Chapter III: Part I: Biography (2)

Two years later Tory published a new edition of the same Hours, in a small octavo volume, also printed by Simon de Colines, in roman type, with borders and illustrations of the same kind but much smaller.[103] The printing was finished October 21, 1527. It is preceded by a new license from François I, extending Tory's rights for ten years, not for this book alone, but for the earlier one as well, 'for certain illustrations and vignettes "a lantique" by him heretofore printed,' and in consideration of the great outlay which his engravings had caused him to make. This license is dated at Chenonceaux, September 5, 1526, and includes 'Champ fleury,' the printing of which had begun, but which had not yet received its poetic title, for it was still referred to as 'Lart et science de la deue et vraye proportion des lettres.' In the same year Tory published an edition in quarto of these same Hours, according to the use of Paris, printed by Simon Dubois (Silvius). This book, in which we find again the license of 1526, is printed in gothic type, with borders and illustrations of a special style, called 'à la moderne.' The borders are arabesques formed of plants, insects, birds, animals, etc. At the foot we see the F, crowned, of François I, and the salamander; the L, crowned, of Louise of Savoy, the king's mother; and the impaled shield of France and Savoy, etc. Of this book also I shall speak in detail hereafter.[104] Finally, a little later, at a time which I am unable to fix precisely, but prior to 1531, Tory caused to be printed another book of Hours of the same description, that is to say, with borders of plants, insects, birds, etc., but in a smaller format--small octavo. I shall describe it in its place.[105]

These publications did not prevent our artist from giving his attention to literature. While he was overlooking the impression of his Hours and his 'Champ fleury,' he was preparing various works to which we shall have occasion to refer hereafter. Generally speaking, they are translations intended to enrich the French tongue; for Tory did not lose sight of his patriotic purpose. All of these works were printed subsequently, save one, perhaps--a translation of the hieroglyphs of Orus Apollo, which he gave to a 'noble lord and good friend of his.'[106] It is not known whether this translation was ever printed. There are many editions of Orus in existence, but no one of them bears the name of Tory.

'Champ fleury' appeared at last in 1529. We have seen that this book was conceived on 'the day of the feast of Kings, which was reckoned M. D. XXIII,' that is to say, January 6, 1524, new style. The printing was not completed until 'the XXVIII day of the month of April one thousand five hundred XXIX,'[107] as we learn from the subscription at the end; that is to say, it cost nearly six years of toil. The following is an exact copy of the title-page as it appears in the first edition:--

CHAMP FLEVRY. Au quel est contenu Lart & Science de la deue & vraye
Proportiõ des Lettres Attiques, quõ dit autremēt Lettres Antiques,
& vulgairement Lettres Romaines, proportionnees selon le Corps &
Visage humain.--Ce Liure est Priuilegie pour Dix Ans Par Le Roy
nostre Sire, & est a vendre a Paris sus Petit Pont a Lenseigne du
Pot Casse par Maistre Geofroy Tory de Bourges/Libraire, & Autheur du
dict Liure. Et par Giles Gourmont aussi Libraire demourant en la Rue
sainct Iaques a Lenseigne des Trois Coronnes.

It is gratifying to see here the name of the first printer in Greek type in Paris. It was Gourmont himself who printed this learned book, wherein we find some very interesting details concerning the Hebrew, Greek and Latin letters, of which he exhibits models which have not changed since that time.[108] The workshop of Gilles de Gourmont was on rue Saint-Jean-de-Latran; but we see that in 1529 he had a bookshop on rue Saint-Jacques, at the sign of the Trois Couronnes,--an allusion doubtless to the three roses which adorned the chief, or top, of his shield. This shop adjoined the church of Saint-Benoît on the north.[109] As for Tory, he seems to have lived at this time on the Petit-Pont, 'next to Hostel-Dieu.' It was there that he wrote his book, for he dates his epistle to the reader thus: 'En Paris ce. XXVIII. Jour Dapvril sus Petit Pont, a Lenseigne du Pot Casse.' He had, however, another abode on rue Saint-Jacques, opposite the 'Écu de Bâle,' the sign of Chrétien Wechel.

