A Short History of English Printing, 1476-1898. Henry Robert Plomer
Rents, without Temple Bar, that is in some house adjacent to Durham House in the Strand. The earliest extant printed ballad was issued by Richard Faques, the Ballad of the Scottish King, of which the only known copy is in the British Museum, and amongst his undated books is one which he printed for Robert Wyer, the Charing Cross printer, under the title of De Cursione Lunæ. It was printed with the Gothic type, and the blocks were supplied by Wyer. Richard Faques' device was a copy of that of the Paris bookseller Thielmann Kerver, with an arrow substituted for the tree, and the design on the shield altered. The custom of adapting other men's devices was very common, and is one of the many evidences of dearth of originality on the part of the early English printers.
The latest date found in the books of this printer is 1530.
Another prominent figure in the early years of the sixteenth century was that of Robert Copland. He was a man of considerable ability, a good French scholar, and a writer of mediocre verse. Apart from this, he was also, in the truest sense of the word, a book lover, and used his influence to produce books that were likely to be useful, or such as were worth reading. In the prologue to the Kalendar of Shepherdes, which Wynkyn de Worde printed in 1508, he described himself as servant to that printer. This has been taken to mean that he was one of De Worde's apprentices. But in 1514, if not earlier, he had started in business for himself as a stationer and printer, at the sign of the Rose Garland in Fleet Street. Very few of the books that he printed now exist, and this, taken in conjunction with the fact that he translated and wrote prologues for so many books printed by De Worde, has led all writers upon early English printing to conclude that he was an odd man about De Worde's office, and that he was in fact subsidised by that printer. There is evidence, however, that many of the books printed by De Worde, that have prologues by Robert Copland, were first printed by him, and that in others he had a share in the copies.
In the British Museum copy of the Dyeynge Creature, printed by De Worde in 1514, it is noticeable that on the last leaf is the mark or device of Robert Copland, not that of the printer, while in the copy now in the University Library, Cambridge, De Worde's device is on the last leaf.
This would appear to indicate that both printers were associated in the venture, though the work actually passed through De Worde's press, and that those copies which Copland took and paid for were distinguished by his device. Again, in several of these books, found with De Worde's colophons, Copland speaks of himself as the 'printer,' or 'the buke printer,' and the inference is that they were reprints of books which Copland had previously printed. Indeed in one instance the evidence is still stronger. In 1518, Henry Pepwell printed at the sign of the Trinity the Castell of Pleasure. The prologue to this takes the form of a dialogue in verse between Copland and the author, of which the following lines are the most important:—
'Emprynt this boke, Copland, at my request
And put it forth to every maner state.'
To which Copland replies:—
'At your instaunce I shall it gladly impresse
But the utterance, I thynke, will be but small
Bokes be not set by: there tymes is past, I gesse;
The dyse and cardes, in drynkynge wyne and ale,
Tables, cayles, and balles, they be now sette a sale
Men lete theyr chyldren use all such harlotry
That byenge of bokes they utterly deny.'
If this means anything, it is impossible to avoid the inference that Robert Copland printed the first edition of this book. Amongst others that he was in some way interested in may be noticed a curious book by Alexander Barclay, Of the Introductory to write French, fol., 1521, of which there is a copy in the Bodleian; The Mirrour of the Church, 4to, 1521, a devotional work, printed by Wynkyn de Worde, with a variety of curious woodcuts; the Rutter of the Sea, the first English book on navigation, translated from Le Grande Routier of Pierre Garcie; Chaucer's Assemble of Foules and the Questionary of Cyrurgyens, printed by Robert Wyer in 1541.
Copland was also the author, and without doubt the printer, of two humorous poems that are amongst the earliest known specimens of this kind of writing. The one called The Hye Way to the Spyttell hous took the form of a dialogue between Copland and the porter of St. Bartholomew's, and turns upon the various kinds of beggars and impostors, with a running commentary upon the vices and follies that bring men to poverty. Iyll of Brentford, the second of these compositions, is a somewhat different production. It recounts the legacies left by a certain lady, but the humour, though to the taste of the times, was excessively broad.
In 1542 Dr. Andrew Borde spoke of his Introduction of Knowledge as printing at 'old Robert Copland's, the eldest printer in England.' Whether he meant the oldest in point of age or in his craft is not clear; but it may well be that, seeing that De Worde, Pynson, and the two Faques were dead, this printing house was the oldest then in London.
John Rastell also began to print about the year 1514. He is believed to have been educated at Oxford, and was trained for the law. In addition to his legal business, he translated and compiled many law-books, the most notable being the Great Abridgement of the Statutes. This book he printed himself, and it is certainly one of the finest examples of sixteenth century printing to be found. The work was divided into three parts, each of which consisted of more than two hundred large folio pages. When it is remembered that the method of printing books at this period was slow, at the most only two folio pages being printed at a pull, the time and capital employed upon the production of this book must have been very great. The type was the small secretary in use at Rouen, and it is just possible the book was printed there and not in England.
John Rastell's first printing office in London was on the south side of St. Paul's Churchyard. Williarn Bonham, the stationer with whom Rastell was afterwards associated, had some premises there, and as late as the seventeenth century there was a house in Sermon Lane, known as the Mermaid, and it may be that in one or other of these Rastell printed the undated edition of Linacre's Grammar, which bears the address, 'ye sowth side of paulys.' But in 1520 he moved to 'the Mermayd at Powlys gate next to chepe syde.' There he printed The Pastyme of People, and Sir Thomas More's Supplicacyon of Souls, besides several interludes and two remarkable jest-books, The Twelve mery gestys of one called Edith and A Hundred Mery Talys. The last named became one of the most popular books of the time, but only one perfect copy of it is now known, and that, alas! is not in this country. Rastell was brother-in-law of Sir Thomas More, and up to the year 1530 a zealous Roman Catholic. So strong were his religious opinions that in that year he wrote and printed a defence of the Roman Catholic doctrine of Purgatory, under the title of the New Boke of Purgatory. This was answered by John Frith, the Reformer, who is credited with having achieved John Rastell's conversion. By whatever means the change was brought about, John Rastell did soon afterwards become a Protestant; but the change in his belief made him many enemies. He was arrested for his opinions, and if he did not die in prison, he was in prison just before his death, which took place in 1536. During the last sixteen years of his life he does not appear to have paid much attention to his business. A document now in the Record Office shows that he was in the habit of locking up his printing office in Cheapside, and going down into the country for months at a time. But a part of the premises he sublet, and this was occupied for various periods by several stationers—William Bonham, Thomas Kele, John Heron, and John Gough, being particularly named. Like all his predecessors, he dropped the use of the secretary type in favour of black letter, and his books, as specimens of printing, greatly deteriorated. Dibdin, in his reprint of The Pastyme of the People, was very severe upon the careless printing of the original, but it is more than likely that it was the work of one of Rastell's apprentices, rather than his own. Amongst those whom he employed we find the names of William Mayhewes, of whom nothing is known; Leonard Andrewe,