INDEX
Reading edition
INDEX
Adams Presses, 50
Æthelwald, 122
Alba, the Duke of, 233
Alcuin Bible, the, described, 125–127
Alcuin, Bishop, of York, 125, 126
Aldine Press, the, at Venice, saved by intervention of Jean Grolier, 56, 238;
printing at, 206–215;
the Jenson office combined with, 214
Aldus Manutius, legend over office of, 10;
his confidence in permanence of the printed book, 11–12;
his type designs, 17;
establishes his office in Venice, 206;
his printer’s mark and slogan, 207, 208;
changes format of the book, 207;
his aims, 208;
the Greek classics of, 209;
his contributions to typography, 210;
his Hypnerotomachia Poliphili, 210–213;
Jean Grolier’s friendship with family of, 214–215
Allegro, l’, Milton’s, 93
Ambrosiana Iliad, the, 24, 25
Ambrosiana Library, the, humanistic manuscripts in, 24, 25
Angelico, Fra, 149, 290
Anglo-Saxon missionary artists, the, 125
Anne, of Brittany, Hours of, described, 149–151
Anne, Saint, 138
Antiquities of the Jews, the, described, 138–141, 146
Antonio del Cherico, Francesco d’, Book of Hours illuminated by, 111, 113, 116, 146–149, 290
Antwerp, the leading city in Europe, 223;
book manufacture in, 224;
under Spanish domination, 227;
loses her pre-eminence, 233;
purchases the Plantin office, 235;
referred to, 239
Apostrophes, Bernard Shaw’s ideas concerning, 68
Arnold, Matthew, 178
Ashburnham Collection, the, 148, 284
Augustinus, 202
Austria, the Emperor of, 105
Authors, relations between publishers and, 51, 63;
their attitude toward the physical format of their books, 67
Bandini, librarian of the Laurenziana Library, 284
Baptistery, the, at Florence, 273
Barbaro, Marco Antonio, Procurator of Saint Mark’s, 143
Bardi, the, 297
Bardi, Bardo, 297
Barlow, Sir Thomas, 85
Baskerville, John, his editions, 245;
letter from Benjamin Franklin to, 245;
his types, 245–246;
his Virgil, 246–250;
first to introduce glossy paper, 250;
Dibdin’s estimate of, 251;
referred to, 95, 244
Baynes, Ernest Harold, 104
Bedford, Anne, Duchess of, 135, 137
Bedford Book of Hours, the, described, 135–138, 146
Bedford, John, Duke of, 135, 137
Belgium, see Netherlands, the
Bellini, Giovanni, 213
Beowulf, William Morris’, 259
Berlin, library of, 196
Berry, the Duc de, the Très Riches Heures of, 116;
the Antiquities of the Jews begun for, 139
Bertieri, Raffaello, 32
Bewick, Thomas, 163, 251
Biagi, Dr. Guido, custodian of the Buonarroti and the da Vinci archives, 14, 182, 290;
defines the humanist, 15, 162;
his association with the designing of the Humanistic type, 17–33;
his comments on Bodoni, 78;
his meeting with Charles Eliot Norton, 180–183;
described, 277;
in the Laurenziana Library, 277–300;
his early ambition to become librarian of the Laurenziana, 284;
in America, 299;
his last days, 299–300;
his death, 300;
referred to, 14, 16, 17, 111
Bible, the, welfare of men and of empires based upon, 224
Biblia Amiatina, the, 287, 288
Biblia Polyglotta, Plantin’s, 227;
the story of, 227–233;
pages from, 229–231
Bibliothèque Nationale, the, Paris, 119, 127, 128, 139, 140, 141, 149, 196, 198, 220
Billfrith, Saint, 122
Bindings, 113, 288
Birmingham, England, 244
Biscioni, librarian of the Laurenziana Library, 283
Bisticci, quoted, 12
Blanche, Queen, of Castile, 129
Boccaccio, 287
Bodleian Library, the, 196
Bodoni, Giambattista, the father of modern type design, 78–82, 251;
compared with Didot, 252, 257;
referred to, 95
Bodoni Press, the revived, in Montagnola di Lugano, 79
Bodoni type, the, 78;
compared with the Didot type, 79–82;
William Morris’ dislike of, 80;
De Vinne’s admiration for, 80, 82;
estimate of, 257
Bokhara, 118
Bomberghe, Corneille, type designer, 228
Book, the, conception of early patrons of, 11;
lure of, 37;
the tangible expression of man’s intellect, 112.
