jehan ,petit47#age ,quarto1 of #de numbered leaves1 plus #aa leaves of index2 in all1 #ef leaves1 or #ad sheets1 arranged in #i signatures of two sheets and one1 alternately4 ,signatures a1 c1 e1 g1 and i have two sheets #af pages each2 signatures b1 d1 f1 h1 one sheet #h pages each4 ,the whole book is printed in roman type1 except the first line of the title-page1 which is gothic1 and a few ,greek words here and there4 ,as we have seen1 this book was for sale by ,jean ,petit1 but it was printed by ,gilles de ,gourmont1 solely because of the ,greek words just mentioned4 ,so ,tory himself tells us in a note at the end of the text1 folio #de3 ',curavi siquidem accuratissimo impressori dare1 qui etiam primus apud ,parisios grcis caracteribus lotissimas addidit manus4'#agf ,on the verso of the first leaf is a letter of the publisher1 ,geofroy ,tory1 to his friend ,babou1 thus conceived3-- ,illustration3 ,,bacchvs ,,ceres ,,et ,,venvs ,,sont ,,icy ,,menez ,,ca ,,ptifz4 ,geofroy ,tory of ,bourges to ,philibert ,babou1 citizen of ,bourges1 very deserving treasurer and valet-de-chambre of the most serene king of the ,french1 humblest greeting4 ,on looking recently into ,pomponius ,mela1 most illustrious ,philibert1 ,mela who is the most trustworthy of the writers on geography1 ,i found him so corrupt and so badly mutilated that --,lo1 before my eyes1 in saddest plight1 ,the author seemed to stand and burst in tears4#agg ,virg4 n4 ii4 ,lo1 ,i say1 ,all black with dust and blood1--ah1 sad1 sad sight1-- ,by two-horse chariot dragged1 his swollen feet ,torn through with thongs 444 ,how from the bottom of his heart he groaned4 ,id4 ,ibid4 ,in such words as these did he seem to complain3 ,am ,i1 then1 who described so elegantly all those many lands1 those many peoples1 those islands1 rivers1 straits1 seas1 and whirlpools1 ,i who ventured so confidently upon the description of the whole world1 am ,i to remain thus maimed1 thus mutilated1 thus disfigured8 --,ah me1 how hacked am ,i1 ,how like that ,hector who erstwhile brought back 444 his squalid 444 locks ,all stiff with blood1 and many a wound he got ,about his country's walls4 ,id4 ,ibid4 ,unless some helping hand be stretched forth1 ,i shall soon surely die4 ,in time ,machaon healed the loathsome limbs of ,philoctetes1 ,and ,phillyreian ,chiron gave to blinded ,phnix sight2 ,the god of ,epidaurus1 at a father's fond entreaties1 ,by ,cretan herbs ,androgeos brought again to realms of light4#a ,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 palm4 ,yea1 he the piercd pails may fill1 and heavy burden lighten1 ,the slender ,danads endure1 with ceaseless toil opprest2 ,from the bleak cliff of ,caucasus unchain the fettered ,titan1 ,and scare away the bird of prey that tears his mangled breast4#agh ,i naturally said to myself on the spot3 ,if ,i were ,machaon1 or ,chyron1 or sculapius1 ,i should be glad to remedy this matter4 ,but what if ,i were to make such slight effort as ,i can8 ,might ,i not be able to be of service8 ,perhaps2 at least1 ,i should have tried1 and ,i should have had this object in view3 to make him somewhat more free from faults4 ,and if my powers of song should fail--to dare were surely fame3 ,enough that ,i have had the will2 no higher praise ,i claim4 ,proper4 ii1 ad ,musam 7ad ,augustum874 ,i have accordingly added a very few annotations2 provided with which1 under the protection of your name 7for you are a devoted admirer of letters and lettered men71 under1 as the saying is1 favourable auspices1 let ,pomponius ,mela now go forth in greater security than before4 ,farewell4 ,paris1 vj no4 ,decemb4 ,,mcccccvii4#agi ,at the end of the text1 on folio xlv1 we find the following3#ahj-- ,here1 then1 you have1 most illustrious ,philibert1 ,pomponius ,mela1 purged of the many errors in which he abounded4 ,i took the trouble to put him in the hands of a very careful printer1 one who was1 besides1 the first ,parisian to give to the ,greek characters a form of superior elegance4 ,i have been pleased to revise the text with special care and to add a very few annotations1 so that1 when it should come into your hands1 and later on into the hands of the public1 it might come in a more polished and finished form4 ,you1 now1 with ,mela in hand1 may1 like ,phiclus1 who1 as the story goes1 ran over the tops of the grain-fields without breaking the ears1 traverse and re-traverse1 not only in security1 but confidently and resolutely1 the whole world4 ,if you wish to lay hold of tigers1 swiftest of animals1 and to see from a safe vantage the catoblepas1 if you wish to meet dragons and wild beasts1 ,satyrs1 ,pans1 and ,silvani1 if you wish to see the ,indians1 'the ,britons1 separated by a world between1' the ,sauromatae1 the ,africans1 and all the peoples that lie between these1 and learn of their wonderful habits1 then take but this world1 ,i mean ,pomponius1 many times in hand1 and without doubt you will there be able to see and to know them all as in no other way4 ,farewell and forget not yours ever faithfully4 ,paris1 #bd ,december4 ,,civis4 ,to ,pomponius ,mela4 ,mela1 the many errors in which you abounded have been cast forth2 few are the faults that remain with you4 ,better far and more perfect in form do you stand forth now than formerly you did4 ,this is the accomplishment of my small hand4 ,to ,philibert ,babou4 ,that my life for many years has been due to you1 these two short verses1 ,philibert1 now testify4 ,whatever 'alpha' belonged to me in my tender years1 that your happy 'omega' wished to bear4 ,,civis4 ,at the end of the index1 on the verso of the penultimate sheet1 is a list of errata beginning thus3-- #aha ',since nothing is more difficult than to be wholly free from error1 it seems quite proper that ,i should1 with the kind consent of the reader1 consider a very few of the very few mistakes of this book3 thus1 for example1 where potuit is found in the epistle1 possit should be written4' ,this list also is signed 'civis4' ,beneath it is a short poem entitled3 ',carolus ,rousseus ad lectorem tetrastichon4' ,and on the recto of the last leaf3 ',in the year of the incarnation and of our salvation1 #aejg1 the tenth day of ,january1#ahb this work was printed by ,gilles de ,gourmont1 and was very carefully revised by ,tory of ,bourges1 at ,paris4' 7,mark of ,gilles de ,gourmont47 #b ,,cosmographia ,,pii ,,pap ,,in ,,asi ,,et ,,europ ,,eleganti ,,descriptione1 etc4 ,paris1 ,henri ,estienne #aeji4 ,quarto1 of #aeb leaves of text1 preceded by #ab unnumbered leaves and a folio cut representing the ancient world4 ,on the second preliminary leaf is ,tory's dedicatory epistle to ,germain de ,gannay1 thus conceived3 ,to the reverend ,father and ,lord in ,christ1 ,germain de ,gannay1 bishop-elect of ,cahors1 ,geofroy ,tory of ,bourges proffers most humble greeting4#ahc ,i here present1 most excellent prelate1 in more accurate and emended form than that in which he has hitherto been read1 ,pope ,pius1 an author who1 in his ,description of ,asia and ,europe1 is much to be admired both for the dignity and for the singular worth of his work4 ,in looking for some one to whom he1 in behalf of his book1 freshly issuing from the printing-office1 might straightway most devotedly offer his respects1 some one select1 devoted to letters1 and possessed of the highest virtue1 ,i could think of no one more to be desired1 more worthy than you4 ,that the ,supreme ,pontiff himself should go to visit you1 a most venerable bishop1 seemed to me a thing not without humour4 ,that he1 ,i say1 who was a meritorious writer of geography1 and1 as you will be able to see1 of history well deserving to be read1 should come and embrace you1 lover and cultivator of every form of polite literature1 ,i thought a thing very appropriate4 ,it was like setting the gem to the gold1 or the 'encaustum1' that is picture drawn with fire1 to the silver1 it was like conferring the palm upon the victor2 and that most certainly is nothing other than to join the good to the good1 the glorious to the glorious1 the deserving to the deserving4 ,but along with these reasons there is still another reason why to you of all persons this most illustrious work should very properly be dedicated3 it was at your instance and suggestion that ,i divided the work into chapters and gave to its parts a more convenient arrangement4 ,that you first1 and then that all other students and readers1 may1 as was your wish1 find and remember the parts of the earth1 which are many in number1 and the things in them that are interesting to know about1 more easily and conveniently1 ,i have divided the book thus3 the names of rivers1 towns1 places1 rulers1 and other important matters ,i have put in separate chapters and marked with marginal captions2 these names are also all to be found1 provided with numbers1 in the index4 ,this little work of mine1 therefore1 ,i dedicate to you1 my lord1 in deepest reverence and with sincere feeling4 ,it is certainly far from being what ,i should offer to so reverend a father1 but you1 whose goodness and integrity1 which are perfectly evident to me1 all praise in the highest terms1 will1 if it so please you1 take the book into your most pure hands and bestow upon it the favour which you are accustomed to bestow upon works of this kind4 ,farewell4 ,paris1 at the ,college of ,plessis1 #b ,oct41 ,a4,d4 #aeji4 ,next comes a 'table1' which fills eleven leaves1 on the verso of the last of which we find the following note to the reader3-- ,geofroy ,tory of ,bourges to the ,reader4#ahd ,you will find the words 'erure1 contendre1 misre1' and many others of the same sort1 written with an in the penult3 this was done in order that the perfect indicative1 which regularly has a long penult1 might show its quantity 7which you are to utter in reading71 as distinguished from that of the present and past imperfect infinitive1 which in the third conjugation always shortens its penult4 ,it is with pleasure that ,i have imitated and adopted the very elegant and finished form of writing which is used in the ',psalterium ,quincuplex1'#ahe recently published4 ,you will also1 though rarely1 find this used1 after the fashion of certain authors1 for in some words1 and similarly at times in the genitive and dative singular1 and in the nominative and vocative plural1 of the first declension4 ,i have furthermore written designedly 'mistum' with an s instead of an x1--for 'misceo' makes its perfect 'miscui1' whence by analogy 'mistum1'--'intellego1' 'toties1' 'quoties1' 'litus1' 'opidum1' 'litera1' 'tralatum1' 'aliquando1' and other similar forms1 which are to be written according to 1 that is to say1 correct spelling4 ,the word ',turca' also1 which many make in the second declension1 ,i have written in the first4 ,i follow herein with approval ,michael ,tarchaniota ,marulus of ,constantinople in his lines addressed to ,charles1 ,king of ,france4 ,these are his words3 ',invincible king1 scion of the race of ,charles the ,great1 whom the holy prophecies of so many men1 of so many gods1 demand as the vindicator of fallen justice and loyalty2 whom here the sad ,ausonian land1 there ,greece with streaming locks1 calls1 and whate'er of ,asia and wealthy ,syria the cruel ,turk profanes1' etc4 ,in writing the accusatives 'plureis1' 'parteis1' 'omneis1' 'monteis1' in 'eis1' ,i have believed that ,i was writing good grammar and good ,latin1 following therein ,priscian1 book #g1 the chapter on the accusative plural of the third declension4 ,this form is valuable for distinguishing the accusative from the nominative1 and has been used by a thousand authors1 of which great number it is sufficient at present to cite as witnesses ,sallust1 ,virgil1 and ,plautus4 ,sallust1 who used the first word also1 says in the ,catilinarian ,war3 ',omneis homines qui sese1' etc4 ,virgil in the first neid3 ',hic fessas non vincula naveis ,ulla tenent4444' ,plautus in the ,aulularia3 ',quid est8 quid ridetis novi omneis1 scio fures hic esse complureis4' ,i have been pleased to make this explanation1 good reader1 so that you not only might know what pure speech is1 but also1 both in reading and in speaking1 might have pleasantly at hand1 like finger-posts1 and might use1 pure words4 ,farewell4 ,,civis4 ,on folio #aeb1 after the errata1 we read3 ',impressa est hc ,asi et ,europ quam elegantissima historia per ,henricum ,stephanum1 impressorem diligentissimum1 ,parrhisiis1 e regione schol decretorum1 sumptibus eiusdem ,henrici et ,ioannis ,hongonti1#ahf ,,vi idus ,octobris anno ,domini ,m4 ,d4 ,,ix4#ahg #c ,,de ,,passione ,,dominica ,,carmen ,,elegiacum ,,guilielmi ,,divitis1 ,,civis ,,gandavensis1 ,,artificios ,,pietatis ,,plenissimum4--,item4 ,,nenia ,,lactantii ,,firmiani ,,verbis ,,salvatoris ,,nostri ,e ,,cruce4--,mark of ,josse ,bade 7',prelum ascensianum'74#ahh ,one octavo sheet1 printed by ,josse ,bade1 dated the #eth of the ,ides of ,march1 #aeji2 that is to say1 ,march #aa1 #aeaj1 new style4#ahi ,on the verso of the title-page is this letter from ,herverus de ,berna 7of ,saint-,amand-,montrond7 to the young people of ,bourges3-- ,herverus de ,berna of ,amand to the youth of ,bourges1 greeting4#aij ,you are acquainted with ,dives1 our teacher1 famed for his wisdom1 a foster-child of the ,muses1 who well deserves your gratitude4 ,he it is who introduced you to the ,muses1 ,helicon1 ,phbus' grove1 and ,mercury1 and from his school1 as from the ,trojan horse1 have issued men of education without number4 ,his heart is in the ,muses' glorious service1 and his memory1 it seems to me1 should be forever honoured and kept green4 ,he is reported1 as the saying is1 to have toiled not only by the lamp of ,aristophanes1 but by that of ,cleanthes as well4#aia ,you do not doubt that he is deserving of praise for the elegance of his song2 whence it happens that there is a religious poem of his written on the ,passion of ,our ,lord1--a poem of such brilliancy1 such sweetness1 such ornateness1 that one could believe it to be the work of the divine1 rather than of a human1 mind4 ,i do not doubt that1 as a result of this fact1 the same thing will fall to his lot that usually falls to the lot of literary men3 as ,claudian says1 ',his presence will diminish his fame4'#aib ,not1 however1 without ,theseus1#aic that is ,tory of ,bourges1 my fellow-student1 a man of the old1 and1 as ,plautus says1 of the ,massilian1 school1#aid one who combines sound learning with virtue1 have ,i wished ,dives to issue forth into the world2 again1 ,i hope1 with favourable auspices1 as the saying is4 ,farewell1 with best wishes4 ,from my house at ,amand1 #a ,march4 ,then follows the elegy by ,wilhelm de ,ricke1 which has #adj verses and occupies #d leaves2 on the verso of the last of the four is this dialogue in verse by ,tory3-- ,dialogue by ,geofroy ,tory of ,bourges in praise of his teacher1 ,wilhelm de ,ricke of ,ghent4#aie ,speakers3 ,,monitor and ,,liber4 ,m4 ,sacred book1 who in song mourn ,christ's ,passion1 now speak3 whose holy work can you be8 ,l4 ,whose work8 ,behold6 ,rich's work am ,i4 ,m4 ,well done6 ,that ,rich who to the people of ,bourges has given so many rich examples8 ,l4 ,you judge rightly4 ,m4 ,rich truly has a wise heart4 ,l4 ,no fitter name than this can be given him4 ,m4 ,he it is who taught the people of ,bourges to speak with flowery tongue and to make facile verses with the mouth4 ,l4 ,he not only taught them to speak and to weave song1 but he also gave them the power to see ,christ's wounded body4 ,m4 ,if one wished to see the arms of ,god fixed to the cross1 could even ,rich grant him that to the life8 ,l4 ,should you desire to carry the cross of ,god1 his cruel wounds1 the crown1 hold me in hand1 you will carry all4 ,m4 ,may ,rich's every prayer be ever happily granted1 such good he grants to pious hearts4 ,l4 ,may he live and continue on earth through ,nestorian years1 and after death gain the rich kingdom of ,heaven4 ,,civis4 ,the little book comes to an end with the poem by ,lactantius mentioned on the title-page4 ,it fills the third and second last leaves1 and the recto of the last1 at the foot of which we read3 ',finis4 ,ex dibus ,ascensianis ad v idus martias ,,mdix4' ,this date corresponds with ,march #aa1 #aeaj1 new style4 ,m4 ,jules de ,saint-,genois1 librarian of the ,university of ,ghent1 writes me as follows concerning his fellow-townsman1 the author of the verses on the ,passion3-- ',the name of the person in whom you are interested was not le ,riche1 but de ,rycke1 in ,flemish1 which in the ,latin rendering becomes ,dives4 ,this is what ,sanderus says of him in ,flandria ,illustrata1 #a1 #chf 7edition ,hag-,comitis1 #agce73 ,gulielmus ,dives1 vulgo de ,rycke1 ,gandavensis poeta3 ejus exstat ',carmen elegiacum de ,passione ,dominica1' artificios pietatis plenissimum1 quod inter illustrium poetarum opera impressit ,judocus ,badius ,ascensius ,parisiis4 ',valre ,andr1 too1 devotes a few lines to him in his ,bibliotheca ,belgica 7,lovanii1 #afbc1 p4 #cdd73 ,elegiam de ,passione ,dominica edidit ,antverpi cum ,dominici ,mancini1 ,phil4 ,beroaldi et aliorum similis argumenti libellis1 #aebg1 ,mich4 ,hellenii typis4 ',p4 ,hofmann ,peerlkamp says in his ,liber de vita1 doctrina et facultate ,nederlandorum qui carmina latina composuerunt 7#b;d edition1 ,harlem1 #ahch1 p4 #bi73 ,gulielmus ,dives ,gandensis floruit #aebj4 ,scripsit ',carmen elegiacum de ,passione ,dominica1' artificios pietatis plenissimum4444 ,hc spius prodiit1 addita etiam ,quatuor virtutibus ,dominici ,mancini1 ,antverpi1 a4 #aefb4 ,si vocabulum his illic excipias minus latinum1 ,carmen est melioris not quam multa ejusdem temporis de hoc argumento4 ',as for the edition which you mention1 said to have been printed in dibus ,ascensianis1 in #aeji1 the library does not own it2 but ,gulielmus ,dives' little poem is printed in ,dominici ,mancini ,poemata1 ,antverpi1 #aeei1 #abmo4' ,this is all that ,i have been able to learn concerning ,guillaume le ,riche or de ,rycke2 we do not know how this burgess of ,ghent became a professor at ,bourges4 ,and yet the fact itself is not extraordinary1 for1 not long after1 about #aecj1 another ,belgian1 named ,hanneton1 gave instruction in feudal law there4 ,tory published also at the end of his edition of ,valerius ,probus see number #e1 infra1 the following ,latin distich1--an enigma1--written by his master3-- ,dic age1 qu volucres gignunt animalia foete ,et prbent natis ubera plena suis8#aif ,as for ,herverus de ,berna1 ,tory's fellow-pupil1 ,i know even less of him4 ,all that ,i have been able to learn is that he published in #aedc a short poem in praise of the dukes of ,nevers1 lords of ,orval near ,saint-,amand1 where ,herverus was born1 and of which he was then cur1 if ,i read aright his bombastic ,latin4 ,this is the title of the book1 which was for sale at the shop of ,vivant ,gualtherot3 ',panegyricon illustrissimorum principum comitum ,druydarum et ,aurivallensium et ,nivernensium1 ,hervero a ,berna1 curione ,amandino ,allifero1 auctore4 ,parisiis1 #aedc4' 7,i fancy that the words 'curione ,amandino ,allifero' mean3 cur of ,saint-,amand-l',allier1 now ,saint-,amand-,montrond47 ,the work is dedicated to a friend of the author1 and perhaps of ,tory as well1 named ,nicolas ,rocheus 7,la ,roche871 described as ',apolline artis doctor eximius' in the dedicatory epistle1 which is dated3 ',tumultuarie1 ex dibus nostris ,amandinis1 kalendis ianuarii1 #aedb4' #d ,,berosus ,,babilonensis1 ,,de ,,his ,,qu ,,pr,,cesserunt ,,inundationem ,,terrarum2 ,,item ,,myrsilus1 ,,de ,,origine ,,turrenorum1 etc4 ,quarto1 ,paris1 #aeaj2 with the small mark of the ,marnefs 7the ,pelican71#aig with the letters ,e4 ,i4 ,g4 ,this work1 which was printed by ,j4 ,marchand1 at the expense of ,geofroy de ,marnef1 bookseller and publisher1 was prepared for the press by ,geofroy ,tory1 who placed at the beginning the following letter3-- ,to the most distinguished ,philibert ,babou1 ,geofroy ,tory of ,bourges1 heartiest greeting4#aih ,last year1 when ,i was attending to the printing of ,pope ,pius's ,cosmography1 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'2 but1 my mind at that time taking another turn1 ,i determined to postpone this work1 for the reason that ,i had a project of almost divine character on hand2 and indeed ,i should have postponed it for a long time1--as the saying is1 to the ,greek ,calends1--had not ,berosus himself1 so to speak1 and1 what is and always will be of no little importance to me1 a number of my friends1 daily whispering in my ear1 as it were1 their prayers1 demanded of me most earnestly that ,i should print1 along with ,berosus1 ,myrsilus ',de origine ,turrenorum1' ,cato's fragments1 ,archilochus1 ,metasthenes1 ,philo1 ,xenophon ',de quivocis1' ,sempronius1 ,fabius ,pictor1 and ,antoninus ,pius's fragments of the ',itinerarium4' ,there is a very avaricious class of human beings1 which1 if it has a book--a book that is hard to find--consisting of three or four short lines1 straightway1--like the ants of ,india1 or the griffins1 which are fabled to carry gold to a remote spot and there keep watch over it1 threatening with dire destruction any one who attempts to touch it1--carries it off and guards it1 and loading it with chains and fetters1 keeps it imprisoned like a miserable captive4 ,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 griffins1 which other people avoid1 rather than to continue their incivility1 or perhaps ,i should rather say immunity1 among human beings4 ,we are born not alone for ourselves3 we owe something also to our friends1 something to our country4 ,therefore1 that it may not seem to be my desire to extinguish the brilliant light of a burning lamp1 ,i the more willingly1 under your name1 ,philibert1 most illustrious citizen of ,bourges1 send forth ,berosus's ',antiquities1' together with the other authors mentioned above1 for the common study of all1 and ,i believe that ,i shall therein be doing an act that will gain the gratitude1 in some small measure1 of my country4 ,farewell4 ,paris1 at the ,college of ,plessis1 #b ,may1 #aeaj4 ,,civis4 ,tory's letter is dated ,may #b1 #aeaj2 but the printing of the book was not finished until the ninth of that month1 as we see by the subscription of the first edition2 for there were at least three distinct editions in ,tory's name1 to say nothing of a multitude of others issued by different publishers4 ,annius of ,viterbo1 otherwise known as ,jean ,nanni1 had recently brought into fashion the fables of ,berosus1 which he attempted to palm off as an ancient work2 and scholars were still at odds as to the authenticity of the book1 the sale of which their discussions aided to maintain4 ,tory seems to have taken sides with ,annius of ,viterbo1 as he himself prepared an edition of the supposititious ,berosus1 the preface of which we have just quoted4 ,we have said that there were three editions in his name4 ,they may be described thus3-- ,first ,edition ,quarto2 #bh leaves numbered in ,arabic figures1 and #d preliminary leaves4 ,folio #a recto1 title3 ',berosus ,babilonicus1 de his qu prcesserunt inundationem terrarum2 item ,myrsilus1 de origine ,turrenorum2 ,cato1 in fragmentis2 ,archilocus1 in epitheto de temporibus2 ,metasthenes1 de judicio temporum2 ,philo1 in breviario temporum2 ,xenophon1 de equivocis temporum2 ,sempronius1 de divisione ,itali2 ,q4 ,fab4 ,pictor1 de aureo seculo et origine urbis ,rom2 fragmentum itinerarii ,antonini ,pii2 altercatio ,adriani ,augusti et ,epictici4' ,then comes the mark of the ,marnefs1 with the letters ,e4 ,i4 ,g41 and the words ',le ,pelican' in a scroll at the left4 7,no4 #ae of ,m4 ,silvestre's ',marques ,typographiques4'7 ,on the verso of this leaf is ,tory's letter1 quoted above4 ,four unnumbered intercalated leaves follow1 containing the table of contents and a list of errata4 ,folio #b1 recto3 ',berosus1 de his qu prscesserunt inundationem terrarum4' ,the articles mentioned on the title-page follow1 up to folio #bh1 where we find these words3-- ',impressum est hoc opus ,parrhisiis1 in ,bellovisu1 per ,joannem ,marchant1 impensis ,godofredi de ,marnef1 anno ,domini #aeaj1 septimo idus maias4#aii--;,,civis4' ,second ,edition ,quarto2 #d unnumbered preliminary leaves1 and #cj leaves of text numbered in roman figures2 in all1 #cd printed leaves4 ,on the first of the unnumbered leaves is the title1 ',berosus ,babilonicus1' etc4 7as in the first edition71 but with the following additional words3 ',vertumniana ,propertii4 ,manethon4' ,same mark as in the first edition1 but smaller4#bjj ,on the second leaf1 ,tory's letter4 ,on the verso of this leaf the index begins1 and fills the two leaves following4 ,folio i4 ',berosus1' etc4 ,the text corresponds with that of the first edition#bja to folio xxvii1 where the additions begin4 ,fol4 xxvii1 recto4 ,end of the ',altercatio4' verso4 ',vertumniana ,propertii4' xxviii1 verso4 ',manethonis1 prima pars4' ,fol4 xxx 7not numbered71 several pieces of verse not mentioned on the title-page1 perhaps by ,tory1 but not signed3-- #a4 ',ad reverendissimum ac religiosissimum ,arturum ,calphurnium1 ,sancti ,georgii de ,nemore antistitem4' #b4 ',ad eruditissimum ,nicolaum ,corbinum1 ,vindocinensis plage judicem4' #c4 ',ad bonarum literarum vere amatorem amicum sibi fidelem ,philippum ,morinensem4' ,this edition1 which seems never to have been described by any bibliophile1 is in the ,bibliothque ,mazarine1 and at ,sainte-,genevive4 ,it was undoubtedly published in #aeaa1 but it bears no indication of its date4 ,third ,edition ,quarto2 #f preliminary leaves1 unnumbered1 and #ea leaves numbered in roman figures1 divided into ten signatures 7,a to ,k71 containing alternately one and a half and two leaves4 ,in all1 #eg printed leaves1 and one blank4 ,on the first unnumbered leaf is the title3 ',berosus1' etc4 7as in the first edition71 but with the following addition3 ',cornelii ,taciti de origine et situ ,germanorum opusculum4 ,c4 ,c4 de situ et moribus ,germanorum4--,anno ,domini #aeaa4' ,then follows a shocking imitation of the mark of the ,marnefs in the first edition4 ,the gothic initials ,e and ,g are changed to ,c and ,o1 and the ,i1 which in the other editions stands between the ,e and the ,g1 is omitted4 ,the words ',le ,pelican1' in a scroll at the left1 are reduced to the three letters ,l1 ,p1 and ,a1 the foreign artist having been either unable or unwilling to read what was printed on the copy put before him1 which1 it is true1 may have been imperfect4 ,the first decorated letter1 also1 has been copied1 in order to deceive the reader1 who1 if we may judge from appearances1 was assumed to be seeking the edition prepared by ,tory4 ,on the second leaf is the letter of the editor1 from which the word 'civis1' ,tory's device1 has been omitted1 the foreign printer apparently not knowing its meaning4 ,the four leaves following are taken up with the table of contents4 ,folio i of the text3 ',berosus1' etc4 ,the text which follows corresponds with that of the first edition down to folio xxxii 7erroneously numbered xxxiii71 which ends with the word 'finis4' ,on folio xxxiii recto1 the work of ,tacitus mentioned above ',germania' begins4 ,next1 on folio xliii verso1 a work in verse by ,conrad ,celts1 the title of which is given above1 and on folio xlviii1 another work1 in prose1 by the same author1 with this title3 ',ex libro ,c4 ,c4 de situ et moribus ,norimberge1 de ,hercini silv magnitudine1 et de eius in ,europa definitione et populis incolis4' ,there is nothing to indicate where the book was printed2 but everything leads me to believe that it is a ,german counterfeit4 ,my opinion is based upon1 first1 the stupid imitation of the printer's mark of the first edition2 second1 the omission of ,tory's device at the end of the letter2 third1 the additions1 all of which relate to ,germany2 fourth1 the fact that two of the three known copies of this edition were recently to be found in the same country4 ,one belonged to ,panzer1 who has described it in his ',annales ,typographiques'#bjb2 ,i do not know what has become of it2 a second copy was formerly in the library of ,m4 ,bunau1#bjc whence it passed to the ,dresden ,library2 the third is in ,paris1 in the ,bibliothque ,nationale1 which also possesses a copy of the first edition4 ,it was by comparing the two editions that ,i discovered the fraud committed by the printer of the edition of #aeaa with respect to the typographical mark4 ,the description of this mark given by ,panzer1 with that courteously sent me from ,dresden by the learned bibliographer ,herr ,graesse1 before ,i was aware of the existence of the copy of the third edition in the ,bibliothque ,nationale1 had utterly baffled such bibliographical knowledge as ,i possess4 ,i sought a meaning for the letters inscribed on the mark in the third edition2 of course ,i could not find any4 ,m4 ,brunet has since produced a facsimile of this mark1 in the fifth edition of his ',manuel4'#bjd #e ,,valerii ,,probi ,,grammatici ,,de ,,interpretandis ,,romanorum ,,literis ,,opusculum1 ,,cum ,,aliis ,,quibusdam ,,scitu ,,dignissimis1 ,f,,liciter ,,incipit4--,mark3 ,marnef's ,e4 ,i4 ,g4 7,silvestre1 no4 #igd47 ,octavo2 #f printed sheets 7signatures ,a to ,i74 ,paris1 ,e4 ,i4 ,g4 de ,marnef #aeaj4 ,this book was probably printed by ,gilles de ,gourmont1 for we find in it his unaccented ,greek type4 ,it contains two engravings on wood1--the mark on the title-page1 and a ,roman portico farther on4 ,there are also some small cuts engraved on metal in one of the pieces2 but none of them have any artistic merit1 and they cannot be attributed to ,tory4 ,on the verso of the title is the following letter1 addressed by ,tory to two of his old college friends1 who were at this time personages of note3 the first1 ,philibert ,babou1 was secretary and silversmith to the king2 the second1 ,jean ,lallemand1 was ,mayor of ,bourges4 ,geofroy ,tory of ,bourges to the most illustrious ,philibert ,babou and ,jean ,lallemand1 the younger1 citizens of ,bourges1 united in mutual friendship1 greeting4#bje ,i owe to you1 most estimable of men1 the fruit of whatever toil ,i may undertake--even purposely for your sakes--by night or day4 ,behold6 ,since you in no slight degree practise and admire the old school of morals1 the school1 that is1 of respectability and true worth1 ,i now1 under the protection of your names1 ever to be cherished by me1 commit to print ,probus ,valerius1 a most diligent collector and accurate interpreter of the old writings and abbreviations which appear1 elegantly drawn1 on the ancient coins1 tombs1 and tablets2 glad am ,i to be of even such small service to my country1 and hopeful that the slight revision to which ,i have subjected the work will prove to have been as happily1 as it has been carefully1 done4 ,permit1 ,i beg1 an author of exceeding merit to come first of all into your hands1 which are most fitted for every excellence1 and then to go forth brightly and cheerfully into the hands of all other students4 ,farewell4 ,paris1 at the ,college of ,plessis1 #aj ,may1 #aeaj4 ,,civis4 ,and at the end of the book is this other letter1 which gives us to know that the volume is a collection of fragments of ancient authors4 ,geofroy ,tory of ,bourges to the ,reader1 greeting4#bjf ,when ,i began1 ,i believe under favourable auspices1 to print ,valerius ,probus1 it occurred to me1 not wishing a book of one or two codices to be unsuitable as a manual1 to print1 along with ,probus1 several articles well worth making the acquaintance of4 ,i have added to ,probus1 ,priscian's treatise ',de ponderibus et mensuris'2 likewise ,columella's ',quemadmodum dat form agrorum metiri debeant'2 also ,georgius ,valla's ',figuras qu sub dimensionem cadant'2 and1 further1 some dialogues1 together with some enigmas1 carefully collected1 as occasion allowed1 from various authors4 ,the enigmas ,i have designedly left unexplained1 so that1 when you come to read them 7as ,gellius says in book xii1 ch4 #f71 you may sharpen your wits by trying to puzzle them out4#bjg ,give your attention to them1 ,i beg1 good reader1 so that ,i may not1 as ,plautus enigmatically observes in the ',miles1' throw dust in your eyes4 ,farewell4 ,in addition to the pieces which ,tory here mentions1 there are many others in this volume of miscellanies4#bjh ,it contains also several pieces of verse by ,tory himself4 ,here is one which will give an idea of his literary tastes3-- ,dialogue by ,geofroy ,tory1 in which the ,city of ,bourges is described in the rle of a speaking character4#bji ,speakers3 ,,monitor and ,,city4 ,,mon4 ,city1 what is your name8 ,,city4 ,bourges4 ,,mon4 ,now1 tell me1 what mean those proud buildings that ,i see8 ,,city4 ,temples1 houses1 towers1 divine palaces you see4 ,,mon4 ,ah6 they overtop the heavens with their piles4 ,what temple is that1 ,i pray8 ,,city4 ,the ,cathedral of ,st4 ,etienne1 first of martyrs2 it overtops even the lofty marbles of the goddess ,trivia4 ,,mon4 ,what is that single house which stands distinguished for its red hearts8 ,was it built by the hand of ,memnon8 ,,city4 ,this was built in an earlier time by the mortal ,jacques ,cur ,heart1#baj a man of wealth2 him envy took from us4 ,,mon4 ,say6 what tower is that that is seen standing higher than the lighthouse of ,pharos8 ,i am filled with wonder when ,i see it fully4 ,,city4 ,when the mighty ,ambigatus ruled the ,celtic peoples1 in an earlier time1 this great tower was built4 ,,mon4 ,say1 oh1 say1 that golden palace1 is it the ,capitol8 ,answer2 why do you not speak1 ,bourges8 ,you who just now talked with easy speech say nothing4 ,do you wish to become to me what ,harpocrates was of yore8 ,,city4 ,no1 but1 see you1 this palace is to be approved for its great art1 because the world has not yet produced another like it4 ,,mon4 ,what is this earth that yawns with such an opening8 ,,city4 ,it is the place where a tower was to be erected for me4 ,,mon4 ,have you not another as great as that8 ,,city4 ,i have4 ,from two towers ,i get my name ,bourges ,biturix4 ,,mon4 ,by what name is it called in this time of ours8 ,,city4 ,the people name and call it 'the fosse of sands4' ,,mon4 ,what river1 what river have you to mention8 ,,city4 ,the ,auron4 ,,mon4 ,is it the one ,csar mentions in describing the ,gallic ,wars8 ,,city4 ,it is4 ,,mon4 ,are there others8 ,,city4 ,there are two3 they are the ,voiselle and the ,yvre herself1 swarming with numberless fishes4 ,,mon4 ,what privileges have you8 ,,city4 ,the all-valuable privilege have ,i1 and the hall1 that coin money4 ,,mon4 ,is there nothing else8 ,,city4 ,aquitaine calls me capital and receives her laws from me4 ,,mon4 ,what divinities are with you8 ,,city4 ,there are ,juno1 ,jupiter1 and ,pan1 ,vesta1 ,diana1 ,ceres1 ,liber1 and the ,father himself4 #f ,,quintilianus4 ,such is the complete title of an edition of ,quintilian's ',institutes1' produced by ,tory1 in #aeaj1 at the request of ,jean ,rousselet1 of ,lyon4#baa ,this is a large octavo volume1 printed in italic 7without pagination71 composed of #df quarto sheets 7signatures ,a to ,z,zv73 there are several passages in ,greek type of excellent appearance1 but without accents4 ,undertaken at the request of ,jean ,rousselet1 and printed at his expense1 this book probably was not put on the market4 ,in fact it bears no bookseller's nor any printer's name4 ,we should not even know where it was printed1 were it not for the fact that the dedication1 dated the third of the ,calends of ,march1#bab states that the manuscript was sent by ,tory from ,paris to ,lyon4 ,at the end of the volume we find these words only3 ',impressum fuit hoc opus anno ,domini ,m4 ,,cccccx1 septimo calend4 ,julii4' ,this date corresponds to ,june #be1 #aeaj4 #g ,,leonis ,,baptist ,,alberti ,,florentini 444 ,,libri ,,de ,,re ,,dificatoria ,,decem4 7,mark of ,b4 ,rembolt47 ,venundantur ,parrhisiis1 in ,sole ,aureo vici ,sancti ,jacobi1 et in intersignio ,trium ,coronarum1 e regione ,divi ,benedicti4 ,quarto2 #ad preliminary leaves and #agd of text 7signatures ,a to ,y74 ,on the last page is the mark of ,louis ,hornken1 'aux ,trois ,couronnes4' ,on the second preliminary leaf is printed the following dedication3-- ,geofroy ,tory of ,bourges to ,philibert ,babou and ,jean ,lallemand1 the younger1 most illustrious men1 heartiest greeting4#bac ,everybody knows1 most estimable of men1 that our forefathers1 contented with their own goodness1 practised in the olden times a kind of architecture that had in it little art and little elegance4 ,satisfied with mediocrity1 they built and inhabited houses and dwellings of no great cost or splendour4 ,matters have finally reached the point that now1 men's intelligence having somewhat awakened1 new buildings are everywhere being erected which have considerable celebrity4 ,in fact1 beginning with the time when the magnanimous ,king ,charles ,,viii1 who was the terror of all ,italy1 returned1 victorious and crowned with glory1 from ,naples1 architecture1 certainly a beautiful art1 began1 not only in its ,doric and ,ionic forms1 but also in its ,italian form1 to be practised with great elegance throughout this country of ,france4 ,at ,amiens1 at ,gaillon1 at ,tours1 at ,blois1 at ,paris1 and in a hundred other well-known places1 one may now see striking buildings1 public and private1 in the ancient style of architecture4 ,one may now1 ,i say1 see many buildings of such beauty and so nicely carved that the ,french actually seem1 and are generally considered1 to surpass1 not only the ,italians1 but also the ,dorians and the ,ionians1 who were the teachers of the ,italians4 ,notwithstanding the brilliancy of these performances and these artists1 ,i have thought it best to offer gratefully1 and carefully to add1 a contribution of some worth4 ,leo ,baptista ,albertus1 a writer on architecture who is trustworthy and familiar with his subject1 was lying stored away in my house as if in his last sleep4 ,it seemed to me that he thoroughly deserved to be printed in ,france just at this time1 for the delight and benefit of other famous artists who are better than he4 ,it seemed to me1 ,i say1 that he thoroughly deserved to be printed1 and for this reason especially1 that the ten books1 of which the whole work consists1 have been divided into chapters4 ,these chapters were accurately and carefully arranged by ,robertus ,durus ,fortunatus1#bad a man of education and culture1 who was the ,head of his ,college of ,plessis at ,paris four years ago when ,i taught there1 and they were generously given to me by him to be copied4 ,i copied them1 and ,i furthermore polished up the whole work and cleared it of all the errors possible2 ,i wrote the gist of the text on the margin1 and gave the work to the printer to be printed4 ,permit1 ,i pray1 most distinguished citizens of ,bourges1 that this excellent work come auspiciously into the hands of all good artists and students1 and that it be handled and read under the protection of your names ever to be cherished by me4 ,farewell1 you who are the support and the most distinguished glory of your country4#bae ,paris1 near the ,college ,coqueret1 #ah ,august1 #aeab4 ,,civis4 ,at the end of the volume 7penultimate page7 we read3-- ',this most elegant and useful work on architecture of ,leo ,baptista ,albertus of ,florence1 a man of great distinction1 was printed with great accuracy at ,paris at the ,golden ,sun in the street of ,st4 ,jacques1 at the expense of ,master ,berthold ,rembolt and ,louis ,hornken1 who live in the same street1 at the sign of the ,three ,crowns1 near ,st4 ,benedict1 ,a4,d4 #aeab1 #bcrd day of ,august4' #h ,,itinerarivm ,,provinciarum ,,omnium ,,antonini ,,augusti1 ,,cum ,,fragmento ,,eiusdem1 ,,necnon ,,indice ,,haud ,,quaquam ,,aspernando4--,,cum ,,privilegio1 ,,ne ,,quis ,,temere ,,hoc ,,ab ,,hinc ,,duos ,,annos ,,imprimat4--,venale habetur ubi impressum est1 in domo ,henrici ,stephani1 e regione ,schol decretorum1 ,parrhisiis4 ,sixteenmo 7printed as #afs472 #abj leaves 7signatures ,a to ,t71 plus #h preliminary leaves4 #aeab4 ,printed in black and red4 ,the volume begins with this dedicatory epistle3-- ,geofroy ,tory of ,bourges to ,philibert ,babou1 most modest of men1 heartiest greeting4#baf ,the ',itinerarium1' most illustrious of men1 which for many years had lain in almost entire neglect1 ,i first received four years ago from a friend whom ,i must ever cherish1 ,christophe de ,longueil1 who is beyond question a scholar of the highest standing in all branches of polite learning4 ,he gave it to me that ,i might make a copy of it4 ,it had occurred to me to send to you from ,paris to ,tours a copy which1 though written in my own hand1 was not wholly without elegance of form4 ,i had given it to a man to bring to you whose name ,i purposely spare1 but he1 regardless alike of both of us and of his trust1 quite shamelessly made a present of it to some one else4 ,thus cheated of the fruit of my labour1 ,i was preparing to make for you another copy1 when ,longueil himself1 who had formerly brought the original from ,picardy1 and1 as ,i have said1 had given it to me1 having recently come to ,paris from ,poictiers1 urged me to have the work printed4 ,this ,i have done1 having arranged the names of the towns separately and in order1 and also added in the proper places some matter taken from another manuscript4 ,i have also made an index1 to facilitate the finding of the name of any town or place in the whole work4 ,some perhaps will wonder at the style of the work1 and also occasionally in places at the ,latinity4 ,the style1 however1 will receive sufficient approval from the student1 while the ,latinity1 in consideration of the early time in which the work was written1 will be condoned by the well-disposed reader4 ,i should have been disposed to make a number of emendations1 using for the purpose ,ptolemy1 ,strabo1 ,dionysius1 ,mela1 ,pliny1 ,solinus1 and some others who are not at all to be despised1 but out of regard for the venerable author and in the desire to keep the manuscript1 which is very old1 unchanged1 ,i determined to make no alterations4 ,i am waiting for my friend ,longueil to subject it some day to his scrutinizing study1 or for some ,hermolaus to apply his exacting file4 ,one thing there is here which ,i shall not hesitate to touch3 the author's name in the manuscript was1 in my judgement1 wrong1 for it is written ',antonius ,augustus4' ,hermolaus1 a man of culture withal1 calls it in a number of places in his ,corrections to ,pliny1 ',antoninus4' ,those who read will see for themselves4 ,in the text ,i have followed the manuscript itself2 in the title of the book ,i have followed ,hermolaus4 ,the fruit of my labour1 such as it is1 ,i dedicate1 as in duty bound1 to you personally1 in a spirit abounding in gratitude4 ,accept it1 ,i pray1 with the favour with which you are accustomed to accept all good things1 and allow the studious to pass1 under your guidance1 with this ,itinerary in hand1 through a thousand famous cities4 ,farewell1 most cultured patron of my studies4 ,paris1 near the ,college ,coqueret1 ,august #ai1 #aeab4 ,,civis4 ,then comes a letter from the publisher to the reader3-- ,tory to the ,reader1 greeting4#bag ,in order1 gentle reader1 that you may be able to use this ',itinerarium' to better advantage1 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 recent4 ,words which had a different reading in the recent manuscript have small red letters printed above in the proper places4 ,whenever the sign 77 occurs between words1 a word or number should be marked above or at the side by the same sign4 ,the sign 'mpm41' so written1 also frequently occurs in the text1 and signifies 'milia plus minus4' ,it was written thus so that the reader might not be wearied by the frequent repetition of the long form4 ,in the index you will sometimes find the letter b alone1 either following or between the page-numbers3 this signifies that the word in question is found at least twice on the same page4 ,pay attention1 therefore1 and kindly see to it that in case you notice any who are displeased with my work1 you may say to yourself with reference to them that ,persian saying3 'that they may see virtue1 and pine away leaving it behind4' ,i write this because at the time of printing there were some who1 understanding nothing of this sort1 condemned the matter according to their usual practice4 ,farewell and live long in happiness4 ,,civis4 ,next to this comes a summary of the life of ,antoninus1 and1 lastly1 some verses by the ,burgundian ,grard de ,vercel1 in laudation of ,tory and against poor printers4 ,here are the verses3-- ,hendecasyllabic ,poem of the ,burgundian ,grard de ,vercel1 on poor printers4#bah ,therefore hence1 away therefore1 profane hands of the inauspicious throng of printers2 your impure works be off2 that by your forbidden coming and impious front you may not stain and soil this heavenly thing4 ,let no man fail to know3 this volume is sacred4 ,ah6 vile and wretched printers1 unskilled to put in print even the trifles of the schools or old women's tales1 why do you spoil arts that are holy1 and pollute with impure hand the laborious works of the nine#bai sisters8 ,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 placed8 ,therefore hence1 away therefore1 oh ye profane1 ye vile and wretched printers4 ,be this word enough3 sacred is this volume1 which our ,geofroy1 our famous ,geofroy1 he1 ,i say1 of ,bourges1 taking pity on ,pius1 unearthed from its ,lethan rust and sleep1 employing the guidance and assistance of his friend ,longueil4#bbj ,the book is brought to a close by an 'avis au lecteur' thus conceived3 ,tory to the ,reader1 happiness4#bba ,these few corrections1 excellent reader1 ,i beg you not to wonder at4 ,i have collected them1 such as differ from the readings of the old manuscript1 so that you may be able readily to emend the book for yourself4 ,i should lay the burden of the errors on the printers1 but the art of printing has this natural peculiarity1 that the smallest book cannot be printed from beginning to end without some mistakes4 ,farewell4 ,epigram to the ,student by ,tory4 ,if1 reader1 you are preparing to journey in a fixed course to a hundred towns1 to a hundred cities1 if you desire to travel1 better instructed and on the direct road1 to a hundred seaports with their bays1 then ever gratefully and carefully hold this little book in your right hand ready to consult4#bbb #i ,,gotofredi ,,torini ,,biturici ,,in ,,filiam ,,charissimam1 ,,virguncularum ,,elegantissimam1 ,,epitaphia ,,et ,,dialogi4--,,in ,,eandem ,,etiam ,,quatour ,,et ,,viginti ,,disticha ,,unum ,,et ,,eundem ,,sensum ,,copia ,,verborum ,,et ,,ingenii ,f,,cunditate ,,pulchre ,,repetentia4 ,these verses of ,tory on the death of his daughter ,agnes form a small volume of two quarto sheets 7or eight leaves74 ,the book is dedicated to ,philibert ,babou2 it was printed ,february #ae1 #aebc1 old style 7#aebd71 a few days after ,tory had conceived the idea of his ',champ fleury' 7,january #f1 #aebd74 ,the printer1 who is not named1 was ,simon de ,colines1 then living near the ,school of ,law 7'e regione schol decretorum'74 ,on the last page appears a mark engraved specially for this little book1 for it includes a tiny winged figure ascending heavenward1 which doubtless represents the soul of ,tory's daughter returning to ,god4 ,this mark reappears at the end of the ,hours of #aebd-aebe1 but minus the small figure just mentioned4#bbc ,as we learn from the text1 ,agnes1 who died ,august #be1 #aebb1 at the age of nine years eleven months and thirty days1 was born ,august #bf1 #aeab4 ,so that ,tory was married at least as early as #aeaa4 ,we know from another document that his wife's name was ,perrette le ,hullin4 ,the only known copy of this little volume1 the text of which ,i reproduce in extenso1 belonged in #ahfe to ,m4 ,joachim ,gomez de la ,cortina1 ,marquis de ,morante1 who was so exceedingly kind as to send it from ,madrid to ,paris1 that ,i might examine it at my leisure4 ,m4 de la ,cortina has described it in the fifth volume of the catalogue of his library 7,madrid1 #ahei2 octavo74 ,my only previous knowledge of it was derived from that catalogue1 although it was bought of ,m4 ,techener not more than ten years ago1 for #hj reals 7#bj francs74 ,tory to his ,book4#bbd ,go1 book1 to the sacred sanctuaries of pious poets2 you are light1 polished1 radiant1 and neat4 ,splendidly arrayed you are1 and have nard1 and roses1 and saffron2 the ,latin goddesses1 gracious divinities1 together with ,phbus4 ,be not afraid lest you do not carry with you the favour of the gods2 they will lift you1 laurel-scented1 above the stars4 ,agnes ,tory1 sweetest and most modest of maidens1 addresses the wayfarer from her tomb4 ,thou who passest with light foot1 beloved wayfarer1 stay thy step a little2 lo1 ,i wish to say a few words to thee4 ,live in remembrance of death1 free from vices1 and1 if thou art wise1 cast aside that hope of life which thou cherishest4 ,thou art radiant with beauty to-day1 but1 when the thread is cut1 impious ,fate hurries thee straight on to nought4 ,i know this by experience1 for1 lately but a young girl of ten1 ,i was suddenly snatched away4 ,like a rose ,i bloomed1 sharer in those virtues which are usually seen in tender maidenhood4 ,but yet ,i died1 overwhelmed by the cruel fates1 and now ,i am food for the flesh-eating worms4 ,food for the flesh-eating worms ,i lie1 but not so wholly lifeless that ,i cannot speak the truth to thee4 ,i speak in the ,latin tongue1 and this is not strange1 fair friend1 for ,i am to be named the daughter of a pious poet4 ,desiring to instruct me in the ,ausonian tongue1 and also to render me accomplished in the polite arts1 he1 like a most affectionate father1 teaching me night and day1 himself laid the foundations1 sweet and ample1 for my life4 ,i should be accomplished in the learning of the famous ,muses1 and ,i should sing beautiful songs in pleasing measure2 and then my sire would have given me fond kisses1 placing the laurel-wreath upon my head4 ,o pitiful lot of human beings6 ,o hopes doomed to perish6 ,on earth there is nothing that can be lasting4 ,not only does death show herself face to face to wretched mortals1 but with silent step she steals upon them secretly and unbeknown4 ,ah6 beware1 therefore1 beware1 thou who art doomed to die1 the world will certainly in a moment's time fall and crash about thee4 ,thou1 while thou still livest1 while thou seekest great honours1 art with infirm and rapid step steadily approaching thy doom4 ,if thou departest satisfied with this one certain warning1 and if thou believest that ,i speak the truth1 bestrew me with flowers1 violets and lilies1 and nard4 ,pray for me too1 if it please thee1 and weep4 ,me thou wilt cause by thy prayers to mount to the lofty vault of ,heaven1 where is perpetual light1 peace1 and grateful rest4 ,this was the little that ,i wished thee to know4 ,live in remembrance of death1 thou who art destined soon to die4 ,farewell4 ,she died where she was born1 at ,paris1 #be ,august1 ,a4,d4 #aebb4 ,she lived nine years1 eleven months1 about thirty days2 the hours are known to none2 ,god alone knows the minutes4 ,,father and ,,daughter1 ,speakers4 ,f4 ,food for the worms you lie1 dearest daughter4 ,me you leave in perpetual tears and weeping4 ,d4 ,dear father1 spare your weeping and tears4 ,it is all over with me4 ,death carries away both young and old4 ,f4 ,nor can ,i refrain from terrible wailing4 ,alas6 ,i should have more rightly died before you4 ,d4 ,such was not the will of the heavenly fates4 ,at your death1 believe me1 you shall most certainly come to me4 ,f4 ,in the meantime1 with bended head1 ,i will bring with full hands violets and lilies to your tomb4 ,d4 ,add your prayers2 through prayers ,i shall fly to the high vault of ,heaven4 ,pious prayers enable us to ascend to the lofty stars4 ,f4 ,it is as you say2 and do you too1 my daughter1 pray for your father2 pray that he may rise with you to the glad ,heavens4 ,d4 ,to the glad ,heavens you shall rise1 free from bitter cares1 and with all the trouble of your mind removed4 ,f4 ,you speak the truth1 and so ,i will do4 ,the good ,god calls you to himself in ,heaven8 ,dear daughter1 farewell4 ,f4 ,alas6 my sweet soul1 you are dead4 ,d4 ,courage1 father1 no one is immortal4 ,twelve distichs to be inscribed on the twelve different sides of an urn4 ,on the first side4 ,you wish flowers6 violets6 you wish lilies6 garlands6 cyperus6 ,these this earthen urn will give you1 take them and be glad4 ,on the second4 ,in this urn the deceased maiden ,agnes lies2 in its centre breathes a delightful odour4 ,on the third4 ,here is ,merriment1 here ,love too1 ,sport1 and ,virtue2 and here the ,graces' selves1 beings divine1 with the ,muses1 sit and dwell4 ,on the fourth4 ,in this urn are marjoram and sweet-smelling cyperus2 here are violets1 lilies1 garlands1 roses4 ,on the fifth4 ,not alone does the maiden ,agnes here abide1 but1 with ,phbus1 the ,clarian goddesses themselves sit and dwell4 ,on the sixth4 ,gold-leaf joined with gems1 and green jewels1 are kept with everlasting flowers in this urn4 ,on the seventh4 ,do you wish and long to become acquainted with ,agnes' urn8 ,see1 where the laurel grows upward to the lofty sky4 ,on the eighth4 ,here lies in death ,agnes of memory dear2 she could already sing tripping measures with tender voice4 ,on the ninth4 ,here lies the maiden poet ten years of age1 an honour to freeborn song and maidenhood4 ,on the tenth4 ,if you wish to know where ,agnes' ashes really lie1 they are here2 hesitate not in your belief1 but be assured4 ,on the eleventh4 ,do you wish to hear ,phbus and the ,muses' selves singing in sweet strains8 ,approach this urn1 and you will straightway hear4 ,on the twelfth4 ,a rising poet1 deceased in tender years1 lies here with laurel-crowned maidenhood4 ,,monitor and ,,agnes1 ,speakers4 ,,mon4 ,answer me a few questions1 ,i pray1 maiden poet4 ,a4 ,i will1 provided you ask but few4 ,,mon4 ,i will ask but few4 ,a4 ,ask4 ,,mon4 ,what is your mind in death8 ,a4 ,of gold4 ,,mon4 ,what is your body8 ,a4 ,of dust4 ,,mon4 ,what is your spirit8 ,a4 ,of air4 ,,mon4 ,enough2 calm repose and peace be for ever yours4 ,a4 ,and yours in life a full measure of sweet health4 ,distichs hanging on written tablets from a laurel-tree near the tomb and urn of ,agnes4 ,on the first tablet4 ,here lies a poet1 image of distinguished virtue1 noble and illustrious type of nature4 ,on the second4 ,here1 with drooping quiver1 lie the broken arms which freeborn ,love once used to carry4 ,on the third4 ,pearl1 crystal1 magnet1 and the green emerald gleam with the virgin poet that lieth here4 ,on the fourth4 ,here will be perpetual spring with various flowers as long as flashing ,phbus drives his golden chariot4 ,on the fifth4 ,here rest ,comeliness and ,sport1 and ,laughter1 and ,merriment2 here is ,love1 unarmed1 with the laurel-crowned maid4 ,on the sixth4 ,inside this urn is a treasure2 touch it not1 countless gems are within it4 ,on the seventh4 ,as long as ,phbus shall fill the regions of the heavens with his rays1 here will be violets and flowers1 here will be the anise4 ,on the eighth4 ,here abide ,love1 and ,sport1 and ,laughter1 and ,merriment1 and ,wit2 here abide the ,muses and the ,graces2 here abides ,apollo4 ,on the ninth4 ,here dwells1 with the honey-dropping ,muses1 a maiden destined to receive glory and perpetual song4 ,on the tenth4 ,here the earth is green1 producing spontaneously marjoram-garlands1 and here it is damp and fertile with vernal dews4 ,on the eleventh4 ,here violets1 here flowers1 here lilies1 garlands1 crowns grow spontaneously1 and spontaneously thrive4 ,on the twelfth4 ,here ,genius with cruel hand breaks in twain his standards1 seeing that the type of nature has perished4 ,,monitor and ,,maidenhood1 ,speakers4 ,,mon4 ,ho there6 maiden1 beauteous with your rosy face1 what do you here1 weeping in deep distress8 ,,ma4 ,i am moaning4 ,,mon4 ,what is the reason for your moaning8 ,,ma4 ,the maiden ,agnes1 whose ashes this earthen urn beside me holds4 ,,mon4 ,whence comes this sweet odour to my nostrils8 ,,ma4 ,from the urn1 an odour placed there by the ,graces1 beings divine4 ,,mon4 ,what did they place there8 ,,ma4 ,roses and cinnamon1 balsam and nard1 flowers and violets1 lilies1 garlands1 and saffron4 ,,mon4 ,is there marjoram also in the urn1 the cyperus with oil of myrrh8 ,,ma4 ,there is in it every fragrant herb and pleasant odour4 ,,mon4 ,does the urn1 beautifully decked1 wear a green crown8 ,,ma4 ,as is fitting and right1 it wears a laurel-wreath4 ,,mon4 ,what is the reason8 ,,ma4 ,it contains the rejoicing ,muses1 who celebrate with song the rites of the tender maiden4 ,,mon4 ,do they sing alone8 ,,ma4 ,alone8 ,no4 ,phbus ,apollo in the centre tunes his lyre and performs the mystic rites4 ,,mon4 ,what1 then1 do you mean1 sweetest maid1 by this great moaning1 and why do the divinities beside you sweetly sing8 ,,ma4 ,i will tell you the truth4 ,i cannot but willingly weep2 so nobly gifted was she in intellect4 ,but ten years of age1 having followed her father's precepts1 she was even then a poet who could sing in tripping measure4 ,,mon4 ,a mighty miracle of nature you recount to me4 ,,ma4 ,nothing on this earth can be truer4 ,,mon4 ,who are these whom ,i see standing here8 ,,ma4 ,sport1 ,merriment1 then ,gesture1 ,honour1 ,virtue1 and festive ,love4 ,,mon4 ,and these shattered arms that lie in great numbers around the urn8 ,,ma4 ,the gods themselves carried them when they were whole4 ,,mon4 ,what will they do now that all these arms have been thus broken8 ,,ma4 ,they will lament and weep and groan for all time4 ,,mon4 ,shall you too weep8 ,,ma4 ,i shall weep in sorrow all my days4 ,,mon4 ,have you a name8 ,,ma4 ,i have4 ,,mon4 ,what is it8 ,,ma4 ,maidenhood4 ,,mon4 ,dear one1 farewell4 ,,ma4 ,farewell1 dearest ,monitor1 and forget not her who lieth here and was once a beautiful maiden4 ,,monitor and ,,agnes1 ,speakers4 ,,mon4 ,little poet1 lying here1 all-deserving of famous praise1 may ,i speak a few words with you8 ,a4 ,you may4 ,,mon4 ,who made for you this urn set with brilliant gems8 ,a4 ,who8 ,my father1 famed in this art4 ,,mon4 ,your father is certainly an excellent potter4 ,a4 ,he practises industriously every day the liberal arts4 ,,mon4 ,does he also write melodies and poems8 ,a4 ,he does4 ,he also blesses with sweet words this lot of mine4 ,,mon4 ,yes1 the skill of the man is wonderful4 ,a4 ,hardly has any land produced so famous a man4 ,,mon4 ,o maiden happy in such a father6 ,a4 ,i certainly am so4 ,he also exalts my name to the skies4 ,,mon4 ,i hear the symphony4 ,a4 ,the ,clarian ,muses1 together with ,phbus1 sing their melodies here with me night and day4 ,,mon4 ,near you ,i see the ,graces4 ,a4 ,they tender garlands to me4 ,,mon4 ,whence do they pluck violets8 ,a4 ,on the ,elysian ,hills4 ,,mon4 ,are there others with you8 ,a4 ,there are also three divinities4 ,,mon4 ,what are they8 ,a4 ,sport1 and ,love1 fair ,monitor1 and ,merriment4 ,,mon4 ,what do they8 ,a4 ,they lay in place for me holy holocausts1 and they fill the accustomed hearths with tinder and with fire4 ,,mon4 ,have you long been a goddess of the upper regions8 ,a4 ,i am becoming a goddess of the upper regions4 ,,mon4 ,if you are a goddess1 why do you not have your dear parents ascend to the heavenly realms8 ,a4 ,they will both ascend4 ,,mon4 ,but when8 ,a4 ,when their fates clearly see that it is necessary4 ,each man has his fixed day1 appointed for him by the fates4 ,,mon4 ,each man1 therefore1 has his fixed and immovable day8 ,a4 ,to every man comes death on a certain day4 ,,mon4 ,meanwhile what will your father and mother do here on earth8 ,a4 ,what8 ,they will perform their holy1 sacred duties1 and pray4 ,,mon4 ,afterwards what will happen8 ,a4 ,in blessedness they will ascend to the heavenly realms1 when the ,heavenly ,father above so wills4 ,,mon4 ,i will now go back to my duties4 ,a4 ,when you wish1 of course2 live in happiness1 and a kind farewell4 ,,mon4 ,and may you live with the gods above1 as a heavenly intelligence1 as a famous constellation1 as a benign goddess4 ,,genius and ,,wayfarer1 ,speakers4 ,g4 ,stay a little1 ,i beg1 and go no farther1 wayfarer1 before looking at this urn and tomb4 ,w4 ,who are you8 ,g4 ,i am ,tutelary ,genius4 ,w4 ,what would you have8 ,g4 ,i wish to converse a little with you here1 friend4 ,w4 ,i am willing4 ,g4 ,see how a maiden poet1 taken away by cruel fate1 is contained in this earthen urn4 ,w4 ,how old was she8 ,g4 ,twice five years4 ,w4 ,and did she1 well-skilled1 sing poetic measures8 ,g4 ,she did4 ,w4 ',tis a wonder that you tell me of4 ,g4 ,she wrote festive songs in sweet verse1 spontaneously playing1 spontaneously singing4 ,w4 ,o rare grace of nature6 ,o manifest glory of the gods6 ,that so tender a maiden should be a poet6 ,g4 ',twas a song1 whatever she by chance wished to utter2 whatever she desired to say1 'twas a song4 ,w4 ,whence came to her the source of such a power8 ,g4 ,from the realms above1 whence it is used to come4 ,w4 ,as one divine1 therefore1 she wrote charming verses8 ,g4 ,as one divine1 following her own and her father's precepts4 ,w4 ,does her father too compose melodies8 ,g4 ,he does1 he is a poet fair and proper4 ,he is proper and deft and neat1 bright and decent4 ,he is one whom the ,muse blesses with divine song4 ,w4 ,he is certainly well-deserving of some ,mcenas4 ,g4 ,few are the ,mcenases that live in the ,french world4 ,no one to-day either encourages the liberal arts by appropriate gifts or undertakes to encourage them in any way4 ,uprightness and fair virtue are in no esteem4 ,so powerful is the sway of unhappy ,avarice4 ,treachery1 deceit1 and vice are in the ascendant4 ,virtues are put in the background1 and every form of wretched evil creeps abroad4 ,w4 ,what1 therefore1 does he who is trained by the charming ,muses8 ,g4 ,he takes pleasure in being able to live in his own house4 ,w4 ,he ought to go with hurried step to the courts of kings4 ,g4 ,he does not care to1 because he has a free heart4 ,your potentates sometimes take pleasure in looking at songs1 but what then8 ,they requite them with nods4 ,golden songs1 drawn from the high heavens1 they should reward with jewels and with pure gold4 ,but1 frivolous as they are1 they foolishly give their grand gifts to fools1 spendthrifts1 and rogues4 ,w4 ,did he educate his own daughter in studies befitting her birth8 ,g4 ,he did1 and in the fine arts besides4 ,w4 ,and was she earnest to retain her father's precepts8 ,g4 ,she had no greater wish than to follow her father's words4 ,w4 ,oh1 what a great honour she would have been to her country and her father1 had she lived to undertake the duties of life4 ,g4 ,yes1 her glory would have excelled that of all other girls in ,french lands4 ,she was distinguished in appearance1 her face was beautiful in its modesty1 and she was all compact of golden words and ways4 ,she drew to herself the hearts of men1 young and old1 and made them follow her wishes with constant loyalty4 ,w4 ,this is a miracle you tell me of4 ,g4 ,i tell you the truth1 wayfarer4 ,she was a mirror of true-born nobility4 ,w4 ,oh1 overwhelming grief6 ,oh1 bitter grief and pain6 ,that such a one could die so suddenly6 ,what will her father do in the meantime8 ,g4 ,bowed down with grief1 he will suffer pain of heart and shed unceasing tears4 ,w4 ,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 dead4 ,g4 ,he joins the last rites to his prayers and never ceases4 ,he fills the customary hearths with tinder and fire4 ,w4 ,o maiden worthy of so deserving a father6 ,o father1 too1 blessed in such a daughter6 ,g4 ,she now shines benign in the glad clouds1 like a radiance newly-risen1 like a golden constellation4 ,w4 ,may she triumph1 shining in the ethereal realms1 and may the daughter graciously take her father with her4 ,g4 ,go about your affairs1 if you will depart1 wayfarer4 ,this is what ,i wished to say4 ,friend1 farewell4 ,w4 ,live in happiness1 guardian of the tomb and revealer of the urn4 ,i go about my affairs diligently and in haste4 ,printed at ,paris1 near the ,law ,school1 ,a4,d4 #aebc1 #aeth day of ,feb'y4 #aj ,,champ ,,flevry ,,au ,,quel ,,est ,,contenu ,,lart ,,science ,,de ,,la ,,deue ,,vraye ,,proporti ,,des ,,lettres ,,attiques1 ,,qu ,,dit ,,autrem,t ,,lettres ,,antiques1 ,,vulgairement ,,lettres ,,romaines ,,proportionnees ,,selon ,,le ,,corps ,,visage ,,humain4--,ce ,liure est ,priuilegie pour ,dix ,ans ,par ,le ,roy nostre ,sire1 est a vendre a ,paris sus ,petit ,pont a ,lenseigne du ,pot ,casse1 par maistre ,geofroy ,tory de ,bourges ,libraire1 ,autheur du dict ,liure4 ,et par ,giles ,gourmont aussi libraire demourant en la ,rue sainct ,iaques a ,lenseigne des ,trois ,coronnes4 ,here the ,pot ,cass1 no4 #d 7see p4 #de supra74 ,privilegie povr dix ans4 99 99 99 99 99 ,a small folio of #h preliminary leaves 7signature ,a71 comprising the title1 the privilge1 etc41 and ,,lxxx numbered leaves 7signatures ,b to ,o72 in all1 #ad signatures4 ,the first and last have #h leaves each1 the others #f4 ,i have already spoken of this book at considerable length in the first part1 and shall refer to it again in the third2 but in this place ,i must at least describe it from a bibliographical standpoint4 ,on the verso of the title-page which ,i have just quoted1 we read what follows3#bbe-- ,ce toutal ,oeuure est diuise en ,trois ,liures4 ,au ,premier ,liure est contenue ,lexhortation a mettre ordonner la ,lgue ,franoise par certaine ,reigle de parler elagment en bon plussain ,langage ,franois4 ,au ,segond est traicte de ,linuention des ,lettres ,attiques1 de la conference proportionnalle dicelles au ,corps ,visage naturel de ,lhomme parfaict4 ,auec plusieurs belles inuentions moralitez sus lesdittes ,lettres ,attiques4 ,au ,tiers dernier ,liure sont deseignees proportionnees toutes lesdittes ,lettres ,attiques selon leur ,ordre ,abecedaire en leur haulteur largeur chascune a part soy1 en y enseignant leur deue facon requise pronunciation ,latine et ,franoise1 tant a ,lantique maniere que a la ,moderne4 ,en deux ,caietz a la fin sont adiouxtees ,treze diuerses facs de ,lettres4 ,cest a scauoir4 ,lettres ,hebraiques4 ,greques4 ,latines4 ,lettres ,franoises4 icelles en ,quatre facons1 qui sont4 ,cadeaulx4 ,forme4 ,bastarde1 ,torneure4 ,puis ensuyuant sont les ,lettres ,persiennes4 ,arabiques4 ,africaines4 ,turques4 ,tartariennes4 qui sont toutes cinq en vne mesme ,figure ,dalphabet4 ,en apres sont les ,caldaiques4 ,les ,goffes1 qu dit autrement ,imperiales ,bullatiques4 ,les ,lettres ,phantastiques4 ,les ,vtopiques1 quon peut dire ,voluntaires4 ,et finablement ,les ,lettres ,floryes4 ,auec ,linstruction ,maniere de faire ,chifres de ,lettres pour ,bagues dor1 pour ,tapisseries1 ,vistres1 ,paintures autres chouses que bel bon semblera4 ,on the following leaf is the license1 an extract from which will be found on a subsequent page 7,part #b1 ,,ii1 no4 #b72 then a letter from ,tory ' tous vrayz et deuotz ,amateurs de bonnes lettres1' beginning thus3-- ',poets1 orators1 and others learned in letters and sciences1 when they have made and composed some work of their studious diligence and their hand1 are wont to make gift thereof to some great lord of court or church1 commending him by letters and by words of praise to the knowledge of other men2 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 gift1 some cure or some office1 in recompense of the toil and night-watches they have employed in the making and composing of their said works and gifts4 ,i could readily do the same with this little book2 but1 considering that1 if ,i should give it to one rather than to another1 there might arise envy and detraction1 ,i have thought that it would be well and wisely done of me to make of it a gift to ye all1 ,o ye devout lovers of goodly letters6 nor to prefer the great to the humble1 save in so far as he loves letters the more and is the more at home in virtue4' ,then comes a table1 filling eight pages1 and another letter of ,tory1 from which we make a few extracts4 ,to the readers of this book1 humble greeting4 ,it is commonly said1 and truly said1 that there is great natural virtue in plants1 in stones1 and in words4 ,to offer examples would be superfluous1 so certainly is it true4 ,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 that1 if they will not do homage to our ,french tongue1 they will at the least cease to corrupt it4 ,i find that there be three sorts of men who strive and exert themselves to corrupt and debase it3 they are the 'skimmers of ,latin1' the 'jesters1' and the 'jargoners4' ,when the skimmers of ,latin say3 ',despumon la verbocination latiale1 transfreton la ,sequane au dilucule crepuscule1 puis debulon par les ,quadrivies ,platees de ,lutece1 comme verisimiles amorabundes captiuon la beniuolence de lomnigene omniforme sexe feminin1'#bbf it seems to me that they make sport not of their fellows alone1 but of themselves4 ,when the jesters1 whom ,i may fairly call 'slashers dechiqueteurs of language1' say3 ',monsieur du ,page1 si vous ne me baillez vne lesche du iour1 ie me rue a ,dieu1 vous dis du cas1 vo aures nasarde sanguine1' they seem to me to do as great harm to our language as they do to their coats1 by slashing and destroying with contumely that which is of more worth whole than when maliciously torn and defaced4 ,and in like manner when jargoners#bbg make their remarks in their malicious and wicked jargon1 it seems to me not only that they prove themselves dedicate to the gibbet1 but that it would be well if they had never been born4 ,although ,master ,franois ,villon was in his day mightily ingenious therein1 yet would he have done better to have essayed to do some other more goodly thing4444 ,i consider moreover that there is another sort of men who corrupt our language even more3 they are the innovators and forgers of new words4 ,if such forgers are not villains1 ,i deem them little better4 ,think you that they show great refinement when they say after drinking that they have 'le ,cerueau tout encornimatibule emburelicoque dg tas de mirilifiques triquedondaines1 dung tas de gringuenauldes guylleroches qui les fatrouillt incessammt8' ,i would not quote such foolish words1 were it not that my scorn in thinking of them forces me to do it4 ',si natura negat1 facit indignatio versum4444' ,yours in everything1 ,geofroy ,tory de ,bourges4 ,after this letter comes the text of the book1 which occupies1 as ,i have said1 eighty numbered leaves4#bbh ,at the end we read3 ',here endeth this present book 444 the printing of which was finished ,wednesday the twenty-eighth day of the month of ,april1 in the year #aebi1 for ,maistre ,geofroy ,tory of ,bourges1 author of the said book1 and bookseller1 living in ,paris1 who has it for sale on the ,petit ,pont1 at the sign of the ,pot ,casse1 and for ,giles ,gourmont1 also a bookseller1 living in said ,paris1 who likewise has it for sale on ,rue ,sainct ,jaques1 at the sign of the ,trois ,couronnes4'#bbi 99 99 99 99 99 ,this work was reprinted in #aedi1 in octavo1#bcj with the same woodcuts1 but with some variations in other respects4 #aa ,,la ,,table ,,de ,,lancien ,,philosophe ,,cebes1 ,,natif ,,de ,,thebes1 ,,et ,,auditeur ,,daristote4 ,,en ,,laquelle ,,est ,,descripte ,,et ,,paincte ,,la ,,voye ,,de ,,lhomme ,,humain ,,tendant ,a ,,vertus ,,et ,,parfaicte ,,science4 ,,avec ,,trente ,,dialogues ,,moraulx ,,de ,,lucian1 ,,autheur ,,jadis ,,grec4 ,le tout pieca translate de grec en langue latine par plusieurs scavans et recommandables autheurs4 ,et nagueres translate de latin en vulgaire franois par maistre ,geofroy ,tory de ,bourges1 libraire1 demourant a ,paris1 rue ,sainct ,iaques1 devant lescu de ,basle1 a lenseigne du ,pot ,casse4 ,sont en ung volume ou en deux qui veult1 a vendre audict lieu par ledict translateur1 et par ,iean ,petit1 libraire jure en luniversite de ,paris1 demourant aussi en la rue ,sainct ,iaques1 a lenseigne de la ,fleur de ,lys4 ,twelvemo2 divided into signatures of #h leaves4 ,in the first volume1 #aj preliminary leaves and signatures ,a to ,t2 in the second volume1 signatures a to vij4 ,all the pages are embellished with narrow filleted borders1 on some of which the ,lorraine cross appears4 ,on the first page is ,tory's ,pot ,cass 7no4 #f71 or ,jean ,petit's mark1 according as the copies were issued by one or the other of those publishers1 who divided the edition4 ,on the second leaf is an extract from the license 7dated ,september #ah1 #aebibca71 in so far as it concerns this book1 'the printing of which was finished the fifth day of ,october1 in the year above named4' ,on the third leaf is the dedicatory epistle1 the essential part of which is as follows3-- ,geofroy ,tory of ,bourges doth say and give humble greetings to all studious and true lovers of excellent pastime in reading4 ,horace1 a poet of old surnamed ,flaccus1 hath told us in writing in his ',ars ,poetica' that philosophers and poets are wont1 under the outer bark of deceitful words1 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 invention4 ,wherefore1 seeing this to be true1 and reading all day the ,table of the ancient philosopher ,cebes1 likewise the ,dialogues of the very learned and graceful ,greek author ,lucian1 methought that it would be well done of me to translate them into our ,french tongue also1 and cause them to be printed1 to the end that each one of you1 upon reading the said ,table1 may readily recognize what pure virtue is1 and may find honest pleasure in the ingenious and moral ,dialogues of the said ,lucian4 ,i offer them with a most humble and devout heart to you1 ,o scholars and lovers of pure worth6 giving you to know that1 in so far as it hath been possible for me so to do1 ,i have followed the true text1 adding nothing of my own thereto1 neither using nor misusing any modification or stuffing whatsoever4 ,i have most gladly written them down for you in flowing language1 in your domestic mother tongue1 without attempting to mix therein refinements of phrase1 strange words1 or such language as ,carmentes1 mother of ,evander1 might be unable to understand or decipher4 ,i see some who1 if they should write but six words1 four will be either out of use1 or manufactured1 or stretched out longer than a spear4 ,like him who said in the laments and epitaphs of a king of the ,basoche3-- ',au point prefix que spondile et muscule1 ,sens vernacule1 cartilaige auricule1 ,d,isis acule1 ,diana crepuscule1 ,et lheure acculle pour son lustre assoupir4' ,and a thousand other like sayings which ,i leave to him4 ,i know not to whom such language gives pleasure2 but to me it seems scarce fair or fine4 ,it would seem1 and yet ,i misdoubt1 as if such a battery of behorned and overrefined words had come or been hurled down from the ,latin language to ours2 for there have been1 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 word1 like him who said1 and ingeniously none the less3 ',conturbabuntur ,constantinopolitani innumerabilibus sollicitudinibus4' ,and that other1 ,hermes by name1 who took such delight in writing long and refined words that he was hoist with his own petard when another ingenious man composed against him1 in manufactured words1 with an armful of syllables1 the distich which follows3-- ',gaudet honorificabilitudinitatibus ,hermes1 ,consuetudinibus1 sollicitudinibus4' ,i say this in passing1 that you may not expect to find unwonted words in this your little book4 ,i know that there was once a wise man and philosopher who said one day to his friend3 ',loquere verbis presentibus et utere moribus antiquis1' which is to say1 ',speak in ordinary language and live according to the manners of the good old days4' ,in this your said little book you will1 ,i think1 find charm1 for it is full of many goodly and ingenious conceits both of ,cebes and of ,lucian4 ,i have placed first herein1 as ,i have said1 the ,table of this man ,cebes1 to the end that you may see at the outset that 'poesis est pictura loquens'3 a poetical work is a speaking picture4 ,touching the ,dialogues of the learned ,lucian1 ,i have not included them all1 nor translated all2 but ,i have chosen thirty only of those which in my opinion are the finest and most moral1 which you may readily discover to be not only pleasant to read1 but most profitable in goodly moral teaching4 ,you will accept them then1 if it please you1 with kindly face and heart1 remembering that with ,god's help ,i will shortly make you some other new gift1 to the best of my ability4 ,and meanwhile ,i will pray to our ,lord ,jesus to have you in his keeping according to your wishes4 ,from ,paris2 in all things your devoted servant1 ,geofroy ,tory4 ,follows a long list of errata1 and a table of the ,dialogues1 followed by another letter1 'aux lecteurs des ,dialogues de ,lucian contenuz en ce present livre4' ,this letter contains nothing personal to ,tory1 and ,i will quote only the closing passage1 where1 speaking of the ,dialogues1 he says3-- ,i believe that1 if the ancient and noble painter ,zeuxis of ,heracleia1 if ,raphael of ,urbino1 ,michel ,angelo1 ,leonardo da ,vinci1 or ,albrecht ,drer should try to paint philosophers and their various aspects1 they could not paint them so well nor so to the life as our ,lucian paints them herein4 ,it will seem to you that you do verily see them and hear them speak1 and that ,menippus1 before your wondering eyes1 doth fly up to heaven to learn the truth concerning all the falsehoods of the said philosophers4 ,may ,god have you in his keeping according to your noble and goodly desire4 ,from the ,university of ,paris2 in all things your devoted servant1 ,geofroy ,tory4 ,at the end of the book1 after the ,dialogues1 ,tory introduced a number of moral apothegms and plays upon words1 probably of his own invention4 ,this volume is printed with the type and decorative letters of ',champ fleury4' #ab ,,summaire ,,de ,,chroniques1 ,,contenans ,,les ,,vies1 ,,gestes ,,et ,,cas ,,fortuitz ,,de ,,tous ,,les ,,empereurs ,,deurope1 ,,depuis ,,iules ,,cesar ,,iusques ,a ,,maximilien1 ,,dernier ,,decede4--,avec maintes belles histoires et mensions de plusieurs roys1 ducs1 contes1 princes1 capitaines et aultres1 tant chrestiens que non1 tant de hault que de has estat et condition4--,faict premierement en langue latine par venerable et discrete personne ,iehan ,baptiste ,egnace1 ,venicien4--,et translate de ladicte langue latine en langaige francoys par maistre ,geofroy ,tory de ,bourges4--,on les vend a ,paris1 a lenseigne du ,pot ,casse4--,avec privilege du ,roy nostre sire pour ,x ans4' ,octavo2 #af preliminary leaves 7signatures a and b71 #ii leaves of text1 numbered1 and #ac leaves of index and errata1 not numbered 7signatures ,a to ,o72 in all1 #abh leaves1 or #af octavo sheets4 ,all the pages are enclosed in threefold fillets1 with compartments running into one another1 such as were still used in printing-offices until quite recently4 ,i will remark in passing that the sheets of this book bear only two signature