"Considering the difficulties he had to encounter, not the least of them the difficulty of getting compositors who could read Greek MSS. and compose Greek types, it is a wonder that they are as correct as they are. Some of them are above reproach. When he offered to the reader of his edition of Plato, as he did in the preface of that book, a gold crown for every discovered error, he must have had a confidence in its accuracy which comes only from the consciousness of thorough editorial work. Aldus' taste as editor went beyond the text. Not content with an accurate version, he had that version presented in pleasing types. Everybody admits the value of his invention of Italic, even if his use of it as a text-letter be not approved. But few persons consider that we are indebted to Aldus for the present forms that he introduced. How great this obligation is will be readily acknowledged after an examination of the uncouth characters and the discordant styles of Greek copyists before the sixteenth century. Aldus' invention of small capitals has already been noticed. Here, then, are three distinct styles of book-printing types which he introduced, and which have been adopted everywhere almost without dissent. Other printers have done work of high merit; other type-founders have made pleasing ornamental or fancy types; but no printer or founder since Aldus has invented even one original style of printing types which has been adopted and kept in use as a text-letter for books." [Footnote 16]
[Footnote 16: It was after Grolier's visit to Aldus in Italy that he took up the making of that collection of beautifully bound and printed books which have since made him famous; he evidently owed the inspiration not a little to the great Italian printer.]
The other most distinguished printer of Columbus' Century whose career deserves to be sketched at some length was the Frenchman, Geoffrey Tory or Trinus, who is not so well known as Aldus, coming a little later in history, but whose work was of the highest artistic character.
BORDER FROM "BOOK OF HOURS," GEOFFREY TORY (1525)
Like Aldus, he was of poor parents, but attended the best schools in the Province of Berry toward the end of the fifteenth century and then travelled in Italy. He afterwards became instructor in Paris in the College de Plessis, edited an edition of Pomponius Mela, which was published by Jean Petit, and prepared "AEneas Sylvius" and other works for Estienne the Elder. Fond of art, Tory began to practise wood-engraving and gave up his teaching to study wood-engraving in Italy. He supported himself while studying by painting miniatures for the adornment of manuscripts and printed books and became a great master of his chosen art. He engraved initials, characters and borders for Simon de Collines in Paris, and his work shows the fullest acquaintance with all the resources of his art. His plates marked with the Cross of [{158}] Lorraine are now considered worthy of a very high place in every choice collection.
His principal contribution to book-making was his remarkable original work called "Champ Fleury." This book was divided into three parts for the instruction of printers. The first of these parts contained a treatise upon the proper use of letters. The second treated of the origin of the capital letter and its proper place. The third contained accurate drawings of letters and a large number of alphabets of various kinds, so that proper selection of type might be made for various kinds of books and varying sizes according to space and page. This work had a far-reaching influence. One result was an immediate and complete revolution in French typography and orthography--the abandonment of the Gothic and the adoption of the new cutting of antique type. After having been used for several centuries, the faces of the type thus produced were abandoned for a time and are now being revived. In this book also Tory laid down the rules for the proper use in French of the accents, apostrophe and marks of punctuation. He did more than anyone else to settle these vexed problems of usage for the world. The publication of the book won from Francis I, himself a scholar and patron of learning and an author to whom so much is owed in the French Renaissance, the title of King's Printer. Some of Tory's borders are illustrated on these pages. They have been fruitful models full of suggestion for such work ever since.
With the development of printing, the need of methods of multiplying illustrations for printed books soon made itself felt and was finely responded to by the genius of the century. Wood-engraving in the service of book-illustration came in very early in the history of printing and was, after all, only a development of the wooden blocks, out of which the first idea of movable types had originally sprung. It was very crude at the beginning, and yet often with an artistic expression that gives it great interest. Its possibilities for printing in company with movable types soon began to be realized, and as printed books became more beautiful and type faces more artistic, the necessity for supplying artistic illustrations was felt, and then it was not long before the need was supplied. Probably the [{159}] first wood-engraving designed for book-illustration which exhibits a marked artistic quality was "The Dream of Poliphilo," in which, as Woodberry says in his "History of Wood-Engraving," "Italian wood-engraving, quickened by the spirit of the Renaissance, displayed its most beautiful creation." It was written by a Venetian monk, Francesco Colombo, in 1467, and was first printed by Aldus in 1499. The subject was a worthy one, for though the book is a strange mingling of Greek, Latin, Hebrew and Arabic traditions and poetic symbolism, it typifies the spirit of the Renaissance. It represents the search of youth for the loveliness of universal nature and the perfection of ancient art under the title of Polia, the charming maiden who combines all the qualities. Altogether there are 192 designs. They have been attributed to many illustrious masters, even John Bellini and Raphael, among others, but were probably due to Benedetto Montagna.
How soon illustration came to aid in the understanding of the text in books is very well illustrated by Fra Giocondo's work. When, in 1508, he published the letters of the younger Pliny in the Aldine edition, he not only described but illustrated the villas of the ancients. In 1511 he edited the Aldine edition of Vitruvius, with its rude woodcuts that are yet much more thoroughly illustrative than many a more ambitious modern book and which include the first modern plan of a Roman house. When he issued his Aldine edition of Caesar in 1513 this was illustrated with the earliest of all modern drawings of Caesar's bridge across the Rhine. Fra Giocondo is in fact the true father of the illustrated classic, as Sandys suggested in his Harvard Lectures on the "Revival of Learning" (Cambridge University Press, 1905). It may be well to add that the good friar was no mere student for erudition's sake, since, as is noted in the chapter on architecture, he entered the royal service in France, and in 1497 designed one at least, if not two, of the noble bridges that still span the Seine.