letter L reproduced on page 1. On the last page is another border, with

the word 'Salus,' and the date of printing, March 16, 1530, old style.

* * * * *

II. ENTRÉE OF THE QUEEN; six sheets, quarto.

On the first page the same border as on the first page of the Hours of 1524-25; the privilege is on the verso. On page A ij recto, another border and an ornamental letter R, after the style of the L in the work last described. A iiij recto, another border. B iij recto, a border, with the motto 'non plus' at the top. B viij verso, another border, with the word 'Salus' at the foot; this is identical with that of the last page of the 'Coronation.' E viij recto, another border. F i verso, a lovely drawing of a 'present made to the queen, of two candlesticks.' On the last page the border of the last page of 'Champ fleury,' and the date of the printing, Tuesday, May 9, 1531.

* * * * *

III. EPITAPHS OF LOUISE DE SAVOIE; two sheets and a half.

First page, the border of the frontispiece of the Hours of 1524-25, with the Pot Cassé of the first page of 'Champ fleury.' Last page, the border of the last page of 'Champ fleury' and the Pot Cassé of the first page; also the date of printing, October 17, 1531. In all three we find the decorated letters of 'Champ fleury.'

These three brochures, bound together in a small volume, are in the Bibliothèque de l'Arsenal. The borders used in them reappear later as frames for the engravings of a book of Hours, quarto, printed in roman type, in red and black, of which I know neither date nor place of printing nor name of printer, as I have seen nothing except a few leaves of the book, preserved at the Bibliothèque Nationale, with the works of Tory.

1531

I. BOOK OF HOURS, quarto, printed by Tory for himself.[365]

* * * * *

II. BOOK OF HOURS, octavo, with arabesques of flowers, insects, animals, etc., as in the quarto Hours of 1527.[366]

* * * * *

III. TERENTIANUS MAURUS, DE LITERIS, etc. NICOLAO BRISSÆO ... COMMENTATORE.

Quarto, Simon de Colines, 1531.

This book is dedicated to Guillaume Petit, Bishop of Senlis, whose arms, with the Lorraine cross, appear on the verso of leaf 8 of the front matter. The motto is: 'Utinam novissima providerent.'

* * * * *

IV. CLAUDII GALENI PERGAMENI DE ANATOMICIS ADMINISTRATIONIBUS LIBRI NOVEM, JOANNE GUNTERIO ANDERNACO, MEDICO, INTERPRETE.--Parisiis, apud Simonem Colinæum, 1531.

Large folio, with an engraved frontispiece having the Lorraine cross at the foot, on the left.

The frontispiece represents several different subjects. At the top is Jesus healing the leper; at the foot, doctors dissecting a dead body and lecturing to a numerous audience; at the sides, full-length portraits of the most celebrated physicians of antiquity; in the centre of the plate is a scroll bearing the Latin title transcribed above. This frontispiece was, doubtless, used with others of the works of Galen.

Simon de Colines also published, in 1536, an edition of the works of Galen, under the supervision of the same editor (folio of 172 pages), and embellished with five beautiful floriated letters engraved by Tory. In it we find also, at the head of the epistle to the reader, an ornamental S surmounted by a coat of arms,--a charming design, but not signed.

1532

LATIN BIBLE of 1532; folio; Robert Estienne.

The title-page is decorated with a frieze signed with the Lorraine cross, bearing the word 'Biblia' in large letters. It is a scroll surrounded by vines, with the brazen serpent at the left, and Jesus on the Cross at the right.

1533

The BON MESNAGER of Pierre des Crescens, printed by Nicolas Cousteau for Galliot Dupré. Folio, 1533. The frontispiece, representing Dupré presenting the book to François I, is signed with the Lorraine cross.

* * * * *

Inasmuch as Tory died in 1533, it will, perhaps, seem that I ought to stop here in this enumeration. But as many engravings executed by his own hand were not printed until later, and, moreover, as those signed with the Lorraine cross alone came from his establishment, which was managed by his wife after his death, I have thought best to pursue my investigations concerning the engravings with the Lorraine cross to the end.

1534

I. SERMONES IUDOCI CLICHTOVEI NEOPORTUEN. DOCTORIS THEOLOGI ET CARNOTEN. CANONICI.

Folio, Paris, Thielman Kerver's widow, 1534. The privilege is dated 1534. (Bibliothèque S.-Geneviève, and Bibliothèque Mazarine.)

The Latin title which I have transcribed is engraved in great gothic letters, arranged in the shape of a cul-de-lampe, and terminated by a small black heart-shaped ornament (not unlike those used by Simon de Colines), in which is the Lorraine cross. This circumstance leads me to believe that Tory engraved this title-page in gothic letters; a most interesting fact if true, for they are probably the only letters in that style that he ever engraved, after those on folios 42 verso, 74, etc. of 'Champ fleury'; and it is all the more strange because the rest of the book is printed in roman type. It may be that there was another edition in gothic type.

However, this volume contains many other engravings signed with the Lorraine cross, and others which, although unsigned, seem to be Tory's.

Folio 1, following the title, a large T, adorned with fleurs-de-lis, on a background strewn with the same flowers.

Folio 5 verso, a large ornamental P, representing the Eternal Father.

Folio 19, the Virgin in a halo of fire, with the Child Jesus (signed).

Folio 21, Jesus among the Apostles, holding a saw (signed).

Folio 43, Moses receiving the Tables (signed).

Folio 63 verso, the Ark in the form of a church (signed).

Folio 77, the Annunciation, in an oval border (octavo).

Folio 88, Birth of Jesus (small octavo).

Folio 135, the Resurrection (signed).

Folio 148, the Ascension (signed).

Folio 154 verso, the Virgin among the Apostles (small octavo).

Folio 157 verso, the Trinity (signed).

Folio 161, Easter (signed).

Folio 221, Birth of the Virgin. She is in her mother's womb, holding the Child Jesus (octavo).

Folio 325, Jesus tempted by the Devil (octavo).

The octavo engravings appear in several other books printed by the Kervers.

* * * * *

II. PAULI BELMISSERI PONTREMULANI, ARTIUM ET MEDICINÆ DOCTORIS, EQUITIS, ET POETÆ LAUREATI, OPERA POETICA.

Quarto, of 108 numbered, plus 4 preliminary unnumbered leaves.

Printed in 1534, but with no name of printer or bookseller. On the first page is a quarto plate, representing the author crowned with laurel, standing between François I and Clement VII. Beneath these three personages are their respective arms, and above their heads their names: Franciscus, Paulus, Clemens. The Lorraine cross is at the foot, on the left. The same plate appears on the last page.

1535

LES TROYS PREMIERS LIVRES DE L'HISTOIRE DE DIODORE SICILIEN, TRANSLATEZ DE LATIN EN FRANÇOYS, PAR ANT. MACAULT.... On les vent a Paris, en la rue de la Juifverie, devant la Magdaleine, à l'enseigne du Pot Cassé....[367]

Quarto, 1535. This book is embellished with a magnificent frontispiece representing Macault presenting his book to François I. Although unsigned, it is certainly Tory's.

'His chef-d'œuvre,' says M. Renouvier,[368] 'is, perhaps, the frontispiece of Macault's "Diodorus," in which we see François I seated in a chair with a back carved with fleurs-de-lis, at table with his children, his monkey, his greyhound, and his courtiers, while Macault reads his book to him. This engraving, the authorship of which is unquestionable, does not bear the Lorraine cross; the master published without that mark many another work which M. Bernard, in his scrupulous exactitude, has chosen not to mention. As some compensation for the works which I have denied to Tory, I may be allowed the pleasure of mentioning here one which M. Bernard has not attributed to him: "Les Fables d'Esopes mises en rithme françois," by Gilles Corrozet (Paris, Denys Janot, 1542). As the copy that I saw is not complete, it may be that the Lorraine cross might have been found somewhere in the book; but, in any event, that would not change the conviction based upon examination of the plates. The small engravings, with the first four lines of the fables, are set in borders decorated with pilasters and pediments in the master's style, and illustrated at the base with tiny drawings of amorous subjects, treated with his somewhat heavy-handed delicacy.

'There came from Tory's establishment, in the later years, many engravings of blended types which can be attributed to none but pupils, or even apprentices; analysis will always be impossible; when we have cast a light upon the head of a school, we must leave the tail to languish in the shadow. I will mention here, however, one pupil of Geofroy Tory, whom M. Bernard does not mention, namely, François Gryphe, brother of Sébastien Gryphe of Lyon. He engraved and printed, in 1539, a New Testament which, as very rarely happens, mentions the engraver of the plates on the title-page as well as in the privileges from the King and the Parliament which stand at the beginning and end of the book respectively. "Novum testamentum illustratum insignium rerum simulacris, cum ad veritatem historiæ, tum ad venustatem, singulari artificio expressis." (Here the mark of the griffin.) "Excudebat Fran. Gryphius, AN. MDXXXIX." And in the privilege: "Francoys Gryphius, bookseller, printer and tradesman, commorant in Paris ... prayed that he be permitted to cause to be printed and sold the New Testament, illustrated by him."

'The volume is a small octavo; the Lorraine cross does not appear, but there is a letter L engraved by Tory, and a series of small plates executed with a delicacy instinct with firmness, in accordance with types, attitudes and rules which can belong to no other school than his.'[369]

1536

I. HORÆ IN LAUDEM BEATISSIME VIRGINIS MARIÆ AD USUM ROTHOMAGENSEM. PARISIIS, AD INSIGNE VASIS EFFRACTI, 1536.

Small octavo, roman type, line engravings.[370]

* * * * *

II. LAZARII BAYFII ANNOTATIONES, etc.

Quarto, Robert Estienne, 1536.

Charles Estienne, brother of the printer, who seems to have been the editor of this book, informs us, in a brief preface, that the drawings scattered through it were taken by him from ancient monuments, and especially from marbles still extant at Rome. Several of the plates bear the Lorraine cross, Robert Estienne's mark, on the title-page; also the engraving on page 19 of 'De re navali' (repeated on page 168), and those on pages 4, 44 and 64 of 'De re vestiaria'. All the other engravings, although not signed, probably came from Tory's workshop. This book was reprinted by Robert Estienne, in 1549, in the same form. Here is a summarized list of the engravings contained in it: In the first part, 'De re navali,' are some twenty representations of antique vessels, biremes, triremes, etc., of which one is signed; in the second part, 'De re vestiaria,' three are signed: (1) a woman; (2) a man; (3) a soldier; in the third part, 'De vasculis,' are eight or ten representations of vases, etc., not signed.

All these engravings were reproduced on copper in a reprint of Baïf's work, published in Grævius's great collection called the 'Treasure of Antiquities,'[371] and, strangely enough, the artist has left the Lorraine cross on the first.[372] This mark appears again in column 1100 of the same volume, in an analogous work by another author. The same engraving was reëngraved on copper, with the cross, for the edition of Grævius's 'Thesaurus,' published at Venice in 1732, after the edition of Utrecht. This later edition was like the earlier one, and the engraving in question appears in the same volume and same column. So that we have an engraving on copper, with the Lorraine cross, executed in the eighteenth century!

1536-1540

I. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, AD USUM ROMANUM.--Parisiis, apud Simonem Colinæum, 1543.

Large quarto of 44 sheets, in 22 signatures of 2 sheets, _encartées_, A to Y. On the verso of the title-page is a table of Easter-Days from 1543 to 1566; then comes the calendar, which fills the next six sheets. There are in the text fourteen large engravings, with a special border:--

1. St. John writing his Gospel (which begins on the following leaf). He is gazing at the Virgin, who appears to him in the sky, holding the Child Jesus.

2. Jesus betrayed by Judas.

3. The Salutation, with this device in French: 'Fait ce que tu vouras avoir fait quant tu moras.' ['Do what thou wouldst have done when thou diest.']

4. The Visitation (signed).

5. The Birth of Jesus.

6. The Annunciation to the Shepherds (with the date 1537).

7. The Adoration of the Magi (signed).

8. The Circumcision (signed).

9. The Flight into Egypt.

10. The Death of Mary (signed).

11. Jesus on the Cross (signed).

12. The Descent of the Holy Ghost upon the Apostles (signed).

13. The Penance of David (signed).

14. Jesus restoring Lazarus to life.

All the pages are enclosed in borders, but the latter are of two sorts:--

1. Eight complete borders, that is to say, thirty-two compartments, in simple line-engraving as in the Hours of 1524-1525. A single one of these eight is signed; but they are all by the same artist. They bear the dates of 1536, 1537, 1539, in little scrolls of the sort to which Tory was so much addicted. These dates preclude our attributing these engravings to himself, but they evidently came from his establishment which was then conducted by his widow. One of these borders appears in a book published in 1542: 'Rodolphi Agricolæ ... de inventione dialectica, libri III,' etc. 4to, Paris, Simon de Colines.

2. There are also eight complete borders, or thirty-two compartments, engraved in black in an entirely different style, alternating with those engraved in line. [Four of them are reproduced in this volume, on the pages bearing the Author's Preface.] They are in niello, are neither signed nor dated, and I doubt whether they came from Tory's workshop, although we shall see that he engraved some similar ones for Jean de Tournes. In any event their inclusion in this book, side by side with the borders and drawings engraved in line, seems to me in wretched taste which would have disgusted our artist.

We find also in this book some beautiful ornamental letters in the criblé style, which may be Tory's.

The book was reprinted in 1549, in the same form, by Renaud and Claude Chaudière, successors to Simon de Colines.

* * * * *

II. In the same year 1543, Simon de Colines published another book of Hours, octavo, which seems to be a smaller edition of the one I have just described. Like that one, it is composed of 22 signatures, A to Y.

The title-page reads: HORÆ IN LAUDEM DEI AC BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM, UNA CUM CALENDARIO RECENS [_sic_] EMENDATO. This within a portico-shaped border, at the top of which is the name Simon de Colines. At the foot of the page: 'Parisiis, apud Simonem Colinæum.--1543.'

As in the quarto Hours of the same date the borders of the text pages are arabesques of two styles, some in line and the others in black; and the drawings, to the number of 13, are set in a special border. Some of these borders bear the date 1537, and one of them has the name Simon de Colines in full, which proves that the engravings were executed for him. A list of the drawings follows; only one of them is signed, but all seem to be the work of Tory.

1. St. John writing his Gospel (signed).

2. Calvary.

3. The Salutation.

4. The Visitation.

5. The Nativity.

6. The Annunciation to the Shepherds.

7. The Adoration of the Magi.

8. The Presentation.

9. The Flight into Egypt.

10. The Coronation of the Virgin.

11. Pentecost.

12. Bathsheba at the Bath.

13. Job on the Dunghill.

The only copy of this book that I know of formerly belonged to the late M. Renouvier, of Montpellier, who showed it to me in 1858. It lacks ten leaves immediately following the title-page, which leaves undoubtedly contained the calendar.

1537

I. LES ANGOISSES ET REMEDES DAMOUR DU TRAVERSEUR EN SON ADOLESCENCE (Jean Bouchet).

Quarto, gothic type, printed at Poitiers, January 8, 1536 (1537, new style), by Jean and Engilbert de Marnef. The privilege is dated November 15, 1536.

There are two woodcuts signed with the Lorraine cross: the printers' mark, on the first page; and, at the end of the preliminary pages, an engraving representing a man in a long robe engaged in writing; facing him and below him are four persons, also in robes, from whom he is apparently deriving his inspiration. Near these latter, at the left, is a woman holding a light.[373]

* * * * *

II. LE JUGEMENT POETIC DE L'HONNEUR FEMININ ... PAR LE TRAVERSEUR (Jean Bouchet).

At the end are these words: 'Imprimé à Poictiers le premier d'avril M. D. XXXVIII, par Jean et Engilbert de Marnef, freres.' This volume, which is arranged like that last described, contains eleven engravings, five of which are signed with the double cross.

Folio A 5 verso. A large plate representing the author presenting his book to François I. The King is seated on his throne and surrounded by his court. (Signed at the left.)

Folio B 1 recto. A meeting of the Parliament of Paris. (Signed at the right.)

Folio B 4 recto. Fame announcing the demise of Louise de Savoie, mother of François I. (Signed at the left.)

Folio B 7 recto. Mercury on his way to the field of Truth; below, Charon in his boat. (Not signed.)

Folio C 1 verso. The field of Truth. Four persons, of whom three are seated in a sort of thicket; and above them, a château. (Signed in the centre.)

Folio C 7 verso. The deceased (Louise de Savoie), her head encircled by a wreath and holding in her right hand a bunch of flowers. (Signed at the right.)

Folio D 3 recto. Fortune holding a wheel in one hand, and a standard in the other. (Not signed.)

Folio D 6 verso. Repetition of C 7.

Folio E 5 verso. Mercury, with the caduceus in his hand, speaking to a man in a robe, and pointing out a palace to him. (Not signed.)

Folio E 7 recto. A large hall adorned with statues. (Not signed.)

Folio L 8 verso. A winged personage, wrapped in a cloak, and having eyes in his hands and feet. (Not signed.)

At the end of the volume the mark of the Marnefs. (Signed.)

1538

MISSAL OF PARIS, 1539; folio. The Lorraine cross on two large folio plates, one of which, dated 1538, represents God the Father seated on his throne, his head surrounded by a halo; he is dressed like the Pope; over his head, a triangular pediment. The other, not dated, represents Christ on the Cross; the Blessed Virgin and St. John are standing at his sides, and this inscription is printed in a semicircle over the cross: 'Absit michi gloriari nisi in crvce D[omi]ni n[ost]ri Jesvs Christi.'

These two subjects, which are often found in collections, sometimes on paper and sometimes on vellum, sometimes black and sometimes coloured (the mark and the date very often disappear under the colours[374]), were first printed, so far as my knowledge goes, in the Missal of Paris, published in 1539 by Thielman Kerver's widow. There follows a description of this priceless volume, of which I know but one copy in Paris.[375] It is entitled: 'Missale ad usum Ecclesiæ Parisiensis, noviter impressum, et emendatum per deputatos a reverendissimo domino Johanne de Bellayo, Parisiensi episcopo,' etc. Then comes Thielman Kerver's usual mark, and below: 'Prostat Parisiis in vico divi Jacobi, apud Iolandam Bonhomme, vidue spectati viri Thielmanni Kerver, ad signum Unicornis, ubi et excusum fuit, anno Domini M. D. XXXIX.'

This work makes a large folio volume, printed in red and black, in gothic type, with a large number of unsigned engravings in the text. These engravings are of three sorts,--(1) floriated letters on a black ground; (2) small drawings of the same size, but of a very graceful renaissance type; (3) drawings of octavo size, which were commonly used by Thielman Kerver's widow in the books of Hours published by her, and of which I have already had occasion to speak.[376]

The two large drawings signed with the Lorraine cross face each other in signature V, in the second part of the book, where the pagination is discontinued. They have been reprinted several times in other editions of the same book. I will mention particularly the edition, undated, published in the name of Guillaume Merlin, bookseller, a copy of which is in the Bibliothèque Mazarine[377]; that of 1543, at the Bibliothèque Sainte-Geneviève; that of 1559 (all published by Iolande Bonhomme or her son Jacques Kerver); and lastly a Missal of Cluny, of which I shall speak later.

Although these books are printed on paper, the plates in question are always printed on vellum in editions of the sixteenth century; but this precaution was neglected in later centuries.

1538-1540

Latin Bible in two folio volumes, bearing the dates 1538, 1539, 1540. Paris, Robert Estienne. The word 'Biblia' appears on the title-page in a scroll signed with the Lorraine cross, of which I have already had occasion to speak, under the date of 1532, and which appears in others of Robert Estienne's books.[378] The second title follows: 'Hebræa, chaldæa, græca et latina nomina ... restituta cum latina interpretatione.' This has led some bibliographers to assume, erroneously, that the book was a polyglot affair. It is printed throughout in Latin; there are simply a few Hebrew words in the dissertation to which the second title in question applies, and which is printed in the second volume, with a title-page of its own, dated 1538. The New Testament, also in the second volume, is dated 1539, not 1540, as M. Renouard mistakenly says.[379] The Bible alone, that is to say, the first volume and the beginning of the second, bears the date 1540. In each part we find Robert Estienne's large mark, signed with the Lorraine cross. The first volume contains also eighteen magnificent engravings representing the Tabernacle of Moses, Solomon's Temple, etc., executed under the direction of François Vatable, Royal Professor of Hebrew Literature. The Lorraine cross appears on the large plate of the camp of the Israelites, on folio 35; but I dare not upon this evidence alone attribute all the other engravings to Tory.[380] In any event the floriated letters used in the book are certainly Tory's, for we find the designs mentioned by him in his 'Champ fleury.' It is a fact worth noting that these letters seem to have been cast, or, at least, reproduced by stereotyping, for they are often repeated on the same page, without the slightest change in the design.

The Bibliothèque Nationale has a superb copy of this book on vellum, with the arms of François I. It was reprinted in the same shape by Robert Estienne in 1546, and by his son Henri in 1565. In this last edition, printed at Geneva, we no longer find the two small drawings which appear, with the frieze, on the title-page of the edition of 1532. (See p. 204, supra.) The frieze in this later form appears in other books of the Estiennes. I have seen it in a folio Xenophon printed for Fugger.

1540-1548

AMADIS DE GAULE, French translation by Nic. de Herberay, Seigneur des Essarts, for the first eight books; first edition printed between 1540 and 1548, by Denis Janot, for the booksellers, Vincent Sertenas, Estienne Groullau, and Jean Longis. Folio, with engravings.

I have seen only two of these engravings signed with the Lorraine cross, but several others seem to have come from the same workshop. The great majority of them, however, are of another _make_. The two that are signed are: (1) Book II, chap. 2, a large plate representing a sort of temple. A man armed cap-à-pie under a portico. At the right are shields hanging upon posts; at the left, a man kneeling on the ground, holding a naked sword in the air with his right hand, and another hand grasping it. This represents a scene from the 'Île Ferme.' (2) Book VI, chap. 56, a small plate representing four persons on horseback near a château in front of which stands an armed man. This cut does not seem to have any connection with the subject, and may well have been taken from another older work.

There is a copy of this book on vellum in the Bibliothèque Nationale.

1541

I. PRAXIS CRIMINIS PERSEQUENDI, ELEGANTIBUS ALIQUOT FIGURIS ILLUSTRATA, JOANNE MILLÆO ... AUCTORE.

Folio; Paris, Simon de Colines, 1541. Some copies have on the title-page only the names of the brothers Arnould and Charles les Angeliers. (Bibliothèque Nationale.)

There are in this book thirteen large folio cuts, besides the frontispiece. A single one, the seventh, is signed, but all are by the same hand. Following is a description of them, or, rather, a brief list; for a description would lead us into too minute details:[381]--

1. Several men slain in divers ways, on a public square where there is a large crucifix.

2. Examination of the bodies of the wounded lying in a room.

3. Examination of the witnesses.

4. The accused summoned by public outcry.

5. Arrest of the accused.

6. Examination of the accused.

7. Confrontation of the witnesses with the accused (signed).

8. Ratification of decree of pardon.

9. Torture by water.

10. Torture by the boots.

11. Torture by compressing the wrists.

12. Condemnation of the guilty.

13. Execution of the guilty.

There is at the Bibliothèque Nationale a magnificent copy of this book on vellum, with the arms of France in miniature on the verso of the title-page.

* * * * *

II. The first volume of the CATHOLIQUES ŒUVRES ET ACTES DES APOSTRES, by Simon de Greban; followed by the MYSTERE DE L'APOCALYPSE, by Louis Choquet. Printed for Arnould and Charles les Angeliers, May 27, 1541. 'On les vend en la grand salle du Palais, par Arnould et Charles les Angeliers freres.' Folio; Paris, 1541.

This work is embellished with engravings, of which only one is signed with the Lorraine cross. This one, which is on folio I recto of the Acts of the Apostles, represents the descent of the Holy Ghost upon the Apostles. It is enclosed in a border, of octavo size, and belongs to a series of engravings for a book of Hours published by Guillaume Merlin in 1548.[382] The engraver's mark is in a small circle at the left of the foot of the border. Beside it is an angel holding two shields in which are the letters G. M. (Guillaume Merlin). The frontispiece of the Acts of the Apostles has a border in which is the date 1537. The same border surrounds the frontispiece of the Mystery of the Apocalypse, but there it is without the date. This last-named portion of the volume contains 13 engravings and a border, in Tory's style, but without the Lorraine cross. One of them bears the letters P. R. There is a copy at the Bibliothèque Nationale.

* * * * *

III. HOURS OF THE VIRGIN, octavo, in roman type, but with the borders 'à la moderne' described on page 128, supra.

This book, printed by Olivier Mallard in 1541, was copied doubtless from the edition made by Tory about 1531, which I have been unable to examine. Mallard's edition, of which I have seen a copy on vellum, belonging to M. Émilien Cabuchet, the painter, and another on paper, consists of twenty-three octavo signatures, A to Y. The title-page reads; HORÆ IN LAUDEM BEATISSIM. VIRGINIS MARIÆ, AD USUM ROMANUM. (Here the Pot Cassé.) Parisiis, apud Oliverium Mallardum, sub signo Vasis Effracti, 1541. The last page, on which is printed a curious 'prescription against the plague,' ends thus: 'Excudebat Parisiis Oliverius Mallard, bibliopola regius, sub signo Vasis Effracti.'...

In this edition there are 16 different borders; each leaf has the same border on both recto and verso. There are also 16 of the engravings of the sixteenmo Hours of 1529, those not reproduced being nos. 1, 19 and 21 of that edition.

The word 'Rom.' printed on the first page of each signature leads me to believe that Mallard published at the same time, in the same format, an edition of Hours 'ad usum Parisianum,' but I have found no trace of such an edition.

After Olivier Mallard's death, which occurred, as I have said heretofore, in 1542, his typographical outfit seems to have been acquired by Thielman Kerver II (son of the first Thielman and Iolande Bonhomme, who lived, as did his father before him, on Rue Saint-Jacques); for he published in 1550 a book of Hours similar to that printed in 1541 by Mallard. It contains the same borders and the same drawings, but in a different arrangement. The borders have been lengthened by means of a most ungraceful addition to the side-pieces; as for the drawings in two parts, no pains has been taken to place the parts facing each other, so that their meaning would be uncertain if we had no other editions of the engravings. In fine, this book is very imperfect. It consists of twenty-two and a half signatures, A to Y. The title-page reads thus:--

HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM. (Here the mark of Thielman Kerver, with the Lorraine cross.) 'Parisiis, apud Thielmannum Kerver, vico sancti Jacobi, sub signo Cratis. M.D.L.' The book closes with the curious 'prescription' found in Olivier Mallard's edition of 1541, which is in these words: 'Approbatissima medicina contra pestem.--Recipe quantum potes de amaritudine mentis contra peccata commissa, cum vera cordis contritione, potius libram quam unciam. Hæc misceantur cum aqua lacrymarum, et facies vomitum per puram confessionem. Deinde sumas illud sacratiss. electuarium corporis Christi, et tutus eris a peste.'

The book is printed in red and black. I have seen a copy on paper at M. Potier's bookshop. There is an imperfect copy at the Bibliothèque Mazarine, and a perfect one at Sainte-Geneviève.

About the same time there was published a small duodecimo volume of four signatures, in French, with the same borders. It begins thus: 'Here follows the method of receiving the blessed sacrament devoutly.' It is like the book last-described except that it is printed in only one colour, and that it is a little longer and wider.[383] To lengthen the borders, sections have been added to them. It is most peculiar that a duodecimo volume should be larger than an octavo, but the fact is unquestionable: formats were already beginning to increase in size. Near the end of the book is a little treatise with this heading: 'Here follows a devout meditation as to the manner in which thou shouldst ordain and arrange the whole day,' etc. And after that: 'The life of Madame Sainte-Marguerite, with prayer to be said for women pregnant and in travail.'

This book is in the Bibliothèque Mazarine, in the same collection as the last. It contains four small engravings, of which only one seems to me to belong to Tory: it is the Christ on the Cross, which appears in the quarto Hours of 1542, now to be described.

1542

I. Hours, according to the Roman use, quarto, in Latin, published by Olivier Mallard in 1542. This rare volume, of which I know only one copy, belonging to M. Aerts, of Metz,[384] who himself kindly brought it to me at Paris, is a reproduction of the Hours printed by Tory in 1531; the type, however, is smaller. It consists of nineteen signatures of two quarto sheets _encartées_, signatures A to T. The title-page reads: HORAE IN LAUDEM BEATISS. VIRGINIS MARIÆ AD USUM ROMANUM. OFFICIUM TRIPLEX.--Parrhisiis, apud Oliverium Mallard, impressorem Regium. The rest is as in the edition of 1531. On the last page: 'Parrhisiis, ex officina Oliverii Mallard, Regii impressoris, Ad insigna Vasis Effracti. Anno salu. M. D. XLII. Mense Augusti.' Then come the two lines:--

'Effracti, lector, subeas insignia vasis, Egregios flores ut tibi habere queis.'

The table of Easter-Days, on the verso of the title-page, goes from 1542 to 1571; then comes the calendar, in which the order of the edition of 1531 has been followed in the arrangement of the borders, although the type, being smaller, would have permitted the more regular arrangement of the edition of 1524-25.

The book is printed in two colours, except signatures B, C, and D, which are in black only--a most unusual state of things. The engravings are the same as those of the edition of 1531, but the floriated letters are different. The Passion, which begins on folio B 3 verso, is enriched by the small Christ on the Cross which we find in the Hours of 1529, but without the four additional subjects (bees, etc.), which there accompany it.[385] It is probable that some accident happened to the plate, and that only the Christ was saved. We find also in this volume, at the foot of the border, the crowned C of Queen Claude of France, who had then been dead about fifteen years.

The Lorraine cross, which had disappeared from several of the larger engravings as early as the edition of 1531, appears on almost none of them in that of 1542. For example, it has been expunged from the Birth of Jesus and the Circumcision. The only ones which retain it are the Visitation, the Crucifixion, and the Descent of the Holy Ghost. It remains on the borders also.

Signature E begins with a leaf the recto of which is blank, while on the verso is the angel of the Annunciation, as in the edition of 1531. The large plate, the Triumph of the Virgin Mary, is also included in this edition.

* * * * *

II. HORE BEATE MARIE VIRGINIS AD USUM FRATRUM PREDICATORUM ORDINIS SANCTI DOMINICI: FIGURIS UTRIUSQUE TESTAMENTI AC PERVENUSTIS IMAGINIBUS ET IIS QUIDEM NON PAUCIS, PASSIM DECORATE, ATQUE OFFICIO CONCEPTIONS IMMACULE VIRGINIS ET OFFICIO SANCTI DOMINICI IN ALIIS ORARIIS ACTENUS IMPRESSUS NEQUAQUE INSERTIS AD AUCTE. (Here the figure of St. Dominic holding an open book in his left hand, and in the right a staff with the cross at the end. At his feet lies a dog. The Lorraine cross is at the left.) Venundantur Parisiis, in edibus vidue spectabilis viri Thielmanni Kerver, in vico divi Jacobi, sub signo Unicornis, ubi et impresse.--M.D. XLII.'

Octavo; signatures A to X, and _a_ to _c_: in all, 26 forms. The title-page engraving reappears on leaf R 4 verso. The others are not signed.

* * * * *

III. HEURES À L'USAGE DE TOUL: AU LONG SANS REQUERIR.

Octavo of 156 unpaged leaves. Calendar from 1541 to 1564. At the bottom of the last page are the words: 'Imprimé à Troyes chez Jean Lecoq.' Gothic type, printed in red and black.

The only copy of this book that I have seen is in the Bibliothèque Publique of Besançon. It has 30 engravings, including the printer's mark, which is on the title-page. The mark and three other engravings of the first series are signed with the Lorraine cross. A list of all the engravings follows:--

First series, .06 mm. by .043 mm.

1. Printer's mark (signed). 2. Jesus in the Garden of Olives (signed). 3. Annunciation of the Virgin. 4. The Visitation. 5. The Nativity. 6. Adoration of the Shepherds. 7. Adoration of the Magi. 8. The Presentation in the Temple. 9. Massacre of the Innocents. 10. Death of the Virgin (signed). 11. The Crucifix. 12. Pentecost. 13. Bathsheba at the Bath (signed). 14. Resurrection of Lazarus. 15. Vision of St. Gregory.

Second series, .034 mm. by .022 mm.

1. The Trinity. 2. Death piercing with a Spear the Great Men of Earth. 3. St. Anne. 4. All Saints. 5. Ecce Homo. 6. The Virgin. 7. The Beheading of St. John Baptist. 8. St. Sebastian. 9. St. Nicholas. 10. St. Martin. 11. St. Catherine. 12. St. Barbara. 13. Our Lady of Pity. 14. Virgo Gloriosa. 15. Our Lady of the Seven Sorrows.

IV. DYALOGUE INSTRUCTOIRE DES CHRESTIENS EN LA FOY, ESPERANCE ET AMOUR DE DIEU COMPOSÉ PAR FRERE PIERRE DORÉ, DOCTEUR EN THEOLOGIE.... Imprimé nouvellement par Denys Janot, demourant en la rue Neufve Nostre Dame, à l'enseigne Sainct Jehan Baptiste, pres Saincte Geneviefve des Ardens.

Sixteenmo, 1542. On the verso of the title-page is an engraving signed with the Lorraine cross. It represents the Virgin standing on a crescent, holding the child Jesus in her arms, and surrounded by a halo. (Bibliothèque Nationale.)

1543-1544

SOMMAIRE DE CHRONIQUES, CONTENANS LES VIES, GESTES ET CAS FORTUITZ DE TOUS LES EMPEREURS D'EUROPE, etc. By J. B. Egnatius, translated by G. Tory.[386]

There were several other editions of these chronicles. M. Hippolyte Boyer mentions one of 1541, in his 'Histoire des Imprimeurs et Libraires de Bourges' (8vo, Bourges, 1854), p. 27; Antoine du Verdier, another, of 1543, in his Bibliothèque françoise. This much is certain--that M. Renouvier owned a copy, with illustrations, dated 1544. It is an octavo, 'for sale by Charles l'Angelier, in the "grand'salle du Palais."' It contains 112 leaves (signatures A to O), plus 4 unnumbered leaves. The engravings are of two sorts: the first represents an emperor on horseback, carrying a battle-axe; there is no mark, but it is engraved with much delicacy and distinguished by the little cartouches of which Tory was so fond; this figure is reproduced several times. The others are busts of emperors, roughly engraved, which cannot be Tory's. It may be noted that the edition published by Tory in 1530 contains no engravings.

1545

DE DISSECTIONE PARTIUM CORPORIS HUMANI, etc. By Charles Estienne. Folio, Simon de Colines, 1545.

There are in this book about sixty large anatomical plates. Five are signed with the Lorraine cross--folios 149, 150, 151, 154, 155. The last four bear also the name of Jollat, with the dates 1530, 1531, 1532. Here is what M. Renouvier has to say on the subject: 'Simon de Colines ... employed another wood-engraver of some note, Mercure Jollat, to whom Papillon attributed almost all of our gothic books of Hours. He should be reckoned only among the engravers of an altogether modernized manner. His name is written Iollat, the first letter in the zodiacal sign of Mercury, followed by the dates 1530, 1531, and 1532, and accompanied by the Lorraine cross, on four plates of Charles Estienne's book on the dissection of the human body, representing the cadaver in its skin and the cadaver with the skin removed. The drawing of the figures has been attributed, even by Brulliot, to Woeiriot; but it is really the work of the surgeon Estienne Rivière, who is named on the title-page and in the preface as the painter of the bones, ligaments, and all the anatomical details. His initials, S. R., appear on a tablet hanging from the branches of a tree in the first plate. The engraving, which varies considerably, would seem to be the work of different hands, or, at least, to have come from an establishment which practised diverse styles and which sometimes put forth work done by apprentices. The workmanship of the plates with Jollat's mark seemed to me more monotonous--not unskilful although less picturesque. I am not now passing upon their scientific merit, but upon their picturesque interest simply.'[387]

The inscription of Jollat's name on plates marked with the Lorraine cross seems, at first glance, quite hard to explain, especially with the general opinion concerning the former of these artists, based on Papillon's statements. But as the story of Jollat's work as an engraver still remains to be told, I think I may safely say that he simply designed the plates that bear his name in Charles Estienne's book, and that they were engraved by Tory, or, at least, in his workshop. We have seen, in fact, that Tory was Simon de Colines' favourite engraver. To be sure, M. Renouvier seems to be of opinion that all the plates were designed by Estienne Rivière, whence he concludes that the engraving is by Jollat; but this is a mistaken opinion, based on a sentence in the preface. Rivière, who was a friend of Charles Estienne, may have designed the majority of the plates in Charles Estienne's book, and yet not have designed all of them. Those signed Jollat evidently belong to that artist, who seems to have designed a number of them before the work was placed in Rivière's hands.

I am confirmed in my belief that Jollat was the designer of the plates in question by the fact that his name is always accompanied by the dates, and that those dates are not those of the engraving, which I propose to prove. There are only five plates signed with Jollat's name and with the Lorraine cross in the Latin edition of Charles Estienne's book, published by Simon de Colines in 1545. In the following year the same printer issued a French edition of this work, under the title, 'La Dissection des parties du corps humain' (folio, 1546), in which we find two additional plates so marked and dated 1532. Why did not these plates appear in the first edition, if they were engraved by Jollat?

But here is another fact even more conclusive. In 1575 the bookseller Jacques Kerver published a volume of engravings without text, entitled 'Les Figures et portraicts des parties du corps humain' (folio), in which we find not only the seven engravings with the cross, of the edition of 1546, but three others, also bearing Jollat's mark and the Lorraine cross, and dated 1533. Evidently these plates appeared in some earlier edition, unknown to me,[388] for it was not Kerver who had them engraved; he simply made use of the woodcuts of which he had become the owner. But why did they not appear in the edition of 1546? That is a matter easily explained.

Charles Estienne informs us in the preface to his book that the printing was well advanced in 1539, but that it was interrupted by a lawsuit. We give his own words in the French edition of 1546: 'All of which things were well-nigh finished in the year 1539, and almost so far as the middle of the third book printed, when, by reason of a suit that was begun, we were forced (to your great discontent, methinks) to lay aside this work and to desist from the completion thereof; for so long that in the mean time it has been possible for many others to invent new ideas touching this matter, and to make use at their will of many sheets filled with our writings; for it was not possible for the printer so closely to safeguard his book, so long suppressed, that some persons curious to learn of novel things might not take away some sheets, still uncorrected, and send them into Germany.'

Now let us see what was the cause of this suit. Charles Estienne does not inform us, but it has been disclosed by M. Ambroise Didot, in his 'Essai sur la Gravure.' The famous Vésale had published at Venice, in 1538, through the printer B. Vitalis, a treatise on anatomy, embellished with numerous plates, which was copied in several places, and notably in Paris, despite the privilege granted by the Republic. Later, wishing to issue a new and improved edition of his book, Vésale applied to Oporin, professor of Greek, and printer at Basle, to whom he sent his plates, which had been engraved at Venice by Calcar, a pupil of Titian. In 1543 Oporin finished printing this new edition, for which the author had, no doubt, obtained privileges from various sovereigns, especially from the King of France. This seems to be proved by the suit instituted against Charles Estienne. That is why the latter could not publish, in his edition of 1545, all the plates which he had had made, and which appeared only at intervals as the date of Vésale's privilege was left behind. As we have seen, he gives it to be understood in his preface that it was he who was robbed in Germany.

