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Tag Archives: Oliver Cromwell

A Patron’s Family History Research Sheds Light on 17th Century Printing

26 Thursday Jul 2018

Posted by rarebooks in Donations

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Benjamin Allen, Charles I, Charles II, Craig Dalley, Fifth Monarchist, Hannah Allen, Hannah Howse Allen Chapman, Hubble Space Telescope, J. Willard Marriott Library, John Cotton, John Lothrop, Livewell Chapman, London, Massachusetts, Matthew Symmons, Oliver Cromwell, Plano, Puritan, rare books, Special Collections, Special Collections Gallery, Texas, The Feminine Touch, The New England Historical and Genealogical Register, Thomas Howse


It is a matter of just displeasure to God, and sad grief of heart to the church, when civil states look at the estate of the church, as of little, or no concernment to themselves.

The bloudy tenent washed and made white in the bloud of the Lambe
John Cotton (1584-1652)
London: Printed by Matthew Symmons for Hannah Allen, at the Crowne in Popes Head-Alley, 1647
First edition
BV741 W58 C6

English Puritan preacher John Cotton fled to Boston, Massachusetts in 1633 to evade persecution by Anglican Church authorities. In the colony he became an advocate of decentralizing the church and allowing individual congregations to govern themselves. Cotton defended a rule that allowed only church members in good standing to vote and hold office in the colonial government and condemned the idea of democracy in which policy decisions were made in popular assemblies.

When Cotton arrived in Boston, Roger Williams was already in trouble with religious and political authorities. In 1635 he was convicted of heresy and spreading “new and dangerous ideas” and banished. Williams, supporter of religious freedom, separation of church and state; abolitionist; and ally to the American Indian, thought that the Puritans had not gone far enough in separating themselves from the beliefs and practices of the Church of England. Williams identified John Cotton with the Massachusetts Puritans and his tormentors, and his important tract on religious liberty, The Bloudy Tenent, was framed as a critique of Cotton. Cotton responded with his own Bloudy Tenent, a point-by-point rebuttal of Williams and a defense of the institution of the church. Cotton argued that the allowance of religious tolerance would give church members the sense that they could stray from a narrow path created by God.


And the Lord Jesus Christ himself (the God of Truth) who came into the world, that he might beare witnesse to the Truth, be pleased to beare witnesse from Heaven to his owne Truth and blast that peace (a fraudulent and false peace) which the Examiner proclaimeth to all the wayes of fashood in Religion, to Heresie in Doctrine, to Idolatry in worship, to blasphemy of the great Name of God, to Pollution, and prophanation of all his holy Ordinances. Amen, Even So, Come Lord Jesus

While visiting Special Collections from Plano, Texas in 2009, Craig Dalley perused The Feminine Touch, a Rare Books exhibition then installed in the Special Collections Gallery. In the exhibition was The Bloudy Tenent, a book he recognized as being printed by one of his distant ancestors. He published an article in The New England Historical and Genealogical Register (Volume 170, Winter 2016), “Religious and Political Radicalism in London: The Family of Thomas Howse, with Massachusetts Connections, 1642-1665,” which includes a discussion of Hannah Howse Allen Chapman (ca. 1614-ca. 1665), a printer and the publisher of the above book. Last week, Mr. Dalley visited us again and graciously gave us a copy of this issue for our collection.

Hannah Howse’s first husband, Benjamin Allen (ca. 1596 – ca. 1646), had published at least two pamphlets along Puritan separatist lines. Hannah continued printing and publishing separatist material with her second husband, Livewell Chapman (ca. 1625 – ca. 1665).

In 1642, “Parliament declared a book published by Benjamin to be heretical and ordered it to be burned by the hangman. Benjamin died the following year, and Hannah ran the publishing business from his death until her remarriage in 1651. Hannah freed her apprentice, Livewell Chapman…in 1650 and married him by September 1651. During the five years that Hannah ran the business, she published at least fifty-four books and pamphlets and extended the business in a radical direction. Hannah’s second husband, Livewell Chapman, became the leading publisher of the radical Fifth Monarchist sect.”

Chapman was arrested several times for his publishing efforts. “…Livewell published so much anti-Cromwellian material that ‘his share of responsibility for the change of government [when Cromwell was deposed] may well have been considerable.'” In 1660, Livewell was accused of publishing treasonous books and imprisoned. His condition for release “included that he would not ‘att any time hereafter by or with the consent & privity of his Wife, or any other person whatsoever, print, publish, disperse, vend, or sell or cause to be printed, published, dispersed, vended or sold any unlicenced, treasonable, factious or seditious Booke or Pamphlet.'”