At the beginning of 'Champ fleury' is printed the license of September 5, 1526, already published in the two editions of the Hours of 1527, which granted to Tory a ten years' right, not only for the Hours, but also for 'Champ fleury,' which was then being printed, but, as I have already said, had not then received that graceful title. This license makes it clear that as early as 1526 Tory was thinking of joining the brotherhood of printers. He became a printer in fact soon after the publication of his book, and proceeded to print several works of his own composition. I give here a list of these various publications, in the order of their dates.

I. La Table de lancien philosophe Cebes ... Avec trente Dialogues
moraulx de Lucian ... translate de latin en vulgaire françois par
maistre Geofroy Tory de Bourges...[110]

The license is of September 18, 1529, for ten years. The printing was finished October 5, 1529. It is a small octavo volume, in two parts, with roughly executed borders on each page. There are twelve preliminary leaves, containing a long list of errata, and two series of signatures, the first running from A to T, the second from _a_ to _v_. The book was for sale at the translator's shop, 'rue Sainct Iaques, devant lescu de Basle,[111] a lenseigne du Pot Casse,' and at Jean Petit's on 'rue Sainct Iaques, a lenseigne de la Fleur de lys.' There is nothing to indicate where the book was printed; but as it is set in the type used for the 'Epitaphs' of Louise of Savoy, I am inclined to think that it came from Tory's workshop. In that case it was the first book that he printed.[112] The long list of errata would seem, in truth, to suggest a novice, and would explain why no printer's name is given.

In the letter 'to the readers' at the beginning of this book, Tory returns to the charge against the villains [_rufients_] who were changing the French language on the pretext of perfecting it. There are some tirades quite worthy of a place in 'Champ fleury.' He ends his preamble with a curious passage which gives us an idea of his tastes. 'I believe that if the ancient and noble painter Zeuxis of Heraclea, if Raphael of Urbino, Michel Angelo, Leonardo da Vinci or Albrecht Dürer[113] should try to paint philosophers and their various aspects, they could not paint them so well nor so to the life as our Lucian paints them herein.' Lastly, he informs the reader that he will soon make him 'another new gift';[114] and he kept his promise by publishing the following work.

II. Summaire de chroniques contenans les vies, gestes et cas
fortuitz de tous les empereurs Deurope, depuis Iules Cesar iusques
a Maximilien dernier decede ... par ... Iehan Baptiste Egnace,
Venicien. Et translate de ladicte langue latine en langaige francoys
par maistre Geofroy Tory de Bourges.

An octavo volume, containing 16 leaves of preface, 99 of text, and an index containing 13 leaves--128 in all. At the end, we read: 'The printing of this book was finished at Paris the XIII day of April, M. D. XXIX, for maistre Geofroy Tory de Bourges, who sells it at said Paris, at the sign of the Pot Casse.' In Tory's preface, addressed 'to all studious and true lovers of honest letters,' he says: 'I promised you of late in the preface to the "Table of Cebes" that in a short space I would make for you another new book.' It was in fulfilment of that promise that he published the 'Summaire de Chroniques' of Egnasio.

The date of printing given above corresponds to April 13, 1530, new style; for Easter fell in that year on April 15. Some bibliographers mention an edition of this book of 1520; but it is an error, for the license is dated 1529. La Caille[115] says that the edition of 1529 was printed by Tory; this is possible, but not certain. It may even be that it was printed by Gourmont, for it is set in the same type used in 'Champ fleury.'[116] There are three later editions of this book, printed by Charles l'Angelier in 1541, 1543, 1544 (octavo); we shall speak of them hereafter. As for the edition of 1529, I found it only in the library of M. Ambroise Firmin Didot, who kindly allowed me to describe it. This copy is still in the original binding, with the Pot Cassé.

But all these works did not cause Tory to lose sight of his great patriotic idea. He did not confine himself to simple wishes for the welfare of the French language. In default of the other 'noble hearts' whom he invited 'to establish and order our language by rule,'[117] he himself undertook that work. Rich in materials as he was, and with the ardor with which he entered into everything, he soon completed his task. The license to print the 'Summaire de Chroniques' includes a book by Tory entitled: 'Les Reigles generales de lorthographe du langaige françois,' which he proposed soon to put on the press. Was this book ever printed? was it ever finished? These are questions which I am unable to answer, for I have discovered no trace of it elsewhere; but so many other books have disappeared that I should not be surprised to learn that this one had undergone the same fate.

