HOURS OF THE VIRGIN.

Quarto, in Latin.

This is a superb volume, printed by Simon de Colines, with borders and illustrations 'à l'antique,' perfect in taste and in the execution of the engravings. The book was, in all probability, printed by Tory and Colines on joint account, as copies are extant in the name of each.

Following are descriptions of three sorts of copies which I have seen, and which have been mistakenly assumed by bibliographers to be distinct editions.

I. HORÆ, IN LAUDEM BEATISS. SEMPER VIRGINIS MARIÆ SECUNDUM CONSUETUDINEM CURIÆ ROMANÆ. VBI ORTHOGRÁPHIA, PUNCTA & ACCENTUS SUIS LOCIS HABENTUR.

Below is Colines's large mark with the rabbits and the letters S. D. C. in the centre, and at the foot, S. DE COLINES. The imprint is: 'Parisiis. Apud Simonem Colinæum. M.D.XXIIII.

The first page is ornamented with a special border, which we shall find in others of Tory's books. The only copy of this form of the book which I have had an opportunity to examine, namely, the one in the Bibliothèque de l'Arsenal, although it is bound in paper only, has a beautiful drawing in miniature which occupies the whole of this page. It represents two printers working at a press, and a compositor in front of his case. None of the printing has been retained, save the five lines of the title, 'Horæ,' etc., which are enclosed in a scroll hanging from the upper branches of two trees which form the frame of the miniature. I do not know the name of the fortunate recipient of this gift. One sees only his initials (R. P.) in a heart above the press.

On the verso of the title we find, in accordance with custom, the table of Easter Days, etc., from 1523 to 1551. The border of the page has, in three small reserved scrolls in the midst of the arabesques, the words: GEOFROY—TORY—SIC VT NON PLVS, which recur from time to time on the following pages. This border is reproduced on the title-page of each part of the book.

The license occupies the whole of both sides of the second leaf, which is without borders, for a special reason: it is printed in gothic type of the period (to imitate the script of the diploma) and that style of type would have quarrelled with the antique arabesques of Tory, whose refined taste avoided incongruities of that sort.

An extract from the license follows:—

'Francoys, by the grace of God King of France, to the Bailli and Provost of Paris, the Seneschal of Lyon, and all other justiciars, officials, or their deputies, and to each of them in his jurisdiction, and as to him shall appertain, greeting. Our dear and well-beloved maistre Geofroy Tory, bookseller, living at Paris, hath now caused it to be made known and shown unto us that he hath of late made and caused to be made certain pictures and vignettes "à l'antique," and likewise certain others "à la moderne," to the end that the same may be printed and made use of in divers books of Hours, whereupon he hath employed himself a very long time, and hath made divers great expenditures, and outlay. Wherefore, and to enable him to recover a part of the outlay that he hath made and undergone while employed in procuring the aforementioned drawings and vignettes to be made; and to the end that he may have the wherewithal to live with more ease, he hath most humbly caused to be laid before us his petition and request that he alone and no other may have authority to cause the aforementioned drawings and vignettes to be printed, for the space and term of six years, beginning on the day of the printing of said Hours, and that all booksellers be forbidden to make or to cause to be made any impression thereof, whether on a white, grey, or red field, not omitting any of the said black vignettes, or to reduce them "a petit ou grant pied"; humbly beseeching us to that end. Wherefore we, having duly considered these matters, and generously acceding to the petition and request of the said petitioner, and likewise in recognition of his learning, literary talent, and the excellent and praiseworthy report made to us of his person, and of his talents, competency, loyalty, wisdom, and goodly diligence, have granted to him the privilege that he and no other may print and cause to be printed the said vignettes and drawings, and do forbid all booksellers and printers whomsoever within our realm, to make or procure to be made and printed the said vignettes and drawings, on pain of a fine of five and twenty silver marks to be paid to us, and confiscation of the Hours, vignettes, and pictures by them so printed. Given at Avignon, the XXIII day of September, in the year of grace one thousand five hundred twenty-four, and of our reign the tenth.'

The third leaf contains some details concerning the calendar, which begins on the fourth leaf and ends on the ninth. The border of the lower part of leaf Avij is turned upside down. The Hours begin on the tenth leaf.

The book is a quarto, but the sheets are folded two by two, after the style introduced by Pierre Schoiffer himself, which gives it the appearance of an octavo. The signatures run from A to T, which makes eighteen folds, or one hundred and forty-four leaves.

The engravings consist of sixteen complete borders, one of which is repeated on the recto and verso of each of the first sixteen leaves, embracing thirty-two pages of text, after which the same decorations reappear. They are composed of arabesques in which, from time to time, these words appear at the sides: SOLI DEO—LAVS—HONOR—GEOFROY—TORY—NON PLVS. At the foot of certain pages we see a crowned F (the first letter of the king's name), a crowned C (the first letter of the name of Queen Claude, daughter of Louis XII), and a crowned dolphin (daulphin), in allusion to the title of the king's eldest son. Queen Claude died before the book was finished, perhaps even before the printing was begun; but Tory did not choose to waste the woodcut of her, so it was preserved and was used for more than fifteen years, as we shall see. These three subjects are reproduced in Dibdin's 'Bibliographical Decameron' (vol. i, page 99); there are two others in the same work (vol. ii, page 65). At the foot of the other pages are arabesques, among which we find the Pot Cassé, no. 2. In the text there are thirteen large drawings, which harmonize admirably with the borders. All the illustrations, or almost all, borders and drawings alike, are signed with the Lorraine cross.

The book ends on the recto of a leaf on the verso of which is this colophon: EXCVDEBAT SIMON COLINÆVS PARISIIS E REGIONE SCHOLARVM DECRETORVM: ANNO A CHRISTI IESV NATIVITATE M. D. XXV. XVII. CAL. FEBR.

This date coincides with January 16, 1525. We have seen that the title-page bears the date 1524, that is to say, the year when the book was begun. These two dates, cited separately, have led bibliographers astray, and have given rise to a theory that there are two different editions of the same book.

Here and there throughout the volume we find figures in the borders. These figures are: 16, which appears on the inner side of leaves Ai verso and Cvij recto and verso; 3, on the outer side of the border of leaves Aiiij recto and verso, and Ciiij recto and verso; 10, at the foot of leaf Biij; 12, on the outer side of the border of leaf Bvi. Here and elsewhere, to make my descriptions more clear, these books having no pagination, I assign signature letters to the eight sheets of each fold; but it is common knowledge that they actually appear on the first four only. I feel justified in concluding from these figures that at first certain numbers, running from 1 to 16, were engraved, and repeated on each compartment of the same border, in order to enable the compositor to assort the pages properly. Later these numbers were probably deemed to be of no use and were cut off. The four that I have noticed, having inadvertently been left, were finally removed before the printing was concluded. The scheme of repeating each border on the recto and verso of the same leaf was very ingenious, for it permitted the imposition of a larger number of pages without calling attention to the repetition, as the two similar pages were never seen at the same time. This required no more work, for it is very clear that the borders were not added to the pages until the very moment of printing, so that they might not be exposed to the accidents inherent in the preparatory handling. M. Willemin has reproduced several specimens of these borders in his 'Monuments Français Inêdits' (folio, 1839), page 296.

The book contains, as we have said, thirteen large cuts (all of which except the second are signed with the Lorraine cross). They are as follows:

1 and 2. The Angelic Salutation, in two plates facing each other.

3. The Visitation of the Virgin, with the device 'non plus' in a scroll suspended from a tree.

4. The Birth of Jesus.

5. The Adoration of the Shepherds.

6. The Adoration of the Magi.

7. The Circumcision.

8. The Flight into Egypt.

9. The Coronation of the Virgin.

10. The Crucifixion of Jesus. This design has five compartments. In addition to the Crucifixion, there are bees at work, birds building their nests, a peasant ploughing a field, and another shearing sheep. Each of these four is accompanied by the device 'sic vos non vobis.'

11. The Descent of the Holy Spirit on the Apostles, with the device 'non plus' on the pediment of a temple.

12. The Penance of David, with the same device, and the word 'peccavi' in a scroll suspended from a tree.

13. The Triumph of Death. This last cut represents Death, armed with a spear treading on corpses. A crow on a tree above him has the words 'cras, cras,' issuing from its beak. At either side are the devices 'non plus' and 'sic ut,' on neighbouring buildings.

II. There are two sorts of copies in Tory's name. The first are identical in every respect with those of Colines, except as to the first page, where, after the title: 'Horæ ... habentur,' we find this imprint: 'Parisiis, apud Magistrum Gotofredum Torinum Bituricum. Ad insigne vasis effracti, in via Iacobæa; gallice, Au pot casse, en la rue sainct Iaques.'

Here the Pot Cassé, no. 3, with the device 'menti bonæ deus occurrit' at the top, and 'non plus' at the foot.

There is no date on the title-page, but there is one on the last page,—the same that we find in the copies in Colines's name (see page 111). I have seen a copy of this book in the collection of M. Double, who kindly allowed me to study it in detail. It is still in its antique binding, and on the covers, in large roman letters, is this device, which is believed to be that adopted by the unfortunate Dolet:

D[OMI]NE REDIME ME A CALVMNIIS
HOMINVM VT CVSTODIAM
MANDATA TVA.

D[OMI]NE IVSTICIA TVA IVSTICIA
IN ETERNVM ET LEX
TVA VERITAS.

III. Other copies in Tory's name have a title-page in French, with no border. This title-page reads as follows:—

'HEURES, A LA LOUANGE DE LA VIERGE MARIE, SELON LUSAGE DE ROME. ESQUELLES SONT CONTENUES LES QUATRE PASSIONS, LE SERUICE COMMUN POUR LE TEMPS DAPRES PASQUES, ET POUR LE CARESME, LE SERUICE DE LADUENT, ET DUDIT ADUENT JUSQUES A LA PURIFICATION NOSTRE DAME. PAREILLEMENT, LES HEURES DE LA CROIX, ET DU SAINCT ESPERIT, LES SEPT PSEAUMES, VESPRES, VIGILES, ET COMMENDACES DES TRESPASSEZ, AVEC RAISONNABLE NOMBRE DORAISONS, ET SUFFRAGES DES SAINCTZ ET SAINCTES.

A la fin sont les heures de la Conception nostre Dame, et le symbole de Athanase. Le tout au long, sans y rien requerir, est tres correcte, en bonne orthographie de poinctz, daccens, et diphthongues situez aux lieux a ce requis. Et sont a vendre par Maistre Geofroy Tory de Bourges, libraire demourant a Paris sus Petit pont, ioignant lhostel Dieu, a lenseigne du Pot Casse.' Then follows the device 'menti bonæ devs occvrrit,' and the Pot Cassé in the same form as that on the title-page of the preceding number.

The order of the contents of the first signature is here a little different from that followed in numbers one and two. On the verso of the title the license begins, set in roman letters, which Tory preferred to the gothic; it occupies two pages, as in the other copies, but those pages are supplied with the antique borders. On the verso of the second leaf is the table of Easter-Days, from 1525 to 1552. It is more conveniently placed here than on the verso of the title, where it is separated from the calendar by the license. Advantage was taken of the reprinting of the first signature to remove the figure 16 from the border of the page containing the table of Easter-Days, and to set right the lower section of the border of page A vij recto, which is upside down in the other copies. The figure 3 was not removed from page A iiij, probably because the second side of that signature was not reprinted; but the 10 has disappeared from page B iij, which would seem to show that the second side of signature B was reprinted. The first side of signature T was reprinted also, in order to change the colophon on the last page, for which this is substituted: 'Ces presentes heures a lusage de ROME furent acheuees de imprimer le MARDY dixseptiesme iour de IANVIER Mil cinq cens vingtcinq: pour maistre GEOFROY TORY de BOURGES, libraire demorant a PARIS sus PETIT PONT, ioignant lhostel DIEU, a lenseigne du POT CASSE.' (The words printed in small capitals are printed in red in the book.) This is followed by the mark no. 5, with the two mottoes ('menti,' etc., and 'sic,' etc.), which accompany that mark on page 43 of 'Champ fleury.' (See supra, p. [21].)

Tory had several copies printed on vellum; I myself have seen one of them, belonging to the collection of M. Sauvageot.[244]

It will be seen from the date affixed to these copies that they were not printed until the day following the printing of those which bear the name of Colines; for it is worth noting that the Tuesday, January 17, is of 1525, and not of 1526 new style, as would have been the case had the 'use of Paris' been followed. But Tory thought, doubtless, that he should follow the Roman usage in a book of Hours to the use of Rome.

I imagine that this reprinting of three signatures of the Hours of 1524-1525 was done mainly to direct the attention of the public to Tory's new establishment 'sus Petit Pont.' And this circumstance leads me to believe that it was done subsequent to January 17, 1525, for it is not conceivable that Tory would have left his former address, rue Saint-Jacques, on the copies printed as late as January 16, if he was to be settled 'sus Petit Pont' on the 17th. He retained that date on the reissue, although it really took place later, in order to conform to the terms of the license, which imposed upon the beneficiary the duty of specifying on the books the date when they were first published, so that the date of its expiration might be fixed, unless the term should be extended, as was done in the case of this very book of Hours; witness the license of 'Champ fleury,' dated September 5, 1526. Indeed, my own opinion is that Tory did not remove to the Petit-Pont until about the date last mentioned. We shall see that he remained there until 1530, when the installation of his printing-office required him to take more roomy quarters. However, when he opened his shop on the Petit-Pont he did not abandon his place on rue Saint-Jacques, which he still occupied at least as late as 1531.

M. Niel owns a copy of this book, in which the cuts are coloured in water-colour, lined with gold. M. Niel thinks that the arabesques are adapted from those of Raphael in the Vatican, which had lately been reproduced; the lamented Renouvier, who agreed with M. Niel in attributing the colouring to Tory, considered it an admirable piece of work.

It will not fail to be noticed, moreover, that Tory calls attention on the title-page of his copies to the excellent orthography of his book: an additional proof that this reimpression was subsequent to 1525.

Tory lent his borders and his engravings to several printers, who frequently removed his mark therefrom. I will mention particularly five publications of Simon de Colines on the title-pages of which we find Tory's borders.

I. 'Divi Joannis Chrisostomi liber contra Gentiles,' etc.; quarto, 1528. The title-page is surrounded by one of Tory's borders, with the crowned F at the foot, and the broad upright section with the two scrolls containing the words 'Geofroy Tory,' which have been removed.—There is a copy of this volume, in vellum, in the library of M. Solomon de Rothschild, who has kindly sent me this information.

II. 'Rodolphi Agricolæ Phrisii de inventione dialectica libri tres, cum scholiis Joannis Matthæi Phrissemii'; quarto, 1529 and 1538. Border composed of two broad upright sections, one of which was used in the preceding. A crowned F at the top, and another broad section at the foot.

III. 'Laurentii Vallæ de linguæ latinæ elegantia libri III'; quarto, 1535 and 1538. Same border as in the preceding.[245]

IN 1527 Tory published a new edition of his Hours, in one volume, octavo, printed as before by Simon de Colines, in roman type, with vignettes of the same sort, but much smaller. There is a copy on vellum at the Bibliothèque de l'Arsenal; unluckily it lacks the first and last leaves. According to M. Brunet,[246] to whom M. Tosi, of Milan, sent the description of a perfect copy, also on vellum, the first page reads: 'Horæ in laudem Beatiss. Virg. Mariæ ad usum Romanum venales extant Parrhisiis ad insigne vasis effracti.' And the last: 'Hujusmodi Horæ nuper absoluebantur a prælo Colineo, die vicesima prima Octobris anno Domini 1527, pro magistro Gotofredo Torino Biturigico Bibliopola ad insigne vasis effracti Parrhisiis commorante, ubi venales beneuolis omnibus amicabiliter extant.'

We give herewith an extract from the license of this new publication, which license included also 'Champ fleury' and the Hours of 1524-1525:

François, by the grace of God King of France, to the Provost of Paris, the Bailli of Rouen and the Seneschal of Lyon, and to all our other justiciars and officials and their deputies, and to each of them as to him shall appertain, greeting. Our dear and well-beloved maistre Geofroy Tory de Bourges, bookseller, living at Paris, hath now caused it to be made known and shown unto us that, in order to proclaim, exalt and embellish the Latin and French tongues, he hath not long since made and composed a book in prose and in the French language entitled: 'Lart et science de la deue et vraye proportion des lettres attiques, autrement dictes antiques et vulgairement lettres romaines, proportionnees selon le corps et visaige humain'; the which book he hath caused to be placed before us, soliciting and requesting us to grant unto him leave, permission and license to print, or cause to be printed the said book, together with certain drawings and vignettes 'à l'antique and à la moderne'; likewise friezes, borders, crowns and scrolls; also to cause to be printed books of Hours, in such form and of such size as to him shall seem good, during the time and term of ten years, beginning on the day of the printing of said Book and said Hours; together with an extension for the same term for certain drawings and vignettes by him heretofore printed.—We hereby give you to know, that we, in consideration of the foregoing, generously acceding to the petition and request of the said maistre Geofroy Tory, and having regard to the toil, labour, outlays and expense which it hath behooved him to undergo and sustain, as well in the composition of the said books, as for the engraving of the said drawings, vignettes, friezes, borders, crowns and scrolls to accompany the said Hours, as hereinbefore mentioned, in divers forms and sizes,—have granted to him the privilege of printing the said books, enjoining you not to allow any other printers or booksellers within our realm, domains and seignories to print the said books and Hours, on pain of one hundred silver marcs to be paid to us, and of confiscation of said books. Given at Chenonceau the fifth day of September, in the year of grace one thousand five hundred twenty-six, and of our reign the twelfth.

In this new book of Hours there are thirty-two different borders, which reappear on every second leaf—one hundred and twenty-eight in all. The text is embellished by sixteen large subjects, naturally smaller, however, than those in the quarto. In the copy at the Arsenal, the only one that I have seen, these subjects are coloured. I did not discover Tory's mark anywhere; but his mottoes do appear,—'menti bonæ devs occvrrit'; 'sic vt, vel vt'; 'non plvs';—which proves that these plates were engraved for him, if not by him.

A list of the drawings follows:—

1 and 2. The Angelic Salutation; two plates on adjoining pages, as in the quarto of 1524-1525.

3. The Visitation of the Virgin.

4. The Birth of Jesus.

5. The Annunciation to the Shepherds.

6. The Adoration of the Magi.

7. The Circumcision.

8. The Flight into Egypt.

9. The Coronation of the Virgin.

10. St. Joachim and St. Anne Embracing (this is not included in the edition of 1524-1525).

11. The Crucifixion.

12. The Descent of the Holy Spirit on the Apostles.

13. The Penance of David.

14. The Triumph of Death.

15. The Holy Trinity.

16. The Virgin and the Child Jesus.

(The last two are not included in the edition of 1524-1525.)

The signatures run from A to Z; that is to say, there are twenty-three octavo sheets.

The copy of the octavo Hours of 1527 at the Arsenal is a lovely volume printed on vellum, with a number of manuscript prayers in French added at the end. The calligraphic execution of these prayers, which are surrounded by borders in imitation of those in the book, is wonderfully fine. The colouring of the plates and the illuminating of the initial letters and of those at the ends of paragraphs make the volume of great value. It is still in its original binding (once very sumptuous, but now sadly out of repair), on the covers of which one can distinguish interlaced C's, barred S's, and star-shaped figures formed of two triangles turned end for end. Can it have belonged to Catherine de Médicis, who became the consort of Henri II in 1533? Unluckily it lacks two essential leaves, the first and the last.

IN the same year, Tory had printed by Simon Dubois ('Silvius') a quarto edition of this same book of Hours, 'suivant l'usage de Paris.'

It is dated October 22, 1527. It contains the new license, and comprises thirty-six quarto sheets, folded two by two according to custom, and forming eighteen octavo signatures, A to S. The book is printed throughout in the gothic type of that time, with the borders 'à la moderne' mentioned in the license of 1524, consisting of arabesques of flowers, insects, animals, etc. There are twenty-six complete borders, which recur in regular order. We find again here, as in the first quarto, thirteen large subjects interspersed through the text. But a noteworthy fact is, that although these subjects, with two exceptions,[247] are the same as those in the first quarto, they are of entirely different designs, appropriate to the 'modern' borders and type. It would be difficult to carry further the love of artistic harmony. Neither the borders nor the illustrations bear Tory's mark, and I doubt whether they are his. Perhaps the design was Perreal's and the engraving by one of the artists employed by Tory, who must then have had an organized workshop, if we may judge from the number of works which he produced about that time.

Dibdin speaks enthusiastically of this edition of the Hours, in his 'Bibliographical Decameron'; he even reproduces four of the large cuts by which it is illustrated.[248] He says that it is the 'most beautiful work' of that sort that he has ever seen, and expresses great surprise that the arabesques have been cast aside. I confess that I do not share his feeling. The book seems to me badly done, both from the artistic and from the typographical standpoint: the borders do not harmonize, they are out of proportion, and the engraving does not impress me as beyond reproach. But Dibdin's opinion is, as everybody knows, very unreliable; his carelessness is proverbial. Indeed, he gives us a striking instance of it in this very passage: for he tells us that this book was published by Tory of 'Bruges,' and that it has on the title, the Pot Cassé of Simon du Bois [249]; two errors in one line!

Among the small cuts at the foot of the pages, we observe the shield of France; the crowned F; the crowned salamander; the crest of the king's mother, 'party' of France and of Savoy, with her widow's girdle; her initial (L), crowned; the shield 'party' of Navarre and of France, with the letters H and M intertwined (the initials of Henri d'Albert, King of Navarre, and Marguerite, sister of François I, whose marriage had been celebrated January 24, 1526 [250]); the Pot Cassé, no. 1, that is to say, in its simplest form, etc.

The exact title of this book is as follows: 'Hore in laudem beatissime Virginis MARIE: secundum consuetudinem ECCLESIE PARISIENSIS.' (Here the Pot Cassé, no. 9.) 'Venales habentur PARRHISIIS, APUD MAGISTRUM GOTOFREDUM Torinum Biturigicum: SUB INSIGNE VASIS EFFRACTI: GALLICO SERMONE AU POT CASSE.'—All the words here printed in small capitals are printed in red. On the verso of the title-page is the license, dated September 5, 1526. At the end of the book is the following: 'Ces presentes Heures a lusage de Paris, privilegiees pour dix ans commenceans a la presente date de leur impression, furent achevees dimprimer le vingt deuxiesme iour Doctobre, Mil cinq cens vingt sept, par maistre Simon du bois, imprimeur, pour maistre Geofroy Tory de Bourges, qui les vend a Paris a lenseigne du Pot Casse.' (Here the same mark as on the first page.)

It will be noticed that, although Tory felt bound to give the title of the book in Latin, he could not forbear to print his address in French.

This is the order of the plates, all of which measure nine centimetres by six:—

1 and 2. The Angelic Salutation, in two plates on successive pages (fol. f 3 verso, and f 4 recto).

3. The Sibyl of Tibur (see the description on page 123, note 1), fol. g 8 recto.

4. Jesus on the Cross, fol. h 6 recto.

5. The Descent of the Holy Spirit on the Apostles, fol. h 7 recto.

6. The Birth of Jesus, fol. i 1 recto.

7. The Annunciation to the Shepherds, fol. i 6 recto.

8. The Adoration of the Magi, fol. k 2 recto.

9. The Presentation in the Temple, fol. k 6 recto.

10. The Flight into Egypt, fol. l 2 recto.

11. The Coronation of the Virgin, fol. l 7 recto.

12. David Playing the Harp, fol. m 5 recto.

13. The Triumph of Death, fol. n 7 recto.

M. Brunet [251] mentions a copy of this book on vellum. The Bibliothèque Nationale owns one on paper, bound by Capé, with tooling copied from Tory's.

HOURS OF THE VIRGIN, in roman type, with borders and arabesques 'à l'antique' on each page. A small 16mo volume, printed by Tory, February 8, 1529 (old style).

Here is a description of this little gem, taken from the only copy that I have seen, M. Niel's, which is on vellum.

The title reads thus:—

'HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, SECUNDUM USUM ROMANUM.' Then the Pot Cassé, and at the foot of the page: 'Menti bonæ Deus occurrit.'

On the verso of the title-page:—

'Rex christianiss. statuit ne quis alius a Gotofredo Torino Biturigico, Bibliopola Parrhisiis habitante, imprimat aut imprimi faciat infra decennium in toto regno hujusmodi coronamenta et figuras, sub pœna gravissima, ut in diplomate ad hoc obtento latissime patet.'

Then comes an abstract of the pontifical license, undated; and on the following leaf the table of Easter-Days from 1530 to 1552.

On the last page: 'Parrhisiis, apud Gotofredum Torinum Biturigicum, viii. die febr. anno sal. M. D. XXIX,[252] ad insigne Vasis effracti.'

The signatures run from A to Y; that is to say, the book consists of 22 octavo forms, or 176 leaves. The pages, which contain 21 lines of brevier, measure thus:—

Height, text alone	77 millimetres.
Height, with border	96 millimetres.
Width, text alone	29 millimetres.
Width, with border	48 millimetres.

The volume contains twenty-one small cuts, unsigned, but all engraved in Tory's manner. Here is a list of them:—

1. Jesus on the Cross; a very small cut with five sections, like the Crucifixion of the quarto of 1524-1525; that is to say, there are bees at work, birds building their nests, a peasant ploughing, and another shearing sheep.

2 and 3. The Angelic Salutation; two cuts facing each other, as in the Hours of 1524-1525.

4 and 5. The Visitation (idem).

6 and 7. The Birth of Jesus (idem).

8 and 9. The Annunciation to the Shepherds (idem).

10 and 11. The Adoration of the Magi (idem).

12 and 13. The Circumcision (idem).

14. The Massacre of the Innocents.

15. The Coronation of the Virgin.

16. The Crucifixion.

17. The Descent of the Holy Spirit.

18. Bathsheba at the Bath.

19. The Triumph of Death.

20. The Trinity (small cut).

21. The Virgin in a halo, with an angel on each side.[253]

BOOK OF HOURS, quarto; same typographical arrangement as in the quarto of 1524-1525. On the title-page, which has the border of those copies of the earlier edition which bear the imprint of Simon de Colines, we read:—

'HORÆ IN LAUDEM BEATISS. VIRGINIS MARIÆ. AD USUM ROMANUM.—PARRHISIIS, APUD GOTOFREDUM TORINUM BITURIGICUM, REGIUM IMPRESSOREM. (Then comes the motto: MENTI BONÆ DEVS OCCVRRIT, and beneath it the Pot Cassé.) Cum privilegio summi Pont. et Regis christianiss. ad decennium et ultra, ut in calce hujus operis patet.'[254]

On the verso of the title the list of Easter-Days, from 1531 to 1560; then the Calendar, the type in which this is set being so large that it was necessary to omit the arabesques with figures at the foot of the border and substitute simple arabesques like those at the top.

On the recto of the last leaf is the abstract of the licenses, papal and royal, and on the verso this colophon, set in the border of the last page of 'Champ fleury': 'Parrhisiis, ex officina Gotofredi Torini Biturigici, regii impressoris, ad insigne Vasis effracti, anno salu[tis] M. D. XXXI, die XX mensis octo[bris].' Then the Pot Cassé and at the foot of the page:—

'Effracti, lector, subeas insignia vasis,

Egregios flores ut tibi habere queis.'

The volume consists of twenty signatures (A to V) of two sheets each, set in the roman type used in 'Champ fleury'; borders of the Hours of 1524-1525; also the thirteen drawings of that edition, but with special borders in the form of porticoes, which appear in other minor works of Tory published in 1531, of which we shall speak in the following section. It is a fact worthy of remark that we no longer find the name Geofroy Tory on his borders, and that even his mark has disappeared from several of the cuts, particularly the first cut of the Angelic Salutation,[255] the Adoration of the Shepherds, the Adoration of the Magi, the Flight into Egypt, the Coronation of the Virgin, the Penance of David, and the Triumph of Death. This circumstance leads me to believe that Tory had lent these plates to other publishers, as he had lent his borders to Simon de Colines, and that they removed the marks in order to appropriate more completely the publications in which the plates were used. This was what Simon de Colines did, as we have already seen (page 120).

A no less interesting fact is that, in the borders, the crowned C's are retained, which refer to Claude de France, the first wife of François I, who died in 1524 and was succeeded in 1530 by Eleonora of Austria.

We find also in this edition four unsigned cuts which do not appear in the quarto of 1524-1525:—

Fol. H 8. The Angelic Salutation; a special design, quarto size.

Fol. L 6. The Angelic Salutation; quite small, occupying only the upper part of a page.

Fol. R 7. The Trinity; small, with a special border.

Fol. V 3. The Virgin; small, with a special border.

The last two are taken from the 16mo Hours of 1529. The floriated letters are the same as in 'Champ fleury.'

Papillon, who speaks of this book,[256] without giving the title, and attributes it to Woeiriot, who was not born in 1531, expresses himself thus concerning it: 'I have seen an old book in which there are some of his engravings; it is an octavo, each page of which is surrounded by a decorative border, in compartments, of a beautiful gothic type. They are engraved very correctly, even though it is line engraving, which is so fine, so even and so accurate, that I am at a loss to understand how it could have been done. There are in this book fifteen or sixteen large cuts, also engraved in line; the drawing of the figures is passable. The little Lorraine cross, which Woeiriot used as a mark, may be seen in several places in the borders of this book.'

