INDEX

Adams Presses, [50]
Æthelwald, [122]
Alba, the Duke of, [233]
Alcuin Bible, the, described, [125–127]
Alcuin, Bishop, of York, [125], [126]
Aldine Press, the, at Venice, saved by intervention of Jean Grolier, [56], [238];
printing at, [206–215];
the Jenson office combined with, [214]
Aldus Manutius, legend over office of, [10];
his confidence in permanence of the printed book, [11–12];
his type designs, [17];
establishes his office in Venice, [206];
his printer’s mark and slogan, [207], [208];
changes format of the book, [207];
his aims, [208];
the Greek classics of, [209];
his contributions to typography, [210];
his Hypnerotomachia Poliphili, [210–213];
Jean Grolier’s friendship with family of, [214–215]
Allegro, l’, Milton’s, [93]
Ambrosiana Iliad, the, [24], [25]
Ambrosiana Library, the, humanistic manuscripts in, [24], [25]
Angelico, Fra, [149], [290]
Anglo-Saxon missionary artists, the, [125]
Anne, of Brittany, Hours of, described, [149–151]
Anne, Saint, [138]
Antiquities of the Jews, the, described, [138–141], [146]
Antonio del Cherico, Francesco d’, Book of Hours illuminated by, [111], [113], [116], [146–149], [290]
Antwerp, the leading city in Europe, [223];
book manufacture in, [224];
under Spanish domination, [227];
loses her pre-eminence, [233];
purchases the Plantin office, [235];
referred to, [239]
Apostrophes, Bernard Shaw’s ideas concerning, [68]
Arnold, Matthew, [178]
Ashburnham Collection, the, [148], [284]
Augustinus, [202]
Austria, the Emperor of, [105]
Authors, relations between publishers and, [51], [63];
their attitude toward the physical format of their books, [67]
Bandini, librarian of the Laurenziana Library, [284]
Baptistery, the, at Florence, [273]
Barbaro, Marco Antonio, Procurator of Saint Mark’s, [143]
Bardi, the, [297]
Bardi, Bardo, [297]
Barlow, Sir Thomas, [85]
Baskerville, John, his editions, [245];
letter from Benjamin Franklin to, [245];
his types, [245–246];
his Virgil, [246–250];
first to introduce glossy paper, [250];
Dibdin’s estimate of, [251];
referred to, [95], [244]
Baynes, Ernest Harold, [104]
Bedford, Anne, Duchess of, [135], [137]
Bedford Book of Hours, the, described, [135–138], [146]
Bedford, John, Duke of, [135], [137]
Belgium, see [Netherlands, the]
Bellini, Giovanni, [213]
Beowulf, William Morris’, [259]
Berlin, library of, [196]
Berry, the Duc de, the Très Riches Heures of, [116];
the Antiquities of the Jews begun for, [139]
Bertieri, Raffaello, [32]
Bewick, Thomas, [163], [251]
Biagi, Dr. Guido, custodian of the Buonarroti and the da Vinci archives, [14], [182], [290];
defines the humanist, [15], [162];
his association with the designing of the Humanistic type, [17–33];
his comments on Bodoni, [78];
his meeting with Charles Eliot Norton, [180–183];
described, [277];
in the Laurenziana Library, [277–300];
his early ambition to become librarian of the Laurenziana, [284];
in America, [299];
his last days, [299–300];
his death, [300];
referred to, [14], [16], [17], [111]
Bible, the, welfare of men and of empires based upon, [224]
Biblia Amiatina, the, [287], [288]
Biblia Polyglotta, Plantin’s, [227];
the story of, [227–233];
pages from, [229–231]
Bibliothèque Nationale, the, Paris, [119], [127], [128], [139], [140], [141], [149], [196], [198], [220]
Billfrith, Saint, [122]
Bindings, [113], [288]
Birmingham, England, [244]
Biscioni, librarian of the Laurenziana Library, [283]
Bisticci, quoted, [12]
Blanche, Queen, of Castile, [129]
Boccaccio, [287]
Bodleian Library, the, [196]
Bodoni, Giambattista, the father of modern type design, [78–82], [251];
compared with Didot, [252], [257];
referred to, [95]
Bodoni Press, the revived, in Montagnola di Lugano, [79]
Bodoni type, the, [78];
compared with the Didot type, [79–82];
William Morris’ dislike of, [80];
De Vinne’s admiration for, [80], [82];
estimate of, [257]
Bokhara, [118]
Bomberghe, Corneille, type designer, [228]
Book, the, conception of early patrons of, [11];
lure of, [37];
the tangible expression of man’s intellect, [112].
