Volume 1 — CHAPTER III. (continued 2)

It is not easy, after an interval of three centuries, to decide whether this undertaking for the closer organisation of the book-trade was really prompted, as was contended, by the desire to keep on the highest possible plane the business of making and selling books, or whether it was the result of a selfish desire on the part of the older Milanese dealers to increase their profits and to keep out competitors. It is probable there was a mixture of motives, but it is certain that in Milan, as in other book centres, the formation of the Guild gave an important incentive to printing and publishing, improved the quality of the work done, and tended to keep the business in the hands of a good class of men, and it is evident also that such results must have brought advantages also to the general public.

The more important of the regulations of the Guild can be summarised as follows:

1. No member of the Guild shall reprint or shall sell any book issued by another member, provided such book has not before been printed in Milan, and provided also that the edition claiming protection shall itself have been printed in Milan. A book printed outside of the duchy cannot secure the protection of a Milanese privilege. The penalty for infringement is the forfeiture of the copies printed and the payment of ten gold scudi.

2. Each publication shall bear the imprint of its printer or publisher (usually, of course, the same person).

3. Apprentices and assistants must be registered on the records of the Guild.

4. The sale of books in any places other than the registered shops or places of business is forbidden; and the purchase of books from apprentices or from any not known to be duly authorised dealers is also made a misdemeanour.

5. The sale of books on Sundays or holidays, either in the shops or in the dwellings, is forbidden.

6. No printer or dealer must use for his sign a token identical with or closely similar to that already in use with an authorised printer or dealer.

These regulations appear to have had the desired effect of repressing if not of entirely exterminating the business of the unauthorised printers and traders. In 1614, however probably for the purpose of impressing a fresh generation of unauthorised traders, the Guild secured a fresh royal edict, which again confirmed the authority of the Guild and enjoined, under heavy penalties, the strictest obedience to its regulations.

Frommann points out that in the application for this new decree, the Guild no longer lays stress upon the necessity of upholding the dignity and honourable standard of the book-trade, but emphasises the risk to the Church and to the community of believers if uneducated and irresponsible persons, not familiar with the lists of forbidden works, should be permitted to print or to sell books. Experience had evidently made clear to the publishers that with a government like that of Spain (which might be described as despotism tempered by the Inquisition) this class of considerations would be much more influential than any thought of upholding the dignity of the business of making and selling books.

The petitioners make reference to the decree accompanying the latest Index Expurgatorius, which forbids any one from carrying on business as a printer, publisher, or bookseller, who has not taken oath before the ecclesiastical superiors or the Inquisitor of his district to conduct his business in full loyalty to the holy Catholic Church, and to give explicit obedience to all the decrees and enactments of the Church and of the Inquisitor for the regulation and supervision of the press.

The petitioners go on to state that this edict of the Church has largely fallen into disregard because ordinary traders, merzeranii, uneducated and irresponsible men, not trained to the book-business and having no knowledge of or no respect for the Index Expurgatorius, have been allowed to print and to sell books, to the detriment not only of the legitimate book-trade, but of the Church and of the community. The King (Philip III.) appears to have agreed with the Guild that this interference with an organised book-trade (which from the very fact of its organisation could be and was effectively supervised by the Church) constituted a very dangerous abuse.

The new edict, with its severe penalties, and with the effective co-operation of the local inquisitors and other ecclesiastics, appears to have had the effect desired. We hear no more from the publishers of Milan about irresponsible competition, and the business prospered as far as was practicable within the rather narrow limits fixed by the censorship of the Church. The most noteworthy productions of the Milanese presses between the years 1500 and 1700, were, as stated, in the departments of jurisprudence and medicine. The greater activity of publishing in these two departments may very possibly have been in part due to the fact that they were less affected by the ecclesiastical censorship.

Lucca and Foligno.

—The little city of Lucca is entitled to mention in connection with the introduction of printing into Italy, if only because it was the only city in Italy (and possibly the only one in Europe), in which the new art secured the direct support and co-operation of the government in the form, first of a municipal decree in favour of the printing-press, and secondly of a direct subvention from the municipal treasury in encouragement of the first printer. The printer was Clemente, a native of Padua, who was engaged in business in Lucca as a scribe and illuminator. It was made a condition of the appropriation (the amount of which is not stated) that the printer, who was to be classed as a public functionary, was to hold himself in readiness to teach the art to all who might desire to learn. Clemente established his press in Lucca in 1477, and printed there in that year, an edition of the Triumphs of Petrarch. He had previously printed in Venice a work by John Mesne, of Damascus, on universal medicine, a large folio of 400 pages.