M. de Rothschild's copy of this edition has one interesting peculiarity: it is enriched by a large plate, unsigned, printed on an oblong half-sheet, representing the Triumph of the Virgin Mary, which seems to be an imitation of the Triumph of Apollo in 'Champ fleury.' The Virgin appears in a chariot drawn by unicorns; behind the chariot are the Captive Women; around the chariot, Prudence, Temperance, Justice and Strength; in front of the unicorns, Hope, Faith, Charity; and farther in front the Nine Muses, the Seven Liberal Arts, the handmaidens of the Virgin. In the background, we see the Virginal Palace, the Palace of Jesse, and the Temple of Honour. Beneath the picture is an explanation in French verse, which begins thus:—

'Les antiques Cesars triompherent par gloire,

Mais par humilite (ainsi le faut il croire)

La noble Vierge va triomphante en bon heur

Du palais virginal jusquau temple dhonneur.'

I have seen this engraving nowhere else except in a copy of the edition of the Hours published in 1542 by Olivier Mallard, of which I shall speak in the third part; but I have no doubt that it was included originally in all copies of the edition of 1531, perhaps also in that of 1524-1525. Its chances of preservation were injured by its being bound in the form of a map. At all events this unsigned plate is in Tory's manner, and it can hardly be denied that it belongs to him.

At a time which I am unable to fix with precision, but not earlier than the month of September, 1531, Tory printed another book, in octavo, with borders made up of plants, animals, insects, birds, etc., like those in the quarto Hours of 1527, but, naturally, on a smaller scale. I have never seen this book, but its existence is established to my satisfaction by the publication of a book of Hours, at a later date, by Olivier Mallard, with the same borders and vignettes. I can give with certainty neither the title nor the date of printing of Tory's book; but the date of the engravings is readily determined approximately, thanks to certain ornaments of Mallard's book. For instance, we find in it, as in the Hours of 1527, the crowned F and the salamander of François I, the crowned L and the biparted shield (France and Savoy) of his mother, who died in 1531, and a blank shield which suggests the widowhood of François, and consequently proves that these cuts were designed before July, 1530. As for my ascription of these cuts to Tory, it is due to the style of the borders, which are copied from the Hours of 1527. Moreover, he has added a special symbol, namely, the coat-of-arms of Bourges (three sheep, placed two and one, and wearing collars), which appears now and again at the foot of the page, beside the symbols of François I and his mother. As I have said, I do not know the title of the book in which Tory first used these cuts; it seems to me, however, that we may fairly conclude from the use Olivier Mallard made of them that it was a book of Hours; Tory probably decided to publish an octavo edition of his Hours 'à la moderne' of 1527, as he had published in 1527 an octavo edition of his Hours 'à l'antique' of 1524-1525. Indeed, it may be that the book in question is the one thus described by M. Brunet: 'Horæ in laudem beatissimæ Virginis Mariæ ad usum Rothomagensem.—Parisiis, ad insigne Vasis effracti. 1536.' Small octavo, roman type, line engravings.

It will be seen that the book is said to be printed at the sign of the Pot Cassé, without mention of the printer's name. This may mean that it was printed by Tory's widow, who published Macault's work in the same way in 1535.

We shall speak elsewhere of Mallard's book, but this is the place to mention the engravings it contains, which doubtless appeared also in Tory's book. In Mallard's publication of 1541 there are sixteen different borders, the same one being always placed on the recto and verso of each leaf, and nineteen of the plates of the 16mo edition of 1529. The two lacking are number 1 and number 21. [The engravings of The Visitation are reproduced below.]

SECTION III.
WORKS PUBLISHED BY TORY FOR FRANÇOIS I.

LE SACRE ET CORONNEMENT DE LA ROYNE, IMPRIME PAR LE COMMANDEMENT DU ROY NOSTRE SIRE. (Pot Cassé no. 6.) On le vend a Paris, en la rue Sainct Iaques, devant lescu de Basle, et devant leglise de la Magdaleine, a lenseigne du Pot Cassé.—Avec privilege.

Quarto, of three signatures. [Paris, Geofroy Tory, 1531.]

The title which I have transcribed is set in a pretty portico-shaped border, decorated with arabesques, at the foot of which is found the word 'salvs.'

On the verso: 'Il est permis a maistre Geoffroy Tory de Bourges, marchant libraire, demourant a Paris, imprimer et mettre en vente ce present livre,' etc. On the recto of the second leaf: 'Cest Lordre et forme qui a este faicte et tenue par le commandement du Roy nostre Sire au Sacre et Coronnement de la Royne ma dame Leonore Daustriche, seur aisnee de Lempereur, le cinquiesme iour de mars M. D. XXX. Lequel ... a este mis et redige par escript au vray par moy Guillaume Bochetel, son notaire et secretaire, signant en ses finances....'

The text begins immediately under this, with the beautiful decorated letter (L) which is reproduced on page 1 of this book.

The license, printed on the last leaf but one, informs us that Tory had then become a printer, whence we may conclude that it was he who printed the volume, although there is no definite statement to that effect.

'We have given to maistre Geoffroy Tory, bookseller, and printer, leave to print the Queen's Coronation, and do forbid all other printers to print the same for the term of one year,[257] on pain of summary fine on conviction thereof. Done at Paris the tenth day of March one thousand five hundred and thirty. DE LA BARRE.'

On the last page, which is set in a border of the same type as that of the title-page, we read, above the Pot Cassé: 'The printing of this present book was finished the XVI day of March M. D. XXX,[258] and it is for sale,'[259] etc.

LENTREE DE LA ROYNE EN SA VILLE & CITE DE PARIS, IMPRIMEE PAR LE COMMANDEMENT DU ROY NOSTRE SIRE. (Pot Cassé, no. 6.) On la vend a Paris, en la Rue Sainct Iaques devant Lescu De Basle, & devant leglise de la Magdaleine, A Lenseigne du Pot Casse.—Avec Privilege. Quarto, of six signatures. [Paris, Geofroy Tory, 1531.]

This title is set within the charming title-page border of the Colines copies of the Hours of 1524-1525. On the verso of the title-page: 'Il est permis,' etc., as in the preceding volume. On the second leaf the text begins with a beautiful decorated letter (A) after the style of the L of the volume last described. This page also is set in a portico-shaped border, with arabesques; but the latter are different from those in the 'Sacre.'

We find, too, three other and different borders in the balance of the work, which gives us in all six pages with borders in addition to that of the title-page and that of the last page, which is identical with that of the last page of 'Champ fleury'; some floriated letters also have been borrowed from this last-named work. Though none of these are signed, they are surely Tory's, so far as the designs are concerned, at least.

The text of this book, as of the preceding, is by Guillaume Bochetel, who signed it. Following his text, Tory inserted a charming cut, representing the gift presented by the city of Paris to the Queen—a magnificent candelabrum. At the top are the words: 'Deseing du present faict a la Royne en deux chandeliers.'[260] The license granted to Tory for printing this book is identical with that of the preceding, except that it is dated at Anet, April 26, 1531. We learn from the last page that the printing was finished on Tuesday, May 9, 1531.

Geofroy Tory was not simply the printer of this little volume; he was also the publisher, and he added to the text three poems in Latin, of his own composition. Here they are:—

Geofroy Tory of Bourges to Queen Leonora.[261]

We are about to celebrate this triumph of yours, Leonora, which your Parisians have conferred upon you. You are a queen so loving-kind to us that we all can say that you are a real goddess. We can certainly say that you are a benign goddess, since you at last bless us with grateful peace. With peace you bless all who inhabit the French kingdom, so kind have been the fates in establishing you in power. As one upright, aye, holy, gentle, and a true bestower of blessings, you have brought our lilies back to their country. By your leave, I will speak in few words, and I will proclaim the truth: in you resides full national salvation for us all.

The same to the same.

May the gods long continue your happy lot, Leonora. You are our Joy, our Peace, and our grateful Repose.

The same Tory to the French People.

Exult and be glad, people of France; you see what happiness Leonora now brings to you. She, sent, be sure, by the manifest will of God, enables you at last to enjoy the blessings of peace. Strew roses, laurel, violets, nard, and saffron, and merrily revel to your hearts' content. But be careful too that you, best of people, be not backward in rendering pious prayers to God. If you never cease to sing God's praises and to frequent his temples, believe me, you will long enjoy the blessings of peace. You will behold the golden ages beneath the smiling heaven, and on earth you will reap in prosperity golden harvests. Add to this that you will in similar manner become a race all golden too. Continue, therefore, your holy services to the most high God.

IN LODOICÆ REGIS MATRIS MORTEM EPITAPHIA LATINA ET GALLICA.—EPITAPHES A LA LOUENGE DE MA DAME MERE DU ROY FAICTZ PAR PLUSIEURS RECOMMENDABLES AUTHEURS. (Pot Cassé no. 6.) On les vend a Paris devant Leglise de la Magdeleine, a Lenseigne du Pot Casse.—Avec privilege.

Quarto, of two and a half signatures. [Paris, G. Tory, 1531.]

The license, dated Paris, October 13, 1531, and signed DE LA BARRE, like the two preceding, gives Tory at last the title of king's printer: 'We have granted to maistre Geofroy Tory, marchant libraire et imprimeur du Roy, leave,' etc. On the last page, which, as well as the first, is set in a border,[262] are the words: 'Printed at Paris, at the sign of the Pot Cassé, by maistre Geofroy Tory de Bourges, bookseller and king's printer. The XVII day of October, M. D. XXXI.'

As the title-page indicates, this volume contains verses in Latin and in French by divers contemporary authors. Among the former is one by Geofroy Tory himself, which I will give as a specimen.

Louise, royal mother, addresses and consoles her France: written by Geofroy Tory of Bourges.[263]

France, why do you in deepest sorrow mourn for me? Do you not know that the whole human race is destined to die? Revive, and consider how I by my foresight preserved you from the bitter and ruthless enemy. I leave to you a son, king by divine will, who under my guidance cherishes you in glorious peace. Joyfully he beholds in your arms his pledges, who will bring the whole world under your sway. You have a queen who is the foster-daughter of virtue and peace, and who blesses your lot with good fortune. You have also another queen, who is the sister and good counselor of your consecrated king. With such guides as these, dear France, you should not complain. You are fortunate in having such leaders. Moreover, when I die, I will not desert you, for you have my immortal name. Devotedly I will ever pray for you before the mighty Thunderer, asking that you may reign victoriously and nobly. Strew laurel for me, violets, nard, and saffron; strew also flowers, lilies, garlands, and roses. Add to these, moreover, hymns with most exalted praises, rites, melodies, incense, myrrh, and prayers. Hesitate not to erect altars to me. For, as a benign goddess, I now proceed to fly to Heaven. Farewell.

The first two of these three opuscula exhibit three different kinds of type: that of 'Champ fleury' and two others. In the third we find a fourth size. It will be seen that Tory's printing-office was increasing in importance.[264]

ORDONNANCES DU ROY (François I), etc.

Quarto, of four signatures (A to D). Paris, 1532.

I have seen only the last signature of this collection. It has a special title-page, embellished by the border of the Colines copies of the Hours of 1524-1525; but the signature letter (D) and the first word of the title demonstrate the existence of at least three others. It seems that Geofroy Tory treated the legislative documents of François I in the sixteenth century as the Imperial printing-office treats the 'Bulletin des Lois' to-day: that is to say, each fold has a title, although it forms a part of the same publication with that which precedes and that which follows.

I transcribe the title of the signature that I have seen,[265] made up of six leaves, that is a sheet and a half quarto [266] (encartées):—

AUTRES ORDONNANCES NOUVELLES DU ROY NOSTRE SIRE SUR LESTAT DES TRESORIERS ET MANYMENT DES FINANCES, PUBLIEES EN LA CHAMBRE DES COMPTES ET AU CONSEIL DE LA TOUR CARREE. (Pot Cassé.) Imprimees a Paris par maistre Geofroy Tory de Bourges, libraire et imprimeur du Roy. Devant Leglise de la Madeleine, a lenseigne du Pot Casse.—Avec privilege comme il appert cy apres en la fin.

Then follow four ordinances of the king, of the year 1532, 'sur lestat des tresoriers,' etc. They are dated, the first at Hamby, April 19, the second at Châteaubriant, June 14, the third and fourth also at Châteaubriant, May 16. On the recto of the last leaf is the duplicate of the license, in these words:—

'The judges appointed by the king in the Chambre de la Tour Carree to administer the finances, having considered the petition presented by Geofroy Tory, bookseller and king's printer, praying that he may have permission to print the ordinances of late issued by the king touching the administration of his finances and the officers engaged therein, which have been published in said chamber, and that all other booksellers and printers may be forbidden to print or to cause to be printed the said ordinances until the expiration of three years next ensuing, on pain of summary fine, the said judges have permitted and do permit the said Geofroy Tory to print the said ordinances, and forbid all other booksellers and printers to print or cause to be printed the said ordinances for one year,[267] on pain of summary fine. Done at Paris the eighteenth day of July, in the year one thousand five hundred thirty-two. Signed: Bordel.'

On the last page is the beautiful final border of 'Champ fleury,' in which is the Pot Cassé; and beneath it are the words: 'The printing of these present ordinances was finished the twentieth day of July M. D. XXXII, by maistre Geofroy Tory de Bourges, bookseller and king's printer.'

LHISTOIRE ECCLESIASTIQUE [of Eusebius] TRANSLATEE DE LATIN EN FRANÇois PAR MESSIRE CLAUDE DE SEYSSEL, EVESQUE LORS DE MARSEILLE, DEPUIS ARCHEVESQUE DE THURIN.—Imprimee par le commandement du Roy (Pot Cassé).—On les vend a Paris, devant leglise de la Magdelaine, a lenseigne du Pot Casse. Par maistre Geofroy Tory de Bourges, marchant libraire et imprimeur du Roy.—Avec privilege pour six ans.

Paris, G. Tory, 1532. Folio; 6 preliminary leaves, 151 leaves of text, numbered, and a final unnumbered leaf, on the verso of which are the words: 'The printing of this present book was finished the XXI day of October, M. D. XXXII, by maistre Geofroy Tory,' etc. Then follows the Pot Cassé, surmounted by the arms of France, borrowed from the verso of the title-page of 'Champ fleury.'

LES TROYS PREMIERS LIVRES DE LHISTOIRE DE DIODORE SICILIEN, HISTORIOGRAPHE GREC. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE ANTHOINE MACAULT NOTAIRE SECRETAIRE ET VALLET DE CHAMBRE ORDINAIRE DU ROY, FRANCOYS PREMIER.—Imprimez de l'ordonnance et commandement dudit seigneur.—Avecques privilege a six ans.—On les vent a Paris en la rue de la Iuifverie, devant la Magdalaine, a l'enseigne [268] du pot cassé.

At the end: 'Imprimé a Paris, en avril M. D. XXXV.'[269]—Quarto.

The title-page of this book is embellished by a portico-shaped border, which is found in the first three opuscula described in this section. On the verso of the title, in the vellum copy at the Bibliothèque Nationale, is the final border of 'Champ fleury,' in which are depicted the arms of England, with the device, DIEV EST [sic] MON DROICT.

The author's exordium begins with a large letter S, decorated with an escutcheon bearing two fasces accompanied by nine besants, three by three, with this device in Greek: MHKETI ('not at all'); these are Macault's arms, doubtless. This letter appears again on folio 148. Facing the first page of text is a magnificent engraving representing François I surrounded by his court, listening to Macault as he reads his book to the king. The author is represented in a clerical costume, with a calotte on his head. Beside him are the three sons of François I: François, who died a few years later, Henri, who became Henri II, and Charles, Duc d'Orléans. This engraving is a faithful copy of the painting on Macault's original manuscript, which was still in France in 1811, but has since crossed over to England. It is described in Part 3, section 1 (pages [166]-[168]).

The printed book forms a quarto volume of 8 unnumbered preliminary leaves, 152 numbered leaves (signatures A to Q), and 8 leaves of index: 168 leaves in all. On the last page is the final border of 'Champ fleury,' which appears also on the verso of the title.[270]

PIERRE ROFFET

SECTION IV. WORKS PRINTED BY TORY FOR PRIVATE INDIVIDUALS.

ANTISTITIS INCOMPARABILIS MICHÆLIS BODETI, DUM VIVERET EPISCOPI DUCIS LINGONENSIS ET PARIS FRANCIÆ EPICEDIUM.

Below this title, the arms of Michel de Boudet, engraved on wood. At the end is the Pot Cassé, with this colophon: 'Parisiis anno salutis humanæ 1530.' (Michel de Boudet had died in 1529, with the title of duke and peer, which the Bishops of Langres had borne since the twelfth century.) Six quarto leaves [Paris, G. Tory, 1530]. Library of the Faculty of Medicine of Montpellier, no. 292.

Having had occasion to visit the neighbourhood of Montpellier for reasons connected with my health, I seized the opportunity to examine this volume and complete my information concerning it. On the first page, surrounded by the border of the Colines copies of the Hours of 1524-1525, are these words: 'Antistitis Incomparabilis Michælis Bodeti dum viveret Episcopi Ducis Lingonensis et Franciæ Paris Epicedium.' Then the arms of Michel de Boudet. On the verso: 'Cautum est privilegio, ne quis hoc Epicedium imprimat aut imprimi curet infra biennium subpöena in diplomate ad hoc obtento contenta.' The four following leaves contain a poem in honour of Michel de Boudet; on the sixth is the Pot Cassé, no. 6, and beneath it: 'Parrhisiis, Anno salutis humanæ, M. D. XXX.' There is nothing to indicate the author of this little work, which is printed in the same type as the Epitaphs in honour of the mother of François I.[271]

APOLOGIE POUR LA FOI CHRESTIENNE CONTRE LES ERREURS CONTENUES EN UN PETIT LIVRE DE MESSIRE GEORGES HALEVIN.

Paris, G. Tory, 1531. Octavo.

I borrow this description from the 'Catalogue de la Bibliothèque de feu M. de La Vallière' (vol. i, p. 275), for I have not been able to inspect this work, which, however, should be in the Bibliothèque de l'Arsenal with M. de La Vallière's other books, and in the library at Sainte-Geneviève, whither it must have gone with the collection of Le Tellier in whose catalogue it also appears.

HISTOIRE DES EMPEREURS DE TURQUIE, translated from Latin into French by Barthélemy Dupré. 1532.

I borrow this abridged description from a biography of Tory published by M. Chevalier de Saint-Amand, honorary librarian of Bourges, in the 'Annonces Berruyères,' no. 38 (September, 21, 1837).[272]

LADOLESCENCE CLEMENTINE. AUTREMENT, LES OEUVRES DE CLEMENT MAROT DE CAHORS EN QUERCY, VALET DE CHAMBRE DU ROY, COMPOSEES EN LEAGE DE SON ADOLESCENCE.—AVEC LA COMPLAINCTE SUR LE TRESPAS DE FEU MESSIRE FLORIMOND ROBERTET.ET PLUSIEURS AUTRES OEUVRES FAICTES PAR LEDICT MAROT DEPUIS LEAGE DE SA DICTE ADOLESCENCE. Le tout reveu, corrige & mis en bon ordre.—On les vend a Paris, devant Lesglise Saincte Geneviefve des Ardens, Rue Neufve nostre Dame. A Lenseigne du Faulcheur.—Avec privilege pour Trois Ans.

At the end: 'The printing of this present book was finished on Monday the XII day of August. Year M. D. XXXII. For Pierre Roffet, called le Faulcheur. By maistre Geofroy Tory de Bourges, king's printer.

Octavo, 1st edition. Only a single copy is known, now in the Bibliothèque Nationale. The volume consists, first, of four preliminary leaves (half a fold), comprising: (1) the title which I have just transcribed; (2) on the verso, some laudatory verses, among which figures this distich of Tory, who was not only Marot's printer, but his friend:—

'Vis lauros cypriasque comas, charitesque, iocosque,

Inde sales etiam nosse? Marotus habet';

(3) Clément's letter 'to a large number of brethren,' dated August 12, 1532, that is to say, on the same day that Tory finished printing the book, and not August 12, 1530, as was erroneously printed in some subsequent editions, which has given rise to a theory of an earlier issue [273]; (4) the table of contents; (5) a leaf entirely blank. Then comes the text of the 'Adolescence Clementine,' extending from folio 1 to folio 104, on which is the word 'finis'; and after that the 'Chant royal,' etc., from 105 to 115. The book ends with a list of errata on an unnumbered folio (116). The table of contents, on one of the preliminary leaves, informs us that one ode had previously been published separately, but no copy of it is known.

The Same.

A second edition of this book was published by the same bookseller, and the printing finished by Tory on November 13, 1532. It differs from the first in this respect, that the text and preliminary leaves are joined, or, to speak more accurately, the first two of those leaves; for the table of contents is relegated to the end of the volume, in place of the errata, which no longer appear. The volume consists of a hundred and nineteen leaves, the last unnumbered. The word 'finis' still appears on folio 104, after the 'Adolescence Clementine'; then comes the 'Chant royal,' etc.; and lastly two leaves entitled: 'Autres Œuvres faictes en sa dicte maladie,' indicated by this phrase on the title-page: 'Plus amples que les premiers imprimez de ceste, ny autre impression.' (Bibliothèque Mazarine.)

The Same.

A third edition was printed by Tory on February 12, 1532 (1533, new style), like the preceding in every respect, but having only 118 leaves.

The Same.

A fourth edition appeared June 7, 1533, identical with the preceding, except that the words on the title-page, 'plus amples,' etc. are replaced by these: 'Avec certains accens notez, cest assavoir sur le é masculin different du feminim [sic], sur les dictions ioinctes ensembles par sinalephes, et soubz le ç quant il tient de la prononciation de le s, ce qui par cy devant par faulte daduis n'a este faict au langaige françoys, combien q'uil [sic] y fust et soit tres necessaire.'

This fourth edition of the 'Adolescence Clementine' was the last work printed by Tory to my knowledge. In the intervals between these four editions, however, he had published the works of Clément Marot's father, edited by Clément himself, under the following title:—

IAN MAROT DE CAEN, SUR LES DEUX HEUREUX VOYAGES DE GENES & VENISE, VICTORIEUSEMENT MYS A FIN, PAR LE TRESCHRESTIEN ROY LOYS DOUZIESME DE CE NOM, PERE DU PEUPLE. ET VERITABLEMENT ESCRIPTZ PAR ICELUY IAN MAROT, ALORS POETE ESCRIUAIN DE LA TRESMAGNANIME ROYNE ANNE, DUCHESSE DE BRETAIGNE, & DEPUYS VALET DE CHAMBRE DU TRESCHRESTIĒ ROY FRANCOYS PREMIER DU NOM. On les vent a Paris, deuant Lesglise Saincte Geneuiefue des Ardens, Rue Neufue Nostre Dame, A Lenseigne du Faulcheur.—Auec priuilege pour Trois Ans.[274]

At the end: 'The printing of this present book was finished the XXII day of January, M. D. XXXII [1533, new style], for Pierre Roufet, called Le Faulcheur, by maistre Geufroy Tory de Bourges, king's printer.'

Octavo of 101 leaves. (Bibliothèque Nationale.)

In this edition there is a letter of Clément Marot mentioning the death of his father, 'author of this book.'

The Same.

M. Brunet cites a second edition of this book, executed by Tory for the same bookseller in 1533.

PART III. ICONOGRAPHY.

AS I have hitherto called attention to the books that we owe to Tory whether as publisher, as author, or as printer and bookseller, so it will be well to notice those which he enriched with his paintings and engravings during twenty years of his life. This is a new aspect of his whole career which it is our present purpose to bring into view; for, while Tory was for some time teacher, bookseller, printer, he was always a draughtsman and engraver, from the day that he was a man grown.

But, first of all, there is a preliminary question to be decided: Was Tory really a painter and engraver? In the first part of this book I said that he was, but I did not furnish proofs of the fact, and none of the historians of painting or of engraving have mentioned him in that connection. It is advisable therefore, first of all, to demonstrate the accuracy of my assertion. In order to solve this complicated question more easily, let us divide it.

Was Tory a painter?

That Tory was a painter-draughtsman, there can be no doubt, for he himself makes the assertion in express terms on each page of 'Champ fleury.' For instance, we read on folio 3 verso of that work, apropos of the Gallic Hercules:—

'I saw this same fable in rich painting within the city of Rome near the Sanguine tower, not far from the Church of Saint Louis, ... and the better to keep the thing in my eye, I made this drawing....'

In the collection of verses written by him on the occasion of the death of his daughter Agnes, Tory makes her speak thus from the urn wherein she is supposed to repose:—

MONITOR.

Who made for you this urn, set with brilliant gems?

AGNES.

Who? My father; famed in this art.

MONITOR.

Certes, your father is an excellent potter.

AGNES.

He practises industriously every day the liberal arts.

Thus Geofroy Tory himself informs us in 1523 that he industriously practised the arts. Now, if this were true, he could not have been ignorant of drawing, which is the first of all the arts. Moreover, it is plain that in those days an engraver (and we shall prove in a moment that Tory was one) could not fail to be a draughtsman. The artist was at that time an all-round workman, embracing all the special branches of his profession: painting, drawing, engraving, he took a hand at them all. Not until it became vulgarized, until it became a trade, was art subdivided—and greatly to its prejudice. In truth, one cannot but realize all that there is to be desired in the work of those mercenaries of the engraver's art, who, having no knowledge of the first elements of drawing, are bidden to reproduce, with the aid of the graving tool, lines which they do not understand.

We can therefore assert that, as a general rule, the engravings found in Tory's books were drawn by him.

But this is not all: I believe that we should also attribute to him the admirable miniatures [275] that have come down to us of the painter known by the name of 'Godefroy.' If, indeed, we compare the engravings in Tory's books with the designs of that painter, we readily recognize a similarity of execution which seems to establish the identity of the two men. This Godefroy, who signs his works sometimes with the full name, sometimes with a simple G, but always in roman letters,—a noteworthy thing at a time when the gothic was in its most flourishing state,—was no other than Tory, whose baptismal name, as we have seen, was in Latin Godofredus. We know how little was thought of family names in the old days. As late as the sixteenth century it was no uncommon thing to see persons designated by their baptismal names alone, or, at most, with the name of their native place added. We have seen [276] that the famous painter Jean Perreal, Tory's master and friend, was little known except by the name of Jean de Paris. Tory himself is called Godefroy the Berrichon (Godofredus Biturix) in some verses which his friend Gérard de Vercel composed in his praise in 1512.[277] Even at the close of the sixteenth century our two leading bibliographers, Antoine du Verdier and La Croix du Maine, who also bore geographical names, deemed it proper to adopt no other order than that of baptismal names in arranging alphabetically the authors who are mentioned in their books entitled 'Bibliothèque Françoise.' There is nothing extraordinary therefore in Tory's signing his first works with a baptismal name alone. It is true that that name is slightly different, orthographically speaking, from the one that he used later; but it is well to remember the change that took place about that time in our author's customs. Doubtless he signed 'Godefroy' before he had entirely shaken off the yoke of the classical languages,[278] and had adopted the more French form 'Geofroy,' which was about the year 1523.

The dates inscribed upon some of Godefroy's paintings, 1519 and 1520, coincide perfectly with the known facts of Tory's life: that was the period when, after his second return from Italy, he was fain to utilize his talents for his livelihood. I may add that we have several engravings of that same period signed with a G alone, or with a G within which appears a small F; others signed with a G surmounted by the double cross, with a small S within; and others signed G. T., which serve to mark the transition between Tory's use of the simple G and the inscription in full of his two names, Geofroy Tory. These two names appear together in one of the borders of his Hours of 1524-1525 [the border which is to be found on p. 105].

Whatever the fact may be, we propose to give here, by way of memorandum, at least a brief list of the works of the painter Godefroy, referring the reader for fuller information to the interesting article which M. Léon de Laborde has published upon this subject in the 'Renaissance des Arts,' vol. i. pp. 891-913, and, later, in the 'Revue Universelle des Arts,' no. 1 (1855), which article we reproduce below with the author's consent.

The only manuscripts known to contain drawings of this artist are 'Les Commentaires de César,' in three small quarto volumes; and 'Les Triomphes de Petrarque,' in one small octavo volume—all written in French and bound in vellum.

The first-named work is not, as one might suppose from its title, a translation of the famous work of the conqueror of Gaul, but a commentary thereon in the form of a dialogue between Cæsar and François I, to whom the book is dedicated. The first volume is now in the British Museum at London, the second in the Bibliothèque Nationale at Paris, and the third in the collection of M. le Duc d'Aumale. All the miniatures in the first volume, and there is a great number of them, are signed with a G; some bear the date 1519. The same is true of the second volume. One of the miniatures in the third volume is signed in full, 'Godefroy' (folio 52); several others, signed G only, are dated 1520.

As for the 'Triumphs' of Petrarch, which is in the Bibliothèque de l'Arsenal, the miniatures bear no dates, but they are all signed with a G, and one has in addition the full name, 'Godefroy.' In the two works the drawings have the same general appearance; they are distinguished from those of the professional miniaturists by a very marked sobriety of colouring. They are noticeable, moreover, by reason of a delicacy of execution and, at the same time, a sharpness of outline which can have come from no other hand than that of an engraver; now the engraver can have been no other than Tory, whose shields and even his antique arabesques we find in these designs.

In addition to these two works, of which the name and the style of the artist seem to me to permit their being attributed to Tory, I will mention here several others, of a somewhat later date, which likewise various circumstances make it possible to attribute to him.

The first is a translation of the first three books of Diodorus Siculus, by Antoine Macault. This superb manuscript, which was in the library of M. Firmin Didot père in 1810, is to-day buried in one of the private libraries of England. A description will be found on pp. 166-168. It is true that there is nothing about it to suggest Tory, but the style of the painting and of the engraving (the book was printed by Tory's widow in 1535) leaves no doubt as to his authorship. The second is a collection of portraits of the kings of France, by Jean du Tillet, the manuscript of which, presented by the author to Charles IX, is still preserved in the Bibliothèque du Roi. See the description of this priceless manuscript, and of several others preserved in the same collection.[279]

We come now to the second question:—Was Tory an engraver?