See also, Illuminated book, Printed book, Written book
Bookmaking, in 1891, 42–54;
the weakness of method in, 54
Book of Hours, by Francesco d’Antonio del Cherico, 111;
described, 146–149;
referred to, 290
Books, cost of making, 58
Bookselling, inadequate methods in, 60
Boston, Howell’s comments on, 186
Boston Society of Printers, the, 99
Bourbon, Pierre II, Duc de, 140
Bourdichon, Jean, 113, 149, 150
Boyd, Henry, 26, 27
Brays, the, 292
British Museum, the, 27, 28, 117, 119, 122, 125, 132, 135, 166, 196, 298, 299
Broad Chalke, England, Maurice Hewlett’s home at, 157
Browne, Sir Thomas, 207
Budé, Guillaume, 214
Buonarroti, see Michelangelo
Buonarroti archives, the, 14, 182, 290
Burne-Jones, Sir Edward, and the Kelmscott Chaucer, 259, 261, 262;
referred to, 6
Burney, Fanny, 163
Byron, Lord, manuscript of his letters burned by John Murray III, 65
Byzantine illumination, see Illumination, Byzantine
Byzantine ink, 112
“Cabin,” the, Howell’s, 186
Cable, George W., 177
Cæsar, Elzevir’s, 240
Cambridge Immortals, the, 178
Camp, Walter, 84
Campanile, Giotto’s, at Florence, 273
Campanile, the, at Venice, 145
Carlyle, Thomas, 178
Carnegie, Andrew, 174–177
Carnegie, Mrs. Andrew, 174
Caroline minuscule, the, 126
Carolingian illumination, see Illumination, Carolingian
Carolingian School, the, in France, 125
Caslon foundry, the, 245, 246
Castiglioncello, Italy, 162
Cato, quoted, 208
Caxton, William, work of, compared with Jenson’s, 244
Cellini, Benvenuto, autobiography of, 287
Celtic illumination, see Illumination, Celtic
Censors, the, 221
Ceolfrid, Abbot of Wearmouth, 288
Ceriani, Monsignor, librarian of the Ambrosiana Library at Milan, described, 24;
his work on the Ambrosiana Iliad, 24, 25;
quoted, 25
Chantilly, the Musée Condé at, 116
Charlemagne, Emperor, 125
Charles, King, of France, son of King John, 129
Charles, King, of France, son of King Charles, 129
Charles V, emperor of the Holy Roman Empire, 216, 276
Charles VIII, of France, 282
Chaucer, the Kelmscott, the story of, 259–268
Chaucer type, the, designed by William Morris, 20
Chianti Hills, the, 171
Chiari, 297
Chinese, the, 7
Cicero, the Medicean, 283
Cicogna, Doge Pasquale, 143
Cimabue, Giovanni, 147
Clemens, Clara, 172, 174
Clemens, Samuel L., see Twain, Mark
Clemens, Mrs. Samuel L., 172, 173
Clement VII, Pope, 214, 276
Clovio, Giulio, 149, 290
Cobden-Sanderson, T. J., quoted, 96, 97;
estimate of, 96–101;
described, 98;
in Boston, 98–99;
importance of his work, 263;
his Ideal Book
quoted, 264;
his Doves Bible, 264–268;
referred to, 3, 68, 71, 95
Cockerell, Douglas, 262
Codex Argenteus, the, 119
Cole, Timothy, 106
Colonna, Francesco, 210
Colvin, Sir Sidney, 27, 28
Constable, Archibald, publisher, 66
Constantinople, might have become center of learning of XV century, 8;
destroyed by fire, 117;
the rebirth of, 118
Cosimo il Vecchio, and the Laurenziana Library, 280;
his personality and history, 280–281;
his fame as a chemist, 284
Cosimo II, and the Laurenziana Library, 283
Costs of making books, in 1891, compared with present costs, 48
Costume Antico e Moderno, Ferrario’s, 296
Country Printer, the, Howell’s, 187
Crasso, Leonardo, 210
Cremona, early printing at, 286
Curtis, George William, 178
Cuthbert, Saint, 120, 121, 122
Cyrus, King, 139
Danes, the, 120
Dante, proposed edition in Humanistic type of, 19, 32;
referred to, 158, 182;
Biagi’s work on, 182, 299;
the haunts of, 291
“Dawn and Twilight,” Michelangelo’s, 275
“Day and Night,” Michelangelo’s, 275
De Asse, Budé’s, 214
De Bure, discoverer of the Gutenberg Bible, 198
Decameron, the, manuscript copy of, 287
De Civitate Dei, Augustinus’, 202
Decorations, 116
Del Furia, librarian of the Laurenziana Library, 284
Delmonico’s, in New York City, 176
Deput, quoted on the innovations of the Elzevirs, 240
De Veritate Catholicæ Fidei, 93
De Vinne Press, the, New York, 42
De Vinne, Theodore L., 6;
his admiration for the Bodoni type, 80, 82
Dibdin, quoted on Baskerville, 251;
on Antonio Magliabecchi, 295
Didot, Firmin, the father of modern type design, 78–82;
his type discussed, 79–82, 257;
referred to, 39, 95, 257
Didot, Pierre, his Racine, 252–258
Didot Press, the, Benjamin Franklin at, 252
Didot type, the, compared with the Bodoni type, 79–82
Didots, the, in Paris, 251;
compared with Bodoni, 252
Dobson, Austin, 158, 162–169;
his lines on Richard Garnett, 166, 167;
his ideas on fiction, 168;
his methods of work, 169;
his handwriting, 169
Dobson, Mrs. Austin, 168
Doves Bible, Cobden-Sanderson’s, described, 264–268
Doves Press, the, in London, 3, 70, 96, 263
Doves type, the, designed by Emery Walker, 18, 19;
specimen page of, 23;
in the Doves Bible, 264–268
Duneka, Frederick, 184
