THE BOOK OF COMMON PRAYER

We know very little about the preparation of the book. An Act, dated January 22, 1549, entitled "An Act for uniformity of Service and Administration of the Sacraments throughout the Realm" speaks of the commissioners who had been appointed, and had first met at Windsor in May, 1548, as follows: "Whereof His Highness by the most prudent advice ... to the intent a uniform, quiet, and godly order should be had concerning the premisses, hath appointed the Archbishop of Canterbury, and certain of the most learned and discreet Bishops, and other learned men of this realm to consider and ponder the premisses." The same Act goes on to say "the which at this time by the aid of the Holy Ghost, with one uniform agreement is of them concluded, set forth and delivered to his highness, to his great comfort and quietness of mind, in a book entituled,—

"The Book of Common Prayer, and Administration of the Sacraments, and other rites and Ceremonies of the Church, after the Use of the Church of England."

Richard Grafton, the printer of our copy, was originally a prosperous London merchant. His zeal for religion led him to associate himself with Edward Whitchurch, another merchant, in causing Matthews's Bible to be translated and printed in 1537, in publishing the Coverdale Bible of 1535, and again in printing the Cranmer Bible of 1540. He turned printer eventually, and his books are counted among the best specimens of the book-making of the period. He and his friend, who also became a typographer, received a patent from Henry VIII in 1543 for printing "bookes of diuine service, that is to say, the masse booke, the graill, the antyphoner, the himptnell, the portous, and the prymer, both in Latyn and in Englyshe of Sarum use," all of which had formerly been printed abroad. In 1546, Grafton was appointed printer to Prince Edward, afterward Edward VI, and in 1547 printer to the King. When the Prayer Book came to be put to press there was therefore no question of who should be chosen to do the work.

Ames says that Grafton and Whitchurch continued friends and partners for many years, but it is a fact, as Dibdin points out, that while up to 1541 their names appear together upon title-pages, after that date there are usually two issues of each work, part having Grafton's name in the imprint, and part Whitchurch's. This is true of the Cranmer Bible, and the same thing is found in connection with the Prayer Book. It is not known whether the separation is due to some economic arrangement agreeable to both printers, or whether they may have quarreled. To the names of these two printers of the first edition, however, should be added another, that of John Oswen of Worcester, formerly of Ipswich, who by virtue of a license from Edward VI was printer of "every kind of book, or books, set forth by us, concerning the service to be used in churches, ministration of the sacraments, and instruction of our subjects of the Principality of Wales, and marches thereunto belonging ... for seven years, prohibiting all other persons whatsoever from printing the same."

All issues of this edition differ more or less in general style and appearance. The most marked dissimilarity in the volumes issued by the London printers lies in the special woodcut title-page used by each. Grafton's beautiful border (repeated for "A Table" and "Kalendar") shows, above a Doric frieze supported by pilasters, a view of the Council Chamber with King Edward, surrounded by his advisers, and at the bottom the printer's punning mark, on a shield upheld by two angels. It is as fine a piece of work as anything of the period. Grafton afterward used the same border for his edition of A Concordance of the Bible, printed in 1550. The Whitchurch copies have a woodcut border very similar in character to those in use twenty years later, which have the appearance of being related to some of the borders drawn for Plantin. This border consists of caryatids representing Roman soldiers with shields, supporting the royal coat-of-arms, and below, satyrs and loves with another coat-of-arms in a cartouche, and the initial E in a tablet on one side, and W on the other.

The earliest known copy printed by Oswen, a quarto, has a colophon which reads:

At Worceter by

| Jhon Oſwen.

They be also to ſell at Shreweſburye. | (Imprinted the xxiiii. day of May. | Anno. M.D.XLIV. The title is framed by a border made up of five woodcut panels, carelessly arranged; and some of the initial letters are ornamented.

Another copy, dated July 30, is in folio. The title-page is here bordered with ten woodcuts, having between the inner and outer sets the rubricated text: "Let euerye soule submyt hym ſelfe unto the aucthorite of the higher powers. For there is no power but of God. The powers that be, are ordained of God whoſoeuer therefore reſiſteth power: reſiſteth the ordinance of God. Rom. XIVI." A royal coat-of-arms, which in the quarto was placed before the order of Matins, here heads the title, printed in red. Every other line following is also rubricated. In Grafton's copy the "Te Deum Laudamus," "The Song of Zacharias," and "The Letany," occur at the end of the book but are not in the table of Contents.

The statement made in the Act that the work had been concluded, set forth, and delivered, must apply, it is thought, to the manuscript, since no printed copy is known dated earlier than March. A copy printed by Whitchurch has the date March 7, 1549, and another by Grafton is dated the eighth; other copies are dated in May, June and July. The book was used in the London churches on Easter Day, April 21, 1549, and was ordered, as we have seen, to be used in all churches after the Feast of Pentecost, which fell upon June 9 in 1549.

From the requirements of its use, we may infer that the edition must have been a large one. We are sure of the price of the volume from the following note, added at the end of the book: "The Kynges Maieſtie, by the aduyſe of his moſte deare vncle the Lorde Protector and other his highnes Counſell, ſtreightly chargeth and commaundeth, that no maner of perſon do ſell this preſent booke vnbounde, aboue the price of .ii. Shyllynges the piece. And the ſame bounde in paſte or in boordes, not aboue the price of three ſhylleynges and foure pence the piece. God ſaue the Kyng." The price differs in different volumes. A copy of Oswen's May 24th issue sets the price at two shillings and twopence for unbound copies, and three shillings eightpence for bound copies.

Folio. Black letter and Roman.

Collation: 183 leaves, including title-page. Sig. A-Y, AA-f.

WILLIAM LANGLAND
(1330?-1400?)

Imprinted at London by Roberte | Crowley, dwellyng in Elye rentes | in Holburne. The year of | Our Lord M.D.L.

Before appearing with this work as a publisher, Robert Crowley was by no means unknown to the reading world as a writer; nor was it probably a mere printer's venture that led him to select such a work as this for publication, but sympathy with the tendency of the book itself. He had been educated at Oxford, and received early the strong bent toward the doctrines of the Reformation which prompted the writing of his first three books, whose titles indicate something of his leaning in the religious controversies of the day: The Confutation of the miſhapen Aunſwer to the miſnamed, wicked Ballade, called the Abuſe of y^e bleſſed ſacramēt of the aultare ... that Myles Hoggard ... hath wreſted.... Compiled by Robert Crowley. Anno. 1548; The confutation of .xiii Articles, wherunto Nicolas Shaxton ... ſubſcribed and ... recanted ... at the burning of ... Anne Aſkue, in [1548] and An informacion and Peticion agaynſt the oppreſſours of the Pore Commons of this Realme, in [1548]. We may picture to ourselves with what relish so controversial and partisan a soul must have prepared for the press, and then watched through it, what Ellis calls "the keenest ridicule of the vices of all orders of men, and particularly of the religious."