As this is a favourable opportunity, I will say a few words concerning Jacques Kerver's publication, of which I have never seen any mention,[389] but which is of great interest to us. It is a folio volume, containing 61 large plates besides a considerable number of small ones. There is no other text than the explanations printed on the plates,[390] and a brief note to the reader, which begins thus: 'Friend reader, seeing that medicine is not at all essential to preserve the health and to banish all diseases, which often, on slight occasion, assail us, and that anatomy, or the description of the parts of the human body, mainly serves us therein, I have determined not to fail to exhibit them to you here.' We give a description of those plates in the book which are of interest to us.

_Plates which appear only in Kerver's volume._

1. The human body in its relation to the signs of the zodiac (folio A 2 verso). This bears Jollat's name, the date 1533, and the Lorraine cross.

2 and 3. The human body in its relation to the seven planets (folio A 3 recto and verso). These two bear the same marks as the preceding.

_Plates which appear in the edition of 1546._

4. Skeleton seen from the left side (folio 11 of the edition of 1546, and A 3 verso of that of 1575). Jollat's name, the Lorraine cross, no date.

5. Skeleton seen from the right side (folio 11, 1546, folio A 5 verso, 1575). Jollat's name, the date 1532, and the Lorraine cross.

_Plates which appear in all three editions._

6. Man flayed, front view (folio 149, 1545; folio 151, 1546; folio B 2 recto, 1575). The cross alone.

7. Man flayed, right side (folio 150, 1545; folio 152, 1546; folio B 2 verso, 1575). Jollat's name, the date 1532, and the Lorraine cross.

8. Man flayed, rear view (folio 151, 1545; folio 153, 1546; folio B 3 recto, 1575). The same marks as in the last case.

9. Man in his skin, front view (folio 154, 1545; folio 160, 1546; folio B 3 verso, 1575). The same marks as in the last case.

10. Man in his skin, rear view (folio 155, 1545; folio 161, 1546; folio B 5 recto, 1575). The same marks, with the date 1531.

Many others of the plates may belong to Tory, but as they are not marked, I shall not speak of them here.

* * * * *

Something analogous to what I have just described took place with reference to the engravings of Tory's Hours. Having become the property of the Kervers, as we have seen,[391] they were used by them for a long while. We shall mention later the octavo Hours published by Thielman II in 1550, 1552, and 1556, in which he utilized the woodcuts of the edition published by Olivier Mallard in 1541. His son Jacques did better than that: in 1574 he published a large octavo edition of the Hours of the Virgin, in which he used the woodcuts of the quarto editions issued by Tory himself in 1524 and 1527. As the crosses were removed in almost every instance, one might have some right to deny their source, were not the books published by Tory a half century before, at our hand to demonstrate it. Jacques Kerver's book being rare, and of a date subsequent to the period covered by my work, it seems to me that it may be well to give a bibliographical description of it, from the copy owned by M. Chedeau, which M. Potier, bookseller, has kindly furnished me.

'Officium beatæ Mariæ Virginis nuper reformatum et Pii V, pont. max., jussu editum.--Apud Jacobum Kerver, via Jacobea, sub insigni Unicornis.--1574.' Large octavo, with illustrations from the quarto edition published by Tory in 1524-1525, surrounded by borders taken from Tory's quarto edition of 1527, but reduced in size, mutilated, transposed, etc.

Here is a list of the plates:--

1. The Annunciation (two plates). 2. The Salutation. 3. The Nativity. 4. The Adoration of the Shepherds. 5. The Adoration of the Magi. 6. The Circumcision. 7. The Flight into Egypt. 8. The Coronation of the Virgin. These eight plates are repeated three times. Then come:-- 9. The Triumph of Death. 10. David's Penance. 11. Jesus on the Cross. 12. Pentecost.

Number 8 is taken from the quarto Hours of 1527; but all the others are in the Hours of 1524-1525. Numbers 2 and 12 still bear the Lorraine cross.

There is no doubt in my mind that the Kervers printed also the quarto Hours (1531) which I mentioned on page 201, and in which we find the borders of the Hours of 1524-1525, and the porticoes of the opuscula of 1530-1531. The plates are not signed and cannot be Tory's, but as a list of them may assist in the discovery of this edition, I will mention here those which are at the Bibliothèque Nationale:--

1. The Annunciation. 2. The Conception. 3. The Visitation. 4. The Nativity. 5. The Circumcision. 6. The Resurrection. 7. The Descent of the Holy Ghost. 8. All Saints. 9. The Trinity.

1547

We place under this date three books of Hours which introduce us to certain engravings signed with the Lorraine cross accompanied by initials. 1547 is not the exact date of the engravings to which we refer, for we shall see that they are of earlier execution; but their first appearance is so uncertain that we are forced to fall back upon the definite date supplied by the books in question.

* * * * *

I. HOURS ACCORDING TO THE USE OF TOUL.

Octavo. On the first page: 'The present hours according to the use of Tou [_sic_], in full, _sans requerir_, newly printed at Paris.' (Here the mark of François Regnault.) 'For sale in Paris, Rue Saint Jacques, at the sign of the Elephant, opposite the Mathurins, by Françoys Regnault's widow.'

On the verso is a table of Easter-Days for thirteen years, beginning in 1547. Next comes a calendar, with engravings and verses (some in Latin, some in French), the 'Jours moralisez,' divers moral and religious axioms, in verse and in prose, and, lastly, the four Gospels of the Passion, in Latin. All these form the first part, with a special series of signatures, _aa_ to _ee_. It is more than likely that this first part, which has no application to any particular diocese, is printed, in the same form, in the Hours which Veuve Regnault probably printed for other churches about the same time. In signatures _cc_ and _ee_ there is an engraving representing Jesus on the Cross, signed with the letters I, L, B and the Lorraine cross, which appears in several other publications of the same period.

The second part of the book comprises the Hours properly so-called, according to the ritual of the church of Toul. This part is made up of eight signatures, _a_ to _h_, the word _Tou_ being printed on the first page of each sheet.

The volume contains a hundred leaves in all. In addition to the bookseller's mark and the engraving signed with the Lorraine cross, there are 55 large woodcuts, most of which are signed with the initials I, M (without the cross), a few small engravings, and a large number of letters in grisaille, but no borders.

With a copy of these Hours, which I have seen, was bound the following work:--

'The fifteen effusions of the blood of our Saviour and Redeemer Jesus Christ, by Barbe Regnault, Rue Saint Jacques, at the sign of the Elephant, opposite the Mathurins.' Eight leaves in two octavo folds, enriched with fifteen pretty woodcuts, interspersed through the text, and marked, like the one mentioned above, which is one of them, with the letters I, L, B and the Lorraine cross.

This little volume is undated, but it is known that Barbe Regnault succeeded her mother, Madeleine Boursette, widow of François Regnault, who was carrying on the business as late as 1555. So that the engravings with the initials I, L, B might be of later date than that; but we have seen that one of them had already appeared in the first part of the book; therefore they are of earlier date than 1547.

Here is a list of these engravings, which are the same ones mentioned by M. Robert-Dumesnil under date of 1599:--

1. The Circumcision. 2. Jesus in the Garden of Olives. 3. The Apprehension of Jesus. 4. Jesus Beaten with Rods. 5. Jesus before Pontius Pilate. 6. Jesus King of the Jews. 7. Jesus Bearing his Cross. 8. Jesus Stripped of his Clothing. 9. Jesus on the Cross. 10. Same subject (without initials). 11. Same subject (again without initials). 12. Same subject (with initials and without the cross). 13. Erection of the Cross. 14. Jesus between the two Thieves. 15. Same subject (without cross or initials).

All of these are 4½ centimetres high and 5 wide.

The 'Fifteen Effusions' was reprinted frequently during the sixteenth century, in different formats and in different type, but with the same engravings, and almost always without date, because it was added to other books. I have, however, seen one copy in large type, dated 1584 (Bibliothèque Nationale). These same engravings appear, with many others, in a work entitled 'Abrégé des Méditations de la vie de Jésus-Christ'; octavo, Paris, Guillaume Chaudière, 1599.

* * * * *

II. HORE BEATE MARIE VIRGINIS AD USUM PARISIENSEM, TOTALITER AD LONGUM, CUM MULTIS ORATIONIBUS ET HISTORIIS, NOVITER IMPRESSE ET EMENDATE. (Here the Triumph of the Virgin, an old engraving with criblé background, with legends in gothic type, which figures in all the Hours of this period.) 'On les vend a Paris, en la rue Sainct Jacques, par la veufve Jehan de Brie, a l'enseigne de la Lymace, pres Sainct Yves.'

On the verso of the title, 'a calendar for XI years,' beginning with 1548. Each month has its engraving, and the usual illustration is placed within a circle; they are not signed.

Printed in red and black, in large gothic type, the work consists of 8 preliminary leaves and 16 folios of text, signatures A to Q, with the letters _Pa_ (Paris). The folios do not begin until signature B, and run without a break to the end of signature Q. On the last page of this signature are these words: 'These present hours according to the use of Paris, with several noble eulogies of Our Lady, have been printed by Veufve Jehan de Brye [_sic_], living on rue sainct Jacques, at the sign of the Snail, near Sainct Yves.--M. D. XLVIII.'

Then follow 12 leaves of appendix, ending with a figure of the Virgin, over which are the words 'Nostre Dame de Lorette,' in roman capitals. At the foot of the page: 'Ave Sanctissima Maria,' etc. (5 lines in gothic type).

This curious volume is preserved in the Bibliothèque Nationale.

Besides the 12 small engravings of the calendar, there are several other small subjects, also unsigned, and 13 large ones with the letters L, R, and the double cross. These latter, which measure 10 centimetres in height and 7 in width, are as follows:--

1. St. John writing his Gospel.

2. The Annunciation.

3. The Visitation.

4. The Crucifixion.

5. The Descent of the Holy Ghost upon the Apostles (with the initials, but without the cross).

6. The Birth of Jesus.

7. The Annunciation to the Shepherds.

8. The Adoration of the Magi.

9. The Circumcision.

10. The Coronation of the Virgin.

11. The Penance of David. He is saying to the Father Eternal these words, which are written in a scroll: 'I who have sinned.'[392]

12. The Last Judgement.[393]

13. Notre-Dame de Lorette.

As I have said heretofore (supra, p. 149), the first twelve of these are improved copies of other, unsigned engravings, belonging to Thielman Kerver I, which appear in many books published by him or by his widow, Iolande Bonhomme, at least as early as 1522,[394] and which we find again in the Paris missal published by their son Jacques in 1559.

M. Brunet[395] suggests a very plausible theory, to the effect that the engravings signed L. R. were executed by Louis Royer, who was in fact the first to use them, in a book of Hours entitled: 'Horæ beatæ Mariæ ad usum Rom.'; duodecimo, gothic type, with the mark of Jean de Brie, and the following words at the foot: 'Parisiis, impressum in vico Jacobi per Claudium Chevallon, impensis Ludovici Royer, librarii Parisiensis, in eodem vico commorante, ad insigne vulgariter dictum la Lymace.'

The book is not dated; but we see, on the one hand, that it was printed by Claude Chevallon, who died in 1542, and, on the other hand, that Louis Royer, at whose expense it was printed, had succeeded Jean de Brie at the sign of the Snail. Now, the latter died about 1522; so that it was between 1522 and 1542 that this book saw the light, and that the engravings with the letters L. R. first appeared.

We know nothing of this Louis Royer, whom Lottin does not mention. Nor do we know any more of Jean de Brie's widow, who seems to have succeeded Louis Royer. And, as if everything in this matter were fated to remain obscure, we find other octavo Hours according to the use of Rome, in French gothic type, undated, but with a calendar from 1568 to 1578, printed with the same woodcuts, and for sale 'at Paris, on Rue Saint Jacques, at the sign of the Snail'; with no other details. In the book we have described we find also:--

1. The Virgin and the Child Jesus (signed with the letters L. R. and the cross).

2. Jesus betrayed by Judas (same marks).

3. Jesus bearing his Cross (same marks).

4. Jesus on the Cross (same marks).

5. Jesus in the Tomb (same marks).

6. The Resurrection (same marks).

7. The Flight into Egypt (same marks).

8. Job (unsigned).

9. Jesus at Emmaüs (unsigned).

* * * * *

III. HEURES EN FRANÇOYS A L'USAIGE DE ROME, NOUVELLEMENT IMPRIMÉES À PARIS POUR GUILLAUME MERLIN. M. D. XLVIII.

Octavo, gothic type; printed in red and black. This book, which I saw at the sale of M. Chedeau's library, is illustrated with engravings, most of them signed with the Lorraine cross, to which the initials G. M. are sometimes added. They are 8 centimetres high by 55 millimetres wide. The list follows:--

1. Saint John writing his Gospel (unsigned).

2. The Annunciation (unsigned).

3. The Visitation (signed with the Lorraine cross and the initials G. M.).

4. The Nativity (signed with the Lorraine cross only).

5. The Annunciation to the Shepherds (the cross only).

6. The Adoration of the Magi (the cross only).

7. The Circumcision (the cross only).

8. The Flight into Egypt (unsigned).

9. The Coronation of the Virgin (the cross only).

10. The Descent of the Holy Ghost upon the Apostles (signed with the letters G. M. and the Lorraine cross in a small circle).

11. Jesus on the Cross (the cross only).

12. Bathsheba (the cross only).

13. Job (the cross only).

We think that we can safely attribute the designing of these engravings to Guillaume Merlin, the publisher of this book of Hours. They must, at all events, be much earlier than 1548, for we have already seen one of them (no. 10) in a book of 1541 (supra, p. 217).

Guillaume Merlin also published about 1559 a book of Hours embellished with engravings signed with the Lorraine cross. It is entitled: 'Heures à l'usage de Romme' [_sic_], and is undated, but has a calendar from 1559 to 1570. It is a small octavo, printed in gothic characters, in red and black. At the end are the words: 'Printed by Jean Bridier.'

We find in this volume, which was in M. Chedeau's library, 12 engravings representing the twelve months of the year. Three of them are signed with the Lorraine cross, namely, January, May and December. The others have no mark. They are 10 centimetres high by 7 wide. On folio 62 verso is the Virgin holding the Child Jesus. She is within an aureole of flames, with her feet on a crescent.

1548

THEODORI BEZÆ VEZELII POEMATA. Paris, Conrad Bade, 1548.

Octavo of 100 pages printed in italic type. This is the first edition of this book and contains a portrait of Théodore de Bèze signed with the Lorraine cross. It is the oldest portrait that we know. Below it are the following verses, alluding to a laurel wreath which Théodore has in his hand:--

Vos docti docta præcingite tempora lauro: Mi satis est illam uel tetigisse manu.

The inscription 'An. 29,' at the top of the portrait, indicates that it was engraved in the same year that the book was printed; for Théodore de Bèze, born at Vezelay June 24, 1519, completed his twenty-ninth year in 1548, the date of the dedicatory epistle of this book, which the author addressed to his teacher, Melchior Volmar. 'Vale. Lutetiæ, VII. cal. Iul. qui dies est mihi natalis.' The mark of Conrad Bade, also signed with the Lorraine cross, is on the first page of this book, which was finished on July 15, 1548. 'Lutetiæ, Roberto Stephano, regio typographo, et sibi, Conradus Badius excudebat, idibus Julii M. D. XLVIII.' It was shortly after, in this same year, that Théodore de Bèze, on recovering from a severe illness, withdrew to Geneva, and abjured 'the papacy, as he had sworn to God to do at the age of sixteen.' The portrait has been reproduced on copper; there is a copy of the reproduction in the collection of Tory's work at the Bibliothèque Nationale.

1549

I. PAULI IOVII NOVOCOMENSIS VITÆ DUODECIM VICECOMITUM MEDIOLANIPRINCIPUM.--EX BIBLIOTHECA REGIA.--LUTETIÆ. EX OFFICINA ROB. STEPHANI, TYPOGRAPHI REGII. M. D. XLIX.

Quarto of 199 pages. Paris, 1549. This book is a faithful copy of the manuscript of the same work, preserved in the Bibliothèque Nationale.[396] It is embellished with beautiful letters in grisaille with criblé background, and with portraits of the ten dukes of Milan who figure in the manuscript. These portraits, all marked with the Lorraine cross, are faithful reproductions of those in the manuscript, but on a smaller scale. Following is a list of the portraits, taken by Paulus Jovius from originals which existed in his day and of which he gives, in each case, the place where it may be found:--

1. Otho archiepiscopus. 2. Matthæus magnus. 3. Galeacius primus. 4. Actius. 5. Luchinus. 6. Joannes archiepiscopus. 7. Galeacius secundus. 8. Barnabas. 9. Joannes Galeacius primus. 10. Philippus.

There is a French translation of this book, printed in 1552 by Charles Estienne (Robert was then in exile at Geneva), with the same plates. As for the Latin version, it was reprinted several times, in different places, with engravings on copper copied from those of Robert Estienne's edition.

* * * * *

II. ENTRÉE DE HENRI II À PARIS.

Quarto; Paris, Jacques Roffet, called 'Le Faulcheur,' 1549.

This book, of 38 leaves, consists of two parts: the 'Entrée du roi,' of 28 leaves, and the 'Entrée de la reine,' in which the pagination is repeated, but with different signatures. The privilege, dated Chantilly the last day of March, 1548 (1549 new style), grants to Roffet the sole right to have printed and to offer for sale during one year 'the treatise _which is to be written_ concerning the recent, joyful entrée,' etc.

There were two editions of this book, or, at all events, there are some copies with additions to the second part--after folio 34. There are also copies with the imprint of Jean Dallier. A list of the engravings follows:

1. A portico, above which we see Hercules holding, bound together by the ears (by means of a chain issuing from his mouth and representing eloquence), a wood-chopper, a soldier, a priest, and a noble (folio 4). I can find no mark on this piece, but it is a reproduction of the Gallic Hercules of 'Champ fleury.'

2. A fountain (folio 5 verso).

3. A triumphal arch surmounted by the arms of France (folio 9).

4. An obelisk on a rhinoceros (folio 11). The cross is under the left foot of the rhinoceros.

5. A peristyle with pillars (folio 13).

6. A triumphal arch surmounted by three nude men, one of whom holds a standard (folio 15).

7. A large vaulted hall, on the ceiling of which are H's and D's (folio 16). The cross is in a portico at the left.

8. A mounted man, armed (folio 19). The cross is in the horse's harness, on the breastplate, a little below his mouth.

9. A triumphal arch, with two pillars (one on each side) surmounted by a man on horseback (folio 38). The cross is on the left-hand pillar.

10. A portico with two openings, separated by a pillar against which rests the statue of a woman standing on books (folio 39 verso).

11. A large plate, representing the façade of a palace with three porticos (folio 40).

Of these eleven plates only four are signed; but all of them must have come from Tory's workshop, for the style is the same. The absence of the signature may be explained by the haste with which the engravings were executed in order that they might appear at the opportune moment.

I cannot refrain from quoting M. Renouvier's remarks on the engravings in this book, which, for lack of information, he attributed to Jean Cousin.

'I will, however, mention in this place the "Entrée de Henri II à Paris" in 1549, because it is the chef-d'œuvre of French wood-engraving, and because I know of no one to whom it can with more reason be attributed than to the Sénonais master.[397] If he did not work for the court, he may very well have been employed upon works for the city. Those which were executed to commemorate the coronation of Queen Catherine de Medici are of a manner of composition and a style that belong only to him. The Gallic Hercules, made in the likeness of the late King François I, with the four estates of the realm chained to his mouth; the fountain surmounted by statues of the Seine, the Marne, and Good Fortune; the triumphal arch bearing a Typhis, whose face strongly resembles that of the "rex triumphans"; and, lastly, the figure of Lutetia nova Pandora "clad as a nymph, with her hair falling over her shoulders and drawn about her face, kneeling on one knee with wondrous grace"; and all the other details which the artist painted, as happening in the streets through which the procession passed, and which he included by way of narrative, are in the refined manner of the French school. The drawing is pure and full of delicacy, and the engraving so skilfully handled that one cannot believe it to be by a different hand. It would seem that none but a sculptor could, within such narrow limits, have set in relief those interesting faces, designed those graceful figures, and arranged those draperies; and that sculptor--who could it have been if not the author of the mausoleum of Admiral Chabot, the French artist who best represented the two sides of art,--detail and strength, compression and grandeur, gothicism and the Renaissance?'[398]

While agreeing with M. Renouvier that these plates were drawn by Jean Cousin, we may well, it seems to me, attribute the engraving of them to Tory's workshop.

* * * * *

III. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, AD USUM ROMANUM. (Here a small mark of the printer Chaudière, representing Time, with this device, printed from type, occupying three sides of the engraving: 'Hanc aciem | sola | retvndit virtvs.') 'Parisiis, ex officina Reginaldi Calderii et Claudii ejus filii.' 1549.

Large quarto, divided into signatures of two sheets, _a_ to _y_ (the _k_, probably because that letter was lacking in the font used, is represented by an _l_ and a _z_ joined together), or 22 signatures of 8 leaves, making 176 leaves; printed in red and black.

This volume corresponds in all respects with the one issued by Simon de Colines in 1543[399]; but the Chaudières (Simon de Colines's successors) have removed a French inscription which appeared below the third plate (the Angelic Salutation) in the edition of 1543; and they have removed all the dates inscribed in the borders of that edition. These dates are: 1536, which appeared in large figures in a cartouche at the foot of the border of folio _b_ 4 of the edition of 1543; 1537, in a cartouche at the foot of the sixth plate (the Annunciation to the Shepherds); and 1539, in two small cartouches at the top of the border of folio _a_ 2; so that all the cartouches are empty in this edition of 1549.

I know of only two copies of this edition, one belonging to M. Kühnholtz, the learned librarian of the Faculty of Medicine of Montpellier, the other offered for sale at Claudin's bookshop in 1860. This last copy, in a state of perfect preservation, is still in its original binding, with S's _barré_, and small tortoises (_tortues_) in wreaths of olive. These are the allusive[400] arms of the Tourteron family near Attigny. There is also, on one of the fly-leaves at the front of the book, a large tortoise coloured from life, on a red ground, in a green olive wreath; and at the four corners a monogram of an I and two G's, the initials of the original owner's baptismal names. The volume afterwards belonged to J.-F. Corel du Clos, priest and canon, who wrote his name on the title-page and pasted his arms, engraved on copper, in an empty space at the foot of folio _h_ 3 verso. Du Clos seems to have parted with it to the Cordeliers of Rheims, in whose library it remained doubtless until the Revolution.

* * * * *

IV. PREMIER VOLUME DES ANTIQUITÉS DE LA GAULE BELGIQUE, ROYAUME DE FRANCE, AUSTRASIE ET LORRAINE ... PAR M. RICHARD DE WASSEBOURG, ARCHIDIACRE DE L'ÉGLISE DE VERDUN ... ACHEVÉ D'IMPRIMER LE 13 NOVEMBRE 1549.

A large folio of more than 600 leaves, printed at Paris by François Girault. The privilege, in the name of Sertenas, bookseller, is dated October 1, 1549. It was issued evidently while the printing was in progress, for it is impossible that the volume was made in a month and a half.

On the first page is the fine frontispiece of the Dream of Poliphilus, above which is the mark of Jacques Kerver. There is but one way to explain this fact, and that is to assume that Kerver was the printer of the book. It may be that there are copies in his name. In that case he may have furnished the border, which was left in all the copies.

On the second leaf is the representation of the 'Ymage de nostre Dame de Verdun,' with the Lorraine cross. The Virgin, seated, has in her right hand a flower, and in the left the Child Jesus, holding in his left hand the globe surmounted by a cross. The Virgin's feet rest on a winged dragon. Below her is a man kneeling, with his coat-of-arms before him. Presumably it is the author of the book.

After folio cccli, which concludes the first volume, comes the second volume, the pagination of which follows on. The title-page of this volume, while it is set in the border of the Poliphilus, differs slightly from that of the first. It reads thus: 'Second volume des antiquités de la Gaule Belgique et de plusieurs principautez contenues en icelle, extraites soubs les vies des evesques de Verdun, par M. Richard de Wassebourg.... On les vend à Paris, en la gallerie du Palais, par Vincent Sertenas, libraire audit lieu. Et aussi, se vend en la cité de Verdun.' On the verso is the engraving described above. The Lorraine cross is under the dragon's tail.

* * * * *

V. GERARD D'EUPHRATE.

Folio, roman type, Paris, Estienne Groulleau, 1549. There are copies also with the imprint of Longis, and others with that of Sertenas.

This volume contains numerous engravings, large and small; but only 31 of them are different, many being repeated once, twice, or thrice. Three are signed with the Lorraine cross, as follows:--

Folios 5 verso, 64 verso, 89 verso, and 183. Vessels manned by soldiers. A woman stands near the shield of him who seems to be in command.[401]

Folio 46. A knight armed cap-à-pie standing in the recess of a portico. His right foot is hidden by a sort of altar whereon are the names of Madanil, Bruneo, Agradiis, and Amadis.[402]

Folio 48. Bird's-eye view of a château which has been besieged, at whose gate stands a warrior accompanied by a horse and a dog; he is parleying with the keeper of the gate, who stands at the top of the entrance tower. This last plate is a superb folio.

1550

* * * * *

I. HORÆ IN LAUDEM, etc.

Hours of the Virgin according to the use of Rome, in Greek and Latin.

Small sixteenmo, Paris, Jean de Roigny, 1550. Printed in red and black. One of the engravings, on leaf 113, representing the Sacrifice of David, is signed with the Lorraine cross. The others are not signed, but are absolutely in the same style; they are: the Annunciation, folio 38 (repeated on 105), and the Resurrection of Lazarus, folio 133.[3]

* * * * *

II. BREVIARIUM AD RITUM DIOCESIS EDUENSIS.--Parisiis, apud Iolandam Bonhomme, viduam Thielmani Kerver, in via Jacobea, sub Unicorni.

Small octavo, 1550. On the first page are the arms of Cardinal Hippolyte d'Este, Bishop of Autun, signed with the Lorraine cross.[403]

* * * * *

III. L'HISTOIRE DE PRIMALEON DE GRECE, etc.

Translated by Vernassal. Folio, Paris, 1550.

This fine volume, printed by Pasquier Letellier for the bookseller Vincent Sertenas, for whom Tory had engraved a mark, contains fifty engravings in the text. A single one is signed with the Lorraine cross: it is found on folio 137 verso, and represents a lion fawning upon a woman who sits beside a fountain.

There are copies of this book in the names of other booksellers--Étienne Groulleau, Jean Longis, etc.; but the privilege is in the name of Sertenas.[404] At the end of the volume is a note to the reader by Letellier. 'Dear reader,' he says, 'if you have noticed, on reading this book, the common orthography changed in some words, even as to the double letter, which is not pronounced according to the true French method, think not that that is of my doing, but that it accords with the earnest recommendation of the author.'

* * * * *

IV. MISSALE SECUNDUM USUM CELEBRIS MONASTERII CLUNIACENSIS, etc. Here the vignette described below, followed by this imprint: 'Prostat Parisiis, apud Iolandam Bonhomme, in via Jacobea, sub Unicorni, ubi et impressum est.--Anno D. M. CCCCC. L.'

This missal is embellished, on the title-page, with a cut signed with the Lorraine cross, and representing Saint Peter and Saint Paul, patron saints of the Abbey of Cluny. This cut appears in other parts of the book, where we find also the two large cuts hitherto described (page 214) as included in the Missal of Paris, of 1539, published by order of Jean de Bellay. We find also a Saint John Baptist, with the Paschal Lamb under his left arm, and pointing to it with his right hand. This cut, which is signed in two different places, is on folio 49 of the second part. It is of quarto size.

The book is in two parts, paged separately. The two large engravings are on folios 116 and 117 of the first part. At the end of the Missal proper, which is followed by a few other leaves, are these words: 'Ex officina chalcographica matrone clarissime Iolande Bonhomme, vidue industrii viri Thielmanni Kerver, Parisiis, in via Jacobea, sub Unicorni, anno D. millesimo quingentesimo quinquagesimo, idib. septembris.'

There are several copies of this book in the Bibliothèque Nationale. In two of them the miniaturists have substituted for the date 1538, printed on one of the large cuts, the dates on which they coloured it--1559 and 1567, respectively. It is well to call attention to such details as these, which may give rise to mistakes.

We also find in the Cluny Missal the unsigned drawings to which I have previously referred[405] and which are in the Paris Missals of 1539 and 1559.

* * * * *

V. HEURES DE NOSTRE DAME À L'USAIGE DE ROMME [_sic_], EN LATIN ET EN FRANÇOYS, NOUVELLEMENT IMPRIMÉES À PARIS. (Here a vignette representing the Virgin under a portico; at the foot the letters F. R., initials of François Regnault, deceased husband of Madeleine Boursette.) 'A Paris, par Magdaleine Boursette, à l'enseigne de l'Elephant, à la rue Sainct Jacques.'

On the verso of the title-page a table of Easter-Days from 1550 to 1566.

Sixteenmo, in signatures of 8 leaves. The work is in two parts; the first has 168 numbered leaves, signatures A to X; the second part has only 32 leaves, signatures A to D. Roman type, double columns, printed in red and black. On the recto of folio 168 of the first part, at the foot, are these words: 'Parisiis excudebat Stephanus Mesviere in ædibus Vindocimis, ex adverso collegii Becodiani.--1550.' And on the last leaf of the second part: 'Cy finent ces presentes Heures a l'usaige de Romme, en latin et en françoys, nouvellement imprimées à Paris, par Estienne Mesviere, demourant a l'hostel de Vendosmes, devant le college de Boncourd.--M. D. L.'

This precious book, of which I know of but one copy, owned by M. Silvestre, author of 'Les Marques Typographiques,' contains many engravings. The principal ones are:

Folio 5 recto, Saint John writing his Gospel (signed). 12 recto, Jesus at prayer in the Garden of Olives. 33 recto, The Angelic Salutation (signed). 47 verso, The Visitation (signed). 56 verso, The Nativity of Jesus (signed). 60 recto, The Annunciation to the Shepherds (signed). 63 verso, The Adoration of the Magi (signed). 67 recto, The Presentation in the Temple (signed). 70 verso, The Flight into Egypt (signed). 77 recto, The Coronation of the Virgin. 89 recto, Jesus on the Cross. 93 verso, The Descent of the Holy Ghost (signed). 97 verso, The Penance of David (signed). 109 verso, Job on the Dunghill. 168 verso, Death (signed).

* * * * *

VI. HORÆ IN LAUDEM BEATISSIME VIRGINIS MARIE AD USUM ROMANUM.--Parisiis, apud Thielmannum Kerver. M. D. L.

On the verso of the last leaf: 'Excudebat Parisiis, Thielmannus Kerver, in vico sancti Iacobi, sub signo Cratis.--M. D. L.'

Small octavo of 172 unnumbered leaves; signatures A to X of 8 leaves and Y of 4. Roman type, printed in red and black, with the small borders with birds, etc., used by Mallard in his Hours of 1541.[406]

1551

I. DE SACRIS ECCLESIÆ MINISTERIIS AC BEN[E]FICIIS LIBRI VIII ... AUTHORE FRANCISCO DUARENO JURECONSULTO ET ORDINARIO JURIS CIVILIS DOCTORE IN CIVITATE BITURIG[I].--Lutetiæ, ex typographia Matthæi Davidis, via Amygdalina, ad Veritatis insigne.--1551.

Quarto of 338 leaves, plus one unnumbered leaf, on which are the words: 'Parisiis, excudebat Matthæus David, prid. calend. nov. [October 31] 1551.

On the title-page is David's mark, with the Lorraine cross. On the verso, a portrait of Le Duaren, in the shape of a medallion, also signed with the Lorraine cross. Encircling it, the legend: 'francisc. dvarenvs. jvrisc.[407]

The work opens with an epistle to Marguerite, Duchesse de Berry, and sister of François I. This letter, dated Paris, the Ides of June, 1550, is more properly a dedication, for in it Le Duaren mentions the death of Marguerite, which took place in 1549. He tells us, further, in the title of this epistle, that it was written before his return to Bourges, which he had been obliged to leave in 1547, as the result of a love-affair ('antequam Lutetia Parisiorum Avaricum Biturigum migrasset').[408]

* * * * *

II. CICERO'S WORKS (in Latin), published by Charles Estienne, from 1551 to 1555, in four folio volumes, usually bound in two.

This important work is embellished with a frieze engraved for Robert Estienne, and signed with the Lorraine cross,--a frieze which appears in the second volume of the works of Eusebius of 1544.[409] We also find therein several floriated letters signed with the Lorraine cross.[410] These are the E, the O, and the S of the medium alphabet,--for there are three alphabets of different sizes, all three formed by Renaissance arabesques. The largest is the one used in the folio Eusebius of 1544, which, consequently, was engraved for Robert Estienne; but it has no signature. The medium alphabet was, doubtless, engraved for Charles Estienne in this same year 1551, in which he began to conduct a printing-office. I cannot say whether any other letters of this medium alphabet bore the Lorraine cross, for they do not all appear in the book, but I am sure that the G has none. Of course, after Tory died, the artists employed in the establishment carried on by his widow had no reason to select the G rather than another letter.

I give some details concerning this valuable edition, of which M. Didot owned a copy annotated by Henri Estienne. The text of the first volume, printed in 1551, as stated in an imprint at the end (dated the 3d of the Nones of September), exhibits one of the letters mentioned above--the S (on folios 56 and 298). This volume received later a large title-page dated 1555, and a dedication, to the Cardinal de Lorraine, also dated 1555 (the 6th of the Kalends of March), on which we find the frieze of the Eusebius of 1544, signed, and bearing on a medallion Fame distributing wreaths.[411] The text of the second volume, also of 1551, as I discovered from an incomplete copy in the library at Montbrison (it has no final imprint, but on the title-page some one has added III by hand to the original numerals M. D. LI, so that it might correspond with the other copies), contains the three floriated letters signed with the Lorraine cross (folios 47, 122, 230, 313, 388, 398); we find also, on the title-page, dated 1554, Charles Estienne's small mark described later.[412] The text of the third volume was probably printed in 1552, but it has no final imprint. The title-page is dated 1555; it has the small mark with the Lorraine cross. The fourth bears on the title-page the date 1554, but it was not finished until 1555, as is shown by the final imprint (3d of the Kalends of March, 1555); the vignette of the title-page is unlike that in the second and third volumes, although of the same size, and has not the cross. The work did not appear until 1555, as is shown by the date on the title-page of the first volume, on which there is another larger mark, also without the cross.[413]

1552

I. HEURES PARIS [_sic_], CONTENANT PLUSIEURS ORAISONS DEVOTES, EN FRANÇOIS ET EN LATIN ET CONFESSION GENERALE. (Here the mark of Thielman Kerver, with the Lorraine cross.) Imprimé à Paris par Thielman Kerver, demourant rue Sainct Jaques, à l'enseigne du Gril.--1552.

Duodecimo, red and black; signatures A to O. Tory's small border with decorations of birds. Plates of the Hours of 1541.[414]

* * * * *

II. TESTAMENTUM NOVUM.--ADDITIS PICTURIS IN EVANGELIA ET APOCALYPSIM, QUIBUS MIRACULA ET VISIONES ELEGANTISSIME EXPRIMUNTUR. (Mark of Madeleine Boursette, widow of François Regnault; Silvestre, no. 396.) 'Parisiis. Apud viduam Francisci Regnault, via Jacobæa.--1552.'

At the end of the volume: 'Parisiis. Excudebat Stephanus Mesviere, in ædibus Vindocimis, ex adverso collegii Becodiani.'--1552.

Thirty-twomo; 45 signatures (_a_ to _z_, A to Y) of eight leaves each, or 360 leaves in all. Only the first 350 are numbered; the last 10, containing the index, are without folios. Printed in very small roman type.

This book contains 120 engravings inserted in the text, and serving thus 'to illustrate,' as we should say to-day, or 'to express,' as the publisher says on the title-page, the Gospels and the Apocalypse. Those relating to the Apocalypse, 22 in number, are of earlier date than the others, and by another hand. Of those which illustrate the Gospels, many are signed with the double cross. Although several of them relate to subjects previously treated in the octavo Hours of 1527 and the sixteenmo Hours of 1529, the engravings, while they are of nearly the same size, are different none the less. A list of their titles follows:--

Folio 2 recto, St. Matthew writing his Gospel. 3 verso, Adoration of the Magi. 4 verso, The Flight into Egypt (signed). 5 recto, Massacre of the Innocents (signed). 5 verso, Baptism of Jesus. 6 verso, Jesus carried up into a Mountain (signed). 8 recto, Jesus bids Simon and Andrew to follow Him (signed). 12 recto, Jesus curing the Paralytic. 13 verso, Jesus expelling the Money-changers from the Temple (signed). 16 verso, St. John in Prison (signed). 18 recto, The Apostles pardoned by Jesus. 20 recto, Parable of the Sower. 26 verso, Jesus teaching. 27 verso, Jesus driving out the Devils (signed). 30 recto, The Mother and Brothers of Jesus (signed). 31 recto, Jesus and the Ass. 31 verso, Jesus entering Jerusalem. 32 recto, Jesus cursing the Fig-tree. 33 recto, Parable of the Reapers (signed). 33 verso, The Vine-Dresser slaying the only Son. 36 recto, Jesus likens Himself to the Hen. 37 recto, Jesus arguing with the Doctors (signed). 39 recto, Parable of the Virgins (signed). 41 verso, The Lord's Supper. 47 verso, St. Mark writing his Gospel. 50 recto, The Apostles pardoned by Jesus (as on p. 18). 52 verso, One does not hide the Light under a Bushel (signed). 53 recto, Jesus expelling the Devils, which enter into the Swine (signed). 56 recto, St. John's head borne by Herodias. 57 verso, Jesus walking on the Water (signed). 59 recto, The deaf and dumb Man (signed). 59 verso, The Miracle of the Loaves. 60 verso, Jesus curing a blind Man (signed). 63 verso, Jesus blessing the little Children. 69 verso, The Magdalen pouring Spices. 75 verso, St. Luke writing his Gospel. 77 recto, The Annunciation (signed). 77 verso, The Visitation (signed). 79 recto, The Nativity (signed). 79 verso, The Annunciation to the Shepherds (signed). 80 verso, The Circumcision (signed). 81 verso, Jesus among the Doctors (signed). 82 recto, St. John Baptist preaching (signed). 83 recto, The Tree not bringing forth Fruits. 84 verso, Jesus explaining the Writings in the Temple (signed). 85 verso, Cure of Simon's Mother-in-law (signed). 87 recto, Cure of the Paralytic (signed). 88 verso, Jesus effecting Cures. 90 recto, Jesus curing the Widow's Son (signed). 97 recto, Jesus sends his Apostles forth to preach the Gospel. 98 recto, Jesus discoursing to his Disciples. 98 verso, Parable of the Good Samaritan (signed). 100 verso, Jesus instructing a Woman (signed). 101 recto, Jesus dining with a Pharisee (signed). 107 verso, Return of the Prodigal Son. 108 verso, The Rich Man in Flames and Lazarus in Abraham's Bosom. 110 recto, Cure of the ten Lepers (signed). 111 verso, The Shepherd and the Pharisee. 112 recto, The Parable of the Camel. 112 verso, Nicodemus on the Tree. 118 recto, The Lord's Supper (as on p. 41). 118 verso, Jesus in the Garden of Olives. 122 verso, The Disciples at Emmaus. 124 recto, The Ascension. 125 verso, St. John writing his Gospel. 126 verso, The Trinity. 128 recto, The Marriage at Cana. 128 verso, Jesus expelling the Money-Changers. 131 recto, The Woman of Samaria. 132 verso, Jesus curing the Son of a Wood-sawyer (signed). 133 verso, The Pool (signed). 134 recto, Jesus answering the Doctors (signed). 135 verso, same as on p. 59.[415] 137 recto, The Withered Hand. 140 recto, The Woman taken in Adultery (signed). 142 recto, Jesus leaving the Temple. 142 verso, Jesus curing the blind Man. 145 recto, Jesus in flight. 146 verso, Resurrection of Lazarus (signed). 147 verso, The Priests deliberating as to putting Jesus to Death (signed). 150 verso, The Lord's Supper (as on pp. 41 and 118). 155 verso, St. Peter cutting off Malthus's Ear. 156 recto, Jesus before Caiaphas. 157 verso, Jesus before Pontius Pilate. 158 recto, The Scourging. 158 verso, The Crown of Thorns. 159 recto, Jesus beneath the Cross. 159 verso, Jesus Crucified. 160 verso, Jesus Entombed. 161 verso, The Women going to the Tomb. 162 recto, The Women announcing the Resurrection to the Disciples (signed). 162 verso, The Magdalen takes Jesus for the Gardener. 163 recto, The Ascension (signed). 312 verso, St. John writing. 321 verso, St. John receiving the Revelation. 323 recto, Alpha and Omega. 326 verso, A Throne erected in Heaven.

