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~ News from the Rare Books Department of Special Collections at the J. Willard Marriott Library, The University of Utah

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Tag Archives: printing

Book of the week — The Poems of Shakespeare

19 Monday Sep 2016

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Ann Simons, Ashlar Press, Bruce Rogers, Connecticut, Cromwell, Daniel Updike, decorative initials, Frank Altschul (1887-1981), George Lyman Kittredge, Harvard, Jean Hugo, John Macnamara, letterpress, Lucretia type, marbled boards, Margaret B. Evans, morocco, Overbrook Farm, Overbrook Press, poems, printing, Shakespeare, sonnet, Stamford, Thomas Maitland Cleland, Valenti Angelo

Titlepage

So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.
— William Shakespeare, Sonnet XVIII

The Poems of William Shakespeare
William Shakespeare (1564-1616)
Stamford, CT: Overbrook Press, 1939
PR2841 A2 K5 1939

Edited by George Lyman Kittredge, Gurney Professor of English Literature, Harvard University.

Overbrook Press was founded by investment banker, civic leader, and bibliophile Frank Altschul (1887-1981), who had pursued printing as a hobby since childhood. In 1934 he was approached by designer Margaret B. Evans, who had been working for Ashlar Press, which was closing. Altschul set up the Ashlar press in an abandoned outbuilding on his 450-acre estate, Overbrook Farms, in Stamford, Connecticut. He hired Evans as designer and compositor and John MacNamara as pressman. Overbrook Press printed an eclectic mix of books, pamphlets, broadsides and ephemera, emphasizing technical expertise and craftsmanship. The press engaged contemporary book designers and artists such as Daniel Updike, Jean Hugo, Bruce Rogers, Ann Simons, Valenti Angelo, and Thomas Maitland Cleland. Overbrook Press closed in 1969.

The Poems of Shakespeare is one of its most ambitious projects. It’s decorative initials were designed by Bruce Rogers. Text handset and letterpress printed in red and black with Lucretia type on handmade Cromwell grey paper. The press offered copies for sale, but most of them were given as gifts by Alschul. Copies for sale to the public were bound in three quarter morocco and slipcased, but more than a third of the edition was never bound, presumably to accommodate individual binding tastes.

University of Utah copy is bound in quarter brown morocco over marbled boards with gilt-lettered spine, issued uncut, in publisher’s slipcase. Edition of one hundred and fifty copies.

Sonnets-spread

Shakespeare is coming! The First Folio arrives at the City Library in October.

 

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Looking forward to — Book Arts Program workshop, “The Practice of Ukiyo-e Woodblock”

28 Thursday Jul 2016

Posted by rarebooks in Recommended Workshop

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barrens, Book Arts Studio, brayers, brushes, calligraphy, Cleveland Museum of Art, Connecticut, copperplate engravings, Daniel Kelm, Fogg Museum, Francis Willughby, Franklin Nichols Woodworking, Gerald Lange, handmade, Harvard University, Henryk Goreski, ink, J. Willard Marriott Library, Japan, Japan Foundation, Japanese paper, John Wareham, Keiichiro Uesugi, Keiji Shinohara, kozo paper, Krystyna Carter, Kyoto, Library of Congress, Middleton, Milwaukee Art Museum, Osaka, pallet knives, Paul Shaw, poetry, Polish, polymer plates, presses, printing, printmaker, rag papers, Robin Price, triptych, Ukiyo-e, United States, University of California, Wesleyan University, William Everson, woodblock, woodcut

The Practice of Ukiyo-e Woodblock
Keiji Shinohara, instructor

August 5-6
Friday & Saturday, 10:00-6:00
Book Arts Studio, J. Willard Marriott Library, Level 4
Registration for this workshop is closed.