letters each1 one on the first page 7for the first form71 the other on the third page 7for the second form71 as is the general practice to-day1 instead of the four which were commonly inserted1 to no useful end4 ,on the verso of the first leaf1 the recto of which is occupied by the title1 is printed the king's license1 in these terms3-- ,francoys1 by the grace of ,god ,king of ,france1 to the ,provost of ,paris1 ,bailly of ,rouen1 ,seneschal of ,lion1 and to all other our justiciars and officials1 or to their lieutenants1 greeting4 ,our dear and well-beloved maistre ,geofroy ,tory of ,bourges1 bookseller1 dwelling in our city of ,paris1 hath caused it to be said and shown to us that he hath of late translated from the ,latin into vernacular ,french two books1 one having been formerly translated from the ,greek into the ,latin by several learned and commendable authors1 entitled3 ',la ,table du philosophe ancien ,cebes1 natif de ,thebes1 et auditeur ,daristote1' together with certain moral ,dialogues of ,lucian2 the other originally composed in the ,latin tongue by ,jehan ,baptiste ,egnace1 entitled3 ',summaire de ,chroniques1 contenant les gestes et faictz de tous les empereurs ,deurope1 depuis ,iules ,cesar jusques a ,maximilian'2 likewise another book1 entitled3 ',les ,reigles generales de ,lorthographe du langaige francoys'2 the which books he is desirous to print1 were it our pleasure to permit him so to do1 and at the same time to forbid all booksellers1 printers1 and all other persons whatsoever to print1 cause to be printed1 or expose for sale the said books--,wherefore is it that we1 having regard to the trouble and labour which the said ,tory hath had herein1 have given unto him license and permission to print1 cause to be printed1 and expose for sale at a fair and reasonable price1 by himself1 his servants1 agents and factors1 the said books above described1 during ten years following and subsequent to the printing thereof4 ,such is our will1 etc4 ,given at ,paris the xxviii day of ,september1 in the year of grace ,m4 ,d4 ,,xxix1 and of our reign the ,,xv4 ,heruoet4 ,next comes the following letter of ,tory1 by way of preface3-- ,geofroy ,tory of ,bourges1 to all studious and true lovers of goodly reading and profitable pastime1 doth humbly bid and offer greeting4 ,i promised you not long since1 in the preface to the ,table of ,cebes and the thirty new ,dialogues of ,lucian1 that ,i would ere long1 by my humble efforts1 make for you another new book1 which1 to my thinking1 might afford you pleasing and useful pastime1 by enticing you to read and see therein things wherewith your mind might well in due time and place be entertained and deliciously soothed4 ,at this present time 7my most honourable lords71 as your humble servant1 who is entirely devoted to you1 ,i present to you a ',summaire de ,chroniques1' the which ,i have translated for you1 as ,i translated the said ,cebes and ,dialogues1 from the ,latin into ,french1 to the best of my poor ability1 forewarning you that1 after the manner of ,jehan ,baptiste ,egnatius1 the present author1 ,i have neither modified nor changed the meaning of the story in favour of any man whatsoever4 ,nor is my translation made word for word1 because that would have been a too barren style and devoid of charm4 ,i know that1 according to ,horace 7'nec verbo verbum curabit reddere fidus interpres'71 a translator should not vex his wits about rendering each word that he translates into a word of his language2 but should retain the meaning and set it forth in the best style that shall be possible for him4 ,so ,i have done the best that ,i could1 as well for the love and respect that ,i owe you1 as not to depart from the pure truth of history1 which is of such nature that it will not brook to be in any way turned aside from its purity4 ,marcus ,tullius ,cicero doth well enjoin it upon us1 when he writes in the second book of his ',orator'3 ',nam quis nescit primam esse histori legem1 ne quid falsi dicere audeat1 deinde ne quid veri non audeat1 ne qua suspitio grati sit in scribendo1 ne qua simulatis8' ',but who is there he says who does not know that the first law of history is to dare to tell nothing that is untrue1 and to tell the truth without feigning1 to the end that there may be no suspicion of partiality or of envy in that which one writes8' ,of a surety history should be entirely true1 not only for the reasons already given1 but because1 as ,cicero says a little before the place already quoted3 ',historia est testis temporum1 lux veritatis1 vita memori1 magistra vitas1 et nuncia vetustatis4' ',history he says is the testimony of the times1 the torch of truth1 the nurse and life of the memory1 teacher and schoolmistress of our life1 and messenger of antiquity4' ,i have chosen to make you a present of a history1 and a history abridged to the limits of a summary1 rather than of something else1 for the reason that while engaging yourselves1 you may see therein1 as in a mirror1 a thousand excellent things1 wherefrom you shall be able to hear and recognize innumerable useful suggestions which shall do you good service on occasion in due time and place4 ,titus ,livius says1 in the preface to the first book of his first ,decade3 ',hoc illud est precipue in cognitione rerum salubre ac frugiferum1 omnis te exempli documenta in illustri posita monumento intueri1 unde tibi tuasque ,reipublic quod imitare cupias1 unde fdum inceptum1 fdum exitu quod vites4' ',it is he says peculiarly good and useful in the knowledge of things1 to see and learn in noble history the teachings of worthy example1 by the imitation and likeness whereof you may choose for yourselves and for your country that which you ought to imitate and follow1 and that which you ought to avoid as an abomination1 at the beginning as well as at the end4' ,take therefore in good part1 an it please you1 this little work1 and accept it with a gracious face and expression1 as of your kindliness you are wont to do2 even so you will invite me1 of your courteous and singular grace1 henceforward to do better1 with the aid of ,our ,lord ,iesus1 to whom ,i pray that he will give to you all his love and blessed grace1 at your noble and worthy desire4 ,at ,paris1 this ,x day of ,april1 ,m4 ,d4 ,,xxix4 ,on the last leaf of the book we find the ,pot ,cass1 with these words beneath3 ',the printing of this present book was finished at ,paris1 the ,,xiii day of ,april1 ,m4 ,d4 ,,xxix1#bcb for maistre ,geofroy ,tory de ,bourges1 who sells it in said ,paris1 at the sign of the ,pot ,casse4' ,the only copy that ,i have seen of this edition was then owned by ,m4 ,ambroise ,didot1 who courteously permitted me to examine it at my leisure4 ,it was in its original binding with the ,pot ,cass4 ,the book is printed in the ',champ fleury' type4 ,there are several other editions4 ,i am familiar with two of them1 published by ,charles ,l',angelier1 both in octavo1 in #aedc and #aedd4 ,m4 ,hippolyte ,boyer mentions one of #aeda1 in his ',histoire des ,imprimeurs et ,libraries de ,bourges' 7octavo1 ,bourges1 #ahed71 page #bg2 but ,i have not seen it3 whereas ,i have had the privilege of examining the other two4 ,each of them contains #aab leaves 7signatures ,a to ,o71 plus #d unnumbered ones4 ,the book is illustrated with engravings of two kinds1 in addition to the bookseller's mark on the title-page3 the first1 reproduced several times1 represents an emperor1 mounted1 holding a battle-axe2 it is not signed1 but is engraved with much delicacy1 and embellished with the little cartouches so much affected by ,tory4 ,the others represent busts of emperors roughly engraved1 which cannot be the work of that artist4 #ac ,,la ,,procession ,,de ,,soissons ,,devote ,,et ,,memorable ,,faicte ,a ,,la ,,louange ,,de ,,dieu1 ,,pour ,,la ,,delivrance ,,de ,,nosseigneurs ,,les ,,enfans ,,de ,,france4--,on les vend a ,paris1 a lenseigne du ,pot ,casse1 rue ,sainct ,iaques1 devant lescu#bcc de ,basle1 et en la halle de ,beausse1 a la mesme enseigne du ,pot ,casse1 devant leglise de la glorieuse ,madalaine1 avec privilege pour deux ans4 ,at the end of the book3 ',the printing of this present book was finished the ,,xxix day of ,august ,m4 ,d4 ,,xxx1 and it is for sale at ,paris by maistre ,geofroy ,tory de ,bourges4' ,small quarto of #bj leaves with borders1 signatures ,aij to ,cij4 ,this exceedingly rare little volume has a title-page with a border of arabesques engraved on wood1 with the ,lorraine cross4 ,beneath ,tory's mark are four ,latin verses1 probably of his composition1 as are the six which bring the narrative to a close and which are entitled3 ',torinus ,biturigicus ad ,galliam4' ,on the verso of the title is the preface1 dated ,august #be1 #aecj1 and beginning thus3 ',geofroy ,tory of ,bourges to the devoted lovers of good reading doth bid and offer humble greeting4' ,at the top of leaf ,aij we read3 ',the order of the grand procession ordained at ,soissons by the reverend father in ,god ,monseigneur ,iehan ,olivier1 ,abb de ,saint ,mard at said ,soissons1 ,councillor to the ,king our ,sire1 and ,chronicler of ,france1 on ,sunday the last day of ,july in the year of grace one thousand five hundred and thirty1 to give thanks to our ,lord for the deliverance of our lords the ,children of ,france4' 99 99 99 99 99 ,these particulars are taken from the fifth edition of ,brunet's ',manual de ,libraire4' ,i have not been able to find the volume1 despite my thorough search in the various libraries of ,paris4 #ad ,,diloquium ,,ceu ,,disticha ,,partibus ,,dium ,,urbanarum ,,et ,,rusticarum ,,suis ,,qu,,que ,,locis ,,adscribenda4 ,,item1 ,,epitaphia ,,septem ,,de ,,amorum ,,aliquot ,,passionibus ,,antiquo ,,more ,,et ,,sermone ,,veteri1 ,,vietoque ,,conficta4 ,,authore ,,gotofredo ,,torino1 ,,biturigico4--,parisiis1 apud ,simonem ,colinum4 #aecj4 ,cum privilegio ad biennium4#bcd ,octavo2 #c sheets1 printed in italic4 ,the title is set in an exceedingly graceful border1 borrowed from the ,hours in octavo of #aebg4 ,the verso of the title is blank1 and on the second leaf is the following preface3-- ,geofroy ,tory of ,bourges to the fair reader1 greeting4#bce ,there are certain eminent painters in this prolific age1 most gentle reader1 who1 by their drawings1 paintings1 and varied colouring1 depict the tribal gods and human beings1 as also other things of different sorts1 with such exactness that a voice and a soul seem the only things wanting to them2 but here1 most gentle reader1 ,i offer you1 nearly in the manner of these painters1 a house1 which not only is elegant and finished in its outlines and parts1 but speaks prettily and describes itself part by part in a eulogy4 ,i also offer you seven epitaphs1 composed and written in the ancient style and in very ancient language4 ,these epitaphs show1 in a way that we may call comprehensible1 the various affections to which unhappy mortals who are in love are subject4 ,i am1 ,i say1 pleased to offer you these1 not that you may speak or write in obsolete words such as you here find1 but that you may have before your eyes1 so bright and full of charm1 a sample of antiquity1 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 love4 ,farewell4 99 99 99 99 99 ,in addition to the border of the title-page1 the book contains seven exquisite little engravings1 corresponding to ,tory's seven 'love epitaphs1'--engravings which are certainly his1 in design at least1 although unsigned4 ,here is a list of them3-- #a4 ,two hearts pierced by an arrow4 #b4 ,two hearts in a circle4 #c4 ,two hearts bound together by cords4 #d4 ,two hearts in a boat4 #e4 ,a pig sniffing at two hearts4 #f4 ,two hearts1 a distaff1 etc4 #g4 ,two hearts being kicked by a horse4 ,as for the text of the book1 it has been variously judged4 ,catherinot was delighted with it2 but the author of the ',menagiana' reproves ,tory for manufacturing ,latin words after the style of the author of the ',songe du ,poliphile' 7see supra1 page #ee1 note #b74 ,we have seen that ,tory himself did not recommend such words to the reader4 ,the ,bibliothque ,nationale has a copy of this little book1 still in its original binding1 with the ,pot ,cass4 #ae ,,science ,,pour ,,senrichir ,,honnestement ,,et ,,facilement1 ,,intitulee3 ,,leconomic ,,xenophon1 ,,nagueres ,,translatee ,,de ,,grec ,,et ,,latin ,,en ,,langaige ,,francoys ,,par ,,maistre ,,geofroy ,,tory ,,de ,,bourges4 ,here the ,pot ,cass1 no4 #d ,on les vend a ,paris1 en la rue ,sainct ,iaques1 devant lescu de ,basle1 et devant lesglise de la ,magdalaine1 a lenseigne du ,pot ,casse4--,avec privilege4 ,octavo of #i sheets 7signatures a to i74 ,as in the ',sommaire de ,chroniques' of ,egnasius1 there are only two signature marks to the sheet 7one for the first form and one for the second71 and each page is enclosed in a three-line fillet4 ,the title-page alone is set in a border of arabesques of pleasing design4 ,on the verso of the title3 ',at the aforesaid sign of the ,pot ,casse there be also for sale ,thucydides and ,diodorus1 with several other excellent books translated from ,greek and ,latin into ,french4 ,likewise there be beautiful ,hours and ,offices of ,our ,lady1 large1 medium1 and small1 illustrated and vignetted in ancient and modern fashion4' ,on the second leaf is an explanation of the words ',economic' and ',xenophon'2 and on the third a dedication1 extracts from which follow4 ,geofroy ,tory of ,bourges to his most reverend father in ,god1 ,antoine du ,prat1 ,cardinal de ,sens1 legate in ordinary and ,chancellor of ,france1 doth say and proffer most humble greeting4 ,after the book treating of the meaning of the ancient letters1 called ',champ fleury1' the which ,i composed in the ,french tongue1 and the ',table of ,cebes1' with thirty moral dialogues1 likewise the ',sommaire de ,chroniques1' the which ,i translated into our said tongue1#bcf to confer a benefit on the studiously inclined1 most reverend father in ,god1 it hath seemed to me a worthy occupation1 if ,i should employ myself in translating also the ',economic ,xenophon'2 and beneath the shadow of your most honourable wing1 first presenting the same with humble devotion unto you1 ,i have published the same and placed it in the hands of all virtuous and worthy persons1 to pass the time studiously therewith and therein to find good counsel for directing their families worthily and increasing their wealth by honest means4 ,wherefore1 most reverend father in ,god1 under your venerable favour and blessing1 the studious and veritable lovers of goodly reading and fruitful occupation will kindly take this little book in their condescending hands1 and all will bear you good will1 not for the book alone1 but for that you are he to whom all owe honour and service1 as to whom all the public welfare and all ,christendom are deeply indebted4 ,i shall continue to be1 if it so please you1 in your good favour1 and ,i will pray to ,our ,lord that he will give you his love according to your noble and estimable desire4 ,from ,paris this ,wednesday1 the fifth day of ,july1 ,m4 ,d4 ,,xxxi4 ,following this document1 which fills three leaves1 comes an epistle from ,geofroy ,tory of ,bourges to 'studious and worthy readers1' by way of preface4 ,it fills two leaves4 ,the eighth leaf is entirely blank4 ,on the ninth1 the ',economic ,xenophon' begins1 and extends from b to i #d2 the fifth and sixth leaves of i contain an ',epistle from ,seigneur ,elisee ,calense1 native of ,amphrates1 which he sent to ,rufinius1 guardian of the ,emperor ,arcadius1 replying to him touching the matter of managing his family and of keeping in order his domestic goods and chattels1 translated from ,latin into ,french by maistre ,geofroy ,tory de ,bourges4' ,on the last leaf but one appears a 'duplicate of the license granted to maistre ,geofroy ,tory de ,bourges1 by the ,king our ,sire1 for this present book and others named in this said license1' in these words3-- ,francoys1 by the grace of ,god ,king of ,france1 to the ,provost of ,paris1 ,bailly of ,rouen1 ,seneschal of ,lyon1 and to all other our justiciars and officials or their deputies1 greeting4 ,our dear well-beloved maistre ,geofroy ,tory of ,bourges1 bookseller1 dwelling in our city of ,paris1 hath caused it to be made known to us that he hath of late made and composed in the ,latin tongue a certain book entitled2 'diloquium et ,erotica'#bcg2 likewise1 that he hath translated from ,greek and ,latin into ,french the ',economic ,xenophon'2 which books he would fain print1 or cause to be printed1 if it should be our pleasure to permit him so to do1 at the same time causing all tradesmen1 booksellers1 printers1 and other persons whomsoever1 to be forbidden to print or to expose for sale in any manner the said books2 and that1 if any should be brought hither by foreigners1 other than those of the said ,tory's printing1 they may not be sold within our realm during the period of the four years reckoned from the date of the printing of said books1 with an extension for a like period for certain other books1 illustrations1 and vignettes to be printed in the ',heures et ,office de ,nostre ,dame' mentioned in two licenses heretofore granted to him by our favour4#bch ,wherefore1 having regard and consideration for the time and toil which it hath cost the said ,tory to compile and translate the said books1 and for such expense as it shall be his pleasure to incur in printing the same1--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 thereof4 ,and so we command you1 that by virtue of this our present favour1 warrant and permission1 you do allow the said petitioner to use and enjoy the same1 and do forbid in our name all tradesmen1 printers1 booksellers1 to print or cause to be printed1 or to expose for sale in any manner the said books during four years1 on pain of twenty-five silver marcs to be paid to us1 and confiscation of the books as to which they shall have been guilty2 for such is our pleasure4 ,given at ,vannes1 the ,,xviii day of ,june in the year of grace one thousand five hundred thirty-one1 and of our reign the seventeenth4--,signed1 ,heruoet4 ,on the last page3 ',the printing of this present book was finished by maistre ,geofroy ,tory of ,bourges ,wednesday the fifth day of ,july in the year ,m4 ,d4 ,,xxxi4 ,and it is for sale at ,paris1 opposite the ,escu de ,basle1 ,rue ,sainct ,iaques1 and opposite the ,church of ,la ,magdeleine1 at the sign of the 7a leeseigne sic du7 ,pot ,casse4' ,the description we have given is that of the very complete copy owned by ,m4 ,ambroise ,didot4 ,m4 ,chedeau1 an attorney at ,saumur1 owned a copy the title-page of which is different4 ,it reads thus3-- ,,economic ,,de ,,xenophon1 ,,cest ,a ,,dire3 ,,domestiques ,,institutions ,,et ,,enseignemens ,,pour ,,bien ,,regir ,,sa ,,famille ,,et ,,augmenter ,,son ,,bien ,,particulier4 ,,iadis ,,compose ,,en ,,grec ,,par ,,lancien ,,autheur ,,xenophon1 ,,et ,,translate ,,de ,,grec ,,et ,,latin ,,en ,,langaige ,,fran,,ois ,,par ,,maistre ,,tory ,,de ,,bourges4 ,here the ,pot ,cass4 ,imprimees a ,paris1 a lenseigne du ,pot ,casse1 par ledict maistre ,geofroy ,tory1 marchant libraire et imprimeur du roy4--,avec privilege4 ,this title-page has the same border and the same form of the ,pot ,cass as the other copy2 but it has not on the verso the little list of other publications which we find on the latter1 and which we have reproduced above4 ,as the first signature 7,a7 of ,m4 ,chedeau's copy lacks four leaves1 we cannot say whether there are other differences in that signature2 but as to the other signatures1 ,b to ,i1 they are identical in the two copies4 ,thus we find in both the error to which we called attention above in the word 'enseigne' printed 'eeseigne'1 in the final note2 better still1 this error has been corrected by hand1 in the same way1 in both copies1 probably by ,tory himself4 ,which of the two is the earlier8 ,i should not venture to say2 however1 it seems to me that the additional matter on the verso of the title-page of ,m4 ,didot's copy tends to prove that it is the later of the two4 ,in any event1 the interval between the two impressions cannot have been a long one4 ,if ,i interpret rightly certain circumstances1 the first signature1 which had been kept in type 7as is proved by a number of typographical defects which appear in both copies71 was reprinted at the same time with the last signature4 ,tory's dedicatory epistle1 in ,m4 ,didot's copy1 is dated ,july #e1 the day when the printing of the book was finished according to the final note4 ,now1 to make it possible for him to affix this date to his preliminary epistle1 we must concede that it had been kept in type until the book was finished4 ,but may it not be that no date was affixed on the first signature of the first impression8 ,that is a question that ,i am unable to answer1 in view of the imperfect state of ,m4 ,chedeau's copy4 ,it may be1 too1 that the first signature was reprinted in order to announce ,tory's new address1 he having very recently installed his printing establishment in the famous old ,halle au ,bl de ,beauce1 on ,rue de la ,juiverie1 opposite the ,church of ,la ,madeleine4 ,for it will be observed that this address does not appear on the title-page of ,m4 ,chedeau's copy1 although we do find it in the note on the last page4 ,this volume is printed in the ',champ fleury' type4 #af ,,politiques ,,de ,,plutarche1 ,,cest ,a ,,dire3 ,,civiles ,,institutions ,,et ,,enseignemens ,,pour ,,bien ,,regir ,,la ,,chose ,,pu,,blique1 ,,iadis ,,composees ,,en ,,grec ,,par ,,plutarche1 ,,et ,,depuis ,,translatees ,,de ,,grec ,,en ,,latin ,,par ,,le ,,seigneur ,,nicole ,,sagundin1 ,,et ,a ,,present ,,de ,,langue ,,grecque ,,et ,,latine ,,en ,,langaige ,,fran,,ois ,,par ,,maistre ,,geofroy ,,tory ,,de ,,bourges4--,dediees par le dit autheur a lempereur ,trajan1 et par le translateur en langaige franois a tresilustre et plain de bon espoir en toute heureuse vertu1 son seigneur1 ,franois de ,vallois1 ,daulphin de ,france4 ,here the ,pot ,cass1 no4 #d4 ,imprimees en ,paris1 a lenseigne de ,pot ,casse1 par maistre ,geofroy ,tory de ,bourges1 marchant libraire et imprimeur du ,roy4--,avec privilege tresample4#bci ,octavo1 of #h preliminary unnumbered leaves1 and #fg numbered leaves of text 7signatures ,a to ,iij74 ,the pages have no borders4 ,there are marginal remarks4 ,the type and the ornamental letters are the same as in ',champ fleury4' ,on the second leaf is the following dedicatory epistle3-- ,geofroy ,tory de ,bourges to his most debonair lord1 ,franois de ,vallois1 ,daulphin de ,france1 doth say and proffer most humble greeting4 ,my lord1 while translating this little book1 ,i have oftentimes reflected to whom of all my good friends ,i should the sooner dedicate it1 or whether ,i should dedicate it 7as ,i have heretofore done with certain other books which ,i have composed and translated into the ,french tongue7 to all studious and genuine lovers of excellent reading and worthy pastime4 ,but in fine1 knowing thy virtuous nature1 likewise the mirror of all goodness and perfect nobility wherein thou dost abundantly excel1 and art ever disposed for every blessed and goodly enterprise1 ,i have considered that before all other living men1 of what state soever they may be1 it is to thy glorious lordship that ,i ought and am in duty bounden to consecrate it1 since it is thou under whom the public1 not of ,france alone1 but of all ,christendom1 has its hope of living hereafter in all felicity4 ,i dedicate it to thee1 not forgetting that thou hast thy noble father the ,king1 who1 as ,philip of ,macedon did of yore to his son ,alexander1 doth set before thee noble and goodly instruction and examples of upright living2 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 library2 and also that1 following thy noble and generous example1 the studiously inclined may1 by reading the same1 worthily profit thereby4 ,thou mayst find herein many excellent passages1 which will sometimes help to comfort thee1 and will be in some degree the means whereby thou and thy ,realm1 with the grace of ,god1 wilt ever prosper more and more4 ,paris1 this ,,xiiii day of ,june1 ,m4 ,d4 ,,xxxii4 ,on the verso of the last leaf3 ',the printing of this present book was finished ,saturday the ,,xv day of ,june1 ,m4 ,d4 ,,xxxii1 by maistre ,geofroy ,tory of ,bourges1 bookseller and king's printer1 living in ,paris1 opposite the church of ,la ,magdeleine1 at the sign of the ,pot ,casse4' ,here the ,pot ,cass1 no4 #i4 ,i have seen two copies of this book1 one in ,m4 ,didot's library1 the other in ,m4 ,alkan's4 ,another edition was published at ,lyon1 in #aecd1 in #afmo1 by ,guillaume ,boulle 7or ,boull1 for the name1 in accordance with the custom of the time1 has no accent on the e74 ,this is undoubtedly the one mentioned by ,duverdier#bdj as having been printed at ,paris1 in octavo1 in #aecj1 by ,guillaume ,boull4 ,in this statement there are as many errors as there are words4 ,guillaume ,boull's edition was not printed in ,paris1 it was not an octavo1 and it cannot be dated #aecj1 as the first edition did not appear until #aecb4 ,unfortunately ,la ,caille did not take the trouble to verify ,duverdier's statement1 and he makes ,guillaume ,boull a bookseller-printer of ,paris4#bda ,lottin1 in his ',catalogue des ,libraries et ,imprimeurs de ,paris1'#bdb has not failed to copy ,la ,caille1 and to mention1 under the year #aecj1 a ,guillaume ,boull1 bookseller and printer in ,paris1 side by side with ,jean ,boull1 bookseller4 ,was this ,jean1 whom ,la ,caille calls simply ,boulle1 and whom he places in #aedc1 a kinsman of ,guillaume8 ,i cannot answer4 ,however that may be1 here is a full description of the edition of the ',politiques' published by the latter4 ,it is a #afmo volume containing #h leaves of front matter and #ajd of text4 ,on the title-page1 which is embellished by a roughly executed border1 are these words3-- ',politiques ou ,civiles ,institutions pour bien regir la ,chose publ41 iadis composees en grec par ,plutarche1 et despuys translatees en francoys par maistre ,geofroy ,tory1 et dediees par ledict translateur a tres illustre prince et plein de bon espoir en toute heureuse vertu1 ,francoys de ,valloys1 ,daulphin de ,france4 ',disputation de ,phavorin1 philosophe1 nouvellement y a este adioustee4 ,item chapitre demonstrant combien sont destatz de la ,chose publ4 ',on les vend a ,lyon1 en la rue ,merciere1 a la boutique de ,guillaume ,boulle1 libraire1 a la fleur de lys d'or4--,avec privilege4 #aecd4' ,on the verso of the title-page is an engraving representing ,justice1 with this inscription3 ',justitia in sese virtutes continet omnes4' ,on the following leaf is the dedication to the ,dauphin4 ,at the end of the volume is the mark of ,guillaume ,boull1 or ,boulle4 ,there is a copy of this little book at the ,arsenal1 and also one in the ,bibliothque ,nationale4 ,the latter lacks the final leaf bearing the bookseller's mark1 which some collector 767 has cut out1 to enrich his collection4 #ag ,,la ,,mouche ,,de ,,lucian1 ,,et ,,la ,,maniere ,,de ,,parler ,,et ,,se ,,taire de ,volaterran4 ,pot ,cass1 no4 #f4 ,,la ,,mousche ,,est ,,translatee ,,de ,,grec ,,et ,,de ,,latin ,,en ,,langaige ,,fran,,ois4 ,,la ,,maniere ,,de ,,parler ,,et ,,se ,,taire ,,est ,,translatee ,,seullement ,,de ,,latin ,,en ,,fran,,ois4 ,le tout par maistre ,geofroy ,tory de ,bourges1 imprimeur du ,roy et libraire jur en l'universit de ,paris4--,on les vend a ,paris devant l'eglise de la ,magdeleine1 a l'enseigne du ,pot ,cass4 ,eight octavo leaves1 without date of printing or license4 ,this pamphlet was undoubtedly printed by ,tory himself1 subsequent to ,february #bb1 #aecc2 for he assumes the title of bookseller to the ,university1 which he did not obtain until that date4 ,moreover1 the acute accent1 the apostrophe and the cedilla are used therein1 and he did not make use of those marks until #aecc4 ,lucian's ',la ,mouche' ,the ,fly fills #aa pages2 the ',maniere de ,parler' 7an extract from the eighteenth book of ,volaterran's ',philosophy'7 #c pages4 ,the first leaf has the title1 and1 on the verso1 a note 'aux lecteurs4' ,the type used is the same as in ',champ fleury4' #ah ,,les ,,reigles ,,generales ,,de ,,lorthographe ,,du ,,langaige ,,francoys4 ,such is the title of a book written by ,tory1 of which no trace remains4 ,we do not know even whether it was printed1 although it is included in the license of the first edition of the ',sommaire de ,chroniques' of ,egnasius1 dated ,september #bh1 #aebi4 7,see page #hh47 ,doubtless it was the complement of ',champ fleury1' from a grammatical standpoint4 #ai ,,translation ,,of ,,the ,,hieroglyphs ,,of ,,orus ,,apollo2 a manuscript given by ,tory to 'a noble and excellent friend' of his4#bdc ,it is not known whether this translation was printed4 ,there are in existence several old translations of ,orus ,apollo1 but they do not bear ,tory's name4 ,illustration ,illustration ,,footnotes3 ,footnote #agd3 ,it goes without saying that in the numerous quotations which ,i shall make from these books ,i shall do away with abbreviations and supply punctuation4 ,to do otherwise would be to give the reader of to-day1 who is unfamiliar with the tachygraphy of the ,middle ,ages1 simply a succession of undecipherable puzzles4 ,it is a difficult task to restore the ,latin texts according to the first impressions4 ,i have taken it upon myself1 so that the reader may have the pleasure of reading without difficulty4 ,what ,i have said must be my apology for such errors as ,i may have made in my work of restoration4 ,footnote #age3 ,bibliothque ,mazarine4 ,footnote #agf3 ,gilles de ,gourmont was in fact the first printer in ,paris who had ,greek type4 ,see my ,les ,estienne1 pp4 #fb1 #fg4 ,footnote #agg3 ,i have arranged these verses in lines1 although in the book the lines are indicated simply by capital letters2 and ,i warn the reader that several words were changed by ,tory in order to adapt the verses to his subject4 ,the changes are in fact considerable1 especially in the third passage1 which is made up of parts of five lines1 with several changes1 one of which results in an entire reversal of the meaning4 ,the ,english versions of these passages are adapted from ,long's translation of the neid4 ,for the ,latin original1 see ,appendix ,x1 g4 ,footnote #agh3 ,proper4 ii1 ad ,mcenatem4 ,the translations from ,propertius are those of ,cranstoun4 ,footnote #agi3 ,doubtless we should read 'iv no4' for there was no sixth of the nones of ,december4 ,the fourth of the nones fell on ,dec4 #b4 ,but perhaps we should read 'vj id4'2 the sixth of the ides of ,december fell on ,dec4 #h4 ,footnote #ahj3 ,for the ,latin original1 see ,appendix ,x1 b4 ,footnote #aha3 ,for the ,latin original1 see ,appendix ,x1 i4 ,footnote #ahb3 ,jan4 #aj1 #aejh1 new style4 ,footnote #ahc3 ,for the ,latin original1 see ,appendix ,x1 j4 ,footnote #ahd3 ,for the ,latin original1 see ,appendix ,x1 k4 ,footnote #ahe3 ,following the course pursued in the ,psalterium ,quincuplex1 published shortly before by ,henri ,estienne1 ,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 7emere1 contendere1 etc471 to distinguish it from the infinitive4 ,in our day the circumflex accent has been adopted for this purpose2 but accented letters did not exist in ,tory's time1 and he sought to utilise1 in the interest of the metre1 the only distinctive sign at the disposal of typography1 the e with the cedilla1 which was then generally used for 1 in imitation of the manuscripts of the ,middle ,ages4 ,tory also proposed to spell with s1 instead of x1 certain words like mixtum2 'for1' he said1 'misceo has miscui in the perfect2 and so1 by analogy1 we must say mistum4' ,i will not comment here on some other observations of the same sort made by ,tory in this same note to the reader2 ,i will say simply that they all tend to prove his erudition and peremptorily contradict the extraordinary assertion of a certain ,abb ,joly1 who1 in a huge folio1 entitled ,remarques critiques sur le ,dictionnaire de ,bayle1 and published in #agdj1 observes that ,tory was 'very ignorant1' without adducing a single fact in support of his opinion4 ,in the ,menagiana 7vol4 iv1 p4 #hd of the #abmo edition of #agbi7 ,tory is rebuked1 to be sure1 for forging ,latin words1 after the example of the author of the ,songe du ,poliphile2 but this is a less serious charge1 and is not a proof of ignorance2 on the contrary it proves misuse of knowledge4 ,geofroy ,tory1 says the author1 attracted by the style of the ,poliphile1 composed seven epitaphs filled with words most worthy of a place in that work1 'such as murmurillare1 insatianter1 hilaranter1 pederaptim1 velocipediter1 grimoniosius1 avicipes1 conspergitare1 venustulentissus1 vinulentibibulus1 apneumaticus1 and collifrangibulum1 which he represented as ancient words1 and which the excellent ,catherinot1 in his epitaph of this same ,tory1 did not fail to guarantee to be such4'--,see what ,catherinot has to say of ,tory's ,epitaphs in his epitaph of ,tory1 p4 #dd supra4 ,tumulos aliquot ludicros veterrimo stylo latine condiderit4 ,footnote #ahf3 ,this is the correct reading1 not ,hongoti1 which ,m4 ,renouard mistakenly adopts 7,ann4 des ,estienne1 #c;d ed41 p4 #f1 #b;d col41 no4 #c2 and p4 #bgf71 having failed to notice the line over the o in the second syllable of the word4 ,however1 this is the only place in which this ,jean ,hongont is mentioned1 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 ,,ii1 otherwise called neas ,sylvius1 edited by ,tory4 ,this book is in the ,bibliothque ,mazarine4 ,footnote #ahg3 ,october #aj1 #aeji4 ,footnote #ahh3 ,see infra1 ,part #c1 ,,iii1 sub nomine ,bade4 ,footnote #ahi3 ,bibliothque ,mazarine4 ,footnote #aij3 ,for ,latin original1 see ,appendix ,x1 l4 ,footnote #aia3 ,as to this adage1 see the ,collection of ,erasmus 7folio1 ,basle1 #aegd71 p4 #cjb3 ,aristophanis et ,cleantis lucerna4 ,footnote #aib3 ,claudian1 xv1 #che3 ,minuit prsentia famam4 ,footnote #aic3 ,as to this adage1 see the ,collection of ,erasmus1 ubi sup41 p4 #acd a3 ,non absque ,theseo4 ,footnote #aid3 ,plautus1 ,casinus1 ,act ,v1 #d1 #a3 ,ubi tu es1 qui colere mores ,massilienseis postulas4 ,footnote #aie3 ,for the ,latin original1 see ,appendix ,x1 m4 ,footnote #aif3 ,the answer seems to be bat4 ,footnote #aig3 ,see p4 #bfe infra4 ,footnote #aih3 ,for the ,latin original1 see ,appendix ,x1 n4 ,footnote #aii3 ,may #i1 #aeaj4 ,footnote #bjj3 ,silvestre1 no4 #igd4 ,footnote #bja3 ,on folio #bf of the first edition there is a small plan of ,rome1 doubtless a reminiscent work of ,tory's1 which is lacking in the second and third editions4 ,footnote #bjb3 ,vol4 vii1 p4 #edh1 no4 #daa4 ,footnote #bjc3 ,catal4 bibl4 ,bunav4 vol4 i1 p4 #dag a4 ,footnote #bjd3 ,vol4 i1 col4 #haj1 under ',berosus4' ,footnote #bje3 ,for the ,latin original1 see ,appendix ,x1 o4 ,footnote #bjf3 ,for the ,latin original1 see ,appendix ,x1 p4 ,footnote #bjg3 ,for example1 here are two riddles by ,tory1 the labour of solving which1 ,i leave1 as he did1 to the reader3-- ,godofredus ,to4 ,bi4 ,tu caput ,adrasti capias morientis1 et adde 7,si modo grande bonum vis mihi7 te socium4 ,idem4 ,qu fuit ilia ,cato ,rom legatio quondam ,cor1 caput1 atque pedem cui nec habere fuit8 ,footnote #bjh3 ,this book may be found in the ,bibliothque ,mazarine1 and at the ,arsenal4 ,footnote #bji3 ,for the ,latin original1 see ,appendix ,x1 q4 ,footnote #baj3 ,in original1 ,cordatus4 ,his house in ,bourges is now used as the htel de ville4 ,footnote #baa3 ,as to this gentleman1 see page #d1 supra4 ,footnote #bab3 ,february #bg1 #aeaj1 or rather1 #aeji1 for it is hardly probable that the bulky volume was printed in four months4 ,see the dedication in question1 on page #d1 supra4 ,the book may be found in the ,bibliothque ,sainte-,genevive4 ,footnote #bac3 ,for the original ,latin1 see ,appendix ,x1 r4 ,footnote #bad3 ,as to this person1 see note #c on page #e1 supra4 ,footnote #bae3 ,we have mentioned heretofore 7page #d1 supra7 the eminent posts occupied at this time by ,philibert ,babou and ,jean ,lallemand4 ,footnote #baf3 ,for the original ,latin1 see ,appendix ,x1 s4 ,footnote #bag3 ,for the ,latin original1 see ,appendix ,x1 t4 ,footnote #bah3 ,for the ,latin original1 see ,appendix ,x1 u4 ,footnote #bai3 ,the text has nomen instead of novem1 but the correction is made in the errata4 ,footnote #bbj3 ,christophe de ,longueil1 to whom the manuscript published by ,tory belonged4 ,footnote #bba3 ,for the ,latin original1 see ,appendix ,x1 v4 ,footnote #bbb3 ,for the monogram appended to this final avis1 see p4 #f1 supra4 ,footnote #bbc3 ,see these two marks1 p4 #df1 supra nos4 #g and #h4 ,footnote #bbd3 ,for the ,latin original1 see ,appendix ,x1 w4 ,footnote #bbe3 ,this same passage is quoted at length by ,m4 ,bernard in ,part #a 7see pp4 #ac-ad1 supra71 where the translator has attempted to render it intelligibly in ,english4 ,as the present section of the book is intended to assist the bibliographer1 it seems proper to reproduce it here exactly in its original form4 ,footnote #bbf3 ,see1 as to this passage1 the remarks on p4 #ad1 supra4 ,footnote #bbg3 ,those who use thieves' slang4 ,footnote #bbh3 ,there is no leaf numbered lix2 the leaf between lviii and lx is numbered lxx4 ,footnote #bbi3 ,cy finist ce present ,liure1 444 ,qui fut acheue dimprimer ,le mercredy 4xxviij4 ,iour du ,mois ,dapuril1 ,lan ,mil ,cincq ,cens4 ,,xxix4 ,pour ,maistre ,geofroy ,tory de ,bourges1 ,autheur dudict ,liure1 ,libraire1 demort a ,paris1 qui le vent sus ,petit ,pont a ,lenseigne du ,pot ,casse4 ,et pour ,giles ,gourmont aussi ,libraire demorant au dict ,paris1 qui le vent pareillement en ,la ,rue ,sainct ,iaques a ,lenseigne des ,trois ,coronnes4 ,footnote #bcj3 ,see what ,i have said of this second edition on p4 #db1 supra4 ,footnote #bca3 ,see the exact text of this license1 which includes three works of ,tory1 under no4 #ab1 infra4 ,footnote #bcb3 #aecj1 new style4 ,footnote #bcc3 ,not l'escu de ,basle1 as in the note printed by ,m4 ,brunet4 ,footnote #bcd3 ,the license1 which embraces the ,economic ,xenophon1 and is printed at the end of the last-named book1 extends the author's rights for four years1 not for two4 ,the discrepancy may be explained by the fact that the diloquium was printed while ,tory's application for the license was pending1--that is to say1 in the first three months of #aeca1 which were then reckoned in the year #aecj1 according to the old computation4 ,in fact1 the license is dated ,june #ah1 #aeca1 which seems to conflict with the date of printing of the diloquium4 ,this circumstance also explains why the second title of the book is different in the printed volume from that given in the license 7,erotica74 ,see p4 #ca1 supra4 ,footnote #bce3 ,for the ,latin original1 see ,appendix ,x1 x4 ,footnote #bcf3 ,he does not mention the diloquium1 because it was in ,latin4 ,footnote #bcg3 ,in the printed volume of the diloquium1 ,tory modified this sub-title2 for it might well have marred his epitaphs with a suspicion of obscenity which was very far from his thought4 ,footnote #bch3 ,on ,september #bc1 #aebd1 and ,september #e1 #aebf4 ,tory requested an extension of the licenses for his ,hours because he was about to reprint them4 ,the second edition of the quarto ,hours appeared on ,october #bj1 #aeca4 ,footnote #bci3 ,we have not this 'privilege tresample1' which probably was printed in some other of ,tory's books1 now lost4 ,in truth1 that accomplished man was accustomed to have several books included in each of his licenses4 ,footnote #bdj3 ,bibliothque ,franoise1 article ',geofroy ,tory4' ,footnote #bda3 ,histoire de l',imprimerie1 p4 #ajb4 ,footnote #bdb3 ,vol4 i1 p4 #bd4 ,lottin also writes ,beulle4 ,footnote #bdc3 ,champ fleury1 fol4 #dc recto4 ,,section ,,ii4 ,,books ,,of ,,hours ,,published ,,by ,,tory ,,for ,,himself4 #a ,,hours ,,of ,,the ,,virgin4 ,quarto1 in ,latin4 ,this is a superb volume1 printed by ,simon de ,colines1 with borders and illustrations ' l'antique1' perfect in taste and in the execution of the engravings4 ,the book was1 in all probability1 printed by ,tory and ,colines on joint account1 as copies are extant in the name of each4 ,following are descriptions of three sorts of copies which ,i have seen1 and which have been mistakenly assumed by bibliographers to be distinct editions4 ,illustration ,i4 ,,hor1 ,,in ,,laudem ,,beatiss4 ,,semper ,,virginis ,,mari ,,secundum ,,consuetudinem ,,curi ,,roman4 ,,vbi ,,orthogr,,phia1 ,,puncta ,,accentus ,,suis ,,locis ,,habentur4 ,illustration ,below is ,colines's large mark with the rabbits and the letters ,s4 ,d4 ,c4 in the centre1 and at the foot1 ,s4 ,,de ,,colines4 ,the imprint is3 ',parisiis4 ,apud ,simonem ,colinum4 ,m4,d4,,xxiiii4 ,illustration ,the first page is ornamented with a special border1 which we shall find in others of ,tory's books4 ,the only copy of this form of the book which ,i have had an opportunity to examine1 namely1 the one in the ,bibliothque de l',arsenal1 although it is bound in paper only1 has a beautiful drawing in miniature which occupies the whole of this page4 ,it represents two printers working at a press1 and a compositor in front of his case4 ,none of the printing has been retained1 save the five lines of the title1 ',hor1' etc41 which are enclosed in a scroll hanging from the upper branches of two trees which form the frame of the miniature4 ,i do not know the name of the fortunate recipient of this gift4 ,one sees only his initials 7,r4 ,p47 in a heart above the press4 ,on the verso of the title we find1 in accordance with custom1 the table of ,easter ,days1 etc41 from #aebc to #aeea4 ,the border of the page has1 in three small reserved scrolls in the midst of the arabesques1 the words3 ,,geofroy--,,tory--,,sic ,,vt ,,non ,,plvs1 which recur from time to time on the following pages4 ,this border is reproduced on the title-page of each part of the book4 ,the license occupies the whole of both sides of the second leaf1 which is without borders1 for a special reason3 it is printed in gothic type of the period 7to imitate the script of the diploma7 and that style of type would have quarrelled with the antique arabesques of ,tory1 whose refined taste avoided incongruities of that sort4 ,an extract from the license follows3-- ',francoys1 by the grace of ,god ,king of ,france1 to the ,bailli and ,provost of ,paris1 the ,seneschal of ,lyon1 and all other justiciars1 officials1 or their deputies1 and to each of them in his jurisdiction1 and as to him shall appertain1 greeting4 ,our dear and well-beloved maistre ,geofroy ,tory1 bookseller1 living at ,paris1 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 l'antique1 and likewise certain others la moderne1 to the end that the same may be printed and made use of in divers books of ,hours1 whereupon he hath employed himself a very long time1 and hath made divers great expenditures1 and outlay4 ,wherefore1 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 made2 and to the end that he may have the wherewithal to live with more ease1 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 printed1 for the space and term of six years1 beginning on the day of the printing of said ,hours1 and that all booksellers be forbidden to make or to cause to be made any impression thereof1 whether on a white1 grey1 or red field1 not omitting any of the said black vignettes1 or to reduce them a petit ou grant pied2 humbly beseeching us to that end4 ,wherefore we1 having duly considered these matters1 and generously acceding to the petition and request of the said petitioner1 and likewise in recognition of his learning1 literary talent1 and the excellent and praiseworthy report made to us of his person1 and of his talents1 competency1 loyalty1 wisdom1 and goodly diligence1 have granted to him the privilege that he and no other may print and cause to be printed the said vignettes and drawings1 and do forbid all booksellers and printers whomsoever within our realm1 to make or procure to be made and printed the said vignettes and drawings1 on pain of a fine of five and twenty silver marks to be paid to us1 and confiscation of the ,hours1 vignettes1 and pictures by them so printed4 ,given at ,avignon1 the ,,xxiii day of ,september1 in the year of grace one thousand five hundred twenty-four1 and of our reign the tenth4' ,illustration ,the third leaf contains some details concerning the calendar1 which begins on the fourth leaf and ends on the ninth4 ,the border of the lower part of leaf ,avij is turned upside down4 ,the ,hours begin on the tenth leaf4 ,the book is a quarto1 but the sheets are folded two by two1 after the style introduced by ,pierre ,schoiffer himself1 which gives it the appearance of an octavo4 ,the signatures run from ,a to ,t1 which makes eighteen folds1 or one hundred and forty-four leaves4 ,the engravings consist of sixteen complete borders1 one of which is repeated on the recto and verso of each of the first sixteen leaves1 embracing thirty-two pages of text1 after which the same decorations reappear4 ,they are composed of arabesques in which1 from time to time1 these words appear at the sides3 ,,soli ,,deo--,,lavs--,,honor--,,geofroy--,,tor y--,,non ,,plvs4 ,at the foot of certain pages we see a crowned ,f 7the first letter of the king's name71 a crowned ,c 7the first letter of the name of ,queen ,claude1 daughter of ,louis ,,xii71 and a crowned dolphin 7daulphin71 in allusion to the title of the king's eldest son4 ,queen ,claude died before the book was finished1 perhaps even before the printing was begun2 but ,tory did not choose to waste the woodcut of her1 so it was preserved and was used for more than fifteen years1 as we shall see4 ,these three subjects are reproduced in ,dibdin's ',bibliographical ,decameron' 7vol4 i1 page #ii72 there are two others in the same work 7vol4 ii1 page #fe74 ,at the foot of the other pages are arabesques1 among which we find the ,pot ,cass1 no4 #b4 ,in the text there are thirteen large drawings1 which harmonize admirably with the borders4 ,all the illustrations1 or almost all1 borders and drawings alike1 are signed with the ,lorraine cross4 ,the book ends on the recto of a leaf on the verso of which is this colophon3 ,,excvdebat ,,simon ,,colin,,vs ,,parisiis ,e ,,regione ,,scholarvm ,,decretorvm3 ,,anno ,a ,,christi ,,iesv ,,nativitate ,m4 ,d4 ,,xxv4 ,,xvii4 ,,cal4 ,,febr4 ,this date coincides with ,january #af1 #aebe4 ,we have seen that the title-page bears the date #aebd1 that is to say1 the year when the book was begun4 ,these two dates1 cited separately1 have led bibliographers astray1 and have given rise to a theory that there are two different editions of the same book4 ,here and there throughout the volume we find figures in the borders4 ,these figures are3 #af1 which appears on the inner side of leaves ,ai verso and ,cvij recto and verso2 #c1 on the outer side of the border of leaves ,aiiij recto and verso1 and ,ciiij recto and verso2 #aj1 at the foot of leaf ,biij2 #ab1 on the outer side of the border of leaf ,bvi4 ,here and elsewhere1 to make my descriptions more clear1 these books having no pagination1 ,i assign signature letters to the eight sheets of each fold2 but it is common knowledge that they actually appear on the first four only4 ,i feel justified in concluding from these figures that at first certain numbers1 running from #a to #af1 were engraved1 and repeated on each compartment of the same border1 in order to enable the compositor to assort the pages properly4 ,later these numbers were probably deemed to be of no use and were cut off4 ,the four that ,i have noticed1 having inadvertently been left1 were finally removed before the printing was concluded4 ,the scheme of repeating each border on the recto and verso of the same leaf was very ingenious1 for it permitted the imposition of a larger number of pages without calling attention to the repetition1 as the two similar pages were never seen at the same time4 ,this required no more work1 for it is very clear that the borders were not added to the pages until the very moment of printing1 so that they might not be exposed to the accidents inherent in the preparatory handling4 ,m4 ,willemin has reproduced several specimens of these borders in his ',monuments ,franais ,indits' 7folio1 #ahci71 page #bif4 ,illustration ,the book contains1 as we have said1 thirteen large cuts 7all of which except the second are signed with the ,lorraine cross74 ,they are as follows3 #a and #b4 ,the ,angelic ,salutation1 in two plates facing each other4 #c4 ,the ,visitation of the ,virgin1 with the device 'non plus' in a scroll suspended from a tree4 #d4 ,the ,birth of ,jesus4 #e4 ,the ,adoration of the ,shepherds4 #f4 ,the ,adoration of the ,magi4 #g4 ,the ,circumcision4 ,illustration #h4 ,the ,flight into ,egypt4 #i4 ,the ,coronation of the ,virgin4 #aj4 ,the ,crucifixion of ,jesus4 ,this design has five compartments4 ,in addition to the ,crucifixion1 there are bees at work1 birds building their nests1 a peasant ploughing a field1 and another shearing sheep4 ,each of these four is accompanied by the device 'sic vos non vobis4' #aa4 ,the ,descent of the ,holy ,spirit on the ,apostles1 with the device 'non plus' on the pediment of a temple4 #ab4 ,the ,penance of ,david1 with the same device1 and the word 'peccavi' in a scroll suspended from a tree4 #ac4 ,the ,triumph of ,death4 ,this last cut represents ,death1 armed with a spear treading on corpses4 ,a crow on a tree above him has the words 'cras1 cras1' issuing from its beak4 ,at either side are the devices 'non plus' and 'sic ut1' on neighbouring buildings4 99 99 99 99 99 ,,ii4 ,there are two sorts of copies in ,tory's name4 ,the first are identical in every respect with those of ,colines1 except as to the first page1 where1 after the title3 ',hor 444 habentur1' we find this imprint3 ',parisiis1 apud ,magistrum ,gotofredum ,torinum ,bituricum4 ,ad insigne vasis effracti1 in via ,iacoba2 gallice1 ,au pot casse1 en la rue sainct ,iaques4' ,here the ,pot ,cass1 no4 #c1 with the device 'menti bon deus occurrit' at the top1 and 'non plus' at the foot4 ,there is no date on the title-page1 but there is one on the last page1--the same that we find in the copies in ,colines's name 7see page #aaa74 ,i have seen a copy of this book in the collection of ,m4 ,double1 who kindly allowed me to study it in detail4 ,it is still in its antique binding1 and on the covers1 in large roman letters1 is this device1 which is believed to be that adopted by the unfortunate ,dolet3 ,d,,omi,,ne ,,redime ,,me ,a ,,calvmniis ,,hominvm ,,vt ,,cvstodiam ,,mandata ,,tva4 ,d,,omi,,ne ,,ivsticia ,,tva ,,ivsticia ,,in ,,eternvm ,,et ,,lex ,,tva ,,veritas4 ,,iii4 ,other copies in ,tory's name have a title-page in ,french1 with no border4 ,this title-page reads as follows3-- ',,heures1 ,a ,,la ,,louange ,,de ,,la ,,vierge ,,marie1 ,,selon ,,lusage ,,de ,,rome4 ,,esquelles ,,sont ,,contenues ,,les ,,quatre ,,passions1 ,,le ,,seruice ,,commun ,,pour ,,le ,,temps ,,dapres ,,pasques1 ,,et ,,pour ,,le ,,caresme1 ,,le ,,seruice ,,de ,,laduent1 ,,et ,,dudit ,,aduent ,,jusques ,a ,,la ,,purification ,,nostre ,,dame4 ,,pareillement1 ,,les ,,heures ,,de ,,la ,,croix1 ,,et ,,du ,,sainct ,,esperit1 ,,les ,,sept ,,pseaumes1 ,,vespres1 ,,vigiles1 ,,et ,,commendaces ,,des ,,trespassez1 ,,avec ,,raisonnable ,,nombre ,,doraisons1 ,,et ,,suffrages ,,des ,,sainctz ,,et ,,sainctes4 ,a la fin sont les heures de la ,conception nostre ,dame1 et le symbole de ,athanase4 ,le tout au long1 sans y rien requerir1 est tres correcte1 en bonne orthographie de poinctz1 daccens1 et diphthongues situez aux lieux a ce requis4 ,et sont a vendre par ,maistre ,geofroy ,tory de ,bourges1 libraire demourant a ,paris sus ,petit pont1 ioignant lhostel ,dieu1 a lenseigne du ,pot ,casse4' ,then follows the device 'menti bon devs occvrrit1' and the ,pot ,cass in the same form as that on the title-page of the preceding number4 ,the order of the contents of the first signature is here a little different from that followed in numbers one and two4 ,on the verso of the title the license begins1 set in roman letters1 which ,tory preferred to the gothic2 it occupies two pages1 as in the other copies1 but those pages are supplied with the antique borders4 ,on the verso of the second leaf is the table of ,easter-,days1 from #aebe to #aeeb4 ,it is more conveniently placed here than on the verso of the title1 where it is separated from the calendar by the license4 ,advantage was taken of the reprinting of the first signature to remove the figure #af from the border of the page containing the table of ,easter-,days1 and to set right the lower section of the border of page ,a vij recto1 which is upside down in the other copies4 ,the figure #c was not removed from page ,a iiij1 probably because the second side of that signature was not reprinted2 but the #aj has disappeared from page ,b iij1 which would seem to show that the second side of signature ,b was reprinted4 ,the first side of signature ,t was reprinted also1 in order to change the colophon on the last page1 for which this is substituted3 ',ces presentes heures a lusage de ,,rome furent acheuees de imprimer le ,,mardy dixseptiesme iour de ,,ianvier ,mil cinq cens vingtcinq3 pour maistre ,,geofroy ,,tory de ,,bourges1 libraire demorant a ,,paris sus ,,petit ,,pont1 ioignant lhostel ,,dieu1 a lenseigne du ,,pot ,,casse4' 7,the words printed in small capitals are printed in red in the book47 ,this is followed by the mark no4 #e1 with the two mottoes 7'menti1' etc41 and 'sic1' etc471 which accompany that mark on page #dc of ',champ fleury4' 7,see supra1 p4 #ba47 ,tory had several copies printed on vellum2 ,i myself have seen one of them1 belonging to the collection of ,m4 ,sauvageot4#bdd ,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 ,colines2 for it is worth noting that the ,tuesday1 ,january #ag1 is of #aebe1 and not of #aebf new style1 as would have been the case had the 'use of ,paris' been followed4 ,but ,tory thought1 doubtless1 that he should follow the ,roman usage in a book of ,hours to the use of ,rome4 ,i imagine that this reprinting of three signatures of the ,hours of #aebd-aebe was done mainly to direct the attention of the public to ,tory's new establishment 'sus ,petit ,pont4' ,and this circumstance leads me to believe that it was done subsequent to ,january #ag1 #aebe1 for it is not conceivable that ,tory would have left his former address1 rue ,saint-,jacques1 on the copies printed as late as ,january #af1 if he was to be settled 'sus ,petit ,pont' on the #agth4 ,he retained that date on the reissue1 although it really took place later1 in order to conform to the terms of the license1 which imposed upon the beneficiary the duty of specifying on the books the date when they were first published1 so that the date of its expiration might be fixed1 unless the term should be extended1 as was done in the case of this very book of ,hours2 witness the license of ',champ fleury1' dated ,september #e1 #aebf4 ,indeed1 my own opinion is that ,tory did not remove to the ,petit-,pont until about the date last mentioned4 ,we shall see that he remained there until #aecj1 when the installation of his printing-office required him to take more roomy quarters4 ,however1 when he opened his shop on the ,petit-,pont he did not abandon his place on rue ,saint-,jacques1 which he still occupied at least as late as #aeca4 ,m4 ,niel owns a copy of this book1 in which the cuts are coloured in water-colour1 lined with gold4 ,m4 ,niel thinks that the arabesques are adapted from those of ,raphael in the ,vatican1 which had lately been reproduced2 the lamented ,renouvier1 who agreed with ,m4 ,niel in attributing the colouring to ,tory1 considered it an admirable piece of work4 ,it will not fail to be noticed1 moreover1 that ,tory calls attention on the title-page of his copies to the excellent orthography of his book3 an additional proof that this reimpression was subsequent to #aebe4 ,tory lent his borders and his engravings to several printers1 who frequently removed his mark therefrom4 ,i will mention particularly five publications of ,simon de ,colines on the title-pages of which we find ,tory's borders4 ,i4 ',divi ,joannis ,chrisostomi liber contra ,gentiles1' etc42 quarto1 #aebh4 ,the title-page is surrounded by one of ,tory's borders1 with the crowned ,f at the foot1 and the broad upright section with the two scrolls containing the words ',geofroy ,tory1' which have been removed4--,there is a copy of this volume1 in vellum1 in the library of ,m4 ,solomon de ,rothschild1 who has kindly sent me this information4 ,,ii4 ',rodolphi ,agricol ,phrisii de inventione dialectica libri tres1 cum scholiis ,joannis ,matthi ,phrissemii'2 quarto1 #aebi and #aech4 ,border composed of two broad upright sections1 one of which was used in the preceding4 ,a crowned ,f at the top1 and another broad section at the foot4 ,,iii4 ',laurentii ,vall de lingu latin elegantia libri ,,iii'2 quarto1 #aece and #aech4 ,same border as in the preceding4#bde #b ,in #aebg ,tory published a new edition of his ,hours1 in one volume1 octavo1 printed as before by ,simon de ,colines1 in roman type1 with vignettes of the same sort1 but much smaller4 ,there is a copy on vellum at the ,bibliothque de l',arsenal2 unluckily it lacks the first and last leaves4 ,according to ,m4 ,brunet1#bdf to whom ,m4 ,tosi1 of ,milan1 sent the description of a perfect copy1 also on vellum1 the first page reads3 ',hor in laudem ,beatiss4 ,virg4 ,mari ad usum ,romanum venales extant ,parrhisiis ad insigne vasis effracti4' ,and the last3 ',hujusmodi ,hor nuper absoluebantur a prlo ,colineo1 die vicesima prima ,octobris anno ,domini #aebg1 pro magistro ,gotofredo ,torino ,biturigico ,bibliopola ad insigne vasis effracti ,parrhisiis commorante1 ubi venales beneuolis omnibus amicabiliter extant4' ,we give herewith an extract from the license of this new publication1 which license included also ',champ fleury' and the ,hours of #aebd-aebe3 ,franois1 by the grace of ,god ,king of ,france1 to the ,provost of ,paris1 the ,bailli of ,rouen and the ,seneschal of ,lyon1 and to all our other justiciars and officials and their deputies1 and to each of them as to him shall appertain1 greeting4 ,our dear and well-beloved maistre ,geofroy ,tory de ,bourges1 bookseller1 living at ,paris1 hath now caused it to be made known and shown unto us that1 in order to proclaim1 exalt and embellish the ,latin and ,french tongues1 he hath not long since made and composed a book in prose and in the ,french language entitled3 ',lart et science de la deue et vraye proportion des lettres attiques1 autrement dictes antiques et vulgairement lettres romaines1 proportionnees selon le corps et visaige humain'2 the which book he hath caused to be placed before us1 soliciting and requesting us to grant unto him leave1 permission and license to print1 or cause to be printed the said book1 together with certain drawings and vignettes ' l'antique and la moderne'2 likewise friezes1 borders1 crowns and scrolls2 also to cause to be printed books of ,hours1 in such form and of such size as to him shall seem good1 during the time and term of ten years1 beginning on the day of the printing of said ,book and said ,hours2 together with an extension for the same term for certain drawings and vignettes by him heretofore printed4--,we hereby give you to know1 that we1 in consideration of the foregoing1 generously acceding to the petition and request of the said maistre ,geofroy ,tory1 and having regard to the toil1 labour1 outlays and expense which it hath behooved him to undergo and sustain1 as well in the composition of the said books1 as for the engraving of the said drawings1 vignettes1 friezes1 borders1 crowns and scrolls to accompany the said ,hours1 as hereinbefore mentioned1 in divers forms and sizes1--have granted to him the privilege of printing the said books1 enjoining you not to allow any other printers or booksellers within our realm1 domains and seignories to print the said books and ,hours1 on pain of one hundred silver marcs to be paid to us1 and of confiscation of said books4 ,given at ,chenonceau the fifth day of ,september1 in the year of grace one thousand five hundred twenty-six1 and of our reign the twelfth4 99 99 99 99 99 ,in this new book of ,hours there are thirty-two different borders1 which reappear on every second leaf--one hundred and twenty-eight in all4 ,the text is embellished by sixteen large subjects1 naturally smaller1 however1 than those in the quarto4 ,in the copy at the ,arsenal1 the only one that ,i have seen1 these subjects are coloured4 ,i did not discover ,tory's mark anywhere2 but his mottoes do appear1--'menti bon devs occvrrit'2 'sic vt1 vel vt'2 'non plvs'2--which proves that these plates were engraved for him1 if not by him4 ,a list of the drawings follows3-- #a and #b4 ,the ,angelic ,salutation2 two plates on adjoining pages1 as in the quarto of #aebd-aebe4 #c4 ,the ,visitation of the ,virgin4 #d4 ,the ,birth of ,jesus4 #e4 ,the ,annunciation to the ,shepherds4 #f4 ,the ,adoration of the ,magi4 #g4 ,the ,circumcision4 #h4 ,the ,flight into ,egypt4 #i4 ,the ,coronation of the ,virgin4 #aj4 ,st4 ,joachim and ,st4 ,anne ,embracing 7this is not included in the edition of #aebd-aebe74 #aa4 ,the ,crucifixion4 #ab4 ,the ,descent of the ,holy ,spirit on the ,apostles4 #ac4 ,the ,penance of ,david4 #ad4 ,the ,triumph of ,death4 #ae4 ,the ,holy ,trinity4 #af4 ,the ,virgin and the ,child ,jesus4 7,the last two are not included in the edition of #aebd-aebe47 ,the signatures run from ,a to ,z2 that is to say1 there are twenty-three octavo sheets4 ,the copy of the octavo ,hours of #aebg at the ,arsenal is a lovely volume printed on vellum1 with a number of manuscript prayers in ,french added at the end4 ,the calligraphic execution of these prayers1 which are surrounded by borders in imitation of those in the book1 is wonderfully fine4 ,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 value4 ,it is still in its original binding 7once very sumptuous1 but now sadly out of repair71 on the covers of which one can distinguish interlaced ,c's1 barred ,s's1 and star-shaped figures formed of two triangles turned end for end4 ,can it have belonged to ,catherine de ,mdicis1 who became the consort of ,henri ,,ii in #aecc8 ,unluckily it lacks two essential leaves1 the first and the last4 #c ,in the same year1 ,tory had printed by ,simon ,dubois 7',silvius'7 a quarto edition of this same book of ,hours1 'suivant l'usage de ,paris4' ,it is dated ,october #bb1 #aebg4 ,it contains the new license1 and comprises thirty-six quarto sheets1 folded two by two according to custom1 and forming eighteen octavo signatures1 ,a to ,s4 ,the book is printed throughout in the gothic type of that time1 with the borders ' la moderne' mentioned in the license of #aebd1 consisting of arabesques of flowers1 insects1 animals1 etc4 ,there are twenty-six complete borders1 which recur in regular order4 ,we find again here1 as in the first quarto1 thirteen large subjects interspersed through the text4 ,but a noteworthy fact is1 that although these subjects1 with two exceptions1#bdg are the same as those in the first quarto1 they are of entirely different designs1 appropriate to the 'modern' borders and type4 ,it would be difficult to carry further the love of artistic harmony4 ,neither the borders nor the illustrations bear ,tory's mark1 and ,i doubt whether they are his4 ,perhaps the design was ,perreal's and the engraving by one of the artists employed by ,tory1 who must then have had an organized workshop1 if we may judge from the number of works which he produced about that time4 ,dibdin speaks enthusiastically of this edition of the ,hours1 in his ',bibliographical ,decameron'2 he even reproduces four of the large cuts by which it is illustrated4#bdh ,he says that it is the 'most beautiful work' of that sort that he has ever seen1 and expresses great surprise that the arabesques have been cast aside4 ,i confess that ,i do not share his feeling4 ,the book seems to me badly done1 both from the artistic and from the typographical standpoint3 the borders do not harmonize1 they are out of proportion1 and the engraving does not impress me as beyond reproach4 ,but ,dibdin's opinion is1 as everybody knows1 very unreliable2 his carelessness is proverbial4 ,indeed1 he gives us a striking instance of it in this very passage3 for he tells us that this book was published by ,tory of ',bruges1' and that it has on the title1 the ,pot ,cass of ,simon du ,bois#bdi2 two errors in one line6 ,among the small cuts at the foot of the pages1 we observe the shield of ,france2 the crowned ,f2 the crowned salamander2 the crest of the king's mother1 'party' of ,france and of ,savoy1 with her widow's girdle2 her initial 7,l71 crowned2 the shield 'party' of ,navarre and of ,france1 with the letters ,h and ,m intertwined 7the initials of ,henri d',albert1 ,king of ,navarre1 and ,marguerite1 sister of ,franois ,i1 whose marriage had been celebrated ,january #bd1 #aebfbej72 the ,pot ,cass1 no4 #a1 that is to say1 in its simplest form1 etc4 ,the exact title of this book is as follows3 ',hore in laudem beatissime ,virginis ,,marie3 secundum consuetudinem ,,ecclesie ,,parisiensis4' 7,here the ,pot ,cass1 no4 #i47 ',venales habentur ,,parrhisiis1 ,,apud ,,magistrum ,,gotofredum ,torinum ,biturigicum3 ,,sub ,,insigne ,,vasis ,,effracti3 ,,gallico ,,sermone ,,au ,,pot ,,casse4'--,all the words here printed in small capitals are printed in red4 ,on the verso of the title-page is the license1 dated ,september #e1 #aebf4 ,at the end of the book is the following3 ',ces presentes ,heures a lusage de ,paris1 privilegiees pour dix ans commenceans a la presente date de leur impression1 furent achevees dimprimer le vingt deuxiesme iour ,doctobre1 ,mil cinq cens vingt sept1 par maistre ,simon du bois1 imprimeur1 pour maistre ,geofroy ,tory de ,bourges1 qui les vend a ,paris a lenseigne du ,pot ,casse4' 7,here the same mark as on the first page47 ,it will be noticed that1 although ,tory felt bound to give the title of the book in ,latin1 he could not forbear to print his address in ,french4 ,this is the order of the plates1 all of which measure nine centimetres by six3-- #a and #b4 ,the ,angelic ,salutation1 in two plates on successive pages 7fol4 f #c verso1 and f #d recto74 #c4 ,the ,sibyl of ,tibur 7see the description on page #abc1 note #a71 fol4 g #h recto4 #d4 ,jesus on the ,cross1 fol4 h #f recto4 #e4 ,the ,descent of the ,holy ,spirit on the ,apostles1 fol4 h #g recto4 #f4 ,the ,birth of ,jesus1 fol4 i #a recto4 #g4 ,the ,annunciation to the ,shepherds1 fol4 i #f recto4 #h4 ,the ,adoration of the ,magi1 fol4 k #b recto4 #i4 ,the ,presentation in the ,temple1 fol4 k #f recto4 #aj4 ,the ,flight into ,egypt1 fol4 l #b recto4 #aa4 ,the ,coronation of the ,virgin1 fol4 l #g recto4 #ab4 ,david ,playing the ,harp1 fol4 m #e recto4 #ac4 ,the ,triumph of ,death1 fol4 n #g recto4 ,m4 ,brunet#bea mentions a copy of this book on vellum4 ,the ,bibliothque ,nationale owns one on paper1 bound by ,cap1 with tooling copied from ,tory's4 #d ,,hours ,,of ,,the ,,virgin1 in roman type1 with borders and arabesques ' l'antique' on each page4 ,a small #afmo volume1 printed by ,tory1 ,february #h1 #aebi 7old style74 ,here is a description of this little gem1 taken from the only copy that ,i have seen1 ,m4 ,niel's1 which is on vellum4 ,the title reads thus3-- ',,hor ,,in ,,laudem ,,beatissim ,,virginis ,,mari1 ,,secundum ,,usum ,,romanum4' ,then the ,pot ,cass1 and at the foot of the page3 ',menti bon ,deus occurrit4' ,on the verso of the title-page3-- ',rex christianiss4 statuit ne quis alius a ,gotofredo ,torino ,biturigico1 ,bibliopola ,parrhisiis habitante1 imprimat aut imprimi faciat infra decennium in toto regno hujusmodi coronamenta et figuras1 sub pna gravissima1 ut in diplomate ad hoc obtento latissime patet4' ,then comes an abstract of the pontifical license1 undated2 and on the following leaf the table of ,easter-,days from #aecj to #aeeb4 ,on the last page3 ',parrhisiis1 apud ,gotofredum ,torinum ,biturigicum1 viii4 die febr4 anno sal4 ,m4 ,d4 ,,xxix1#beb ad insigne ,vasis effracti4' ,the signatures run from ,a to ,y2 that is to say1 the book consists of #bb octavo forms1 or #agf leaves4 ,the pages1 which contain #ba lines of brevier1 measure thus3-- ,height1 text alone #gg millimetres4 ,height1 with border #if millimetres4 ,width1 text alone #bi millimetres4 ,width1 with border #dh millimetres4 ,the volume contains twenty-one small cuts1 unsigned1 but all engraved in ,tory's manner4 ,here is a list of them3-- #a4 ,jesus on the ,cross2 a very small cut with five sections1 like the ,crucifixion of the quarto of #aebd-aebe2 that is to say1 there are bees at work1 birds building their nests1 a peasant ploughing1 and another shearing sheep4 #b and #c4 ,the ,angelic ,salutation2 two cuts facing each other1 as in the ,hours of #aebd-aebe4 #d and #e4 ,the ,visitation 7idem74 #f and #g4 ,the ,birth of ,jesus 7idem74 #h and #i4 ,the ,annunciation to the ,shepherds 7idem74 #aj and #aa4 ,the ,adoration of the ,magi 7idem74 #ab and #ac4 ,the ,circumcision 7idem74 #ad4 ,the ,massacre of the ,innocents4 #ae4 ,the ,coronation of the ,virgin4 #af4 ,the ,crucifixion4 #ag4 ,the ,descent of the ,holy ,spirit4 #ah4 ,bathsheba at the ,bath4 #ai4 ,the ,triumph of ,death4 #bj4 ,the ,trinity 7small cut74 #ba4 ,the ,virgin in a halo1 with an angel on each side4#bec #e ,,book ,,of ,,hours1 quarto2 same typographical arrangement as in the quarto of #aebd-aebe4 ,on the title-page1 which has the border of those copies of the earlier edition which bear the imprint of ,simon de ,colines1 we read3-- ',,hor ,,in ,,laudem ,,beatiss4 ,,virginis ,,mari4 ,,ad ,,usum ,,romanum4--,,parrhisiis1 ,,apud ,,gotofredum ,,torinum ,,biturigicum1 ,,regium ,,impressorem4 7,then comes the motto3 ,,menti ,,bon ,,devs ,,occvrrit1 and beneath it the ,pot ,cass47 ,cum privilegio summi ,pont4 et ,regis christianiss4 ad decennium et ultra1 ut in calce hujus operis patet4'#bed ,on the verso of the title the list of ,easter-,days1 from #aeca to #aefj2 then the ,calendar1 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 top4 ,on the recto of the last leaf is the abstract of the licenses1 papal and royal1 and on the verso this colophon1 set in the border of the last page of ',champ fleury'3 ',parrhisiis1 ex officina ,gotofredi ,torini ,biturigici1 regii impressoris1 ad insigne ,vasis effracti1 anno salutis ,m4 ,d4 ,,xxxi1 die ,,xx mensis octobris4' ,then the ,pot ,cass and at the foot of the page3-- ',effracti1 lector1 subeas insignia vasis1 ,egregios flores ut tibi habere queis4' ,the volume consists of twenty signatures 7,a to ,v7 of two sheets each1 set in the roman type used in ',champ fleury'2 borders of the ,hours of #aebd-aebe2 also the thirteen drawings of that edition1 but with special borders in the form of porticoes1 which appear in other minor works of ,tory published in #aeca1 of which we shall speak in the following section4 ,it is a fact worthy of remark that we no longer find the name ,geofroy ,tory on his borders1 and that even his mark has disappeared from several of the cuts1 particularly the first cut of the ,angelic ,salutation1#bee the ,adoration of the ,shepherds1 the ,adoration of the ,magi1 the ,flight into ,egypt1 the ,coronation of the ,virgin1 the ,penance of ,david1 and the ,triumph of ,death4 ,this circumstance leads me to believe that ,tory had lent these plates to other publishers1 as he had lent his borders to ,simon de ,colines1 and that they removed the marks in order to appropriate more completely the publications in which the plates were used4 ,this was what ,simon de ,colines did1 as we have already seen 7page #abj74 ,a no less interesting fact is that1 in the borders1 the crowned ,c's are retained1 which refer to ,claude de ,france1 the first wife of ,franois ,i1 who died in #aebd and was succeeded in #aecj by ,eleonora of ,austria4 ,we find also in this edition four unsigned cuts which do not appear in the quarto of #aebd-aebe3-- ,fol4 ,h #h4 ,the ,angelic ,salutation2 a special design1 quarto size4 ,fol4 ,l #f4 ,the ,angelic ,salutation2 quite small1 occupying only the upper part of a page4 ,fol4 ,r #g4 ,the ,trinity2 small1 with a special border4 ,fol4 ,v #c4 ,the ,virgin2 small1 with a special border4 ,the last two are taken from the #afmo ,hours of #aebi4 ,the floriated letters are the same as in ',champ fleury4' ,papillon1 who speaks of this book1#bef without giving the title1 and attributes it to ,woeiriot1 who was not born in #aeca1 expresses himself thus concerning it3 ',i have seen an old book in which there are some of his engravings2 it is an octavo1 each page of which is surrounded by a decorative border1 in compartments1 of a beautiful gothic type4 ,they are engraved very correctly1 even though it is line engraving1 which is so fine1 so even and so accurate1 that ,i am at a loss to understand how it could have been done4 ,there are in this book fifteen or sixteen large cuts1 also engraved in line2 the drawing of the figures is passable4 ,the little ,lorraine cross1 which ,woeiriot used as a mark1 may be seen in several places in the borders of this book4' ,m4 de ,rothschild's copy of this edition has one interesting peculiarity3 it is enriched by a large plate1 unsigned1 printed on an oblong half-sheet1 representing the ,triumph of the ,virgin ,mary1 which seems to be an imitation of the ,triumph of ,apollo in ',champ fleury4' ,the ,virgin appears in a chariot drawn by unicorns2 behind the chariot are the ,captive ,women2 around the chariot1 ,prudence1 ,temperance1 ,justice and ,strength2 in front of the unicorns1 ,hope1 ,faith1 ,charity2 and farther in front the ,nine ,muses1 the ,seven ,liberal ,arts1 the handmaidens of the ,virgin4 ,in the background1 we see the ,virginal ,palace1 the ,palace of ,jesse1 and the ,temple of ,honour4 ,beneath the picture is an explanation in ,french verse1 which begins thus3-- ',les antiques ,cesars triompherent par gloire1 ,mais par humilite 7ainsi le faut il croire7 ,la noble ,vierge va triomphante en bon heur ,du palais virginal jusquau temple dhonneur4' ,i have seen this engraving nowhere else except in a copy of the edition of the ,hours published in #aedb by ,olivier ,mallard1 of which ,i shall speak in the third part2 but ,i have no doubt that it was included originally in all copies of the edition of #aeca1 perhaps also in that of #aebd-aebe4 ,its chances of preservation were injured by its being bound in the form of a map4 ,at all events this unsigned plate is in ,tory's manner1 and it can hardly be denied that it belongs to him4 #f ,at a time which ,i am unable to fix with precision1 but not earlier than the month of ,september1 #aeca1 ,tory printed another book1 in octavo1 with borders made up of plants1 animals1 insects1 birds1 etc41 like those in the quarto ,hours of #aebg1 but1 naturally1 on a smaller scale4 ,i have never seen this book1 but its existence is established to my satisfaction by the publication of a book of ,hours1 at a later date1 by ,olivier ,mallard1 with the same borders and vignettes4 ,i can give with certainty neither the title nor the date of printing of ,tory's book2 but the date of the engravings is readily determined approximately1 thanks to certain ornaments of ,mallard's book4 ,for instance1 we find in it1 as in the ,hours of #aebg1 the crowned ,f and the salamander of ,franois ,i1 the crowned ,l and the biparted shield 7,france and ,savoy7 of his mother1 who died in #aeca1 and a blank shield which suggests the widowhood of ,franois1 and consequently proves that these cuts were designed before ,july1 #aecj4 ,as for my ascription of these cuts to ,tory1 it is due to the style of the borders1 which are copied from the ,hours of #aebg4 ,moreover1 he has added a special symbol1 namely1 the coat-of-arms of ,bourges 7three sheep1 placed two and one1 and wearing collars71 which appears now and again at the foot of the page1 beside the symbols of ,franois ,i and his mother4 ,as ,i have said1 ,i do not know the title of the book in which ,tory first used these cuts2 it seems to me1 however1 that we may fairly conclude from the use ,olivier ,mallard made of them that it was a book of ,hours2 ,tory probably decided to publish an octavo edition of his ,hours ' la moderne' of #aebg1 as he had published in #aebg an octavo edition of his ,hours ' l'antique' of #aebd-aebe4 ,indeed1 it may be that the book in question is the one thus described by ,m4 ,brunet3 ',hor in laudem beatissim ,virginis ,mari ad usum ,rothomagensem4--,parisiis1 ad insigne ,vasis effracti4 #aecf4' ,small octavo1 roman type1 line engravings4 ,it will be seen that the book is said to be printed at the sign of the ,pot ,cass1 without mention of the printer's name4 ,this may mean that it was printed by ,tory's widow1 who published ,macault's work in the same way in #aece4 ,we shall speak elsewhere of ,mallard's book1 but this is the place to mention the engravings it contains1 which doubtless appeared also in ,tory's book4 ,in ,mallard's publication of #aeda there are sixteen different borders1 the same one being always placed on the recto and verso of each leaf1 and nineteen of the plates of the #afmo edition of #aebi4 ,the two lacking are number #a and number #ba4 ,the engravings of ,the ,visitation are reproduced below4 ,illustration ,,footnotes3 ,footnote #bdd3 ,it was bought for #cjbe francs1 exclusive of commissions1 for the ,bibliothque ,impriale 7in ,december1 #ahfj74 ,it is a superb copy1 still in its original binding4 ,m4 ,brunet mentions two other copies3 7#a7 ,that of ,baron de ,heiss1 the cuts in which were coloured1 and which brought only #fj francs in #aghe4 ,it was the same copy1 apparently1 which was sold for #ac pounds at the sale of ,richard ,heber4 7#b7 ,the ,mc,carthy copy1 extra illustrated with #ai lovely miniatures from an old manuscript1 has brought #dej francs4 ,footnote #bde3 ,the translator has before him a copy of an earlier edition 7#aebi7 of this work1 the title-page of which reads as follows3 ',lavrentii ,vallae de ,lingvae ,latinae ,elegantia libri sex1 iam tertiu de integro bona fide emaculati4 ,eiusdem de ,reciprocatione ,sui ,suus libellus apprime vtilis4 ,cum indice amplissimo4 ,parisiis ,apud ,simonem ,colinum4' #aebi4 ,the border differs slightly from that described above4 ,in this case ,tory's mark was not removed by ,colines1 but appears twice4 ,footnote #bdf3 ,manuel de ,libraire1 #eth ed41 vol4 v1 col4 #afeh4 ,footnote #bdg3 ,the ,adoration of the ,shepherds is replaced1 as in the octavo edition1 by the ,annunciation to the ,shepherds1 and the ,visitation by an entirely different subject1 taken from a ,christian legend3 the ,emperor ,augustus1 kneeling on the ground1 holds one hand of the ,sibyl of ,tibur1 who with the other hand points to the ,virgin and the ,child ,jesus in ,heaven4 ,footnote #bdh3 ,vol4 i1 pp4 #id-ih4 ,footnote #bdi3 ,bibliographical ,decameron1 vol4 i1 p4 #ih4 ,footnote #bej3 ,this princess1 born in #adib1 was the grandmother of ,henri ,,iv2 she married1 first1 ,charles1 duc d',alenon4 ,she was famous for her intellectual qualities1 and we owe to her several noteworthy works4 ,footnote #bea3 ,manuel de ,libraire1 vol4 iv1 #dth edit41 p4 #hjb1 col4 #a4 ,footnote #beb3 #aecj new style4 ,footnote #bec3 ,in my first edition ,i described only #ai cuts1 after the imperfect copy of ,m4 de ,rothschild4 ,footnote #bed3 ,tory had already received licenses for twenty years for his ,hours 7see supra1 pp4 #aje-i1 #aba71 so that he did not need this further grant1 which1 indeed1 he did not print at the end of his book4 ,footnote #bee3 ,this cut1 on the verso of a leaf of which the recto is blank1 is missing in many copies4 ,footnote #bef3 ,trait de la ,gravure sur ,bois1 vol4 i1 p4 #aic4 ,illustration ,,section ,,iii4 ,,works ,,published ,,by ,,tory ,,for ,,fran,,ois ,i4 #a ,,le ,,sacre ,,et ,,coronnement ,,de ,,la ,,royne1 ,,imprime ,,par ,,le ,,commandement ,,du ,,roy ,,nostre ,,sire4 7,pot ,cass no4 #f47 ,on le vend a ,paris1 en la rue ,sainct ,iaques1 devant lescu de ,basle1 et devant leglise de la ,magdaleine1 a lenseigne du ,pot ,cass4--,avec privilege4 ,quarto1 of three signatures4 ,paris1 ,geofroy ,tory1 #aeca4 ,the title which ,i have transcribed is set in a pretty portico-shaped border1 decorated with arabesques1 at the foot of which is found the word 'salvs4' ,on the verso3 ',il est permis a maistre ,geoffroy ,tory de ,bourges1 marchant libraire1 demourant a ,paris1 imprimer et mettre en vente ce present livre1' etc4 ,on the recto of the second leaf3 ',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 ,daustriche1 seur aisnee de ,lempereur1 le cinquiesme iour de mars ,m4 ,d4 ,,xxx4 ,lequel 444 a este mis et redige par escript au vray par moy ,guillaume ,bochetel1 son notaire et secretaire1 signant en ses finances4444' ,the text begins immediately under this1 with the beautiful decorated letter 7,l7 which is reproduced on page #a of this book4 ,the license1 printed on the last leaf but one1 informs us that ,tory had then become a printer1 whence we may conclude that it was he who printed the volume1 although there is no definite statement to that effect4 ',we have given to maistre ,geoffroy ,tory1 bookseller1 and printer1 leave to print the ,queen's ,coronation1 and do forbid all other printers to print the same for the term of one year1#beg on pain of summary fine on conviction thereof4 ,done at ,paris the tenth day of ,march one thousand five hundred and thirty4 ,,de ,,la ,,barre4' ,on the last page1 which is set in a border of the same type as that of the title-page1 we read1 above the ,pot ,cass3 ',the printing of this present book was finished the ,,xvi day of ,march ,m4 ,d4 ,,xxx1#beh and it is for sale1'#bei etc4 #b ,,lentree ,,de ,,la ,,royne ,,en ,,sa ,,ville ,,cite ,,de ,,paris1 ,,imprimee ,,par ,,le ,,commandement ,,du ,,roy ,,nostre ,,sire4 7,pot ,cass1 no4 #f47 ,on la vend a ,paris1 en la ,rue ,sainct ,iaques devant ,lescu ,de ,basle1 devant leglise de la ,magdaleine1 ,a ,lenseigne du ,pot ,casse4--,avec ,privilege4 ,quarto1 of six signatures4 ,paris1 ,geofroy ,tory1 #aeca4 ,this title is set within the charming title-page border of the ,colines copies of the ,hours of #aebd-aebe4 ,on the verso of the title-page3 ',il est permis1' etc41 as in the preceding volume4 ,on the second leaf the text begins with a beautiful decorated letter 7,a7 after the style of the ,l of the volume last described4 ,this page also is set in a portico-shaped border1 with arabesques2 but the latter are different from those in the ',sacre4' ,we find1 too1 three other and different borders in the balance of the work1 which gives us in all six pages with borders in addition to that of the title-page and that of the last page1 which is identical with that of the last page of ',champ fleury'2 some floriated letters also have been borrowed from this last-named work4 ,though none of these are signed1 they are surely ,tory's1 so far as the designs are concerned1 at least4 ,the text of this book1 as of the preceding1 is by ,guillaume ,bochetel1 who signed it4 ,following his text1 ,tory inserted a charming cut1 representing the gift presented by the city of ,paris to the ,queen--a magnificent candelabrum4 ,at the top are the words3 ',deseing du present faict a la ,royne en deux chandeliers4'#bfj ,the license granted to ,tory for printing this book is identical with that of the preceding1 except that it is dated at ,anet1 ,april #bf1 #aeca4 ,we learn from the last page that the printing was finished on ,tuesday1 ,may #i1 #aeca4 ,geofroy ,tory was not simply the printer of this little volume2 he was also the publisher1 and he added to the text three poems in ,latin1 of his own composition4 ,here they are3-- ,geofroy ,tory of ,bourges to ,queen ,leonora4#bfa ,we are about to celebrate this triumph of yours1 ,leonora1 which your ,parisians have conferred upon you4 ,you are a queen so loving-kind to us that we all can say that you are a real goddess4 ,we can certainly say that you are a benign goddess1 since you at last bless us with grateful peace4 ,with peace you bless all who inhabit the ,french kingdom1 so kind have been the fates in establishing you in power4 ,as one upright1 aye1 holy1 gentle1 and a true bestower of blessings1 you have brought our lilies back to their country4 ,by your leave1 ,i will speak in few words1 and ,i will proclaim the truth3 in you resides full national salvation for us all4 ,the same to the same4 ,may the gods long continue your happy lot1 ,leonora4 ,you are our ,joy1 our ,peace1 and our grateful ,repose4 ,the same ,tory to the ,french ,people4 ,exult and be glad1 people of ,france2 you see what happiness ,leonora now brings to you4 ,she1 sent1 be sure1 by the manifest will of ,god1 enables you at last to enjoy the blessings of peace4 ,strew roses1 laurel1 violets1 nard1 and saffron1 and merrily revel to your hearts' content4 ,but be careful too that you1 best of people1 be not backward in rendering pious prayers to ,god4 ,if you never cease to sing ,god's praises and to frequent his temples1 believe me1 you will long enjoy the blessings of peace4 ,you will behold the golden ages beneath the smiling heaven1 and on earth you will reap in prosperity golden harvests4 ,add to this that you will in similar manner become a race all golden too4 ,continue1 therefore1 your holy services to the most high ,god4 #c ,,in ,,lodoic ,,regis ,,matris ,,mortem ,,epitaphia ,,latina ,,et ,,gallica4--,,epitaphes ,a ,,la ,,louenge ,,de ,,ma ,,dame ,,mere ,,du ,,roy ,,faictz ,,par ,,plusieurs ,,recommendables ,,autheurs4 7,pot ,cass no4 #f47 ,on les vend a ,paris devant ,leglise de la ,magdeleine1 a ,lenseigne du ,pot ,casse4--,avec privilege4 ,quarto1 of two and a half signatures4 ,paris1 ,g4 ,tory1 #aeca4 ,the license1 dated ,paris1 ,october #ac1 #aeca1 and signed ,,de ,,la ,,barre1 like the two preceding1 gives ,tory at last the title of king's printer3 ',we have granted to maistre ,geofroy ,tory1 marchant libraire et imprimeur du ,roy1 leave1' etc4 ,on the last page1 which1 as well as the first1 is set in a border1#bfb are the words3 ',printed at ,paris1 at the sign of the ,pot ,cass1 by maistre ,geofroy ,tory de ,bourges1 bookseller and king's printer4 ,the ,,xvii day of ,october1 ,m4 ,d4 ,,xxxi4' ,as the title-page indicates1 this volume contains verses in ,latin and in ,french by divers contemporary authors4 ,among the former is one by ,geofroy ,tory himself1 which ,i will give as a specimen4 ,louise1 royal mother1 addresses and consoles her ,france3 written by ,geofroy ,tory of ,bourges4#bfc ,france1 why do you in deepest sorrow mourn for me8 ,do you not know that the whole human race is destined to die8 ,revive1 and consider how ,i by my foresight preserved you from the bitter and ruthless enemy4 ,i leave to you a son1 king by divine will1 who under my guidance cherishes you in glorious peace4 ,joyfully he beholds in your arms his pledges1 who will bring the whole world under your sway4 ,you have a queen who is the foster-daughter of virtue and peace1 and who blesses your lot with good fortune4 ,you have also another queen1 who is the sister and good counselor of your consecrated king4 ,with such guides as these1 dear ,france1 you should not complain4 ,you are fortunate in having such leaders4 ,moreover1 when ,i die1 ,i will not desert you1 for you have my immortal name4 ,devotedly ,i will ever pray for you before the mighty ,thunderer1 asking that you may reign victoriously and nobly4 ,strew laurel for me1 violets1 nard1 and saffron2 strew also flowers1 lilies1 garlands1 and roses4 ,add to these1 moreover1 hymns with most exalted praises1 rites1 melodies1 incense1 myrrh1 and prayers4 ,hesitate not to erect altars to me4 ,for1 as a benign goddess1 ,i now proceed to fly to ,heaven4 ,farewell4 99 99 99 99 99 ,the first two of these three opuscula exhibit three different kinds of type3 that of ',champ fleury' and two others4 ,in the third we find a fourth size4 ,it will be seen that ,tory's printing-office was increasing in importance4#bfd #d ,,ordonnances ,,du ,,roy 7,franois ,i71 etc4 ,quarto1 of four signatures 7,a to ,d74 ,paris1 #aecb4 ,i have seen only the last signature of this collection4 ,it has a special title-page1 embellished by the border of the ,colines copies of the ,hours of #aebd-aebe2 but the signature letter 7,d7 and the first word of the title demonstrate the existence of at least three others4 ,it seems that ,geofroy ,tory treated the legislative documents of ,franois ,i in the sixteenth century as the ,imperial printing-office treats the ',bulletin des ,lois' to-day3 that is to say1 each fold has a title1 although it forms a part of the same publication with that which precedes and that which follows4 ,i transcribe the title of the signature that ,i have seen1#bfe made up of six leaves1 that is a sheet and a half quarto#bff 7encartes73-- ,,autres ,,ordonnances ,,nouvelles ,,du ,,roy ,,nostre ,,sire ,,sur ,,lestat ,,des ,,tresoriers ,,et ,,manyment ,,des ,,finances1 ,,publiees ,,en ,,la ,,chambre ,,des ,,comptes ,,et ,,au ,,conseil ,,de ,,la ,,tour ,,carree4 7,pot ,cass47 ,imprimees a ,paris par maistre ,geofroy ,tory de ,bourges1 libraire et imprimeur du ,roy4 ,devant ,leglise de la ,madeleine1 a lenseigne du ,pot ,casse4--,avec privilege comme il appert cy apres en la fin4 ,then follow four ordinances of the king1 of the year #aecb1 'sur lestat des tresoriers1' etc4 ,they are dated1 the first at ,hamby1 ,april #ai1 the second at ,chteaubriant1 ,june #ad1 the third and fourth also at ,chteaubriant1 ,may #af4 ,on the recto of the last leaf is the duplicate of the license1 in these words3-- ',the judges appointed by the king in the ,chambre de la ,tour ,carree to administer the finances1 having considered the petition presented by ,geofroy ,tory1 bookseller and king's printer1 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 therein1 which have been published in said chamber1 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 ensuing1 on pain of summary fine1 the said judges have permitted and do permit the said ,geofroy ,tory to print the said ordinances1 and forbid all other booksellers and printers to print or cause to be printed the said ordinances for one year1#bfg on pain of summary fine4 ,done at ,paris the eighteenth day of ,july1 in the year one thousand five hundred thirty-two4 ,signed3 ,bordel4' ,on the last page is the beautiful final border of ',champ fleury1' in which is the ,pot ,cass2 and beneath it are the words3 ',the printing of these present ordinances was finished the twentieth day of ,july ,m4 ,d4 ,,xxxii1 by maistre ,geofroy ,tory de ,bourges1 bookseller and king's printer4' #e ,,lhistoire ,,ecclesiastique of ,eusebius ,,translatee ,,de ,,latin ,,en ,,fran,,ois ,,par ,,messire ,,claude ,,de ,,seyssel1 ,,evesque ,,lors ,,de ,,marseille1 ,,depuis ,,archevesque ,,de ,,thurin4--,imprimee par le commandement du ,roy 7,pot ,cass74--,on les vend a ,paris1 devant leglise de la ,magdelaine1 a lenseigne du ,pot ,casse4 ,par maistre ,geofroy ,tory de ,bourges1 marchant libraire et imprimeur du ,roy4--,avec privilege pour six ans4 ,paris1 ,g4 ,tory1 #aecb4 ,folio2 #f preliminary leaves1 #aea leaves of text1 numbered1 and a final unnumbered leaf1 on the verso of which are the words3 ',the printing of this present book was finished the ,,xxi day of ,october1 ,m4 ,d4 ,,xxxii1 by maistre ,geofroy ,tory1' etc4 ,then follows the ,pot ,cass1 surmounted by the arms of ,france1 borrowed from the verso of the title-page of ',champ fleury4' #f ,,les ,,troys ,,premiers ,,livres ,,de ,,lhistoire ,,de ,,diodore ,,sicilien1 ,,historiographe ,,grec4 ,,translatez ,,de ,,latin ,,en ,,francoys ,,par ,,maistre ,,anthoine ,,macault ,,notaire ,,secretaire ,,et ,,vallet ,,de ,,chambre ,,ordinaire ,,du ,,roy1 ,,francoys ,,premier4--,imprimez de l'ordonnance et commandement dudit seigneur4--,avecques privilege a six ans4--,on les vent a ,paris en la rue de la ,iuifverie1 devant la ,magdalaine1 a l'enseigne#bfh du pot cass4 ,at the end3 ',imprim a ,paris1 en avril ,m4 ,d4 ,,xxxv4'#bfi--,quarto4 ,the title-page of this book is embellished by a portico-shaped border1 which is found in the first three opuscula described in this section4 ,on the verso of the title1 in the vellum copy at the ,bibliothque ,nationale1 is the final border of ',champ fleury1' in which are depicted the arms of ,england1 with the device1 ,,diev ,,est sic ,,mon ,,droict4 ,the author's exordium begins with a large letter ,s1 decorated with an escutcheon bearing two fasces accompanied by nine besants1 three by three1 with this device in ,greek3 ,,mhketi 7'not at all'72 these are ,macault's arms1 doubtless4 ,this letter appears again on folio #adh4 ,facing the first page of text is a magnificent engraving representing ,franois ,i surrounded by his court1 listening to ,macault as he reads his book to the king4 ,the author is represented in a clerical costume1 with a calotte on his head4 ,beside him are the three sons of ,franois ,i3 ,franois1 who died a few years later1 ,henri1 who became ,henri ,,ii1 and ,charles1 ,duc d',orlans4 ,this engraving is a faithful copy of the painting on ,macault's original manuscript1 which was still in ,france in #ahaa1 but has since crossed over to ,england4 ,it is described in ,part #c1 section #a 7pages #aff-afh74 ,the printed book forms a quarto volume of #h unnumbered preliminary leaves1 #aeb numbered leaves 7signatures ,a to ,q71 and #h leaves of index3 #afh leaves in all4 ,on the last page is the final border of ',champ fleury1' which appears also on the verso of the title4#bgj ,illustration3 ,,pierre ,,roffet ,,footnotes3 ,footnote #beg3 ,the license had no sooner expired than the book was reprinted1 as may be seen by a copy of an edition in gothic type1 of eight octavo signatures1 dated #aeca1 in the ,bibliothque ,nationale4 ,footnote #beh3 #aeca new style4 ,footnote #bei3 ,a new edition of this book has recently been published at ,brussels1 being a photo-lithographic reproduction of the copy in the ,bibliothque du ,roi4 ,footnote #bfj3 ,see what ,m4 ,a4 de ,montaiglon says of this engraving in the ,archives de l',art franais1 vol4 ix1 p4 #bff4 ,footnote #bfa3 ,for original ,latin1 see ,appendix ,x1 y4 ,footnote #bfb3 ,the borders are the same as those at the beginning and end of the ,entree de la ,royne4 ,footnote #bfc3 ,for original ,latin1 see ,appendix ,x1 z4 ,footnote #bfd3 ,these three opuscula are bound together in one volume at the ,bibliothque de l',arsenal4 ,the ,bibliothque ,nationale also owns them all1 bound separately and more or less imperfect4 ,the omission of the last of the three from the new catalogue is an error1 for it is in the library4 ,footnote #bfe3 ,at the shop of ,m4 ,potier1 bookseller1 ,paris4 ,m4 ,alkan1 senior1 also owns the last leaf of this signature4 ,footnote #bff3 ,if the other three signatures are complete1 they should contain six sheets1 folded two and two1 according to custom4 ,footnote #bfg3 ,it will be observed that the judges granted the license for but one year1 instead of the three that ,tory had asked4 ,i have seen another similar collection of ordinances in the name of ,galiot ,dupr1 dated #aebh1 for which the judges extended the license to two years4 ,footnote #bfh3 ,here and elsewhere we find the apostrophe1 but its use is not yet constant4 ,the compositors were not used to the sign1 which was employed to designate the suppression of a letter for euphony's sake4 ,footnote #bfi3 ,it may be that we should read #aecf new style1 as ,easter fell in that year on ,april #af4 ,we add this book to ,tory's list1 although he was dead at that time1 because it was evidently begun by him and finished by his widow4 ,footnote #bgj3 ,m4 ,ambroise ,firmin ,didot owned a copy of this book1 on paper1 in its ancient binding1 with the ,pot ,cass4 ,he owned also another copy1 on vellum4 ,,section ,,iv4 ,,works ,,printed ,,by ,,tory ,,for ,,private ,,individuals4 #a ,,antistitis ,,incomparabilis ,,mich,,lis ,,bodeti1 ,,dum ,,viveret ,,episcopi ,,ducis ,,lingonensis ,,et ,,paris ,,franci ,,epicedium4 ,below this title1 the arms of ,michel de ,boudet1 engraved on wood4 ,at the end is the ,pot ,cass1 with this colophon3 ',parisiis anno salutis human #aecj4' 7,michel de ,boudet had died in #aebi1 with the title of duke and peer1 which the ,bishops of ,langres had borne since the twelfth century47 ,six quarto leaves ,paris1 ,g4 ,tory1 #aecj4 ,library of the ,faculty of ,medicine of ,montpellier1 no4 #bib4 ,having had occasion to visit the neighbourhood of ,montpellier for reasons connected with my health1 ,i seized the opportunity to examine this volume and complete my information concerning it4 ,on the first page1 surrounded by the border of the ,colines copies of the ,hours of #aebd-aebe1 are these words3 ',antistitis ,incomparabilis ,michlis ,bodeti dum viveret ,episcopi ,ducis ,lingonensis et ,franci ,paris ,epicedium4' ,then the arms of ,michel de ,boudet4 ,on the verso3 ',cautum est privilegio1 ne quis hoc ,epicedium imprimat aut imprimi curet infra biennium subpena in diplomate ad hoc obtento contenta4' ,the four following leaves contain a poem in honour of ,michel de ,boudet2 on the sixth is the ,pot ,cass1 no4 #f1 and beneath it3 ',parrhisiis1 ,anno salutis human1 ,m4 ,d4 ,,xxx4' ,there is nothing to indicate the author of this little work1 which is printed in the same type as the ,epitaphs in honour of the mother of ,franois ,i4#bga #b ,,apologie ,,pour ,,la ,,foi ,,chrestienne ,,contre ,,les ,,erreurs ,,contenues ,,en ,,un ,,petit ,,livre ,,de ,,messire ,,georges ,,halevin4 ,paris1 ,g4 ,tory1 #aeca4 ,octavo4 ,i borrow this description from the ',catalogue de la ,bibliothque de feu ,m4 de ,la ,vallire' 7vol4 i1 p4 #bge71 for ,i have not been able to inspect this work1 which1 however1 should be in the ,bibliothque de l',arsenal with ,m4 de ,la ,vallire's other books1 and in the library at ,sainte-,genevive1 whither it must have gone with the collection of ,le ,tellier in whose catalogue it also appears4 #c ,,histoire ,,des ,,empereurs ,,de ,,turquie1 translated from ,latin into ,french by ,barthlemy ,dupr4 #aecb4 ,i borrow this abridged description from a biography of ,tory published by ,m4 ,chevalier de ,saint-,amand1 honorary librarian of ,bourges1 in the ',annonces ,berruyres1' no4 #ch 7,september1 #ba1 #ahcg74bgb #d ,,ladolescence ,,clementine4 ,,autrement1 ,,les ,,oeuvres ,,de ,,clement ,,marot ,,de ,,cahors ,,en ,,quercy1 ,,valet ,,de ,,chambre ,,du ,,roy1 ,,composees ,,en ,,leage ,,de ,,son ,,adolescence4--,,avec ,,la ,,complaincte ,,sur ,,le ,,trespas ,,de ,,feu ,,messire ,,florimond ,,robertet4 ,,et ,,plusieurs ,,autres ,,oeuvres ,,faictes ,,par ,,ledict ,,marot ,,depuis ,,leage ,,de ,,sa ,,dicte ,,adolescence4 ,le tout reveu1 corrige mis en bon ordre4--,on les vend a ,paris1 devant ,lesglise ,saincte ,geneviefve des ,ardens1 ,rue ,neufve nostre ,dame4 ,a ,lenseigne du ,faulcheur4--,avec privilege pour ,trois ,ans4 ,at the end3 ',the printing of this present book was finished on ,monday the ,,xii day of ,august4 ,year ,m4 ,d4 ,,xxxii4 ,for ,pierre ,roffet1 called le ,faulcheur4 ,by maistre ,geofroy ,tory de ,bourges1 king's printer4 ,octavo1 #ast edition4 ,only a single copy is known1 now in the ,bibliothque ,nationale4 ,the volume consists1 first1 of four preliminary leaves 7half a fold71 comprising3 7#a7 the title which ,i have just transcribed2 7#b7 on the verso1 some laudatory verses1 among which figures this distich of ,tory1 who was not only ,marot's printer1 but his friend3-- ',vis lauros cypriasque comas1 charitesque1 iocosque1 ,inde sales etiam nosse8 ,marotus habet'2 7#c7 ,clment's letter 'to a large number of brethren1' dated ,august #ab1 #aecb1 that is to say1 on the same day that ,tory finished printing the book1 and not ,august #ab1 #aecj1 as was erroneously printed in some subsequent editions1 which has given rise to a theory of an earlier issue#bgc2 7#d7 the table of contents2 7#e7 a leaf entirely blank4 ,then comes the text of the ',adolescence ,clementine1' extending from folio #a to folio #ajd1 on which is the word 'finis'2 and after that the ',chant royal1' etc41 from #aje to #aae4 ,the book ends with a list of errata on an unnumbered folio 7#aaf74 ,the table of contents1 on one of the preliminary leaves1 informs us that one ode had previously been published separately1 but no copy of it is known4 #e ,the ,same4 ,a second edition of this book was published by the same bookseller1 and the printing finished by ,tory on ,november #ac1 #aecb4 ,it differs from the first in this respect1 that the text and preliminary leaves are joined1 or1 to speak more accurately1 the first two of those leaves2 for the table of contents is relegated to the end of the volume1 in place of the errata1 which no longer appear4 ,the volume consists of a hundred and nineteen leaves1 the last unnumbered4 ,the word 'finis' still appears on folio #ajd1 after the ',adolescence ,clementine'2 then comes the ',chant royal1' etc42 and lastly two leaves entitled3 ',autres uvres faictes en sa dicte maladie1' indicated by this phrase on the title-page3 ',plus amples que les premiers imprimez de ceste1 ny autre impression4' 7,bibliothque ,mazarine47 #f ,the ,same4 ,a third edition was printed by ,tory on ,february #ab1 #aecb 7#aecc1 new style71 like the preceding in every respect1 but having only #aah leaves4 #g ,the ,same4 ,a fourth edition appeared ,june #g1 #aecc1 identical with the preceding1 except that the words on the title-page1 'plus amples1' etc4 are replaced by these3 ',avec certains accens notez1 cest assavoir sur le masculin different du feminim sic1 sur les dictions ioinctes ensembles par sinalephes1 et soubz le quant il tient de la prononciation de le s1 ce qui par cy devant par faulte daduis n'a este faict au langaige franoys1 combien q'uil sic y fust et soit tres necessaire4' ,this fourth edition of the ',adolescence ,clementine' was the last work printed by ,tory to my knowledge4 ,in the intervals between these four editions1 however1 he had published the works of ,clment ,marot's father1 edited by ,clment himself1 under the following title3-- #h ,,ian ,,marot ,,de ,,caen1 ,,sur ,,les ,,deux ,,heureux ,,voyages ,,de ,,genes ,,venise1 ,,victorieusement ,,mys ,a ,,fin1 ,,par ,,le ,,treschrestien ,,roy ,,loys ,,douziesme ,,de ,,ce ,,nom1 ,,pere ,,du ,,peuple4 ,,et ,,veritablement ,,escriptz ,,par ,,iceluy ,,ian ,,marot1 ,,alors ,,poete ,,escriuain ,,de ,,la ,,tresmagnanime ,,royne ,,anne1 ,,duchesse ,,de ,,bretaigne1 ,,depuys ,,valet ,,de ,,chambre ,,du ,,treschresti ,,roy ,,francoys ,,premier ,,du ,,nom4 ,on les vent a ,paris1 deuant ,lesglise ,saincte ,geneuiefue des ,ardens1 ,rue ,neufue ,nostre ,dame1 ,a ,lenseigne du ,faulcheur4--,auec priuilege pour ,trois ,ans4#bgd ,at the end3 ',the printing of this present book was finished the ,,xxii day of ,january1 ,m4 ,d4 ,,xxxii #aecc1 new style1 for ,pierre ,roufet1 called ,le ,faulcheur1 by maistre ,geufroy ,tory de ,bourges1 king's printer4' ,octavo of #aja leaves4 7,bibliothque ,nationale47 ,in this edition there is a letter of ,clment ,marot mentioning the death of his father1 'author of this book4' #i ,the ,same4 ,m4 ,brunet cites a second edition of this book1 executed by ,tory for the same bookseller in #aecc4 ,,footnotes3 ,footnote #bga3 ,this paragraph was added by the author after his second edition had gone through the press4 ,footnote #bgb3 ,in his ,peintre-graveur franais1 ,m4 ,robert-,dumesnil mentions an edition of this book with the date #aech1 ,paris1 ,g4 ,tory2 which is impossible1 as ,tory died in #aecc4 ,footnote #bgc3 ,see ,m4 ,brunet's ,manuel de ,libraire1 #eth edit4 vol4 iii1 col4 #add4 ,footnote #bgd3 ,there is a copy in the ,bibliothque ,nationale1 to which is added3 ,la suite de l',adolescence clmentine1 with #c preliminary leaves and #abf of text1 on the last of which is the mark of ,pierre ,roffet1 signed with the ,lorraine cross see page #acg1 supra2 but not printed by ,tory1 for the book was printed for the widow of ,roffet1 and the latter did not die1 it is supposed1 until #aecg1 after ,tory's death4 ,illustration3 ,,part ,,iii4 ,,iconography4 ,illustration ,,hrecvles ,,gallicvs ,illustration ,,le ,,hercvles ,,fran,,ois4 ,,part ,,iii4 ,,iconography4 ,as ,i have hitherto called attention to the books that we owe to ,tory whether as publisher1 as author1 or as printer and bookseller1 so it will be well to notice those which he enriched with his paintings and engravings during twenty years of his life4 ,this is a new aspect of his whole career which it is our present purpose to bring into view2 for1 while ,tory was for some time teacher1 bookseller1 printer1 he was always a draughtsman and engraver1 from the day that he was a man grown4 ,but1 first of all1 there is a preliminary question to be decided3 ,was ,tory really a painter and engraver8 ,in the first part of this book ,i said that he was1 but ,i did not furnish proofs of the fact1 and none of the historians of painting or of engraving have mentioned him in that connection4 ,it is advisable therefore1 first of all1 to demonstrate the accuracy of my assertion4 ,in order to solve this complicated question more easily1 let us divide it4 ,was ,tory a painter8 ,that ,tory was a painter-draughtsman1 there can be no doubt1 for he himself makes the assertion in express terms on each page of ',champ fleury4' ,for instance1 we read on folio #c verso of that work1 apropos of the ,gallic ,hercules3-- ',i saw this same fable in rich painting within the city of ,rome near the ,sanguine tower1 not far from the ,church of ,saint ,louis1 444 and the better to keep the thing in my eye1 ,i made this drawing4444' ,in the collection of verses written by him on the occasion of the death of his daughter ,agnes1 ,tory makes her speak thus from the urn wherein she is supposed to repose3-- ,,monitor4 ,who made for you this urn1 set with brilliant gems8 ,,agnes4 ,who8 ,my father2 famed in this art4 ,,monitor4 ,certes1 your father is an excellent potter4 ,,agnes4 ,he practises industriously every day the liberal arts4 ,thus ,geofroy ,tory himself informs us in #aebc that he industriously practised the arts4 ,now1 if this were true1 he could not have been ignorant of drawing1 which is the first of all the arts4 ,moreover1 it is plain that in those days an engraver 7and we shall prove in a moment that ,tory was one7 could not fail to be a draughtsman4 ,the artist was at that time an all-round workman1 embracing all the special branches of his profession3 painting1 drawing1 engraving1 he took a hand at them all4 ,not until it became vulgarized1 until it became a trade1 was art subdivided--and greatly to its prejudice4 ,in truth1 one cannot but realize all that there is to be desired in the work of those mercenaries of the engraver's art1 who1 having no knowledge of the first elements of drawing1 are bidden to reproduce1 with the aid of the graving tool1 lines which they do not understand4 ,we can therefore assert that1 as a general rule1 the engravings found in ,tory's books were drawn by him4 ,but this is not all3 ,i believe that we should also attribute to him the admirable miniatures#bge that have come down to us of the painter known by the name of ',godefroy4' ,if1 indeed1 we compare the engravings in ,tory's books with the designs of that painter1 we readily recognize a similarity of execution which seems to establish the identity of the two men4 ,this ,godefroy1 who signs his works sometimes with the full name1 sometimes with a simple ,g1 but always in roman letters1--a noteworthy thing at a time when the gothic was in its most flourishing state1--was no other than ,tory1 whose baptismal name1 as we have seen1 was in ,latin ,godofredus4 ,we know how little was thought of family names in the old days4 ,as late as the sixteenth century it was no uncommon thing to see persons designated by their baptismal names alone1 or1 at most1 with the name of their native place added4 ,we have seen#bgf that the famous painter ,jean ,perreal1 ,tory's master and friend1 was little known except by the name of ,jean de ,paris4 ,tory himself is called ,godefroy the ,berrichon 7,godofredus ,biturix7 in some verses which his friend ,grard de ,vercel composed in his praise in #aeab4bgg ,even at the close of the sixteenth century our two leading bibliographers1 ,antoine du ,verdier and ,la ,croix du ,maine1 who also bore geographical names1 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 ',bibliothque ,franoise4' ,there is nothing extraordinary therefore in ,tory's signing his first works with a baptismal name alone4 ,it is true that that name is slightly different1 orthographically speaking1 from the one that he used later2 but it is well to remember the change that took place about that time in our author's customs4 ,doubtless he signed ',godefroy' before he had entirely shaken off the yoke of the classical languages1#bgh and had adopted the more ,french form ',geofroy1' which was about the year #aebc4 ,the dates inscribed upon some of ,godefroy's paintings1 #aeai and #aebj1 coincide perfectly with the known facts of ,tory's life3 that was the period when1 after his second return from ,italy1 he was fain to utilize his talents for his livelihood4 ,i may add that we have several engravings of that same period signed with a ,g alone1 or with a ,g within which appears a small ,f2 others signed with a ,g surmounted by the double cross1 with a small ,s within2 and others signed ,g4 ,t41 which serve to mark the transition between ,tory's use of the simple ,g and the inscription in full of his two names1 ,geofroy ,tory4 ,these two names appear together in one of the borders of his ,hours of #aebd-aebe the border which is to be found on p4 #aje4 ,whatever the fact may be1 we propose to give here1 by way of memorandum1 at least a brief list of the works of the painter ,godefroy1 referring the reader for fuller information to the interesting article which ,m4 ,lon de ,laborde has published upon this subject in the ',renaissance des ,arts1' vol4 i4 pp4 #hia-iac1 and1 later1 in the ',revue ,universelle des ,arts1' no4 #a 7#ahee71 which article we reproduce below with the author's consent4 ,the only manuscripts known to contain drawings of this artist are ',les ,commentaires de ,csar1' in three small quarto volumes2 and ',les ,triomphes de ,petrarque1' in one small octavo volume--all written in ,french and bound in vellum4 ,the first-named work is not1 as one might suppose from its title1 a translation of the famous work of the conqueror of ,gaul1 but a commentary thereon in the form of a dialogue between ,csar and ,franois ,i1 to whom the book is dedicated4 ,the first volume is now in the ,british ,museum at ,london1 the second in the ,bibliothque ,nationale at ,paris1 and the third in the collection of ,m4 le ,duc d',aumale4 ,all the miniatures in the first volume1 and there is a great number of them1 are signed with a ,g2 some bear the date #aeai4 ,the same is true of the second volume4 ,one of the miniatures in the third volume is signed in full1 ',godefroy' 7folio #eb72 several others1 signed ,g only1 are dated #aebj4 ,as for the ',triumphs' of ,petrarch1 which is in the ,bibliothque de l',arsenal1 the miniatures bear no dates1 but they are all signed with a ,g1 and one has in addition the full name1 ',godefroy4' ,in the two works the drawings have the same general appearance2 they are distinguished from those of the professional miniaturists by a very marked sobriety of colouring4 ,they are noticeable1 moreover1 by reason of a delicacy of execution and1 at the same time1 a sharpness of outline which can have come from no other hand than that of an engraver2 now the engraver can have been no other than ,tory1 whose shields and even his antique arabesques we find in these designs4 ,in addition to these two works1 of which the name and the style of the artist seem to me to permit their being attributed to ,tory1 ,i will mention here several others1 of a somewhat later date1 which likewise various circumstances make it possible to attribute to him4 ,the first is a translation of the first three books of ,diodorus ,siculus1 by ,antoine ,macault4 ,this superb manuscript1 which was in the library of ,m4 ,firmin ,didot pre in #ahaj1 is to-day buried in one of the private libraries of ,england4 ,a description will be found on pp4 #aff-afh4 ,it is true that there is nothing about it to suggest ,tory1 but the style of the painting and of the engraving 7the book was printed by ,tory's widow in #aece7 leaves no doubt as to his authorship4 ,the second is a collection of portraits of the kings of ,france1 by ,jean du ,tillet1 the manuscript of which1 presented by the author to ,charles ,,ix1 is still preserved in the ,bibliothque du ,roi4 ,see the description of this priceless manuscript1 and of several others preserved in the same collection4#bgi ,we come now to the second question3--,was ,tory an engraver8 ,neither ,zani nor ,papillon mentions him as such2 nevertheless1 there is one presumption in his favour4 ,la ,croix du ,maine1 who was almost his contemporary1 tells us#bhj1 without going into details1 it is true1 that ,tory was known by the name 'matre au ,pot ,cass'2 others have said that he perfected ,josse ,bade's letters4#bha ,m4 ,renouvier has recently written#bhb that ,tory possessed the rare faculty of using the 'eschoppe' graver as well as the pen4 ',le ,champ fleury1' he says1 'is a treatise on sthetics such as none but an engraver of types could conceive4' ,what ,m4 ,renouvier conjectured1 ,i assert1 with no fear of being contradicted by the facts4 ,to be sure1 ,tory did not anywhere state categorically that he was an engraver2 but he gave it to be understood indirectly4 ,for example1 he tells us that1 among the fancies that came to his mind on the #fth of ,january1 #aebc1 and resulted in the composition of ',champ fleury1' he remembered 'a letter of ancient form1' which he had 'not long since made for the house of my lord the treasurer of the wars1 maistre ,jehan ,groslier1 counsellor and secretary to the king our sire4'#bhc ,what was this ancient letter made for the famous bibliophile ,grolier1 if not the basis of the beautiful roman characters which were used in that scholar's establishment to decorate his books1 and to stamp upon them1 in gold1 this excellent device1 among others1 ',ioannis ,grolierii et ,amicorum8'#bhd ,again1 all the authorities agree that ,claude ,garamond was a pupil of ,tory4 ,now1 what could he have learned from his master1 if not the art of engraving types1--he who did nothing else in his whole life8 ,furthermore1 it is impossible to doubt that ,tory engraved types when one runs through his ',champ fleury4' ,note especially what he says on folio #cd recto1 where1 having given a drawing of a capital ,a reversed1 he explains it in the technical terms of the engraver4 ',this1' he says1 'is done to help and give hints to goldsmiths and engravers1 who1 with their burin1 graver1 or other tool1 engrave and cut an ancient letter reversed l'envers1 or1 as we say1 to the left1 so that it may appear to the right when it is printed and placed in its proper aspect4 ,i have purposely made it white1 and its background black1 the opposite of the one that is drawn to the right1 so that no one may be misled4 ,for1 as ,i have said1 ,i have seen and do see many persons who are misled4 ,before the letter to be printed is finished1 it is made twice reversed and twice to the right4 ,in the first of the reversed there are the punches#bhe of steel1 in which the letter is wholly left-handed4 ,the matrices have the letter to the right4 ,the letter then cast is1 as ,i have said of the punches1 left-handed4 ,then finally on the printed paper the whole appears to the right1 and in its proper aspect to be read currently4 ,i had forgotten to say that the broad leg of the ,a is one tenth of its square in width1 and the other leg one third as wide4 ,the transverse limb should be three fourths as wide as the broad leg1 as you may see by the drawings herewith made and duly proportioned4' ,after this1 and knowing as we do the relations between ,geofroy ,tory and the ,estienne family1 it will not be deemed extraordinary that ,i attribute to our artist the italic letters of ,simon de ,colines1 engraved about #aebe1 and the roman and italic letters of ,robert ,estienne1 engraved a little later4 ,but ,tory not only engraved letters1 that is to say1 punches on steel1 as some authors have stated3 he signalized himself above all by his engravings on wood1 and he illustrated almost all the books of his time1 which fact is almost wholly unknown4 ,i shall be asked1 doubtless1 upon what evidence my opinion is based4 ,it is this3 ,in the license to print the book of ,hours1 granted to ,tory by ,franois ,i on ,september #bc1 #aebd1 we read3#bhf ',our dear and well-beloved maistre ,geofroy ,tory 444 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 l'antique1 and likewise certain others1 la moderne1 to the end that the same may be printed and made use of in divers books of ,hours1 whereupon he hath employed himself a very long time1 and hath made divers great expenditures and outlays4' ,evidently the words 'he hath made' do not here apply to the drawing1 but to the engraving of these pictures and vignettes1 which he had previously drawn4 ,moreover1 ,tory himself betrayed his profession of engraver on wood in a charming vignette which he used as an initial in ',champ fleury1' and which is reproduced on page #a4 ,for we see therein1 besides a compass1 a square1 etc41 a pen and several varieties of knives used in wood-engraving2 all of which justifies the remark of ,m4 ,renouvier3 ',tory possessed the rare faculty of using the graver as well as the pen4' ,but1 ,i shall be told1 it avails nothing to prove vaguely that ,tory dabbled in wood-engraving1 if we can point to no works of his in that branch of the art1--for no one has done so hitherto4 ,i propose to try to gratify the reader's desire1 by proving that there is a way to recognize the engravings executed by ,tory4 ,many persons have already observed that the principal engravings in ,tory's books1 those which are most individual1 as1 for example1 the ,gallic ,hercules 7reproduced on page #ada71 and that of the ,pot ,cass which accompanies the description of that emblem in ',champ fleury' 7reproduced on page #ba7 bear a mark2 but this mark they dare not attribute to him1 because it is constantly found upon engravings1 alone or accompanied by initials1 for more than a century4 ,m4 ,robert-,dumesnil1 in his interesting work entitled ',le ,peintre-,graveur franais1' published in the course of his article on ,woeiriot1#bhg who himself used this same mark1 a catalogue of engravings signed with the double cross1--which he calls the cross of ,lorraine or of ,jerusalem1--extending from #aebb to #afcb4 ,he concludes that this mark was 'frequently employed in ,france1 as a fictitious signature1 on engravings on wood1 by artists whose names will probably remain forever buried in oblivion4' ,to banish this phantom1 which caused ,m4 ,renouvier himself to pause on the pathway of truth1#bhh it is sufficient to come to close quarters with it4 ,this is what ,i propose to do2 but first ,i must thank ,m4 ,robert-,dumesnil for having satisfactorily cleared up one important point4 ,until his book appeared1 almost all the engravings marked with the double cross had been attributed to ,woeiriot2 or1 rather1 the engravings of the latter had added to the perplexity of classifiers4 ,by identifying ,woeiriot's work1 ,m4 ,robert-,dumesnil has simplified the problem considerably4 ,only a small number of pieces remain to be ascribed to their authors1 and as to these ,m4 ,robert-,dumesnil expresses himself thus3 ',none of the works executed prior to ,woeiriot's birth and the beginning of his career as an artist can be by him2 of the others we hasten to say that not one seems to us to have been designed or executed by him4' ,nothing could be clearer4 ,let us add1 to close the discussion1 that ,woeiriot did not begin to engrave until long after ,tory had ceased1 as he was barely two years old when ,tory died2 and1 furthermore1 that his cross is almost always accompanied by his initials2 sometimes1 however1 he uses the cross alone1 but in that case the date prevents confusion4 ,take1 for example1 the ',emblesmes et devises chrestiennes composes par damoiselle ,georgette de ,montenay1' the first edition of which was in #aega4 ,it is impossible to attribute these engravings to ,tory1 who died nearly forty years earlier4 ,the other artists who used the cross may be divided into three classes1 according to ,m4 ,robert-,dumesnil's book4 ,first1 we find the cross alone1 from #aebb to #aefa2 secondly1 after a long interval1 in #aeii1 the cross appears accompanied by the initials ,i1 ,l1 ,b2 and1 lastly1 a little later1 two engravers on copper1 named ,jean ,barra and ,claude ,rivard1 signed their works with the cross4 ,i do not include here the double cross discovered by ,m4 ,robert-,dumesnil on the printer's mark of a book dated #afcb1 because it is the mark of ,gilles ,corrozet1 engraved a century earlier1 as we shall see further on4 ,to sum up1 then1 there are no anonymous works bearing the cross except those produced between #aebb and #aefa4 ,the only question is whether the engravings executed between those dates1 which bear the cross without initials1 belong to one or to several artists4 ,i will1 first of all1 call attention to the fact that this interval embraces only forty years1 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 time4 ,but this is not all3 this interval can be reduced by several years2 for the examples alleged to be subsequent to #aeeg1 mentioned by ,m4 ,robert-,dumesnil1 bear no date2 they appear1 it is true1 in books printed after that year1 but they were engraved earlier1 as ,i shall prove in due time4 ,blocks are not ephemeral objects2 like type1 they can be used indefinitely1 and their use at a certain date does not prove that they had been made within a short time4 ,we have just cited one--,gilles ,corrozet's mark--which1 simply by lack of use1 it was possible to reproduce in books for more than a century4 ,what surprises me is not that ,m4 ,robert-,dumesnil has seen engravings with the cross printed in #aefa1 but that he has found none of a later date1 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 ,i1 ,l1 ,b2 he might have discovered the beautiful illustration of the ,missal of #aeci1 which is described hereafter1 in books of the seventeenth and eighteenth centuries4 ,indeed1 we find wood engravings of the sixteenth century1 bearing the double cross1 in a book published at ,troyes in #ahej6 ,on the other hand1 ,i am surprised that ,m4 ,robert-,dumesnil found no engravings with the cross1 accompanied by initials1 of a date much earlier than #aeii1 for ,i myself have seen some that were contemporaneous with ,tory4 ,in fact1 the ,bibliothque ,nationale possesses a book of ,hours according to the use of ,paris1 printed in that city in #aedh1 by ,jean de ,brye's widow1 in which all the engravings are marked with the cross and the initials ,l1 ,r4 ,it is an octavo volume1 printed in gothic type1 and in red and black4 ,an interesting fact to be noted here is that these engravings are improved copies of other unsigned engravings belonging to the printer ,thielman ,kerver1#bhi and printed in a large number of books issued by him or his widow1 ,iolande ,bonhomme1 at least as early as #aebb1bij and still to be seen in the ,paris ,missal1 published by his son ,jacques in #aeei4 ,i have seen also engravings of the artist with the initials ,i1 ,l1 ,b 7cited by ,m4 ,robert-,dumesnil under the date of #aeii71 in a book of #aedg4 ,these facts do not tend to contradict my proposition2 they prove that ,tory founded a school1 and that his pupils adopted his mark 7which is nothing more than his initial1 or1 rather1 his toret1 transferred from the ,pot ,cass1 of which it was the essential feature1 to his engravings71 adding thereto their initials1 to distinguish themselves from the master whose ensign they hoisted1 and to preserve their own individuality4 ,i shall recur to this subject later4 ,the principal reason which prevented ,m4 ,renouvier from attributing to ,tory1 as he was naturally inclined to do1 the engravings marked with the double cross alone1 was the impossibility1 in his judgement1 of attributing them all to the same artist4 ',m4 ,robert-,dumesnil1' he says1 'has noted a large number of books of #aebb to #aeii1 on the title-pages and plates of which the cross of ,lorraine is found4 ,this list might be increased1 and the items should be carefully compared by whoever would try to find on them the mark of a wood-engraving establishment1 or of several engravers on wood who worked for the booksellers ,pierre ,gaudoul1 ,simon de ,colines1 ,robert ,estienne1 ,grouleau1 ,gilles ,corrozet1 ,vincent ,sertenas1#bia etc4' ,i have already answered the objection based upon ,m4 ,robert-,dumesnil's book1 which he himself has abandoned with great pleasure1 taking a deep interest in my discovery4#bib ,as for what ,m4 ,renouvier adds1 it does not run counter to my suggestion1 for ,i have already mentioned that1 after ,tory's death1 his widow carried on his engraving establishment for several years1 retaining the same mark4 ,this1 doubtless1 is the explanation of the differences to be noticed in the works signed with the ,lorraine cross2 for ,perrette le ,hullin1 not being an engraver herself1 must have employed different workmen4 ,this leads me to answer an objection that has been made to my theory4 ,my attention has been called to the fact that the ,lorraine cross appears on works anterior to ,tory1--such1 for example1 as the mark of ,gauthier ,lud1 the first printer of ,saint-,di in ,lorraine4 ,i have no purpose to claim the ,lorraine cross for ,tory alone4 ,he was not its inventor1 nor did it die with him2 but there is a distinction to be made between an emblem employed in a general way1 and one employed as the special mark of an artist4 ,not only do ,i not claim for ,tory the ,lorraine cross surmounting a circle1 which appears on the mark of the ,lorraine printer1 ,gauthier ,lud1#bic in #aejg1 but ,i exclude the ,lorraine cross surmounting a large gothic ,g1 found on the title-page of a folio ,missal according to the use of the church of ,toul1 printed at ,paris by ,wolfgang ,hopyl1 in #aejh4bid ,to my mind nothing could be more natural than that the ,lorraine cross should be used in ,lorraine2 but that does not prove that an artist at ,bourges may not have adopted it as the mark of his establishment4 ,i mention hereafter as one of ,tory's first engravings on wood the title-page of a book printed at ,meaux in #aebb1 and ,i then say that the preface of that book was dated ',meldis1 anno ,m4 ,d4 ,,xxi4'#bie ,m4 ,brunet makes me say1#bif ,i cannot imagine why1 ',metis' instead of ',meldis'2 and ,m4 ,didot1 misled by that statement1 says that the book in question was published at ,metz1#big which fact seems to him to explain the presence of the ,lorraine cross on the title4 ,this shows how an error may be appealed to in support of a theory4 ,not only have ,i not exaggerated the part played by my hero1 as authors are somewhat in the habit of doing1--on the contrary1 ,i have restricted it as much as possible4 ,since the publication of my first edition1 an attempt has been made to prove ,tory to be the maker1 or1 at least1 the decorator1 of the beautiful ,henri ,,ii porcelains1 so-called1 the subject of a recent publication of ,,mm4 ,delange1 father and son4 ,m4 ,didot himself adopted this opinion1#bih which is based upon a vague similarity1 but is completely refuted by the date of ,tory's death4 ,so far as ,i am concerned1 appearances are of no consequence1 unless they are accompanied by some substantial evidence2 and that is why ,i have excluded from the list of ,tory's works some engravings that ,messrs4 ,renouvier and ,didot do not hesitate to attribute to him because of certain similarities1 but which do not bear his mark4 ,it is that mark which has served me as a guide in identifying ,tory's work4 ,the objection is made1 to be sure1 that this plan requires the attribution to ,tory of engravings of very dissimilar styles4 ,every plan has its disadvantages2 but1 all things considered1 ,i prefer one that has something to stand upon to one that has nothing4 ,moreover1 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 artists4 ,in truth1 how many painters have we seen change their style of painting at a certain period of their lives6 ,but there is an even simpler way of explaining these dissimilarities in different engravings1 namely1 by admitting with me that the ,lorraine cross was the mark of ,tory's workshop1 but that in that workshop there were other artists of very diverse abilities4 ,in the same way1 we see to-day a multitude of engravings signed ',andrew1' ',best1' ',leloir1' to which those artists certainly never put their hands4 ,but let us have done with argument and come to the facts3 they will prove more conclusively than any number of dissertations the truth of our statement concerning ,tory2 they will prove1 in fact1 that all the works signed by the cross alone were engraved during that artist's lifetime1 or in the establishment which he founded and which his widow retained until about #aeef4 ,to make the demonstration clearer1 ,i will divide what ,i still have to say into three sections4 ,in the first ,i will include all the manuscripts the decoration of which can be attributed to ,tory2 in the second ,i will describe all the engravings marked with the ,lorraine cross that are known to me1 arranging them in chronological order2 and in the third ,i will mention such marks of printer-booksellers bearing the aforesaid cross1 as ,i have been able to discover4 ,as it is impossible for me to follow the chronological order in this last category1 ,i have adopted the alphabetical order1 which will enable one to find at once such of these marks as are mentioned in the second section4 ,illustration ,illustration ,,footnotes3 ,footnote #bge3 ,it should be borne in mind that the word miniature as used in this book has not its ordinary present-day signification2 it means here any ornamented or coloured design of small dimensions4 ,footnote #bgf3 ,see supra1 p4 #bc1 and note #a4 ,footnote #bgg3 ,see supra1 p4 #ga4 ,footnote #bgh3 ,see supra1 p4 #i4 ,footnote #bgi3 ,infra1 pp4 #afi-aga4 ,footnote #bhj3 ,bibliothque franoise1 article ',geufroy ,tory4' ,the author of ,recueil ,t 7vol4 xix1 p4 #bj7 of the ,mlanges tirs d'une grande bibliothque1 published by ,m4 de ,paulmy1 also says that ,tory was an excellent engraver1 the matre au ,pot ,cass4 ,footnote #bha3 ,lottin1 ,catalogue des libraires1 vol4 ii1 p4 #bcd4 ,footnote #bhb3 ,des ,types et des manires des matres graveurs1 etc41 xvi sicle1 p4 #afe4 ,footnote #bhc3 ,champ fleury1 fol4 #a4 ,see also supra1 p4 #ab4 ,footnote #bhd3 ',jean ,grolier's and his friends'4' ,the ordinary motto of ,grolier's books is3 ,portio mea1 ,domine1 sit in terra viventium4 ,may my lot be cast1 ,o ,lord1 in the land of the living4 ,footnote #bhe3 ,poinons3 that is to say1 the engraved model of a type1 on the end of a steel bar4 ,footnote #bhf3 ,see p4 #ajf1 supra4 ,footnote #bhg3 ,vol4 vii1 pp4 #dh ff4 ,footnote #bhh3 ,on this subject ,m4 ,renouvier says 7,des ,types et des ,manires des ,matres ,graveurs1 xvi sicle1 #ahed1 p4 #afg73 ',we cannot attribute it the double cross to ,geoffroy ,tory exclusively1 for we find it on many woodcuts which cannot be his4' ,footnote #bhi3 ,this should cause no surprise3 the idea of property1 in respect to artistic productions1 is altogether modern4 ,the first engravers signed almost nothing2 it was not until the sixteenth century that they marked their works with special emblems1 and even then it was not so much with the object of assuring themselves a monopoly in them1 as with that of making themselves known to persons who might require their services for other works4 ,little by little this species of advertisement became an effective muniment of title1--in the natural order of things4 ,it was the same with works of the mind4 ,not until quite a late period were scholars and other men of letters able to derive any profit from their works4 ,in the early days of printing1 even1 a printer who proposed to reprint a book did not consider himself bound to obtain the author's consent4 ,from the moment that he made his book public1 it was regarded as a treasure belonging to society at large4 ,footnote #bij3 ,hours in quarto in the ,bibliothque ,nationale 7,brunet1 ,manuel de ,libraire1 #eth ed4 vol4 v1 col4 #afbc1 no4 #aig74 ,there is also an edition of #aebe 7ibid41 no4 #aih71 and one much later1 but lacking the first and last leaves4 ,m4 ,silvestre owns an octavo edition of #aecj4 ,footnote #bia3 ,des ,types1 etc41 xvi siecle1 p4 #afg1 note4 ,footnote #bib3 ,,mm4 ,a4 ,devria1 ,robert-,dumesnil1 and ,j4 ,renouvier have all died since the first edition of this book4 ,footnote #bic3 ,see ,brunet1 ,manuel de ,libraire1 #eth edition1 article ,cosmographia4 ,footnote #bid3 ,beaupr1 ,notice bibliographique sur les livres liturgiques des diocses de ,toul et de ,verdun1 #hvo1 #ahdc1 p4 #af4 ,footnote #bie3 ,infra1 #b2 #aeba-aebb 7p4 #age74 ,footnote #bif3 ,manuel1 etc41 #eth edition1 vol4 ii1 col4 #aahf4 ,footnote #big3 ,essai sur la gravure sur bois1 col4 #adg and #aej4 ,footnote #bih3 ,essai sur la gravure sur bois1 col4 #ach4 ,,section ,i4 ,,manuscripts ,,decorated ,,with ,,miniatures ,,by ,,tory4 #a4 ,,commentaires ,,de ,c,,sar4 #b4 ,,triomphes ,,de ,p,,trarque4 ,for a description of these two manuscripts#bii ,i cannot do better than transcribe in this place the interesting work of ,comte ,lon de ,laborde4 ,i print this work just as it was published several years ago1 having no authority to modify it4 ,but ,i think that ,i may venture to say that if it had been prepared since the publication of my book on ,tory1 it would contain a judgement in his favour4 ,that seems to me to be the result of my conversations with ,m4 de ,laborde4 ,my friend ,m4 ,jules ,renouvier1 whose death is so deeply to be deplored1 and in whose company ,i examined the volume of the ',commentaires' in the ,bibliothque ,nationale1 was entirely of my opinion4 ,he spoke of the manuscript in question in these terms in a critical review of the first edition of my book on ,tory1 printed in the ',revue ,universelle des ,arts' for ,september1 #aheg 7vol4 v1 no4 #f1 p4 #eaa73-- ',the point that we knew least about was ,tory's dbut in the career of an artist4 ,it was most brilliant if we agree with ,m4 ,bernard that he was the author of the miniatures found in two well-known manuscripts1 the ,commentaires de ,csar in three volumes and the ,triomphes de ,ptrarque1 in which we find the signatures ,g1 and ,godefroy1 and the dates #aeai and #aebj4 ,m4 de ,laborde has recently described them with all the care that they deserve1 without discovering who this ,godefroy was4 ,he was no other than ,geofroy ,tory1 says ,m4 ,bernard1 and this opinion is plausible2 for1 if the subsequent work of the engraver on wood does not fulfil the promise of the miniaturist1 the drawing is governed by identical characteristics1 and the similarity of style is striking1 especially when we consider the engravings that are nearest in point of time1 as those of ,champ fleury1 dated #aebf4 ,considered from this point of view1 ,geofroy ,tory is the most precocious of the artists of the ,renaissance3 before the masters of ,fontainebleau1 he introduced the stately1 graceful and individualized figures1 which aroused enthusiasm in the time of ,franois ,i1 to which ,italy lent much of her style1 and ,germany a little of her force1 but which were more thoroughly ,french than is generally admitted4 ,it is well known1 moreover1 that these miniatures were originally1 even in the camaieu process1 heightened in effect by chatoyant tones1 with subtleties of drawing which denote a hand more apt to handle the pencil than the brush1 and altogether adapted to the tools of the engraver4 ,the draughtsman loses a part of his distinction in passing from a privileged to a commonplace form of art2 but so the progress of art willed4' ,the work of ,m4 ,lon de ,laborde follows3-- ,,godefroy1 ,,painter ,,to ,,fran,,ois ,i4 ,godefroy has left us1 in four small volumes1--the first three entitled ',commentaires de ,csar1' the fourth ',triomphes de ,ptrarque'--the proof of a fruitful imagination1 of a talent in portrait-painting no less flexible than varied1 and of a superiority original with himself1 and thoroughly ,french1--a very unusual combination of the qualities peculiar to our school prior to the formation of the school of ,fontainebleau1 and of the qualities--or1 to speak more accurately1 the defects--which that colony of foreign artists was soon to introduce in our midst4 ,these four volumes1 after divers vicissitudes1 repose at last1 at the end of their journeyings and safe from the risk of destruction1 the first in the ,british ,museum at ,london1 the second in the ,bibliothque ,nationale at ,paris1 the third in the collection of ,h4 ,r4 ,h4 the ,duc d',aumale1 and the fourth in the ,bibliothque de l',arsenal4 ,i will describe first the ',commentaires de ,csar1' a beautiful manuscript1 the three volumes of which ,i have had before me one by one4 ,there are in this work three things worthy of remark1 to which ,i shall direct the reader's attention for a brief space4 ,first1 the composition of the work2 second1 the painting of the decorations2 and lastly1 the portraits4 ,the author1 a native of ,flanders or ,artois1 transplanted to the ,court of ,france1 displays no overplus of wit or imagination4 ,he supposes that ,king ,franois ,i1 in one of his excursions1 or while hunting1 meets ,julius ,csar1 and that they converse4 ,the subject of their dialogue is the ,gallic war2 it is a sort of commentary on ,csar's ,commentaries1 with transparent allusions to the events of the reign of ,franois ,i4 ,it is in these allusions that we detect the author's predilection for the ,belg1#cjj with whose country he is familiar1 and particularly for the city of ,tournay1#cja which may well have been his native place4 ,i do not propose to draw any inference from his hatred of the ,english#cjb2 although more violent in our northern provinces than elsewhere1 that sentiment was then universal in ,france4 ,it would seem1 at least so far as the implements of war are concerned1 that the painter who was employed to embellish the manuscript worked under the author's direction4 ,we find in several places remarks like this3 ',the tower is sufficiently described by the engines that ,i have caused to be drawn herein4' ,for the rest1 we feel that we have to do with a conscientious author2 and simply by the extracts which follow1 we may recognize the man who is uncertain and hesitates1 the student who leaves every one in possession of his rights and who confides his doubts to the reader4 ,on the eighth leaf of volume two he has instructed ,godefroy1 the painter1 to reproduce an antique medallion2 he writes in the margin3 ',i fear that it is not that ,cassius who was a conspirator in the death of ,csar1 for his name was ,caius ,cassius1 and ,i find on the medallion ,quintus ,cassius4' ,as to one of the pictures of machines of war he makes this comment3 ',certain pictures of implements of war1 as they are portrayed by ,frre ,jocunde in book x of ,vitruvius4' ,beside another1 he says3 ',i am not the inventor of the machines which follow1 for ,i found them in a book that ,i secured long ago at ,chastellerault1 at the ,lyon d'or4' ,to this curious piece of information let us add another1#cjc which tells us that the author of the book was in relations with an artist of ,blois1 a clock-maker and inventive genius3 ',the two pictures that follow two warlike machines were taken from a book that ,julian1 clock-maker at ,bloys1 gave me4--,julian is a man of great wit and knows many things4' ,a passage on folio xxii verso of the second volume seems to prove that the manuscript was written during the years #aeai and #aebj3 ',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 nineteen1 you will see clearly who the ,belg are4' ,after the author1 it is proper to speak of the calligrapher who wrote the manuscript2 but there is nothing to be said save that it is in a fair hand4 ,the painter ,godefroy deserves more consideration and careful attention4 ,let us not forgot that we are dealing with a perfectly well-fixed time1 limited to the years #aeai and #aebj2 let us1 at the same time1 recall the great national movement in art in ,france from #adej to #aejj1 the ,italian campaigns1 the arrival of artists and objects of art from ,italy during the reigns of ,charles ,,viii and ,louis ,,xii1 and lastly1 and above all1 the sojourn in ,france of the two great ,italian masters1 ,leonardo da ,vinci and ,andrea del ,sarto1 from #aeae to #aeah4 ,born and trained amid such influences1 a ,french painter undertakes to decorate a manuscript for ,king ,franois ,i4 ,what does he do to satisfy the prevailing taste1 the fashion1 without denying his past8 ,he divides his talent into two parts1#cjd and devotes one1 the ,french part1 to the portraits1 the other1 the ,italian imitation1 to the decorations2 in both he gives proof of abundant talent4 ,in the one case1 an exact1 shrewd observer1 he paints faces by faithfully reproducing their individual traits2 in the other1 fertile1 never the same1 abounding in resources in the ensemble and the details of his compositions1 he is the pupil of ,leonardo da ,vinci1 with suggestions of ,mantegna and the artists of the first ,italian ,renaissance in the proportion of the figures1 in the ungracefulness of the attitudes1 and in the types of the heads4 ,from this period1 from these influences1 and not from ,primaticcio1 who was himself subjected to them1 dates the ,fontainebleau school4 ,it was adapted to the figure and the type of beauty of ,diana de ,poitiers2 she encouraged it2 but1 ,i say again1 it was formed1 it was current1 before the reign of the mistress of ,henri ,,ii and before the painter who is its most characteristic expression4 ,if we seek to discover what method of execution was adopted by ,godefroy1 we see that his portraits are charming miniatures1 comparable with the finest examples that we have of ,french miniature-painting2 as for the drawings1#cje there are some that are almost grisailles1 almost coloured--a mongrel and conventional scheme1 of very doubtful taste4 ,the painter drew his whole subject with the pen1 with a sureness of touch which1 it must be said1 has no parallel in such microscopical dimensions1 especially with respect to the faces and the landscapes2 then he laid in the general outline1 with the brush and with sepia1 in flat tones1 rather lacking in life4 ,thus far he did not depart from the canons of art2 but he added coloured costumes1 suits of armour1 gilded trappings1 and a multitude of details which flutter about in his grisaille and depart from nature in a most extraordinary way4 ,i have said that his figures are reminiscences of ,italian works4 ,we find among them ,donatellesque forms1 profiles perdus1 and bold gestures that recall ,mantegna1 ,perugino-like graceful attitudes and ways of carrying the head1 and1 in spite of everything1 a ,french background1 and points of resemblance to ,holbein1 which might be taken to signify that ,godefroy had never seen ,italy4 ,our national ,renaissance had made such progress in nearly a century that our artists needed only a few drawings1 a few engravings1 with the impulsion given by ,leonardo da ,vinci and ,andrea del ,sarto1 to enter that ,italian current4 ,it may be that our compatriot1 like ,holbein1 was subjected to this influence from afar1 at second hand1 without having crossed the mountains4 ,first volume4#cjf--,the book opens with a map of ,gaul1 and we read on the verso of the first leaf the following passage1 written within a cartouche3 ',franoys1 by the grace of ,god1 ,king of ,france1 a second ,csar1 vanquisher and subduer of the ,souycez ,swiss1 on the last day of ,april1 one month after the birth of his second son1 in his park of ,sainct-,germain-en-,laye1 fell in with ,julius ,csar and questioned him shrewdly concerning the contents of the first book of the ,commentaries4' ,in another cartouche is a passage of which we need transcribe no more than the first words3 ',csar1 first subjugator of the ,helvecez ,helvetii1 ,swiss1 graciously made reply to him1' etc4 ,on the third leaf ,godefroy has painted the portrait of ,franois ,i1 head and shoulders alone1 in a medallion4 ,he wears his usual costume and the cap1 without a feather1 adorned with a banner4 ,his features and his whole countenance are idealized--they are a little stiff and sharp2 the artist has sought to produce an ideal antique head4 ,the first miniature1 on the verso of the fifth leaf1 bears the date #aeai1 with no monogram2 the others--folios #i1 #ac1 #ag1 #ba1 #bc1 #ca1 #cc1 #cf1 #dc1 #ec1 #fj1 and so on to the end--are signed with a ,g1 and dated the same year4 ,on the miniature painted on the recto of folio #ec1 the initial of the artist's name is traced on the trunk of a tree from which hangs a small cartouche with the words1 ',besanson1 #aeai4' ,to be sure1 the corresponding passage in the text requires that the miniature in question should represent that venerable city1 but a certain precision in the details1 and a sort of predilection manifested in the care bestowed upon the execution1 lead me to believe that the view was painted after nature1 and that ,godefroy was attached to that city by some bond4 ,i have already spoken of the special characteristics of these miniatures1 and ,i will mention here only the one on folio #bc1 which represents the building of a bridge over the ,sane4 ,in the foreground we see figures reminiscent of the painter ,mantegna in their activity1 their vigour1 and a certain almost antique grace4 ,the artist has retained the long pointed shoes to mark the ,frenchman2 this is an ill-timed display of archological learning4 ,the volume1 a large octavo1 shaped like a notebook1 contains #gf leaves1 including the map4 ,it is in its original binding of red morocco1 with ornaments of wreaths of fleurs-de-lis1 stamped with small tools4 ,one can see the marks of the ribbons which were used to close it and to keep the vellum from puckering4 ,on the recto of the first leaf1 below the map of ,gaul1 are the words3 ',bibliothec ,christophori ,justelli4' ,this note1 while it establishes the antiquity of the manuscript1 also explains its emigration to ,england4 ,christophe ,justel1 ,councillor and ,secretary to the ,king1 died at ,paris in #afdi1 at the age of seventy1 leaving to his son1 together with the taste for study1 a valuable collection of books and manuscripts4 ,among the latter was this first volume of the ',commentaires de ,csar4' ,henri ,justel succeeded his father in the office of ,secretary to the ,king2 also in his literary studies and in the liberality with which his library and house were thrown open to scholars4 ,the letters of all the learned men of the time bear witness to his hospitality offered to learning4 ,he published at ,paris1 in #affa1 the ',bibliotheca juris canonici veteris ex antiquis codd4 mss4 bibliothec ,christophori ,justelli1' in two folio volumes1 and he seemed destined to pursue in peace his erudite career4 ,but the tempest called the ,revocation of the ,edict of ,nantes was preceded1 for far-seeing ,protestants1 by premonitory signs which were enough for ,henri ,justel4 ,he packed up his books and crossed to ,england1 where he was appointed ,librarian to the ,king--an office which he held until his death in #afih4 ,the manuscript of the ',commentaires' was probably purchased at the sale of his library by ,robert ,harley1 ,earl of ,oxford4 ,the ,lord ,treasurer of ,england 7#affa-agbd7 found consolation for the ingratitude of men in forming that magnificent collection1 which retains the name of the ,harleian ,collection in the ,british ,museum4 ,our manuscript1 however1 reached that haven only with the second part of ,robert ,harley's books and manuscripts1 in #aged4 ,second ,volume4#cjg--,the first miniature represents ,franois ,i on horseback1 in hunting costume1 wearing the chapeau with plumes4 ,the ,king is urging his horse to the right4 ,above his head a crowned ,f in gold stands out against the blue background of a shield4 ,this was a device for disclosing his identity to those who were not struck by the likeness4 ,in the middle distance is a huntsman1 galloping in the same direction as the ,king and blowing his horn4 ,over his head floats a banderole1 bearing the name ',,perot4'#cjh ,on a stone between the legs of the ,king's horse is the initial letter of the artist's name2 and beneath1 in a frame 7separated1 however1 by a running dog71 the date #aeai4 ,the border is of the utmost grace of design1 and leaves room for a few words of the text1 which begins thus3-- ',franoys1 by the grace of ,god ,king of ,france1 desiring to exercise his lusty youth by violent labour1 early in the month of ,august in the year one thousand five hundred nineteen1 went forth to course the stag in the forest of ,byevre1 and gave order that on that day those dogs should course which he had chosen to lead the pack1 because they are surer than the others4 ,gaillart was of the number1 as was ,gallehault1 and pretty ,rameau4 ,arbault1 ,gerfault1 and ,billehault went in their company4 ',the ,king was following the stag very close and was riding at full speed when he fell in with the chaste ,diana4 ,the ,king was overcome with joy1 and having forgotten his quarry1 he was all amazed that the vision vanished and he remained all alone in deepest thought4 ,but soon after he saw beside him an ancient man of venerable aspect4 ,he knew upon hearing him speak that it was his friend ,julius ,csar1 whom he had met in like manner1 only three months before1 in his park at ,sainte-,germain-en-,laye4' ,thereupon they enter into conversation upon ,csar's campaigns4 ,godefroy's plates1 almost all of which are signed with a ,g and dated #aeai1 are on these leaves3 #b verso1 #c verso1 #d verso1 #e verso1 #g verso1 #i verso1 #bj recto1 #bb verso1 #bh recto1 #cc verso1 #cd verso1 #cf verso1 #cg verso1 #dc recto1 #df verso1 #dh verso1 #ei verso1 #fb verso1 #gh verso1 #ij recto4 ,the medallions1 which are copied from the antique1 are admirably executed in gold on a blue ground1 the models being delicately outlined in sepia4 ,they are on leaves #f verso1 #h recto1 #i verso1 #aj verso1 #aa recto and verso1 #ab recto and verso1 #ac recto and verso4 ,warlike machines1 copied from other drawings1 and consequently lacking the life imparted by the representation of real objects1 fill leaves #ci recto and verso1 #dj recto and verso1 #da recto1 #ia recto and verso1 #ib recto and verso1 #ic recto and verso1 #id recto4 ,lastly1 the portraits may be found on the leaves which ,i am now about to enumerate4 ,i will add nothing to what ,i have said of their perfection1 generally speaking1 reserving my comments for the points of interest suggested by the manuscript itself4 ,these portraits1 as one might have anticipated1 and as is proved by leaf #eb most directly1 are copies of originals which antedate the manuscript4 ,they are painted in miniature1 surrounded by three circles of black and gold2 the whole medallion is fifty-two millimeters in diameter1 the miniature forty4 ,leaf #be verso3 ,quintus ,pedius4 ,such is the title given by the scribe2 but a different hand has written in the margin1 in cursive characters3 ',le grand maistre de ,boissy1 aged #da years4' ,i am inclined to see in these marginal annotations the hand of the author rather than that of the artist4 ,this portrait is three-quarters full1 turned to the left1 with a cap on its head1 the hair in a net1 a collar of some order around the neck1 face tranquil1 expression shrewd4 ,leaf #ce recto3 ,le ,fiable ,divitiacus ,dautun4 7',admiral de ,boissy1 seigneur de ,bonivet1 aged #cd years4'7 ,three-quarters full1 turned to the right4 ,leaf #cf3 ,quintus ,titurius ,sabinus4 7',odet de ,foues1 ,sieur de ,lautrec1 aged #da years4'7 ,three-quarters full1 turned to the left4 ,leaf #db3 ,iccius4 7',le mareschal de ,chabanes1 seigneur de la ,palice1 aged #eg years4'7 ,three-quarters full1 turned to the left1 expression slightly haughty4 ,leaf #eb3 ,lucius ,aruculeius ,cotta4 7',anne de ,montmorency1 aged #bb years1 afterwards connestable de ,france4'7 ,leaf #gc3 ,publius ,sextius ,baculus4 7',le mareschal de ,fleuranges1 son of ,robert de la ,marche1 first seigneur de ,sedan1 aged #bd years4'7 ,three-quarters full1 turned to the left4 ,leaf #gf verso3 ,publius ,crassus4 7',le sieur de ,tournon who was killed at the battle of ,pavia1 aged #cf years4'7 ,three-quarters full1 turned to the left4 ,on the verso of leaf #hi we find these words3 ',thus ,csar made an end of speaking and forthwith disappeared4 ,the radiant ,diana1 who knew the paths of the forest of ,bivre1 and of all time was privy to and understood the laws of the chase1 remounted1 and by so straight a course led the ,king1 who had lost the dogs1 that within a few hours1 near the forest of ,fontainebleau1 he saw them hunting better than before4 ,and he was the first of all at the death of the stag1 but he had with him only pretty ,arbault and the beautiful ,greffire1 for ,diana and ,aurora had left him and had gone their ways4' ,the two dogs are represented in the miniature2 they are attacking the stag1 while the ,king makes ready to stab him4 ,this volume1 containing #ih leaves1 is bound in black morocco1 which has grown rusty2 it bears these words stamped in the leather3 ',tomus ,secundus4' ,it is catalogued in the ,supplment ,franais1 as no4 #acbh4 ,its history1 as told among the habitus of the ,bibliothque ,nationale1 is as follows3 ,m4 ,van-,prat appeared at the ,conservatoire one day with an exultant air2 he had this fascinating manuscript in his hand1 and announced that he had purchased it for the ,bibliothque for #abjj francs4 ,he expected to gladden the hearts of his comrades1 to call forth expressions of gratitude2 far from it2 on the contrary1 they found fault both with that method of purchasing1 without authority1 and with the price that he had paid4 ,m4 ,van-,prat made haste to banish the scruples of his inflexible directors1 and to put an end to the unpleasant discussion that was beginning1 by declaring that the purchase had been made for himself and not for the ,bibliothque2 then1 when the meeting was adjourned1 he hastened to his friends the brothers ,debure1 and1 with a bursting heart1 told them of his misadventure4 ,they appreciated ,van-,prat's regrets too thoroughly to try to calm them2 but they knew also that he was not rich enough to keep the manuscript1 and they bought for their own little collection1 at the price that he had paid1 that charming product of ,french art1 still bleeding from the reception that it had met with at the hands of the great so-called 'national' collection4 ,years and years had passed since this strange performance1 when1 in #aheb1 a small package was brought to ,m4 ,naudet1 with the information that ,m4 ,debure1 by his last will1 had ordered that this manuscript1 embellished with paintings by ,godefroy1 which had been purchased for the ,bibliothque and spurned by it1 should be restored to it as its property4 ,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 act4 ,without exerting itself overmuch to decide that point the ,conservatoire of the ,bibliothque ,impriale welcomed the prodigal child and deposited it in the ,supplment ,franais4 ,but1 with a lingering remnant of spite1 its light was hidden under the bushel of 'la rserve'2 which is one way of preventing people from having access to it with the facility which assists investigations1 under the protection of that liberality which is one of our claims to honour among foreign nations1 and which the government of the ,bibliothque should have preserved1 even at the price of the inconvenience that it might have caused4 ,third ,volume4#cji--,original binding1 with the title3 ',csaris liber tertius4' ,the text begins thus3-- ',on the twenty-seventh day of ,february1 one thousand five hundred ,,xx1 the ,king being in his park of ,congnac1 seeing that the splendour of his entry was like to be marred by the inclemency of the weather1 took shelter in the house of the labyrinth1 having with him monsieur l',admiral and the young and discreet ,sieur de la ,rochepot4 ,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 ,v,,xx in divers places about ,paris4' ,the result of all this uproar is the appearance of ,julius ,csar4 ,franois ,i questions him as to what he did after pacifying ,gaul4 ,whereupon ,csar replies3-- ',i tell you that1 after divers victories won by me1 so high an opinion of me and so great renown were spread among the barbarian peoples1 that ambassadors were sent to me by the nations beyond the ,rhine1 who in the name of their cities promised to give hostages to me and to obey my commands4 ,but1 for that ,i was in haste to go thence1 ,i bade them return to me in the summer season4 ,thereafter ,i led my legions to winter quarters in the land of ,touraine and in the duchy of ,madame your mother4 ,and that done1 ,i went hence to ,italy4' ,this volume is supplied with two maps3 one1 of ,aquitaine1 is at the beginning1 the other1 of ,bretagne1 at the end of the volume1 which contains also no less than twelve large miniatures4 ,the ,king1 in hunting costume1 figures again and again in them4 ,the execution is as careful1 and the paintings of the same type1 as in the two earlier volumes4 ,all the miniatures and the maps are signed with a ,g1 and some of them are dated #aebj4 ,on folio #eb1 the painter's name is written in full3 ',godefroy4' ,the former owner of this fine