Then follow the engravings of the Apocalypse, impossible to describe, and in an entirely different manner. At the end of the book is an engraving of the Christ on the Cross, surrounded by rays of light.

* * * * *

III. LE PREMIER LIVRE DE LA CHRONIQUE DU TRES VAILLANT ET REDOUTÉ DOM FLORES DE GRECE. Folio, Jean Longis, 1552.

There are many engravings in this book, but only one of them is signed with the Lorraine cross. That one is on folio 90 verso, and represents soldiers before a tower. It is reproduced in 'L'Histoire paladine,' folio, Étienne Groulleau, 1555, on folio 56 verso.

1553

Ronsard's 'LES AMOURS' annotated by Marc-Antoine Muret.

Octavo, printed by Maurice de la Porte's widow, 1553.[416] This edition of 'Les Amours' is embellished with a portrait of Muret, signed with the Lorraine cross, and bearing the inscription 'An. XXV,' which proves that it was engraved that same year, for Muret was born in 1526.[417] This portrait reappears, but without the inscription, in several other editions of Ronsard. I will mention particularly the quarto edition of his works, issued in 1567 by Gabriel Buon, successor to Maurice de la Porte's widow, and the folio issued in 1623 by Nicolas Buon, Gabriel's son.

1554

LES OBSERVATIONS DE PLUSIEURS SINGULARITEZ ET CHOSES MEMORABLES TROUVÉES EN GRECE. By Pierre Belon. Quarto, Paris, 1554.

There were two editions of this book, printed by Benoît Prevost, for Gilles Corrozet and Guillaume Cavellat, respectively, in 1553 and 1554. The copies in Corrozet's name bear his mark, signed with the Lorraine cross. There is a portrait of Belon signed with the cross at the end of the front matter in the edition of 1554. I have not seen it in any copy of the edition of 1553, which leads me to think that it had not then been engraved. And, in effect, the fact that the portrait attributes to Belon the age of thirty-six years seems to show that it was not drawn until 1554, as Belon is supposed to have been born in 1518. However that may be, the portrait appeared afterward in several other books by the same author, and particularly in his 'Histoire de la nature des oiseaux,' folio, 1555.

1555

HISTOIRE DE LA NATURE DES OISEAUX. By Pierre Belon. Folio, Paris, G. Corrozet, 1555.

In this book we find, in addition to the portrait of Belon, seven cuts of birds, signed with the Lorraine cross. They are: the osprey, folio 96; the sea-gull, 169; the bustard, 238; the pullet, 252; the loriot, 295; the woodpecker, 304; the sparrow-hawk, 376. Some of the other engravings in the volume are signed with a white cross on a black ground.

1556

I. LES SINGULARITEZ DE LA FRANCE ANTARCTIQUE, AUTREMENT NOMMÉE AMERIQUE, ET DE PLUSIEURS TERRES ET ISLES DECOUVERTES DE NOSTRE TEMPS. Par F. André Thevet, natif d'Angoulesme.--A Paris, chez les héritiers de Maurice de la Porte, au clos Bruneau, à l'enseigne S. Claude.--1558.

This rare and curious volume is a quarto of 8 preliminary leaves, 166 leaves of text, and 2 of index unnumbered,--in all, 46 signatures. The privilege, which is printed on the verso of the title-page, is dated Saint-Germain-en-Laye, December 18, 1556. In the dedication, addressed to the Cardinal of Sens, Jean Bertrand, first Keeper of the Seals of France, Thevet says that the country described by him maybe called the fourth part of the world, 'for that no one has as yet made explorations there, all geographers thinking that the world is limited to that which the ancients have described to us.'

There are 41 engravings in the text, not including borders, floriated letters, and Jean Bertrand's arms on the title-page. Of the 41, only seven are signed with the double cross; four of these represent scenes in the life of the American savage,--they are on folios 6 verso, 31 recto, 47 verso, and 151 recto; a fifth represents an extraordinary bird called _pa_ (45 recto); and the other two, plants,--the pineapple (89 verso), and the cassava (113 verso). The last three appear in André Thevet's 'Cosmographie Universelle,' published in 1575, in two volumes, folio.[418] The others also appear in that work, but reëngraved on a larger scale, and without signature.

The seven engravings signed with the double cross cannot have been executed prior to 1556. For Thevet set out for the New World on November 4, 1555,[419] and remained there four months. So that it was not until the early months of 1556, at the earliest, that the engravings could have been executed. But, as the book did not appear until the beginning of 1558,[420] it may be that they were still in process of execution in 1557.

In the same year with the publication of Thevet's 'Singularités,' an octavo edition appeared at Antwerp, with the imprint of Christophe Plantin, and a privilege from the King of Spain, dated Brussels, April 20, 1558. The haste with which this reprint was prepared shows the interest with which the book was regarded. The woodcuts of the Antwerp edition are nothing more than wretched copies of those in the Paris edition. We find among them, however, in chapters 56, 58, 67, and 74, cuts of animals bearing the cipher of Jost Amman.

* * * * *

II. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM. (Here the mark of T. Kerver, without the cross.) Parisiis, apud Thielman Kerver, in via sancti Jacobi, sub signo Cratis.

Duodecimo, 1556. Signatures A to M, and A to C vi. Border decorated with birds, with the small engravings of 1529. M. Niel owns a copy of this book bound with Tory's toolings. It has the Pot Cassé on the edges. Another copy, belonging to M. Portalis, is bound with the prayers (in French) described on page 219.

1557

I. LES FIGURES ET PORTRAICTS DES PARTIES DU CORPS HUMAIN.--A Paris, par Jaques Kerver, rue S. Jaques, aux deux cochetz.--1557.

Folio, containing 61 large anatomical plates, several of which are signed with the Lorraine cross, and dated 1531, 1532, or 1533. This collection was reprinted in the same form, by the same publisher, in 1575.[421]

II. LES QUATRE LIVRES D'ALBERT DURER, PEINTRE ET GEOMETRIEN EXCELLENT, DE LA PROPORTION DES PARTIES ET POURTRAITZ DES CORPS HUMAINS, TRADUITS PAR LOYS MEIGRET, LIONNOIS, DE LANGUE LATINE EN FRANÇOISE.

Folio; Paris, chez Charles Perier, at the sign of the Bellerophon,[422] 1557.

In the same year Perier published an edition of Durer's work in Latin, similar in every respect to the French edition. It is entitled 'De Symetria partium humanorum corporum.' I am unable to say which was printed first.

1559

PSALTERIUM DAVIDICUM GRÆCOLATINUM.... Parisiis, apud Ægidium Gorbinum, sub insigne Spei, prope collegium Cameracense.--1559.

On the last leaf: 'Parisiis, excudebat Benedictus Prævotius, ad Stellam Auream, via Frumentello.'

Twenty-fourmo of 278 numbered leaves of text, and 20 unnumbered preliminary leaves; printed in red and black.

This little volume, printed in Greek and Latin, two columns on a page, was called to my attention by M. Lornier, barrister, of Rouen. Opposite the first page of text is a small engraving, signed with the Lorraine cross, representing the penance of David. David is on his knees, with a book before him and his harp at his right hand; he is gazing at God the Father, who is seen in the sky blessing him. Doubtless this engraving appears in other books of earlier date. It is 73 millimetres high by 55 wide.

ENGRAVINGS OF UNCERTAIN DATE.

I. FIGURE DE L'ANCIENNE ET DE LA NOUVELLE ALLIANCE.

A large plate, 35 centimetres in width by 27 in height, divided into two parts by a tree at the foot of which is Man, thus placed on the boundary of the two worlds. The tree bears only withered branches on the left side (the old alliance), whereas, on the right (the new alliance), it is green and flourishing.

In the compartment at the left we see Adam and Eve in the Garden of Eden. Eve is offering Adam the apple. Beneath them is the word 'peche.'[423] Lower still is a skeleton on a bier, with the words 'la mort' beneath. Above the Garden is Mount Sinai, whereon Moses is receiving the tables of the law; beneath, on the right, the 'terrestrial Jerusalem,' wherein are devout persons being devoured by serpents, with the serpent of brass in the midst, and above it the words, 'Similitvde de la ivstification.' Moses appears on the right; at the left, and a little lower, Hagar and Ishmael; lower still, the prophet pointing out to Man Jesus on the Cross at the right.

In the compartment at the right we see God standing on the terrestrial globe, with the words, 'Iervsalem celeste'; above, 'Mont Sion,' on which stands a woman's figure, with the words 'La Grace' over her head. An angel bearing a cross descends from Heaven (where are the words, 'Emmanvel Diev avec novs') amid rays of light which fall upon the woman. Lower, at the left, is another angel announcing the birth of Christ to the shepherds. Near by, at the right, the Christ on the Cross, with the words, 'nostre ivstice,' and the Paschal Lamb, with the words, 'nostre innocence'; below, Jesus coming forth from the tomb, with the words, 'nostre victoire'; still lower, at the left, St. John Baptist pointing out to Man the Christ on the Cross; the Forerunner is indicated by the words, 'Lenseignevr de Christ,' in a cartouche; above St. John are Sarah and Isaac.

In each of the compartments is a number of figures which apparently correspond to some vanished text.[424] There are eight in the one at the right and nine in the other. 'Man' is marked with a zero. I am unable to give the origin of this plate, which is in the Cabinet des Estampes in the Bibliothèque Nationale, and was for a long time attributed to Jean Cousin. It was M. Devéria who removed it from that artist's work and placed it with Tory's, whose double cross it bears, at the left, below the cartouche containing the words 'Lenseignevr de Christ.' I believe that it belongs in some large folio Bible; for I have seen the subject treated in a more or less summary fashion[425] on the title-pages of several Bibles, in French and other languages. I will mention particularly the following, all of which are in the Bibliothèque Nationale. (1) A French Bible, printed at Antwerp in 1530, by Martin l'Empereur; (2) A Bible in old Saxon, printed at Lubeck in 1533 by Ludowich Dietz (the same woodcuts reappear in an edition in Danish, issued by the same printer, at Copenhagen, in 1550); (3) A Bible in Latin, from the text of Erasmus, published in 1543 or 1544, with two engravings by Cranach; (4) A Bible in Flemish, printed at Antwerp in 1556. I will mention also Luther's Latin Commentaries ('enarrationes') on the Bible, printed at Nuremberg in 1555, with an engraving on the title-page dated 1552.

Whatever its source, this drawing was reproduced in 1562, on a large enamelled plate in tinted grisaille, attributed to Pierre Rexmond, enameller, at Limoges. The sketch for this plate was published in 1843, after a copy in the collection of M. Baron, in the volume entitled 'Meubles et Armes du moyen âge,' a large quarto, published by Hauser, dealer in prints on Boulevard des Italiens.[426] It is no. 127 in the collection. In this drawing the groups are arranged in chronological order, the circular form of the plate making it impossible to retain the arrangement of the engraving. But the various subjects and their respective inscriptions are identical, save for the errors in orthography with which the Limousin artist has besprinkled the latter. The two Jerusalems are separated by two trees, which, starting at the outer border of the plate, formed of Renaissance arabesques, join their heads at the centre, where there is a medallion containing the face of Marguerite de Valois, sister of François I.[427]

This subject has been treated also in a cameo now in the Bibliothèque Nationale, but in a very summary fashion because of the small size of the piece, which is only 57 millimetres in width by 72 in height. All the essential details of the engraving are reproduced. A description of this interesting cameo will be found under no. 317, in the 'Notice du Cabinet des médailles,' published by M. Chabouillet, one of the conservators of that priceless collection. It has been reproduced, too, in the collection of 'Mémoires de la Société des antiquaires de Morinie,' and the curious feature of the business is that the engraver has taken for his mark the arms of the city of Saint-Omer, which are the Lorraine cross.

II. RECUEIL DES ROIS DE FRANCE, LEURS COURONNE ET MAISON, ENSEMBLE LES RENGS DES GRANDS DE FRANCE, par Jean du Tillet, sieur de la Bussiere, protonotaire et secretaire du roy, greffier de son parlement.--Plus, une chronique abrégée contenant tout ce qui est advenu ... entre les roys et princes ... estrangers, par M. Jean du Tillet, évêque de Maux.[428]

Folio; one volume in two parts, Paris, J. du Puys, 1580.

This volume is an exact reproduction of the manuscript preserved at the Bibliothèque Nationale, which I have already described.[429] Although dedicated to Charles IX, the book was prepared for publication at a much earlier date. In fact, the author tells us, in the dedicatory epistle, that he had presented a copy to Henri II; indeed, it seems that he had it prepared for printing at the insistence of the King and Queen, who had promised 'to take care of the expenses.' This fact explains why almost all the portraits of the kings of France, from Clovis to François I, are signed with the Lorraine cross. These portraits are copied from the miniatures of the manuscript, but are on a smaller scale; furthermore they are in oval instead of square borders.

Du Tillet died in 1570, before he was able to carry out his project of printing this work. On August 10, 1578,[430] his heirs obtained a license to publish their 'late father's' work, which finally appeared in 1580; in fact, one part is dated 1579. They made use of the woodcuts bearing the Lorraine cross. Jean du Puys, the publisher,[431] added to the book some portraits which are not in the manuscript (among others those of Henri II and Charles IX), and which consequently do not bear Tory's mark.

Following is a complete list of the portraits contained in this volume, with indication of those not in the manuscript and of those signed with the Lorraine cross.

Folio 16, Clovis (signed). 18, Childebert; added. 19, Clotaire I (signed). 23, Sigebert (signed). 24, Chilperic and Fredegonde (signed). 28, Dagobert; added. 30, Clovis, son of Dagobert; added. 31, Clotaire III. 32, Childeric II; added. 35, Dagobert II; added. 41, Carloman I; added. 42, Charlemagne. 44, Louis le Debonnaire; modified. 48, Charles le Chauve (signed). 53, Charles le Simple. 54, Raoul (signed). 56, Louis d'Outre Mer. 58, Lothaire (signed). 75, Philippe I. 76, Louis le Gros. 92, Louis le Jeune. 94, Philippe-Auguste (signed). 101, Louis, père de Saint Louis (signed). 109, Charles II; added. 112, Saint Louis. 121, Philippe III; added. 133, Philippe le Bel (signed). 134, Louis le Hutin. 136, Philippe le Long. 137, Charles le Bel (signed). 138, Philippe de Valois. 140, Jean. 157, Charles V. 160, Charles VI. 164, Louis XI. 165, Charles VIII (signed). 166, Louis XII (signed); modified. 167, François I (signed); modified. 168, Henri II and Catherine de Médicis; added. 169, François II; added. 169, Charles IX; added.

It will be seen that there are, in all, 10[432] portraits added to those found in the manuscript. For the other princes mentioned in the work, whose features it was impossible to present, empty frames are printed. Naturally, none of the portraits added to du Tillet's book by the editor are marked with the Lorraine cross, and of the other 31, there are only 15[433] on which it is found.

These cuts were reproduced in a great many later editions of du Tillet's work, both folio and quarto. I will mention particularly those of 1586, 1587, 1602, 1607, and 1608.

The volume contains also many engravings of shields and seals.

* * * * *

III. LA CONFÉRENCE ACCORDÉE ENTRE LES PREDICATEURS CATHOLIQUES DE L'ORDRE DES CAPUCINS ET LES MINISTRES DE GENEVE.

Octavo; Paris, Denis Binet, near Porte S. Michel, 1598.

* * * * *

IV. LES THESES QUI ONT ESTÉ AFFIGÉES DANS LA VILLE DE GENEVE.

Octavo; Paris, Denis Binet, near Porte S. Michel, 1598.

On the title-pages of these two volumes, both of which are in the Bibliothèque Nationale, there is a woodcut signed with the Lorraine cross, representing a cross with the crown of thorns, set in a border of the size of a five-franc piece. It was undoubtedly engraved long before 1598.

* * * * *

V. ILLUSTRATION DE L'ANCIENNE IMPRIMERIE TROYENNE.

Quarto, Troyes, 1850 and 1859. The first fascicle of this book, which consists of a collection of old woodcuts gathered by M. Varlot in the printing-offices of Troyes, contains two signed with the Lorraine cross. They are nos. 50 and 188. The first represents the Coronation of the Virgin; we may join with it a piece in the same manner representing the Visitation, no. 51 in the same collection; and no. 5 (the Virgin holding the Child Jesus) of the fascicle published in 1859. These cuts, which are in format a small folio, doubtless formed part of a series of engravings relating to the Virgin and intended for a book of Hours.

MM. Alexis Socard and Alexandre Assier, in their work entitled 'Livres liturgiques du diocèse de Troyes' (8vo, 1863), also give, on page 79, an old Troyes woodcut, small folio, signed with the double cross, representing the Descent of the Holy Ghost on the Virgin and the Apostles. It is 135 millimetres high by 60 in width.

No. 188 of M. Varlot's fascicle, which is only one inch high by two wide, represents a harvest. It was undoubtedly one of a series of engravings illustrative of the twelve months. MM. Socard and Assier saw it in a book of Hours printed at Troyes in 1583, by Jean du Ruan, who seems to have inherited a portion of the woodcuts of Jean Le Coq, printer, of the same city. We find also in M. Varlot's collection two woodcuts marked with the letters G. T., which may have been Geofroy Tory's earlier mark, before he had adopted a special symbol. These two are no. 84, in the criblé style, and no. 131, in the Renaissance style.[434]

On account of the worn state of these cuts it is impossible to say whether they are originals or copies. It is not impossible, however, that they were executed by Tory for the printer Nicole Paris, or rather for Jean Le Coq, whose mark he engraved also.[435]

* * * * *

VI. Not only at Paris and Troyes do we find woodcuts with the Lorraine cross; we find them also at Orléans, at Chartres, at Poitiers, and even at Lyon, although the last-named city had a most flourishing school of engraving of its own; witness the illustrations of the Bible after Holbein,[436] published by Jean Frellon, in 1547, and those of Salomon Bernard, published by the de Tournes after 1553. But the works executed by Tory for Simon de Colines, Robert Estienne, and the rest, had so spread his name abroad, that there was not a printer of taste in France who did not seek the honour of obtaining some work of our artist. In this way Jean de Tournes, first of the name, who was unquestionably one of the most famous printers of Lyon, had engraved by Tory, or by his widow, borders and pictures in considerable numbers; unfortunately we find very few of them signed, whether because Tory's mark was afterward removed from the others, or because he omitted to place it upon them, in accordance with the wish of Jean de Tournes; for in those days printers were very desirous to appropriate the engravings that they ordered, especially at Lyon, where, nominally at least, no other engraver was known than Salomon Bernard; moreover, it is well to note that that artist, none of whose work is signed, is known only because his name was afterward published by the printers, in the very interest of their publications.

However, I propose to give a list of the pieces signed with the Lorraine cross which I have seen in books published by the de Tournes, that is, by Jean I and Jean II, his son; for it is impossible, in default of any sort of a catalogue, for me to decide what ones are attributable to each of them. As a matter of fact, I should be justified in confining myself to the second, if he had not himself said that he used woodcuts belonging to his father. And, in truth, although we know of no books published by the latter with engravings, except his edition of Petrarch of 1545 (reprinted in 1547), and his book of Chiromancy and Physiognomy, also of 1545, octavo, everything seems to indicate that those marked with the Lorraine cross were made for Jean I, who died about 1550.

The first book that I shall mention is an octavo volume, without title, described thus by M. Didot in his 'Essai sur la Gravure,' col. 235; 'Pamphlet without title, printed on one side only, with this imprint on page 1: "A Lion, Ian de Tournes, 1551." The border, composed of arabesques in white on a black ground, has at the foot the Lorraine cross. Twenty-two of these engravings represent scenes from the theatre of the ancients; the ninth bears the Lorraine cross.' This pamphlet was reprinted in 1556, as we shall see in a moment.

The second book that I shall mention is an octavo volume, without date, entitled: 'Thesaurus amicorum,' which is in the Bibliothèque Nationale. It contains three series of borders: (1) Borders with arabesques in black on a white ground (one of them is signed with a very small Lorraine cross); (2) Borders with arabesques in white on a black ground (one of these also is signed with a small white cross); (3) Borders with grotesque subjects, licentious and otherwise. These last, none of which are signed, represent figures analogous to those that are found in the 'Songes drolatiques' attributed to Rabelais, and seem to be modelled upon them.

In the first part of the book, the borders, 32 in number, are empty[437]; in the second part, they enclose medallions of famous characters of ancient times, with mottoes in all sorts of languages. There are 96 of these portraits. They were reproduced, with many others, in a book printed in 1559, under the title, 'Insignium aliquot virorum icones' (octavo).[438] In the dedication, to G. Tuffano, 'gymnasiarchæ Nemausensi,' Jean de Tournes, second of the name, the printer of the book, informs us that he undertook it in order to utilize the woodcuts left by his father. 'Cum pater jamdudum haberet hasce icones inutiles ne omnino perirent, hæc pauca, quæ huic opusculo insunt, ex variis auctoribus accumulavi....' In this book the medallions number one hundred and forty-three; none are signed, but they are altogether in Tory's manner.

These same medallions, as well as the borders of the 'Thesaurus amicorum,' have been used in a multitude of other publications, which are known to us only through detached fragments. I will mention particularly eight leaves preserved in the Cabinet des Estampes, printed on one side only, having a border with a portrait on each page.[439] Also, four leaves without borders, on each of which two portraits are printed, side by side.[440]

As for the borders, they appear again,--first, in the edition of Marot's Psalms, published by Jean de Tournes in 1557, in octavo; and second, with less impropriety, in the various editions, both in French and in Italian, of Ovid's 'Metamorphoses,' issued by the same printer.

Jean de Tournes published also, in 1556, a small octavo volume of specimens of his woodcuts, printed on one side only. This volume, which is well known to collectors, and which may be found in the Cabinet des Estampes, has on the first page these words alone: 'A Lion, Ian de Tournes, M.D.LVI.'[441] This page has a border of white arabesques on a black ground, in which the Lorraine cross is perfectly visible, at the foot. There are 22 engravings representing scenes from the theatre of the ancients.

The ninth bears the Lorraine cross. In the midst of this series, on leaf 21, is a piece which does not belong to the series; it represents a dog lying on a cushion.[442] After this series come various engravings which we find in Maurice de Seve's 'Saulsaye' (octavo, Lyon, 1547), in Ovid's 'Metamorphoses,' and the 'Hymnes du Temps' of Guillaume Gueroult, which were printed subsequently; then 11 plates bearing two figures facing each other, taken from a work on Chiromancy and Physiognomy, by Indagine (octavo, Lyon, 1549); 5 engravings from the edition of Petrarch issued by the first Jean in 1545; and 9 small miscellaneous subjects.[443] The Cabinet des Estampes also contains one leaf of a folio specimen of the woodcuts of the de Tournes, in which we find again the plates of the Petrarch. It lacks, however, the Lac d'Amour, which is on folio 5 of the collection we are describing, and is altogether in the manner of the seven epitaphs published by Tory in 1530.[444]

I will not enumerate here the other books with engravings, of later date, published by the second Jean de Tournes, because there is nothing to justify me in attributing them to Tory's workshop; but one may conclude from what I have said heretofore, that many engravings of the printers of Lyon, hitherto attributed to Salomon Bernard, called Le Petit Bernard, came from Tory's establishment. Indeed, we may well wish that Le Petit Bernard might be relieved of the enormous mass of engravings which have been attributed to him for lack of information concerning them, but which render uncertain the attribution of those which most certainly belong to him.[445]

Our list includes only engravings on wood; but I have no doubt that Tory engraved also on metal, and not alone letters, which we should naturally expect from Garamond's master, but plates as well. Now that the eyes of collectors are about to be opened, I should not be surprised if some one should discover one marked with his cross.[446] To forward such discovery I will insert the estimate of Tory's draughtsmanship formed by M. Renouvier, who is so competent a judge of such matters.

'The plates of "Champ fleury," the first of which is dated 1526, have an Italian after-taste, which manifests itself by the correctness of the figures, and by their costumes; but the delicacy of expression, the fineness of line, distinguish them clearly from the Venetian vignettes. The vignettes of the Hours published between 1524 and 1543, varying in execution, always delicate and with little shading, exhibit a degree of taste which the Parmesan School sometimes achieves; but by the delicacy of their execution they deserve the praise bestowed upon them by Dibdin. Even if the figures are slightly confused in their attitudes and in their draperies, or defective at some of the extremities, still, the spirited drawing of the heads, and the arrangement of the scenes, amid charming architectural designs, or in very restricted fields, show that our engravers of vignettes lost nothing of their talent in passing from gothic to italic letters, and, despite the name of the latter, it is certain that Italy never produced any like them. Simplicity took the place of Gothic _goguenarderie_; their expression is in the most refined French sentiment of the period.[447]

'I seem to recognize Geofroy Tory's style in the "Tableau de Cèbes," published by Denis Janot and Gilles Corrozet in 1543, the vignettes of which are often attributed to Jean Cousin. As for Tory's drawing, I should recognize it through several layers of wood, by the delicately drawn heads, the slender figures, the split extremities, to say nothing of the floriated letters and the borders, in which the Italian grotesques are mingled with natural vegetations, and in which he has often engraved his name, his Pot Cassé and his mottoes. In Tory's vignettes there are doubtless qualities that are more subtle than great, but they are our qualities.'

FOOTNOTES:

[Footnote 319: See Part 1, Biography, supra, p. 7.]

[Footnote 320: This plate was reproduced by MM. Alexis Socard and Alexandre Assier in their work entitled: _Livres liturgiques du diocèse de Troyes_, 8vo, 1863.]

[Footnote 321: See what I have to say on this subject in § III, under the word 'Colines' (infra, p. 268).]

[Footnote 322: See what I have to say of this book in the _Bulletin du Bouquiniste_, 1860, p. 101.]

[Footnote 323: If necessary, four workmen would have sufficed,--two compositors and two pressmen--Lefèvre d'Etaples being abundantly able to perform the duties of corrector.]

[Footnote 324: [An office-book formerly in use, containing the antiphones called 'graduals,' as well as introits and other antiphones, etc., of the mass. Also called the 'Cantatory' or 'Cantatorium.'--CENTURY DICT.]]

[Footnote 325: Bibliothèque Nationale.]

[Footnote 326: Bibliothèque de l'Arsenal.]

[Footnote 327: An additional proof in confirmation of what I have already said as to the unscrupulous way in which artists copied one another. (See page 149 note 1.)]

[Footnote 328: This design is based upon a legend concerning Virgil, which had some vogue in the Middle Ages]

[Footnote 329: See pp. 101-129, supra.]

[Footnote 330: _Revue universelle des Arts_, September, 1857 (vol. v, no. 6, p. 513).]

[Footnote 331:

In his game-bag we see that he hath rats, Which are detestable, and gnawing vermin Making shocking wounds in his vitals. From his breast cometh a keen, darting flame, Which burneth heart and lips and body. ]

[Footnote 332: In an imperfect copy of this book, on parchment, which I have seen at the shop of M. Potier, and which is illuminated, the artist has erased Tory's mark, for what purpose I have no idea.]

[Footnote 333: It seems that the Parliament proposed at first to prohibit the publication of this book; but evidently it did not persist in its opposition, for, besides the four quarto editions, I have seen four others in octavo, which, however, are without interest for us. See Brunet's _Manuel du Libraire_, under 'Gringoire.']

[Footnote 334: This deplorable practice of removing the text from engravings, which was once rigourously followed in the Cabinet des Estampes at the Bibliothèque Nationale, injured the collection materially. There are many pieces of which neither the origin nor the meaning is known, because of the removal of the legends which formerly accompanied them.]

[Footnote 335: _Number_ 3.

Hell he defies (to him no arduous task), And the dog Cerberus, him with the three heads; He seeks the infernal regions, fighting hand to hand, To set at liberty Theseus his good friend.

_Number_ 9.

The raging bulls (most marvellous to see) With his two sinewy hands he masters easily, Compels them by main force to bend the knee, Albeit they were deemed unconquerable.

_Number_ 10.

A boar with frothing lips and long sharp tusks, Who, in his rage, despoiled men, fields and vineyards, And by whom the whole world was ravaged, He, by his courage, all alone, did slay. ]

[Footnote 336: On March 4, 1858, at the Lassus sale, I saw a complete set of the Labours of Hercules, without the verses.]

[Footnote 337: The earliest book in which I have seen it, excluding the _Thesaurus latinæ linguæ_ of 1536, and the _Dictionarium Latino-Gallicum_ of 1538, which was a sequel to the first, and in which it was necessarily used (I saw these two books at M. Didot's), is a quarto pamphlet, published in 1537, on the occasion of the discussions between François I and Charles V, entitled: _Exemplaria litterarum_, etc.]

[Footnote 338: Later, Estienne had other floriated letters engraved at Tory's establishment, carried on by his widow. But the G was not then chosen to receive the artist's mark. See infra, under 1551.]

[Footnote 339: [These letters and friezes appear in the Works of Justin Martyr printed by Estienne in 1541, from which they are reproduced for this volume--some of the letters on pp. 190 and 191, and the friezes at the beginning of the Printers' Preface, and of the three sections of the Iconography.]]

[Footnote 340: Papillon, who saw Woeiriot everywhere, says on page 509 of the additions to his first volume: '_Champ fleury_ is filled with woodcuts by Woeiriot,--among others several capital letters with nude human figures for their limbs, and several vignettes about three inches by two and a half, simply in outline, with the cross of Lorraine in every corner.' As a matter of fact there are very few Lorraine crosses on the engravings of _Champ fleury_.]

[Footnote 341: [Reproduced on the title-page of the present volume.]]

[Footnote 342: [See supra, p. 45, no. 4.]]

[Footnote 343: [See supra, p. 100.]]

[Footnote 344: See supra, p. 1. Neither this engraving nor those last mentioned are found in the octavo edition of _Champ fleury_.]

[Footnote 345: See the reproduction of this cut on p. 141, supra.]

[Footnote 346: In the octavo edition it was found to be impossible to have the two parts face each other, so that Apollo's chariot is cut in two.]

[Footnote 347: [Reproduced on pp. 50 and 51 supra.]]

[Footnote 348: [Reproduced on p. 48, supra.]]

[Footnote 349: This cut does not appear in the octavo edition. It is reproduced on p. 21, supra [where it is said to be on 43 recto].]

[Footnote 350: [One of these is reproduced on this page.]]

[Footnote 351: [Reproduced on p. 152, supra.]]

[Footnote 352: [Reproduced on the following page.]]

[Footnote 353: These letters do not appear in the octavo edition. [Reproduced on p. 195, infra.]]

[Footnote 354: This alphabet, which Tory used in several of the books printed by him, as I have already stated, was replaced by a different one in the octavo edition of _Champ fleury_.]

[Footnote 355: Not in the octavo edition. [Reproduced on p. 49, supra.]]

[Footnote 356: [See supra, pp. 120-122].]

[Footnote 357: [See supra, pp. 122-124].]

[Footnote 358: _Lutetiæ, sumptibus Ægidii Gormontii, studio Joannis Cheradami, labore et industria Petri Vidovœi._]

[Footnote 359: This engraving was used later as a model for a magnificent plate placed at the beginning of the _Tableaux des arts libéraux de Christophe de Savigny_, published in 1587, in folio, by Jean and François de Gourmont, sons of Gilles. See my _Les Estienne_, p. 63, note.]

[Footnote 360: For the family of Gourmont, see my _Les Estienne_, pp. 62 and 63, notes.]

[Footnote 361: Not all of the engravings are signed; but, as I have not been able to inspect the volume, which was a part of the Boorluut library of Noortdonck, sold at Ghent in April, 1858, I am obliged to resort to the words of the compiler of the catalogue of that sale, my confrère M. Vander-Meersch, who has kindly furnished me since with some more detailed information (albeit less complete than I could have wished), after the volume was sent to England. M. Boorluut had paid 1 franc 50 centimes for the volume, which was sold to a London bookseller, Mr. Toovey, on April 19, 1858, for 270 francs. I wrote to him asking for details concerning it; but, in accordance with the not over-courteous English custom, he did not choose to tell me for whom he had purchased the book, so that I have been unable to obtain more ample information.]

[Footnote 362: I am not informed whether these cuts appear in _Hore Marie Virginis ad usum Sarum_, 1532, or in _The Prymer of Salisbury_, 1534, both of which were printed at the same establishment.]

[Footnote 363: [See p. 125, supra].]

[Footnote 364: See what I have heretofore said of this book, pp. 85-87 supra.]

[Footnote 365: [See pp. 126-128, supra].]

[Footnote 366: See what I have had to say of this book, pp. 128-129, supra; also, p. 218, infra, under the Hours of 1541, where we find these same borders, called 'à la moderne,' together with the plates of the Hours of 1529, described on p. 125, supra; which leads me to think that these same plates appeared in the octavo edition now under consideration. See also no. 1 of the year 1536 (p. 208, infra), which is a sort of link between the editions of 1531 and 1541.]

[Footnote 367: [See p. 136, supra.]]

[Footnote 368: _Revue Universelle des Arts_, Sept. 1857 (vol. v, no. 3, p. 517).]

[Footnote 369: I saw this volume at M. Potier's book-shop in 1865; it is a 16mo, illustrated with a large number of fascinating engravings which would assuredly do much honour to Tory. I freely admit that François Gryphe was a pupil of our artist, but that is all. I do not understand why M. Renouvier attributes to Tory a small plate of no interest, when the privileges expressly attribute all the engravings to Gryphe.]

[Footnote 370: Brunet, _Manuel du Libraire_, 5th edition, vol. v, col. 1660, no. 328. The line engravings are doubtless those of the 16mo Hours of 1529 (see p. 125 supra). As for the borders, which M. Brunet does not mention, I imagine that they are the same that I spoke of on p. 128. But see no. III, under the year 1541 (infra, p. 218).]

[Footnote 371: _Thesaurus antiquitatum romanarum_, etc., a J. C. Grævio; folio, Utrecht, 1697. M. Olivier Barbier, sub-manager of the Bibliothèque Nationale, owns the copy of the original edition which was used for this reprint. It contains not only the additions that were made, but also directions, in Dutch, concerning the size of the copper-plates, etc.]

[Footnote 372: See vol. vi, col. 562.]

[Footnote 373: Another edition of this book was published by the same printers and with the same woodcuts, in 1545.]

[Footnote 374: Sometimes, too, the colourist has substituted for the printed date that at which he did his work. I have seen several cases of such substitution.]

[Footnote 375: Bibliothèque de l'Arsenal.]

[Footnote 376: See pp. 149 and 205, supra.]

[Footnote 377: The title-page of this rare volume reads: _Missale ecclesie Parisiensis denuo ab aliquot ejusdem ecclesie canonicis ac doctoribus theologis ad id a reverendiss. do. Joan. de Bellayo ... delegatis...._ Then follows Merlin's mark, signed with the Lorraine cross. In addition to 8 preliminary leaves this volume contains: _Calendarium temporale_, signatures _a_ to _v_; _Sanctorale_, A to M; _Commun._, A to E, gothic; etc. The first page of the text is in a border which has the Eternal Father at the top, four popes at the sides, and at the foot the mark of the widow Iolande Bonhomme, with the unicorns. The volume was probably published about 1540.]

[Footnote 378: See p. 204, supra. A copy of this frieze--a slavish imitation--in which even the Lorraine cross is reproduced, appears in a Flemish Bible, folio, printed at Antwerp in 1556 (Bibliothèque Nationale).]

[Footnote 379: _Annales des Estienne_, 3d edition, p. 49.]

[Footnote 380: The cross is not very distinct on the copies of 1540, but, strangely enough, it is perfectly clear on those of 1546.--These engravings, like the frieze on the title-page, have been copied by other printers. Such copies may be found in a Bible published at Lyon in 1550, by Sébastien Honorat, and in another published in 1554 by Jean de Tournes. We find them also in a Bible published at Paris in 1586 by Sébastien Nivelle and Gabriel Buon, etc., etc.]

[Footnote 381: See concerning this book, the _Revue des Sociétés Savantes_, vol. v, pp. 624 ff. The author's name was Milles. Some information concerning him is given in the _Revue_.]

[Footnote 382: [See p. 229, infra].]

[Footnote 383: I have seen it bound with a book of Hours published by Kerver in 1556: M. Portalis's copy.]

[Footnote 384: It has since been sold at auction.]

[Footnote 385: [See p. 115 supra.]]

[Footnote 386: See what I have had to say concerning this book, pp. 88-91, supra.]

[Footnote 387: Renouvier, _Des Types_, etc., 16th century, p. 168.]

[Footnote 388: The _Bibliophile Français_ (April 15, 1865) mentions an edition of this book, with the date of 1557. I regret that I was not aware of it before the above paragraph was _printed_, as I should have cited that edition in preference to that of 1575. However, it is unimportant, as the two editions are identical except in the order of the plates, which differs slightly.]

[Footnote 389: Neither the edition of 1557 nor that of 1575 was known to M. Choulant, who published a curious monograph concerning works with anatomical figures. (_Geschichte ... der anatomischen abbildung_; quarto, Leipzig, 1852.)]

[Footnote 390: These explanations are printed, in movable type, in cartouches inserted for that purpose. The type is different in all four of the editions known to me.]

[Footnote 391: See p. 41, supra.]

[Footnote 392: I have seen this engraving in a fragment of a book of Hours, printed in Roman type at a date which I cannot fix although it was contemporaneous. This fragment consists of signatures _Aa_ and _Bb_ (a half-signature), that is, 12 leaves, numbered 185 to 196. Signature _Aa_ begins (folio 185) with a title-page printed in red, in these words: 'Die dominica ad vesperas. Psalmus.' The engraving in question is below them. The last page of _Bb_ ends with the word 'finis,' which proves that the book had but 25 signatures.]

[Footnote 393: Or, better, Purgatory. In an octavo collection at the Bibliothèque Mazarine, there is a little book entitled: 'Le Purgatoire prouvé par la parole de Dieu' (octavo; Paris, Denis Basset, 1600), in which this engraving, signed with the Lorraine cross, appears twice; it represents a nude man standing in the flames, with this legend in a scroll: 'Constitvas mihi tenrvs' (tempvs?) 'in qvo recorderis mei.']

