Here and there throughout the volume we find figures in the borders. These figures are: 16, which appears on the inner side of leaves Ai verso and Cvij recto and verso; 3, on the outer side of the border of leaves Aiiij recto and verso, and Ciiij recto and verso; 10, at the foot of leaf Biij; 12, on the outer side of the border of leaf Bvi. Here and elsewhere, to make my descriptions more clear, these books having no pagination, I assign signature letters to the eight sheets of each fold; but it is common knowledge that they actually appear on the first four only. I feel justified in concluding from these figures that at first certain numbers, running from 1 to 16, were engraved, and repeated on each compartment of the same border, in order to enable the compositor to assort the pages properly. Later these numbers were probably deemed to be of no use and were cut off. The four that I have noticed, having inadvertently been left, were finally removed before the printing was concluded. The scheme of repeating each border on the recto and verso of the same leaf was very ingenious, for it permitted the imposition of a larger number of pages without calling attention to the repetition, as the two similar pages were never seen at the same time. This required no more work, for it is very clear that the borders were not added to the pages until the very moment of printing, so that they might not be exposed to the accidents inherent in the preparatory handling. M. Willemin has reproduced several specimens of these borders in his 'Monuments Français Inêdits' (folio, 1839), page 296.

The book contains, as we have said, thirteen large cuts (all of which except the second are signed with the Lorraine cross). They are as follows:

1 and 2. The Angelic Salutation, in two plates facing each other.

3. The Visitation of the Virgin, with the device 'non plus' in a scroll suspended from a tree.

4. The Birth of Jesus.

5. The Adoration of the Shepherds.

6. The Adoration of the Magi.

7. The Circumcision.

8. The Flight into Egypt.

9. The Coronation of the Virgin.

10. The Crucifixion of Jesus. This design has five compartments. In addition to the Crucifixion, there are bees at work, birds building their nests, a peasant ploughing a field, and another shearing sheep. Each of these four is accompanied by the device 'sic vos non vobis.'

11. The Descent of the Holy Spirit on the Apostles, with the device 'non plus' on the pediment of a temple.

12. The Penance of David, with the same device, and the word 'peccavi' in a scroll suspended from a tree.

13. The Triumph of Death. This last cut represents Death, armed with a spear treading on corpses. A crow on a tree above him has the words 'cras, cras,' issuing from its beak. At either side are the devices 'non plus' and 'sic ut,' on neighbouring buildings.

II. There are two sorts of copies in Tory's name. The first are identical in every respect with those of Colines, except as to the first page, where, after the title: 'Horæ ... habentur,' we find this imprint: 'Parisiis, apud Magistrum Gotofredum Torinum Bituricum. Ad insigne vasis effracti, in via Iacobæa; gallice, Au pot casse, en la rue sainct Iaques.'

Here the Pot Cassé, no. 3, with the device 'menti bonæ deus occurrit' at the top, and 'non plus' at the foot.

There is no date on the title-page, but there is one on the last page,—the same that we find in the copies in Colines's name (see page 111). I have seen a copy of this book in the collection of M. Double, who kindly allowed me to study it in detail. It is still in its antique binding, and on the covers, in large roman letters, is this device, which is believed to be that adopted by the unfortunate Dolet:

D[OMI]NE REDIME ME A CALVMNIIS
HOMINVM VT CVSTODIAM
MANDATA TVA.

D[OMI]NE IVSTICIA TVA IVSTICIA
IN ETERNVM ET LEX
TVA VERITAS.

III. Other copies in Tory's name have a title-page in French, with no border. This title-page reads as follows:—

'HEURES, A LA LOUANGE DE LA VIERGE MARIE, SELON LUSAGE DE ROME. ESQUELLES SONT CONTENUES LES QUATRE PASSIONS, LE SERUICE COMMUN POUR LE TEMPS DAPRES PASQUES, ET POUR LE CARESME, LE SERUICE DE LADUENT, ET DUDIT ADUENT JUSQUES A LA PURIFICATION NOSTRE DAME. PAREILLEMENT, LES HEURES DE LA CROIX, ET DU SAINCT ESPERIT, LES SEPT PSEAUMES, VESPRES, VIGILES, ET COMMENDACES DES TRESPASSEZ, AVEC RAISONNABLE NOMBRE DORAISONS, ET SUFFRAGES DES SAINCTZ ET SAINCTES.

A la fin sont les heures de la Conception nostre Dame, et le symbole de Athanase. Le tout au long, sans y rien requerir, est tres correcte, en bonne orthographie de poinctz, daccens, et diphthongues situez aux lieux a ce requis. Et sont a vendre par Maistre Geofroy Tory de Bourges, libraire demourant a Paris sus Petit pont, ioignant lhostel Dieu, a lenseigne du Pot Casse.' Then follows the device 'menti bonæ devs occvrrit,' and the Pot Cassé in the same form as that on the title-page of the preceding number.

