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Tag Archives: French

Book of the Week — Los Espanoles pintados por si mismos por varios autores

27 Monday Nov 2017

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bookseller, critics, cultural identity, engravers, essayists, French, Gaspar y Roig, Ignacio Boix, journalists, literary, Madrid, nationalist, personality, publishing, romaticism, Spanish, woodcuts, writers


El Ama del Cura

“Dear reader, it will not have escaped your insightful sensitivity that you are the friend to whom I have written from the beginning.” — Jose Maria Tenorio, loosely translated by Luise Poulton

Los Espanoles pintados por si mismos por varios autores
Madrid: Gaspar y Roig, 1851
DP48 E76 1851

This compilation of pieces, written by the most notable Spanish writers of the time, was published by bookseller Ignacio Boix, a central figure in the Madrid publishing world. The collection was first printed in two volumes between 1843 and 1844, and reprinted in 1851 in a single volume for the Illustrated Library of publishers Gaspar and Roig. Writers included journalists, essayists, critics, and a few anonymous characters, such as “The Solitary,” and “Curious Speaker.” The increasing diversity in the Spanish literary voice during this period of nationalist romanticism is highlighted in this collection, which focuses on Spanish personality and cultural identity. The collection is illustrated with woodcuts, a technique at which Spanish engravers became particularly adept during this period. The whole project was based on the French publication, Les français peint par eux-mêmes (The French painted by themselves), printed in 1849-42.


El Escribano


La Gitana


La Cigarrera

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Banned! — Le XIII Piacevoli Notti

27 Wednesday Sep 2017

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Beauty and the Beast, Caravaggio, cat, cats, Charles Perrault, fairy tales, folk tales, French, German, Giovanni Boccaccio, Giovanni Francesco Straparola, Giuseppe Rua, Grimm Brothers, Index of Prohibited Books, Italy, king, lies, magic, marry, Murano, ogre, Piacevoli Notti, Pope Clement VIII, princess, Prohibitorun, Puss-in-Boots, Shakespeare, Spanish, stories, supernatural, tales, truth, Venetia, Venice, vernacular, wealth

PQ4634-S7-P5-1580-title
“Of a truth I confess they [the tales] are not mine, and if I said otherwise I
should lie, but nevertheless I have faithfully set them down according to the manner in which they are told…”

Le XIII Piacevoli Notti…
Giovanni Francesco Straparola (ca. 1480- ca. 1557)
In Venetia: 1580
PQ4634 S7 P5 1580

Le XIII Piacevoli Nottie (The Pleasant Nights,) a collection of seventy-five stories, was first published in 1550 with twenty-five stories. Giovanni Straparola added stories to the next two editions, including what are considered to be the first “fairy tales” printed in a European vernacular. The collection of stories was reprinted in at least twenty-three editions between 1550 and 1620 and translated into German, Spanish, and French within only a few years after the first printing. The book was placed on the Index of Prohibited Books the year this edition was published, for its seeming justification of magic. Pope Clement VIII placed it on the Prohibitorum again in 1601. After 1608, the work was no longer published in Italy until Giuseppe Rua’s scholarly 1899-1908 edition.

Almost nothing is known of Giovanni Francesco Straparola except what he tells of himself in this book: he was from Caravaggio. Whoever he (or she) is, he is considered to be the progenitor of the literary form of the fairy tale. The surname “Straparola” is not a typical family name of the period or location. It is likely a nickname, meaning “babbler.” Straparola anthologized already-known folk tales and presented them to an urban audience. Straparola’s Nights is modeled after Giovanni Boccaccio’s The Decamaron. Sixteen characters are engaged in a thirteen night-long party on the island of Murano, near Venice, and tell seventy-four stories that range from bawdy to fantastic. Straparola’s work was a sourcebook for Shakespeare.

Several of these tales, such as “Beauty and the Beast” and the cunning “Puss-in-Boots,” were retold and made famous by Charles Perrault and the Grimm Brothers. In “Puss-in-Boots” a cat is inherited by the youngest of three brothers. The cat — a lowly gift to the last, and therefore most redundant, son — requests of his master a pair of boots and, through a series of magic tricks (he is a cat, afterall!), proceeds to introduce his master to the king’s court and have the king’s princess-daughter fall in love and marry him. Supernatural indeed: a talking animal, an ogre and magical transformations — all bringing good results: the acquisition of wealth and a rise in social standing.