[Footnote 394: Such is my opinion; but I am bound to say that M. Achille Devéria, formerly Conservator of the Department of Engravings, was of the opposite opinion. According to him the unsigned engravings were copies of the others. It seems to me that the dates of printing confirm my theory. For we find the unsigned engravings in an edition of 1522; so that we must refer those with the cross to an earlier date; but this seems hardly probable, since Louis Royer (to whom they are attributed, as we shall see, because he was the first to use them) succeeded Jean de Brie, who did not die until about 1522.]

[Footnote 395: _Manuel du Libraire_, 5th edition, vol. v, col. 1672, no. 366 _bis_.]

[Footnote 396: See supra, p. 168.]

[Footnote 397: [Jean Cousin was born in 1501, and died at Sens about 1590.]]

[Footnote 398: Renouvier, _Des Types_, etc., _Seizième siècle_, p. 162.]

[Footnote 399: [See supra, p. 211.]]

[Footnote 400: That is, having immediate reference to the bearer's name.]

[Footnote 401: [Reproduced on the opposite page.]]

[Footnote 402: This engraving had previously appeared in 'Amadis de Gaule': see supra, p. 216.]

[Footnote 403: Bibliothèque Nationale.]

[Footnote 404: The copies in Sertenas's name bear a very curious mark, which is reproduced in M. Silvestre's book, nos. 221 and 714.]

[Footnote 405: [Supra, p. 149.]]

[Footnote 406: See under that date for details (supra, p. 218).]

[Footnote 407: This portrait was engraved on copper, in 1556, by Woeiriot, printed separately, and pasted on the recto of the second leaf of Le Duaren's works, printed at Lyon in 1558 by Guillaume Rouille, in folio; on some copies Woeiriot's engraving of Le Duaren's portrait is replaced by the one engraved by Georges Ghisy, called the Mantuan. See _Robert-Dumesnil, Peintre-graveur français_, vol. vii, p. 109, no. 282.]

[Footnote 408: See, too, the article on Le Duaren in the _Biographie Universelle_.]

[Footnote 409: Supra, p. 189, note 3.]

[Footnote 410: These letters had already appeared in a book published by Robert Estienne in 1549.]

[Footnote 411: This frieze in 1561 came into the possession of the second Robert Estienne, who used it in a book entitled: _Ordonnances de M. le duc de Bouillon pour le règlement de la justice de ses terres_. Small folio, 1568.]

[Footnote 412: Page 271.]

[Footnote 413: Bibliothèque Nationale.]

[Footnote 414: [Supra, p. 218.]]

[Footnote 415: [The author forgets that he has listed two engravings on folio 59, one on each side of the leaf.]]

[Footnote 416: Bibliothèque Nationale.]

[Footnote 417: [The inscription would seem to prove, on the contrary, that the engraving was made] two years earlier, or in 1551.]

[Footnote 418: Vol. ii, folios 936 recto, 948 verso, and 994 recto. This work of Thevet's must not be confounded with that geographer's _Cosmographie du Levant_, the fruit of an earlier journey, two editions of which had been published at Lyon, in 1554 and 1556, by Jean de Tournes, in quarto, with engravings in the text.]

[Footnote 419: See the details of this voyage of Thevet given by M. Ferdinand Denis in a letter printed at the beginning of a work by M. Demersay, entitled: _Études économiques sur l'Amérique_; 8vo, 1851.]

[Footnote 420: We shall see in the next paragraph that a reprint of it was issued in April, 1558.]

[Footnote 421: See what has been said concerning this volume, on pages 223 and following, supra.]

[Footnote 422: This sign was retained by Thomas Perier, Charles's son. See Silvestre, _Marques Typographiques_, no. 386.]

[Footnote 423: _Péché_ [sin].]

[Footnote 424: I have previously had occasion to comment upon the extraordinary custom that formerly prevailed in the Cabinet des Estampes of removing from engravings, etc., every sort of extraneous matter. It is impossible to measure the extent to which this custom has impaired the value of the collection. Unfortunately it is followed by most collectors of prints, who sometimes destroy a very valuable and unique volume for no other purpose than to preserve an engraving unaccompanied by text.]

[Footnote 425: We find some features of it in the frieze engraved by Tory for the Bible published by Robert Estienne in 1532. See p. 202, supra.]

[Footnote 426: This collection was sold in January, 1846, and the plate in question was purchased, for about 2000 francs, for M. Cambacérès, Grand Master of Ceremonies in the Imperial household, who now owns it [1857]. This is what M. Baron says of it in his sale catalogue, no. 445: 'This important piece, in the most perfect preservation, merits the attention of collectors by virtue of its value and its rarity.' There is a copy also in the Cabinet of Geneva.]

[Footnote 427: According to the catalogue quoted in the last note, the reverse of the plate also is embellished with arabesques.]

[Footnote 428: Brother of the first-named Jean.]

[Footnote 429: [See p. 169, supra.]]

[Footnote 430: And not August 20, as it has sometimes been printed.]

[Footnote 431: The 'Avis au lecteur' is by him.]

[Footnote 432: [According to the list there are 11.]]

[Footnote 433: [According to the list only 14.]]

[Footnote 434: See what I have said on this subject on p. 173, supra.]

[Footnote 435: See infra, § III, 'Le Coq.']

[Footnote 436: These engravings are, as is well known to-day, by Luczelburger, of Basle, Holbein's regular engraver.]

[Footnote 437: These pages were intended to be used as an album. I have seen a very valuable copy at M. Potier's bookshop; he bought it of M. Gaullieur, who has described it in his _Études sur l'imprimerie de Genève_, p. 207. This copy, which was arranged by Durand the bookseller, who emigrated to Geneva for religious reasons, has no title-page and contains only the empty pages, that is to say those with borders alone, within which Durand's friends, the most illustrious leaders of the Reformation--de Bèze, Goulard, etc.--have inscribed each some sentence. In some verses which come first, and which are admirably engrossed on parchment, Durand tells us that he wrote them in 1583, without spectacles, notwithstanding his great age and 'the gout in his fingers.']

[Footnote 438: Bibliothèque Nationale.]

[Footnote 439: It may be that this fragment belongs to a collection cited by M. Brunet (_Manuel du Libraire_, vol. iv, col. 850), under the title, _Pourtraictz divers_, small octavo, Lyon, Jean de Tournes, 1557, as containing 63 plates, including the title-page. M. Brunet then gives a description of this collection, which cannot possibly fit it. 'These plates represent factories, animals, scenes of divers sorts, mythological subjects, and architectural designs.' This description evidently belongs to the volume of 1556 mentioned on the next page.]

[Footnote 440: These portraits and many other woodcuts of the de Tournes, which are still preserved in the Fick Press, at Geneva, have lately been reproduced in a sumptuous publication entitled: _Anciens bois de l'imprimerie Fick_, folio, Geneva, 1864. It contains many engravings of Petit Bernard.]

[Footnote 441: I have already cited (page 259), on the authority of M. Didot, an edition of this book under the date of 1551, but I doubt its existence.]

[Footnote 442: The first 24 pages of this collection are bound with an edition of Claude Paradin's _Quadrins historiques_, published by Jean de Tournes, in 1558.]

[Footnote 443: This book was reprinted in 1557, with the title _Pourtraictz Divers_; see p. 260, note 1.]

[Footnote 444: [See pp. 201-202, supra.]]

[Footnote 445: For instance, the anonymous author of a book entitled _Notice sur les Graveurs_, printed at Besançon in 1807 (2 vols., octavo), attributes to Salomon Bernard, whose period of activity he places between 1550 and 1580 (vol. i, p. 63 ), the engravings of Petrarch's _Triumphs_, which appear in an edition of 1545, and a _Resurrection of the Dead_, dated 1547 (vol. i, p. 64), which dates are inconsistent with those mentioned above; he also attributes to him (vol. i, p. 65) the theatrical scenes which we have with good reason ascribed to Tory, whose cross appears on one of them; and, lastly, he attributes to him the story of Psyche, in 32 duodecimo cuts, and the medallions of Jacques Strada's _Epitome des Antiquités_ (Lyon, 1553), his authorship of which is very doubtful. But there is no question at all concerning the following pieces, which certainly belong to Salomon Bernard:--

I. The figures of the Bible, to the number of 251, reprinted very frequently after 1553. In an edition of 1680, printed by Samuel de Tournes, at Geneva, whither the second Jean withdrew about 1580, because of his religion, is the following note: 'The figures that we offer you here are from the hand of an excellent craftsman, known in his day under the name of Salomon Bernard, called Le Petit Bernard, and have always been held in esteem by those who are learned in works of this sort.'

II. Claude Paradin's _Devises héroiques_, containing 184 engravings, besides a border on the title-page. Large octavo, Jean de Tournes, 1557 ( Bibliothèque Nationale). The license at the end of the volume discloses the titles of several other volumes which Jean de Tournes was then intending to publish, particularly the two following, which appeared the same year.

III. The Metamorphoses of Ovid; octavo, 1557; 178 engravings.

IV. _L'Astronomique Discours_, by Jacques Bassentin; folio, 1557; with a large number of astronomical plates.

V. _Hymnes du temps_, by Guillaume Gueroult; quarto, 1560; 88 pages, with borders and drawings. In the _avis au lecteur_ we read: 'I hope that you will find some pleasure herein, for that the whole is the work of a goodly hand; for the invention [of the engravings] is of M. Bernard Salomon, an excellent painter as there has ever been in our hemisphere.'

VI. Virgil's Æneid, French translation; quarto, 1560; with 12 vignettes.

VII. A book of _Thermes_, in eighteen orders; printed at Lyon in 1572, by Jean Marcorelle.--At the tenth _therme_ is a genie carving on a shield the letter S, the initial of Bernard's baptismal name.

A large number of vignettes, and of letters in grisaille, used by the printers of Lyon, are also attributed to this artist.]

[Footnote 446: See what I have had to say on this subject apropos of Baïf's _Annotations_, supra, p. 208.]

[Footnote 447: _Des Types et des Manières des maîtres graveurs_, etc., 16th century, pp. 167, 168.]

SECTION III. MARKS OF BOOKSELLERS AND PRINTERS SIGNED WITH THE LORRAINE CROSS.

The inventor of the Pot Cassé was chosen by his confrères, in preference to all other engravers, to engrave their private marks. They had realized the force of his 'kindly exhortation to practice and employ themselves in goodly inventions,'[448] and had been impressed by the perfection with which he executed that species of engraving, which he had completely transformed. For, in lieu of the coarse vignettes with a black background, on which the design stood out in white, as if cut with a die, Tory had gradually introduced into these woodcuts all the delicacy of the Italian engravings. The earliest ones of his of which we have any knowledge are in the criblé style, which the Middle Ages had handed down to him; but he soon rejected that style and not only adopted a new manner of engraving, but altered the arrangement of the designs that were entrusted to him. This fact is especially manifest if we compare the original mark of the de Marnefs (Silvestre, 'Marques Typographiques' no. 151) with the one that bears the motto, 'Principivm ex fide, finis in charitate' (Silvestre, no. 1043). Instead of the roughly drawn Pelican nourishing from its vitals its still more roughly drawn young, in a nest perched on a tree of which the leaves are larger than the trunk, we have, in the second engraving [given above], an entirely new composition, of which both design and execution are irreproachable. In the face of such results, we should not be surprised by the predilection of the printer-booksellers for Tory; they deemed it a duty to employ a confrère who poetized their profession: to them it was a question of esprit de corps and of patriotism alike.

That is why we have so many typographical marks signed with the Lorraine cross. We propose to enumerate all of those which we have actually had before us. As it was impossible to arrange them chronologically, we have adopted the alphabetical order.

* * * * *

ALARD (GUILLAUME), bookseller at Paris in 1550. See FEZANDAT.

* * * * *

BADE (CONRAD), printer and bookseller at Paris from 1546 to 1560, when he withdrew to Geneva for religious reasons.--One mark, which appears on the first edition of Théodore de Bèze's 'Poemata' (1548); the volume contains also a portrait of the author signed with the double cross. Conrad's mark, like that of his father, Josse Bade, represents a printing-press. It contains also the words 'Prelum ascensianum'; but, instead of being inscribed in a cartouche on the press, they are in two cartouches, one at the top, the other at the bottom, of the border (Silvestre, no. 867). When Conrad betook himself to Geneva, Eloi Gibier,[449] a printer of Orléans, bought the mark. It afterwards passed to Fabian Hotot, a printer in the same city, who was using it in 1609; but before using it he had the word 'Ascensianum' removed.

* * * * *

BESSAULT (THIBAUT, and JEAN, his son), booksellers at Paris. See REGNAULT (BARBE).

* * * * *

BONFONS (JEAN), bookseller at Paris from 1548 to 1572.--One mark (Silvestre, no. 125), representing a dove on a tree, within a circle formed by a serpent, and on the outside of the circle this sentence from the Bible: 'Estote prudentes sicut serpentes, et simplices sicut columbæ.' I have seen it in a quarto edition of 'Le Petit Jehan de Saintré,' published by Bonfons in 1553, in gothic type.

* * * * *

BUON (GABRIEL). See PORTE (MAURICE DE LA).

* * * * *

CALVARIN (SIMON), printer-bookseller at Paris, from 1553 to 1593. Two marks, representing a woman, seated, surrounded by the paraphernalia of the arts and sciences, and holding in one hand a palm-tree decorated with three wreaths. I have seen one of these marks, the larger, in an edition of Rodolphe Agricola's book entitled: 'De Inventione dialectica libri tres' (quarto, 1558), on the title-page of which is this imprint: 'Parisiis, ex officina Simonis Calvarini, in vico Belovaco, ad Virtutis insigne.'[450] The smaller one appears at the end of a book entitled: 'Conservation de santé et prolongation de vie, etc., composé premierement par noble homme H. [Hieronime] Monteux, conseiller et medecin ordinaire du roi François II, et nouvellement traduit en nostre langue fraçoise par maistre Claude de Valgelas, docteur medecin, etc. Paris, chez Simon Calvarin, rue Saint-Jacques, à la Rose blanche couronnée, 1572.' This is a 16mo, of which there is a copy in the Bibliothèque Nationale. This Simon was, I have no doubt, a son of Prigent Calvarin, printer at Paris from 1524 to 1582, whose mark is very different (Silvestre, no. 137).[451] It represents two persons holding a shield which hangs from a vine, with these sentences surrounding them: 'Deum time,' 'Pauperes sustine,' 'Finem respice,' 'Prigent Calvarin.' Simon, having set up for himself during his father's lifetime, had to adopt a different mark.

* * * * *

CHAUDIÈRE (REGNAULT), bookseller at Paris from 1516 to 1546, in the latter year succeeded to the printing business of Simon de Colines, whose marks 'au Temps' he used thereafter. He had a new one engraved in Tory's establishment, with the same figure, but with a slightly different motto: it reads: 'Virtus sola aciem retundit istam.' This mark appears in the edition of the comedies of Terence printed in 1546. See COLINES (SIMON DE).

* * * * *

COLINES (SIMON DE), printer-bookseller at Paris from 1520 to 1546. Four marks at least. See the two already described in the preceding section, under 1520-1521, as forming a part of title-pages, and numbers 80 and 329 of M. Silvestre's 'Marques typographiques.' The last two passed in 1546 into the hands of Regnault Chaudière, a bookseller since 1516. Chaudière had married Colines's daughter by the widow of Henri Estienne, and by virtue of the connection inherited his father-in-law's printing-office and bookshop. He himself printed, in 1546-1547, under the Latin name Calderius, an edition of the comedies of Terence[452]; at the end is M. Silvestre's no. 329, which (like no. 80) represents Time armed with a scythe, and this devise in a scroll: 'Hanc aciem sola retundit virtus.' Chaudière, who had previously used another mark (Silvestre, no. 96), employed thenceforth this one with the figure of Time, and handed it down to his successors.[453] In 1548 he published an octavo catalogue of his own books and those of Simon de Colines--'tum ab Simone Colinæi, tum ab Calderio excusi.'[454] The following is, in my opinion, the order in which Simon de Colines's various marks were engraved by Tory: In the first place, in 1520, the one with the rabbits, or _conils_, which it has been said that Colines adopted as a play upon his own name; but this conjecture seems to me the more improbable because these same rabbits had been used on the sign of Henri Estienne's shop as early as 1502.[455] However that may be, Colines seems to have retained this mark during all the time that he occupied Henri Estienne's house. When he turned over that abode, in 1525, to Robert Estienne, who established himself in business on the paternal premises, Colines went a little farther down rue de Beauvais, and took for his sign the 'Soleil d'or,' which appears on the second mark; finally, in 1528, he adopted the one with the figure of Time, which was afterwards adopted by his son-in-law, Regnault Chaudière.

* * * * *

CORROZET (GILLES), bookseller at Paris from 1538 to 1568.--One mark, representing, by way of allusion to the name of its owner, a rose upon a heart ('cor'), and with 'Gilles Corrozet' at the foot (Silvestre, no. 145). This mark, which I have seen on a book of 1539,[456] was undoubtedly the first that Corrozet used. It descended to his heirs, and his grandson Jean was still using it a century later, on the 'Trésor des histoires de France,' the work of another Gilles Corrozet, which Jean reprinted several times between 1622 and 1644. Jean simply removed from the mark his grandfather's Christian name, regardless of the lack of symmetry in the engraving caused by this subtraction. So that here was an engraving that was in use more than a hundred years; it is an interesting example of the durability of these woodcuts.

* * * * *

COTEREAU or COTTEREAU (RICHARD), bookseller at Chartres;--(PHILIPPE), bookseller at Blois.

* * * * *

DAVID (MATHIEU), printer-bookseller at Paris from 1554 to 1566. Three marks (Silvestre, nos. 227, 394, and 759). They represent a warrior bearing on his shoulders a woman plunging a sword in his throat. One of the marks has the word 'odiosa' in the border on one side, and 'veritas' on the other. Another is printed in an octavo volume of 1539 (Bibliothèque Nationale), Ravisius Textor's 'Epistolæ a mendis repurgata.'

* * * * *

DUPUY (J.), printer at Paris in 1549. See FEZANDAT.

* * * * *

ESTIENNE (ROBERT), printer-bookseller at Paris, from 1526 to 1550. Six marks at least, representing the olive-tree in different forms. Three of them are reproduced in M. Silvestre's work: nos. 162, 318,[457] and 319[458]; add to these the large folio mark that appears on the Bible of 1528[459] and that of 1540, previously described; a small mark which appears in the 16mo Virgil of 1549; and, lastly, a mark similar to Silvestre's no. 163 (except that the figure is bald), which appears in 'Caroli Stephani de Nutrimentis,' etc.[460] Probably most of these marks were engraved for Robert Estienne at the outset of his typographical career, that is to say, about 1526; he carried them with him to Geneva in 1550; and his son, the second Henri, used them in his turn, after his father's death, which occurred in 1559. It was undoubtedly the widow of Tory who engraved the mark (in different sizes) which appears, after 1544, on the Greek books printed with the royal types, and which represents a basilisk entwined about a lance.

* * * * *

ESTIENNE (CHARLES), printer and bookseller at Paris from 1551 to 1561. Three marks at least. Upon entering the typographical profession Charles adopted his brother's olive-tree; that is to say, he simply had copies made of Robert's marks, as he succeeded to his business. I have seen the first of these marks, similar to Silvestre's no. 163, in an octavo edition of P. Bunel's 'Epîtres familières,' printed by Charles in 1551; the second appears in a folio edition of Cicero, in four volumes, published by the same printer from 1551 to 1555[461]; and the third, like Silvestre's no. 162, in the 'Petit Dictionnaire français-latin' (quarto), published by Charles in 1559. It is probable that the second Robert used these same marks after his uncle's retirement in 1561.

* * * * *

FEZANDAT (MICHEL), printer-bookseller at Paris from 1541 to 1553. One mark (Silvestre, no. 423). This mark which, by way of allusion to the name of its owner, represents a pheasant (_faisan_) on a dolphin, with the letters M and F at the left and right, respectively, of the pheasant, was used without the initials in 1549, as may be seen on the title of 'Le Temple du chasteté,' printed in that year by Fezandat, in octavo.[462]

In 1550, one Guillaume Alard (Fezandat's son-in-law, it may be), who lived 'e regione collegii de la Mercy,' also used the mark in that form.[463] The appearance of this mark on Alard's book may be due solely to the fact that the book in question was printed by Fezandat. I have been unable to ascertain the facts because the fragment of the title-page on which I saw the mark and Alard's name does not contain the title of the book. The only possible clue is the three Greek verses on the other side of the page, which lead one to think that it may have been a work of Jean Blaccus Danois, of whom we have a translation of Isocrates into Latin verses, printed by Regnault Chaudière, also in 1550 (quarto).[464] This G. Alard is not named by Lottin in his 'Catalogue des imprimeurs-libraires de Paris.' I find the same mark in a small volume entitled 'Le Bouquet des fleurs de Sénèque'; octavo; Caen, 'de l'imprimerie de Jacques le Bas, imprimeur du roy,' 1590.[465] I find Fezandat's mark also in a book published by the bookseller J. Dupuy in 1549: 'Novum Testamentum,' in Greek and Latin; 16mo. Why? I have no idea.

* * * * *

GIBIER (ELOI), printer at Orléans. One mark, representing a printing-press. This printer, whose oldest known imprint is dated 1559, had evidently practised his trade several years earlier. This is what we find concerning him in the 'Bibliothèque historique des auteurs orléanais,' by Dom Gerou, which is preserved in manuscript in the Public Library of Orléans: 'We may say that Eloy Gibier was in a certain sense the first printer of Orléans; Mathieu Vivian and Pierre Asselin had preceded him, but we know of only a single work printed by each of them, whereas there are a great number by Eloy Gibier. We do not know when he began, but the earliest book printed by him of which we have any knowledge is of 1559. At first he put no symbol on the title-pages of his works; the place where the symbol should be was entirely unoccupied; later, he sometimes inserted one, but not always. This symbol was a printing-press, about which were the words: "In sudore vultus tui vesceris pane tuo."' I have seen this mark on the 'Coutumes générales d'Orléans,' printed by Gibier in 1570, octavo.[466] But he afterward adopted the mark of Conrad Bade. See that name.

* * * * *

GOURMONT (GILLES DE), printer-bookseller at Paris, from 1506 to 1530.--Three marks. The first, in the form of a border, is found on the title-page of a volume containing nine comedies of Aristophanes, printed by Pierre Vidoue, at Gilles de Gourmont's expense, in 1528 (quarto)[467]: a description of it will be found above.[468] The second represents Fame: it is a nude woman, winged, all over whose body are eyes, tongues, and ears. At the foot, in a scroll, are the words: 'Ecqvis incvmbere famae' ('poterit' understood, no doubt). The Lorraine cross appears at the left on the lower edge of the engraving. I have seen this mark on a small book entitled: 'Alphabetum hebraicum,' consisting of 8 leaves, printed by Pierre Vidoue (Silvestre, no. 98). Although the name of Gourmont nowhere appears in this case, I have no doubt that the mark belongs to Gilles de Gourmont, for it is accompanied by his initials, E and G (Egidius Gourmontius), at the left and right respectively; and we shall see that this same mark was afterward used by Jérôme de Gourmont, Gilles's son or nephew. It maybe that it was because of the loan of Gourmont's Hebrew type that his mark appears on this precious pamphlet, a description of which follows. First leaf, beginning at the end (according to the Hebrew and Arabic custom), Gourmont's mark in a border of detached compartments. On the verso Pierre Vidoue's epistle to the reader, dated from his workshop August 1, 1531. Then comes the text, followed by this subscript: 'Petrus Vidovæus Vernoliensis excudebat Lutetiæ' And, lastly, Vidoue's mark--Fortune, with the words: 'Audentes juvo' (Silvestre, no. 65). The third of Gilles de Gourmont's marks signed with the Lorraine cross is given by M. Silvestre (no. 826). [This mark forms the lower part of the border first described, and has evidently been cut from the border for use separately.] It represents the Gourmont arms[469]: a shield coupé, three roses in chief and a crescent in base; for crest a St. Michael, holding a bare sword, supports two winged stags with ducal coronets about their necks. This subject, much more fully developed, appears on the first page of the 'Tableaux des Arts Libéraux de Savigny,' in-plano,[470] published in 1587, by Jean and François, sons of Gilles de Gourmont, who succeeded to his establishment on rue Saint-Jean-de-Latran.

* * * * *

GOURMONT (JÉRÔME DE), printer-bookseller at Paris from 1524 to 1533.--One mark representing Fame, copied from the second mark of Gilles de Gourmont just described, but reversed. Beneath the inscription 'Ecqvis incvmbere famae,' in a small cartouche, are the initials H. D. G. (Hierome de Gourmont), with the Lorraine cross just above. I have seen this mark in an octavo volume published at Paris in 1534 by Jérôme de Gourmont, under this title: 'Pauli Paradisi ... de modo legendi hebraice dialogus,'[471] and in another octavo, also published at Paris ('Dionysiæ') in 1535, under a Greek title of which the Latin translation is: 'Apollonius Alexandrinus, de Constructione.'[472] Jérôme de Gourmont published at least one other book at 'Dionysiæ' in 1535; but I do not know the title, as I have not seen the title-page. All that I can say is that Ausonius is quoted in the Latin preface printed on the verso of the first leaf, of which I have seen only a fragment, belonging to M. Silvestre.

I believe that Jérôme de Gourmont did some printing, although he is named only as a bookseller in the bibliographies. The books that I have mentioned show that he was a scholar who followed in the tracks of Gilles de Gourmont. Indeed, the one first described, which is in Latin, contains some Hebrew words; the second is entirely in Greek.

I have seen a little book, printed at Paris in 1539, with Jérôme de Gourmont's mark: it is 'Pugna porcorum per J. Porcium,' octavo. The subscript below the mark reads: 'Parisiis, apud Anthonium Bonnemere.' Was Anthoine Bonnemere publisher for Jérôme de Gourmont, at the same sign? That is something that I do not know.

* * * * *

GOURMONT (BENOÎT DE), bookseller at Paris.--One mark, representing a man standing above two precipices; above him is a scroll with the words: 'Vndiqve praecipitivm'; and at his feet the initials B. D. G. (Silvestre, no. 838).

* * * * *

GRANDIN (LOUIS), printer-bookseller at Paris, from 1542 to 1553.--Two marks (Silvestre, nos. 277 and 416). They represent two men, one of whom is receiving a sphere from the hand of God; the other holds one which is crumbling in his fingers. On the second of the two marks are the words: 'Confidere in Domino bonum esse quam confidere in homine. Ps. 117.'

* * * * *

GUEULLARD (JEAN), printer-bookseller at Paris, from 1552 to 1553.--Two marks representing the Phœnix rising from the flames,[473] in an oval border. The smaller one has, within the border, the words, 'Amor vitæ acer nimis,' with Gueullard's initials, I. G., below (Silvestre, no. 790). This mark is .055 of a millimetre high by .044 wide. I have seen it in a book entitled: 'Petri Ruffi Druydæ dialectica, nuper ab eodem autore emendatur,' quarto, 1553 (3d edition).[474] The larger one has this motto within the border: 'Mori vivere mihi est'; it is .087 of a millimetre high by .063 wide (Silvestre, no. 882). I have seen it in a book entitled, 'Hexastichorum moralium libri duo, per Nic. Querculum Tortronensem Rhemum; quarto, Paris, 1552.'[475] See HARSY (OLIVIER DE).

* * * * *

GUILLARD (CHARLOTTE), printer-bookseller from 1518 to 1556.--One mark representing her sign, a golden sun in a starry sky. Below, two lions erect, holding a shield on which are the initials C. G. This lady carried on the printing trade for more than fifty years. She married first, in 1502, Berthold Rembold, a partner of the first printer in Paris, Ulric Gering. Berthold, who had established his domicile on rue Saint-Jacques, 'au Soleil d'Or,' having left Charlotte a widow in 1518, she carried on the business alone until 1520, when she married Claude Chevallon, who took up his abode on the same premises. Chevallon having departed this life, in his turn, in 1542, Charlotte continued in the business until 1556. It was during her second widowhood that the mark in question, which we reproduce herewith, was engraved. I have seen it on a quarto volume entitled, 'Institutionum civilium libri quatuor, 1550. Parisiis, apud Carolam Guillard, viduam Claudi Chevallonii, sub Soli aureo, et Guilelmum Desbois, sub Cruce Alba, in via divi Jacobi.' Claude Chevallon had upon his mark, by way of allusion to his name, two horses standing (cheval-long). But M. Silvestre publishes as his (no. 395) a mark which has the lions.

* * * * *

HARSY (OLIVIER DE), bookseller at Paris, from 1556 to 1584, used Gueullard's mark on several works written by Nicolas Ellain; among others, 'Elegia libri duo ad Joach. Bellaium, quo adhuc vivo eos scripsit.--Parisiis, e typogr. Olivarii de Harsy, ad Cornu cervi, in clauso Brunello'; quarto, 1560.[476] I have no idea why de Harsy adopted Gueullard's mark.

* * * * *

HOTOT (FABIAN), printer at Orléans. See BADE (CONRAD).

* * * * *

HOUIC (ANTOINE), bookseller at Paris. See REGNAULT (BARBE).

* * * * *

KERVER (THIELMAN II), printer and bookseller at Paris, from 1530 to 1550.--One mark, representing the arms of the Kervers; a 'gril' (_cratis_) held by two unicorns, with the letters T. K. Below is the printer's name in full: 'Thieman [_sic_] Kerver.' This mark appears on a book of Hours of 1550.

* * * * *

LE BAS. See FEZANDAT.

* * * * *

LE COQ (JEAN) printer at Troyes, from 1506 to 1525.--One mark, representing Le Coq's arms (a cock), hanging from a tree; below is the name, 'Jean Le Coq' (Silvestre, no. 875). This mark appears in a 'Graduel' of 1521, previously described.[477] We find it again in a book of Hours according to the use of Toul, published in 1541, which contains many other engravings signed with the double cross.[478] Also in a small book published in our own day by Aubry the bookseller[479]; that is to say, this particular woodcut is still in existence and belongs to M. Aubry.

* * * * *

LE NOIR (PHILIPPE), printer-bookseller at Paris, from 1520 to 1539. Three marks,[480] representing two negroes (noirs) holding a shield with Philippe le Noir's initials.

* * * * *

MALLARD (OLIVIER), printer-bookseller at Paris, from 1536 to 1542.

* * * * *

MALLARD (JEAN), bookseller at Rouen.

* * * * *

MARNEF, DE: Enguilbert, Jean and Geoffroy, brothers, were printers and booksellers at Paris and Poitiers, together or separately, from 1510 to 1550. Their mark was a pelican, piercing his side in order to nourish his young. Tory engraved for them at least two marks: one which appears on a book printed by Enguilbert and Jean, in Poitiers, in 1536,[481] entitled 'Les angoisses et remedes d'amour du Traverseur en son adolescence' (by Jean Bouchet), with this device: 'Eximii amoris typus'; it is reproduced by Dibdin,[482] and by Silvestre (no. 152).[483] The other may be seen in the Print Section of the Bibliothèque Nationale, among Tory's work; the pelican and its young are in an oval border, around which is this device: 'Principium ex fide, finis in charitate' (Silvestre, no. 1044). [See also the reproduction at the beginning of this section, page 265.]

* * * * *

MENIER (MAURICE), printer at Paris, from 1545 to 1566.--One mark (Silvestre, no. 789), representing a man closing a woman's mouth, with this device, 'Coercenda volvptas.'

* * * * *

MERLIN (GUILLAUME), bookseller at Paris, from 1538 to 1570.--One mark, representing a swan whose neck is twined about a cross, surrounded by the device, 'In hoc signo vinces.' The Lorraine cross is barely visible in the lowest ornament of the engraving. I have seen this mark on the first page of a 'Missale ecclesie Parisiensis,' in folio, without date, printed by Iolande Bonhomme, widow of the first Thielman Kerver, as is shown by the presence of that printer's mark on the first page of the text; it may be that there are copies in her name. This book is without date, but should be placed between the years 1532 and 1552, which embrace the incumbency of Jean du Bellay as Archbishop of Paris. Merlin's mark is .095 of a millimetre high by .067 wide.[484]

* * * * *

MOREL (GUILLAUME), printer-bookseller at Paris, from 1548 to 1564.--One mark, reproduced by M. Silvestre (no. 164), who informs me that his engraver accidentally omitted the Lorraine cross. 'This mark,' he adds, 'was used later by Estienne Prevosteau, Morel's son-in-law, who subsequently reëngraved it, or had it reëngraved, with his initials, E. P. in place of Tory's mark.'[485] It represents a capital theta (Θ), about which are twined two winged serpents, and in the centre an angel, seated on the cross-piece of the Θ, with a lighted torch in her hand.

* * * * *

NIVELLE (SEBASTIEN), printer and bookseller, at Paris, from 1550 to 1601. One mark, representing two storks in the air, one being carried and fed by the other; with this verse from Exodus (XX, 12), to explain the drawing: 'Honora patrem tuum et matrem tuam, et sis longævus super terram.' I have seen this mark on an octavo edition of St. John Chrysostom ('Homeliæ duæ'), printed by Sebastien Nivelle in 1554. It is reproduced by M. Silvestre (no. 201), but the Lorraine cross is barely visible on this impression. I have seen also another mark of Nivelle's representing the same subject, with analogous designs suggesting filial love in the four corners; but it is not signed with the cross although it is absolutely in Tory's manner.

* * * * *

NYVERD (GUILLAUME), printer and bookseller at Paris, from 1516.--One mark, or, to speak more precisely, a small border in the style of one of the marks of Simon de Colines. At the foot, in a scroll, are the words, 'Nasci, laborare, mori.' This border appears in a small pamphlet, undated, in pure gothic type, entitled, 'La Reformation des tavernes et destruction de gourmandise, en forme de dialogue'; a small octavo of 4 leaves, of which M. Cigogne possesses the only known copy (1856). At the end are the words, 'Paris, by Guillaume Nyverd, printer.' So that Lottin is mistaken in saying that he was a bookseller only. He gives only one date for his career in the trade--1516--but our engraving is certainly later than 1520. M. Silvestre extends Nyverd's business career to 1559, on what grounds I do not know; but he also calls him a bookseller only. The text of the 'Reformation des tavernes,' etc., was reprinted on page 223 of the second volume of the 'Recueil des poésies françoises des XV et XVI siècles,' collected and annotated by M. Anatole de Montaiglon.[486]

* * * * *

NYVERD (GUILLAUME DE), probably the son of the preceding, printer-bookseller at Paris, from 1550 to 1580.--One mark, representing the arms of France borne by two winged genii. Above them a head with wings; from its mouth come two garlands in the style of those on the last plate of 'Champ fleury.' At the left, at the foot of the cut, the letters G. N., and at the right the Lorraine cross. This engraving, which is 8 centimetres wide by 11 high, was undoubtedly executed when Guillaume de Nyverd was appointed king's printer, which title he held in 1561, according to Lottin. In all probability he held it earlier than that. However that may be, I have seen this mark, already much worn, in an impression of 1572: 'Prognostication touchant le mariage du tres honoré et tres aimé Henry, par la grace de Dieu roy de Navarre, et de tres illustre princesse Marguerite de France, calculée par maistre Bernard Abbatia, docteur medecin et astrologue du tres chrestien roy de France' [Charles IX]. There are in the Bibliothèque Nationale at least three editions of the little pamphlet, made by the same printer at about the same time, that is to say immediately after the marriage of the King of Navarre with Marguerite de Valois. All three have this engraving on the last page, but in every case it is accompanied by an addition of much later date, namely, the device of Charles IX (two pillars joined by a scroll containing the words, 'Pietate et Jvsticia'), above the arms of France. The volume contains also numerous other engravings and letters bearing Guillaume de Nyverd's initials. It is worth while to call attention to the fact that de Nyverd does not assume the title of king's printer in this book, although, as we have seen above, his appointment was of much earlier date.

* * * * *

PALLIER (JEAN), called 'Marchand,' printer and bookseller at Metz, from 1539 to 1548.--One mark (Silvestre, no. 156), representing a fleur-de-lis held in the air by two naked children, with the letters I. P. in the field.[487] Jean Pallier, or, better, Palyer (in Latin, Palierus), did business also in Paris, for I have seen several books of his dated from that city in 1541 or 1542, with the mark described above. I will mention, among others: (1) 'Epitomæ singularum distinctionum libri primi sententiarum, cum versibus memorialibus Arnoldi Vesaliensis,' etc., 16mo, Paris, 1541; and (2) 'Topica Marci Tullii Ciceronis,' etc., 'ex officina Joannis Palierii, e regione Navarræ, sub signo Leonis Coronati,' 4to, 1542.

* * * * *

PARIS (NICOLE), printer at Troyes, from 1542 to 1547.--One mark (Silvestre, no. 175), representing a child clinging to the branches of a palm-tree (?), beneath the device, 'Et Colligam.'

* * * * *

PERIER (CHARLES), bookseller at Paris, from 1550 to 1557.--One mark, found on the title of the folio entitled, 'Les quatre livres d'Albert Durer ... de la proportion des parties et pourtraicts des corps humains, traduits par Louys Meigret,' etc., 'chez Charles Perier ... à l'enseigne du Bellerophon, 1557.'[488] This bookseller issued two editions of Dürer's book in the same year, one in Latin and the other in French, both illustrated with the same cuts. I am unable to say which appeared first. He had already published, in 1555, for Louis Meigret, a translation of 'Les XII livres de Robert Valturin, touchans la discipline militaire,' in folio, with engravings, in which his mark appears, signed with the double cross. The sign of Bellerophon was retained by Charles Perier's son Thomas.

* * * * *

PETIT (OUDIN), bookseller at Paris from 1541.--One mark (Silvestre, no. 103), representing a shield bearing a fleur-de-lis, and held by two lions; in the field the letters O. P.

* * * * *

PORTE (MAURICE DE LA), bookseller at Paris from 1524 to 1548.--One mark used by his widow in the volume entitled, 'M. A. Mureti Juvenilia'; octavo, 1553.[489] Maurice de la Porte's widow sold his plant to Gabriel Buon, who used the marks of the deceased from 1558 to 1587. They represent a man carrying a valise at the door (_à la porte_) of a house; one of them has the device, 'Omnia mea mecum _porto_.' The man is Bias,[490] according to La Caille. About the same time there was a printer at Lyon named Hugues de la Porte, whose mark represented Samson carrying away the gates (_portes_) of Gaza in his arms, with the device, 'Libertatem meam mecum _porto_.' (He also published a folio Latin Bible in 1542.)[491]

* * * * *

PREVOSTEAU (ESTIENNE). See MOREL (GUILLAUME).

