Bibliographic Notes on One Hundred Books Famous in English Literature

Volume II: ¶, _two leaves; t, seven leaves; u-z, A-Z,

Chapter 16,474 wordsPublic domain

Aa-Zz, Aaa-Zzz, and Aaaa-Dddd, in eights; Eeee, nine leaves; Ffff-Yyyy, in eights; Zzzz, two leaves; A-M, in fours; N, two leaves; ( ), two leaves_.

WILLIAM BALDWIN

(fl. 1547),

THOMAS SACKVILLE,

FIRST EARL OF DORSET

(1536-1608), AND OTHERS

The Epistle "To the nobilitye and all other in office" is signed by William Baldwin, who was at one time a corrector of the press to Edward Whitechurch, and later something of a printer himself. He printed with his own hands, using Whitechurch's types and the Garland border, his work entitled ¶ _The Canticles or Balades of Salomon phraſelyke declared in Englyſh Metres. Imprinted at London by William Baldwin, ſeruant with Edwarde Whitechurche._ It was he who edited and saw this work through the press. He says of it:

"The wurke was begun and parte of it prynted in Queene Maries tyme, but hyndered by the Lorde Chauncellour that then was, nevertheles, through the meanes of my lord Stafford, the fyrst parte was licenced, and imprynted the fyrſt yeare of the raygne of this our moſt noble and vertuous Queene, and dedicate then to your honours with this Preface. Since whych time, although I have bene called to an other trade of lyfe, yet my good Lorde Stafforde hath not ceaſſed to call upon me, to publyſhe ſo much as I had gott[~e] at other mens hands, ſo that through his Lordſhyppes earneſt meanes, I have nowe alſo ſet furth an other parte, conteynyng as little of myne owne, as the fyrst part doth of other mens," and he expressed the hope that if these prove acceptable, encouragement may be given to "wurthy wittes to enterpryſe and performe the reſt."

After the abortive attempt of Wayland to print the book, under the title _A memorial of suche Princes, as since the tyme of King Richarde the seconde, haue beene unfortunate in the Realme of England. In ædibus Johannis Waylandi: Londini_ [1555?], the first part referred to was printed by Marshe in 1559. It contained nineteen legends (although twenty are mentioned in the table of contents), fourteen of which were by Baldwin, and the others by Ferrers, Churchyard, Phaer, and Skelton. Of these helpers, Baldwin says in the Epistle: "Whan I firſt tooke it in hand, I had the helpe of many graunted, & offred of ſum, but of few perfourmed, skarſe of any: So that wher I entended to haue contriued it to Quene Maries time, I haue ben faine to end it much ſooner: yet ſo, that it may ſtande for a patarne, till the reſt be ready: which with Gods Grace--(if I may haue anye helpe) ſhall be ſhortly."

The idea of the work is usually said to have originated with Sackville, who, following Lydgate's _Fall of Princes_, planned it as a review of the illustrious and unfortunate characters in English history from the Conquest to the end of the fourteenth century. He is supposed to have turned the work over to Baldwin and the others, after writing an "Induction," and one legend, the life of Henry Stafford, Duke of Buckingham; but no good reason is given for the omission of these poems from the volume when it came to be printed in 1559. Baldwin's reason, already quoted, seems likely enough, and Lord Stafford's urgent entreaty, referred to, no doubt had the effect of causing both poems to be added to the edition issued now, where they appear as _The Seconde Parte_ of the volume of 1559. The title-pages of the two editions are alike, except for the date and the imprint; this in the earlier edition reads: _Londini, In ædibus Thomæ Marſhe_. No reference is made to the additional part except in the Epistle. The new part has a separate index.

This new part contains only one poem by Baldwin; the others, besides Sackville's two, are by Dolman, Francis Segar, Churchyard, Ferrers, and Cavyl, eight in all. Besides the poems, there is "A proſe to the Reader, continued betwene the tragedies from the beginning of the booke to the ende," just as in the first part.

