[219] The text has nomen instead of novem, but the correction is made in the errata.
[220] Christophe de Longueil, to whom the manuscript published by Tory belonged.
[225] [This same passage is quoted at length by M. Bernard in Part 1 (see pp. 13-14, supra), where the translator has attempted to render it intelligibly in English. As the present section of the book is intended to assist the bibliographer, it seems proper to reproduce it here exactly in its original form.]
[227] Those who use thieves' slang.
[228] [There is no leaf numbered lix; the leaf between lviii and lx is numbered lxx.]
[229] Cy finist ce present Liure, ... Qui fut acheue dimprimer Le mercredy .xxviij. Iour du Mois Dapuril, Lan Mil Cincq Cens. XXIX. Pour Maistre Geofroy Tory de Bourges, Autheur dudict Liure, & Libraire, demorãt a Paris, qui le vent sus Petit Pont a Lenseigne du Pot Casse. Et pour Giles Gourmont aussi Libraire demorant au dict Paris, qui le vent pareillement en La Rue Sainct Iaques a Lenseigne des Trois Coronnes.
[231] See the exact text of this license, which includes three works of Tory, under no. 12, infra.
[232] 1530, new style.
[233] Not à l'escu de Basle, as in the note printed by M. Brunet.
[234] The license, which embraces the Economic Xenophon, and is printed at the end of the last-named book, extends the author's rights for four years, not for two. The discrepancy may be explained by the fact that the Ædiloquium was printed while Tory's application for the license was pending,—that is to say, in the first three months of 1531, which were then reckoned in the year 1530, according to the old computation. In fact, the license is dated June 18, 1531, which seems to conflict with the date of printing of the Ædiloquium. This circumstance also explains why the second title of the book is different in the printed volume from that given in the license (Erotica). See p. 31, supra.
[236] He does not mention the Ædiloquium, because it was in Latin.
[237] In the printed volume of the Ædiloquium, Tory modified this sub-title; for it might well have marred his epitaphs with a suspicion of obscenity which was very far from his thought.
[238] On September 23, 1524, and September 5, 1526. Tory requested an extension of the licenses for his Hours because he was about to reprint them. The second edition of the quarto Hours appeared on October 20, 1531.
[239] We have not this 'privilege tresample,' which probably was printed in some other of Tory's books, now lost. In truth, that accomplished man was accustomed to have several books included in each of his licenses.
[240] Bibliothèque Françoise, article 'Geofroy Tory.'
[241] Histoire de l'Imprimerie, p. 102.
[242] Vol. i, p. 24. Lottin also writes Beulle.
[243] Champ fleury, fol. 43 recto.
[244] It was bought for 3025 francs, exclusive of commissions, for the Bibliothèque Impériale (in December, 1860). It is a superb copy, still in its original binding. M. Brunet mentions two other copies: (1) That of Baron de Heiss, the cuts in which were coloured, and which brought only 60 francs in 1785. It was the same copy, apparently, which was sold for 13 pounds at the sale of Richard Heber. (2) The McCarthy copy, extra illustrated with 19 lovely miniatures from an old manuscript, has brought 450 francs.
[245] [The translator has before him a copy of an earlier edition (1529) of this work, the title-page of which reads as follows: 'Lavrentii Vallae de Lingvae Latinae Elegantia libri sex, iam tertiu de integro bona fide emaculati. Eiusdem de Reciprocatione Sui & Suus libellus apprime vtilis. Cum indice amplissimo. Parisiis Apud Simonem Colinæum.' 1529. The border differs slightly from that described above. In this case Tory's mark was not removed by Colines, but appears twice.]
[246] Manuel de Libraire, 5th ed., vol. v, col. 1658.
[247] The Adoration of the Shepherds is replaced, as in the octavo edition, by the Annunciation to the Shepherds, and the Visitation by an entirely different subject, taken from a Christian legend: the Emperor Augustus, kneeling on the ground, holds one hand of the Sibyl of Tibur, who with the other hand points to the Virgin and the Child Jesus in Heaven.
[248] Vol. i, pp. 94-98.
[249] Bibliographical Decameron, vol. i, p. 98.
[250] This princess, born in 1492, was the grandmother of Henri IV; she married, first, Charles, duc d'Alençon. She was famous for her intellectual qualities, and we owe to her several noteworthy works.
[251] Manuel de Libraire, vol. iv, 4th edit., p. 802, col. 1.
[252] 1530 new style.
[253] In my first edition I described only 19 cuts, after the imperfect copy of M. de Rothschild.
[254] Tory had already received licenses for twenty years for his Hours (see supra, pp. 105-9, 121), so that he did not need this further grant, which, indeed, he did not print at the end of his book.
[255] This cut, on the verso of a leaf of which the recto is blank, is missing in many copies.