And that is why we love cats (and books) and, perhaps, why Pope Clement did not.

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Banned! — Lettre de Thrasibule a Leucippe

26 Tuesday Sep 2017

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Adam Smith, Benjamin Franklin, Cesare Beccaria, David Garrick, David Hume, Denis Diderot, Edward Gibbon, Enlightenment, France, French, Greek, Horace Walpole, Jean-Jacque Rousseau, L'Encyclopedie, Laurence Sterne, library, Paris, Paul Holbach, salon, Voltaire

BL2773-L458-1768-title

““How could the human mind progress, while tormented with frightful phantoms, and guided by men, interested in perpetuating its ignorance and fears? Man has been forced to vegetate in his primitive stupidity: he has been taught stories about invisible powers upon whom his happiness was supposed to depend. Occupied solely by his fears, and by unintelligible reveries, he has always been at the mercy of priests, who have reserved to themselves the right of thinking for him, and of directing his actions.”

Lettre de Thrasibule a Leucippe
Paul Heinrich Dietrich, Baron d’Holbach (1723-1789)
…a Londres : [no printer or date, but probably Paris, circa 1768]
First edition

An anti-religious and atheistic attack on superstition, this work compares ancient religions and considers Christianity to be a mixture of Judaism and the religions of Egypt. The work was attributed to Nicolas Freret (1688-1749), but is now considered to be by Paul Holbach, who frequently used the names of deceased writers on the titles of his books in order to disguise his authorship. Nicolas Freret was well-known and highly esteemed in his lifetime, but left little of his own writings.

Here, the French text is presented as a translation of an English text that, in turn, is presented as an original Greek text.

Paul Holbach was a French-German encyclopedist and prominent as a salonist in Paris during the French Enlightenment. He supported Denis Diderot financially and contributed articles and translations to L’Encyclopedie – in all about 400 pieces. His salons were exclusively male and attended by such notables as Jean-Jacques Rousseau, Adam Smith, David Hume, Horace Walpole, Edward Gibbon, David Garrick, Laurence Stern, Cesare Beccaria and Benjamin Franklin. Well-fed, his guests were surrounded by Holbach’s three thousand-volume library.

Holbach is recognized today for his philosophical writings, published anonymously or under pseudonyms, and printed outside of France. His writings, however, were certainly recognized in his own day. Voltaire, who was sometimes accused of writing these polemics, made it known that he was not a fan of the « anonymous » Holbach’s work.

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Banned! — Historia del descubrimiento y conquista de la India por los Portugueses

25 Monday Sep 2017

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Anvers, archivist, Asia, Brazil, Castilian, East Indies, English, European, Fernão Lopes de Castanheda, French, German, Goa, India, Martin Nucio, Pedro Alvares Cabral, Portugal, Portuguese, scribe, South America, University of Coimbra, Vasco de Gama, Western European

DS498.3-C37-1554
“He who writes histories must make the efforts that I made and see the land that he is to write about, as I saw it, for so was it done by ancient and modern historians…Very supernatural must be the talented man who will know how to write about things that he never did.” — Fernão Castanheda

Historia del descubrimiento y conquista de la India por los Portugueses
Fernão Lopes de Castanheda (d. 1559)
En Anvers: En casa de Martin Nucio, MDLIIII (1554)
Second edition

Fernão Lopes de Castanheda’s History of the Portuguese Discovery and Conquest of India is one of the earliest Western European chronicles of Portuguese expansion into Asia. Castanheda left Portugal in 1528 to serve as a scribe in Goa. He traveled Asia extensively. After returning home ten years later, he became administrative officer at the University of Coimbra, acting as archivist. In that capacity he gathered his personal experiences along with other eye-witness accounts, interviews and library documents.