To the Earl of Dorset's legend "The complaynt of Henrye duke of Buckingham," is prefixed "The Induction," of which Baldwin speaks in the prose following _Howe the Lord Hastynges was betrayed_, as follows: "but fyrſt you shal heare his preface or Induction. Hath he made a preface ([backwards P?R] one) what meaneth he thereby, ſeeing none hath uſed the like order. I wyl tell you the cauſe thereof ([backwards P?R] I) which is thys: After that he underſtoode that some of the counſayle would not ſuffer the booke to be printed in ſuche order as we had agreed and determined, he propoſed with himſelfe to have gotten at my handes, al the tragedies that were before the duke of Buckinghams, Which he would have preſerued in one volume. And from that time backeward even to the time of William the conquerour, he determined to continue and perfect all the ſtory himſelfe, in ſuch order as Lydgate (folowing Bocchas) had already uſed. And therefore to make a meete induction into the matter, he deuiſed this poeſye:"

The woodcut border of four pieces with heads of Venus and Mars at the top had been used by John Byddell in Taverner's translation of the _Bible_ in 1539, by James Nicholson of Southwark, in Coverdale's _New Testament_ of 1538, and by Marsh for the edition of the _Mirror_ in 1559. There are a few ornamental initial letters at the beginning of the book, notably one at the beginning of the Epistle, a large P, with figures of children. This belongs to a series of a children's alphabet attributed to Dürer, and first used by Cervicornus, a printer of Cologne.

Quarto. The second edition. Black letter.

COLLATION: ¶ _and A, four leaves each; B-N, in eights; O-U, in fours; X-Z and Aa-Bb, in eights; Cc, four leaves_.

HENRY HOWARD,

EARL OF SURREY

(1517?-1547), AND OTHERS

Richard Tottel was licensed to print law-books, and his publications of that nature exhibit his best work; but this book, though not attractive in appearance, was his most popular venture. It was called "Tottel's miscellany," and it is fitting that his name should always be connected with it as a testimony to his energy and intelligence in producing a work so greatly to the "honor of the English tongue." We learn something of his energy in his desire to establish a paper-mill in England to compete with the French paper, then in general use; and his intelligence is evinced in the following extract from his address "To the reader":

"That to haue wel written in verſe, yea and in ſmal parcelles, deſerueth greate praiſe, the woorkes of diuers Latins, Italians, and other, do proue ſufficiently, that our tong is able in that kinde to do as praiſe woorthelye as the reſte, the honorable ſtile of the Earle of Surreye, and the weightineſſe of the deepe wytted Syr Thomas Wyat the elders verſe, withe ſeueral graces in ſundrie good English writers, doe ſhewe abundantlye. It reſteth now (gentle Reader) that thou thinke it not euill done to publiſh to the honour of the Engliſhe tongue and for profit of the ſtudious of English eloquence, thoſe woorkes which the ungentle horders up of ſuche treaſure haue hertofore enuied thee."

His confidence in the gentle reader was not misplaced, and he had the satisfaction of issuing six editions between 1557 and 1574. The first was printed at The Hand and Star, June 5, 1557, and is represented by one copy which is in the Bodleian Library; the British Museum and the Library of Trinity College, Cambridge, each owns a copy of a second edition, dated July 31, 1557; one copy exists of a third edition dated 1559; and there is a fourth edition dated 1565. The present edition agrees in its contents with the second, and is said to be the most correct of all.

This volume contains two hundred and eighty sonnets, of which the first forty-one (including one by an unknown author) are by Lord Howard. "S. T. VVyate the elder" is signed to the next group of ninety-six; and a collection of one hundred and thirty-three by "Vncertain auctours," follows. The collection ends with ten "Songs written by N. G." (Nicholas Grimald). Grimald had contributed forty to the first edition, which were cut down to the present number for the second edition.