Leave the brayers, pallet knives, rag papers, and presses behind, and journey eastward. With brushes and barrens, master printmaker Keiji Shinohara guides participants gently through the traditional Ukiyo-e technique of woodblock printing on Japanese papers. As new practitioners, participants have time to carve small, simple blocks using one or two colors. The focus of the workshop is on observance and practice of process rather than on a producing a masterful print.
– – – – –
Keiji Shinohara was born and raised in Osaka, Japan. After 10 years as an apprentice to the renowned Keiichiro Uesugi in Kyoto, he became a Master Printmaker and moved to the United States. Shinohara’s nature-based abstractions are printed on handmade kozo paper using water-based pigment onto woodblocks in the ukiyo-e style–the traditional Japanese printmaking method dating to 600 CE. Though Shinohara employs ancient methods in creating his woodblock prints, he also diverges from tradition by experimenting with ink application and different materials to add texture to his prints. He is currently teaching printmaking at Wesleyan University in Middletown, Connecticut and has been a visiting artist at over 100 venues and 30 solo shows. He has received grants from the Japan Foundation and the National Endowment for the Arts and his work is in many public collections, including the Cleveland Museum of Art, the Fogg Art Museum at Harvard University, Milwaukee Art Museum, and the Library of Congress.

Rare Books is pleased to support the Book Arts Program with its collections.

N7433.98-A48-1996

Altar Book of Gorecki
Middleton, CT: Robin Price, Publisher, 1996

Inspired by a 1992 recording of Henryk Goreski’s Symphony No. 3. English translation by Krystyna Carter. Calligraphy of Polish lyrics by Paul Shaw. Bird illustrations are from seventeenth-century copperplate engravings by Francis Willughby. Photographed by John Wareham, the illustrations were digitally adapted and made into polymer plates by Gerald Lange. Woodcut designed and carved by Keiji Shinowara. Triptych structure with the consultation of Daniel Kelm. Box design and construction by Franklin Nichols Woodworking. Designed, printed and bound by Robin Price. Edition of sixty copies.

PS3509-V65-R38-1998-Bird-Spread

PS3509-V65-R38-1998-Socket-Of-Consequence

Ravaged With Joy
William Everson (1912-1994)
Middletown, CT: R. Price, 1998
PS3509 V65 R38 1998

A record of the poetry reading at the University of California, Davis, on May 16, 1975. Woodcuts by Keiji Shinohara. Issued in slipcase. Edition of one hundred and fifty copies, signed by the artist. University of Utah copy is no. 62.

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Rare Books Exhibition — Love Letters: A Gallery of Type

21 Thursday Jul 2016

Posted by rarebooks in Physical Exhibitions

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American, book design, book designers, Bruce Rogers, Johan Gutenberg, Marriott Library, movable type, Pablo Neruda (1904-1973), printers, printing, rare books, type, typographers, typography

Posterfinal(jpegforblog)

Love Letters: A Gallery of Type

Love Letters celebrates type, typographers, and printers – from Johann Gutenberg (c.1398-1468), who developed printing with movable type, to Bruce Rogers (1870-1957), an American typographer and book designer. Type is designed to be both functional and evocative. Type has personality, flair, and style, inspired by time and place. It can age quickly or become classic. Good type grabs our attention. Great type keeps our attention.

On display are books and printed ephemera, dating from 1482 to the first decade of the 21st century, from the J. Willard Marriott’s rare book collections – examples of the development of typography and printing and why we love type.

July 22, 2016 — September 30, 2016
Marriott Library, Levels 1, 4, & 5

This exhibition is free and open to the public.

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We recommend — Book Arts Program workshop, “Letterpress Printing: Text + Image”

07 Tuesday Jun 2016

Posted by rarebooks in Recommended Workshop

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acrylic, artists' books, book arts, Book Arts Program, Book Arts Studio, bookbinder, collographs, Colorado State University, Crane Giamo, creative writing, Delete Press, design, edition, hand-painted, handbound, image, imprint, ink, iron oxide pigment, J. Willard Marriott Library, Japanese stab-stitch, letterpress, linoleum blocks, metal type, paper, papermaker, photopolymer plates, Pocalypstic Editions, poetry, pressure prints, printer, printing, prints, publishing, Red Butte Press, relief, text, Tuscaloosa, University of Alabama, University of Buffalo, University of Utah, Vandercook #4, wood type, zinc cuts

Letterpress Printing: Text + Image
Crane Giamo, Instructor

June 14—August 2
Tuesdays, 5:00—8:00
Book Arts Studio, J. Willard Marriott Library, Level 4
$340, register here.