See also, [Illuminated book], [Printed book], [Written book]
Bookmaking, in 1891, [42–54];
the weakness of method in, [54]
Book of Hours, by Francesco d’Antonio del Cherico, [111];
described, [146–149];
referred to, [290]
Books, cost of making, [58]
Bookselling, inadequate methods in, [60]
Boston, Howell’s comments on, [186]
Boston Society of Printers, the, [99]
Bourbon, Pierre II, Duc de, [140]
Bourdichon, Jean, [113], [149], [150]
Boyd, Henry, [26], [27]
Brays, the, [292]
British Museum, the, [27], [28], [117], [119], [122], [125], [132], [135], [166], [196], [298], [299]
Broad Chalke, England, Maurice Hewlett’s home at, [157]
Browne, Sir Thomas, [207]
Budé, Guillaume, [214]
Buonarroti, see [Michelangelo]
Buonarroti archives, the, [14], [182], [290]
Burne-Jones, Sir Edward, and the Kelmscott Chaucer, [259], [261], [262];
referred to, [6]
Burney, Fanny, [163]
Byron, Lord, manuscript of his letters burned by John Murray III, [65]
Byzantine illumination, see [Illumination, Byzantine]
Byzantine ink, [112]
“Cabin,” the, Howell’s, [186]
Cable, George W., [177]
Cæsar, Elzevir’s, [240]
Cambridge Immortals, the, [178]
Camp, Walter, [84]
Campanile, Giotto’s, at Florence, [273]
Campanile, the, at Venice, [145]
Carlyle, Thomas, [178]
Carnegie, Andrew, [174–177]
Carnegie, Mrs. Andrew, [174]
Caroline minuscule, the, [126]
Carolingian illumination, see [Illumination, Carolingian]
Carolingian School, the, in France, [125]
Caslon foundry, the, [245], [246]
Castiglioncello, Italy, [162]
Cato, quoted, [208]
Caxton, William, work of, compared with Jenson’s, [244]
Cellini, Benvenuto, autobiography of, [287]
Celtic illumination, see [Illumination, Celtic]
Censors, the, [221]
Ceolfrid, Abbot of Wearmouth, [288]
Ceriani, Monsignor, librarian of the Ambrosiana Library at Milan, described, [24];
his work on the Ambrosiana Iliad, [24], [25];
quoted, [25]
Chantilly, the Musée Condé at, [116]
Charlemagne, Emperor, [125]
Charles, King, of France, son of King John, [129]
Charles, King, of France, son of King Charles, [129]
Charles V, emperor of the Holy Roman Empire, [216], [276]
Charles VIII, of France, [282]
Chaucer, the Kelmscott, the story of, [259–268]
Chaucer type, the, designed by William Morris, [20]
Chianti Hills, the, [171]
Chiari, [297]
Chinese, the, [7]
Cicero, the Medicean, [283]
Cicogna, Doge Pasquale, [143]
Cimabue, Giovanni, [147]
Clemens, Clara, [172], [174]
Clemens, Samuel L., see [Twain, Mark]
Clemens, Mrs. Samuel L., [172], [173]
Clement VII, Pope, [214], [276]
Clovio, Giulio, [149], [290]
Cobden-Sanderson, T. J., quoted, [96], [97];
estimate of, [96–101];
described, [98];
in Boston, [98–99];
importance of his work, [263];
his Ideal Book
quoted, [264];
his Doves Bible, [264–268];
referred to, [3], [68], [71], [95]
Cockerell, Douglas, [262]
Codex Argenteus, the, [119]
Cole, Timothy, [106]
Colonna, Francesco, [210]
Colvin, Sir Sidney, [27], [28]
Constable, Archibald, publisher, [66]
Constantinople, might have become center of learning of XV century, [8];
destroyed by fire, [117];
the rebirth of, [118]
Cosimo il Vecchio, and the Laurenziana Library, [280];
his personality and history, [280–281];
his fame as a chemist, [284]
Cosimo II, and the Laurenziana Library, [283]
Costs of making books, in 1891, compared with present costs, [48]
Costume Antico e Moderno, Ferrario’s, [296]
Country Printer, the, Howell’s, [187]
Crasso, Leonardo, [210]
Cremona, early printing at, [286]
Curtis, George William, [178]
Cuthbert, Saint, [120], [121], [122]
Cyrus, King, [139]
Danes, the, [120]
Dante, proposed edition in Humanistic type of, [19], [32];
referred to, [158], [182];
Biagi’s work on, [182], [299];
the haunts of, [291]
“Dawn and Twilight,” Michelangelo’s, [275]
“Day and Night,” Michelangelo’s, [275]
De Asse, Budé’s, [214]
De Bure, discoverer of the Gutenberg Bible, [198]
Decameron, the, manuscript copy of, [287]
De Civitate Dei, Augustinus’, [202]
Decorations, [116]
Del Furia, librarian of the Laurenziana Library, [284]
Delmonico’s, in New York City, [176]
Deput, quoted on the innovations of the Elzevirs, [240]
De Veritate Catholicæ Fidei, [93]
De Vinne Press, the, New York, [42]
De Vinne, Theodore L., [6];
his admiration for the Bodoni type, [80], [82]
Dibdin, quoted on Baskerville, [251];
on Antonio Magliabecchi, [295]
Didot, Firmin, the father of modern type design, [78–82];
his type discussed, [79–82], [257];
referred to, [39], [95], [257]
Didot, Pierre, his Racine, [252–258]
Didot Press, the, Benjamin Franklin at, [252]
Didot type, the, compared with the Bodoni type, [79–82]
Didots, the, in Paris, [251];
compared with Bodoni, [252]
Dobson, Austin, [158], [162–169];
his lines on Richard Garnett, [166], [167];
his ideas on fiction, [168];
his methods of work, [169];
his handwriting, [169]
Dobson, Mrs. Austin, [168]
Doves Bible, Cobden-Sanderson’s, described, [264–268]
Doves Press, the, in London, [3], [70], [96], [263]
Doves type, the, designed by Emery Walker, [18], [19];
specimen page of, [23];
in the Doves Bible, [264–268]
