tag:blogger.com,1999:blog-196532612024-03-22T00:40:00.571+00:00Exeter Working Papers in Book HistoryIan Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comBlogger763125tag:blogger.com,1999:blog-19653261.post-27842990274154681512023-11-18T11:32:00.006+00:002024-03-04T20:20:44.819+00:00Homepage<center>
<b>Exeter Working Papers in Book History<br />
Key to pages on the web site</b></center>
This website contains biographical, bibliographical and historical information on book history, particularly for the later eighteenth century.
<br />
<br />
<center>
<b>Main sections</b><br />
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#DEV">Devon</a> -
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#BRI">British Isles</a> -
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#LON">London</a> -
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#OTH">Other British counties and nations</a> -
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#FRA">France (Basse-Normandie etc)</a> <br />
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#GER">Germany (Bertuch etc)</a> -
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#EUR">Other European countries</a> <br />
<a href="https://bookhistory.blogspot.com/2014/10/homepage.html#NUM">Numerical list of working papers</a> -
<a href="http://bookhistory.blogspot.com/2007/01/abbreviations.html">Abbreviations and references</a>
<br />
<b> It is linked to the following websites:</b><br />
<a href="https://devon-bibliography.blogspot.com/">Devon bibliography</a> |
<a href="https://devon-communities-bibliography.blogspot.com/">Devon Communities bibliography</a> |
<a href="https://etched-on-devons-memory.blogspot.com/">Etched on Devon's memory (topographical prints)</a><br />
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<br /><b>
Some recent publications</b><br />
<b>EWP 34. </b><i>Magdalen Road, Exeter : using historical sources to track Mount Radford village street through time</i>, Exeter Working Papers in Book History, 2024. 76 pages : illustrations, maps ; 30 cm. No ISBN ; £10.00. Email to place order. <br />
<b>EWP 27a. </b><i>The Baring-Gould library : the books at Lewtrenchard, a shelf list and guide, including the Shacklock Collection</i>, Exeter Working Papers in Book History, 2022. 97 pages : illustrations ; 30 cm. No ISBN ; £10.00. Email to place order.<br />
<b>EWP 12 </b><i><a href="https://devon-bibliography.blogspot.com/2021/08/the-story-of-book-in-exeter-and-devon.html">The story of the book in Exeter and Devon</a></i>, Exeter Working Papers in Book History, 2021. 257 pages : illustrations ; 30 cm. ISBN 978-0-9507306-4-6 ; £15.00. Email to place order.<br />
<b>EWP 23. </b><i><a href="http://www.droz.org/fr/%20livre/?DZOI=260019006856">Dictionnaire des imprimeurs, libraires et gens du livre en Basse-Normandie 1701-1789</a></i>. Geneva: Droz, 2020.<br />
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<b>World-wide</b><br />
<a href="http://bookhistory.blogspot.co.uk/2015/01/an-anti-book-trade-index.html">An anti-book trade index</a>. A chronological listing of attacks on the written word. <br />
<br />
<b>Europe</b><br />
Project 1781: charting the European book trades on the eve of the French Revolution, based on Antoine Perrin's <i>Almanach de la librairie</i>. Pages from this project are listed under individual countries.<br />
<br />
<a name="BRI"></a>
<b>British Isles</b><br />
Ballad printers, c. 1700-1890. <a href="http://bookhistory.blogspot.co.uk/2013/10/baring-gould-ballads-imprint-analysis.html">Baring-Gould ballad collection: analysis of imprints</a> .<br />Book trade masters, 1710-1777. <a href="http://bookhistory.blogspot.com/2007/01/apprentices-introduction.html">Introduction.</a> <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters.html">A</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-b.html">B</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-c.html">C</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-d.html">D</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-e.html">E</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-f.html">F</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-g.html">G</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-h.html">H</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-i-j.html">I-J</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-k.html">K</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-l.html">L</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-m.html">M</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-n-o.html">N-O</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-p-q.html">P-Q</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-r.html">R</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-s.html">S</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-t-v.html">T-V</a>, <a href="http://bookhistory.blogspot.com/2007/01/apprentice-masters-w-z.html">W-Z</a>.<div>Book trade apprentices, 1710-1777.
<a href="http://bookhistory.blogspot.com/2007/01/apprentices.html">A</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-b.html">B</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-c.html">C</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-d.html">D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-e.html">E</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-f.html">F</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-g.html">G</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-h.html">H</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-i-k.html">I-K</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-l.html">L</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-m.html">M</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-n-o.html">N-O</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-p-q.html">P-Q</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-r.html">R</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-s.html">S</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-t-v.html">T-V</a>,
<a href="http://bookhistory.blogspot.com/2007/01/apprentices-w-z.html">W-Z</a> .
<br />
Book trade bankrupts, 1731-1806. <a href="http://bookhistory.blogspot.com/2007/01/bankrupts.html">Introduction and names A-Z</a>
<br />
Book trade insurance policies, 1775-1787.
<a href="http://bookhistory.blogspot.com/2007/01/insurance-introduction.html">Introduction.</a> Names:
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-b.html">A-B</a>,
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-c-d.html">C-D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-e-g.html">E-G</a>,
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-h-l.html">H-L</a>,
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-m-q.html">M-Q</a>,
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-r-s.html">R-S</a>,
<a href="http://bookhistory.blogspot.com/2007/01/insurance-names-t-y.html">T-Z</a> .
<br />Book trade personnel, 1781. <a href="http://bookhistory.blogspot.co.uk/2013/07/british-isles-1781.html">Project 1781.</a> <br />
Book trade personnel, 1784-1811. Analysis of national trade directories. <a href="http://bookhistory.blogspot.com/2007/10/britain-1784-1811-introduction.html">Introduction</a> .<br />
Places:
<a href="http://bookhistory.blogspot.com/2007/10/britain-1784-1811.html">A</a>,
<a href="http://bookhistory.blogspot.com/2007/10/britain-1784-1811-b.html">B</a>,
<a href="http://bookhistory.blogspot.com/2007/10/britain-1784-1811-c.html">C</a>,
<a href="http://bookhistory.blogspot.com/2007/10/britain-1784-1811-d.html">D</a>,
<a href="http://bookhistory.blogspot.com/2007/10/britain-1784-1811-e.html">E</a>,
<a href="http://bookhistory.blogspot.com/2008/01/britain-1784-1811-f.html">F</a>,
<a href="http://bookhistory.blogspot.com/2008/01/britain-1784-1811-g.html">G</a>,
<a href="http://bookhistory.blogspot.com/2008/05/britain-1784-1811-h.html">H</a>,
<a href="http://bookhistory.blogspot.com/2008/05/britain-1784-1811-i-k.html">I-K</a>,
<a href="http://bookhistory.blogspot.com/2009/03/britain-1784-1811-l.html">L</a>,
<a href="http://bookhistory.blogspot.com/2009/03/britain-1784-1811-m.html">M</a>,
<a href="http://bookhistory.blogspot.com/2009/04/britain-1784-1811-n-o.html">N-O</a>,
<a href="http://bookhistory.blogspot.com/2009/04/britain-1784-1811-p.html">P</a> ,
<a href="http://bookhistory.blogspot.com/2009/04/britain-1784-1811-r.html">R</a>,
<a href="http://bookhistory.blogspot.com/2009/04/britain-1784-1811-s.html">S</a>,
<a href="http://bookhistory.blogspot.com/2009/05/britain-1784-1811-t-u.html">T-U</a>,
<a href="http://bookhistory.blogspot.com/2009/05/britain-1784-1811-w-y.html">W-Y</a> .
<br />
Printers of popular literature, c. 1700-1890. <a href="http://bookhistory.blogspot.co.uk/2013/06/printers-of-popular-literature-1.html">1. Provinces</a> .<br />
Trade directories, British Isles 1781-1819: an index to places in national directories. <a href="http://bookhistory.blogspot.com/2007/01/directories-introduction.html">Introduction</a> .<br />
--- Places:
<a href="http://bookhistory.blogspot.com/2007/01/directories-places-b.html">A-B</a>
<a href="http://bookhistory.blogspot.com/2007/01/directories-places-c-d.html">C-D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/directories-places-e-k.html">E-K</a>
<a href="http://bookhistory.blogspot.com/2007/01/directories-places-l-o.html">L-O</a>
<a href="http://bookhistory.blogspot.com/2007/01/directories-places-p-s.html">P-S</a>
<a href="http://bookhistory.blogspot.com/2007/01/directories-places-t-y.html">T-Y</a> .
<br />
Monumenta chartae papyraceae cloacales historiam illustrantia. <a href="http://bookhistory.blogspot.com/2005/12/cloacopapyrology.html">List of firms 1880-2000</a> .<br />
Collectanea cloacopapyrologica. Exhibits from the Maxted Collection of Cloacopapyrology, 1900-2010.<br />
--- 1. <a href="http://bookhistory.blogspot.com/2008/02/collectanea-cloacopapyrologica-1.html">Sheets inscribed by manufacturers or institutions</a> <br />
--- 2. <a href="http://bookhistory.blogspot.com/2008/02/collectanea-cloacopapyrologica-2.html">Pictorial and humorous items</a> <br />
--- 3. <a href="http://bookhistory.blogspot.com/2008/02/collectanea-cloacopapyrologica-3.html"><i>New and revised list of Drayton Mill toilet papers</i>, c.1900.</a> <br />
<br />
<a name="LON"></a>
<b>London</b> (*Listings to be amalgamated)<br />
Book trade personnel, 1710-1800. County listing* [to add and merge]<br />
Book trade personnel, 1750-1820. Victor Berch's London newspaper extracts.*
<a href="http://bookhistory.blogspot.com/2007/01/berch-introduction.html">Introduction</a> .<br />
--- Names:
<a href="http://bookhistory.blogspot.com/2007/01/berch.html">A</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-b.html">B</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-c.html">C</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-d.html">D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-e.html">E</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-f.html">F</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-g.html">G</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-h.html">H</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-i.html">I</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-j.html">J</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-k.html">K</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-l.html">L</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-m.html">M</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-n.html">N</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-o.html">O</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-p.html">P</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-r.html">R</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-s.html">S</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-t.html">T</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-u-v.html">U-V</a>,
<a href="http://bookhistory.blogspot.com/2007/01/berch-w-z.html">W-Z</a> .<br />
Book trade personnel, 1775-1800. <a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-introduction.html">A checklist of members. Introduction</a> . <br />
- Names:
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800.html">A</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-b.html">B</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-c.html">C</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-d.html">D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-e.html">E</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-f.html">F</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-g.html">G</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-h.html">H</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-i-k.html">I-K</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-l.html">L</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-m.html">M</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-n-o.html">N-O</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-p-q.html">P-Q</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-r.html">R</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-s.html">S</a>,
<a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-t.html">T</a>,
<a href="http://bookhistory.blogspot.com/2017/04/london-1775-1800-u-v.html">U-V</a>,
<a href="http://bookhistory.blogspot.com/2017/04/london-1775-1800-w-z.html">W-Z</a> .<br />
Book trade personnel, 1775-1800. <a href="http://bookhistory.blogspot.com/2007/01/streets-introduction.html">A topographical guide. Introduction</a> . <br />
- Streets:
<a href="http://bookhistory.blogspot.com/2007/01/streets.html">A</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-b.html">B</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-c.html">C</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-d.html">D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-e.html">E</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-f.html">F</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-g.html">G</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-h.html">H</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-i-k.html">I-K</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-l.html">L</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-m.html">M</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-n.html">N</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-o.html">O</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-p.html">P</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-q.html">Q</a> ,
<a href="http://bookhistory.blogspot.com/2007/01/streets-r.html">R</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-s.html">S</a>,
<a href="http://bookhistory.blogspot.com/2007/01/streets-t-z.html">T-Z</a> .<br />
1785 London Coffee houses [to add]<br />
Book trade personnel, 1735-1775. London directories and Musgrave's obituary* <a href="http://bookhistory.blogspot.com/2007/01/london-1735-1775.html">Introduction & A-Z</a> <br />
Book trade personnel, 1811. Holden's London directory. <a href="http://bookhistory.blogspot.com/2012/02/london-1811.html">Names A-B</a> [in progress]<br />
Book trade personnel, 1817. Underhill's London directory. <a href="http://bookhistory.blogspot.com/2005/12/london-1817.html">Names A-C</a> [in progress]<br />
Booksellers. Lapthorne, Richard, 1682-1697. Correspondence <a href="https://bookhistory.blogspot.com/2014/10/homepage.html#LAP">with Richard Coffin of Alwington regarding book purchases</a> <br />
Engravers, 1859-1863. Cassells Family Bible: index of engravers and artists. <a href="http://bookhistory.blogspot.com/2005/12/cassels.html">Introduction & names A-Z</a> <br />
Printers of popular literature, c. 1550-1890. <a href="http://bookhistory.blogspot.co.uk/2013/06/printers-of-popular-literature-1.html">2. London</a> .<br />
Publishers recorded in Devon imprints, 1505-1800 [to add]<br />
Printers of popular literature. Such, 1890. <a href="http://bookhistory.blogspot.co.uk/2013/01/baring-gould-and-such-song-catalogue.html">Baring-Gould and the Such catalogue of songs, c.1890</a> .<br />
<br />
<a name="DEV"></a> <br />
<b>Devon (county)</b><br />
Bibliography, 2012-2014. Listing of titles relating to Devon. <a href="http://bookhistory.blogspot.co.uk/2013/06/devon-bibliography-2012.html">2012</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/07/devon-bibliography-2013.html">2013</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-bibliography-2014.html">2014</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/01/devon-bibliography-2015.html">2015</a> .<br />
Book history, 50-2000. <a href="http://bookhistory.blogspot.com/2007/01/devon-book-introduction.html">A history of the book in Devon. 10. Contents and introduction.</a> <br />
Book trade index : a biographical dictionary. <a href="http://bookhistory.blogspot.com/2006/12/devon-biographical-dictionary.html">Introduction.</a> For individual localities see the table below. <br />
Books with Devon imprints : a handlist 1505-1800. <a href="http://bookhistory.blogspot.com/2007/02/devon-imprints-introduction.html">Introduction.</a> <br />
-Imprints:
<a href="http://bookhistory.blogspot.com/2006/12/devon-1500-1674.html">1505-1674</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1675-1699.html">1675-1699</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1700-1704.html">1700-1704</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1705-1709.html">1705-1709</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1710-1714.html">1710-1714</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1715-1719.html">1715-1719</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1720-1729.html">1720-1729</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1730-1739.html">1730-1739</a>,
<br />
-
<a href="http://bookhistory.blogspot.com/2006/12/devon-1740-1749.html">1740-1749</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1750-1759.html">1750-1759</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1760-1764.html">1760-1764</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1765-1769.html">1765-1769</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1770-1779.html">1770-1779</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1780-1781.html">1780-1781</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1782-1784.html">1782-1784</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1785-1786.html">1785-1786</a>,
<br />
-
<a href="http://bookhistory.blogspot.com/2006/12/devon-1787-1789.html">1787-1789</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1790.html">1790</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1791-1792.html">1791-1792</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1793-1794.html">1793-1794</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1795-1797.html">1795-1797</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-1798-1800.html">1798-1800</a>,
<a href="http://bookhistory.blogspot.com/2006/12/devon-printed-forms.html">printed forms</a> .<br />
Broadside ballads, 1549-1890. <a href="http://bookhistory.blogspot.co.uk/2014/04/devon-printed-broadsides.html">Devon printed broadsides</a> . <br />
Broadside ballads, 1549-1890. Listing. <a href="http://bookhistory.blogspot.com/2014/01/broadside-ballads-with-devon-content.html">Broadside ballads with Devon content</a> .<br />
Broadside ballads, 1716-1860. Listing. <a href="http://bookhistory.blogspot.com/2013/12/broadside-ballads-printed-in-devon.html">Broadside ballads by Devon printers</a> .<br />
Devonshire colic controversy, 1738-1769. <a href="http://bookhistory.blogspot.com/2007/02/cider.html">Cider and eighteenth century evidence based healthcare: a Devon pamphlet war</a> <br />
Digital archive, 2000 to date. <a href="http://bookhistory.blogspot.co.uk/2013/12/devon-digital-archive.html">Website listing</a> <br />
Election ephemera, 1750-1900. <a href="http://bookhistory.blogspot.co.uk/2015/01/election-ephemera-introduction.html">Devon election ephemera, 1750-1900</a> .<br />
Printing press register, 1799-1873 [to add]<br />
Publishers. Imprint registers, 1505-date. <a href="http://bookhistory.blogspot.co.uk/2014/02/devon-imprints-introduction-and-key.html">Introduction and topographical and chronological key</a> . For individual places see below. <br />
Reading rooms, 1914. <a href="http://bookhistory.blogspot.com/2012/01/devon-reading-rooms-in-kellys-1914.html">Information from trade directories</a> <br />
Topographical print publishers and engravers, 1660-1870. Listing [to add].<br />
Topographical prints, 1660-1870. <a href="http://bookhistory.blogspot.co.uk/2013/07/the-changing-view-of-devon-through.html">The changing view of Devon through topographical prints</a> <br />
Watermarks, 1717-1819. <a href="http://bookhistory.blogspot.co.uk/2014/09/devon-watermarks.html">Watermarks on Devon printed ephemera, 1717-1819. </a> <br />
<br />
<b>Devon (places).</b><br />
Devon.
<a href="http://bookhistory.blogspot.com/2006/12/devon-biographical-dictionary.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-printed-forms.html">Forms</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html">Newspapers</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/09/devon-watermarks.html">Watermarks. </a> <br />
Abbotskerswell.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Abbotskerswell">Paper trades. </a> <br />
Alwington. Coffin, Richard. 1682-1697. Book trade references in the Lapthorne-Coffin correspondence. <a href="http://bookhistory.blogspot.com/2007/01/lapthorne-introduction.html">Introduction</a> . <br />
- Letters not from Richard Lapthorne:
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-supplement.html">1682-1683</a> .<br />
- Letters from Lapthorne:
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1683.html">1683</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1687.html">1687</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1688.html">1688</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1689.html">1689</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1690.html">1690</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1691.html">1691</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1692.html">1692</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1693.html">1693</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1694.html">1694</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1695.html">1695</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1696.html">1696</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-1697.html">1697</a>.<br />
-
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-sales.html">Book sales</a>,
<a href="http://bookhistory.blogspot.com/2007/01/portledge-sale.html">The Portledge sale catalogue of 1801</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-books.html">Books mentioned in the letters</a>,
<a href="http://bookhistory.blogspot.com/2007/01/lapthorne-trade.html">Book trade personnel</a> .<br />
Appledore.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Appledore">Book trade index</a> . <br />
Ashburton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-ashburton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-ashburton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#ASH">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Ashburton">Paper trades. </a> <br />
Ashprington.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Ashprington">Paper trades</a> .
Includes Tuckenhay. See also Cornwood. <br />
Awliscombe.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Awliscombe">Book trades</a> . <br />
Axminster.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-axminster.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-axminster.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#AXM">Newspapers</a> . <br />
Bampton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Bampton">Book trade index</a> .
<br />
Barnstaple.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-barnstaple.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-barnstaple.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#BAR">Newspapers</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-barnstaple.html">Paper trades</a> .
See also Pilton. <br />
Bideford.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-bideford.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-bideford.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#BID">Newspapers</a> . <br />
Bovey Tracey.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Bovey%20Tracey">Book trade index</a> .
<br />
Bradninch.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Bradninch">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-bradninch.html">Paper trades</a> .
Includes Hele. <br />
Brixham.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-brixham.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#BRI">Newspapers</a> . <br />
Broadclyst.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Broadclyst">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-broadclyst.html">Paper trades</a> .
See also Silverton. <br />
Buckfastleigh.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Buckfastleigh">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#BUC">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Buckfastleigh">Paper trades,</a>
Includes Kilbury. <br />
Budleigh Salterton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-budleigh-salterton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-budleigh-salterton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#BUD">Newspapers</a> . <br />
Chudleigh.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-chudleigh.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-chudleigh.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#CHU">Newspapers</a> . <br />
Chulmleigh.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Chulmleigh">Book trade index</a>, <br />
Colyton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Colyton">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-colyton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-colyton.html">Paper trades.</a> <br />
Cornwood.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Cornwood">Paper trades</a> .
Includes Tuckenhay. See also Ashprington. <br />
Crediton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-crediton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-crediton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#CRE">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Crediton">Paper trades. </a> <br />
Cullompton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-cullompton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-cullompton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#CUL">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-cullompton.html">Paper trades</a> .
Includes Langford, Longmoor. <br />
Dartington. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#DAR">Newspapers</a> . <br />
Dartmouth.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-dartmouth.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-dartmouth.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#DART">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Dartmouth">Paper trades</a> .
Includes Warfleet. <br />
Dawlish.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-dawlish.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-dawlish.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#DAW">Newspapers</a> . <br />
Devonport.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-devonport.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-devonport.html">Imprints</a>,
Renamed from Plymouth Dock in 1824, incorporated in Plymouth in 1914. <br />
Dunsford. <a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Dunsford">Book trade index</a>, <br />
Exeter.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter.html">Book trade index</a>, imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-z-miscellaneous.html">A-Z miscellaneous</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/10/devon-imprints-exeter-anonymous.html">Imprints anonymous 1586-1819</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-anonymous.html">1820-1849</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#EXE">newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-exeter.html">paper trades</a> .
Includes St Thomas. See also Exwick, Topsham. <br />
Exeter A.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-a.html">Book trade index</a>, <br />
Exeter B.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-b.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2014/02/devon-imprints-exeter-barker-and-bill.html">Barker and Bill</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/02/devon-imprints-j-b-john-bringhurst.html">B., J (John Bringhurst?)</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-balle.html">Balle</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-besley.html">Besley</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-bishop.html">Bishop</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-bliss.html">Bliss</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-bowring.html">Bowring</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-bradford.html">Bradford</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-brice.html">Brice</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-brocas.html">Brocas</a> .<br />
Exeter C.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-c.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-clifford.html">Clifford</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/03/devon-imprints-exeter-commin.html">Commin</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-cullum.html">Cullum</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-curson.html">Curson</a> .<br />
Exeter D.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-d.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-darby.html">Darby</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-darker.html">Darker</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-davies.html">Davies</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-devon-institutions.html">Devon institutions</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-devonshire.html">Devonshire</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-dewdney.html">Dewdney</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-dight.html">Dight</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-drayton.html">Drayton</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-drew.html">Drew</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-dyer.html">Dyer</a> .<br />
Exeter E.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-e.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/03/devon-imprints-exeter-eland.html">Eland</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-exeter-institutions.html">Exeter Institutions</a> .<br />
Exeter F.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-f.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-farley.html">Farley</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/10/devon-imprints-exeter-featherstone.html">Featherstone</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-flindell.html">Flindell</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-floyde.html">Floyde</a> .<br />
Exeter G.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-g.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-godfrey.html">Godfrey</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-gresswell.html">Gresswell</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-grigg.html">Grigg</a> .<br />
Exeter H.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-h.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-hannaford.html">Hannaford</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-hedgeland.html">Hedgeland</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-hide.html">Hide</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-holden.html">Holden</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-hooker.html">Hooker,
</a> <a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-howe.html">Howe</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-hunt.html">Hunt</a> .<br />
Exeter I-L.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-i-l.html">Book trade index</a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-latimer.html">Latimer</a> .<br />
Exeter M.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-m.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-mkenzie.html">M'Kenzie</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-march.html">March</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-may.html">May</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-mugg.html">Mugg</a> .<br />
Exeter N-Q.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-n-q.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-norton.html">Norton</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-pearce.html">Pearce</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-penny.html">Penny</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/10/devon-imprints-exeter-pollard.html">Pollard</a> .<br />
Exeter R.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-r.html">Book trade index</a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-risdon.html">Risdon</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-roberts.html">Roberts</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-rowe.html">Rowe</a> .<br />
Exeter S.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-s.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-score.html">Score</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-spark.html">Spark</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-spencer.html">Spencer</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/10/devon-imprints-exeter-spreat.html">Spreat</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-stone.html">Stone</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-strong.html">Strong</a> .<br />
Exeter T-V.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-t-v.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-thorn.html">Thorn</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-townsend.html">Townsend</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-tozer.html">Tozer</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/10/devon-imprints-exeter-treadwin.html">Treadwin</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-trewman.html">Trewman</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-exeter-upham.html">Upham</a> .<br />
Exeter W-Y.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exeter-w-z.html">Book trades. </a>, Imprints:
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-wallis.html">Wallis</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/03/devon-imprints-exeter-webb-bower.html">Webb and Bower</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exeter-welsford.html">Welsford</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-western-times-office.html">Western Times Office</a>,
<a href="http://bookhistory.blogspot.co.uk/2018/06/devon-imprints-wheaton-1835-1939.html">Wheaton 1835-1939</a>,
<a href="http://bookhistory.blogspot.co.uk/2018/06/devon-imprints-wheaton-1940-1965.html">1940-1965</a>,
<a href="http://bookhistory.blogspot.co.uk/2018/06/devon-imprints-wheaton-1966-1975.html">Wheaton 1966-1975</a>,
<a href="http://bookhistory.blogspot.co.uk/2018/06/devon-imprints-wheaton-1976-2017.html">Wheaton 1976-2017</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-exeter-williams.html">Williams</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-woolmer.html">Woolmer</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-exeter-yeo.html">Yeo</a> .<br />
Exeter. 1855-2000. Book trades. <a href="http://bookhistory.blogspot.com/2012/02/exeter-1855-2000.html">Directory of names from a selection of trade directories</a> <br />
Exeter. Maps, 1587-1850. <a href="http://bookhistory.blogspot.com/2006/10/exeter-maps.html">Early printed maps of Exeter</a> <br />
Exeter. Brice, Andrew. <a href="http://bookhistory.blogspot.com/2007/01/andrew-brice.html">Andrew Brice, printer of Exeter: an agreeable biographical gallimaufry</a> . Extracts from his writings in chronological order. <br />
Exeter. Cathedral Library 1080-1516. <a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-introduction.html">Exeter Cathedral Library: concordance of the medieval catalogues and surviving manuscripts. Introduction</a> <br />
- <a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library.html">A. Bibles</a> -
<a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-b.html">B. Service books</a> -
<a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-c.html">C. Devotional works</a> -
<a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-d.html">D. Legal works</a> <br />
- <a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-e.html">E. Classical writers</a> -
<a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-f.html">F. Church fathers</a> -
<a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-g.html">G. Later writers</a> -
<a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-h.html">H. Miscellaneous works</a>
<br />
Exeter. Newspapers. Exeter Flying Post. 1805. <a href="http://bookhistory.blogspot.com/2014/09/exeter-newspapers-nelson-and-trafalgar.html">Devon expects: contemporary Exeter news reports on Nelson and Trafalgar</a> . <br />
Exeter. Newspapers. Flindell's Western Luminary. 1815.<br />
<a href="http://bookhistory.blogspot.com/2007/01/luminary-introduction.html">Newspaper readership in south West England: an analysis of the <i>Flindell's Western Luminary</i> subscribers list of 1815. Introduction</a> . <br />
- 1. Subscribers:
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-b.html">A-B</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-c-d.html">C-D</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-e-g.html">E-G</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-h-l.html">H-L</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-m-q.html">M-Q</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-r-s.html">R-S</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscribers-t-z.html">T-Z</a> . <br />
-2
<a href="http://bookhistory.blogspot.com/2007/01/luminary-subscription-list.html">Subscription list</a> ,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-documents.html">correspondence of Thomas Flindell</a>,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-notes.html">notes on sources</a> ,
<a href="http://bookhistory.blogspot.com/2007/01/luminary-trades.html">index of occupations</a> .<br />
Exeter. Hart, Michael, 1615. <a href="http://bookhistory.blogspot.com/2007/01/harte.html">The inventory of Michael Harte, bookseller of Exeter, 1615. Introduction, images & transcript</a> <br />
Exeter. Medical Library, 1814-1815. <a href="http://bookhistory.blogspot.com/2007/01/exeter-medical-library.html">Extracts from minutes, 1814-15</a> . <br />
Exeter : Osborne, Thomas. <a href="http://bookhistory.blogspot.co.uk/2014/04/exeter-thomas-osborne.html">Thomas Osborne, bookseller of Exeter: the little crawling pamphleteer</a> . <br />
Exeter Library. Exe-libris: gleanings from the shelves of Exeter Libraries.<br />
- 1. <a href="http://bookhistory.blogspot.co.uk/2012/06/exe-libris-1.html">An early riddle and Exeter's earliest library catalogue</a> . The Exeter Book of Old English poetry (c.970).<br />
- 2. <a href="http://bookhistory.blogspot.co.uk/2012/06/exe-libris-2.html">Exeter Central Library’s incunable</a> . Panormitanus de Tudeschis, Lectura super v. libris Decretalium (Basel: Johannes Besicken, 1480).<br />
- 3. <a href="http://bookhistory.blogspot.co.uk/2012/06/exe-libris-2.html">Devon's ship of fools</a> . Alexander Barclay <i>The ship of fooles</i>, 2nd edition (London: John Cawood, 1570).
<br />
Exmouth.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-exmouth.html">Book trades</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-exmouth.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#EXM">Newspapers. </a> <br />
Exwick.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-exwick.html">Paper trades.</a> <br />
Harford.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Harford">Paper trades. </a> <br />
Holsworthy.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-holsworthy.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#HOL">Newspapers. </a> <br />
Hartland.
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#HAR">Newspapers. </a> <br />
Honiton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-honiton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-honiton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#HON">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Honiton">Paper trades. </a> <br />
Horrabridge.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Horrabridge">Paper trades. </a> <br />
Huxham.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-huxham.html">Paper trades.</a> <br />
Ilfracombe.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-ilfracombe.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-ilfracombe.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#ILF">Newspapers. </a> <br />
Instow.
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#INS">Newspapers. </a> <br />
Ivybridge.
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#IVY">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-ivybridge.html">Paper trades</a> .
Includes Stowford. <br />
Kentisbeare.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Kentisbeare">Paper trades. </a> <br />
Kingsbridge.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-kingsbridge.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/10/devon-imprints-kingsbridge.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#KIN">Newspapers. </a> <br />
Kingsteignton.
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#KINT">Newspapers. </a> <br />
Lew Trenchard. Baring-Gould, Sabine. Library. The library of Sabine Baring-Gould 1834-1924.<br />
- 1. <a href="http://bookhistory.blogspot.com/2012/01/baring-gould-library.html">An introduction to the collection with images of family bookplates</a> .<br />
- 2. <a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-1.html">Works by Baring-Gould</a> .<br />
- 3. Authors:
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-2.html">A-B</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-3.html">C-D</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-4.html">E-G</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-5.html">H-K</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-6.html">L-M</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-7.html">N-R</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-8.html">S</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/sabine-baring-gould-library-9.html">T-Z</a> . <br />
Lew Trenchard. Baring-Gould, Sabine. Library. The collection of popular literature:<br />
- 1. <a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-1.html">Chapbooks remaining in Devon</a> <br />
- 2. <a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-2.html">Volume of broadsides to be deposited in Devon Record Office</a> <br />
- 3. <a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-3.html">Volume of broadsides in the National Library of Wales</a> <br />
- 4. <a href="http://bookhistory.blogspot.com/2016/02/sbg-popular-literature-4.html">Volume of broadsides in John Rylands Library</a> <br />
- 5. <a href="http://bookhistory.blogspot.com/2016/02/sbg-popular-literature-5.html">Two volumes of broadsides in the British Library LR 32.b.19 vol. 1-2</a> <br />
- 6. <a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-6.html">Volume of broadsides in the British Library LR 271.a.2 vol. 1.1 & 1.2</a> <br />
- 7. <a href="http://bookhistory.blogspot.co.uk/2012/11/sbg-popular-literature-7.html">Volume of broadsides in the British Library LR 271.a.2 vol. 2</a> <br />
- 8. <a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-8.html">Volume of broadsides in the British Library LR 271.a.2 vol. 3</a> <br />
- 9. <a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-9.html">Volume of broadsides in the British Library LR 271.a.2 vol. 4</a> <br />
- 10. <a href="http://bookhistory.blogspot.co.uk/2012/11/sbg-popular-literature-10.html">Volume of broadsides in the British Library LR 271.a.2 vol. 5</a> <br />
- 11. <a href="http://bookhistory.blogspot.co.uk/2012/11/sbg-popular-literature-11.html">Volume of broadsides in the British Library LR 271.a.2 vol. 6</a> <br />
- 12. <a href="http://bookhistory.blogspot.co.uk/2012/11/sbg-popular-literature-12.html">Volume of broadsides in the British Library LR 271.a.2 vol. 7</a> <br />
- 13. <a href="http://bookhistory.blogspot.co.uk/2012/11/sbg-popular-literature-13.html">Volume of broadsides in the British Library LR 271.a.2 vol. 8</a> <br />
- 14. <a href="http://bookhistory.blogspot.co.uk/2012/11/sbg-popular-literature-14.html">Volume of broadsides in the British Library LR 271.a.2 vol. 9</a> <br />
Lustleigh.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Lustleigh">Book trade index</a>, <br />
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-lustleigh.html">Imprints</a>,
Lynton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Lynton">Book trades</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#LYN">Newspapers</a> .
Includes Lynmouth. <br />
Millbrooke (now Cornwall).
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Millbrooke">Book trade index</a>, <br />
Modbury.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-modbury.html">Book trade index</a>, <br />
<a href="http://bookhistory.blogspot.co.uk/2015/03/devon-imprints-modbury.html">Imprints</a>,
Moretonhampstead.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-moretonhampstead.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Moretonhampstead">Paper trades. </a> <br />
Newton Abbot.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-newton-abbot.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-newton-abbot.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#NEW">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-newton-abbot.html">Paper trades</a> .
Includes Bradley, Highweek, Wolborough. <br />
Newton St Cyres.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-newton-st-cyres.html">Paper trades.</a> <br />
North Tawton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#North%20Tawton">Book trade index</a>, <br />
Oakford.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Oakford">Paper trades. </a> <br />
Okehampton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-okehampton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprints-okehampton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#OKE">Newspapers. </a> <br />
Ottery St Mary.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-ottery-st-mary.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#OTT">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Ottery%20St%20Mary">Paper trades. </a> <br />
Paignton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-paignton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#PAI">Newspapers. </a> <br />
Plymouth A-D.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-plymouth-d.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-plymouth.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2018/07/devon-imprints-plymouth-dartmoor-press.html">Dartmoor Press</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#PLY">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-plymouth.html">Paper trades</a> .
Incorporated Devonport and Stonehouse in 1914. <br />
Plymouth E-K.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-plymouth-e-k.html">Book trade index</a>, <br />
Plymouth L-R.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-plymouth-l-r.html">Book trade index</a>, <br />
Plymouth S-Z.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-plymouth-s-z.html">Book trade index</a>, <br />
Plymouth Dock.
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-plymouth-dock.html">Imprints</a>,
Renamed Devonport in 1825. Includes Stoke Damerel. <br />
Plympton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Plympton">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#PLZ">Newspapers</a> .
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Plympton">Paper trades</a> .
Includes Ermington, Lee. <br />
Rewe.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-rewe.html">Paper trades</a> .
Includes Upexe. <br />
Salcombe.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Salcombe">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#SAL">Newspapers. </a> <br />
Seaton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Seaton">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#SEA">Newspapers. </a> <br />
Shaldon.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Shaldon">Book trade index</a>, <br />
Shaugh Prior.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-shaugh-prior.html">Paper trades.</a> <br />
Shebbear.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Shebbear">Book trade index</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#SHB">Newspapers. </a> <br />
Shirwell.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Shirwell">Paper trades. </a> <br />
Sidbury.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Sidbury">Book trade index</a>, <br />
Sidmouth.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-sidmouth.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-sidmouth.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#SID">Newspapers.</a> <br />
Silverton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-silverton.html">Paper trades</a> .
See also Broadclyst. <br />
South Brent.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#South%20Brent">Paper trades. </a> <br />
South Molton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-south-molton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-south-molton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#SOU">Newspapers. </a> <br />
Starcross.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Starcross">Book trade index</a>, <br />
Stoke Canon.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-stoke-canon.html">Paper trades.</a> <br />
Stonehouse.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-stonehouse.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-stonehouse.html">Imprints</a>,
Merged with Plymouth in 1914)<br />
Tavistock.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-tavistock.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-tavistock.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TAV">Newspapers. </a> <br />
Teignmouth.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-teignmouth.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/06/devon-imprints-teignmouth.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TEI">Newspapers. </a> <br />
Tiverton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-tiverton.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-tiverton.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TIV">Newspapers</a> .<br />
Topsham.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-topsham.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/devon-imprints-topsham.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TOP">Newspapers</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-topsham.html">Paper trades</a> .
Includes Countess Wear. See also Exeter. <br />
Torquay.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-torquay.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/02/devon-imprintstorquay.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TOR">Newspapers</a> .
Includes St Marychurch, Torre. <br />
Torrington.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-torrington.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-torrington.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#GRE">Newspapers. </a> <br />
Totnes.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-totnes.html">Book trade index</a>,
<a href="http://bookhistory.blogspot.co.uk/2014/03/devon-imprints-totnes.html">Imprints</a>,
<a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TOT">Newspapers. </a> <br />
Uffculme.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-uffculme.html">Paper trades.</a> <br />
Upton Pyne.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-upton-pyne.html">Paper trades.</a> <br />
Winkleigh.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Winkleigh">Book trade index</a>, <br />
Yealmpton.
<a href="http://bookhistory.blogspot.co.uk/2014/07/devon-paper-trades-z-miscellaneous.html#Yealmpton">Paper trades. </a> <br />
<br />
<a href="https://bookhistory.blogspot.com/2014/10/homepage.htmlOTH"></a>
<b>Westcountry.</b><br />
Devon. <a href="http://bookhistory.blogspot.com/2013/01/devon.html">Book and paper trades</a> (to be incorporated in main Devon listings). <br />
Cornwall. <a href="http://bookhistory.blogspot.com/2005/12/cornwall.html">Book and paper trades</a> . <br />
- Callington. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#CAL">Devon newspapers. </a> . <br />
- Launceston. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#LAU">Devon newspapers. </a> . <br />
- Millbrooke (previously Devon). <a href="http://bookhistory.blogspot.co.uk/2014/07/devon-book-trades-z-miscellaneous.html#Millbrooke">Book trade index</a>, <br />
- Truro. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TRU">Devon newspapers. </a> . <br />
Dorset. <a href="http://bookhistory.blogspot.com/2006/01/dorset.html">Book and paper trades</a> . <br />
- Sherborne. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#SHE">Devon newspapers. </a> . <br />
Somerset. <a href="http://bookhistory.blogspot.com/2006/01/somerset.html">Book and paper trades</a> . <br />
- Chard. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#CHA">Devon newspapers. </a> . <br />
- Taunton. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#TAU">Devon newspapers. </a> . <br />
- Yeovil. <a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html#YEO">Devon newspapers. </a> . <br />
<br />
<a name="OTH"></a>
<b>Other English Counties</b><br />
<b>The British book trades: topographical listings. (EWP 15)</b><br />
<a href="http://bookhistory.blogspot.com/2013/01/bedfordshire.html">Bedfordshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/berkshire.html">Berkshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/buckinghamshire.html">Buckinghamshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/cambridgeshire.html">Cambridgeshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/cheshire.html">Cheshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/cumberland.html">Cumberland</a> <br />
<a href="http://bookhistory.blogspot.com/2013/01/derbyshire.html">Derbyshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/durham.html">Durham</a>,
<a href="http://bookhistory.blogspot.com/2013/01/essex.html">Essex</a>,
<a href="http://bookhistory.blogspot.com/2013/01/gloucestershire.html">Gloucestershire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/hampshire.html">Hampshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/herefordshire.html">Herefordshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/hertfordshire.html">Hertfordshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/huntingdonshire.html">Huntingdonshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/isle-of-wight.html">Isle of Wight</a>, <br />
-
<a href="http://bookhistory.blogspot.com/2013/01/kent.html">Kent</a>,
<a href="http://bookhistory.blogspot.com/2013/01/lancashire.html">Lancashire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/leicestershire.html">Leicestershire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/lincolnshire.html">Lincolnshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/middlesex.html">Middlesex</a>,
<a href="http://bookhistory.blogspot.com/2013/01/norfolk.html">Norfolk</a>,
<a href="http://bookhistory.blogspot.com/2013/01/northamptonshire.html">Northamptonhire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/northumberland.html">Northumberland</a>,
<a href="http://bookhistory.blogspot.com/2013/01/nottinghamshire.html">Nottinghamshire</a> <br />
-
<a href="http://bookhistory.blogspot.com/2013/01/oxfordshire.html">Oxfordshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/shropshire.html">Shropshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/suffolk.html">Suffolk</a>,
<a href="http://bookhistory.blogspot.com/2005/12/surrey.html">Surrey</a>,
<a href="http://bookhistory.blogspot.com/2013/01/sussex.html">Sussex</a>,
<a href="http://bookhistory.blogspot.com/2013/01/warwickshire.html">Warwickshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/westmorland.html">Westmorland</a>,
<a href="http://bookhistory.blogspot.com/2013/01/wiltshire.html">Wiltshire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/worcestershire.html">Worcestershire</a>,
<a href="http://bookhistory.blogspot.com/2013/01/yorkshire.html">Yorkshire</a> .<br />
<br />
<b>British nations</b><br />
<a href="http://bookhistory.blogspot.com/2013/01/wales.html">Wales</a>,
<a href="http://bookhistory.blogspot.com/2013/01/scotland.html">Scotland</a>,
<a href="http://bookhistory.blogspot.com/2013/01/ireland.html">Ireland</a>,
<a href="http://bookhistory.blogspot.com/2013/01/channel-islands.html">Channel Islands</a> . <br />
<br />
<a name="FRA"></a> <br />
<b>France</b><br />
Paris. 1781.
<a href="http://bookhistory.blogspot.co.uk/2013/07/france-paris-1781.html">Project 1781.</a> <br /><br />
Provinces. 1781.
<a href="http://bookhistory.blogspot.co.uk/2013/07/france-provinces-1781.html">Project 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2014/04/ambert-moulin-richard-de-bas.html">Ambert</a> . Moulin Richard de Bas. <br />
<a href="http://bookhistory.blogspot.co.uk/2014/04/lyon-musee-dimprimerie.html">Lyon</a> . Musee d'Imprimerie. <br /><br />
<b>Basse-Normandie</b><br />The world of the book in Lower Normandy 1700-1789.<br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789.html">Contents and introduction</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789-a.html">A. The region and its markets</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789-b.html">B. The legislative and regulatory framework</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789-c.html">C. Printers and booksellers, a social group</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789-d.html">D. Printing, the little world of the book</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789-e.html">E. Printed output, local and regional</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/06/normandy-book-trades-1700-1789-f.html">F. Networks of distribution</a>. <br />
<a href="https://bookhistory.blogspot.com/2020/01/book-trades-in-lower-normandy-and.html">The book trades in the Westcountry and Lower Normandy 1700-1789</a> : a comparative study<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/france-lower-normandy-1781.html">Project 1781.</a> <br />
Basse-Normandie.
<a href="http://bookhistory.blogspot.com/2009/06/basse-normandie-prosopographie.html">Dictionnaire des gens du livre</a> . Listes de livres imprimés en Basse-Normandie et documents par ville. <br />
Basse-Normandie.
<a href="http://bookhistory.blogspot.com/2011/05/documents-basse-normandie.html">Documents</a>, <a href="http://bookhistory.blogspot.co.uk/2013/07/france-lower-normandy-1480-1870.html">liste des gens du livre 1480-1870</a>, <a href="http://bookhistory.blogspot.com/2008/12/basse-normandie-1781.html">gens du livre dans l'<i>Almanach de la librairie</i>, 1781</a> . <br />
[Lieux.] A-B.
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-b-lieux.html">Gens du livre</a> . <br />
Alençon.
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-alencon.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-alencon.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-alencon.html">documents</a> . <br />
Avranches.
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-avranches.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-avranches.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-avranches.html">documents</a> . <br />
Bayeux.
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-bayeux.html">Imprimés</a>,
<a name="BAY"></a>
<a href="http://bookhistory.blogspot.com/2011/05/documents-bayeux.html">documents</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/10/zfnbayeux.html">gens du livre</a> . <br />
Bayeux. Bibliothèque du Chapitre. <br />
<a href="http://bookhistory.blogspot.co.uk/2013/10/bayeux-bibliotheque-du-chapitre.html">Bayeux: La Bibliothèque du Chapitre de Bayeux, colloque de Bayeux, 7-8 novembre 2013</a> . Programme.<br />
- <a href="http://bookhistory.blogspot.co.uk/2013/11/the-chapter-library-of-cathedral-at.html">The Chapter Library of the Cathedral at Bayeux</a> . An account of the conference held November 2013.<br />
- <a a="" href="http://bookhistory.blogspot.co.uk/2013/11/un-eveque-de-bayeux-et-les-imprimeurs.html">Un évêque de Bayeux et les imprimeurs au XVIIIe siècle</a> . Draft of the paper presented at the conference.<br />
- <a href="http://bookhistory.blogspot.co.uk/2013/10/bayeux-bibliotheque-du-chapitre_17.html">Imprimeurs et libraires representés dans la Collection Rochechouart</a> .<br />
- Shelflist of the collection of Bishop Pierre-Jules-César de Rochechouart held in the Chapter Library at Bayeux.<br />
- <a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-1.html">1. Vol. F2/20</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-2.html">2. Vol. J 4° 01 - J 4° 03</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-3.html">3. Vol. J 4° 04 - J 4° 05</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-4.html">4. Vol. J 4° 06 - J 4° 12</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-5.html">5. Vol. J 4° 13 - J 4° 23</a>, <br />
-
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-6.html">6. Vol. J 4° 24 - J 4° 29</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-7.html">7. Vol. J 4° 31 - J 4° 33</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-8.html">8. Vol. J 4° 34 - J 4° 37</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-9.html">9. Vol. J 4° 38 - J 4° 39</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-10.html">10. Vol. J 4° 40 - J 4° 41</a>, <br />
-
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-11.html">11. Vol. J 4° 42 - J 4° 45</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/12/collection-rochechouart-11a.html">12. Vol. J 4° 46</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-12.html">13. Vol. J 4° 47 - J 4° 50</a>,
<a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-13.html">14. Vol. J 4° 51 - J 4° 57</a> .<br />
Caen. Gens du livre: <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-caen-c.html">A-C</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-caen-c.html">A-C</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-caen-d-k.html">D-K</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-caen-l.html">L</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-caen-m-p.html">M-P</a>,
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-caen-q-z.html">Q-Z</a> . <br />
Caen. Documents: <a href="http://bookhistory.blogspot.com/2011/05/documents-caen.html">1676-1789</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-caen-1759.html">1759</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-caen-1778.html">1778</a>,
<a href="http://bookhistory.blogspot.com/2008/12/caen-1783.html">1783 (capitation)</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-caen-1790.html">1790</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-caen-1797.html">1797</a> . <br />
C-E. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-c-e-lieux.html">Gens du livre</a> . <br />
Cherbourg. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-cherbourg.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.co.uk/2009/06/livres-imprimes-cherbourg.html">Imprimés</a> . <br />
Coutances.
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-coutances.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.co.uk/2009/06/livres-imprimes-coutances.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-coutances.html">documents</a> . <br />
Douvres-la-Delivrande.
<a href="http://bookhistory.blogspot.com/2008/12/douvres-la-delivrande-1786.html">Douvres-la-Delivrande:</a> inventaires des livres saisis en 1786<br />
F-K. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-f-k-lieux.html">Gens du livre</a> . <br />
Falaise. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-falaise.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-falaise.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-falaise.html">documents</a> . <br />
Honfleur. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-honfleur.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-honfleur.html">Imprimés</a> . <br />
L.
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-l-lieux.html">Gens du livre</a> . <br />
Lisieux.
<a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-lisieux.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-lisieux.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-lisieux.html">documents</a> . <br />
M-R. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-m-r-lieux.html">Gens du livre</a> . <br />
Muneville-le-Bingard. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-muneville-le.html">Gens du livre</a> . <br />
S. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-s-lieux.html">Gens du livre</a> . <br />
Saint-Lô. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-saint-lo.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-saint-lo.html">Imprimés</a> . <br />
Sées. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-sees.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-sees.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-sees.html">documents</a> . <br />
T-Z. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-t-z-lieux.html">Gens du livre</a> . <br />
Valognes. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-valognes.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-valognes.html">Imprimés</a>,
<a href="http://bookhistory.blogspot.com/2011/05/documents-valognes.html">documents</a> . <br />
Vire. <a href="http://bookhistory.blogspot.co.uk/2015/06/normandie-gens-du-livre-vire.html">Gens du livre</a> ;
<a href="http://bookhistory.blogspot.com/2009/06/livres-imprimes-vire.html">Imprimés</a> .<br />
<a name="EUR"></a><b>Rest of Europe</b><br />
<b>World book trade historical register</b><br />An attempt to chart the spread of the printed and written word across the globe.<br />
<a href="https://bookhistory.blogspot.com/2015/10/world-book-trade-historical-register_9.html">Introduction<br />
</a><a href="https://bookhistory.blogspot.com/2015/10/world-book-trade-historical-register.html">Key to continents, nation states and regions</a><a>
</a><a href="https://bookhistory.blogspot.com/2015/10/austria-register.html">Austria. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/belarus-register.html">Belarus. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/belgium-register.html">Belgium. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2014/04/antwerp-plantin-moretus-museum.html">Belgium. Antwerp. Plantin-Moretus Museum</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/croatia-register.html">Croatia. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/czech-republic-register.html">Czech Republic. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/denmark-register.html">Denmark. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/scandinavia-1781.html">Finland and Scandinavia. Project 1781</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/germany-register.html">Germany. Register</a>.<br />
<a name="GER"><b>Germany</b><br />
</a><a href="http://bookhistory.blogspot.co.uk/2013/07/germany-1781.html">Germany. Project 1781</a>.<br />
<a href="http://bookhistory.blogspot.com/2006/10/bertuch.html">Germany. Weimar. Bertuch</a>. Bertuch: Weimar's literary midwife.<br />
<a href="http://bookhistory.blogspot.com/2006/11/bertuch-und-england.html">Germany. Weimar. Bertuch</a>. Bertuch und England: Vorbild oder Nachklang?<br />
<a href="https://bookhistory.blogspot.com/2015/10/hungary-register.html">Hungary. Register</a>.<br />
<a href="http://bookhistory.blogspot.com/2010/10/pecs-library-and-knowledge-centre.html">Hungary. Pecs. Library and Knowledge Centre</a>. An account of the new building.<br />
<a href="https://bookhistory.blogspot.com/2015/10/iceland-register.html">Iceland. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/italy-register.html">Italy. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/italy-1781.html">Italy. Project 1781</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/netherlands-1781.html">Netherlands. Project 1781</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/norway-register.html">Norway. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/eastern-europe-1781.html">Poland, Russia and Eastern Europe. Project 1781</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/portugal-register.html">Portugal. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/romania-register.html">Romania. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/08/mamaia-mia.html">Romania. Bucharest. Metropolitan Library</a>. Mamaia Mia! A little local controversy.<br />
<a href="http://bookhistory.blogspot.co.uk/2012/10/symposium-international-le-livre-la.html">Romania. Mamaia 2012. International Symposium. The book, Romania, Europe</a>. A report on the sessions attended in Section 1: Des livres pour tous<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/eastern-europe-1781.html">Russia, Poland and Eastern Europe. Project 1781</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/serbia-register.html">Serbia. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/slovakia-register.html">Slovakia. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/slovenia-register.html">Slovenia. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/slovakia-register.html">Slovakia. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/spain-and-portugal-1781.html">Spain and Portugal. Project 1781</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/sweden-register.html">Sweden. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/austria-and-switzerland-1781.html">Switzerland and Austria. Project 1781</a>.<br />
<a href="https://bookhistory.blogspot.com/2022/04/ukraine.html">Ukraine. Register</a>.<br />
<a name="WOR"></a><b>Rest of the world</b><br />
<a href="https://bookhistory.blogspot.com/2015/10/africa-register.html">Africa. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/asia-register.html">Asia. Register</a>.<br />
<a href="http://bookhistory.blogspot.co.uk/2014/04/america-1781.html">America. Project 1781.</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/north-america-register.html">North America. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/south-america-register.html">South America. Register</a>.<br />
<a href="https://bookhistory.blogspot.com/2015/10/australia-and-oceania-register.html">Australia and Oceania. Register</a>.<br />
<hr />
<a name="NUM"></a> <br />
<center>
<b>NUMERICAL LIST OF WORKING
PAPERS</b></center>
<a name="EWP0"></a> 0. <b><a href="http://bookhistory.blogspot.com/2007/01/london-1775-1800-introduction.html">The London book trades 1775-1800: a preliminary checklist of members.</a> </b>1977. xxxv,257p ; 28cm. ISBN 0-7129-0696-7 : £9.60. Lists about 4,000 individuals and firms. Originally published by Wm. Dawson, copies now available from Exeter Working Papers in British Book Trade History. It should be pointed out that an important pervasive error was caused by a fault in the computer typesetting program. The plus sign after certain dates was omitted throughout the book. This sign was used to indicate that a firm continued in business for an indefinite period after the last date checked, normally 1830. Its omission can be detected by the presence of an extra space between the date and any following punctuation. A similar error occurs with the equals sign, normally used in the combination ?=, meaning "possibly the same as". In the introduction a number of errors were not corrected after proof-reading.
<br />
<a name="EWP1"></a> 1. <a href="http://bookhistory.blogspot.com/2007/01/streets-introduction.html"><b>The London book trades 1775-1800: a topographical guide.</b></a> 1980.<br />
16p: maps; 23cm + 5
microfiches (299 frames). ISBN 0-9507306-0-2. An address index to the previous work and to trade directories published between 1767 and 1774. Nine frames of corrections to the
original work were included on the final fiche.
<br />
<a name="EWP2"></a> 2. <a href="http://bookhistory.blogspot.com/2007/01/apprentices-introduction.html"><b>The British book trades 1710-1777 :</b></a> an index of masters and apprentices recorded in the
Inland Revenue registers at the Public Record Office, Kew.<br />
1983. xii,141p; 30cm. ISBN 0-9507306-1-0. Lists 3150 apprentices bound to 1800 members of the book trades in
London and the provinces. Arranged by master with indexes of apprentices and places. <br />
<a name="EWP3"></a> 3. <a href="http://bookhistory.blogspot.com/2007/01/london-1735-1775.html"><b>The London book trades 1735-1775: a checklist of members in trade directories
and in Musgrave's Obituary.</b></a> 1984. iii,37p; 22cm. ISBN 0-9507306-2-9. Lists about 900 individuals and firms.
<br />
<a name="EWP4"></a> 4. <a href="http://bookhistory.blogspot.com/2007/01/bankrupts.html"><b>The British book trades 1731-1806 : a checklist of bankrupts.</b></a> 1985. viii,36p ; 22cm. ISBN 0-9507306-3-7.
Lists about 650 individuals and fims that went bankrupt during this period with and index of places in the provinces and streets in London.
<br />
<a name="EWP5"></a> 5. <a href="http://bookhistory.blogspot.com/2007/01/exeter-cathedral-library-introduction.html"><b>Exeter Cathedral Library : a concordance of the medieval catalogues and surviving manuscripts.</b></a> 1987. xvii,28p ; 30cm. ISBN 0-9507306-5-3. Parallel columns attempt to correlate the more than 600 titles listed in Bishop Leofric's donation list of 1080, inventories of 1327 and 1506 and surviving manucripts. Arranged in subject groupings with indexes of authors and donors. <br />
<a name="EWP6"></a> 6. <b><a href="http://bookhistory.blogspot.com/2007/02/devon-imprints-introduction.html">Books with Devon imprints : a handlist to 1800.</a> </b> 1989. ix,219p ; 30cm. Notebook format. ISBN 0-9507306-7-X. Gives details of more than 1,200 items printed in Devon or with Devon distributors in the imprint including many ephemeral items. Arranged by date of publication with indexes by author, subject, place and proper name of subject.
<br />
<a name="EWP7"></a> 7. <a href="http://bookhistory.blogspot.com/2006/12/devon-biographical-dictionary-introduction.html"><b>The Devon book trades : a biographical dictionary.</b></a> 1991. viii,286p ;
30cm. Notebook format. ISBN 0-9507306-6-1. Lists some 2,800 members of the book trades in Devon from earliest times to the mid nineteenth century. Arrangement is by place with name indexes.
<br />
<a name="EWP8"></a> 8. <a href="http://bookhistory.blogspot.com/2007/01/insurance-introduction.html"><b>The British book trades 1775-1787: an index to insurance policies.</b></a> xiii,152p ; 30cm. Notebook format. ISBN 0-9512752-2-4. Lists 2250 Sun and Royal Exchange policies by personal name with indexes by place.
<br />
<a name="EWP9"></a> 9. <a href="http://bookhistory.blogspot.com/2007/01/luminary-introduction.html"><b>Newspaper readership in south west England:</b></a> an analysis of the Flindell's Western Luminary subscription list of 1815.<br />
<br />
1996. xii,92p : maps ; 30cm. ISBN
0-9512752-3-2. Reprints the 1695 names on the subscription list and attempts their
identification. With indexes by place and trade and analysis on tables and in maps.
<br />
<a name="EWP10"></a> 10. <b><a href="http://bookhistory.blogspot.com/2007/01/berch-introduction.html">The London book trades of the later eighteenth century: biographical extracts from newspapers and other sources</a> </b> 2001. Based on material collected by Victor Berch of Brandeis University Library, this presents information on marriages, deaths, bankruptcies, partnerships, publications arranged alphabetically by family name.
<br />
<a name="EWP11"></a> <a name="LAP"></a>
11. <b><a href="http://bookhistory.blogspot.com/2007/01/lapthorne-introduction.html">Book trade references in the Lapthorne-Coffin correspondence 1683-1697,</a> </b> edited by Michael Treadwell and Ian Maxted. 2000. Transcripts of sections of the letters written by Richard Lapthorne, a bookseller in London, to Richard Coffin, book collector at Portledge in north Devon. With indexes of books mentioned, book trade personnel, book sales and concordances with the 1801 sale catalogue of the library at Portledge.
<br />
<a name="EWP12"></a> 12. <b><a href="http://bookhistory.blogspot.com/2007/01/devon-book-introduction.html">A history of the book in Devon.</a> </b> Covering two millennia of books, readers, libraries, newspapers and related topics in Exeter and Devon.
<br />
<a name="EWP13"></a> 13. <b><a href="http://bookhistory.blogspot.com/2007/01/harte.html">The inventory of Michael Harte, bookseller of Exeter, 1615.</a> </b> A facsimile and transcript of the document followed by an essay analysing the contents.
<br />
<a name="EWP14"></a> 14. <b><a href="http://bookhistory.blogspot.com/2007/01/andrew-brice.html">Andrew Brice, printer of Exeter: an agreeable biographical gallimaufry.</a> </b> References to the printer's life from his own writings and those of his contemporaries. An extended version of a paper given at the conference "Lives in print", London December 2001.
<br />
<a name="EWP15"></a> 15. <b>The British book trade: topographical listings.</b> A series of pages on each county and country of the British Isles, gathering together stray notes on book trade members. The base data is a conflation of the content of working paper 2: the index of masters and apprentices, 1710-1777, working paper 4: the list of bankrupts 1731-1806 and working paper 8: the index to insurance policies 1775-1787, so the content relates chiefly to the 18th century. It is supplemented by references to sources such as Nichols and Timperley and newspaper references extracted by Victor Berch.<br />
<a href="http://bookhistory.blogspot.com/2005/12/cornwall.html">Cornwall</a>,
<a href="http://bookhistory.blogspot.com/2006/01/dorset.html">Dorset</a>,
<a href="http://bookhistory.blogspot.com/2006/01/somerset.html">Somerset</a>,
<a href="http://bookhistory.blogspot.com/2005/12/surrey.html">Surrey</a>
<br />
<a name="EWP16"></a> 16. <b><a href="http://bookhistory.blogspot.com/2005/12/cloacopapyrology.html">Monumenta chartae papyraceae cloacales historiam illustrantia </a> </b><br />
<a name="EWP17"></a> 17. <b><a href="http://bookhistory.blogspot.com/2005/12/cassels.html">Index of engravers and artists for <i>Cassell's illustrated family Bible</i>, 1859-63.</a> </b><br />
<a name="EWP18"></a> 18. <b><a href="http://bookhistory.blogspot.com/2006/10/bertuch.html">Friedrich Johann Justin Bertuch, 1747-1822</a> </b>
<br />
<a name="EWP19"></a> 19. (formerly S2) <b><a href="http://bookhistory.blogspot.com/2007/01/directories-introduction.html">British national directories 1781-1819:</a> an index to places in the British Isles included in trade directories with general provincial coverage.</b> 1989. viii,34p : map ; 30cm. ISBN 0-9512752-1-6. Indexes more than 1,000 localities covered by national directories like
Bailey's or Holden's before the county series was published by Pigot in the 1820s.
<br />
<a name="EWP20"></a> 20. <b><a href="http://bookhistory.blogspot.com/2007/01/britain-1785-1811.html">The British book trades 1784-1811: an analysis of three national directories </a> </b><br />
<a name="EWP21"></a> 21. <b><a href="http://bookhistory.blogspot.com/2005/12/london-1817.html">The London book trades, 1817.</a> </b> 2006.<br />
<a name="EWP22"></a> 22. <b><a href="http://bookhistory.blogspot.com/2006/10/exeter-maps.html">Early printed maps of Exeter. </a> </b> 2006.<br />
<a name="EWP23"></a> 23. <b><a href="http://bookhistory.blogspot.com/2007/09/basse-normandie.html">Prosopographie des gens du livre en France: La Basse-Normandie</a> </b> 2008.<br />
<a name="EWP24"></a> 24. <b><a href="http://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html">Devon newspaper bibliography, 1704-2004</a> </b> 2009.<br />
<a name="EWP25"></a> <b>25. Exe-libris: gleanings from the shelves of Exeter Libraries</b>, 2012. <br />
1. <a href="http://bookhistory.blogspot.co.uk/2012/06/exe-libris-1.html">An early riddle and Exeter's earliest library catalogue</a> . The Exeter Book of Old English poetry (c.970).<br />
2. <a href="http://bookhistory.blogspot.co.uk/2012/06/exe-libris-2.html">Exeter Central Library’s incunable</a> . Panormitanus de Tudeschis, Lectura super v. libris Decretalium (Basel: Johannes Besicken, 1480).<br />
3. <a href="http://bookhistory.blogspot.co.uk/2012/06/exe-libris-2.html">Devon's ship of fools</a> . Alexander Barclay <i>The ship of fooles</i>, 2nd edition (London: John Cawood, 1570).
<br />
<a name="EWP26"></a> 26. <b><a href="http://bookhistory.blogspot.com/2012/06/sbg-popular-literature-1.htm">The Sabine Baring-Gould collection of popular literature</a> </b>, 2012.<br />
<a name="EWP27"></a> 27. <b><a href="http://bookhistory.blogspot.com/2012/01/baring-gould-library.html">The library of Sabine Baring-Gould 1834-1924.</a> </b>, 2012.<br />
<a name="EWP28"></a> <b>28. Project 1781: charting the European book trades on the eve of the French Revolution, based on Antoine Perrin's <i>Almanach de la librairie</i></b>, 2013. <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/france-paris-1781.html">France. Paris. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/france-provinces-1781.html">France. Provinces. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/france-lower-normandy-1781.html">France. Lower Normandy. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/germany-1781.html">Germany. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/italy-1781.html">Italy. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/netherlands-1781.html">Netherlands. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/spain-and-portugal-1781.html">Spain and Portugal. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/austria-and-switzerland-1781.html">Austria and Switzerland. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/scandinavia-1781.html">Scandinavia. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/eastern-europe-1781.html">Eastern Europe. 1781.</a> <br />
<a href="http://bookhistory.blogspot.co.uk/2013/07/british-isles-1781.html">British Isles. 1781.</a> <br />
<a name="EWP29"></a> 29. <b><a href="http://bookhistory.blogspot.co.uk/2013/06/devon-bibliography-2012.html">Devon bibliography</a> </b>, 2013.<br />
<a name="EWP30"></a> 30. <b><a href="http://bookhistory.blogspot.co.uk/2013/11/collection-rochechouart-1.html">Bayeux Chapter Library and the Rochechouart Collection</a> </b>, 2013.<br />
<a name="EWP31"></a> 31. <b><a href="http://bookhistory.blogspot.co.uk/2014/02/devon-imprints-introduction-and-key.html">Devon publishers imprint registers</a> </b>, 2014.<br />
<a name="EWP32"></a> 32. <b><a href="http://bookhistory.blogspot.co.uk/2014/09/devon-watermarks.html">Watermarks in Devon ephemera 1750-1820</a> </b>, 2014.<br />
<a name="EWP33"></a> 33. <b><a href="http://bookhistory.blogspot.co.uk/2015/01/election-ephemera-introduction.html">Devon election ephemera, 1750-1900</a> </b>, 2015.<br />
<a name="EWP33a"></a> 33a. <a href="http://bookhistory.blogspot.co.uk/2014/12/honiton-election-ephemera.html">Listing of Honiton ephemera in a volume in the Devon Heritage centre</a> <br />
<a name="EWP34"></a> 34. <b><i>Magdalen Road, Exeter: using historical sourcess to track Mount Radford village street through time</i></b>, 2015. 76 pages : illustrations ; 30 cm. No ISNB : £10.00.<br />
<b>Special series:</b>
<br />
<a name="EWPS1"></a> S.1. <b>Fifth seminar on the British book trade: report, Thomas Hall,
University of Exeter 9 and 10 July, 1987.</b> 1987. 61p : ill,map ; 30cm. ISBN
0-9512752-0-8. Not yet digitised.
<br />
<hr />
This page last updated 4 March 2024<br />
Copyright © Ian Maxted, 2015.<br /> </div>Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-58244516457799602492023-11-16T21:01:00.000+00:002023-11-16T21:01:24.646+00:00Devon book 81<CENTER><FONT SIZE="+1"><B>Exeter Working Papers in British Book Trade History; 12<BR />
A history of the book in Devon, by Ian Maxted<BR />81. Into the third millennium: austerity, covid, UNESCO</B></FONT></CENTER>
<P ALIGN="JUSTIFY">
The foregoing sections were compiled around the year 2000 to round off the second millennium. With the designation of Exeter as UNESCO City of Literature at the end of 2019 it is fitting that the story of the book is briefly updated to continue it into the third millennium.
In the autumn of 1999 the Royal Albert Memorial Museum hosted an exhibition with the title <i>From script to print to hypertext</i> which brought together ten libraries, museums and archives in the city to celebrate Devon's written heritage. The fortunes of the participating institutions have varied over the past twenty years, overshadowed by the nationwide financial crisis and the resulting decade of austerity, and terminated by the arrival of the Covid-19 pandemic and lockdown. (Maxted. 1999).
</P><P ALIGN="JUSTIFY">
The University of Plymouth, Exeter Campus Library disappeared from Exeter in 2007. Its collections on art and printing history now form part of the special collections of the University of Plymouth's Charles Seale-Hayne Library in Plymouth, although there is no on-line guide to these collections, unlike the University of Exeter.
</P><P ALIGN="JUSTIFY">
The University of Exeter Library has also had its ups and downs. In 2001 it hit the headlines when some of its treasures were sold at auction including the extremely rare collections of Edward Sheriff Curtis (1868-1952), an American photographer, who documented images of more than eighty Native American tribes from throughout North America. The images were in a limited edition multi-volume study under the title <i>The North American Indian</i>, which appeared between 1907 and 1930 in a project supported by Theodore Roosevelt and partially funded by J. Pierpont Morgan. The University's set ('number IV') had been presented by the Royal Library at Windsor and was sold "as the University's research interests in this area had waned", despite the fact that the Royal Albert Memorial Museum has rich ethnographic collections. Generally though, the University Library has survived better than the public library sector and its special collections are well documented and accessible in the Ronald Duncan Reading Room in the Old University Library. One of the main collections to be added is a significant section of the Sabine Baring-Gould library which was transferred from Killerton. Other parts of this library are held in the Devon Record Office and at Lewtrenchard Manor, the writer's home. (UEL. 2021)
</P><P ALIGN="JUSTIFY">
Exeter Cathedral Library has benefitted from a Heritage Lottery Fund grant to the Cathedral of £808,800, which converted a former archive space in the Pearson building for the benefit of schools and formal learning. It also equipped the ground floor of the west wing of the Bishop’s Palace as a library with an environmentally controlled archive room, a new reading room and exhibition space which opened in 2012. In 2014 it was the first Cathedral Library to attain archival accreditation status, and retained the award in 2019. The library's on-line catalogue is no longer included in that of the University, but is separately maintained. (EXC. 2021).
</P><P ALIGN="JUSTIFY">
The Devon and Exeter Institution Library hoped to become the University of Exeter Centre for South West Historical Studies, but "as the University's research interests in this area had waned" nothing came of this. Nevertheless the University continued to maintain the library's catalogue, and the institution is still extensively used by staff and students. The University no longer provides a librarian and there is a greater reliance on volunteers, but Emma Laws was appointed as librarian by the Institution in 2019. The roof of the building was found to require extensive structural work and a roof appeal between 2013 and 2015 was successful in generating the match funding needed to make applications to the Heritage Lottery Fund and Historic England. A grant of £271,600 from the Heritage Lottery Fund ensured that the work was completed in 2017 and it now runs an active programme of promoting learning and reading and community outreach. A grant in March 2020 from the National Heritage Lottery Fund supports “The Next Chapter”, a three year project to improve space, facilities and access, carry out essential conservation work, conduct a collection review, and further increase and diversify the educational and events programme. (Longridge. 2013 ; DEI. 2021).
</P><P ALIGN="JUSTIFY">
Exeter Medical Library has now been rebranded the Exeter Health Library and has moved into what is now the RILD Building on Barrack Road. It has had to steer an often difficult course between the demands of the NHS and postgraduate medical and nursing education in the Universities of Plymouth and Exeter.
The Royal Albert Memorial Museum reopened December 2011 after a £24-million rebuild, including a Heritage Lottery Fund grant of more than £10 million. It has won a host of awards since it reopened in 2011, including Museum of the Year 2012.
</P><P ALIGN="JUSTIFY">
The Bill Douglas Centre for the History of Cinema and Popular Culture was rebadged as the Bill Douglas Cinema Museum in 2013. Founded in 1994, it opened to public in the Old Library building in 1997. Its 18,000 books and numerous artefacts give Exeter the country's largest University library on film and cinema.
In the public library sector Exeter Reference Library and the Westcountry Studies Library also participated in the <i>From script to print to hypertext</i> exhibition in 1999, but their fate will be discussed later.
</P><P ALIGN="JUSTIFY">
Professional staff from all these libraries as well as others from Exeter College, law firms and elsewhere have met informally for many years as the ELIP (Exeter Library and Information Professionals) group to discuss matters of common interest and concern.
</P><P ALIGN="JUSTIFY">
When it comes to those responsible for the production of literature, an article in the online newsletter <i>Westcountry studies</i>, issue 12, February 2020 showed that during the decade 2010-2019 the <i>Devon bibliography</i> listed almost 4,200 published documents relating to Devon, to which must be added several hundred periodicals, newspapers and maps. These publications were issued by more than 1,200 publishers, an average of a little more than three items per publisher, although of course there is considerable variation in recorded output from one publisher to another.
</P><P ALIGN="JUSTIFY">
Of these publishers 709 (58%) were located in Devon. Within Devon Exeter accounted for 246 publishers (28%) followed by Plymouth (46), Torbay 33 (including Paignton and Brixham) and Sidmouth (22). The following towns had between 10 and 20 publishers recorded: Totnes, Exmouth, Newton Abbot, Tiverton, Crediton, Barnstaple, Okehampton and Tavistock. Other parts of the Westcountry accounted for 80 publishers (6.5%) , London for 157 (13%) and other English counties for 188 (15%). The rest of the British Isles (Wales, Scotland and Ireland) accounted for only 24 (2%), less than Europe with 27, the United States with 31 and the rest of the world with six. A complete listing has been published on the Devon bibliography website, and the figures are revealing in many ways:
Firstly, the wide geographical spread. While 58% of publishers were located in Devon, Exeter with 28% exceeds both London with 13% and the rest of the British Isles with 24%. Within England the geographical spread of publishers is relatively even, although the two largest towns were in the Westcountry: Bath and Bristol, each with 14 publishers, coming ahead of Oxford with 13. Other significant centres were Barnsley with seven (swollen by the various Pen and Sword imprints) and Manchester with six. Taunton and Wellington each had five publishers.
</P><P ALIGN="JUSTIFY">
Secondly, the variety of formats. These range from multi-volume works down to three-fold leaflets (often vital for providing the sole published evidence of the activities of organisations, charities or pressure groups), from newsletters to technical reports (often more easily to be found on-line than in hard copy) and from newspapers to maps. With the spread of the internet, theses can also be considered as publications but, like websites, these were not included in the survey.
</P><P ALIGN="JUSTIFY">
Thirdly, the varying ease of locating items. The publications of most London and larger provincial publishers can be located through the <i>British national bibliography</i>, often through pre-publication information or, in the case of smaller publishers or authors, who know that the British Library is supposed to "have a copy of everything", frequently several years after they first appeared in print. But <i>BNB</i>'s coverage of local publications is patchy, to say the least. It lists very few local authority publications and the publications of many local societies also fall through its net. Online sources such as JISC hub (formerly COPAC), WorldCat, Amazon, or Abebooks (linked to Amazon) may help but keyword searching to locate recently published items is tedious and haphazard. A large number of more local publications are picked up by haunting bookshops, tourist information centres, community hubs and libraries.
Fourthly, the complex structure of publishing. In the digital age anyone can be a publisher and many publications have, in addition to the traditional paper-based hardback and paperback versions, an eBook edition with its own ISBN. Within most communities in Devon there is a parish magazine, sometimes combined with a community newsletter. The parish, town or district council publishes minutes, annual reports or planning and policy documents, often with useful statistics, and a wealth of data that sheds light on the present state of the community. Larger communities publish a guidebook, accommodation directory, town trails or books of walks. Local museums, galleries, country houses and charities, publish annual reports, publicity or newsletters. Some newsletters, such as the Devon Air Ambulance's monthly <i>Helipad</i> are handsomely produced and informative. Mention should also be made of the work of local publishers such as Mint Press in Exeter and the many local and family history societies across the county, such as the Sid Vale Association which produce beautiful and informative publications reflecting the county's heritage. Individual authors too are much more confident in publicizing their work. The typescript deposited in the local library or the traditional "vanity publication" has been replaced by personal web space, recourse to digital publishers or, increasingly, authors setting up as publishers to market their own writings. At the other extreme larger publishers have long formed massive conglomerates, often with offices in more than one country, and have a stable of imprints which, on the surface, often seem to be separate publishers. Penguin Random House is perhaps the best-known example of this phenomenon. It is particularly apparent in newspaper publishing where, on the eve of lockdown, Archant, Local World Holdings and Tindle between them were responsible for some 40 editions of local newspaper or periodical titles in Devon.
For the dissemination of the literature produced by this host of publishers there are in 2021 more than 130 bookshops in Devon, a growing number of them independent or community bookshops. Bookshops have had to face a series of challenges. The big supermarket chains in Devon have dipped their toes into retailing books, especially the best sellers and children's literature and their migration to retail parks remote from the town centres has also had an impact. The chain booksellers survive, often adding a coffee bar to entice customers. In 2021 W. H. Smith has a dozen outlets in Devon and Waterstones six, their Tiverton branch having closed following a restructuring in 2011. The <i>Old books</i> listing which has appeared annually for more than 40 years lists 22 antiquarian booksellers in Devon, and to this other sources can add second hand bookshops, not to mention the constellation of charity shops some, such as Bookcycle, Oxfam and Hospiscare in Exeter with considerable stocks. Twenty independent bookshops in Devon are linked through Bookshop.org, an online bookshop with a mission to financially support local, independent booksellers. Online shoppers can find a specific local bookshop to support, and they, rather than Amazon will receive the full profit from each order. Otherwise, an order will contribute to an earnings pool which is evenly distributed among independent bookshops. Another way to keep things local is to set up a community bookshop. In Devon the award-winning Crediton Community Bookshop, established in 2013 and rebranded The Bookery in 2021 has shown the way, becoming a dynamic hub for the readers of the town. Book fairs are rare in Devon but the Provincial Bookseller Fair Association organises several fairs a year in Topsham at Matthew Hall, organised for Devon by Graham York Rare Books of Honiton.
</P><P ALIGN="JUSTIFY">
Writers of literature are also well organised. The Devon Writers Group, a local section of the Society of Authors in 2021 has over 130 members from all corners of the county. The group usually "meets quarterly in rural pubs for an informal weekday lunch". Another regional group is The Exeter Authors Association, made up of professional authors, poets, playwrights, and screenwriters from across the south-west of England.
There are a number of more local groups, most of them informal in nature, for example the Paignton Writers’ Circle, a group of writers who live in Torbay and the surrounding area which has been established for more than twenty years. Word Works Exeter is a group of writers who meet informally to read and discuss their work. Chudleigh Writers Circle's members range from "experienced and published writers to those who want to get in touch with their creativity, hone their writing skills for their own satisfaction or who are setting out to record family history for the benefit of their grandchildren". Dawlish is the home of Manor House Writers, a "small friendly writers' group" which meets weekly. In Exmouth Way with Words, meets at The Bayleaf Café on the Strand, every Thursday. Such groups come and go. Two that are in the process of being set up during lockdown are East Devon Writers, a new group for writers of fiction at all levels. The focus is novels, short stories and flash fiction. Monthly meetings are planned to take place in the early evenings in Exeter. The Honiton Writers Group aims to provide "a social outlet for writers from in and around Honiton. We aim to be sociable rather than critiquing each others' work or having the requirement to do homework!"
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Aspiring, or indeed more established writers are catered for by a number of creative writing courses. At degree level there is a B.A. English and Creative Writing (Hons) course in Plymouth University over a period of 36 months when you can "find your voice. Hone your craft as a writer by studying others. Immerse yourself in the words that have shaped our world. Learn how to write poetry, fiction, non-fiction, screenplays and more. Get published and experience the professional writing process. Learn about: Dramatic Writing, Professional Writing, Critical Theory [...]". Exeter College offers a two year creative writing course and also more specialised courses in fiction (beginners, intermediate and advanced) and poetry as well as workshops on writing for children and writing crime. Exeter Phoenix also offers creative writing workshops, and the City College in Plymouth also offers courses in the subject.
A leading independent organisation is Creative Writing Matters, founded in 2009 by Cathie Hartigan. Beside courses in creative writing, it is active in a variety of other areas, including managing the county's major literary award, the Exeter Novel Prize.
Literary festivals are a new arrival on the scene in Devon. There had been an important festival in 1990 to commemorate the centenary of Agatha Christie's birth, but the International Agatha Christie Festival did not start its annual appearance until 2004. Ways with Words, based in Dartington, inaugurated an annual festival in 1992. It was followed by the Appledore Book Festival in 2007, started in a bid to secure the future of Appledore Library which was threatened with closure. The Budleigh Literary Festival started in 2008, enhanced by the presence of local author Hilary Mantel. Sidmouth emulated neighbouring Budleigh in 2015 with an event supported by Wayne Winstone, proprietor of a local bookshop. Exeter finally achieved its first literary festival in November 2019. (Exeter Literary Festival. 2021)
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The body that pulls most of these activities in the field of literature together is based in Plymouth. Literature Works states: "Our mission is to nurture the creative use of stories, words and writing by and for individuals and communities of all kinds in our region". Among the initiatives it supports is Quay Words, whose strap line says it all - "exploring stories and writing at Exeter's Custom House".
It was Literature Works who drew on this wealth of activity and richness of heritage collections to draw up the successful bid that gained Exeter the prestigious designation as UNESCO City of Literature at the end of 2019.
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Amid all this activity the public library and archives services have had a bumpy entry into the third millennium.
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The Devon Record Office had long been bursting at the seams. For many years it had a remote store in Marsh Barton Trading Estate next door to the incinerator - those delivering documents had to be given careful directions. In 2005 the Devon Record Office moved from the Castle Street premises it shared with the Westcountry Studies Library into a specially-constructed building at Great Moor House on Sowton Industrial Estate. This building had air conditioned storage facilities sufficient to accommodate the records held both in Castle Street and Marsh Barton. The county library service headquarters also moved there from Barley House. A restructuring of services led to the creation of the Devon Heritage Service in November 2011 with the aim of integrating the collections of the Record Office and the Westcountry Studies Library, and from autumn 2012 the Westcountry Studies Library that had been housed in Exeter city centre for more than a century, moved into Great Moor House which was renamed the Devon Heritage Centre. On 1 November 2014 Devon Heritage Services was transferred from the County Council to the management of the South West Heritage Trust (an independent charity, which also runs Somerset Archives and Local Studies), and was rebranded as the Devon Archives and Local Studies Service.
In Plymouth the major change for the archive services has been the opening of The Box in 2021 which finally, after almost 40 years of inadequate temporary accommodation for the Plymouth and West Devon Record Office in Clare Place, Coxside, provides a state of the art premises combined with the Museum, the Cottonian Collection and elements from the local studies library service.
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Exeter Reference Library, which, like the Devon Record Office, participated in the <i>From script to print to hypertext</i> exhibition in 1999 is no more, having fallen victim to the austerity measures inflicted on local government. Comparable figures are hard to find, but in 2011 the library service, which had already faced cuts since the economic crash was obliged to cut its budget by 30% from £10 million in 2011 to £7.2 million in 2014. This it did in part by abolishing all specialist posts in a dramatic series of events during 2011. Staff were forbidden to talk on pain of disciplinary action, but a brave whistle-blower, Louisa, eloquently chronicled the proceedings in a blog <i>Devona: speaking up for Devon's libraries</i> (devonaprotectslibraries.blogspot.com). The end result was that there was no funding for specialist staff in the reference, music and drama, children's and local studies departments.
In July 2012 it was announced that Exeter's Central Library would close for a month later that year because Devon County Council had found just over £4 million to finance a major refurbishment from the sale of Exeter Airport. The library would have a temporary home in the Westcountry Studies Library, whose stock would have to be removed. Work started early in 2013 and the refurbished library opened in May 2014, complete with a new foyer, café, larger children's section and "thousands of new books".
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But the fanfare accompanying this reopening did not drown out the protests at the next round of cuts. Less than two months after the new Exeter Central Library opened the library users in Braunton united in July 2014 to strip the library shelves of all books to fight against their library being one of 28 scheduled to close out of the 50 service points run by Devon Library Services. Another £1.5 million or 20% of the £5.5 million budget was to be cut by 2016. Another way had to be found.
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Libraries Unlimited South West was launched in April 2016, an independent staff and community owned charity, working as a company limited by guarantee. It was set up with a mission "to bring ideas, imagination, information and knowledge to people’s lives and communities". It would be able to work more freely and imaginatively with other bodies to achieve these aims. In 2016 Devon County Council gave them a grant of £5,940,000 and the following year £6,203,000. In 2018 Libraries Unlimited took over Torbay Libraries and in that year the combined grant was £7,384,000 with £7,232,000 in 2019. (Libraries Unlimited. 2021).
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In 2021 the public library service in Devon runs 50 libraries and four mobile routes, so no branches have closed since 2014. The unitary authorities in Plymouth and Torbay have eleven and four service points respectively. And the arm's length solution has brought its benefits. Libraries Unlimited have been able to work with bodies such as Exeter City Council, the University of Exeter, the British Library and the Arts Council to deliver imaginative initiatives. In Exeter there is a business and intellectual property centre, and in Exeter and Barnstaple FabLabs offer digital fabrication facilities. There are author events, talks, exhibitions, book groups, friends groups and a much greater involvement of volunteers. For children there are bounce and rhyme sessions, story hours, and the summer reading challenge. Libraries across the county remain community hubs, often with a café close to hand. Among initiatives in the book heritage field are the Adopt a Book scheme, run in association with the British Library to conserve rare and precious items, and the Sickness in the Archives initiative using the expertise of the University of Exeter to highlight medical books in Exeter Library's heritage collections. In the north of Devon too the Pearse Chope Collection from Bideford and the local studies collections in Barnstaple have been promoted.
In the unitary authority of Plymouth the Central Library moved from Tavistock Road to Armada Way in 2016 in preparation for the construction of The Box. There it houses the lending collections and the family and local history library. The important naval history collection is now housed mainly at Devonport Library.
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Even during Covid-19 bookish activities continued in libraries, as in bookshops and publishers, although much of this moved online. Libraries, record offices and museums were closed to the public for months, but e-Books could still be loaned, Zoom was used for a series of conversations with authors, story hours, and bounce and rhyme sessions. Crediton Library even ran a series of talks on behalf of local history groups in the surrounding parishes. Five "little free libraries" sprang up in telephone boxes and similar locations across Exeter where books could be exchanged. The story of literature in lockdown has still to be written, but the Devon Heritage Centre is compiling a Coronavirus Community Archive, as are a number of other organisations across the county.
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But this galaxy of activities has come at a cost. The heritage activities mentioned above are very much down to personal enthusiasm and there is no specialist librarian to maintain and promote the heritage collections in Exeter or indeed in public libraries anywhere outside Plymouth. And there is a large black hole at the centre of the galaxy.
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The Westcountry Studies Library, the last of the participants in the From script to print to hypertext exhibition, has fared worst of all. Restructuring in 2011 removed all designated local studies posts, although those in post continued until the collections were moved from Castle Street to Great Moor House in 2012 when the Devon Record Office was rebranded the Devon Heritage Centre. No specialist library staff was moved across and the bookfund was reduced to £1,000 – in 2,000 it received a figure of around £10,000 to include a programme of newspaper microfilming and periodical subscriptions. Staff were cut from four posts in Exeter to a few hours a week allocated to a member of staff transferred from the Westcountry Studies Library to take up a post as an archive assistant. (Louisa. 2011 ; SWHT. 2021).
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The region's largest collection of local literature of all kinds, maps, illustrations, periodicals and newspapers had been moved by Devon, without any consultation with Exeter, from the heart of its community to an industrial estate next to the motorway. But it was to become even more remote when in 2014 Devon Heritage Services was transferred from Devon County Council to the care of the South West Heritage Trust, based in Taunton, with the services of a Somerset librarian one day each week. Indeed so far has the Westcountry Studies Library sunk below the horizon over the past decade that it did not figure at all in the successful UNESCO bid in 2019. The only publicly accessible collection of local studies resources for residents, researchers and visitors in the centre of Exeter is half a dozen shelves of books for loan in Exeter Library. Can any other regional capital of culture do worse than that? In Exeter even charity shops can do better. Is Devon County Council fulfilling its statutory function "to provide a comprehensive and efficient library service for all persons, whether they live, work or study in the area?
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But hopefully this long story of the book in Exeter and Devon will have a happy ending after all. After a shaky start because of Covid-19 the UNESCO Exeter City of Literature programme is under way with a wide range of initiatives, which are better described on their ever changing website than in a printed volume. The project emerged from lockdown in June 2021 with the immensely successful Exeter Book Market held in a huge barn of a place in the grounds of Powderham Castle where crowds of visitors of all ages visited the stands of local independent booksellers, publishers and others active in the world of the book, including archive staff for the important collections of the Courtenay family. The enthusiasm shown demonstrates that for Exonians and Devonians the book is certainly not dead. (Exeter City of Literature. 2021).
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Let us hope that this enthusiasm will drive an initiative to bring back a substantial part of Exeter's historic literary collections to the heart of the city in an Exeter Heritage Centre, not only with a library presence but also with a bookshop, exhibition hall, meeting room for talks and conferences, tourist information centre and space for local and family history societies, perhaps even a café. What a role for the gutted remains of the Royal Clarence Hotel – or any number of empty shop premises in the city centre. As Bodley's Librarian Richard Ovenden writes in <i>Burning the books: a history of knowledge under attack</i>: "libraries and archives help root societies in their cultural and historical identities through preserving the written record of those societies […] helping communities to appreciate their sense of place and common memory". In fact local studies libraries are doing for their patch what the British Library is doing for the whole nation – and without the benefit of legal deposit. In the post-Covid world Exeter should continue to celebrate the never-ending story of the book and gently lead the elephant in the room back to its rightful home in the heart of the community.