Get a handle on what it takes to crank out an edition of gorgeous letterpress prints. This active, eight-week class introduces the fundamentals of letterpress, from paper selection and cutting to mixing ink and printing. Guided by Crane Giamo, participants design and produce several individual projects using a variety of relief techniques and tools including metal and wood type, zinc cuts, linoleum blocks, pressure prints, photopolymer plates, and collagraphs.
– – – – –
Crane Giamo is the studio manager and faculty instructor in the Book Arts Program at the University of Utah, and the lead printer for Red Butte Press. He is the co-founder of Delete Press, a poetry publishing outfit for which he works as letterpress printer, bookbinder, and papermaker. Crane’s own artists’ books can be located under the imprint Pocalypstic Editions. He holds an MFA in Book Arts from the University of Alabama, an MFA in Creative Writing from Colorado State University, and an MA in Poetics from the University at Buffalo.

N7433.4-G474-P73-2014-coverN7433.4-G474-P73-2014-image

Psalm 13-20
Crane Giamo
Tuscaloosa, AL: Pocalypstic Editions, 2014
N7433.4 G474 P73 2014

Text printed from photopolymer plates on a Vandercook #4 letterpress. Red paint slashing across the book is hand-painted using iron oxide pigment mixed with acrylic medium. Handbound in Japanese stab-stitch structure. Edition of twenty-five. University of Utah copy is no. 8.

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Book of the Week — Fasciculus Temporum

09 Monday May 2016

Posted by rarebooks in Book of the Week

≈ 2 Comments

Tags

Adam, annotations, Ark, Bible, Biblical history, Carthusian, Christ, Church Fathers, Cloister, Cologne, comets, creation, eclipses, editio princips, Evangleists, farmer, German, Hungary, incunable, Jesus Christ, Johan Pruss, Latin, manuscripts, Mathias Corvinus, monks, omens, page layout, paste-paper boards, pilgrim, print, printing, rainbow, secular history, Sodom and Gomorrah, St. Barbara, Strassburg, theology, timelines, Troy, University of Utah, Werner Rolewinck, Westphalia, woodcuts

“This is the art of arts, the science of sciences. The valuable treasures of wisdom and knowledge, desired by all men, come out of the deep shadow of hiding, enriching and illuminating a world in the hands of evil. The unlimited power of books…now spreads through [printing] to every tribe, people, nation and language to all parts of the world.”

Title

FASCICULUS TEMPORUM
Werner Rolewinck (1425-1502)
Strassburg: Johan Pruss, not before 1490

Werner Rolewinck’s Fasciculus temporum was one of the most popular chronicles of the incunable period and beyond. This title has the distinction of being one of only a few books printed in this period while the author still lived. At least thirty editions were printed between the editio princeps (1474) and the death of Rolewinck. Five of these editions were printed Johan Pruss, four in Latin, as is the present edition, and one in German.

Rolewinck’s history is heavy on the stories of the British Isles, including the story of King Lear and his daughters, later made famous by William Shakespeare, is told in detail on the same page with that of Lycurgus of Sparta and the founding of Rome; Merlin and Arthur, St. Patrick, St. Thomas of Canterbury, and King Alfred.

This edition is expanded from the first to include events which occurred since the first edition, such as the death of Mathias Corvinus, King of Hungary in 1490.

Rolewinck, born in Westphalia, was the son of a well-to-do farmer. In 1447 he entered the Carthusian cloister of St. Barbara in Cologne. He wrote at least thirty works, mainly on theology, and mostly for the edification of his fellow monks. Many of these manuscripts were never put into print.

The printing of this text was tricky. The page layout has a double-ruled strip in the middle of the page, separating the text above (Biblical history with commentary by the Church Fathers) from the text below (secular history). Within the strip are one, two or three circles containing the names of people, beginning with Adam. Dates above are calculated from the creation of the world (5199 B.C.) Dates below, printed upside down, indicate the number of years before the birth of Christ.

