Chapter I: Front Matter

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GEOFROY
TORY

PAINTER AND ENGRAVER:
FIRST ROYAL PRINTER: REFORMER
OF ORTHOGRAPHY
AND TYPOGRAPHY UNDER
FRANÇOIS I.

AN ACCOUNT OF HIS LIFE
AND WORKS, BY AUGUSTE
BERNARD, TRANSLATED BY
GEORGE B. IVES.

THE RIVERSIDE PRESS: MDCCCCIX
]

ENTERED ACCORDING TO ACT OF CONGRESS IN THE YEAR 1909, BY HOUGHTON MIFFLIN CO., IN THE OFFICE OF THE LIBRARIAN OF CONGRESS, AT WASHINGTON. ]

PRINTERS' PREFACE.

Bernard's _monograph on Tory was first published in_ 1857, _when M. Bernard was already a recognized authority on the history of typography. In_ 1865, _after an interval devoted largely to a search for further information concerning Tory_, _and for probable examples of his work as an artist_, _a second edition of the book appeared_, _enlarged by more than one-half_, _arranged more systematically_, _and embellished with several additional engravings of designs which are_, _in the author's opinion_, _attributable to Tory. The Iconography, which forms the third part of this revised edition, did not appear as such in the first edition, although a small part of the material it contains may be found scattered through that edition. It now occupies more space than the Biography and Bibliography combined. The new arrangement necessitated more or less repetition where, as in many instances, the same book is referred to by M. Bernard in more than one section of his work; and this repetition sometimes reveals discrepancies between the different descriptions. Where such discrepancies have been discovered by him the translator has endeavoured to correct them, generally, in the absence of an opportunity to inspect the volume in question, assuming that the description in the bibliographical section is more likely to be trustworthy; in a number of cases, however, inspection of title-pages themselves, or of reproductions thereof, has enabled him to correct numerous minor errors in transcription._

_The kindness of the late Mr. Amor L. Hollingsworth, in lending his fine copy of the first edition of 'Champ fleury,' made it possible to collate therewith M. Bernard's numerous extracts from that rare and interesting book, and to ensure entire accuracy with respect to them._

_As M. Bernard writes certain printers' names in different ways, the translator has assumed that the names are printed differently in different books, and has not attempted to make them uniform. Such names are Dubois_ (_Du Bois_), _Lecoq_ (_Le Coq_), _Galliot_ (_Galiot_). _The few notes supplied by the translator are inserted in square brackets._

_The translations of Tory's various Latin effusions, including the complete text of the little brochure called forth by the death of his daughter Agnes, were made by Mr. J. W. H. Walden of Cambridge. The Latin originals will be found at the end of the book, in Appendix X._

_Since such authorities as M. Bernard and M. Renouvier differ as to the ascription to Tory of many of the designs mentioned in this work, it seemed the wiser course to choose for illustration only such subjects as are described by the author, without questioning the soundness of his reasoning or the infallibility of his deductions. The only exception is the beautiful design reproduced on the first page of the Index. This is taken from Robert Estienne's folio New Testament_ (_in Greek_) _of_ 1550, _where_, _with two other similar decorations_, _it occurs in conjunction with the friezes and floriated Greek letters reproduced elsewhere in this volume_. _They are unsigned, but all are indubitably from the same hand. Although they are not mentioned by M. Bernard, it seems incredible that he should never have seen them._

_The printer of this volume has had more than ordinary good fortune in literally stumbling upon most of the designs here reproduced. The pressure of other work has prohibited systematic research, and the originals of these illustrations were nearly all discovered while he was engaged upon other matters. Many were found in the Harvard Library, some in the reference library of the Riverside Press, some in auction rooms, and some in booksellers' catalogues. The only exception is the series of borders from the Hours of_ 1524-25, _which were expressly photographed from the copy in the library of the British Museum._

_That so much has come to hand in so haphazard a way is but an additional proof of Tory's industry and versatility. There seems to be almost no limit to the work which may fairly be credited to him, and M. Bernard hardly exaggerated when he said that there was scarcely an illustrated volume of any importance issued in Paris during the first half of the_ XVI _th century in which the artist of the Lorraine cross did not have a hand. Hours and Classics, Bibles and Testaments, Mathematical and Medical works--all bear evidence to his prolific pen and graver, and were time disregarded, the preparation of this volume might be almost indefinitely prolonged. Incomplete as it is, however, it is hoped that it will measurably fulfill the desire expressed by Mr. A. W. Pollard nearly fifteen years ago, in the first issue of 'Bibliographica.' Speaking of Bernard's monograph, he said_, _'It would be pleasant if some French publisher would bring out a new edition worthily illustrated_, _for in_ 1865 _the modern processes of reproduction were not yet invented_, _and the few and poor woodcuts in M. Bernard's book give no just idea of the artistic powers of Tory_, _whose illustrated editions are so difficult to meet with that M. Bernard's admirable commentary loses half its value for lack of a proper accompaniment of text.'_