Printing and publishing was dangerous business. “Hannah and her husbands were considered to be radicals throughout their lives, regardless of who was at the helm of the government. They fared no better after the execution of Charles I than they had before the overthrow of the monarchy, or than they did after the restoration of the monarchy under Charles II.”

Mr. Dalley concludes, “Hannah Chapman…was a radical publisher whose husbands suffered continual legal troubles — before, during, and after the Protectorate — because of their publishing activities.” Amongst Mr. Dalley’s ancestors, he discovers “a circle of family and friends who were considered to be political and religious radicals.”

Mr. Dalley is an engineer who started his career working on the Hubble Space Telescope. He has researched John Lothrop, his London congregation, and allied families for about twenty years and is planning a book to document his Lothrop research.

Thank you, Mr. Dalley, for bringing life to this 371 year-old book.

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Book of the Week — Mercury: or the Secret and Svvift Messenger

05 Monday Feb 2018

Posted by rarebooks in Book of the Week

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alphabet, Bishop of Chester, chaplain, cipher, codebook, communication, cryptology, English, Fleetstreet, George, Iohn Maynard, John Wilkins, Lawrence Strangman, London, Oliver Cromwell, Royal Society, Saint Dunstans Church, Timothy Wilkins


“There is no safety but by flight.”

Mercury: or the secret and svvift messenger…
John Wilkins (1614-1672)
London: Printed by I. Norton, for Iohn Maynard, and Timothy Wilkins, and are to be sold at the George in Fleetstreet, neere Saint Dunstans Church, 1641
First edition
Z103 W68 1641

This codebook has charts and figures describing how the reader can master the art of secret communication. It is the first book in English on cryptology, published anonymously in 1641. John Wilkins, a chaplain who married Oliver Cromwell’s sister and became Bishop of Chester and a founder and first secretary of the Royal Society revealed himself to be the author when the second edition was printed that same year.

Mercury introduced the words “cryptographia” (secret writing), and “cryptologia” (secrecy in speech) into English. Wilkins defined “cryptomeneses” as the art of secret communication, in general. Wilkins described three kinds of geometrical cipher, a system in which a message is represented by dots, lines, or triangles.

The letters of the alphabet, in normal or mixed order, were written out at known spatial intervals, serving as the key. This line of letters was held at the top of a sheet of paper, and the message was spelled out by marking a dot for each plaintext letter underneath that letter in the key alphabet, each dot lower than its predecessor. The dots could then be connected by twos to form lines, by threes to form triangles, or all together to form what would look like a graph. Or, they could be left as dots. The receiver, who had an identically proportioned key, noted the positions of the dots, the ends of the lines, or the apexes of the triangles against the alphabetical scale to read the plaintext.

The end papers and flyleafs, front and back, are 17th century printer’s waste from an unidentified French to English dictionary. Ex libris Lawrence Strangman, a collector of 16th to 20th century English literature.

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On Jon’s Desk: Erasmus and Holbein, a 17th Century Printer’s Ill-executed Gift to Us

09 Tuesday May 2017

Posted by Jonathan Bingham in On Jon's Desk

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1532, 1676, Aldus Manutius, Ambrosias Holbein, Anne Boleyn, Basel, Desiderius Erasmus, Hans Herbster, Hans Holbein, Henry VIII, In Praise of Folly, Jerome Froben, Johann Froben, Johann Rudolf Genath, Jon Bingham, Moriae Encomium, Morias Enkomion, Oliver Cromwell, Oswald Myconius, Stultitiae Laus, Thomas More, Typis Genathianis

Morias Enomion 1676 Frontis Piece

 

 

 

 

 

 

 

Image of Page containing quoted text.

 

Encomium igitur audietis non Herculis, neque Solonis, sed meum ipsius, hoc est, Stultitiae. Iam vero non huius facio sapientes istos, qui stultissimum & insolentissimum esse praedicant, si quis ipse laudibus se ferat. Sit sane quàm volent stultum, modo decorum esse fateantur. Quid enim magis quadrat, quàm ut ipsa Moria suarum laudum sit buccinatrix, & aute heauten aule? Quis enim me melius exprimat quam ipsa me? Nisi si cui forte notior sim, quam egomet sum mihi.