A still smaller city than Lucca, Foligno in Umbria, enjoys the distinction of having received as its first printer, Johann Numeister, who had been a pupil and assistant of Gutenberg himself. After the death of his master, Numeister came to Italy with the intention of setting up a press in Rome. He was induced to settle at Foligno at the instance of Orfinis, a wealthy citizen, who supplied the funds necessary for the undertaking. The first publication of the Foligno Press was Leonardi Aretini Bruni de Bello Italico adversus Gothos, which bears date 1470.

The imprint states that the book was “printed by Numeister in the house of Emilianus de Orfinis.” The second work selected was an edition of the Divina Commedia of Dante, the manuscript copy of which had been collated and corrected for the press by Orfinis. Orfinis died in 1472, just before the printing of the Commedia was completed. Numeister paid a tribute to his patron in the last line of the rhyming imprint:

—Humphreys interprets the words “Evangelist mine” as standing for “the one who made me known to the world.”[450] M. Bernard writes, “better Evangelist than I am.” The last volume bearing the name of Numeister was an edition of Torquemada’s Contemplations. With his death in 1479, the brief record of the press of Foligno comes to a close.

Florence.

—Florence, which for a century or more had been the centre of the intellectual life of Italy, and which presented in its great collection of manuscripts, its central position, and its important trade connections, distinctive advantages for the work of book-publishing, was comparatively late in giving attention to the new art, and the issues from the Florentine presses before the close of the fifteenth century, were much less important than those of Venice and of Milan.

The first book printed in Florence, a commentary on Virgil, by Servius, bears date 1471. It was issued by Bernardo Cennino, and appears to have been his sole publication.

Cennino was by trade a goldsmith, and had been associated with Ghiberti in the work on the famous gates of the Baptistery.[451] An enthusiast about the artistic pre-eminence of Florence and of Italy, he was said to have been jealous of the glory that had come to Germany through the invention of printing, and he determined to master the art without German aid.[452] In the colophon to his work, he describes the labour of the creation of his press, a labour which included the engraving of the steel punches and the casting of the type. His publishing venture was costly and probably unprofitable, and he appears to have printed no second book. He continued, however, in connection with his trade as a goldsmith, the work of engraving punches for type.

The German printers speedily found their way to Florence as they had already done to Rome, Venice, and Milan. In 1472, a certain Peter, describing himself as “de Moguntia,” (of Mayence) printed an edition of the Philocolo of Boccaccio, and in the same year, he issued the Triumphs of Petrarch.

The subscription reads: “Master Peter, son of John of Mayence, wrote (scripsit) this work in Florence, the 12th day of November, 1472.”

Humphreys points out that this imprint is an example of the habit of the early printers of considering their art as a kind of magical writing rather than as a mechanical contrivance.

The most important of the early printer-publishers of Florence was Nicholas of Breslau. In 1477, he published Bettini’s Monte Sancto di Dio, which, according to Humphreys, presents the first example of illustrations by means of engraved plates. In 1478, Nicholas published an edition of Dante, the most elaborate that had yet appeared. Dante had evidently already taken possession of the intellectual interest of Italy, and as early as 1472, no less than three editions had appeared. The fact that the poetry of Dante was given to the public in Italian, secured for it a much wider range of popular appreciation than was within reach of works written in Latin. The same was true of the works of Boccaccio and of Petrarch, which, with the aid of the printing-press, promptly came into the hands of large circles of readers. Petrarch was first printed in 1470, and Boccaccio in 1471, and thereafter editions of both authors followed rapidly.

In 1474, a press was set up in the monastery of San Jacopo di Ripili, near Florence, by two monks of the Brotherhood of S. Dominic. The greater part of the books printed by them were distributed among the monasteries as gifts or in exchange, but as the reputation of their publications increased, they found it necessary to accept orders from booksellers and from the outside public. Later, they added a type-foundry to their plant.

Genoa.

—The first printing-office in Genoa was established in 1471 by a German from Olmutz, named Moravus, who associated with himself, in 1474, an Italian named Michael da Monaco. The scribes, or manuscriptists, as they called themselves, made a vigorous protest against the new art. They addressed, in 1471, a petition to the magistracy in which they prayed to be protected from the competition of these newly arrived printers, at least as far as the production of Breviaries, Donati, and Psalters was concerned, as upon the multiplication of these they depended for their livelihood. Humphreys states that the original of this petition is still in existence.[453] The record of the reply given by the magistrates has not been preserved.

The printers were evidently not forbidden to print these books of service, as editions were speedily produced. The influence of the scribes appears, however, in the end, to have been sufficient to establish a kind of cabal against the printers, and in the course of a year or two the German gave up the attempt and removed his press to Naples. There was doubtless in all the Italian cities a large measure of jealousy and opposition on the part of the old librarii, stationarii, and scriptores, but Genoa appears to have been the only city where they were strong enough actually to drive out the printers, at least for a time.

