Chapter 10

The Aldine family come at the head of the Venetian printers, not only in the extreme beauty of their typographical work, but also in the matter of Marks. The first (and rarest) production of the founder of the dynasty, Aldus Manutius, 1494-1515, was “Musæi Opusculum de Herone & Leandro,” 1494, a small quarto, and his life’s work as a printer is seen in about 126 editions which are known to have been issued by him. “I have made a vow,” writes Aldus, in his preface to the “Greek Grammar” of Lascaris, “to devote my life to the public service, and God is my witness that such is my most ardent desire. To a life of ease and quiet I have preferred one of restless labour. Man is not born for pleasure, which is unworthy of the truly generous mind, but for honourable labour. Let us leave to the vile herd the existence of the brutes. Cato has compared the life of man to the tool of iron: use it well, it shines, cease to use it and it rusts.” It was not until 1502 that Aldus adopted a Mark, the well-known anchor, and this appears for the first time in “Le Terze Rime di Dante” (1502), which, being a duodecimo, is the first edition of Dante in portable form. This Mark, and one or two others with very slight alterations which naturally occurred in the process of being re-engraved, was used up to the year 1546. In 1515 the original Aldus died, and as his son Paolo or Paulus was only three years of age, Andrea Torresano, a distinguished printer of Asola, into whose possession the “plant” of Jenson had passed in 1481, and whose daughter married the first Aldus, carried on the business of his deceased son-in-law, the imprint running, “In ædibus Aldi et Andreæ Asulani soceri.” In 1540 Paulus Manutius took over the entire charge of the business founded by his father. The Anchor, known as the “Ancora grassa,” which he used from 1540 to 1546, is more carefully engraved but less characteristic than that of his father; whilst that which he used from 1546 to 1554 was usually but not invariably surrounded by the decorative square indicated in the accompanying reproduction; then he again modified his Mark, or more particularly its border. Paulus Manutius died in April 1574. Aldus “the younger,” 1574-98, the son of Paulus and the last representative of the house, also used the anchor, the effect of which is to a great extent destroyed by the elaborate coat-of-arms granted to the family by the Emperor Maximilian. Aldus “the younger,” was a precocious scholar, of the pedant type, and under him the traditions of the family rapidly fell. He married into the eminent Giunta family of printers, and died at the age of 49. The famous Mark of the anchor had been suggested by the reverse of the beautiful silver medal of Vespasian, a specimen of which had been presented to Aldus by his friend Cardinal Bembo, the eminent printer, adding the Augustan motto, “Festina lente.” The Mark of the dolphin anchor was used by many other printers in Italy, France, Holland (Martens, Erasmus’ printer, among the number), whilst the “Britannia” of Camden, 1586, printed by Newbery, bearing this distinctive Mark, which was likewise employed by Pickering in the early part of the century; and, as will be seen from the next chapter, is still employed by more than one printer.

[Illustrations: ANDREA TORRESANO.

FEDERICVS TORESANVS

A T]

The Giunta or Junta family, members of which were printing at Florence and Venice from 1480 to 1598, may be conveniently referred to here. One of the earliest books in which the founder of the family, Filippo, used a Mark, is “Apuleii Metamorphoseos,” Florence, 1512; our example, which is identical with that in Apuleius, is taken from Ὀππιανου Ἁλιευτικων (Oppiani de natura seu venatione piscium), Florence, 1515, which was edited by Musurus. From a typographical and artistic point of view the books of Lucantonio Junta (or Zonta) are infinitely superior to those of Filippo. He was both printer and engraver, and many of the illustrations which appear in the books he printed were executed by him. His Mark appeared as early as 1495 in red at the end of an edition of Livy which he appears to have executed for Philippus Pincius, Venice, and again in red, this time on the title-page, in another edition of the same author, done for Bartholomeus de Zanis de Portesio, Venice, 1511. Each of these productions contained a large number of beautiful woodcuts. Early in the sixteenth century those “vero honesti viri” (as they modestly described themselves), Jacobi and Francisci, were printing at Florence (“et sociorum eius”), the accompanying mark being taken from a commentary on Thomas Aquinas, 1531. It will be noticed that in the three marks of different members of the family the _fleur-de-lys_ appears. Among the Venetian printers of the beginning of the sixteenth century Johannes de Sabio et Fratres may be mentioned, if only on account of their Mark which is given herewith. Its explanation is certainly not obvious; and Bigmore and Wyman’s suggestion that it is a punning device is not a correct one, whilst the statement that the cabbage is of the “Savoy” variety is also erroneous, for this variety has scarcely any stalks; for “Brasica” we should read “Brassica.” In 1534, “M. Iwan Antonio de Nicolini de Sabio” printed “Alas espesas de M. Zuan Batista Pedreçan,” a rare and beautiful edition with woodcuts, and, in small folio, of “Primaleon” in Spanish; and in 1535 Stephano da Sabio issued a translation of “La Conquesta del Peru,” etc., of Francesco de Xeres.