Neither Zani nor Papillon mentions him as such; nevertheless, there is one presumption in his favour. La Croix du Maine, who was almost his contemporary, tells us [280], without going into details, it is true, that Tory was known by the name 'maître au Pot Cassé'; others have said that he perfected Josse Bade's letters.[281] M. Renouvier has recently written [282] that Tory possessed the rare faculty of using the 'eschoppe' [graver] as well as the pen. 'Le Champ fleury,' he says, 'is a treatise on æsthetics such as none but an engraver of types could conceive.' What M. Renouvier conjectured, I assert, with no fear of being contradicted by the facts. To be sure, Tory did not anywhere state categorically that he was an engraver; but he gave it to be understood indirectly. For example, he tells us that, among the fancies that came to his mind on the 6th of January, 1523, and resulted in the composition of 'Champ fleury,' he remembered 'a letter of ancient form,' which he had 'not long since made for the house of my lord the treasurer of the wars, maistre Jehan Groslier, counsellor and secretary to the king our sire.'[283] What was this ancient letter made for the famous bibliophile Grolier, if not the basis of the beautiful roman characters which were used in that scholar's establishment to decorate his books, and to stamp upon them, in gold, this excellent device, among others, 'Ioannis Grolierii et Amicorum?'[284]

Again, all the authorities agree that Claude Garamond was a pupil of Tory. Now, what could he have learned from his master, if not the art of engraving types,—he who did nothing else in his whole life?

Furthermore, it is impossible to doubt that Tory engraved types when one runs through his 'Champ fleury.' Note especially what he says on folio 34 recto, where, having given a drawing of a capital A reversed, he explains it in the technical terms of the engraver.

'This,' he says, 'is done to help and give hints to goldsmiths and engravers, who, with their burin, graver, or other tool, engrave and cut an ancient letter reversed [à l'envers], or, as we say, to the left, so that it may appear to the right when it is printed and placed in its proper aspect. I have purposely made it white, and its background black, the opposite of the one that is drawn to the right, so that no one may be misled. For, as I have said, I have seen and do see many persons who are misled. Before the letter to be printed is finished, it is made twice reversed and twice to the right. In the first of the reversed there are the punches [285] of steel, in which the letter is wholly left-handed. The matrices have the letter to the right. The letter then cast is, as I have said of the punches, left-handed. Then finally on the printed paper the whole appears to the right, and in its proper aspect to be read currently. I had forgotten to say that the broad leg of the A is one tenth of its square in width, and the other leg one third as wide. The transverse limb should be three fourths as wide as the broad leg, as you may see by the drawings herewith made and duly proportioned.'

After this, and knowing as we do the relations between Geofroy Tory and the Estienne family, it will not be deemed extraordinary that I attribute to our artist the italic letters of Simon de Colines, engraved about 1525, and the roman and italic letters of Robert Estienne, engraved a little later.

But Tory not only engraved letters, that is to say, punches on steel, as some authors have stated: he signalized himself above all by his engravings on wood, and he illustrated almost all the books of his time, which fact is almost wholly unknown. I shall be asked, doubtless, upon what evidence my opinion is based. It is this: In the license to print the book of Hours, granted to Tory by François I on September 23, 1524, we read:[286] 'Our dear and well-beloved maistre Geofroy Tory ... hath now caused it to be made known and shown unto us that he hath of late made and caused to be made certain pictures and vignettes "à l'antique," and likewise certain others, "à la moderne," to the end that the same may be printed and made use of in divers books of Hours, whereupon he hath employed himself a very long time, and hath made divers great expenditures and outlays.' Evidently the words 'he hath made' do not here apply to the drawing, but to the engraving of these pictures and vignettes, which he had previously drawn. Moreover, Tory himself betrayed his profession of engraver on wood in a charming vignette which he used as an initial in 'Champ fleury,' and which is reproduced on page 1. For we see therein, besides a compass, a square, etc., a pen and several varieties of knives used in wood-engraving; all of which justifies the remark of M. Renouvier: 'Tory possessed the rare faculty of using the graver as well as the pen.'

But, I shall be told, it avails nothing to prove vaguely that Tory dabbled in wood-engraving, if we can point to no works of his in that branch of the art,—for no one has done so hitherto. I propose to try to gratify the reader's desire, by proving that there is a way to recognize the engravings executed by Tory.

Many persons have already observed that the principal engravings in Tory's books, those which are most individual, as, for example, the Gallic Hercules (reproduced on page [141]), and that of the Pot Cassé which accompanies the description of that emblem in 'Champ fleury' (reproduced on page [21]) bear a mark; but this mark they dare not attribute to him, because it is constantly found upon engravings, alone or accompanied by initials, for more than a century. M. Robert-Dumesnil, in his interesting work entitled 'Le Peintre-Graveur français,' published in the course of his article on Woeiriot,[287] who himself used this same mark, a catalogue of engravings signed with the double cross,—which he calls the cross of Lorraine or of Jerusalem,—extending from 1522 to 1632. He concludes that this mark was 'frequently employed in France, as a fictitious signature, on engravings on wood, by artists whose names will probably remain forever buried in oblivion.'

To banish this phantom, which caused M. Renouvier himself to pause on the pathway of truth,[288] it is sufficient to come to close quarters with it. This is what I propose to do; but first I must thank M. Robert-Dumesnil for having satisfactorily cleared up one important point. Until his book appeared, almost all the engravings marked with the double cross had been attributed to Woeiriot; or, rather, the engravings of the latter had added to the perplexity of classifiers. By identifying Woeiriot's work, M. Robert-Dumesnil has simplified the problem considerably. Only a small number of pieces remain to be ascribed to their authors, and as to these M. Robert-Dumesnil expresses himself thus: 'None of the works executed prior to Woeiriot's birth and the beginning of his career as an artist can be by him; of the others we hasten to say that not one seems to us to have been designed or executed by him.'

Nothing could be clearer. Let us add, to close the discussion, that Woeiriot did not begin to engrave until long after Tory had ceased, as he was barely two years old when Tory died; and, furthermore, that his cross is almost always accompanied by his initials; sometimes, however, he uses the cross alone, but in that case the date prevents confusion. Take, for example, the 'Emblesmes et devises chrestiennes composées par damoiselle Georgette de Montenay,' the first edition of which was in 1571. It is impossible to attribute these engravings to Tory, who died nearly forty years earlier.

The other artists who used the cross may be divided into three classes, according to M. Robert-Dumesnil's book. First, we find the cross alone, from 1522 to 1561; secondly, after a long interval, in 1599, the cross appears accompanied by the initials I, L, B; and, lastly, a little later, two engravers on copper, named Jean Barra and Claude Rivard, signed their works with the cross. I do not include here the double cross discovered by M. Robert-Dumesnil on the printer's mark of a book dated 1632, because it is the mark of Gilles Corrozet, engraved a century earlier, as we shall see further on.

To sum up, then, there are no anonymous works bearing the cross except those produced between 1522 and 1561. The only question is whether the engravings executed between those dates, which bear the cross without initials, belong to one or to several artists.

I will, first of all, call attention to the fact that this interval embraces only forty years, and that there is no reason to attribute to several contemporaneous and anonymous artists a very peculiar mark which a single artist might have used during an even longer time. But this is not all: this interval can be reduced by several years; for the examples alleged to be subsequent to 1557, mentioned by M. Robert-Dumesnil, bear no date; they appear, it is true, in books printed after that year, but they were engraved earlier, as I shall prove in due time. Blocks are not ephemeral objects; like type, they can be used indefinitely, and their use at a certain date does not prove that they had been made within a short time. We have just cited one—Gilles Corrozet's mark—which, simply by lack of use, it was possible to reproduce in books for more than a century.

What surprises me is not that M. Robert-Dumesnil has seen engravings with the cross printed in 1561, but that he has found none of a later date, which would have allowed him to fill up the gap that he has left between the anonymous artist of the cross alone and him who accompanied it with the letters I, L, B; he might have discovered the beautiful illustration of the Missal of 1539, which is described hereafter, in books of the seventeenth and eighteenth centuries. Indeed, we find wood engravings of the sixteenth century, bearing the double cross, in a book published at Troyes in 1850!

On the other hand, I am surprised that M. Robert-Dumesnil found no engravings with the cross, accompanied by initials, of a date much earlier than 1599, for I myself have seen some that were contemporaneous with Tory. In fact, the Bibliothèque Nationale possesses a book of Hours according to the use of Paris, printed in that city in 1548, by Jean de Brye's widow, in which all the engravings are marked with the cross and the initials L, R. It is an octavo volume, printed in gothic type, and in red and black. An interesting fact to be noted here is that these engravings are improved copies of other unsigned engravings belonging to the printer Thielman Kerver,[289] and printed in a large number of books issued by him or his widow, Iolande Bonhomme, at least as early as 1522,[290] and still to be seen in the Paris Missal, published by his son Jacques in 1559. I have seen also engravings of the artist with the initials I, L, B (cited by M. Robert-Dumesnil under the date of 1599), in a book of 1547.

These facts do not tend to contradict my proposition; they prove that Tory founded a school, and that his pupils adopted his mark (which is nothing more than his initial, or, rather, his toret, transferred from the Pot Cassé, of which it was the essential feature, to his engravings), adding thereto their initials, to distinguish themselves from the master whose ensign they hoisted, and to preserve their own individuality. I shall recur to this subject later.

The principal reason which prevented M. Renouvier from attributing to Tory, as he was naturally inclined to do, the engravings marked with the double cross alone, was the impossibility, in his judgement, of attributing them all to the same artist. 'M. Robert-Dumesnil,' he says, 'has noted a large number of books of 1522 to 1599, on the title-pages and plates of which the cross of Lorraine is found. This list might be increased, and the items should be carefully compared by whoever would try to find on them the mark of a wood-engraving establishment, or of several engravers on wood who worked for the booksellers Pierre Gaudoul, Simon de Colines, Robert Estienne, Grouleau, Gilles Corrozet, Vincent Sertenas,[291] etc.'

I have already answered the objection based upon M. Robert-Dumesnil's book, which he himself has abandoned with great pleasure, taking a deep interest in my discovery.[292] As for what M. Renouvier adds, it does not run counter to my suggestion, for I have already mentioned that, after Tory's death, his widow carried on his engraving establishment for several years, retaining the same mark. This, doubtless, is the explanation of the differences to be noticed in the works signed with the Lorraine cross; for Perrette le Hullin, not being an engraver herself, must have employed different workmen.

This leads me to answer an objection that has been made to my theory. My attention has been called to the fact that the Lorraine cross appears on works anterior to Tory,—such, for example, as the mark of Gauthier Lud, the first printer of Saint-Dié in Lorraine. I have no purpose to claim the Lorraine cross for Tory alone. He was not its inventor, nor did it die with him; but there is a distinction to be made between an emblem employed in a general way, and one employed as the special mark of an artist. Not only do I not claim for Tory the Lorraine cross surmounting a circle, which appears on the mark of the Lorraine printer, Gauthier Lud,[293] in 1507, but I exclude the Lorraine cross surmounting a large gothic G, found on the title-page of a folio Missal according to the use of the church of Toul, printed at Paris by Wolfgang Hopyl, in 1508.[294] To my mind nothing could be more natural than that the Lorraine cross should be used in Lorraine; but that does not prove that an artist at Bourges may not have adopted it as the mark of his establishment.

I mention hereafter as one of Tory's first engravings on wood the title-page of a book printed at Meaux in 1522, and I then say that the preface of that book was dated 'Meldis, anno M. D. XXI.'[295] M. Brunet makes me say,[296] I cannot imagine why, 'Metis' instead of 'Meldis'; and M. Didot, misled by that statement, says that the book in question was published at Metz,[297] which fact seems to him to explain the presence of the Lorraine cross on the title. This shows how an error may be appealed to in support of a theory.

Not only have I not exaggerated the part played by my hero, as authors are somewhat in the habit of doing,—on the contrary, I have restricted it as much as possible. Since the publication of my first edition, an attempt has been made to prove Tory to be the maker, or, at least, the decorator, of the beautiful Henri II porcelains, so-called, the subject of a recent publication of MM. Delange, father and son. M. Didot himself adopted this opinion,[298] which is based upon a vague similarity, but is completely refuted by the date of Tory's death. So far as I am concerned, appearances are of no consequence, unless they are accompanied by some substantial evidence; and that is why I have excluded from the list of Tory's works some engravings that Messrs. Renouvier and Didot do not hesitate to attribute to him because of certain similarities, but which do not bear his mark. It is that mark which has served me as a guide in identifying Tory's work. The objection is made, to be sure, that this plan requires the attribution to Tory of engravings of very dissimilar styles. Every plan has its disadvantages; but, all things considered, I prefer one that has something to stand upon to one that has nothing. Moreover, it is easy to explain the different styles of the artist of the Lorraine cross by referring to what has often taken place in the careers of other artists. In truth, how many painters have we seen change their style of painting at a certain period of their lives! But there is an even simpler way of explaining these dissimilarities in different engravings, namely, by admitting with me that the Lorraine cross was the mark of Tory's workshop, but that in that workshop there were other artists of very diverse abilities. In the same way, we see to-day a multitude of engravings signed 'Andrew,' 'Best,' 'Leloir,' to which those artists certainly never put their hands.

But let us have done with argument and come to the facts: they will prove more conclusively than any number of dissertations the truth of our statement concerning Tory; they will prove, in fact, that all the works signed by the cross alone were engraved during that artist's lifetime, or in the establishment which he founded and which his widow retained until about 1556.

To make the demonstration clearer, I will divide what I still have to say into three sections. In the first I will include all the manuscripts the decoration of which can be attributed to Tory; in the second I will describe all the engravings marked with the Lorraine cross that are known to me, arranging them in chronological order; and in the third I will mention such marks of printer-booksellers bearing the aforesaid cross, as I have been able to discover. As it is impossible for me to follow the chronological order in this last category, I have adopted the alphabetical order, which will enable one to find at once such of these marks as are mentioned in the second section.

SECTION I. MANUSCRIPTS DECORATED WITH MINIATURES BY TORY.

1. COMMENTAIRES DE CÉSAR.

2. TRIOMPHES DE PÉTRARQUE.

For a description of these two manuscripts [299] I cannot do better than transcribe in this place the interesting work of Comte Léon de Laborde. I print this work just as it was published several years ago, having no authority to modify it. But I think that I may venture to say that if it had been prepared since the publication of my book on Tory, it would contain a judgement in his favour. That seems to me to be the result of my conversations with M. de Laborde. My friend M. Jules Renouvier, whose death is so deeply to be deplored, and in whose company I examined the volume of the 'Commentaires' in the Bibliothèque Nationale, was entirely of my opinion. He spoke of the manuscript in question in these terms in a critical review of the first edition of my book on Tory, printed in the 'Revue Universelle des Arts' for September, 1857 (vol. v, no. 6, p. 511):—

'The point that we knew least about was Tory's début in the career of an artist. It was most brilliant if we agree with M. Bernard that he was the author of the miniatures found in two well-known manuscripts, the "Commentaires de César" in three volumes and the "Triomphes de Pétrarque," in which we find the signatures "G," and "Godefroy," and the dates 1519 and 1520. M. de Laborde has recently described them with all the care that they deserve, without discovering who this Godefroy was. He was no other than Geofroy Tory, says M. Bernard, and this opinion is plausible; for, if the subsequent work of the engraver on wood does not fulfil the promise of the miniaturist, the drawing is governed by identical characteristics, and the similarity of style is striking, especially when we consider the engravings that are nearest in point of time, as those of "Champ fleury," dated 1526. Considered from this point of view, Geofroy Tory is the most precocious of the artists of the Renaissance: before the masters of Fontainebleau, he introduced the stately, graceful and individualized figures, which aroused enthusiasm in the time of François I, to which Italy lent much of her style, and Germany a little of her force, but which were more thoroughly French than is generally admitted. It is well known, moreover, that these miniatures were originally, even in the "camaieu" process, heightened in effect by chatoyant tones, with subtleties of drawing which denote a hand more apt to handle the pencil than the brush, and altogether adapted to the tools of the engraver. The draughtsman loses a part of his distinction in passing from a privileged to a commonplace form of art; but so the progress of art willed.'

The work of M. Léon de Laborde follows:—

GODEFROY, PAINTER TO FRANÇOIS I.

Godefroy has left us, in four small volumes,—the first three entitled 'Commentaires de César,' the fourth 'Triomphes de Pétrarque'—the proof of a fruitful imagination, of a talent in portrait-painting no less flexible than varied, and of a superiority original with himself, and thoroughly French,—a very unusual combination of the qualities peculiar to our school prior to the formation of the school of Fontainebleau, and of the qualities—or, to speak more accurately, the defects—which that colony of foreign artists was soon to introduce in our midst.

These four volumes, after divers vicissitudes, repose at last, at the end of their journeyings and safe from the risk of destruction, the first in the British Museum at London, the second in the Bibliothèque Nationale at Paris, the third in the collection of H. R. H. the Duc d'Aumale, and the fourth in the Bibliothèque de l'Arsenal. I will describe first the 'Commentaires de César,' a beautiful manuscript, the three volumes of which I have had before me one by one. There are in this work three things worthy of remark, to which I shall direct the reader's attention for a brief space. First, the composition of the work; second, the painting of the decorations; and lastly, the portraits.

The author, a native of Flanders or Artois, transplanted to the Court of France, displays no overplus of wit or imagination. He supposes that King François I, in one of his excursions, or while hunting, meets Julius Cæsar, and that they converse. The subject of their dialogue is the Gallic war; it is a sort of commentary on Cæsar's Commentaries, with transparent allusions to the events of the reign of François I. It is in these allusions that we detect the author's predilection for the Belgæ,[300] with whose country he is familiar, and particularly for the city of Tournay,[301] which may well have been his native place. I do not propose to draw any inference from his hatred of the English [302]; although more violent in our northern provinces than elsewhere, that sentiment was then universal in France. It would seem, at least so far as the implements of war are concerned, that the painter who was employed to embellish the manuscript worked under the author's direction. We find in several places remarks like this: 'The tower is sufficiently described by the engines that I have caused to be drawn herein.'

For the rest, we feel that we have to do with a conscientious author; and simply by the extracts which follow, we may recognize the man who is uncertain and hesitates, the student who leaves every one in possession of his rights and who confides his doubts to the reader. On the eighth leaf of volume two he has instructed Godefroy, the painter, to reproduce an antique medallion; he writes in the margin: 'I fear that it is not that Cassius who was a conspirator in the death of Cæsar, for his name was Caius Cassius, and I find on the medallion Quintus Cassius.' As to one of the pictures of machines of war he makes this comment: 'Certain pictures of implements of war, as they are portrayed by Frère Jocunde in book x of Vitruvius.' Beside another, he says: 'I am not the inventor of the machines which follow, for I found them in a book that I secured long ago at Chastellerault, at the Lyon d'or.'

To this curious piece of information let us add another,[303] which tells us that the author of the book was in relations with an artist of Blois, a clock-maker and inventive genius: 'The two pictures that follow [two warlike machines] were taken from a book that Julian, clock-maker at Bloys, gave me.—Julian is a man of great wit and knows many things.'

A passage on folio xxii verso of the second volume seems to prove that the manuscript was written during the years 1519 and 1520: 'By the map

After the author, it is proper to speak of the calligrapher who wrote the manuscript; but there is nothing to be said save that it is in a fair hand. The painter Godefroy deserves more consideration and careful attention. Let us not forgot that we are dealing with a perfectly well-fixed time, limited to the years 1519 and 1520; let us, at the same time, recall the great national movement in art in France from 1450 to 1500, the Italian campaigns, the arrival of artists and objects of art from Italy during the reigns of Charles VIII and Louis XII, and lastly, and above all, the sojourn in France of the two great Italian masters, Leonardo da Vinci and Andrea del Sarto, from 1515 to 1518. Born and trained amid such influences, a French painter undertakes to decorate a manuscript for King François I. What does he do to satisfy the prevailing taste, the fashion, without denying his past? He divides his talent into two parts,[304] and devotes one, the French part, to the portraits, the other, the Italian imitation, to the decorations; in both he gives proof of abundant talent. In the one case, an exact, shrewd observer, he paints faces by faithfully reproducing their individual traits; in the other, fertile, never the same, abounding in resources in the ensemble and the details of his compositions, he is the pupil of Leonardo da Vinci, with suggestions of Mantegna and the artists of the first Italian Renaissance in the proportion of the figures, in the ungracefulness of the attitudes, and in the types of the heads.

From this period, from these influences, and not from Primaticcio, who was himself subjected to them, dates the Fontainebleau school. It was adapted to the figure and the type of beauty of Diana de Poitiers; she encouraged it; but, I say again, it was formed, it was current, before the reign of the mistress of Henri II and before the painter who is its most characteristic expression. If we seek to discover what method of execution was adopted by Godefroy, we see that his portraits are charming miniatures, comparable with the finest examples that we have of French miniature-painting; as for the drawings,[305] there are some that are almost grisailles, almost coloured—a mongrel and conventional scheme, of very doubtful taste. The painter drew his whole subject with the pen, with a sureness of touch which, it must be said, has no parallel in such microscopical dimensions, especially with respect to the faces and the landscapes; then he laid in the general outline, with the brush and with sepia, in flat tones, rather lacking in life. Thus far he did not depart from the canons of art; but he added coloured costumes, suits of armour, gilded trappings, and a multitude of details which flutter about in his grisaille and depart from nature in a most extraordinary way. I have said that his figures are reminiscences of Italian works. We find among them Donatellesque forms, profiles perdus, and bold gestures that recall Mantegna, Perugino-like graceful attitudes and ways of carrying the head, and, in spite of everything, a French background, and points of resemblance to Holbein, which might be taken to signify that Godefroy had never seen Italy. Our national Renaissance had made such progress in nearly a century that our artists needed only a few drawings, a few engravings, with the impulsion given by Leonardo da Vinci and Andrea del Sarto, to enter that Italian current. It may be that our compatriot, like Holbein, was subjected to this influence from afar, at second hand, without having crossed the mountains.

First volume.[306]—The book opens with a map of Gaul, and we read on the verso of the first leaf the following passage, written within a cartouche: 'Françoys, by the grace of God, King of France, a second Cæsar, vanquisher and subduer of the Souycez [Swiss], on the last day of April, one month after the birth of his second son, in his park of Sainct-Germain-en-Laye, fell in with Julius Cæsar and questioned him shrewdly concerning the contents of the first book of the Commentaries.' In another cartouche is a passage of which we need transcribe no more than the first words: 'Cæsar, first subjugator of the Helvecez [Helvetii, Swiss], graciously made reply to him,' etc.

On the third leaf Godefroy has painted the portrait of François I, head and shoulders alone, in a medallion. He wears his usual costume and the cap, without a feather, adorned with a banner. His features and his whole countenance are idealized—they are a little stiff and sharp; the artist has sought to produce an ideal antique head. The first miniature, on the verso of the fifth leaf, bears the date 1519, with no monogram; the others—folios 9, 13, 17, 21, 23, 31, 33, 36, 43, 53, 60, and so on to the end—are signed with a G, and dated the same year. On the miniature painted on the recto of folio 53, the initial of the artist's name is traced on the trunk of a tree from which hangs a small cartouche with the words, 'Besanson, 1519.' To be sure, the corresponding passage in the text requires that the miniature in question should represent that venerable city, but a certain precision in the details, and a sort of predilection manifested in the care bestowed upon the execution, lead me to believe that the view was painted after nature, and that Godefroy was attached to that city by some bond.

I have already spoken of the special characteristics of these miniatures, and I will mention here only the one on folio 23, which represents the building of a bridge over the Saône. In the foreground we see figures reminiscent of the painter Mantegna in their activity, their vigour, and a certain almost antique grace. The artist has retained the long pointed shoes to mark the Frenchman; this is an ill-timed display of archæological learning.

The volume, a large octavo, shaped like a notebook, contains 76 leaves, including the map. It is in its original binding of red morocco, with ornaments of wreaths of fleurs-de-lis, stamped with small tools. One can see the marks of the ribbons which were used to close it and to keep the vellum from puckering. On the recto of the first leaf, below the map of Gaul, are the words: 'Bibliothecæ Christophori Justelli.' This note, while it establishes the antiquity of the manuscript, also explains its emigration to England. Christophe Justel, Councillor and Secretary to the King, died at Paris in 1649, at the age of seventy, leaving to his son, together with the taste for study, a valuable collection of books and manuscripts. Among the latter was this first volume of the 'Commentaires de César.' Henri Justel succeeded his father in the office of Secretary to the King; also in his literary studies and in the liberality with which his library and house were thrown open to scholars. The letters of all the learned men of the time bear witness to his hospitality offered to learning.

He published at Paris, in 1661, the 'Bibliotheca juris canonici veteris ex antiquis codd. mss. bibliothecæ Christophori Justelli,' in two folio volumes, and he seemed destined to pursue in peace his erudite career. But the tempest called the Revocation of the Edict of Nantes was preceded, for far-seeing Protestants, by premonitory signs which were enough for Henri Justel. He packed up his books and crossed to England, where he was appointed Librarian to the King—an office which he held until his death in 1698. The manuscript of the 'Commentaires' was probably purchased at the sale of his library by Robert Harley, Earl of Oxford. The Lord Treasurer of England (1661-1724) found consolation for the ingratitude of men in forming that magnificent collection, which retains the name of the Harleian Collection in the British Museum.

Our manuscript, however, reached that haven only with the second part of Robert Harley's books and manuscripts, in 1754.

Second Volume.[307]—The first miniature represents François I on horseback, in hunting costume, wearing the chapeau with plumes. The King is urging his horse to the right. Above his head a crowned F in gold stands out against the blue background of a shield. This was a device for disclosing his identity to those who were not struck by the likeness. In the middle distance is a huntsman, galloping in the same direction as the King and blowing his horn. Over his head floats a banderole, bearing the name 'PEROT.'[308] On a stone between the legs of the King's horse is the initial letter of the artist's name; and beneath, in a frame (separated, however, by a running dog), the date 1519. The border is of the utmost grace of design, and leaves room for a few words of the text, which begins thus:—

'Françoys, by the grace of God King of France, desiring to exercise his lusty youth by violent labour, early in the month of August in the year one thousand five hundred nineteen, went forth to course the stag in the forest of Byevre, and gave order that on that day those dogs should course which he had chosen to lead the pack, because they are surer than the others. Gaillart was of the number, as was Gallehault, and pretty Rameau. Arbault, Gerfault, and Billehault went in their company.

'The King was following the stag very close and was riding at full speed when he fell in with the chaste Diana. The King was overcome with joy, and having forgotten his quarry, he was all amazed that the vision vanished and he remained all alone in deepest thought. But soon after he saw beside him an ancient man of venerable aspect. He knew upon hearing him speak that it was his friend Julius Cæsar, whom he had met in like manner, only three months before, in his park at Sainte-Germain-en-Laye.'

Thereupon they enter into conversation upon Cæsar's campaigns.

Godefroy's plates, almost all of which are signed with a G and dated 1519, are on these leaves: 2 verso, 3 verso, 4 verso, 5 verso, 7 verso, 9 verso, 20 recto, 22 verso, 28 recto, 33 verso, 34 verso, 36 verso, 37 verso, 43 recto, 46 verso, 48 verso, 59 verso, 62 verso, 78 verso, 90 recto.

The medallions, which are copied from the antique, are admirably executed in gold on a blue ground, the models being delicately outlined in sepia. They are on leaves 6 verso, 8 recto, 9 verso, 10 verso, 11 recto and verso, 12 recto and verso, 13 recto and verso.

Warlike machines, copied from other drawings, and consequently lacking the life imparted by the representation of real objects, fill leaves 39 recto and verso, 40 recto and verso, 41 recto, 91 recto and verso, 92 recto and verso, 93 recto and verso, 94 recto.

Lastly, the portraits may be found on the leaves which I am now about to enumerate. I will add nothing to what I have said of their perfection, generally speaking, reserving my comments for the points of interest suggested by the manuscript itself. These portraits, as one might have anticipated, and as is proved by leaf 52 most directly, are copies of originals which antedate the manuscript. They are painted in miniature, surrounded by three circles of black and gold; the whole medallion is fifty-two millimeters in diameter, the miniature forty.

Leaf 25 verso: Quintus Pedius. Such is the title given by the scribe; but a different hand has written in the margin, in cursive characters: 'Le grand maistre de Boissy, aged 41 years.' I am inclined to see in these marginal annotations the hand of the author rather than that of the artist. This portrait is three-quarters full, turned to the left, with a cap on its head, the hair in a net, a collar of some order around the neck, face tranquil, expression shrewd.

Leaf 35 recto: Le Fiable Divitiacus Dautun. ('Admiral de Boissy, seigneur de Bonivet, aged 34 years.') Three-quarters full, turned to the right.

Leaf 36: Quintus Titurius Sabinus. ('Odet de Foues, Sieur de Lautrec, aged 41 years.') Three-quarters full, turned to the left.

Leaf 42: Iccius. ('Le mareschal de Chabanes, seigneur de la Palice, aged 57 years.') Three-quarters full, turned to the left, expression slightly haughty.

Leaf 52: Lucius Aruculeius Cotta. ('Anne de Montmorency, aged 22 years, afterwards connestable de France.')

Leaf 73: Publius Sextius Baculus. ('Le mareschal de Fleuranges, son of Robert de la Marche, first seigneur de Sedan, aged 24 years.') Three-quarters full, turned to the left.