III. Hours (in Latin) according to the Roman use; sixteenmo, with
illustrations and borders; printed in roman type; finished February
8, 1529, which date corresponds to February 8, 1530, new style, and
proves that Tory had become a printer in 1529. Here is the exact
title of this book, which I shall describe in detail later:[118]
'Horæ in laudem beatissimæ Virginis Mariæ secundum usum romanum.' On
the last leaf are these words: 'Parrhisiis, apud Gotofredum Torinum
Biturigum. VIII. die febr. anno sal. M. D. XXIX.
Ad insigne Vasis effracti.'

IV. Ædiloquium ceu (_sic_) disticha partibus ædium urbanarum et
rusticarum suis quæque locis adscribenda. Item, epitaphia septem de
amorum aliquot passionibus, etc. Authore Gotofredo Torino Biturigico.

Paris, Simon de Colines, 1530;[119] italic type; 3 octavo sheets, with license for two years. This book has, in the second part, seven charming engravings on wood. I cannot understand why Tory did not print it, as he was then a printer. May it have been because it was customary at that time to print poetical works in italic type, and he had none in his printing office? Copies of the book are preserved in the Bibliothèque Nationale, at the Arsenal [two] and at Sainte-Geneviève. The copy in the Bibliothèque Nationale is still in the original binding, with the Pot Cassé.[120]

Alluding to the first part of his book, Tory expresses himself thus in his 'avis au lecteur': 'There are certain eminent painters in this prolific age, most gentle reader, who, by their drawings, paintings, and varied colouring, depict the tribal gods and human beings, as also other things of different sorts, with such exactness that a voice and a soul seem the only things wanting to them; but here, most gentle reader, I offer you, nearly in the manner of these painters, a house, which not only is elegant and finished in its outlines and parts, but even speaks prettily and describes itself part by part in a eulogy.'[121] It will be seen that Tory's thoughts were still engrossed by art.

V. Science pour senrichir honnestement et facilement, intitulée
Leconomic Xenophon, nagueres translatee de grec et latin en langaige
francoys, par maistre Geofroy Tory de Bourges.--On les vend a Paris,
en la rue Sainct Iaques, devant lescu de Basle, et devant lesglise
de la Magdalaine, a lenseigne du Pot Casse.

Octavo, of 9 sheets; printing finished July 5, 1531.[122] On the back of the title-page are these words: 'At the said sign of the Pot Casse are also for sale Thucydides and Diodorus, with some other excellent books translated from Greek and Latin into French. Likewise there are fine Hours and Offices of Our Lady, large, medium and small, with illustrations and vignettes "a l'antique."'

Were the Thucydides and Diodorus printed by Tory, as well as the large, medium and small Hours? Possibly, but I have found no indication of it. As for attributing the translations to him, that is out of the question, for he says nothing of it in the dedication, addressed to Antoine du Prat, Cardinal de Sens, etc., wherein he mentions the preceding works of the same sort:--

'After the book of the Explanation of the antique letters, called "Champ Fleury," which I put together in the French language, and the "Table de Cebes," with thirty moral dialogues; likewise the "Summaire de Chroniques," which I translated into our said language, to confer a benefit on the studious, ... it seemed to me to be a worthy way of passing my time to employ myself in translating the "Economic Xenophon" also.'

Tory does not mention here the 'Ædiloquium,' probably because that book was in Latin, or, rather, because it was not printed at the time of the composition of this dedication, which was in all probability written in the first three months of 1531, then reckoned in the year 1530,[123] a circumstance which, in my opinion, explains the date of the 'Ædiloquium.' In fact, that book cannot have been printed before 1531, for the license of the 'Economic Xenophon,' which includes the 'Ædiloquium' (to which, by the way, it gives a sub-title, 'et Erotica,' which was rejected when it was printed, as likely to give a false idea of the book), is dated June 18, 1531, and extends Tory's rights to four years instead of the two mentioned on the title-page of the 'Ædiloquium.' From all of which I conclude that the last-named book was printed before the license was obtained, but only a short time before, and while the application was pending.

