FOOTNOTES:[132]“The early printers generally marked their publications by some monogram or cipher peculiar to themselves, and containing their initials, their arms, or some curious device. These are all well known to the initiated bibliopole, and their presence on a title-page is received as evidence of the genuineness of a scarce copy. The oldest of them is that of Faust and Schœffer, annexed to their first Psalter, and consisting of two shields tied together and hanging from a branch. Raphelengius, of Leyden, adopted the anchor; Sporinus of Basle, chose the arion; Jansen of Amsterdam, the sphere; the Elzevirs exhibited the olive tree, and the celebrated Aldus had for a device, the anchor and dolphin.”—(“History of Printing,” published by the Society for Promoting Christian Knowledge). Gotfridus de Os, of Gouda, had for his device an elephant and castle, combined with the arms of the city.[133]In the colophon to the second edition of this Psalter, printed in 1459, the word ‘spalmorum’ is corrected to ‘psalmorum,’ and instead of the words “ad eusebiam Dei industrie est consummatus” etc., the following occur:—“ad laudem Dei ac honorem sancti Jacobi est consummatus per Johannem Fust, civem moguntinem et Petrum Schoiffer de Gernszheim clericum. Anno Domini millesimoCCCCLIX,XXIXdie mensis Augusti.”[134]“Essai sur les Monumens Typographiques de Jean Gutenberg, à Mayence, l’an X.” [1801.][135]Among the works referred to was a Donatus. Mr.Humphreys, remarking upon these letters, says:—“If these initials, of which M. Fischer gives admirable fac-similes, were really executed under the direction of Gutenberg, they must of necessity greatly enhance the wonder and admiration felt for the author of the marvellously perfect workmanship of the first Bible; and also detract, to an equal extent, from the repute long held by Schoiffher as the Printer of the famous Psalter, with its fine coloured initials vaunted as the work of the press alone, and not produced by the illuminator’s pencil; for if M. Fischer be correct in attributing the work in question to Gutenberg, then the credit of the initials printed in colours in the Psalter must also be given to Gutenberg, as all the lesser initials in that noble specimen of the printer’s art, are the identical letters found by M. Fischer illustrating the ‘Donatus’ attributed by him without hesitation to the press of Gutenberg, as being printed with the same type as the first Bible. The fine free style of these letters, and their perfect execution, is very remarkable.... That the ‘Donatus’ in question was printed, not only before Schoiffher’s Psalter, but also before the Bible, appears incontrovertibly proved by the fact, that the five leaves in question of this ‘Donatus,’ were found in the cover of a book of accounts dated 1451. The testimony of M. Fischer is above suspicion; but it is to be regretted, that this most important and interesting monument of the labours of Gutenberg is now no longer to be found. At the time that M. Fischer’s examination and description were made, it was in the public library of Mayence; but at that time several national monuments were removed to Paris, and others lost in the general ransacking that took place, and the interesting ‘Donatus’ described by M. Fischer is among the documents now no longer to be found either at Paris or Mayence. Although it would thus appear that the credit of the letters in question is due to Gutenberg, I shall have some further remarks to make on the subject in describing the famous Psalter of Schoiffher. The Bibliothèque Nationale possesses two leaves of a ‘Donatus’ printed with Gutenberg’s Bible type.”—Hist. of Art of Printing, p. 77.[136]Wetter, p. 527; butHumphreys, p. 88, says “twenty-eight leaves.” Not being in a position to make a reference to any copy of the work itself, I am unable to say which of these authorities is right. One of the finest specimens of this work extant, is that in the celebrated Astor Library at New York. The paper is as clean and the ink as fresh as the day on which it was printed. There are also in this Library several other Typographical treasures. Amongst them will be found the “Catholicon” of John of Genoa, printed at Augsburg in 1469; two specimens of Caxton, one of them a few leaves of the “Recuyell des Histories de Troye,” printed in 1471, and the other, Higden’s “Polychronicon,” printed in London, 1482. Glanville’s “De Proprietatibus Rerum,” printed by Wynken de Worde, the successor of Caxton, in 1494, is also a handsome specimen.[137]The differences in these prices lead to the conclusion that the higher prices must have been given for copies of the Bible of 1455, and the lower for those of 1462; the charge made for each varying according to the amount of ornamentation in illuminated letters and marginal decorations.