Crowley's career as a printer was only an incident in a life devoted to championing the new doctrines of Protestantism. The three books mentioned were printed by Day and Sere; and Herbert thinks that it may have been in their office that our printer-writer learned the trade which he followed for three years only. Considering the fact that his press was situated in Ely Rents, where William Sere also dated his books in 1548, and thereabouts, this seems very probable. But from Crowley's use of the excellently designed and really charming woodcut border with Edward Whitechurch's cipher at the bottom and his symbol of the sun at the top, we may almost infer that he was on equally familiar relations with that printer, established at The Sun, over against the Conduit. We may add that William Copeland of The Rose Garland also used, at a later date, a similar compartment in several of his books.

One might expect Crowley, serious and scholarly in his tastes, to be a careful editor; and his researches to find his author's name, as revealed in "The Printer to the Reader," prove that he was such an one, even if, for some reason or other, he did not choose to place the name upon the title-page. He says:

"Beynge deſyerous to knowe the name of the Autoure of this moſt worthy worke, (gentle reader) and the tyme of the writynge of the ſame: I did not onely gather togyther ſuche aunciente copies as I could come by, but alſo conſult ſuch mē as I knew to be more exerciſed in the ſtudie of antiquities, than I myselfe haue ben. And by ſome of them I haue learned that the Autour was named Roberte langelande, a Shropshere man borne in Cleybirie, aboute .viii. myles from Maluerne hilles.... So that this I may be bold to reporte, that it was fyrſte made and wrytten after the yeare of our lord .M.iii.C.L. and before the yere ,M,iiiiC, and .ix which meane ſpaſe was .lix yeares. We may iuſtly cōiect therfore, y^t it was firſte written about two hundred yeres paſte, in the tyme of Kynge Edwarde the thyrde...."

The year after The Vision was published our printer was ordained a deacon, and, later, made vicar of St. Giles, Cripplegate, where he preached and wrote until his death. He published no less than twenty-two volumes, eight of which he printed himself, thus taking his place, along with Caxton, at the head of the list of printer-authors which includes such names as Wolfe, Baldwin, Richardson and Morris.

Dibdin calls the vellum copy of The Vision which belonged to Earl Spencer unique, but the copy here collated would deprive it of that distinction, even if there were not another in the British Museum.

A comparison of several copies of the book reveals the fact that in most of them the date on the title-page has been written in to correct the printer's error.

There were three other impressions issued during 1550, two of them said to be "nowe the ſeconde tyme imprinted," and the third with the printer's name spelled "Crowlye" on the title-page. Rev. W. W. Skeat in his edition of The Vision says:

"But all three impressions are much alike. The chief differences are, that the two later impressions have many more marginal notes, a few additional lines, and also 6 additional leaves between the printer's preface and the poem itself, containing a brief argument or abstract of the prologue and of each of the Passus. The first impression is the most correct; also the third impression is much less correct than the second, and considerably inferior to it."

Quarto. Black letter.

Collation:

, two leaves; A-GgI, in fours. Folioed.

RAPHAEL HOLINSHED or HOLLINGSHEAD
(d. 1580?)

The first edition is known as the Shakespeare edition, because it was used by the great poet, in common with all the Elizabethan dramatists, in the preparation of his historical plays.

That Holinshed used the adjective faithfully in its true sense may be seen by a reference to the dedication of the book to Sir William Cecil, Baron of Burleigh, whose coat-of-arms appears on the back of the title-page. Here he gives an interesting account of the inception and fortunes of the work, with an incidental side-light upon the relations of printer and professional writer:

"Where as therefore, that worthie Citizen Reginald Wolfe late Printer to the Queenes Maiestie, a man well knowen and beholden to your Honour, meant in his life time to publiſh an vniuerſall Coſmographie of the whole worlde, and therewith alſo certaine perticular Histories of euery knowen nation, amongſt other whome he purpoſed to vſe for performance of his entent in that behalfe, he procured me to take in hande the collection of thoſe Histories, and hauing proceeded ſo far in the ſame, as little wanted to the accompliſhment of that long promiſed worke, it pleased God to call him to his mercie, after .xxv yeares trauell ſpent therein, so that by his vntimely deceaſſe, no hope remayned to ſee that performed, which we had so long trauayled aboute: thoſe yet whom he left in trust to diſpoſe his things after his departure hence, wiſhing to the benefite of others, that ſome fruite might follow of that whereabout he had imployed ſo long time, willed me to continue mine endeuour for their furtherance in the ſame, whiche although I was ready to do, ſo farre as mine abilitie would reach, and the rather to anſwere that trust which the deceaſſed repoſed in me, to ſee it brought to ſome perfection: yet when the volume grewe ſo great, as they that were to defray the charges for the Impreſsion, were not willing to go through with the whole, they reſolued first to publiſhe the Histories of Englande, Scotlande, and Irelande, with their deſcriptions, whiche deſriptions, becauſe they were not in ſuch readineſſe, as thoſe of forreyn countreys, they were enforced to uſe the helpe of other better able to do it than I."

Reginald Wolfe, so well known and highly esteemed, was a German by birth, and trained in his craft in the office of the Strasburg master Conrad Neobarius, whose device of The Brazen Serpent he afterward adopted. Edward VI appointed Wolfe royal printer in Latin, Greek, and Hebrew, as well as bookseller and stationer, with an annuity of 26s. 8d.

We find the names of his executors and the chief promoters of the history in the entry on the Registers of the Stationers' Company, under date of July 1, 1578: "Receyued of master harrison and master Bisshop for the licensinge of Raphaels Hollingshedes cronycles XX^s and a copy," which, by the way, Mr. Arber remarks to be the largest fee he had met with. Some copies bear the imprint of one, some of the other; and there are still others with the names of John Harrison (there were four publishers of this name), Lucas Harrison and John Hunne, who were also probably among them "that were to defray the charges for the impression."

