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PELBART, STELLARIUM CORONE BENEDICTE
MARIE VIRGINIS, J. OTMAR, AUGSBURG, I

An unusual white-line woodcut, in which the
background was left in relief, instead of the lines,
as in the commoner method. The first line of the
title also is cut on the wood. The imprint is given
in the colophon. It was not until the middle of
the sixteenth century that the modern form of the
title-page became the established rule.

71" X I or

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First priiUed in 1928

Made and printed in Great Britain: Letterpress by The Curwen Press and
Collotype plates by Chas. Whittingham & Griggs, Peckham, London

INTRODUCTION

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It is a curious fact that the title-page was evolved at a compara-
tively late date in the history of the book, and is indeed almost
unknown before the printed book. There are a few examples
among early surviving manuscripts of a separate leaf being used
for the title, but they are quite exceptional, and even these give
the title on the back of this leaf. The usual practice of the cal-
ligrapher was to give any information considered desirable as to
the author and the date and place of the making of the manu-
script in the colophon. This practice was taken over by the
printers, although in the first years of the new art they fre-
quently said nothing as to place of printing, probably with the
deliberate intention of concealing the fact that the book was
produced by mechanical means. The title-page as we know it,
giving the title, author\'s name and an imprint, being, in fact,
a kind of advertisement of the book, was not well established
until some years after 1500. Several of the examples here
shown from sixteenth-century books illustrate this point.

The title-page owes its origin, according to one theory, to
the fact that printers found it necessary to protect the first leaf

introduction

of the text. Whereas a manuscript would be bound as soon as
the calligrapher had finished the text, most of the copies of a
printed edition were delivered to a bookseller in sheets, and
many might remain unbound for years. Hence arose the prac-
tice of beginning the book on the second leaf or on the back of
the first leaf. The first page could then be used for the purpose
of advertising the book, for the fully-developed title-page
arose out of a commercial need. A few early examples of the
addition of a brief title on the first page are known, the first
being that of a Bull of Pope Pius II, printed by Fust and
SchbfferatMainzin 1463. But the blank title-leaf is found for
many years after that date, and to the end of the fifteenth cen-
tury a title-leaf containing a brief description in a few words is
common. As late as 1548 we find the brothers Dorici at Rome
printing several volumes of the works of Cardinal Bembo with
the title on the back of the first leaf. An edition of the Vulgate
printed at Venice in 1487 by Georgius Arrivabene offers an
example of the most rudimentary form of a title-page, with the
single wotdi BMa on the first leaf. The example of Ratdolt at
Venice, who in 1476 printed a Calendar of Regiomontanus
with woodcut borders and an imprint on the first leaf, was not
followed by contemporary printers. Even this solitary case
hardly presents a title-page in the form in which we know it,
since the leaf, in place of a title, has a poem in praise of the
book. Of the fully developed title-page, giving title, author,
and full imprint, Dr. Haebler, the German authority on incuna-
bula, knows of only one instance in the fifteenth century, a
book by Johannes Glogoviensis printed by Wolfgang St6ckel
at Leipzig in i 500; the title itself, however, is cut on wood.

The lettering of the simple fifteenth-century title-page was
often that of the text of the book, or sometimes a larger, head-
ing type was used. Very frequently the words were cut on wood,
and since for the printer it was as easy to print from a block
containing a design in addition to a brief title, the woodcut
illustration on the first leaf soon followed. The examples of
the John Lydgate, printed by Pynson, c. 151 5 (Fig. 74), and of
the Deceyte of Women.^ printed by Abraham Vele about 1550
(Fig. 80), are typical title-pages of popular books of the earlier
printers. In Spain especially this combination of title and illus-
tration, in that country often an heraldic cut, both cut on wood,
became the fashion and persistedfor many years in the next cen-
tury. Scenes from school life often illustrated educational texts,
while a school of woodcutters at Florence designed a famous
series of illustrations which decorated the title-pages of devo-
tional tracts by Savonarola and other works. The first printers\'
devices, the two shields of Fust and SchofFer and the double
cross rising out of a circle at Venice, were added to the colo-
phons, and it was only when the French printers began to use
large devices surrounded by borders, for which there was no
room on the last leaf, that the printer\'s name, or at least mark,
began to appear on the title-page. Thus one further step was
taken towards the title-page as we know it.

The sixteenth century is especially the age of the woodcut
title-border (or metal-cut, for the material used for blocks was
frequently metal). The practice of decorating the first leaf of
the text with a woodcut border had been started by Ratdolt
at Venice, and after 1490 was common among the printers of
that city. In fact, several of the borders originally used for

an

VIII

introduction

opening were actually converted into title-borders after i 500
During the following century the variety of borders used in all
the countries where printing was practised is remarkable In
Germany especially, during the years of the Reformation, when
the printing press was unusually active, a very large number ot
decorative borders were cut, many of them by artists of the
first rank, including even Durer and Holbein. The work of the
Holbeins and Urs Graf at Basle is well known to Enghsh book
collectors. Perhaps less familiar is the work of Hans Baldung
Grien, Hans Weiditz, and Daniel Hopfer at Strassburg and
Augsburg, and that extraordinary series of designs which
appear on the Luther tracts printed at Wittenberg and on similar
works produced in Saxony. Many of these borders are highly
successful as decorative pieces. The fact that they are less
familiar to us may be accounted for by two circumstances. In
the first place the earlier book-collectors were almost all col-
lectors of the classics, and the first writers on the history of
printing, except in the matter of the invention of printing,
approached the subject from the point of view of the student
of the Greek and Roman classical writers. In the second place
the German printers cut themselves off from Western Europe
by clinging to the gothic letter after Italy, France, and finally
England had adopted roman and italic, even for books m the
verLcular. Among the earlier title-pages of the sixteenth
century here reproduced fewer have been chosen from
German books, because the typography has little connection

with that of our country to-day.

There is one point about the early woodcut borders which

must seem strange to the printer of to-day, and that is the

suitability of the decoration to the subject matter of the book.
The sixteenth-century printer naturally found it economical to
ignore the fact that a border originally intended for a Bible was
not suitable for a medical work. He did not regard it as incon-
gruous to use a border depicting scenes from Greek mythology
on a French mediaeval romance. Even a printer of the class of
Jean de Tournes uses the same piece on the title-page of a
Xenophon and of a book of French verse. Nor was the average
printer very particular about the state of a block. Especially in
England, where the general standard was lower than on the
Continent, a damaged block would be used as long as it held
together.

In the second half of the century two rival fashions of decora-
tion were developed which finally banished the woodcut
border, first the method of decoration by type ornaments or
printers\' flowers, and secondly the engraved title-page. There
is one example of type ornament known even in the fifteenth
century, in an j^sop printed at Parma in 1483. After 1500,
examples of borders made up of separate cast pieces are fairly
frequent and are especially common in England in the books
of Wynkyn de Worde and his contemporaries. But it is not
until about 1560 that we find borders built up of type orna-
ments worked into arabesque patterns. It seems to have been
Robert Granjon, the engraver of types at Paris and Lyons, who
cut arabesque fleurons, divided them up and built up fresh
patterns out of their component parts. The use of printers\'
liowers in borders is found at most centres of printing towards
the end of the century and obtained its greatest popularity in
the Netherlands and in England. Many fine examples are

found in English books from about 1570 for the next fifty
years. Joseph Moxon, who wrote on English letter-founding
in 1683, tells us that they were considered old-fashioned in
his day. They were revived again in the eighteenth century by
P. S. Fournier at Paris, who cut many new designs which were
copied all over Europe. Fournier\'s flowers could be built up to
form all manner of ornaments and were more adaptable than
the arabesques of the sixteenth century, when the original
unit always resulted in the same pattern. Just as Granjon had
devised a method of decorating without the use of the woodcut
block, so Fournier designed his new flowers in order that
printers might dispense with engraved vignettes. However, the
vogue of the Fournier designs had a shorter life, and may be
said to have been killed by the classical school of printing of

the end of the century.

Engraving on copper was practised in the fifteenth century,
but the engraved title-page originates about 1550. Curiously
enough, the earliest known engraved border occurs in an Eng-
lish book, the Ariatomy of Thomas Geminus, printed in Lon-
don in I 545. In the following year we find a second example,
cut by Corneille de La Haye for Balthazar Arnoullet at Lyons,
where there was a remarkable group of engravers at work about
this time. From i 548 the books of Enea Vico printed at Venice
begin the fashion in Italy, where, after 1550, examples are
fairly numerous. In the Netherlands also, beginning with the
work of Hubert Goltzius at Bruges, they are met with almost
as frequently as in Italy. It was, perhaps, Christopher Plantin at
Antwerp who, more than any other printer, made the engraved
title-border the fashion for all larger and more important

publications. But it is with the seventeenth century especially
that engraved borders are associated. The Elzevirs used them
even on their pocket editions, while at the other extreme the
massive volumes issued at Amsterdam and at Paris in the reign
of Louis XIV are almost invariably introduced by an elaborate
engraved frontispiece. We show but few examples here, partly
because there is no typographic interest—generally the whole
page is engraved—and partly because there are, in fact, few that
are pleasing. Perhaps the worst examples of these overloaded
frontispieces are to be found in German books of the period.
Often, also, the engraved border is only a bastard title, the
proper title-page being set up in type. The earlier examples,
dating from the sixteenth century, are in general the best, being
simpler and not yet overburdened with a mass of detail. The
good taste of the eighteenth century brought about a reform.
Put at Paris most books of this period had a typographic title-
page and the work of the famous school of French engravers
was lavished on the illustrations. However, the engraved
Vignettes of that age were often very effectively used. Even
Paskerville did not always disdain the vignette, and it was the
last form of decoration abandoned by Bodoni.

