Early Illustrated Books. Alfred W. Pollard
while the colophon in which his name appears has been partly erased, partly covered over by a painted copy of Vérard's well-known device. Vérard's borders, also, are as a rule heavy, consisting chiefly of flowers and arabesques arranged in clumsy squares or lozenges. Altogether these princely volumes are perhaps rather magnificent than in good taste.
The custom of illuminating the cuts in vellum books was not practised only by Vérard. Almost all the French publishers of Books of Hours resorted to it—at first, while the illumination was carefully done, with very splendid effect, afterwards to the utter ruin of the beautiful designs which the colour concealed. Under Francis I. illumination seems to have revived, for we hear of a vellum copy of the De Philologia of Budæus, printed by Ascensius (1532), having its first page of text enclosed in a rich border in which appear the arms of the dukes of Orleans and Angoulême to whom it was dedicated. In another work by Budæus (himself a book-lover as well as a scholar), the De Transitu Hellenismi, printed by Robert Estienne in 1535, the portrait and arms of Francis I. are enclosed in another richly illuminated border, and the King's arms are painted in other books printed about this time. In a vellum copy of a French Bible printed by Jean de Tournes at Lyons in 1557, there are over three hundred miniatures, and borders to every page. Even by the middle of the seventeenth century the use of illumination had not quite died out in France, though it adds nothing to the beauty of the tasteless works then issued from the French presses. One of the latest instances in which I have encountered it is in a copy presented to Louis XIV. of La Lyre du Jeune Apollon, ou la Muse naissante du Petit de Beauchasteau (Paris, 1657); in this the half-title is surrounded by a wreath of gold, and surmounted by a lyre, the title is picked out in red, blue, and gold, and the headpieces and tailpieces throughout the volume are daubed over with colour. By the expenditure of a vast amount of pains, a dull book is thus rendered both pretentious and offensive.
In Italy, the difference between ordinary copies of early books and specially prepared ones, is bridged over by so many intermediate stages of decoration that we are obliged to confine our attention to one or two famous examples of sumptuous books. The Italian version of Pliny, made by Cristoforo Landino and printed by Jenson in 1476, exists in such a form as one of the Douce books (No. 310) in the Bodleian Library. This copy has superb borders at the beginning of each book, and is variously supposed to have been prepared for Ferdinand II., King of Naples, and for a member of the Strozzi family of Florence, the arms of both being frequently introduced into the decoration. Still more superb are the three vellum copies of Giovanni Simoneta's Historia delle cose facte dallo invictissimo Duca Francesco Sforza, translated (like the Pliny) by Cristoforo Landino, and printed by Antonio Zarotto at Milan in 1490. These copies were prepared for members of the Sforza family, portraits of whom are introduced in the borders. The decoration is florid, but superb of its kind, and provoked Dibdin to record his admiration of the copy now in the Grenville Library as 'one of the loveliest of membranaceous jewels' it had ever been his fortune to meet with. For many years in a case devoted to specimens of illuminated printed books in the King's Library the British Museum used to exhibit vellum copies of the Aldine Martial of 1501, and Catullus of 1502, and side by side with them, printed respectively just twelve years later, and also on vellum, an Aulus Gellius and Plautus presented by Giunta, the Florentine rival of Aldus, to the younger Lorenzo de' Medici.
The use of illumination in printed books was a natural and pleasing survival of the glories of the illuminated manuscript. Its discontinuance was in part a sign of health as testifying to the increased resources of the printing press; in part a symptom of the carelessness as to the form of books which by the end of the seventeenth century had become well-nigh universal throughout Europe. So long as a few rich amateurs cared for copies of their favourite authors printed on vellum, and decorated by the hands of skilful artists, a high standard of excellence was set up which influenced the whole of the book-trade, and for this reason the revival of the use of vellum in our own day may perhaps be welcomed. It may be noted that the especially Italian custom of introducing the arms of the owner into the majority of illuminated designs left its trace in the blank shields which so frequently form the centre of the printed borders in Italian books from 1490 to 1520. Theoretically these shields were intended to be filled in with the owner's arms in colour, but they are more often found blank. Two examples of their use are here shown, one from the upper border of the Calendar, printed at Venice in 1476 (the first book with an ornamental title-page), the other from the lower border of the first page of text of the Trabisonda Istoriata, printed also at Venice in 1494. We may note also that the parallel custom of inserting the arms of the patron to whom a book was dedicated was carried on in Spain in a long series of title-pages, in which the arms of the patron form the principal feature.
In England, also, a patron's coat was sometimes printed as one of the decorations of a book. Thus on the third leaf of the first edition of the Golden Legend there is a large woodcut of a horse galloping past a tree, the device of the Earl of Arundel, the patron to whom Caxton owed his yearly fee of a buck in summer and a doe in winter. So, too, in the Morton Missal, printed by Pynson in 1500, the Morton arms occupy a full page at the beginning of the book. Under Elizabeth and James I. the practice became fairly common. In some cases where the leaf thus decorated has become detached, the arms have all the appearance of an early book-plate, and the Bagford example of Sir Nicholas Bacon's plate has endured suspicions on this account. In this instance, however, the fortunate existence of a slight flaw in the block, which occurs also in the undoubtedly genuine gift-plate of 1574, offers a strong argument in favour of its having been in the possession of Sir Nicholas himself, and therefore presumably used by him as a mark of possession.
[1] In a copy of the edition of Suetonius, printed by Sweynheym and Pannartz at Rome in 1470, which belonged to William Morris, and is now in the Morgan collection at New York, there are nine excellent woodcut capitals used with a handsome border-piece, which do not appear in other examples. Dr. Lippmann found similar decorations in the 1465 edition of Lactantius, printed at Subiaco by the same firm. In this case the blocks probably belonged to the printers, but were used to decorate only a few copies.
[2] A full description of this copy will be found in Dr. Sommer's introduction to the facsimile and reprint of the English translations of Paris, 1503, and London, 1506 (Kegan Paul, 1892).
CHAPTER II
THE COMPLETION OF THE PRINTED BOOK
As we have seen, the typical book during the first quarter of a century of the history of printing is one in which the printer supplied the place of the scribe and of the scribe alone. An appreciable, though not a very large, percentage of early books have come down to us in the exact state in which they issued from the press, with a blank space at their beginning for an illumination, blanks for the initial letters, blanks for the chapter headings, no head-lines, no title-page, no pagination, and no signatures to guide the binder in arranging the sheets in the different gatherings. Our task in the present chapter is to trace briefly the history of the emancipation of the printer from his dependence on handwork for the completion of his books. We shall not expect to find this emancipation effected step by step in any orderly progression. Innovations, the utility of which seems to us obvious and striking, occur as if by hazard in an isolated book, are then abandoned even by the printer who started them, and subsequently reappear in a number of books printed about the same time at different places, so that it is impossible to fix the chronology of the revived