Leaf 76 verso: Publius Crassus. ('Le sieur de Tournon who was killed at the battle of Pavia, aged 36 years.') Three-quarters full, turned to the left.

On the verso of leaf 89 we find these words: 'Thus Cæsar made an end of speaking and forthwith disappeared. The radiant Diana, who knew the paths of the forest of Bièvre, and of all time was privy to and understood the laws of the chase, remounted, and by so straight a course led the King, who had lost the dogs, that within a few hours, near the forest of Fontainebleau, he saw them hunting better than before. And he was the first of all at the death of the stag, but he had with him only pretty Arbault and the beautiful Greffière, for Diana and Aurora had left him and had gone their ways.'

The two dogs are represented in the miniature; they are attacking the stag, while the King makes ready to stab him.

This volume, containing 98 leaves, is bound in black morocco, which has grown rusty; it bears these words stamped in the leather: 'Tomus Secundus.' It is catalogued in the Supplément Français, as no. 1328. Its history, as told among the habitués of the Bibliothèque Nationale, is as follows: M. Van-Praët appeared at the Conservatoire one day with an exultant air; he had this fascinating manuscript in his hand, and announced that he had purchased it for the Bibliothèque for 1200 francs. He expected to gladden the hearts of his comrades, to call forth expressions of gratitude; far from it; on the contrary, they found fault both with that method of purchasing, without authority, and with the price that he had paid. M. Van-Praët made haste to banish the scruples of his inflexible directors, and to put an end to the unpleasant discussion that was beginning, by declaring that the purchase had been made for himself and not for the Bibliothèque; then, when the meeting was adjourned, he hastened to his friends the brothers Debure, and, with a bursting heart, told them of his misadventure. They appreciated Van-Praët's regrets too thoroughly to try to calm them; but they knew also that he was not rich enough to keep the manuscript, and they bought for their own little collection, at the price that he had paid, that charming product of French art, still bleeding from the reception that it had met with at the hands of the great so-called 'national' collection. Years and years had passed since this strange performance, when, in 1852, a small package was brought to M. Naudet, with the information that M. Debure, by his last will, had ordered that this manuscript, embellished with paintings by Godefroy, which had been purchased for the Bibliothèque and spurned by it, should be restored to it as its property.

One does not know which to admire more in this testamentary disposition of the famous bookseller—the keenness of his irony or the nobility of his act. Without exerting itself overmuch to decide that point the Conservatoire of the Bibliothèque Impériale welcomed the prodigal child and deposited it in the Supplément Français. But, with a lingering remnant of spite, its light was hidden under the bushel of 'la réserve'; which is one way of preventing people from having access to it with the facility which assists investigations, under the protection of that liberality which is one of our claims to honour among foreign nations, and which the government of the Bibliothèque should have preserved, even at the price of the inconvenience that it might have caused.

Third Volume.[309]—Original binding, with the title: 'Cæsaris liber tertius.' The text begins thus:—

'On the twenty-seventh day of February, one thousand five hundred XX, the King being in his park of Congnac, seeing that the splendour of his entry was like to be marred by the inclemency of the weather, took shelter in the house of the labyrinth, having with him monsieur l'Admiral and the young and discreet Sieur de la Rochepot. At the entrance to the lower room he feels and hears so violent a wind that it seems to him "quam spiritu vehementi" the lofty trees fall to the earth as on Friday the ninth day of March one thousand VᶜᶜXX in divers places about Paris.'

The result of all this uproar is the appearance of Julius Cæsar. François I questions him as to what he did after pacifying Gaul. Whereupon Cæsar replies:—

'I tell you that, after divers victories won by me, so high an opinion of me and so great renown were spread among the barbarian peoples, that ambassadors were sent to me by the nations beyond the Rhine, who in the name of their cities promised to give hostages to me and to obey my commands. But, for that I was in haste to go thence, I bade them return to me in the summer season. Thereafter I led my legions to winter quarters in the land of Touraine and in the duchy of Madame your mother. And that done, I went hence to Italy.'

This volume is supplied with two maps: one, of Aquitaine, is at the beginning, the other, of Bretagne, at the end of the volume, which contains also no less than twelve large miniatures. The King, in hunting costume, figures again and again in them. The execution is as careful, and the paintings of the same type, as in the two earlier volumes. All the miniatures and the maps are signed with a G, and some of them are dated 1520. On folio 52, the painter's name is written in full: 'Godefroy.'

The former owner of this fine manuscript writes to me: 'I cannot furnish you with any interesting information concerning the manuscript of the "Commentaires de César." It was given to me, only the slightest importance being attached to the gift, by a resident of Tours, who owned no books, and who had kept it for forty years in his closet. To tell you how it came into my hands would be the more difficult because that person has long been dead. The volume was delivered to me in very bad condition. I employed Duru to repair the back and to rebind it, leaving intact the covers, which were of the original sixteenth-century binding. A small engraving, which resembled niello-work, but was recognized as the work of Étienne de Laulne, an engraver of Orléans, was at the beginning of the book.'

Obliged, in 1850, by circumstances which it is needless to detail, although they were to his honour, to part with this precious volume, its owner sent it to Paris, to M. Techener, for sale on commission. He wanted 2000 francs for it, and first of all the bookseller offered it to the Bibliothèque Nationale. The Conservatoire of that great collection could not find that amount in its annual credit of 80,000 francs, and it renewed the old joke which had temporarily banished the second volume. Unfortunately one does not meet every day, to repair its errors, generous booksellers like M. Debure, or those who have it in their power to be as generous as he; and M. Techener, who was richer than our rich collection of books for the purpose of purchasing this manuscript, was not rich enough to present it to that collection. He advertised it in the 'Bulletin du Bibliophile' for 1850 (no. 1222), for 3000 francs. During a whole year, artists and curious folk (I was among the latter) were at liberty to examine it at leisure and to lament the advent of English dealers who threatened every moment to take it from us. At last, Monseigneur le Duc d'Aumale added it to his treasures of printed books and manuscripts, and, although in England, one may say now that it belongs to France. Indeed, it may be that M. Debure's example will be followed some day, and that this third volume will come to join the second on the shelves of our magnificent department of manuscripts, awaiting the time when the fortunate result of negotiations with the British Museum shall permit the consummation of the work by means of exchanges.[310]

Godefroy's facile talent could not fail to be fruitful of results, and some of his works may be found in several collections. The Bibliothèque de l'Arsenal owns one of them, the 'Triomphes de Pétrarque,' which seems, in view of the exuberance of the subjects, the exaggeration of the artist's defects, and the laxness of execution, to be of later date than the 'Commentaires de César'; and, whether because the artist had visited Italy, or because, the better to interpret the poet's ideas, he sought inspiration in Italian works, it is certain that he is less French in the illustrations of this manuscript than in the others. He is more perfect, too, in the art of composition, his distances are more accurately measured, his groups are more in harmony with one another; in a word, he displays an inspiration, or resources, altogether new: such, for example, as the device of cutting off the figures in the foreground at the waist, by means of rising ground, whereby he is able to give them strongly proportioned frames without filling up his whole picture.

I will describe this manuscript briefly. It is a small octavo volume of ten leaves (not including the covers), written on fine parchment. It is about 10 centimetres in height by 8 in width. It was rebound in the eighteenth century, in lemon-colored morocco.

'Here followeth the first of the six triumphs of the most illustrious and venerable poet Messire Francisque Petrarque: the which is the triumph of Love and containeth four chapters.'

Chapter I. A miniature painted on pages 2 and 3, which face each other. It represents the triumph of Love, with a deal of disorder and somewhat licentious details. The G can be seen in the foreground, in the centre of the picture, on the ground.

Chapter II. The miniature has been removed.

Chapter III. The miniature occupies the verso of the title of the chapter. In the foreground are amorous couples discoursing together, some seated, some walking about. The men wear caps with long feathers, as in the bas-reliefs of the hôtel de Bourgtheroude. The architectural arrangement in the background is charming. Beside a triumphal arch rises the tower of love. Flames are darting from all its windows, and meanwhile a long procession of women rushes through the door, followed by a Cupid with bandaged eyes. The artist has painted his initial on the tower.

Chapter IV. In this miniature, Petrarch's face, twice repeated, seems to be a reproduction of an original portrait. The G can just be distinguished on a rock in the foreground; it has been effaced.

'Here followeth the second triumph of Messire Francisque Petrarque, the which is the triumph of Chastity.'

The miniature occupies two facing pages, but it forms two distinct pictures. The buildings in the background are arranged in a quasi-Italian style, but are not a reproduction of any known structure. Godefroy has placed his G on a tree, at the left, accompanied by three lizards—a detail which should not be passed over, for it is repeated several times, as if the name of those creatures bore some relation to that of the artist.

'Triumph of Death, the which is the third triumph of Petrarque.'

[Chapter I.] This miniature is one of the most interesting and best preserved. Death, grasping his scythe, stands over the body of a young woman lying dead on the triumphal chariot. It is, in fact, the Italian triumph, as we have it represented in so many works. In this case the miniature is in duplicate, as well as the painting. The G is at the bottom.

Chapter II. Miniature on a single page: the death of Laura. The young woman is lying on the bed of death. She is surrounded by her friends, with palms in their hands. Above, in the sky, is seen the form of the Virgin. It is a very pleasing composition, nearly filling the frame, and the effect is charming.

Chapter III. Petrarch and Laura are seated in the shade of tall trees, on the bank of a pond in which two swans are floating. The same two persons are seen farther back, twice repeated, and diminishing in size according to the distance. An architectural structure, decidedly Italian in type, closes the view at the back. The G is painted on a stone at the feet of Petrarch and Laura. Evidently Godefroy had studied several portraits of the two, and he copies them with some success in their various attitudes. The trees are done so skilfully that one might well believe that he could recognize the touch of a landscape artist, and a generally happy effect gives to this miniature all the value of a painting.

'Here followeth the fifth triumph of Messire Francisque Petrarque, the which is the triumph of Time.'

The miniature occupies two pages and includes two subjects. In one, Time, represented by the signs of the zodiac, and by the allegorical figures of antiquity, marks his progress in the sky; mortals undergo his influence on the earth. The artist has signed his work at the right, at the foot of the picture, this time with his full name: 'Godefroy.' In the other miniature the triumph of Time is represented. He is passing in his chariot, drawn by four horses at a gallop, between the four Seasons. On the left, at the foot, we see a G and two lizards.

'Here followeth the sixth and last triumph of Messire Francisque Petrarque, the which is the triumph of the Deity.'

This title is followed by a double miniature. In one, we see God the Father and Jesus Christ, with the Holy Spirit soaring above their heads, seated on the globe and presiding at the last day. Flames fall from the skies upon mankind, who are divided into the good and the bad; angels tranquilly lead the former, while devils brutally pursue the others. At the foot, on the right, is the G. On the other page, God the Father and God the Son (the Holy Spirit hovering over them as before) are seated in a triumphal chariot drawn by the ox, the lion, the eagle, and the angel, which are the symbols of the evangelists. They come forward, surrounded by all the dignitaries of the Church. Pagan Love, with bandaged eyes, lies dead on the ground near the chariot wheels; a long procession of saints, male and female, concealed below the waist by an elevation, are following the course of the chariot in the foreground. This arrangement made it possible for the artist to make his figures larger and to delineate their features with care. The G is at the foot of the miniature, on the ground.

All these miniatures, painted in grisaille, with blue skies and water, and with some few details in colour, are 86 millimetres high and 68 wide.

Comte Léon de Laborde.

In the catalogue of the library of M. Firmin Didot père, sold in 1811, is the following description of a magnificent manuscript:[311]—

'The first three books of Diodorus Siculus, translated from Latin into French by Antoine Macault. Small folio, in blue morocco, with dentelles, lavé, réglé, bound with the arms of François I, whose cipher it bears on the back and on the cover.

'A superb manuscript on vellum, presented to François I, containing 173 leaves, 30 lines to the page. It is illustrated with miniatures and with a large number of initial letters painted with the utmost care. The first miniature represents François I surrounded by the nobles and scholars of his court; it is 10 inches high and 6½ wide. This painting, of the most finished workmanship, has the additional merit of presenting the features of several great men of that time. All the pages on which chapters begin are set in fillets of gold and ultramarine. The initials are 19 lines high and 12 wide. More than fifty of these initials represent the principal subjects of their respective chapters. The third book is especially noteworthy, for, beginning with page 130, there is a series of small miniatures, admirable in execution and of the greatest exactness in respect of forms.

'This manuscript has the advantage of being in a most excellent state of preservation.'

It was sold to M. Brunet, author of the 'Manuel du Libraire,' for 1476 francs (not including the usual expenses); he bought for William Beckford, Esq., of Fonthill Abbey in the County of Wilts, of which Salisbury is the shire town. The author of the 'Repertorium Bibliographicum,' printed at London in 1819, informs us that Macault's manuscript was at that time in the library of that distinguished collector, which is described on pages 203 to 230 of the 'Repertorium.'[312]

The description of the manuscript is as follows:—

DIODORE.—LES TROIS PREMIERS LIVRES DE DIODORE SICILIEN, HISTORIOGRAPHE GREC DES ANTIQUITEZ DEGIPTE, ETHIOPIE ET AUTRES PAYS DASIE ET DAFFRIQUE. TRANSLATEZ DE LATIN EN FRANCOYS PAR MAISTRE ANTHOINE MACAULT, NOTAIRE, SECRETAIRE ET VALET DE CHAMBRE ORDINAIRE DU ROY.

'Folio, ms. on vellum, in the original binding; the sides strewn with fleurs-de-lis and the initial letter F. On one side, in a square compartment, in gold letters: DIODORE SICILIEN. On the opposite side: AV ROY FRANCOYS PREMIER.

'This fine manuscript, formerly in the possession of Francis the First, appears to have been executed by his express command. Prefixed to the history is a painting of the King seated under a canopy powdered with fleurs-de-lis, surrounded by his courtiers: his three sons, the Dauphin Francis, Henry, afterwards Henry II, and Charles, Duke of Orleans, dressed in rich habits, appear in the foreground. The King seems to direct his attention to a person reading, dressed as an ecclesiastic, probably the translator of the History. A beautiful greyhound on the floor, and a marmoset, sitting on the table, near the King's left hand, are prominent figures in the groupe [sic]. In addition to this exquisite illumination, the volume is enriched with numerous large initial letters, painted with peculiar delicacy, representing occurrences described in the book, manners of various nations, and portraits of their early emperors and kings.'[313]

This description is accompanied by an engraving on copper of the figure of François I, after the Macault MS. The King is depicted full face, seated before a table on which, near his left hand, is a monkey. The background is a tapestry covered with fleurs-de-lis. This engraving is dated July 1, 1817, and is the work of M. Behnes. It differs from the engraving on wood found in Macault's printed volume, not only in that it does not include the various persons of the original drawing, but also in the details of the King's costume. I have every reason to believe that the wood engraving is a faithful reproduction of the original, just as the book itself is a reproduction of the manuscript, except for the other drawings, which were omitted, from economical motives, no doubt.

Macault's volume is a quarto, consisting of 8 leaves of preface, 154 of text (signatures A to Q), and 8 of index. The author's preface begins with an S from which depends a shield (probably Macault's), bearing two fasces accompanied by nine bezants arranged in threes, and having for a motto the Greek word ΜΗΚΕΤΙ (not at all). The letter is repeated on folio 148. The first page has a border in the shape of a portico, like those in the opuscula published by Tory in 1531 and described on pp. 202-203. At the foot is the date 1535. On the verso we find the final border of 'Champ fleury,' within which are drawn, in the vellum copy preserved at the Bibliothèque Nationale, the royal arms of England, with the motto DIEV EST [sic] MON DROICT, below.[314]

PAULI JOVII NOVOCOMENSIS VITÆ DUODECIM VICECOMITUM MEDIOLANI PRINCIPUM.

Folio manuscript of 137 leaves. Bibliothèque Nationale.

This manuscript is enriched with ten portraits of dukes of Milan, painted from originals, of each of which Paulus Jovius gives the abiding-place.

1. Otho archiepiscopus.
2. Matthæus magnus.
3. Galeacius [Galeazzo] primus.
4. Actius.
5. Luchinus.
6. Joannes archiepiscopus.
7. Galeacius secundus.
8. Barnabas.
9. Jo. Galeacius [Gian Galeazzo] primus.
10. Philippus.

The dedicatory epistle of this book, which was at first intended to be addressed to François's third son, Charles de Valois, as the author informs us, was addressed to the Dauphin, Henri, afterwards Henri II, who succeeded to the rights of his elder brother, deceased in 1536, and of his younger brother, who died in 1545. It is dated at Rome, the 4th of the Kalends of April (March 29), 1547.

It is not certain that Tory did any work on this manuscript, but I mention it because of the engravings of the portraits, which appeared in the edition published in 1549.[315]

RECUEIL DES ROIS DE FRANCE, LEURS COURONNE ET MAISON, etc., by Jean du Tillet, register in chief of the Parliament of Paris.

Large folio manuscript on vellum; Bibliothèque Nationale. It is the original manuscript given to Charles IX, to whom it is dedicated. It is bound in red morocco, with that prince's arms.[316]

This manuscript is embellished with a large number of miniatures and with thirty full-length portraits of kings of France, very carefully executed, which remind one of the portraits accompanying the manuscript of the 'Commentaires de César.' We also find there the escutcheons of the principal officers of the crown.

Here is the list of the kings represented: each portrait occupies a full page.

1. Clovis.
2. Clotaire I.
3. Sigebert.
4. Chilpéric and Frédégonde.
5. Clotaire III.
6. Charlemagne.
7. Louis le Débonnaire.
8. Charles le Chauve.
9. Charles le Simple.
10. Raoul.
11. Louis d'Outre Mer.
12. Lothaire.
13. Philippe I.
14. Louis le Gros.
15. Louis le Jeune.
16. Philippe-Auguste.
17. Louis, père de Saint-Louis.
18. Saint-Louis.
19. Philippe le Bel.
20. Louis le Hutin.
21. Philippe le Long.
22. Charles le Bel.
23. Philippe de Valois.
24. Jean.
25. Charles V.
26. Charles VI.
27. Louis XI.
28. Charles VIII.
29. Louis XII.
30. François I.

As we see, the book was originally intended to stop with François I; but as circumstances prevented the author from printing it thus, du Tillet included the reigns of Henri II, François II, and Charles IX, who succeeded one another at brief intervals. The work was still unpublished when the author died, in 1570; it would seem, however, that he had long been preparing to print, since we find in the edition of 1580 engravings signed with the Lorraine cross.[317]

In 'Les Récréations historiques,' by Dreux Duradier, on page 102 of volume one, we read:

'In the manuscript of the late M. Lancelot, written, it is said, by the hand of G. Tory, with the date of 1546, is found this ballad in honour of the Virgin:—

'"Balade de Lyon Jamet sur la Vierge:

Qui me crea je l'ai conçu," etc.'

I have vainly sought this manuscript among all those of Lancelot owned by the Bibliothèque, of which there is a special catalogue; but I have been unable to find it.

In order to omit nothing, I will also mention here another valuable manuscript of the Bibliothèque Nationale, on one of the miniatures of which is a G, followed by a small T or F, which may fairly be attributed to Geofroy Tory. It is a translation of Livy, in two large folio volumes, on vellum, acquired from the Bibliothèque de la Sorbonne, and enriched with magnificent engravings, attributed to Jean Fouquet, which, however, cannot be his, for the book has, on the first page, the arms of François de Rochechouart and Blanche d'Aumont, who were married about 1480 and died, both, in 1530. Evidently it was not in the early years of their marriage that the book was written; and, as it must have occupied several years, and, in fact, was never finished, there is nothing extraordinary in the idea that Tory may have executed some of the miniatures about 1520. Furthermore, in order to place the reader in a position to judge for himself, I will add that the cipher mentioned above is painted on the leg of the figures in the miniature on page 123 of volume one.[318]

SECTION II. PRINTED BOOKS ILLUSTRATED WITH ENGRAVINGS BY TORY OR HIS PUPILS.

1515

There appeared for the first time, in the books of Hours published by Simon Vostre about 1515, three engravings which are clearly distinguishable in method of execution from those previously used by the same bookseller, to which the three new ones were thereafter added.

Thenceforth Vostre's Hours contained three varieties of engraving: (1) The old gothic woodcuts (among which must be reckoned the Dance of Death with dotted background), which figure in the editions issued by that bookseller even in the fifteenth century; (2) Two large drawings in the Renaissance style, which appear in his editions of 1507 and which may be attributed to Jean Perreal, Tory's teacher; (3) The three in question, which do not appear earlier than 1514 or 1515. These engravings are: (I) The Adoration of the Shepherds, signed with the letter G in a gothic shield; (II) The Adoration of the Magi; (III) The Circumcision; the last two signed with this monogram:

. The G is still inclined to the gothic, but the second letter is altogether roman. In my judgement, this monogram should be translated by the words, 'Godofredus faciebat,' or 'fecit.' It is true that the ascription of these engravings to Tory has been contested; but Jules Renouvier, whose taste was so unerring, and who cannot be accused of infatuation for Tory, did not hesitate to adopt my hypothesis. 'In the last of Vostre's Hours,' he says, in the pamphlet that he published concerning that bookseller, 'we see, besides the plates executed in the old French manner, which have not disappeared as yet, other plates in the Italian and German manners, subjects treated in an altogether novel style: the Adoration of the Shepherds, the Adoration of the Kings, and the Circumcision, are composed of small figures in a large ground; the design has recovered all its delicacy, in its clearly drawn forms, and the cutting is done with no less diversity than care. Here, luckily,' continues Renouvier, 'a monogram enables us to attribute the engravings to their author. It is a G alone, or enclosing an F, subscribed on a shield or in a cartouche hanging from a branch. They have been claimed for Geofroy Tory, and with good reason, for the manner in which these plates are executed accords with what we know of that excellent artist.'

It is, perhaps, to these engravings, so successfully executed, that we should ascribe the partiality that Tory afterwards displayed for books of Hours, of which, as we have seen, he put forth several editions, in diverse formats, and with a large number of engravings on wood done by himself.

1516-1518

Here is to be placed Tory's second journey to Rome,[319] from which he returned more Italian than ever, in respect to art.

1519-1520

Under this date, which was when Tory was working at the manuscripts I have described above, I shall place, albeit somewhat conjecturally, two small engravings on wood, signed with the letters G T, which appear in a publication of M. Varlot entitled: 'Illustration de l'ancienne imprimerie troyenne' (4to, 1850). They are numbers 84 and 131, the first in the criblé style, the second in the style of the Renaissance. My ascription of them to Tory is based upon the facts that they are of his time, as we may infer from the one in the criblé style, and that the initials G T are entirely consistent with that period of the life of our artist, who sometimes signed his name in full, Geofroy Tory, as witness his Hours of 1524.

The first of these engravings, number 84, represents a Descent from the Cross. The letters G T are at the foot of the plate, and are some distance apart.[320] In the same collection there is another engraving of the same series, but not signed—number 78. It represents a bishop blessing a sick man who lies entirely nude before him. These two are 48 millimetres wide by 62 high.

Number 131 represents a scene from Terence. The letters G T are side by side at the foot of the plate, which is 33 millimetres high by 55 wide. In the same collection, numbers 132 and 133, are two other woodcuts of the same series, but not signed. Lastly, in an edition of Æsop, published recently at Troyes, by the printer Baudot, we find a woodcut which probably had the same origin, and found its way into this volume by chance. These four engravings are evidently from an edition of Terence in a small format; I have been unable to find it.

1520-1521

I shall place under this date a title-page, in octavo, forming a border, engraved for Simon de Colines, and bearing his mark and his initials. This printer, who succeeded in 1520 Henri Estienne, the first of the name, whose widow he married, wished to mark his printings in some special way, and to that end applied to Tory, who was a friend of the family. Tory engraved the title-page in question, in the criblé style, then much in vogue; and on it are seen rabbits, or conils, which is believed to be an allusion to the name of Colines.[321] Tory's mark appears in white, at the foot of the engraving, to the right. I have seen this engraving in an Epitome of the 'Adages' of Erasmus, in Latin, printed by Simon de Colines, in 1523, in octavo, under this title: 'Johannis Brucherii Trecensis Adagiorum ad studiosæ juventutis utilitatem ex Erasmicis chiliadibus excerptorum epitome.' It was probably Tory, too, who engraved Colines's large mark with the rabbits (Silvestre, no. 79), which is in the same style, and which appears in the Hours of 1524; but it does not bear the double cross. Tory also engraved for Colines two other marks in a very different style (Silvestre, nos. 80 and 329), and a multitude of borders and illustrations for his books.

Colines certainly employed Tory more than any other printer did, as we shall see in the sequel. This fact leads me to believe that Lottin is mistaken in bestowing upon Colines the title of engraver of letters, attributing to him doubtless the engraving of the graceful italics that he used in works written in verse; I am convinced that those letters are the work of Tory. I will call attention, however, to the fact that the capitals that go with these italics are roman, and may belong to the roman letters which Simon de Colines had from Henri Estienne. But the font is enriched with some white two-line letters, of a charming design, which are certainly Tory's, as are the floriated letters used by Colines and his stepson Robert Estienne.

1521-1522

I. Tory engraved also for Simon de Colines a magnificent title-page intended for a very rare work, which, for that reason, I think that I ought to describe in detail (after one of the copies in the Bibliothèque Nationale), for its existence has been doubted.[322]

The book is entitled: 'Commentarii initiatorii in quatuor Evangelia,' etc., with no author's name on the title-page; but it was written by Jacques Lefèvre d'Etaples, as we shall see in a moment. It is a folio, of 6 unnumbered preliminary leaves, and of 377 numbered leaves, making 192 sheets, divided into 50 folds of 4 sheets each, except the first, which has only 3. The signatures go from a to ddd consecutively. The text of the Gospels is set in large type (great primer), the notes in smaller type (pica), in which there are some very handsome Greek characters, with accents, which were still a novelty at that time.

The title is in a wide border, engraved on wood, decorated with the symbols of the four evangelists, beneath which are printed passages from their works. This border, which is signed with the Lorraine cross at the foot, on the right side, is .225 metre high by .166 wide.

On the second preliminary leaf the author's preface begins, under this heading: 'Jacobi Fabri Stapulensis ad Christianos lectores in sequens opus Præfatio.' It ends on the fourth preliminary leaf, with the date, 'Meldis, anno M. D. XXI.' Then follows a concordance of the four Gospels, in the form of tablets closed at top and bottom by unsigned engravings.

The Gospel according to St. Matthew, which opens the book, begins with a superb ornamented L, on a criblé background, .058 metre in height by .055 in width. The Gospel according to St. Mark, which opens on leaf 115 (erroneously printed 215), begins with an I of the same style and dimensions. The Gospel according to St. Luke begins on folio 175 verso, with an F like the two preceding letters. The Gospel according to St. John begins on folio 259, with the I that has already done duty in the Gospel of St. Mark. These letters, which are altogether in the style of those afterwards engraved by Tory for Robert Estienne, seem to me to be fairly attributable to him, although unsigned.

In the balance of the book we find a large number of other letters ornamented in the criblé style, but of smaller size, which cannot be Tory's.

On folios 101 verso and 102 recto are certain astronomical figures, unsigned, which I dare not attribute to Tory; but I do not hesitate to attribute to him a large engraving on folio 182 verso. It represents Jesus in an aureole of flame. Below him is the sea; above him the Father Everlasting, blessing with the right hand, and holding in his left hand the globe surmounted by a cross. He is uttering these words which we read in a scroll: 'Hic est filius meus dilectus in quo mihi bene complacui.' This engraving, including its border, is .210 metre in height by .137 wide.

On the last page is a subscription in these words: MELDIS, IMPENSIS SIMONIS COLINAEI ANNO SALVTIS HVMANAE M. D. XXII. MENSE IVNIO.

Who printed this book? Not Simon de Colines, as La Caille said, and as Maittaire and Panzer have repeated after him, for the subscription means simply that the printing was done at his expense. One can understand, in truth, that Simon de Colines, who had at the time an extensive typographical establishment at Paris in full blast, could not leave that city to print a book at Meaux. Nor was it a local printer, for no other contemporary printing at Meaux is known; moreover, the mechanical execution of this volume, and the engravings with which it is embellished, prove that it did not come from a wretched provincial workshop.

In my opinion there is but one way of explaining this typographical enigma. It is this: Guillaume Briçonnet (second of the name), having been appointed Bishop of Meaux in 1518, took with him to that town his friend Lefèvre d'Etaples, to whom he entrusted the administration of his diocese. Etaples employed his leisure in writing various religious works, among others the Commentaries on the Gospels, which were finished in 1521. Wishing to have this bulky volume, which was of capital importance to him, printed under his own eyes, and being unable to leave Meaux, where he was detained by his duties, Lefèvre simply imported from Paris a portion of Simon de Colines's printing-office, with a small staff.[323] In this way he could not only superintend the printing of his book, but also lend a hand at need, after the example of many another scholar of that time who did not scorn to practise the printing art.

What I have said is a mere hypothesis, it is true; but this hypothesis is surrounded by circumstances which give it a powerful appearance of truth. In addition to what I have said above, I will say that the types of Lefèvre d'Etaples' book are the same as those used in an octavo printed at Paris by Simon de Colines in 1523,—a book which I have already cited and which I now have before me. It is entitled: 'Joannis Brucherii Trecensis Adagiorum ... ex Erasmicis chiliadibus excerptorum Epitome.' The title-page has a border signed with the Lorraine cross. More than that, the first ornamental letter in Etaples' book, which is an A on a criblé background, is also the first letter of the book of Johannes Brucherius; whence we see that the typographical material sent to Meaux returned to Paris immediately after Etaples' book was printed.