One other form of decoration may be mentioned, that of
metal rules. Rules have been used occasionally at almost all
periods, by Geofroy Tory, for example, among others. But as
far as title-pages are concerned they are found most often in
the seventeenth century.

-Lne purely typographic title-page is naturally of greater
interest to the modern producer of books. At all periods the
title-page which was effective mainly by the arrangement of

xji introduction

type has been common, and at most periods there have been
printers who preferred to dispense with ornament of any kind
In the sixteenth century the books of the Paris printer, Miche
de Vascosan, illustrate this severer manner, and the classical
style of the great printers at the close of the eighteenth century
was likewise independent of decoration. Some sort of arrange-
ment of the letters displayed on the title-page suggested itself
from the first, and very soon various shapes were tried. Perhaps
the commonest arrangement was the conical one, or the so-
called hour-glass shape, in which the lines of type begin by
being long, to become short at the centre, lengthening again
in the imprint at the foot. Others have preferred a natural
arrangement, printing the matter exactly as if on a page of the
text Geofroy Tory, a book producer whose work was of great
importance in the history of the book, seems to have been
against the fashion of his day in his choice of the natural lay-
out It has certainly been the usual custom to aim at some sort
of pattern in the division of the lines of type. In this respect the
earlier printers had one advantage which was not enjoyed by
their successors. They felt no difficulty about dividing a word
in a title, even when the second part of the word was to be set
in a different size or even a different kind of type. Frequently
we find examples of such breaks in words as custom has made
impossible for the modern printer. The simplification of the
task for whoever was responsible for the lay-out is obvious.
One rule which seems to have been almost universally ob-
served is that the mass of the type must be in the top half of the

page and not evenly distributed.

Equally important with the distribution of the matter is the

question of the kind of type to be used, the sizes of type, upper-
or lower-case, and the number of different founts. The simplest
manner of using the letter employed in the text met with little
favour and was soon displaced by the use of larger types and
especially by the use of capitals. The heavy, square roman
capitals, like those of Froben at Basle, for the first line, with
smaller capitals for succeeding lines, were more or less custom-
ary in Northern Europe in the first quarter of the sixteenth
century. In some countries a mixture of a \'lettre de forme\' and
roman capitals was not unusual at the same period. With the
introduction of the new Garamond romans at Paris about 1530
began the fashion of using the Canon and Double Canon sizes
of the lower-case letters for titles. In the seventeenth century
we find large and heavy roman capitals again in favour, often
balanced by a woodcut ornament of a basket of flowers. This
century, undoubtedly the worst in the history of typography,
notwithstanding the Elzevirs, is especially remarkable for its
crowded title-pages. It had become the custom to give as much
information as possible about the contents of the book and the
qualifications of author, editor, etc., and the printer took the
opportunity of displaying as large a variety of his types as possi-
ble. No doubt the use of title-pages as posters for advertising
IS partly responsible for the custom. It has been established by
documentary evidence that such methods of advertising books
were usual in England and in Germany, and probably this was so
in other countries also. Incidentally it may be pointed out that
the posting up of title-pages accounts for some of the early
collections, such as that of Bagford,now in the British Museum.
Bagford has been attacked for his vandalism in mutilating

books for the sake of his hobby, but it now appears that he
may have been quite innocent of the charge. In any case the
resit on the title-page as a specimen of typographical arrange-
ment was deplorable. As this collection is not meant to be a
history of the subject, but rather a selection from the better
work, few examples from the seventeenth century have been
included. However, some of our examples show that the skilfu
compositor can make use of a number of sizes and of different
styles of letter and produce an effective result. Thepurist who
will allow only one size of capitals, or at most varying sizes ol

the same design, is not the only successful model.

With the eighteenth century title-pages become simpler and
letters become lighter, and the result is again work as good m its
different style as that of the sixteenth century The eighteenth
century is certainly a great period in the history of book-
production, with its centre in Paris. In England the influence
of Caslon and Baskerville at length raised our typography to a
level with Continental work. For one innovation P. «ur-
nier is mainly responsible, the introduction of outline and other
decorative capitals which were so successfully used at Par^^
At the end of the century we have the work of the Didots and
Bodoni, the classical school, whose technical achievement has
hardly been surpassed at any period. One may cavi at their
conception of the ideal shape of letters, one may dislike their
exceslve use of hair lines and their flat serifs, but it must be
admitted that as practical printers and type-cutters their work
was of first-rate quality. These classical printers were proud
of their types and wished them to stand alone. Bodoni, who
at the beginning of his career used ornaments copied from

Fournier and engraved vignettes, in his later years more and
more abandoned decoration and outline letters. The classical
title-page is composed in roman capitals of varying size, but
without the admixture of lower-case letters or italics and
without the aid of decoration. Like Baskerville, these printers
considered that type is itself sufficiently interesting to stand
alone.

A. F.J.

LIST AND ORDER
OF PLATES

GE RMANY

1. Pelbart, Stellarium Corone Benedicte Marie
Virginis, J. Otmar, Augsburg, 1502

2. Hystori und wunderbarlich legend Kath-
arine von Senis, J. Otmar, Augsburg, 15 i 5

3. Hortus Sanitatis, R. Beck, Strassburg, 15 i 7

4. Erasmus, Von dem Christlichen Ritter,
J. Schoffer, Mainz, i 5 21

5. Das Allte Testament, S. Otmar, Augsburg,

6. Dürer, Vier Bücher von menschlicher Pro-
portion, J. Formschnyder, Nuremberg,
1528

7. Hortus Sanitatis, M. Apiarius, Strassburg,

1536

8. Das Newe Testament, Hans Lufft, Witten-
berg, 1538 (1539)

9. G. Aemilius, Biblicae Historiae, C.Egenolf,
Frankfort, 1539

IG. Kirchen Ordnung, J. Petri, Nuremberg,

1543

11. Lieder der Deutschen, G. L. Winter, Berlin,
1767

12. Apollonius Rhodius, Argonautica, Bauer
and Treuttel, Strassburg, 1780

LIST OF PLATES
ITALY

13. Girolamo Savonarola, Operetta della ora-
tione mentale, Miscomini, Florence, c. 149 S

14. Saint Bernard, Sermoni devotissimi, Piero
de\' Quarengi, Venice, 1508

I 5. Terence, L. Soardus, Venice, i 5 12

16. Plautus, Heirs of Aldus, Venice, 1522

17. Ariosto, Orlando Furioso, A. da Vimercato,
Milan, 1524

18. Boccaccio, II Decamerone, Heirs of Filippo
Giunta, Florence, 1527

19. Castiglione, II Cortegiano, Heirs of Aldus,
Venice, 1528

20. G. G. Trissino, II Castellano, T. Janicolo,
Vicenza, 1529

21. Ariosto, Orlando Furioso, N. d\'Aristotile,
Venice, 1530

22. Macchiavelli, Sopra la prima deca di Tito
Livio, Antonio Blado, Rome, i 5 3 i

23. Pietro Aretino, Abbatimento poetico, F.
Calvo, Milan, 1539

24. Castiglione, II Cortegiano, Sons of Aldus,
Venice, 1545

25. Statuti della Universita de Mercatanti di
Bologna, A. Giaccarello, Bologna, 1550

26. A. Labacco, Libro appartenente a I\'Archi-
tettura, A. Blado, Rome, 1557

27. M. A. Natta, De Dei locutione oratio,
Academia Veneta, 1558

28. F. A. Giraldi, In lode del Signore P. Pasetto,
F. de Rossi, Ferrara, 1566

29. F. Redi, Sonetti, P. A. Brigonci, Florence,
1702

30. F. O. Magnocavallo, La Rossana, G. B.
Bodoni, Parma, 1775

3 I. Tasso, Aminta, G. B. Bodoni, Parma, 1789

32. Horace, G. B. Bodoni, Parma, 1793

NETHERLANDS AND FRANCE

33. N. Everardus, Topicorum seu de locis
legalibus liber, T. Martens, Louvain, 1516

34. Margaret of Navarre, Le Miroir de l\'âme
pecheresse, Simon du Bois, Alençon, 1531

35. C. Marot, L\'Adolescence Clementine, G.
Tory for P. Roffet, Paris, 1532

36. O. Fine, Quadrans astrolabicus, S. de Co-
lines, Paris, 1534

37. Plutarch, La Touche naifue pour esprouver
lamy, S. de Colines, Paris, 1537

38. Hélisenne de Crenne, Les Angoisses dou-
loureuses, D. Janot, Paris, 1538

39. C. Dolet, Genethliacum, E. Dolet, Lyons,

1539

40. G. Bude, De Asse, M. de Vascosan, Paris,
1541

41. Boccaccio, Le Decameron, E. RofFet, Paris,

1545

42. Luigi Alamanni, La Coltivatione,
R. Estienne, Paris, 1546

43. Heliodorus, L\'Histoire Aethiopique,
E.Groulleau, 1547

44. Le premier livre de Tite Live,
A. I\'Angelier, Paris, 1548

45. C. Cantiuncula, Paraphrasis in libros Insti-
tutionum, S. Sassenus, Louvain, 1549

46. Columella, Les douzes livres des choses
rusticques, J. Kerver, Paris, 1551

47. Sebastien Serlio, Livre extraordinaire de
Architecture, Jean de Tournes, Lyons, i 5 5 i

48. Calvin, In Evangelium secundum loannem
commentarius, R. Estienne, Geneva, 1553

49. Le Féron, Catalogue des Chancelliers de
France, M. de Vascosan, Paris, 1555

50. Philippe de Comines, Mémoires, Jean de
Tournes, Lyons, 1559

51. Patrons pour Brodeurs, J. Ruelle, Paris,
c. 1560

52. Le septième livre d\'Amadis de Gaule, G.
Silvius, Antwerp, 1573

53. G. Belliard, Poemes, C. Gautier, Paris,

1578

54. F. Vieta, Universalium Inspectionum ad
canonem mathematicum liber singularis,
J. Mettayer, Paris, 1579

55. F. de Vinciolo, Les singuliers pourtraicts de
toutes sortes d\'ouvrage de lingerie, J. Roy,
Basle, 1599

. Corneille, Horace, A. Courbé, Paris, 1641

. L\'Estoille, La Belle Esclave, Pierre Moreau,

Paris, 1643
. P. Seguinus, Selecta Numismata antiqua,
E. Martin, Paris, 1665

. Racine, Esther, D. Thierry, Paris, 1689
. Crébillon, Oeuvres, Imprimerie Royale,