Castanheda wrote the history of the Portuguese in Asia beginning with the travels of Vasco de Gama and focusing on the East Indies and India but also including the Portuguese conquest of Brazil by Pedro Alvares Cabral (c. 1467-c. 1520) in 1500. Cabral conducted the first substantial exploration of the Northeast coast of South America. Catanheda’s painstaking work took him twenty years to complete.

This work is divided into eight books covering roughly five years each. The first book was printed in parts in Coimbra between 1551 and 1561.

The first edition is extremely rare. Castanheda was forced, shortly after its publication, to withdraw the work from circulation because it wounded the sensibilities of some people holding high position. The Portuguese Crown sought to keep secret the nautical details about the voyage to India, but Portuguese printed histories were soon translated in whole or part in other European languages, including French, Castilian (1554), German and English (1582).

DS498.3-C37-1554-marble

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Book of the Week — Tablettes De La Vie et De La Mort

18 Monday Sep 2017

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attorney, bibliophile, ceremonies, Christine A. Jones, Eugène Paillet, fidelity, fleurs de lys, French, Greek, Hebrew, Jean Thomas, Jesuits, judge, King Henri IV of France, Latin, law, Louis XIII, Lyon, Montauban, morocco, ornaments, Paris, Penard Fernández, Pierre Mathieu, quatrains, reception, religion, royal, Royal Historiographer, Société des Amis du Livre, The University of Utah, Toulouse, tragedies, translation, Valence, war, World Languages and Cultures

PQ1820-M28-T11-1629-Cover
“It seems that from a King, the Majesty fades
Without many servants trailing his royalty
It may be grand to engage them in spades
But it is a great pain to depend on their loyalty.”

Tablettes de la vie et de la mort
Pierre Mathieu (1593-1621)
A Paris: Iean Petit-Paz, rue S. Iacques, à l’eseu de Venise, près les Mathurins, MDCXXIX (1629) avec privilege dv Roy
First and only complete edition with Latin translation
PQ1820 M28 T11 1629

Pierre Mathieu studied under the Jesuits and mastered Latin, ancient Greek and Hebrew. When he was nineteen his first tragedy, “Esther” was performed and published in Lyon in 1585. Before his death, Mathieu published four more allegorical tragedies, exploring contemporary issues of war in defense of religion. He studied law at Valence, receiving his doctorat in 1586. He was chosen and sent by the residents of Lyon to King Henri IV of France in 1594 to represent to him their fidelity. A year earlier, he had been put in charge of organizing the ceremonies of the king’s royal reception during his visit to Lyon. In Paris Mathieu became Royal Historiographer and was privileged guest of the royal court and the king. He fell ill accompanying Louis XIII at the siege of Montauban and died in Toulouse.

This collection of cultivated admonitions was written by Matheiu for Henri IV and then Louis XIII, Henri IV’s son. It is made up of individual parts that were published over a period of sixteen years (the last posthumously) — and were printed alone, in pairs, or all together, often in this irresistible little palm-sized format. Matheiu intended his readership to memorize the three suites, or volumes, each of one hundred quatrains. Attorney Jean Thomas (act. 1645) translated the French into Latin, printed in just this edition.

The present copy belonged to Louis XIII or was for presentation by him. It bears the book plate of Eugène Paillet (1829-1901) and the stamp of one Penard Fernández.

Paillet was a Parisian lawyer and judge and one of the great French bibliophiles of the nineteenth century. He was particularly interested in acquiring a number of different editions of the same work in order to illustrate the history of the publication. He was a founding member of the Société des Amis du Livre in 1874.

The translation of the quatrain above is by Christine A. Jones, Professor, World Languages and Cultures, The University of Utah. She explained that this was a “quick, unpolished” translation “to give the reader a sense of the irony and juicy moral ambiguity of the poems.”

French text facing the Latin translation, ornaments throughout. Each page bears various hand ruled borders in light faded red ink. Bound in contemporary gilt red morocco, chain-and-bloom roll around a central panel diapered with a dotted roll, interstices with fleurs de lys, which also fill the single vertical spine compartment. Marbled pastedowns, all edges gilt.