No printer's name appears in either volume, but the figure of a mermaid upon the title-pages, and a larger mark of two hands holding a serpent upon a crutch at the end of the first volume, show it to have been from the press of Reginald Wolfe's apprentice and successor, Henry Bynneman of The Mermaid, in Knight Rider Street. Boy and man knowing his master's hopes and fears for his Universal Cosmographie, acquainted with the long travail put upon it, and so properly desirous, like the rest, to see some fruit born of it, who could have done the work so well and faithfully as he?

In the preface to the second volume we are told that it was intended to bring out the histories of England, Scotland, and Ireland, with their descriptions, in one volume, and the descriptions and abridgements of the histories of other countries in another; but that the chronicles of England growing very voluminous it was deemed best to defer printing the histories of the other countries, and to divide the material on hand into two volumes. Here, however, a new difficulty presented itself; the history of England after the Conquest was found to equal in length all the other matter, and, if allowed to follow after the early history of the Island, in its proper order, would make the volumes very unequal in size; so it was given a volume by itself, with the pagination continuing that of the English history in the first volume. The other histories have separate title-pages, paginations, and indexes.

The book is illustrated with woodcuts in two distinct varieties, one, representing the heads of kings, the other, spirited scenes in the history. The last are of a better character than most of those of the period, and show very clearly the influence that Holbein, who had died in London twenty-four years before, had exerted upon English book-illustration. Some of the cuts are repeated. The elaborate woodcut border in the contemporary German style was used by the printer in several other books, before and after this date. A large, well-designed initial C, with a coat-of-arms in the center, printed from a separate block ("mortised"), begins the dedication to Lord Burleigh; and a large I, with a picture of the Creation, probably designed for the first page of a Bible, begins the preface, and The History of Scotland. This last is the largest initial letter, Mr. Pollard says, that he has found in an English book. It had previously been used by Wolfe, in 1563. An initial letter, representing an astronomer (Ptolemy?), is prefixed to The History of Ireland. It is signed with a C having a small I within it. Other initials of a similar character had been used before by John Day, in Cunningham's Cosmographical Years, published in 1559. A royal coat-of-arms begins the Chronicle of the reign of Queen Elizabeth; and in the second volume, at page 1868, is a folded woodcut of the "ſiege and wynning of Edinburg Caſtell. Anno. 1573." It is signed C T Tyrell.

Folio. Two volumes. Black letter and Roman. Double columns. Woodcuts.

Collation: ¶, six leaves;

, two leaves; A-P, in eights; Q, six leaves; r, one leaf; a-s, in eights; t, one leaf; A and (*b*), two leaves each; *a* and *b*, six leaves each; A-Z and Aa-Ii, in eights; Kk, four leaves; Ll and Mm, six leaves each; one leaf;

, two leaves; A-C, in eights; D, four leaves; and A (repeated)-D, in eights; E, five leaves; F and G, eight leaves each; H, six leaves; I, two leaves.

Volume II: ¶, two leaves; t, seven leaves; u-z, A-Z, Aa-Zz, Aaa-Zzz, and Aaaa-Dddd, in eights; Eeee, nine leaves; Ffff-Yyyy, in eights; Zzzz, two leaves; A-M, in fours; N, two leaves; ( ), two leaves.

WILLIAM BALDWIN
(fl. 1547),
THOMAS SACKVILLE,
FIRST EARL OF DORSET
(1536-1608), AND OTHERS

The Epistle "To the nobilitye and all other in office" is signed by William Baldwin, who was at one time a corrector of the press to Edward Whitechurch, and later something of a printer himself. He printed with his own hands, using Whitechurch's types and the Garland border, his work entitled

The Canticles or Balades of Salomon phraſelyke declared in Englyſh Metres. Imprinted at London by William Baldwin, ſeruant with Edwarde Whitechurche. It was he who edited and saw this work through the press. He says of it:

"The wurke was begun and parte of it prynted in Queene Maries tyme, but hyndered by the Lorde Chauncellour that then was, nevertheles, through the meanes of my lord Stafford, the fyrst parte was licenced, and imprynted the fyrſt yeare of the raygne of this our moſt noble and vertuous Queene, and dedicate then to your honours with this Preface. Since whych time, although I have bene called to an other trade of lyfe, yet my good Lorde Stafforde hath not ceaſſed to call upon me, to publyſhe ſo much as I had gottẽ at other mens hands, ſo that through his Lordſhyppes earneſt meanes, I have nowe alſo ſet furth an other parte, conteynyng as little of myne owne, as the fyrst part doth of other mens," and he expressed the hope that if these prove acceptable, encouragement may be given to "wurthy wittes to enterpryſe and performe the reſt."

After the abortive attempt of Wayland to print the book, under the title A memorial of suche Princes, as since the tyme of King Richarde the seconde, haue beene unfortunate in the Realme of England. In ædibus Johannis Waylandi: Londini [1555?], the first part referred to was printed by Marshe in 1559. It contained nineteen legends (although twenty are mentioned in the table of contents), fourteen of which were by Baldwin, and the others by Ferrers, Churchyard, Phaer, and Skelton. Of these helpers, Baldwin says in the Epistle: "Whan I firſt tooke it in hand, I had the helpe of many graunted, & offred of ſum, but of few perfourmed, skarſe of any: So that wher I entended to haue contriued it to Quene Maries time, I haue ben faine to end it much ſooner: yet ſo, that it may ſtande for a patarne, till the reſt be ready: which with Gods Grace—(if I may haue anye helpe) ſhall be ſhortly."

The idea of the work is usually said to have originated with Sackville, who, following Lydgate's Fall of Princes, planned it as a review of the illustrious and unfortunate characters in English history from the Conquest to the end of the fourteenth century. He is supposed to have turned the work over to Baldwin and the others, after writing an "Induction," and one legend, the life of Henry Stafford, Duke of Buckingham; but no good reason is given for the omission of these poems from the volume when it came to be printed in 1559. Baldwin's reason, already quoted, seems likely enough, and Lord Stafford's urgent entreaty, referred to, no doubt had the effect of causing both poems to be added to the edition issued now, where they appear as The Seconde Parte of the volume of 1559. The title-pages of the two editions are alike, except for the date and the imprint; this in the earlier edition reads: Londini, In ædibus Thomæ Marſhe. No reference is made to the additional part except in the Epistle. The new part has a separate index.

This new part contains only one poem by Baldwin; the others, besides Sackville's two, are by Dolman, Francis Segar, Churchyard, Ferrers, and Cavyl, eight in all. Besides the poems, there is "A proſe to the Reader, continued betwene the tragedies from the beginning of the booke to the ende," just as in the first part.