FoliumIIII

Illustrated with nine woodcuts, including a frontispiece on the verso of the half-title of an elderly pilgrim, in classic “going on three feet” pose; twelve town views; an Ark and rainbow; and a full-length portrait of Jesus Christ. A city in flames illustrates the destruction of Sodom and Gomorrah, Troy, and others. Three woodcuts illustrate omens, such as comets, eclipses and monstrous births. The page with the woodcut of Jesus Christ (fol. 37) is an example of sophisticated typesetting: the figure of Christ is surrounded on four corners by the names of the Evangelists with quotations from the Bible.

Pilgrim

FoliumXXXVIL

Burning-city

University of Utah bound in later, probably seventeenth century German, paste-paper boards. UU copy has contemporary ink annotations on half-title and top margin of frontispiece and several others throughout the text, including a drawing on fol. XLXIII.

Ink-face

 

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Book of the Week — He Kaine Diatheke

04 Monday Apr 2016

Posted by rarebooks in Book of the Week

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Antoine Augereau, Aristotle, astrology, Bible, bibliographer, binding, Book of Hours, calendar, Calvin, Chartres, Christmas Eve, Cicero, classics, cosmology, Demarruello, Estienne, Euclid, France, French, Garamond, Geoffroy Tory, Gothic, Greek, Greek New Testament, Henri Estienne, heresy, heretic, Hesiod, hinges, Hippocrates, Horace, Hore beate marie, indices, initials, italic, Latin, Louvain, Lutheran, New Testament, Ovid, Paris, Paris Parlement, pressed paper boards, printing, proof sheets, Protestant, putti, R. Peter, Renaissance, repair, Robert Estienne I, Roman Catholic, signatures, Simon de Colines, Sophocles, subheadings, Terence, The University of Utah, theological, tools, typeface, typefounder, University of Paris, Virgil, woodcut

Title page

“For I will be merciful to their unrighteousness, and their sins and their lawless deeds I will remember no more.” — Hebrews 8:11, New King James Version

HE KAINE DIATHEKE
Paris: [Antoine Augereau for] Simon de Colines, [29 November or 22 December] 1534
BS1965 1534

This is the first Greek New Testament printed in France. Simon de Colines edited the text, using printed and manuscript sources. To save his own neck, Colines hid the involvement of the book’s printer, Protestant typefounder Antoine Augereau. Augereau was condemned as a heretic, hung, and then burned at the stake on Christmas Eve 1534, only a few days after finishing the printing of Ha Kaine Kiatheke.

In 1520, Colines married the widow of Henri Estienne, the founder of the distinguished Estienne press, and took charge of that press until Estienne’s son, Robert I, took over in 1526. Colines then set up his own shop nearby. He focused his publishing efforts on Greek and Latin classics – works by Aristotle, Cicero, Sophocles, Hesiod, Horace, Ovid, Virgil, Terence, Euclid, Hippocrates and others – works then considered the literary backbone of the civilized world. He added to the classics publications of anti-Lutheran theological writings and works by the faculty of the University of Paris. In all, Colines’ press produced at least seven hundred and fifty publications. Although not a scholar himself, he used his considerable familiarity with the Estienne publications and extended his own press to include writings on the natural sciences, cosmology, and astrology.

Colines was an important part of the development of book and reading structure in Renaissance printing. It was during this time that chapter headings, subheadings, running heads, page numbers, tables of content, indices and source notes became elemental fixtures in the publication of texts.

Pg210

Colines designed his own italic and Greek fonts and a roman typeface from which Garamond type was derived. He was one of the earliest printers to mix italic fonts with roman typefaces. During at least one of his printing projects, he worked with type designer Geoffroy Tory.

Ha Kaine Kiatheke is the first book printed in Simon de Colines’ second Greek font, including initial guide letters. The University of Utah copy has three lines (possibly an oath) written in an early hand in French and signed by “Demarruello.”

Inscription

It also contains the book plate of Calvin bibliographer R. Peter.

Pastedown

The University of Utah copy bound in contemporary tan calf blind decorated with an outer roll of foxes, winged putti, acanthus leaves and lilies, central rectangle with brazier and foliage tools.