[138]Humphreys, p. 89.[139]The following is a brief list of these works:—1. Thomas de Aquino, secunda secunde, 1467.2. Clementis V. Constitutiones, 2d edit. 1467.3. Institutiones Justiniani, 1468.4. Grammatica vetus rhytmica, 2d edit. 1468.5. Thomas de Aquino, Expositio quarti libri sententiarum, 1469.6. Bonifacii VIII. Liber Sextus decretalium, 2d edit. 1470.7. Hieronymi Epistolæ, 1470.8. Mammotractus, sive Dictionarium vocabulorum, 1470.9. Decretalium liber Sextus, 3d edit. 1470.10. Valerius Maximus, liber factorum, etc. 1471.11. Clementis V. Constitutiones, 3d edit. 1471.12. S. Thomas, Prima pars secunde, 1471.13. Biblia Sacra Latina, 1472.14. Decretum Gratiani, 1472.15. Justiniani Institutiones, 2d edit. 1472.16. Bonifacii VIII. liber Sextus decretalium, 4th edit. 1473.17. Augustinus, de civitate Dei, 1473.18. Gregorii IX. nova compilatio decretalium, 1473.19. Turrecremata, Expositio psalterii, 1474.20. Henrici Herp Speculum aureum, 1474.21. Justiniani codexinstitutionum, 1475.22. S. Bernardi Sermones, 1475.23. Bonifacii, &c., 5th edit. 1476.24. Turrecremata, &c., 2d edit. 1476.25. Justiniani, &c., 3d edit. 1476.26. Bonifacii, &c., 6th edit. 1476.27. Decisiones rote Romane, 1477.28. Justiniani Novellæ constitutiones, 1477.29. Pauli Burgensis Scrutinium Scripturarum, 1478.30. Turrecremata, Expositio super psalterio, 1478.31. Bartholomæi de Chaymis confessionale, 1478.32. Gregorii IX. Decretales, 1479.33. Turrecremata Meditationes, 1479.34. Joannis de Wesalia Paradoxa, 1479.35. Agenda Moguntina, 1480.36. Herbarius, 1482.37. Missale Moguntinum, 1483.38. Herbarius cum herbarum figuris, 1484.39. Ortus sanitatis, 1485.40. Missale Ecclesie Misniensis, 1485.41. Breviarium Moguntinum, 1487.42. Missalium opus ad usum Ecclesie Cracoviensis, 1487.43. Legenda et miracula S. Goaris, 1488.44. Psalmorem Codex, 1490.45. Chronecken der Sassen, 1492.46. Missale Moguntinum, 2d edit. 1493.47. Ordnung des kaiserl. Kammergerichts, 1495.48. Missale Wratislaviense, 1499.49. Psalterium, 1502.[140]Another son, or perhaps a grandson, Peter, established himself as a printer in the city of Worms, not far distant from Mentz. It was at his press that WilliamTyndale’sversion of the first English translation of the New Testament was printed (in 1525 or 1526), after failing to get it done at the press of P. Quentell of Cologne. A press was established at Friesingen in 1495, by Joann.Schæffler.[141]Hist. of Art of Printing, p. 216.[142]“One of the most remarkable typographical displays in the great Exhibition of 1851 was the collection of Chinese types, or at least types to represent Chinese characters, in the Zollverein department. They were manufactured by Beyerhaus of Berlin, for the American Missionary Society. The Chinese vocabulary is made up of a number of distinct words, which are not built up from component letters, as in European languages, but have a good deal of the hieroglyphic effect about them. To imitate these words or characters by moveable types has always been deemed a difficult matter. M. Beyerhaus has analyzed the lines and dots of the Chinese language, so as to make 4200 letters out of them, or elements which will serve the compositor in lieu of letters. The steel punches of all these 4200 types were shewn; and by various combinations of them, about 24,000 Chinese words or characters can be imitated; and it was very interesting to see copies of the Bible and the New Testament printed in Chinese by the aid of these types.”—Curiosities of Industry—Printing; its Modern Varieties, byG. Dodd, p. 4.[143]This may sometimes have been owing to a scarcity of capital letters. An amusing story is told of a jobbing printer, who was seen printing the label “Lodgings to let,” in gold capital letters on a blue ground, with the second G left out. Upon the omission being pointed out to him, he said “Pshaw! I should like to know why a printer should not spell Lodgings with one G, when he has but that one in his fount!”[144]Some of these bindings were wonderful specimens of patient labour. Wooden boards as thick as the panels of a door, studded with large brass nails with ornamented heads and massive metal corners, for sides, the backs solid with paste and glue, and the fronts fastened with heavy clasps, were by no means rare. Sometimes these covers were so made as to serve as receptacles for relics. Scaliger tells us that his grandmother had a printed Psalter, the cover of which was two inches thick, the inside forming a kind of cupboard in which was a small silver crucifix; and Mr. Hansard relates having seen an ancient book, in the cover of which was a recess for a relic—a human toe!