[256] Traité de la Gravure sur Bois, vol. i, p. 193.
[257] The license had no sooner expired than the book was reprinted, as may be seen by a copy of an edition in gothic type, of eight octavo signatures, dated 1531, in the Bibliothèque Nationale.
[258] 1531 new style.
[259] A new edition of this book has recently been published at Brussels, being a photo-lithographic reproduction of the copy in the Bibliothèque du Roi.
[260] See what M. A. de Montaiglon says of this engraving in the Archives de l'Art français, vol. ix, p. 266.
[262] The borders are the same as those at the beginning and end of the Entree de la Royne.
[264] These three opuscula are bound together in one volume at the Bibliothèque de l'Arsenal. The Bibliothèque Nationale also owns them all, bound separately and more or less imperfect. The omission of the last of the three from the new catalogue is an error, for it is in the library.
[265] At the shop of M. Potier, bookseller, Paris. M. Alkan, senior, also owns the last leaf of this signature.
[266] If the other three signatures are complete, they should contain six sheets, folded two and two, according to custom.
[267] It will be observed that the judges granted the license for but one year, instead of the three that Tory had asked. I have seen another similar collection of ordinances in the name of Galiot Dupré, dated 1528, for which the judges extended the license to two years.
[268] Here and elsewhere we find the apostrophe, but its use is not yet constant. The compositors were not used to the sign, which was employed to designate the suppression of a letter for euphony's sake.
[269] It may be that we should read 1536 new style, as Easter fell in that year on April 16. We add this book to Tory's list, although he was dead at that time, because it was evidently begun by him and finished by his widow.
[270] M. Ambroise Firmin Didot owned a copy of this book, on paper, in its ancient binding, with the Pot Cassé. He owned also another copy, on vellum.
[271] [This paragraph was added by the author after his second edition had gone through the press.]
[272] In his Peintre-graveur français, M. Robert-Dumesnil mentions an edition of this book with the date 1538, Paris, G. Tory; which is impossible, as Tory died in 1533.
[273] See M. Brunet's Manuel de Libraire, 5th edit. vol. iii, col. 144.
[274] There is a copy in the Bibliothèque Nationale, to which is added: La suite de l'Adolescence clémentine, with 3 preliminary leaves and 126 of text, on the last of which is the mark of Pierre Roffet, signed with the Lorraine cross [see page 137, supra]; but not printed by Tory, for the book was printed for the widow of Roffet, and the latter did not die, it is supposed, until 1537, after Tory's death.
[275] [It should be borne in mind that the word miniature as used in this book has not its ordinary present-day signification; it means here any ornamented or coloured design of small dimensions.]
[280] Bibliothèque françoise, article 'Geufroy Tory.' The author of Recueil T (vol. xix, p. 20) of the Mélanges tirés d'une grande bibliothèque, published by M. de Paulmy, also says that Tory was an excellent engraver, the maître au Pot Cassé.
[281] Lottin, Catalogue des libraires, vol. ii, p. 234.
[282] Des Types et des manières des maîtres graveurs, etc., xve siècle, p. 165.
[284] ['Jean Grolier's and his friends'.'] The ordinary motto of Grolier's books is: Portio mea, Domine, sit in terra viventium. [May my lot be cast, O Lord, in the land of the living.]
[285] [Poinçons: that is to say, the engraved model of a type, on the end of a steel bar.]
[287] Vol. vii, pp. 48 ff.
[288] [On this subject M. Renouvier says (Des Types et des Manières des Maîtres Graveurs, xvie siècle, 1854, p. 167): 'We cannot attribute it [the double cross] to Geoffroy Tory exclusively, for we find it on many woodcuts which cannot be his.']
[289] This should cause no surprise: the idea of property, in respect to artistic productions, is altogether modern. The first engravers signed almost nothing; it was not until the sixteenth century that they marked their works with special emblems, and even then it was not so much with the object of assuring themselves a monopoly in them, as with that of making themselves known to persons who might require their services for other works. Little by little this species of advertisement became an effective muniment of title,—in the natural order of things. It was the same with works of the mind. Not until quite a late period were scholars and other men of letters able to derive any profit from their works. In the early days of printing, even, a printer who proposed to reprint a book did not consider himself bound to obtain the author's consent. From the moment that he made his book public, it was regarded as a treasure belonging to society at large.
[290] Hours in quarto in the Bibliothèque Nationale (Brunet, Manuel de Libraire, 5th ed. vol. v, col. 1623, no. 197). There is also an edition of 1525 (ibid., no. 198), and one much later, but lacking the first and last leaves. M. Silvestre owns an octavo edition of 1530.
[292] MM. A. Devéria, Robert-Dumesnil, and J. Renouvier have all died since the first edition of this book.
[293] See Brunet, Manuel de Libraire, 5th edition, article Cosmographia.