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<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWN2YX1hYamasBzarlSZZ-2U27rt7bSsIDH7_ZZHgz7Fn7wB6FiKElEj9q0I6ui1YzvTQsmbg0HeGBCHXEItNjJlSnpNd1a53Itne-nJ9tGjGlU-6yecWqW2We_vfSFnRizz9q3HR6KBKpOTnPiG7co-Kx9cXTN6MBwLuQGgf-fm1v48eQqZb7/s1280/LONDON-STOCKDALE-1793.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="320" data-original-height="844" data-original-width="1280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWN2YX1hYamasBzarlSZZ-2U27rt7bSsIDH7_ZZHgz7Fn7wB6FiKElEj9q0I6ui1YzvTQsmbg0HeGBCHXEItNjJlSnpNd1a53Itne-nJ9tGjGlU-6yecWqW2We_vfSFnRizz9q3HR6KBKpOTnPiG7co-Kx9cXTN6MBwLuQGgf-fm1v48eQqZb7/s320/LONDON-STOCKDALE-1793.jpg"/></a></div>
<center>The elephant in the room, engraved by William Charles Wilson for an edition of Barnstaple born poet John Gay's <i>Fables</i> (London: John Stockdale, 1793).<br />
Coopy in Devon Heritage Centre (WSL:s821/GAY)</center>
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Copyright © Ian Maxted 2021. This page last updated 16 November 2023Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-69333191140170330272022-11-09T19:30:00.036+00:002023-04-16T18:55:25.353+01:00 Westcountry bibliometric tables. Podcast 5. 4<p style="text-align: center;"><b> <span style="background-color: white; font-family: times; text-align: center;">Westcountry bibliometric tables </span></b></p><p style="text-align: center;"><span style="background-color: white;"><span style="font-family: times;">To accompany the University of Exeter project</span></span></p><p style="text-align: center;"><span style="background-color: white;"><a href="https://reconex.exeter.ac.uk/podcasts/"><span style="font-family: times;">Writing religious conflict and community in Exeter, 1500-1750</span></a></span></p><p style="text-align: center;"><span style="background-color: white;"><span style="font-family: times;">Podcast 5 by Ian Maxted, recorded November 2022</span></span></p><p><b>Table 10. Imprints of London publisher Francis Eglesfield which have Westcountry links.</b></p><center><span style="text-align: start;"><div><br /><table border="1"><tbody><tr><td width="10%">Author</td><td width="40%">Title</td><td width="10%">London Printer</td><td width="15%">Westcountry bookseller</td><td width="5%">Year.</td><td width="20%">Westcountry significance</td></tr><tr><td><span style="font-size: x-small;">Eglesfield, James</span></td><td><span style="font-size: x-small;">A heavenly hymne to the king of heaven. Presented in a sermon, by Iames Eglesfield, Mr. of Arts in Queenes Colledge in Oxon late Vicar of Chewton in Sommerset. -</span></td><td><span style="font-size: x-small;">Dawson, John.</span></td><td><span style="font-size: x-small;">[None named, author probably Westcountry relative]</span></td><td><span style="font-size: x-small;">1640. -</span></td><td><span style="font-size: x-small;">Author, probable relative, Vicar of Chewton in Sommerset.</span></td></tr><tr><td><span style="font-size: x-small;">Bache, Arthur</span></td><td><span style="font-size: x-small;">The voyce of the Lord in the Temple, or, A most strange and wonderfull relation of Gods great power, providence, and mercy in sending very strange sounds, fires, and a fiery ball into the church of Anthony in Cornwall neere Plimmouth, on Whitsunday last, 1640, to the scorching and astonishing of 14 severall persons who were smitten, [...] the truth whereof will be maintained by the oathes of the same persons, having been examined by Richard Carew of Anthony, Esquire, an Arthur Bache, Vicar of Anthony. -</span></td><td><span style="font-size: x-small;">Paine, Thomas.</span></td><td><span style="font-size: x-small;">Russell, William, Plymouth (also issued without his name)</span></td><td><span style="font-size: x-small;">1640. -</span></td><td><span style="font-size: x-small;">Fireball in church of Anthony in Cornwall near Plymouth</span></td></tr><tr><td><span style="font-size: x-small;">Jelinger, Christopher</span></td><td><span style="font-size: x-small;">The excellency of Christ, or, The rose of Sharon: shewing the art of taking Christ as the onely soveraign medicine of a sin-sick soul. [...]. In 25 cases upon that excellent text in Cant. 2.1. I am the rose of Sharon. By Christopher Ielinger, minister of Gods Word at Stonehouse in Devonshire. -</span></td><td><span style="font-size: x-small;">Legate, John.</span></td><td><span style="font-size: x-small;">Russell, William, Plymouth (also issued without his name but printed "for Tho. Nickols" not Eglesfield).</span></td><td><span style="font-size: x-small;">1641. -</span></td><td><span style="font-size: x-small;">Author minister of Gods Word at Stonehouse, Plymouth.</span></td></tr><tr><td><span style="font-size: x-small;">[Anonymous]</span></td><td><span style="font-size: x-small;">A continuation of The true narration of the most observable passages in and about Plymouth, from Ianuary 26. 1643. till this present; [...]. Together with the letter of Sir Richard Greenvile, with the answer to it, as also the burning of a booke inclosed in his letter by the hand of the hangman, the book being intituled, The iniquity of the Covenant. With the discovery of a shee traytor together with the articles prooved on oath against her at a councell of warre. Published by authoritie. -</span></td><td><span style="font-size: x-small;">Dawson, John.</span></td><td><span style="font-size: x-small;">[None named but Plymouth relevance]</span></td><td><span style="font-size: x-small;">1644. -</span></td><td><span style="font-size: x-small;">Recent events in and about Plymouth.</span></td></tr><tr><td><span style="font-size: x-small;">Midhope, Stephen</span></td><td><span style="font-size: x-small;">Deaths advantage: or A sermon preached at the funerall of that noble and valiant gentleman, Colonell William Gould, High Sheriffe of Devon: by order of Parliament, and late commander of the fort and island in Plymouth. By Stephen Midhope, Mr. of Arts. -</span></td><td><span style="font-size: x-small;">Norton, Luke.</span></td><td><span style="font-size: x-small;">[None named but Plymouth relevance]</span></td><td><span style="font-size: x-small;">1644. -</span></td><td><span style="font-size: x-small;">Funeral sermon for Colonell William Gould, Sheriff of Devon and commander of the fort and island in Plymouth</span></td></tr><tr><td><span style="font-size: x-small;">Bond, John</span></td><td><span style="font-size: x-small;">Occasus occidentalis: or, Job in the VVest. As it was laid forth in two severall sermons, at two publike fasts, for the five associated westerne counties. By Iohn Bond B.L. late lecturer in the City of Exon, now minister at the Savoy, London. A member of the Assembly of Divines. -</span></td><td><span style="font-size: x-small;">Dawson, John.</span></td><td><span style="font-size: x-small;">[None named but Exeter relevance]</span></td><td><span style="font-size: x-small;">1645. -</span></td><td><span style="font-size: x-small;">Author late lecturer in Exeter, sermons for the Western Counties.</span></td></tr><tr><td><span style="font-size: x-small;">Bond, John</span></td><td><span style="font-size: x-small;">Oriens ab occidente: or, A dawning in the vvest· As it was delivered in a sermon before the Honourable House of Commons, at Westminster; upon their day of thanksgiving, for severall victories in the west, &c. By John Bond Mr of the Savoy, and one of the Assembly of Divines. -</span></td><td><span style="font-size: x-small;">Dawson, John.</span></td><td><span style="font-size: x-small;">[None named but Exeter relevance]</span></td><td><span style="font-size: x-small;">1645. -</span></td><td><span style="font-size: x-small;">Sermon for late victories in the West.</span></td></tr><tr><td><span style="font-size: x-small;">Bond, John</span></td><td><span style="font-size: x-small;">Ortus occidentalis: or, A dawning in the vvest· As it was delivered in a sermon before the Honourable House of Commons, at Westminster; upon their day of thanksgiving, for severall victories in the west, &c. By John Bond Mr of the Savoy, and one of the Assembly of Divines. -</span></td><td><span style="font-size: x-small;">Dawson, John.</span></td><td><span style="font-size: x-small;">[None named but Exeter relevance]</span></td><td><span style="font-size: x-small;">1645. -</span></td><td><span style="font-size: x-small;">Sermon for late victories in the West.</span></td></tr><tr><td><span style="font-size: x-small;">Newton, George</span></td><td><span style="font-size: x-small;">Mans wrath and Gods praise. Or, A thanks-giving sermon, preached at Taunton, in the county of Somerset, the 11th. of May, [...] for the gratious deliverance of that poore towne from the strait siege. By George Newton, Mr. of Arts, and minister of the Gospell in that place. -</span></td><td><span style="font-size: x-small;">Wilson, W.</span></td><td><span style="font-size: x-small;">Treagle, George, Taunton (also issued without his name)</span></td><td><span style="font-size: x-small;">1646. -</span></td><td><span style="font-size: x-small;">Thanksgiving sermon, preached at Taunton, on deliverance from siege in 1645.</span></td></tr><tr><td><span style="font-size: x-small;">Ford, Simon</span></td><td><span style="font-size: x-small;">The great interest of states & kingdomes. The second part. A sermon preached on a publike thanksgiving, on the 12th. of May, 1646. at Botolphs Alders-gate: and after (upon the desire of some friends) enlarged at Pauls Church in Covent-garden, on the Lords Day, May 17th. 1646. By Simon Ford, minister of the Gospel at Puddle-Towne in Dorcet-shire. -</span></td><td><span style="font-size: x-small;">Wilson, W.</span></td><td><span style="font-size: x-small;">Long, John, Dorchester (also issued without his name).</span></td><td><span style="font-size: x-small;">1646. -</span></td><td><span style="font-size: x-small;">Author minister of the Gospel at Puddletown, Dorset.</span></td></tr><tr><td><span style="font-size: x-small;">Herrick, Robert</span></td><td><span style="font-size: x-small;">His noble numbers: or, His pious pieces vvherein (amongst other things) he sings the birth of his Christ and sighes for his Saviours suffering on the crosse. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1647. -</span></td><td><span style="font-size: x-small;">Author vicar of Dean Prior, Devon.</span></td></tr><tr><td><span style="font-size: x-small;">Jelinger, Christopher</span></td><td><span style="font-size: x-small;">The usefulnesse and excellency of Christ, shewing the art of taking Christ as the only soveraigne medicine of a sin-sick soule. In twenty fiue cases: upon that excellent text in Cant. 2.1. I am the Rose of Sharon. By Christopher Jelinger minister of Gods word, at South-Brent in Deuonshire. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">Hunt, Thomas, Exeter.</span></td><td><span style="font-size: x-small;">1647. -</span></td><td><span style="font-size: x-small;">Author minister of Gods word, South Brent, Devon.</span></td></tr><tr><td><span style="font-size: x-small;">Gauden, John</span></td><td><span style="font-size: x-small;">Eikon basilike the pourtraicture of His Sacred Majestie in his solitude and sufferings. -</span></td><td><span style="font-size: x-small;">Dugard, William.</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1648/9. -</span></td><td><span style="font-size: x-small;">Bishop of Exeter, but only 1660–1662.</span></td></tr><tr><td><span style="font-size: x-small;">Herrick, Robert</span></td><td><span style="font-size: x-small;">Hesperides: or, The vvorks both humane & divine of Robert Herrick Esq. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">Hunt, Thomas, Exeter (also issued without his name)</span></td><td><span style="font-size: x-small;">1648. -</span></td><td><span style="font-size: x-small;">Author vicar of Dean Prior, Devon.</span></td></tr><tr><td><span style="font-size: x-small;">Batt, Timothy</span></td><td><span style="font-size: x-small;">The vvaters of Marah sweetned. A thanks-giving sermon. Preached at Taunton, in the county of Somerset, May 11. 1647. for the gracious deliverance of that poore towne from the strait and bloody siege. By T.B. Master of Arts, and a minister of the gospel in that county. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">Treagle, George, Taunton</span></td><td><span style="font-size: x-small;">1648. -</span></td><td><span style="font-size: x-small;">Thanksgiving sermon, preached at Taunton, on deliverance from siege in 1645.</span></td></tr><tr><td><span style="font-size: x-small;">Gauden, John</span></td><td><span style="font-size: x-small;">Apophthegmata aurea, regia, Carolina. Apophthegms I. Theological. II. Moral. III. Political. Collected out of the incomparable Eikon basilike. of His most glorious Majestie King Charls the First. -</span></td><td><span style="font-size: x-small;">Dugard, William.</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1649. -</span></td><td><span style="font-size: x-small;">Bishop of Exeter, but only 1660–1662,</span></td></tr><tr><td><span style="font-size: x-small;">Gauden, John</span></td><td><span style="font-size: x-small;">Eikon basilike. The pourtraicture of His sacred Majestie in his solitudes and sufferings. Whereunto are annexed his praiers and apophthegms. &c. -</span></td><td><span style="font-size: x-small;">Dugard, William.</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1649. -</span></td><td><span style="font-size: x-small;">Bishop of Exeter, but only 1660–1662,</span></td></tr><tr><td><span style="font-size: x-small;">Gauden, John</span></td><td><span style="font-size: x-small;">Eikon basilike. Vel imago Regis Caroli, in illis suis ærumnis & solitudine. -</span></td><td><span style="font-size: x-small;">Bentley, William.</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1649. -</span></td><td><span style="font-size: x-small;">Bishop of Exeter, but only 1660–1662,</span></td></tr><tr><td><span style="font-size: x-small;">Jeanes, Henry</span></td><td><span style="font-size: x-small;">The vvorks of heaven upon earth: or The excellencie of praise and thanksgiving, in part displayed in a sermon, inlarged into a treatise, preached at Taunton in the county of Somerset May 11. 1648. Being the day set apart for the annuall commemoration of the deliverance o that town, by the reliefe which they received on May 11. anno 1645. By Henry Jeanes minister of Gods word at Chedzoy in the same county. -</span></td><td><span style="font-size: x-small;">Dawson, Gertrude.</span></td><td><span style="font-size: x-small;">Treagle, George, Taunton (also issued without his name)</span></td><td><span style="font-size: x-small;">1649. -</span></td><td><span style="font-size: x-small;">Thanksgiving sermon, preached at Taunton, on deliverance from siege in 1645.</span></td></tr><tr><td><span style="font-size: x-small;">Larkham, Thomas</span></td><td><span style="font-size: x-small;">The attributes of God vnfolded, and applied. Wherein are handled the 1 Life 2 Perfection 3 Holiness 4 Benignitie 5 Mercy 6 Truth 7 Wisdome 8 Power 9 Justice of God. 10 Love 11 Hatred 12 Anger 13 Independencie 14 Simplicitie 15 Eternitie 16 Infiniteness 17 Immutability 18 Immensity of God. Delivered in sundry sermons, at Tavistocke in Devon: By Thomas Larkham, preacher of the word of God, and pastour of the congregation there. Divided into three parts. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1656. -</span></td><td><span style="font-size: x-small;">Sermons preached at Tavistock.</span></td></tr><tr><td><span style="font-size: x-small;">Larkham, Thomas</span></td><td><span style="font-size: x-small;">A discourse of paying of tithes by T.L. ... ; together with an appendix . -</span></td><td><span style="font-size: x-small;">Ratcliffe, Thomas & Mottershead, E.</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1656. -</span></td><td><span style="font-size: x-small;">Author pastor of Tavistock.</span></td></tr><tr><td><span style="font-size: x-small;">Moore, Francis</span></td><td><span style="font-size: x-small;">Natures goodnight. Or, A sermon preached in the parish-church of Bovitracy in Devon, at the funerall of the vertuous and godly Mrs. Mary Forbes, the great loss and sorrow of the neighbour-hood. By Fra: Moore, curate of soules at Highweek. -</span></td><td><span style="font-size: x-small;">Grismond, John.</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1656. -</span></td><td><span style="font-size: x-small;">sermon preached at Bovey Tracy in Devon</span></td></tr><tr><td><span style="font-size: x-small;">Larkham, Thomas</span></td><td><span style="font-size: x-small;">The parable of the wedding-supper explained wherein the offer of salvation both to Jews and Gentiles is plainly and pithily applied : whereunto is added a discourse of the payment of tythes, with an appendix by way of apology for the seasonablenesse of it, very useful for gospel times by Tho. Larkham ... -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1656. -</span></td><td><span style="font-size: x-small;">Author pastor of Tavistock.</span></td></tr><tr><td><span style="font-size: x-small;">Hamand, Henry</span></td><td><span style="font-size: x-small;">Ourography or Speculations on the excrements of urine with the distinctions, causes, colours, and contents thereof: and other symptomes observed in nature. [...] By Henry Hamand. -</span></td><td><span style="font-size: x-small;">Daniel, R.</span></td><td><span style="font-size: x-small;">Ballard, William, Bristol (also issued without his name)</span></td><td><span style="font-size: x-small;">1656. -</span></td><td><span style="font-size: x-small;">Unascertained, perhaps a Bristol medical practitioner.</span></td></tr><tr><td><span style="font-size: x-small;">Ballamie, Richard</span></td><td><span style="font-size: x-small;">The leper clensed, or The redvction of an erring Christian. Being a narrative of Richard Ballamie of Tiverton his falling off to Anabaptism and of his returning to the truth, with the causes and occasions of both. [...] By him published, to caution young ignorant Christians against the error of that way. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1657. -</span></td><td><span style="font-size: x-small;">narrative of Richard Ballamie of Tiverton his falling off to Anabaptism and of his returning to the truth</span></td></tr><tr><td><span style="font-size: x-small;">Allein, Toby</span></td><td><span style="font-size: x-small;">Truths manifest revived, or A farther discovery of Mr. Stucley and his churches causeless excommunication of Mrs. Mary Allein. Wherein the former narrative and observations on Mr. Stucleys sermon, are reprinted and his late scandulous pamphlet, falsly intituled (Manifest truth) answered and refuted. By Tobie Allein of Exon. -</span></td><td><span style="font-size: x-small;">Daniel, R.</span></td><td><span style="font-size: x-small;">Mongwell, John, junior, Exeter (also issued without his name).</span></td><td><span style="font-size: x-small;">1659. -</span></td><td><span style="font-size: x-small;">excommunication of Mrs. Mary Allein. By Tobie Allein of Exon.</span></td></tr><tr><td><span style="font-size: x-small;">Bury, Arthur</span></td><td><span style="font-size: x-small;">The mystery of iniquity, discovered to work in the children of disobedience. Whereby the pretended godliness of schismatics appeareth, to be the greatest ungodliness. In a cathedral-lecture at St. Peters in Exon. By Arthur Bury M.A some time fellow of Exon Coll. in Oxon. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">1660. -</span></td><td><span style="font-size: x-small;">cathedral-lecture at St. Peters in Exon.</span></td></tr><tr><td><span style="font-size: x-small;">Blake, Martin</span></td><td><span style="font-size: x-small;">An earnest plea for peace and moderation in a sermon, preached at Barnstaple in Devon to the ministers, and others, occasionally there assembled, Octob. 17. 1660. By Martin Blake B.D. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">Hunt, Christopher, Barnstaple (also issued without his name).</span></td><td><span style="font-size: x-small;">1661. -</span></td><td><span style="font-size: x-small;">sermon, preached at Barnstaple in Devon</span></td></tr><tr><td><span style="font-size: x-small;">Quick, John</span></td><td><span style="font-size: x-small;">Hell open’d, or, The infernal sin of murther punished. Being a true relation of the poysoning of a whole family in Plymouth, whereof two died in a short time. For which horrid fact, the malefactors were condemned before the Lord Chief Justice North at Exceter, the last Lent assizes. [...] Published for a warning to both young and old, to flie iniquity, and exercise themselves in the practice of godliness. By J. Q. minister of the Gospel. -</span></td><td><span style="font-size: x-small;">[None named]</span></td><td><span style="font-size: x-small;">Dight, Walter, Exeter (also issued without his name)</span></td><td><span style="font-size: x-small;">1679. -</span></td><td><span style="font-size: x-small;">The poysoning of a whole family in Plymouth, the malefactors were condemned at Exceter, the last Lent assizes.</span></td></tr></tbody></table><b><br /></b></div><div><b>Source:</b> ESTC, search on Eglesfield in imprint with Westcountry items selected from results and variant issues merged.<br /><br />Francis Eglesfield was a prominent London publisher, particularly of religious texts, active between 1637 and 1688. 162 imprints are listed in ESTC, some 40 of them with some kind of Westcountry content. Some are variant issues of the same title, 13 with a local bookseller between 1640 and 1678. </div><div><br /></div><div><p><b>Table 11. Publications from the press of J. B. when William of Orange was in Exeter, 1688.</b></p><center><span style="text-align: start;"><div><table border="1"><tbody><tr><td>1. - A form of prayer, &c. Translated from the Dutch. [Exeter : printed by J.B., 1688]</td></tr><tr><td>2. - The general association, of the gentlemen of Devon, to His Highness the Prince of Orange. Exon : [s.n.], printed in the year, 1688.</td></tr><tr><td>3. - The general association, of the gentlemen of Devon, to His Highness the Prince of Orange. Exon : [s.n.], printed in the year, 1688.</td></tr><tr><td>4. - William III, King of England. A letter, &c. [Exeter? : s.n., 1688]</td></tr><tr><td>5. - William III, King of England. A letter, &c. [Exeter? : s.n., 1688]</td></tr><tr><td>6. - William III, King of England. The speech of the Prince of Orange, to some principle gentlemen of Somersetshire and Dorsetshire, Exeter : printed by J.B., 1688. 7. William III, King of England. To all the officers and souldiers in the English army. [Exeter? : s.n., 1688]</td></tr><tr><td>8. - The general association, of the gentlemen of Devon, to his Highness the Prince of Orange. Exon : [s.n.], printed in the year, 1689.</td></tr><tr><td>9. - William I, Prince of Orange, 1533-1584. The Prince of Orange’s letter to the King [Felipe II of Spain, requesting the Cardinal de Granvelle's removal from Flanders]. Exon : [s.n.], printed in the year, 1689.</td></tr><tr><td>10. - William III, King of England. The Prince of Oranges speech to the Lords, &c. concerned with him. Printed at Exeter : [s.n.], M DC LXXXIX. [1689]</td></tr><tr><td>11. - William III, King of England. The Prince of Oranges speech to the Lords, &c. concerned with him. Printed at Exeter : [s.n.], M DC LXXXIX. [1689]</td></tr></tbody></table><b><br /></b></div><div><b>Sources:</b> ESTC search on Exeter as place of publication and 1688->1689 as year of publication.<br /><br /></div><div style="text-align: justify;"><span style="text-align: start;">William of Orange was in Exeter from 10-21 November 1688. The fact that some imprints bear the date 1689 does not necessarily imply that the press remained in Exeter. Printers normally used the Gregorian calendar year, starting 1 January rather than the legal year starting 25 March and were in the habit of postdating imprints from November to allow for delays in publication. J. B. has been identified as John Bringhurst, a Quaker printer, the only individual with those initials in the 1686 list, who is recorded in the Low Countries in 1688. There is no evidence to support the statement that there was a printer in Exeter in 1683. William of Orange's press had little impact on Exeter book trade. </span></div><div style="font-weight: bold; text-align: justify;"><b><br /></b></div></span></center><div><b style="text-align: justify;">Table 12. Publication of Exeter related sermons in 1710s.</b></div></div></span><br style="text-align: start;" /><table border="1"><tbody><tr><td width="10%"><p><span style="font-size: x-small;">Author</span></p></td><td width="25%"><p><span style="font-size: x-small;">Title</span></p></td><td width="25%"><p><span style="font-size: x-small;">Sponsor / circumstances</span></p></td><td width="5%"><p><span style="font-size: x-small;">Place</span></p></td><td width="10%"><p><span style="font-size: x-small;">Imprint</span></p></td><td width="5%"><p><span style="font-size: x-small;">Year</span></p></td><td width="10%"><p><span style="font-size: x-small;">Pages 8°</span></p></td><td width="5%"><p><span style="font-size: x-small;">Sheets</span></p></td><td width="5%"><p><span style="font-size: x-small;">Price</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Bartlet, William, 1678-1720.</span></p></td><td><p><span style="font-size: x-small;">Barnabas's character and success. A sermon Preach'd at Exon, May the 9th. 1716.</span></p></td><td><p><span style="font-size: x-small;">Before an Assembly of the United Ministers of Devon and Cornwal.Publish'd at their Request.</span></p></td><td><p><span style="font-size: x-small;">Lon.</span></p></td><td><p><span style="font-size: x-small;">for John Clark</span></p></td><td><p><span style="font-size: x-small;">1716</span></p></td><td><p><span style="font-size: x-small;">43,[1]</span></p></td><td><p><span style="font-size: x-small;">2.5</span></p></td><td><p><span style="font-size: x-small;">6d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Ham, Robert, 1650 or 1651-1731.</span></p></td><td><p><span style="font-size: x-small;">The right way of obtaining a good and safe peace with our enemies. …</span></p></td><td><p><span style="font-size: x-small;">sermon preach'd in Sandford Church, … January the 16th. 1711/12.</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by Joseph Bliss, for Philip Yeo, Bookseller</span></p></td><td><p><span style="font-size: x-small;">1712</span></p></td><td><p><span style="font-size: x-small;">24</span></p></td><td><p><span style="font-size: x-small;">1.5</span></p></td><td><p><span style="font-size: x-small;">3d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Wolcombe, Robert, 1663 or 1664-.</span></p></td><td><p><span style="font-size: x-small;">A sermon preach'd at the assizes held at Exon</span></p></td><td><p><span style="font-size: x-small;">Publish'd at the Request of the High-Sheriff, and the Gentlemen of the Grand-Jury.</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by Jos. Bliss, for Philip Bishop, Bookseller</span></p></td><td><p><span style="font-size: x-small;">1712</span></p></td><td><p><span style="font-size: x-small;">[2],21,[1]</span></p></td><td><p><span style="font-size: x-small;">1.5</span></p></td><td><p><span style="font-size: x-small;">4d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Calamy, Edmund, 1671-1732.</span></p></td><td><p><span style="font-size: x-small;">The prudence of the serpent, and innocence of the dove. A sermon preach'd at Exon, May the 6th. 1713. 2nd ed.</span></p></td><td><p><span style="font-size: x-small;">Before a numerous assembly of the dissenting ministers of Devon and Cornwal. Publish'd at their common request.</span></p></td><td><p><span style="font-size: x-small;">Lon.</span></p></td><td><p><span style="font-size: x-small;">for John Clark</span></p></td><td><p><span style="font-size: x-small;">1713</span></p></td><td><p><span style="font-size: x-small;">32</span></p></td><td><p><span style="font-size: x-small;">2</span></p></td><td><p><span style="font-size: x-small;">4d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Ham, Robert, 1650 or 1651-1731.</span></p></td><td><p><span style="font-size: x-small;">The duty and advantages of national unity. Set forth in a sermon, preach'd at the Archidiaconal Visitation … in … St. Mary the Moor, April the 16th. 1713.</span></p></td><td><p><span style="font-size: x-small;">Publish'd at the Request of the Reverend the Clergy</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by S. Farley, for Philip Yeo, Bookseller</span></p></td><td><p><span style="font-size: x-small;">1713</span></p></td><td><p><span style="font-size: x-small;">[4],27,[1]</span></p></td><td><p><span style="font-size: x-small;">2</span></p></td><td><p><span style="font-size: x-small;">4d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Squire, Francis, 1682-1750.</span></p></td><td><p><span style="font-size: x-small;">A brief justification of the principles of a reputed Whigg. Together with some few remarks on Dr. Sach----l's late sermon, on the 29th of May.</span></p></td><td><p><span style="font-size: x-small;">In an epistle to the Tories of the west.</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by Sam. Farley, for John March, Book-Seller</span></p></td><td><p><span style="font-size: x-small;">1713</span></p></td><td><p><span style="font-size: x-small;">24</span></p></td><td><p><span style="font-size: x-small;">1.5</span></p></td><td><p><span style="font-size: x-small;">3d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">[Anonymous]</span></p></td><td><p><span style="font-size: x-small;">A Fast-sermon, preach'd in a dissenting congregation in Tiverton, January 8th, 1712-13.</span></p></td><td><p><span style="font-size: x-small;">Faithfully transcrib'd from the notes of one who writ it as preach'd and now made publick to stop the mouth of calumny and slander.</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by Jos. Bliss, for Samuel Dyer, bookseller in Tiverton</span></p></td><td><p><span style="font-size: x-small;">1713</span></p></td><td><p><span style="font-size: x-small;">14,[2]</span></p></td><td><p><span style="font-size: x-small;">1</span></p></td><td><p><span style="font-size: x-small;">2d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Bartlet, William, 1678-1720.</span></p></td><td><p><span style="font-size: x-small;">The power of violence and resolution, when apply'd to Religion.</span></p></td><td><p><span style="font-size: x-small;">A sermon Preach'd at the Morning Lecture in Exon, on Thursday Sept. 9. 1714.</span></p></td><td><p><span style="font-size: x-small;">Lon.</span></p></td><td><p><span style="font-size: x-small;">for John Clark</span></p></td><td><p><span style="font-size: x-small;">1714</span></p></td><td><p><span style="font-size: x-small;">40</span></p></td><td><p><span style="font-size: x-small;">2.5</span></p></td><td><p><span style="font-size: x-small;">6d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Peirce, James, 1673-1726.</span></p></td><td><p><span style="font-size: x-small;">An useful ministry a valid one. [Three editions published]</span></p></td><td><p><span style="font-size: x-small;">Being a sermon preach'd at Exon, May the 5th, 1714. at a meeting of the united ministers of Devon and Cornwal.</span></p></td><td><p><span style="font-size: x-small;">Lon.</span></p></td><td><p><span style="font-size: x-small;">for John Clark</span></p></td><td><p><span style="font-size: x-small;">1714</span></p></td><td><p><span style="font-size: x-small;">[2],42</span></p></td><td><p><span style="font-size: x-small;">2.5</span></p></td><td><p><span style="font-size: x-small;">6d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Squire, Francis, 1682-1750.</span></p></td><td><p><span style="font-size: x-small;">Universal benevolence: or, Charity in its full extent. Recommended in a sermon. Together with a preface, wherein is a farther justification of the principles of the Whiggs.</span></p></td><td><p><span style="font-size: x-small;">Humbly dedicated to Richard Steele, Esq;</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by Sam. Farley; for John March, bookseller ; and are sold by J. Roberts, London</span></p></td><td><p><span style="font-size: x-small;">1714</span></p></td><td><p><span style="font-size: x-small;">[4],xviii,33,[1]</span></p></td><td><p><span style="font-size: x-small;">3.5</span></p></td><td><p><span style="font-size: x-small;">6d</span></p></td></tr><tr><td><p><span style="font-size: x-small;">Trosse, George, 1631-1713.</span></p></td><td><p><span style="font-size: x-small;">The life of the Reverend Mr. Geo. Trosse, Late Minister of the Gospel In The City of Exon, who died January 11th, 1712/13. In the Eighty Second Year of his Age.</span></p></td><td><p><span style="font-size: x-small;">Written by himself, and Publish’d according to his Order. To which is added, the sermon preach’d at his funeral.</span></p></td><td><p><span style="font-size: x-small;">Exon</span></p></td><td><p><span style="font-size: x-small;">by Jos. Bliss, for Richard White, Merchant, also by Hen. White</span></p></td><td><p><span style="font-size: x-small;">1714</span></p></td><td><p><span style="font-size: x-small;">[16], 103, [1] ; 35, [1]</span></p></td><td><p><span style="font-size: x-small;">10</span></p></td><td><p><span style="font-size: x-small;">18d</span></p></td></tr></tbody></table><span style="text-align: start;"><div style="text-align: justify;"><b><br /></b></div><div style="text-align: justify;"><b>Source:</b><b> </b>ESTC, search on keywords "sermon" and "exon" within decade. Ten records selected and tabulated to show circumstances of publication.</div></span><br style="text-align: start;" /><div style="text-align: justify;"><span style="text-align: start;">Column 3 isolates the section of title that could show circumstances of publication. E. g. "Published at their common request". "Humbly dedicated" could also be a request for financial assistance. In the imprint, Exeter publications normally name the printer, in London less frequently, but it is the bookseller that is commissioned by the author or sponsor, and he in turn commissions the printer to produce the required num</span></div><div style="text-align: justify;"><b style="text-align: start;"><br /></b></div><div style="text-align: justify;"><b style="text-align: start;">Table 13. Exeter newspapers 1704-1763</b></div><div style="text-align: start;"><div><b><br /></b><table border="1" valign="top"><tbody><tr><td width="28%">Title</td><td width="12%">Numbering</td><td width="20%">Datespan</td><td width="40%">Notes</td></tr><tr><td>Sam Farley's Exeter post-man.</td><td>1-175?</td><td>1704?-23 Sep 1715</td><td>Possibly superseded by: The Exeter Mercury.</td></tr><tr><td>Jos. Bliss's Exeter post-boy.</td><td>1-241-?</td><td>8 Apr? 1709-17 Aug 1711-?</td><td>Possibly continued to 1715 as: The Protestant Mercury or the Exeter post-boy.</td></tr><tr><td>The Exeter mercury or weekly intelligence of news.</td><td>1-vol.3, no.553-?</td><td>24 Sep 1714-23 Jan 1722-?</td></tr><tr><td>The Protestant mercury or Exeter post-boy with news foreign and domestick.</td><td>1-[vol.5,] no.13-?</td><td>27 Sep? 1715-[28 Nov 1718]-?</td></tr><tr><td>The post-master or loyal mercury.</td><td>1-223</td><td>Mar? 1717-23 Apr 1725</td><td>Continued as: Brice's Weekly Journal, 1-?, 30 Apr 1725-[14 May 1736?]. Probably continued as: Brice's Weekly Collection of Intelligence, 1-?, 21 May 1736?-17 Jan 1746? Probably continued as:</td></tr><tr><td>Andrew Brice's Old Exeter Journal or the Weekly Advertiser.</td><td>1-461</td><td>24 Jan 1746?-1 Aug 1766</td><td>Continued as: Brice and Thorn's Old Exeter Journal or Weekly Advertiser, 1-?, 8 Aug 1766-Nov 1773? Probably continued as: The Old Exeter Journal or Weekly Advertiser, [296?]-?, Nov 1773?-1788? Probably continued as: Brice's Old Exeter Journal, ?-?, Sep 1788?-1 Oct? 1789. Continued as: Brice & Co.'s Old Exeter Journal, ?-?, 8 Oct? 1789-5 May? 1791. Continued as: Old Exeter Journal 12 May?-Nov 1791.</td></tr><tr><td>Farley's Exeter journal.</td><td>1-286-?</td><td>24 May? 1723-8 Nov 1728-?</td></tr><tr><td>Brice's Weekly Journal</td><td></td><td>1725-1736?</td><td>Started 1717</td></tr><tr><td>Brice's weekly collection of intelligence.</td><td></td><td>1736?-1764+.</td><td>Started 1717</td></tr><tr><td>Farley's Exeter weekly journal.</td><td>1-33-?</td><td>1 May? 1741-11 Dec -?</td></tr><tr><td>Andrew Brice's old Exeter journal.</td><td></td><td>1746-1766?</td><td>Started 1717</td></tr><tr><td>Exeter journal and advertiser.</td><td>1-162-?</td><td>Feb? 1754-18 Mar 1757-?</td></tr><tr><td>Exeter flying post.</td><td>Nos?</td><td>1760-?</td><td>No copies found. Mentioned in Public Ledger</td></tr><tr><td>The Exeter chronicle or universal register.</td><td>1-250?</td><td>15 Sep? 1760-Jan 1764-?</td></tr><tr><td>The Exeter mercury or West Country advertiser.</td><td>1-97</td><td>2 Sep 1763-5 Jul 1765</td><td>Continued as: The Exeter Evening-Post or the Westcountry Advertiser, 98, 11 Jul 1765. Continued as: The Exeter Evening-Post or the Plymouth and Cornish Courant, 99-210, 18 Jul 1765-11 Sep 1767. Continued as: The Exeter Evening-Post or Plymouth and Cornish Advertiser, 211-292, 18 Sep 1767-21 Apr 1769. Continued as: Trewman's Exeter Evening-Post or Plymouth and Cornish Advertiser, 293-379, 28 Apr 1769-21 Dec 1770. Continued as: Trewman's Exeter Flying-Post or Plymouth and Cornish Advertiser, 380-4313, 28 Dec 1770-10 Aug 1848. Continued as: Trewman's Exeter Flying Post Devon, Cornwall, Somerset, Dorset, Wilts and Gloucester Advertiser, 4314-6229, 17 Aug 1848-13 Apr 1887. Incorporated The Evening Post to form: The Evening Post with which is incorporated Trewman's Exeter Flying Post, 6230-10880, 16 Apr 1887-6 Jun 1902. Continued as: Trewman's Exeter Flying Post, 10881-11657, 7 Jun 1902-21 Apr 1917.</td></tr></tbody></table><br /><b>Sources: </b><i>Bibliography of British newspapers: Cornwall,</i> county editor Jean Rowles ; Devon, county editor Ian Maxted (British Library, 1991), updated on the <a href="https://bookhistory.blogspot.com/2009/10/devon-newspapers-1704-2004.html">Exeter working papers in book history</a> website.<br /><br />For holdings refer to the sources. There are many gaps in runs, some titles are recorded by one stray issue and other do not appear to survive at all. There are no separate entries for changes of title that occur after 1763.</div><div><br /></div></div><div style="text-align: justify;"><span style="text-align: start;">ber of copies. The number of pages and format indicates the number of edition sheets (an octavo produces 16 pages of text hand-made paper) and indicates that a single sheet sermon normally cost 2d (less than £0.01 - roughly equivalent to £1.20 in 2022).</span></div></center><br />
<div><b>Table 14. Books with Exeter imprints published by subscription to 1765.</b></div><div><br /><table border="1"><tbody><tr><td width="18%">Author</td><td width="25%">Title</td><td width="25%">Imprint</td><td width="7%">Year</td><td width="25%">Subscribers</td></tr><tr><td>Brice, Andrew</td><td>Freedom : a poem</td><td>Exon : printed by and for the author, at his printing-office opposite to St. Stephen’s Church</td><td>1730</td><td>62 subscribers for 209 copies, gives addresses and occupations.</td></tr><tr><td>Fisher, John</td><td>Sermons on several subjects</td><td>Sherborne : Printed by William Bettinson, sold by E. Score, Exeter</td><td>1741</td><td>432 subscribers to 504 copies, gives addresses and occupations, mainly from Westcountry.</td></tr><tr><td>Simons, William</td><td>Sermons on several subjects</td><td>Exeter : Printed by Andrew and Sarah Brice</td><td>1743</td><td>No statistics available</td></tr><tr><td>Edwards, Timothy</td><td>A paraphrase, with critical annotations, on the Epistles of St. Paul to the Romans and Galatians</td><td>London by W. Bowyer, sold by S. Birt, Lockyer Davis, W. Shropshire; Thorn in Exeter; and Parkhouse in Tiverton</td><td>1752</td><td>339 subscribers for 359 copies, addresses given, mainly Westcountry.</td></tr><tr><td>Thorpe, Joseph</td><td>A new treatise of arithmetic</td><td>Exon : printed (for the author) by Thomas Brice, at his Printing-Office near Eastgate</td><td>1754</td><td>No statistics available</td></tr><tr><td>Bamfield, Samuel, mathematics teacher in Honiton</td><td>A new treatise of astronomy</td><td>Exeter: Andrew Brice</td><td>1764</td><td>93 subscribers to 400 copies, addresses and occupations given (100 copies to Thomas Becket of London)</td></tr><tr><td>Calcott, Wellins</td><td>A collection of thoughts, moral and divine</td><td>Exeter : printed, for the author, by W. Andrews and R. Trewman, in Southgate-Street</td><td>1764</td><td>No statistics available</td></tr><tr><td>Hooker, John</td><td>The antique description and account of the city of Exeter</td><td>Exon : now first printed together by Andrew Brice, in Northgate-Street</td><td>1765</td><td>No statistics available</td></tr></tbody></table><br /></div><div><b>Source: </b>Robinson, F. J. G. <i>Book subscription lists : a revised guide</i>. Newcastle upon Tyne: Harold Hill and Son Ltd, 1975. </div><div><br /></div><div>Early examples are rare outside London, but can provide useful evidence on patterns of readership and distribution. </div><div><br /></div><div><b>Table 15. The printed maps of Exeter 1587-1765.</b></div><div><br /><table border="1"><tbody><tr><td width="10">Carto- grapher</td><td width="30%">Title</td><td width="10%">Date</td><td width="10%">Format</td><td width="30%">Notes</td><td width="10%">Bennet and Batten</td></tr><tr><td>Hooker, John.</td><td>Isca Damnoniorum: britanice Kaier penhuelgorte: Saxonice Monketon: Latine Exonia: Anglice Exancestre vel Excestre at nunc vulgo Exeter: urbs perantiqua, et emporium. ... opera et impensis ... Joannis Hokeri.</td><td>1587.</td><td>Map : 350x512mm.</td><td>State A: Scale bar [no scale given] with dividers.</td><td>B&B: E001a. -</td></tr><tr><td>Hooker, John.</td><td>Isca Damnoniorum [...]</td><td>1587.</td><td>Map : 350x512mm.</td><td>State B: Scale bar and dividers erased.</td><td>B&B: E001b.</td></tr><tr><td>Hooker, John.</td><td>Isca Damnoniorum: britanice Kaier penhuelgorte [...]</td><td>1587.</td><td>State C. - [Exeter] : [ John Hooker], 1587. - Map : 350x512mm.</td><td>State C: compass in position of erased scale bar.</td><td>B&B: E001c.</td></tr><tr><td>Speed, John.</td><td>Excester.</td><td>1610</td><td>Map : 132x155mm.</td><td>On county map Devonshire with Excester described.</td><td>B&B: E002. -</td></tr><tr><td>Braun, Georg.</td><td>Civitas Exoniae (vulgo Excester) urbs primaria in comitatu Devoniae.</td><td>1618</td><td>Map : 317x395mm.</td><td>In: Civitates orbis terrarum.</td><td>B&B: E003. -</td></tr><tr><td>Meisner, Daniel.</td><td>[Excester in Engellandt].</td><td>1637.</td><td>Map ; 96x141mm.</td><td>In: Sciagraphia cosmica. Reissued with title.</td><td>B&B: E004a</td></tr><tr><td>Meisner, Daniel.</td><td>Excester in Engellandt.</td><td>1638.</td><td>Map: 95x140mm.</td><td>In: Libellus novus politicus emblematicus civitatum, vol. 7. Reissued with emblematic text 1638 with four later issues to 1704.</td><td>B&B: E004a</td></tr><tr><td>Merian, Matthias.</td><td>Exonia, Excester.</td><td>1650.</td><td>Map : 160x130mm.</td><td>In: Topographia Germaniae. Reissued by J. C. Beer, 1690.</td><td>B&B: E005.</td></tr><tr><td>Hermannides, Rutgerus.</td><td>Exonia. Excester.</td><td>1661.</td><td>Map : 105x130mm.</td><td>In: Britannia magna.</td><td>B&B: E006.</td></tr><tr><td>Izacke, Richard.</td><td>A mapp of the city of Exeter.</td><td>1677.</td><td>Map : 160x193mm.</td><td>In: Antiquities of the City of Exeter.</td><td>B&B: E007.</td></tr><tr><td>Lamb, Francis.</td><td>Excester.</td><td>1689.</td><td>Map : 132x155mm.</td><td>Commissioned by Francis Lea for inclusion on re-engraving of Saxton's map of Devon. The only changes to the Exeter inset were made in 1743.</td><td>B&B: E002n.</td></tr><tr><td>Fairlove, Ichabod.</td><td>A true plan of the city of Excester Anno Domini MDCCIX. Ichd: Fairlove surveyd Io: Coles sculp:</td><td>1709.</td><td>Map : 545x450mm. Scale bar: A scale of 100 feet [= 102mm] 1:2880.</td><td>Sold by Edward Score bookseller over agst: the Guildhall.</td><td>B&B: E008.</td></tr><tr><td>Stukeley, William.</td><td>Isca Dumnoniorum 19 Aug 1723.</td><td>1723.</td><td>Map : 273x170mm. Scale bar: A scale of 1000 feet = 31mm 1:6240.</td><td>In: Itinerarium curiosum.</td><td>B&B: E010.</td></tr><tr><td>Nicholls, Sutton.</td><td>A true plan of the city of Excester.</td><td>1723.</td><td>Map: 254x162mm. Scale bar: A scale of 1000 feet = 54mm 1:5760.</td><td>In: The remarkable antiquities of the city of Exeter by Samuel Izacke. The second edition.</td><td>B&B: E009.</td></tr><tr><td>Birchynshaw, William.</td><td>A platforme of the city of Exon 1743.</td><td>1743.</td><td>Map ; 383 x 321 mm. Scale ca. 1:3,600 [1 inch = 100 yards].</td><td>The engraver was probably a pewterer and the map may have been engraved on a pewter plate. The style is archaic and it may never have been intended for full publication.</td></tr><tr><td>Rocque, John.</td><td>Plan de la ville et faubourgs d'Exeter.</td><td>1744.</td><td>Map (2 sheets) : 745x1165mm. Scale bars: 5, including 1M = 660mm, 1:2,400].</td><td></td><td>B&B: E011.</td></tr><tr><td>Rocque, John.</td><td>Plan of the city of Exeter.</td><td>1761.</td><td>Map ; 98x101mm. - Scale bar 36 mm = 1/2 a mile.</td><td>In: A collection of plans of the principal cities of Great Britain and Ireland. .</td><td>B&B: E012.</td></tr><tr><td>Rocque, John.</td><td>Plan of the city of Exeter, reduc'd from the large survey.</td><td>1764.</td><td>Map ; 290x480mm. Scale 1:4800.</td><td></td><td>B&B: E013.</td></tr><tr><td>Donn, Benjamin.</td><td>Plan of the city and suburbs of Exeter.</td><td>1765.</td><td>Map : 404x470mm. Scale bar One mile = 328mm].</td><td>On: A map of the county of Devon. A close copy with some updating, of Rocque's survey.</td><td>B&B: E014.<span> </span></td></tr></tbody></table></div><br /><b>Sources:</b> Bennett, Francis and Batten, Kit. <i>The printed maps of Exeter : city maps 1587-1901</i>. Exeter: Little Silver Publications, 2011.<br /><br />This table shows that there were only three surveys of Exeter, in 1587, 1709, and 1744 and all others, except Birchynshaw's were derived from them.<div><br /></div><div><b>Table 16. Devon topographical prints to 1750.</b></div><div><b><br /></b></div><div>Because of its size and the number of illustrations this is presented in a <a href="https://etched-on-devons-memory.blogspot.com/2022/11/devon-topographical-prints-1539-1750.html">separate web page</a>.</div><div><b><br /></b></div><div><b><br /></b></div><div><b>Table 17. Devon engraved portraits to 1750.</b></div><div><b><br /></b></div><div>Because of its size and the number of illustrations this is presented in a <a href="https://devon-bibliography.blogspot.com/2018/12/portraits.html">separate web page</a>.</div><div><br /></div><div>This page last updated 15 January 2023</div>Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-10024158101453297662022-11-09T19:28:00.002+00:002022-12-24T22:54:33.039+00:00Westcountry bibliometric tables. Podcast 4.<p style="text-align: center;"><span style="background-color: white;"><span style="font-family: times;"><b>Westcountry bibliometric tables</b></span></span></p><p style="text-align: center;"><span style="background-color: white;"><span style="font-family: times;">To accompany the University of Exeter project</span></span></p><p style="text-align: center;"><span style="background-color: white;"><a href="https://reconex.exeter.ac.uk/podcasts/"><span style="font-family: times;">Writing religious conflict and community in Exeter, 1500-1750</span></a></span></p><p style="text-align: center;"><span style="background-color: white;"><span style="font-family: times;">Podcast 4 by Ian Maxted, released 16 November 2022</span></span></p><p> <b style="text-align: justify;">Table 1. London book trades in the context of Europe.</b></p><center><table border="1" style="text-align: justify;"><tbody><tr><td><span style="font-size: x-small;">Period<br />1450-99</span></td><td><span style="font-size: x-small;">Imprints<br />28990</span></td><td><span style="font-size: x-small;">Period<br />1500-49</span></td><td><span style="font-size: x-small;">Imprints<br />112351</span></td><td><span style="font-size: x-small;">Period<br />1550-99</span></td><td><span style="font-size: x-small;">Imprints<br />224703</span></td><td><span style="font-size: x-small;">Period<br />1600-50</span></td><td><span style="font-size: x-small;">Imprints<br />428241</span></td><td><span style="font-size: x-small;">Period<br />1640-49</span></td><td><span style="font-size: x-small;">Imprints<br />103511</span></td></tr><tr><td><span style="font-size: x-small;">Venezia</span></td><td><span style="font-size: x-small;">3258</span></td><td><span style="font-size: x-small;">Paris</span></td><td><span style="font-size: x-small;">20584</span></td><td><span style="font-size: x-small;">Paris</span></td><td><span style="font-size: x-small;">24036</span></td><td><span style="font-size: x-small;">London</span></td><td><span style="font-size: x-small;">34872</span></td><td><span style="font-size: x-small;">London</span></td><td><span style="font-size: x-small;">16626</span></td></tr><tr><td><span style="font-size: x-small;">Paris</span></td><td><span style="font-size: x-small;">3153</span></td><td><span style="font-size: x-small;">Venezia</span></td><td><span style="font-size: x-small;">9745</span></td><td><span style="font-size: x-small;">Venezia</span></td><td><span style="font-size: x-small;">18525</span></td><td><span style="font-size: x-small;">Paris</span></td><td><span style="font-size: x-small;">30422</span></td><td><span style="font-size: x-small;">Paris</span></td><td><span style="font-size: x-small;">7610</span></td></tr><tr><td><span style="font-size: x-small;">Rome</span></td><td><span style="font-size: x-small;">1763</span></td><td><span style="font-size: x-small;">Lyon</span></td><td><span style="font-size: x-small;">8922</span></td><td><span style="font-size: x-small;">Lyon</span></td><td><span style="font-size: x-small;">12678</span></td><td><span style="font-size: x-small;">Amsterdam</span></td><td><span style="font-size: x-small;">16340</span></td><td><span style="font-size: x-small;">Amsterdam</span></td><td><span style="font-size: x-small;">7397</span></td></tr><tr><td><span style="font-size: x-small;">Lyon</span></td><td><span style="font-size: x-small;">1583</span></td><td><span style="font-size: x-small;">Strasbourg</span></td><td><span style="font-size: x-small;">4864</span></td><td><span style="font-size: x-small;">Antwerpen</span></td><td><span style="font-size: x-small;">10227</span></td><td><span style="font-size: x-small;">Leipzig</span></td><td><span style="font-size: x-small;">14680</span></td><td><span style="font-size: x-small;">Leipzig</span></td><td><span style="font-size: x-small;">3536</span></td></tr><tr><td><span style="font-size: x-small;">Köln</span></td><td><span style="font-size: x-small;">1375</span></td><td><span style="font-size: x-small;">Antwerpen</span></td><td><span style="font-size: x-small;">4595</span></td><td><span style="font-size: x-small;">London</span></td><td><span style="font-size: x-small;">9883</span></td><td><span style="font-size: x-small;">Venezia</span></td><td><span style="font-size: x-small;">12765</span></td><td><span style="font-size: x-small;">Leiden</span></td><td><span style="font-size: x-small;">2688</span></td></tr><tr><td><span style="font-size: x-small;">Leipzig</span></td><td><span style="font-size: x-small;">1194</span></td><td><span style="font-size: x-small;">Augsburg</span></td><td><span style="font-size: x-small;">4454</span></td><td><span style="font-size: x-small;">Wittenberg</span></td><td><span style="font-size: x-small;">6683</span></td><td></td><td></td><td></td><td></td></tr><tr><td><span style="font-size: x-small;">[London]</span></td><td><span style="font-size: x-small;">373</span></td><td><span style="font-size: x-small;">[London]</span></td><td><span style="font-size: x-small;">3593</span></td><td></td><td></td><td></td><td></td><td></td><td></td></tr><tr><td><span style="font-size: small;">[London]</span></td><td><span style="font-size: x-small;">1.2%</span></td><td><span style="font-size: small;">[London]</span></td><td><span style="font-size: x-small;">3.2%</span></td><td><span style="font-size: x-small;">[London]</span></td><td><span style="font-size: x-small;">4.4%</span></td><td><span style="font-size: x-small;">[London]</span></td><td><span style="font-size: x-small;">8.1%</span></td><td><span style="font-size: x-small;">[London]</span></td><td><span style="font-size: x-small;">16%</span></td></tr></tbody></table><span style="text-align: start;"><div style="text-align: justify;"><b><br /></b></div><div style="text-align: justify;"><b>Source:</b><b> </b>USTC, search by time periods listing towns in descending order of number of imprints.</div></span><span style="text-align: start;"><div style="text-align: justify;">Shows London emerging from marginal status to become the largest printing town in Europe.</div></span><div style="text-align: justify;"><br /></div><b style="text-align: start;"><b><div style="text-align: justify;"><b>Table 2. Exeter book trades in the context of London and other provincial towns.</b></div></b><div style="font-weight: 400; text-align: justify;"><br /></div><table border="1"><tbody><tr><td><span style="font-size: x-small;">Town</span></td><td><span style="font-size: x-small;">1450-1749</span></td><td><span style="font-size: x-small;">1450-1549</span></td><td><span style="font-size: x-small;">1550-1599</span></td><td><span style="font-size: x-small;">1600-1649</span></td><td><span style="font-size: x-small;">1650-1699</span></td><td><span style="font-size: x-small;">1700-1749</span></td><td><span style="font-size: x-small;">1750-1799</span></td></tr><tr><td><span style="font-size: x-small;">London</span></td><td><span style="font-size: x-small;">192696</span></td><td><span style="font-size: x-small;">3632</span></td><td><span style="font-size: x-small;">9259</span></td><td><span style="font-size: x-small;">33541</span></td><td><span style="font-size: x-small;">64988</span></td><td><span style="font-size: x-small;">82454</span></td><td><span style="font-size: x-small;">119300</span></td></tr><tr><td><span style="font-size: x-small;">Oxford [8]</span></td><td><span style="font-size: x-small;">5275</span></td><td><span style="font-size: x-small;">26</span></td><td><span style="font-size: x-small;">171</span></td><td><span style="font-size: x-small;">1682</span></td><td><span style="font-size: x-small;">1882</span></td><td><span style="font-size: x-small;">1529</span></td><td><span style="font-size: x-small;">2119</span></td></tr><tr><td><span style="font-size: x-small;">Cambridge [9]</span></td><td><span style="font-size: x-small;">2722</span></td><td><span style="font-size: x-small;">14</span></td><td><span style="font-size: x-small;">170</span></td><td><span style="font-size: x-small;">873</span></td><td><span style="font-size: x-small;">931</span></td><td><span style="font-size: x-small;">774</span></td><td><span style="font-size: x-small;">1556</span></td></tr><tr><td><span style="font-size: x-small;">York [2]</span></td><td><span style="font-size: x-small;">579</span></td><td><span style="font-size: x-small;">13</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">164</span></td><td><span style="font-size: x-small;">119</span></td><td><span style="font-size: x-small;">283</span></td><td><span style="font-size: x-small;">1180</span></td></tr><tr><td><span style="font-size: x-small;">Bristol [3]</span></td><td><span style="font-size: x-small;">445</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">18</span></td><td><span style="font-size: x-small;">36</span></td><td><span style="font-size: x-small;">391</span></td><td><span style="font-size: x-small;">1345</span></td></tr><tr><td><span style="font-size: x-small;">Newcastle [4]</span></td><td><span style="font-size: x-small;">336</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">14</span></td><td><span style="font-size: x-small;">20</span></td><td><span style="font-size: x-small;">303</span></td><td><span style="font-size: x-small;">2158</span></td></tr><tr><td><span style="font-size: x-small;">Norwich [1]</span></td><td><span style="font-size: x-small;">258</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">7</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">5</span></td><td><span style="font-size: x-small;">246</span></td><td><span style="font-size: x-small;">677</span></td></tr><tr><td><span style="font-size: x-small;">Exeter [5]</span></td><td><span style="font-size: x-small;">290</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">0</span></td><td><span style="font-size: x-small;">5</span></td><td><span style="font-size: x-small;">28</span></td><td><span style="font-size: x-small;">257</span></td><td><span style="font-size: x-small;">493</span></td></tr><tr><td><span style="font-size: x-small;">Edinburgh</span></td><td><span style="font-size: x-small;">14170</span></td><td colspan="3"><span style="font-size: x-small;">Proportion of Exeter to London imprints:</span></td><td><span style="font-size: x-small;">0.04%</span></td><td><span style="font-size: x-small;">0.3%</span></td><td><span style="font-size: x-small;">0.4%</span></td></tr><tr><td><span style="font-size: x-small;">Glasgow</span></td><td><span style="font-size: x-small;">1150</span></td><td colspan="6"><span style="font-size: x-small;">[1-9] 1662 Hearth tax rankings of English provincial towns (Hoskins).</span></td></tr><tr><td><span style="font-size: x-small;">Aberdeen</span></td><td><span style="font-size: x-small;">366</span></td><td colspan="6"><span style="font-size: x-small;">Scottish towns are not analysed by time periods.</span></td></tr></tbody></table><span style="font-weight: 400;"><div style="text-align: justify;"><b><br /></b></div><div style="text-align: justify;"><b>Source:</b><b> </b>ESTC, search by town name as place of publication within time periods. Listed in descending order of number of imprints.</div></span><br style="font-weight: 400;" /><div style="font-weight: 400; text-align: justify;"><span style="text-align: start;">Shows little provincial printing in early times. The only Devon press before 1645 was in Tavistock Abbey 1525-1535. Regulation of book trades through London Stationers' Company 1557-1695 limited printing to London. Oxford and Cambridge were added in the 1580s and York in the 17th century. The Licensing Act introduced legal deposit in 1662, finally lapsed in 1695. Legal deposit was extended by Copyright Act 1710.</span></div><br style="font-weight: 400;" /><div style="font-weight: 400; text-align: justify;"><b style="text-align: start;">Table 3. Publication of sermons in England to 1749.</b></div><br style="font-weight: 400;" /><table border="1"><tbody><tr><td><span style="font-size: x-small;"><b>Decades</b></span></td><td><span style="font-size: x-small;"><b>to 1549</b></span></td><td><span style="font-size: x-small;"><b>1550s</b></span></td><td><span style="font-size: x-small;"><b>1560s</b></span></td><td><span style="font-size: x-small;"><b>1570s</b></span></td><td><span style="font-size: x-small;"><b>1580s</b></span></td><td><span style="font-size: x-small;"><b>1590s</b></span></td><td><span style="font-size: x-small;"><b>1600s</b></span></td><td><span style="font-size: x-small;"><b>1610s</b></span></td><td><span style="font-size: x-small;"><b>1620s</b></span></td><td><span style="font-size: x-small;"><b>1630s</b></span></td></tr><tr><td><span style="font-size: x-small;">Sermon</span></td><td><span style="font-size: x-small;">+Sermo: 57+16</span></td><td><span style="font-size: x-small;">32</span></td><td><span style="font-size: x-small;">19</span></td><td><span style="font-size: x-small;">80</span></td><td><span style="font-size: x-small;">128</span></td><td><span style="font-size: x-small;">95</span></td><td><span style="font-size: x-small;">183</span></td><td><span style="font-size: x-small;">320</span></td><td><span style="font-size: x-small;">359</span></td><td><span style="font-size: x-small;">301</span></td></tr><tr><td><span style="font-size: x-small;">Sermons</span></td><td><span style="font-size: x-small;">+Sermones: 43+25</span></td><td><span style="font-size: x-small;">21</span></td><td><span style="font-size: x-small;">39</span></td><td><span style="font-size: x-small;">83</span></td><td><span style="font-size: x-small;">137</span></td><td><span style="font-size: x-small;">141</span></td><td><span style="font-size: x-small;">215</span></td><td><span style="font-size: x-small;">331</span></td><td><span style="font-size: x-small;">395</span></td><td><span style="font-size: x-small;">438</span></td></tr><tr><td><span style="font-size: x-small;"><b>Decades</b></span></td><td><span style="font-size: x-small;"><b>1640s</b></span></td><td><span style="font-size: x-small;"><b>1650s</b></span></td><td><span style="font-size: x-small;"><b>1660s</b></span></td><td><span style="font-size: x-small;"><b>1670s</b></span></td><td><span style="font-size: x-small;"><b>1680s</b></span></td><td><span style="font-size: x-small;"><b>1690s</b></span></td><td><span style="font-size: x-small;"><b>1700s</b></span></td><td><span style="font-size: x-small;"><b>1710s</b></span></td><td><span style="font-size: x-small;"><b>1720s</b></span></td><td><span style="font-size: x-small;"><b>1730s</b></span></td><td><span style="font-size: x-small;"><b>1740s</b></span></td></tr><tr><td><span style="font-size: x-small;">Sermon</span></td><td><span style="font-size: x-small;">828</span></td><td><span style="font-size: x-small;">559</span></td><td><span style="font-size: x-small;">532</span></td><td><span style="font-size: x-small;">524</span></td><td><span style="font-size: x-small;">967</span></td><td><span style="font-size: x-small;">1029</span></td><td><span style="font-size: x-small;">1945</span></td><td><span style="font-size: x-small;">2340</span></td><td><span style="font-size: x-small;">1216</span></td><td><span style="font-size: x-small;">1015</span></td><td><span style="font-size: x-small;">1150</span></td></tr><tr><td><span style="font-size: x-small;">Sermons</span></td><td><span style="font-size: x-small;">612</span></td><td><span style="font-size: x-small;">564</span></td><td><span style="font-size: x-small;">491</span></td><td><span style="font-size: x-small;">580</span></td><td><span style="font-size: x-small;">745</span></td><td><span style="font-size: x-small;">838</span></td><td><span style="font-size: x-small;">1047</span></td><td><span style="font-size: x-small;">1273</span></td><td><span style="font-size: x-small;">851</span></td><td><span style="font-size: x-small;">720</span></td><td><span style="font-size: x-small;">785</span></td></tr></tbody></table><span style="font-weight: 400;"><div style="font-weight: bold; text-align: justify;"><b><br /></b></div><div style="text-align: justify;"><b>Source:</b><b> </b>ESTC, search on keywords "sermon" and "sermons" within decades.</div></span><div style="font-weight: 400; text-align: justify;"><br /></div><span style="font-weight: 400;"><div style="text-align: justify;">Shows peaks of sermon publishing during the Civil War and the first two decades of the 18th century, also the relative importance of publishing individual sermons or collections. This is an example of number crunching, but such exercises should be treated with caution. Results may include polemics linked to sermons or figurative use of terms searched for. However they often give an indication of general trends.</div></span><div style="font-weight: 400; text-align: justify;"><br /></div><b></b><div style="text-align: justify;"><b>Table 4. Number of printing houses in London 1582-1723.</b></div></b><div style="text-align: right;"><br /></div><table border="1"><tbody><tr><td>Year</td><td>Licensed</td><td>Listed</td><td>Actual</td><td>Notes</td></tr><tr><td><span style="font-size: x-small;">1582</span></td><td></td><td><span style="font-size: x-small;">22</span></td><td></td><td><span style="font-size: x-small;">Christopher Barker BL Lansdowne Ms 48</span></td></tr><tr><td><span style="font-size: x-small;">1586</span></td><td></td><td></td><td></td><td><span style="font-size: x-small;">Star Chamber decree</span></td></tr><tr><td><span style="font-size: x-small;">1615</span></td><td><span style="font-size: x-small;">20</span></td><td></td><td></td><td><span style="font-size: x-small;">Stationers' Company</span></td></tr><tr><td><span style="font-size: x-small;">1637</span></td><td><span style="font-size: x-small;">20+1</span></td><td><span style="font-size: x-small;">25</span></td><td></td><td><span style="font-size: x-small;">Star Chamber decree (Arber, Stat. Co. registers, iv, 528-33.</span></td></tr><tr><td><span style="font-size: x-small;">1649</span></td><td><span style="font-size: x-small;">34</span></td><td><span style="font-size: x-small;">40</span></td><td></td><td><span style="font-size: x-small;">Act for better regulating printing. Bonds registered.</span></td></tr><tr><td><span style="font-size: x-small;">1661/2</span></td><td></td><td><span style="font-size: x-small;">55</span></td><td><span style="font-size: x-small;">59</span></td><td><span style="font-size: x-small;">Lambeth Palace MS 941/60</span></td></tr><tr><td><span style="font-size: x-small;">1662</span></td><td><span style="font-size: x-small;">20+4</span></td><td><span style="font-size: x-small;">55</span></td><td><span style="font-size: x-small;">>33</span></td><td><span style="font-size: x-small;">Licensing Act</span></td></tr><tr><td><span style="font-size: x-small;">1668</span></td><td></td><td><span style="font-size: x-small;">33</span></td><td></td><td><span style="font-size: x-small;">State Papers 29/243/126</span></td></tr><tr><td><span style="font-size: x-small;">1675</span></td><td><span style="font-size: x-small;">20+3</span></td><td><span style="font-size: x-small;">38</span></td><td></td><td><span style="font-size: x-small;">State Papers 29/369/97</span></td></tr><tr><td><span style="font-size: x-small;">1679</span></td><td></td><td><span style="font-size: x-small;">55</span></td><td><span style="font-size: x-small;">60</span></td><td><span style="font-size: x-small;">Licensing Act lapsed</span></td></tr><tr><td><span style="font-size: x-small;">1686</span></td><td><span style="font-size: x-small;">20+3</span></td><td><span style="font-size: x-small;">55</span></td><td><span style="font-size: x-small;">57</span></td><td><span style="font-size: x-small;">Licensing Act reimposed</span></td></tr><tr><td><span style="font-size: x-small;">1695</span></td><td></td><td><span style="font-size: x-small;">45</span></td><td><span style="font-size: x-small;">50</span></td><td><span style="font-size: x-small;">Licensing Act lapsed</span></td></tr><tr><td><span style="font-size: x-small;">1705</span></td><td></td><td><span style="font-size: x-small;">60</span></td><td><span style="font-size: x-small;">70</span></td><td><span style="font-size: x-small;">Robert Clare. BL Portland Loan 29/130</span></td></tr><tr><td><span style="font-size: x-small;">1723</span></td><td></td><td><span style="font-size: x-small;">75</span></td><td><span style="font-size: x-small;">77</span></td><td><span style="font-size: x-small;">Samuel Negus. John Nichols. Biog. & lit. anecdotes of Wm Bowyer (1782), 535.</span></td></tr></tbody></table><span style="text-align: start;"><div style="text-align: justify;"><b>Sources:</b><b> </b>Michael Treadwell, Lists of master printers : the size of the London printing trade 1637-1723. In: <i>Aspects of printing from 1600</i>, (Oxford Polytechnic Press, 1987), pages 141-170. Ellic Howe, <i>The London compositor,</i> (London: Bibliographical Society, 1947).</div></span><div style="text-align: justify;"><br /></div><span style="text-align: start;"><div style="text-align: justify;">Regulation was through the Stationers' Company 1557-1695 which limited printing to London as noted in table 2 above. </div></span><div style="text-align: justify;"><br /></div><span style="text-align: start;"><div style="font-weight: 400;"><st1:city w:st="on"><st1:place w:st="on"><b style="text-align: justify;">Table 5. Exeter book trades: artisan dynasties.</b></st1:place></st1:city></div><div style="font-weight: 400;"><b><span style="font-family: Times; font-size: 10pt;"> <br /></span></b><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">1. THE BENSON DYNASTY<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">Peter Benson<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app in <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>, free 1573/4<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> John Dight<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1583<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> EDWARD DIGHT<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">son, free 1609<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├───────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">THOMAS HUNT WALTER DIGHT<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1630 son, free 1680<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> Robert May John Strong<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> app, free 1695 app, free 1715<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ┌─────┤<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> John Stephens William May<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> app, free 1727 son, free 1727<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> John Stephens<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> son, free 1741 (feltmaker)<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">2. THE HARTE DYNASTY<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">Michael Harte<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app in <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>, free 1593<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├─────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">John Moungwill Michael Harte<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1604 son, free 1622<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ┌─────────┼─────────┬─────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">Michael Hyde John Brockas Richard Philips ABISHA BROCAS<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1636 app, free 1637 app, free 1656 app, free 1657<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │ ┌────────┤<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">MICHAEL HYDE Thomas Hunt GEORGE MAY<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">son & app, free 1667 app, free 1668 app, free 1680 <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> Joseph Hooker<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> app, free 1691<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> PHILIP BISHOP<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> app, free 1698<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> George Bishop<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> son, free 1722<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">3. THE MOUNGWELL DYNASTY<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">John Moungwell<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">father a baker?, free by succession 1635<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├──────────────────────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">ROBERT EVELEIGH Edward Portbury<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1658 app, free 1669<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├──────────┐ ├───────<span>─</span></span><span style="font-family: Times; font-size: 13.3333px;">─</span><span style="font-family: Times; font-size: 13.3333px;">─</span><span style="font-family: Times; font-size: 13.3333px;">─</span><span style="font-family: Times; font-size: 10pt;">───┬──────────┐</span></div><div style="font-weight: 400;"><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">CHARLES YEO George Sydenham JAMES COUZE Geo. Portbury Edw. Portbury<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1682 app, free 1686 app, free 1676 app, free 1722 son, free 1722<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├───────┐ ┌───┴──┐ │ │ <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">Philip Yeo Ambrose Potter Isaac Couse ROBT OSBORNE Geo. Portbury Edw. Portbury<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1682 app, free 1700 app, free 1682 app, free 1684 son, free 1761 son free 1734<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │ │ │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">Philip Yeo Geo. Portbury Hen. Portbury<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">son, app in <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city> son/app, free 1784 son, free 1789<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">free 1710 │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │ Robert Fish<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">Daniel Bartlett app, of <st1:city w:st="on"><st1:place w:st="on">London</st1:place></st1:city>, free 1800<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app, free 1727<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">4.THE SCORE DYNASTY<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> <br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">EDWARD SCORE<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">free 1708<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├─────────────┬─────────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">NATHANIEL THORNE James Lipscombe EDWARD SCORE<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app., free 1715 app., free 1723 son, free 1776<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> │<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">BARNABAS THORNE<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app., free 1740<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> ├────────────────┐<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">GEORGE FLOYDE EDWARD HOXLAND<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;">app., free 1780 of Plymouth Dock<br /></span><span style="font-family: Times; font-size: 10pt; mso-bidi-font-weight: bold;"> app., free 1784</span></div><div style="font-weight: 400;"><br /></div><span style="font-family: Times; font-weight: 400;"><b>Source: </b>Exeter freemen's registers.<b> </b><br /></span><div style="font-weight: bold; text-align: justify;"><b style="text-align: start;"><span style="font-family: Times; font-weight: 400;">Names in CAPITAL LETTERS are those for whom imprints are known. The tables show the inward-looking nature of the Exeter book trades in the 17th century. </span></b></div><div style="font-weight: bold; text-align: justify;"><b><br /></b></div><div style="font-weight: bold;"><b>Table 6. The size of the Exeter book trade 1500-1750.</b></div><div style="font-weight: bold;"><br /></div><div style="font-weight: bold;"><table border="1" style="text-align: center;"><tbody><tr><td>Period</td><td>Numbers each year</td><td><b>1700-1750</b></td><td>Total numbers</td></tr><tr><td><b>1500-1549</b></td><td>1</td><td>All trades</td><td>53</td></tr><tr><td><b>1550-1599</b></td><td>2/4</td><td>Booksellers</td><td>25</td></tr><tr><td><b>1600-1649</b></td><td>2/4</td><td>Printers</td><td>19</td></tr><tr><td><b>1650-1699</b></td><td>2/6</td><td>Bookbinders</td><td>8</td></tr><tr><td><b>1700-1750</b></td><td>9/13</td><td>Engravers</td><td>1</td></tr></tbody></table><div style="text-align: center;"><br /></div></div><div style="text-align: justify;"><b style="font-weight: bold;">Source: </b>Maxted, Ian. The Devon book trades : a biographical dictionary. Exeter : Exeter Working Papers in Book History, 1991. Analysed from updated Excel spreadsheet used to produce version on <a href="https://bookhistory.blogspot.com/2014/07/devon-book-trades-exeter-a.html">Exeter Working Papers in Book History</a> website (n.b. separate web page for each letter of the alphabet). </div><div><br /></div><div style="text-align: justify;">Between two and four printers are recorded each year 1700-1750 The engraver was Joseph Coles, responsible for the 1709 Exeter map. </div><div style="font-weight: bold;"><br style="font-weight: 400;" /></div><div style="font-weight: bold;"><div style="font-weight: 400;"><b>Table 7. Westcountry broadside ballads 1547 to 1750, with some later Exeter imprints.</b><br /><br /><table border="1"><tbody><tr><td width="60%">[Ballad on the defeat of the Devon and Cornwall rebels of 1548]. -</td><td width="20%">[London] : s. n.,</td><td width="10%">1549</td><td width="10%">ESTC: S122124</td></tr><tr><td>Deloney, Thomas. The lamentation of Master Pages wife of Plimmouth, who being enforced by her parents to wed him against her will, did most wickedly consent to his murther, for the loue of George Strangwidge for which fact she suffered death at Barstable in Deuonshire. - Written with her owne hand a little before her death. To the tune of Fortune. </td><td>London : printed for H. Gosson,</td><td>1609?</td><td>STC (2nd ed.), 6557.2</td></tr><tr><td>Sir Walter Rauleigh his lamentation Who was beheaded in the old Pallace at Westminster the 22 of October. 1618. To the tune of Welladay. </td><td>London : Printed for Philip Birch and are to be sold at his shop at the Guyld-hall ,</td><td>1618?</td><td>ESTC: S126163</td></tr><tr><td>A new Ballad intituled, the stout Cripple of Cornwall, wherein is shewed his dissolute life and deserued death. To the tune of, the blind Beggar. </td><td>London : Printed for I. W. ,</td><td>1624</td><td></td></tr><tr><td>Jonson, Ben. A strange banquet; or, The Devils entertainment by Cook Laurel at the Peak in Devonshire with a true relation of the several dishes. The tune is, Cook Laurel. -</td><td>[London] : Printed for F. Coles, in Vine-street, on Saffron-hill neer Hatton-garden,</td><td>1624/1680</td><td>ESTC: R43323</td></tr><tr><td>A brave warlike Song. Containing a briefe rehearsall of the deeds of Chivalry, performed by the Nine VVorthies of the world, the seaven Champions of hristendome, with many other remarkable Warriours. To the tune of List lusty Gallants. <e>The second Part. Containing other brave VVarriours not ranckt among the VVorthies, though as worthy. To the same tune. -</e></td><td>[London] : Printed at London for Fr Coules ,</td><td>1626?</td><td>ESTC: S124610</td></tr><tr><td>Deloney, Thomas. The lamentation of Master Pages wife of Plimmouth who being enforced by her parents to wed him against her will, did most wickedly consent to his murther, for the love of George Strangwidge; for which fact she suffered death at Barstable in Devonshire. VVritten with her owne hand a little before her death. To the tune of Fortune my foe, by [Deloney, Thomas,. </td><td>[London] : s. n.,</td><td>1635?</td><td>ESTC: S118059</td></tr><tr><td>Cartwright, William. To the right honourable Philip, Earle of Pembroke and Mountgomery Baron Herbert of Cardiffe and Shirland, Lord Par and Rosse of Kendall, Lord Fitzhugh Marmion, and Saint Quintine, Lord Warden of the Staneries, in the county of Devon and Cornwall, Lord High Steward of the duchy of Cornwall, Chancellour of the Vniversity of Oxford. Lord Lieutenant of the counties of Kent, Cornwall and Wilts Lord Chamberlaine of his Majesties most honourable houshold, knight of the most noble Order of the Garter, and one of his Majesties most honourable privie counsell. Upon his lordships election of Chancellor of the Vniveristy of Oxford. </td><td>London : printed.</td><td>1641</td><td>ESTC: R210195</td></tr><tr><td>Francis, Philip. The misdemeanors of a traytor, and treasurer, discovered in the answer of Philip Francis, merchant late major of the borough of Plimouth, in the county of Devon; to the false and scandalous aspersion, and accusation of Charles Vaughan, Gentleman. -</td><td>London : printed by Jane Coe,</td><td>1644 [ie 1645</td><td>ESTC: R212480</td></tr><tr><td>The penitant traytor, or the humble confession of a Devonshire gentleman who was condemned for high treason, and executed at Tyborne for the same, in the raigne of King Henry the third, the ninteenth of July, 1267. You may sing this if you please. To the tune of, Fortun my foe. </td><td>[London] : s. n.,</td><td>1647</td><td>ESTC: R210514</td></tr><tr><td>A warning for married women Being an example of Mrs. Jane Reynolds (a west-country-woman) born neer Pilmouth [sic] who having plighted her troth to a seaman, was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall presently be recited, to a west-country tune called, The fair maid of Bristol Bateman, or, John True. -</td><td>[London?] : s. n.,</td><td>1650?</td><td>ESTC: R215930</td></tr><tr><td>Jonson, Ben. A strange banquet, or, The divels entertainment by Cook Laurell at the Peak in Devonshire with a true relation of the several dishes. The tune is, Cook Laurell. </td><td>[London] : printed for William. Gilbertson,</td><td>1655?</td><td>ESTC: R226858</td></tr><tr><td>Harrison, George. An elegie on the death of the Right Honourable Robert Blake, Esq One of the generals at sea, who departed the 7. of August 1657. on board the George near Plymouth Sound. </td><td>[London] : Printed for John Bartlet the elder at the Golden Cup in Pauls Church-yard over against the Drapers, and John Bartlet the younger in Westminster Hall,</td><td>1657</td><td>ESTC: R212052</td></tr><tr><td>Deloney, Thomas. The lamentation of Mr. Pages wife of Plimouth vvho being enforced to wed against her will, did consent to his murder for the love of George Strangwidge, for which fact they suffered death at barstabel in Devonshire. - The tune is, Fortune my foe. -</td><td>[London] : for Francis. Coles, Thomas. Vere and William. Gilbertson,</td><td>1658/1663</td><td>ESTC: R174584</td></tr><tr><td>A new Ballad intituled, the stout Cripple of Cornwall, wherein is shewed his dissolute life and deserved death. To the tune of, the blind Beggar of Bethnal Green. -</td><td>London : Printed for F. Coles, T. Vere and W. Gilbertson ,</td><td>1658/1664</td><td>ESTC: R180855</td></tr><tr><td>A warning for married women By the example of Mrs. Jane Renalds, A West-Country woman, born neer unto Plymouth; who having plighted her troth to a seaman, was afterwards married to a carpenter, and at last carried away by a spirit: the manner how shall be presently recited. To a gallant West-country tune, cal'd, The fair maid of Bristol, or, Bateman, or John True /</td><td>[London] : for F. Coles, T. Vere, and W. Gilbertson,</td><td>1658-1664</td><td>ESTC: R186280</td></tr><tr><td>The West country lovers See here the pattern of true love amongst the country blades, who never can delighted be, but when amonst the maids / Tune of, Philander. -</td><td>[London] : Printed for J. Bonyers sic, i.e. Conyers at the black raven in Duck-lane,</td><td>1662/1688</td><td>ESTC: R234058</td></tr><tr><td>Deloney, Thomas. The lamentation of Mr. Pages wife of Plimouth who being enforced to wed against their will, did consent to murder for the love of George Strangwidge, for which fact they suffered death at Barstable in Devonshire. - The tune is, Fortune my foe, by [Deloney, Thomas,. -</td><td>[London] : Printed by F. Coles, T. Vere, W. Gilbertson and J. Wright,</td><td>1663/1665</td><td>ESTC: R33444</td></tr><tr><td>Wade, John. Amorous Bettys delight or, No name can compare unto sweet William This maid hath chosen, she doth think, the best, yet other mai[d]ens may do what they will, sweet William's the man she loves, she doth protest, and of kisses plenty he shall have his fill. To a new west-country tune, or, The watermans delight. By John Wade. -</td><td>[London] : Printed for Richard. Burton, at the Horseshooe in VVest-smith-field,</td><td>1665?</td><td>ESTC: R216098</td></tr><tr><td>A looking-glass for a covetous miser or, Comfort to a contented minde Being a serious discourse between a rich miser in the west country, and a poor husband-man, as they accidentally met upon the way: their dispute being so tedious, and of so great concernment, a neighbour of theirs hearing them, took pains to write down the subject of their discourse, after he had heard what had befallen to the rich-man; he sent a letter to a friend of his in London, and desired that he would get it printed for an example to all unthankful men / to [sic] the tune of, the Fair angel of England; or, the Tyrant, by [Jordan, Thomas,. -</td><td>London : printed for William. Thackeray, Thomas. Passinger and William. VVhitwood,</td><td>1670/1677</td><td>ESTC: R227252</td></tr><tr><td>The west country vvooing, or,merry conceited couple In pleasant terms, he lets her know his mind, and fairly wooes her, for to make her kind: at first she seemed coy to his perswasion, and put him off, with many a sly evasion: but finding at the last his love was constant, her heart she did resign from that same instant / Tune of, When Sol will cast no light: or, My pritty little rogue. -</td><td>London : printed for William. Thackeray, Thomas. Passenger, and William. Whitwood,</td><td>1670/1677</td><td>ESTC: R227474</td></tr><tr><td>The secret lovers, or,jealous father beguil'd. Loves passion is not easily put under, nor faithful lovers to be keptasunder; [sic] because you know the proverb it is so that love will creep when as it cannot go / To a west-country tune; or, Alack for my love I must dye. -</td><td>[London] : Printed for P. Brooksby at the Golden Ball in Pye-corner,</td><td>1670/1696</td><td>ESTC: R234426</td></tr><tr><td>Bowne, Tobias. Tom and Rogers contract or what Devon-farmers use to act Two farmers lately met in Devon-shire, and so by chance they drank a pot of beer; and since it was within the month of May, I will declare to you what they did say. Tune of, hey boys up go we / By Tobias Bowne. -</td><td>[London] : Printed for P. Brooksby in Py-corner,</td><td>1670/1696</td><td>ESTC: R233894</td></tr><tr><td>True love exalted or, A dialogue between a courteous young knight of the city of London, and a searge weavers daughter of Devonshire Shewing how the young knight was travelling in Devon-shire, and fell in love with a fair maid there: how he courted her to be his miss, bu she not yielding to his lascivious desires, he was so much in love with her vertue, that he marryed her, and made her alady [sic], and carryed her to the Kings court at London, where they now live in joy and happiness / The tune is, Tender hearts, &c. -</td><td>[London] : Printed for Philip. Brooksby, at the Golden-Ball in Pye-corner,</td><td>1670/1696</td><td>ESTC: R227401</td></tr><tr><td>A warning and good counsel to the weavers Tune of, The country farmer. Or, The Devonshire damosels / This may be printed, R.P. -</td><td>[London] : Printed for P. Brooksby, in Pye-Corner,</td><td>1670/1696</td><td>ESTC: R187709</td></tr><tr><td>The west country wooing or, the merry conceited couple In pleasant terms he lets her know his mind, and fiarly wooes her, for to make her kind: at first she seemed coy to his perswasion, and put him off with many a slye evasion: but finding at the last his love was constant, her heart the [sic] did resign from that same instant. To the tune of, When Sol will cast no light: o[r], My pretty little rogue. -</td><td>[London] : Printed for B. sic, i.e. P. Brooksby, at the Golden-ball, in West-smithfield,</td><td>1670/1696</td><td>ESTC: R186377</td></tr><tr><td>The West-country revell; or, the jovial crew of lads and lasses Who being all together met, were jovial, brisk and merry, and to the lasses gave green gowns till they were all a weary / Tune of, Moggies jealousie. -</td><td>[London] : Printed for P. Brooksby at the Golden Ball in Pye-Corner,</td><td>1670/1696</td><td>ESTC: R234139</td></tr><tr><td>An answer to the dairy maid's tragedy or, The sad overthrow of two west country lovers, William and Susan, whose deaths are so much lamented (by a worthy 'squire) who had the hard fortune to behold this double tragedy / To the tune of, The Ninghtingale's [sic] song. -</td><td>London : printed for J. Deacon, at the Angel in Giltspur-street,</td><td>1671/1700</td><td>ESTC: R172355</td></tr><tr><td>The young damsels lamentation or, Their dreadful outcry against the late punching, which has crack'd above four hundred and fifty west-country maiden-heads / To the tune of, The Scotch hay-makers. -</td><td>London : printed for J. Deacon, at the Angel in Giltspur-street sic,</td><td>1671/1700</td><td>ESTC: R187777</td></tr><tr><td>The farmers son of Devonshire being the valiant coronet's return from Flanders, who endeavoured to persuade his brother Jack to forsake the plow, and to take up arms the next spring; which he refused to do, because he was loath to leave his sweet wife Joan. Tune of Mary live long / Licensed according to order. -</td><td>[London] : Printed for J. Deacon, at the Angel in Gilt-spur-street, without Newgate,</td><td>1671/1704</td><td>ESTC: R215742</td></tr><tr><td>Susan's courtship or, Sweet William woo'd by the farmer's daughter of Devonshire / To the tune of, The bonny grey ey'd morn. Licensed according to order. -</td><td>London : printed for J. Deacon, in Guilt-spur-street,</td><td>1671/1704</td><td>ESTC: R187202</td></tr><tr><td>The Welch vvedding betwixt Ap-Shinkin and Shinny. With all the mad merriment which was performed on the wedding-day / To the tune of, the Devonshire frolick, or, the country farmer. This may be printed, R.P. -</td><td>[London] : Printed for J. Deacon, at the sign of the Angel in Guiltspur-Street, without Newgate,</td><td>1671/1704</td><td>ESTC: R234056</td></tr><tr><td>The West-country frolick or, buxome Kate's merry intreague Shewing how she served Robin the faint-hearted miller, who was afraid to encounter with her maiden-head / To the tune of, Fond boy. Or, Love's a sweet passion. -</td><td>[London] : Printed for J. Deacon, at the Angel in Gilt-spur-street,</td><td>1671/1704</td><td>ESTC: R235640</td></tr><tr><td>The West-country squire or,beautiful lasses honour and honestly crown'd with true love, and lasting happiness / Tune of, Liggan water. Or, Nanny Oh. Licensed according to order. -</td><td>[London] : Printed for J. Deacon, at the Angel in Guiltspur-street,</td><td>1671/1704</td><td>ESTC: R187723</td></tr><tr><td>The West-country wedding. Betwixt Roger the plowman, and Ellin the dary-maid With the sorrowful moan of twenty [or] thirty forsaken damosels, whereof fifteen being with-child, [ ]oundd forth their sorrowful lamentations on Rogers wedding-day / To the tune of, The [ ]rat[ ] miss, or, Moggies jealousie. -</td><td>[London] : Printed for I. Deacon at the Angel in Guilt-Spur-Street, without Newgate,</td><td>1671/1704</td><td>ESTC: R187725</td></tr><tr><td>Crums of comfort for the youngest sister The youngest sister in despair, at last did comfort find, which banisht all her grief and care, and eas'd her troubled mind, a kind young man did promise her that she should married be, she answered him again kind sir, thereto I'm wondrous free / To a pleasant new west country tune. -</td><td>[London] : Printed for Philip. Brooksby at the Golden in Ball sic West-Smithfield,</td><td>1672/1696</td><td>ESTC: R235409</td></tr><tr><td>True love rewarded with loyalty or, mirth and jo[y] after sorrow and sadness This young man he did walk in pensive manner being a souldier under Cupids banner, in loving terms he did express his mind still fearing that his love will prove unkind but she to ease him from all future pain did chear his heart & grant him love again[.]To a new West-country tune called, O hark my love, or Flora farewel. -</td><td>[London] : Printed for J. Clarke at the Bible and Harp in West-Smith-field,</td><td>1672/1696</td><td>ESTC: R233968</td></tr><tr><td>The vvest-country damosels complaint or, the faithful lovers last farewel Being the relation of a young maid who pined her self to death, for the love of a young-man, who after he had notice of it; dyed likewise for grief. Careless young-men, by this a warning take, ho you kind virgins (when they love) forsake; least the same fate o're-take you, and you dye for breach of vows, and infidelity. Be kind but swear not more than what you mean, least comick jests become a tragick sceen / To the tune of, Iohnny Armstrong. -</td><td>[London] : Printed for P. Brooksby, at the Golden Ball, in West-smithfield,</td><td>1672/1696</td><td>ESTC: R235636</td></tr><tr><td>The west country nymph or the loyal maid of Bristol The flower of Bristol doth complain for the absence of her love and vows she constant will remain like to the turtle dove / Tune, Young Jammy. -</td><td>[London] : Printed for P. Brooksby,</td><td>1672/1696</td><td>ESTC: R228647</td></tr><tr><td>The west-country dialogue or, A pleasant ditty between Anniseed-Robin the miller, and his brother Jack the plough-man, concerning Joan, poor Robin's unkind lover To the tune of, O folly, desperate folly, &c / Licensed according to order. -</td><td>[London] : Printed for Philip. Brooksby, in Pye-corner,</td><td>1672/1696</td><td></td></tr><tr><td>The west-country maids advice Here is a song I send to you, fair maidens every one; and you may say that it is true, when I am dead and gone / To the tune of, Hey boys, up go we, by [Bowne, Tobias.. -</td><td>[London] : Printed for Philip. Brooksby, at the Golden-Ball, near the Hospital-gate, in West-Smithfield,</td><td>1672/1696</td><td>ESTC: R227470</td></tr><tr><td>The batchellors happiness. Or John's kind reply to the west-country maids delight Wherein he shews his royal love and true affection; to his dear Kate who hath his heart in subjection: whatever doth betide he vows he'l never leave her but for to maintain her hel [sic] d his best endeavourTo a dainty rare new tune, much in request or my love he's fine and fair. -</td><td>[London] : Printed for J. Clark at the Harp and Bible in West-Smithfield</td><td>1673/1686</td><td>ESTC: R172556</td></tr><tr><td>Jonson, Ben. A strange banquet or, the devils entertainment by Cook Laurel, at the Peak in Devonshire with a true relation of the several dishes. The tune is, Cook Laurel. -</td><td>[London] : Printed for F. Coles, T. Vere, I. Wright, J. Clarke. W. Thackeray, and T. Passenger,</td><td>1678/1684</td><td>ESTC: R235695</td></tr><tr><td>Virginity grown troublesome or, The younger sister lamentation for want of a husband Being a most pleasant and delightful new song much in use, &c. Each age grows riper, love does still prevail, and maiden-heads at sixteen now are stale; young girls to mothers will be turn'd e're they know what it means, slie Cupid does betray, fires them with love, and then there's nothing can cure their distemper, unless oyl of man. to a pleasant new west-country tune. -</td><td>[London] : Printed for Philip. Brooksby, at the Golden-Ball, in West-smithfield,</td><td>1680</td><td>ESTC: R227454</td></tr><tr><td>Roger, the West-Country lad set forth in his proper shapes, or, The West-Country lasses sweet-heart described, in answer to the well-shap'd country lass / To the tune of Cavalilly man. Licensed according to order. -</td><td>[London] : Printed for James Gilbertson, and G. Conyers,</td><td>1680/1695</td><td>ESTC: R41666</td></tr><tr><td>The Devonshire ballad. To the tune of 1642. -</td><td>London : printed for the assigns of F.S.,</td><td>1681</td><td>ESTC: R26489</td></tr><tr><td>Flatman, Thomas. The Parliament dissolv'd at Oxford, March 28. 1681 From Devonshire /</td><td>[London] : s. n.,</td><td>1681</td><td></td></tr><tr><td>The tune of the Devonshire cant or, an Answer to the Parliament dissolved at Oxford. -</td><td>London : printed for Thomas. Rawe in London-yard, near St. Pauls,</td><td>1681</td><td></td></tr><tr><td>Witchcraft discovered and punished. Or, The tryals and condemnation of three notorious witches who were tryed [at] the last assizes, holden at the castle of Exeter, in the county of Devon where they received sentance for death, for bewitching several persons, destroying ships at sea, and cattel by land, &c. - To the tune of, Doctor Faustus: or, Fortune my fee. -</td><td>[London] : s. n.,</td><td>1682</td><td>ESTC: R228715</td></tr><tr><td>Sir Walter Raleigh Sailing in the Low-lands. Shewing how the famous Ship called the sweet Trinity was taken by a false Gally, and how it was again restored by the craft of a little Sea-boy, who sunk the Gully; as the following Song will declare. To the Tune of, The Sailing in the Low-lands. -</td><td>[London] : Printed for J. Conyers, at the Black-Raven the first shop in Fetter-Lane next Holborn ,</td><td>1682/1685</td><td>ESTC: R18546</td></tr><tr><td>The West-country wedding or, Honest Susan's good fortune who resisting the temptations of her aged master the baker, became his careful bride, and mistress of all his treasure / To the tune of, If love's a sweet passion, &c. Or, Fond boy, &c. -</td><td>[London] : Printed for J. Blare at the Looking-glass on London-bridge,</td><td>1682/1700</td><td>ESTC: R187726</td></tr><tr><td>The undutiful daughter of Devonshire the careful kind indulgent fathers entreaties for her to forsake her lover a spend-thrift, and to embrace a farmers hopeful son / The tune is, How can I be merry or glad. Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare and J. Back,</td><td>1683/1696</td><td></td></tr><tr><td>Deloney, Thomas. The lamentation of Mr. Pages wife of Plimouth Who being forced to wed against her will, did consent to his murther, for the love of George Strangwidge, for which fact they suffered death at Barnstable in Devonshire. - The tune is, Fortune my foe. -</td><td>[London] : Printed for I. Clarke, W. Thackeray, and T. Passinger,</td><td>1684/1686</td><td>ESTC: R234355</td></tr><tr><td>The west-country wonder or, William the serving-man's good fortune in the marriage of an ancient lady whom he got with child when she was threescore and six or seven years of age, tho' she had ne'er been with child before, to the joy of her, and the admiration of others / Tune of, The ginea wins her. Licensed according to order. -</td><td>[London] : Printed for J. Blare, at the Looking-glass, on London-bridge,</td><td>1684/1690</td><td></td></tr><tr><td>The true lovers glory or, an amorus [sic] meeting betwixt Thomas and Mary Which may a pattern be to lovers true, when they their old affections do renew; to yield obedience unto cupids darts, and never to divide united hearts / To a West-country tune, or, The tyrant, &c. -</td><td>[London] : Printed for P. Brooksby, at the Golden-Ball, in pye-corner,</td><td>1685</td><td></td></tr><tr><td>The west-country weaver containing his sorrowful lamentation for the hardship which he undergoes by a proud imperious wife together, with his resolution to reclaim her by the well-approved oil of holly / To the tune of If love's a sweet passion, &c. Licensed according t order. -</td><td>[London] : Printed for C. Bates, at the White.Hart sic, in West-Smithfield,</td><td>1685/1714</td><td></td></tr><tr><td>The Devonshire damsels frollick Being an account of nine or ten fair maidens; who went one evening lately, to wash themselves in a pleasant river, where they were discovered by several young men being their familliar acquaintances who took a way their gowns and petticoats, with their smocks and wine with good chear; leaving them a while in a most melancholly condition. To a pleasant new play-house tune; or, Wher's my shepherd? This may be printed R. P. -</td><td>[London] : Printed for Philip. Brooksby, at the Golden Ball in Pye-corner,</td><td>1685?</td><td></td></tr><tr><td>Down-right Dick of the West. Or, the plow-mans ramble to London to see my lord-mayor and the rest of the vine volk of the city, with what hapned while he there remained / To the tune of, The country farmer. This may be printed, R.P. -</td><td>[London] : Printed for J. Deacon at the angel in Guiltspur-street,</td><td>1685?</td><td></td></tr><tr><td>The shoomakers delight. Or. A new dialogue betwixt a west country shooemaker & his love Who after five years travel for her sake he back return'd and she amends did make, for after he to her had told his mind she seemed not at all to him unkind, young men & maids then read these lines and see how they in love did lovingly agree / To the tune of, When soll will cast no light. -</td><td>[London] : Printed for P. Brooksby at the Golden Ball in VVest Smithfield,</td><td>1685?</td><td></td></tr><tr><td>True love rewarded with loyalty or, mirth and joy after sorrow and sadness. This young man he did walk in pensive manner being a souldier under Cupids burmer, in loving terms he did express his mind still fearing that his love will prove unkind, but she to ease him from all future pain, did cheer his heart & grant him love again / To a new West Country tune called, O hark my love, or Flora farwell. -</td><td>[London] : Printed for W. Thackery, and T. Passenger,</td><td>1686/1688</td><td>ESTC: R187541</td></tr><tr><td>A warning for married women Being an example of Mrs. Jane Reynolds (a west-country-woman) born neer plimouth who having plighted her troth to a seaman, was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall presently be recited To a west-country tune, called, The fair maid of Bristol: Bateman, or, John True. -</td><td>[London] : Printed for W. Thackeray, and T. Passinger,</td><td>1686/1688</td><td>ESTC: R187710</td></tr><tr><td>The west-country wonder or, William the serving-man's good fortune in the marriage of an ancient lady whom he got with child when she was threescore [sic] and six o[r] seven years of age, tho' she had ne'er been with child before, to the joy of her, and the admiration of others / To the tune of, The guinnea wins her. Licensed according to order. -</td><td>[London] : Printed for J. Blare on London-bridge,</td><td>1686?</td><td>ESTC: R228656</td></tr><tr><td>The surprized lord & lady or, The couragious west-country serving-man / To the tune of, I often for my Jenny strove. -</td><td>[London] : Printed for R. Kell, at the White-Hart in West Smithifeld, near Pye-Corner,</td><td>1687/1694</td><td>ESTC: R187201</td></tr><tr><td>The west cuntrey [sic] crafty maid, or,lusty brave miller finely trappan'd. ... by John Wade, by [Wade, John,. -</td><td>[London] : Printed for William. Thackeray at the Sugar loaf in Duck-lane,</td><td>1688/1689</td><td></td></tr><tr><td>The west-country miser or, An unconscionable farmer's miserable end who having hoarded up his corn in hopes it would rise to a higher price, was disappointed so that he fell into despair, and died at last by the fright of an apparition / Tune of, Love's sweet passion: or, Fond boy, &c. -</td><td>London : printed for J. Wolrah, in Holbourn,</td><td>1688/1689</td><td></td></tr><tr><td>West-country Tom tormented, or, Vexed to the heart by the news-mongers of the town He vow'd he'd neither talk nor prate, or any news would give, concerning the affairs of state, but would at quiet live / To the tune of, Lilli borlero. -</td><td>[London] : Printed for J. Wolrah,</td><td>1688/1689</td><td></td></tr><tr><td>The well-shap'd West-country lass set forth in her proper shapes and qualities. She is so fair in her degree, that most she does surpass, I fear that many now will be in love with this fair lass; to the tune of, Cavalilly man / Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, J. Back,</td><td>1688/1692</td><td></td></tr><tr><td>True love rewarded with loyalty; or, Mirth and joy after sorrow and sadness This young man he did walk in pensive manner being a souldier under Cupids banner, in loving terms he did express his mind. Still fearing that his love will prove unkind, but she to ease him from all future pain, did cheer his heart & grant him love again / To a new west country tune called, O hark my love, or, Flora farewel. -</td><td>[London] : Printed for W. Thackery, J. Millet. and A. Milbourn.,</td><td>1689/1692</td><td></td></tr><tr><td>The couragious soldiers of the VVest. Or,undaunted country-mens resolution in taking up arms in the defence of King William and Queen Mary, together with the Protestant religionTune is, Lilli borlero. Licensed according to order. -</td><td>[London] : Printed for J. Deacon at the Angel in Guilt-spur-street,</td><td>1690</td><td></td></tr><tr><td>The Devonshire boys courage and loyalty to their Majesties King William and Queen Mary in defending their country from the invasion of the French. To an excellent new tune; call'd The Devonshire boys delight: or, The liggan waters, &c /</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, and J. Back,</td><td>1690</td><td></td></tr><tr><td>An answer to The merchants son of Exeter shewing how he fell in love with a young damsel, and after he solemnly protested to be her loyal love, wis7ent the sea might be his grave, he proved falce, yet after all left her, and married another. With an account how he was distracted in mind for his falce hearted disloyalty, and met at length with his wisht for destiny. To the tune of O how can I be merry or glad. Licensed according to order /</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, J. Back c.</td><td>1690?</td><td></td></tr><tr><td>The merchants son of Exeter shewing how he courted a mercers daughter whom he pretended he dearly loved, yet after faithful vows and solemn engagements, he left her and marri'd with another, which was the cause of her languishing to death. Tune is, O how can I be merry or glad / Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, and J. Back c.</td><td>1690?</td><td></td></tr><tr><td>The perjur'd youth being an account of a Devonshire young man who courted a damsel for pure love, which when he had obtained the same he importuned her to lye with him before marriage, which she obstinately refused, but he wishing that he might break his neck, if he wa not true to her, and having obtain'd his ends, he forsook her, and soon after broke his neck, according to his wish, as a just example for his villany / Tune of Valiant jockey. Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare and J. Back, c.</td><td>1690?</td><td>ESTC: R187304</td></tr><tr><td>The ploughman's love and loyalty; or,downright wooing betwixt honest Harry, and his beloved Joan two west-country lovers / To the tune of Ile often for my Jenny strove Licensed according to order. -</td><td>[London] : Printed for, P. Brooksby J. Deacon, J. Blare J. Back, ca.</td><td>1690?</td><td>ESTC: R187310</td></tr><tr><td>Roger's delight or, The west-country christning, and gossipping To an excellent new tune: or, Cold and raw / Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, J. Back, ca.</td><td>1690?</td><td>ESTC: R187252</td></tr><tr><td>The unconstant maiden, or,forsaken young-man Shewing how a Devonshire-damsel marry'd another, while her lover was come to London, to his great grief / To a pleasant new tune. Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, J. Back, ca.</td><td>1690?</td><td></td></tr><tr><td>The west-country jigg or, A trenchmore galliard See how the lads and lasses flock together, a merry makeing, like birds of a feather; here's Sam, and Sawny, gentle James and jonny [sic], with Moll and Moggy, and those girls so bonny where they had store of mirth, and mickle laughter. Therefore observe it for the best comes after. - To a merry Scotch tune, or: Up with aley aley, &c. -</td><td>[London] : printed for P. brooksby sic,</td><td>1690?</td><td>ESTC: R228646</td></tr><tr><td>The West-country lady or,true pattern of love and loyalty being the resolution of a wealthy lady in Cornwal, to marry a schollar for pure love / Tune of, Merry and glad. Licensed according to order. -</td><td>[London] : Printed for P. Brooksby, J. Deacon, J. Blare, and J. Back, ca. 1690. -</td><td>1690?</td><td></td></tr><tr><td>The west-country lawyer or,witty maid's good fortune who wisely maintain'd her virginity against the golden assaults of the lawyer, who at length married her to her hearts content / To the tune of The baffled knight, [sic. -</td><td>[London] : s. n.,</td><td>1690?</td><td>ESTC: R228750</td></tr><tr><td>The west-country weaver containing his sorrowful lamentation for the hardship which he undergoes by a proud imperious wife together, with his resolution to reclaim her by the well-approved oil of holly / To the tune of If love's a sweet passion, &c. Licensed according t order. -</td><td>[London] : Printed for C. Bates at the Bible ...,</td><td>1690?</td><td>ESTC: R228653</td></tr><tr><td>The merry wooing of Robin & Joan the West-Country lovers To the tune of, The beginning of the world, or, Sellingers round, or, Great boobe /</td><td>[London] : Printed for J Conyers at the Raevn in Duck-lain, c.</td><td>1695</td><td>ESTC: R228442</td></tr><tr><td>A warning for married women being an example of Mrs. Jane Reynolds (a west-country woman) born near Plymouth, who having plighted her troth to a seaman was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall be recited / To a west-country tune, call'd The fair maid of Bristol: or, John True, &c. -</td><td>London : printed by and for William. Onley. and are to be sold by the booksellers,</td><td>1695/1700</td><td>ESTC: R186281</td></tr><tr><td>Deloney, Thomas. The Lamentation of George Strangwidge, who for the consenting to the death of Mr. Page of Plymouth, suffered death at Barstable. -</td><td>[London] : s. n.,</td><td>1695?</td><td>ESTC: R171474</td></tr><tr><td>Deloney, Thomas. The lamentation of Mr. Page's wife of Plimouth who being forced to wed him. Consented to his murder, for the love of G. Strangwidge; for which they suffered at Barnstable, in Devonshire. - The tune of, Fortune my Foe, &c. -</td><td>[London] : Printed by and for Alex. Milbourn in Green-Arbor-Court in the Little Old-Baily,</td><td>1695?</td><td>ESTC: R171731</td></tr><tr><td>An excellent new playhouse song call'd, The west-country fairing or, Dicks present to Doll under the barly mow /</td><td>London : printed and sold by T. Moore in Black-Fryers,</td><td>1697</td><td></td></tr><tr><td>The secret lovers: Or, The jealous father beguil'd : Loves passion is not easily kept under, nor faithful lovers to be kept asunder; because you know the proverb it is so, that love will creep, when as it cannot go. - To a west-country tune: or, Alack for my love I must die. -</td><td>[London] : Printed for J. Walter, at the Golden-Ball in Pye-corner,</td><td>1700?</td><td></td></tr><tr><td>A vvarning for all maids, being an example of Mrs. Jane Reynolds (a west-country woman) born near Plimouth, who having plighted her troth to a seaman, was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall presently be recited. - To a west-country tune, called, The fair maid of Bristol: or, John True. -</td><td>[London] : Printed by and for A. Milbourn. and sold by booksellers of London,</td><td>1700?</td><td></td></tr><tr><td>Roger's delight or, the West-country christ'ning and gossiping. - To an excellent new tune: or, Cold and raw. Licensed according to order. -</td><td>[London] : Printed for J. Walter, at the Golden-Ball in Pye-corner,</td><td>1705?</td><td></td></tr><tr><td>The merry broomfield or, the west country wager To a new tune / Licens'd according to order. -</td><td>[London?] : Printed for Tho. Norris at the Looking-glass on London Bridge,</td><td>1711/1732</td><td>ESTC: N69900</td></tr><tr><td>True love rewarded with loyalty or, mirth and joy, after sorrow and sadness This young man he did walk in pensive manner, being a soldier under Cupid's banner, in loving terms he did express his mind, still fearing that his love will prove unkind; but she to ease him fro all future pain, did chear his heart, & grant him love again / To a new west country tune, call'd, O hark my love: or, Flora's farwel. -</td><td>[London] : Printed by T. Norris, at the Looking-glass on London-bridge,</td><td>1711/1732</td><td>ESTC: R233977</td></tr><tr><td>A warning for married women Being an example of Mrs. Jane Reynolds (a west-country-woman) born near Plymouth, who having plighted her troth to a seaman, was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall presently be recited. Tune of, Fair maid of Bristol; or, John True. -</td><td>[London] : Printed by Tho. Norris at the Looking-glass on London-bridge,</td><td>1711/1732</td><td>ESTC: R234087</td></tr><tr><td>The merry broomfield or, the west country wager / To a new tune. Licens'd according to order. -</td><td>Newcastle : printed and sold by John White, in Pilgrim-street,</td><td>1711/1769</td><td>ESTC: T39268</td></tr><tr><td>True love rewarded with loyalty; or, mirth and joy after sorrow and sadness This young man did walk in pensive manner, being a soldier under cupid's banner; in loving terms he did express his mind, still fearing that his love would prove unkind: but she to ease him from all future pain, did chear his heart, and grant him love again / To a new West-country tune, called, O hark my love; or, Flora farewel. -</td><td>Newcastle upon Tyne : printed and sold by John White,</td><td>1711/1769</td><td>ESTC: T51891</td></tr><tr><td>Nero secundus. –</td><td>[Exeter] : Philip Bishop ,</td><td>1716</td><td>No copy located</td></tr><tr><td>Roger's delight; or, the west country christ'ning and gossiping. -</td><td>Northampton : printed by R. Raikes and W. Dicey; and sold by Matthias Dagnel in Aylesbury and Leighton, Stephen Dagnel in Chesham, William Ratten in Coventry, Thomas William in Tring; Nathan Ward in Reading; William Royce, Oxford; Paul Stephens in Bister; Anthony Thorpe in St. Albans; Mr. Franks at Wooburne; William Peachy in Cambridge; and by Chururd Brady in St. Ives,</td><td>1720</td><td>ESTC: T45185</td></tr><tr><td>Deloney, Thomas. The lamentation of Mr. Page's wife of Plymouth who being forced to wed him, consented to his murder, for the love of Mr. George Strangwidge, for which they suffer'd death at Barnstaple in Devonshire. - To the tune of, Fortune my foe, &c. -</td><td>Newcastle upon Tyne : printed and sold by John White,</td><td>1725/1769</td><td>ESTC: T37517</td></tr><tr><td>Lover of all good men. An elegy made on the Rev. Mr. William Stephens, late Vicar of St. Andrew's Church in Plymouth; who departed this life on Thursday the 16th day of March, 1731-2 / Lover of all good men. –</td><td>[Plymouth : printed by John Jordaine,</td><td>1732</td><td>ESTC: T182436.</td></tr><tr><td>Britain excis'd, or a copy of verses on the duty on cyder. – . –</td><td>[Exeter?] : s.n. ,</td><td>1733?</td><td>ESTC: T201189. –</td></tr><tr><td>Sweet William of Plymouth. -</td><td>London : printed by William Dicey in Bow Church-Yard,</td><td>1735?</td><td>ESTC: N22081</td></tr><tr><td>A warning for married women being an example of Mrs. Jane Reynolds (a west-country woman) born near Plymouth, who having plighted her troth to a seaman was afterwards married to a carpenter, and at last carried away by a spirit, the manner how shall be recited. To a west-country tune, call'd The fair maid of Bristol: or, John True, &c /</td><td>London : printed by and for William. Onley. and are to be sold by the booksellers,</td><td>1735?</td><td>ESTC: R186281</td></tr><tr><td>Deloney, Thomas. The lamentation of Mr. Page's wife of Plymouth. -</td><td>[London] : Printed by W. and C. Dicey and sold at the Printing-Office in Bow-Church-Yard, London,</td><td>1736/1763</td><td>ESTC: N70845</td></tr><tr><td>The Plymouth tragedy or, fair Susan's overthrow. -</td><td>[London] : Printed and sold by W. and C. Dicey at the printing-office in Bow-Church-Yard, London,</td><td>1736/1763</td><td>ESTC: T42508</td></tr><tr><td>Seguin, James. An acrostick upon the name of Mrs. Elizabeth Ball. – . –</td><td>[Exeter?] : s.n. ,</td><td>1740?</td><td>ESTC: T19417. –</td></tr><tr><td>Seguin, James. To Mrs Elizabeth Ball / [Seguin, James.] . –</td><td>[Exeter?] : s.n. ,</td><td>1740?</td><td>ESTC: T51148. –</td></tr><tr><td>True love rewarded with loyalty</td><td>[Canterbury] : Sold at the printing-office, Canterbury,</td><td>1745?</td><td>ESTC: T51893</td></tr><tr><td>Fun upon fun or, the stark-naked west-country wedding. -</td><td>[London] : Printed and sold in Bow-Church yard, London,</td><td>1750?</td><td>ESTC: N1309</td></tr><tr><td>The mournful widow's garland, in three parts. –</td><td>Plymouth : printed and sold at the Printing-Office on the Parade,</td><td>1750?</td><td>ESTC: T41477. –</td></tr><tr><td>A new song, call'd, The happy pair. –</td><td>Plymouth : printed and sold at the Printing-office, on the Parade,</td><td>1750?</td><td>ESTC: T39970. –</td></tr><tr><td>The Plymouth tragedy or, fair Susan's overthrow /</td><td>[London?, s. n.,</td><td>1750?</td><td>ESTC: T42509</td></tr><tr><td>west country gentleman The stag chace by a west country gentleman. -</td><td>[S.l. : s. n.,</td><td>1750?</td><td>ESTC: N478237</td></tr><tr><td>West country Roger's remarks upon London. -</td><td>[London?, s. n.,</td><td>1750?</td><td>ESTC: T205229</td></tr><tr><td>Gay, John. William and Susan. Tune of Black-eyed Susan. -</td><td>[London] : Printed and sold in Bow-Church-Yard, London,</td><td>1750?</td><td>ESTC Unidentified</td></tr><tr><td>Bury, Tom. To Capt. ------, belonging to late Cock-Dandiprat's volunteers. –</td><td>[Exeter] : s.n. ,</td><td>1752?</td><td>ESTC: T220870. –</td></tr><tr><td>Shasbury's health A new song frequently sung at the meeting of the militia in Dorsetshire to the tune of the Lillies of France. –</td><td>[Exeter?] : s.n. ,</td><td>1760?</td><td>ESTC: N39369. –</td></tr><tr><td>A song for Devonshire militia-men to the tune of the hounds are all out. –</td><td>[Exeter?] : s.n. ,</td><td>1760?</td><td></td></tr><tr><td>An excellent new ballad. To the tune of Old Cobley, &c. –</td><td>[Exeter] : s.n. ,</td><td>1761?</td><td>ESTC: T183732. –</td></tr><tr><td>An honest new ballad, to the old tune of here's a health to the King and a lasting peace. –</td><td>[Exeter] : s.n. ,</td><td>1761?</td><td>ESTC: T167592. –</td></tr><tr><td>A new song, addressed to the honest freemen of Exeter. Tune of 'Tis of an old woman of Grimstone. –</td><td>[Exeter?] : s.n. ,</td><td>1761?</td><td>ESTC: T181494. –</td></tr><tr><td>A song. To the tune of And a begging we will go, &c. –</td><td>[Exeter?] : s.n. ,</td><td>1761?</td><td>ESTC: T155661. –</td></tr><tr><td>A new song, and a true song by a lady. To the tune of Nancy Dawson / [Lady.]. –</td><td>[Exeter?] : s.n. ,</td><td>1763?</td><td>ESTC: T181493. –</td></tr><tr><td>A new song, on an engagement with the Isis man of war, with a French sevety-four [sic] gun ship. –</td><td>Exeter : printed by T. Sutton,</td><td>1774?</td><td>ESTC: T181567</td></tr><tr><td>The social fellow. A new song</td><td>[Exeter?] : s.n. ,</td><td>1775?</td><td>ESTC: T210978. –<span> </span></td></tr></tbody></table><br /></div><div style="font-weight: 400;"><b>Sources:</b> ESTC supplemented by the Bodleian Library's <a href="http://ballads.bodleian.ox.ac.uk/">Broadside ballads online</a>.</div><div style="font-weight: 400;"><br /></div><div style="font-weight: 400;">Some variant issues have been omitted. Examination shows that religious output is limited and the main market in the region seems to have been for bawdy ballads. The University of Califonria's <a href="https://ebba.english.ucsb.edu/">English broadside ballad archive</a> provides sung versions of many of the ballads. </div></div><div style="font-weight: bold;"><br /></div><b><div style="text-align: justify;"><b>Table 8. Manuscript and print. The circulation of texts 1550-1750.</b></div><div style="text-align: justify;"><b><br /></b></div></b><div><table border="1"><tbody><tr><td width="10">Author</td><td width="30%">Title</td><td width="10%">Date</td><td width="10%">Format</td><td width="30%">Notes</td><td width="10%">Library</td></tr><tr><td>Blundell, John.</td><td>Memoirs and antiquities of the town and parish of Tiverton.</td><td>1712.</td><td><b>Printed.</b></td><td>Printed and sold by Jos: Bliss, near East Gate, and by Nich. Crocker, sadler, in Tiverton. Extremely rare.</td><td>Tiverton Library.</td></tr><tr><td>Blundell, John.</td><td>Memoirs and antiquities of the town and parish of Tiverton.</td><td>1830?</td><td>Ms. 31 pages ; 21cm.</td><td></td><td>WSL: sB/TIV/0001/BLU.</td></tr><tr><td>Blundell, John.</td><td>Memoirs and antiquities of the town and parish of Tiverton.</td><td>1932.</td><td>Ts. 55 leaves ; 29 cm.</td><td></td><td>WSL: sxB/TIV/0001/BLU.</td></tr><tr><td>Crossing, Richard.</td><td>A catalogue or particular of the antiquities...of Exeter, A.D. 1681. </td><td>1681.</td><td>Ms.</td><td></td><td>DRO: Exeter City Records. Book 54.</td></tr><tr><td>Hooker, John.</td><td>The description of the citie of Excester.</td><td>1590?</td><td>Ms. 422+ leaves.</td><td>Published: edited by W. J. Harte, J. W. Schopp and H. Tapley Soper, Devon and Cornwall Record Society, 1919-1947.</td><td>DRO: Exeter City Records. Book 52.</td></tr><tr><td>Hooker, John.</td><td>The description of the citie of Excester.</td><td>1919-1947.</td><td><b>Printed.</b>.</td><td>Published: edited by W. J. Harte, J. W. Schopp and H. Tapley Soper, Devon and Cornwall Record Society.</td></tr><tr><td>Hooker, John.</td><td>The Common-place Book of John Vowell alias Hoker, Chamberlain of the City of Exeter.</td><td>1590?</td><td>Ms.</td><td>ff.236–364. Hoker's Annals of the City</td><td>DRO: Exeter City Records. Book 51.</td></tr><tr><td>Hooker, John.</td><td>Hooker's Charter Book</td><td>1590?</td><td>Ms.</td><td></td><td>DRO: Exeter City Records. Book 56.</td></tr><tr><td>Hooker, John.</td><td>Hooker's Memorandum Book</td><td>1590?</td><td>Ms.</td><td></td><td>DRO: Exeter City Records. Book 57.</td></tr><tr><td>Hooker, John.</td><td>[Collections for the history of Exeter].</td><td>1590?</td><td>Ms.</td><td></td><td>ECL: MS 3530.</td></tr><tr><td>Hooker, John.</td><td>A discourse of Devon and Cornwall, with blason of armes etc., the bishops of Exeter, the revenews of the deaneries and parsonages and other gentlemen.</td><td>1599.</td><td>Ms. 171 pages 2o.</td><td>Dated on foloio 51b: 1599, deleted and replaced by: 1600. Extracts in Devonshire Association, Transactions, vol. 47, 1915, pages 334-348.</td><td>BL: Harleian MS 5827 ; WSL microfilm.</td></tr><tr><td>Hooker, John.</td><td>The synopsis corographicall or an historicall recorde of the province of Devon in Latyn called Danmonia. -</td><td>1599.</td><td>Ms. 353 pages.</td><td>A fair copy of the material in BL Harleian MS. 5827. Ex libris John Prince de Berry Pomeroy An: Do: 166. Presented by Revd Charles T. Wickham of Winchester 1910, who acquired it from the family of Short of Bickham, Devon.</td><td>DRO: Z19/18/9</td></tr><tr><td>Hooker, John.</td><td>A catalogue of the bishops of Excester.</td><td>1600?</td><td>Ms.</td><td>Partly printed, like a number of his writings, by Holinshed.</td><td>ECL: MS 3548E.</td></tr><tr><td>Hooker, John.</td><td>A synopsis chorographical, or an historical record of the province of Devon.</td><td>1600?</td><td>Ms. 165 pages.</td><td>3 vol.in 1.</td><td>Portledge 1801, P0169a.</td></tr><tr><td>Hooker, John.</td><td>A pamphlet of the offices and duties of euery particular sworne officer, of the citie of Excester : collected by Iohn Vowell .. .</td><td>1630?.</td><td>Ms.</td><td></td><td>WSL: sB/EXE/352.005/HOO.</td></tr><tr><td>Hooker, John.</td><td>A pamphlet of the offices and duties of euery particular sworne officer, of the citie of Excester: collected by Iohn Vowell ...</td><td>1630?</td><td>Ms. [82] pages ; 2º (chain lines vert.).</td><td></td><td>WSL: sB/EXE/352.005/HOO.</td></tr><tr><td>Hooker, John.</td><td>Extracts from Hoker on the early Exeter diocese, from Hopkinson on geology and notes on the Blue Maids Hospital, workhouse &c. - [</td><td>1850?.</td><td>Ms.</td><td>[Verify contents].</td><td>WSL: msB/EXE/262.12/HOO.</td></tr><tr><td>Hooker, John.</td><td>Extracts from Hoker on the early Exeter diocese, from Hopkinson on geology and notes on the Blue Maids Hospital, workhouse &c.</td><td>1850?.</td><td>Ms.</td><td></td><td>WSL: msB/EXE/262.12/HOO.</td></tr><tr><td>Hooker, John.</td><td>The Antique Description and Account of the City of Exeter' by John Vowell, alias Hoker, Gent., c.1765.</td><td>1950/2000.</td><td>Ts.</td><td></td><td>DRO.</td></tr><tr><td>Izacke, Richard.</td><td>A Memoryall of sundry of the Chiefest officers within the Cittie of Exeter in a continued series or succession of tyme from the 2nd yeare of the Raigne of Kinge John, Anno Dom. 1200, to the 17th yeare of the Raigne of Kinge Charles the 2nd, Anno Dom. 1665. </td><td>1675?</td><td>Ms. 249 leaves.</td><td>This is the MS. of Izacke's work printed in 1677, described by T. N. Brushfield, Richard Izacke and his Antiquities of Exeter, p. 100 in Transactions of the Dveonshire Association, 1893.</td><td>DRO: Exeter City Records. Book 53. </td></tr><tr><td>Izacke, Richard.</td><td>Antiquities of the city of Exeter. Collected by Richard Izacke.</td><td>1677.</td><td><b>Printed.</b></td><td>Published in London by E. Tyler and R. Holt.</td></tr><tr><td>Pole, William, Sir.</td><td>Copies of deeds, seals and grants.</td><td>1630?</td><td>Ms. 622 pages ; 2o.</td><td>"a vast manuscript volume in folio as big as a church Bible", used by John Prince (Danmonii orientales illustres, page 505).</td><td>Not traced.</td></tr><tr><td>Pole, William, Sir.</td><td>The Description of Devonshire, by Sir William Pole of Shute, Kt;.</td><td>1690/1750?</td><td>Ms. 2o.</td><td>With additions by another hand. Transcribed by John Prince, author of "The Worthies of Devon," with further additions by himself, distinguished by brackets. Belonged to the Rev. H. Walker, of St. Winnoc Cornwall.</td><td>British Library: Add MS 28649</td></tr><tr><td>Pole, William, Sir.</td><td>Survey of Devon.</td><td>1700?</td><td>Ms.</td><td>Transcript with notes from the collections.</td><td>Bodleian Library: Ms top Devon b 4</td></tr><tr><td>Pole, William, Sir.</td><td>Survey of Devon.</td><td>1700?</td><td>Ms.</td><td>Transcript with notes from the collections.</td><td>Bodleian Library: Ms Phil-Rob c154.</td></tr><tr><td>Pole, William, Sir.</td><td>Miscellaneous transcripts of records and deeds chiefly taken from the collections of Sir Henry St George, Clarenceux (1625-1715) spanning c1377-1565. May include some Pole material (unverified).</td><td>1700?</td><td>Ms. 258 leaves.</td><td></td><td>British Library: Add MS 5485.</td></tr><tr><td>Pole, William, Sir.</td><td>A survey of Devon.</td><td>1750?</td><td>Ms. 346 leaves.</td><td>Written in the 18th century, partly by J. Milles. The basis of both this volume and MS. Top. Devon b. 3 is a transcript (on 346 pages) of Risdon's Survey of Devon, nearly agreeing with the printed edition. This was then doubly (in some places quadruply) interleaved, and on the inter-leaves were written: a transcript, in another hand, of sir William Pole's Survey of Devon, copied from an Anstis MS.</td><td>Bodleian Library: MS. Top. Devon b. 4.</td></tr><tr><td>Pole, William, Sir.</td><td>Survey of Devon by Sir William Pole.</td><td>1750?</td><td>Ms. 2 volumes.</td><td>Transcript of copy taken by John Anstis and with notes by Sir Isaac Heard, Garter King of Arms 18th century 2 volumes</td><td>DRO Z19/18/13a-b.Brooking Rowe Bequest.</td></tr><tr><td>Pole, William, Sir.</td><td>Collections Towards a Description of the County of Devon.</td><td>1791.</td><td><b>Printed.</b></td></tr><tr><td>Pole, William, Sir.</td><td>Extracts from Sir William Pole's ms collection of deeds.</td><td>1846.</td><td>Ms.</td><td></td><td>WSL: s346.04/DEV/POLForme.</td></tr><tr><td>Risdon, Tristram.</td><td>Geographicall description of the county of Devon, with the citty and county of Exon, containing history, antiquity, chronologie, gentry and gover[n]ment thereod. Collected by T. Risdon of Winscott, Gent.</td><td>1605 continued to ye yeare 1630.</td><td>Ms. [120] pages ; 20 cm.</td><td>Manuscript, probably in Risdon's hand. Includes list of parishes with patrons and values. William Chapple's annotated copy.</td><td>WSL: DRO 3590Z. Inv: 780606/11. Purchased from Stanley Crowe, June 1978, cat. 88, item 152.</td></tr><tr><td>Risdon, Tristram.</td><td>The chorographical description of the county of Devon …</td><td>1605?</td><td>Ms. 326 pages.</td><td>3 vol.in 1.</td><td>Portledge 1801, P0169b.</td></tr><tr><td>Risdon, Tristram.</td><td>Liber Tristram Risdon.</td><td>1608/1628.</td><td>Ms. 188 leaves.</td><td>Transcript published as: The note-book of Tristram Risdon, ed. J. Dallas & H.G. Porter (1897).</td><td>EXC MS. 3531.</td></tr><tr><td>Risdon, Tristram.</td><td>[Chorographicall description of the county of Devon]. - [</td><td>1630?.</td><td>Ms.</td><td></td><td>WSL: DRO 2865.</td></tr><tr><td>Risdon, Tristram.</td><td>The decimes or a corographicall description of the county of Devon, with they citty & county of Exeter, conteyning matter of history, antiquity, chronology, the nature of the country the com[m]odities & government thereof … collected by the vew & travell of Tristram Risdon of Winscott Gent. -</td><td>1630?.</td><td>Ms. 297 pages ; 2o.</td><td>Page 221 contains the date 1616.</td><td>WSL: sxDEV/0001/RIS. Inv. 110715. Transferred from DRO 1985. Purchased from Commins. Ex libris T. N. Brushfield.</td></tr><tr><td>Risdon, Tristram.</td><td>The peritinerary of Devon, with the historicall discription therof and the citty of Exeter ... collected by T[ristram] R[isdon] gen : for the love of his country and countrimen.</td><td>1633?</td><td>Ms. 97 leaves ; 2o.</td><td>An early recension, differing in the insertion of many monumental inscriptions by which the date may be fixed. A passage relating to Pole and numerous corrections are in a different hand, perhaps that of the author. Interleaved in the 18th cent. Bought by Sir Thomas Phillipps of Thomas Thorpe the bookseller (catal. 1850, p. 20); Phillipps MS. 12390 (sale-cat. 1896, lot 391).</td><td>British Library: Add MS 36748</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographical description of Devonshire with the city and county of Exeter ... collected by the travail of T.R. [Tristram Risdon] of Winscott, gent., ca. 1726.</td><td>1650/1700?</td><td>Ms. [6], 326; [2], 224 pages.</td><td>Differs a little from Folger manuscript W.b.270; lacks an index and certain lists. Some variant readings noted in another hand.</td><td>Folger Shakespeare Library.</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographicall description of Devonshire […].</td><td>1650/1700?</td><td>Ms.</td><td>Unexamined.</td><td>Fursdon House.</td></tr><tr><td>Risdon, Tristram.</td><td>The chorographical description or decimes of ye county of Devon with ye city & county of Exeter, containing matters of history, antiquity & chronology, ye nature of ye country, commodities, & governm[en]t thereof : with sundry other things worthy observation collected by ye travel of T.R. of Winscot Gent. ...</td><td>1650/1700?</td><td>Ms. 315 leaves ; 36 cm.</td><td>Transcription in an unidentified hand in a cursive script. Index to place and river names (ff. 282r-315v). Bound in contemporary suede, rebacked.</td><td>Harvard University Library.</td></tr><tr><td>Risdon, Tristram.</td><td>A paper book, containing short historical notes on various parishes & places in Devonshire.</td><td>1650/1700?</td><td>Ms. 75 pages.</td><td></td><td>British Library ms Harley 2410</td></tr><tr><td>Risdon, Tristram.</td><td>The Cirographicall discription or decimes of the County of Devon with the Citty and County of Exeter, contayninge matter of History, Antiquitie, Cronologie, The Nature of the County, Comodities and Goverment thereof, with sundry other things worthy observation collected by the Travell of T.R. of Winscott, gent., for the love of his country and countrymen in that Province.</td><td>1650?</td><td>Ms. 194 pages.</td><td></td><td>DRO: Exeter City Records. Book 54 (a).</td></tr><tr><td>Risdon, Tristram.</td><td>[The decimes or a chorographical description of the county of Devon] .</td><td>1650?</td><td>Ms.</td><td>Transcript of, or extracts from Risdon's work by George Gregory [or Jeffry?], 17th century.</td><td>DRO: Z19/18/8</td></tr><tr><td>Risdon, Tristram.</td><td>[The decimes or a chorographical description of the county of Devon] .</td><td>1650?</td><td>Ms.</td><td>Unexamined.</td><td>RIC.</td></tr><tr><td>Risdon, Tristram.</td><td>Notitia Devoniae or a giographical description of the countie of Devon with the citty and county of Exon … by Thomas Risdon gent de Winscott.</td><td>1650?.</td><td>Ms. 1 volume ; 4o.</td><td>Also includes: Historical collections relating to ye counties of Cornwall & Devon. The antiquitie, ffoundation and building of the cathedrall church … by John Hooker. Inverted at back: A sermon preached … by Mr Gregory. Purchase date: 1658.</td><td>WSL: sDEV/0001/RIS Inv: 4877. Transferred from DRO 1987.</td></tr><tr><td>Risdon, Tristram.</td><td>A transcript of survey of Devon and extracts from his collections by Anthony Wood.</td><td>1658.</td><td>Ms.</td><td></td><td>Bodleian Library: MSS top Devon 3-4.</td></tr><tr><td>Risdon, Tristram.</td><td>Collections from the survey of Devonshire.</td><td>1658.</td><td>Ms. 142 pages.</td><td>Written in 1658 by Anthony à Wood. 'Collections from the survey of Devonshire written by [Tristram] Resdon [recte Risdon] ... wherunto are annexed [p. 108] the arms of the gentry per me A. Wood, Oxon.' Labelled '59'.</td><td>Bodleian Library: MS. Wood D. 7 (3).</td></tr><tr><td>Risdon, Tristram.</td><td>A Chorographical, and Historicall, Description of ye county of Devon and city of Exon, in which is set down ye nature of ye country, of ye people, ye commodities, and goverments thereof, with sundry other things incident and worthy to be known, collected by T[ristram] R[isdon], Gent., for ye love of his country and countrymen.</td><td>1659.</td><td>Ms. 66 leaves ; 2o.</td><td>On the vellum cover is written, "A Description of the county of Devon by T.R., Gent., 1659." Tristram Risdon died in 1640. The arrangement differs somewhat from that of the printed edition, London, 1714. -</td><td>British Library: Stowe MS 819.</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographical and historical description of the county of Devon & city of Exon ...</td><td>1659.</td><td>Ms. 121 pages ; 2o.</td><td></td><td>Huntington Library, Art Museum, & Botanical Gardens.</td></tr><tr><td>Risdon, Tristram.</td><td>[Chorographical description or survey of the county of Devon]. - [</td><td>1675? -</td><td>Ms.</td><td></td><td>DRO: 1499/M/Ad/MLit/1.</td></tr><tr><td>Risdon, Tristram.</td><td>Geographicale description of the county of Devon with the city & county of Devon containeing history, antiquity, chronology […] collected by T: R: of Winscott gent.</td><td>1675?.</td><td>190 leaves 2o.</td><td>Inscribed: J. Trelawny. Bookplate of Charles Bath.</td><td>WSL: msxDEV/0001/RIS.</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographical description or decimes of the county of Devon; with the city and county of the city of Exeter, containing matters of history, antiquitie and chronologie […] collected by the travail of T: R: of Winscott gent:.</td><td>1690?.</td><td>Ms. 343,[18] pages ; 2o.</td><td>Pagination irregular. Binding stamped by Iohn White 1697. Fly leaf inscribed Tho Taylor 1759.</td><td>WSL: msfDEV/0001/RIS. Inv: 43200.</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographicall description of Devonshire, with the city and county of Exceter. Containing matter of history, antiquity, chronology […] Collected by the travail of T: R: of Winscott, gent..</td><td>1690?.</td><td>Ms. 365,[16] pages ; 2o.</td><td>Annotations and index by James Davidson. Date evidence: pages 2, 9.</td><td>WSL: msfDEV/0001/RIS. Inx: 9434. Kent Kingdon Bequest 1908-9.</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographicall description of Devonshire with the city and county of exeter: containing matter of history, andtiquity, chronology […] collected by thr travell of T: R: of Winscott gentleman.</td><td>1700?.</td><td>Ms. 240,[3] pages ; 2o.</td><td>Phillips ms 9067.</td><td>WSL: msxDEV/0001/RIS. Inv: 106066. Brooking Rowe bequest 1908.</td></tr><tr><td>Risdon, Tristram.</td><td>History of Devon by Tristram Risdon.</td><td>1714?</td><td>Ms.</td><td>Unexamined, a printed version?</td><td>PWDRO: 74/287.</td></tr><tr><td>Risdon, Tristram.</td><td>The chorographicall Description or Survey of the County of Devon.</td><td>1714.</td><td>Printed. 2 volumes.</td><td>Published imperfectly by Curll, with omissions in a continuation volume</td></tr><tr><td>Risdon, Tristram.</td><td>A chorographical description of Devonshire with the city and county of Exeter ... collected by the travail of T.R. of Winscott, Gent.,</td><td>1726.</td><td>Ms. [2], 265 (p. 148 omitted in the numbering), 86 p.</td><td>Manuscript of a modified and expanded version of the 1723 edition of Tristram Risdon's Chorographical description ... with its additions incorporated in the main part of the text. Index of places on p. 179. Also, a sermon; the texts used by Mr. Follet and others for their sermons, 1735-1742; the will of Charles Harris of Ilfracombe, 1743; a life of Stephen Duck and several of his poems; Mr. Mason's Spiritual songs, etc.</td><td>Folger Shakespeare Library.</td></tr><tr><td>Risdon, Tristram.</td><td>Transcript of Risdon's Survey of Devon with extracts.</td><td>1750?</td><td>Ms. 346 leaves.</td><td>Written in the 18th century, partly by J. Milles. The basis of both this volume and MS. Top. Devon b. 3 is a transcript (on 346 pages) of Risdon's Survey of Devon, nearly agreeing with the printed edition. This was then doubly (in some places quadruply) interleaved, and on the inter-leaves were written: a transcript, in another hand, of sir William Pole's Survey of Devon, copied from an Anstis MS.</td><td>Bodleian Library: MS. Top. Devon b. 4.</td></tr><tr><td>Risdon, Tristram.</td><td>Transcript of Risdon's Survey of Devon with extracts.</td><td>1750?</td><td>Ms. 389 leaves.</td><td>Written in the 18th cent. partly by J. Milles. The basis of both this volume and MS. Top. Devon b. 4 is a transcript (on 346 pages) of Risdon's Survey of Devon, nearly agreeing with the printed edition. This was then interleaved, and on the inter-leaves were written: a transcript, in another hand, of sir William Pole's Survey of Devon, copied from an Anstis MS.</td><td>Bodleian Library: MS. Top. Devon b. 3</td></tr><tr><td>Risdon, Tristram.</td><td>Chorographical Description, or, Survey of the County of Devon, with the City and County of Exeter' (1714).</td><td>1751.</td><td>Ms.</td><td>The volume bears the inscription 'E Libris Gulielmi Chapple 1751' on the title page and contains numerous annotations, many comparing the printed publication with Risdon's manuscript. It appears to have formed part of the process which led to the publication of Chapple's 'review' of Risdon in 1785. For another copy of Risdon, with annotations by William Chapple, Christopher Gullett, and others, see Acc 3590.</td><td>DRO: 7950Z.</td></tr><tr><td>Risdon, Tristram.</td><td>An index of the places mentioned in the second part of Risdon's Devonshire.</td><td>1800?</td><td>Ms. 16 leaves ; 8o.</td><td>With a minute description (ff. 1, 13) of a copy of the 1714 edition (to which this index refers) at Boconnoc, co. Cornwall, which contained many MS. notes made by Charles.Lyttelton, Bishop of Carlisle (ob. 1768); and with (f. 12) a " copy of MSS. notes by Bishop Lyttelton taken from his copy of Izacke's Exeter, 8vo, London, 1741." In the handwriting of the Right Hon. Thomas Grenville, collector of the Grenville Library (ob. 1847). 1800/1845? Transferred from the Grenville Library.</td><td>British Library: Add MS 36302</td></tr><tr><td>Risdon, Tristram.</td><td>The chorographicall Description or Survey of the County of Devon</td><td>1811.</td><td>Printed. xvi,422 pages.</td><td>Uses manuscript of John Cole of Stonehouse.</td></tr><tr><td>Westcote, Thomas.</td><td>Chronographical description of the county of Devon ...</td><td>1726?</td><td>Ms.</td><td>Former owner Richard Coffin? Copy of The view of Devonshire, ca. 1631. Prince in his Worthies of Devon refers to Mr. Westcott's ms View of Devon; cf. p.417 and p.133 (second series) in the ms.</td><td>Folger Shakespeare Library.</td></tr><tr><td>Westcote, Thomas.</td><td>The history or antiquities of Devonshire by Thomas Westcote Esq; Recorder of Totnes.</td><td>1630?</td><td>Ms.</td><td>A damaged book in folio, wherein is contained an imperfect copy of his collection of Devonshire pedigrees, with the arms in blason, set down by the hand of Mr. Thomas Westcote of Raddon in Sherbrooke near Crediton ... recorder of Totness and a good antiquary.</td><td>British Library: ms Harley 2307.</td></tr><tr><td>Westcote, Thomas.</td><td>View of Devonshire.</td><td>1630?</td><td>Ms. 224 pages.</td><td>3 vol.in 1.</td><td>Portledge 1801, P0169c.</td></tr><tr><td>Westcote, Thomas.</td><td>[View of Devonshire]. - [</td><td>1680?.</td><td>Ms.</td><td></td><td>DRO: G2/12/6/3.</td></tr><tr><td>Westcote, Thomas.</td><td>A veiw [sic] of Devonshire by Thomas Westcott gent 1630 Transcribed by I. P. 1696. -</td><td>1696.</td><td>Ms. 2 volumes; 2o.</td><td></td><td>DRO: G2/12/6/3.</td></tr><tr><td>Westcote, Thomas.</td><td>A View or general account of Devonshire, compiled by Thomas Westcote of Raddon.</td><td>1750?</td><td>Ms. 189 leaves.</td><td>A transcript, with good indexes, a list of sheriffs to 1649, etc. The Survey is in five books: General, East (two books), North, and South divisions, and was originally composed in about 1633, see fol. 23; there is some family history, including an account of the earls of Devonshire (fol. 70b).</td><td>Bodleian Library: MS. Top. Devon c. 15</td></tr><tr><td>Westcote, Thomas.</td><td>A view of Devonshire in MDCXXX.</td><td>1845.</td><td><b>Printed.</b></td></tr></tbody></table></div><div><b><br /></b></div><div><b>Source: </b>A range of library and archive catalogues with differing standards of cataloguing. </div><div><br /></div><div style="text-align: justify;"><span style="text-align: start;">The dating should be regarded as indicative only but shows the extent to which the works of historians circulated both before and after they got into print. </span></div><div style="text-align: justify;"><span style="text-align: start;"><br /></span></div><div style="text-align: justify;"><div style="text-align: left;"><b>Table 9. The King's printers, their travels to Exeter and imprints linked to them there 1645-1648.</b><br /><br /><table border="1"><tbody><tr><td>Place</td><td>Arrived</td><td>Departed</td><td>Months</td><td>Recorded</td><td>Extant</td></tr><tr><td>Newcastle</td><td>1639-05</td><td>1639-05</td><td>1</td><td>[5]</td><td>4</td></tr><tr><td>York</td><td>1642-03</td><td>1642-09</td><td>7</td><td>79</td><td>54</td></tr><tr><td>Shrewsbury</td><td>1642-10</td><td>1643-08</td><td>11</td><td>96</td><td>20</td></tr><tr><td>Bristol</td><td>1643-10</td><td>1645-09</td><td>24</td><td>[200?]</td><td>21</td></tr><tr><td>Exeter</td><td>1645-09</td><td>1646-03</td><td>6</td><td>[50?]</td><td>4 plus 2, see below <br /></td></tr></tbody></table><br /><table border="1"><tbody><tr><td>1. Goring, George Goring, Baron, 1608-1657. George Lord Goring, Generall of all His Majesties Forces of Horse, that are, or shall be raised in the kingdom of England and dominion of Wales, and Lieutenant-General to his Highnesse Prince Rupert of this western Army. - [Exeter?] : [Robert Barker and John Bill?], [1645]. - 1 sheet ([1] page) ; 1/2?.- ESTC R210401 ; Wing2 G1303. - Address to inhabitants of Devon and Somerset. Signed at end: Dated at Exon the 20. day of September, 1645. George Goring. Thomason, 669.f.10[36].</td></tr><tr><td>2. Certain prayers fitted to severall occasions. To be used in his Majesties armies, and garrisons. Published by His Highnesse command. - Exeter : Printed by Robert Barker, and John Bill, printers to the Kings most excellent Majesty, 1645. - [2], 18 pages ; 4?. - ESTC R200214; Wing2 C4091C ; USTC 3043063.- Thomason, E.296[25], annotation: "About 15th Aug:".</td></tr><tr><td>3. A copy of a petition, commended to the peace-making association in the West, by Colonell Blake, and Colonell Pyne, to be subscribed and presented by them to Sir Thomas Fairfax, instead of subscription, they returned this brief and moderate answer. Also a new oath now injoyned by ordinance of both Houses, directly contrary to the oath of allegiance, and their own protestation, at the beginning of this parliament. — Exeter : Imprinted in the yeer, 1645. — [2],14 pages ; 4°. — Wing2 C6186 ; USTC 3055097. — Thomason: about 30th September</td></tr><tr><td>4. Charles II, King of England. By His Highnesse the Prince of Great Brittain, Duke of Cornwall and Albany, highest captain generall of all His Majesties forces raised and to be raised within the kingdom of England, dominion of Wales and town of Berwick, &c. A proclamation, for all persons within our quarters in the county of Devon able to bear arms, not being otherwise imployed by His Highnesse, or dispenced withall, to attend His Highnesse now advancing in person to meet the rebels. As also for a generall supplication to be made in all churches of Devon and Exeter, on Sunday the 4. of January, for Gods blessing on His Highnesse, and his forces. ... Given at our court at Tavistock the 29. of Decemb. 1645 / Charles P. By His Highnesse command in councell Rich: Fanshawe. — [Exeter] : Imprinted at Exeter by Robert Barker, and John Bill, printers to the Kings most excellent Majesty, 1645. — 1 sheet ; 1/2°. — ESTC R212271 ; Wing2 C3314, F418.</td></tr><tr><td>5. Fuller, Thomas, 1608-1661. Good thoughts in bad times, consisting of personall meditations. Scripture observations. Historicall applications. Mixt contemplations. By Thomas Fuller. - Exeter : printed for Thomas Hunt, 1645. - [10], 250 pages ; 12?. - ESTC R7287 ; .Wing2 F2425 ; USTC 3048371. — Title page is A2. The words "personal .. contemplations." are gathered by a left brace on title page. Thomason, E.1142[1]. Dredge p.7; Sessions.</td></tr><tr><td>6. Anthony, Edward. Practicall lavv, controlling and countermanding the common law: and the sword of vvarre the sword of iustice. Against all the late declarations and publications of the army, that they fight for the peoples liberties and lawes. - Printed at Exeter : [Publisher unascertained], 1648. — [2], 6 pages ; 4?. - ESTC R15564 ; Wing2 P4039B ; USTC 3057009. — Also attributed to William Prynne. Thomason, E.435[36], annotation: "Aprill 17". Dredge p.92 (British Museum); Sessions, W.K. The King's printer ..., 1982; Davidson supp. p. 15n (Secktor Lib); Plymouth Athenaeum p.27. Possibly printed on Eglesfield's presses.</td></tr><tr><td>7. Herrick, Robert, 1591-1674. Hesperides: or, The vvorks both humane & divine of Robert Herrick Esq. — London : printed for John Williams, and Francis Eglesfield, and are to be sold by Tho: Hunt, book-seller in Exon, 1648. — [8], 398, [2], 79, [3] pages : port. ; 8°. — ESTC R23362 ; Wing2 H1595. Thomason, E.1090[1]. —The engraved frontispiece portrait (A1v) is signed: W. Marshall fecit. The last leaf is blank. "His noble numbers, or, His pious pieces" has a separate title page dated 1647, and separate pagination; title page is printed on leaf 2C8r; tex t begins on leaf 2A1. An imprint variant of the edition lacking "Tho: Hunt, book-seller in Exon" in imprint. There is no evidence that this title was printed in Exeter on Eglesfield's presses.</td></tr></tbody></table><b><br /></b></div><div style="text-align: left;"><b>Source:</b> ESTC search on Exeter as place of publication and 1645->1648 as year of publication.</div><div style="text-align: left;"><br /></div><div style="text-align: left;">A contemporary printed list of publications survives for York and Shrewsbury. The numbers recorded there would indicate that around fifty official publications might be expected for Exeter, most of which have been lost, although the rate of printing could have been lower in Exeter. </div><div><br /></div></div><div style="font-weight: bold; text-align: justify;"><b><br /></b></div><div>Revised 09/11/2022</div></span></center>Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-28111053243114868332022-08-12T19:18:00.015+01:002022-09-07T22:50:25.112+01:00Ten astounding literary inventions in Exeter's heritage collections<div><h1 style="text-align: center;"> <b style="text-align: justify;"><span style="color: #cc0000;">Ten astounding literary inventions</span> </b></h1><h2 style="text-align: center;"><b style="text-align: justify;">Heritage open days in Exeter, 9-18 September 2022. </b></h2><p style="text-align: justify;"><b><span style="color: #38761d;">Libraries, museums and archives</span> </b>in Exeter overflow with the products of <span style="color: #cc0000;"><b>astounding inventions</b></span> which have helped to record human achievements and discoveries across the millennia and conserve our written and graphic heritage. </p>
<table border="0"><tbody><tr><td width="35%">
<span style="color: #cc0000; font-size: medium;"><b>Astounding inventions:</b></span></td></tr></tbody></table></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><a href="#alphabet"><span style="color: #cc0000;"><b>1. The alphabet.<br /></b></span></a><a href="#codex"><span style="color: #cc0000;"><b>2. The codex book.<br /></b></span></a><a href="#paper"><span style="color: #cc0000;"><b>3. Paper.<br /></b></span></a><a href="#woodcut"><span style="color: #cc0000;"><b>4. The woodcut.<br /></b></span></a><a href="#printing"><span style="color: #cc0000;"><b>5. Printing.<br /></b></span></a><a href="#engraving"><span style="color: #cc0000;"><b>6. Engraving.<br /></b></span></a><a href="#lithography"><span style="color: #cc0000;"><b>7. Lithography.<br /></b></span></a><a href="#photography"><span style="color: #cc0000;"><b>8. Photography.<br /></b></span></a><a href="#cinema"><span style="color: #cc0000;"><b>9. The moving image.<br /></b></span></a><a href="#digitisation"><span style="color: #cc0000;"><b>10. Digitisation.</b></span></a></blockquote>
<div><br />
<span style="color: #0b5394;"><span style="font-size: medium;">👉 <b>Hunt for them in Exeter's heritage collections:</b></span><br /><br />
</span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><span style="color: #0b5394;"><a href="https://www.bdcmuseum.org.uk/"><span style="color: #38761d;"><b>Bill Douglas Cinema Museum</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://exeter.gov.uk/leisure-and-culture/our-attractions/custom-house-visitor-centre/"><span style="color: #38761d;"><b>Custom House</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://devonandexeterinstitution.org/"><span style="color: #38761d;"><b>Devon and Exeter Institution</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://swheritage.org.uk/devon-archives/visit/devon-heritage-centre/"><span style="color: #38761d;"><b>Devon Archives, Devon Heritage Centre</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://www.doubleelephant.org.uk/"><span style="color: #38761d;"><b>Double Elephant Print Workshop</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://www.exeter-cathedral.org.uk/history-heritage/library-archives/"><span style="color: #38761d;"><b>Exeter Cathedral Library and Archives</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://www.devonlibraries.org.uk/web/arena/specialcollections"><span style="color: #38761d;"><b>Exeter Library Special Collections</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://rammuseum.org.uk/"><span style="color: #38761d;"><b>Royal Albert Memorial Museum</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://www.nicholaspriory.com/"><span style="color: #38761d;"><b>St Nicholas Priory</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://tuckershall.org.uk/"><span style="color: #38761d;"><b>Tuckers Hall</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://www.exeter.ac.uk/departments/library/special-collections/"><span style="color: #38761d;"><b>University of Exeter Special Collections</b></span></a></span></div><div><span style="color: #0b5394;"><a href="https://swheritage.org.uk/devon-archives/visit/local-studies-library/"><span style="color: #38761d;"><b>Westcountry Studies Library, Devon Heritage Centre</b></span></a></span></div></blockquote><div>
<h1 style="text-align: left;"><b><span style="color: #cc0000;">1. The alphabet.</span></b></h1><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;"><span><span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;">The twenty-six letters which make up the alphabet in which the </span></span></span><span style="font-family: times;">English language is written </span><span style="font-family: times;"><span><span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;">had their origin among Semitic</span></span><span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"> workers in Egypt who some time around the 19th century BCE adapted a selection of Egyptian </span>hieroglyphs<span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"> to represent the initial sound of the word represented by the sign. The resulting series of signs was adapted by the Phoenicians in the 11th century BCE and from them passed to the Greeks around 800 BCE and the Romans in the 7th century BCE. The table below is a simplified account of the history of each letter. Some letters, such as G, J, U,V, W and Y are later additions, others were not adopted by the Romans. </span></span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;">