FrontBoard

An earlier repair to the hinges of the binding revealed the following, making up the pressed paper boards: 28 leaves from Les choses co[n]tenues en ce present liure…Le contenu en ceste second partie du nouveau testament, Paris, S. de Colines 10 January 1524; and leaves from Hore beate marie [virgi]nis Secundu[m] vsum insignis ecclesia[?e] Cathedraiis Carnoten[sis]…, Paris, s.n., ca. 1511-1512.

The printed signatures found hidden in the binding appear to be proof sheets for the first Protestant French translation of the New Testament, second edition.

Leaf3

The printing of this edition was completed only months before the Paris Parlement condemned the work as heresy. Yet, the 1524 edition, due to its literary quality and scriptural analysis, served as the basis for nearly all future French versions throughout the century. Ironically, it also served as the 1550 Roman Catholic Louvain Bible.

The leaves from Hore beate…, which also formed part of the binding’s pressed boards, are from an unrecorded Latin-French Book of Hours for the use of Chartres, with a calendar for 1512-1520. The type is Gothic, printed in red and black and includes two-line woodcut initials.

Leaf2

Leaf1

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“Time travel exists” – University of Utah student Mary Royal writes about Rare Books impact

22 Friday May 2015

Posted by rarebooks in Uncategorized

≈ 1 Comment

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1790, Alison Conner, America, American Revolution, Benjamin Franklin, Civil War, Euclid, First Acts of the First Session of Congress of the United States, Gutenberg Bible, history, John Locke, Luise Poulton, Marriott Library, Mary Alicia Royal, Nathaniel Rochester, New York, printing, rare books, Reformation, Rochester, S. J. Quinney College of Law, Special Collections, University of Utah, War of 1812

Time travel exists. On the fourth floor of the Marriott Library I have sat with the founding fathers as they pondered the questions facing the new nation on the heels of the American Revolution, been astounded at the invention of movable type in the revolution of the printing process, and solved mathematical principles with Euclid. While the famous people who turned the wheels of history are not miraculously hiding out on the U’s campus, the works they created are.

QA31-E86-E5-1482-FirstPage

The rare books collection holds treasures from all corners of the globe that are available to anyone who wishes to uncover the magical milestones in history that helped to shape our present reality. A simple trip to the rare books will undoubtedly inspire and present questions that will lead to more trips back to the collection.

My freshman year at the U I took a class on the Reformation. The syllabus for the course dictated that on a certain day we would gather at the rare books collection at the library. At the time I didn’t know what to expect, and I certainly didn’t realize that this one time excursion out of the classroom and into the library would forever change my experience at the U and my understanding and passion for the study of history.

My class filed into the special collections classroom and were told to wipe our hands with baby wipes. As we cleaned our hands a large hardbound book was set before us. The book was obviously old and as the cover was opened to reveal the pages inside, it was clear it was not of this era. The thickness of the pages, paired with the indentation of the lettering on the page served as clues into a past that was far richer than any normal book in the shelves standing in the library below.

As I stared at the pages, completely enamored by their coloration, markings and engravings, the curator explained that the page sitting before us was an original leaflet of the Gutenberg Bible. Yes, that Gutenberg Bible, the first book printed after the invention of movable type. My heart started racing. I was standing in the same room, feet away from one of the most influential pieces of history in the world. This excitement I felt was multiplied when we were informed that we could come forward and hold it in our hands.


I think I partly expected to have to put on special gloves and admire the copy under glass. But as I moved up in the line, it became clear that I could hold the copy, no gloves, no glass, just me and the book. When the curator put the book in my hands, it was a feeling that I had never felt before. I can only explain it as a mixture of admiration, gratitude, and awe. For those brief moments that I held the leaflet of the Gutenberg Bible in my bare hands, the past and present collided. I was touching the same pages that came off the press nearly 550 years earlier.

I ran my hand over the page and could feel the indentations of the letters, and smell the old fibers of the paper. From this point on my experience at the U was forever changed. It wasn’t long after that trip to the rare books that I made the decision to declare my academic major in history. Every history class I took from that moment until my graduation I would find myself returning to the rare books.