_A word regarding the method of reproduction of these illustrations may not be out of place here. More was aimed at than mere photographic copies, which are in many ways inadequate. It was thought desirable to make the decorations an integral part of the typographic treatment of the volume and to preserve when practicable their original relations to the type. To attain this end, more perfect printing plates were necessary than could be obtained directly from the old editions. The designs, therefore, were all redrawn with the greatest care over photographs of the originals, and from these drawings photo-engravings made, which were afterward perfected by hand when the forms were on the press._

_Notwithstanding some inevitable slight divergences of line, this method preserves with far greater faithfulness the spirit and effect of the original prints, and the result is more truly a facsimile than a direct photographic copy would have been. Both drawing and engraving of Tory's designs were exquisite, and as a rule they were beautifully printed, especially by Colines and Robert Estienne. Some of them, however, suffered at the hands of inferior printers. Imperfections and irregularities due to the carelessness or unskilfullness of the printer are readily discernible, and in the reproductions in this volume have been eliminated. The preservation, by this treatment, of more of the beauty and interest of the originals is sufficient justification for departing to this extent from the usual methods of facsimile reproduction._

_Following the French fashion, the Table of Contents and List of Illustrations are printed at the end of the volume._

G. B. I.
B. R.

_January_, 1909.

AUTHOR'S PREFACE

TO THE SECOND

EDITION.

]

AUTHOR'S PREFACE TO THE

SECOND EDITION.

The first half of the sixteenth century was with respect to printing (as with respect to the other arts) a period of renovation, not in the matter of processes of execution, which remained about the same as in the fifteenth century, but in the matter of the make-up of books, which was entirely revolutionized. Typographical arrangement, appearance of the letters and ornaments, everything, even to the cover, was changed almost at the same time, or, at all events, within a very few years. At that time printing gave over the servile copying of manuscripts, which had at first served it as models, and adopted special rules, better adapted to its method of execution. For instance, it relegated notes to the foot of the pages, calling attention to them by marks of reference, instead of placing them at the side of the text, as had previously been the custom, at the cost of an enormous amount of labour, without benefit to the reader. It also abandoned the use of red capitals,[1] which, by increasing the labour twofold, made books expensive, and replaced them by floriated letters, which were quite as distinctive, but were set up and printed with the text. This style of ornament, so favourable to artistic results, developed rapidly, and soon extended from the letters to the illustrations, which began to be introduced in books in constantly increasing numbers. Under the general impulsion of the Renaissance, engraving was transformed: instead of the coarse woodcuts, of the so-called criblé style, in which the background was black sprinkled with white dots,[2] and the design stamped in white, as with a punch, engraving in relief came into vogue, just as we have it to-day, identical in form, although the processes have been perfected. A similar revolution took place in the matter of letters: the gothic or semi-gothic characters, which had hitherto been used, were replaced by roman characters of a novel shape, borrowed from the monuments of antiquity (then studied with great ardour), which continued in use until the Revolution. Lastly, the covers of books also underwent a transformation brought about by the force of events: the parchment rolls used by the ancients had been succeeded, during the Middle Ages, by bound volumes, of a shape more convenient for reading; these volumes, of which those who were fortunate enough to own any never owned more than a very small number, being intended to be arranged on the library shelves in such wise as to present one side to the visitor's eye, were adorned with numerous ornaments of various sorts on that side, so that they could easily be distinguished. Later, these ornaments were omitted and the title of the book substituted, in huge black or gauffered letters. But the invention of printing soon caused that device to be abandoned. As the increasing numbers of books made it impossible to give up so much space to them, they were arranged side by side on the shelves, care being taken to print the title in gold letters (so that it might be more legible) on the back of the book, which was the only part of it in sight. This innovation compelled the doing away with raised decorations, especially those in precious stones or in metal, which would have torn the books that stood next them. Thereafter leather binding came into general use; the gauffering on the sides was continued for some time; but in the sixteenth century this in turn was replaced by gold tooling 'à filet,' and the transformation was complete.

* * * * *

The man who contributed most largely to the threefold evolution I have described was Geofroy Tory, a man who is hardly known to-day,[3] despite all his talents, although he received in 1530, as reward of his labours, the title of king's printer, which François I had never before bestowed upon any one. I say that Tory is hardly known to-day; in truth, it is, in his case, equivalent to being unknown, to be known, as he is, only as a publisher. Some few scholars, to be sure, are aware that he was a printer; but the fact is so little known that his biographer has denied it.[4] As for his noblest title to fame, that of engraver, nobody is aware of it; and yet we owe to Tory the resuscitation of engraving in France. As the historian of typography,[5] I have thought that it was for me to describe with special care one of the fairest jewels in his crown. Such is the purpose of the work here presented, wherein will also be found, in connection with the honour paid to Tory by François I, some information concerning the first royal printers, and a list of those officers from the beginning down to the extinction of the office in 1830, three centuries, year for year, after its creation. François I is, in truth, entitled to be considered the creator of the office of king's printer, for prior to his reign we find but one typographer who bore that title, while, from François I down, the series of king's printers was not again interrupted. The appointment of Pierre le Rouge, on whom the title was bestowed in 1488,[6] may be creditable to Charles VIII, but it was without result. The honour of having made of the eminently literary post of king's printer a permanent office reverts of right and naturally to the prince who has been called the Father of Letters. In truth that prince, as we shall see hereafter, was not content with a single printer; he had several at once, with distinct functions, and appointed successors without loss of time to such as retired or died during his lifetime.