[132]“The early printers generally marked their publications by some monogram or cipher peculiar to themselves, and containing their initials, their arms, or some curious device. These are all well known to the initiated bibliopole, and their presence on a title-page is received as evidence of the genuineness of a scarce copy. The oldest of them is that of Faust and Schœffer, annexed to their first Psalter, and consisting of two shields tied together and hanging from a branch. Raphelengius, of Leyden, adopted the anchor; Sporinus of Basle, chose the arion; Jansen of Amsterdam, the sphere; the Elzevirs exhibited the olive tree, and the celebrated Aldus had for a device, the anchor and dolphin.”—(“History of Printing,” published by the Society for Promoting Christian Knowledge). Gotfridus de Os, of Gouda, had for his device an elephant and castle, combined with the arms of the city.
[132]“The early printers generally marked their publications by some monogram or cipher peculiar to themselves, and containing their initials, their arms, or some curious device. These are all well known to the initiated bibliopole, and their presence on a title-page is received as evidence of the genuineness of a scarce copy. The oldest of them is that of Faust and Schœffer, annexed to their first Psalter, and consisting of two shields tied together and hanging from a branch. Raphelengius, of Leyden, adopted the anchor; Sporinus of Basle, chose the arion; Jansen of Amsterdam, the sphere; the Elzevirs exhibited the olive tree, and the celebrated Aldus had for a device, the anchor and dolphin.”—(“History of Printing,” published by the Society for Promoting Christian Knowledge). Gotfridus de Os, of Gouda, had for his device an elephant and castle, combined with the arms of the city.
[133]In the colophon to the second edition of this Psalter, printed in 1459, the word ‘spalmorum’ is corrected to ‘psalmorum,’ and instead of the words “ad eusebiam Dei industrie est consummatus” etc., the following occur:—“ad laudem Dei ac honorem sancti Jacobi est consummatus per Johannem Fust, civem moguntinem et Petrum Schoiffer de Gernszheim clericum. Anno Domini millesimoCCCCLIX,XXIXdie mensis Augusti.”
[133]In the colophon to the second edition of this Psalter, printed in 1459, the word ‘spalmorum’ is corrected to ‘psalmorum,’ and instead of the words “ad eusebiam Dei industrie est consummatus” etc., the following occur:—“ad laudem Dei ac honorem sancti Jacobi est consummatus per Johannem Fust, civem moguntinem et Petrum Schoiffer de Gernszheim clericum. Anno Domini millesimoCCCCLIX,XXIXdie mensis Augusti.”
[134]“Essai sur les Monumens Typographiques de Jean Gutenberg, à Mayence, l’an X.” [1801.]
[134]“Essai sur les Monumens Typographiques de Jean Gutenberg, à Mayence, l’an X.” [1801.]