<p style="text-align: justify;"><span style="font-family: times;"><span style="background-color: white; text-align: left;"></span></span></p></div></blockquote><div style="font-family: times; margin-left: 1em; margin-right: 1em; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZb84zMC8nVaJ-NOE1YOLg8siawulfRsRUJ1v3t_BvSpr0VCWMqIzuy349ngd4Ntprylpe_3jExWNNRL4U6OaRvQy0l526TjGdNrB2VklnjL65LsLveD5YrqGOjRMXwEB2b9tuqeuPxjfkfswvGkKELTBkEoM8ME_m5rGEjqtvzwxeAZucw/s779/alphabet-table.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="779" data-original-width="691" height="656" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixZb84zMC8nVaJ-NOE1YOLg8siawulfRsRUJ1v3t_BvSpr0VCWMqIzuy349ngd4Ntprylpe_3jExWNNRL4U6OaRvQy0l526TjGdNrB2VklnjL65LsLveD5YrqGOjRMXwEB2b9tuqeuPxjfkfswvGkKELTBkEoM8ME_m5rGEjqtvzwxeAZucw/w583-h656/alphabet-table.jpg" width="583" /></a></div><span style="font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;">For the first time scripts were now completely phonetic, being a written representation of spoken words. It also </span><span style="background-color: white; font-family: times;">dramatically</span><span style="font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"> reduced the number of characters in a script from hundreds or even thousands to between twenty and forty, making literacy more widely accessible and paving the way for printing, or more specifically printing with movable type.</span></div><div style="text-align: center;"><a href="https://web.archive.org//web/20041216123142im_/http://www.devon.gov.uk/library/locstudy/gif/0060abc.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="308" height="300" src="https://web.archive.org//web/20041216123142im_/http://www.devon.gov.uk/library/locstudy/gif/0060abc.jpg" width="308" /></a></div><div style="text-align: center;"><i style="background-color: white; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px; font-variant-caps: inherit; font-variant-ligatures: inherit;">Roman tile bearing incised alphabet, ca. 60 CE. Royal Albert Memorial Museum.</i></div></span><span style="font-family: Times New Roman, Times, FreeSerif, serif;"><div style="text-align: justify;"><span style="font-size: 15.4px;"><br /></span></div></span><span style="font-family: times; font-variant-caps: inherit; font-variant-ligatures: inherit; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times; font-variant-caps: inherit; font-variant-ligatures: inherit;"><span><span style="font-variant-caps: inherit; font-variant-ligatures: inherit;"><span style="font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px; font-style: inherit;">This tile was made in Exeter for the hypocaust of the legionary bath-house in Cathedral Close. The tile has been incised before firing with the first letters of the Roman alphabet, finishing with the letter "F". It provides the earliest direct evidence of literacy in Devon.</span></span></span></span><span style="background-color: white; font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"> The <b><a href="https://rammuseum.org.uk/"><span style="color: #38761d;">Royal Albert Memorial Museum</span></a></b> also holds examples of writing in Greek and other early alphabetic scripts. During <a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a> it has an Astounding Adventures Trail and other activities. </span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p></div></blockquote><b><h1 style="text-align: justify;"><b><span style="color: #cc0000;">2. The codex book.</span></b></h1></b><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">The medium for storing and transmitting literary texts in the Classical world was the scroll but about 85</span><span style="font-family: times;"> CE early examples of literary codices are mentioned by the Latin poet Martial. The word caudex means tree trunk or block of wood and a transitional stage was the stringing together of wooden writing tablets to form a pugillaris (literally fist book). Wood tablets were replaced by folded vellum sheets stitched together, at first in small notebooks but it was soon discovered that hundreds of such folios (leaves) could be bound between boards. A scroll could hold just one book of the the Iliad, or the Bible - the librarian of Alexandria Callimachus said "a big book is a big evil" - but a codex could hold Homer's entire epic poem or the whole Old or New Testament. The earliest codex that is substantially complete is the biblical Codex Sinaiticus from the fourth century. The earliest illustrated literary text is the Vergilius Vaticanus (Vatican Vergil), dating from around 400 CE. </span></div></span><span style="font-family: times;"><div style="text-align: justify;"><br /></div></span><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">The development of the codex book gave rise to a new craft, that of the bookbinder. The earliest book in </span><span style="background-color: transparent; color: #38761d; font-family: times;"><b>Exeter Library Special Collections</b></span><span style="font-family: times;"> has lost much of its binding, but was conserved in that state because it shows the structure of a medieval bookbinding. The folded sheets are gathered together in sections and, using a sewing frame, are stitched onto hemp cords, in this case double cords. The thread passes out from the centre fold between the two cords, then underneath them and back between them, thus fixing each gathering with four firm knots. The cords pass through the wooden boards, along a recessed groove and are pegged through the board again. The whole was covered with leather and blind tooled with a pattern which has left indentations on the wooden board where the leather is missing. Volumes would often have metal bosses, clasps, locks or chains, as manuscript books were very precious and their contents often sacred. </span></div><div style="text-align: justify;"><span style="font-family: times;"><br /></span></div></span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfJSEQuKJ_JIdeYc-Vlo9OyZipPL4YdgHKi1k-dBszjXM1DaHWYh3IbVaPv03z08C79F8DUV9drRdAsDyVMgM29kZegM9fFrIg8JvS6PPkSH37wX9Dm0iy969LSmmP5UxqgkRh/s1200/BASEL-BESICKEN-1480-2.jpg" style="background-color: transparent; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="755" data-original-width="1200" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfJSEQuKJ_JIdeYc-Vlo9OyZipPL4YdgHKi1k-dBszjXM1DaHWYh3IbVaPv03z08C79F8DUV9drRdAsDyVMgM29kZegM9fFrIg8JvS6PPkSH37wX9Dm0iy969LSmmP5UxqgkRh/w455-h286/BASEL-BESICKEN-1480-2.jpg" width="455" /></a></div></span></div></blockquote></blockquote><div><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: center;"><i style="font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px;">Nicolaus Panormitanus de Tudeschis, Lectura super v. libri decretalium. </i></div></span></div><div><i style="font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px; text-align: center;"><div style="text-align: center;"><i style="font-size: 15.4px;">[Basel] : [Johann Besiken], 1480. Copy in Exeter Library Special Collections</i></div></i><div style="text-align: justify;"><span style="font-family: times;"><br /></span></div><span style="background-color: white; font-family: times;"><div style="text-align: justify;"><span style="font-family: times;">Early examples of manuscript codex books are to be found in </span><a href="https://www.exeter-cathedral.org.uk/history-heritage/library-archives/" style="background-color: transparent;"><span style="color: #38761d;"><b><span>E</span>xeter Cathedral Library</b></span></a><span style="background-color: transparent; color: #38761d; font-family: times;">.</span><span style="font-family: times;"> During </span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="background-color: transparent;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a><span style="font-family: times;"> it is offering tours of the Library. the Exeter Book of Old English verse dating from around 960-980 and the Exon Domesday, dating from 1086. Facsimiles of early codices can also be found in libraries in Exeter and there are also many examples online. One of the riddles in the Exeter Book gives a description of the preparation of a manuscript codex, probably a gospel book. </span></div><div style="text-align: justify;"><span style="font-family: times;"><br /></span></div><div style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUAaYIrHzTs-uSkWSZRCPgqbPabDHHvc88ifs36X3-fpdoqbg_6uTtyKQDVmHVOLNSjx_AhA7IpLVlbC5TZBiCI-6u6xEeMCfI-MGmV1RdoSBdW-kDoyqMMMFkTkC2CQgxBJSK/s400/EXETER-MS-0970-2.jpg" style="background-color: transparent; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="263" height="439" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUAaYIrHzTs-uSkWSZRCPgqbPabDHHvc88ifs36X3-fpdoqbg_6uTtyKQDVmHVOLNSjx_AhA7IpLVlbC5TZBiCI-6u6xEeMCfI-MGmV1RdoSBdW-kDoyqMMMFkTkC2CQgxBJSK/w288-h439/EXETER-MS-0970-2.jpg" width="288" /></a></div><div style="text-align: center;"><i>The book riddle from the Exeter Book of Old English poetry. Exeter Cathedral Library</i></div></span><span style="font-family: times;"><div style="text-align: justify;"><span style="font-style: italic; font-weight: 700;"><br /></span></div><div style="text-align: justify;"><span>A translation of the book riddle into modern alliterative verse is available in the <b><span style="color: #38761d;"><a href="https://bookhistory.blogspot.com/2012/06/exe-libris-1.html"><span style="color: #38761d;">Exeter Working Papers in Book History</span></a>. </span></b></span></div></span><span style="font-family: times;"><h1 style="text-align: justify;"><b><span style="color: #cc0000;">3. Paper.</span></b></h1></span><span style="background-color: white; color: #474136; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="color: #474136; font-family: times;">In 105 CE Cai Lun (or Ts'ai Lun),</span><span style="color: #474136; font-family: times;"> a eunuch and official of the Chinese Imperial Court, reported to the Emperor of China that paper had been invented. Previously silk or bamboo was used but the new invention used pulped </span><span style="color: #202124; font-family: times;">bark of trees, hemp, old rags, and fishing nets drained through wooden sieves. It spread slowly across Asia, reaching Europe in Moorish Spain at Xativa by 1151 and Christian Europe at Fabriano by 1282. </span><span style="color: #201f1e; font-family: Times, serif; font-size: 16px; text-align: start;">The origins of the English use of paper go back to as early as 1275, when Edward I instructed the mayor and corporation of London to change their bureaucratic processes, using paper books. There was no paper made in England until John Tate established his mill in Hertford some time before 1494. </span><span style="color: #202124;">Papermaking did not reach Exeter until the 17th century and there have been no active paper mills in Exeter since the 1980s. A walk along the River Exe will pass the sites of all Exeter's former paper mills:</span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"><span style="background-color: white; color: #202124; text-align: left;"></span></p></div></blockquote><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxLqmDfHsRPEuBVc5kRidSDDCsO4tJHD4SSbXCYK2sJHsyTKX6mN8mzZrfCS6i3_n5h-Y6MHAvjxwJMD8BgMY0S4pqKWiI1r3WUBo-wEUyJRVn2BR7_W1b_1Iq5sxrIP5In3JS/s320/UNESCO-COUNTESS-1.%20jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="320" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxLqmDfHsRPEuBVc5kRidSDDCsO4tJHD4SSbXCYK2sJHsyTKX6mN8mzZrfCS6i3_n5h-Y6MHAvjxwJMD8BgMY0S4pqKWiI1r3WUBo-wEUyJRVn2BR7_W1b_1Iq5sxrIP5In3JS/s320/UNESCO-COUNTESS-1.%20jpg" width="320" /></a></div><i style="color: #202124;"><div style="text-align: center;"><i><span style="color: #202124;">Countess Wear paper mills, </span><span style="color: #202124;"><span style="font-family: times;">Upper Wear (1704-1884) and nearby </span></span><span style="font-family: times;">Lower Wear (1778-1829)</span></i></div></i><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p><p style="text-align: justify;"><span style="background-color: white; color: #202124; text-align: left;"></span></p></div></blockquote><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYnlOEs3DQkLbvS3kATdr-ZlvBtF1PdPCHeftljbzdiLbjCm3t9Sh223xZ4XcTulMIjNjaa6aO1USn6bzy_Z_YM4Vg5pD5UnlrgJZkQnvT2kadt8S8F61AITMsISut9_QPCcXV/s320/UNESCO-TREWS-WEIR.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="320" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYnlOEs3DQkLbvS3kATdr-ZlvBtF1PdPCHeftljbzdiLbjCm3t9Sh223xZ4XcTulMIjNjaa6aO1USn6bzy_Z_YM4Vg5pD5UnlrgJZkQnvT2kadt8S8F61AITMsISut9_QPCcXV/s320/UNESCO-TREWS-WEIR.jpg" width="320" /></a></div><i style="background-color: white; color: #202124; font-family: times;"><div style="text-align: center;"><i>Trew's Weir Paper Mill (1834-1982) now apartments</i><span style="color: #202124; font-family: times;"> </span></div></i><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p><p style="text-align: justify;"><span style="background-color: white; text-align: left;"></span></p></div></blockquote><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVc1qLZNcZvQu7jB8iBZtjTTQE2sodacFAXJtOHcrbSZf6hBw6cv7ZgxLqlcv0amzyhk29MyxdPDU-n0h6CNteuzNQNCP4IGatTDGLHQ9IXSbOrAhNrL_4jD8uteSOrIB_gBHJ/s1280/UNESCO-HEAD-WEIR.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="959" data-original-width="1280" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVc1qLZNcZvQu7jB8iBZtjTTQE2sodacFAXJtOHcrbSZf6hBw6cv7ZgxLqlcv0amzyhk29MyxdPDU-n0h6CNteuzNQNCP4IGatTDGLHQ9IXSbOrAhNrL_4jD8uteSOrIB_gBHJ/s320/UNESCO-HEAD-WEIR.jpg" width="320" /></a></div><i style="font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px;"><div style="text-align: center;"><i style="font-size: 15.4px;">The Mill on the Exe, on the site of Head Weir paper mill, (1798-1967)</i></div></i><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p><p style="text-align: justify;"></p></div></blockquote><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDa6B1NBp_BTKn3_w4Z0MB2XFJhKJhfIbitfJWqdNor8UiayWct_pEv2bHo1pApo8_jG7JoOvcsHuAGiOdwnC4A2OmYVh8wPlPRW6Szp2gKuqd9BUSWaiWHgrpYd8udRmG3p5e/s320/UNESCO-EXWICK-PAPERMILL.%20jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="240" data-original-width="320" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDa6B1NBp_BTKn3_w4Z0MB2XFJhKJhfIbitfJWqdNor8UiayWct_pEv2bHo1pApo8_jG7JoOvcsHuAGiOdwnC4A2OmYVh8wPlPRW6Szp2gKuqd9BUSWaiWHgrpYd8udRmG3p5e/s320/UNESCO-EXWICK-PAPERMILL.%20jpg" width="320" /></a></div><div style="text-align: center;"><i style="font-family: times;">The site of Exwick Paper Mill (1806-1860), now a housing estate</i></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p></div></blockquote><span style="background-color: white; color: #202124; font-family: times;"><div style="text-align: justify;"><span style="color: #202124; font-family: times;">Early Devon documents on paper include a deed dated 1371 in the records of the Carew Family of Haccombe House (Devon Archives: </span><span style="background-color: transparent; color: #333333; font-family: times;">2723M), </span><span style="color: #202124; font-family: times;">and the letters of John Shillingford, mayor of Exeter, written between 1447 and 1450, were all on paper (Exeter City Records, miscellaneous rolls boxes 100 and 101). </span></div><div style="text-align: justify;"><span style="color: #202124; font-family: times;"><br /></span></div></span><span style="font-family: times; font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">The broadsheet below in the Westcountry Studies Library is on a whole sheet of handmade paper and held to the light the watermark and countermark can be seen.</span></div><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><br /></span></div></span><div style="text-align: right;"><img border="0" data-original-height="1200" data-original-width="932" height="412" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMv2NBH5L9GXvdAdg1k6hUmLp57LYp6gZe3GG8GfpkF5KItvafS2_IxrxKNEBqqzBHPojvD0YJFdqw0deyjPS2OtCW9WCE1Nlh2J3k9Z56-mcysTXkZAuEL05sD8XgbyKSUKyO/w321-h412/EXETER-TREWMAN-1776.jpg." style="text-align: center;" width="321" /><span style="text-align: center;"> </span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTijdthNtO-ACEh9e9Zzldd8md-4nQFV6KrT8s1UAMVMGR_ysdUmh967JrmjZMPPHU7y3i65ee-j7O4AxTM7oss_mKOSRQlaLYuWUiYgXTx3sLKG0X9OYGevD3dWlgHWsezuz/s1200/EXETER-TREWMAN-1776-W1.JPG" style="font-family: times; font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="590" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixTijdthNtO-ACEh9e9Zzldd8md-4nQFV6KrT8s1UAMVMGR_ysdUmh967JrmjZMPPHU7y3i65ee-j7O4AxTM7oss_mKOSRQlaLYuWUiYgXTx3sLKG0X9OYGevD3dWlgHWsezuz/w155-h317/EXETER-TREWMAN-1776-W1.JPG" width="155" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMTMto2eFrpsS36ZMuroPzV_gxUDqaVyg1RUHVoFfsRsWurRx3ezBYrmx_eVlWrnzwK45AsJOojwxCSTMYObYMOSMJvVaNtXczst0PrONamxv3cXPD4H_m5hY_71lcPSPPqP6m/s640/EXETER-TREWMAN-1776-W2.JPG" style="font-family: times; font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="350" data-original-width="640" height="57" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMTMto2eFrpsS36ZMuroPzV_gxUDqaVyg1RUHVoFfsRsWurRx3ezBYrmx_eVlWrnzwK45AsJOojwxCSTMYObYMOSMJvVaNtXczst0PrONamxv3cXPD4H_m5hY_71lcPSPPqP6m/w105-h57/EXETER-TREWMAN-1776-W2.JPG" width="105" /></a></div><div style="text-align: justify;"><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><i>A list of the freemen and freeholders who voted at the election for a representative in Parliament for the city of Exeter, in the room of John Walter, Esquire, John Baring and John Burridge Cholwich, Esquires, candidates.</i></span><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> Exeter: Trewman, 1776. <span color="inherit" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">(</span>Westcountry Studies Library: LE 1776). </span></div><div style="text-align: justify;"><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><br /></span></div><span style="font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;"><span face="Calibri, Helvetica, sans-serif" style="background-color: white;"><span color="inherit" style="border: 0px; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-style: inherit;"><span>T</span></span></span></span></span><span style="background-color: white; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px;">he paper may have been imported from the Netherlands. The watermark is similar to that used by Piet van der Ley who operated the De Bonsem and De Wever mills in Koog aan de Zaan in Holland from 1674. The countermark is used by Jean Villedary, a name borne by several generations of a family who operated mills at Vraichamp, Beauvais and La Couronne near Angoulême from 1668 to 1758 The VL mark was appropriated by many makers including some in England, as a mark of quality, and this may be what Villedary did. The Villedary family had many links with Holland and in 1758 moved to Hattem in Guelderland, where they continued to make paper.</span></div></span><span style="font-family: Times New Roman, Times, FreeSerif, serif;"><div style="text-align: justify;"><span style="font-size: 15.4px;"><br /></span></div></span><b><h1 style="text-align: justify;"><b><span style="color: #cc0000; font-size: large;">4. The woodcut.</span></b></h1></b><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;">Because of the nature of the scripts of eastern Asia, woodcuts have been used to print texts on paper since at least the eighth century, and they have been used to decorate textiles and produce images, often of holy figures, but also banknotes. The design was cut on a flat, smooth surface of a block of wood, the areas intended to receive ink being left proud and the white background cut away. Prints were taken by rubbing the back of the paper onto the inked surface, which meant that normally only one side of the paper could be used. Woodcuts appear in Europe at the close of the 14th century and are often images of saints but there are also playing cards. It is tedious to cut lengthy texts in wood and the few woodcut blockbooks mainly date from the period after the invention of printing.</div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"><span style="font-family: times;"></span></p></div></blockquote><span style="font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">In Exeter tillet blocks are examples of </span><span style="color: #cc0000; font-family: times;"><b>woodblocks</b></span><span style="font-family: times;"> with the image engraved in relief. They were used in Exeter, particularly during the 18th century to stamp a trade mark onto the wrappers (or tillets) of bundles of cloth. This was probably done at the </span><a href="https://exeter.gov.uk/leisure-and-culture/our-attractions/custom-house-visitor-centre/"><b><span style="color: #38761d;">Custom House</span></b></a><span style="font-family: times;"> on the Quay where examples are on display. </span><span style="background-color: white; font-family: times; text-align: left;">There are events at Quay Words during </span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="text-align: left;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a><span style="font-family: times;">. The </span><b style="text-align: left;"><a href="https://rammuseum.org.uk/"><span style="color: #38761d;">Royal Albert Memorial Museum</span></a></b><span style="font-family: times;"> also has examples of tittle blocks and </span><a href="https://tuckershall.org.uk/" style="font-family: "Times New Roman"; text-align: left;"><span style="color: #38761d;"><b>Tuckers Hall</b></span></a>, also open<span style="background-color: white; font-family: times; text-align: left;"> during </span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="text-align: left;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a>, has a fascinating exhibition tracing Exeter's woollen industries through archives and other historical documents. </div></span><div style="margin-left: 1em; margin-right: 1em; text-align: justify;"><a href="https://www.bbc.co.uk/staticarchive/887723e5e773d86666a52bc5436587214d94e9a2" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="346" data-original-width="620" height="329" src="https://www.bbc.co.uk/staticarchive/887723e5e773d86666a52bc5436587214d94e9a2" width="589" /></a></div><div style="margin-left: 1em; margin-right: 1em; text-align: justify;"><br /></div><div style="text-align: left;"><span style="text-align: justify;">The Ship of fools illustrated in the next section uses woodcut illustrations. They have the advantage over engravings of being capable of being printed together with the text on the same printing press. Engraved and lithographic illustrations require different types of press. Because they can printed at the same time as text woodcuts, and from the late 18th century the more detailed wood engravings, are used not only for illustrations but also for decoration, initial letters and title page borders. </span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p></div></blockquote><b style="text-align: justify;"><h1 style="text-align: justify;"><b><span style="color: #cc0000;">5. Printing.</span></b></h1></b><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;">While there had been earlier printing in the Far East, this had been mainly from woodblocks and it is generally accepted that printing with movable type was developed by Johann Gutenberg between about 1438 and 1452 at first in Strasbourg and later in Mainz. It was a coming together of various technical processes: the ability to cut punches for individual letters, the invention of a hand-held mould to enable the rapid casting of large quantities of each letter, the development of a suitable lead alloy, and of a thick ink that would adhere to metal. The final element was the construction of a wooden hand press which could take an impression from the raised surface of the type, which had been composed letter by letter and locked within a forme or frame and laid on the bed of the press. </div></span><span style="font-family: times;"><div style="text-align: justify;"><br /></div></span><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">Printing spread across Europe from Mainz, reaching Italy in 1465, Switzerland in 1468, France and probably the Netherlands in 1470, Spain in 1471, Hungary in 1473, Poland in 1473 and England in 1476. This rapid spread of printing, with books appearing in editions of several hundred copies, was only possible because of the availability of paper. By 1494 when the poet Sebastian Brant published </span><i style="background-color: transparent;">Das Narrenschiff</i><span style="font-family: times;"> (the ship of fools) he could describe how printing had brought the acquisition of book within the grasp of much greater numbers of people, even including fools. In fact the book fool is the first to be described in a long series of fools, each of them with a lively woodcut illustration. </span></div></span><span style="font-family: times;"><div style="text-align: justify;"><br /></div></span><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">The work was widely translated and the translator Alexander Barclay was the first Devonian to get into print - he was in Ottery St Mary when the first edition was published in 1509.</span></div></span><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> </span></div></span><div style="font-family: Calibri, Helvetica, sans-serif; font-size: 12pt; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKxuKvDd0BvcKpVec-ADVj3thjKBEhAATKk9sqGLqVH4svYkwqTugFczPrM-iQSXFNhn_NweTF0Kxh2K0ZFRFD7aL6iuGi50fOYfXF-w1ba2I_WHMKfAYK9HIAqvwHkOM3N2i/s1200/LONDON-CAWOOD-1570-02.jpg" style="font-size: 12pt; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="797" height="586" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbKxuKvDd0BvcKpVec-ADVj3thjKBEhAATKk9sqGLqVH4svYkwqTugFczPrM-iQSXFNhn_NweTF0Kxh2K0ZFRFD7aL6iuGi50fOYfXF-w1ba2I_WHMKfAYK9HIAqvwHkOM3N2i/w390-h586/LONDON-CAWOOD-1570-02.jpg" width="390" /></a></div><i style="font-size: 12pt; text-align: center;"><div style="text-align: center;"><i style="font-size: 12pt;"><span style="font-family: times;"><span color="inherit" style="border: 0px; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Barclay, Alexander. </span><span color="inherit" style="border: 0px; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">Stultifera navis = The ship of fools</span><span color="inherit" style="border: 0px; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> (2nd edition, 1570)</span></span></i></div></i><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: center; vertical-align: baseline;"><div style="text-align: center;"><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><i>Westcountry Studies Library sx821/BAR.</i></span><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span></div></span><div style="text-align: center;"><br /></div><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: justify;"><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span style="font-weight: inherit;">An interesting early pamphlet held by the </span><a href="https://swheritage.org.uk/devon-archives/visit/local-studies-library/"><b><span style="color: #38761d;">Westcountry Studies Library</span></b></a><span style="font-weight: inherit;"> illustrates two inventions: </span></span><span style="border: 0px; color: #cc0000; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><b>paper</b></span><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> and </span><span style="border: 0px; color: #cc0000; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><b>printing</b></span><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">. It is an early example of Exeter printing, showing its use in reporting current events, and also, being unfolded, shows how printers had to impose pages so that, once folded and stitched they were in the right order. In this example the inner and outer formes would have been imposed on the bed of the press side by side so that, once one side of the sheets of paper had been printed the heap would be turned end to end and the other side printed. Each sheet would then have two copies of the eight page pamphlet correctly backed up. This technique was known as "work and turn". </span></div></span><span face="Calibri, Helvetica, sans-serif"><div style="text-align: justify;"><br /></div></span></div><div><div style="font-family: Calibri, Helvetica, sans-serif; font-size: 12pt; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_vBDLJly2Jh7yZkISuwKFfTHDhvSM9cwC5RrVrFCfv6RCjZawyor8zPzccEdSIzV9jRwDA9aOkJsXawuQjNZGeGwmU-MlZACnfM_duyjidBS2qC85iAfO_388G2muRyqfZeA0/s1200/EXETER-BLISS-1717-A.jpg" style="font-size: 12pt; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="830" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_vBDLJly2Jh7yZkISuwKFfTHDhvSM9cwC5RrVrFCfv6RCjZawyor8zPzccEdSIzV9jRwDA9aOkJsXawuQjNZGeGwmU-MlZACnfM_duyjidBS2qC85iAfO_388G2muRyqfZeA0/w276-h400/EXETER-BLISS-1717-A.jpg" width="276" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF7BwpRbHCN79Vm8EQO6zohxG2i4hw0FwpuDHjnDN6A4I8CemX1tvzgROVnyR8k_Ee9CLfAv-rskUCjn3SaknvocLKWfmA3AA7x_3q4YIvjOdlsCYhr8II-SXfq05cCoixxrxP/s1200/EXETER-BLISS-1717-W.JPG" style="font-size: 12pt; margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="855" data-original-width="1200" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF7BwpRbHCN79Vm8EQO6zohxG2i4hw0FwpuDHjnDN6A4I8CemX1tvzgROVnyR8k_Ee9CLfAv-rskUCjn3SaknvocLKWfmA3AA7x_3q4YIvjOdlsCYhr8II-SXfq05cCoixxrxP/w220-h156/EXETER-BLISS-1717-W.JPG" width="220" /></a></div></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><i style="font-size: 12pt; text-align: center;"><span style="font-family: times;"><span color="inherit" style="border: 0px; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;">Five of the letters which passed between C. Gyllenborg</span><span color="inherit" style="border: 0px; font-size: 12pt; font-stretch: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; text-align: left; vertical-align: baseline;"> ... (Exeter: Joseph Bliss, 1717)</span></span></i><br /></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: center;"><i style="font-family: times; font-size: 12pt; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Westcountry Studies Library: LE 1717.</i></div></blockquote></blockquote><div><div style="text-align: center;"><br /></div><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><div style="text-align: justify;"><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">The images above show the outer forme of the half sheet and an enlarged drawing of the watermark which is normally located </span><span color="inherit" style="border: 0px; font-family: times; font-size: 12pt; font-stretch: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; line-height: inherit; margin: 0px; padding: 0px; vertical-align: baseline;">centrally on one half of the sheet. The other half of the sheet would probably have had a smaller countermark. </span></div></span><span style="color: #201f1e; font-family: times;"><div style="text-align: justify;"><br /></div></span><span style="color: #201f1e; font-family: times; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><span style="color: #201f1e; font-family: times; font-size: 12pt;"><span style="text-align: left;">In the </span></span><span style="font-family: times; font-size: 12pt; text-align: left;"><a href="https://www.devonlibraries.org.uk/web/arena/specialcollections"><b><span style="color: #38761d;">Exeter Library Special Collectons</span></b></a></span><span style="color: #201f1e; font-family: times; font-size: 12pt;"><span style="text-align: left;"> is a key work in the history of printing, a well-illustrated and detailed account of the wooden hand press which produced all letterpress publications in Europe from 1455 until the early 19th century, when mechanisation began.</span><span style="text-align: left;"> </span>Joseph Moxon (1627-1691), printer and "hydrographer to the Kings most Excellent Majesty" published "at the sign of Atlas on Ludgate-Hill" the first English printer's manual as part of </span><i style="font-size: 12pt;">Mechanick exercises. Or, the doctrine of handy-works</i><span style="color: #201f1e; font-family: times; font-size: 12pt;">. Illustrated by plates, it was an early example of a publication in monthly numbered parts. Number 1 appeared on "Jan. 1. 1677" [actually 1678] and it appeared regularly until no. 6 (June 1-July 1, 1678). After that the parts appeared less and less frequently, numbers 7-9 being dated 1679 and numbers 10-14 1680. Despite the apparent lack of success, Moxon appears to have held onto unsold sheets and reissued them in 1683-84 as a single volume and there were various later editions and reissues until 1703.</span><span style="background-color: white; font-family: times; font-size: 12pt; text-align: left;"> </span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"><span style="color: #201f1e; font-family: times;"><span></span></span></p></div></blockquote><div style="font-family: times; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://graphicarts.princeton.edu/wp-content/uploads/sites/158/2014/05/moxon23-500x712.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="712" data-original-width="500" height="518" src="https://graphicarts.princeton.edu/wp-content/uploads/sites/158/2014/05/moxon23-500x712.jpg" width="363" /></a></div><i style="color: #201f1e; font-family: times; text-align: center;"><div style="text-align: center;"><i>Engraved plate showing the hand printing press from Princeton University's copy of Moxon</i></div><div style="text-align: justify;"><i><br /></i></div></i><div style="text-align: left;"><span style="color: #201f1e; font-family: times; text-align: justify;"><span>Exeter Library holds an example of an early facsimile reprint: <i>Moxon's mechanick exercises, or, The doctrine of handy works applied to the art of printing : a literal reprint in two volumes of the first edition published in the year 1683</i>, with preface and notes by Theo L. De Vinne (New-York : The Typothetæ of the City of New-York, 1896). The two volumes are in a limited edition of 450 copies, "All copies on hand-made Holland paper and printed from types ...". There is also a later edition: <i>Mechanick exercises on the whole art of printing (1683-4)</i>, by Joseph Moxon ; edited by Herbert Davis & Harry Carter </span></span><span style="color: #201f1e; font-family: times;">(Oxford University Press, 1958 ; 2nd edition 1962 ; reprint by Dover, 1978). Copies of this are available in Exeter Libraries. </span></div><div style="text-align: left;"><span style="color: #201f1e; font-family: times;"><br /></span></div><span style="color: #201f1e; font-family: times;"><div style="text-align: justify;"><span style="color: #201f1e; font-family: times;">Another publication of Joseph Moxon shows the key role of printing in spreading knowledge. Only three copies of this work were known in British libraries (Bodleian Library, Wellcome Library and Manchester University Library), so it is much rarer than Gutenberg's 42-line Bible. To these can be added a fourth copy, discovered in an attic in Exmouth and transferred to </span><span style="color: #38761d; font-family: times;"><b>Exeter Library Special Collections</b></span><span style="color: #201f1e; font-family: times;">. It is: </span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"></p></div></blockquote><div style="margin-left: 1em; margin-right: 1em; text-align: justify;"><a href="https://collectionapi.metmuseum.org/api/collection/v1/iiif/773162/1848049/main-image" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: times;"><img border="0" data-original-height="800" data-original-width="659" height="678" src="https://collectionapi.metmuseum.org/api/collection/v1/iiif/773162/1848049/main-image" width="559" /></span></a></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p></div></blockquote><span property="schema:name" style="background-color: white; box-sizing: inherit; font-family: times;"><div style="color: #333333; text-align: justify;"><span property="schema:name" style="box-sizing: inherit; color: #333333; font-family: times; font-style: italic;">An exact survey of the microcosmus or little world : being an anatomie, of the bodies of man and woman wherein the skin, veins, nerves, muscles, bones, sinews and ligaments are accurately delineated. And curiously pasted together, so as at first sight you may behold all the outward parts of man and woman. And by turning up the several dissections of the paper take a view of all their inwards. With alphabetical referrences </span><span property="schema:name" style="box-sizing: inherit; color: #333333; font-family: times; font-style: italic;">[sic]</span><span property="schema:name" style="box-sizing: inherit; color: #333333; font-family: times; font-style: italic;"> to every member and part of the body. Usefull for all doctors, chirurgeons, &c. As also for painters, carvers, and all persons that desire to be acquainted with the parts, and their names, in the bodies of man, or woman</span><span style="color: #333333; font-family: times;"><i style="font-style: italic;">; Set forth by Michael Spaher of Tyrol ; And English'd by John Ireton ; And lastly perused and corrected, by several rare anatomists. </i></span></div><div style="color: #333333; text-align: justify;"><span style="color: #333333; font-family: times;"><br /></span></div><div style="color: #333333; text-align: justify;"><span style="color: #333333; font-family: times;">The lengthy title says what is in the box. It is the work of Johann Remmelin</span><span style="color: #333333; font-family: times;"> (1583-1632) and has the imprint: </span><span property="schema:publisher" style="box-sizing: inherit; color: #333333; font-family: times;" typeof="http://schema.org/Organization"><span property="schema:location" style="box-sizing: inherit;" typeof="http://schema.org/Text">London</span>: <span property="schema:name" style="box-sizing: inherit;">Printed by Joseph Moxon, and sold at his shop</span></span><span style="color: #333333; font-family: times;"> </span><span class="full-record--value" property="schema:datePublished" style="box-sizing: inherit; color: #333333; font-family: times; overflow-wrap: break-word; padding-bottom: 0.4rem;">1670. It is a large format folio item with </span><span style="color: #333333; font-family: times;">eight unnumbered pages, four pages of letterpress and four leaves of engraved plates which</span><span style="color: #333333; font-family: times;"> have superimposed moveable flaps. </span><span style="color: #333333; font-family: times;">This edition uses the plates of the Dutch edition of 1667, whereas later English editions have re-engraved plates. The Dutch plates in turn were based on the 1613 Latin edition, instead of the revised 1619 edition which formed the basis of Latin and German editions. Thus it can be seen in the wider European context of an important medical text distributed in several languages with the international exchange of the meticulously engraved plates.</span></div><div style="color: #333333; text-align: justify;"><span style="color: #333333; font-family: times;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times;"><div style="text-align: justify;"><span style="font-family: "Times New Roman";">Medecine is a good example of the way in which printing, often with woodcut and engraved illustrations, helped to spread knowledge and ideas. Libraries in Exeter hold</span><span style="font-family: "Times New Roman";"> rich collections of early medical literature. <a href="https://www.exeter-cathedral.org.uk/news-events/latest-news/the-history-of-exeter-cathedrals-medical-collection/" style="color: black;"><span style="color: #38761d;"><b>Exeter Cathedral Library and Archives</b></span></a> hold several early collections of medical book, notably the library of </span><span style="box-sizing: border-box; font-size: 16px;">Exeter physician Thomas Glass, bequeathed in 1786. </span><span style="box-sizing: border-box; color: #333333; font-size: 16px;">In 2016 </span><a href="https://www.devonlibraries.org.uk/web/arena/specialcollections" style="font-family: "Times New Roman";"><span style="color: #38761d;"><b>Exeter Library Special Collections</b></span></a> hosted an exhibition "Sickness in the Archive" assisted by the Wellcome Trust and the University of Exeter. </div></span></div><div style="color: #333333; text-align: justify;"><span style="color: #333333; font-family: times;"><br /></span></div><div class="separator" style="clear: both; color: #333333; text-align: center;"><a href="https://www.demht.org/wp-content/uploads/2022/07/Plastic-Surgery.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="433" height="248" src="https://www.demht.org/wp-content/uploads/2022/07/Plastic-Surgery.png" width="433" /></a></div><i><div style="text-align: center;"><i>A coloured plate from the exhibition Art and Surgery</i></div></i><div style="color: #333333; text-align: justify;"><br /></div><div style="text-align: justify;"><span style="font-family: times;"><span style="color: #333333;">With the Devon and Exeter Medical Heritage Trust </span><a href="https://www.nicholaspriory.com/" style="color: #333333; text-align: left;"><span style="color: #38761d;"><b>St Nicholas Priory</b></span></a><span style="color: #333333;"> is hosting an interactive exhibition entitled "Art and Surgery"</span><span style="color: #333333;"> </span></span><span style="color: #333333; font-family: times;">during </span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="background-color: transparent; color: #333333;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a><span style="color: #333333; font-family: times;">. Exeter is home to many medical and surgical inventions and innovations. Prehaps the best known is th</span><span style="color: #555555; text-align: left;">e Exeter Hip, created by orthopaedic surgeon Professor Robin Ling and University of Exeter engineer Dr Clive Lee, which was first implanted in 1970.</span></div></span><b style="text-align: justify;"><h1 style="text-align: justify;"><b><span style="color: #cc0000;">6. Engraving.</span></b></h1></b><span style="text-align: justify;"><div style="text-align: justify;">Intaglio printing, where the ink which produces the image is taken from the recessed areas of the copperplate was developed about the same time as letterpress . The plate is warmed, inked and then wiped clean, leaving ink in the recessed areas. It is then passed through the press with damped paper placed on the plate. A board below and felts above help to spread the considerable pressure. The press, known as a rolling press, operates on the principle of a mangle, concentrating the pressure in a single strip. This different type of press means that the illustrations cannot be printed at the same time as letterpress text, although much finer detail is possible than with woodcut illustrations. The considerable pressure also results in a plate-line which is often visible outside the area of the print, unless it has been cut off or the print has been produced by an off-set process.</div></span><div style="text-align: justify;"><span style="font-weight: 700;"><br /></span></div><div style="font-family: times; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIpoD_-_pAKp4BYvwwO71oLKQI6NExoyH5NrYkF6mvA5lntoOMyN_d_ibuhsKdCkCd3EN9usS-OwkHKpopIaBgSb9Nonra4Of32s2OK7DdOTO8iZ-OcUhIINL1nXwvGz4vjSo/s460/rolling-press.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="460" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoIpoD_-_pAKp4BYvwwO71oLKQI6NExoyH5NrYkF6mvA5lntoOMyN_d_ibuhsKdCkCd3EN9usS-OwkHKpopIaBgSb9Nonra4Of32s2OK7DdOTO8iZ-OcUhIINL1nXwvGz4vjSo/w480-h314/rolling-press.jpg" width="480" /></a></div><i style="font-family: times; text-align: center;"><div style="text-align: center;"><i>A rolling press in action, an engraving from the French Encyclop<span face="sans-serif" style="background-color: white; color: #202122; font-size: 14px;">é</span>die (1751-1772)</i></div></i><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p></div></blockquote><span style="font-family: times;"><div style="text-align: justify;">Copper line engraving is the earliest intaglio process, the first dated print appearing in 1446.</div></span><span style="font-family: times;"><div style="text-align: justify;"><br /></div></span><span style="font-family: times; font-size: 16px; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">This work by the Exeter physician and antiquary William Musgrave (1655–1721) is</span><span style="font-family: times;"> </span><span style="font-family: times;">an example of scholarly </span><b><span style="color: #990000; font-family: times;">printing</span></b><span style="font-family: times;"> in Latin, unusual for Exeter. It is also an example of the use of </span><span><span style="font-family: times;"><b><span style="color: #990000;">engraving</span></b>,</span></span><b style="font-family: Calibri, Helvetica, sans-serif;"> </b><span style="font-family: times;">as Musgrave's copperplate illustrations are engraved by Joseph Coles, the first Exeter engraver.</span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: left;"><span style="font-family: times;"></span></p></div></blockquote><div style="font-family: times; margin-left: 1em; margin-right: 1em; text-align: justify;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhora0iFfdoZwwpmqWDfEIrv5niHWf-w_UhZQoXaSb55B0Li_4gILBto0edW4VGg4beR7ATmVBRCqpQCbvX_qIzBK5JNeLaUv6UrW2jZBO5lG5mp3M2lgkDY8ot3YDIEqnReNRD/s1600/EXETER-FARLEY-1711.JPG." style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="943" height="475" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhora0iFfdoZwwpmqWDfEIrv5niHWf-w_UhZQoXaSb55B0Li_4gILBto0edW4VGg4beR7ATmVBRCqpQCbvX_qIzBK5JNeLaUv6UrW2jZBO5lG5mp3M2lgkDY8ot3YDIEqnReNRD/w280-h475/EXETER-FARLEY-1711.JPG." width="280" /></a><a href="https://ia903009.us.archive.org/BookReader/BookReaderImages.php?zip=/5/items/b30538014_0004/b30538014_0004_jp2.zip&file=b30538014_0004_jp2/b30538014_0004_0035.jp2&id=b30538014_0004&scale=4&rotate=0" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="453" height="474" src="https://ia903009.us.archive.org/BookReader/BookReaderImages.php?zip=/5/items/b30538014_0004/b30538014_0004_jp2.zip&file=b30538014_0004_jp2/b30538014_0004_0035.jp2&id=b30538014_0004&scale=4&rotate=0" width="268" /></a></div><div style="text-align: justify;"><span style="font-family: times;"><br /></span></div><i style="font-family: times; text-align: center;"><div style="text-align: justify;"><i><span face="Calibri, Helvetica, sans-serif" style="font-size: 16px; text-align: left;">William Musgrave, </span><span style="font-size: 16px; text-align: left;">Iulii Vitalis epitaphium cum notis criticis explicatione; ... Quibus accedit Illius, ad Cl. Goetzium, de Puteolana & Baiana inscriptionibus epistola.</span><span face="Calibri, Helvetica, sans-serif" style="font-size: 16px; text-align: left;"> Iscae Dumnoniorum : Typis Farleyanis : sumtibis Philippi Yeo, bibliopolae. Veneunt etiam Londinii, & in utraque Academia. MDCCXI. [1711]. </span></i></div></i><span style="font-family: times; font-size: 16px;"><div style="text-align: justify;">(Westcountry Studies Library: sWES/0043/MUS). </div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p></p></div></blockquote><span style="font-family: times; text-align: justify;"><div style="text-align: justify;">While line engraving was the earliest technique employed, as in the illustrations to Musgrave's book , there are a number of process which attempt to reproduce tones as opposed to line effects.</div></span><ul style="text-align: left;"><li style="text-align: left;"><b style="font-family: times; text-align: justify;">Stipple. </b><span style="font-family: times; text-align: justify;">The plate is pierced with roulettes and multi-pointed tools to produce a close mass of dots. It was used from the mid 18th century</span></li><li style="text-align: left;"><b style="font-family: times; text-align: justify;">Mezzotint.</b><span style="font-family: times; text-align: justify;"> This is a tone process invented in the 1640s by Ludwig von Siegen. Here the whole plate is roughened with a rocker which throws up burr in all directions. The burr is scraped down in areas that are intended not to print black</span></li><li style="text-align: left;"><b style="font-family: times; text-align: justify;">Etching.</b><span style="font-family: times; text-align: justify;"> Here the lines are incised into the plate by the effect of acid, not by the pressure of the burin. The metal plate is protected by a transparent waxy ground which is rolled or dabbed on and the back and sides protected by varnish. The face is smoked to blacken it and the design is drawn on with a needle to break through the ground. The plate is then placed in an acid bath. </span></li><li style="text-align: left;"><b style="font-family: times; text-align: justify;">Aquatint.</b><span style="font-family: times; text-align: justify;"> This produces a much lighter tone effect than mezzotint, and is therefore better for giving the effect of a wash or watercolour. The plate is coated with a porous granular etching ground by covering it with resin. The acid bites round the grains leaving a fine network of lines around white dots. A graduation of tone can be achieved by stopping out areas which are to print lighter with an acid resisting varnish. A light outline can be etched in first and additional lines can be added later. The technique was invented in the 1760s by Jean Baptist le Prince (1734-81) and was introduced into England in 1774 by Paul Sandby. </span></li></ul><div style="text-align: justify;">The <a href="https://www.doubleelephant.org.uk/aboutus"><span style="color: #38761d;"><b>Double Elephant Print Workshop</b></span></a> teaches printmaking using a variety of techniques and has examples of the equipment used for woodcut, intaglio and lithographic printing. <span style="background-color: white; font-family: times; font-size: 14px;">During </span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="font-family: times; font-size: 14px;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a><span style="background-color: white; font-family: times; font-size: 14px;"> it is holding a Printmaking Heritage Day. </span></div><span style="font-family: times;"><div style="text-align: justify;"><span style="font-size: 14px;"><br /></span></div></span><b style="text-align: justify;"><h1 style="text-align: justify;"><b><span style="color: #990000;">7. Lithography. </span></b></h1></b><span style="font-family: times; text-align: justify;"><div style="text-align: justify;">The process is based on the antipathy of grease and water. A flat block of limestone is used and the artist draws the design onto the polished surface either direct or by transfer, using a specially prepared greasy chalk pencil, or by laying on greasy ink with a brush. Water with nitric acid and gum arabic is rolled over the stone to fix the design by filling up the pores of stone and stopping the greasy areas from spreading. The surface is cleaned with a wet sponge and the crayon removed by washing with turpentine. Thus, when inked with a roller, only the greasy areas will accept the ink and the damp areas will repel it. The stones are printed in a special press where a squegee type pressure is applied from a travelling scraper. The process was invented in Germany 1798 by Alois Senefelder. </div></span><span style="background-color: white; font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"><div style="text-align: justify;"><span style="font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;">Lithography was used </span><span style="font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">especially for music, maps, and illustrations and it was also instrumental in spreading printing to the Islamic world, which had frowned on sacred works such as the Quran being set in movable type.</span></div><div style="text-align: justify;"><span style="font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><br /></span></div></span><span style="background-color: white; font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Some early examples of Devon lithographic illustrations:</span></div><div style="text-align: justify;"><span style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><br /></span></div></span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><span style="background-color: white; font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><a href="http://library-cat.swheritage.org.uk/assets/object_images/6/98/2A/DR/OF/EG/AM/IMAGEFORDA2896/v0_web.jpg" style="background-color: transparent; font-size: 14px; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="300" data-original-width="413" height="326" src="http://library-cat.swheritage.org.uk/assets/object_images/6/98/2A/DR/OF/EG/AM/IMAGEFORDA2896/v0_web.jpg" width="449" /></a></div></span></div></blockquote><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div><span style="background-color: white; font-family: times; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><i style="background-color: transparent; font-size: 14px; text-align: center;">Rudolf Ackermann. The lime kiln and Chit Rock, Sidmouth (1819). Westcountry Studies Library.</i></div></span></div></blockquote></blockquote><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><br /></span></div><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Ackermann, Rudolf and Co. </span><i style="font-size: 12pt; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Sketches from nature of Sidmouth and its environs</i><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> / after E. I. J. Sidmouth : James Wallis, 1819-1820. Somers Cocks S.55. Issued in two parts, 100 sets only. The earliest </span><b style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;">lithographs</b><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> of</span><span color="inherit" style="background-color: white; border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"><span color="inherit" style="border: 0px; font: inherit; margin: 0px; padding: 0px; vertical-align: baseline;"> </span>Devon scenes</span><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> but published in London. (Westcountry Studies Library: Portfolio 21 Lacks no. 10, no. 12 from different set).</span></div><div><div style="margin-left: 1em; margin-right: 1em; text-align: center;"><a href="http://library-cat.swheritage.org.uk/assets/object_images/2/82/5A/DR/OF/EG/AM/IMAGEFORDA5282/v0_web.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="407" data-original-width="600" height="376" src="http://library-cat.swheritage.org.uk/assets/object_images/2/82/5A/DR/OF/EG/AM/IMAGEFORDA5282/v0_web.jpg" width="554" /></a></div><i style="text-align: center;"><div style="text-align: center;"><i>Thomas Hewitt Williams. Chagford, from Holy Street (1827). Westcountry Studies Library. </i></div></i><div style="text-align: justify;"><span style="font-size: 14px;"><br /></span></div><span style="font-size: 12pt; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">From: </span><i style="font-size: 12pt; font-style: italic; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Devonshire scenery or directions for visiting the most picturesque spots ... </i><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Exeter : Pollard, 1827. (WSL: sDEV/1827/DEV). This, the second edition of </span><i style="font-size: 12pt; font-style: italic; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Devonshire scenery</i><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> has the statement: In consequence of the new lithographic establishment of Mr. Bayley, in Exeter, six drawings have been added. He appears to have been the first </span><b style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"><span style="color: #990000;">lithographer</span></b><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"> to be active in Exeter.</span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"><span style="font-family: times;"><span face="Calibri, Helvetica, sans-serif" style="background-color: white; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit; text-align: left;"></span></span></p></div></blockquote><div style="text-align: justify;"><br /></div><span style="color: #575656;"><div style="text-align: justify;"><br /></div></span><div style="font-size: 14px; margin-left: 1em; margin-right: 1em; text-align: justify;"><a href="https://devonandexeterinstitution.org/wp-content/uploads/2020/04/IMG_1648-scaled-e1586085517273-768x603.jpg" style="font-size: 14px; margin-left: 1em; margin-right: 1em; text-align: center;"></a><a href="https://devonandexeterinstitution.org/wp-content/uploads/2020/04/IMG_1648-scaled-e1586085517273-768x603.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="603" data-original-width="768" height="440" src="https://devonandexeterinstitution.org/wp-content/uploads/2020/04/IMG_1648-scaled-e1586085517273-768x603.jpg" width="560" /></a><i style="background-color: white; font-family: times; font-size: 16px; text-align: center;">Philip Henry Gosse <span style="box-sizing: border-box; color: #191919; font-size: 18px;">The aquarium : an unveiling of the wonders of the deep sea.</span> </i></div></div><div><span face="sans-serif" style="background-color: white; color: #575656; font-size: 16px; text-align: center;"><div style="text-align: justify;"><span face="sans-serif" style="color: #575656;"><span style="color: black; font-family: times;"><i>London: John van Voorst, 1854. </i></span></span><span style="color: #575656; font-family: times;"><i>Devon and Exeter Institution.</i></span></div></span><div style="text-align: justify;"><span style="color: #575656; font-family: times;"><br /></span></div><span face="sans-serif" style="background-color: white; font-size: 16px; text-align: justify;"><div style="text-align: justify;"><span face="sans-serif"><span style="color: #575656; font-family: times;">The</span><span style="color: #38761d; font-family: times;"> </span></span><b style="background-color: transparent; font-family: times; text-align: left;"><a href="https://devonandexeterinstitution.org/philip-henry-gosses-aquarium-1854/"><span style="color: #38761d;">Devon and Exeter Institution</span></a></b><span style="background-color: transparent; color: #38761d; font-size: 14px;"> </span><span style="background-color: transparent; font-size: 14px;">has a rich collection of early printed books, many of them illustrated with plates using a variety of printing techniques. </span><span style="font-family: times; font-size: 14px; text-align: left;">During </span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="background-color: transparent; font-family: times; font-size: 14px; text-align: left;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a><span style="font-family: times; font-size: 14px; text-align: left;"> it is offering guided tours and other activities including a display on the Great Exhibition of 1851 which included many inventions in the field of printing. </span></div></span><div style="text-align: justify;"><span style="font-weight: 700;"><br /></span></div><b style="text-align: justify;"><h1 style="text-align: justify;"><b><span style="color: #cc0000;">8. Photography. </span></b></h1></b><span style="font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">In 1822 the first photograph was taken by Joseph Nicéphore Niépce, his oldest surviving photograph dating from 1826. </span><span style="font-family: times;">He used a camera obscura to capture images that were exposed onto bitumen-coated pewter plates. Exposures often took hours due to the limited light-sensitivity of available materials. </span><span style="font-family: times;">In 1829, Louis Daguerre, partnered with Niépce to improve the photography process. After Niepce’s death, Daguerre's experiments evolved into what is now known as the daguerreotype, shown publicly for the first time in 1839, the same year that </span><span style="font-family: times;">the paper-based calotype negative and salt print processes invented by William Henry Fox Talbot was demonstrated. </span><span style="font-family: times;">In 1851, the English sculptor Frederick Scott Archer invented the collodion process. With the advent of the collodion process in 1851, wet-plate photography took over as exposure times were drastically reduced, and darkrooms for development became relatively portable. </span></div><div style="text-align: justify;"><span style="background-color: white; font-family: times;"><br /></span></div><div style="text-align: justify;"><span style="background-color: white; font-family: times;">The first photographic studio in Exeter was operated by William Gill from 1842 to 1857 in a rooftop studio above what is now the Locomotive Inn in New North Road. He </span><span style="background-color: white; font-family: "Open Sans"; font-size: 17px; text-align: left;">obtained a licence from Richard Beard, who in 1841 had bought the rights to be sole patentee of the daguerreotype process in England. Many early photographers had previously been engravers or lithographers. This was the case in Exeter with.Owen Angel (1821-1909) who set up as an engraver in about 1842, adding lithography to his skills by 1846 and photography by 1855. The largest collection of Exeter photographs in private hands is the </span><span style="background-color: white;">Isca Historical Photographic Collection, at risk since the death of its founder Peter Thomas in 2020 but there are also large collections in the <b><span style="color: #274e13;">Devon and Exeter Institution</span></b> and the <span style="color: #274e13;"><b>Devon Heritage Centre</b></span>, which recently received the photographic archive of the <i>Express and Echo</i> newspaper. </span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"><span style="font-family: times;"><b style="background-color: white; text-align: left;"></b></span></p></div></blockquote><div style="font-size: 14px; margin-left: 1em; margin-right: 1em; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUBd5vp3xjLNiMWjnFHT3eFxRTT2-XU9TGofAv3BPiRg8XShTN4eGYXj3aOeO-RhFTumipzTzuRNhCmF_kX9kSkYie9HCRNBIi8o5eY7ySsXfP07K64VZvjlxggTLs6o9aMiTC/s1600/Bedford-Exeter-02.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1242" data-original-width="1600" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUBd5vp3xjLNiMWjnFHT3eFxRTT2-XU9TGofAv3BPiRg8XShTN4eGYXj3aOeO-RhFTumipzTzuRNhCmF_kX9kSkYie9HCRNBIi8o5eY7ySsXfP07K64VZvjlxggTLs6o9aMiTC/s320/Bedford-Exeter-02.JPG" width="320" /></a></div><i style="background-color: white; font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px; text-align: center;"><div style="text-align: center;"><i style="font-size: 15.4px;">Francis Bedford. Exeter, Guildhall and High Street (1863?). Westcountry Studies Library.</i><span style="font-family: "Times New Roman", Times, FreeSerif, serif; font-size: 15.4px;"> </span></div></i><div style="text-align: justify;"><br /></div><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><div style="text-align: justify;"><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;"><span style="background-color: white; font-family: times; font-size: medium; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Photographs begin to appear in local books in about 1860, one of the earliest photographers represented being Francis </span>Bedford (1816-1894) whose </span><i style="font-size: 12pt; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">Photographic views of Exeter </i><span style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; font-weight: inherit;">was published in Chester : by Catherall & Prichard in about 1863 (DRO: G2/11/15/2 also copy in WSL: sB/EXE/1860/BED). </span></div></span><b style="background-color: white;"><h1 style="text-align: justify;"><b><span style="color: #990000;">9. The moving image.</span></b></h1></b><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times; font-weight: bold;"><span style="font-weight: 400;">There were experiments with capturing the moving image long before the Liumiere brothers appeared in the scene in 1895. The principles of the camera obscura were known to the ancient Greeks and also in China and by Arab scholars in medieval times.It was described by Leonardo da Vinci but the name was only coined by Johannes Kepler in 1604. </span></span><span><span style="font-family: times;"><span style="color: #202122;">In 1645 the first edition of German Jesuit scholar Athanasius Kircher</span><span style="color: #202122;">'s book </span><span style="text-align: center;"><i>Ars Magna Lucis et Umbrae </i>i</span><span style="color: #202122;">ncluded a description of his invention, the "Steganographic Mirror", a primitive projection system with a focusing lens and text or pictures painted on a concave mirror reflecting sunlight.</span></span><span face="sans-serif" style="color: #202122;"> </span></span><span style="font-family: times;">The magic lantern was introduced in the 1650s, its development linked to the eminent Dutch scientist Christiaan Huygens. Lantern slides were projected onto a screen and by the early 18th century extra movable layers were added to give the effect of moving pictures.</span><span style="font-family: times;"> Athanasius Kircher added a description of the magic lantern to a later edition of his book.</span></div><div style="text-align: justify;"><br /></div></span></div><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px;"><div><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><a href="https://upload.wikimedia.org/wikipedia/commons/7/7d/Illustration_of_a_magic_lantern_from_%E2%80%9CArs_Magna_Lucis_et_Umbrae%E2%80%9D.jpg" style="font-family: sans-serif; font-size: 14px; font-style: italic; margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="640" data-original-width="800" height="390" src="https://upload.wikimedia.org/wikipedia/commons/7/7d/Illustration_of_a_magic_lantern_from_%E2%80%9CArs_Magna_Lucis_et_Umbrae%E2%80%9D.jpg" width="487" /></a></div></span></div></blockquote><div><span style="background-color: white; font-size: 14px; font-style: italic;"><div style="text-align: center;"><span><span style="font-family: times;">Athanasius Kircher. Ars magna lucis et umbrae, in decem libros digesta. Editio altera priori multò auctior. Amstelodami : Apud J. Janssonium à Waesberge, & haeredes E. Weyerstraet, 1671. Bill Douglas Cinema Museum. </span></span><i style="text-align: center;"><span style="font-family: times;"> </span></i></div></span><span face="sans-serif" style="color: #0645ad;"><div style="text-align: justify;"><span style="font-size: 14px;"><br /></span></div></span><div style="text-align: justify;"><br /></div><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;"><span style="font-family: times;">The effect of a moving image was achieved by viewing a series of images on a rotating wheel or a looped strip in the phenakistiscope, independently invented late in 1832 by Joseph Plateau and Simon Stampfer. An improved version, the zoetrope, </span><span style="font-family: times;">where</span><span style="font-family: times;"> the images were viewed through slits on the surface of a cylinder, was invented by William Ensign Lincoln in 1865 and with various improvements remained a popular Victoria optical toy. Chronophotogaphy, developed by Eadweard Muybridge in 1878 served a more serious purpose, the study of animal movement. Viewed through his zoopraxiscope, his series of photographs gave the impression of movement and his study of the </span><a href="https://upload.wikimedia.org/wikipedia/commons/thumb/d/dd/Muybridge_race_horse_animated.gif/220px-Muybridge_race_horse_animated.gif."><span style="color: #0b5394;">Horse and rider</span></a><span style="font-family: times;"> has been described as the first true moving picture. </span></div><div style="text-align: justify;"><span style="font-family: times;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times;"><br /></span></div><div style="text-align: justify;"><span style="font-family: times;">In 1891 Thomas Edison and William Dickson invented the </span><span style="color: #202124; font-family: times; font-size: 16px; text-align: left;">Kinetoscope, in which</span><span style="color: #202124; font-family: times; font-size: 16px; text-align: left;"> a strip of film was passed rapidly between a lens and an electric light bulb while the viewer peered through a peephole. This enjoyed some popularity but did not allow for public performances. It was the </span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;">Lumière brothers</span><b style="color: #202122; font-size: 14px; text-align: left;">,</b><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> </span><span style="font-family: times;">Auguste Marie Louis Nicolas</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> and</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> </span><span style="font-family: times;">Louis Jean,who achieved this on</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> 22 March 1895 when a "cinematograph" film was projected for around 200 members of the </span><span style="color: #202124; font-family: times; font-size: 16px; text-align: left;">Société d'encouragement pour l'industrie nationale</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> in Paris. At around the same time the </span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;">Eidoloscope</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> was </span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;">created by </span><span style="font-family: times;">Eugene Augustin Lauste and</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> </span><span style="font-family: times;">Woodville Latham </span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;">through the Lambda Company, in </span><span style="font-family: times;">New York and</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;"> demonstrated for members of the press on April 21, 1895, and opened to the paying public on Broadway on May 20, but the company soon folded and the invention did not enjoy the financial success of the </span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;">Lumière brothers</span><span style="color: #202122; font-family: times; font-size: 14px; text-align: left;">.</span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><div><span style="background-color: white;"><div id="cinema"><span><i></i></span></div></span></div></div></blockquote><span style="font-family: times;"><div style="text-align: justify;"><br /></div></span><span style="background-color: white; font-family: times;"><div style="text-align: justify;"><span style="font-family: times;"><span>All these early experiments are covered by the </span><a href="https://www.bdcmuseum.org.uk/" style="font-weight: bold;"><span style="color: #38761d;">Bill Douglas Cinema Museum</span></a><b> </b>which<span> </span></span><span style="font-family: times; font-size: 14px;">during<b> </b></span><a href="https://www.heritageopendays.org.uk/visiting/printable-area-lists/laa/Exeter" style="background-color: transparent; font-size: 14px; font-weight: bold;"><b><span style="color: #0b5394;">Heritage Open Days 2022</span></b></a><span style="font-family: times; font-size: 14px; font-weight: bold;"> </span><span style="font-family: times; font-size: 14px;">is offering a guided tour.</span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><p style="text-align: justify;"><span style="font-family: times;"><b style="background-color: white; text-align: left;"></b></span></p></div></blockquote><b style="background-color: white;"><h1 style="text-align: justify;"><b><span style="color: #990000;">10. Digitisation.</span></b></h1></b><span style="background-color: white; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt;">The digital revolution has taken as long as the printing revolution to become fully established. Both revolutions lasted some three score years and ten, but almost exactly half a millennium apart. The progress of digitisation has been complex and highly technical. What follows is an extremely simplified account. </span></div><div style="text-align: justify;"><span style="font-size: 12pt;"><br /></span></div></span><span lang="EN-US" style="background-color: white; font-family: "Times New Roman"; font-size: 12pt; mso-ansi-language: EN-US; text-align: justify;"><div style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12pt; mso-ansi-language: EN-US;">Electronic data processing began in the 1940s with early experiments conducted at </span><span style="font-family: "Times New Roman"; font-size: 12pt;">Bletchley Park by Alan Turing and the construction of Colossus, perhaps the first electronic computer. </span><span style="font-family: "Times New Roman"; font-size: 12pt;">After the War during the 1950s massive</span><span style="font-family: "Times New Roman"; font-size: 12pt;"> mainframe computers were developed by enterprises such as IBM, but were largely limited to the manipulation of mathematical data for financial and scientific purposes. </span></div><div style="text-align: justify;"><span style="font-family: "Times New Roman"; font-size: 12pt;"><br /></span></div></span><span style="background-color: white; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt;">In 1949 IBM agreed to work with Father Roberto Busa, a Jesuit scholar on a project to linguistically analyse the works of Thomas Aquinas in the </span><i style="font-size: 12pt;">Index Thomisticus.</i><span style="font-size: 12pt;"> Using punched tapes, it was the first use of computers to edit and analyse textual data and thus the first digital book. </span></div><div style="text-align: justify;"><span style="font-size: 12pt;"><br /></span></div></span><span style="background-color: white; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt;">An important use of textual digitisation was to produce bibliographies and catalogues. One of the earliest of these was produced by the National Library of Medicine in America, and its evolution reflects the general development of digital databases:</span></div></span><span style="background-color: white; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><ul><li><span style="font-size: 12pt;">1964
MEDLARS, a large mainframe database produced a digital version of its printed </span><i style="font-size: 12pt;">Index Medicus</i><span style="font-size: 12pt;">.</span></li><li><span style="font-size: 12pt;">1971
MEDLINE was inaugurated as a dial-up database.</span></li><li><span style="font-size: 12pt;">1989 MEDLINE was distributed on CD-ROMs.</span></li><li><span style="font-size: 12pt;">1997 </span><a href="https://pubmed.ncbi.nlm.nih.gov/advanced/" style="font-size: 12pt;"><span style="color: #0b5394;">PUBMED</span></a><span style="font-size: 12pt;"> was inaugurated as a freely accessible medical database on the internet. </span></li></ul></div></span><span style="background-color: white; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt;"><br /></span></div><div style="text-align: justify;"><span style="font-size: 12pt;">Libraries were anxious to benefit from computer technology and their work began in the 1960s, the era of punched cards and paper tape. In Exeter the University Library took the initiative in forming the South Western Academic Libraries Cooperative Automation Project (SWALCAP) in 1969. It developed a stock circulation system in 1976 and a cataloging system in 1978, but at first the public could only access the digital catalogue through microfiche printouts. On-line public access catalogues (OPACs) within the university were only possible in the 1980s, and an internet catalogue had to wait until the 1990s. There was similar progress in Devon's public libraries. Microfiche printouts were used together with the card catalogue from the 1970s to the 1990s when an OPAC became available. Today all major libraries, archives and museums in Exeter have their catalogues available on the internet:</span></div></span><blockquote style="border: none; margin: 0px 0px 0px 40px; padding: 0px; text-align: left;"><div style="text-align: left;"><div><span style="background-color: white; font-family: times;">
<p class="MsoPlainText" style="text-align: justify;"></p><div style="font-family: "Times New Roman"; font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; text-align: justify;"><a href="https://www.bdcmuseum.org.uk/explore/" style="font-size: 12pt; font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"><span style="color: #38761d;"><b>Bill Douglas Cinema Museum</b></span></a><span style="font-family: times; font-weight: inherit;"> in the Old University Library</span></div><div style="font-family: "Times New Roman"; text-align: justify;"><a href="https://devon-cat.swheritage.org.uk/"><span style="color: #38761d;"><b>Devon Archives</b></span></a><span style="font-family: "Times New Roman";"> in the Devon Heritage Centre, Sowton</span></div><div style="text-align: justify;"><a href="https://www.devonlibraries.org.uk/web/arena/advanced-search"><span style="color: #38761d;"><b>Devon Libraries</b></span></a> includes Exeter Library</div><div style="text-align: justify;"><a href="https://library.metoffice.gov.uk/Portal/Default/en-GB/Search/SimpleSearch"><span style="color: #38761d;"><b>Meteorological Office</b></span></a></div><div style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit; text-align: justify;"><a href="https://rammcollections.org.uk/" style="font-style: inherit; font-variant-caps: inherit; font-variant-ligatures: inherit;"><span style="color: #38761d;"><b>Royal Albert Memorial Museum</b></span></a></div><div style="text-align: justify;"><a href="https://e90015uk.eos-intl.eu/E90015UK/OPAC/Index.aspx"><span style="color: #38761d;"><b>Exeter Cathedral Library and Archives</b></span></a></div><div style="font-size: 16px; text-align: justify;"><b><span style="color: #38761d;"><a href="https://lib.exeter.ac.uk/search~S6"><span style="color: #38761d;">University of Exeter</span></a> </span></b>includes Devon and Exeter Institution</div><div style="text-align: justify;"><a href="http://library-cat.swheritage.org.uk/advanced-search"></a><a href="http://library-cat.swheritage.org.uk/advanced-search"><span style="color: #38761d;"><b>Westcountry Studies Library</b></span></a> in the Devon Heritage Centre, Sowton</div><p></p></span></div></div></blockquote><span style="background-color: white; font-size: 12pt; text-align: justify;"><div style="text-align: justify;"><span style="font-size: 12pt;">These online catalogues vary greatly in the type of searches they offer, the information they display and the completeness of their coverage. Some attempt to remedy this for documents linked to Devon has been made by the </span><a href="https://devon-bibliography.blogspot.com/" style="font-size: 12pt;"><i><span style="color: #0b5394;">Devon bibliography</span></i></a><span style="font-size: 12pt;"><span style="color: #0b5394;">,</span> but this currently has limited search capability for its 100,000 records. </span></div><div style="text-align: justify;"><span style="font-size: 12pt;"><br /></span></div></span><span lang="EN-US" style="background-color: white; font-family: "Times New Roman"; font-size: 12pt; mso-ansi-language: EN-US; text-align: justify;"><div style="text-align: justify;"><span lang="EN-US" style="font-family: "Times New Roman"; font-size: 12pt; mso-ansi-language: EN-US;">Parallel with the digitisation of bibliographies and catalogues, the capture of whole texts and images was initiated. One of the earliest was <a href="https://www.gutenberg.org/"><span style="color: #0b5394;">Project Gutenberg</span></a> established in 1971, with the first books being keyboarded so that they could be available in plain text format</span><span style="font-family: "Times New Roman";">. Optical character recognition later assisted this project and later initiatives such as the </span><a href="https://archive.org/"><span style="color: #0b5394;">Internet Archive</span></a><span style="font-family: "Times New Roman";"> and </span><a href="https://books.google.co.uk/" style="font-size: 12pt;"><span style="color: #0b5394;">Google Books</span></a><span style="font-family: "Times New Roman"; font-size: 12pt;"><span style="color: #0b5394;"> </span>which together have digitised tens of millions of titles in a variety of formats, including images of the original pages. </span></div><div style="text-align: justify;"><span style="font-family: "Times New Roman"; font-size: 12pt;"><br /></span></div></span><span style="background-color: white; font-family: times; text-align: justify;"><div style="text-align: justify;">There have been a number of digitisation initiatives in Devon. Some examples: </div><div style="text-align: justify;"><ul><li><a href="https://theexeterbook.exeter.ac.uk/"><span style="color: #0b5394;">The Exeter Book</span></a><span style="font-family: times;"> </span><span style="font-family: times; text-align: center;">Exeter Cathedral Library and Archives & University of Exeter Digital Humanities Lab</span></li><li><span lang="EN-US" style="color: #0b5394; font-family: times; mso-ansi-language: EN-US;"><a href="https://www.exondomesday.ac.uk/"><span style="color: #0b5394;">Exon: the Domesday survey of SW England</span></a> </span><span style="font-family: times;">The project has been funded by the AHRC (2014–17) and is a collaboration between scholars from King's College London, the University of Oxford, and the Friends and Dean and Chapter of Exeter Cathedral.</span></li><li><a href="https://etched-on-devons-memory.blogspot.com/"><span style="color: #0b5394;">Etched on Devon's memory</span></a><span style="font-family: times;"> Westcountry Studies Library funded by </span><span style="font-family: times;">Heritage Lottery Fund, ran from 2002-2003 and digitised over 3,500 topographical prints of Devon, dating from 1660-1870. The functionality of the website is lost. The <a href="https://web.archive.org/web/20050305055344/http://www.devon.gov.uk/library/locstudy/etched.html"><span style="color: #0b5394;">archived website</span></a> has lost its search facility as the database format and image file names have changed. A warning about long-term preservation of digital media. </span></li><li><span lang="EN-US" style="background-color: transparent; mso-ansi-language: EN-US;"><a href="https://devonandexeterinstitution.org/independent-heritage-library-educational-charity-about-us/library/our-region-revealed-the-illustration-collection/"><span style="color: #0b5394;">Our region revealed: the prints and drawings collection</span></a> Devon and Exeter Institution </span><span style="background-color: transparent; font-size: 16px; text-align: left;">funded</span><span style="background-color: transparent; font-size: 16px; text-align: left;"> by the </span><span style="background-color: transparent; text-align: left;">National Lottery Heritage Fund, The Pilgrim Trust and from Friends of Devon's Archives. Aims to digitise 9,000 images of all kinds. </span></li><li><span style="background-color: transparent; color: #0b5394; text-align: left;"><a href="http://www.foda.org.uk/main/Documents/NordenJuly2020.docx"><span style="color: #0b5394;">John Norden's survey of Devon manors</span></a> </span><span style="background-color: transparent; text-align: left;">a transcript and index of the original document of about 1613 held by the London Metropolitan Archives, currently being undertaken by volunteers with the support of Friends of Devon's Archives. </span></li></ul><span lang="EN-US" style="font-family: times; font-size: 12pt; mso-ansi-language: EN-US;">The exchange of information has been assisted by the development of computer networks, which originated in the scientific and academic worlds. In America the </span><span style="color: #202124; font-family: times; font-size: 12pt; text-align: left;">Advanced Research Projects Agency Network (ARPANET)</span><span style="color: #202124; font-family: times; font-size: 12pt; text-align: left;"> was established in 1969 and was a prime mover of Project Gutenberg. In the UK the Joint Academic Network (JANET) was established in 1984, and in </span><span style="font-family: times; font-size: 12pt;">1990 a much wider network was inaugurated when </span><span style="font-family: times; font-size: 12pt;">Tim Berners-Lee set up the </span><span style="font-family: times; font-size: 12pt;"><a href="http://info.cern.ch/hypertext/WWW/TheProject.html"><span style="color: #0b5394;">World Wide Web</span></a>. The new millennium has brought a host of social media: LinkedIn in 2002, Facebook in 2004, Twitter in 2006, Instagram in 2010 - the list goes ever onward. </span><span style="background-color: transparent; text-align: left;"> </span></div><div style="text-align: justify;"><span style="background-color: transparent; text-align: left;"><br /></span></div><div style="text-align: justify;"><span style="background-color: transparent; text-align: left;">This page last updated 24 August 2022</span></div></span></div>Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-25386658255074859512022-04-03T11:53:00.003+01:002023-08-06T16:44:45.601+01:00Ukraine. <b> UKRAINE </b><div><div style="text-align: justify;">Ukraine has a complex history, and the following account is certainly an over-simplification. In about 882 Kyiv became the capital of Kyivska Rus', the Slavic state set up by Viking invaders at a time when Moscow was an insignificant settlement on the Moskva river. In the 1130s Kyivska Rus' split into separate princedoms including Kjiv itself and Volodymyr and Galych, which in 1199 merged into what became known as Rus' or, in its Latinised form, Ruthenia. The Mongol invasions of the 1230s put the east and south of Ukraine into the hands of the Golden Horde. Between 1349 and 1362, the remaining western Ukrainian princedoms became part of Lithuania, and in 1569 most of Ruthenia was transferred to Poland. In the east the Golden Horde was replaced by the Crimea Khanate around 1449 and from 1648 to 1764 the Cossack Hetmanate formed an independent barrier state in the area of Ukraine, shielding against the Tatars in the east. The successive partitions of Poland lost parts of Ruthenia to Austria-Hungary in 1772 and to Russia in 1795. Russia had taken Crimea and adjacent lands from the Crimea Khanate in 1783. After the Russian revolution in 1917, the Ukrainian People's Republic was formed, and Ukraine retrieved the land lost to Austria-Hungary in 1772. After the Soviet-Ukrainian War of 1917-1922, the Ukrainian Soviet Socialist Republic was proclaimed in 1922. The Soviet-Nazi invasion of Poland in 1939 reclaimed parts of Ruthenia from Poland. Ukraine was then invaded and occupied by Germany from 1940 to 1944, after which the Soviets re-established the enlarged Ukrainian SSR, in 1954 also transferring the Crimea to Ukraine. In 2014 Russia invaded Crimea and infiltrated the Donbas. In 2022 it conducted a "special military operation" in the rest of Ukraine.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">Printing in Ukrainian. The earliest books printed in the Ukrainian redaction of Church Slavonic and in the Cyrillic alphabet, the Orthodox hymnal Oktoikh (Octoechos) and Chasoslovets’ (Horologion), were produced in 1491 by Szwajpolt Fiol, a Franconian expatriate in Cracow. These were followed by liturgical books produced in the Lithuanian-Ruthenian state by short-lived presses on Belarusian territory, such as Frantsisk Skoryna's in Vilno (now Vilnius in Lithuania) in 1525, Ivan Fedorovych (Fedorov) and Piotr Mstislavets's in Zabludiv (now Zabłudów in Poland), 1568–70) including the Zabłudów Gospel, and Vasyl Tsiapinsky's itinerant press (ca 1565–70).</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The eastern territories of Ukraine became part of the Russian Empire and from 1667 Ukrainian presses became subject to Russian Imperial censorship carried out by the Holy Synod, although it took some time to tighten restrictions. Ukrainian culture became subject to enforced russification, so the formation of a modern Ukrainian literary language was delayed till the beginning of the 19th century. The first book in literary Ukrainian – Ivan Kotliarevskii’s mock-heroic version of Virgil’s Aeneid – was published in St Petersburg in 1798. However, new private publishing houses became active at the end of the 19th century. These enterprises aimed to popularise literature among the lower classes, and therefore their books were produced cheaply with small print runs. A private St Petersburg publisher V. Plavil’shchikov produced some books in the Ukrainian language, including a Ukrainian Grammar <i>Grammatika malorossĭskago nari︠e︡chii︠a︡</i> compiled by A. Pavlovskii. As many Ukrainians moved to the two Russian capitals, works of contemporary Ukrainian authors who later became classics of Ukrainian literature – Taras Shevchenko, Hryhorii Kvitka-Osnov’ianenko (1778-1843), Mykhaylo Maksymovych (1804-1873) – were first published in St Petersburg and Moscow. The first collection of works by the prominent Ukrainian public figure and writer Hryhorii Skovoroda (1722-1794) appeared in St Petersburg in 1861. A short-lived Ukrainian journal Osnova (‘Basis’) was also published in St Petersburg.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The leading academic publisher in Ukraine was Kharkiv University Press (opened in 1805), but its production was primarily in Russian. The press issued several works on Ukrainian studies, original Ukrainian historical documents and some classical Ukrainian authors. Ukrainian modern journalism in Russian and Ukrainian also started in Kharkiv, where 12 periodical titles appeared between 1812 and 1848.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The Kiev Monastery of the Caves Press kept publishing liturgical and religious texts in Church Slavonic, but also catered for primary schools, seminaries and the general public, publishing calendars and serials. The Kiev-Mohyla Academy was shut by the Russian authorities in 1817, and Kyiv University was opened instead in 1834. A year later a university press was set up, which supplied textbooks for secondary and higher education institutions and published scholarly works by the university professors. Another state publishing house was established in Odessa in 1814. It specialised in literary almanacs and scholarly works. In 1839 the Odessa Society for History and Antiquities set up a press to publish their proceedings.</div><div style="text-align: justify;"><br /></div><div style="text-align: justify;">The liberal reforms of Tsar Alexander II made it possible for Ukrainians to publish in their language. The period of liberalisation was short-lived, and already in 1876 a decree that prohibited printing (including ‘lyrics’ for printed music) in Ukrainian was issued. The types of material that were exempted were historical documents, ethnographic sources and very selective fiction and poems, subject to censorship. Export of books from abroad was also banned. Some works by Ukrainian authors did not pass Imperial censorship and appeared abroad in uncensored editions; for example Shevchenko’s Kobzar’ was published in Prague in 1876. Making books accessible for the wider public was the main goal of the publishing activities of various Ukrainian cultural organizations, such as societies for literacy in Kyiv and Kharkiv and the St Petersburg-based ‘Charity for publishing useful and cheap books’ (1898-1917). Apart from these organisations and other publishers who produced some Ukrainian books, in 1909, there were almost 20 Ukrainian publishing houses, and the overall number of Ukrainian books published between 1798 and 1916 is about 2,800 titles. During the First World War production figures fell dramatically, but the printing industry quickly revived in the independent Ukraine (1917-1921): about 80 titles appeared in 1917, compared with over a hundred in 1918. Sources: Wikipedia ; https://blogs.bl.uk/european/2014/10/ukrainian-printing-in-the-russian-empire.html ; .</div><hr style="text-align: justify;" /><div style="text-align: justify;">
Berdychiv. <b> Carmelite Monastery. </b> 1760-1840. - <i> Press. </i> Under tsarist rule a Polish-Russian press operated at the Carmelite monastery in Berdychiv (1760–1840). <hr />
CHERNIHIV <b> Russian State Press. </b> 1797–1918. - <i> Press. </i> Russian local government presses were founded in Ukrainian towns from 1797 until 1918. <hr />
Chernihiv. <b> Stavrovetsky-Tranquillon, Kyrylo. </b> 1646. - <i> Printer. </i> <hr />
Chernihiv. <b> Trinity Monastery. </b> 1679-1785. - <i> Press. </i> In 1679 the Novgorod-Siversky printing house was transferred to the Trinity–Saint Elijah's Monastery. Sources: Clair (1976). <hr />
Chetvertnia. <b> Liutkovych-Telytsia, Pavlo. </b> 1624–5. - <i> Printer. </i> Cyrillic press. <hr />
Chorna. <b> Liutkovych-Telytsia, Pavlo. </b> 1628-34. - <i> Printer. </i> Cyrillic press set up in monastery. <hr />
Derman' Druha. <b> Derman Monastery. </b> 1602–5. - <i> Press. </i> Established in the 15th century near Dubno by Prince Kostiantyn Ostrozky. In 1602 his son, Kostiantyn Vasyl Ostrozky, granted the monastery a statute of communal life, making Isaakii Boryskovych hegumen (head of the monastery), and endowed it with a printing press, which was directed by Demian Nalyvaiko. Among the more important publications of the press were Oktoikh, syrich Osmohlasnyk (Octoechos, or Book of the Eight Modes, 1603–4) and polemical works (see Polemical literature) such as ‘Lyst Meletiia ... patriarkha aleksandriis'koho do ... Ipatiia Potiia’ (The Letter of Meletii ... the Patriarch of Alexandria to ... Ipatii Potii, 1605) and ‘Diialoh ... o pravoslavnoi ... viri’ (Dialogue ... on the Orthodox ... Faith, 1605). The monastery's archive and book collection contained valuable materials from the 15th to 17th century. <hr />
Dnipro. <b> Russian State Press. </b> 1793. - <i> Press. </i> Formerly Ekaterinoslav. Cyrillic press opened. <hr />
Dobromyl. <b> Sheliha, Y. </b> 1611–17. - <i> Printer. </i> Cyrillic press. <hr />
Kamianets-Podilskyi. <b> Russian State Press. </b> 1798–1918. - <i> </i> Russian local government presses were founded in Ukrainian towns from 1798 to 1918. A Polish press worked here between1811 and 1849. <hr />
Katerynoslav. <b> Russian State Press. </b> 1793–1918. - <i> Press. </i> Russian local government presses were founded (1793–1918), <hr />
KHARKIV <b> Russian State Press. </b> 1793–1918. - <i> Press. </i> Cyrillic press founded 1793. The leading academic publisher in Ukraine was Kharkiv University Press (opened in 1805), but its production was primarily in Russian. The press issued several works on Ukrainian studies, original Ukrainian historical documents and some classical Ukrainian authors. Ukrainian modern journalism in Russian and Ukrainian also started in Kharkiv, where 12 periodical titles appeared between 1812 and 1848. <hr />
Kharkiv. <b> Universitetskai︠a︡ tip. </b> 1842. - <i> Press. </i> Ivan Petrovych Kotli︠a︡revsʹkyĭ. Virgilieva Ėneida. Chastʹ I[-VI]. - Kharʹkov : Universitetskai︠a︡ tip., 1842. - The first locally printed work of literature in the Ukrainian language. <hr />
Kharkiv. <b> Universitetskai︠a︡ tip. </b> 1844. - <i> Press. </i> Shakespeare, William. Gamlet : tragedīi︠a︡. Kharʻkov : V Universitetskoĭ tip., 1844. - <hr />
Kherson. <b> Universitetskaia tipografia. </b> 1871. - <i> </i> Razbor rimskago ucheniia o vidimom (papskom) glavenstvie v tserkvi, sdielannyi na osnovanii sviashchennago pisaniia i predaniia pervykh viekov christianstva do I vslenskago sobora / by Nikanor, Archbishop of Kherson and Odessa. Kazan', Universitetskaia tip., 1871. - WorldCat. <hr />
Kremenchuk. <b> Russian State Press. </b> 1765, 1788–9, 1791. - <i> Press. </i> Russian local government presses were founded in (1765, 1788–9, 1791), <hr />
Krementts. <b> Epiphany Monastery. </b> 1637–8. - <i> Press. </i> Cyrillic press. <hr />
Kropyvnytskyi. <b> Russian State Press. </b> 1764. - <i> Press. </i> Formerly Elisavetgrad. Cyrillic press opened. <hr />
Krylos. <b> Balaban, Hedeon, Bishop. </b> 1605–6. - <i> Press. </i> Cyrillic press. <hr />
KYIV <b> </b> <i> </i> Kiev, Kiovia. Printing in Kyiv began with the founding of the Kyivan Cave Monastery Press in 1615. Sources: Cotton (1831) ; Timperley (1842). <hr />
Kyiv. <b> Kiiowopieczarskiey </b> 1638. - <i> Press. </i> Kal'nofojs'kij, Afanasij. Teratourgema Lubo Cuda: Ktore Byly Tak W Samym Swietocudotwornym Monastyru Pieczarskim Kiiowskim, iako y w obudwu Swietych Pieczarach. [Kiev] : Z Drukarni Kiiowopieczarskiey, 1638. - USTC 250034. <hr />
Kyiv. <b> Mohyla Academy. </b> 1787. - <i> Press. </i> In 1787 a printing press was founded at the Academy; later it became the press of the Kyiv Theological Academy. <hr />
Kyiv. <b> Pechersk Lavra. </b> 1615–1918. - <i> Press. </i> Printing in Kyiv began with the founding of the Kyivan Cave Monastery Press. The output of the press apart from liturgical literature traditionally included sermons, poems, original works on philosophy and theology. The printer Timofey Aleksandrovič Verbickiy worked in the Monastery of the Caves 1621-24 and 1628-1635. In the mid-17th century, the press was managed by Innokentii Gizel’ (1620-1688), a prominent scholar and public figure. He was an author of a Synopsis, the first popular history of the East Slavonic nations. It remained the largest printing press in Ukraine until the mid-19th century. The Monastery of the Caves, founded 1051, in 2022 houses a book and print history museum, a museum of Ukrainian folk art, a theater and film arts museum and the state historical library. Sources: Clair (1976). <hr />
Kyiv. <b> Pechersk Lavra. </b> 1619. - <i> Press. </i> Orthodox Eastern Church. Anḟologīon s Bogom sʺderzhaĭ t︠s︡erkovnūi︠u︡ slūzhbū izbrannȳkh svi︠a︡tȳkh na vesʹ god. [Kiev] : Napechatano v obiteli obshtezhitelʹnoĭ monastȳra Pecherskago v Kīevě, v lěto ... 1619. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1619-1620]. - <i> Press. </i> Kniga ō věrě edinoĭ Svi︠a︡toĭ Sʺbornoĭ Apostolskoĭ t︠s︡erkve ... [Kiev] : [Tip. Pecherskoĭ lavry], [ 1619-1620]. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1620. - <i> Press. </i> Orthodox Eastern Church. Bozhestvenye̜ lẏturgīe̜ izhe vʺ s[vi︠a︡]tykhʺ ō[te]t︠s︡ʺ nashikhʺ Īōanna Zlat[o]vstago, Vasilīa Velikago i Prezhde[o][vi︠a︡]htennae̜. Kiev : Vʺ Stoĭ Velikoĭ Lavrĕ Pecherskoĭ Kīevskoĭ, 1620. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1623 . - <i> Press. </i> Johannes, Chrysostomus. Iže v s[vja]tych o[t]ca n[a]šego Īoa[n]na Zla[to]ustago Archīep[iskopa] Ko[n]sta[n]tīnagrada Patrīarchi Vselenskago Besědy Na 14 Poslanij S[vja]t[o]go Ap[osto]la Pavla. [Kiev] [Pečatnyj Dvor Kievo-Pečerskoj Lavry] 1623 . - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1625. - <i> Press. </i> Zakharii︠a︡ Kopystensʹkyĭ. Omilia : albo, Kazanʹe na rokovui︠u︡ pami︠a︡tʹ v Boze velebnoho blaz︠h︡ennoĭ pami︠a︡ti ott︠s︡a Elissea v i︠e︡roskhimonasekh Evfimii︠a︡ Pletenetskoho arkhimandrita Pecherskoho Kievskoho. Kiev : Tip. Pecherskoĭ lavry, 1625. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1625. - <i> Press. </i> Andrew, Archbishop of Caesarea. Svi︠a︡tagō ott︠s︡a nashegō Andrea Arkhīepiskopa Kesarīa Kappadokīiskīa Tolkovanīe na Apokalv̇p︠s︡in svi︠a︡tagō apostola i ev̇angelista khristova Īōanna bogoslova. [Kiev] : V ... Lavrě Pecherskoĭ Kīevskoĭ, v lěto o︠̄t︡ sozdanii︠a︡ miru 7133, o︠̄t︡ smotrenīa zhe Boga Slova 1625. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1627. - <i> Press. </i> Pamva Berynda. Leksikon slavenorosskiĭ i imen tolkovanie. Kiev, Tip. Pecherskoĭ lavry, 1627. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1627]. - <i> Press. </i> Orthodox Eastern Church. Triodion, si est tripiesnets svi︠a︡toĭ velikoĭ chetyrdesiatnit︠s︡i ot ellinskago izsledovan blagosloveniem i tschaniem prepodobnago i pravoslavnogo ott︠s︡a kir Zakharii Kopistenskogo ... [Kiev], [Tip. Pecherskoĭ lavry], [ 1627]. - <hr />
Kyiv. <b> Pechersk Lavra. </b> 1628]. - <i> Press. </i> s.n.. Apolleìa Apologìi Knižkì Dìalektom Rouskim napisanoi, Polskim Zas' ve Lvove drukovanoi, Vkorotce a Pravdive Zsummovanaa. [Kiev] : Monastery of the Caves Press], 30 VIII 7136 [i.e. 1628]. - USTC 250040. <hr />
Kyiv. <b> Russian State Press. </b> 1787–1918. - <i> Press. </i> Cyrillic press founded. <hr />
Kyiv. <b> S. Cudowney Lawrze Piecz. </b> 1633]. - <i> Press. </i> s.n.. Mnemosyne Slawy, Prac Y Trvdow Przeoswieconego Oyca Piotra Mohily Woiewodzica Ziem Moldawskich, V Przywileiowanego Prawoslawnego Metropolity Kiowskiego Archimandryty. [Kiev] : Drukowano w S. Cudowney Lawrze Piecz. Kiow., [ 1633]. - USTC 250039. <hr />
Kyiv. <b> S. Lawry Pieczarskiey </b> 1635. - <i> Press. </i> Kosau, Sìl'vestr. Paterikon Abo Zywoty SS. Oycow Pieczarskich: Obszyrnie Slowienskim iezykiem przez Swietego Nestora Zakonnika y Latopisca Ruskiego przedtym napisany. W Kiiowie : W Drukarni S. Lawry Pieczarskiey, 1635. - USTC 250041. <hr />
Kyiv. <b> Sobol, Spiridon. . </b> 1628–31. - . <i> Printer. </i> Born 1580/90, Mogilev, Belarus, died 1645, Muntenia. A Belarusian printer and educator, the first East Slavic printer to use copper etching (for the title page of Octoechos, 1628). His name is associated with the printing house in Kuciejna, near Orsha, which he founded in 1630. He printed an Apostol in 1632. He knew Greek and Latin languages and taught in a brotherhood school in Kiev. Sobol printed books in Mogilyov, Kiev (where he was supported by metropolitan Job Boretsky), Kutejno, Bujnichi, and in present day Romania. He published more than 20 editions, including an early «bukvar» (alphabet book). Late in life he became a monk in the Kiev-Pechersk Lavra. Sources: Clair (1976). <hr />
Kyiv. <b> Swietocvdotworney Kiiowopieczarskiey Lawry </b> 1638. - <i> Press. </i> Denisowicz, Hilarion. Parergon Cudow Swietych Obraza Przeczystey Bogarodzice W Monastyru Kupiatickim. [Kiev] : W Drukarni Swietocvdotworney Kiiowopieczarskiey Lawry, 1638. - USTC 250035. <hr />
Kyiv. <b> Verbickiy, Timofey Aleksandrovič. </b> 1624-1628. - <i> Printer. </i> 1621-1642. 1621-24 and 1628-1635(?) Worked in the Monastery of the Caves in Kjiv. 1624-1628 had his own press. 1635 in Câmpulung, then once more in Kjiv. After 1642 no longer traceable. <hr />
Kyiv. <b> Verbytsky, Tymofii. </b> 1624–8. - <i> Printer. </i> <hr />
Kyiv. <b> Vernadsky National Library. </b> <i> Library. </i> The largest library of Ukraine and one of the ten largest national libraries in the world. It was founded on August 2, 1918 as the National Library of the Ukrainian State, since 1988, it has been named after V. I. Vernadskyi. It hold 15.5 million items, including books, magazines, serials, maps, notes, pictorial materials, manuscripts, old books, newspapers, and non traditional data storage media. The library has the most complete collection of literary Slavic texts and manuscripts, archives and book collections of prominent figures of Ukrainian and world science and culture. It holds archives of Presidents of Ukraine, archival copies of Ukrainian printed works since 1917, and the collections of the National Academy of Sciences of Ukraine. Its collections of manuscripts, rare printed books and incunabula form the most complete collection of Slavic writing, including the Peresopnytsia Gospels, one of the most intricate surviving East Slavic manuscripts. It is the world's foremost repository of Jewish folk music recorded on Edison wax cylinders. Many of these were field recordings made during the Soviet or pre-Soviet era by ethnologists such as Susman Kiselgof, Moisei Beregovsky, and Sofia Magid. Their Collection of Jewish Musical Folklore (1912–1947) was inscribed on UNESCO's Memory of the World Register in 2005. Sources: Wikipedia. <hr />
Kyiv. <b> </b> 1626?]. - <i> Printer. </i> Pamva Berynda. Ōt ōtechnika skitskagō pověst ūdivitelʹna o dʹiavolě. [Kiev?] : [publisher not identified], [ 1626?]. - <hr />
Kyjiv. <b> Załuski, Józef Andrzej </b> 1759-1774. <i> Librarian. </i> Born 1702. Died 1774. Catholic bishop of Kiev 1759-1774. Together with his brother Andrzej Stanisław Załuski (1695–1758, bishop of Kraków and crown chancellor) he obtained the collections of such previous Polish bibliophiles as Jakub Zadzik, Krzysztof Opaliński, Tomasz Ujejski, Janusz Wiśniowiecki, Jerzy Mniszech and Jan III Sobieski. From the 1730s they planned the creation of a library and in 1747 the brothers founded the Załuski's Library (Biblioteka Załuskich), considered to be the first Polish public library and one of the largest libraries in the world at the time, located in Daniłowiczowski Palace in Warsaw, with a collection of about 400,000 printed items and manuscripts. After the death of its founders, the Załuski brothers, the newly formed National Education Commission took charge of the library, renaming it the Załuski Brothers Library of the Republic. Twenty years later in 1794, in the aftermath of the second Partition of Poland and Kościuszko Uprising, Russian troops, on orders from Russian Czarina Catherine II, plundered the library and took its collection to Saint Petersburg, where the Imperial Public Library was formed a year later. <hr />
Lutsk. <b> Liutkovych-Telytsia, Pavlo. </b> 1625–8. - <i> Printer. </i> Between 1625 and 1628 the Lutsk Brotherhood of the Elevation of the Cross School benefited from the services of the peripatetic Cyrillic printing shop run by Pavlo Liutkovych-Telytsia. <hr />
LVIV <b> </b> 1573. - Polish: <i></i>Lwów. The first town in Ukraine to receive a printing press.</div><hr style="text-align: justify;" /><div style="text-align: justify;">1592–1602, 1670–3, 1684–93<i> </i>Polish press. 1608–11<i> </i>Calvinist press. 1616–18. Armenian press.</div><div style="text-align: justify;"><hr />Lviv. <b>[unascertained] </b>1616. - <i>Printer. </i>s.n.. Threnodiae in funere illustrissimi domini d. Nicolai Christphori Radivili, S.R.I. principis. [Lviv] : typis Leopoliensibus, 1616. - USTC 250074.</div><div style="text-align: justify;"><b></b><hr />Lviv. <b>[unascertained] </b> <b></b>1628. - <i>Printer. </i>s.n.. Vitae Eposcopor[um] Halicensi[um] et Leopoliensiu[m]. Lviv : s.n., 1628. - USTC 250076.<hr />
Lviv. <b> [unascertained] </b> 1601. - <i> </i> Epos Trynodis : Ad Exeqviarvm R. D. Ioannis Herbesti, Canonici Et Concionatoris Leopoliensis maiorem præstantiam. Reverendis Dominis, D. Valentino Vargocki Canonico Et Decano. Et D. Alberto Perlicki Canonico Et Officiali Leopolien: dicatus / . by Sebastianus Cerasinus; Jan Herbest; Walenty Wargocki; Albert Perlicki Leopoli : [wydawca nieznany], [po 13 IV] 1601. - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1601. - <i> </i> Poemata Varia In Fvnere Reverendi D. Ioannis Herbesti, Canonici et Concionatorìs Leopoliensis : Ad Illvstriss: et Reverendiss: Dominvm D. Ioannem Demetrivm Solikowski, D. G. Archiepisc: Leopolien. / by Jan Czechowicz; Jan Dymitr Solikowski. Leopoli : [s. n.], 1601. - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1611 - <i> </i> Annales Stanislai Orichovii Okszii : Adjunximus vitam Petri Kmitae / by Stanislaw Orzechowski. Lwow, 1611 - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1615. - <i> </i> Gratvlatio illvstriss[i]mo et reverendiss. domino, d. Ioanni Andreae Prochnicki, Dei gratia archiepiscopo Leopoliensi [...] cum primum in sui archiepiscopatus provinciam ingrederetur nomine pp. franciscanorum conuentualium ecclesiae s. Crucis intra muros Leopolis dicta / by Jakub Świdnicki. [Lwów : s.n.], 1615. - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1616. - <i> </i> Pamiątka towarzyska Iana Kraiewskiego. / by Jan Krajewski. [Lwów? : s.n.], 1616. - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1620. - <i> </i> Bractwo z starodawna fundowane Naświętszey Panny Maryey, pod tytułem vbogich : przy Kośćiele Panny Maryey a Zakonie Paneńskim Swietey Brygidy na przedmieściu w Lvblinie / by Andrzej Bietkowicz. W Lwowie : [drukarz nieznany, nie przed IX] 1620. - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1630. - <i> </i> Rzym Stary / by Marcin Anioł; Maciej Hajder. We Lwowie : [s.n., 1630]. - WorldCat. <hr />
Lviv. <b> [unascertained] </b> 1633. - <i> </i> Ecce Devs Ecce Homo Pro nobis Passus mortuus [et] Sepultus. / by Józef Bartłomiej Zimorowic. - Leopoli : [drukarz nieznany], 1633. - WorldCat. <hr />
Lviv. <b> Bernat, Maciej. </b> 1593. - <i> Printer. </i> Constitutiones synodi dioecesanae - Lviv. Acta et constitutiones synodi diecesanae Leopoliensis. Anno Domini millesimo quingentesimo nonagesimo tertio, die decima quarta mensis Februarii, quae fuit Dominica septuagesimae, celebratae. Lviv : excudebat 1593. - USTC 242957. <hr />
Lviv. <b> Bernat, Maciej. </b> 1593. - <i> Printer. </i> Szymonowic, Szymon. Ślub opisany na feście Adama Hieronima Sieniawskiego. Lviv : Drukował Maciej Bernart, 1593. - USTC 242945. <hr />
Lviv. <b> Bernat, Maciej. </b> 1593-1599. - <i> Printer. </i> Sources: Wikipedia. <hr />
Lviv. <b> Bernat, Maciej. </b> 1599. - <i> Printer. </i> Rottendorf, Krzysztof. Epithalamion Stanislao Włodek palatino Bełzensi et Hedvigi Oleśnicka. Lviv : Maciej Bernat, 1599. - USTC 243274. <hr />
Lviv. <b> Bernat, Maciej. </b> 1599. - <i> Printer. </i> Czahrowski, Adam. Rzeczy rozmaite Adama Czahrowskiego uczynione w Taborzech i w ziemi węgierskiey y horwackiey Przy tym są i Treny. Wydane na świat anno 1598. Lviv : Maciej Bernat, 1599. - USTC 243182. <hr />
Lviv. <b> Bernat, Maciej. </b> 1599. - <i> Printer. </i> Łaski, Stanisław. Spraw y postępkow rycerskich, y przewagi opisanie krotkie, z nauki w tey zacney zabawie potrzebnemi. Lviv : Maciej Bernat, 1599. - USTC 243265. <hr />
Lviv. <b> Bernat, Maciej. </b> 1599. - <i> Printer. </i> Antonin z Przemysla. Sprawa dobra o zakonney prowinciey Jacka świętego w Rusi u Dominicanow stanowioney, albo raczey ozwoloney, naprzeciw świetskim niepotrzebnym rozruchom, z oczyścieniem postępku y rządu zakonnego do ludzi podana. Lviv : Maciej Bernat, 1599. - USTC 243264. <hr />
Lviv. <b> Bractwa Stauropigialnego. </b> 1630. - <i> Press. </i> Oktoih". / by Drukarnia Bractwa Stauropigialnego (Lwów). [Lwów] : [Drukarnia Bractwa Stauropigialnego] , [15 XII 1630]. WorldCat. <hr />
Lviv. <b> Bratstva Cerkovnago pri hramĕ Uspenia prečistya presno Devy Maria. </b> 1632. - <i> Press. </i> Anfologion Sirĕč" Cvĕtoslov", ili Trýfolog: Tvorenia različny(h) s[vă]ty(h) o(t)c". Bl[ago(d)a]tiu s"vyšše B[o]ž[e]stvennou, i Bl[a]g[o(s)la]veniem Vselenskago Patriarhi Kýr" Kýrilla. / by Cyryl, (patriarcha Konstantynopola. V" Lvovĕ : Tŝaniem že iž(d)ivenie(m) bratstva c[e]rkovna(g)[o] pri hramĕ Uspenia pr[e]č[i]stya pre(s)no D[e]vy M[a]ria Týpografii ih" izobrazisă, 1632. - WorldCat. <hr />
Lviv. <b> Collegia Societatis Jesu </b> 1648. - <i> Press. </i> Gertrude of Helfta. Poseł boskiey łaskawosci albo wielkich łask duchownych przedziwney pannie y zakonnicy reguły Benedikta swiętego Gertrudzie s. bogomyślnością wielce sławney obwieszczenia: wszelkiego stanu ludziom. We Lwowie : w drukarni colleg. Societ. Jesu u Sebastiana Nowodworskiego, 1648. - USTC 250077. <hr />
Lviv. <b> Dormition Brotherhood Press </b> 1591–1788. - <i> Press. </i> The press played a key role in the history of early Ukrainian printing. <hr />
Lviv. <b> Dormition Brotherhood Press. </b> 1591. - <i> Press. </i> Grammatica Graeca. Adelfotes. Grammatika dobroglagolivago ellinoslovenskago jazyka. Sovershennago iskustva osmi chastej slova. Lviv : V drukarnia Bratskoj, 1591. - USTC 242843. <hr />
Lviv. <b> Dormition Brotherhood Press. </b> 1593. - <i> Press. </i> Melecjusz, Pegas. Ýpér tīz Christichnōn eýdeveichz pròg ioydchioyzárologich. Lviv : Bracka Drukarnia, 1593. - USTC 242962. <hr />
Lviv. <b> Dormition Brotherhood Press. </b> 1614. - <i> Press. </i> Iz︠h︡e vo svi︠a︡tykh ott︠s︡a nashego Ioanna Zlatoustogo, arkhiepiskopa Konstantinoupoli︠a︡ Kniga o svi︠a︡shchenstvi︠e︡ / by John Chrysostom, Saint. Vo Lʹvovi︠e︡ : Tip. Bratstva, 1614. - <hr />
Lviv. <b> Fedorov, Ivan </b> 1573-1574. - <i> Printer. </i> The first printing press on Ukrainian ethnic territory was founded by Ivan Fedorovych (Fedorov), Ivan in Lviv in 1573. He had previously worked in Moscow. His first work, and Apostol was printed at the at the Saint Onuphrius Monastery. (1573–4). He died in Lviv in 1583 and his equipment and assets were used to found the Dormition Brotherhood Press. Sources: Wikipedia; Clair (1976). <hr />
Lviv. <b> Fedorov, Ivan. </b> 1573-1574. - <i> Printer. </i> Biblia - NT. Apostol.[Acts and Epistles] Dejanija apostolskaja, I poslanija sobornaja I poslanija svjatogo apostola Pavla. Lviv : Iwan Fiodorow, [ 1573-1574]. - USTC 242164. <hr />
Lviv. <b> Fedorov, Ivan. </b> 1574. - <i> Printer. </i> Azbuka ōt knigi osmochastnye̡, sirěchʹ grammatikii Lviv : Iwan Fiodorow, [ 1574]. - <a href="http://access.bl.uk/item/viewer/ark:/81055/vdc100022833688.0x000002">Full text of British Library copy</a>. <hr />
Lviv. <b> Fedorov, Ivan. </b> 1574. - <i> Printer. </i> First printed book in Ukrainian. Azbuka, a primer. <hr />
Lviv. <b> Fylypovych, Ivan. </b> 1753–67. - <i> Printer. </i> Polish press. <hr />
Lviv. <b> Garwolczyk, Maciej. </b> 1589. - <i> Printer. </i> Szymonowic, Szymon. Aeliopaean. Lviv : Maciej Garwolczyk, 1589. - USTC 242770. <hr />
Lviv. <b> Garwolczyk, Maciej. </b> 1592. - <i> Printer. </i> Bractwo. Bractwo Lwowskie Bożego Ciała. Lviv : Maciej Garwolczyk, 1592. - USTC 242914. <hr />
Lviv. <b> Garwolczyk, Maciej. </b> 1592. - <i> Printer. </i> Szymonowic, Szymon. Epithalamium Sigismundi III Poloniarum regis et Annae ducis Austriae. Lviv : Maciej Garwolczyk, 1592. - USTC 242894. <hr />
Lviv. <b> Garwolczyk, Maciej. </b> 1592. - <i> Printer. </i> Ursinus, Jan. Methodicae grammaticae libri quatuor. Lviv : Maciej Garwolczyk, 1592. - USTC 242923. <hr />
Lviv. <b> Golczewski, P. </b> 1735–51. - <i> Printer. </i> Polish press. <hr />
Lviv. <b> Gorodet︠s︡kiĭ, Iosif. </b> 1700. - <i> </i> Īrmoloĭ, si est, Ōsmoglasnik / by Orthodox Eastern Church. [Lʹvov] : [Tip. bazilian pri monastyre sv. Georgii︠a︡] : [Pechatnik Iosif Gorodet︠s︡kiĭ], rokū bozhīę 1700. - WorldCat. <hr />
Lviv. <b> Kolegium Jezuitów. </b> 1631. - <i> Press. </i> Kazanie Na Pogrzebie Wysoce Vrodzonego wielkiey nadzieie Młodzieniaszka [...] P. Dadziboga Władysława Słuszki, Kasztellanica Zmudzkiego [...] / by Walerian Andrzejowicz; Aleksander Słuszka; Zofia Konstancja Zienowiczówna. We Lwowie : [Druk. Kolegium Jezuitów, post 3 VII 1631]. - WorldCat. <hr />
Lviv. <b> Mądrowicz-Potrykowski, Andrzej. </b> 1601. - <i> Printer. </i> De Passione Domini Nostri Iesv Christi Oratio : Dicta Leopoli In Ecclesia S Crvcis, Vltima Feria Sexta Mensis Martii In Solennitate Sodalitatis Compassionis Christi: quæ Summi Pontificis Clementis VIII. autoritate est consecrata / by Sebastianus Cerasinus; Andrzej Mądrowicz-Potrykowski; Jan Dymitr Solikowski. [Lwów] : [Andrzej Mądrowicz-Potrykowski], [po 7 V] 1601. - WorldCat. <hr />
Lviv. <b> Mądrowicz-Potrykowski, Andrzej. </b> 1601. - <i> Printer. </i> Na Pogrzeb Pana Pawla Novicampiana, Medica, Phisica, Rayce Lwowskiego : Do Zacnych Obywatelow Miasta Lwowa Wiersz Zalobny [...]. / by Marek Szarfenberger; Jan Dymitr Solikowski; Andrzej Mądrowicz-Potrykowski. We Lwowie : [Andrzej Mądrowicz-Potrykowski, post 10 II] 1601. - WorldCat. <hr />
Lviv. <b> Mądrowicz-Potrykowski, Andrzej. </b> 1602. - <i> Printer. </i> Threny Na Pogrzeb Iezvsa Pana : Ktorymi Jego M[o]ść Pan Jan Zołkiewski okrutną śmierć syna Bożego w Wielki Piątek [...] opłakiwał / by Stanisław Wilgocki; Andrzej Mądrowicz-Potrykowski; Regina Żółkiewska. We Lwowie : [Andrzej Mądrowicz-Potrykowski], 1602. - WorldCat. <hr />
Lviv. <b> Malachiowicz, L. </b> 1615. - <i> Printer. </i> Ioannis comitis ab Ostrorog [...] Ad filios admonitoria epistola : contra fraudulentiam scripti editi sub titulo Monita priuata Societatis Iesv. / by Jan Ostroróg; Wasyl Małachwiejowicz; Mikołaj Ostroróg; Stanisław Ostroróg. (Leopoli) : excud. L. Malachiowicz, [post. 23 XI] 1615. - WorldCat. <hr />
Lviv. <b> Piller family. </b> 1772 to 19th century. - <i> Printers. </i> Under Austrian rule printed books in Latin, Gothic, Hebrew, Greek, and Cyrillic. <hr />
Lviv. <b> Polish Jesuit college. </b> 1642–1773. - <i> Press. </i> Polish press. <hr />
Lviv. <b> Shumliansky, Yosyf, Bishop </b> 1687–8. - <i> Printer. </i> Cyrillic press at Saint George's Cathedral. <hr />
Lviv. <b> Slozka, Mykhailo. </b> 1638–67. - <i> Printer. </i> Cyrillic press which he acquired from Jan Szeliga after his death. <hr />
Lviv. <b> Szarfenberg, Mikołaj. </b> 1578. - <i> Printer. </i> Sokołowski, Stanisław.. Conciones duae. Altera de vestitu haereticorum et fructu haereseon. Altera de causis supremi excidii Hierosolymitani. Lviv : in officina Mikołaj Szarfenberg, 1578. - USTC 240193. <hr />
Lviv. <b> Szarfenberg, Mikołaj. </b> 1578. - <i> Printer. </i> Sokołowski, Stanisław.. Conciones duae. Altera de vestitu Haereticorum, et fructu haereseon. Altera de causis supremi excidii Hierosolymitani. Lviv : Mikołaj Szarfenberg, 1578. - USTC 242274. <hr />
Lviv. <b> Szczerbic, Paweł. </b> 1531. - <i> Printer. </i> Prawo miejskie. To jest Prawo Mieyskie Maydeburskie. Lviv : Paweł Szczerbic, 1531. - USTC 240919. <hr />
Lviv. <b> Szczerbic, Paweł. </b> 1581. - <i> Printer. </i> Szczerbic, Paweł. Jus Municipale. To jest Prawo Miejskie Magdeburskie nowo z łacińskiego i z niemieckiego na polski język pilnością i wiernie przełożone. Lviv : kosztem y nakładem Paweł Szczerbic, 1581. - USTC 242375. <hr />
Lviv. <b> Szczerbic, Paweł. </b> 1581. - <i> Printer. </i> Szczerbic, Paweł. Speculum Saxonum albo Prawo Saskie i Magdeburskie porządkiem obiecadła z łacińskich i niemieckich egzemplarzow zebrane: a na polski język z pilnością przełożone. Lviv : kosztem y nakładem Paweł Szczerbic, 1581. - USTC 242387. <hr />
Lviv. <b> Szeliga, Jan </b> 1618, 1621-36. - <i> Printer. </i> A Polish printer who operated an itinerant press in Cracow (1605-1609) and the Galician towns of Dobromyl (1611-1617), Yavoriv (1618-1619), Yaroslaw (1621-1626), and Lviv (1618, 1621-36) where he printed literary works in Latin and Polish, a collection of poems by J. Herburt (1613) that contained a Ukrainian song, and J. Gawatowicz's Polish drama about the death of John the Baptist, which contained the first two intermedes published in Ukraine. After his death in Lviv in in 1637, his press was acquired by Mykhailo Slozka. <hr />
Lviv. <b> Szeliga, Jan. </b> 1618. - <i> Printer. </i> Historya O Ionaszv : Dla Rozmyślania nadrozszey Męki Pana Iesvsowey [...] / by Gabriel Zawieszko; Jan Szeliga; Zofia Serna. We Lwowie : W Drukarni Iana Szeligi, [post 14 VIII] 1618. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1618. - <i> Printer. </i> Ivstus Ivdex : Ex Idęa Ivstissimi Ivdicis Iesv Christi, Omnibus Iudicibus Christianis, ad imitandum propositus [...] / by Gabriel Zawieszko; Jan Szeliga; Kasper Chądzyński. [Lwów] : In suburbio Jaworoviensi, ad Sanctvm Nicolavm [i. e. Jan Szeliga], [post 4 X] 1618. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1618. - <i> Printer. </i> Wąz Miedziany : Albo Rozmyślanie nadrozszey Męki Syna Bozego, z Wizerunku Węza Miedzianego : Owo Krzyż Pański, vciekaycie strony Przeciwne [...] / by Gabriel Zawieszko; Zachariasz Serny; Jan Szeliga. We Lwowie : W Drukarni Iana Szeligi, [post 24 III] 1618. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1618. - <i> Printer. </i> Zwierciadło Pokvtviących. Z Przykładow S. Magdaleny Vczynionych [...] / by Gabriel Zawieszko; Jan Szeliga; Katarzyna Łysakowska. We Lwowie : [Jan Szeliga], [post 29 IX] 1618. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1626. - <i> Printer. </i> De Christi passione oratio in ecclesia metropolitana Leopolien. ipsa die parasceue habita a Ioanne Campiano, sch. metr. stvd. / by Wawrzyniec Świczkowic; Jan Szeliga. Leopoli : in officina typographica Ioannis Szeligae, sub [...] auspicijs [...] archiepisc. Leop., [ 1626]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1626. - <i> Printer. </i> Enthronisticvm Secvris Theatrvm : Quod virtutis ardor reserauit; Honoris amplitudo ornauit, Perillustris [...] Domini, D. Lvcæ Kalinski [...] noua dignitas occupauit, Et / by Franciszek Dominik Hepner; Jan Szeliga; Łukasz Kaliński. Leopoli : In Officina Ioannis Szeligæ, [ 1626]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1626. - <i> Printer. </i> Vita Illustris & Magnifici Viri, D. Bartholomæi Nowodvorscii a Nowodwor [...] / by Wawrzyniec Świczkowic; Jerzy Wojciech Nowodworski. Leopoli : In Officina Typographica Ioannis Szeligæ [...], [post 20 VII] 1626. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1627. - <i> Printer. </i> Commentarivs medicvs in L. Annaei Senecae Opera / by Erazm Sykst. Leopoli : in officina Ioannis Szeligae [...], 1627. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1627. - <i> Printer. </i> Liston agon seu Certamen latronum de Christo, in crucibus secum pendentium, in ecclesia metropolitana Leopoliensi, feria sexta magna declamatum ab Alberto Nosowski scholae metropol. studioso / by Wawrzyniec Świczkowic. Leopoli : in officina typographica Ioannis Szeligae [...], [post 1 IV] 1627. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Apologia peregrinatiey do kraiow wschodnych przez mię Meletivsza Smotrzyskie[g]o M.D. archiepiskopa połockiego [...] roku P. 1623 y 24 obchodzoney przez faszywą [!] bracią słownie y na pismie spotwarzoney do przezacnego Narodu Ruskie[g]o oboiego stanu [...] sporządzona y podana A. 1628 Augusti die 25 w monasteru Dermaniu [...] / by Maksym Smotrycki. We Lwowie : w drukarniey Iana Szeligi [...]), [po 25 VIII] 1628. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Nowina Lwowska Ktorą sława prędkolotna rozgłasza : O Obwiesczeniv [!] Błogoslawienstwa, B. Mariey Magdaleny De Pacis, Panny Zakonu Karmelitańskiego Regularis Obseruantiæ Florentskiey / by Krzysztof Franciszek Chwalibogowski; Jan Szeliga; Anna Eufrozyna Sieniawska; Maria Magdalena de Pazzi. [Lwów : Jan Szeliga, 1628]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Ode lectissimis ivvenibvs Lavrentio Krasnostavio et Adamo Sieradzinski : dvm in alma Academia Zamoscen. ab [...] Iacobo Skwarski philosophiae doctore, canonico et professore publico, artium liberalium et philosophiae baccalaurei ritu solenni crearentur, dicata / by Jan Woyna. Leopoli : in officina typographica Ioannis Szeligae [...], 1628. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Ode lectissimis ivvenibvs Lavrentio Krasnostavio et Adamo Sieradzinski : dvm in alma Academia Zamoscen. ab [...] Iacobo Skwarski philosophiae doctore, canonico et professore publico, artium liberalium et philosophiae baccalaurei ritu solenni crearentur, dicata / by Jan Woyna. Leopoli : in officina typographica Ioannis Szeligae [...], 1628. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Protestatia przećiwo [!] soborowi w tym roku 1628 we dni Augusta mieśiąca, w Kiiowie Monasteru Pieczerskim obchodzonemu, / by Maksym Smotrycki. We Lwowie : W drukarniey Iana Szeligi [...], [post 7 IX] 1628. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Vitae archiepiscoporvm Haliciensivm et Leopoliensivm per Iacobvm Scrobissevivm canonicvm Leopoliensem editae. / by Jakub Skrobiszewski. Leopoli : in officina typographica Ioannis Szeligae [...], [post 27 I] 1628. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1628. - <i> Printer. </i> Vox tvrtvris sev de florenti usq[ue] ad nostra tempora, SS. Benedicti, Dominici, Francisci et aliarum sacrarum religionum statu / by Domenico Gravina. Leopoli : in officina typographica Ioannis Szeligae [...], 1628. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1629. - <i> Printer. </i> Biy Gvstawa Kto Dobry. / by Kasper Twardowski. We Lwowie : W Drukarniey Jana Szeligi Mści. X. Arcybiskupa Typographa, 1629. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1629. - <i> Printer. </i> Concio Gratvlatoria Illustr[issi]mo ac R[everen]diss[i]mo in Christo Patri & Domino, D. Remigio a Koniecpole Koniecpolski [...] Episcopo Chelmensi [...] In primo ad Cathedralem Ecclesiam Chełmensem aduentu / by Jakób Piekoszowic; Remigiusz Koniecpolski. Leopoli : In Officina Typographica Ioannis Szeligæ [...], [post 14 I 1629]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1629. - <i> Printer. </i> Exethesis Abo Expostvlatia : To Iest Rosprawa Między Apologią y Antidotem o Ostanek Błędow Hæreziy y kłamstw Zyzaniowych, Philaletowych, Orthologowych y Klerykowych vczyniona / by Meletìj Smotrickij; Jan Szeliga; Aleksander Zasławski. We Lwowie : w Druk. Iana Szeligi, [post 10 VI 1629]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1629. - <i> Printer. </i> Kazanie, ktore na pogrzebie [...] Elzbiety Wazynskiey dnia czwartego stycznia zmarłej a osmnastego tegoż miesiąca w kościele wizninskim roku [...] 1629 pochowaney miał X. Iakvb Gawath [...]. / by Jakub Gawath; Jan Szeliga. We Lwowie : w druk. Iana Szeligi [...], [post 4 IV 1629]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1629. - <i> Printer. </i> Theoremata rei natvralis et svpernatvralis, videlicet de tribvs principiis corporis svbstantialis materia, forma et priuatione causisque quatuor nostrae praedestinationis, sub auspiciis sacratissimae ac immaculatae semperque Virginis Mariae Fratrum Carmelitarum Regularis obseruantiae, singularis protectricis, tempore capituli prouincialis prouinciae Polonae eiusdem fratrum carmelitarum in conuentu Leopolien[si] in platea Figulorum sito / by Ambrosius Herbestus. Leopoli : in officina typographica Ioannis Szeligae [...], [po V 1629]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1630. - <i> Printer. </i> Apollo Z Mvzami Winczviącemi Sczęsliwego Powodzenia w Stan Małzenski Sczesliwie wstępuiącym [...] Alexandrowi Fabrycemv Y [...] Zophiey Syxtownie / by Jakub Kośnikiel; Zofia Sykstówna; Aleksander Fabrycy. We Lwowie : W Drukarni Jana Szeligi [...], 1630. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1630. - <i> Printer. </i> Bylica Swiętoianska / by Kasper Twardowski. Lwów, Ianá Szeliga, 1630. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1630. - <i> Printer. </i> Inventarz Constitvciy Koronnych : Od Roku Pańskiego 1550 aż do Roku 1628 Vchwalonych / by Wojciech Madalinski; Jan Madaliński. We Lwowie : W Drukarni Iana Szeligi [...], [post 1 III] 1630. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1630. - <i> Printer. </i> Kolebka Iezvsowa, Pasterze, Trzey Krolowie / by Kasper Twardowski; Jan Szeliga; Jan Bojarski. We Lwowie : [Jan Szeliga, [ 1630?]. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1630. - <i> Printer. </i> Stanislai Orechovii Apocalipsis [...]. / by Jan Dymitr Solikowsk. Leopoli : [Ioannes Szeliga], 1630. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1631. - <i> Printer. </i> Conclvsiones Theologicæ De Volvntate Dei Ex Sacra Doctrina Et Sanctis. / by Stanisław Mądrowicz. Leopoli : In Officina Typographica Ioannis Szeligæ [...], [ante 21 I] 1631. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1631. - <i> Printer. </i> Mars Załobny Na Pogrzebie Iasnie Wielmoznego Iego Mci Pana Ostaphiana Tyszkiewica Woiewody Brzesckiego, Kamienieckiego &c. Starosty. We Lwowie : W Drukarni Jana Szeligi [...], 1631. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1631. - <i> Printer. </i> Niewiara Schismatykow Polskich / by Tomasz Elzanowski; Mikołaj Potocki. We Lwowie : W Drukarni Jana Szeligi, [po 18 I] 1631. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1632. - <i> Printer. </i> Declaracya Złotey Wolności Isz sie z wolnośćią roznego od staropolskiey Wiary nabożeństwa w Rzeczypospolitey dobrze sporządzoney zgodźić nie może / by Zygmunt Komorowski. Leopoli : In Officina Typographica Ioannis Szeligæ [...], 1632. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1632. - <i> Printer. </i> Stanislai Orichovii Roxolani fidelis svbditvs siue De institvtione regia ad Sigismvndvm Avgvstvm libri duo, primo Cracouiae A. Dni. M. D. LXXXIIII. / by Stanisław Okszyc Orzechowski. Leopoli: in officina typ: Ioannis Szeligae [...], 1632. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1633. - <i> Printer. </i> Gratvlatio [...] D. Stanislao Łoza [...] Episcopo Argivensi, Svffraganeo nvnc primum Creato Luceoriensi, [...] / by Paweł Mirowski. Leopoli : In Officina Typographica Ioannis Szeligæ [...], 1633. - WorldCat. <hr />
Lviv. <b> Szeliga, Jan. </b> 1633. - <i> Printer. </i> Lvtnia Parnaska. Pallady dowćipem stroiona : Na przezacne Wesele ... Nowych Oblvbiencow ... Pana Iana Kazimierza ze Zmigroda Stadnickiego Woiewodzica Bełskiego &c. &c. Y ... Panny Izabelli z Huśiatyna Kalinowskiey Starośćianki Kamienieckiey / by Samuel Jerzy Kalinowski; Jan Kazimierz Stadnicki. We Lwowie : [Jan Szliga], [po 1 IX 1633]. - WorldCat. <hr />
Lviv. <b> Szeligae, Joanni. </b> 1627. - <i> Printer. </i> Leopoli, Raphael de. Panegyricus ad sublevationem et translationem ossium. SS. Valentinin, Lucillae Basil Y, Hyppoliti, Antonini, et Jucundi, aliorumque martyrum. Leopoli : in officina typographica Joanni Szeligae, 1627. - USTC 250075. <hr />
Lviv. <b> Szlichtyn family. </b> 1755–85. - . <i> Printer. </i> Polish press. <hr />
Lviv. <b> Wolbramensis, Christophorus. </b> 1614. - <i> Printer. </i> Charisterion ob felicem ac exoptatum [...] Constantini Ostrogii ducis [...] in patriam reditum a nobili studiosa que iuventue collegii iaroslaviensis societatis Iesu datum [...]. / by Konstanty Ostrogski; Krzysztof Wolbramczyk. Leopoli: typis Christophori Wolbramensis, 1614. - WorldCat. <hr />
Lviv. <b> Wolbramensis, Christophorus. </b> 1615. - <i> Printer. </i> Vota fausta omnia gratulationes [...] Ioanni Andrae Prochnicki a Prochnik [...] in primo ad sedem archiepiscopalem ingressu / by Krzysztof Wolbramczyk; Kolegium Jezuickie (Lwów). Leopoli : excudit Christophorus Wolbramensis, 1615. - WorldCat. <hr />
Lviv. <b> Żelazo, Paweł. </b> 1599-1600. - <i> Printer. </i> Karliński, Stanisław. Roku Pańskiego Swiętego 1600. z częśćiami z oznaczeniem świąt z przestrogą pogod y niepogod za porachowaniem obrotowe Słońca y Kśiężyca pilne opisanie. Lviv : Drukował Paweł Żelazo, [ 1599-1600]. - USTC 243275. <hr />
Lviv. <b> Żelazo, Paweł. </b> 1600. - <i> Printer. </i> Solikowski, Jan Dymitr. Do obywatelów inflanckich napomnienie. Lviv : Paweł Żelazo, 1600. - USTC 243294. <hr />
Lviv. <b> Zelazo, Paweł. </b> 1600. - <i> Printer. </i> Do Obywatelow Inflantckich Jasnie Wielebnego [...] Kśiędza Jana Dymitra Solikowskiego, z łaski Bożey Arcybiskupa Lwowskiego [...] : Oycowskie Y Zyczliwe Napomnienie / by Jan Dymitr Solikowski We Lwowie : Drukował Paweł Zelazo, 1600. - WorldCat. <hr />
Lviv. <b> Zhelyborsky, Arsenii, Bishop. . </b> 1644–6. - <i> Printer. </i> Cyrillic press. Born 1618, died 18 September 1662 or 1663. Orthodox bishop of Lviv (1641–63. - (see Lviv eparchy. - . He established a printing press at the Saint George's Cathedral in 1645, oversaw the publication of many church liturgical books there, and wrote Pouchenie novosviashchennomu iereevi (Instructions to a Newly Consecrated Hierarch, 1642. - . He also provided the first printing press for the Univ Monastery Press. . <hr /><br /><hr />
Minkivtsi. <b> </b> 1792–1829. - <i> Press. </i> Polish press (1792–1829) <hr />
Mohyliv-Podilskyi. <b> </b> 1797. - <i> Press. </i> Polish press (1797) <hr />
Molochansk. <b> Mennonitsche Gemeinde. </b> 1853. - <i> </i> Confession : oder kurzes und einfältiges Glaubensbekenntniss derer so man nennt die vereinigte Flämische, Friesische und Hochdeutsche Taufgesinnte Mennonitengemeinde. Rudnerweide : Ausgegeben durch die Gemeinde, 1853. - WorldCat. <hr />
Mykolaiv. <b> Russian State Press. </b> 1797–1918. - <i> Press. </i> Russian local government presses were founded (1797–1918), <hr />
NIEŚWICZ <b> </b> <i> </i> Neswitz. Printing recorded 1562. Sources: Cotton (1831) ; Timperley (1842). <hr />
Nieświcz. <b> Leczycki, Daniel. </b> 1568. - <i> Printer. </i> Testamentum Novum D.N.J.N.R.J. Jesu Christi syriace, ebraice, graece, latine, germanice, bohemice, italice, hispanice, gallice, anglice... - Nieswiez, Daniel Leczycki, 1568. <hr />
Novhorod-Siverskyi. <b> </b> <i> Press. </i> Archbishop Lazar Baranovych initiated the opening of a new printing house in Novgorod-Siverskii (1674), which was later relocated to Chernihiv (1680). The British Library holds the 1691 Chernihiv edition of Runo oroshennoe by Dimitry of Rostov (C.192.a.222) – a book of miracles performed by the icon of the Mother of God of Chernihiv Sources: Clair (1976). <hr />
ODESSA <b> </b> <i> </i> A state publishing house was established in Odessa in 1814. It specialised in literary almanacs and scholarly works. In 1839 the Odessa Society for History and Antiquities set up a press to publish their proceedings. Sources: Cotton (1831) ; Timperley (1842). <hr />
Odessa. <b> [unascertained] </b> [1831. - <i> </i> Kratkoe Sobranīe Zakonov : izvlechennykh iz T︠S︡arskikh knig ... / by Andronachi Donici. Odessa : [publisher not identified], [1831]. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1829. - <i> </i> Notice sur les bains de mer et des limans ou lacs d'Odessa / by P C Hepites. Odessa : [éditeur non identifié], 1829. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1829. - <i> </i> Notes sur les provinces russes au-delà du Caucase écrites dans les années 1823 et 1824 / by Luigi Serristori. Odessa 1829. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1830. - <i> </i> Portulan de la Mer Noire et de la Mer d'Azov ou decriptions des côtes de ces deux mers a l'usage des navigateurs. [Hauptband] ... / by E Taitbout de Marigny. Odessa 1830. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1830. - <i> </i> Abrégé historique des révolutions ... de la Tauride. / by Félix Lagorio. Odessa, 1830. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1831. - <i> </i> De la position des trois forteresses tauro-scythes dont parle Strabon. Avec carte, plans, copies d'inscriptions et dessins d'après des marbres antiques / by Ivan Pavlovich BLARAMBERG. Odessa, 1831. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1831. - <i> </i> Oraison funèbre de Jean Antoine Comte Capodistrias Président de la Grèce : prononcé en Grec à Odessa dans l'eglise Cathedrale de cette ville le 18. Nov. 1831. Odessa, 1831. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1831. - <i> </i> De la position des trois forteresses Tauro-Scytkes dont parte Strabon avec carte, plans copies d'inscriptions et dessins d'après des marbres antiques / by Ivan Pavlovič de Blaramberg. Odessa 1831. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1833. - <i> </i> Tableau historique des progrès de la culture des arbres à Odessa, indiquant l'année de leur introduction dans cette partie de l'empire, etc. jusqu'au 26 jan. 1830 / by Descemet. [Odessa], [ 1833]. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1834. - <i> </i> Guide des voyageur en Crimée / by C H Montandon. Odessa : [éditeur non identifié], 1834. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1835. - <i> </i> Bible. [Pentateuch in Hebrew with Tatar translation]. Odessa (595), ( 1835]. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1835. - <i> </i> Mémoire sur le Commerce des Ports de la Nouvelle Russie, de la Moldavie et de la Valachie / by Julij A Gagemejster. Odessa & Simphéropol, 1835. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1836. - <i> </i> Admiral Iosif De-Ribas i osnovanie Odessy : otryvok iz chronologiďeskago obozrěnija istorii Novorossijskago Kraja / by Apollon Skal'kovskij. Odessa, 1836. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1836. - <i> </i> Voyages en Circassie / by Taitbout de Marigny. Odessa : [publisher not identified], 1836. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1836. - <i> </i> Chronologia historikē / by Kyriakos Melirrhytos. Odēssa, 1836. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1879. - <i> </i> Die Sarpedoniden d. i. die Landesfürsten von Persis zur Zeit der Seleukiden und Arsakiden by Otto Blau Odessa, 1879. - WorldCat. <hr />
Odessa. <b> [unascertained] </b> 1885. - <i> </i> Alphabetisches Verzeichniss der sich in J. Schmidt's Mondcharte befindlichen Objecte : zusammengestellt nach der 'Kurzen Erläuterung zu Schmidt's Mondcharte' / by L Hildesheimer; J F Julius Schmidt. [Odessa?] : [publisher not identified], 1885. - WorldCat. <hr />
Odessa. <b> A L'Imprimerie de la ville, </b> 1834. - <i> Press. </i> La Quêteuse : almanach littéraire pour l'année 1834 / Odessa : A L'Imprimerie de la ville, 1834. - WorldCat. <hr />
Odessa. <b> Belinson, M. A. </b> 1864. - <i> </i> Elam / by Yosef Shlomo Delmedigo. Odessa : M. A. Belinson, 1864. - WorldCat. <hr />
Odessa. <b> Belinson, M. A. </b> 1883. - <i> </i> Seder Horaot ha-Tefilah [prayer book]. Odessa : M. A. Belinson, 1883. - WorldCat. <hr />
Odessa. <b> Braun, A. </b> 1830. - <i> </i> Plans de golfes, baies, ports et rades de la mer Noire et de la mer d'Azov, levés, recueillis ou corrigés par É. Taitbout de Marigny ... / by Édouard Taitbout de Marigny, Jacques-Victor-Édouard chevalier. Odessa : Impr. de A. Braun, 1830. - WorldCat. <hr />
Odessa. <b> Braun, A. </b> 1834. - <i> Lithographer. </i> Mysli o kavalerīĭskoĭ taktiki︠e︡ / by Friedrich Wilhelm Bismark, Graf von; A Braun, (Lithographer) / Odessa : Vʺ Gorodskoĭ tipografīi, 1834. - WorldCat. <hr />
Odessa. <b> Braun, M. </b> 1830. - <i> </i> Plans de golfes, baies, ports et rades de la mer Noire et de la mer d'Azov, / by Edouard Taitbout de Marigny, chevalier. Odessa, M. Braun, 1830. - WorldCat. <hr />
Odessa. <b> Burevi︠e︡stnik. </b> 1805. - <i> Bookseller. </i> Mertvet︠s︡y Kommuny; perevod s frant︠s︡uzskago / by Arthur Arnould. Odessa, Knigoizd. "Burevi︠e︡stnik", 1805. - WorldCat. <hr />
Odessa. <b> Collin. </b> 1820. - <i> Bookseller. </i> Discours sur l'arrivée du Messie, d'après l'Evangile de St. Luc II. 15-20, prononcé devant la commune protestante d'Odessa par Jean Benjamin Dietz, 1818 / by Benjamin Dietz; Brieffsche Buchhandlung (Petersburg). St. Pétersbourg : chez J. Brieff, Libraire : Odessa : chez Mr. Collin, Libraire, 1820. - WorldCat. <hr />
Odessa. <b> Comité des constructions. </b> 1819. - <i> </i> Mazaniello ou La Révolution de Naples tragédie en 5 actes et en vers / by Alexandre Andrault De Langeron. [Odessa] [L'Impr. du Comité des constructions] [ 1819]. - WorldCat. <hr />
Odessa. <b> Frant︠s︡ova, P. </b> 1868-. - <i> </i> I︠A︡gello-I︠A︡kov-Vladislav i pervoe soedinenīe Litvy s Polʹshei︠u︡ / by Mikhail Pavlovich Smirnov. [Odessa] [Tip. P. Frant︠s︡ova], [ 1868]-. - WorldCat. <hr />
Odessa. <b> Frant︠s︡ova, P. </b> 1869. - <i> </i> Putevyi︠a︡ zami︠e︡tki : otchet ord. prof. Ḟ. Struve o komandirovki︠e︡ ego v Aḟiny, Rim, Parizh i Germanīi︠u︡, s 1 īi︠u︡ni︠a︡ -- 1 okti︠a︡bri︠a︡ 1868 g. / by Ḟedor Aristovich Struve; Imperatorskīĭ novorossīĭskīĭ universitet. Odessa : Tipografīi︠a︡ P. Frant︠s︡ova, 1869. - WorldCat. <hr />
Odessa. <b> Franzow & Nitzsche, </b> 1851. - <i> </i> Christliches Gesangbuch für die evangelischen Gemeinden im südlichen Russland. Odessa : Franzow & Nitzsche, 1851. - WorldCat. <hr />
Odessa. <b> Franzow & Nitzsche, </b> 1853. - <i> </i> Confession, oder kurzes und einfältiges Glaubensbekenntnis : derer so man nennt die vereinigte, Flämische, Friesische und Hochdeutsche Taufgesinnte Mennonitengemeinde. Ausgegeben durch die gemeinde zu Rudnerweide in Südrussland. Odessa : Franzow & Nitzsche, 1853. - WorldCat. <hr />
Odessa. <b> Franzow & Nitzsche. </b> 1851. - <i> </i> Christliches Gesangbuch für die evangelischen Gemeinden im südlichen Russland / by Evangelische Lutherische Gemeinden in Südrussland. Odessa : Frenzow und Nitzsche, 1851. - WorldCat. <hr />
Odessa. <b> Franzow & Nitzsche. </b> 1852. - <i> </i> Kurze älteste Geschichte der Taufgesinnten (Mennoniten genannt). Odessa : Gedruckt bei Franzow & Nitzsche, 1852. - WorldCat. <hr />
Odessa. <b> Franzow und Niksche, </b> 1852. - <i> </i> Katechismus, oder, Kurze und einfältige Unterweisung aus der heiligen Schrift : in Frage und Antwort für die Kinder, zum Gebrauch in den Schulen. Odessa : Franzow und Niksche, 1852. - WorldCat. <hr />
Odessa. <b> Franzow Univ.-Bibliothek </b> 1881. - <i> </i> Denkschrift über Entstehung und Character der in den südlichen Provinzen Rußlands vorgefallenen Unruhen by Schwabacher, Simeon Leon von. Odessa : Franzow Univ.-Bibliothek 1881. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1860. - <i> Printer. </i> Katechismus, oder, Kurze und einfältige Unterweisung aus der heiligen Schrift : in Frage und Antwort für die Kinder, zum Gebrauch in den Schulen. Odessa : P. Franzow, 1860. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1862. - <i> Printer. </i> Dichtung und Wahrheit by Leon Mendelsburg. Odessa : Druck von P. Franzow, 1862. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1862. - <i> </i> Christliches Gesangbuch für die evangelischen Gemeinden im südlichen Rußland. Odessa Franzow 1862. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1864. - <i> Printer. </i> Sonnet sur la mort de Jean Calvin (27 mai 1564) = Sonnett auf den Tod Calvin's (27. Mai 1564) / by Antoine de Chandieu; Charles Candidus. Odessa : P. Franzow, 1864. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1865. - <i> Printer. </i> Katechismus, oder, Kurze und einfältige Unterweisung aus der heiligen Schrift : in Frage und Antwort für die Kinder, zum Gebrauch in den Schulen. Odessa : P. Franzow, 1865. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1867. - <i> Printer. </i> Gesang-Buch in welchem eine Sammlung geistreicher Lieder befindlich ; zur allgemeinen Erbauung und zum Lobe Gottes herausgegeben. Odessa : P. Franzow, 1867. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1876. - <i> Printer. </i> Die orientalischen Münzen des Museums der kaiserlichen historisch-archäologischen Gesellschaft zu Odessa, von Dr. O. Blau ... / by Otto Blau. Odessa : Druck von P. Franzow, 1876. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1876. - <i> Printer. </i> Vostochnyi︠a︡ monety Muzei︠a︡ Imperatorskago obshchestva istorii i drevnosteĭ v Odessi︠e︡ = Die orientalischen Münzen des Museums der Kaiserlichen Historisch-Archäologischen Gesellschaft zu Odessa / by Otto Blau; Imperatorskoe Odesskoe obshchestvo istorīi i drevnosteĭ. Muzeĭ. Odessa : Druck von P. Franzow, 1876. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1879. - <i> </i> Persis rediviva II : die Sarpedoniden, d. i. die Landesfürsten von Persis zur Zeit der Seleukiden und Arsakiden / by Ernst Otto Friedrich August Blau. Odessa Franzow 1879. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1881. - <i> Printer. </i> Denkschrift über Entstehung und Character der in den südlichen Provinzen vorgefallenen Unruhen by Simeon Leon Schwabacher. Odessa, Buchdruckerei von P. Franzow, 1881. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1882. - <i> </i> Vier Lieder / by Friedrich von Schwebs. Odessa : Franzow, 1882. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1893. - <i> </i> Une page de l'histoire du réseau météorologique privé du sud-ouest de la Russie. A. Klossovsky / by Aleksandr Vikentievitch Klossovskiĭ Odessa : Impr. de P. Franzow, 1893. - WorldCat. <hr />
Odessa. <b> Franzow, P. </b> 1893. - <i> </i> Le Climat d'Odessa, d'après les observations de l'observatoire météorologique de l'Université impériale d'Odessa, par A. Klossovsky [Aleksandr Vikentievitch Klossovskiĭ. Odessa : Impr. de P. Franzow, 1893. - WorldCat. <hr />
Odessa. <b> Geistinger. </b> 1808. - <i> </i> Katechismus der christlichen Lehren : Zum Gebrauch für Protestantische Kirchen und Schulen. Wien ; Odessa : Geistinger, 1808. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Ex officina urbis]. </b> 1835. - <i> </i> Descriptio nummorum veterum graecorum atque romanorum, qui inveniuntur in museo / by Nikolaj Nikiforovič Murzakevič. Odessa : Ex officina urbis, 1835. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1830. - <i> </i> Abrégé Historique Des Révolutions et Du Commerce de la Tavride / by Félix Lagorio. Odessa Imprimerie de la Ville 1830. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1830. - <i> </i> Portulan de la mer Noire et de la mer d'Azov ou description des cotes de ces deux mers a l'usage des navigateurs. Par E. Taitbout de Marigny / by Edouard de Taitbout Marigny. Odessa : imprimerie de la ville, 1830. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1832. - <i> </i> Knizhka dlia uprazhnenii klassicheskikh / by Nikolaĭ Mikhaĭlovich Karamzin; Vasiliĭ Andreevich Zhukovskiĭ. Odessa : Gorodskaia tipografiia, 1832. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1833. - <i> Press. </i> Rečʹ Ciceronova za opravdanie Tita Anniâ Milona / by Marcus Tullius Cicero; Ilʹâ Fedorovič Grinevič. Odessa : v Gorodskoj Tipografii, 1833. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1834. - <i> </i> Guide du voyageur en Crimée : orné de cartes ... et précédé d'une introduction sur les différentes manières de se rendre d'Odessa en Crimée / by C H Montandon. Odessa : Impr. de la ville, 1834. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1834. - <i> </i> Podarok bi︠e︡dnym, alʹmanakh na 1834-ĭ god : izdannyĭ Novorossīĭskim zhenskim obshchestvom prizri︠e︡nīi︠a︡ bi︠e︡dnykh / by Novorossīĭskoe zhenskoe obshchestvo prizri︠e︡nīi︠a︡ bi︠e︡dnykh. Odessa : Pechatano v Gorodskoĭ tip., 1834. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1834. - <i> Press. </i> Mysli o kavalerīĭskoĭ taktiki︠e︡ / by Friedrich Wilhelm Bismark, Graf von; A Braun, (Lithographer) / Odessa : Vʺ Gorodskoĭ tipografīi, 1834. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1836. - <i> Press. </i> Peripl Ponta Evksinskago / by Flavius Arrianus, Schriftsteller Griechenland; Andrej Fabr. Odessa : V Gorodskoj Tipografii, 1836. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1836. - <i> </i> Chronologičeskoe obozrěnie istorii Novorossijskago Kraja : 1731-1823n1, [1730-1796] / by Apollon Oleksandrovyč Skalʹkovsʹkyj. Odessa : Gor. Tip., 1836. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1836-1838. - <i> </i> Khronologicheskoe obozri︠e︡nīe istorīi Novorossīĭskago krai︠a︡, 1730-1823 ... / by A Skalʹkovskiĭ. Odessa, Pech. v Gorodskoĭ tip., 1836-1838. - WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1844-1919. <i> Press. </i> Zapiski Odesskago obshchestva istorīi i drevnosteĭ / by Imperatorskoe Odesskoe obshchestvo istorīi i drevnosteĭ. Odessa : V gorodskoĭ tip., 1844-1919. WorldCat. <hr />
Odessa. <b> Gorodskoĭ tipografii [Imprimerie de la Ville]. </b> 1849. - <i> Press. </i> Pisʹma t︠s︡arevicha Aleksi︠e︡i︠a︡ Petrovicha k ego roditeli︠u︡ gosudari︠u︡ Petru Velikomu, gosudaryni︠e︡ Ekaterini︠e︡ Alekseevne, i kabinet-sekretari︠u︡ Makarevu; s prilozheniem pisem t︠s︡arevicha Petra, t︠s︡arevny Natalii i kni︠a︡zi︠a︡ Vi︠a︡zemskago k ego vysochestvu. Izdany s podlinnikov, khrani︠a︡shchikhsi︠a︡ v biblioteke kni︠a︡zi︠a︡ Mikhaila Semenovicha Voront︠s︡ova / by Alexis, Czarevitch son of Peter I Emperor of Russia; Peter, Emperor of Russia; Mikhail Semenovich Voront︠s︡ov, kni︠a︡zʹ. Odessa, V Gorodskoĭ tipografii, 1849. - WorldCat. <hr />
Odessa. <b> Gross, Fedor (Friedrich) Ivanovich. </b> <i> </i> Lithographer. Born in Simferopole, Crimea 1822 in the family of the German colonist artist Johann Ludwig Gross. Also artist and archaeologist. He learned painting art from his father. In 1837 he graduated from Simferopol Gymnasium, in which his father was a teacher of drawing. He traveled through the Crimea a lot, making sketches. In 1846, he arrived in Odesa, where in 1846–1847 years lithographed "Views of Crimea" were published in the lithography of Alexander Braun that made the author famous. While living in Odesa, he made many sketches of the city, as well as the events of the Crimean War of 1854–1855, printed in the printing houses of O. Braun, P. Franzow and L. Nitzsche. He moved to Kerch where he was a museum director and where he died in 1897. <hr />
Odessa. <b> Kol mevaser. </b> 1862–1869. - <i> Newspaper. </i> Kol mevaser. 1862–1869. - Newspaper where much of the new Yiddish satirical fiction appeared. But the general unwillingness of the Russian state to license Yiddish newspapers from the 1870s until 1903 artificially retarded this development. <hr />
Odessa. <b> Mieville, D. </b> 1833. - <i> </i> Voyage au mont Caucase et en Géorgie. T. 2 / by Julius von Klaproth. Paris : C. Gosselin : Libr. Classique-Éleméntaire ; Odessa : D. Mieville, 1833. - WorldCat. <hr />
Odessa. <b> Mieville, D. </b> 1835. - <i> </i> Ruth, sujet épisodique tiré de l'Écriture sainte, et traité d'après Caroline Pichler / by Ioakhim Isaakovich Tarnopol; Karoline Fichler von Greiner. Odessa : Mieville, 1835. - WorldCat. <hr />
Odessa. <b> Mieville, D. </b> 1835. - <i> </i> Mémoire sur le commerce des ports de la Nouvelle Russie, de la Moldavie et de la Valachie / Odessa [etc.] : Misville sauron, 1835. - WorldCat. <hr />
Odessa. <b> Mieville, D. </b> 1836. - <i> </i> Collection de 16 vues de la Crimée des. d'aprés nature et lithogr. / by Vorontsov. Odessa Mienville 1836. - WorldCat. <hr />
Odessa. <b> Nitče, L. </b> 1878. - <i> </i> Istorìâ Bolgarʺ. : 1 izdanìe dušeprikaŝikovʺ Bolgarina V.E. Aprilova, ispr. i dopoln. pribavlenìâmi samogo avtora i snabžennoe istorič. kartoû / by Konstantin Jireček; F K Brun; V N Palauzov. Odessa : [Tipogr. L. Nitče], 1878. - WorldCat. <hr />
Odessa. <b> Nitche, L. </b> 1878. - <i> </i> Istorīi︠a︡ Bolgarʺ / by Konstantin Jireček; F K Brun; V N Palauzov. Odessa : Tipografīi︠a︡ L. Nitche, 1878. - WorldCat. <hr />
Odessa. <b> Novorossīĭskago universiteta. </b> 1870. - <i> </i> Molodye prestupniki : voprosʺ ugolovnago prava i ugolovnoĭ politiki / by A Bogdanovskiĭ; Imperatorskīĭ novorossīĭskīĭ universitet. Odessa : Izd. Imp. novorossīĭskago universiteta, 1870. - WorldCat. <hr />
Odessa. <b> Odessaer Zeitung. </b> 1863-1919. - <i> Newspaper. </i> Odessaer Zeitung. 1863-1919. - German language newspaper read by the Mennonite christians. At first weekly and later daily. 1863-1915 and in 1918/19 in Odessa in the Ukainian Soviet Socialist Republic. <hr />
Odessa. <b> Odessk. Vi︠e︡stn. </b> 1884-1887. - <i> </i> Katalog biblioteki Imperatorskago Novorossiĭskago Universiteta / by A Kochubinskīĭ; Imperatorskīĭ novorossīĭskīĭ universitet. Biblīoteka.. Odessa : Tip. "Odessk. Vi︠e︡stn., ", 1884-1887. - WorldCat. <hr />
Odessa. <b> Roj Gorodskou Tipografiu, </b> 1830. - <i> </i> Djeviza, DJEVICA (etc) Djeviza Berezniza. Skaska dlja djeten. Perevodje iz nemezkoga. Odessa : Roj Gorodskou Tipografiu, 1830. - WorldCat. <hr />
Odessa. <b> Schultze, </b> 1884. - <i> </i> Vater, Sohn und Enkel : 2 Denkschriften ... dem ... Kaiser Alexander Nikolajewitsch dem Befreier 1863, dem regierenden Kaiser Alexander Alexandrowitsch ... zu dessen Krönung am 15. Mai 1883 ... eingereicht, zur Feier d. Mündigkeitserklärung ... des Großfürsten Thronfolgers Nikolai Alexandrowitsch am 6. Mai / by Simeon Leon von Schwabacher. Odessa : Schultze, 1884. - WorldCat. <hr />
Odessa. <b> Schultze, A. </b> 1885. - <i> </i> Ernst Possart; eine dramaturgische studie / by P Sergi︠e︡enko. Odessa, A. Schultze, 1885. - WorldCat. <hr />
Odessa. <b> Schultze, A. </b> 1885. - <i> </i> Die waibersche Rewoluṣje a Roman vun haintiger Zait verfast von S. Bekermann Di vaiberše Revoljucie t. e. Ženskaja revoljucija Roman soč.) / by S Bekermann. Odessa Gedrikt bai A. Schultze, 1885. - WorldCat. <hr />
Odessa. <b> Schultze, A. </b> 1885. - <i> </i> Von Heliopolis nach Berlin oder: die Verwandtschaft ferner Jahrhunderte : eine historisch.kritische Parallele / by S L Schwabacher. Odessa A. Schultze 1885. - WorldCat. <hr />
Odessa. <b> Stamperia della città [ </b> 1829?. - <i> </i> Otello; ossia, L'Africano di Venezia, dramma tragico per musica / by Gioacchino Rossini; Francesco Berio di Salsa, marchese. Odessa, Stamperia della città [ 1829?]. - WorldCat. <hr />
Odessa. <b> Ulrich & Schultze </b> 1878. - <i> </i> Der sieg der menschheits-idee über den nationalitäts-begriff / by Simeon Leon Schwabacher. Odessa, Gedr. bei Ulrich u. Schultze, 1878. - WorldCat. <hr />
Odessa. <b> Ulrich & Schultze </b> <i> Printers. </i> ʼUlrik̲ we-Šulz̲e WorldCat. <hr />
Odessa. <b> Ulrich & Schultze. </b> 1870. - <i> Printers. </i> Maʻarek̲et sifre qodeš : (leqsiqon) ha-kolel be-tok̲o: toldot ʼanše šem, šemot ʻamim, ʼarz̲ot, ʻarim, harim ʻamaqim we-yamim, ʼašer yesodotam be-sipure ha-qorot li-vene Yiśraʼel, we-tok̲en kol sefer wa-sefer me-ʻeśrim we-ʼarbaʻah sifre ha-qodeš, ʻaruk̲ ʻal pi ʼalfa beta / by David Baer Nathansohn. ʼOdesa : Bi-defus ʼUlrik̲ we-Šulz̲e [Ulrich & Schulze, [5]631 1870. - WorldCat. <hr />
Odessa. <b> Ulrich & Schultze. </b> 1870. - <i> Printers. </i> Leitfaden zum Unterricht in der Geographie für die deutschen Schulen Südrusslands / by Gustav Rempel. Odessa : Buchdr. von Ulrich u. Schultze, 1870. - WorldCat. <hr />
Odessa. <b> Ulrich & Schultze. </b> 1871. - <i> </i> Politika narodonaselenii︠a︡ v t︠s︡arstvovanie Ekateriny II / by Mikhail Shpilevskiĭ. Odessa : Ulʹrikha i SHulʹt︠s︡e, [ 1871]. - WorldCat. <hr />
Odessa. <b> Ulrich & Schultze. </b> 1872. - <i> Printers. </i> Zur Juden-Frage / von Moses Danzig. Odessa : Ulrich & Schultze. 1872. - WorldCat. <hr />
Odessa. <b> Ulʹrikha, G. </b> 1879. - <i> Printer. </i> Polabani : razbor sochinenīi︠a︡ na fakulʹtetskui︠u︡ premīi︠u︡ "Ocherk i︠a︡zyka slavi︠a︡n Baltīĭskago Pomorʹi︠a︡ i Brandenburga po srednevi︠e︡kovym gramotam" / by A Kochubinskīĭ. Odessa : Pechatano v Tip. G. Ulʹrikha, 1879. - WorldCat. <hr />
Odessa. <b> Ulʹrikha, G. </b> 1879. - <i> Printer. </i> Drevnīĭ mongolo-kalmyt︠s︡kīĭ, ili, oĭratskīĭ ustav vzyskanīĭ (T︠S︡aadzhin-Bichik) / by Ḟ I Leontovich; Imperatorskīĭ novorossīĭskīĭ universitet. Odessa : Pechatano v tip. G. Ulʹrikha, 1879. - WorldCat. <hr />
Odessa. <b> Ulʹrikha, G. </b> 1879. - <i> Printer. </i> Obrazovanīe vtorago bolgarskago t︠s︡arstva by F I Uspenskiĭ. Odessa (Krasnyĭ Pereulok, Dom Shvart︠s︡a, No. 3) : Pechatano v tipografīi G. Ul'rikha, 1879. - WorldCat. <hr />
Odessa. <b> Ulʹrikha, G. </b> 1879-1880. - <i> </i> Chernomorʹe. Sbornik izsli︠e︡dovanīĭ po istoricheskoĭ geografīi I︠U︡zhnoĭ Rossīi (1852-1877 g.) / by Filip Jakob Bruun; Imperatorskīĭ novorossīĭskīĭ universitet. Biblīoteka. Odessa : V Tipografīi G. Ulʹrikha, 1879-80. - WorldCat. <hr />
Odessa. <b> Unterhaltungsblatt. </b> 1842-1862. - <i> Newspaper. </i> Unterhaltungsblatt für deutsche Ansiedler im südlichen Rußland. 1842-1862. - Newspaper, carried reports written by Johann Cornies detailing the agricultural and economic status of the Molotschna in the 1840s. <hr />
Odessa. <b> Zelenago, P. A. </b> 1878-1893. - <i> </i> Katalog Biblīoteki Imperatorskago novorossīĭskago universiteta / by S P I︠A︡roshenko; A Kochubinskī ĭ; Imperatorskīĭ novorossīĭskīĭ universitet. Biblīoteka. Odessa : Tip. P.A. Zelenago, 1878-1893. - WorldCat. <hr />
Odessa. <b> Zelenago, P. A. </b> 1882. - <i> Printer. </i> Itogi slavjanskoj i russkoj filologii Popovadu Knigi prof. Kotljarevskago ; Bibliologiěskij opyt o drevnej russkoj pismennosti / by Aleksandr A Aleksandr Aleksandrovič@Kočubinskij. Odessa Zelenyj 1882. - WorldCat. <hr />
Odessa. <b> Zelenago, P. A. </b> 1882. - <i> Printer. </i> Itogi slavjanskoj i russkoj filologii : po povodu knigi prof. Kotljarevskago: Bibliologiěskij opyt o drevnej russkoj pismennosti / by Aleksandr A Kočubinskij. Odessa : Zelenyj, 1882. - WorldCat. <hr />
Odessa. <b> Zelenago, P. A. </b> 1882. - <i> </i> Itogi slavi︠a︡nskoĭ i russkoĭ filologīi : po povodu knigi Kotli︠a︡revskago: "Biblīologicheskīĭ opyt o drevneĭ russkoĭ pisʹmennosti." / by Кочубинскій, А. 1845-1907. A Kochubinskīĭ. Odessa : Tip. P.A. Zelenago, 1882. - WorldCat. <hr />
Odessa. <b> Zelenago, P. A. </b> 1882-. - <i> </i> Adaty kavkazskikh gort︠s︡ev / by Ḟ I Leontovich. Odessa, Tip. P.A. Zelenago, 1882-. - WorldCat. <hr />
OSTROH <b> </b> 1577-1581. <i> </i> Printing began after Ivan Fedorovych (Fedorov) entered the service of Prince Kostiantyn Vasyl Ostrozky and founded in Ostroh what became the important Ostroh Press (1577–1612). <hr />
Ostroh. <b> Fedorov, Ivan. </b> 1578. - <i> Printer. </i> Greek and Slavonic reading book for the local school. <hr />
Ostroh. <b> Fedorov, Ivan. </b> 1580. - <i> Printer. </i> Psalter and New Testament. <hr />
Ostroh. <b> Fedorov, Ivan. </b> 1580-1581. - <i> Printer. </i> Biblia si rec knigy Vetchago I Novago Zaveta po jazyku slovensku, 1581. - Sources: Clair (1976). <hr />
Pochaiv. <b> Pochaiv Monastery Press. </b> 1730–1918. - <i> Press. </i> In Western Ukraine, the press at the Uniate Monastery in Pochaiv (in operation between 1730-1918), became the most productive. This press published books in Church Slavonic, Ukrainian, Russian, Greek, Latin and Polish, serving Orthodox Christians, Uniates, and Catholics. It specialised in liturgical books and literature related to the Holy icon of Mary, Mother of God of the Pochaiv Monastery. The British Library has several Pochaiv editions, including two of the 18th century. The Pochaiv Monastery press competed with the Lviv Brotherhood press and until the first Partition of Poland tried to transfer exclusive rights to print liturgical books from Lviv to Pochaiv. In 1772 the Lviv Brotherhood press won the court case, but it was no longer relevant, as Lviv became part of Austria, and Pochaiv remained in Poland. Ironically, the Partition of Poland helped to boost printing activities in Pochaiv, as before 1772 the Pochaiv Press could not publish certain liturgical books that the Lviv Press had exclusive rights for. As a result of the next Partition of Poland Pochaiv ended up in the Russian Empire, and of course, the press had difficulties with printing and distribution of Uniate editions, although it escaped such strict control as publishers in the territories of the Hetmanate. At the end of the 18th century, the press signed contracts with Old Believers to produce their books. The Russian officials soon found out about these contracts, and the press was almost closed. In 1830-31 the monks supported the Polish uprising, printing leaflets and pamphlets for the Poles. As a result, the monastery was transferred to the Orthodox Church, and printing which by the mid-19th century became the main source of income for the monastery, fell under control of the Orthodox Church. <hr />
Podilia. <b> Polish Protestant Panivtsi Press. </b> 1608–11. - <i> Press. </i> functioned briefly. <hr />
Rokhmaniv. <b> Stavrovetsky-Tranquillon, Kyrylo. </b> 1618–19. - <i> Press. </i> Cyrillic press. <hr />
Sambor. <b> </b> 1725/1775. - <i> Press. </i> Jewish press. During the reign of August III (1725-1763) two Jewish printing presses were opened, which received royal privileges. At the close of the 18th century there was a Jewish press in Sambor which specialized in printing calendars. <hr />
Striatyn. <b> Balaban, Hedeon, Bishop. </b> 1602–6. - <i> Press. </i> Cyrillic press. <hr />
Turka. <b> </b> 1730/1750. - <i> Press. </i> Jan Antoni Kalinowski set up a Jewish printing press in the 1730s, which published various prayer books and study books. One copy of an ancient prayer book was kept in the archives of the community of Turka until the Holocaust. <hr />
Uhortsi. <b> Liutkovych-Telytsia, Pavlo. </b> 1617–21. - <i> Printer. </i> Born in Western Ukraine, died 1634 in Chorna, Volhynia. Churchman and printer. With the assistance of his apprentice and printer Sylvestr, he ran a series of Cyrillic printing presses in Uhortsi, near Sambir (1617–21). In 1618 the first Russian book, entitled "Sobranje wokratce slowec w Uhercach" was published there. in He was later in Minsk, Belarus (1622); and in Volhynia at the Chetvertnia (1624–5), Lutsk (1625–8), and Chorna monasteries. He was also hegumen of the Saints Peter and Paul Monastery in Minsk (from 1611) and the monastery in Chorna (1628–34). Seven of the nine books he is known to have printed have been preserved, including his own panegyric to Oleksander Sheptytsky (1622). He printed panegyrics, theological works, poetry, and textbooks. <hr />
Univ. <b> Monastery press. </b> 1648–1770. <i> Press. </i> Cyrillic press founded by Bishop Zhelyborsky. <hr />
Yaniv. <b> </b> 1812–20. - <i> Press. </i> Polish press (1812–20) <hr />
Yaryshiv. <b> </b> 1790–2. - <i> Press. </i> Polish press (1790–2) <hr />
Zhovka. <b> Halewy, U. Foebus. </b> 1693–1782. - <i> Printer. </i> Jewish press founded by U. Foebus Halewy. <hr />
Zhytomyr. <b> Russian State Press. </b> 1783–1918. - <i> Press. </i> Russian local government presses were founded (1783–1918), <hr />
</div></div>Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-21791127596072555902022-01-23T11:34:00.002+00:002022-02-10T19:32:44.904+00:00Lapthorne 1699<CENTER><FONT SIZE="+1"><B>Exeter Working Papers in British Book Trade History; 11<BR />
Book trade references in the Lapthorne-Coffin correspondence 1683-1697<BR />edited by Michael Treadwell and Ian Maxted. <BR />Letters, 1699</B></FONT></CENTER>
Go to <a href="https://bookhistory.blogspot.com/2022/01/lapthorne-1698.html#981231">last letter of 1698</a>.<br />
Return to <a href="https://bookhistory.blogspot.com/2007/01/lapthorne-introduction.html">introduction</a>.<br />
For this year book references in all letters are in the process of being transcribed from the letter book, the originals not having been located.<br />
<hr />
<a name="990107"></A>[7 January 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990114"></A>[14 January 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990117"></A>[17 January 1699]<br />
I am sorry I should give y<i>o</i>u <i>th</i>e trouble of writing a letter extraordinary about <i>th</i>e mistake in <i>th</i>e p<i>ar</i>ticulars of Mr<br />
Westons bill for <i>th</i>e bills themselves being sent recpsi loquiter, so <i>tha</i>t y<i>o</i>u might have abstracted w<i>th</i>out<br />
of y<i>ou</i>r acc<i>oun</i>t w<i>i</i>thout my allowance for I could not contradict it; & I wonder how I came to be guilty of such a mistake<br />
I cannot say I was surprised as to tyme, for I had tyme enough, & w<i>he</i>n I put <i>th</i>e things into <i>th</i>e box. I took <i>th</i>e sum<i>m</i><br />
of every parcell of <i>th</i>e seeds [?] as Mr Weston sent them, but com<i>m</i>itted a blunder wn I made up y<i>ou</i>r acc<i>oun</i>t. I hope <i>tha</i>t<br />
you doe not censure me as if <i>th</i>e error were wilful for I would not be so great a foole if I had any such<br />
designs having sent y<i>o</i>u <i>th</i>e bills yemselves, before <i>th</i>e acc<i>oun</i>t came. And for <i>th</i>e box I assure y<i>o</i>u it was sent according<br />
as I wrote & <i>th</i>e fault was either in <i>th</i>e Exeter or <i>th</i>e Torrington carryer <i>tha</i>t y<i>o</i>u had it not accordingly, and<br />
however formerly there have been disappointments of this kinde. I doe assure y<i>o</i>u I never wrote of send-<br />
ing my box to y<i>o</i>u but it was sent as my letter intimated. I do not heare <i>th</i>at any of y<ou>r bookes y<i>o</i>u write<br />
about are yet out but of <i>tha</i>t more in my next. As for <i>th</i>e sessions papers in 9ber there was none that<br />
month. I suppose y<i>o</i>u think there is a sessions for every month, but it is otherwise, for there are<br />
som months wee have no sessions in. I onely in this give y<i>o</i>u[...] an answer to y<ou>r last, in my next y<i>o</i>u<br />
shal heare more at large. I suppose <i>th</i>e mistake was by marking twice 19s 2d instead of<br />
twice 9s - 2d so <i>tha</i>t <i>th</i>e 1£ is overreckon'd w<hi>ch I here acknowledge. <br />
<HR />
<a name="990121"></A>21 Jan. -98[/9] -<br />
None of <i>th</i>e bookes w<i>hi</i>ch y<i>o</i>u menc<i>i</I>ond in y<i>ou</i>r letter (excepting Dr Nichols w<i>hi</i>ch is now out) are yet out [...]<br />
<HR />
<a name="990128"></A>[28 January 1699]<br />
I receivd y<i>ou</i>rs <i>th</i>e last night w<i>i</i>th <i>th</i>e enclosed bill for 3. 18. 8 on Mr Gouge (for w<i>hi</i>ch I return thanks) & make noe<br />
doubt but wilbe payd 29th I see him; I was one day this week at Mr Quicks house & spake w<i>i</i>th his wife (hee<br />
not being at home) & shee informed mee <i>tha</i>t her husband lets <i>th</i>e prosection of his designe of print-<br />
ing his book to fall, having not encouragemmt enough to goe on w<i>i</i>th it. But Mr Terrill intends<br />
to goe on w<i>i</i>th his, but cannot yet certainly tell w<i>he</i>n it wilbe out. [...]<br />
<HR />
<a name="990204"></A><br />
Since my last I have recd <i>th</i>e money fro<i>m</i> Mr Gouge on <i>th</i>e bill of exchange. [...]<br />
<HR />
<a name="990211"></A>[11 February 1699]<br />
I have sent y<i>o</i>u <i>th</i>e enclosed newspap<i>er</i>, because I saw <i>th</i>e original letter recited therein a-<br />
bout <i>th</i>e Russia<n> transactions before it was printed w<i>hi</i>ch came fro<i>m</i> Sr Anth: Deans son a skilfull ship-<br />
wright who went over w<i>i</i>th <i>th</i>e Czar & wrote <i>th</i>e letter to <i>th</i>e p<i>er</i>son <i>tha</i>t read <i>th</i>e letter in my hearing & there-<br />
fore I recom<i>m</i>end it was a pap<i>er</i> worth y<ou>r observation. [...]<br />
<HR />
<a name="990217"></A>[17 February 1699]<br />
[...] I received fro<i>m</i> Dr Mill (by the<br />
direcc<i>i</I>on of Mr Coffin y<i>ou</i>r son) lately a booke for Dr Prideaux w<i>hi</i>ch I carried to Mr Prideaux<br />
<i>th</i>e merchant to bee sent to him.