The license first mentioned[124] also concedes to Tory an extension of four years 'for certain other books, illustrations and vignettes, to cause to be printed the Hours and Offices of Our Lady, mentioned in two licenses heretofore granted to him,' dated September 23, 1524, and September 5, 1526. Tory requested this extension of time because he was preparing to reprint the Hours, as we see by the date of the following book.

VI. Hours according to the Roman use, quarto; published October
20, 1531, in Latin. This was a new edition of the Hours printed
in 1524-1525 by Simon de Colines. We find the same borders and
illustrations as before; but several engravings which had already
appeared in some of the earlier books just described are added. I
shall describe this book later. It seems to be printed from the
'Champ fleury' type, and bears the following title: Horæ in laudem
beatiss. Virginis Mariæ. Ad usum romanum. Parrhisiis apud Gotofredum
Torinum Biturigicum, regium impressorem.[125]

VII. Politiques de Plutarque, cest a dire: Civiles Institutions et
enseignemens pour bien regir la chose pu[blique] ... translatees ...
par maistre Geofroy Tory de Bourges. Dediees ... a tresilustre ...
François de Vallois, Daulphin de France.

Octavo, with 8 preliminary leaves, and 67 numbered leaves of text.

On the verso of leaf 67 we read: 'The printing of this book was finished Saturday the XV. day of June, M. D. XXXII. by maistre Geofroy Tory de Bourges, bookseller and king's printer, dwelling in Paris, opposite the church of La Magdaleine, at the sign of the Pot Casse.'

Another edition was published at Lyon in 1534. We shall refer to it, as well as to the earlier edition, hereafter.[126]

VIII. La Mouche de Lucian et la Maniere de parler et se taire [de
Volaterran].--Le tout [translaté] par maistre Geofroy Tory de
Bourges, imprimeur du Roy et libraire juré en luniversité de Paris.
On les vend a Paris, devant leglise de la Magdaleine, a lenseigne du
Pot Casse.

Octavo, 8 leaves; without date of printing or license, but printed by Geofroy Tory himself, after February 22, 1533; for he assumes the title of 'libraire juré'[127] of the University, which did not belong to him until that day. Moreover he makes use in this book of the acute accent, the apostrophe and the cedilla, which he never used, as we shall soon see, until after the edition of Clement Marot, dated June 7, 1533. It was therefore subsequent to that date, but prior to October of the same year, that 'La Mouche' was published.[128]

* * * * *

In several of the works we have described, Tory assumes the title of printer; in the last three he describes himself as king's printer, and in one of them as a 'libraire juré' of the University. These last two dignities he owed to the initiative of François I. That king, who had never before conferred that honour upon any one, deemed it his duty to make the author of 'Champ fleury' king's printer. In truth it was natural enough to confer that title upon him who had displayed so perfect an understanding of the art of typography, combined with such a store of literary knowledge, and whose book caused a veritable revolution in printing, no less from the technical and practical than from the grammatical and philological standpoint; for there is one fact which I have not as yet mentioned and which I am glad to set down here: immediately after the publication of 'Champ fleury' French typography began to include in its fonts of type accents, apostrophes and cedillas,[129] the absence of which Tory deplored, and which he himself used soon after, and before any other printer, as we shall see.