The first Hebrew Bible printed in Europe was issued in Soncino in 1488, from the press of Abraham Colonto. It is described as a very fine piece of typography and as note-worthy for the artistic chapter-headings and for the elaborate decorations of the marginal borders of the pages.

END OF VOLUME I.

The Question of Copyright

Comprising the text of the Copyright Law of the United States, and a summary of the Copyright laws at present in force in the chief countries of the world; together with a report of the legislation now pending in Great Britain, a sketch of the contest in the United States, 1837-1891, in behalf of International Copyright, and certain papers on the development of the conception of literary property and on the results of the American law of 1891.

COMPILED BY

GEO. HAVEN PUTNAM, A.M.,

Secretary of the American Publishers’ Copyright League.

Second Edition, revised, with additions, and with the record of legislation brought down to March, 1896, octavo, gilt top, $1.75

Contents.—The law of Copyright in the U. S. in force July 1, 1895.—Directions for securing Copyright.—Countries with which the U. S. is now in Copyright relations.—Amendments to the Copyright Act since July 1, 1891.—Summary of Copyright legislation in the U. S., by R. R. Bowker.—History of the contest for International Copyright.—The Hawley Bill of January, 1885.—The Pearsall-Smith scheme of Copyright.—Report of the House Committee on Patents, on the Bill of 1890-91, by W. E. Simonds.—The Platt-Simonds Act of March, 1891.—Analysis of the provisions of the Act of 1891.—Extracts from the speeches in the debates of 1891.—Results of the law of 1891 (considered in January 1894).—Summary of the international Copyright cases and decisions since the Act of 1891.—Abstract of the Copyright laws of Great Britain, with a digest of the same by Sir James Stephen.—Report of the British Copyright Commission of 1878.—The Monkswell Copyright bill of 1890, with an analysis by Sir Frederick Pollock.—The Berne Convention of 1887.—The Montevideo Convention of 1889.—The Nature and Origin of Copyright, by R. R. Bowker.—The Evolution of Copyright, by Brander Matthews.—Literary Property: an historical sketch.—Statutory Copyright in England, by R. R. Bowker.—Cheap Books and Good Books by Brander Matthews.—Copyright and the Prices of Books.—Copyright “Monopolies” and Protection.—States which have become parties to the Convention of Berne.—Summary of the existing Copyright laws of the world (March, 1896).—The status of Canada in regard to Copyright, January, 1896.—General Index.

NOTICES.

A perfect arsenal of facts and arguments, carefully elaborated and very effectively presented.... Altogether it constitutes an extremely valuable history of the development of a very intricate right of property, and it is as interesting as it is valuable.—N. Y. Nation.

A work of exceptional value for authors and booksellers, and for all interested in the history and status of literary property.—Christian Register.

Until the new Copyright law has been in operation for some time, constant resource must be had to this workmanlike volume.—The Critic.

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Authors and Their Public In Ancient Times

A Sketch of Literary Conditions and of the Relations with the Public of Literary Producers, from the Earliest Times to the Fall of the Roman Empire.

By GEO. HAVEN PUTNAM, A.M.

Author of “The Question of Copyright,” “Books and their Makers During the Middle Ages,” etc.

Second Edition, Revised, 12º, gilt top $1.50

NOTICES.

The Knickerbocker Press appears almost at its best in the delicately simple and yet attractive form which it has given to this work, wherein the chief of a celebrated publishing house sketches the gradual evolution of the idea of literary property.... The book abounds in information, is written in a delightfully succinct and agreeable manner, with apt comparisons that are often humorous, and with scrupulous exactness to statement, and without a sign of partiality either from an author’s or a publisher’s point of view.—New York Times.

A most instructive book for the thoughtful and curious reader.... The author’s account of the literary development of Greece is evidence of careful investigation and of scholarly judgment. Mr. Putnam writes in a way to instruct a scholar and to interest the general reader. He has been exceptionally successful in describing the progress of letters, the peculiar environment of those who are interested in the career of the dramatist and the philosopher, and that habit of mind characteristic of Hellenic life.—Philadelphia Press.

A most valuable review of the important subject of the beginnings of literary prosperity. The book presents also a powerful plea for the rights of authors. The beginnings of literary matters in Chaldea, Egypt, India, Persia, China, and Japan are exhibited with discrimination and fairness and in a very entertaining way. The work is a valuable contribution upon a subject of pressing interest to authors and their public.—New York Observer.

The work shows broad cultivation, careful scholarly research, and original thought. The style is simple and straightforward, and the volume is both attractive and valuable.—Richmond Times.

The volume is beautifully printed on good paper.... Every author ought to be compelled to buy and read this bright volume, and no publisher worthy of the name should be without it.—Publishers’ Circular, London.

The book is one that will commend itself to every author, while at the same time it is full of entertainment for the general reader.—London Sun.