Walking through the doors of the collection, for me, was like taking a step outside of the busy world we live in, to spend a few unadulterated moments with my historical friends. There have been times over the years that I have admittedly been moved to tears at the sight of certain books, and have felt completely unworthy to be in their presence. This happened recently during a project for my Worlds of Benjamin Franklin class.

As a requirement of the course we had to pick a book in the rare books to study and report on. After meeting with Luise Poulton, who was more than willing to sit down with me and explore options for the project, I decided upon the First Acts of the First Session of Congress of the United States. The cover of the book had completely separated from the spine of the book and the pages were old, some of them bent, with writing and notes filling the inside.


As I carefully turned the pages, I was overcome with the sense that I was holding a piece of America. This book is a first edition that was printed in 1790. As I researched the book, I discovered that this particular one was once the property of Nathaniel Rochester, a veteran of the Revolutionary War and the founder of Rochester, New York. As I began to unveil the history lurking behind the signatures on the inside cover I discovered that the book had also gone through the hands of veterans of the War of 1812 and the Civil War as well as influential legal minds in our country’s formative years. And finally, as I sat in the rare books reading room, I became the next person in the storied line of individuals who had the fortune of being part of this book’s history.

As a new graduate of the University of Utah’s History department I’ve spent recent days reflecting on my time at the U. During this reflection I have pondered on both the people that shaped my experiences as well as places that aided in the enrichment of educational pursuits. Although I have encountered multiple people and places that influenced the completion of my degree, I can say, without hesitation, that the rare books collection had the greatest impact on my desire to study history.

While my time in undergrad has come to an end, my relationship with the rare books collection is far from over. As I begin my legal studies at the U’s SJ Quinney College of Law this fall, I know I will find myself visiting a new set of historical friends. I’m confident the writings of John Locke have untold stories and lessons to teach me as I pursue my juris doctorate.


I have told Luise Poulton and Alison Conner, curators in the rare books department, on multiple occasions that I wish I could spend all day in the collection, going through the pages of history that the U has been charged with the immense responsibility of caring for. My wish for future generations of students at the U is that they have the opportunity, to visit the collection and experience the unparalleled feeling and emotion that accompany the opportunity to hold history in your hands. How lucky we are, as students past and present of the U, to have access to such a resource!

Mary Alicia Royal, BA, Class of 2015

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We Recommend– Next: 12 Visual Art Fellows

16 Friday Jan 2015

Posted by rarebooks in Events

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15bytes, artists, collages, David Wolske, letterpress, Next: 12 Visual Art Fellows, printing, Rio Gallery, Salt Lake City, Shawn Rossiter, University of Utah, Utah, Utah Division of Arts and Museums, wood type

David

http://artistsofutah.org/15bytes/15jan/page1.html

See 18 collages by David Wolske:

“Next: 12 Visual Art Fellows”
Opening Reception, Friday, January 16, 6-9pm at the Rio Gallery, 300 S. Rio Grande St., SLC 84101

http://heritage.utah.gov/dha/dha-special/things-galleries-rio

alluNeedSingleLine

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A Donation Makes Poly Poly’s

26 Wednesday Nov 2014

Posted by rarebooks in Donations

≈ 1 Comment

Tags

agriculture, alphabet, Amsterdam, anatomy, Antonio Blado, Antwerp, architecture, astrology, astronomy, Barbara Chavira, Basel, Bible, Bonaventura Elzevir, bookbinders, booksellers, celibacy, censored, Christianity, Christopher Plantin, commerce, creation, Daniel Elzevir, Elizabeth Isengrin, England, English, engraved, Ethiopian Church, Europe, expurgated, fable, festivals, French, frontispiece, German, God, Greek, Hebrew, heresy, hunting, Index of Forbidden Books, indulgences, initials, Italian, italic, Judaism, King Arthur, Latin, law, Leonhart Fuchs, libraries, Louis Elzevir, Lucovico Arrighi, Lyons, magic, Martin Luther, mathematics, medicine, Michael Isengrin, minerology, monks, music, navigation, paganism, painting, pharmacology, physics, Polydore Vergil, Pope Gregory XIII, priest, printer, printing, Protestant, Rare Books Division, Reformation, religion, Roman, Roman Catholic Church, Rome, Salt Lake City Public Library, Shakespeare, Spanish, sports, theater, Thomas Guarin, Tournai, trade, typography, Utrecht, vellum, vignettes, weaponry, winemaking, writing