Octavo. The fifth edition. Roman.

COLLATION: _A-P, in eights_.

THOMAS NORTON

(1532-1584)

AND

THOMAS SACKVILLE,

FIRST EARL OF DORSET

(1536-1608)

This play, drawn from Geoffrey of Monmouth's _History of Britain_, and telling the story of King Gorboduc's efforts to divide his realm between his sons Ferrex and Porrex, was the first tragedy written in English. Before this authorized edition, one unauthorized by the writers, though regularly licensed by the Government, had appeared in an octavo volume of thirty-six leaves, printed in black letter, with a title-page which reads as follows:

Day, in his introductory note to the present volume, entitled "The P to the Reader," explains very satisfactorily the reason for the new edition, but lets us only infer why he dropped the authors' names from the title-page. He says:

"Where this Tragedie was for furniture of part of the grand Chriſtmaſſe in the Inner Temple firſt written about nine yeares agoe by the right honourable Thomas now Lorde Buckherſt, and by T. Norton, and after ſhewed before her Maieſtie, and never intended by the authors therof to be publiſhed: yet one W. G. getting a copie therof at ſome youngmans hand that lacked a little money and much diſcretion, in the last great plage. an. 1565. about V. yeares paſt, while the ſaid Lord was out of England, and T. Norton farre out of London, and neither of them both made priuie, put it forth exceedingly corrupted."

Then, the worthy printer goes on to say in a very allegorical vein, that being so dishonored, her parents, the authors, very much displeased, gave her into his hands to be sent forth honorably; and he hopes she will be well received, else he will wish that she had tarried at home with him "for ſhe did neuer put me to more charge, but this one poore black gowne linèd with white that I haue now geuen her to goe abroad among you withall."

Quarto. The first authorized edition. Roman.

COLLATION: _A-H3, in fours_.

JOHN LYLY

(1553?-1606)

The work was licensed "under the hande of the bishopp of London" December 2, 1578, and was printed for Cawood by Thomas Eate, or East, the stationer, without a date, but probably in 1578. Many editions of the famous book have been issued; fifteen are known, dated between 1579 and 1636, but confusion exists chiefly over the first three.

Mr. C. Warwick Bond in his recent edition of _The Complete Works of John Lyly_, Oxford, 1902, brings forward evidence to prove that two undated copies of _Euphues_, one belonging to the British Museum and the other to Trinity College, Cambridge, are all that remain of the first edition, whose date of issue he sets at about Christmas time, 1578. A unique Trinity College copy without a date, he thinks was issued about midsummer of the next year; the famous Malone and Morley copies of 1579, he considers belong to a third edition, issued at Christmas; the edition dated 1580 would be fourth and the copy from which our facsimile was taken would belong to a fifth edition. Mr. Bond founds his supposition as to the seasons when the volumes appeared upon the following very interesting preface:

"TO THE GENTLEMEN READERS.

"I Was driuen into a quandarie Gentlemen," says Lyly, "whether I might ſend this my Pamphlet to the Printer or to the pedler, I thought it too bad for the preſſe, & to good for the packe.... We commonly ſee the booke that at Eaſter lyeth bounde on the Stacioners ſtall, at Chriſtmaſſe to be broken in the Haberdaſhers ſhop, which ſith it is the order of proceeding, I am content this Summer to haue my dooinges read for a toye, that in Winter they may be readye for traſh.... Gentlemen vſe bookes as Gentlewomen handle theyr flowres, who in the morning ſticke th[~e] in their heads, and at night strawe them at their heeles. Cheries be fulſome when they be through ripe, becauſe they be plentie, and bookes be ſtale when they be printed in that they be common. In my minde Printers & Tailers are chiefely bound to pray for Gentlemen, the one hath ſo much fantaſies to print, the other ſuch diuers faſhions to make, that the preſſing yron of the one is neuer out of the fyre, nor the printing preſſe of the other any tyme lieth ſtill...."