manuscript writes to me3 ',i cannot furnish you with any interesting information concerning the manuscript of the ,commentaires de ,csar4 ,it was given to me1 only the slightest importance being attached to the gift1 by a resident of ,tours1 who owned no books1 and who had kept it for forty years in his closet4 ,to tell you how it came into my hands would be the more difficult because that person has long been dead4 ,the volume was delivered to me in very bad condition4 ,i employed ,duru to repair the back and to rebind it1 leaving intact the covers1 which were of the original sixteenth-century binding4 ,a small engraving1 which resembled niello-work1 but was recognized as the work of tienne de ,laulne1 an engraver of ,orlans1 was at the beginning of the book4' ,obliged1 in #ahej1 by circumstances which it is needless to detail1 although they were to his honour1 to part with this precious volume1 its owner sent it to ,paris1 to ,m4 ,techener1 for sale on commission4 ,he wanted #bjjj francs for it1 and first of all the bookseller offered it to the ,bibliothque ,nationale4 ,the ,conservatoire of that great collection could not find that amount in its annual credit of #hj1jjj francs1 and it renewed the old joke which had temporarily banished the second volume4 ,unfortunately one does not meet every day1 to repair its errors1 generous booksellers like ,m4 ,debure1 or those who have it in their power to be as generous as he2 and ,m4 ,techener1 who was richer than our rich collection of books for the purpose of purchasing this manuscript1 was not rich enough to present it to that collection4 ,he advertised it in the ',bulletin du ,bibliophile' for #ahej 7no4 #abbb71 for #cjjj francs4 ,during a whole year1 artists and curious folk 7,i was among the latter7 were at liberty to examine it at leisure and to lament the advent of ,english dealers who threatened every moment to take it from us4 ,at last1 ,monseigneur le ,duc d',aumale added it to his treasures of printed books and manuscripts1 and1 although in ,england1 one may say now that it belongs to ,france4 ,indeed1 it may be that ,m4 ,debure's example will be followed some day1 and that this third volume will come to join the second on the shelves of our magnificent department of manuscripts1 awaiting the time when the fortunate result of negotiations with the ,british ,museum shall permit the consummation of the work by means of exchanges4#caj 99 99 99 99 99 ,godefroy's facile talent could not fail to be fruitful of results1 and some of his works may be found in several collections4 ,the ,bibliothque de l',arsenal owns one of them1 the ',triomphes de ,ptrarque1' which seems1 in view of the exuberance of the subjects1 the exaggeration of the artist's defects1 and the laxness of execution1 to be of later date than the ',commentaires de ,csar'2 and1 whether because the artist had visited ,italy1 or because1 the better to interpret the poet's ideas1 he sought inspiration in ,italian works1 it is certain that he is less ,french in the illustrations of this manuscript than in the others4 ,he is more perfect1 too1 in the art of composition1 his distances are more accurately measured1 his groups are more in harmony with one another2 in a word1 he displays an inspiration1 or resources1 altogether new3 such1 for example1 as the device of cutting off the figures in the foreground at the waist1 by means of rising ground1 whereby he is able to give them strongly proportioned frames without filling up his whole picture4 ,i will describe this manuscript briefly4 ,it is a small octavo volume of ten leaves 7not including the covers71 written on fine parchment4 ,it is about #aj centimetres in height by #h in width4 ,it was rebound in the eighteenth century1 in lemon-colored morocco4 ',here followeth the first of the six triumphs of the most illustrious and venerable poet ,messire ,francisque ,petrarque3 the which is the triumph of ,love and containeth four chapters4' ,chapter ,i4 ,a miniature painted on pages #b and #c1 which face each other4 ,it represents the triumph of ,love1 with a deal of disorder and somewhat licentious details4 ,the ,g can be seen in the foreground1 in the centre of the picture1 on the ground4 ,chapter ,,ii4 ,the miniature has been removed4 ,chapter ,,iii4 ,the miniature occupies the verso of the title of the chapter4 ,in the foreground are amorous couples discoursing together1 some seated1 some walking about4 ,the men wear caps with long feathers1 as in the bas-reliefs of the htel de ,bourgtheroude4 ,the architectural arrangement in the background is charming4 ,beside a triumphal arch rises the tower of love4 ,flames are darting from all its windows1 and meanwhile a long procession of women rushes through the door1 followed by a ,cupid with bandaged eyes4 ,the artist has painted his initial on the tower4 ,chapter ,,iv4 ,in this miniature1 ,petrarch's face1 twice repeated1 seems to be a reproduction of an original portrait4 ,the ,g can just be distinguished on a rock in the foreground2 it has been effaced4 ',here followeth the second triumph of ,messire ,francisque ,petrarque1 the which is the triumph of ,chastity4' ,the miniature occupies two facing pages1 but it forms two distinct pictures4 ,the buildings in the background are arranged in a quasi-,italian style1 but are not a reproduction of any known structure4 ,godefroy has placed his ,g on a tree1 at the left1 accompanied by three lizards--a detail which should not be passed over1 for it is repeated several times1 as if the name of those creatures bore some relation to that of the artist4 ',triumph of ,death1 the which is the third triumph of ,petrarque4' ,chapter ,i4 ,this miniature is one of the most interesting and best preserved4 ,death1 grasping his scythe1 stands over the body of a young woman lying dead on the triumphal chariot4 ,it is1 in fact1 the ,italian triumph1 as we have it represented in so many works4 ,in this case the miniature is in duplicate1 as well as the painting4 ,the ,g is at the bottom4 ,chapter ,,ii4 ,miniature on a single page3 the death of ,laura4 ,the young woman is lying on the bed of death4 ,she is surrounded by her friends1 with palms in their hands4 ,above1 in the sky1 is seen the form of the ,virgin4 ,it is a very pleasing composition1 nearly filling the frame1 and the effect is charming4 ,chapter ,,iii4 ,petrarch and ,laura are seated in the shade of tall trees1 on the bank of a pond in which two swans are floating4 ,the same two persons are seen farther back1 twice repeated1 and diminishing in size according to the distance4 ,an architectural structure1 decidedly ,italian in type1 closes the view at the back4 ,the ,g is painted on a stone at the feet of ,petrarch and ,laura4 ,evidently ,godefroy had studied several portraits of the two1 and he copies them with some success in their various attitudes4 ,the trees are done so skilfully that one might well believe that he could recognize the touch of a landscape artist1 and a generally happy effect gives to this miniature all the value of a painting4 ',here followeth the fifth triumph of ,messire ,francisque ,petrarque1 the which is the triumph of ,time4' ,the miniature occupies two pages and includes two subjects4 ,in one1 ,time1 represented by the signs of the zodiac1 and by the allegorical figures of antiquity1 marks his progress in the sky2 mortals undergo his influence on the earth4 ,the artist has signed his work at the right1 at the foot of the picture1 this time with his full name3 ',godefroy4' ,in the other miniature the triumph of ,time is represented4 ,he is passing in his chariot1 drawn by four horses at a gallop1 between the four ,seasons4 ,on the left1 at the foot1 we see a ,g and two lizards4 ',here followeth the sixth and last triumph of ,messire ,francisque ,petrarque1 the which is the triumph of the ,deity4' ,this title is followed by a double miniature4 ,in one1 we see ,god the ,father and ,jesus ,christ1 with the ,holy ,spirit soaring above their heads1 seated on the globe and presiding at the last day4 ,flames fall from the skies upon mankind1 who are divided into the good and the bad2 angels tranquilly lead the former1 while devils brutally pursue the others4 ,at the foot1 on the right1 is the ,g4 ,on the other page1 ,god the ,father and ,god the ,son 7the ,holy ,spirit hovering over them as before7 are seated in a triumphal chariot drawn by the ox1 the lion1 the eagle1 and the angel1 which are the symbols of the evangelists4 ,they come forward1 surrounded by all the dignitaries of the ,church4 ,pagan ,love1 with bandaged eyes1 lies dead on the ground near the chariot wheels2 a long procession of saints1 male and female1 concealed below the waist by an elevation1 are following the course of the chariot in the foreground4 ,this arrangement made it possible for the artist to make his figures larger and to delineate their features with care4 ,the ,g is at the foot of the miniature1 on the ground4 ,all these miniatures1 painted in grisaille1 with blue skies and water1 and with some few details in colour1 are #hf millimetres high and #fh wide4 ,comte ,lon de ,laborde4 #c ,in the catalogue of the library of ,m4 ,firmin ,didot pre1 sold in #ahaa1 is the following description of a magnificent manuscript3#caa-- ',the first three books of ,diodorus ,siculus1 translated from ,latin into ,french by ,antoine ,macault4 ,small folio1 in blue morocco1 with dentelles1 lav1 rgl1 bound with the arms of ,franois ,i1 whose cipher it bears on the back and on the cover4 ',a superb manuscript on vellum1 presented to ,franois ,i1 containing #agc leaves1 #cj lines to the page4 ,it is illustrated with miniatures and with a large number of initial letters painted with the utmost care4 ,the first miniature represents ,franois ,i surrounded by the nobles and scholars of his court2 it is #aj inches high and #f wide4 ,this painting1 of the most finished workmanship1 has the additional merit of presenting the features of several great men of that time4 ,all the pages on which chapters begin are set in fillets of gold and ultramarine4 ,the initials are #ai lines high and #ab wide4 ,more than fifty of these initials represent the principal subjects of their respective chapters4 ,the third book is especially noteworthy1 for1 beginning with page #acj1 there is a series of small miniatures1 admirable in execution and of the greatest exactness in respect of forms4 ',this manuscript has the advantage of being in a most excellent state of preservation4' ,it was sold to ,m4 ,brunet1 author of the ',manuel du ,libraire1' for #adgf francs 7not including the usual expenses72 he bought for ,william ,beckford1 ,esq41 of ,fonthill ,abbey in the ,county of ,wilts1 of which ,salisbury is the shire town4 ,the author of the ',repertorium ,bibliographicum1' printed at ,london in #ahai1 informs us that ,macault's manuscript was at that time in the library of that distinguished collector1 which is described on pages #bjc to #bcj of the ',repertorium4'#cab ,the description of the manuscript is as follows3-- ,,diodore4--,,les ,,trois ,,premiers ,,livres ,,de ,,diodore ,,sicilien1 ,,historiographe ,,grec ,,des ,,antiquitez ,,degipte1 ,,ethiopie ,,et ,,autres ,,pays ,,dasie ,,et ,,daffrique4 ,,translatez ,,de ,,latin ,,en ,,francoys ,,par ,,maistre ,,anthoine ,,macault1 ,,notaire1 ,,secretaire ,,et ,,valet ,,de ,,chambre ,,ordinaire ,,du ,,roy4 ',folio1 ms4 on vellum1 in the original binding2 the sides strewn with fleurs-de-lis and the initial letter ,f4 ,on one side1 in a square compartment1 in gold letters3 ,,diodore ,,sicilien4 ,on the opposite side3 ,,av ,,roy ,,francoys ,,premier4 ',this fine manuscript1 formerly in the possession of ,francis the ,first1 appears to have been executed by his express command4 ,prefixed to the history is a painting of the ,king seated under a canopy powdered with fleurs-de-lis1 surrounded by his courtiers3 his three sons1 the ,dauphin ,francis1 ,henry1 afterwards ,henry ,,ii1 and ,charles1 ,duke of ,orleans1 dressed in rich habits1 appear in the foreground4 ,the ,king seems to direct his attention to a person reading1 dressed as an ecclesiastic1 probably the translator of the ,history4 ,a beautiful greyhound on the floor1 and a marmoset1 sitting on the table1 near the ,king's left hand1 are prominent figures in the groupe sic4 ,in addition to this exquisite illumination1 the volume is enriched with numerous large initial letters1 painted with peculiar delicacy1 representing occurrences described in the book1 manners of various nations1 and portraits of their early emperors and kings4'#cac ,this description is accompanied by an engraving on copper of the figure of ,franois ,i1 after the ,macault ,,ms4 ,the ,king is depicted full face1 seated before a table on which1 near his left hand1 is a monkey4 ,the background is a tapestry covered with fleurs-de-lis4 ,this engraving is dated ,july #a1 #ahag1 and is the work of ,m4 ,behnes4 ,it differs from the engraving on wood found in ,macault's printed volume1 not only in that it does not include the various persons of the original drawing1 but also in the details of the ,king's costume4 ,i have every reason to believe that the wood engraving is a faithful reproduction of the original1 just as the book itself is a reproduction of the manuscript1 except for the other drawings1 which were omitted1 from economical motives1 no doubt4 ,macault's volume is a quarto1 consisting of #h leaves of preface1 #aed of text 7signatures ,a to ,q71 and #h of index4 ,the author's preface begins with an ,s from which depends a shield 7probably ,macault's71 bearing two fasces accompanied by nine bezants arranged in threes1 and having for a motto the ,greek word 7not at all74 ,the letter is repeated on folio #adh4 ,the first page has a border in the shape of a portico1 like those in the opuscula published by ,tory in #aeca and described on pp4 #bjb-bjc4 ,at the foot is the date #aece4 ,on the verso we find the final border of ',champ fleury1' within which are drawn1 in the vellum copy preserved at the ,bibliothque ,nationale1 the royal arms of ,england1 with the motto ,,diev ,,est sic ,,mon ,,droict1 below4#cad #d ,,pauli ,,jovii ,,novocomensis ,,vit ,,duodecim ,,vicecomitum ,,mediolani ,,principum4 ,folio manuscript of #acg leaves4 ,bibliothque ,nationale4 ,this manuscript is enriched with ten portraits of dukes of ,milan1 painted from originals1 of each of which ,paulus ,jovius gives the abiding-place4 #a4 ,otho archiepiscopus4 #b4 ,matthus magnus4 #c4 ,galeacius ,galeazzo primus4 #d4 ,actius4 #e4 ,luchinus4 #f4 ,joannes archiepiscopus4 #g4 ,galeacius secundus4 #h4 ,barnabas4 #i4 ,jo4 ,galeacius ,gian ,galeazzo primus4 #aj4 ,philippus4 ,the dedicatory epistle of this book1 which was at first intended to be addressed to ,franois's third son1 ,charles de ,valois1 as the author informs us1 was addressed to the ,dauphin1 ,henri1 afterwards ,henri ,,ii1 who succeeded to the rights of his elder brother1 deceased in #aecf1 and of his younger brother1 who died in #aede4 ,it is dated at ,rome1 the #dth of the ,kalends of ,april 7,march #bi71 #aedg4 ,it is not certain that ,tory did any work on this manuscript1 but ,i mention it because of the engravings of the portraits1 which appeared in the edition published in #aedi4cae #e ,,recueil ,,des ,,rois ,,de ,,france1 ,,leurs ,,couronne ,,et ,,maison1 etc41 by ,jean du ,tillet1 register in chief of the ,parliament of ,paris4 ,large folio manuscript on vellum2 ,bibliothque ,nationale4 ,it is the original manuscript given to ,charles ,,ix1 to whom it is dedicated4 ,it is bound in red morocco1 with that prince's arms4#caf ,this manuscript is embellished with a large number of miniatures and with thirty full-length portraits of kings of ,france1 very carefully executed1 which remind one of the portraits accompanying the manuscript of the ',commentaires de ,csar4' ,we also find there the escutcheons of the principal officers of the crown4 ,here is the list of the kings represented3 each portrait occupies a full page4 #a4 ,clovis4 #b4 ,clotaire ,i4 #c4 ,sigebert4 #d4 ,chilpric and ,frdgonde4 #e4 ,clotaire ,,iii4 #f4 ,charlemagne4 #g4 ,louis le ,dbonnaire4 #h4 ,charles le ,chauve4 #i4 ,charles le ,simple4 #aj4 ,raoul4 #aa4 ,louis d',outre ,mer4 #ab4 ,lothaire4 #ac4 ,philippe ,i4 #ad4 ,louis le ,gros4 #ae4 ,louis le ,jeune4 #af4 ,philippe-,auguste4 #ag4 ,louis1 pre de ,saint-,louis4 #ah4 ,saint-,louis4 #ai4 ,philippe le ,bel4 #bj4 ,louis le ,hutin4 #ba4 ,philippe le ,long4 #bb4 ,charles le ,bel4 #bc4 ,philippe de ,valois4 #bd4 ,jean4 #be4 ,charles ,v4 #bf4 ,charles ,,vi4 #bg4 ,louis ,,xi4 #bh4 ,charles ,,viii4 #bi4 ,louis ,,xii4 #cj4 ,franois ,i4 ,as we see1 the book was originally intended to stop with ,franois ,i2 but as circumstances prevented the author from printing it thus1 du ,tillet included the reigns of ,henri ,,ii1 ,franois ,,ii1 and ,charles ,,ix1 who succeeded one another at brief intervals4 ,the work was still unpublished when the author died1 in #aegj2 it would seem1 however1 that he had long been preparing to print1 since we find in the edition of #aehj engravings signed with the ,lorraine cross4#cag #f ,in ',les ,rcrations historiques1' by ,dreux ,duradier1 on page #ajb of volume one1 we read3 ',in the manuscript of the late ,m4 ,lancelot1 written1 it is said1 by the hand of ,g4 ,tory1 with the date of #aedf1 is found this ballad in honour of the ,virgin3-- ',balade de ,lyon ,jamet sur la ,vierge3 ,qui me crea je l'ai conu1 etc4' ,i have vainly sought this manuscript among all those of ,lancelot owned by the ,bibliothque1 of which there is a special catalogue2 but ,i have been unable to find it4 #g ,in order to omit nothing1 ,i will also mention here another valuable manuscript of the ,bibliothque ,nationale1 on one of the miniatures of which is a ,g1 followed by a small ,t or ,f1 which may fairly be attributed to ,geofroy ,tory4 ,it is a translation of ,livy1 in two large folio volumes1 on vellum1 acquired from the ,bibliothque de la ,sorbonne1 and enriched with magnificent engravings1 attributed to ,jean ,fouquet1 which1 however1 cannot be his1 for the book has1 on the first page1 the arms of ,franois de ,rochechouart and ,blanche d',aumont1 who were married about #adhj and died1 both1 in #aecj4 ,evidently it was not in the early years of their marriage that the book was written2 and1 as it must have occupied several years1 and1 in fact1 was never finished1 there is nothing extraordinary in the idea that ,tory may have executed some of the miniatures about #aebj4 ,furthermore1 in order to place the reader in a position to judge for himself1 ,i will add that the cipher mentioned above is painted on the leg of the figures in the miniature on page #abc of volume one4#cah ,illustration ,illustration ,,footnotes3 ,footnote #bii3 ,according to ,m4 ,dussieux1 ,les ,artistes franais l'tranger1 p4 #fg1 the first is unquestionably the chef-d'uvre of miniature-painting in the ,italian style4 ,footnote #cjj3 ,see folio #hf of the second volume3 ',the ,aduatuci1 that is to say those of ,bois le ,duc1 are in ,brabant1 within xii leagues of ,envers1 neighbours of ,monsieur de ,gueldres4' ,footnote #cja3 ,folios #ei1 #fd1 #fi1 #gb1 and #gg of the second volume4 ,footnote #cjb3 ,folios #cj recto and #ca verso of the second volume4 ,footnote #cjc3 ,vol4 ii1 folio #ic4 ,footnote #cjd3 ,i hesitated a long time before adhering definitely to this opinion2 at the outset ,i thought that ,i detected two painters1 one for the portraits1 one for the decorations2 but soon1 after studying more closely1 after comparing the miniatures1 the small figures in the columns1 the amazing imitations of ancient medallions1 and lastly the portraits1 ,i became absolutely certain that a single hand1 guided by a flexible and varied talent1 combined these different types and produced the whole4 ,footnote #cje3 ,their dimensions vary from #ij to #ajj millimeters in height1 and from #fj to #gj in width4 ,footnote #cjf3 ,british ,museum 7,harleian71 no4 #fbje4 ,footnote #cjg3 ,bibliothque ,nationale4 ,footnote #cjh3 ,this ,perot was a favourite huntsman of whom ,franois ,i speaks in one of his letters to the ,conntable de ,montmorency3 ',i am obliged to confess that we lost the stag1 and ,perot has buried himself2 he dares not show himself in my presence4' ,m4 ,gnin1 who published this letter among the pices justificatives of his edition of the ,lettres de la ,reine de ,navarre 7#hvo1 ,paris1 #ahda2 p4 #dfh71 says in a note to the name ,perot that he was a dog4 ,i should probably have made the same mistake1 had ,i not1 even before ,i saw this miniature1 made the acquaintance of the huntsman in question upon reading the accounts of the expenditure of ,franois ,i1 the lists of his household1 and the rolls of receipts given to his treasurer4 ,i find1 for example1 under date of ,july #ab1 #aeca3 ',due to ,perot de ,ruthie1 in payment of such emoluments and privileges as he has by virtue of his office of keeper of the park and castle of ,saincte ,jame1 and of the forests and four ponds of ,raiz4' ,five years later1 ,i find this entry3 ',to ,perot de ,ruthie1 to be used for the necessary expenses of sending for and causing to be brought to him a part of the dogs1 with their whippers-in1 from his kennels in the forest of ,chenonces4' 7,roll of ,receipts for #aecf74 ,still later1 he became lieutenant of venery and gentleman of the chamber4 ,he was one of those favoured retainers who know how to make their way4 ,footnote #cji3 ,library of ,s4 ,a4 ,r4 le ,duc d',aumale1 at ,twickenham1 near ,london4 ,footnote #caj3 ,the ,duc d',aumale 7fourth son of ,louis ,philippe71 who lived in exile in ,england during the ,second ,empire1 returned to ,france soon after the fall of ,louis ,napoleon1 and held a notable position in society1 politics1 and literature1 until his death in #ahig4 ,by his will he left his ,chteau of ,chantilly1 with his very valuable collections1 to the ,institut de ,france1 in trust for the ,french nation4 ,the translator regrets his inability to state definitely the present whereabouts of volume #a4 ,footnote #caa3 ,octavo1 #ahaj2 p4 #abd1 no4 #hhj4 ,footnote #cab3 ,according to information supplied to me from ,england1 it would seem that this fine manuscript is to-day #ahfe in the library of the ,duke of ,hamilton 7,hamilton ,house1 #bb ,arlington ,st41 ,piccadilly1 ,london74 ,footnote #cac3 ,this description is copied verbatim from the ,repertorium1 by ,m4 ,bernard2 the ,english is evidently a translation of some ,french original4 ,footnote #cad3 ,see the following section1 under the date of #aece 7infra1 p4 #bje74 ,footnote #cae3 ,see the following section1 under the date of #aedi 7infra1 p4 #bcd74 ,footnote #caf3 ,see what is said of this ,,ms4 in ,le ,prince's ,essai historique sur la ,bibliothque du ,roi1 edit4 #ahef1 pp4 #bh and #dg4 ,footnote #cag3 ,see what ,i have to say later on this subject under the heading ',engravings of ,uncertain ,date' 7infra1 p4 #bee74--;,according to ,m4 ,brunet 7,manuel de ,libraire1 #eth edit41 vol4 ii1 col4 #ibi71 the first edition of this book was published at ,rouen in #aegg1 under this title3 ,mmoires et recherches touchant plusieurs choses mmorables pour l'intelligence de l'estat et des affaires de ,france4 ,but ,i find it difficult to credit the accuracy of this statement1 as the edition of #aehj prints a license dated no earlier than ,august #aj1 #aegh4 ,footnote #cah3 ,i am indebted for this information to ,m4 ,vallet de ,viriville1 who is devoting himself to looking up the works of ,jean ,fouquet1 as ,i myself am looking up ,tory's4 ,,section ,,ii4 ,,printed ,,books ,,illustrated ,,with ,,engravings ,,by ,,tory ,,or ,,his ,,pupils4 #aeae ,there appeared for the first time1 in the books of ,hours published by ,simon ,vostre about #aeae1 three engravings which are clearly distinguishable in method of execution from those previously used by the same bookseller1 to which the three new ones were thereafter added4 ,thenceforth ,vostre's ,hours contained three varieties of engraving3 7#a7 ,the old gothic woodcuts 7among which must be reckoned the ,dance of ,death with dotted background71 which figure in the editions issued by that bookseller even in the fifteenth century2 7#b7 ,two large drawings in the ,renaissance style1 which appear in his editions of #aejg and which may be attributed to ,jean ,perreal1 ,tory's teacher2 7#c7 ,the three in question1 which do not appear earlier than #aead or #aeae4 ,these engravings are3 7,i7 ,the ,adoration of the ,shepherds1 signed with the letter ,g in a gothic shield2 7,,ii7 ,the ,adoration of the ,magi2 7,,iii7 ,the ,circumcision2 the last two signed with this monogram3 ,illustration3 ,f4 ,the ,g is still inclined to the gothic1 but the second letter is altogether roman4 ,in my judgement1 this monogram should be translated by the words1 ',godofredus faciebat1' or 'fecit4' ,it is true that the ascription of these engravings to ,tory has been contested2 but ,jules ,renouvier1 whose taste was so unerring1 and who cannot be accused of infatuation for ,tory1 did not hesitate to adopt my hypothesis4 ',in the last of ,vostre's ,hours1' he says1 in the pamphlet that he published concerning that bookseller1 'we see1 besides the plates executed in the old ,french manner1 which have not disappeared as yet1 other plates in the ,italian and ,german manners1 subjects treated in an altogether novel style3 the ,adoration of the ,shepherds1 the ,adoration of the ,kings1 and the ,circumcision1 are composed of small figures in a large ground2 the design has recovered all its delicacy1 in its clearly drawn forms1 and the cutting is done with no less diversity than care4 ,here1 luckily1' continues ,renouvier1 'a monogram enables us to attribute the engravings to their author4 ,it is a ,g alone1 or enclosing an ,f1 subscribed on a shield or in a cartouche hanging from a branch4 ,they have been claimed for ,geofroy ,tory1 and with good reason1 for the manner in which these plates are executed accords with what we know of that excellent artist4' ,it is1 perhaps1 to these engravings1 so successfully executed1 that we should ascribe the partiality that ,tory afterwards displayed for books of ,hours1 of which1 as we have seen1 he put forth several editions1 in diverse formats1 and with a large number of engravings on wood done by himself4 #aeaf-aeah ,here is to be placed ,tory's second journey to ,rome1#cai from which he returned more ,italian than ever1 in respect to art4 #aeai-aebj ,under this date1 which was when ,tory was working at the manuscripts ,i have described above1 ,i shall place1 albeit somewhat conjecturally1 two small engravings on wood1 signed with the letters ,g ,t1 which appear in a publication of ,m4 ,varlot entitled3 ',illustration de l'ancienne imprimerie troyenne' 7#dto1 #ahej74 ,they are numbers #hd and #aca1 the first in the cribl style1 the second in the style of the ,renaissance4 ,my ascription of them to ,tory is based upon the facts that they are of his time1 as we may infer from the one in the cribl style1 and that the initials ,g ,t are entirely consistent with that period of the life of our artist1 who sometimes signed his name in full1 ,geofroy ,tory1 as witness his ,hours of #aebd4 ,the first of these engravings1 number #hd1 represents a ,descent from the ,cross4 ,the letters ,g ,t are at the foot of the plate1 and are some distance apart4#cbj ,in the same collection there is another engraving of the same series1 but not signed--number #gh4 ,it represents a bishop blessing a sick man who lies entirely nude before him4 ,these two are #dh millimetres wide by #fb high4 ,number #aca represents a scene from ,terence4 ,the letters ,g ,t are side by side at the foot of the plate1 which is #cc millimetres high by #ee wide4 ,in the same collection1 numbers #acb and #acc1 are two other woodcuts of the same series1 but not signed4 ,lastly1 in an edition of sop1 published recently at ,troyes1 by the printer ,baudot1 we find a woodcut which probably had the same origin1 and found its way into this volume by chance4 ,these four engravings are evidently from an edition of ,terence in a small format2 ,i have been unable to find it4 #aebj-aeba ,i shall place under this date a title-page1 in octavo1 forming a border1 engraved for ,simon de ,colines1 and bearing his mark and his initials4 ,this printer1 who succeeded in #aebj ,henri ,estienne1 the first of the name1 whose widow he married1 wished to mark his printings in some special way1 and to that end applied to ,tory1 who was a friend of the family4 ,tory engraved the title-page in question1 in the cribl style1 then much in vogue2 and on it are seen rabbits1 or conils1 which is believed to be an allusion to the name of ,colines4#cba ,tory's mark appears in white1 at the foot of the engraving1 to the right4 ,i have seen this engraving in an ,epitome of the ',adages' of ,erasmus1 in ,latin1 printed by ,simon de ,colines1 in #aebc1 in octavo1 under this title3 ',johannis ,brucherii ,trecensis ,adagiorum ad studios juventutis utilitatem ex ,erasmicis chiliadibus excerptorum epitome4' ,it was probably ,tory1 too1 who engraved ,colines's large mark with the rabbits 7,silvestre1 no4 #gi71 which is in the same style1 and which appears in the ,hours of #aebd2 but it does not bear the double cross4 ,tory also engraved for ,colines two other marks in a very different style 7,silvestre1 nos4 #hj and #cbi71 and a multitude of borders and illustrations for his books4 ,colines certainly employed ,tory more than any other printer did1 as we shall see in the sequel4 ,this fact leads me to believe that ,lottin is mistaken in bestowing upon ,colines the title of engraver of letters1 attributing to him doubtless the engraving of the graceful italics that he used in works written in verse2 ,i am convinced that those letters are the work of ,tory4 ,i will call attention1 however1 to the fact that the capitals that go with these italics are roman1 and may belong to the roman letters which ,simon de ,colines had from ,henri ,estienne4 ,but the font is enriched with some white two-line letters1 of a charming design1 which are certainly ,tory's1 as are the floriated letters used by ,colines and his stepson ,robert ,estienne4 #aeba-aebb ,i4 ,tory engraved also for ,simon de ,colines a magnificent title-page intended for a very rare work1 which1 for that reason1 ,i think that ,i ought to describe in detail 7after one of the copies in the ,bibliothque ,nationale71 for its existence has been doubted4#cbb ,the book is entitled3 ',commentarii initiatorii in quatuor ,evangelia1' etc41 with no author's name on the title-page2 but it was written by ,jacques ,lefvre d',etaples1 as we shall see in a moment4 ,it is a folio1 of #f unnumbered preliminary leaves1 and of #cgg numbered leaves1 making #aib sheets1 divided into #ej folds of #d sheets each1 except the first1 which has only #c4 ,the signatures go from a to ddd consecutively4 ,the text of the ,gospels is set in large type 7great primer71 the notes in smaller type 7pica71 in which there are some very handsome ,greek characters1 with accents1 which were still a novelty at that time4 ,the title is in a wide border1 engraved on wood1 decorated with the symbols of the four evangelists1 beneath which are printed passages from their works4 ,this border1 which is signed with the ,lorraine cross at the foot1 on the right side1 is 4#bbe metre high by 4#aff wide4 ,on the second preliminary leaf the author's preface begins1 under this heading3 ',jacobi ,fabri ,stapulensis ad ,christianos lectores in sequens opus ,prfatio4' ,it ends on the fourth preliminary leaf1 with the date1 ',meldis1 anno ,m4 ,d4 ,,xxi4' ,then follows a concordance of the four ,gospels1 in the form of tablets closed at top and bottom by unsigned engravings4 ,the ,gospel according to ,st4 ,matthew1 which opens the book1 begins with a superb ornamented ,l1 on a cribl background1 4#jeh metre in height by 4#jee in width4 ,the ,gospel according to ,st4 ,mark1 which opens on leaf #aae 7erroneously printed #bae71 begins with an ,i of the same style and dimensions4 ,the ,gospel according to ,st4 ,luke begins on folio #age verso1 with an ,f like the two preceding letters4 ,the ,gospel according to ,st4 ,john begins on folio #bei1 with the ,i that has already done duty in the ,gospel of ,st4 ,mark4 ,these letters1 which are altogether in the style of those afterwards engraved by ,tory for ,robert ,estienne1 seem to me to be fairly attributable to him1 although unsigned4 ,in the balance of the book we find a large number of other letters ornamented in the cribl style1 but of smaller size1 which cannot be ,tory's4 ,on folios #aja verso and #ajb recto are certain astronomical figures1 unsigned1 which ,i dare not attribute to ,tory2 but ,i do not hesitate to attribute to him a large engraving on folio #ahb verso4 ,it represents ,jesus in an aureole of flame4 ,below him is the sea2 above him the ,father ,everlasting1 blessing with the right hand1 and holding in his left hand the globe surmounted by a cross4 ,he is uttering these words which we read in a scroll3 ',hic est filius meus dilectus in quo mihi bene complacui4' ,this engraving1 including its border1 is 4#baj metre in height by 4#acg wide4 ,on the last page is a subscription in these words3 ,,meldis1 ,,impensis ,,simonis ,,colinaei ,,anno ,,salvtis ,,hvmanae ,m4 ,d4 ,,xxii4 ,,mense ,,ivnio4 ,who printed this book8 ,not ,simon de ,colines1 as ,la ,caille said1 and as ,maittaire and ,panzer have repeated after him1 for the subscription means simply that the printing was done at his expense4 ,one can understand1 in truth1 that ,simon de ,colines1 who had at the time an extensive typographical establishment at ,paris in full blast1 could not leave that city to print a book at ,meaux4 ,nor was it a local printer1 for no other contemporary printing at ,meaux is known2 moreover1 the mechanical execution of this volume1 and the engravings with which it is embellished1 prove that it did not come from a wretched provincial workshop4 ,in my opinion there is but one way of explaining this typographical enigma4 ,it is this3 ,guillaume ,brionnet 7second of the name71 having been appointed ,bishop of ,meaux in #aeah1 took with him to that town his friend ,lefvre d',etaples1 to whom he entrusted the administration of his diocese4 ,etaples employed his leisure in writing various religious works1 among others the ,commentaries on the ,gospels1 which were finished in #aeba4 ,wishing to have this bulky volume1 which was of capital importance to him1 printed under his own eyes1 and being unable to leave ,meaux1 where he was detained by his duties1 ,lefvre simply imported from ,paris a portion of ,simon de ,colines's printing-office1 with a small staff4#cbc ,in this way he could not only superintend the printing of his book1 but also lend a hand at need1 after the example of many another scholar of that time who did not scorn to practise the printing art4 ,what ,i have said is a mere hypothesis1 it is true2 but this hypothesis is surrounded by circumstances which give it a powerful appearance of truth4 ,in addition to what ,i have said above1 ,i will say that the types of ,lefvre d',etaples' book are the same as those used in an octavo printed at ,paris by ,simon de ,colines in #aebc1--;a book which ,i have already cited and which ,i now have before me4 ,it is entitled3 ',joannis ,brucherii ,trecensis ,adagiorum 444 ex ,erasmicis chiliadibus excerptorum ,epitome4' ,the title-page has a border signed with the ,lorraine cross4 ,more than that1 the first ornamental letter in ,etaples' book1 which is an ,a on a cribl background1 is also the first letter of the book of ,johannes ,brucherius2 whence we see that the typographical material sent to ,meaux returned to ,paris immediately after ,etaples' book was printed4 ,doubtless that is why we have only one book dated at ,meaux at that period2 it might be1 however1 that advantage was taken of the momentary existence of this printing-office at ,meaux to set up some trifling work1 in #aeba or #aebb2 but that would not in any wise modify my conclusion4 ,,ii4 ,tory engraved also1 at about the same time1 for a printer at ,troyes named ,jean ,lecoq1 the title-page1 in the shape of a border1 of a ',gradual'#cbd of the ,cistercian ,order--a very large and handsome folio1 printed at ,troyes in #aeba4 ,this engraving is in the cribl style1 with the double cross in white at the foot1 on the right4 ,at about the same time he engraved in the same style ,jean ,lecoq's mark1 which appears at the end of the volume1 and of which a reproduction may be seen in ,m4 ,silvestre's book1 no4 #hge4 ,as this ,gradual is very rare 7only one copy of it is known to exist1 which ,i have seen in ,m4 ,tross's collection7 and very beautiful1 ,i think it well to describe it4 ,it is almost needless to say that it is printed in gothic type4 ,first of all1 above the title there is a line printed in black3-- ,jesus ,maria ,bernard 7,it is well known that ,st4 ,bernard was the founder of the ,cistercian ,order47 ,then1 in red 7,i complete the abbreviated words73-- ',graduale ad usum ,cisterciensis ordinis3 secundum capituli generalis venerabilium patrum ejusdem ordinis diffinitionem in sequenti paginas declarata3 noviter per quendam ,clarevallensem monachum ad debitam formam utiliter redactum4 ,et ,johannis ,lecoq impressoris ,trecis commorantis solertia diligenter impressum4 ,anno ,domini ,millesimo quingentesimo vicesimo primo4' 7,here ,lecoq's large mark3 ,silvestre1 no4 #hgg47 ',cum privilegio4' ,the volume is made up of #b preliminary leaves1 for the title1 etc41 and #beb pages of text1 divided as follows3 ,first part1 without pagination1 of #ah signatures 7a to s7 of #d sheets each1 except the last1 which has only #b1--;in all1 #adj leaves4 ,second part1 folios #a to #aab1 having #ad signatures 7,a to ,o7 of #d sheets--in all1 #aab leaves4 ,the paper is very strong and fine4 ,it is one of the earliest books printed with music in ,france1 and it reflects great credit on the presses of ,troyes1 and especially upon ,jean ,lecoq1 first of the name4 ,names of places and persons are consistently printed with capitals4 ,the work is illustrated with a few engravings2 but its most remarkable feature is the ornamental initials and uncial letters with which it is embellished4 ,at the end1 by way of colophon1 are these words3-- ',explicit ,graduale secundum usum ordinis ,cisterciensis1 ,trecis impressum ,per ,johannem ,lecoq1 ,anno ,domini ,millesimo quingentesimo vigesimo primo ,die sexta mensis ,martii4 ,laus ,deo4' ,here ,lecoq's mark with the ,lorraine cross in white4 ,this volume came from the ancient monastery of ,oliva1 near ,dantzig4 #aebb ,i4 ,we may place under this date two other frontispieces signed with the ,lorraine cross4 ,the first is a large engraving divided into four compartments1 and representing armies in battle array1 with cannon4 ,the two upper compartments are connected by the shield of ,france1 surmounted by a crown and encircled by the order of ,saint-,michel1 from which branches of rose-bushes depend on either side4 ,in each compartment there is a cartouche4 ,tory's mark is at the foot of the lower left-hand compartment1 in which the banner of ,france is seen waving4 ,this engraving appears in the ',rozier historial de ,france1' a folio printed in gothic type1 at ,paris1 for ,franois ,regnault1 ,february #aj1 #aebb1 before ,easter2 that is to say1 #aebc new style4 ,in the cartouches the following words are printed in red1 in gothic type3 ',bataille ronde1' ',bataille de pointe1' ',bataille de feu1' ',bataille de fourche4'#cbe ,it appears in another edition of the same book1 printed in #aebh for the same bookseller2 also1 in a translation of ,csar's ',commentaries1' printed by ,pierre ,vidoue1 in #aeca1 for the booksellers ,poncet ,le ,preux and ,galiot du ,pr4 ,this translation is a folio volume divided into two parts1 the first translated by tienne ,delaigue1 called ,beauvoys1 the second by ,robert ,gaguin4 ,the plate in question is at the end of the first part1 folio #ie verso4 ,the whole book is printed in black1 both text and engraving4 ,i am indebted for my knowledge of the engraving to ,m4 ,robert-,dumesnil fils4 ,,ii4 ,the second engraving1 in the form of a border 7folio size71 representing a number of grotesque and licentious subjects1 appears in an edition of the ',histoire du saint ,graal1' published by ,philippe le ,noir1 sworn bookseller and binder to the ,university of ,paris1 on ,october #bd1 #aebc4 ,the bookseller's initials are in the compartment at the top of the border4#cbf ,in this book1 as well as in those last described1 there are other engravings2 but they are not the work of ,tory1 to whom only the important pieces were assigned4 ,these other engravings had1 doubtless1 appeared elsewhere4 ,as for the engraving executed by ,tory 7which reappears in many other works printed by ,philippe le ,noir71 it is a copy of a plate engraved by ,urs ,graf1 dated #aeai1 and used by ,pierre ,vidoue1 printer at ,paris1#cbg particularly in a ,virgil of #aebi1 folio1 which is now in the ,bibliothque ,mazarine4 ,the four principal subjects of this engraving1 placed at the four corners of the border1 represent3 7#a7 ,men lighting torches at a woman's posterior2 7#b7 ,a woman carrying off a man in a basket#cbh2 7#c7 ,the death of ,pyramus and ,thisbe2 7#d7 ,the judgement of ,paris4 #aebc ,while working for others1 ,tory busied himself with a long series of engravings intended for books of ,hours to be published by himself4#cbi ',it is upon turning over these plates1' says ,m4 ,renouvier1#ccj 'that one appreciates to the full his style--rich1 diversified and immeasurably clever in ornamentation1 distorted out of proportion1 diabolic in the drawing of faces1 descending too often to downright awkwardness in the carriage of the head and to a habit of bellying out draperies2 and1 finally1 overweighted by a sort of heaviness in the forms4 ,the artist's greatest facility is shown in the arrangement of his figures1 and in the decoration of his porticoes4 ,whatever he may say1 it would seem that what he studied at ,rome with the best results were the baths of ,titus and the arabesques of ,giovanni da ,udino4' #aebd-aebe ,we have seen that ,tory had been in the habit for some time of signing his engravings with a double cross2 but this had not yet become an invariable signature4 ,for instance1 about #aebd he often used a monogram in which his name and surname--or1 to use the terms of the present day his ,christian name prnom and his family name nom de famille--both appear4 ,it consists of a capital ,g1 enclosing a smaller ,s1 with the ,illustration double cross above4 ,this means1 in my opinion1 that ,tory was the engraver only 7',godofredus ,torinus sculpsit'71 in distinction from the cross alone1 which means that ,tory both drew and engraved the pieces on which it appears4 ,in fact1 we find in most of those signed with the monogram a roughness of aspect which is not characteristic of ,tory's usual style4 ,however that may be1 here is a list of the pieces known to me on which this monogram appears4 99 99 99 99 99 ,i4 ,,le ,,blazon ,,des ,,heretiques4 ,quarto of #ad leaves1 in gothic type1 printed by ,philippe ,le ,noir1 'sworn binder to the ,university of ,paris1' with a privilege from the court of the ,parliament of ,paris1 dated ,december #ba1 #aebd4 ,this is a satirical production1 in verse1 attributed to ,pierre ,gringoire1 otherwise called ,vaudemont1 at the head of which appears the figure1 or effigy1 of the 'heretic1' signed with the monogram in question4 ,the description of the effigy is as follows3 ,en gibeciere on luy voit ratz avoir1 ,qui sont rongeans et serpens detestables ,en son giron faisant mords diffamables4 ,de son sian sort ung aspre feu vollant1 ,qui cueur et corps et livres est bruslant4#cca ,this very rare work was reprinted at ,chartres1 in #ahcb1 under the auspices of ,m4 ,hrisson1 the librarian of that city4 ,the reprint contains a facsimile of the engraving4 99 99 99 99 99 ,,ii4 ,,heures ,,de ,,nostre ,,dame1 ,,translatees ,,en ,,francoys ,,et ,,mises ,,en ,,rithme ,,par ,,pierre ,,gringoire1 ,,dit ,,vaudemont1 ,,par ,,le ,,commandement ,,de 444 ,,madame ,,regnee ,,de ,,bourbon1 ,,duchesse ,,de ,,lorraine1 etc4 ,a quarto1 in gothic type1 undated1 but containing a table of ,easter-,days beginning with #aebd1 and a privilege dated ,october #aj1 #aebe4 ,this book1 which was published by the bookseller ,jean ,petit1 contains #ac large engravings1 a list of which follows3-- #a4 ,the ,annunciation4 #b4 ,adam and ,eve4 #c4 ,the ,cross4 #d4 ,the ,holy ,ghost4 #e4 ,the ,descent of the ,holy ,ghost upon the ,apostles4 #f4 ,david praying for ,zion1 threatened with the divine thunderbolts4 #g4 ,the ,virgin and the ,child ,jesus4 #h4 ,a ,family at ,table 7,pentecost874 #i4 ,eight ,naked ,children ,praying2 the ,holy ,trinity in the ,heavens4 #aj4 ,the ,manna4 #aa4 ,david's ,penance4 #ab4 ,the ,triumph of ,death4 #ac4 ,jesus receiving the ,crown of ,thorns and the ,reed4 ,only the last of these bears the monogram that ,i have described#ccb2 but the other engravings1 being in the same style1 should all be attributed to ,tory4 ,we might perhaps also attribute to him the six analogous engravings which appear in the same author's ',chants royaux' 7printed at the same time and usually bound with the ,hours71 but not one of which is signed4 ,they represent3-- #a4 ,the ,synagogue3 ,jesus in the background1 entering a pillar4 #b4 ,the ,prodigal ,son3 ,jesus in the background1 curing a woman4 #c4 ,hunters3 ,jesus in the background1 curing one possessed of devils4 #d4 ,the ,miracle of the ,loaves and ,fishes4 #e4 ,entrance of ,jesus into ,jerusalem4 #f4 ,the ,crowning with ,thorns4 ,these two books have been reprinted several times4 ,i know of four quarto editions of the ,hours4#ccc ,the first is the one ,i have just described4 ,it contains some other engravings1 in an entirely different style from ,tory's1 which appear also in other books of ,hours of older date4 ,the second has a table of ,easter-,days beginning with #aebh1 and a privilege dated ,november #ae1 #aebg4 ,in other respects it is similar to the earlier one4 ,the third has a table of ,easter-,days beginning with #aecd4 ,it is like the last except in one point3 in place of the final engraving there is a different one1 signed in the same way1 representing ,job at prayer before his burning house1 and his neighbours reviling him4 ,this engraving proves that ,tory must have engraved a longer series from which the printer took this one at random1 being unable at the moment to find the one that he required4 ,the fourth has a calendar beginning with #aedj4 ,it is like the second1 except for the privilege1 which is dated ,november1 #aebe1 doubtless by mistake4 ,these four editions are all in the ,bibliothque de l',arsenal4 99 99 99 99 99 ,,iii4 ,,histoire 444 ,,de ,,la 444 ,,glorieuse ,,victoire ,,obtenue ,,contre ,,les ,,seduitz ,,et ,,abusez ,,lutheriens ,,mescreanz ,,du ,,pays ,,daulsays 444 ,,par 444 ,,anthoine 444 ,,duc ,,de ,,calabre 4441 ,,par ,,nicole ,,volcyr 7otherwise called ,volkire7 ,,de ,,serouville1 etc4 ,small folio1 in gothic type1 without date of printing1 but with a privilege dated ,january #ab1 #aebf 7#aebg new style71 issued by ,jean de la ,barre1 'garde de la prvt' of ,paris4 ,the battle took place in #aebe4 ,volcyr's work contains seven engravings1 but only the last two1 at the beginning of the last two books1 are signed4 ,we may1 however1 ,i think1 attribute to ,tory the one at the head of the first book also4 ,a description of these engravings follows3-- #a4 ,frontispiece representing ,faith3 a helmeted woman trampling upon the dragon4 #b4 ,the author1 seated1 writing his book4 #c4 ,a large plate representing a warrior 7the ,duke of ,calabria87 amidst his men1 waving his sword4 #d4 ,a bishop praying4 #e4 ,the author offering his book to the prince4 ,a fine plate on which are several scattered letters1 the meaning of which ,i am unable to conceive4 #f4 ,a large plate representing the attack on the town of ,saverne4 ,at the top is the word ',saberna4' #g4 ,a large plate representing the vision of the ,passion4 ,jesus at prayer1 a halo about his head2 facing him1 angels presenting the ,cross2 behind him1 other angels bearing the post to which he was bound2 all about him1 the instruments of his torture4 ,this plate is altogether in the manner of those in the following work4 99 99 99 99 99 ,,iv4 ,,the ,,labours ,,of ,,hercules4 ,twelve large plates1 folio1 owned by the ,bibliothque ,nationale4 ,each of them was formerly accompanied by a number and by a quatrain in ,french explaining the subject2 unfortunately these have been removed from most of the plates1#ccd and it is impossible for me to-day to place them with full assurance in the order in which they belong4 ,however1 that given below seems to me most natural4 ,the three which retain their numbers are marked by an asterisk4 #a4 ,the ,nemean ,lion4 #b4 ,the ,lernean ,hydra4 99#c4 ,cerberus4 #d4 ,antus4 #e4 ,archelaus4 #f4 ,hippodamia4 #g4 ,geryon4 #h4 ,the ,pillars of ,hercules4 99#i4,the ,cretan ,bull4 99#aj4 ,the ,erymanthian ,boar4 #aa4 ,cacus4 #ab4 ,hercules at the ,stake4 ,all of these engravings are signed3 ,illustration3 ,s in ,g ,we give here1 as specimens1 three of the quatrains accompanying the engravings2 they are the only ones preserved at the ,bibliothque ,nationale4 ,they may very well be the work of ,gringoire1 like the verses of the ',blazon des ,hrtiques1' of the same date4 ,number #c ,il braue les enffers 7chose luy tresaisee71 ,et le chien ,cerberus1 aux trois chefz surmontant2 ,il va les ,infernaux main main combattant1 ,pour mettre en libert son bon amy ,thesee4 ,number #i ,les furieux ,thaureaux 7choses esmerveillables7 ,de ses deux bras nerveux ,il maitrise aisement1 ,et leur faict faire ,ioug desoubs luy forcement ,encor qu'on estimat qu'ils fussent indomptables4 ,number #aj ,ung sanglier escumeux la grand' dent pointue1 ,qui hommes1 vignes et bleds degatoient enrag1 ,et par qui l'vniuers estoit endommag1 ,seul1 par sa hardiesse1 ,il acreuante et tue4#cce ,the orthography of these verses proves that they were printed in the seventeenth century#ccf2 but the very appearance of the verses1 and the condition of the plates1 which are already worm-eaten1 are sufficient to justify one in assigning to the latter a very much earlier date than to the former4 ,so that ,i can do no better than to refer them to the year #aebe1 when we find ,tory using the same monogram4 ,tory seems to have attempted in these plates to imitate ,mantegna1 whose work he may have studied in ,italy2 but he had the good sense to abandon this manner1 which was not his own2 or perhaps we should say that he did no more than follow designs which were supplied to him4 ,this is what ,m4 ,renouvier has to say on this subject3-- ',the plates signed with a ,g surmounted by the ,lorraine cross are of more importance4 ,the ,labours of ,hercules1 in twelve plates1 are the work of no commonplace artist4 ,the drawing assumes a masterly1 even a rough1 character1 seeking effects in the play of muscles and of facial expression in imitation of ,mantegna and ,albrecht ,drer2 the cutting follows up the effect of the burin4 ,bartsch mentioned them among the old ,german masters1 and the monogrammatists wavered between ,jean ,schoorel1 ,georges ,scharfenberg1 ,giuseppe ,scolari1 etc42 their ,french origin was not suspected until some proofs were found on which the engravings were accompanied by ,french quatrains4 ,then1 when the same mark was found on a plate used as a frontispiece to ,pierre ,gringoire's ,blazon des ,hrtiques 7#aebd71 and on several vignettes in the ,hours rendered into verse1 by the same poet1 it was attempted to make a wood-engraver of ,gringoire1 who was a ,lorrainer1 herald-at-arms to ,duc ,ren ,,ii1 and likely enough to display the cross of ,lorraine over his initial4 ,this much is certain3 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 ,volcyr1 who paid the expenses of the publication1 being unable to find any bookseller who was willing to undertake it1 as well because of the portraits and cuts of the illustrations as of the printing hereof1 and caused it to be issued1 not in ,lorraine1 but in ,paris1 by ,galliot ,dupr1 in #aebf4 ,it is to be noticed that this bookseller's mark1 which represents a galliot1 also has a ,lorraine cross surmounting his cipher4 ,now1 the attribution of these plates to ,geofroy ,tory is based upon some very ingenious comparisons of marks2 the style of the engravings places no insurmountable obstacle in the way of such attribution1 but it must be admitted that the engraver was led very far astray from his earlier works by his imitation of the ,german manner4 ,it is possible1 because ,french engraving1 at the beginning of the sixteenth century1 was pulled in four directions at once1 so to speak1 by national habit1 by ,flemish taste1 by ,german mania1 and by ,italian charm4 ,m4 ,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 ,italy2 the importation of woodcuts from those provinces1 then a common occurrence1 would indeed suffice1 so far as the common herd of our engravers is concerned1 to explain this alteration in their manner4 ,i will mention in a moment an example1 also out of ,lorraine1 which must certainly have been known to ,tory4 ,whatever the fact may be1 the ,labours of ,hercules deserve an honourable place among the first attempts on a large scale of ,french engraving1 beside the plates of ,jean ,duvet4 ,the ,british ,museum1 like our ,cabinet des ,estampes1 has acquired a set of them4 ,two of the plates in the latter set have the quatrains which are lacking in the corresponding ones in the ,paris set2 these are1 the fifth3 ,the sly ,archelaus 'gainst ,hercules doth contend2 and the seventh3 ,the mighty ,geryon1 despicable tyrant1 etc4' #aebf ,i4 ,i have said that the floriated letters of ,simon de ,colines and ,robert ,estienne were engraved by ,geofroy ,tory4 ,i cannot furnish material proof of the fact with regard to those of ,colines2 but ,i am about to produce incontestable evidence with regard to ,estienne's4 ,a letter in one of his alphabets is signed with the ,lorraine cross1 and that letter is the ,g1 the initial of ,tory's own name1 or1 as we say to-day1 his first name 7prnom74 ,it is as if he had written ',geofroy ,tory' in full4 ,but in this case1 in opposition to what we find in the preceding engravings1 the cross1 instead of being above the ,g1 is below it1 and hidden as much as possible in order not to injure the design of the 'antique letter4' ,this circumstance proves not only that ,tory was the engraver of ,robert ,estienne's floriated letters1 but also that the double cross was that artist's mark4 ,illustration ,illustration ,illustration ,is it not1 in truth1 a striking fact that ,tory chose the letter ,g to place his mark upon8 ,he was not withheld by the consideration that that letter1 not being in very common use1 especially at the beginning of words1 appeared rather infrequently in books4#ccg ,as always1 logic prevailed with him over every other consideration4 ,let us see how far it carried him4 ,later1 he engraved a ,greek alphabet1 in the same style1 for ,robert ,estienne2 as he could not put his mark on the gamma1 which bears no resemblance to the ,g1 he put it on no letter1 but on one of the friezes executed to accompany those beautiful floriated letters4#cch ,see the frieze in question at the beginning of the second volume of the ,works of ,eusebius1 three volumes1 folio1 #aedd4cci ,,ii4 ,besides these two alphabets of capital letters1 ,tory engraved for ,robert ,estienne about the same time1 six different marks for his typographical sign1 the ',olive-,tree1' of which a description will be found later on1 in section #c4 ,,iii4 ,tory also engraved1 about the same time1 for ,simon de ,colines1 a border in the cribl style1 at the foot of which is a sun which certain centaurs1 incited thereto by women1 are trying to seize4 7,silvestre1 no4 #ebc74 ,this border is probably of #aebf1 when ,colines turned over to ,robert ,estienne his father's establishment and set up for himself at the ',soleil d',or1' opposite the ,collge de ,beauvais4 ,it appears1 to my knowledge1 in two octavo volumes of #aebi3 ',compendium ,grammatic grc ,jacobi ,ceporini1' and ',liber de opificio ,dei4' #aebf-aebh ,this whole period was1 in all probability1 absorbed by the labour of engraving and editing ',champ fleury4' ,for one of the first engravings in that book is dated #aebf1 and it was finished early in #aebi4 ,although the majority of these engravings are not signed1 they must all belong to ,tory1 at all events so far as the designs are concerned4#cdj ,i cannot attempt to enumerate them all here1 for there are more than five hundred1 counting as one each of the letters in the various alphabets2 but ,i propose to mention the more important ones4 ,for historical information concerning the book1 ,i refer the reader back to what ,i have said thereon in the first and second parts of this volume4 ,illustration ,illustration ,the title-page is enclosed in a very pleasing border1#cda and it has moreover an engraving of the ,pot ,cass reversed4#cdb ,on the verso are the arms of ,france4#cdc ,folio #a of text3 the letter ,l1 which ,i have already reproduced4#cdd ,folio #c verso3 the ,gallic ,hercules4 ,this engraving1 dated #aebf1 and signed with the ,lorraine cross1 represents ,hercules holding his club in one hand and a bow in the other4 ,he is followed by divers persons of all conditions1 fastened by the ear to a chain that issues from the hero's mouth4 ,this is an allusion to the power of eloquence over the ,french4 ,the strength of the ,gallic ,hercules lies not in his arms but in his mouth4#cde ,folio #i verso3 cut of the lisflambe1 a species of lily2 it is the swamp iris1 called to-day the iris flambe4 ,here the first book ends4 ,the second contains thirty-seven geometrical figures1 which it would be no less difficult than unprofitable to describe4 ,they are1 for the most part1 representations of different letters4 ,at the end of this book is the ',triumph of ,apollo and the ,muses1' 'to show that they who have knowledge of goodly letters have the advantage over the ignorant4' ,this engraving1 which is in two parts1#cdf both signed with the ,lorraine cross 7folios #bi verso and #cj recto71 represents ,apollo in a chariot1 escorted by the ,muses1 ,liberal ,arts1 etc41 and followed by ,bacchus1 ,ceres and ,venus as prisoners4#cdg ,on the very last page 7folio #cj recto7 is an engraving of the lisflambe surmounted by an ,a made up of three ,i's4#cdh ,the third book has1 in the first place1 twenty-eight engravings of ,roman letters4 ,the twenty-ninth represents a gothic ,s 7folio #db verso74 ,the thirtieth is a representation of the ,pot ,cass1 signed with the ,lorraine cross 7folio #dc verso74#cdi ,illustration ,next come thirty-eight other cuts of letters1 and two curious drawings of the letter ,y 7folio #fc recto and verso74#cej ,then two ordinary copies of the letter ,z1 and an allegory based on the shape of that letter 7folio #fe74cea ,on folio #fe verso is a representation of various punctuation marks4 ,folios #fh verso and #fi recto3 a ,hebrew alphabet of forty letters or symbols4 ,folio #ga recto3 the ,greek alphabet of twenty-four letters and three accents4#ceb ,folio #gb recto3 the ,latin alphabet#cec of twenty-three letters1 with three punctuation marks1 and the ,greek abbreviation of the name of ,jesus4 ,folio #gd recto3 the alphabet of cadeaulx letters1 consisting of twenty-three letters and one mark4 ,folio #gd verso3 the alphabet of letters de forme1 consisting of twenty-nine letters or symbols1 with two lines of text added4 ,folio #ge recto3 the alphabet of bastardes letters1 consisting of twenty-eight letters or symbols1 followed by two lines of text4 ,folio #ge verso3 the alphabet of tourneures letters1 consisting of twenty-three letters4 ,illustration ,illustration ,folio #gf recto3 the alphabet of ,persian1 ,arabic1 ,african1 ,turkish and ,tartar letters1 thirty in all4 ,folio #gf verso3 the alphabet of ,chaldan letters1 consisting of twenty-three4 ,folio #gg recto3 the alphabet of goffes letters1 otherwise called imperiales and bullatiques1 twenty-three in number4 ,folio #gg verso3 the alphabet of fantastic letters1 to the number of twenty-three4 ,folio #gh recto3 the alphabet of utopiques and voluntaires letters1 to the number of twenty-three4 ,folio #gh verso3 an alphabet of floriated letters used in the course of the book1 twenty-three in number4#ced ,folio #gi recto3 a series of ciphers or intertwined letters1 to the number of ten4 ,folio #hj recto1 and last3 a border of graceful design1#cee in which occur ,tory's mottoes3 ',menti bon ,deus occurrit'2 ',sic ut1 vel ut'2 ',omnis tandem marcescit flos4' ,and in the centre is the ,pot ,cass1 unsigned1 although it seems to be the same cut that appears on folio #dc verso1 with the cross removed4 #aebg 99 99 99 99 99 ,i4 ,,notables ,,enseignemens1 ,,adages ,,et ,,proverbes1 ,,faictz ,,et ,,compos,s ,,par ,,pierre ,,gringoire1 ,,dit ,,vauldemont4 ,octavo1 in gothic type1 of #fh leaves2 for sale by ,galliot du ,pr2 printed by ,simon du ,boys1 ,february #a1 #aebg 7#aebh new style74 ,on the verso of the second leaf is a wood-engraving with the ,lorraine cross at the right4 ,it represents ,gringoire offering his book to the king1 who is seated4 ,in the background1 a garden with a bee-hive and bees flying about it4 7,bibliothque ,nationale47 99 99 99 99 99 ,,ii4 ,,les ,,hymnes ,,communes ,,de ,l',,annee3 ,,translatez ,,de ,,latin ,,en ,,fran,,ois ,,en ,,rithme1 ,,par ,,nicolas ,,mauroy ,,le ,,jeune1 ,,de ,,troyes1 avec privilege du roy pour trois ans4 7,mark of ,jean ,lecoq47 ,on les vend ,troyes es hostels de ,nicolas ,mauroy1 etc4 ,the privilege is of #aebg4 ,small folio1 in gothic type1 printed in red and black2 signatures ,a to ,t4 ,this volume1 which ,i saw in #aheh1 at ,m4 ,techener's1 contains a large number of engravings in the cribl style1 and others in the modern style2 but only three of them are signed2 these are3-- #a4 ,a ,last ,supper1 cribl4 #b4 ,a ,last ,supper1 ' la moderne4' #c4 ,the ,virgin1 seated1 holding the ,child ,jesus 7folio #hi verso74 ,this book may give us the date of the other signed engravings found at ,troyes1 which were published by ,m4 ,varlot in his ',illustration de l'imprimerie troyenne' 7,troyes1 #ahej1 folio74 ,,iii4 ,,hours ,,of ,,the ,,virgin1 in ,latin1 published by ,tory1 but printed by ,simon de ,colines2 octavo4#cef ,,iv4 ,,hours ,,of ,,the ,,virgin1 in ,latin1 published by ,tory1 but printed by ,simon ,dubois2 quarto4#ceg #aebh 99 99 99 99 99 ,i4 ,,aristophanes4 ,in #aebh ,pierre ,vidoue printed1 at the expense of ,gilles de ,gourmont1 nine comedies of ,aristophanes1 in ,greek1 which were published separately1 in quarto form1 under the editorship of ,jean ,cheradam4#ceh ,all of these have a frontispiece engraved by ,tory1 of which a description follows4 ,at the foot1 under the words ',egidivs ,gormontivs' in large letters1 is a shield with the ,gourmont arms 7three roses in chief and a crescent in point71 supported by two winged stags with ducal coronets about their necks1 the crest being a helmet above which is a ,st4 ,michael holding a naked sword4#cei ,at the left1 a ,greek inscription2 at the right1 an inscription in ,hebrew4 ,the two uprights represent the wise men offering their gifts to the ,child ,jesus lying on his mother's knees4 ,at the top is a shield with three crowns in chief 7this was the sign of ,gilles de ,gourmont1 as may be seen on the title-page of ',champ fleury'71 and tears in the field4 ,this shield has for supporters1 on the right a lion1 on the left a griffin1 and for crest a helmet surmounted by a fan-shaped ornament4 ,on either side is an angel with wings holding a shield2 that on the left enclosing an ,e1 that on the right a ,g1 the initials of ,gilles de ,gourmont's name in ,latin 7,egidius ,gourmontius74 ,the ,lorraine cross is at the foot of the border1 on the left4#cfj ,illustration 99 99 99 99 99 ,,ii4 ,,enchiridion ,,preclare ,,ecclesie ,,sarum1 ,,devotissimis ,,precationibus ,,ac ,,venustissimis ,,imaginibus1 ,,et ,,iis ,,quidem ,,non ,,paucis ,,refertum4 7,here the mark of ,thielman ,kerver--two unicorns holding a shield au ,gril1 with the ,t4 ,k41 and1 beneath1 the full name1 ,thielman ,kerver47 ,parisiis ex officina librarie vidue spectabilis viri ,thielmanni4 ,small octavo1 ,paris1 #aebh1 with engravings signed with the ,lorraine cross4#cfa ,printed in red and black1 in gothic type4 ,there are #ca signatures of #h leaves1--a to z1 and ,a to ,g 7signatures x and y have only four leaves each74 ,in all there are #bcb numbered leaves1 plus #d leaves of index not numbered4 ,the volume begins with the title-page1 followed by a calendar1 the whole occupying #ac leaves1 after which comes the text4 ,it contains #ed engraved plates1 #ab of which are in the calendar1 and a large number of initial letters representing sacred subjects4 ,beneath each plate is a quatrain in ,english4 ,the #ab plates in the calendar represent allegorical subjects4 ,they are enclosed in oval borders1 and are #ga millimetres by #ee4 ,consequently they are all out of proportion to the size of the book1 which is #hd millimetres by #dh4 ,it is evident therefore that they were not made for it4 ,at the foot of each1 in the border1 is the name of the month4 ,the engraving for the month of ,february represents a school2 that for ,march1 a hunt2 that for ,april1 a gentleman and lady1 walking in the country1 arm in arm2 that for ,july1 a domestic interior4 ,the last is the only one of these engravings that ,i have seen1 and that only in a copy4 ,the ,lorraine cross may be seen at the foot4 ,here follows a list of the other engravings of this priceless volume1 of which only a single copy is known to exist4 ,it is to be observed that the pages on which they appear are not numbered1 as the cuts occupy the whole space4 #a4 ,the ,trinity4 #b4 ,the ,annunciation4 #c4 ,the ,visitation4 #d4 ,jesus arrested by the ,jews4 #e4 ,nativity of ,jesus4 #f4 ,jesus before ,pilate4 #g4 ,the ,annunciation to the ,shepherds4 #h4 ,the ,crowning with ,thorns4 #i4 ,the ,adoration of the ,magi4 #aj4 ,the ,bearing of the ,cross4 #aa4 ,the ,circumcision4 #ab4 ,jesus on the ,cross4 #ac4 ,the ,flight into ,egypt4 #ad4 ,the ,descent from the ,cross4 #ae4 ,the ,coronation of the ,virgin4 #af4 ,the ,placing in the ,tomb4 #ag4 ,david and ,bathsheba4 #ah4 ,david and ,joab4 #ai to #bc4 ,the ,story of ,david4 #bd4 ,dance of the ,dead4 #be4 ,three ,men on ,horseback in a ,forest4 #bf4 ,adam and ,eve expelled from ,paradise4 #bg4 ,adam and ,eve condemned to labour4 #bh4 ,the ,creation of ,man4 #bi4 ,six ,men praying before a ,bier4 #cj4 ,birth and ,death4 #ca4 ,purgatory4 #cb4 ,extreme ,unction4 #cc4 ,job4 #cd4 ,a ,woman1 seated1 surrounded by the ,virgin1 the ,evil ,one1 and a ,man bearing the ,world4 #ce4 ,the ,trinity 7same as no4 #a74 #cf4 ,jesus in ,limbo4 #cg4 ,the ,resurrection4 #ch4 ,jesus appearing to ,his ,mother4 #ci4 ,jesus appearing to ,mary ,magdalen4 #dj4 ,jesus at ,emmaus4 #da4 ,the ,incredulity of ,st4 ,thomas4 #db4 ,the ,ascent of the ,virgin4#cfb #aebi ,i4 ,,encomium ,,trium ,,mariarum1 etc41 ,,joannis ,,bertaudi4 ,quarto1 ,paris1 ,josse ,bade1 #aebi4 ,the ,bibliothque ,mazarine has two copies of this priceless volume1 one on paper1 the other on vellum1 which differ slightly in respect to the title-page4 ,the one on vellum reads3 ',encomium ,joannis ,bertaudi ,petragorici ,turrisalb in ducatu ,engolismensi alumni1 de cultu trium ,mariarum adversus ,lutheranos1 cum missa solemniore et officio canonico earundem1 auspiciis augustissim principis ,joann1 ,aurelianensis1 ,gyveriensium domin ac comitis de ,barcq4' ,this is followed by a large plate signed with the ,lorraine cross1 and representing the three ,maries1 etc4 ,there is no publisher's name2 nothing but ,josse ,bade's mark at the end of the book4 ,the title-page of the copy on paper reads3 ',encomium trium ,mariarum cum earumdem cultus defensione adversus ,lutheranos1 solemnique missa et officio canonico1 in quibus omnibus desideres nihil1 emissum opera et industria ,joannis ,bertaudi ,petragorici1 utriusque juris licentiati1 ,turrisque ,alb in ducatu ,engolismensi alumni1 auspiciis augustissim principis ,joann ,aurelianensis1 ,gyveriensium domin ac comitis de ,barcq4' ,then follows ,josse ,bade's mark3 ',prelum ,ascensianum1' taking the place of the engraving of the three ,maries4 ,and below1 ',venundatur ,jodoco ,badio et ,galeoto a ,pratis4' ,this difference is explained by the fact that the copies on vellum were not intended for sale1 so that no bookseller's name was placed on them1 and1 furthermore1 they were embellished with the cut of the three ,maries4 ,this volume contains three short productions by ,jean ,bertaud1 all directed to the same end--the defence of the worship of the three ,maries4 ,they are entitled3 7#a7 ,encomium trium ,mariarum4 7#b7 ,officium trium filiarum beat ,ann4 7#c7 ,de cognatione sacerrimi ,joannis ,baptist4 ,there are some twenty engravings1 but none of them are signed except that of the three ,maries4 ,and1 as ,josse ,bade was an old printer1 who had no known relations with ,tory1 we may assume that these engravings are not by our artist4 ,at most1 we may attribute to him the shield of ,orlans1 at page #d of the first work4 ,,ii4 ,,hours ,,of ,,the ,,virgin 7sixteenmo71 in ,latin1 published by ,tory1 for himself4#cfc ,,iii4 ,,la ,,table ,,de ,l',,ancien ,,philosophe ,,cebes4 ,two small volumes1 octavo1 with a border for each page4 ,the double cross appears on some1 not all1 of these borders4#cfd ,,iv4 ,,diloquium 444 ,item3 ,,epitaphia ,,septem ,,de ,,amorum ,,aliquot ,,passionibus1 etc4 ,octavo1 ,simon de ,colines1 #aecj4 ,this little book is enriched by eight engravings3 a frontispiece borrowed from the octavo ,hours of #aebg1 and seven small subjects corresponding to the seven epitaphs4 ,the latter are certainly ,tory's1 although not signed4 ,they are3-- #a4 ,two hearts pierced by an arrow4 #b4 ,two hearts in a circle4 #c4 ,two hearts bound together by cords4 #d4 ,two hearts in a boat4 #e4 ,a pig sniffing at two hearts4 #f4 ,two hearts1 a distaff1 etc4 #g4 ,two hearts being kicked by a horse4 ,see1 for other details1 what ,i have said of this book on pages #ib and #ic4 #aecj-aeca ,queen ,elonore's ,,coronation and ,,entr,e1 and the ,,epitaphs of the ,queen-,mother1 ,louise de ,savoie3--three quarto brochures1 of which ,i have spoken on pages #acj to #acd2 a description of the engravings follows4 99 99 99 99 99 ,i4 ,,the ,,consecration ,,and ,,coronation ,,of ,,the ,,queen2 three sheets1 quarto4 ,on the first page1 a border1 with the word ',salus' at the foot2 the privilege is on the verso4 ,the text begins on the second leaf1 with the letter ,l reproduced on page #a4 ,on the last page is another border1 with the word ',salus1' and the date of printing1 ,march #af1 #aecj1 old style4 99 99 99 99 99 ,,ii4 ,,entr,e ,,of ,,the ,,queen2 six sheets1 quarto4 ,on the first page the same border as on the first page of the ,hours of #aebd-be2 the privilege is on the verso4 ,on page ,a ij recto1 another border and an ornamental letter ,r1 after the style of the ,l in the work last described4 ,a iiij recto1 another border4 ,b iij recto1 a border1 with the motto 'non plus' at the top4 ,b viij verso1 another border1 with the word ',salus' at the foot2 this is identical with that of the last page of the ',coronation4' ,e viij recto1 another border4 ,f i verso1 a lovely drawing of a 'present made to the queen1 of two candlesticks4' ,on the last page the border of the last page of ',champ fleury1' and the date of the printing1 ,tuesday1 ,may #i1 #aeca4 99 99 99 99 99 ,,iii4 ,,epitaphs ,,of ,,louise ,,de ,,savoie2 two sheets and a half4 ,first page1 the border of the frontispiece of the ,hours of #aebd-be1 with the ,pot ,cass of the first page of ',champ fleury4' ,last page1 the border of the last page of ',champ fleury' and the ,pot ,cass of the first page2 also the date of printing1 ,october #ag1 #aeca4 ,in all three we find the decorated letters of ',champ fleury4' ,these three brochures1 bound together in a small volume1 are in the ,bibliothque de l',arsenal4 ,the borders used in them reappear later as frames for the engravings of a book of ,hours1 quarto1 printed in roman type1 in red and black1 of which ,i know neither date nor place of printing nor name of printer1 as ,i have seen nothing except a few leaves of the book1 preserved at the ,bibliothque ,nationale1 with the works of ,tory4 #aeca ,i4 ,,book ,,of ,,hours1 quarto1 printed by ,tory for himself4#cfe 99 99 99 99 99 ,,ii4 ,,book ,,of ,,hours1 octavo1 with arabesques of flowers1 insects1 animals1 etc41 as in the quarto ,hours of #aebg4cff 99 99 99 99 99 ,,iii4 ,,terentianus ,,maurus1 ,,de ,,literis1 etc4 ,,nicolao ,,briss,o 444 ,,commentatore4 ,quarto1 ,simon de ,colines1 #aeca4 ,this book is dedicated to ,guillaume ,petit1 ,bishop of ,senlis1 whose arms1 with the ,lorraine cross1 appear on the verso of leaf #h of the front matter4 ,the motto is3 ',utinam novissima providerent4' 99 99 99 99 99 ,,iv4 ,,claudii ,,galeni ,,pergameni ,,de ,,anatomicis ,,administrationibus ,,libri ,,novem1 ,,joanne ,,gunterio ,,andernaco1 ,,medico1 ,,interprete4--,parisiis1 apud ,simonem ,colinum1 #aeca4 ,large folio1 with an engraved frontispiece having the ,lorraine cross at the foot1 on the left4 ,the frontispiece represents several different subjects4 ,at the top is ,jesus healing the leper2 at the foot1 doctors dissecting a dead body and lecturing to a numerous audience2 at the sides1 full-length portraits of the most celebrated physicians of antiquity2 in the centre of the plate is a scroll bearing the ,latin title transcribed above4 ,this frontispiece was1 doubtless1 used with others of the works of ,galen4 ,simon de ,colines also published1 in #aecf1 an edition of the works of ,galen1 under the supervision of the same editor 7folio of #agb pages71 and embellished with five beautiful floriated letters engraved by ,tory4 ,in it we find also1 at the head of the epistle to the reader1 an ornamental ,s surmounted by a coat of arms1--a charming design1 but not signed4 #aecb ,,latin ,,bible of #aecb2 folio2 ,robert ,estienne4 ,the title-page is decorated with a frieze signed with the ,lorraine cross1 bearing the word ',biblia' in large letters4 ,it is a scroll surrounded by vines1 with the brazen serpent at the left1 and ,jesus on the ,cross at the right4 #aecc ,the ,,bon ,,mesnager of ,pierre des ,crescens1 printed by ,nicolas ,cousteau for ,galliot ,dupr4 ,folio1 #aecc4 ,the frontispiece1 representing ,dupr presenting the book to ,franois ,i1 is signed with the ,lorraine cross4 99 99 99 99 99 ,inasmuch as ,tory died in #aecc1 it will1 perhaps1 seem that ,i ought to stop here in this enumeration4 ,but as many engravings executed by his own hand were not printed until later1 and1 moreover1 as those signed with the ,lorraine cross alone came from his establishment1 which was managed by his wife after his death1 ,i have thought best to pursue my investigations concerning the engravings with the ,lorraine cross to the end4 #aecd ,i4 ,,sermones ,,iudoci ,,clichtovei ,,neoportuen4 ,,doctoris ,,theologi ,,et ,,carnoten4 ,,canonici4 ,folio1 ,paris1 ,thielman ,kerver's widow1 #aecd4 ,the privilege is dated #aecd4 7,bibliothque ,s4-,genevive1 and ,bibliothque ,mazarine47 ,the ,latin title which ,i have transcribed is engraved in great gothic letters1 arranged in the shape of a cul-de-lampe1 and terminated by a small black heart-shaped ornament 7not unlike those used by ,simon de ,colines71 in which is the ,lorraine cross4 ,this circumstance leads me to believe that ,tory engraved this title-page in gothic letters2 a most interesting fact if true1 for they are probably the only letters in that style that he ever engraved1 after those on folios #db verso1 #gd1 etc4 of ',champ fleury'2 and it is all the more strange because the rest of the book is printed in roman type4 ,it may be that there was another edition in gothic type4 ,however1 this volume contains many other engravings signed with the ,lorraine cross1 and others which1 although unsigned1 seem to be ,tory's4 ,folio #a1 following the title1 a large ,t1 adorned with fleurs-de-lis1 on a background strewn with the same flowers4 ,folio #e verso1 a large ornamental ,p1 representing the ,eternal ,father4 ,folio #ai1 the ,virgin in a halo of fire1 with the ,child ,jesus 7signed74 ,folio #ba1 ,jesus among the ,apostles1 holding a saw 7signed74 ,folio #dc1 ,moses receiving the ,tables 7signed74 ,folio #fc verso1 the ,ark in the form of a church 7signed74 ,folio #gg1 the ,annunciation1 in an oval border 7octavo74 ,folio #hh1 ,birth of ,jesus 7small octavo74 ,folio #ace1 the ,resurrection 7signed74 ,folio #adh1 the ,ascension 7signed74 ,folio #aed verso1 the ,virgin among the ,apostles 7small octavo74 ,folio #aeg verso1 the ,trinity 7signed74 ,folio #afa1 ,easter 7signed74 ,folio #bba1 ,birth of the ,virgin4 ,she is in her mother's womb1 holding the ,child ,jesus 7octavo74 ,folio #cbe1 ,jesus tempted by the ,devil 7octavo74 ,the octavo engravings appear in several other books printed by the ,kervers4 99 99 99 99 99 ,,ii4 ,,pauli ,,belmisseri ,,pontremulani1 ,,artium ,,et ,,medicin ,,doctoris1 ,,equitis1 ,,et ,,poet ,,laureati1 ,,opera ,,poetica4 ,quarto1 of #ajh numbered1 plus #d preliminary unnumbered leaves4 ,printed in #aecd1 but with no name of printer or bookseller4 ,on the first page is a quarto plate1 representing the author crowned with laurel1 standing between ,franois ,i and ,clement ,,vii4 ,beneath these three personages are their respective arms1 and above their heads their names3 ,franciscus1 ,paulus1 ,clemens4 ,the ,lorraine cross is at the foot1 on the left4 ,the same plate appears on the last page4 #aece ,,les ,,troys ,,premiers ,,livres ,,de ,l',,histoire ,,de ,,diodore ,,sicilien1 ,,translatez ,,de ,,latin ,,en ,,fran,,oys1 ,,par ,,ant4 ,,macault4444 ,on les vent a ,paris1 en la rue de la ,juifverie1 devant la ,magdaleine1 l'enseigne du ,pot ,cass4444#cfg ,quarto1 #aece4 ,this book is embellished with a magnificent frontispiece representing ,macault presenting his book to ,franois ,i4 ,although unsigned1 it is certainly ,tory's4 ',his chef-d'uvre1' says ,m4 ,renouvier1#cfh 'is1 perhaps1 the frontispiece of ,macault's ,diodorus1 in which we see ,franois ,i seated in a chair with a back carved with fleurs-de-lis1 at table with his children1 his monkey1 his greyhound1 and his courtiers1 while ,macault reads his book to him4 ,this engraving1 the authorship of which is unquestionable1 does not bear the ,lorraine cross2 the master published without that mark many another work which ,m4 ,bernard1 in his scrupulous exactitude1 has chosen not to mention4 ,as some compensation for the works which ,i have denied to ,tory1 ,i may be allowed the pleasure of mentioning here one which ,m4 ,bernard has not attributed