PQ1820-M28-T11-1629-Pastedown

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Book of the Week — Collotype

28 Monday Aug 2017

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Alphonse Poitevin, Anachronic Editions, books, chemist, collotype, engineer, French, Meryl Chayt, Pasadena, photographer, poetry, printing, Steven Chayt

TR930-C48-1983-Portrait
“Get rid of that row of bottles & secret dopes at the back of your press. Synchronize your temperature, humidity, ink supply & speed of running, then your prints will be uniform, plentiful, clean & juicy.” — from Collotype

Collotype: Being a History-Practium-Bibliography
Steven Chayt and Meryl Chayt
Winter Haven, FL: Anachronic Editions, 1983

Collotype is devoted completely and exclusively to the photographic and printing process of collotype, invented in 1856 by the French photographer, chemist and engineer Alphonse Poitevin.

Steven and Meryl Chayt began their devotion to the book at a young age. Both of them attended CalArts. They published poetry under their imprint, Kenmore Press. When they moved from Los Angeles to Pasadena, they spent most of their time and energy, however, on the work of the book, including letterpress printing; casting and setting metal type; papermaking; and alternative illustration processes printed in small editions, under the Anachronic Editions imprint.

After a move to Florida, they closed the press, began teaching, and continue to make art.

Edition of eighty-five copies. Bound in green cloth boards with natural linen spine. Rare Books copy has original prospectus laid in.

TR930-C48-1983-titlespread

TR930-C48-1983-Oven

TR930-C48-1983-Density

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Book of the Week — Instituzioni Analitiche ad uso della gioventu’ italiana

14 Monday Aug 2017

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algebra, Baltimore, Bologna, calculus, copper engravings, English, French, geometry, German, Greek, headpieces, Hebrew, historiated initials, Isaac Newton, Italian, John Colson, John Hellens, Johns Hopkins University Press, Latin, Leibniz, Maria Gaetana Agnesi, Massimo Mazzotti, Milan, Pietro Agnesi, Pope Benedict XIV, silk merchant, Spanish, vignettes

QA35-A27-1748-v.1-title

Instituzioni Analitiche
Maria Gaetana Agnesi (1718-1799)
Milan: Nella Regia-Ducal Corte, 1748
First edition
QA35 A27 1748

Maria Gaetana Agnesi was the eldest in a family of at least twenty-one children. Her father, Pietro Agnesi, a wealthy silk merchant, could afford to provide her with some of the best tutors available. A child prodigy, at an early age she had mastered Greek, Hebrew, French, Spanish, German and Latin.

She was shy, and suffered convulsions and headaches, but had strong impetus to please her father, who was focused on moving his family from its merchant class status to aristocracy. He proudly and frequently had her present at small social gatherings in which she gave discourses in Latin on natural philosophy — subjects such as the nature of tides and the origins of spring water –, mathematics, or the nature of the soul. These discourses took place in her well-appointed family home, surrounded by lush furnishings and paintings of sacred subjects.

Several of her sisters entered convents. One of her brothers became a monk. Pietro Agnesi denied Gaetana’s request to enter a convent, but eventually agreed to keep her out of the public sphere.

Instituzioni Analitiche is her momumental work, which she dedicated to Empress Maria Theresa of Austria. Her objective was to give a complete comprehensible analysis of algebra, with emphasis on relatively new concepts. She wrote in Italian rather than Latin in an attempt to attract younger readers (in particular her brothers) and other readers, such as women, who were less than welcome in the world of Latin scholars. She explained elementary algebra, classical geometry, differential calculus, and integral calculus. Calculus was little understood by many intellectuals, including mathematicians, of the time — Isaac Newton had only recently died in 1727, Leibniz in 1716. This was the first vernacular textbook on calculus. And the first mathematics book to be published by a woman.

In her introduction, Agnesi states that some of the methods, material, and generalizations in her book were original to her. Her book was translated into English and French. John Hellens, editor of John Colson’s English translation, noted that Colson “found [Agnesi’s] work to be so excellent that he was at the pains of learning the Italian language at an advanced age for the sole purpose of translating her book into English, that the British Youth might have the benefit of it as well as the Youth of Italy.”

Today, Agnesi’s name is known to math students for her geometric “curve,” the witch of Agnesi, expressed as a mathematical equation.

