In the early years of the sixteenth century, the printers of Florence issued many cheap popular books, chiefly Rappresentazioni, i.e. Plays, sacred or secular. These plays are generally badly printed in double columns, but they are illustrated with numerous cuts, some of which are of peculiar merit. The earliest known printer of them was Francesco Benvenuto (c. 1516-1545), but the majority appear to have been issued between 1550 and 1580, anonymously, though we know that Giovanni Baleni of Florence was the printer of some of these.
There were also many quaint little tracts, metrical Novelle and Istorie, of which a collection has been found at the University Library, Erlangen; a valuable description of them was published by Dr. Varnhagen. The poems are, as a rule, illustrated with small cuts, inclosed within a neat border, the subjects are usually well chosen, and the drawing very good; the treatment of some of the domestic scenes is worthy of Bewick.
In striking contrast to the simplicity of these popular wood-engravings are the elaborate engravings which appeared in the more expensive books issued in the latter half of the same century, when illustrated editions of Dante, Boccaccio, Ovid, Æsop's Fables, and Alciat's 'Emblems,' appeared, one after the other, but not one of these calls for
special notice; nor did the best of their wood-engravings equal the work of Lützelburger. The frontispiece of a curious book, Le Sorti di Marcolini da Forli, printed at Venice in 1540, of which we offer a reduced copy, gives us a good idea of the prevailing art of the period. It is said to be taken from a design by Raphael for his celebrated picture 'The School of Athens,' and we see by the tablet in the foreground that it was either drawn on the wood or engraved by Joseph (Giuseppe) Porta, known as Salviati, after his more celebrated master whom he accompanied to Venice.
In Paris, in the first half of the sixteenth century, there lived a very celebrated printer, 'Geoffroy Tory, Peintre et Graveur, Premier Imprimeur Royal, Reformateur de l'Orthographe, et de la Typographie,' as he is described by his biographer, M. A. Bernard (Paris, 1857). He was born at Bourges in 1480, and in early life went to Paris, where he not only wrote books and printed them, but designed ornamental borders and engraved them. He also studied his profession in Italy, and brought back with him new ideas about printing and illustrating books. Such a man had great influence at that time, for he had much inborn taste and excellent skill, and publishers should all be proud of him as one of their most praiseworthy ancestors. He adopted the singular design the Pot-cassé, of which we give a copy, as his somewhat enigmatical device; and some writers maintain that the little 'Cross of Lorraine' (‡) found on many of the cuts of this period is also his mark.
