It is to the credit of the Venetian public that Giunta's edition of this big book sold quickly. For reasons hereafter to be given I think it possible that a reprint with some additional cuts was published as early as 1491. We know for certain that a new edition (printed again by Giovanni Ragazzo) was ready for sale in July 1492. Like most reprints of illustrated books this aimed at an appearance of greater liberality at a comparatively small expense. Thus in the book Genesis there are 27 woodcuts in 1492 against 16 in 1490, a too realistic picture of Potiphar's wife tempting Joseph being judiciously omitted, while twelve new subjects are added. In Exodus we have 29 cuts against 25, four new ones being added, while on the other hand the representations of the Burning Bush (in which a dog is shown barking at the Almighty) and of the Slaying of the Firstborn are withdrawn and replaced without appropriateness by cuts taken from Deuteronomy ix. and Leviticus x. In Leviticus one cut (that to chap. vii.) is changed and a new one added to chap. xviii. In Numbers an illustration of the zeal of Phineas in chap. xxv. is omitted, and two new cuts added to chaps. xxix. and xxxiii.; in Deuteronomy we have six new cuts and a repeat. To these 26 additions (against two omissions) in the Pentateuch, we have to add 14 more (against one repeat omitted) from Joshua to Kings. From Chronicles to Acts the woodcuts in the two editions are substantially the same, six cuts being changed, while one is omitted. In the Epistles, besides two changes, there are 12 additions, but these are mostly either repeats or taken from other books. In the Apocalypse and the Life of S. Joseph, with which the book ends, the illustrations in the two editions agree. The number of different cuts (deducting 12 and 9 respectively for repetitions) is 240 in Part I. and 178 in Part II., or a total of 418 different cuts against 373 in the 1490 edition, the increase being practically confined to the books Genesis, Exodus, Deuteronomy and the Epistles.
S. JEROME. FROM THE MALERMI BIBLE. VENICE, 'ANIMA MIA,' 1493
Turning now to the 'Anima Mia' edition of 1493, three copies of which have recently come to light after its existence had remained unsuspected for generations, we have only to place it side by side with one of the Giunta texts to find that it is a not too scrupulous attempt to cut into the profits of the firm which was first in the field. The worst evil of the publishing trade at the present day is that if one publisher strikes out a new line, whether in the form of his books, or the prices at which they are issued, or by bringing into notice some hitherto neglected author or subject, one or more of his competitors immediately tries to put similar editions on the market, and to offer purchasers a little more for their money. The result is that the first publisher finds his profits sensibly diminished, while the second very probably burns his fingers.
AN AUTHOR AT WORK. FROM THE MALERMI BIBLE. VENICE, 'ANIMA MIA,' 1493
Few modern publishers, however, would plagiarise quite as freely as did 'Anima Mia' in his new Bible. Not only did he copy Giunta closely in the form and size of his book, the arrangement of the page and the size of the illustrations; but in a great number of cases he allowed his artists to take precisely the same subjects for illustration, and even to copy the designs themselves quite closely, sometimes by the lazy method which, by imitating the model on the block of wood, without first reversing it, caused the printed picture itself to appear in reverse.
JOSHUA AND THE GIBEONITES. FROM THE MALERMI BIBLE. VENICE, GIUNTA, 1490
A curious question now arises as to which of the Giunta editions 'Anima Mia' elected to copy from. That of 1490 was clearly not the one chosen, since among 'Anima Mia's' pictures we find illustrations to Genesis xiii., xv., xvii., xx., xxiv., and xxvi., none of which were illustrated in the 1490 edition, while pictures on the same subjects are found in that of 1492. Again, in the four books of Kings the 1493 edition agrees with the 1492 in having forty-nine cuts as against forty-three in the original edition of 1490. More conclusive still is the evidence of a mistake in Joshua ix., where it is impossible that the artist can have had before him the pretty little cut of the Gibeonites as hewers of wood and drawers of water, which is one of our illustrations.