<HR />
<a name="990226"></A>[26 February 1699]<br />
Last night came out a proclamac<i>i</I>on touching <i>th</i>e number of <i>th</i>e soldiers <i>tha</i>t are to be disbanded & <i>th</i>e money<br />
to pay <i>th</i>em off as I am informed but I have not read it also I hear there is another in <i>th</i>e press to banish the<br />
Papists out of town according to <i>th</i>e late address & <i>th</i>e King answer to it. [...] Its sayd<br />
Dr Stillingfleet Bp of Worcester lyes dangerously ill. My son goes for Oxford on Monday<br />
next.<br />
<HR />
<a name="990305"></A>[5 March 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990311"></A>[11 March 1699]<br />
[Nothing on books]<br />
<HR />
<a name="990318"></A>18.March-98[/9]<br />
<HR />
<a name="990325"></A>25.March-99<br />
I have in pursuance of y<i>ou</i>r direcc<i>i</i>ons in y<i>ou</i>r 2 last letters sent by <i>th</i>e Exeter carrier all <i>th</i>e things you<br />
wrote for to wit <i>th</i>e bookes & papers in a little box & <i>th</i>e grefts don up in a matt <i>th</i>e last hath 2 labells in p<i>ar</i>chn<i>en</i>t -<br />
for direcc<i>i</i>ons. [... much more on the grafts and Lapthorne's problems over delivery ...] None of <i>th</i>e books are guilded<br />
in <i>th</i>e back, some such as were bought so. Because y<i>o</i>u intend to make an essay below, & leaf-gold is<br />
sent for <i>tha</i>t purpose. [...]
[The House of Lords] passed many bills for naturalizac<i>i</i>on w<i>i</i>th som other pub-<br />
lique bills w<i>hi</i>ch wilbe menc<i>i</i>ond in <i>th</i>e next Gazet.<br />
<hr />
<a name="990401"></A>[1 April 1699]<br />
Richard Coffin Esqr his acc<i>oun</i>t sent 1 Aprill 1699 all former accounts being discharged<br />
R. L. <br />
<table>
<tr><td>[Account in two columns in letter book. Column 1]</td><td></td></tr>
<tr><td>Mr Browns bill</td><td>1: 5: 3</td></tr>
<tr><td>To Mr Bennet for Dr Nichols book</td><td>0: 6: 0</td></tr>
<tr><td>A waterman for carrying a tree to Mr Heddon <i>the</i> gardener</td><td>0: 0: 3</td></tr>
<tr><td>The gardener that brought the things fom the waters side to my house</td><td>0: 1: 0</td></tr>
<tr><td>Mr Westons seedes</td><td>0: 2: 4</td></tr>
<tr><td>2 sessions papers</td><td>0: 0: 4</td></tr>
<tr><td>Quarter of Gazets</td><td>0: 2: 0</td></tr>
<tr><td>Newes paper of Russia</td><td>0: 0: 1</td></tr>
<tr><td>[Total]</td><td>1: 17: 3</td></tr>
<tr><td>[Column 2]</td><td></td></tr>
<tr><td>Mr Peyton for [answer ? - details unclear]</td><td>0: 3: 4</td></tr>
<tr><td>For Mr Clarks that brought it up</td><td>0: 1: 0</td></tr>
<tr><td>For a box</td><td>0: 0: 6</td></tr>
<tr><td>Carrying things to ye carrier</td><td>0: 0: 6</td></tr>
<tr><td>[Total]</td><td>0: 5: 4</td></tr>
<tr><td>[Carried over]</td><td>1: 17: 3</td></tr>
<tr><td>[Grand total]</td><td>2: 2: 7</td></tr></table>
<hr />
Mr Brownes Bill menc<i>i</I>ond in Mr Lapthorns acc<i>oun</i>t on the other syde the<br />
particulars are as followeth - <br />
<table>
<tr><td>Gastrell of Revelation - </td><td>0: 4: 6</td></tr>
<tr><td>Bp Chicelers Life - </td><td>0: 3: 0</td></tr>
<tr><td>Term catalogue - </td><td>0: 0: 3</td></tr>
<tr><td>Compleat gardener - </td><td>0: 5: 0</td></tr>
<tr><td>Evelyn's Kalend. hortense - </td><td>0: 2: 6</td></tr>
<tr><td>Bentley agst Boyle - </td><td>0: 6: 0</td></tr>
<tr><td>2 bookes of gold - </td><td>0: 4: 0</td></tr>
<tr><td>[Total]</td><td>1: 5: 3</td></tr></table>
<HR />
<a name="990401"></A>01-Apr-99<br />
Sr I hope y<i>o</i>u will have rec'd or thay com y<i>ou</i>r hands <i>th</i>e bundle of graffs & box sent by <i>th</i>e Exeter carryer <i>th</i>e last<br />
week [...]<br />
<HR />
<a name="990408"></A>8 Apr.99<br />
I received yrs last night & was much troubled <i>tha</i>t y<i>o</i>u should miss of y<i>ou</i>r things sent this day fortnight.<br />
Now I find <i>th</i>e reason <i>tha</i>t wn I expected they were sent by <i>th</i>e packhorses they were somtimes<br />
sent by wagon, <i>th</i>e one com<i>m</i> into Exeter <i>th</i>e Fryday, thother not till Wednesday. Now had<br />
I known they had had a wagon in the same inn as well as packhorses, I should have<br />
taken care to know by w<i>hi</i>ch <i>th</i>e things were sent & wrote accordingly, w<i>hi</i>ch course I shall observe<br />
hereafter. [...]<br />
<HR />
<a name="990415"></A>15.Apr.99<br />
I have received <i>th</i>e money fro<i>m</i> Mr Gouge on <i>th</i>e bill of exchange for w<i>hi</i>ch I thank you<br />
[...] <i>th</i>e Parliam<i>en</i>t<br />
have continued <i>th</i>e tax on paper for [space left] yeares & voted an addic<i>i</I>onal tax. Mr Courtney ye<br />
Knight of <i>th</i>e shire is dead [...]
<HR />
<a name="990422"></A>22.Apr.99<br />
[...]They have renewed <i>th</i>e duty on paper w<i>i</i>th an addic<i>i</I>onal tax. <br />
<HR />
<a name="990430"></A>30.Apr.99<br />
[Nothing on books ]<br />
<HR />
<a name="990506"></A>6.May-99<br />
[Nothing on books ]<br />
<HR />
<a name="990513"></A>[13 May 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990520"></A>[20 May 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990527"></A>[27 May 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990603"></A>[3 June 1699]<br />
[Nothing on books ]<br />
<HR />
<a name="990610"></A>[10 June 1699]<br />
I receiv'd yrs yesterday w<i>i</i>th direcc<i>i</I>ons for som books w<i>hi</i>ch shal god willing bee sent this day sevenight<br />
[...]I have<br />
lately received a letter fro<i>m</i> my son at Oxford <i>tha</i>t he hath had a 2d fitt of such a distemper first was about<br />
a year since so seized in <i>th</i>e Chapple at prayer & taken up & carryed to his chamber. [...]<br />
<a name="990617"></A>[17 June 1699]<br />
The 4th p<i>ar</i>t of Rushworth is [?] out I suppose yeir subscriptions are not yet filled up. Mr Chiswell told mee<br />
hee thought it would be almost Chr<i>m</i>as before it will com out. I have iust now sent a bag to <i>th</i>e Exeter<br />
carryer all <i>th</i>e things y<i>o</i>u sent for save Rushworth directed to y<i>o</i>u as usual & charg'd <i>th</i>e man <i>tha</i>t carryed it <i>tha</i>t hee<br />
gave order to <i>th</i>e carryer to send it by <i>th</i>e packhorse & not by <i>th</i>e waggon & then it wilbe in Exeter early on<br />
Fryday next in <i>th</i>e afternoon. [...] Y<i>o</i>u shall receive y<i>ou</i>r account in y<i>ou</i>r next Y<i>o</i>u doe<br />
well in proposing <i>th</i>e method for Mr Coffin, & if so I may have <i>th</i>e happiness of serving him<br />
<HR />
<a name="990624"></A>24 June.99<br />
[Image unclear, to check]<br />
<HR />
<a name="990624"></A><i>Th</i>e date omitted; but its apparent l<i>et</i>ter was writt last Saturday 24. June -99<br />
[...]Underneat [sic] is y<i>ou</i>r acc<i>oun</i>t.<br />
Richard Coffin Esqr his account sent 24 June 1699 (all former accounts discharged) R. L.<br />
<table>
<tr><td>Mr Browns bill</td><td>1: 14: 5</td><td></td></tr>
<tr><td>Bowstring</td><td>0: 2: 0</td></tr>
<tr><td>Quarter due this day of Gazets</td><td>0: 2: 0</td></tr>
<tr><td>Two sessions papers</td><td>0: 0: 4</td></tr>
<tr><td>Box</td><td>0: 0: 8</td></tr>
<tr><td>Porter</td><td>0: 0: 6</td></tr>
<tr><td>[Total]</td><td>1: 19: 11</td></tr>
<tr><td>Mr Browns bill June 17 -99</td></tr>
<tr><td>Dupins Eccles. hist. last vol. G. B.</td><td>0: 17: 6</td></tr>
<tr><td>Le Clerks supplemt to Ham<i>m</i> 4to. G. B. </td><td>0: 10: 0</td></tr>
<tr><td>Bp. of Worcesters acct of Pythagoras</td><td>0: 1: 0</td></tr>
<tr><td>Term catalogue</td><td>0: 0: 3</td></tr>
<tr><td>Book of gold</td><td>0: 2: 0</td></tr>
<tr><td>2 qr of paper demi royal</td><td>0: 3: 6</td></tr>
<tr><td>2 Gazets</td><td>0: 0: 2</td></tr>
<tr><td></td><td></td><td>[Total]</td><td>1: 14: 5</td></tr></table>
<br />
[Postscript on Coffin's son's departure abroad ("I shal endeavour to bee as serviecable as I can"), described more in later letters]<br />
<HR />
<a name="990701"></A>1.July-99<br />
[nothing on books]<br />
<HR />
<a name="990708"></A>8.July-99<br />
[Much on making arrangements for Coffin's son but nothing on books]<br />
<HR />
<a name="990715"></A>15. July 99<br />
On Monday last I wayted on Mr Coffin y<i>ou</i>r son to Mr Gouges house where wee were very kindly<br />
received by Mrs Gouge & promised to supply him w<i>i</i>th w<i>ha</i>t money hee wanted, w<i>hi</i>ch hee hath received<br />
but I forbear writing <i>th</i>e p<i>ar</i>ticulars knowing <i>tha</i>t Mr Coffin will doe it himselfe. Shee paid mee then like-<br />
wise <i>th</i>e money on y<i>ou</i>r last bill, as to so I wrought about <i>th</i>e suit of clothes, it seemes Mr Francis[?]<br />
advised cloath instead of stuffe, & I think truly tho it bee somthing more chargeable, yet hee hath<br />
advised for <i>th</i>e best because of wayting on <i>th</i>e Ambassador where hee wilbe introduced into <i>th</i>e aquain-<br />
tance of <i>th</i>e gent. <i>tha</i>t goe w<i>i</i>the him, it wilbe convenient hee should make som tolerable figure. <br />
[more on departure of Coffin's son but nothing on books in this letter]<br />
<HR />
<a name="990722"></A>22. July 99<br />
On Wednesday morning y<i>ou</i>r son wayted on <i>th</i>e Ambassador who ordered him to get to Gravesend<br />
<i>th</i>at night & next day hee hoped to be there himself & would take him into his yatch, & accordingly hee<br />
took boat at Wednesday <i>th</i>e afternoon about 5. I wayted on him fro<i>m</i> Mr Prideaux's<br />
hous to <i>th</i>e watersyde & there saw him into <i>th</i>e boat where wee parted. He went away hale &<br />
in good health full of spirit and courage: & w<i>it</i>hall very thoughfull of w<i>ha</i>t hee was to undertake<br />
I discoursed him privately upon <i>th</i>e subiect of y<i>ou</i>r last letter to mee & he was very ap=<br />
prehensive of all circumstances. Hee said hee would use all methods possible for good<br />
husbandry & if hee found <i>th</i>e L<i>or</i>d Ambassadors entertainment expensive hee would w<i>i</i>th as much<br />
civil caution as might be get off fro<i>m</i> him. Hee hopes y<i>o</i>u will give him a years absence<br />
& hopes to contrive as not to exceed 200£ [?] (if so) hee wilbee a very good husband<br />
& you cannot allow him less. Hee hath left Mr Francklyn's bill for you to pay, w<i>hi</i>ch hee<br />
had forgot to leave w<i>i</i>th mee, w<i>hi</i>ch is as hee said about 7£ & a periwig hee had of my bar-<br />
ber w<i>hi</i>ch <i>th</i>e barber said hee would 3£ for it, but I have moderated it since Mr Coffin<br />
went to 52s-6d & hee tells mee he gets but a bare halfe crown by it. I have this <br />
afternoon been at my L<i>or</i>d Ambassadors lodgings to know w<i>he</i>n hee went & if any things<br />
were sent after him before hee went out of England, <i>tha</i>t so I might send y<i>ou</i>r letter by <i>th</i>e same<br />
conveyance & I was informed <i>tha</i>t his L<i>or</i>dship did not goe fro<i>m</i> London 'till yesterday<br />
morning, & went first for Greenwich & that hee went for Greenw<i>i</i>ch about 5 that<br />
evening for Gravesend, & they think hee hasted then away alright for Callice &<br />
they know not how to send 'till they heard hee was landed. So y<i>ou</i>r letter must lye<br />
till I have farther order fro<i>m</i> you how to dispose of it. My L<i>or</i>d Ambassador seemed<br />
to bee very courteous to him & gave his Lordship a character of him, & such as hee truly<br />
deserved; & my L<or>d said care should be taken of him & wished mee to write to you<br />
S<i>i</i>r I hope this journey & <i>th</i>e expences will turn to much advantage & hope y<i>o</i>u will live to<br />
see it & be iudge of it y<ou>r selfe. [... - suggestion that Coffin is unwell?]<br />
<HR />
<a name="990729">[29 July 1699]</A><br />
[Image unclear, to check]<br />
<HR />
<a name="990805"></A>5 Aug: 99. note The next l<i>ett</i>re after this being writt 29 July 99 should have been inserted before this.<br />
[...]Mr Coopers<br/>
tryal at Hertford is printed at large according to <i>th</i>e direc<i>i</i>ons of Mr Baron Hatrell [?] who sets judge.<br />
I think I shall have some urgent occasions <i>that</i> will call mee to Plymouth about 3 weekes hence <br />
ag<i>ain</i>st my next letter (as I iudje) I shalbe in a capacity to determine touching my goeing.<br />
<HR />
<a name="990810"></A>[10 August 1699? Date obscured]<br />
Upon occasion of <i>th</i>e late tryal of Mr Cooper for murder before Mr Baron Hatrell w<i>hi</i>ch is<br />
now printed, they have printed as a paralel case - a case reported by s<i>e</i>rieant May=<br />
nard w<i>hi</i>ch is taken out of s<i>e</i>rieant Maynards reports, w<i>hi</i>ch as I take it I long since bought<br />
for you in fol. & I think its a case in 40. Car. prim. about <i>th</i>e murder one Norest in<br />
Hertfordshire if you have <i>th</i>e book for <i>th</i>e strangeness of <i>th</i>e case it may be worth y<i>ou</i>r reading<br />
My wife and daughter came yesterday home so yt I hope wthin a fortnight at farthest<br />
to begin my journey. I hope to be goeing 10 dayes hence.<br />
<HR />
<a name="990817"></A>17.Aug.99<br />
I received Tuesday last a <i>let</i>ter fro<i>m</i> Mr Coffin y<i>ou</i>r son at Paris. Hee wish'd mee to wayte on Mr Morris who<br />
promised it seems to send him a <i>let</i>ter of credit for a supply of money in Paris. Mr Morris told mee <br />
hee had spoken to one for <i>th</i>e purpose who would give it if provided hee had a promiss or note fro<i>m</i> Mr Prideaux<br />
to reimburse him; I have also been w<i>i</i>th Mr Prideaux & told him w<ha>t Mr Morris said & hee said it was but reass=<br />
nable & hee is writing to doe it but w<i>i</i>thall would first have <i>th</i>e letter of order for <i>th</i>e doing it. I have iust now an=<br />
swered Mr Coffins letter wherein I have acquainted him w<ha>t I have transacted for him in this matter &<br />
have in a manner assured him <i>tha</i>t such order for his supply wilbe sent & therefore I would have you<br />
as soon as you can , write such a letter to Mr Prideaux. I intend to begin my journey to Plymouth <br />
Monday sevenight & therefore write now <i>tha</i>t if there be any occasion for me to doe any thing for you before I goe <br />
I may receive another letter fro<i>m</i> you. [...] <br />
<HR />
<a name="990826"></A>26.Aug.99<br />
I was at Mr Gouges this morning but hee was gon out & his wife & children at Epsum, where as his<br />
mayd sayd he was also to goe in <i>tha</i>t afternoon she told mee he would be at home at 12. I called for pen and <br />
ink & wrote a letter to Mr Gouge of w<i>ha</i>t y<i>o</i>u desired mee & desired him to send his answer because<br />
you expected it this post but nothing com<i>m</i>ing from him at 4 I sent a porter to him w<i>i</i>th another [?]<br />
[that?] if y<ou>r porter brought mee not his answer <i>tha</i>t w<i>he</i>n hee come in hee would not faile to write<br />
a letter to y<ou>r selfe but w<i>he</i>n <i>th</i>e porter came it seems hee was above in his chamber & sent down<br />
word hee should be in town again on Monday & <i>tha</i>t was all as <i>th</i>e porter told my mayd, w<hi>ch is very odd<br />
& I am vexed at it. I hope hee will send his answer by Tuesdays post. If you write to Mr <br >
Prideaux I believe he will send one to Mr Gouge to give him his answer. I hope to bee <br />
at Exeter Thursday next & to stay there till Monday following; my usual q<i>uar</i>ters is at <i>th</i>e Starr Inn <br />
near St Johns Bow in <i>th</i>e Great Street.
<HR />
[Above was the last letter in the letter book and was transcribed in full]<br />
[Richard Coffin died 25 December 1699]<br />
<HR />
Return to <a href="https://bookhistory.blogspot.com/2007/01/lapthorne-introduction.html">introduction</a>.<br />
<P>This page last updated 10 Feb 2022<BR>
© Ian Maxted, 2022.</P>Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-54304507173645916912022-01-23T11:26:00.003+00:002022-02-10T19:34:24.656+00:00Lapthorne 1698<CENTER><FONT SIZE="+1"><B>Exeter Working Papers in British Book Trade History; 11<BR />
Book trade references in the Lapthorne-Coffin correspondence 1683-1697<BR />edited by Michael Treadwell and Ian Maxted. <BR />Letters, 1698</B></FONT></CENTER>
Go to <a href="https://bookhistory.blogspot.com/2007/01/lapthorne-1697.html#971225">last letter of 1697</a>.<br />
Return to <a href="https://bookhistory.blogspot.com/2007/01/lapthorne-introduction.html">introduction</a>.<br />
For this year book references in all letters are in the process of being transcribed from the letter book, the originals not having been located.<br />
<hr />
<a name="980101"></A>[1 January 1697/8]<br />
[Nothing on books.]<br />
<HR />
<a name="980108"></A>[8 January 1697/8]<br />
[Nothing on books.]<br />
<HR />
<a name="980115"></A>15. Jan. 97<br />
Mr Tirrells 2d vol. nor Chancy's book are neither of <i>th</i>em yet out. Mr Tirrell is lately gon to Oxford but wilbe<br />
here a week hence. I have paid Mr Goslyn at <i>th</i>e Post Office & taken a receipt for <i>th</i>e French Gazets & ordered<br />
him to desist from sending any more. I could not meet with the Italian dictionary at o<i>u</i>r English booksellers, buth they<br />
told me I shoud meet w<i>i</i>th it at <i>th</i>e French booksellers & <i>tha</i>t <i>th</i>e price was 12s where I intend to make inquiry next week & think<br />
to send <i>th</i>e box Saturday next.<br />
<HR />
<a name="980122"></A>22-Jan-97<br />
****
I received yrs last night i wch yu gave direcc<i>i</i>on for more bookes & therefore have put
off ye sending of yr box to this day sevenight otherwise I intended to send it this day
[...] The dictionary shalbe sent to Mr Coffin
according to direccons but could not get it under 13s.As for Cradocks Practice &
knowledge wee cannot yet meet wth it, wth the supplement it is a very scarce book per
=fected & exclusively dear but Mr Harley a bookseller lately bought ye copye for
another edition but wn it wilbe printed wee know not however I will make it my
business to get it because yu desire it but I would send it perfect. I heard
Mr Cradock preach wthin this 12 month hee is antient being elder brother to ye
provost of Eaton who dyed about two yeares since.
*****
<HR />
<a name="980129"></A>29.Jan:-97<br />
****
I have this day sent by ye Exeter carrier ye seeds & such books yu wrote for yt were extant. I ave
also sent to Mr Coffin at Oxford ye Italian dictionary & so soon as wee can meet wth Cradocks Knowledge &
practice (at any tolerable rate) it shalbe handsomly bound & gilt & sent likewise. [...]
****
<HR />
<a name="980205"></A>5 Febr.97[/8]<br />
I hope by <i>th</i>e tyme these com to y<i>or</i>r hands y<i>o</i>u wil receive <i>y</i>r box sent this day sevenight & I hope ye Com<i>m</i>. take yr answer [M/S?]<br />
Risdon is also received, <i>th</i>e reason I sent not <i>th</i>e copy of <i>th</i>e bill at large in <i>th</i>e Box was because y<i>o</i>u had <i>th</i>e close transcript & if there<br />
should be an occasion to use it here, wee should have been of <i>th</i>e expence of another copy & therefore I sent it not. You here [?]<br />
have Mr Peyton <i>th</i>e Chancery clerk's bill [...]<br />
I am iust now going to Mr Brown for his bill w<i>hi</i>ch shal likewise be enclosed. <br />
[...] I have iust now<br /.
adiusted MrBrowns acc<i>oun</i>t & hee deducts out of <i>th</i>e 40s for <i>th</i>e Acts hee saith - 1: 13: 8 & doth protest wither hee [?]<br />
men when <i>th</i>e Acts were taken out of <i>th</i>e box have hvae so mislayed them (if his house being so cumbered w<i>i</i>th books) <i>tha</i>t they<br />
cannot tell where to find them, so if hee shall look <i>th</i>e benefit of <i>th</i>e term to sell <i>th</i>em or els would have [all?]<br />
lowed y<i>o</i>u more. <i>Th</i>e following bills I received in this last letter<br />
<HR />
MichTerm 1697<br />
[Column 1 Peyton's account for legal work, 8 lines]<br />
[Column 2 Brown's account for books]<br />
Jan. 29 - 97/8<br />
<table>
<tr><td>Veneromus Italian dictionary G.B. - </td><td>0: 13: 0</td></tr>
<tr><td>Usher's Hist. Ecclesiast. Brit. G.B. - </td><td>0: 14: 0</td></tr>
<tr><td>Dampears Voyages G.B. - </td><td>0: 6: 0</td></tr>
<tr><td>Pope's Life of Bp Ward &c. G. B. - </td><td>0: 3: 0</td></tr>
<tr><td>Powells Hist of Wales G.B. - </td><td>0: 5: 6</td></tr>
<tr><td>Discovery's in South America - </td><td>0: 4: 6</td></tr>
<tr><td>Map of <i>th</i>e Dyocess of Canterbury G.B. - </td><td>0: 2: 0</td></tr>
<tr><td>Pufendorfs State of Germany. G.B. - </td><td>0: 3: 0</td></tr>
<tr><td>Trinity Term Catalogue - </td><td>0: 0: 3</td></tr>
<tr><td> - to allow for <i>th</i>e Acts 1.13.0. </td><td>0: 17: 3</td></tr>
<tr><td>Dan. Browne sum<i>m</i> tot. - </td><td>0: 13: 0</td></tr></table>
All former accounts discharged R. L. Richard Coffin Esqr his account 5 Febr. 1697[/8]<br />
<table>
<tr><td>20. 9ber send porter to <i>th</i>e carrier for a box w<i>i</i>th acts w<i>hi</i>ch was not brought <i>tha</i>t week -- 0: 0: 4</td></tr>
<tr><td>27.9ber to <i>th</i>e carrier for bringing <i>th</i>e box</td><td>0: 2: 0</td></tr>
<tr><td>To a porter to carry it to Mr Browns</td><td>0: 0: 3</td></tr>
<tr><td>Kings speech</td><td>0: 0: 1</td></tr>
<tr><td>To <i>th</i>e carrier for carrying <i>th</i>e 2d box w<i>i</i>th Acts</td><td>0: 2: 0</td></tr>
<tr><td>To a porter going w<i>i</i>th other things [unclear] Mr Browns</td><td>0: 0: 2</td></tr>
<tr><td>24 10ber Xtmas order for Gazette w<i>i</i>th double ones</td><td>0: 2: 4</td></tr>
<tr><td>2 sessions papers</td><td>0: 0: 4</td></tr>
<tr><td>Paid to Mr Goslyn at <i>th</i>e Post Office for <i>th</i>e qrter for <i>th</i>e French Gazets to Mr Coffin</td></tr>
& for those over & above <i>th</i>e qrter a qyery</td><td>1:2:6</td></tr>
<tr><td>Mr Westons bill</td><td>1:8:1</td></tr>
<tr><td>Mr Payton bill of <i>th</i>e clerk in chancery</td><td>1:17:8</td></tr>
<tr><td>Mr Browns bill deducting <i>th</i>e Acts</td><td>0:17:3</td></tr>
Lyst of delinquents sent p<i>er</i> post</td><td>0:0:1</td></tr>
<tr><td>For a box & to <i>th</i>e boy <i>tha</i>t usually comes & nayls it 2d to his Xtmas box</td><td>0:1:0</td></tr>
<tr><td>Brown paper to cover it & Mr Coffin book</td><td>0:0:1</td></tr>
<tr><td>For a cord & to <i>th</i>e porter for cording & carrying it</td><td>0:0:6</td></tr>
<tr><td>Transcribing <i>th</i>e bill in Chancery</td><td>0:2:6</td></tr>
<tr><td>Sum<i>m</i> tot -- 5:16:8</td></tr></table>
<HR />
<a name="980212"></A>12-Febr-97[/8]<br />
I hope y<i>o</i>u have received y<i>ou</i>r box sent this day fortnight & y<i>ou</i>r account this dat sevenight <i>th</i>e reason<br />
some books sent for were absent[?] was because they were not yet printed. [More on the bill in Chancery]<br />
The Com<i>m</i>ons have voted an address to <i>th</i>e King to issue out his proclamac<i>i</i>on<br />
to suppress im<i>m</i>orality & irreligion & so putt a stopp to prophane & blasphe=<br />
mous books. <br />
<HR />
<a name="980215"></A>15-Febr-97[/8]<br />
I received y<i>ou</i>rs last night & wonder <i>th</i>e box is not yet com to y<i>ou</i>r hands but y<i>o</i>u have been several tymes served so<br />
formerly. I have been with Mr Brown & wee have conferred notes. I took out y<i>ou</i>r letters & his receipt & hee pro=[unclear]<br />
duced his debt book & upon the whole, hee finds <i>th</i>e mistake to bee thus (viz) <i>th</i>at in his rec<i>eip</i>t if <i>th</i>e 12tt 9ber hee<br />
deducts for Acts of Parliament w<i>hi</i>ch were to bee returned - 0.16.4 & then in his last bill (another parcell<br />
of Acts being returned) hee not taking notice <i>th</i>at hee had deducted y<i>ou</i>r 16s 4d, hee allows for all <i>th</i>e Acts 1.13.0<br />
to it if y<i>o</i>u add to his amount 16s & 4d his bill is rectified as it ought to bee, & heartily thanks you for<br />
this candor towards him & w<i>i</i>th all faith <i>th</i>at if y<i>o</i>u return Dr Barrows book hee will gratify you in<br />
y<i>ou</i>r request. Neith Mr Tirrell nor Chancy's book wilbe out till <i>th</i>e next winter, as for <i>th</i>e other books<br />
such as com out y<i>o</i>u shall have sent in y<i>ou</i>r next parcell. [More on the law case]
Tirrel ... Chancey's book &c &c [rest of letter to check]<br />
<HR />
<a name="980219"></A>19-Febr-97[/8]<br />
[...] The Com<i>m</i>ons have delivered <i>th</i>eir address for a proclamac<i>i</i>on for suppressing im<i>m</i>orality & prophaness & printing of lewd bookes w<i>hi</i>ch was gratiously ac=<br />
cepted by his Ma<i>jes</i>ty. [...]<br />
<HR />
<a name="980226"></A>[26 February 1698]<br />
[Nothing on books ]<br />
<HR />
<a name="980305"></A>5 March -97[/8]<br />
I have reeived both of yrs in <i>th</i>e first a bill of exchange for w<i>hi</i>ch I return y<i>o</i>u thanks & is since paid by Mr [?]<br />
Gouge: <i>th</i>e 2d menciond <i>th</i>e return of Dr Barrows book w<i>hi</i>ch I will take care to take fro<i>m th</i>e carryer & [?]<br />
Mr Brown & shall mind wt you intimate also about sending other books. [...] <i>th</i>e Lords have also sent down a bill to <i>th</i>e Commons<br />
to suppress im<i>m</i>orality blasphemy & open profaness in pursuance of <i>th</i>e Kings proclamac<i>i</i>on. <br />
<HR />
<a name="980312"></A>12 March 97[/8]<br />
I shall take care if Dr Barrows book be not sent fro<i>m</i> <i>th</i>e carriers to fetch it & carry it to Mr Brown [...]<br />
<HR />
<a name="980319"></A>19. March - 97[/8]<br />
[8 lines of non-book information]<br />
Since <i>th</i>e above was written I am informed Dr Barrows book is at <i>th</i>e carryers, w<i>hi</i>ch I will take care shalbe fetcht fro<i>m</i> there.<br />
<HR />
<a name="980326"></A>26 March - 98<br />
I received yrs last night & shall further the endeavour to gratifie both y<i>ou</i>rselfe & Mr Coffin in <i>th</i>e procuring <i>th</i>e books y<i>ou</i> write<br />
for. I have also spoken to Mr Weston who will get <i>th</i>e broad flat strawbery for y<i>o</i>u w<i>hi</i>ch shal also be sent: Mr Brown is con-<br />
tented to take Dr Barrows book in exchange w<i>hi</i>ch <i>th</i>e carrier brought last week. [...]<br />
[...] I am pleased to hear <i>tha</i>t Mr<br />
Coffin hath gotten so good company at Oxford as Sr Ni, Morris. I hope they will improve each other. <br />
<HR />
<a name="980402"></A>2. April - 98 <br />
I have this day sent by <i>th</i>e Exeter carryer a box in w<i>hi</i>ch are <i>th</i>e books y<i>o</i>u writt for all (I mean <i>tha</i>t are extant<br />
for they have a way of giving advertism<i>e</i>nts of books before they are out) I have also tho wthout Com<i>m</i>ission<br />
sent y<i>o</i>u a book w<i>hi</i>ch if y<i>o</i>u have not I suppose wilbe very gratefull to y<i>o</i>u & will serve to entertayn y<i>ou</i>r freinds & [?]<br />
for its highly prized & bought up by most gentlemen in town (viz) Maior Gen. Ludlow's Memoires of <i>th</i>e late<br />
times in 2 voll bd. I have taken <i>th</i>em from Mr Brown on these terms, <i>tha</i>t if y<i>o</i>u have <i>th</i>em already hee is to take<br />
yem again at <i>th</i>e same price w<i>he</i>n returned. <i>Th</i>e MS. was in <i>th</i>e hands of my friend Mr Bethel (author of <i>th</i>e Interest of Princes [?]<br />
who was Coll Ludlow & his Lady's friend, to whom <i>th</i>e care of printing it was com<i>m</i>itted & hee told me of it but dyed<br />
before it was don. I have also sent fro<i>m</i> Mr Weston <i>th</i>e strawberie roots <i>th</i>e wrote for in a white basket w<i>i</i>th much<br />
earth <i>th</i>e better to p<i>re</i>serve yem. I have Regis's 3 books in French of Philos. Machiavell in Italian. I have en-<br />
quired for it but cannot yet get it but hope to get it on Monday & then intend soon after (together with <i>th</i>e book of <br />
Mr Cradocks w<i>hi</i>ch I now also have by mee fro<i>m</i> Mr Brown) to send <i>th</i>em to Mr Coffin to Oxford.<br />
<br />
Richard Coffin Esqr his Account sent 9 Aprill 1698. all former accounts discharged<br />
and paid. R. L.<br />
Mr Brown's bill - 4. 10. 6.
Mr Westons strawbery rootes & basket - 0. 5. 6<br />
Last qter of Gazets - 0: 2: 0.
3 sessions papers - 0. 0. 6.
Box to yrselfe - 0 - 0 - 6<br />
Cord orod[?] box for Mr Coffins books to Oxford - 0 - 1 - 0.
Cordage & porter 0: 0: 6<br />
To <i>th</i>e Exeter carryer for Dr Barrows book - 0. - 1. - 0. -
5: 2: 1
The p<i>ar</i>ticulars of Mr Browns bill - viz.<br />
To Mr Lapthorn Apr. 2d. 1678 [sic]<br />
[Partly in two columns in letter book.]<br />
<table>
<tr><td>Evelyn of medals G. B. - </td><td>0: 16: 0. </td></tr>
<tr><td>Cradocks knowledge & practice & supplement both voll. </td><td>0: 8: 6</td></tr>
<tr><td>Humphry's 4 tracts - G. B. - </td><td>0: 5: 6. </td></tr>
<tr><td>Monumenta Belgij foederati G. B. - </td><td>0:4: 6</td></tr>
<tr><td>Geddes Counsell of Trent G. B. - </td><td>0: 4: 6 </td></tr>
<tr><td>Henepins Voyages - </td><td>0: 6: 6</td></tr>
<tr><td>Judgmt of Baxter - </td><td>0: 0: 2. </td><td>
<tr><td>Regius Philosoph. 3 voll 4to - </td><td>1: 18: 0</td></tr>
<tr><td>Ludlow's Memoirs 2 voll. G. B. </td><td>0: 10: 0. </td></tr>
<tr><td>Machiavells Works Ital. 4to G. B. - </td><td>0: 8: 6</td></tr>
<tr><td>[Total] </td><td>5: 0: 2</td></tr>
<tr><td>Returned fro<i>m</i> Mr Lapthorn Barrow's Works 3d vol. to allow - </td><td>0: 10: 0</td></tr>
<tr><td>Rem. due - </td><td>4: 10: 2</td></tr>
<tr><td>Mich. & Hill Ter<i>m</i> Catalogues - </td><td>0: 0: 4</td></tr>
<tr><td>Mr Brown's bill as I cast it up comes to - 5: 2: 2 </td><td>4:10:6</td></tr></table>
<HR />
<a name="980409"></A>9 Aprill 1698<br />
I hope this will come to y<i>ou</i>r hands nere <i>th</i>e tyme y<i>o</i>u will receive <i>th</i>e box sent this day sevenight. Ye<br />
books <i>tha</i>t are to be sent to Mr Coffin are dear & indeed these french booksellers sell at excessive rates &<br />
Mr Brown deales w<i>i</i>th <i>th</i>em much for they buy many books of him, & therefore I make no douby<br />
but that hee buys <i>th</i>em as cheap as any of <i>th</i>em but <i>th</i>e 3 voll. of Regius I must confess are very large & curi=<br />
ously bound & gilt, but yet mee thinks <i>th</i>e price is great. Wee had much adoe to get <i>th</i>e Italian Ma=<br />
chiavel for I was at many places myselfe & could not meet w<i>i</i>th him in 4to but at last Mr Brown<br />
got it & not till last night or this morning, so <i>th</i>e box shalbe sent wthout fail to Mr Coffin <i>th</i>e next<br />
week. [...]<br />
<HR />
<a name="980417"></A>17 Apr.98<br />
I have this week sent <i>th</i>e books to Mr Coffin at Wadham College & I hope y<i>o</i>u have received y<i>ou</i>r<br />
account sent this day sevenight. y<i>o</i>u had all <i>th</i>e books sent <i>tha</i>t were extant but or booksellers I am<br />
informed have a way of publishing yeir books before they are p<i>er</i>fected for sale. [...]<br />
<HR />
<a name="980423"></A>23 Apr.98<br />
I received yrs last night w<i>i</i>th <i>th</i>e bill of exchange for w<i>hi</i>ch I thank y<i>o</i>u & have since received <i>th</i>e money fro<i>m</i> Mr Gouge &<br />
have since been w<i>i</i>th Mr Brown & imparted wt y<i>o</i>u intimated as to <i>th</i>e allowance for Dr Barrows book & hee willingly<br />
complies w<i>i</i>th w<i>ha</i>t y<i>o</i>u say & return to y<i>o</i>u his humble services & thanks. I had forgot to talk w<i>i</i>th him about <i>th</i>e com<i>m</i>ing<br />
out of <i>th</i>e books 3d menc<i>i</i>on in y<i>ou</i>r letter but shall give y<i>o</i>u an acc<i>oun</i>t in my next. [...]<br />
<HR />
<a name="980430"></A>ulto Apr.98<br />
[...]None of <i>th</i>e books you<br />wish'd mee to inquire about are yet out as I am informed: Mr Tirrels at Oxford but told mee before he went, <i>tha</i>t hee hoped<br />
his 2d vol. would bee out by Mich. term, but Chancey's wilbe out is uncertaine for I am apt to think <i>th</i>e subscribers<br />
com in but slow. I have a survey by mee of Hertfordshire by Mr Norden don in Qn. Elizabeth's time in a<br />
smale print w<i>i</i>th a mapp its no bigger than a stitched sermon a most accurate [picer's ?] I am informed<br />
hee designed to doe every countie in England, but did onely <i>tha</i>t & Middlesex w<i>hi</i>ch two I have by mee & very -<br />
much esteem them because wel done & very hard to be gotten, if they are to be [available ?] at all. <br />
<HR />
<a name="980507"></A>7. May-98<br />
[...] I shall endeavour to meet<br />
ye expectac<i>i</i>on as to <i>th</i>e books y<i>ou</i> writt for. [...]
<HR />
<a name="980514"></A>[14 May 1698]<br />
There is one Mr Collyer a non juring minister who was one of them [?]<br />
absolved Sr Jon Henwick & others for w<i>hi</i> he lyes under som convcion but not in custody, who hath [?]<br />
written an elegant tract ag<i>ain</i>st <i>th</i>e im<i>m</i>orality of blasphemies & prefaness of o<i>u</i>r stages for players, wch [?]<br />
jury of Mid<i>dles</i>ex took so much notice of as <i>tha</i>t this last sessions they have presented several of <i>th</i>[ir Poch ?]<br />
makers of certayn lewd-players & also <i>th</i>e bookseller <i>tha</i>t printed and exposed them to sale; this book is very<br />
much com<i>m</i>ended by all sorts of sober people, for <i>th</i>e making whereof it is supposed <i>tha</i>t Mr Collyer will have <br />
som friends at court to intercede for his pardon. [...]<br />
<HR />
<a name="980521"></A>[21 May 1698]<br />
[...] I was this day informed <i>tha</i>t <i>th</i>e Com<i>m</i>ons were about doubling <i>th</i>e duty on parchm<i>en</i>t & <br />
paper & to give it to <i>th</i>e K[ing]. for life. [...]<br />
<HR />
<a name="980528"></A>noe date but by <i>th</i>e order of writing it was written <i>th</i>e 28 May - 98<br />
[Nothing on books ]<br />
<HR />
<a name="980604"></A>4. June -98<br />
[Nothing on books ]<br />
<HR />
<a name="980611"></A>11. June -98<br />
I received yrs last night & intend to answer y<i>ou</i>r expectac<i>i</i>ons according to all <i>th</i>e p<i>ar</i>ticulars therein & to send<br />
away y<i>ou</i>r box this day fortnight in <i>th</i>e mean time have sent y<i>o</i>u assembled catalogue of som books w<i>hi</i>ch y<i>o</i>u may have<br />
all or any of them according to <i>th</i>e prices in <i>th</i>e catalogue.<br />
<HR />
<a name="980618"></A>18. June -98<br />
[Nothing on books ]<br />
<HR />
<a name="980629"></A>29 June -98 - <br />
This day I have sent in a box directed to yrselfe all <i>th</i>e books <i>tha</i>t are extant y<i>o</i>u wrote for in y<i>ou</i>r former, as also those yt<br />
yu wrote for in y<i>ou</i>r later saving 2 of <i>th</i>e old books w<i>hi</i>ch were bought by Mr Tirrel before y<i>ou</i>r order came in my next y<i>ou</i>e will have<br />
<i>th</i>e acc<i>oun</i>t. If I cannot find <i>th</i>e sessions pap<i>er</i> I will make it good.<br />
<HR />
<a name="980702"></A>2 July -98<br />
Richard Coffin Esqr his account sent 2 July -98<br />
All former accounts discharge & satisfyed R. L.<br />
[Account as continuous text in letter book, converted into columns]<br />
<table>
<tr><td>Mr Browns bill, viz </td><td></td></tr>
<tr><td>Davenant of Trade 2 vol. </td><td>9s - </td></tr>
<tr><td>Stillingfleets Ecclesiastical cases - </td><td>5s - 6d
<tr><td>Tillotsons Sermons 5th vol. </td><td>5s - 6d.
<tr><td>Dr Nichols s<i>er</i>mon - </td><td>6d. </td></tr>
<tr><td>modest censure </td><td>6d - </td></tr>
<tr><td>Term catalogues</td><td>4d. - </td></tr>
<tr><td>in all - </td><td>1: 1: 4. </td></tr>
<tr><td>To Mr Bennet</td><td></td></tr>
<tr><td>for Dr Nicholss 1st & 2d parts gilt </td><td>6s - </td></tr>
<tr><td>for 9 old 2d hand books viz. [sum not given, estimated]</td><td>[1 £ 13s ?]</td></tr>
<tr><td>Velserus, </td><td></td></tr>
<tr><td>Rhenanus, </td><td></td></tr>
<tr><td>Lazius in genealogiam Austrianam - </td><td></td></tr>
<tr><td>Collectanea antiquitatum in urbe [atque] Agro Moguntino repertidaru<i>m</i></td><td></td></tr>
<tr><td>Spencer. Hanmer & Campian Hist. of Ireland in 2 vol. </td><td></td></tr>
<tr><td>Witsij Miscellanea sacra</td><td></td></tr>
<tr><td>Lysters Historia animaliu<i>m</i> Angliae</td><td></td></tr>
<tr><td>de Francii Cochltrei terrest. & marin.</td><td></td></tr>
<tr><td>Roffies De exord & origine Assyioru<i>m</i> Chaldaeoru<i>m</i> Lydoru<i>m</i> Medoru<i>m</i> Romanoru<i>m</i>, Graciae &c.</td><td></td></tr>
<tr><td>qrter of Gazets </td><td>2s - </td></tr>
<tr><td>2 sessions papers </td><td>4d. </td></tr>
<tr><td>Box - </td><td>10. </td></tr>
<tr><td>cord & porter </td><td>6d. - </td></tr>
<tr><td>in all </td><td>3 - 3- 6</td></tr></table>
where of 3s - 6d was deducted viz. 1s - 6d - by <i>th</i>e direc<i>i</i>on of <i>th</i>e following letter & 2s abated upon<br />
ye price of <i>th</i>e old books - soe returnd but 3 £.<br />
I hope by <i>th</i>e time these com to y<i>ou</i>r hands y<i>o</i>u will receive y<i>ou</i>r box sent last Saturday. I have<br />
been hunting iust now for <i>th</i>e catalogue of <i>th</i>e 2d hand books sent (being mislayd) but<br />
were it for my life I cannot find it. if y<i>o</i>u remember <i>th</i>e [forms of?] books y<i>o</i>u may be pleased<br />
to fill up <i>th</i>e blanck in y<i>ou</i>r acct. Otherwise it must bee don som other tyme. but as I take<br />
it <i>th</i>e whole of y<i>ou</i>rs came to about 32 or 33s & as I take it they were in all 9 voll. If y<i>o</i>u think<br />
they are too dear in <i>th</i>e prices set down y<i>o</i>u may make som abatemt as for Nordens<br />
2 little books if I cannot meet w<i>i</i>th <i>th</i>em agst y<i>ou</i>r next box, if y<i>o</i>u please to com<i>m</i>and mine<br />
you shall have yem. They are amongst a smale collecc<i>i</i>on of odd things w<i>hi</i>ch are<br />
catalogued. All new books are very dear: I had Dr Nichols book of Mr Bennet<br />
my selfe & had much adoe to get it at <i>th</i>e price in <i>th</i>e account there is a 4th p<i>ar</i>t com<i>m</i>ing<br />
out & then y<i>o</i>u may have <i>th</i>e 3d & 4th p<i>ar</i>t bount up in another volume. In my last<br />
bill I sate down for <i>th</i>e box to y<i>ou</i>r son before it was sent & as I remember it was 6d<br />
less then w<i>ha</i>t was set down in y<i>ou</i>r bill & I had 1s returned for Mr Brownes bill soe<br />
<i>tha</i>t 1s - 6d must be deducted out of <i>th</i>e sum<i>m</i>e of this acct. [...]<br />
I remember about 3 or 4 years since there was a man executed at<br />
Heavy-tree for much such a kind of fact. [of a man murdering his family].<br />
<HR />
<a name="980709"></A>9 - July -98<br />
I cannot find <i>th</i>e catalogue y<i>o</i>u returned, so <i>tha</i>t if y<i>o</i>u cannot guess at <i>th</i>e sum<i>m</i>s there must be new<br />
prices sett. <br />
<HR />
<a name="980716"></A>16 July -98<br />
I received y<i>ou</i>r letter & bill of exchange & have received <i>th</i>e money for w<i>hi</i>ch I return thanks<br />
& w<i>hi</i>ch is omitted in the last box shalbe rectified in <i>th</i>e next. I should have been heartily glad to have<br />
Mr Coffin here & hope may one tyme or another have an opportunity Mr Gouge is gon into Devon<br />
=shire [...] As for Mr Mordens undertaking you shall not fail to hear<br />
an acct of it in my next. [...]<br />
<HR />
<a name="980723"></A>23. July -98 - <br />
I went this day to Mr Mordens hous by <i>th</i>e Old Exchange in Cornhill for informac<i>i</i>on<br />
of his designed peece & to have gotten a specimen of it any [bre?] but hee being<br />
just home I must more as to this referr you to another post. I had y<i>ou</i>r [melific ?]<br />
proposal fro<i>m</i> Mr Brown (viz. for printing copies of charters &c.) w<i>hi</i>ch seemes<br />
to promise well in its kind. [...]<br />
<HR />
<a name="980730"></A>30. July -98<br />
[Nothing on books ]<br />
<HR />
<a name="980807"></A>7 Aug -98<br />
[Nothing on books ]<br />
<HR />
<a name="980813"></A>13. Aug -98<br />
[Nothing on books ]<br />
<HR />
<a name="980820"></A>20. Aug -98<br />
[Nothing on books ]<br />
<HR />
<a name="980827"></A>[27 August 1698]<br />
[Nothing on books]<br />
<HR />
<a name="980903"></A>[3 September 1698]<br />
[Nothing on books]<br />
<HR />
<a name="980910"></A>[10 September 1698]<br />
[Nothing on books]<br />
<HR />
<a name="980917"></A>[17 September 1698]<br />
[Nothing on books]<br />
<HR />
<a name="980924"></A>[24 September 1698]<br />
There is lately com out a specimen of Dr Hicks's undertaking to print a large Saxon gram<i>m</i>ar<br />
w<i>i</i>th cutts & whosoever subscribes & pays a guyney shall have a book. [...]<br />
<HR />
<a name="981002"></A>[2 October 1698]<br />
I intend <i>th</i>e next Saturday to send in a box of things y<i>o</i>u write for. [...] I can hear no tydings in <i>th</i>e w<i>hi</i>ch [ship] my son is <i>th</i>at went to Chins. <br />
<HR />
<a name="981009"></A>[9 October 1698]<br />
I must now defer <i>th</i>e sending of y<i>ou</i>r box till next Saturday. [nothing on books]<br />
<HR />
<a name="981015"></A>[15 October 1698]<br />
I have this day sent in a box by <i>th</i>e Exeter carrier directed to y<i>ou</i>rselfe y<i>ou</i>r periwigg & books such as are extant for <i>th</i>e <br />
booksellers have a way to publish bookes before they are printed: I have sent y<i>o</i>u my 2 bookes of Mr Nordens in w<i>hi</i>ch y<i>o</i>u have Ho[unclear]<br />
in a nutshell. I hunted up & down in all places where I thought they were to be had but could not meet w<i>i</i>th either of them at last<br />
I was told <i>tha</i>t Mr Morden (<i>th</i>e geographer by <i>th</i>e Royal Exchange) had them to whom I applyed, hee had them but they<br />
were both put under an old filthy parchm<i>en</i>t cover & <i>th</i>e bookes spotted & steyned abominably & [index?] wanted<br />
<i>th</i>e map of Westm. & Hartfordsh. <i>th</i>e general map of <i>th</i>e county & would not part w<i>i</i>th it under 4s. so <i>tha</i>t I have sent<br />
my own, <i>th</i>e reason why I willing to have bought them was becaus I have a smale collec<i>i</i>on of such scarce things<br />
& a catalogue of them. The sessions papers <i>tha</i>t went fro<i>m</i> <i>th</i>e 9th May y<i>o</i>u shalbe sun to have them, tho not now sent. In<br />
my next I will send yr accnt. [?] Dr Nicol's other vol of his conference is not yet out. Mr Bennet tells mee
it wilbe out wthin a month. I have sent a specimen of Dr Hicks undertaking of printing ye Saxon grammar
also a specimen of the lives of som orthodox divines wch Mr Quicke left wth mee & is about to print htm and
desires [to] go by way of subscription. [...]<br />
<HR />
<a name="981022"></A>22.8ber.98<br />
I hope <i>th</i>e box is com safe w<i>hi</i>ch I sent last Saturday. Mr Benet told mee <i>th</i>e last p<i>ar</i>t of Dr Nichols book<br />
would bee published on a fortnights time also Mr Brown sayth <i>tha</i>t <i>th</i>e book for <i>th</i>e list of <i>th</i>e officers would<br />
com out in a few dayes there was one p<i>ar</i>t printed <i>th</i>e last year but hee stays for this I hope<br />
ye 2 little books of Nordens hath given y<i>o</i>u pleasure in <i>th</i>e reading. [...]<br />
Mr Brown being out of <i>th</i>e way, fro whom I had some of <i>th</i>e books I cannot send <i>th</i>e bill till<br />
Tuesday.<br />
<HR />
<a name="981025"></A>25.8ber.98 <br />
Richard Coffin Esqr his account 25. 8ber -98 all former accounts discharged R. L. <br />
<table>
<tr><td>Mr Browns bill - </td><td>3: 19: 07. </td></tr>
<tr><td>Nordens 2 books Middx & Hartfordshire </td><td>6s. </td></tr>
<tr><td>Mich. qtrs Gazetts & 3 session papers </td><td>2s - 6d </td></tr>
<tr><td>Periwigg - </td><td>0: 12: 6. </td></tr>
<tr><td>Box </td><td>10d </td></tr>
<tr><td>porter </td><td>6d</td></tr>
<tr><td>ye whole - </td><td>5: 0: 11. </td></tr>
<tr><td>Mr Browne <i>th</i>e bookseller acct is as followeth -</td><td></td></tr>
<tr><td>Dupin's Ecclesiastical history vol 8th. - </td><td>1: 0: 0.</td></tr>
<tr><td>Boyle agst Bently - </td><td>0: 4: 6:</td></tr>
<tr><td>Le Clerks Dissertations - </td><td>0: 3: 0. </td></tr>
<tr><td>Stillingfleets sermons 2d & 3 volls. </td><td>0: 10: 0</td></tr>
<tr><td>Conants Sermons 3d vol. </td><td>5s.</td></tr>
<tr><td>Dependency of Ireland - </td><td>0: 2: 6: </td></tr>
<tr><td>D. of Lorraines Life </td><td>2: 6</td></tr>
<tr><td>Waters Travells - </td><td>0: 3: 6.</td></tr>
<tr><td>Smith De republica Angl - </td><td>0: 2: 0.</td></tr>
<tr><td>Saunderson of ye Church - </td><td>0: 0: 06.</td></tr>
<tr><td>Term catalogue - </td><td>0: 0: 3: </td></tr>
<tr><td>Appendix to Wards Life - </td><td>0: 0: 6.</td></tr>
<tr><td>Wottons Reflecc<i>i</i>ons 8vo </td><td>0 - 6: 00.</td></tr>
<tr><td>for a sett of Acts of <i>th</i>e last session except Money Act - </td><td>0: 14: 6</td></tr></table>
Sum<i>m</i>d up by Mr Brown - 3: 19: 7 but it is by my sum<i>m</i>ing 3: 19: 9 but <i>th</i>e 2d Mr Brown may<br />
well abate.<br />
<HR />
<a name="981029"></A>29.8ber.98<br />
[Nothing on books ]<br />
<HR />
<a name="981105"></A>5.9ber-98<br />
I received yrs last night w<i>i</i>th <i>th</i>e bill of exchange for w<i>hi</i>ch I return thanks. I am sorry <i>tha</i>t there are such mistakes<br />
as you menc<i>i</i>on, but wt are sent wthout order or by mistake wilbe accepted and allowed<br />
for: Srjeant Chancy's book of Hertfordsh: will suddainly com out. I saw a great p<i>ar</i>t of it printed. Mr<br />
Tirrell is at Oxford, but I suppose will speedyly bee in town wn I shal speake w<i>i</i>th him [heere?] ye later<br />
end of <i>th</i>e [summer?] in Suffolk to veiw Sr Symon d'Ewes library of manuscripts in order to ye carrying<br />
on his 2d volume; & by <i>th</i>e way let me inform y<i>o</i>u <i>tha</i>t <i>th</i>e Oxford catalogue in fol. is com out of all ye mss there<br />
& of [ateler ?] was sent in to them, fro<i>m</i> all p<i>ar</i>ts of England. I saw one in Mr Brownes shop. Dr Burthogg<br />
[wil ?] subscribers for Mr Quickes book & so will Mr Brooking & told mee I might have <i>th</i>e benefit of <i>th</i>e 7th vol if<br />
others would joyn; this I heard fro<i>m</i> him since I sent y<i>o</i>u <i>th</i>e specimen.<br />
<HR />
<a name="981112"></A>no date but by <i>th</i>e date of <i>th</i>e last eve [?] I suppose it was y2 12 of 9ber [-98]<br />
I have received <i>th</i>e money on <i>th</i>e bill of exchange of Mr Gouge in full of all accts & your<br />
benevolence to myselfe for w<i>hi</i>ch I return thanks. Mr Brown tells me there is but one com<br />
ment on Genesis by Le Clerk & wee perceive by y<i>ou</i>rs <i>tha</i>t y<i>o</i>u have it already Mr Brown <i>tha</i>t w<i>he</i>n Du Pins<br />
book was sent it was sold very dear & so hee paid for it but wthin a few dayes after he bought a-<br />
p<i>ar</i>cell of <i>th</i>em cheaper & so as to<i>th</i>ebook he returned mee a shilling (w<i>hi</i>ch I must discount in my next)<br />
hee gives his humble services to you. [...] In my next I intend to send a p<i>ar</i>ticular of som odd bookes.<br />
<HR />
<a name="981119"></A>[19 November 1698]<br />
A particular of som books I think to finish & send by next Tuesdays post.<br />
<HR />
<a name="981127"></A>[27 November 1698]<br />
In my last was a note of som books, I have but little now to write.
<HR />
<a name="981203"></A>[3 December 1698]<br />
[Nothing on books ]<br />
<HR />
<a name="981210"></A>[10 December 1698]<br />
[Nothing on books]<br />
<HR />
<a name="981217"></A>17.10ber.98<br />
The books and seeds I intend to send by <i>th</i>e carryer this day sevenight. [...]<br />
<HR />
<a name="981224"></A>24.10ber.98<br />
I have this day by <i>th</i>e Exeter carryer sent all <i>th</i>e books <i>tha</i>t could be procured & <i>th</i>e seeds in<br />
parcels as y<i>o</i>u directed. My son is lately com fro<i>m</i> Oxford to keep his Chr<i>istm</i>as w<i>i</i>th us & possibly may<br />
stay on 2 months. Hee gives an excellent character of Mr Coffin y<i>ou</i>r son of w<i>hi</i>ch I was very glad to<br />
hear fro<i>m</i> him; he gives his s<i>er</i>vice to y<i>ou</i>rselfe & desires w<i>he</i>n you write to Mr Coffin <i>tha</i>t <i>th</i>e same<br />
may be given to him [... more in the same vein] I<br />
have sent you <i>th</i>e specimen of Mr Tirrells 2d vol. [...]<br />
[...] I shal send y<i>o</i>u y<i>ou</i>r acct in my next. Dr<br />
Nichols his 4th vol. is not out, I was w<i>i</i>th Mr Benet last night & twice before hee<br />
blames <i>th</i>e printer hee said it was almost finished 5 or 6 days since, for wt is not<br />
[?] sent I will give y<i>o</i>u <i>th</i>e reason my next<br />
<HR />
<a name="981231"></A>31.10ber.98<br />
By <i>th</i>e time these com to y<i>ou</i>r hands <i>th</i>e will I hope receive <i>th</i>e box I sent this day sevenight. as for<br />
Crumps list Mr Brown said it was not yet out or at least hee could not get one so <i>tha</i>t I caused<br />
him to send the other. I wrote in my last <i>tha</i>t Dr Nicholls 4th vol. was not yet p<i>er</i>fected w<i>he</i>n <i>th</i>e<br />
box was sent. I hope <i>th</i>e have all the books y<i>o</i>u wrote for saving w<i>ha</i>t I have menc<i>i</I>oned. [...]<br />
[...] Underwritten is y<i>ou</i>r acc<i>oun</i>t (all other acc<i>oun</i>ts being satisfyed)<br />
[In two columns in letter book]<br />
<table>
<tr><td>Mr Browns bill - </td><td>1: 12: 10</td><td>Mr Browns bill - </td><td>24: 10: 9</td></tr>
</td><td>Mr Westons bill for seeds - </td><td>1: 19: 4</td></tr>
</td><td>6 old books of mine - </td><td>0: 3: 10 </td><td>Le Clerk on Genesis - </td><td>0: 14: 0</td></tr>
</td><td>Xtmas qrters Gazets - </td><td>0: 2: 0 </td><td>Compleat hist. of Europe - </td><td>0: 6: 6</td></tr>
</td><td>2 sessions papers - </td><td>0: 0: 4 </td><td>Hist of Moscovy 1st part - </td><td>0: 4: 0</td></tr>
</td><td>Kings Gazet - </td><td>0: 0: 1 </td><td>Term catalogues Michaelmas [?] 98 - </td><td>0: 0: 4</td></tr>
</td><td>Box - </td><td>0: 0: 9 </td><td>Marquses Christian regimen [?] </td><td>0: 2: 0</td></tr>
</td><td>Porter - </td><td>0: 0: 6 </td><td>List of <i>th</i>e officers [?] - </td><td>0: 1: 0</td></tr>
</td><td>[Total] </td><td>3: 19: 8 </td><td>Confutac<i>i</I>on of <i>th</i>e balancing lawe[?] - </td><td>0: 0: 6</td></tr>
</td><td>Recd of Mr Brown last acct. - </td><td>0: 1: 0 </td><td>Hist. of <i>th</i>e standing army - </td><td>0: 1: 0</td></tr>
</td><td>To his deductio<n> for sessions papers - </td><td>0: 0: 2 </td><td>Spanish voyages & Crueltys [?] </td><td>0: 4: 0</td></tr>
</td><td>[Total] </td><td>0: 1: 2 </td><td>[Total] </td><td>1: 12: 10</td></tr>
Soe rests due - </td><td>3: 18: 6 </td><td>Then rest due but - 2: 18: 6</td></tr>
</td><td></td><td>There being 10 - 4 charged [?] 8</td></tr>
</td><td></td><td>Seeds whereas they cost but 19s 4d.</td></tr></table>
<HR />
Go to <a href="https://bookhistory.blogspot.com/2022/01/lapthorne-1699.html#990107">first letter of 1699</a>.<br />
Return to <a href="https://bookhistory.blogspot.com/2007/01/lapthorne-introduction.html">introduction</a>.<br />
<P>This page last updated 10 Feb 2022<BR />
© Ian Maxted, 2022.</P>
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-63942995689379904162020-11-21T14:07:00.010+00:002021-05-21T10:22:07.708+01:00UNESCO city of literature : Some Exeter projects in book history<center><font color="red" size="+3">UNESCO city of literature<br />some Exeter projects in book history</font></center>
<table border="1" cellpadding="5"><tbody><tr><td>
<!****Row 1***>
<a href="https://www.exetercityofliterature.com/">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBVKQsSbaRJNhHIr4whc7Xl1lfMaVZpRTWd0WOnJc45cgu4y2mcT8XhtJijyLxvwLIsPgimFflwn-t0bX44QWscOgzF7aLZj-FHqZ8qreKI2VaKp_A3sSb4tdyQqAVk9SOU7Q4/s200/EXETER-UNESCO-City-Literature.jpg"
width="200" /></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>Exeter, UNESCO city of literature</b></font><br /><font color="red">A series of projects dedicated to the city's designation in
2019.</font></center>
<div style="text-align: justify;">These projects aim to add a historical perspective to the four year celebration of literature in Exeter. While they do not currently form part of the UNESCO project, it is hoped that they will make a contribution to the resources available to those involved in the programme. </div>
<div style="text-align: center;"><span style="color: #cc0000;"><a href="https://www.exetercityofliterature.com/">Click on the image to enter the site</a></span></div>
</td></tr></td><td valign="top">
<!****Row 2***>
<a href="https://bookhistory.blogspot.com/">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigGsXSbA6KiDaVZpYjdqbKD2SUUbugYG7NQ-JFxWeDp8oBJNfczG1KLmZ3T3Pt61ixXQ-uxhzrzXq5AmMW0QLllRzGfqQFCFsygeF53VeokPArtMfrelwoB2NiDRCQvKjE1QcJ/s240/EWP-300.jpg" width="200" /></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>Exeter Working Papers in Book History</b></font><br /><font color="red">Studies undertaken through half a century</font></div>
<div style="text-align: justify;">Since the 1970s a series of projects have covered all aspects of book history. Coverage is particularly strong for the late 18th
century and for Devon, the Westcountry, provincial England, London and Normandy. It covers topics such as printing, popular literature, paper and watermarks,
manuscripts and bibliography. Current work is concentrated on converting sections which currently remain in manuscript. </div>
<div style="text-align: center;"><span style="color: #cc0000;"><a href="https://bookhistory.blogspot.com/">Click on the image to enter the site</a></span></div>
</td></tr></td><td valign="top">
<!****Row 3***>
<a href="https://devon-bibliography.blogspot.com/">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYwvYSPrLupqcsm0MVVKOm_pPdnewR4Jg7aCr0FEUeT5jbQcgweDIS_n0JmxNLAslvN3vdPmNgmZKa8yKFkF5Q1_3-YgPGVUQtyFdWrRTgUxoBuxcZTrsEh45Lvje7xt4DcrRO/s1600/DEV-BIB-Book-fool.jpg" width="200" /></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>Devon bibliography</b></font><br /><font color="red">recording our printed heritage</font></center>
<div style="text-align: justify;">A project which already lists 53,000 books, pamphlets and ephemera, 500 newspapers, 1,800 Periodicals, 8,500 articles, 1,500 digital
records, 500 theses, 3,500 manuscripts, 17,000 maps, 4,000 illustrations on all aspects of Devon and its 500 communities large and small. Includes writings about Devon
and Devonians, books published in Devon, works of literature by Devon writers or inspired by Devon. What have we missed? Help us to make it complete, especially current
publications.</div>
<div style="text-align: center;"><span style="color: #cc0000;"><a href="https://devon-bibliography.blogspot.com/">
Click on the image to enter the site</a></span></div>
</div>
</td></tr></td><td valign="center">
<!****Row 4***>
<a href="https://devon-communities-bibliography.blogspot.com/2021/03/devon-communities-bibliography.html">
<center><b><font size="+2">Devon<br />Communities<br />Bibliography</font></b></center></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>Some recent initiatives linked to the Devon bibliography</b></font></center>
<div style="text-align: justify;">Instead of a chronological listing, the Devon Communities bibliography aims to provide separate bibliographies of 500 communities
across the county. The <a href="https://devon-communities-bibliography.blogspot.com/2021/04/exeter.html">Exeter bibliography</a> is the first of these to be produced
and gives subject listings of several thousand documents relating to Exeter and Exonians.</div>
<div style="text-align: justify;">During lockdown an illustrated <a
href="https://devon-bibliography.blogspot.com/2021/03/exeter-literary-walk.html">Guide to literary Exeter</a> is being devised, linking writers, printers, publishers, libraries and others in the world of the book to sites across the city through a series of walks. Do you have anyone to add?
</a></div>
<div style="text-align: center;"><span style="color: #cc0000;"><a href="https://devon-communities-bibliography.blogspot.com/2021/03/devon-communities-
bibliography.html">
Click on the title to enter the Devon communities bibliography site</a></span></div>
</td></tr></td><td valign="top">
<!****Row 5***>
<a href="https://etched-on-devons-memory.blogspot.com/">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9M3bT8HNFq_Yk08Tm9p49_yTip60sErY3OOySb1X3CJpiYDAQ8Z0LwfiOZt8G70nARmhqEQGIa3etFFUdMqIeobKTKguX8_CKYODcg2of3kxgGfcwbF2pZMEZLXTDLxi1WTc0/s1600/LONDON-LUFFMAN-1803.jpg" width="200" /></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>Etched on Devon's Memory</b></font><br /><font color="red">around Devon with topographical prints</font></center>
<div style="text-align: justify;">A project to recreate a database of 4,000 engraved and lithographed images of 200 communities across Devon between 1660 and 1870. The
original was lost in transit from Devon County Council to the South West Heritage Trust websites. It includes listings of topographical books which contained the
illustrations and also of the engravers, lithographers, artists, printers and publishers who produced these unusual and often beautiful views of Devon before
photography. </div></div><div style="text-align: center;"><span style="color: #cc0000;"><a href="https://etched-on-devons-memory.blogspot.com/">Click on the image to
enter the site</a></span></div>
</td></tr></td><td valign="top">
<!****Row 6***>
<a href="https://bookhistory.blogspot.com/2020/09/from-script-to-print-to-hypertext.html">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPSp6hKUdkhJWCY__JXxznGjERXh_wH7T1WMXC4mksG2R4HNjxMXwSSuwwLEDPvAgyfJ3qF7yAnFQEIjtw2hyVXHQn7nZmDq3oE4sLQI9l3xl41Gj4APALeboUYIuBU8c7uzA9/s640/script-logo.jpg" width="200" /></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>From script to print to hypertext</b></font><br /><font color="red">two millennia of Devon's written heritage</font></center>
<div style="text-align: justify;">A project to recreate, revise and update the exhibition held in the Royal Albert Memorial Museum from 18 September to 27 November 1999
to celebrate the richness of Devon's long written record through treasures from ten libraries, museums and record offices in the city. There are two main sections:
<br />1. A <b>timeline of documents</b> reflecting the small world of the written record.
<br />2. An <b>alphabet of themes</b> reflecting the large world of ideas.
<br />Do you have any items to include? </div>
<div style="text-align: center;"><span style="color: #cc0000;"><a href="https://bookhistory.blogspot.com/2020/09/from-script-to-print-to-hypertext.html">Click on the
image to enter the site</a></span></div>
</td></tr></td><td valign="top">
<!****Row 7***>
<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">
<img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg" width="200" /></a>
</td><td valign="top">
<center><font color="red" size="+1"><b>World book heritage</b></font><br /><font color="red">Thoughts on the history of the book</font></center>
<div style="text-align: justify;">This project has two sections:<br />1. A history of the book in Devon, tracing the impact of the printed word from the first
inscriptions in Isca Dumnoniorum to the dawn of the digital age. <br />2. The book in the wider world, across five millennia and five continents, where possible drawing
examples from books held in Exeter libraries. </div>
<div style="text-align: center;"><span style="color: #cc0000;"><a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">
Click on the image to enter the site</a></span></div>
</tbody></table>
This page last updated 20 May 2021Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-28973965960267108952020-10-24T20:07:00.004+01:002020-10-24T20:07:23.318+01:00World Book Heritage. 28a. Provincial printing in Britain 1478-1557<table><tr><td width ="50%" valign="top"><img src="https://1.bp.blogspot.com/-
70IiU9X41CM/XzFXOFktloI/AAAAAAAAKik/1CGBN5NQvbEMyBnK71oZWs7FxmmdZA4SQCLcBGAsYHQ/s0/WRITTEN
%2BHERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
28a. Provincial printing in Britain 1478-1557. <br /><br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)
</b></center></td></tr></table><br /><div align="justify">
Printing outside London was little developed. Only ten towns to 1557 when Stationers Company suppressed it
until 1640s. Little call for printing apart from Oxbridge and they were surprisingly slow. Literacy small,
demand mainly for service books. Charter of 1557 altered actual situation little - few items printed in
provinces in Mary’s reign. </div><br /><div align="justify">
<B>Oxford 1478-87, 1517-20</B></div><br /><div align="justify">
<B>1478-1479. Unnamed printer</B><BR />
<B>17 December 1468. </B> first book printed at Oxford: <I>Expositio in symbolum apostolorum,</I> treatise
on apostles creed by Rufinus bishop of Aquilea. In distinctive type used in Cologne 1477/8 by Gerard ten
Roem. Both made same error in use of some capitals (H for P etc). Clearly 1478 but used in 1664 to prove
that printing learned by Caxton from Gutenberg in Haarlem, who persuaded a worker to return with him. In
C18 forgereies made by altering early Deventer books.<BR />
1479 <I> Tractatus fratris Egidii de peccati originali. </I> Unsigned, earliest red printing in England.
<BR />
1479 <I> Textus ethicorum Aristotelis,</I>. Also unsigned. </div><br /><div align="justify">
<B>1481-1486. Theodoric Rood. </B><BR />
1481 (11 Oct) Alexander of Hales commentary on Aristotle’s <I>De anima</I>. Earliest woodcut border in
England: foliage and bird, probably afterthought of printer. Signed: Theodoric Rood of Cologne. Probably
also responsible for earlier books although in different type (university registers of period lost so not
certain). Rood’s earlier history not known. Book fo. 240ff, 2 cols (14 copies + fragments) <BR />
C1483 Partner of Thomas Hunt, Oxford bookseller since 1473. New fonts, all similar to those of Cologne used
in 11 books including: <BR />
Cicero <I>Pro Milone</I> (fragments only) first classical text in England<BR />
1485 Letters of Phalaris translated by Francicscus Aretinus. Colophon in verse:<BLOCKQUOTE>
Theodoric Rood, a German born<BR />
O’ the city of Cologne<BR />
He that this curious book did print<BR />
To all men maketh known; <BR />
And his good partner Thomas Hunt<BR />
An Englishman he was<BR />
Now aid them Heaven that so they may<BR />
Venetian skill surpass. <BR />
<BR />
A man of France named Jensen taught<BR />
The venetians this fair art<BR />
Which Britain by her industry<BR />
Did to herself impart<BR />
Engraved books to send to us<BR />
Which in deep lore excel<BR />
Cease, O Venetians, yield to us -<BR />
We to all others sell</BLOCKQUOTE>
1486 John Mirk: <I>Liber festivalis</I>. Sermons for Sundays and holy days compiled by prior of Lilleshall,
Salop. Last book of press. Rood’s edition used for reprint by Caxton. Only Oxford book of period with
illustrations: 11 oblong woodcuts, shortened to fit format originally intended for a <I>Golden legend</I>.
<BR />
In all 17 books in 7 fonts. Then no printing to 1517 though many stationers including John Dorn, formerly
printer at Brunswick. Published book printed in London by Treveris etc. Account book survives. </P><P
ALIGN="JUSTIFY">
<B>1517-1518. John Scolar. </B><BR />
In 1517 he established press with material probably from de Worde. Short duration, work badly recorded.
Contrast to previous press: no theology, with Rood theology and classics balanced. <BR />
1517 <I>Super libros posteriourum Aristotelis</I>, commentary by Walter Burley. 10ff in type of de Worde<BR
/>
At work in St John’s Street near Merton College. Possibly recognised by university as some books issued
“Cum privilegio cancellarii”. Device: arms of University. <BR />
Printed six other books and one broadside (prognostication of Jasper Laet) <BR />
Privilege for seven years June 1518 for Walter Burley <I>Tractatus de materia et forma</I> and 15 May 1518
for Dedicus <I>Questiones super libros ethicorum Aristotelis</I>, first copyrights in particular books in
England. Nothing known of him before Oxford. Left Oxford 1518, next found in Abingdon 1528. </P><P
ALIGN="JUSTIFY">
<B>1519. Charles Kyrforth</B><BR />
In this year he printed a treatise on arithmetic (8ff. one penny) with Scolar’s type and at Scolar’s
address. Probably left Oxford by 1524. Then no printing to 1585 (Joseph Barnes University printer) </P><P
ALIGN="JUSTIFY">
<B>St Albans</B> 1479-86, 1534-39</div><br /><div align="justify">
<B>1479-1485. Schoolmaster printer. </B><BR />
His name is unknown, he was called “some tyme schole master of St Albans” in colophon of de Worde’s reprint
of <I>Chronicles of England</I>. Called John Insomuch by Sir Henry Cahuncey in his <I>History of
Hertfordshire</I> (Incipits for his two English books) <BR />
1479? Augustinus Datus <I>Super eleganciis Tullianus</I> (undated apud Sanctum Albanum) quarto 18ff. Only
copy Cambridge University Library. No signatures unlike other books. Only book in this type. <BR />
1480 Laurentius de Saona <I>Rhetorica nova. </I> First dated book, also printed by Caxton about same date.
<BR />
1480/1 Four more works in Latin in atrociously confusing type. Then ceased work for a time. <BR />
1485? recommenced work in a new manner discarding Latin and previously confused type. <BR />
1485? <I>Chronicles of England</I> (fo. 290ff.) initials and paragraphs in red, a few diagrams and one
woodcut “depicting a jumble of towers spires and turrets and equally suitable for the two cities it
professes to represent, London and Rome.” First English printer’s mark, incorporating the blazon of St
Albans. <BR />
1486 <I>Book of St Albans</I> (small fo, 90ff.) treatise ends: Explicit Dam Julyan Barnes her boke of
hunting (Juliana Berners, daughter of Sir James Berners and prioress of Sopwell, dependency of St Albans).
Treatise on hawking, hunting and coat armour. First two based on Twici <I>L’art de venerie</I> and Gaston,
comte de Foix <I>Livre de chasse</I>. Treatise on coat armour first example of full colour printing
(already red in initials at St Albans and 1479 Oxford imprint). Red. Blue and brown used in shields, yellow
probably added by hand. Register and presswork usually quite good. Probably last book in St Albans until
1534. <BR />
In all eight books in three bastarda and one text types all similar to Caxton’s with whom probably
connected. Device (double cross and orb with arms of St Albans) very like ealy Italian devices. Mysterious
printer. </div><br /><div align="justify">
<B>1534 John Herford. </B><BR />
Probably alien printer, he settled in the town and produced books for abbot Peter Catton (four books) and
his successor Richard Stevenage (three books). Earlier press more associated with town than abbey.<BR />
Breviary of Saint Albans use probably earliest book<BR />
1534 John Lydgate’s translation of the <I>Life and passion of St Alban</I>, protomartyr of England (for
Catton) <BR />
1536 Work by John Gwynneth, monk of the abbey. Press may have been in abbey itself. <BR />
Oct 1539 three stationers sent to enquire into “naughty book”. John Printer was taken to London theough
Stevenage claimed that he “never heard of the little book of detestable heresies until the stationers
showed it me.” Abbey dissolved three months later, Herford later worked in London (24 books to 1548).
</div><br /><div align="justify">
<B>York</B> 1509, 1516-19, 1532</div><br /><div align="justify">
Leading city of north. Seat of archbishop. Text writers guild since time of Edward III, jealous of
privileges. In 1493 the stationer Fredrick Egmont commissioned a York breviary from Joannes Herzog of
Venice. </div><br /><div align="justify">
<B>1497-1511. Frederick Freez (Vries)</B><BR />
Dutchman became freeman in 1497. Bookbinder and stationer, also called buke-prynter in 1510/11 lawsuit but
no evidence of activities. Two sons convicted of heresy. </div><br /><div align="justify">
<B>1507 Gerard Wandsforth (alias Vries)</B><BR />
The brother of Frederick, he commissioned <I>Expositio hymnorum et sequentiarum</I> from Pierre Violette of
Rouen -- first York imprint. Taken ill and died at King’s Lynn 1510. Left money to de Worde in payment of
debt. </div><br /><div align="justify">
<B>1509. Hugo Goes. </B><BR />
He was possibly connected with Antwerp printer Mathias van der Goes. <BR />
1509 <I>Directorium sacerdotum</I> only surviving book of first York printer. In font used by de Worde to
c1502. Printed in Steengate, York. <BR />
Also attributed: <BR />
<I>Donatus minor cum Remigio</I> and <I>Accidence</I> described by York barrister Christopher Hildyard in
1664. Bound up with copy of a grammar by de Worde 1506. Also broadside with a woodcut of a man on horseback
and arms of France “Enprynted at Beverlay in the Hye-gate by me Hewe Goes” with rebus mark H+goose (Ames
<I>Typographical antiquities</I>). <BR />
Also associated with earliest English wallpaper at lodge of Christ College, Cambridge. Block printed on
back of type matter of de Worde or Pynson, proclamation on death of Henry VII (1509) and two other 1509
proclamations and indulgence of Julius II (1503/1513). Lodge probably completed c1509. Design of fir cone
and strapwork from block 16x11 inches incorporated in border H+bird. May be Goes who may have printed
proclamations (Sugden and Edmondson A history of English wallpaper, 1926). </div><br /><div
align="justify">
<B>1513-1516. Ursyn Mylner. </B><BR />
Born 1481, witness in lawsuit 1511. <BR />
1513 <I>Festum visitationis BVM. </I> Service book, no copies survive<BR />
C1513 Supplement to the sanctorale of the breviary. Binding fragment, red and black. <BR />
By 1516 moved to Blake Street St Helen’s parish. Became freeman, printer, stationer, bookbinder<BR />
1516 (20 Dec) Robert Whittinton <I>Grammar</I> (24ff., 4to) titlepage woodcut of master and pupils
previously used in Gouda 1486 by Gerard van Ghemen ad later by de Worde c1500. <BR />
Device at end: bear (Ursyn) and ass supporting a shield hanging on a tree. On the shield is a windmill
(Mylner) and a sun, perhaps a reference to an association with Wynkyn de Worde at the sign of the Sun. <BR
/>
1516 mentioned in account books as binder then no further mention (aged 35). </div><br /><div
align="justify">
Until 1533 most of York book trade with Jean Gachet (Frenchman), first mentioned in colophon of Manual for
York use printed for him and Jacob Ferrebone in France by De Worde 1516, 1517. Other service books for York
use printed for him by Pierre Olivier of Rouen, the latest a <I>Breviary</I> 1533. <BR />
1579 imprint “Eboraci apud Ioannem Marcantium” otherwise nothing until late 17th century. </P><P
ALIGN="JUSTIFY">
<B>Cambridge 1521-23</B></div><br /><div align="justify">
<B>1520-1523. John Siberch.</B><BR />In 1520 or 1521 printing was introduced by John Siberch, formerly
Johann Lair von Siegburg who was born in Sieglar (Lair), near Siegburg, some miles SW of Cologne in
Germany. He was the son of Peter von Lair (d. 1533), a wool weaver and took the name John Siberch from
Siegburg, where the family moved in his childhood. On 5 December 1492 he matriculated at the University of
Cologne. Around 1512 he married a sister of Gertrud van Amersfoort, a member of the bookselling and
printing family of Franz and Arnold Birckmann of Cologne, becoming related to some of the major north
European humanist printers and booksellers. <BR />
For a while during the 1510s Siberch was in the service of another Cologne bookseller, Hans Beck; and it
was as a bookseller that he moved to Cambridge. He was probably commissioned by Richard Croke, whom he
perhaps met at Leipzig where he taught Greek . In Cambridge he found no press and the first publication
with Siberch’s imprint, a work by Croke (1520), was printed by Eucharius Cervicornus at Cologne. <BR />
Siberch established his press in Cambridge in 1520 or 1521 with the help of a loan of £20 from the
university. His house was on the site of what is now Tree Court, Gonville and Caius College. <BR />
Feb 1521 first book: Henry Bullock's <I>Oratio</I>, a tribute on the occasion of a visit to the university
by Cardinal Wolsey in autumn 1520 (8 leaves roman type). <BR />
1521 at least seven short books, including: <BR />
(April) Augustine: <I>De miseria ac brevitate vitae</I> (12 leaves, border pieces on title page not known
with any other English printer, also Greek motto on title page first use of Greek moveable type. Woodcut
Greek previously used by De Worde. Pynson made fuller use in 1524, then excused errors as type only
recently cut. Only one copy (Bodleian) <BR />
1521 Lucan: <I>Peri dipsadon</I>, translated by Henry Bullock had four lines of Grrek type. Siberch
proclaimed himself first printer in both languages in England. <BR />
1521 an unauthorized edition of <I>Libellus de conscribendis epistolis</I> by Erasmus who was probably in
same building as Siberch when teaching in Cambridge, but the edition was unauthorised and angered Erasmus
who wrote in the preface to Froben’s edition (1522) “Printers with a brazen face follow the satirist’s
maxim: Money smells good whatever it is made of”. Yet Siberch used for first time words “cum gratia et
privilegia” on title page, possibly granted by dedicatee Bishop Fisher. <BR />
1521 Bishop John Fisher’s sermon on burning Luther’s works in London (which attracted a crowd of 30,000)
translated into Latin. Bears striking white-line device: orb and cross within chain work frame. <BR />
1521: Thomas Linacre's translation of Galen's <I>De temperamentis</I>. <BR />
Also published works of Sir Thomas Elyot and adressed educational market with an edition of Erasmus and
Lily's grammar <I>De octo partium orationis constructione</I>. <BR />
After a period of considerable activity in 1521, the pace of his printing declined sharply. <BR />
1522 (Dec) Papyrius Geminus: <I>Hermathena</I> last book. <BR />
Later work includes more ephemera, such as indulgences, rather than books. Ceased to print at Cambridge
probably by the end of 1523. Also associated with a binding shop, possibly as a part of bookselling
business, but, despite the fame of his authors, not commercially successful as a printer in England. By
early 1524 he had left Cambridge, leaving a debt of £20 recorded in the proctor’s accounts to 1553. In
1971 his successor as university printer Brooke Crutchley, repaid the debt at a celebration of 450 years of
Cambridge printing. <BR />
Material dispersed, possibly went to Antwerp to work with Franz Birckmann and other members of his wife's
family. By 1538 ordained priest, and for the remainder of his life he served a parish in Siegburg, where he
died before 28 September in 1554. No immediate successor. </div><br /><div align="justify">
1534 charter by Henry VIII could “assign and elect from time to time … three stationers and printers or
sellers of books, residing within the University … empowered to print all manner of books approved of by
the Chancellor”. Opposed by Stationers Company who took action of seizing press of next printer Thomas
Tomas in 1584. </div><br /><div align="justify">
<B>Tavistock 1525-34</B></div><br /><div align="justify">
<B>1525. Thomas Richard. </B><BR />
Boethius <I>De consolatione philosophiae</I> “Enprinted in the exempt monastery of Tavistock in Devonshire
by me Dan Thomas Richard, monk of the said monastry to the instant desire of the right worshipful esq.
Master Robert Langdon” whose arms appear at the end of the book - a wealthy Cornishman of Keverall.
Translated into eight-line stanzas by John Walton and entitled: The boke of comfort”. Used new black letter
type. Rychard supplied some additions to the prose commentary for this volume and also attempted to revise
Walton's language for the sixteenth-century reader, consulting both the Latin text and Chaucer's English
version. <BR />
Thomas Rychard student of theology at Gloucester College, Oxford, for eight years; he petitioned for
admission to the degree of Bachelor of Theology in 1515. In 1528 he was elected prior of Totnes in Devon
and is perhaps the Richard recorded as prior at its suppression. Sir Peter Edgcumbe, whose father had
become patron of the priory under Henry VII, described the last prior in a letter to Thomas Cromwell as ‘a
man off goode vertuus conversacyon and a good viander’ <BR />
20 Aug 1534 <I>Confirmation of the charter perteyning to all the tinners within the county of
Devonshire</I> (charter and statutes of the stannary). Quarto 26 leaves. Woodcut of Almighty also used in
Boethius (only copy Exeter College, Oxford), so Rychard may also be responsible for this. He was rector of
St George's in Exeter from 1535 until his death, between 10 August 1563 when he drew up his will and 14
April 1564 when it was proved. </div><br /><div align="justify">
<B>Abingdon 1528</B></div><br /><div align="justify">
<B>1528. John Scolar.</B> <BR />
On 12 Sept 1528 Johannes Scolar from Oxford printed the only recrded work from this press: <I>Breviary</I>
for the use of St Mary’s monastery (black monks of the order of St Benedict) 358 leaves, printed in red and
black, two columns, curious initials. Only one fragmentary copy in Emmanuel College, Cambridge) </P><P
ALIGN="JUSTIFY">
Accession of Edward VI in 1547 gave added impetus to printing. Presses active in three towns. </P><P
ALIGN="JUSTIFY">
<B>Canterbury 1533-56</B></div><br /><div align="justify">
<B>1533-1556. John Mitchell [Mychell].</B><BR />
Mychell (died 1556), was active as a printer both in London and at Canterbury, but few details are known of
his career in either city. Most of his books are undated, many lack imprints, and several are preserved
only as fragments, making any attempted chronology of his work dependent largely on changes in his
typographic stock and practice. He undoubtedly learned to print in London, and may have been in business
there by 1530. Among the books thought to be his earliest and tentatively assigned to the early 1530s are a
fragmentary <I>Life of St. Margaret</I> with an imprint giving Mitchell's address as the Long Shop by the
church of St Mildred Poultry. A <I>Life of St. Gregory's Mother</I> also naming Mitchell but specifying
only ‘London’ probably dates from the same period, when Mitchell also appears to have been printing for at
least one other publisher, John Butler. He may have been involved as well with Thomas Godfray in the
printing of a verse <I>History of King Boccus</I> (c.1530) edited by John Twyne, master of the Canterbury
grammar school. The colophon of the book states that it was printed ‘at the cost and charge’ of Robert
Saltwood, a monk of St Augustine's, Canterbury, and both the type and initials used in King Boccus later
appear in some of the books printed by Mitchell at Canterbury, including an edition of Saltwood's
<I>Comparison between Four Birds</I>. </div><br /><div align="justify">
Mychell was resident in the Canterbury by 1533, when he paid 8d. for permission to carry on the trade of
bookbinder. In June 1536 John Twyne was one of thirteen citizens presented at the Canterbury municipal
quarter sessions, charged with having ‘mayntenyd procured and abetited’ an unnamed printer dwelling in St
Paul's parish, who was accused of having printed and sold books ‘demed to be … clerely agense the fayth of
true Cristen men’. The case never came to trial, but the man involved was almost certainly John Mitchell,
who can be associated both with Twyne and with St Paul's. The imprints of a dozen extant books locate
Mitchell's press in that parish (only three provide dates of printing, 1549 to 1553), and he is undoubtedly
the John Mychell recorded as living in the parish in 1538 and the John Michell who in 1543 rented another
property there, next door to Twyne. In 1541 ‘John Michell buke prynter of Canterbury’ was sued for non-
payment of a bill for 20 reams of paper, and an inventory of St Paul's taken in autumn 1552 notes among the
debts to the church one in the hands of John Michell. </div><br /><div align="justify">
A few books with imprints naming Mitchell and Canterbury may date from about Probably c1533–4, John
Lydgate's <I>The Churl and the Bird</I> (St Paul's parish). Four other works lacking an imprint but
assigned to Mitchell on typographic grounds can plausibly be proposed as the objectionable books of 1536:
William Tyndale's <I>Obedience of a Christian Man and Parable of the Wicked Mammon</I>, and John Frith's
<I>Disputation of Purgatory</I> and his corollary attack on John Rastell, <I>The Subsidy or Bulwark to his
First Book</I>. Later than these are Randall Hurlestone's anti-mass <I>News from Rome</I>, an edition of
two dialogues by Erasmus, and <I>An exposition in English upon the epistle of St Paul to the
Philippians</I> by Lancelot Ridley, cousin of Bishop Nicholas Ridley, martyred in 1555. All three name
Mitchell and Canterbury, with the last adding that the book was printed in St Paul's parish for Edward
Whitchurch of London. In 1548 Mitchell printed at least two Reformation texts for the London publisher Hugh
Singleton, and part of Edward Halle's <I>Union of the … Families of Lancaster and York</I> for Richard
Grafton, but there is no evidence that he himself was resident in London at the time. </P><P
ALIGN="JUSTIFY">
From 1549 onward Mitchell occasionally dated his books. In that year he printed a quarto <I>Psalter or
psalms of David after the translation of the Greek Bible</I>, re-issued the following year, and in 1552 he
published the first of three editions of a <I>Breviat Chronicle</I> of English history, his own reworking
of earlier compilations. He continued to print after the accession of Mary in 1553, his last dated work
being a list of <I>Articles to be inquired in the ordinary visitation of the diocese of Canterbury</I> by
Archbishop Reginald Pole in 1556, a semi-official piece of four leaves, one of the only pieces of
provincial English printing during Mary’s reign (see also Norwich). Mitchell died later that same year,
leaving numerous creditors including an Oxford bookseller. He had printed at least 16 books. After his
death Canterbury was without a printer until 1717, although two stationers are recorded in the later 16th
century and one in the 17th. </div><br /><div align="justify">
<B>Ipswich 1547-48.</B></div><br /><div align="justify">
Curious: certainly two, possibly three different printers, all active 1547/8 then nothing for more than a
century. Centre of reformist publications - easy access to continent. In
1534 Juvencus <I>Historia evangelica</I> printed by Joannes Graphaeus in Antwerp issued with an imprint on
some copies stating that it was sold by John Oliver of Ipswich. </div><br /><div align="justify">
<B>Anthony Scoloker.</B><BR />
A translator and printer of whom little is known, he established the first press at Ipswich, probably in
1547. Possibly bound apprentice to the London grocer John Over 1542 but never made free of the company or
learned to print on the continent, perhaps associated with Ghent printer and typefounder Joos Lambrecht,
from whom he obtained type and pictorial woodblocks. Scholar with command of languages sufficient to make
his own colourful translations from German, Dutch, and French. Printed seven books in Ipswich, mostly by
theological reformers but rarely dated. Imprints give his address as St Nicholas’s parish but not mentioned
in local records. Probably only there a few months. <BR />
1547 (6 Jul) first signed book: title-page of <I>The Just Reckoning or accompt of the whole number of Years
from the beginning of the world unto this present year of 1547</I>, ‘translated out of the Germaine tonge
into Englishe by Anthony Scoloker” a chronology of events from the creation onwards. One of six small
unsigned tracts, in a distinctive black letter type, one dated 1548. <BR />
1548? Notable textes of the scriptures which declare of what vertue, strength and holiness the pixed or
[Ipswich? : A. Scoloker, 1548?] <BR />
1548 in St Nicholas's parish, Ipswich, Scoloker is named as printer in six other books in new types from
Lambrecht, but with same stock of woodcut initials from London. and like the earlier tracts they address
the radical reform of the English protestant church. Two of the works issued over Scoloker's name were his
own translations, a dialogue between a ‘Christen Shomaker and a Popysshe Parson’ from the German of Hans
Sachs<BR />
1548 Sachs, Hans, 1494-1576. A goodly dysputatyon betwene a christen shomaker, and a popysshe parson,
Imprinted at Ippeswich : by Anthony Scoloker. Dwellyng in. S. Nycholas parryshe, anno. 1548. <BR />
1548 <I>The Ordenarye for all faythfull Chrystiãs to leade a vertuous and Godly lyfe </I> Imprinted at
Ippeswych, By Anthony Scoloker, Dwellyng in S. Nycholas Paryshe, Anno 1548. From the Dutch original by
Cornelius van der Heyden, first published by Josse Lambrecht at Ghent in 1545. Scoloker used Lambrecht's
set of sixty-five pictorial woodblocks, which include, among other scenes of common life, the earliest
representation of the interior of a printing press to appear in an English book. <BR />
Three further works name the Ipswich schoolmaster Richard Argentine as translator, and the sixth consists
in part of a translation by Richard Rice, a local clergyman who also wrote one of the anonymously issued
books that are now attributed to Scoloker's Ipswich press. <BR />
1548 Zwingli, Ulrich, 1484-1531. <I>Certeyne preceptes, gathered by Hulrichus Zuinglius, declaring howe
the ingenious youth …</I>, Imprinted at Ippeswich : By Anthony Scoloker. dwellyng in. S. Nycholas
parryshe, Anno. 1548. STC 26136<BR />
1548 Luther, Martin, 1483-1546. <I>A ryght notable sermon, made by Doctor Martyn Luther, vppon the
twenteth chapter of Iohan</I> Imprinted at Ippeswich : By Anthony Scoloker. Dwellyng in. S. Nycholas
paryshe, Anno. 1548. STC 16992<BR />
1548 Ochino, Bernardino, 1487-1564. <I>Sermons of the ryght famous a[n]d excellent clerke Master
Bernardine Ochine</I>, Imprinted at Ippeswych : By Anthony Scoloker. Dwellyng in. S. Nycholas Parryshe,
Anno. 1548. STC 18765<BR />
1548 Wied, Hermann von. <I>The right institutio[n] of baptisme</I>, Imprinted at Ippeswich : by Anthony
scoloker. Dwellyng in. S. Nycholas Parryshe, anno. 1548. STC 13210<BR />
By June 1548 Scoloker had left Ipswich for London - named, in partnership with William Seres, as printer of
two books. One an anti-mass tract by Jean Viret, also credits Scoloker with having translated the text from
French. Eight other books are known from the partnership of Scoloker and Seres, all either dated 1548 or
undated.
Middlesex subsidy roll of 3 April 1549 lists Hance Rycard, alien, dwelling with Englishman Anthony Scolyca
in the liberty of the duchy of Lancaster. No mention in in later rolls. <BR />
Seven undated works give Scoloker's name alone, in the parish of St Botolph, Aldersgate & Savoy rents. Four
more, in his distinctive Ghent types, have false imprint or none at all. Scoloker's type used in a book
c.1554, but no printer is named.
May have turned merchant: Antony Scoloker or Skolokor, milliner, named five times in a London port book of
1567–8 as receiving shipments of such small goods as razors and lute strings. <BR />
Burial registers of St Mary-le-Strand: <BR />
Judith Scoloker (probably a daughter) buried 5 September 1563<BR />
‘Anthony Scollinger sonne of Anthonie’ buried 12 May 1574<BR />
servant of ‘Jone Scollenger’ buried 31 May 1574<BR />
‘Mistress Scoliker’ buried 21 August 1599<BR />
‘Anthony Skolykers’ himself buried 13 May 1593. </div><br /><div align="justify">
<B>1547-1548. John Oswen.</B><BR />
This printer was active first at Ipswich, and afterwards at Worcester. He was one of only two printers
known to have worked at Ipswich in the sixteenth century; the earlier, Anthony Scoloker, probably began
work in 1547 and had moved his press to London by June 1548. Nine works printed at Ipswich by John Oswen
survive, five of them dated 1548 and the others undated. A further two books, also from 1548, were listed
as Oswen's by Andrew Maunsell in his 1595 <I>Catalogue of English Printed Books</I>, but no copies of
either these or of a third, seen by William Herbert and described in his revision of Joseph Ames's
<I>Typographical Antiquities</I> (1785–90, 3.1458), appear to survive. All twelve books were works by
protestant reformers, including English translations of tracts by John Calvin, Christopher Hegendorff,
Antoine Marcort, Philip Melanchthon, and Joannes Oecolampadius: <BR />
1548 Calvin, Jean, 1509-1564. <I>The mynde of the godly and excellent lerned man M. Ihon Caluyne</I>,
[Imprinted at Ippyswiche : By me Ihon Oswen], [the .x. daye of August][1548] STC 4435<BR />
1548 Hegendorph, Christoph, 1500-1540. <I>Domestycal or housholde sermons</I>, [Prynted at Ippiswich :
By Ihon Oswe[n]], Anno M. D. XLVIII. [1548] STC 13021. The Henry Reiginalde named as translator probably
Henry Reynolds of nearby Belstead. <BR />
1548 Marcourt, Antoine de, d. ca. 1560. <I>A declaration of the masse</I>, [Imprinted at Ippyswyche :
By me Ihon Oswen], Printed Anno. M.D.XLVIII [1548] STC 17316
Two Ipswich ‘gospellers’, Peter Moone and John Ramsey, provided the texts for two books of crude anti-
papist verse: <BR />
1545 Moone, Peter. [Verse sermon in 7-line stanzas against papists.] [Imprinted at Ippiswiche : by me
Ihon Oswen. Cum priuilegio ad imprimendum solum, [1545]] <BR />
1548 Ramsay, John, 1496?-1551. <I>A plaister for a galled horse</I>. [Imprinted at Ippyswitcyhe : by me
Ihon Oswen], M. D. XLVIII. [1548] STC 20663 <BR />
Other works: <BR />
1548 [Book of prayers] Imprinted at Ippyswyche : By Jhon Oswen, [1548] <BR />
1548 Moone, Peter. <I>A short treatyse of certayne thinges abused in the Popysh Church</I>, [Imprinted
at Ippyswyche : By me Ihon Oswen, [1548]] STC 18055<BR />
1548 A newe boke, conteyninge <I>An exhortatio[n] to the sycke</I> [Imprynted at Ippyswiche : by me Iohn
Oswen], M.D.XLVIII [1548]] STC 3362<BR />
1548? <I>An inuectyue agaynst dronkennes</I>. [Imprinted at Ippiswiche : By Me Ihon Oswen], [1548?] STC
14126<BR />
Final Ipswich book perhaps Reiginalde's translation of Hegendorff's <I>Domestical Sermons</I> (1548), which
ends with the promise that ‘The rest of the sermons shalbe printed shortlye’. The continuation, dated ‘the
last daye of February 1549’, in fact appeared at Worcester, where the printer had relocated by the turn of
the year. </div><br /><div align="justify">
<B>1548-1549 John Overton. </B><BR />
Overton is named in colophon of John Bale’s <I>Illustrium majoris Britanniae scriptorum, hoc est, Angliae,
Cambriae, ac Scotiae Summarium ...</I>. Colophon gives place as Ipswich but other title-pages mention
Wesel. Probably fictitious to evade law against import of foreign books. Overton is y known from this book,
variant title-pages of book have imprint Wesel: Theodoricus Plateanus, probably actual printer. </P><P
ALIGN="JUSTIFY">
Next printing in Ipswich 1720. </div><br /><div align="justify">
<B>Worcester 1548-53</B></div><br /><div align="justify">
<B>1549-1553. John Oswen</B><BR />
From Ipswich. Oswen named as ‘of Worcester’ in a patent of 6 January 1549 (2 Edward VI) to print “every
kind of book or books set forth by us concerning the service to be used in churches, ministration of the
sacraments, and instruction of our subjects of the principality of Wales and Marches thereto belonging …
for seven years, prohibiting all other persons whatsoever from printing the same”, Text of patent prefixed
to first Worcester book, Henry Hart's Consultory for All Christians, dated 30 January 1549. Authorized to
print and sell service and prayer books and ‘al maner of bokes conteinyng any storye or exposition of Gods
holy scripture’.