The order of the contents of the first signature is here a little different from that followed in numbers one and two. On the verso of the title the license begins, set in roman letters, which Tory preferred to the gothic; it occupies two pages, as in the other copies, but those pages are supplied with the antique borders. On the verso of the second leaf is the table of Easter-Days, from 1525 to 1552. It is more conveniently placed here than on the verso of the title, where it is separated from the calendar by the license. Advantage was taken of the reprinting of the first signature to remove the figure 16 from the border of the page containing the table of Easter-Days, and to set right the lower section of the border of page A vij recto, which is upside down in the other copies. The figure 3 was not removed from page A iiij, probably because the second side of that signature was not reprinted; but the 10 has disappeared from page B iij, which would seem to show that the second side of signature B was reprinted. The first side of signature T was reprinted also, in order to change the colophon on the last page, for which this is substituted: 'Ces presentes heures a lusage de ROME furent acheuees de imprimer le MARDY dixseptiesme iour de IANVIER Mil cinq cens vingtcinq: pour maistre GEOFROY TORY de BOURGES, libraire demorant a PARIS sus PETIT PONT, ioignant lhostel DIEU, a lenseigne du POT CASSE.' (The words printed in small capitals are printed in red in the book.) This is followed by the mark no. 5, with the two mottoes ('menti,' etc., and 'sic,' etc.), which accompany that mark on page 43 of 'Champ fleury.' (See supra, p. 21.)

Tory had several copies printed on vellum; I myself have seen one of them, belonging to the collection of M. Sauvageot.[244]

It will be seen from the date affixed to these copies that they were not printed until the day following the printing of those which bear the name of Colines; for it is worth noting that the Tuesday, January 17, is of 1525, and not of 1526 new style, as would have been the case had the 'use of Paris' been followed. But Tory thought, doubtless, that he should follow the Roman usage in a book of Hours to the use of Rome.

I imagine that this reprinting of three signatures of the Hours of 1524-1525 was done mainly to direct the attention of the public to Tory's new establishment 'sus Petit Pont.' And this circumstance leads me to believe that it was done subsequent to January 17, 1525, for it is not conceivable that Tory would have left his former address, rue Saint-Jacques, on the copies printed as late as January 16, if he was to be settled 'sus Petit Pont' on the 17th. He retained that date on the reissue, although it really took place later, in order to conform to the terms of the license, which imposed upon the beneficiary the duty of specifying on the books the date when they were first published, so that the date of its expiration might be fixed, unless the term should be extended, as was done in the case of this very book of Hours; witness the license of 'Champ fleury,' dated September 5, 1526. Indeed, my own opinion is that Tory did not remove to the Petit-Pont until about the date last mentioned. We shall see that he remained there until 1530, when the installation of his printing-office required him to take more roomy quarters. However, when he opened his shop on the Petit-Pont he did not abandon his place on rue Saint-Jacques, which he still occupied at least as late as 1531.

M. Niel owns a copy of this book, in which the cuts are coloured in water-colour, lined with gold. M. Niel thinks that the arabesques are adapted from those of Raphael in the Vatican, which had lately been reproduced; the lamented Renouvier, who agreed with M. Niel in attributing the colouring to Tory, considered it an admirable piece of work.

It will not fail to be noticed, moreover, that Tory calls attention on the title-page of his copies to the excellent orthography of his book: an additional proof that this reimpression was subsequent to 1525.

Tory lent his borders and his engravings to several printers, who frequently removed his mark therefrom. I will mention particularly five publications of Simon de Colines on the title-pages of which we find Tory's borders.

I. 'Divi Joannis Chrisostomi liber contra Gentiles,' etc.; quarto, 1528. The title-page is surrounded by one of Tory's borders, with the crowned F at the foot, and the broad upright section with the two scrolls containing the words 'Geofroy Tory,' which have been removed.—There is a copy of this volume, in vellum, in the library of M. Solomon de Rothschild, who has kindly sent me this information.

II. 'Rodolphi Agricolæ Phrisii de inventione dialectica libri tres, cum scholiis Joannis Matthæi Phrissemii'; quarto, 1529 and 1538. Border composed of two broad upright sections, one of which was used in the preceding. A crowned F at the top, and another broad section at the foot.

III. 'Laurentii Vallæ de linguæ latinæ elegantia libri III'; quarto, 1535 and 1538. Same border as in the preceding.[245]

2

IN 1527 Tory published a new edition of his Hours, in one volume, octavo, printed as before by Simon de Colines, in roman type, with vignettes of the same sort, but much smaller. There is a copy on vellum at the Bibliothèque de l'Arsenal; unluckily it lacks the first and last leaves. According to M. Brunet,[246] to whom M. Tosi, of Milan, sent the description of a perfect copy, also on vellum, the first page reads: 'Horæ in laudem Beatiss. Virg. Mariæ ad usum Romanum venales extant Parrhisiis ad insigne vasis effracti.' And the last: 'Hujusmodi Horæ nuper absoluebantur a prælo Colineo, die vicesima prima Octobris anno Domini 1527, pro magistro Gotofredo Torino Biturigico Bibliopola ad insigne vasis effracti Parrhisiis commorante, ubi venales beneuolis omnibus amicabiliter extant.'