But the most noteworthy result produced by the publication of 'Champ fleury' was the reformation of the old types. That book not only contributed to the abandonment of gothic letters, but brought about the remodelling of the old roman letters. Robert Estienne, among others, re-cast at this time all those that had come down to him from his father, the first Henri (or, to speak more accurately, from his father-in-law Simon de Colines), and replaced them by types of a new shape, which were cut, I think, by Tory (for his pupil, Garamond, seems not to have been capable of doing it at this time), and which continued to be used, almost without change, down to the time of the Revolution. It is in this sense only that it can properly be said that Tory perfected the types of Josse Bade; for I think that he did not cut any type for that celebrated printer, who was established in Paris long before Tory turned his attention to engraving, and who died in 1535, a few years after the publication of 'Champ fleury,' without changing in any way his method of printing. It was Tory too, doubtless, who cut Robert Estienne's italic type; for it bears a strong resemblance to Simon de Colines's, which I have already attributed to him.[130]

The sensation caused by Tory's book, in foreign countries as well as in France, is evidenced also by the writings of his contemporaries. In Paris, Antoine du Saix, author of the 'Esperon de discipline,' expresses himself thus in an epistle in verse dedicated to his friends,[131] among whom we find mentioned René Massé, also a friend of Tory, and several other littérateurs of the time:--

Geoffroy Thory, qui divine as heu main
Pour figurer dessus le corps humain
La lettre anticque, ouyant que plume ay prise
Pour te imiter, ce bourgeon ne meprise,
Raisin sera, sil a temps de meurer [mûrir].

In London, Leonard Coxe, alluding to the grammar published shortly after by his compatriot Palsgrave, exclaims: 'Learned Geofroy, he has fulfilled the wish so often expressed in thy "Champ fleury," for here we have the French language taught thoroughly, by virtue of rules duly authorized.'[132]

Tory probably received the title of king's printer in 1530, but I do not find that he assumed it earlier than 1531, and, failing documentary evidence, I cannot accredit him with it at an earlier date. It was, I fancy, his appointment which led the authors of the 'Art de vérifier les dates' to say that 'François I established the Imprimerie Royale in Paris' on his return from the Abbaye de Veyen, where he had espoused, on July 4, 1530, Eleonora, sister of the Emperor Charles V.[133] It is the fact that at that time Tory was entrusted with several 'royal printings' concerning this marriage of the king. Thus he published, March 16, 1530 (1531, new style), a little work of Guillaume Bochetel, entitled: 'Le Sacre et coronnement de la Royne, imprimé par le commandement du Roy nostre sire.' It is a thin quarto of 12 leaves, printed with a certain sumptuousness, and the license, signed 'de la Barre,'[134] is thus conceived:--

'We have granted to maistre Geofroy Tory, "marchant libraire, imprimeur," license to print the "Coronnement de la Royne," and all other printers are forbidden to print it for one year,[135] upon pain of a discretionary fine and of the confiscation of said book, etc. Done at Paris the tenth day of March.' The consecration of the queen had taken place at Saint-Denis five days earlier, March 5, 1530 (1531, new style).

A few days later Tory published another little book by the same author: 'Lentree de la Royne en sa ville et cite de Paris, imprimee par commandement du Roy nostre sire.' Quarto, 24 leaves; same arrangement as in 'le Sacre,' etc.[136] The license, dated at Anet, April 26, 1531 (Easter fell that year on April 9), gives Tory no other title than 'libraire,' but the omission is evidently accidental.[137] The volume contains three pieces in Latin verse by Geofroy Tory, two addressed to the queen ('ad reginam Leonorem'), the other to the French people ('ad gentem gallicam'). On the verso of the last leaf are these words: 'The printing of this book was finished Tuesday the ninth day of May M. D. XXXI.' This book exhibits specimens of three different types used by Geofroy Tory: a 'saint-augustin,' in which the text is printed, a 'philosophie,'[138] and a brevier. In all these publications we find Tory's borders and his broken jar, and these words at the foot of the title: On les vend a Paris, en la rue Sainct Jacques, devant lescu de Basle, et devant lesglise de la Magdaleine, a lenseigne du Pot Casse.'