Duneka, Frederick, [184]
Dürer, Albrecht, [95]
Dyck, Christoffel van, [243]
Eadfrith, Bishop, [122]
Earthwork Out of Tuscany, Hewlett’s, [159], [162]
Eddy, Mrs. Mary Baker, [52–54]
Edward VII, King, of England, [85], [140], [141]
Egyptians, the, [118]
Elchi, Count Angiolo Maria d’, [285]
Eliot, George, in the Magliabecchian Library, [291–298];
her diary quoted, [296];
volumes consulted in writing Romola, [296–298]
Elzevir, Abraham, editions of, [240];
his Terence, [241–243]
Elzevir, Bonaventura, editions of, [240];
his Terence, [241–243]
Elzevir, Isaac, becomes printer to the University of Leyden, [240]
Elzevir, Louis, founder of the House of Elzevir, [239], [240]
Elzevir, the House of, craftsmen rather than artists, [238];
in Leyden, [240];
adopt new format for the book, [240];
their editions, [240–243];
their types, [243];
their business organization, [243];
estimate of importance of their work, [243];
referred to, [95], [237], [251]
England, typographical supremacy of, [194], [244–250];
second supremacy of, [258–268]
English illumination, see [Illumination, English]
Engravings, steel, [105]
Epistolæ ad Familiares, Cicero’s, [285]
Ethics, in business, [65]
Étienne, Henri, ruined by his Thesaurus, [56], [238];
in Geneva, [223]
Étienne, Robert, becomes “printer in Greek” to François I of France, [216];
the Royal Greeks of, [219–222];
leaves France, [223];
death of, [223];
his Roman type, [222];
referred to, [252]
Eugenius, Pope, [281]
Evreux, Queen Jeanne d’, [129]
Explicit, the, [92];
examples of, [94], [202], [204], [206], [285]
Ezra, the Prophet, portrait of, [288]
Famiglie del Litta, Le, [297]
Felton, Cornelius Conway, President of Harvard University, [50]
Ferrara, early printing at, [286]
Ferrari, Dr. Luigi, librarian of the San Marco Library, Venice, [145]
Ferrario, [296]
Field, Eugene, described, [38];
manuscript of, [39], [41];
referred to, [38], [55]
Fielding, Henry, [163]
Fiesole, the heights of, [298]
Firenze Antica e Moderna, Rastrelli’s, [297]
Firenze Illustrata, Migliore’s, [296]
Fiske, Willard, [26], [27]
Flemish illumination, see [Illumination, Flemish]
Fletcher, Horace, friend of Eugene Field, [41];
philosophy of, [75], [82], [84];
his ideas of typography, [75];
page of his manuscript, [77];
his dinner at Graduates’ Club, New Haven, [84];
importance of his work, [85];
his friendship with William James and Henry James, [86];
letter from Henry James to, [87];
visit to Lamb House, [89]
Fletcherism, [75], [83]
Florence, Italy, the most fascinating city in Europe, [273];
early printing at, [286]
Florence, the Grand Duke of, [295]
Forest Lovers, the, Hewlett’s, [157], [158]
Foucquet, Jean, [113], [138], [140], [149]
France, typographical supremacy of, [194], [215–223];
loses supremacy, [223];
second supremacy of, [251–258]
François I, of France, becomes patron of learning and culture, [216];
makes Robert Étienne “printer in Greek to the King,” [216];
his interest in printing, [216–221];
his relations with the censors, [221];
referred to, [214], [216]
Frankfort, [227]
Franklin, Benjamin, quoted on the Baskerville editions, [245];
his letter to Baskerville, [245];
at the Didot Press, [252]
French illumination, see [Illumination, French]
French Republic, the, [141]
French School of Painting, the, [139]
Fust, John, [198], [199]
Gabrilowitch, Mrs. Ossip, [172]
Garamond, Claude, [220]
Garnett, Dr. Richard, [164], [165];
lines written by Dobson on, [166], [167];
estimate of, [166]
General Theological School Library, the, New York, [196]
Genesis, the Cottonian, [117]
Geneva, the Étiennes at, [223]
George, Saint, [137]
Germany, not sufficiently developed as nation to take advantage of Gutenberg’s discovery, [8], [9];
brief typographical supremacy of, [194–201];
loses supremacy, [201]
Gherado, [149], [290]
Gilder, Richard Watson, [177]
Giotto, [147], [273]
Golden Gospels of Saint Médard, the, described, [127–128]
Golden type, the, designed by William Morris, [18]
Gold leaf, [116]
Gold, Oriental, [112]
Goldsmith, Oliver, [163]
Gothic illumination, see [Illumination, Gothic]
Gozzoli, Benozzo, [149], [290]
Graduates’ Club, the, in New Haven, [84]
Grandjon, Robert, [228]
Greece, the rich humanities of, [15]
Greek classics, the, first printed by Aldus, [209]
Greeks, the, [7]
Greek types, [56], [219–221], [238]
Grimani Breviary, the, described, [141–145], [146], [149]
Grimani, Cardinal Domenico, [142], [143]
Grimani, Doge Antonio, [143]
Grimani, Giovanni, Patriarch of Aquileia, [142]
Grimani, Marino, Patriarch of Aquileia, [142]
Grolier Club of New York, the, [213]
Grolier, Jean, saves the Aldine Press by his intervention, [56], [238];
his friendship with family of Aldus, [214–215];
his letter to Francesco Torresani, [215]
Guidobaldo, Duke of Urbino, [210]
Gutenberg Bible, the, described, [194–201];
rubricator’s notes, [196], [197]
Gutenberg, John; the Bible printed by, [194–201];
referred to, [7], [194], [198], [234], [237]
Hadley, Pres. Arthur T., [84]
Halftones, [105–107]
Hammond, John Hays, [84]
Hand lettering, the art of, [10].