To the Earl of Dorset's legend "The complaynt of Henrye duke of Buckingham," is prefixed "The Induction," of which Baldwin speaks in the prose following Howe the Lord Hastynges was betrayed, as follows: "but fyrſt you shal heare his preface or Induction. Hath he made a preface (

one) what meaneth he thereby, ſeeing none hath uſed the like order. I wyl tell you the cauſe thereof (

I) which is thys: After that he underſtoode that some of the counſayle would not ſuffer the booke to be printed in ſuche order as we had agreed and determined, he propoſed with himſelfe to have gotten at my handes, al the tragedies that were before the duke of Buckinghams, Which he would have preſerued in one volume. And from that time backeward even to the time of William the conquerour, he determined to continue and perfect all the ſtory himſelfe, in ſuch order as Lydgate (folowing Bocchas) had already uſed. And therefore to make a meete induction into the matter, he deuiſed this poeſye:"

The woodcut border of four pieces with heads of Venus and Mars at the top had been used by John Byddell in Taverner's translation of the Bible in 1539, by James Nicholson of Southwark, in Coverdale's New Testament of 1538, and by Marsh for the edition of the Mirror in 1559. There are a few ornamental initial letters at the beginning of the book, notably one at the beginning of the Epistle, a large P, with figures of children. This belongs to a series of a children's alphabet attributed to Dürer, and first used by Cervicornus, a printer of Cologne.

Quarto. The second edition. Black letter.

Collation:

and A, four leaves each; B-N, in eights; O-U, in fours; X-Z and Aa-Bb, in eights; Cc, four leaves.

HENRY HOWARD,
EARL OF SURREY
(1517?-1547), AND OTHERS

Richard Tottel was licensed to print law-books, and his publications of that nature exhibit his best work; but this book, though not attractive in appearance, was his most popular venture. It was called "Tottel's miscellany," and it is fitting that his name should always be connected with it as a testimony to his energy and intelligence in producing a work so greatly to the "honor of the English tongue." We learn something of his energy in his desire to establish a paper-mill in England to compete with the French paper, then in general use; and his intelligence is evinced in the following extract from his address "To the reader":

"That to haue wel written in verſe, yea and in ſmal parcelles, deſerueth greate praiſe, the woorkes of diuers Latins, Italians, and other, do proue ſufficiently, that our tong is able in that kinde to do as praiſe woorthelye as the reſte, the honorable ſtile of the Earle of Surreye, and the weightineſſe of the deepe wytted Syr Thomas Wyat the elders verſe, withe ſeueral graces in ſundrie good English writers, doe ſhewe abundantlye. It reſteth now (gentle Reader) that thou thinke it not euill done to publiſh to the honour of the Engliſhe tongue and for profit of the ſtudious of English eloquence, thoſe woorkes which the ungentle horders up of ſuche treaſure haue hertofore enuied thee."

His confidence in the gentle reader was not misplaced, and he had the satisfaction of issuing six editions between 1557 and 1574. The first was printed at The Hand and Star, June 5, 1557, and is represented by one copy which is in the Bodleian Library; the British Museum and the Library of Trinity College, Cambridge, each owns a copy of a second edition, dated July 31, 1557; one copy exists of a third edition dated 1559; and there is a fourth edition dated 1565. The present edition agrees in its contents with the second, and is said to be the most correct of all.

This volume contains two hundred and eighty sonnets, of which the first forty-one (including one by an unknown author) are by Lord Howard. "S. T. VVyate the elder" is signed to the next group of ninety-six; and a collection of one hundred and thirty-three by "Vncertain auctours," follows. The collection ends with ten "Songs written by N. G." (Nicholas Grimald). Grimald had contributed forty to the first edition, which were cut down to the present number for the second edition.

Octavo. The fifth edition. Roman.

Collation: A-P, in eights.

THOMAS NORTON
(1532-1584)
AND
THOMAS SACKVILLE,
FIRST EARL OF DORSET
(1536-1608)

This play, drawn from Geoffrey of Monmouth's History of Britain, and telling the story of King Gorboduc's efforts to divide his realm between his sons Ferrex and Porrex, was the first tragedy written in English. Before this authorized edition, one unauthorized by the writers, though regularly licensed by the Government, had appeared in an octavo volume of thirty-six leaves, printed in black letter, with a title-page which reads as follows:

Day, in his introductory note to the present volume, entitled "The P to the Reader," explains very satisfactorily the reason for the new edition, but lets us only infer why he dropped the authors' names from the title-page. He says:

"Where this Tragedie was for furniture of part of the grand Chriſtmaſſe in the Inner Temple firſt written about nine yeares agoe by the right honourable Thomas now Lorde Buckherſt, and by T. Norton, and after ſhewed before her Maieſtie, and never intended by the authors therof to be publiſhed: yet one W. G. getting a copie therof at ſome youngmans hand that lacked a little money and much diſcretion, in the last great plage. an. 1565. about V. yeares paſt, while the ſaid Lord was out of England, and T. Norton farre out of London, and neither of them both made priuie, put it forth exceedingly corrupted."

Then, the worthy printer goes on to say in a very allegorical vein, that being so dishonored, her parents, the authors, very much displeased, gave her into his hands to be sent forth honorably; and he hopes she will be well received, else he will wish that she had tarried at home with him "for ſhe did neuer put me to more charge, but this one poore black gowne linèd with white that I haue now geuen her to goe abroad among you withall."

Quarto. The first authorized edition. Roman.

Collation: A-H3, in fours.

JOHN LYLY
(1553?-1606)

The work was licensed "under the hande of the bishopp of London" December 2, 1578, and was printed for Cawood by Thomas Eate, or East, the stationer, without a date, but probably in 1578. Many editions of the famous book have been issued; fifteen are known, dated between 1579 and 1636, but confusion exists chiefly over the first three.

Mr. C. Warwick Bond in his recent edition of The Complete Works of John Lyly, Oxford, 1902, brings forward evidence to prove that two undated copies of Euphues, one belonging to the British Museum and the other to Trinity College, Cambridge, are all that remain of the first edition, whose date of issue he sets at about Christmas time, 1578. A unique Trinity College copy without a date, he thinks was issued about midsummer of the next year; the famous Malone and Morley copies of 1579, he considers belong to a third edition, issued at Christmas; the edition dated 1580 would be fourth and the copy from which our facsimile was taken would belong to a fifth edition. Mr. Bond founds his supposition as to the seasons when the volumes appeared upon the following very interesting preface:

To the Gentlemen Readers.