Book of Common Prayer two editions, dated 24 May 1549 (quarto) and 30 July 1549 (folio). Also later
edition.. <BR />
1 September 1549 Palter (quarto) <BR />
8 October 1549 Hmilies (quarto) <BR />
12 January 1550 New Testament (quarto) <BR />.
Continued programme of publishing English versions of tracts by such continental reformers as Heinrich
Bullinger, Matteo Gribaldi, Jean Veron, and Ulrich Zwingli, alongside similar native works by Thomas Lever
and Bishop John Hooper. <BR />
Nineteen books survive from Oswen's Worcester years plus three lost works of 1549–50, assigned to his press
by Maunsell or Herbert. <BR />
Press In High Street, but printed nothing especially for Welsh churches. Had agent at Shrewsbury -
colophons of several books state ‘also to sell’ there. Good printer, lively woodcut border pieces and
initials, some, with his types later used by London printer John Tisdale. Oswen was made a freeman of the
city of Worcester in 1553, but only two of his books with that year date survive: <BR />
1553 statutes 7 Edward VI<BR />
1553 Bishop Hooper's <I>Homily to be read in the tyme of pestylence,</I> dated 18 May at the end of the
text. This was probably Oswen's last book: no further record of him is known, and it is very likely that he
left England following the accession of Mary in July 1553. Next printing in Worcester 1709. </P><P
ALIGN="JUSTIFY">
<center><img height="200" src="https://1.bp.blogspot.com/-83vcmkjj7S8/XHq1W3FU_nI/AAAAAAAAIOg/EKikE-
ZR2VEmN9Y8Fu0S_1oU_tfEv5lRACPcBGAYYCw/s320/Construction%2Bsite.jpg"></center>
Surprisngly few presses in England. None in Chester, Bristol etc. Output perhaps 120 items. Three periods:
1478-85, 1509-38, 1547-53. </div><br /><div align="justify">
<B>Scotland.</B></div><br /><div align="justify">
Edinburgh, 1507-1508: Andrew Myllar. <BR />
Edinburgh, 1508: Walter Chapman. <BR />
Edinburgh, 1532-1542: Thomas Davidson. <BR />
Saint Andrews, 1552: John Scot. To Edinburgh. <BR />
<BR />
<B>Ireland. </B><BR />
<BR />
Dublin, 1551: Humphry Powell</B></div><br /><div align="justify">
<B>Elizabethan provincial printing includes: </B></div><br /><div align="justify">
<B>Norwich 1567-1579.</B> </div><br /><div align="justify">
<B>1567-1579. Anthony de Solempne (Solen).</B><BR />
He arrived in England from Brabant, according to aliens register with wife and two sons, driven out by
persecution in Netherlands under Duke of Alva (many fled to SE England). Set up press for benefit of
Flemish refugees and most books in Dutch. Obtained Queen’s authority so protected from Stationers Co. <BR
/>
c1566 <I>Der siecken troost</I><BR />
1568 Psalms of David in Dutch<BR />
1570 only English printing: broadside 12x11in <I>Certaine versis</I> written by Thomas Brooks, gentleman,
in the time of his imprisonment the day before his death, who suffered at Norwich. The 30 day of August
1570 [at end]Finis. Thomas Brooke. Seen and allowed according to the Queen’s majesties instruction. God
save the Queen. Imprinted at Norwich in the parish of St Andrew by Anthony de Solempne, 1570. <BR />
1570 (11 Dec) presented with freedom on condition that he exercised no other profession than “his art of
printing and selling of Rhenish wine” - common pairing. <BR />
1579 last book: <I>Chronyc historie der Nederlandscher oorlogen</I>. Gap from 1570-1579 ay indicate lost
books. <BR />
Other Dutchmen known to have been printers but who may not have exercised arrived in Norwich including
Anthenius Rabat (Durch Church register 1561), Albert Christian, printer, arrived in Norwich 1567. May have
worked for Solempne. </div><br /><div align="justify">
The next printer in Norwich is recorded only in 1701. </div>
<hr />
This page last updated 24October 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-86279429847255400732020-10-24T19:51:00.000+01:002020-10-24T19:51:01.778+01:00World Book Heritage. 28. Britain 1476-1557.<table><tr><td width ="50%" valign="top"><img src="https://1.bp.blogspot.com/-
70IiU9X41CM/XzFXOFktloI/AAAAAAAAKik/1CGBN5NQvbEMyBnK71oZWs7FxmmdZA4SQCLcBGAsYHQ/s0/WRITTEN
%2BHERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
28. Britain 1476-1557<br /><br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)
</b></center></td></tr></table></div><br /><div align="justify">
<B>Westminster. </B>Westminster was about the 80th centre to receive printing - London was not a major
European centre in the early years of printing. </div><br /><div align="justify">
<b>William Caxton</b> (c. 1422 – c. 1491) [<a href="https://doi.org/10.1093/ref:odnb/4963">ODNB</a>]Born
between 1415 and 1424, in the Weald of Kent, in 1438 he was apprenticed to Robert Large, a wealthy London
silk mercer. Shortly after the death of Large, Caxton moved to Bruges where he was settled 1450. He went on
to become successful in business and governor of the Company of Merchant Adventurers of London. At this
time Bruges was a wealthy cultured city, and Caxton became interested in reading and fine literature.
During his business travels, he observed the new printing industry in Cologne, which led him to start a
printing press in Bruges in collaboration with Colard Mansion. The first book to be printed in English was
produced in 1473 <i>Recuyell of the Historyes of Troye</i>, a translation by Caxton himself. At this time
Margaret of York, sister of Edward IV, married the Duke of Burgundy and they moved to Bruges. Caxton became
friends with the Duchess and it was she who encouraged him to continue his unfinished translation of the
Troy stories (similar to those found in the Iliad), which he completed in 1471. A fuller account of this
period of Caxton's life is given in the section on early Netherlands printing. </div><br /><div
align="justify">
In 1476 Caxon left for England with his printing types 2 and 3. There was a decline in the fortunes of
Margaret; Charles the Bold was fighting the Swiss and the French abd was twice defeated by the Swiss in
March and June 1476. In 1477 he was killed at the battle of Nancy. Also the wool trade was in
decline.</div><br /><div align="justify">
In 1476 at Michaelmas he paid 10 shillings rent for eight years tenancy of a shop in Westminster. This is
recorded in the sacrist's rolls of Westminster Abbey. The press was not in the Abbey itself but by the
chapter house. In the 1480s and 1490s he rented other shops in Westminster.</div><br /><div
align="justify">
He may have chosen Westminster as he had relatives there. A William Caxton was buried in the Abbey in 1478,
and a Richard Caxton was a monk there. There was also the presence of a scriptorium, and there is evidence
that at times Caxton worked in conjunction with the scriptorium. But the most important reason for chosing
Westminster was the presence of the court and patrons like the Earl of Warwick and Earl Rivers. The
location is reflected in the choice of his texts which were courtly works and clients could come to him
easily. Had he been printing popular literature, it would have been better in the city of London, the
centre of distribution as his foreman and successor Wynkyn de Worde would find later.</div><br /><div
align="justify">
Even now he was not solely a printer; he retained his links with the Mercers. He was paid for various
official services by Edward IV and Henry VII.</div><br /><div align="justify">
In 1476 on the 13 December appeared a letter of indulgence by John Sannt abbot of Abingdon, issued by Henry
Langley and his wife in the diocese of London. The date which is hand-written is within eleven weeks of
his paying rent. The indulgence was printed in type 2 except for the first word Johannes in type 3 (the
initial J is added in manuscript). The indulgence, which is in The National Archives, is described by A.
W. Pollard in <i>The times</i> 7 February 1928. It is the first piece of printing in England and Caxton
issued six other indulgences in the 1480s.</div><br /><div align="justify">
In about 1479 he printed a Sarum ordinal, which was accompanied by the first English poster, which reads:
"If it please any man spiritual or temporal to buy anypies of any two or three commemorations of Salisbury
use imprinted after the form of his present letter [...] let him come to Westminster at the Almonry at the
Red Pale and he shall have some good cheap. Supplicio stet cedula. [Please don't remove this notice]. Pie
or pica was a name given to the type size used, so the poster also acts as a type specimen. Two copies
survive. It is printed in type 3, a textura type.</div><br /><div align="justify">
Caxton's Sound of new patrons in the Woodville family, related to Edward IV by marriage. Caxton possibly
met Earl Rivers in Bruges.</div><br /><div align="justify">
In 1477, on 18 November, appeared <i>Dictes and sayings of the philosophers</i>, the first dated book in
English. This was translated from the French by Caxton's patron Earl Rivers. England was unlike most
other countries in that the first book printed was in the vernacular. It was printed in type 2. Caxton
found that Rivers had omitted the section on women by Socrates. He added an amusing section of his own: "I
suppose that some fair lady had desired him to leave it out of his book, or else that he was amorous on
some noble lady for whose love it would not set it in his book" or, he conjectures, the wind may have blown
over the leaf. It shows he was on good terms with the patron who also provided other works. In 1478, on 28
February, the <i>Moral proverbs of Christian de Pisan</i>, also translated by Rivers, was printed by
Caxton, and in 1479 Earl Rivers translated Caxton's edition of <i>Les quatre dernieres choses</i>, which
Caxton published under the title <i>Cordial</i>. </div><br /><div align="justify">
In about 1477 Raoul Le Fevre's <I>History of Jason</i> was translated by Caxton from the Bruges edition. It
was dedicated to the Prince of Wales - Earl Rivers probably used his influence with his sister the
Queen.</div><br /><div align="justify">
From 1477 to 1479 more than two dozen books in type 2 appeared from Caxton's press. Only one was translated
by Caxton himself, the <i>Jason</i>. He probably felt his time was better employed in establishing the
press. He published many English poets, often in slim volumes which will bring a quick return. They
included John Lydgate (1370-1415) <i>The churl and the bird</i> in about 1477 <i>The temple of glass</i> in
1478, <i>Horse,sheepand goose</i> in 1477, but Caxton's main work in this period was Chaucer's
<i>Canterbury tales</i> in 1478, which appeared in a volume of 372 leaves in type 2. It bore no date and no
title page, the lines of the prose sections were not justified. Later, having learned that the text was
corrupt, he reprinted it with woodcuts in 1484. In a preface he explained "one gentleman came to me and
said that this book is not according in many cases unto the book that Geoffrey Chaucer had made". </div><br
/><div align="justify">
In 1479 the tpe 2 punches were trimmed and filed to make type 2a. About now his business expanded and he
obtained two tenements in the Almonry and the chamber above the Almonry gate. His techniques also showed
improvement. In about 1480 there was an early example of two colour printing of one pull, but generally he
remained isolated from improvements on the continent. In 1480 John Lettou established a press in the city
of London. Now there was competition and he followed Lettou in using signatures, also in cutting a new
smaller fount (type 4).</div><br /><div align="justify">
In 1480 he published <i>Chronicles of England</i> which was based by Caxton on the Brut chronicle and the
<i>Description of Britain</i> an extract from Ranulf Higden's <i>Polychronicon</i> which he published in
1483 using the English treanslation of John Trevisa of about 1387. Caxon had to change some of the "rude
and olde English". It was a universal history which was continued by Caxton from 1357 to 1460, making up
book eight of the publication, a folio of 450 leaves printed in type 4.</div><br /><div align="justify">
In 1481 <i>The mirror of the world</i>, translated from the French by Caxton, apppeared in a folio edition
of 100 leaves in type 2. This was printed for Hugh Brise, alderman and Mercer of the city of London. It
covered a wide range of subjects: the seven liberal arts, "of nature and how she worketh, and how the earth
holdeth him right in the middle of the world". It was his first use of woodcuts 34 in all. There are two
sets, one showing masters and scholars, the other diagrams without which the book "may not be rightly
understood". Unfortunately several were in the wrong place and the explanations were added by hand in all
copies. It was very poorly executed, although it was Caxton's first book with signatures.</div><br /><div
align="justify">
In 1481 <i>Reynard the fox</i>, the first edition in English, was translated by Caxton from the Dutch
edition of Leeu in Gouda in 1479. Leeu later reprinted <i>Jason</i> from Caxton's Bruges edition.</div><br
/><div align="justify">
In 1481 Caxton produced Latin treatises: Cicero of old age and of friendship and Scipio and Flaminius
"declamation of noblesse". The translator of <i>De senectute</i> is unknown but Caxton claims that great
effort was needed to obtain the manuscript. The two others were translated by John Tiptoft,Earl of
Worcester. He had been executed in 1470 and was a notable English humanist, although this was not
stressed by Caxton.</div><br /><div align="justify">
In 1481 <i>The crusade of Geoffrey De Bouillon</i> was the first book dedicated directly to the
King.</div><br /><div align="justify">
In 1483 there was a changein Caxton's fortunes. Edward IV died in April, the Woodvilles lost the power
struggle,and Earl Rivres was executed in June. Thus Caxton's patrons were lost, although between 1483 and
1485 he produced several books probably prepared for Rivers including several translations:</div><br /><div
align="justify">
1483 the <i>Legenda aurea</i> by Jacobus de Voragine, Caxton's largest work, a folio of 449 leaves in type
4a, a recutting of type 4, with headlines in type 3. It was his second illustrated book, with 17 woodcuts
to the full width of the page and 50 one column wide of old testament scenes and saints, also at the front
Caxton's largest woodcut, the saints in Glory.The cuts were the work of two different artists. Caxton
translated it himself, collating texts in English, French, and Latin. It was a vast task; he almost gave
up (the real reason was possibly political) but the Earl of Arundel promised to acquire a "reasonable
quantity" as well as a buck n summer and a doe in winter. It was the only work Arundel patronised - a
stop-gap but useful patron. </div><br /><div align="justify">
In 1483, in December, <i>Cato</i> was one of the next works dedicated to the city of London.It was
translated from the French by Caxton.</div><br /><div align="justify">
In 1484, in March, appeared <i>The subtil histories and fables of Aesop</i> a folio of 144 leaves, another
translation by Caxton from the French. It contained 186 woodcuts based on Johann Zainer's 1476/7 Ulm
edition, but much inferior. It also contained Caxton's only woodcut initial, a nine-line floreated letter
A, the first printed initial used in England.</div><br /><div align="justify">
The period from 1483 to 1486 was a time when Caxton produced books for anonymous patrons and books printed
for Mercers instead of for the nobility. </div><br /><div align="justify">
In 1483 <i>The Canterbury tales</i> second edition with clumsy woodcuts was printed for an anonymous
gentleman.</div><br /><div align="justify">
In 1485 Malory's <i>King Arthur</i> was printed for another anonymous patron. The only perfect copy
survives in the Pierpoint Morgan Library. The prologue is by Caxton and the book is a chivalric work, very
much to Caxton's taste.</div><br /><div align="justify">
About 1484 <i>The order of chivalry</i>, a similar work, appeared for an anonymous patron.</div><br /><div
align="justify">
1485 to 1487 was a lean period. In 1487 he printed two books for the Mercers: <i>The royal book</i> and
<i>The book of good manners</i>. At about this period he introduced type 5, a textura smallerthan type
3.</div><br /><div align="justify">
In 1487 he printed Bonaventura's <i>Speculum vitae Christi</i>, a popular life of Christ translated in
about 1410 by Nicholas Love, prior ofIngleby Yorkshire. It was a work recommended by Thomas More. This
edition, and the word for word reprint of 1489, contained 25 woodcuts whose execution is much better than
in previous Puvlications.Some were used in the second edition of <i>Mirror of the world</i> and other
books.</div><br /><div align="justify">
In 1487 is the first use of his device: the initials "W C" with "7 ?" , a merchants mark perhaps or the
date of publication of his first book the <i>Recuyell</i> in 1474. It was used on the verso of the last
leaf of the Sarum missal, printed in Paris for him by Guillaume Maynyal. French printers were better able
to tackle the complex typography of service books, for example two-colour printing. In 1488 Maynyal
printed a Sarum legenda, the companion of the missal, for Caxton. We know that this cost 13/4d for 350
leaves.</div><br /><div align="justify">
Caxton was a bookseller as well as a printer. In 1488 he imported more than 1,000 books including
manuscripts. He was long a trader in manuscripts, and his stock in hand may have dictated the choice of
titles to translate or print.</div><br /><div align="justify">
In 1488/9 he rented a shop for 4d for a week. Parliament was sitting then, and it may have been to put on
a special display of stock.</div><br /><div align="justify">
In 1489 he found a new patron in John De Vere, 13th Earl of Oxford, who probably presented him at court.
The result of this was: </div><br /><div align="justify">
In 1489 Christine De Pisan <i>Le fait d'armes et de chevalerie</i>, translated and printed from the
manuscript in the Royal Library by order of Henry VII. The translation was completed by the 9 July and it
was printed by the 14th in a new fount (type 6, based on types 2 and 2a), used for several works in the
next two to three years, for example two romances:</div><br /><div align="justify">
In 1489 <i>Blanchardyn and Eglantine</i> translated by Caxton from a French manuscript sold to the Queen
Mother Lady Beaufort, who ordered the translation.</div><br /><div align="justify">
In 1489 <i>The four sons ofAymon</i>, translated for and dedicated to John De Vere, his "singular and
especial lord", a new found patron, although he had to print the work at his own expense.</div><br /><div
align="justify">
In 1490 <i>Eneydos</i> was translated by Caxton "having no work in hand", from a French romance based on
Virgil with a delightful prologue on the English language.It was presented to Prince Arthur - Caxton
clearly had an eye on the future.
In 1491 <i>Fifteen O's</i>, prayers starting with "O", an octavo printed by command of Queen Elizabeth of
York and the Queen Mother Margaret Beaufort. It is Caxton's only work with woodcut borders; the woodcut
of the Calvary on the second page is the most expressive in 15th century English printing. The cuts and
borders were used by de Words in a 1494 book of hours.
In 1491 he printed only religious works.
In 1492 there is an entry in the parish accounts of Saint Margaret Westminster: 7/8d for four torches at
the funeral and 6d for the bell. In previous year Maud Caxton had been buried at Saint Margaret's - his
wife, perhaps. Caxton himself died after finishing the translation of the <i>Lives of the fathers</i> as
the colophon of de Worde's publication tells us.</div><br /><div align="justify">
<b>Caxton's position as pioneer</b> printer was fortuitous:</div><br /><div align="justify">
1 - that he was English, almost all his immediate successors were aliens.</div><br /><div align="justify">
2 - other presses were soon work, in London John Lettou in 1480, in Oxford Theodoric Rood in 1478 and in
Saint Albans the Schoolmaster Printer in 1479. </div><br /><div align="justify">
<b>Choice of texts.</b> Caxton printed 103 works in all. Patronage was important, for 77 original works he
had a patron for 23. A patrons name lent distinction and was normal practice at the time. Caxton printed
for the elite, not for the masses. They were courtly works, not popular literature, but the market for the
latter was uncertain. Literacy had not spread deeply. Almost half the items were religious or didactic,
also many Chronicles and romances. Theere was a wide range: encyclopaedias, religious works, poetry,
history, classics, he even had planned Mandeville's <i>Travels</i>. About three quarters of them were in
the vernacular.</div><br /><div align="justify">
<b>1. Practical works</b> aimed at a special market or for special clients: law books, vocabularies,
religious books would keep the press is busy when other categories were not available.</div><br /><div
align="justify">
<b>2. Courtly works</b> in three main subdivisions:</div><br /><div align="justify">
<b>2a. Caxton's own translations.</b> These formed the largest group with least 26 translated by himself
besides his additions and interpolations. Why translate? The Burgundian court was very fashionable and
Caxton got to know the literary taste there. The Burgundians too had a taste for the vernacular.</div><br
/><div align="justify">
<b>2b. English poets.</b> All were courtly, especially Chaucer, Gower and Lydgate. He avoided Langland
and the alliterative poets.</div><br /><div align="justify">
<b>2c. Prose works in English.</b> There were also many translations, including works by Chaucer, Lydgate
and various nobles all of them in an elevated style.</div><br /><div align="justify">
The actual title chosen within a genre was often arbitrary, probably a manuscript recently arrived in his
book shop. These were similar in tone to those suggested to him by noble clients.</div><br /><div
align="justify">
<b>Caxton the translator</b> would sometimes alter foreign place names to English or add interpolations and
anecdotes of his own of a pious or chivalric nature or to clarify the text. But in the main "plodding
fidelity" characterises his work. There were many mistakes as he was looking at an individual word, not
its context. Speed was his main principle. Passages were omitted even translated twice, and there were
many misreadings. This is all evidence that he seldom read over his work. Also the original language
colours his vocabulary and style. But though his standards were below today's, they compare favourably
with some of his contemporaries.</div><br /><div align="justify">
<b>Caxton's prologues</b> are homely and good humoured "in the common terms that be daily used". But they
lent heavily on models, either the prologues of original works extended and adapted or, of other writers he
knew for grand phrases, often oddly mixed into his own simple style. This patchiness is revealing in his
use of stock ideas.</div><br /><div align="justify">
<b>Caxton's language.</b> Caxton is claimed as a great innovator and standardiser of of the language, but:
</div><br /><div align="justify">
<b>1. Spelling:</b> this was coloured by the language he he was translating from; there was no consistency,
unlike with de Worde. </div><br /><div align="justify">
<b>2. Vocabulary:</b> he was and more interested in this, but his own vocabulary was simple.Foreign words
were introduced under the influence of the source but not permanently added to his vocabulary. In the
<i>Polichronicon</i> there are many alterations of archaic words usually in favour of those used today, but
this is not comprehensive.</div><br /><div align="justify">
<b>3. Style:</b> Caxton was aware of courtly and "uplandish" style, but in practice his vocabulary and
rhetorical devices are usually carried over directly from the original. He attempted to avoid alliterature
features. His sentence structure is good only when he had a good the regional to lean on, otherwise he
tended to be rambling. Thus Balde's estimation that he excelled as a linguist is not entirely
true.</div><br /><div align="justify">
<b>Caxton as an editor</b> is seen as a scholar concerned for the accuracy of the text, and the
<i>Canterbury tales</i> is pointed out as an example of this. But he printed the first edition from the
first text to hand. Asked by a gentleman to print from a better manuscript, he merely wrote in corrections
to the text in the first edition and printed that. Changes in the order of tales and vocabulary were
indicated in the margin, as is evident from the nature of the errors. For <I>The house of fame</i> he used
an incomplete manuscript which he completed himself with 12 lines of doggerel. His degree of alteration
texts varied. Malory's <i>Arthur</i> was much altered to bring out Christian morality. Poetry was altered
less, especially not Chaucer. But he had little concern with the quality of the text. When he had several
sources, for example the <i>Golden legend</i> in English, French Latin, and other sources, he drew on all
regardless. If the original was in a courtly style he altered it less than if it was in an older
alliterative style. His prose works we usually divided into books and chapters. Tables of contents were
often added sometimes even in studio alphabetical index. He often added a prolonged but in general his
cavalier attitude to text was typical of the time.</div><br /><div align="justify">
<b>Caxton's reputation</b> should be assessed from the fact that he printed for the fashion of the day.
The fashion for chivalry was already there; he developed it by translating and enriched English literature.
He was criticised by the next generation when fashions had changed and humanism had taken root in England.
Caxton was aware of humanists like Poggio Bracciolini,but he was not one himself. Any link was purely
commercial, a name to bandy about. He printed few Latin texts and was criticised for this by Gibbon and
others in the 18th century. Now we wish he had printed more vernacular. Later antiquarians saw him as the
first printer of much English literature and thus he became a scholar, linguist, a printer for the common
man.</div><br /><div align="justify">
His literary influence is hard to assess. He confirmed the trend towards translation, but he did not start
it. Chaucer was pre-eminent before Caxtion confirmed his position. The resulting neglect of contemporary
English literature was made up for by de Worde. Caxton was too imbued with courtly life.</div><br /><div
align="justify">
Caxton's achievement was that the first British press was set up on a sound commercial footing and lasted
for 60 years. This is due to his choice of texts, unlike so many continental printers of classics who
lasted for only a few years. It was a deliberate choice,and he was able to carve out a monopoly.There was
no need to vied with continental printers in technical improvements and his typography was poor. His
workmanship was careful, but little more than adequate, his eight types were all gothic, his ornamentation
was generally poor.</div><br /><div align="justify">
Perhaps his unbelievable industry in his business is his greatest achievement. In 78 works made ready for
the press there were 525,000 words, an average of over 1000 words a day six days a week.His own
translations amounted to 4,500 pages, a page a day six days a week. Caxton was not a scholar or a linguist
but a businessman and a very industrious and canny one.</div><br /><div align="justify">
<b>Wynkyn de Worde</b> [<a href="https://doi.org/10.1093/ref:odnb/29968">ODNB</a>] was probably born in
either Wörth an der Sauer in Alsace or Wörth am Rhein in the Palatinate and may have come over to England
with Caxton. He was certainly in Westminster by 1480 when he is mentioned in an Abbey deed. His wife
Elizabeth probably died in 1490 and soon after, on Caxton's death in 1492, he took over his workshop. He
had probably been Caxton's foreman but there seems to have been lengthy litigation with Caxton's son-in-law
as few works were printed before the end of 1493. While Caxton printed for courtly circles, Wynkyn de Worde
printed for a wider public. After about 1500 his volumes became smaller and cheaper.</div><br /><div
align="justify">
At first he mainly finished off Caxton's work, using his type at Westminster. Most of his early type came
from the Low Countries from where he obtained two black letter founts by 1500.</div><br /><div
align="justify">
1491/2 <i>Chastysing of Gods children</i> was his first book after Caxton's death, using his type 6. It was
also the first Westminster book with a title-page, consisting of three lines of type in the middle of the
first verso. Many of his early books were unsigned.</div><br /><div align="justify">
1493 John Mirk's <i>Liber festivalis</i> was one of his first signed books and also the first to use his
own type.</div><br /><div align="justify">
1494 <i>Scala perfectionis</i> was printed for the Queen Mother.</div><br /><div align="justify">
Early on he reprinted large folio volumesof Caxton's <i> Golden legend </i>, <i>Canterbury tales</i>,both
of them well printed.</div><br /><div align="justify">
1495 Ranulf Higden's <i>Polychronicon</i> was reprinted. In the description of consonances by Pythagoras a
musical illustration was called for. In 1483 Caxton had left the space blank to be filled in by hand but de
Worde used quads or inverted types for the notes and rules for the staves. The first genuine music printing
be de Worde was in 1530 in the <i>Book of song</i>, a very good achievement with well designed types based
on German originals. The notes were printed with the text and the staves separately from rules.</div><br
/><div align="justify">
1494 <i>Vitas Patrum, or the lyff of the olde Auncyent holy faders</i> was a work tanslated by Caxton in
the last year of his life. The folio edition was printed in two columns using de Worde's own types and it
was profusely illustrated with poor English woodcuts. </div><br /><div align="justify">
<center><img height="200" src="https://1.bp.blogspot.com/-83vcmkjj7S8/XHq1W3FU_nI/AAAAAAAAIOg/EKikE-
ZR2VEmN9Y8Fu0S_1oU_tfEv5lRACPcBGAYYCw/s320/Construction%2Bsite.jpg"></center>
</div><br /><div align="justify">Wynkyn de Worde produced 800+ imprints to 1534.</div><br /><div
align="justify">
Sections to add: <BR />
John Bydell. [Text to write.] </div><br /><div align="justify">
John Lettou [<a href="https://doi.org/10.1093/ref:odnb/16525">ODNB</a> Text to write.] </div><br /><div
align="justify">
William de Machlinia [<a href="https://doi.org/10.1093/ref:odnb/17536">ODNB</a> Text to write.] </div><br
/><div align="justify">
Richard Pynson. From Normandy. Took over premises of Machlinia. Finest work <I>Sarum missal</I> (1500).
Appointed King's Printer 1508. Died 1530, printed over 370 books.</div><br /><div align="justify">
1509 Barclay. Alexander. <i>The ship of fools</i>, a translation of Das Narrenschiff by Sebastian Brandt.
“This present boke named the Shyp of folys of the worlde was translated i[n] the College of saynt mary
Otery in the counte of Deuonshyre: out of Laten, Frenche, and Doche into Englysshe tonge by Alexander
Barclay preste: and at that tyme chaplen in the sayde College.” The woodcuts in Barclay's edition printed
by Pynson are not as detailed as the German originals but more accomplished than those in Watson's
translation, printed by De Worde. They were also used for the second edition of Barclay's translation,
which appeared in 1570.</div><br /><div align="justify">
<blockquote>Of unprofitable bookes (fo. 1r)<br />
<br />
Lo in likewise of bookes I have store<br />
But fewe I reade, and fewer understande,<br />
I folowe not their doctrine nor their lore,<br />
It is ynough to beare a booke in hande:<br />
It were to muche to be in such a bande,<br />
For to be bounde to loke within the booke,<br />
I am content on the fayre covering to looke.</blockquote></div><br /><div align="justify">
Sections to add:<BR />
Robert Redman [<a href="https://doi.org/10.1093/ref:odnb/23261">ODNB</a> Text to write.] </div><br /><div
align="justify">
Julian Notary [<a href="https://doi.org/10.1093/ref:odnb/20367">ODNB</a> Text to write.] </div><br /><div
align="justify">
William Faques Text to write.] </div><br /><div align="justify">
<BR />
Robert Faques Text to write.] </div><br /><div align="justify">
<BR />
John Rastell [<a href="https://doi.org/10.1093/ref:odnb/23149">ODNB</a> Text to write.] </div><br /><div
align="justify">
Robert Copland [<a href="https://doi.org/10.1093/ref:odnb/6265">ODNB</a> Text to write.] </div><br /><div
align="justify">
Richard Banks Text to write.] </div><br /><div align="justify">
Peter Treveris [<a href="https://doi.org/10.1093/ref:odnb/27720">ODNB</a> Text to write.] </div><br /><div
align="justify">
Robert Wyer [<a href="https://doi.org/10.1093/ref:odnb/30124">ODNB</a> Text to write.] </div><br /><div
align="justify">
Thomas Berthelet [<a href="https://doi.org/10.1093/ref:odnb/37187">ODNB</a>]. Active 1524-39. Appointed
King's Printer 1530. Printed works by Sir Thomas Elyot including his <I>Dictionary</I> (1538)</div><br
/><div align="justify">
Sections to add:<BR />
Richard Grafton [<a href="https://doi.org/10.1093/ref:odnb/11186">ODNB</a> Text to write.] </div><br /><div
align="justify">
Majority of printers aliens until 1530s.</div><br /><div align="justify">
<P align="justify"><B>The English Bible.</B> First English Bibles printed abroad. Tindale's New Testament
issuedby Peter Schoeffer in Worms 1525, Miles Coverdale's (Bishop of Exeter) complete Bible probably
printed at Marburg. 1537 Bible printed in Antwerp commended by Cranmer (Matthew Bible), published in
England by Richard Grafton and Edward Whitchurch. 1538 revised translation by Coverdale promoted by
Cromwell. Printed in France but seized by the Inquisitor General, so Grafton and Whitchurch became
printers. Great Bible completed 1539. </P>
<P align="justify">Richard Grafton King's Printer under Edward VI 1547-53, but printed accession of Lady
Jane Gray.</P>
<P align="justify">John Cawood [<a href="https://doi.org/10.1093/ref:odnb/4958">ODNB</a>]. King's Printer
under Mary</P>
<hr />
This page last updated 24 October 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-38965594574277967862020-10-16T20:42:00.001+01:002020-10-20T20:10:15.798+01:00World Book Heritage. 38. Britain 1700-1800<table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
37. Britain 1700-1800.<br /><br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)<br /></b></center><br /><b></td></tr></table><div align="justify">
The <b>Oxford University Press</b> was the only exception to the general low ebb of printing in Britain as the 18th century dawned. This was largely due to Fell's efforts. Though fewer books and printed at Oxford in the 18th century, this was more than compensated for by the quality of the impressive folio publications.</div><br /><div align="justify">
Edward Hyde, Earl of Clarendon's <i>The history of the Rebellion and Civil Wars in England</i> came out in three volumes between 1702 and 1704. The University was granted by perpetual copyright in this work which was printed in a fine large type cut by Peter Walpergen. Engraved decorations were by Michael Burghers, another Dutchman who worked for the press in Oxford from about 1673 until his death in 1727. The head and tail pieces in the grandest baroque style were matched in the detail of execution and general effect by the woodcut initials. As a result of the profits accruing from the sale of this work the press was able in 1713 to move to the Clarendon Building in Broad Street where it remained for a little more than a century when it moved to larger premises. The Bible Press occupied the eastern half the premises and was more active than the learned press.</div><br /><div align="justify">
<b>John Baskett</b> produced a magnificent be printed Folio Bible between 1716 and 1717 in a fine roman fount with matching the italic, both of English origin. It was marred by numerous misprints and was known as a "basketful of errors", also as the "vinegar Bible" because of an error in the parable of the vineyard in Luke chapter 20. </div><br /><div align="justify">
John Baskett was a stationer for many years before becoming a printer a shrewd businessman. In 1710 he purchased a share in the King's patent from the executors of Henry Hills and Thomas Newcombe, later acquiring the whole patent. In 1711 he obtained a lease of the Oxford privilege and a third share of the Scottish patent. In 1716 he obtained a new privilege, shared with the widow of Andrew Anderson as King's printer in Scotland. In 1725 he set up press in Edinburgh, producing several mediocre editions of the Bible. He had a long feud with the Edinburgh printer James Watson who accused Baskett of running a scandalous monopoly, upping prices by 50 or 60 per cent. This was partly sour grapes on Watson's part as he had aimed to get the patent for himself on expiry of Mrs. Anderson's patent.</div><br /><div align="justify">
The <b>Foulis brothers, Robert (1707-1776) and Andrew (1712-1775)</b> were the greatest names in 18th century Scottish printing. Robert began life as a barberbut attended classes at Glasgow University. In 1738 and 1739 he and his Brother Andrew made two trips to England, France and the Netherlands, buying books which they sold on their return to cover their expenses.</div><br /><div align="justify">
In 1741 Robert decided to set up as a bookseller, closely associated with his brother though not an official partner until about 1748. At first books were printed for them by other printers. The standards were usually poor, as was all Glasgow printing at that time. The brothers determined to improve the appearance of their books so attended a press in the town until a thorough knowledge of the art had been gained. </div><br /><div align="justify">
In 1743 Robert printed their first Greek text: Demetrius Phalerus <i>De elocutione</i>, which they submitted with an application for the post of printer to Glasgow University. He was nominated in the same year.</div><br /><div align="justify">
In 1744 the foundry of Wilson and Bain moved to a village near Glasgow. They supplied the Foulis press with type and even cut special founts for them, both roman and Greek. Their type was never leaded but achieved the same spacious effect by having it cast on a larger body. </div><br /><div align="justify">
<b>Alexander Wilson</b> (1714-1784) was a native of Saint Andrews destined for the medical profession but the patronage of the Duke of Argyll enabled him to undertake scientific research. He later became professor of astronomy. A chance visit to the letter foundry led to an interest in typography. The firm was founded in 1742 with his friend Bain. </div><br /><div align="justify">
Both brothers loved good literature, and editions of the classics formed a great part of their output, as well as books on philosophy. They were renowned for their accuracy. In 1744 an edition of Horace was dubbed "the immaculate Horace". Proof sheets were hung up in the college grounds and a reward offered for each typographical error discovered. No reward was ever claimed, though the printers later discovered six error themselves.</div><br /><div align="justify">
From 1748 a steady stream of books appeared, most of them comparing well with any in England or the continent. Some were outstanding, including a fine edition of Sophocles. Their crowning glory was a four volume folio edition of Homer, published from 1756 to 58, one of the finest specimens of Greek printing in Britain. The Greek type was especially cut by Wilson. A 21 volume edition of Cicero in 1749 earned the commendation of Antoine-Augustin Renouard (1765-1853) the Parisian book dealer, printer and bibliographer, who preferred their type to the Elseviers.</div><br /><div align="justify">
In 1755 a small folio of Callimachus won the Edinburgh Society's silver medal for printing as the finest book of not fewer than ten sheets. They also produced fine editions of English authors: Gray, Pope and Milton's <i>Paradise lost</i>.</div><br /><div align="justify">
Their influence on book design was considerable.They abandoned the mixed type of their predecessors on the title page and dispensed with lower case and Italics. They were models of classical simplicity and severity. Their works had an open appearance because their type was cast on a larger body. Their paper, inking and presswork were good. They attempted to found a school for art students with their profits and the failure probably hastened their deaths; Andrew died suddenly in 1775 and Robert in 1776.</div><br /><div align="justify">
They were succeeded by Robert's son Andrew who was associated with Tilloch in a patent for stereotype in 1779. The business was closed down in 1795 after the firm had issued more than 700 titles.</div><br /><div align="justify">
<b>John Watts</b> 1678 to 1763 was probably the most important English printer of the first half of the 18th century. He had an extensive and varied output and could produce duodecimo classics as well as large folio volumes.</div><br /><div align="justify">
In 1718 Matthew Prior's <i>Poems on several occasions</i> was one of several large folios he printed for Jacob Tonson with John Barber. The engraved decorations were by Cheron and the edition included large paper subscription copies.</div><br /><div align="justify">
The decoration of his books was always of a high standard as was the printing. John Nichols in 1812 sensed that his fame will "endure as long as any public library shall exist". For some time he was partner to the younger Tonson and his proteges included Benjamin Franklin who worked for him in 1724 and 1725, and the typefounder Caslon, to whom he lent £400 to start up in business.</div><br /><div align="justify">
<b>John Pine</b> (1690-1756) was the ablest English engraver in this period. He was probably a pupil of the French engraver Bernard Picart (1673–1733).</div><br /><div align="justify">
In 1733 and 1737 he published Horace in Latin in two volumes with the text and ornaments entirely engraved. It is said that the text was first set in type and then transferred to the copperplate before engraving and the layout is certainly typographic rather than calligraphic. There is a unity between the text and the illustrations and a spacious impression from the wide space between the lines. The thick/thin contrast of the lettering foreshadows Baskerville later in the century. It also echoes the works of the writing masters, notably Thomas Bickham, which were elaborately engraved.</div><br /><div align="justify">
<b>Samuel Richardson</b> (1689-1761) was a novelist who was also a successful printer. Between 1706 and 1713 he "served a diligent seven years to a master who grudged every hour to me that turned not to his profit". At first he was a journeyman corrector who also compiled indexes and prefaces. As business grew he obtained a contract for the <i>Journal</i> of the House of Commons, of which heprinted 26 volumes. In the late 1730s he was also a newspaper printer. </div><br /><div align="justify">
He is best known for his novels. In 1741 <i>Pamela</i> appeared, in 1747 <i>Clarissa Harlowe</i> in 1735 <i>Sir Charles Grandison</i>, which was pirated by Dublin printers not covered by the 1709 Coppyright Act before his own edition appeared. He claimed that the sheets were stolen from his warehouse. Irish booksellers claimed that they can procure sheets for any London work whichwas in the press. </div><br /><div align="justify">
In 1754 he was master of the Stationers'Company and in 1760 be purchased a half share in the law patent.</div><br /><div align="justify">
In 1761 he died and was buried in Saint Bride's church.</div><br /><div align="justify">
<b>William Bowyer I</b> (1663-1737) was apprenticed in 1679 and free in 1686. He began to print in Little Britain in 1699. He moved to Dogwell Court, Greyfriars in 1699 and was admitted to the livery and of the Stationers' Company 1700.</div><br /><div align="justify">
On the 29th of January 1713 his premises were destroyed by fire with almost his entire stock. A subscription was have once raised among his colleagues £1,162 was obtained. There was also royal permission for special collections to be raised in churches, and that raised £1,377,so he was able to resume business. Lord Chief Justice Parker paid for recutting the Anglo Saxon types of the Primer by Miss Elizabeth Elstob, the original fount was destroyed in the fire. Although it was based on designs of the eminent Saxonist Humphrey Wanlet, it proved unsatisfactory. It was used in the Primer in 1715 and in occasional later works. His son William II presented them to the Oxford University Press.</div><br /><div align="justify">
In 1722 he was joined by his son William I He was closely connected with Caslon's early steps in punch cutting together with John Watts.</div><br /><div align="justify">
In 1724 he published Samuel Negus <i>A compleat and private history of all the printing houses in and about the cities of London and Westminster</i>. This was arranged in a classified order under headings such as "well affected by King George" or "high flyers" and so on.</div><br /><div align="justify">
<b>William Bowyer II</b> (1699-1777) was the most learned printer of the 18th century. He was elected as fellow of the Society of Antiquaries to which he contributed many papers. From 1736 he was their printer. After joining his father in 1722 he was mainly concerned in reading the proofs of learned works. He was almost unrivalled as a publisher of learned books after his father's death. He was known for his generosity; in 1738 John Baskett and his family barely escaped a fire with their lives, and Bowyer gave them a press in memory of their generosity to his father. In his will he left £180 a year to the Stationers' Company for charities besides other trusts for aged printers. </div><br /><div align="justify">
<b>William Strahan</b> (1715-1785) was born in Edinburgh and apprenticed there. In the 1730s he moved to London and became free of the Stationers' Company by redemption in 1737. He was actively engaged in printing to his death. His methodical records show the success of his business. The wage bill in 1739 was £234; in 1783 it was more than £3,500. In his early years he printed for many notable booksellers and publishers including the Rivingtons. In 1743 Fielding's <i>Joseph Andrews</i> was printed for Millar, for whom he had printed from the start of his career. It appearedin a large edition of 3,000 copies in 20 sheets at £2/5/- a sheet. He later acquired shares in Fielding's work from the publisher Millar. </div><br /><div align="justify">
In 1766 he acquired of one third share of the patent of King's Printer from Eyre for £5,000 pounds plus £300 a year for managing the printing office and in 1762 he succeeded to the law patent from the widow of Samuel Richardson and the daughter of Henry Lintot. In 1771 he wrote that he had an interest in more than 200 books, each with a separate account.</div><br /><div align="justify">
In 1755 he published Johnson's <i>A dictionary of the Eng;ish language</i> for Dodsley and a syndicate of others. He participated in the share-book system which had developed from the earlier congers.</div><br /><div align="justify">
From 1776 he printed Gibbon's <i>Decline and fall of the Roman empire</i>. Originally 500 copies were planned but Strahan's foresight doubled thisnumber. The work was not completed until after Strahan's death, impression was exhausted in a few days. Two Dublin piracies appeared almost immediately. </div><br /><div align="justify">
In 1785 he died leaving an estate of £95,000 and was succeeded by his son Andrew. He claimed: "I have made the name of printer more respectable than ever it was before", emancipating them from "slavery to the booksellers".</div><br /><div align="justify">
<b>John Bell</b> (1745-1831) was apprenticed to Strahan and was a bookseller by the age of 24.</div><br /><div align="justify">
In 1774 Alexander Donaldson won an appeal to the House of Lords in claiming the right to reprint books when copyright term had expired.Booksellers had held that there was perpetual common law copyright. This emboldened Bell to publish cheap reprints: in 1774 Shakespeare in 11 volumes, from 1776 to 1778 the <i>British theatre</i> in 21 volumes - among the first to discard the long "s" - rom 1779 to 1792 <i>The poets of Great Britain from Chaucer to Churchill</i> in 109 volumes. Most were printed in York and Edinburgh, beyond the irate London booksellers who commissioned Samuel Johnson to write <i>Lives of the poets</i> for a rival edition. There was much prejudice and hostile criticism but the books were very elegant. Though they were cheap, he chose engravers not for their cheapness but for their excellence, and in 1785 he was able to engage Samuel Johnson for are duodecimo edition of Shakespeare.</div><br /><div align="justify">
In 1785 he visited Paris to study printing and in 1787 he established the British Letter Foundry with Richard Austin as punchcutter. In 1788 a specimen sheet was published which shows the influence of Didot. He laked an opeen page; this was one reason for dropping the long "S". He was fond of leading between lines and careful over quality. From 1772 onwards he was in the newspaper and periodical business, in 1787 he founding <i>The World</i>, the first neatly printed periodical with leading to ease legibility. Thre is more on this side of his work in the talk on newspapers and periodicals.</div><br /><div align="justify">
<b>Horace Walpole</b> was an author who set up a press in a cottage in the grounds of his villa at Strawberry Hill, Twickenham. Here it was in existence for 32 years from 1757 to 1789 and produced numerous works, starting well with <i>Poems</i> by Thomas Gray. He was unlucky with his printers, having five in the first seven years. Robinson "a foolish Irishman" was the first. The next stayed three weeks, the next one week. In 1759 Thomas Farmer printed Walpole's <i>Anecdotes of painting in England</i> but ran away for debt and getting two girls with child.</div><br /><div align="justify">
He also printed his bio-bibliographies of <i>Royal and noble authors</i> and <i>Royal and noble engravers</i>, also some rather more ephemeral and second-rate of his writings, but above all his gothic novel <i>The castle Otranto</i>.</div><br /><div align="justify">
His was one of the first private presses; he called himself "a volunteer". The books were not too amateurish but the small format usually makes the cut of the villa on the title page disproportionately large.</div><br /><div align="justify">
<b>John Baskerville</B> (1705-1775) was like William Morris in several ways. He came to printing late in his career, he was also rich could afford to experiment, and profit is not his prime aim. But unlike Morris he was a self-made man.</div><br /><div align="justify">
He was born in Wolverley near Kidderminster. His family was not rich,but was able to give him an education. He started life as a footman in a country rectory but from childhood he had a love of letters and writing.</div><br /><div align="justify">
In 1725, aged 19, he went to Birmingham to teach writing.He also had and interest in stone cutting especially for gravestones. An advertisement stone cut by him in five difference hands is now in Birmingham Public Library.</div><br /><div align="justify">
In 1736 he began to show an interest in the new fashion of japanned ware, a kind of varnished ware hardened in kilns. He noted that John Taylor was at work using child labour. It is alleged that he had discovered the secret ofthe process by following him from shop to shop as he purchased his materials. Baskerville was a craftsman, avoiding mass production: "their beauty without violence would not be impaired in several ages" - ironically he is now remembered for his printing.</div><br /><div align="justify">
In 1742 he was granted a patent for a new method of making flat and grinding thin metal plates.</div><br /><div align="justify">
In 1745 he acquired enough money to buy a plot of land just outside Birmingham and build his own villa, Easy Hill. Finally Baskerville had arrived. He was a respected citizen but the subject of gossip and ridicule for his showy dress of green and gold and his lavish carriage. He was called a "pretentious coxcomb" but was strong-willed and independent. He took the wife of Richard Eaves,a forger who had fled abroad, into his house at Easy Hill with her four children as housekeeper. They lived together as man and wife for 16 years until the death of Richard in 1764 enabled them to marry.</div><br /><div align="justify">
In 1767 he was appointed High Bailiff of Birmingham. He inserted an advertisement in newspaper asking people to observe fair dealings are not indulge in idle gossip, also another that despite rumours to the contrary he could pay debts in cash and on site.</div><br /><div align="justify">
In 1750, aged 44, he took up printing. His aims he states as: "having been an early admirer of the beauty of letters, I became sensibly desirous of contributing to the perfection of them". So he took up printing but not as a commercial printer: "it is not my desire to print many books but only such as are books of consequence, intrinsic merit or established reputation [...] at such a price that will repay the extraordinary care that must necessarily be bestowed upon them". He had much to learn as an amateur especially as a craftsman. He had presses built to his own specification. There was no difference in design from the contemporary press but his practice in milling plates enabled him to produce flat a platen and greater accuracy in other respects. He used brass an inch thick for his platen where others had used wood or slate. He also experimented to obtain an ink of a deeper black and velvety texture. His experience in varnishes useful here. The ink was also allowed to mature for longer than normal. There is no evidence that he made his own paper, but he was the first to use wove paper without chain lines. He had introduced new writing paper with a vellum-like surface marketed through Dodsley in London and made for him by James Whatman in Maidstone but he produced so much that Dodsley had to beg him to send no more, and even had to return some. He also increased the sheen of the paper by pressing the printed sheets between hot copper plates when they had come from the press. This could be the cause of foxing, which is frequently found in his works.</div><br /><div align="justify">
His types were cut at Easy Hill from Baskerville's designs by John Handy who had joined Baskerville about 1750 in the foundry and press set up in hishouse. He was able to cut Baskerville's designs without old face taint. The designs were amongst the first with modern face tendencies, a vertical engraved emphasis with a greater thick/thin contrast.</div><br /><div align="justify">
<CENTER><IMG SRC="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzfc-OsY7oS46n6h38JEzuPdGnWcBfwWVLtcLDnq_ETybPdUjUoo_rBj105GtckgnGJE0U1h6YIV7eXyBKKbgKPYEnAFbzs60RDDhZzAQpARpkWV7PLc3p77zd6_1OLLBLGwr1/s1600/typrbas1.Jpg"><BR />Birmingham, John Baskerville, 1757, roman type.</CENTER></div><br /><div align="justify">
Baskerville knew William Shenstone, the poet and landscape gardener who introduced Baskerville to the publisher Dodsley. They became firm friends and reached an agreement on publishing. However Baskerville was a perfectionist. The correspondence shows Dodsley's impatience. In October 1752 Baskerville sent in the specimen sheet but only 14 punches of two-line great primer. In a footnote he added "Pray, put it in no one's power to let Mr Caslon see them". The first book planned was a Virgil, which was advertised by Dodsley in 1753 and subscriptions invited. However in the following year Baskerville was still worrying about punches. In 1755 baskerville went to London, presumably to persuade London publishers to use the press lying idle during his preparations. </div><br /><div align="justify">
In 1756 Baskerville went to Cambridge to seek permission to print the Bible and prayer book, and he also wanted to print Milton. In the same year he wrote to Dodsley saying that the Virgil would be ready next January. By April Dodsley was complaining there was still no sign. In 1757 the Virgil was finally published. In six years Baskerville had spent between £600 and £800 in his preparations. It was published at one guinea as a square quarto in great primer leaded type. Italic capitals were used for the running heads. It was described as the first book wholly printed on wove paper, but all known copies are partly on laid paper. <i>Paradise lost</i>, printed in 1759, was probably the first to be printed solely on wove paper. </div><br /><div align="justify">
Reactions were mixed. There were complaints that it dazzled the eyes. More writesof "trim glossy paper to dim the sight". It was a fashion to belittle Baskerville and London printers called him an "amateur". Benjamin Franklin tells of a trick he played. A friend said "Baskerville would be the means of blinding all the readers of the nation, for the strokes of your letters being two thin and narrow hust the eye, and he would never read a line of them without pain". Franklin next day tore off the top sheet of a Caslon specimen and showed it to him, asking him to point out faults, which he did as ifit were Baskerville's. "I spared him that time the confusion of been told that these were the types he had been reading all his life with so much ease to his eyes." In more recent times he has been criticised for overloaded pages in Virgil - a few less lines to the page would have improved it. The title page was criticised as the widely spaced capitals gave a monumental appearance rather like a gravestone. However many recognized his care and the skill that had gone into the work.</div><br /><div align="justify">
In 1758 Milton's Works came out in four quarto volumes, a fine piece of printing and a great success. A octavo volume came out the same year and a quarto volume in 1759. These were published by J and R. Tonson. In the preface he states his aim as printer to produceonly books of consequence. It is fortunate that he had a thriving japanning trade to help support the press and his half dozen staff. He was compelled to produce some work for private customers which were not always as well done.</div><br /><div align="justify">
His desire to print the Bible and prayer book led to problems. He entered into negotiations with the Cambridge University Press, who drove a hard bargain: "under such shackles as greatly hurt me". He told Horace Walpole that he had the Syndics of the press £20 per 1,000 copies of the Octavo prayer book and £12/10/- per 1,000 sheets for the duodecimo prayer book. He also had topay £32 to the Stationers' Company for the permission to add the psalms in metre. The privilege also carried with it the honorary office of printer to the University so the printing had to be done in Cambridge. Baskerville did not go himself; he stayed at Easy Hill producing Milton, but he must have made many journeys. He sent two presses and equipment in charge of his assistant Thomas Warren. </div><br /><div align="justify">
In 1760 the Prayer book was published. He had sent a specimen sheet to Dodsley with the remark that the size of type was "calculated for those who begin to want spectacles but are ashamed to use them in church". Three editions in octavo appeared between 1760 and 1762, one with two columns and in 1762 and edition in duodecimo.</div><br /><div align="justify">
In 1763 the Bible appeared although it was dated 1762, Baskerville's crowning achievement and one of the most beautiful Bible editions in English.It was a folio in a handsome great prime type, but it was a financial failure. He claimed to Horace Walpole that he had to borrow to print the Bible, he would have to sacrifice his patrimony of £72.00 a year and so on. However there is no evidence that Baskerville was ever in want. Other presses in Birmingham were producing Milton and other works on demand, so he had to lower prices to attract customers, and he also sold some types.</div><br /><div align="justify">
In 1761 he printed Addison's works for the Tonson's, also Congreve's works and series of small format classics and Horace in 1762, which was delayed by Baskerville searching for suitable for artists for illustrations. In he ended it only contained a frontispiece. However the Horace was among the best works from Baskerville's press.</div><br /><div align="justify">
Unfortunately this was more than counteracted by the Bible. The price was four guineas in sheets. Subscribers for more than six copies of were allowed another gratis. Only half of the edition were sold and within two years the rest was remaindered.</div><br /><div align="justify">
Altogether 1763 was a bad year for Baskerville. His stepson died - Baskerville had designated him his heir - and eleven days later Shenstone, who had introduced him to Dodsley. Baskerville was weary of being a printer; he was approaching the age of 60. He had previously talked of selling the press to Russia or Denmark and even sent specimens. In 1762 he offered to sell his press to the Court of France for £8,000 but he was politely refused. He later suggested to Benjamin Franklin that he reduce the offer to £6,000 but the French treasury had no spare cash. Also the Greek octavo and quarto editions of the New Testament of 1763 and did nothing for his reputation. The type was described as "stiff and cramped" and "execrable". He had approached Oxford in 1758 with an offer to cast a Greek found but the reception had been hostile. After use in the Bible his plans to produce Euripides in the same fount were abandoned. The punches and matrices are still preserved of Oxford. It was Baskerville's one and only venture into exotic founts.</div><br /><div align="justify">
In 1764 Dodsley died. Baskerville wearily handed over control of the business to his foreman William Martin who offered his services in Birmingham to "print for gentlemen or booksellers on the best moderate terms". Martin sold founts to local printers and produced five main works including a nine volume duodecimo Shakespeare in 1768 and Somerville's <i>The chase</i>, a fine work with charming engravings.</div><br /><div align="justify">
In 1769 Baskerville's interest was resumed when Martin began to print sections of a Bible as subcontractor to a rival printer, Nicolas Boden. Baskerville's pride was hit. He took over command of the press and aimed to produce a finer rival Bible. The first number was advertised or 2½d the copy in January 1769 in the <i>Birmingham Gazette</i>. It was to be completed in thirty parts, twenty less than Boden's, as he indicated, a saving in money. Boden retaliated that in fact his Bible was in less parts and a lot cheaper not 15 shillings dearer. The quarrel continued in the pages of the <i>Birmingham Gazette</i> for two years until both were completed in 1772. They were very alike - perhaps they had spies in each other's shops.</div><br /><div align="justify">
Between 1770 and 1775 appeared a quarto series of Latin authors: Lucretius, Catullus, Tibullus, Propertius, Terence, Sallust and Florus, also a Horace, the only one to be illustrated. </div><br /><div align="justify">
In 1772 the brothers Pietro and Giovanni Molini, booksellers with branches in London, Paris, and Florence, commissioned an edition of <i>Orlando furioso</i>. The four volume work was printed in quarto and octavo and was an exception to the usual lack of illustrations.It contained 46 plates by Moreau le jeune, Eisen, Cochin and Cipriani. Through the Molinis he he tried yet again to sell his equipment to France but in vain.</div><br /><div align="justify">
Baskerville died 8 January 1775. He had made a controversial will, expressing contempt of the "farce of consecrated ground" and "Irish barbarism of sure and certain hopes". He felt that morality, the duties a man owes to God and his fellow creatures, were sufficient to entitle him to divine favour without having to believe absurd doctrines of mysteries which they have no more conception or idea of than a horse. His body was to be buried in a conical building in his garden recently converted from a mill. When he was asked how he wanted to be buried, he retorted that they could bury him "sitting, standing or lying, but he did not think they could bury him flying". He was buried standing.</div><br /><div align="justify">
Easy Hill was burned by rioters in 1791. Six rioters drank themselves silly in the cellars and were burned to death. In 1826 a canal was built through his garden. The proprietor uncovered the coffin, opened it to find the body magnificently dressed in court costume and still well preserved. The coffin was left in wharves for four or five years until rediscovered during a spring clean when it was passed to the shop of a plumber named Marston who showed the coffin and its occupant to the public for a fee. Decay soon made burial imperative and, after problems over consecrated ground, he was buried with some subterfuge in Christ Church. Since then the remain have been twice removed.</div><br /><div align="justify">
His widow sold the books kept up the foundry until 1779 when she sold it for £3,700 with the remains of the press to Beaumarchais who printed an edition of Voltaire's works at the fortress of Kehl. Eventually the types were acquired by Deberry et Peignot who in March 1953 presented them to Cambridge University Press.</div><br /><div align="justify">
His Roman was midway between old and new face. His design eliminated superfluous ornament and relied on pure typography. His title pages were clear and uncluttered, slightly cold in larger formats but the coldness mitigated by the yellowing of the paper over the years possibly due to hot pressing. Although typographically excellent, Baskerville texts were not always accurate. This was not due to lack of proof reading - Baskerville felt this to be very important - but his method whereby the copy was spelt out letter by letter, especially especially bad for a foreign language. His influence was widespread, but more in Europe than in England. Didot praised his designs. Bodoni said that the finest printing houses wereto be found in Birmingham and Madrid. Baskerville himself recognised that he was better regarded abroad than at home. Thiscould be due to the English mistrust of the gifted amateur, also his methods of printing and particularly their costs. Yet his influence revived later when an imitation fount was cut by Fry and Wilson.A monotype version was cut in 1924. </div><br /><div align="justify">
<B>William Bulmer</B> (1757-1830) was born and apprenticed in Newcastle where he formed a lifelong friendship with the wood engraver Bewick. The moved to London to serve in the printing office of John Bell who was producing a miniature edition of the English poets.</div><br /><div align="justify">
In 1787 he met the bookseller George Nicol by chance. Nicol was looking for printer good enough for his grand design of an edition of Shakespeare illustrated with plates commissioned by the art publishers Messrs. Boydell, which had come into his possession by marriage. William Martin of Birmingham, the brother of Robert Martin Baskerville's foreman, was engaged to cut the type. A handsome modern design influenced by Baskerville was the result. Robert Martin helped him in the search for a rich black ink and Whatman's mills supplied the paper.</div><br /><div align="justify">
In 1790 premises were established in Cleveland Road, Saint James's named the Shakspeare Press.</div><br /><div align="justify">
In 1791 the first volume of Shakespeare was published, containing <i>Richard III</i> and <i>Much ado about nothing</i>. According to the bibliographer Plomer this was one of the most pretentious books that had ever come from an English press. But it was well printed and gained a high reputation for Bulmer. The bibliographer Thomas Frognal Dibdin praised the work - it was ornate and to his taste. The Shakespeare was completed in nine volumes to 1805.</div><br /><div align="justify">
Milton was published in three Folio volumes from 1793 to 1797.</div><br /><div align="justify">
In 1795 the poems of Oliver Goldsmith and Thomas Parnell appeared in a quarto edition. It was illustrated by thetechnically brilliant engravings of Thomas and John Bewick, although less spontaneous than some of their work. In his advertisement Bulmer says "much pains have been bestowed on the present publication to render it a complete specimen of the arts of type and block printing". He stresses that the products of the Shakspeare Printing Office were meant to combine the various beauties of printing, type founding, engraving and papermaking. The paper was by Whatman and the ink by Robert Martin. </div><br /><div align="justify">
In 1796 William Somerville's poem <i>The chase</i> appeared with thirteen wood engravings designed and drawn on the block by John Bewick, who died before he could engrave them; apart from the final tail-piece, all were engraved by his brother Thomas Bewick.</div><br /><div align="justify">
From 1810 to 1817 The bibliographer Dibdin entrusted his <i>Typographical antiquities</i>, an enlarged edition of Ames's work, to the Shakspeare Press after volume one have been printed by William savage. He was a great admirer Bulmer, who also printed his <i>Bibliotheca Spenceriana</i> in four volumes in 1814-15 and his <i>Bibliographical Decameron</i> in three volumes in 1817.</div><br /><div align="justify">
They displayed Martin's roman type to advantage, giving a severe classical impression under the influence of Baskerville. Bulmer had a monopoly of his type in his earlier works. Despite the technical advances of the industry he still talk a craftsman's pride in his work and became the first choice for learned publishers seeking well printed text to accompany illustrated works. After the founding of Roxburghe Club in 1812 (the oldest society of bibliophiles in the world with membership limited to 40) Bensley was chosen to print many of their publications. He also printed for learned bodies such as the British museum the Society odf Antiquaries, the Royal Society, the East India company and others. </div><br /><div align="justify">
In 1816 Bensley printed <i>A series of portraits of the Emperors of Turkey, from the foundation of the monarchy to the year 1815</i> with mezzotints by John Young (1755–1825), printed in color à la poupée with hand coloring, the plates 38.2 × 26.4 cm in size. They were printed at the expense of Sultan Selim and the whole impression was sent to the Ottoman court. In 1802 Bulmer had made a previous nod to the Orient with the <i>Arabian nights</i> translated by Rev. Edward Foster. The engravings after pictures by Robert Smirke made it one of his finest books.</div><br /><div align="justify">
Bulmer was more successful than his rival Bensley and was able to retire to Clapham Rise in 1819, where he died in 1830.
</div><br /><div align="justify">
<b>Thomas Bensley</b> (1759-1835) was the son of a London printer. At first he worked in the Strand, later off Fleet Street in Bolt Court. His first productions were not particularly outstanding, but from the late 1780s he began to specialise in fine books as a rival to Bulmer. </div><br /><div align="justify">
In 1789 appeared the first part of John Caspar Lavater’s <i>Essays on Physiognomy, designed to promote the knowledge and the love of mankind</i> translated by Henry Hunter. It was “A sumptuous edition” according to William Thomas Lowndes, <i>The bibliographer’s manual of English literature</i>. It appeared as three volumes in five issued in 41 fascicles over eleven years, from January 1789 to March 1799 with “more than eight hundred engravings . . . executed by, or under the inspection of Thomas Holloway,” (in fact there were rather less than that number) and published by John Murray, by the translator, and by the supervising engraver.</div><br /><div align="justify">
In 1797 James Thomson's <i>The seasons</i> was an outstanding production with a very striking title page. He mentions Vincent Figgins as a type Cutter who produced a softer and ultimately more influential face than Martin's whose later faces were much more modern. Besides the title page (Bensley was always renowned for their layout) there were stiple engravings by Francesco Bartolozzi and P. W. Tomkins after originals by W. Hamilton R. A. Talbot Baines Reed in <i>A history of the old English letter foundries</i> called it "one of the finest achievements of English typography".</div><br /><div align="justify">
In 1800 he produced a folio Bible in seven volumes. Figgins was commissioned to cut a fount to match the roman cut for Macklin's Bible by his Master Joseph Jackson who had died in 1792. He was able to do this very cleverly.</div><br /><div align="justify">
In 1806 he printed Hume's <i>History of England</i> and Figgins was again called upon to complete a fount cut by Bensley's first type Cutter Jackson.</div><br /><div align="justify">
Between 1804 and 1807 J. T. Smith's <i>Antiquities of Westminster</i>, the first English book with a lithographic illustration, contains Smith's description of the process and an account of how only 300 copies could be printed as the operator had not kept the stone moist overnight> The rest of the plates were in mezzotint and aquatint.</div><br /><div align="justify">
In 1808 Blair's poem <i>The grave</i>, published in 1808, contains several of William Blake's best known drawings etched by Louis Schiavonetti.</div><br /><div align="justify">
In 1807 on the 5th of November the works were badly damaged by boys setting off fireworks. In 1819 they were almost totally destroyed, the office, warehouse and dwelling house, which was the former home of Dr. Johnson.</div><br /><div align="justify">
John Johnson the Author of <i>Typographia, or or the printer's instructor</i>, published in 1824, worked with Bensley before setting up his own Apollo Press in Holborn.</div><br /><div align="justify">
Bensley was associated with Friedrich König in producing the first practical steam powered press. In 1811 he printed section H of the <i>Annual register</i> for that year in Bensley's office. In 1817 König left England disgusted with Bensley for his refusal to take proceedings against infringers of his patent. The partner in the patent wrote that Bensley was "always shabby and overreaching [...] while he destroyed the prospects of his partners,he outwitted himself and, grasping at all, lost all, becoming bankrupt in fortune as well as in character".</div><br /><div align="justify">
Shortly after the 1819 fire Bensley retired from his main business, continuing management of the smaller one, and lived in Clapham Rise,like his rival Bulmer, and he died there in 1835.</div><br /><div align="justify">
Bensley and Bulmer were two of the main printers who kept British typography's flag flying in the face of creeping mechanical mediocrity. They were recognized in their own time by McCreary in his poem <i>The press</i>, printed in Liverpool by the author in 1803 with William Martin's types:
<blockquote>
Their skill the sharp fine outline still supplies,<br />
From vellum leaves their graceful types arise,<br />
And whilst our breasts the rival hopes expand,<br />
Bulmer and Bensley well-earned praise demand.</blockquote>
</div>
<hr />
This page last updated 20 October 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-33240392346790983672020-10-16T20:35:00.003+01:002020-10-16T21:12:30.596+01:00World Book Heritage. 37. Britain 1550-1700<table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
37. Britain 1550-1800.<br /><br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)<br /></b></center><br /></td></tr></table>
<div align="justify">
The Geneva Bible was produced abroad by William Whittingham and other scholars during Mary's reign, published in London 1560 at expense of Exeter merchant John Bodley (father of Thomas) who received monopoloy for seven years. First English Bible in roman type and to be divided into verses.</div><br /><div align="justify">
John Cawood and Richard Jugge were associated as royal printers for 14 years. Cawood printed over 110 items. Jugg printed more than 450 items, together they printed more than 200 items. Some 50 per cent were proclamations, many now vanished also many Bibles and prayer books so their output and variety were not as large as John Day's. However they were good printers.</div><br /><div align="justify">
<B>John Cawood</B> was a Yorkshireman and was born in 1514. He was apprenticed to John Reynes. In 1554 he was appointed Royal Printer in place of Richard Grafton, who had printed the proclamation of the accession of Jane Gray. He was paid £6/13/4d per annum to print statutes and proclamations. His first proclamation on the 28th of July 1553 was against seditious rumours. He seems to have been a catholic although he printed protestant books under Edward VI and Elizabeth - he was appointed warden of the guild of Jesus founded by Queen Mary.</div><br /><div align="justify">
In 1553 he seems to have acquired the material of Stephen Mierdman, a Dutch printer who fled to England in 1546 accused of printing heretical tracts and who printed much reforming literature in London under his own or fictitious names. He was forced to leave England and 1553, finally settling in Emden. Mierdman's initial letters appear in four books published by Cawood in 1553.</div><br /><div align="justify">
In 1555 "A supplication to the Queen's Majesty" appeared under his imprint. However this was certainly not by him as it contains a vicious satire on the clergy and on the Queen herself.</div><br /><div align="justify">
In 1555 the homilies of Edmund Waller, Bishop of London, use a set of initials by Arnold Nicolai who also worked for Plantin. Some had previously been used in proclamations by Berthelet.</div><br /><div align="justify">
1570. Brant, Sebastian. Stultifera navis. - Second edition. - London: John Cawood, 1570. STC 3456. Shelf: WSL s821/BRA. Translated from the Latin Stultifera navis by Sebastian Brandt with commentaries by Alexander Barclay, priest of Ottery St. Mary in Devon, was acquired by Devon Library services in 1999 with the assistance of a substantial grant by the Kent Kingdon Trust. The series of 116 woodcuts was first used in the edition of 1509 (London: Richard Pynson. STC 3545) and they were reused in this, the second edition of Barclay's translation, published in 1570. They derive from those in the original edition of Brandt's work, printed in Basle by Johann Bergmann in 1494, many of which have been attributed to Dürer. In his translation Barclay introduces a number of comments based on his experiences in Devon, making this the first printed work of Devon literature. A two volume type facsimile was published in Edinburgh by William Patterson in 1874. The first edition states: “This present boke named the Shyp of folys of the worlde was translated i[n] the College of saynt mary Otery in the counte of Deuonshyre: out of Laten, Frenche, and Doche into Englysshe tonge by Alexander Barclay preste: and at that tyme chaplen in the sayde College.” </div><br /><div align="justify">
Alexander Barclay (c1476-1552) was probably born in Scotland. His early life was spent in Croydon and he may have visited France and Italy. He was appointed chaplain of the College of Ottery St. Mary and in about 1511 moved to Ely where he became a monk in the Benedictine monastery, later becoming a Franciscan at Canterbury. After the dissolution of the monasteries he acquired in 1546 the living of Great Baddow, Essex and Wookey, Somerset,obtaining the living of Allhallows Lombard Street, in the city of London in 1552, shortly before his death in Croydon. </div><br /><div align="justify">
Barclay's work is of interest in showing the nature of translation in the period of the Renaissance. Barclay gives Locher's Latin text as well as his own rendering of it. There are frequent interpolations and he often adds separate comments of his own. Some passages also show that he had consulted the French translation of Riviere. Thus not evidence of the influence of German literature on England. In many cases Barclay's text improves the Latin source which itself refines the German original. Differences between the first and second edition show modifications of English spelling during 16th century.</div><br /><div align="justify">
Those in Barclay's edition printed by Pynson are not as detailed as the German originals but more accomplished than those in Watson's translation, printed by De Worde. They were also used for the second edition of Barclay's translation, which appeared in 1570.</div><br /><div align="justify">
<blockquote>Of unprofitable bookes (fo. 1r)<br />
<br />
Lo in likewise of bookes I have store<br />
But fewe I reade, and fewer understande,<br />
I folowe not their doctrine nor their lore,<br />
It is ynough to beare a booke in hande:<br />
It were to muche to be in such a bande,<br />
For to be bounde to loke within the booke,<br />
I am content on the fayre covering to looke.</blockquote>
When the Stationers' Company was incorporated Cawood was the warden and he became master in 1561, 1562 and 1566. He was a great benefactor to the Company. He died in 1572.</div><br /><div align="justify">
<B>Richard Jugge</B> was educated at Eton and King's College Cambridge. On 4 October 1541 he became free of the Stationers' Company. His shop was at the Bible by the North door of St Paul's. He sold reforming tracts and was very zealous.</div><br /><div align="justify">
In 1551 he was granted a licence to print the New Testament "to avoid errors in translation resulting from foreign printers". His name was now associated with Bibles printed in large black letter enlivened with handsome pictorial initials.</div><br /><div align="justify">
In 1552 appeared the earliest illustrated quarto version of Tindale's New Testament. The price was not more than "20 & 2 pens for every book in papers & and unbounde". It was handsomely printed with 86 competent woodcuts, probably Flemish. However Mary's reign put a stop to Bible printing in English.<BR />
The proclamation of the accession of Elizabeth was printed by Jugge and from 1559 he was linked with Cawood as Queen's Printer but as the senior of the two.</div><br /><div align="justify">
The 1559 Act of Uniformity legalised the Book of Common Prayer. To 1572 Cawood and Jugge printed 16 editions, some of them with a wealth of Jugge's fine initials, as many as 398 in an edition of 1564.</div><br /><div align="justify">
In 1568 Jugg was entrusted with the Bishop's Bible, a revision by Archbishop Matthew Parker of the great Bible sponsored by Thomas Cromwell and now in competition with the Calvinist Geneva Bible. Parker obtained the monopoly of this Bible for Jugge and never allowed the Geneva version to appear in England in his lifetime. The first edition was a handsome folio with 143 engravings, woodcuts and maps. The engravings were copies of the Lutheran Bible was published in Frankfurt in 1560 by a group including Sigmund Feyerabend. The woodcuts do not appear in later editions. There was also an unsigned portrait of Elizabeth on the title page. The second folio edition which appeared in 1572, and is known as the Leda Bible from the use of one of the many pictorial initials at the start of the Epistle to the Hebrews. He was censured for this. Although it was a poor translation it replaced the Great Bible and retained its position until the Authorized Version of 1611. In 1571 it was ordered that every bishop should have a copy prominently displayed in his house in the hall or dining room that it might be useful to servants. Though he specialized in Bibles and prayer books, he printed in 1545 the celebrated medical work by Thomas Raynalde <I>The byrth of mankynde, otherwyse named the womans book</I>, the first work on the subject of an obstetrics is to appear in England.</div><br /><div align="justify">
After the death of Cawood in 1572 Jugge was unable to cope with the demand for Bibles and in 1575 after bitter discussion he was forced to relinquish his privileges in most formats to members of the Stationers' Company. His protector Archbishop Parker had died that year. Jugge himself died two years later in 1577.</div><br /><div align="justify">
<B>Richard Tottell</B> (died 1594) was a London printer and influential member of the legal community. He was the son of William Tothill (1500-1557), a wealthy citizen of Exeter, bailiff in 1528, sheriff in 1529, and in 1552. About 1540, Tottel was indentured to William Middleton, a printer of law books in London, and turned over on his death to William Powell who freed him after the term of his indentures ended. Tottel took over the printing house of Henry Smithe at the Sign of the Hand and Star after Smithe’s death in 1550. He ran his business from a shop located at Temple Bar on Fleet Street in London. He was granted a patent for all authorized books dealing with common law in April 1553 for seven years, renewed in 1556 for another seven years and, in 1559, granted to him for life. On receiving its royal charter in 1557, the Stationers' Company of London named him as the 67th member of their charter out of 94. He became warden, upper warden, and master from 1578 to 1584, but due to Tottel's failing health was excluded from their ranks but remained free to attend their meetings whenever he was in London. Tottel’s published works mainly include law documents as he was the sole authorised publisher. Rastell, William. <i>A collection of all the statutes, from the beginning of Magna Charta unto this present year of our Lord God 1568</i>. - London : In aedibus Ricardi Totelli, 1568. STC 9309. - Provenance: Exeter Muniment Room. Lacks titlepage. - Copies: d1568/RAS. Another copy, Provenance: W. A. Gay. Lacks titlepage. Identified by British Museum Library 1938. Shelf: o1568/RAS. </div><br /><div align="justify">
However, he did publish a variety of other books ranging from literary works to books on animal husbandry: A hundreth good points of husbandry (1557). The book that gained him a lasting place in history is his publication and editing of Songes and sonettes, also known as Tottel's miscellany, first edition (1557), second edition (31 July 1557), third edition (1558), fourth edition (1565), fifth edition (1567), and sixth edition (1574). He died in early July 1593 after suffering almost a decade of infirmity brought on by old age. As the sole owner of the printing patent for law books in the Kingdom of Queen Elizabeth a huge legal battle ensued upon his decease. Eventually the patent was dissolved and the rights to printing such volumes were free to any publisher. He obtained many of Grafton's best woodcut borders, probably through marrying his sister. He retired from London some years before died in Wales in 1593.</div><br /><div align="justify">
<B>John Day</B> was one of the best and most enterprising of 16th century printers. He was born in 1522 in Dunwich, a town now vanished into the sea. He was apprenticed to Thomas Raynalde. In 1546 he became a partner of William Seres who was also just beginning his career, at first at Snow Hill, with a small shop in Cheapside. They issued several theological texts in two indifferent black letter and one poor Roman capital founts. The workmanship was poor, the lettering uneven, and they often lacked pagination. It is thought that the works were printed for him, some possibly by Stephen Mierdman and the Folio Bible of 1549 was probably produced by a Flemish printer.</div><br /><div align="justify">
Around 1549 to 1551 the partnership was dissolved and Day moved to Aldersgate.<BR />
During the reign of Mary he was imprisoned in the Tower "for printing of naughty books". He possibly spent time abroad during Mary's reign. In 1556 he was admitted to the livery of the Stationers' Company and his name appears on the charter in 1557. He became an important printer on the accession of Elizabeth.<BR />
In 1559 appeared the <I>Cosmographical glass</I> by William Cunningham, one of the finest pieces of English printing to that date, according to Updike. The text is in a handsome italic, probably cut by François Guyot. The book contains diagrams, maps, a plan of Norwich (the author's home), a portrait of the author and has set of large initials, some probably cut by John Croissant who also worked for Thielman Kerver and possibly Plantin.</div><br /><div align="justify">
In 1563 he printed John Foxe's <I>Acts and monuments of these latter and perilous days</I>s better known as Foxe's book of martyrs. This is an example of printing on an ambitious scale. He had taken a number of skilled refugees into his employment and John Foxe lived with him at Aldersgate in 1564 and worked at his house one day in the for some time longer. He had been corrector for Oporinus and in 1559 had produced a Latin book of martyrs at his press, where Day first met him. The work appeared as a 2008 page folio in double columns in a small black letter fount supplemented by various sizes of roman and italic. There were more than 50 crude but vigorous woodcuts. It was reprinted in 1517 and the outlay clearly paid off. Day's epitaph reads: "Day spent in print his wealth / But God with gain restored his wealth again / and gave to him as he gave to the poor". This last is a reference to the fact that a proclamation ordered that parish churches all had to provide a copy of the book.</div><br /><div align="justify">
In this period he also printed sermons by Calvin, Latimer and Bullinger, also in 1569 <I>A book of Christian prayers</I> often called the Queen Elizabeth prayer book.This was modelled on the book of hours. He obtained the patronage of Archbishop Parker and cut several founts of type for him. He was the first English printer who was definitely his own letter founder, and 1566 he cut the first Anglo Saxon font. This was first used in 1567 for <i>A testament of antiquitie</i>, a homily by Abbot Aelfric edited by Archbishop Parker. About the same time the type was lent to Jugge, another favourite of Parker, for <i>A defence of priests' marriage</i>. Parker's aim in going back to early sources was to prove that "religion presently professed ... is no reformation of things lately begun, which were not before, but rather a reduction of the church to the pristine state". The types were re-used by Day several times from 1567 to 1574. Though some feel that Day's roman letters are Flemish in origin and that the Anglo-Saxon runic types were cut by a journeyman working for Day, the accuracy and regularity of the font are a credit to the cutter. <br />
In 1572 appared another work by Parker: <i>De antiquitate ecclesiae Britanniae</i>, set in Granjon italic, printed in the Archbishop's private press in Lambeth Palace and so thought to be the first English private press book. It was produced in an edition of fifty copies. </div><br /><div align="justify">
In 1578 Day used a fount of Greek types for a work by Alexander Nowell, the Dean of St Paul's, <i>Christianae pietatis prima institutio</i>, a handsome type copied from the Grecs du Roi.<br />
In 1570 appeared the first English translation of Euclid, a folio in roman and italic types. It includes a folding table displaying a wide range of types. </div><br /><div align="justify">
Roger Ascham's work <i>The schoolmaster</i> appeared in 1570. Ascham was tutor to Queen Elizabeth and the work was intended to teach children to understand, speak and write the Latin tongue. A quarto volume, it was printed in a textura type with English quotations in roman and Latin quotations in italic.<br />
Day had five founts of music type, mainly used for printing metrical psalters but also in 1571 Thomas Whythorne's <i>Songs for three, four and five voices</i>.</div><br /><div align="justify">
Day held lucrative privileges: for the psalms in metre, ABC, and catechism, and these were the cause of discontent among poorer Stationers. In 1580 he was master of the Stationers Company.</div><br /><div align="justify">
He had several printer's devices. One was used on Thomas Becons works which appeared in three volumes between 1560 and 1564. In this he used the initials of the <i>Cosmographical glass</i> and the title-pages to each volume bore in the bottom panel of an elaborate border the device of a sleeprr awakened and the motto "Awake for it is day". A second device apears in <i>Reformatio legum ecclesiasticarum</i> (1571). It shows two hands holding a slab on which was a crucible containing a heart surrounded by flames. The third device is a portrait of himself aged 40 (1562) and is surrounded by the motto "Life is death and death is life". This was still in use in 1570 when it appeared in his publication of Euclid's <i>Geometry</i>.</div><br /><div align="justify">
Day had premises over Aldersgate. He died in 1584 in Essex after an active life; he was twice married and 13 children by each wife yet he was still able to awake his apprentices each day by shouting out his motto! He was the best printer of his time, the first English founder to cut italic and roman types to the same size so that they could be used together.
</div><br /><div align="justify">
<b>Reyner Wolfe</b> was the most able printer after Day and his works approach Day's at their finest. He was an alien, possibly associated with Johann Wolf in Frankfurt and used identical types early on. He arrived in England about 1513 and obtained letters of denization in 1533. In the 1530s he had a booksellers shop in saint Paul's Churchyard at the sign of the Brazen Serpent, which became one of his devices. In 1542 he began to print, including works by the antiquary Leland, who died in Wolfe's house. His device was of children knocking apples from a tree With the motto "Caritas". </div><br /><div align="justify">
In 1543 he began to print in Greek. The homilies of Saint Chrysostom with fine initials of Italian influence. Wolfe was the first in England to build up an extensive stock of Greek type, and in 1547 was granted a patent for life as "King's typographer and bookseller in Latin Greek and Hebrew", also including grammars. </div><br /><div align="justify">
In 1549 he had built a house in saint Paul's charnel yards - reportedly 1000 cartloads of bones had to be removed. He was admitted to the Stationers' Company in 1536 and was master in 1560, 1564, 1567 and 1572. A learned man, he was a friend of Cromwell and Cranmer. He was little heard of in Mary's reign, but Elizabeth renewed his patents and befriended him, like Day with Archbishop Parker. He died in 1573, having gathered materials for a universal history which was unpublished but was the basis of Holinshed's <i>Chronicles</i>. The papers were bequeathed to Holinshed by his widow on her death. </div><br /><div align="justify">
<b>Henry Bynneman</b> was active from 1566 to 1583 and was also a friend of Archbishop Parker. He was a good printer of good literature although many of his editions are now missing. He obtained a privilege for dictionaries and chronicles which was not lucrative as it needed considerable outlay, but it enabled him to print Holinshed's <i>Chronicles</i> in 1577. Shakespeare used the enlarged edition printed by Henry Denham in 1587. His inventory shows that he owned three presses and a large stock of type, and was the first in England to use civilité type, in 1576.</div><br /><div align="justify">
<b>Henry Denham</b> practised from 1560 onwards. He had a stock of good type in all sizes and fine initial letters. He had a fondness for woodcut borders with a very delicate lacework frame. In 1567 he printed the Bible in Welsh under patent for Humphrey Tory. His linguistic interests also stretched to orthography in 1580 with William Bullokar's book for the amendment of typography, and into lexicography with John Baret's <i>An Alvearie, or Triple Dictionarie in English, Latin, and French</i> in 1573.Greek was added in the 1580 edition.</div><br /><div align="justify">
<b>Thomas Vautrollier</b> a was a Huguenot from Troyes and a brother of the Stationers' Company. He was an agent for the Antwerp printer Plantin in 1567 and 1568. In 1569 <i>A Booke Containing Divers Sortes of Hands</i>, the work of a French Huguenot immigrant writing master, Jean de Beauchesne, the first English writing book. Although an alien, he was able to procure valuable privileges. He made much money from French school books. He had fine types cut by the French including Garamond and Granjon. For some time he also printed in Edinburgh.</div><br /><div align="justify">
<b>Thomas East</b> was one of the best known Elizabethan music publishers. He was free of the Stationers'Company in 1565. Popular works included <i>The Voiage and trauayle of syr Iohn Maundeuile, Knight</i> in 1568 with striking woodcut illustrations of mythical men, women and beasts encountered on the journey, and also several editions of John Lyly' s<i>Euphues and his England</i>. Until 1587 he published a wide range of literature. </div><br /><div align="justify">
In 1588 he began to specialise in music. William Byrd gave him the music patent granted to himself and Thomas Tallis in 1575 - Tallis had died in 1585. Music type imported from Nuremburg, but not used since 1575 when Tallis's <i>Cantiones sacrae</i> had been printed, was transferred to East's premises.</div><br /><div align="justify">
In 1588 he printed Byrd's <i>Psalmes, sonets, & songs of sadnes and pietie</i>, and it in 1589 Byrd's <i>Songs of sundrie natures</i>. He published most of the masterpieces of the English madrigalists including John Dowland and Thomas Morley. He had died by 1609. In that year his copies were transferred to Thomas Snodham, who adopted the alias of East as a trademark.</div><br /><div align="justify">
<b>Christopher Barker</b> was an outstanding figure in the late Elizabethan era. He was a shrewd businessman, acquiring the Bible patents. Born in 1529 he was a member of the Drapers' Company. He had powerful friends at court including Walsingham, the Secretary of State. In 1579 was the first mention of Barker as a publisher; he entered on the Stationers' Company register "Certain prayers of my Lady Tyrwhitt". Early publications were printed for him by Henry Middleton and it was published in 1579 with the title <i>Morning and Euening prayer, with diuers Psalmes Himnes and Meditations. Made by the Lady Elizabeth Tirwit. B.L.</i>. The title page bears a punning device, a man stripping bark off a tree with the motto "A barker if you will, in name but not in skill". It was a book of the meditations of Elizabeth Tyrwhitt, a lady in waiting of Katherine Parr,and governess,of,Princess Elizabeth. In 1576 he was at the sign of the Tiger's Head in saint Paul's Churchyard a sign that was adopted as his device, the crest of walsingham to whom many of his early books were dedicated.</div><br /><div align="justify">
In 1576 he printed an edition of the Geneva Bible, having obtained a privilege which had been unused by John Bodley since it was granted in 1561. In 1575 Jugge had lost the monopoly for most types of Bible and leading stationers banded against the newcomer Barker by printing the folio edition of the Bishops' Bible. Barker brought out four editions of the Geneva Bible in 1576 and 1577. It was excellently printed in roman instead of the usual black better. Walsingham's crest was at the end of the 1576 edition. The Geneva Bible was more popular than the Bishops' Bible. Between 1576 (after the death of Archbishop Parker in 1575) and 1600 more than fifty editions were published by Barker or his assigns. </div><br /><div align="justify">
In August 1577 he signed the Stationers' Company petition against privileges but in September 1577 he obtained a patent as royal printer for statutes, bills, acts of parliament, proclamations, injunctions, Bibles, New Testaments, service books and all other volumes ordered to be printed by the Queen for Parliament. In 1582 as Upper Warden of the Stationers'Company he drew up for Lord Burghley a detailed report on existing privileges. At that time there was a strong feeling against privileges, especially the growing practice of granting for life instead of for a limited period, and the disappearance of all popular lines. In 1577 some stationers had drawn up a petition as a "complaint that the privileges lately granted by Her Majesty hath and will be the overthrow of the stationers within the city. </div><br /><div align="justify">
John Wolfe led in pirating works: "he would print all their books if he lacked work [...] it was lawful for all men to print lawful books, what commandments soever Her Majesty gave to the contrary". He was bought off in 1583 by being translated from the Fishmongers' to the Stationers' Company and given a share in Day's patents. </div><br /><div align="justify">
Barker aimed to show that nobody made money from Monopolies. He complained that rival printers had a share in his own monopoly of service books, being able to print the popular parts, for example the psalms, the litany, and the primer had been given to Seres and said that Tottel's benefit from law books was waning. Bynneman from his patent for dictionaries and Chronicles was "in more danger of being undone than likely to gain". Though it would seem Barker was not in favour of privileges this was not the case. He knew which side his bread was buttered,and he would even give some of the less popular lines if it were beneficial to the common wealth, but he believed the interests of journeymen were better served by privileges.</div><br /><div align="justify">
His business continued to thrive though from 1588 it was mainly conducted through deputies. He lived in Bacon House Noble Street, Aldersgate the quarter of the nobility. He also had a country house at Datchet to which he retired in 1588 and died in 1599. He had exercised his patent well; between 1575 and 1599 he roduced someseventy editions ofthe scriptures, accurate and well-produced. He was succeeded as royal printer by his son Robert Barker. </div><br /><div align="justify">
<b>English printing in the 17th century</b> showed a great decline, especially in the first half of the century. It reached a very low level compared with the Netherlands and France. No example of English printing before 1702 can be found in Morison's <i>Five centuries of fine printing</i>. Whereas earlier printers had type used types specifically cast for them, later printers used hired or purchased matrices and cast for themselves; they were inexpert and their art suffered. There were also restrictions placed on printing of books because of religious and political strife, monopolies deprived the trade of competition, and hatred of the foreigner deprived the trade of external stimulus.</div><br /><div align="justify">
The <b>English Stock</b> in 1603 was formed by James I recalling patents forprimers, psalters,almanacs and prognostications, which concentrated monopolies into the hands of the Stationers' Company, or of those who could afford shares in the £9,000 capital. Popular lines did well and paid high dividends and the Company purchased other profitable copies coming on the market. By 1620 the following items were in the English Stock: 58 law books, 32 schoolbooks, five ABC's and primers, psalms, almanacs, calendars, 13 prayer books and eight General Works. There was also the Bible stock, sharing printing with the King's printer.</div><br /><div align="justify">
The <b>King's printers</b> were a triumvirate at the start of the century. John bill obtained a share in the patents by purchase, John Norton held the privilege for Latin Greek and Hebrew and Robert Barker son of Christopher had a share in the English stock beside owning the profitable monopoly of the King's printer. </div><br /><div align="justify">
Barker's most important undertaking was the Authorized Version of the Bible in 1611. This had the text in the large black letter with the chapter Headings and marginal references in Roman and alternative readings in italic. There were three folio issues and a quarto edition in roman type in 1612. He received help from John and Bonham Norton and John Bill. Barker was not a fine businessmen; in 1617 he assigned his patent to Bonham Norton to raise money. Despite his attempts to regain it, Norton and Bill were King's printers on the accession of Charles I. Robert Barker III, King's Printer with John Bill, travelled around the country during the Civil War, arriving in Exeter from Bristol in 1645. At the Restoration Christopher Barker III and John Bill II became King's printers and remained so until 1675.</div><br /><div align="justify">
Besides the English Stock and the King's printers much of outside printing was in the hands of a few. Printing was almost uniformly slovenly. The psalms in metre went through many editions on wretched paper covered sparsely with ink. The works of Donne, Herrick, and Marvel all came out in poor editions,as did the works of Shakespeare. These had appeared separately in quarto editions from 1593 with various printers but not under the control of Shakespeare. Some were probably obtained legitimately from the company of players, others possibly taken in shorthand - Heywood complains of this practice in his prologue to the play <i>Queen Elizabeth</i> published surreptitiously in 1605. Other copies may have been sold by impoverished actors. </div><br /><div align="justify">
The first folio edition of Shakespeare's plays was gathered in 1623, containing 26 plays. The printers mentioned in the title page were <b>Isaac Jaggard</b> and Edward Blount (the latter a bookseller who joined the venture later). Others also involved were mentioned at the end: J. Smithweeke and W. Apsley. Isaac's father William Jaggard had entered the book in the Stationers' register but had lost his sight, so Isaac took over control. He had been admitted the Stationers' Company at the relatively early age of 18.</div><br /><div align="justify">
With the accession of Charles I further restrictions and persecution culminated in the 1637 Star Chamber decree, which kept the number of printers down to twenty, only those who had been Master or Upper Warden of the Stationers' Company were allowed three presses. All books had to be licensed and registered and bear the names of the printers. In 1643 the Star Chamber was abolished, and the Company was powerless to stop much of the illegal printing without licence or regulation.</div><br /><div align="justify">
In 1643 the Company was reinvested with the powers of search. Milton objected and published anonymously <i>The Doctrine and Discipline of Divorce: Restor'd to the Good of Both Sexes, From the Bondage of Canon Law</i> without licence or entry and, when the Stationers' Company took up the matter in Parliament, he wrote <i>Areopagitica, or a speech for the liberty of unlicensed printing</i>. This came out in 1644,again with no imprint. He saw behind the enactments "the fraud of some or all patentees and monopolisers in the trade of bookselling".</div><br /><div align="justify">
The <b>1649 Act</b> imposed additional fines to people trafficking in seditious books but the Civil War had produced a flood of often poorly printed vituperative tracts and the number of printers rose from 20 to 60 to cope with the demand. They were printed on shoddy paper with battered woodblocks and a slipshod style but are invaluable to the historian. Many tracts of this period were collected by the bookseller George Thomason.From 3 November 1640 to 23 April 1661 he collected all he could, 22,255 items in all, the date of receipt and price paid meticulously noted. The collection is one of the treasures of the British library.</div><br /><div align="justify">
In 1649 Dugard printed the first edition of <i>Eikon basilike</i>, the image of kingship, Charles I's defence of kingly divinity. The manuscript was received on 23 December 1648, and every attempt was made to publish it before his execution. Is possible that if the work had been published earlier it may have saved the King's life. Fifty editions were published in 1649, as was Milton's reply <i>Eikonoklastes</i>, image breaker.</div><br /><div align="justify">
Printers had to tread warily. In 1634 Michael Sparke, already in conflict with the Church over the publication of unlicensed books, had to pay a fine of £500 and stand in the pillory for publishing William Prynne's <i>Histriomastix: The Player's Scourge, or Actor's Tragedy</i>. A passage in it was construed as casting aspersions on the Queen. The book was publicly burned by the common hangman and Sparke got off lightly; the author lost both his ears in the pillory. In 1649 Dugard was again in trouble for printing the work ofthe French scholar Salmasius <i>Defensio Regia pro Carolo I</i>. He was imprisoned at Newgate and his plant confiscated. But peace was made with Parliament and he was allowed to print it provided he worked for the party in power and published among other things the scathing reply entitled <i>Pro populo Anglicano defensio</i> (A Defense of the People of England) by John Milton.</div><br /><div align="justify">
Printing in the <b>Commonwealth</b> was less in volume than during the Civil War but included Walton's <i>Compleat angler</i> and Hobbes <i>Leviathan</i>. </div><br /><div align="justify">
The <b>Restoration</b> brought the Licensing Act of 1662, largely re-enacting the 1637 Decree. It also introduced Sir Roger L'Estrange, "surveyor of imprimery and printing presses". He took over the power of search fromthe Stationers' Company. In 1663 he published <i>Considerations and proposals in order to the regulation of the press</i>. He saw the danger in unlicensed printing and denounced the Stationers' Company as being deliberately ineffectual in regulating the press for its own interests. He realised that the publishers now had the upper hand: "they would subject to the printers to be absolutely their slaves". Printers at this date petitioned in vain for separate incorporation. The Act was enforced severely; In 1663 the printer John Twyn was condemned to be hung drawn and quartered for printing the scandalous book aimed at overthrowing the government and his head was placedon a Ludgate spike. Three other printers were condemned to stand in the pillory. However L'Estrange soon lost favour and his position.</div><br /><div align="justify">
The plague of 1665 carried off eighty masters and men of the trade and the Great Fire in 1666 destroyed the premises of all printers around saint Paul's. Joseph Kyrton toldPepys that £150,000 worth of books were destroyed also the stocks at the hall of the Stationers' Company.</div><br /><div align="justify">
<b>Music publishing.</b> </div><br /><div align="justify">
<b>John Playford</b> (1623?-1693?), a bookseller of the Inner Temple, was the leading figure in music publishing in the later 17th century. His most famous work the <i>English dancing master</i> first appeared in 1651, with 18 editions by 1728. It is a valuable record of 17th century popular tunes. Playford was a close friend of Samuel Pepys who bought the <i>Musical companion</i> from him in 1667. Works were printed for him at first by Thomas Harper and later by William Goodbid. He usually used moveable types but sometimes copperplate engraving for example for <i>Music's handmaid</i> in 1678. He was succeeded by his son Henry Playford (1657?-1710?) who employed his cousin John Playford II to print his works.</div><br /><div align="justify">
<b>Chap books</b> appeared in greater numbers in the mid 17th century. They preserved the woodcut where better books use engravings. Their origins were in the obscure presses that had issued tracts in the Civil War and Commonwealth needing to find other work after the Restoration. They turned to popular stories, legends, jests or sensational items. Popular lines such as the history of Dick Whittington were hawked around by chapmen. They often bore the imprint "Printed for the Company of Flying Stationers". There was a large sale in markets and fairs, especially in the north of England. Newcastle upon Tyne was a large centre. One of the biggest printers there, John white, had an immense stock of old woodcuts inherited from his father who had been a printer in York, some undoubtedly battered remnants of cuts of contemporaries of Pynson in the early 16th century. He set up his press in Newcastle in 1708. Chapbooks were printed at first on a single sheet of poor paper, folded to make a stitched book of eight pages. Later they were extended to 24 pages, known in the trade as 24s.</div><br /><div align="justify">
Good printing in the 17th century included one of the four great polyglot Bibles of the 16th and 17th centuries:</div><br /><div align="justify">
<b>Thomas Roycroft</b> was master of the Stationers' Company in 1675 and was entitled to call himself "Royal Printer in Oriental Languages" for his pains in printing Brian Walton's <i>Biblia sacra polyglotta</i> published in six volumes from 1653 to 1657 - four years was remarkably quick for such an undertaking. It was the second book in England to be published by subscription, the first having been an 11 language dictionary in 1617. It shows 17th century printing at its best. The arrangement of the different versions was better than in previous editions. Exotic founts: Hebrew, Latin, Greek, Aramaic, Syriac, Samaritan,Ethiopic, Persian, were probably supplied by the four typefounders allowed under the Star Chamber decree. Ifso, it represents a landmark in English letterfounding, the first time a work of importance had printed in this country other than in Latin and Greek characters. Though reckoned the most accurate of the four polyglot Bibles, the task of printing had been transferred from James Flesher to Thomas Roycroft after the prospectus of 1652 had been unfavourably received.</div><br /><div align="justify">
Richard Hodgkinson printed Sir William Dugdale's <i>Monasticon Anglicanum</i> from 1655, also a fine example of printing.</div><br /><div align="justify">
Oxford saved English printing from utter disgrace and paved the way for the 18th century.</div><br /><div align="justify">
From 1520 to 1585 there was no printing in Oxford. It was re-established by the Earl of Leicester, who was Chancellor of the University from 1564 to 1588. In 1585 Joseph Barnes, an Oxford bookseller, was lent £100 by a committee of Convocation. In the next year the Star Chamber decree allowed one printer in Oxford. To 1617 Barnes was the sole printer to the University. He mostly printed sermons and theological treatises, over 300 in all. He used Greek type from 1586 and Hebrew from 1596.</div><br /><div align="justify">
In 1632 Archbishop Laud, Chancellor from 1630 to 1641 obtained letters patent for printing - Cambridge had had these from 1534. These are allowed three printers each with two presses and two apprentices. In 1636 the charter was confirmed and extended to cover "all manner of books", but when they printed almanacs the Stationers' Company objected. Eventually it was agreed at the University would waive his rights to Bibles almanacs and grammars on payment of £200 per annum. These restrictions were only lifted in 1672. Works printed include Robert Burton's <i>Anatomy of melancholy</i> in 1621, and Bacon's <i>Advancement of learning</i> in 1630.</div><br /><div align="justify">
In 1634 the Laudian statutes include in the section on printing: "these mechanick printers, being mostly on the lookout for the acquisition of money by the output of their energy, do give far too little care to fine printing, therefore be it enacted by the present statue there be appointed as scholar printer [...] a man of sound instruction in Greek and Latin and well versed in linguistic studies: whose duty shall be to superintend the compositors and other workers [...] and generally to take scrupulous care to secure the finish and elegance of every work [...]".</div><br /><div align="justify">
From 1642 to 1646 Charles I used Oxford had as his headquarters and the University printers Leonard Lichfield and Henry Hall issued royalist tracts, proclamations and other official items. They were not allowed to print after Oxford fell to Cromwell.</div><br /><div align="justify">
In 1647 the parliamentary General Sir Thomas Fairfax introduced two ill-equipped printers, John Harris and Henry Hills.</div><br /><div align="justify">
In 1660 Dr John Fell (a man who could be difficult to get on with and was commemorated by the poem "I do not love thee, Dr Fell, ...) was made Dean of Christ Church as recompense for bearing arms of the King in the garrison of Oxford. He remained Dean until his death in 1686. He was also King's Chaplain, Bishop of Oxford from 1675 to 1686 and Vice-chancellor of the University from 1666 onwards. He was one of the delegates of the press and by his munificence helped set up the learned press on Laud's foundations.</div><br /><div align="justify">
In 1667 he gave the University a type foundry complete with moulds, punches and matrices. Founts of roman, italic, Saxon and gothic of Dutch origin were acquired. He secured the services of Peter Walpergen from 1676 after another punchcutter had proved unsatisfactory. He also encouraged the setting up of the paper mill at Wolvercote where paper production finished as recently as 1997. The buildings were demolished in 2004 and the site is now a housing estate.</div><br /><div align="justify">
From 1669 the press was housed in the new Sheldonian Theatre, primarily intended the university ceremonies. Christopher wren was the architect. In 1671 Fell became head of the partnership of four which undertook management of the University press from 1672 to 1690, spending a great deal of his fortune on improving it.</div><br /><div align="justify">
In 1672 he reclaimed the Bible privilege from the stationers and the first Bible was printed in the theatre in 1674 and 1675. In 1677 Francis Junius, a scholarly benefactor, gave a fine collection of Runic, Gothic, Saxon, Icelandic, Danish, Swedich, roman and italic types. In 1688,after Fell's death the heavy press began to damage the building. The press was divided into two sections, the Bible Press moving to Saint Aldate's and the learned press moving into Tom Pun's house a few doors away. In 1693 the press published a specimen of the several sorts of letter given to the university by Dr. John Fell. It is a worthy tribute to his munificence; the range of types of Oxford University Press was unequalled at that time anywhere else in England.</div><hr />
This page last updated 16 October 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-29371154787771782142020-10-14T21:34:00.002+01:002020-10-14T21:34:52.002+01:00World Book Heritage. 39c. Censorship. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
39d. Copyright and piracy.<br /></b></center><br /></b></td></tr></table>
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Copyright in the first centuries after the introduction of printing had little to do with intellectual property, rather with the book as a commercial commodity. During the manuscript period there was no restriction on copying texts, indeed the recopying of the texts of the church fathers was encouraged and even extensive copying of living authrs was seen as flattery and recognition of their achievements. However the printer had to invest heavily in the production of an edition of several hundred copies, as well as lengthy trade negotiations to be assured of finding a reliable market. It was only too easy for a rival printer to obtain a copy of a popularwork, for which an accurate text had been located, edited, set in type, corrected, and printed off, and simply to produce a line for line reprint, frequently with poor type on poor paper and distribute it much more cheaply than the original edition. Also, there were few professional writers, researchers or men of letters who relied on their pen for theirliving. It was clear therefore that copyright resided in the print and paper of the edition rather than the ideas that it contained.</div><br /><div align="justify">
<center><img height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTb09Ktuz2aDg4gyANjptKyoDTtv9WRkWbiUqQKKPT662Kpec5fxVH9OHJXg00fQbc46LWBc5HQZDCZ0lXLQSmusWQixzCpXlPQLgev-FaZzMpsK8sLtQHSen_0quV8wI3uFyOw/s320/Construction+site.jpg"><br />
[This page to be completed from manuscript notes]</center>
<B>Piracy</B></div><br /><div align="justify">
Problem faced by Aldus Manutius in Venice
early 16th cent. editions pirated in Lyons. </div><br /><div align="justify">
Culpeper's translation of the
<I>Pharmacopoeia</I> (1649) was held to infringe the monopoly of the College of
Physicians. </div><br /><div align="justify">
The medical works of Godfried Bidloo, published in Amsterdam 1685,
illustrations secretly imported into England and used by William Cowper
<I>Anatomy of humane bodies</I> 1698. </div><br /><div align="justify">
The way of avoiding piracy was for printers and publishers to apply to local authorities for the privilege or monopoly of publication of a specfic work or range of works. This went some way to solve the problem, but, until the Napoleonic wars shook up the map of Europe and Italy and the German speaking areas consolidated into larger nation states, it only gave protection to the publisher within a single jurisdiction, not much help in a Europe that was in many areas fragmented into a host of petty princedoms or city states. It was not until the 19th century that international copyright agreements began to emerge.</div><br /><div align="justify">
Monopolies in specific titles granted from 16th cent.</div><br /><div align="justify">
John Bodley, Exeter merchant, granted 7 year monopoly for Geneva
Bible.</div><br /><div align="justify">
King’s Printer from 16th cent had rights to the Bible and the Book of Common Prayer.</div><br /><div align="justify">
1603 letters patent granted to Stationers' Company books of private prayers, primers, psalters, almanacks and prognostications. Basis for the English stock, a company set up with a capital of £9,000 to administer
monopolies for benefit of the poor of the Company.</div><br /><div align="justify">
In England the lapse of the Licensing Act in 1695, while freeing up the liberty to print, also threatened the the security of copyholders. Since the 1680s there had been a revival of confidence in the Stationers' Company register as a means of protecting copyright. Booksellers were also devising their own means of mutual protection, notably by copyholders banding together to protect copyright by the control of wholesaling. Such a group could put pirates out of business by refusingto supply to them, or to distribute the books they printed. This foreshadowed the congers (combinations of publishers) of the eighteenth century. Courts were also giving permission for booksellers to sue pirates in the name of the Company. Thus booksellers were learning to reply on their own efforts as tradesmen rather than as freemen of a livery company to protect their rights.</div><br /><div align="justify">
After 1695 there was a stream of bills and pamphlets both for and against the control of the press. Many presses were now being set up in the provinces. There was also a feeling that the protection of copyright was a better policy than centralised control of printing. Though the Stationers'Company were wanting an act which would control printing by investing it with its old powers, it still voted £30 to promote the new bill.</div><br /><div align="justify">
The Copyright Act of 1710 came after three petitions for such an act from London booksellers, in 1703, 1706, and 1709. <i>An Act for the encouragement oflearning by vesting the copies of printed books in the authors or purchasers of such copies, during the times therein mentioned</i> set a term of 21 years for books already in print, 14 years for books printed after 4 April 1710, plus another 14 if the author were still alive after the termination of the first period. The author now became important, and this is where the 1710 act breaks new ground. If the book was a success, after 14 years the author was in a good position to bargain when reselling for the next 14 years, as copyright reverted to him after that period. </div><br /><div align="justify">
It also led to the regularisation of legal deposit. One result the disappearance of piracy, although Irish printers benefitted from the fact that the Act did not extend to them. E.g. Irish editions of the Kingsbridge poet Peter Pindar in the 1790s. Also London booksellers felt there was a common law perpetual copyright in many authors. The House of Lords upheld Alexander Donaldson's right to reprint books only in 1774.</div>
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This page last updated 14 October 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-65555703184748845992020-10-14T21:11:00.015+01:002020-10-14T21:55:46.359+01:00World Book Heritage. 39a. Press control and the Stationers' Company<div><table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
39a. Press control and the Stationers' Company.<br /><br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)
</b></center></td></tr></table></div><br /><div align="justify">
<b>The Stationers' Company was granted a charter on 4 May 1557.</b> In 1554 it had moved its hall to Saint Peter's College on the south side of Saint Paul's Churchyard close to the hub of book trade activity. A form of grant had existed before; this was more a coming of age, the first official document to go beyond the mere mention of its existence.
</div><br /><div align="justify">
The Stationers' Company was one of several score of London livery companies. These were descendants of the medieval guilds, bodies for organizing and fostering crafts and trades. It now received a livery or distinctive costume by the royal grant and it was also privileged to attend the Lord Mayor at all common showrooms and to vote in mayoral and parliamentary elections. There was a strict order of precedence the Stationers' Company was the next after the Poulterers.</div><br /><div align="justify">
The term "stationarius" was used in Oxbridge from the 13th century and in London from the 14th century. The term applied to stallholders as opposed to hawkers; they were soon attached to book manufacturers: parcheminers, scriveners, limners, binders.</div><br /><div align="justify">
By 1357 the London guild of scriveners and limners was formed. In 1373 a scriveners company was formed by a breakaway group of legal text writers. Later another branch of scriveners separated from the lymners.
</div><br /><div align="justify">
On 12 July 1403 they formally rejoined to form the ancestor of the Stationers' Company. Little of their ordinances, by-laws and administrative records survive before 1557 and there is little historical detail about them.</div><br /><div align="justify">
The background to the Company's attempt to obtain a charter with the proviso that all printers must be members of a company or royally privileged comes from a variety of causes. </div><br /><div align="justify">
<b>1. The development of the specialisation in trade.</b> Practitioners had to give up some aspects as increasing competition demanded ever more capital investment.</div><br /><div align="justify">
<b>2. Control of aliens.</b> At first they were welcomed but set up presses outside the city (Pynson in Saint Clement Danes), or in the liberties (Machlinia on Fleet Bridge). Acts of 1523 and 1529 made all aliens more closely linked to their respective companies, paying dues etc. By an act of 1534 it was forbidden to buy books retail from aliens. The stationers took action within three years against imported bound boooks from Rouen. Aliens had to become citizens. Between 1500 and 1530 only one alien and was admitted as a stationer. From the 1530s there was a steady stream. This gave them the advantages of guild membership, the right to trade within the city, exemption from toll, charitable charitable help for widows etc. </div><br /><div align="justify">
<b>3. Control of "foreign" printers,</b> that is to say those outside London without the privilege of membership of the Stationers' Company. The Company used the economic dominance of London to ease out provincial printing. Presses died out in the 1520s and 1539 the Company was associated with the suppression of a press in Saint Albans.</div><br /><div align="justify">
<b>4. Government attitudes to the printed word.</b> In 1484 an Act aimed at fostering the new invention but from 1528 onwards there was a stream of proclamations to control its products. In 1513 pre-publication censorship was introduced; books had to be approved by the local bishop, and in 1542 a proclamation was issued against reading or any other Bible than Grafton's. In 1542 the Stationers' Company drew up a draft charter which was debated at the convocation of Canterbury and referred to Henry VIII. This was rejected because its powrs were too wide. Mary had more to fear; in 1557 she accepted the Stationers' Company's organisation as a useful piece of administrative machinery.</div><br /><div align="justify">
<b>5. Copyright.</b> Before printing spread, the stationer provided customers with new books specially written and bound, and a single sale completed the transaction. Printers on the other hand required as many sales as copies of books printed in an edition. This required the security of knowing that no printer would pirate his works. For example Redman took advantage of Pynson's preparatory work for the typographically complex Littleton's <i>Tenures</i>. He could probably sell more cheaply than the original as he only had to worry about materials. Earlier protection had been offered by royal privilege, in Venice as early as 1469, in Paris in 1507 but in England not until 1516 when Richard Pynson was given a two year monopoly in <i>Oratio Ricardi Pacei</i>, an oration of the royal scretary Richard Pace, and others followed - most of Pynson's work was privileged There was also the post of King's Printer. In 1504 Richard Faques was granted a monopoly of official publications. Privileges were also granted to classes of books, for example Reginald Wolfe for Latin Greek and Hebrew printing, Grafton for the statutes. But as competition increased royal privilege was not possible for every item. However there was a need for the respect of monopolies and such an organisation was possible through the Stationers' Company. Before 1557 the register of claims to copies made it an offence to publish a book before it had been shown to the wardens or unless the writers had royal privilege. Thus it was that when the state was unable to control complexities of the press it employed the Stationers' Company to serve its own ends. </div><br /><div align="justify">
The charter of 1557 granted 97 freemen of the city the right to be a corporate body with perpetual succession. They had the right to make rules, to meet to elect officers and to own property to an annual value of £20.00. These rights were common to all livery companies but the preamble explains that extra privileges were added to help control heretical books. No one was to be a printer unless he was a member of the Company or had royal privilege. The officials had the right to search and imprison malefactors for up to three months without trial and a fine of £5, to be split between the company and the crown. Membership rules concentrated printing in London and also cut across the right to practice the craft if free of any other company. The right to search had previously been given only to the Goldsmiths and Pewterers Companies.</div><br /><div align="justify">
<b>Pattern of membership.</b> There were four methods of entry:</div><br /><div align="justify">
<b>1. Apprenticeship to a freeman of the company.</b> Indentures were drawn up by a master, sponsor and clerk and enrolled with the company. At least seven years had to be served and by act of Common Council of the City of London in 1556 an apprentice could not be free before he was 23 years old.</div><br /><div align="justify">
<b>2. Patrimony.</b> This was possible if the father was a freeman of the company when his son was born, but most still served an apprenticeship.</div><br /><div align="justify">
<b>3. Redemption.</b> Payment of a fee was the normal method for aliens, and was mostly used to access politically powerful companies. </div><br /><div align="justify">
<b>4. Translation.</b> That is to say moving from another company. This was usually difficult as it needed permission from both companies. </div><br /><div align="justify">
<b>Yeomanry</b> (the commonality of the Charter) were the main body of members. Here there was no distinction between employer and employee.</div><br /><div align="justify">
<b>Brothers.</b> Members could acquire this status within the company by a fee of 10 shillings. This was usually reserved for aliens who could only work for full members of the company. Apprentices employed by them and to be bound to full members. There is evidence of anti-alien feeling by the city of London. Although they were competent they had no status and no easy way to the top.</div><br /><div align="justify">
<b>Livery.</b> The right to have a livery was granted by the City of London in 1560. This was open to all who could afford it, and the first six liverymen were elected next year including the printer John Day. Early election to the livery was essential to the ambitious.</div><br /><div align="justify">
<b>Renter wardens.</b> There were two wardens who collected the quarterage subscriptions. They had to serve his office before they were elected to the Court of Assistants.</div><br /><div align="justify">
<b>The Court of Assistants</b> consisted of experienced older members, about 18 in all. They were headed by Upper and Under Wardens and the Master.</div><br /><div align="justify">
Cutting across all levels were the different crafts of the members. Bookbinders, the oldest, could not compete with the booksellers. Booksellers, the next oldest, could build up capital by the exchange method of stocking their shops. Printers were the youngest and most powerful group for the first century after the granting of the charter; 33 of the 97 named in the 1557 charter were printers, including 20 of the first fifty named. The first Master Thomas Dockwray was an ecclesiastical lawyer and also an ardent catholic; he died in 1559.</div><br /><div align="justify">
When Elizabeth came to power the religious policy changed; the activities of the Stationers' Company also changed to the pursuit of catholic literature.</div><br /><div align="justify">
In 1559 Elizabeth confirmed the charter of 1557 though the Company had tried to get more control of booksellers on the same terms as printers, showing the printers' aim to keep control of the book trade. </div><br /><div align="justify">
In 1562 ordinances put the election of Master and Wardens into the hands of the Court of Assistants rather than the whole livery, as provided by the charter. This was in line with other livery companies and helped to perpetuate the dominance of the printers.</div><br /><div align="justify">
In the <b>1559 injunctions of Queen Elizabeth</b> the 51st clause related to the licensing of books. The aim was that no printed books "should be either heretical, seditious or unseemly for Christian ears". By the injunction officials of the Stationers' Company might be held responsible for any such books, thus licensing was strictly enforced. It was as much an offence not to enter a book at Stationers Hall as to print another man's copy. Registration of copies also brought revenue to the Company – the charge was at least four pence - and it also meant that they had an interest in keeping a strict eye on printing. A work had to be licensed by one of the wardens before the clerk could enter it in the register. This licence was independent of the of the Queen, Privy Council, Archbishops of Canterbury or York, the Bishop of London or the Chancellors of both universities as laid down by the 1559 injunctions. However the wardens would normally require such a licence to have been obtained. </div><br /><div align="justify">
However one third of books were not entered on the register. This is hard to explain. It could be a little like tax evasion; many books were more likely to be pirated and sometimes a gentleman's agreement existed between printers. Thus, if they thought they could get away with it, they probably didn't bother to register copies.</div><br /><div align="justify">
The selling of copies was common. They were usually sold by the printer to a publisher on condition that the publisher had the profits and the printer the work of printing. This shows a swing of power from printer to bookseller. </div><br /><div align="justify">
There were no ordinances regulating standards of printing but there were orders on the stitching of books as bookbinding was considered to be a craft. However regulations of quantity if not of quality in the 1587 ordinances laid down the maximum editions size of 1500 copies. </div><br /><div align="justify">
There were other ordinances about behaviour at meetings, rules for binding apprentices and so on. All these ordinances were read over at quarter day meetings. Thus it happened that Edward Bollifant was fined six pence for leaving a meeting early.</div><br /><div align="justify">
<b>Stationers' Company routine.</b> The election of masters and wardens was on the Saturday after Saint Peter's day (29 June). The election feast on the Sunday started the guild year. The earliest court was the first Tuesday in July. In later times apprentices and freedoms were made in the presence of the court. The court was not so important in Elizabethan days and there there were no formal minutes until 1576. Besides binding apprentices, admitting freeman and brothers, wardens also had to licence books prior to entry by the clerk in the ledger. There was also settlement of disputes between master and servant and disputes between printers, for example on copyright. Soon the court found it necessary to meet monthly. It was important to see that the ordinances were maintained and the renter wardens needed to collect the quarterage payments of members.</div><br /><div align="justify">
The warden's duties included keeping accounts. For example in 1577:<br />
<table><tr><td>
<b>Income</b></td><td></td></tr><tr><td>
Quarterage and rents</td><td>£12</td><td>5s</td><td>6d</td></tr><tr><td>
Licensing of copies</td><td>£2</td><td>19s</td><td>2d</td></tr><tr><td>
Apprentice bindings</td><td>£2</td><td>8s</td><td></td></tr><tr><td>
Freedom admissions</td><td>£3</td><td>17s</td><td>4d</td></tr><tr><td>
Six yeoman was called to livery</td><td>£6</td><td></td><td></td></tr><tr><td>
Fines for breaking ordinances</td><td></td><td>1s</td><td> </td></tr><tr><td>
Letting hall</td><td>£1</td><td>5s</td><td></td><td></td></tr><tr><td>
<b>Expenditure</b></td><td></td></tr><tr><td>
Servants (cook, butler, Lord Mayor's officer, clerk, beadle, porter</td><td>£4</td><td>16s</td><td>8d</td></tr><tr><td>
Contributions to election feast</td><td>£5</td><td></td><td></td></tr><tr><td>
Repairs to property</td><td></td><td>5s</td><td>3d</td></tr></table><br />
In most years there was also some poor relief.</div><br /><div align="justify">
<b>The company and monopolies.</b> The monopolists were holders of patents for printing whole classes of books. These we usually popular and easy to pirate, for example John and Richard Days' ABC, and there were also the monopolies of the Queen's printer for Bibles and proclamations. Monopolists were well represented on the court of assistants and the official policy at first was to represent their rights. However grievances grew in a disorganised manner from underprivileged printers and ambitious booksellers, journeyman, and bookbinders - a depressed section of the Stationers' Company.</div><br /><div align="justify">
In 1577 the Days obtained an extension of their monopoly and the government received a joint petition from glass-sellers, cutlers and printers against the injustice of "privileges granted to private persons". In the printer section nine patentees were listed. The petition was signed by 34 printers including two wardens.</div><br /><div align="justify">
In 1578 William Lobley and five others petitioned the Stationers' Company regarding privileges. The petition also covered foreigners taking trade and the excessive numbers of apprentices but the court in its response said that if a poor printer wished to exploit any copy so far unclaimed his request would receive sympathetic hearing. However in 1576 searchers had been appointed under the decree of 1566 which gave the company powers of search for illegal books, resulting in a series of hefty fines.</div><br /><div align="justify">
Thus although the company was was not responsible for creating monopolies, it was unpopular because of having to enforce the right of copy. Many printers took action into their own hands and pirated copies. John Wolfe, a member of the Fishmongers Company, and Roger Ward were the ringleaders. Both were imprisoned. Walls after a second term in jail still claimed in the right to print what he liked. There was general confusion and in 1582 a royal commission was appointed.</div><br /><div align="justify">
In 1583 the court allowed the important printer Henry Bynneman to enter profitable copies, for example Aristotle and Homer, but only on condition that he shared the printing with five members of the Company.</div><br /><div align="justify">
In 1584 patentees released a large number of patents, John Day least 36. There was much rubbish amongst them but it included Barker's <i>Statutes at large</i> and Watkins sheet almanac. In the main this was directed to assuage the malcontents. In 1584 John Day died. His brother was in holy orders and so his copies were handed over to John Wolfe, who was translated specially from the Fishmongers Company to be able to take them over.</div><br /><div align="justify">
The Company decided to profit from the confusion by promoting an Act of Parliament or confirmation of the charter to obtain added authority. The resulting <B>decree of 1586</B> reflects the ambitious policy of central control through the Company:
<UL>
<LI>All printers were to make return of equipment within ten days.
<LI>No printing was allowed outside London except one press each at Oxford and Cambridge.
<LI>All presses were to be accessible to officers of the Stationers' Comany.
<LI>No new presses were allowed unless otherwise decreed by the Archbishop of Canterbury or the Bishop of London.
<LI>Master printers were to be presented on election to the Court of High Commission.
<LI>No copies were to be printed without licence on pain of six months gaol and being debarred from printing.
<LI>The right to search was confirmed.
<LI>Apprentices were limited in number - three to the Master or Upper Wardens, two to liverymen, one to yeomanry. The Queen's printer was allowed six.</LI></UL>
</div><br /><div align="justify">
The effect was only partial. It did not prevent the printing of the Martin Marprelate tracts by Waldegrave, despite official attempts to trace and destroy the press. Others, including Roger Ward, continued to print privileged books. Punishments were not always inflicted. The Company attempted to ease the lot of malcontents by premitting the printing of copies with certain provisos, such as the payment of 6d in the pound to the poor fund. </div><br /><div align="justify">
The Company also began to organise publishing ventures that were too large for a single member. For example in 1583 Barker presented the privilege of printing the statutes to the Company and in 1587 the statutes were printed "for the relief of workmen". The Company was also exploiting Day and Sere's privileges in the 1590s. Individuals were now investing in stock, financing publication and going shares in the exploitation of privileges. This was happening against the background of a growing dislike of granting monopolies to individuals. Despite this discontent Elizabeth made at least thee grants of author's copyright between 1598 and 1592 and in 1588 permitted Richard Watkins to renew his copyright in almanacs for a further 21 years.
</div><br /><div align="justify">
In 1598 the House of Commons launched a successful attack on monopolies and in 1601 Elizabeth suspended all monopolies pending an investigation and approval by law offiers of the Crown.</div><br /><div align="justify">
On 24 March 1603 Elizabeth died. At the following court of the Stationers'Company a committee was appointed to promote an act of Parliament. The result was:</div><br /><div align="justify">
The <b>Letters Patent of 29 October 1603,</b> a grant "to the whole Company of stationers for the benefit of the poor of the same that they and none others shall imprint the books of private prayers, primers, psalters, psalms in English and Latin, and almanacks and prognostications". This became the basis for the English Stock. They were empowered to seize books printed in cotravention of their rights and were also allowed to make ordinances for the working of the privileges. About the same time the Stationers' Company had acquired the privilege of common law books.</div><br /><div align="justify">
In the same breath that James I had denounced monopolies, as had Elizabeth, he made this grant. The reasons were probably financial and also the emotional need of providing for the poor fund - there was £200 a year available from profits. James I did confirm several monopolies and granted others, even to non-Stationers. </div><br /><div align="justify">
<b>The English stock</b> was the means of financing the venture of publishing the items mentioned above. A nominal capital of £9,000 was didived into three equal parts.There were 15 shares of £200 for the assistants, 30 shares at £100 for the livery and 60 at £50 for the yeomanry. However the Court appropriated shares in all three grades. There was a great demand for shares when they came on the market. The yeomanry shares were often divided and Stationers used the influence of outsiders to obtain shares, for example Franis Bacon wrote in favour of John Jaggard. Shares were obtained by election when they became available through death or other reasons.The dividend was usually over 12%; in the late 17th century at the peak of prosperity it reached 60%. Special stock keepers were elected to manage the stock of books, arrange for sales to booksellers and so on. The full committee was responsible for allocating books to presses, aproving estimates and paper samples. Problems in management included printers producing more than the permitted number of stock books and selling the extra under the counter. This was solved by sharing the work between printers. There were problems in paying dividends due to excessive buying on credit. There were also claims by individuals to part of the Company's monopoly. A claim by Richard Watkins to an almanack privilege granted by Elizabeth cost the Company £160.
