The orthography of these verses proves that they were printed in the seventeenth century[336]; but the very appearance of the verses, and the condition of the plates, which are already worm-eaten, are sufficient to justify one in assigning to the latter a very much earlier date than to the former. So that I can do no better than to refer them to the year 1525, when we find Tory using the same monogram.
Tory seems to have attempted in these plates to imitate Mantegna, whose work he may have studied in Italy; but he had the good sense to abandon this manner, which was not his own; or perhaps we should say that he did no more than follow designs which were supplied to him.
This is what M. Renouvier has to say on this subject:—
'The plates signed with a G surmounted by the Lorraine cross are of more importance. The Labours of Hercules, in twelve plates, are the work of no commonplace artist. The drawing assumes a masterly, even a rough, character, seeking effects in the play of muscles and of facial expression in imitation of Mantegna and Albrecht Dürer; the cutting follows up the effect of the burin. Bartsch mentioned them among the old German masters, and the monogrammatists wavered between Jean Schoorel, Georges Scharfenberg, Giuseppe Scolari, etc.; their French origin was not suspected until some proofs were found on which the engravings were accompanied by French quatrains. Then, when the same mark was found on a plate used as a frontispiece to Pierre Gringoire's "Blazon des Hérétiques" (1524), and on several vignettes in the Hours rendered into verse, by the same poet, it was attempted to make a wood-engraver of Gringoire, who was a Lorrainer, herald-at-arms to Duc René II, and likely enough to display the cross of Lorraine over his initial. This much is certain: that the mark consisting of a G with the cross of Lorraine is found also on the plates of a Lorraine book—"Duc Anthoine's Victory over the Lutherans"—published by his secretary Volcyr, who paid the expenses of the publication, "being unable to find any bookseller who was willing to undertake it, as well because of the portraits and cuts of the illustrations as of the printing hereof," and caused it to be issued, not in Lorraine, but in Paris, by Galliot Dupré, in 1526. It is to be noticed that this bookseller's mark, which represents a galliot, also has a Lorraine cross surmounting his cipher. Now, the attribution of these plates to Geofroy Tory is based upon some very ingenious comparisons of marks; the style of the engravings places no insurmountable obstacle in the way of such attribution, but it must be admitted that the engraver was led very far astray from his earlier works by his imitation of the German manner. It is possible, because French engraving, at the beginning of the sixteenth century, was pulled in four directions at once, so to speak, by national habit, by Flemish taste, by German mania, and by Italian charm. M. Bernard would give the fullest sanction to this second attribution if he could find any evidence of a journey of Tory's to Alsace or Lorraine of a later date than his journey to Italy; the importation of woodcuts from those provinces, then a common occurrence, would indeed suffice, so far as the common herd of our engravers is concerned, to explain this alteration in their manner. I will mention in a moment an example, also out of Lorraine, which must certainly have been known to Tory. Whatever the fact may be, the Labours of Hercules deserve an honourable place among the first attempts on a large scale of French engraving, beside the plates of Jean Duvet. The British Museum, like our Cabinet des Estampes, has acquired a set of them. Two of the plates in the latter set have the quatrains which are lacking in the corresponding ones in the Paris set; these are, the fifth: "The sly Archelaus 'gainst Hercules doth contend"; and the seventh: "The mighty Geryon, despicable tyrant," etc.'
1526
I. I have said that the floriated letters of Simon de Colines and Robert Estienne were engraved by Geofroy Tory. I cannot furnish material proof of the fact with regard to those of Colines; but I am about to produce incontestable evidence with regard to Estienne's. A letter in one of his alphabets is signed with the Lorraine cross, and that letter is the G, the initial of Tory's own name, or, as we say to-day, his first name (prénom). It is as if he had written 'Geofroy Tory' in full. But in this case, in opposition to what we find in the preceding engravings, the cross, instead of being above the G, is below it, and hidden as much as possible in order not to injure the design of the 'antique letter.' This circumstance proves not only that Tory was the engraver of Robert Estienne's floriated letters, but also that the double cross was that artist's mark.
Is it not, in truth, a striking fact that Tory chose the letter G to place his mark upon? He was not withheld by the consideration that that letter, not being in very common use, especially at the beginning of words, appeared rather infrequently in books.[337] As always, logic prevailed with him over every other consideration. Let us see how far it carried him.