Although not the first printer either at Cremona, where he started in 1492, or at Brescia, where he was printing from 1492 to 1502, Bernardino de Missintis deserves mention among the typographers of the fifteenth century. So far as regards the latter place, the Mark of Giammaria Rizzardi, who was established in this city during the latter half of the last century, is one of the most distinct, and was probably designed by Turbini. Bonino de Boninis of Ragusa, was printing at Venice, 1478-1480, at Verona, 1481-3, and afterwards removed to Brescia, where he was printing until about 1491. The earliest known book printed at Modena (or Mutine) is an edition of Virgil, executed by Johannes Vurster de Campidonâ, 1475; but one of the best known printers of this city is Dominico Rocociolo, or Richizola, 1481-1504, who was in partnership with Antonio Miscomini, 1487-89.

Printing was introduced into Milan (Mediolanum) in 1469 or in the year following, and from the numerous presses established in this city before the end of the fifteenth century very many beautiful books were issued. Gian Giacomo di Legnano and his brothers, whose highly decorative Mark we reproduce, were working in this city from 1503-33; one of their most interesting books is a Latin translation of the first edition (Vicenza, 1507) of the “Paesi novamente retrovati, et Novo Mondo da Alberico Vesputio Florentino intitulato.” Bologna was also a busy printing centre from 1470 onwards; but it must suffice us to give the monograms of three of the more noteworthy, namely, Hercules Nanni, 1492-4; Giovanni Antonio de Benedetti (or Johannes Antonius Platonides de Benedictis), 1499, and Justinian de Ruberia, 1495-9 (see p. 25).

The Printers’ Marks of Spain (including Portugal) need not detain us long. They cannot in any case be described as other than archaic, and they are for the most part striking on account of the coarseness of their design. A few examples are given in Fray Francisco Mendez’s “Tipografica Española,” of which the first and only volume appeared at Madrid in 1796; and of which a second edition, corrected and enlarged by Dionisio Hidalgo, was published at the same city in 1861. As the latter writer clearly points out “los del siglo XV., y aun hasta la mitad del XVI. los mas eran estranjeros, como lo demuestran sus nombres y apellidos, y algunos lo declaran espresamente en sus notas y escudos.” These “estranjeros” were almost without exception Germans.

Valencia (or Valentia Edetanorum) was the first place in Spain into which the art of printing was introduced; the earliest printers being Alfonso Fernandez de Cordova and Lambert Palomar (or Palmart) a German, whose names however do not appear on any publication (according to Cotton) antecedent to the year 1478. Although not the earliest of the Seville printers the four “alemanes, y compañeros,” Paulo de Colonia, Juan Pegnicer de Nuremberga, Magno y Thomas, their composite Mark is one of the first which appears on books printed in Spain. It is of the cross type, with two circles, one within another, the smaller divided into four compartments, each of which encircles the initials of the four printers, “P” (the lower part of which is continued so as to form an “L”), “I M T.” Among other books which they printed is the “Vidas de los Varones ilustres de Plutarco.” In 1495, Paulo de Colonia appears to have left the partnership, for the Mark appeared with its inner circle divided into three compartments in which the initials “I M” and “T” only appear. This firm continued printing at Seville until the commencement of the sixteenth century. Federico de Basilea (or, as his name appears in the imprints of his books, Fadrique Aleman de Basilea) was busy printing books at Burgos from the end of the fourteenth to the second decade of the fifteenth century; his Mark, a cross resting on a V-shaped ground, is a poor one, the motto being “sine causa nihil.” “En mushos libros de los que imprimió puso su escudo,” observes Mendez; this printer possesses an historic interest from the fact that he issued the first edition the unabridged “Chronicle of the Cid,” 1512--“Cronica del Famoso Cauallero Cid Ruy Diez Campeador,” a book of the greatest rarity. One of the early printers of Barcelona, Pedro Miguel, had a Mark, also of the cross type, the circle surrounding the bottom of which is divided into three compartments, in two of which occur his initials “P M.”

One of the most noteworthy names in the early annals of Spanish printing is that of Juan de Rosembach de Haydellerich, who printed books in Barcelona, 1493-8, and again at the beginning of the sixteenth century; in Perpignan, 1500; in Tarragona, 1490, and in Montserrat. In 1499 he printed at Tarragona the famous “Missal de aquel Arzobispado,” which Mendez declares to be “muy recomendable por varias circumstancias.” At Barcelona he printed in 1526 an edition of the “Oficias de Cicero.” The Marks of this printer vary considerably, but the example here reproduced may be regarded as a representative one. Of the early Lisbon printers, Valentin Fernandez “de la Provincia de Moravia” was probably the first to use a Mark (here reproduced), one of his publications being the “Glosa sobre las Coplas” of Jorge Manrique, 1501.