1750

. P. S. Fournier, Remarques sur un ouvrage
intitulé. Lettre sur l\'origine de l\'imprimerie,
J. Barbou, Paris, 1761

62. P. S. Fournier, Traité historique sur
l\'origine des caractères de fonte pour l\'im-
pression de la musique, Barbou, Paris, 1765

63. Dugué, Ariette, Fournier, Paris, 1765

64. J. Enschedé, Proef van letteren, Haarlem,
^1768

65. Le Mierre, La Peinture, Le Jay, Paris, 1779

66. C.J. Dorat, Les Baisers, Paris, 1770

67. Cicero, De Officiis, A. A. Renouard, Paris,
1796

68. G. de Lorris, Le Roman de la Rose, Fournier
and Didot, Paris, 1799

SPAIN AND PORTUGAL

69. Rojas, Calisto y Melibea, L. Rodriguez,
Lisbon, 1540

70. Los quatrolibros del Cavallero Felix Magno,
S. Trugillo, Seville, 1549

71. T. de Yriarte, Fabulas literarias, Imprenta
Real, Madrid, 1782

72. Oracion de la Real Academia Espanola,
The Widow of Ibarra, Madrid, 1789

73. Imprenta Real, Madrid, Muestras de los
punzones y matrices, Madrid, 1799

ENGLAND

74. John Lydgate, The Testament, R. Pynson,
London, c, i 5 15

75. Registrum omnium brevium, W. Rastell,
London, 1531

76. The Myrour or Glasse of Christes Passion,
tr. J. Fewterer, R. Redman, London, 1534

77. J. Longlond, A Sermon, London, 1536

78. Sir Thomas Elyot, The Dictionary, T.
Berthelet, London, 1538

79. Thomas Geminus, Anatomic Delineatio,
London, 1545

80. The Deceyte of Women, A. Vele, London,

1550

81. The Statutes, Christopher Barker, London,
1587

82. William Lambard, A Perambulation of
Kent, E. Bollifant, London, 1596

83. Tasso, Godfrey of Bulloigne, tr. E. Faire-
fax, A. Hatfield, London, 1600

84. Samuel Daniel, Works, S. Waterson, Lon-
don, 1601

85. M. Fotherby, Four Sermons, H. Ballard,
London, 1608

86. Homer, Iliad, translated by George Chap-
man, S. Macham, London, c, 161 o

87. Lord Bacon, Sylva Sylvarum, J. Haviland,
London, 1635

88. Alexander Pope, Works, W. Bowyer, Lon-
don, I 717

89. Horace,}. Pine, London, 1733

90. Orpheus and Hecate, W. Webb, London,
1746

91. Arms and the Man, L. Raymond, London,
1746

92. Homer, Iliad, R. & A. Foulis, Glasgow,

1747

93. Sparks, M. Cooper, London, 1752

94. Horace, R. & A. Foulis, Glasgow, 1756

95. Lucan, Pharsalia, Strawberry-Hill Press,
1760

96. Juvenal and Persius, J. Baskerville, Birming-
ham, 1761

97. Book of Common Prayer, J. Baskerville,
Cambridge, 1761

98. Horace, J. Baskerville, Birmingham, 1762

99. Isaiah Thomas, A Specimen of Printing
Types, Worcester, 1785

100. W. Somervile, The Chase,
W. Bulmer, London, 1796

ONE HUNDRED
TITLE-PAGES

HYSTORI UND WUNDERBARLICH LEGEND
KATHARINE VON SENIS, J. OTMAR,
AUGSBURG, I515

The monogram at the foot of the cut is that of
Hans Schaufelein, who designed a number of
small illustrations for this book, and presumably
also the four borders used on the title-page. The
type is Schwabacher, a fine gothic letter, which
in the course of the sixteenth century was gradu-
ally superseded by Fraktur.

71" X I li"

HORTUS SANITATIS, R. BECK, STRASSBURG,

I517

This border is attributed to Hans Baldung Grien;
together with several other £ne decorative pieces
in a similar style. It was formerly assigned to
Johann Wechtelin. In 15 14 it was in the posses-
sion of the Strassburg printer Knoblouch.

X I li"

ERASMUS, VON DEM CHRISTLICHEN RITTER,
J. SCHOFFER, MAINZ, I52I

The younger SchofFer was one of the best printers
in Germany in the early part of the sixteenth cen-
tury. His gothic types at least were excellent. The
quarto border containing his device at the foot is
by an unknown artist, who designed several other
borders in a similar style for Schoffer.

Original size

DAS ALLTE TESTAMENT, S. OTMAR,
AUGSBURG, 1523

A woodcut border by Daniel Hopfer, an artist
who designed some very effective decorative
work, borders and initials, for Augsburg printers.
The initials D. H. are at the top in the centre.
The border appears first in 15 16 in a German
law book, the Sassenspiegel.

8"x 12"

DÜRER, VIER BÜCHER VON MENSCHLICHER
PROPORTION, J. FORMSCHNYDER,
NUREMBERG, I528

Dürer\'s interest in the form of letters and in book-
production is well known. In his work, Unter-
weyssung der Messung, he showed a method of
designing an alphabet of \'lettres de forme\' and
roman capitals. He was connected with several
printers of Nuremberg, who were cutting new
types which developed into Fraktur, the prevail-
ing form of gothic in Germany. Several of Dürer\'s
books were printed in these early Frakturs.

8"XI2"

l^ain^nmmffmm^

^on mmfl^rcpojeion/burc^ mbiccMn

^hxcx^onmxmkxmfmbtnrnm
fc^imnimmiknmcn/foiü t^u
fcr fünft It^atragm,

HORTUS SANITATIS, M. APIARIUS,
STRASSBURG, I536

A four-piece border by an unknown artist. It was
clearly designed for an edition of this well-known
natural history book. An edition in German issued
in the same year also has the border. This is the
earliest completely developed title-page of the
German ones here shown, and the only one of
the sixteenth century.

r X I If"

DAS NEWE TESTAMENT, HANS LUFET,
WITTENBERG, I538 (1539)

Woodcut border by an artist who signed some of
the illustrations in the Wittenberg Bibles with
the initials M. S., doubtfully identified with Mel-
chior Schwarzenberg ,or with Martin Schaffner.
The woodcuts, including the border, appeared
first in 1534 from the press of Luther\'s chief
printer.

71" X III"

G. AEMILIUS, BIBLICAE HISTORIAE,
C. EGENOLF, FRANKFORT, 153g

The monogram is that of Hans Sebald Beham,
the designer of the Old Testament illustrations
and the title-border of this book. They appeared
first at Frankfort in i 534. Both illustrations and
border were copied by François Gryphius at
Paris, and also at Antwerp, besides going through
a number of editions in Germany.

Original size

lO

KIRCHEN ORDNUNG, J. PETRI, NUREMBERG,

1543

A splendidly printed Church book. There is here
no sign of the decline in German printing which
is so evident in the second half of the century.

\'I" X I ir

€irc5cnott)ttung/ Bte mtt

oa€§)tftftcfcn ^acmmcmen/

mt> alkxkv ant>crn €cnmonteti/tn met

ric^cn/Pfal^^rauen
^r^ogen inn ^ttern m^

mvu

LIEDER DER DEUTSCHEN, G. L. WINTER,
BERLIN, 1767

The lighter style of the eighteenth century in-
vaded Germany also, but comparatively few
books were printed in other than gothic types.

Original size

APOLLONIUS RHODIU S, ARGONAUTIC A, BAUER
AND TREUTTEL, STRASSBURG, 1780

An unusual title-page for a German book, more
in the style of the other European countries. The
rules appear to have been added by hand.

dVOKVM. PLEaiqUE NONDUM COLLATI FUERAN¥

NUNC PRIMUM EMENDATE EDIDIT

RICH. FR. Pîffr^mgjr^^

&LGIM INSCRIPTIONUÎirW HUMAKXQRÏm

"llTERASUM ACAPEMIJE sorrtTiT

A RGENTOR Z^W

GIROLAMO SAVONAROLA, OPERETTA DELLA
ORATIONE MENTALE, MISCOMINI, FLORENCE,

C. 1495

At this stage in the history of the book, the in-
formation as to the place of printing, etc., is
usually found in the colophon. A brief title
accompanied by a woodcut is a form of intro-
duction found at all centres of printing. The
woodcuts of the Florentine school of this
period are especially celebrated and have been
the subject of a number of studies. Although the
lettering on this page is gothic, the text of the
book itself is in roman.