See also, [Humanistic hand lettering], [Semi-uncial characters], [Minuscule characters]
Harkness, Mrs. Edward S., [196]
Harper and Brothers, [90], [183], [184]
Harper’s Magazine, [183]
Harte, Bret, [184]
Harvard College Library, the, [245]
Harvard University, Cobden-Sanderson’s lectures at, [99]
Harvey, Col. George, gives birthday dinner to Mark Twain, [176];
gives birthday dinner to William Dean Howells, [187]
Hautin, [228]
Hay, John, [184]
Hay, Mrs. John, [184]
Heidelberg, [227]
Heimskringla, the, William Morris’ translation of, [260]
Heinsius, letter from Deput to, [240]
Henri II, of France, [136], [221]
Henry IV, of England, [135]
Henry VI, of England, [136]
Henry VIII, of England, [216]
Hewlett, Maurice, [155–162];
describes the cloister of San Lorenzo, Florence, [275]
Hoar, Senator George F., makes attack on Charles Eliot Norton, [179]
Hogarth, William, [163]
Holbein, Hans, [95]
Holland, the natural successor to Belgium in supremacy of printing, [239].
See also [Netherlands, the]
Holmes, Oliver Wendell, [178]
Homer, the Ambrosiana, see [Iliad, the Ambrosiana]
Hoover, Herbert, [85]
Houghton, Henry O., [6]
Hours of Anne of Brittany, the, [146];
described, [149–151]
Howells, William Dean, [177];
recollections and reflections on, [183–188];
the Harvey birthday dinner, [188]
Humanism, Petrarch the father of, [15]
Humanist, the, defined, [15], [160–162]
Humanistic hand lettering, [16], [21], [24], [126]
Humanistic manuscripts, the, in the Laurenziana Library, [16], [21];
in the Ambrosiana Library, [24]
Humanistic movement, the, far-reaching influence of, [15];
the forerunner and essence of the Renaissance, [15];
significance of, [16], [160]
Humanistic scribes, the, see [Scribes, the humanistic]
Humanistic type, the, first idea of design of, [17];
proposed edition of Dante in, [19], [32];
work upon, [19–24], [126], [159], [180], [181]
Huntington, Henry E., library of, [196]
Hypnerotomachia Poliphili, the, printed by Aldus, [210];
described, [210–213]
Ideal Book, The, Cobden-Sanderson’s, [3], [99];
quoted, [264]
Iliad, the Ambrosiana, [24], [25], [117]
Illuminated book, the, attitude of Italian patrons toward, [11–12]
Illumination, the art of, encouraged by Italian patrons in XV century, [11–13];
the underlying thought in, [112];
rich rewards in study of, [114];
various schools of, [114];
means of identifying various schools and periods, [115];
manuscripts which mark the evolution of, [116–119];
the Celtic School, [119–125];
the Carolingian School, [125–128];
the Gothic School, [128–131];
the English School, [131–134];
the French School, [135–141], [149–151];
the Flemish School, [141–145];
the Italian School, [146–149];
cause for the decline of, [151];
opportunities for studying, [152]
Illumination, Byzantine, described, [118];
referred to, [124], [125], [127]
Illumination, Carolingian, [125–128]
Illumination, Celtic, [119–125], [126], [129]
Illumination, English, [114], [131–134]
Illumination, Flemish, [114], [137], [139], [141–145], [149], [150]
Illumination, French, [114], [135–141]
Illumination, Gothic, [114], [128–131]
Illumination, Italian Renaissance, [114], [146–149], [150]
Illumination, Romanesque, [114]
Illustration, [105]
Imperial Library, the, in Vienna, [117]
Incipit, the, [93]
India, [112], [118]
Ink, Byzantine gold, [112], [118];
inferior quality introduced, [238];
Didot’s, [258]
Innocents Abroad, Mark Twain’s, [170]
Ireland, [121]
Irish monks, the, see [Monks, the Irish]
Irish School of Writing and Painting, the, [120]
Italian illumination, see [Illumination, Italian]
Italic type, first used by Aldus, [17], [286];
said to be based on handwriting of Petrarch, [17], [210];
Baskerville’s, [245];
Didot’s, [257]
Italy, life and customs of people of, in XV century, [8];
illumination slow in getting a hold in, [146];
typographical supremacy of, [194], [201–215];
loses supremacy, [215];
culture in the XVI century in, [223]
James, Henry, Horace Fletcher’s friendship with, [86];
quoted, [86];
estimate of, [86];
letter to Horace Fletcher from, [87];
quoted, [88]
James, William, Horace Fletcher’s friendship with, [86];
quoted, [86];
letter from Henry James to, [88];
his interest in printing, [90], [92]
Jenson, Nicolas, type designs of, [18], [19], [22], [202], [205], [206];
the explicit in books printed by, [94], [202];
printer’s mark of, [203], [207];
sent to Germany by Charles VII of France, [204];
establishes his office in Venice, [204];
death of, [206];
his office combined with the Aldine Press, [214];
Caxton’s work compared with, [244];
referred to, [216], [286]
Jenson’s Gothic type, [202], [205], [206]
Jenson Roman type, the, [18], [19], [206], [268];
sample page of, [22]
Joan of Arc, Mark Twain’s, [170]
John of Spires, [285]
Jones, George W., [32]
Joseph, Saint, [138]
Josephus, Flavius, [139]
Justinian, the Emperor, [117]
Justinian, the Pandects of, [287]
Keats, John, [158]
Keere, Van der, [228]
Kelmscott Chaucer, the, see [Chaucer, the Kelmscott]
Kelmscott Press, the, [6], [55], [70], [96], [259–268]
Kelmscott volumes, the, [259–268];
estimate of, [263]
Koreans, the, [7]
Labels, paper, [92]
Lamb House, Rye, Henry James’ home, [89]
Lapis lazuli, used in printing ink, [30];
in illumination, [118]
Laura, see [Sale, Madonna Laura de Noves de]
Laurenziana Library, the, humanistic volumes at, [16];
illuminated volumes at, [119], [148], [287];
uninviting approach to, [273];
the Sala di Michelangiolo, [276];
Dr. Guido Biagi at, [277–300];
the great staircase, [278];
Vasari’s work in, [278];
the story of, [280–284];
the treasures of, [284–289];
the Hall of Tapestries, [285];
the Tribuna, [285];
the printed books in, [285];
the spell of, [300];
referred to, [14], [21], [94], [111], [182]
Le Bé, Guillaume, [228]
Lee, Sir Sidney, [86], [174], [175]
Leigh, Maj. Frederick T., [184]
Leipzig, library of, [196]
Lelio, Lucrezia, [213]
Leo X, Pope, [282].