In the main the English Stock was profitable. Further monopolies were acquired, in 1607 Henry Stringer's privilege for school books and in 1638 Speed's <i>Genealogies</i>. The support of these restrictive practices was unanimous although it stifled initiative and led to poor printing - and there remained serious rivals in Oxford and Cambridge. </div><br /><div align="justify">
<b>Competition from the universities.</b> <br />
<br />
By its charter of 1534 <b>Cambridge</b> was alowed three printers or stationers. No advantage had been take of this by 1557 when government policy stifled provincial printing. However in 1583, Thomas Thomas was appointed printer and obtained a press. The Company seized it and, although the university was allowed a press by right, harassed him by seizing books in London. In 1588 he was succeeded by John Legate who realized the need to print popular lines and, aided by the university, obtained the right to print certain privileged books including in 1629 Bibles, Psalms and Lily's grammar. In 1613 the Buck brothers, who were academics, succeeded as printers. The Stationers' Company managed to gain control over privileged books but in 1632 Thomas Daniel, a professional printer, succeeded and found the agreement irksome. The Stationers' Company now had to pay £200 a year to buy off competition from Cambridge.</div><br /><div align="justify">
In <b>Oxford</b> a press had been re-established 1584 with Joseph Barnes as printer, a situation recognised by the Star Chamber decree of 1586. Barnes was succeeded in 1617 by John Lichfield and he was succeeded by his son Leonard in 1635. By letter patent of 1632 three presses were allowed in Oxford along with the right to print the Bible. The King's printer and the company paid the university 200 pounds per annum to forebear from doing this. The last surviving monopoly is that of the Authorized Version at Oxford University press.</div><br /><div align="justify">
The <b>Latin stock</b> was founded in about 1616. The primary aim was to purchase through agents books printed abroad and distribute them through a shop in the garden of the Company's hall. There was a nominal capital of £4,800 divided in three ways. The aim was to take the sting out of the Cambridge concessions but it was a failure and was wound up in 1627 having never declared a dividend. It had relied excessively on loans and there was too much direct competition.</div><br /><div align="justify">
An Irish stock was founded in 1618 which obtained a grant of the rights of the King's printer in Ireland
for 21 years. That was also unsuccessful but similar stocks were also organized by the Company for ballad printing and Bible printing.</div><br /><div align="justify">
Besides the Company's attempts to build a trading empire, the government also continued to employ the company as agents for press control, but there is little evidence of punishment. Many fines were for minor offences, striking an apprentice in front of the Court or "undecent speeches to the Master for example. Charitable activities continued including loans to booksellers to start businesses, something that was often abused. Occasional complaints were dealt with, esspecially with book binders over systems of apprenticeship. Though not all those in the book trade were in the Stationers' Company, numbers increased during the 17th century. There was an improvement in the social standing of the Company, apparent from a study of the occupations of fathers of apprentices; there were less orphans and husbandmen, more gentry and clergy.</div><br /><div align="justify">
On 11 July 1637 came the <b>Decree in Star Chamber</b> "concerning printing", an attempt to deal with seditious printing, probably promoted by the Company for their own benefit to deal with infringers of rights and sanctioned by the government as it promised more effective safeguards. Many of the clauses addressed long-standing problems. The printers were most severely affected; they could have their types defaced or equipment confiscated.
There were 33 clauses in three main sections: general, booksellers, printers and typefounders.<br />
<ul><li>The printing and selling of heretical and seditious pamphlets was forbidden.
</li><li>All books were to be licensed, usually by the Archbishop of Canterbury, and entered at Stationers' Hall.
</li><li>Two two copies of the manuscript were to be provided, one to be retained for reference, to avoid subsequent changes to the text.
</li><li>Reprints had to be relicensed.
</li><li>The names of the author, printer and publishers were to be printed on the publication.
</li><li>The right to search was reaffirmed.
</li><li>Nobody who had not served an apprenticeship as a stationer could retail books.
</li><li>It was an offence for a foreigner to sell in London books printed abroad.
</li><li>No books were to be printed abroad for import.
</li><li>All books were to be landed in London.
</li><li>Bales were only to be opened in the presence of a member of the Stationers'Company and the ecclesiastical authorities.
</li><li>A list of books was to be sent to the Archbishop of Canterbury or the Bishop of London before the books were put on sale.
</li><li>Twenty named masters were allowed in London (the same number as in 1586).
</li><li>Two presses were allowed per printing office, three for upper wardens and the Master.
</li><li>The twenty were to bind themselves for £300 within ten days not to print unlicensed books.
</li><li>Unauthorised printers were to be pilloried or whipped through the streets. This was more severe than previously.
</li><li>Apprentices were limited to the number of presses.
</li><li>Only freemen ofthe Stationers' Company were to be employed.
</li><li>Each press was to find work for at least one free journeyman, even if their services were not needed.
</li><li>There were penalties for those refusing to find journeymen work.
</li><li>University printers were allowed as many apprentices as they wanted, provided that they first found work for their own freemen.
</li><li>No joiner was to make a press without informing the Company.
</li><li>Only four named typefounders were permitted and any replacements would be authorised by the Archbishop of Canterbury or the Bishop of London with six other high commissioners.
</li><li>A copy of each book would be deposited in the Bodleian Library in Oxford. This clause, which confirmed an agreement reached with the Company by Sir Thomas Bodley in 1610, formed the basis of later legal deposit legislation.
</li></ul></div><br /><div align="justify">
In July 1641 the Long Parliament abolished the court of star chamber. The consequent breakdown of royal authority meant that the Stationers' Company lost some control.</div><br /><div align="justify">
In 1641 there was an attack on monopolies by <b>Michael Sparke</b> in <i>Scintilla, or a light broken into dark warehouses</i>. It only stopped short of the English stock for the sake of the people it benefitted. He urged parliament to release copies that had not been printed and to increase the number of Assistants. He attacked the oligarchic nature of the Company. It was effective after two or three years when the number of Assistants was increased to 23.</div><br /><div align="justify">
In 1644 there was a challenge by the yeomanry who demanded to be present at elections. On January 23 at Common Hall a petition complaining against abuses was handed in. A committee was set up to examine the ordinances, but it worked under opposition from the Court of Assistants and in 1645 the Company managed to obtain the signatures of the majority in a petition to the Mayor against Sparke and others who were trying to upset the method of choosing the governing body. Thus, by appealing to the self-interest of those involved with the English Stock, the court remained as oligarchic as before.</div><br /><div align="justify">
Monopolies accrued to the company after 1641 through Miles Flesher. He had enlarged his business by partnership with John Haviland and Robert Young. He took over three printing houses and acquired privileges including a share in the King's printer. He was also prominent in the Company an Assistant in 1642 and Master from 1652-3 and 1662-3. In 1642 the King had left London. In 1644 the company set up a committee to attempt to obtain the Office of King's printer. One partner, Bill was a Royalist, the other Barker was in financial trouble, so by January 1646 the Company was printing Bibles. In 1647 the company obtained patent as Scottish royal printer. In 1661 Flesher sold the patent for common law to the company for £240.</div><br /><div align="justify">
Seditious printing caused parliament to reimpose restrictions. This was the cause of Milton writing <i>Areopagitica, a speech of Mr. John Milton for the Liberty of Unlicenc'd Printing, to the Parlament of England</i> in 1644, his stirring appeal opposing licensing and censorship.</div><br /><div align="justify">
In 1643 an <b>ordnance for the regulation of printing</b> was passed. All books were to be licensed and entered and the company had powers of search. However the power of the Long Parliament was increasingly ineffectual until in 1649 an <b>Act for better regulating of printing</b> was passed with the same regulations as before but no limit to the numbers of master printers. A 1653 Act placed the final responsibility for printing and the behaviour printers in the hands of the Council of State.<br /><div align="justify">
<b>The company of printers.</b> Relaxation after the Court of Star Chamber was abolished increased the number and power of printers. Until then they had been subservient to booksellers and in 1651 petitioned to be made a separate company. This was unsuccessful but there was another attempt in 1663, a petition to relieve one mystery from control by another. In <i>A brief discourse concerning printing and printers</i>, published in 1663, it was shown how printers now had little say. This bid for independence failed through the opposition of the Stationers' Company. Also the printers themselves were not united; some saw the restriction of numbers as beneficial to the trade.<br /><div align="justify">
The <b>Licensing act</b> of 1662 so called from an order that publications had to have a licence printed verbatim in the book. The three best copies were to be deposited with the Company for the King's library, Oxford University and Cambridge University. Printing in Oxbridge was not under the Stationers' Company's control. Many clauses of 1637 were reintroduced, but there was no need to licence reprints and produce two copies of the manuscript. Importing was less restricted and the powers of search were transferred to the Secretary of State. Also as a result of allegations of <b>Sir Roger L'Estrange</b>, a royalist journalist and pamphleteer, that the number of printers had now reached 60, the number was reduced to 20 at his suggestion. Petitions and complaints by the Stationers, including one for independence by printers, led to the appointment of L'Estrange by the King to inquire into printing.</div><br /><div align="justify">
In 1663 L'Estrange issued a long report condemning the printers. As a result the office of Surveyor of the Imprimerie and Printing Presses was established. L'Estrange was the first holder with powers of search and seizure similar to the Stationers' Company previously. Also he was one of the licencers of the press and given the monopoly of printing newspapers and advertising material. He took his duties seriously, made several raids on printing houses personally, and imposed severe penalties. His appointment aroused resentment and was allowed to lapse three years later, though he still remained influential. </div><br /><div align="justify">
In 1666 the Company lost its hall in the great fire of London. The archives were carried to safety by the clerk. They had lost a charter before the fire, and in 1667 the King granted a new inspeximus charter with the same wording as the old one.</div><br /><div align="justify">
The Stationers'Company were not adverse to the tightening of the restrictions imposed by the 1662 Licensing Act but the government merely renewed it in 1664 and 1665. The Company worked in an uneasy relationship with L'Estrange, feeling that his powers were too small. In practice though few actions were brought. In 1670 Robert Etherington claimed that he had set up a press without permission "because he served his time at the trade and no other reason". No action was taken in his case. Wardens were known to send out warnings of impending searches and generally printers were left alone, provided they did not print almanacks. In 1670 legal proceedings commenced as to why the Company had failed to act to suppress seditious literature. L'Estrange intervened to say that the Company should provide more effective bylaws. </div><br /><div align="justify">
In <b>1678 the new ordinances</b> finally appeared, the old ones having been lost. They governed behaviour at meetings: those attending had to appear punctually in gowns, all debates must be serious. Nominations and elections were to be made by the Court alone, as before. They also covered keeping accounts, the chest, the use of the seal. The livery would be elected by the court, the renter wardens elected by the Court from the livery to collect quarterage (8d or 4d) and rents. Notice of new presses must be given to the Wardens or the Master; a "press in a hole" was not allowed. The number of presses was kept to 20.</div><br /><div align="justify">
The 1662 Act which had been renewed in 1664 and 1665 was allowed to lapse in 1679, and press control now relied on the ordinances. In 1681 supplementary ordinances repeated the 1662 provision that every book should bear the name of the printer or of a London bookseller. In 1683 a further ordinance made it compulsory to enter the full title of a book on the Stationers'Company register before printing or reprinting with a fine of £20 for non-compliance.</div><br /><div align="justify">
A new <b>Stationers' Company charter</b> was drawn up in 1684. The Stationers' Company was the first of the city livery companies to obtain a new charter in a period of general renewal of the charters by Charles II. The speed is probably because of the special relationship of the Company with the King in suppression of libel and not their standing in the City which was low. (When Sir Thomas Davis was elected Lord Mayor in 1676 he had to be translated to the Grocers' company. Also attempts to get booksellers who were not members of the Stationers' Company translated had failed.) The charter repeated the clauses of 1557. Letterfounders, builders of presses and binders and booksellers within four miles of London had to be members. Royal approval was given to the public register of books, and all copies had to be entered. The Company attempted to enforce the charter by forcing booksellers not members of the company to be translated but they failed. They also failed to prevent the Bishop of London issuing licences the hawkers of books. It was impossible for the Company to control the selling of books now.</div><br /><div align="justify">
There was also confusion on the accession of James II. In 1685 he renewed the Licensing Act for seven years. The King also used clauses in the charters to demote large numbers of Assistants and liverymen from city companies. The charter was also surrendered in 1689 and any further actions had to be undertaken on the authority of the bylaws, not the charter.</div><br /><div align="justify">
Parliament refused to renew the Licensing Act in 1695, effectively freeing printing from government control, lifting the limitationon the number of presses and opening the way to the expansion of printing into provincial towns in the 18th century. </div>
<hr />
This page last updated 14 October 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-90290922546587490872020-10-06T23:06:00.004+01:002020-10-12T21:09:33.311+01:00World Book Heritage. 39b. Newspapers and periodicals 1600-1800<table><tbody><tr><td valign="top" width="50%"><img src="https://1.bp.blogspot.com/-
70IiU9X41CM/XzFXOFktloI/AAAAAAAAKik/1CGBN5NQvbEMyBnK71oZWs7FxmmdZA4SQCLcBGAsYHQ/s0/WRITTEN
%2BHERITAGE.jpg" /></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
39b. Newspapers and periodicals<br />1600-1800.<br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)
</b></center></td></tr></tbody></table><div>
Over the centuries the newspaper has come to mean quick current information while the periodical implies
regular entertainment or instruction but the distinction evolved gradually over more than two centuries.
</div><br /><div align="justify">
The <b>origin of newsletters</b> was in the trade fairs of Venice, Antwerp, Frankfurt, Strassburg and
Augsburg. Trade centres after all are also news centres. By the mid 15th century personal communication
had begun to develop into public news through the use of couriers. The term intelligence was used.
Besides supplying the employer the courier or intelligencer also acted as a news writers to booksellers
retailing marvels and atrocities. The main source of news in the 16th century was the Turks: in 1453 they
captured Constantinople, in 1459 Serbia and 1463 Bosnia and in 1501 they took the Adriatic colonies from
Venice, but at the same time Lesbos was recaptured from the Turks. In 1502 a <i>Neue Zeitung vom Orient</i>
appeared for German readers describing the recapture of Lesbos. The word Zeitung means tidings and is today
the German word for newspaper. War sadly remains one of the main subjects of newspapers today. </div><br /><div align="justify">
<b>Personal newsletters</b> long survived the arrival of printed news sheets. The format was usually a
single or double folded sheet with the last page plain for the address. It was written throughout in
manuscript, either for a single private person subscribing through a bookseller or for a number of
subscribers. They were produced as an article of commerce. At first only the ruler and his circle needed
these couriers, but a new merchant class was growing, also bankers and the ruling classes in general. They
appreciated the value of news and obtained agents to write for them. The Augsburg firm of Fuggers was
amongst the most notable customers, and their newsletters were even released to privileged outsiders.
</div><br /><div align="justify">
The <b>sources of news</b> varied. Some letters were written from the field of battle. Headings such as
"Before the camp at …" were common in manuscript but not so much in print. Others were from home sources.
It was common however for news to be collected in various news gathering centres by services which retailed
them to bankers or politicians. Venice was a main centre. Statesmen would arrange for letters addressed
to them personally: "My humble duty remembered to your Lordship" and signed by the agent. But this was not
necessarily an exclusive service; collectors of news would sell the same news twice if they could.
Although a letter to the Earl of Shrewsbury in 1568 from one Hugh Fitzwilliam has a personal style ("may it
please your Honour" etc) as was common to the mid 17th century, it was a commercial job all the same.
These men were known as intelligencers, employed full time in gathering and copying intelligence either for
booksellers or politicians directly. </div><br /><div align="justify">
The English government first secured regular news under Sir Francis Walsingham and the system was brought
to perfection by Sir Robert Cecil 1st Earl of Salisbury. They were fashionably called spies but were no
more so than today's reporters. </div><br /><div align="justify">
The Reformation brought a great boost to news. The excommunication of Luther in 1520 and the execution of
Moore in 1535 was a concern to all, parts of a vast religious and political upheaval. Protagonists relied
heavily on propaganda machines. This was especially true of Zurich. Bullinger, the successor of the
Zwingli, made use of journalistic invention of Mattaus Schiner, a warlord, bishop and cardinal who had
initiated a news sheet which became regular by 1513 called the "Neue Zeitung". This was revived in 1552 by
Bollinger and compiled news by correspondence and distributed it by missionaries. But it was not a
periodical in the modern sense. It required a regular supply of news through an organized system of posts.
The same was true when <i>Neue Zeitung</i> went into print in 1567. </div><br /><div align="justify">
More general written newsletters were in a style suitable for multiplication in quantity and start without
politeness: "Between the 23rd day in July and the 30th day of the same month there died and was buried in
London and the suburbs thereof in the whole number 359 persons." Such newsletters were begun in England by
1563. The format was 8 ½ by 12 ¼ inches folded like the corantos of 50 years later. Unsigned, they could be
called a written newspaper although they were not regular. News was a scarce commodity. A 1589 letter ends
with the promise "When there is anything worthy of you, you shall not fail of it". But the curse of
invented news alienated subscribers even then. However they were not as badly off as printers of news, who
had censorship to face. It is one reason why the written newspapers, already firmly established, survived
the printing press for so long.The death knell in England rang out 21 April 1695; Frederick Leach, who
founded the "London newsletter", writes: "It was against my inclination to appear in print, to recover, if
I can, some of my former customers and preserve those few I have left who, as they have often told me, will
rather read a printed paper than a written one." This going over to print was a virtual end of
competition, but Ichabod Dawkes newsletter from the 1696 was printed in a specially engraved script type.
Also many forms of letter writing were preserved in expressions such as "our own correspondent". </div><br /><div align="justify">
<b>Printed newsbooks</b> had been long established by 1695; the 1502 account of the recapture of Lesbos has
already been mentioned. </div><br /><div align="justify">
The first English printed newsbook dates from 1513: Trewe encounter or battle lately done between England
and Scotland, an account of the battle of Flodden, published by Richard Faques the son of William Faques
the King's printer. Twelve pages in length, each 7 ½ by 5 inches, it was in book format. There was no
precedent for the headline, so he offered a summary of the contents. Note the word "lately"; newspapers
until the 20th century used the term "late edition". Faques realised the appeal of eyewitness accounts and
also gave a list of the Scottish slain and a list of the English who had excelled themselves and there was
also a woodcut to appeal to the semi-literate, a vigorous picture of fighting and the King coming out of
his tent, but probably not cut for the occasion. A manuscript account also survives, probably the the
original of the printed text which is more corrupt for example "left wing" becomes" last wing. </div><br /><div align="justify">
It was not intended as part of a series and other news pamphlets are rare until the end of the century. One
example for 1565 is the fragment by Thomas Marsh: <i>A copy of the last advertisement that came out of
Malta of the miraculous recovery of the isle from the ... Turk</i>. There are also eyewitness accounts of
the Anglo Scottish wars published by Grafton. A Devon example is <i>The true lamentable discourse of the
burning of Teuerton in Deuon-shire the third day of Aprill last past, about the hower of one of the clocke
in the after-noone being Market day, 1598. At what time there was consumed to ashes about the number of 400
houses with all the money and goods that was therein: and fyftie persons burnt aliue through the vehemencie
of the same fyer</i>. The sixteen-page booklet was "printed by Thomas Purfoot for Thomas Millington and are
to be sould at his shop in Corn-hill, vnder St. Peters Church.</div><br /><div align="justify">
<b>Periodical printed news</b> began late in the 16th century. In 1566 numbered news sheets appeared in
Basle and Strassburg which declared themselves as part of a series. Between 1594 and 1615 In Augsburg a
series of unnumbered news sheets wes published by Samuel Dilbaum. In January 1597 he started a monthly
"Historical relation or narrative of the most important and noteworthy actions and events which took place
in the month [...] 1597". It was arranged by country with six to twelve leaves in each book and trailers
for the next issue. An annual title page was also issued. But it ceased after the first year, although he
continued to issue news books in other formats. He possibly failed because it was printed not Augsburg but
in a small Swiss town of Rohrschach on Lake Constance. </div><br /><div align="justify">
After 1590 <b>English newsbooks</b> became popular. Between 1590 and 1620 250 survive and 200 more are
known from the Stationers' Company's registers. That is the equivalent of one per fortnight but there was
no single publisher and they were far from regular. The contents were not miscellaneous as today. Each
book usually reported one item and, if there was no news, then no newsbooks appeared. There was a wide
range of foreign news but the English government banned all but trivial domestic news. However the
broadside ballad form was popular with semi-literate. There was also a lack of authenticity, the reuse of
dying speeches and of woodcut illustrations for example. The format was that of a book; it had a title
page and the news began on page three. </div><br /><div align="justify">
<b>John Wolfe</b> was the first to see that news publishing differed from book publication, but although he
was the father of the English news publishing he was not the father of periodical publication. He was
ambitions but started life with few advantages. He was not related to Reyner Wolfe and was apprenticed to
John Day and then travelled abroad. He returned to see the trade controlled by patent holders. He printed
what he pleased and planned to reform printing just as Luther had reformed religion. But he was bought off
by being allowed shares in Day's ABC. He soon became an official of the Stationers' Company and a zealous
rooter out of piracy. He began news printing in about 1589. There was little change in the basic format
but he standardised the layout of the title page and the wording of the title itself. He stripped the
title page of everything except a short title, house block and imprint; there was no crowded summary of the
contents as in the Tiverton example quoted previously. The public knew they were buying John Wolfe's news.
He also contributed to the techniques of obtaining news, possibly using contacts made during his travels
abroad and often translating foreign newsbooks. Some of his publications bear the legend "published by
authority", rare in the period when the government only released a trickle of news, but Wolfe had contacts
with the clerk to the Privy Council, Thomas Wilkes, an able diplomat who was interested in printing. He
also used letters from private individuals on missions including one T. B. (Thomas Barnes a correspondent
of Thomas Phelippes, the major news editor of the day and supplier of intelligence to the government).
</div><br /><div align="justify">
Wolfe was no editor and he printed T. B's news unabridged. He openers: "My good friend, the manifold
courtesies by me sundry ways received at your hands makes me not unmindful of you" or refers to "our last
conference together at your lodging". He was aware of the importance of illustration and once included a
map of a battle although the sea coast fort was inappropriate to an account of the siege of a Paris suburb.
In 1591 he was on the verge of making a contract with the reader for regular publication; a nicely printed
advertisement states: "If I may find this to be acceptable to the reader, I shall be willing to acquaint
him with the rest as it shall come into my hands." But soon after he became printer to the City of London
and this was the end of his news publications. </div><br /><div align="justify">
The earliest regular newsbooks were continental; Britain lagged behind, having to wait for the development
of regular postal services. In January 1609 there were two dated and numbered newsbooks from Wolfenbuttel
or Augsburg the <i>Avisa Relation oder Zeitung no. 1</i> dated 15 January and from Strassburg <i>Relation
... Zeitung aus Coln vom 8 Jenner 1609</i> which could not have been published before the 17th of the
month. In 1610 In Köln appeared <i>Gedenkwurdige Zeitung</i> but they were little copied until later in the
decade. </div><br /><div align="justify">
<b>Holland</b> was the first country to establish a regular weekly continuous dated and printed news
service in their Corantos. </div><br /><div align="justify">
In Amsterdam in 1618 appeared <i>Courante uit Italien Duitsland &c</i>. Coranto was a popular term for
current affairs; Krant in Dutch means newspaper today. The earliest number contained four news items:
Venice, 1st of June; Prague, the 2nd of June; Köln, the 11th of June; the Hague the 13th of June. They
were not signed until May 1619 when we find the name of Ioris Veseler. The series survived for more than
fifty years under father and son. They were not dated until summer 1620 but were clearly regular before
then. </div><br /><div align="justify">
In about February 1619 appeared <i>Tidinghen uit verscheyde Quartieren</i>, published by Broer Janszon. It
was a rival publication; both were in the form of a folded sheet printed at first only on one side.
</div><br /><div align="justify">
Also in Amsterdam in 1620 appeared the first French newspaper <i>Courant d'Italie</i> It was usually a
translation of a Coranto. Only in 1631 was the first regular news book printed in France: <i>Nouvelles
ordinaires de divers endroits</i>. This was soon killed off by a rival <i>Gazette</i> which had the support
of Cardinal Richelieu. </div><br /><div align="justify">
In 1620, again in Amsterdam, appeared the <b>first English newspaper</b>, published by Pieter Van De Keere
and printed by Ioris Veseker. It was a translation of a Dutch news sheet and the first extant copy is dated
"Decemember 2 1620" but there were probably earlier issues as this is headed: "The new tidings out of Italy
are not yet come". Sixteen issues survive, the last dated September 18, 1621. At first it was in roman type
later in black letter. </div><br /><div align="justify">
In April 1621 in Amsterdam the second English news sheet appeared, this one by by Janszon appeared. By
August 1621 he had anglicized his name to Johnson. Some were printed on the verso unlike the Dutch news
sheet style, leaving blanks possibly for English booksellers own news. It has been thought some Johnson
corantos were printed in London and that Thomas Archer printed some corantos in 1621 but there is no
certainty of this. On the 22nd of September, 1621 a Joseph Meade wrties: "My corantoer Archer was laid by
the heels (that is to say imprisoned) for making or adding to corantos. But now there is another that hath
got licence to print them." </div><br /><div align="justify">
In September and October 1621 in London there was a dated but unnumbered newspaper. It was in the Dutch
style of sheet not a newsbook. Seven appeared in all, printed for N. B. - the first dated September. One
was entitled <i>Courant or weekly news</i>. </div><br /><div align="justify">
In London on 21 May 1622 the first successful series began, published by Nicholas Bourne and Thomas Archer,
with Nathaniel Butter joining later although he was probably the prime mover. They were in a newsbook
format and called <i>Weekly news from Italy and Germany</i>. The first issue was probably 14 May and it
was not stictly weekly, the title varying, for example <i>A continuation of more news</i> or <i>A
relation</i>. Various numbers were published by different combinations of booksellers. Dating was adopted
from the first but numbering was almost by accident. On October 15, 1622 two issues appeared, one being a
continuation and the other a separate parcel of news; these were numbered one and two. After missing one
issue, numbering was consistent. The title still varied; <i>Weekly news</i> was used for issues 14 to 16
in January to February 1623 but then was lost again. Butter did "purpose to continue weekly by God's
assistance". </div><br /><div align="justify">
<b>Nathaniel Butter</b> is an attractive to the figure in the trade. He was full of bright ideas. In 1611
he had a primer printed abroad and imported. This brought the wrath of the Stationers' Company on his
head. He had come to rely on small copies such as the quarto edition of <i>King Lear</i> and news books.
Nicholas Bourne was a cautious man and had no such record, so probably it was probably Butter who organised
the five stationers and merits the title of "father of the periodical press", not Wolfe as he did not adopt
a consistent numbering and dating. </div><br /><div align="justify">
<b>Design and format</b> in the 1620s was still evolving. The title varied, logically if each week's
contents differed, but the words coranto, news, relation figured large and helped distinguish them from the
normal newsbook. The customer would ask for the "latest courant". Invariable elements are the date,
usually on the upper left, and the number, usually on the upper right and there was a growing use of
capitals and small capitals for proper names as opposed to roman upper and lower case, practice often
continued today especially in law reports. The format was that of the book 7½ by 5¾ inches and it was made
up of 20 to 24 pages, appearing weekly but not on fixed days. There was the influence of the written
newsletter in the centred heading of place and date of the original letter. There was little sub-editing;
phrases such as "beloved friend" being retained. The contents from foreign newsletters and corantos were
put together haphazardly at the week's end. The "gentle reader" was often addressed by an editorial "we":
"I will not hide my talent in a napkin but acquaint you with as much as falls to my poor position to know".
There were problems in getting coherent news: "They that writ these letters had them by snatches." There
were complaints that the amateurishness of editors: "If we afford you plain stuff you complain of the
phrase and peradventure cry out "it is nonsense!" News in brief was fitted in as "broken stuff". But when
there was no news, they admitted it. There were no editorial pontifications; the reader was left to
conjecture "what these wars and troubles may produce". There were some sensational touches; a double page
"authentick" woodcut of a knife used by the "Jesuited villain" in an assassination attempt on Buckingham.
</div><br /><div align="justify">
<b><i>Mercurius Britannicus</i></b> appears as an imprint in 1625. It was not the name of the newspaper
but of the publishing syndicate and it survived until 1627. It was strange that the value of a consistent
title was not realized. In this period Thomas Archer left the syndicate and entered into partnership to
produce a rival series from 1624 to 1628. </div><br /><div align="justify">
In 1632 <b>news printing was suppressed</b> by the Star Chamber after the syndicate had produced over 300
editions in nine series. This was probably done on the complaint of the Spanish ambassador. Despite
petitions in 1633 there was no repeal until 1638. Readers had to rely on occasional Dutch corantos and
manuscript newsletters. Also broadside ballads could still be published. Butter and Bourne attempted to
get round the ban by a half-yearly <i>Swedish intelligencer</i>. </div><br /><div align="justify">
In 1638 the <b>news ban was finally repealed</b>. On 28 December Butter and Bourne were granted letters
patent for news printing on payment of £10 per annum for the repair of Saint Paul's. They celebrated with
a 96 page issue summarising six months news and copper plate engravings of "a prodigious eruption of fire".
Afterwards they published news books of four pages each, often several times a week. Smaller newsbooks,
being cheaper, commanded higher sales. </div><br /><div align="justify">
In 1640 the partnership was dissolved and in 1642 the triumph of Parliament annulled their privilege.
Butter continue to print news books to 1642. In 1643 he was imprisoned in the Fleet by Parliament and was
tried at Windsor by the council of war for committing sedition as an intelligencer. Financial problems had
forced him to sell 25 of his copyrights in 1639. For twenty years he struggled on. In 1663 it was reported
"Nathaniel Butter, an old stationer, died very poor". He was buried at the cost of the Stationers Company.
He was too devoted to journalism to adapt. Bourne on the other hand diversified his interests; he was
master of the Stationers' Company in 1643 and 1651 and died wealthy and 1660. Bourne had made good his
escape while Butter was in financial trouble in the 1640s. The Civil War lessened interest in foreign
affairs, and in 1641 the ban on the news was lifted, Parliament permitting allusion to its proceedings.
</div><br /><div align="justify">
There were changes in the format to cope with the rich flow of home news. Page size was enlarged to 8½ by
6¼ inches, the title page was abandoned and to fit news into four pages they began the news on page one
rather than page three. Decorative initials were also abandoned to save space and there was a rapid
standardisation of titles. </div><br /><div align="justify">
In 1641 the <b><i>Diurnal occurrencies in Parliament</i></b> was the first English domestic news
periodical. It had the advantage of a standard name, lessened by many other publishers adopting similar
titles. Printers complained of imitation: "Take heed of a false and scandalous diurnal, fashioned by a
company of Grubstreet mercenary fellows". But these publications were newspapers in the full sense of the
word: named, regular, dated, numbered, and in a special format. </div><br /><div align="justify">
In 1643 the <b><i>Mercurius civicus</i></b>, a Royalist paper, was the first to reintroduce the term
"mercury". In a cut-throat world of journalism you needed imagination to survive. The <i>Mercurius
civicus</i> did this by using woodcuts of statesmen on the title page. In 1643 when the Queen had managed
to join King Charles the paper bore a woodcut of each on the title page. Soon after it used an
illustration in the text: the cut of a new weapon, a spiked club. Illustrations had appeared earlier on
the continent. Other fashionable titles in the 1640s included in their titles the words intelligencer,
scout, spy or post. </div><br /><div align="justify">
Newspapers began to include advertisements. These were not displayed, or even grouped separately under an
"Advertisement" heading. </div><br /><div align="justify">
In 1655 Cromwell suppressed all newspapers except the <i>Intelligence</i> on Monday' and the <i>Mercurius
publicus</i> on Thursdays. Each was of 16 pages and officially sanctioned. The charge for advertisements
was increased from 6d to 2s 6d. </div><br /><div align="justify">
After the <b>Restoration</b> in 1660 the policy continued. The reporting of Parliament was now forbidden
and two new papers were established, both under the supervision of the surveyor of the press, Sir Roger
L'Estrange (1616–1704). The titles were short: <i>Intelligencer</i> on Mondays and <i>The news</i> on
Thursdays. </div><br /><div align="justify">
The <i>Oxford gazette</i> was published in 1665, in Oxford because the court was there due to the plague.
From number 24 onwards it was renamed to the <b><i>London gazette</i></b> and became the official
newspaper. The format reverted to the news sheet, 12½ by 7½ inches, a single sheet in double columns
published on Mondays and Thursdays. The title was a continental term, novel in England. The format was
also similar to written letters and the editor Henry Muddiman was a noted writer of newsletters, but the
layout was more compact. There were also clandestine publications during the lapse of the Licensing Act
between 1679 and 1683. Many vituperative publications also circulated after the discovery of the Popish
Plot in 1678. </div><br /><div align="justify">
From 1688 there was a growth of magazines in a less embittered atmosphere. <b>Periodicals</b> were the
child of rationalism, aiming to spread enlightened views on god, mankind and the universe. From 1655 the
<i>Journal des savants</i> in France and the <i>Philosophical transactions</i> in England had appeared but
periodicals soon found their way into wider fields; the <i>Mercure galant</i> from 1672 contained court and
society news, criticism, and poetry. </div><br /><div align="justify">
In March 1690/1 the <b><i>Athenian mercury</i></b> appeared. It was one of the first general British
periodicals. It was a question and answer paper run supposedly by the Athenian Socciety in reality the
only member was the publisher John Dunton. He was prepared to answer whether women had souls, where
swallows go in winter and a wealth of other queries, largely dreamed up by Dunton himself. It had a
newspaper format in two columns and two issues per week. </div><br /><div align="justify">
There were other formulae; the <i>London mercury</i> carried a single essay, the <i>Observator</i> a
dialogue and the <i>Collection for the improvement of husbandry and trade</i> from 1694 onwards bears a
title that attempts to express a variety of contents, now covered by the word magazine, originally meaning
storehouse. It included commodity prices, weather forecasts, articles on trade, recipes for women and much
more besides. </div><br /><div align="justify">
The <b><i>Gentleman's journal</i></b> from 1692 is the true ancestor of the magazines. It was a 48 page
monthly miscellany of news, history, poetry, short stories and so on. The format was reduced to that of a
newsbook for the reader's convenience. The fulltime editors and contributors included Purcell and Dryden.
</div><br /><div align="justify">
In 1695 the Licensing Act was not renewed. The daily postal service had been set up between London and
Dover to secure the regular transmission of news to the capital. There was also the development of by-post
and cross-post systems to outlying localities. </div><br /><div align="justify">
<b>Newspapers</b> developed under the above stimuli but cautiously; the real growth only began after 1695.
The importance of post and packet network was recognized in the titles the <i>London post</i>, the
<i>Flying post</i> and so on. Often there was an ornate woodcut of a post-boy on the title page. The
<i>Post boy</i> was the title of one of the earliest newspapers in 1695, three issues a week appearing, and
in June 1695 the publishers managed to get the <i>Post boy</i> out on four consecutive days. </div><br /><div align="justify">
In 1696 the newsletter of <b>Ichabod Dawkes</b> appeared. This was elegantly produced and it hearkened back
to the handwritten newsletters, then nearly defunct, and used a fine script type. This newsletter
survived for twenty years. The format of "posts" again increased to 14 by 7½ inches. The <i>London
gazette</i> remained unchanged and already appeared old fashioned. Many newspapers now had three columns to
the page. </div><br /><div align="justify">
<b>Evening papers</b> were also appearing; the <i>Evening post</i> in 1706 contained three issues per week.
There was even a <i>Night post</i> in 1711. </div><br /><div align="justify">
<b>Provincial newspapers</b> began to appear; the <i>Norwich post</i> in 1701, the <i>Bristol post</i> in
1702, Samuel Farley's Exeter postman</div> probably in 1704, but, depending on the frequency of missing
issues possibly as early as 1701. The <i>Worcester postman</i>, established in 1709, still survives as
<i>Berrow's Worcester journal</i>.
Evening papers were the most punctual, aiming to catch the mail to the provinces which left on Tuesday,
Thursday and Saturday nights. Timing was crucial; for many years <i>The times</i> newspapers showed the
clock at 4.30 in the morning on its masthead. <br /><div align="justify">
<b>London's first daily newspaper</b>, the <i>Daily courant</i> was published on 11 March, 1702 by Edward
Mallet, and it was a breakthrough. The single sheet was 13 by 7½ inches and at first the supply of news was
so scanty that only one side was printed. At first too, the numbering was hesitant. After the first eight
issues there were six unnumbered issues but on 27 April when the first of these appeared, the paper changed
hands to Samuel Buckley at the Dolphin, Little Britain. Under him the paper became four pages. The aim was
to publish daily "being designed to give all the material news as soon as each post arrives. There was no
editorial comment; it was supposed that readers had sense enough to make reflections for themselves.
Buckley retired from the paper in 1735. </div><br /><div align="justify">
It was a newsworthy age, like the Civil War. Marlborough was campaigning on the continent, political
parties were on the rise, and commerce was expanding, which required news of changing trade conditions.
The publisher aimed to get the newspaper discussed in coffee houses. </div><br /><div align="justify">
However it was a long time before the daily regularity could be matched.The next daily came only in
1715,the <i>Daily oracle</i>. Later followers include the <i>Daily post</i> in 1719, the <i>Daily
journal</i> in 1720 and the <i>Daily advertiser</i> in 1730. The <i>Daily advertiser</i> soon became, and
remained until its demise in 1807, the <i>Times</i> of the 18th century with much valuable commercial news.
</div><br /><div align="justify">
<b>Advertisements</b> were important to proprietors as they were source of revenue when they had to meet
printer's bills while publishing at the lowest possible cost. Some periodicals specialised in
advertisements, similar to <i>Exchange and mart</i> (a periodical that is now solely online). The
<i>Generous advertiser</i> charged 3d for 50 letters. They were able to give away 4,000 copies, a greater
circulation than all newspapers but the <i>London gazette</i> with 6,000 copies. Other 18th century
publications reflecting advertisements in their title are the <i>General Advertiser</i>, the <i>Morning
Post and Daily Advertiser</i>, and the <i>Public Advertiser</i>. </div><br /><div align="justify">
New typographical devices were introduced by newspapers, for example pointing fists, used to direct
attention. </div><br /><div align="justify">
The first illustrated advertisement was on 17 March 1703 in the <i>Daily courant</i> a simple cut for a
"new invention for making chocolate no way 13 inches, all bright cast iron ... to put by that laborious
loathsome way of making up on the stone". The woodcut was used several times later in thrice-weekly
insertions, to advertise the change of address, a method of hire purchase, "a pound of this chocolate worth
a cartload of that foul stuff sold by hawking Jews". The next use of woodcuts was by William Mason, a
writing master, in the <i>Flying post</i> in 1704. The most notable was the "anodyne necklace" which
dominated illustrated advertisements in the 1720s and 1730s in a series of ever more elaborate woodcuts for
what was originally a teething ring. Later the anodyne necklace became a shop sign for surgical stores
selling, among other things, "Sovreign Water for the Itch" and a book on Turkish women "not to be bought by
boys, girls or paltry persons". It was also one of the first advertisers to use large types in its
advertisements. </div><br /><div align="justify">
The <b>Stamp Act</b>, passed in August 1712, was introduced by the Tories, newly come to power. This was a
notorious "tax on knowledge" which was not removed until 1855. Periodicals were taxed at a halfpenny duty
per half sheet sold, and pamphlets at two shillings per edition. Advertisements paid one Shilling each.
The stamp duty was impressed in red on each sheet before selling it to the printer. The price of a
newspaper rose from 1d to 1½d. Publishers soon realized periodicals could reach six pages per issue and be
counted as a pamphlet for the purposes of duty. But there was not enough news to fill a six page newspaper,
and not enough advertisements now they were taxed. They got round this by the use of deep mastheads,
decorative initials, large type and also the insertion of poems, essays and letters. Until 1725 newspapers
looked very handsome, more like magazines. Serialised books were also included as supplements to newspapers
to bulk them out. Illustrative woodcuts were not regularly used to bulk out the text as they were expensive
to cut. An Act of 1725 prevented such dodges and periodicals had to rely on subsidies from political
parties. The simplified table shows the changing rates of stamp duty on newspapers and periodicals from its
introduction in 1712 until its abolition in 1855. <br />
<br />
<table border="1"><tbody><tr><td>
Date</td><td>Newspapers</td><td>Advertisements</td><td>Periodicals<br />per edition sheet</td></tr><tr><td>
1712</td><td>1d per sheet</td><td>1/-</td><td>2/-</td></tr><tr><td>
1757</td><td>1d per sheet</td><td>2/-</td></tr><tr><td>
1780</td><td>1d per sheet</td><td>2/6</td></tr><tr><td>
1789</td><td>2d per sheet</td><td>3/-</td></tr><tr><td>
1797</td><td>3½d per sheet</td><td></td><td>3/6</td></tr><tr><td>
1815</td><td>4d per sheet</td><td>3/6</td><td>2/-</td></tr><tr><td>
1833</td><td>4d per sheet</td><td>3/6</td></tr><tr><td>
1836</td><td>1d per sheet</td><td>1/6</td><td>repealed</td></tr><tr><td>
1855</td><td>repealed</td><td>repealed</td></tr><tr><td></td></tr></tbody></table>
<br />
Sir Robert Walpole perfected the subsidy system, using thousands of pounds of secret service money. This
did not amount to total press control, as the opposition also supported its own titles, but it meant the
end of unbiased reporting and the growth of a vituperative style. This probably added to the popularity of
newspapers. By 1724 there were three daily titles and innkeepers would have copies read aloud in the bar
for the benefit of their illiterate clientele. </div><br /><div align="justify">
In 1724 Samuel Negus, who had been since 1722 a struggling printer in Silver Street, near Wood Street, in
the city of London, published through the printer William Bowyer, <i>A Compleat and Private List of all the
Printing Houses in and about the Cities of London and Westminster, together with the Printers' Names, what
Newspapers they print, and where they are to be found: also an Account of the Printing Houses in the
several Corporation Towns in England, most humbly laid before the Right Honourable the Lord Viscount
Townshend</i>. In the list, which is tabulated below, he gives the names and printers of three daily
papers, five weekly journals, and ten papers "published three times each week", three of the latter being
"halfpenny posts". <br />
<table border="1"><tbody><tr><td colspan="3">
DAILY PAPERS </td></tr><tr><td>
Daily Courant</td><td>Buckley</td><td>Amen-corner</td></tr><tr><td>
Daily Post</td><td>Meere</td><td>Old Baily</td></tr><tr><td>
Daily Journal</td><td>Appleby</td><td>near Fleet-ditch</td></tr><tr><td colspan="3">
WEEKLY JOURNALS</td></tr><tr><td>
Mist's Journal</td><td>Mist</td><td>Great Carter-lane</td></tr><tr><td>
Freeholder's Journal</td><td>Sharp</td><td>Ivy-lane</td></tr><tr><td>
Read's Journal</td><td>White Fryers</td><td>Fleet-street</td></tr><tr><td>
London Journal</td><td>Wilkins</td><td>Little Britain</td></tr><tr><td>
Whitehall Journal</td><td>Wilkins</td><td>Little Britain</td></tr><tr><td colspan="3">
PAPERS PUBLISHED THREE TIMES EVERY WEEK</td></tr><tr><td>
Post Man</td><td>Leach</td><td>Old Baily</td></tr><tr><td>
Post Boy</td><td>James</td><td>Little Britain</td></tr><tr><td>
Flying Post</td><td>Jenour</td><td>Giltspur-street</td></tr><tr><td>
Berrington's Evening Post</td><td></td><td>Silver-street, Bloomsbury</td></tr><tr><td>
Whitehall Evening Pott</td><td>Wilkins</td><td>Little Britain</td></tr><tr><td>
St. James's Post</td><td>Grantham</td><td>Patemoster-row</td></tr><tr><td>
The Englishman</td><td>Wilkins</td><td>Little Britain</td></tr><tr><td colspan="3">
HALF-PENNY POSTS, THREE TIMES EVERY WEEK</td></tr><tr><td>
Heathcote's</td><td></td><td>Baldwin's-gardens</td></tr><tr><td>
Parker's</td><td></td><td>Salisbury-court</td></tr><tr><td>
Read's</td><td>White Fryers</td><td>Fleet-street</td></tr></tbody></table>
<br />
Negus lists 34 printers in London "well affected to King George (the Whig party), three nonjurors (who
refused to take the 1688 Oath of Allegiance to William III and Mary II), 34 "said to be high flyers"
(holding opinions which gave a high place to the authority and claims of the established Church or State,
high Tories) and four "Roman Catholicks", a total of 75. He also passes a comment on Mist: "printer of a
scandalous <i>Weekly Journal</i>, bearing his own name". His list of "Printing-houses in the Country" is
incomplete, as he does not include Exeter where several printers were active in 1724. For this inside
information, outlining the political principles of the printers enumerated, Negus was rewarded by a
letter-carrier's place in the post office. His listing is interesting in shedding light on the
politicisation of the newspaper press in the 18th century where titles received financial support from a
range of pressure groups.</div><br /><div align="justify">
<b>Periodical publication</b> was becoming a specialist area from the early 18th century. Special sizes of
type were used, but as yet no display types, the text being set in types of one size, with advertisements
normally one size smaller. Type size was usually small, eleven point or under. In 1784 minion type (7
point) was introduced. Large print runs were needed, so duplicate typesetting was often necessary. Presses
were modified to take larger sheets of paper; the Saint Bride's Printing Library's wooden press, which
dates from about 1810, has a large platen and a modified frisket. </div><br /><div align="justify">
Periodicals for entertainment were common in the 18th century, and this is revealed by their titles. The
<i>Diverting post</i> of 1704 contains poetry (printed in small italic), theatrical and social news, songs
and riddles. It became the great rage, appearing monthly with a high price of sixpence. Other titles
include <i>Humors of the coffee-house</i>, <i>Weekly comedy</i> in a smaller 8¾ x 6 inch format, <i>Tea
table</i>, <i>Trifler</i>, <i>Chit-chat</i>, <i>Town talk</i> all reveal their social milieu. The question
and answer format was popular; Defoe tried it in his political periodical <i>Review</i> but was put off by
the frivolity of the questions. </div><br /><div align="justify">
The <i>British Apollo</i> was typical. Its four pages had one devoted to poetry and there were a great
variety of questions, for example: "Will women be resurrected?" There were many advertisements for such
things as stolen watches or absconding servants. It came out twice a week and was obtainable by
subscription for two shillings a quarter, delivered by post-boys. It was provided with a title page, index
and list of contents, folders were supplied and also bound volumes. It was even arranged for a concert of
music to be printed, but they were unable to obtain music type and raise the capital to arrange the
concert, so it was called off at the last minute. </div><br /><div align="justify">
The <b><i>Tatler</i></b>, which ran from 1709 to 1711, was founded by Richard Steele who used the pseudonym
Isaac Bickerstaffe, for "gallantry, pleasure and entertainment". It also provided much domestic and foreign
news and also advertisements. It dwindled to one essay and a few miscellaneous articles per issue and came
out twice a week at 1d per copy. He aimed to attract women with advertisements for such products as "an
incomparable beautifying cream 2s 6d per gallipot". </div><br /><div align="justify">
The <b><i>Spectator</i></b> which ran from 1711 to 1714 was a joint production of Richard Steel and Joseph
Addison. There were 638 numbers in all and the average circulation was about 3,000 copies. From the start
it discarded news items in favour of one or two essays of high literary pretensions. It appeared every
weekday aiming, like Jean de La Bruyère in France" to exhibit the characters and manners of the age". It
introduced the country squire Sir Roger de Coverley. Editions of collected essays and complete runs were
often reprinted in the 18th century. It also had several hundred imitators in the 18th century, few
outlasting the initial enthusiasm of the founders, but some were kept alive in the sophisticated coffee-
house society. Analysis of the <i>New Cambridge bibliography of English literature</i> shows that essay
periodicals dominated the market from 1710 to 1724 but then declined in popularity. </div><br /><div align="justify">
<b>Reviews</b> were a popular form of periodical. Most periodicals did some reviewing, but some specialised
in this. Robert Dodsley's <i>Museum</i> only ran from 1746 to 1747 and Robert Griffiths' the <i>Monthly
review</i> ran from 1749 to 1825, Tobias Smollett edited the <i>Critical review</i> from 1756 to 1763, the
periodical continuing until 1817. These reviews had great influence on acquainting the middle classes with
literature. The reviews were often of great length with detailed description of the contents and notes on
style and presentation. There was little actual criticism; it was more publisher's blurb. This however
was not always true; some were very short: "Absolute trash!" The <i>Edinburgh review</i>, established in
1802, was the first to turn criticism partisan by making sport of censuring English bards, an approach that
began to give the critic their air of superiority. </div><br /><div align="justify">
The <b><i>Gentleman's magazine</i></b> which ran from 1731 to 1907 was the most successful eighteenth
century periodical. Edward Cave (1691-1754) was the prime mover. He saw the need among the middle classes
for miscellaneous information not obtainable from daily or weekly news sheets. He had earned a living as a
writer of newsletters and had furnished Robert Raikes, the proprietor of the <i>Gloucester journal</i>,
with the minutes of proceedings of the House of Commons. He saved enough to set up a small press in
Clerkenwell and conceived the idea of publishing a collection or "magazine" of essays and articles,
especially abridgments of important news items or essays in the month's periodicals, both London and
provincial: "a true specimen [is] as satisfactory as a whole parcel" - a foretaste of the <i>Reader's
digest</i> formula. The editor gave a list of the periodicals raided on each side of the title page
woodblock. The octavo publication was issued monthly in blue wrappers and cost 6d. Cave offered half shares
in the undertaking to many London booksellers, but all thought it absurd. When it proved to be successful
they banded together to launch the rival <i>London magazine</i>. There were other imitators, but few as
successful, although under its influence the term "magazine" soon became generic, for example the <i>Scots
magazine</i>, which ran from 1739 to 1817. The <i>Gentleman's magazine</i> had a circulation of 10,000 in
1739 and 15,000 in 1745 helped by its liberal use of woodcuts and copperplate engravings - more than twenty
have been noted for Devon locations alone between 1791 and 1849. There was a monthly catalogue of new
publications and also reviews. It was the first periodical to introduce parliamentary debates. In 1738 it
was threatened with prosecution for infringement of parliamentary privilege, so the title was altered to
"Debates in the Senate of Lilliput". In the 1740s Johnson supplemented his income by working anonymously as
a parliamentary reporter for the <i>Gentleman’s Magazine</i>, although he “never was in the gallery but
once”. Cave published Johnson's <i>Rambler</i> from 1750. Cave had frequent brushes with the government. He
died in 1754 but his pseudonym Sylvanus Urban, Gent. was long used by later editors. The magazine was
several times reprinted in book form, a common practice in the 18th and 19th centuries for successful
titles. </div><br /><div align="justify">
<b>Women's magazines</b> were rare until the later 18th century and many of the earliest ones were short-
lived. </div><br /><div align="justify">
The <i>Ladies' mercury</i> run by the Ladies' Society from 1693, set out to answer love problems based on
the formula adopted by John Dunton for the <i>Athenian mercury</i>. The Ladies' Society consisted solely
of John Dunton and it also included problems from men: "A twelvemonth since I married a young woman. I had
not been married half a year before I took herin the very act of adultery." The reply: "Truly, Sir, we
think your case one of the hardest in the world ... but a man must neither Whore nor Marry while she lives
for the Pulpit Law pronounces it both ways Whoredom ..."</div><br /><div align="justify">
The appearance of the <i>Female tatler</i> was delayed, but it was announced: "this is to inform the town,
that the said paper will certainly be publish'd on Friday next, by B[enjamin] Bragge at the Black Raven in
Paternoster Row. It survived from 1709 into 1710.</div><br /><div align="justify">
<i>The Free-thinker</i> was a journal written by Ambrose Philips and printed for W. Wilkins at the Post-
House under Will's Coffee-house, Covent-Garden; and sold by W. Graves, at the Black Spread Eagle in Pater-
Noster-Row; and J. Graves in St. James's Street "where letters and advertisements are taken in". It
appeared from 1718 to 1721. Philips intended to give the minds of his readers "as beautiful a turn as
nature has bestowed upon their persons."</div><br /><div align="justify">
<i>The Visiter</i> whose 51 issues appeared from 18 June 1723 to 31 January 1724 copied the approach of
<i>The Free-thinker</i>, devoting itself to subjects "which tend to the Mind and Manners as they are
relative to a Domestic Life". While it avoided current events, it appealed for contributions from his
readers to stimulate their minds and convince them that "knowing how to make a pudding and pleat their
husband's neck-cloths is not the only knowledge necessary to them."</div><br /><div align="justify">
<i>The female spectator</i>, written by Eliza Fowler Haywood, was printed and published by T. Gardner, at
Cowley's Head, opposite St. Clement's Church, in the Strand, for A. Millar, W. Law, & R. Caters. It lasted
from 1744 to 1746. It was successful enough to be pirated in Dublin by Ewing, also between 1744 and 1746,
and was translated as <i>La spectatrice : ouvrage traduit de l'anglois</i> in The Hague by Frederic Henri
Scheurleer in 1750-1751. Each monthly issue gave chatty advice on etiquette, love and marriage. It advised
that girls should not be isolated from society: "many a squire's daughter has clambered over a hedge and
stile to give a rampant jump into into the arms of a young jolly haymaker". </div><br /><div align="justify">
<i>The Ladies magazine, or, the Universal entertainer</i> was printed by G. Griffith from 1749to 1750. The
editor, Jasper Goodwill, persisted with educating the fair sex, providing them with lists of the
Plantagenet kings and details of share prices- hardly the "universal entertainer" of its subtitle!</div><br /><div align="justify">
<i>The Lady's Museum</i> by the Author of the Female Quixote was published by J. Newberry and J. Coote in
1760 and 1761. It was the last of the essay style periodicals for women. Written by Charlotte Lennox, it
sought "artfully to cajole fair readers into seriousness" and she had the literary talent to set a high
standard with essays, novels, translation from the French, short narratives, philosophical pieces and
songs. </div><br /><div align="justify">
<i>The ladys magazine</i>, described as an "entertaining companion for the fair sex, appropriated solely to
their use and amusement" was the most successful women's magazine of the 18th century. Launched by J.
Wheble in 1770, it contained articles on flower culture, oriental tales and engraved fashion plates. Two
styles were shown each month, a walking dress and a full dress. There were also romantic serials, book
reviews, playlets, songs and letters, but no answers to love problems. Such features made a regular
appearance in later magazines. The periodical lasted until 1837. </div><br /><div align="justify">
<i>The lady's monthly museum</i> published by Vernor and Hood from 1798 to 1828 was the last such
periodical to appear in the 18th century. It was also noted for its fashion plates and was one of the only
magazines to make provision for readers' personal difficulties. There was an advice feature conducted by
"The Old Woman" which was aimed primarily at the young, with "think-pieces" on matters raised in
readers'letters. </div><br /><div align="justify">
It was a woman, Elizabeth Johnson, with a printing office in Ludgate Hill, who founded the first Sunday
newspaper. There were harsh words from George Crabbe for the <i>British gazette and Sunday monitor</i>
which first appeared on 26 March 1780. The paper was just like the dailies, apart from a religious column
on the front page and Crabbe wrote:
<blockquote>
Then lo! The sainted MONITOR is born,<br />
Whose pious face some sacred texts adorn:<br />
As artful sinners cloak the secret sin,<br />
To veil with seeming grace the guile within;<br />
So moral Essays on his front appear,<br />
But all is carnal business in the rear;<br />
The fresh-coin'd lie, the secret whisper'd last<br />
And all the gleanings of the six days past." </blockquote>
Nevertheless Mrs Johnson's paper was successful, reaching a circulation of 4,000 copies a week at a time
when the average circulation of a newspaper was around 1,500, and it survived until the 22 September 1805
issue. It inspired a number of competitors, the most famous of which was the <i>Observer</i>, which
survived into the 21st century. When it began in 1791 the latter was a reactionary Tory paper, a leading
article in 1792 defending the slave trade. </div><br /><div align="justify">
One of the most ambitious serial publications for women was published in Paris. The <i>Bibliothèque
universelle des dames</i> appeared in 156 volumes between 1785 and 1797. The privilege for this mammoth
undertaking was granted 6 July 1784 to Jacques Perrin. The frequency announced was fortnightly on the 1st
and 15th of each month but, while this was maintained from 1786 to 1790, it became very irregular after the
Revolution (in 1791 8 volumes appeared, in 1792 only two). The size of each volume varies from about 120
pages to more than 400, in gatherings of 36 pages in the small octodecimo format, 13x8 cm in size. There
were plates in the volumes on geometry, and maps in the atlas. The imprint varies: Paris, rue d'Anjou
(1785-1786); rue et maison Serpente (1785-1786); chez Cuchet Libraire, rue et maison Serpente (undated);
rue et hôtel Serpente (1786-1797 and 1806); rue d'Anjou-Dauphine, n° 6 (1785-1786). Volumes could be
delivered in wrappers or bound "reliés en veau fauve ou écaille, et dorés sur tranche, ainsi qu'avec ou
sans le nom de chaque souscripteur, imprimé au frontispice de chaque volume". The annual subscription for
24 volumes bound was 72 livres, or 54 livres in wrappers, plus postage. In 1806, Bidault announced that
"la collection complète de 154 vol. in-18 se vend pour 200 fr. brochés et 240 fr. cartonnés et étiquetés".
He also offered to complete the collections of former subscribers. <br />
<br />
The series of volumes was announced as containing ten classes, in reality there were eleven: <br />
<br />
1) Voyages<br />
2) Histoire ancienne et moderne<br />
3) Mélanges: grammaire française, orthographe, versification, prononciation, logique, rhétorique française,
mythologie, littérature grec et latine<br />
4) Théâtre<br />
5) Romans (Ethiopiques, grecs, chevalerie, historiques, Amadis de Gaule, Petit Jehan de Saintré, Abdeker,
6) Morale (moralistes latins et grecs, moralistes modernes)<br />
7) Mathématiques: arithmétique, algèbre, géométrie, trigonométrie<br />
8) Physique, astronomie<br />
9) Histoire naturelle: botanique, chimie, physique de l'homme, physique de la femme, économie rurale et
domestique<br />
10) Médecine domestique<br />
11) Musique<br />
<br />
<i>La Bibliothèque universelle des dames</i> was conceived as a collection works to provide a general
education, easily accessible, for women of "a certain class": "C'est pour leur épargner du travail, qu'une
société de gens de lettres a conçu le projet d'une collection où l'on trouve tout ce que peuvent fournir de
connaissances utiles et agréables: les voyages, l'histoire, la philosophie, les belles-lettres, les
sciences, et les arts". The initial project of ten classes was enlarged to include the class of "Médecine
domestique". But there were cutbacks in other areas. The twenty volumes of travels (voyages) only dealt
with Asia and Africa, to the exclusion of America and Europe which had been promised. Section five on
Novels (Romans) was terminated abruptly and only had one for the 18th century: <i>Abdeker</i>. From 1787
interest seems to have been focussed on the practical, technical and scientific aspects of the collection.
The "société de gens de lettres" seems to have included Jean-Antoine Roucher, Barthélémy Imbert, Jacques
Perrin, Joseph de Lalande and Richard de Lacépède. Two partial versions, freely translated, were published
in Leipzig by Weidmann from 1785 to 1789. <br />
<br />
Few complete collections are known, only the British Library seems to have a full set in Britain, so it is
good to have discovered an almost complete set in original bindings in the Baring-Gould family library in
Devon. A full list of the titles of the 143 volumes they hold can be found in the <a href="https://bookhistory.blogspot.com/2013/10/sabine-baring-gould-library-2.html">catalogue of the
collection</a>. The subscription to this set seems to have ceased early in 1793, which accounts for most of
the gaps. </div><br /><div align="justify">
<b>Children's periodicals</b> came later and were far fewer in number than those for their parents. While
there was an active publishing scene in London for younger readers from the mid eigtheenth century, there
were few periodical publications. In this England lagged behind some European nations. </div><br /><div align="justify">
There are several early examples in Germany, for example <i>Der Kinderfreund</i>, a weekly published in
Hanau by Kämpfe in 1778 and <i>Mannigfaltigkeiten für Kinder</i>, a quarterly published in Schwerin by
Bödner in 1784. Perhapsthe most successful came from Prag, the <i>Prager Kinderzeitung, nebst Wöchentlicher
Unterhaltung für Kinder und Kinderfreunde</i> a weekly which first appeared on 1 July 1788, published by
Johan Josef Diesbach. It was continued from 8 July 1789 by the <i>Neue Kinderzeitung</i> until 30 October
1790. Its place was taken by the most remarkable children's serial publication that appeared in the 18th century.</div><br /><div align="justify">
The <i>Bilderbuch für Kinder</i> was published by Friedrich Justin Bertuch in Weimar between 1790 and 1825
in 237 parts with 1185 copperplates in an edition of 3,000. Bertuch's aim was to introduce the child to
unusual but instructive objects that it would not see every day to arouse its enthusiasm for the unknown.
The text, which in the early volumes was probably compiled by Bertuch himself from a variey of sources, was
deliberately kept brief and not too learned so as not to deaden the enjoyment that the child could obtain
from the visual image. Bertuch saw the work as being as indispensible in the nursery as a cradle, a doll,
or a hobby horse. And indeed the child was to treat the book as if it were a toy: "It must browse through
it at all times, it must colour it in and even, with the parents' permission, be allowed to cut the
pictures out and stick them onto cards." For this reason he felt that the picture book should be handed
over not as a bound volume but in parts as "enjoyable and rewarding presents for being good".</div><br /><div align="justify">
Bertuch's care showed itself too in the choice of type face, as he explained on 16 April 1790: "Furthermore
I have had the text of the picture book printed in Latin types because I heartily wish that we could
finally rid ourselves of our ugly old Frankish German monkish script and go over completely to the far more
beautiful Latin types of the rest of Western Europe." The drawing school in Weimar proved useful. Under the
supervision of the director Kraus and the engraver Lips, Bertuch enlisted both pupils and teachers, to
prepare the plates. In volume 4 (1802) for example contributors included Henriette Westermayr née Stötzer
(1772-1841) who had studied in Weimar and married her teacher Konrad Westermayr before leaving with him for
Hanau and Konrad Horny (1764-1807) who had taught at the drawing school since 1795 and undertook work for
Goethe. The plates, which appeared in coloured and uncoloured versions, depicted animals, plants, flowers,
fruits, minerals, costumes and other objects to illustrate the arts and sciences. Apart from the brief
heading, which was in German and French to parallel the accompanying bilingual text, there was no text on
the plates, many of which were very finely finished, numbers against each object depicted referring to the
four or so text pages which accompanied the plate in each issue.</div><br /><div align="justify">
The text itself, although bilingual (in volumes four and six which appeared in 1802 and 1807 English and
Italian were added) was found to be somewhat insubstantial and in 1796 Bertuch enlisted the support of the
Dessau educationalist and inspector of schools Karl Philip Funke (1752-1807). The first volume of the "Full
text to Bertuch's picture book for children" appeared in 1798 and its subtitle gave its purpose as
providing "a commentary for parents and teachers who wish to use this work for the instruction of their
children and pupils". Funke provided quite radical and anticlerical glosses to some of the pictures.
Everywhere he speaks out for reason and enlightenment. Even lowly animals like toads or spiders should be
looked at in this light: "It is high time that we act on our clearer insight and knowledge of nature and do
not continue to instill in our children and successors an undeserved revulsion and horror against an
innocent creature." The text is generally detailed and well researched. In volume seven for example to
illustrate plates on horseracing Funke gives a vivid description of the English mania for gambling,
mentioning the printed advertisements lottery agents issued, listing 31 racecourses and describing flea
racing in Chelsea Hospital. However the section on aeronautics in the same volume descends to hearsay when,
after detailed descriptions of hot air balloons, he cites a report from Scotland that a man had trained
sixteen eagles to carry him through the air.</div><br /><div align="justify">
An earlier children's publication in France with similar aims was <i>Le porte-feuille des enfans</i> :
mélange intéressant d'animaux, fruits, fleurs, habillemens, plans, cartes & autres objets dessinés suivant
des réductions comparatives & sous la direction de M. Cochin : avec des courtes explications & divers
tableaux élementaires. Compiled by Charles Nicolas Cochin,it was publiched in Paris from the Imprimerie de
Lambert & Baudouin, rue de la Harpe, près S. Côme from 1784 to 1791.</div><br /><div align="justify">
In Britain, Scotland led the way with <i>The young misses magazine</i> which was descibed as "containing
dialogues between a governess and several young ladies of quality, her scholars. In which each lady is made
to speak according to her particular genius, temper, and inclination: their several faults are pointed out,
and the easy way to mend them, as well as to think, and speak, and act properly; no less care being taken
to form their hearts to goodness, than to enlighten their understandings with useful knowledge. A short and
clear abridgement is also given of sacred and profane history, and some lessons in geography. The useful is
blended throughout with the agreeable, the whole being interspersed with proper reflections and moral
tales." It was largely written by Jeanne-Marie Leprince de Beaumont and was publised in Edinburgh: by C.
Elliot in Parliament-Square in 1781.</div><br /><div align="justify">
In London several of the early, usually short-lived, publications were published by John Marshall, a
specialist in juvenile literature. <i>The female guardian</i>, "designed to correct some of the foibles
incident to girls, and supply them with innocent amusement for their hours of leisure",
by Mrs Lovechild was printed and sold by John Marshall and Co. in 1787.</div><br /><div align="justify">
<i>The juvenile magazine</i> ; or, An instructive and entertaining miscellany for youth of both sexes</div>,
was also printed and published for J. Marshall and Co. in 1788. There is a copy of this in the early
childrens book collection in Exeter Library. <br /><div align="justify">
A flurry of juvenile periodicals appeared in London at the turn of the century. <i>The Childrens
Magazine</i>, a "Monthly Repository of Instruction & Delight" appeared with John Marshall from 1799 to
1800. <i>The Young gentleman's & lady's magazine</i>, a "Universal repository of knowledge, instruction,
and amusement, intended to open the tender mind to an acquaintance with life, morals, & science, the works
of nature and of art; and to serve as an useful auxiliary to public and private tuition" was printed for J.
Walker in 1799 and 1800, and <i>The picture magazine, or, Monthly exhibition for young people</i> was
intended as a reward for their improvement, and to afford them and elegant and useful amusement in their
leisure hours, and was another publication of the prolific publisher for children John Marshall emanating
from his office at no. 4 Aldermary Church Yard in Bow Lane, Cheapside. It also appeared from 1799 to 1800.
</div><br /><div align="justify">
Timperley gives the following list of "the principal periodicals published, with the number sold" in
1797:<br />
<br />
<table border="1"><tbody><tr><td>
TITLE</td><td>SOLD</td><td>PROPRIETORS</td></tr><tr><td>
Monthly Revew</td><td>5000</td><td>Grifflths</td></tr><tr><td>
Monthly Magazine</td><td>5000</td><td>Phillips</td></tr><tr><td>
Gentleman's Magazine</td><td>4550</td><td>Nichols</td></tr><tr><td>
British Critic</td><td>3500</td><td>Rivington & Co.</td></tr><tr><td>
European Magazine</td><td>3350</td><td>Sewell & Co.</td></tr><tr><td>
Critical Review</td><td>3500</td><td>Hamilton & Co.</td></tr><tr><td>
Universal Magazine</td><td>1750</td><td>Bent & Co.</td></tr><tr><td>
Analytical Review</td><td>1500</td><td>Johnson</td></tr><tr><td>
Repertory</td><td>1000</td><td>Wyatt</td></tr><tr><td>
Annals of Agriculture</td><td>1000</td><td>Young</td></tr><tr><td>
Nicholson's Journal</td><td>750</td><td>Robinson</td></tr><tr><td>
Medical Review</td><td>750</td><td>Boosey & Co. </td></tr></tbody></table>
<br />
By 1785 the newspaper press had expanded since Samuel Negus published his list in 1724, both in London and
more particularly in the provinces. In 1785 was published John Pendred's <i>The London and Country
Printers, Booksellers and Stationers Vade-mecum</i>, which included a "List of Newspapers printed in
England, Scotland and Wales; with the Names of their Agents, and Days of Publication". This listed nine
[Daily] "London Morning News-papers", ten "London Evening News-papers", six "London Weekly News-papers" and
three "London Sunday Morning News-papers", a total of 28 titles as opposed to the 18 listed in 1724. It
also lists two titles for Exeter, the only town in Devon with newspaper printers at that time.
<table border="1"><tbody><tr><td>
Title</td><td>Printer/proprietor</td><td>Address</td><td>Days</td></tr><tr><td colspan="4">
LONDON MORNING NEWS-PAPERS</td></tr><tr><td>
Daily Advertiser</td><td>J.Jenour</td><td>33, Fleet-street</td></tr><tr><td>
Daily Universal Register</td><td>Logographically<br />by George Brown</td><td>Printing-house Square, Black
Friars</td></tr><tr><td>
Gazetteer</td><td>M. Say</td><td>10, Ave-Maria-Lane, Lugate-street</td></tr><tr><td>
General Advertiser and Morning Intelligencer</td><td>J. Almon</td><td>183, Fleet-street</td></tr><tr><td>
Morning Chronicle</td><td>William Woodfall</td><td>62, Dorset-street,Salisbury Square</td></tr><tr><td>
Morning Herald</td><td>J. S. Barr</td><td>18, Catherine-street, Strand</td></tr><tr><td>
Morning Post and Daily Advertiser</td><td>P. Stuart</td><td>Blake-court, Catherine-street,
Strand</td></tr><tr><td>
Public Advertiser</td><td>H. S. Woodfall</td><td>61, Pater-noster Row</td></tr><tr><td>
Public Ledger</td><td>F. Blythe</td><td>Queen's Head Alley, Pater-noster Row</td></tr><tr><td colspan="4">
LONDON EVENING NEWS-PAPERS</td></tr><tr><td>
English Chronicle</td><td>J. Jarvis</td><td>283, opposite Norfolk-street, Strand</td><td>Mon, Wed,
Fri</td></tr><tr><td>
Gazette</td><td>T. Harrison</td><td>Warwick Lane</td><td>Tue, Thu, Sat</td></tr><tr><td>
General Evening Post</td><td>M. Say</td><td>10, Ave-Maria-lane, Ludgate-street</td><td>Tue, Thu,
Sat</td></tr><tr><td>
Lloyd's Evening Post</td><td>J. Hancock</td><td>23, Pater-noster Row</td><td>Mon, Wed,
Fri</td></tr><tr><td>
London Chronicle</td><td>sold at</td><td>17, St. Paul's Church Yard</td><td>Tue, Thu, Sat</td></tr><tr><td>
London Packet</td><td>Francis Blythe</td><td>2, Queen's Head Alley, Pater-noster
Row</td><td></td></tr><tr><td>
London Evening Post</td><td>D. Constable</td><td>6, Old Bailey</td><td>Tue, Thu, Sat</td></tr><tr><td>
Middlesex Journal</td><td>R. Ayre</td><td>14, Bridges-street, opposite Drury Lane Theatre</td><td>Tue, Thu,
Sat</td></tr><tr><td>
St. James's Chronicle</td><td>H. Baldwin</td><td>108, opposite Bride-lane, Fleet-street</td><td>Tue, Thu,
Sat</td></tr><tr><td>
Whitehall Evening Post</td><td>T.Wright</td><td>4,Peterborough Court, Fleet-street</td><td>Tue, Thu,
Sat</td></tr><tr><td colspan="4">
LONDON WEEKLY NEWS-PAPERS</td></tr><tr><td>
Baldwin's Weekly Journal</td><td>H. Baldwin</td><td>108, Fleet-street</td><td>Sat</td></tr><tr><td>
Craftsman, or Say's Weekly Journal</td><td>M. Say</td><td>10, Ave-Maria-lane, Ludgate-
street</td><td>Sat</td></tr><tr><td>
Craftsman, or Ayre's London Journal</td><td>R. Ayre</td><td>24, Bridges-street, opposite Drury Lane
Theatre</td><td>Sat</td></tr><tr><td>
Old British Spy, and London Weekly Journal</td><td>G. Redmayne</td><td>8,Creed Lane, Ludgate-
street</td><td>Fri</td></tr><tr><td>
Owen's Weekly Chronicle, and Westminster Journal</td><td>R. Ayre</td><td>14, Bridges-street, opposite Drury
Lane Theatre</td><td>Sat</td></tr><tr><td>
Westminster Journal, and London Political Miscellany</td><td>G. Redmayne</td><td>8,Creed Lane, Ludgate-
street</td><td>Sat</td></tr><tr><td colspan="4">
LONDON SUNDAY MORNING NEWS-PAPERS</td></tr><tr><td>
Ayre's Sunday London Gazette</td><td>R. Ayre</td><td>14, Bridges-street, opposite Drury Lane
Theatre</td></tr><tr><td>
Johnson's British Gazette, and Sunday Monitor</td><td>E[lizabeth] Johnson</td><td>4,Ludgate-
hill</td></tr><tr><td>
London Recorder, and Sunday Gazette</td><td>S. Pope</td><td>48, corner of Ludgate-hill, Fleet-
street</td></tr><tr><td>
COUNTRY NEWS-PAPERS</td><td colspan="3">[The only Devon titles are in Exeter]</td><td></td></tr><tr><td>
Exeter Flying Post, and Cornish Advertiser</td><td>R. Trewman</td><td></td><td>Thu</td></tr><tr><td>
Exeter Journal, and Weekly Advertiser</td><td>Thorn and Son</td><td></td><td>Thu</td></tr></tbody></table>
<br />
Unlike Samuel Negus, John Pendred has no interest in political inclinations; his list is for printers and
publishers, not for the Secretary of State. He is more interested in where advertisements are taken in,
which is usually a London bookseller or a coffee house. For example for the <i>Daily Universal Register</i>
(later <i>The Times</i>), "advertisements [are] taken in by T.Hookham. Bookseller, New Bond Street; Mr.
Cooper, Stationer, Charing Cross. Mr. Batham, Bookseller,27, Fleet Street; Mrs. Wilson, 45, Lombard Street;
Mr. Johnson, 1, Catherine Street; Mr. Woodham, 52, High Holborn, and by Mr.Newman, at the New England
Coffee House." This shows the importance of the coffee house, the "penny universities" of the 18th century
in the spread of information. Not only did they have copies of London newspapers and periodicals for their
customers but they had copies of the provincial newspapers available. </div><br /><div align="justify">
For the <i>Exeter Journal, and Weekly
Advertiser</i>, for example, "advertisements, &c. [are] taken in by Mr. Owen, Bookseller,in Fleet Street,
Mr Evans, Pater-noster Row; Mr. Rivington, St. Paul's Churchyard; and at all the principal London Coffee-
Houses". For most of the 18th century the posts left London for the south west on Tuesdays, Thursdays and
Saturdays, which explains the days that the evening newspapers on Pendred's list were published, with the
weekly papers normally being published on a Saturday or Sunday. The two Exeter newspapers were published on
Thursdays, usually in time to receive Tuesday's post. Space in the newspaper would be held to incorporate
extracts from the latest news received from London, the versos of the sheets would be printed off and the
edition delivered on horseback by a team of post-boys who could also carry items ordered from local
booksellers and return with local intelligence and advertisements for the next issue. For <i>Trewman's
Exeter flyingpost</i> in 1772 the routes of about eight postboys can be ascertained with a fair degree of
certainty, ending in Penzance, Bodmin and Fowey in Cornwall and Holsworthy, Torrington, Bampton, Teignmouth
and Dartmouth in Devon. </div><br /><div align="justify">
In 1815 a subscriber's list was published for the Exeter newspaper <i>Flindell's
Western Luminary</i>, which shows that some 1720 named subscribers received copies, but the routes are more
difficult to ascertain. One or more carriers served Cornwall, probably arriving through Okehampton and
Launceston. Another route left via Crediton to serve communties in the north and West of Devon, probably
returning back through Tiverton, and a third left via Cullompton to other parts of north Devon and possibly
on to Wellington and Taunton. In south Devon there may have been separate routes to Plymouth via Tavistock
and to Kingsbridge and Dartmouth via Totnes. Brixham was served by a coastal route via Teignmouth and
Newton Abbot and an eastern route seems to have led through Exmouth, Sidmouth, Ottery, Honiton and
Axminster and possibly on as far as Poole. These eight circuits, probably relying on sub-distributors to
reach remoter communities, have been conjectured from the order of communities as listed againste
subscribers' names under each letter of the alphabet, but there are many puzzles. What is clear is that
across England complex networks of distribution had been set up and, with expensive newspapers placed in
coffee houses, circulating libraries and reading rooms, the actual readership was far higher than the
thousand or so that was typical for the provincial newspaper. Communities of readers were formed through
the exchange of news, political comment, literary pieces, advertisements and correspondence that these
newspapers contained which closely parallels the on-line social networks of today. </div><br /><div align="justify">
Perhaps the most innovative newspaper publisher of the late 18th century was <b>John Bell</b> (1745-1841),
a red-faced, horsey-looking man who was responsible forintroducing fine printing into the newspaper and
periodical trade. He was a versatile printer and publisher of books, newspapers, periodicals and jobbing
work. In 1772, aged 27 he was one of a syndicate of twelve who founded the <i>Morning post</i>. The book
trade resented his participation in newspapers - there was a wide gulf between these two sections of the
trade - but he remained one of the chief proprietors for fifteen years and in 1779 he was also associated
with John Wheble in the evening newspaper the <i>English chronicle</i>. In 1787 he sold his interest in the
<i>Morning post</i> and entered into partnership with a rich guards officer, Captain Edward Topham, to
found <i>The world</i> with Topham as editor and Bell as typographer. It was an elegant publication, the
paragraphs leaded out, with a discreet use of italic and finally abandoning the long "s" which had
bedevilled typography since the era of incunabula. The mock gothic masthead set a fashion, but when he
found he was being copied he changed to outline roman capitals. (<i>The times</i> changed to a gothic
masthead some time after it was founded, so when the style was abandoned in 1932 the outcry was misplaced;
gothic had not been their original style). The paper aimed at "fine writing and pleasantry", added a
sprightly air to the reports of debates in Parliament, and had an interest in personalities rather than
issues. Advertisements were taken seriously and care was lavished on the front page. The emphasis on the
opera, the playhouse and the fine arts showed the audience they were cultivating. In 1789 Bell and Topham
quarrelled, and Bell founded his own daily, the <i>Oracle</i> for which in 1794 he actually travelled to
France as foreign war correspondent. In 1796 he founded a Sunday newspaper <i>Bell's weekly messenger</i>
and in 1806 a women's magazine <i>La belle assemblée</i>. </div><br /><div align="justify">
The <b><i>Daily universal register</i></b> first appeared on 1 January 1785. Three years later it changed
its name to <i>The times</i>. Until the late 20th century it was printed on the same site in Printing House
Square which used to be the site of the royal printers premises. </div><br /><div align="justify">
<b>John Walter I</b> was the founder. The logographic process which used blocks of letters for frequently
occurring words was soon dropped. The first issue was set in three sizes of roman type, a Caslon old face,
in four columns and it cost 2½d. A new Caslon face produced in 1794 was later supplied by Fry's foundry,
described in 1799 as an "entirelky new and beautiful type, from the foundry of Mrs Caslon". In 1794 the
eldest son William Walter was appointed but was not suited and he retired as conductor in 1802. </div><br /><div align="justify">
<b>John Walter II</b> succeeded at the age of 26 in 1802. The paper had been hit by the heavy weight of
taxation and stamp duty, and his father had wanted to sell it, but his younger son saved it and, when he
became the chief proprietor in 1810 he was ready to launch it on an astonishing and prosperous career,
which will be covered in the section on the age of mechanisation. </div><br /><div align="justify">
</div>
For the end of the century Timperley provides the following "correct list of the Magazines, Reviews, and
other monthly publications" as of December 1800. Long as it is, the list of 50 titles remains incomplete,
omitting the juvenile periodicals, for example. The <i>New Cambridge bibiography of English literature</i>
lists 66 titles for that year. Nevertheless it does indicate the wide range of interests catered for by the
periodical press: <br />
<br />
<table border="1"><tbody><tr><td>
TITLE</td><td>PROPRIETOR</td><td>s.</td><td>d.</td></tr><tr><td>
Annals of Agriculture</td><td>Young</td><td>2</td><td>0</td></tr><tr><td>
Anti-Jacobin Review</td><td>Wright)</td><td>2</td><td>0</td></tr><tr><td>
Arminian Magazine</td><td></td><td>0</td><td>6</td></tr><tr><td>
Army List</td><td></td><td>1</td><td>0</td></tr><tr><td>
Analytical Review</td><td>Johnson</td><td></td></tr><tr><td>
Botany</td><td>Sowerby's</td><td>5</td><td>0</td></tr><tr><td>
British Critic Review</td><td>Rivington and Co.</td><td>2</td><td>0</td></tr><tr><td>
British Magazine</td><td></td><td>1</td><td>6</td></tr><tr><td>
Britannic Magazine</td><td></td><td>1</td><td>0</td></tr><tr><td>
Botanical Magazine</td><td>Curtis</td><td>1</td><td>0</td></tr><tr><td>
British Insects</td><td>Donovan's</td><td>1</td><td>0</td></tr><tr><td>
Burnisher</td><td></td><td>0</td><td>4</td></tr><tr><td>
Critical Review</td><td>Hamilton and Co.</td><td>1</td><td>0</td></tr><tr><td>
Chirurgical Review</td><td></td><td>1</td><td>6</td></tr><tr><td>
Commercial Magazine</td><td></td><td>1</td><td>0</td></tr><tr><td>
Copper-plate Magazine</td><td></td><td>1</td><td>0</td></tr><tr><td>
European Magazine</td><td>Sewell & Co.</td><td>1</td><td>6</td></tr><tr><td>
European Repertory</td><td></td><td>2</td><td>0</td></tr><tr><td>
Evangelical Magazine</td><td>Williams</td><td>0</td><td>6</td></tr><tr><td>
Fashions of London and Paris</td><td></td><td>1</td><td>6</td></tr><tr><td>
Gentleman's Magazine</td><td>Nichols</td><td>1</td><td>6</td></tr><tr><td>
German Museum</td><td></td><td>1</td><td>6</td></tr><tr><td>
Gospel Magazine</td><td></td><td>0</td><td>6</td></tr><tr><td>
General Baptist's Magazine</td><td></td><td>0</td><td>6</td></tr><tr><td>
Historical Magazine</td><td></td><td>1</td><td>6</td></tr><tr><td>
London Review</td><td></td><td>1</td><td>6</td></tr><tr><td>
London Medical Magazine</td><td></td><td>1</td><td>6</td></tr><tr><td>
Lady's Magazine</td><td></td><td>1</td><td>0 </td></tr><tr><td>
Lady's Museum</td><td></td><td>1</td><td>0</td></tr><tr><td>
Monthly Review</td><td>Griffiths</td><td>2</td><td>0</td></tr><tr><td>
Monthly Magazine</td><td>Phillips</td><td>1</td><td>6</td></tr><tr><td>
Monthly Preceptor</td><td></td><td>1</td><td>0</td></tr><tr><td>
Monthly Mirror</td><td></td><td>1</td><td>0</td></tr><tr><td>
Monthly Epitome</td><td></td><td>0</td><td>6</td></tr><tr><td>
Monthly Visitor</td><td></td><td>1</td><td>0</td></tr><tr><td>
Medical & Physical Journal</td><td>Boosey & Co.</td><td>2</td><td>0</td></tr><tr><td>
Military Journal</td><td></td><td>2</td><td>6</td></tr><tr><td>
Naval Biography</td><td></td><td>2</td><td>0</td></tr><tr><td>
Naval Chronicle</td><td>Clarke's</td><td>2</td><td>6</td></tr><tr><td>
Naval Magazine</td><td></td><td>1</td><td>0 </td></tr><tr><td>
Navy List</td><td></td><td>0</td><td>6</td></tr><tr><td>
Naturalist's Miscellany</td><td></td><td>2</td><td>0 </td></tr><tr><td>
Nicholson's Journal</td><td>Robinson</td><td>2</td><td>6</td></tr><tr><td>
Philosophical Magazine</td><td></td><td>2</td><td>0 </td></tr><tr><td>
Recreations in Agriculture</td><td>Anderton's</td><td>1</td><td>6 </td></tr><tr><td>
Repertory of Arts</td><td>Wyatt</td><td>1</td><td>6</td></tr><tr><td>
Shells</td><td>Donovan's</td><td>2</td><td>6</td></tr><tr><td>
Sporting Magazine</td><td>Wheble and Co.</td><td>1</td><td>0</td></tr><tr><td>
Universal Magazine</td><td>Bent and Co.</td><td>1</td><td>6</td></tr><tr><td>
Zoological Magazine</td><td></td><td>1</td><td>0</td></tr></tbody></table>
<br />
This table showing the number of newspapers sold in Great Britain was compiled from a variety of sources.
Its ultimate source must be stamp duty returns which have not been examined in detail. Incomplete as it is,
it does show the increasing circulation of newspapers during the period covered by this paper and looks
ahead to the even greater expansion in the following century. <br />
<br />
<table border="1"><tbody><tr><td>
1753: 7,411,757<br />
1760: 9,464,790<br />
1774: 12,300,000<br />
1775: 12,680,000<br />
1776: 12,830,000<br />
1777: 13,150,142<br />
1778: 13,240,059<br />
1779: 14,106,842<br />
1780: 14,217,371<br />
</td><td>
1790: 14,035,639<br />
1791: 14,794,152<br />
1792: 14,794,198<br />
1793: 17,073,621<br />
1800: 16,084,905<br />
1801: 16,085,085<br />
1810: 20,172,837<br />
1811: 24,422,000<br />
1820: 24,862,186<br />
</td><td>
1821: 24,862,000<br />
1824: 26,308,003<br />
1825: 26,950,693<br />
1830: 30,158,741<br />
1835: 32,874,652<br />
1837: 53,897,926<br />
1840: 49,033,384<br />
1843: 56,433,977<br />
1846: 78,298,125</td></tr></tbody></table>
<hr />
This page last updated 12 October 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-41616211188797060302020-09-22T19:50:00.002+01:002020-10-06T21:04:52.128+01:00World Book Heritage. 88. Fakes and forgeries. <table><tr><td width ="50%" valign="top"><img src="https://1.bp.blogspot.com/-
70IiU9X41CM/XzFXOFktloI/AAAAAAAAKik/1CGBN5NQvbEMyBnK71oZWs7FxmmdZA4SQCLcBGAsYHQ/s0/WRITTEN
%2BHERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
88. Fakes and forgeries.<br /><br /><br />
(<a href="https://bookhistory.blogspot.com/2020/08/world-book-heritage-01-outline.html">Contents list</a>)
</b></center></td></tr></table><div>
<b>Definition:</b> a work created or modified with deliberate intention to deceive. This excludes copies
made in good faith for purposes of study, such as facsimile reprints and writings that have through history
become associated with the name of a great classical author or a church father.</div><br /><div
align="justify">
<b>Reasons for forgery:</b>
<ol>
<li>Forgeries as a hoax. These often arise from the desire to fool experts.
<li>Forgeries to gain recognition. This is often by writers who feel unjustly neglected when published
under their own names.
<li>Forgeries to further a cause. This can be to exalt or denigrate a religion political party or race.
<li>Forgeries for financial gain. </div><br /><div align="justify">
</ol>
<b>1. Forgeries as a hoax. </b></div><br /><div align="justify">
<b>George Psalmanazar</b> (1679-1763) was a Frenchman who travelled to England pretending to be a native of
Formosa and in 1704 published a book on the island which he had never visited. The year after his death was
published <i>Memoirs of ***</i> in which he confessed it to be "a forgery of my own devising, a scandalous
imposition on the public, and such, as I think myself bound to beg God and the world pardon for
writing".</b></div><br /><div align="justify">
<b> William Lauder</b> (c.1680-1771) was a Scottish literary forger who attempted to prove Milton guilty
of plagiarism by quoting modern Latin authors into which he had interpolated translated sections of
<i>Paradise lost</i> in 1750.
The <b>secret log book of Christopher Columbus</b> was allegedly placed in a strong wooden box by Columbus
believing that his last hour had come. It was fished up by a trawler in 1890, conveniently timed for the
400th anniversary of the voyage of discovery. </b></div><br /><div align="justify">
The <b> <i>Cidade Calenixness</i></b> or The Dialogue of Jesus and John is less pardonable as it abuses
the faith of simple people by fabricating a document making subsequent disillusionment all the more bitter.
It is a supposed copy of a papyrus in the British Museum strikingly confirming the Christian Science
teachings of Mary Baker Eddy. It was printed in popular magazines in 1904 and received a wide circulation
in the United States. </b></div><br /><div align="justify">
The <b> Ern Malley</b> poems were started as a joke and were then taken seriously. They were offered to an
Australian magazine in 1944 was the works of a recently dead poet. They were actually written by two young
soldiers taking the rise out of modern poetry. </b></div><br /><div align="justify">
<b> 2. Forgeries to gain recognition. </b></b></div><br /><div align="justify">
<b> Thomas Chatterton</b> (1752-1770) is the most famous example of this. The Thomas Rowley poems in
medieval English were attempted to be passed off as the work of a medieval cleric, but Chatterton proved to
be a genius in his own right, initially taking in critics such as Horace Walpole. However Chatterton fell
on hard times and committed suicide at the age of eighteen. </b></div><br /><div align="justify">
<b> Samuel William Henry Ireland</b> (1777-1835) was born in London. Tempted by his father's enthusiasm
for Shakespeare, he forged the autograph of the poet on a carefully copied old lease. His audacity grew
with the credulity of those he duped. He forged private letters, annotations in books and much else
besides. Boswell actually knelt to kiss his relics when they were displayed at his father's house in 1795.
He went on to produce a historical play <i>Vortigern</i> at Drury Lane in 1796. The colourless production
damned him at once. He confessed to his father, who had begun to suspect his activities and died broken-
hearted. The son went on to produce other works but ended his life in poverty. </b></div><br /><div
align="justify">
<b>Charles Bertram</b> (1723-1765) duped the antiquary William Stukeley into identifying an account of
Roman Britain by one Richard of Westminster as being the lost chronicle by Richard of Cirencester who had
resided in Westminster in the 14th century. He cunningly had it published together with the genuine works
of Gildas and Nennius and it had considerable influence on historians until the 20th century although they
had been revealed as a fraud in the <i>Gentleman's magazine </i> in 1866. </b></div><br /><div
align="justify">
<b> James MacPherson</b> (1736-1796) posed as the translator of the Ossianic poems. Even today it is felt
that they may have had some basis in Gaelic bardic tradition but they were largely a work of MacPherson's
own imagination. Nevertheless they had a great influence on the Romantic movement, being extensively quoted
in translation in Goethe's <I>Leiden des jungen Werthers</i>. </b></div><br /><div align="justify">
<b>Pseudonymous apocryphal scriptures. </b>Spurious epistles started to appear early n the Christian era –
there are even epistles of Pontius Pilate to Herod and the Rpman emperor. The epistle of Lentulus which
describes Christ's appearance has inspired many artists. The false decreta1s of Peudo-Isidore, probably
originating in the archdiocese of Reims in the ninth century, had a powerful influence on the consolidation
of the temporal power of the popes in the middle ages. </div><br /><div align="justify">
<b>Forged charters</b> are common from medieval monasteries to defend traditiona rights that had been
called into question or to extend the territory claimed by religious houses. The authenticity of some of
the earliest Devon charters is questionable. A similar document from the age of print is <i>Hospitals : the
order of the hospitals of K. Henry VIIIth and K. Edward VIth ... viz. St. Bartholomew's, Christ's,
Bridewell, St. Thomas's</i> which is dated 1557, but which, although it has authenitic type from that
period, has been shown on watermarke evidence to have been printed in the 1690s at a time when there were
enquiries into the constitution of Christ's Hospital and it was felt that it would bolster the Hospital's
claims. It could have been a reprint of a missing original manuscript.
</div><br /><div align="justify">
The <b>Protcols of the elders of Zion. </b> are a fabrication made in tsarist Russia purporting to be
evidence of a Jewish conspiracy to obtain world domination. They are often used in evidence by anti-Semitic
movements. </div><br /><div align="justify">
<b>Short narrative of the horrid massacre in Boston. </b> was printed by Edes and Gill in Boston in 1770.
The Boston authorities forbade the printers to distribute copies lest it prejudice the trial of Captain
Preston. Shortly after reprints made by William Bigley in London arrived at Boston. As it was forbidden to
sell their edition, Edes and Gill printed a cancel title page in imitation of the London edition and
substituted it for their own. </div><br /><div align="justify">
<b>3. Forgery for financial gain. </b>This is as old as printing itself. The works of the Venetian scholar
printer Aldus Manutius were pirated in Lyon in the first years of the 16th century, reprints of Strawberry
Hill books were made after Horace Walpole's death by the printer at his private press when they were sought
by collectors. The 18th century Dublin piracies of works by London publishers can be recognised on
typographical grounds, although many do openly bear the imprint of the Dublin publishers. More easy is the
production of spurious manuscripts and many fake autographs have appeared on the market over the years. It
requires little ingenuity, the ability to imitate another writer's style or hand, preferably on scraps of
old paper, often to be found as blank leaves at the end of old ledgers. </div><br /><div align="justify">
<b>Constantine Simonides </b> (1820-1867) was a Greek adventurers, very knowledgeable in palaeographer and
a master calligrapher who varied his trade in genuine manuscripts with strange concoctions of his own
including the original manuscript of Gospel of Mark, and early manuscripts of Homer in an archaic script.
The also claimed to have written the Codex Sinaiticus. </div><br /><div align="justify">
<b>Major George de Luna Byron </b> alias de Gibler (1809?-1882) claimed to be the natural son of the poet
Byron by a Spanish countess. He successfully produced and disposed of many manuscipts ascribed to his
alleged father and well as Shelley, Keates and others. </div><br /><div align="justify">
<b>John Payne Collier </b> (1789-1883) knwn as "the old corrector" claimed to have discovered manuscripts
of Shakespeareana including a playhouse copy of <i>The merry wives of Windsor</i>. </div><br /><div
align="justify">
<b> Alexander Howland Smith </b>(1859-1913), also known as "Antique Smith", was a Scottish document forger
in the 1880s who was responsible for forgeries of Robert Burens, Sir Walter Scott, Mary Sturart and other
Scottish characters. In 1893 he received twelve months in prison for his pains. </div><br /><div
align="justify">
<b>Denis Vrain-Lucas </b>(1818-1882) was a French forger who produced autograph letters for the academician
Michel Chasles. He claimed that they were the remnants of the library of Count Boisjourdain saved from a
shipwreck when he was emigrating to America in 1791. They were being sold to him a few at a time by an old
man. They included letters from Charles V to Rabelais and letters from Pascal proving that he had
discovered the law of gravity before Newton. Chasles publicised the letters and read them before the
Académie. The uproar that followed resulted in his conviction, two years in prison and a fine of 500
francs, although he had sold Chasles 30,000 manuscripts laced with some genuine ones for 140,000 francs. It
is hard to see how Chasles was duped by some of them. They included letters of Plato, Cleopatra, Pontius
Pilate, Mary Magdalene, the resurrected Lazarus – all on French paper and in the French language. In 2004,
the journal <i>Critical Inquiry</i> published a recently discovered letter written by Vrain-Lucas from
prison in 1871 to Chasles, giving the forger's perspective on these events. This itself proved to be a
forgery. </div><br /><div align="justify">
The <b>Hitler Diaries</b> were a series of sixty volumes of journals which were purchased in 1983 for 9.3
million Deutsche Marks by the West German news magazine <i>Stern</i>. They sold serialisation rights to several
news organisations. including <i>The Sunday Times</i>, who asked the historian Hugh Trevor-Roper, to
authenticate them, which he did. However at the press conference to announce the publication, he announced
that on reflection he had changed his mind, and other historians also raised questions concerning their
validity. Rigorous forensic analysis by specialists in the Bundesarchiv and in St Gallen confirmed what the
forensic experts had been telling the management of <i>Stern</i>, the diaries were poor forgeries, with
modern components and ink that was not in common use in wartime Germany. They proved to have been forged by
Konrad Kujau, a committed Nazi and dealer in Nazi memorabilia, between 1981 and 1983. In 1984 Kujau was
sentenced to four and a half years in prison. </div><br /><div align="justify">
We will deal with our last forger at greater length as he is closer to home for the community of English
literary scholars, librarians and bibliographers: </div><br /><div align="justify">
<b>Thomas James Wise</b> (1859-1937) was born in Gravesend, the son of a commercial traveller and the
eldest of four children. In 1866 the family moved to Holloway. Wise was misleading about his family and
education but was probably educated at home. </div><br /><div align="justify">
<b>Hermann Rubeck, </b>an essential oil merchant in the City offered him a junior post and he remained
associated with the firm for the rest of his life, becoming an expert in that field. He was thrifty, saving
money by walking and stealing sugar lumps from cafes. Though he was earning under £4.00 a week he was
living at home and able to save. </div><br /><div align="justify">
<b>Collecting books </b>was an early enthusiasm. He soon graduated from the barrows in Farringdon Market.
Observant, curious, he asked booksellers many questions and was soon to be seen in the West End shops. He
paid £45 for a superb copy of Shelly's <i>Adonais: An Elegy on the Death of John Keats</i> and soon after
that £40 for a set of two other Shelley items. This created a stir, but Wise realised the potential of the
antiquarian book market. He was also making his way in business and by the age of thirty was chief clerk. A
room in his house was set up as a library. He would entertain there and study long hours. </div><br /><div
align="justify">
<b>His first publication </b>appeared in 1882, his own poems in an edition of 35 copies, in a keepsake
style. In 1883 he published Keats <i>Ode to a nightingale</i>. These were printed by William Fullford of
Pentonville Road, but he was soon discarded for a printer with a wider range of types. </div><br /><div
align="justify">
<b>He began to contact descendants of authors</b> to obtain manuscripts, for example the son of Sir John
Bowring to whom Mary Shelley gave the manuscript of her husband's <i>Hellas</i>. He also became a book
dealer on the side, although he always denied this; he "only sold duplicates". </div><br /><div
align="justify">
The <b>Browning Society </b>was founded by F. J. Furnival in 1881. Wise had begun to collect Browning in
1880 and became an early member. At the age of 24 he was elected to the committee in 1884. He was
introduced to Browning and claimed that he was a friend, although his letters to Wise are neutral in tone.
He refused him a copy of the first edition of <i>Pauline</i> although he later reluctantly agreed that the
Society should publish a type facsimile of it. Wise offered the services of Richard Clay and Sons for this.
</div><br /><div align="justify">
<b>Wordsworth </b>attracted his attention in 1884, although he professed to dislike his poetry. He bought a
copy of the first edition of his poems (1807) in the original boards and had it rebound in morocco. The
<i>Lyrical ballads</i> had many cancelled leaves and unamended first edition copies were very rare – Wise
had two copies. He also had one unique variant with a cancel of pages 97-98 with corrections not otherwise
known until 38 years later. This was later found to be printed in an old style face only cut around 1860,
like some of Wise's other productions. The also forged <i>To the Queen</i> although, as he himself
remarked, genuine works privately printed had the poet's inscription on each copy, none of these did. He
also collected many genuine manuscripts. </div><br /><div align="justify">
The <b>Shelley Society</b> was founded in 1885, also by Furnival. Wise was an active member from the start.
The programme of type facsimiles was in his hands. Hours of proof reading (even the errors were
meticulously copied) gave him much bibliographical know-how. The programme proved to be expensive and the
Society soon ran into debt, but Wise was having extra copies printed on the side, often on vellum, and he
also printed nineteen pamphlets of papers read to the Society. He also pirated <i>Poems and sonnets</i> in
a limited edition of thirty under the pseudonym of Charles Alfred Seymour to avoid copyright problems with
Lady Shelley, and he also pirated Shelley's letters. </div><br /><div align="justify">
<b>Forgeries </b>probably began before 1888. The archives of Clay and Sons were burnt but the diary of a
member of the Shelley Society for 11 January 1888 says: "Wise is still proceeding on his wild career of
reprinting or pirating Browning, Shelley, Swinburne &c." He also reports Wise's anger at the low prices
booksellers were prepared to pay for these items. He distributed these pamphlets indirectly, some through
the firm of Rubeck, the British Museum purchased some, others were given to selected libraries, to give
them an air of respectability. Giuldhall Library has a good collection of Wise pamphlets. </div><br /><div
align="justify">
Wise knew the leading 19th century literary and bibliographical scholars, mainly on a working level,
although he did not hesitate to use them for his own ends. </div><br /><div align="justify">
<b>Henry Buxton Forman</b> (1842-1917), the editor of Keats and Shelley provided much assistance to him to
the extent that he has been implicated in the production of many of the forgeries, for example Tennyson's
<I>The last tournament</i> (1896). </div><br /><div align="justify">
<b>Sir Edmund Gosse </b>the literary critic and bibliophile gave much advice to Wise, whom he esteemed as
a bibliographer. </div><br /><div align="justify">
<b>Algernon Charles Swinburne (1837–1909), </b>the poet showed Wise his collection of Shelley and the
Elizabethan dramatists when he was introduced in 1888 and was persuaded to accept a forged copy of
<i>Cleopatra</i>. </div><br /><div align="justify">
In 1890 Wise married and moved to Ashley Road, Crouch End. He was moving up in the world. His <b>publishing
activities</b> at this time were usually anonymous. He would buy manuscript letters or verse, publish them
in limited editions, usually with cursory editing, and sell them hot. Early on he borrowed manuscripts,
copied them and published them surreptitiously. Shelley, Ruskin, Swinburne, Borrow and Conrad were all hot
sellers. In all he was responsible for some 300 items, including at least sixty forgeries and twenty
piracies. He claimed that he published to make works available in print for students but some fifty were
never deposited with the British Museum and some 200 illegally bore no imprint. Also records that these
works frequently fetched tens of guineas show that he was not uninterested in commercial gain. Also when he
gave copies away it was often to obtain manuscripts in return. There was also sharp practice in producing
"first editions" of previously published material and he was loose in describing the numbers of copies
printed of limited editions. With the aid of Clement King Shorter, editor of the <I>Illustrated London
news</i> and book collector, he obtained a valuable haul of Brontë manuscripts. Wise was able to publish
several items, he sold others and kept some for exchange. As a result much is no longer untraceable.
Through his acquaintance with Robertson Nicol the editor of <i>The bookman</i> he was able in 1892 to use
that organ's columns to boost the value of his own publications and answer the attackers of "manufacturers
of rare first editions" who "resurrect from well merited obscurity some worthless tract and trumpet it
about as a masterpiece". </div><br /><div align="justify">
<b>John Henry Wrenn </b>(1841-1911) the Chicago banker came to know Wise in 1892 and over the next twenty
years he helped him build up his library. When he wrote the preface to the library catalogue Wise claimed
that he was a friendly collaborator, but he was really his bookseller, and made a lot of money from his
association with him. He sold him most of his forgeries, lied about prices he had paid, invented imaginary
booksellers and systematically defrauded him. Wise also passed his forgeries on to another American
collector W. H. Arnold, a Tennyson collector. "I obtained one Tennyson rarity after another, most of which
at the time were unknown to American collectors" he wrote. </div><br /><div align="justify">
Around this time he began to use Herbert Gorfin, a lad in Rubeck's office, to help in despatching and as a
go-between. He later set up as a bookseller and in 1910-12 Wise sold him remaining copies of the forgeries
which Gorfin disposed of gradually over the years. </div><br /><div align="justify">
The <b>Society of Archivists and Autograph Collectors</b> was founded in 1893 after the demise of the
Browning and Shelley societies. Monographs were published on the styles of writing of literary figures to
aid in the detection of forgeries but at the same time Wise was continuing his forgeries and piracies, for
example an "early" edition of Swinburne's <i>Grace Darling</i> which had originally appeared in the
<i>Illustrated London news</i>.</div><br /><div align="justify">
<b>Wise divorced his wife</b> in 1897. She had deserted him in part because of his obsession with his
bibliographical work. He moved from Ashley Road to Kilburn but before his move he printed a list of his
limited editions which amounted to a thinly disguised bookseller's catalogue. Suspicions were raised about
piracies in the <I>Athenaeum</i> in 1898. Messrs Constable described <I>Some college memories</i> by Robert
Louis Stevenson as a piracy to which Wise was forced to give an unconvincing defence. Also in the
<I>Athenaeum</i> the bibliographer Robert Proctor condemned <I>Sir Galahad, a Christmas mystery</i> by
William Morris on typographical grounds. </div><br /><div align="justify">
<b>Wise's second more successful marriage</b> took place in 1900 and he also moved to Hampstead. By now his
forgeries were largely in the past. Between 1900 and 1910 he secured many of the choicest items for the
Ashley Library. There was a flow of mint Elizabethan quartos onto the market, for which he outbid American
collectors. Most copies were far better than the British Museum's and Wise had most of them rebound in
morocco. However he was never completely at home in Elizabethan bibliography. He missed many rarities and
others had evidence destroyed by "making up", something he bitterly regretted later. He continued buying
until the 1930s but most of his acquisitions were before the post-War boom. </div><br /><div
align="justify">
The standard edition of the <b>works of Ruskin</b>began to appear in 1903 edited by Edward Tyas Cook and
Alexander Wedderburn. They condemned four pamphlets as piracies and proved that the 1852 edition of <I>The
National Gallery</i> on typographical grounds must have been reprinted from the 1880 text. </div><br /><div
align="justify">
After 1910 Wise concentrated his attention on publishing the treasures of his Ashley. The final
<I>Catalogue of the Ashley Library</i> was published in eleven volumes between 1922 and 1936, each volume
being introduced by a prominent literary figure and it became a standard reference work for the study of
English literature. He also produced a series of author bibliographies including Coleridge, Tennyson, the
Brontës, Shelley, Keats and Byron. Wise had become respectable and respected. He had privileged access to
the stack of the British Museum, was president of the Bibliographical Society (1922-24) honorary fellow of
Worcester College, Oxford and a member of the Roxburghe Club. </div><br /><div align="justify">
In 1934 a serious attack on his reputation was launched by the publication of <i>An enquiry into the nature
of certain nineteenth century pamphlets </i> by two young booksellers John Carter and Graham Pollard. In a
forensic examination of the typography of the pamphlets they proved that a large number of rare first
edition pamphlets from 19th century authors were fakes and printed by Clay and Sons much later than the
dates claimed. A particularly noteworthy forgery, which attracted their suspicion, was an edition of
Elizabeth Barrett Browning's <I>Sonnets from the Portuguese</i> said to have been published in Reading in
1847. Although Wise was not directly accused, the fact that his name was linked to the first appearance of
many of these editions in bibliographies made his guilt clear. Wise of course denied this but failed to
provide any convincing refutation. </div><br /><div align="justify">
Shortly after Wise's death in 1937 his widow sold the Ashley Library to the British Museum for £66,000.
When the Elizabethan quartos were compared with the British Museum's copies it was discovered that over 206
book leaves were missing, 89 of them matching tear marks on leaves in the Wise volumes. The collection of
Elizabethan drama Wise had built up for Henry Wrenn, housed in the University of Texas also included sixty
books completed with thefts from the British Museum library. The moral of this tale for custodians of rare
book collections is that nobody should be trusted, not even the most eminent of bibliographers. </div><br
/><div align="justify">
<b>Types of forgery</b></div><br /><div align="justify">
<b>Forged association copies. </b>These are easily made, for example adding an authors signature and other
comments to a book, but older examples can be difficult to verify, for example forgeries of manuscript
prayers by Luther in a genuine 1531 edition of his <I>Deudsch catechismus</i>. </div><br /><div
align="justify">
<b>Forged bookbindings</b>Sixteenth century bindings are popular subjects for forgery, especially Grolier
bindings. They were imitated in the nineteenth century, notably by Louis Hague, a Flemish bookbinder.
Beside copies of complete bindings additions to genuine old bindings are not unknown. Often the additions
do not fit; devices and ownership mark are awkwardly placed. Royal arms and devices are often added.
</div><br /><div align="justify">
<b>Forged prints</b> Bogus prints can be found of subjects people throught there should be prints of, for
example the fortifications of London during the Civil War. An entire blockbook has also been fabricated;
<i>Die Streiten Christi</i> with fourteen leaves, ascribed to Maiz and dated to 1430, was actually produced
in the mid-nineteenth century and has been attributed to Georg Kaspar Nagler (1801-1866). Distriuted in
very few copies this may not have been designed as a forgery but more as a light-hearted jeu d'esprit by an
eminent art historian. </div><br /><div align="justify">
<b>Complete reprints of early books. </b>This is rare as it does not normally pay to attempt such a major
task. There is a notorious example, an edition of the play <I>Soliman and Perseda</i> originally printed by
E. Allde for E. White in 1599, which was actually printed about 1815. Some copies actually have the imprint
on the verso of the title as required by law: J. Smeeton, printer, St Martin's Lane. He also printed an
apparent facsimile of <I>John Bon and Mast Person</i> in 1807. This has a separate leaf with a note by
Richard Forster from whose copy of the 1548 edition the reprint was made. <i>Soliman and Perseda</i> is a
page for page reprint of the 1599 quarto. The ornaments have been roughly reproduced but the type is too
regular and the paper is much later. But many were deceived and it is difficult to know whether it was
printed with fraudulent intent. Some good facsimile reprints can be mistaken for earlier editions despite
modern imprints, for example those of the Shelley Society with which Thomas James Wise was involved. Type
facsimile reprints were popular in the nineteenth century, for example the Clarendon Press in 1807 produced
a reprint of the first folio of Shakespeare. There are also many facsimiles of historic newspapers, for
example the Trafalgar <I>Times</i>. Some were produced for centenaries of newspapers, others put out as
advertisements by a Cheapside tailor in the late 19th century, others produced at international trade
exhibitions. A series of "great newspaper reprinted" appeared in 1972. </div><br /><div align="justify">
<b>Perfected copies,</b> that is to say imperfect copies made good. This can be done: <br />
1. By facsimile from the same edition. This is a clear gain and photographic facsimiles are often as good
as the original, except for possible variants. <br />
2. By genuine leaves from another copy of the same edition. This is also good, except that is the danger of
confusion as a cancel, and the problem of variants is also there. <br />
3. By leaves from other editions. In the 19th century there was much clumsy making up of copies but mny
books passed through several editions in very similar line for line make-up and it may be difficult to
distinguish. </div><br /><div align="justify">
<b>Bogus items, </b>either complete or partial.<br />
1. Unique copies of books lacking a title page which have had a title page concocted form the half-title,
headline and colophon, perhaps with extra information from the Stationers Company register or other
sources. There is a title page in the British Library: "The Queenes Maiesties Entertaiment at Woodstock
[ornament] At London, Printed for Thomas Cadman. 1585." The title page is a direct crib from the headline
and colophon, down to the stop after the printer's name. <br /><br />
2. Insertion into a defective copy of sections that are apparently facsimile but in reality made by
transcribing text from another edition in the type and style of the one to be completed. This is rare as
few are skilled enough. One forger, an honest facsimilist was paid £12 in the nineteenth century for
supplying a single leaf. The <i>Navivité de nostre seigneur Jhesu Christ</i> (c.1540) had a leaf
meticulously copied in manuscript in imitation of the black letter original. <br /><br />
3. Often in modern books after a few copies have been printed off alterations are made, for example to the
title page or dedication, the original leaves being suppressed. These advance copies are not often intended
for the general public. They may be author's proof copies, or publicity for libraries or wholesale
suppliers. They are in reality proofs and not first issues but are highly regarded by collectors. As the
difference is normally limited to a few leaves and similar type and paper is easily available it can be
profitable to insert leaves characteristic of proofs and even replace the decorative wrapper with an
apparently provisional typographical proof cover. These can be virtually impossible to distinguish except
by direct comparison with a proof, if such exist. After a few years though the paper may discolour
differently than the main body of the text. An earlier example of forged title pages occurs with the first
edition of <i>Alice in wonderland</i>. The first edition of 1865 was withdrawn except for a few copies
donated by the author and others reissued with a cancelled title page for sale in the United States.
Forgeries of the first English edition are known with non-conjugate frontispiece and title page. <br /><br
/>
4. Bogus first editions, as produced by Thomas James Wise. Manuscript poems in periodicals and other works
are printed with dates prior to that of the first known edition. </div><br /><div align="justify">
<b>Detection of forgeries. </b>This is important for the editor of a text and also for librarians who
should be able to warn readers of fakes in their collections. There are three main strands to detection:
</div><br /><div align="justify">
<b>1. Textual examination.</b> This is the only possible way when a work claims to be mo more than a copy
of a genuine original. This was done brilliantly by Richard Bentley in <I>Dissertations on the epistles of
Phalerus</i> (1699) when analysis of the text showed that the letters were written not by a tyrant in the
sixth century BCE but by a Greek sophist of the second century CE. It was also used by Sir George Warner
giving evidence at the trial of Antique Smith when he was able to demonstrate errors in dating. </div><br
/><div align="justify">
<b>2. Palaeography and diplomatic. </b>This has developed from the rules formulated by Jean Mabillon in
<I>De re diplomatica</i> (1681). It is now possible to assign various scripts and formulas to particular
periods and localities and to compare writing purporting to come from the same pen or chancery. This can
help to determine whether a document was written at the date it claims. </div><br /><div align="justify">
<b>3. Scientific examination of materials.</b> Particularly for printed books this can help to show whether
they belong to the period in question. However this is of little use for the contemporary forger or the
forger who takes trouble to acquire authentic materials. </div><br /><div align="justify">
<b>Guides to detecting inserted leaves. </b><br />
1. The paper seldom corresponds exactly, except where a blank leaf from the same book is used. Even here
there is guidance from the correspondence in chain-lines and watermarks, as in the detection of normal
cancelled leaves. <br />
2. Creases on successive pages remain once the corners are turned back. Lumps and wrinkles in the paper
leave impressions on adjacent leaves when sheets are pressed by the bookbinder. <br />
3. Wormholes. It is easier to produce wormholes in an inserted leaf than to plug them. This is difficult to
do well and can be distinguished by holding the sheet to a light. Patterns of holes can vary through the
volume and may be difficult to match convincingly. It is also possible that the paper may have been
attacked while still in sheets. <br />
4. Water stains, rust spots etc. Water stains usually go through a number of leaves, as do rust spots and
foxing to a lesser extent. This can be avoided by taking a book to pieces, bleaching and resizing. Washing
is always a cause for suspicion, but stains are seldom completely removed. Broad patterns are always better
than small patches.<br />
5. Patching must be looked for when only part of a leaf is damaged. Edges can be pared back and joined with
minute amounts of paste. Even if this is well done, it shows darker when held to the light. The attached
portion may them be filled in with brush or pen facsimile, often very well done. Under a magnifying glass
the edges of written letters are often smoother than their printed neighbours, without the angular
indentations caused in printing by the fibrous nature of the paper. </div><br /><div align="justify">
<b>Analysis of materials. </b></div><br /><div align="justify">
<b>1. Paper. </b>Esparto was introduced in 1861, chemical wood in 1874. Under the microscope these can be
easily distinguished. This method was used by Carter and Pollard in their <i>Enquiry</i> into Thomas James
Wise in 1934. <br />
27 pamphlets dated 1842-1881 contained esparto, some dated prior to 1861<br />
27 pamphlets dated 1855-1875 contained esparto with traces of chemical wood, probably manufactured after
1883. <br />
27 pamphlets dated 1842-1873 contained chemical wood, first imported from Sweden in 1874. They included the
1847 Reading edition of <i>Sonnets from the Portugese</i>.<br /></div><br /><div align="justify">
<b>2. Inks. </b>These are susceptible to analysis, for example the dates of introduction of various dyes,
such as eosine for red ink in 1874. In the case of the Hitler diaries measurements were taken of the
evaporation of chloride in the ink which showed the diaries had been written within the previous two years.
For the ink, Kujau bought two bottles of Pelikan ink, one black, one blue, and mixed them with water so it
would flow more easily from the cheap modern pen he used. </div><br /><div align="justify">
<b>Type design. </b>This goes through fashions. As there were relatively few typefounders in England it is
possible to date the appearance of types quite precisely by their appearance in specimen books, but it is
not so easy to identify and trace a typeface to a specific printer. However once this is done it provides
good evidence as most smaller printers only had one font of text type of a given size until machine
composition was introduced towards the end of the nineteenth century. </div><br /><div align="justify">
Certain peculiarities enabled Carter and Pollard to track down Wise's forgeries. They noticed that the
printer of the Wise pamphlets used a "broken backed" letter "f" and a peculiar narrow "?", a hybrid not
featured in specimen books. In the latter part of the nineteenth century modern style types used kerned "f"
and "j" which were easily broken. The idea of a kernless type first occurred to Richard Clay of Clay and
Taylor who commissioned the firm of P. Shanks and Co. to cut a kernless "f" which bent the stem of the
letter back like a hook. This was first used in 1883. The narrow "?" was less easy to trace. It did not
appear in any of the 27 designs of kernless fonts on the market to 1895, so it must have been a sort
belonging to a single printer. It was recognised by accident that the type was used in a reprint of
<i>Alaric at Rome</i> made by Clay in 1893 and was identical to the hybrid font of the notorious 1847
Reading edition of <I>Sonnets from the Portugese</i>. Clay admitted that they had printed both pamphlets
but were unable to confirm the identity of the customer as all ledgers prior to 1911 had been destroyed.
<hr />
This page last updated 6 October 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-37882882895434466402020-09-18T11:16:00.000+01:002020-09-18T11:16:17.849+01:00World Book Heritage. 27. Netherlands 1470-1550. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
27. Netherlands 1470-1550.<br /></b></center><br /></b></td></tr></table>
<B>Netherlands:</B><br />
<div align="justify">
</div><br /><div align="justify">
The earliest items are the Costeriana associated with Haarlem, which have alreay been discussed in the section on Gutenberg.</div><br /><div align="justify">
<center><img height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTb09Ktuz2aDg4gyANjptKyoDTtv9WRkWbiUqQKKPT662Kpec5fxVH9OHJXg00fQbc46LWBc5HQZDCZ0lXLQSmusWQixzCpXlPQLgev-FaZzMpsK8sLtQHSen_0quV8wI3uFyOw/s320/Construction+site.jpg"></center>
<B>Utrecht 1470</B></div><br /><div align="justify">
Sections to add:</div><br /><div align="justify">
Nicolaus Ketelaer and Gerardis de Leempt</div><br /><div align="justify">
</div><br /><div align="justify">
Louvain</div><br /><div align="justify">
Jan Veldener</div><br /><div align="justify">
<B>Alost 1473</B></div><br /><div align="justify">
John of Westphalia</div><br /><div align="justify">
Thierry Martens</div><br /><div align="justify">
</div><br /><div align="justify">
</div><br /><div align="justify">
Antwerp:</div><br /><div align="justify">
Mathias van der Goes</div><br /><div align="justify">
Gerard Leeu</div><br /><div align="justify">
</div><br /><div align="justify">
Haarlem 1483</div><br /><div align="justify">
Jacob Bellaert</div><br /><div align="justify">
</div><br /><div align="justify">
Brussels</div><br /><div align="justify">
</div><br /><div align="justify">
Deventer</div><br /><div align="justify">
</div><br /><div align="justify">
Zwolle</div><br /><div align="justify">
</div><br /><div align="justify">
<B>Bruges.</B></div><br /><div align="justify"></div><br /><div align="justify">
Printing was introduced in 1473/4, the same year as Barcelona, Budapest and Lyons, three years after Paris and Basel and four years after Venice. It was probably introduced by William Caxton, the first English printer.</div><br /><div align="justify">
<BLOCKQUOTE>
<CENTER>TO CAXTON.</div><br /><div align="justify">
From "Laigh Lyrics to Heigh Men."</CENTER>
Hail! mighty Caxton! friend to great and low</div><br /><div align="justify">
Accept the humble tribute of a man, </div><br /><div align="justify">
Who, but for thee, had not yet learned to know</div><br /><div align="justify">
The glorious objects of life's little span </div><br /><div align="justify">
[...]</div><br /><div align="justify">
But thou! great printer! never has thy name </div><br /><div align="justify">
By canting priest received its defamation: </div><br /><div align="justify">
Thou earn'dst an urn, so wear thy "honest fame" </div><br /><div align="justify">
And whilst I live thou'lt have my veneration.</BLOCKQUOTE>
This poem, quoted by Timperley, seems to have been published in the <I>Edinburgh magazine</I>, December 1832.</div><br /><div align="justify">
<B>William Caxton. </B>Bruges 1474-1476 ; Westminster 1476-1492. Born: 1424? Died: 1492.</div><br /><div align="justify">
1424? William Caxton was born "in Kent in the Weald" according to his prologue to the <I>History of Troy</I> but this, may be a humility formula - Kent had a reputation for wildness. Caxton is a common name
especially in Kent. Hints in his translation of the <I>Golden legend</I> hint at the neighbourhood of Stroud. The manor of Causton hear Hadlow, held by the Clare family and was later associated with the Caxtons. During the Festival of Britain in 1951 documents relating to a William, son of Thomas Caxton, born about 1415 at Little Wratting, Suffolk were acclaimed as the "Caxton documents" but there is no proven link between the two Williams. Caxton's father, although Kentish, could have invested in property in Suffolk. His father must have had important conncestion in London and the young William was sent to to school, as we learn in his prologue to <I>Charles the Great</I>.</div><br /><div align="justify">
1438. Robert Large of the London Mercers' Company paid a two shilling fee for Caxton's apprenticeship. Large was one of the most prominent members of one of the big twelve livery companies, serving as Lord Mayor 1439-1440. Caxton would have taken lodgings in his master's house in Old Jewry.</div><br /><div align="justify">
1441. Robert Large died 24 April, leaving his apprentice Caxton 20 marks, but no arrrangement for completing his apprenticeship.</div><br /><div align="justify">
1440s. Caxton went abroad to Bruges, where he spent most of the next thity years "but also in the countrys of Brabant, Flanders, Holland and Zealand" (<I>History of Troy</I>). This is a round number of years and until the 1460s he may have spent as much time in London as in the Netherlands. A William Caxton is recorded in Calais in the 1450s, associated with the wool trade.</div><br /><div align="justify">
1450. A Bruges document shows him as his own master when he stood joint surety for £110 for a stapler who defaulted.</div><br /><div align="justify">
1453. Caxton was in London for his first livery payment to the Mercers' Company.</div><br /><div align="justify">
1455. He was in London as witness in a lawsuit. </div><br /><div align="justify">
1462. Caxton became governor of the English Nation in Bruges, at that time an important centre of the textile trade, but soon to be affected by the silting up of the river. His appointment would indicate that he was a Yorkist - Edward IV had only been on the throne a short time. Caxton was linked to the Merchant Venturers, merchants engaged in overseas commerce who were organised into bodies in various towns. The Mercers' Company was pormenent in bodies that were organised overseas.