Doubtless that is why we have only one book dated at Meaux at that period; it might be, however, that advantage was taken of the momentary existence of this printing-office at Meaux to set up some trifling work, in 1521 or 1522; but that would not in any wise modify my conclusion.

II. Tory engraved also, at about the same time, for a printer at Troyes named Jean Lecoq, the title-page, in the shape of a border, of a 'Gradual'[324] of the Cistercian Order—a very large and handsome folio, printed at Troyes in 1521. This engraving is in the criblé style, with the double cross in white at the foot, on the right. At about the same time he engraved in the same style Jean Lecoq's mark, which appears at the end of the volume, and of which a reproduction may be seen in M. Silvestre's book, no. 875.

As this Gradual is very rare (only one copy of it is known to exist, which I have seen in M. Tross's collection) and very beautiful, I think it well to describe it. It is almost needless to say that it is printed in gothic type.

First of all, above the title there is a line printed in black:—

Jesus ✥ Maria Bernard

(It is well known that St. Bernard was the founder of the Cistercian Order.) Then, in red (I complete the abbreviated words):—

'Graduale ad usum Cisterciensis ordinis: secundum capituli generalis venerabilium patrum ejusdem ordinis diffinitionem in sequenti paginas declarata: noviter per quendam Clarevallensem monachum ad debitam formam utiliter redactum. Et Johannis Lecoq impressoris Trecis commorantis solertia diligenter impressum. Anno Domini Millesimo quingentesimo vicesimo primo.' (Here Lecoq's large mark: Silvestre, no. 877.) 'Cum privilegio.'

The volume is made up of 2 preliminary leaves, for the title, etc., and 252 pages of text, divided as follows: First part, without pagination, of 18 signatures (a to s) of 4 sheets each, except the last, which has only 2,—in all, 140 leaves. Second part, folios 1 to 112, having 14 signatures (A to O) of 4 sheets—in all, 112 leaves.

The paper is very strong and fine. It is one of the earliest books printed with music in France, and it reflects great credit on the presses of Troyes, and especially upon Jean Lecoq, first of the name. Names of places and persons are consistently printed with capitals. The work is illustrated with a few engravings; but its most remarkable feature is the ornamental initials and uncial letters with which it is embellished.

At the end, by way of colophon, are these words:—

'Explicit Graduale secundum usum ordinis Cisterciensis, Trecis impressum

Per Johannem Lecoq, Anno Domini Millesimo quingentesimo vigesimo primo Die sexta mensis Martii. Laus Deo.'

Here Lecoq's mark with the Lorraine cross in white.

This volume came from the ancient monastery of Oliva, near Dantzig.

1522

I. We may place under this date two other frontispieces signed with the Lorraine cross. The first is a large engraving divided into four compartments, and representing armies in battle array, with cannon. The two upper compartments are connected by the shield of France, surmounted by a crown and encircled by the order of Saint-Michel, from which branches of rose-bushes depend on either side. In each compartment there is a cartouche. Tory's mark is at the foot of the lower left-hand compartment, in which the banner of France is seen waving. This engraving appears in the 'Rozier historial de France,' a folio printed in gothic type, at Paris, for François Regnault, February 10, 1522, before Easter; that is to say, 1523 new style. In the cartouches the following words are printed in red, in gothic type: 'Bataille ronde,' 'Bataille de pointe,' 'Bataille de feu,' 'Bataille de fourche.'[325] It appears in another edition of the same book, printed in 1528 for the same bookseller; also, in a translation of Cæsar's 'Commentaries,' printed by Pierre Vidoue, in 1531, for the booksellers Poncet Le Preux and Galiot du Pré. This translation is a folio volume divided into two parts, the first translated by Étienne Delaigue, called Beauvoys, the second by Robert Gaguin. The plate in question is at the end of the first part, folio 95 verso. The whole book is printed in black, both text and engraving. I am indebted for my knowledge of the engraving to M. Robert-Dumesnil fils.

II. The second engraving, in the form of a border (folio size), representing a number of grotesque and licentious subjects, appears in an edition of the 'Histoire du saint Graal,' published by Philippe le Noir, sworn bookseller and binder to the University of Paris, on October 24, 1523. The bookseller's initials are in the compartment at the top of the border.[326]

In this book, as well as in those last described, there are other engravings; but they are not the work of Tory, to whom only the important pieces were assigned. These other engravings had, doubtless, appeared elsewhere.

As for the engraving executed by Tory (which reappears in many other works printed by Philippe le Noir), it is a copy of a plate engraved by Urs Graf, dated 1519, and used by Pierre Vidoue, printer at Paris,[327] particularly in a Virgil of 1529, folio, which is now in the Bibliothèque Mazarine. The four principal subjects of this engraving, placed at the four corners of the border, represent: (1) Men lighting torches at a woman's posterior; (2) A woman carrying off a man in a basket [328]; (3) The death of Pyramus and Thisbe; (4) The judgement of Paris.

1523

While working for others, Tory busied himself with a long series of engravings intended for books of Hours to be published by himself.[329]

'It is upon turning over these plates,' says M. Renouvier,[330] 'that one appreciates to the full his style—rich, diversified and immeasurably clever in ornamentation, distorted out of proportion, diabolic in the drawing of faces, descending too often to downright awkwardness in the carriage of the head and to a habit of bellying out draperies; and, finally, overweighted by a sort of heaviness in the forms. The artist's greatest facility is shown in the arrangement of his figures, and in the decoration of his porticoes. Whatever he may say, it would seem that what he studied at Rome with the best results were the baths of Titus and the arabesques of Giovanni da Udino.'

1524-1525

We have seen that Tory had been in the habit for some time of signing his engravings with a double cross; but this had not yet become an invariable signature. For instance, about 1524 he often used a monogram in which his name and surname—or, to use the terms of the present day his Christian name [prénom] and his family name [nom de famille]—both appear. It consists of a capital G, enclosing a smaller S, with the

double cross above. This means, in my opinion, that Tory was the engraver only ('Godofredus Torinus sculpsit'), in distinction from the cross alone, which means that Tory both drew and engraved the pieces on which it appears. In fact, we find in most of those signed with the monogram a roughness of aspect which is not characteristic of Tory's usual style.

However that may be, here is a list of the pieces known to me on which this monogram appears.

I. LE BLAZON DES HERETIQUES.

Quarto of 14 leaves, in gothic type, printed by Philippe Le Noir, 'sworn binder to the University of Paris,' with a privilege from the court of the Parliament of Paris, dated December 21, 1524. This is a satirical production, in verse, attributed to Pierre Gringoire, otherwise called Vaudemont, at the head of which appears the figure, or effigy, of the 'heretic,' signed with the monogram in question. The description of the effigy is as follows:

En gibeciere on luy voit ratz avoir,

Qui sont rongeans et serpens detestables

En son giron faisant mords diffamables.

De son sian sort ung aspre feu vollant,

Qui cueur et corps et livres est bruslant.[331]

This very rare work was reprinted at Chartres, in 1832, under the auspices of M. Hérisson, the librarian of that city. The reprint contains a facsimile of the engraving.

II. HEURES DE NOSTRE DAME, TRANSLATEES EN FRANCOYS ET MISES EN RITHME PAR PIERRE GRINGOIRE, DIT VAUDEMONT, PAR LE COMMANDEMENT DE ... MADAME REGNEE DE BOURBON, DUCHESSE DE LORRAINE, etc.

A quarto, in gothic type, undated, but containing a table of Easter-Days beginning with 1524, and a privilege dated October 10, 1525.

This book, which was published by the bookseller Jean Petit, contains 13 large engravings, a list of which follows:—

1. The Annunciation.
2. Adam and Eve.
3. The Cross.
4. The Holy Ghost.
5. The Descent of the Holy Ghost upon the Apostles.
6. David praying for Zion, threatened with the divine thunderbolts.
7. The Virgin and the Child Jesus.
8. A Family at Table (Pentecost?).
9. Eight Naked Children Praying; the Holy Trinity in the Heavens.
10. The Manna.
11. David's Penance.
12. The Triumph of Death.
13. Jesus receiving the Crown of Thorns and the Reed.

Only the last of these bears the monogram that I have described [332]; but the other engravings, being in the same style, should all be attributed to Tory. We might perhaps also attribute to him the six analogous engravings which appear in the same author's 'Chants royaux' (printed at the same time and usually bound with the Hours), but not one of which is signed. They represent:—

1. The Synagogue: Jesus in the background, entering a pillar.
2. The Prodigal Son: Jesus in the background, curing a woman.
3. Hunters: Jesus in the background, curing one possessed of devils.
4. The Miracle of the Loaves and Fishes.
5. Entrance of Jesus into Jerusalem.
6. The Crowning with Thorns.

These two books have been reprinted several times. I know of four quarto editions of the Hours.[333] The first is the one I have just described. It contains some other engravings, in an entirely different style from Tory's, which appear also in other books of Hours of older date. The second has a table of Easter-Days beginning with 1528, and a privilege dated November 15, 1527. In other respects it is similar to the earlier one. The third has a table of Easter-Days beginning with 1534. It is like the last except in one point: in place of the final engraving there is a different one, signed in the same way, representing Job at prayer before his burning house, and his neighbours reviling him. This engraving proves that Tory must have engraved a longer series from which the printer took this one at random, being unable at the moment to find the one that he required. The fourth has a calendar beginning with 1540. It is like the second, except for the privilege, which is dated November, 1525, doubtless by mistake. These four editions are all in the Bibliothèque de l'Arsenal.

III. HISTOIRE ... DE LA ... GLORIEUSE VICTOIRE OBTENUE CONTRE LES SEDUITZ ET ABUSEZ LUTHERIENS MESCREANZ DU PAYS DAULSAYS ... PAR ... ANTHOINE ... DUC DE CALABRE ..., PAR NICOLE VOLCYR (otherwise called Volkire) DE SEROUVILLE, etc.

Small folio, in gothic type, without date of printing, but with a privilege dated January 12, 1526 (1527 new style), issued by Jean de la Barre, 'garde de la prévôté' of Paris. The battle took place in 1525.

Volcyr's work contains seven engravings, but only the last two, at the beginning of the last two books, are signed. We may, however, I think, attribute to Tory the one at the head of the first book also. A description of these engravings follows:—

1. Frontispiece representing Faith: a helmeted woman trampling upon the dragon.

2. The author, seated, writing his book.

3. A large plate representing a warrior (the Duke of Calabria?) amidst his men, waving his sword.

4. A bishop praying.

5. The author offering his book to the prince. A fine plate on which are several scattered letters, the meaning of which I am unable to conceive.

6. A large plate representing the attack on the town of Saverne. At the top is the word 'Saberna.'

7. A large plate representing the vision of the Passion. Jesus at prayer, a halo about his head; facing him, angels presenting the Cross; behind him, other angels bearing the post to which he was bound; all about him, the instruments of his torture. This plate is altogether in the manner of those in the following work.

IV. THE LABOURS OF HERCULES.

Twelve large plates, folio, owned by the Bibliothèque Nationale. Each of them was formerly accompanied by a number and by a quatrain in French explaining the subject; unfortunately these have been removed from most of the plates,[334] and it is impossible for me to-day to place them with full assurance in the order in which they belong. However, that given below seems to me most natural. The three which retain their numbers are marked by an asterisk.

1. The Nemean Lion.
2. The Lernean Hydra.
*3. Cerberus.
4. Antæus.
5. Archelaus.
6. Hippodamia.
7. Geryon.
8. The Pillars of Hercules.
*9.The Cretan Bull.
*10. The Erymanthian Boar.
11. Cacus.
12. Hercules at the Stake.

All of these engravings are signed:

We give here, as specimens, three of the quatrains accompanying the engravings; they are the only ones preserved at the Bibliothèque Nationale. They may very well be the work of Gringoire, like the verses of the 'Blazon des Hérétiques,' of the same date.

Number 3

Il braue les enffers (chose à luy tresaisee),

Et le chien Cerberus, aux trois chefz surmontant;

Il va les Infernaux main à main combattant,

Pour mettre en liberté son bon amy Thesee.

Number 9

Les furieux Thaureaux (choses esmerveillables)

De ses deux bras nerveux Il maitrise aisement,

Et leur faict faire Ioug desoubs luy forcement

Encor qu'on estimat qu'ils fussent indomptables.

Number 10

Ung sanglier escumeux à la grand' dent pointue,

Qui hommes, vignes et bleds degatoient enragé,

Et par qui l'vniuers estoit endommagé,

Seul, par sa hardiesse, Il acreuante et tue.[335]

The orthography of these verses proves that they were printed in the seventeenth century [336]; but the very appearance of the verses, and the condition of the plates, which are already worm-eaten, are sufficient to justify one in assigning to the latter a very much earlier date than to the former. So that I can do no better than to refer them to the year 1525, when we find Tory using the same monogram.

Tory seems to have attempted in these plates to imitate Mantegna, whose work he may have studied in Italy; but he had the good sense to abandon this manner, which was not his own; or perhaps we should say that he did no more than follow designs which were supplied to him.

This is what M. Renouvier has to say on this subject:—

'The plates signed with a G surmounted by the Lorraine cross are of more importance. The Labours of Hercules, in twelve plates, are the work of no commonplace artist. The drawing assumes a masterly, even a rough, character, seeking effects in the play of muscles and of facial expression in imitation of Mantegna and Albrecht Dürer; the cutting follows up the effect of the burin. Bartsch mentioned them among the old German masters, and the monogrammatists wavered between Jean Schoorel, Georges Scharfenberg, Giuseppe Scolari, etc.; their French origin was not suspected until some proofs were found on which the engravings were accompanied by French quatrains. Then, when the same mark was found on a plate used as a frontispiece to Pierre Gringoire's "Blazon des Hérétiques" (1524), and on several vignettes in the Hours rendered into verse, by the same poet, it was attempted to make a wood-engraver of Gringoire, who was a Lorrainer, herald-at-arms to Duc René II, and likely enough to display the cross of Lorraine over his initial. This much is certain: that the mark consisting of a G with the cross of Lorraine is found also on the plates of a Lorraine book—"Duc Anthoine's Victory over the Lutherans"—published by his secretary Volcyr, who paid the expenses of the publication, "being unable to find any bookseller who was willing to undertake it, as well because of the portraits and cuts of the illustrations as of the printing hereof," and caused it to be issued, not in Lorraine, but in Paris, by Galliot Dupré, in 1526. It is to be noticed that this bookseller's mark, which represents a galliot, also has a Lorraine cross surmounting his cipher. Now, the attribution of these plates to Geofroy Tory is based upon some very ingenious comparisons of marks; the style of the engravings places no insurmountable obstacle in the way of such attribution, but it must be admitted that the engraver was led very far astray from his earlier works by his imitation of the German manner. It is possible, because French engraving, at the beginning of the sixteenth century, was pulled in four directions at once, so to speak, by national habit, by Flemish taste, by German mania, and by Italian charm. M. Bernard would give the fullest sanction to this second attribution if he could find any evidence of a journey of Tory's to Alsace or Lorraine of a later date than his journey to Italy; the importation of woodcuts from those provinces, then a common occurrence, would indeed suffice, so far as the common herd of our engravers is concerned, to explain this alteration in their manner. I will mention in a moment an example, also out of Lorraine, which must certainly have been known to Tory. Whatever the fact may be, the Labours of Hercules deserve an honourable place among the first attempts on a large scale of French engraving, beside the plates of Jean Duvet. The British Museum, like our Cabinet des Estampes, has acquired a set of them. Two of the plates in the latter set have the quatrains which are lacking in the corresponding ones in the Paris set; these are, the fifth: "The sly Archelaus 'gainst Hercules doth contend"; and the seventh: "The mighty Geryon, despicable tyrant," etc.'

1526

I. I have said that the floriated letters of Simon de Colines and Robert Estienne were engraved by Geofroy Tory. I cannot furnish material proof of the fact with regard to those of Colines; but I am about to produce incontestable evidence with regard to Estienne's. A letter in one of his alphabets is signed with the Lorraine cross, and that letter is the G, the initial of Tory's own name, or, as we say to-day, his first name (prénom). It is as if he had written 'Geofroy Tory' in full. But in this case, in opposition to what we find in the preceding engravings, the cross, instead of being above the G, is below it, and hidden as much as possible in order not to injure the design of the 'antique letter.' This circumstance proves not only that Tory was the engraver of Robert Estienne's floriated letters, but also that the double cross was that artist's mark.

Is it not, in truth, a striking fact that Tory chose the letter G to place his mark upon? He was not withheld by the consideration that that letter, not being in very common use, especially at the beginning of words, appeared rather infrequently in books.[337] As always, logic prevailed with him over every other consideration. Let us see how far it carried him.

Later, he engraved a Greek alphabet, in the same style, for Robert Estienne; as he could not put his mark on the gamma, which bears no resemblance to the G, he put it on no letter, but on one of the friezes executed to accompany those beautiful floriated letters.[338] See the frieze in question at the beginning of the second volume of the Works of Eusebius, three volumes, folio, 1544.[339]

II. Besides these two alphabets of capital letters, Tory engraved for Robert Estienne about the same time, six different marks for his typographical sign, the 'Olive-Tree,' of which a description will be found later on, in section 3.

III. Tory also engraved, about the same time, for Simon de Colines, a border in the criblé style, at the foot of which is a sun which certain centaurs, incited thereto by women, are trying to seize. (Silvestre, no. 523). This border is probably of 1526, when Colines turned over to Robert Estienne his father's establishment and set up for himself at the 'Soleil d'Or,' opposite the Collège de Beauvais. It appears, to my knowledge, in two octavo volumes of 1529: 'Compendium Grammaticæ græcæ Jacobi Ceporini,' and 'Liber de opificio Dei.'

1526-1528

This whole period was, in all probability, absorbed by the labour of engraving and editing 'Champ fleury.' For one of the first engravings in that book is dated 1526, and it was finished early in 1529. Although the majority of these engravings are not signed, they must all belong to Tory, at all events so far as the designs are concerned.[340] I cannot attempt to enumerate them all here, for there are more than five hundred, counting as one each of the letters in the various alphabets; but I propose to mention the more important ones. For historical information concerning the book, I refer the reader back to what I have said thereon in the first and second parts of this volume.

The title-page is enclosed in a very pleasing border,[341] and it has moreover an engraving of the Pot Cassé reversed.[342] On the verso are the arms of France.[343]

Folio 1 of text: the letter L, which I have already reproduced.[344]

Folio 3 verso: the Gallic Hercules. This engraving, dated 1526, and signed with the Lorraine cross, represents Hercules holding his club in one hand and a bow in the other. He is followed by divers persons of all conditions, fastened by the ear to a chain that issues from the hero's mouth. This is an allusion to the power of eloquence over the French. The strength of the Gallic Hercules lies not in his arms but in his mouth.[345]

Folio 9 verso: cut of the lisflambe, a species of lily; it is the swamp iris, called to-day the iris flambe.

Here the first book ends.

The second contains thirty-seven geometrical figures, which it would be no less difficult than unprofitable to describe. They are, for the most part, representations of different letters. At the end of this book is the 'Triumph of Apollo and the Muses,' 'to show that they who have knowledge of goodly letters have the advantage over the ignorant.' This engraving, which is in two parts,[346] both signed with the Lorraine cross (folios 29 verso and 30 recto), represents Apollo in a chariot, escorted by the Muses, Liberal Arts, etc., and followed by Bacchus, Ceres and Venus as prisoners.[347]

On the very last page (folio 30 recto) is an engraving of the lisflambe surmounted by an A made up of three I's.[348]

The third book has, in the first place, twenty-eight engravings of Roman letters. The twenty-ninth represents a gothic S (folio 42 verso). The thirtieth is a representation of the Pot Cassé, signed with the Lorraine cross (folio 43 verso).[349]

Next come thirty-eight other cuts of letters, and two curious drawings of the letter Y (folio 63 recto and verso).[350] Then two ordinary copies of the letter Z, and an allegory based on the shape of that letter (folio 65).[351]

On folio 65 verso is a representation of various punctuation marks.

Folios 68 verso and 69 recto: a Hebrew alphabet of forty letters or symbols.

Folio 71 recto: the Greek alphabet of twenty-four letters and three accents.[352]

Folio 72 recto: the Latin alphabet [353] of twenty-three letters, with three punctuation marks, and the Greek abbreviation of the name of Jesus.

Folio 74 recto: the alphabet of cadeaulx letters, consisting of twenty-three letters and one mark.

Folio 74 verso: the alphabet of letters de forme, consisting of twenty-nine letters or symbols, with two lines of text added.

Folio 75 recto: the alphabet of bastardes letters, consisting of twenty-eight letters or symbols, followed by two lines of text.

Folio 75 verso: the alphabet of tourneures letters, consisting of twenty-three letters.

Folio 76 recto: the alphabet of Persian, Arabic, African, Turkish and Tartar letters, thirty in all.

Folio 76 verso: the alphabet of Chaldæan letters, consisting of twenty-three.

Folio 77 recto: the alphabet of goffes letters, otherwise called imperiales and bullatiques, twenty-three in number.

Folio 77 verso: the alphabet of fantastic letters, to the number of twenty-three.

Folio 78 recto: the alphabet of utopiques and voluntaires letters, to the number of twenty-three.

Folio 78 verso: an alphabet of floriated letters used in the course of the book, twenty-three in number.[354]

Folio 79 recto: a series of ciphers or intertwined letters, to the number of ten.

Folio 80 recto, and last: a border of graceful design,[355] in which occur Tory's mottoes: 'Menti bonæ Deus occurrit'; 'Sic ut, vel ut'; 'Omnis tandem marcescit flos.' And in the centre is the Pot Cassé, unsigned, although it seems to be the same cut that appears on folio 43 verso, with the cross removed.

1527

I. NOTABLES ENSEIGNEMENS, ADAGES ET PROVERBES, FAICTZ ET COMPOSÉS PAR PIERRE GRINGOIRE, DIT VAULDEMONT.

Octavo, in gothic type, of 68 leaves; for sale by Galliot du Pré; printed by Simon du Boys, February 1, 1527 (1528 new style).

On the verso of the second leaf is a wood-engraving with the Lorraine cross at the right. It represents Gringoire offering his book to the king, who is seated. In the background, a garden with a bee-hive and bees flying about it. (Bibliothèque Nationale.)

II. LES HYMNES COMMUNES DE L'ANNEE: TRANSLATEZ DE LATIN EN FRANÇOIS EN RITHME, PAR NICOLAS MAUROY LE JEUNE, DE TROYES, avec privilege du roy pour trois ans. (Mark of Jean Lecoq.) On les vend à Troyes es hostels de Nicolas Mauroy, etc.

The privilege is of 1527. Small folio, in gothic type, printed in red and black; signatures A to T.

This volume, which I saw in 1858, at M. Techener's, contains a large number of engravings in the criblé style, and others in the modern style; but only three of them are signed; these are:—

1. A Last Supper, criblé.
2. A Last Supper, 'à la moderne.'
3. The Virgin, seated, holding the Child Jesus (folio 89 verso).

This book may give us the date of the other signed engravings found at Troyes, which were published by M. Varlot in his 'Illustration de l'imprimerie troyenne' (Troyes, 1850, folio).

III. HOURS OF THE VIRGIN, in Latin, published by Tory, but printed by Simon de Colines; octavo.[356]

IV. HOURS OF THE VIRGIN, in Latin, published by Tory, but printed by Simon Dubois; quarto.[357]

1528

I. ARISTOPHANES.

In 1528 Pierre Vidoue printed, at the expense of Gilles de Gourmont, nine comedies of Aristophanes, in Greek, which were published separately, in quarto form, under the editorship of Jean Cheradam.[358] All of these have a frontispiece engraved by Tory, of which a description follows. At the foot, under the words 'Egidivs Gormontivs' in large letters, is a shield with the Gourmont arms (three roses in chief and a crescent in point), supported by two winged stags with ducal coronets about their necks, the crest being a helmet above which is a St. Michael holding a naked sword.[359] At the left, a Greek inscription; at the right, an inscription in Hebrew. The two uprights represent the wise men offering their gifts to the Child Jesus lying on his mother's knees. At the top is a shield with three crowns in chief (this was the sign of Gilles de Gourmont, as may be seen on the title-page of 'Champ fleury'), and tears in the field. This shield has for supporters, on the right a lion, on the left a griffin, and for crest a helmet surmounted by a fan-shaped ornament. On either side is an angel with wings holding a shield; that on the left enclosing an E, that on the right a G, the initials of Gilles de Gourmont's name in Latin (Egidius Gourmontius). The Lorraine cross is at the foot of the border, on the left.[360]

II. ENCHIRIDION PRECLARE ECCLESIE SARUM, DEVOTISSIMIS PRECATIONIBUS AC VENUSTISSIMIS IMAGINIBUS, ET IIS QUIDEM NON PAUCIS REFERTUM. (Here the mark of Thielman Kerver—two unicorns holding a shield au Gril, with the T. K., and, beneath, the full name, Thielman Kerver.) Parisiis ex officina librarie vidue spectabilis viri Thielmanni.

Small octavo, Paris, 1528, with engravings signed with the Lorraine cross.[361] Printed in red and black, in gothic type. There are 31 signatures of 8 leaves,—a to z, and A to G (signatures x and y have only four leaves each). In all there are 232 numbered leaves, plus 4 leaves of index not numbered.

The volume begins with the title-page, followed by a calendar, the whole occupying 13 leaves, after which comes the text. It contains 54 engraved plates, 12 of which are in the calendar, and a large number of initial letters representing sacred subjects. Beneath each plate is a quatrain in English.

The 12 plates in the calendar represent allegorical subjects. They are enclosed in oval borders, and are 71 millimetres by 55. Consequently they are all out of proportion to the size of the book, which is 84 millimetres by 48. It is evident therefore that they were not made for it. At the foot of each, in the border, is the name of the month. The engraving for the month of February represents a school; that for March, a hunt; that for April, a gentleman and lady, walking in the country, arm in arm; that for July, a domestic interior. The last is the only one of these engravings that I have seen, and that only in a copy. The Lorraine cross may be seen at the foot.

Here follows a list of the other engravings of this priceless volume, of which only a single copy is known to exist. It is to be observed that the pages on which they appear are not numbered, as the cuts occupy the whole space.

1. The Trinity.
2. The Annunciation.
3. The Visitation.
4. Jesus arrested by the Jews.
5. Nativity of Jesus.
6. Jesus before Pilate.
7. The Annunciation to the Shepherds.
8. The Crowning with Thorns.
9. The Adoration of the Magi.
10. The Bearing of the Cross.
11. The Circumcision.
12. Jesus on the Cross.
13. The Flight into Egypt.
14. The Descent from the Cross.
15. The Coronation of the Virgin.
16. The Placing in the Tomb.
17. David and Bathsheba.
18. David and Joab.
19 to 23. The Story of David.
24. Dance of the Dead.
25. Three Men on Horseback in a Forest.
26. Adam and Eve expelled from Paradise.
27. Adam and Eve condemned to labour.
28. The Creation of Man.
29. Six Men praying before a Bier.
30. Birth and Death.
31. Purgatory.
32. Extreme Unction.
33. Job.
34. A Woman, seated, surrounded by
the Virgin, the Evil One, and a
Man bearing the World.
35. The Trinity (same as no. 1).
36. Jesus in Limbo.
37. The Resurrection.
38. Jesus appearing to His Mother.
39. Jesus appearing to Mary Magdalen.
40. Jesus at Emmaus.
41. The Incredulity of St. Thomas.
42. The Ascent of the Virgin.[362]

1529

I. ENCOMIUM TRIUM MARIARUM, etc., JOANNIS BERTAUDI.

Quarto, Paris, Josse Bade, 1529.

The Bibliothèque Mazarine has two copies of this priceless volume, one on paper, the other on vellum, which differ slightly in respect to the title-page. The one on vellum reads: 'Encomium Joannis Bertaudi Petragorici Turrisalbæ in ducatu Engolismensi alumni, de cultu trium Mariarum adversus Lutheranos, cum missa solemniore et officio canonico earundem, auspiciis augustissimæ principis Joannæ, Aurelianensis, Gyveriensium dominæ ac comitis de Barcq.' This is followed by a large plate signed with the Lorraine cross, and representing the three Maries, etc. There is no publisher's name; nothing but Josse Bade's mark at the end of the book.

The title-page of the copy on paper reads: 'Encomium trium Mariarum cum earumdem cultus defensione adversus Lutheranos, solemnique missa et officio canonico, in quibus omnibus desideres nihil, emissum opera et industria Joannis Bertaudi Petragorici, utriusque juris licentiati, Turrisque Albæ in ducatu Engolismensi alumni, auspiciis augustissimæ principis Joannæ Aurelianensis, Gyveriensium dominæ ac comitis de Barcq.' Then follows Josse Bade's mark: 'Prelum Ascensianum,' taking the place of the engraving of the three Maries. And below, 'Venundatur Jodoco Badio et Galeoto a Pratis.'

This difference is explained by the fact that the copies on vellum were not intended for sale, so that no bookseller's name was placed on them, and, furthermore, they were embellished with the cut of the three Maries.

This volume contains three short productions by Jean Bertaud, all directed to the same end—the defence of the worship of the three Maries.

They are entitled:

(1) Encomium trium Mariarum. (2) Officium trium filiarum beatæ Annæ. (3) De cognatione sacerrimi Joannis Baptistæ.

There are some twenty engravings, but none of them are signed except that of the three Maries. And, as Josse Bade was an old printer, who had no known relations with Tory, we may assume that these engravings are not by our artist. At most, we may attribute to him the shield of Orléans, at page 4 of the first work.