Original size

(f Operetta di frate ^irolamo da fcrrar«
ddlao:ationcmentale

SAINT BERNARD, SERMONI DEVOTISSIMI,
PIERO DE\' QUARENGI, VENICE, I508

A title-page imitating the Savonarola tracts
printed at Florence. The cut dates from 1502
and is attributed by Essling to Luc\' Antonio de\'
Uberti, a Florentine artist working at Venice.
The book is set up in roman.

Original size

jBcnfionldfuotiflimi del deuorfffimo 0ancto3öer
i}ardo:^vma(ua fo:dla monacbamecelfarli a Cam
qudli cbe rolerto mere in quefto fcculo
mgrariaoeirignojc»

TERENCE, L. SOARDUS, VENICE, 1^12

A woodcut border which was copied by Hans
Holbein for the Basle printer Froben. The text
and notes are in roman. The border is sometimes
found prefixed to earlier Venice editions of
Terence and was first used in an Italian Bible of
1493. As with most Italian work of the kind, the
designer is unknown.

r X I If

PLAUTUS, HEIRS OF ALDUS, VENICE, 1^22

The title is set with one fount of type only, the
italic of the text of the book with its upright
roman capitals.

Original size

EX PLAVrr COM O EDirS. XX. QYAR.VM
CARMINA MAGNA EX PARTE IN
MENSVM SVVM RESTirvXA
SVHT M. D. X X r r.

Index uerhormt^<{uib\'^mlo abflrufiorih\'Vlautus utiiuri

AY^menta fm^Urum ComcedUrmt\'

Author if uita.

Tralatjo dichomm gmatrwn\'

ARIOSTO, ORLANDO FURIOSO, A. DA
VIMERCATO, MILAN, I524

This is the third edition of the Orlando^ of which
there were nearly one hundred printed in Italy in
the sixteenth century. We see the same mixture
of a gothic letter, here the rounded gothic native
to Italy, with roman, which is found in the books
of all countries at this period.

Original size

rlmdo

5ttriofo ^udoaico ^rio
llonoMc fcrmckn

ftampato Sfcon mblta dliligcntia da Iu|
corrctto 8C quafi cutto formato
• di nuouo QC ampliato«

Sc vcndatio alia botecha di Lcgnana
ft! fc^o dc Langcio»

BOCCACCIO, IL DECAMERONE, HEIRS OF

1527

The book is printed in the italic type which the
Florentine branch of the Giunta copied from
Aldus, and the small capitals of the title-page are
the letters of the upper case which accompanied
it. Sloping or italic capitals were not cut for any
of the early italic letters.

Original size

JnilcandidivsI;

M, D. XXVlh

CASTIGLIONE, IL CORTEGIANO, HEIRS OF
ALDUS, VENICE, I 528

An unusual variety of the Aldine device. The
style of this firm changed very slowly and it was
many years before their imprints ceased to ap-
pear in the colophons and took what had become
the usual place on the title-page.

81" X I 21"

IL LIBRO DEL CORTEGIANO
DEL CONTE BALDESAR
CASTIGLIONE.

Hafn nel priiiiIegio,& nella gratia otteniita dalla IlIaftnlTima
Signoria che in quefta,iiein niiin altra Cittadel fuo
domiiiio fi po(Ta impriincre, ne altroue
imprcfTo uciidere quefto libro
del Cortegiano pci%x* amii
fotto le pcne in e(Ia
contciiutc»

G. G. TRISSINO, IL CASTELLANO,
T. JANICOLO, VICENZA,

Trissino, among other things, was a spelling re-
former, and when his works were printed at Rome
by Lodovico Vicentino he introduced some
Greek letters, for example to distinguish the two
sounds of o in Italian, and differentiated between
u and V, and i and j. This was an innovation
which was not universally adopted until the
seventeenth century. Trissino\'s works were re-
printed at Vicenza by Janicolo in the same
kerned italic designed and used by Vicentino at
Rome. Vicentino was the first designer of italics
based on a more formal chancery hand than that
followed by Aldus, or his type designer Fran-
cesco GrifFo. Cf. also the italics on figs. 2 3 and 7 5.
The device of the Golden Fleece, here bearing
Janicolo\'s initials,appears to havebeen first adop-
ted by Trissino himself.

7F X I iV

DIALQGQ DEL TRISSIN6>
INTITnc^LATco IL CASTBLLANco,
NEL QO/ALE si TRATTA DE
LA LINGX/A ITALIANA.

CmGnzUji Vradifizime /efSumma Vantejice , £ cfefSenjtcj
Venet^ J cfje nessunuij.oisd. Hamj)cire ejuefla ojier^tj

fUttCli /^♦l^S^/\' /-C.K ;•«/»rf/f

ajjsnc^ciis \\n essa tmmizime
si cmtrn^.

ARIOSTO, ORLANDO FURIOSO,
N. D\'ARISTOTILE, VENICE,

1530

Italian books of the sixteenth century frequently
have a woodcut portrait of the author on the title-
page, most of them by unknown artists but very
well done. The border pieces, used in other,
smaller, editions of the Orlando., are here made to
fit a larger page by additions fitting very im-
perfectly.

Original size

MACCHIAVELLI, SOPRA LA PRIMA DEÇA DI
TITO LIVIO, ANTONIO BLADO, ROME, I53I

The text, together with the other works of Mac-
chiavelli, is in an Aldine italic, the upper case of
which is used for the title. The larger and more
formal italic shown below the device is a fount
used in many of Blado\'s books and was designed
by the calligrapher Lodovico Vicentino. This
letter has been recently revived under the name
of\'Blado italic\'.

Original size

DISCORSI DI NICOLO MACHÎAVELLÎ
CITTADINO, ET SEGRETARIO
FIORENTINO, SOPRA LA PRI
MA DEÇA DI TITO«LIVIO,
A ZANOBI BVONDEL-
MONTI, ET A COSI.
MO R VCÉLL AI*

Con Gratie, & Vmtle^i (Jn N ♦ S. Cimente
WU^ZT ahi Vrencipi,cheintra il temino di^Xi-
Am non ft jlàmpino, ne fïampati Jtueniino;
Jotto lepcnc, che in ejsift conten^ono^
U, .D, XXX h

PIETRO ARETINO, ABBATIMENTO POETICO,
F. CALVO, MILAN, I539

Calvo, at Milan, also used Vicentino\'s kerned
italic, with the \'swash\' capitals, which were first
used with that fount. Calvo had originally printed
at Rome.

Original size

IL LIBRO DEL CORTEGIANO

CASTIGLIONE, IL CORTEGIANO, SONS OF
ALDUS, VENICE, 1^45

A later form of the Aldine device with a decora-
tive border. Even at this date the printers are
mentioned in a colophon.

8"x III"

DEL CONTE BALDESSAR
CASTIGLIONE,

Niiouamenteriftampato ♦

STATUTI DELLA UNIVERSITA DE MERCA-
TANTI DI BOLOGNA, A. GIACCARELLO,
BOLOGNA, 1550

The use of the larger sizes of a lower-case roman
on a title-page reflects the influence of the
French printers. In the second half of the century
French types are often found in Italian books, and
at least two well-known French engravers of
types, Guillaume Le Be and Robert Granjon,
worked for some years in that country.

8" X 12"

STATVTI DELLA

Honoranda Vniuerfita\' de

Mercatantî della Incli\'ta Otta\'
di Bologna Riformati

I\'Anno M. D. L.

Per Anfelmo Giaccarello*

A. LABACCO, LIBRO APPARTENENTE A
L\'ARCHITETTURA, A. BLADO, ROME,

1557

The first edition of this book and of the engraved
title-page was printed in i 552. In the introduc-
tion we are told that the plates were engraved by
Labacco\'s son, Mario, after the author\'s drawings.
This border, one of the earliest and best in its
class, was copied in a well-known French atlas,
Bougereau\'s Théâtre franqais., printed at Tours
in 1594.

lo^xisî"

M. A. NATTA, DE DEI LOCUTIONE ORATIO,
ACADEMIA VENETA, I558

The engraved device of the Venetian Academy.
The printer and founder of that Academy was
Paolo Manuzio, the third son of the original
Aldus, and this device is the earliest engraved
piece found in Aldine books.

Original size

DE DEI LOCVTIONE

M A R C I A N T O Nil l^ATTAE^
ASTENSIS

r-x

O R A T i O.

IN ACADEMIA VENETA,

M. D. L V I I I.

F. A. GIRALDI, IN LODE DEL SIGNORE P.
PASETTO, F. DE ROSSI, FERRARA, I566

A French influence is again evident and a grow-
ing tendency to mix roman and italic. That
letter has now capitals cut at the angle of in-
clination of the lower case. It may be noted that
this is the earliest Italian title-page shown which
gives all the information now usually found there.

Original size

In lode del molto Mag-. Signore

PT^SPETi^ PASETTO

NOBIL FERRARESE,

ECC."" DOTTORE DI LEGGE.

Capitolo di Flamo Antonio Giraldi.

F. REDI, SONETTI, P. A. BRIGONCI, FLORENCE,

1702

This monumental page, here much reduced, is
characteristic of seventeenth-century work. The
division by centuries is inconvenient, as, in fact,
the change to what we know as the eighteenth-
century style was not established until many
years after the turn of the century.