It will be noticed that Tory had left his second domicile, on the Petit-Pont, which was too small, doubtless, for his printing establishment, and had settled in the heart of the Cité, almost opposite the church of La Madeleine, which then stood very near the corner of rue de la Juiverie and rue de Marmouzets. His new abode was on the site of the old and famous Halle aux Blés de Beauce, in a house to which he transported his sign of the Pot Cassé (which it retained for several years), and which corresponds to the present number 16 rue de la Cité, according to the evidence courteously furnished me by M. Adolphe Berty, whose knowledge of old Paris is so thorough.[139] However that may be, the first work in which to my knowledge Geofroy Tory assumes the title of king's printer is a thin volume of two and a half quarto sheets, of the same typographical arrangement as those last described, but printed in different type, which seems to me to have been cut by Tory. It was published on the occasion of the death of Louise of Savoy, mother of François I, which occurred September 22, 1531. The contents consist of Latin and French epitaphs composed in honour of the deceased, and it bears on its first page the following title, bisected:--

'In Lodoicæ regis matris mortem epitaphia latina et gallica.--Epitaphes a la louenge de ma dame mere du Roy faictz par plusieurs recommendables autheurs.' Below this are these words: 'On les vend a Paris, devant Leglise de la Magdaleine, a Lenseigne du Pot Casse.'

The license, dated at Paris, October 15, 1531, and signed de la Barre, accords unequivocally to Tory the title of king's printer: 'We have granted to maistre Geofroy Tory, merchant, bookseller and _imprimeur du roy_, leave,' etc. On the last page, which, like the first, is enclosed in a border, are the words: 'Printed at Paris at the sign of the Pot Cassé, by maistre Geofroy Tory de Bourges, Marchant, Libraire et Imprimeur du Roy. The XVII day of October M. D. XXXI.'[140]

What salary did Tory receive as king's printer? It is impossible for me to say positively; however, if we may judge from what happened in 1538, in the case of Conrad Néobar,[141] he probably received 100 'écus au soleil'[142] per year, which, at the current valuation of 45 sous each, would make 225 'livres tournois.' Indeed, that sum was paid in 1671, more than a century later, to Pierre Le Petit, king's printer.[143]

If François I manifested his good will to Geofroy Tory in appointing him king's printer, he manifested it even more signally by causing him to be admitted to the brotherhood of 'libraires jurés' of the University, with all the privileges appurtenant to that office.[144] For, in the first instance, he simply made use of his prerogative; in the second he imposed his will on the University: the number of 'libraires jurés,' which was fixed at twenty-four, being full, François I created a twenty-fifth membership in Tory's favour, and the University ratified that creation at its sitting of February 22, 1532 (1533, new style), minuting, however, that it was a gift of the King,[145] as if to imply that it was not to be taken as a precedent. In fact, they returned to the number twenty-four on the death of Tory, which unfortunately was not long delayed.

Farther on will be found a list of the works published by Tory as king's printer, both for the king and for private individuals.[146] I will mention here a single one, which is of some interest in connection with the biography of our artist: the 'Adolescence Clementine' (of Clement Marot), fourth edition, published by Tory June 7, 1533. On the title-page is a note in these words: 'With certain accents noted, namely, on É masculine different from the feminine, between words joined by synalephe, and under Ç when it is pronounced like S, the which heretofore, for lack of suggestion, has not been done in the French language, although it was and is most essential.' This was the first work in which Tory applied the orthographic system he had suggested in 'Champ fleury.'[147] The fact is evident from the inexperience of the compositors, who made several blunders in this very note.

This book, one of the rare copies of which is in the Bibliothèque Nationale, presents still another interesting peculiarity. The title-page is arranged in a different way from that in vogue at the time. In the first three editions the first two words form four lines of capitals of the same size and length, by virtue of the spacing: LADOLE--SCENCE--CLEMEN--TINE. In the fourth edition they fill two lines only (LADOLESCENCE--CLEMENTINE), but still in type of the same size, contrary to the practice of other printers, who would have diminished by at least one degree the size and length of the lines, without regard to logic. They would probably have printed the title thus:

L A D O L E S
CENCE CLEMEN
tine

Tory's method of execution, which he borrowed from the arrangement of ancient inscriptions, was less agreeable to the eye perhaps, but it was more logical. It was a step toward the practice of the present day, in which the size of the letters on a title-page is varied, but is made consistent with the importance of the respective words. As will be seen, Tory was, in everything, an initiator.