II. HOURS OF THE VIRGIN (sixteenmo), in Latin, published by Tory, for himself.[363]

III. LA TABLE DE L'ANCIEN PHILOSOPHE CEBES.

Two small volumes, octavo, with a border for each page. The double cross appears on some, not all, of these borders.[364]

IV. ÆDILOQUIUM ... Item: EPITAPHIA SEPTEM DE AMORUM ALIQUOT PASSIONIBUS, etc.

Octavo, Simon de Colines, 1530.

This little book is enriched by eight engravings: a frontispiece borrowed from the octavo Hours of 1527, and seven small subjects corresponding to the seven epitaphs. The latter are certainly Tory's, although not signed. They are:—

1. Two hearts pierced by an arrow.
2. Two hearts in a circle.
3. Two hearts bound together by cords.
4. Two hearts in a boat.
5. A pig sniffing at two hearts.
6. Two hearts, a distaff, etc.
7. Two hearts being kicked by a horse.

See, for other details, what I have said of this book on pages 92 and 93.

1530-1531

Queen Eléonore's CORONATION and ENTRÉE, and the EPITAPHS of the Queen-Mother, Louise de Savoie:—three quarto brochures, of which I have spoken on pages 130 to 134; a description of the engravings follows.

I. THE CONSECRATION AND CORONATION OF THE QUEEN; three sheets, quarto.

On the first page, a border, with the word 'Salus' at the foot; the privilege is on the verso. The text begins on the second leaf, with the letter L reproduced on page 1. On the last page is another border, with the word 'Salus,' and the date of printing, March 16, 1530, old style.

II. ENTRÉE OF THE QUEEN; six sheets, quarto.

On the first page the same border as on the first page of the Hours of 1524-25; the privilege is on the verso. On page A ij recto, another border and an ornamental letter R, after the style of the L in the work last described. A iiij recto, another border. B iij recto, a border, with the motto 'non plus' at the top. B viij verso, another border, with the word 'Salus' at the foot; this is identical with that of the last page of the 'Coronation.' E viij recto, another border. F i verso, a lovely drawing of a 'present made to the queen, of two candlesticks.' On the last page the border of the last page of 'Champ fleury,' and the date of the printing, Tuesday, May 9, 1531.

III. EPITAPHS OF LOUISE DE SAVOIE; two sheets and a half.

First page, the border of the frontispiece of the Hours of 1524-25, with the Pot Cassé of the first page of 'Champ fleury.' Last page, the border of the last page of 'Champ fleury' and the Pot Cassé of the first page; also the date of printing, October 17, 1531. In all three we find the decorated letters of 'Champ fleury.'

These three brochures, bound together in a small volume, are in the Bibliothèque de l'Arsenal. The borders used in them reappear later as frames for the engravings of a book of Hours, quarto, printed in roman type, in red and black, of which I know neither date nor place of printing nor name of printer, as I have seen nothing except a few leaves of the book, preserved at the Bibliothèque Nationale, with the works of Tory.

1531

I. BOOK OF HOURS, quarto, printed by Tory for himself.[365]

II. BOOK OF HOURS, octavo, with arabesques of flowers, insects, animals, etc., as in the quarto Hours of 1527.[366]

III. TERENTIANUS MAURUS, DE LITERIS, etc. NICOLAO BRISSÆO ... COMMENTATORE.

Quarto, Simon de Colines, 1531.

This book is dedicated to Guillaume Petit, Bishop of Senlis, whose arms, with the Lorraine cross, appear on the verso of leaf 8 of the front matter. The motto is: 'Utinam novissima providerent.'

IV. CLAUDII GALENI PERGAMENI DE ANATOMICIS ADMINISTRATIONIBUS LIBRI NOVEM, JOANNE GUNTERIO ANDERNACO, MEDICO, INTERPRETE.—Parisiis, apud Simonem Colinæum, 1531.

Large folio, with an engraved frontispiece having the Lorraine cross at the foot, on the left.

The frontispiece represents several different subjects. At the top is Jesus healing the leper; at the foot, doctors dissecting a dead body and lecturing to a numerous audience; at the sides, full-length portraits of the most celebrated physicians of antiquity; in the centre of the plate is a scroll bearing the Latin title transcribed above. This frontispiece was, doubtless, used with others of the works of Galen.

Simon de Colines also published, in 1536, an edition of the works of Galen, under the supervision of the same editor (folio of 172 pages), and embellished with five beautiful floriated letters engraved by Tory. In it we find also, at the head of the epistle to the reader, an ornamental S surmounted by a coat of arms,—a charming design, but not signed.

1532

LATIN BIBLE of 1532; folio; Robert Estienne.

The title-page is decorated with a frieze signed with the Lorraine cross, bearing the word 'Biblia' in large letters. It is a scroll surrounded by vines, with the brazen serpent at the left, and Jesus on the Cross at the right.

1533

The BON MESNAGER of Pierre des Crescens, printed by Nicolas Cousteau for Galliot Dupré. Folio, 1533. The frontispiece, representing Dupré presenting the book to François I, is signed with the Lorraine cross.

Inasmuch as Tory died in 1533, it will, perhaps, seem that I ought to stop here in this enumeration. But as many engravings executed by his own hand were not printed until later, and, moreover, as those signed with the Lorraine cross alone came from his establishment, which was managed by his wife after his death, I have thought best to pursue my investigations concerning the engravings with the Lorraine cross to the end.

1534

I. SERMONES IUDOCI CLICHTOVEI NEOPORTUEN. DOCTORIS THEOLOGI ET CARNOTEN. CANONICI.

Folio, Paris, Thielman Kerver's widow, 1534. The privilege is dated 1534. (Bibliothèque S.-Geneviève, and Bibliothèque Mazarine.)

The Latin title which I have transcribed is engraved in great gothic letters, arranged in the shape of a cul-de-lampe, and terminated by a small black heart-shaped ornament (not unlike those used by Simon de Colines), in which is the Lorraine cross. This circumstance leads me to believe that Tory engraved this title-page in gothic letters; a most interesting fact if true, for they are probably the only letters in that style that he ever engraved, after those on folios 42 verso, 74, etc. of 'Champ fleury'; and it is all the more strange because the rest of the book is printed in roman type. It may be that there was another edition in gothic type.

However, this volume contains many other engravings signed with the Lorraine cross, and others which, although unsigned, seem to be Tory's.

Folio 1, following the title, a large T, adorned with fleurs-de-lis, on a background strewn with the same flowers.

Folio 5 verso, a large ornamental P, representing the Eternal Father.

Folio 19, the Virgin in a halo of fire, with the Child Jesus (signed).

Folio 21, Jesus among the Apostles, holding a saw (signed).

Folio 43, Moses receiving the Tables (signed).

Folio 63 verso, the Ark in the form of a church (signed).

Folio 77, the Annunciation, in an oval border (octavo).

Folio 88, Birth of Jesus (small octavo).

Folio 135, the Resurrection (signed).

Folio 148, the Ascension (signed).

Folio 154 verso, the Virgin among the Apostles (small octavo).

Folio 157 verso, the Trinity (signed).

Folio 161, Easter (signed).

Folio 221, Birth of the Virgin. She is in her mother's womb, holding the Child Jesus (octavo).

Folio 325, Jesus tempted by the Devil (octavo).

The octavo engravings appear in several other books printed by the Kervers.

II. PAULI BELMISSERI PONTREMULANI, ARTIUM ET MEDICINÆ DOCTORIS, EQUITIS, ET POETÆ LAUREATI, OPERA POETICA.

Quarto, of 108 numbered, plus 4 preliminary unnumbered leaves.

Printed in 1534, but with no name of printer or bookseller. On the first page is a quarto plate, representing the author crowned with laurel, standing between François I and Clement VII. Beneath these three personages are their respective arms, and above their heads their names: Franciscus, Paulus, Clemens. The Lorraine cross is at the foot, on the left. The same plate appears on the last page.

1535

LES TROYS PREMIERS LIVRES DE L'HISTOIRE DE DIODORE SICILIEN, TRANSLATEZ DE LATIN EN FRANÇOYS, PAR ANT. MACAULT.... On les vent a Paris, en la rue de la Juifverie, devant la Magdaleine, à l'enseigne du Pot Cassé....[367]

Quarto, 1535. This book is embellished with a magnificent frontispiece representing Macault presenting his book to François I. Although unsigned, it is certainly Tory's.

'His chef-d'œuvre,' says M. Renouvier,[368] 'is, perhaps, the frontispiece of Macault's "Diodorus," in which we see François I seated in a chair with a back carved with fleurs-de-lis, at table with his children, his monkey, his greyhound, and his courtiers, while Macault reads his book to him. This engraving, the authorship of which is unquestionable, does not bear the Lorraine cross; the master published without that mark many another work which M. Bernard, in his scrupulous exactitude, has chosen not to mention. As some compensation for the works which I have denied to Tory, I may be allowed the pleasure of mentioning here one which M. Bernard has not attributed to him: "Les Fables d'Esopes mises en rithme françois," by Gilles Corrozet (Paris, Denys Janot, 1542). As the copy that I saw is not complete, it may be that the Lorraine cross might have been found somewhere in the book; but, in any event, that would not change the conviction based upon examination of the plates. The small engravings, with the first four lines of the fables, are set in borders decorated with pilasters and pediments in the master's style, and illustrated at the base with tiny drawings of amorous subjects, treated with his somewhat heavy-handed delicacy.

'There came from Tory's establishment, in the later years, many engravings of blended types which can be attributed to none but pupils, or even apprentices; analysis will always be impossible; when we have cast a light upon the head of a school, we must leave the tail to languish in the shadow. I will mention here, however, one pupil of Geofroy Tory, whom M. Bernard does not mention, namely, François Gryphe, brother of Sébastien Gryphe of Lyon. He engraved and printed, in 1539, a New Testament which, as very rarely happens, mentions the engraver of the plates on the title-page as well as in the privileges from the King and the Parliament which stand at the beginning and end of the book respectively. "Novum testamentum illustratum insignium rerum simulacris, cum ad veritatem historiæ, tum ad venustatem, singulari artificio expressis." (Here the mark of the griffin.) "Excudebat Fran. Gryphius, AN. MDXXXIX." And in the privilege: "Francoys Gryphius, bookseller, printer and tradesman, commorant in Paris ... prayed that he be permitted to cause to be printed and sold the New Testament, illustrated by him."

'The volume is a small octavo; the Lorraine cross does not appear, but there is a letter L engraved by Tory, and a series of small plates executed with a delicacy instinct with firmness, in accordance with types, attitudes and rules which can belong to no other school than his.'[369]

1536

I. HORÆ IN LAUDEM BEATISSIME VIRGINIS MARIÆ AD USUM ROTHOMAGENSEM. PARISIIS, AD INSIGNE VASIS EFFRACTI, 1536.

Small octavo, roman type, line engravings.[370]

II. LAZARII BAYFII ANNOTATIONES, etc.

Quarto, Robert Estienne, 1536.

Charles Estienne, brother of the printer, who seems to have been the editor of this book, informs us, in a brief preface, that the drawings scattered through it were taken by him from ancient monuments, and especially from marbles still extant at Rome. Several of the plates bear the Lorraine cross, Robert Estienne's mark, on the title-page; also the engraving on page 19 of 'De re navali' (repeated on page 168), and those on pages 4, 44 and 64 of 'De re vestiaria'. All the other engravings, although not signed, probably came from Tory's workshop. This book was reprinted by Robert Estienne, in 1549, in the same form. Here is a summarized list of the engravings contained in it: In the first part, 'De re navali,' are some twenty representations of antique vessels, biremes, triremes, etc., of which one is signed; in the second part, 'De re vestiaria,' three are signed: (1) a woman; (2) a man; (3) a soldier; in the third part, 'De vasculis,' are eight or ten representations of vases, etc., not signed.

All these engravings were reproduced on copper in a reprint of Baïf's work, published in Grævius's great collection called the 'Treasure of Antiquities,'[371] and, strangely enough, the artist has left the Lorraine cross on the first.[372] This mark appears again in column 1100 of the same volume, in an analogous work by another author. The same engraving was reëngraved on copper, with the cross, for the edition of Grævius's 'Thesaurus,' published at Venice in 1732, after the edition of Utrecht. This later edition was like the earlier one, and the engraving in question appears in the same volume and same column. So that we have an engraving on copper, with the Lorraine cross, executed in the eighteenth century!

1536-1540

I. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, AD USUM ROMANUM.—Parisiis, apud Simonem Colinæum, 1543.

Large quarto of 44 sheets, in 22 signatures of 2 sheets, encartées, A to Y. On the verso of the title-page is a table of Easter-Days from 1543 to 1566; then comes the calendar, which fills the next six sheets. There are in the text fourteen large engravings, with a special border:—

1. St. John writing his Gospel (which begins on the following leaf). He is gazing at the Virgin, who appears to him in the sky, holding the Child Jesus.

2. Jesus betrayed by Judas.

3. The Salutation, with this device in French: 'Fait ce que tu vouras avoir fait quant tu moras.' ['Do what thou wouldst have done when thou diest.']

4. The Visitation (signed).

5. The Birth of Jesus.

6. The Annunciation to the Shepherds (with the date 1537).

7. The Adoration of the Magi (signed).

8. The Circumcision (signed).

9. The Flight into Egypt.

10. The Death of Mary (signed).

11. Jesus on the Cross (signed).

12. The Descent of the Holy Ghost upon the Apostles (signed).

13. The Penance of David (signed).

14. Jesus restoring Lazarus to life.

All the pages are enclosed in borders, but the latter are of two sorts:—

1. Eight complete borders, that is to say, thirty-two compartments, in simple line-engraving as in the Hours of 1524-1525. A single one of these eight is signed; but they are all by the same artist. They bear the dates of 1536, 1537, 1539, in little scrolls of the sort to which Tory was so much addicted. These dates preclude our attributing these engravings to himself, but they evidently came from his establishment which was then conducted by his widow. One of these borders appears in a book published in 1542: 'Rodolphi Agricolæ ... de inventione dialectica, libri III,' etc. 4to, Paris, Simon de Colines.

2. There are also eight complete borders, or thirty-two compartments, engraved in black in an entirely different style, alternating with those engraved in line. [Four of them are reproduced in this volume, on the pages bearing the Author's Preface.] They are in niello, are neither signed nor dated, and I doubt whether they came from Tory's workshop, although we shall see that he engraved some similar ones for Jean de Tournes. In any event their inclusion in this book, side by side with the borders and drawings engraved in line, seems to me in wretched taste which would have disgusted our artist.

We find also in this book some beautiful ornamental letters in the criblé style, which may be Tory's.

The book was reprinted in 1549, in the same form, by Renaud and Claude Chaudière, successors to Simon de Colines.

II. In the same year 1543, Simon de Colines published another book of Hours, octavo, which seems to be a smaller edition of the one I have just described. Like that one, it is composed of 22 signatures, A to Y.

The title-page reads: HORÆ IN LAUDEM DEI AC BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM, UNA CUM CALENDARIO RECENS [sic] EMENDATO. This within a portico-shaped border, at the top of which is the name Simon de Colines. At the foot of the page: 'Parisiis, apud Simonem Colinæum.—1543.'

As in the quarto Hours of the same date the borders of the text pages are arabesques of two styles, some in line and the others in black; and the drawings, to the number of 13, are set in a special border. Some of these borders bear the date 1537, and one of them has the name Simon de Colines in full, which proves that the engravings were executed for him. A list of the drawings follows; only one of them is signed, but all seem to be the work of Tory.

1. St. John writing his Gospel (signed).
2. Calvary.
3. The Salutation.
4. The Visitation.
5. The Nativity.
6. The Annunciation to the Shepherds.
7. The Adoration of the Magi.
8. The Presentation.
9. The Flight into Egypt.
10. The Coronation of the Virgin.
11. Pentecost.
12. Bathsheba at the Bath.
13. Job on the Dunghill.

The only copy of this book that I know of formerly belonged to the late M. Renouvier, of Montpellier, who showed it to me in 1858. It lacks ten leaves immediately following the title-page, which leaves undoubtedly contained the calendar.

1537

I. LES ANGOISSES ET REMEDES DAMOUR DU TRAVERSEUR EN SON ADOLESCENCE (Jean Bouchet).

Quarto, gothic type, printed at Poitiers, January 8, 1536 (1537, new style), by Jean and Engilbert de Marnef. The privilege is dated November 15, 1536.

There are two woodcuts signed with the Lorraine cross: the printers' mark, on the first page; and, at the end of the preliminary pages, an engraving representing a man in a long robe engaged in writing; facing him and below him are four persons, also in robes, from whom he is apparently deriving his inspiration. Near these latter, at the left, is a woman holding a light.[373]

II. LE JUGEMENT POETIC DE L'HONNEUR FEMININ ... PAR LE TRAVERSEUR (Jean Bouchet).

At the end are these words: 'Imprimé à Poictiers le premier d'avril M. D. XXXVIII, par Jean et Engilbert de Marnef, freres.' This volume, which is arranged like that last described, contains eleven engravings, five of which are signed with the double cross.

Folio A 5 verso. A large plate representing the author presenting his book to François I. The King is seated on his throne and surrounded by his court. (Signed at the left.)

Folio B 1 recto. A meeting of the Parliament of Paris. (Signed at the right.)

Folio B 4 recto. Fame announcing the demise of Louise de Savoie, mother of François I. (Signed at the left.)

Folio B 7 recto. Mercury on his way to the field of Truth; below, Charon in his boat. (Not signed.)

Folio C 1 verso. The field of Truth. Four persons, of whom three are seated in a sort of thicket; and above them, a château. (Signed in the centre.)

Folio C 7 verso. The deceased (Louise de Savoie), her head encircled by a wreath and holding in her right hand a bunch of flowers. (Signed at the right.)

Folio D 3 recto. Fortune holding a wheel in one hand, and a standard in the other. (Not signed.)

Folio D 6 verso. Repetition of C 7.

Folio E 5 verso. Mercury, with the caduceus in his hand, speaking to a man in a robe, and pointing out a palace to him. (Not signed.)

Folio E 7 recto. A large hall adorned with statues. (Not signed.)

Folio L 8 verso. A winged personage, wrapped in a cloak, and having eyes in his hands and feet. (Not signed.)

At the end of the volume the mark of the Marnefs. (Signed.)

1538

MISSAL OF PARIS, 1539; folio. The Lorraine cross on two large folio plates, one of which, dated 1538, represents God the Father seated on his throne, his head surrounded by a halo; he is dressed like the Pope; over his head, a triangular pediment. The other, not dated, represents Christ on the Cross; the Blessed Virgin and St. John are standing at his sides, and this inscription is printed in a semicircle over the cross: 'Absit michi gloriari nisi in crvce D[omi]ni n[ost]ri Jesvs Christi.'

These two subjects, which are often found in collections, sometimes on paper and sometimes on vellum, sometimes black and sometimes coloured (the mark and the date very often disappear under the colours [374]), were first printed, so far as my knowledge goes, in the Missal of Paris, published in 1539 by Thielman Kerver's widow. There follows a description of this priceless volume, of which I know but one copy in Paris.[375] It is entitled: 'Missale ad usum Ecclesiæ Parisiensis, noviter impressum, et emendatum per deputatos a reverendissimo domino Johanne de Bellayo, Parisiensi episcopo,' etc. Then comes Thielman Kerver's usual mark, and below: 'Prostat Parisiis in vico divi Jacobi, apud Iolandam Bonhomme, vidue spectati viri Thielmanni Kerver, ad signum Unicornis, ubi et excusum fuit, anno Domini M. D. XXXIX.'

This work makes a large folio volume, printed in red and black, in gothic type, with a large number of unsigned engravings in the text. These engravings are of three sorts,—(1) floriated letters on a black ground; (2) small drawings of the same size, but of a very graceful renaissance type; (3) drawings of octavo size, which were commonly used by Thielman Kerver's widow in the books of Hours published by her, and of which I have already had occasion to speak.[376]

The two large drawings signed with the Lorraine cross face each other in signature V, in the second part of the book, where the pagination is discontinued. They have been reprinted several times in other editions of the same book. I will mention particularly the edition, undated, published in the name of Guillaume Merlin, bookseller, a copy of which is in the Bibliothèque Mazarine [377]; that of 1543, at the Bibliothèque Sainte-Geneviève; that of 1559 (all published by Iolande Bonhomme or her son Jacques Kerver); and lastly a Missal of Cluny, of which I shall speak later.

Although these books are printed on paper, the plates in question are always printed on vellum in editions of the sixteenth century; but this precaution was neglected in later centuries.

1538-1540

Latin Bible in two folio volumes, bearing the dates 1538, 1539, 1540. Paris, Robert Estienne. The word 'Biblia' appears on the title-page in a scroll signed with the Lorraine cross, of which I have already had occasion to speak, under the date of 1532, and which appears in others of Robert Estienne's books.[378] The second title follows: 'Hebræa, chaldæa, græca et latina nomina ... restituta cum latina interpretatione.' This has led some bibliographers to assume, erroneously, that the book was a polyglot affair. It is printed throughout in Latin; there are simply a few Hebrew words in the dissertation to which the second title in question applies, and which is printed in the second volume, with a title-page of its own, dated 1538. The New Testament, also in the second volume, is dated 1539, not 1540, as M. Renouard mistakenly says.[379] The Bible alone, that is to say, the first volume and the beginning of the second, bears the date 1540. In each part we find Robert Estienne's large mark, signed with the Lorraine cross. The first volume contains also eighteen magnificent engravings representing the Tabernacle of Moses, Solomon's Temple, etc., executed under the direction of François Vatable, Royal Professor of Hebrew Literature. The Lorraine cross appears on the large plate of the camp of the Israelites, on folio 35; but I dare not upon this evidence alone attribute all the other engravings to Tory.[380] In any event the floriated letters used in the book are certainly Tory's, for we find the designs mentioned by him in his 'Champ fleury.' It is a fact worth noting that these letters seem to have been cast, or, at least, reproduced by stereotyping, for they are often repeated on the same page, without the slightest change in the design.

The Bibliothèque Nationale has a superb copy of this book on vellum, with the arms of François I. It was reprinted in the same shape by Robert Estienne in 1546, and by his son Henri in 1565. In this last edition, printed at Geneva, we no longer find the two small drawings which appear, with the frieze, on the title-page of the edition of 1532. (See p. 204, supra.) The frieze in this later form appears in other books of the Estiennes. I have seen it in a folio Xenophon printed for Fugger.

1540-1548

AMADIS DE GAULE, French translation by Nic. de Herberay, Seigneur des Essarts, for the first eight books; first edition printed between 1540 and 1548, by Denis Janot, for the booksellers, Vincent Sertenas, Estienne Groullau, and Jean Longis. Folio, with engravings.

I have seen only two of these engravings signed with the Lorraine cross, but several others seem to have come from the same workshop. The great majority of them, however, are of another make. The two that are signed are: (1) Book II, chap. 2, a large plate representing a sort of temple. A man armed cap-à-pie under a portico. At the right are shields hanging upon posts; at the left, a man kneeling on the ground, holding a naked sword in the air with his right hand, and another hand grasping it. This represents a scene from the 'Île Ferme.' (2) Book VI, chap. 56, a small plate representing four persons on horseback near a château in front of which stands an armed man. This cut does not seem to have any connection with the subject, and may well have been taken from another older work.

There is a copy of this book on vellum in the Bibliothèque Nationale.

1541

I. PRAXIS CRIMINIS PERSEQUENDI, ELEGANTIBUS ALIQUOT FIGURIS ILLUSTRATA, JOANNE MILLÆO ... AUCTORE.

Folio; Paris, Simon de Colines, 1541. Some copies have on the title-page only the names of the brothers Arnould and Charles les Angeliers. (Bibliothèque Nationale.)

There are in this book thirteen large folio cuts, besides the frontispiece. A single one, the seventh, is signed, but all are by the same hand. Following is a description of them, or, rather, a brief list; for a description would lead us into too minute details:[381]—

1. Several men slain in divers ways, on a public square where there is a large crucifix.
2. Examination of the bodies of the wounded lying in a room.
3. Examination of the witnesses.
4. The accused summoned by public outcry.
5. Arrest of the accused.
6. Examination of the accused.
7. Confrontation of the witnesses with the accused (signed).
8. Ratification of decree of pardon.
9. Torture by water.
10. Torture by the boots.
11. Torture by compressing the wrists.
12. Condemnation of the guilty.
13. Execution of the guilty.

There is at the Bibliothèque Nationale a magnificent copy of this book on vellum, with the arms of France in miniature on the verso of the title-page.

II. THE FIRST VOLUME OF THE CATHOLIQUES ŒUVRES ET ACTES DES APOSTRES, by Simon de Greban; followed by the MYSTERE DE L'APOCALYPSE, by Louis Choquet. Printed for Arnould and Charles les Angeliers, May 27, 1541. 'On les vend en la grand salle du Palais, par Arnould et Charles les Angeliers freres.' Folio; Paris, 1541.

This work is embellished with engravings, of which only one is signed with the Lorraine cross. This one, which is on folio I recto of the Acts of the Apostles, represents the descent of the Holy Ghost upon the Apostles. It is enclosed in a border, of octavo size, and belongs to a series of engravings for a book of Hours published by Guillaume Merlin in 1548.[382] The engraver's mark is in a small circle at the left of the foot of the border. Beside it is an angel holding two shields in which are the letters G. M. (Guillaume Merlin). The frontispiece of the Acts of the Apostles has a border in which is the date 1537. The same border surrounds the frontispiece of the Mystery of the Apocalypse, but there it is without the date. This last-named portion of the volume contains 13 engravings and a border, in Tory's style, but without the Lorraine cross. One of them bears the letters P. R. There is a copy at the Bibliothèque Nationale.

III. HOURS OF THE VIRGIN, octavo, in roman type, but with the borders 'à la moderne' described on page 128, supra.

This book, printed by Olivier Mallard in 1541, was copied doubtless from the edition made by Tory about 1531, which I have been unable to examine. Mallard's edition, of which I have seen a copy on vellum, belonging to M. Émilien Cabuchet, the painter, and another on paper, consists of twenty-three octavo signatures, A to Y. The title-page reads; HORÆ IN LAUDEM BEATISSIM. VIRGINIS MARIÆ, AD USUM ROMANUM. (Here the Pot Cassé.) Parisiis, apud Oliverium Mallardum, sub signo Vasis Effracti, 1541. The last page, on which is printed a curious 'prescription against the plague,' ends thus: 'Excudebat Parisiis Oliverius Mallard, bibliopola regius, sub signo Vasis Effracti.'...

In this edition there are 16 different borders; each leaf has the same border on both recto and verso. There are also 16 of the engravings of the sixteenmo Hours of 1529, those not reproduced being nos. 1, 19 and 21 of that edition.

The word 'Rom.' printed on the first page of each signature leads me to believe that Mallard published at the same time, in the same format, an edition of Hours 'ad usum Parisianum,' but I have found no trace of such an edition.

After Olivier Mallard's death, which occurred, as I have said heretofore, in 1542, his typographical outfit seems to have been acquired by Thielman Kerver II (son of the first Thielman and Iolande Bonhomme, who lived, as did his father before him, on Rue Saint-Jacques); for he published in 1550 a book of Hours similar to that printed in 1541 by Mallard. It contains the same borders and the same drawings, but in a different arrangement. The borders have been lengthened by means of a most ungraceful addition to the side-pieces; as for the drawings in two parts, no pains has been taken to place the parts facing each other, so that their meaning would be uncertain if we had no other editions of the engravings. In fine, this book is very imperfect. It consists of twenty-two and a half signatures, A to Y. The title-page reads thus:—

HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM. (Here the mark of Thielman Kerver, with the Lorraine cross.) 'Parisiis, apud Thielmannum Kerver, vico sancti Jacobi, sub signo Cratis. M.D.L.' The book closes with the curious 'prescription' found in Olivier Mallard's edition of 1541, which is in these words: 'Approbatissima medicina contra pestem.—Recipe quantum potes de amaritudine mentis contra peccata commissa, cum vera cordis contritione, potius libram quam unciam. Hæc misceantur cum aqua lacrymarum, et facies vomitum per puram confessionem. Deinde sumas illud sacratiss. electuarium corporis Christi, et tutus eris a peste.'

The book is printed in red and black. I have seen a copy on paper at M. Potier's bookshop. There is an imperfect copy at the Bibliothèque Mazarine, and a perfect one at Sainte-Geneviève.

About the same time there was published a small duodecimo volume of four signatures, in French, with the same borders. It begins thus: 'Here follows the method of receiving the blessed sacrament devoutly.' It is like the book last-described except that it is printed in only one colour, and that it is a little longer and wider.[383] To lengthen the borders, sections have been added to them. It is most peculiar that a duodecimo volume should be larger than an octavo, but the fact is unquestionable: formats were already beginning to increase in size. Near the end of the book is a little treatise with this heading: 'Here follows a devout meditation as to the manner in which thou shouldst ordain and arrange the whole day,' etc. And after that: 'The life of Madame Sainte-Marguerite, with prayer to be said for women pregnant and in travail.'

This book is in the Bibliothèque Mazarine, in the same collection as the last. It contains four small engravings, of which only one seems to me to belong to Tory: it is the Christ on the Cross, which appears in the quarto Hours of 1542, now to be described.