* * * * *

REGNAULT (BARBE), bookseller at Paris from 1556 to about 1560.--One mark, representing an elephant carrying a tower on his back, with the device, 'Sicut elephas sto'; height 7½ centimetres, width 5½ centimetres. Barbe was undoubtedly the daughter of François Regnault, who died in 1552, and who had a similar mark.[492] François Regnault's mark was retained by his widow, Madeleine Boursette, who added to it her initials, M. B., and did business in her own name until 1555. Barbe Regnault's mark first appears, so far as my knowledge goes, in a small octavo, printed about 1556, entitled, 'Description de la prinse de Calais et de Guynes, composée par forme de style de proces par M. G. de M.' (Here the mark.) 'A Paris, chez Barbe Regnault, rue Sainct-Jacques, à l'enseigne de l'Elephant.'[493] La Caille informs us of other works published about the same time by Barbe Regnault: 'Monstre d'abus contre Michel Nostradamus,' 1558; J. Seve, 'Supplication aux rois,' ... 'de faire la paix entre eux,' 1559. In 1560 she published a book by Estienne Brulefer, in octavo, entitled, 'Identitatum et distinctionum ... traditarum compendiosa contractio'; then comes the mark, and below it an imprint in which Barbe styles herself the widow of André Barthelin.[494] I am unable to say whether this is the same man whom La Caille and Lottin call André Berthelin, and who published in 1544 a work entitled, 'Francisci Georgii Venali ... de Harmonia mundi totius cantica tria'; folio, Paris, 'apud Andream Berthelin, via ad divum Jacobum, in domo Guilelmi Rolandi, sub insigne Aureæ Coronæ, et in vico Longobardorum in domo ejusdem Rolandi.'[495] If he is the same man, we must assume that he was not yet married to Barbe Regnault, for we see that, while he lived, as she did, on rue Saint-Jacques, he had a different sign. Indeed, I am inclined to think that Barbe did not adopt the 'Elephant' until after the death of Madeleine Boursette, François Regnault's widow, about 1556. However that may be, La Caille says that Barbe Regnault's mark passed into the hands of Thibault Bessault, then to his son Jean, and finally to Antoine Houic. I have seen a book published by the last-named in 1582, embellished with Barbe Regnault's 'Elephant.'

* * * * *

ROBINOT (GILLES I), bookseller at Paris, from 1554 to 1575.--One mark (Silvestre, no. 686), representing Icarus hurled into the sea for not following the advice of Dædalus, his father, not to approach too near the sun lest that luminary should melt the wax with which the wings of our presumptuous youth were fastened to his body. In a scroll are these words, 'Ne quid nimis.' This mark was used as late as 1619 by Gilles Robinot the second, son of the first Gilles[496]; it is .05 of a millimetre high by .047 wide. See SERTENAS.

* * * * *

ROFFET (PIERRE), called 'Le Faulchoir,' bookseller at Paris, from 1525 to 1537.--One mark (Silvestre, no. 150) representing a mower (_faucheur_) appears in a book printed in 1536.[497]

* * * * *

ROIGNY (JEAN DE), bookseller at Paris, from 1529 to 1562.--I know two marks of de Roigny, signed with the Lorraine cross. The older is the one that appears in a superb edition of Pliny's 'Letters,' printed by Josse Bade in 1533, in folio (Silvestre, no. 674).[498] It represents a man and a woman, each holding a scroll containing a Latin motto; the man's reads thus: 'Nec me labor iste gravabit'; and the woman's, 'Spes premii solatium est laboris.' In the sky is Fortune with her wheel and the horn of plenty, and this device in a scroll beneath: 'Quod differtur non aufertur.' The second mark, which was adopted by Jean de Roigny after the death of his father-in-law, Josse Bade, in 1535, is the 'Prelum ascensianum,' but reëngraved (Silvestre, no. 787); for Bade's typographical plant passed into the hands of another son-in-law of his, Michel de Vascosan, who continued to use his father-in-law's old woodcuts, especially his mark, badly worn as it was. As for Robert Estienne, Bade's third son-in-law, his father-in-law's death caused no change in his typographical arrangements; he still retained the 'Olive-tree' which he has made so celebrated.

* * * * *

SERTENAS (VINCENT), bookseller at Paris, from 1534 to 1561.--One mark, which was used on two opuscula, in octavo, of 1561; they are usually bound in the same volume, and are entitled: (1) 'Régime de vivre et conservation des corps humains,' etc.; (2) 'Recueil de plusieurs secrets très-utiles pour la santé,' etc. This mark represents the initials V. S. interlaced, in a medallion above which is the sun, with a genie on each side; and below, the device, 'Vincenti non victo.' We also find Robinot's mark, described above, in certain books published by Sertenas. I will mention among others the 'Recueil des rimes et proses, by E. P.; octavo, 1555.[499] Presumably, it was because Robinot was the printer that he placed his mark on the books.

* * * * *

VIVIAN (THIELMAN), bookseller at Paris in 1539.--One mark (Silvestre, no. 725), which appears in the second part of the 'Grand Marial de la mère de vie,'[500] translated by Adam de Saint-Victor. This second part is entitled, 'A la très-pure et immaculée Conception de la Vierge'; quarto, 1539. Vivian lived in Clos Bruneau; his mark bore this device, 'Post tenebras spero lucem' in a scroll, above a fountain guarded by two unicorns; below are the letters T. V., and still lower, 'Thielman Vivian.'

FOOTNOTES:

[Footnote 448: _Champ fleury_, folio 43 verso.]

[Footnote 449: Eloi Gibier used previously a similar mark, which bore the following device: 'In sudore vultus tui vesceris pane tuo.' (See Silvestre, no. 544.) He used it particularly at the end of the _Coutumes générales d'Orléans_, 1570.]

[Footnote 450: Bibliothèque Nationale.]

[Footnote 451: Brunet, _Manuel de Libraire_, vol. ii, col. 1629.]

[Footnote 452: This very rare and valuable edition contains a dissertation on Latin accents. Bibliothèque Nationale.]

[Footnote 453: See Silvestre, nos. 286 and 287.]

[Footnote 454: See Mattaire, _Annales typographiques_, vol. iii, part 1 A, p. 147.]

[Footnote 455: See the subscription of the first book published by him in conjunction with Wolfgang Hopyl, under the title, _Artificialis introductio Jacobi Fabri Stapulensis_, etc.; folio, 1502. This book is in the Bibliothèque Sainte-Geneviève.]

[Footnote 456: According to Lottin, it was first used in 1555. See his _Catalogue_, vol. ii, p. 30.]

[Footnote 457: I have reproduced this mark on the title-page of my _Les Estienne et les types grecs de François I_; octavo, 1856.]

[Footnote 458: [Silvestre also gives three other variants, nos. 508, 542, and 958, signed with the cross. No. 508 is reproduced above.]]

[Footnote 459: [1538? M. Bernard mentions no Bible of 1528.]]

[Footnote 460: Octavo; Paris, Robert Estienne, 1550. Bibliothèque Nationale.]

[Footnote 461: This book is described on p. 244, supra.]

[Footnote 462: Bibliothèque Nationale.]

[Footnote 463: See the collection of Tory's work in the Print Section of the Bibliothèque Nationale.]

[Footnote 464: _Sermonum liber unus ex Isocratis notione de regno, carmine heroico._ Bibliothèque Mazarine.]

[Footnote 465: Bibliothèque Nationale.]

[Footnote 466: Bibliothèque de l'Institut.]

[Footnote 467: Bibliothèque Nationale.]

[Footnote 468: On p. 197. [Reproduced on p. 198.]]

[Footnote 469: The placing of these arms on the typographical mark of Gilles de Gourmont proves, in contradiction of the common opinion, that the printer's trade was not degrading. (But see what I have said on this subject in my book on the _Origin of Printing_, vol. i, p. 210, and vol. ii, p. 89.) The Gourmonts of Paris were in fact descended from a noble family of the Cotentin, which may still be in existence, and which bore the same arms in the seventeenth century. Gilles de Gourmont had taken up his abode in Paris in the last years of the fifteenth century, as had several of his brothers, who practised the same trade. The oldest, Robert, appears in that city as early as 1498; Jean, who was younger than Gilles, not until 1507. We hear also of a Jérôme and a Benoît as booksellers in Paris in the middle of the sixteenth century. I do not know what their relationship to the earlier men was. Perhaps they were sons of Robert. (Benoît, who married Catherine Goulard, had a son baptized by the name of Gilles at the church of Sainte-Croix-en-la-Cité, on October 9, 1546.) We also find a Jean Théobald de Gourmont at Antwerp in 1527. As for Gilles, he was engaged in bookselling and printing from 1506 to about 1533, and left two sons, Jean and François, who retained his establishment on rue Saint-Jean-de-Latran, and printed there, in 1587, the _Tableaux des Arts Libéraux de Christophe de Savigny_. This is an in-plano, at the beginning of which is a superb engraving representing the arms of the family [as described in the text]. This remarkable work, which bears the monogram of the two brothers, was probably executed by Jean, the elder, who was a painter and engraver. The Musée du Louvre has a picture supposed to be by him (_Notice des tableaux du Louvre_, part 3, p. 156); he is the author of a fine portrait of the Cardinal de Bourbon, mentioned by Mariette and now in the Cabinet des Estampes; he is mentioned also by Abbé de Marolles and by Papillon for certain pictures of equestrian groups and bits of decoration. His mark (formed of the letters I D G entwined) and the name accompanying it are found on several pieces cited by Brulliot, on the plates of a Bible of 1560, and on certain pieces of Tortorel and Perissim (Renouvier, _Maîtres Graveurs du Seizième Siècle_, p. 195 ). It will be seen that Gilles had worthy successors; unfortunately the race of the Gourmonts of Paris died out with them.]

[Footnote 470: [That is, consisting of unfolded sheets, so that each sheet forms only one leaf, or two pages.]]

[Footnote 471: Bibliothèque Nationale.]

[Footnote 472: Bibliothèque Mazarine.]

[Footnote 473: Gueullard lived at the sign of the Phœnix, _e regione collegii Remensis_.]

[Footnote 474: Bibliothèque Mazarine.]

[Footnote 475: Bibliothèque Nationale.]

[Footnote 476: Bibliothèque Nationale.]

[Footnote 477: [See p. 177, supra.]]

[Footnote 478: [See p. 221, supra.]]

[Footnote 479: _Bibliothèque de l'Amateur champenois_, 2d part: 'Construction d'une Notre-Dame.']

[Footnote 480: See Dibdin, _The Bibliographical Decameron_, vol. ii, p. 43; Silvestre, no. 61. The one in Silvestre is a reduced copy of that at the end of _Des Coustumes et statuz particuliers de la pluspart des baillages_, etc. (4to, 1527), which is of much larger format, and is also signed with the Lorraine cross. [This magnificent mark is reproduced in its full size on p. 264, supra.]]

[Footnote 481: Quarto; finished Jan. 8, 1536 (1537 n. s.).]

[Footnote 482: _Bibliographical Decameron_, vol. ii, p. 32.]

[Footnote 483: Nos. 153 and 174 seem to be by the same artist, but they are not signed.]

[Footnote 484: Silvestre, no. 801. See a further description of this book, supra, p. 215, note.]

[Footnote 485: Indeed I have seen this mark, with the Lorraine cross, on a Greek alphabet of 1560, printed by G. Morel (Bibl. Nat.), and on several other works printed by Prevosteau, his son-in-law; I will mention particularly _Adriani Behotii diluvium_, octavo, 1591 (Bibl. Nat.), where the mark is cracked, which explains why it was reëngraved with the letters E. P.]

[Footnote 486: Sixteenmo; Paris, Janet, 1855.]

[Footnote 487: See _Le Second Enfer d'Estienne Dolet_; quarto, 1544; Bibliothèque Nationale.]

[Footnote 488: Bibliothèque du Jardin des Plantes et Sainte-Geneviève.]

[Footnote 489: Bibliothèque Mazarine.]

[Footnote 490: One of the 'Seven Sages' of Greece.]

[Footnote 491: Bibliothèque Nationale.]

[Footnote 492: See Silvestre, nos. 42 and 43.]

[Footnote 493: Bibliothèque Nationale.]

[Footnote 494: Bibliothèque Nationale.]

[Footnote 495: Bibliothèque Nationale.]

[Footnote 496: See _Epistres morales d'Honoré d' Urfé_; 8vo, 1619.]

[Footnote 497: [Reproduced on p. 137.]]

[Footnote 498: [Reproduced on p. 286.]]

[Footnote 499: Copies of both books are in the Bibliothèque Nationale.]

[Footnote 500: This book is in the Bibliothèque de l'Arsenal. The first part is in gothic type, without typographical signs; the second, in roman.]

APPENDICES.

I

NOTE CONCERNING GEOFROY TORY'S FAMILY.

1. _Of his Forbears and Collateral Relations._

Genealogical investigation, supplemented with information furnished by two learned Berrichons, enabled me to enumerate, in my first work on Tory, a considerable number of members of his family, all, or almost all, of whom lived in Faubourg Saint-Privé [Bourges]. The recent researches of my friend M. Hippolyte Boyer, Deputy Archivist of the Department of the Cher, make it possible for me to make known his grandfather, his father, and all his brothers and sisters.

'By deed of December 29, 1486, Robert Thory, husbandman, living in the parish of Saint-Germain-du-Puy, conveys to Jean Thory, his brother, for 20 livres tournois, his share in the heritage of the late Jean and Jeanne, their father and mother.'

'By contracts of September 5 and 8, 1507, Jean Thory, of Saint-Privé,[501] and Philippe _Thoreye_, his wife, give their two daughters, Jehanne Thorye and Perron Thorye, in marriage to Thevenin and François Leconte, sons of Jean Leconte.' Among the provisions of Perron's contract is one to the effect that Jean Thory and his wife settle a dowry of 40 livres tournois on their daughter: 'and this in satisfaction of all claim upon father and mother, be it in respect of furniture or of inheritance, which said claim the said future bride, with the authority of her said future husband, hath renounced and doth by these presents renounce, in favour of her father and mother, of _maistre Geoffroye_, André, Antoine and Michell Thoris, children of said Jean and Philippe, save for the power to,' etc.[502]

Thus it appears that Geofroy was the oldest of the brothers and sisters, as he is named first in the document. Now, as two of his sisters were of marriageable age in 1507, and as he is called _maistre_, it is probable that he himself was more than twenty-five. That is why I have placed his birth about 1480.

2. _Of his Descendants._

Jean Toubeau, printer and bookseller at Bourges, who died at Paris in 1685, while on a mission for his native place,[503] wrote the following in the preface to his 'Institutes consulaires,' printed by himself in 1682, three years before his death: 'I have not been impelled to undertake and write this work by the examples of the illustrious members of my profession. Nor is it the example of those of my own family who have given their works to the public: Geofroy Tory, professor in the University of Paris, and a printer and bookseller in the same city, who was so prolific that, proposing to put forth a book which should teach the scope and proportions of those beautiful roman letters which we use to-day in printing, he could not forbear to produce a book overflowing with learning, which was followed by numerous others of instruction, which are so well known that it is needless to give a list of them here, especially as M. de la Thaumassière gives them a whole chapter in our history.'

It is evident from this passage that Toubeau was related to Tory, but it is not clear how the relationship came about; and La Thaumassière does not mention Tory in his 'Histoire du Berry,' printed a few years later by François Toubeau, Jean's son, despite the promises which he seems to have made to Jean, who had transferred to him the duty of making known to posterity that illustrious son of his province.

The only author able to assist us at all in our investigations is Moréri, who, in the article on Jean Toubeau in his great historical dictionary, says that he was the great-great-grandson of Tory, on his mother's side. This statement should be exact, and the article appears to be written from information furnished by the Toubeau family; but all that we can determine from it is that Toubeau was a descendant of Tory in the fourth degree. Whether he descended from a son or daughter of Geofroy, I have been unable to discover. To elucidate this fact, I wrote to M. Auguste Toubeau, judge of the civil court at Bourges, and this was his reply, dated March 5, 1856: 'I should have been glad to give you the information you desire about Tory. But I have no documents or family papers which establish his relationship to Jean and Hilaire Toubeau. I do not know what connection there was between them and Tory, and I learned that there was such a connection only from what Moréri says of it.'

Failing family papers, I made fruitless efforts to fix the relationship between the Toubeaus and Tory. Finding it impossible to reach any certain result, I have abandoned this search, which has no bearing upon the history of our illustrious typographer. The Toubeaus alone are interested in the solution of the question; I leave to them the task of proving their kinship.

POSTSCRIPT.--It may be surmised that Bonaventure _Torinus_, bookseller of Bourges, who caused to be printed at that city, in 1595, by the widow of Nicolas Levez, the 'Epitome juris civilis,' by an unknown author, and 'Julii Pauli receptarum sententiarum libri V,'[504] was Tory's son, for he wrote his name in Latin in the same way that Tory wrote it; but was it from a daughter of Tory or from a daughter of this Bonaventure that Toubeau descended? It is impossible for me to say. The lateness of the period at which Bonaventure makes his appearance leads me to believe that he did not see the light until Tory had reached an advanced age. Indeed, if we compare the dates, we shall find that this son of Tory cannot have come into the world before 1530, for, starting from that year, he would have been sixty-five years old in 1595, when his 'Epitome juris' was printed, and there is no reason to believe that he died very soon thereafter. For my own part, I believe that he was not born until after the publication of 'Champ fleury,' and that his Christian name was an allusion to his late birth.[505] In that case, we can understand why he did not succeed to the paternal establishment: he was only two or three years old at Geofroy's death--too young to think of taking his place; so that that duty fell to Geofroy's pupils, whoever they may have been. As for Bonaventure, the family traditions naturally led him back to Bourges, and the trade that he adopted brought him still nearer to his father.

II

VERSES IN HONOUR OF GEOFROY TORY, PRINTED AT THE HEAD OF PALSGRAVE'S GRAMMAR.[506]

'Ejusdem [Leonardi] Coxi ad eruditum virum Gefridum TROY[507] de Burges[508] Gallum, Campi floridi authorem, quem ille sua lingua Champ fleury vocat, nomine omnium Anglorum, phaleutium.

'Campo quod toties, Gefride docte, 'In florente tuo cupisti habemus. 'Nam sub legibus hic bene approbatis 'Sermo gallicus ecce perdocetur. 'Non rem grammaticam Palæmon ante 'Tractarat melius suis latinis, 'Quotquot floruerant ve posterorum, 'Nec Græcis melius putato Gazam 'Instruxisse suos libris politis, 'Seu quotquot prætio prius fuere, 'Quam nunc gallica iste noster tradit. 'Est doctus, facilis, brevisque quantum 'Res permittit, et inde nos ovamus, 'Campo quod toties, Gefride docte, 'In florente tuo cupisti, habentes.'

_Remarks on the foregoing lines._

The numerous errors of all sorts which disfigure Palsgrave's book (a very interesting book, none the less)--errors of which the foregoing lines afford several specimens--should have humbled to some extent the national vanity of the author, who cries out incessantly, throughout his bulky volume, against the ignorance of French printers. He should, in any event, have remembered that English typography was the very humble daughter of French typography, which latter not only trained the first English artist (Caxton), but also gave him his two most illustrious successors,--Wynkyn de Worde and Pinson,--the last named of whom did in fact print a part of Palsgrave's book.

A modern Englishman, David Baker, has gone even farther than Palsgrave; he says, speaking of Palsgrave's work: 'the French nation, so proud to-day of the universality of its language, seems to owe it to England.' To which M. Génin retorts: 'Baker reasons backward. The French language did not come into universal use because it pleased Palsgrave to write a grammar; on the contrary, Palsgrave composed his grammar because the French language was already universal. This universality was a fact, admitted before Palsgrave's birth,[509] and others before him had tried to draw up rules to facilitate the study of French by foreigners. Palsgrave names three to whom he acknowledges that his work is greatly indebted.

'Leonard Coxe exults more modestly and with more propriety than David Baker, for he seems to attribute to Geofroy Tory the honour of having called forth Palsgrave's grammar. To be sure, a comparison of dates seems to leave little likelihood to that conjecture, for the Frenchman's work and the Englishman's are only about a year apart; but I must notice here one curious fact which has not been noticed by the bibliographers. On the title-page of the English book we find the date 1530, and on the last leaf, "Printing completed July 18, 1530." But the king's licence to print, at the beginning of the volume, is dated, "At our Castle of Ampthill, the second of September, in the year of our reign the XXII." Now, as Henry VIII succeeded to the throne in 1509, after Easter, the twenty-second year of his reign was the year 1531,[510] and "Champ fleury" appeared early in 1529. So that this gives us an interval of three years.[511] In this view Leonard Coxe's words have genuine force, and the point of concurrence which Palsgrave congratulates himself upon finding in "Champ fleury" and "Lesclaircissement" may not be so fortuitous as he chooses to state.'

However, as M. Génin goes on to say, 'this honour, claimed by the English, of having been the first to write upon the French language, is, all things considered, simply an act of homage to France; for if our neighbours had awaited from a foreign nation the first book on the English language, perhaps they would be awaiting it still.'

III

TORY ADMITTED AS THE TWENTY-FIFTH BOOKSELLER TO THE UNIVERSITY.

In the 'Acta Facultatis medicinæ Parisiensis,'[512] at the end, we read as follows:--

'Die Martis 18 febr. 1532 [1533, n. s.]....

'Die sabbati sequenti, vocata est Universitas in ecclesia Mathurinorum, super tribus articulis: clausione rotuli, resignatione cure Sanctorum Cosme et Damiani, et receptione vigesimi quinti librarii Universitatis. Clausus est rotulus solito more; admissa est resignatio permutationis causa et sine prejudicio turni, et admissus est vigesimus quintus librarius Gauffridus Torier [_sic_], dono regio. Ubi supplicavit magister Jacobus Japhet pro pastillaria.'

(_Translation._)

'On the following Saturday [February 22, 1533], the University was called together at the Church of the Mathurins. There were three articles in the order of the day: Closing of the register [of benefices]; resignation of the curé of Saint-Come and Saint-Damien; reception of a twenty-fifth bookseller to the University. The register was closed according to the usual form. The resignation was accepted, by way of exchange, without prejudice to the next in turn. Geofroy Tory was admitted as twenty-fifth bookseller, by presentation of the king. At this same session Maître Jacques Japhet prayed for leave to present his "pastillary" thesis.'

* * * * *

The only item that interests us in this extract from the proceedings of the Faculty of Medicine is the passage relating to Tory. We see that in 1533 he was made the twenty-fifth bookseller to the University, by command of King François I. Up to that time there had been only twenty-four (see M. Didot's 'Essai,' col. 744), and they undoubtedly went back to that consecrated number after the death of Tory, in whose behalf an exception had been made.

IV

NOTE CONCERNING TORY'S VARIOUS DOMICILES IN PARIS.

The dedicatory epistle of Tory's edition of Pomponius Mela is dated Paris, December, 1507; but it mentions no place of abode.

The edition of the 'Cosmography' of Pope Pius II is dated at the Collège du Plessis, October 2, 1509. Tory was at the Collège du Plessis as late as May 10, 1510.[513]

On August 18, 1512, we find him installed at the Collège Coqueret; and a little later at the Collège de Bourgogne.[514]

About 1518, having joined the fraternity of booksellers, he went to live on rue Saint-Jacques, opposite the Écu de Bâle, which was then used as a sign by the famous printer Chrétien Wechel. The latter's establishment was on the right going up rue Saint-Jacques, near the church of Saint-Benoît.

About 1526 Tory established himself on the Petit-Pont, near Hôtel-Dieu, but did not give up his shop on rue Saint-Jacques, at the sign of the Pot Cassé.

Early in 1531, he changed his abode to rue de la Juiverie, the Halle aux Blés de Beauce, where he set up his printing-press and his bookstall. He retained his shop on rue Saint-Jacques for some time.[515] It was in his house on rue de la Juiverie that he died, in 1533.

V

OF THE FIRST USE BY PRINTERS, AND IN THE FRENCH LANGUAGE, OF THE APOSTROPHE, THE ACCENT, AND THE CEDILLA.

M. Francis Wey, in a report made by him to the Philological section of the Committee on the Language, History, and Arts of France, on June 9, 1856, and published in the 9th fascicle of volume three of that Committee's 'Bulletin' (page 437), seems to attribute to Jean Salomon, otherwise called Montflory, or Florimond, the first philological dissertation in which there is any mention of the accent, the apostrophe and the cedilla,--signs peculiar to the French language, which, as every one knows, was for many years content with the alphabet of the Latin tongue, from which it descended; more than that, he attributes to that author the first use of these signs in a printed book. In both respects the honour is due to Geofroy Tory. In truth, in his 'Champ fleury,'--which was not published until 1529, it is true, although begun in 1523, the license to print being dated September 5, 1526,--Tory proposed to introduce the accent, the apostrophe, and the cedilla into the French language; he did more than that; for, having become a printer, he was the first to introduce those signs into typography. They appeared for the first time in the last of the four editions of the 'Adolescence Clementine' (by Clement Marot), all four of which he published. This fourth edition appeared June 7, 1533, accompanied by an 'avis' in these words: 'With certain accents noted, to wit, on the _é_ masculine, different from the feminine,[516] on letters joined by synalephe, and under the _c_ when it is pronounced like _s_, the which for lack of counsel has never been done in the French language, albeit it was and is most essential.' This was the first work in which Tory applied his orthographic system, as may be seen by the inexperience of the compositors in his employ, who made several errors of omission and transposition in this very notice.

This so necessary reform spread very rapidly, thanks to the fact that the necessity had already made itself felt, as is proved by the work of Jean Salomon, published in that same year 1533. But it is Tory's especial glory that only those changes which were proposed by him were retained, save a few orthographic signs which have no other purpose than to distinguish words spelled alike but of different meanings--and these signs were introduced later: a, à; ou, où; du, dû, etc.

With however good a will one might seek to deny Tory's precedence in the use of orthographic signs in the French tongue, and to award it to Jean Salomon, who used them in the same year, there are two facts that decide the question in favour of the former: these are, the publication in April, 1529, of his 'Champ fleury' (the first book of which is entitled, 'An exhortation to fix and ordain the French language by certain rules for speaking with elegance in good sound French words'), and the formulation of the 'General rules of orthography of the French language,' no copy of which is known to exist, it is true, but for which Tory obtained a license to print on September 28, 1529, four years before Salomon's work appeared.

Nor must we lose sight of the fact that Tory was from Bourges, that is to say, from the same province as Jacques Thiboust, Seigneur de Quantilly, 'friend of books, and distinguished penman,' who was Jean Salomon's Mæcenas. There is nothing improbable in the supposition that Thiboust had had his interest aroused by Tory, who is likely to have been a crony of Thiboust in Paris by a two-fold claim,--as a Berrichon and as a 'friend of books.' It seems to me that the alias 'Montflory' assumed by Salomon is an allusion to 'Champ fleury.' That, in my opinion, is why he wrote it 'Montflory' or 'Florimond,' indifferently, the word being an anagram rather than a real surname.

As the opportunity offers itself, I will add to M. Francis Wey's notes a few remarks which may some day assist in writing the biography of Jean Salomon, of whom nothing is known except the fact, told us by himself, that he was an Angevin.

We know now of three different editions of his work. The first, dated 1533, with no indication of the month, was printed in that year in three pages and a half, octavo, under this title: 'Briefve doctrine pour deuement escripre selon la propriete du langaige francoys.' We do not know where or by whom it was published, but it certainly was printed at Paris, where Salomon undoubtedly lived, and probably by Antoine Augereau, as was the one next described, which seems to have been modelled upon it. Indeed, like it, it is generally found between the same covers with an edition of the 'Miroir de l'âme pécheresse' (of Marguerite of Navarre),--an edition without date, name of place or of printer, which, therefore, should also be attributed to Antoine Augereau and to the year 1533. This edition, which M. Brunet does not mention,[517] has on the first page: 'Le Miroir de lame pecheresse, auquel elle recongnoit ses fautes et pechez, aussi les graces et benefices a elle faictz par Jesuchrist son espoux.' It consists of nine half sheets in octavo, printed as four (signatures _a_ to _i_). On the last leaf is a note to the reader wherein forgiveness is asked for the first corrector (he who is called to-day 'the corrector of first proofs'), who has inadvertently omitted three verses. 'Divers other trivial errors may peradventure be found before or after, but they must needs be charged rather to the variety of the copies than to the negligence of the correctors or to the haste of the printers.'--As I have said, it is at the end of this pamphlet that we find printed, with separate signatures of its own, from _a_ to _d_, the little book described by M. Wey after the copy in the Bibliothèque Nationale which contains the 'Briefve doctrine.' But one essential point, which M. Wey has forgotten to mention, is that in the first edition not a word is said of the accent or the cedilla; there is no mention of anything except the apostrophe.

The second edition, printed at Paris by Antoine Augereau, in December, 1533, at the back of another edition of the 'Miroir de l'âme pécheresse' (called 'Miroir de tres chrestienne princesse Marguerite, reine de Navare'), is two-thirds larger. It was probably published (like the preceding one) by the Queen of Navarre's secretary, Jean Thiboust, after a manuscript which the author had dedicated to him as his Mæcenas. Indeed, we find at the head of this reprint the words 'ex manuscriptis authoris,' which seems to indicate further that the author was dead. A point worth noting is that the 'Briefve doctrine' again forms a part of an appendix distinguished by separate signature letters (and folios) from Marguerite's poem, and bearing the same title as in the earlier print, despite the additions that had been made to it (presumably based upon Tory's publications), especially with respect to the cedilla and the accent, which, moreover, are used throughout the volume.

The third is the one which is still in manuscript at Bourges. It contains several passages more than the preceding; but these passages, which are of very debateable merit (as M. Wey, who reproduces them in his report, declares), were probably added by one Jean Milon, of Arlenc in Auvergne, calling himself a retainer ('serviteur') of Thiboust, who revised the 'Briefve doctrine' about 1542; so much at least we may infer from the date of some other pieces in the collection containing it, which was presented, in 1555, by Jacques Thiboust to the Collège de Bourges, whence it found its way to the public library of the same city. It is exceedingly interesting to find this document in Geofroy Tory's native place. It is as if chance had chosen thereby to remind us of the source of the orthographic reform proposed by Jean Salomon.

To be entirely fair, we ought to say that certain other writers had even anticipated Salomon. Thus Jacobus Silvius, otherwise called Jacques Dubois, had published through Robert Estienne, on the 7th of the Ides of January, 1531 (January 7, 1532, n. s.), a French grammar in Latin, wherein he suggested a complete system of orthographic reform, including the acute accent, the apostrophe, the cedilla, etc.; but his plan was so complicated that it could not be followed in its entirety. Moreover, the signs proposed by him were, for the most part, impossible of adoption throughout a book. For instance, the cedilla consisted of an _s_ placed about the _c_. The merit of Tory's system, over and above its priority, was its simplicity. So we may say that it was generally adopted after 1533.

VI

TRANSLATION OF THE LETTERS PATENT OF FRANÇOIS I, APPOINTING CONRAD NÉOBAR KING'S PRINTER FOR GREEK.[518]

January 17, 1539 [new style].

François, by the grace of God King of the French, to the French nation, greeting.[519]

We desire that it be known to one and all that our dearest wish is, and has ever been, to accord to letters our support and especial favour, and to do our utmost endeavours to supply the young with useful studies. We are persuaded that such useful studies will produce in our realm theologians who will teach the blessed doctrines of religion; magistrates who will execute the laws, not with passion, but in a spirit of public equity; and skilful administrators, the glory of the State, who will not hesitate to sacrifice their private interests to love of the public weal.

Such are in effect the advantages which we are justified in anticipating from worthy studies almost alone. And that is why we did, not long since, make liberal allotments of stipends to distinguished scholars that they might teach the young the languages and sciences, and train them in the no less valuable practice of good morals. But we have considered that there was still lacking, in order to hasten the onward march of literature, something no less essential than public instruction, namely, that a capable person should be specially entrusted with the matter of printing in Greek, under our auspices and with due encouragement from us, in order to the correct printing of Greek authors for the use of the young people of our realm.

In truth men distinguished in letters have represented to us that the arts, history, morality, philosophy, and almost all other branches of knowledge, flow from the Greek authors as streams flow from their sources. We know likewise that, Greek being more difficult to print than French and Latin, it is indispensable for the successful administration of a printing establishment of this sort, that the director thereof should be well versed in the Greek tongue, extremely painstaking, and blessed with abundant means; that it may be that there is not a single person among the printers of our realm who combines all these qualifications (that is to say, knowledge of the Greek language, painstaking energy and large wealth), but that in one the fortune is lacking, in another the necessary knowledge, and in others still different conditions. For those men who possess at once wealth and learning prefer to pursue any other occupation rather than turn their hands to typography, which demands a most toilsome life.

Accordingly we instructed several scholars whom we admit to our table or to our intimacy, to point out to us a man overflowing with zeal for the art of typography, and of proved learning and diligence, who, supported by our generosity, should be employed to print Greek books.

And we have a two-fold motive in thus serving the cause of study. Firstly, as we hold this realm from the All-powerful God, which realm is abundantly supplied with wealth and with all the conveniences of life, we choose that it shall yield to no other in respect to the profundity of its studies, the favour accorded to men of letters, and the variety and extent of the instruction provided; secondly, in order that the studious youth, knowing our good-will toward them, and the honour which it is our delight to bestow upon learning, may give themselves with the greater ardour to the study of letters and of the sciences, and that men of worth, incited by our example, may redouble their zeal and efforts to train our youth to goodly and useful studies.

And even as we sought the person to whom we could with all confidence entrust this function, Conrad Néobar presented himself most opportunely, being most desirous to obtain some public employment which should place him under our protection, and confer upon him personal benefits proportioned to the importance of his service; and, acting upon the testimony that has been laid before us of his learning and his skill, by men of letters well known to us, it has pleased us to entrust to him the matter of Greek typography, to the end that he may print correctly in our kingdom, supported by our munificence, those Greek manuscripts which are the source of all learning.

But, desiring to provide at the same time for the public service, and in order to forestall any possible fraud to the prejudice of Néobar our printer, we establish him in his said office upon the following rules and conditions:--

Firstly, we understand that all works not yet printed shall not be put to press, still less published, before they have been submitted to the judgement of our professors of the Académie of Paris who are charged with the instruction of the young; so that the examination of works in profane literature shall be entrusted to the professors of belles-lettres, and of those on religious subjects to the professors of theology. By this means the purity of our most sacred religion will be preserved from superstition and heresy, and integrity of morals be removed beyond the reach of the debasement and contagion of vice.

Secondly, Conrad Néobar will deposit in our library a copy of all editions of Greek texts which he shall first put forth, to the end that, in the event of some occurrence calamitous to letters, posterity will have this source to draw upon to repair the loss of books.

Thirdly, all such books as Néobar may print shall contain an express statement that he is our _printer for the Greek_, and that he is specially entrusted with Greek printing under our auspices; to the end that not the present age alone, but all posterity, may learn of the zeal and good-will for letters whereby we are moved, and that, inspired by our example, it may, like ourselves, prove itself disposed to strengthen the cause of study and contribute to its progress.

Furthermore, inasmuch as this office is of more benefit to the State than any other, and as it demands from the man who desires to perform its duties zealously such assiduous care and attention that he can not have a single moment to devote to labours which might lead him to honours or to wealth, we have chosen to provide in three ways for the interest and support of our printer Néobar.

Firstly, we award him an annual stipend of one hundred gold crowns, called 'écus au soleil,' by way of encouragement and to indemnify him in part for his expenses. It is our will, further, that he be exempt from all imposts and that he enjoy the other privileges which we and our predecessors have accorded the clergy and the Académie of Paris, so that he may enjoy the greater advantage from the disposal of his books and that he may the more easily acquire all that is essential for a printing establishment. Finally, we forbid everybody, printers and booksellers alike, to print or to sell, in our realm, for the term of five years, such books in foreign tongues, whether Latin or Greek, as Conrad Néobar shall have published first, and for the term of two years such books as he shall have reprinted more correctly, from ancient manuscripts, whether by his own labours or by availing himself of the work of other scholars.

Whoever violates the terms hereof shall be punishable with a fine for the use of the treasury, and shall reimburse our printer all the cost of his editions. Furthermore, we command the provost of our city of Paris, or his lieutenant, as well as all other magistrates now in office, or who hold public employments from us, to see to it that Conrad Néobar, our printer, enjoys to the full all the privileges and immunities hereby conferred upon him, and to inflict severe punishment upon whoever shall cause him annoyance or hindrance in the performance of his duties: for it is our will that he be protected from the evil-disposed and from the malice of the envious, to the end that the tranquillity and security of an unharrassed life may enable him to devote himself with the greater zeal to his important duties.

And that full and entire credence may be forever given to what is hereinbefore commanded, we have confirmed it with our signature and have caused our seal to be affixed. Adieu.

Given at Paris, the seventeenth day of January, in the year of grace 1538, and of our reign the twenty-fifth.

VII

EXTRACT FROM THE LETTERS PATENT OF FRANÇOIS I, APPOINTING DENIS JANOT KING'S PRINTER.[520]

François, by the grace of God King of France, to all those who shall see these letters, greeting. Be it known that we, having been well and duly advised of the great skill and experience which our dear and well-beloved Denis Janot has acquired in the art of printing and in the matters which depend thereon, whereof he has ordinarily made great profession, and even in the French language; and considering that we have already engaged and constituted two printers of our own, one for the Latin, the other for the Greek language; desiring to do no less honour to our own than to the said two other languages, and to commit the printing thereof to some person who is able to acquit himself thereof, as we hope that the said Janot will prove himself well able to do, for these causes and others moving us thereto, we have engaged and do by these presents engage him to be our printer in the said French language, henceforward to print well and duly, in good type and as correctly as may be, such books as are and shall be written in said language, and such as he may be able to recover; and to enjoy in that office the honours, authority, privileges, precedencies, powers, liberties, and rights which may appertain thereto, so long as it shall be our good pleasure. And in order to arouse in him the greater ardour and to afford him better means and opportunity to maintain and support the cost and outlays, the toil and labour which it will be incumbent on him to make and undergo, as well in the printing and correcting as in other matters depending thereon, we have decreed and ordered, do decree and order, and it is our pleasure that the said Janot be given permission, by these presents, to print all books composed in the said French language which he may be able to recover, but only after they shall have been well, duly, and sufficiently inspected and examined, and found to be excellent and not scandalous.... Given at Paris the twelfth day of April in the year of grace one thousand five hundred forty-three, and of our reign the twenty-ninth.

On the outside are the words: 'By the King--Present, the Bishop of Thulles. Signed BAYARD; and sealed _sur double cueue_[521] with that lord's great seal.'

VIII

LIST OF KING'S PRINTERS WHO PERFORMED THEIR FUNCTIONS AT PARIS, FROM THE ORIGINAL INSTITUTION OF THAT OFFICE.

GEOFROY TORY, 1530-1533.[522]

OLIVIER MALLARD, 1536-1542.

DENIS JANOT, 1543-1550.[523]

CHARLES ESTIENNE, 1551-1561.

ROBERT ESTIENNE II (nephew of CHARLES), 1561-1570.

JEAN METTAYER, 1575-1586.

JAMET METTAYER (brother of JEAN), 1586-1602.

PIERRE METTAYER (brother of JEAN and JAMET), 1602-1639.

MAMERT PATISSON, 1578-1601. His widow succeeded him and held the office from 1602 to 1606.

MICHEL DE VASCOSAN, 1560-1571.

PIERRE LE VOIRRIER, 1583.[524]

FEDERIC MOREL (VASCOSAN'S son-in-law), 1560-1581.

FEDERIC MOREL II (son of FEDERIC), 1582-1630.[525]

CLAUDE MOREL, 1617 (?).

CHARLES MOREL (son of CLAUDE), 1635-1639.

GILLES MOREL (son of CHARLES), 1639-1647.

PIERRE LE PETIT. Succeeded MOREL, June, 1647 'with the privileges and salary of 225 livres charged upon the State.'[526] He died in 1686.

GUILLAUME NYVERD II, 1561.

NICOLAS NIVELLE, } GUILLAUME CHAUDIÈRE, } Printers of the Sacred Union, 1589-1594. ROLIN THIERRY, }

CLAUDE PREVOST, 1614-1629.