Agnesi received her greatest recognition from Pope Benedict XIV (1675-1758) in the form of two letters. The first letter (June 1749) congratulated her on the publication of her book and was accompanied by a gold wreath containing valuable stones and a gold medal. In his second letter (September 1750), the pope appointed her to the chair of mathematics and natural philosophy at Bologna. Though she accepted the position as “honorary,” she ultimately did not teach there.

Following the death of her father, she no longer engaged in any scientific activity and spent the rest of her life in religious studies, devoting herself to the poor, the sick, the hungry and the homeless. She was all but forgotten for her treatise on calculus.

Illustrated with fifty-nine copper engraved folding plates and two folding tables. Copper-engraved title page vignettes, headpieces and historiated initials. Rare Books copy bound in early nineteenth century calf over paste paper boards, green and red gilt-lettered spine labels.

QA35-A27-1748-v.2-pg705

QA35-A27-1748-v.2-pg708

Recommended reading:
Mazzotti, Massimo. The World of Maria Gaetana Agnesi, Mathematician of God. Baltimore: The Johns Hopkins University Press, 2007, QA29 A28 M39 2007, L1, General Collection

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Book of the Week — A New Hieroglyphical Bible, for the Amusement and Instruction of Children

31 Monday Jul 2017

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Alexander Anderson, America, American, Augsburg, Baltimore, Bible, children, Dutch, emblem books, English, French, hieroglyphical, Isaiah Thomas, New York, Samuel W. Wood & Co., Samuel Wood & Sons, wood engraving

BS560-H54-1818-pg32spread
“…so also can nothing be more unprofitable, than the too customary mode of charging the infant memory with verses, or even chapters of abstract doctrines, or passages, about the true meaning of which, schoolmen themselves have hitherto been divided in opinion.” — from the Preface

A New Hieroglyphical Bible, for the Amusement and Instruction of Children
Alexander Anderson (1775-1870)
New York: Published by Samuel Wood & Sons, And Samuel W. Wood & Co…Baltimore, 1818
BS560 H54 1818

Hieroglyphic Bibles were a natural development from emblem books, in which often complex visual images served as emblems for intellectual or aesthetic ideas presented as moral or religious lessons. The first one was published in Augsburg in 1687. French and Dutch editions followed in the eighteenth century. The first English edition appeared fairly late, but it was followed by at least thirteen other editions before the end of the eighteenth century. The first American hieroglyphic Bible was published in 1788 by Isaiah Thomas.

Alexander Anderson has been called the father of wood engraving in America, and was certainly one of its masters. His work included prints, almanacs, fiction, travel, children’s books, Bibles, religious tracts, medical texts, and broadsides.

BS560-H54-1818-title

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Rare Books Goes to Geneva!

06 Thursday Jul 2017

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American, Americas, aquatints, Elizabeth Daley, English, fairy tale, Fort McKenzie, French, frontier, German, indigenous, July, Karl Bodmer, Montana, Patek Philippe, Prince Maximilian zu Wied, rare books, Romantic, Scott Beadles, Special Collections Reading Room, watercolors

Tableau_41
“A seemingly idyllic, rarely seen American past comes to life like a fairy tale — some land before time, before film, before death.”

Patek Philippe: The International Magazine used images from the Karl Bodmer aquatints held in the rare book collections for an article in its July 2017 issue. The digital reproductions, especially crafted by Rare Books assistant Scott Beadles for this issue, illustrate “Home of the Braves,” by Elizabeth Daley.

“In the 1830s, when the American West was on the verge of momentous change, a German prince set off to explore the country and its people. He took with him a Swiss artist, whose intricate depictions are the last record [before photography] of a disappearing world.” Swiss-born artist Karl Bodmer accompanied Prince Maximilian zu Wied on his two-year journey across the American frontier, reaching as far west as Fort McKenzie, Montana.

Tableau_5edited

The Rare Books Department holds a set of the eighty-one aquatints produced after watercolors by Bodmer for zu Wied’s Travels in the Interior of North America, first published in German in 1839 and later translated into English and French. Rare Books holds first editions of the German and of the English translation.