SONETTI

del signor

FRANCESCO REDI

aretino,

^CC^T>E3ilC0 DELL^ CRUSC^.

F. O. MAGNOCAVALLO, LA ROSSANA, G. B.
BODONI, FAR MA, I 775

In his early days Bodoni was much under the in-
fluence of P. S. Fournier of Paris, as the types and
ornaments of this title-page show. His later and
more characteristic books have much shorter
titles.

Original size

L A

R O S S A N A.

TRAGEDIA

DEL SIGNOR CONTE

FRANCESCO OTTAVIO

MAGNOCAVALLO

DI CASAL-MONFERRATO
CHE HA RIPORTATA

LA PRIMA CORONA
NEL CONCORSO DELL\'ANNO MDCCLXXV.

DALLA

R. ACCADEMICA DEPUTAZIO NE

D I PARMA.

« «

4-

PARMA

--g^^^v^ii^-

DALLA STAMPERIA REALE .

TASSO, AMINTA, G. B. BODONI, PARMA, I789

Shows Bodoni\'s later modern-face types, with
their thin hair lines. He rarely used a line of italic
capitals, as here in the imprint.

8|" X I If"

AMINTA

FAVOLA PASTORALE

DI

TORQUATO TASSO

ORA PER LA PRIMA VOLTA

ALLA SUA VERA LEZIONE
RIDOTTA

CRISOPOLI

IMPRESSO CO\' GARATTERI EODONIANl

SIDCCLXXXIX

[ 32;

HORACE, G. B. BODONI, PARMA, I793

A page in Bodoni\'s severest style, roman capitals
alone, and not a single ornament.

8r XI iv

Q

HORATH

F L A C C I

OPERA

PARMAE

IN AEDIBVS PALATINIS

mdccxciii

TYPIS BODONIANIS.

£ lanffimi viri opmtm mcoUi ^ucmr

N. EVERARDUS, TOPICORUM SEU DE LOCIS
LEGALIBUS LIBER, T. MARTENS, LOUVAIN,

1516

The mixture of black-letter and roman was not
uncommon at a time when it was still unsettled
which was to become the predominant letter.
Thierry Martens, however, was a printer of the
Greek and Roman classics, and therefore his in-
fluence was in general against the gothic letter.
His device is very much in the style of his French
contemporaries.

8"x III"

pieCaroiaccbiDim^^^

f c^ConMattsf^emiw^ollantite ^clrnm ml;
gmficmn? celet)ei;cimuml)it;umi»Hm ^oancm le ^auuatcrc

DommuDe^caubeftecquitemauraturneittrDcmfecen^to

ia^mapisCancellarui topico^u feu neiocis

MARGARET OF NAVARRE, LE MIROIR DE
L\'ÂME PECHERESSE, SIMON DU BOIS,
ALENÇON, I53I

A fine example of the use of \'petit fers\'. The prin-
ter was a Protestant who had been obliged to
leave Paris for reasons of religion. In 15 2 7 he had
printed a Book of Hours for Tory, also in \'lettres
bâtardes\'. The fully developed title-page seems
to be the rule at an earlier date in France than
elsewhere.

Original size

fame fccÇcttcflfe»^^
ouquef effc cccon^noi (I fea

[çe0!:ttce6(i6ettcfi«»
^ (e6aetïcfflict5g ^

\\0t) ^^

ffpOMJfl.
f

^^ fe/ fe(l piepofei a cmfjp qui î>c ^

C^ êoncumtfamc^oim. ^^^
t

c. MAROT, l\'adolescence CLEMENTINE,
G. TORY FOR P. ROFFET, PARIS, I532

Geofroy Tory seems to have preferred the natural
arrangement of the matter on the title-page, and,
further, was not troubled by the division of a word
between two lines. The two-line capitals and the
arrangement of the page as a whole are unusual
and suggest that Tory influenced his contem-
poraries very little as a printer, important as he
was as a book decorator.

Original size

L A D O L E

S C E N C E
CLEMEN

tine.

autrement, les oeiiures de clement maroé
de cahors en quercy , valet de chambre du
roy ,compofees en leage de fon a dolefcence*
auec la complatnde furletrefpas de feu
mefftre florimond robertet.et pluficurs au?
tres oeuures faides parledid marot depuis
îcagede fa dide adolefcéce.le tout reueu/cos
rige/sc mis en bon ordre»

n.beraldus,in clçmentis
adolefcentia\'m,

hîfunt démentis îuueniies.arpicc,lufus,
\' sed tamen his ipfis eft iuuenile nihil.

oaicsvcndaparis,deuant lefglife safnde
geneuiefue des ardens, rue neufue noftre
lenfeigne du faulcheur,

AuecPriuilegepourTroisAns.

O. FINE, QUADRANS A S T R O L A B I C U S, S. DE
COLINES, PARIS, I534

The border was probably designed by the author
of the book. His mathematical diagrams are gen-
erally decorated with leaf forms like the \'petits
fers\' of this title-page.

r X I ir

PLUTARCH, LA TOUCHE NAIFUE POUR
ESPROUVER LAMY, S. DE COLINES,
PARIS, 1537

The border was afterwards used in a Book of
Hours of I 543, and is generally ascribed to Tory,
but though of his school, is too late to be the work
of Tory himself. Like so many of the early bor-
ders it is in four pieces. The first line of the title
follows the new fashion of using the larger sizes
of a lower-case roman. We see that even the best
printers found no difficulty in dividing a word
between two lines, one set in lower case and the
other in capitals.

6|" X 91"

HELISENNE DE CRENNE, LES ANGOISSES
DOULOUREUSES, D. JANOT, PARIS, I538

Again the Canon size of the Garamond lower
case. The printer, Janot, published many illus-
trated books; he had four octavo woodcut bor-
ders in this style, designed by an unknown artist
who signed some work with a gothic F. or I. F.

Original size

L39j

c. DOLET, GENETHLIACUM, E. DOLET,

LYONS,

Dolet, who as a printer was a pupil of Sebastien
Gryphius, here combines three different founts :
the first two lines are \'Garamond\' upper and
lower case, then comes Basle italic, and thirdly
the usual Lyons roman, probably also of Basle
origin. The italic was very popular and was the
first fount in general use for which inclined capi-
tals were cut. The device is one of that large
group which are based on a pun upon the printer\'s
name.

Original size

GENETHLIACVM
Claudii Doled,Stepha

NI DOLETI FILIL

Liber uitce commmi in primii utility
necejimiis^
avtore patre,

AD AMVSSIM DOLO,

G. BUDE, DE ASSE, M. DE VASCOSAN, PARIS,

154I

Vascosan favoured the purely typographic title-
page. He had no printer\'s device, and seldom
used borders or any form of decoration. This is
one of his earliest books in Garamond roman.

GVLIELMI BVDAEI

Parificnfis, Confiliarii Rcgii, fup-
plicumq; Iibcllorum in Regia ma-
giftri, dc Afle & partibus cius liLri
cjuinque, ab ipfo autliore nouifTi-
mc & rccogniti & locuplctati.

PoMi iMi/tini\'^ fxSt iSf , ü (unM&JSlK.
Uulta cauiüdripramptiuseß,^uam imuUri

P A R I S I I S

Impriraebat Michael Vafcofanüs fibi, Roberto Stephano,ac lohanni
Roigny,affinibus fuis.

AN. M. D. XLI.

Cum priuilcgio Regio.

BOCCACCIO, LE DECAMERON, E. ROFFET,
PARIS, 1545

A good example of the prevailing style of using
the Garamond roman. This book is well known
for its woodcut illustrations, so delicately cut as
to be almost like engraved work.

8i" X 121"

^LE DECAMERON

de Mefsire lehan Bocace
Florentin,

novvellement tradvict

d\'Italien en Vrancoyspar Maijlre Anthoine k Macon confeiller
du Rojy treforicr de lextraordinaire de fes guerres.

Auec priuilcge da Roy

Pour fix ans.

imprime à paris pour e/lienne roffet dia le faulcheur libraire
demeurant fur le pont fainél michel àl\'enfeigncdelarozc
blanche.

5 4 S

LUIGI ALAMANNI, LA C O L T I V A T I O N E,
R. ESTIENNE, PARIS, I 546

The first edition of an Italian classic; the author
was living in exile at the Court of Francis I. The
whole book is printed in one fount of italic ; as we
have mentioned in connection with some Italian
title-pages, early italics had upright roman capi-
tals. The sloping capitals had already been intro-
duced, but the fount here used by Estienne is of
the earlier school, apparently one used by Colines
for many years.

Original size

L A C O L T I V A T I O N E DI
LVIGI ALAMANNI AL
CHRISTIANISSIMO RE
FRANCESCO PRIMO.

43

HELIODORUS, L\'HISTOIRE AETHIOPIQUE,
E. GROULLEAU, I547

A title-page typical of the manner in which the
Garamond roman was used. The book belongs to
a series of romances, including the French ver-
sions of Amadis, all printed with woodcut illus-
trations according to the same formula. The
series was started in 1540 by Denys Janot, one
of whose devices is here adopted by his successor
Groulleau.

iW X ir

L- H I S T O I R E AE

rhiopi(^ue de Heliodorus,

CONTENANT DIX LIVRES^

TRAITANT DES LOYALES ET

pudiques amours de Theage-
nes ThefTalien, S^^hari-
dea Aethiopiéne.Nou-
uellement traduite
deGrçcen Fran-
• Çoys.

Auccq* Priuilege du Roy.
Pour 6 ans.