The Salt Lake City Public Library donated a sixteenth century book to the Rare Books Division, thanks to the well-trained eye of City Library staffer Barbara Chavira. Barbara worked part-time in the Rare Books Division for many years. Her passion for the art of books, in all forms and over the centuries, brought us this important and welcome addition to the rare book collections. Thank you, Barbara ! Thank you, City Library !

PA8585-V4-D4-1576-a4

 

 

 

 

 

 

 

 

POLYDORI VIRGILII VRBINATIS DE RERVM INVENTORIBVS…
Romae, apud haeredes antonij, Bladij, Impressores Camerales: Anno. M.D. LXXVI (1576)

Polydore Vergil (ca. 1470-1555), an Italian priest, spent much of his life in England. He is recognized for his history of England, a work that Shakespeare is known to have used as one of his sources. Vergil used critical analysis in his narration of historical events. His thesis that King Arthur was little more than fable, for instance, shocked contemporary readers.

It is his second published work, however, for which he was best known in his time. First printed in 1499, De rerum inventoribus (On Discovery), was a work unlike anything that had been published before. An inventory of historical “firsts,” it combined a wide array of subjects in an attempt to determine which individual or culture first invented things such as the alphabet, astronomy, magic, printing, libraries, hunting, festivals, writing, painting, weaponry and religion. Vergil culled much of his work from a wide range of ancient and contemporary writers. He focused on the genius of man in the origin or invention of all things – heretical thinking at the time.

In Book I he investigated the creation of the world, the origin of religion, the origin of the concepts of “god” and the word “God.” He suggested that much of Christianity had been adapted from Judaism or Roman paganism. Books II and III were studies of a wide-range of topics, mostly concerning the practical and mechanical arts including anatomy, astrology, law, medicine, commerce, mathematics, mineralogy, music, pharmacology, physics, trade, agriculture, architecture, sports, theater, navigation, and winemaking. The work was translated into French in 1521, German in 1537, English in 1546, and Spanish in 1551.

In 1521, more than two decades after he wrote the first three books, and at the dawn of Martin Luther’s protestant reformation, Vergil added five more books concentrating on Christianity. Vergil reworked his discussion of Christianity in deference to the Roman Catholic Church, which objected to Vergil’s reference to religion as a matter of scientific investigation. In spite of this concession, Vergil anticipated the scientific approach to religion that would become the norm a century later. The intended salve to the church failed when Vergil criticized monks, priestly celibacy, and indulgences. In 1564 the work was declared heretical and all editions were added to the Index of Forbidden Books. However, the work was so popular that two censored editions were printed after the ban.

This 1576 expurgated edition was sanctioned by Pope Gregory XIII in its front matter.

PA8585-V4-D4-1576-a2

PA8585-V4-D4-1570-CaGlorius

It is significant that this edition was printed by the heirs of Antonio Blado’s shop.

PA8585-V4-D4-1576-titlepage

PA8585-V4-D4-1576-regestvm

Blado worked in Rome from 1515 to 1567 as a printer in the service of the papacy. He was well-known for his scholarly works in Latin, Greek, and Hebrew; and a 1549 document in Ethiopic type for the Ethiopian Church. Blado is also known for his use of an early italic type created by Ludovico Arrighi. The Rare Books Division holds five books printed by Antonio Blado.

This 1576 edition of Vergil joins an edition from 1570 and another from 1671, already in the rare book collections.