This book was the last one printed by Tory, to my knowledge. He probably died shortly after, for we find that his wife was a widow on October 14 [1533], when she executed a lease for nine years of that part of the Halle de Beauce occupied by her husband's establishment. This lease, covering the whole house, was made in consideration of 122 livres 10 sous tournois. The lessors were agents of the Chapitre Notre-Dame, and the lessees, 'Martin Féret, baker, and Perrette Le Hullin, widow of Geofroy Tory, in his lifetime bookseller and king's printer, living on rue de la Juifverie in one of the wings [corps d'hostel] of the building hereinafter mentioned' (the Halle de Beauce).[148]

Perrette Le Hullin continued for some time to carry on her husband's various enterprises. Thus, she published in 1535 a remarkable work, doubtless begun by him, by command of François I, to whom it is dedicated. It certainly should be placed to the credit of Tory, although it does not bear his name, but simply a mention of his sign: 'Au Pot Casse.' It is a translation of Diodorus Siculus, of which I shall speak later.[149]

But the burden of so considerable an undertaking--printing-office, bookshop, bindery,[150] engraving, etc.--soon compelled Perrette Le Hullin to abandon a part of it. At the end of the year 1535 she transferred the printing-office, the bookshop, and the bindery to Olivier Mallard, who established himself on the same premises occupied by Tory, and under the same sign of the Pot Cassé, as we see by a thin volume published by him on January 19, 1535 (1536, new style), entitled: 'Copie d'une lettre de Constantinople, de la victoire du grand Sophy contre le grand Turc.--Paris, Olivier Mallard, à l'enseigne du Pot Cassé, rue de la Juifverie.' Quarto, of 4 leaves; gothic type.[151]

Towards the end of 1536, Mallard published the 'Copie de l'arrest du grand conseil donné à l'encontre du miserable empoisonneur de monseigneur le dauphin,' etc. An octavo sheet printed in two signatures. On the verso of the title begins the text of the decree, promulgated at Lyon Saturday, October 7, 1536; then come several pieces by Jean Henon and 'a "dizain" by the printer hereof in sorrow for the death of the Dauphin': ten wretched lines, ending, by way of signature, with the words 'tout par moien,' of which I have been unable to discover the anagrammatic significance. On the verso of the last leaf we read: 'All booksellers and printers in the city and provostry of Paris are forbidden to print or put on sale this present "copie" within three months, on pain of confiscation thereof, and of a fine, save only M. O. Mallard. Given at Paris this XVIII October, 1536.--I. MORIN.'

Thus we see that, even if Mallard was not as yet king's printer, he was at least the official printer. I cannot give the exact date of his appointment as king's printer; but he certainly held that office in 1537, since in that year he published a little octavo volume in which he assumed the title.[152] The book is entitled: 'De judiciis urinarum tractatus exprobatis collectus authoribus, etc.--Excudebat O. Mallardus, bibliopola ac impressor regius.--Anno Domini 1537, 8 id. Martii' (March 8).[153] He also published in that year, in the same capacity, two works of Jean Gillot:[154] 'De juridictione et imperio libri duo,' and 'Isagoge in juris civilis sanctionem' (quarto), on the title-page of which, below the Pot Cassé, are the words: 'Vænit O. Mallardo, regio typographo ac librario, sub signo Vasis fracti.'[155]

It is probable that François I made no difficulty about accepting Tory's successor as his printer; but he availed himself of Tory's death to remodel the institution of king's printers. He restricted Mallard's functions to the printing of French, and in the year 1538 appointed two other king's printers, one, Conrad Néobar, for Greek, the other, Robert Estienne, for Latin and Hebrew, as an essential complement to the 'Collége des trois langues,' now the Collége de France, which he had recently founded. We have not the document which conferred upon Robert Estienne the title of king's printer; but we have proof that he held that title in 1539. Maittaire declares, upon what evidence I know not, that Robert was appointed on June 24 of that year. I am of the opinion that his appointment was of earlier date, that is to say, that it goes back, like Néobar's, to 1538, or, to speak more accurately, to the beginning of 1539. In fact, we find him assuming the title of king's printer ('typographus regius') in several works printed by him during that year. Furthermore, I may mention the fact that, in a most interesting edict concerning the printers of France, dated August 31, 1539, the king already refers to the fact that he has 'of late created and ordained--in order to have a copious supply of useful and essential books--royal printers in the Latin, Greek, and Hebrew tongues.'[156]