He was probably a cloth merchant, exporting cloth and importing luxury goods which may have included manuscripts. His duties as a governor were onerous. He had order trade between England and the Netherlands and represent English merchants' interests in both countries. This included the administration of justice and settling disputes, and he had power to summon courts of jurisdiction in the King's name. He was also used as a negotiator and this maust have made him useful contacts. There were political problems. The relations of Philip the Good, Duke of Burgundy, with England were bad as he supported the Lancastrians due to family connections.</div><br /><div align="justify">
1464. In October was among those who successfully concluded a commercial treaty, but the previous day Philip had banned the import of English cloth.</div><br /><div align="justify">
1464. In November Caxton and the Merchant Venturers were forced to move to Utrecht for some years.</div><br /><div align="justify">
1467. Charles the Bold succeeded and decided that it was better to enlist English support rather than risk being swallowd up by his feudal superior Louis XI.</div><br /><div align="justify">
1468. A new commercial treaty for thirty years was concluded. Although there were still restrictions on the import of cloth, some merchants returned to Bruges. Later that year Charles the Bold married margaret of York, the sister of Edward IV, despite his Lancastrian leanings. The wedding was celebrated at Bruges and Caxton as leader of the merchants must have played a part in the ceremonies and may have met some of his noble patrons there.</div><br /><div align="justify">
1469. On 1 March, according to Caxton, he began to translate <I>Le recueil des histoires de Troie</I>, compiled from Latin manuscripts in 1464 by Raoul Le Fevre, Duke Philip's chaplain. Philip has seventeen manuscripts dealing with Troy in his library. It was begun to "eschewe sloth and idleness" because he had "no great charge of occupation", perhaps due to the decline of the Bruges cloth trade. After five or six quires he gave up because of his faulty French.</div><br /><div align="justify">
1471. About this time Caxton left the wool trade and joined the service of Margaret, Duchess of Burgundy. His precise role is unclear but it gave him more time for translation. He mentioned his work to Margaret who insisted that he finish it. "This dreadful commendment I durst in no wise disobey because I am a servant unto her said Grace and receive from her a yearly fee ..." The translation was finished on 19 September 1471 on a visit to Cologne. "And for as much as in the writing of the same my pen is worn, mine hand weary and not steadfast, mine eyen dimmed with overmuch looking on the white paper, and my courage not so prone and ready to labour as it hath been and that age creepeth on me daily and feebleth all the body [he was nearly 50] and also because I have promised to divers gentlemen and to my friends to address to them as hastily as I might this said book. Therefore I have practised and learned at my great charge and expense to ordeyn this said book in print after the manner and form as ye here may see, and it is not written with pen and ink as other books been, to the end that every man may have them at once, for all the books of this story named the Recuel of the Histories of Troy thus imprinted as ye here see were begun in one day and also finished in one day."</div><br /><div align="justify">
BUT Caxton's account may not tell the whole tale. It is unlikely that Caxton ever entered Margaret's service, although she may have acted as a patron. The term "servant" is a set formula and the "yearly fee" could be paralleled bt gifts such as the Earl of Arundel's "buck in summer and a doe in winter". Printing for Caxton was a shifting of merchant activities, probably prompted by the restriction of the cloth trade and worsening relations with the Hanseatic towns, apart from Cologne. In 1468 the Steelyard in London closed and Caxton would have been involved in negotiations, probably meeting merchants from Cologne. Though he may have continued in the cloth trade in Utrecht, he shifted his emphasis to books. The English version of the Trojan histories was clearly aimed at the English market and so had to be printed. However conditions in England took a turn for the worse in July 1469 and this is probably the real reason for stopping the translation. His poor French is a weak excuse as he could have commissioned a translation. The eschewing of idleness is also a stock excuse for undertaking a literary work. By May 1471 Edward VI's position was again secure, so he enlisted the patronage of Margaret and used his Cologne contacts among printers. He had been given permission to reside there from 17 July 1471, two month before completing his translation.</div><br /><div align="justify">
1471-1472. Caxton was learning to print in Cologne. He remained there until at least 19 June 1472, the date of a residence permit valid for six months. Caxton's successor Wynkyn de Worde wrote in his epilogue to <I>De proprietatibus rerum</I> (1496):<BLOCKQUOTE>
And of your charity call to remambrance</div><br /><div align="justify">
The soul of William Caxted forstprinter of this book
In Latin tongue at Coleyn himself to advance
That any well disposed man thereon may look</BLOCKQUOTE>
The only Latin edition of Bartholomaus in Cologne in this period was produced by the Printer of Flores Sancti Augustini, dated to 1472/3. This could on typographical grounds be Jan Veldener who matriculated at Louvain on 30 July 1473. It is possible that Caxton recruited de Worde at this time.</div><br /><div align="justify">
1469 began to translate <I>Histories of Troy</I> by Raoul de Fevre. <br />
1471 joined service of Margaret Duchess of Burgundy, learned to print in Cologne. <br />
1473/4. Caxton was back in Bruges setting up his press.</div><br /><div align="justify">
1474/5. <I>Recuyell of the histories of Troy</I><br />
Probably printed 6-7 vol. there before leaving for England.</div>
<hr />
This page last updated 18 September 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-42762394539376992052020-09-18T11:00:00.001+01:002020-09-18T11:00:28.580+01:00World Book Heritage. 26. Eastern Europe 1475-1550. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
26. Eastern Europe 1475-1550. <br /></b></center><br /></b></td></tr></table>
<B>Eastern Europe:</B><br /><div align="justify">
<center><img height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTb09Ktuz2aDg4gyANjptKyoDTtv9WRkWbiUqQKKPT662Kpec5fxVH9OHJXg00fQbc46LWBc5HQZDCZ0lXLQSmusWQixzCpXlPQLgev-FaZzMpsK8sLtQHSen_0quV8wI3uFyOw/s320/Construction+site.jpg"></center>
</div><br /><div align="justify">
Bohemia</div><br /><div align="justify">
</div><br /><div align="justify">
<B>Hungary:</B></P><P align="justify">
<B>Buda</B> Andreas Hess <I>Chronica Hungarorum</I></P>
<P align="justify">
Poland</div><br /><div align="justify">
</div><br /><div align="justify">
Balkans</div><br /><div align="justify">
<hr />
This page last updated 18 September 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-19043622348568811412020-09-18T10:56:00.003+01:002020-09-18T10:56:40.281+01:00World Book Heritage. 24. Spain and Portugal 1473-1550. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
24. Spain and Portugal 1473-1550<br /></b></center><br /></b></td></tr></table>
<center><img height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTb09Ktuz2aDg4gyANjptKyoDTtv9WRkWbiUqQKKPT662Kpec5fxVH9OHJXg00fQbc46LWBc5HQZDCZ0lXLQSmusWQixzCpXlPQLgev-FaZzMpsK8sLtQHSen_0quV8wI3uFyOw/s320/Construction+site.jpg"></center>
<B>Barcelona</B> 1473 prob. first town. Introduced by three Germans.</div><br /><div align="justify">
Botel, Holtz and Planck</div><br /><div align="justify">
Pedro Brun and Nicolas Spindeler</div><br /><div align="justify">
Johannes Rosenbach</P><P align="justify">
</div><br /><div align="justify">
Valencia 1473:</div><br /><div align="justify">
Lambert Palmart</div><br /><div align="justify">
John of Salzburg and Paul Hurus</div><br /><div align="justify">
</div><br /><div align="justify">
Saragossa 1474</div><br /><div align="justify">
Mateo Flandro</div><br /><div align="justify">
Pablo Hurus</div><br /><div align="justify">
</div><br /><div align="justify">
Seville 1477</div><br /><div align="justify">
Antonio Martinez, Alonso del Puerto, Bartolomeo Segura</div><br /><div align="justify">
Meinhard Ungut and Stanislaus Polonus</div><br /><div align="justify">
Jacob Cromberger</div><br /><div align="justify">
Juan Cromberger</div><br /><div align="justify">
</div><br /><div align="justify">
Burgos 1485</div><br /><div align="justify">
Frederick Biel</div><br /><div align="justify">
Salamanca</div><br /><div align="justify">
<B>Alcala</B> 1499 university established. Arnao Guillen de Brocar printed Compluensian polyglot Bible 1514-17. </div><br /><div align="justify">
</div><br /><div align="justify">
Portugal</div><br /><div align="justify">
</div><br /><div align="justify">
Fez</div><br /><div align="justify">
</div><br /><div align="justify">
Spain was responsible for introducing printing to the Americas: 1539 Mexico City.</div><br /><div align="justify">
1554 Lima</div><br /><div align="justify">
<hr />
This page last updated 18 September 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-11877373677118762382020-09-18T10:34:00.001+01:002021-02-01T21:11:25.304+00:00World Book Heritage. 23. France 1470-1550. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
23. France 1470-1550<br /></b></center><br /></b></td></tr></table>
<div align="justify">
Printing in France is characterised by two main features.</div><br /><div align="justify">
Firstly it is highly <b>centralised</b>. In the eighty years to 1550 about 40,000 editions are recorded for the French speaking area, 25,000 of them in Paris. Lyon with 11,000 editions was the only place outside Paris to hold its own until it was stifled as a centre of Protestantism by the Inquisition, after which Geneva became the centre for Calvinist printing in a similar way to Wittenberg for Lutheran writers. Rouen with 1,000 editions, Toulouse with 550, Poiters with 365 and Caen with 329 were small fare. Geneva has 590 imprints to its credit, 286 of them in the 1540s.</div><br /><div align="justify">
Secondly French printing is noted for its <b>elegance</b>, particularly in its books of hours and after the introduction of Renaissance styles of book design. </div><br /><div align="justify">
<b>Royal patronage</b> was an influence in determining the direction of French printing. Charles VII had sponsored Jenson's visit to Mainz in 1458. Louis XI was a friend of learning and established a library in the Louvre under the care of the humanist Robert Gaguin (1433-1501). When the scribes of Paris took legal action against the printers, fearing loss of trade, Louis intervened and extended the royal favour to printers. When Gutenberg's financier Johann Fust died in Paris without a legal will and the confiscation of his goods was threatened he again intervened at his own expense. An edict issued in 1513 shows Louis XII's appreciation
of printing "the discovery of which appears to be rather divine than human. François I was also a great patron, but probably all these monarchs had half an eye on political ends. </div><br /><div align="justify">
<b>Michael Friburger, Ulrich Gering and Martin Crantz</b>. Printing was introduced to France in 1470, but not by Nicolas Jenson whose expedition to Mainz in 1458 when he was master of the royal mint remained inconclusive. Jenson was a leading printer in Venice when printing reached France in the first enterprise in which publishers were dominant. The printers' domain was first challenged by dons who usually have fixed ides as to what constitues a worthwhile book. Paris University, established around 1160, was the third oldest university in Christendom , Bologna having been set up in 1088 and Salmanca in 1134. Thus academia led the way; while the printers were German, as was normal at that early date, the initiative was taken by the Sorbonne, then the theological faculty of the university. There were two main instigators. Johann Heynlin, a German, came to Paris in 1459. He had been in Basel to study from 1463 to 1468 where he had been associated with Michael Freiberger. He had been elected rector of the university and professor of theology at the Sorbonne in 1469 as well as serving as its prior. Guillaume Fichet, was rector of the university in 1467 and librarian of the Sorbonne and professor of rhetoric.
They led the move to invite three printers to serve the Sorbonne in 1470. These were Ulrich Gering who came from Beromünster in the diocese of Constance, Michael Friburger formerly a student at Basel university
Martin Crantz of Stein near Pforzheim, the birthplace of Heynlin. </div><br /><div align="justify">
The press was established in the precincts of the Sorbonne and the printers were lodged with Heynlin at his own expense. It was not officially sponsored by the Sorbonne and Heynlin and Fichet had full control of the press. They determined the type face, a roman based on the second fount of Sweynheym and Pannartz, used at Rome for the 1469 edition of Caesar's <i>Commentaries</i>. It was a legible fount, not graceful but large and we know that Heynlin was short-sighted. They also chose the texts, supervised the printing, and corrected and edited them. They were usually textbooks for students with an emphasis on elegant Latin style, classical texts for an academic circle. From 1470 to 1473 they printed 23 texts. </div><br /><div align="justify">
The first to appear in 1470 was Gasparino Barzizi of Bergamo's <i>Epistolarum liber</i>. It was the collected letters of an Italian humanist who died in 1431, and the colophon in four Latin distyches offers to Paris the "benefits of the almost divine art invented in Germany" and practised here by the three printers Michael, Ulrich and Martin - the order of their names varied in later colophons.
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY4e1Q9a-Py-2b5Kx4gi0JgsbvHT0Vht9hvgN_6lSMXwMrRedDUJdrduEST0Fq34YdtI8VArYyaCakUaCGMSA8-PlrkSQNtVdkuFx3uEiHOSpgWBqYdOa9ebFgWM1Ebwx9_OxD/s1200/PARIS-FREIBERGER-1470.JPG"><img height="320" data-original-height="1200" data-original-width="717" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY4e1Q9a-Py-2b5Kx4gi0JgsbvHT0Vht9hvgN_6lSMXwMrRedDUJdrduEST0Fq34YdtI8VArYyaCakUaCGMSA8-PlrkSQNtVdkuFx3uEiHOSpgWBqYdOa9ebFgWM1Ebwx9_OxD/s320/PARIS-FREIBERGER-1470.JPG"/></a><br /> Barzizius, Gasparinus. Epistolarum libri. - Paris : Freiberge Gering and Krantz, 1470. - First book printed in France. <BR/>Copies: EWP archives. - </center><br />
Gasparino's <i>Orthographia</i>, also edited by Heynlin appeared on 1 January 1471. Some copies contained a letter by Fichet to Heynlin hailing Gutenberg as the inventor of printing. </div><br /><div align="justify">
In 1471 they printed Leonardo Bruni's translation of Plato's letters. This was the only edition of this translation printed and the only Platonic text to appear in France in the 15th century. </div><br /><div align="justify">
Late in 1472 Fichet went to Rome to take up an appointment offered by the Pope and early in 1473 Heynlin departed for Basel where he became the chief adviser to a former pupil, the scholar printer Johann Amerbach.</div><br /><div align="justify">
In 1472 and 1474 Friburger, Gering, and Crantz issued four works of a more general nature and then left the Sorbonne for the Rue St Jacques where they set up as a private company at the sign of the Soleil d'or. Louis XI granted letters of naturalisation to the printers in Feburary 1474 and the same year the first book from the new address was printed:</div><br /><div align="justify">
This was <i>Manipulus curatorum</i>, a handbook for the clergy, printed in a transitional romano-gothic type. An undated <i>Biblia latina</i> appeared around 1476, the frst Bible to be prnted in France, using a new fount, a rounded gothic combined with roman capitals. </div><br /><div align="justify">
After January 1478 Friburger and Crantz dropped out of the partnership and disappeared from printing history. Gering continued printing until his death in 1510, moving in 1483 to the rue de Sorbonne at the same sign. Between 1484 and 1494 books printed at the Soleil d'Or carry the names of Jean Higman (1484–1489) and George Wolf (1490–1492). Gering is found there again in partnership with Berthold Rembolt from 1494 to 1508, after which Rembolt worked alone. In 1478 Gering used a new roman type but generally hs work was not outstanding. He continued his close association with the Sorbonne with apartments in the college and a seat at the doctors' table, and he remembered the Sorbonne in his will. In all about 194 editions bear Gering's name making him the eighth most prolific Parisian printer of the incunabula period.</div><br /><div align="justify">
<b>Pieter de Keysere</b> of Ghent and Johann Stoll, a German, established the second press in France in 1473, also in the Rue St Jacques. They had formerly been employed by Friburger, Gering, and Crantz. A third press, staffed by Frenchmen was set up in 1473/4, again in the Rue St Jacques, at the sign of the Soufflet vert.</div><br /><div align="justify">
<b>Pasquier Bonhomme</b> had been active as a bookseller in Paris since around 1445 and was named bookseller to the University in 1455. In 1468 he was described as one of the four main booksellers to the Sorbonne. At first he specialsed in manuscripts but began to print on his own account in 1475. The press was installed in his own house A l'image Saint Christophe, although he did not himself undertake the printing. On 16 January 1476/7 he published <i>Chroniques de France</i>, one of the only books signed by him, its three folio volumes constituting the first dated book in French to be printed in Paris. He died in about 1496 after printing a dozen works, together with his son Jean. His son Jean was sworn in as bookseller to the University in 1465 and worked until his death around 1529. He published in 1485 Jacques Milet's <i>L'istoire de la destruction de Troye la graunt</i>, one of the first profusely illustrated books to be printed in Paris. Several of his wooduts passed into the hands of Antoine Vérard. His son Jean II succeeded him and worked until his death around 1552. His son Jean III seems to have succeeded him. He died before 1565, bringing to an end one of the first printing dynasties of Paris.</div><br /><div align="justify">
<b>Guy Marchant</b>, active as a printer from 1485 to 1506 was also a priest and master of arts and probably began by producing manuscripts. He worked largely for the Collège de Navarre. In 1485 he printed an edition of <I>La danse macabre des hommes</i> illustrated by woodcuts which were frequently copied. There were 17 cuts in the 20 pages of the text and he followed this in 1486 with the <i>Danse macabre des femmes</i>. The works depicted Death claiming victims from all ranks of life, related to blockbook editions of the text. It was a poor man's book, giving satisfaction in times of plague to see the mighty being carried off in the same way as common folk. The pictures were more effective than the words and several later series were published, including one printed by Hus in Lyon in 1499 showing a printing press. Hans Holbein also illustrated a series. In 1500 he printed an edition of Sebastian Brant's <i>Ship of fools</i> in Flemish. His nephew Jean I Marchant succeeded him. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2orKRIcD_K1pV6DxHszlDMgxGuwwpavs11I3vVDJVvVj4fysM_BkdJPvi6YpZ24cdAfmxiY-LoQO66QSNdP-kxteARIz_05-20IoEDWE6jJwcFgpy95YVj61Uyh71SMBaeK_/s1200/PARIS-MARCHANT-1495.JPG"><img height="320" data-original-height="1200" data-original-width="867" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2orKRIcD_K1pV6DxHszlDMgxGuwwpavs11I3vVDJVvVj4fysM_BkdJPvi6YpZ24cdAfmxiY-LoQO66QSNdP-kxteARIz_05-20IoEDWE6jJwcFgpy95YVj61Uyh71SMBaeK_/s320/PARIS-MARCHANT-1495.JPG"/></a><br /> Bovillus, Nicolaus. Contra obtinentes plura beneficia. - Paris : Guy Marchant, [ 1495?]. - <BR/>Copies: EWP archives. - </center><br />
<b>Pierre La Rouge</b> was also an engraver and illuminator. He came to Paris fom Chablis where he had introduced printing in 1478. His first work <i>Livre des bons moeurs</i> is clearly the work of a beginner. The signatures are to be found sometimes at the head and sometimes at the foot of the leaves, the justication of the lines is uneven and blank spaces are left, presumably for illustrations. </div><br /><div align="justify">
He is next heard of, technically much improved, in Paris in 1487 where he worked for the booksellers Vincent Commin and Antoine Vérard. He was one of the first to apply woodcuts to book illustration, notably in <i>La Mer des histoires</i> printed between July 1488 and February 1489, a two-column work with fifty illustrations. It is a translation of a Latin world history with additional material relating to the kings of France, and was probably based on a Lübeck edition of 1475. It also has fine initials and borders taken from manuscript illumination. The layout of the page is more important than the indivdual cuts, which are often repeated. It has a very striking early title page with a large historiated capital "L". The work is one of the finest 15th century French printed books. He was the first to use the title "imprimeur du Roy" or "impressor regius". His son Guillaume Le Rouge succeeded him, first in Chablis en 1489 then, after working in Troyes From 1491 to 1492, in Paris.</div><br /><div align="justify">
<b>Antoine Vérard</b> (1450-1514) was one of the first to popularise the illustrated book. He too was originally a calligrapher, miniaturist and engraver. He set up shop in 1485 on the Pont Notre-Dame. When the bridge was swept away on 25 October 1499 he was forced to move premises, receiving a payment which enabled him to install himself within the university precincts. His first dated book appreared in 1485, a book of hours, the first known printed <i>Horae</i> in France. In 1485 he printed <i>Les cent nouvelles</i>, a translation of Boccaccio by Laurent du Premier-Fait.</div><br /><div align="justify">
In 1491 appeared the <i>Historiae</i> of Orosius illustrated with a mixture of his own small woodcuts of battle scenes and lager cuts and initials used by Le Rouge in his <i>Mer des histoires</i>. This ushered in a steady output of finely printed and illustrated books of chivalry. Editions de luxe were printed on vellum for wealthy patrons or royalty, the illustrations often brilliantly hand-coloured, sometimes entirely altered for special requirements. And he had numerous princely protectors including the kings of France Charles VIII and Louis XII and the English king Henry VII.
In 1492 appeared a collection of four treatises in one volume: <i>L'art de bien mourir, Traité des peines d'enfer, Advenement de l'antichrist</i> and <i>L'art de bien vivre</i>.<br />
In 1493 <i>Chroniques de France</i>, three volumes printed for him by Jean Morand.<br />
In 1495/6 St Vincent de Beauvais <i>Miroir historiale</i>, a magnificent five volume edition. <br />
In about 1498 the <i>Bible historiée</i> translated from the Latin of Pierre le Mangeur by Guyard des Moulins.<br />
In about 1500 <i>Terence en français</i> illustrated from composite blocks where the characters in the comedies are interchangeable, an idea first used by Trechsel of Lyon and Grüninger of Strasburg.</div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxwBWYLM9V2v4VfgbPgJ9OqfvaW_JKQoqlXYWB2vhaeQlOVTtP-Zko0sxyLoaDddejPyIFuvSMhkUrhDfEDemJvRKA1CdwB5XFaHAOE2A-JvAO_0Dsp9196rHK6veWBqeoPNID/s1200/PARIS-VERARD-1503.JPG"><img height="320" data-original-height="1200" data-original-width="812" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxwBWYLM9V2v4VfgbPgJ9OqfvaW_JKQoqlXYWB2vhaeQlOVTtP-Zko0sxyLoaDddejPyIFuvSMhkUrhDfEDemJvRKA1CdwB5XFaHAOE2A-JvAO_0Dsp9196rHK6veWBqeoPNID/s320/PARIS-VERARD-1503.JPG"/></a><br /> <!TI Art> The art of good lyvyng and good deyng. - Paris : Antoine Verard, [ 1503. - Woodcut of Jesus at Bethany. Printed in English. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCgicrrVLnPZboz6_ibwyJJAj5Q4ABzc12T_ycHO6PdHEPmhXH_IxPPgO6S3j_JrXNy7wrsk-FZciic1s4T9kn9rnm9lIvR0SWI-bqeiBj58my4WrH9aBsvQVHlv5wdlRUgWqi/s1200/PARIS-VERARD-1503A.JPG"><img height="320" data-original-height="1200" data-original-width="857" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCgicrrVLnPZboz6_ibwyJJAj5Q4ABzc12T_ycHO6PdHEPmhXH_IxPPgO6S3j_JrXNy7wrsk-FZciic1s4T9kn9rnm9lIvR0SWI-bqeiBj58my4WrH9aBsvQVHlv5wdlRUgWqi/s320/PARIS-VERARD-1503A.JPG"/></a><br /> Martinus (Streus) Polonus. La chronique Martiniane de tous les papes. - Paris : Antoine Verard, [ 1503?]. - <BR/>Copies: EWP archives. - </center><br />
Vérard was a pioneer in introducing Renaissance designs, but he was not without his faults. For example he was not above piracy and, like Koberger, he frequently re-used blocks, for example in <I>Lucien Suetone et Saluste</i> he used five cuts from an earlier book 64 times. Woodcuts were frequently introduced to texts completely unrelated to the work for which they had originally been made. The USTC lists 364 editions by him between 1485 and 1515, making him the second most prolific Parisian publisher of his time although he used 26 printers, mostly Parisians, to print his editions as well as several painters and illuminators to decorate them. He was the author of poems and wrote prologues to his editions. From 1491 he had a bookstore in Tours where he purchased a house in 1505 fom which he sold his edition of the custumal of Touraine in 1507 and 1508. His son Barthélemy Vérard succeeded him.</div><br /><div align="justify">
<b>Books of hours</b> (Horae) contained prayers for the various times of day. The essential part were the seven hours of the Blessed Virgin Mary, each accompnaied with an illustration of an incident in the life of the Virgin or Christ. There could be from two to six subsidiary hours added, such as the Crucifixion. There was also a calendar, gospel passages, private prayers, psalms, the litany, vigils of the dead, all illustrated. The richly illuminated miniatures and borders of the manuscripts were replaced by woodcuts, often hand-coloured, arranged as a frame round the printed text. Manière criblée or metal cut borders could give a congested appearance to the page. At first the content was mainly decorative with flowers, birds of motifs reflecting the main picture but as their popularity grew they became more secular with scenes from daily life. The calendars also have lively cuts of occupations reflecting the different seasons of the year. </div><br /><div align="justify">
Horae made two main contributions to book production:</div><br /><div align="justify">
Firstly the small format, as befits a book for private devotions. </div><br /><div align="justify">
Secondly the development of the two-page spread as the unit of design, a revolutionary concept where the illuminated miniature had received the greatest emphasis in the manuscript era. The woodcut had to fit into a planned page together with the type of the text, which was no longer a subsidiary element. However the borders were treated as with manuscripts, a means of filling blank margins. The cuts were generally good but they were often re-used and there is much evidence of trimming to fit new formats. </div><br /><div align="justify">
Horae were primarily a French phenomenon but they spread throughout Europe. Aldus Manutius and some English priters produced examples as did many other in the period 1485-1568. In Paris there were six main printers of books of hours:</div><br /><div align="justify">
1. <b>Antoine Vérard</b> was the first to issue a book of hours in 1485. In all he published more than 200 examples. At first they were simple transitional works but in 1490 they came into full flower with the "grandes heaures" produced for the king. </div><br /><div align="justify">
2. <b>Jean Dupré</b> has been described by Pollard as "perhaps the finest printer of the century". He should not be confused with this namesake in Lyon (1484-1503), Salins-les-Bains, Uzès (1491-1493) and Avignon (1497) to whom he was perhaps related. He opened a shop at the sign of the Two Swans in 1481, the year his first dated book appeared on 22 September, a Paris missal with two full page woodcuts, the earliest in Paris, in a crude indigenous style, including one of the crucifixion. On 26 November appeared a Verdun missal with new and better executed illustrations. </div><br /><div align="justify">
In 1482 he introduced printing to Chartres by printing a missal and a breviary for the canons. In 1484 appeared Boccaccio's <i>De la ruine des nobles hommes et femmes infortunés</i>, his first secular book and the first illustraed vernacular book to be printed in Paris. The woodcuts were re-used in London by Pynson in Lydgate's <i>Fall of princes</i>. They were long considered to be of English origin and are among the best of their kind. </div><br /><div align="justify">
In 1486 he introduced printing to Abbeville by entering into partnership with Pierre Gerard to print Augustine's <i>De civitate Dei</i>, a folio in two volumes with 23 fine woodcuts executed in Paris and based on manuscripts belonging to Bâtard de Bourgogne. The type was also from the stock of Dupré who may merely have supplied the material, although he is named first in the colophon. Pollard calls it "the first really magnificent French illustrated book in which paper and print and woodcuts of artistic value all harmonise". Dupré is known to have employed Venetian craftsmen. In 1488 with Jean le Bourgeois of Rouen he published a fine edition of <i>Lancelot du lac</i>. </div><br /><div align="justify">
His first really fine Horae, for the use of Rome, appeared in 1488 with manière criblée borders that were models for many later editions. They were copied by Vérard. His second book of hours published in 1489 includes an early attempt at colour printing, in red, blue, and green. </div><br /><div align="justify">
Although he specialised in editions de luxe like Vérard he had a fine business capacity. Like Koberger in Germany he controlled the French book market for a while through his association with wealthy financiers and by the foundation of branches and agencies. He was active in Chartres (for canon Pierre Plumé) in 1482-1483, in Tours in 1485, in Abbeville in 1486-1487 and he also lent his types or presses to various provincial printers: Gaillard Le Bourgeois and his son Jean Le Bourgeois in Rouen in 1488, Étienne Larcher in Nantes en 1493, Pierre Alain and André Chauvin in Angoulême, Arnoul Bocquillon in Châlons-en-Champagne en 1498, etc. He was also the first to print a surviving poster, for "Le Grant Pardon de Nostre Dame de Paris" in October 1482. He died before 25 September 1504, the date his will was proved and was succeeded by his widow Claire Dimanche as "Clara, vidua Johannis de Prato" or "vefve Jehan Du Pré". </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1SOmVwLTDGuu6wQv5eB2GmkI_OVnsatN2Hn77UxoH3WU78bA2pJcJQwr1JwBOTDphxenhQk4MS_bkTSfOeBNLrkfEp8COv_57KHQojFStk7o3O6gghV1PtmMxlHSqfE6MTXH/s1200/PARIS-DUPRE-1489.JPG"><img height="320" data-original-height="1200" data-original-width="715" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC1SOmVwLTDGuu6wQv5eB2GmkI_OVnsatN2Hn77UxoH3WU78bA2pJcJQwr1JwBOTDphxenhQk4MS_bkTSfOeBNLrkfEp8COv_57KHQojFStk7o3O6gghV1PtmMxlHSqfE6MTXH/s320/PARIS-DUPRE-1489.JPG"/></a><br /> Jacobus de Voragine. Legenda aurea. - Paris : Jean Dupre, 1489. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpRUrKvPAXjoiwuLUluWGf-l_ED21ZRI8KbKw9Ftmg7csXwkGrVZG8-5hFwzKlS6diyhfIHq1yR-mGBe1SIBCZ7NLge9dBQQpTHMZVaXm4dmdeUW9cguxgPaMs5E_qYssdhrWL/s1200/PARIS-DUPRE-1530.JPG"><img height="320" data-original-height="1200" data-original-width="727" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpRUrKvPAXjoiwuLUluWGf-l_ED21ZRI8KbKw9Ftmg7csXwkGrVZG8-5hFwzKlS6diyhfIHq1yR-mGBe1SIBCZ7NLge9dBQQpTHMZVaXm4dmdeUW9cguxgPaMs5E_qYssdhrWL/s320/PARIS-DUPRE-1530.JPG"/></a><br /> Daigue, Etienne. La propriete des tortues, escargotz, grenouilles & artichautz. 1st edition. - Paris : Galliot Ddu Pre and Pierre Vidoue, [ 1530?]. - First monograph on turtles. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibHgQhoVs-cwJLSMyFiPWljQsYCHJNTZ9EQj7tyFy-fDdbFwkLaOk_F9myndxpHDmw-7prUV2IevLvoB0Vz7Snaab5jnWmsUbQyPdBiHlPlOF1QTuHiezIsrK2WlnUIFnpSA5a/s1200/PARIS-DUPRE-1516.JPG"><img height="320" data-original-height="1200" data-original-width="916" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibHgQhoVs-cwJLSMyFiPWljQsYCHJNTZ9EQj7tyFy-fDdbFwkLaOk_F9myndxpHDmw-7prUV2IevLvoB0Vz7Snaab5jnWmsUbQyPdBiHlPlOF1QTuHiezIsrK2WlnUIFnpSA5a/s320/PARIS-DUPRE-1516.JPG"/></a><br /> <!TI Miroir> Le mirouer historial de France. - Paris : Galliot Du Pré, 1516. - Printer's device. <BR/>Copies: EWP archives. - </center><br />
3. <b>Simon Vostre</b> was active from 1486 to 1520 and published many <i>Horae</i>, mostly printed by Pigouchet his associate. In 1497 he also published a missal for the use of Rouen printed for him by Gering, who had introduced printing to Paris, and Rembold. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM9v1mJZ3uOP3nYj0MiAf3mwwvoS2XkagRYDEjapXqAtWTvuZ0bBMBzrZGj1eo2ys1f0NWU4noxfe0D7Cy8cXGaZyF0f04jVJglhEHKP3NR5gA9pn-xp8aGDnLSP3GoDPM4AQq/s1200/PARIS-VOSTRE-1515.JPG"><img height="320" data-original-height="1200" data-original-width="844" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgM9v1mJZ3uOP3nYj0MiAf3mwwvoS2XkagRYDEjapXqAtWTvuZ0bBMBzrZGj1eo2ys1f0NWU4noxfe0D7Cy8cXGaZyF0f04jVJglhEHKP3NR5gA9pn-xp8aGDnLSP3GoDPM4AQq/s320/PARIS-VOSTRE-1515.JPG"/></a><br /> Catholic Church. Heures a lusaige de Romme. - Paris : Simon Vostre, [ 1515?]. - Printer's device. <BR/>Copies: EWP archives. - </center><br />
4. <b>Pierre Pigouchet</b> completed his first <i>Horae ad usum romanum</i> for Vostre on 16 September 1488. By 1496 he had acquired his distinctive style with extensive use of metal cuts and elaborate decoration. His later productions were mostly for Vostre and are among the finest of the kind. He ceased work in 1505 having produced 113 editions between 1488 and 1507, at this peak in the 1490s between 7 and 15 editions a year. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigrwHEn8wKk8rVyFAZZQLmxPHdMEZlhqrvlHd8PnOvagu7rqVOWOnehnLaah9RpVgQ7SN1al-Qu507ApDmudQ29iyRWRiGyf283HOc99lBSXMpMgQL1qaSwukGstdvby1gqgD3/s1200/PARIS-PIGOUCHET-1494.JPG"><img width="320" data-original-height="870" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigrwHEn8wKk8rVyFAZZQLmxPHdMEZlhqrvlHd8PnOvagu7rqVOWOnehnLaah9RpVgQ7SN1al-Qu507ApDmudQ29iyRWRiGyf283HOc99lBSXMpMgQL1qaSwukGstdvby1gqgD3/s320/PARIS-PIGOUCHET-1494.JPG"/></a><br /> Catholic Church. Horae BVM ad usum Sarisburiensis. - Paris : Philippe Pigouchet for Jean Richard of Rouen, 1494. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYjoKo7iRMlqZbQBbFsHhxvC3AfrMKqW_kZFLR3tdFxHjS-_v4Q0BLlq3hZDvMXYrUQhjX_x-u7iAj3tMCIyE8ltL62tK3IrV2pbnbUhtJdxzl9pwsvhmBsNh0JydcA8Zj9eQh/s1200/PARIS-PIGOUCHET-1498.JPG"><img height="320" data-original-height="1200" data-original-width="843" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYjoKo7iRMlqZbQBbFsHhxvC3AfrMKqW_kZFLR3tdFxHjS-_v4Q0BLlq3hZDvMXYrUQhjX_x-u7iAj3tMCIyE8ltL62tK3IrV2pbnbUhtJdxzl9pwsvhmBsNh0JydcA8Zj9eQh/s320/PARIS-PIGOUCHET-1498.JPG"/></a><br /> Catholic Church. Horae BVM ad usum Sarisburiensis. - Paris : Philippe Pigouchet for Simon Vostre, 1498. - <BR/>Copies: EWP archives. - </center><br />
5. <b>Thielmann Kerver</b> published his first dated work on 26 May 1498: Diomedes <i>De arte grammatica</i>. He was a successful imitator of Pigouchet and died in 1522. His widow Yolande, the daughter of Pasquier Bonhomme, continued the business until 1529 when her son Thielmann II took over until his death in 1557. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKLrGdub1B0XqCYnbX_N4SOI72g5CyO3ByC24aNv5jymeSuu3gWs2_uD7HOGZVp5Jd_7lFAvfCRiY6Q0g7yhi79EjGg455O-52zoSNoFDr0WW7pC0fjVp7JPRY4-7FTHHPMSD9/s1200/PARIS-KERVER-1510.JPG"><img height="320" data-original-height="1200" data-original-width="776" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKLrGdub1B0XqCYnbX_N4SOI72g5CyO3ByC24aNv5jymeSuu3gWs2_uD7HOGZVp5Jd_7lFAvfCRiY6Q0g7yhi79EjGg455O-52zoSNoFDr0WW7pC0fjVp7JPRY4-7FTHHPMSD9/s320/PARIS-KERVER-1510.JPG"/></a><br /> Catholic Church. Horae BVM ad usum Sarisburiensis. - Paris : Thielman Kerver for William Bretton, 1510. - 16 woodcuts. Bretton published six French printed books in London. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaJW-btVJSmxd-8Dws-Qv0EbA2ZiwsoxjxsZMFtqhbm5z6ycizOr7017yhkhpGO0j-TB7mCWE3BselKJkR7viwUqTrpgJdpwdr8mYz8ifXw4BOF5yhk2FcWlFxWuyH620FXV1/s1200/PARIS-KERVER-1503.JPG"><img height="320" data-original-height="1200" data-original-width="883" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiaJW-btVJSmxd-8Dws-Qv0EbA2ZiwsoxjxsZMFtqhbm5z6ycizOr7017yhkhpGO0j-TB7mCWE3BselKJkR7viwUqTrpgJdpwdr8mYz8ifXw4BOF5yhk2FcWlFxWuyH620FXV1/s320/PARIS-KERVER-1503.JPG"/></a><br /> Catholic Church. Horae BVM secundum usum Romanum. - Paris : Thielman Kerver, 1503. - Printer's device. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKGIYXhsVUe6ZQ_2uo53wDeBJPV4ybE9655OnRbsI_AmBhA5Whqoc_E7DVuPUXofPtn2IAqrwqOaCKcmxJ0sAZCbR1_yNbNBShPg4KPF0xXEECrnkQXv_kQIeyweO5fr_aL39K/s1200/PARIS-KERVER-1520.JPG"><img width="320" data-original-height="888" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKGIYXhsVUe6ZQ_2uo53wDeBJPV4ybE9655OnRbsI_AmBhA5Whqoc_E7DVuPUXofPtn2IAqrwqOaCKcmxJ0sAZCbR1_yNbNBShPg4KPF0xXEECrnkQXv_kQIeyweO5fr_aL39K/s320/PARIS-KERVER-1520.JPG"/></a><br /> Catholic Church. Horae BVM secundum usum Romanum. - Paris : Thielman Kerver, 1520. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7rQtZ2uHzbk2m0LFN5ByR-AFOp60_8tf44TQjmTmASPe3-6pvXy5-x4PWZv1Sy6BcgngW2-RuOWrEzGeKRTIazYngB0Ool71ScYRmIhj8RkUhxsYM3UhSQ6T5DrS64tspINM/s1200/PARIS-KERVER-1546.JPG"><img height="320" data-original-height="1200" data-original-width="824" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV7rQtZ2uHzbk2m0LFN5ByR-AFOp60_8tf44TQjmTmASPe3-6pvXy5-x4PWZv1Sy6BcgngW2-RuOWrEzGeKRTIazYngB0Ool71ScYRmIhj8RkUhxsYM3UhSQ6T5DrS64tspINM/s320/PARIS-KERVER-1546.JPG"/></a><br /> Colonna, Francesco. Hypnerotomachie de Poliphile. - Paris : Jacques Kerver, 1546. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJt5hn0oezW5u50KUel4gUlG4wGsrFrLyilRYhKrUaayQqmlZ8OfItsFEdtCEWzzvl7cfk7UcLlTSsPgXMDXnQdaYLHMg-pk0vd7waXOC5y2_jn1Ie0iJLuIdnCzZgB6NDB-2/s1200/PARIS-KERVER-1556.JPG"><img height="320" data-original-height="1200" data-original-width="656" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcJt5hn0oezW5u50KUel4gUlG4wGsrFrLyilRYhKrUaayQqmlZ8OfItsFEdtCEWzzvl7cfk7UcLlTSsPgXMDXnQdaYLHMg-pk0vd7waXOC5y2_jn1Ie0iJLuIdnCzZgB6NDB-2/s320/PARIS-KERVER-1556.JPG"/></a><br /> Catholic Church. Horae BVM secundum usum Romanum. - Paris : Thielman Kerver, 1556. - 14 woodcuts by Geoffrey Tory. <BR/>Copies: EWP archives. - </center><br />
The finest <i>Horae</i> were produced between 1490 and 1515, then there was a decline after Pigouchet ceased to work. It was a more conservative genre than most through its attempt to emulate manuscripts. The gothic type and grotesque medieval ornamentation survived for a ling time but after 1505 it lost its lightness and under German influence became overelaborate. </div><br /><div align="justify">
6. <b>Geoffry Tory</b> in 1525 published a book of hours printed by Simon de Colines in a new Renaissance style where decoration predominates over the religious. It contained delicate borders and illustrations engraved by Tory, refined, balanced but perhaps somewhat frigid. He also discarded gothic for roman type. It improved on the elaborate prayer books of the 1520s and made up for the vigour of the earlier <i>Horae</i> by its elegance. It was followed by several later editions and after Tory's death in 1533 the blocks were used by others. They were also much imitated, for example in the 1543 edition of Simon de Colines the borders used are ascribed to Tory and they also appear in a 1549 edition by Chauldière.
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha22JpzKJHF1kwzEwAPeRapkdEJCvGK951306zraWmFZpJDCmTvFeI29Y-33TYQzXuAb80lzWiDONis5p46R8IqmwPlEDiJ4r5JHqAgFDiXJ_j8j8WafxbASztc7p0aGN_jmWD/s1200/PARIS-TORY-1525.JPG"><img height="320" data-original-height="1200" data-original-width="836" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha22JpzKJHF1kwzEwAPeRapkdEJCvGK951306zraWmFZpJDCmTvFeI29Y-33TYQzXuAb80lzWiDONis5p46R8IqmwPlEDiJ4r5JHqAgFDiXJ_j8j8WafxbASztc7p0aGN_jmWD/s320/PARIS-TORY-1525.JPG"/></a><br /> Catholic Church. Horae BVM secundum usum Romanum. - Paris : Geofroy Tory, 1525. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNKLUIz5poQXvmykHZzLZKFjzbnIPOk5tnin3FQA8WvR0imCVV30ypEOrAPQ0Qbhx76OyMAEPhvnRDadGwFpfD8SC8DSHc04hGw8Xq7W8yhFHO819u_pMTXLlx9pmk8IyawoS/s1200/PARIS-TORY-1529.JPG"><img height="320" data-original-height="1200" data-original-width="724" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqNKLUIz5poQXvmykHZzLZKFjzbnIPOk5tnin3FQA8WvR0imCVV30ypEOrAPQ0Qbhx76OyMAEPhvnRDadGwFpfD8SC8DSHc04hGw8Xq7W8yhFHO819u_pMTXLlx9pmk8IyawoS/s320/PARIS-TORY-1529.JPG"/></a><br /> Catholic Church. Horae BVM secundum usum Romanum. - Paris : Geofroy Tory, 1529. - <BR/>Copies: EWP archives. - </center><br />
After 1550 the work lost popularity among the laity and publication ceased in 1568 when on 9 July Pius V issued an apostolic brief that the new revised breviary should be adopted as soon as copies were available and <i>horae</i> were no longer obligatory. By then more than 650 editions had been published, about 380 of them in Paris. </b></div><br /><div align="justify">
<B>Lyon</B> was the only significant French centre for printing outside Paris and received its first press in 1473. There were 160 printers by 1500, the majority of them German, in fact printers as a whole were referred to as "les allemands". The town was an important commercial centre on many trade routes. Merchants came from Germany, Italy and Spain and enjoyed the special patronage of Louis XI (1461-1483). Printers were extremely active with much piracy of Venetian and Parisian books. There was also much independent production, especially of light literature in the vernacular in contrast to the normal theological and scholarly texts of other centres, although some law books were produced for the Lyon law schools. French literature, chivalric romances, fables and histories flowed from the presses, also illustrated books, often employing the best artists. There was a strong influence of the German speaking area, especailly Basel, in the early production and illustration, for example in 1478 the <i>Miroir de la redemption</i> contained woodcuts imported from Basel and many printers worked for Koberger who had an agency there.</b></div><br /><div align="justify">
<b>Guillaume Le Roy</b> (Wilhelm König) was a native of Liege and seem to have had typographical links to Johann and Wendelin de Speyer in Venice. Around 1470 he was invited over by Bathelemy Buyer, a wealthy merchant and bachelor of law in Lyon and set up his presses in Buyer's house. It is Buyer's name alone which appears in the colophons. Le Roy is mentioned only three times during Buyer's lifetime, in 1473, 1477 and 1482. However Le Roy is accepted as the printer of 177 editions between 1473 and 1492, all but a handful in French. His earliest book is dated 17 September 1473, the <i>Compendium breve</i> by Cardinal Lotharius, later pope Innocent III, printed in a heavy gothic type. In 1476 on 18 April with Buyer he published the earliest dated book in French, Jacobus de Voragine's <i>Legenda aurea</i> translated by Jean de Vignay, a folio of 368 pages. On 4 April 1480 appeared the first French translation of Sir John Mandeville's <i>Itinerarium</i> and in 1481/2 Buyer's last and greatest undertaking, an eight part edition of Bartolus de Saxoferrato's commentaries on the "Corpus juris". The colophon describes Buyer's pains to obtain a good text and speaks of the "type and royal craftsmen William afforded for the work by the famous city of Venice". The type was designed by Ratdolt and Le Roy probably visited his workshop to improve his technique. </b></div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVexrqSLA80rrnGRTFIE64PjuAMsHQFD0QZ8K-vuxmXy8wumdUpX9fObkW2KUf97zT3ZXz8ex0hOfNqofhXHW8z1Km4yCF7oAw5m94ts2rDuok9XEF0IdzyiAGu3lfUdoU0ASq/s1200/LYON-LEROY-1486.JPG"><img height="320" data-original-height="1200" data-original-width="867" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVexrqSLA80rrnGRTFIE64PjuAMsHQFD0QZ8K-vuxmXy8wumdUpX9fObkW2KUf97zT3ZXz8ex0hOfNqofhXHW8z1Km4yCF7oAw5m94ts2rDuok9XEF0IdzyiAGu3lfUdoU0ASq/s320/LYON-LEROY-1486.JPG"/></a><br /> Lorris, Guillaume de. Roman de la rose. - Lyon : Guillaume Le Roy, [ 1486?]. - Popular verse romance. <BR/>Copies: EWP archives. - </center><br />
Buyer died in 1483 and Le Roy printed a number of popular French illustrated books after his death up to 1488, including the <i>Roman de la rose</i> and the <i>Aeniad</i> probably employing local artists for the illustrations. He was still living in 1493. </b></div><br /><div align="center">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVexrqSLA80rrnGRTFIE64PjuAMsHQFD0QZ8K-vuxmXy8wumdUpX9fObkW2KUf97zT3ZXz8ex0hOfNqofhXHW8z1Km4yCF7oAw5m94ts2rDuok9XEF0IdzyiAGu3lfUdoU0ASq/s1200/LYON-LEROY-1486.JPG"><img height="320" data-original-height="1200" data-original-width="867" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVexrqSLA80rrnGRTFIE64PjuAMsHQFD0QZ8K-vuxmXy8wumdUpX9fObkW2KUf97zT3ZXz8ex0hOfNqofhXHW8z1Km4yCF7oAw5m94ts2rDuok9XEF0IdzyiAGu3lfUdoU0ASq/s320/LYON-LEROY-1486.JPG"/></a><br />Lorris, Guillaume de. Roman de la rose. - Lyon : Guillaume Le Roy, [ 1486?]. - Popular verse romance. </div><br /><div align="center">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKtMwxT9Fei-vCGRliyrSKyG5lvwAihNC1nb1eZqHtyyFFCPVh_itf1N0fVY-xuCiYM35fe3K55pHHNsiOcd-q4c0w6mO1wOiwSZk7AwIQy6j_cX6b_gw_De1BGN9IRhKIdHN/s1200/LYON-HUSS-1499.JPG"><img width="320" data-original-height="895" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKtMwxT9Fei-vCGRliyrSKyG5lvwAihNC1nb1eZqHtyyFFCPVh_itf1N0fVY-xuCiYM35fe3K55pHHNsiOcd-q4c0w6mO1wOiwSZk7AwIQy6j_cX6b_gw_De1BGN9IRhKIdHN/s320/LYON-HUSS-1499.JPG"/></a><br /> <!TI Grande> La grant danse macabre. - Lyon : Matthias Huss, 1499. - First printed illustration of printing press. <BR/>Copies: EWP archives. - </center><br />
<b>Johann Trechsel</b> had studied in Erfurt and employed the humanist Josse Bade as proof reader. In 1493 his edition of Terence's comedies contained 150 woodcuts with a humorous feel, more German than French and is among the finest of French illustrated books.
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoS7nf1wdMLWFNsGAiYcqFjlE0rII2ubLMzANqSU4ffTzrdac_Tgf3Y0T22SnfVN1VdaiV0_R9HRyta6PoUECLFe7yUGLa0TUbd81qI72JDMrzxFUhpLOM6bZ23gVZdyUUn8Pu/s1200/LYON-TRECHSEL-1493A.JPG"><img height="320" data-original-height="1200" data-original-width="816" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoS7nf1wdMLWFNsGAiYcqFjlE0rII2ubLMzANqSU4ffTzrdac_Tgf3Y0T22SnfVN1VdaiV0_R9HRyta6PoUECLFe7yUGLa0TUbd81qI72JDMrzxFUhpLOM6bZ23gVZdyUUn8Pu/s320/LYON-TRECHSEL-1493A.JPG"/></a><br /> Terence. Comoediae. - Lyon : J. Trechsel, 1493. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuE6rpNUIsOJcO2y14o5ggJHL7UK0_dW79hBi9zK9HawHDaJsV2sDtKf88jE1oUiIB3CKwlWGVibGUSspidHJ7SZi4q9Lu-GTTFi3u7DCSYH0X2qQ0Y6FcLtb6Ask5L_iydFmr/s1200/LYON-TRECHSEL-1494.JPG"><img height="320" data-original-height="1200" data-original-width="757" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuE6rpNUIsOJcO2y14o5ggJHL7UK0_dW79hBi9zK9HawHDaJsV2sDtKf88jE1oUiIB3CKwlWGVibGUSspidHJ7SZi4q9Lu-GTTFi3u7DCSYH0X2qQ0Y6FcLtb6Ask5L_iydFmr/s320/LYON-TRECHSEL-1494.JPG"/></a><br /> Occam, G. de. Opera plurima. - Lyon : J. Trechsel, 1494-1496. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhb-0c4TEnbbDKfn8AUOurG1nBFMgvwNkIrU5JWcB50KCZvvV4_ZC72dJRqAsE5AEFcKhkNodrarQIxnxnlwl7xji6KY0q7nzVzHad5Td9scX1BYBm0aFBtlJAPM3KZcILqut/s1200/LYON-TRECHSEL-1494A.JPG"><img height="320" data-original-height="1200" data-original-width="795" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhb-0c4TEnbbDKfn8AUOurG1nBFMgvwNkIrU5JWcB50KCZvvV4_ZC72dJRqAsE5AEFcKhkNodrarQIxnxnlwl7xji6KY0q7nzVzHad5Td9scX1BYBm0aFBtlJAPM3KZcILqut/s320/LYON-TRECHSEL-1494A.JPG"/></a><br /> Occam, G. de. Opera plurima. - Lyon : J. Trechsel, 1494-1496. - Image of Jodocus Badius Ascensius who worked as proofreader and editor for Trachsel before setting up as printer in Paris. . <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuyblXaiYMdEGQmpPHTdZR7LLhL_vsD5Uft3300gnYnUuRB2YdeBIP3b2TunurkcjXzvPMHh95tqMRTZqGXbCuOeHnZ8XEIMe3b6UPO9VO4V8QmgTaHrZwWR9xZi-WJE6cqcbZ/s1200/LYON-NOURRY-1509.JPG"><img height="320" data-original-height="1200" data-original-width="807" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuyblXaiYMdEGQmpPHTdZR7LLhL_vsD5Uft3300gnYnUuRB2YdeBIP3b2TunurkcjXzvPMHh95tqMRTZqGXbCuOeHnZ8XEIMe3b6UPO9VO4V8QmgTaHrZwWR9xZi-WJE6cqcbZ/s320/LYON-NOURRY-1509.JPG"/></a><br /> <!TI Dialogus> Dialogus creaturarum. - Lyon : Claude Nourry, 1509. - Bestiary first published Gouda : Gerard Leeu 1480. <BR/>Copies: EWP archives. - </center><br />
Trechsel died in 1498 and the business was continued by Johann Klein who married the printer's widow. He printed until 1528 and was succeeded by Trechsel's sons Melchior and Kaspar who commissioned two series of designs by Hans Holbein which were cut in wood by Lützelberger:</b></div><br /><div align="justify">
1. <i>Les simulacres et historiés faces de la mort</i> a version of the dance of death. </b></div><br /><div align="justify">
2. <i>Historiarum veteris instrumenti icones</i> (1538) used to illustrate works by Michael Servetus, the Spanish theologian, physician, cartographer, and Renaissance humanist. The Trechsels had printed his edition of Ptolemy's geography in 1535. He was the first European to correctly describe the function of pulmonary circulation, as discussed in <i>Christianismi Restitutio</i> (1553) which was published in the relative obscurity of Vienne by Balthasar Arnoullet.</div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFl-ifzcqnCfNh9TL4P9VJD_HCvHT-rb15EQY-Y2KJrJ3VQL7eQEBKPLvtbZUqQgHSKY6p9rj3-kB5bmftkd4gs7neYxV38iVaokIvSkrjQyVOgGp7NPr1ZIvqNkjkPiWjUFG1/s1200/LYON-TRECHSEL-1538.JPG"><img height="320" data-original-height="1200" data-original-width="899" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFl-ifzcqnCfNh9TL4P9VJD_HCvHT-rb15EQY-Y2KJrJ3VQL7eQEBKPLvtbZUqQgHSKY6p9rj3-kB5bmftkd4gs7neYxV38iVaokIvSkrjQyVOgGp7NPr1ZIvqNkjkPiWjUFG1/s320/LYON-TRECHSEL-1538.JPG"/></a><br /> Holbein, Hans. Icones historiarum Veteris Testamenti. - Lyon : J. Trechsel, 1538. - Woodcuts by Hans Holbein the younger. <BR/>Copies: EWP archives. - </center><br />
In 1553 he was denounced as a heretic for this work and was imprisoned in Vienne by the Catholic authorities. He escaped to Geneva where he was arrested after attending a sermon by Calvin. Servetus had managed to fall foul of both the Protestants and the Catholics. Calvin and other ministers asked that he be beheaded instead of burnt, but his plea was refused and on 27 October, Servetus was burnt alive on a pyre of his own books. Most copies of the heretical work were destroyed and its existence was apparently unknown to William Harvey when he published <i> Exercitatio Anatomica de Motu Cordis et Sanguinis in Animalibus</i> in Frankfurt in 1628. This is just one example of the Lyon printers becoming entangled with those who espoused controversial and dangerous views. During the investigation in 1553, Lyonese printer Jean Frellon confessed to the French Inquisition that Michael Servetus had been working at his print shop, and had translated for him, among other works, several Latin grammar treatises to Spanish, and a “somme espagnole” and other works by Servetus had also been printed in Lyon. </div><br /><div align="justify">
<b>Sebastian Greyff</b> (or Gryphius - his device was a griffon) was the son of the printer Michael Greyff of the Swabian imperial city of Reutlingen from 1478. Born in 1493, he worked in Venice and by 1524 had settled in Lyon invited there, it seems, by members of the Compagnie des libraires. In November 1532 he obtained letters of naturalisation. His editions of the classical writers rivalled those of Aldus Manutius. He printed the scientific works of François Rabelais, notably his editions of Galen and Hippocrates in 1532. In 1538 he printed the poems of Clement Marot. He employed Étienne Dolet as corrector in his workshop in 1534 and was the first printer of his writings, his <i>Commentariorum linguae Latinae</i> appearing in 1536. He was the author of numerous prefaces and dedicatory epistles. He died in September 1556 after producing more than 1600 editions in Greek, Latin, Hebrew, Italian and French and was succeeded by his widow Françoise Miraillet and his son Antoine Gryphius under the style of "Héritiers de Sébastien Gryphius". </div><br /><div align="justify">
<b>François Juste</b> was active from 1524 to 1547, producing 139 editions, but is best known as the first printer of François Rabelais most famous works. <i>Gargantua</i> first appeared in 1534 with later editions by Juste in 1535, 1537 and 1542. The author claimed that more copies were sold in two months than Bibles in nine years. <i>Pantagruel</i> had appeared with Claude Nourry in 1532 and was followed by five counterfeit editions before Juste published the second edition in 1533 with a definitive edition in 1542. <i>Le tiers livre</i> was first published in Paris by Chrestien Wechel in 1546, <i>Le quart livre</i> in 1548. By then it had become common property and Pierre de Tours was the main Lyon printer to publish collected editions of this most popular of French writers. </div><br /><div align="justify">
<b>Etienne Dolet</b> was born in Orléans in 1508 and started his studies at the age of twelve. He soon became engaged in religious controversy, neither completely in the Catholic nor Protestant camp, but fled to Lyon where between 1534 and 1538 he was corrector for Gryphius. In 1536 François I gave him a ten year privilege to print his own books or those supervised by him. He set up his press in 1538 and printed Clement marot's Calvinist satire <i>L'enfer</i> and other heretical tracts, many written by himself, a total of 128 editions 50 of them in 1542. On his birthday 3 August 1546 in the Place Maubert in Paris he was tortured and burned at the stake. He had been arrested for publishing a translation of a dialogue attributed to Plato denying the immortality of the soul. He has been seen as a martyr of the Renaissance and a statue was erected to him in 1889. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvceJ-E1yrChdqxNOQsIFxUPpULLhdIY62aQydks_K83BagA1KbEPMZMJHoWscNOSsXQvTGSBB4mknm5evABj2ksLnMjMkIasjBsqpPqpCwR21rKTppYM065rKdAGcSjds2NOV/s1200/LYON-DOLET-1538.JPG"><img height="320" data-original-height="1200" data-original-width="803" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvceJ-E1yrChdqxNOQsIFxUPpULLhdIY62aQydks_K83BagA1KbEPMZMJHoWscNOSsXQvTGSBB4mknm5evABj2ksLnMjMkIasjBsqpPqpCwR21rKTppYM065rKdAGcSjds2NOV/s320/LYON-DOLET-1538.JPG"/></a><br /> Dolet, Etienne. Carminum libri quatuor. - Lyon : Etienne Dolet, 1538. - First book with Dolet's imprint. Denounced as heretical. <BR/>Copies: EWP archives. - </center><br />
Lyon was remote from the Paris schoolmen and the town was widely considered as the true intellectual capital of France with a stong streak of humanism and Protestantism. It also became the home of one of the first type foundries to specialise in the supply of types to other printers. Robert Granjon moved to Lyon about 1556 although already in 1546 he had supplied an italic fount to a Lyon printer for a work on the astrolabe illustrated by Bernard Salomon.</div><br /><div align="justify">
<b>Jean de Tournes the elder</b> (1504–1564) was the printer in question. Born in Lyon in 1504, we was apprenticed to the Trechsels and was later foreman for Greyff. He started to set up his own press about 1540 and in 1542 his first book appeared <i>Le chevalier chrestien</i>. He was connected with the literary salon of Lyon presided over by Louis Labé. In 1555 he published her only book, containing fine sonnets in the Petrarchian manner. He also published the works of Clément Marot. He was a fine designer, probably inspired by Tory but greatly indebted to Bernard Salomon for his decorations. In 1554 André Thevet's <i>Cosmographie du Levant</i> contained 27 cuts by "le petit Bernard" and in 1557 Salomon provided 178 vignettes for Ovid's <i>Metamorphose figurée</i>. Salomon was especially noted for his his virtuosic arabesques, which were copied in Paris, Antwerp, Venice and London. They were reduced to units of cast tye by Granjon and became a major form of decoration for a century or more. </div><br /><div align="justify">
From 1559 Jean de Tournes was the imprimeur du Roi and more than 600 editions are recorded from his press. He died of the plague in 1564.
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<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBiYHl3sIIERnZ9j1f7YQCBJHlFYsw1vmEG2BTmw9U7Nnzk7VTLSohqeVSFiO4_auiVYJ-Z-A8hmRP1jD15IjX7_puMiyp6jr0eovoYhWyzTMlq37Y5QnILQZ-Fgyqo6Io_pF/s1200/LYON-TOURNES-1557.JPG"><img height="320" data-original-height="1200" data-original-width="859" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihBiYHl3sIIERnZ9j1f7YQCBJHlFYsw1vmEG2BTmw9U7Nnzk7VTLSohqeVSFiO4_auiVYJ-Z-A8hmRP1jD15IjX7_puMiyp6jr0eovoYhWyzTMlq37Y5QnILQZ-Fgyqo6Io_pF/s320/LYON-TOURNES-1557.JPG"/></a><br /> Paradin, Claude. Devises heroiques. - Lyon : Jean de Tournes and Guillaume Gazeau, 1557. - 182 woodcut emblems. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTJkgCz54ah5xho3mqAXfDYVh7hdX7DrdFuThppXjZPzvv21xRBp-a2o0nD5nW10Pp9Hyg6Sjs0Ul5cViasVr-QoQoi316f_s3oRkj9NvUjUB7xkZd-Em43xnRRz3nFWP5rIfC/s1200/LYON-TOURNES-1547.JPG"><img height="320" data-original-height="1200" data-original-width="777" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTJkgCz54ah5xho3mqAXfDYVh7hdX7DrdFuThppXjZPzvv21xRBp-a2o0nD5nW10Pp9Hyg6Sjs0Ul5cViasVr-QoQoi316f_s3oRkj9NvUjUB7xkZd-Em43xnRRz3nFWP5rIfC/s320/LYON-TOURNES-1547.JPG"/></a><br /> Marguerite de Navarre. Marguerites de la Marguerite des princesses. - Lyon : Jean de Tournes, 1547. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtqn744ph8WnWd5lpsj6LsXTh9AsLcfPS9pcuktXtKnaDeImVhJLvjZU5jefN3RI3Qe3hY8KtjbD6WSNFmGRAlF1Gp3c9rW6LCu4lztevl3M_4boP8K1hUrPnsUitBi-bpM-G/s1200/LYON-TOURNES-1554.JPG"><img height="320" data-original-height="1200" data-original-width="857" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJtqn744ph8WnWd5lpsj6LsXTh9AsLcfPS9pcuktXtKnaDeImVhJLvjZU5jefN3RI3Qe3hY8KtjbD6WSNFmGRAlF1Gp3c9rW6LCu4lztevl3M_4boP8K1hUrPnsUitBi-bpM-G/s320/LYON-TOURNES-1554.JPG"/></a><br /> Peletier, Jacquies. L' algebre. - 1st edition. - Lyon : Jean de Tournes, 1554. - One of first practical books on algebra. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG6UqwxA9mupArDhBavxiRPOHdlKC983cARWdAG61_agyBt1fSdl56p0VGH0hM-BmYxtlG8fmBeB3K8KYbypPiDC8tuBw3wkCIQuoYtj-_6vBHRIwJZT0VV4YULTDciCEBI6VN/s1200/LYON-TOURNES-1556.JPG"><img height="320" data-original-height="1200" data-original-width="771" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG6UqwxA9mupArDhBavxiRPOHdlKC983cARWdAG61_agyBt1fSdl56p0VGH0hM-BmYxtlG8fmBeB3K8KYbypPiDC8tuBw3wkCIQuoYtj-_6vBHRIwJZT0VV4YULTDciCEBI6VN/s320/LYON-TOURNES-1556.JPG"/></a><br /> Acturarius, Ioannes. De actionibus et spiritus animalis affectibus. - Lyon : Jean de Tournes, 1556. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidQbPiow1-o-T5FRY8bX_AgHRfvKqLwWBLYNyBmvLBZxLxWOJCsVeYqeqFeO8szV1wXLnpk-7D257LnHxZxna4kKfM_yFDEkMbJrYXR0ppGvuBDJJ_TsUZwQhZJvnLXSYGdAFW/s1200/LYON-TOURNES-1556A.JPG"><img height="320" data-original-height="1200" data-original-width="840" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidQbPiow1-o-T5FRY8bX_AgHRfvKqLwWBLYNyBmvLBZxLxWOJCsVeYqeqFeO8szV1wXLnpk-7D257LnHxZxna4kKfM_yFDEkMbJrYXR0ppGvuBDJJ_TsUZwQhZJvnLXSYGdAFW/s320/LYON-TOURNES-1556A.JPG"/></a><br /> Labé, Louise. Euvres. - Revues & corrigees par ladite dame. - Lyon : Jean de Tournes, 1556. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1lW253i_eQeCdtyULFCB0WlfXmp_uxSmzUK7sXaGnoxRcADMzM5lpuXqiecoit-ealyU3e07woxntFZJKXNlnHlTbhMKUriPBZkRZ2T4PdgMMdoWkxT6pcrWq0pEAxsSM-t0U/s1200/LYON-TOURNES-1557A+%25282%2529.JPG"><img height="320" data-original-height="1200" data-original-width="781" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1lW253i_eQeCdtyULFCB0WlfXmp_uxSmzUK7sXaGnoxRcADMzM5lpuXqiecoit-ealyU3e07woxntFZJKXNlnHlTbhMKUriPBZkRZ2T4PdgMMdoWkxT6pcrWq0pEAxsSM-t0U/s320/LYON-TOURNES-1557A+%25282%2529.JPG"/></a><br /> Ovid. Les métamorphoses […] figurées. - Lyon : Jean de Tournes, 1557. - Woodcuts by Bernard Salomon. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMoPi3lCPxXBn2I6-ZgldlaoWdneZImZL0NPUWHOSklmMR1zCkyobjuf5NhmuIHO9i2h1K3zv62dCFOj087qgrb58m25UBFfs6rKyhb-kMYON-xJzPU6gAEDLRfVDkXNOmHOBH/s1200/LYON-TOURNES-1557A.JPG"><img height="320" data-original-height="1200" data-original-width="757" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMoPi3lCPxXBn2I6-ZgldlaoWdneZImZL0NPUWHOSklmMR1zCkyobjuf5NhmuIHO9i2h1K3zv62dCFOj087qgrb58m25UBFfs6rKyhb-kMYON-xJzPU6gAEDLRfVDkXNOmHOBH/s320/LYON-TOURNES-1557A.JPG"/></a><br /> Ovid. Les métamorphoses […] figurées. - Lyon : Jean de Tournes, 1557. - Woodcuts by Bernard Salomon. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpLEuHVof7Cv_95IGV3cG70sG1Gq8NyTovdRwqpDnnZIVPjKUWSvuxJZ4QMJvz0dchBGLF5Etd-vbydyOt4_AmrwMkDg4n2o_bK5wwftjCPtQ8iA6GooQDP1Si89G4lbNZfyJn/s1200/LYON-TOURNES-1558.JPG"><img height="320" data-original-height="1200" data-original-width="785" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpLEuHVof7Cv_95IGV3cG70sG1Gq8NyTovdRwqpDnnZIVPjKUWSvuxJZ4QMJvz0dchBGLF5Etd-vbydyOt4_AmrwMkDg4n2o_bK5wwftjCPtQ8iA6GooQDP1Si89G4lbNZfyJn/s320/LYON-TOURNES-1558.JPG"/></a><br /> Bible. Biblia sacra. - Lyon : Jean de Tournes, 1558. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDsZvp0xUHcLHRV2xebTuhGvOaLn5JVFLwECdaAqaA3n5mR8VcUTx21N4XlPMDE6htnbCipzPeyqpHQ9grTXHUSsVZcbIkVp4QusnapjmpuHgZpwuukDzCS_qtDD7SekvcLPt/s1200/N-TOURNES-1558A.JPG"><img height="320" data-original-height="1200" data-original-width="759" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRDsZvp0xUHcLHRV2xebTuhGvOaLn5JVFLwECdaAqaA3n5mR8VcUTx21N4XlPMDE6htnbCipzPeyqpHQ9grTXHUSsVZcbIkVp4QusnapjmpuHgZpwuukDzCS_qtDD7SekvcLPt/s320/N-TOURNES-1558A.JPG"/></a><br /> Lyon : TOURNES : 1558A. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9WZpyuuSN1cK1fMuTq7Os9xKWG1vwF3FmUpkxt3kayXRBFMJYp4F80K2nGBSd6r0wPxvqe3xbj6lQ6WjA2U62pgDpl7rFsCwi9OSpRnwquNK3DAirqF_Jn1YqTszXCq2yPI2/s1200/LYON-TOURNES-1558B.JPG"><img height="320" data-original-height="1200" data-original-width="775" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK9WZpyuuSN1cK1fMuTq7Os9xKWG1vwF3FmUpkxt3kayXRBFMJYp4F80K2nGBSd6r0wPxvqe3xbj6lQ6WjA2U62pgDpl7rFsCwi9OSpRnwquNK3DAirqF_Jn1YqTszXCq2yPI2/s320/LYON-TOURNES-1558B.JPG"/></a><br /> Marot, Clement. Clement Marot. - Lyon : Jean de Tournes, 1558. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObHx_6Q_i_9T-Xkx4EuDQEIicHMF3vQhbUrqe5_ccOcDUzmm-7RfpAdcbPMsrHt8hQTaoh2_tqUdumfzUhwZyUQTSRWULmYErEuQH_forgZjBonk3cv2UEL5tWPbiiyBjwbnk/s1200/LYON-TOURNES-1563.JPG"><img height="320" data-original-height="1200" data-original-width="807" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhObHx_6Q_i_9T-Xkx4EuDQEIicHMF3vQhbUrqe5_ccOcDUzmm-7RfpAdcbPMsrHt8hQTaoh2_tqUdumfzUhwZyUQTSRWULmYErEuQH_forgZjBonk3cv2UEL5tWPbiiyBjwbnk/s320/LYON-TOURNES-1563.JPG"/></a><br /> Calendrier> Calendrier historial. - Lyon : Jean de Tournes, 1563. - <BR/>Copies: EWP archives. - </center><br />
<b>Jean de Tournes the younger</b> (1539-1615) continued his his father's business in Lyon from 1564 to 1585 when, because of his Protestant faith he was forced to move to Geneva, where he died. </div><br /><div align="justify">
The final lustre of Lyons printing came from the decorations of Salomon, the types of Granjon and the presswork of the De Tournes family, but it was finally outdone by the overpowering competition of Paris. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVDi0G_2rEk-KbPuZnXKnYV62nd8FT14f9XyTh_-KX6jt8LM1P1Spxdfajo-U-i1sAoE0z5OdYQ2taNEHfq51pDIltAS36LTygedz-HATMunc9omGwg4nyNPa4Lq18P5emaFsh/s1200/LYON-ROUILLE-1561.JPG"><img height="320" data-original-height="1200" data-original-width="842" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVDi0G_2rEk-KbPuZnXKnYV62nd8FT14f9XyTh_-KX6jt8LM1P1Spxdfajo-U-i1sAoE0z5OdYQ2taNEHfq51pDIltAS36LTygedz-HATMunc9omGwg4nyNPa4Lq18P5emaFsh/s320/LYON-ROUILLE-1561.JPG"/></a><br /> Henry VIII. Assertio spetem sacramentorum. - Lyon : Guillaume Rouille, 1561. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEYqjRfiQOdLl5TX67ba1iUE2geyjtSIUTOXLEYNhgA-QdYnsNoCEHje-F3BhL_kAB0XFZa3H30KNmXb7MkJh_bYd0wmAtZt7f88QZQ7b4JKiRf8gbVZtbmKuRSGCEbsUrXEtM/s1200/LYON-ROUILLE-1577.JPG"><img height="320" data-original-height="1200" data-original-width="824" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEYqjRfiQOdLl5TX67ba1iUE2geyjtSIUTOXLEYNhgA-QdYnsNoCEHje-F3BhL_kAB0XFZa3H30KNmXb7MkJh_bYd0wmAtZt7f88QZQ7b4JKiRf8gbVZtbmKuRSGCEbsUrXEtM/s320/LYON-ROUILLE-1577.JPG"/></a><br /> Simeoni G. Figure de la Biblia. - Lyon : Guillaume Rouille, 1577. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlcJ4fpOOcnyXGh6oiRdcV2NPlQApUx2EYGqaoLOFQIVOafTx_69vlY651zfPx-C1KaZf0hNUzJP1KqGvk5jCCQTIA5VRKNF2CQ0xzeVQ80F3wzTsJfvJV10Ix0wCdKdI-6O0g/s1200/LYON-GRANJON-1557.JPG"><img height="320" data-original-height="1200" data-original-width="734" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlcJ4fpOOcnyXGh6oiRdcV2NPlQApUx2EYGqaoLOFQIVOafTx_69vlY651zfPx-C1KaZf0hNUzJP1KqGvk5jCCQTIA5VRKNF2CQ0xzeVQ80F3wzTsJfvJV10Ix0wCdKdI-6O0g/s320/LYON-GRANJON-1557.JPG"/></a><br /> Ringhier, Innocent. Dialogue de la vie et la mort / traduit en francoyse par Jehan Louveau. - Lyon : Robert Granjon, 1557. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJuo7iVLjxZaEpH0A-4hC6JP4h5aM2fOcwUUDznifRM_EySKdAxsQxu9rZOLGJ9-qodfk9s6mQ_oNie5ZmHHX3bZaR6BE2_yYQAX2zX7-a5CS2M4-MpG21P_xz4wbO8w6CKfFO/s1200/LYON-GRANJON-1558.JPG"><img height="320" data-original-height="1200" data-original-width="845" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJuo7iVLjxZaEpH0A-4hC6JP4h5aM2fOcwUUDznifRM_EySKdAxsQxu9rZOLGJ9-qodfk9s6mQ_oNie5ZmHHX3bZaR6BE2_yYQAX2zX7-a5CS2M4-MpG21P_xz4wbO8w6CKfFO/s320/LYON-GRANJON-1558.JPG"/></a><br /> Gueroult, Guillaume. Le premier livre des narrations fabuleuses avec les discours de la verite et histoire d'icelles / traduit par Guillaume Gueroult, Lyon : Robert Granjon, 1558. - Granjon's small civilité type. <BR/>Copies: EWP archives. - </center><br />
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Typography's golden age is seen by many as occurring in 16th-century France. About the turn of the century the taste for medieval forms declined and was replaced by the atmosphere of the Italian Renaissance. The way was pioneered by Vérard but he was followed by scholar printers who helped to develop a French brand of classicism. Paris was ideally situated to become the centre of book production in this golden age. It was removed from the violent centre of the religious Reformation but minds were still quickened by it. The Sorbonne was conservative and in decline but the campaigns of François I in Italy between 1514 and 1544 brought him into contact with the ideals of Renaissance scholarship which he fosterd. However he was strongly opposed to Protestantism, so intellectual freedom in the 16th century had to flourish as best it may under the shadow of the state. The primary typographical influence came from Venice, with Basel also playing an important role, and there was an enthusiasm in Paris for the Renaissance both in the church and the court, leading to the development of a local style. </div><br /><div align="justify">
<b>Jodocus Badius Ascensius</b> (1462-1537) was born in Ghent and lived his early life at Aasche near Brussels. He studied in Italy and became a proof reader for Johann Trechsel in Lyon. He married Trechsel's daughter Thalia. On the death of Trechsel he left for Paris in 1499 where he set up as a printer and a teacher of classics. He produced a series of ancient and modern authors including early editions of Erasmus. He was also the first publisher of the great Greek scholar Guillaume Budé and also published the first French edition of Sebastian Brant's <i>Ship of fools</i>. Within five years his business had gained wide recognition. He designated his printing office as the Praelum Ascensianum and from 1507 used the image of a printing press as his device, an edition of the works of Baptista Mantuanus being perhaps the earliest example. It was recut several times, including 1520 and 1529, vith various errors in the depiction of the mechanics of the press. </div><br /><div align="justify">
The USTC credits him with more than 1,000 imprints, many of them large format volumes. His daughter Perette married Robert Estienne and on Bade's death the firms merged. Three other daughters also married printers, his brother and son Conrad were also printers. Conrad moved to Geneva following his conversion to Calvinism. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUiGR7JLXELKDKsBi2MpI6fC6Q6vb_6b-qHSg0ej60jpQAq7xvMinq7bbWDRWOUZmuD8t8uOuHfUNUGK7FwzYRbuW6_O5QJERNiNSyXN8XgLKrayGD3gV51fna7NavkKOpSjVl/s1200/PARIS-BADIUS-1532.JPG"><img height="320" data-original-height="1200" data-original-width="898" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUiGR7JLXELKDKsBi2MpI6fC6Q6vb_6b-qHSg0ej60jpQAq7xvMinq7bbWDRWOUZmuD8t8uOuHfUNUGK7FwzYRbuW6_O5QJERNiNSyXN8XgLKrayGD3gV51fna7NavkKOpSjVl/s320/PARIS-BADIUS-1532.JPG"/></a><br /> Gellius, A. Noctium Atticorum libri undeviginti. - Paris : Jodocus Badius Ascenius, 1532. - Printer's device. <BR/>Copies: EWP archives. - </center><br />
<b>Geoffroy Tory</b> (1480?-1533) was one of the most versatile men associated with printing. He was a craftsman, theoretician, author, poet and reformer. In a very short space of time he brought about the transition from gothic to classical style. He was born and studied at Bourges, and later at Rome. His scholastic ability brought him a professorship at the Collège de Plessis in Paris where he taught philosophy and edited the classics. In Paris he met Henri Estienne for whom he worked as editor. He spent much of his spare time engraving letters and ornamental borders. So successful was he that he gave up his professorship and went to Italy in 1516 to study design. He returned to Paris in 1518 as an illuminator but later abandoned this for wood engraving at which he was soon a master. He registered as a bookseller and began work on a book of hours in the classical style which was printed for him by Simon de Colines in 1525. Following this he designed other borders for Simon de Colines and also cut an italic fount.
In 1523 he began his work on the French language and type design. He opposed the introduction of Latin words and was anxious to reform spelling. He introduced the accent, apostrophe, and cedilla. He also believed that letter shapes should be based on the proportions of the human body and that the ideal capital letter must combine these proportions. In 1529 his <i>Champfleury</i> was printed for him by Gilles de Gourmont. It is made up of theree books. The first extolls the French language and suggests improvements while the second and third expound his theories on type design, breaking away from manuscript traditons and illustrated with excellent woodcuts.
In 1529 he became a licensed printer, his first book being a 16mo book of hours dated 8 February 1529. In 1530 he was appointed imprimeur du Roi by François I but he did not have long to enjoy his new status as he died in 1533. </div><br /><div align="justify">
He was pre-eminent as a maker of woodcuts and gathered around him an infuential school, influenced by Italy but with a distinctive style. He also produced a series of initial letters with different weights to match a range of type sizes and designs. His delicacy and taste is manifested in the design of his printer's device, the famous "pot cassé", a broken pot pierced by a wimble (toret in French) with the motto <i>Non plus</i>, commemorating the death of his brilliant ten-year old daughter. A mark like the cross of Lorraine, interpreted as "TT", which appears on some of his engravings as well as those by other hands, has been seen as the mark of a studio founded by Tory. </div><br /><div align="justify">
As a result of Tory's work, books produced in Paris appeared with lighter typefaces and with lighter decorations. The heavy types, initials and ornaments used by Josse Bade under the influence of Basel were discarded by his son-in-law and successor Vascosan. </div><br /><div align="justify">
<b>The Estienne family</b> was perhaps the most famous dynasty of scholar printers, also known by the Latin form of their name: Stephanus. </div><br /><div align="justify">
<b>Henri Estienne</b> (1460?-1520) was born in Provence and founded the firm in about 1502 by taking over the business of Jean Higman whose widow Guyenne Viart he had married in 1501. From 1496 to 1502 he had been associated with Wolfgang Hoypl but now he printed his first book independently, Aristotle's <i>Etics</i>. He mainly produced scholarly editions of Greek and Latin classics with his chief advisor being Jacques Lefevre d'Etaples (Faber Stpulensis), a teacher of Calvin and a leading French scholar of the Greek language. His editions of commentaries of the Psalms (1507) the <i>Psalterium quintuplex</i> (1509), and the Pauline epistles (1512) first subjected biblical studies to philological methods. He employed Tory for his later editions. He gave full credit to his editors in his colophons and assumed personal reponsibility for any errors. He died in 1520 after producing 160 editions, including <i>De sectis medicorum, Georgio Valla interprete, libellus. Alexandri Aphrodisci ... de febribus / eodem interprete. Hippocratis de natura humana / Andrea Bre¯tio ... interprete</i>, Giorgio Valla's translations of Galen and other medical writers, in 1518. Apart from his scholarship, his publications show skill in combining the best features of French and Italian typography. </div><br /><div align="justify">
<b>Simon de Colines</b> was the foreman of Henri Estienne and ran the press after his retirement. On his death his widow Guyenne Viart took him as her third husband and he continued to work for the family while his second son Robert, who was only seventeen when his father died, finished his apprenticeship. He then continued the business until his death in 1546. He was a skilled craftsman and scholar, mainly producing editions of the classics, often working with Tory, Robert Estienne, and Michel de Vascosan, a son-in-law of Joss Bade and printer to the King, who died in 1577. Simon de Colines introduced the principles of the Aldine press to France, producing cheap 16mo editions of the classics. He was also influenced by Tory in exclusvely using roman and italic founts. He printed Tory's books of hours from 1525 and Tory designed many of his initials and borders and possibly his italic fount. He employed Garamond as his punchcutter and typographical advisor. Colines designed excellent greek types with accents with which he printed fourteen works and also a roman type employed by Robert Estienne to print Augustine Sylvius's Latin-French dictionary in 1531. He was the first French printer to set a book entirely in italic and in all produced more than 800 editions according to the USTC, many of them illustrated. They included the classics (Horace and Martial in the Aldine style) but also natural sciences, cosmology and astrology. He printed the French translation of the <i>Colloquia</i> of Erasmus in 1527, forbidden by the Sorbonne, but Colines simply suppressed the title in order to dispose of a large edition of 2,400 copies. He was no mere copier of the Venetians; his title-pages avoid the standardisation of the Aldines and are sometimes decorated with delicate borders, giving them a distinctively French feel. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO4_TxIMRys9n5XZtnbcFeJTsEoopAqXkuto1bUx0QRk8NEg3Jq5sStP1L1FF6aKhYYvC7bhOouXOnxrV_mdjCGjDs3Q2bDEHsNmQCe6Z8fXCSzbqDdVgCnazLOfoEUGOpXOvy/s1200/PARIS-COLINES-1529.JPG"><img height="320" data-original-height="1200" data-original-width="867" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO4_TxIMRys9n5XZtnbcFeJTsEoopAqXkuto1bUx0QRk8NEg3Jq5sStP1L1FF6aKhYYvC7bhOouXOnxrV_mdjCGjDs3Q2bDEHsNmQCe6Z8fXCSzbqDdVgCnazLOfoEUGOpXOvy/s320/PARIS-COLINES-1529.JPG"/></a><br /> Lactantius. De opificio Dei. - Paris : Simon de Colines, 1529. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQXcEXmgbI_sN_odNjzZFTluYU1wQGFgRq0SQyef937RwIhJ6CYZ_NERMIGMT11sQhmiBsAt1wKyxcW0XY-FemYfm5yhK0fFqerTLgMgwao4e8a_RiwT0vCrgbLYQUjVwgNT8d/s1200/PARIS-COLINES-1534.JPG"><img height="320" data-original-height="1200" data-original-width="884" src="https://1.bp.blogspot.com/-znHgQ4xvDFo/X8vcYnrmj3I/AAAAAAAALr8/xCOYnSgjR Vo3GllRBLHorUDjpdqTklUWgCLcBGAsYHQ/s320/PARIS-COLINES-1534.JPG"></a><br /> Finé, Oronce. Quadrans astrolabicus. - Paris : Simon de Colines, 1534. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1I2USpL-stoRWz7sN4vQuEaTi2EjFFJw9O8JOcqJePAIn2men27IbkFjzmOdjUdJTZkPCt7H9_0gYZ4r4MMmCP17LMOY72CH3V_K5vjphmOF7WOwX30GEJKqcTkUgb50le94G/s1200/PARIS-COLINES-1539.JPG"><img height="320" data-original-height="1200" data-original-width="785" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1I2USpL-stoRWz7sN4vQuEaTi2EjFFJw9O8JOcqJePAIn2men27IbkFjzmOdjUdJTZkPCt7H9_0gYZ4r4MMmCP17LMOY72CH3V_K5vjphmOF7WOwX30GEJKqcTkUgb50le94G/s320/PARIS-COLINES-1539.JPG"/></a><br /> Horatius Flaccus, Quintus. Odarum sive carminum libri quatuor. - Paris : Simon de Colines, 1539. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWr5kgIJUfy9vUlNKeJkt65qqY9wC82rd7SL4ul4U9ciZ23QvADrqNXnW0KIkBLm3t1sOkvcC-dCT9f9x-qFDVfhoKWddLMKV952LovOsAiJPEL2oBJSB9kK6rvFVw4vVlxnXO/s1200/PARIS-COLINES-1541.JPG"><img height="320" data-original-height="1200" data-original-width="836" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWr5kgIJUfy9vUlNKeJkt65qqY9wC82rd7SL4ul4U9ciZ23QvADrqNXnW0KIkBLm3t1sOkvcC-dCT9f9x-qFDVfhoKWddLMKV952LovOsAiJPEL2oBJSB9kK6rvFVw4vVlxnXO/s320/PARIS-COLINES-1541.JPG"/></a><br /> Millaeus, Boius Sylvigniacus. Praxis criminus persequendi. - Paris : Simon de Colines, 1541. - 13 woodcuts showing stages of criminal proceedings. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj4gmIJ1nBJG3uQeq-ufNmTXOuZOxmITuEyYqitjiT3u8ZWDVuR2QSh995dcut_JuDhUgcHqJoTB69UrXz2JO21rYUd5IJ0QmppHpQXYJI7x9s5BtljC0sEyt_mEWCNMpbO2F_/s1200/PARIS-COLINES-1541A.JPG"><img height="320" data-original-height="1200" data-original-width="824" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj4gmIJ1nBJG3uQeq-ufNmTXOuZOxmITuEyYqitjiT3u8ZWDVuR2QSh995dcut_JuDhUgcHqJoTB69UrXz2JO21rYUd5IJ0QmppHpQXYJI7x9s5BtljC0sEyt_mEWCNMpbO2F_/s320/PARIS-COLINES-1541A.JPG"/></a><br /> Millaeus, Boius Sylvigniacus. Praxis criminus persequendi. - Paris : Simon de Colines, 1541. - 13 woodcuts showing stages of criminal proceedings. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8lG81jijidcjHMZ3GUesHWv0Xxi40f8SFbcWyJ3fQB3FfpFkS1ZuRfEtZLABcDqCa9cRxgvTiBinLRMGoRIptmtPyKPjnbYvc2fUNO5xRuMejecMnU9NhY09_-tXwhyphenhyphenqnEeY/s1200/PARIS-SN-1542.JPG"><img height="320" data-original-height="1200" data-original-width="797" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd8lG81jijidcjHMZ3GUesHWv0Xxi40f8SFbcWyJ3fQB3FfpFkS1ZuRfEtZLABcDqCa9cRxgvTiBinLRMGoRIptmtPyKPjnbYvc2fUNO5xRuMejecMnU9NhY09_-tXwhyphenhyphenqnEeY/s320/PARIS-SN-1542.JPG"/></a><br /> Finé, Oronce. De mundi spheara. - Paris : Simon de Colines, 1542. - Woodcut of Urania and the author. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh96eG8A6lhW8LeP6TcJ36Z0gts4BRsW8OsLbTn_7Zg5a6tVebmXlB6rr6d6nUFX6l3Hp4gT3xSyzHhk-HiuGrDM18IFv02xoWVnWZRyZKfnRFAdpdKwyV6adWn8ib0sAq6irFw/s1200/PARIS-COLINES-1544.JPG"><img height="320" data-original-height="1200" data-original-width="891" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh96eG8A6lhW8LeP6TcJ36Z0gts4BRsW8OsLbTn_7Zg5a6tVebmXlB6rr6d6nUFX6l3Hp4gT3xSyzHhk-HiuGrDM18IFv02xoWVnWZRyZKfnRFAdpdKwyV6adWn8ib0sAq6irFw/s320/PARIS-COLINES-1544.JPG"/></a><br /> Finé, Oronce. Quadratura circuli. - Paris : Simon de Colines, 1544. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZF9ZY5hSn_CCdyEeKD7REM2cOWGIRxVBKfF3c3OFqRMoXWWRdJTqUlaUk7s4Mv3urZ8CMffMNmkYXdNftmOBsbQKtyFz2gHKbHH8P3-RgYv71-liHTZIBsx1E5hMAa0kQCd1/s1200/PARIS-COLINES-1546.JPG"><img height="320" data-original-height="1200" data-original-width="855" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDZF9ZY5hSn_CCdyEeKD7REM2cOWGIRxVBKfF3c3OFqRMoXWWRdJTqUlaUk7s4Mv3urZ8CMffMNmkYXdNftmOBsbQKtyFz2gHKbHH8P3-RgYv71-liHTZIBsx1E5hMAa0kQCd1/s320/PARIS-COLINES-1546.JPG"/></a><br /> Estienne, Charles. La dissection des parties du corps, Paris : Simon de Colines, 1546. - Printer's device. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9JPMhIDTgdhEE5ztRhvmoC32dCuXUPXTmCbOcfFQxJVIC_7rTBuSEiw0O_3Gsilj1jr2cnMX3zrYJSQAEtDVpsdftpPgu6mmzc7lmKhi7sUj5axAFHk04PcNX8NAzDeYY8sdI/s1200/PARIS-COLINES-1546A.JPG"><img height="320" data-original-height="1200" data-original-width="760" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9JPMhIDTgdhEE5ztRhvmoC32dCuXUPXTmCbOcfFQxJVIC_7rTBuSEiw0O_3Gsilj1jr2cnMX3zrYJSQAEtDVpsdftpPgu6mmzc7lmKhi7sUj5axAFHk04PcNX8NAzDeYY8sdI/s320/PARIS-COLINES-1546A.JPG"/></a><br /> Estienne, Charles. De dissctione partium corporis humani. - Paris : Simon de Colines, 1546. - Illustrations cut by Geofroy Tory after Mercure Jollat and Estienne de La Riviere. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqOI0hoKzd87-lUGujo-yBJHCJAQFgruB-ZscSzUd9Rf8mOairlsLj87DQ7BwiLXnvMdEYg3E07moWWSV0rc0YHTjhun35pKKnnM1mhGS5f6B0OkKYy9E4GjBkNOPu3D0XCDfN/s2048/PARIS-COLIES-1548.JPG"><img height="320" data-original-height="2048" data-original-width="1430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqOI0hoKzd87-lUGujo-yBJHCJAQFgruB-ZscSzUd9Rf8mOairlsLj87DQ7BwiLXnvMdEYg3E07moWWSV0rc0YHTjhun35pKKnnM1mhGS5f6B0OkKYy9E4GjBkNOPu3D0XCDfN/s320/PARIS-COLIES-1548.JPG"/></a><br /> Sacrobusco, J. Textus de sphaera / illustrated by Oronce Finé. - Paris : Simon de Colines, 1548. - <BR/>Copies: EWP archives. - </center><br />
<b>Robert Estienne</b> (1503-1559) was born in Paris, the second son of the famous humanist printer Henri Estienne. After Henri's death in 1520, the printing establishment was maintained by his former partner Simon de Colines who married Robert's mother, Henri's widow. Robert completed his apprenticeship with Simon de Colines and set up on his own in 1524. He had gained a sound knowledge of printing and an interest in classical scholarship. In 1526 he married Perette Bade, daughter of the printer Josse Bade, who brought a good dowry and probably scholastic ability. She spoke Latin, and that became the language of communication in the establisment, even by the children and servants, as ten nationalities sat down to table.
In Paris became renowned for his numerous editions of grammatical works and other schoolbooks, including many of Melanchthon's, and of classical and patristic authors, such as Dio Cassius, Cicero, Sallust, Julius Caesar, Justin, and Socrates. Many of these, especially the Greek editions, printed with typefaces made by Claude Garamond, were famed for their typographical elegance. The first printed editions published by Robert Estienne were eight in number: Eusebius of Caesarea (1544–1546), Manuel Moschopulus (1545), Dionysius of Halicarnassus (1547), Alexander of Thrales (1548), Dio Cassius (1548), Justin Martyr (1551), Xiphilinus (1551) and Appian (1551). The last was completed, after Robert's departure from Paris, by his brother Charles and appeared under his name. These editions, mostly in folio, are esteemed for their beauty. Robert also printed numerous editions of Latin classics, of which the folio Virgil of 1532 is probably the most noteworthy. He printed a large quantity of Latin grammars and other educational works, many of which were written by Maturin Cordier, his colleague in the cause of humanism.</div><br /><div align="justify">
Scarcely out of his apprenticeship he had edited in 1523 he had edited the New Testament, incorporating amendments by Erasmus. He later introduced verse divisions, which incurred the wrath of the Sorbonne. In later editions of the Bible in Latin, Greek and Hebrew he also employed critical methods to restore texts. The faculty of theology, entrenched in orthodoxy, complained "knowledge of the Greek and Hebrew languages would operate to the destruction of all religion". Estienne, associated with Faber Stapulensis (Jacques le Fevre d'Etaples), was more liberal. Estienne was attacked from the pulpits, his work was hampered, his house searched several times and he was obliged to seek sanctuary in the church. In almost all cases he was able to disprove heresy and prove their inability to translate Greek. He always strove for accuracy and was accustomed to hang up proof sheets in front of his shop and give rewards for people discovering erors. This quest for accuracy was maintained despite continuing conflict with the authorities.</div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihWNhQSeW5bTlQCBx1AzS6KHzegwG6WjbLtF4oNQYMb6jc1KzgChLbnk3L8zHW3W336jOpQM5uFe37Q4AG-I21Rmq-2G0-09i1nyEdzN4agcYT-NHKtWJHe6-cNfDUPUKvkPEZ/s1922/PARIS-ESTIENNE-1528.JPG"><img height="320" data-original-height="1922" data-original-width="1235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihWNhQSeW5bTlQCBx1AzS6KHzegwG6WjbLtF4oNQYMb6jc1KzgChLbnk3L8zHW3W336jOpQM5uFe37Q4AG-I21Rmq-2G0-09i1nyEdzN4agcYT-NHKtWJHe6-cNfDUPUKvkPEZ/s320/PARIS-ESTIENNE-1528.JPG"/></a><br /> Hutte, Ulrich von. Ars versificatoria. - Paris : Robert Estienne, 1528. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXUepp75lyKZSeL8lVTcb7iwlVgbqviHGZQADv1YYS5o_AczHH7aQTIxeSSbNIKz0fUEQS2G2RyQZna9Ktg7IAZGm2xnnwe8uMOUnZ-sEM9ntDycE6ir03hfhCq_UM590lQQcs/s1200/PARIS-ESTIENNE-1531.JPG"><img height="320" data-original-height="1200" data-original-width="874" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXUepp75lyKZSeL8lVTcb7iwlVgbqviHGZQADv1YYS5o_AczHH7aQTIxeSSbNIKz0fUEQS2G2RyQZna9Ktg7IAZGm2xnnwe8uMOUnZ-sEM9ntDycE6ir03hfhCq_UM590lQQcs/s320/PARIS-ESTIENNE-1531.JPG"/></a><br /> Sylvius. Isagoge. - Paris : Robert Estienne, 1531. - With St Augustine Sylvius type designed by Simon de Colines. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiz-XBkqzVlSHnivbmN27vx6MXduqVhAzd_wxDx8WI6uBr4U8rpeJ14_fMK5miWiw70g15Mz7XogCXRM0ptHwS2sbqNDEnKXPSJZszW4-xQ5XTq1ByPk7_YM1x4jeRwXG3HROP/s1200/PARIS-ESTIENNE-1535.JPG"><img height="320" data-original-height="1200" data-original-width="838" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiz-XBkqzVlSHnivbmN27vx6MXduqVhAzd_wxDx8WI6uBr4U8rpeJ14_fMK5miWiw70g15Mz7XogCXRM0ptHwS2sbqNDEnKXPSJZszW4-xQ5XTq1ByPk7_YM1x4jeRwXG3HROP/s320/PARIS-ESTIENNE-1535.JPG"/></a><br /> Budé, Guillaume. De transitu hellenismi ad christianismum. - Paris : Robert Estienne, 1535. - <BR/>Copies: EWP archives. - </center><br />
His editions of the Bible combine his classical instincts with christian devoutness. The Vulgate was published in 1527-1528, with later editions in, 1532, 1540 and 1546. An edition of the Old Testament appeared in 1539-1541 with a revised edition in 1544-1546. There was also a superb <i>Biblia sacra</i> in 1533 in a fount based on Aldine roman probably cut by Garamond. In all he published eleven editions of the complete Bible, eight in Latin. Twice he published the entire Hebrew Bible: in 13 vols. quarto, 1539-43 and in 10 vols. sextodecimo 1544–46. He also published twelve New Testaments, five in Greek including editions in 1546, 1549 and 1550, five in Latin and two in French. His editions, especially that of 1546 which also contained a new French translation, were the subject of sharp and acrimonious criticism from the clergy.</div><br /><div align="justify">
He compiled Latin, Greek and Hebrew dictionaries, which are probably his greatest achievement. His monolingual <i>Thesaurus linguae latinae</i> first appeared in 1531 and was several times revised with a second edition in 1536, and a third in 1543. In 1538 he published his Latin-French <i>Dictionarium latino-gallicum</i> with a second edition in 1536 and the third, the culminationof his work in this field in 1552. Its partner <i>Dictionnaire françois-latin</i> appeared in 1539, the second edition in 1549 and new editions by Thierry, Dupuys, Nicot, Stoer, Marquis, Poille and others from 1564 to 1628. He also published an abridged version for beginners <i>Dictionariolum puerorum latino-gallicum</i> in 1542 with many later editions. He has been called the father of modern lexicography and his works were widely pirated.</div><br /><div align="justify">
He was designated royal printer in Hebrew and Latin by François I, a patron of learning, but also with the intention of protecting him from the ecclesiatical authorities. Royal partonage amounted almost to a personal friendship. François lavished care on printing that other monarchs spared for treasures or mistresses but he remained aware of the power of printing to influence or promote government opinion. Already in 1527 he had justified government policy in a pamphlet <i>Lettres de François Ier au Pape</i> which demonstrates a slanted view typical of many later government publications. Estienne printed several other "blue papers" explaining the reasons for the alliance of the catholic François with the Turkish sultan in 1536 and also with Charles V with whom he was often at war. </div><br /><div align="justify">
In 1539 he adopted as his device an olive branch around which a serpent was twined, and a man standing under an olive-tree, with grafts from which wild branches were falling to the ground, with the motto Noli altum sapere, sed time (Be not high-minded, but fear - Epistle to Romans 11, 20). </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvjJO4x4AD4h8_F_SOdEQ4iJHtQN273KiPyY35X4Tywwy7Ue_U3TqUAqh2eCzcardSuNxZ1g8eg4BhWkdr_QqwkOd98BeQgZMCtw4KxafBoQy59IH3ARB19PsKpZ7EdLny9COo/s1200/PARIS-ESTIENNE-1544.JPG"><img height="320" data-original-height="1200" data-original-width="834" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvjJO4x4AD4h8_F_SOdEQ4iJHtQN273KiPyY35X4Tywwy7Ue_U3TqUAqh2eCzcardSuNxZ1g8eg4BhWkdr_QqwkOd98BeQgZMCtw4KxafBoQy59IH3ARB19PsKpZ7EdLny9COo/s320/PARIS-ESTIENNE-1544.JPG"/></a><br /> Eusebius. Evangelicae praeparationis. - Paris : Robert Estienne, 1544. - Printer's device. <BR/>Copies: EWP archives. - </center><br />
In 1540 Conrad Néobar, royal printer in Greek, died. The post was given to Robert Estienne. Since 1538 he had given a copy of every French book he printed to the royal library, forming the basis of a copyright library. In 1539 François promulgated a code of regulations for printers including the banning of any printer's mark that might be confused with another. </div><br /><div align="justify">
In 1543 appeared the <i>Alphabeum graecum</i>, an octavo in 16 leaves showing the celebrated greek types for the first time. Tese were cut by Garamond based on the hand of the Cretan scribe Angelos Vergetios. The first book in which it was used was the <i>Ecclesiastical history</i> of Eusebius in 1544 and it was followed by the first editions of several Greek authors to 1551. </div><br /><div align="justify">
In 1547 the death of François I deprived him of his patron. In December of that year the Privy Council of Henri II on the advice of the Sorbonne banned editions of Estienne's Latin Bible that had appeared between 1527 and 1546. In 1548 Estienne obtained a guarantee of immunity but in 1551 he moved to Geneva, the home of Calvin and a place of refuge for Protestants.
On his arrival at Geneva, renounced Catholicism and set up a new printing press. He had taken his greek matrices with him. Later, when thay were required for further casting in the time of Louis XIII, they had to be redeemed for 3,000 livres, as the grandson of the printer had pawned them. He published a defence against the attacks of the Sorbonne and in 1551 a new edition of the Greek New testament. This 1551 edition contains the Latin translation of Erasmus and the Vulgate, is not nearly as fine as the other three typographically but it was in this edition that the division of the New Testament into verses was introduced. He also issued the French Bible in 1553 and many of John Calvin's writings, including the finest edition of the <i>Institutio</i> in 1553. His fine edition of the Latin Bible with glosses (1556) contained the translation of the Old Testament by Santes Pagninus and the first edition of Theodore Beza's Latin edition of the New Testament. He was made a citizen of Geneva and died there 7 September 1559. </div><br /><div align="justify">
Although he was mainly interested in scholarship, he was also keen on good design and helped to free typography from hampering medieval traditions. Many of his books were printed in types designed by Claude Garamonde with ornaments, initials and borders by Tory. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCuF0AdtC7_M4lc2VVmxpm7HXYKEnO7djhTrbpB09DCpyMYKSXY0KbJGX6JQvegC-PLPN18Vy52jCG09ZnTzQbEdnIPu-tgoP4pCX8QhP2GggJyR7PJYRjb2I49asbX0PJ5lHB/s1200/PARIS-ESTIENNE-1536-1.JPG"><img height="320" data-original-height="1200" data-original-width="798" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCuF0AdtC7_M4lc2VVmxpm7HXYKEnO7djhTrbpB09DCpyMYKSXY0KbJGX6JQvegC-PLPN18Vy52jCG09ZnTzQbEdnIPu-tgoP4pCX8QhP2GggJyR7PJYRjb2I49asbX0PJ5lHB/s320/PARIS-ESTIENNE-1536-1.JPG"/></a><br /> Estienne, Robert. Dictionarium, seu latinae linguae thesaurus. - Parisiis : ex officina Roberti Stephani, 1536. - Title page. <BR/>Copies: Exeter Library: d1536, Script to print exhibition 1999. </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrWyEjybkVRkUZkt8l_ojwPTpQqPXeZHPVIDwGRVGQ0B_-q41gpWf2RzM2IIr62E5BDaSaIzoic4fZ-TqOE7AO87TuiExidMWQhNba7nOo7EIy8ic36dUueJnA_NDpQTGWJfb2/s1200/PARIS-ESTIENNE-1536-2.jpg"><img height="320" data-original-height="1200" data-original-width="785" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrWyEjybkVRkUZkt8l_ojwPTpQqPXeZHPVIDwGRVGQ0B_-q41gpWf2RzM2IIr62E5BDaSaIzoic4fZ-TqOE7AO87TuiExidMWQhNba7nOo7EIy8ic36dUueJnA_NDpQTGWJfb2/s320/PARIS-ESTIENNE-1536-2.jpg"/></a><br /> Estienne, Robert. Dictionarium, seu latinae linguae thesaurus. - Parisiis : ex officina Roberti Stephani, 1536. - Start of letter B. <BR/>Copies: Exeter Library: d1536, Script to print exhibition 1999. </center><br />
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<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiax2wzGhif20DMQ6AW5IfieFxnlOh_aQLQ2Q_XUJWiXaeQiuHvmjhBkCqfGCwlQyOH4bOHIVxidJdRtRPqgsK79XLySYDPSSSIAidXYqyUk17kfqup1Po7OJMSH25GtQ4tMrEf/s1200/PARIS-ESTIENNE-1549.JPG"><img height="320" data-original-height="1200" data-original-width="858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiax2wzGhif20DMQ6AW5IfieFxnlOh_aQLQ2Q_XUJWiXaeQiuHvmjhBkCqfGCwlQyOH4bOHIVxidJdRtRPqgsK79XLySYDPSSSIAidXYqyUk17kfqup1Po7OJMSH25GtQ4tMrEf/s320/PARIS-ESTIENNE-1549.JPG"/></a><br /> Giovio, Paul. Vitae duodecim vicecomitum Mediolani principum. - Paris : Robert Estienne, 1549. - Biographies. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vNJojKzaWf4tTfoAoMaPvvT5QCMF17ImloSDjuODAUrJf83ifka-927fJpElLa2YlONlAT8wvG7kmcyinqZnncIvXo8OZSR9lZORS74mFKvqtNS-MqjvocrwWCga3Ql_aJQh/s1200/PARIS-ESTIENNE-1549A.JPG"><img height="320" data-original-height="1200" data-original-width="701" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0vNJojKzaWf4tTfoAoMaPvvT5QCMF17ImloSDjuODAUrJf83ifka-927fJpElLa2YlONlAT8wvG7kmcyinqZnncIvXo8OZSR9lZORS74mFKvqtNS-MqjvocrwWCga3Ql_aJQh/s320/PARIS-ESTIENNE-1549A.JPG"/></a><br /> Baif, Lazare. Annotationes [..] de re navale. - Paris : Robert Estienne, 1549. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd57vgaLMLGbvVZrZFvoeYTgbzFeJqJFtTRd1TsB6SRiZOfp7A_HzFbVvkWYrgIfVZDwoOGDPPNfm5qvS81hd4x4DHczNbgx9ittdUS3aU6d7bdqSHvRp73fe07cV1QSdSZiZ0/s1200/PARIS-ESTIENNE-1549B.JPG"><img height="320" data-original-height="1200" data-original-width="862" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd57vgaLMLGbvVZrZFvoeYTgbzFeJqJFtTRd1TsB6SRiZOfp7A_HzFbVvkWYrgIfVZDwoOGDPPNfm5qvS81hd4x4DHczNbgx9ittdUS3aU6d7bdqSHvRp73fe07cV1QSdSZiZ0/s320/PARIS-ESTIENNE-1549B.JPG"/></a><br /> Giovio, Paul. Vitae duodecim vicecomitum Mediolani principum. - Paris : Robert Estienne, 1549. - 10 wooduct portraits attibuted to Geoffroi Tory. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmAapii_qjfJCBeLrwUJ2QdC8BFveb3zdQzatp2ZSelFaGSOypO8SA8B1lF3RvJj2KxbRpOKi_v4-4qZrSFr75n2hTJRTlswLfg5You3BxNHDprSzAI6BwuncKV-f-eKCFAPr/s1200/PARIS-ESTIENNE-1569.JPG"><img height="320" data-original-height="1200" data-original-width="777" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHmAapii_qjfJCBeLrwUJ2QdC8BFveb3zdQzatp2ZSelFaGSOypO8SA8B1lF3RvJj2KxbRpOKi_v4-4qZrSFr75n2hTJRTlswLfg5You3BxNHDprSzAI6BwuncKV-f-eKCFAPr/s320/PARIS-ESTIENNE-1569.JPG"/></a><br /> <!TI Tombeau> Tumbeau de tres haulte, tres puissante et tres catholique princesse Madame Elisabeth de france. - Paris : Robert Estienne, 1549. - <BR/>Copies: EWP archives. - </center><br />
Three of Robert's sons, Henri, Robert [2], and François [2], became celebrated as printers.</div><br /><div align="justify">
<b>François Estienne I</b> (1502?-1553), the older brother of Robert I, was a Parisian bookseller who distributed the publications of his brothers. In 1542 he was ordered to surrender prohibited books in his possession. </div><br /><div align="justify">
<b>Charles Estienne</b> (1504-1564) was the younger brother of Robert. When the firm split on Robert's departure for Geneva he took over the Paris branch in 1551, remaining a Catholic. He had received a classical education, studied medicine and became a doctor at the faculty of medicine in the Sorbonne. He was noted for his learning, compiling works on medicine, agriculture and pedagogy from ancent authors. However the Estiennes were in disfavour, so the title of royal printer of Greek was transferred not to Charles but to Adrien Turnèbe. On the latter's retirement in 1555 it transferred to Guillaume Morel to whom he had already passed the greek types in 1551. Morel continued as imprimeur du Roi pour le grec until his death in 1564, while Charles Estienne had to contant himself with the more colourless title of imprimeur du Roi. He published the complete works of Cicero in 1555 and a <a href="https://gallica.bnf.fr/ark:/12148/bpt6k102662d.image"><i>Guide des chemins de France</i></a> in 1552, the first printed road book, with lively comments about bad roads infested by brigands, good wine, plentiful oysters, probably the result of personal experiences on his business trips. In 1553 the encyclopaedic <i>Dictionarium historicum et poeticum</i> appeared. However the business failed in 1561 and in 1564 he died in a debtors' prison. Robert said of him that he possessed the attributes of being the best printer and having the worst temper of the family. </div><br /><div align="justify">
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZyJ-MYpHMGFEQntfQpg6nRc2kkBmgYiY8fvO2scFrchclNvucIY_D-7GOMq_gj-BJXHCiTwnYjbzxPV27AFi_5E6f-2ObfK2GAK6BUagjz_nU9r6D0NyJV3m7FYA-yj2VyXO/s1200/PARIS-ESTIENNE-1551.JPG"><img height="320" data-original-height="1200" data-original-width="725" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwZyJ-MYpHMGFEQntfQpg6nRc2kkBmgYiY8fvO2scFrchclNvucIY_D-7GOMq_gj-BJXHCiTwnYjbzxPV27AFi_5E6f-2ObfK2GAK6BUagjz_nU9r6D0NyJV3m7FYA-yj2VyXO/s320/PARIS-ESTIENNE-1551.JPG"/></a><br /> Appian. Roman history. - Paris : Charles Estienne, 1551. - Printed with Garamond's grecs du Roi. <BR/>Copies: EWP archives. - </center><br />
<b>François Estienne II</b> (1537?-1590?), the fourth son of Robert I printed on his own account in Geneva from 1562 to 1582, issuing a number of editions of the Bible in Latin and French, and some of Calvin's works. He absented himself fom Geneva to avoid debts from 1569 and retired to Normandy in 1582.
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<b>Henri Estienne II</b> (1528?-1598) was probably the most learned member of the family. A precocious child, he finished his education early and travelled in Italy, England and the Netherlands conversing with learned men and collecting manuscripts. He took over the press in Geneva on the death of his father Robert in 1559. He produced numerous editions of the classics, many edited by himself from newly discovered manuscripts. They included first editions of works by Anacreon, Plutarch, Diodorus Siculus (books 11-20 which he himself had discovered). In 1572 appeared the <i>Thesaurus linguae graecae</i> in five folio volumes, an immense labour which impaired his health and fortune but is still used by scholars. His <i>Apologie pour Hérodote</i> (1556), perhaps his most famous work, caused Estienne trouble in Geneva. Ostensibly designed to show how the strange stories in Herodotus are paralleled by equally strange ones in modern times, it is bitterly satirical of his own age. It was popular with readers but not with the Consistory of Geneva. He was arrested, tried and forced to cancel the offending passages. He was in trouble again in 1578 when he published <i>Deux dialogues du nouveau langage françois</i>, a defense of pure French against Italianizing innovations. The Genevan authorities seized part of the edition and Henri returned to Paris where he continued to print the classics and in 1579 Henri III awarded him a pension of 300 livres. His book in praise of the French language was printed in Paris in 1579. He seems to have wandered in search of new patrons from 1583 and conducted his affairs in exile. He died in Lyon on his way back to Paris in 1598. </div><br /><div align="justify">
<b>Robert Estienne II</b> (1530?–1571?), son of Robert refused to abandon the Catholic faith and began to print in Paris in 1556, receiving the title of Typographus regius in 1563 after his uncle Charles ceased printing. His presses issued largely official documents. As he held to the Catholic faith he won the support of Charles IX on his succession in 1560. By 1563 he appears to have fully reconstituted his father's establishment in Paris. His edition of the New Testament of 1568–1569, a reprint of his father's first edition rivals it in typographical elegance.</div><br /><div align="justify">
<b>Paul Estienne</b> (1566-1637) maintained the scholarly reputation of the Geneva branch by co-operation with the Geneva philologist Isaac Casaubon, his brother-in-law, but he fell foul of the authorities and was banished in 1605 because of his participation in the conspiracy in favour of the Duke of Savoy. He fled to Paris, returned to Geneva from 1620 to 1627, then returned again to Paris, where he died. </div><br /><div align="justify">
<b>Antoine Estienne</b> (1592-1674) returned to the old faith and was rewarded with the title of "imprimeur du Roi et gardien des matrices grecques". However his business was not always successful. He was bankrupt in 1630 and endured several spells in prison for debt between 1633 and 1636. He seems to have ceased printing in 1664 and died in the Hôtel-Dieu in Paris, blind, infirm, and ruined in 1674. Thus ended rather ignominiously a family tradition that spanned the age of uncunabula and the Imprimerie royal of Louis XIII. The Estienne family active as booksellers in Paris in the 18th centruy are not related. </div><hr />
<b>Other works and illustrations not incorporated in the main section</b><hr />
<b>Benoît Prévost. </b> Printed in 1555 Pierre Belon's <i>Le second livre de la nature des oyseaux</i>. - [A Paris : Chez Guillaume Cauellat, devant le college de Cambray, a` l'enseigne de la Poulle grasse?], 1555. 2°. - Hand-coloured plates, contemporary ms notes. "Imprime a Paris par Benoist Preuost" on verso of final leaf. Pierre Belon (1517–1564) was a French traveller, naturalist, writer and diplomat. Ivan Pavlov called him the "prophet of comparative anatomy". Born at the hamlet of Souletière near Cérans-Foulletourte, he was apprenticed to an apothecary at Foulletourte. About 1535 he worked as an apothecary to the bishop of Clermont, Guillaume Duprat. He travelled through Flanders and England, taking a keen interest in zoology. Returned to Auvergne, supported by René du Bellay, bishop of Le Mans, to study at Wittenberg with the botanist Valerius Cordus (1515—1544) with whom he travelled around Germany. On arrival at Thionvillehe was arrested on suspicions that he was a Lutheran. Around 1542 he studied medicine at Paris. He beacam apothecary to Cardinal François de Tournon under whose patronage, he undertook extensive scientific voyages including to Greece, Crete, Asia Minor, Egypt, Arabia and Palestine, and returned 1546-1549. In Rome he was in the household of Cardinal de Tournon for the Papal conclave in 1549-1550, when he met the naturalists Guillaume Rondelet and Hippolyte Salviani. He returned to Paris with notes and began to publish. He travelled in northern Italy, Savoy, the Dauphiné and Auvergne in 1557. A typical renaissance scholar, he took an interest in "all kinds of good disciplines": zoology, botany and classical antiquity. He wrote several scientific works of considerable value, particularly <i>L'Histoire de la nature des oyseaux</i> (1555) where he included two figures of the skeletons of humans and birds marking the homologous bones. This is widely cited as one of the earliest ideas on comparative anatomy and is found in "one of the earliest books dealing entirely with birds". Other works include: <i>Histoire naturelle des estranges poissons</i> (1551), on fish, <i>De aquatilibus</i> (1553), <i>De arboribus coniferis, resiniferis aliisque semper virentibus</i> (1553), a basic text on conifers, pines and evergreens, <i>De admirabili operi antiquorum et rerum suspiciendarum praestantia</i> (1553), on the funerary customs of antiquity, including mummification and <i>Les observations de plusieurs singularitez et choses memorables trouvées en Grèce, Asie, Judée, Egypte, Arabie et autres pays étrangèrs</i> (1553) based on remarkable things observed during his travels.
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<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGiF2WjHm0hfY5TuSGMjDXcLDHLLZIqSQy8CXOCCkKWSLS38o8oxRIaEfILdxOtECds8bcUJM-AlawZYnlstsP3DnLR_YHH_ZFsVZXTJGnAknM5Sj9MBF3A7X8-S0ERLnjgNZ1/s1200/PARIS-COUTEAU-1531.JPG"><img height="320" data-original-height="1200" data-original-width="839" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGiF2WjHm0hfY5TuSGMjDXcLDHLLZIqSQy8CXOCCkKWSLS38o8oxRIaEfILdxOtECds8bcUJM-AlawZYnlstsP3DnLR_YHH_ZFsVZXTJGnAknM5Sj9MBF3A7X8-S0ERLnjgNZ1/s320/PARIS-COUTEAU-1531.JPG"/></a><br /> Bouchard, Alain. Chroniques annales des pays d'Angleterre. - Paris : Anthoine Cousteau for Jehan Petit, 1531. - Woodcut of King Arthur's duel. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpzFhwy9kSzuAAR-uOInHKK8ZBlhErnYTMDKhTg9ddcnB8UXAm7tKQKlS4xzFEOFo7j4ZP4gsYpKl6_ro_uo3OKO1IxEYjqOvnN2qXN9H6lACd9yTMfKX8KU0frA8SUO5p5z0c/s1200/PARIS-MAHEU-1535.JPG"><img width="320" data-original-height="956" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpzFhwy9kSzuAAR-uOInHKK8ZBlhErnYTMDKhTg9ddcnB8UXAm7tKQKlS4xzFEOFo7j4ZP4gsYpKl6_ro_uo3OKO1IxEYjqOvnN2qXN9H6lACd9yTMfKX8KU0frA8SUO5p5z0c/s320/PARIS-MAHEU-1535.JPG"/></a><br /> Catholic Church. Martyrologium, use of Paris. - Paris : Didier Maheu for Ambroise Girault, 1535. - Publisher's device. Red and black, gothic type. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwhi9vxUojAmYGg4DHLp9bM7oDZ11LvXBii-Sxh1js3W2hyZmrhhvYbiIupjceE3AxY2Hx7FqvRcMg_fTPwIXxATKIMLXFCMr4r6bra28OEp6mzf1D4O5csMD7OIc0jq5aVogn/s1200/PARIS-GRANJON-1519.JPG"><img height="320" data-original-height="1200" data-original-width="882" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwhi9vxUojAmYGg4DHLp9bM7oDZ11LvXBii-Sxh1js3W2hyZmrhhvYbiIupjceE3AxY2Hx7FqvRcMg_fTPwIXxATKIMLXFCMr4r6bra28OEp6mzf1D4O5csMD7OIc0jq5aVogn/s320/PARIS-GRANJON-1519.JPG"/></a><br /> Leuchettus, Franciscus. In Jo. Duns Sco[ti] primo, secundo et tertio et quolibetis clarissima commentaria. - Paris : Jean Granjon, 1519. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijx7JN9xDMPe3xOmg3TohgPULozzOklunlC_P-QLYp6P1g7jbZsZ05bxJq-e5hApErY8-qcaqPHcsjT8CS843BSnPYXl0FBq6k1L0_vlfwPaLlKW8rpxU3D9rlltnQYGSO8UYr/s1200/PARIS-GROULEAU-1548.JPG"><img height="320" data-original-height="1200" data-original-width="815" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijx7JN9xDMPe3xOmg3TohgPULozzOklunlC_P-QLYp6P1g7jbZsZ05bxJq-e5hApErY8-qcaqPHcsjT8CS843BSnPYXl0FBq6k1L0_vlfwPaLlKW8rpxU3D9rlltnQYGSO8UYr/s320/PARIS-GROULEAU-1548.JPG"/></a><br /> Amadis de Gaulle. Le premier livre. Paris : Estienne Groulleau, 1548. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY20MC8KntwZD9axCT0VebuNBFESbpbAwBpcKF6Wb-1gt5UknUEl4L5mh1C-EheiZGYEGeSj5LnUnug2XfKFDUZrkQVTVm3kzqWXyLsJASDesGROhr7crNSpY4k-W7e6XV7acC/s1200/PARIS-WOLF-1492.JPG"><img height="320" data-original-height="1200" data-original-width="863" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY20MC8KntwZD9axCT0VebuNBFESbpbAwBpcKF6Wb-1gt5UknUEl4L5mh1C-EheiZGYEGeSj5LnUnug2XfKFDUZrkQVTVm3kzqWXyLsJASDesGROhr7crNSpY4k-W7e6XV7acC/s320/PARIS-WOLF-1492.JPG"/></a><br /> Cassiodorus, Marcus Aurelius. De regimine ecclesie primitive tripartita. - Paris : George Wolf, [ 1492?]. - Hain-Copiner 4570. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8w2m3SpQa8wj2rhfaq5yF66JlPz3IpZf-VvCkB6RCEKw1s35BijRMrd-HhXlBWVp-OiAshDnfXZCELhbsFiym4_Fzh2pGpdNPlCs0u_ouFWQ7NnxWSC1qqnGNxvIjid0VIPNS/s1200/PARIS-FEZANDET-1547.JPG"><img height="320" data-original-height="1200" data-original-width="701" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8w2m3SpQa8wj2rhfaq5yF66JlPz3IpZf-VvCkB6RCEKw1s35BijRMrd-HhXlBWVp-OiAshDnfXZCELhbsFiym4_Fzh2pGpdNPlCs0u_ouFWQ7NnxWSC1qqnGNxvIjid0VIPNS/s320/PARIS-FEZANDET-1547.JPG"/></a><br /> Catholic Church. Horae BVM ad usum Romanum. - Paris : M. Fezandat, 1547. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUEIBpNbHhowSEfDTYIBtjou9iTmcDrBCAVsy8QBM_ttQDU6E6kLVw6O5KyCy-q8ZOBfqO7airluDwWLd0j1l6DXFmgFwij2JY1AqHR2DGYjM9CcEXcml1P8b3MfkgubS0NNp/s1200/PARIS-MASSELIN-1554.JPG"><img width="320" data-original-height="948" data-original-width="1200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVUEIBpNbHhowSEfDTYIBtjou9iTmcDrBCAVsy8QBM_ttQDU6E6kLVw6O5KyCy-q8ZOBfqO7airluDwWLd0j1l6DXFmgFwij2JY1AqHR2DGYjM9CcEXcml1P8b3MfkgubS0NNp/s320/PARIS-MASSELIN-1554.JPG"/></a><br /> Paris : MASSELIN, 1554. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVgkOAc5wLA930de_p-WJsCZhYD5IbSM7jb72zpALie6YEr8FSM9pEAYD6NupNfmYIDIHeD0u14zCyEdskxiekNmxpgYoZ6etECNSZMyy_vM7-wxeyUZDEZCZxIGxe0msuT9A/s1200/PARIS-COUTEAU-1528.JPG"><img height="320" data-original-height="1200" data-original-width="826" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDVgkOAc5wLA930de_p-WJsCZhYD5IbSM7jb72zpALie6YEr8FSM9pEAYD6NupNfmYIDIHeD0u14zCyEdskxiekNmxpgYoZ6etECNSZMyy_vM7-wxeyUZDEZCZxIGxe0msuT9A/s320/PARIS-COUTEAU-1528.JPG"/></a><br /> Caviceo, Jacopo. Dialogue très élégant intitulé le peregrin. - Paris : Nicolas Couteau for Galliot Du Pré, 1528. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZC63FdpRNsAtJ2V3mbqF6RncjoSOIJIs0V6ivcdPupF0ceLydV6ApRV9AVqCXhA7qpup7pX2B5xKPTy40N-dL8I9nTW_qJl6AgnI1uVWuRPAYIJpjA7DF9rgC2pqkRoHcnBP/s1200/PARIS-IDOUE-1520.JPG"><img height="320" data-original-height="1200" data-original-width="1134" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpZC63FdpRNsAtJ2V3mbqF6RncjoSOIJIs0V6ivcdPupF0ceLydV6ApRV9AVqCXhA7qpup7pX2B5xKPTy40N-dL8I9nTW_qJl6AgnI1uVWuRPAYIJpjA7DF9rgC2pqkRoHcnBP/s320/PARIS-IDOUE-1520.JPG"/></a><br /> Suetonius. Des faicts et gestes des douze Cesars. - Paris : Pierre Vidoue, 1520. - 12 woodcuts from nine blocks. <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH3LLoQqBrZWinTUqz1hchRc2fa2dHOxmdEI2oxd4eY9TFc0ewDBdUD0dbI3yGTuFlBaAj8aB9RfWE71pgNK1-TtPas1H5I5N4uNjqpKKoKgahNF7iT0ABI8OZyRGw1JqPK4jg/s1200/PARIS-CHAULDIERE-1549.JPG"><img height="320" data-original-height="1200" data-original-width="815" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH3LLoQqBrZWinTUqz1hchRc2fa2dHOxmdEI2oxd4eY9TFc0ewDBdUD0dbI3yGTuFlBaAj8aB9RfWE71pgNK1-TtPas1H5I5N4uNjqpKKoKgahNF7iT0ABI8OZyRGw1JqPK4jg/s320/PARIS-CHAULDIERE-1549.JPG"/></a><br /> Catholic Church. Horae. - Paris : R. Chauldière, 1549. - <BR/>Copies: EWP archives. - </center><br />
<!W-23> <center><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8U8AYFwxL0HGZiTzYzVwZLeFicByWdhDZtbIitOPnqO9hJ6bQNWojcMmRuOMp6PUsfRqYIr7LXeKzRWfNetNZWEGZB7LkfUKtVAje5v3pBnP6I98a1OLDo9eR4Bt62PMljuu/s1200/PARIS-REYNAULD-1549.JPG"><img height="320" data-original-height="1200" data-original-width="772" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_8U8AYFwxL0HGZiTzYzVwZLeFicByWdhDZtbIitOPnqO9hJ6bQNWojcMmRuOMp6PUsfRqYIr7LXeKzRWfNetNZWEGZB7LkfUKtVAje5v3pBnP6I98a1OLDo9eR4Bt62PMljuu/s320/PARIS-REYNAULD-1549.JPG"/></a><br /> Catholic Church. Horae. - Paris : Regnault et Chaudière, 1549. - 14 cuts by Tory used in 1543 edition of Colines. <BR/>Copies: EWP archives. - </center><br />
<hr />
This page last updated 1 February 2021Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-19554706450055343162020-09-18T10:28:00.003+01:002020-09-18T10:28:32.626+01:00World Book Heritage. 22. Italy 1464-1550. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
22. Italy 1464-1550. <br /></b></center><br /></b></td></tr></table><B>22. Italy:</B> <BR /><BR />
<div>
The first country outside Germany to accept
printing, spread to more towns than in Germany (73 to 1500). More scope in
Renaissance Italy than with basically medieval German social structure.</div><br /><div align="justify">
<center><img height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXTb09Ktuz2aDg4gyANjptKyoDTtv9WRkWbiUqQKKPT662Kpec5fxVH9OHJXg00fQbc46LWBc5HQZDCZ0lXLQSmusWQixzCpXlPQLgev-FaZzMpsK8sLtQHSen_0quV8wI3uFyOw/s320/Construction+site.jpg"></center>
<B>Subiaco</B> 1464 wandering German printers Sweynheym and
Pannartz arrived from Mainz (Charles Reade <I>The cloister and the hearth</I>).
Stayed three years before moving on to Rome. Work there includes first complete
Greek alphabet (1465) and first edition of Augustine <I>De civitate Dei</I>
(1467). Used pleasing roman typeface, revived for Ashendene Press.<BR />
Sections to add:</div><br /><div align="justify">
Sweynheym and Pannartz</div><br /><div align="justify">
<B>Rome</B> 1467. Seat of curia, ecclesiastical and worldly
work for presses. By 1477 a dozen printers. Sweynheym and Pannartz in financial
trouble by 1472, petitioned Pope for help - overcrowded market. Partnership
dissolved 1473. Sweynheym went on to engrave copperplate maps for edition of
Ptolemy (1478). Stephan Planck published <I>Mirabilia urbis Romae</I>, guidebook
for tourists, 1489. Most Roman printing notable for contents rather than
typography. Exception Lodovico degli Arrighi di Vicenza, professional
calligrapher, printer from 1522 when published <I>Operina</I> first printed
specimen book of calligrapher. <A href="http://www.columbia.edu/cu/web/data/indiv/rare/type-exhibit/arrighi.htm">University
of Columbia website</A>. Did much to spread chancery italic hand. Cut two italic
fonts. Probably killed in sack of Rome 1527. Antonio Blado, active 1515-67
published Machiavelli <I>Il principe</I> 1532 and first <I>Index librorum
prohibitorum</I> 1557. Printer to Holy See from 1549, good typographer.<BR />
Sections to add:</div><br /><div align="justify">
Sweynheym and Pannartz</div><br /><div align="justify">
Ulrich Hahn</div><br /><div align="justify">
Stephan Planck</div><br /><div align="justify">
Lodovico degli Arrighi</div><br /><div align="justify">
<b>Blado, Antonio. </b>Machiavelli, Niccolo`, 1469-1527. Tutte le opere di Nicolo Machiavelli ... divisi in cinque parti. - Geneva : Pietro Aubert, 1550.