The address "To my verie good friends the Gentlemen Scholers of Oxford" first appeared with the second edition, to which Lyly made other additions, beside thoroughly revising the text.

The title-page is bordered with a band of type-metal ornaments. Among the initial letters are several of a series, each letter of which represents a child at play. A large tail-piece is repeated several times, and East's mark of a black horse with a white crescent on his shoulder, and the motto _Mieulx vault mourir en vertu que vivre en Honcte_, is here used for the first time. Some copies dated 1581 have Rowland Hall's mark but no printer's name.

Mr. Henry R. Plomer says of the book in an interesting article on our printer: "The preliminary matter is printed in a very regular fount of Roman, the text in his ordinary fount of Black Letter, and the whole book is distinguished for its clear, regular, and clean appearance."

On July 24, 1579, the stationer Cawood entered for license a second part of _Euphues_, which he had promised at the end of this volume in the following words:

"I Haue finiſhed the firſt part of Euphues whome now I lefte readye to croſſe the Seas to Englande, if the winde send him a ſhorte cutte you ſhall in the ſeconde part heare what newes he bringeth and I hope to haue him retourned within one Summer...."

Edward Blount, the stationer, who published Shakespeare's folio works, tells us in a preface to Lyly's _Sixe Court Comedies_, which he collected and William Stansby printed in 1632, of the sensation _Euphues_ created when it appeared. "Our Nation," he wrote, "are in his (i.e. Lyly's) debt, for a new Engliſh which hee taught them. Euphues and his England began firſt, that language: All our Ladies were then his Scollers; And that Beautie in court, which could not Parley Euphueiſme, was as little regarded, as ſhee which, now there, ſpeakes not French."

Quarto. Black letter and Roman. The fifth edition.

COLLATION: _A-Z, in fours_.

SIR PHILIP SIDNEY

(1554-1586)

The _Arcadia_ was begun in 1580, and when finished, probably before 1583, was circulated in manuscript copies amongst the author's friends. That he did not wish to have it printed is evident from his affectionate dedication to his sister, where he says:

"HEre now haue you (moſt deare, and moſt worthy to be moſt deare Lady) this idle worke of mine: which I fear (like the Spiders webbe) will be thought fitter to be ſwept away, than worn to any other purpoſe. For my part, in very trueth (as the cruell fathers among the Greekes, were woont to doo to the babes they would not foſter) I could well find in my harte, to caſt out in ſome deſert of forgetfulnes this child, which I am loath to father. But you deſired me to doo it, and your deſire, to my hart is an abſolute commandement. Now, it is done onelie for you, onely to you: if you keepe it to yourſelfe, or to ſuch friendes, who will weigh errors in the ballaunce of good will, I hope, for the fathers ſake, it will be pardoned, perchance made much of, though in itſelfe it haue deformities. For indeede, for ſeuerer eyes it is not, being but a trifle, and that triflinglie handled. Your deare ſelfe can best witnes the maner, being done in looſe ſheetes of paper, moſt of it in your preſence, the reſt, by ſheetes ſent vnto you, as faſt as they were done.... But his chiefe ſafetie ſhal be the not walking abroad; & his chiefe protection, the bearing the liuerye of your name; which (if much good will do not deceaue me) is worthy to be a ſanctuary for a greater offender."

And again later, when he lay dying, reflecting, as he did, that all things in his former life had "been vain, vain, vain," he requested that the _Arcadia_ should be burned. But he counted without the public, who in the person of a publisher took steps to make it common property the very year of Sidney's death. We have this from a letter written to Sir Francis Walsingham, Sidney's father-in-law, by Sir Foulk Greville, first Lord Brooke, who in his self-written epitaph styled himself "servant to Queen Elizabeth, councillor to King James, and friend to Sir Philip Sidney":

"S^r, this day, one ponsonby, a booke-bynder in poles church-yard, came to me and told me that ther was one in hand to print S^r Philip Sydney's old arcadia, asking me yf it were done with your honors consent, or any other of his frendes? I told him, to my knowledge, no: then he aduysed me to give warninge of it, either to the archbishope or doctor Cosen, who haue, as he says, a copy to peruse to that end.