Dürer, Albrecht, 95
Dyck, Christoffel van, 243
Eadfrith, Bishop, 122
Earthwork Out of Tuscany, Hewlett’s, 159, 162
Eddy, Mrs. Mary Baker, 52–54
Edward VII, King, of England, 85, 140, 141
Egyptians, the, 118
Elchi, Count Angiolo Maria d’, 285
Eliot, George, in the Magliabecchian Library, 291–298;
her diary quoted, 296;
volumes consulted in writing Romola, 296–298
Elzevir, Abraham, editions of, 240;
his Terence, 241–243
Elzevir, Bonaventura, editions of, 240;
his Terence, 241–243
Elzevir, Isaac, becomes printer to the University of Leyden, 240
Elzevir, Louis, founder of the House of Elzevir, 239, 240
Elzevir, the House of, craftsmen rather than artists, 238;
in Leyden, 240;
adopt new format for the book, 240;
their editions, 240–243;
their types, 243;
their business organization, 243;
estimate of importance of their work, 243;
referred to, 95, 237, 251
England, typographical supremacy of, 194, 244–250;
second supremacy of, 258–268
English illumination, see Illumination, English
Engravings, steel, 105
Epistolæ ad Familiares, Cicero’s, 285
Ethics, in business, 65
Étienne, Henri, ruined by his Thesaurus, 56, 238;
in Geneva, 223
Étienne, Robert, becomes “printer in Greek” to François I of France, 216;
the Royal Greeks of, 219–222;
leaves France, 223;
death of, 223;
his Roman type, 222;
referred to, 252
Eugenius, Pope, 281
Evreux, Queen Jeanne d’, 129
Explicit, the, 92;
examples of, 94, 202, 204, 206, 285
Ezra, the Prophet, portrait of, 288
Famiglie del Litta, Le, 297
Felton, Cornelius Conway, President of Harvard University, 50
Ferrara, early printing at, 286
Ferrari, Dr. Luigi, librarian of the San Marco Library, Venice, 145
Ferrario, 296
Field, Eugene, described, 38;
manuscript of, 39, 41;
referred to, 38, 55
Fielding, Henry, 163
Fiesole, the heights of, 298
Firenze Antica e Moderna, Rastrelli’s, 297
Firenze Illustrata, Migliore’s, 296
Fiske, Willard, 26, 27
Flemish illumination, see Illumination, Flemish
Fletcher, Horace, friend of Eugene Field, 41;
philosophy of, 75, 82, 84;
his ideas of typography, 75;
page of his manuscript, 77;
his dinner at Graduates’ Club, New Haven, 84;
importance of his work, 85;
his friendship with William James and Henry James, 86;
letter from Henry James to, 87;
visit to Lamb House, 89
Fletcherism, 75, 83
Florence, Italy, the most fascinating city in Europe, 273;
early printing at, 286
Florence, the Grand Duke of, 295
Forest Lovers, the, Hewlett’s, 157, 158
Foucquet, Jean, 113, 138, 140, 149
France, typographical supremacy of, 194, 215–223;
loses supremacy, 223;
second supremacy of, 251–258
François I, of France, becomes patron of learning and culture, 216;
makes Robert Étienne “printer in Greek to the King,” 216;
his interest in printing, 216–221;
his relations with the censors, 221;
referred to, 214, 216
Frankfort, 227
Franklin, Benjamin, quoted on the Baskerville editions, 245;
his letter to Baskerville, 245;
at the Didot Press, 252
French illumination, see Illumination, French
French Republic, the, 141
French School of Painting, the, 139
Fust, John, 198, 199
Gabrilowitch, Mrs. Ossip, 172
Garamond, Claude, 220
Garnett, Dr. Richard, 164, 165;
lines written by Dobson on, 166, 167;
estimate of, 166
General Theological School Library, the, New York, 196
Genesis, the Cottonian, 117
Geneva, the Étiennes at, 223
George, Saint, 137
Germany, not sufficiently developed as nation to take advantage of Gutenberg’s discovery, 8, 9;
brief typographical supremacy of, 194–201;
loses supremacy, 201
Gherado, 149, 290
Gilder, Richard Watson, 177
Giotto, 147, 273
Golden Gospels of Saint Médard, the, described, 127–128
Golden type, the, designed by William Morris, 18
Gold leaf, 116
Gold, Oriental, 112
Goldsmith, Oliver, 163
Gothic illumination, see Illumination, Gothic
Gozzoli, Benozzo, 149, 290
Graduates’ Club, the, in New Haven, 84
Grandjon, Robert, 228
Greece, the rich humanities of, 15
Greek classics, the, first printed by Aldus, 209
Greeks, the, 7
Greek types, 56, 219–221, 238
Grimani Breviary, the, described, 141–145, 146, 149
Grimani, Cardinal Domenico, 142, 143
Grimani, Doge Antonio, 143
Grimani, Giovanni, Patriarch of Aquileia, 142
Grimani, Marino, Patriarch of Aquileia, 142
Grolier Club of New York, the, 213
Grolier, Jean, saves the Aldine Press by his intervention, 56, 238;
his friendship with family of Aldus, 214–215;
his letter to Francesco Torresani, 215
Guidobaldo, Duke of Urbino, 210
Gutenberg Bible, the, described, 194–201;
rubricator’s notes, 196, 197
Gutenberg, John; the Bible printed by, 194–201;
referred to, 7, 194, 198, 234, 237
Hadley, Pres. Arthur T., 84
Halftones, 105–107
Hammond, John Hays, 84
Hand lettering, the art of, 10.