But, I repeat, the principal purpose of my work is to make Tory known as one of the most skilful engravers we have ever had. Of course I cannot forget that he was the learned editor of the 'Cosmographie du Pape Pie II,' the 'Itinéraire Antonin,' etc.; the publisher, of rare taste, who put forth the Hours of 1525, 1527, etc.; the accomplished printer of the 'Sacre de la Reine Eléonore,' and the distinguished philologist of 'Champ fleury,' to whom, as we shall see, we owe the invention of the orthographic forms peculiar to the French language.[7] But what has especially attracted me in Tory is his work as an engraver. In that rôle he was without predecessor or rival, for those persons who may be represented as such may have been his pupils, nothing more. Jean Duvet alone might quarrel with this limitation; but, although he was Tory's contemporary, he was not his teacher; for Tory had gone for his schooling in the art to the very fountain-head, to Italy, before Duvet produced anything. As for Jean Cousin, de Laulne, du Cerceau, Léonard Gauthier, and the rest, they did not come until after Tory. The honour of revivifying the art of engraving in France belongs to Tory alone, bestriding two centuries, the fifteenth and sixteenth; indeed, some of his productions are pure gothic. This I propose to demonstrate in the third part of my book, after I have, in the first part, narrated the general facts of our artist's life, in which we may observe also the development of a revolution in the matter of philology; for Tory was a devoted partisan of the classic tongues before he became one of the sturdiest champions of the French language.

In order to emphasize the importance of the orthographic reform achieved by Tory, I have usually followed the orthography of the time in my quotations from ancient works. It is an anachronism, to be sure, but it is of no consequence when the reader is forewarned. I have also felt at liberty to correct now and then, without calling attention to them, the typographical errors found in the texts quoted.

I will not conclude without thanking publicly those persons who have kindly assisted me in my researches concerning Tory. I have had occasion to mention their names in the course of my work, but that is not enough: I beg them to accept in this place the assurance of my gratitude. There are two to whom I am especially grateful, for they have considerably augmented my store of documents: they are MM. Achille Devéria[8] and Olivier Barbier, of the Bibliothèque Impériale: it is owing to their kind communications to me that the list of Tory's artistic works will be found not far from complete.

FOOTNOTES:

[Footnote 1: This term, which is wrongfully used in printing today to denote all majuscules, was formerly employed only for the initial letters of _chapters_. It was in this sense that Schoeffer used it when he said, in 1457, that his Psalter was _venustate capitalium distinctus_ [distinguished by the beauty of its capitals]; also Chevillier, when he wrote in the _Origine de l'Imprimerie de Paris_ (page 32), that the books of the first printers of Paris had no 'capitals,' the chapter initials being left blank, to be made by the illuminators. M. Crapelet, taking the word in its present meaning, concluded therefrom that the books of Gering and his associates were without majuscules; and he thereupon attributes the introduction of roman letters in Paris to Josse Bade, in the sixteenth century, but he is altogether wrong.]

[Footnote 2: [_Criblé_, lit. sifted.]]

[Footnote 3: I retain the phraseology of the first edition of my book, published in 1856; but the fact is that, thanks to that publication, Tory is no longer in the same plight. His books have become formidable rivals to those of Vostre, Vérard, etc. One of his Books of Hours sold recently for more than 3000 francs. [Note to 2d edition, 1865.]]

[Footnote 4: See _La Biographie Universelle_, article 'Tory,' by M. Weiss, City Librarian of Besançon.]

[Footnote 5: See my book, entitled: _De l'Origine et des Débuts de l'Imprimerie en Europe_; 2 vols., 8vo, 1853.]

[Footnote 6: In the imprint of the _Mer des Histoires_, 2 vols., folio, completed in 1488 (1489, new style), we read: '_Imprimee par Maistre Pierre le Rouge, libraire et imprimeur du Roy_'; but he assumed the latter title only once, and in my opinion it was the result of a misapprehension. He seems in fact to have been king's bookseller only; at all events he assumes that title in the _Heures à l'Usage de Rome_, which he published in 1491. In any case, his assumption of the title does not prove that he received royal letters patent, as all the other printers did, as we shall see later.]

[Footnote 7: Tory also essayed a reform in Latin orthography, but it was less happily conceived, and did not succeed.]

[Footnote 8: Alas! since this preface was first printed, we have had the misfortune to lose the eminent artist whom I have named. [Note to 2d edition.]]

PART I.

BIOGRAPHY.

]

GEOFROY TORY

PAINTER AND ENGRAVER: FIRST ROYAL PRINTER: REFORMER OF ORTHOGRAPHY AND TYPOGRAPHY UNDER FRANÇOIS I.