"S^r, I am loth to renew his memory unto you, but yeat in this I must presume; for I haue sent my lady, your daughter, at her request, a correction of that old one, don 4 or 5 years sinse, which he left in trust with me; wherof there is no more copies, and fitter to be reprinted than the first which is so common: notwithstanding, even that to how and why; so as in many respects, espetially the care of printing of it; so as to be don with more deliberation."

Ponsonby obtained a license to print the book, under the hand of the Archbishop of Canterbury, August 23, 1588, but not with the full consent and sympathy of the family, owing, we will hope, to a sentiment of proper respect for the poet's wishes. There was so much dissatisfaction with Ponsonby's "adventuring" that Collier thinks the book may have been called in or suppressed, a fact which would account for its great rarity. The hesitancy, however, seems to have been overcome in course of time, for the Countess herself edited the work for a later edition of Ponsonby's publishing.

No mark or name of a printer is given in our copy, and Collier, when he gave it as his opinion that Richard Field did the work, seemed to have been unaware of the existence of the variation in the imprint, which occurs in the copy belonging to Trinity College Library, Cambridge, _London, Iohn Windet for william Ponsonbie_. Probably several had a hand in the printing. Only a close examination of the few existing copies could show whether or not they were all issued at the same time. We shall never know by name the "overseer of the print," who assumed the responsibility of arranging the poem, as is told in a note on the verso of the title-page:

"The diuiſion and ſumming up of the Chapters was not of Sir Philip Sidneis dooing, but aduentured by the ouerſeer of the print, for the more eaſe of the Readers. He therfore ſubmits himſelfe to their judgement, and if his labour anſwere not the worthines of the booke, deſireth pardon for it. As alſo if any defect be found in the Eclogues, which although they were of Sir Phillip Sidneis writing, yet were not peruſed by him, but left till the worke had bene finiſhed, that then choiſe ſhould haue bene made, which ſhould haue bene taken, and in what manner brought in. At this time they haue bene choſen and diſposed as the ouer-ſeer thought beſt."

Whoever the overseer may have been, whether in the employment of Ponsonby, Windet, or Field, and however unfortunate the result of his literary judgment, he produced a book which for beauty may take its place with the best of the period. The Roman type and excellent press-work distinguish it amongst the mass of inferior productions. Large ornamental initial letters, more or less related, are used at the beginning of all the Books, while Book I begins with an especially fine allegorical woodcut initial representing a crowned Tudor rose, Justice with her foot on Medusa's head, and Peace. Head- and tail-pieces, some of type metal and some woodcuts, are used at the beginning of the Books to give added effect. At the end of the sixteenth chapter of Book III is a panel made of type-metal ornaments, intended to hold the lines referred to in the words: "Vpon which, Baſilius himself cauſed this Epitaph to be written." These, however, owing to the printer's oversight, were never added.

In setting up the title-page, it may be that Ponsonby followed Sidney's hint, and so sought "the chief protection" of the name of the Countess, and, not content with the name alone, added the coat-of-arms of the Sidney family.

Quarto. Roman.

COLLATION: _A-Zz, in eights_.

EDMUND SPENSER

(1552?-1599)

On December 1, 1589, "Maſter Ponſonbye. Entered for his Copye, a booke intytuled _the fayrye Queene dyspoſed into xij. bookes. &c._ Aucthoryzed vnder thandes of the Archbishop of Canterbery, and bothe the wardens ... vj^{d}."