to him3 ,les ,fables d',esopes mises en rithme franois1 by ,gilles ,corrozet 7,paris1 ,denys ,janot1 #aedb74 ,as the copy that ,i saw is not complete1 it may be that the ,lorraine cross might have been found somewhere in the book2 but1 in any event1 that would not change the conviction based upon examination of the plates4 ,the small engravings1 with the first four lines of the fables1 are set in borders decorated with pilasters and pediments in the master's style1 and illustrated at the base with tiny drawings of amorous subjects1 treated with his somewhat heavy-handed delicacy4 ,illustration ',there came from ,tory's establishment1 in the later years1 many engravings of blended types which can be attributed to none but pupils1 or even apprentices2 analysis will always be impossible2 when we have cast a light upon the head of a school1 we must leave the tail to languish in the shadow4 ,i will mention here1 however1 one pupil of ,geofroy ,tory1 whom ,m4 ,bernard does not mention1 namely1 ,franois ,gryphe1 brother of ,sbastien ,gryphe of ,lyon4 ,he engraved and printed1 in #aeci1 a ,new ,testament which1 as very rarely happens1 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 respectively4 ,novum testamentum illustratum insignium rerum simulacris1 cum ad veritatem histori1 tum ad venustatem1 singulari artificio expressis4 7,here the mark of the griffin47 ,excudebat ,fran4 ,gryphius1 ,,an4 ,,mdxxxix4 ,and in the privilege3 ,francoys ,gryphius1 bookseller1 printer and tradesman1 commorant in ,paris 444 prayed that he be permitted to cause to be printed and sold the ,new ,testament1 illustrated by him4 ',the volume is a small octavo2 the ,lorraine cross does not appear1 but there is a letter ,l engraved by ,tory1 and a series of small plates executed with a delicacy instinct with firmness1 in accordance with types1 attitudes and rules which can belong to no other school than his4'#cfi #aecf ,i4 ,,hor ,,in ,,laudem ,,beatissime ,,virginis ,,mari ,,ad ,,usum ,,rothomagensem4 ,,parisiis1 ,,ad ,,insigne ,,vasis ,,effracti1 #aecf4 ,small octavo1 roman type1 line engravings4#cgj 99 99 99 99 99 ,,ii4 ,,lazarii ,,bayfii ,,annotationes1 etc4 ,quarto1 ,robert ,estienne1 #aecf4 ,charles ,estienne1 brother of the printer1 who seems to have been the editor of this book1 informs us1 in a brief preface1 that the drawings scattered through it were taken by him from ancient monuments1 and especially from marbles still extant at ,rome4 ,several of the plates bear the ,lorraine cross1 ,robert ,estienne's mark1 on the title-page2 also the engraving on page #ai of ',de re navali' 7repeated on page #afh71 and those on pages #d1 #dd and #fd of ',de re vestiaria'4 ,all the other engravings1 although not signed1 probably came from ,tory's workshop4 ,this book was reprinted by ,robert ,estienne1 in #aedi1 in the same form4 ,here is a summarized list of the engravings contained in it3 ,in the first part1 ',de re navali1' are some twenty representations of antique vessels1 biremes1 triremes1 etc41 of which one is signed2 in the second part1 ',de re vestiaria1' three are signed3 7#a7 a woman2 7#b7 a man2 7#c7 a soldier2 in the third part1 ',de vasculis1' are eight or ten representations of vases1 etc41 not signed4 ,all these engravings were reproduced on copper in a reprint of ,baf's work1 published in ,grvius's great collection called the ',treasure of ,antiquities1'#cga and1 strangely enough1 the artist has left the ,lorraine cross on the first4#cgb ,this mark appears again in column #aajj of the same volume1 in an analogous work by another author4 ,the same engraving was rengraved on copper1 with the cross1 for the edition of ,grvius's ',thesaurus1' published at ,venice in #agcb1 after the edition of ,utrecht4 ,this later edition was like the earlier one1 and the engraving in question appears in the same volume and same column4 ,so that we have an engraving on copper1 with the ,lorraine cross1 executed in the eighteenth century6 #aecf-aedj ,illustration ,i4 ,,hor ,,in ,,laudem ,,beatissim ,,virginis ,,mari1 ,,ad ,,usum ,,romanum4--,parisiis1 apud ,simonem ,colinum1 #aedc4 ,large quarto of #dd sheets1 in #bb signatures of #b sheets1 encartes1 ,a to ,y4 ,on the verso of the title-page is a table of ,easter-,days from #aedc to #aeff2 then comes the calendar1 which fills the next six sheets4 ,there are in the text fourteen large engravings1 with a special border3-- #a4 ,st4 ,john writing his ,gospel 7which begins on the following leaf74 ,he is gazing at the ,virgin1 who appears to him in the sky1 holding the ,child ,jesus4 #b4 ,jesus betrayed by ,judas4 #c4 ,the ,salutation1 with this device in ,french3 ',fait ce que tu vouras avoir fait quant tu moras4' ',do what thou wouldst have done when thou diest4' #d4 ,the ,visitation 7signed74 #e4 ,the ,birth of ,jesus4 #f4 ,the ,annunciation to the ,shepherds 7with the date #aecg74 #g4 ,the ,adoration of the ,magi 7signed74 #h4 ,the ,circumcision 7signed74 #i4 ,the ,flight into ,egypt4 #aj4 ,the ,death of ,mary 7signed74 #aa4 ,jesus on the ,cross 7signed74 #ab4 ,the ,descent of the ,holy ,ghost upon the ,apostles 7signed74 #ac4 ,the ,penance of ,david 7signed74 #ad4 ,jesus restoring ,lazarus to life4 ,illustration ,all the pages are enclosed in borders1 but the latter are of two sorts3-- #a4 ,eight complete borders1 that is to say1 thirty-two compartments1 in simple line-engraving as in the ,hours of #aebd-aebe4 ,a single one of these eight is signed2 but they are all by the same artist4 ,they bear the dates of #aecf1 #aecg1 #aeci1 in little scrolls of the sort to which ,tory was so much addicted4 ,these dates preclude our attributing these engravings to himself1 but they evidently came from his establishment which was then conducted by his widow4 ,one of these borders appears in a book published in #aedb3 ',rodolphi ,agricol 444 de inventione dialectica1 libri ,,iii1' etc4 #dto1 ,paris1 ,simon de ,colines4 #b4 ,there are also eight complete borders1 or thirty-two compartments1 engraved in black in an entirely different style1 alternating with those engraved in line4 ,four of them are reproduced in this volume1 on the pages bearing the ,author's ,preface4 ,they are in niello1 are neither signed nor dated1 and ,i doubt whether they came from ,tory's workshop1 although we shall see that he engraved some similar ones for ,jean de ,tournes4 ,in any event their inclusion in this book1 side by side with the borders and drawings engraved in line1 seems to me in wretched taste which would have disgusted our artist4 ,we find also in this book some beautiful ornamental letters in the cribl style1 which may be ,tory's4 ,illustration ,the book was reprinted in #aedi1 in the same form1 by ,renaud and ,claude ,chaudire1 successors to ,simon de ,colines4 99 99 99 99 99 ,,ii4 ,in the same year #aedc1 ,simon de ,colines published another book of ,hours1 octavo1 which seems to be a smaller edition of the one ,i have just described4 ,like that one1 it is composed of #bb signatures1 ,a to ,y4 ,the title-page reads3 ,,hor ,,in ,,laudem ,,dei ,,ac ,,beatissim ,,virginis ,,mari ,,ad ,,usum ,,romanum1 ,,una ,,cum ,,calendario ,,recens sic ,,emendato4 ,this within a portico-shaped border1 at the top of which is the name ,simon de ,colines4 ,at the foot of the page3 ',parisiis1 apud ,simonem ,colinum4--#aedc4' ,as in the quarto ,hours of the same date the borders of the text pages are arabesques of two styles1 some in line and the others in black2 and the drawings1 to the number of #ac1 are set in a special border4 ,some of these borders bear the date #aecg1 and one of them has the name ,simon de ,colines in full1 which proves that the engravings were executed for him4 ,a list of the drawings follows2 only one of them is signed1 but all seem to be the work of ,tory4 #a4 ,st4 ,john writing his ,gospel 7signed74 #b4 ,calvary4 #c4 ,the ,salutation4 #d4 ,the ,visitation4 #e4 ,the ,nativity4 #f4 ,the ,annunciation to the ,shepherds4 #g4 ,the ,adoration of the ,magi4 #h4 ,the ,presentation4 #i4 ,the ,flight into ,egypt4 #aj4 ,the ,coronation of the ,virgin4 #aa4 ,pentecost4 #ab4 ,bathsheba at the ,bath4 #ac4 ,job on the ,dunghill4 ,the only copy of this book that ,i know of formerly belonged to the late ,m4 ,renouvier1 of ,montpellier1 who showed it to me in #aheh4 ,it lacks ten leaves immediately following the title-page1 which leaves undoubtedly contained the calendar4 #aecg ,i4 ,,les ,,angoisses ,,et ,,remedes ,,damour ,,du ,,traverseur ,,en ,,son ,,adolescence 7,jean ,bouchet74 ,quarto1 gothic type1 printed at ,poitiers1 ,january #h1 #aecf 7#aecg1 new style71 by ,jean and ,engilbert de ,marnef4 ,the privilege is dated ,november #ae1 #aecf4 ,there are two woodcuts signed with the ,lorraine cross3 the printers' mark1 on the first page2 and1 at the end of the preliminary pages1 an engraving representing a man in a long robe engaged in writing2 facing him and below him are four persons1 also in robes1 from whom he is apparently deriving his inspiration4 ,near these latter1 at the left1 is a woman holding a light4#cgc 99 99 99 99 99 ,,ii4 ,,le ,,jugement ,,poetic ,,de ,l',,honneur ,,feminin 444 ,,par ,,le ,,traverseur 7,jean ,bouchet74 ,at the end are these words3 ',imprim ,poictiers le premier d'avril ,m4 ,d4 ,,xxxviii1 par ,jean et ,engilbert de ,marnef1 freres4' ,this volume1 which is arranged like that last described1 contains eleven engravings1 five of which are signed with the double cross4 ,folio ,a #e verso4 ,a large plate representing the author presenting his book to ,franois ,i4 ,the ,king is seated on his throne and surrounded by his court4 7,signed at the left47 ,folio ,b #a recto4 ,a meeting of the ,parliament of ,paris4 7,signed at the right47 ,folio ,b #d recto4 ,fame announcing the demise of ,louise de ,savoie1 mother of ,franois ,i4 7,signed at the left47 ,folio ,b #g recto4 ,mercury on his way to the field of ,truth2 below1 ,charon in his boat4 7,not signed47 ,folio ,c #a verso4 ,the field of ,truth4 ,four persons1 of whom three are seated in a sort of thicket2 and above them1 a chteau4 7,signed in the centre47 ,folio ,c #g verso4 ,the deceased 7,louise de ,savoie71 her head encircled by a wreath and holding in her right hand a bunch of flowers4 7,signed at the right47 ,folio ,d #c recto4 ,fortune holding a wheel in one hand1 and a standard in the other4 7,not signed47 ,folio ,d #f verso4 ,repetition of ,c #g4 ,folio ,e #e verso4 ,mercury1 with the caduceus in his hand1 speaking to a man in a robe1 and pointing out a palace to him4 7,not signed47 ,folio ,e #g recto4 ,a large hall adorned with statues4 7,not signed47 ,folio ,l #h verso4 ,a winged personage1 wrapped in a cloak1 and having eyes in his hands and feet4 7,not signed47 ,at the end of the volume the mark of the ,marnefs4 7,signed47 #aech ,,missal ,,of ,,paris1 #aeci2 folio4 ,the ,lorraine cross on two large folio plates1 one of which1 dated #aech1 represents ,god the ,father seated on his throne1 his head surrounded by a halo2 he is dressed like the ,pope2 over his head1 a triangular pediment4 ,the other1 not dated1 represents ,christ on the ,cross2 the ,blessed ,virgin and ,st4 ,john are standing at his sides1 and this inscription is printed in a semicircle over the cross3 ',absit michi gloriari nisi in crvce ,domini nostri ,jesvs ,christi4' ,these two subjects1 which are often found in collections1 sometimes on paper and sometimes on vellum1 sometimes black and sometimes coloured 7the mark and the date very often disappear under the colours#cgd71 were first printed1 so far as my knowledge goes1 in the ,missal of ,paris1 published in #aeci by ,thielman ,kerver's widow4 ,there follows a description of this priceless volume1 of which ,i know but one copy in ,paris4#cge ,it is entitled3 ',missale ad usum ,ecclesi ,parisiensis1 noviter impressum1 et emendatum per deputatos a reverendissimo domino ,johanne de ,bellayo1 ,parisiensi episcopo1' etc4 ,then comes ,thielman ,kerver's usual mark1 and below3 ',prostat ,parisiis in vico divi ,jacobi1 apud ,iolandam ,bonhomme1 vidue spectati viri ,thielmanni ,kerver1 ad signum ,unicornis1 ubi et excusum fuit1 anno ,domini ,m4 ,d4 ,,xxxix4' ,this work makes a large folio volume1 printed in red and black1 in gothic type1 with a large number of unsigned engravings in the text4 ,these engravings are of three sorts1--7#a7 floriated letters on a black ground2 7#b7 small drawings of the same size1 but of a very graceful renaissance type2 7#c7 drawings of octavo size1 which were commonly used by ,thielman ,kerver's widow in the books of ,hours published by her1 and of which ,i have already had occasion to speak4#cgf ,the two large drawings signed with the ,lorraine cross face each other in signature ,v1 in the second part of the book1 where the pagination is discontinued4 ,they have been reprinted several times in other editions of the same book4 ,i will mention particularly the edition1 undated1 published in the name of ,guillaume ,merlin1 bookseller1 a copy of which is in the ,bibliothque ,mazarine#cgg2 that of #aedc1 at the ,bibliothque ,sainte-,genevive2 that of #aeei 7all published by ,iolande ,bonhomme or her son ,jacques ,kerver72 and lastly a ,missal of ,cluny1 of which ,i shall speak later4 ,although these books are printed on paper1 the plates in question are always printed on vellum in editions of the sixteenth century2 but this precaution was neglected in later centuries4 #aech-aedj ,latin ,bible in two folio volumes1 bearing the dates #aech1 #aeci1 #aedj4 ,paris1 ,robert ,estienne4 ,the word ',biblia' appears on the title-page in a scroll signed with the ,lorraine cross1 of which ,i have already had occasion to speak1 under the date of #aecb1 and which appears in others of ,robert ,estienne's books4#cgh ,the second title follows3 ',hebra1 chalda1 grca et latina nomina 444 restituta cum latina interpretatione4' ,this has led some bibliographers to assume1 erroneously1 that the book was a polyglot affair4 ,it is printed throughout in ,latin2 there are simply a few ,hebrew words in the dissertation to which the second title in question applies1 and which is printed in the second volume1 with a title-page of its own1 dated #aech4 ,the ,new ,testament1 also in the second volume1 is dated #aeci1 not #aedj1 as ,m4 ,renouard mistakenly says4#cgi ,the ,bible alone1 that is to say1 the first volume and the beginning of the second1 bears the date #aedj4 ,in each part we find ,robert ,estienne's large mark1 signed with the ,lorraine cross4 ,the first volume contains also eighteen magnificent engravings representing the ,tabernacle of ,moses1 ,solomon's ,temple1 etc41 executed under the direction of ,franois ,vatable1 ,royal ,professor of ,hebrew ,literature4 ,the ,lorraine cross appears on the large plate of the camp of the ,israelites1 on folio #ce2 but ,i dare not upon this evidence alone attribute all the other engravings to ,tory4#chj ,in any event the floriated letters used in the book are certainly ,tory's1 for we find the designs mentioned by him in his ',champ fleury4' ,it is a fact worth noting that these letters seem to have been cast1 or1 at least1 reproduced by stereotyping1 for they are often repeated on the same page1 without the slightest change in the design4 ,the ,bibliothque ,nationale has a superb copy of this book on vellum1 with the arms of ,franois ,i4 ,it was reprinted in the same shape by ,robert ,estienne in #aedf1 and by his son ,henri in #aefe4 ,in this last edition1 printed at ,geneva1 we no longer find the two small drawings which appear1 with the frieze1 on the title-page of the edition of #aecb4 7,see p4 #bjd1 supra47 ,the frieze in this later form appears in other books of the ,estiennes4 ,i have seen it in a folio ,xenophon printed for ,fugger4 #aedj-aedh ,,amadis ,,de ,,gaule1 ,french translation by ,nic4 de ,herberay1 ,seigneur des ,essarts1 for the first eight books2 first edition printed between #aedj and #aedh1 by ,denis ,janot1 for the booksellers1 ,vincent ,sertenas1 ,estienne ,groullau1 and ,jean ,longis4 ,folio1 with engravings4 ,i have seen only two of these engravings signed with the ,lorraine cross1 but several others seem to have come from the same workshop4 ,the great majority of them1 however1 are of another make4 ,the two that are signed are3 7#a7 ,book ,,ii1 chap4 #b1 a large plate representing a sort of temple4 ,a man armed cap--pie under a portico4 ,at the right are shields hanging upon posts2 at the left1 a man kneeling on the ground1 holding a naked sword in the air with his right hand1 and another hand grasping it4 ,this represents a scene from the 'le ,ferme4' 7#b7 ,book ,,vi1 chap4 #ef1 a small plate representing four persons on horseback near a chteau in front of which stands an armed man4 ,this cut does not seem to have any connection with the subject1 and may well have been taken from another older work4 ,there is a copy of this book on vellum in the ,bibliothque ,nationale4 #aeda ,i4 ,,praxis ,,criminis ,,persequendi1 ,,elegantibus ,,aliquot ,,figuris ,,illustrata1 ,,joanne ,,mill,o 444 ,,auctore4 ,folio2 ,paris1 ,simon de ,colines1 #aeda4 ,some copies have on the title-page only the names of the brothers ,arnould and ,charles les ,angeliers4 7,bibliothque ,nationale47 ,there are in this book thirteen large folio cuts1 besides the frontispiece4 ,a single one1 the seventh1 is signed1 but all are by the same hand4 ,following is a description of them1 or1 rather1 a brief list2 for a description would lead us into too minute details3#cha-- #a4 ,several men slain in divers ways1 on a public square where there is a large crucifix4 #b4 ,examination of the bodies of the wounded lying in a room4 #c4 ,examination of the witnesses4 #d4 ,the accused summoned by public outcry4 #e4 ,arrest of the accused4 #f4 ,examination of the accused4 #g4 ,confrontation of the witnesses with the accused 7signed74 #h4 ,ratification of decree of pardon4 #i4 ,torture by water4 #aj4 ,torture by the boots4 #aa4 ,torture by compressing the wrists4 #ab4 ,condemnation of the guilty4 #ac4 ,execution of the guilty4 ,there is at the ,bibliothque ,nationale a magnificent copy of this book on vellum1 with the arms of ,france in miniature on the verso of the title-page4 99 99 99 99 99 ,,ii4 ,the first volume of the ,,catholiques ,,uvres ,,et ,,actes ,,des ,,apostres1 by ,simon de ,greban2 followed by the ,,mystere ,,de ,l',,apocalypse1 by ,louis ,choquet4 ,printed for ,arnould and ,charles les ,angeliers1 ,may #bg1 #aeda4 ',on les vend en la grand salle du ,palais1 par ,arnould et ,charles les ,angeliers freres4' ,folio2 ,paris1 #aeda4 ,this work is embellished with engravings1 of which only one is signed with the ,lorraine cross4 ,this one1 which is on folio ,i recto of the ,acts of the ,apostles1 represents the descent of the ,holy ,ghost upon the ,apostles4 ,it is enclosed in a border1 of octavo size1 and belongs to a series of engravings for a book of ,hours published by ,guillaume ,merlin in #aedh4chb ,the engraver's mark is in a small circle at the left of the foot of the border4 ,beside it is an angel holding two shields in which are the letters ,g4 ,m4 7,guillaume ,merlin74 ,the frontispiece of the ,acts of the ,apostles has a border in which is the date #aecg4 ,the same border surrounds the frontispiece of the ,mystery of the ,apocalypse1 but there it is without the date4 ,this last-named portion of the volume contains #ac engravings and a border1 in ,tory's style1 but without the ,lorraine cross4 ,one of them bears the letters ,p4 ,r4 ,there is a copy at the ,bibliothque ,nationale4 99 99 99 99 99 ,,iii4 ,,hours ,,of ,,the ,,virgin1 octavo1 in roman type1 but with the borders ' la moderne' described on page #abh1 supra4 ,this book1 printed by ,olivier ,mallard in #aeda1 was copied doubtless from the edition made by ,tory about #aeca1 which ,i have been unable to examine4 ,mallard's edition1 of which ,i have seen a copy on vellum1 belonging to ,m4 milien ,cabuchet1 the painter1 and another on paper1 consists of twenty-three octavo signatures1 ,a to ,y4 ,the title-page reads2 ,,hor ,,in ,,laudem ,,beatissim4 ,,virginis ,,mari1 ,,ad ,,usum ,,romanum4 7,here the ,pot ,cass47 ,parisiis1 apud ,oliverium ,mallardum1 sub signo ,vasis ,effracti1 #aeda4 ,the last page1 on which is printed a curious 'prescription against the plague1' ends thus3 ',excudebat ,parisiis ,oliverius ,mallard1 bibliopola regius1 sub signo ,vasis ,effracti4'444 ,in this edition there are #af different borders2 each leaf has the same border on both recto and verso4 ,there are also #af of the engravings of the sixteenmo ,hours of #aebi1 those not reproduced being nos4 #a1 #ai and #ba of that edition4 ,the word ',rom4' printed on the first page of each signature leads me to believe that ,mallard published at the same time1 in the same format1 an edition of ,hours 'ad usum ,parisianum1' but ,i have found no trace of such an edition4 ,after ,olivier ,mallard's death1 which occurred1 as ,i have said heretofore1 in #aedb1 his typographical outfit seems to have been acquired by ,thielman ,kerver ,,ii 7son of the first ,thielman and ,iolande ,bonhomme1 who lived1 as did his father before him1 on ,rue ,saint-,jacques72 for he published in #aeej a book of ,hours similar to that printed in #aeda by ,mallard4 ,it contains the same borders and the same drawings1 but in a different arrangement4 ,the borders have been lengthened by means of a most ungraceful addition to the side-pieces2 as for the drawings in two parts1 no pains has been taken to place the parts facing each other1 so that their meaning would be uncertain if we had no other editions of the engravings4 ,in fine1 this book is very imperfect4 ,it consists of twenty-two and a half signatures1 ,a to ,y4 ,the title-page reads thus3-- ,,hor ,,in ,,laudem ,,beatissim ,,virginis ,,mari ,,ad ,,usum ,,romanum4 7,here the mark of ,thielman ,kerver1 with the ,lorraine cross47 ',parisiis1 apud ,thielmannum ,kerver1 vico sancti ,jacobi1 sub signo ,cratis4 ,m4,d4,l4' ,the book closes with the curious 'prescription' found in ,olivier ,mallard's edition of #aeda1 which is in these words3 ',approbatissima medicina contra pestem4--,recipe quantum potes de amaritudine mentis contra peccata commissa1 cum vera cordis contritione1 potius libram quam unciam4 ,hc misceantur cum aqua lacrymarum1 et facies vomitum per puram confessionem4 ,deinde sumas illud sacratiss4 electuarium corporis ,christi1 et tutus eris a peste4' ,the book is printed in red and black4 ,i have seen a copy on paper at ,m4 ,potier's bookshop4 ,there is an imperfect copy at the ,bibliothque ,mazarine1 and a perfect one at ,sainte-,genevive4 ,about the same time there was published a small duodecimo volume of four signatures1 in ,french1 with the same borders4 ,it begins thus3 ',here follows the method of receiving the blessed sacrament devoutly4' ,it is like the book last-described except that it is printed in only one colour1 and that it is a little longer and wider4#chc ,to lengthen the borders1 sections have been added to them4 ,it is most peculiar that a duodecimo volume should be larger than an octavo1 but the fact is unquestionable3 formats were already beginning to increase in size4 ,near the end of the book is a little treatise with this heading3 ',here follows a devout meditation as to the manner in which thou shouldst ordain and arrange the whole day1' etc4 ,and after that3 ',the life of ,madame ,sainte-,marguerite1 with prayer to be said for women pregnant and in travail4' ,this book is in the ,bibliothque ,mazarine1 in the same collection as the last4 ,it contains four small engravings1 of which only one seems to me to belong to ,tory3 it is the ,christ on the ,cross1 which appears in the quarto ,hours of #aedb1 now to be described4 #aedb ,i4 ,hours1 according to the ,roman use1 quarto1 in ,latin1 published by ,olivier ,mallard in #aedb4 ,this rare volume1 of which ,i know only one copy1 belonging to ,m4 ,aerts1 of ,metz1#chd who himself kindly brought it to me at ,paris1 is a reproduction of the ,hours printed by ,tory in #aeca2 the type1 however1 is smaller4 ,it consists of nineteen signatures of two quarto sheets encartes1 signatures ,a to ,t4 ,the title-page reads3 ,,horae ,,in ,,laudem ,,beatiss4 ,,virginis ,,mari ,,ad ,,usum ,,romanum4 ,,officium ,,triplex4--,parrhisiis1 apud ,oliverium ,mallard1 impressorem ,regium4 ,the rest is as in the edition of #aeca4 ,on the last page3 ',parrhisiis1 ex officina ,oliverii ,mallard1 ,regii impressoris1 ,ad insigna ,vasis ,effracti4 ,anno salu4 ,m4 ,d4 ,,xlii4 ,mense ,augusti4' ,then come the two lines3-- ',effracti1 lector1 subeas insignia vasis1 ,egregios flores ut tibi habere queis4' ,the table of ,easter-,days1 on the verso of the title-page1 goes from #aedb to #aega2 then comes the calendar1 in which the order of the edition of #aeca has been followed in the arrangement of the borders1 although the type1 being smaller1 would have permitted the more regular arrangement of the edition of #aebd-be4 ,the book is printed in two colours1 except signatures ,b1 ,c1 and ,d1 which are in black only--a most unusual state of things4 ,the engravings are the same as those of the edition of #aeca1 but the floriated letters are different4 ,the ,passion1 which begins on folio ,b #c verso1 is enriched by the small ,christ on the ,cross which we find in the ,hours of #aebi1 but without the four additional subjects 7bees1 etc471 which there accompany it4#che ,it is probable that some accident happened to the plate1 and that only the ,christ was saved4 ,we find also in this volume1 at the foot of the border1 the crowned ,c of ,queen ,claude of ,france1 who had then been dead about fifteen years4 ,the ,lorraine cross1 which had disappeared from several of the larger engravings as early as the edition of #aeca1 appears on almost none of them in that of #aedb4 ,for example1 it has been expunged from the ,birth of ,jesus and the ,circumcision4 ,the only ones which retain it are the ,visitation1 the ,crucifixion1 and the ,descent of the ,holy ,ghost4 ,it remains on the borders also4 ,signature ,e begins with a leaf the recto of which is blank1 while on the verso is the angel of the ,annunciation1 as in the edition of #aeca4 ,the large plate1 the ,triumph of the ,virgin ,mary1 is also included in this edition4 99 99 99 99 99 ,,ii4 ,,hore ,,beate ,,marie ,,virginis ,,ad ,,usum ,,fratrum ,,predicatorum ,,ordinis ,,sancti ,,dominici3 ,,figuris ,,utriusque ,,testamenti ,,ac ,,pervenustis ,,imaginibus ,,et ,,iis ,,quidem ,,non ,,paucis1 ,,passim ,,decorate1 ,,atque ,,officio ,,conceptions ,,immacule ,,virginis ,,et ,,officio ,,sancti ,,dominici ,,in ,,aliis ,,orariis ,,actenus ,,impressus ,,nequaque ,,insertis ,,ad ,,aucte4 7,here the figure of ,st4 ,dominic holding an open book in his left hand1 and in the right a staff with the cross at the end4 ,at his feet lies a dog4 ,the ,lorraine cross is at the left47 ,venundantur ,parisiis1 in edibus vidue spectabilis viri ,thielmanni ,kerver1 in vico divi ,jacobi1 sub signo ,unicornis1 ubi et impresse4--,m4,d4 ,,xlii4' ,octavo2 signatures ,a to ,x1 and a to c3 in all1 #bf forms4 ,the title-page engraving reappears on leaf ,r #d verso4 ,the others are not signed4 99 99 99 99 99 ,,iii4 ,,heures ,l',,usage ,,de ,,toul3 ,,au ,,long ,,sans ,,requerir4 ,octavo of #aef unpaged leaves4 ,calendar from #aeda to #aefd4 ,at the bottom of the last page are the words3 ',imprim ,troyes chez ,jean ,lecoq4' ,gothic type1 printed in red and black4 ,the only copy of this book that ,i have seen is in the ,bibliothque ,publique of ,besanon4 ,it has #cj engravings1 including the printer's mark1 which is on the title-page4 ,the mark and three other engravings of the first series are signed with the ,lorraine cross4 ,a list of all the engravings follows3-- ,first series1 4#jf mm4 by 4#jdc mm4 #a4 ,printer's mark 7signed74 #b4 ,jesus in the ,garden of ,olives 7signed74 #c4 ,annunciation of the ,virgin4 #d4 ,the ,visitation4 #e4 ,the ,nativity4 #f4 ,adoration of the ,shepherds4 #g4 ,adoration of the ,magi4 #h4 ,the ,presentation in the ,temple4 #i4 ,massacre of the ,innocents4 #aj4 ,death of the ,virgin 7signed74 #aa4 ,the ,crucifix4 #ab4 ,pentecost4 #ac4 ,bathsheba at the ,bath 7signed74 #ad4 ,resurrection of ,lazarus4 #ae4 ,vision of ,st4 ,gregory4 ,second series1 4#jcd mm4 by 4#jbb mm4 #a4 ,the ,trinity4 #b4 ,death piercing with a ,spear the ,great ,men of ,earth4 #c4 ,st4 ,anne4 #d4 ,all ,saints4 #e4 ,ecce ,homo4 #f4 ,the ,virgin4 #g4 ,the ,beheading of ,st4 ,john ,baptist4 #h4 ,st4 ,sebastian4 #i4 ,st4 ,nicholas4 #aj4 ,st4 ,martin4 #aa4 ,st4 ,catherine4 #ab4 ,st4 ,barbara4 #ac4 ,our ,lady of ,pity4 #ad4 ,virgo ,gloriosa4 #ae4 ,our ,lady of the ,seven ,sorrows4 ,,iv4 ,,dyalogue ,,instructoire ,,des ,,chrestiens ,,en ,,la ,,foy1 ,,esperance ,,et ,,amour ,,de ,,dieu ,,compos ,,par ,,frere ,,pierre ,,dor1 ,,docteur ,,en ,,theologie4444 ,imprim nouvellement par ,denys ,janot1 demourant en la rue ,neufve ,nostre ,dame1 l'enseigne ,sainct ,jehan ,baptiste1 pres ,saincte ,geneviefve des ,ardens4 ,sixteenmo1 #aedb4 ,on the verso of the title-page is an engraving signed with the ,lorraine cross4 ,it represents the ,virgin standing on a crescent1 holding the child ,jesus in her arms1 and surrounded by a halo4 7,bibliothque ,nationale47 #aedc-aedd ,,sommaire ,,de ,,chroniques1 ,,contenans ,,les ,,vies1 ,,gestes ,,et ,,cas ,,fortuitz ,,de ,,tous ,,les ,,empereurs ,d',,europe1 etc4 ,by ,j4 ,b4 ,egnatius1 translated by ,g4 ,tory4#chf ,there were several other editions of these chronicles4 ,m4 ,hippolyte ,boyer mentions one of #aeda1 in his ',histoire des ,imprimeurs et ,libraires de ,bourges' 7#hvo1 ,bourges1 #ahed71 p4 #bg2 ,antoine du ,verdier1 another1 of #aedc1 in his ,bibliothque franoise4 ,this much is certain--that ,m4 ,renouvier owned a copy1 with illustrations1 dated #aedd4 ,it is an octavo1 'for sale by ,charles l',angelier1 in the grand'salle du ,palais4' ,it contains #aab leaves 7signatures ,a to ,o71 plus #d unnumbered leaves4 ,the engravings are of two sorts3 the first represents an emperor on horseback1 carrying a battle-axe2 there is no mark1 but it is engraved with much delicacy and distinguished by the little cartouches of which ,tory was so fond2 this figure is reproduced several times4 ,the others are busts of emperors1 roughly engraved1 which cannot be ,tory's4 ,it may be noted that the edition published by ,tory in #aecj contains no engravings4 #aede ,,de ,,dissectione ,,partium ,,corporis ,,humani1 etc4 ,by ,charles ,estienne4 ,folio1 ,simon de ,colines1 #aede4 ,there are in this book about sixty large anatomical plates4 ,five are signed with the ,lorraine cross--folios #adi1 #aej1 #aea1 #aed1 #aee4 ,the last four bear also the name of ,jollat1 with the dates #aecj1 #aeca1 #aecb4 ,here is what ,m4 ,renouvier has to say on the subject3 ',simon de ,colines 444 employed another wood-engraver of some note1 ,mercure ,jollat1 to whom ,papillon attributed almost all of our gothic books of ,hours4 ,he should be reckoned only among the engravers of an altogether modernized manner4 ,his name is written ,iollat1 the first letter in the zodiacal sign of ,mercury1 followed by the dates #aecj1 #aeca1 and #aecb1 and accompanied by the ,lorraine cross1 on four plates of ,charles ,estienne's book on the dissection of the human body1 representing the cadaver in its skin and the cadaver with the skin removed4 ,the drawing of the figures has been attributed1 even by ,brulliot1 to ,woeiriot2 but it is really the work of the surgeon ,estienne ,rivire1 who is named on the title-page and in the preface as the painter of the bones1 ligaments1 and all the anatomical details4 ,his initials1 ,s4 ,r41 appear on a tablet hanging from the branches of a tree in the first plate4 ,the engraving1 which varies considerably1 would seem to be the work of different hands1 or1 at least1 to have come from an establishment which practised diverse styles and which sometimes put forth work done by apprentices4 ,the workmanship of the plates with ,jollat's mark seemed to me more monotonous--not unskilful although less picturesque4 ,i am not now passing upon their scientific merit1 but upon their picturesque interest simply4'#chg ,the inscription of ,jollat's name on plates marked with the ,lorraine cross seems1 at first glance1 quite hard to explain1 especially with the general opinion concerning the former of these artists1 based on ,papillon's statements4 ,but as the story of ,jollat's work as an engraver still remains to be told1 ,i think ,i may safely say that he simply designed the plates that bear his name in ,charles ,estienne's book1 and that they were engraved by ,tory1 or1 at least1 in his workshop4 ,we have seen1 in fact1 that ,tory was ,simon de ,colines' favourite engraver4 ,to be sure1 ,m4 ,renouvier seems to be of opinion that all the plates were designed by ,estienne ,rivire1 whence he concludes that the engraving is by ,jollat2 but this is a mistaken opinion1 based on a sentence in the preface4 ,rivire1 who was a friend of ,charles ,estienne1 may have designed the majority of the plates in ,charles ,estienne's book1 and yet not have designed all of them4 ,those signed ,jollat evidently belong to that artist1 who seems to have designed a number of them before the work was placed in ,rivire's hands4 ,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 dates1 and that those dates are not those of the engraving1 which ,i propose to prove4 ,there are only five plates signed with ,jollat's name and with the ,lorraine cross in the ,latin edition of ,charles ,estienne's book1 published by ,simon de ,colines in #aede4 ,in the following year the same printer issued a ,french edition of this work1 under the title1 ',la ,dissection des parties du corps humain' 7folio1 #aedf71 in which we find two additional plates so marked and dated #aecb4 ,why did not these plates appear in the first edition1 if they were engraved by ,jollat8 ,but here is another fact even more conclusive4 ,in #aege the bookseller ,jacques ,kerver published a volume of engravings without text1 entitled ',les ,figures et portraicts des parties du corps humain' 7folio71 in which we find not only the seven engravings with the cross1 of the edition of #aedf1 but three others1 also bearing ,jollat's mark and the ,lorraine cross1 and dated #aecc4 ,evidently these plates appeared in some earlier edition1 unknown to me1#chh for it was not ,kerver who had them engraved2 he simply made use of the woodcuts of which he had become the owner4 ,but why did they not appear in the edition of #aedf8 ,that is a matter easily explained4 ,charles ,estienne informs us in the preface to his book that the printing was well advanced in #aeci1 but that it was interrupted by a lawsuit4 ,we give his own words in the ,french edition of #aedf3 ',all of which things were well-nigh finished in the year #aeci1 and almost so far as the middle of the third book printed1 when1 by reason of a suit that was begun1 we were forced 7to your great discontent1 methinks7 to lay aside this work and to desist from the completion thereof2 for so long that in the mean time it has been possible for many others to invent new ideas touching this matter1 and to make use at their will of many sheets filled with our writings2 for it was not possible for the printer so closely to safeguard his book1 so long suppressed1 that some persons curious to learn of novel things might not take away some sheets1 still uncorrected1 and send them into ,germany4' ,now let us see what was the cause of this suit4 ,charles ,estienne does not inform us1 but it has been disclosed by ,m4 ,ambroise ,didot1 in his ',essai sur la ,gravure4' ,the famous ,vsale had published at ,venice1 in #aech1 through the printer ,b4 ,vitalis1 a treatise on anatomy1 embellished with numerous plates1 which was copied in several places1 and notably in ,paris1 despite the privilege granted by the ,republic4 ,later1 wishing to issue a new and improved edition of his book1 ,vsale applied to ,oporin1 professor of ,greek1 and printer at ,basle1 to whom he sent his plates1 which had been engraved at ,venice by ,calcar1 a pupil of ,titian4 ,in #aedc ,oporin finished printing this new edition1 for which the author had1 no doubt1 obtained privileges from various sovereigns1 especially from the ,king of ,france4 ,this seems to be proved by the suit instituted against ,charles ,estienne4 ,that is why the latter could not publish1 in his edition of #aede1 all the plates which he had had made1 and which appeared only at intervals as the date of ,vsale's privilege was left behind4 ,as we have seen1 he gives it to be understood in his preface that it was he who was robbed in ,germany4 ,as this is a favourable opportunity1 ,i will say a few words concerning ,jacques ,kerver's publication1 of which ,i have never seen any mention1#chi but which is of great interest to us4 ,it is a folio volume1 containing #fa large plates besides a considerable number of small ones4 ,there is no other text than the explanations printed on the plates1#cij and a brief note to the reader1 which begins thus3 ',friend reader1 seeing that medicine is not at all essential to preserve the health and to banish all diseases1 which often1 on slight occasion1 assail us1 and that anatomy1 or the description of the parts of the human body1 mainly serves us therein1 ,i have determined not to fail to exhibit them to you here4' ,we give a description of those plates in the book which are of interest to us4 ,plates which appear only in ,kerver's volume4 #a4 ,the human body in its relation to the signs of the zodiac 7folio ,a #b verso74 ,this bears ,jollat's name1 the date #aecc1 and the ,lorraine cross4 #b and #c4 ,the human body in its relation to the seven planets 7folio ,a #c recto and verso74 ,these two bear the same marks as the preceding4 ,plates which appear in the edition of #aedf4 #d4 ,skeleton seen from the left side 7folio #aa of the edition of #aedf1 and ,a #c verso of that of #aege74 ,jollat's name1 the ,lorraine cross1 no date4 #e4 ,skeleton seen from the right side 7folio #aa1 #aedf1 folio ,a #e verso1 #aege74 ,jollat's name1 the date #aecb1 and the ,lorraine cross4 ,plates which appear in all three editions4 #f4 ,man flayed1 front view 7folio #adi1 #aede2 folio #aea1 #aedf2 folio ,b #b recto1 #aege74 ,the cross alone4 #g4 ,man flayed1 right side 7folio #aej1 #aede2 folio #aeb1 #aedf2 folio ,b #b verso1 #aege74 ,jollat's name1 the date #aecb1 and the ,lorraine cross4 #h4 ,man flayed1 rear view 7folio #aea1 #aede2 folio #aec1 #aedf2 folio ,b #c recto1 #aege74 ,the same marks as in the last case4 #i4 ,man in his skin1 front view 7folio #aed1 #aede2 folio #afj1 #aedf2 folio ,b #c verso1 #aege74 ,the same marks as in the last case4 #aj4 ,man in his skin1 rear view 7folio #aee1 #aede2 folio #afa1 #aedf2 folio ,b #e recto1 #aege74 ,the same marks1 with the date #aeca4 ,many others of the plates may belong to ,tory1 but as they are not marked1 ,i shall not speak of them here4 99 99 99 99 99 ,something analogous to what ,i have just described took place with reference to the engravings of ,tory's ,hours4 ,having become the property of the ,kervers1 as we have seen1#cia they were used by them for a long while4 ,we shall mention later the octavo ,hours published by ,thielman ,,ii in #aeej1 #aeeb1 and #aeef1 in which he utilized the woodcuts of the edition published by ,olivier ,mallard in #aeda4 ,his son ,jacques did better than that3 in #aegd he published a large octavo edition of the ,hours of the ,virgin1 in which he used the woodcuts of the quarto editions issued by ,tory himself in #aebd and #aebg4 ,as the crosses were removed in almost every instance1 one might have some right to deny their source1 were not the books published by ,tory a half century before1 at our hand to demonstrate it4 ,jacques ,kerver's book being rare1 and of a date subsequent to the period covered by my work1 it seems to me that it may be well to give a bibliographical description of it1 from the copy owned by ,m4 ,chedeau1 which ,m4 ,potier1 bookseller1 has kindly furnished me4 ',officium beat ,mari ,virginis nuper reformatum et ,pii ,v1 pont4 max41 jussu editum4--,apud ,jacobum ,kerver1 via ,jacobea1 sub insigni ,unicornis4--#aegd4' ,large octavo1 with illustrations from the quarto edition published by ,tory in #aebd-aebe1 surrounded by borders taken from ,tory's quarto edition of #aebg1 but reduced in size1 mutilated1 transposed1 etc4 ,here is a list of the plates3-- #a4 ,the ,annunciation 7two plates74 #b4 ,the ,salutation4 #c4 ,the ,nativity4 #d4 ,the ,adoration of the ,shepherds4 #e4 ,the ,adoration of the ,magi4 #f4 ,the ,circumcision4 #g4 ,the ,flight into ,egypt4 #h4 ,the ,coronation of the ,virgin4 ,these eight plates are repeated three times4 ,then come3-- #i4 ,the ,triumph of ,death4 #aj4 ,david's ,penance4 #aa4 ,jesus on the ,cross4 #ab4 ,pentecost4 ,number #h is taken from the quarto ,hours of #aebg2 but all the others are in the ,hours of #aebd-aebe4 ,numbers #b and #ab still bear the ,lorraine cross4 ,there is no doubt in my mind that the ,kervers printed also the quarto ,hours 7#aeca7 which ,i mentioned on page #bja1 and in which we find the borders of the ,hours of #aebd-aebe1 and the porticoes of the opuscula of #aecj-aeca4 ,the plates are not signed and cannot be ,tory's1 but as a list of them may assist in the discovery of this edition1 ,i will mention here those which are at the ,bibliothque ,nationale3-- #a4 ,the ,annunciation4 #b4 ,the ,conception4 #c4 ,the ,visitation4 #d4 ,the ,nativity4 #e4 ,the ,circumcision4 #f4 ,the ,resurrection4 #g4 ,the ,descent of the ,holy ,ghost4 #h4 ,all ,saints4 #i4 ,the ,trinity4 #aedg ,we place under this date three books of ,hours which introduce us to certain engravings signed with the ,lorraine cross accompanied by initials4 #aedg is not the exact date of the engravings to which we refer1 for we shall see that they are of earlier execution2 but their first appearance is so uncertain that we are forced to fall back upon the definite date supplied by the books in question4 99 99 99 99 99 ,i4 ,,hours ,,according ,,to ,,the ,,use ,,of ,,toul4 ,octavo4 ,on the first page3 ',the present hours according to the use of ,tou sic1 in full1 sans requerir1 newly printed at ,paris4' 7,here the mark of ,franois ,regnault47 ',for sale in ,paris1 ,rue ,saint ,jacques1 at the sign of the ,elephant1 opposite the ,mathurins1 by ,franoys ,regnault's widow4' ,on the verso is a table of ,easter-,days for thirteen years1 beginning in #aedg4 ,next comes a calendar1 with engravings and verses 7some in ,latin1 some in ,french71 the ',jours moralisez1' divers moral and religious axioms1 in verse and in prose1 and1 lastly1 the four ,gospels of the ,passion1 in ,latin4 ,all these form the first part1 with a special series of signatures1 aa to ee4 ,it is more than likely that this first part1 which has no application to any particular diocese1 is printed1 in the same form1 in the ,hours which ,veuve ,regnault probably printed for other churches about the same time4 ,in signatures cc and ee there is an engraving representing ,jesus on the ,cross1 signed with the letters ,i1 ,l1 ,b and the ,lorraine cross1 which appears in several other publications of the same period4 ,the second part of the book comprises the ,hours properly so-called1 according to the ritual of the church of ,toul4 ,this part is made up of eight signatures1 a to h1 the word ,tou being printed on the first page of each sheet4 ,the volume contains a hundred leaves in all4 ,in addition to the bookseller's mark and the engraving signed with the ,lorraine cross1 there are #ee large woodcuts1 most of which are signed with the initials ,i1 ,m 7without the cross71 a few small engravings1 and a large number of letters in grisaille1 but no borders4 ,with a copy of these ,hours1 which ,i have seen1 was bound the following work3-- ',the fifteen effusions of the blood of our ,saviour and ,redeemer ,jesus ,christ1 by ,barbe ,regnault1 ,rue ,saint ,jacques1 at the sign of the ,elephant1 opposite the ,mathurins4' ,eight leaves in two octavo folds1 enriched with fifteen pretty woodcuts1 interspersed through the text1 and marked1 like the one mentioned above1 which is one of them1 with the letters ,i1 ,l1 ,b and the ,lorraine cross4 ,this little volume is undated1 but it is known that ,barbe ,regnault succeeded her mother1 ,madeleine ,boursette1 widow of ,franois ,regnault1 who was carrying on the business as late as #aeee4 ,so that the engravings with the initials ,i1 ,l1 ,b might be of later date than that2 but we have seen that one of them had already appeared in the first part of the book2 therefore they are of earlier date than #aedg4 ,here is a list of these engravings1 which are the same ones mentioned by ,m4 ,robert-,dumesnil under date of #aeii3-- #a4 ,the ,circumcision4 #b4 ,jesus in the ,garden of ,olives4 #c4 ,the ,apprehension of ,jesus4 #d4 ,jesus ,beaten with ,rods4 #e4 ,jesus before ,pontius ,pilate4 #f4 ,jesus ,king of the ,jews4 #g4 ,jesus ,bearing his ,cross4 #h4 ,jesus ,stripped of his ,clothing4 #i4 ,jesus on the ,cross4 #aj4 ,same subject 7without initials74 #aa4 ,same subject 7again without initials74 #ab4 ,same subject 7with initials and without the cross74 #ac4 ,erection of the ,cross4 #ad4 ,jesus between the two ,thieves4 #ae4 ,same subject 7without cross or initials74 ,all of these are #d centimetres high and #e wide4 ,the ',fifteen ,effusions' was reprinted frequently during the sixteenth century1 in different formats and in different type1 but with the same engravings1 and almost always without date1 because it was added to other books4 ,i have1 however1 seen one copy in large type1 dated #aehd 7,bibliothque ,nationale74 ,these same engravings appear1 with many others1 in a work entitled ',abrg des ,mditations de la vie de ,jsus-,christ'2 octavo1 ,paris1 ,guillaume ,chaudire1 #aeii4 99 99 99 99 99 ,,ii4 ,,hore ,,beate ,,marie ,,virginis ,,ad ,,usum ,,parisiensem1 ,,totaliter ,,ad ,,longum1 ,,cum ,,multis ,,orationibus ,,et ,,historiis1 ,,noviter ,,impresse ,,et ,,emendate4 7,here the ,triumph of the ,virgin1 an old engraving with cribl background1 with legends in gothic type1 which figures in all the ,hours of this period47 ',on les vend a ,paris1 en la rue ,sainct ,jacques1 par la veufve ,jehan de ,brie1 a l'enseigne de la ,lymace1 pres ,sainct ,yves4' ,on the verso of the title1 'a calendar for ,,xi years1' beginning with #aedh4 ,each month has its engraving1 and the usual illustration is placed within a circle2 they are not signed4 ,printed in red and black1 in large gothic type1 the work consists of #h preliminary leaves and #af folios of text1 signatures ,a to ,q1 with the letters ,pa 7,paris74 ,the folios do not begin until signature ,b1 and run without a break to the end of signature ,q4 ,on the last page of this signature are these words3 ',these present hours according to the use of ,paris1 with several noble eulogies of ,our ,lady1 have been printed by ,veufve ,jehan de ,brye sic1 living on rue sainct ,jacques1 at the sign of the ,snail1 near ,sainct ,yves4--,m4 ,d4 ,,xlviii4' ,then follow #ab leaves of appendix1 ending with a figure of the ,virgin1 over which are the words ',nostre ,dame de ,lorette1' in roman capitals4 ,at the foot of the page3 ',ave ,sanctissima ,maria1' etc4 7#e lines in gothic type74 ,this curious volume is preserved in the ,bibliothque ,nationale4 ,besides the #ab small engravings of the calendar1 there are several other small subjects1 also unsigned1 and #ac large ones with the letters ,l1 ,r1 and the double cross4 ,these latter1 which measure #aj centimetres in height and #g in width1 are as follows3-- #a4 ,st4 ,john writing his ,gospel4 #b4 ,the ,annunciation4 #c4 ,the ,visitation4 #d4 ,the ,crucifixion4 #e4 ,the ,descent of the ,holy ,ghost upon the ,apostles 7with the initials1 but without the cross74 #f4 ,the ,birth of ,jesus4 #g4 ,the ,annunciation to the ,shepherds4 #h4 ,the ,adoration of the ,magi4 #i4 ,the ,circumcision4 #aj4 ,the ,coronation of the ,virgin4 #aa4 ,the ,penance of ,david4 ,he is saying to the ,father ,eternal these words1 which are written in a scroll3 ',i who have sinned4'#cib #ab4 ,the ,last ,judgement4#cic #ac4 ,notre-,dame de ,lorette4 ,as ,i have said heretofore 7supra1 p4 #adi71 the first twelve of these are improved copies of other1 unsigned engravings1 belonging to ,thielman ,kerver ,i1 which appear in many books published by him or by his widow1 ,iolande ,bonhomme1 at least as early as #aebb1cid and which we find again in the ,paris missal published by their son ,jacques in #aeei4 ,m4 ,brunet#cie suggests a very plausible theory1 to the effect that the engravings signed ,l4 ,r4 were executed by ,louis ,royer1 who was in fact the first to use them1 in a book of ,hours entitled3 ',hor beat ,mari ad usum ,rom4'2 duodecimo1 gothic type1 with the mark of ,jean de ,brie1 and the following words at the foot3 ',parisiis1 impressum in vico ,jacobi per ,claudium ,chevallon1 impensis ,ludovici ,royer1 librarii ,parisiensis1 in eodem vico commorante1 ad insigne vulgariter dictum la ,lymace4' ,the book is not dated2 but we see1 on the one hand1 that it was printed by ,claude ,chevallon1 who died in #aedb1 and1 on the other hand1 that ,louis ,royer1 at whose expense it was printed1 had succeeded ,jean de ,brie at the sign of the ,snail4 ,now1 the latter died about #aebb2 so that it was between #aebb and #aedb that this book saw the light1 and that the engravings with the letters ,l4 ,r4 first appeared4 ,we know nothing of this ,louis ,royer1 whom ,lottin does not mention4 ,nor do we know any more of ,jean de ,brie's widow1 who seems to have succeeded ,louis ,royer4 ,and1 as if everything in this matter were fated to remain obscure1 we find other octavo ,hours according to the use of ,rome1 in ,french gothic type1 undated1 but with a calendar from #aefh to #aegh1 printed with the same woodcuts1 and for sale 'at ,paris1 on ,rue ,saint ,jacques1 at the sign of the ,snail'2 with no other details4 ,in the book we have described we find also3-- #a4 ,the ,virgin and the ,child ,jesus 7signed with the letters ,l4 ,r4 and the cross74 #b4 ,jesus betrayed by ,judas 7same marks74 #c4 ,jesus bearing his ,cross 7same marks74 #d4 ,jesus on the ,cross 7same marks74 #e4 ,jesus in the ,tomb 7same marks74 #f4 ,the ,resurrection 7same marks74 #g4 ,the ,flight into ,egypt 7same marks74 #h4 ,job 7unsigned74 #i4 ,jesus at ,emmas 7unsigned74 99 99 99 99 99 ,,iii4 ,,heures ,,en ,,fran,,oys ,a ,l',,usaige ,,de ,,rome1 ,,nouvellement ,,imprim,,es ,,paris ,,pour ,,guillaume ,,merlin4 ,m4 ,d4 ,,xlviii4 ,octavo1 gothic type2 printed in red and black4 ,this book1 which ,i saw at the sale of ,m4 ,chedeau's library1 is illustrated with engravings1 most of them signed with the ,lorraine cross1 to which the initials ,g4 ,m4 are sometimes added4 ,they are #h centimetres high by #ee millimetres wide4 ,the list follows3-- #a4 ,saint ,john writing his ,gospel 7unsigned74 #b4 ,the ,annunciation 7unsigned74 #c4 ,the ,visitation 7signed with the ,lorraine cross and the initials ,g4 ,m474 #d4 ,the ,nativity 7signed with the ,lorraine cross only74 #e4 ,the ,annunciation to the ,shepherds 7the cross only74 #f4 ,the ,adoration of the ,magi 7the cross only74 #g4 ,the ,circumcision 7the cross only74 #h4 ,the ,flight into ,egypt 7unsigned74 #i4 ,the ,coronation of the ,virgin 7the cross only74 #aj4 ,the ,descent of the ,holy ,ghost upon the ,apostles 7signed with the letters ,g4 ,m4 and the ,lorraine cross in a small circle74 #aa4 ,jesus on the ,cross 7the cross only74 #ab4 ,bathsheba 7the cross only74 #ac4 ,job 7the cross only74 ,we think that we can safely attribute the designing of these engravings to ,guillaume ,merlin1 the publisher of this book of ,hours4 ,they must1 at all events1 be much earlier than #aedh1 for we have already seen one of them 7no4 #aj7 in a book of #aeda 7supra1 p4 #bag74 ,guillaume ,merlin also published about #aeei a book of ,hours embellished with engravings signed with the ,lorraine cross4 ,it is entitled3 ',heures l'usage de ,romme' sic1 and is undated1 but has a calendar from #aeei to #aegj4 ,it is a small octavo1 printed in gothic characters1 in red and black4 ,at the end are the words3 ',printed by ,jean ,bridier4' ,we find in this volume1 which was in ,m4 ,chedeau's library1 #ab engravings representing the twelve months of the year4 ,three of them are signed with the ,lorraine cross1 namely1 ,january1 ,may and ,december4 ,the others have no mark4 ,they are #aj centimetres high by #g wide4 ,on folio #fb verso is the ,virgin holding the ,child ,jesus4 ,she is within an aureole of flames1 with her feet on a crescent4 #aedh ,,theodori ,,bez ,,vezelii ,,poemata4 ,paris1 ,conrad ,bade1 #aedh4 ,octavo of #ajj pages printed in italic type4 ,this is the first edition of this book and contains a portrait of ,thodore de ,bze signed with the ,lorraine cross4 ,it is the oldest portrait that we know4 ,below it are the following verses1 alluding to a laurel wreath which ,thodore has in his hand3-- ,vos docti docta prcingite tempora lauro3 ,mi satis est illam uel tetigisse manu4 ,illustration ,the inscription ',an4 #bi1' at the top of the portrait1 indicates that it was engraved in the same year that the book was printed2 for ,thodore de ,bze1 born at ,vezelay ,june #bd1 #aeai1 completed his twenty-ninth year in #aedh1 the date of the dedicatory epistle of this book1 which the author addressed to his teacher1 ,melchior ,volmar4 ',vale4 ,luteti1 ,,vii4 cal4 ,iul4 qui dies est mihi natalis4' ,the mark of ,conrad ,bade1 also signed with the ,lorraine cross1 is on the first page of this book1 which was finished on ,july #ae1 #aedh4 ',luteti1 ,roberto ,stephano1 regio typographo1 et sibi1 ,conradus ,badius excudebat1 idibus ,julii ,m4 ,d4 ,,xlviii4' ,it was shortly after1 in this same year1 that ,thodore de ,bze1 on recovering from a severe illness1 withdrew to ,geneva1 and abjured 'the papacy1 as he had sworn to ,god to do at the age of sixteen4' ,the portrait has been reproduced on copper2 there is a copy of the reproduction in the collection of ,tory's work at the ,bibliothque ,nationale4 ,illustration3 ,,lvchinvs #aedi ,i4 ,,pauli ,,iovii ,,novocomensis ,,vit ,,duodecim ,,vicecomitum ,,mediolaniprincipum4--,,ex ,,bibliotheca ,,regia4--,,luteti4 ,,ex ,,officina ,,rob4 ,,stephani1 ,,typographi ,,regii4 ,m4 ,d4 ,,xlix4 ,quarto of #aii pages4 ,paris1 #aedi4 ,this book is a faithful copy of the manuscript of the same work1 preserved in the ,bibliothque ,nationale4#cif ,it is embellished with beautiful letters in grisaille with cribl background1 and with portraits of the ten dukes of ,milan who figure in the manuscript4 ,these portraits1 all marked with the ,lorraine cross1 are faithful reproductions of those in the manuscript1 but on a smaller scale4 ,following is a list of the portraits1 taken by ,paulus ,jovius from originals which existed in his day and of which he gives1 in each case1 the place where it may be found3-- #a4 ,otho archiepiscopus4 #b4 ,matthus magnus4 #c4 ,galeacius primus4 #d4 ,actius4 #e4 ,luchinus4 #f4 ,joannes archiepiscopus4 #g4 ,galeacius secundus4 #h4 ,barnabas4 #i4 ,joannes ,galeacius primus4 #aj4 ,philippus4 ,there is a ,french translation of this book1 printed in #aeeb by ,charles ,estienne 7,robert was then in exile at ,geneva71 with the same plates4 ,as for the ,latin version1 it was reprinted several times1 in different places1 with engravings on copper copied from those of ,robert ,estienne's edition4 99 99 99 99 99 ,,ii4 ,,entr,e ,,de ,,henri ,,ii ,,paris4 ,quarto2 ,paris1 ,jacques ,roffet1 called ',le ,faulcheur1' #aedi4 ,this book1 of #ch leaves1 consists of two parts3 the ',entre du roi1' of #bh leaves1 and the ',entre de la reine1' in which the pagination is repeated1 but with different signatures4 ,the privilege1 dated ,chantilly the last day of ,march1 #aedh 7#aedi new style71 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 recent1 joyful entre1' etc4 ,illustration ,there were two editions of this book1 or1 at all events1 there are some copies with additions to the second part--after folio #cd4 ,there are also copies with the imprint of ,jean ,dallier4 ,a list of the engravings follows3 #a4 ,a portico1 above which we see ,hercules holding1 bound together by the ears 7by means of a chain issuing from his mouth and representing eloquence71 a wood-chopper1 a soldier1 a priest1 and a noble 7folio #d74 ,i can find no mark on this piece1 but it is a reproduction of the ,gallic ,hercules of ',champ fleury4' #b4 ,a fountain 7folio #e verso74 #c4 ,a triumphal arch surmounted by the arms of ,france 7folio #i74 #d4 ,an obelisk on a rhinoceros 7folio #aa74 ,the cross is under the left foot of the rhinoceros4 #e4 ,a peristyle with pillars 7folio #ac74 #f4 ,a triumphal arch surmounted by three nude men1 one of whom holds a standard 7folio #ae74 #g4 ,a large vaulted hall1 on the ceiling of which are ,h's and ,d's 7folio #af74 ,the cross is in a portico at the left4 #h4 ,a mounted man1 armed 7folio #ai74 ,the cross is in the horse's harness1 on the breastplate1 a little below his mouth4 #i4 ,a triumphal arch1 with two pillars 7one on each side7 surmounted by a man on horseback 7folio #ch74 ,the cross is on the left-hand pillar4 #aj4 ,a portico with two openings1 separated by a pillar against which rests the statue of a woman standing on books 7folio #ci verso74 #aa4 ,a large plate1 representing the faade of a palace with three porticos 7folio #dj74 ,of these eleven plates only four are signed2 but all of them must have come from ,tory's workshop1 for the style is the same4 ,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 moment4 ,i cannot refrain from quoting ,m4 ,renouvier's remarks on the engravings in this book1 which1 for lack of information1 he attributed to ,jean ,cousin4 ',i will1 however1 mention in this place the ,entre de ,henri ,,ii ,paris in #aedi1 because it is the chef-d'uvre of ,french wood-engraving1 and because ,i know of no one to whom it can with more reason be attributed than to the ,snonais master4#cig ,if he did not work for the court1 he may very well have been employed upon works for the city4 ,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 him4 ,the ,gallic ,hercules1 made in the likeness of the late ,king ,franois ,i1 with the four estates of the realm chained to his mouth2 the fountain surmounted by statues of the ,seine1 the ,marne1 and ,good ,fortune2 the triumphal arch bearing a ,typhis1 whose face strongly resembles that of the rex triumphans2 and1 lastly1 the figure of ,lutetia nova ,pandora clad as a nymph1 with her hair falling over her shoulders and drawn about her face1 kneeling on one knee with wondrous grace2 and all the other details which the artist painted1 as happening in the streets through which the procession passed1 and which he included by way of narrative1 are in the refined manner of the ,french school4 ,the drawing is pure and full of delicacy1 and the engraving so skilfully handled that one cannot believe it to be by a different hand4 ,it would seem that none but a sculptor could1 within such narrow limits1 have set in relief those interesting faces1 designed those graceful figures1 and arranged those draperies2 and that sculptor--who could it have been if not the author of the mausoleum of ,admiral ,chabot1 the ,french artist who best represented the two sides of art1--detail and strength1 compression and grandeur1 gothicism and the ,renaissance8'#cih ,while agreeing with ,m4 ,renouvier that these plates were drawn by ,jean ,cousin1 we may well1 it seems to me1 attribute the engraving of them to ,tory's workshop4 99 99 99 99 99 ,,iii4 ,,hor ,,in ,,laudem ,,beatissim ,,virginis ,,mari1 ,,ad ,,usum ,,romanum4 7,here a small mark of the printer ,chaudire1 representing ,time1 with this device1 printed from type1 occupying three sides of the engraving3 ',hanc aciem sola retvndit virtvs4'7 ',parisiis1 ex officina ,reginaldi ,calderii et ,claudii ejus filii4' #aedi4 ,large quarto1 divided into signatures of two sheets1 a to y 7the k1 probably because that letter was lacking in the font used1 is represented by an l and a z joined together71 or #bb signatures of #h leaves1 making #agf leaves2 printed in red and black4 ,this volume corresponds in all respects with the one issued by ,simon de ,colines in #aedccii2 but the ,chaudires 7,simon de ,colines's successors7 have removed a ,french inscription which appeared below the third plate 7the ,angelic ,salutation7 in the edition of #aedc2 and they have removed all the dates inscribed in the borders of that edition4 ,these dates are3 #aecf1 which appeared in large figures in a cartouche at the foot of the border of folio b #d of the edition of #aedc2 #aecg1 in a cartouche at the foot of the sixth plate 7the ,annunciation to the ,shepherds72 and #aeci1 in two small cartouches at the top of the border of folio a #b2 so that all the cartouches are empty in this edition of #aedi4 ,i know of only two copies of this edition1 one belonging to ,m4 ,khnholtz1 the learned librarian of the ,faculty of ,medicine of ,montpellier1 the other offered for sale at ,claudin's bookshop in #ahfj4 ,this last copy1 in a state of perfect preservation1 is still in its original binding1 with ,s's barr1 and small tortoises 7tortues7 in wreaths of olive4 ,these are the allusive#djj arms of the ,tourteron family near ,attigny4 ,there is also1 on one of the fly-leaves at the front of the book1 a large tortoise coloured from life1 on a red ground1 in a green olive wreath2 and at the four corners a monogram of an ,i and two ,g's1 the initials of the original owner's baptismal names4 ,the volume afterwards belonged to ,j4-,f4 ,corel du ,clos1 priest and canon1 who wrote his name on the title-page and pasted his arms1 engraved on copper1 in an empty space at the foot of folio h #c verso4 ,du ,clos seems to have parted with it to the ,cordeliers of ,rheims1 in whose library it remained doubtless until the ,revolution4 99 99 99 99 99 ,,iv4 ,,premier ,,volume ,,des ,,antiquit,s ,,de ,,la ,,gaule ,,belgique1 ,,royaume ,,de ,,france1 ,,austrasie ,,et ,,lorraine 444 ,,par ,m4 ,,richard ,,de ,,wassebourg1 ,,archidiacre ,,de ,l',,glise ,,de ,,verdun 444 ,,achev ,d',,imprimer ,,le #ac ,,novembre #aedi4 ,a large folio of more than #fjj leaves1 printed at ,paris by ,franois ,girault4 ,the privilege1 in the name of ,sertenas1 bookseller1 is dated ,october #a1 #aedi4 ,it was issued evidently while the printing was in progress1 for it is impossible that the volume was made in a month and a half4 ,on the first page is the fine frontispiece of the ,dream of ,poliphilus1 above which is the mark of ,jacques ,kerver4 ,there is but one way to explain this fact1 and that is to assume that ,kerver was the printer of the book4 ,it may be that there are copies in his name4 ,in that case he may have furnished the border1 which was left in all the copies4 ,on the second leaf is the representation of the ',ymage de nostre ,dame de ,verdun1' with the ,lorraine cross4 ,the ,virgin1 seated1 has in her right hand a flower1 and in the left the ,child ,jesus1 holding in his left hand the globe surmounted by a cross4 ,the ,virgin's feet rest on a winged dragon4 ,below her is a man kneeling1 with his coat-of-arms before him4 ,presumably it is the author of the book4 ,after folio cccli1 which concludes the first volume1 comes the second volume1 the pagination of which follows on4 ,the title-page of this volume1 while it is set in the border of the ,poliphilus1 differs slightly from that of the first4 ,it reads thus3 ',second volume des antiquits de la ,gaule ,belgique et de plusieurs principautez contenues en icelle1 extraites soubs les vies des evesques de ,verdun1 par ,m4 ,richard de ,wassebourg4444 ,on les vend ,paris1 en la gallerie du ,palais1 par ,vincent ,sertenas1 libraire audit lieu4 ,et aussi1 se vend en la cit de ,verdun4' ,on the verso is the engraving described above4 ,the ,lorraine cross is under the dragon's tail4 ,illustration 99 99 99 99 99 ,v4 ,,gerard ,d',,euphrate4 ,folio1 roman type1 ,paris1 ,estienne ,groulleau1 #aedi4 ,there are copies also with the imprint of ,longis1 and others with that of ,sertenas4 ,this volume contains numerous engravings1 large and small2 but only #ca of them are different1 many being repeated once1 twice1 or thrice4 ,three are signed with the ,lorraine cross1 as follows3-- ,folios #e verso1 #fd verso1 #hi verso1 and #ahc4 ,vessels manned by soldiers4 ,a woman stands near the shield of him who seems to be in command4#dja ,folio #df4 ,a knight armed cap--pie standing in the recess of a portico4 ,his right foot is hidden by a sort of altar whereon are the names of ,madanil1 ,bruneo1 ,agradiis1 and ,amadis4#djb ,folio #dh4 ,bird's-eye view of a chteau which has been besieged1 at whose gate stands a warrior accompanied by a horse and a dog2 he is parleying with the keeper of the gate1 who stands at the top of the entrance tower4 ,this last plate is a superb folio4 #aeej 99 99 99 99 99 ,i4 ,,hor ,,in ,,laudem1 etc4 ,hours of the ,virgin according to the use of ,rome1 in ,greek and ,latin4 ,small sixteenmo1 ,paris1 ,jean de ,roigny1 #aeej4 ,printed in red and black4 ,one of the engravings1 on leaf #aac1 representing the ,sacrifice of ,david1 is signed with the ,lorraine cross4 ,the others are not signed1 but are absolutely in the same style2 they are3 the ,annunciation1 folio #ch 7repeated on #aje71 and the ,resurrection of ,lazarus1 folio #acc4c 99 99 99 99 99 ,,ii4 ,,breviarium ,,ad ,,ritum ,,diocesis ,,eduensis4--,parisiis1 apud ,iolandam ,bonhomme1 viduam ,thielmani ,kerver1 in via ,jacobea1 sub ,unicorni4 ,small octavo1 #aeej4 ,on the first page are the arms of ,cardinal ,hippolyte d',este1 ,bishop of ,autun1 signed with the ,lorraine cross4#djc 99 99 99 99 99 ,,iii4 ,l',,histoire ,,de ,,primaleon ,,de ,,grece1 etc4 ,translated by ,vernassal4 ,folio1 ,paris1 #aeej4 ,this fine volume1 printed by ,pasquier ,letellier for the bookseller ,vincent ,sertenas1 for whom ,tory had engraved a mark1 contains fifty engravings in the text4 ,a single one is signed with the ,lorraine cross3 it is found on folio #acg verso1 and represents a lion fawning upon a woman who sits beside a fountain4 ,there are copies of this book in the names of other booksellers--tienne ,groulleau1 ,jean ,longis1 etc42 but the privilege is in the name of ,sertenas4#djd ,at the end of the volume is a note to the reader by ,letellier4 ',dear reader1' he says1 'if you have noticed1 on reading this book1 the common orthography changed in some words1 even as to the double letter1 which is not pronounced according to the true ,french method1 think not that that is of my doing1 but that it accords with the earnest recommendation of the author4' 99 99 99 99 99 ,,iv4 ,,missale ,,secundum ,,usum ,,celebris ,,monasterii ,,cluniacensis1 etc4 ,here the vignette described below1 followed by this imprint3 ',prostat ,parisiis1 apud ,iolandam ,bonhomme1 in via ,jacobea1 sub ,unicorni1 ubi et impressum est4--,anno ,d4 ,m4 ,,ccccc4 ,l4' ,this missal is embellished1 on the title-page1 with a cut signed with the ,lorraine cross1 and representing ,saint ,peter and ,saint ,paul1 patron saints of the ,abbey of ,cluny4 ,this cut appears in other parts of the book1 where we find also the two large cuts hitherto described 7page #bad7 as included in the ,missal of ,paris1 of #aeci1 published by order of ,jean de ,bellay4 ,we find also a ,saint ,john ,baptist1 with the ,paschal ,lamb under his left arm1 and pointing to it with his right hand4 ,this cut1 which is signed in two different places1 is on folio #di of the second part4 ,it is of quarto size4 ,the book is in two parts1 paged separately4 ,the two large engravings are on folios #aaf and #aag of the first part4 ,at the end of the ,missal proper1 which is followed by a few other leaves1 are these words3 ',ex officina chalcographica matrone clarissime ,iolande ,bonhomme1 vidue industrii viri ,thielmanni ,kerver1 ,parisiis1 in via ,jacobea1 sub ,unicorni1 anno ,d4 millesimo quingentesimo quinquagesimo1 idib4 septembris4' ,there are several copies of this book in the ,bibliothque ,nationale4 ,in two of them the miniaturists have substituted for the date #aech1 printed on one of the large cuts1 the dates on which they coloured it--#aeei and #aefg1 respectively4 ,it is well to call attention to such details as these1 which may give rise to mistakes4 ,we also find in the ,cluny ,missal the unsigned drawings to which ,i have previously referred#dje and which are in the ,paris ,missals of #aeci and #aeei4 99 99 99 99 99 ,v4 ,,heures ,,de ,,nostre ,,dame ,l',,usaige ,,de ,,romme sic1 ,,en ,,latin ,,et ,,en ,,fran,,oys1 ,,nouvellement ,,imprim,,es ,,paris4 7,here a vignette representing the ,virgin under a portico2 at the foot the letters ,f4 ,r41 initials of ,franois ,regnault1 deceased husband of ,madeleine ,boursette47 ',a ,paris1 par ,magdaleine ,boursette1 l'enseigne de l',elephant1 la rue ,sainct ,jacques4' ,on the verso of the title-page a table of ,easter-,days from #aeej to #aeff4 ,sixteenmo1 in signatures of #h leaves4 ,the work is in two parts2 the first has #afh numbered leaves1 signatures ,a to ,x2 the second part has only #cb leaves1 signatures ,a to ,d4 ,roman type1 double columns1 printed in red and black4 ,on the recto of folio #afh of the first part1 at the foot1 are these words3 ',parisiis excudebat ,stephanus ,mesviere in dibus ,vindocimis1 ex adverso collegii ,becodiani4--#aeej4' ,and on the last leaf of the second part3 ',cy finent ces presentes ,heures a l'usaige de ,romme1 en latin et en franoys1 nouvellement imprimes ,paris1 par ,estienne ,mesviere1 demourant a l'hostel de ,vendosmes1 devant le college de ,boncourd4--,m4 ,d4 ,l4' ,this precious book1 of which ,i know of but one copy1 owned by ,m4 ,silvestre1 author of ',les ,marques ,typographiques1' contains many engravings4 ,the principal ones are3 ,folio #e recto1 ,saint ,john writing his ,gospel 7signed74 #ab recto1 ,jesus at prayer in the ,garden of ,olives4 #cc recto1 ,the ,angelic ,salutation 7signed74 #dg verso1 ,the ,visitation 7signed74 #ef verso1 ,the ,nativity of ,jesus 7signed74 #fj recto1 ,the ,annunciation to the ,shepherds 7signed74 #fc verso1 ,the ,adoration of the ,magi 7signed74 #fg recto1 ,the ,presentation in the ,temple 7signed74 #gj verso1 ,the ,flight into ,egypt 7signed74 #gg recto1 ,the ,coronation of the ,virgin4 #hi recto1 ,jesus on the ,cross4 #ic verso1 ,the ,descent of the ,holy ,ghost 7signed74 #ig verso1 ,the ,penance of ,david 7signed74 #aji verso1 ,job on the ,dunghill4 #afh verso1 ,death 7signed74 99 99 99 99 99 ,,vi4 ,,hor ,,in ,,laudem ,,beatissime ,,virginis ,,marie ,,ad ,,usum ,,romanum4--,parisiis1 apud ,thielmannum ,kerver4 ,m4 ,d4 ,l4 ,on the verso of the last leaf3 ',excudebat ,parisiis1 ,thielmannus ,kerver1 in vico sancti ,iacobi1 sub signo ,cratis4--,m4 ,d4 ,l4' ,small octavo of #agb unnumbered leaves2 signatures ,a to ,x of #h leaves and ,y of #d4 ,roman type1 printed in red and black1 with the small borders with birds1 etc41 used by ,mallard in his ,hours of #aeda4djf #aeea ,i4 ,,de ,,sacris ,,ecclesi ,,ministeriis ,,ac ,,ben,e,,ficiis ,,libri ,,viii 444 ,,authore ,,francisco ,,duareno ,,jureconsulto ,,et ,,ordinario ,,juris ,,civilis ,,doctore ,,in ,,civitate ,,biturig,i4--,luteti1 ex typographia ,matthi ,davidis1 via ,amygdalina1 ad ,veritatis insigne4--#aeea4 ,quarto of #cch leaves1 plus one unnumbered leaf1 on which are the words3 ',parisiis1 excudebat ,matthus ,david1 prid4 calend4 nov4 ,october #ca #aeea4 ,on the title-page is ,david's mark1 with the ,lorraine cross4 ,on the verso1 a portrait of ,le ,duaren1 in the shape of a medallion1 also signed with the ,lorraine cross4 ,encircling it1 the legend3 'francisc4 dvarenvs4 jvrisc4#djg ,the work opens with an epistle to ,marguerite1 ,duchesse de ,berry1 and sister of ,franois ,i4 ,this letter1 dated ,paris1 the ,ides of ,june1 #aeej1 is more properly a dedication1 for in it ,le ,duaren mentions the death of ,marguerite1 which took place in #aedi4 ,he tells us1 further1 in the title of this epistle1 that it was written before his return to ,bourges1 which he had been obliged to leave in #aedg1 as the result of a love-affair 7'antequam ,lutetia ,parisiorum ,avaricum ,biturigum migrasset'74#djh 99 99 99 99 99 ,,ii4 ,,cicero',s ,,works 7in ,latin71 published by ,charles ,estienne1 from #aeea to #aeee1 in four folio volumes1 usually bound in two4 ,this important work is embellished with a frieze engraved for ,robert ,estienne1 and signed with the ,lorraine cross1--a frieze which appears in the second volume of the works of ,eusebius of #aedd4dji ,we also find therein several floriated letters signed with the ,lorraine cross4#daj ,these are the ,e1 the ,o1 and the ,s of the medium alphabet1--for there are three alphabets of different sizes1 all three formed by ,renaissance arabesques4 ,the largest is the one used in the folio ,eusebius of #aedd1 which1 consequently1 was engraved for ,robert ,estienne2 but it has no signature4 ,the medium alphabet was1 doubtless1 engraved for ,charles ,estienne in this same year #aeea1 in which he began to conduct a printing-office4 ,i cannot say whether any other letters of this medium alphabet bore the ,lorraine cross1 for they do not all appear in the book1 but ,i am sure that the ,g has none4 ,of course1 after ,tory died1 the artists employed in the establishment carried on by his widow had no reason to select the ,g rather than another letter4 ,i give some details concerning this valuable edition1 of which ,m4 ,didot owned a copy annotated by ,henri ,estienne4 ,the text of the first volume1 printed in #aeea1 as stated in an imprint at the end 7dated the #c;d of the ,nones of ,september71 exhibits one of the letters mentioned above--the ,s 7on folios #ef and #bih74 ,this volume received later a large title-page dated #aeee1 and a dedication1 to the ,cardinal de ,lorraine1 also dated #aeee 7the #fth of the ,kalends of ,march71 on which we find the frieze of the ,eusebius of #aedd1 signed1 and bearing on a medallion ,fame distributing wreaths4#daa ,the text of the second volume1 also of #aeea1 as ,i discovered from an incomplete copy in the library at ,montbrison 7it has no final imprint1 but on the title-page some one has added ,,iii by hand to the original numerals ,m4 ,d4 ,,li1 so that it might correspond with the other copies71 contains the three floriated letters signed with the ,lorraine cross 7folios #dg1 #abb1 #bcj1 #cac1 #chh1 #cih72 we find also1 on the title-page1 dated #aeed1 ,charles ,estienne's small mark described later4#dab ,the text of the third volume was probably printed in #aeeb1 but it has no final imprint4 ,the title-page is dated #aeee2 it has the small mark with the ,lorraine cross4 ,the fourth bears on the title-page the date #aeed1 but it was not finished until #aeee1 as is shown by the final imprint 7#c;d of the ,kalends of ,march1 #aeee72 the vignette of the title-page is unlike that in the second and third volumes1 although of the same size1 and has not the cross4 ,the work did not appear until #aeee1 as is shown by the date on the title-page of the first volume1 on which there is another larger mark1 also without the cross4#dac #aeeb ,i4 ,,heures ,,paris sic1 ,,contenant ,,plusieurs ,,oraisons ,,devotes1 ,,en ,,fran,,ois ,,et ,,en ,,latin ,,et ,,confession ,,generale4 7,here the mark of ,thielman ,kerver1 with the ,lorraine cross47 ,imprim ,paris par ,thielman ,kerver1 demourant rue ,sainct ,jaques1 l'enseigne du ,gril4--#aeeb4 ,duodecimo1 red and black2 signatures ,a to ,o4 ,tory's small border with decorations of birds4 ,plates of the ,hours of #aeda4dad 99 99 99 99 99 ,,ii4 ,,testamentum ,,novum4--,,additis ,,picturis ,,in ,,evangelia ,,et ,,apocalypsim1 ,,quibus ,,miracula ,,et ,,visiones ,,elegantissime ,,exprimuntur4 7,mark of ,madeleine ,boursette1 widow of ,franois ,regnault2 ,silvestre1 no4 #cif47 ',parisiis4 ,apud viduam ,francisci ,regnault1 via ,jacoba4--#aeeb4' ,at the end of the volume3 ',parisiis4 ,excudebat ,stephanus ,mesviere1 in dibus ,vindocimis1 ex adverso collegii ,becodiani4'--#aeeb4 ,thirty-twomo2 #de signatures 7a to z1 ,a to ,y7 of eight leaves each1 or #cfj leaves in all4 ,only the first #cej are numbered2 the last #aj1 containing the index1 are without folios4 ,printed in very small roman type4 ,this book contains #abj engravings inserted in the text1 and serving thus 'to illustrate1' as we should say to-day1 or 'to express1' as the publisher says on the title-page1 the ,gospels and the ,apocalypse4 ,those relating to the ,apocalypse1 #bb in number1 are of earlier date than the others1 and by another hand4 ,of those which illustrate the ,gospels1 many are signed with the double cross4 ,although several of them relate to subjects previously treated in the octavo ,hours of #aebg and the sixteenmo ,hours of #aebi1 the engravings1 while they are of nearly the same size1 are different none the less4 ,a list of their titles follows3-- ,folio #b recto1 ,st4 ,matthew writing his ,gospel4 #c verso1 ,adoration of the ,magi4 #d verso1 ,the ,flight into ,egypt 7signed74 #e recto1 ,massacre of the ,innocents 7signed74 #e verso1 ,baptism of ,jesus4 #f verso1 ,jesus carried up into a ,mountain 7signed74 #h recto1 ,jesus bids ,simon and ,andrew to follow ,him 7signed74 #ab recto1 ,jesus curing the ,paralytic4 #ac verso1 ,jesus expelling the ,money-changers from the ,temple 7signed74 #af verso1 ,st4 ,john in ,prison 7signed74 #ah recto1 ,the ,apostles pardoned by ,jesus4 #bj recto1 ,parable of the ,sower4 #bf verso1 ,jesus teaching4 #bg verso1 ,jesus driving out the ,devils 7signed74 #cj recto1 ,the ,mother and ,brothers of ,jesus 7signed74 #ca recto1 ,jesus and the ,ass4 #ca verso1 ,jesus entering ,jerusalem4 #cb recto1 ,jesus cursing the ,fig-tree4 #cc recto1 ,parable of the ,reapers 7signed74 #cc verso1 ,the ,vine-,dresser slaying the only ,son4 #cf recto1 ,jesus likens ,himself to the ,hen4 #cg recto1 ,jesus arguing with the ,doctors 7signed74 #ci recto1 ,parable of the ,virgins 7signed74 #da verso1 ,the ,lord's ,supper4 #dg verso1 ,st4 ,mark writing his ,gospel4 #ej recto1 ,the ,apostles pardoned by ,jesus 7as on p4 #ah74 #eb verso1 ,one does not hide the ,light under a ,bushel 7signed74 #ec recto1 ,jesus expelling the ,devils1 which enter into the ,swine 7signed74 #ef recto1 ,st4 ,john's head borne by ,herodias4 #eg verso1 ,jesus walking on the ,water 7signed74 #ei recto1 ,the deaf and dumb ,man 7signed74 #ei verso1 ,the ,miracle of the ,loaves4 #fj verso1 ,jesus curing a blind ,man 7signed74 #fc verso1 ,jesus blessing the little ,children4 #fi verso1 ,the ,magdalen pouring ,spices4 #ge verso1 ,st4 ,luke writing his ,gospel4 #gg recto1 ,the ,annunciation 7signed74 #gg verso1 ,the ,visitation 7signed74 #gi recto1 ,the ,nativity 7signed74 #gi verso1 ,the ,annunciation to the ,shepherds 7signed74 #hj verso1 ,the ,circumcision 7signed74 #ha verso1 ,jesus among the ,doctors 7signed74 #hb recto1 ,st4 ,john ,baptist preaching 7signed74 #hc recto1 ,the ,tree not bringing forth ,fruits4 #hd verso1 ,jesus explaining the ,writings in the ,temple 7signed74 #he verso1 ,cure of ,simon's ,mother-in-law 