See also [Medici, Giovanni de’]
Lettering, see [Hand lettering]
Letters, raised gold, [116]
Lewes, George Henry, in the Magliabecchian Library, [292–298]
Leyden, heroic resistance to Spanish siege, [239];
becomes the intellectual and literary center of Europe, [239];
Plantin in, [239];
the Elzevirs in, [239–240]
Leyden, the University of, [239];
Plantin made printer to, [239];
Isaac Elzevir made printer to, [240]
Lindisfarne Gospels, the, described, [119–125]
Lippi, [296]
Lippi, Fra Filippo, [28]
Lipsius, the historian, [239]
Lithography, [105]
Little Novels of Italy, Hewlett’s, [159]
Lockhart, John Gibson, [66]
Longfellow, Henry Wadsworth, [178]
Longmans, London publishers, [66]
Lorenzo the Magnificent, see [Medici, Lorenzo de’]
Lorraine, the House of, and the Laurenziana Library, [283]
Louis XI, of France, [140]
Louis XII, of France, [150]
Louis XIV, of France, [198]
Louis XV, of France, [140]
Louis, Saint, Psalter of, described, [128–131];
death of, [129]
Lounsbury, Professor, of Yale, [84]
Lowell, James Russell, [178]
Luther, Martin, [215], [224]
Mabie, Hamilton W., [177], [187]
Macaulay, Thomas B., quoted on Baskerville editions, [245]
Machiavelli, Niccolo, [181], [284]
Macmillan Company, the, [26]
Magliabecchi, Antonio, [292–295]
Magliabecchian Library, the, [284];
George Eliot in, [291–298]
Malmantile, Lippi’s, [296]
Man and Superman, Shaw’s, the making of, [67]
Mantegna, Andrea, [95]
Manuscripts, methods of reproducing, [9]
Manuscripts, illuminated, romance of, [114];
not the playthings of the common people, [115]
Manutius, Aldus, see [Aldus Manutius]
Marie, Madame, of France, [130]
Marinelli, [280]
Marmion, Scott’s, [66]
Martelli Chapel, the, in the Church of San Lorenzo, Florence, [275]
Mary, Queen, of England, Psalter of, described, [131–134];
referred to, [132]
Mary, Queen of Scots, [156–157]
Matthews, Brander, [177]
Mayence, printing at, [198], [204], [216]
Mazarin, Cardinal, [198]
Médard, Saint, the Golden Gospels of, [127–128]
Medicean Library, the, see [Laurenziana Library, the]
Medici, the, [147];
Savonarola’s diatribes against, [274];
and the Laurenziana Library, [280]
Medici, Alessandro de’, [274]
Medici archives, the, [14]
Medici, Catherine de’, [136]
Medici, the Chapel of the, in Florence, [284]
Medici, Cosimo I de’, see [Cosimo il Vecchio]
Medici, Cosimo II de’, see [Cosimo II]
Medici, Giovanni de’ (later Pope Leo X), [275];
and the Laurenziana Library, [282], [283]
Medici, Giulio de’ (later Pope Clement VII), [276];
commissions Michelangelo to erect building for the Laurenziana Library, [283]
Medici, Lorenzo de’, Book of Hours made by d’Antonio for, [111], [146–149], [290];
tomb of, [275];
and the Laurenziana Library, [281–283];
his personality, [281–282];
referred to, [111], [112], [148]
Medici, Piero de’, [275]
Memling, Hans, [142]
Menelik, King, of Abyssinia, [104]
Mentelin, types of, [19]
Menticulture, Horace Fletcher’s, [75]
Messina, Antonello di, [142]
Metternich, Prince, [289]
Michelangelo, letters of, [182], [290];
his plan for the façade of S. Lorenzo, [273];
Varchi’s tribute to, [275];
his tomb for Lorenzo de’ Medici, [175];
his work in the Laurenziana Library, [276];
his letter to Vasari, [278];
manuscript poems of, [287];
referred to, [14]
Michelangelo archives, the, [14], [182]
Migliore, [296]
Milan, early printing at, [286]
Millar, Eric George, quoted, [122], [123]
Miller, Mr., London publisher, [66]
Minium, [112], [118]
Minuscule characters, described, [123];
introduced, [126]
“Mirror” title, the, [94]
Mochenicho, Doge Pietro, [202]
“Modern” type, the introduction of, [251]
Molds, early type, [201]
Monaco, Lorenzo, [149], [290]
Monks, the Irish, [120], [125]
Monnier, Philippe, [160]
Montanus, Arias, [227]
Morelli, librarian of the San Marco Library, Venice, [143]
Moretus, inherits the Plantin office, [234]
Morgan Library, the, see [Pierpont Morgan Library, the]
Morris chair, the, [258]
Morris end papers, the, [258]
Morris wall papers, the, [258], [260]
Morris, William, demonstrates possibilities of printing as an art, [14];
Golden type of, [18];
his other type designs, [18–20];
placed printing back among the fine arts, [55], [258];
Bernard Shaw’s enthusiasm for, [69–70];
his dislike of the Bodoni type, [80];
his title pages, [96];
early experiments of, [258];
the Kelmscott Chaucer, [259–268];
declines the poet-laureateship of England, [260];
death of, [262];
estimate of his work, [263];
his definition of the type ideal, [268];