See also, Humanistic hand lettering, Semi-uncial characters, Minuscule characters
Harkness, Mrs. Edward S., 196
Harper and Brothers, 90, 183, 184
Harper’s Magazine, 183
Harte, Bret, 184
Harvard College Library, the, 245
Harvard University, Cobden-Sanderson’s lectures at, 99
Harvey, Col. George, gives birthday dinner to Mark Twain, 176;
gives birthday dinner to William Dean Howells, 187
Hautin, 228
Hay, John, 184
Hay, Mrs. John, 184
Heidelberg, 227
Heimskringla, the, William Morris’ translation of, 260
Heinsius, letter from Deput to, 240
Henri II, of France, 136, 221
Henry IV, of England, 135
Henry VI, of England, 136
Henry VIII, of England, 216
Hewlett, Maurice, 155–162;
describes the cloister of San Lorenzo, Florence, 275
Hoar, Senator George F., makes attack on Charles Eliot Norton, 179
Hogarth, William, 163
Holbein, Hans, 95
Holland, the natural successor to Belgium in supremacy of printing, 239.
See also Netherlands, the
Holmes, Oliver Wendell, 178
Homer, the Ambrosiana, see Iliad, the Ambrosiana
Hoover, Herbert, 85
Houghton, Henry O., 6
Hours of Anne of Brittany, the, 146;
described, 149–151
Howells, William Dean, 177;
recollections and reflections on, 183–188;
the Harvey birthday dinner, 188
Humanism, Petrarch the father of, 15
Humanist, the, defined, 15, 160–162
Humanistic hand lettering, 16, 21, 24, 126
Humanistic manuscripts, the, in the Laurenziana Library, 16, 21;
in the Ambrosiana Library, 24
Humanistic movement, the, far-reaching influence of, 15;
the forerunner and essence of the Renaissance, 15;
significance of, 16, 160
Humanistic scribes, the, see Scribes, the humanistic
Humanistic type, the, first idea of design of, 17;
proposed edition of Dante in, 19, 32;
work upon, 19–24, 126, 159, 180, 181
Huntington, Henry E., library of, 196
Hypnerotomachia Poliphili, the, printed by Aldus, 210;
described, 210–213
Ideal Book, The, Cobden-Sanderson’s, 3, 99;
quoted, 264
Iliad, the Ambrosiana, 24, 25, 117
Illuminated book, the, attitude of Italian patrons toward, 11–12
Illumination, the art of, encouraged by Italian patrons in XV century, 11–13;
the underlying thought in, 112;
rich rewards in study of, 114;
various schools of, 114;
means of identifying various schools and periods, 115;
manuscripts which mark the evolution of, 116–119;
the Celtic School, 119–125;
the Carolingian School, 125–128;
the Gothic School, 128–131;
the English School, 131–134;
the French School, 135–141, 149–151;
the Flemish School, 141–145;
the Italian School, 146–149;
cause for the decline of, 151;
opportunities for studying, 152
Illumination, Byzantine, described, 118;
referred to, 124, 125, 127
Illumination, Carolingian, 125–128
Illumination, Celtic, 119–125, 126, 129
Illumination, English, 114, 131–134
Illumination, Flemish, 114, 137, 139, 141–145, 149, 150
Illumination, French, 114, 135–141
Illumination, Gothic, 114, 128–131
Illumination, Italian Renaissance, 114, 146–149, 150
Illumination, Romanesque, 114
Illustration, 105
Imperial Library, the, in Vienna, 117
Incipit, the, 93
India, 112, 118
Ink, Byzantine gold, 112, 118;
inferior quality introduced, 238;
Didot’s, 258
Innocents Abroad, Mark Twain’s, 170
Ireland, 121
Irish monks, the, see Monks, the Irish
Irish School of Writing and Painting, the, 120
Italian illumination, see Illumination, Italian
Italic type, first used by Aldus, 17, 286;
said to be based on handwriting of Petrarch, 17, 210;
Baskerville’s, 245;
Didot’s, 257
Italy, life and customs of people of, in XV century, 8;
illumination slow in getting a hold in, 146;
typographical supremacy of, 194, 201–215;
loses supremacy, 215;
culture in the XVI century in, 223
James, Henry, Horace Fletcher’s friendship with, 86;
quoted, 86;
estimate of, 86;
letter to Horace Fletcher from, 87;
quoted, 88
James, William, Horace Fletcher’s friendship with, 86;
quoted, 86;
letter from Henry James to, 88;
his interest in printing, 90, 92
Jenson, Nicolas, type designs of, 18, 19, 22, 202, 205, 206;
the explicit in books printed by, 94, 202;
printer’s mark of, 203, 207;
sent to Germany by Charles VII of France, 204;
establishes his office in Venice, 204;
death of, 206;
his office combined with the Aldine Press, 214;
Caxton’s work compared with, 244;
referred to, 216, 286
Jenson’s Gothic type, 202, 205, 206
Jenson Roman type, the, 18, 19, 206, 268;
sample page of, 22
Joan of Arc, Mark Twain’s, 170
John of Spires, 285
Jones, George W., 32
Joseph, Saint, 138
Josephus, Flavius, 139
Justinian, the Emperor, 117
Justinian, the Pandects of, 287
Keats, John, 158
Keere, Van der, 228
Kelmscott Chaucer, the, see Chaucer, the Kelmscott
Kelmscott Press, the, 6, 55, 70, 96, 259–268
Kelmscott volumes, the, 259–268;
estimate of, 263
Koreans, the, 7
Labels, paper, 92
Lamb House, Rye, Henry James’ home, 89
Lapis lazuli, used in printing ink, 30;
in illumination, 118
Laura, see Sale, Madonna Laura de Noves de
Laurenziana Library, the, humanistic volumes at, 16;
illuminated volumes at, 119, 148, 287;
uninviting approach to, 273;
the Sala di Michelangiolo, 276;
Dr. Guido Biagi at, 277–300;
the great staircase, 278;
Vasari’s work in, 278;
the story of, 280–284;
the treasures of, 284–289;
the Hall of Tapestries, 285;
the Tribuna, 285;
the printed books in, 285;
the spell of, 300;
referred to, 14, 21, 94, 111, 182
Le Bé, Guillaume, 228
Lee, Sir Sidney, 86, 174, 175
Leigh, Maj. Frederick T., 184
Leipzig, library of, 196
Lelio, Lucrezia, 213
Leo X, Pope, 282.
