1472 saw printing established in Cremona, Mantua, Monreale, Padua, Parma, and Verona, and from this time onwards it spread rapidly over the whole of Italy, being introduced into seventy-one towns before the end of the fifteenth century. For the study of typography the Italian presses are not nearly so interesting as those of other countries, but from a literary point of view they are immeasurably superior. The Renaissance movement had been at work in Italy during the whole of the fifteenth century, and the great impetus given by the fall of Constantinople was acting most powerfully when the printing press was introduced. Italy was then the sole guardian of the ancient civilisation, and was prepared for a more rapid method of reproducing its early treasures and spreading the learning of its newer scholars.
CHAPTER V.
FRANCE.
A curious prelude has been discovered within the last few years to the history of the introduction of printing into France. L’Abbé Requin, searching through the archives of Avignon, brought to light a series of entries relating to printing, ‘ars scribendi artificialiter,’ as it is there called, dated as far back as the year 1444.[23]
[23] L’Imprimerie à Avignon en 1444. By L’Abbé Requin. Paris, 1890. Origines de Imprimerie en France (Avignon, 1444). By L’Abbé Requin. Paris, 1891. Les Origines de l’Imprimerie à Avignon. Par M. Duhamel. 1890.
The information obtained from the notarial books, fairly complete in its way, is as follows:—A certain silversmith, named Procopius Waldfoghel of Prague, was settled at Avignon by the beginning of 1444, and was working at printing, in conjunction with a student of the university, Manaudus Vitalis, whom he had supplied with printing materials.
In a notarial act of the 4th July of that year, the following materials are mentioned:—‘Duo abecedaria calibis et duas formas ferreas, unum instrumentum calibis vocatum vitis, quadraginta octo formas stangni necnon diversas alias formas ad artem scribendi pertinentes.’ Waldfoghel was evidently the maker of the materials and the teacher of the art, and he seems to have supplied his apprentices with such tools as would enable them to print for themselves.
In 1444, besides Manaudus Vitalis, Waldfoghel had as apprentices, Girardus Ferrose of Treves, Georgius de la Jardina, Arnaldus de Cosselhac, and a Jew named Davinus de Cadarossia.