"I Was driuen into a quandarie Gentlemen," says Lyly, "whether I might ſend this my Pamphlet to the Printer or to the pedler, I thought it too bad for the preſſe, & to good for the packe.... We commonly ſee the booke that at Eaſter lyeth bounde on the Stacioners ſtall, at Chriſtmaſſe to be broken in the Haberdaſhers ſhop, which ſith it is the order of proceeding, I am content this Summer to haue my dooinges read for a toye, that in Winter they may be readye for traſh.... Gentlemen vſe bookes as Gentlewomen handle theyr flowres, who in the morning ſticke thẽ in their heads, and at night strawe them at their heeles. Cheries be fulſome when they be through ripe, becauſe they be plentie, and bookes be ſtale when they be printed in that they be common. In my minde Printers & Tailers are chiefely bound to pray for Gentlemen, the one hath ſo much fantaſies to print, the other ſuch diuers faſhions to make, that the preſſing yron of the one is neuer out of the fyre, nor the printing preſſe of the other any tyme lieth ſtill...."

The address "To my verie good friends the Gentlemen Scholers of Oxford" first appeared with the second edition, to which Lyly made other additions, beside thoroughly revising the text.

The title-page is bordered with a band of type-metal ornaments. Among the initial letters are several of a series, each letter of which represents a child at play. A large tail-piece is repeated several times, and East's mark of a black horse with a white crescent on his shoulder, and the motto Mieulx vault mourir en vertu que vivre en Honcte, is here used for the first time. Some copies dated 1581 have Rowland Hall's mark but no printer's name.

Mr. Henry R. Plomer says of the book in an interesting article on our printer: "The preliminary matter is printed in a very regular fount of Roman, the text in his ordinary fount of Black Letter, and the whole book is distinguished for its clear, regular, and clean appearance."

On July 24, 1579, the stationer Cawood entered for license a second part of Euphues, which he had promised at the end of this volume in the following words:

"I Haue finiſhed the firſt part of Euphues whome now I lefte readye to croſſe the Seas to Englande, if the winde send him a ſhorte cutte you ſhall in the ſeconde part heare what newes he bringeth and I hope to haue him retourned within one Summer...."

Edward Blount, the stationer, who published Shakespeare's folio works, tells us in a preface to Lyly's Sixe Court Comedies, which he collected and William Stansby printed in 1632, of the sensation Euphues created when it appeared. "Our Nation," he wrote, "are in his (i.e. Lyly's) debt, for a new Engliſh which hee taught them. Euphues and his England began firſt, that language: All our Ladies were then his Scollers; And that Beautie in court, which could not Parley Euphueiſme, was as little regarded, as ſhee which, now there, ſpeakes not French."

Quarto. Black letter and Roman. The fifth edition.

Collation: A-Z, in fours.

SIR PHILIP SIDNEY
(1554-1586)

The Arcadia was begun in 1580, and when finished, probably before 1583, was circulated in manuscript copies amongst the author's friends. That he did not wish to have it printed is evident from his affectionate dedication to his sister, where he says:

"HEre now haue you (moſt deare, and moſt worthy to be moſt deare Lady) this idle worke of mine: which I fear (like the Spiders webbe) will be thought fitter to be ſwept away, than worn to any other purpoſe. For my part, in very trueth (as the cruell fathers among the Greekes, were woont to doo to the babes they would not foſter) I could well find in my harte, to caſt out in ſome deſert of forgetfulnes this child, which I am loath to father. But you deſired me to doo it, and your deſire, to my hart is an abſolute commandement. Now, it is done onelie for you, onely to you: if you keepe it to yourſelfe, or to ſuch friendes, who will weigh errors in the ballaunce of good will, I hope, for the fathers ſake, it will be pardoned, perchance made much of, though in itſelfe it haue deformities. For indeede, for ſeuerer eyes it is not, being but a trifle, and that triflinglie handled. Your deare ſelfe can best witnes the maner, being done in looſe ſheetes of paper, moſt of it in your preſence, the reſt, by ſheetes ſent vnto you, as faſt as they were done.... But his chiefe ſafetie ſhal be the not walking abroad; & his chiefe protection, the bearing the liuerye of your name; which (if much good will do not deceaue me) is worthy to be a ſanctuary for a greater offender."

And again later, when he lay dying, reflecting, as he did, that all things in his former life had "been vain, vain, vain," he requested that the Arcadia should be burned. But he counted without the public, who in the person of a publisher took steps to make it common property the very year of Sidney's death. We have this from a letter written to Sir Francis Walsingham, Sidney's father-in-law, by Sir Foulk Greville, first Lord Brooke, who in his self-written epitaph styled himself "servant to Queen Elizabeth, councillor to King James, and friend to Sir Philip Sidney":

"S^r, this day, one ponsonby, a booke-bynder in poles church-yard, came to me and told me that ther was one in hand to print S^r Philip Sydney's old arcadia, asking me yf it were done with your honors consent, or any other of his frendes? I told him, to my knowledge, no: then he aduysed me to give warninge of it, either to the archbishope or doctor Cosen, who haue, as he says, a copy to peruse to that end.

"S^r, I am loth to renew his memory unto you, but yeat in this I must presume; for I haue sent my lady, your daughter, at her request, a correction of that old one, don 4 or 5 years sinse, which he left in trust with me; wherof there is no more copies, and fitter to be reprinted than the first which is so common: notwithstanding, even that to how and why; so as in many respects, espetially the care of printing of it; so as to be don with more deliberation."

Ponsonby obtained a license to print the book, under the hand of the Archbishop of Canterbury, August 23, 1588, but not with the full consent and sympathy of the family, owing, we will hope, to a sentiment of proper respect for the poet's wishes. There was so much dissatisfaction with Ponsonby's "adventuring" that Collier thinks the book may have been called in or suppressed, a fact which would account for its great rarity. The hesitancy, however, seems to have been overcome in course of time, for the Countess herself edited the work for a later edition of Ponsonby's publishing.

No mark or name of a printer is given in our copy, and Collier, when he gave it as his opinion that Richard Field did the work, seemed to have been unaware of the existence of the variation in the imprint, which occurs in the copy belonging to Trinity College Library, Cambridge, London, Iohn Windet for william Ponsonbie. Probably several had a hand in the printing. Only a close examination of the few existing copies could show whether or not they were all issued at the same time. We shall never know by name the "overseer of the print," who assumed the responsibility of arranging the poem, as is told in a note on the verso of the title-page:

"The diuiſion and ſumming up of the Chapters was not of Sir Philip Sidneis dooing, but aduentured by the ouerſeer of the print, for the more eaſe of the Readers. He therfore ſubmits himſelfe to their judgement, and if his labour anſwere not the worthines of the booke, deſireth pardon for it. As alſo if any defect be found in the Eclogues, which although they were of Sir Phillip Sidneis writing, yet were not peruſed by him, but left till the worke had bene finiſhed, that then choiſe ſhould haue bene made, which ſhould haue bene taken, and in what manner brought in. At this time they haue bene choſen and diſposed as the ouer-ſeer thought beſt."