Spenser's name not being mentioned and not being printed on the title-page, it would almost seem as if he had wished his book to be anonymous; but that was probably not the case, because the dedication on the verso of the title, "To the Most Mightie And Magnificent Empresse Elizabeth ..." is signed by "Her moſt humble Seruant, Ed. Spenſer." The "Letter of the Authors Expounding his whole intention in the Courſe of the worke.... To the Right Noble, and Valorous Sir Walter Raleigh ..." is also signed "Ed. Spenſer," and the last two of his poems addressed to various personages are signed "E. S."

It will be observed that the license to print the book, as well as the title-page, refers to the whole work, only three books of which, treating of the virtues Holiness, Temperance, and Chastity, had been completed by the author at this time.

Ponsonby may be regarded as a fortunate man to have had the handling of the works of such authors as Greene, Sidney, and Spenser. If his attempts to exploit the first great English prose romance were not always successful, his relations with Spenser were more satisfactory, and this work finding "a favorable passage," no less than ten other of the poet's productions were issued over his imprint.

The printer's name does not appear, but the device on the title-page is the mark of John Wolfe, son of Reyner Wolfe, a printer to the City of London, and one of the busiest members of the Stationers' Company. It was he who printed _The Shepheard's Calendar_, for John Harrison the younger, in 1586. His use of the Florentine lily is probably not without significance. The first Italian book printed in England (_Petruccio Ubaldino La vita di Carlo Magno Imperadore_, 1581), came from his press, as well as numerous translations of books in that tongue; and it is easy to believe that he may have received his idea for a mark of a fleur-de-lis "seeding," as Herbert calls it, from the Florentine lily of an Italian printer seen in some of the Italian books so numerous in England at this time.

A frame of printer's ornaments surrounds a verse at the beginning of each chapter, and there is a rather clumsy woodcut, representing Saint George and the Dragon, at the end of the first Book, but these are the chief ornaments in the volume. This book, like the _Arcadia_, is in the Roman type, and of remarkably good press-work.

The device on the title-page of the second volume is that of Thomas Vautrollier, a foreigner settled in London, whose stock passed, at his death, to his son-in-law, Richard Field. It seems clear that Field printed the volume (Vautrollier did no work after 1588), although Herbert ascribes it to the master-printer Thomas Creed.

In some early copies of the first volume there are blank spaces on page 332, which had been left by the printer to be filled later with Welsh words and then forgotten. Other copies have this omission corrected.

Quarto. Roman and Italic.

COLLATION: _A-Qq4, in eights_.

FRANCIS BACON, BARON VERULAM

(1561-1626)

This edition is thought by some to be rarer than the first, which was published by Hooper, in octavo, in the previous year. Some differences occur in the spelling, the table of contents here precedes "The Epistle Dedicatorie," the _Meditationes Sacræ_ are done into English, and the ornaments used are quite different. Only ten Essays were included in these two issues, whereas the edition of 1612 has thirty-eight, and that of 1625, fifty-eight.

Hooper, of whose publications there are very few examples existing, is thought by Roberts to have been a young publisher whom Bacon wished to help. John Windet was the successor to John Wolfe as printer to the City of London; many books came from his press, but few of them of note.

Perhaps the most interesting peculiarity of the book is the word _essay_, in the sense of a composition of moderate length on a particular subject. With this work, the word makes its first appearance on the title-page of an English book. The first two books of Montaigne's _Essais_ had appeared in 1580, and Bacon was no doubt familiar with them as a new style of writing, since his brother, to whom he addressed this volume, was a friend of Montaigne. He says in his volume of _Essays_ dedicated to Prince Henry: "For Senacaes Epistles ... are but Essaies--that is dispersed Meditations ... Essays. The word is late, but the thing is auncient."

Lord Bacon's reasons for printing his book, expressed in the signed preface which accompanied both editions, is interesting as showing that he was alive to the piracies of the book-sellers, and that he knew how to meet the difficulty in a sensible manner.

"To M. Anthony Bacon his deare brother.