referred to, [6], [96], [258]
Munich, library of, [196]
Murray, the House of, [65]
Murray II, John, and Walter Scott, [66];
letter to Scott from, [66]
Murray III, John, burns manuscript of Byron’s memoirs, [65]
Murray IV, John, [26], [27], [65]
Musée Condé, the, at Chantilly, [116]
Naples, early printing at, [286]
Nazionale Centrale, the Biblioteca, in Florence, see [Magliabecchian Library, the]
Nemours, the Duc de, [139]
Néobar, Royal printer to François I of France, [216]
Netherlandish illumination, see [Illumination, Flemish]
Netherlands, the, typographical supremacy of, [194], [223–244];
commercial supremacy of, [223];
devastated by war, [239]
New Forest, the, in England, [158]
New York Public Library, the, [196]
Norton, Charles Eliot, [26];
autograph letter of, [31];
his association with the design of the Humanistic type, [32], [180–181];
recollections and reflections on, [178–183];
his meeting with Guido Biagi, [182–183]
Ode to Cervantes, Dobson’s, [164]
“Old-style” type, the passing of, [251];
revived by Pickering, [251]
Orcutt, Reginald Wilson, [165]
Orcutt, William Dana, first visit to Italy, [14];
meeting with Guido Biagi, [14], [277];
his work designing the Humanistic type, [17–33];
in the Ambrosiana Library, [24–25];
experiences with Willard Fiske, [26], [27];
apprenticeship at old University Press, [38];
experience with Eugene Field, [38–41];
experiences with Mrs. Mary Baker Eddy, [52];
becomes head of University Press, [55];
his ambition to emulate methods of early printers, [55];
experiences with Bernard Shaw, [67–71];
returns to Italy in 1903, [75];
his interest in the Bodoni and Didot types, [78];
his acquaintance with Horace Fletcher, [75], [82], [84], [86];
his acquaintance with Henry James, [86];
visit to Lamb House, [89];
experiences with William James, [90–92];
experiences with Cobden-Sanderson, [96–101];
experiences with Theodore Roosevelt, [101–106];
becomes interested in illumination, [111];
meeting with Maurice Hewlett, [155–162];
experiences with Austin Dobson, [162–169];
experiences with Mark Twain, [170–177];
experiences with Charles Eliot Norton, [178–183];
experiences with William Dean Howells, [183–188];
experiences in the Laurenziana Library, [273–300];
last visit with Guido Biagi, [299–300]
Orcutt, Mrs. William Dana, [165], [171]
Oriental gold, [112]
Orthographia dictionum e Græcia tractarum, Tortelli’s, [286]
Oxford, Edward Harley, 2d Earl of, [136]
Palatina, the Biblioteca, at Florence, [293]
Pan and the Young Shepherd, Hewlett’s, [159]
Paper, poorer quality introduced, [238];
Italian handmade, [238];
French handmade, [238], [257];
Baskerville the first to introduce glossy, [250]
Parchment, English, [29];
Florentine, [28];
Roman, [28];
virgin, [113]
Paris, [227]
Paris Exposition of 1801, the, [258]
Passerini, Luigi, [297]
Patmore, Coventry, [89]
Patrons, Italian, attitude toward printed book of, [11];
their conception of a book, [11];
their real reasons for opposing the art of printing, [12], [151]
Peignot foundry, the, in Paris, [80]
Persia, [118]
Perugia, [291]
Petrarca, Francesco, the father of humanism, [15];
Italic type said to be based upon handwriting of, [17], [210];
portrait of, [287], [289];
quoted, [290]
Petrarch, see [Petrarca, Francesco]
Petrarch, the Humanistic, the type design, [17–26];
the copy, [26], [27];
the illustrations, [28];
the parchment, [28];
the ink, [29], [30];
the composition, [30];
Norton’s estimate of, [32]
Philip, of Burgundy, [135]
Philip II, of Spain, [227];
his interest in Plantin’s Biblia Polyglotta, [227–228], [233];
makes Plantin prototypographe, [233]
Pickering, the London publisher, revives the old-style type, [251]
Piedmont, early printing at, [286]
Pierpont Morgan Library, the, New York, [99], [196]
Pisa, [291]
Pius XI, Pope, see [Ratti, Achille]
Plantin, Christophe, financially embarrassed by his Biblia Polyglotta, [56], [238];
his Greek types, [221];
leaves France, [223];
conception and making of his Biblia Polyglotta, [227–233];
his types, [228];
his printer’s mark, [228], [236];
made prototypographe by Philip II, [233];
the value of his work estimated, [233];
misfortunes endured by, [233];
in Leyden, [239];
made printer to University of Leyden, [239];
referred to, [79], [237]
Plantin-Moretus Museum, the, at Antwerp, [235]
Pliny, Elzevir’s, [240]
Plutei, in the Laurenziana Library, designed by Michelangelo, [14], [276], [286], [300]
Politian, [181].