 

“Prepare therefore to be entertained with a panegyric, yet not upon Hercules, Solon, or any other grandee, but on myself, that is, upon Folly. And here I value not their censure that pretend it is foppish and affected for any person to praise himself. Yet let it be as silly as they please, if they will but allow it needful. And indeed what is more befitting than that Folly should be the trumpet of her own praise, and dance after her own pipe? For who can set me forth better than myself? Or who can pretend to be so well acquainted with my condition?”

– Erasmus, In Praise of Folly

Morias Enkomion 1676 Title Page

 

 

 

 

 

 

 

 

Title: Morias Enkomion. Stultitiae laus. Des. Erasmi Rot. Declamatio, Cum commentariis Ger. Listrii & figuris Jo. Holbenii.

Author: Desiderius Erasmus (ca. 1466-1536)

Printed: Basileae (Basel, Switzerland): Typis Genathianis, 1676

Call Number: PA8512 1676

Engraved portrait of Erasmus from 1676 Morias Enkomion.

Catholic priest and Renaissance humanist, Desiderius Erasmus was critical of the Roman Catholic Church but did not join the protestant movement, preferring to reform the church from within. He spent time at the publishing house of Aldus Manutius in Venice, acting as scholarly editor for the Aldine press’s famous publications of the classics. When he moved to Basel, Switzerland to avoid academic hostility in France, he developed a long-lasting friendship with Johann Froben, one of the great scholar-printers of the humanist movement.

 

Title page of 1532 Froben edition.Erasmus’ writings were best-sellers in their day. They accounted for an estimated 20 percent of all book sales in the 1530s. His best known work is Moriae encomium (In Praise of Folly), a critique of European society and the Roman Catholic Church. Erasmus’ Moriae encomium was first printed by Gilles de Gourmant in Paris, ca. 1511. Erasmus was unhappy with this badly edited version and soon another, dated, edition appeared, again in Paris. Erasmus continued to develop his “Moria,” adding to the text in subsequent printings. The second Froben edition (Basel, 1516) presented the “Moria” in its most complete state to date and formed the basis for all subsequent editions. The 1532 edition, printed by Jerome Froben (son of Johann) and Nicolaus Episcopius, contains the last revisions made by Erasmus, designed, he said, “to polish the style.” He added a number of notes to the commentary, “most of which are concerned with Folly as a dramatis persona or with defending the theological precision and orthodoxy of the work.” The J. Willard Marriott Library Special Collections holds a copy of this edition in the Rare Books Department.

In 1515 two young journeymen painters, Hans and Ambrosias Holbein, moved from Augsburg to Basel, where they were apprenticed to the painter Hans Herbster. The brothers worked as wood- and metalcut designers for printers. Soon after the Holbein brothers began work in Basel, the preacher and theologian Oswald Myconius invited them to add pen drawings to the margins of his second edition copy of Erasmus’ Moriae encomium. These manuscript illustrations became known for their wit and humanism. Hans Holbein went on to become a famous portraitist.

Engraved portrait of Hans Hoblein from 1676 Morias Enkomion. Holbein painted portraits of Erasmus (starting in 1523) and it was these which first brought him international acclaim. In 1526 Holbein decided to travel to England. Erasmus recommended him to his friend Thomas More. This launched Holbein’s career in King Henry VIII’s court. Holbein painted a portrait of Thomas More and became involved in humanist circles in England. After the downfall of Thomas More and Anne Boleyn, both of whom had employed him (and later lost their heads), Holbein distanced himself from the humanist circles that had allowed him his initial success in England. He began working under the patronage of Thomas Cromwell and became “the King’s Painter,” producing several portraits of the King and others in Henry’s inner circle. Scholars today recognize his work for its masterful blending of symbolism, allusion, and paradox.

In 1676 the printer Johann Rudolf Genath (Typis Genathianis) published the edition featured here of Erasmus’ Moriae encomium, which for the first time included Holbein’s illustrations. The illustrations in this edition are of particular interest. It is noteworthy that Holbein’s manuscript illustrations in the 1532 edition were kept and then brought forward for use in this edition. An artist named Caspar Merian produced the engravings. In addition to the eighty-one illustrations this edition contains engraved full page portraits of Erasmus, Holbein, and Holbein’s father, who was also a renowned painter. This edition also contains Lister’s Commentaries, a biography of Holbein, and a catalog listing of the artist’s works.