Whoever the overseer may have been, whether in the employment of Ponsonby, Windet, or Field, and however unfortunate the result of his literary judgment, he produced a book which for beauty may take its place with the best of the period. The Roman type and excellent press-work distinguish it amongst the mass of inferior productions. Large ornamental initial letters, more or less related, are used at the beginning of all the Books, while Book I begins with an especially fine allegorical woodcut initial representing a crowned Tudor rose, Justice with her foot on Medusa's head, and Peace. Head- and tail-pieces, some of type metal and some woodcuts, are used at the beginning of the Books to give added effect. At the end of the sixteenth chapter of Book III is a panel made of type-metal ornaments, intended to hold the lines referred to in the words: "Vpon which, Baſilius himself cauſed this Epitaph to be written." These, however, owing to the printer's oversight, were never added.

In setting up the title-page, it may be that Ponsonby followed Sidney's hint, and so sought "the chief protection" of the name of the Countess, and, not content with the name alone, added the coat-of-arms of the Sidney family.

Quarto. Roman.

Collation: A-Zz, in eights.

EDMUND SPENSER
(1552?-1599)

On December 1, 1589, "Maſter Ponſonbye. Entered for his Copye, a booke intytuled the fayrye Queene dyspoſed into xij. bookes. &c. Aucthoryzed vnder thandes of the Archbishop of Canterbery, and bothe the wardens ... vj^d."

Spenser's name not being mentioned and not being printed on the title-page, it would almost seem as if he had wished his book to be anonymous; but that was probably not the case, because the dedication on the verso of the title, "To the Most Mightie And Magnificent Empresse Elizabeth ..." is signed by "Her moſt humble Seruant, Ed. Spenſer." The "Letter of the Authors Expounding his whole intention in the Courſe of the worke.... To the Right Noble, and Valorous Sir Walter Raleigh ..." is also signed "Ed. Spenſer," and the last two of his poems addressed to various personages are signed "E. S."

It will be observed that the license to print the book, as well as the title-page, refers to the whole work, only three books of which, treating of the virtues Holiness, Temperance, and Chastity, had been completed by the author at this time.

Ponsonby may be regarded as a fortunate man to have had the handling of the works of such authors as Greene, Sidney, and Spenser. If his attempts to exploit the first great English prose romance were not always successful, his relations with Spenser were more satisfactory, and this work finding "a favorable passage," no less than ten other of the poet's productions were issued over his imprint.

The printer's name does not appear, but the device on the title-page is the mark of John Wolfe, son of Reyner Wolfe, a printer to the City of London, and one of the busiest members of the Stationers' Company. It was he who printed The Shepheard's Calendar, for John Harrison the younger, in 1586. His use of the Florentine lily is probably not without significance. The first Italian book printed in England (Petruccio Ubaldino La vita di Carlo Magno Imperadore, 1581), came from his press, as well as numerous translations of books in that tongue; and it is easy to believe that he may have received his idea for a mark of a fleur-de-lis "seeding," as Herbert calls it, from the Florentine lily of an Italian printer seen in some of the Italian books so numerous in England at this time.

A frame of printer's ornaments surrounds a verse at the beginning of each chapter, and there is a rather clumsy woodcut, representing Saint George and the Dragon, at the end of the first Book, but these are the chief ornaments in the volume. This book, like the Arcadia, is in the Roman type, and of remarkably good press-work.

The device on the title-page of the second volume is that of Thomas Vautrollier, a foreigner settled in London, whose stock passed, at his death, to his son-in-law, Richard Field. It seems clear that Field printed the volume (Vautrollier did no work after 1588), although Herbert ascribes it to the master-printer Thomas Creed.

In some early copies of the first volume there are blank spaces on page 332, which had been left by the printer to be filled later with Welsh words and then forgotten. Other copies have this omission corrected.

Quarto. Roman and Italic.

Collation: A-Qq4, in eights.

FRANCIS BACON, BARON VERULAM
(1561-1626)

This edition is thought by some to be rarer than the first, which was published by Hooper, in octavo, in the previous year. Some differences occur in the spelling, the table of contents here precedes "The Epistle Dedicatorie," the Meditationes Sacræ are done into English, and the ornaments used are quite different. Only ten Essays were included in these two issues, whereas the edition of 1612 has thirty-eight, and that of 1625, fifty-eight.

Hooper, of whose publications there are very few examples existing, is thought by Roberts to have been a young publisher whom Bacon wished to help. John Windet was the successor to John Wolfe as printer to the City of London; many books came from his press, but few of them of note.

Perhaps the most interesting peculiarity of the book is the word essay, in the sense of a composition of moderate length on a particular subject. With this work, the word makes its first appearance on the title-page of an English book. The first two books of Montaigne's Essais had appeared in 1580, and Bacon was no doubt familiar with them as a new style of writing, since his brother, to whom he addressed this volume, was a friend of Montaigne. He says in his volume of Essays dedicated to Prince Henry: "For Senacaes Epistles ... are but Essaies—that is dispersed Meditations ... Essays. The word is late, but the thing is auncient."

Lord Bacon's reasons for printing his book, expressed in the signed preface which accompanied both editions, is interesting as showing that he was alive to the piracies of the book-sellers, and that he knew how to meet the difficulty in a sensible manner.

"To M. Anthony Bacon his deare brother.

Louing & beloued Brother, I doe nowe like ſome that haue an Orcharde ill neighbored, that gather their fruit before it is ripe, to preuent ſtealing. Theſe fragments of my conceites were going to print: To labour the ſtaie of them had bin troubleſome, and ſubiect to interpretation; to let them paſſe had beene to aduēture the wrong they might receyue by ontrue Coppies, or by ſome garniſhment, which it might pleaſe any that ſhould ſet them forth to beſtowe oppon them. Therefore I helde it beſt diſcretion to publiſh them myſelfe as they paſſed long agoe from my pen without any further diſgrace, then the weakneſſe of the Author...."

Duodecimo. The second edition.

Collation: A-E4, in twelves.