See also [Poliziano, Angelo]
Poliziano, Angelo, [215].
See also [Politian]
Pollard, Alfred W., [27]
Polyglot Bible, Plantin’s, see [Biblia Polyglotta]
Portland, the Duchess of, [136]
Pragmatism, William James’, [90]
Printed book, the, attitude of Italian patrons toward, [11–12];
competed against the written book, [199];
Aldus changes format of, [207];
Elzevirs change format of, [240];
important part played in XVI century by, [215]
Printer, the, responsibilities of, in early days, [208]
Printing, as an art, opposed by the Italian patrons, [11–13];
its possibilities demonstrated by William Morris, [14];
brief supremacy of Germany in, [194–201];
supremacy of Italy in, [201–215];
supremacy of France in, [215–223];
supremacy of the Netherlands in, [223–244];
lapses into a trade, [238];
supremacy of England in, [244–250];
second supremacy of France in, [251–258];
second supremacy of England in, [258–263]
Printing, invention of, made books common, [151]
Priorista, Chiari’s, [297]
Proofreading, in 1891, [47]
Psalter of Saint Louis, the, described, [128–131]
Publishers, relations between authors and, [51], [63]
Quattrocento, Le, Monnier’s, [160]
Queen Mary’s Psalter, described, [131–134], [146]
Queen’s Quair, The, Hewlett’s, [155–156]
Racine, Pierre Didot’s, [251];
described, [252–258]
Raphael, [113]
Raphelengius, [239]
Rastrelli, [297]
Ratti, Achille, [25], [117]
Ravenna, [128]
Reformation, the, [215]
Renaissance, the, humanistic movement the forerunner and essence of, [15], [160];
Tours becomes center of, in France, [139]
Repplier, Agnes, [177]
Riccardi Library, the, [14], [149], [182], [290]
Richardson, Samuel, [163]
Riverside Press, the, [42]
Road in Tuscany, the, Hewlett’s, [159]
Robertet, François, [140]
Roman Calendar, the, [117]
Romanesque illumination, see [Illumination, Romanesque]
Romans, the, [7]
Rome, the rich humanities of, [15];
referred to, [126]
Romola, George Eliot’s, [292–299];
volumes consulted in writing, [296–298]
Roosevelt, Theodore, deeply interested in physical side of books, [102];
his interest in illustration, [105]
Royal Greeks, the, of Étienne, [219–222]
Rubens, Peter Paul, [95], [113]
Ruskin, John, [178], [182]
Russia, the Emperor of, [103]
Rutland, the Earl of, [131]
Sacristy, the New, in the Church of San Lorenzo, Florence, [275]
Sacristy, the Old, in the Church of San Lorenzo, Florence, [275]
Saga Library, the, [260]
Saint John, the Feast of, [297]
St. Louis Exposition, the, [182], [299]
Saint Peter, the Holy Sepulchre of, [288]
Sala di Michelangiolo, the, in the Laurenziana Library, Florence, [14];
described, [276]
Sale, Madonna Laura de Noves de, portrait of, [287], [289];
Petrarch’s verses to, [290]
Salisbury, the Marquis of, [165]
San Lorenzo, the Church of, in Florence, [274], [283]
San Marco, the Convent of, in Florence, [281], [282], [288]
San Marco, the Library of, Venice, [119], [141], [143], [145]
San Vitale, the Church of, at Ravenna, [128]
Saracens, the, [7]
Savonarola, [274], [284]
Savoy, the Duke of, [233]
Schoeffer, types of, [19];
referred to, [198]
Science and Health, [52]
Scott, Gen. Hugh Lennox, [82]
Scott, Walter, and John Murray II, [66];
letter from Murray to, [66]
Scribes, the humanistic, base their lettering on the Caroline minuscule, [126];
referred to, [16], [21], [24]
Scribes, the monastic, in XV century, [9]
Scribes, the secular, in XV century, [10]
Scriptorium, the, [9]
Second Book of Verse, Eugene Field’s, [38]
Semi-uncial characters, described, [123]
Sforza Book of Hours, the, [145]
“Shady Hill,” in Cambridge, Mass., home of Charles Eliot Norton, [180], [181]
Shakespeare first folio, a, value of, [196]
Shaw, G. Bernard, his interest in printing, [67–71];
the making of his Man and Superman, [67];
his enthusiasm for William Morris, [69];
letters from, [68–71]
Shelley, Percy Bysshe, [158]
Sherry’s, in New York City, [187]
Siena, [291]
Silas Marner, George Eliot’s, [296]
Sinibaldi, Antonio, the Virgil of, [16];
the Book of Hours of, [112]
Sixtus IV, Pope, [142]
Smith, Baldwin, [132]
Smith, F. Hopkinson, [177]
Somerset, John, [135]
Sotheby’s, in London, [140]
Spain, the Netherlands under the domination of, [227];
referred to, [112], [118]
Spanish siege, the, of Leyden, [239]
Spanish War, the, [179]
Spell, The, Orcutt’s, [90], [184]
Spires, the town of, [286]
Steele, Sir Richard, [163]
Subiaco, early printing at, [285]
Sweynheim and Pannartz, ruined by experiments in Greek, [56], [238];
engraved blocks of, [285]
Switzerland, [238]
Syriac Gospels, the, [287]
Taft, President William H., [188]
Tapestries, the Hall of, in the Laurenziana Library, Florence, [285]
Tennyson, Alfred, Lord, [260]
Terence, Elzevir’s, [240];
described, [241–243]
Ther Hoernen, Arnold, [94]
Thesaurus, the, printed by Henri Étienne, [56], [238]
Thompson, Henry Yates, [140]
Thomson, Hugh, [166]
Title, the engraved, [95]
Title, the “mirror,” [94]
Title page, the, Bernard Shaw’s ideas concerning, [67];
William James’ ideas concerning, [92];
“the door to the house,” [92];
evolution of, [92–96].