Engraved portrait of Holbein's father from 1676 Morias Enkomion.The printing of the engraved illustrations presents an intriguing periphery to the story of Holbein’s illustrations joining with Erasmus’ Moriae encomium. By 1676 the printing process had progressed considerably (two centuries had passed since the advent of printing in Europe) and mistakes made in combining text and illustrations at this point can only be chalked up as poor printing. In this edition of Moriae encomium we see a wonderfully terrible job of incorporating the two that we cannot help but find fascinating. It appears that the typesetter and the engraver suffered from a lack of communication. In some instances not enough space was left in the printing of the text to fit the illustration. The printer, using his creative problem solving skills, rectified the situation by turning the ill-fitting illustrations on their sides. Some are poorly inked. Then there is the mix up of the illustrations on pages 133 and 137. In the Rare Books copy the correct image has been laid in over the incorrect illustration. This tactic is fairly common in books from the early printing period.

Morias Enkomion - Illustration Turned SidewaysMorias Enkomion - Illustration Turned Sideways - 2

 

 

 

 

 

 

Morias Enkomion - page 133Morias Enkomion - page 137

 

 

 

 

 

 

 

 

 

This 1676 edition of Erasmus’ famous work is a mash-up of intriguing elements that culminate into something special. The combination of famous authorship with illustrations from a highly regarded artist, who in many ways gained fame as a result of his interactions with the text at an early stage in his career, produces a historically noteworthy piece. There is an irony in the presentation of Holbein’s illustrations in this edition because they are from a master, but administered with a complete lack of printing mastery. Nevertheless, we should be very glad that Genath gave them to us despite his execution.

Morias Enkomion - page 149 - woman at loomFold Out Illustration from Morias Enkomion 1676.

 

 

 

 

 

 

 

 

~Contributed by Jon Bingham, Rare Books Curator

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Book of the Week — An Essay Towards a Real Character…

18 Tuesday Apr 2017

Posted by rarebooks in Book of the Week

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animals, Bishop of Chester, cryptography, engravings, Gellibrand, grammar, Great Fire of London, John Ray, John Wilkins, Joseph Moxon, language, Latin, letterforms, London, music, Oliver Cromwell, paneled calf, phonetics, plants, printing, Robert Boyle, Robert Hooke, Royal Society, space travel, symbols, theology, Trinity College, typography, University of Utah, vowels, William Harvey, William Lloyd

P101-W4-1668-pg311
“…Letters, the Invention of which was a thing of so great Art and exquisiteness, that…doth from hence inferr the divinity and spirituality of the humane soul, and that it must needs be of a farr more excellent and abstracted Essence that mere Matter or Body…” — John Wilkins

An Essay Towards a Real Character, and a Philosophical Language
John Wilkins (1616-1672)
London: Printed for S. Gellibrand, 1668
First edition

John Wilkins, Bishop of Chester, was the chief founder of the Royal Society and its first secretary. He was Master of Trinity College. Wilkins was acquainted with many of the great minds of his day: William Harvey, Christopher Wren, Robert Boyle and Robert Hooke. He married the younger sister of Oliver Cromwell. In 1662, he lost all of his library and scientific instruments to the Great Fire of London. He was interested in just about everything — from theology to cryptography, music to space travel. He worked on creating an artificial universal language to replace Latin as a means of clearer communication between scholars and philosophers.

In this book Wilkins discussed the origin of language and letterforms, as well as a theory of grammar and phonetics. He classified words by their meanings and assigned each class a set of typographical characters, in an attempt to create a rationally ordered language and system of symbols.

P101-W4-1668-pg186

He divided the universe into forty classes, or categories, and subdivided these, and then subdivided these. To each class he assigned a monosyllable of two letters; to each subdivision he added a consonant; to each further subdivision, or species, he added a vowel. Each letter, or symbol, had meaning.

P101-W4-1668-Faces

John Ray drew up systematic tables of plants and animals for the book. An index was created by Dr. William Lloyd. Joseph Moxon (1627-1691) cut the typographical characters Wilkins proposed for his language. Moxon was the author of Mechanick Exercises, the first comprehensive manual of printing and letter-founding in any language.