You can look at the digitized collection here:

Karl Bodmer Aquatints

In this digital format, you can also look at the first German and English editions of zu Wied’s Travels. Better than that, however, you can visit the Special Collections Reading Room and browse the lush, exquisitely detailed aquatints in their original state.

Hardly a romantic fairy tale, the history of indigenous peoples in the Americas is often tragic (they were not saved by a Prince) but always rich in its antiquity and its currency. Bodmer’s aquatints and zu Wied’s Travels are only part of a story worth exploring to your heart’s content in Special Collections.

Patek-Philippe-Cover

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Book of the Week — The Song of Roland

26 Monday Jun 2017

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Battle of Roncevaux, Bruce Rogers, Cambridge, Cathedral de Chartres, chanson de geste, Charlemagne, chivalry, English, EPIC, French, gilt, Isabel Butler, medieval, Old French, printer's device, Roland, roundels, Song of Roland, stained glass, The Riverside Press, Turoldus, vignette

PQ1521-E5-B8-1906-XXX
“Mult ad apris ki bien conuist ahan.” (He has learned much who knows the pain of struggle.) — stanza CLXXXIV, line 2425, Song of Roland

The Song of Roland
Cambridge, MA: The Riverside Press, 1906
PQ1521 E5 B8 1906

The Song of Roland is a French epic dating from about 1040 to 1115CE. It recounts the chivalric and heroic deeds of Charlemagne, based on the historical but minor eighth century battle of Roncevaux. Roland was a nephew of Charlemagne. The author of the legend is unknown, although his name may have been Turoldus. The epic is considered the first masterpiece of literature in the French vernacular, written as a medieval chanson de geste (song of deeds) in four thousand lines. In spite of, or perhaps because of, its status in French literature, it was not translated into English until the late 19th century.

This edition was translated from Old French by Isabel Butler.

This edition was designed by Bruce Rogers, one of the great book designers of the twentieth century.  Seven illustrations derived from the compartments of the window of Charlemagne in the Cathedral de Chartres depict events in the legend of Roland. These have been drawn and printed and then colored by hand in  blues, reds, greens and yellows after the stained glass of the window. Five roundels are placed throughout the text. A large arched head-piece vignette tops the opening text as if a dome. The text is printed in double columns with marginal notes in brown and rubricated in gilt as page headings. The title-page is printed in red and black with a printer’s device in color.

PQ1521-E5-B8-1906-i

PQ1521-E5-B8-1906-XX-XXI

Typefaces are French bâtarde and civilité. Bâtarde was a blackletter script used in France, the Burgundian Netherlands and Germany in the 14th and 15th centuries. The script was a decorative chancery or legal hand dating from the 13th century. Civilité is a type designed by Robert Granjon as a response to the Italian italic. Granjon based the font on a cursive Gothic script. The typeface was first used in 1559 for a book on manners written for children by Desiderius Erasmus.

PQ1521-E5-B8-1906-XXXIV

Printed on American handmade paper. Bound in quarter vellum over printed boards in a fleurs-de-lys pattern taken from paintings in the crypt at Chartres. To achieve an antiqued effect, Rogers rubbed a red paste wash over the printed paper.

PQ1521-E5-B8-1906-Cover

Bruce Rogers (1870-1957) was born in Indiana. As a young man, he moved to Boston, where, in 1895, he began working at the Riverside Press, a printing department of the Houghton, Mifflin publishing company. Rogers began designing trade books. In 1900, a Department of Special Bookmaking was created for the production of fine press editions, with Rogers in charge. He designed more than four hundred books during his career. Of those, he chose thirty (Roger’s Thirty), at the request of an interviewer,  that he considered successful book works. The Song of Roland was one of his choices.

George Mifflin, the head of Houghton, Mifflin was so proud of Roland that he sent a copy to then-President Theodore Roosevelt. Roosevelt was so impressed he visited the press to look at other of Rogers’ works. He wrote, “…it seemed to me far ahead, and almost like some of the very beautiful printing[s]…at the end of the Fifteenth Century.”

Edition of two hundred and twenty copies.

 

 

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