Part 16
_Terence_, Elzevir’s, 240; described, 241-243
Ther Hoernen, Arnold, 94
_Thesaurus_, the, printed by Henri Étienne, 56, 238
Thompson, Henry Yates, 140
Thomson, Hugh, 166
Title, the engraved, 95
Title, the “mirror,” 94
Title page, the, Bernard Shaw’s ideas concerning, 67; William James’ ideas concerning, 92; “the door to the house,” 92; evolution of, 92-96. See also _Title, the engraved_; _Title, the “mirror”_
Togo, Admiral, 103
Torresani, Andrea, 214
Torresani, Federico, 214
Torresani, Francesco, friendship of Jean Grolier with, 214; letter from Jean Grolier to, 215
Tortelli, 286
Tours, becomes center of Renaissance in France, 139
Tours, the School of, 126
_Très Riches Heures_, the, of the Duc de Berry, 116
Tribuna, the, in the Laurenziana Library, Florence, 285
_Trionfi_, Petrarch’s, 26, 28, 181
_Triumphs_, Petrarch’s, see _Trionfi, Petrarch’s_
_Trophies of Heredia_, 102
Troy type, the, designed by William Morris, 20
Turin, early printing at, 286
Twain, Mark, and the _Jumping Frog_, 61; recollections and reflections on, 170-177; the Harvey birthday dinner, 176; referred to, 188
Type design, difficulties of, 17
Types, early designs of, 17; Aldus’ designs of, 17; Jenson’s designs of, 18; William Morris’ designs of, 18; William Morris’ definition of, the ideal, 268. See also _Humanistic type_, _Jenson Roman type_, _Jenson Gothic type_, _Golden type_, _Doves type_
Typesetting, in 1891, 44
University Press, the old, Cambridge, Mass., 5, 38, 41, 42, 46, 47, 49, 51, 102
Upsala, Sweden, 119
Urbino, the Duke of, 12
Vacca, the Palazzo dei della, 284
Vallombrosa, 171, 291
Van-der-Meire, Gerard, 142
Varchi, his tribute to Michelangelo, 275
Vasari, his work in the Laurenziana Library, 278; Michelangelo’s letter to, 278
Vatican Library, the, at Rome, 117, 196
Vellum, 115, 257. See also, _Parchment_
_Venetian Days_, Howells’, 186
Venetian Republic, the, 142; encourages the art of printing, 202
Venice, early printing in, 94, 204, 206, 214, 286; Howells’ love for, 186; becomes the Mecca of printers, 202; John of Spires in, 286
Vergetios, Angelos, 219
Verrocchio, 275
Victoire, Pierre, quoted, 220
Victoria, Queen, of England, 140
Vienna, library of, 196
Villa di Quarto, the, in Florence, Mark Twain at, 171
Villa Medici, the, in Rome, 282
Villari, Pasquale, 284, 291, 298
Vinci, da, archives, the, 14, 182, 290
Vinci, Leonardo da, sketches of, 290; referred to, 14, 182
_Virgil_, Baskerville’s, 244; described, 246-250
_Virgil_, illuminated by Sinibaldi, 16
_Virgil_, the _Medicean_, 287; the story of, 288-289
_Virgil_, the Vatican, 117
_Vita di G. Savonarola, La_, Villari’s, 298
Vittoria, Alessandro, 143
Wages, in 1891, 58
Walker, Emery, designs the Doves type, 18, 19; engraves plates for Humanistic _Petrarch_, 28; at the Doves Press, 263; referred to, 71
Walpole, Horace, 163
Warner, Sir George, 140
Widener, Joseph E., library of, 196
Wiggin, Rev. James Henry, 52
Wiggin, Kate Douglas, 177
Wilhelm, Kaiser, 103, 104
William of Orange, founds the University of Leyden, 239
William the Conqueror, 158
Wilson, Francis, 38
Wilson, John, 5, 6, 38, 40, 42, 46, 52, 53, 55
Windsor Castle, 140
Wood, Gen. Leonard, 82
Wood cuts, 106
Wordsworth, William, quoted, 20
World War, the, 103
Worsley, Sir Robert, 136
Writing, see _Hand lettering_
Written book, the printed book had to compete against, 199
Yale University Library, the, 196
Zainer, Gunther, types of, 20
THIS VOLUME is composed in Poliphilus type, reproduced by the Lanston Monotype Corporation, London, from the Roman face designed in 1499 by Francesco Griffo, of Bologna, for Aldus Manutius, and originally used in the _Hypnerotomachia Poliphili_. The Italic is based upon that designed for Antonio Blado, Printer to the Holy See from 1515 to 1567.
The cover, a modern adaptation of the Grolier design used on Capella: _L’Anthropologia_, is designed by Enrico Monetti.
The illustrations, many now appearing in book form for the first time, were secured chiefly through the courtesy of the librarians of the British Museum, London; the Bibliothèque Nationale, Paris; the Laurenziana Library, Florence; the Ambrosiana Library, Milan; the Marciana Library, Venice; the Vatican Library, Rome; and from private collectors.
The plates of the illustrations were made by the Walker Engraving Company, New York City, and are printed on DeJonge’s Art Mat. The text paper is Warren’s Olde Style.
The typography, presswork, and binding are by the Plimpton Press, Norwood, Massachusetts, under the personal supervision of William Dana Orcutt.
Transcriber’s Notes
- Italics denoted by _underscores_.
- Illustrations have been positioned near the relevant text.
- Silently corrected typographical errors in the List of Illustrations and the Index.
- The ends of each chapter and some block quotes had line lengths that tapered smaller and smaller in a decorative way and did not end with a period. Because of the variable nature of electronic texts, the author’s intention sadly cannot be reproduced as intended.
- Illustration captions on numbered pages were in italic while captions on unnumbered pages were not. Italics removed to make illustration captions consistent.
- In some captions measurements were in parenthesis and others were in brackets. Converted all to parenthesis for consistency.
- The book has half-title pages before each chapter that reproduce the chapter number and title. Removed the redundant half-title content.
- Page 44: Corrected “Typsetting” to “Typesetting”.
- Page 170: Added a thought break as the topic changes from Dobson to Twain.
- Page 178: Added a thought break as the topic changes from Twain to Norton.
- Page 269: The word “hopefulness” is not hyphenated in the original as part of the decorative tapered lines. The word has been rejoined.