[135]Among the works referred to was a Donatus. Mr.Humphreys, remarking upon these letters, says:—“If these initials, of which M. Fischer gives admirable fac-similes, were really executed under the direction of Gutenberg, they must of necessity greatly enhance the wonder and admiration felt for the author of the marvellously perfect workmanship of the first Bible; and also detract, to an equal extent, from the repute long held by Schoiffher as the Printer of the famous Psalter, with its fine coloured initials vaunted as the work of the press alone, and not produced by the illuminator’s pencil; for if M. Fischer be correct in attributing the work in question to Gutenberg, then the credit of the initials printed in colours in the Psalter must also be given to Gutenberg, as all the lesser initials in that noble specimen of the printer’s art, are the identical letters found by M. Fischer illustrating the ‘Donatus’ attributed by him without hesitation to the press of Gutenberg, as being printed with the same type as the first Bible. The fine free style of these letters, and their perfect execution, is very remarkable.... That the ‘Donatus’ in question was printed, not only before Schoiffher’s Psalter, but also before the Bible, appears incontrovertibly proved by the fact, that the five leaves in question of this ‘Donatus,’ were found in the cover of a book of accounts dated 1451. The testimony of M. Fischer is above suspicion; but it is to be regretted, that this most important and interesting monument of the labours of Gutenberg is now no longer to be found. At the time that M. Fischer’s examination and description were made, it was in the public library of Mayence; but at that time several national monuments were removed to Paris, and others lost in the general ransacking that took place, and the interesting ‘Donatus’ described by M. Fischer is among the documents now no longer to be found either at Paris or Mayence. Although it would thus appear that the credit of the letters in question is due to Gutenberg, I shall have some further remarks to make on the subject in describing the famous Psalter of Schoiffher. The Bibliothèque Nationale possesses two leaves of a ‘Donatus’ printed with Gutenberg’s Bible type.”—Hist. of Art of Printing, p. 77.
[135]Among the works referred to was a Donatus. Mr.Humphreys, remarking upon these letters, says:—“If these initials, of which M. Fischer gives admirable fac-similes, were really executed under the direction of Gutenberg, they must of necessity greatly enhance the wonder and admiration felt for the author of the marvellously perfect workmanship of the first Bible; and also detract, to an equal extent, from the repute long held by Schoiffher as the Printer of the famous Psalter, with its fine coloured initials vaunted as the work of the press alone, and not produced by the illuminator’s pencil; for if M. Fischer be correct in attributing the work in question to Gutenberg, then the credit of the initials printed in colours in the Psalter must also be given to Gutenberg, as all the lesser initials in that noble specimen of the printer’s art, are the identical letters found by M. Fischer illustrating the ‘Donatus’ attributed by him without hesitation to the press of Gutenberg, as being printed with the same type as the first Bible. The fine free style of these letters, and their perfect execution, is very remarkable.... That the ‘Donatus’ in question was printed, not only before Schoiffher’s Psalter, but also before the Bible, appears incontrovertibly proved by the fact, that the five leaves in question of this ‘Donatus,’ were found in the cover of a book of accounts dated 1451. The testimony of M. Fischer is above suspicion; but it is to be regretted, that this most important and interesting monument of the labours of Gutenberg is now no longer to be found. At the time that M. Fischer’s examination and description were made, it was in the public library of Mayence; but at that time several national monuments were removed to Paris, and others lost in the general ransacking that took place, and the interesting ‘Donatus’ described by M. Fischer is among the documents now no longer to be found either at Paris or Mayence. Although it would thus appear that the credit of the letters in question is due to Gutenberg, I shall have some further remarks to make on the subject in describing the famous Psalter of Schoiffher. The Bibliothèque Nationale possesses two leaves of a ‘Donatus’ printed with Gutenberg’s Bible type.”—Hist. of Art of Printing, p. 77.
[136]Wetter, p. 527; butHumphreys, p. 88, says “twenty-eight leaves.” Not being in a position to make a reference to any copy of the work itself, I am unable to say which of these authorities is right. One of the finest specimens of this work extant, is that in the celebrated Astor Library at New York. The paper is as clean and the ink as fresh as the day on which it was printed. There are also in this Library several other Typographical treasures. Amongst them will be found the “Catholicon” of John of Genoa, printed at Augsburg in 1469; two specimens of Caxton, one of them a few leaves of the “Recuyell des Histories de Troye,” printed in 1471, and the other, Higden’s “Polychronicon,” printed in London, 1482. Glanville’s “De Proprietatibus Rerum,” printed by Wynken de Worde, the successor of Caxton, in 1494, is also a handsome specimen.