We give herewith an extract from the license of this new publication, which license included also 'Champ fleury' and the Hours of 1524-1525:

François, by the grace of God King of France, to the Provost of Paris, the Bailli of Rouen and the Seneschal of Lyon, and to all our other justiciars and officials and their deputies, and to each of them as to him shall appertain, greeting. Our dear and well-beloved maistre Geofroy Tory de Bourges, bookseller, living at Paris, hath now caused it to be made known and shown unto us that, in order to proclaim, exalt and embellish the Latin and French tongues, he hath not long since made and composed a book in prose and in the French language entitled: 'Lart et science de la deue et vraye proportion des lettres attiques, autrement dictes antiques et vulgairement lettres romaines, proportionnees selon le corps et visaige humain'; the which book he hath caused to be placed before us, soliciting and requesting us to grant unto him leave, permission and license to print, or cause to be printed the said book, together with certain drawings and vignettes 'à l'antique and à la moderne'; likewise friezes, borders, crowns and scrolls; also to cause to be printed books of Hours, in such form and of such size as to him shall seem good, during the time and term of ten years, beginning on the day of the printing of said Book and said Hours; together with an extension for the same term for certain drawings and vignettes by him heretofore printed.—We hereby give you to know, that we, in consideration of the foregoing, generously acceding to the petition and request of the said maistre Geofroy Tory, and having regard to the toil, labour, outlays and expense which it hath behooved him to undergo and sustain, as well in the composition of the said books, as for the engraving of the said drawings, vignettes, friezes, borders, crowns and scrolls to accompany the said Hours, as hereinbefore mentioned, in divers forms and sizes,—have granted to him the privilege of printing the said books, enjoining you not to allow any other printers or booksellers within our realm, domains and seignories to print the said books and Hours, on pain of one hundred silver marcs to be paid to us, and of confiscation of said books. Given at Chenonceau the fifth day of September, in the year of grace one thousand five hundred twenty-six, and of our reign the twelfth.

In this new book of Hours there are thirty-two different borders, which reappear on every second leaf—one hundred and twenty-eight in all. The text is embellished by sixteen large subjects, naturally smaller, however, than those in the quarto. In the copy at the Arsenal, the only one that I have seen, these subjects are coloured. I did not discover Tory's mark anywhere; but his mottoes do appear,—'menti bonæ devs occvrrit'; 'sic vt, vel vt'; 'non plvs';—which proves that these plates were engraved for him, if not by him.

A list of the drawings follows:—

1 and 2. The Angelic Salutation; two plates on adjoining pages, as in the quarto of 1524-1525.

3. The Visitation of the Virgin.

4. The Birth of Jesus.

5. The Annunciation to the Shepherds.

6. The Adoration of the Magi.

7. The Circumcision.

8. The Flight into Egypt.

9. The Coronation of the Virgin.

10. St. Joachim and St. Anne Embracing (this is not included in the edition of 1524-1525).

11. The Crucifixion.

12. The Descent of the Holy Spirit on the Apostles.

13. The Penance of David.

14. The Triumph of Death.

15. The Holy Trinity.

16. The Virgin and the Child Jesus.

(The last two are not included in the edition of 1524-1525.)

The signatures run from A to Z; that is to say, there are twenty-three octavo sheets.

The copy of the octavo Hours of 1527 at the Arsenal is a lovely volume printed on vellum, with a number of manuscript prayers in French added at the end. The calligraphic execution of these prayers, which are surrounded by borders in imitation of those in the book, is wonderfully fine. The colouring of the plates and the illuminating of the initial letters and of those at the ends of paragraphs make the volume of great value. It is still in its original binding (once very sumptuous, but now sadly out of repair), on the covers of which one can distinguish interlaced C's, barred S's, and star-shaped figures formed of two triangles turned end for end. Can it have belonged to Catherine de Médicis, who became the consort of Henri II in 1533? Unluckily it lacks two essential leaves, the first and the last.

3

IN the same year, Tory had printed by Simon Dubois ('Silvius') a quarto edition of this same book of Hours, 'suivant l'usage de Paris.'

It is dated October 22, 1527. It contains the new license, and comprises thirty-six quarto sheets, folded two by two according to custom, and forming eighteen octavo signatures, A to S. The book is printed throughout in the gothic type of that time, with the borders 'à la moderne' mentioned in the license of 1524, consisting of arabesques of flowers, insects, animals, etc. There are twenty-six complete borders, which recur in regular order. We find again here, as in the first quarto, thirteen large subjects interspersed through the text. But a noteworthy fact is, that although these subjects, with two exceptions,[247] are the same as those in the first quarto, they are of entirely different designs, appropriate to the 'modern' borders and type. It would be difficult to carry further the love of artistic harmony. Neither the borders nor the illustrations bear Tory's mark, and I doubt whether they are his. Perhaps the design was Perreal's and the engraving by one of the artists employed by Tory, who must then have had an organized workshop, if we may judge from the number of works which he produced about that time.