See also [Title, the engraved]; [Title, the “mirror”]
Togo, Admiral, [103]
Torresani, Andrea, [214]
Torresani, Federico, [214]
Torresani, Francesco, friendship of Jean Grolier with, [214];
letter from Jean Grolier to, [215]
Tortelli, [286]
Tours, becomes center of Renaissance in France, [139]
Tours, the School of, [126]
Très Riches Heures, the, of the Duc de Berry, [116]
Tribuna, the, in the Laurenziana Library, Florence, [285]
Trionfi, Petrarch’s, [26], [28], [181]
Triumphs, Petrarch’s, see [Trionfi, Petrarch’s]
Trophies of Heredia, [102]
Troy type, the, designed by William Morris, [20]
Turin, early printing at, [286]
Twain, Mark, and the Jumping Frog, [61];
recollections and reflections on, [170–177];
the Harvey birthday dinner, [176];
referred to, [188]
Type design, difficulties of, [17]
Types, early designs of, [17];
Aldus’ designs of, [17];
Jenson’s designs of, [18];
William Morris’ designs of, [18];
William Morris’ definition of, the ideal, [268].
See also [Humanistic type], [Jenson Roman type], [Jenson Gothic type], [Golden type], [Doves type]
Typesetting, in 1891, [44]
University Press, the old, Cambridge, Mass., [5], [38], [41], [42], [46], [47], [49], [51], [102]
Upsala, Sweden, [119]
Urbino, the Duke of, [12]
Vacca, the Palazzo dei della, [284]
Vallombrosa, [171], [291]
Van-der-Meire, Gerard, [142]
Varchi, his tribute to Michelangelo, [275]
Vasari, his work in the Laurenziana Library, [278];
Michelangelo’s letter to, [278]
Vatican Library, the, at Rome, [117], [196]
Vellum, [115], [257].
See also, [Parchment]
Venetian Days, Howells’, [186]
Venetian Republic, the, [142];
encourages the art of printing, [202]
Venice, early printing in, [94], [204], [206], [214], [286];
Howells’ love for, [186];
becomes the Mecca of printers, [202];
John of Spires in, [286]
Vergetios, Angelos, [219]
Verrocchio, [275]
Victoire, Pierre, quoted, [220]
Victoria, Queen, of England, [140]
Vienna, library of, [196]
Villa di Quarto, the, in Florence, Mark Twain at, [171]
Villa Medici, the, in Rome, [282]
Villari, Pasquale, [284], [291], [298]
Vinci, da, archives, the, [14], [182], [290]
Vinci, Leonardo da, sketches of, [290];
referred to, [14], [182]
Virgil, Baskerville’s, [244];
described, [246–250]
Virgil, illuminated by Sinibaldi, [16]
Virgil, the Medicean, [287];
the story of, [288–289]
Virgil, the Vatican, [117]
Vita di G. Savonarola, La, Villari’s, [298]
Vittoria, Alessandro, [143]
Wages, in 1891, [58]
Walker, Emery, designs the Doves type, [18], [19];
engraves plates for Humanistic Petrarch, [28];
at the Doves Press, [263];
referred to, [71]
Walpole, Horace, [163]
Warner, Sir George, [140]
Widener, Joseph E., library of, [196]
Wiggin, Rev. James Henry, [52]
Wiggin, Kate Douglas, [177]
Wilhelm, Kaiser, [103], [104]
William of Orange, founds the University of Leyden, [239]
William the Conqueror, [158]
Wilson, Francis, [38]
Wilson, John, [5], [6], [38], [40], [42], [46], [52], [53], [55]
Windsor Castle, [140]
Wood, Gen. Leonard, [82]
Wood cuts, [106]
Wordsworth, William, quoted, [20]
World War, the, [103]
Worsley, Sir Robert, [136]
Writing, see [Hand lettering]
Written book, the printed book had to compete against, [199]
Yale University Library, the, [196]
Zainer, Gunther, types of, [20]

THIS VOLUME is composed in Poliphilus type, reproduced by the Lanston Monotype Corporation, London, from the Roman face designed in 1499 by Francesco Griffo, of Bologna, for Aldus Manutius, and originally used in the Hypnerotomachia Poliphili. The Italic is based upon that designed for Antonio Blado, Printer to the Holy See from 1515 to 1567.

The cover, a modern adaptation of the Grolier design used on Capella: L’Anthropologia, is designed by Enrico Monetti.

The illustrations, many now appearing in book form for the first time, were secured chiefly through the courtesy of the librarians of the British Museum, London; the Bibliothèque Nationale, Paris; the Laurenziana Library, Florence; the Ambrosiana Library, Milan; the Marciana Library, Venice; the Vatican Library, Rome; and from private collectors.

The plates of the illustrations were made by the Walker Engraving Company, New York City, and are printed on DeJonge’s Art Mat. The text paper is Warren’s Olde Style.

The typography, presswork, and binding are by the Plimpton Press, Norwood, Massachusetts, under the personal supervision of William Dana Orcutt.