[136]Wetter, p. 527; butHumphreys, p. 88, says “twenty-eight leaves.” Not being in a position to make a reference to any copy of the work itself, I am unable to say which of these authorities is right. One of the finest specimens of this work extant, is that in the celebrated Astor Library at New York. The paper is as clean and the ink as fresh as the day on which it was printed. There are also in this Library several other Typographical treasures. Amongst them will be found the “Catholicon” of John of Genoa, printed at Augsburg in 1469; two specimens of Caxton, one of them a few leaves of the “Recuyell des Histories de Troye,” printed in 1471, and the other, Higden’s “Polychronicon,” printed in London, 1482. Glanville’s “De Proprietatibus Rerum,” printed by Wynken de Worde, the successor of Caxton, in 1494, is also a handsome specimen.
[137]The differences in these prices lead to the conclusion that the higher prices must have been given for copies of the Bible of 1455, and the lower for those of 1462; the charge made for each varying according to the amount of ornamentation in illuminated letters and marginal decorations.
[137]The differences in these prices lead to the conclusion that the higher prices must have been given for copies of the Bible of 1455, and the lower for those of 1462; the charge made for each varying according to the amount of ornamentation in illuminated letters and marginal decorations.
[138]Humphreys, p. 89.
[138]Humphreys, p. 89.
[139]The following is a brief list of these works:—1. Thomas de Aquino, secunda secunde, 1467.2. Clementis V. Constitutiones, 2d edit. 1467.3. Institutiones Justiniani, 1468.4. Grammatica vetus rhytmica, 2d edit. 1468.5. Thomas de Aquino, Expositio quarti libri sententiarum, 1469.6. Bonifacii VIII. Liber Sextus decretalium, 2d edit. 1470.7. Hieronymi Epistolæ, 1470.8. Mammotractus, sive Dictionarium vocabulorum, 1470.9. Decretalium liber Sextus, 3d edit. 1470.10. Valerius Maximus, liber factorum, etc. 1471.11. Clementis V. Constitutiones, 3d edit. 1471.12. S. Thomas, Prima pars secunde, 1471.13. Biblia Sacra Latina, 1472.14. Decretum Gratiani, 1472.15. Justiniani Institutiones, 2d edit. 1472.16. Bonifacii VIII. liber Sextus decretalium, 4th edit. 1473.17. Augustinus, de civitate Dei, 1473.18. Gregorii IX. nova compilatio decretalium, 1473.19. Turrecremata, Expositio psalterii, 1474.20. Henrici Herp Speculum aureum, 1474.21. Justiniani codexinstitutionum, 1475.22. S. Bernardi Sermones, 1475.23. Bonifacii, &c., 5th edit. 1476.24. Turrecremata, &c., 2d edit. 1476.25. Justiniani, &c., 3d edit. 1476.26. Bonifacii, &c., 6th edit. 1476.27. Decisiones rote Romane, 1477.28. Justiniani Novellæ constitutiones, 1477.29. Pauli Burgensis Scrutinium Scripturarum, 1478.30. Turrecremata, Expositio super psalterio, 1478.31. Bartholomæi de Chaymis confessionale, 1478.32. Gregorii IX. Decretales, 1479.33. Turrecremata Meditationes, 1479.34. Joannis de Wesalia Paradoxa, 1479.35. Agenda Moguntina, 1480.36. Herbarius, 1482.37. Missale Moguntinum, 1483.38. Herbarius cum herbarum figuris, 1484.39. Ortus sanitatis, 1485.40. Missale Ecclesie Misniensis, 1485.41. Breviarium Moguntinum, 1487.42. Missalium opus ad usum Ecclesie Cracoviensis, 1487.43. Legenda et miracula S. Goaris, 1488.44. Psalmorem Codex, 1490.45. Chronecken der Sassen, 1492.46. Missale Moguntinum, 2d edit. 1493.47. Ordnung des kaiserl. Kammergerichts, 1495.48. Missale Wratislaviense, 1499.49. Psalterium, 1502.
[139]The following is a brief list of these works:—
[140]Another son, or perhaps a grandson, Peter, established himself as a printer in the city of Worms, not far distant from Mentz. It was at his press that WilliamTyndale’sversion of the first English translation of the New Testament was printed (in 1525 or 1526), after failing to get it done at the press of P. Quentell of Cologne. A press was established at Friesingen in 1495, by Joann.Schæffler.