Dibdin speaks enthusiastically of this edition of the Hours, in his 'Bibliographical Decameron'; he even reproduces four of the large cuts by which it is illustrated.[248] He says that it is the 'most beautiful work' of that sort that he has ever seen, and expresses great surprise that the arabesques have been cast aside. I confess that I do not share his feeling. The book seems to me badly done, both from the artistic and from the typographical standpoint: the borders do not harmonize, they are out of proportion, and the engraving does not impress me as beyond reproach. But Dibdin's opinion is, as everybody knows, very unreliable; his carelessness is proverbial. Indeed, he gives us a striking instance of it in this very passage: for he tells us that this book was published by Tory of 'Bruges,' and that it has on the title, the Pot Cassé of Simon du Bois[249]; two errors in one line!

Among the small cuts at the foot of the pages, we observe the shield of France; the crowned F; the crowned salamander; the crest of the king's mother, 'party' of France and of Savoy, with her widow's girdle; her initial (L), crowned; the shield 'party' of Navarre and of France, with the letters H and M intertwined (the initials of Henri d'Albert, King of Navarre, and Marguerite, sister of François I, whose marriage had been celebrated January 24, 1526[250]); the Pot Cassé, no. 1, that is to say, in its simplest form, etc.

The exact title of this book is as follows: 'Hore in laudem beatissime Virginis MARIE: secundum consuetudinem ECCLESIE PARISIENSIS.' (Here the Pot Cassé, no. 9.) 'Venales habentur PARRHISIIS, APUD MAGISTRUM GOTOFREDUM Torinum Biturigicum: SUB INSIGNE VASIS EFFRACTI: GALLICO SERMONE AU POT CASSE.'—All the words here printed in small capitals are printed in red. On the verso of the title-page is the license, dated September 5, 1526. At the end of the book is the following: 'Ces presentes Heures a lusage de Paris, privilegiees pour dix ans commenceans a la presente date de leur impression, furent achevees dimprimer le vingt deuxiesme iour Doctobre, Mil cinq cens vingt sept, par maistre Simon du bois, imprimeur, pour maistre Geofroy Tory de Bourges, qui les vend a Paris a lenseigne du Pot Casse.' (Here the same mark as on the first page.)

It will be noticed that, although Tory felt bound to give the title of the book in Latin, he could not forbear to print his address in French.

This is the order of the plates, all of which measure nine centimetres by six:—

1 and 2. The Angelic Salutation, in two plates on successive pages (fol. f 3 verso, and f 4 recto).

3. The Sibyl of Tibur (see the description on page 123, note 1), fol. g 8 recto.

4. Jesus on the Cross, fol. h 6 recto.

5. The Descent of the Holy Spirit on the Apostles, fol. h 7 recto.

6. The Birth of Jesus, fol. i 1 recto.

7. The Annunciation to the Shepherds, fol. i 6 recto.

8. The Adoration of the Magi, fol. k 2 recto.

9. The Presentation in the Temple, fol. k 6 recto.

10. The Flight into Egypt, fol. l 2 recto.

11. The Coronation of the Virgin, fol. l 7 recto.

12. David Playing the Harp, fol. m 5 recto.

13. The Triumph of Death, fol. n 7 recto.

M. Brunet[251] mentions a copy of this book on vellum. The Bibliothèque Nationale owns one on paper, bound by Capé, with tooling copied from Tory's.

4

HOURS OF THE VIRGIN, in roman type, with borders and arabesques 'à l'antique' on each page. A small 16mo volume, printed by Tory, February 8, 1529 (old style).

Here is a description of this little gem, taken from the only copy that I have seen, M. Niel's, which is on vellum.

The title reads thus:—

'HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, SECUNDUM USUM ROMANUM.' Then the Pot Cassé, and at the foot of the page: 'Menti bonæ Deus occurrit.'

On the verso of the title-page:—

'Rex christianiss. statuit ne quis alius a Gotofredo Torino Biturigico, Bibliopola Parrhisiis habitante, imprimat aut imprimi faciat infra decennium in toto regno hujusmodi coronamenta et figuras, sub pœna gravissima, ut in diplomate ad hoc obtento latissime patet.'

Then comes an abstract of the pontifical license, undated; and on the following leaf the table of Easter-Days from 1530 to 1552.

On the last page: 'Parrhisiis, apud Gotofredum Torinum Biturigicum, viii. die febr. anno sal. M. D. XXIX,[252] ad insigne Vasis effracti.'

The signatures run from A to Y; that is to say, the book consists of 22 octavo forms, or 176 leaves. The pages, which contain 21 lines of brevier, measure thus:—

The volume contains twenty-one small cuts, unsigned, but all engraved in Tory's manner. Here is a list of them:—

1. Jesus on the Cross; a very small cut with five sections, like the Crucifixion of the quarto of 1524-1525; that is to say, there are bees at work, birds building their nests, a peasant ploughing, and another shearing sheep.