7signed74 #hg recto1 ,cure of the ,paralytic 7signed74 #hh verso1 ,jesus effecting ,cures4 #ij recto1 ,jesus curing the ,widow's ,son 7signed74 #ig recto1 ,jesus sends his ,apostles forth to preach the ,gospel4 #ih recto1 ,jesus discoursing to his ,disciples4 #ih verso1 ,parable of the ,good ,samaritan 7signed74 #ajj verso1 ,jesus instructing a ,woman 7signed74 #aja recto1 ,jesus dining with a ,pharisee 7signed74 #ajg verso1 ,return of the ,prodigal ,son4 #ajh verso1 ,the ,rich ,man in ,flames and ,lazarus in ,abraham's ,bosom4 #aaj recto1 ,cure of the ten ,lepers 7signed74 #aaa verso1 ,the ,shepherd and the ,pharisee4 #aab recto1 ,the ,parable of the ,camel4 #aab verso1 ,nicodemus on the ,tree4 #aah recto1 ,the ,lord's ,supper 7as on p4 #da74 #aah verso1 ,jesus in the ,garden of ,olives4 #abb verso1 ,the ,disciples at ,emmaus4 #abd recto1 ,the ,ascension4 #abe verso1 ,st4 ,john writing his ,gospel4 #abf verso1 ,the ,trinity4 #abh recto1 ,the ,marriage at ,cana4 #abh verso1 ,jesus expelling the ,money-,changers4 #aca recto1 ,the ,woman of ,samaria4 #acb verso1 ,jesus curing the ,son of a ,wood-sawyer 7signed74 #acc verso1 ,the ,pool 7signed74 #acd recto1 ,jesus answering the ,doctors 7signed74 #ace verso1 same as on p4 #ei4dae #acg recto1 ,the ,withered ,hand4 #adj recto1 ,the ,woman taken in ,adultery 7signed74 #adb recto1 ,jesus leaving the ,temple4 #adb verso1 ,jesus curing the blind ,man4 #ade recto1 ,jesus in flight4 #adf verso1 ,resurrection of ,lazarus 7signed74 #adg verso1 ,the ,priests deliberating as to putting ,jesus to ,death 7signed74 #aej verso1 ,the ,lord's ,supper 7as on pp4 #da and #aah74 #aee verso1 ,st4 ,peter cutting off ,malthus's ,ear4 #aef recto1 ,jesus before ,caiaphas4 #aeg verso1 ,jesus before ,pontius ,pilate4 #aeh recto1 ,the ,scourging4 #aeh verso1 ,the ,crown of ,thorns4 #aei recto1 ,jesus beneath the ,cross4 #aei verso1 ,jesus ,crucified4 #afj verso1 ,jesus ,entombed4 #afa verso1 ,the ,women going to the ,tomb4 #afb recto1 ,the ,women announcing the ,resurrection to the ,disciples 7signed74 #afb verso1 ,the ,magdalen takes ,jesus for the ,gardener4 #afc recto1 ,the ,ascension 7signed74 #cab verso1 ,st4 ,john writing4 #cba verso1 ,st4 ,john receiving the ,revelation4 #cbc recto1 ,alpha and ,omega4 #cbf verso1 ,a ,throne erected in ,heaven4 ,then follow the engravings of the ,apocalypse1 impossible to describe1 and in an entirely different manner4 ,at the end of the book is an engraving of the ,christ on the ,cross1 surrounded by rays of light4 99 99 99 99 99 ,,iii4 ,,le ,,premier ,,livre ,,de ,,la ,,chronique ,,du ,,tres ,,vaillant ,,et ,,redout ,,dom ,,flores ,,de ,,grece4 ,folio1 ,jean ,longis1 #aeeb4 ,there are many engravings in this book1 but only one of them is signed with the ,lorraine cross4 ,that one is on folio #ij verso1 and represents soldiers before a tower4 ,it is reproduced in ',l',histoire paladine1' folio1 tienne ,groulleau1 #aeee1 on folio #ef verso4 #aeec ,ronsard's ',,les ,,amours' annotated by ,marc-,antoine ,muret4 ,octavo1 printed by ,maurice de la ,porte's widow1 #aeec4daf ,this edition of ',les ,amours' is embellished with a portrait of ,muret1 signed with the ,lorraine cross1 and bearing the inscription ',an4 ,,xxv1' which proves that it was engraved that same year1 for ,muret was born in #aebf4dag ,this portrait reappears1 but without the inscription1 in several other editions of ,ronsard4 ,i will mention particularly the quarto edition of his works1 issued in #aefg by ,gabriel ,buon1 successor to ,maurice de la ,porte's widow1 and the folio issued in #afbc by ,nicolas ,buon1 ,gabriel's son4 #aeed ,,les ,,observations ,,de ,,plusieurs ,,singularitez ,,et ,,choses ,,memorables ,,trouv,,es ,,en ,,grece4 ,by ,pierre ,belon4 ,quarto1 ,paris1 #aeed4 ,there were two editions of this book1 printed by ,benot ,prevost1 for ,gilles ,corrozet and ,guillaume ,cavellat1 respectively1 in #aeec and #aeed4 ,the copies in ,corrozet's name bear his mark1 signed with the ,lorraine cross4 ,there is a portrait of ,belon signed with the cross at the end of the front matter in the edition of #aeed4 ,i have not seen it in any copy of the edition of #aeec1 which leads me to think that it had not then been engraved4 ,and1 in effect1 the fact that the portrait attributes to ,belon the age of thirty-six years seems to show that it was not drawn until #aeed1 as ,belon is supposed to have been born in #aeah4 ,however that may be1 the portrait appeared afterward in several other books by the same author1 and particularly in his ',histoire de la nature des oiseaux1' folio1 #aeee4 #aeee ,,histoire ,,de ,,la ,,nature ,,des ,,oiseaux4 ,by ,pierre ,belon4 ,folio1 ,paris1 ,g4 ,corrozet1 #aeee4 ,in this book we find1 in addition to the portrait of ,belon1 seven cuts of birds1 signed with the ,lorraine cross4 ,they are3 the osprey1 folio #if2 the sea-gull1 #afi2 the bustard1 #bch2 the pullet1 #beb2 the loriot1 #bie2 the woodpecker1 #cjd2 the sparrow-hawk1 #cgf4 ,some of the other engravings in the volume are signed with a white cross on a black ground4 #aeef ,i4 ,,les ,,singularitez ,,de ,,la ,,france ,,antarctique1 ,,autrement ,,nomm,e ,,amerique1 ,,et ,,de ,,plusieurs ,,terres ,,et ,,isles ,,decouvertes ,,de ,,nostre ,,temps4 ,par ,f4 ,andr ,thevet1 natif d',angoulesme4--,a ,paris1 chez les hritiers de ,maurice de la ,porte1 au clos ,bruneau1 l'enseigne ,s4 ,claude4--#aeeh4 ,this rare and curious volume is a quarto of #h preliminary leaves1 #aff leaves of text1 and #b of index unnumbered1--in all1 #df signatures4 ,the privilege1 which is printed on the verso of the title-page1 is dated ,saint-,germain-en-,laye1 ,december #ah1 #aeef4 ,in the dedication1 addressed to the ,cardinal of ,sens1 ,jean ,bertrand1 first ,keeper of the ,seals of ,france1 ,thevet says that the country described by him maybe called the fourth part of the world1 'for that no one has as yet made explorations there1 all geographers thinking that the world is limited to that which the ancients have described to us4' ,there are #da engravings in the text1 not including borders1 floriated letters1 and ,jean ,bertrand's arms on the title-page4 ,of the #da1 only seven are signed with the double cross2 four of these represent scenes in the life of the ,american savage1--they are on folios #f verso1 #ca recto1 #dg verso1 and #aea recto2 a fifth represents an extraordinary bird called pa 7#de recto72 and the other two1 plants1--the pineapple 7#hi verso71 and the cassava 7#aac verso74 ,the last three appear in ,andr ,thevet's ',cosmographie ,universelle1' published in #aege1 in two volumes1 folio4#dah ,the others also appear in that work1 but rengraved on a larger scale1 and without signature4 ,the seven engravings signed with the double cross cannot have been executed prior to #aeef4 ,for ,thevet set out for the ,new ,world on ,november #d1 #aeee1dai and remained there four months4 ,so that it was not until the early months of #aeef1 at the earliest1 that the engravings could have been executed4 ,but1 as the book did not appear until the beginning of #aeeh1dbj it may be that they were still in process of execution in #aeeg4 ,in the same year with the publication of ,thevet's ',singularits1' an octavo edition appeared at ,antwerp1 with the imprint of ,christophe ,plantin1 and a privilege from the ,king of ,spain1 dated ,brussels1 ,april #bj1 #aeeh4 ,the haste with which this reprint was prepared shows the interest with which the book was regarded4 ,the woodcuts of the ,antwerp edition are nothing more than wretched copies of those in the ,paris edition4 ,we find among them1 however1 in chapters #ef1 #eh1 #fg1 and #gd1 cuts of animals bearing the cipher of ,jost ,amman4 99 99 99 99 99 ,,ii4 ,,hor ,,in ,,laudem ,,beatissim ,,virginis ,,mari ,,ad ,,usum ,,romanum4 7,here the mark of ,t4 ,kerver1 without the cross47 ,parisiis1 apud ,thielman ,kerver1 in via sancti ,jacobi1 sub signo ,cratis4 ,duodecimo1 #aeef4 ,signatures ,a to ,m1 and ,a to ,c vi4 ,border decorated with birds1 with the small engravings of #aebi4 ,m4 ,niel owns a copy of this book bound with ,tory's toolings4 ,it has the ,pot ,cass on the edges4 ,another copy1 belonging to ,m4 ,portalis1 is bound with the prayers 7in ,french7 described on page #bai4 #aeeg ,i4 ,,les ,,figures ,,et ,,portraicts ,,des ,,parties ,,du ,,corps ,,humain4--,a ,paris1 par ,jaques ,kerver1 rue ,s4 ,jaques1 aux deux cochetz4--#aeeg4 ,folio1 containing #fa large anatomical plates1 several of which are signed with the ,lorraine cross1 and dated #aeca1 #aecb1 or #aecc4 ,this collection was reprinted in the same form1 by the same publisher1 in #aege4dba ,,ii4 ,,les ,,quatre ,,livres ,d',,albert ,,durer1 ,,peintre ,,et ,,geometrien ,,excellent1 ,,de ,,la ,,proportion ,,des ,,parties ,,et ,,pourtraitz ,,des ,,corps ,,humains1 ,,traduits ,,par ,,loys ,,meigret1 ,,lionnois1 ,,de ,,langue ,,latine ,,en ,,fran,,oise4 ,folio2 ,paris1 chez ,charles ,perier1 at the sign of the ,bellerophon1#dbb #aeeg4 ,in the same year ,perier published an edition of ,durer's work in ,latin1 similar in every respect to the ,french edition4 ,it is entitled ',de ,symetria partium humanorum corporum4' ,i am unable to say which was printed first4 #aeei ,,psalterium ,,davidicum ,,gr,,colatinum4444 ,parisiis1 apud gidium ,gorbinum1 sub insigne ,spei1 prope collegium ,cameracense4--#aeei4 ,on the last leaf3 ',parisiis1 excudebat ,benedictus ,prvotius1 ad ,stellam ,auream1 via ,frumentello4' ,twenty-fourmo of #bgh numbered leaves of text1 and #bj unnumbered preliminary leaves2 printed in red and black4 ,this little volume1 printed in ,greek and ,latin1 two columns on a page1 was called to my attention by ,m4 ,lornier1 barrister1 of ,rouen4 ,opposite the first page of text is a small engraving1 signed with the ,lorraine cross1 representing the penance of ,david4 ,david is on his knees1 with a book before him and his harp at his right hand2 he is gazing at ,god the ,father1 who is seen in the sky blessing him4 ,doubtless this engraving appears in other books of earlier date4 ,it is #gc millimetres high by #ee wide4 ,,engravings ,,of ,,uncertain ,,date4 ,i4 ,,figure ,,de ,l',,ancienne ,,et ,,de ,,la ,,nouvelle ,,alliance4 ,a large plate1 #ce centimetres in width by #bg in height1 divided into two parts by a tree at the foot of which is ,man1 thus placed on the boundary of the two worlds4 ,the tree bears only withered branches on the left side 7the old alliance71 whereas1 on the right 7the new alliance71 it is green and flourishing4 ,in the compartment at the left we see ,adam and ,eve in the ,garden of ,eden4 ,eve is offering ,adam the apple4 ,beneath them is the word 'peche4'#dbc ,lower still is a skeleton on a bier1 with the words 'la mort' beneath4 ,above the ,garden is ,mount ,sinai1 whereon ,moses is receiving the tables of the law2 beneath1 on the right1 the 'terrestrial ,jerusalem1' wherein are devout persons being devoured by serpents1 with the serpent of brass in the midst1 and above it the words1 ',similitvde de la ivstification4' ,moses appears on the right2 at the left1 and a little lower1 ,hagar and ,ishmael2 lower still1 the prophet pointing out to ,man ,jesus on the ,cross at the right4 ,in the compartment at the right we see ,god standing on the terrestrial globe1 with the words1 ',iervsalem celeste'2 above1 ',mont ,sion1' on which stands a woman's figure1 with the words ',la ,grace' over her head4 ,an angel bearing a cross descends from ,heaven 7where are the words1 ',emmanvel ,diev avec novs'7 amid rays of light which fall upon the woman4 ,lower1 at the left1 is another angel announcing the birth of ,christ to the shepherds4 ,near by1 at the right1 the ,christ on the ,cross1 with the words1 'nostre ivstice1' and the ,paschal ,lamb1 with the words1 'nostre innocence'2 below1 ,jesus coming forth from the tomb1 with the words1 'nostre victoire'2 still lower1 at the left1 ,st4 ,john ,baptist pointing out to ,man the ,christ on the ,cross2 the ,forerunner is indicated by the words1 ',lenseignevr de ,christ1' in a cartouche2 above ,st4 ,john are ,sarah and ,isaac4 ,in each of the compartments is a number of figures which apparently correspond to some vanished text4#dbd ,there are eight in the one at the right and nine in the other4 ',man' is marked with a zero4 ,i am unable to give the origin of this plate1 which is in the ,cabinet des ,estampes in the ,bibliothque ,nationale1 and was for a long time attributed to ,jean ,cousin4 ,it was ,m4 ,devria who removed it from that artist's work and placed it with ,tory's1 whose double cross it bears1 at the left1 below the cartouche containing the words ',lenseignevr de ,christ4' ,i believe that it belongs in some large folio ,bible2 for ,i have seen the subject treated in a more or less summary fashion#dbe on the title-pages of several ,bibles1 in ,french and other languages4 ,i will mention particularly the following1 all of which are in the ,bibliothque ,nationale4 7#a7 ,a ,french ,bible1 printed at ,antwerp in #aecj1 by ,martin l',empereur2 7#b7 ,a ,bible in old ,saxon1 printed at ,lubeck in #aecc by ,ludowich ,dietz 7the same woodcuts reappear in an edition in ,danish1 issued by the same printer1 at ,copenhagen1 in #aeej72 7#c7 ,a ,bible in ,latin1 from the text of ,erasmus1 published in #aedc or #aedd1 with two engravings by ,cranach2 7#d7 ,a ,bible in ,flemish1 printed at ,antwerp in #aeef4 ,i will mention also ,luther's ,latin ,commentaries 7'enarrationes'7 on the ,bible1 printed at ,nuremberg in #aeee1 with an engraving on the title-page dated #aeeb4 ,whatever its source1 this drawing was reproduced in #aefb1 on a large enamelled plate in tinted grisaille1 attributed to ,pierre ,rexmond1 enameller1 at ,limoges4 ,the sketch for this plate was published in #ahdc1 after a copy in the collection of ,m4 ,baron1 in the volume entitled ',meubles et ,armes du moyen ge1' a large quarto1 published by ,hauser1 dealer in prints on ,boulevard des ,italiens4#dbf ,it is no4 #abg in the collection4 ,in this drawing the groups are arranged in chronological order1 the circular form of the plate making it impossible to retain the arrangement of the engraving4 ,but the various subjects and their respective inscriptions are identical1 save for the errors in orthography with which the ,limousin artist has besprinkled the latter4 ,the two ,jerusalems are separated by two trees1 which1 starting at the outer border of the plate1 formed of ,renaissance arabesques1 join their heads at the centre1 where there is a medallion containing the face of ,marguerite de ,valois1 sister of ,franois ,i4#dbg ,this subject has been treated also in a cameo now in the ,bibliothque ,nationale1 but in a very summary fashion because of the small size of the piece1 which is only #eg millimetres in width by #gb in height4 ,all the essential details of the engraving are reproduced4 ,a description of this interesting cameo will be found under no4 #cag1 in the ',notice du ,cabinet des mdailles1' published by ,m4 ,chabouillet1 one of the conservators of that priceless collection4 ,it has been reproduced1 too1 in the collection of ',mmoires de la ,socit des antiquaires de ,morinie1' and the curious feature of the business is that the engraver has taken for his mark the arms of the city of ,saint-,omer1 which are the ,lorraine cross4 ,,ii4 ,,recueil ,,des ,,rois ,,de ,,france1 ,,leurs ,,couronne ,,et ,,maison1 ,,ensemble ,,les ,,rengs ,,des ,,grands ,,de ,,france1 par ,jean du ,tillet1 sieur de la ,bussiere1 protonotaire et secretaire du roy1 greffier de son parlement4--,plus1 une chronique abrge contenant tout ce qui est advenu 444 entre les roys et princes 444 estrangers1 par ,m4 ,jean du ,tillet1 vque de ,maux4#dbh ,folio2 one volume in two parts1 ,paris1 ,j4 du ,puys1 #aehj4 ,this volume is an exact reproduction of the manuscript preserved at the ,bibliothque ,nationale1 which ,i have already described4#dbi ,although dedicated to ,charles ,,ix1 the book was prepared for publication at a much earlier date4 ,in fact1 the author tells us1 in the dedicatory epistle1 that he had presented a copy to ,henri ,,ii2 indeed1 it seems that he had it prepared for printing at the insistence of the ,king and ,queen1 who had promised 'to take care of the expenses4' ,this fact explains why almost all the portraits of the kings of ,france1 from ,clovis to ,franois ,i1 are signed with the ,lorraine cross4 ,these portraits are copied from the miniatures of the manuscript1 but are on a smaller scale2 furthermore they are in oval instead of square borders4 ,du ,tillet died in #aegj1 before he was able to carry out his project of printing this work4 ,on ,august #aj1 #aegh1dcj his heirs obtained a license to publish their 'late father's' work1 which finally appeared in #aehj2 in fact1 one part is dated #aegi4 ,they made use of the woodcuts bearing the ,lorraine cross4 ,jean du ,puys1 the publisher1#dca added to the book some portraits which are not in the manuscript 7among others those of ,henri ,,ii and ,charles ,,ix71 and which consequently do not bear ,tory's mark4 ,following is a complete list of the portraits contained in this volume1 with indication of those not in the manuscript and of those signed with the ,lorraine cross4 ,folio #af1 ,clovis 7signed74 #ah1 ,childebert2 added4 #ai1 ,clotaire ,i 7signed74 #bc1 ,sigebert 7signed74 #bd1 ,chilperic and ,fredegonde 7signed74 #bh1 ,dagobert2 added4 #cj1 ,clovis1 son of ,dagobert2 added4 #ca1 ,clotaire ,,iii4 #cb1 ,childeric ,,ii2 added4 #ce1 ,dagobert ,,ii2 added4 #da1 ,carloman ,i2 added4 #db1 ,charlemagne4 #dd1 ,louis le ,debonnaire2 modified4 #dh1 ,charles le ,chauve 7signed74 #ec1 ,charles le ,simple4 #ed1 ,raoul 7signed74 #ef1 ,louis d',outre ,mer4 #eh1 ,lothaire 7signed74 #ge1 ,philippe ,i4 #gf1 ,louis le ,gros4 #ib1 ,louis le ,jeune4 #id1 ,philippe-,auguste 7signed74 #aja1 ,louis1 pre de ,saint ,louis 7signed74 #aji1 ,charles ,,ii2 added4 #aab1 ,saint ,louis4 #aba1 ,philippe ,,iii2 added4 #acc1 ,philippe le ,bel 7signed74 #acd1 ,louis le ,hutin4 #acf1 ,philippe le ,long4 #acg1 ,charles le ,bel 7signed74 #ach1 ,philippe de ,valois4 #adj1 ,jean4 #aeg1 ,charles ,v4 #afj1 ,charles ,,vi4 #afd1 ,louis ,,xi4 #afe1 ,charles ,,viii 7signed74 #aff1 ,louis ,,xii 7signed72 modified4 #afg1 ,franois ,i 7signed72 modified4 #afh1 ,henri ,,ii and ,catherine de ,mdicis2 added4 #afi1 ,franois ,,ii2 added4 #afi1 ,charles ,,ix2 added4 ,it will be seen that there are1 in all1 #ajdcb portraits added to those found in the manuscript4 ,for the other princes mentioned in the work1 whose features it was impossible to present1 empty frames are printed4 ,naturally1 none of the portraits added to du ,tillet's book by the editor are marked with the ,lorraine cross1 and of the other #ca1 there are only #aedcc on which it is found4 ,these cuts were reproduced in a great many later editions of du ,tillet's work1 both folio and quarto4 ,i will mention particularly those of #aehf1 #aehg1 #afjb1 #afjg1 and #afjh4 ,the volume contains also many engravings of shields and seals4 99 99 99 99 99 ,,iii4 ,,la ,,conf,,rence ,,accord,e ,,entre ,,les ,,predicateurs ,,catholiques ,,de ,l',,ordre ,,des ,,capucins ,,et ,,les ,,ministres ,,de ,,geneve4 ,octavo2 ,paris1 ,denis ,binet1 near ,porte ,s4 ,michel1 #aeih4 99 99 99 99 99 ,,iv4 ,,les ,,theses ,,qui ,,ont ,,est ,,affig,,es ,,dans ,,la ,,ville ,,de ,,geneve4 ,octavo2 ,paris1 ,denis ,binet1 near ,porte ,s4 ,michel1 #aeih4 ,on the title-pages of these two volumes1 both of which are in the ,bibliothque ,nationale1 there is a woodcut signed with the ,lorraine cross1 representing a cross with the crown of thorns1 set in a border of the size of a five-franc piece4 ,it was undoubtedly engraved long before #aeih4 99 99 99 99 99 ,v4 ,,illustration ,,de ,l',,ancienne ,,imprimerie ,,troyenne4 ,quarto1 ,troyes1 #ahej and #ahei4 ,the first fascicle of this book1 which consists of a collection of old woodcuts gathered by ,m4 ,varlot in the printing-offices of ,troyes1 contains two signed with the ,lorraine cross4 ,they are nos4 #ej and #ahh4 ,the first represents the ,coronation of the ,virgin2 we may join with it a piece in the same manner representing the ,visitation1 no4 #ea in the same collection2 and no4 #e 7the ,virgin holding the ,child ,jesus7 of the fascicle published in #ahei4 ,these cuts1 which are in format a small folio1 doubtless formed part of a series of engravings relating to the ,virgin and intended for a book of ,hours4 ,,mm4 ,alexis ,socard and ,alexandre ,assier1 in their work entitled ',livres liturgiques du diocse de ,troyes' 7#hvo1 #ahfc71 also give1 on page #gi1 an old ,troyes woodcut1 small folio1 signed with the double cross1 representing the ,descent of the ,holy ,ghost on the ,virgin and the ,apostles4 ,it is #ace millimetres high by #fj in width4 ,no4 #ahh of ,m4 ,varlot's fascicle1 which is only one inch high by two wide1 represents a harvest4 ,it was undoubtedly one of a series of engravings illustrative of the twelve months4 ,,mm4 ,socard and ,assier saw it in a book of ,hours printed at ,troyes in #aehc1 by ,jean du ,ruan1 who seems to have inherited a portion of the woodcuts of ,jean ,le ,coq1 printer1 of the same city4 ,we find also in ,m4 ,varlot's collection two woodcuts marked with the letters ,g4 ,t41 which may have been ,geofroy ,tory's earlier mark1 before he had adopted a special symbol4 ,these two are no4 #hd1 in the cribl style1 and no4 #aca1 in the ,renaissance style4#dcd ,on account of the worn state of these cuts it is impossible to say whether they are originals or copies4 ,it is not impossible1 however1 that they were executed by ,tory for the printer ,nicole ,paris1 or rather for ,jean ,le ,coq1 whose mark he engraved also4#dce 99 99 99 99 99 ,,vi4 ,not only at ,paris and ,troyes do we find woodcuts with the ,lorraine cross2 we find them also at ,orlans1 at ,chartres1 at ,poitiers1 and even at ,lyon1 although the last-named city had a most flourishing school of engraving of its own2 witness the illustrations of the ,bible after ,holbein1#dcf published by ,jean ,frellon1 in #aedg1 and those of ,salomon ,bernard1 published by the de ,tournes after #aeec4 ,but the works executed by ,tory for ,simon de ,colines1 ,robert ,estienne1 and the rest1 had so spread his name abroad1 that there was not a printer of taste in ,france who did not seek the honour of obtaining some work of our artist4 ,in this way ,jean de ,tournes1 first of the name1 who was unquestionably one of the most famous printers of ,lyon1 had engraved by ,tory1 or by his widow1 borders and pictures in considerable numbers2 unfortunately we find very few of them signed1 whether because ,tory's mark was afterward removed from the others1 or because he omitted to place it upon them1 in accordance with the wish of ,jean de ,tournes2 for in those days printers were very desirous to appropriate the engravings that they ordered1 especially at ,lyon1 where1 nominally at least1 no other engraver was known than ,salomon ,bernard2 moreover1 it is well to note that that artist1 none of whose work is signed1 is known only because his name was afterward published by the printers1 in the very interest of their publications4 ,however1 ,i propose to give a list of the pieces signed with the ,lorraine cross which ,i have seen in books published by the de ,tournes1 that is1 by ,jean ,i and ,jean ,,ii1 his son2 for it is impossible1 in default of any sort of a catalogue1 for me to decide what ones are attributable to each of them4 ,as a matter of fact1 ,i should be justified in confining myself to the second1 if he had not himself said that he used woodcuts belonging to his father4 ,and1 in truth1 although we know of no books published by the latter with engravings1 except his edition of ,petrarch of #aede 7reprinted in #aedg71 and his book of ,chiromancy and ,physiognomy1 also of #aede1 octavo1 everything seems to indicate that those marked with the ,lorraine cross were made for ,jean ,i1 who died about #aeej4 ,the first book that ,i shall mention is an octavo volume1 without title1 described thus by ,m4 ,didot in his ',essai sur la ,gravure1' col4 #bce2 ',pamphlet without title1 printed on one side only1 with this imprint on page #a3 ,a ,lion1 ,ian de ,tournes1 #aeea4 ,the border1 composed of arabesques in white on a black ground1 has at the foot the ,lorraine cross4 ,twenty-two of these engravings represent scenes from the theatre of the ancients2 the ninth bears the ,lorraine cross4' ,this pamphlet was reprinted in #aeef1 as we shall see in a moment4 ,the second book that ,i shall mention is an octavo volume1 without date1 entitled3 ',thesaurus amicorum1' which is in the ,bibliothque ,nationale4 ,it contains three series of borders3 7#a7 ,borders with arabesques in black on a white ground 7one of them is signed with a very small ,lorraine cross72 7#b7 ,borders with arabesques in white on a black ground 7one of these also is signed with a small white cross72 7#c7 ,borders with grotesque subjects1 licentious and otherwise4 ,these last1 none of which are signed1 represent figures analogous to those that are found in the ',songes drolatiques' attributed to ,rabelais1 and seem to be modelled upon them4 ,in the first part of the book1 the borders1 #cb in number1 are empty#dcg2 in the second part1 they enclose medallions of famous characters of ancient times1 with mottoes in all sorts of languages4 ,there are #if of these portraits4 ,they were reproduced1 with many others1 in a book printed in #aeei1 under the title1 ',insignium aliquot virorum icones' 7octavo74#dch ,in the dedication1 to ,g4 ,tuffano1 'gymnasiarch ,nemausensi1' ,jean de ,tournes1 second of the name1 the printer of the book1 informs us that he undertook it in order to utilize the woodcuts left by his father4 ',cum pater jamdudum haberet hasce icones inutiles ne omnino perirent1 hc pauca1 qu huic opusculo insunt1 ex variis auctoribus accumulavi4444' ,in this book the medallions number one hundred and forty-three2 none are signed1 but they are altogether in ,tory's manner4 ,these same medallions1 as well as the borders of the ',thesaurus amicorum1' have been used in a multitude of other publications1 which are known to us only through detached fragments4 ,i will mention particularly eight leaves preserved in the ,cabinet des ,estampes1 printed on one side only1 having a border with a portrait on each page4#dci ,also1 four leaves without borders1 on each of which two portraits are printed1 side by side4#ddj ,as for the borders1 they appear again1--first1 in the edition of ,marot's ,psalms1 published by ,jean de ,tournes in #aeeg1 in octavo2 and second1 with less impropriety1 in the various editions1 both in ,french and in ,italian1 of ,ovid's ',metamorphoses1' issued by the same printer4 ,jean de ,tournes published also1 in #aeef1 a small octavo volume of specimens of his woodcuts1 printed on one side only4 ,this volume1 which is well known to collectors1 and which may be found in the ,cabinet des ,estampes1 has on the first page these words alone3 ',a ,lion1 ,ian de ,tournes1 ,m4,d4,,lvi4'#dda ,this page has a border of white arabesques on a black ground1 in which the ,lorraine cross is perfectly visible1 at the foot4 ,there are #bb engravings representing scenes from the theatre of the ancients4 ,the ninth bears the ,lorraine cross4 ,in the midst of this series1 on leaf #ba1 is a piece which does not belong to the series2 it represents a dog lying on a cushion4#ddb ,after this series come various engravings which we find in ,maurice de ,seve's ',saulsaye' 7octavo1 ,lyon1 #aedg71 in ,ovid's ',metamorphoses1' and the ',hymnes du ,temps' of ,guillaume ,gueroult1 which were printed subsequently2 then #aa plates bearing two figures facing each other1 taken from a work on ,chiromancy and ,physiognomy1 by ,indagine 7octavo1 ,lyon1 #aedi72 #e engravings from the edition of ,petrarch issued by the first ,jean in #aede2 and #i small miscellaneous subjects4#ddc ,the ,cabinet des ,estampes also contains one leaf of a folio specimen of the woodcuts of the de ,tournes1 in which we find again the plates of the ,petrarch4 ,it lacks1 however1 the ,lac d',amour1 which is on folio #e of the collection we are describing1 and is altogether in the manner of the seven epitaphs published by ,tory in #aecj4ddd ,i will not enumerate here the other books with engravings1 of later date1 published by the second ,jean de ,tournes1 because there is nothing to justify me in attributing them to ,tory's workshop2 but one may conclude from what ,i have said heretofore1 that many engravings of the printers of ,lyon1 hitherto attributed to ,salomon ,bernard1 called ,le ,petit ,bernard1 came from ,tory's establishment4 ,indeed1 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 them1 but which render uncertain the attribution of those which most certainly belong to him4#dde ,our list includes only engravings on wood2 but ,i have no doubt that ,tory engraved also on metal1 and not alone letters1 which we should naturally expect from ,garamond's master1 but plates as well4 ,now that the eyes of collectors are about to be opened1 ,i should not be surprised if some one should discover one marked with his cross4#ddf ,to forward such discovery ,i will insert the estimate of ,tory's draughtsmanship formed by ,m4 ,renouvier1 who is so competent a judge of such matters4 ',the plates of ,champ fleury1 the first of which is dated #aebf1 have an ,italian after-taste1 which manifests itself by the correctness of the figures1 and by their costumes2 but the delicacy of expression1 the fineness of line1 distinguish them clearly from the ,venetian vignettes4 ,the vignettes of the ,hours published between #aebd and #aedc1 varying in execution1 always delicate and with little shading1 exhibit a degree of taste which the ,parmesan ,school sometimes achieves2 but by the delicacy of their execution they deserve the praise bestowed upon them by ,dibdin4 ,even if the figures are slightly confused in their attitudes and in their draperies1 or defective at some of the extremities1 still1 the spirited drawing of the heads1 and the arrangement of the scenes1 amid charming architectural designs1 or in very restricted fields1 show that our engravers of vignettes lost nothing of their talent in passing from gothic to italic letters1 and1 despite the name of the latter1 it is certain that ,italy never produced any like them4 ,simplicity took the place of ,gothic goguenarderie2 their expression is in the most refined ,french sentiment of the period4#ddg ',i seem to recognize ,geofroy ,tory's style in the ,tableau de ,cbes1 published by ,denis ,janot and ,gilles ,corrozet in #aedc1 the vignettes of which are often attributed to ,jean ,cousin4 ,as for ,tory's drawing1 ,i should recognize it through several layers of wood1 by the delicately drawn heads1 the slender figures1 the split extremities1 to say nothing of the floriated letters and the borders1 in which the ,italian grotesques are mingled with natural vegetations1 and in which he has often engraved his name1 his ,pot ,cass and his mottoes4 ,in ,tory's vignettes there are doubtless qualities that are more subtle than great1 but they are our qualities4' ,illustration ,illustration ,illustration ,,footnotes3 ,footnote #cai3 ,see ,part #a1 ,biography1 supra1 p4 #g4 ,footnote #cbj3 ,this plate was reproduced by ,,mm4 ,alexis ,socard and ,alexandre ,assier in their work entitled3 ,livres liturgiques du diocse de ,troyes1 #hvo1 #ahfc4 ,footnote #cba3 ,see what ,i have to say on this subject in ,,iii1 under the word ',colines' 7infra1 p4 #bfh74 ,footnote #cbb3 ,see what ,i have to say of this book in the ,bulletin du ,bouquiniste1 #ahfj1 p4 #aja4 ,footnote #cbc3 ,if necessary1 four workmen would have sufficed1--two compositors and two pressmen--,lefvre d',etaples being abundantly able to perform the duties of corrector4 ,footnote #cbd3 ,an office-book formerly in use1 containing the antiphones called 'graduals1' as well as introits and other antiphones1 etc41 of the mass4 ,also called the ',cantatory' or ',cantatorium4'--,,century ,,dict4 ,footnote #cbe3 ,bibliothque ,nationale4 ,footnote #cbf3 ,bibliothque de l',arsenal4 ,footnote #cbg3 ,an additional proof in confirmation of what ,i have already said as to the unscrupulous way in which artists copied one another4 7,see page #adi note #a47 ,footnote #cbh3 ,this design is based upon a legend concerning ,virgil1 which had some vogue in the ,middle ,ages ,footnote #cbi3 ,see pp4 #aja-abi1 supra4 ,footnote #ccj3 ,revue universelle des ,arts1 ,september1 #aheg 7vol4 v1 no4 #f1 p4 #eac74 ,footnote #cca3 ,in his game-bag we see that he hath rats1 ,which are detestable1 and gnawing vermin ,making shocking wounds in his vitals4 ,from his breast cometh a keen1 darting flame1 ,which burneth heart and lips and body4 ,footnote #ccb3 ,in an imperfect copy of this book1 on parchment1 which ,i have seen at the shop of ,m4 ,potier1 and which is illuminated1 the artist has erased ,tory's mark1 for what purpose ,i have no idea4 ,footnote #ccc3 ,it seems that the ,parliament proposed at first to prohibit the publication of this book2 but evidently it did not persist in its opposition1 for1 besides the four quarto editions1 ,i have seen four others in octavo1 which1 however1 are without interest for us4 ,see ,brunet's ,manuel du ,libraire1 under ',gringoire4' ,footnote #ccd3 ,this deplorable practice of removing the text from engravings1 which was once rigourously followed in the ,cabinet des ,estampes at the ,bibliothque ,nationale1 injured the collection materially4 ,there are many pieces of which neither the origin nor the meaning is known1 because of the removal of the legends which formerly accompanied them4 ,footnote #cce3 ,number #c4 ,hell he defies 7to him no arduous task71 ,and the dog ,cerberus1 him with the three heads2 ,he seeks the infernal regions1 fighting hand to hand1 ,to set at liberty ,theseus his good friend4 ,number #i4 ,the raging bulls 7most marvellous to see7 ,with his two sinewy hands he masters easily1 ,compels them by main force to bend the knee1 ,albeit they were deemed unconquerable4 ,number #aj4 ,a boar with frothing lips and long sharp tusks1 ,who1 in his rage1 despoiled men1 fields and vineyards1 ,and by whom the whole world was ravaged1 ,he1 by his courage1 all alone1 did slay4 ,footnote #ccf3 ,on ,march #d1 #aheh1 at the ,lassus sale1 ,i saw a complete set of the ,labours of ,hercules1 without the verses4 ,footnote #ccg3 ,the earliest book in which ,i have seen it1 excluding the ,thesaurus latin lingu of #aecf1 and the ,dictionarium ,latino-,gallicum of #aech1 which was a sequel to the first1 and in which it was necessarily used 7,i saw these two books at ,m4 ,didot's71 is a quarto pamphlet1 published in #aecg1 on the occasion of the discussions between ,franois ,i and ,charles ,v1 entitled3 ,exemplaria litterarum1 etc4 ,footnote #cch3 ,later1 ,estienne had other floriated letters engraved at ,tory's establishment1 carried on by his widow4 ,but the ,g was not then chosen to receive the artist's mark4 ,see infra1 under #aeea4 ,footnote #cci3 ,these letters and friezes appear in the ,works of ,justin ,martyr printed by ,estienne in #aeda1 from which they are reproduced for this volume--some of the letters on pp4 #aij and #aia1 and the friezes at the beginning of the ,printers' ,preface1 and of the three sections of the ,iconography4 ,footnote #cdj3 ,papillon1 who saw ,woeiriot everywhere1 says on page #eji of the additions to his first volume3 ',champ fleury is filled with woodcuts by ,woeiriot1--among others several capital letters with nude human figures for their limbs1 and several vignettes about three inches by two and a half1 simply in outline1 with the cross of ,lorraine in every corner4' ,as a matter of fact there are very few ,lorraine crosses on the engravings of ,champ fleury4 ,footnote #cda3 ,reproduced on the title-page of the present volume4 ,footnote #cdb3 ,see supra1 p4 #de1 no4 #d4 ,footnote #cdc3 ,see supra1 p4 #ajj4 ,footnote #cdd3 ,see supra1 p4 #a4 ,neither this engraving nor those last mentioned are found in the octavo edition of ,champ fleury4 ,footnote #cde3 ,see the reproduction of this cut on p4 #ada1 supra4 ,footnote #cdf3 ,in the octavo edition it was found to be impossible to have the two parts face each other1 so that ,apollo's chariot is cut in two4 ,footnote #cdg3 ,reproduced on pp4 #ej and #ea supra4 ,footnote #cdh3 ,reproduced on p4 #dh1 supra4 ,footnote #cdi3 ,this cut does not appear in the octavo edition4 ,it is reproduced on p4 #ba1 supra where it is said to be on #dc recto4 ,footnote #cej3 ,one of these is reproduced on this page4 ,footnote #cea3 ,reproduced on p4 #aeb1 supra4 ,footnote #ceb3 ,reproduced on the following page4 ,footnote #cec3 ,these letters do not appear in the octavo edition4 ,reproduced on p4 #aie1 infra4 ,footnote #ced3 ,this alphabet1 which ,tory used in several of the books printed by him1 as ,i have already stated1 was replaced by a different one in the octavo edition of ,champ fleury4 ,footnote #cee3 ,not in the octavo edition4 ,reproduced on p4 #di1 supra4 ,footnote #cef3 ,see supra1 pp4 #abj-abb4 ,footnote #ceg3 ,see supra1 pp4 #abb-abd4 ,footnote #ceh3 ,luteti1 sumptibus gidii ,gormontii1 studio ,joannis ,cheradami1 labore et industria ,petri ,vidovi4 ,footnote #cei3 ,this engraving was used later as a model for a magnificent plate placed at the beginning of the ,tableaux des arts libraux de ,christophe de ,savigny1 published in #aehg1 in folio1 by ,jean and ,franois de ,gourmont1 sons of ,gilles4 ,see my ,les ,estienne1 p4 #fc1 note4 ,footnote #cfj3 ,for the family of ,gourmont1 see my ,les ,estienne1 pp4 #fb and #fc1 notes4 ,footnote #cfa3 ,not all of the engravings are signed2 but1 as ,i have not been able to inspect the volume1 which was a part of the ,boorluut library of ,noortdonck1 sold at ,ghent in ,april1 #aheh1 ,i am obliged to resort to the words of the compiler of the catalogue of that sale1 my confrre ,m4 ,vander-,meersch1 who has kindly furnished me since with some more detailed information 7albeit less complete than ,i could have wished71 after the volume was sent to ,england4 ,m4 ,boorluut had paid #a franc #ej centimes for the volume1 which was sold to a ,london bookseller1 ,mr4 ,toovey1 on ,april #ai1 #aheh1 for #bgj francs4 ,i wrote to him asking for details concerning it2 but1 in accordance with the not over-courteous ,english custom1 he did not choose to tell me for whom he had purchased the book1 so that ,i have been unable to obtain more ample information4 ,footnote #cfb3 ,i am not informed whether these cuts appear in ,hore ,marie ,virginis ad usum ,sarum1 #aecb1 or in ,the ,prymer of ,salisbury1 #aecd1 both of which were printed at the same establishment4 ,footnote #cfc3 ,see p4 #abe1 supra4 ,footnote #cfd3 ,see what ,i have heretofore said of this book1 pp4 #he-hg supra4 ,footnote #cfe3 ,see pp4 #abf-abh1 supra4 ,footnote #cff3 ,see what ,i have had to say of this book1 pp4 #abh-abi1 supra2 also1 p4 #bah1 infra1 under the ,hours of #aeda1 where we find these same borders1 called ' la moderne1' together with the plates of the ,hours of #aebi1 described on p4 #abe1 supra2 which leads me to think that these same plates appeared in the octavo edition now under consideration4 ,see also no4 #a of the year #aecf 7p4 #bjh1 infra71 which is a sort of link between the editions of #aeca and #aeda4 ,footnote #cfg3 ,see p4 #acf1 supra4 ,footnote #cfh3 ,revue ,universelle des ,arts1 ,sept4 #aheg 7vol4 v1 no4 #c1 p4 #eag74 ,footnote #cfi3 ,i saw this volume at ,m4 ,potier's book-shop in #ahfe2 it is a #afmo1 illustrated with a large number of fascinating engravings which would assuredly do much honour to ,tory4 ,i freely admit that ,franois ,gryphe was a pupil of our artist1 but that is all4 ,i do not understand why ,m4 ,renouvier attributes to ,tory a small plate of no interest1 when the privileges expressly attribute all the engravings to ,gryphe4 ,footnote #cgj3 ,brunet1 ,manuel du ,libraire1 #eth edition1 vol4 v1 col4 #affj1 no4 #cbh4 ,the line engravings are doubtless those of the #afmo ,hours of #aebi 7see p4 #abe supra74 ,as for the borders1 which ,m4 ,brunet does not mention1 ,i imagine that they are the same that ,i spoke of on p4 #abh4 ,but see no4 ,,iii1 under the year #aeda 7infra1 p4 #bah74 ,footnote #cga3 ,thesaurus antiquitatum romanarum1 etc41 a ,j4 ,c4 ,grvio2 folio1 ,utrecht1 #afig4 ,m4 ,olivier ,barbier1 sub-manager of the ,bibliothque ,nationale1 owns the copy of the original edition which was used for this reprint4 ,it contains not only the additions that were made1 but also directions1 in ,dutch1 concerning the size of the copper-plates1 etc4 ,footnote #cgb3 ,see vol4 vi1 col4 #efb4 ,footnote #cgc3 ,another edition of this book was published by the same printers and with the same woodcuts1 in #aede4 ,footnote #cgd3 ,sometimes1 too1 the colourist has substituted for the printed date that at which he did his work4 ,i have seen several cases of such substitution4 ,footnote #cge3 ,bibliothque de l',arsenal4 ,footnote #cgf3 ,see pp4 #adi and #bje1 supra4 ,footnote #cgg3 ,the title-page of this rare volume reads3 ,missale ecclesie ,parisiensis denuo ab aliquot ejusdem ecclesie canonicis ac doctoribus theologis ad id a reverendiss4 do4 ,joan4 de ,bellayo 444 delegatis4444 ,then follows ,merlin's mark1 signed with the ,lorraine cross4 ,in addition to #h preliminary leaves this volume contains3 ,calendarium temporale1 signatures a to v2 ,sanctorale1 ,a to ,m2 ,commun41 ,a to ,e1 gothic2 etc4 ,the first page of the text is in a border which has the ,eternal ,father at the top1 four popes at the sides1 and at the foot the mark of the widow ,iolande ,bonhomme1 with the unicorns4 ,the volume was probably published about #aedj4 ,footnote #cgh3 ,see p4 #bjd1 supra4 ,a copy of this frieze--a slavish imitation--in which even the ,lorraine cross is reproduced1 appears in a ,flemish ,bible1 folio1 printed at ,antwerp in #aeef 7,bibliothque ,nationale74 ,footnote #cgi3 ,annales des ,estienne1 #c;d edition1 p4 #di4 ,footnote #chj3 ,the cross is not very distinct on the copies of #aedj1 but1 strangely enough1 it is perfectly clear on those of #aedf4--,these engravings1 like the frieze on the title-page1 have been copied by other printers4 ,such copies may be found in a ,bible published at ,lyon in #aeej1 by ,sbastien ,honorat1 and in another published in #aeed by ,jean de ,tournes4 ,we find them also in a ,bible published at ,paris in #aehf by ,sbastien ,nivelle and ,gabriel ,buon1 etc41 etc4 ,footnote #cha3 ,see concerning this book1 the ,revue des ,socits ,savantes1 vol4 v1 pp4 #fbd ff4 ,the author's name was ,milles4 ,some information concerning him is given in the ,revue4 ,footnote #chb3 ,see p4 #bbi1 infra4 ,footnote #chc3 ,i have seen it bound with a book of ,hours published by ,kerver in #aeef3 ,m4 ,portalis's copy4 ,footnote #chd3 ,it has since been sold at auction4 ,footnote #che3 ,see p4 #aae supra4 ,footnote #chf3 ,see what ,i have had to say concerning this book1 pp4 #hh-ia1 supra4 ,footnote #chg3 ,renouvier1 ,des ,types1 etc41 #afth century1 p4 #afh4 ,footnote #chh3 ,the ,bibliophile ,franais 7,april #ae1 #ahfe7 mentions an edition of this book1 with the date of #aeeg4 ,i regret that ,i was not aware of it before the above paragraph was printed1 as ,i should have cited that edition in preference to that of #aege4 ,however1 it is unimportant1 as the two editions are identical except in the order of the plates1 which differs slightly4 ,footnote #chi3 ,neither the edition of #aeeg nor that of #aege was known to ,m4 ,choulant1 who published a curious monograph concerning works with anatomical figures4 7,geschichte 444 der anatomischen abbildung2 quarto1 ,leipzig1 #aheb47 ,footnote #cij3 ,these explanations are printed1 in movable type1 in cartouches inserted for that purpose4 ,the type is different in all four of the editions known to me4 ,footnote #cia3 ,see p4 #da1 supra4 ,footnote #cib3 ,i have seen this engraving in a fragment of a book of ,hours1 printed in ,roman type at a date which ,i cannot fix although it was contemporaneous4 ,this fragment consists of signatures ,aa and ,bb 7a half-signature71 that is1 #ab leaves1 numbered #ahe to #aif4 ,signature ,aa begins 7folio #ahe7 with a title-page printed in red1 in these words3 ',die dominica ad vesperas4 ,psalmus4' ,the engraving in question is below them4 ,the last page of ,bb ends with the word 'finis1' which proves that the book had but #be signatures4 ,footnote #cic3 ,or1 better1 ,purgatory4 ,in an octavo collection at the ,bibliothque ,mazarine1 there is a little book entitled3 ',le ,purgatoire prouv par la parole de ,dieu' 7octavo2 ,paris1 ,denis ,basset1 #afjj71 in which this engraving1 signed with the ,lorraine cross1 appears twice2 it represents a nude man standing in the flames1 with this legend in a scroll3 ',constitvas mihi tenrvs' 7tempvs87 'in qvo recorderis mei4' ,footnote #cid3 ,such is my opinion2 but ,i am bound to say that ,m4 ,achille ,devria1 formerly ,conservator of the ,department of ,engravings1 was of the opposite opinion4 ,according to him the unsigned engravings were copies of the others4 ,it seems to me that the dates of printing confirm my theory4 ,for we find the unsigned engravings in an edition of #aebb2 so that we must refer those with the cross to an earlier date2 but this seems hardly probable1 since ,louis ,royer 7to whom they are attributed1 as we shall see1 because he was the first to use them7 succeeded ,jean de ,brie1 who did not die until about #aebb4 ,footnote #cie3 ,manuel du ,libraire1 #eth edition1 vol4 v1 col4 #afgb1 no4 #cff bis4 ,footnote #cif3 ,see supra1 p4 #afh4 ,footnote #cig3 ,jean ,cousin was born in #aeja1 and died at ,sens about #aeij4 ,footnote #cih3 ,renouvier1 ,des ,types1 etc41 ,seizime sicle1 p4 #afb4 ,footnote #cii3 ,see supra1 p4 #baa4 ,footnote #djj3 ,that is1 having immediate reference to the bearer's name4 ,footnote #dja3 ,reproduced on the opposite page4 ,footnote #djb3 ,this engraving had previously appeared in ',amadis de ,gaule'3 see supra1 p4 #baf4 ,footnote #djc3 ,bibliothque ,nationale4 ,footnote #djd3 ,the copies in ,sertenas's name bear a very curious mark1 which is reproduced in ,m4 ,silvestre's book1 nos4 #bba and #gad4 ,footnote #dje3 ,supra1 p4 #adi4 ,footnote #djf3 ,see under that date for details 7supra1 p4 #bah74 ,footnote #djg3 ,this portrait was engraved on copper1 in #aeef1 by ,woeiriot1 printed separately1 and pasted on the recto of the second leaf of ,le ,duaren's works1 printed at ,lyon in #aeeh by ,guillaume ,rouille1 in folio2 on some copies ,woeiriot's engraving of ,le ,duaren's portrait is replaced by the one engraved by ,georges ,ghisy1 called the ,mantuan4 ,see ,robert-,dumesnil1 ,peintre-graveur franais1 vol4 vii1 p4 #aji1 no4 #bhb4 ,footnote #djh3 ,see1 too1 the article on ,le ,duaren in the ,biographie ,universelle4 ,footnote #dji3 ,supra1 p4 #ahi1 note #c4 ,footnote #daj3 ,these letters had already appeared in a book published by ,robert ,estienne in #aedi4 ,footnote #daa3 ,this frieze in #aefa came into the possession of the second ,robert ,estienne1 who used it in a book entitled3 ,ordonnances de ,m4 le duc de ,bouillon pour le rglement de la justice de ses terres4 ,small folio1 #aefh4 ,footnote #dab3 ,page #bga4 ,footnote #dac3 ,bibliothque ,nationale4 ,footnote #dad3 ,supra1 p4 #bah4 ,footnote #dae3 ,the author forgets that he has listed two engravings on folio #ei1 one on each side of the leaf4 ,footnote #daf3 ,bibliothque ,nationale4 ,footnote #dag3 ,the inscription would seem to prove1 on the contrary1 that the engraving was made two years earlier1 or in #aeea4 ,footnote #dah3 ,vol4 ii1 folios #icf recto1 #idh verso1 and #iid recto4 ,this work of ,thevet's must not be confounded with that geographer's ,cosmographie du ,levant1 the fruit of an earlier journey1 two editions of which had been published at ,lyon1 in #aeed and #aeef1 by ,jean de ,tournes1 in quarto1 with engravings in the text4 ,footnote #dai3 ,see the details of this voyage of ,thevet given by ,m4 ,ferdinand ,denis in a letter printed at the beginning of a work by ,m4 ,demersay1 entitled3 tudes conomiques sur l',amrique2 #hvo1 #ahea4 ,footnote #dbj3 ,we shall see in the next paragraph that a reprint of it was issued in ,april1 #aeeh4 ,footnote #dba3 ,see what has been said concerning this volume1 on pages #bbc and following1 supra4 ,footnote #dbb3 ,this sign was retained by ,thomas ,perier1 ,charles's son4 ,see ,silvestre1 ,marques ,typographiques1 no4 #chf4 ,footnote #dbc3 ,pch sin4 ,footnote #dbd3 ,i have previously had occasion to comment upon the extraordinary custom that formerly prevailed in the ,cabinet des ,estampes of removing from engravings1 etc41 every sort of extraneous matter4 ,it is impossible to measure the extent to which this custom has impaired the value of the collection4 ,unfortunately it is followed by most collectors of prints1 who sometimes destroy a very valuable and unique volume for no other purpose than to preserve an engraving unaccompanied by text4 ,footnote #dbe3 ,we find some features of it in the frieze engraved by ,tory for the ,bible published by ,robert ,estienne in #aecb4 ,see p4 #bjb1 supra4 ,footnote #dbf3 ,this collection was sold in ,january1 #ahdf1 and the plate in question was purchased1 for about #bjjj francs1 for ,m4 ,cambacrs1 ,grand ,master of ,ceremonies in the ,imperial household1 who now owns it #aheg4 ,this is what ,m4 ,baron says of it in his sale catalogue1 no4 #dde3 ',this important piece1 in the most perfect preservation1 merits the attention of collectors by virtue of its value and its rarity4' ,there is a copy also in the ,cabinet of ,geneva4 ,footnote #dbg3 ,according to the catalogue quoted in the last note1 the reverse of the plate also is embellished with arabesques4 ,footnote #dbh3 ,brother of the first-named ,jean4 ,footnote #dbi3 ,see p4 #afi1 supra4 ,footnote #dcj3 ,and not ,august #bj1 as it has sometimes been printed4 ,footnote #dca3 ,the ',avis au lecteur' is by him4 ,footnote #dcb3 ,according to the list there are #aa4 ,footnote #dcc3 ,according to the list only #ad4 ,footnote #dcd3 ,see what ,i have said on this subject on p4 #agc1 supra4 ,footnote #dce3 ,see infra1 ,,iii1 ',le ,coq4' ,footnote #dcf3 ,these engravings are1 as is well known to-day1 by ,luczelburger1 of ,basle1 ,holbein's regular engraver4 ,footnote #dcg3 ,these pages were intended to be used as an album4 ,i have seen a very valuable copy at ,m4 ,potier's bookshop2 he bought it of ,m4 ,gaullieur1 who has described it in his tudes sur l'imprimerie de ,genve1 p4 #bjg4 ,this copy1 which was arranged by ,durand the bookseller1 who emigrated to ,geneva for religious reasons1 has no title-page and contains only the empty pages1 that is to say those with borders alone1 within which ,durand's friends1 the most illustrious leaders of the ,reformation--de ,bze1 ,goulard1 etc4--have inscribed each some sentence4 ,in some verses which come first1 and which are admirably engrossed on parchment1 ,durand tells us that he wrote them in #aehc1 without spectacles1 notwithstanding his great age and 'the gout in his fingers4' ,footnote #dch3 ,bibliothque ,nationale4 ,footnote #dci3 ,it may be that this fragment belongs to a collection cited by ,m4 ,brunet 7,manuel du ,libraire1 vol4 iv1 col4 #hej71 under the title1 ,pourtraictz divers1 small octavo1 ,lyon1 ,jean de ,tournes1 #aeeg1 as containing #fc plates1 including the title-page4 ,m4 ,brunet then gives a description of this collection1 which cannot possibly fit it4 ',these plates represent factories1 animals1 scenes of divers sorts1 mythological subjects1 and architectural designs4' ,this description evidently belongs to the volume of #aeef mentioned on the next page4 ,footnote #ddj3 ,these portraits and many other woodcuts of the de ,tournes1 which are still preserved in the ,fick ,press1 at ,geneva1 have lately been reproduced in a sumptuous publication entitled3 ,anciens bois de l'imprimerie ,fick1 folio1 ,geneva1 #ahfd4 ,it contains many engravings of ,petit ,bernard4 ,footnote #dda3 ,i have already cited 7page #bei71 on the authority of ,m4 ,didot1 an edition of this book under the date of #aeea1 but ,i doubt its existence4 ,footnote #ddb3 ,the first #bd pages of this collection are bound with an edition of ,claude ,paradin's ,quadrins historiques1 published by ,jean de ,tournes1 in #aeeh4 ,footnote #ddc3 ,this book was reprinted in #aeeg1 with the title ,pourtraictz ,divers2 see p4 #bfj1 note #a4 ,footnote #ddd3 ,see pp4 #bja-bjb1 supra4 ,footnote #dde3 ,for instance1 the anonymous author of a book entitled ,notice sur les ,graveurs1 printed at ,besanon in #ahjg 7#b vols41 octavo71 attributes to ,salomon ,bernard1 whose period of activity he places between #aeej and #aehj 7vol4 i1 p4 #fc 71 the engravings of ,petrarch's ,triumphs1 which appear in an edition of #aede1 and a ,resurrection of the ,dead1 dated #aedg 7vol4 i1 p4 #fd71 which dates are inconsistent with those mentioned above2 he also attributes to him 7vol4 i1 p4 #fe7 the theatrical scenes which we have with good reason ascribed to ,tory1 whose cross appears on one of them2 and1 lastly1 he attributes to him the story of ,psyche1 in #cb duodecimo cuts1 and the medallions of ,jacques ,strada's ,epitome des ,antiquits 7,lyon1 #aeec71 his authorship of which is very doubtful4 ,but there is no question at all concerning the following pieces1 which certainly belong to ,salomon ,bernard3-- ,i4 ,the figures of the ,bible1 to the number of #bea1 reprinted very frequently after #aeec4 ,in an edition of #afhj1 printed by ,samuel de ,tournes1 at ,geneva1 whither the second ,jean withdrew about #aehj1 because of his religion1 is the following note3 ',the figures that we offer you here are from the hand of an excellent craftsman1 known in his day under the name of ,salomon ,bernard1 called ,le ,petit ,bernard1 and have always been held in esteem by those who are learned in works of this sort4' ,,ii4 ,claude ,paradin's ,devises hroiques1 containing #ahd engravings1 besides a border on the title-page4 ,large octavo1 ,jean de ,tournes1 #aeeg 7 ,bibliothque ,nationale74 ,the license at the end of the volume discloses the titles of several other volumes which ,jean de ,tournes was then intending to publish1 particularly the two following1 which appeared the same year4 ,,iii4 ,the ,metamorphoses of ,ovid2 octavo1 #aeeg2 #agh engravings4 ,,iv4 ,l',astronomique ,discours1 by ,jacques ,bassentin2 folio1 #aeeg2 with a large number of astronomical plates4 ,v4 ,hymnes du temps1 by ,guillaume ,gueroult2 quarto1 #aefj2 #hh pages1 with borders and drawings4 ,in the avis au lecteur we read3 ',i hope that you will find some pleasure herein1 for that the whole is the work of a goodly hand2 for the invention of the engravings is of ,m4 ,bernard ,salomon1 an excellent painter as there has ever been in our hemisphere4' ,,vi4 ,virgil's neid1 ,french translation2 quarto1 #aefj2 with #ab vignettes4 ,,vii4 ,a book of ,thermes1 in eighteen orders2 printed at ,lyon in #aegb1 by ,jean ,marcorelle4--,at the tenth therme is a genie carving on a shield the letter ,s1 the initial of ,bernard's baptismal name4 ,a large number of vignettes1 and of letters in grisaille1 used by the printers of ,lyon1 are also attributed to this artist4 ,footnote #ddf3 ,see what ,i have had to say on this subject apropos of ,baf's ,annotations1 supra1 p4 #bjh4 ,footnote #ddg3 ,des ,types et des ,manires des matres graveurs1 etc41 #afth century1 pp4 #afg1 #afh4 ,,section ,,iii4 ,,marks ,,of ,,booksellers ,,and ,,printers ,,signed ,,with ,,the ,,lorraine ,,cross4 ,illustration3 ,,principivm ,,ex ,,fide1 ,,finis ,,in ,,charitate4 ,the inventor of the ,pot ,cass was chosen by his confrres1 in preference to all other engravers1 to engrave their private marks4 ,they had realized the force of his 'kindly exhortation to practice and employ themselves in goodly inventions1'#ddh and had been impressed by the perfection with which he executed that species of engraving1 which he had completely transformed4 ,for1 in lieu of the coarse vignettes with a black background1 on which the design stood out in white1 as if cut with a die1 ,tory had gradually introduced into these woodcuts all the delicacy of the ,italian engravings4 ,the earliest ones of his of which we have any knowledge are in the cribl style1 which the ,middle ,ages had handed down to him2 but he soon rejected that style and not only adopted a new manner of engraving1 but altered the arrangement of the designs that were entrusted to him4 ,this fact is especially manifest if we compare the original mark of the de ,marnefs 7,silvestre1 ',marques ,typographiques' no4 #aea7 with the one that bears the motto1 ',principivm ex fide1 finis in charitate' 7,silvestre1 no4 #ajdc74 ,instead of the roughly drawn ,pelican nourishing from its vitals its still more roughly drawn young1 in a nest perched on a tree of which the leaves are larger than the trunk1 we have1 in the second engraving given above1 an entirely new composition1 of which both design and execution are irreproachable4 ,in the face of such results1 we should not be surprised by the predilection of the printer-booksellers for ,tory2 they deemed it a duty to employ a confrre who poetized their profession3 to them it was a question of esprit de corps and of patriotism alike4 ,that is why we have so many typographical marks signed with the ,lorraine cross4 ,we propose to enumerate all of those which we have actually had before us4 ,as it was impossible to arrange them chronologically1 we have adopted the alphabetical order4 99 99 99 99 99 ,,alard 7,,guillaume71 bookseller at ,paris in #aeej4 ,see ,,fezandat4 ,illustration3 ,,prelvm ,,ascensianvm 99 99 99 99 99 ,,bade 7,,conrad71 printer and bookseller at ,paris from #aedf to #aefj1 when he withdrew to ,geneva for religious reasons4--,one mark1 which appears on the first edition of ,thodore de ,bze's ',poemata' 7#aedh72 the volume contains also a portrait of the author signed with the double cross4 ,conrad's mark1 like that of his father1 ,josse ,bade1 represents a printing-press4 ,it contains also the words ',prelum ascensianum'2 but1 instead of being inscribed in a cartouche on the press1 they are in two cartouches1 one at the top1 the other at the bottom1 of the border 7,silvestre1 no4 #hfg74 ,when ,conrad betook himself to ,geneva1 ,eloi ,gibier1#ddi a printer of ,orlans1 bought the mark4 ,it afterwards passed to ,fabian ,hotot1 a printer in the same city1 who was using it in #afji2 but before using it he had the word ',ascensianum' removed4 99 99 99 99 99 ,,bessault 7,,thibaut1 and ,,jean1 his son71 booksellers at ,paris4 ,see ,,regnault 7,,barbe74 99 99 99 99 99 ,,bonfons 7,,jean71 bookseller at ,paris from #aedh to #aegb4--,one mark 7,silvestre1 no4 #abe71 representing a dove on a tree1 within a circle formed by a serpent1 and on the outside of the circle this sentence from the ,bible3 ',estote prudentes sicut serpentes1 et simplices sicut columb4' ,i have seen it in a quarto edition of ',le ,petit ,jehan de ,saintr1' published by ,bonfons in #aeec1 in gothic type4 99 99 99 99 99 ,,buon 7,,gabriel74 ,see ,,porte 7,,maurice ,,de ,,la74 99 99 99 99 99 ,,calvarin 7,,simon71 printer-bookseller at ,paris1 from #aeec to #aeic4 ,two marks1 representing a woman1 seated1 surrounded by the paraphernalia of the arts and sciences1 and holding in one hand a palm-tree decorated with three wreaths4 ,i have seen one of these marks1 the larger1 in an edition of ,rodolphe ,agricola's book entitled3 ',de ,inventione dialectica libri tres' 7quarto1 #aeeh71 on the title-page of which is this imprint3 ',parisiis1 ex officina ,simonis ,calvarini1 in vico ,belovaco1 ad ,virtutis insigne4'#dej ,the smaller one appears at the end of a book entitled3 ',conservation de sant et prolongation de vie1 etc41 compos premierement par noble homme ,h4 ,hieronime ,monteux1 conseiller et medecin ordinaire du roi ,franois ,,ii1 et nouvellement traduit en nostre langue fraoise par maistre ,claude de ,valgelas1 docteur medecin1 etc4 ,paris1 chez ,simon ,calvarin1 rue ,saint-,jacques1 la ,rose blanche couronne1 #aegb4' ,this is a #afmo1 of which there is a copy in the ,bibliothque ,nationale4 ,this ,simon was1 ,i have no doubt1 a son of ,prigent ,calvarin1 printer at ,paris from #aebd to #aehb1 whose mark is very different 7,silvestre1 no4 #acg74dea ,it represents two persons holding a shield which hangs from a vine1 with these sentences surrounding them3 ',deum time1' ',pauperes sustine1' ',finem respice1' ',prigent ,calvarin4' ,simon1 having set up for himself during his father's lifetime1 had to adopt a different mark4 99 99 99 99 99 ,,chaudi,,re 7,,regnault71 bookseller at ,paris from #aeaf to #aedf1 in the latter year succeeded to the printing business of ,simon de ,colines1 whose marks 'au ,temps' he used thereafter4 ,he had a new one engraved in ,tory's establishment1 with the same figure1 but with a slightly different motto3 it reads3 ',virtus sola aciem retundit istam4' ,this mark appears in the edition of the comedies of ,terence printed in #aedf4 ,see ,,colines 7,,simon ,,de74 ,illustration 99 99 99 99 99 ,,colines 7,,simon ,,de71 printer-bookseller at ,paris from #aebj to #aedf4 ,four marks at least4 ,see the two already described in the preceding section1 under #aebj-aeba1 as forming a part of title-pages1 and numbers #hj and #cbi of ,m4 ,silvestre's ',marques typographiques4' ,the last two passed in #aedf into the hands of ,regnault ,chaudire1 a bookseller since #aeaf4 ,chaudire had married ,colines's daughter by the widow of ,henri ,estienne1 and by virtue of the connection inherited his father-in-law's printing-office and bookshop4 ,he himself printed1 in #aedf-aedg1 under the ,latin name ,calderius1 an edition of the comedies of ,terence#deb2 at the end is ,m4 ,silvestre's no4 #cbi1 which 7like no4 #hj7 represents ,time armed with a scythe1 and this devise in a scroll3 ',hanc aciem sola retundit virtus4' ,chaudire1 who had previously used another mark 7,silvestre1 no4 #if71 employed thenceforth this one with the figure of ,time1 and handed it down to his successors4#dec ,in #aedh he published an octavo catalogue of his own books and those of ,simon de ,colines--'tum ab ,simone ,colini1 tum ab ,calderio excusi4'#ded ,the following is1 in my opinion1 the order in which ,simon de ,colines's various marks were engraved by ,tory3 ,in the first place1 in #aebj1 the one with the rabbits1 or conils1 which it has been said that ,colines adopted as a play upon his own name2 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 #aejb4dee ,however that may be1 ,colines seems to have retained this mark during all the time that he occupied ,henri ,estienne's house4 ,when he turned over that abode1 in #aebe1 to ,robert ,estienne1 who established himself in business on the paternal premises1 ,colines went a little farther down rue de ,beauvais1 and took for his sign the ',soleil d'or1' which appears on the second mark2 finally1 in #aebh1 he adopted the one with the figure of ,time1 which was afterwards adopted by his son-in-law1 ,regnault ,chaudire4 ,illustration3 ,s4 ,,de ,,collines ,illustration3 ,,gilles ,,corrozet 99 99 99 99 99 ,,corrozet 7,,gilles71 bookseller at ,paris from #aech to #aefh4--,one mark1 representing1 by way of allusion to the name of its owner1 a rose upon a heart 7'cor'71 and with ',gilles ,corrozet' at the foot 7,silvestre1 no4 #ade74 ,this mark1 which ,i have seen on a book of #aeci1def was undoubtedly the first that ,corrozet used4 ,it descended to his heirs1 and his grandson ,jean was still using it a century later1 on the ',trsor des histoires de ,france1' the work of another ,gilles ,corrozet1 which ,jean reprinted several times between #afbb and #afdd4 ,jean simply removed from the mark his grandfather's ,christian name1 regardless of the lack of symmetry in the engraving caused by this subtraction4 ,so that here was an engraving that was in use more than a hundred years2 it is an interesting example of the durability of these woodcuts4 99 99 99 99 99 ,,cotereau or ,,cottereau 7,,richard71 bookseller at ,chartres2--7,,philippe71 bookseller at ,blois4 ,illustration 99 99 99 99 99 ,,david 7,,mathieu71 printer-bookseller at ,paris from #aeed to #aeff4 ,three marks 7,silvestre1 nos4 #bbg1 #cid1 and #gei74 ,they represent a warrior bearing on his shoulders a woman plunging a sword in his throat4 ,one of the marks has the word 'odiosa' in the border on one side1 and 'veritas' on the other4 ,another is printed in an octavo volume of #aeci 7,bibliothque ,nationale71 ,ravisius ,textor's ',epistol a mendis repurgata4' ,illustration3 ,,noli ,,altvm ,,sapere 99 99 99 99 99 ,,dupuy 7,j471 printer at ,paris in #aedi4 ,see ,,fezandat4 99 99 99 99 99 ,,estienne 7,,robert71 printer-bookseller at ,paris1 from #aebf to #aeej4 ,six marks at least1 representing the olive-tree in different forms4 ,three of them are reproduced in ,m4 ,silvestre's work3 nos4 #afb1 #cah1deg and #caideh2 add to these the large folio mark that appears on the ,bible of #aebhdei and that of #aedj1 previously described2 a small mark which appears in the #afmo ,virgil of #aedi2 and1 lastly1 a mark similar to ,silvestre's no4 #afc 7except that the figure is bald71 which appears in ',caroli ,stephani de ,nutrimentis1' etc4#dfj ,probably most of these marks were engraved for ,robert ,estienne at the outset of his typographical career1 that is to say1 about #aebf2 he carried them with him to ,geneva in #aeej2 and his son1 the second ,henri1 used them in his turn1 after his father's death1 which occurred in #aeei4 ,it was undoubtedly the widow of ,tory who engraved the mark 7in different sizes7 which appears1 after #aedd1 on the ,greek books printed with the royal types1 and which represents a basilisk entwined about a lance4 ,illustration 99 99 99 99 99 ,,estienne 7,,charles71 printer and bookseller at ,paris from #aeea to #aefa4 ,three marks at least4 ,upon entering the typographical profession ,charles adopted his brother's olive-tree2 that is to say1 he simply had copies made of ,robert's marks1 as he succeeded to his business4 ,i have seen the first of these marks1 similar to ,silvestre's no4 #afc1 in an octavo edition of ,p4 ,bunel's ',eptres familires1' printed by ,charles in #aeea2 the second appears in a folio edition of ,cicero1 in four volumes1 published by the same printer from #aeea to #aeeedfa2 and the third1 like ,silvestre's no4 #afb1 in the ',petit ,dictionnaire franais-latin' 7quarto71 published by ,charles in #aeei4 ,it is probable that the second ,robert used these same marks after his uncle's retirement in #aefa4 99 99 99 99 99 ,,fezandat 7,,michel71 printer-bookseller at ,paris from #aeda to #aeec4 ,one mark 7,silvestre1 no4 #dbc74 ,this mark which1 by way of allusion to the name of its owner1 represents a pheasant 7faisan7 on a dolphin1 with the letters ,m and ,f at the left and right1 respectively1 of the pheasant1 was used without the initials in #aedi1 as may be seen on the title of ',le ,temple du chastet1' printed in that year by ,fezandat1 in octavo4#dfb ,in #aeej1 one ,guillaume ,alard 7,fezandat's son-in-law1 it may be71 who lived 'e regione collegii de la ,mercy1' also used the mark in that form4#dfc ,the appearance of this mark on ,alard's book may be due solely to the fact that the book in question was printed by ,fezandat4 ,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 book4 ,the only possible clue is the three ,greek verses on the other side of the page1 which lead one to think that it may have been a work of ,jean ,blaccus ,danois1 of whom we have a translation of ,isocrates into ,latin verses1 printed by ,regnault ,chaudire1 also in #aeej 7quarto74#dfd ,this ,g4 ,alard is not named by ,lottin in his ',catalogue des imprimeurs-libraires de ,paris4' ,i find the same mark in a small volume entitled ',le ,bouquet des fleurs de ,snque'2 octavo2 ,caen1 'de l'imprimerie de ,jacques le ,bas1 imprimeur du roy1' #aeij4dfe ,i find ,fezandat's mark also in a book published by the bookseller ,j4 ,dupuy in #aedi3 ',novum ,testamentum1' in ,greek and ,latin2 #afmo4 ,why8 ,i have no idea4 ,illustration 99 99 99 99 99 ,,gibier 7,,eloi71 printer at ,orlans4 ,one mark1 representing a printing-press4 ,this printer1 whose oldest known imprint is dated #aeei1 had evidently practised his trade several years earlier4 ,this is what we find concerning him in the ',bibliothque historique des auteurs orlanais1' by ,dom ,gerou1 which is preserved in manuscript in the ,public ,library of ,orlans3 ',we may say that ,eloy ,gibier was in a certain sense the first printer of ,orlans2 ,mathieu ,vivian and ,pierre ,asselin had preceded him1 but we know of only a single work printed by each of them1 whereas there are a great number by ,eloy ,gibier4 ,we do not know when he began1 but the earliest book printed by him of which we have any knowledge is of #aeei4 ,at first he put no symbol on the title-pages of his works2 the place where the symbol should be was entirely unoccupied2 later1 he sometimes inserted one1 but not always4 ,this symbol was a printing-press1 about which were the words3 ,in sudore vultus tui vesceris pane tuo4' ,i have seen this mark on the ',coutumes gnrales d',orlans1' printed by ,gibier in #aegj1 octavo4#dff ,but he afterward adopted the mark of ,conrad ,bade4 ,see that name4 ,illustration 99 99 99 99 99 ,,gourmont 7,,gilles ,,de71 printer-bookseller at ,paris1 from #aejf to #aecj4--,three marks4 ,the first1 in the form of a border1 is found on the title-page of a volume containing nine comedies of ,aristophanes1 printed by ,pierre ,vidoue1 at ,gilles de ,gourmont's expense1 in #aebh 7quarto7#dfg3 a description of it will be found above4#dfh ,the second represents ,fame3 it is a nude woman1 winged1 all over whose body are eyes1 tongues1 and ears4 ,at the foot1 in a scroll1 are the words3 ',ecqvis incvmbere famae' 7'poterit' understood1 no doubt74 ,the ,lorraine cross appears at the left on the lower edge of the engraving4 ,i have seen this mark on a small book entitled3 ',alphabetum hebraicum1' consisting of #h leaves1 printed by ,pierre ,vidoue 7,silvestre1 no4 #ih74 ,although the name of ,gourmont nowhere appears in this case1 ,i have no doubt that the mark belongs to ,gilles de ,gourmont1 for it is accompanied by his initials1 ,e and ,g 7,egidius ,gourmontius71 at the left and right respectively2 and we shall see that this same mark was afterward used by ,jrme de ,gourmont1 ,gilles's son or nephew4 ,it maybe that it was because of the loan of ,gourmont's ,hebrew type that his mark appears on this precious pamphlet1 a description of which follows4 ,first leaf1 beginning at the end 7according to the ,hebrew and ,arabic custom71 ,gourmont's mark in a border of detached compartments4 ,on the verso ,pierre ,vidoue's epistle to the reader1 dated from his workshop ,august #a1 #aeca4 ,then comes the text1 followed by this subscript3 ',petrus ,vidovus ,vernoliensis excudebat ,luteti' ,and1 lastly1 ,vidoue's mark--,fortune1 with the words3 ',audentes juvo' 7,silvestre1 no4 #fe74 ,the third of ,gilles de ,gourmont's marks signed with the ,lorraine cross is given by ,m4 ,silvestre 7no4 #hbf74 ,this mark forms the lower part of the border first described1 and has evidently been cut from the border for use separately4 ,it represents the ,gourmont arms#dfi3 a shield coup1 three roses in chief and a crescent in base2 for crest a ,st4 ,michael1 holding a bare sword1 supports two winged stags with ducal coronets about their necks4 ,this subject1 much more fully developed1 appears on the first page of the ',tableaux des ,arts ,libraux de ,savigny1' in-plano1#dgj published in #aehg1 by ,jean and ,franois1 sons of ,gilles de ,gourmont1 who succeeded to his establishment on rue ,saint-,jean-de-,latran4 99 99 99 99 99 ,,gourmont 7,j,r,,me ,,de71 printer-bookseller at ,paris from #aebd to #aecc4--,one mark representing ,fame1 copied from the second mark of ,gilles de ,gourmont just described1 but reversed4 ,beneath the inscription ',ecqvis incvmbere famae1' in a small cartouche1 are the initials ,h4 ,d4 ,g4 7,hierome de ,gourmont71 with the ,lorraine cross just above4 ,i have seen this mark in an octavo volume published at ,paris in #aecd by ,jrme de ,gourmont1 under this title3 ',pauli ,paradisi 444 de modo legendi hebraice dialogus1'#dga and in another octavo1 also published at ,paris 7',dionysi'7 in #aece1 under a ,greek title of which the ,latin translation is3 ',apollonius ,alexandrinus1 de ,constructione4'#dgb ,jrme de ,gourmont published at least one other book at ',dionysi' in #aece2 but ,i do not know the title1 as ,i have not seen the title-page4 ,all that ,i can say is that ,ausonius is quoted in the ,latin preface printed on the verso of the first leaf1 of which ,i have seen only a fragment1 belonging to ,m4 ,silvestre4 ,i believe that ,jrme de ,gourmont did some printing1 although he is named only as a bookseller in the bibliographies4 ,the books that ,i have mentioned show that he was a scholar who followed in the tracks of ,gilles de ,gourmont4 ,indeed1 the one first described1 which is in ,latin1 contains some ,hebrew words2 the second is entirely in ,greek4 ,i have seen a little book1 printed at ,paris in #aeci1 with ,jrme de ,gourmont's mark3 it is ',pugna porcorum per ,j4 ,porcium1' octavo4 ,the subscript below the mark reads3 ',parisiis1 apud ,anthonium ,bonnemere4' ,was ,anthoine ,bonnemere publisher for ,jrme de ,gourmont1 at the same sign8 ,that is something that ,i do not know4 99 99 99 99 99 ,,gourmont 7,,beno,t ,,de71 bookseller at ,paris4--,one mark1 representing a man standing above two precipices2 above him is a scroll with the words3 ',vndiqve praecipitivm'2 and at his feet the initials ,b4 ,d4 ,g4 7,silvestre1 no4 #hch74 99 99 99 99 99 ,,grandin 7,,louis71 printer-bookseller at ,paris1 from #aedb to #aeec4--,two marks 7,silvestre1 nos4 #bgg and #daf74 ,they represent two men1 one of whom is receiving a sphere from the hand of ,god2 the other holds one which is crumbling in his fingers4 ,on the second of the two marks are the words3 ',confidere in ,domino bonum esse quam confidere in homine4 ,ps4 #aag4' ,illustration 99 99 99 99 99 ,,gueullard 7,,jean71 printer-bookseller at ,paris1 from #aeeb to #aeec4--,two marks representing the ,phnix rising from the flames1#dgc in an oval border4 ,the smaller one has1 within the border1 the words1 ',amor vit acer nimis1' with ,gueullard's initials1 ,i4 ,g41 below 7,silvestre1 no4 #gij74 ,this mark is 4#jee of a millimetre high by 4#jdd wide4 ,i have seen it in a book entitled3 ',petri ,ruffi ,druyd dialectica1 nuper ab eodem autore emendatur1' quarto1 #aeec 7#c;d edition74#dgd ,the larger one has this motto within the border3 ',mori vivere mihi est'2 it is 4#jhg of a millimetre high by 4#jfc wide 7,silvestre1 no4 #hhb74 ,i have seen it in a book entitled1 ',hexastichorum moralium libri duo1 per ,nic4 ,querculum ,tortronensem ,rhemum2 quarto1 ,paris1 #aeeb4'dge ,see ,,harsy 7,,olivier ,,de74 99 99 99 99 99 ,,guillard 7,,charlotte71 printer-bookseller from #aeah to #aeef4--,one mark representing her sign1 a golden sun in a starry sky4 ,below1 two lions erect1 holding a shield on which are the initials ,c4 ,g4 ,this lady carried on the printing trade for more than fifty years4 ,she married first1 in #aejb1 ,berthold ,rembold1 a partner of the first printer in ,paris1 ,ulric ,gering4 ,berthold1 who had established his domicile on rue ,saint-,jacques1 'au ,soleil d',or1' having left ,charlotte a widow in #aeah1 she carried on the business alone until #aebj1 when she married ,claude ,chevallon1 who took up his abode on the same premises4 ,chevallon having departed this life1 in his turn1 in #aedb1 ,charlotte continued in the business until #aeef4 ,it was during her second widowhood that the mark in question1 which we reproduce herewith1 was engraved4 ,i have seen it on a quarto volume entitled1 ',institutionum civilium libri quatuor1 #aeej4 ,parisiis1 apud ,carolam ,guillard1 viduam ,claudi ,chevallonii1 sub ,soli aureo1 et ,guilelmum ,desbois1 sub ,cruce ,alba1 in via divi ,jacobi4' ,claude ,chevallon had upon his mark1 by way of allusion to his name1 two horses standing 7cheval-long74 ,but ,m4 ,silvestre publishes as his 7no4 #cie7 a mark which has the lions4 ,illustration 99 99 99 99 99 ,,harsy 7,,olivier ,,de71 bookseller at ,paris1 from #aeef to #aehd1 used ,gueullard's mark on several works written by ,nicolas ,ellain2 among others1 ',elegia libri duo ad ,joach4 ,bellaium1 quo adhuc vivo eos scripsit4--,parisiis1 e typogr4 ,olivarii de ,harsy1 ad ,cornu cervi1 in clauso ,brunello'2 quarto1 #aefj4dgf ,i have no idea why de ,harsy adopted ,gueullard's mark4 99 99 99 99 99 ,,hotot 7,,fabian71 printer at ,orlans4 ,see ,,bade 7,,conrad74 99 99 99 99 99 ,,houic 7,,antoine71 bookseller at ,paris4 ,see ,,regnault 7,,barbe74 99 99 99 99 99 ,,kerver 7,,thielman ,,ii71 printer and bookseller at ,paris1 from #aecj to #aeej4--,one mark1 representing the arms of the ,kervers2 a 'gril' 7cratis7 held by two unicorns1 with the letters ,t4 ,k4 ,below is the printer's name in full3 ',thieman sic ,kerver4' ,this mark appears on a book of ,hours of #aeej4 99 99 99 99 99 ,,le ,,bas4 ,see ,,fezandat4 99 99 99 99 99 ,,le ,,coq 7,,jean7 printer at ,troyes1 from #aejf to #aebe4--,one mark1 representing ,le ,coq's arms 7a cock71 hanging from a tree2 below is the name1 ',jean ,le ,coq' 7,silvestre1 no4 #hge74 ,this mark appears in a ',graduel' of #aeba1 previously described4#dgg ,we find it again in a book of ,hours according to the use of ,toul1 published in #aeda1 which contains many other engravings signed with the double cross4#dgh ,also in a small book published in our own day by ,aubry the bookseller#dgi2 that is to say1 this particular woodcut is still in existence and belongs to ,m4 ,aubry4 99 99 99 99 99 ,,le ,,noir 7,,philippe71 printer-bookseller at ,paris1 from #aebj to #aeci4 ,three marks1#dhj representing two negroes 7noirs7 holding a shield with ,philippe le ,noir's initials4 99 99 99 99 99 ,,mallard 7,,olivier71 printer-bookseller at ,paris1 from #aecf to #aedb4 99 99 99 99 99 ,,mallard 7,,jean71 bookseller at ,rouen4 99 99 99 99 99 ,,marnef1 ,,de3 ,enguilbert1 ,jean and ,geoffroy1 brothers1 were printers and booksellers at ,paris and ,poitiers1 together or separately1 from #aeaj to #aeej4 ,their mark was a pelican1 piercing his side in order to nourish his young4 ,tory engraved for them at least two marks3 one which appears on a book printed by ,enguilbert and ,jean1 in ,poitiers1 in #aecf1dha entitled ',les angoisses et remedes d'amour du ,traverseur en son adolescence' 7by ,jean ,bouchet71 with this device3 ',eximii amoris typus'2 it is reproduced by ,dibdin1#dhb and by ,silvestre 7no4 #aeb74dhc ,the other may be seen in the ,print ,section of the ,bibliothque ,nationale1 among ,tory's work2 the pelican and its young are in an oval border1 around which is this device3 ',principium ex fide1 finis in charitate' 7,silvestre1 no4 #ajdd74 ,see also the reproduction at the beginning of this section1 page #bfe4 99 99 99 99 99 ,,menier 7,,maurice71 printer at ,paris1 from #aede to #aeff4--,one mark 7,silvestre1 no4 #ghi71 