^ P ^ R I s.

De l\'Imprimerie d\'EJlienne Groulledu âemouram
enUrueNeuue noJlreDamedî\'cn-
feigne faintlan Bdptijîe,
1547.

j

44

LE PREMIER LIVRE DE TITE LIVE,
A. L\'ANGELIER, PARIS, I548

A border in the style of the school of Fontaine-
bleau. The artists employed by Francis I, many
of them Italians, had a great influence on book
decoration. The grotesque heads and fruits of this
border are common decorative motives in that
school.

Original size

C. CANTIUNCULA, PARAPHRASIS IN LIBROS
INSTITUTIONUM, S. SASSENUS, LOUVAIN,

1549

By this time the Garamond roman has reached
Louvain, while the italic here shown is probably
Robert Granjon\'s. The arabesque borders are un-
usual and one is tempted to assume that they too
were designed by Granjon, since he is known to
have cut arabesque fleurons. The device is that of
a well-known Cologne firm who presumably were
part publishers of the book.

7I" X I If

46

COLUMELLA, LES DOUZES LIVRES DES
CHOSES RUSTICQUES, J. KERVER,
PARIS, I55I

Another border in the Fontainebleau manner;
goats\' heads are often found. Kerver was the pub-
lisher of the French version of the Hypnera-
tomachia Poliphili.^ which has a title-page in
this style.

Original size

47

SEBASTIEN SERLIO, LIVRE EXTRAORDIN-

AIRE DE ARCH ITECTURE, JEAN DE

I55I

The handsome lower-case roman of the first line
of this title was used by Tournes in at least three
other large folios, a French Bible, a work by
Jacques Bassantin, and the Apocalypse of Jean
Duvet. Tournes, like his contemporaries, did not
think it essential to have the whole word \'extra-
ordinaire\' on one line or in one type.

iiF X 16"

Liure extraor

BINAIRE DE ARCH I-

TECTVRE DE SEBASTIEN

SERLIO. ARCHITECTE

DV ROY TRESCHRE-

s T I E N.

Auquel {ont Jemonftrees trente Portes Ruftiques
meslees de diuers ordres. Et vingt autres d\'œu-
ure delicate en diuerfès efpeces.

CALVIN, IN EVANGELIUM SECUNDUM
IOANNEM COMMENTARIUS, R, ESTIENNE,

GENEVA.

IN EVANGELIVM

fccundum Iolianncm,commen-
tanus lojhannis Caluini.

Robert Estienne withdrew to Geneva in i 5 5 i in
order to escape from the interference of the Sor-
bonne in Paris. The books which he printed there
carry on the same tradition and were issued with-
out mention of the place of printing.

7f" XII

Oliua Robcrti Stcphani.

M. D. LIII.

LE FÉRON, CATALOGUE DES CHANCELIERS
DE FRANCE, M. DE VASCOSAN, PARIS, I555

We have shown an example of the plain, typo-
graphic style of Vascosan. He occasionally used
woodcut borders, but apparently all these were
acquired from other printers ; in this case the bor-
der originally belonged to Colines, who copied it
from an Italian model.

7f" X 11"

mm

50

PHILIPPE DE COMINES, MEMOIRES, JEAN

1559

The italic here used was probably cut by Robert
Granjon: his italics tend to have more of a slope
than the earlier founts and are always accom-
panied by an inclined upper case. The peculiar
final e used in the roman of the title also suggests
Granjon: at least we know that he affected such
extra sorts for endings.

8r X 12V

LES MEMOIRES DE

MESSIRE PHILIPPE

DECOMMINES, CHEVALIER,
Seigneur d\'Argenton : fur les principaux
fàids, &:gefi:es de Louis onzième.
Se de Charles huiâ:iéme,
fon fîlz, Roys do

France,
*

Reuem corriges,pour îa féconde fois,par Denis S a v-
vhQY.de Fontenailles en Brie, Hifiorio^a^he du tref
chrejlien Roj Henry 11" de ce nom.

A LYON
PARI AN DE TGV R N E S,
M. D. L I X.

PATRONS POUR BRODEURS, T. RUELLE, PARIS,

C. 1560

Title-page of a lace book. The border was used
by Matthieu Bonhomme at Lyons and was per-
haps designed by Pierre Vase or Eskreich.

Original size

LE SEPTIEME LIVRE D\'AMADIS DE GAULE,
G. SILVIUS, ANTWERP, I573

Borders built up of printers\' flowers begin to ap-
pear about 1560. In this case the unit is a more
elaborate arabesque fleuron than the usual flower.
In the imprint the printer uses a medial v in the
lower case, apractice which did not become gene-
ral until the next century.

Original size

G, BELLIARD, POEMES, C. G A U T I E R, PARIS,

1578

By this time, at least at Paris, woodcut borders
have gone rather out of favour and few new ones
occur. The mixing of italic and roman is now
quite usual.

Original size

L E

PREMIER LIVRE

DES POEMES DE GVILLAVME

BELLIARD, SECRETAIRE DE LA
Royne de Nauarre.

COKLTENANT LES DELITIEV-

fes Amours de Marc Antoine^ ^ de Cleopatre^,
les triomphes d\'Amour,& de la Adort:,^
autres imitations d\' Ouide^Petrar-
quej^ de I\'Ariofie.

A la Roync de Naiiarrc.

■it \'

A PARIS,

Pour Claude Gautier,tenant fa boutique au fécond
pillicr de la grand\' falle du Palays.

1578.

AVEC PRIVILEGE DV ROY.

F. VIETA, UNIVERSALIUM INSPECTIONUM
AD CANONEM M A T H E M A T I C U M LIBER
SINGULARIS, J. METTAYER, PARIS,

1579

The decline in the standard of book production
towards the end of the sixteenth century was
general, but there were still a few printers at Paris
who were notable exceptions. Among these
was J. Mettayer, perhaps the best printer in
Europe in his day. The title-pages of several
mathematical works by Vieta are unusual in the
distribution of the matter and in the use of rules.

iorxi5r

FK^N C IS C I VIETJEI

VNIVERSALIVM INSPECTIONVM

AD CANONEM MATHEMATICVM
Liber SinguUrir.

L V T E T I yE,

tApud lommm Jl^ettayer, in MathematicU Typo^aphum Kegmm ^ fuh figno
D.Ioannis fCregione CoUegij Laodicenjis.

M. D. LXXIX.

CVM PRIVILEGIO REGIS.

F. DE VINCIOLO, LES SINGULIERS POUR-
TRAICTS DE TOUTES SORTES D\'OUVRAGE

DE LINGERIE, L. ROY, BASLE,

Title-page of a lace book, of which several edi-
tions had already been printed at Paris, but with
a different border.

Original size

[56]

CORNEILLE, HORACE, A. COURBE, PARIS,

1641

The large roman capitals of this page are typical
in French books of the seventeenth century. The
printer\'s device is now usually engraved and no
longer woodcut as in the previous century.

6r X 9"

PARIS,

Chez Avgvstin Covrbé\', Libraire Ôc Imprimeur de
Monfieur frere du Roy, dans la petite Salie du
Palais, à la Palme.

M. DC XXX XL
c TRIFILECE DF ROT.

XJ

L\'ESTOILLE, LA BELLE ESCLAVE, PIERRE
MOREAU, PARIS, 1643

A title-page set in Moreau\'s script type. Between
1643 and 1648 this calligrapher and engraver
printed a few books in types based on the con-
temporary Italian hand, the first script types.

7F X 10"

çèsxxe sSQXjye,

^fragicomcdic.

S^onjùar ^ X\'Sjtoillc.

^ U {BBSIBS,

c) c vendcn I\'Smjmmcnc Jcj nouucaiijcCctradhcrcj
^ Pierre ^Corcau, Ejcriuain Suro a ^anj,

Smpnnicur orJl ^ Ju ^oj,proc/jc L^oriail
Ju grand Comic ntdcj

^tcn la boutique au ^alau cn la Sallc (DaupLino,
9ar S^ouuelin. at£njcignc dc la Vctifo. 2 à ^J.

ny>iuec Sriud. du ^oj.

p. SEGUINUS, SELECTA NUMISMATA
ANTIgUA, E. MARTIN, PARIS, 1665

Even as late as this we find a Paris printer with
no upper-case U, though in England and the
Netherlands it was in common use at this date.

7" V 9f"

SELECTA

NVMISMATA

A N T I Q V A

Ex Mufeo Petri Segvini,S. Germani
AntifTiodorenfis Parif. Decani.

Lvteti^ P arisror vm,

e Typographia Ed mvn di martini , via
lacobxa , Tub Sole aureo.

~M. DC. LXV.

CFM VKIVILEGIO REGIS.

[59]

RACINE, ESTHER, D. THIERRY, PARIS, 1689

Baskets of flowers or vases with flowers were a
very common ornament at this period. They were
frequently cut on wood. If the woodcut had been
superseded in the illustrations, for vignettes and
tail-pieces it was still much used.

7F X 91"

r-ri

TRAGEDIE

Tirée de ÎEfcrimre Sainte,

A PARIS,
Chez Deny s Thierry, rue Saint Jacques,
devant la rue du Plâtre, à la Ville de Paris.

M. DC. L XX XIX..
AVEC PRIVILEGE D V ROT.

6o

CREBILLON, OEUVRES, IMPRIMERIE ROYALE,

1750

This Press had been active for just over a century,
from 1640. By this time they were using types
which are half-way between old-face and modern-
face, cut by Grandjean, with the usual eighteenth-
century engraved vignette. The 1 has the flick on
the left-hand side, a revival characteristic of the
\'Romain du roi Louis XIV\'.