The first issue of the first edition appeared without any of the engraved plates. This copy, apparently a second issue, contains all of the plates, although two folded leaves of tables and diagrams that are in other copies are missing. Bound with Wilkins’ An alphabetical dictionary, wherin all English Words According to their various significations, are either referred to their Places in the Philosophical Tables, Or explained by such words as are in those tables. The second work functions as an index to the first.

University of Utah copy bound in contemporary paneled calf with covers ruled in blind.

P101-W4-1668-NoahsArk

“From what hath been said it may appear, that the measure and capacity of the Ark, which some Atheistical irreligious men make use of, as an argument against the Scripture, ought rather to be esteemed a most rational confirmation of the truth and divine authority of it. Especially if it be well considered, that in those first and ruder ages of the World… men were less versed in Arts and Philosophy, and therefore probably more obnoxious to vulgar prejudices than now they are… — John Wilkins

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Book of the Week — Paradise Lost

16 Monday Nov 2015

Posted by rarebooks in Book of the Week

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Bernard Lens, Christian, engravings, God, Henry Aldrich, Index Librorum Prohibitorum, John Baptista de Medina, John Dryden, John Milton, Miles Flesher, Oliver Cromwell, pagan, Paradise Lost, Paradise Regain'd, Richard Bentley, Robert White, Roman Catholic Church, Satan, The University of Utah


PARADISE LOST. A POEM IN TWELVE BOOKS…
John Milton (1608-1674)
Printed by Miles Flesher, for Richard Bentley, at the Post-Office in Russell-street, 1688
First illustrated edition
PR3560 1688

John Milton’s Paradise Lost was first printed in 1667, in part, perhaps as a reaction to the defeat of Oliver Cromwell’s revolution and the restoration of the monarchy. Milton attempted to reconcile elements of pagan and Christian tradition, portraying Satan as an unlikable but sympathetic character who defied a tyrannical God and waged unsuccessful war against him. In spite of this, the Roman Catholic Church did not place the work on the Index Librorum Prohibitorum until 1758. This a copy from the first illustrated edition of Paradise Lost. It is also the first edition of the work in folio. University of Utah copy bound with Paradise Regain’d. A Poem. In IV. Books. To which is added Samson Agonistes…(1688). An engraved portrait of Milton by Robert White is bound in opposite to the title page. The portrait includes an epitaph for Milton by John Dryden. Twelve full-paged engravings accompany the text, one at the beginning of each of the twelve books. All of the engravings are tipped in. The illustrations for books III, V, VI, VII, IX, X, XI are by John Baptista de Medina, engraved by M. Burghers. Book IV was illustrated by Bernard Lens, engraved by P.P. Bouche. Book XII was illustrated by Henry Aldrich, engraved by Burghers. The illustrations for Books I and II are engraved by Burghers. The illustrator for these is uncertain.

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Book of the Week – Miscellaneous Poems

06 Wednesday May 2015

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"To His Coy Mistress", Andrew Marvell, Cornhill, English, engraved, frontispiece, Jesuits, London, Mary Marvell, Mary Palmer, Oliver Cromwell, poems, portrait, Robert Boulter, title page, Turks-Head, woodcut


 

“Had we but world enough, and time”

Miscellaneous Poems
Andrew Marvell (1621-1678)
London: [By Simon Miller?], 1681 for Robert Boulter, at the Turks-Head in Cornhill
First edition

This collection marks the first appearance of the majority of Andrew Marvell’s poems, including “To His Coy Mistress,” one of the most celebrated lyric poems in the English language. The collection was “taken from exact copies, under his own handwriting, found since his death among his other papers, witness my hand this 15th day of October, 1680. Mary Marvell.” So states the “Letter to the Reader.” However, the edition was published under mysterious circumstances.

There is no record that Marvell ever married. Mary Palmer was Marvell’s housekeeper. It is thought that friends of Marvell’s added the erroneous announcement, for reasons still hypothesized today. Some modern-day Marvell scholars accept that Mary Palmer was married to Marvell.

Leaves S1 and X1 are cancels, replacing thirteen leaves, necessitated by the suppression of three long poems in honor of Oliver Cromwell, the publication of which was thought to be impolitic. The suppressed leaves are missing in all but two known copies of the printed folio, these two copies being incomplete. Popular rumor attributed Marvell’s death to poisoning by Jesuits.

Illustrated with engraved frontispiece portrait of Marvell. Woodcut publisher’s device on title-page.

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