2 and 3. The Angelic Salutation; two cuts facing each other, as in the Hours of 1524-1525.

4 and 5. The Visitation (idem).

6 and 7. The Birth of Jesus (idem).

8 and 9. The Annunciation to the Shepherds (idem).

10 and 11. The Adoration of the Magi (idem).

12 and 13. The Circumcision (idem).

14. The Massacre of the Innocents.

15. The Coronation of the Virgin.

16. The Crucifixion.

17. The Descent of the Holy Spirit.

18. Bathsheba at the Bath.

19. The Triumph of Death.

20. The Trinity (small cut).

21. The Virgin in a halo, with an angel on each side.[253]

5

BOOK OF HOURS, quarto; same typographical arrangement as in the quarto of 1524-1525. On the title-page, which has the border of those copies of the earlier edition which bear the imprint of Simon de Colines, we read:—

'HORÆ IN LAUDEM BEATISS. VIRGINIS MARIÆ. AD USUM ROMANUM.—PARRHISIIS, APUD GOTOFREDUM TORINUM BITURIGICUM, REGIUM IMPRESSOREM. (Then comes the motto: MENTI BONÆ DEVS OCCVRRIT, and beneath it the Pot Cassé.) Cum privilegio summi Pont. et Regis christianiss. ad decennium et ultra, ut in calce hujus operis patet.'[254]

On the verso of the title the list of Easter-Days, from 1531 to 1560; then the Calendar, the type in which this is set being so large that it was necessary to omit the arabesques with figures at the foot of the border and substitute simple arabesques like those at the top.

On the recto of the last leaf is the abstract of the licenses, papal and royal, and on the verso this colophon, set in the border of the last page of 'Champ fleury': 'Parrhisiis, ex officina Gotofredi Torini Biturigici, regii impressoris, ad insigne Vasis effracti, anno salu[tis] M. D. XXXI, die XX mensis octo[bris].' Then the Pot Cassé and at the foot of the page:—

The volume consists of twenty signatures (A to V) of two sheets each, set in the roman type used in 'Champ fleury'; borders of the Hours of 1524-1525; also the thirteen drawings of that edition, but with special borders in the form of porticoes, which appear in other minor works of Tory published in 1531, of which we shall speak in the following section. It is a fact worthy of remark that we no longer find the name Geofroy Tory on his borders, and that even his mark has disappeared from several of the cuts, particularly the first cut of the Angelic Salutation,[255] the Adoration of the Shepherds, the Adoration of the Magi, the Flight into Egypt, the Coronation of the Virgin, the Penance of David, and the Triumph of Death. This circumstance leads me to believe that Tory had lent these plates to other publishers, as he had lent his borders to Simon de Colines, and that they removed the marks in order to appropriate more completely the publications in which the plates were used. This was what Simon de Colines did, as we have already seen (page 120).

A no less interesting fact is that, in the borders, the crowned C's are retained, which refer to Claude de France, the first wife of François I, who died in 1524 and was succeeded in 1530 by Eleonora of Austria.

We find also in this edition four unsigned cuts which do not appear in the quarto of 1524-1525:—

Fol. H 8. The Angelic Salutation; a special design, quarto size.

Fol. L 6. The Angelic Salutation; quite small, occupying only the upper part of a page.

Fol. R 7. The Trinity; small, with a special border.

Fol. V 3. The Virgin; small, with a special border.

The last two are taken from the 16mo Hours of 1529. The floriated letters are the same as in 'Champ fleury.'

Papillon, who speaks of this book,[256] without giving the title, and attributes it to Woeiriot, who was not born in 1531, expresses himself thus concerning it: 'I have seen an old book in which there are some of his engravings; it is an octavo, each page of which is surrounded by a decorative border, in compartments, of a beautiful gothic type. They are engraved very correctly, even though it is line engraving, which is so fine, so even and so accurate, that I am at a loss to understand how it could have been done. There are in this book fifteen or sixteen large cuts, also engraved in line; the drawing of the figures is passable. The little Lorraine cross, which Woeiriot used as a mark, may be seen in several places in the borders of this book.'

M. de Rothschild's copy of this edition has one interesting peculiarity: it is enriched by a large plate, unsigned, printed on an oblong half-sheet, representing the Triumph of the Virgin Mary, which seems to be an imitation of the Triumph of Apollo in 'Champ fleury.' The Virgin appears in a chariot drawn by unicorns; behind the chariot are the Captive Women; around the chariot, Prudence, Temperance, Justice and Strength; in front of the unicorns, Hope, Faith, Charity; and farther in front the Nine Muses, the Seven Liberal Arts, the handmaidens of the Virgin. In the background, we see the Virginal Palace, the Palace of Jesse, and the Temple of Honour. Beneath the picture is an explanation in French verse, which begins thus:—

I have seen this engraving nowhere else except in a copy of the edition of the Hours published in 1542 by Olivier Mallard, of which I shall speak in the third part; but I have no doubt that it was included originally in all copies of the edition of 1531, perhaps also in that of 1524-1525. Its chances of preservation were injured by its being bound in the form of a map. At all events this unsigned plate is in Tory's manner, and it can hardly be denied that it belongs to him.