SOME MODERN EXAMPLES.

During the past few years there has been a very evident revival in the Printer’s Mark as a modern device, but the interest has much more largely obtained among publishers than among printers. We propose, therefore, to include in this chapter a few of the more interesting examples of each class. On the score of antiquity the Stationers’ Company may be first mentioned. Founded in 1403--nearly three-quarters of a century before the introduction of printing--its first charter was not received until May 4th, 1557, during the reign of Mary. The number of “seditious and heretical books, both in prose and verse,” that were daily issued for the propagation of “very great and detestable heresies against the faith and sound Catholic doctrine of Holy Mother the Church,” became so numerous, that the government were only too glad to “recognize” the Company, and to intrust it with the most absolute power. The charter was to “provide a proper remedy,” or, in other words, to check the fast-increasing number of publications so bitter in their opposition to the Court religion. But, stringent and emphatic as was this proclamation, its effect was almost _nil_. On June 6th, 1558, another rigorous act was published from “our manor of St. James,” and will be found in Strype’s “Ecclesiastical Memorials” (ed. 1822, iii. part 2, pp. 130, 131). It had specific reference to the illegality of seditious books imported, and others “covertly printed within this realm,” whereby “not only God is dishonoured, but also encouragement is given to disobey lawful princes and governors.” This proclamation declared that not only those who possessed such books, but also those who, on finding them, do not forthwith report the same, should be dealt with as rebels. It will be seen, therefore, how easy it was, in the absence of any fine definition, for books of whatever character to be proscribed. There was no appeal against the decision of the Stationers’ Hall representatives, who had the power entirely in their own hands. A few months after Mary’s futile attempt at checking the freedom of the press, a diametrically objective change occurred, and with Elizabeth’s accession to the throne in November, 1558, the licensed stationers conveniently veered around and were as industrious in suppressing Catholic books as they had been a few weeks previously in endeavouring to stamp out those of the new religion. The history of the Stationers’ Company however has been so frequently told that it need not be further entered upon here, and it must suffice us to say that, after many vicissitudes, all the privileges and monopolies had become neutralized by the end of the last century, till it had nothing left but the right to publish a common Latin primer and almanacks, and the right to the latter monopoly was annulled after a memorable speech of Erksine. The Company still continues to publish almanacks, and uses the two Marks or Arms here reproduced. The larger example is the older, and is used on the County almanacks; whilst the smaller one is used on circulars and notices.

Of the existing firms of publishers and printers, that of Messrs. Longmans is the most memorable; _vice_ the firm of Messrs. Rivingtons, which has now become joined to that of the Longmans. This gives us the opportunity to consider briefly the Marks of the two firms together. In the year 1711, Richard Chiswell, the printer of much of Dryden’s poetry, died, and his business passed into the hands of Charles Rivington, a native of Chesterfield, Derbyshire. Thoughtful and pious himself, Charles Rivington threw himself with ardour into the trade for religious manuals, and not only succeeding in persuading John Wesley to translate “à Kempis” for him, but also in publishing the saintly Bishop Thomas Wilson’s “Short and Plain Introduction to the Sacrament of the Lord’s Supper,” the first edition of which bears Charles Rivington’s name on the imprint, and which is still popular. To the novelist Richardson, he suggested “Pamela.” Dying in 1742, he left Samuel Richardson as one of the executors of his six children, but his sons, John and James, continued to conduct the business. A few years later, it was deemed advisable for the brothers to separate, and while John remained at the “Bible and Crown,” St. Paul’s Churchyard, James joined a Mr. Fletcher in the same locality, and started afresh. One especially fortunate venture was the publication of Smollett’s continuation of Hume, which brought its lucky publishers upwards of £10,000, a larger profit than had previously been made on any one book. However, Newmarket had attractions for James, and eventually disaster set in; he died in New York in 1802 or 1803. His brother, meanwhile, had plodded on steadily at home, and admitting his two sons, Francis and Charles, into partnership. About this time there were numerous editions of the classics, the common property of a syndicate of publishers, and it says much for Mr. John Rivington that he was appointed managing partner. About 1760 he obtained the appointment of publisher to the Society for Promoting Christian Knowledge, a lucrative post, held by the firm for upwards of two generations. By the year 1889, the two representatives of this ancient firm were Messrs. Francis Hansard Rivington and Septimus Rivington; in this year the partnership was dissolved, and the goodwill and stock were acquired by Messrs. Longmans. They used at various periods no less than eight Marks, the design of which was in most cases based upon the ancient sign of their shop, “The Bible and Sun.”