Later, he engraved a Greek alphabet, in the same style, for Robert Estienne; as he could not put his mark on the gamma, which bears no resemblance to the G, he put it on no letter, but on one of the friezes executed to accompany those beautiful floriated letters.[338] See the frieze in question at the beginning of the second volume of the Works of Eusebius, three volumes, folio, 1544.[339]
II. Besides these two alphabets of capital letters, Tory engraved for Robert Estienne about the same time, six different marks for his typographical sign, the 'Olive-Tree,' of which a description will be found later on, in section 3.
III. Tory also engraved, about the same time, for Simon de Colines, a border in the criblé style, at the foot of which is a sun which certain centaurs, incited thereto by women, are trying to seize. (Silvestre, no. 523). This border is probably of 1526, when Colines turned over to Robert Estienne his father's establishment and set up for himself at the 'Soleil d'Or,' opposite the Collège de Beauvais. It appears, to my knowledge, in two octavo volumes of 1529: 'Compendium Grammaticæ græcæ Jacobi Ceporini,' and 'Liber de opificio Dei.'
1526-1528
This whole period was, in all probability, absorbed by the labour of engraving and editing 'Champ fleury.' For one of the first engravings in that book is dated 1526, and it was finished early in 1529. Although the majority of these engravings are not signed, they must all belong to Tory, at all events so far as the designs are concerned.[340] I cannot attempt to enumerate them all here, for there are more than five hundred, counting as one each of the letters in the various alphabets; but I propose to mention the more important ones. For historical information concerning the book, I refer the reader back to what I have said thereon in the first and second parts of this volume.
The title-page is enclosed in a very pleasing border,[341] and it has moreover an engraving of the Pot Cassé reversed.[342] On the verso are the arms of France.[343]
Folio 1 of text: the letter L, which I have already reproduced.[344]
Folio 3 verso: the Gallic Hercules. This engraving, dated 1526, and signed with the Lorraine cross, represents Hercules holding his club in one hand and a bow in the other. He is followed by divers persons of all conditions, fastened by the ear to a chain that issues from the hero's mouth. This is an allusion to the power of eloquence over the French. The strength of the Gallic Hercules lies not in his arms but in his mouth.[345]
Folio 9 verso: cut of the lisflambe, a species of lily; it is the swamp iris, called to-day the iris flambe.
Here the first book ends.
The second contains thirty-seven geometrical figures, which it would be no less difficult than unprofitable to describe. They are, for the most part, representations of different letters. At the end of this book is the 'Triumph of Apollo and the Muses,' 'to show that they who have knowledge of goodly letters have the advantage over the ignorant.' This engraving, which is in two parts,[346] both signed with the Lorraine cross (folios 29 verso and 30 recto), represents Apollo in a chariot, escorted by the Muses, Liberal Arts, etc., and followed by Bacchus, Ceres and Venus as prisoners.[347]
On the very last page (folio 30 recto) is an engraving of the lisflambe surmounted by an A made up of three I's.[348]
The third book has, in the first place, twenty-eight engravings of Roman letters. The twenty-ninth represents a gothic S (folio 42 verso). The thirtieth is a representation of the Pot Cassé, signed with the Lorraine cross (folio 43 verso).[349]
Next come thirty-eight other cuts of letters, and two curious drawings of the letter Y (folio 63 recto and verso).[350] Then two ordinary copies of the letter Z, and an allegory based on the shape of that letter (folio 65).[351]
On folio 65 verso is a representation of various punctuation marks.
Folios 68 verso and 69 recto: a Hebrew alphabet of forty letters or symbols.
Folio 71 recto: the Greek alphabet of twenty-four letters and three accents.[352]
Folio 72 recto: the Latin alphabet[353] of twenty-three letters, with three punctuation marks, and the Greek abbreviation of the name of Jesus.
Folio 74 recto: the alphabet of cadeaulx letters, consisting of twenty-three letters and one mark.
Folio 74 verso: the alphabet of letters de forme, consisting of twenty-nine letters or symbols, with two lines of text added.
Folio 75 recto: the alphabet of bastardes letters, consisting of twenty-eight letters or symbols, followed by two lines of text.
Folio 75 verso: the alphabet of tourneures letters, consisting of twenty-three letters.
Folio 76 recto: the alphabet of Persian, Arabic, African, Turkish and Tartar letters, thirty in all.
Folio 76 verso: the alphabet of Chaldæan letters, consisting of twenty-three.