representing a man closing a woman's mouth1 with this device1 ',coercenda volvptas4' 99 99 99 99 99 ,,merlin 7,,guillaume71 bookseller at ,paris1 from #aech to #aegj4--,one mark1 representing a swan whose neck is twined about a cross1 surrounded by the device1 ',in hoc signo vinces4' ,the ,lorraine cross is barely visible in the lowest ornament of the engraving4 ,i have seen this mark on the first page of a ',missale ecclesie ,parisiensis1' in folio1 without date1 printed by ,iolande ,bonhomme1 widow of the first ,thielman ,kerver1 as is shown by the presence of that printer's mark on the first page of the text2 it may be that there are copies in her name4 ,this book is without date1 but should be placed between the years #aecb and #aeeb1 which embrace the incumbency of ,jean du ,bellay as ,archbishop of ,paris4 ,merlin's mark is 4#jie of a millimetre high by 4#jfg wide4#dhd 99 99 99 99 99 ,,morel 7,,guillaume71 printer-bookseller at ,paris1 from #aedh to #aefd4--,one mark1 reproduced by ,m4 ,silvestre 7no4 #afd71 who informs me that his engraver accidentally omitted the ,lorraine cross4 ',this mark1' he adds1 'was used later by ,estienne ,prevosteau1 ,morel's son-in-law1 who subsequently rengraved it1 or had it rengraved1 with his initials1 ,e4 ,p4 in place of ,tory's mark4'#dhe ,it represents a capital theta 771 about which are twined two winged serpents1 and in the centre an angel1 seated on the cross-piece of the 1 with a lighted torch in her hand4 99 99 99 99 99 ,,nivelle 7,,sebastien71 printer and bookseller1 at ,paris1 from #aeej to #afja4 ,one mark1 representing two storks in the air1 one being carried and fed by the other2 with this verse from ,exodus 7,,xx1 #ab71 to explain the drawing3 ',honora patrem tuum et matrem tuam1 et sis longvus super terram4' ,i have seen this mark on an octavo edition of ,st4 ,john ,chrysostom 7',homeli du'71 printed by ,sebastien ,nivelle in #aeed4 ,it is reproduced by ,m4 ,silvestre 7no4 #bja71 but the ,lorraine cross is barely visible on this impression4 ,i have seen also another mark of ,nivelle's representing the same subject1 with analogous designs suggesting filial love in the four corners2 but it is not signed with the cross although it is absolutely in ,tory's manner4 ,illustration 99 99 99 99 99 ,,nyverd 7,,guillaume71 printer and bookseller at ,paris1 from #aeaf4--,one mark1 or1 to speak more precisely1 a small border in the style of one of the marks of ,simon de ,colines4 ,at the foot1 in a scroll1 are the words1 ',nasci1 laborare1 mori4' ,this border appears in a small pamphlet1 undated1 in pure gothic type1 entitled1 ',la ,reformation des tavernes et destruction de gourmandise1 en forme de dialogue'2 a small octavo of #d leaves1 of which ,m4 ,cigogne possesses the only known copy 7#ahef74 ,at the end are the words1 ',paris1 by ,guillaume ,nyverd1 printer4' ,so that ,lottin is mistaken in saying that he was a bookseller only4 ,he gives only one date for his career in the trade--#aeaf--;but our engraving is certainly later than #aebj4 ,m4 ,silvestre extends ,nyverd's business career to #aeei1 on what grounds ,i do not know2 but he also calls him a bookseller only4 ,the text of the ',reformation des tavernes1' etc41 was reprinted on page #bbc of the second volume of the ',recueil des posies franoises des ,,xv et ,,xvi sicles1' collected and annotated by ,m4 ,anatole de ,montaiglon4#dhf 99 99 99 99 99 ,,nyverd 7,,guillaume ,,de71 probably the son of the preceding1 printer-bookseller at ,paris1 from #aeej to #aehj4--,one mark1 representing the arms of ,france borne by two winged genii4 ,above them a head with wings2 from its mouth come two garlands in the style of those on the last plate of ',champ fleury4' ,at the left1 at the foot of the cut1 the letters ,g4 ,n41 and at the right the ,lorraine cross4 ,this engraving1 which is #h centimetres wide by #aa high1 was undoubtedly executed when ,guillaume de ,nyverd was appointed king's printer1 which title he held in #aefa1 according to ,lottin4 ,in all probability he held it earlier than that4 ,however that may be1 ,i have seen this mark1 already much worn1 in an impression of #aegb3 ',prognostication touchant le mariage du tres honor et tres aim ,henry1 par la grace de ,dieu roy de ,navarre1 et de tres illustre princesse ,marguerite de ,france1 calcule par maistre ,bernard ,abbatia1 docteur medecin et astrologue du tres chrestien roy de ,france' ,charles ,,ix4 ,there are in the ,bibliothque ,nationale at least three editions of the little pamphlet1 made by the same printer at about the same time1 that is to say immediately after the marriage of the ,king of ,navarre with ,marguerite de ,valois4 ,all three have this engraving on the last page1 but in every case it is accompanied by an addition of much later date1 namely1 the device of ,charles ,,ix 7two pillars joined by a scroll containing the words1 ',pietate et ,jvsticia'71 above the arms of ,france4 ,the volume contains also numerous other engravings and letters bearing ,guillaume de ,nyverd's initials4 ,it is worth while to call attention to the fact that de ,nyverd does not assume the title of king's printer in this book1 although1 as we have seen above1 his appointment was of much earlier date4 99 99 99 99 99 ,,pallier 7,,jean71 called ',marchand1' printer and bookseller at ,metz1 from #aeci to #aedh4--,one mark 7,silvestre1 no4 #aef71 representing a fleur-de-lis held in the air by two naked children1 with the letters ,i4 ,p4 in the field4#dhg ,jean ,pallier1 or1 better1 ,palyer 7in ,latin1 ,palierus71 did business also in ,paris1 for ,i have seen several books of his dated from that city in #aeda or #aedb1 with the mark described above4 ,i will mention1 among others3 7#a7 ',epitom singularum distinctionum libri primi sententiarum1 cum versibus memorialibus ,arnoldi ,vesaliensis1' etc41 #afmo1 ,paris1 #aeda2 and 7#b7 ',topica ,marci ,tullii ,ciceronis1' etc41 'ex officina ,joannis ,palierii1 e regione ,navarr1 sub signo ,leonis ,coronati1' #dto1 #aedb4 99 99 99 99 99 ,,paris 7,,nicole71 printer at ,troyes1 from #aedb to #aedg4--,one mark 7,silvestre1 no4 #age71 representing a child clinging to the branches of a palm-tree 7871 beneath the device1 ',et ,colligam4' ,illustration 99 99 99 99 99 ,,perier 7,,charles71 bookseller at ,paris1 from #aeej to #aeeg4--,one mark1 found on the title of the folio entitled1 ',les quatre livres d',albert ,durer 444 de la proportion des parties et pourtraicts des corps humains1 traduits par ,louys ,meigret1' etc41 'chez ,charles ,perier 444 l'enseigne du ,bellerophon1 #aeeg4'dhh ,this bookseller issued two editions of ,drer's book in the same year1 one in ,latin and the other in ,french1 both illustrated with the same cuts4 ,i am unable to say which appeared first4 ,he had already published1 in #aeee1 for ,louis ,meigret1 a translation of ',les ,,xii livres de ,robert ,valturin1 touchans la discipline militaire1' in folio1 with engravings1 in which his mark appears1 signed with the double cross4 ,the sign of ,bellerophon was retained by ,charles ,perier's son ,thomas4 99 99 99 99 99 ,,petit 7,,oudin71 bookseller at ,paris from #aeda4--,one mark 7,silvestre1 no4 #ajc71 representing a shield bearing a fleur-de-lis1 and held by two lions2 in the field the letters ,o4 ,p4 99 99 99 99 99 ,,porte 7,,maurice ,,de ,,la71 bookseller at ,paris from #aebd to #aedh4--,one mark used by his widow in the volume entitled1 ',m4 ,a4 ,mureti ,juvenilia'2 octavo1 #aeec4dhi ,maurice de la ,porte's widow sold his plant to ,gabriel ,buon1 who used the marks of the deceased from #aeeh to #aehg4 ,they represent a man carrying a valise at the door 7 la porte7 of a house2 one of them has the device1 ',omnia mea mecum porto4' ,the man is ,bias1#dij according to ,la ,caille4 ,about the same time there was a printer at ,lyon named ,hugues de la ,porte1 whose mark represented ,samson carrying away the gates 7portes7 of ,gaza in his arms1 with the device1 ',libertatem meam mecum porto4' 7,he also published a folio ,latin ,bible in #aedb47dia 99 99 99 99 99 ,,prevosteau 7,,estienne74 ,see ,,morel 7,,guillaume74 99 99 99 99 99 ,,regnault 7,,barbe71 bookseller at ,paris from #aeef to about #aefj4--,one mark1 representing an elephant carrying a tower on his back1 with the device1 ',sicut elephas sto'2 height #g centimetres1 width #e centimetres4 ,barbe was undoubtedly the daughter of ,franois ,regnault1 who died in #aeeb1 and who had a similar mark4#dib ,franois ,regnault's mark was retained by his widow1 ,madeleine ,boursette1 who added to it her initials1 ,m4 ,b41 and did business in her own name until #aeee4 ,barbe ,regnault's mark first appears1 so far as my knowledge goes1 in a small octavo1 printed about #aeef1 entitled1 ',description de la prinse de ,calais et de ,guynes1 compose par forme de style de proces par ,m4 ,g4 de ,m4' 7,here the mark47 ',a ,paris1 chez ,barbe ,regnault1 rue ,sainct-,jacques1 l'enseigne de l',elephant4'#dic ,la ,caille informs us of other works published about the same time by ,barbe ,regnault3 ',monstre d'abus contre ,michel ,nostradamus1' #aeeh2 ,j4 ,seve1 ',supplication aux rois1' 444 'de faire la paix entre eux1' #aeei4 ,in #aefj she published a book by ,estienne ,brulefer1 in octavo1 entitled1 ',identitatum et distinctionum 444 traditarum compendiosa contractio'2 then comes the mark1 and below it an imprint in which ,barbe styles herself the widow of ,andr ,barthelin4#did ,i am unable to say whether this is the same man whom ,la ,caille and ,lottin call ,andr ,berthelin1 and who published in #aedd a work entitled1 ',francisci ,georgii ,venali 444 de ,harmonia mundi totius cantica tria'2 folio1 ,paris1 'apud ,andream ,berthelin1 via ad divum ,jacobum1 in domo ,guilelmi ,rolandi1 sub insigne ,aure ,coron1 et in vico ,longobardorum in domo ejusdem ,rolandi4'#die ,if he is the same man1 we must assume that he was not yet married to ,barbe ,regnault1 for we see that1 while he lived1 as she did1 on rue ,saint-,jacques1 he had a different sign4 ,indeed1 ,i am inclined to think that ,barbe did not adopt the ',elephant' until after the death of ,madeleine ,boursette1 ,franois ,regnault's widow1 about #aeef4 ,however that may be1 ,la ,caille says that ,barbe ,regnault's mark passed into the hands of ,thibault ,bessault1 then to his son ,jean1 and finally to ,antoine ,houic4 ,i have seen a book published by the last-named in #aehb1 embellished with ,barbe ,regnault's ',elephant4' 99 99 99 99 99 ,,robinot 7,,gilles ,i71 bookseller at ,paris1 from #aeed to #aege4--,one mark 7,silvestre1 no4 #fhf71 representing ,icarus hurled into the sea for not following the advice of ,ddalus1 his father1 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 body4 ,in a scroll are these words1 ',ne quid nimis4' ,this mark was used as late as #afai by ,gilles ,robinot the second1 son of the first ,gilles#dif2 it is 4#je of a millimetre high by 4#jdg wide4 ,see ,,sertenas4 ,illustration 99 99 99 99 99 ,,roffet 7,,pierre71 called ',le ,faulchoir1' bookseller at ,paris1 from #aebe to #aecg4--,one mark 7,silvestre1 no4 #aej7 representing a mower 7faucheur7 appears in a book printed in #aecf4dig 99 99 99 99 99 ,,roigny 7,,jean ,,de71 bookseller at ,paris1 from #aebi to #aefb4--;,i know two marks of de ,roigny1 signed with the ,lorraine cross4 ,the older is the one that appears in a superb edition of ,pliny's ',letters1' printed by ,josse ,bade in #aecc1 in folio 7,silvestre1 no4 #fgd74dih ,it represents a man and a woman1 each holding a scroll containing a ,latin motto2 the man's reads thus3 ',nec me labor iste gravabit'2 and the woman's1 ',spes premii solatium est laboris4' ,in the sky is ,fortune with her wheel and the horn of plenty1 and this device in a scroll beneath3 ',quod differtur non aufertur4' ,the second mark1 which was adopted by ,jean de ,roigny after the death of his father-in-law1 ,josse ,bade1 in #aece1 is the ',prelum ascensianum1' but rengraved 7,silvestre1 no4 #ghg72 for ,bade's typographical plant passed into the hands of another son-in-law of his1 ,michel de ,vascosan1 who continued to use his father-in-law's old woodcuts1 especially his mark1 badly worn as it was4 ,as for ,robert ,estienne1 ,bade's third son-in-law1 his father-in-law's death caused no change in his typographical arrangements2 he still retained the ',olive-tree' which he has made so celebrated4 ,illustration 99 99 99 99 99 ,,sertenas 7,,vincent71 bookseller at ,paris1 from #aecd to #aefa4--,one mark1 which was used on two opuscula1 in octavo1 of #aefa2 they are usually bound in the same volume1 and are entitled3 7#a7 ',rgime de vivre et conservation des corps humains1' etc42 7#b7 ',recueil de plusieurs secrets trs-utiles pour la sant1' etc4 ,this mark represents the initials ,v4 ,s4 interlaced1 in a medallion above which is the sun1 with a genie on each side2 and below1 the device1 ',vincenti non victo4' ,we also find ,robinot's mark1 described above1 in certain books published by ,sertenas4 ,i will mention among others the ',recueil des rimes et proses1 by ,e4 ,p42 octavo1 #aeee4dii ,presumably1 it was because ,robinot was the printer that he placed his mark on the books4 99 99 99 99 99 ,,vivian 7,,thielman71 bookseller at ,paris in #aeci4--,one mark 7,silvestre1 no4 #gbe71 which appears in the second part of the ',grand ,marial de la mre de vie1'#ejj translated by ,adam de ,saint-,victor4 ,this second part is entitled1 ',a la trs-pure et immacule ,conception de la ,vierge'2 quarto1 #aeci4 ,vivian lived in ,clos ,bruneau2 his mark bore this device1 ',post tenebras spero lucem' in a scroll1 above a fountain guarded by two unicorns2 below are the letters ,t4 ,v41 and still lower1 ',thielman ,vivian4' ,illustration3 ,,thielman ,,vivian ,illustration ,illustration ,,footnotes3 ,footnote #ddh3 ,champ fleury1 folio #dc verso4 ,footnote #ddi3 ,eloi ,gibier used previously a similar mark1 which bore the following device3 ',in sudore vultus tui vesceris pane tuo4' 7,see ,silvestre1 no4 #edd47 ,he used it particularly at the end of the ,coutumes gnrales d',orlans1 #aegj4 ,footnote #dej3 ,bibliothque ,nationale4 ,footnote #dea3 ,brunet1 ,manuel de ,libraire1 vol4 ii1 col4 #afbi4 ,footnote #deb3 ,this very rare and valuable edition contains a dissertation on ,latin accents4 ,bibliothque ,nationale4 ,footnote #dec3 ,see ,silvestre1 nos4 #bhf and #bhg4 ,footnote #ded3 ,see ,mattaire1 ,annales typographiques1 vol4 iii1 part #a ,a1 p4 #adg4 ,footnote #dee3 ,see the subscription of the first book published by him in conjunction with ,wolfgang ,hopyl1 under the title1 ,artificialis introductio ,jacobi ,fabri ,stapulensis1 etc42 folio1 #aejb4 ,this book is in the ,bibliothque ,sainte-,genevive4 ,footnote #def3 ,according to ,lottin1 it was first used in #aeee4 ,see his ,catalogue1 vol4 ii1 p4 #cj4 ,footnote #deg3 ,i have reproduced this mark on the title-page of my ,les ,estienne et les types grecs de ,franois ,i2 octavo1 #ahef4 ,footnote #deh3 ,silvestre also gives three other variants1 nos4 #ejh1 #edb1 and #ieh1 signed with the cross4 ,no4 #ejh is reproduced above4 ,footnote #dei3 #aech8 ,m4 ,bernard mentions no ,bible of #aebh4 ,footnote #dfj3 ,octavo2 ,paris1 ,robert ,estienne1 #aeej4 ,bibliothque ,nationale4 ,footnote #dfa3 ,this book is described on p4 #bdd1 supra4 ,footnote #dfb3 ,bibliothque ,nationale4 ,footnote #dfc3 ,see the collection of ,tory's work in the ,print ,section of the ,bibliothque ,nationale4 ,footnote #dfd3 ,sermonum liber unus ex ,isocratis notione de regno1 carmine heroico4 ,bibliothque ,mazarine4 ,footnote #dfe3 ,bibliothque ,nationale4 ,footnote #dff3 ,bibliothque de l',institut4 ,footnote #dfg3 ,bibliothque ,nationale4 ,footnote #dfh3 ,on p4 #aig4 ,reproduced on p4 #aih4 ,footnote #dfi3 ,the placing of these arms on the typographical mark of ,gilles de ,gourmont proves1 in contradiction of the common opinion1 that the printer's trade was not degrading4 7,but see what ,i have said on this subject in my book on the ,origin of ,printing1 vol4 i1 p4 #baj1 and vol4 ii1 p4 #hi47 ,the ,gourmonts of ,paris were in fact descended from a noble family of the ,cotentin1 which may still be in existence1 and which bore the same arms in the seventeenth century4 ,gilles de ,gourmont had taken up his abode in ,paris in the last years of the fifteenth century1 as had several of his brothers1 who practised the same trade4 ,the oldest1 ,robert1 appears in that city as early as #adih2 ,jean1 who was younger than ,gilles1 not until #aejg4 ,we hear also of a ,jrme and a ,benot as booksellers in ,paris in the middle of the sixteenth century4 ,i do not know what their relationship to the earlier men was4 ,perhaps they were sons of ,robert4 7,benot1 who married ,catherine ,goulard1 had a son baptized by the name of ,gilles at the church of ,sainte-,croix-en-la-,cit1 on ,october #i1 #aedf47 ,we also find a ,jean ,thobald de ,gourmont at ,antwerp in #aebg4 ,as for ,gilles1 he was engaged in bookselling and printing from #aejf to about #aecc1 and left two sons1 ,jean and ,franois1 who retained his establishment on rue ,saint-,jean-de-,latran1 and printed there1 in #aehg1 the ,tableaux des ,arts ,libraux de ,christophe de ,savigny4 ,this is an in-plano1 at the beginning of which is a superb engraving representing the arms of the family as described in the text4 ,this remarkable work1 which bears the monogram of the two brothers1 was probably executed by ,jean1 the elder1 who was a painter and engraver4 ,the ,muse du ,louvre has a picture supposed to be by him 7,notice des tableaux du ,louvre1 part #c1 p4 #aef72 he is the author of a fine portrait of the ,cardinal de ,bourbon1 mentioned by ,mariette and now in the ,cabinet des ,estampes2 he is mentioned also by ,abb de ,marolles and by ,papillon for certain pictures of equestrian groups and bits of decoration4 ,his mark 7formed of the letters ,i ,d ,g entwined7 and the name accompanying it are found on several pieces cited by ,brulliot1 on the plates of a ,bible of #aefj1 and on certain pieces of ,tortorel and ,perissim 7,renouvier1 ,matres ,graveurs du ,seizime ,sicle1 p4 #aie 74 ,it will be seen that ,gilles had worthy successors2 unfortunately the race of the ,gourmonts of ,paris died out with them4 ,footnote #dgj3 ,that is1 consisting of unfolded sheets1 so that each sheet forms only one leaf1 or two pages4 ,footnote #dga3 ,bibliothque ,nationale4 ,footnote #dgb3 ,bibliothque ,mazarine4 ,footnote #dgc3 ,gueullard lived at the sign of the ,phnix1 e regione collegii ,remensis4 ,footnote #dgd3 ,bibliothque ,mazarine4 ,footnote #dge3 ,bibliothque ,nationale4 ,footnote #dgf3 ,bibliothque ,nationale4 ,footnote #dgg3 ,see p4 #agg1 supra4 ,footnote #dgh3 ,see p4 #bba1 supra4 ,footnote #dgi3 ,bibliothque de l',amateur champenois1 #b;d part3 ',construction d'une ,notre-,dame4' ,footnote #dhj3 ,see ,dibdin1 ,the ,bibliographical ,decameron1 vol4 ii1 p4 #dc2 ,silvestre1 no4 #fa4 ,the one in ,silvestre is a reduced copy of that at the end of ,des ,coustumes et statuz particuliers de la pluspart des baillages1 etc4 7#dto1 #aebg71 which is of much larger format1 and is also signed with the ,lorraine cross4 ,this magnificent mark is reproduced in its full size on p4 #bfd1 supra4 ,footnote #dha3 ,quarto2 finished ,jan4 #h1 #aecf 7#aecg n4 s474 ,footnote #dhb3 ,bibliographical ,decameron1 vol4 ii1 p4 #cb4 ,footnote #dhc3 ,nos4 #aec and #agd seem to be by the same artist1 but they are not signed4 ,footnote #dhd3 ,silvestre1 no4 #hja4 ,see a further description of this book1 supra1 p4 #bae1 note4 ,footnote #dhe3 ,indeed ,i have seen this mark1 with the ,lorraine cross1 on a ,greek alphabet of #aefj1 printed by ,g4 ,morel 7,bibl4 ,nat471 and on several other works printed by ,prevosteau1 his son-in-law2 ,i will mention particularly ,adriani ,behotii diluvium1 octavo1 #aeia 7,bibl4 ,nat471 where the mark is cracked1 which explains why it was rengraved with the letters ,e4 ,p4 ,footnote #dhf3 ,sixteenmo2 ,paris1 ,janet1 #ahee4 ,footnote #dhg3 ,see ,le ,second ,enfer d',estienne ,dolet2 quarto1 #aedd2 ,bibliothque ,nationale4 ,footnote #dhh3 ,bibliothque du ,jardin des ,plantes et ,sainte-,genevive4 ,footnote #dhi3 ,bibliothque ,mazarine4 ,footnote #dij3 ,one of the ',seven ,sages' of ,greece4 ,footnote #dia3 ,bibliothque ,nationale4 ,footnote #dib3 ,see ,silvestre1 nos4 #db and #dc4 ,footnote #dic3 ,bibliothque ,nationale4 ,footnote #did3 ,bibliothque ,nationale4 ,footnote #die3 ,bibliothque ,nationale4 ,footnote #dif3 ,see ,epistres morales d',honor d' ,urf2 #hvo1 #afai4 ,footnote #dig3 ,reproduced on p4 #acg4 ,footnote #dih3 ,reproduced on p4 #bhf4 ,footnote #dii3 ,copies of both books are in the ,bibliothque ,nationale4 ,footnote #ejj3 ,this book is in the ,bibliothque de l',arsenal4 ,the first part is in gothic type1 without typographical signs2 the second1 in roman4 ,,appendices4 ,i ,,note ,,concerning ,,geofroy ,,tory',s ,,family4 #a4 ,of his ,forbears and ,collateral ,relations4 ,illustration ,genealogical investigation1 supplemented with information furnished by two learned ,berrichons1 enabled me to enumerate1 in my first work on ,tory1 a considerable number of members of his family1 all1 or almost all1 of whom lived in ,faubourg ,saint-,priv ,bourges4 ,the recent researches of my friend ,m4 ,hippolyte ,boyer1 ,deputy ,archivist of the ,department of the ,cher1 make it possible for me to make known his grandfather1 his father1 and all his brothers and sisters4 ',by deed of ,december #bi1 #adhf1 ,robert ,thory1 husbandman1 living in the parish of ,saint-,germain-du-,puy1 conveys to ,jean ,thory1 his brother1 for #bj livres tournois1 his share in the heritage of the late ,jean and ,jeanne1 their father and mother4' ',by contracts of ,september #e and #h1 #aejg1 ,jean ,thory1 of ,saint-,priv1#eja and ,philippe ,thoreye1 his wife1 give their two daughters1 ,jehanne ,thorye and ,perron ,thorye1 in marriage to ,thevenin and ,franois ,leconte1 sons of ,jean ,leconte4' ,among the provisions of ,perron's contract is one to the effect that ,jean ,thory and his wife settle a dowry of #dj livres tournois on their daughter3 'and this in satisfaction of all claim upon father and mother1 be it in respect of furniture or of inheritance1 which said claim the said future bride1 with the authority of her said future husband1 hath renounced and doth by these presents renounce1 in favour of her father and mother1 of maistre ,geoffroye1 ,andr1 ,antoine and ,michell ,thoris1 children of said ,jean and ,philippe1 save for the power to1' etc4#ejb ,thus it appears that ,geofroy was the oldest of the brothers and sisters1 as he is named first in the document4 ,now1 as two of his sisters were of marriageable age in #aejg1 and as he is called maistre1 it is probable that he himself was more than twenty-five4 ,that is why ,i have placed his birth about #adhj4 #b4 ,of his ,descendants4 ,jean ,toubeau1 printer and bookseller at ,bourges1 who died at ,paris in #afhe1 while on a mission for his native place1#ejc wrote the following in the preface to his ',institutes consulaires1' printed by himself in #afhb1 three years before his death3 ',i have not been impelled to undertake and write this work by the examples of the illustrious members of my profession4 ,nor is it the example of those of my own family who have given their works to the public3 ,geofroy ,tory1 professor in the ,university of ,paris1 and a printer and bookseller in the same city1 who was so prolific that1 proposing to put forth a book which should teach the scope and proportions of those beautiful roman letters which we use to-day in printing1 he could not forbear to produce a book overflowing with learning1 which was followed by numerous others of instruction1 which are so well known that it is needless to give a list of them here1 especially as ,m4 de la ,thaumassire gives them a whole chapter in our history4' ,it is evident from this passage that ,toubeau was related to ,tory1 but it is not clear how the relationship came about2 and ,la ,thaumassire does not mention ,tory in his ',histoire du ,berry1' printed a few years later by ,franois ,toubeau1 ,jean's son1 despite the promises which he seems to have made to ,jean1 who had transferred to him the duty of making known to posterity that illustrious son of his province4 ,the only author able to assist us at all in our investigations is ,morri1 who1 in the article on ,jean ,toubeau in his great historical dictionary1 says that he was the great-great-grandson of ,tory1 on his mother's side4 ,this statement should be exact1 and the article appears to be written from information furnished by the ,toubeau family2 but all that we can determine from it is that ,toubeau was a descendant of ,tory in the fourth degree4 ,whether he descended from a son or daughter of ,geofroy1 ,i have been unable to discover4 ,to elucidate this fact1 ,i wrote to ,m4 ,auguste ,toubeau1 judge of the civil court at ,bourges1 and this was his reply1 dated ,march #e1 #ahef3 ',i should have been glad to give you the information you desire about ,tory4 ,but ,i have no documents or family papers which establish his relationship to ,jean and ,hilaire ,toubeau4 ,i do not know what connection there was between them and ,tory1 and ,i learned that there was such a connection only from what ,morri says of it4' ,failing family papers1 ,i made fruitless efforts to fix the relationship between the ,toubeaus and ,tory4 ,finding it impossible to reach any certain result1 ,i have abandoned this search1 which has no bearing upon the history of our illustrious typographer4 ,the ,toubeaus alone are interested in the solution of the question2 ,i leave to them the task of proving their kinship4 ,,postscript4--,it may be surmised that ,bonaventure ,torinus1 bookseller of ,bourges1 who caused to be printed at that city1 in #aeie1 by the widow of ,nicolas ,levez1 the ',epitome juris civilis1' by an unknown author1 and ',julii ,pauli receptarum sententiarum libri ,v1'#ejd was ,tory's son1 for he wrote his name in ,latin in the same way that ,tory wrote it2 but was it from a daughter of ,tory or from a daughter of this ,bonaventure that ,toubeau descended8 ,it is impossible for me to say4 ,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 age4 ,indeed1 if we compare the dates1 we shall find that this son of ,tory cannot have come into the world before #aecj1 for1 starting from that year1 he would have been sixty-five years old in #aeie1 when his ',epitome juris' was printed1 and there is no reason to believe that he died very soon thereafter4 ,for my own part1 ,i believe that he was not born until after the publication of ',champ fleury1' and that his ,christian name was an allusion to his late birth4#eje ,in that case1 we can understand why he did not succeed to the paternal establishment3 he was only two or three years old at ,geofroy's death--too young to think of taking his place2 so that that duty fell to ,geofroy's pupils1 whoever they may have been4 ,as for ,bonaventure1 the family traditions naturally led him back to ,bourges1 and the trade that he adopted brought him still nearer to his father4 ,,ii ,,verses ,,in ,,honour ,,of ,,geofroy ,,tory1 ,,printed ,,at ,,the ,,head ,,of ,,palsgrave',s ,,grammar4#ejf ',ejusdem ,leonardi ,coxi ad eruditum virum ,gefridum ,,troy#ejg de ,burges#ejh ,gallum1 ,campi floridi authorem1 quem ille sua lingua ,champ fleury vocat1 nomine omnium ,anglorum1 phaleutium4 ',campo quod toties1 ,gefride docte1 ',in florente tuo cupisti habemus4 ',nam sub legibus hic bene approbatis ',sermo gallicus ecce perdocetur4 ',non rem grammaticam ,palmon ante ',tractarat melius suis latinis1 ',quotquot floruerant ve posterorum1 ',nec ,grcis melius putato ,gazam ',instruxisse suos libris politis1 ',seu quotquot prtio prius fuere1 ',quam nunc gallica iste noster tradit4 ',est doctus1 facilis1 brevisque quantum ',res permittit1 et inde nos ovamus1 ',campo quod toties1 ,gefride docte1 ',in florente tuo cupisti1 habentes4' ,remarks on the foregoing lines4 ,the numerous errors of all sorts which disfigure ,palsgrave's book 7a very interesting book1 none the less7--errors of which the foregoing lines afford several specimens--should have humbled to some extent the national vanity of the author1 who cries out incessantly1 throughout his bulky volume1 against the ignorance of ,french printers4 ,he should1 in any event1 have remembered that ,english typography was the very humble daughter of ,french typography1 which latter not only trained the first ,english artist 7,caxton71 but also gave him his two most illustrious successors1--,wynkyn de ,worde and ,pinson1--the last named of whom did in fact print a part of ,palsgrave's book4 ,a modern ,englishman1 ,david ,baker1 has gone even farther than ,palsgrave2 he says1 speaking of ,palsgrave's work3 'the ,french nation1 so proud to-day of the universality of its language1 seems to owe it to ,england4' ,to which ,m4 ,gnin retorts3 ',baker reasons backward4 ,the ,french language did not come into universal use because it pleased ,palsgrave to write a grammar2 on the contrary1 ,palsgrave composed his grammar because the ,french language was already universal4 ,this universality was a fact1 admitted before ,palsgrave's birth1#eji and others before him had tried to draw up rules to facilitate the study of ,french by foreigners4 ,palsgrave names three to whom he acknowledges that his work is greatly indebted4 ',leonard ,coxe exults more modestly and with more propriety than ,david ,baker1 for he seems to attribute to ,geofroy ,tory the honour of having called forth ,palsgrave's grammar4 ,to be sure1 a comparison of dates seems to leave little likelihood to that conjecture1 for the ,frenchman's work and the ,englishman's are only about a year apart2 but ,i must notice here one curious fact which has not been noticed by the bibliographers4 ,on the title-page of the ,english book we find the date #aecj1 and on the last leaf1 ,printing completed ,july #ah1 #aecj4 ,but the king's licence to print1 at the beginning of the volume1 is dated1 ,at our ,castle of ,ampthill1 the second of ,september1 in the year of our reign the ,,xxii4 ,now1 as ,henry ,,viii succeeded to the throne in #aeji1 after ,easter1 the twenty-second year of his reign was the year #aeca1eaj and ,champ fleury appeared early in #aebi4 ,so that this gives us an interval of three years4#eaa ,in this view ,leonard ,coxe's words have genuine force1 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 state4' ,however1 as ,m4 ,gnin goes on to say1 'this honour1 claimed by the ,english1 of having been the first to write upon the ,french language1 is1 all things considered1 simply an act of homage to ,france2 for if our neighbours had awaited from a foreign nation the first book on the ,english language1 perhaps they would be awaiting it still4' ,,iii ,,tory ,,admitted ,,as ,,the ,,twenty-,,fifth ,,bookseller ,,to ,,the ,,university4 ,in the ',acta ,facultatis medicin ,parisiensis1'#eab at the end1 we read as follows3-- ',die ,martis #ah febr4 #aecb #aecc1 n4 s44444 ',die sabbati sequenti1 vocata est ,universitas in ecclesia ,mathurinorum1 super tribus articulis3 clausione rotuli1 resignatione cure ,sanctorum ,cosme et ,damiani1 et receptione vigesimi quinti librarii ,universitatis4 ,clausus est rotulus solito more2 admissa est resignatio permutationis causa et sine prejudicio turni1 et admissus est vigesimus quintus librarius ,gauffridus ,torier sic1 dono regio4 ,ubi supplicavit magister ,jacobus ,japhet pro pastillaria4' 7,translation47 ',on the following ,saturday ,february #bb1 #aecc1 the ,university was called together at the ,church of the ,mathurins4 ,there were three articles in the order of the day3 ,closing of the register of benefices2 resignation of the cur of ,saint-,come and ,saint-,damien2 reception of a twenty-fifth bookseller to the ,university4 ,the register was closed according to the usual form4 ,the resignation was accepted1 by way of exchange1 without prejudice to the next in turn4 ,geofroy ,tory was admitted as twenty-fifth bookseller1 by presentation of the king4 ,at this same session ,matre ,jacques ,japhet prayed for leave to present his pastillary thesis4' 99 99 99 99 99 ,the only item that interests us in this extract from the proceedings of the ,faculty of ,medicine is the passage relating to ,tory4 ,we see that in #aecc he was made the twenty-fifth bookseller to the ,university1 by command of ,king ,franois ,i4 ,up to that time there had been only twenty-four 7see ,m4 ,didot's ',essai1' col4 #gdd71 and they undoubtedly went back to that consecrated number after the death of ,tory1 in whose behalf an exception had been made4 ,,iv ,,note ,,concerning ,,tory',s ,,various ,,domiciles ,,in ,,paris4 ,the dedicatory epistle of ,tory's edition of ,pomponius ,mela is dated ,paris1 ,december1 #aejg2 but it mentions no place of abode4 ,the edition of the ',cosmography' of ,pope ,pius ,,ii is dated at the ,collge du ,plessis1 ,october #b1 #aeji4 ,tory was at the ,collge du ,plessis as late as ,may #aj1 #aeaj4eac ,on ,august #ah1 #aeab1 we find him installed at the ,collge ,coqueret2 and a little later at the ,collge de ,bourgogne4#ead ,about #aeah1 having joined the fraternity of booksellers1 he went to live on rue ,saint-,jacques1 opposite the cu de ,ble1 which was then used as a sign by the famous printer ,chrtien ,wechel4 ,the latter's establishment was on the right going up rue ,saint-,jacques1 near the church of ,saint-,benot4 ,about #aebf ,tory established himself on the ,petit-,pont1 near ,htel-,dieu1 but did not give up his shop on rue ,saint-,jacques1 at the sign of the ,pot ,cass4 ,early in #aeca1 he changed his abode to rue de la ,juiverie1 the ,halle aux ,bls de ,beauce1 where he set up his printing-press and his bookstall4 ,he retained his shop on rue ,saint-,jacques for some time4#eae ,it was in his house on rue de la ,juiverie that he died1 in #aecc4 ,v ,,of ,,the ,,first ,,use ,,by ,,printers1 ,,and ,,in ,,the ,,french ,,language1 ,,of ,,the ,,apostrophe1 ,,the ,,accent1 ,,and ,,the ,,cedilla4 ,m4 ,francis ,wey1 in a report made by him to the ,philological section of the ,committee on the ,language1 ,history1 and ,arts of ,france1 on ,june #i1 #ahef1 and published in the #ith fascicle of volume three of that ,committee's ',bulletin' 7page #dcg71 seems to attribute to ,jean ,salomon1 otherwise called ,montflory1 or ,florimond1 the first philological dissertation in which there is any mention of the accent1 the apostrophe and the cedilla1--signs peculiar to the ,french language1 which1 as every one knows1 was for many years content with the alphabet of the ,latin tongue1 from which it descended2 more than that1 he attributes to that author the first use of these signs in a printed book4 ,in both respects the honour is due to ,geofroy ,tory4 ,in truth1 in his ',champ fleury1'--which was not published until #aebi1 it is true1 although begun in #aebc1 the license to print being dated ,september #e1 #aebf1--,tory proposed to introduce the accent1 the apostrophe1 and the cedilla into the ,french language2 he did more than that2 for1 having become a printer1 he was the first to introduce those signs into typography4 ,they appeared for the first time in the last of the four editions of the ',adolescence ,clementine' 7by ,clement ,marot71 all four of which he published4 ,this fourth edition appeared ,june #g1 #aecc1 accompanied by an 'avis' in these words3 ',with certain accents noted1 to wit1 on the masculine1 different from the feminine1#eaf on letters joined by synalephe1 and under the c when it is pronounced like s1 the which for lack of counsel has never been done in the ,french language1 albeit it was and is most essential4' ,this was the first work in which ,tory applied his orthographic system1 as may be seen by the inexperience of the compositors in his employ1 who made several errors of omission and transposition in this very notice4 ,this so necessary reform spread very rapidly1 thanks to the fact that the necessity had already made itself felt1 as is proved by the work of ,jean ,salomon1 published in that same year #aecc4 ,but it is ,tory's especial glory that only those changes which were proposed by him were retained1 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 later3 a1 2 ou1 o2 du1 d1 etc4 ,with however good a will one might seek to deny ,tory's precedence in the use of orthographic signs in the ,french tongue1 and to award it to ,jean ,salomon1 who used them in the same year1 there are two facts that decide the question in favour of the former3 these are1 the publication in ,april1 #aebi1 of his ',champ fleury' 7the first book of which is entitled1 ',an exhortation to fix and ordain the ,french language by certain rules for speaking with elegance in good sound ,french words'71 and the formulation of the ',general rules of orthography of the ,french language1' no copy of which is known to exist1 it is true1 but for which ,tory obtained a license to print on ,september #bh1 #aebi1 four years before ,salomon's work appeared4 ,nor must we lose sight of the fact that ,tory was from ,bourges1 that is to say1 from the same province as ,jacques ,thiboust1 ,seigneur de ,quantilly1 'friend of books1 and distinguished penman1' who was ,jean ,salomon's ,mcenas4 ,there is nothing improbable in the supposition that ,thiboust had had his interest aroused by ,tory1 who is likely to have been a crony of ,thiboust in ,paris by a two-fold claim1--as a ,berrichon and as a 'friend of books4' ,it seems to me that the alias ',montflory' assumed by ,salomon is an allusion to ',champ fleury4' ,that1 in my opinion1 is why he wrote it ',montflory' or ',florimond1' indifferently1 the word being an anagram rather than a real surname4 ,as the opportunity offers itself1 ,i will add to ,m4 ,francis ,wey's notes a few remarks which may some day assist in writing the biography of ,jean ,salomon1 of whom nothing is known except the fact1 told us by himself1 that he was an ,angevin4 ,we know now of three different editions of his work4 ,the first1 dated #aecc1 with no indication of the month1 was printed in that year in three pages and a half1 octavo1 under this title3 ',briefve doctrine pour deuement escripre selon la propriete du langaige francoys4' ,we do not know where or by whom it was published1 but it certainly was printed at ,paris1 where ,salomon undoubtedly lived1 and probably by ,antoine ,augereau1 as was the one next described1 which seems to have been modelled upon it4 ,indeed1 like it1 it is generally found between the same covers with an edition of the ',miroir de l'me pcheresse' 7of ,marguerite of ,navarre71--an edition without date1 name of place or of printer1 which1 therefore1 should also be attributed to ,antoine ,augereau and to the year #aecc4 ,this edition1 which ,m4 ,brunet does not mention1#eag has on the first page3 ',le ,miroir de lame pecheresse1 auquel elle recongnoit ses fautes et pechez1 aussi les graces et benefices a elle faictz par ,jesuchrist son espoux4' ,it consists of nine half sheets in octavo1 printed as four 7signatures a to i74 ,on the last leaf is a note to the reader wherein forgiveness is asked for the first corrector 7he who is called to-day 'the corrector of first proofs'71 who has inadvertently omitted three verses4 ',divers other trivial errors may peradventure be found before or after1 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 printers4'--,as ,i have said1 it is at the end of this pamphlet that we find printed1 with separate signatures of its own1 from a to d1 the little book described by ,m4 ,wey after the copy in the ,bibliothque ,nationale which contains the ',briefve doctrine4' ,but one essential point1 which ,m4 ,wey has forgotten to mention1 is that in the first edition not a word is said of the accent or the cedilla2 there is no mention of anything except the apostrophe4 ,the second edition1 printed at ,paris by ,antoine ,augereau1 in ,december1 #aecc1 at the back of another edition of the ',miroir de l'me pcheresse' 7called ',miroir de tres chrestienne princesse ,marguerite1 reine de ,navare'71 is two-thirds larger4 ,it was probably published 7like the preceding one7 by the ,queen of ,navarre's secretary1 ,jean ,thiboust1 after a manuscript which the author had dedicated to him as his ,mcenas4 ,indeed1 we find at the head of this reprint the words 'ex manuscriptis authoris1' which seems to indicate further that the author was dead4 ,a point worth noting is that the ',briefve doctrine' again forms a part of an appendix distinguished by separate signature letters 7and folios7 from ,marguerite's poem1 and bearing the same title as in the earlier print1 despite the additions that had been made to it 7presumably based upon ,tory's publications71 especially with respect to the cedilla and the accent1 which1 moreover1 are used throughout the volume4 ,the third is the one which is still in manuscript at ,bourges4 ,it contains several passages more than the preceding2 but these passages1 which are of very debateable merit 7as ,m4 ,wey1 who reproduces them in his report1 declares71 were probably added by one ,jean ,milon1 of ,arlenc in ,auvergne1 calling himself a retainer 7'serviteur'7 of ,thiboust1 who revised the ',briefve doctrine' about #aedb2 so much at least we may infer from the date of some other pieces in the collection containing it1 which was presented1 in #aeee1 by ,jacques ,thiboust to the ,collge de ,bourges1 whence it found its way to the public library of the same city4 ,it is exceedingly interesting to find this document in ,geofroy ,tory's native place4 ,it is as if chance had chosen thereby to remind us of the source of the orthographic reform proposed by ,jean ,salomon4 ,to be entirely fair1 we ought to say that certain other writers had even anticipated ,salomon4 ,thus ,jacobus ,silvius1 otherwise called ,jacques ,dubois1 had published through ,robert ,estienne1 on the #gth of the ,ides of ,january1 #aeca 7,january #g1 #aecb1 n4 s471 a ,french grammar in ,latin1 wherein he suggested a complete system of orthographic reform1 including the acute accent1 the apostrophe1 the cedilla1 etc42 but his plan was so complicated that it could not be followed in its entirety4 ,moreover1 the signs proposed by him were1 for the most part1 impossible of adoption throughout a book4 ,for instance1 the cedilla consisted of an s placed about the c4 ,the merit of ,tory's system1 over and above its priority1 was its simplicity4 ,so we may say that it was generally adopted after #aecc4 ,,vi ,,translation ,,of ,,the ,,letters ,,patent ,,of ,,fran,,ois ,i1 ,,appointing ,,conrad ,n,,obar ,,king',s ,,printer ,,for ,,greek4#eah ,january #ag1 #aeci new style4 ,franois1 by the grace of ,god ,king of the ,french1 to the ,french nation1 greeting4#eai ,we desire that it be known to one and all that our dearest wish is1 and has ever been1 to accord to letters our support and especial favour1 and to do our utmost endeavours to supply the young with useful studies4 ,we are persuaded that such useful studies will produce in our realm theologians who will teach the blessed doctrines of religion2 magistrates who will execute the laws1 not with passion1 but in a spirit of public equity2 and skilful administrators1 the glory of the ,state1 who will not hesitate to sacrifice their private interests to love of the public weal4 ,such are in effect the advantages which we are justified in anticipating from worthy studies almost alone4 ,and that is why we did1 not long since1 make liberal allotments of stipends to distinguished scholars that they might teach the young the languages and sciences1 and train them in the no less valuable practice of good morals4 ,but we have considered that there was still lacking1 in order to hasten the onward march of literature1 something no less essential than public instruction1 namely1 that a capable person should be specially entrusted with the matter of printing in ,greek1 under our auspices and with due encouragement from us1 in order to the correct printing of ,greek authors for the use of the young people of our realm4 ,in truth men distinguished in letters have represented to us that the arts1 history1 morality1 philosophy1 and almost all other branches of knowledge1 flow from the ,greek authors as streams flow from their sources4 ,we know likewise that1 ,greek being more difficult to print than ,french and ,latin1 it is indispensable for the successful administration of a printing establishment of this sort1 that the director thereof should be well versed in the ,greek tongue1 extremely painstaking1 and blessed with abundant means2 that it may be that there is not a single person among the printers of our realm who combines all these qualifications 7that is to say1 knowledge of the ,greek language1 painstaking energy and large wealth71 but that in one the fortune is lacking1 in another the necessary knowledge1 and in others still different conditions4 ,for those men who possess at once wealth and learning prefer to pursue any other occupation rather than turn their hands to typography1 which demands a most toilsome life4 ,accordingly we instructed several scholars whom we admit to our table or to our intimacy1 to point out to us a man overflowing with zeal for the art of typography1 and of proved learning and diligence1 who1 supported by our generosity1 should be employed to print ,greek books4 ,and we have a two-fold motive in thus serving the cause of study4 ,firstly1 as we hold this realm from the ,all-powerful ,god1 which realm is abundantly supplied with wealth and with all the conveniences of life1 we choose that it shall yield to no other in respect to the profundity of its studies1 the favour accorded to men of letters1 and the variety and extent of the instruction provided2 secondly1 in order that the studious youth1 knowing our good-will toward them1 and the honour which it is our delight to bestow upon learning1 may give themselves with the greater ardour to the study of letters and of the sciences1 and that men of worth1 incited by our example1 may redouble their zeal and efforts to train our youth to goodly and useful studies4 ,and even as we sought the person to whom we could with all confidence entrust this function1 ,conrad ,nobar presented himself most opportunely1 being most desirous to obtain some public employment which should place him under our protection1 and confer upon him personal benefits proportioned to the importance of his service2 and1 acting upon the testimony that has been laid before us of his learning and his skill1 by men of letters well known to us1 it has pleased us to entrust to him the matter of ,greek typography1 to the end that he may print correctly in our kingdom1 supported by our munificence1 those ,greek manuscripts which are the source of all learning4 ,but1 desiring to provide at the same time for the public service1 and in order to forestall any possible fraud to the prejudice of ,nobar our printer1 we establish him in his said office upon the following rules and conditions3-- ,firstly1 we understand that all works not yet printed shall not be put to press1 still less published1 before they have been submitted to the judgement of our professors of the ,acadmie of ,paris who are charged with the instruction of the young2 so that the examination of works in profane literature shall be entrusted to the professors of belles-lettres1 and of those on religious subjects to the professors of theology4 ,by this means the purity of our most sacred religion will be preserved from superstition and heresy1 and integrity of morals be removed beyond the reach of the debasement and contagion of vice4 ,secondly1 ,conrad ,nobar will deposit in our library a copy of all editions of ,greek texts which he shall first put forth1 to the end that1 in the event of some occurrence calamitous to letters1 posterity will have this source to draw upon to repair the loss of books4 ,thirdly1 all such books as ,nobar may print shall contain an express statement that he is our printer for the ,greek1 and that he is specially entrusted with ,greek printing under our auspices2 to the end that not the present age alone1 but all posterity1 may learn of the zeal and good-will for letters whereby we are moved1 and that1 inspired by our example1 it may1 like ourselves1 prove itself disposed to strengthen the cause of study and contribute to its progress4 ,furthermore1 inasmuch as this office is of more benefit to the ,state than any other1 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 wealth1 we have chosen to provide in three ways for the interest and support of our printer ,nobar4 ,firstly1 we award him an annual stipend of one hundred gold crowns1 called 'cus au soleil1' by way of encouragement and to indemnify him in part for his expenses4 ,it is our will1 further1 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 ,acadmie of ,paris1 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 establishment4 ,finally1 we forbid everybody1 printers and booksellers alike1 to print or to sell1 in our realm1 for the term of five years1 such books in foreign tongues1 whether ,latin or ,greek1 as ,conrad ,nobar shall have published first1 and for the term of two years such books as he shall have reprinted more correctly1 from ancient manuscripts1 whether by his own labours or by availing himself of the work of other scholars4 ,whoever violates the terms hereof shall be punishable with a fine for the use of the treasury1 and shall reimburse our printer all the cost of his editions4 ,furthermore1 we command the provost of our city of ,paris1 or his lieutenant1 as well as all other magistrates now in office1 or who hold public employments from us1 to see to it that ,conrad ,nobar1 our printer1 enjoys to the full all the privileges and immunities hereby conferred upon him1 and to inflict severe punishment upon whoever shall cause him annoyance or hindrance in the performance of his duties3 for it is our will that he be protected from the evil-disposed and from the malice of the envious1 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 duties4 ,and that full and entire credence may be forever given to what is hereinbefore commanded1 we have confirmed it with our signature and have caused our seal to be affixed4 ,adieu4 ,given at ,paris1 the seventeenth day of ,january1 in the year of grace #aech1 and of our reign the twenty-fifth4 ,,vii ,,extract ,,from ,,the ,,letters ,,patent ,,of ,,fran,,ois ,i1 ,,appointing ,,denis ,,janot ,,king',s ,,printer4#ebj ,franois1 by the grace of ,god ,king of ,france1 to all those who shall see these letters1 greeting4 ,be it known that we1 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 thereon1 whereof he has ordinarily made great profession1 and even in the ,french language2 and considering that we have already engaged and constituted two printers of our own1 one for the ,latin1 the other for the ,greek language2 desiring to do no less honour to our own than to the said two other languages1 and to commit the printing thereof to some person who is able to acquit himself thereof1 as we hope that the said ,janot will prove himself well able to do1 for these causes and others moving us thereto1 we have engaged and do by these presents engage him to be our printer in the said ,french language1 henceforward to print well and duly1 in good type and as correctly as may be1 such books as are and shall be written in said language1 and such as he may be able to recover2 and to enjoy in that office the honours1 authority1 privileges1 precedencies1 powers1 liberties1 and rights which may appertain thereto1 so long as it shall be our good pleasure4 ,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 outlays1 the toil and labour which it will be incumbent on him to make and undergo1 as well in the printing and correcting as in other matters depending thereon1 we have decreed and ordered1 do decree and order1 and it is our pleasure that the said ,janot be given permission1 by these presents1 to print all books composed in the said ,french language which he may be able to recover1 but only after they shall have been well1 duly1 and sufficiently inspected and examined1 and found to be excellent and not scandalous4444 ,given at ,paris the twelfth day of ,april in the year of grace one thousand five hundred forty-three1 and of our reign the twenty-ninth4 ,on the outside are the words3 ',by the ,king--,present1 the ,bishop of ,thulles4 ,signed ,,bayard2 and sealed sur double cueue#eba with that lord's great seal4' ,,viii ,,list ,,of ,,king',s ,,printers ,,who ,,performed ,,their ,,functions ,,at ,,paris1 ,,from ,,the ,,original ,,institution ,,of ,,that ,,office4 ,,geofroy ,,tory1 #aecj-aecc4ebb ,,olivier ,,mallard1 #aecf-aedb4 ,,denis ,,janot1 #aedc-aeej4ebc ,,charles ,,estienne1 #aeea-aefa4 ,,robert ,,estienne ,,ii 7nephew of ,,charles71 #aefa-aegj4 ,,jean ,,mettayer1 #aege-aehf4 ,,jamet ,,mettayer 7brother of ,,jean71 #aehf-afjb4 ,,pierre ,,mettayer 7brother of ,,jean and ,,jamet71 #afjb-afci4 ,,mamert ,,patisson1 #aegh-afja4 ,his widow succeeded him and held the office from #afjb to #afjf4 ,,michel ,,de ,,vascosan1 #aefj-aega4 ,,pierre ,,le ,,voirrier1 #aehc4ebd ,,federic ,,morel 7,,vascosan',s son-in-law71 #aefj-aeha4 ,,federic ,,morel ,,ii 7son of ,,federic71 #aehb-afcj4ebe ,,claude ,,morel1 #afag 7874 ,,charles ,,morel 7son of ,,claude71 #afce-afci4 ,,gilles ,,morel 7son of ,,charles71 #afci-afdg4 ,,pierre ,,le ,,petit4 ,succeeded ,,morel1 ,june1 #afdg 'with the privileges and salary of #bbe livres charged upon the ,state4'#ebf ,he died in #afhf4 ,,guillaume ,,nyverd ,,ii1 #aefa4 ,,nicolas ,,nivelle1 ,,guillaume ,,chaudi,,re1 ,printers of the ,sacred ,union1 #aehi-aeid4 ,,rolin ,,thierry1 ,,claude ,,prevost1 #afad-afbi4 ,,nicolas ,,callemont1 #afbb-afca4 ,his widow held the office in #afca4 ,,pierre ,l',,huillier1 #afaj4 ,,antoine ,,estienne1 #afad-affd4 ,in #afdi he called himself 'first king's printer4'#ebg ,,henri ,,estienne1 his son1 obtained the reversion of his father's office in #afeb1 but he died before him1 in #affa1 probably without acting4#ebh ,,pierre ,,moreau1 #afdj-afdg4 7,for his bastard italic47 ,,antoine ,,vitr1 #afbb-afgd4 ',linguarum orientalium typographus regius4' ,s,,bastien ,,chapelet1 #afci4 ,,jacques ,,de ,,gast1 #afdj4 ,s,,bastien ,,cramoisy1 ,december #bd1 #afcc4 ,in #afdj he was appointed manager of the royal printing-office of the ,louvre2 in #afea he resigned the office of king's printer in favour of his grandson1 ,s,,bastien ,m,,bre-,,cramoisy1 and died in #affi4 ,s,,bastien ,m,,bre-,,cramoisy 7grandson of the preceding1 through his mother71 #affa-afhg4 ,he also held the office of manager of the royal printing-office4 ,s,,bastien ,,hur1 ,august1 #afej4 ,s,,bastien ,,hur ,,ii 7son of the preceding71 appointed in #affb1 in place of ,,henri ,,estienne1 ,antoine's son2 died in #afgh4 ,,pierre ,,rocolet1 ,april #ad1 #afce2 died in #affb4 ,,damien ,,foucauld 7son-in-law of ,,rocolet71 succeeded him2 #affb-afhg7874 ,,fran,,ois ,,muguet1 appointed as locum tenens in ,november1 #affa1 was definitively appointed in #afga2 resigned his letters in #afhf1 to replace ,,pierre ,,le ,,petit1 at the salary of #bbe livres4 ,muguet died in #agjb4 ,,fran,,ois-,,hubert ,,muguet 7son of the preceding7 succeeded him2 #agjb-agdb4 ,,fr,d,,ric ,l,,onard4 ,succeeded ,,fran,,ois ,,hur2 #afgh-agab4 ,,fr,d,,ric ,l,,onard ,,ii 7son of the preceding7 succeeded him2 #agac-agad4 ,,jean ,,de ,,la ,,caille1 #afdd-afgc4 ,,jean-,,baptiste ,,cognard4 ,succeeded ,,foucauld2 #afhg-agcg4 ,,cognard',s widow1 #agcg-agfj4 ,,jean-,,baptiste ,,cognard ,,ii 7son of ,,jean-,,baptiste71 #agag-ageb1 when he resigned4 ,,jacques ,,langlois1 #affj-afgh4 ,,jacques ,,langlois ,,ii 7son of the preceding71 #afgh-afig4 ,,jean-,,baptiste-,,alexandre ,,delespine1 #agjb-agdf7874 ,,guillaume ,,desprez1 #afhf-agjh4 ,,guillaume ,,desprez ,,ii 7son of the preceding71 #agdj-agdc1 when he resigned4 ,,guillaume-,,nicolas ,,desprez 7son of the preceding71 #agdc-aghh4 ,he was at the end the dean of the king's printers4 ,,pierre-,,alexandre ,,le ,,prieur1 #agdg-aghe4 ,,claude-,,charles ,,thiboust1 appointed king's printer in #agef1 died in #ageg4 ,n4 ,,de ,,maisonrouge 7widow of the preceding71 succeeded him1 and held the title of king's printer till #aghh4 ,,laurent-,,fran,,ois ,,prault1 #aghj7874 ,,louis-,,fran,,ois ,,prault 7son of ,,laurent7 succeeded him2 #aghj-aghh4 ,,antoine ,,boudet1 #agfh-aggi4 ,,fran,,ois ,,le ,,breton2 died ,october #d1 #aggi4 ,,philippe-,,denis ,,pierres2 succeeded ,,le ,,breton by virtue of letters dated ,october #g1 #aggi4ebi ,he was appointed first king's printer in ,august1 #aghe4 ,,jacques-,,gabriel ,,clousier1 #aghh4 ,,auguste-,,martin ,,lottin1 #agge-aghi4 7,demoiselle7 ,h,,rissant1 #aghh4 ,king's ,printers for ,greek4#ecj ,,conrad ,n,,obar1 #aech-aedj4 ,,robert ,,estienne1 #aedj-aeej4 ,,adrien ,,turn,,be1 #aeeb-aeee4 ,,guillaume ,,morel1 #aeee-aefd4 ,,michel ,,de ,,vascosan1 #aefj-aegf4 ,,robert ,,estienne ,,ii1 #aefa-aegj4 ,,federic ,,morel1 #aega-aeha4 ,,tienne ,,prevosteau1 #aeha-afjj7874 ,,pierre ,,pautonnier1 #afjj-afje7874 ,printers of the ,king's ,closet4 ,,jacques ,,collombat1 in #agdc4 ,n4 ,,dehansy 7widow of the preceding71 #agdd4 ,,jacques-,,fran,,ois ,,collombat 7son of ,,jacques71 #agdd-agea4 ,,jacqueline ,,tarl 7wife of ,,jacques-,,fran,,ois71 #agea-ageb4 ,,jean-,,jacques ,,estienne ,,collombat 7their son1 #ageb-agfc74 ,printers of ,his ,majesty's ,closet1 ,household and ,buildings4 ,,jean-,,thomas ,h,,rissant1 #agfd-aggb4 ,,marie-,,nicole ,h,,rissant 7his daughter71 #aggb-aghh4 ,king's ,printers for ,mathematics4 ,,jean ,,leroyer1 ,february #c1 #aeec 7#aeed1 n4 s47-#aefe4 ,,pierre ,,levoyrier1 #aege-aehd4 ,king's ,printer for ,coins4 ,,jean ,,dallier1 ,august #bc1 #aeei4 ,king's ,printers for ,engravings4 ,,pierre ,,lengevin1 buried ,february #e1 #afji4eca ,,melchior ,,tavernier1 'living on the le du ,palais4' ,king's ,printers for ,music4 ,,robert ,,ballard1 #aeea-afjf4 ,letters patent of ,may #e1 #aeaf1ecb inform us that he received #bej livres tournois in this capacity4 ,,lucr,,ce ,,le ,b 7,,ballard',s widow71 #afjf4 ,,pierre ,,ballard 7son of ,,robert ,i71 #afjh-afdj4 ,,robert ,,ii 7son of ,,pierre71 #afdj-afgi4 ----widow of ,,robert ,,ii1 #afgi-afic4 ,j4-,b4-,,ch4 ,,ballard 7grandson of ,,robert ,,ii71 #afid-agej4 ----7widow of the preceding71 #agej-ageh4 ----,,chr4-,j4-,f4 ,,ballard 7son of ,j4-,b4-,,ch471 #ageh-agfe4 ----7widow of the preceding71 #agfe-agib4 ,,pierre-,,robert-,,christophe ,,ballard 7son of ,,chr4-,j4-,f471 #aggi-agib4 ,after the ,restoration ,louis ,,xviii named as king's printers members of certain families in the printing trade which had formerly borne that title1 and some others who had won great renown in their trade2 such are the first six in the following list1 which includes all the king's printers of the ,restoration4 ,,lottin ,,de ,,saint-,,germain1#ecc #ahae-ahbh4 ,,ballard1#ecd #ahae-ahbh4 ,,ballard',s widow1 #ahbh-ahcj4 ,,valade1#ece #ahae-ahbb4 ,,pierre ,,didot1 the elder1 #ahae-ahbb4 ,,jules ,,didot1 his son1 succeeded him2 #ahbb-ahcj4 ,,firmin ,,didot 7,,pierre',s younger brother71 #ahae-ahbg4 ,,madame ,h,,rissant-,,ledoux1 #ahaf-ahbb4 ,,lebel1 successor to ,,valade1 #ahbb-ahbe4 ,,lebel',s widow1 #ahbf4 ,,lenormant1 #ahbd-ahcj4 ,,ambroise ,,didot 7son of ,,firmin7 was appointed king's printer by patent of ,december #g1 #ahbi4 ,the office became extinct in his hands in ,july1 #ahcj4 ,m4 ,ambroise ,firmin ,didot1 who thus closes the list of king's printers1 opened by ,tory1 has another bond of union with the latter3 like him he was an engraver4 ,see what ,m4 ,firmin ,didot pre wrote on this subject at the beginning of his tragedy1 ',annibal1' which was printed by him in #ahag1 preceded by a letter from his son1 who was then travelling in ,greece2 the letter being printed in an ',english' type which he tells us was engraved by his son ,ambroise4#ecf ,,ix ,,note ,,concerning ,,the ,,king',s ,,binders ,,and ,,librarians4 ,there had long been functionaries known as 'libraires du roi' 7king's librarians71 when ,franois ,i instituted the office of king's printer4 ,indeed1 we find that ,guillaume ,eustace bore the title as early as #aegd1 that is1 under ,louis ,,xii4 ,he is so styled in the subscript of an edition of ',les ,chroniques de ,france1' in three volumes1 folio4 ,at the end of the last volume1 we read3 ',here endeth the third and last volume of the great chronicles of ,france1 printed at ,paris in the year a thousand five hundred and fourteen1 the first day of ,october1 for ,guillaume ,eustace1 libraire du ,roy1 and sworn binder to the ,university of ,paris4' ,in our first edition we expressed the opinion that ,eustace may have been replaced in #aebb by ,jean de ,sansay1 who is described as king's librarian1 in #aecj1 in the accounts published by ,m4 de ,laborde4#ecg ,this is an error4 ,eustace was still king's librarian in #aecc4 ,jean de ,sansay was not1 as ,eustace was1 purveyor to the king's library1 but keeper thereof1 a title assumed in more exact terms by one of his successors1 ,jean ,gosselin1 in a book which he caused to be printed in #aehc4ech ,jean de ,sansay's immediate successor1 under ,franois ,i1 seems to have been ,claude ,chappuis1 who was king's librarian before ,march #bh1 #aedc1 as may be seen from the following document1 dated ,january #f1 #aedd1 new style1 the original of which is in the ,joursauvault collection at the ,bibliothque du ,louvre3-- ',in the presence of me1 notary and secretary of the state to the ,king our sire1 ,jehan ,estienne1#eci dealer in silversmithery to the queen1 having power of attorney from maistre ,claude ,chappuys1 librarian to our said lord1 thereby sufficiently authorized1 did by deed of the twenty-eighth day of ,march a thousand five hundred forty-three1 after ,easter last past1 executed before ,jehan ,langlois1 royal notary in the bailiwick or chatelany of ,moret1 aver that he had had and received from maistre ,jacques ,bouchetel1 treasurer and paymaster of the household of our said lord1 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 #aedc1 n4 s41 and ending the last day of ,december a thousand five hundred forty-three4 ,for which sum of ,,ii ,,xl livres tournois the said ,jehan ,estienne1 as attorney as aforesaid1 hath held and doth hold himself accountable and duly paid1 and hath acquitted and doth acquit the said maistre ,jacques ,bouchetel1 treasurer as aforesaid1 and all other persons4 ,witness my sign manual hereto affixed at his request4 ,the ,,vi day of ,january in the year a thousand five hundred forty-three4 ',,burgensis4'#edj ,in ',la ,renaissance des ,arts1' ,m4 de ,laborde has published several extracts from the royal accounts relative to this ,claude ,chappuis4 ',to maistre ,claude ,chappuis1 librarian to our said lord1 the sum of thirty-three livres five sols tournois1 to him ordered to be paid by our said lord1 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 ,thurin1 for the carriage thereof from ,fontainebleau to ,paris and to ,sainct-,germain-en-,laye1 and from said ,sainct-,germain to ,paris and ,fontainebleau1 and for expense incurred by said ,chappuis1 say ,,xxxiii ,l4 ,v4 ,s4'#eda ',to maistre ,claude ,chappuys1 librarian to our said lord1 the sum of six times twenty and ten livres1 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 ,faucheux1 for having1 by command of our said lord1 re-bound and gilded divers books from his library1 in the manner and guise of a gospel heretofore bound and gilded by said ,le ,faucheux1 written in letters of gold and ink4'#edb ,doubtless this ,claude ,chappuis is the same man who belonged to the household of ,jean du ,bellay1 ,ambassador to ,rome in #aecf4 ,having become librarian to the ,king1 he probably used in gilding the books mentioned in the last quotation1 the irons which ,franois ,i had bought in ,venice1 as we learn from another account1 undated1 but a little earlier1 preserved1 like the others1 in the national archives4 ',to ,loys ,alleman1 ,fleurantin1 for sending to ,venice for irons to print#edc certain ,italian books1 and for the cost of such printing1 the sum of ,v livres4' ,as for ,le ,faucheux1 mentioned here as a binder1 he is evidently tienne ,roffet1 called ,le ,faucheux1 described as binder and librarian to the ,king on the title-page of the 'uvres de ,hugues ,salel1' which he published1 and which was printed at ,paris1 in octavo1 in #aedj4edd ,he was the son of ,pierre ,roffet 7publisher to the two ,marots1 father and son71 who had for his sign a 'faucheur1' mower4#ede ,x ,,passages ,,written ,,in ,,latin1 ,,in ,,most ,,cases ,,by ,,tory1 ,,translations ,,of ,,which ,,are ,,inserted ,,in ,,the ,,body ,,of ,,the ,,book4 ,a ,godofredus ,torinus ,bituricus ,joanni ,rosselletto1 literarum amantissimo1 ,s4 ,d4 ,p4#edf ,egregiam de te spem1 ,joannes ornatissime1 tuis et cognatis et patri1 non solum moribus1 imo et benefactis1 te velle nobiliter ostendere1 nunquam 7opinor7 tu prtermittes neque desistes4 ,quo tu ,reipubl4 vel consilio prodesses1 curasti ut per me ,quintilianus emendatior caracteribus et impressioni daretur bellissime4 ,multis exemplariis diligenter collatis1 unum 7mendis pene innumerabilibus deletis7 castigatissimum non pigra manu feci2 ipsum1 ut jussisti1 a ,parrhisiis ,lugdunum misi4 ,utinam et qui impriment novos non superinducant errores4 ,vale1 et me ama4 ,parrhisiis1 apud collegium ,plesseiacum1 tertio calendas ,martias4 ,b ,imbutam ausonia cupiens me reddere lingua ,artibus et pariter me decorare bonis1 ,nocte dieque docens pater ut charissimus1 ipse ,fundamenta mihi dulcia et ampla dabat4 ,c ,,monitor4 ,hanc tibi quis struxit gemmis insignibus urnam8 ,,agnes4 ,quis8 ,meus in tali nobilis arte pater4 ,,mon4 ,excellens certe est figulus genitor tuus4 ,,agnes4 ,artes ,quottidie tractat sedulus ingenuas4 ,,mon4 ,an ne etiam scribit modulos et carmina8 ,,agnes4 ,scribit4 ,dulcibus et verbis hc mea fata beat4 ,,mon4 ,ipsius est nimirum hominis solertia mira8 ,,agnes4 ,tam celebrem regio vix tulit ulla virum4 ,d ,,viator4 ,mecenate aliquo certe dignissimus ille est4 ,,genius4 ,mecenas franco rarus in orbe viget4 ,nemo hodie ingenuas donis conformibus artes ,aut fovet1 aut ulla sorte fovere parat4 ,non est in pretio probitas1 nec candida virtus4 ,infelix adeo regnat ,avaricia4 ,fraus1 dolus et vitium prstant2 virtutibus omne ,postpositis miserum serpit ubique nephas4 ,,via4 ,quid facit ille igitur ,musis excultus amnis8 ,,gen4 ,in propria gaudet vivere posse domo4 ,,via4 ,ad reges alacri deberet tendere passu4 ,,gen4 ,non curat1 quoniam libera corda gerit4 ,isti nonnunquam gaudent spectare potentes ,carmina1 sed quid tum8 nictibus illa beant4 ,deberent gemmis auroque rependere puro ,aurea de superis carmina ducta polis4 ,sed potius fatuis1 nebulonibus atque prophanis ,contribuunt stulti grandia dona leves4 ,e ,egregii quidam sunt felici hoc seculo pictores1 lector humanissime1 qui suis lineamentis1 picturis et variis coloribus deos gentilitios et homines1 itemque alias res quascunque adeo exacte depingunt1 ut illis vox et anima deesse tantummodo videatur2 sed ecce1 lector humanissime1 ego jam tibi1 illorum propemodum more1 domum offero1 non solum suis lineamentis et partibus elegantem et absolutam1 sed etiam pulchre loquentem et encomio sese particulatim describentem4 ,f ,godofredo ,torino1 quem ,ulvaricum#edg ,biturigum peperit1 quem ,lutetia ,parisiorum fovit1 viro lingu3 turn latin turn grc peritissimo1 litterarum denique amantissimo1 typographo solertissimo et bibliographo doctissimo1 quod de partibus dium elegantissima distica scripserit1 tumulos aliquot ludicros veterrimo stylo latine condiderit1 ,xenophontis1 ,luciani1 ,plutarchi tractatus e grco in gallicum converterit1 ,parisiis in ,burgundi gymnasio philosophiam edocuerit1 primus omnium de re typographica sedulo disseruerit1 litterarum sive caracterum dimensiones ediderit1 et ,garamundum calco-graphum principem edocuerit1 viri boni officio1 quoad devixit1 anno ,m4,d4,l4 semper defunctus1 a monente ,joanne ,toubeau1 etiam typographo et auctore1 mercatorum prtore1 dili ,bituri-censi1 ob negotia civitatis difficillima ad regem et concilium legato1 ejusdem ,torini abnepote1 et typographicorum insignium hrede1 ,nicolaus ,catharinus1 nobilis ,bituricus1 regis advocatus et senator in ,biturigum metropoli1 a teneris annis huc usque et deinceps rei typographic addictissimus1 cursim raptimque scripsit1 exeunte novembri ,m4,,dc4,,lxxiv4 ,g ,godofredus ,torinus ,bituricus ,philiberto ,baboo1 civi ,biturico1 serenissimi ,gallorum regis dispensatori ac camerario meritissimo1 salutem dicit humilimam4 ,pomponium ,melam1 ornatissime ,philiberte1 geographorum authorem luculentissimum1 quum nuper inspicerem1 eum tot mendis depravatum ac lacerum esse cognovi1 ut 444 ,ecce ante oculos mstissimus author ,visus adesse mihi1 largosque effundere fletus2 ,vergilius1 ,eneid4 ij4 ,ecce inquam3 ,raptatus bigis 7heu miserum7 aterque cruento ,pulvere1 perque pedes traiectus lora tumentes1 ,quam graviter gemitus imo de pectore ducens4 ,id41 ibid4 ,talibus verbis conqueri videbatur3 ,siccine ego qui tot terras1 tot gentes1 insulas1 amnes1 freta1 vada1 carybdes1 tam eleganter descripsi1 quique totius orbis descriptionem tam confidenter aggressus sum1 sic mancus1 sic mutilus1 sic truncus habebor8 ,hei mihi6 quam csus sum1 quamque similimus illi ,hectori qui quondam concretos sanguine crines ,vulneraque illa tulit qu circum plurima muros ,accepit patrios4444 ,id41 ibid4 ,nisi medicabiles aliqu in me manus se extendant1 sine dubio1 iam emoriar4 ,tarda ,philoctet sanavit crura ,machaon1 ,phnicis ,chyron lumina ,philyrides2 ,et ,deus extinctum ,cressis ,epidaurius herbis ,restituit patriis ,androgeona focis4 ,proper41 lib4 ij1 ad ,mcenatem4 ,sed sane credo quod ,hoc si quis vitium possit#edh iam demere1 solus ,tantalea poterit tradere poma manu4 ,dolia virgineis idem ille repleverit urnis1 ,ne tenera assidua colla graventur aqua2 ,idem ,caucasea solvet de rupe ,promethei ,brachia1 et a medio pectore pellet avem4 ,idem1 ibid4 ,certe statim apud me dixi3 ,si ,machaon1 si ,chyron aut sculapius essem1 libens huic rei subvenirem4 ,sed quid autem si manuum mearum opellam impenderem8 ,nonne remedio esse possem8 ,forte1 at equidem expertus1 et id quo saltem emendatior habeatur4 ,quod si deficiant vires1 audacia certe ,laus erit3 in magnis et voluisse sat est4 ,idem1 lib4 ij1 ad ,musam ,ad ,augustum84 ,pauculas ergo annotationes adiecimus#edi quibuscum sub tuo nomine 7quandoquidem#eej et literarum et literatorum amantissimus es7 bonis ut aiunt avibus ,pomponius ipse ,mela iam tutius exeat4 ,vale4 ,parrhisiis1 vj no4 decemb4 ,,mccccc vij4 ,h ,habes1 ornatissime ,philiberte1 ,pomponium ipsum ,melam pluribus quibus scatebat mendis iam emendatum4 ,curavi siquidem accuratissimo 7qui etiam primus apud ,parisios grcis caracteribus lotissimas addidit manus7 impressori dare4 ,eum diligentius1 et quo politior ac absolutior in tuas primum1 deinde cterorum manus perveniat1 recognoscere pauculaque in eum subannotare non ingratus volui4 ,tu nunc cum ipso per totum orbem1 quemadmodum et ,phiclus1 qui super aristas eas non frangendo cucurrisse fertur1 non tantum secure1 sed confidenter ac prsentissime ire ac redire vales4 ,si tigres animalium pernicissimos comprehendere1 catoblepam sine tui malo cernere2 si dracones1 feras1 satyros1 panes1 silvanos2 si ,indos1 ,et penitus toto divisos orbi ,britannos2 si ,sauromatas1 ,afros1 eorum denique si medios omnes populos videre1 pariterque ipsorum mores mirabiles cognoscere desideras1 hoc in orbe1 id est1#eea ,pomponio1 manibus tuis amplissime comprehenso1 sine dubio1 iam optime dispicere potes4 ,vale et me tibi devotum semper ama4 ,parisiis1 nono calen4 januarias4 ,,civis4 ,in ,pomponium ,melam4 ,mela1 quibus plnus fueras erroribus1 es iam ,excussus1 tecum paucula menda manet4#eeb ,tu melior multo longeque probatior extas ,quam prius2 hoc fecit tantula nostra manus4 ,ad ,philibertum ,baboum4 ,quod mea vita tibi multos se debeat#eec annos1 ,hoc duo versiculi iam1 ,philiberte1 probant4 mihi teneris habui quodcumque sub annis1 ,id voluit flix ferre tuum4 ,,civis4 ,i ,quia nihil est diffilius 7sic7 quam in nullo errare1 non absurdum esse videtur si cum lectoris bona pace paucorum admodum erratorum paucula retractentur1 ut illo verbo cum dicit in epistola potuit1 scribendum est possit4444 ,j ,reverendo in ,christo patri et domino ,d4 ,germano ,gannaio1 ,cathurcensium episcopo designato1 ,godofredus ,torinus ,bituricus salutem dicit humilimam4 ,pium papam1 antistes excellentissime1 au thorem et dignitate et singularitate sine dubio venerandum1 in ,asi et ,europ descriptione1 iam tersiorem et emendatiorem quam antea legebatur in luce exire curavimus4 ,quem autem ei recenter ex chalcotypea officina sese expedienti1 virum delectum1 literarum amantissimum1 et singulari virtute plenissimum1 statim devotissime salutatum iret1 potiorem sane te1 dignioremve1 cognoscere potui nullum4 ,summum ipsum pontificem te maxime venerabilem antistitem invisere rem esse putavi non iniucundam4 ,ipsum1 inquam1 geographi et lectu dignissim 7uti videre poteris7 histori non pnitendum authorem1 te1 bonarum omnium literarum amatorem et cultorem1 accedere et amplecti1 factum opido quam decentissime existimavi1 gemmam auro1 encaustum1 id est opus igni pictum1 argento1 et palmam vincenti conferre1 procul dubio nihil aliud est quam bona bonis1 splendida splendidis et merita meritis addere4 ,tibi profecto et cum his alia ratione pulcherrimum hoc opus meritissime dedicari debet1 siquidem per capita distinctum1 et in commodiorem ordinem1 te promotore et iubente1 redactum est4 ,quo facilius 7ut voluisti7 et melius1 tibi in primis1 consequenter aliis omnibus studiosis et legentibus1 regiones terr1 qu numero sunt mult1 et in eis res scitu periucund capiantur et memori commendentur1 capitatim nominibus fluviorum1 opidorum1 locorum1 ducum et aliarum rerum insignium in margine coannotatis1 qu etiam omnia in indice numeratim inveniuntur1 divisimus1 ipsam hanc nostram lucubratiunculam tibi antistiti1 reverentia percelebri1 sincro dedicamus animo4 ,impar sine controversia est1 quam tu reverend paternitati deberem offerre1 tu tamen1 cuius benignitatem et integritatem omnes prdicant 7et me minime latet7 excellentissimam1 ea fronte qua huiusmodi alias solitus es ipsam purissimas in manus tuas1 si placet1 accipies4 ,vale4 ,parrhisiis1 apud collegium ,plesseiacum1 #f nonas octobris anno ,domini #aeji4 ,k ,godofredus ,torinus ,bituricus ad lectorem4 ,quod erure1 contendre1 misre et huiusmodi multa1 per tale e in penultima scripta leges1 factum est ut ipsa indicativi prterita1 qu regulariter penultimam habent longam1 a presenti et prterito imperfecto modi infinitivi1 qu in tertia coniugatione semper corripiunt penultimam1 suam quantitatem1 et quam inter legendum proferre debes1 tibi ostendant4 ,illam ,psalterii ,quincuplicis nuper in lucem dati perelegantem et absolutam scripturam libenter sum imitatus et insecutus4 ,invenies etiam ipsum e in aliquibus dictionibus1 similiter in genitivis et dativis singularibus1 nominativis et vocativis pluralibus prim declinationis nonnunquam1 more quorumdam1 pro diphtongo poni1 sed rarius4 ,insuper hc consulto scripsi mistum per s1 et non per x1 nam misceo facit miscui in prterito1 unde et mistum analogice1 intellego1 toties1 quoties1 litus1 opidum1 litera1 tralatum1 aliquando1 et id genus alia1 secundum 1 id est rectam scripturam1 observanda4 ,,tvrcam etiam in prima declinatione1 quod multi in secunda proferunt1 scripsi4 ,michael ,tarchaniota ,marulus ,constantinopolitanus ad ,carolum regem ,franci plausibiliter author est mihi4 ,eius sunt hc verba3-- ,invicte magni rex ,caroli genus1 ,quem tot virorum1 tot superum pi ,sortes iacentis vindicemque ,iustici fideique poscunt2 ,quem mesta tellus ,ausonis hinc vocat1 ,illinc solutis ,grecia crinibus1 ,et quicquid immanis profanat ,,tvrca ,asi1 ,syrique pinguis1 et ctera4 ,quod etiam plureis parteis1 omneis monteis1 accusativos in eis protuli1 grammatice quidem et latine1 authore ,prisciano1 lib4 #g1 cap4 de accusativis pluribus terti declinationis1 facere visus sum4 ,ea est pulchra ad accusativum a nominativo discriminandum diferentiam1 et qua mille sunt usi authores1 de quibus multis ,salustium1 ,vergilium et ,plautum hic testes habere sat erit4 ,salustius1 quiquidem primo etiam verbo est usus1 sic ait in ,catilinario bello3 ',omneis homines qui sese1 etc4' ,vergilius in primo ,eneidos3 ',hic fessas non vincula naveis ,ulla tenent4444' ,plaut4 in ,aulularia3 ',quid est8 quid ridetis novi omneis1 scio fures hic esse complureis4' ,hoc lubens annotare volui1 ut 7bone lector7 non tantum dicendi puritatem intellegas1 sed et tanquam digitos inter et legendum et dicendum pura verba festiviter in promptu habeas et dicas4 ,vale4 ,,civis4 ,l ,herverus de ,berna ,amandinus ,iuventuti ,bituric ,s4 ,d4 ,divitem1 didascalum nostrum1 sapientia clarum et musarum alumnum1 de vobis bene meritum1 non ignoratis2 docuit enim vos ,musas1 ,heliconem1 ,phbi nemus1 ,mercuriumque2 et enim innumeri 7tanquam ex e quo ,troiano7 ex officina eius prodiere litterati4 ,cur sunt ei gloriosissim ,musarum labores1 cuius nomen in honoribus et laurea immortale servandum censeo maxime4 ,ipse non solum quod dicitur ad ,aristophanis1 sed etiam ad ,cleantis1 lucernam lucubrasse fertur4 ,elegantia carminis laudatum haud dubitatis1 ex quo fit ut poema religiosum quod conscripsit de ,passione ,dominica extet1 tantoque splendore refulgeat1 tanta suavitate redoleat1 tamque florido ornatu spectabile sit1 ut clestis ingenii artificio potius quam humani fabrefactum credatur4 ,nec dubito quin ex eo contingat quod plurimum litteratis viris contingere consuevit3 ut ait ,claudianus1 minuet praesentia#eed famam4 ,non tamen sine ,theseo1 hoc est ,torino ,biturico1 commilitone nostro1 antiquis moribus1 et1 ut ,plautus ait1 ,massiliensibus#eee1 et cum virtute doctissimo1 voluimus ut ,dives in publicum volaret3 speroque iterum secundis 7ut aiunt7 avibus4 ,valete flicissime4 ,ex dibus nostris ,amandinis1 calendis martii4 ,m ,godofredi ,torini ,biturici in preceptoris sui ,guilielmi ,divitis ,gandavensis commendationem dialogus4 ,interlocutores3 ,,monitor et ,,liber4 ,m4 ,sancte liber1 passum qui defles carmine ,christum1 ,fare age3 cuius opus tam potes esse pium8 ,l4 ,cuius opus8 videas4 ,sum ,divitis4 ,m4 ,illius euge ,ditia qui ,bituris tot documenta dedit8 ,l4 ,vera putas4 ,m4 ,vere est sapienti pectore ,dives4 ,l4 ,aptius hoc nullum nomen habere potest4 ,m4 ,ipse est qui ,bituris florenti dicere lingua ,edocuit1 faciles pangere et ore modos4 ,l4 ,dicere non tantum docuit1 nec texere carmen1 ,corpora sed ,christi csa videre dedit4 ,m4 ,brachia fixa ,dei si quisquam cernere vellet1 ,an satis ad vivum ,dives et ipse darer8#eef ,l4 ,ferre crucem ,domini1 si vulnera sva1 coronam1 ,discupis1 in manibus me gere1 cuncta feres4 ,m4 ,omnia vota ferat semper flicia ,dives1 ,tale piis qui dat cordibus esse bonum6 ,l4 ,nestoreos terris perstet victurus in annos1 ,postque obitum cli ditia regna petat4 ,,civis4 ,n ,philibertum ,baboum1 virum honestissimum1 ,godofredus ,torinus ,bituricus salutem plurima iubet impartitum4 ,anno prterito1 quo tempore ,pii ,pontificis ,maximi ,cosmographiam imprimendam curavi1 ,berosum ,babilonicum in antiquitatibus regnorum bellissime recognoscere et impressoribus non immutare dare venerat in mentem2 at1 nescio quo animo meo se tunc agente1 in aliud tempus1 opera dedita1 rem propemodum divinam facturus1 differre decrevi1 distulissem quidem et in longissimum1 atque1 ut proverbio memoratur1 ad calendas grcas1 nisi1 ut ita dicam1 ,berosus ipse1 et quod non parvi apud me est1 eritque semper1 amicorum plusculi1 quotidie ad aurem meam cum precibus quodam modo simul innuentes1 ,myrsilum1 de origine ,turrenorum1 ,catonem1 in fragmentis1 ,archilocum1 ,methastenem1 ,philonem1 ,xenophontem1 de quivocis1 ,sempronium1 ,fabium ,pictorem1 et ,antoninum ,pium1 in fragmento itinerarii1 coimprimendos efflagitanter desiderassent4 ,avarissimum est genus hominum1 quod si librum 7librum dico inventu rarum7 trium aut quatuor versiculorum habeat 7more formicarum ,indi1 necnon griforum1 qui aurum penitus egestum cum summa pernicie attingentium custodire feruntur71 continuo abstractum servat1 cathenis et compedibus captivum et misellum prorsus incarcerat4 ,tale genus potius cum huiusmodi et formicis et grifis1 quod et alii grifibus declinant1 curiosam et avaram illam singularis alicuius sibi habendi cupiditatem exercere1 quam cum hominibus inhumanitatem1 quod et melius forte dixerim immunitatem1 habere deberet4 ,non solum nobis nati sumus1 debemur et amicis1 debemur et patri4 ,igitur ne ardentis lucern clarissimum lumen opprimere velle videar1 sub nomine tuo1 ,philiberte1 civium ,bituricorum ornatissime1 gratiusculum reipublic factum opinor daturus ,berosianam antiquitatem cum aliis authoribus nominatim prscriptis in apertum1 et studium omnibus commune iam libentius emitto4 ,vale4 ,parrhisiis1 apud collegium ,plesseiacum1 #f nonas maias #aeaj4 ,,civis4 ,o ,godofredus ,torinus ,bituricus ornatissimos ,philibertum ,baboum et ,ioannem ,alemanum ,iuniorem1 cives ,bituricos1 pari inter se amicitia conjunctissimos1 salutat4 ,debentur vobis1 viri singulari virtute plenissimi1 omnes quos et noctu et interdiu assumere possum 7etiam de industria7 labores4 ,ecce4 ,quia moribus antiquis1 id est honestis et vere bonis1 haud mediocriter utimini et gaudetis1 ,probum ,valerium scripturarum antiquarum et abbreviationum qu in numismatis1 sepulchris et tabellis antiquitus perbelle consignabantur1 diligentissimum coacervatorem certissimumque explanatorem1 sub vestro mihi semper amando nomine1 lubens ut vel tantillum reipublic valeam prodesse1 caracteribus et impressioni1 cum nostra utinam tam felici quam diligenti recognitiuncula1 trado4 ,sinite1 quso1 authorem perquam singularem primum in vestras omnem ad virtutem aptissimas1 deinde studiosorum omnium aliorum manus1 commode iam et festiviter exire4 ,valete4 ,parrhisiis1 apud collegium ,plesseiacum1 #f idus maias #aeaj4 ,,civis4 ,p ,godofredus ,torinus ,bituricus lectori salutem4 ,a quo tempore ,probum ,valerium imprimere bonis1 ut reor1 avibus incpi1 ne liber unius aut duorum codicum enchiridio minus aptus exiret1 pluscula scitu non indigna coimprimere venit in mentem4 ,tractatum de ponderibus et mensuris1 ex ,prisciano2 item1 quemadmodum dat form agrorum metiri debeant1 ex ,columella2 similiter figuras qu sub dimensionem cadant1 ex ,georgio ,valla2 dialogos etiam aliquot cum nigmatis1 ex diversis authoribus diligenter pro tempore collectis1 superaddimus4 nigmata consulto reliquimus inenarrata1 ut tibi legenti 7quod ait ,gel4 in #ab libro1 cap4 #f7 coniecturas in requirendo acueres4 ,da1 precor 7bone lector71 operam1 ne tibi1 quod etiam nigmatice ,plautus in ,milite ait3 ,glaucoma ob oculos obiecerim4 ,vale4 ,q ,dialogus per ,godofredum ,torinum1 in quo urbs ,biturica1 sub loquente persona1 describitur4 ,interlocutores3 ,,monitor et ,,urbs4 ,,mon4 ,urbs1 tibi quod nomen8 ,,bit4 ,biturix4 ,,mon4 ,tu dic age quodnam ,hc sibi qu video tecta superba volunt8 ,,bit4 ,templa1 domos1 turres1 divina palatia spectas4 ,,mon4 ,hercle6 suis clos molibus exuperant4 ,hc qu templa1 precor8 ,,bit4 ,stephani protomartiris1 ipsa ,qu ,trivi excedunt marmora celsa de4 ,,mon4 ,qu domus illa rubris excellens cordibus una1 ,memnonis anne ipsa est dificata manu8 ,,bit4 ,hanc ,iacobus homo ,cordatus condidit olim1 ,dives opum2 nobis quem abstulit invidia4 ,,mon4 ,arcibus hc ,phariis qu maior cernitur1 heus tu6 ,qu turris8 miror cum satis aspicio4 ,,bit4 ,celtarum populos regeret cum maximus ille ,ambigatus1 quondam condita tanta fuit4 ,,mon4 ,dic1 ea1 dic1 palatia sunt ,capitolia nunquid ,aurea8 ,responde1 quid retices1 ,biturix8 ,non loqueris facili qu#eeg iam sermone loquuta es1 ,hic mihi vis fieri quod fuit ,harpocrates8 ,,bit4 ,non1 ea sed tanta 7videas7 sunt arte probanda1 ,talia quod totus non tulit orbis adhuc4 ,,mon4 ,terra quid hc tanto qu se distendit hiatu8 ,,bit4 ,est ubi turris erat constituenda mihi4 ,,mon4 ,altera nonne tibi quanta est hc8 ,,bit4 ,altera tanta4 ,turribus a binis inde vocor ,biturix4 ,,mon4 ,nomine quo fertur nostro hoc sub tempore8 ,,bit4 ,fossam ,vulgus arenarum dictitat et vocitat4 ,,mon4 ,quis tibi1 quis fluvius memorandus8 ,,bit4 ,avaricum4 ,,mon4 ,an ille est ,quem memorat ,csar ,gallica bella notans8 ,,bit4 ,ille est4 ,,mon4 ,sunt alii8 ,,bit4 ,duo sunt3 sunt ,ultrio et ipsa ,innumeris pregnans ,hebrya pisciculis4 ,,mon4 ,qu tibi sunt dotes8 ,,bit4 ,omnis veneranda facultas ,est mihi qu nummos cudit et aula novos4 ,,mon4 ,nil aliud quicquam est8 ,,bit4 ,aquitania primam ,me vocat1 et leges accipit ipsa meas4 ,,mon4 ,numina qu tecum8 ,,bit4 ,sunt ,juno1 ,jupiter et ,pan1 ,vesta1 ,diana1 ,ceres1 ,liber et ipse pater4 ,r ,godofredus ,torinus ,bituricus ,philiberto ,baboo et ,ioanni ,alemano ,iuniori1 viris ornatissimis1 ,s4 ,p4 ,d4 ,maiores nostros sua probitate contentos modum suum dificandi parva cum arte et elegantia quondam exercuisse 7viri singulari virtute cumulatissimi7 nemo est qui nesciat4 ,contenit siquidem ipsa mediocritate1 domos et habitacula magno sine luxu et splendore construebant et inhabitabant4 ,eo tandem est perventum1 ut ingeniis plusculum iam expergefactis fiant et adstruantur dificia passim non incelebria4 ,nempe ab illo tempore quo magnanimus ille ,rex1 totius ,itali terror1 ,carolus ,octavus1 non sine magna gloria victor ,neapoli rediit1 ars ipsa dificandi sane quamvenusta1 ,dorica et ,ionica1 item ,italica1 totam hic apud ,galliam exerceri cpit bellissime4 ,ambasi1 ,gallioni1 ,turoni1 ,blesis1 ,parrhisiis et aliis centum nobilibus locis1 publice et private conspicua iam dificia cernere licet antiqualia4 ,licet1 inquam1 adeo nitida et ad unguem exculpta dispicere multa1 ut non modo ,italos1 imo ,dores et ,iones1 ,italorum magistros1 ipsi ,galli vincere videantur et iudicentur manifestissime4 ,rebus huiusmodi et ingeniis tam excellenter florentibus optimum esse duxi rem admodum utilem non ingratus obferre1 diligensque superaddere1 ,leo ,baptista ,albertus1 author in architectura et familiaris et luculentus1 apud me quasi sopitus delitescebat4 ,visus est dignissimus qui tempestive iam pro claris et melioribus ingeniis oblectandis et adiuvandis in ,gallia daretur impressioni4 ,dignissimus1 inquam1 visus est mihi1 et eo maxime1 quod et libri ipsi decem1 quibus totum opus constat1 per capita sunt distincti4 ,ipsa capita vir bonis literis eruditus ,robertus ,durus ,fortunatus1 meus apud suum collegium ,plesseiacum ,parrhisiis quatuor annos quibus docebam olim primarius1 accurate et diligenter digessit1 mihi exscribenda non gravate dono dedit4 ,exscripsi opusque totum1 insuper elimavi1 mendis quamplurimis defecavi1 succum textus in margine transcripsi1 chalcographo imprimendum dedi4 ,sinite1 oro1 viri ,biturigum celeberrimi1 opus egregium in bonorum omnium ingeniorum et studiosorum manus sub nomine vestro mihi semper excolendo fliciter exire haberi1 legi4 ,valete patri columina et ornamenta speciosissima4 ,parrhisiis1 e regione collegii ,coqueretici1 ,,xv kal4 septembris ,m4 ,d4 xij4 ,,civis4 ,leonis ,baptist ,alberti ,florentini1 viri clarissimi1 de re dificatoria opus elegantissimum et quammaxime utile1 accuratissime ,parisius in ,sole ,aureo vici ,divi ,jacobi imprssum1 opera magistri ,bertholdi ,rembolt et ,ludovici ,hornken1 in eodem vico ad intersignium ,trium ,coronarum1 e regione ,divi ,benedicti commoran4 ,anno ,domini ,m4 ,d4 ,,xii1 die vero xxiii ,augusti4 ,s ,godofredus ,torinus ,bituricus ,philiberto ,baboo1 viro modestissimo1 ,s4 ,p4 ,d4 ,itinerarium multis iam annis1 vir ornatissime1 situ propemodum obsitum1 quum ab amico michi semper excolendo ,christophoro ,longuolio1 viro sine controversia studiorum omnium bonorum excellentissimo1 iam ab hinc quatuor annos commodo primum exscribendum accepissem1 unum tibi manu mea scriptum1 forma quidem non usque quaque ineptum1 ad te ex ,parrhisiis in ,turoniam mittere venerat in mentem4 ,viro cuius etiam nomini lubens parco ad te dederam portandum2 verum ipse alii nescio cui1 te1 me1 et sua fide posthabitis1 satis impudenter dono dedit4 ,labore meo sic ego frustratus1 alterum tibi conscribere maturabam1 nisi ipse ,longuolius1 qui exemplar iam olim ex ,morinis adportaverat1 et michi1 ut dixi1 commodo dederat1 nuper ex ,pictavis ,parrhisios adveniens1 monuisset imprimendum curarem4 ,curavi equidem1 nominibus opidorum seiunctim et seriatim coordinatis1 additis etiam suo loco plusculis aliter in altero exemplari scriptis4 ,feci et indicem1 quo facillime quodcumque opidi et loci nomen in toto opere disquiri possit4 ,mirabitur fortassis aliquis ipsius operis stilum1 interdum etiam nonnullis in locis latinitatem4 ,stilum ipsum satis laudabit studiosus2 latinitatem vero antiqu illi tati lector non malivolus condonabit4 ,multa subemendassem ,ptholomeo1 ,strabone1 ,dionysio1 ,mela1 ,plinio1 ,solino et authoribus aliis aliquot non omnino aspernandis usus1 sed et authori augusto reverentiam1 et exemplari admodum vetusto synceritatem observans1 nichil immutare volui1 ,longuolii mei in aliud tempus studia vigilantissima1 vel alicujus ,hermolai limam exactissimam expectans4 ,unum est quod hic tangere non verebor1 authoris nomen in exemplari fuisse meo judicio imperfectum 7nam et ,antoninus ,augustus inscribitur74 ,ab ,hermolao1 viro alioqui nitido1 ,antoninus multis in locis apud suas in ,plinium castigationes allegatur4 ,viderint qui legent4 ,in textu exemplar ipsum secutus sum4 ,in inscriptione libri ,hermolaum sum imitatus4 ,laborem meum quantulumcumque tibi 7ut debeo71 animo nequaquam ingrato1 nuncupatim dico4 ,suscipe1 oro1 qua fronte et optima quque soles1 et permitte studiosissimorum quemque per insignes mille urbes1 te duce1 cum hoc itinerario venire4 ,vale1 studiorum meorum succollator humanissime4 ,parrhisiis1 e regione collegii ,coqueretici1 #ad calendas septembris #aeab4 ,,civis4 ,t ,torinus lectori salutem4 ,quo melius hoc ,itinerario1 iucunde lector1 possis uti1 admonendus es qucumque virgula miniacea notata deprehendes ea plura fuisse apud vetus exemplar quam in altero recenti2 qu autem in ipso recenti diversa legebantur minutula litera et ipsa quidem rubra suis locis sunt super impressa4 ,quandocumque hujus modi signum interlegendum occurret1 dictio vel numerus eodem signo supra vel juxta notatus esse debet4 ,ilud etiam in textu multis in locis hoc modo scriptum mpm4 significat milia plus minus4 ,scriptum est autem sic ne tam frequens et longula repetitio lectorem tedio afficeret4 ,in indice nonnumquam b4 literam solam1 post vel inter chartarum numeros1 invenies3 ea significat dictionem ipsam bis ad minimum eadem in charta posse inveniri4 ,vide ergo1 et gratus attende1 quod si quos hanc nostram diligentiam non amare videas1 ,persianum illis hoc apud te dicas3 ',virtutem ut videant1 intabescantque relicta4' ,hoc ideo scribo quoniam inter imprimendum quidam nichil tale intelligentes de more damnabant4 ,vale et vive diu flix4 ,,civis4 ,u ,gerardi ,versellani ,burgundi carmen hendecasyllabon in malos impressores4 ,ergo hinc ergo procul manus profan ,vulgi chalcographon inauspicati1 ,impurque oper procul facessant1 ,ne interdicto aditu improbaque fronte ,res spurcetur et inquinetur alma4 ,ne quis nesciat3 hoc sacrum est volumen4 ,heu chalcographi mali et miselli1 ,nullas ne scholicas quidem aut aniles ,nugellas dare formulis periti1 ,quid sanctas male taminatis artes1 ,incestaque manu novem ,sororum ,funestatis opes laboriosas8 ,quid non promitis ita ab officina ,illuc projicier fodique dignum ,quo ventris retrimenta deferuntur8 ,ergo hinc ergo procul profani abite1 ,vos1 o chalcographi mali et miselli6 ,sit dictum satis3 hoc sacrum est volumen ,quod noster ,godofredus1 ille noster1 ,ille1 inquam1 ,biturix1 ,pii misertus1 ,letha carie eruit sepultum1 ,ductu ,longuolii sui atque ope usus4 ,v ,torinus lectori felicitatem4 ,hasce plusculas recognitiones1 lector optime1 oro non admirare4 ,sic eas ab exemplari vetere diversas collegi1 ut tibi non pigra manu librum emendare possis4 ,errores chalcographis imponerem2 sed ars ipsa prelaria suopte more hoc in se habet1 ut ne libellus quidem sine aliqua menda prorsus imprimi possit4 ,vale4 ,ad studiosum ,epigramma per ,torinum4 ,oppida si centum1 centum si sedulus urbes ,certo cum spacio1 lector1 adire paras1 ,centena portus si cum statione marinos ,excupis1 et recta doctior ire via1 ,hunc tibi comprimis habilem studiose libellum ,in dextra gratus semper habeto manu4 ,w ,torinus ad ,librum4 ,i1 ,liber1 ad vatum penetralia sacra piorum2 ,es facilis1 tersus1 candidus1 atque probus4 ,exornatus habes nardosque1 rosasque1 crocosque1 ,cum ,phbo et latias numina grata ,deas4 ,ne vereare ,deos tecum vectare faventes1 ,spirantem lauros te super astra ferent4 ,agnes ,torina1 virguncularum modestissima suavissimaque1 de tumulo viatorem alloquitur4 ,qui levibus transis pedibus1 dilecte viator1 ,siste parum2 ecce1 tibi dicere pauca libet4 ,vive memor leti1 viciis abstersus1 et illam ,spem tibi vivendi1 si sapis1 abjicito4 ,ore nites hodie pulchro1 sed stamine secto ,protinus in nihilum te impia ,parca rapit4 ,hoc experta scio1 quoniam virguncula nuper ,annos nata decem rapta repente fui4 ,ut rosa florebam sociis virtutibus illis ,qu cerni in tenera virginitate solent4 ,sed tamen interii crudelibus obruta fatis1 ,iam data carnivoris vermibus esca meis4 ,vermibus esca meis iaceo data1 non tamen usque ,usque adeo exanguis quin tibi vera loquar4 ,ore loquor latio1 nec mirum1 candide amice1 ,filia nam vatis sum memoranda pii4 ,imbutam ausonia cupiens me reddere lingua ,artibus et pariter me decorare bonis1 ,nocte dieque docens1 pater ut charissimus1 ipse ,fundamenta mihi dulcia et ampla dabat4 ,docta forem celebres nimirum amplexa camnas1 ,et canerem blandis carmina pulchra modis4 ,oscula chara mihi genitor meus inde dedisset1 ,imponens capiti laurea serta meo4 ,o miseras hominum sortes6 ,o vota caduca6 ,in terris nihil est quod solidum esse queat4 ,non solum miseris mortalibus obvia mors est1 ,sed tacito insidians clam subit ilia pede4 ,ah6 caveas igitur1 caveas moriture1 profecto ,omnia sub modico tempore lapsa ruunt4 ,tu dum vivis adhuc1 magnos dum quris honores1 ,instabili#eeh et rapide pergis obire gradu4 ,si contentus abis hoc uno denique certo ,consilio1 et tu me dicere vera putas1 ,sparge mihi flores1 violas et lilia1 nardos2 ,funde preces etiam1 si placet1 et lachrymas4 ,me facies superum precibus conscendere ad axem1 ,lux ubi perpetua est1 pax et amna quies4 ,hoc erat exiguum quod ego te scire volebam1 ,vive memor leti1 mox periture4 ,vale4 ,obiit ubi erat nata1 ,parisiis1 xxv augusti1 anno ,domini ,m4,d4,,xxii4 ,vixit annos novem1 menses undecim1 dies fere triginta4 ,horas scit nemo4 ,momenta solus novit ,deus4 99 99 99 99 99 ,,pater et ,,filia collocutores4 ,p4 ,vermibus esca iaces1 charissima filia6 tu me ,linquis in assiduis fletibus et lachrymis4 ,f4 ,chare pater6 lachrymis parcas et fletibus1 actum ,est de me4 ,iuvenes mors rapit atque senes4 ,p4 ,parcere non possum diris nec planctibus4 ,eia6 ,debueram in mortem iustius ire prior4 ,f4 ,sic fore non placuit fatis clestibus4 ,ad me1 ,crede mihi1 certo funere tu venies4 ,p4 ,interea manibus violas et lilia plenis ,ad tua demissa fronte sepulchra feram4 ,f4 ,adde preces1 precibus supera ad convexa volabo3 ,astra pi faciunt scandere celsa preces4 ,p4 ,est ut ais1 tu gnata etiam pro patre precare1 ,scilicet ut tecum sidera lta petat4 ,f4 ,sidera lta petes curis exemptus amaris1 ,omnibus et mentis sordibus expositis4 ,p4 ,vera mones1 et sic faciam4 ,deus optimus ad se ,te vocet in clum4 ,filia chara1 vale4 99 99 99 99 99 ,p4 ,eia1 mea dulcis anima1 defuncta es4 ,f4 ,euge1 pater4 ,nemo immortalis4 99 99 99 99 99 ,disticha duodecim urn faciebus separatim inscribenda4 ,in prima facie4 ,vis flores6 violas6 ,vis lilia6 serta6 cyperos6 ,hc tibi1 sume libens1 fictilis urna dabit4 ,in secunda4 ,hac ,agnes defuncta iacet virguncula in urna1 ,in cuius medio spirat amnus odos4 ,in ,,iii4 ,hic locus1 hic et ,amor1 ,ludus1 ,virtus quoque1 et ips ,cum ,musis ,charites suntque sedentque ,de4 ,in ,,iiii4 ,hac amaracus inest urna1 redolensque cyperus1 ,insunt et viol1 lilia1 serta1 ros4 ,in ,v4 ,non iacet hic ,agnes virguncula sola1 sed ips ,cum ,phbo ,clari suntque sedentque ,de4 ,in ,,vi4 ,bracteolas gemmis iunctas viridesque lapillos ,hc cum perpetuis floribus urna fovet4 ,in ,,vii4 ,vis et amas urnam ,agnetis cognoscere8 ,cerne1 ,laurus ubi excellens alta sub astra viret4 ,in ,,viii4 ,hic defuncta iacet virgo memorabilis ,agnes1 ,qu faciles tenero iam dabat ore modos4 ,in ,,ix4 ,annos nata decem iacet hic virguncula vates1 ,carminis ingenui et virginitatis honor4 ,in ,x4 ,si petis ,agnetis cineres cognoscere certos1 ,hic sunt1 ne dubita credere1 certus habes4 ,in ,,xi4 ,vis ,phbum et ,musas modulis cum dulcibus ipsas8 ,hanc subeas urnam1 protinus invenies4 ,in ,,xii4 ,succrescens vates1 teneris defuncta sub annis1 ,hic cum laurigera virginitate iacet4 99 99 99 99 99 ,,monitor et ,,agnes collocutores4 ,m4 ,dic mihi pauca1 precor1 vates virguncula8 ,a4 ,dicam4 ,dummodo pauca roges4 ,m4 ,pauca rogabo4 ,a4 ,roga4 ,m4 ,qu tibi defunct mens8 ,a4 ,aurea4 ,m4 ,quid tibi corpus8 ,a4 ,pulvereum4 ,m4 ,quisnam spiritus8 ,a4 thereus4 ,m4 ,sufficit1 alma quies tibi sit cum pace perennis4 ,a4 ,et tibi viventi dulcis et ampla salus4 ,disticha de lauro prope tumulum et urnam ,agnetis in tabellis scriptis pendentia4 ,in prima tabella4 ,hic iacet eximi vates virtutis imago1 ,natur specimen nobile et egregium4 ,in secunda4 ,hic confracta iacent pharetris languentibus arma1 ,qu quondam ingenuus ferre solebat ,amor4 ,in ,,iii4 ,unio1 chrystallus1 magnes1 viridisque smaragdus1 ,hic cum virginea vate iacente nitent4 ,in ,,iiii4 ,hic ver perpetuum vario cum flore virescet1 ,dum carpenta micans aurea ,phbus aget4 ,in ,v4 ,hic ,decor et ,ludus1 ,risusque1 ,iocusque1 quiescunt1 ,hic cum laurigera est virgine inermis ,amor4 ,in ,,vi4 ,hac conclusus inest media thesaurus in urna2 ,ne tangas1 gemm sunt simul innumer4 ,in ,,vii4 ,dum radiis ,phbus clestia templa replebit1 ,hic viol et flores1 his et anetus erunt4 ,in ,,viii4 ,hic ,amor1 et ,ludus1 ,risusque1 ,iocusque1 ,leposque1 ,hic ,mus et ,charites1 hic et ,apollo sedent4 ,in ,,ix4 ,hic cum mellifluis habitat virguncula ,musis1 ,acceptura decus perpetuumque melos4 ,in ,x4 ,sponte sua tellus amaracina secta refundens ,hic viret1 et verno rore benigna madet4 ,in ,,xi4 ,hic viol1 hic flores1 hic lilia1 serta1 coron1 ,sponte sua increscunt1 sponte suaque virent4 ,in ,,xii4 ,hic sua signa manu ,genius difringit acerba1 ,natur specimen dum periisse videt4 99 99 99 99 99 ,,monitor et ,,virginitas collocutores4 ,m4 ,heus tu qu roseo es virgo spectabilis ore1 ,quid facis hic lachrymans anxia tota8 ,v4 ,gemo4 ,m4 ,qu causa est gemitus8 ,v4 ,agnes virguncula1 cuius ,hc prope me cineres fictilis urna tenet4 ,m4 ,unde meis tam suavis odos est naribus8 ,v4 ,urna ,de media1 ,charites quem posuere ,de4 ,m4 ,quid posuere8 ,v4 ,rosas et cinnama1 balsama1 nardos1 ,flores et violas1 lilia1 serta1 crocos4 ,m4 ,an amaracus inest etiam cum stacte cyperus8 ,v4 ,omnis inest redolens herba et amnus odor4 ,m4 ,urna gerit viridem pulchre insignita coronam8 ,v4 ,ut decet et par est1 laurea serta gerit4 ,m4 ,qu ratio8 ,v4 ,musas in se comprendit ovantes1 ,qu tener cantant virginis exequias4 ,m4 ,an sol recinunt8 ,v4 ,sol non4 ,phbus ,apollo ,in medio modulans mystica sacra fovet4 ,m4 ,quid tibi vis igitur1 virgo suavissima1 tanto ,cum gemitu1 et superi te prope dulce canunt8 ,v4 ,vera tibi dicam1 nequeo non flere libenter1 ,tam fuit egregio nobilis ingenio4 ,annos nata decem1 patris prcepta secuta1 ,iam facilis vates carmen ab ore dabat4 ,m4 ,tu mihi natur miracula grandia narras6 ,v4 ,hisce nihil terris verius esse potest4 ,m4 ,qui sunt quos video stantes8 ,v4 ,ludus1 locus1 inde ,gestus1 ,honor1 ,virtus et genialis ,amor4 ,m4 ,arma iacent urnam circum quamplurima fracta8 ,v4 ,ipsi gestabant integriora ,dei4 ,m4 ,quid facient fractis olim sic omnibus illis8 ,v4 ,cum planctu et lachrymis assiduos gemitus4 ,m4 ,tune etiam flebis8 ,v4 ,flebo mstissima semper4 ,m4 ,nomen habes8 ,v4 ,habeo4 ,m4 ,quid tibi8 ,v4 ,virginitas4 ,m4 ,chara1 vale4 ,v4 ,valeas1 ,monitor charissime1 et huius ,egregi quondam virginis esto memor4 99 99 99 99 99 ,,monitor et ,,agnes collocutores4 ,m4 ,parva iacens vates celebri dignissima laude1 ,sum potis his tecum dicere pauca8 ,a4 ,potis4 ,m4 ,hanc tibi quis struxit gemmis insignibus urnam8 ,a4 ,quis8 ,meus in tali nobilis arte pater4 ,m4 ,excellens certe est figulus genitor tuus4 ,a4 ,artes ,quottidie tractat sedulus ingenuas4 ,m4 ,anne etiam scribit modulos et carmina8 ,a4 ,scribit4 ,dulcibus et verbis hc mea fata beat4 ,m4 ,ipsius est nimirum hominis solertia mira8 ,a4 ,tam celebrem regio vix tulit ulla virum4 ,m4 ,o tali virgo felix genitore6 ,a4 ,profecto4 ,ipse etiam nomen tollit inastra meum4 ,m4 ,audio concentus4 ,a4 ,clari modulamina ,mus ,cum ,phbo hic mecum nocte dieque canunt4 ,m4 ,te prope conspicio ,charites8 ,a4 ,mihi serta ministrant4 ,m4 ,unde legunt violas8 ,a4 ,collibus ,elysiis4 ,m4 ,sunt alii tecum8 ,a4 ,sunt et tria numina4 ,m4 ,qunam8 ,a4 ,ludus1 ,amor1 ,monitor candide1 et inde ,iocus4 ,m4 ,quid faciunt8 ,a4 ,holocausta mihi divina reponunt1 ,et solitos implent fomite et igne focos4 ,m4 ,es ,dea de superis iamdudum sedibus una8 ,a4 ,de superis fio sedibus una ,dea4 ,m4 ,si ,dea1 cur charos in clica regna parentes ,scandere non curas8 ,a4 ,scandet uterque parens4 ,m4 ,sed quando8 ,a4 ,quando certe sua fata videbunt ,esse opus4 ,ex fatis stat sua cuique dies4 ,m4 ,stat sua cuique dies ergo certissima8 ,a4 ,cuique ,eveniunt certo fata suprema die4 ,m4 ,interea genitor tuus et tua mater in hisce ,quid facient terris8 ,a4 ,quid8 ,pia1 sacra1 preces4 ,m4 ,postea quid fiet8 ,a4 ,clestia templa beati1 thereo et supero patre favente1 petent4 ,m4 ,in mea iam redeo tractanda negocia4 ,a4 ,quando ,nempe voles2 felix vive1 et amice vale4 ,m4 ,tu quoque cum superis habita clestibus ut mens therea1 ut sidus nobile1 ut alma ,dea4 99 99 99 99 99 ,,genius et ,,viator collocutores4 ,g4 ,siste parum1 ulterius1 quso1 nec tende viator1 ,hanc urnam et tumulum quin prius aspicias4 ,v4 ,quis tu8 ,g4 ,sum ,genius4 ,v4 ,quid vis tibi8 ,g4 ,pauca vicissim ,hic cupio tecum dicere1 amice4 ,v4 ,placet4 ,g4 ,virgineam vatem fatis crudelibus haustam ,aspice ut hc in se fictilis urna tenet6 ,v4 ,annos quot vixit8 ,g4 ,bis quinque4 ,v4 ,canebat et ilia ,docta modos8 ,g4 ,sic est4 ,v4 ,tu mihi mira canis4 ,g4 ,scribebat dulci genialia carmina versu1 ,sponte sua modulans1 sponte suapte canens4 ,v4 ,naturae o rarum decus6 o manifesta ,deorum ,gloria1 quod vates ilia tenella foret8 ,g4 ,carmen erat quicquid casu proferre volebat1 ,quicquid et optabat dicere carmen erat4 ,v4 ,unde illi tant frugis veniebat origo8 ,g4 ,sedibus a superis1 unde venire solet4 ,v4 ,ut divina igitur versus faciebat amnos8 ,g4 ,ut divina1 sui et iussa secuta patris4 ,v4 ,illius an etiam genitor modulamina tractat8 ,g4 ,tractat1 et est vates candidus atque probus4 ,est probus et facilis1 tersus1 florensque1 decensque4 ,est quem divino carmine ,musa beat4 ,v4 ,mecenate aliquo certe dignissimus ille est4 ,g4 ,mecenas ,franco rarus in orbe viget4 ,nemo hodie ingenuas donis conformibus artes ,aut fovet1 aut ulla sorte fovere parat4 ,non est in pretio probitas1 nec candida virtus4 ,infelix adeo regnat ,avaricia4 ,fraus1 dolus et vitium prestant2 virtutibus omne ,postpositis miserum serpit ubique nephas4 ,v4 ,quid facit ille igitur ,musis excultus amnis8 ,g4 ,in propria gaudet vivere posse domo4 ,v4 ,ad reges alacri deberet tendere passu4 ,g4 ,non curat1 quoniam libera corda gerit4 ,isti nonnunquam gaudent spectare potentes ,carmina1 sed quid tum3 nictibus illa beant4 ,deberent gemmis auroque rependere puro ,aurea de superis carmina ducta polis4 ,sed potius fatuis1 nebulonibus atque prophanis ,contribuunt stulti grandia dona leves4 ,v4 ,ille suam natam studiis ornabat honestis8 ,g4 ,ornabat studiis1 artibus atque bonis1 ,v4 ,an quoque et illa libens patris prcepta tenebat8 ,g4 ,nil magis optabat quam patris ora sequi4 ,v4 ,o quam grandis honor patrique patrique fuisset ,integra si vit munia adepta foret6 ,g4 ,nimirum ,francis in sedibus illa puellas ,ante omneis alias gloria prima foret4 ,insignis facie1 vultu formosa modesto1 ,moribus et dictis aurea tota bonis4 ,ad se corda hominum1 iuvenumque1 senumque trahebat ,in sua constanti vota sequenda fide4 ,v4 ,mira mihi dicis8 ,g4 ,dico tibi vera1 viator4 ,ingenu speculum nobilitatis erat4 ,v4 ,o nimis immensus dolor6 o dolor asper et angor6 ,tam rapido talem posse perire gradu6 ,quid pater interea faciet8 ,g4 ,mstissimus ipse ,cordolium et lachrymas perferet assiduas4 ,v4 ,ille preces melius superis clestibus amplas ,funderet et precibus iungeret exequias4 ,g4 ,exequias precibus iungitque fovetque perennes1 ,implet et assuetos fomite et ignefocos4 ,v4 ,o tam plausibili virguncula digna parente6 ,o etiam tali stirpe beate pater6 ,g4 ,illa modo ltis in nubibus alma refulget1 ,ut jubar exortum1 sidus ut aureolum4 ,v4 thereis fulgens in sedibus illa triumphet1 ,et patrem secum filia grata trahat4 ,g4 ,in rem vade tuam1 si vis modo abire1 viator3 ,hc sunt qu volui dicere4 ,amice1 vale4 ,v4 ,sis felix tumuli custos1 urnque retector2 ,in rem vado meam sedulus et properus4 ,impressum ,parrhisiis1 e regione schol ,decretorum1 anno ,domini ,m4,d4,,xxiii1 die xv mensis febr4 ,x ,godofredus ,torinus ,biturigicus lectori candido s7alutem74 ,egregii quidam sunt felici hoc seculo pictores1 lector humanissime1 qui suis lineamentis1 picturis et variis coloribus deos gentilitios et homines1 itemque alias res quascunque adeo exacte depingunt1 ut illis vox et anima deesse tantummodo videatur2 sed ecce1 lector humanissime1 ego iam tibi illorum propemodum more1 domum offero1 non solum suis lineamentis et partibus elegantem et absolutam1 sed etiam pulchre loquentem et encomio sese particulatim describentem4 ,offero etiam tibi septem ,epitaphia antiquo more et sermone veterrimo conficta et conscripta1 varios miserorum hominum amantum affectus pervio quodam modo ostendentia4 ,ipsa tibi 7inquam7 lubens offero1 non ut ita verbis obsitis loquaris aut scribas1 sed ut antiquitatem ipsam tibi ante oculos tuos faciles et iucundissimos habeas1 et te a me benemonitum intelligas1 ut in amoris insani laqueos et angustias devenire caveas4 ,vale4 ,y ,gotofredus ,torinus ,biturigicus ad reginam ,leonoram4 ,pergimus hunc1 ,leonora1 tuum celebrare triumphum1 ,quem tibi ,parrhisii contribuere tui4 ,tam pia tu nobis extas regina quod omnes ,dicere te veram possumus esse ,,deam4 ,esse ,,deam sane te dicere possumus almam1 ,quum nos optata denique pace beas4 ,pace beas omneis qui ,gallica regna frequentant1 ,fata adeo nutu te statuere bono4 ,ut proba1 sancta etiam1 clemens1 et vera beatrix1 ,adduxti patri ,lilla nostra su4 ,vis dicam paucis1 et verum proloquar1 in te ,omnibus est nobis publica et ampla salus4 ,idem ad eandem4 ,di1 ,leonora1 tibi felicia ,fata perennent2 ,ltitia es nobis1 ,pax1 et amna ,quies4 ,idem ,torinus ad ,gentem ,gallicam4 ,exulta et ltare simul1 gens ,gallica1 cernis ,quas tibi delicias iam ,leonora facit4 ,ipsa1 ,dei 7credas7 manifesto numine missa1 ,te facit egregia denique pace frui4 ,sparge rosas1 lauros1 violas1 nardumque1 crocumque1 ,et genio indulge tota iocosa tuo4 ,sed videas etiam ne tu gens optima cesses ,ante ,deum laudes accumulare pias2 ,si canis usque ,deo laudes1 et phana frequentas1 7,crede mihi71 pacis commoda longa feres2 ,aurea sub facili spectabis secula clo1 ,de terra et felix aurea farra metes4 ,adde quod et pariter fies gens aurea tota4 ,perge igitur summo sacra iterare ,deo4 ,z ,ludovica1 regia mater1 suam ,galliam alloquitur et consolatur1 ,go4 ,torino ,bit4 scribente4 ,gallia1 quid de me luges mstissima8 nescis ,quod genus omne hominum morte perire solet8 ,respira1 et tecum expende ut te provida ab atris ,hostibus et diris casibus eripui4 ,linquo tibi gnatum clesti numine regem1 ,in pulchra qui te1 me duce1 pace fovet4 ,te penes in gremio ltus sua pignora cernit1 ,orbem qu totum sub tua sceptra dabunt4 ,reginam virtutis habes et pacis alumnam1 ,sidere felici qu tua fata beat4 ,altera et una tibi est etiam regina sacrati ,qu soror est regis et benesuada tui4 ,principibus tantis non est tibi1 chara1 gemendum1 ,gallia6 tu felix talibus es ducibus4 ,ipsa ego te prorsus moriens non desero1 nanque ,immortale meum tu modo nomen habes4 ,semper apud superum pro te devota ,tonantem ,orabo1 ut victrix et generosa regas4 ,sparge mihi lauros1 violas1 nardosque crocosque2 ,stracte 7sic7 etiam flores1 lilia1 serta1 rosas2 ,his super adiungas summiscum laudibus hymnos1 ,exequias1 modulos1 thura sabea1 preces4 ,aras ne dubita mihi tendere4 ,nam1 ,dea ut alma ,in clos pergo ianque volare4 ,vale4 ,illustration ,,footnotes3 ,footnote #eja3 ,another document which ,m4 ,boyer has kindly made known to me1 dated in #adhi1 informs us that this ,jean ,thory lived on rue aux ,vaches1 in ,faubourg ,saint-,priv2 so that it was on that street that ,geofroy was born4 ',now1' ,m4 ,boyer writes me1 'as that street contains only two houses1 ,i am inclined to select as the house in question the one designated by the name of maison du perron1 because of a stoop 7perron7 with a wooden roof which is still preserved1 and which is accounted for by the proximity of the river4' ,i saw the house in #ahef2 it still belongs to the ,toubeau family1 which tends to confirm ,m4 ,boyer's opinion4 ,footnote #ejb3 ,archives of the ,department of the ,cher1 ,series ,c1 ,notarial ,records2 minutes of ,jean ,dujat1 notary1 #aejg4 ,footnote #ejc3 ,see supra1 p4 #dd4 ,footnote #ejd3 ,on the first page of both books are the words3 ',biturigis1 apud ,bonaventuram ,thorinum1 sub signo ,anchor1 vico ,maiore1 #aeie'2 and at the end3 ',excusus fuit hic liber typis vidu ,nicolai ,levez1 ,avarici ,biturigum1 juxta scholas utriusque juris4' 7,bibliothque ,nationale47 ,the first alone contains a license to print 7dated ,august #bi1 #aeie74 ,therein the publisher is called1 in ,french1 ',thorin1' the natural rendering of the ,latin name that we find in the 'note to the reader1' where the form ',torinus' occurs four times1 and ',thorinus' once only2 which confirms my hypothesis relative to the descent of this bookseller of ,bourges4 ,for we have seen that ,tory wrote his name ,torinus in ,latin4 ,i must not omit to mention one objection suggested by a friend of mine at ,bourges1--that our man is called ,bonaventure ,thorin1 in a book of imposts for the year #aehh4 ,but every one knows how irregular the spelling of names was in the old days4 ,footnote #eje3 ,may not ,tory's son have had for his godfather ,bonaventure des ,priers1 who committed suicide in #aedd1 in order to avoid a prosecution on account of his religion8 ,footnote #ejf3 ,this book1 which bears a ,french title1 ,lesclaircissement de la langue franoise1 although written in ,english and for the ,english1 was printed at ,london shortly after the publication of ,tory's ,champ fleury4 ,m4 ,gnin issued a second edition in #aheb1 quarto1 ,paris1 ,imprimerie ,nationale4 ,footnote #ejg3 ,read ',tory'2 letters transposed4 ,footnote #ejh3 ,read ',bourges4' ,the error is due to the fact that the ,london printers were much more familiar with ,bruges1 where ,caxton1 their first master1 lived a long while before he introduced printing in ,england1 than with ,bourges in ,berry4 7,see my book on the ,origin of ,printing1 vol4 ii1 pp4 #cdg ff47 ,footnote #eji3 ,see what ,i have myself said on this subject1 supra1 p4 #ag4 ,footnote #eaj3 ,in order to be fair to everybody ,i am bound to say that ,m4 ,gnin's reckoning is at fault4 ,henry ,,viii having succeeded to the throne on ,april #bb1 #aeji1 the twenty-second year of his reign extends from ,april #bb1 #aecj1 to ,april #ba1 #aeca1 and consequently the license cited here must have been dated ,september #b1 #aecj1 that is to say1 a month and a half after the printing of ,palsgrave's book was finished4 ,footnote #eaa3 ,say a year and a half1 in consequence of the correction suggested in the preceding note4 ,however1 ,tory had announced a year earlier the ,reigles de lorthographe du langaige franois4 ,see supra1 p4 #ajj4 ,footnote #eab3 ,vol4 iv1 fol4 #cbj recto4 ,,mss4 folio preserved at the ,library of the cole de ,mdecine in ,paris4 ,footnote #eac3 ,see supra1 pp4 #ee and #fe4 ,footnote #ead3 ,see supra1 pp4 #fi and #dd4 ,footnote #eae3 ,see supra1 p4 #if4 ,footnote #eaf3 ,the necessity of distinguishing between the final e which requires the acute accent 7aveugl7 and that which does not take it 7aveugle7 led to calling the former masculine and the other feminine4 ,hence the term 'feminine' still given in ,french poetry to mute rhymes4 ,footnote #eag3 ,in the fourth edition of the ,manuel de ,libraire2 he does mention it in the fifth edition1 however1 citing me4 ,it is not mentioned either in the ,essai sur la ,vie et les ,ouvrages de ,marguerite d',angoulme1 by ,m4 de ,lincy1 prefixed to his edition of the ,heptameron1 which was published by the ,socit des ,bibliophiles ,franais in #ahec-ed4 ,i describe it from a copy owned by ,m4 ,ferdinand ,denis4 ,footnote #eah3 ,the original text of these letters may be found in my book1 ,les ,estienne et les types grecs de ,franois ,i2 ,i give here only a translation borrowed from ,m4 ,crapelet1 tudes pratiques1 p4 #hi4 ,footnote #eai3 ,by an inexplicable blunder ,m4 ,crapelet has thought fit to render the two words ',gallic reipublic1' republic 7of letters71 failing to understand that the word 'respublica' stands for the ,state4 ,it is needless to say that he has been followed by many others1 particularly ,m4 ,duprat in his ',histoire de l',imprimerie impriale1' #ahfa4 ,footnote #ebj3 ,i borrow this fragment from ,m4 ,crapelet 7tudes pratiques1 p4 #aaf71 for ,i have been unable to inspect the volume from which he took it1 although he gives an interesting description of it4 ,footnote #eba3 ,lettre or sur double queue1 letters on which the seal is suspended from a strip of parchment passed through the document4 ,footnote #ebb3 ,see what ,i have to say in the ,preface on the subject of ,pierre le ,rouge1 who is given the title of king's printer once1 in #adhh4 ,footnote #ebc3 ,the dates that ,i give are those of the holding of the office of king's printer1 and not of the carrying on the trade of printer1 which1 as a general rule1 do not coincide1 at least so far as the earlier dates are concerned4 ,footnote #ebd3 ,brunet1 ,manuel de ,libraire1 #eth edit41 vol4 ii1 col4 #afgb4--,see infra1 p4 #cjg ,king's ,printers for the ,mathematics4 ,footnote #ebe3 ,he calls himself 'architypographus regius' in a work printed by him in #afjh4 ,footnote #ebf3 ,see the ,recette gnrale des finances of ,paris for #afga1 in the national archives1 ,,kk4 #cef1 fol4 #ec4 ,footnote #ebg3 ,see my ,les ,estienne1 p4 #ce4 ,footnote #ebh3 ,renouard1 ,annales des ,estienne1 #c;d edit41 p4 #bbh1 col4 #a4 ,see also my ,les ,estienne1 p4 #cf4 ,footnote #ebi3 ,this appointment involved him in some difficulty with his colleagues1 as may be seen from the following letter1 of which ,i found a copy in the ,bibliothque du ,louvre1 in the ,nyon collection4 ',when ,i asked and obtained the office of king's printer1 of which ,m4 ,le ,breton had been deprived by death1 ,i had no idea that it could cause any heart-burning on the part of my confrres1 with whom ,i have always earnestly desired to be on the best of terms4 ,if ,i had been able to foresee such a thing1 ,i am too much a friend of peace to have voluntarily exposed myself to it by assuming a title which was subject to dispute4 ,but1 monsieur1 when ,i submitted the question to you1 ,i thought that ,i could see that it did not seem to you free from doubt4 ,for this reason ,i cannot hesitate to abandon claims which seem to me well-founded4 ',i beg you therefore1 monsieur1 to regard as not having been made the claims that ,i put forward on this subject1 and as my confrres do not pretend that any one of them has the right to style himself first king's printer1 in like manner ,i agree to assume simply the title of ordinary printer to his ,majesty1 and that we shall be placed in the ,almanack ,royal in the order of our reception4 ',paris1 #bj ,november1 #aggi4 ,,pierres4' ,for this famous printer1 see ,lottin1 ,catalogue des ,imprimeurs de ,paris1 vol4 ii1 p4 #aci4 ,footnote #ecj3 ,for this paragraph1 see my ,les ,estienne4 ,footnote #eca3 ,he is mentioned as 'imprimeur du roi1' without other description1 in the registers of the cemetery of ,les ,rforms de la ,trinit1 rue ,saint-,denis2 but ,i think that he was simply an engraver on copper1 like ,tavernier4 ,footnote #ecb3 ,clearly a misprint2 perhaps #aefa4 ,footnote #ecc3 ,he had been in business since #aghd4 ,footnote #ecd3 ,he had been in business since #ahac4 ,footnote #ece3 ,he had been in business since #aghe4 ,footnote #ecf3 ,there were royal printers in various cities of ,france after the latter part of the sixteenth century2 but the office was neither regularly instituted nor general in its scope4 ,these printers seem to have had it specially in charge to print official documents in the provinces1 which function conferred on them certain privileges1 and sometimes caused difficulties with the local authorities1 who also had their special printers4 ,the first editions of the edicts1 ordinances1 etc41 emanating from the central authority were afterwards placed in the hands of the royal printing-office in ,paris4 ,see what ,i have to say on this subject in my work on ,les ,estienne1 p4 #ef4 ,in #ahdd ,m4 ,le ,roux de ,lincy published in the ,journal de l',amateur de livres1 and also had printed separately in an octavo pamphlet of #af leaves1 a compilation entitled3 ,catalogue chronologique des imprimeurs et libraires du roi1 par le pre ,adry2 but those shapeless memoranda were not originally intended for printing1 and ,i have been unable to obtain the slightest particle of useful information from them4 ,footnote #ecg3 ,archives1 reg4 ,,kk1 #ii1 fol4 #aaf verso4 ',librairie4--,to maistre ,jean de ,sansay1 libraire ordinaire to the ,king our ,sire1 the sum of two hundred forty livres tournoys1 ordered to be paid to him by our said lord and his warrant1 for his wages as libraire ordinaire to our said lord1 said office being held by him during this present year beginning the first day of ,january a thousand five hundred twenty-eight #aebi n4 s41 and ending the last day of ,december following1 a thousand five hundred twenty-nine1 of which sum this present clerk has made payment to the said ,sansay by virtue of said warrant1 as appears by his receipt signed at his request by ,m ,huault1 notary and secretary to the ,king1 the twenty-third day of ,january in the year a thousand five hundred twenty-nine now current4 ,for the said sum of ,,ii ,,xl l4 t4' ,footnote #ech3 ,brunet1 ,manuel de ,libraire1 #eth edit41 vol4 ii1 col4 #afgb4 ,footnote #eci3 ,was this ,jehan ,estienne of the family of the great printers8 ,i am unable to say4 ,he is not mentioned in any of their genealogies1 nor is the ,gommer ,estienne1 whom ,i have referred to in my ,les ,estienne4 ,footnote #edj3 ,the name is left blank at the beginning of the original document1 and the signature is very doubtful4 ,but the name ,burgensis or ,bourgeois1 is very common at that period4 ,franois ,i had a physician called ,louis ,burgensis4 ,footnote #eda3 ,la ,renaissance des ,arts1 vol4 i1 p4 #igc4 ,footnote #edb3 ,ibid41 p4 #ibe4 ,footnote #edc3 ,that is to say1 to goffer4 ,footnote #edd3 ,this volume is without date1 but the license to print is dated ,february #bc1 #aeci 7#aedj1 n4 s474 ,footnote #ede3 ,see supra1 p4 #ach4 ,footnote #edf3 ,salutem dicit perpetuam4 ,footnote #edg3 ,read ,avaricum4 ,footnote #edh3 ,the book has potuit1 but the errata informs us that we should read possit4 ,footnote #edi3 ,the book has adiiecimus4 ,footnote #eej3 ,the book has quandoquidam1 but the errata corrects the error4 ,footnote #eea3 ,the book has i41 which1 the ,middle ,ages1 stood for id est4 ,footnote #eeb3 ,should we not read manent8 ,footnote #eec3 ,in the errata it is said that we should read debebat1 but that word does not fit the metre4 ,footnote #eed3 ,claud41 ,,xv1 #che3 ',minuit prsentia famam4' ,footnote #eee3 ,plautus1 ,casine1 act4 ,v1 sc4 ,,iv1 v4 #a3 ,ubi tu es1 qui colere mores ,massilienseis postulas4 ,footnote #eef3 ,should we not say daret1 or1 rather1 dares8 ,footnote #eeg3 ,read quo4 ,at the best this verse is halting4 ,footnote #eeh3 ,the book has ,istabili4 ,it was impossible to place the sign of abbreviation over the capital ,i4 ,,index ,illustration ,,abbatia1 ,bernard1 ',prognostication touchant le mariage du tres honor et tres aim ,henry1' etc41 #bhb4 ,abrg des ,meditations de la vie de ,jsus-,christ1 #bbi4 ,accents4 ,see ,orthographic marks4 ,adolescence ,clementine4 ,see ,marot1 ,clement4 ,adriani ,behotii diluvium1 #bhj note #b4 ,,diloquium1 etc41 #bi-cj1 #ca1 #ib-ic1 #bja-bjb4 ,agricola1 ,rodolphe1 ',de inventione dialectica1' #bfg4 ,alard1 ,guillaume1 his mark1 #bgc4 ,alphabetum hebraicum1 #bgd-bge4 ,amman1 ,jost1 #bea4 ,anciens bois de l'imprimerie ,fick1 #bfj note #c4 ,ange ,bologninus1 ',de la curation des ulceres exterieurs1' #da4 ,annius of ,viterbo1 #c1 #fa4 ,antistitis incomparabilis ,michaelis ,bodeti1 #acg4 ,apollonius ,alexandrinus1 ,de constructione1 #bgf4 ,apologie pour la foi chrestienne contre les erreurs contenues en un petit livre de ,messire ,georges ,halevin1 #ach4 ,apostrophe4 ,see ,orthographic marks4 ,aristophanes1 #aig1 #bgd4 ,artificialis introductio ,jacobi ,fabri ,stapulensis1 #bfh note #d4 ,asselin1 ,pierre1 #bgc4 ,assier1 ,alexandre4 ,see ,socard1 ,alexis4 ,aumale1 ,duc d'1 #add1 #aed1 #afc1 #afd note #a4 ,aumont1 ,blanche d'1 arms of1 #aga4 ,avaricum4 ,see ,bourges4 ,,babou1 ,philibert1 #b1 #c1 #d #e1 #f1 #aj1 #ea-ec1 #fj-fa #fe1 #fh1 #fi1 #gb4 ,bade1 ,conrad1 #bcb1 #bcc2 his mark1 #bff4 ,bade1 ,josse1 #eg1 #ade1 #bjj1 #bja4 ,baf1 ,lazarus1 ',annotationes1' etc41 #bjh-bji4 ,baker1 ,david1 #bic4 ,barbier1 ,olivier1 #bjh note #b4 ,baron ,collection1 #bed and note #b4 ,barra1 ,jean1 #adh4 ,bassentin1 ,jacques1 ',l'astronomique discours1' #bfb1 note #d4 ,basset1 ,denis1 #bcj note #b4 ,beaupr1 ,m41 ',notice bibliographique sur les livres liturgiques 444 de ,toul et de ,verdun1' #aej note #d4 ,beauvoys4 ,see ,delaigue1 tienne4 ,beckford1 ,william1 #afg4 ,bellay1 ,jean du1 #bad1 #bae note #a1 #bhj4 ,belon1 ,pierre1 ',histoire de la nature des oiseaux1' #bej2 ',les observations' etc41 #bej4 ,bernard1 ,auguste1 ',les ,etiennes1 et les types grecs de ,franois ,i1' #aig note #d1 #aii note #a1 #bga note #a4 ,bernard1 ,salomon 7',le ,petit ,bernard'71 #beh1 #bfa and note #d4 ,beroaldo1 ,filippo1 #b4 ,,berosus ,,babilonensis1 ,tory's edition of1 #c1 #fj-fd4 ,bertaud1 ,jean1 ',encomium1' etc41 #bjj-bja4 ,berthelin1 ,andr1 #bhd4 ,bertrand1 ,jean1 ,cardinal of ,sens1 #bej1 #bea4 ,berty1 ,adolphe1 ',les trois lots de la cit1' #ce and note #c4 ,bessault1 ,thibault1 #bhe4 ,bze1 ,theodore de1 ',poemata1' #bcb-bce1 #bff4 ,bible in ,french1 ,antwerp1 #aecj1 #bed4 ,bible in ,latin1 #aecb1 #bjd4 ,bible in ,saxon1 ,lubeck1 #aecc1 #bed4 ,bible in ,latin1 #aech-aedj1 #bae4 ,bible in ,latin1 #aedc1 #bed4 ,bible after ,holbein1 #aedg1 #beh4 ,bible in ,flemish1 ,antwerp1 #aeef1 #bed4 ,bibliothque de l'amateur champenois1 #bgi4 ,binet1 ,denis1 #beg4 ,blazon des heretiques1 #ahj4 ,bls de ,beauce1 ,halle aux1 ,tory's removal to1 #ce1 #cg1 #ch1 #dj and note #d1 #da1 #ig1 #bie4 ,bonfons1 ,jean1 his mark1 #bff4 ,bonhomme1 ,iolande1 widow of ,thielman ,kerver ,i1 #adi1 #bjd1 #bad1 #bae and note #a1 #bba1 #bcj1 #bda1 #bdb1 #bhj4 ,bonnemere1 ,anthoine1 #bgf4 ,boorluut1 ,m41 #aii4 ,bouchet1 ,jean1 ',les angoisses et remedes damour du ,traverseur1' etc41 #bab-bac1 #bgi2 ',le jugement poetic de l'honneur feminin1444par le ,traverseur1' #bac4 ,bouchetel1 ,guillaume1 ',le ,sacre 444 de la ,royne1' #cd2 ',lentree de la ,royne1' etc41 #cd4 ,boudet1 ,michael de1 #acg4 ,and see ',antistitis incomparabilis4' ,bouillon1 ,m4 le duc de1 ',ordonnances1' #bde note #b4 ,boull1 ,guillaume1 #ih1 #ii4 ,bouquet des fleurs de ,snque1 ,le1 #bgc4 ,bourges1 #a1 #b1 #d1 #ff-fg2 coat-of-arms of1 #abi4 ,bourgogne1 ,collge de1 #f1 #g1 #bie4 ,boursette1 ,madeleine1 widow of ,franois ,regnault1 #bbh1 #bdc1 #bdf1 #bhd1 #bhe4 ,boyer1 ,hippolyte1 ',histoire des imprimeurs et libraires de ,bourges1' #ia1 #bbb1 #bhi and note #a4 ,breviarium ad ritum diocesis ,eduensis1 #bda4 ,brionnet1 ,guillaume1 ,bishop of ,meaux1 #agf4 ,bridier1 ,jean1 #bcb4 ,brie1 ,jehan de1 #bcj note #c1 #bca4 ,brie1 widow of ,jehan de1 #adi1 #bbi1 #bca4 ,brucherius1 ,joannes1 ',epitome of the ,adages of ,erasmus1' #agd1 #agf4 ,brulefer1 tienne1 ',identitatum et distinctionum1' etc41 #bhd4 ,brunet1 ,jacques-,charles1 ',manuel du ,libraire1' #fd1 #aai1 #abj1 #abd1 #aci note #a1 #adj1 #adi note #b1 #aej1 #agj note #a1 #aha note #b1 #bjh note #a1 #bca1 #bfj note #b4 ',bulletin du bouquiniste1' #ahfj1 #agd note #b4 ,bunel1 ,p41 ',eptres familires1' #bgb4 ,buon1 ,gabriel1 #bae note #d1 #bdi2 his mark1 #bhd4 ,buon1 ,nicolas1 #bdi4 ,c,,sar1 ',commentaries1' translation of1 #agh4 ,see also ',csar1 ,les ,commentaires de4' ,calcar1 #bbe4 ,calvarin1 ,prigent1 his mark1 #bfg4 ,calvarin1 ,simon1 his marks1 #bfg4 ,catherine de ,medici1 #abb4 ,catherinot1 ,nicolas1 his epitaph of ,tory1 #dc1 #dd1 #ee note #b4 ,cavellat1 ,guillaume1 #bej4 ',,cebes1 ,,table ,,of1' ,tory's translation of1 #bg1 #bh1 #he-hg1 #bja4 ',cebes1 ,tableau de1' #aedc1 #bfb4 ,cedilla4 ,see ,orthographic marks4 ',csar1 ,les ,commentaires de1' manuscript 7author unknown71 #adc-add1 #aec2 ,comte ,lon de ,laborde's description of1 #aed-afd4 ,chabouillet1 ,m41 ,notice du ,cabinet des mdailles1 #bee4 ',,champ ,,fleury1' first conceived by ,tory1 #i1 #ab2 the first book of1 #ad and note #c2 the second book of1 #ae-ag2 the third book of1 #ag-bj2 published 7#aebi71 #bf2 effect of publication of1 #cb-cc2 orthographic system of1 first applied1 #cg and note #a1 #bie-bii2 second edition of 7#aedi71 #db1 #dc1 #hd2 bibliographical description of1 #ha-hd2 description of engravings in1 #ahi-aif2 ,m4 ,renouvier on engravings in1 #bfb2 quoted1 #a note #b1 #b note #c1 #e1 #g note #h1 #i1 #ab-ad1 #ae-af1 #ag1 #ah1 #ai-bj1 #ba-bb1 #bc1 #bf1 #bi note #a1 #ada1 #ade4 ',chants royaux4' ,see ,gringoire4 ,charles ,,ix1 #add4 ,chaudire1 ,claude1 #bch4 ,chaudire1 ,guillaume1 #bbi4 ,chaudire1 ,regnault1 #bch1 #bgc2 his mark1 #bfg1 #bfh1 #bfi4 ,cheradam1 ,jean1 editor of ,aristophanes1 #aig4 ,chevallon1 ,claude1 #bca1 #bgh4 ',chiromancy and ,physiognomy1' #bei1 #bfa4 ,chrestien1 ,nicolas1 #da4 ,choquet1 ,louis1 ',mystre de l',apocalypse1' #bag-bah4 ',chronique du tres vaillant et redout ,dom ,flores de ,grece1' #bdi4 ,chrysostom1 ,saint1 ',homeli ,du1' #bha2 ',liber contra gentiles1' #abj4 ,cicero1 ',orator1' #db2 works of1 #bdd-bdf1 #bgb4 ',civis1' ,tory's first device1 #b2 monogram of1 #f4 ,claude de ,france1 queen of ,franois ,i1 #abg4 ,colines1 ,simon de1 #bd1 #be1 #bi1 #cc1 #gb1 #aja-aaf1 #abj-abb1 #adf1 #agd1 #age1 #ahe1 #ahi1 #aig1 #bja1 #bjc1 #bbc1 #bci1 #beh2 his marks1 #agd1 #bfg-bfi4 ',compendium grammatic grc1' #ahi4 ',confrence accorde entre les predicateurs1 ,la1' etc41 #beg4 ',copie de l'arrest du grand conseil1' etc41 #ch4 ',copie d'une lettre de ,constantinople1' etc41 #ch4 ,coqueret1 ,collge1 #e1 #bie4 ,corrozet1 ,gilles1 #adh1 #bej1 #bfc2 ',les ,fables d',esopes mises en rithme franois1' #bjg2 his mark1 #bfi-bgj4 ,corrozet1 ,gilles ,,ii1 ',trsor des histoires de ,france1' #bgj4 ,corrozet1 ,jean1 #bgj4 ,,cosmographie ,,du ,,pape ,,pie ,,ii4 ,see ,pius ,,ii4 ,cottereau 7also ,cotereau71 ,philippe1 #da1 #dg4 ,cottereau1 ,richard1 #da1 #dg4 ,cousin1 ,jean1 #bcg1 #bch1 #bed1 #bfc4 ,cousteau1 ,nicolas1 #bjd4 ',coustumier de la baronnye1' etc41 #da4 ',coutumes gnrales d',orlans1' #bff note #a1 #bgd4 ,coxe1 ,leonard1 #cd1 #bic4 ,crescens1 ,pierre des1 ',bon ,mesnager1' #bjd4 ,,dallier1 ,jean1 #bcg4 ,danois1 ,jean ,blaccus1 translation of ,isocrates1 #bgc and note #b4 ,david ,matthus1 #bdd2 his mark1 #bgj4 ',de judiciis urinarum1' etc41 #ci4 ,debure1 ,m41 and ',les ,commentaires de ,csar1' #afa4 ,delaigue1 tienne1 #agh4 ,delange1 ,,mm41 #aea4 ',description de la prinse de ,calais1' etc41 #bhd4 ,devria1 ,achille1 #aej note #b1 #bcj note #c1 #bed4 ,dibdin1 ,thomas ,f41 ',bibliographical ,decameron1' #aaj1 #abc1 #bgi notes #d and #f4 ',dictionarium latino-gallicum1' #ahi note #a4 ,didot1 ,ambroise ,firmin1 #bh1 #dg1 #ia1 #if1 #ih1 #acf note #c2 ',essai sur la gravure1' #aej1 #aea1 #bbe1 #bei4 ,didot1 ,firmin1 pre1 #add1 #aff4 ,dietz1 ,ludowich1 #bed4 ,diodorus ,siculus1 ,macault's translation of first three books of1 #dg1 #acf1 #bje-bjg2 manuscript of1 #add1 #aff-afh4 ,dives4 ,see ,ricke1 ,guillaume de4 ',divi ,joannis ,chrisostomi liber contra gentiles1' #abj4 ,dolet1 tienne1 #aag4 ,dor1 ,perre1 ',dyalogue instructoire des chrestiens1' #bbb4 ,dubois1 ,simon1 #be1 #aif1 #aig4 ,dupr1 ,galliot1 #ace note #a1 #agh1 #aif1 #bjd4 ,dupuy1 ,j41 #bgc4 ,duradier1 ,dreux1 ',les ,rcrations historiques1' #agj4 ,durand1 ,m41 #bei note #a4 ,dure 7,durus71 ,robert1 #e and note #c4 ,drer1 ,albrecht1 #af and note #b1 #beb4 ,see also ,meigret4 ,duverdier1 ,m41 #ih4 ',,economic ,,xenophon1' ,tory's translation of1 #cj-ca1 #ic-ig4 ,,egnasio1 ,j4 ,b41 ,,summaire ,,de ,,chroniques1 ,tory's translation1 #bh1 #db1 #hh-ia1 #bbb4 ',elegia 444 ad ,joach4 ,bellaium1' etc41 #bgh4 ,eleonora of ,austria1 queen of ,franois ,i1 ',,le ,,sacre ,,et ,,coronnement ,,de1' #cd1 #acj-aca1 #bjb2 ',,entr,e ,,de1 ,,en ,,sa ,,ville ,,et ,,cit ,,de ,,paris1' #cd1 #aca-acc1 #bjb2 ,tory's verses to1 #ce1 #acb-acc4 ',empereurs de ,turquie1 ,histoire des1' #ach4 ',enchiridion1 preclare ecclesie ,sarum1' etc41 #aii-bjj4 ,english booksellers1 idiosyncrasies of1 #aii note #b4 ',entre de la ,royne1' etc4 ,see ,eleonora4 ',,epitaphia ,,latina ,,et ,,gallica' 7on ,louise de ,savoie71 #ce4 ',epitom singularum distinctionum1' etc41 #bhb4 ,estienne1 ,charles1 #bce1 #bdd-bde2 ',de dissectione partium corporis humani1' #bbc-bbf2 ',de nutrimentis1' #bga2 his marks1 #bgb4 ,estienne1 ,henri ,i1 #agd4 ,estienne1 ,henri ,,ii1 #ag1 #fi1 #bfh1 #bfi1 #bga4 ,estienne1 ,robert1 #cc1 #adf1 #age1 #ahe1 #ahi and notes #b and #c1 #bjd1 #bjh1 #bae1 #baf1 #bce1 #bdd1 #bde1 #beh1 #bfi1 #bhf2 king's printer1 #ci1 #dj2 his marks1 #bgj-bgb4 ,eusebius1 ',ecclesiastical history1' #ace1 #ahi4 ',exemplaria litterarum1' etc41 #ahi note #a4 ,,fante1 ,sigismunde1 ',thesauro de' scrittori1' #ae and note #c4 ',faulcheur1 ,le4' ,see ,roffet1 ,jacques4 ,fret1 ,martin1 #cg4 ,fezandat1 ,michel1 his mark1 #bgb-bgc4 ,fick ,press1 ,geneva1 #bfj note #c4 ',fifteen ,effusions of the ,blood of our ,saviour1' #bbh1 #bbi4 ',figure de l'ancienne et de la nouvelle alliance1' #bec-bee4 ',figures et portraicts des parties du corps humain1 ,les1' #beb4 ,fortunatus1 ,robertus4 ,see ,dure1 ,robert4 ,fouquet1 ,jean1 #aga4 ,france1 ,collge de1 #ci4 ,franois ,i1 #bi1 note #a2 appoints ,tory king's printer1 #cb-cd2 and extra bookseller to the ,university1 #cf1 #bid2 remodels institution of king's printers1 #ci-dj2 ordinances of1 #acd-ace2 in ',les ,commentaires de ,csar1' #aeg-afc2 and in ,macault's translation of ,diodorus1 #afg-afh4 ,franois de ,valois1 ,dauphin of ,france1 #ca1 #ch1 #ig-ih4 ,frellon1 ,jean1 #beh4 ,,gaguin1 ,robert1 #agh4 ,galen1 ',de anatomicis administrationibus1' #bjc4 ',gallic ,hercules1 ,the1' #ada4 ,gannay1 ,germain de1 #c and note #b1 #ed4 ,garamond1 ,claude1 #cc1 #ade4 ,gnin1 ,m41 ',introduction to ,palsgrave's ,lesclaircissement de la langue franoise1' #ad1 #bib note #a1 #bic-bid4 ',gerard d',euphrate1' #bda4 ,grard de ,vercel1 verses of1 #f1 #ga4 ,gering1 ,ulric1 #bgg4 ,gerou1 ,dom1 ',bibliothque historique des auteurs orlanais1' #bgc4 ,ghisy1 ,georges1 #bdd note #b4 ,gibier1 ,eloi1 #bff and note #a2 his mark1 #bgc-bgd4 ,gillot1 ,jean1 ',de juridictione et imperio1' etc41 #ci2 ',isagoge in juris civilis sanctionem1' #ci4 ,girault1 ,franois1 #bci4 ,godefroy1 miniaturist1 identity of with ,tory discussed1 #adb-add1 #aec-aff4 ,gourmont1 ,benot de1 his mark1 #bgf4 ,gourmont1 ,franois de1 #aig note #d1 #bga4 ,gourmont1 ,gilles de1 #c1 #bf1 #bh1 #ej and note #c1 #ed1 #fd1 #aig2 the first printer of ,greek in ,paris1 #bf2 his marks1 #bgd-bgf4 ,gourmont1 ,jean de1 #aig note #d1 #bga4 ,gourmont1 ,jrme de1 #bge2 his mark1 #bgf4 ,gourmont arms1 #bge note #a4 ,gourmont family1 #bge note #a4 ',gradual1' #agg4 ,grvius1 ,j4 ,c41 ',thesaurus antiquitatum romanarum1' #bjh and note #b4 ,graf1 ,urs1 #agi4 ,grandin1 ,louis1 his marks1 #bgg4 ,greban1 ,simon de1 ',catholiques uvres et actes des ,apostres1' #bag-bah4 ,greek1 ,tory's unfamiliarity with1 #bg note4 ,greek alphabet1 #ahi1 #bhj note #b4 ,gringoire1 ,pierre1 ',chants royaux1' #ahj-aha1 #ahc1 #ahd2 ,hours in rhyme1 #ahj2 ',notables enseignemens1' etc41 #aif4 ,grolier 7,groslier71 ,jean1 #ab1 #de1 #ade4 ,groulleau1 ,estienne1 #bda1 #bdi4 ,gryphe1 ,franois1 #bjg and note #a4 ,gualtherot1 ,vivant1 #dc4 ,gueroult1 ,guillaume1 ',hymnes du temps1' #bfa and note #d4 ,gueullard1 ,jean1 his marks1 #bgg4 ,guillard1 ,charlotte1 her mark1 #bgg-bgh4 ,,haieneuve1 ,simon1 #af4 ,halevin1 ,georges1 #ach4 ,harleian ,,mss41 #aeh4 ,harley1 ,robert1 ,earl of ,oxford1 #aeh4 ,harsy1 ,olivier de1 #bgh4 ,henon1 ,jean1 #ch4 ,henri ,,ii1 #afi2 ,entre de1 #bce-bch4 ,herverus de ,berna1 #b1 #c1 #eg1 #eh4 ',hexastichorum moralium1' etc41 #bgg4 ',histoire du ,saint ,graal1' #agh4 ',histoire paladine1' #bdi4 ,hongont1 ,jean1 #eg and note #a4 ,honorat1 ,sbastien1 #bae note #d4 ,hopyl1 ,wolfgang1 #aej1 #bfh note #d4 ,hornken1 ,louis1 #e1 #fh1 #fi4 ,hotot1 ,fabian1 #bff4 ,houic1 ,antoine1 #bhe4 ,,hours ,,of #aebd-be1 quarto1 #bd1 #de1 #dg1 #aja-aai2 sales of1 #aai note #a4 ,,hours ,,of #aebg1 octavo1 ,colines1 #be1 #de1 #dg1 #abj-abb4 ,,hours ,,of #aebg1 quarto1 ,dubois1 #be1 #de1 #dg1 #abb-abd4 ,,hours ,,of #aebi1 #afmo1 #bi1 #abe-abf4 ,,hours ,,of #aeca1 quarto1 #be1 #abf-abh4 ,,hours ,,of 7871 octavo1 #be1 #abh-abi4 ,hours of #aeae1 ,simon ,vostre1 #agb4 ,hours of #aecf1 octavo1 #bjh4 ,hours of #aeda1 ,mallard1 #dj1 #bah4 ,hours of #aedb1 ,bonhomme1 #bbj-bba4 ,hours of #aedb1 ,lecoq1 #bba-bbb4 ,hours of #aedb1 ,mallard1 #dj1 #bai-bbj4 ,hours of #aedc1 ,colines1 quarto1 #bji-bab4 ,hours of #aedc1 ,colines1 octavo1 #bab4 ,hours of #aedg 7871 ,regnault1 #bbg-bbi4 ,hours of #aedg 7871 ,brie1 #bbi-bca4 ,hours of #aedh1 ,merlin1 #bca-bcb4 ,hours of #aedi1 ,chaudire1 #bch-bci4 ,hours of #aeej1 ,boursette1 #afmo1 #bdc4 ,hours of #aeej1 ,kerver1 octavo1 #bah-bai1 #bdc-bdd4 ,hours of #aeej1 ,roigny1 #afmo1 #bda4 ,hours of #aeeb1 ,kerver1 #bdf4 ,hours of #aeef1 ,kerver1 #bea-beb4 ,hours of #aegd1 ,kerver1 #bbf-bbg4 ,hours in rhyme4 ,see ,gringoire4 ',,insignium aliquot virorum icones1' #bfj4 ',institutionum civilium1' etc41 #bgh4 ',,itinerarivm ,,provinciarum ,,omnium ,,antonini ,,augusti1' etc41 ,tory's edition of1 #e1 #fi-gb4 ,,janot1 ,denys1 #bbb1 #bfc2 appointed king's printer1 #cjb-cjc4 ,joly1 ,abb de1 #ee note #b4 ,jollat1 ,mercure1 #bbc1 #bbd4 ',jours moralisez1 ,les1' #bbh4 ,justel1 ,christophe1 #aeh4 ,justel1 ,henri1 #aeh4 ,justin ,martyr1 ,works of1 #ahi note #c4 ,,kerver1 ,jacques1 #adi1 #bbd-bbf1 #bcj1 #bci1 #beb4 ,kerver1 ,jean1 #da4 ,kerver1 ,thielman ,i1 #da1 #adi1 #aii1 #bcj4 ,and see ,bonhomme4 ,kerver1 ,thielman ,,ii1 #bah1 #bbf1 #bdc1 #bdf1 #bea1 #bgi4 ,king's binders1 #cjh-caa4 ,king's librarians1 #cjh-caa4 ,king's printer1 ,institution of office of1 #cb1 #cd and note #b2 title bestowed on ,tory1 #cd-cf2 institution of1 remodeled1 #ci2 list of holders of the office1 #cjc-cjh4 ,,la ,,barre1 ,jean de1 #cd note #c1 #ce note #a4 ,laborde1 ,comte ,lon de1 #bd note1 #adc2 his description of the ,,mss4 of ',les ,commentaires de ,csar' and ',les ,triomphes de ,ptrarque1' illustrated by ',godefroy1' #aed-aff4 ',labours of ,hercules1 ,the1' #ahb1 #ahd4 ,la ,caille1 ',histoire de l'imprimerie1' #f1 #bd note #a1 #bh1 #dj1 #dc1 #dd1 #ii1 #age1 #bhd1 #bhe4 ,la ,croix du ,maine1 #adc1 #ade4 ,la ,guierche1 ,michel de1 #db4 ,lallemand1 ,jean1 #c1 #d1 #fe1 #fh4 ,lallemand1 ,jeanne1 #d4 ,lancelot1 ,m41 #agj4 ,la ,porte1 ,heirs of ,maurice de1 #bej4 ,la ,porte1 ,widow of ,maurice de1 #bdi2 her mark1 #bhc-bhd4 ,la ,sapienza 7college at ,rome71 #b4 ,la ,thaumassire1 ',histoire du ,berry1' #bij4 ,latini1 ,brunetto1 ',le ,trsor1' #ag and note #c4 ,laulne1 tienne de1 #afc4 ',laurentii ,vall de lingu latin elegantia1' etc41 #abj and note #a4 ,le ,bas1 ,jacques1 #bgc4 ,lecoq1 ,jean1 #agg1 #aif1 #bba1 #beh1 #bgi4 ,le ,duaren1 ,franois1 ',de sacris ecclesi ministeriis ac beneficiis1' etc41 #bdd4 ,lefvre d',etaples1 ,jacques1 ',commentarii initiatorii in quatuor ,evangelia1' #agd-agf4 ,see also ',artificialis introductio4' ,le ,hullin1 ,perrette1 wife of ,tory1 #f1 #cg2 and his successor1 #ch1 #db1 #add1 #aej4 ,l',empereur1 ,martin1 #bed4 ,le ,noir1 ,philippe1 #agh1 #ahj2 his marks1 #bgi4 ,,leo ,,baptista ,,albertus1 ,tory's edition of1 #e1 #fh-fi4 ,leonardo da ,vinci1 #ae4 ,le ,petit1 ,pierre1 #cf4 ,le ,preux1 ,poncet1 #agh4 ,le ,prince1 ',essai historique sur la bibliothque du roi1' #afi note #b4 ,le ,riche4 ,see ,ricke1 ,guillaume de4 ,les ,angeliers1 ,arnould1 #baf1 #bag4 ,les ,angeliers1 ,charles1 #baf1 #bag1 #bbb4 ,letellier1 ,pasquier1 #bda1 #bdb4 ',liber de opificio dei1' #ahi4 ,libraires jurs4 ,see ,paris1 ,university of4 ,livy1 translation of1 ,,ms41 #aga4 ,longis1 ,jean1 #bda1 #bdi4 ,longueil1 ,christophe de1 #f1 #gj1 #gb note #a4 ,lorraine1 ,duchesse ,regnee de ,bourbon1 #ahj4 ,lorraine cross1 ,the1 #dg1 #ia1 #agh2 how far a guide to ,tory's work1 #adg-aeb2 in the #ahth century1 #bjh2 at ,orlans1 ,chartres1 ,poitiers and ,lyon1 #beh4 ,lottin1 ',catalogue des libraires1' #ii1 #bgj note #a1 #bgc1 #bha4 ,,louise ,,de ,,savoie1 ,,mother ,,of ,,fran,,ois ,i1 ,,epitaphs ,,on1 #ce1 #acc-acd1 #bjb-bjc4 ,lucas ,paciol1 ',divina proportione1' #ae4 ,,lucian1 ,,dialogues ,,of1 ,tory's translation of1 #bg1 #he-hg4 ,,lucian1 ',,la ,,mouche1' ,tory's translation of1 #cb1 #ii-ajj4 ,lud1 ,gauthier1 #aej4 ,luther1 ',enarrationes' 7on the ,bible71 ,nuremberg1 #aeee1 #bed4 ,,macault1 ,antoine4 ,see ,diodorus ,siculus4 ,maittaire1 ,m41 ',annales ,typographiques1' #agf1 #bfh note #c4 ,mallard1 ,olivier1 ,tory's successor at the sign of the ,pot ,cass1 #ch-ci2 king's printer1 #ci1 #dj1 #da1 #dc1 #abh1 #abi1 #bah4 ,marchand1 ,j41 #fj4 ,marcorelle1 ,jean1 ',book of ,thermes1' #bfa note #d4 ,marguerite d',angoulme1 ,queen of ,navarre 7sister of ,franois ,i71 #abc1 #abd note #a1 #bdd4 ,marnef1 ,geofroy de1 #fj1 #fd4 ,marnef ,frres1 #c1 #bac2 their mark1 #bgi-bhj4 ,marot1 ,clment1 ',ladolescence ,clementine1' #cf-cg1 #ach-adj1 #bif2 ',psalms1' #aeeg1 #bfj4 ,marot1 ,jan 7father of ,clment71 ',sur les deux heureux voyages de ,genes ,venise1' etc41 #adj4 ',marques ,typographiques4' ,see ,silvestre4 ,mass1 ,ren1 #cc4 ,mauroy1 ,nicolas1 ',les hymnes communes de l'annee1' #aif4 ,mazochi1 ',epigrammata1' etc41 #g and notes #h and #i4 ,meigret1 ,louys1 ',les quatre livres d',albert ,durer' 7translation71 #beb1 #bhc4 ',mmoires de la socit des antiquaires de ,morinie1' #bee4 ',menagiana1' #ee note #b1 #ic4 ,menier1 ,maurice1 his mark1 #bhj4 ,merlin1 ,guillaume1 #bae1 #bag1 #bca1 #bcb2 his mark1 #bhj4 ,mesviere1 ,estienne1 #bdc1 #bdf4 ',meubles et armes du moyen ge1' #bed4 ,milan1 ,paulus ,jovius's ,lives of the ,dukes of4 ,see ,paulus ,jovius4 ,millus1 ,johannes1 ',praxis criminis persequendi1' etc41 #baf-bag4 ,missal 7,toul71 #aejh1 #aej4 ,missal 7,paris71 #aeci1 #adh1 #bad-bae1 #bdb4 ,missal 7,paris71 folio1 no date1 #bhj4 ,missal 7,cluny71 #aeej1 #bdb4 ,missal 7,paris71 #aeei1 #adi4 ',monstre d'abus contre ,nostradamus1' #bhd4 ,montaiglon1 ,a4 de1 ',archives de l'art franais1' #acb note #a2 ,recueil des posies1 etc41 #bha4 ,montenay1 ,georgette de1 ',emblesmes et devises chrestiennes1' #adh4 ,monteux1 ,hieronime1 ',conservation de sant1' etc41 #bfg4 ,montpellier1 #acg4 ,morante1 ,marquis de1 #gc4 ,morel1 ,guillaume1 his mark1 #bhj4 ,morri1 ,historical ,dictionary1 #bij-bia4 ,muret1 ,marc-,antoine1 ',juvenilia1' #bdi1 #bhc4 ,n,,obar1 ,conrad1 king's printer for ,greek1 #cf1 #ci1 #dj2 letters patent of1 #bii-cjb4 ,new ,testament and ,apocalypse 7,boursette71 #bdf4 ,new ,testament in ,greek and ,latin1 #aedi1 #bgc4 ,nivelle1 ,sbastien1 #bae note #d2 his mark1 #bhj-bha4 ',notice sur les graveurs' 7#ahjg71 #bfa1 note #d4 ,nyverd1 ,guillaume1 his mark1 #bha4 ,nyverd1 ,guillaume de1 his mark1 #bhb4 ,,oporin 7,basle71 #bbe4 ',,ordonnances ,,du ,,roy1' published by ,tory1 #acd-ace4 ,orthographic marks1 #ai-bj1 #ajj1 #adj1 #bie-bii4 ,,orus ,,apollo1 ,,hieroglyphs ,,of1 translated by ,tory1 #be1 #ajj4 ,ovid1 ',metamorphoses1' #bfj1 #bfa and note #d4 ,,palatino1 ,giovanbattista1 #db note #b4 ,pallier1 ,jean1 his mark1 #bhb4 ,palsgrave1 ',lesclaircissement de la langue franoise1' #ad note #a1 #cd1 #bib-bid4 ,panzer1 ,m41 #agf4 ,papillon1 ',trait de la gravure sur bois1' #abg1 #ade1 #ahi note #d4 ,paradin1 ,claude1 ',devises hroques1' #bfa note #d2 ',quadrins historiques1' #bfa note #a4 ,paris1 ,nicole1 his mark1 #bhc4 ,paris1 ,university of1 libraires jurs of1 #cb note #b1 #cf4 ,,passion1 ,,the1 ,g4 de ,ricke's ,latin poem on1 edited by ,tory1 #c1 #eg-ei4 ,paulus ,belmisserus ,pontremulanus1 ',opera poetica1' #bje4 ,paulus ,jovius ,novocomensis1 ',vit duodecim vicecomitum ,mediolani1' ,,ms4 of1 #afh-afi1 #bce4 ,paulus ,paradisus1 ',de modo legendi hebraice dialogus1' #bgf4 ,perier1 ,charles1 #beb2 his mark1 #bhc4 ,perier1 ,thomas1 #bhc4 ,priers1 ,bonaventure des1 #bia note #b4 ,perot1 #aei and note #b4 ,perreal1 ,jean1 ,tory's instructor in drawing1 #g1 #ae1 #bc and note #a1 #bd1 #abc4 ,petit1 ,guillaume1 ,bishop of ,senlis1 #bjc4 ,petit1 ,jean1 #b1 #ej1 #he4 ,petit1 ,oudin1 his mark1 #bhc4 ,petit dictionnaire franais-latin1 #bgb4 ',petit ,jehan de ,saintr1 ,le1' #bfg4 ,petrarch1 #bei1 #bfa4 ,petrarque1 ',les ,triumphes' de1 ,,ms41 #add2 described by ,m4 de ,laborde1 #afd-aff4 ',petri ,ruffi ,druyd dialectica1' etc41 #bgg4 ,piccolomini1 ,enea ,silvio4 ,see ,pius ,,ii4 ,,pius ,,ii 7,,pope71 ,,cosmography ,,of1 ,tory's edition of1 #c and note #a1 #ed-eg4 ,plantin1 ,christophe1 #bea4 ,plato1 ,dialogues of1 #da4 ,plessis1 ,collge of1 #c1 #bie4 ,pliny1 ',letters1' #bhe4 ,,plutarch1 ,,politics1 ,tory's translation of1 #ca1 #ig1 #ii4 ,,pomponius ,,mela1 ,tory's translation of1 #b1 #ej-ed4 ,porcium1 ,j41 ',pugna porcorum1' #bgf4 ,pot ,cass1 ,tory's first use of1 #aa2 explanation of1 #ab2 modifications of1 #bj2 interpreted by ,tory in ',champ fleury1' #ba-bb1 #ce1 #ch1 #ci1 #da1 #db1 #de-dg1 #gb4 ',pourtraictz divers1' #bfj note #b4 ,prevost1 ,benot1 #bej4 ,prevosteau1 ,estienne1 his mark1 #bhj4 ,printers' marks signed with the ,lorraine cross1 #fe-bhg4 ',procession de ,soissons1 ,le1' etc41 #ia-ib4 ',psalterium ,davidicum ,grcolatinum1' #beb4 ',psalterium ,quincuplex1' #ee note #b4 ',purgatoire1 ,le1' 'prouv par la parole de ,dieu1' #bcj note #b4 ,puys1 ,jean du1 #bee4 ,,quintilian1 ',,institutiones1' ,tory's edition of1 #d1 #fg4 ,,rabelais1 ',pantagruel1' #ad and note #c4 ',recueil de plusieurs secrets trs-utiles pour la sant1' #bhg4 ',recueil des rimes1' etc41 #bhg4 ',recueil des ,rois de ,france4' ,see ,tillet1 ,jean du4 ',reformation1 ,la1 des tavernes et destruction de gourmandise1' #bha4 ',rgime de vivre1' etc41 #bhg4 ',reglement pour l'instruction des proces1' etc41 #da4 ,regnault1 ,barbe1 #bbh2 her mark1 #bhd-bhe4 ,regnault1 ,franois1 #agh1 #bbh1 #bhd4 ,regnault1 ,widow of ,franois4 ,see ,boursette1 ,madeleine4 ',,reigles ,,generales ,,de ,,lorthographe ,,du ,,langaige ,,fran,,ois1' a lost work of ,tory1 #bi1 #ajj1 #big4 ,rembolt1 ,berthold1 #e1 #fh1 #fi1 #bgg1 #bgh4 ,renouard1 ,m41 ',annales des ,estienne1' #bae4 ,renouvier1 ,jules1 ',des types et des manires des matres-graveurs1' #af1 #aai1 #ade1 #adf1 #adg note #b1 #adi-aej1 #agb1 #ahd-ahe1 #bbc1 #bcg-bch1 #bfb-bfc2 in ',revue ,universelle des ,arts1' #aec-aed1 #agi1 #bje-bjg4 ',repertorium ,bibliographicum1' #afg-afh4 ,rexmond1 ,pierre1 #bed4 ,ricke1 ,guillaume de1 ,tory's teacher at ,bourges1 #a1 #b2 ,latin poem of on ,,the ,,passion1 ,tory's edition of1 #c1 #eg-ei2 ,jules de ,saint-,genois on1 #ei4 ,rivard1 ,claude1 #adh4 ,riviere1 ,estienne1 #bbc4 ,robert-,dumesnil1 ,m41 ',le peintre-graveur franais1' #ach note #b1 #adg1 #adh1 #adi1 #bbh4 ,robinot1 ,gilles ,i1 #bhg2 his mark1 #bhe4 ,robinot1 ,gilles ,,ii1 #bhe4 ,rochechouart1 ,franois de1 arms of1 #aga4 ,rodolphi ,agricol ,phrisii1 ',de inventione dialectica1' #abj1 #baa4 ,roffet1 ,jacques1 called ',le ,faulcheur1' #bce1 #bcg4 ,roffet1 ,pierre1 #ach2 his mark1 #bhe4 ,roigny1 ,jean de1 #bda2 his marks1 #bhe-bhf4 ,ronsard1 ',les amours1' #bdi4 ,rothschild1 ,solomon de1 #abj1 #abf note #a1 #abg-abh4 ,rousselet1 ,jean1 ,seigneur de la ,part-,dieu1 #d1 #fg4 ,royer1 ,louis1 #bcj note #c1 #bca4 ',rozier historial de ,france1' #agh4 ,ruan1 ,jean du1 #beh4 ,ruccelli4 ,see ,rousselet4 ,,sacre ,,et ,,coronnement ,,de ,,la ,,royne1 ,,le4 ,see ,eleonora of ,austria4 ,saint-,amand1 ,chevalier de1 biographer of ,tory1 #ach4 ,saint-,genois1 ,jules de1 #ei4 ,saint-,victor1 ,adam de1 translation of the ',grand ,marial de la mre de vie1' #bhg4 ,sainte-,marguerite1 ,life of1 #bai4 ,saix1 ,antoine du1 #cc4 ,salomon1 ,jean1 ',briefve doctrine pour deuement escripre selon la propriete du langaige francoys1' #bif-bih4 ,savigny1 ,christophe de1 ',tableaux des arts libraux1' #aig note #d1 #bgf4 ,schoiffer1 ,pierre1 #aji4 ',sermones ,iudoci ,clichtovei ,neoportuen1' #bjd-bje4 ,sertenas1 ,vincent1 #bci1 #bda1 #bdb2 his mark1 #bhg4 ,seve1 ,j41 ',supplication aux rois1' etc41 #bhd4 ,seve1 ,maurice de1 ',saulsaye1' #bfa4 ,seyssel1 ,claude de1 translation of ,eusebius1 #ace4 ,silvestre1 ',marques ,typographiques1' #de1 #df1 #dg1 #bfe1 #bga1 #bgi and note #d4 ,sirand1 ,alexandre1 ',courses archologiques1' #bd note4 ,socard1 ,alexis1 and ,alexandre ,assier1 ',livres liturgiques du diocse de ,troyes1' #agc note #b1 #beg-beh4 ',,summaire ,,de ,,chroniques4' ,see ,egnasio4 ',,temple de ,chastet1 ,la1' #bgb4 ,terence1 ,comedies of1 #aedf1 #bfg4 ,terentianus ,maurus1 ',de literis1' etc41 #bjc4 ,textor1 ,ravisius1 ',epistol a mendis repurgata1' #bgj4 ',thesaurus amicorum1' #bei and note #a1 #bfj4 ',thesaurus latin lingu1' #ahi note #a4 ',theses1 ,les1 qui ont est affiges dans la ville de ,geneve1' #beg4 ,thevet1 ,f4 ,andr1 ',les ,singularitez de la ,france antarctique1' etc41 #bej-bea2 ',cosmographie universelle1' #bea4 ,thiboust1 ,jacques1 #big4 ,thory4 ,see ,tory4 ,thucydides1 #cj4 ,tillet1 ,jean du1 ',recueil des portraits des rois de ,france1' manuscript of1 #add1 #afi-agj1 #bee-beg4 ',topica ,marci ,tullii ,ciceronis1' #bhb4 ,toret1 symbolic use of1 in modified form of the ,pot ,cass1 #bb4 ,torinus1 ,bonaventure1 #bia and note #a1 #bib4 ,tory1 divers spellings of the name1 #a note #a4 ,tory1 ,agnes1 daughter of ,geofroy1 birth of1 #f1 #gc2 death of1 #aj1 #gc2 and the ,pot ,cass1 #ba4 ,,tory1 ,,agnes1 ,,latin ,,poem ,,on ,,the ,,death ,,of1 #aj-aa1 #df1 #gc-ha4 ,tory1 ,geofroy1 birth1 #a2 ancestry1 #a2 early life1 #a-b2 first journey to ,italy1 #b2 settles in ,paris1 #b2 his first device1 #b2 at the ,collge of ,plessis1 #c2 at the ,collge ,coqueret1 #e2 his marriage1 #f1 #gc2 birth of his daughter ,agnes1 #f1 #gc2 at the ,college de ,bourgogne1 #f1 #g2 first steps in art1 #g2 second journey to ,italy1 #g1 #h2 returns to ,paris1 #h2 becomes an engraver1 #h2 and a bookseller1 #h2 employed by ,simon de ,colines1 #h2 his study of the ,french language1 #i2 ',champ fleury' conceived1 #i1 #ab2 death of ,agnes1 #aj1 #gc2 adopts the ,pot ,cass and the device 'non plus1' #aa2 and ,rabelais1 #ad and note #c2 his scheme of orthographic marks1 #bj1 #ee and note #b2 elucidation of the ,pot ,cass1 #ba-bb2 ',champ fleury' completed1 #bd2 first books of ,hours1 #bd-be2 begins translator1 #be2 ',champ fleury' published1 #bf2 removes to the ,petit ,pont1 #bf1 #aai2 first book printed by1 #bg2 is made 'libraire jur' of the ,university1 #cb1 #cf1 #ajj1 #bid-bie2 and king's printer1 #cd1 #ce1 #cf2 ,latin verses of1 #ce1 #ia2 removes to the ,halle aux ,bls de ,beauce1 #ce2 last book printed by1 #cg2 probable date of death of1 #cg1 #dc2 epitaph on1 #dd2 autograph of1 #de2 his work as a binder1 #dg2 scope of artistic acquirements of1 #ada-aeb2 identity of1 with ',godefroy1' discussed1 #adb-add2 was he an engraver81 #add-adg2 how far the ,lorraine cross is a reliable guide to the work of1 #adg-aeb2 ,m4 ,renouvier on identity of1 with ',godefroy1' #aec2 and ,simon ,vostre's ,hours1 #agb2 and ,simon de ,colines1 #agd2 engravings marked ',g4 ,t4' attributed to1 #agc2 monogram of1 #agi2 and the ',labours of ,hercules' plates1 #ahd2 vogue of1 among printers1 #beh2 as an engraver on metal and of printers' marks1 #bfb1 #bfe2 domiciles of1 in ,paris1 #bie2 brothers and sisters of1 #bhi-bij2 descendants of1 #bij-bib4 ,see also1 'diloquium1' ,antoninus1 ,berosus ,babilonensis1 ,cebes1 ',champ fleury1' ',economic ,xenophon1' ,egnasio1 ,eleonora of ,austria1 ,hours of #aebd-be1 #aebg1 #aebi1 #aeca1 ,leo ,baptista ,albertus1 ,louise de ,savoie1 ,lucian1 ,marot 7,clement71 ,pope ,pius ,,ii1 ,plutarch 7',politics'71 ,pomponius ,mela1 ,pot ,cass1 ,quintilian1 ,guillaume de ,ricke1 ,valerius ,probus1 ,volaterran4 ,tory1 ,jean1 father of ,geofroy1 #bhi1 #bij4 ,tory1 ,madame ,geofroy4 ,see ,le ,hullin1 ,perrette4 ,tory1 ,philippe1 mother of ,geofroy1 #bhi1 #bij4 ,toubeau1 ,jean1 #dc1 #dd1 #bij-bia4 ,tournes1 ,jean de1 #baa1 #beh1 #bei1 #bfj1 #bfa and note #d4 ',traverseur1 ,le4' ,see ,bouchet1 ,jean4 ',triumphes1 ,les de ,ptrarque4' ,see ,ptrarque4 ,trois ,couronnes1 ,les1 #bf4 ,types used by ,tory1 #ce4 ,,valembert1 ,simon de1 translation of ,plato's ,dialogues1 #da4 ,,valerius ,,probus1 ,tory's edition of1 #c1 #ei1 #fd-fg4 ,van ,prat1 ,m41 and the ,,ms4 of ',les ,commentaires de ,csar1' #afa4 ,varlot1 ,m41 ',illustration de l'ancienne imprimerie troyenne1' #agc1 #aig1 #beg-beh4 ,vascosan1 ,michel de1 #bhf4 ,vaudemont4 ,see ,gringoire4 ,verdier1 ,antoine du1 #adc4 ,vernassal1 ,m41 ',histoire de ,primaleon de ,grce' 7translation71 #bda4 ,vsale's ,anatomy1 #bbe4 ,vidoue1 ,pierre1 #agh1 #agi1 #aig1 #bgd1 #bge4 ,vincentino1 ,ludovico1 #af and note #a4 ,virgil1 neid in ,french1 #bfa note #d2 7#aedi7 #bga4 ,viriville1 ,vallet de1 #aga note #a4 ,vivian1 ,mathieu1 #bgc4 ,vivian1 ,thielman1 his mark1 #bhg4 ,,volaterran1 ,,la ,,maniere ,,de ,,parler ,,et ,,se ,,taire1 ,tory's translation of1 #cb1 #ii-ajj4 ,volcyr1 ,nicole1 de ,serouville1 ',histoire de la glorieuse victoire1' etc41 #aha-ahb1 #ahd4 ,vostre1 ,simon1 ,hours published by1 #agb4 ,,wassebourg1 ,richard de1 ',antiquits de la ,gaule belgique1' etc41 #bci-bdj4 ,wey1 ,francis1 #bie-bif4 ,willemin1 ',monuments franais indits1' #aad4 ,woeiriot1 #abg1 #adg1 #ahi note #d1 #bdd note #b4 ,,xenophon1 'conomicus4' ,see ',economic ,xenophon4' ,,zani1 #ade4 ,a ,,list ,,of ,,the ,,reproductions ,,in ,,this ,,volume ,,of ,,designs ,,attributed ,,to ,,tory ,,by ,m4 ,,bernard4 ,illustration ,,reproduced ,,on ,,page ,,described ,,on ,,page ,design on covers3 from the binding of a copy of ,petrarch1 ,venice1 #aebe1 in the ,library of the ,british ,museum4 #dg ,i ,the letter ,alpha3 from the ,greek alphabet of ,robert ,estienne4 #ahi ,,iii ,border3 from the title-page of ',champ fleury4' #aib ,,iv ,border3 from ,ovid's ',tristia1' ',fasti1' etc4 ,paris1 ,colines1 #aeda4 ,v ,frieze3 from the ,works of ,justin ,martyr4 ,paris1 ,robert ,estienne1 #aeea 7slightly reduced74 #ahi ,v ,initial3 from the ,greek alphabet of ,robert ,estienne 7#aeda74 #ahi ,,ix ,border3 from the ,colines ,hours of #aedc4 #baj ,x-,,xix ,borders in niello3 from the ,colines ,hours of #aedc4 #baa ,,xxi ,border used by ,colines on the title-pages of various works4 #agd #a ,frieze3 from a border of the ,colines ,hours of #aedc 7reduced74 #baj #a ,initial letter ,l3 from folio #a of ',champ fleury4' #bb #f ,monogram of ',civis4' #f #ab ,pot ,cass1 as printed in ,tory's poem on his daughter's death4 #ab #bj ,pot ,cass1 as used by ,tory on bindings4 #bj #ba ,pot ,cass3 from ',champ fleury1' folio #dc4 #ba #bc ,letters ,i and ,k1 by ,jean ,perreal3 from ',champ fleury1' folio #df4 #bc #de ,tory's autograph1 on ,manuscript of ,cicero's orations against ,verres3 from ,bernard4 #de #de-dg ,various forms of the ,pot ,cass4 #de-dg #dh ,letter ,a with the 'lisflambe'3 from ',champ fleury4' #aib #di ,border3 from ',champ fleury4' ,afterwards used on various works4 #aif #ej-ea ,triumph of ,apollo and the ,muses3 from ',champ fleury1' folios #bi verso and #cj recto4 #aib #ajj ,arms of ,france3 from ',champ fleury' verso of title4 #aib #aja-aag ,borders and illustrations3 from the ,hours of #aebd-aebe2 from the copy in the ,british ,museum4 #aji-aaf #abi ,the ,visitation3 from ,mallard's octavo ,hours of #aedb4 ,bernard describes only the octavo edition of #aeda4 #abi1 #bah #acj ,border3 from title-page of ,macault's translation of ,diodorus ,siculus4 #acf #acg ,mark of ,pierre ,roffet4 #adj1 #bhe #adj ,border of title3 ',isocratis ,oratoris dissertissimi sermo1' etc4 ,paris1 ,simonem ,colinum1 #aebi4 ,not mentioned by ,bernard4 #ada ,the ',gallic ,hercules'3 from ',champ fleury1' folio #c4 #aib #aeb ,allegorical letter ,z3 from ',champ fleury1' folio #fe4 #aic #aec ,frieze 7slightly reduced74 ,see under page v4 #ahi #aga ,coronation of the ,virgin3 from the quarto ,hours of #aebg4 #abd #agb ,frieze 7slightly reduced74 ,see under page v4 #ahi #agb ,monogram3 from ,vostre's ,hours of #aeae2 from ,bernard4 #agb #agi ,monogram of ,tory4 #agi #ahc ,monogram of ,tory3 from ',the ,labours of ,hercules'2 from ,bernard4 #ahf-ahh ,floriated 7,roman7 letters engraved for ,robert ,estienne4 #ahe #aij-aia ,floriated 7,greek7 letters3 engraved for ,robert ,estienne4 #ahi #aic ,letter ,y3 from ',champ fleury1' folio #fc4 #aic #aid ,greek ,alphabet3 from ',champ fleury1' folio #ga4 #aic #aie ,latin ,alphabet3 from ',champ fleury1' folio #gb4 #aic #aih ,title-page of the ,aristophanes of #aebh1 with the sign of ,gilles de ,gourmont and the ,gourmont arms4 #aig #bjf ,frontispiece of ,macault's translation of ,diodorus ,siculus4 #bje #bji-baa ,borders3 from ,colines quarto ,hours of #aedc4 #baj #bcc ,portrait of ,theodore de ,bze3 from ',theodori ,bez ,vezelii ,poemata1' #aedh4 #bcc #bcd ,portrait of ,luchinus1 ,duke of ,milan3 from ,pauli ,jovii ,novocomensis1 etc41 #aedi4 #bce #bcf ,a man on horseback3 from the ,entre de ,henri ,,ii ,paris1 #aedi4 ,usually attributed to ,bernard ,salomon 7,le petit ,bernard74 #bcg #bdj ,a fleet of ships3 from ',gerard d',euphrate1' #aedi4 #bda #bfc ,frontispiece of ',textus de ,sphra' ,joannis de ,sacrobosco4 ,paris1 ,simon de ,colines1 #aebg 7reduced74 ,not mentioned by ,bernard4 #bfd ,mark of ,philippe ,le ,noir4 #bgi #bfe ,frieze 7slightly reduced47 ,see under page v4 #ahi #bfe ,mark of the ,marnefs4 #bfe #bff ,mark of ,conrad ,bade4 #bff #bfh ,mark of ,simon de ,colines4 #bfh #bfi ,mark of ,simon de ,colines4 #bfh #bfi ,mark of ,gilles ,corrozet4 #bfi #bgj ,mark of ,mathieu ,david4 #bgj #bga ,mark of ,robert ,estienne4 #bga #bgb ,mark of ,robert ,estienne4 #bgb #bgc ,mark of ,michel ,fezandat4 #bgb #bgd ,mark of ,gilles de ,gourmont4 #bgd #bgg ,mark of ,louis ,grandin4 #bgg #bgh ,mark of ,charlotte ,guillard4 #bgg #bha ,mark of ,sebastien ,nivelle4 #bhj #bhc ,mark of ,nicole ,paris4 #bhc #bhe ,mark of ,gilles ,robinot4 #bhe #bhf ,mark of ,jean de ,roigny4 #bhe #bhg ,mark of ,thielman ,vivian4 #bhg #bhh ,the ,triumph of ,death3 from the quarto ,hours of #aebg4 #abd #bhi ,frieze3 from ,orontius ,finus4 ,colines1 #aedd 7slightly reduced74 ,not mentioned by ,bernard4 #bhi ,initial ,g1 with ,lorraine cross3 from the ,roman alphabet engraved for ,robert ,estienne4 #ahe #cbe ,border3 from ,robert ,estienne's ,greek testament1 folio1 #aeej4 ,not mentioned by ,bernard4 #cch ,letter ,omega3 from the ,greek alphabet1 engraved for ,robert ,estienne4 #ahi #cci ,illustration from ,mallard's octavo ,hours of #aedb4 #abi1 #bah ,illustration ,,table ,,of ,,contents4 ,,printers' ,,preface4 ,,page ,v ,,author',s ,,preface4 ,,ix ,,part ,i4 ,,biography4 #a ,,part ,,ii4 ,,bibliography4 #di ,i4 ,,works ,,written ,,or ,,annotated ,,by ,,tory4 #ej ,,ii4 ,,books ,,of ,,hours ,,published ,,by ,,tory ,,for ,,himself4 #aja ,,iii4 ,,works ,,published ,,by ,,tory ,,for ,,fran,,ois ,i4 #acj ,,iv4 ,,works ,,printed ,,by ,,tory ,,for ,,private ,,individuals4 #acg ,,part ,,iii4 ,,iconography4 #ada ,i4 ,,manuscripts ,,decorated ,,with ,,miniatures ,,by ,,tory4 #aec ,,ii4 ,,printed ,,books ,,illustrated ,,with ,,engravings ,,by ,,tory ,,or ,,his ,,pupils4 #agb ,,iii4 ,,marks ,,of ,,booksellers ,,and ,,printers ,,with ,,the ,,lorraine ,,cross4 #bfe ,,appendices4 ,i4 ,,concerning ,,geofroy ,,tory',s ,,family4 #bhi ,,ii4 ,,verses ,,in ,,honour ,,of ,,tory4 #bib ,,iii4 ,,tory ,,admitted ,,as ,,twenty-,,fifth ,,bookseller ,,to ,,the ,,university4 #bid ,,iv4 ,,concerning ,,tory',s ,,various ,,domiciles ,,in ,,paris4 #bie ,v4 ,,of ,,the ,,first ,,use ,,of ,,the ,,apostrophe1 ,,etc4 #bie ,,vi4 ,,translation ,,of ,,the ,,letters ,,patent ,,appointing ,,conrad ,n,,obar ,,king',s ,,printer ,,for ,,greek4 #bii ,,vii4 ,,extract ,,from ,,letters ,,patent ,,appointing ,,denis ,,janot ,,king',s ,,printer4 #cjb ,,viii4 ,,list ,,of ,,king',s ,,printers ,,in ,,paris ,,from ,,the ,,original ,,institution ,,of ,,that ,,office4 #cjc ,,ix4 ,,concerning ,,the ,,king',s ,,binders ,,and ,,librarians4 #cjh ,x4 ,,latin ,,passages ,,translated ,,in ,,this ,,book4 #caa ,,index4 #cbe ,,list ,,of ,,reproductions4 #ccc ,illustration ,,tout ,,bien ,illustration ,,ou ,,rien ,,printed ,,at ,,the ,,riverside ,,press ,,for ,,houghton ,,mifflin ,,company ,,boston ,,and ,,new ,,york4 ,,ccclxx ,,copies4 ,,no4 #bhh 99 99 99 99 99 ---------------------------------------- ---------------------------- ,transcriber notes3 ,p4 #bih4 ',m4 ,wey has forgotton'1 changed 'forgotton' to 'forgotten'4 ,index3 ',barthelin' changed to ',berthelin' and moved to alphabetic position4 ,index3 ',bassentin1 ,jacques1 ',l'astronomique discours1' #bfa'1 page number should be #bfb1 changed4 ,index3 ',champ ,fleury1 p4 #bi3 added 'note #a'4 ,changed all instances of 'francois' to 'franois' when in ,latin or ,french4 ,fixed various punctuation and latin accents4 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