[140]Another son, or perhaps a grandson, Peter, established himself as a printer in the city of Worms, not far distant from Mentz. It was at his press that WilliamTyndale’sversion of the first English translation of the New Testament was printed (in 1525 or 1526), after failing to get it done at the press of P. Quentell of Cologne. A press was established at Friesingen in 1495, by Joann.Schæffler.
[141]Hist. of Art of Printing, p. 216.
[141]Hist. of Art of Printing, p. 216.
[142]“One of the most remarkable typographical displays in the great Exhibition of 1851 was the collection of Chinese types, or at least types to represent Chinese characters, in the Zollverein department. They were manufactured by Beyerhaus of Berlin, for the American Missionary Society. The Chinese vocabulary is made up of a number of distinct words, which are not built up from component letters, as in European languages, but have a good deal of the hieroglyphic effect about them. To imitate these words or characters by moveable types has always been deemed a difficult matter. M. Beyerhaus has analyzed the lines and dots of the Chinese language, so as to make 4200 letters out of them, or elements which will serve the compositor in lieu of letters. The steel punches of all these 4200 types were shewn; and by various combinations of them, about 24,000 Chinese words or characters can be imitated; and it was very interesting to see copies of the Bible and the New Testament printed in Chinese by the aid of these types.”—Curiosities of Industry—Printing; its Modern Varieties, byG. Dodd, p. 4.
[142]“One of the most remarkable typographical displays in the great Exhibition of 1851 was the collection of Chinese types, or at least types to represent Chinese characters, in the Zollverein department. They were manufactured by Beyerhaus of Berlin, for the American Missionary Society. The Chinese vocabulary is made up of a number of distinct words, which are not built up from component letters, as in European languages, but have a good deal of the hieroglyphic effect about them. To imitate these words or characters by moveable types has always been deemed a difficult matter. M. Beyerhaus has analyzed the lines and dots of the Chinese language, so as to make 4200 letters out of them, or elements which will serve the compositor in lieu of letters. The steel punches of all these 4200 types were shewn; and by various combinations of them, about 24,000 Chinese words or characters can be imitated; and it was very interesting to see copies of the Bible and the New Testament printed in Chinese by the aid of these types.”—Curiosities of Industry—Printing; its Modern Varieties, byG. Dodd, p. 4.
[143]This may sometimes have been owing to a scarcity of capital letters. An amusing story is told of a jobbing printer, who was seen printing the label “Lodgings to let,” in gold capital letters on a blue ground, with the second G left out. Upon the omission being pointed out to him, he said “Pshaw! I should like to know why a printer should not spell Lodgings with one G, when he has but that one in his fount!”
[143]This may sometimes have been owing to a scarcity of capital letters. An amusing story is told of a jobbing printer, who was seen printing the label “Lodgings to let,” in gold capital letters on a blue ground, with the second G left out. Upon the omission being pointed out to him, he said “Pshaw! I should like to know why a printer should not spell Lodgings with one G, when he has but that one in his fount!”
[144]Some of these bindings were wonderful specimens of patient labour. Wooden boards as thick as the panels of a door, studded with large brass nails with ornamented heads and massive metal corners, for sides, the backs solid with paste and glue, and the fronts fastened with heavy clasps, were by no means rare. Sometimes these covers were so made as to serve as receptacles for relics. Scaliger tells us that his grandmother had a printed Psalter, the cover of which was two inches thick, the inside forming a kind of cupboard in which was a small silver crucifix; and Mr. Hansard relates having seen an ancient book, in the cover of which was a recess for a relic—a human toe!
[144]Some of these bindings were wonderful specimens of patient labour. Wooden boards as thick as the panels of a door, studded with large brass nails with ornamented heads and massive metal corners, for sides, the backs solid with paste and glue, and the fronts fastened with heavy clasps, were by no means rare. Sometimes these covers were so made as to serve as receptacles for relics. Scaliger tells us that his grandmother had a printed Psalter, the cover of which was two inches thick, the inside forming a kind of cupboard in which was a small silver crucifix; and Mr. Hansard relates having seen an ancient book, in the cover of which was a recess for a relic—a human toe!