6

At a time which I am unable to fix with precision, but not earlier than the month of September, 1531, Tory printed another book, in octavo, with borders made up of plants, animals, insects, birds, etc., like those in the quarto Hours of 1527, but, naturally, on a smaller scale. I have never seen this book, but its existence is established to my satisfaction by the publication of a book of Hours, at a later date, by Olivier Mallard, with the same borders and vignettes. I can give with certainty neither the title nor the date of printing of Tory's book; but the date of the engravings is readily determined approximately, thanks to certain ornaments of Mallard's book. For instance, we find in it, as in the Hours of 1527, the crowned F and the salamander of François I, the crowned L and the biparted shield (France and Savoy) of his mother, who died in 1531, and a blank shield which suggests the widowhood of François, and consequently proves that these cuts were designed before July, 1530. As for my ascription of these cuts to Tory, it is due to the style of the borders, which are copied from the Hours of 1527. Moreover, he has added a special symbol, namely, the coat-of-arms of Bourges (three sheep, placed two and one, and wearing collars), which appears now and again at the foot of the page, beside the symbols of François I and his mother. As I have said, I do not know the title of the book in which Tory first used these cuts; it seems to me, however, that we may fairly conclude from the use Olivier Mallard made of them that it was a book of Hours; Tory probably decided to publish an octavo edition of his Hours 'à la moderne' of 1527, as he had published in 1527 an octavo edition of his Hours 'à l'antique' of 1524-1525. Indeed, it may be that the book in question is the one thus described by M. Brunet: 'Horæ in laudem beatissimæ Virginis Mariæ ad usum Rothomagensem.—Parisiis, ad insigne Vasis effracti. 1536.' Small octavo, roman type, line engravings.

It will be seen that the book is said to be printed at the sign of the Pot Cassé, without mention of the printer's name. This may mean that it was printed by Tory's widow, who published Macault's work in the same way in 1535.

We shall speak elsewhere of Mallard's book, but this is the place to mention the engravings it contains, which doubtless appeared also in Tory's book. In Mallard's publication of 1541 there are sixteen different borders, the same one being always placed on the recto and verso of each leaf, and nineteen of the plates of the 16mo edition of 1529. The two lacking are number 1 and number 21. [The engravings of The Visitation are reproduced below.]

SECTION III.

WORKS PUBLISHED BY TORY FOR FRANÇOIS I.

On the verso: 'Il est permis a maistre Geoffroy Tory de Bourges, marchant libraire, demourant a Paris, imprimer et mettre en vente ce present livre,' etc. On the recto of the second leaf: 'Cest Lordre et forme qui a este faicte et tenue par le commandement du Roy nostre Sire au Sacre et Coronnement de la Royne ma dame Leonore Daustriche, seur aisnee de Lempereur, le cinquiesme iour de mars M. D. XXX. Lequel ... a este mis et redige par escript au vray par moy Guillaume Bochetel, son notaire et secretaire, signant en ses finances....'

The text begins immediately under this, with the beautiful decorated letter (L) which is reproduced on page 1 of this book.

The license, printed on the last leaf but one, informs us that Tory had then become a printer, whence we may conclude that it was he who printed the volume, although there is no definite statement to that effect.

'We have given to maistre Geoffroy Tory, bookseller, and printer, leave to print the Queen's Coronation, and do forbid all other printers to print the same for the term of one year,[257] on pain of summary fine on conviction thereof. Done at Paris the tenth day of March one thousand five hundred and thirty. DE LA BARRE.'

On the last page, which is set in a border of the same type as that of the title-page, we read, above the Pot Cassé: 'The printing of this present book was finished the XVI day of March M. D. XXX,[258] and it is for sale,'[259] etc.

2

LENTREE DE LA ROYNE EN SA VILLE & CITE DE PARIS, IMPRIMEE PAR LE COMMANDEMENT DU ROY NOSTRE SIRE. (Pot Cassé, no. 6.) On la vend a Paris, en la Rue Sainct Iaques devant Lescu De Basle, & devant leglise de la Magdaleine, A Lenseigne du Pot Casse.—Avec Privilege. Quarto, of six signatures. [Paris, Geofroy Tory, 1531.]

This title is set within the charming title-page border of the Colines copies of the Hours of 1524-1525. On the verso of the title-page: 'Il est permis,' etc., as in the preceding volume. On the second leaf the text begins with a beautiful decorated letter (A) after the style of the L of the volume last described. This page also is set in a portico-shaped border, with arabesques; but the latter are different from those in the 'Sacre.'