See also Medici, Giovanni de’
Lettering, see Hand lettering
Letters, raised gold, 116
Lewes, George Henry, in the Magliabecchian Library, 292–298
Leyden, heroic resistance to Spanish siege, 239;
becomes the intellectual and literary center of Europe, 239;
Plantin in, 239;
the Elzevirs in, 239–240
Leyden, the University of, 239;
Plantin made printer to, 239;
Isaac Elzevir made printer to, 240
Lindisfarne Gospels, the, described, 119–125
Lippi, 296
Lippi, Fra Filippo, 28
Lipsius, the historian, 239
Lithography, 105
Little Novels of Italy, Hewlett’s, 159
Lockhart, John Gibson, 66
Longfellow, Henry Wadsworth, 178
Longmans, London publishers, 66
Lorenzo the Magnificent, see Medici, Lorenzo de’
Lorraine, the House of, and the Laurenziana Library, 283
Louis XI, of France, 140
Louis XII, of France, 150
Louis XIV, of France, 198
Louis XV, of France, 140
Louis, Saint, Psalter of, described, 128–131;
death of, 129
Lounsbury, Professor, of Yale, 84
Lowell, James Russell, 178
Luther, Martin, 215, 224
Mabie, Hamilton W., 177, 187
Macaulay, Thomas B., quoted on Baskerville editions, 245
Machiavelli, Niccolo, 181, 284
Macmillan Company, the, 26
Magliabecchi, Antonio, 292–295
Magliabecchian Library, the, 284;
George Eliot in, 291–298
Malmantile, Lippi’s, 296
Man and Superman, Shaw’s, the making of, 67
Mantegna, Andrea, 95
Manuscripts, methods of reproducing, 9
Manuscripts, illuminated, romance of, 114;
not the playthings of the common people, 115
Manutius, Aldus, see Aldus Manutius
Marie, Madame, of France, 130
Marinelli, 280
Marmion, Scott’s, 66
Martelli Chapel, the, in the Church of San Lorenzo, Florence, 275
Mary, Queen, of England, Psalter of, described, 131–134;
referred to, 132
Mary, Queen of Scots, 156–157
Matthews, Brander, 177
Mayence, printing at, 198, 204, 216
Mazarin, Cardinal, 198
Médard, Saint, the Golden Gospels of, 127–128
Medicean Library, the, see Laurenziana Library, the
Medici, the, 147;
Savonarola’s diatribes against, 274;
and the Laurenziana Library, 280
Medici, Alessandro de’, 274
Medici archives, the, 14
Medici, Catherine de’, 136
Medici, the Chapel of the, in Florence, 284
Medici, Cosimo I de’, see Cosimo il Vecchio
Medici, Cosimo II de’, see Cosimo II
Medici, Giovanni de’ (later Pope Leo X), 275;
and the Laurenziana Library, 282, 283
Medici, Giulio de’ (later Pope Clement VII), 276;
commissions Michelangelo to erect building for the Laurenziana Library, 283
Medici, Lorenzo de’, Book of Hours made by d’Antonio for, 111, 146–149, 290;
tomb of, 275;
and the Laurenziana Library, 281–283;
his personality, 281–282;
referred to, 111, 112, 148
Medici, Piero de’, 275
Memling, Hans, 142
Menelik, King, of Abyssinia, 104
Mentelin, types of, 19
Menticulture, Horace Fletcher’s, 75
Messina, Antonello di, 142
Metternich, Prince, 289
Michelangelo, letters of, 182, 290;
his plan for the façade of S. Lorenzo, 273;
Varchi’s tribute to, 275;
his tomb for Lorenzo de’ Medici, 175;
his work in the Laurenziana Library, 276;
his letter to Vasari, 278;
manuscript poems of, 287;
referred to, 14
Michelangelo archives, the, 14, 182
Migliore, 296
Milan, early printing at, 286
Millar, Eric George, quoted, 122, 123
Miller, Mr., London publisher, 66
Minium, 112, 118
Minuscule characters, described, 123;
introduced, 126
“Mirror” title, the, 94
Mochenicho, Doge Pietro, 202
“Modern” type, the introduction of, 251
Molds, early type, 201
Monaco, Lorenzo, 149, 290
Monks, the Irish, 120, 125
Monnier, Philippe, 160
Montanus, Arias, 227
Morelli, librarian of the San Marco Library, Venice, 143
Moretus, inherits the Plantin office, 234
Morgan Library, the, see Pierpont Morgan Library, the
Morris chair, the, 258
Morris end papers, the, 258
Morris wall papers, the, 258, 260
Morris, William, demonstrates possibilities of printing as an art, 14;
Golden type of, 18;
his other type designs, 18–20;
placed printing back among the fine arts, 55, 258;
Bernard Shaw’s enthusiasm for, 69–70;
his dislike of the Bodoni type, 80;
his title pages, 96;
early experiments of, 258;
the Kelmscott Chaucer, 259–268;
declines the poet-laureateship of England, 260;
death of, 262;
estimate of his work, 263;
his definition of the type ideal, 268;