RICHARD HAKLUYT
(1552?-1616)

Imprinted at London by George | Bishop, Ralph Newberie | and Robert Barker. | 1598. [-1600].

The year 1589 had seen the publication of a small folio volume entitled:

The book presents a handsome appearance in the matter of type and ornament: the archer head-band appears, and there are two large pictorial initials at the beginning signed

. It contains also "one of the beſt generall mappes of the world onely, untill the comming out of a very large and most exact terreſtrial Globe, collected and reformed according to the neweſt, ſecretest, and lateſt diſcoueries ... compoſed by M. Emmerie Mollineux of Lambeth, a rare gentleman in his profeſſion...." This map was a close copy of one engraved by Francis Hogenberg for Ortelius's Theatrum Orbis Terrarum, published first in Antwerp in 1570. Like the original it is called Typus Orbis Terrarum, but Hogenberg's name is erased, and no other appears in its stead.

This volume is usually called the first edition of the amplified work in three volumes, here facsimiled, which Hakluyt began to issue nine years later. The British Librarian of William Oldys, that "oddest mortal that ever wrote," gives a full synopsis of the contents of the latter work, "this elaborate and excellent Collection, which redounds as much to the Glory of the Engliſh Nation, as any Book that ever was publiſhed in it." He says:

"Tho' the firſt Volume of this Collection does frequently appear, by the Date, in the Title Page to be printed in 1599. the Reader is not thence to conclude the ſaid Volume was then reprinted, but only the Title Page, as upon collating the Books we have obſerved; and further, that in the ſaid last printed Title Page, there is no mention made of the Cadiz Voyage; to omit which, might be one Reaſon of reprinting that Page: for it being one of the moſt proſperous and honorable Enterprizes that ever the Earl of Eſſex was ingaged in, and he falling into the Queen's unpardonable Displeaſure at this time, our Author, Mr. Hakluyt, might probably receive Command or Direction, even from one of the Patrons to whom theſe Voyages are dedicated, who was of the contrary Faction, not only to ſupreſs all Memorial of that Action in the Front of this Book, but even cancel the whole Narrative thereof at the End of it, in all the Copies (far the greateſt Part of the Impreſſion) which remained unpubliſhed. And in that caſtrated Manner the Volume has deſcended to Poſterity; not but if the Caſtration was intended to have been concealed from us, the laſt Leaf of the Preface would have been reprinted alſo, with the like Omiſſion of what is there mentioned concerning the Inſertion of this Voyage. But at laſt, about the middle of the late King's Reign, an uncaſtrated copy did ariſe, and the said Voyage, was reprinted from it; whereby many imperfect Books have been made complete."

The cancellation "in the Front" refers to the title-page. In the new page of the castrated edition the clause "And laſtly, the memorable defeate of the Spaniſh huge Armada, Anno 1588. and the famous victorie acheiued at the citie of Cadiz, 1596." is made to read: "As alſo the memorable defeat of the Spaniſh huge Armada, Anno 1588."; and the date is changed to 1599. But, as Oldys remarks, through oversight or indifference the reference in the preface still remains to show that the edition is doctored, and not a new one. It reads: "An excellent diſcourſe whereof, as likewiſe of the honourable expedition vnder two of the moſt noble and valiant peeres of this Realme, I meane, the renoumed Erle of Eſſex, and the right honorable the lord Charles Howard, lord high Admirall of England, made 1596, vnto the ſtrong citie of Cadiz, I haue set downe a double epiphonema to conclude this my firſt volume withall...." The reference also remains in "A Catalogue of the Voyages," "39 The honourable voyage to Cadiz, Anno 1596. [p.] 607." and at page 606 the catchword "A briefe" still bears witness to the curtailment of "A briefe and true report of the Honourable voyage vnto Cadiz, 1596." The original leaves ended on page 619, with a large woodcut representing two winged figures supporting a crown and rose. They have been twice reprinted, but both reprints are easily distinguishable from the early work.

The second volume was issued by the same printers in 1599, and the third in 1600. Hakluyt is characterized on the title-page of the first volume, as on that of the first edition, as "Master of Artes, and sometime Student of Christ-Church in Oxford," but in the second and third volumes he is called "Preacher, and sometime student of Christ-Church in Oxford." He had been made rector of Wetheringsett in Suffolk in 1590.

In its general make-up, the new work resembles the old one. The archer head-bands have not been used, and only one of the pictorial initials signed

,—that at the beginning of the Dedication,—is retained in volumes one and two. These pictorial initials belong to an alphabet illustrating stories from Greek mythology. Mr. Pollard, in a chapter on Pictorial and Heraldic Initials, states that the first appearance of any of the set known to him occurs in a proclamation printed by Berthelet, and dated 1546. He finds that a similar monogram was used by Anton Sylvius, who worked for Plantin from 1550 to 1573, but he is doubtful about ascribing these initials to that artist.

The first and third volumes have the "The" of the title in a long panel (made of type-metal ornament in the first case, and a woodcut cartouche in the last one); the printer's ornaments on the title-pages of the second and third volumes are alike, and are the same as that in the first edition. "A Table Alphabetical," printed at the end of the first edition, was not undertaken for the second; but a new, engraved map of the world, unsigned and without a title, is found in some copies of the third volume. It was used also in two states.

This map is exceedingly rare, and interest attaches to it for two reasons. It is the first map of the world engraved in England, on Wright's (Mercator) projection, having been published the year after Wright had explained the principles of the projection in his Certain Errors in Navigation. A legend in a cartouche on the engraving says: "Thou hast here gentle reader a true hydrographical description of ſo much of the world as hath beene hetherto diſcouered, and is comme to our knowledge: which we have in ſuch ſort performed, y^t all places herein ſet downe, haue the ſame poſitions and diſtances that they haue in the globe...." The second source of interest is this: the map is, without much doubt, the one Shakespeare referred to in Twelfth Night when he made Maria say of Malvolio, "he does ſmile his face into more lynes then is in the new Mappe, with the augmentation of the Indies."

A curious error has existed with regard to the map. The reference in the 1589 volume, already quoted, has been taken to mean that Hakluyt intended to issue a map by Molineux with that work, but, that map not being ready in time, he used the one from Ortelius. What more natural than that the new map in the 1598 edition should be supposed to be Molineux's, now at length finished? This was the conclusion jumped at, and the plate is usually called "Molineux's map." As a matter of fact, Hakluyt did not refer to Molineux as a map-maker, but as a globe-maker. He was a friend of that rare gentleman, and he knew that the mathematician was at work on a large terrestrial globe embodying all the very latest geographical information in the most exact way, according to Mercator's projection. He used the Ortelius map in his book only until the globe should be ready, when it could be easily adapted to the plane surface of a map by the engraver.