We find, too, three other and different borders in the balance of the work, which gives us in all six pages with borders in addition to that of the title-page and that of the last page, which is identical with that of the last page of 'Champ fleury'; some floriated letters also have been borrowed from this last-named work. Though none of these are signed, they are surely Tory's, so far as the designs are concerned, at least.

The text of this book, as of the preceding, is by Guillaume Bochetel, who signed it. Following his text, Tory inserted a charming cut, representing the gift presented by the city of Paris to the Queen—a magnificent candelabrum. At the top are the words: 'Deseing du present faict a la Royne en deux chandeliers.'[260] The license granted to Tory for printing this book is identical with that of the preceding, except that it is dated at Anet, April 26, 1531. We learn from the last page that the printing was finished on Tuesday, May 9, 1531.

Geofroy Tory was not simply the printer of this little volume; he was also the publisher, and he added to the text three poems in Latin, of his own composition. Here they are:—

Geofroy Tory of Bourges to Queen Leonora.[261]

We are about to celebrate this triumph of yours, Leonora, which your Parisians have conferred upon you. You are a queen so loving-kind to us that we all can say that you are a real goddess. We can certainly say that you are a benign goddess, since you at last bless us with grateful peace. With peace you bless all who inhabit the French kingdom, so kind have been the fates in establishing you in power. As one upright, aye, holy, gentle, and a true bestower of blessings, you have brought our lilies back to their country. By your leave, I will speak in few words, and I will proclaim the truth: in you resides full national salvation for us all.

The same to the same.

May the gods long continue your happy lot, Leonora. You are our Joy, our Peace, and our grateful Repose.

The same Tory to the French People.

Exult and be glad, people of France; you see what happiness Leonora now brings to you. She, sent, be sure, by the manifest will of God, enables you at last to enjoy the blessings of peace. Strew roses, laurel, violets, nard, and saffron, and merrily revel to your hearts' content. But be careful too that you, best of people, be not backward in rendering pious prayers to God. If you never cease to sing God's praises and to frequent his temples, believe me, you will long enjoy the blessings of peace. You will behold the golden ages beneath the smiling heaven, and on earth you will reap in prosperity golden harvests. Add to this that you will in similar manner become a race all golden too. Continue, therefore, your holy services to the most high God.

3

IN LODOICÆ REGIS MATRIS MORTEM EPITAPHIA LATINA ET GALLICA.—EPITAPHES A LA LOUENGE DE MA DAME MERE DU ROY FAICTZ PAR PLUSIEURS RECOMMENDABLES AUTHEURS. (Pot Cassé no. 6.) On les vend a Paris devant Leglise de la Magdeleine, a Lenseigne du Pot Casse.—Avec privilege.

Quarto, of two and a half signatures. [Paris, G. Tory, 1531.]

The license, dated Paris, October 13, 1531, and signed DE LA BARRE, like the two preceding, gives Tory at last the title of king's printer: 'We have granted to maistre Geofroy Tory, marchant libraire et imprimeur du Roy, leave,' etc. On the last page, which, as well as the first, is set in a border,[262] are the words: 'Printed at Paris, at the sign of the Pot Cassé, by maistre Geofroy Tory de Bourges, bookseller and king's printer. The XVII day of October, M. D. XXXI.'

As the title-page indicates, this volume contains verses in Latin and in French by divers contemporary authors. Among the former is one by Geofroy Tory himself, which I will give as a specimen.

Louise, royal mother, addresses and consoles her France: written by Geofroy Tory of Bourges.[263]

France, why do you in deepest sorrow mourn for me? Do you not know that the whole human race is destined to die? Revive, and consider how I by my foresight preserved you from the bitter and ruthless enemy. I leave to you a son, king by divine will, who under my guidance cherishes you in glorious peace. Joyfully he beholds in your arms his pledges, who will bring the whole world under your sway. You have a queen who is the foster-daughter of virtue and peace, and who blesses your lot with good fortune. You have also another queen, who is the sister and good counselor of your consecrated king. With such guides as these, dear France, you should not complain. You are fortunate in having such leaders. Moreover, when I die, I will not desert you, for you have my immortal name. Devotedly I will ever pray for you before the mighty Thunderer, asking that you may reign victoriously and nobly. Strew laurel for me, violets, nard, and saffron; strew also flowers, lilies, garlands, and roses. Add to these, moreover, hymns with most exalted praises, rites, melodies, incense, myrrh, and prayers. Hesitate not to erect altars to me. For, as a benign goddess, I now proceed to fly to Heaven. Farewell.

The first two of these three opuscula exhibit three different kinds of type: that of 'Champ fleury' and two others. In the third we find a fourth size. It will be seen that Tory's printing-office was increasing in importance.[264]

4

ORDONNANCES DU ROY (François I), etc.

Quarto, of four signatures (A to D). Paris, 1532.

I have seen only the last signature of this collection. It has a special title-page, embellished by the border of the Colines copies of the Hours of 1524-1525; but the signature letter (D) and the first word of the title demonstrate the existence of at least three others. It seems that Geofroy Tory treated the legislative documents of François I in the sixteenth century as the Imperial printing-office treats the 'Bulletin des Lois' to-day: that is to say, each fold has a title, although it forms a part of the same publication with that which precedes and that which follows.