The history of Messrs. Longmans may be said to commence with the birth of Thomas Longman in 1699. The son of a Bristol gentleman, he lost his father in 1708, and, eight years later, was apprenticed, on June 9, 1716, to Mr. John Osborn of Lombard Street, London. His apprenticeship expiring (he had come into the possession of his property two years earlier), we find him, in 1724, purchasing from his master, John Osborn (acting with William Innys as executors), the stock in trade of William Taylor, of the Ship and Black Swan in Paternoster Row. Readers of _Longman’s Magazine_ turn to Mr. Andrew Lang’s genial gossip, “At the Sign of the Ship,” without recalling the origin of the title. Henceforward the Ship carried the Longman fortunes as cargo, and the prosperity of the vessel is not yet ended. Messrs. Longmans have used nearly a dozen Marks, all of which have been suggested, like those of the Rivingtons, by the sign of their shop, which has now grown into a very imposing pile of buildings. Of these Marks we give two of the most artistic and interesting. As taking us back into a comparatively remote period in the history of printing and publishing in England, the Mark of the Clarendon Press, or, in other words, the arms of the University of Oxford, may be here cited.

[Illustrations: WILLIAM PICKERING.

ALDI DISCIP. ANGL.

ALDI DISCIP. ANGL.]

The “Chiswick Press” of Messrs. Whittingham and Co., is in several respects a link with the long past, and, having been in existence for more than a century, is one of the oldest offices in London. It has attained a world-wide celebrity for the excellence of its work, the careful reading and correction of proofs, and the appropriate application of its varied collection of ornaments and initial letters. The Chiswick Press was the first to revive the use of antique type in 1843, for the printing of “Lady Willoughby’s Diary,” published by Messrs. Longmans. Since that time its use has become universal. The founder, Charles Whittingham, was born on June 16th, 1767, at Calledon, in Warwick, and was apprenticed at Coventry in 1779, working subsequently at Birmingham, and then in London. He commenced business on his own account in Fetter Lane in 1790; and in 1810 he had removed to Chiswick, and since that period the firm has always been known as “The Chiswick Press.” In 1828 he began to execute work for William Pickering, the publisher, and his press quickly acquired an unrivalled reputation for its collection of ornamental borders, head and tail pieces. The publisher Pickering, and the printer Whittingham, had employed about two dozen marks in their various books: the former justly calling himself a disciple of Aldus, and using a large number of variations on the original Anchor and Dolphin Mark of the great Venetian printer. Of these we give two examples, one with, and one without a cartouche; and also the mark of Basil Montagu Pickering, the son and successor of William Pickering. We also reproduce three of the more striking Marks of the Chiswick Press, the shield on one of which, it will be observed, carries the Aldine Anchor and Dolphin.

The name of Cassell takes us back to the era of Charles Knight and John Cassell, and the inauguration of the noble results which these two pioneers achieved on behalf of cheap and healthy literature. The name of the former is no longer associated with either printing or publishing; but that of the latter is still one of the most prolific firms of printers and publishers. Its Mark is founded on the name of “La Belle Sauvage” Yard, Ludgate Hill, in which the business has been located for a long series of years.

Two Edinburgh printers may be here conveniently referred to. Messrs. R. and R. Clark, whose business was started in Hanover Street, Edinburgh, in 1846, and removed to Brandon Street, in that city, in 1883, are well known for the excellence of their printing. Mr. Austin Dobson thus sings, in Mr. Andrew Lang’s Book on “The Library:”

“‘Of making many books,’ ’twas said, ‘There is no end;’ and who thereon The ever-running ink doth shed But proves the words of Solomon: Wherefore we now, for Colophon, From London’s City drear and dark, In the year Eighteen-eighty-one, Reprint them at the press of Clark.”

The accompanying Mark was designed by Mr. Walter Crane, and first used by Messrs. Clark in 1881. It is used in several sizes. Of the very handsome Mark of Messrs. T. and A. Constable, the Queen’s Printers, at the University Press, we may mention that the legend is a hexameter; it was written by Professor Strong, and contains two puns; the ship is an old Constable device. The Marks of both Messrs. Chatto and Windus (who succeeded to the business, started and carried on with such energy by the late John Camden Hotten) and Messrs. Macmillan and Co. (whose firm dates from the year 1843) are characterized by the extremest possible simplicity.

The finest of the several Marks used by Messrs. George Bell and Sons is given in two colours on the title-page of the present volume, and is a play on the surname, the Aldine device being added to the bell. Another example will be found on page 261.

Messrs. Kegan Paul, Trench, Trübner and Co., Limited, originally a branch of the extensive Anglo-Indian firm of H. S. King and Co., first used the accompanying device in the autumn of 1877; the drawing was executed by Mrs. Orrinsmith in accordance with Mr. Kegan Paul’s suggestions. Messrs. Lawrence and Bullen, like Messrs. Clark, called in the aid of Mr. Walter Crane in designing their charming little Mark.