PA8585-V4-D4-1570-titlepagePA8585-V4-D4-1570-colophon

POLYDORI VERGILII VRBINATIS, DE RERUM INVENTORIBUS…
Polydore Vergil (1470? – 1555)
Basilea: 1570

Printer Thomas Guarin (1529-1592) was born in Tournai. He worked in Lyons as a bookseller, but by 1557 was in Basel, where he married Elizabeth Isengrin, the daughter of a printer. Guarin took over his father-in-law’s small press at Michael Isengrin’s death. Michael Isengrin had printed one of the many editions of De rerum inventoribus to be published in Vergil’s lifetime. Each of these editions contained significant variations. Isengrin printed Leonhart Fuchs’s sumptuous De Historia stirpivm. Along with the reprint of classical works, Guarin issued several editions of the Bible, published in both Latin and German, and one in Spanish. His printer’s device was a palm tree.

PA8585-V4-D4-1570-printersdevice

 

 

 

 

 

 

 

 

PA8585-V4-D4-1671-frontispiece

POLYDORI VERGILII URBINATIS, DE INVENTORIBUS RERUM…
Polydore Vergil (1470?-1555)
Amstelodami: apud Danielem Elzebirius, 1671

Daniel Elzevir came from a distinguished family of booksellers, bookbinders, printers and publishers. Louis Elzevir (1546-1617), a Protestant émigré, began the business in Antwerp in about 1565, after he left a job with Christopher Plantin’s print shop. The Elzevir enterprise became one of Europe’s largest printing houses. Louis’s sons expanded the business with branches in The Hague, Utrecht, and Amsterdam. The Amsterdam branch was established in 1638 by Louis III. His partner was Daniel Elzevir, son of Bonaventura Elzevir, son of Louis. Daniel continued the family reputation for fine typography and design work. This edition of De Rerum inventoribus also contains another of Vergil’s works, Prodigiis, written in 1526 but not printed until 1531. The engraved frontispiece for this edition includes the invention of printing as one of its main themes. Numerous carved initials and vignettes. Bound in contemporary vellum.

Shakespeare is coming! The First Folio will arrive at the City Library in October.

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Book of the Week – De la Lingua che si Parla & Scriue in Firenza…

31 Monday Mar 2014

Posted by rarebooks in Book of the Week

≈ Comments Off on Book of the Week – De la Lingua che si Parla & Scriue in Firenza…

Tags

Antwerp, Arnoldus Arlenius, Basel, Bologna, Cosimo, Duke Cosimo I, Duke of Florence, Dutch, Filipo Giunta, Florence, France, Germany, Greek, Italian, Italy, Ivie J. and Jeanne M. Nielson, Latin, Lorenzo Torrentinus, Lyon, Netherlands, Pierfrancesco Giambullari, printer, printing, Torrentino, type foundry, typographic, Venice

Giambullari, De la Lingua…, 1551, Title Page
Giambullari, De la Lingua…, 1551, Portrait
Giambullari, De la Lingua…, 1551

De la Lingua che si Parla & Scriue in Firenza…
Pierfrancesco Giambullari (1495-1555)
Firenze: Torrentino, 1551

Printer Lorenzo Torrentinus (1499-1563) was a Dutch-Italian humanist and printer for Cosimo, Duke of Florence. He was born in the Netherlands into a wealthy family. After his studies, he began working for printers and booksellers in Antwerp, Basel, Lyon, Venice and Bologna. There, he worked as a bookseller with Arnoldus Arlenius, a well-known and well-respected Greek scholar. They imported books in Greek and Latin from France and Germany, selling them throughout Italy. They also acted as liaisons between authors and printers.

After the death of Filippo Giunta, the great Florentian pressman, printing in Florence deteriorated from an art to a trade. Duke Cosimo I brought Torrentino to Florence to improve the quality of printing in his city. In 1577 Torrentino opened his own press in Florence. He produced nearly two hundred and seventy-five editions. His work was of high quality and his reputation and business flourished. In 1562 he became director of a type foundry. His press was managed by his sons. His careful and artful typographic skills enabled him to contribute to the development of Italian languages. Like the best printers of the era, Torrentino carried equally the roles of editor, translator and commentator.

University of Utah copy gift of Ivie J. and Jeanne M. Nielson.

alluNeedSingleLine

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