Louing & beloued Brother, I doe nowe like ſome that haue an Orcharde ill neighbored, that gather their fruit before it is ripe, to preuent ſtealing. Theſe fragments of my conceites were going to print: To labour the ſtaie of them had bin troubleſome, and ſubiect to interpretation; to let them paſſe had beene to adu[=e]ture the wrong they might receyue by ontrue Coppies, or by ſome garniſhment, which it might pleaſe any that ſhould ſet them forth to beſtowe oppon them. Therefore I helde it beſt diſcretion to publiſh them myſelfe as they paſſed long agoe from my pen without any further diſgrace, then the weakneſſe of the Author...."

Duodecimo. The second edition.

COLLATION: _A-E4, in twelves_.

RICHARD HAKLUYT

(1552?-1616)

The year 1589 had seen the publication of a small folio volume entitled:

The book presents a handsome appearance in the matter of type and ornament: the archer head-band appears, and there are two large pictorial initials at the beginning signed A. It contains also "one of the beſt generall mappes of the world onely, untill the comming out of a very large and most exact terreſtrial Globe, collected and reformed according to the neweſt, ſecretest, and lateſt diſcoueries ... compoſed by M. Emmerie Mollineux of Lambeth, a rare gentleman in his profeſſion...." This map was a close copy of one engraved by Francis Hogenberg for Ortelius's _Theatrum Orbis Terrarum_, published first in Antwerp in 1570. Like the original it is called _Typus Orbis Terrarum_, but Hogenberg's name is erased, and no other appears in its stead.

This volume is usually called the first edition of the amplified work in three volumes, here facsimiled, which Hakluyt began to issue nine years later. _The British Librarian_ of William Oldys, that "oddest mortal that ever wrote," gives a full synopsis of the contents of the latter work, "this elaborate and excellent _Collection_, which redounds as much to the Glory of the _Engliſh_ Nation, as any Book that ever was publiſhed in it." He says:

"Tho' the firſt Volume of this _Collection_ does frequently appear, by the Date, in the Title Page to be printed in 1599. the Reader is not thence to conclude the ſaid Volume was then reprinted, but only the Title Page, as upon collating the Books we have obſerved; and further, that in the ſaid last printed Title Page, there is no mention made of the _Cadiz_ Voyage; to omit which, might be one Reaſon of reprinting that Page: for it being one of the moſt proſperous and honorable Enterprizes that ever the Earl of Eſſex was ingaged in, and he falling into the Queen's unpardonable Displeaſure at this time, our Author, Mr. Hakluyt, might probably receive Command or Direction, even from one of the Patrons to whom theſe Voyages are dedicated, who was of the contrary Faction, not only to ſupreſs all Memorial of that Action in the Front of this Book, but even cancel the whole _Narrative_ thereof at the _End_ of it, in all the Copies (far the greateſt Part of the Impreſſion) which remained unpubliſhed. And in that caſtrated Manner the Volume has deſcended to Poſterity; not but if the Caſtration was intended to have been concealed from us, the laſt Leaf of the Preface would have been reprinted alſo, with the like Omiſſion of what is there mentioned concerning the Inſertion of this Voyage. But at laſt, about the middle of the late King's Reign, an uncaſtrated copy did ariſe, and the said Voyage, was reprinted from it; whereby many imperfect Books have been made complete."