Folio 77 recto: the alphabet of goffes letters, otherwise called imperiales and bullatiques, twenty-three in number.
Folio 77 verso: the alphabet of fantastic letters, to the number of twenty-three.
Folio 78 recto: the alphabet of utopiques and voluntaires letters, to the number of twenty-three.
Folio 78 verso: an alphabet of floriated letters used in the course of the book, twenty-three in number.[354]
Folio 79 recto: a series of ciphers or intertwined letters, to the number of ten.
Folio 80 recto, and last: a border of graceful design,[355] in which occur Tory's mottoes: 'Menti bonæ Deus occurrit'; 'Sic ut, vel ut'; 'Omnis tandem marcescit flos.' And in the centre is the Pot Cassé, unsigned, although it seems to be the same cut that appears on folio 43 verso, with the cross removed.
1527
I. NOTABLES ENSEIGNEMENS, ADAGES ET PROVERBES, FAICTZ ET COMPOSÉS PAR PIERRE GRINGOIRE, DIT VAULDEMONT.
Octavo, in gothic type, of 68 leaves; for sale by Galliot du Pré; printed by Simon du Boys, February 1, 1527 (1528 new style).
On the verso of the second leaf is a wood-engraving with the Lorraine cross at the right. It represents Gringoire offering his book to the king, who is seated. In the background, a garden with a bee-hive and bees flying about it. (Bibliothèque Nationale.)
II. LES HYMNES COMMUNES DE L'ANNEE: TRANSLATEZ DE LATIN EN FRANÇOIS EN RITHME, PAR NICOLAS MAUROY LE JEUNE, DE TROYES, avec privilege du roy pour trois ans. (Mark of Jean Lecoq.) On les vend à Troyes es hostels de Nicolas Mauroy, etc.
The privilege is of 1527. Small folio, in gothic type, printed in red and black; signatures A to T.
This volume, which I saw in 1858, at M. Techener's, contains a large number of engravings in the criblé style, and others in the modern style; but only three of them are signed; these are:—
This book may give us the date of the other signed engravings found at Troyes, which were published by M. Varlot in his 'Illustration de l'imprimerie troyenne' (Troyes, 1850, folio).
III. HOURS OF THE VIRGIN, in Latin, published by Tory, but printed by Simon de Colines; octavo.[356]
IV. HOURS OF THE VIRGIN, in Latin, published by Tory, but printed by Simon Dubois; quarto.[357]
1528
I. ARISTOPHANES.
In 1528 Pierre Vidoue printed, at the expense of Gilles de Gourmont, nine comedies of Aristophanes, in Greek, which were published separately, in quarto form, under the editorship of Jean Cheradam.[358] All of these have a frontispiece engraved by Tory, of which a description follows. At the foot, under the words 'Egidivs Gormontivs' in large letters, is a shield with the Gourmont arms (three roses in chief and a crescent in point), supported by two winged stags with ducal coronets about their necks, the crest being a helmet above which is a St. Michael holding a naked sword.[359] At the left, a Greek inscription; at the right, an inscription in Hebrew. The two uprights represent the wise men offering their gifts to the Child Jesus lying on his mother's knees. At the top is a shield with three crowns in chief (this was the sign of Gilles de Gourmont, as may be seen on the title-page of 'Champ fleury'), and tears in the field. This shield has for supporters, on the right a lion, on the left a griffin, and for crest a helmet surmounted by a fan-shaped ornament. On either side is an angel with wings holding a shield; that on the left enclosing an E, that on the right a G, the initials of Gilles de Gourmont's name in Latin (Egidius Gourmontius). The Lorraine cross is at the foot of the border, on the left.[360]
II. ENCHIRIDION PRECLARE ECCLESIE SARUM, DEVOTISSIMIS PRECATIONIBUS AC VENUSTISSIMIS IMAGINIBUS, ET IIS QUIDEM NON PAUCIS REFERTUM. (Here the mark of Thielman Kerver—two unicorns holding a shield au Gril, with the T. K., and, beneath, the full name, Thielman Kerver.) Parisiis ex officina librarie vidue spectabilis viri Thielmanni.
Small octavo, Paris, 1528, with engravings signed with the Lorraine cross.[361] Printed in red and black, in gothic type. There are 31 signatures of 8 leaves,—a to z, and A to G (signatures x and y have only four leaves each). In all there are 232 numbered leaves, plus 4 leaves of index not numbered.