NICOLAS CALLEMONT, 1622-1631. His widow held the office in 1631.

PIERRE L'HUILLIER, 1610.

ANTOINE ESTIENNE, 1614-1664. In 1649 he called himself '_first_ king's printer.'[527]

HENRI ESTIENNE, his son, obtained the reversion of his father's office in 1652, but he died before him, in 1661, probably without acting.[528]

PIERRE MOREAU, 1640-1647. (For his bastard italic.)

ANTOINE VITRÉ, 1622-1674. 'Linguarum orientalium typographus regius.'

SÉBASTIEN CHAPELET, 1639.

JACQUES DE GAST, 1640.

SÉBASTIEN CRAMOISY, December 24, 1633. In 1640 he was appointed manager of the royal printing-office of the Louvre; in 1651 he resigned the office of king's printer in favour of his grandson, SÉBASTIEN MÂBRE-CRAMOISY, and died in 1669.

SÉBASTIEN MÂBRE-CRAMOISY (grandson of the preceding, through his mother), 1661-1687. He also held the office of manager of the royal printing-office.

SÉBASTIEN HURÉ, August, 1650.

SÉBASTIEN HURÉ II (son of the preceding), appointed in 1662, in place of HENRI ESTIENNE, Antoine's son; died in 1678.

PIERRE ROCOLET, April 14, 1635; died in 1662.

DAMIEN FOUCAULD (son-in-law of ROCOLET), succeeded him; 1662-1687(?).

FRANÇOIS MUGUET, appointed as locum tenens in November, 1661, was definitively appointed in 1671; resigned his letters in 1686, to replace PIERRE LE PETIT, at the salary of 225 livres. Muguet died in 1702.

FRANÇOIS-HUBERT MUGUET (son of the preceding) succeeded him; 1702-1742.

FRÉDÉRIC LÉONARD. Succeeded FRANÇOIS HURÉ; 1678-1712.

FRÉDÉRIC LÉONARD II (son of the preceding) succeeded him; 1713-1714.

JEAN DE LA CAILLE, 1644-1673.

JEAN-BAPTISTE COGNARD. Succeeded FOUCAULD; 1687-1737.

COGNARD'S widow, 1737-1760.

JEAN-BAPTISTE COGNARD II (son of JEAN-BAPTISTE), 1717-1752, when he resigned.

JACQUES LANGLOIS, 1660-1678.

JACQUES LANGLOIS II (son of the preceding), 1678-1697.

JEAN-BAPTISTE-ALEXANDRE DELESPINE, 1702-1746(?).

GUILLAUME DESPREZ, 1686-1708.

GUILLAUME DESPREZ II (son of the preceding), 1740-1743, when he resigned.

GUILLAUME-NICOLAS DESPREZ (son of the preceding), 1743-1788. He was at the end the dean of the king's printers.

PIERRE-ALEXANDRE LE PRIEUR, 1747-1785.

CLAUDE-CHARLES THIBOUST, appointed king's printer in 1756, died in 1757.

N. DE MAISONROUGE (widow of the preceding), succeeded him, and held the title of king's printer till 1788.

LAURENT-FRANÇOIS PRAULT, 1780(?).

LOUIS-FRANÇOIS PRAULT (son of LAURENT) succeeded him; 1780-1788.

ANTOINE BOUDET, 1768-1779.

FRANÇOIS LE BRETON; died October 4, 1779.

PHILIPPE-DENIS PIERRES; succeeded LE BRETON by virtue of letters dated October 7, 1779.[529] He was appointed first king's printer in August, 1785.

JACQUES-GABRIEL CLOUSIER, 1788.

AUGUSTE-MARTIN LOTTIN, 1775-1789.

(Demoiselle) HÉRISSANT, 1788.

_King's Printers for Greek._[530]

CONRAD NÉOBAR, 1538-1540. ROBERT ESTIENNE, 1540-1550. ADRIEN TURNÈBE, 1552-1555. GUILLAUME MOREL, 1555-1564. MICHEL DE VASCOSAN, 1560-1576. ROBERT ESTIENNE II, 1561-1570. FEDERIC MOREL, 1571-1581. ÉTIENNE PREVOSTEAU, 1581-1600(?). PIERRE PAUTONNIER, 1600-1605(?).

_Printers of the King's Closet._

JACQUES COLLOMBAT, in 1743. N. DEHANSY (widow of the preceding), 1744. JACQUES-FRANÇOIS COLLOMBAT (son of JACQUES), 1744-1751. JACQUELINE TARLÉ (wife of JACQUES-FRANÇOIS), 1751-1752. JEAN-JACQUES ESTIENNE COLLOMBAT (their son, 1752-1763).

_Printers of His Majesty's Closet, Household and Buildings._

JEAN-THOMAS HÉRISSANT, 1764-1772. MARIE-NICOLE HÉRISSANT (his daughter), 1772-1788.

_King's Printers for Mathematics._

JEAN LEROYER, February 3, 1553 (1554, n. s.)-1565. PIERRE LEVOYRIER, 1575-1584.

_King's Printer for Coins._

JEAN DALLIER, August 23, 1559.

_King's Printers for Engravings._

PIERRE LENGEVIN, buried February 5, 1609.[531] MELCHIOR TAVERNIER, 'living on the Île du Palais.'

_King's Printers for Music._

ROBERT BALLARD, 1551-1606. Letters patent of May 5, 1516,[532] inform us that he received 250 livres tournois in this capacity.

LUCRÈCE LE BÉ (BALLARD'S widow), 1606.

PIERRE BALLARD (son of ROBERT I), 1608-1640.

ROBERT II (son of PIERRE), 1640-1679.

----widow of ROBERT II, 1679-1693.

J.-B.-CH. BALLARD (grandson of ROBERT II), 1694-1750.

----(widow of the preceding), 1750-1758.

----CHR.-J.-F. BALLARD (son of J.-B.-CH.), 1758-1765.

----(widow of the preceding), 1765-1792.

PIERRE-ROBERT-CHRISTOPHE BALLARD (son of CHR.-J.-F.), 1779-1792.

After the Restoration Louis XVIII named as king's printers members of certain families in the printing trade which had formerly borne that title, and some others who had won great renown in their trade; such are the first six in the following list, which includes all the king's printers of the Restoration.

LOTTIN DE SAINT-GERMAIN,[533] 1815-1828. BALLARD,[534] 1815-1828. BALLARD'S widow, 1828-1830. VALADE,[535] 1815-1822. PIERRE DIDOT, the elder, 1815-1822. JULES DIDOT, his son, succeeded him; 1822-1830. FIRMIN DIDOT (PIERRE'S younger brother), 1815-1827. MADAME HÉRISSANT-LEDOUX, 1816-1822. LEBEL, successor to VALADE, 1822-1825. LEBEL'S widow, 1826. LENORMANT, 1824-1830.

AMBROISE DIDOT (son of FIRMIN) was appointed king's printer by patent of December 7, 1829. The office became extinct in his hands in July, 1830. M. Ambroise Firmin Didot, who thus closes the list of king's printers, opened by Tory, has another bond of union with the latter: like him he was an engraver. See what M. Firmin Didot père wrote on this subject at the beginning of his tragedy, 'Annibal,' which was printed by him in 1817, preceded by a letter from his son, who was then travelling in Greece; the letter being printed in an 'English' type which he tells us was engraved by his son Ambroise.[536]

IX

NOTE CONCERNING THE KING'S BINDERS AND LIBRARIANS.

There had long been functionaries known as 'libraires du roi' (king's librarians), when François I instituted the office of king's printer. Indeed, we find that Guillaume Eustace bore the title as early as 1574, that is, under Louis XII. He is so styled in the subscript of an edition of 'Les Chroniques de France,' in three volumes, folio. At the end of the last volume, we read: 'Here endeth the third and last volume of the great chronicles of France, printed at Paris in the year a thousand five hundred and fourteen, the first day of October, for Guillaume Eustace, _libraire du Roy_, and sworn binder to the University of Paris.'

In our first edition we expressed the opinion that Eustace may have been replaced in 1522 by Jean de Sansay, who is described as king's librarian, in 1530, in the accounts published by M. de Laborde.[537] This is an error. Eustace was still king's librarian in 1533. Jean de Sansay was not, as Eustace was, _purveyor_ to the king's library, but _keeper_ thereof, a title assumed in more exact terms by one of his successors, Jean Gosselin, in a book which he caused to be printed in 1583.[538]

Jean de Sansay's immediate successor, under François I, seems to have been Claude Chappuis, who was king's librarian before March 28, 1543, as may be seen from the following document, dated January 6, 1544, new style, the original of which is in the Joursauvault collection at the Bibliothèque du Louvre:--

'In the presence of me, notary and secretary of the state to the King our sire, Jehan Estienne,[539] dealer in silversmithery to the queen, having power of attorney from maistre Claude Chappuys, librarian to our said lord, thereby sufficiently authorized, did by deed of the twenty-eighth day of March a thousand five hundred forty-three, after Easter last past, executed before Jehan Langlois, royal notary in the bailiwick or chatelany of Moret, aver that he had had and received from maistre Jacques Bouchetel, treasurer and paymaster of the household of our said lord, the sum of two hundred forty livres tournois on account of his office of librarian during the year beginning the first day of January a thousand five hundred forty-two [1543, n. s.], and ending the last day of December a thousand five hundred forty-three. For which sum of IIᶜ XL livres tournois the said Jehan Estienne, as attorney as aforesaid, hath held and doth hold himself accountable and duly paid, and hath acquitted and doth acquit the said maistre Jacques Bouchetel, treasurer as aforesaid, and all other persons. Witness my sign manual hereto affixed at his request. The VI day of January in the year a thousand five hundred forty-three.

'BURGENSIS.'[540]

In 'La Renaissance des Arts,' M. de Laborde has published several extracts from the royal accounts relative to this Claude Chappuis.

'To maistre Claude Chappuis, librarian to our said lord, the sum of thirty-three livres five sols tournois, to him ordered to be paid by our said lord, to reimburse him for several small sums by him furnished and paid for the embellishment of books which our said lord hath caused to be brought from Thurin, for the carriage thereof from Fontainebleau to Paris and to Sainct-Germain-en-Laye, and from said Sainct-Germain to Paris and Fontainebleau, and for expense incurred by said Chappuis, say XXXIII L. V. S.'[541]

'To maistre Claude Chappuys, librarian to our said lord, the sum of six times twenty and ten livres, and ten sols tournois to reimburse him for the like sum which he hath paid of his own moneys to a bookseller of Paris named Le Faucheux, for having, by command of our said lord, re-bound and gilded divers books from his library, in the manner and guise of a gospel heretofore bound and gilded by said Le Faucheux, written in letters of gold and ink.'[542]

Doubtless this Claude Chappuis is the same man who belonged to the household of Jean du Bellay, Ambassador to Rome in 1536. Having become librarian to the King, he probably used in gilding the books mentioned in the last quotation, the irons which François I had bought in Venice, as we learn from another account, undated, but a little earlier, preserved, like the others, in the national archives.

'To Loys Alleman, Fleurantin, for sending to Venice for irons to print[543] certain Italian books, and for the cost of such printing, the sum of V livres.'

As for Le Faucheux, mentioned here as a binder, he is evidently Étienne Roffet, called Le Faucheux, described as binder and librarian to the King on the title-page of the 'Œuvres de Hugues Salel,' which he published, and which was printed at Paris, in octavo, in 1540.[544] He was the son of Pierre Roffet (publisher to the two Marots, father and son), who had for his sign a 'faucheur,' mower.[545]

X

PASSAGES WRITTEN IN LATIN, IN MOST CASES BY TORY, TRANSLATIONS OF WHICH ARE INSERTED IN THE BODY OF THE BOOK.

A

_Godofredus Torinus Bituricus Joanni Rosselletto, literarum amantissimo, S. D. P._[546]

Egregiam de te spem, Joannes ornatissime, tuis et cognatis et patriæ, non solum moribus, imo et benefactis, te velle nobiliter ostendere, nunquam (opinor) tu prætermittes neque desistes. Quo tu Reipubl. vel consilio prodesses, curasti ut per me Quintilianus emendatior caracteribus et impressioni daretur bellissime. Multis exemplariis diligenter collatis, unum (mendis pene innumerabilibus deletis) castigatissimum non pigra manu feci; ipsum, ut jussisti, a Parrhisiis Lugdunum misi. Utinam et qui impriment novos non superinducant errores. Vale, et me ama.

Parrhisiis, apud collegium Plesseiacum, tertio calendas Martias.

B

Imbutam ausonia cupiens me reddere lingua Artibus et pariter me decorare bonis, Nocte dieque docens pater ut charissimus, ipse Fundamenta mihi dulcia et ampla dabat.

C

MONITOR. Hanc tibi quis struxit gemmis insignibus urnam?

AGNES. Quis? Meus in tali nobilis arte pater.

MON. Excellens certe est figulus genitor tuus.

AGNES. Artes Quottidie tractat sedulus ingenuas.

MON. An ne etiam scribit modulos et carmina?

AGNES. Scribit. Dulcibus et verbis hæc mea fata beat.

MON. Ipsius est nimirum hominis solertia mira?

AGNES. Tam celebrem regio vix tulit ulla virum.

D

VIATOR. Mecenate aliquo certe dignissimus ille est.

GENIUS. Mecenas franco rarus in orbe viget. Nemo hodie ingenuas donis conformibus artes Aut fovet, aut ulla sorte fovere parat. Non est in pretio probitas, nec candida virtus. Infelix adeo regnat Avaricia. Fraus, dolus et vitium præstant; virtutibus omne Postpositis miserum serpit ubique nephas.

VIA. Quid facit ille igitur Musis excultus amœnis?

GEN. In propria gaudet vivere posse domo.

VIA. Ad reges alacri deberet tendere passu.

GEN. Non curat, quoniam libera corda gerit. Isti nonnunquam gaudent spectare potentes Carmina, sed quid tum? nictibus illa beant. Deberent gemmis auroque rependere puro Aurea de superis carmina ducta polis. Sed potius fatuis, nebulonibus atque prophanis Contribuunt stulti grandia dona leves.

E

Egregii quidam sunt felici hoc seculo pictores, lector humanissime, qui suis lineamentis, picturis et variis coloribus deos gentilitios et homines, itemque alias res quascunque adeo exacte depingunt, ut illis vox et anima deesse tantummodo videatur; sed ecce, lector humanissime, ego jam tibi, illorum propemodum more, domum offero, non solum suis lineamentis et partibus elegantem et absolutam, sed etiam pulchre loquentem et encomio sese particulatim describentem.

F

Godofredo Torino, quem Ulvaricum[547] Biturigum peperit, quem Lutetia Parisiorum fovit, viro linguæ: turn latinæ turn græcæ peritissimo, litterarum denique amantissimo, typographo solertissimo et bibliographo doctissimo, quod de partibus ædium elegantissima distica scripserit, tumulos aliquot ludicros veterrimo stylo latine condiderit, Xenophontis, Luciani, Plutarchi tractatus e græco in gallicum converterit, Parisiis in Burgundiæ gymnasio philosophiam edocuerit, primus omnium de re typographica sedulo disseruerit, litterarum sive caracterum dimensiones ediderit, et Garamundum calco-graphum principem edocuerit, viri boni officio, quoad devixit, anno M.D.L. semper defunctus, a monente Joanne Toubeau, etiam typographo et auctore, mercatorum prætore, ædili Bituri-censi, ob negotia civitatis difficillima ad regem et concilium legato, ejusdem Torini abnepote, et typographicorum insignium hærede, Nicolaus Catharinus, nobilis Bituricus, regis advocatus et senator in Biturigum metropoli, a teneris annis huc usque et deinceps rei typographicæ addictissimus, cursim raptimque scripsit, exeunte novembri M.DC.LXXIV.

G

_Godofredus Torinus Bituricus Philiberto Baboo, civi Biturico, serenissimi Gallorum regis dispensatori ac camerario meritissimo, salutem dicit humilimam._

Pomponium Melam, ornatissime Philiberte, geographorum authorem luculentissimum, quum nuper inspicerem, eum tot mendis depravatum ac lacerum esse cognovi, ut

... Ecce ante oculos mœstissimus author Visus adesse mihi, largosque effundere fletus; _Vergilius_, _Eneid._ _ij._

Ecce inquam:

Raptatus bigis (heu miserum) aterque cruento Pulvere, perque pedes traiectus lora tumentes, Quam graviter gemitus imo de pectore ducens. _Id._, _ibid._

Talibus verbis conqueri videbatur: Siccine ego qui tot terras, tot gentes, insulas, amnes, freta, vada, carybdes, tam eleganter descripsi, quique totius orbis descriptionem tam confidenter aggressus sum, sic mancus, sic mutilus, sic truncus habebor?

Hei mihi! quam cæsus sum, quamque similimus illi Hectori qui quondam concretos sanguine crines Vulneraque illa tulit quæ circum plurima muros Accepit patrios.... _Id._, _ibid._

Nisi medicabiles aliquæ in me manus se extendant, sine dubio, iam emoriar.

Tarda Philoctetæ sanavit crura Machaon, Phœnicis Chyron lumina Philyrides; Et Deus extinctum Cressis Epidaurius herbis Restituit patriis Androgeona focis. _Proper._, _lib. ij_, _ad Mæcenatem_.

Sed sane credo quod

Hoc si quis vitium possit[548] iam demere, solus Tantalea poterit tradere poma manu. Dolia virgineis idem ille repleverit urnis, Ne tenera assidua colla graventur aqua; Idem Caucasea solvet de rupe Promethei Brachia, et a medio pectore pellet avem. _Idem_, _ibid._

Certe statim apud me dixi: Si Machaon, si Chyron aut Æsculapius essem, libens huic rei subvenirem. Sed quid autem si manuum mearum opellam impenderem? Nonne remedio esse possem? Forte, at equidem expertus, et id quo saltem emendatior habeatur.

Quod si deficiant vires, audacia certe Laus erit: in magnis et voluisse sat est. _Idem_, _lib. ij_, _ad Musam_ [_Ad Augustum?_].

Pauculas ergo annotationes adiecimus[549] quibuscum sub tuo nomine (quandoquidem[550] et literarum et literatorum amantissimus es) bonis ut aiunt avibus Pomponius ipse Mela iam tutius exeat. Vale.

Parrhisiis, vj no. decemb. MCCCCC vij.

H

Habes, ornatissime Philiberte, Pomponium ipsum Melam pluribus quibus scatebat mendis iam emendatum. Curavi siquidem accuratissimo (qui etiam primus apud Parisios græcis caracteribus lotissimas addidit manus) impressori dare. Eum diligentius, et quo politior ac absolutior in tuas primum, deinde cæterorum manus perveniat, recognoscere pauculaque in eum subannotare non ingratus volui. Tu nunc cum ipso per totum orbem, quemadmodum et Phiclus, qui super aristas eas non frangendo cucurrisse fertur, non tantum secure, sed confidenter ac præsentissime ire ac redire vales. Si tigres animalium pernicissimos comprehendere, catoblepam sine tui malo cernere; si dracones, feras, satyros, panes, silvanos; si Indos,

Et penitus toto divisos orbi Britannos;

si Sauromatas, Afros, eorum denique si medios omnes populos videre, pariterque ipsorum mores mirabiles cognoscere desideras, hoc in orbe, id est,[551] Pomponio, manibus tuis amplissime comprehenso, sine dubio, iam optime dispicere potes. Vale et me tibi devotum semper ama.

Parisiis, nono calen. januarias.

Ω

CIVIS.

_In Pomponium Melam._

Mela, quibus plænus fueras erroribus, es iam Excussus, tecum paucula menda manet.[552] Tu melior multo longeque probatior extas Quam prius; hoc fecit tantula nostra manus.

_Ad Philibertum Baboum._

Quod mea vita tibi multos se debeat[553] annos, Hoc duo versiculi iam, Philiberte, probant. Αλϕα mihi teneris habui quodcumque sub annis, Id voluit fœlix ωμεγα ferre tuum.

Ω

CIVIS.

I

Quia nihil est diffilius (_sic_) quam in nullo errare, non absurdum esse videtur si cum lectoris bona pace paucorum admodum erratorum paucula retractentur, ut illo verbo cum dicit in epistola _potuit_, scribendum est _possit_....

J

_Reverendo in Christo patri et domino D. Germano Gannaio, Cathurcensium episcopo designato, Godofredus Torinus Bituricus salutem dicit humilimam._

Pium papam, antistes excellentissime, au thorem et dignitate et singularitate sine dubio venerandum, in Asiæ et Europæ descriptione, iam tersiorem et emendatiorem quam antea legebatur in luce exire curavimus. Quem autem ei recenter ex chalcotypea officina sese expedienti, virum delectum, literarum amantissimum, et singulari virtute plenissimum, statim devotissime salutatum iret, potiorem sane te, dignioremve, cognoscere potui nullum. Summum ipsum pontificem te maxime venerabilem antistitem invisere rem esse putavi non iniucundam. Ipsum, inquam, geographiæ et lectu dignissimæ (uti videre poteris) historiæ non pœnitendum authorem, te, bonarum omnium literarum amatorem et cultorem, accedere et amplecti, factum opido quam decentissime existimavi, gemmam auro, encaustum, id est opus igni pictum, argento, et palmam vincenti conferre, procul dubio nihil aliud est quam bona bonis, splendida splendidis et merita meritis addere. Tibi profecto et cum his alia ratione pulcherrimum hoc opus meritissime dedicari debet, siquidem per capita distinctum, et in commodiorem ordinem, te promotore et iubente, redactum est. Quo facilius (ut voluisti) et melius, tibi in primis, consequenter aliis omnibus studiosis et legentibus, regiones terræ, quæ numero sunt multæ, et in eis res scitu periucundæ capiantur et memoriæ commendentur, capitatim nominibus fluviorum, opidorum, locorum, ducum et aliarum rerum insignium in margine coannotatis, quæ etiam omnia in indice numeratim inveniuntur, divisimus, ipsam hanc nostram lucubratiunculam tibi antistiti, reverentia percelebri, sincæro dedicamus animo. Impar sine controversia est, quam tuæ reverendæ paternitati deberem offerre, tu tamen, cuius benignitatem et integritatem omnes prædicant (et me minime latet) excellentissimam, ea fronte qua huiusmodi alias solitus es ipsam purissimas in manus tuas, si placet, accipies. Vale.

Parrhisiis, apud collegium Plesseiacum, 6 nonas octobris anno Domini 1509.

K

_Godofredus Torinus Bituricus ad lectorem._

Quod eruęre, contendęre, misęre et huiusmodi multa, per tale e in penultima scripta leges, factum est ut ipsa indicativi præterita, quæ regulariter penultimam habent longam, a presenti et præterito imperfecto modi infinitivi, quæ in tertia coniugatione semper corripiunt penultimam, suam quantitatem, et quam inter legendum proferre debes, tibi ostendant. Illam Psalterii Quincuplicis nuper in lucem dati perelegantem et absolutam scripturam libenter sum imitatus et insecutus. Invenies etiam ipsum e in aliquibus dictionibus, similiter in genitivis et dativis singularibus, nominativis et vocativis pluralibus primæ declinationis nonnunquam, more quorumdam, pro ædiphtongo poni, sed rarius. Insuper hæc consulto scripsi mistum per s, et non per x, nam misceo facit miscui in præterito, unde et mistum analogice, intellego, toties, quoties, litus, opidum, litera, tralatum, aliquando, et id genus alia, secundum ορθογραϕιαμ, id est rectam scripturam, observanda. TVRCAM etiam in prima declinatione, quod multi in secunda proferunt, scripsi. Michael Tarchaniota Marulus Constantinopolitanus ad Carolum regem Franciæ plausibiliter author est mihi. Eius sunt hæc verba:--

Invicte magni rex Caroli genus, Quem tot virorum, tot superum piæ Sortes iacentis vindicemque Iusticiæ fideique poscunt; Quem mesta tellus Ausonis hinc vocat, Illinc solutis Grecia crinibus, Et quicquid immanis profanat TVRCA Asiæ, Syriæque pinguis, _et cætera_.

Quod etiam plureis parteis, omneis monteis, accusativos in eis protuli, grammatice quidem et latine, authore Prisciano, lib. 7, cap. de accusativis pluribus tertiæ declinationis, facere visus sum. Ea est pulchra ad accusativum a nominativo discriminandum diferentiam, et qua mille sunt usi authores, de quibus multis Salustium, Vergilium et Plautum hic testes habere sat erit. Salustius, quiquidem primo etiam verbo est usus, sic ait in Catilinario bello: 'Omneis homines qui sese, etc.' Vergilius in primo Eneidos: 'Hic fessas non vincula naveis Ulla tenent....' Plaut. in Aulularia: 'Quid est? quid ridetis novi omneis, scio fures hic esse complureis.' Hoc lubens annotare volui, ut (bone lector) non tantum dicendi puritatem intellegas, sed et tanquam digitos inter et legendum et dicendum pura verba festiviter in promptu habeas et dicas. Vale.

CIVIS.

L

_Herverus de Berna Amandinus Iuventuti Bituricæ S. D._

Divitem, didascalum nostrum, sapientia clarum et musarum alumnum, de vobis bene meritum, non ignoratis; docuit enim vos Musas, Heliconem, Phœbi nemus, Mercuriumque; et enim innumeri (tanquam ex e quo Troiano) ex officina eius prodiere litterati. Curæ sunt ei gloriosissim Musarum labores, cuius nomen in honoribus et laurea immortale servandum censeo maxime. Ipse non solum quod dicitur ad Aristophanis, sed etiam ad Cleantis, lucernam lucubrasse fertur. Elegantia carminis laudatum haud dubitatis, ex quo fit ut poema religiosum quod conscripsit de Passione Dominica extet, tantoque splendore refulgeat, tanta suavitate redoleat, tamque florido ornatu spectabile sit, ut cœlestis ingenii artificio potius quam humani fabrefactum credatur. Nec dubito quin ex eo contingat quod plurimum litteratis viris contingere consuevit: ut ait Claudianus, minuet praesentia[554] famam. Non tamen sine Theseo, hoc est Torino Biturico, commilitone nostro, antiquis moribus, et, ut Plautus ait, Massiliensibus[555], et cum virtute doctissimo, voluimus ut Dives in publicum volaret: speroque iterum secundis (ut aiunt) avibus. Valete fœlicissime. Ex ædibus nostris Amandinis, calendis martii.

M

_Godofredi Torini Biturici in preceptoris sui Guilielmi Divitis Gandavensis commendationem dialogus._

_Interlocutores_: MONITOR _et_ LIBER.

M. Sancte liber, passum qui defles carmine Christum, Fare age: cuius opus tam potes esse pium?

L. Cuius opus? videas. Sum Divitis.

M. Illius euge Ditia qui Bituris tot documenta dedit?

L. Vera putas.

M. Vere est sapienti pectore Dives.

L. Aptius hoc nullum nomen habere potest.

M. Ipse est qui Bituris florenti dicere lingua Edocuit, faciles pangere et ore modos.

L. Dicere non tantum docuit, nec texere carmen, Corpora sed Christi cæsa videre dedit.

M. Brachia fixa Dei si quisquam cernere vellet, An satis ad vivum Dives et ipse darer?[556]

L. Ferre crucem Domini, si vulnera sæva, coronam, Discupis, in manibus me gere, cuncta feres.

M. Omnia vota ferat semper fœlicia Dives, Tale piis qui dat cordibus esse bonum!

L. Nestoreos terris perstet victurus in annos, Postque obitum cœli ditia regna petat.

CIVIS.

N

_Philibertum Baboum, virum honestissimum, Godofredus Torinus Bituricus salutem plurima iubet impartitum._

Anno præterito, quo tempore Pii Pontificis Maximi Cosmographiam imprimendam curavi, Berosum Babilonicum in antiquitatibus regnorum bellissime recognoscere et impressoribus non immutare dare venerat in mentem; at, nescio quo animo meo se tunc agente, in aliud tempus, opera dedita, rem propemodum divinam facturus, differre decrevi, distulissem quidem et in longissimum, atque, ut proverbio memoratur, ad calendas græcas, nisi, ut ita dicam, Berosus ipse, et quod non parvi apud me est, eritque semper, amicorum plusculi, quotidie ad aurem meam cum precibus quodam modo simul innuentes, Myrsilum, de origine Turrenorum, Catonem, in fragmentis, Archilocum, Methastenem, Philonem, Xenophontem, de æquivocis, Sempronium, Fabium Pictorem, et Antoninum Pium, in fragmento itinerarii, coimprimendos efflagitanter desiderassent. Avarissimum est genus hominum, quod si librum (librum dico inventu rarum) trium aut quatuor versiculorum habeat (more formicarum Indiæ, necnon griforum, qui aurum penitus egestum cum summa pernicie attingentium custodire feruntur), continuo abstractum servat, cathenis et compedibus captivum et misellum prorsus incarcerat. Tale genus potius cum huiusmodi et formicis et grifis, quod et alii grifibus declinant, curiosam et avaram illam singularis alicuius sibi habendi cupiditatem exercere, quam cum hominibus inhumanitatem, quod et melius forte dixerim immunitatem, habere deberet. Non solum nobis nati sumus, debemur et amicis, debemur et patriæ. Igitur ne ardentis lucernæ clarissimum lumen opprimere velle videar, sub nomine tuo, Philiberte, civium Bituricorum ornatissime, gratiusculum reipublicæ factum opinor daturus Berosianam antiquitatem cum aliis authoribus nominatim præscriptis in apertum, et studium omnibus commune iam libentius emitto. Vale.

Parrhisiis, apud collegium Plesseiacum, 6 nonas maias 1510.

CIVIS.

O

_Godofredus Torinus Bituricus ornatissimos Philibertum Baboum et Ioannem Alemanum Iuniorem, cives Bituricos, pari inter se amicitia conjunctissimos, salutat._

Debentur vobis, viri singulari virtute plenissimi, omnes quos et noctu et interdiu assumere possum (etiam de industria) labores. Ecce. Quia moribus antiquis, id est honestis et vere bonis, haud mediocriter utimini et gaudetis, Probum Valerium scripturarum antiquarum et abbreviationum quæ in numismatis, sepulchris et tabellis antiquitus perbelle consignabantur, diligentissimum coacervatorem certissimumque explanatorem, sub vestro mihi semper amando nomine, lubens ut vel tantillum reipublicæ valeam prodesse, caracteribus et impressioni, cum nostra utinam tam felici quam diligenti recognitiuncula, trado. Sinite, quæso, authorem perquam singularem primum in vestras omnem ad virtutem aptissimas, deinde studiosorum omnium aliorum manus, commode iam et festiviter exire. Valete.

Parrhisiis, apud collegium Plesseiacum, 6 idus maias 1510.

CIVIS.

P

_Godofredus Torinus Bituricus lectori salutem._

A quo tempore Probum Valerium imprimere bonis, ut reor, avibus incœpi, ne liber unius aut duorum codicum enchiridio minus aptus exiret, pluscula scitu non indigna coimprimere venit in mentem. Tractatum de ponderibus et mensuris, ex Prisciano; item, quemadmodum datæ formæ agrorum metiri debeant, ex Columella; similiter figuras quæ sub dimensionem cadant, ex Georgio Valla; dialogos etiam aliquot cum ænigmatis, ex diversis authoribus diligenter pro tempore collectis, superaddimus. Ænigmata consulto reliquimus inenarrata, ut tibi legenti (quod ait Gel. in 12 libro, cap. 6) coniecturas in requirendo acueres. Da, precor (bone lector), operam, ne tibi, quod etiam ænigmatice Plautus in Milite ait: Glaucoma ob oculos obiecerim. Vale.

Q

_Dialogus per Godofredum Torinum, in quo urbs Biturica, sub loquente persona, describitur._

_Interlocutores_: MONITOR _et_ URBS.

MON. Urbs, tibi quod nomen?

BIT. Biturix.

MON. Tu dic age quodnam Hæc sibi quæ video tecta superba volunt?

BIT. Templa, domos, turres, divina palatia spectas.

MON. Hercle! suis cœlos molibus exuperant. Hæc quæ templa, precor?

BIT. Stephani protomartiris, ipsa Quæ Triviæ excedunt marmora celsa deæ.

MON. Quæ domus illa rubris excellens cordibus una, Memnonis anne ipsa est ædificata manu?

BIT. Hanc Iacobus homo Cordatus condidit olim, Dives opum; nobis quem abstulit invidia.

MON. Arcibus hæc Phariis quæ maior cernitur, heus tu! Quæ turris? miror cum satis aspicio.

BIT. Celtarum populos regeret cum maximus ille Ambigatus, quondam condita tanta fuit.

MON. Dic, ea, dic, palatia sunt Capitolia nunquid Aurea? Responde, quid retices, Biturix? Non loqueris facili quæ[557] iam sermone loquuta es, Hic mihi vis fieri quod fuit Harpocrates?

BIT. Non, ea sed tanta (videas) sunt arte probanda, Talia quod totus non tulit orbis adhuc.

MON. Terra quid hæc tanto quæ se distendit hiatu?

BIT. Est ubi turris erat constituenda mihi.

MON. Altera nonne tibi quanta est hæc?

BIT. Altera tanta. Turribus a binis inde vocor Biturix.

MON. Nomine quo fertur nostro hoc sub tempore?

BIT. Fossam Vulgus arenarum dictitat et vocitat.

MON. Quis tibi, quis fluvius memorandus?

BIT. Avaricum.

MON. An ille est Quem memorat Cæsar Gallica bella notans?

BIT. Ille est.

MON. Sunt alii?

BIT. Duo sunt: sunt Ultrio et ipsa Innumeris pregnans Hebrya pisciculis.

MON. Quæ tibi sunt dotes?

BIT. Omnis veneranda facultas Est mihi quæ nummos cudit et aula novos.

MON. Nil aliud quicquam est?

BIT. Aquitania primam Me vocat, et leges accipit ipsa meas.

MON. Numina quæ tecum?

BIT. Sunt Juno, Jupiter et Pan, Vesta, Diana, Ceres, Liber et ipse pater.

R

_Godofredus Torinus Bituricus Philiberto Baboo et Ioanni Alemano Iuniori, viris ornatissimis, S. P. D._

Maiores nostros sua probitate contentos modum suum ædificandi parva cum arte et elegantia quondam exercuisse (viri singulari virtute cumulatissimi) nemo est qui nesciat. Contenit siquidem ipsa mediocritate, domos et habitacula magno sine luxu et splendore construebant et inhabitabant. Eo tandem est perventum, ut ingeniis plusculum iam expergefactis fiant et adstruantur ædificia passim non incelebria. Nempe ab illo tempore quo magnanimus ille Rex, totius Italiæ terror, Carolus Octavus, non sine magna gloria victor Neapoli rediit, ars ipsa ædificandi sane quamvenusta, Dorica et Ionica, item Italica, totam hic apud Galliam exerceri cœpit bellissime. Ambasiæ, Gallioni, Turoniæ, Blesis, Parrhisiis et aliis centum nobilibus locis, publice et private conspicua iam ædificia cernere licet antiqualia. Licet, inquam, adeo nitida et ad unguem exculpta dispicere multa, ut non modo Italos, imo Dores et Iones, Italorum magistros, ipsi Galli vincere videantur et iudicentur manifestissime. Rebus huiusmodi et ingeniis tam excellenter florentibus optimum esse duxi rem admodum utilem non ingratus obferre, diligensque superaddere, Leo Baptista Albertus, author in architectura et familiaris et luculentus, apud me quasi sopitus delitescebat. Visus est dignissimus qui tempestive iam pro claris et melioribus ingeniis oblectandis et adiuvandis in Gallia daretur impressioni. Dignissimus, inquam, visus est mihi, et eo maxime, quod et libri ipsi decem, quibus totum opus constat, per capita sunt distincti. Ipsa capita vir bonis literis eruditus Robertus Duræus Fortunatus, meus apud suum collegium Plesseiacum Parrhisiis quatuor annos quibus docebam olim primarius, accurate et diligenter digessit, mihi exscribenda non gravate dono dedit. Exscripsi opusque totum, insuper elimavi, mendis quamplurimis defecavi, succum textus in margine transcripsi, chalcographo imprimendum dedi. Sinite, oro, viri Biturigum celeberrimi, opus egregium in bonorum omnium ingeniorum et studiosorum manus sub nomine vestro mihi semper excolendo fœliciter exire haberi, legi.

Valete patriæ columina et ornamenta speciosissima.

Parrhisiis, e regione collegii Coqueretici, XV kal. septembris M. D. xij.

CIVIS.

Leonis Baptistæ Alberti Florentini, viri clarissimi, de re ædificatoria opus elegantissimum et quammaxime utile, accuratissime Parisius in Sole Aureo vici Divi Jacobi impræssum, opera magistri Bertholdi Rembolt et Ludovici Hornken, in eodem vico ad intersignium Trium Coronarum, e regione Divi Benedicti commoran. Anno Domini M. D. XII, die vero xxiii Augusti.

S

_Godofredus Torinus Bituricus Philiberto Baboo, viro modestissimo, S. P. D._

Itinerarium multis iam annis, vir ornatissime, situ propemodum obsitum, quum ab amico michi semper excolendo Christophoro Longuolio, viro sine controversia studiorum omnium bonorum excellentissimo, iam ab hinc quatuor annos commodo primum exscribendum accepissem, unum tibi manu mea scriptum, forma quidem non usque quaque ineptum, ad te ex Parrhisiis in Turoniam mittere venerat in mentem. Viro cuius etiam nomini lubens parco ad te dederam portandum; verum ipse alii nescio cui, te, me, et sua fide posthabitis, satis impudenter dono dedit. Labore meo sic ego frustratus, alterum tibi conscribere maturabam, nisi ipse Longuolius, qui exemplar iam olim ex Morinis adportaverat, et michi, ut dixi, commodo dederat, nuper ex Pictavis Parrhisios adveniens, monuisset imprimendum curarem. Curavi equidem, nominibus opidorum seiunctim et seriatim coordinatis, additis etiam suo loco plusculis aliter in altero exemplari scriptis. Feci et indicem, quo facillime quodcumque opidi et loci nomen in toto opere disquiri possit. Mirabitur fortassis aliquis ipsius operis stilum, interdum etiam nonnullis in locis latinitatem. Stilum ipsum satis laudabit studiosus; latinitatem vero antiquæ illi ætati lector non malivolus condonabit. Multa subemendassem Ptholomeo, Strabone, Dionysio, Mela, Plinio, Solino et authoribus aliis aliquot non omnino aspernandis usus, sed et authori augusto reverentiam, et exemplari admodum vetusto synceritatem observans, nichil immutare volui, Longuolii mei in aliud tempus studia vigilantissima, vel alicujus Hermolai limam exactissimam expectans. Unum est quod hic tangere non verebor, authoris nomen in exemplari fuisse meo judicio imperfectum (nam et Antoninus Augustus inscribitur). Ab Hermolao, viro alioqui nitido, Antoninus multis in locis apud suas in Plinium castigationes allegatur. Viderint qui legent. In textu exemplar ipsum secutus sum. In inscriptione libri Hermolaum sum imitatus. Laborem meum quantulumcumque tibi (ut debeo), animo nequaquam ingrato, nuncupatim dico. Suscipe, oro, qua fronte et optima quæque soles, et permitte studiosissimorum quemque per insignes mille urbes, te duce, cum hoc itinerario venire. Vale, studiorum meorum succollator humanissime.

Parrhisiis, e regione collegii Coqueretici, 14 calendas septembris 1512.