D E

M. DE CREBILLON,

De i\'Académie Françoifè.

Tome Premier.

lï\' X 9î

A PARIS,

DE L\'IMPRIMERIE ROYALE.

M. D C C L.

P. S. FOURNIER,

OUVRAGE INTITULE, LETTRE SUR

L\'ORIGINE DE

J. BARBOU, PARIS, 1761

The title-page shows the new ornaments and
types of Fournier, a typefounder whose work
was of the first importance in the history of book
production. The borders and the vignette are
built up from his new flowers and his decorated
capitals are shown. Like all typefounders, Four-
nier displays as many varieties of type as possible.

Original size

m

p. s. FOURNIER, TRAITÉ HISTORIQUE SUR
L\'ORIGINE DES CARACTERES DE FONTE
POUR L\'IMPRESSION DE LA MUSIQUE,
BARBOU, PARIS, I765

The page shows several of Fournier\'s new letters,
rules, andflowers. Being a typefounder, he was not
allowed to print himself, and most of his books
appeared with the imprint of Barbou.

7" X I of

ys

T m Aî T S

HISTORIQUE ET

SUR

L\'ORIGINE ET LES PROGRÉS

,^ouo (^im-ptej^onj Be fa oAi^micjuo^,
Avec des Épreuves de nouveaux Caraftères deMufique^
Présentés aux Imprimeurs de France.
PAR M. FOURNIER LE JEUNE.

A BERNE,

Et fe trouve A Paris ^

Chez Barbou , Imprimeur-Libraire, rue & vis-à-vis
la Grille des Mathurins.

M, DCC. LXK

DUGUE, ARIETTE, F O U R N I E R, PARIS, I 765

The border shows what could be done with Four-
nier\'s new ornaments. This book also was prob-
ably printed by Barbou, for Fournier\'s long
struggle to be allowed to print for himself ended
in failure.

1"

J. ENSCHEDE, PROEF VAN LETTEREN,
HAARLEM, I 768

From a specimen book of a famous foundry still
at work. Their new eighteenth-century letters
and flowers were cut by Fleischman and Rosart,
some in imitation of Fournier. The vignette
shows a printing press at work.

Original size

LE MIERRE, LA PEINTURE, LE JAY, PARIS,

1779

The title-page is engraved, letters as well as the
vignette. The lettering of the engravers had a
considerable influence on the development of
type. The letters of this page have most of the
characteristics of what was to be the modern-face
type, the contrast between the thick and thin
strokes and the flat, unbracketed serifs. The italic
in the imprint shows the origin of the modern
\'Cochin\' type.

71" X I of

C. J. DORAT, LES BAISERS, PARIS, I77O

This edition is highly prized for its engraved
illustrations after Eisen. There is an engraved
frontispiece in addition to the typographic title-
page. The vignette and the ornamented capitals
are typical of the period. The book was doubtless
printed at Paris, in spite of\'A La Haye\'.

Original size

CICERO, DE OFFICIIS, A. A. RENOUARD, PARIS,

1796

A title-page of the classical school of printers,
set in the modern-face letters of the Didots.
Roman capitals only are used.

DE AMICITIA ET DE SENECTUTE

L I B R I

ACCURATISSIME EMENDATI.

P A R I S I I S,

APUD ANTONIUM AUGUSTINUM RENOUARD.
M, D C C. X C Y I.

G. DE LORRIS, LE ROMAN DE LA ROSE,
FOURNIER AND DIDOT, PARIS, 1799

The rich ornamentation of books printed in the
days of the \'ancien régime\' disappeared with the
Revolution, and the purely typographic title-
page became usual.

GUILLAUME DE LORRIS

et

JEAN DE MEUNG, dit Clopinei..

Édition faite sur celle de Lenglet Dupresnot, corrigée
avec soin, et enrichie de la Dissertation sur les Auteurs
de l\'ouvrage, de l\'Analyse, des Variantes et du Glossaire
publiés en 1737 par J. B. Lantin de DamereY.

Figures.

tome second.

A PARIS,

fj. B. FOURNIER et Fits, libraires, lue HautefeuLlie, n.\' 17.
Ip. N. F.DIDOT, iraprimeur-libraire, quai des Aogustins , n.\' îl.

an septième.

ROJAS, CALISTO Y MELIBEA, L. RODRIGUEZ,
LISBON, 1540

This form of title-page, a woodcut accompanied
by the title in gothic, persisted for long in Spain
and Portugal. Very frequently the woodcut was
an heraldic design and the letters also were cut
on wood.

Original size
cragicomcdia ocCalifto f
melibea ch qual fe cotimc ö
inas Ö fu agradablcf oulce ef
tilo auifo9 neceffar io9 pa loe
enganos q efta êcer rados m
malos fir uiétcö y alcabuctas

LOS gUATRO LIBROS DEL CAVALLERO FELIX
MAGNO, S. TRUGILLO, SEVILLE, I549

Spanish romances were printed in gothic, and
this tradition persisted even after roman and italic
had been generally adopted in Spain.

lY X I ir

L 71 J

T. DE YRIARTE, FABULAS LITERARIAS,
IMPRENTA REAL, MADRID, 1782

There was a great revivafof printing in Spain to-
wards the end of the eighteenth century, due
principally to the work of Joaquin Ibarra, a type-
designer and printer to the Madrid Academy.
Like many other designers, he owed much to
Fournier, and among other things copied his orna-
mented capitals.

Original size

Usus vetusto genere , sed rebus novis.

phaed. lib. v. prol.

CON LICENCIA:
EN MADRID EN LA IMPRENTA REAL.
mdcclxxxii.

ORACION DE LA REAL ACADEMIA ESPANOLA,
THE WIDOW OF IBARRA, MADRID, I789

By this time there was a remarkable uniformity
in style among the leading printers throughout
Europe. The influence of Ibarra had brought
Spain into line with the rest of the Continent.
The formula for a title-page was roman capitals,
tending towards modern-face in design, and an
engraved vignette.

Original size

ORACION

DE LA REAL .

SOCIEDAD ECONOMICA

DE MADRID

AL REY NUESTRO SENOR

DON CARLOS IIIL

CON MOTIVO DE SU EXALTACION

AL TRONO,

EN MADRID

POR DON ANTONIO DE SANCHA.

MDCCLXXXVIIII.

IMPRENTA REAL, MADRID, MUESTRAS DE LOS
PUNZONES Y MATRICES, MADRID, I799

The ideals of the classical school of printing have
imposed themselves even on a specimen book of
types. Instead of displaying as many founts as
possible, the printer allows himself varying sizes
of roman capitals only.

Original size

DE LA IMPRENTA REAL.

JOHN LYDGATE, THE TESTAMENT, R. PYNSON,
LONDON, C. 1515

English black-letter with an adaptable woodcut
such as could be used for almost any book. The
printer\'s name is not yet given on the title-page.

Original size

CJ^ere bcg^nnetitj feftantft of Joftft
EpDSate monfee of to tiicb
\\)t mane j^prnfclfe/ bp^jis
ipfcDapes.

«
* *

REGISTRUM OMNIUM BREVIUM, W. RASTELL,
LONDON, I53I

Black-letter is here combined with a very unusual
italic, which may be compared with the kerned
italics ofNos. 20 and 23. The text of the book is
printed entirely in the italic, which is perhaps
unique in the case of an English law-book. Rastell
may have got his type from Antwerp, as the
fount is found in use there also.

7" X I of

THE MYROUR OR GLASSE OF CHRISTES
PASSION, TR. J. FEWTERER, R. REDMAN,
LONDON, 1534

A copy of a Holbein border designed for Froben
of Basle and used from 15 i 7. The English block
was in the possession of Richard Pynson from
1521.

61" X 9

L 77 J

J. LONGLOND, A SERMON, LONDON, I536

Cast pieces as ornaments were used by Wynkyn
de Worde and his contemporaries at least from
I 504. Although their use was frequent, the ar-
rangement of this title-page is very uncommon.

Original size

SIR THOMAS ELYOT, THE DICTIONARY,
T. BERTHELET, LONDON, I538

The roman type here used is probably the ear-
liest of its kind used in England; it is akin to the
new French \'Garamond\' romans. The border also
is of French origin, copied from the title-page of
Tory\'s ChampJleury.

yfxiif

THOMAS GEMINUS, ANATOMIE DELINEATIO,
LONDON, 1545

The earliest of all engraved title-borders, by an
unknown artist, perhaps of the Netherlands. The
strapwork decoration is found in contemporary
Netherlands work, but the scheme of the border
is as unusual as is its occurrence in England. Most
of the early engraved borders are based on the
arch, with allegorical figures at each side. Other
editions of the book, with the same border and
anatomical plates, appeared in 1552, 1557, and
1559-

I or X is¥\'

THE DECEYTE OF WOMEN, A. VELE, LONDON,

1550

The combination of black-letter and a woodcut
is a very usual title-page in an early English book.
This example from an undated book must be as
late as the middle of the century, as the printer,
Vele, is not heard of before 1548. The cut has
clearly been used before and probably dates from
a much earlier period.