1542

I. Hours, according to the Roman use, quarto, in Latin, published by Olivier Mallard in 1542. This rare volume, of which I know only one copy, belonging to M. Aerts, of Metz,[384] who himself kindly brought it to me at Paris, is a reproduction of the Hours printed by Tory in 1531; the type, however, is smaller. It consists of nineteen signatures of two quarto sheets encartées, signatures A to T. The title-page reads: HORAE IN LAUDEM BEATISS. VIRGINIS MARIÆ AD USUM ROMANUM. OFFICIUM TRIPLEX.—Parrhisiis, apud Oliverium Mallard, impressorem Regium. The rest is as in the edition of 1531. On the last page: 'Parrhisiis, ex officina Oliverii Mallard, Regii impressoris, Ad insigna Vasis Effracti. Anno salu. M. D. XLII. Mense Augusti.' Then come the two lines:—

'Effracti, lector, subeas insignia vasis,

gregios flores ut tibi habere queis.'

The table of Easter-Days, on the verso of the title-page, goes from 1542 to 1571; then comes the calendar, in which the order of the edition of 1531 has been followed in the arrangement of the borders, although the type, being smaller, would have permitted the more regular arrangement of the edition of 1524-25.

The book is printed in two colours, except signatures B, C, and D, which are in black only—a most unusual state of things. The engravings are the same as those of the edition of 1531, but the floriated letters are different. The Passion, which begins on folio B 3 verso, is enriched by the small Christ on the Cross which we find in the Hours of 1529, but without the four additional subjects (bees, etc.), which there accompany it.[385] It is probable that some accident happened to the plate, and that only the Christ was saved. We find also in this volume, at the foot of the border, the crowned C of Queen Claude of France, who had then been dead about fifteen years.

The Lorraine cross, which had disappeared from several of the larger engravings as early as the edition of 1531, appears on almost none of them in that of 1542. For example, it has been expunged from the Birth of Jesus and the Circumcision. The only ones which retain it are the Visitation, the Crucifixion, and the Descent of the Holy Ghost. It remains on the borders also.

Signature E begins with a leaf the recto of which is blank, while on the verso is the angel of the Annunciation, as in the edition of 1531. The large plate, the Triumph of the Virgin Mary, is also included in this edition.

II. HORE BEATE MARIE VIRGINIS AD USUM FRATRUM PREDICATORUM ORDINIS SANCTI DOMINICI: FIGURIS UTRIUSQUE TESTAMENTI AC PERVENUSTIS IMAGINIBUS ET IIS QUIDEM NON PAUCIS, PASSIM DECORATE, ATQUE OFFICIO CONCEPTIONS IMMACULE VIRGINIS ET OFFICIO SANCTI DOMINICI IN ALIIS ORARIIS ACTENUS IMPRESSUS NEQUAQUE INSERTIS AD AUCTE. (Here the figure of St. Dominic holding an open book in his left hand, and in the right a staff with the cross at the end. At his feet lies a dog. The Lorraine cross is at the left.) Venundantur Parisiis, in edibus vidue spectabilis viri Thielmanni Kerver, in vico divi Jacobi, sub signo Unicornis, ubi et impresse.—M.D. XLII.'

Octavo; signatures A to X, and a to c: in all, 26 forms. The title-page engraving reappears on leaf R 4 verso. The others are not signed.

III. HEURES À L'USAGE DE TOUL: AU LONG SANS REQUERIR.

Octavo of 156 unpaged leaves. Calendar from 1541 to 1564. At the bottom of the last page are the words: 'Imprimé à Troyes chez Jean Lecoq.' Gothic type, printed in red and black.

The only copy of this book that I have seen is in the Bibliothèque Publique of Besançon. It has 30 engravings, including the printer's mark, which is on the title-page. The mark and three other engravings of the first series are signed with the Lorraine cross. A list of all the engravings follows:—

First series, .06 mm. by .043 mm.
1. Printer's mark (signed).
2. Jesus in the Garden of Olives (signed).
3. Annunciation of the Virgin.
4. The Visitation.
5. The Nativity.
6. Adoration of the Shepherds.
7. Adoration of the Magi.
8. The Presentation in the Temple.
9. Massacre of the Innocents.
10. Death of the Virgin (signed).
11. The Crucifix.
12. Pentecost.
13. Bathsheba at the Bath (signed).
14. Resurrection of Lazarus.
15. Vision of St. Gregory.

Second series, .034 mm. by .022 mm.
1. The Trinity.
2. Death piercing with a Spear the Great Men of Earth.
3. St. Anne.
4. All Saints.
5. Ecce Homo.
6. The Virgin.
7. The Beheading of St. John Baptist.
8. St. Sebastian.
9. St. Nicholas.
10. St. Martin.
11. St. Catherine.
12. St. Barbara.
13. Our Lady of Pity.
14. Virgo Gloriosa.
15. Our Lady of the Seven Sorrows.

IV. DYALOGUE INSTRUCTOIRE DES CHRESTIENS EN LA FOY, ESPERANCE ET AMOUR DE DIEU COMPOSÉ PAR FRERE PIERRE DORÉ, DOCTEUR EN THEOLOGIE.... Imprimé nouvellement par Denys Janot, demourant en la rue Neufve Nostre Dame, à l'enseigne Sainct Jehan Baptiste, pres Saincte Geneviefve des Ardens.

Sixteenmo, 1542. On the verso of the title-page is an engraving signed with the Lorraine cross. It represents the Virgin standing on a crescent, holding the child Jesus in her arms, and surrounded by a halo. (Bibliothèque Nationale.)

1543-1544

SOMMAIRE DE CHRONIQUES, CONTENANS LES VIES, GESTES ET CAS FORTUITZ DE TOUS LES EMPEREURS D'EUROPE, etc. By J. B. Egnatius, translated by G. Tory.[386]

There were several other editions of these chronicles. M. Hippolyte Boyer mentions one of 1541, in his 'Histoire des Imprimeurs et Libraires de Bourges' (8vo, Bourges, 1854), p. 27; Antoine du Verdier, another, of 1543, in his Bibliothèque françoise. This much is certain—that M. Renouvier owned a copy, with illustrations, dated 1544. It is an octavo, 'for sale by Charles l'Angelier, in the "grand'salle du Palais."' It contains 112 leaves (signatures A to O), plus 4 unnumbered leaves. The engravings are of two sorts: the first represents an emperor on horseback, carrying a battle-axe; there is no mark, but it is engraved with much delicacy and distinguished by the little cartouches of which Tory was so fond; this figure is reproduced several times. The others are busts of emperors, roughly engraved, which cannot be Tory's. It may be noted that the edition published by Tory in 1530 contains no engravings.

1545

DE DISSECTIONE PARTIUM CORPORIS HUMANI, etc. By Charles Estienne. Folio, Simon de Colines, 1545.

There are in this book about sixty large anatomical plates. Five are signed with the Lorraine cross—folios 149, 150, 151, 154, 155. The last four bear also the name of Jollat, with the dates 1530, 1531, 1532. Here is what M. Renouvier has to say on the subject: 'Simon de Colines ... employed another wood-engraver of some note, Mercure Jollat, to whom Papillon attributed almost all of our gothic books of Hours. He should be reckoned only among the engravers of an altogether modernized manner. His name is written Iollat, the first letter in the zodiacal sign of Mercury, followed by the dates 1530, 1531, and 1532, and accompanied by the Lorraine cross, on four plates of Charles Estienne's book on the dissection of the human body, representing the cadaver in its skin and the cadaver with the skin removed. The drawing of the figures has been attributed, even by Brulliot, to Woeiriot; but it is really the work of the surgeon Estienne Rivière, who is named on the title-page and in the preface as the painter of the bones, ligaments, and all the anatomical details. His initials, S. R., appear on a tablet hanging from the branches of a tree in the first plate. The engraving, which varies considerably, would seem to be the work of different hands, or, at least, to have come from an establishment which practised diverse styles and which sometimes put forth work done by apprentices. The workmanship of the plates with Jollat's mark seemed to me more monotonous—not unskilful although less picturesque. I am not now passing upon their scientific merit, but upon their picturesque interest simply.'[387]

The inscription of Jollat's name on plates marked with the Lorraine cross seems, at first glance, quite hard to explain, especially with the general opinion concerning the former of these artists, based on Papillon's statements. But as the story of Jollat's work as an engraver still remains to be told, I think I may safely say that he simply designed the plates that bear his name in Charles Estienne's book, and that they were engraved by Tory, or, at least, in his workshop. We have seen, in fact, that Tory was Simon de Colines' favourite engraver. To be sure, M. Renouvier seems to be of opinion that all the plates were designed by Estienne Rivière, whence he concludes that the engraving is by Jollat; but this is a mistaken opinion, based on a sentence in the preface. Rivière, who was a friend of Charles Estienne, may have designed the majority of the plates in Charles Estienne's book, and yet not have designed all of them. Those signed Jollat evidently belong to that artist, who seems to have designed a number of them before the work was placed in Rivière's hands.

I am confirmed in my belief that Jollat was the designer of the plates in question by the fact that his name is always accompanied by the dates, and that those dates are not those of the engraving, which I propose to prove. There are only five plates signed with Jollat's name and with the Lorraine cross in the Latin edition of Charles Estienne's book, published by Simon de Colines in 1545. In the following year the same printer issued a French edition of this work, under the title, 'La Dissection des parties du corps humain' (folio, 1546), in which we find two additional plates so marked and dated 1532. Why did not these plates appear in the first edition, if they were engraved by Jollat?

But here is another fact even more conclusive. In 1575 the bookseller Jacques Kerver published a volume of engravings without text, entitled 'Les Figures et portraicts des parties du corps humain' (folio), in which we find not only the seven engravings with the cross, of the edition of 1546, but three others, also bearing Jollat's mark and the Lorraine cross, and dated 1533. Evidently these plates appeared in some earlier edition, unknown to me,[388] for it was not Kerver who had them engraved; he simply made use of the woodcuts of which he had become the owner. But why did they not appear in the edition of 1546? That is a matter easily explained.

Charles Estienne informs us in the preface to his book that the printing was well advanced in 1539, but that it was interrupted by a lawsuit. We give his own words in the French edition of 1546: 'All of which things were well-nigh finished in the year 1539, and almost so far as the middle of the third book printed, when, by reason of a suit that was begun, we were forced (to your great discontent, methinks) to lay aside this work and to desist from the completion thereof; for so long that in the mean time it has been possible for many others to invent new ideas touching this matter, and to make use at their will of many sheets filled with our writings; for it was not possible for the printer so closely to safeguard his book, so long suppressed, that some persons curious to learn of novel things might not take away some sheets, still uncorrected, and send them into Germany.'

Now let us see what was the cause of this suit. Charles Estienne does not inform us, but it has been disclosed by M. Ambroise Didot, in his 'Essai sur la Gravure.' The famous Vésale had published at Venice, in 1538, through the printer B. Vitalis, a treatise on anatomy, embellished with numerous plates, which was copied in several places, and notably in Paris, despite the privilege granted by the Republic. Later, wishing to issue a new and improved edition of his book, Vésale applied to Oporin, professor of Greek, and printer at Basle, to whom he sent his plates, which had been engraved at Venice by Calcar, a pupil of Titian. In 1543 Oporin finished printing this new edition, for which the author had, no doubt, obtained privileges from various sovereigns, especially from the King of France. This seems to be proved by the suit instituted against Charles Estienne. That is why the latter could not publish, in his edition of 1545, all the plates which he had had made, and which appeared only at intervals as the date of Vésale's privilege was left behind. As we have seen, he gives it to be understood in his preface that it was he who was robbed in Germany.

As this is a favourable opportunity, I will say a few words concerning Jacques Kerver's publication, of which I have never seen any mention,[389] but which is of great interest to us. It is a folio volume, containing 61 large plates besides a considerable number of small ones. There is no other text than the explanations printed on the plates,[390] and a brief note to the reader, which begins thus: 'Friend reader, seeing that medicine is not at all essential to preserve the health and to banish all diseases, which often, on slight occasion, assail us, and that anatomy, or the description of the parts of the human body, mainly serves us therein, I have determined not to fail to exhibit them to you here.' We give a description of those plates in the book which are of interest to us.

Plates which appear only in Kerver's volume.

1. The human body in its relation to the signs of the zodiac (folio A 2 verso). This bears Jollat's name, the date 1533, and the Lorraine cross.

2 and 3. The human body in its relation to the seven planets (folio A 3 recto and verso). These two bear the same marks as the preceding.

Plates which appear in the edition of 1546.

4. Skeleton seen from the left side (folio 11 of the edition of 1546, and A 3 verso of that of 1575). Jollat's name, the Lorraine cross, no date.

5. Skeleton seen from the right side (folio 11, 1546, folio A 5 verso, 1575). Jollat's name, the date 1532, and the Lorraine cross.

Plates which appear in all three editions.

6. Man flayed, front view (folio 149, 1545; folio 151, 1546; folio B 2 recto, 1575). The cross alone.

7. Man flayed, right side (folio 150, 1545; folio 152, 1546; folio B 2 verso, 1575). Jollat's name, the date 1532, and the Lorraine cross.

8. Man flayed, rear view (folio 151, 1545; folio 153, 1546; folio B 3 recto, 1575). The same marks as in the last case.

9. Man in his skin, front view (folio 154, 1545; folio 160, 1546; folio B 3 verso, 1575). The same marks as in the last case.

10. Man in his skin, rear view (folio 155, 1545; folio 161, 1546; folio B 5 recto, 1575). The same marks, with the date 1531.

Many others of the plates may belong to Tory, but as they are not marked, I shall not speak of them here.

Something analogous to what I have just described took place with reference to the engravings of Tory's Hours. Having become the property of the Kervers, as we have seen,[391] they were used by them for a long while. We shall mention later the octavo Hours published by Thielman II in 1550, 1552, and 1556, in which he utilized the woodcuts of the edition published by Olivier Mallard in 1541. His son Jacques did better than that: in 1574 he published a large octavo edition of the Hours of the Virgin, in which he used the woodcuts of the quarto editions issued by Tory himself in 1524 and 1527. As the crosses were removed in almost every instance, one might have some right to deny their source, were not the books published by Tory a half century before, at our hand to demonstrate it. Jacques Kerver's book being rare, and of a date subsequent to the period covered by my work, it seems to me that it may be well to give a bibliographical description of it, from the copy owned by M. Chedeau, which M. Potier, bookseller, has kindly furnished me.

'Officium beatæ Mariæ Virginis nuper reformatum et Pii V, pont. max., jussu editum.—Apud Jacobum Kerver, via Jacobea, sub insigni Unicornis.—1574.' Large octavo, with illustrations from the quarto edition published by Tory in 1524-1525, surrounded by borders taken from Tory's quarto edition of 1527, but reduced in size, mutilated, transposed, etc.

Here is a list of the plates:—

1. The Annunciation (two plates).
2. The Salutation.
3. The Nativity.
4. The Adoration of the Shepherds.
5. The Adoration of the Magi.
6. The Circumcision.
7. The Flight into Egypt.
8. The Coronation of the Virgin.
These eight plates are repeated three times. Then come:—
9. The Triumph of Death.
10. David's Penance.
11. Jesus on the Cross.
12. Pentecost.

Number 8 is taken from the quarto Hours of 1527; but all the others are in the Hours of 1524-1525. Numbers 2 and 12 still bear the Lorraine cross.

There is no doubt in my mind that the Kervers printed also the quarto Hours (1531) which I mentioned on page 201, and in which we find the borders of the Hours of 1524-1525, and the porticoes of the opuscula of 1530-1531. The plates are not signed and cannot be Tory's, but as a list of them may assist in the discovery of this edition, I will mention here those which are at the Bibliothèque Nationale:—

1. The Annunciation.
2. The Conception.
3. The Visitation.
4. The Nativity.
5. The Circumcision.
6. The Resurrection.
7. The Descent of the Holy Ghost.
8. All Saints.
9. The Trinity.

1547

We place under this date three books of Hours which introduce us to certain engravings signed with the Lorraine cross accompanied by initials. 1547 is not the exact date of the engravings to which we refer, for we shall see that they are of earlier execution; but their first appearance is so uncertain that we are forced to fall back upon the definite date supplied by the books in question.

I. HOURS ACCORDING TO THE USE OF TOUL.

Octavo. On the first page: 'The present hours according to the use of Tou [sic], in full, sans requerir, newly printed at Paris.' (Here the mark of François Regnault.) 'For sale in Paris, Rue Saint Jacques, at the sign of the Elephant, opposite the Mathurins, by Françoys Regnault's widow.'

On the verso is a table of Easter-Days for thirteen years, beginning in 1547. Next comes a calendar, with engravings and verses (some in Latin, some in French), the 'Jours moralisez,' divers moral and religious axioms, in verse and in prose, and, lastly, the four Gospels of the Passion, in Latin. All these form the first part, with a special series of signatures, aa to ee. It is more than likely that this first part, which has no application to any particular diocese, is printed, in the same form, in the Hours which Veuve Regnault probably printed for other churches about the same time. In signatures cc and ee there is an engraving representing Jesus on the Cross, signed with the letters I, L, B and the Lorraine cross, which appears in several other publications of the same period.

The second part of the book comprises the Hours properly so-called, according to the ritual of the church of Toul. This part is made up of eight signatures, a to h, the word Tou being printed on the first page of each sheet.

The volume contains a hundred leaves in all. In addition to the bookseller's mark and the engraving signed with the Lorraine cross, there are 55 large woodcuts, most of which are signed with the initials I, M (without the cross), a few small engravings, and a large number of letters in grisaille, but no borders.

With a copy of these Hours, which I have seen, was bound the following work:—

'The fifteen effusions of the blood of our Saviour and Redeemer Jesus Christ, by Barbe Regnault, Rue Saint Jacques, at the sign of the Elephant, opposite the Mathurins.' Eight leaves in two octavo folds, enriched with fifteen pretty woodcuts, interspersed through the text, and marked, like the one mentioned above, which is one of them, with the letters I, L, B and the Lorraine cross.

This little volume is undated, but it is known that Barbe Regnault succeeded her mother, Madeleine Boursette, widow of François Regnault, who was carrying on the business as late as 1555. So that the engravings with the initials I, L, B might be of later date than that; but we have seen that one of them had already appeared in the first part of the book; therefore they are of earlier date than 1547.

Here is a list of these engravings, which are the same ones mentioned by M. Robert-Dumesnil under date of 1599:—

1. The Circumcision.
2. Jesus in the Garden of Olives.
3. The Apprehension of Jesus.
4. Jesus Beaten with Rods.
5. Jesus before Pontius Pilate.
6. Jesus King of the Jews.
7. Jesus Bearing his Cross.
8. Jesus Stripped of his Clothing.
9. Jesus on the Cross.
10. Same subject (without initials).
11. Same subject (again without initials).
12. Same subject (with initials and without the cross).
13. Erection of the Cross.
14. Jesus between the two Thieves.
15. Same subject (without cross or initials).

All of these are 4½ centimetres high and 5 wide.

The 'Fifteen Effusions' was reprinted frequently during the sixteenth century, in different formats and in different type, but with the same engravings, and almost always without date, because it was added to other books. I have, however, seen one copy in large type, dated 1584 (Bibliothèque Nationale). These same engravings appear, with many others, in a work entitled 'Abrégé des Méditations de la vie de Jésus-Christ'; octavo, Paris, Guillaume Chaudière, 1599.

II. HORE BEATE MARIE VIRGINIS AD USUM PARISIENSEM, TOTALITER AD LONGUM, CUM MULTIS ORATIONIBUS ET HISTORIIS, NOVITER IMPRESSE ET EMENDATE. (Here the Triumph of the Virgin, an old engraving with criblé background, with legends in gothic type, which figures in all the Hours of this period.) 'On les vend a Paris, en la rue Sainct Jacques, par la veufve Jehan de Brie, a l'enseigne de la Lymace, pres Sainct Yves.'

On the verso of the title, 'a calendar for XI years,' beginning with 1548. Each month has its engraving, and the usual illustration is placed within a circle; they are not signed.

Printed in red and black, in large gothic type, the work consists of 8 preliminary leaves and 16 folios of text, signatures A to Q, with the letters Pa (Paris). The folios do not begin until signature B, and run without a break to the end of signature Q. On the last page of this signature are these words: 'These present hours according to the use of Paris, with several noble eulogies of Our Lady, have been printed by Veufve Jehan de Brye [sic], living on rue sainct Jacques, at the sign of the Snail, near Sainct Yves.—M. D. XLVIII.'

Then follow 12 leaves of appendix, ending with a figure of the Virgin, over which are the words 'Nostre Dame de Lorette,' in roman capitals. At the foot of the page: 'Ave Sanctissima Maria,' etc. (5 lines in gothic type).

This curious volume is preserved in the Bibliothèque Nationale.

Besides the 12 small engravings of the calendar, there are several other small subjects, also unsigned, and 13 large ones with the letters L, R, and the double cross. These latter, which measure 10 centimetres in height and 7 in width, are as follows:—

1. St. John writing his Gospel.

2. The Annunciation.

3. The Visitation.

4. The Crucifixion.

5. The Descent of the Holy Ghost upon the Apostles (with the initials, but without the cross).

6. The Birth of Jesus.

7. The Annunciation to the Shepherds.

8. The Adoration of the Magi.

9. The Circumcision.

10. The Coronation of the Virgin.

11. The Penance of David. He is saying to the Father Eternal these words, which are written in a scroll: 'I who have sinned.'[392]

12. The Last Judgement.[393]

13. Notre-Dame de Lorette.

As I have said heretofore (supra, p. 149), the first twelve of these are improved copies of other, unsigned engravings, belonging to Thielman Kerver I, which appear in many books published by him or by his widow, Iolande Bonhomme, at least as early as 1522,[394] and which we find again in the Paris missal published by their son Jacques in 1559.

M. Brunet [395] suggests a very plausible theory, to the effect that the engravings signed L. R. were executed by Louis Royer, who was in fact the first to use them, in a book of Hours entitled: 'Horæ beatæ Mariæ ad usum Rom.'; duodecimo, gothic type, with the mark of Jean de Brie, and the following words at the foot: 'Parisiis, impressum in vico Jacobi per Claudium Chevallon, impensis Ludovici Royer, librarii Parisiensis, in eodem vico commorante, ad insigne vulgariter dictum la Lymace.'

The book is not dated; but we see, on the one hand, that it was printed by Claude Chevallon, who died in 1542, and, on the other hand, that Louis Royer, at whose expense it was printed, had succeeded Jean de Brie at the sign of the Snail. Now, the latter died about 1522; so that it was between 1522 and 1542 that this book saw the light, and that the engravings with the letters L. R. first appeared.

We know nothing of this Louis Royer, whom Lottin does not mention. Nor do we know any more of Jean de Brie's widow, who seems to have succeeded Louis Royer. And, as if everything in this matter were fated to remain obscure, we find other octavo Hours according to the use of Rome, in French gothic type, undated, but with a calendar from 1568 to 1578, printed with the same woodcuts, and for sale 'at Paris, on Rue Saint Jacques, at the sign of the Snail'; with no other details. In the book we have described we find also:—

1. The Virgin and the Child Jesus (signed with the letters L. R. and the cross).

2. Jesus betrayed by Judas (same marks).

3. Jesus bearing his Cross (same marks).

4. Jesus on the Cross (same marks).

5. Jesus in the Tomb (same marks).

6. The Resurrection (same marks).

7. The Flight into Egypt (same marks).

8. Job (unsigned).

9. Jesus at Emmaüs (unsigned).

III. HEURES EN FRANÇOYS A L'USAIGE DE ROME, NOUVELLEMENT IMPRIMÉES À PARIS POUR GUILLAUME MERLIN. M. D. XLVIII.

Octavo, gothic type; printed in red and black. This book, which I saw at the sale of M. Chedeau's library, is illustrated with engravings, most of them signed with the Lorraine cross, to which the initials G. M. are sometimes added. They are 8 centimetres high by 55 millimetres wide. The list follows:—

1. Saint John writing his Gospel (unsigned).

2. The Annunciation (unsigned).

3. The Visitation (signed with the Lorraine cross and the initials G. M.).

4. The Nativity (signed with the Lorraine cross only).

5. The Annunciation to the Shepherds (the cross only).

6. The Adoration of the Magi (the cross only).

7. The Circumcision (the cross only).

8. The Flight into Egypt (unsigned).

9. The Coronation of the Virgin (the cross only).

10. The Descent of the Holy Ghost upon the Apostles (signed with the letters G. M. and the Lorraine cross in a small circle).

11. Jesus on the Cross (the cross only).

12. Bathsheba (the cross only).

13. Job (the cross only).

We think that we can safely attribute the designing of these engravings to Guillaume Merlin, the publisher of this book of Hours. They must, at all events, be much earlier than 1548, for we have already seen one of them (no. 10) in a book of 1541 (supra, p. 217).

Guillaume Merlin also published about 1559 a book of Hours embellished with engravings signed with the Lorraine cross. It is entitled: 'Heures à l'usage de Romme' [sic], and is undated, but has a calendar from 1559 to 1570. It is a small octavo, printed in gothic characters, in red and black. At the end are the words: 'Printed by Jean Bridier.'

We find in this volume, which was in M. Chedeau's library, 12 engravings representing the twelve months of the year. Three of them are signed with the Lorraine cross, namely, January, May and December. The others have no mark. They are 10 centimetres high by 7 wide. On folio 62 verso is the Virgin holding the Child Jesus. She is within an aureole of flames, with her feet on a crescent.

1548

THEODORI BEZÆ VEZELII POEMATA. Paris, Conrad Bade, 1548.

Octavo of 100 pages printed in italic type. This is the first edition of this book and contains a portrait of Théodore de Bèze signed with the Lorraine cross. It is the oldest portrait that we know. Below it are the following verses, alluding to a laurel wreath which Théodore has in his hand:—

Vos docti docta præcingite tempora lauro:

Mi satis est illam uel tetigisse manu.

The inscription 'An. 29,' at the top of the portrait, indicates that it was engraved in the same year that the book was printed; for Théodore de Bèze, born at Vezelay June 24, 1519, completed his twenty-ninth year in 1548, the date of the dedicatory epistle of this book, which the author addressed to his teacher, Melchior Volmar. 'Vale. Lutetiæ, VII. cal. Iul. qui dies est mihi natalis.' The mark of Conrad Bade, also signed with the Lorraine cross, is on the first page of this book, which was finished on July 15, 1548. 'Lutetiæ, Roberto Stephano, regio typographo, et sibi, Conradus Badius excudebat, idibus Julii M. D. XLVIII.' It was shortly after, in this same year, that Théodore de Bèze, on recovering from a severe illness, withdrew to Geneva, and abjured 'the papacy, as he had sworn to God to do at the age of sixteen.' The portrait has been reproduced on copper; there is a copy of the reproduction in the collection of Tory's work at the Bibliothèque Nationale.

1549

I. PAULI IOVII NOVOCOMENSIS VITÆ DUODECIM VICECOMITUM MEDIOLANIPRINCIPUM.—EX BIBLIOTHECA REGIA.—LUTETIÆ. EX OFFICINA ROB. STEPHANI, TYPOGRAPHI REGII. M. D. XLIX.

Quarto of 199 pages. Paris, 1549. This book is a faithful copy of the manuscript of the same work, preserved in the Bibliothèque Nationale.[396] It is embellished with beautiful letters in grisaille with criblé background, and with portraits of the ten dukes of Milan who figure in the manuscript. These portraits, all marked with the Lorraine cross, are faithful reproductions of those in the manuscript, but on a smaller scale. Following is a list of the portraits, taken by Paulus Jovius from originals which existed in his day and of which he gives, in each case, the place where it may be found:—

1. Otho archiepiscopus.
2. Matthæus magnus.
3. Galeacius primus.
4. Actius.
5. Luchinus.
6. Joannes archiepiscopus.
7. Galeacius secundus.
8. Barnabas.
9. Joannes Galeacius primus.
10. Philippus.

There is a French translation of this book, printed in 1552 by Charles Estienne (Robert was then in exile at Geneva), with the same plates. As for the Latin version, it was reprinted several times, in different places, with engravings on copper copied from those of Robert Estienne's edition.

II. ENTRÉE DE HENRI II À PARIS.

Quarto; Paris, Jacques Roffet, called 'Le Faulcheur,' 1549.

This book, of 38 leaves, consists of two parts: the 'Entrée du roi,' of 28 leaves, and the 'Entrée de la reine,' in which the pagination is repeated, but with different signatures. The privilege, dated Chantilly the last day of March, 1548 (1549 new style), grants to Roffet the sole right to have printed and to offer for sale during one year 'the treatise which is to be written concerning the recent, joyful entrée,' etc.

There were two editions of this book, or, at all events, there are some copies with additions to the second part—after folio 34. There are also copies with the imprint of Jean Dallier. A list of the engravings follows:

1. A portico, above which we see Hercules holding, bound together by the ears (by means of a chain issuing from his mouth and representing eloquence), a wood-chopper, a soldier, a priest, and a noble (folio 4). I can find no mark on this piece, but it is a reproduction of the Gallic Hercules of 'Champ fleury.'

2. A fountain (folio 5 verso).

3. A triumphal arch surmounted by the arms of France (folio 9).

4. An obelisk on a rhinoceros (folio 11). The cross is under the left foot of the rhinoceros.

5. A peristyle with pillars (folio 13).

6. A triumphal arch surmounted by three nude men, one of whom holds a standard (folio 15).

7. A large vaulted hall, on the ceiling of which are H's and D's (folio 16). The cross is in a portico at the left.

8. A mounted man, armed (folio 19). The cross is in the horse's harness, on the breastplate, a little below his mouth.

9. A triumphal arch, with two pillars (one on each side) surmounted by a man on horseback (folio 38). The cross is on the left-hand pillar.

10. A portico with two openings, separated by a pillar against which rests the statue of a woman standing on books (folio 39 verso).