2 vol. - Not in Bruni & Evans. - Provenance: Mrs O.M.Awdrey. - Copies: o1550/MAC. The original 1550 edition of Machiavelli's complete works is ascribed to Antonio Blado who acquired the italic type from the font designer Ludovico degli Arrighi. The text throughout all five parts is set in italics with headings in roman. However the Imprint is false and surviving editions have been assigned to various dates between 1610 and 1670. They bear a woodcut vignette portrait on the titlepage - the so-called Testina, taken from the 1540 Comin da Trino edition of the Discorsi. The so-called Testina edition was printed about 1645 in Geneva by Pierre Aubert, according to Gerber and five different issues of the Testina edition are recorded. In 1557 Machiavelli's works were put on the Index librorum prohibitorum, or list of forbidden books of the Catholic church (in common with the works of Luther and, later, Galileo's Dialogi). Imprints produced in the safety of Protestant Geneva used the earlier date in an attempt to avoid censorship.</div><br /><div align="justify">
<B>Venice</B> 1469 most productive Italian centre in 16th cent,
by 1500 150 presses. Printing introduced by Germans Johann and Wendelin von
Speyer. Printed first edition of Pliny's <I>Historia naturalis</I> 1469.
Nicholas Jenson sent by French king to Mainz to learn printing in 1450s. Arrived
in Venice 1471, cut fine roman typeface. Erhard Ratdolt active 1476-86, produced
finely illstrated and decorated volumes. Aldus Manutius started printing 1490 (a
scholar printer, see later)<BR />
Sections to add:</div><br /><div align="justify">
Johannes and Vindelinus de Spira</div><br /><div align="justify">
Venice. <b>Jenson, Nicolaus. </b>1470-1480. <i>Printer. </i>Born about 1420, died 1480. 4 October 1458. Records of the French royal mint: Charles VII ordered agents to go to Mainz to inquire into the art of printing brought to light there by Messire Jeham Gutemberg "a man adept at cutting punches and caractères". Nicolas Jensen, master of the Tour mint was selected for this. By this time Gutenberg's first press had been seized by Johann Fust, and historians are unsure of his activities during this period. In 1468, Jenson went to Venice. In 1470 he opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing. Jenson also designed Greek-style type and black-letter type. The printer was prodigious in his publishing eventually producing around 150 titles. By the end of his life Jenson was a wealthy man, producing liturgical, theological and legal texts in a variety of gothic fonts, the roman type left only for the odd commissioned work. He worked separately but concurrently with Johann and Wendelin of Speyer (de Spira) and made the final definitive break from blackletter style towards a fully evolved roman letterform. During the 1470s he helped establish Venice as Italy’s publishing capital. In 1477 Jenson was able to run as many as twelve presses at the same time. To lower prices and force out less productive rivals, he cut cursive gothic type, enabling him to print text and gloss on the same page for the first time. Jenson's highly legible and evenly colored typeface, based upon Humanistic scripts, has been reinterpreted through the centuries by numerous type designers, most notably William Morris for his Golden type. The types first used in Eusebius's De praeparatione evangelica, present the full flowering of roman type design. A Greek typeface followed, which was used for quotations, and then in 1473 a Black Letter typeface, which he used in books on medicine and history. He launched two book trading companies, first in 1475 and then in 1480, under the name of Johannes de Colonia, Nicolaus Jenson et socii.</div><br /><div align="justify">
Caesar, Julius. Opera, 1471. One of the earliest and most beautiful editions of Caesar. The Roman typeface drew its inspiration from Roman monuments.</div><br /><div align="justify">
Bible in Latin, Nicolas Jenson, Venice, 1479. The first Bible to be issued from Jenson’s press. Pope Sixtus IV conferred upon him the honorary title of Count Palatine.</div><br /><div align="justify">
1476. Pliny, <i>Historia naturalis</i>. Printed in 1,025 copies (1,000 paper, 25 vellum) as a partnership venture between Jenson and the Strozzi family, who backed the venture financially. It is a vernacular text, with translation by Cristoforo Landino. The Pliny text was printed (in a font closely simulating the modern humanist handwriting in which the manuscript of the work might have been written) with wide margins, without initial capital letters at the beginning of chapters, and with its titles isolated in a sea of blank paper on the frontispiece, crying out for illustration and decoration.</div><br /><div align="justify">
Andrea Torresano</div><br /><div align="justify">
Aldo Pio Manuzio (Aldus Manutius); ca. 1452 – February 6, 1515. Born in Bassiano, in the Papal States some 100 km south of Rome. His family was wealthy and Manutius was educated as a humanistic scholar, studying Latin in Rome, under Gasparino da Verona, and Greek at Ferrara, under Guarino da Verona.</div><br /><div align="justify">
In 1482 he went to reside at Mirandola with his old friend and fellow student, the famous scholar Giovanni Pico della Mirandola. There he stayed two years, studying Greek literature. Before Pico moved to Florence, he procured for Manutius the post of tutor to his nephews, Alberto and Leonello Pio, princes of Carpi. Alberto Pio supplied Manutius with funds for starting his printing press and gave him lands at Carpi. Aldo tutored several Italian ducal families during his early career.</div><br /><div align="justify">
Manutius desired to preserve ancient Greek literature by printing editions of its greatest books. Before Manutius, four Italian towns had printed editions of ancient Greek texts: Milan, Venice, Vicenza and Florence. Of these works, only three, the Milanese Theocritus and Isocrates, and the Florentine Homer, were classics. Manutius settled in Venice in 1490. The city was not only a major printing centre but it also had a large library of Greek manuscripts from Constantinople and a population of Greeks who could assist with their translation. He soon printed editions of Hero and Leander by Musaeus Grammaticus, the Galeomyomachia, and the Greek Psalter. He called these "Precursors of the Greek Library." He began gathering Greek scholars and compositors around him, employing as many as 30 Greeks in his print shop and speaking Greek at home. Instructions to typesetters and binders were given in Greek. The prefaces to his editions were written in Greek. Greeks from Crete collated manuscripts, read proofs, and gave samples of calligraphy for casts of Greek type.</div><br /><div align="justify">
In 1495, Manutius issued the first volume of his edition of Aristotle. Four more volumes completed the work in 1497–1498. Nine comedies of Aristophanes appeared in 1498. Thucydides, Sophocles, and Herodotus followed in 1502; Xenophon's Hellenics and Euripides in 1503; Demosthenes in 1504. In addition to editing Greek classics from manuscripts, Manutius re-printed editions of classics that had originally been published in Florence, Rome, and Milan, at times correcting and improving the texts. He became the leading publisher and printer of the Venetian High Renaissance, setting up a definite scheme of book design, developing the first italic type, producing pocket octavo editions of the classics, and developing several innovations in binding technique and design. He is believed to have been the first typographer to use a semicolon and in 1566, his grandson, Aldus Manutius [2], produced Orthographiae ratio on the principles of punctuation.</div><br /><div align="justify">
In 1501 he began to use, as his publisher's device, the image of a dolphin and anchor, soon pirated by French and Italian publishers. He adapted the image from the reverse of ancient Roman coins of Titus and Domitian, AD 80–82 and associated it with the motto "Festina lente" (Hasten slowly), which he had begun to use in 1499, after receiving a Roman coin from Pietro Bembo, which bore the emblem and motto.</div><br /><div align="justify">
His famous octavo editions, that gentlemen of leisure could easily transport in a pocket or a satchel, his <i>libri portatiles</i>, are often regarded as the prototype of the mass-market trade paperback but this small format had already been used for works of private devotion, although it was Aldus who first adopted it for classical and secular texts. He commissioned Francesco Griffo to cut a slanted type, the very first italic font, for his series of pocket-sized editions of the classics. Despite his efforts to patent the font, he could not stop printers outside Venice from copying it. Manutius' edition of Virgil's <i>Opera</i> (1501) was the first octavo volume that he produced, in a larger than average print run of 1,000 copies. In his prefatory letter to Pietro Bembo in the 1514 Virgil, Aldus recorded that he "took the small size, the pocket book formula, from your library, or rather from that of your most kind father".</div><br /><div align="justify">
<center><a href="https://archive.org/details/ita-bnc-ald-00000452-001/"><img height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUC2Obz58rBZYtVEGAuS72CrH4cR0nrrtyCJ5GOiRxX4rC0Sxw4WS6_FP-x0yJ_qe1T86wP1RDSKDkXkPSfGULCs48OLQxyCeztXo3_jIyOQoGTIOymeKrywIpxkU-l2z-N0v-/s1600/VENICE-MANUTIUS-1502-1.jpg"><br/><i>Catullus. Tibullus. Propetius</i> [sic].</a><br />Venetiis : in aedibus Aldi, 1502
Bruni and Evans A 8.</center><br />The copy in Exeter Library (shelf o1502/CAT) is a contemporary counterfeit by Baldassare Gabiano produced in Lyon. Gabiano had been an associate of his uncle Giovanni Bartoloeo de Gabiano, a bookseller in Venice and moved to Lyon in 1493, where he was active until 1517. The piracy can be identified by the spelling of "Propetius" on the title-page, an error that did not occur in the original edition. </div><br /><div align="justify">
In order to promote Greek studies, Manutius founded an academy of Hellenists in 1502 called the "New Academy." Its rules were written in Greek, its members were obliged to speak Greek, their names were Hellenized, and their official titles were Greek. Members of the "New Academy" included Desiderius Erasmus and the English humanist scholar Thomas Linacre.</div><br /><div align="justify">
Manutius' press also published finely printed editions of Latin and Italian classics. Between 1495 and 1514 appeared the Asolani of Bembo, the collected writings of Poliziano, Dante's Divine Comedy, Petrarch's poems, a collection of early Latin poets of the Christian era, the letters of the Pliny the Younger, the poems of Iovianus Pontanus, Jacopo Sannazaro's Arcadia, Quintilian, Valerius Maximus, the <i>Adagia</i> of Erasmus and above all the <i>Hypnerotomachia Poliphili</i>, the allegory of love in a dream attributed to Francesco da Colonna, his finest illustrated book (1499). <br />
<center><a href="https://archive.org/details/hypnerotomachiap00colo/"><img height="300" src="https://ia802603.us.archive.org/BookReader/BookReaderImages.php?zip=/9/items/hypnerotomachiap00colo/hypnerotomachiap00colo_jp2.zip&file=hypnerotomachiap00colo_jp2/hypnerotomachiap00colo_0024.jp2&id=hypnerotomachiap00colo&scale=4&rotate=0"><br />Hypnerotomachia Polophili</a></center><br />
For these Italian and Latin editions, Manutius caused the elegant roman type to be cast which is said to have been copied from Petrarch's handwriting, and was cast under the direction of Francesco da Bologna.</div><br /><div align="justify">
The Second Italian War, which pressed heavily on Venice at this time, suspended Manutius' labours for a while. In 1508 he resumed his series with an edition of the minor Greek orators, however, and in 1509 appeared the lesser works of Plutarch. Then came another stoppage when the League of Cambrai drove Venice back to her lagoons, and all the forces of the republic were concentrated on a life-or-death struggle with the allied powers of Europe. In 1513 Manutius reappeared with an edition of Plato, which he dedicated to Pope Leo X in a preface that compares the miseries of warfare and the woes of Italy, with the sublime and tranquil objects of the student's life. Pindar, Hesychius, and Athenaeus followed in 1514.[5] At the end of his life, Manutius had begun an edition of the Septuagint, the first to be published; it appeared posthumously in 1518.</div><br /><div align="justify">
<center><img height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjESvTYJklPVWjyzkdEviamFrvyJFnX3kgvOLRBrpCSbEHfr83-Q4V_o6LWwDy04skzFlFG1DXVHzTKn0WiNMDZ962q4pQxpJuHePj85wxT-vCCeMIKvjNL43W0QOCYmaZIpUI_/s1600/VENICE-MANUTIUS-1513-1.jpg"><br />Perotti, Niccolò 1430-1480. <i>In hoc volumine habentur haec cornucopiae sive linguae latinae commentarii</i></a><br />Venetijs : In aedibus Aldi, et Andreae soceri M. D. XIII. mense Nouembri 1513. Bruni and Evans A19.<br />Exeter Library, shelf: x1513/PER.</center>
Niccolò Perotti(1429 – 1480), Italian humanist was born and died in Sassoferrato. He studied in Mantua in 1443, then in Ferrara and also at the University of Padua. In 1447 he spent some time in the household of the Englishman William Grey, later Lord High Treasurer, who was travelling in Italy and accompanied him to Rome. He was a secretary of Cardinal Basilius Bessarion in 1447, and wrote a biography of him in 1472. From 1451 to 1453 he taught rhetoric and poetry at the University of Bologna and in 1452 was made Poet Laureate in Bologna by the Emperor Frederick III. In 1455 he became secretary to Pope Callixtus III. In 1456 he was ordained, and from 1458 he was Archbishop of Siponto. Occasionally he officiated also as papal governor in Viterbo (1464–69), Spoleto (1471-2) and Perugia (1474–77). He also travelled on diplomatic missions to Naples and Germany. Together with the Florentine bookseller Vespasiano da Bisticci, he collected books for the Papal library.</div><br /><div align="justify">
In 1505, Manutius married Maria, daughter of Andrea Torresani of Asola. Torresani had already bought the press established by Nicholas Jenson at Venice. Therefore, Manutius' marriage combined two important publishing firms. Henceforth the names Aldus and Asolanus were associated on the title pages of the Aldine publications; and after Manutius' death in 1515, Torresani and his two sons carried on the business during the minority of Manutius' children. The business expired with the third generation.
</div><br /><div align="justify">
Paulus Manutius</div><br /><div align="justify">
Aldus Manutius II</div><br /><div align="justify">
Erhard Ratdolt</div><br /><div align="justify">
Johannes and Gregorius de Gregoriis</div><br /><div align="justify">
Francesco Marclini</div><br /><div align="justify">
Gabriele Giolito de Ferrari</div><br /><div align="justify">
<B>Florence</B> 1471. Notable for woodcut illustrations of
1490s using mixture of white line and black line, e.g. in works of Savaarola.
Giunta family main printers, publishers from 1491, printers from 1503. <BR />
Sections to add:</div><br /><div align="justify">
Giunta family</div><br /><div align="justify">
Parma. <B>Saladus, Octavius and Ugoletus, Franciscus</b>. 1516. <i>Printers. </i> Grapaldi, Francisco Mario, 1460-1515. <i>Francisci Marii Grapaldi: poetae Laureati: De partibus aedium: Addita modo: Verborum explicatione: Quæ in eodem libro: continentur: Opus Sane elegans: & eruditum: tum propter Multiugam: Variarum rerum: Lectionem: cu; propter M. Vitruuii & Cornelii Celsi: emaculatas dictiones: Quæ apud ipsos: Vel Medesae: Vel obscurae: Videbatur</i>. - Impressum Parmæ : per accuratissimos Impressores Octauianu Saladu & Franciscu; Vgoletu; ... 1516. [20], 265 leaves ; 23 cm ; 4to. - Bruni and Evans A15. - Shelf: o1516/GRA. The author Francesco Mario Grapaldi was born January 1460 in Parma and was raised by his maternal uncle Niccolò Ravacaldo, archpriest of Fornovo. He received his first humanistic education fom Filippo Beroaldo who taught in Parma in 1475-76. He became a notary but in 1486 was appointed a professor of fine letters at Parma, a post he held until his death. He composed many Latin poems but devoted himself mainly to De partibus aedium, which was first printed in 1494 in Parma by Angelo Ugoleto and reprinted several times throughout the sixteenth century in Italy and abroad. He also became a prominent politician in Parma, a member of the Elders and he held several positions at the time of the Franco-Spanish wars. In 1501 he was sent as a representative to Milan. He was sent as ambassador to Rome in 1512 and was crowned poet by Julius II in person. He returned to Rome in 1514 as ambassador to the new pope Leo X. He died in November 1515 in Parma. De partibus aedium is an encyclopaedic work ranging from architecture to mechanics, medicine to botany, zoology, and home economics. It applied the knowledge derived from classical writers to a modern aristocratic readership. The classical authors are quoted in large numbers: from Homer, Plato, Thucidides, Aristotle, Lucretius, Virgil, Cicero, Seneca, the two Plinii, Varro, Columella, Galen, Vegetius, and also Christian writers such as Girolamo and Cipriano, but above all Vitruvius and Celsus, the two authorities mentioned in the title page of the 1516 edition. The work consists of a meticulous description of all the spaces in the house: doors, stairs, floors, of the rooms, the layout of the library, but also of the garden, the stables and other places used for different animals, fountains, granaries etc., cataloguing everything they contain. It also contains information on furnishings, objects and manufactures of the time, methods of taking water from the well, cheese production, clocks, book binding and paper making in Parma and so on. In the posthumous edition of 1516, an explanatory glossary was added. The work was reprinted outside Italy: in Strasbourg by J. Prüss in 1508; in Paris by J. Granjon in 1511 and J. Petit in 1517; in Basel by J. Walder in 1533 and 1541; in Lyon in 1535; in Dordrecht in 1618 and in Salzburg in 1723.</div>
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This page last updated 18 September 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-27288122262890605932020-09-18T10:24:00.003+01:002020-09-18T10:24:33.745+01:00World Book Heritage. 21. Germany 1450-1550. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
21. German speaking area to 1550<br /></b></center><br /></b></td></tr></table>
<P><B>Mainz. </B>Printing introduced c.1452.</P><P ALIGN="JUSTIFY">
After the early presses Mainz ceased to be important. Fust and Schöffer were the only significant printers. </P><P ALIGN="JUSTIFY">
Mainz. <B>Fust, Johann. </B>1455-1466. <I>Printer. </I>Died 1466. The financier, a wealthy goldsmith who had backed Johann Gutenberg since about 1450 and foreclosed on him in 1455, continuing in partnership with Peter Schöffer. </P><P ALIGN="JUSTIFY">
Mainz. <B>Fust, Johann, and Schöffer, Peter. </B>1455-1466. <I>Printers. </I>They continued in partnership after foreclosing on Johann Gutenberg in 1455 and were probably responsible for publishing the 42-line Bible although their first signed work did not appear until 1457. </P><P ALIGN="JUSTIFY">
1457. <I>Psalterium.</I> The Mainz Psalter, with canticles, hymns, capitula, preces maiores and minores. Fust dated and signed this book in a Latin colophon: "The present copy of the psalms, adored with the beauty of capital letters, and abundantly marked out with rubrics, has been thus fashioned by an ingenious invention of printing and stamping without any driving of the pen and to the glory of God has been diligently brought to completion by Johannes Fust, a citizen of Mainz, and Peter Schoeffer of Gernsheim in the year of our Lord 1457 on the vigil of the feast of the Assumption (14 August)". A folio of 143 leaves, 20 and 24 lines to the page, there is a fuller edition of 174 leaves which also includes the vigils of the dead. Five copies of each edition survive, all on vellum. The Vienna copy is known as the "virgin copy", and only on this copy does the printer's device appear, perhaps stamped in later. The book is printed in two excellently cut fonts with 292 impressions of initials cut in metal and printed in red and blue. The register is prefect and they were probably printed in one pull with sections of the initials picked out and separately inked before being reinserted. Some copies are printed entirely in black, some letters seem to have been printed by more than one pull, and some seem to have been stamped in by hand. Many corrections were made in the press and no two copies are identical. There are at least three variations in the typography of the first page. It is also the first book designed to contain music but space was left for the staves and notes to be inserted by hand. The whole production is brilliant, painstaking and expensive and was probably based on a specific commission. The two types are the largest used so far and may have been partially prepared by Gutenberg. Schöffer, the artist and technician, originally a scribe, probably designed the initials. He later married the daughter of Fust, the financier of the whole project. . </P><P ALIGN="JUSTIFY">
1458. <I>Missale. Canon Missae</I> employed the type and initials of the Psalter. Two copies on vellum survive, in the Bodleian Library and the National Library in Wien. It contained the part of the Mass that was most used and liable to wear. </P><P ALIGN="JUSTIFY">
29 Aug. 1459. <I>Psalterium Benedictinum cum canticis et hymnis</I>. A second edition of the Psalter (folio 136 leaves, 23 lines). Thirteen copies survive, all on vellum. Unlike the earlier edition this was intended for use in monastic houses and was printed in accordance with the reformed monastic breviary of the Union of Bursfield. According to the colophon it was "printed to the glory of God and in honour of Saint James", the Benedictine monastery of Saint james in Mainz who probably bore the expense. It had the same type and initials as the first edition and this edition has been described as the "glory of Fust and Schöffer's press" but there were three later editions in the same type, in 1490.1502 and 1516. Some initials were also used in the Missale Vratislaviense (Breslau missal) of 1483. </P><P ALIGN="JUSTIFY">
6 Oct. 1459. Durandus, Guillelmus. <I>Rationale divinorum officiorum</I>. (Folio, 160 leaves, 63 lines in two columns). Produced only five weeks after the Psalter, this is an explanation of church services by a Dominican monk. It has three initials in red and blue and several small capitals in red. A smaller type was introduced, the "Durandus type", the first to be based on a rounded hand, giving more white on the page and better differentiation between letters than textura, the precursor of the fere-humanistica or "lettre de somme" group of type faces. It was widely copied within Germany but less so outside. </P><P ALIGN="JUSTIFY">
25 June 1460. Clement V. <I>Constitutiones</I>. The first boo of canon law, set in two narrow columns of large type, a smaller more legible type than the 42-line Bible but larger than Durandus, in which the commentary was set around the text itself.</P><P ALIGN="JUSTIFY">
14 August 1462. Biblia Latina. Printed with 48 lines to the page in a new elegant type. Headings and initials were printed in red and it was the first work to use the printer's device of the twin shields; on the 1457 Psalter it had been stamped on later.</P><P ALIGN="JUSTIFY">
The sack of Mainz may have driven Fust and Schöffer to Frankfurt for a while but they had returned by 1463.</P><P ALIGN="JUSTIFY">
1463. Pius II. <I> Bulla cruciata sanctissimi do-/mini nostra contra Turchos</I> ("Ezechielis prophetae". 22 Oct. 1463). This has the earliest title-page, a label title in two lines.</P><P ALIGN="JUSTIFY">
1465. Cicero, <I>De officiis</I>. This includes the first use of Greek type, a crude attempt, made up on many roman sorts approximating to the Greek letters. Printed in the Durandus type, it is the first dated edition of any classical author.</P><P ALIGN="JUSTIFY">
During the ten years of the partnership the business prospered. Foreign contacts were made but in 1466 Fust died of the plague while on a business trip to Paris. They had printed 115 editions together. Fust's widow married the bookseller Konrad Henkis in 1468</P><P ALIGN="JUSTIFY">
Mainz. <B>Schöffer, Peter. </B>1455-1512. <I>Printer. </I>Died 1512. Originally a scribe, educated in the Sorbonne. He was probably taken on as a technical advisor and continued in partnership with Johann Fust after the latter foreclosed on Gutenberg in 1455. After Fust's death in 1466 he continued alone. </P><P ALIGN="JUSTIFY">
6 March 1467. Saint Thomas Aquinas, <I>Summa theologiae</I>. The first work printed after Fust's death 60 lines to a page in two columns, using the smallest type so far. A second illustrated edition appeared in 1471.</P><P ALIGN="JUSTIFY">
24 May 1468. Justinian, <I>Institutiones</I>. Two Johns and a Peter were mentioned in the colophon as inventors of printing.</P><P ALIGN="JUSTIFY">
1470. A Donatus still using the 42-line Bible type has been assigned to this period.</P><P ALIGN="JUSTIFY">
1475. Conrad von Zabern <I>Incipit opusculum [… de monochordo].</I> One of the earliest books dealing exclusively with music, a twelve leaf tract on the use of a musical instrument called the monochord written by a professor of theology at Heidelberg university in about 1462.</P><P ALIGN="JUSTIFY">
1482 <I>Herbarius latinus</I> with 150 woodcuts was one of the earliest printed herbals. Many wooducts followed manuscript illustrations which had become stylised through copying but some were clearly drawn from life.</P><P ALIGN="JUSTIFY">
1485 <I>Gart der Gesundheit</I> a German herbal with 380 blocks. </P><P ALIGN="JUSTIFY">
1486 Bernard von Breydenbach, <I>Peregrinatio ad terram sanctam.</I> Printed on Schöffer's press but supervised by the illustrator Erhard Reuwich. The author, a canon of Mainz cathedral made the journey to the Holy Land as penance for the sins of his youth, taking Erhard Reuwich as artist along with about 150 others. He wrote the book on his return and although Reuwich made the illustrations he probably did not cut the blocks. The result is one of the earliest books with drawings from life rather than imagination. They are the first book illustrations to us cross-hatching and the first to be associated with a named artist. William Morris claimed they were the best illustrations to any early printed book. The work is a folio with 148 leaves, five of them extended by paste-ons to accommodate large maps or views, that of Venice being 164cm long. Other illustration occupy two leaves. They include six plates illustrating various races, cuts of exotic alphabets and a fine allegorical frontispiece. It is the first printed book to contain folding plates.</P><P ALIGN="JUSTIFY">
Schöffer was able to establish agencies in Paris and Angers for the sale of his own and others' books. He seems to have acted as a purchasing agent for the university of Paris through an associate Guimier, a member of the Paris guild. Lawsuits show the extent of his business from Basel to Lübeck. One lawsuit against Bernard Inkus of Frankfurt relates to the violation of property rights in a series of books vested in himself and Conrad Henki.</P><P ALIGN="JUSTIFY">
In 1479 Schöffer moved his publishing headquarters to Frankfurt, already an important trading and publishing centre, paying to become a citizen of Frankfurt, but he continued to live in Mainz and direct the printing side there. He became a citizen of note in Mainz, honoured by being appointed a judge. He was a fine printer, although many works were simply produced, often with the lines unjustified. He made extensive use of colour printing – according to the British Library to 1485 there was hardly a book without a touch of red, although after that date it was mainly confined to missals. He was proud of his type founding; in the colophon to Justinian's <I>Institutiones</I> in 1468 he writes: "every nation can now procure its own kind of letters for he [Schöffer] excels with all prevailing pen". He was responsible for many first, including the colophon, the dating of books, marginal notes, Greek type (equal first). He was a skilled businessman, producing the first surviving printed advertisement in 1470 which also includes the first type specimen: Hec est litera psalterij.</P><P ALIGN="JUSTIFY">
He died in 1512 having produced 59 works after Fust's death. His son Johann had succeeded to his business in 1503.</P><P ALIGN="JUSTIFY">
Mainz. <B>Schöffer, Johann. </B>1503-1559. <I>Printer. </I>Son of Peter Schöffer, printer of Mainz. He succeeded his father in 1503 and was the only printer to keep 16th century Mainz from typographical oblivion. Until 1531 he was the unofficial printer to the university. Classical scholarship was his main interest, and his love of archaeology and ancient history was largely inspired by his Protestant friend Ulrich von Hutten.</P><P ALIGN="JUSTIFY">
1501. Livy. A German edition with 214 woodcuts. Seven reprints were made before the firm's closure in 1559. The 1505 edition has a tribute to Gutenberg.</P><P ALIGN="JUSTIFY">
1515. Johannes Tritheim on the origin of the Franks.</P><P ALIGN="JUSTIFY">
1518-19. Livy. A Latin edition of great accuracy.</P><P ALIGN="JUSTIFY">
1520. Peutiner, <I>Inscriptiones vetustae romanae</I> is a catalogue of Roman inscriptions around Augsburg.</P><P ALIGN="JUSTIFY">
1520. <I>Collectanea antiquitatum Moguntinensium</I> deals with ancient monuments near Mainz.</P><P ALIGN="JUSTIFY">
1526. <I>Liber imperatorun Romanorum</I> contains reproductions of original Roman coins, not imaginary Renaissance knights.</P><P ALIGN="JUSTIFY">
<P><B>Bamberg. </B></P><P ALIGN="JUSTIFY">
Probably the second German town to receive printing in about 1459 but it was never an important printing centre. </P><P ALIGN="JUSTIFY">
Bamberg. <B>Printer of the 36-line Bible. </B>1458/60. <I>Printer. </I>This unidentified probably completed the 36-line Bible here, having come from Mainz. </P><P ALIGN="JUSTIFY">
Bamberg. <B>Pfister, Albrecht. </B>1461-1464. <I>Printer. </I>Pfister is the first named printer in Bamberg. He used the 36-line Bible type and may have been employed in the workshop that produced the Bible. However his workmanship is cruder, so he is not normally identified as the printer of the 36-line Bible. He is the first printer to use woodcut illustrations, but these are not of a high standard. It has been suggested that local woodcutters refused to work for him, so he was forced to use amateurs. Seven out of the nine editions attributed to him have illustrations, often roughly coloured by hand, probably in his own workshop. His works are of a popular nature, so little survives in good condition. </P><P ALIGN="JUSTIFY">
1461. Boner, Ulrich. <I>Der Edelstein</I> Dated 14 February 1461, this is the earliest dated printed book with illustrations, and also the earliest dated book in German. The rhymed colophon states: "this little book is completed in Bamberg in the year of or Lord Jesus Christ 1461 on St Valentine's day. The author was a Dominican monk in Bern and the 61 woodcuts were printed after the text and coloured in the printer's workshop. A second edition dated 1462/4 contains two extra woodcuts. </P><P ALIGN="JUSTIFY">
1462/3 <I>Biblia pauperum.</I> Three editions are recorded, one in German and two in Latin. This is a sherter version of the text with 34 leaves instead of 40. There are 136 woodcuts, including many repeats. </P><P ALIGN="JUSTIFY">
1463? Johannes von Tepl <I>Der Ackermann von Böhmen. </I>There are two editions of this text, one surviving in a single copy has no illustrations, but spaces for the woodcuts to be inserted later and is sometimes considered to be Pfister's earliest work, although it may be a trial run for the other edition, which has five full-page cuts of which three complete copies and five fragments survive. The text also has less Bavarian features than the unillustrated edition. The work is one of the earliest vernacular texts and a fine example of medieval rhetoric. </P><P ALIGN="JUSTIFY">
1462. <I>Historie von Joseph, Daniel, Judith und Esther.</I> Dateable to after 1 May, this collection of four Biblical histories illustrated with 61 woodcuts has a rhymed colophon which has been translated as follows:<BLOCKQUOTE>
Each man with eagerness desires<BR />
To learn, and to be wise aspires<BR />
But books and masters make us so<BR />
And all men cannot Latin know. <BR />
Thereon I have for some time thought<BR />
And histories four together brought: <BR />
Joseph and Danil and Judith, <BR />
With good intent, Esther therewith. <BR />
To these did God protectin give, <BR />
As now to all who godly live. <BR />
If by this we our lives amend, <BR />
This little book hath gained its end, <BR />
Which to be sure in Bamberg's town<BR />
By Albrecht Pfister's press was done<BR />
In fourteen hundred sixty-two<BR />
As men now reckon, that is true, <BR />
Soon after good St Walbourgh's day<BR />
Whom to procure for us we pray<BR />
Peace and eternal life to live<BR />
The which to all of us God give. Amen</BLOCKQUOTE></P><P ALIGN="JUSTIFY">
1464? Jacobus de Theramo, <I>Von der zeit der gedonten urteil.</I> A German version of <I>Consolatio peccatorum, seu Processus Belial</I>, this may be Pfister's last imprint. </P><P ALIGN="JUSTIFY">
After Pfister there was no further printing in Bamberg until about 1481 when Johann Sensenschmidt arrived. </P><P ALIGN="JUSTIFY">
Bamberg. <B>Sensenschmidt, Johann. </B>1480-1495. <I>Printer. </I>The surname means "typecutter". He arrived from Nürnberg in about 1480, his first work being an almanac for 1481. His outstanding work was the Bamberg Missal of 1481 with letters 2cm high. In Bamberg he produced 57 works to 1495, many of them in association with Heinrich Petzensteiner who arrived from Nürnberg about the same time. </P><P ALIGN="JUSTIFY">
<B>Strasbourg.</B></p><br />
<div align="justify">
Strasbourg may have benefitted from the presence of workmen of Gutenberg before his return to Mainz in the 1440s and this may explain some primitive features of the work of the first printer.</div><br /><div align="justify">
Mainz. <B>Mentelin, Johann. </B>1460-1477. <I>Printer. </I> Mentelin was originally an illuminator and episcopal notary. According to Lignamine in <I>Chronica summorum pontificorum</I> (Rome, 1474) Mentelin was printing 300 sheets a day in 1458. His grandson, Martin Schott, claimed in 1502 that Mentelin had invented printing.</div><br /><div align="justify">
1460. Bible. Mentelin's first publication was a Latin Bible in two volumes with 49 lines to the page. The copy in Freiburg im Breisgau University Library has at the end of vol. 1 the date of rubrication 1460, at the end of vol. 2 1461. It is the third published Bible, issued n competition with Mainz and occupied 854 pages of text as opposed to the 1,286 of the 42-line Bible, making it more economical.</div><br /><div align="justify">
1466? German Bible. The first Bible in the vernacular, in 812 pages, the text was not always accurate but set a standard until the arrival of Martin Luther.</div><br /><div align="justify">
Mentelin published some classics, such as an early edition of Vergil c.1469 and philosophy (Aristotle c.1468) but his main works were theological, for example St Jerome c.1468 and other church fathers. They are mostly large folio volumes in large type, often in German. As they are unwieldy volumes they tend to survive well. He was a shrewd business man, the first to issue lengthy catalogues of his publications. He catered for the laity in his use of the vernacular, leaving others to risk ruin by publishing the classics, and publishing more popular works. Most of his works were undated.</div><br /><div align="justify">
1473. Vincent de Beauvais <I>Speculum historiale</I>, one of his dated works, is an immense encyclopaedic work in eight volumes. Its type was one of the earliest to have roman tendencies.</div><br /><div align="justify">
1478. Wolfram von Eschenbach <I>Parsifal</I> and <I>Titurel</I>, two epic poems, were probably published at the instigation of his patron Bishop Ruprecht who had earlier ordered manuscript copies.</div><br /><div align="justify">
1478. Mentelin died on 12 December and was buried in Mainz cathedral. He had produced some 40 editions and had been honoured by Kaiser Friedrich who had granted him a coat of arms.</div><br /><div align="justify">
Strasbourg. <B>Rusch, Adolf. </B>1467-1480. <I>Printer. </I>Also known as the R-printer from the distinctive form of the upper case R in one of his fonts. He never signed a book and his identity was long unknown. He assisted Mentelin and later married his daughter Salome, succeeding his father-in-law on his death in 1478. About 27 editions have been assigned to him.</div><br /><div align="justify">
1467? Hrabanus Maurus <I> De sermonum proprietate, sive opus de universo</I>, a medical work, was the first German publication in a roman font.</div><br /><div align="justify">
1480. Latin Bible in four volumes, probably his last and his main work, was printed for Koberger.</div><br /><div align="justify">
Rusch also carried on an extensive business as a publisher and paper merchant, supplying Nürnberg and Basel as well as Strasbourg.</div><br /><div align="justify">
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Strasbourg. <B>Eggestein, Heinrich. </B>1466-1483. <I>Printer. </I></div><br /><div align="justify">
1466 Latin Bible</div><br /><div align="justify">
1470 Advertisement</div><br /><div align="justify">
Strasbourg. <B>Pruss, Johann. </B>1482-1510. <I>Printer. </I></div><br /><div align="justify">
Strasbourg. <B>Flach, Martin. </B>1487-1500. <I>Printer. </I></div><br /><div align="justify">
Strasbourg. <B>Knoblauch, Johann. </B>1491-1528. <I>Printer. </I></div><br /><div align="justify">
Strasbourg. <B>Knoblochtzer, Heinrich. </B>1476-1484. <I>Printer. </I></div><br /><div align="justify">
Strasbourg. <B>Schott, Martin. </B>1481-1499. <I>Printer. </I></div><br /><div align="justify">
Strasbourg. <B>Schott, Johann. </B>1500-1548. <I>Printer. </I></div><br /><div align="justify">
Strasbourg. <B>Reinhardt, Johann. </B>1483-1522. <I>Printer. </I></div><br /><div align="justify">
Sack of Mainz 1462. </div><br /><div align="justify">
Strasbourg. <B>Reinhardt, Johann. </B>1483-1522. <I>Printer. </I></div><br /><div align="justify">
<B>Cologne. </B>Printing introduced 1464. largest German town, important centre for
NW Germany, much printing in Latin, influence of churchmen at university. </div><br /><div align="justify">
Cologne. <B>Zell, Ulrich. </B>1465-1494. <I>Printer. </I>From Hanau</div><br /><div align="justify">
Cologne. <B>Hoernen, Arnold ther. </B>1470-1482. <I>Printer. </I></div><br /><div align="justify">
Cologne. <B>Koelhoff, Johann. </B>1472-1493. <I>Printer. </I></div><br /><div align="justify">
Cologne. <B>Koelhoff, Johann [2]. </B>1493-1502. <I>Printer. </I></div><br /><div align="justify">
Cologne. <B>Quentell, Heinrich. </B>1479-1482, 1486-1501. <I>Printer. </I></div><br /><div align="justify">
Cologne. <B>Quentell, Peter. </B>1524. <I>Printer. </I>Leading
anti-Lutheran printer started Tindale's translation of New Testament 1524-5 but
unfinished when editors had to flee.</div><br /><div align="justify">
<B>Basel</B> Printing introduced c.1468. Basel was only part of Switzerland from 1501; prior to that it formed part of the Holy Roman Empire.
Printing was introduced by Berthold Ruppel, pupil of Gutenberg. First recorded strike settled
by arbitration Christmas Eve 1471. Reputation for scholarly printing, home of
scholar printers Amerbach and Froben</div><br /><div align="justify">
<B>Berthold Ruppel</B> was a pupil of Gutenberg and probably introduced printing in about 1468. USTC records 24 titles between 1468 and 1482, few of thm signed or dated. </div><br /><div align="justify">
<B>Johann Amerbach</B> USTC records 120 titles between 1477 and 1505. </div><br /><div align="justify">
<b>Johann Besicken</B> was born in Besingheim, Germany and, in 1469, he matriculated at the University of Basel but never completed his studies. He became a citizen of Basel in 1478. He printed in Basel from about 1480 to 1483. In 1493 he established a printing press in Rome with Sigismundus Mayr; the two printed together, especially the works of theologians Giuliano Dati and Raynaldus Monsaureus, until 1499. About 1501 Besicken entered a partnership with Martinus de Amsterdam when they released a joint publication entitled Dialogus de dolore cum tractatu de ulceribus in pudendagra. After a brief, but prolific period spent with Martinus de Amsterdam, Besicken began to print independently in 1502. His primary area of focus concerned the printing of Roman guidebooks, city law and oratory, and papal court proceedings. The latest work attributed to Besicken is Bernardinus Carvajal’s Homelia doctissima cardinalis Sancte Crucis from 1508. It is believed that Stephanus Guillereti took over his typesets and press in 1509. The USTC records 304 items during his career.</div><br /><div align="justify">
Basel. <B>Amerbach, Johann. </B>1475-1513. <I>Printer. </I>(Latin Johannes Amerbacensis, Born around 1440 in Amorbach ; died 25. December 1513 in Basel. Son of the mayor Peter Welcker. He studied at the Sorbonne in Paris , where he was a pupil of Johannes de Lapide , who had recently introduced book printing in the French capital. There he acquired the academic degree of a baccalaureus in 1461, and that of a magister artium liberalium in 1462 . Probably he stayed for a short time in Venice , the center of humanistic book printing. This is concluded from the fact that he is called by contemporaries Johannes de Venetiis , Hans Venediger or Hans of Venice. His presence in Basel has been guaranteed since 1477. There, Amerbach began to work as a printer shortly after his arrival. His first imprint was probably a German almanac for the year 1478, which must have appeared at the beginning of this year at the latest. The first major work may have been the Latin lexicon Vocabularius breviloquus , written by Johannes Reuchlin . </div><br /><div align="justify">
In August of 1481, Johann Amerbach became a member of the Basler Zunft zu Safran , which, in addition to spice traders, included numerous other occupations. Anno 1482 he acquired his own house and in May 1484 the Basel civil rights . It is evident from the tax records of that time that Johann Amerbach, as a book printer and merchant, quickly became extraordinarily successful. The entrepreneur initially worked with Jakob Wolff of Pforzheim , later with Johannes Petri and Johann Froben .</div><br /><div align="justify">
Johann Amerbach married in 1483 Barbara, the widowed daughter of Basle ruler Leonhard Ortenberg. The sons Bruno (1484-1519), Basilius (1488-1535) and Bonifacius emerged from this marriage . Only Basil, for a short time, exercised his father's profession.</div><br /><div align="justify">
Johann Amerbach died in Basel on 25 December 1513 and was buried in the St. Margaret's Charterhouse.</div><br /><div align="justify">
Johann Amerbach had good personal contacts with important humanists such as Johannes Reuchlin, Beatus Rhenanus and Sebastian Brant . These scholarly friends also worked closely with the Basel printer as proofreaders of his prints. It is regarded as a permanent merit of Johann Amerbachs to have played a decisive role in the formation of the ties between humanism and book-printing, which were extremely fruitful for the Basler intellectual life of the fifteenth and sixteenth centuries. The text bases for many of his works were found in the rich manuscripts of the Basel Charterhouse. In return, he undertook to give the first fruits of his prints to the monastery library.</div><br /><div align="justify">
His printing and publishing program was marked by the values and goals of the humanist spirit. He printed folio editions of Latin Bibles, scholastic writings, dictionaries, and scientific editions of the works of the Church Fathers (including Augustine and Ambrose ). In addition, excellent editions of the antique classics of his officinal descended . Amerbach devoted special attention to the works of contemporary humanists. Thus he brought out writings by Petrarch, Enea Silvio Piccolomini, Marsilius Ficinus, Baptista Mantuanus and Franciscus Philelphus. On the other hand, the number of his German-language prints was comparatively low.</div><br /><div align="justify">
Johann Amerbach had a rich stock of different typefaces. Thus he had only half a dozen antiquarian writings, chiefly for the pressure of the Church fathers and humanists. Through his printing activity, Amerbach has contributed much to the spread of the roman type in the German area.</div><br /><div align="justify">
Amerbachkorrespondenz, edited by Alfred Hartmann, 11 vol. published by the University Library, Basel, 1942-2010.
Barbara C. Halporn (Eds.): <i>The correspondence of Johann Amerbach. Early printing in its social context</i>. University of Michigan Press, Ann Arbor 2000, ISBN 0-472-11137-X (edition of selected letters with English translation and commentary)
</div><br /><div align="justify">
Basel. <B>Bergmann de Olpe, Johann. </B>1494. <I>Printer. </I>Johann Bergmann von Olpe was a scholarly printer who had studied in Basel and printed the works of humanists there between 1494 and 1500. </div><br /><div align="justify">
Brant, Sebastian. <i>Das Narrenschyff</i>. Sebastian Brant was born in Strassburg 1457 or 1458. Educated at Basel University, doctor of law 1489, lecturer. Knew humanists there including printer Amerbach. He wrote Latin verse and edited legal works but is best known for his Narrenschiff. In 1501 returned to Strassburg when Basle separated from the German Empire. In Strassburg he was town clerk until his death in 1521. In Strassburg where he made several petitions to the Emperor Maximilian urging him to drive back the Turks. </div><br /><div align="justify">
<i>Das Narrenschiff</i> was one of the most famous German poems of period. A party of fools is assembled on a ship bound for Narragonia. A fool is at the helm so they drift aimlessly, as does the poem: a disordered collection of satires on 112 different types of fool in blunt rhymed verse. Occasional ostentation of classical learning. Perhaps suggested by carnival masquerades and reflects the strong vein of didactic satire in German literature at that time manifested in beast fables such as Reynke de Vos (1498) and popularity of Aesop's fables which reached 80 Latin and 50 vernacular editions by 1500. Brant's work reflects the moral uncertainty of the time, the clash of old and new ideas and the declining respect for many ecclesiastical institutions which led to the Reformation. Brant himself was a moralist but had little desire to reform learning or religion. He satirised the pedantry of the scholastics but suggested nothing better. He attacked abuses in the monasteries but remained true to the church. He looked back to a golden age rather than forward to a new intellectual order.</div><br /><div align="justify">
The <i>Ship of fools</i> was published in German and Latin editions by Johann Bergmann de Olpe in 1494 and immediately became extremely popular, with at least six authorised and seven pirated editions published before 1521. It was imitated in Germany by Thomas Murner (1475-1537) in Die Narrenbeschmeerung (1512) a coarser and more direct work.</div><br /><div align="justify">
It was also widely translated. A Latin version by Locher was printed by Bergmann von Olpe in 1497 (8 eds by 1498). It was also translated into Dutch in 1500 (Paris : Guy Marchant) and into French in three versions in 1497 (by Paul Riviere - Paris: for Geoffroy de Marnef), 1498 (by Jean Drouin - Lyon: Guillaume Balsarin), and 1499. In 1509 two rival English translations appeared, that of Henry Watson, printed by Wynkyn de Worde (2nd ed 1517) and Alexander Barclay's printed by Pynson. Both editions contained woodcuts based on the German edition, which also served as models for the Paris edition of 1497 and the Lyons edition of Drouyn's version of 1498. Watson used the French version of Drouyn.Johann Bergmann von Olpe was a scholarly printer who had studied in Basel and printed the works of humanists there between 1494 and 1500. Basel was the home of scholarly printers, Amerbach, Froben, and Oporinus. </div><br /><div align="justify">
It was illustrated by a series of 112 woodcut illustrations, which have been attributed by some to the young Albrecht Durer. Whether or not he was responsible for some or all of them, the hands of up to six different cutters have been recognised. In the 1495 edition three woodcuts replaced repeats and one new cut appeared in the 1497 edition. Bergmann handed over set of blocks to Lamparter of Basel by 1509 and they were last used in Strassburg in 1512. Copies were made for Riviere's Paris translation in 1497 and these were well copied by Pynson. Wynkyn de Worde's cutter produced cuts of a much cruder quality and other copies were made for printers in Paris and Lyons (1498). Interesting in showing the interpretation of craftsmen who were copying woodcuts.
</div><br /><div align="justify">
Basel. <B>Durer, Albrecht. </B>1490-1528. <I>Illustrater. </I></div><br /><div align="justify">
Basel. <B>Froben, Johann. </B>1491-1527. <I>Printer. </I></div><br /><div align="justify">
Basel. <B>Froben, Hieroynmus. </B>1527-1563. <I>Printer. </I></div><br /><div align="justify">
Basel. <B>Oporinus, Johannes. </B>1541-1568. <I>Printer. </I></div><br /><div align="justify">
<B>Augsburg. </B>Printing introduced 1468 active centre with many illustrated books. </div><br /><div align="justify">
Augsburg. <B>Zainer, Gunter. </B>1468-1477. <I>Printer. </I>called to Augsburg by abbots of SS Ulric & Afra, seat of
famous scriptorium. Use of illustrations led to opposition from guilds. 1471-2
Jacobus de Voragine <I>Leben der Heiligen</I> first large-scale illustrated
work. Erhardt Ratdolt (1447-1527) Augsburg's finest printer, in Venice 1476-86,
including first edition of Euclid (1482). Excellent initials and borders, first
displayed title-page 1476, woodcuts printed in colour. Introduced italianate
style for theological and scientific works alike. Johann Schönsperger the Elder
(1481-1523) first printer to receive court recognition. Printer to Maximilian I.
Ambitious programme of prestigious printing, special types cut (including first
Fraktur), artists like Dürer used. 1513 Maximilian's prayerbook, 1517 Melchior
Pfinzing <I>Theuerdanck</I> illustrated allegorical chivalrous romance. </div><br /><div align="justify">
Augsburg. <B>Schussler, Johann. </B>1470. <I>Printer. </I></div><br /><div align="justify">
Augsburg. <B>Bamler, Johann. </B>1472-1495. <I>Printer. </I></div><br /><div align="justify">
Augsburg. <B>Zorg, Anton. </B>1475-1493. <I>Printer. </I></div><br /><div align="justify">
Augsburg. <B>Ratdolt, Erhardt. </B>1487-1527. <I>Printer. </I></div><br /><div align="justify">
Augsburg. <B>Schonsperger, Johann. </B>1481-1523. <I>Printer. </I></div><br /><div align="justify">
Augsburg. <B>Steiner, Heinrich. </B>1530-1532. <I>Printer. </I></div><br /><div align="justify">
<B>Nurnberg. </B>Printing introduced 1470. </div><br /><div align="justify">
Nurnberg. <B>Sensenschmidt, Johann. </B>1470-1481. <I>Printer. </I></div><br /><div align="justify">
Nurnberg. <B>Koberger, Anton. </B>1470-1513. <I>Printer. </I>(1445-1513)greatest entrepreneur. At height of operations 24 presses,
100 workers, also worked with other printers. Produced 236 editions including:
1483 German Bible, 1493 Hartmann Schedel <I>Liber chronicarum</I> with 1809
illustrations from 645 woodcuts (69 cities from 22 cuts). Illustrators include
Michael Wohlgemuth, to whom Dürer was apprenticed. Final account book for volume
(1509) shows Europe-wide extent of business contacts. <A href="http://www.lib.umd.edu/RARE/Exhibits/Nuremberg/">University of Maryland
website</A>. </div><br /><div align="justify">
<B>Ulm. </B>Printing introduced 1472. </div><br /><div align="justify">
Ulm. <B>Zainer, Johann. </B>1472-1479. <I>Printer. </I></div><br /><div align="justify">
Ulm. <B>Holle, Leonhard. </B>1482-1486. <I>Printer. </I></div><br /><div align="justify">
<B>Zurich. </B>Printing introduced 1479</div><br /><div align="justify">
Zurich. <B>Froschauer, Christoph [1]. </B>1521-1564. <I>Printer. </I></div><br /><div align="justify">
Zurich. <B>Froschauer, Christoph [2]. </B>1564-1590. <I>Printer. </I></div><br /><div align="justify">
<B>Lubeck. </B>Printing introduced 1475</div><br /><div align="justify">
Lubeck. <B>Arndes, Stephan. </B>1486-. <I>Printer. </I></div><br /><div align="justify">
Lubeck. <B>Snell, Johann. </B>1480-1520. <I>Printer. </I></div><br /><div align="justify">
Lubeck. <B>Gothan, Bartolomaeus. </B>1486. <I>Printer. </I></div><br /><div align="justify">
<hr />
This page last updated 18 September 2020
Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-75714042021768297912020-09-18T10:16:00.002+01:002020-09-18T10:16:34.484+01:00World Book Heritage. 20. Gutenberg. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
20. Gutenberg<br /></b></center><br /></b></td></tr></table>
It is generally accepted that printing with moveable types was invented by Johannes Gutenberg and brought to a working state during the early 1450s in Mainz. In all there are some thirty contemporary references, only three, dated 1439, 1455 and 1468, linking him with printing. [They are reprinted by D. McMurtrie in <i>The Gutenberg documents</i>. </P><P ALIGN="JUSTIFY">
His full name was Johann Gensfleisch zur Laden zum Gutenberg and he was called Gutenberg after the family home. He was born between 1394 and 1399, most probably c.1398 in Christophgasse, Mainz. His father, Friele zum Gutenberg, was one of the patrician class in Mainz, associated with the archiepiscopal mint. His mother was Friele's second wife Else Wirich, married in 1386. Johann was the youngest of four children. </P><P ALIGN="JUSTIFY">
Mainz, located at the junction of the Main and the Rhein was the seat of an archbishop, notable for workers in precious metals. In 1410 Friele was one of four master accountants of Mainz but in 1411 he went into voluntary exile following a quarrel between the patricians and the guilds; he returned by 1414 and died in 1419. </P><P ALIGN="JUSTIFY">
In 1420 Johann was involved in a legal dispute with his brother Friele, possibly over his inheritance. In 1427, still in Mainz he was concerned with his brother in an annuity transfer. In 1428 the guilds succeeded in ousting the patricians from their privileges and Johann probably left for Strasbourg where he was able to live with his brother Friele on the proceeds of several annuities.</P><P ALIGN="JUSTIFY">
In 1430 a reconciliation between the city of Mainz and the exiled patricians was announced by Archbishop Conrad. This granted many new privileges and Friele and Henchin zu Gudenberg were granted an amnesty. Friele returned but Johann remained in Strasbourg in the suburb of St Arbogast with his servant Lorenz Beildeck. In about 1433 his mother died. He had fixed an annuity on her in 1430 and now the estate was divided between the two brothers and a sister Else. </P><P ALIGN="JUSTIFY">
In 1434 Nicholaus von Wörrstadt, city clerk of Mainz and leader of the guilds, visited Strasbourg. Gutenberg has him arrested and imprisoned as a hostage for 310 gulden (equivalent to two years salary of a high city official) which he claimed he was owed by Mainz as interest on annuities since the death of his mother. Under pressure from the elders of Strasbourg he released him, but his action drew attention to his debts and the repayment of the debts is recorded in the archive of Mainz. At about this time there are entries in the Strasbourg tax register where Gutenberg, classed as a patrician, paid tax on 1942 litres (420 gallons) of wine, stored in a cellar. </P><P ALIGN="JUSTIFY">
In 1436 Ennlin zu der Iserin Tür sued Gutenberg for breach of promise of marriage; the outcome is uncertain but it was probably unsuccessful – an Ennel Gutenberg in the tax register is probably unrelated. However Gutenberg had called Claus Schott, a shoemaker who gave evidence "a miserable wretch who lived by cheating and lying" and this cost him 15 Rhenish gulden. </P><P ALIGN="JUSTIFY">
<B>On 12 December 1439 a lawsuit was brought by Georg Dritzehn against Gutenberg. </B>The evidence of 16 of 40 witnesses has survived and this gives the first hint of printing, although the outline is vague. The history is outlined in the verdict. </P><P ALIGN="JUSTIFY">
In about 1436 Andreas Dritzehn, citizen of Strasbourg applied to be instructed in the several arts and had been taught gem cutting and polishing of stones. Significantly Andreas owned a paper mill with Anton Heilmann. In about 1437 there was talk of a pilgrimage to Aachen. Gutenberg took into partnership Hans Riffe, bailiff at Lichtenow, to make mirrors for the pilgrimage. Dritzehn heard of this and Anton Heilmann also joined, all on payment of 80 gulden each. The mirrors were to be made by some secret process. Originally thought to be an early version of the <I>Speculum humanae salvationis</I>, it is now clear that large quantities of metal mirrors about 5x3 inches in size, decorated in bas-relief with a recess in the centre for the mirror were produced for the Aachen pilgrimage. They were held up to reflect and capture the physical image and magic powers emanating from the relics, and taken home and nailed up by pilgrims as charms. Unfortunately there was a mistake over the date, which was not 1439 but a year later, so production ceased. In about 1438 his associates asked Gutenberg "to teach them all his arts and enterprises which he thereafter discovered or otherwise knew, and not to keep anything secret from them". Gutenberg agreed if they each gave him a further 250 gulden (bringing the total to 430), including 100 in cash. The contract was to run from 1438 to 1443. In case of death the heirs were not to take the deceased's place but would receive 100 gulden, all knowledge and property to remain in the hands of the survivors. </P><P ALIGN="JUSTIFY">
At Christmas 1438 Andreas Dritzehn died in great distress of mind and owing 85 gulden. His brothers Claus and Georg asked to be taken into partnership. Gutenberg took the matter to court. His case was good as the contract was found among his papers and Dritzehn admitted on his death-bed that Gutenberg had taught him the arts. However it was not sealed in a legal form. Nevertheless the court admitted its validity and decided for Gutenberg who had to pay the heirs 15 gulden as Andreas owed 85. Various witnesses give some idea of the process but their oath of secrecy means that much remains obscure:
</P><P ALIGN="JUSTIFY">
1. Expenses were heavy. "Witness 1. Item Barbel von Zabern the tradeswoman said that one night she had talked about various things with Andres Dritzehn. Among other things she said to him: "Aren't you going to bed soon?" Then he answered her: "I've this to deal with first." Then the witness said: "Lord help us, what money you're wasting, that must be all of ten gulden." He replied and said: "You silly woman; if you only had as much as it had cost me above 300 gulden you would have enough for life, and it cost me very little less than 500 gulden without reckoning what else it will cost me. That is what I mortgaged mu property and inheritance for." The witness said to him: "God almighty! If it fails, what will you do then?" He replied: "It will not fail. Before a year is gone, we will have our investment back and shall all then be happy." But Dritzehn got into debt. Another witness "had lent Andreas eight gulden because he had to have money. The housekeeper of this witness likewise lent Andres money a number of times. Moreover Andres came to this witness one time with a ring valued by him at 30 gulden which he pawned for him among the Jews for five gulden." On his deathbed Andreas greatly regretted entering the contract.
</P><P ALIGN="JUSTIFY">
2. The project involved purchases of lead and other metals. Forms (Formen) were mentioned, a term later used in connection with type. "Witness 15: Hans Dünne the goldsmith said the about three years ago he earned from Gutenberg about 100 gulden, solely for what pertained to printing." </P><P ALIGN="JUSTIFY">
Witness 14: Anton Heilmann: this witness also said that he knew well that Gutenberg shortly before Christmas went to the two Andres to fetch all the forms, and they were melted down so that he saw it and felt regret for some of the forms. Afterwards when the late Andres passed on and this witness became aware that people would like to see the press Gutenberg said that they should send someone to the press for he feared that people would see it." </P><P ALIGN="JUSTIFY">
Witness 5: Conrad Sachspach said that Andres Heilman at one time came to him in the Kremergasse and said "Dear Conrad, as Andres Dritzehn is dead, you made the press and know all about the matter; now go there and take the pieces out of the press and separate them, then no-one will know what it is." When now this witness wanted to do this and searched accordingly – this was on last St Stephen's day – the thing was gone." </P><P ALIGN="JUSTIFY">
Wtness 10: Lorenz Beildeck said that Johannes Gutenberg at one time sent him to Claus Dritzehn after the death of his brother Andres to tell Claus Dritzehn not to show the press he had in his care to anyone. "This witness did that and also spoke more and said that he [Claus] should trouble himself so much as to go over to the press and open the thing with the two hand-screws, then the pieces would fall apart. The same pieces he should lay on the press so that thereafter no-one could see or understand anything." Dritzehn claimed not to have found the pieces, they seemed to have been spirited away. </P><P ALIGN="JUSTIFY">
These documents were destroyed in 1793 and 1870. The report of their existence was made by Daniel Schöpflin who has been found to be inaccurate in other instances, but if they were forged, why had the details been kept quite so vague? In any event the contract lapsed in 1443. </P><P ALIGN="JUSTIFY">
In 1441 Gutenberg stood surety for a loan. The document was a wordy legal fiction as loans with interest were illegal under canon law. </P><P ALIGN="JUSTIFY">
On 17 November 1442 Gutenberg obtained a loan from the dean and chapter of St Thomas at Strasbourg. </P><P ALIGN="JUSTIFY">
On 22 January 1444 Gutenberg and his former partner Andres Heilmann were among goldsmiths listed for military service. As he was not a citizen he was only an affiliated member of the guild. About the same time he was among those ordered to supply horses. His liability for only half a horse shows no great wealth at that time. The last record for Gutenberg in Strasbourg is for a payment of one gulden wine tax on 12 March 1444. </P><P ALIGN="JUSTIFY">
The four year gap before he reappears in Mainz has been the subject of much speculation. He may have been in contact with Procopius Waldfogel, a silversmith who fled Prag during the Hussite troubles and arrived via Nürnberg in Avignon in 1444, where the records contain a contract in July that year for the supply of "two alphabets of steel, two iron forms, a vise or screw, 48 forms of tin, and various other forms pertaining to the art of mechanical writing" ("ars artificialiter scribendi"). Another contract in 1446 refers to "27 Hebrew characters", "48 characters engraved on iron", and "instruments for writing mechanically in Latin". He disappeared from the historical record after 1446 and no surviving printing from Avignon is known of for this early period.</P><P ALIGN="JUSTIFY">
Another possibility is contact with the Master of the Playing Cards (Meister der Spielkarten), the first major exponent of intaglio printing, a German or possibly Swiss engraver active from the 1430s to the 1450s, known through a corpus of 106 engravings, including a set of playing cards. Many of the motifs on four of the five suites of these cards appear in the illuminations of the Giant Bible of Mainz, written 1452-3, probably in Mainz, where it belonged to the Cathedral, and now in the Library of Congress and also in the copy of the 42-line Bible in Princeton University Library, but these could well have been taken from a manuscript model book and do not necessarily imply that the Master was active in an atelier in Mainz with which Gutenberg was associated. They also appear on a wide variety of other books associated with Mainz from the 1450s to the 1480s, including decoration on some books printed by Fust and Schöffer. It has been argued that Gutenberg may also have invented engraving and employed the Master to attempt to produce plates for mechanical ornamentation and when discarded these plates were used for playing cards, but the designs are not as impractical for playing cards as has been claimed. There have also been attempts to fit this in with techniques to produce mirrors in 1438 but the technical requirements differ. It has also been suggested that the ornamental initials in the Mainz Psalter were cast from plates which were deeply incised, but no early examples of intaglio ornamentation survive. (Hellmut Lehmann Haupt <I>Gutenberg and the Master of the Playing Cards</I>, Yale University Press, 1966) . </P><P ALIGN="JUSTIFY">
By 1448 Gutenberg was back in Mainz. On 17 October that year a contract was signed whereby Arnold Gelthuss, a relative of Gutenberg borrowed for the latter's exclusive use but on his own security, the sum of 150 gulden from Reinhard Brumser and Henchin Rodenstein, Gutenberg himself was to pay five per cent interest and redeem the principle in time. The purpose of the loan was not stated. </P><P ALIGN="JUSTIFY">
On 3 July 1453 Gutenberg witnessed a notarial instrument and there are also various entries relating to annuities in accounts of this period. </P><P ALIGN="JUSTIFY">
<B>The Helmaspurger Instrument dates from 6 November 1455</B> and the original document survives on a sheet of vellum. It is named after the notary Dr Ulrich Helmaspurger who supplied this 77 line synopsis of his client Johann Fust's oath made on the above date during a lawsuit brought against him by Gutenberg. It also records the background to the case and the court's verdict. It is wordy and obscure but the outline is as follows: </P><P ALIGN="JUSTIFY">
In about 1450 Gutenberg borrowed 800 gulden from Johann Fust, a lawyer and financier, and his brother Jacob, a goldsmith, at six per cent, none of which he paid, to be used to "make and prepare his tools" which were pledged as security. If disagreement arose Gutenberg was to repay Fust and all claims were to be relinquished. </P><P ALIGN="JUSTIFY">
In December 1452 Gutenberg asked for a further loan. Fust agreed to advance Gutenberg 800 gulden if he were taken into partnership "for the work of the books". The deal was apparently made verbally and seems to have replaced an earlier arrangement whereby Fust was to have paid 300 gulden per annum to defray "living expenses and also supply wages, house rent, parchment, paper, ink etc."</P><P ALIGN="JUSTIFY">
In November 1455 Fust foreclosed on Gutenberg and on Thursday 6 November between eleven o'clock and noon there was present in the refectory of the Barefooted Friars at Mainz Jacob Fust on behalf of his brother Johann Fust.<BR />
<TABLE>
<TR><TD WIDTH="50%">Gutenberg was sued for:</TD><TD WIDTH="50%">The court ordered repayment of:</TD></TR>
<TR><TD>800 gulden original loan</TD><TD>800 gulden original loan</TD></TR>
<TR><TD>250 gulden interest</TD><TD>so much of 800 gulden second loan</TD></TR>
<TR><TD>800 gulden second loan</TD><TD>not expended "for the profit of both"</TD></TR>
<TR><TD>140 gulden interest</TD><TD>250 gulden interest on first loan</TD></TR>
<TR><TD>36 gulden interest paid by Fust</TD><TD>176 gulden interest on second loan</TD></TR>
<TR><TD>Total 2026 gulden</TD><TD>Total at least 1226 gulden</TD></TR></TABLE>
</P><P ALIGN="JUSTIFY">
Gutenberg was clearly unable to pay, so his equipment was confiscated. There is evidence for printing in phrases such as "the work of the books" and Fust's promise to pay 300 gulden a year for "parchment, paper, ink etc." Also among Gutenberg's representatives were his servants Heinrich Keffer (printer in Nurnberg in the 1470s) Bechtholff von Hanau (Berthold Rüppel, who introduced printing to Basel c.1468). Among Fust's representatives was Peter Gernsheim (alias Schöffer, his technical manager and later his partner). </P><P ALIGN="JUSTIFY">
Level of expenses:
<UL>
<LI>410 gulden in Dritzehn agreement</LI>
<LI>150 gulden borrowed in 1448</LI>
<LI>2026 gulden in Fust agreement</LI></UL>
In 1444 the town chancellor of Mainz Conrad Humery earned 130 gulden a year, increased later to 208 gulden on which latter sum he was able to live handsomely. In the imperial city of Augusburg in 1467 only 63 out of 4150 citizens on the tax roll had taxable capital of over 2,400 gulden. In 21st century terms Gutenberg had expended well over £1,000,000 over about seventeen years on developing the art of printing with moveable types. </P><P ALIGN="JUSTIFY">
On 21 June 1457 Gutenberg was again before Helmaspurger but only to witness the sale of a farm to a relative by marriage. </P><P ALIGN="JUSTIFY">
In 1457 Gutenberg's payments on the 1442 loan from the parish of St Thomas ceased and in 1461 the parish laid complaint for non-payment of interest before the imperial court at Rottweil. The result is unrecorded but later entries for debt in the registers are cancelled although documents reveal considerable expenditure on attempts to enforce payment. </P><P ALIGN="JUSTIFY">
On 28 October 1462 Count Adolf of Nassau, archbishop of Mainz sacked the city in pursuance of his feud with a rival claimant to the see. Some 400 were killed and 800 expelled the next day possibly including Gutenberg although on 17 January 1465 archbishop Adolf appointed Gutenberg his servant and courtier for life in recognition of the "agreeable and voluntary services which our true and faithful servant Johann Gutenberg has rendered to us and our order". This supplied one gentleman's suit annually, a grant of grain and wine, exemption from watch duty, military service (Gutenberg was then in his late 60s), taxation and sundries – a sort of civil list pension but was it for political or typographical services rendered? It may have meant a move to the court at Eltville. </P><P ALIGN="JUSTIFY">
In 1467/8 Gutenberg is recorded as a lay member of the brotherhood of St Victor. </P><P ALIGN="JUSTIFY">
On 3 February 1468 Gutenberg died. He was buried in the church of St Francis in Mainz with other family members. A relative, Adam Gelthus set up a memorial but the church was demolished in 1742. </P><P ALIGN="JUSTIFY">
On 26 February 1468 Dr Conrad Humery acknowledged to the archbishop "certain forms, letters, instruments, tools and other things belonging to the work of printing which Johann Gutenberg left after his death and are still mine". In return Humery undertook that if he used them for printing he would do so within the city of Mainz and if he sold the material he would give preference to the city. </P><P ALIGN="JUSTIFY">
No portrait survives; the engraved portrait of 1585 is fanciful. He is shown bearded but patricians were normally clean-shaven. His vacant look may be due to the uselessness for typographical purposes of the die held in his left hand. It is suggested that he may have been blind towards the end of his life. </P><P ALIGN="JUSTIFY">
No book is definitely ascribable to him but circumstantial evidence adds some detail. </P><P ALIGN="JUSTIFY">
<B>Early references to Gutenberg as the inventor of printing:</B></P><P ALIGN="JUSTIFY">
<B>1. 4 October 1458.</B> Records of the French royal mint. Charles VII ordered agents to go to Mainz to inquire into the art of printing brought to light there by Messire Jeham Gutemberg "a man adept at cutting punches and caractères". Nicolas Jensen, master of the Tour mint was selected for this. He was later an important Venetian printer. The document is probably a 16th century transcript, but before there was any vested interest in proving Gutenberg to be the inventor. </P><P ALIGN="JUSTIFY">
<B>2. 24 May 1468.</B> Colophon of St Justinian <I>Institutiones</I> (Mainz: Peter Schöffer). Twenty-four lines of Latin verse by the corrector, printed in red, include the statement "two Johns, both of whom the town of Mainz produced, […] were the renowned first stampers of books […] and with them was associated a Peter who, although a late-comer, was the first to reach the goal and become superior in the art of engraving. Fust had died in 1466 and Gutenberg three months previously in 1468. </P><P ALIGN="JUSTIFY">
<B>3. New Year's day 1471.</B> Guillaume Fichet, the professor at the Sorbonne who with Jean Heynlin brought Freiberger, Gering and Crantz to Paris as printers in 1469, wrote a letter to his friend Robert Gaguin in praise of printing and its service to the humane arts. Itws later printed and bound in a copy of Gasparinus Barzizius <I>Othographia</I>, the second book printed in Paris, in 1470, which once belonged to Heynlin and is now in Basle University Library. "… they say that there, not far from the city of Mainz, there appeared a certain Johann, whose surname was Gutenberg who, first of all men, devised the art of printing whereby books are made, not with a reed as did the ancients, nor with a quill pen as do we, but with metal letters, and that swiftly, neatly, beautifully". This is a very important comment from an informed and disinterested contemporary. </P><P ALIGN="JUSTIFY">
<B>4. 1474. Riccobaldus Ferrarensis, <I>Chronica summorum pontificorum</I>, (Rome: Johannes Philippus de Ligamine).</B> The work was continued by the printer Ligamine who under 1458/9 gives the first historical reference to printing: "Jacob surnamed Gutenberg, a native of Strasburg, and another man whose name was Fust, being skilled in printing letters on parchment with metal types are known each of them to be turning out 300 sheets a day at Mainz, a city of Germany. </P><P ALIGN="JUSTIFY">
<B>5. 13 September 1483. Eusebius <I>Chronicon</I></B> continued by Prosper Florentinus and Mattheus Palmerius Pisanis (Venice: Ratdolt). Palmerius notes under 1457: "the theory of printing books was discovered in 1440 by Johann Gutenberg zum Jungen, knight of Mainz on the Rhein, by his unusual genius. The fuller form of the name could imply personal knowledge. </P><P ALIGN="JUSTIFY">
<B>6. 1494. Adam Wernher, professor at Heidelberg</B> wrote verse in praise of Gutenberg. Playing on the name Gensfleisch, he compares him to geese that saved Rome from the Gauls, places him above Daedalus, Archimedes and Sisyphus "even Italy which has taken this art from us strives after you and acknowledges her eternal thanks to you". A similar poem of praise by his pupil Johann Herbst appeared in the same year. </P><P ALIGN="JUSTIFY">
<B>7. 1499. Polydore Vergil, <I>Opera de inventionibus rerum</I></B> stated that Peter, a German invented printing in Mainz in 1442. In the second edition (Basel, 1524) the name was replaced by Gutenberg. The invention of a new ink was also mentioned. </P><P ALIGN="JUSTIFY">
<B>8. 1499. Jacob Wimpheling,</B> a scholar, wrote a poem praising Gutenberg for his invention. The work, printed in Mainz contains verses preceded by an epitaph by Gutenberg's relative Adam Gelthus who adds that his remains lie in the Franciscan church in Mainz. </P><P ALIGN="JUSTIFY">
<B>9. 1499. <I>Die Cronica van der hilliger Stat Coellen.</I></B> (Köln: Johann Koehlhoff). The Cologne Chronicle contains an entire chapter on the invention, naming Gutenberg as the inventor of the art as now practised: "Of the art of printing books". The beginning of the art was told to the author "by word of mouth by the worshipful master Ulrich Zell of Hanau, printer at Köln in this present year 1499 through whom the art came to Köln [c1465/6]. This right worthy art was invented first of all at Germany on the Rhein and that is a great honour to the German nation that such ingenious men are to be found there. This happened in AD 1440 and from that time until 1450 the art and all that pertains to it was investigated and in 1450, a golden year, men began to print and the first book that was printed was the Bible in Latin and this was printed with as large a letter as that now used in missals." He goes on to mention a Vurbyldung or prefiguration, which could refer to Coster in Haarlem and concludes: Item, a certain Omnibonus wrote in the preface to a book named Quintilian and elsewhere that a Walloon from France named Nicholas Jenson was the first to discover this masterly art, but that is a manifest lie, for there are some still living who can testify that books were printed in Venice before the said Nicholas Jenson came there and began to cut and prepare his letter. But the first inventor of printing was a citizen of Mainz and was a native of Strasbourg and was named Junker Johan Gutenberg. From Mainz the art came first of all to Köln, after that to Strasbourg and after that to Venice." </P><P ALIGN="JUSTIFY">
<B>10. 1501. Jacob Wimpheling</B> adds that the invention was made at Strasbourg by Gutenberg but was perfected at Mainz. </P><P ALIGN="JUSTIFY">
<B>Early statements not mentioning Gutenberg but locating the invention to Germany.</B></P><P ALIGN="JUSTIFY">
<B>1. c.1471. Nicolaus Perottus</B> located the invention to Germany (as opposed to Holland or Italy) but does not name Gutenberg: "I have often blessed the fact that just in our time such a great and truly divine benefaction has been granted us in the new art of duplication that has recently come to us from Germany. For I have seen that one man in one month would print as many writings as could scarcely be accomplished in a year …"</P><P ALIGN="JUSTIFY">
<B>2. 1493. Hartmann Schedel, <I>Weltchronik, </I></B>(Nürnberg: Koberger) states that the art of printing appeared first in Germany in the town of Mainz on the Rhein and from there spread into almost all places of the world. By its means the costly treasures of writing and wisdom which had long lain hidden in old books are brought to light. </P><P ALIGN="JUSTIFY">
<B>3. 1498. Sebastian Brandt, <I>Varia carmina</I>,</B> (Basel: Bergmann von Olpe) in a Latin poem on the excellence of printing Brant states: "recently the wit and art of men in the land of the Rhein has brought books to the world in considerable numbers. What once only rich people and kings possessed for themselves can now be fund in the most modest house: a book […] What remained hidden to the sages of Greece and technicians of Rome, this present invention stems from the German spirit." </P><P ALIGN="JUSTIFY">
Surviving printed books associated with Gutenberg. </P><P ALIGN="JUSTIFY">
<B>1454/5. 42-line Bible.</B> The earliest surviving complete printed book. It is also known as the Gutenberg Bible as it he was probably involved in its production or the Mazarin Bible as the copy in the Bibliothèque nationale, once in the Mazarin Library, was the first to attract attention. It is not dated or signed but can be dated to about 1455; Heinrich Cremer the vicar of St Stephen, Mainz finished rubricating and binding his copy of the Bible on 24 August 1456, recording the fact in a manuscript note at the end of the second volume. The edition must have been on sale some months before that date. </P><P ALIGN="JUSTIFY">
At first only 40 lines to a page were intended but this was later increased to 41 and then to 42. It was later decided to increase the size of the edition and the 4 and 42 line pages were reset at 42 lines to the page. It was originally printed in ten sections on six presses simultaneously. The size of the edition is thought to have been 150 copies on paper and 30 on vellum. 49 copies survive, 37 on paper including 21 complete copies. The paper was acquired in large batches, so the printer must have had substantial means. </P><P ALIGN="JUSTIFY">
The type also occurs in the headings of the 30-line indulgence of 1454/5 and in a Donatus printed in Mainz by "Petrus de gernzheym in urbe Moguntia (Peter Schöffer) in about 1472. It is a textura, an upright and angular gothic letter used in Germany for service books and Bibles. The appearance of script was imitated by extensive use of extra sorts for ligatures and contractions. </P><P ALIGN="JUSTIFY">
Only nine months separate 24 August 1456 from 6 November 1455, so the Bible must have been in press when the lawsuit was heard and the Bible certainly fits the bills for the "work of the books". If work was well advanced why did Fust foreclose then? Fust was certainly heavily involved financially and Gutenberg had been experimenting since 1436, so progress was painfully slow for him. He must have realised that the foreman Peter Schöffer could continue alone and recover his debts, particularly now that the work on the Bible, and probably also the more ambitious Psalter was now so well advanced. </P><P ALIGN="JUSTIFY">
<B>Other early printing in Mainz with which Gutenberg could be associated. </B></P><P ALIGN="JUSTIFY">
<b>The printer of the 42-line Bible. </b>The type of the 42-line Bible was used in a number of other works in the 1450s, all of them fragmentary: </P><P ALIGN="JUSTIFY">
1453-54. Donatus, Aelius. <I>Ars minor</I>. Plus 20 undated fragments and two issues dated post 1455. </P><P ALIGN="JUSTIFY">
1454-55. Chappe, Paulinus, commissary. <I>Indulgentia</I>, 1454. For contributions to the war against the Turks. The 30-line indulgence. Six variants are dated 1454, and five dated 1455. The headlines are in a larger type similar to that of the 42-line Bible and the initial M later reappears in an indulgence printed by Schöffer in 1489. </P><P ALIGN="JUSTIFY">
1454-55. <I>Biblia Latina</I>, 42 lines, already discussed. </P><P ALIGN="JUSTIFY">
1455. <I>Psalterium cum canticis</I>. A single leaf on vellum in the Bibliothèque nationale, Paris. </P><P ALIGN="JUSTIFY">
Although Gutenberg swore his associates to secrecy, a common practice among craftsmen, a work needing six presses meant that there was a large number of individuals who could spread the secrets and there is a considerable body of material emanating from Mainz in the 1450s. The presswork was often cruder and the products smaller, more popular items, often only known from binding fragments. </P><P ALIGN="JUSTIFY">
The indulgences of 1454 and 1455, the earliest dated pieces of printing indicate that even at this early date more than one press could well be active in Mainz. In 1453 Constantinople had fallen to the Turks. At the solicitation of the King of Cyprus Pope Nicholas V granted indulgences to those giving money to help fight the Turks. Paulinus Chappe went to Mainz as proctor general, representative of the King of Cyprus, arriving with pardoners in the autumn of 1454 armed with indulgences valid until 30 April 1455. These were normally in manuscript but printed copies survive with space left blank for the donor's name – the first printed form. There are two distinct editions, each with variants. The text is printed in a small clear typeface. </P><P ALIGN="JUSTIFY">
<B>The printer of the 36-line Bible.</B> The type of the 36-line Bible was used in a number of works dated between about 1452 and 1460. </P><P ALIGN="JUSTIFY">
1452-53. <I>Sibyllenbuch</I>. Also known as <I>Fragment vom Weltgericht</I> (Fragment of the world judgment) from the subject of the German text in the fragment discovered. It is one of the most primitive of the fragments, part of a sheet with eleven lines on each side discovered in a Mainz binding in 1892. From the watermark its position in the sheet is known and from the known text of the poem it is calculated that it is from a book of 37 leaves (74 pages) with 28 lines to a page. </P><P ALIGN="JUSTIFY">
1453-54? Donatus, Aelius. <I>Ars minor</I>. Three issues of this school text have been dated to this period. Later issues are dated as follows: 1455/7 11 issues, 1456/8 10 issues, c.1459 2 issues. </P><P ALIGN="JUSTIFY">
1454. <I>Eyn Manung der Christenheit widder die Durken</I>. Also known as the Türken-Kalender (Turk calendar for 1455), a twelve page booklet. Internal evidence dates it to between 6 and 24 December 1454. It ends with the earliest printed New Year's greeting: "Eyn gut selig nuwe jar".</P><P ALIGN="JUSTIFY">
1454-55. Chappe, Paulinus, commissary. <I>Indulgentia</I>. For contributions to the war against the Turks, this is also known as the 31-line indulgence. Five variants are dated 1454, one is dated 1455. Headlines are in a larger type similar to the 36-line Bible. </P><P ALIGN="JUSTIFY">
1456. <I>Aderlasskalender</I>. This bloodletting calendar for 1457 is the earliest piece of medical printing, giving lucky and unlucky days on which to be bled or take purgation. This type of text was popular before printing and some 46 examples are known by 1480. </P><P ALIGN="JUSTIFY">
1456? <I>Provinciale omnium ecclesiarum</I>, a register of churches. </P><P ALIGN="JUSTIFY">
1456. Calixtus III, Pope. (formerly Alonso de Borgia). Bulla Turcorum
<I>Cum hiis superioribus annis</I>. This Bull, issued at Rome on 29 June 1456 announces the fall of Constantinople and seeks funding for another crusade against the Turks. Two editions are known, one in German and one in Latin. </P><P ALIGN="JUSTIFY">
1456. Calixtus III, Pope. <I>Die Bulla widder die Turcken</I>. Translated by Heinrich Kalteisen. A rubricator's date of 1456 is found in the German edition. </P><P ALIGN="JUSTIFY">
1457. Cisioianus. <I>Kalender</I> In German. </P><P ALIGN="JUSTIFY">
1457? <I>Oratio Respice Domine</I>, a Latin prayer on a single sheet of which the only copy is in the University Library at München, Germany. </P><P ALIGN="JUSTIFY">
1458? <I>Planeten-Tafel</I>. Ephemerides or astronomical calendar for 1448. These two parchment fragments in German which join to make a sheet 22x9 inches were discovered in Wiesbaden in 1901 in an old binding. Part of a single-sheet ephemeris, it is undated but the calculations seem to realate to 1448. It was used for casting horoscopes and would retain its validity for a number of years. It was once thought to have been printed c.1447 but has been dated relatively late in the sequence by Carl Wehmer. </P><P ALIGN="JUSTIFY">
1458? 40-line Bible. Proof only, printed in double columns. Probably never completed in this format. </P><P ALIGN="JUSTIFY">
1458/60. <I>Biblia Latina</I>. The 36-line Bible. This was probably printed by the same printer as the previous items but probably in Bamberg, certainly no later than 1461, the rubrication date in the Bibliothèque national copy in Paris and the date at which Albrecht Pfister is known to be using the types. A folio of 884 leaves in two columns, it was largely set up from the 42-line Bible and repeats its errors. It was probably printed in Bamberg where it was commissioned by the Bishop and was probably produced under the patronage of the cathedral chapter, on the evidence of waste fragments in Bamberg bindings. The type is larger and coarser and the presswork inferior to the 42-line Bible, but it aims at the same sumptuous effect – could it be Gutenberg working alone without the technical assistance of Schöffer? The techniques are better than those of Albrecht Pfister who is the first recorded printer in Bamberg. Only 14 copies are extant, all on paper although fragments of vellum survive. </P><P ALIGN="JUSTIFY">
A puzzling imprint is: </P><P ALIGN="JUSTIFY">
<B>1473? Konstanz Missal. </B> This was once thought to be associated with Gutenberg and was erroneously associated with Konstanz. It is a small folio containing a shortened form of service of the Mass in a type similar to one found in the Mainz Psalter but lacking certain letter forms. Its presswork is nondescript and it was thought to be a trial run, perfecting techniques and so pre-dating the 42-line Bible. Allan Stevenson, in a paper published in 1967, found it to have been printed on paper manufactured in 1472/3. The only copy is in the British Library. It is the earliest book in which music is printed but in a separate impression. </P><P ALIGN="JUSTIFY">
<B>Printer of the Catholicon.</B> This is a more likely associate of Gutenberg in Mainz than the printer of the Konstanz missal and is responsible for several imprints in the early 1460s. </P><P ALIGN="JUSTIFY">
<B>1460. Balbus, Johannes. <I>Catholicon</I>. </B>This bears the enigmatic colophon: "By the help of the Most High, at whose will the tongues of infants become eloquent and who oftentimes reveals to the lowly what he hides from the wise, this noble book <I>Catholicon</I> in the year of our Lord's incarnation 1460 in the city of Mainz of the renowned German nation […] without help of reed, stylus or pen, but with the wondrous agreement, proportion and harmony of punches and type, has been printed and finished>" It has been suggested that this is Gutenberg speaking of his invention. Three issues have been distinguished in spite of identical typesetting:
<UL><LI>a) printed on vellum or Bull's Head paper. </LI>
<LI>b) on Galliziani paper. </LI>
<LI>c) on Tower & Crown paper. </LI></UL>
This has given rise to the theory that issue a) was printed in 1460, issue b) in 1469 and issue c) about 1472; see Paul Needham, in BSA 76 (1982) pp.395-456. Needham gave evidence that there were at least three issues, the first printed by Gutenberg in 1460 using 2-line slugs in what would be Gutenberg's final great invention: an early form of stereotyping, and re-printed by Konrad Humery and Peter Schoeffer c.1469 and again c.1472. An alternative theory that all three states were printed about 1469 is proposed by Lotte Hellinga in <I>Gutenberg Jahrbuch</I>, 1989, pp. 47-96 and in the <I>Book Collector</I> (Spring 1992) pp. 28-54. The work certainly came into the hands of Schöffer, perhaps after Gutenberg's death, and he advertised it in 1469. It is a folio of 373 leaved in two columns of 66 lines; eight copies are known on vellum. The author Johannes Balbus was a 13th century Dominican of Genoa and the work is a large grammar, encyclopedia and dictionary. The type is smaller than that of the 42-line Bible, similar to the small type of the 30-line indulgence. </P><P ALIGN="JUSTIFY">
1460. Matthaeus de Cracovia, <I>Dialogus rationis et conscientiae de frequenti usu Communionis</I>. Two issues survive: <UL>
<LI>A on paper manufactured about 1460. </LI>
<LI>B manufactured 1465-69, but with identical typesetting.</LI></UL></P><P ALIGN="JUSTIFY">
1461. <I>Indulgentia</I>. Indulgence for benefactors to the church of St. Ciriacus, Neuhausen, near Worms. Issue for men</P><P ALIGN="JUSTIFY">
1461, before 27 October. <I>Indulgentia</I>. Indulgence for benefactors to the church of St. Ciriacus. Issue for women</P><P ALIGN="JUSTIFY">
1462, before 10 April. <I>Indulgentia</I>. Indulgence for benefactors to the church of St. Ciriacus. Issue for women</P><P ALIGN="JUSTIFY">
1464, [before 11 Dec]. Radulphus, Frater. <I>Indulgentia</I>. An indulgence to benefactors of the Order of the Holy Trinity. </P><P ALIGN="JUSTIFY">
1465/9? Thomas Aquinas, St. <I>De articulis fidei et ecclesiae sacramentis</I>. </P><P ALIGN="JUSTIFY">
<b>The rival claimants</b></P><P ALIGN="JUSTIFY">
<B>Coster, Laurens Janszoon Coster, </B>Haarlem.
</p><br /><div align="justify">
<B>1. 1499<I>Die Cronica van der hilliger Stat Coellen.</I></B> (Köln: Johann Koehlhoff). The Cologne Chronicle contains an entire chapter on the invention, naming Gutenberg as the inventor of the art as now practised. This was told to the author "by word of mouth by the worshipful master Ulrich Zell of Hanau, printer at Köln in this present year 1499 through whom the art came to Köln [c1465/6]. but it then continues: "Although the art was invented at Mainz, as far as regards the manner in which it is now commonly used, yet the first prefiguration (Vurbyldung) was invented in Holland from the Donatuses that were printed there before that time. And from and out of these the aforesaid art took its beginning and was invented in a manner much more masterly and subtle than this, and the longer it lasted the more full of art it became." </div><br /><div align="justify">
<B>2. 1549/61. Jan van Zaren of Haarlem, <I>Dialogue on the first, and as yet commonly unreported, but still more veritable invention of the art of printing.</I></B> This was transcribed by the 17th century Haarlem writer Petrus Scriverius (Pieter Schrijver) from a manuscript lost apart from the introduction and published in <I>Laure-crantz voor L. Coster van Haarlem, eerste Vinder van de Boek-Druckerey</I> (Haarlem: Adriaen Romaan, 1628). "That rightly honoured city [Mainz] developed the art as conceived by us into common property and drew it into the light. She gave to the generally crude and ill-shaped invention a neater form, as the circumstances of the day required […]. Meanwhile […] remember that in this our city of Haarlem the foundation of this art was laid – crude indeed but nevertheless the first. There the printing art was born […]. For many years it was located here in a private house which, although dilapidated, is still preserved and unharmed. Here in fact the art was nurtured […] was indeed too economically nourished and restricted until, disdaining the restricting poverty of a private house, it attached itself to a foreigner and, leaving the limited circumstances of the paternal house behind it, multiplied its equipment and at last appeared publicly in Mainz." A verbose but circumstantial account. </div><br /><div align="justify">
<B>3. 1561. Dirck Volkertzoon Coornhert, dedication to Cicero <I>De officiis</I>, (Haarlem). </B> Repeats the above and adds: "this art, which later was taken by an unfaithful servant to Mainz, was there so much improved […] that the town has been given credit for the invention […]." He cites "trustworthy evidence of distinguished grey heads, who not only gave me the descent of the discoverer, but also his name and surname, and have pointed out to me the very house of the first printer." </div><br /><div align="justify">
<B>4. 1567. Ludovico Guiccardini, <I>Descizzione di tutti I paesi bassi</I>, (Antwerp). </B> He repeats the claim of Haarlem but adds: "Since however the originator died before the art was developed and brought to public attention it is said his servant removed to Mainz where he received a warm welcome because he was a printer. There […] complete mastery and the highest development was attained […] What truth there is in this I cannot and will not judge." The book was later translated into Dutch, French, English and German, so helped to boost the claim of Haarlem. </div><br /><div align="justify">
<B>1568. Adraen de Jonghe (Hadrianus Junius), <I>Batavia</I>, (Antwerp: Plantin, 1588). </B>The following account must have been written before 1575 when Adraen de Jonghe died, most probably around 1568. He gives a full account based on evidence of aged citizens of unimpeachable reputation. </div><br /><div align="justify">
Laurenz Janszoon Coster (the name means sexton) lived in a large house in Haarlem 128 years ago [about 1440] and members of the family were still living in 1568. While walking in the forest he cut letters in wood and found he could make prints by inking them. He used it as a source of amusement for children. With the help of his son-in-law Thomas Pieterszoon (who had four children all of whom later held high office in Haarlem) he devised a superior black ink. He began to make pictures and illustrate them with printed text "I have seen a little book of this kind, the first crude product of his work, printed by him on one side only and not on its back. It was a book composed in the vernacular and called <I>Spieghel onzer Behoudenisse</I>" [<I>Speculum salvationis</I>]. The pages were stuck back to back to improve the appearance. Coster later substituted lead, then tin but the types were later cast into wine pots still shown as antiques in Coster's house on the market place. The invention thrived and apprentices were taken on including a Johann, whose surname could have been Faustus who later proved faithless. Having learned the whole trade he stole his master's equipment on Christmas Eve when he was in church and fled to Amsterdam, then Köln and finally Mainz where he opened a printing establishment. Within the year, in 1442, there appeared "iis ipsis typis" which Coster had used the <I>Doctrinale</I> of Alexander Gallus and tracts of Petrus Hispanus. All this was told him by "aged and trustworthy men to whom it had been handed down by their forefathers. Nicolaus Gaal the teacher of my youth […] used to tell me that as a boy he had often listened to a certain Cornelis, a bookbinder, then a man eighty years old who had been an apprentice in that same printing establishment. He told how he cursed the nights he spent in the same bed as Johann."</div><br /><div align="justify">
<B>Corroborating evidence</B></div><br /><div align="justify">
<B>1. Laurens Janszoon Coster is recorded as a resident of Haarlem</B> between about 1370 and 1440. He was an innkeeper and dealer in wine, candles, oil and soap. He was appointed coster (sexton or churchwarden) of Sint-Bavokerk and at one time was city treasurer. He may have perished in the plague which visited Haarlem in 1439 and 1440 as his widow is mentioned in the latter year. No contemporary record links him with printing. The dating is early and there may have been confusion with a later member of the family. </div><br /><div align="justify">
<B>2. The Coster family pedigree</B> recorded in a manuscript in Haarlem dating from about 1559 refers to Laurens Coster as "having brought the first print into the world in 1446". </div><br /><div align="justify">
<B>3. Cornelis is recorded as a bookbinder in Haarlem </B>between 1474 and 1514 over which period he bound the account books of Haarlem Cathedral. He continued as a bookbinder and bookseller until his death in 1522. The first recorded printer in Haarlem is Bellaert from 1483. Cornelis had a shop on the Cruysstraat and sold books printed by Belleart in 1492. His house, named "Den Bellaert" was in the same street and Corelis may have confused facts recorded from his association with Belleart into his narrative. In his bindings of account books dated 1474, 1489 and 1514 fragments of early editions of Donatus have been found. </div><br /><div align="justify">
<B>4. Costeriana. </B>Some 200 books or fragments, none of them signed or dated, printed in a variety of Dutch style letter forms, some of them in Dutch. Many are binding fragments, some of those printed on one side only may be proofs used as binder's waste, and some are from bindings by Cornelis. The technique is primitive. In one edition of the Speculum there is a mixture of woodcut and printed text, once seen as Coster experimenting, although the state of the blocks shows these to have been a third edition of the text. Some consider the types to have been cast in sand from wooden punches. They must pre-date the earliest documented printing in the Netherlands, in Alost and Utrecht in 1473. The evidence of Pontanus which names Puis II (1458-64) and other items with inscriptions dateable to 1471 or 1472, as well as watermark evidence pointing to the period 1466 indicate that the bulk of them were printed in the period 1465-1473 but apart from the fact that many of them survive in Haarlem and there is a link to the binder Cornelis, there is nothing to link them with Haarlem. Many of the Haarlem copies have been acquired later. The blocks of the <i>Speculum</i> were used in 1481 by the Utrecht printer Jan Veldener I an edition of the Epistles and Gospels and later in 1483 at Kuilenberg, several of them cut in half. He may possibly have found them in Utrecht. Bibliographers now refer to them as "Netherlands: Prototypography, 1465-80". They fall into several main groups (dates given below are largely tentative):</div><br /><div align="justify">
<B>School texts.</B><BR />
<I>Abecedarium: Pater noster</I>, perhaps 1473? <BR />
Donatus, Aelius. <I>Ars minor</I>, about 1465-1473. 110 fragments, perhaps 20 editions, some printed on one side of paper. <BR />
Alexander de Villa Dei. <I>Doctrinale</I> (Partes I-IV), 1465-75? 67 fragments, perhaps 8 editions of this popular school text. </div><br /><div align="justify">
<B>Religious texts.</B> <br />
Including four editions of the illustrated text <I>Speculum humanae salvationis</I>, two in Latin and two in Dutch. <BR />
<I>Speculum humanae salvationis</I>, about 1466-67<BR />
<I>Speculum humanae salvationis</I>, about 1474-75<BR />
<I>Spiegel der menselijker behoudenisse</I>, about 1471 or 1474<BR />
<I>Dat speghel onser behoudenisse</I> c.1479<BR />
<I>Liturgy</I>, 1473? Two fragments. <BR />
<I>De zeven psalmen</I> [Psalmi poenitentiales. Dutch], 1473? <BR />
Inventory, about 1473? </div><br /><div align="justify">
<B>Classical and legal texts. </B> <BR />
These were intended for a more learned readership: Aesopus. <I>Fabulae</I> [Latin] (Tr: Laurentius Valla) [and] Francesco Petrarca: <I>De salibus virorum illustrium ac facetiis</I>, about 1473<BR />
Cato, Dionysius. <I>Disticha de moribus</I>, etc., about 1473. 4 fragments<BR />
<I>Iliados epitome</I> (the Ilias Latina attributed to Pindarus Thebanus [i.e. Baebius Italicus] [and] <I>Carmina. Epitaphia</I>, two editions, 1472, 1473? <BR />
Pontanus, Ludovicus. <I>Singularia iuris. Tractatus de praesumptionibus</I>. Edited by Laurus de Palatiis [and] Pius II: <I>De pravis mulieribus</I> [and] (Pseudo-) Pius II: <I>De laude atque epitaphiis virorum illustrium</I>, not after 1472? <BR />
Pontanus, Ludovicus. <I>Singularia iuris</I>, edited by Laurus de Palatiis, about 1473<BR />
Porphyrius. <I>Isagoge sive Liber V praedicabilium Aristotelis</I>, about 1473<BR />
Saliceto, Guilelmus de. <I>De salute corporis</I> [and] Johannes de Turrecremata: <I>De salute animae</I>. [and] Pius II: <I>De remedio amoris. Pro laude Homeri prefatio</I>. [and] Pindarus Thebanus: <I>Iliados epitome</I> [Ilias latina]. <I>Pro laude Homeri preclara illustrium virorum testimonia</I> [and] <I>Epitaphia varia</I> [and] <I>Homoneae epitaphium</I>, not after 1472. </div><br /><div align="justify">
The Coster legend was not fully recorded until more than a century after the events, although it may reflect a genuine tradition in Haarlem. Adraen de Jonghe was not always critical of the facts he related. For example he records the legend of Loosduinen according to which Countess Margarethe von Henneberg gave birth to 364 children at once, a fact recorded on her tombstone. Incredible said de Jonghe, but the tombstone was there. </div><br /><div align="justify">
Finally there is an intriguing entry in the <I>Memoriaux</I> of Jean le Robert, abbot of Cambrai which could indicate early experiments in some form of typography in the Netherlands. He recorded the purchase in Bruges and Arras in 1445 and 1451 of two copies of the <I>Doctrinale</I> "gette en molle" (jeté en moule or cast in a mould). He complained that the Arras copies were very inaccurately printed:
fol. 158. ,,Item pour un Doctrinal gette' en molle envoit querir à Brug (Bruges) par marqt (Marquart). I escripuant de Valenc (Valenciènnes) au mois de Janvier XLV pour jacqt (Jacquet) xx s. t. sen heult sindrins (en eut Alexandre?), pareil que l'eglise paya; item fol. 16. Item envoyet à ARRAS. 1 Doctrinal pour apprendre led. D. Gerard, qui fu acatez (acheté) a Valen. et estoit jette'en molle, et cousta XXIIII gr. Seme renvoya le dit Doctrinal le jour de Toussaints l'an 51 disant qu'il ne valoit rien, et estoit tout faux. Sen avoit acaté IX pat. en papier." </div><br /><div align="justify">
<B>Pamfilo Castaldi. </b>The little Italian town of Feltre also lays claim to being the place where the inventor of printing was born in 1398. On the Piazza Maggiore there stands a statue of Pamfilo Castaldi, claimed by the town to have been the original inventor of printing by moveable type. <br /><br/>
<centre><img height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHdw0Ou7FCRUdnYM_51hDZ2jUtqVO8nAJ0D-cXDapt7OGHd1AgCzgK4PqFNMo3h9Xh_BkP8Qg6wBBHwRJaaVZjAQnlfIfUQfNCh7vuZ7wPd-MZeg8fSMScfASIXDzo4b2UxKFi/s1600/ZIMG_B390.JPG"><br /><br /><img height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsMDkxG3KyR_Ou4yqOmsDubJ03m9IzWRyHfdiV_aU2s8VI6858VhG8IxKoi8D2b3ZnJVYh1a6N5dfioLEiZzZJiXZDlNxOUrimzGz3h3LNjSAAnz-6ZGDB7eTKbcH6SyF6b-Zq/s1600/ZIMG_B391.jpg"><br />Plaques attached to the monument of Pamfilo Castaldi, Feltre</CENTER> </div><br /><div align="justify">
The story in Feltre is that Castaldi was given examples of early Chinese block printing by Marco Polo, with which he experimented, eventually producing modern type. The story was largely unknown outside of Lombardy until it was reported in the 19th century by Robert Curzon, Baron Zouche, a diplomat. According to Curzon, Castaldi began with glass stamps made at Murano and eventually developed wooden printing blocks which he used in a printing press in Venice in 1426. Curzon argues that Castaldi's (undated) early work closely resembles Chinese printing, and also stresses Gutenberg's acquaintance with Venetian printing. Apparently Johann Faust, Gutenburg's partner, knew Castaldi and learned of the process from him. The story has never received much credit outside of Feltre where, on the occasion of Castaldi's sexcentennial in 1998; there was a proposal for a municipal bill recognizing Castaldi, referring to him as "il primo inventore dei caratteri mobili per la stampa" ("the first inventor of moveable type for printing"). He is recorded as a printer in Milan, but not before 1471 and has the following publications to his credit: </div><br /><div align="justify">
Mela, Pomponius. Cosmographia, sive De situ orbis. - Milano : [Antonius Zarotus, with the material of Pamfilo Castaldi], 25 September 1471. - 4°; ff. [61]. - USTC 993034. <br />
Festus, Sextus Pompeius. De verborum significatione. - Milano : [Pamfilo Castaldi, with Antonius Zarotus, and Fortuna Zarotus], 3 August 1471. - 4°; ff. [80]. - USTC 995015. <br />
Lamento di Negroponte: "O tu dolce Signor che ci hai creati". - [Milano] : [Pamfilo Castaldi], [1471]. - 4°; ff. 12. - USTC 999502. <br />
Cornazzano, Antonio. Vita della Vergine Maria. - [Milano] : [Antonius Zarotus, with the material of Pamfilo Castaldi], [1472?]. - 4°; ff. [40]. - USTC 995592. <br />
Cicero, Marcus Tullius. Epistolae ad familiares. Corr: Gabriel de Orsonibus. - Milano] : [Antonius Zarotus, with the material of Pamfilo Castaldi, for Julianus de Merlis, and Blasius de Terzago], [before April 1472]. - 2°; ff. [157]. - USTC 996000. <br />
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This page last updated 18 September 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.comtag:blogger.com,1999:blog-19653261.post-33695483375370171872020-09-18T10:13:00.002+01:002020-09-18T10:13:23.664+01:00World Book Heritage. 19. The birth of western printing. <table><tr><td width ="50%" valign="top"><img src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij3S03kkb-g4_7RIDN8qgeG5nR4Y2Ow48yigPFKsNTCnQJ-lzvzW6DnGIpgRK_6-aLkhpp0fn-_LNmKmNZcBp9igq3kxnWrfAayH6eyIDRyniGaIUGGmIQiM34v2RRhYL537L8/s0/WRITTEN+HERITAGE.jpg"></td><td width="50%"><center><b><font size="+2">World Book heritage</font><br />
<br />
A series of talks on<br />the history of the written word
<br /><br />
19. The birth of of western printing.<br /></b></center><br /></b></td></tr></table>
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<b>Early woodcuts</b><br />
Sources: A. M. Hind <i>Introduction to the history of the woodcut</i> (19335, also reprinted)<br />
Catalogue by W.L.Schreiber [reference to verify].<br /><br />
<b>Textile printing</b> was widespread in Europe,possibly from as early as the sixth century Until the 14th century it mainly consisted of decorative stamps repeatedly applied but from the later 14th century larger patterns including representational figures appeared, for example on the Sion printed textile, which probably originated in southern France or northern Italy about 1390. Vignette scenes of daily life are surrounded by knot-work borders. There is also evidence that printed patterns were used as a guide for embroiderers. Examples of the are in the museum in Nuremberg where the needlwork has worn away. </div><br /><div align="justify">
<b>Pulling of textile patterns on paper</b> is impossible to prove without examples on both media but a cut of a griffin within a wreath in the British Museum which is on paper was probably intended as an element in a decorative pattern, as is suggested by the broad scale of the design. As they were often used for picture hangings, themes were often religious, such as the crucifixion or the Virgin and child. </div><br /><div align="justify">
<b>Other uses of woodblocks</b> include blind stamping on leather for bookbindings or printing on vellum, again for bindings, although most examples of this are definitely post-printing, dating from Italy in the 1480s and 1490s. Prints could also be pasted inside bindings, inside deed boxes or travel chests where they could serve as an amulet, on the backs of choir stalls, on doors - an Italian cut of the Virgin and Child in the V&A survives on the wood of a door. They were also used for house decoration - the earliest English wallpaper in Christ's College, Cambridge, dates from about 1509. It is printed on the back of a proclamation and has been assigned to the printer Hugo Goes of York. In Exeter wooden tillet blocks were used into the 18th century to stamp a design onto the wrappers (or tillets) of bundles of cloth as a proof of quality. <br /><centre><img height="300" src="https://www.bbc.co.uk/staticarchive/887723e5e773d86666a52bc5436587214d94e9a2"><br />Tillet block showing weaver at work, Royal Albert Memorial Museum, Exeter</center></div><br /><div align="justify">
<b>Earliest surviving woodblock</b> is the Bois Protat. Named after its owner, it was probably intended for textiles and was discovetered in 1898 when the convent of La Ferte sur Grosne (Seine et Loire) was demolished. It was cut on both sides, on one a fragment of the crucifixion and on the other a fragment of the annunciation. The size of the block is 60 x 23 cm but is probably only one of a set of three or four, the full size being 60 x 69 cm, as when printed only three figures to the right of the cross are shown. It is too large for contemporary paper, which was also rare at the time, so it was probably intended for wall hangings. It is thought to have originated in Burgundy about 1400. </div><br /><div align="justify">
<b>Printing on paper</b> must have depended on supplies from Italy until 1390 when the first German paper mill was opened in Nuremberg. It is possible that an earlier use for wooden stamps for signing documents was used as early as the time of Charlemagne; it was certainly used by Henry VI in 1436, but the use of the seal impressed in wax was more widespread. It is also possible but not proven that stamps of initials could be used to guide illuminators. </div><br /><div the align="justify">
<b>Early references to block cutters and block printing</b> show the terms used and also the fields of activity:<br />
1393. Payment for works in the chartreuse in Dijon to "Jehan Baudet charpentier, pour avoir fait et taille des moles et tables pour la chapelle de mon seigneur". The moles were probably blocks for textiles. <br />
1395. Frederico de Germania sold in Bologna "cartas figuratas ad imagines et figuras sanctorum".<br />
1398. use of the word Formschneider (cutter of form or design) at Ulm.<br />
1417. Jan de printere mentioned in Antwerp records as owing money<br />
1417 Wilheml Kegler, Briefdruker mentioned in Noerdlingen. The use of Briefmaler, Heiligenmaler is also found about this time but this may refer to the colourer rather then the designer who would be described as Reisser.<br />
1441. Woodblock cutters of Venice petitioned the council for protection against all kinds of prints, including playing cards and textiles.
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<b>Playing cards</b> are first mentioned in 1377 and by 1400 their production was a thriving industry, despite decrees to fight the addiction in Nuremberg in 1380 and Augsburg in 1400. The earliest surviving set is line-engraved by the Master of the Playing Cards before 1446, but several sets survive from the later 15th century.<br />
1402. The term Kartenmacher is used in Ulm.<br />
1424. St Bernardino preaches against cards in Bologna. One card maker turned to cutting the sacred monogram under the saint's direction "If you know how to paint, paint this image".<br />
1430. Antonio di Giovanni declares thirty woodblocks for playing cards and saints to the tax office in Florence.
<br /><centre><img height="300" src="https://upload.wikimedia.org/wikipedia/commons/thumb/c/c9/Knave_of_coins_-_Italy_2_deck.png/408px-Knave_of_coins_-_Italy_2_deck.png"><br />Knave of coins of the Italia 2 playing cards deck, 1390-1410. <br />Public domain, Wikimedia Commons</center></div><br /><div align="justify">
<b>Status of woodblock cutters. </b>Printers and block cutters were usualy required to join a guild. The terminology suggests that they did not form a separate guild but joined the carpenters (Formschneider implies a cutter, Schreiner a joiner, Schnitzer a cutter, but Afdrucker and Printere show a greater distinction). In 1452 there was a dispute before the council of Louvain. Representatives of various guilds requested that the "printsnider" Jan van den Bergh join the carpenters. He objected, claiming that his work was not normal in the town and concerned the clergy more than the carpenters. Nevertheless he was ordered to join the carpenters. Much work was done in convents, an advantage as they were exempt from guild jurisdiction, but it is uncertain what proportion of work was done there as opposed to in the main art centres. Luther in 1520 said in <i>An den christlichen Adel deutscher Nation</i> that the Pope would grant the revenues of a convent "to some cardinal or other who would put a monk in there for five or six guilders a year to sit daily in the church selling pilgrims tokens and pictures so that singing and reading no longer take place". There was also work undertaken by itinerant crafsmen for pilgrimages and festivals. </div><br /><div align="justify">
<b>Designer and cutter</b> were distinct from early on. The artist usually drew the design direct on the block or if he drew the preliminary design on paper would transfer it to the block himself. The cutting would be done by a professinal guild cutter. For example the 1470 edition of the <i>Biblia pauperum</i> blockbook is signed by Friedrich Walther (Maler) and Hans Hurning (Schreiner). In Augsburg in 1468 the printer Gunther Zainer had opposition from the guild of cutters when he sought permission to print. He had to employ guild cutters to illustrate his works. It is also evident from divergent styles within works signed by the same cutter that designer and cutter were not usually identical. </div><br /><div align="justify">
<b>Sources of design</b> were normally paintings, usually in religious buildings and shrines, while others show evidence of sculpture, stained glass, brasses or plaques. </div><br /><div align="justify">
<b>Subjects of early woodcuts</b> were mainly religious, associated with pilgrimages, the Virgin, saints, crucifixion, cuts against the plague, new years greetings etc. Series of cuts were popular: the passion, les neuf preux, memento mori. Later in the century there was a wider range of interests under the influence of printing: proclamations, satire, popular poems, such as Sebastian Brandt's on syphilis. </div><br /><div align="justify">
<b>Earliest dated woodcuts</b> - there are only three before 1450:<br />
1418. Madonna with four virgin saints in a garden. The copy in the Bibliotheque royale in Brussels is generallly considered a later copy made about 1450. <br />
1423. St Christopher. The copy in the John Rylands Library in Manchester is in the binding of a Latin <i>Laus virginis</i> written in Buxheim in 1417. It has an inscription in Latin: "Every day you see this image you will meet no untimely death".<br />
<br /><centre><img height="300" src="https://upload.wikimedia.org/wikipedia/commons/thumb/7/75/Saint_Christopher_001.jpg/440px-Saint_Christopher_001.jpg"><br />Woodcut print of St Christopher from Buxheim on the Upper Rhine dated 1423. <br />Public domain, Wikimedia Commons</center><br />
1437. Martydom of St Sebastian, copy in Vienna.<br />
1443. Manuscript date on Christ bearing the cross with SS Dorothy and Alexis, copy in Nuremberg. </div><br /><div align="justify">
<b>Woodcuts dated collaterally</b></div><br /><div align="justify">
1410? Two cuts of the rest on the flight into Egypt and St Jerome in the binding of a blank book prepared for later writing.<br />
1410? Two cuts of St Dorothy and the martydom of St Sebastian from the binding of a manuscript in the convent of St Zeno near Salzburg.<br /><br />
<b>Study of development</b> is difficult as the material is scattered. The evidence for dating and ordering is taken by comparison with book illustrations after 1461, comparison with line engravings and paintings and manuscript illumination, costume (men's skirts got shorter as the 15th century wore on), dates of canonisation of saints (e.g. St Catherine in 1461) and references to Popes. Styles of colouring and pigments used can be of assistance, for example colouring in Ulm was particularly bright.</div><br /><div align="justify">
<b>Main phases of development</b></div><br /><div align="justify">
<b>1. 1400-1425.</b> Outline is broad, shading absent, a basis for colour, graceful curves, drapery in loops or hairpins. Clothes usually cover feet, except for servants and soldiers. Usually there is no background, emphasis is on the figure. The earliest cuts stylistically, dated to about 1400 are Christ before Herod, which is similar to the Bois Protat and Jesus in the garden of olives, copy in the Bibliotheque national de France. </div><br /><div align="justify">
<b>2. 1425-1460.</b> Thinner line, pot-hooks for draperies, beginnings of linear shading which rpleaces the need for colouring, which was done less as quantities increased. The style of the earliest blockbooks. </div><br /><div align="justify">
<b>3. 1460-1480.</b> The style of the later blockbooks and early printed book illustration. Greater angularity, more shading. </div><br /><div align="justify">
<b>4. 1480-1500. </b>The technique is fully mastered with the introduction of cross-hatching. This leads up to the early work of Durer. </div><br /><div align="justify">
<b>Localisation. </b> Much is traceable to convents in southern Germany and there are also many that are traceable to the Netherlands. There is also some early work from France and Italy but nothing for England before the introduction of printing there.</div><br /><div align="justify">
<b>Cuts in series. </b>These are a half-way house to the blockbook. Some examples are:<br />
1455? Les neuf preux. A French series of the nine worthies of Antiquity, Jewry and Christendom, mounted on horsebak, on three sheets.<br />
1464. Grotesque alphabet, probably originally on three sheets, acscried to the cutter of the first edition of the <i>Ars moriendi</i>. It was copied in intglio by the Master of the Banderolles.<br />
1460s. The twelve apostles, cut on one sheet with scrolls and inscriptions for each one.<br />
A passion series exists in woodcut and maniere criblee.</div><br /><div align="justify">
<b>Blockbooks. </b>In all there are about 33 titles in 100 editions, all copies of popular and much used texts, so many have disappeared. Their subjects are mainly religious but also astrological. They are a development of the series of individual blocks in that most books are essentially a series of scenes with commentary, episodic and not a continuous narrative. Manuscrpts were followed closely - there was no copyright at that time. It is possible to compare manuscripts and block books of the Apocalypse in John Rylands Library to see the close copying in the layout of the various subjects of the illustrations. This may point to the conservatism of the copyists. Technique and costume point to the 1420s and 1430s.</div><br /><div align="justify">
<b>Dating of early blockbooks. </b>The earliest blockbook is dated 1470 but there are some earlier references to blockbooks:<br />
1445 (January). The abbot of St Aubert at Cambrai in northern France tells that he sent to Bruges for two books "gette en moule" (cast in a mould - perhaps metal stereotypes from a woodblock or a misunderstanding of the process). The books purchased from Marquet an "escrivant" of Valenciennes and cost 20 sous Tournois. <br />
1446. Records in Bologna show the use by Zuane de Biaxio, an illuminator, of "forme de stampar donade e salterj" - references to blocks for printing Donatuses and Psalters. <br />
1450. In Cologne the chronicle of Weydenbach church record the bequest of "libris impressis" to a value of twenty florins. <br />
1451. The abbot of Cambrai sent to Arras a doctrinale on paper bought at Valenciennes which was "gette en moule" but full of errors. <br />
1452. The council of Louvain heard a petition of wheelwrights, carpenters, turners and coopers that Jan van den Berghe become a member of the carpenter's guild. Jan claimed that the work of "lettern ende beeld prynten" related to the church rather than to carpentry. </div><br /><div align="justify">
<b>Watermark datings</b> by Stevenson throw some light on the problem. He used beta-radiographic prints in the laboratory of the British Museum compare watermarks very closely and arrive at a series of dates:<br />
1451. The <i>Apocalypse</i> was not printed before this date.<br />
1465. <i>Biblia pauperum,</i> edition 1.<br />
1466. <i>Canticum canticorum,</i> edition 1.<br />
1466. <i>Ars moriendi,</i> edition 1. <br />
Stevenson compared the watermarks in the blockbooks with those of the papermaking towns of Basel, Metz and Troyes in the archives of northern France. He found a unicorn mark in all three books. This was in a fresh state in mid-1465 Metz account books and a degraded state in some of the block books. Thus it can be deduced that blockbook production probably started in the Netherlands and spread back to Germany. While there may have been some experiments in the 1450s, the main production only started in the mid-1460s, probably as an attempt to imitate the earliest illustrated printed books. This is reflected in the arrangement of the listing below. </div><br /><div align="justify">
It is probable that the earliest blockbooks originate in the Netherlands. They are therefore listed in the following groups<br />
A. Blockbooks with Netherland editions and later derivatives<br />
B. Blockbooks probably based on missing Netherlands originals<br />
C. German and other blockbooks probably without Netherland originals </div><br /><div align="justify">
<b>A. Blockbooks with Netherland and derivative editions. </b></div><br /><div align="justify">
<b>A1. <i>Apocalypse of St John. </i></b> This is probably the earliest blockbook. There is little text accompanying the woodcuts which appear two to a page, showing scenes from the vision of St John together with scenes from an apocryphal life of St John as an introduction to the visions. The woodcutes show the development of an angular style, somewhat reminiscent of Van Eyck. It is a simmplaer and more vigorous style than its manuscript predecessors, for example in John REylands Library, which have a similar layout. All copies are printed on one side o the paper and may are hasnd coloured. The following editionds are known:
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<b>A2. <i>Exercitium super paternoster</i> </b>[details to add]</div><br /><div align="justify">
<b>A3. <i>Biblia pauperum</i> </b></div><br /><div align="justify">
<b>A4. <i>Speculum humanae salvationis</i> </b>[details to add]</div><br /><div align="justify">
<b>A5. <i>Canticum canticorum</i> </b>[details to add]</div><br /><div align="justify">
<b>A6. <i>Ars moriendi</i> </b>[details to add]</div><br /><div align="justify">
<b>A7. <i>Life of St Servatius</i> </b>[details to add]</div><br /><div align="justify">
<b>A8. <i>Septem vitia mortalia</i> </b>[details to add]</div><br /><div align="justify">
<b>B. Blockbooks probably based on Netherlands originals </b></div><br /><div align="justify">
<b>B1. <i>Historia Davidis</i> </b>[details to add]</div><br /><div align="justify">
<b>B2. <i>Oracula sibyllina</i> </b>[details to add]</div><br /><div align="justify">
<b>B3. <i>Historia sanctae crucis</i> </b>[details to add]</div><br /><div align="justify">
<b>B4. <i>Defensorium virginiatis Mariae</i> </b></div><br /><div align="justify">
<b>C. German and other blockbooks </b></div><br /><div align="justify">
<b>C1. <i>Symbolorum apostolorum</i> </b></div><br /><div align="justify">
<b>C2. <i>Decalogus</i> </b></div><br /><div align="justify">
<b>C3. <i>Septimia poenalis</i> </b></div><br /><div align="justify">
<b>C4. <i>Dance of death</i> </b></div><br /><div align="justify">
<b>C5. <i>Fable of the sick lion</i> </b></div><br /><div align="justify">
<b>C6. <i>The planets</i> </b></div><br /><div align="justify">
<b>C7. <i>Ars memorandi</i> </b></div><br /><div align="justify">
<b>C8. <i>Salve regina</i> </b></div><br /><div align="justify">
<b>C9. <i>Die Kunst Chiromantia</i> </b></div><br /><div align="justify">
<b>C10. <i>Antichrist and the fifteen tokens of judgment</i> </b></div><br /><div align="justify">
<b>C11. <i>Confessionale</i> </b></div><br /><div align="justify">
<b>C12. <i>Vita sancti Meinradi</i> </b></div><br /><div align="justify">
<b>C13. <i>Ars et modus contemplativae vitae</i> </b></div><br /><div align="justify">
<b>C14. <i>De octo partibus orationis</i> </b></div><br /><div align="justify">
<b>C15. <i>Mirabilia urbis Romae</i> </b></div><br /><div align="justify">
<b>C16. <i>Art of wrestling</i> </b></div><br /><div align="justify">
<b>D. <i>Miscellaneous</i> </b></div><br /><div align="justify">
<b>D1. Passions. </b>Several small editions are known, probably they form a series of plates intended for cutting up. </div><br /><div align="justify">
<b>D2. Calendars. </b>These were often broadsheets. There are examples from the 1470s to the 1490s and from the early 16th century English almanacs and Bas-Breton calendars were printed on long strips of vellum for insertion in a pocket. These normally include illustrations of saints. </div><br /><div align="justify">
<b>Origins of blockbooks. </b> While there were probaly experiments before the invention of printing with moveable type, the main impetus seems to have been in the mid-1460s under the influence of printing. </div><br /><div align="justify">
<b>The stage setting for typography. </b> It will be seen from previous discussion that typography was basically an independent European development. The idea may have been transmitted from the East, but the idea is not the same as the invention. There are two preconditions for such an invention:<br />
1. The availability of technical facilities and materials<br />
2. The social need and mental readiness</div><br /><div align="justify">
<b>Social setting. </b> Society was basically feudal in structue, each individual firmly set in place within a hierarchy, owing service to the lord and receiving service from the tenants. This sevice was originally military but by now had become mainly economic or financial. The church was still important, holding much land throughout Europe. </div><br /><div align="justify">
<b>Political setting. </b> Europe had a population of about 65 million out of a total world population of 420 million. </div><br /><div align="justify">
<b>France </b>with 15 million population was the largest linguistic area, a feudal association of provinces some, such as Burgundy with lands within the Holy Roman Empire, virtually independent. Between 1428 and 1450 they were busily engaged in driving out the English, a process stared by Joan of Arc. </div><br /><div align="justify">
<b>Germany </b>with 10 million population was not yet a political term. There were some 300 separate principalities mainly within the Holy Roman Empire, a mere shadow compared with the era of Charlemagne. </div><br /><div align="justify">
<b>Italy </b> with 9 million population was also politically confused with a dozen states, some in the Holy Roman Empire. They included the Papal states and powerful city states such as Venice, the chief trading power in Europe, but threatened by the rising power of the Turks. </div><br /><div align="justify">
<b>Spain </b> with 7 million population was made up of four mutually hostile Christian states and the emirate of Granada, which was not conquered until 1492. </div><br /><div align="justify">
<b>Russia </b> with 6 million population was only a small part of eastern Europe. The Duchies of Moscow, Novgorod and other Slav states were confronting the Tatars in the east and the Ottoman empire in the south. By far the largest state was Lithuania while the Byzantine Empire was reduced to a few small fragments of territory. </div><br /><div align="justify">
<b>England </b>with a population of 4 million was relatively insignificant and politically was losing ground to the French with Caen captured in 1450 and Bordeaux in 1453. </div><br /><div align="justify">
<b>The Turkish menace </b>resumed after a brief respite in the early 15th century with further advances in the Balkans and Byzantium fell in 1453. Threatened with extinction, the Greek heritage was brought to Italy by emigrating scholars. It was the menace of the Turks on the trade routes to the East that drove Columbus to look westwards. In 1454 indulgences against the Turks were among the first items to be printed. </div><br /><div align="justify">
<b>Geographical setting. </b>In Europe China and India were lands of fantasy. Marco Polo had visited in 1271 but the barriers had dropped in the 14th century. Of Africa only Egypt and the northern coasts were known. America had been unknown in Europe since Viking times and Australia was completely undiscovered by Europeans. </div><br /><div align="justify">
<b>Economic setting. </b>Trade kept certain channels to the East open. The Hanse organised trade in northern Europe and new forms of finance were being developed by the Lombards in Italy. Such developments were leading towards the growth of capitalism and the rise of a more secular class of patrons of literature. </div><br /><div align="justify">
<b>Exploration. </b> New opportunities were being sought for trade. In Portugal Prince Henry the Navigator (1394-1460) saw the exploration of the west African coast extend from the Azores in 1432 to Sierra Leone in 1462 and the Equator was crossed in 1481. Ships reached the Cape of Good Hope with Diaz in 1487 and the Indian Ocean with Vasco da Gama in 1497. Henry had been financing expeditions since 1415. In 1444-1446 over thrirty ships set out for Guinea. </div><br /><div align="justify">
<b>Religious setting. </b>The church was in a period of decadence. The Great Schism of 1378-1413 led to a falling off in piety, discipline and respect for the papacy. The church councils only brought confusion. In 1409 Pisa elected a third pope. The Council of Constance in 1418 condemned Jan Hus, deposed the previous popes and elected Martin V. The Council of Basel, which dragged on from 1431 to 1449 led to another briefer schism and proposed a union with the eastern church which was hard pressed by the Turks. This proposal which was primarily politically motivated was never fully accepted. Nevertheless the councils regenerated discussion and interest and a new activity in scriptoria. </div><br /><div align="justify">
Religious orders were aiming to produce and disseminate literature. The preacher Gerard Groote (1340-1384) founded two of these. He was a preacher who was very popular with the common folk and denounced the sins of the clergy. In 1387 he established the Congregations of Canons Regular on a site acquired at Windelsheim, an important centre for learning, and in about 1380 he set up the Brothers of the Common Life. This was founded in Deventer where Thomas a Kempis lived from 1392 to 1399. Groote aimed to set up centres where men could live devoutly without taking monastic vows with all goods held in common. These centres preached to and instructed all people, especially the poor, and one of their main tasks was copying manuscripts for distribution to the poor. </div><br /><div align="justify">
<b>Intellectual setting. </b>Beside the religious awakening there was generally a great intellectual inquisitiveness. Scholars were studying the classics as well as Christian texts. On the fall of Constantinople, and even before, Greek scholars arrived in the West. Aristotle had already been rediscovered through Arabic sources in the 12th and 13th centuries. The foundations of modern vernacular literature had been laid in Italy with writers such as Dante (1265-1321), Petrarch (1304-1374) and Boccaccio (1313-1375), emulated in Britain by Geoffrey Chaucer. </div><br /><div align="justify">
<b>Universities. </b> The number of universities had been growing since the 12th century and by 1400 there were 40 in Europe. In the British Isles three had been founded in England (Oxford, Cambridge and the short-lived university of Northampton, active 1261-1265) and one in Ireland (Dublin active 1320 to the 1530s). By 1450 there were 51. Of the eleven founded in the first half of the 15th century two were in Italy, two in Germany, two in Spain and one each in France, the Netherlands and Scotland (St Andrews 1413). There were also two established in England, Caen in 1432 and Bordeaux in 1441, although these were lost to France in 1450 and 1453 respectively. In Scotland universities were established in Glasgow (1451), Aberdeen (1495) and Edinburgh (1583). England had to wait until 1832 for its next university, Durham, followed by London in 1836. Exeter had to wait until 1893 for the Exeter Technical and University Extension College, although Exeter College, the fourth college to be founded in Oxford, was established by Bishop Stapledon in 1314 to provide an educated clergy for his diocese. These univerisites required cheaply produced text books in multiple copies, something that the stationarii had gone some way to provide.
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<b>Need for mass production. </b> This demand was clearly growing and could not be provided by manuscripts. They lacked uniformily because of scribal errors and speed only damaged legibility, despite the use of contractions and ligatures, which themselves can affect intelligibility. Blockbooks were only a partial answer. It was laborious to cut text into wooblocks; a careless chip could ruin a text and be difficult to remedy. As has been seen, most blockbooks were mainly made up of illustrations with short texts. This was not suitable for universities, religious treatises or extended works of literature. A more mechanised form of production of large nubers of identical copies of texts was called for. </div><br /><div align="justify">
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This page last updated 18 September 2020Ian Maxtedhttp://www.blogger.com/profile/02216728043740611678noreply@blogger.com