The cancellation "in the Front" refers to the title-page. In the new page of the castrated edition the clause "And laſtly, the memorable defeate of the Spaniſh huge Armada, Anno 1588. and the famous victorie acheiued at the citie of Cadiz, 1596." is made to read: "As alſo the memorable defeat of the Spaniſh huge Armada, Anno 1588."; and the date is changed to 1599. But, as Oldys remarks, through oversight or indifference the reference in the preface still remains to show that the edition is doctored, and not a new one. It reads: "An excellent diſcourſe whereof, as likewiſe of the honourable expedition vnder two of the moſt noble and valiant peeres of this Realme, I meane, the renoumed Erle of Eſſex, and the right honorable the lord Charles Howard, lord high Admirall of England, made 1596, vnto the ſtrong citie of Cadiz, I haue set downe a double epiphonema to conclude this my firſt volume withall...." The reference also remains in "A Catalogue of the Voyages," "39 The honourable voyage to Cadiz, Anno 1596. [p.] 607." and at page 606 the catchword "A briefe" still bears witness to the curtailment of "A briefe and true report of the Honourable voyage vnto Cadiz, 1596." The original leaves ended on page 619, with a large woodcut representing two winged figures supporting a crown and rose. They have been twice reprinted, but both reprints are easily distinguishable from the early work.

The second volume was issued by the same printers in 1599, and the third in 1600. Hakluyt is characterized on the title-page of the first volume, as on that of the first edition, as "Master of Artes, and sometime Student of Christ-Church in Oxford," but in the second and third volumes he is called "Preacher, and sometime student of Christ-Church in Oxford." He had been made rector of Wetheringsett in Suffolk in 1590.

In its general make-up, the new work resembles the old one. The archer head-bands have not been used, and only one of the pictorial initials signed [symbol: A; or "SA" monogram],--that at the beginning of the Dedication,--is retained in volumes one and two. These pictorial initials belong to an alphabet illustrating stories from Greek mythology. Mr. Pollard, in a chapter on _Pictorial and Heraldic Initials_, states that the first appearance of any of the set known to him occurs in a proclamation printed by Berthelet, and dated 1546. He finds that a similar monogram was used by Anton Sylvius, who worked for Plantin from 1550 to 1573, but he is doubtful about ascribing these initials to that artist.

The first and third volumes have the "The" of the title in a long panel (made of type-metal ornament in the first case, and a woodcut cartouche in the last one); the printer's ornaments on the title-pages of the second and third volumes are alike, and are the same as that in the first edition. "A Table Alphabetical," printed at the end of the first edition, was not undertaken for the second; but a new, engraved map of the world, unsigned and without a title, is found in some copies of the third volume. It was used also in two states.

This map is exceedingly rare, and interest attaches to it for two reasons. It is the first map of the world engraved in England, on Wright's (Mercator) projection, having been published the year after Wright had explained the principles of the projection in his _Certain Errors in Navigation_. A legend in a cartouche on the engraving says: "Thou hast here gentle reader a true hydrographical description of ſo much of the world as hath beene hetherto diſcouered, and is comme to our knowledge: which we have in ſuch ſort performed, y^t all places herein ſet downe, haue the ſame poſitions and diſtances that they haue in the globe...." The second source of interest is this: the map is, without much doubt, the one Shakespeare referred to in _Twelfth Night_ when he made _Maria_ say of _Malvolio_, "he does ſmile his face into more lynes then is in the new Mappe, with the augmentation of the Indies."

A curious error has existed with regard to the map. The reference in the 1589 volume, already quoted, has been taken to mean that Hakluyt intended to issue a map by Molineux with that work, but, that map not being ready in time, he used the one from Ortelius. What more natural than that the new map in the 1598 edition should be supposed to be Molineux's, now at length finished? This was the conclusion jumped at, and the plate is usually called "Molineux's map." As a matter of fact, Hakluyt did not refer to Molineux as a map-maker, but as a globe-maker. He was a friend of that rare gentleman, and he knew that the mathematician was at work on a large terrestrial globe embodying all the very latest geographical information in the most exact way, according to Mercator's projection. He used the Ortelius map in his book only until the globe should be ready, when it could be easily adapted to the plane surface of a map by the engraver.

The globe, measuring two and a half feet in diameter, was issued in 1592, and is now preserved in the Library of the Middle Temple.

Folio. Black letter.

COLLATION: Volume I, *, _six leaves; **, six leaves; A-Fff{4}, in sixes_.