referred to, 6, 96, 258
Munich, library of, 196
Murray, the House of, 65
Murray II, John, and Walter Scott, 66;
letter to Scott from, 66
Murray III, John, burns manuscript of Byron’s memoirs, 65
Murray IV, John, 26, 27, 65
Musée Condé, the, at Chantilly, 116
Naples, early printing at, 286
Nazionale Centrale, the Biblioteca, in Florence, see Magliabecchian Library, the
Nemours, the Duc de, 139
Néobar, Royal printer to François I of France, 216
Netherlandish illumination, see Illumination, Flemish
Netherlands, the, typographical supremacy of, 194, 223–244;
commercial supremacy of, 223;
devastated by war, 239
New Forest, the, in England, 158
New York Public Library, the, 196
Norton, Charles Eliot, 26;
autograph letter of, 31;
his association with the design of the Humanistic type, 32, 180–181;
recollections and reflections on, 178–183;
his meeting with Guido Biagi, 182–183
Ode to Cervantes, Dobson’s, 164
“Old-style” type, the passing of, 251;
revived by Pickering, 251
Orcutt, Reginald Wilson, 165
Orcutt, William Dana, first visit to Italy, 14;
meeting with Guido Biagi, 14, 277;
his work designing the Humanistic type, 17–33;
in the Ambrosiana Library, 24–25;
experiences with Willard Fiske, 26, 27;
apprenticeship at old University Press, 38;
experience with Eugene Field, 38–41;
experiences with Mrs. Mary Baker Eddy, 52;
becomes head of University Press, 55;
his ambition to emulate methods of early printers, 55;
experiences with Bernard Shaw, 67–71;
returns to Italy in 1903, 75;
his interest in the Bodoni and Didot types, 78;
his acquaintance with Horace Fletcher, 75, 82, 84, 86;
his acquaintance with Henry James, 86;
visit to Lamb House, 89;
experiences with William James, 90–92;
experiences with Cobden-Sanderson, 96–101;
experiences with Theodore Roosevelt, 101–106;
becomes interested in illumination, 111;
meeting with Maurice Hewlett, 155–162;
experiences with Austin Dobson, 162–169;
experiences with Mark Twain, 170–177;
experiences with Charles Eliot Norton, 178–183;
experiences with William Dean Howells, 183–188;
experiences in the Laurenziana Library, 273–300;
last visit with Guido Biagi, 299–300
Orcutt, Mrs. William Dana, 165, 171
Oriental gold, 112
Orthographia dictionum e Græcia tractarum, Tortelli’s, 286
Oxford, Edward Harley, 2d Earl of, 136
Palatina, the Biblioteca, at Florence, 293
Pan and the Young Shepherd, Hewlett’s, 159
Paper, poorer quality introduced, 238;
Italian handmade, 238;
French handmade, 238, 257;
Baskerville the first to introduce glossy, 250
Parchment, English, 29;
Florentine, 28;
Roman, 28;
virgin, 113
Paris, 227
Paris Exposition of 1801, the, 258
Passerini, Luigi, 297
Patmore, Coventry, 89
Patrons, Italian, attitude toward printed book of, 11;
their conception of a book, 11;
their real reasons for opposing the art of printing, 12, 151
Peignot foundry, the, in Paris, 80
Persia, 118
Perugia, 291
Petrarca, Francesco, the father of humanism, 15;
Italic type said to be based upon handwriting of, 17, 210;
portrait of, 287, 289;
quoted, 290
Petrarch, see Petrarca, Francesco
Petrarch, the Humanistic, the type design, 17–26;
the copy, 26, 27;
the illustrations, 28;
the parchment, 28;
the ink, 29, 30;
the composition, 30;
Norton’s estimate of, 32
Philip, of Burgundy, 135
Philip II, of Spain, 227;
his interest in Plantin’s Biblia Polyglotta, 227–228, 233;
makes Plantin prototypographe, 233
Pickering, the London publisher, revives the old-style type, 251
Piedmont, early printing at, 286
Pierpont Morgan Library, the, New York, 99, 196
Pisa, 291
Pius XI, Pope, see Ratti, Achille
Plantin, Christophe, financially embarrassed by his Biblia Polyglotta, 56, 238;
his Greek types, 221;
leaves France, 223;
conception and making of his Biblia Polyglotta, 227–233;
his types, 228;
his printer’s mark, 228, 236;
made prototypographe by Philip II, 233;
the value of his work estimated, 233;
misfortunes endured by, 233;
in Leyden, 239;
made printer to University of Leyden, 239;
referred to, 79, 237
Plantin-Moretus Museum, the, at Antwerp, 235
Pliny, Elzevir’s, 240
Plutei, in the Laurenziana Library, designed by Michelangelo, 14, 276, 286, 300
Politian, 181.