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Books and Their Makers During the Middle Ages

A Study of the Conditions of the Production and Distribution of Literature from the Fall of the Roman Empire to the Close of the Seventeenth Century.

By GEO. HAVEN PUTNAM, A.M.

Author of “Authors and Their Public in Ancient Times,” “The Question of Copyright,” etc., etc.

In two volumes, 8º, cloth extra (sold separately), each $2.50

Volume I. 476-1500. (Ready April, 1896.)

PART I.—BOOKS IN MANUSCRIPT.

I.—The Making of Books in the Monasteries.

Introductory.—Cassiodorus and S. Benedict.—The Earlier Monkish Scribes.—The Ecclesiastical Schools and the Clerics as Scribes.—Terms Used for Scribe Work.—S. Columba, the Apostle to Caledonia.—Nuns as Scribes.—Monkish Chroniclers.—The Work of the Scriptorium.—The Influence of the Scriptorium.—The Literary Monks of England.—The Earlier Monastery Schools.—The Benedictines of the Continent.—The Libraries of the Monasteries and their Arrangements for the Exchange of Books.

II.—Some Libraries of the Manuscript Period.

III.—The Making of Books in the Early Universities.

IV.—The Book-Trade in the Manuscript Period.

Italy.—Books in Spain.—The Manuscript Trade in France.—Manuscript Dealers in Germany.

PART II.—THE EARLIER PRINTED BOOKS.

I.—The Renaissance as the Forerunner of the Printing-Press.

II.—The Invention of Printing and the Work of the First Printers of Holland and Germany.

III.—The Printer-Publishers of Italy.

Volume II. 1500-1709. (Ready September, 1896.)

IV.—The Printer-Publishers of France.

V.—The Later Estiennes and Casaubon.

VI.—Caxton and the Introduction of Printing into England.

VII.—The Kobergers of Nuremberg.

VIII.—Froben of Basel.

IX.—Erasmus and his Books.

X.—Luther as an Author.

XI.—Plantin of Antwerp.

XII.—The Elzevirs of Leyden and Amsterdam.

XIII.—Italy: Privileges and Censorship.

XIV.—Germany: Privileges and Book-Trade Regulations.

XV.—France: Privileges, Censorship, and Legislation.

XVI.—England: Privileges, Censorship, and Legislation.

XVII.—Conclusion: The Development of the Conception of Literary Property.

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A Literary History of the English People

From the Earliest Times to the Present Day.

By J. J. JUSSERAND

Author of “The English Novel in the Time of Shakespeare,” etc., etc.

To be complete in three parts, each part forming one volume. (Sold separately.)

Part I.—From the Origins to the Renaissance. 8º, pp. xxii + 545. With frontispiece in photogravure. $3.50.

Part II.—From the Renaissance to Pope. (In press.)

Part III.—From Pope to the Present Day. (In preparation.)

We may say, without contradiction, that the marvellous story of our literature in its vital connection with the origin and growth of the English people has never been treated with a greater union of conscientious research, minute scholarship, pleasantness of humor, picturesqueness of style, and sympathetic intimacy.—London Chronicle.

The most important and delightful contribution to the popular study of English literature since Taine’s volumes were published, is to be made by M. J. J. Jusserand in his “Literary History of the English People.” ... Only the most meagre sketch of the pleasure in store for the readers of M. Jusserand’s volume can be given here. No one interested in the beginnings of English literature can fail to be pleased with this delightful study. A thoroughly stimulating book ... which will arouse fresh interest in the early periods of our literature.—Literary World.

M. Jusserand is an investigator of keen insight and indefatigable energy. He has also the quality which gives to him, from his Latin parentage, synthesis and literary tact.... He paints a picture.... It is unquestionably true that for this generation, M. Jusserand has said the last word on this subject.... For the period of Chaucer, he has summarized what is known with admirable skill.... His work must be accepted as the authority on the Middle Ages as they were lived in England.—N. Y. Commercial Advertiser.

The book bears witness on every page to having been written by one whose mind was overflowing with information, and whose heart was in abounding sympathy with his work. Mr. Jusserand possesses pre-eminently the modern spirit of inquiry, which has for its object the attainment of truth and a comprehension of the beginnings of things and of the causes that have brought about effects.—N. Y. Times.

After so many excellent works, of which English literature is the subject, have been issued in England and on the Continent, after even the epic work of Taine, yet M. Jusserand still contrives to be original, fresh, and creative. The history of English literature has been written before, but what he gives us is something new; it is the literary history of the English people, that is to say, he makes us follow the historical evolution of the nation in literature, and what that evolution has created and revealed. He has employed a method which could not be used with success, except by a man with a thorough and correct knowledge of literature and the history of the English people, and of the people themselves, and one who is worthy of serious consideration by all literary historians.—La Revue de Paris, July 1, 1894, on the French Edition.

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