11. A large plate, representing the façade of a palace with three porticos (folio 40).

Of these eleven plates only four are signed; but all of them must have come from Tory's workshop, for the style is the same. The absence of the signature may be explained by the haste with which the engravings were executed in order that they might appear at the opportune moment.

I cannot refrain from quoting M. Renouvier's remarks on the engravings in this book, which, for lack of information, he attributed to Jean Cousin.

'I will, however, mention in this place the "Entrée de Henri II à Paris" in 1549, because it is the chef-d'œuvre of French wood-engraving, and because I know of no one to whom it can with more reason be attributed than to the Sénonais master.[397] If he did not work for the court, he may very well have been employed upon works for the city. Those which were executed to commemorate the coronation of Queen Catherine de Medici are of a manner of composition and a style that belong only to him. The Gallic Hercules, made in the likeness of the late King François I, with the four estates of the realm chained to his mouth; the fountain surmounted by statues of the Seine, the Marne, and Good Fortune; the triumphal arch bearing a Typhis, whose face strongly resembles that of the "rex triumphans"; and, lastly, the figure of Lutetia nova Pandora "clad as a nymph, with her hair falling over her shoulders and drawn about her face, kneeling on one knee with wondrous grace"; and all the other details which the artist painted, as happening in the streets through which the procession passed, and which he included by way of narrative, are in the refined manner of the French school. The drawing is pure and full of delicacy, and the engraving so skilfully handled that one cannot believe it to be by a different hand. It would seem that none but a sculptor could, within such narrow limits, have set in relief those interesting faces, designed those graceful figures, and arranged those draperies; and that sculptor—who could it have been if not the author of the mausoleum of Admiral Chabot, the French artist who best represented the two sides of art,—detail and strength, compression and grandeur, gothicism and the Renaissance?'[398]

While agreeing with M. Renouvier that these plates were drawn by Jean Cousin, we may well, it seems to me, attribute the engraving of them to Tory's workshop.

III. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ, AD USUM ROMANUM. (Here a small mark of the printer Chaudière, representing Time, with this device, printed from type, occupying three sides of the engraving: 'Hanc aciem | sola | retvndit virtvs.') 'Parisiis, ex officina Reginaldi Calderii et Claudii ejus filii.' 1549.

Large quarto, divided into signatures of two sheets, a to y (the k, probably because that letter was lacking in the font used, is represented by an l and a z joined together), or 22 signatures of 8 leaves, making 176 leaves; printed in red and black.

This volume corresponds in all respects with the one issued by Simon de Colines in 1543 [399]; but the Chaudières (Simon de Colines's successors) have removed a French inscription which appeared below the third plate (the Angelic Salutation) in the edition of 1543; and they have removed all the dates inscribed in the borders of that edition. These dates are: 1536, which appeared in large figures in a cartouche at the foot of the border of folio b 4 of the edition of 1543; 1537, in a cartouche at the foot of the sixth plate (the Annunciation to the Shepherds); and 1539, in two small cartouches at the top of the border of folio a 2; so that all the cartouches are empty in this edition of 1549.

I know of only two copies of this edition, one belonging to M. Kühnholtz, the learned librarian of the Faculty of Medicine of Montpellier, the other offered for sale at Claudin's bookshop in 1860. This last copy, in a state of perfect preservation, is still in its original binding, with S's barré, and small tortoises (tortues) in wreaths of olive. These are the allusive [400] arms of the Tourteron family near Attigny. There is also, on one of the fly-leaves at the front of the book, a large tortoise coloured from life, on a red ground, in a green olive wreath; and at the four corners a monogram of an I and two G's, the initials of the original owner's baptismal names. The volume afterwards belonged to J.-F. Corel du Clos, priest and canon, who wrote his name on the title-page and pasted his arms, engraved on copper, in an empty space at the foot of folio h 3 verso. Du Clos seems to have parted with it to the Cordeliers of Rheims, in whose library it remained doubtless until the Revolution.

IV. PREMIER VOLUME DES ANTIQUITÉS DE LA GAULE BELGIQUE, ROYAUME DE FRANCE, AUSTRASIE ET LORRAINE ... PAR M. RICHARD DE WASSEBOURG, ARCHIDIACRE DE L'ÉGLISE DE VERDUN ... ACHEVÉ D'IMPRIMER LE 13 NOVEMBRE 1549.

A large folio of more than 600 leaves, printed at Paris by François Girault. The privilege, in the name of Sertenas, bookseller, is dated October 1, 1549. It was issued evidently while the printing was in progress, for it is impossible that the volume was made in a month and a half.

On the first page is the fine frontispiece of the Dream of Poliphilus, above which is the mark of Jacques Kerver. There is but one way to explain this fact, and that is to assume that Kerver was the printer of the book. It may be that there are copies in his name. In that case he may have furnished the border, which was left in all the copies.

On the second leaf is the representation of the 'Ymage de nostre Dame de Verdun,' with the Lorraine cross. The Virgin, seated, has in her right hand a flower, and in the left the Child Jesus, holding in his left hand the globe surmounted by a cross. The Virgin's feet rest on a winged dragon. Below her is a man kneeling, with his coat-of-arms before him. Presumably it is the author of the book.

After folio cccli, which concludes the first volume, comes the second volume, the pagination of which follows on. The title-page of this volume, while it is set in the border of the Poliphilus, differs slightly from that of the first. It reads thus: 'Second volume des antiquités de la Gaule Belgique et de plusieurs principautez contenues en icelle, extraites soubs les vies des evesques de Verdun, par M. Richard de Wassebourg.... On les vend à Paris, en la gallerie du Palais, par Vincent Sertenas, libraire audit lieu. Et aussi, se vend en la cité de Verdun.' On the verso is the engraving described above. The Lorraine cross is under the dragon's tail.

V. GERARD D'EUPHRATE.

Folio, roman type, Paris, Estienne Groulleau, 1549. There are copies also with the imprint of Longis, and others with that of Sertenas.

This volume contains numerous engravings, large and small; but only 31 of them are different, many being repeated once, twice, or thrice. Three are signed with the Lorraine cross, as follows:—

Folios 5 verso, 64 verso, 89 verso, and 183. Vessels manned by soldiers. A woman stands near the shield of him who seems to be in command.[401]

Folio 46. A knight armed cap-à-pie standing in the recess of a portico. His right foot is hidden by a sort of altar whereon are the names of Madanil, Bruneo, Agradiis, and Amadis.[402]

Folio 48. Bird's-eye view of a château which has been besieged, at whose gate stands a warrior accompanied by a horse and a dog; he is parleying with the keeper of the gate, who stands at the top of the entrance tower. This last plate is a superb folio.

1550

I. HORÆ IN LAUDEM, etc.

Hours of the Virgin according to the use of Rome, in Greek and Latin.

Small sixteenmo, Paris, Jean de Roigny, 1550. Printed in red and black. One of the engravings, on leaf 113, representing the Sacrifice of David, is signed with the Lorraine cross. The others are not signed, but are absolutely in the same style; they are: the Annunciation, folio 38 (repeated on 105), and the Resurrection of Lazarus, folio 133.[3]

II. BREVIARIUM AD RITUM DIOCESIS EDUENSIS.—Parisiis, apud Iolandam Bonhomme, viduam Thielmani Kerver, in via Jacobea, sub Unicorni.

Small octavo, 1550. On the first page are the arms of Cardinal Hippolyte d'Este, Bishop of Autun, signed with the Lorraine cross.[403]

III. L'HISTOIRE DE PRIMALEON DE GRECE, etc.

Translated by Vernassal. Folio, Paris, 1550.

This fine volume, printed by Pasquier Letellier for the bookseller Vincent Sertenas, for whom Tory had engraved a mark, contains fifty engravings in the text. A single one is signed with the Lorraine cross: it is found on folio 137 verso, and represents a lion fawning upon a woman who sits beside a fountain.

There are copies of this book in the names of other booksellers—Étienne Groulleau, Jean Longis, etc.; but the privilege is in the name of Sertenas.[404] At the end of the volume is a note to the reader by Letellier. 'Dear reader,' he says, 'if you have noticed, on reading this book, the common orthography changed in some words, even as to the double letter, which is not pronounced according to the true French method, think not that that is of my doing, but that it accords with the earnest recommendation of the author.'

IV. MISSALE SECUNDUM USUM CELEBRIS MONASTERII CLUNIACENSIS, etc. Here the vignette described below, followed by this imprint: 'Prostat Parisiis, apud Iolandam Bonhomme, in via Jacobea, sub Unicorni, ubi et impressum est.—Anno D. M. CCCCC. L.'

This missal is embellished, on the title-page, with a cut signed with the Lorraine cross, and representing Saint Peter and Saint Paul, patron saints of the Abbey of Cluny. This cut appears in other parts of the book, where we find also the two large cuts hitherto described (page 214) as included in the Missal of Paris, of 1539, published by order of Jean de Bellay. We find also a Saint John Baptist, with the Paschal Lamb under his left arm, and pointing to it with his right hand. This cut, which is signed in two different places, is on folio 49 of the second part. It is of quarto size.

The book is in two parts, paged separately. The two large engravings are on folios 116 and 117 of the first part. At the end of the Missal proper, which is followed by a few other leaves, are these words: 'Ex officina chalcographica matrone clarissime Iolande Bonhomme, vidue industrii viri Thielmanni Kerver, Parisiis, in via Jacobea, sub Unicorni, anno D. millesimo quingentesimo quinquagesimo, idib. septembris.'

There are several copies of this book in the Bibliothèque Nationale. In two of them the miniaturists have substituted for the date 1538, printed on one of the large cuts, the dates on which they coloured it—1559 and 1567, respectively. It is well to call attention to such details as these, which may give rise to mistakes.

We also find in the Cluny Missal the unsigned drawings to which I have previously referred [405] and which are in the Paris Missals of 1539 and 1559.

V. HEURES DE NOSTRE DAME À L'USAIGE DE ROMME [sic], EN LATIN ET EN FRANÇOYS, NOUVELLEMENT IMPRIMÉES À PARIS. (Here a vignette representing the Virgin under a portico; at the foot the letters F. R., initials of François Regnault, deceased husband of Madeleine Boursette.) 'A Paris, par Magdaleine Boursette, à l'enseigne de l'Elephant, à la rue Sainct Jacques.'

On the verso of the title-page a table of Easter-Days from 1550 to 1566.

Sixteenmo, in signatures of 8 leaves. The work is in two parts; the first has 168 numbered leaves, signatures A to X; the second part has only 32 leaves, signatures A to D. Roman type, double columns, printed in red and black. On the recto of folio 168 of the first part, at the foot, are these words: 'Parisiis excudebat Stephanus Mesviere in ædibus Vindocimis, ex adverso collegii Becodiani.—1550.' And on the last leaf of the second part: 'Cy finent ces presentes Heures a l'usaige de Romme, en latin et en françoys, nouvellement imprimées à Paris, par Estienne Mesviere, demourant a l'hostel de Vendosmes, devant le college de Boncourd.—M. D. L.'

This precious book, of which I know of but one copy, owned by M. Silvestre, author of 'Les Marques Typographiques,' contains many engravings. The principal ones are:

Folio	5 recto, Saint John writing his Gospel (signed).
	12 recto, Jesus at prayer in the Garden of Olives.
	33 recto, The Angelic Salutation (signed).
	47 verso, The Visitation (signed).
	56 verso, The Nativity of Jesus (signed).
	60 recto, The Annunciation to the Shepherds (signed).
	63 verso, The Adoration of the Magi (signed).
	67 recto, The Presentation in the Temple (signed).
	70 verso, The Flight into Egypt (signed).
	77 recto, The Coronation of the Virgin.
	89 recto, Jesus on the Cross.
	93 verso, The Descent of the Holy Ghost (signed).
	97 verso, The Penance of David (signed).
	109 verso, Job on the Dunghill.
	168 verso, Death (signed).

VI. HORÆ IN LAUDEM BEATISSIME VIRGINIS MARIE AD USUM ROMANUM.—Parisiis, apud Thielmannum Kerver. M. D. L.

On the verso of the last leaf: 'Excudebat Parisiis, Thielmannus Kerver, in vico sancti Iacobi, sub signo Cratis.—M. D. L.'

Small octavo of 172 unnumbered leaves; signatures A to X of 8 leaves and Y of 4. Roman type, printed in red and black, with the small borders with birds, etc., used by Mallard in his Hours of 1541.[406]

1551

I. DE SACRIS ECCLESIÆ MINISTERIIS AC BEN[E]FICIIS LIBRI VIII ... AUTHORE FRANCISCO DUARENO JURECONSULTO ET ORDINARIO JURIS CIVILIS DOCTORE IN CIVITATE BITURIG[I].—Lutetiæ, ex typographia Matthæi Davidis, via Amygdalina, ad Veritatis insigne.—1551.

Quarto of 338 leaves, plus one unnumbered leaf, on which are the words: 'Parisiis, excudebat Matthæus David, prid. calend. nov. [October 31] 1551.

On the title-page is David's mark, with the Lorraine cross. On the verso, a portrait of Le Duaren, in the shape of a medallion, also signed with the Lorraine cross. Encircling it, the legend: 'francisc. dvarenvs. jvrisc.[407]

The work opens with an epistle to Marguerite, Duchesse de Berry, and sister of François I. This letter, dated Paris, the Ides of June, 1550, is more properly a dedication, for in it Le Duaren mentions the death of Marguerite, which took place in 1549. He tells us, further, in the title of this epistle, that it was written before his return to Bourges, which he had been obliged to leave in 1547, as the result of a love-affair ('antequam Lutetia Parisiorum Avaricum Biturigum migrasset').[408]

II. CICERO'S WORKS (in Latin), published by Charles Estienne, from 1551 to 1555, in four folio volumes, usually bound in two.

This important work is embellished with a frieze engraved for Robert Estienne, and signed with the Lorraine cross,—a frieze which appears in the second volume of the works of Eusebius of 1544.[409] We also find therein several floriated letters signed with the Lorraine cross.[410] These are the E, the O, and the S of the medium alphabet,—for there are three alphabets of different sizes, all three formed by Renaissance arabesques. The largest is the one used in the folio Eusebius of 1544, which, consequently, was engraved for Robert Estienne; but it has no signature. The medium alphabet was, doubtless, engraved for Charles Estienne in this same year 1551, in which he began to conduct a printing-office. I cannot say whether any other letters of this medium alphabet bore the Lorraine cross, for they do not all appear in the book, but I am sure that the G has none. Of course, after Tory died, the artists employed in the establishment carried on by his widow had no reason to select the G rather than another letter.

I give some details concerning this valuable edition, of which M. Didot owned a copy annotated by Henri Estienne. The text of the first volume, printed in 1551, as stated in an imprint at the end (dated the 3d of the Nones of September), exhibits one of the letters mentioned above—the S (on folios 56 and 298). This volume received later a large title-page dated 1555, and a dedication, to the Cardinal de Lorraine, also dated 1555 (the 6th of the Kalends of March), on which we find the frieze of the Eusebius of 1544, signed, and bearing on a medallion Fame distributing wreaths.[411] The text of the second volume, also of 1551, as I discovered from an incomplete copy in the library at Montbrison (it has no final imprint, but on the title-page some one has added III by hand to the original numerals M. D. LI, so that it might correspond with the other copies), contains the three floriated letters signed with the Lorraine cross (folios 47, 122, 230, 313, 388, 398); we find also, on the title-page, dated 1554, Charles Estienne's small mark described later.[412] The text of the third volume was probably printed in 1552, but it has no final imprint. The title-page is dated 1555; it has the small mark with the Lorraine cross. The fourth bears on the title-page the date 1554, but it was not finished until 1555, as is shown by the final imprint (3d of the Kalends of March, 1555); the vignette of the title-page is unlike that in the second and third volumes, although of the same size, and has not the cross. The work did not appear until 1555, as is shown by the date on the title-page of the first volume, on which there is another larger mark, also without the cross.[413]

1552

I. HEURES PARIS [sic], CONTENANT PLUSIEURS ORAISONS DEVOTES, EN FRANÇOIS ET EN LATIN ET CONFESSION GENERALE. (Here the mark of Thielman Kerver, with the Lorraine cross.) Imprimé à Paris par Thielman Kerver, demourant rue Sainct Jaques, à l'enseigne du Gril.—1552.

Duodecimo, red and black; signatures A to O. Tory's small border with decorations of birds. Plates of the Hours of 1541.[414]

II. TESTAMENTUM NOVUM.—ADDITIS PICTURIS IN EVANGELIA ET APOCALYPSIM, QUIBUS MIRACULA ET VISIONES ELEGANTISSIME EXPRIMUNTUR. (Mark of Madeleine Boursette, widow of François Regnault; Silvestre, no. 396.) 'Parisiis. Apud viduam Francisci Regnault, via Jacobæa.—1552.'

At the end of the volume: 'Parisiis. Excudebat Stephanus Mesviere, in ædibus Vindocimis, ex adverso collegii Becodiani.'—1552.

Thirty-twomo; 45 signatures (a to z, A to Y) of eight leaves each, or 360 leaves in all. Only the first 350 are numbered; the last 10, containing the index, are without folios. Printed in very small roman type.

This book contains 120 engravings inserted in the text, and serving thus 'to illustrate,' as we should say to-day, or 'to express,' as the publisher says on the title-page, the Gospels and the Apocalypse. Those relating to the Apocalypse, 22 in number, are of earlier date than the others, and by another hand. Of those which illustrate the Gospels, many are signed with the double cross. Although several of them relate to subjects previously treated in the octavo Hours of 1527 and the sixteenmo Hours of 1529, the engravings, while they are of nearly the same size, are different none the less. A list of their titles follows:—

Folio	2 recto, St. Matthew writing his Gospel.
	3 verso, Adoration of the Magi.
	4 verso, The Flight into Egypt (signed).
	5 recto, Massacre of the Innocents (signed).
	5 verso, Baptism of Jesus.
	6 verso, Jesus carried up into a Mountain (signed).
	8 recto, Jesus bids Simon and Andrew to follow Him (signed).
	12 recto, Jesus curing the Paralytic.
	13 verso, Jesus expelling the Money-changers from the Temple (signed).
	16 verso, St. John in Prison (signed).
	18 recto, The Apostles pardoned by Jesus.
	20 recto, Parable of the Sower.
	26 verso, Jesus teaching.
	27 verso, Jesus driving out the Devils (signed).
	30 recto, The Mother and Brothers of Jesus (signed).
	31 recto, Jesus and the Ass.
	31 verso, Jesus entering Jerusalem.
	32 recto, Jesus cursing the Fig-tree.
	33 recto, Parable of the Reapers (signed).
	33 verso, The Vine-Dresser slaying the only Son.
	36 recto, Jesus likens Himself to the Hen.
	37 recto, Jesus arguing with the Doctors (signed).
	39 recto, Parable of the Virgins (signed).
	41 verso, The Lord's Supper.
	47 verso, St. Mark writing his Gospel.
	50 recto, The Apostles pardoned by Jesus (as on p. 18).
	52 verso, One does not hide the Light under a Bushel (signed).
	53 recto, Jesus expelling the Devils, which enter into the Swine (signed).
	56 recto, St. John's head borne by Herodias.
	57 verso, Jesus walking on the Water (signed).
	59 recto, The deaf and dumb Man (signed).
	59 verso, The Miracle of the Loaves.
	60 verso, Jesus curing a blind Man (signed).
	63 verso, Jesus blessing the little Children.
	69 verso, The Magdalen pouring Spices.
	75 verso, St. Luke writing his Gospel.
	77 recto, The Annunciation (signed).
	77 verso, The Visitation (signed).
	79 recto, The Nativity (signed).
	79 verso, The Annunciation to the Shepherds (signed).
	80 verso, The Circumcision (signed).
	81 verso, Jesus among the Doctors (signed).
	82 recto, St. John Baptist preaching (signed).
	83 recto, The Tree not bringing forth Fruits.
	84 verso, Jesus explaining the Writings in the Temple (signed).
	85 verso, Cure of Simon's Mother-in-law (signed).
	87 recto, Cure of the Paralytic (signed).
	88 verso, Jesus effecting Cures.
	90 recto, Jesus curing the Widow's Son (signed).
	97 recto, Jesus sends his Apostles forth to preach the Gospel.
	98 recto, Jesus discoursing to his Disciples.
	98 verso, Parable of the Good Samaritan (signed).
	100 verso, Jesus instructing a Woman (signed).
	101 recto, Jesus dining with a Pharisee (signed).
	107 verso, Return of the Prodigal Son.
	108 verso, The Rich Man in Flames and Lazarus in Abraham's Bosom.
	110 recto, Cure of the ten Lepers (signed).
	111 verso, The Shepherd and the Pharisee.
	112 recto, The Parable of the Camel.
	112 verso, Nicodemus on the Tree.
	118 recto, The Lord's Supper (as on p. 41).
	118 verso, Jesus in the Garden of Olives.
	122 verso, The Disciples at Emmaus.
	124 recto, The Ascension.
	125 verso, St. John writing his Gospel.
	126 verso, The Trinity.
	128 recto, The Marriage at Cana.
	128 verso, Jesus expelling the Money-Changers.
	131 recto, The Woman of Samaria.
	132 verso, Jesus curing the Son of a Wood-sawyer (signed).
	133 verso, The Pool (signed).
	134 recto, Jesus answering the Doctors (signed).
	135 verso, same as on p. 59.[415]
	137 recto, The Withered Hand.
	140 recto, The Woman taken in Adultery (signed).
	142 recto, Jesus leaving the Temple.
	142 verso, Jesus curing the blind Man.
	145 recto, Jesus in flight.
	146 verso, Resurrection of Lazarus (signed).
	147 verso, The Priests deliberating as to putting Jesus to Death (signed).
	150 verso, The Lord's Supper (as on pp. 41 and 118).
	155 verso, St. Peter cutting off Malthus's Ear.
	156 recto, Jesus before Caiaphas.
	157 verso, Jesus before Pontius Pilate.
	158 recto, The Scourging.
	158 verso, The Crown of Thorns.
	159 recto, Jesus beneath the Cross.
	159 verso, Jesus Crucified.
	160 verso, Jesus Entombed.
	161 verso, The Women going to the Tomb.
	162 recto, The Women announcing the Resurrection to the Disciples (signed).
	162 verso, The Magdalen takes Jesus for the Gardener.
	163 recto, The Ascension (signed).
	312 verso, St. John writing.
	321 verso, St. John receiving the Revelation.
	323 recto, Alpha and Omega.
	326 verso, A Throne erected in Heaven.

Then follow the engravings of the Apocalypse, impossible to describe, and in an entirely different manner. At the end of the book is an engraving of the Christ on the Cross, surrounded by rays of light.

III. LE PREMIER LIVRE DE LA CHRONIQUE DU TRES VAILLANT ET REDOUTÉ DOM FLORES DE GRECE. Folio, Jean Longis, 1552.

There are many engravings in this book, but only one of them is signed with the Lorraine cross. That one is on folio 90 verso, and represents soldiers before a tower. It is reproduced in 'L'Histoire paladine,' folio, Étienne Groulleau, 1555, on folio 56 verso.

1553

Ronsard's 'LES AMOURS' annotated by Marc-Antoine Muret.

Octavo, printed by Maurice de la Porte's widow, 1553.[416] This edition of 'Les Amours' is embellished with a portrait of Muret, signed with the Lorraine cross, and bearing the inscription 'An. XXV,' which proves that it was engraved that same year, for Muret was born in 1526.[417] This portrait reappears, but without the inscription, in several other editions of Ronsard. I will mention particularly the quarto edition of his works, issued in 1567 by Gabriel Buon, successor to Maurice de la Porte's widow, and the folio issued in 1623 by Nicolas Buon, Gabriel's son.

1554

LES OBSERVATIONS DE PLUSIEURS SINGULARITEZ ET CHOSES MEMORABLES TROUVÉES EN GRECE. By Pierre Belon. Quarto, Paris, 1554.

There were two editions of this book, printed by Benoît Prevost, for Gilles Corrozet and Guillaume Cavellat, respectively, in 1553 and 1554. The copies in Corrozet's name bear his mark, signed with the Lorraine cross. There is a portrait of Belon signed with the cross at the end of the front matter in the edition of 1554. I have not seen it in any copy of the edition of 1553, which leads me to think that it had not then been engraved. And, in effect, the fact that the portrait attributes to Belon the age of thirty-six years seems to show that it was not drawn until 1554, as Belon is supposed to have been born in 1518. However that may be, the portrait appeared afterward in several other books by the same author, and particularly in his 'Histoire de la nature des oiseaux,' folio, 1555.

1555

HISTOIRE DE LA NATURE DES OISEAUX. By Pierre Belon. Folio, Paris, G. Corrozet, 1555.

In this book we find, in addition to the portrait of Belon, seven cuts of birds, signed with the Lorraine cross. They are: the osprey, folio 96; the sea-gull, 169; the bustard, 238; the pullet, 252; the loriot, 295; the woodpecker, 304; the sparrow-hawk, 376. Some of the other engravings in the volume are signed with a white cross on a black ground.

1556

I. LES SINGULARITEZ DE LA FRANCE ANTARCTIQUE, AUTREMENT NOMMÉE AMERIQUE, ET DE PLUSIEURS TERRES ET ISLES DECOUVERTES DE NOSTRE TEMPS. Par F. André Thevet, natif d'Angoulesme.—A Paris, chez les héritiers de Maurice de la Porte, au clos Bruneau, à l'enseigne S. Claude.—1558.

This rare and curious volume is a quarto of 8 preliminary leaves, 166 leaves of text, and 2 of index unnumbered,—in all, 46 signatures. The privilege, which is printed on the verso of the title-page, is dated Saint-Germain-en-Laye, December 18, 1556. In the dedication, addressed to the Cardinal of Sens, Jean Bertrand, first Keeper of the Seals of France, Thevet says that the country described by him maybe called the fourth part of the world, 'for that no one has as yet made explorations there, all geographers thinking that the world is limited to that which the ancients have described to us.'

There are 41 engravings in the text, not including borders, floriated letters, and Jean Bertrand's arms on the title-page. Of the 41, only seven are signed with the double cross; four of these represent scenes in the life of the American savage,—they are on folios 6 verso, 31 recto, 47 verso, and 151 recto; a fifth represents an extraordinary bird called pa (45 recto); and the other two, plants,—the pineapple (89 verso), and the cassava (113 verso). The last three appear in André Thevet's 'Cosmographie Universelle,' published in 1575, in two volumes, folio.[418] The others also appear in that work, but reëngraved on a larger scale, and without signature.

The seven engravings signed with the double cross cannot have been executed prior to 1556. For Thevet set out for the New World on November 4, 1555,[419] and remained there four months. So that it was not until the early months of 1556, at the earliest, that the engravings could have been executed. But, as the book did not appear until the beginning of 1558,[420] it may be that they were still in process of execution in 1557.

In the same year with the publication of Thevet's 'Singularités,' an octavo edition appeared at Antwerp, with the imprint of Christophe Plantin, and a privilege from the King of Spain, dated Brussels, April 20, 1558. The haste with which this reprint was prepared shows the interest with which the book was regarded. The woodcuts of the Antwerp edition are nothing more than wretched copies of those in the Paris edition. We find among them, however, in chapters 56, 58, 67, and 74, cuts of animals bearing the cipher of Jost Amman.

II. HORÆ IN LAUDEM BEATISSIMÆ VIRGINIS MARIÆ AD USUM ROMANUM. (Here the mark of T. Kerver, without the cross.) Parisiis, apud Thielman Kerver, in via sancti Jacobi, sub signo Cratis.

Duodecimo, 1556. Signatures A to M, and A to C vi. Border decorated with birds, with the small engravings of 1529. M. Niel owns a copy of this book bound with Tory's toolings. It has the Pot Cassé on the edges. Another copy, belonging to M. Portalis, is bound with the prayers (in French) described on page 219.

1557

I. LES FIGURES ET PORTRAICTS DES PARTIES DU CORPS HUMAIN.—A Paris, par Jaques Kerver, rue S. Jaques, aux deux cochetz.—1557.

Folio, containing 61 large anatomical plates, several of which are signed with the Lorraine cross, and dated 1531, 1532, or 1533. This collection was reprinted in the same form, by the same publisher, in 1575.[421]

II. LES QUATRE LIVRES D'ALBERT DURER, PEINTRE ET GEOMETRIEN EXCELLENT, DE LA PROPORTION DES PARTIES ET POURTRAITZ DES CORPS HUMAINS, TRADUITS PAR LOYS MEIGRET, LIONNOIS, DE LANGUE LATINE EN FRANÇOISE.

Folio; Paris, chez Charles Perier, at the sign of the Bellerophon,[422] 1557.

In the same year Perier published an edition of Durer's work in Latin, similar in every respect to the French edition. It is entitled 'De Symetria partium humanorum corporum.' I am unable to say which was printed first.

1559

PSALTERIUM DAVIDICUM GRÆCOLATINUM.... Parisiis, apud Ægidium Gorbinum, sub insigne Spei, prope collegium Cameracense.—1559.

On the last leaf: 'Parisiis, excudebat Benedictus Prævotius, ad Stellam Auream, via Frumentello.'

Twenty-fourmo of 278 numbered leaves of text, and 20 unnumbered preliminary leaves; printed in red and black.

This little volume, printed in Greek and Latin, two columns on a page, was called to my attention by M. Lornier, barrister, of Rouen. Opposite the first page of text is a small engraving, signed with the Lorraine cross, representing the penance of David. David is on his knees, with a book before him and his harp at his right hand; he is gazing at God the Father, who is seen in the sky blessing him. Doubtless this engraving appears in other books of earlier date. It is 73 millimetres high by 55 wide.