See also Poliziano, Angelo
Poliziano, Angelo, 215.
See also Politian
Pollard, Alfred W., 27
Polyglot Bible, Plantin’s, see Biblia Polyglotta
Portland, the Duchess of, 136
Pragmatism, William James’, 90
Printed book, the, attitude of Italian patrons toward, 11–12;
competed against the written book, 199;
Aldus changes format of, 207;
Elzevirs change format of, 240;
important part played in XVI century by, 215
Printer, the, responsibilities of, in early days, 208
Printing, as an art, opposed by the Italian patrons, 11–13;
its possibilities demonstrated by William Morris, 14;
brief supremacy of Germany in, 194–201;
supremacy of Italy in, 201–215;
supremacy of France in, 215–223;
supremacy of the Netherlands in, 223–244;
lapses into a trade, 238;
supremacy of England in, 244–250;
second supremacy of France in, 251–258;
second supremacy of England in, 258–263
Printing, invention of, made books common, 151
Priorista, Chiari’s, 297
Proofreading, in 1891, 47
Psalter of Saint Louis, the, described, 128–131
Publishers, relations between authors and, 51, 63
Quattrocento, Le, Monnier’s, 160
Queen Mary’s Psalter, described, 131–134, 146
Queen’s Quair, The, Hewlett’s, 155–156
Racine, Pierre Didot’s, 251;
described, 252–258
Raphael, 113
Raphelengius, 239
Rastrelli, 297
Ratti, Achille, 25, 117
Ravenna, 128
Reformation, the, 215
Renaissance, the, humanistic movement the forerunner and essence of, 15, 160;
Tours becomes center of, in France, 139
Repplier, Agnes, 177
Riccardi Library, the, 14, 149, 182, 290
Richardson, Samuel, 163
Riverside Press, the, 42
Road in Tuscany, the, Hewlett’s, 159
Robertet, François, 140
Roman Calendar, the, 117
Romanesque illumination, see Illumination, Romanesque
Romans, the, 7
Rome, the rich humanities of, 15;
referred to, 126
Romola, George Eliot’s, 292–299;
volumes consulted in writing, 296–298
Roosevelt, Theodore, deeply interested in physical side of books, 102;
his interest in illustration, 105
Royal Greeks, the, of Étienne, 219–222
Rubens, Peter Paul, 95, 113
Ruskin, John, 178, 182
Russia, the Emperor of, 103
Rutland, the Earl of, 131
Sacristy, the New, in the Church of San Lorenzo, Florence, 275
Sacristy, the Old, in the Church of San Lorenzo, Florence, 275
Saga Library, the, 260
Saint John, the Feast of, 297
St. Louis Exposition, the, 182, 299
Saint Peter, the Holy Sepulchre of, 288
Sala di Michelangiolo, the, in the Laurenziana Library, Florence, 14;
described, 276
Sale, Madonna Laura de Noves de, portrait of, 287, 289;
Petrarch’s verses to, 290
Salisbury, the Marquis of, 165
San Lorenzo, the Church of, in Florence, 274, 283
San Marco, the Convent of, in Florence, 281, 282, 288
San Marco, the Library of, Venice, 119, 141, 143, 145
San Vitale, the Church of, at Ravenna, 128
Saracens, the, 7
Savonarola, 274, 284
Savoy, the Duke of, 233
Schoeffer, types of, 19;
referred to, 198
Science and Health, 52
Scott, Gen. Hugh Lennox, 82
Scott, Walter, and John Murray II, 66;
letter from Murray to, 66
Scribes, the humanistic, base their lettering on the Caroline minuscule, 126;
referred to, 16, 21, 24
Scribes, the monastic, in XV century, 9
Scribes, the secular, in XV century, 10
Scriptorium, the, 9
Second Book of Verse, Eugene Field’s, 38
Semi-uncial characters, described, 123
Sforza Book of Hours, the, 145
“Shady Hill,” in Cambridge, Mass., home of Charles Eliot Norton, 180, 181
Shakespeare first folio, a, value of, 196
Shaw, G. Bernard, his interest in printing, 67–71;
the making of his Man and Superman, 67;
his enthusiasm for William Morris, 69;
letters from, 68–71
Shelley, Percy Bysshe, 158
Sherry’s, in New York City, 187
Siena, 291
Silas Marner, George Eliot’s, 296
Sinibaldi, Antonio, the Virgil of, 16;
the Book of Hours of, 112
Sixtus IV, Pope, 142
Smith, Baldwin, 132
Smith, F. Hopkinson, 177
Somerset, John, 135
Sotheby’s, in London, 140
Spain, the Netherlands under the domination of, 227;
referred to, 112, 118
Spanish siege, the, of Leyden, 239
Spanish War, the, 179
Spell, The, Orcutt’s, 90, 184
Spires, the town of, 286
Steele, Sir Richard, 163
Subiaco, early printing at, 285
Sweynheim and Pannartz, ruined by experiments in Greek, 56, 238;
engraved blocks of, 285
Switzerland, 238
Syriac Gospels, the, 287
Taft, President William H., 188
Tapestries, the Hall of, in the Laurenziana Library, Florence, 285
Tennyson, Alfred, Lord, 260
Terence, Elzevir’s, 240;
described, 241–243
Ther Hoernen, Arnold, 94
Thesaurus, the, printed by Henri Étienne, 56, 238
Thompson, Henry Yates, 140
Thomson, Hugh, 166
Title, the engraved, 95
Title, the “mirror,” 94
Title page, the, Bernard Shaw’s ideas concerning, 67;
William James’ ideas concerning, 92;
“the door to the house,” 92;
evolution of, 92–96.