The globe, measuring two and a half feet in diameter, was issued in 1592, and is now preserved in the Library of the Middle Temple.

Folio. Black letter.

Collation: Volume I, *, six leaves; **, six leaves; A-Fff₄, in sixes.

Volume II, *, eight leaves; A-Ccb, in sixes; Aaa-Rrrb, in sixes.

Volume III, (A), eight leaves; A-I, in sixes; K, eight leaves; L-Cccc, in sixes.

GEORGE CHAPMAN
(1559-1634)

Though Butter was the publisher of Dekker's Belman of London, and, with John Busby, of Shakespeare's Lear, he is chiefly to be remembered for two things, for his success as a compiler and publisher of pamphlets of news,—a success which entitles him to the place of father of the London press—and for his connection with Chapman.

In 1609 (?) Samuel Macham brought out, in small folio form, Homer, Prince of Poetts, in Twelve Bookes of his Iliads, embellished with an engraved title-page by William Hole, who was one of the earliest English engravers on copper-plates. Inflated with his subject, the artist crowded the title into a small central panel the better to present his conception of Vulcan, Apollo, Achilles, Hector, and Homer, in a composition which, if topheavy, was more dignified and better drawn than many of the borders ascribed to him.

Under date of April 8, 1611, we find in the Stationers' Register that Butter "Entered for his Copy by consente of Samuell Masham, A Booke called Homers Iliads in English contayning 24 bookes." With his right to print, he also received the right to use the Hole frontispiece, which he had reëngraved on a larger scale for the new book. The date of issue is not given, but it could not have been later than November 6, 1612, the date of the death of the Prince of Wales, to whom the book is dedicated, and it was probably published soon after the date of copyright. The printer's name is also lacking; but reasons exist for thinking that more than one worked on the book, and that there were several issues. There are copies whose signatures agree with those of the volumes of our issue, but these are printed with different type, on poorer paper, and the initial letters and other ornaments are of a much cruder sort.

After Chapman had published his translation of the Iliad, he turned his attention to the Odyssey; and, as in the case of the Iliad, he went to press with half of it first, Butter being the publisher. The volume ends with the words "Finis duodecimi libri Hom. Odyſſ. Opus nouem dierum," and begins with one of the most charming and perfect title-pages of the period, the greater pity therefore that it is unsigned. Its composition shows the poet in the midst of a company of laurel-crowned spirits, whose ethereal forms are expressed in stipple, with legends which read: "Solus ſapit hic homo, Reliqui vero," and "Umbræ mouentur." Above, the title is supported by two cupids, and below are seated figures of Athena, and Ulysses with his dog. The whole plate was very delicately drawn.

The remaining twelve books having been finished, we find Butter entering the whole twenty-four for copyright, November 2, 1614; and, although the volume is not dated, it was probably issued soon afterward. The title reads: Homer's Odysses. Tranſlated according to y^e Greeke. By George Chapman At Miki q^d viuo detraxerit. Inuida Turba Post obitum duplici foenore reddet Honos. Imprinted at London by Rich: Field, for Nathaniell Butter.

The same engraved title-page was used, but its fine lines had now grown fainter, the stippled shades seeming to justify the statement in the inscription. The dedication to the Earl of Somerset, as it appeared with the first twelve books, was somewhat altered in the opening lines, necessitating the resetting of the first page and the consequent change of the head-band and initial letter; but the rest of the first half is precisely the same as in the first issue. The words "Finis," etc., were dropped from the end, in some copies, and a blank leaf marks the division of the first half from the last.

The present book is made up of the complete Iliad, and the complete Odyssey, sewn together. The enterprising Butter made the engraved title of the Iliads answer for the general title-page of this book also, only, of course, changing the wording in the central panel. Some copies have the engraved title of the Odyssey, but more lack it. Its omission was probably due to its having become too faint from continued use to be of service. Butter added one or two new features to some copies of the volume, and among them a fine large portrait of Chapman, which he printed in a very unusual place, on the verso of the title-page. It represents the head of the translator, surrounded by clouds, and bears on the circular frame the inscriptions: Haec est laurigeri facies diuina Georgi; Hic Phœbi Decus est; Phœbinumqz Deus; Georgius Chapmanus Homeri Metaphrastes. Æta: LVII. M.DC.XVI; Conscium Evasi Diem. The date of the inscription is usually given as the date of issue of the book. Below the frame are ten lines beginning with two quotations, one in Latin, and one in English, and followed by this interesting statement: Eruditorum Poetarum huius Æui, facile Principi, Dno Georgio Chapman; Homero (velit nolit Inuidia) Rediuiuo. I.M. Tessellam hanc χαριϛήριον. DD. It would be a gratifying thing to know the name of the friend who thus added so much to the embellishment and interest of the book. Could it have been John Marston?

The engraving is ascribed to Hole, though without any very good reason, except that he had made the title-page of the Iliad, some four years earlier. It seems hardly probable that his awkward hand could have drawn the title for the Odyssey, and, while the same holds true of the engraver of the portrait, a comparison of the three plates perhaps would show that Butter employed more than one engraver.

Besides the portrait, our publisher added after the title-page, on a separate leaf, an engraved dedication "To the Imortall Memorie, of the Incomparable Heroe, Henrye Prince of Wales," who died in 1612. Two columns labelled "Ilias" and "Odyssæa," bound with a band inscribed "Musar: Hercul: Colum:," have below them lines ending:

"... Thow, dead. then; I

Liue deade, for giuing thee Eternitie

"Ad Famam.

"To all Tymes future, This Tymes Marck extend;

Homer, No Patrone founde; Nor Chapman, friend:

"Ignotus nimis omnibus;

Sat notus, moritur ſibi:"

This affecting tribute precedes the other dedication to the same prince, issued with the Iliad when it first appeared. Such constancy to the memory of a prince, now some years dead, and from whom no favors could be expected, argues well for Chapman's affections; but, on the other hand, one might see in it a reason for believing that the work was issued before 1616.

Folio.

Collation: Title-page and dedication, 2 ll.; *2,*3, 2 ll.; A4-A6, A, 5 ll.; B-Z, in sixes; Aa-Ff, in sixes; Gg, 7 ll.; A3-O, in sixes; R, 7 ll.; S-Z, in sixes; Aa-Hh, in sixes; Ii, 7 ll.