Original size

C ®je Utt^tt of iDo.
meit^to tl)e tnttcuctton

anJienfampieof ai! men.ponscaitu
oimnmi^m
mm*

THE STATUTES, CHRISTOPHER BARKER,

LONDON,

The border appears to be cut in imitation of prin-
ters\' flowers, and is not built up from separate
units. The use of such a border on a law-book
illustrates the point of view of a sixteenth-cen-
tury printer: decoration was one thing, and the
subject-matter of the book another.

r X I or

WILLIAM LAMBARD, A PERAMBULATION OF
KENT, E. BOLLIFANT, LONDON, I596

A border built up from printers\' flowers. This
particular flower was used at Lyons by 1560 and
is found in London by i 569. The one used in the
middle of the page is in Christopher Plantin\'s
specimen book of 1567.

Original size

TASSO, GODFREY OF B U L L O I G N E, T R.
E. FAIREFAX, A. HATFIELD, LONDON,

1600

Another border built up from the same flower as
No. 82. The flower is shown on the specimen
sheet of the Egenolf- Berners foundry at Frankfort,
issued in 1592. Borders of flowers were perhaps
commoner in England than in any other country.

6r X 91"

SAMUEL DANIEL, WORKS, S. WATERSON,
LONDON, 160I

Woodcut borders are still found in English books
long after they had gone out of fashion in
France. The border is in four pieces.

6r X I or

FO VRE

SERMONS,

LATELY PREA^

ched, by Martin Fotherby

Doi51oria Diuinityjand Chaplain
vnto the Kings Maieftie.

Thefirft at Camhrid^e, at the Matters Commencement.

July 7. Anno 1607.
The fecond ai CanterBury, at the Lord Archbifliops vifita-

tion. Scptemb. 14, Anno 1^07,
The third :.t TMles Croj]e,\\^oii che day of our deliuerance
from.thegun-powdertreafon. Nouernb.5. Anno 1607.
The fourth at the Cou/f, before the Kings Maieftie. No-
uctr.b. ly. Anno 1^07.

Whereunto is added, An anfvcre vnto ceruine
obkBions of one \'vnrefolutd, its conctrn\'m^ the
•vfe of the Crop in Bapt/fw:. rvritten by him
in Anno 1604. and now commanded to
he pubbjhed h\'j auihoritie.

mmmmmmmmmmm

AT LONDON,
Printed by H b n r y B a l l a r d, for
C.K. andW.C-
1Ö08.

HOMER, ILIAD, TRANSLATED BY GEORGE
CHAPMAN, S. MACHAM, LONDON, C. 161O

An engraved title-page signed by William Hole,
well known as an engraver of music and of a num-
ber of portraits.

6" X 9"

u

LORD BACON, SYLVA SYLVARUM, J. HAVILAND
LONDON, 1635

The rules and the amount of matter on the title-
page are typical of seventeenth-century books.
As to the amount of matter, this page is com-
paratively restrained. The printer uses a medial
V in the lower case, but still has no capital U.

WRITTEN BY THE RIGHT
Uomurahle ISJLO, Vemlam

Vifcount S\'. ^LB^N.

Publifhed after the Author death,

WIL LIA M R AwLE Y VoSiorw\'Dmmtie,
one of his Majefiies Chaplaim,

Hereunto is now added an Alphabeticall Table of the
principal! things contained in the whole Worke.^_

àààà
ffff

LONDON,

Printed by fohn Boviland for IFilliam Lee^

and arc to be fold by lohn Willims. i 5.

THE

ALEXANDER POPE, WORKS, W. BOWYER,
LONDON, I717

William Bowyer the elder was probably the best
printer in England at this date. He here uses the
rules typical of the previous century, but has
modified the length of the title.

8r X 14F

CICPRO pio ARCH.

Hifc fiud\'ta adolefcenttam ahnt, feneButem ohkBanti fecun-
das res ornant.^ adverßs perfugmm \'cSf folamim prabent j
deleBant dornt^ non tmpediunt forts ; pernoBant nohifcum.^
peregrinantur^ rußicantur.

LONDON:

Printed by W. Bowyer, for Bernard Lintot
between the Temple-Gates. 1717.

HORACE, J. PINE, LONDON, I733

The whole text of this edition of Horace was
engraved by Pine. We have already remarked in
the case of French books on the influence which
engraved lettering exercised on type design.

Original size

d V I T I

HORATII FLACCI

OPERA.

LO N D INI
AENEIS TABVLIS I^NCIDIT
lOHANNES PINE
MDCCXXXITI.

ORPHEUS md HECATE.

ORPHEUS AND HECATE, W. WEBB, LONDON,

1746

A satire of unknown authorship, printed in old-
face letters. In England the tendency towards the
modern-face, which had already appeared in
France, was yet to be introduced by Baskerville.

8" X I2i"

OF THE

ITALIAN OPERA.

"Tantum Odiis^ Irceque dabat-----

------ilia SORORES

NoEîe vocat genitas------- Met. lib. 4.

LONDON:

Printed for W. Webb near St. Paufs.
M DCC XLVI.

[ Price Six Pence. ]

ARMS and the MAN.

ARMS AND THE MAN [ANON.] L. RAYMOND,
LONDON, 1746

The vignette is perhaps printed from a cast piece.
From the middle of the sixteenth century such
ornaments were first cut in wood and then cliches
were made from the wood block.

8" X 12F

HOMER, ILIAD, R. & A. FOULIS, GLASGOW,

1747

The Foulis used the types of Alexander Wilson,
the first eminent engraver of types in Scotland.
They preceded Baskerville and probably influ-
enced him in the composition of a title-page.
The restraint and simplicity of their work was
something new at the time in this country.

Original size

L 93 J

SPARKS [ANON.] M. COOPER, LONDON,

1752

These title-pages of poems sold at sixpence and a
shilling testify to the improvement in English
printing in the first half of the eighteenth century.

8" X 12F

MORALLY TURNED.

fua gratia parvis.

LONDON:

Printed-, and fold by M. Cooper, at the
Globe in Pater-mfttr-RQ-<.v.
MDCCLll.
[ Price One Shilling. ]

HORACE, R. & A. FOULIS, GLASGOW,

1756

The style of the Foulis was as severe as that of
Baskerville or Bodoni: no ornaments, and roman
capitals only.

Original size

A D

TECTIONES PROBATIOREJ
DILIGENTER EMENDATUS,
E T

1 N T E R P U N C T I O N E NOVA
SAEPIUS ILLUSTRATUS.

EDITIO TERTIA.

glasguae:

I\'M AEDIBUS ACADEMICIS
excudebant robertos et andreas tbults
ACADEMIAE typograrhi

M.DCC.LVI.

LUCAN, PHARSALIA, S T R A W B E R R Y - H I L L PRESS,

I 760

Horace Walpole\'s private press was at work from
1757. His types were those of William Caslon.

9" X III"

M. ANNAEI LUGANI

PHARSALIA

Cum Notis HUGONIS GROTII,

E T

RICHARDI BENTLEIL

MultO/ funt co?idonanda in opere ■pojlumo.

JUVENAL AND PERSIUS, J. BASKERVILLE,
BIRMINGHAM, 1761

The most usual form of a Baskerville title-page,
capitals well spaced and no ornaments.

9" X 12"

E T

A U L I

PERSII FLACCI

S A T Y R AE.

BIRMIXGHAMI AE:
Typis JOHANNIS BASKERVILLE.
M DCC LXI.

BOOK OF COMMON PRAYER, J. BASKERVILLE,
CAMBRIDGE, 1761

The title-page shows the use of Baskerville\'s
simple ornaments and his manner of treating a
long title. In the case of an edition of the Com-
mon Prayer he would be bound by tradition as to
the wording of the title.

Original size

The BOOK of

Common Prayer,

And Adminiftration of the

SACRAMENTS,

AND OTHER

RITES and CEREMONIES

O F T H E

CHURCH,

According to the Ufe of

1 The CHURCH of ENGLAND:

TOGETHER WITH THE

PSALTER

O R

PSALMS of DAVID,

^ Pointed as they are to he Jung or Jaid in Churches.

f CAMBRIDGE,

J Printed by JOHN BASKERVILLE, Printer to the Univerfity; ^
by whom they are fold, and by B. DOD, Bookfeller, c^

^ in Ave-Mary Lane, London. MDCCLXI.

[Price.jEight Shillings mid Six Pence, unbound.) 4

HORACE, J. BASKERVILLE, BIRMINGHAM,

1762

It was unusual for Baskerville to employ an en-
graved vignette, the customary ornament of an
eighteenth-century title-page.

Original size

ISAIAH THOMAS, A SPECIMEN OF PRINTING
TYPES, WORCESTER, I785

An early American title-page. As with most type
specimens, there is an effort to display as many
different types and flowers as possible. The
source of his letters is mentioned.

Original size

ci^e

Being as large and complete an ASSORT-
MENT as is to be met with in any one
Printing-office in ameriCa*

Chiefly MANUFACTURED hy that great Artift,

WILLIAM CASLON, Efq;

of LONDON.

PRINTED Ut WORCESTER, MASSACHUSETTS,

By ISAIAH THOMAS.

MDCCtXXXV.

W. SOMERVILE, THE CHASE, W. BULMER,
LONDON, 1796

Bulmer\'s types were cut by William Martin, who
had worked with Baskerville. These types and the
woodcut illustrations of Thomas Bewick raised
his work above that of the general standard of his
contemporaries. Bewick with his woodcuts could
produce exactly the effect of an engraved vig-
nette.

THE

CHASE.

A

POEM.

BY

WILLIAM SOMERVILE,

ESQ,.

8r X 11

LONDON:

PRINTED BY W. BULMER AND CO.
^^afejspeare ^arinfmg iJffiK,

CLEVELAND-ROW.

17 96.

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