CIVIS.

T

_Torinus lectori salutem._

Quo melius hoc Itinerario, iucunde lector, possis uti, admonendus es quæcumque virgula miniacea notata deprehendes ea plura fuisse apud vetus exemplar quam in altero recenti; quæ autem in ipso recenti diversa legebantur minutula litera et ipsa quidem rubra suis locis sunt super impressa. Quandocumque hujus modi signum ʌ interlegendum occurret, dictio vel numerus eodem signo supra vel juxta notatus esse debet. Ilud etiam in textu multis in locis hoc modo scriptum mpm. significat milia plus minus. Scriptum est autem sic ne tam frequens et longula repetitio lectorem tedio afficeret. In indice nonnumquam b. literam solam, post vel inter chartarum numeros, invenies: ea significat dictionem ipsam bis ad minimum eadem in charta posse inveniri. Vide ergo, et gratus attende, quod si quos hanc nostram diligentiam non amare videas, Persianum illis hoc apud te dicas: 'Virtutem ut videant, intabescantque relicta.' Hoc ideo scribo quoniam inter imprimendum quidam nichil tale intelligentes de more damnabant.

Vale et vive diu fœlix.

CIVIS.

U

_Gerardi Versellani Burgundi carmen hendecasyllabon in malos impressores._

Ergo hinc ergo procul manus profanæ Vulgi chalcographon inauspicati, Impuræque operæ procul facessant, Ne interdicto aditu improbaque fronte Res spurcetur et inquinetur alma. Ne quis nesciat: hoc sacrum est volumen.

Heu chalcographi mali et miselli, Nullas ne scholicas quidem aut aniles Nugellas dare formulis periti, Quid sanctas male taminatis artes, Incestaque manu novem Sororum Funestatis opes laboriosas?

Quid non promitis ita ab officina Illuc projicier fodique dignum Quo ventris retrimenta deferuntur?

Ergo hinc ergo procul profani abite, Vos, o chalcographi mali et miselli! Sit dictum satis: hoc sacrum est volumen Quod noster Godofredus, ille noster, Ille, inquam, Biturix, Pii misertus, Lethæa carie eruit sepultum, Ductu Longuolii sui atque ope usus.

V

_Torinus lectori felicitatem._

Hasce plusculas recognitiones, lector optime, oro non admirare. Sic eas ab exemplari vetere diversas collegi, ut tibi non pigra manu librum emendare possis. Errores chalcographis imponerem; sed ars ipsa prelaria suopte more hoc in se habet, ut ne libellus quidem sine aliqua menda prorsus imprimi possit. Vale.

_Ad studiosum Epigramma per Torinum._

Oppida si centum, centum si sedulus urbes Certo cum spacio, lector, adire paras, Centena portus si cum statione marinos Excupis, et recta doctior ire via, Hunc tibi comprimis habilem studiose libellum In dextra gratus semper habeto manu.

W

_Torinus ad Librum._

I, Liber, ad vatum penetralia sacra piorum; Es facilis, tersus, candidus, atque probus. Exornatus habes nardosque, rosasque, crocosque, Cum Phœbo et latias numina grata Deas. Ne vereare Deos tecum vectare faventes, Spirantem lauros te super astra ferent.

_Agnes Torina, virguncularum modestissima suavissimaque, de tumulo viatorem alloquitur._

Qui levibus transis pedibus, dilecte viator, Siste parum; ecce, tibi dicere pauca libet. Vive memor leti, viciis abstersus, et illam Spem tibi vivendi, si sapis, abjicito. Ore nites hodie pulchro, sed stamine secto Protinus in nihilum te impia Parca rapit. Hoc experta scio, quoniam virguncula nuper Annos nata decem rapta repente fui. Ut rosa florebam sociis virtutibus illis Quæ cerni in tenera virginitate solent. Sed tamen interii crudelibus obruta fatis, Iam data carnivoris vermibus esca meis. Vermibus esca meis iaceo data, non tamen usque Usque adeo exanguis quin tibi vera loquar. Ore loquor latio, nec mirum, candide amice, Filia nam vatis sum memoranda pii. Imbutam ausonia cupiens me reddere lingua Artibus et pariter me decorare bonis, Nocte dieque docens, pater ut charissimus, ipse Fundamenta mihi dulcia et ampla dabat. Docta forem celebres nimirum amplexa camænas, Et canerem blandis carmina pulchra modis. Oscula chara mihi genitor meus inde dedisset, Imponens capiti laurea serta meo. O miseras hominum sortes! O vota caduca! In terris nihil est quod solidum esse queat. Non solum miseris mortalibus obvia mors est, Sed tacito insidians clam subit ilia pede. Ah! caveas igitur, caveas moriture, profecto Omnia sub modico tempore lapsa ruunt. Tu dum vivis adhuc, magnos dum quæris honores, Instabili[558] et rapide pergis obire gradu. Si contentus abis hoc uno denique certo Consilio, et tu me dicere vera putas, Sparge mihi flores, violas et lilia, nardos; Funde preces etiam, si placet, et lachrymas. Me facies superum precibus conscendere ad axem, Lux ubi perpetua est, pax et amœna quies. Hoc erat exiguum quod ego te scire volebam, Vive memor leti, mox periture. Vale.

Obiit ubi erat nata, Parisiis, xxv augusti, anno Do[mini] M.D.XXII.

Vixit annos novem, menses undecim, dies fere triginta. Horas scit nemo. Momenta solus novit Deus.

* * * * *

PATER _et_ FILIA _collocutores_.

P. Vermibus esca iaces, charissima filia! tu me Linquis in assiduis fletibus et lachrymis.

F. Chare pater! lachrymis parcas et fletibus, actum Est de me. Iuvenes mors rapit atque senes.

P. Parcere non possum diris nec planctibus. Eia! Debueram in mortem iustius ire prior.

F. Sic fore non placuit fatis cœlestibus. Ad me, Crede mihi, certo funere tu venies.

P. Interea manibus violas et lilia plenis Ad tua demissa fronte sepulchra feram.

F. Adde preces, precibus supera ad convexa volabo: Astra piæ faciunt scandere celsa preces.

P. Est ut ais, tu gnata etiam pro patre precare, Scilicet ut tecum sidera læta petat.

F. Sidera læta petes curis exemptus amaris, Omnibus et mentis sordibus expositis.

P. Vera mones, et sic faciam. Deus optimus ad se Te vocet in cœlum. Filia chara, vale.

* * * * *

P. Eia, mea dulcis anima, defuncta es.

F. Euge, pater. Nemo immortalis.

* * * * *

_Disticha duodecim urnæ faciebus separatim inscribenda._

In prima facie.

Vis flores! violas! Vis lilia! serta! cyperos! Hæc tibi, sume libens, fictilis urna dabit.

In secunda.

Hac Agnes defuncta iacet virguncula in urna, In cuius medio spirat amœnus odos.

In III.

Hic locus, hic et Amor, Ludus, Virtus quoque, et ipsæ Cum Musis Charites suntque sedentque Deæ.

In IIII.

Hac amaracus inest urna, redolensque cyperus, Insunt et violæ, lilia, serta, rosæ.

In V.

Non iacet hic Agnes virguncula sola, sed ipsæ Cum Phœbo Clariæ suntque sedentque Deæ.

In VI.

Bracteolas gemmis iunctas viridesque lapillos Hæc cum perpetuis floribus urna fovet.

In VII.

Vis et amas urnam Agnetis cognoscere? Cerne, Laurus ubi excellens alta sub astra viret.

In VIII.

Hic defuncta iacet virgo memorabilis Agnes, Quæ faciles tenero iam dabat ore modos.

In IX.

Annos nata decem iacet hic virguncula vates, Carminis ingenui et virginitatis honor.

In X.

Si petis Agnetis cineres cognoscere certos, Hic sunt, ne dubita credere, certus habes.

In XI.

Vis Phœbum et Musas modulis cum dulcibus ipsas? Hanc subeas urnam, protinus invenies.

In XII.

Succrescens vates, teneris defuncta sub annis, Hic cum laurigera virginitate iacet.

* * * * *

MONITOR _et_ AGNES _collocutores_.

M. Dic mihi pauca, precor, vates virguncula?

A. Dicam. Dummodo pauca roges.

M. Pauca rogabo.

A. Roga.

M. Quæ tibi defunctæ mens?

A. Aurea.

M. Quid tibi corpus?

A. Pulvereum.

M. Quisnam spiritus?

A. Æthereus.

M. Sufficit, alma quies tibi sit cum pace perennis.

A. Et tibi viventi dulcis et ampla salus.

_Disticha de lauro prope tumulum et urnam Agnetis in tabellis scriptis pendentia._

In prima tabella.

Hic iacet eximiæ vates virtutis imago, Naturæ specimen nobile et egregium.

In secunda.

Hic confracta iacent pharetris languentibus arma, Quæ quondam ingenuus ferre solebat Amor.

In III.

Unio, chrystallus, magnes, viridisque smaragdus, Hic cum virginea vate iacente nitent.

In IIII.

Hic ver perpetuum vario cum flore virescet, Dum carpenta micans aurea Phœbus aget.

In V.

Hic Decor et Ludus, Risusque, Iocusque, quiescunt, Hic cum laurigera est virgine inermis Amor.

In VI.

Hac conclusus inest media thesaurus in urna; Ne tangas, gemmæ sunt simul innumeræ.

In VII.

Dum radiis Phœbus cœlestia templa replebit, Hic violæ et flores, his et anetus erunt.

In VIII.

Hic Amor, et Ludus, Risusque, Iocusque, Leposque, Hic Musæ et Charites, hic et Apollo sedent.

In IX.

Hic cum mellifluis habitat virguncula Musis, Acceptura decus perpetuumque melos.

In X.

Sponte sua tellus amaracina secta refundens Hic viret, et verno rore benigna madet.

In XI.

Hic violæ, hic flores, hic lilia, serta, coronæ, Sponte sua increscunt, sponte suaque virent.

In XII.

Hic sua signa manu Genius difringit acerba, Naturæ specimen dum periisse videt.

* * * * *

MONITOR _et_ VIRGINITAS _collocutores_.

M. Heus tu quæ roseo es virgo spectabilis ore, Quid facis hic lachrymans anxia tota?

V. Gemo.

M. Quæ causa est gemitus?

V. Agnes virguncula, cuius Hæc prope me cineres fictilis urna tenet.

M. Unde meis tam suavis odos est naribus?

V. Urna De media, Charites quem posuere Deæ.

M. Quid posuere?

V. Rosas et cinnama, balsama, nardos, Flores et violas, lilia, serta, crocos.

M. An amaracus inest etiam cum stacte cyperus?

V. Omnis inest redolens herba et amænus odor.

M. Urna gerit viridem pulchre insignita coronam?

V. Ut decet et par est, laurea serta gerit.

M. Quæ ratio?

V. Musas in se comprendit ovantes, Quæ teneræ cantant virginis exequias.

M. An solæ recinunt?

V. Solæ non. Phœbus Apollo In medio modulans mystica sacra fovet.

M. Quid tibi vis igitur, virgo suavissima, tanto Cum gemitu, et superi te prope dulce canunt?

V. Vera tibi dicam, nequeo non flere libenter, Tam fuit egregio nobilis ingenio. Annos nata decem, patris præcepta secuta, Iam facilis vates carmen ab ore dabat.

M. Tu mihi naturæ miracula grandia narras!

V. Hisce nihil terris verius esse potest.

M. Qui sunt quos video stantes?

V. Ludus, locus, inde Gestus, Honor, Virtus et genialis Amor.

M. Arma iacent urnam circum quamplurima fracta?

V. Ipsi gestabant integriora Dei.

M. Quid facient fractis olim sic omnibus illis?

V. Cum planctu et lachrymis assiduos gemitus.

M. Tune etiam flebis?

V. Flebo mœstissima semper.

M. Nomen habes?

V. Habeo.

M. Quid tibi?

V. Virginitas.

M. Chara, vale.

V. Valeas, Monitor charissime, et huius Egregiæ quondam virginis esto memor.

* * * * *

MONITOR _et_ AGNES _collocutores_.

M. Parva iacens vates celebri dignissima laude, Sum potis his tecum dicere pauca?

A. Potis.

M. Hanc tibi quis struxit gemmis insignibus urnam?

A. Quis? Meus in tali nobilis arte pater.

M. Excellens certe est figulus genitor tuus.

A. Artes Quottidie tractat sedulus ingenuas.

M. Anne etiam scribit modulos et carmina?

A. Scribit. Dulcibus et verbis hæc mea fata beat.

M. Ipsius est nimirum hominis solertia mira?

A. Tam celebrem regio vix tulit ulla virum.

M. O tali virgo felix genitore!

A. Profecto. Ipse etiam nomen tollit inastra meum.

M. Audio concentus.

A. Clariæ modulamina Musæ Cum Phœbo hic mecum nocte dieque canunt.

M. Te prope conspicio Charites?

A. Mihi serta ministrant.

M. Unde legunt violas?

A. Collibus Elysiis.

M. Sunt alii tecum?

A. Sunt et tria numina.

M. Quænam?

A. Ludus, Amor, Monitor candide, et inde Iocus.

M. Quid faciunt?

A. Holocausta mihi divina reponunt, Et solitos implent fomite et igne focos.

M. Es Dea de superis iamdudum sedibus una?

A. De superis fio sedibus una Dea.

M. Si Dea, cur charos in cœlica regna parentes Scandere non curas?

A. Scandet uterque parens.

M. Sed quando?

A. Quando certe sua fata videbunt Esse opus. Ex fatis stat sua cuique dies.

M. Stat sua cuique dies ergo certissima?

A. Cuique Eveniunt certo fata suprema die.

M. Interea genitor tuus et tua mater in hisce Quid facient terris?

A. Quid? Pia, sacra, preces.

M. Postea quid fiet?

A. Cœlestia templa beati, Æthereo et supero patre favente, petent.

M. In mea iam redeo tractanda negocia.

A. Quando Nempe voles; felix vive, et amice vale.

M. Tu quoque cum superis habita cœlestibus ut mens Ætherea, ut sidus nobile, ut alma Dea.

* * * * *

GENIUS _et_ VIATOR _collocutores_.

G. Siste parum, ulterius, quæso, nec tende viator, Hanc urnam et tumulum quin prius aspicias.

V. Quis tu?

G. Sum Genius.

V. Quid vis tibi?

G. Pauca vicissim Hic cupio tecum dicere, amice.

V. Placet.

G. Virgineam vatem fatis crudelibus haustam Aspice ut hæc in se fictilis urna tenet!

V. Annos quot vixit?

G. Bis quinque.

V. Canebat et ilia Docta modos?

G. Sic est.

V. Tu mihi mira canis.

G. Scribebat dulci genialia carmina versu, Sponte sua modulans, sponte suapte canens.

V. Naturae o rarum decus! o manifesta Deorum Gloria, quod vates ilia tenella foret?

G. Carmen erat quicquid casu proferre volebat, Quicquid et optabat dicere carmen erat.

V. Unde illi tantæ frugis veniebat origo?

G. Sedibus a superis, unde venire solet.

V. Ut divina igitur versus faciebat amœnos?

G. Ut divina, sui et iussa secuta patris.

V. Illius an etiam genitor modulamina tractat?

G. Tractat, et est vates candidus atque probus. Est probus et facilis, tersus, florensque, decensque. Est quem divino carmine Musa beat.

V. Mecenate aliquo certe dignissimus ille est.

G. Mecenas Franco rarus in orbe viget. Nemo hodie ingenuas donis conformibus artes Aut fovet, aut ulla sorte fovere parat. Non est in pretio probitas, nec candida virtus. Infelix adeo regnat Avaricia. Fraus, dolus et vitium prestant; virtutibus omne Postpositis miserum serpit ubique nephas.

V. Quid facit ille igitur Musis excultus amœnis?

G. In propria gaudet vivere posse domo.

V. Ad reges alacri deberet tendere passu.

G. Non curat, quoniam libera corda gerit. Isti nonnunquam gaudent spectare potentes Carmina, sed quid tum: nictibus illa beant. Deberent gemmis auroque rependere puro Aurea de superis carmina ducta polis. Sed potius fatuis, nebulonibus atque prophanis Contribuunt stulti grandia dona leves.

V. Ille suam natam studiis ornabat honestis?

G. Ornabat studiis, artibus atque bonis,

V. An quoque et illa libens patris præcepta tenebat?

G. Nil magis optabat quam patris ora sequi.

V. O quam grandis honor patriæque patrique fuisset Integra si vitæ munia adepta foret!

G. Nimirum Francis in sedibus illa puellas Ante omneis alias gloria prima foret. Insignis facie, vultu formosa modesto, Moribus et dictis aurea tota bonis. Ad se corda hominum, iuvenumque, senumque trahebat In sua constanti vota sequenda fide.

V. Mira mihi dicis?

G. Dico tibi vera, viator. Ingenuæ speculum nobilitatis erat.

V. O nimis immensus dolor! o dolor asper et angor! Tam rapido talem posse perire gradu! Quid pater interea faciet?

G. Mœstissimus ipse Cordolium et lachrymas perferet assiduas.

V. Ille preces melius superis cœlestibus amplas Funderet et precibus iungeret exequias.

G. Exequias precibus iungitque fovetque perennes, Implet et assuetos fomite et ignefocos.

V. O tam plausibili virguncula digna parente! O etiam tali stirpe beate pater!

G. Illa modo lætis in nubibus alma refulget, Ut jubar exortum, sidus ut aureolum.

V. Æthereis fulgens in sedibus illa triumphet, Et patrem secum filia grata trahat.

G. In rem vade tuam, si vis modo abire, viator: Hæc sunt quæ volui dicere. Amice, vale.

V. Sis felix tumuli custos, urnæque retector; In rem vado meam sedulus et properus.

Impressum Parrhisiis, e regione scholæ Decretorum, anno Do[mini] M.D.XXIII, die xv mensis febr.

X

_Godofredus Torinus Biturigicus lectori candido s(alutem)._

Egregii quidam sunt felici hoc seculo pictores, lector humanissime, qui suis lineamentis, picturis et variis coloribus deos gentilitios et homines, itemque alias res quascunque adeo exacte depingunt, ut illis vox et anima deesse tantummodo videatur; sed ecce, lector humanissime, ego iam tibi illorum propemodum more, domum offero, non solum suis lineamentis et partibus elegantem et absolutam, sed etiam pulchre loquentem et encomio sese particulatim describentem. Offero etiam tibi septem Epitaphia antiquo more et sermone veterrimo conficta et conscripta, varios miserorum hominum amantum affectus pervio quodam modo ostendentia. Ipsa tibi (inquam) lubens offero, non ut ita verbis obsitis loquaris aut scribas, sed ut antiquitatem ipsam tibi ante oculos tuos faciles et iucundissimos habeas, et te a me benemonitum intelligas, ut in amoris insani laqueos et angustias devenire caveas. Vale.

Y

_Gotofredus Torinus Biturigicus ad reginam Leonoram._

Pergimus hunc, Leonora, tuum celebrare triumphum, Quem tibi Parrhisii contribuere tui. Tam pia tu nobis extas regina quod omnes Dicere te veram possumus esse DEAM. Esse DEAM sane te dicere possumus almam, Quum nos optata denique pace beas. Pace beas omneis qui Gallica regna frequentant, Fata adeo nutu te statuere bono. Ut proba, sancta etiam, clemens, et vera beatrix, Adduxti patriæ Lilla nostra suæ. Vis dicam paucis, et verum proloquar, in te Omnibus est nobis publica et ampla salus.

_Idem ad eandem._

Di, Leonora, tibi felicia Fata perennent; Lætitia es nobis, Pax, et amœna Quies.

_Idem Torinus ad Gentem Gallicam._

Exulta et lætare simul, gens Gallica, cernis Quas tibi delicias iam Leonora facit. Ipsa, Dei (credas) manifesto numine missa, Te facit egregia denique pace frui. Sparge rosas, lauros, violas, nardumque, crocumque, Et genio indulge tota iocosa tuo. Sed videas etiam ne tu gens optima cesses Ante Deum laudes accumulare pias; Si canis usque Deo laudes, et phana frequentas, (Crede mihi), pacis commoda longa feres; Aurea sub facili spectabis secula cœlo, De terra et felix aurea farra metes. Adde quod et pariter fies gens aurea tota. Perge igitur summo sacra iterare Deo.

Z

_Ludovica, regia mater, suam Galliam alloquitur et consolatur, Go. Torino Bit. scribente._

Gallia, quid de me luges mæstissima? nescis Quod genus omne hominum morte perire solet? Respira, et tecum expende ut te provida ab atris Hostibus et diris casibus eripui. Linquo tibi gnatum cœlesti numine regem, In pulchra qui te, me duce, pace fovet. Te penes in gremio lætus sua pignora cernit, Orbem quæ totum sub tua sceptra dabunt. Reginam virtutis habes et pacis alumnam, Sidere felici quæ tua fata beat. Altera et una tibi est etiam regina sacrati Quæ soror est regis et benesuada tui. Principibus tantis non est tibi, chara, gemendum, Gallia! tu felix talibus es ducibus. Ipsa ego te prorsus moriens non desero, nanque Immortale meum tu modo nomen habes. Semper apud superum pro te devota Tonantem Orabo, ut victrix et generosa regas. Sparge mihi lauros, violas, nardosque crocosque; Stracte (_sic_) etiam flores, lilia, serta, rosas; His super adiungas summiscum laudibus hymnos, Exequias, modulos, thura sabea, preces. Aras ne dubita mihi tendere. Nam, Dea ut alma In cœlos pergo ianque volare. Vale.

FOOTNOTES:

[Footnote 501: Another document which M. Boyer has kindly made known to me, dated in 1489, informs us that this Jean Thory lived on rue aux Vaches, in Faubourg Saint-Privé; so that it was on that street that Geofroy was born. 'Now,' M. Boyer writes me, 'as that street contains only two houses, I am inclined to select as the house in question the one designated by the name of _maison du perron_, because of a stoop (_perron_) with a wooden roof which is still preserved, and which is accounted for by the proximity of the river.' I saw the house in 1856; it still belongs to the Toubeau family, which tends to confirm M. Boyer's opinion.]

[Footnote 502: Archives of the Department of the Cher, Series C, Notarial Records; minutes of Jean Dujat, notary, 1507.]

[Footnote 503: [See supra, p. 44.]]

[Footnote 504: On the first page of both books are the words: 'Biturigis, apud Bonaventuram Thorinum, sub signo Anchoræ, vico Maiore, 1595'; and at the end: 'Excusus fuit hic liber typis viduæ Nicolai Levez, Avarici Biturigum, juxta scholas utriusque juris.' (Bibliothèque Nationale.) The first alone contains a license to print (dated August 29, 1595). Therein the publisher is called, in French, 'Thorin,' the natural rendering of the Latin name that we find in the 'note to the reader,' where the form 'Torinus' occurs four times, and 'Thorinus' once only; which confirms my hypothesis relative to the descent of this bookseller of Bourges. For we have seen that Tory wrote his name Torinus in Latin. I must not omit to mention one objection suggested by a friend of mine at Bourges,--that our man is called Bonaventure _Thorin_, in a book of imposts for the year 1588. But every one knows how irregular the spelling of names was in the old days.]

[Footnote 505: May not Tory's son have had for his godfather Bonaventure des Périers, who committed suicide in 1544, in order to avoid a prosecution on account of his religion?]

[Footnote 506: This book, which bears a French title, _Lesclaircissement de la langue françoise_, although written in English and for the English, was printed at London shortly after the publication of Tory's _Champ fleury_. M. Génin issued a second edition in 1852, quarto, Paris, Imprimerie Nationale.]

[Footnote 507: Read 'Tory'; letters transposed.]

[Footnote 508: Read 'Bourges.' The error is due to the fact that the London printers were much more familiar with Bruges, where Caxton, their first master, lived a long while before he introduced printing in England, than with Bourges in Berry. (See my book on the _Origin of Printing_, vol. ii, pp. 347 ff.)]

[Footnote 509: See what I have myself said on this subject, supra, p. 17.]

[Footnote 510: In order to be fair to everybody I am bound to say that M. Génin's reckoning is at fault. Henry VIII having succeeded to the throne on April 22, 1509, the twenty-second year of his reign extends from April 22, 1530, to April 21, 1531, and consequently the license cited here must have been dated September 2, 1530, that is to say, a month and a half after the printing of Palsgrave's book was finished.]

[Footnote 511: Say a year and a half, in consequence of the correction suggested in the preceding note. However, Tory had announced a year earlier the _Reigles de lorthographe du langaige françois._ See supra, p. 100.]

[Footnote 512: Vol. iv, fol. 320 recto. MSS. folio preserved at the Library of the École de Médecine in Paris.]

[Footnote 513: [See supra, pp. 55 and 65.]]

[Footnote 514: [See supra, pp. 69 and 44.]]

[Footnote 515: [See supra, p. 96.]]

[Footnote 516: The necessity of distinguishing between the final _e_ which requires the acute accent (_aveuglé_) and that which does not take it (_aveugle_) led to calling the former _masculine_ and the other _feminine_. Hence the term 'feminine' still given in French poetry to mute rhymes.]

[Footnote 517: In the fourth edition of the _Manuel de Libraire_; he does mention it in the fifth edition, however, citing me. It is not mentioned either in the _Essai sur la Vie et les Ouvrages de Marguerite d'Angoulême_, by M. de Lincy, prefixed to his edition of the _Heptameron_, which was published by the Société des Bibliophiles Français in 1853-54. I describe it from a copy owned by M. Ferdinand Denis.]

[Footnote 518: The original text of these letters may be found in my book, _Les Estienne et les types grecs de François Iᵉʳ_; I give here only a translation borrowed from M. Crapelet, _Études pratiques_, p. 89.]

[Footnote 519: By an inexplicable blunder M. Crapelet has thought fit to render the two words 'Gallicæ reipublicæ,' _republic (of letters)_, failing to understand that the word 'respublica' stands for the State. It is needless to say that he has been followed by many others, particularly M. Duprat in his 'Histoire de l'Imprimerie impériale,' 1861.]

[Footnote 520: I borrow this fragment from M. Crapelet (_Études pratiques_, p. 116), for I have been unable to inspect the volume from which he took it, although he gives an interesting description of it.]

[Footnote 521: [_Lettre à_ or _sur double queue_, letters on which the seal is suspended from a strip of parchment passed through the document.]]

[Footnote 522: See what I have to say in the Preface on the subject of Pierre le Rouge, who is given the title of king's printer once, in 1488.]

[Footnote 523: The dates that I give are those of the holding of the office of _king's printer_, and not of the carrying on the trade of printer, which, as a general rule, do not coincide, at least so far as the earlier dates are concerned.]

[Footnote 524: Brunet, _Manuel de Libraire_, 5th edit., vol. ii, col. 1672.--See infra, p. 307 _King's Printers for the Mathematics_.]

[Footnote 525: He calls himself 'architypographus regius' in a work printed by him in 1608.]

[Footnote 526: See the _Recette générale des finances_ of Paris for 1671, in the national archives, KK. 356, fol. 53.]

[Footnote 527: See my _Les Estienne_, p. 35.]

[Footnote 528: Renouard, _Annales des Estienne_, 3d edit., p. 228, col. 1. See also my _Les Estienne_, p. 36.]

[Footnote 529: This appointment involved him in some difficulty with his colleagues, as may be seen from the following letter, of which I found a copy in the Bibliothèque du Louvre, in the Nyon collection.

'When I asked and obtained the office of king's printer, of which M. Le Breton had been deprived by death, I had no idea that it could cause any heart-burning on the part of my confrères, with whom I have always earnestly desired to be on the best of terms. If I had been able to foresee such a thing, I am too much a friend of peace to have voluntarily exposed myself to it by assuming a title which was subject to dispute. But, monsieur, when I submitted the question to you, I thought that I could see that it did not seem to you free from doubt. For this reason I cannot hesitate to abandon claims which seem to me well-founded.

'I beg you therefore, monsieur, to regard as not having been made the claims that I put forward on this subject, and as my confrères do not pretend that any one of them has the right to style himself first king's printer, in like manner I agree to assume simply the title of ordinary printer to his Majesty, and that we shall be placed in the _Almanack Royal_ in the order of our reception.

'Paris, 20 November, 1779.

PIERRES.'

For this famous printer, see Lottin, _Catalogue des Imprimeurs de Paris_, vol. ii, p. 139.]

[Footnote 530: For this paragraph, see my _Les Estienne_.]

[Footnote 531: He is mentioned as 'imprimeur du roi,' without other description, in the registers of the cemetery of Les Réformés de la Trinité, rue Saint-Denis; but I think that he was simply an engraver on copper, like Tavernier.]

[Footnote 532: [Clearly a misprint; perhaps 1561.]]

[Footnote 533: He had been in business since 1784.]

[Footnote 534: He had been in business since 1813.]

[Footnote 535: He had been in business since 1785.]

[Footnote 536: There were royal printers in various cities of France after the latter part of the sixteenth century; but the office was neither regularly instituted nor general in its scope. These printers seem to have had it specially in charge to print official documents in the provinces, which function conferred on them certain privileges, and sometimes caused difficulties with the local authorities, who also had their special printers. The first editions of the edicts, ordinances, etc., emanating from the central authority were afterwards placed in the hands of the royal printing-office in Paris. See what I have to say on this subject in my work on _Les Estienne_, p. 56.

In 1844 M. Le Roux de Lincy published in the _Journal de l'Amateur de livres_, and also had printed separately in an octavo pamphlet of 16 leaves, a compilation entitled: _Catalogue chronologique des imprimeurs et libraires du roi, par le père Adry_; but those shapeless memoranda were not originally intended for printing, and I have been unable to obtain the slightest particle of useful information from them.]

[Footnote 537: Archives, reg. KK, 99, fol. 116 verso. '_Librairie._--To maistre Jean de Sansay, _libraire ordinaire_ to the King our Sire, the sum of two hundred forty livres tournoys, ordered [to be paid] to him by our said lord and his warrant, for his wages as _libraire ordinaire_ to our said lord, [said office being held] by him during this present year beginning the first day of January a thousand five hundred twenty-eight [1529 n. s.], and ending the last day of December following, a thousand five hundred twenty-nine, of which sum this present clerk has made payment to the said Sansay by virtue of said warrant, as appears by his receipt signed at his request by Mᵉ Huault, notary and secretary to the King, the twenty-third day of January in the year a thousand five hundred twenty-nine now current. For the said sum of IIᶜ XL l. t.']

[Footnote 538: Brunet, _Manuel de Libraire_, 5th edit., vol. ii, col. 1672.]

[Footnote 539: Was this Jehan Estienne of the family of the great printers? I am unable to say. He is not mentioned in any of their genealogies, nor is the Gommer Estienne, whom I have referred to in my _Les Estienne_.]

[Footnote 540: The name is left blank at the beginning of the original document, and the signature is very doubtful. But the name _Burgensis_ or _Bourgeois_, is very common at that period. François I had a physician called Louis Burgensis.]

[Footnote 541: _La Renaissance des Arts_, vol. i, p. 973.]

[Footnote 542: Ibid., p. 925.]

[Footnote 543: That is to say, to _goffer_.]

[Footnote 544: This volume is without date, but the license to print is dated February 23, 1539 (1540, n. s.).]

[Footnote 545: [See supra, p. 138.]]

[Footnote 546: _Salutem dicit perpetuam._]

[Footnote 547: Read _Avaricum_.]

[Footnote 548: The book has _potuit_, but the errata informs us that we should read _possit_.]

[Footnote 549: The book has _adiiecimus_.]

[Footnote 550: The book has _quandoquidam_, but the errata corrects the error.]

[Footnote 551: The book has _i._, which, the Middle Ages, stood for _id est_.]

[Footnote 552: Should we not read _manent?_]

[Footnote 553: In the errata it is said that we should read _debebat_, but that word does not fit the metre.]

[Footnote 554: _Claud._, XV, 385: 'Minuit præsentia famam.']

[Footnote 555: Plautus, _Casine_, act. V, sc. IV, v. 1: Ubi tu es, qui colere mores Massilienseis postulas.]

[Footnote 556: Should we not say _daret_, or, rather, _dares?_]

[Footnote 557: Read _quo_. At the best this verse is halting.]

[Footnote 558: The book has _Istabili_. It was impossible to place the sign of abbreviation over the capital I.]

INDEX

ABBATIA, _Bernard, 'Prognostication touchant le mariage du tres honoré et tres aimé Henry,' etc._, 282.

_Abrégé des Meditations de la vie de Jésus-Christ_, 229.

_Accents. See Orthographic marks._

_Adolescence Clementine. See Marot, Clement._

_Adriani Behotii diluvium_, 280 _note_ 2.

ÆDILOQUIUM, _etc._, 29-30, 31, 92-93, 201-202.

_Agricola, Rodolphe, 'De inventione dialectica,'_ 267.

_Alard, Guillaume, his mark_, 273.

_Alphabetum hebraicum_, 274-275.

_Amman, Jost_, 251.

_Anciens bois de l'imprimerie Fick_, 260 _note_ 3.

_Ange Bologninus, 'De la curation des ulceres exterieurs,'_ 41.

_Annius of Viterbo_, 3, 61.

_Antistitis incomparabilis Michaelis Bodeti_, 137.

_Apollonius Alexandrinus, De constructione_, 276.

_Apologie pour la foi chrestienne contre les erreurs contenues en un petit livre de Messire Georges Halevin_, 138.

_Apostrophe. See Orthographic marks._

_Aristophanes_, 197, 274.

_Artificialis introductio Jacobi Fabri Stapulensis_, 268 _note_ 4.

_Asselin, Pierre_, 273.

_Assier, Alexandre. See Socard, Alexis._

_Aumale, Duc d'_, 144, 154, 163, 164 _note_ 1.

_Aumont, Blanche d', arms of_, 171.

_Avaricum. See Bourges._

BABOU, _Philibert_, 2, 3, 4 5, 6, 10, 51-53, 60-61 65, 68, 69, 72.

_Bade, Conrad_, 232, 233; _his mark_, 266.

_Bade, Josse_, 57, 145, 200, 201.

_Baïf, Lazarus, 'Annotationes,' etc._, 208-209.

_Baker, David_, 293.

_Barbier, Olivier_, 208 _note_ 2.

_Baron Collection_, 254 _and note_ 2.

_Barra, Jean_, 148.

_Bassentin, Jacques, 'L'astronomique discours,'_ 262, _note_ 4.

_Basset, Denis_, 230 _note_ 2.

_Beaupré, M., 'Notice bibliographique sur les livres liturgiques ... de Toul et de Verdun,'_ 150 _note_ 4.

_Beauvoys. See Delaigue, Étienne._

_Beckford, William_, 167.

_Bellay, Jean du_, 214, 215 _note_ 1, 280.

_Belon, Pierre, 'Histoire de la nature des oiseaux,'_ 250; _'Les observations' etc._, 250.

_Bernard, Auguste, 'Les Etiennes, et les types grecs de François I,'_ 197 _note_ 4, 199 _note_ 1, 271 _note_ 1.

_Bernard, Salomon ('Le Petit Bernard')_, 258, 261 _and note_ 4.

_Beroaldo, Filippo_, 2.

BEROSUS BABILONENSIS, _Tory's edition of_, 3, 60-64.

_Bertaud, Jean, 'Encomium,' etc._, 200-201.

_Berthelin, André_, 284.

_Bertrand, Jean, Cardinal of Sens_, 250, 251.

_Berty, Adolphe, 'Les trois îlots de la cité,'_ 35 _and note_ 3.

_Bessault, Thibault_, 285.

_Bèze, Theodore de, 'Poemata,'_ 232-235, 266.

_Bible in French, Antwerp_, 1530, 254.

_Bible in Latin_, 1532, 204.

_Bible in Saxon, Lubeck_, 1533, 254.

_Bible in Latin_, 1538-1540, 215.

_Bible in Latin_, 1543, 254.

_Bible after Holbein_, 1547, 258.

_Bible in Flemish, Antwerp_, 1556, 254.

_Bibliothèque de l'amateur champenois_, 279.

_Binet, Denis_, 257.

_Blazon des heretiques_, 180.

_Blés de Beauce, Halle aux, Tory's removal to_, 35, 37, 38, 40 _and note_ 4, 41, 97, 295.

_Bonfons, Jean, his mark_, 266.

_Bonhomme, Iolande, widow of Thielman Kerver I_, 149, 204, 214, 215 _and note_ 1, 221, 230, 241, 242, 280.

_Bonnemere, Anthoine_, 276.

_Boorluut, M._, 199.

_Bouchet, Jean, 'Les angoisses et remedes damour du Traverseur,' etc._, 212-213, 279; _'Le jugement poetic de l'honneur feminin,...par le Traverseur,'_ 213.

_Bouchetel, Guillaume, 'Le Sacre ... de la Royne,'_ 34; _'Lentree de la Royne,' etc._, 34.

_Boudet, Michael de_, 137. _And see 'Antistitis incomparabilis.'_

_Bouillon, M. le duc de, 'Ordonnances,'_ 245 _note_ 2.

_Boullé, Guillaume_, 98, 99.

_Bouquet des fleurs de Sénèque, Le_, 273.

_Bourges_, 1, 2, 4, 66-67; _coat-of-arms of_, 129.

_Bourgogne, Collège de_, 6, 7, 295.

_Boursette, Madeleine, widow of François Regnault_, 228, 243, 246, 284, 285.

_Boyer, Hippolyte, 'Histoire des imprimeurs et libraires de Bourges,'_ 91, 222, 289 _and note_ 1.

_Breviarium ad ritum diocesis Eduensis_, 241.

_Briçonnet, Guillaume, Bishop of Meaux_, 176.

_Bridier, Jean_, 232.

_Brie, Jehan de_, 230 _note_ 3, 231.

_Brie, widow of Jehan de_, 149, 229, 231.

_Brucherius, Joannes, 'Epitome of the Adages of Erasmus,'_ 174, 176.

_Brulefer, Étienne, 'Identitatum et distinctionum,' etc._, 284.

_Brunet, Jacques-Charles, 'Manuel du Libraire,'_ 64, 119, 120, 124, 139 _note_ 1, 140, 149 _note_ 2, 150, 170 _note_ 1, 181 _note_ 2, 208 _note_ 1, 231, 260 _note_ 2.

'_Bulletin du bouquiniste_,' 1860, 174 _note_ 2.

_Bunel, P., 'Epîtres familières,'_ 272.

_Buon, Gabriel_, 215 _note_ 4, 249; _his mark_, 284.

_Buon, Nicolas_, 249.

CÆSAR, _'Commentaries,' translation of_, 178. _See also 'César, Les Commentaires de.'_

_Calcar_, 225.

_Calvarin, Prigent, his mark_, 267.

_Calvarin, Simon, his marks_, 267.

_Catherine de Medici_, 122.

_Catherinot, Nicolas, his epitaph of Tory_, 43, 44, 55 _note_ 2.

_Cavellat, Guillaume_, 250.

'CEBES, TABLE OF,' _Tory's translation of_, 27, 28, 85-87, 201.

'_Cebes, Tableau de_,' 1543, 262.

_Cedilla. See Orthographic marks._

_'César, Les Commentaires de,' manuscript (author unknown)_, 143-144, 153; _Comte Léon de Laborde's description of_, 154-164.

_Chabouillet, M., Notice du Cabinet des médailles_, 255.