[294] Beaupré, Notice bibliographique sur les livres liturgiques des diocèses de Toul et de Verdun, 8vo, 1843, p. 16.
[295] Infra, § 2; 1521-1522 (p. 175).
[296] Manuel, etc., 5th edition, vol. ii, col. 1186.
[297] Essai sur la gravure sur bois, col. 147 and 150.
[298] Essai sur la gravure sur bois, col. 138.
[299] According to M. Dussieux, Les Artistes français à l'étranger, p. 67, the first is unquestionably the chef-d'œuvre of miniature-painting in the Italian style.
[300] See folio 86 of the second volume: 'The Aduatuci, that is to say those of Bois le Duc, are in Brabant, within xii leagues of Envers, neighbours of Monsieur de Gueldres.'
[301] Folios 59, 64, 69, 72, and 77 of the second volume.
[302] Folios 30 recto and 31 verso of the second volume.
[303] Vol. ii, folio 93.
[304] I hesitated a long time before adhering definitely to this opinion; at the outset I thought that I detected two painters, one for the portraits, one for the decorations; but soon, after studying more closely, after comparing the miniatures, the small figures in the columns, the amazing imitations of ancient medallions, and lastly the portraits, I became absolutely certain that a single hand, guided by a flexible and varied talent, combined these different types and produced the whole.
[305] Their dimensions vary from 90 to 100 millimeters in height, and from 60 to 70 in width.
[306] British Museum (Harleian), no. 6205.
[307] Bibliothèque Nationale.
[308] This Perot was a favourite huntsman of whom François I speaks in one of his letters to the Connétable de Montmorency: 'I am obliged to confess that we lost the stag, and Perot has buried himself; he dares not show himself in my presence.' M. Génin, who published this letter among the pièces justificatives of his edition of the Lettres de la Reine de Navarre (8vo, Paris, 1841; p. 468), says in a note to the name Perot that he was a dog. I should probably have made the same mistake, had I not, even before I saw this miniature, made the acquaintance of the huntsman in question upon reading the accounts of the expenditure of François I, the lists of his household, and the rolls of receipts given to his treasurer. I find, for example, under date of July 12, 1531: 'Due to Perot de Ruthie, in payment of such emoluments and privileges as he has by virtue of his office of keeper of the park and castle of Saincte Jame, and of the forests and four ponds of Raiz.' Five years later, I find this entry: 'To Perot de Ruthie, to be used for the necessary expenses of sending for and causing to be brought to him a part of the dogs, with their whippers-in, from his kennels in the forest of Chenonces.' (Roll of Receipts for 1536). Still later, he became lieutenant of venery and gentleman of the chamber. He was one of those favoured retainers who know how to make their way.
[309] Library of S. A. R. le Duc d'Aumale, at Twickenham, near London.
[310] [The Duc d'Aumale (fourth son of Louis Philippe), who lived in exile in England during the Second Empire, returned to France soon after the fall of Louis Napoleon, and held a notable position in society, politics, and literature, until his death in 1897. By his will he left his Château of Chantilly, with his very valuable collections, to the Institut de France, in trust for the French nation. The translator regrets his inability to state definitely the present whereabouts of volume 1.]
[311] Octavo, 1810; p. 124, no. 880.
[312] According to information supplied to me from England, it would seem that this fine manuscript is to-day [1865] in the library of the Duke of Hamilton (Hamilton House, 22 Arlington St., Piccadilly, London).
[313] [This description is copied verbatim from the Repertorium, by M. Bernard; the English is evidently a translation of some French original.]
[316] See what is said of this MS. in Le Prince's Essai historique sur la Bibliothèque du Roi, edit. 1856, pp. 28 and 47.
[317] See what I have to say later on this subject under the heading 'Engravings of Uncertain Date' (infra, p. 255).—According to M. Brunet (Manuel de Libraire, 5th edit., vol. ii, col. 929), the first edition of this book was published at Rouen in 1577, under this title: Mémoires et recherches touchant plusieurs choses mémorables pour l'intelligence de l'estat et des affaires de France. But I find it difficult to credit the accuracy of this statement, as the edition of 1580 prints a license dated no earlier than August 10, 1578.
[318] I am indebted for this information to M. Vallet de Viriville, who is devoting himself to looking up the works of Jean Fouquet, as I myself am looking up Tory's.
[320] This plate was reproduced by MM. Alexis Socard and Alexandre Assier in their work entitled: Livres liturgiques du diocèse de Troyes, 8vo, 1863.
[322] See what I have to say of this book in the Bulletin du Bouquiniste, 1860, p. 101.
[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.
[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.]
[325] Bibliothèque Nationale.
[326] Bibliothèque de l'Arsenal.
[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.)
[328] This design is based upon a legend concerning Virgil, which had some vogue in the Middle Ages