See also Title, the engraved; Title, the “mirror”
Togo, Admiral, 103
Torresani, Andrea, 214
Torresani, Federico, 214
Torresani, Francesco, friendship of Jean Grolier with, 214;
letter from Jean Grolier to, 215
Tortelli, 286
Tours, becomes center of Renaissance in France, 139
Tours, the School of, 126
Très Riches Heures, the, of the Duc de Berry, 116
Tribuna, the, in the Laurenziana Library, Florence, 285
Trionfi, Petrarch’s, 26, 28, 181
Triumphs, Petrarch’s, see Trionfi, Petrarch’s
Trophies of Heredia, 102
Troy type, the, designed by William Morris, 20
Turin, early printing at, 286
Twain, Mark, and the Jumping Frog, 61;
recollections and reflections on, 170–177;
the Harvey birthday dinner, 176;
referred to, 188
Type design, difficulties of, 17
Types, early designs of, 17;
Aldus’ designs of, 17;
Jenson’s designs of, 18;
William Morris’ designs of, 18;
William Morris’ definition of, the ideal, 268.
See also Humanistic type, Jenson Roman type, Jenson Gothic type, Golden type, Doves type
Typesetting, in 1891, 44
University Press, the old, Cambridge, Mass., 5, 38, 41, 42, 46, 47, 49, 51, 102
Upsala, Sweden, 119
Urbino, the Duke of, 12
Vacca, the Palazzo dei della, 284
Vallombrosa, 171, 291
Van-der-Meire, Gerard, 142
Varchi, his tribute to Michelangelo, 275
Vasari, his work in the Laurenziana Library, 278;
Michelangelo’s letter to, 278
Vatican Library, the, at Rome, 117, 196
Vellum, 115, 257.
See also, Parchment
Venetian Days, Howells’, 186
Venetian Republic, the, 142;
encourages the art of printing, 202
Venice, early printing in, 94, 204, 206, 214, 286;
Howells’ love for, 186;
becomes the Mecca of printers, 202;
John of Spires in, 286
Vergetios, Angelos, 219
Verrocchio, 275
Victoire, Pierre, quoted, 220
Victoria, Queen, of England, 140
Vienna, library of, 196
Villa di Quarto, the, in Florence, Mark Twain at, 171
Villa Medici, the, in Rome, 282
Villari, Pasquale, 284, 291, 298
Vinci, da, archives, the, 14, 182, 290
Vinci, Leonardo da, sketches of, 290;
referred to, 14, 182
Virgil, Baskerville’s, 244;
described, 246–250
Virgil, illuminated by Sinibaldi, 16
Virgil, the Medicean, 287;
the story of, 288–289
Virgil, the Vatican, 117
Vita di G. Savonarola, La, Villari’s, 298
Vittoria, Alessandro, 143
Wages, in 1891, 58
Walker, Emery, designs the Doves type, 18, 19;
engraves plates for Humanistic Petrarch, 28;
at the Doves Press, 263;
referred to, 71
Walpole, Horace, 163
Warner, Sir George, 140
Widener, Joseph E., library of, 196
Wiggin, Rev. James Henry, 52
Wiggin, Kate Douglas, 177
Wilhelm, Kaiser, 103, 104
William of Orange, founds the University of Leyden, 239
William the Conqueror, 158
Wilson, Francis, 38
Wilson, John, 5, 6, 38, 40, 42, 46, 52, 53, 55
Windsor Castle, 140
Wood, Gen. Leonard, 82
Wood cuts, 106
Wordsworth, William, quoted, 20
World War, the, 103
Worsley, Sir Robert, 136
Writing, see Hand lettering
Written book, the printed book had to compete against, 199
Yale University Library, the, 196
Zainer, Gunther, types of, 20
THIS VOLUME is composed in Poliphilus type, reproduced by the Lanston Monotype Corporation, London, from the Roman face designed in 1499 by Francesco Griffo, of Bologna, for Aldus Manutius, and originally used in the Hypnerotomachia Poliphili. The Italic is based upon that designed for Antonio Blado, Printer to the Holy See from 1515 to 1567.
The cover, a modern adaptation of the Grolier design used on Capella: L’Anthropologia, is designed by Enrico Monetti.
The illustrations, many now appearing in book form for the first time, were secured chiefly through the courtesy of the librarians of the British Museum, London; the Bibliothèque Nationale, Paris; the Laurenziana Library, Florence; the Ambrosiana Library, Milan; the Marciana Library, Venice; the Vatican Library, Rome; and from private collectors.
The plates of the illustrations were made by the Walker Engraving Company, New York City, and are printed on DeJonge’s Art Mat. The text paper is Warren’s Olde Style.
The typography, presswork, and binding are by the Plimpton Press, Norwood, Massachusetts, under the personal supervision of William Dana Orcutt.