'CHAMP FLEURY,' _first conceived by Tory_, 9, 12; _the first book of_, 14 _and note_ 3; _the second book of_, 15-17; _the third book of_, 17-20; _published_ (1529), 26; _effect of publication of_, 32-33; _orthographic system of, first applied_, 37 _and note_ 1, 295-299; _second edition of_ (1549), 42, 43, 84; _bibliographical description of_, 81-84; _description of engravings in_, 189-196; _M. Renouvier on engravings in_, 262; _quoted_, 1 _note_ 2, 2 _note_ 3, 5, 7 _note_ 8, 9, 12-14, 15-16, 17, 18, 19-20, 21-22, 23, 26, 29 _note_ 1, 141, 145.

_'Chants royaux.' See Gringoire._

_Charles IX_, 144.

_Chaudière, Claude_, 238.

_Chaudière, Guillaume_, 229.

_Chaudière, Regnault_, 238, 273; _his mark_, 267, 268, 269.

_Cheradam, Jean, editor of Aristophanes_, 197.

_Chevallon, Claude_, 231, 278.

'_Chiromancy and Physiognomy_,' 259, 261.

_Chrestien, Nicolas_, 41.

_Choquet, Louis, 'Mystère de l'Apocalypse,'_ 217-218.

'_Chronique du tres vaillant et redouté Dom Flores de Grece_,' 249.

_Chrysostom, Saint, 'Homeliæ Duæ,'_ 281; '_Liber contra gentiles_,' 120.

_Cicero, 'Orator,'_ 42; _works of_, 244-246, 272.

_'Civis,' Tory's first device_, 2; monogram of, 6.

_Claude de France, queen of François I_, 127.

_Colines, Simon de_, 24, 25, 29, 33, 72, 101-116, 120-122, 146, 174, 175, 185, 189, 197, 201, 203, 223, 239, 258; _his marks_, 174, 267-269.

'_Compendium grammaticæ græcæ_,' 189.

_'Conférence accordée entre les predicateurs, La,' etc._, 257.

_'Copie de l'arrest du grand conseil,' etc._, 38.

_'Copie d'une lettre de Constantinople,' etc._, 38.

_Coqueret, Collège_, 5, 295.

_Corrozet, Gilles_, 148, 250, 263; '_Les Fables d'Esopes mises en rithme françois_,' 207; _his mark_, 269-270.

_Corrozet, Gilles II, 'Trésor des histoires de France,'_ 270.

_Corrozet, Jean_, 270.

COSMOGRAPHIE DU PAPE PIE II. _See Pius II._

_Cottereau (also Cotereau), Philippe_, 41, 47.

_Cottereau, Richard_, 41, 47.

_Cousin, Jean_, 237, 238, 254, 263.

_Cousteau, Nicolas_, 204.

_'Coustumier de la baronnye,' etc._, 41.

'_Coutumes générales d'Orléans_,' 266 _note_ 1, 274.

_Coxe, Leonard_, 34, 293.

_Crescens, Pierre des, 'Bon Mesnager,'_ 204.

DALLIER, _Jean_, 237.

_Danois, Jean Blaccus, translation of Isocrates_, 273 _and note_ 2.

_David Matthæus_, 244; _his mark_, 270.

_'De judiciis urinarum,' etc._, 39.

_Debure, M., and 'Les Commentaires de César,'_ 161.

_Delaigue, Étienne_, 178.

_Delange, MM._, 151.

_'Description de la prinse de Calais,' etc._, 284.

_Devéria, Achille_, 150 _note_ 2, 230 _note_ 3, 254.

_Dibdin, Thomas F., 'Bibliographical Decameron,'_ 110, 123, 279 _notes_ 4 _and_ 6.

'_Dictionarium latino-gallicum_,' 189 _note_ 1.

_Didot, Ambroise Firmin_, 28, 47, 91, 96, 98, 136 _note_ 3; '_Essai sur la gravure_,' 150, 151, 225, 259.

_Didot, Firmin, père_, 144, 166.

_Dietz, Ludowich_, 254.

_Diodorus Siculus, Macault's translation of first three books of_, 47, 136, 205-207; _manuscript of_, 144, 166-168.

_Dives. See Ricke, Guillaume de._

'_Divi Joannis Chrisostomi liber contra gentiles_,' 120.

_Dolet, Étienne_, 117.

_Doré, Pìerre, 'Dyalogue instructoire des chrestiens,'_ 222.

_Dubois, Simon_, 25, 196, 197.

_Dupré, Galliot_, 135 _note_ 1, 178, 196, 204.

_Dupuy, J._, 273.

_Duradier, Dreux, 'Les Récréations historiques,'_ 170.

_Durand, M._, 259 _note_ 1.

_Dure (Duræus), Robert_, 5 _and note_ 3.

_Dürer, Albrecht_, 16 _and note_ 2, 252. _See also Meigret._

_Duverdier, M._, 98.

'ECONOMIC XENOPHON,' _Tory's translation of_, 30-31, 93-97.

EGNASIO, J. B., SUMMAIRE DE CHRONIQUES, _Tory's translation_, 28, 42, 88-91, 222.

_'Elegia ... ad Joach. Bellaium,' etc._, 278.

_Eleonora of Austria, queen of François I_, 'LE SACRE ET CORONNEMENT DE,' 34, 130-131, 202; 'ENTRÉE DE, EN SA VILLE ET CITÉ DE PARIS,' 34, 131-133, 202; _Tory's verses to_, 35, 132-133.

'_Empereurs de Turquie, Histoire des_,' 138.

_'Enchiridion, preclare ecclesie Sarum,' etc._, 199-200.

_English booksellers, idiosyncrasies of_, 199 _note_ 2.

_'Entrée de la Royne,' etc. See Eleonora._

'EPITAPHIA LATINA ET GALLICA' (_on Louise de Savoie_), 35.

_'Epitomæ singularum distinctionum,' etc._, 282.

_Estienne, Charles_, 235, 244-245; '_De dissectione partium corporis humani_,' 223-226; '_De nutrimentis_,' 271; _his marks_, 272.

_Estienne, Henri I_, 174.

_Estienne, Henri II_, 17, 69, 268, 269, 271.

_Estienne, Robert_, 33, 146, 175, 185, 189 _and notes_ 2 _and_ 3, 204, 208, 215, 216, 235, 244, 245, 258, 269, 286; _king's printer_, 39, 40; _his marks_, 270-272.

_Eusebius, 'Ecclesiastical history,'_ 135, 189.

_'Exemplaria litterarum,' etc._, 189 _note_ 1.

FANTE, _Sigismunde, 'Thesauro de' scrittori,'_ 15 _and note_ 3.

_'Faulcheur, Le.' See Roffet, Jacques._

_Féret, Martin_, 37.

_Fezandat, Michel, his mark_, 272-273.

_Fick Press, Geneva_, 260 _note_ 3.

'_Fifteen Effusions of the Blood of our Saviour_,' 228, 229.

'_Figure de l'ancienne et de la nouvelle alliance_,' 253-255.

'_Figures et portraicts des parties du corps humain, Les_,' 252.

_Fortunatus, Robertus. See Dure, Robert._

_Fouquet, Jean_, 171.

_France, Collège de_, 39.

_François I_, 29, _note_ 1; _appoints Tory king's printer_, 32-34; _and extra bookseller to the University_, 36, 294; _remodels institution of king's printers_, 39-40; _ordinances of_, 134-135; _in 'Les Commentaires de César,'_ 157-163; _and in Macault's translation of Diodorus_, 167-168.

_François de Valois, Dauphin of France_, 31, 38, 97-98.

_Frellon, Jean_, 258.

GAGUIN, _Robert_, 178.

_Galen, 'De anatomicis administrationibus,'_ 203.

'_Gallic Hercules, The_,' 141.

_Gannay, Germain de_, 3 _and note_ 2, 54.

_Garamond, Claude_, 33, 145.

_Génin, M., 'Introduction to Palsgrave's Lesclaircissement de la langue françoise,'_ 14, 292 _note_ 1, 293-294.

'_Gerard d'Euphrate_,' 241.

_Gérard de Vercel, verses of_, 6, 71.

_Gering, Ulric_, 277.

_Gerou, Dom, 'Bibliothèque historique des auteurs orléanais,'_ 273.

_Ghisy, Georges_, 244 _note_ 2.

_Gibier, Eloi_, 266 _and note_ 1; _his mark_, 273-274.

_Gillot, Jean, 'De juridictione et imperio,' etc._, 39; '_Isagoge in juris civilis sanctionem_,' 39.

_Girault, François_, 239.

_Godefroy, miniaturist, identity of with Tory discussed_, 142-144, 153-166.

_Gourmont, Benoît de, his mark_, 276.

_Gourmont, François de_, 197 _note_ 4, 271.

_Gourmont, Gilles de_, 3, 26, 28, 50 _and note_ 3, 54, 64, 197; _the first printer of Greek in Paris_, 26; _his marks_, 274-276.

_Gourmont, Jean de_, 197 _note_ 4, 271.

_Gourmont, Jérôme de_, 275; _his mark_, 276.

_Gourmont arms_, 275 _note_ 1.

_Gourmont family_, 275 _note_ 1.

'_Gradual_,' 177.

_Grævius, J. C., 'Thesaurus antiquitatum romanarum,'_ 208 _and note_ 2.

_Graf, Urs_, 179.

_Grandin, Louis, his marks_, 277.

_Greban, Simon de, 'Catholiques œuvres et actes des Apostres,'_ 217-218.

_Greek, Tory's unfamiliarity with_, 27 _note_.

_Greek alphabet_, 189, 280 _note_ 2.

_Gringoire, Pierre, 'Chants royaux,'_ 180-181, 183, 184; _Hours in rhyme_, 180; _'Notables enseignemens,' etc._, 196.

_Grolier (Groslier), Jean_, 12, 45, 145.

_Groulleau, Estienne_, 241, 249.

_Gryphe, François_, 207 _and note_ 1.

_Gualtherot, Vivant_, 43.

_Gueroult, Guillaume, 'Hymnes du temps,'_ 261 _and note_ 4.

_Gueullard, Jean, his marks_, 277.

_Guillard, Charlotte, her mark_, 277-278.

HAIENEUVE, _Simon_, 16.

_Halevin, Georges_, 138.

_Harleian MSS._, 158.

_Harley, Robert, Earl of Oxford_, 158.

_Harsy, Olivier de_, 278.

_Henon, Jean_, 38.

_Henri II_, 169; _Entrée de_, 235-238.

_Herverus de Berna_, 2, 3, 57, 58.

_'Hexastichorum moralium,' etc._, 277.

'_Histoire du Saint Graal_,' 178.

'_Histoire paladine_,' 249.

_Hongont, Jean_, 57 _and note_ 1.

_Honorat, Sébastien_, 215 _note_ 4.

_Hopyl, Wolfgang_, 150, 268 _note_ 4.

_Hornken, Louis_, 5, 68, 69.

_Hotot, Fabian_, 266.

_Houic, Antoine_, 285.

HOURS OF 1524-25, _quarto_, 24, 45, 47, 101-119; _sales of_, 119 _note_ 1.

HOURS OF 1527, _octavo, Colines_, 25, 45, 47, 120-122.

HOURS OF 1527, _quarto, Dubois_, 25, 45, 47, 122-124.

HOURS OF 1529, 16_mo_, 29, 125-126.

HOURS OF 1531, _quarto_, 25, 126-128.

HOURS OF (?), _octavo_, 25, 128-129.

_Hours of_ 1515, _Simon Vostre_, 172.

_Hours of_ 1536, _octavo_, 208.

_Hours of_ 1541, _Mallard_, 40, 218.

_Hours of_ 1542, _Bonhomme_, 220-221.

_Hours of_ 1542, _Lecoq_, 221-222.

_Hours of_ 1542, _Mallard_, 40, 219-220.

_Hours of_ 1543, _Colines_, _quarto_, 209-212.

_Hours of_ 1543, _Colines_, _octavo_, 212.

_Hours of_ 1547 (?), _Regnault_, 227-229.

_Hours of_ 1547 (?), _Brie_, 229-231.

_Hours of_ 1548, _Merlin_, 231-232.

_Hours of_ 1549, _Chaudière_, 238-239.

_Hours of_ 1550, _Boursette_, 16_mo_, 243.

_Hours of_ 1550, _Kerver_, _octavo_, 218-219, 243-244.

_Hours of_ 1550, _Roigny_, 16_mo_, 241.

_Hours of_ 1552, _Kerver_, 246.

_Hours of_ 1556, _Kerver_, 251-252.

_Hours of_ 1574, _Kerver_, 226-227.

_Hours in rhyme. See Gringoire._

'INSIGNIUM _aliquot virorum icones_,' 260.

_'Institutionum civilium,' etc._, 278.

'ITINERARIVM PROVINCIARUM OMNIUM ANTONINI AUGUSTI,' _etc., Tory's edition of_, 5, 69-72.

JANOT, _Denys_, 222, 263; _appointed king's printer_, 302-303.

_Joly, Abbé de_, 55 _note_ 2.

_Jollat, Mercure_, 223, 224.

'_Jours moralisez, Les_,' 228.

_Justel, Christophe_, 158.

_Justel, Henri_, 158.

_Justin Martyr, Works of_, 189 _note_ 3.

KERVER, _Jacques_, 149, 224-226, 230, 239, 252.

_Kerver, Jean_, 41.

_Kerver, Thielman I_, 41, 149, 199, 230. _And see Bonhomme._

_Kerver, Thielman II_, 218, 226, 243, 246, 251, 279.

_King's binders_, 308-311.

_King's librarians_, 308-311.

_King's printer, Institution of office of_, 32, 34 _and note_ 2; _title bestowed on Tory_, 34-36; _institution of, remodeled_, 39; _list of holders of the office_, 303-308.

LA BARRE, _Jean de_, 34 _note_ 3, 35 _note_ 1.

_Laborde, Comte Léon de_, 24 _note_, 143; _his description of the MSS. of 'Les Commentaires de César' and 'Les Triomphes de Pétrarque,' illustrated by 'Godefroy,'_ 154-166.

'_Labours of Hercules, The_,' 182, 184.

_La Caille, 'Histoire de l'imprimerie,'_ 6, 24 _note_ 1, 28, 40, 43, 44, 99, 175, 284, 285.

_La Croix du Maine_, 143, 145.

_La Guierche, Michel de_, 42.

_Lallemand, Jean_, 3, 4, 65, 68.

_Lallemand, Jeanne_, 4.

_Lancelot, M._, 170.

_La Porte, Heirs of Maurice de_, 250.

_La Porte, Widow of Maurice de_, 249; _her mark_, 283-284.

_La Sapienza (college at Rome)_, 2.

_La Thaumassière, 'Histoire du Berry,'_ 290.

_Latini, Brunetto, 'Le Trésor,'_ 17 _and note_ 3.

_Laulne, Étienne de_, 163.

_'Laurentii Vallæ de linguæ latinæ elegantia,' etc._, 120 _and note_ 1.

_Le Bas, Jacques_, 273.

_Lecoq, Jean_, 177, 196, 221, 258, 279.

_Le Duaren, François, 'De sacris ecclesiæ ministeriis ac beneficiis,' etc._, 244.

_Lefèvre d'Etaples, Jacques, 'Commentarii initiatorii in quatuor Evangelia,'_ 174-176. _See also 'Artificialis introductio.'_

_Le Hullin, Perrette, wife of Tory_, 6, 37; _and his successor_, 38, 42, 144, 150.

_L'Empereur, Martin_, 254.

_Le Noir, Philippe_, 178, 180; _his marks_, 279.

LEO BAPTISTA ALBERTUS, _Tory's edition of_, 5, 68-69.

_Leonardo da Vinci_, 15.

_Le Petit, Pierre_, 36.

_Le Preux, Poncet_, 178.

_Le Prince, 'Essai historique sur la bibliothèque du roi,'_ 169 _note_ 2.

_Le Riche. See Ricke, Guillaume de._

_Les Angeliers, Arnould_, 216, 217.

_Les Angeliers, Charles_, 216, 217, 222.

_Letellier, Pasquier_, 241, 242.

'_Liber de opificio dei_,' 189.

_Libraires jurés. See Paris, University of._

_Livy, translation of, MS._, 171.

_Longis, Jean_, 241, 249.

_Longueil, Christophe de_, 6, 70, 72 _note_ 1.

_Lorraine, Duchesse Regnee de Bourbon_, 180.

_Lorraine cross, The_, 47, 91, 178; _how far a guide to Tory's work_, 147-152; _in the 18th century_, 208; _at Orléans, Chartres, Poitiers and Lyon_, 258.

_Lottin, 'Catalogue des libraires,'_ 99, 270 _note_ 1, 273, 281.

LOUISE DE SAVOIE, MOTHER OF FRANÇOIS I, EPITAPHS ON, 35, 133-134, 202-203.

_Lucas Paciol, 'Divina proportione,'_ 15.

LUCIAN, DIALOGUES OF, _Tory's translation of_, 27, 85-87.

LUCIAN, 'LA MOUCHE,' _Tory's translation of_, 32, 99-100.

_Lud, Gauthier_, 150.

_Luther, 'Enarrationes' (on the Bible), Nuremberg_, 1555, 254.

MACAULT, _Antoine. See Diodorus Siculus._

_Maittaire, M., 'Annales Typographiques,'_ 176, 268 _note_ 3.

_Mallard, Olivier, Tory's successor at the sign of the Pot Cassé_, 38-39; _king's printer_, 39, 40, 41, 43, 128, 129, 218.

_Marchand, J._, 60.

_Marcorelle, Jean, 'Book of Thermes,'_ 261 _note_ 4.

_Marguerite d'Angoulême, Queen of Navarre (sister of François I)_, 123, 124 _note_ 1, 244.

_Marnef, Geofroy de_, 60, 64.

_Marnef Frères_, 3, 213; _their mark_, 279-280.

_Marot, Clément, 'Ladolescence Clementine,'_ 36-37, 138-140, 296; '_Psalms_,' 1557, 260.

_Marot, Jan (father of Clément), 'Sur les deux heureux voyages de Genes & Venise,' etc._, 140.

_'Marques Typographiques.' See Silvestre._

_Massé, René_, 33.

_Mauroy, Nicolas, 'Les hymnes communes de l'annee,'_ 196.

_Mazochi, 'Epigrammata,' etc._, 7 _and notes_ 8 _and_ 9.

_Meigret, Louys, 'Les quatre livres d'Albert Durer' (translation)_, 252, 283.

'_Mémoires de la société des antiquaires de Morinie_,' 255.

'_Menagiana_,' 55 _note_ 2, 93.

_Menier, Maurice, his mark_, 280.

_Merlin, Guillaume_, 215, 217, 231, 232; _his mark_, 280.

_Mesviere, Estienne_, 243, 246.

'_Meubles et armes du moyen âge_,' 254.

_Milan, Paulus Jovius's Lives of the Dukes of. See Paulus Jovius._

_Millæus, Johannes, 'Praxis criminis persequendi,' etc._, 216-217.

_Missal (Toul)_, 1508, 150.

_Missal (Paris)_, 1539, 148, 214-215, 242.

_Missal (Paris), folio, no date_, 280.

_Missal (Cluny)_, 1550, 242.

_Missal (Paris)_, 1559, 149.

'_Monstre d'abus contre Nostradamus_,' 284.

_Montaiglon, A. de, 'Archives de l'art français,'_ 132 _note_ 1; _Recueil des poésies, etc._, 281.

_Montenay, Georgette de, 'Emblesmes et devises chrestiennes,'_ 148.

_Monteux, Hieronime, 'Conservation de santé,' etc._, 267.

_Montpellier_, 137.

_Morante, Marquis de_, 73.

_Morel, Guillaume, his mark_, 280.

_Moréri, Historical Dictionary_, 290-291.

_Muret, Marc-Antoine, 'Juvenilia,'_ 249, 283.

NÉOBAR, _Conrad, king's printer for Greek_, 36, 39, 40; _letters patent of_, 299-302.

_New Testament and Apocalypse (Boursette)_, 246.

_New Testament in Greek and Latin_, 1549, 273.

_Nivelle, Sébastien_, 215 _note_ 4; _his mark_, 280-281.

'_Notice sur les graveurs_' (1807), 261, _note_ 4.

_Nyverd, Guillaume, his mark_, 281.

_Nyverd, Guillaume de, his mark_, 282.

OPORIN _(Basle)_, 225.

'ORDONNANCES DU ROY,' _published by Tory_, 134-135.

_Orthographic marks_, 19-20, 100, 140, 295-299.

ORUS APOLLO, HIEROGLYPHS OF, _translated by Tory_, 25, 100.

_Ovid, 'Metamorphoses,'_ 260, 261 _and note_ 4.

PALATINO, _Giovanbattista_, 42 _note_ 2.

_Pallier, Jean, his mark_, 282.

_Palsgrave, 'Lesclaircissement de la langue françoise,'_ 14 _note_ 1, 34, 292-294.

_Panzer, M._, 176.

_Papillon, 'Traité de la gravure sur bois,'_ 127, 145, 189 _note_ 4.

_Paradin, Claude, 'Devises héroïques,'_ 261 _note_ 4; '_Quadrins historiques_,' 261 _note_ 1.

_Paris, Nicole, his mark_, 283.

_Paris, University of, libraires jurés of_, 32 _note_ 2, 36.

PASSION, THE, _G. de Ricke's Latin poem on, edited by Tory_, 3, 57-59.

_Paulus Belmisserus Pontremulanus, 'Opera poetica,'_ 205.

_Paulus Jovius Novocomensis, 'Vitæ duodecim vicecomitum Mediolani,' MS. of_, 168-169, 235.

_Paulus Paradisus, 'De modo legendi hebraice dialogus,'_ 276.

_Perier, Charles_, 252; _his mark_, 283.

_Perier, Thomas_, 283.

_Périers, Bonaventure des_, 291 _note_ 2.

_Perot_, 159 _and note_ 2.

_Perreal, Jean, Tory's instructor in drawing_, 7, 15, 23 _and note_ 1, 24, 123.

_Petit, Guillaume, Bishop of Senlis_, 203.

_Petit, Jean_, 2, 50, 85.

_Petit, Oudin, his mark_, 283.

_Petit dictionnaire français-latin_, 272.

'_Petit Jehan de Saintré, Le_,' 267.

_Petrarch_, 259, 261.

_Petrarque, 'Les Triumphes' de, MS._, 144; _described by M. de Laborde_, 164-166.

_'Petri Ruffi Druydæ dialectica,' etc._, 277.

_Piccolomini, Enea Silvio. See Pius II._

PIUS II (POPE), COSMOGRAPHY OF, _Tory's edition of_, 3 _and note_ 1, 54-57.

_Plantin, Christophe_, 251.

_Plato, Dialogues of_, 41.

_Plessis, Collège of_, 3, 295.

_Pliny, 'Letters,'_ 285.

PLUTARCH, POLITICS, _Tory's translation of_, 31, 97, 99.

POMPONIUS MELA, _Tory's translation of_, 2, 50-54.

_Porcium, J., 'Pugna porcorum,'_ 276.

_Pot Cassé, Tory's first use of_, 11; _explanation of_, 12; _modifications of_, 20; _interpreted by Tory in 'Champ fleury,'_ 21-22, 35, 38, 39, 41, 42, 45-47, 72.

'_Pourtraictz divers_,' 260 _note_ 2.

_Prevost, Benoît_, 250.

_Prevosteau, Estienne, his mark_, 280.

_Printers' marks signed with the Lorraine cross_, 65-287.

_'Procession de Soissons, Le,' etc._, 91-92.

'_Psalterium Davidicum Græcolatinum_,' 252.

'_Psalterium Quincuplex_,' 55 _note_ 2.

_'Purgatoire, Le,' 'prouvé par la parole de Dieu,'_ 230 _note_ 2.

_Puys, Jean du_, 255.

QUINTILIAN, 'INSTITUTIONES,' _Tory's edition of_, 4, 67.

RABELAIS, '_Pantagruel_,' 14 _and note_ 3.

'_Recueil de plusieurs secrets très-utiles pour la santé_,' 287.

_'Recueil des rimes,' etc._, 287.

_'Recueil des Rois de France.' See Tillet, Jean du._

'_Reformation, La, des tavernes et destruction de gourmandise_,' 281.

_'Régime de vivre,' etc._, 287.

_'Reglement pour l'instruction des proces,' etc._, 41.

_Regnault, Barbe_, 228; _her mark_, 284-285.

_Regnault, François_, 178, 228, 284.

_Regnault, Widow of François. See Boursette, Madeleine._

'REIGLES GENERALES DE LORTHOGRAPHE DU LANGAIGE FRANÇOIS,' _a lost work of Tory_, 29, 100, 297.

_Rembolt, Berthold_, 5, 68, 69, 277, 278.

_Renouard, M., 'Annales des Estienne,'_ 215.

_Renouvier, Jules, 'Des types et des manières des maîtres-graveurs,'_ 16, 119, 145, 146, 147 _note_ 2, 149-150, 172, 184-185, 223, 237-238, 262-263; _in 'Revue Universelle des Arts,'_ 153-154, 179, 205-207.

'_Repertorium Bibliographicum_,' 167-168.

_Rexmond, Pierre_, 254.

_Ricke, Guillaume de, Tory's teacher at Bourges_, 1, 2; _Latin poem of on_ THE PASSION, _Tory's edition of_, 3, 57-59; _Jules de Saint-Genois on_, 59.

_Rivard, Claude_, 148.

_Riviere, Estienne_, 223.

_Robert-Dumesnil, M., 'Le peintre-graveur français,'_ 138 _note_ 2, 147, 148, 149, 228.

_Robinot, Gilles I_, 287; _his mark_, 285.

_Robinot, Gilles II_, 285.

_Rochechouart, François de, arms of_, 171.

_Rodolphi Agricolæ Phrisii, 'De inventione dialectica,'_ 120, 211.

_Roffet, Jacques, called 'Le Faulcheur,'_ 235, 237.

_Roffet, Pierre_, 138; _his mark_, 285.

_Roigny, Jean de_, 241; _his marks_, 285-286.

_Ronsard, 'Les amours,'_ 249.

_Rothschild, Solomon de_, 120, 126 _note_ 1, 127-128.

_Rousselet, Jean, Seigneur de la Part-Dieu_, 4, 67.

_Royer, Louis_, 230 _note_ 3, 231.

'_Rozier historial de France_,' 178.

_Ruan, Jean du_, 258.

_Ruccelli. See Rousselet._

SACRE ET CORONNEMENT DE LA ROYNE, LE. _See Eleonora of Austria._

_Saint-Amand, Chevalier de, biographer of Tory_, 138.

_Saint-Genois, Jules de_, 59.

_Saint-Victor, Adam de, translation of the 'Grand Marial de la mère de vie,'_ 287.

_Sainte-Marguerite, Life of_, 219.

_Saix, Antoine du_, 33.

_Salomon, Jean, 'Briefve doctrine pour deuement escripre selon la propriete du langaige francoys,'_ 296-298.

_Savigny, Christophe de, 'Tableaux des arts libéraux,'_ 197 _note_ 4, 276.

_Schoiffer, Pierre_, 109.

'_Sermones Iudoci Clichtovei Neoportuen_,' 204-205.

_Sertenas, Vincent_, 239, 241, 242; _his mark_, 287.

_Seve, J., 'Supplication aux rois,' etc._, 284.

_Seve, Maurice de, 'Saulsaye,'_ 261.

_Seyssel, Claude de, translation of Eusebius_, 135.

_Silvestre, 'Marques Typographiques,'_ 45, 46, 47, 265, 271, 279 _and note_ 4.

_Sirand, Alexandre, 'Courses archéologiques,'_ 24 _note_.

_Socard, Alexis, and Alexandre Assier, 'Livres liturgiques du diocèse de Troyes,'_ 173 _note_ 2, 257-258.

'SUMMAIRE DE CHRONIQUES.' _See Egnasio._

'TEMPLE _de Chasteté, La_,' 272.

_Terence, Comedies of_, 1546, 267.

_Terentianus Maurus, 'De literis,' etc._, 203.

_Textor, Ravisius, 'Epistolæ a mendis repurgata,'_ 270.

'_Thesaurus amicorum_,' 259 _and note_ 1, 260.

'_Thesaurus latinæ linguæ_,' 189 _note_ 1.

'_Theses, Les, qui ont esté affigées dans la ville de Geneve_,' 257.

_Thevet, F. André, 'Les Singularitez de la France antarctique,' etc._, 250-251; '_Cosmographie universelle_,' 251.

_Thiboust, Jacques_, 297.

_Thory. See Tory._

_Thucydides_, 30.

_Tillet, Jean du, 'Recueil des portraits des rois de France,' manuscript of_, 144, 169-170, 255-257.

'_Topica Marci Tullii Ciceronis_,' 282.

_Toret, symbolic use of, in modified form of the Pot Cassé_, 22.

_Torinus, Bonaventure_, 291 _and note_ 1, 292.

_Tory, divers spellings of the name_, 1 _note_ 1.

_Tory, Agnes, daughter of Geofroy, birth of_, 6, 73; _death of_, 10, 73; _and the Pot Cassé_, 21.

TORY, AGNES, LATIN POEM ON THE DEATH OF, 10-11, 46, 73-81.

_Tory, Geofroy, birth_, 1; _ancestry_, 1; _early life_, 1-2; _first journey to Italy_, 2; _settles in Paris_, 2; _his first device_, 2; _at the Collège of Plessis_, 3; _at the Collège Coqueret_, 5; _his marriage_, 6, 73; _birth of his daughter Agnes_, 6, 73; _at the College de Bourgogne_, 6, 7; _first steps in art_, 7; _second journey to Italy_, 7, 8; _returns to Paris_, 8; _becomes an engraver_, 8; _and a bookseller_, 8; _employed by Simon de Colines_, 8; _his study of the French language_, 9; _'Champ fleury' conceived_, 9, 12; _death of Agnes_, 10, 73; _adopts the Pot Cassé and the device 'non plus,'_ 11; _and Rabelais_, 14 _and note 3_; _his scheme of orthographic marks_, 20, 55 _and note 2_; _elucidation of the Pot Cassé_, 21-22; _'Champ fleury' completed_, 24; _first books of Hours_, 24-25; _begins translator_, 25; _'Champ fleury' published_, 26; _removes to the Petit Pont_, 26, 119; _first book printed by_, 27; _is made 'libraire juré' of the University_, 32, 36, 100, 294-295; _and king's printer_, 34, 35, 36; _Latin verses of_, 35, 91; _removes to the Halle aux Blés de Beauce_, 35; _last book printed by_, 37; _probable date of death of_, 37, 43; _epitaph on_, 44; _autograph of_, 45; _his work as a binder_, 47; _scope of artistic acquirements of_, 141-152; _identity of, with 'Godefroy,' discussed_, 142-144; _was he an engraver?_, 144-147; _how far the Lorraine cross is a reliable guide to the work of_, 147-152; _M. Renouvier on identity of, with 'Godefroy,'_ 153; _and Simon Vostre's Hours_, 172; _and Simon de Colines_, 174; _engravings marked 'G. T.' attributed to_, 173; _monogram of_, 179; _and the 'Labours of Hercules' plates_, 184; _vogue of, among printers_, 258; _as an engraver on metal and of printers' marks_, 262, 265; _domiciles of, in Paris_, 295; _brothers and sisters of_, 289-290; _descendants of_, 290-292. _See also, 'Ædiloquium,' Antoninus, Berosus Babilonensis, Cebes, 'Champ fleury,' 'Economic Xenophon,' Egnasio, Eleonora of Austria, Hours of_ 1524-25, 1527, 1529, 1531, _Leo Baptista Albertus, Louise de Savoie, Lucian, Marot (Clement), Pope Pius II, Plutarch ('Politics'), Pomponius Mela, Pot Cassé, Quintilian, Guillaume de Ricke, Valerius Probus, Volaterran._

_Tory, Jean, father of Geofroy_, 289, 290.

_Tory, Madame Geofroy. See Le Hullin, Perrette._

_Tory, Philippe, mother of Geofroy_, 289, 290.

_Toubeau, Jean_, 43, 44, 290-291.

_Tournes, Jean de_, 211, 258, 259, 260, 261 _and note_ 4.

_'Traverseur, Le.' See Bouchet, Jean._

_'Triumphes, Les de Pétrarque.' See Pétrarque._

_Trois Couronnes, Les_, 26.

_Types used by Tory_, 35.

VALEMBERT, _Simon de, translation of Plato's Dialogues_, 41.

VALERIUS PROBUS, _Tory's edition of_, 3, 59, 64-67.

_Van Praët, M., and the MS. of 'Les Commentaires de César,'_ 161.

_Varlot, M., 'Illustration de l'ancienne imprimerie troyenne,'_ 173, 197, 257-258.

_Vascosan, Michel de_, 286.

_Vaudemont. See Gringoire._

_Verdier, Antoine du_, 143.

_Vernassal, M., 'Histoire de Primaleon de Grèce' (translation)_, 241.

_Vésale's Anatomy_, 225.

_Vidoue, Pierre_, 178, 179, 197, 274, 275.

_Vincentino, Ludovico_, 16 _and note_ 1.

_Virgil, Æneid in French_, 261 _note_ 4; (1549) 271.

_Viriville, Vallet de_, 171 _note_ 1.

_Vivian, Mathieu_, 273.

_Vivian, Thielman, his mark_, 287.

VOLATERRAN, LA MANIERE DE PARLER ET SE TAIRE, _Tory's translation of_, 32, 99-100.

_Volcyr, Nicole, de Serouville, 'Histoire de la glorieuse victoire,' etc._, 181-182, 184.

_Vostre, Simon, Hours published by_, 172.

WASSEBOURG, _Richard de, 'Antiquités de la Gaule belgique,' etc._, 239-240.

_Wey, Francis_, 295-296.

_Willemin, 'Monuments français inédits,'_ 114.

_Woeiriot_, 127, 147, 189 _note_ 4, 244 _note_ 2.

XENOPHON, _'Œconomicus.' See 'Economic Xenophon.'_

ZANI, 145.

A LIST OF THE REPRODUCTIONS IN THIS VOLUME OF DESIGNS ATTRIBUTED TO TORY BY M. BERNARD.

REPRODUCED ON PAGE

DESCRIBED ON PAGE

Design on covers: from the binding of a copy of Petrarch, Venice, 1525, in the Library of the British Museum. 47

I The letter Alpha: from the Greek alphabet of Robert Estienne. 189

III Border: from the title-page of 'Champ fleury.' 192

IV Border: from Ovid's 'Tristia,' 'Fasti,' etc. Paris, Colines, 1541.

V Frieze: from the Works of Justin Martyr. Paris, Robert Estienne, 1551 (slightly reduced). 189

V Initial: from the Greek alphabet of Robert Estienne (1541). 189

IX Border: from the Colines Hours of 1543. 210

X-XIX Borders in niello: from the Colines Hours of 1543. 211

XXI Border used by Colines on the title-pages of various works. 174

1 Frieze: from a border of the Colines Hours of 1543 (reduced). 210

1 Initial letter L: from folio 1 of 'Champ fleury.' 22

6 Monogram of 'Civis.' 6

12 Pot Cassé, as printed in Tory's poem on his daughter's death. 12

20 Pot Cassé, as used by Tory on bindings. 20

21 Pot Cassé: from 'Champ fleury,' folio 43. 21

23 Letters I and K, by Jean Perreal: from 'Champ fleury,' folio 46. 23

45 Tory's autograph, on Manuscript of Cicero's orations against Verres: from Bernard. 45

45-47 Various forms of the Pot Cassé. 45-47

48 Letter A with the 'lisflambe': from 'Champ fleury.' 192

49 Border: from 'Champ fleury.' Afterwards used on various works. 196

50-51 Triumph of Apollo and the Muses: from 'Champ fleury,' folios 29 verso and 30 recto. 192

100 Arms of France: from 'Champ fleury' verso of title. 192

101-117 Borders and illustrations: from the Hours of 1524-1525; from the copy in the British Museum. 109-116

129 The Visitation: from Mallard's octavo Hours of 1542. Bernard describes only the octavo edition of 1541. 129, 218

130 Border: from title-page of Macault's translation of Diodorus Siculus. 136

137 Mark of Pierre Roffet. 140, 285

140 Border of title: 'Isocratis Oratoris dissertissimi sermo,' etc. Paris, Simonem Colinæum, 1529. Not mentioned by Bernard.

141 The 'Gallic Hercules': from 'Champ fleury,' folio 3. 192

152 Allegorical letter Z: from 'Champ fleury,' folio 65. 193

153 Frieze (slightly reduced). See under page v. 189

171 Coronation of the Virgin: from the quarto Hours of 1527. 124

172 Frieze (slightly reduced). See under page v. 189

172 Monogram: from Vostre's Hours of 1515; from Bernard. 172

179 Monogram of Tory. 179

183 Monogram of Tory: from 'The Labours of Hercules'; from Bernard.

186-188 Floriated (Roman) letters engraved for Robert Estienne. 185

190-191 Floriated (Greek) letters: engraved for Robert Estienne. 189

193 Letter Y: from 'Champ fleury,' folio 63. 193

194 Greek Alphabet: from 'Champ fleury,' folio 71. 193

195 Latin Alphabet: from 'Champ fleury,' folio 72. 193

198 Title-page of the Aristophanes of 1528, with the sign of Gilles de Gourmont and the Gourmont arms. 197

206 Frontispiece of Macault's translation of Diodorus Siculus. 205

209-211 Borders: from Colines quarto Hours of 1543. 210

233 Portrait of Theodore de Bèze: from 'Theodori Bezæ Vezelii Poemata,' 1548. 233

234 Portrait of Luchinus, Duke of Milan: from Pauli Jovii Novocomensis, etc., 1549. 235

236 A man on horseback: from the Entrée de Henri II à Paris, 1549. Usually attributed to Bernard Salomon (Le petit Bernard). 237

240 A fleet of ships: from 'Gerard d'Euphrate,' 1549. 241

263 Frontispiece of 'Textus de Sphæra' Joannis de Sacrobosco. Paris, Simon de Colines, 1527 (reduced). Not mentioned by Bernard.

264 Mark of Philippe Le Noir. 279

265 Frieze (slightly reduced.) See under page v. 189

265 Mark of the Marnefs. 265

266 Mark of Conrad Bade. 266

268 Mark of Simon de Colines. 268

269 Mark of Simon de Colines. 268

269 Mark of Gilles Corrozet. 269

270 Mark of Mathieu David. 270

271 Mark of Robert Estienne. 271

272 Mark of Robert Estienne. 272

273 Mark of Michel Fezandat. 272

274 Mark of Gilles de Gourmont. 274

277 Mark of Louis Grandin. 277

278 Mark of Charlotte Guillard. 277

281 Mark of Sebastien Nivelle. 280

283 Mark of Nicole Paris. 283

285 Mark of Gilles Robinot. 285

286 Mark of Jean de Roigny. 285

287 Mark of Thielman Vivian. 287

288 The Triumph of Death: from the quarto Hours of 1527. 124

289 Frieze: from Orontius Finæus. Colines, 1544 (slightly reduced). Not mentioned by Bernard.

289 Initial G, with Lorraine cross: from the Roman alphabet engraved for Robert Estienne. 185

325 Border: from Robert Estienne's Greek testament, folio, 1550. Not mentioned by Bernard.

338 Letter Omega: from the Greek alphabet, engraved for Robert Estienne. 189

339 Illustration from Mallard's octavo Hours of 1542. 129, 218

TABLE OF CONTENTS.

PRINTERS' PREFACE. PAGE V

AUTHOR'S PREFACE. IX