I transcribe the title of the signature that I have seen,[265] made up of six leaves, that is a sheet and a half quarto[266] (encartées):—

AUTRES ORDONNANCES NOUVELLES DU ROY NOSTRE SIRE SUR LESTAT DES TRESORIERS ET MANYMENT DES FINANCES, PUBLIEES EN LA CHAMBRE DES COMPTES ET AU CONSEIL DE LA TOUR CARREE. (Pot Cassé.) Imprimees a Paris par maistre Geofroy Tory de Bourges, libraire et imprimeur du Roy. Devant Leglise de la Madeleine, a lenseigne du Pot Casse.—Avec privilege comme il appert cy apres en la fin.

Then follow four ordinances of the king, of the year 1532, 'sur lestat des tresoriers,' etc. They are dated, the first at Hamby, April 19, the second at Châteaubriant, June 14, the third and fourth also at Châteaubriant, May 16. On the recto of the last leaf is the duplicate of the license, in these words:—

'The judges appointed by the king in the Chambre de la Tour Carree to administer the finances, having considered the petition presented by Geofroy Tory, bookseller and king's printer, praying that he may have permission to print the ordinances of late issued by the king touching the administration of his finances and the officers engaged therein, which have been published in said chamber, and that all other booksellers and printers may be forbidden to print or to cause to be printed the said ordinances until the expiration of three years next ensuing, on pain of summary fine, the said judges have permitted and do permit the said Geofroy Tory to print the said ordinances, and forbid all other booksellers and printers to print or cause to be printed the said ordinances for one year,[267] on pain of summary fine. Done at Paris the eighteenth day of July, in the year one thousand five hundred thirty-two. Signed: Bordel.'

On the last page is the beautiful final border of 'Champ fleury,' in which is the Pot Cassé; and beneath it are the words: 'The printing of these present ordinances was finished the twentieth day of July M. D. XXXII, by maistre Geofroy Tory de Bourges, bookseller and king's printer.'

5

LHISTOIRE ECCLESIASTIQUE [of Eusebius] TRANSLATEE DE LATIN EN FRANÇois PAR MESSIRE CLAUDE DE SEYSSEL, EVESQUE LORS DE MARSEILLE, DEPUIS ARCHEVESQUE DE THURIN.—Imprimee par le commandement du Roy (Pot Cassé).—On les vend a Paris, devant leglise de la Magdelaine, a lenseigne du Pot Casse. Par maistre Geofroy Tory de Bourges, marchant libraire et imprimeur du Roy.—Avec privilege pour six ans.

Paris, G. Tory, 1532. Folio; 6 preliminary leaves, 151 leaves of text, numbered, and a final unnumbered leaf, on the verso of which are the words: 'The printing of this present book was finished the XXI day of October, M. D. XXXII, by maistre Geofroy Tory,' etc. Then follows the Pot Cassé, surmounted by the arms of France, borrowed from the verso of the title-page of 'Champ fleury.'

6

LES TROYS PREMIERS LIVRES DE LHISTOIRE DE DIODORE SICILIEN, HISTORIOGRAPHE GREC. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE ANTHOINE MACAULT NOTAIRE SECRETAIRE ET VALLET DE CHAMBRE ORDINAIRE DU ROY, FRANCOYS PREMIER.—Imprimez de l'ordonnance et commandement dudit seigneur.—Avecques privilege a six ans.—On les vent a Paris en la rue de la Iuifverie, devant la Magdalaine, a l'enseigne[268] du pot cassé.

At the end: 'Imprimé a Paris, en avril M. D. XXXV.'[269]—Quarto.

The title-page of this book is embellished by a portico-shaped border, which is found in the first three opuscula described in this section. On the verso of the title, in the vellum copy at the Bibliothèque Nationale, is the final border of 'Champ fleury,' in which are depicted the arms of England, with the device, DIEV EST [sic] MON DROICT.

The author's exordium begins with a large letter S, decorated with an escutcheon bearing two fasces accompanied by nine besants, three by three, with this device in Greek: MHKETI ('not at all'); these are Macault's arms, doubtless. This letter appears again on folio 148. Facing the first page of text is a magnificent engraving representing François I surrounded by his court, listening to Macault as he reads his book to the king. The author is represented in a clerical costume, with a calotte on his head. Beside him are the three sons of François I: François, who died a few years later, Henri, who became Henri II, and Charles, Duc d'Orléans. This engraving is a faithful copy of the painting on Macault's original manuscript, which was still in France in 1811, but has since crossed over to England. It is described in Part 3, section 1 (pages 166-168).

The printed book forms a quarto volume of 8 unnumbered preliminary leaves, 152 numbered leaves (signatures A to Q), and 8 leaves of index: 168 leaves in all. On the last page is the final border of 'Champ fleury,' which appears also on the verso of the title.[270]