The volume begins with the title-page, followed by a calendar, the whole occupying 13 leaves, after which comes the text. It contains 54 engraved plates, 12 of which are in the calendar, and a large number of initial letters representing sacred subjects. Beneath each plate is a quatrain in English.
The 12 plates in the calendar represent allegorical subjects. They are enclosed in oval borders, and are 71 millimetres by 55. Consequently they are all out of proportion to the size of the book, which is 84 millimetres by 48. It is evident therefore that they were not made for it. At the foot of each, in the border, is the name of the month. The engraving for the month of February represents a school; that for March, a hunt; that for April, a gentleman and lady, walking in the country, arm in arm; that for July, a domestic interior. The last is the only one of these engravings that I have seen, and that only in a copy. The Lorraine cross may be seen at the foot.
Here follows a list of the other engravings of this priceless volume, of which only a single copy is known to exist. It is to be observed that the pages on which they appear are not numbered, as the cuts occupy the whole space.
1529
I. ENCOMIUM TRIUM MARIARUM, etc., JOANNIS BERTAUDI.
Quarto, Paris, Josse Bade, 1529.
The Bibliothèque Mazarine has two copies of this priceless volume, one on paper, the other on vellum, which differ slightly in respect to the title-page. The one on vellum reads: 'Encomium Joannis Bertaudi Petragorici Turrisalbæ in ducatu Engolismensi alumni, de cultu trium Mariarum adversus Lutheranos, cum missa solemniore et officio canonico earundem, auspiciis augustissimæ principis Joannæ, Aurelianensis, Gyveriensium dominæ ac comitis de Barcq.' This is followed by a large plate signed with the Lorraine cross, and representing the three Maries, etc. There is no publisher's name; nothing but Josse Bade's mark at the end of the book.
The title-page of the copy on paper reads: 'Encomium trium Mariarum cum earumdem cultus defensione adversus Lutheranos, solemnique missa et officio canonico, in quibus omnibus desideres nihil, emissum opera et industria Joannis Bertaudi Petragorici, utriusque juris licentiati, Turrisque Albæ in ducatu Engolismensi alumni, auspiciis augustissimæ principis Joannæ Aurelianensis, Gyveriensium dominæ ac comitis de Barcq.' Then follows Josse Bade's mark: 'Prelum Ascensianum,' taking the place of the engraving of the three Maries. And below, 'Venundatur Jodoco Badio et Galeoto a Pratis.'
This difference is explained by the fact that the copies on vellum were not intended for sale, so that no bookseller's name was placed on them, and, furthermore, they were embellished with the cut of the three Maries.
This volume contains three short productions by Jean Bertaud, all directed to the same end—the defence of the worship of the three Maries.
They are entitled:
(1) Encomium trium Mariarum. (2) Officium trium filiarum beatæ Annæ. (3) De cognatione sacerrimi Joannis Baptistæ.
There are some twenty engravings, but none of them are signed except that of the three Maries. And, as Josse Bade was an old printer, who had no known relations with Tory, we may assume that these engravings are not by our artist. At most, we may attribute to him the shield of Orléans, at page 4 of the first work.
II. HOURS OF THE VIRGIN (sixteenmo), in Latin, published by Tory, for himself.[363]
III. LA TABLE DE L'ANCIEN PHILOSOPHE CEBES.
Two small volumes, octavo, with a border for each page. The double cross appears on some, not all, of these borders.[364]
IV. ÆDILOQUIUM ... Item: EPITAPHIA SEPTEM DE AMORUM ALIQUOT PASSIONIBUS, etc.
Octavo, Simon de Colines, 1530.
This little book is enriched by eight engravings: a frontispiece borrowed from the octavo Hours of 1527, and seven small subjects corresponding to the seven epitaphs. The latter are certainly Tory's, although not signed. They are:—
See, for other details, what I have said of this book on pages 92 and 93.
1530-1531
Queen Eléonore's CORONATION and ENTRÉE, and the EPITAPHS of the Queen-Mother, Louise de Savoie:—three quarto brochures, of which I have spoken on pages 130 to 134; a description of the engravings follows.
I. THE CONSECRATION AND CORONATION OF THE QUEEN; three sheets, quarto.
On the first page, a border, with the word 'Salus' at the foot; the privilege is on the verso. The text begins on the second leaf, with the 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