We have not the letters patent of Robert Estienne, but we are more fortunate in respect to Néobar, for we have the document by which he was created king's printer for Greek.[157] This curious document, which does so much honour to François I, well deserves to win oblivion for his unlucky edict of proscription against printing, rendered January 13, 1535 (new style), which has been invoked against his memory several times in recent years, although it was never put in execution. On Néobar's death in 1540, Robert Estienne succeeded him as king's printer for Greek, retaining the title for Latin and Hebrew.

The king's fondness for the classics did not lead him to neglect the French language: in 1539 he promulgated a celebrated ordinance, to the effect that 'henceforth all decrees, etc., shall be pronounced, recorded, and delivered to the parties concerned, in the mother tongue.'

In 1541, Olivier Mallard, who had acquired all of Tory's typographic paraphernalia, published a book of Hours of the Virgin, in Latin, octavo, with the borders 'à la moderne' to which I referred on page 25. It is copied doubtless from the edition put forth by Tory about 1530, which I have never been fortunate enough to see. Of the edition of 1541, I have seen one copy on vellum, and another on paper. It consists of 23 octavo sheets (signatures A to Y), and has on the title-page: 'Horæ in laudem beatissim. Virginis Mariæ ad usum Romanum.' (Pot Cassé) 'Parisiis, apud Oliverium Mallardum, sub signo Vasis effracti.--1541.'

In the following year Mallard published another edition of the Hours of the Virgin, in quarto, like the one issued by Tory in 1531. I shall speak of it in detail in its place.[158] Here I will simply say that the book was finished in the month of August, 1542.

On the twenty-second of the same month, Mallard renewed the lease of his quarters in the Halle aux Blés de Beauce, which lease had been given nine years earlier to Tory's widow and Martin Féret, at a rental of 122 livres 10 sous, tournois. The rental was increased for Mallard, who had to pay 130 livres, plus 4 écus d'or au soleil 'for the time of the said leasing.'[159] Olivier Mallard did not long enjoy his lease, for he died that same year. His last printing, according to La Caille, who writes the name Maillard,[160] was a translation of the Dialogues of Plato, by Simon de Valembert, published in 1542. I have been unable to find this book in Paris, but I have seen another, probably of later date, at the bookshop of M. Techener; it is entitled: 'Le livre de Ange Bologninus, de la curation des ulceres exterieurs, traduit de latin en francoys.--Paris, au Pot Cassé, en limprimerie de Olivier Mallard, libraire et imprimeur du roy. 1542.' It is an octavo of four signatures. As the license is dated December 1, this little book is probably the last one printed by Mallard, as he was succeeded in the following year, as king's printer for French works, by Denis Janot (one of the most skilful printers in Paris), as is set forth in the letters patent, which will be found in Appendix VII. Appendix VIII contains a complete list of the king's printers who lived in Paris.

Mallard's typographical apparatus seems to have been acquired by Jean Kerver, son of the first Thielman Kerver, living on rue Saint-Jacques,[161] at the sign of the Gril ('sub signo Cratis'), who printed several editions of the Hours in octavo, with the borders 'à la moderne' used by Mallard in 1541. The sign of the Pot Cassé, which Kerver did not need, was adopted by a bookseller of Chartres, named Richard Cotereau, who seems also to have bought some of Tory's woodcuts representing that mark. In fact I have seen one, which I have never seen on any of Tory's books, in a book printed in Paris for Cotereau by Nicolas Chrestien; it is: 'Le Coustumier de la baronnye, chastellenie, terre et seigneurie de Chasteauneuf en Tymerays'; octavo, 1557. The title-page is an engraving of the Pot Cassé, with the design reversed,[162] like that of the title of 'Champ fleury,' but signed with the double cross; and beneath are the words: 'Pour Richard Cotereau, libraire, demeurant à Chartres, en la grande rue, à l'enseigne du Pot Cassé.'

Philippe Cottereau, evidently the son of Richard, and king's printer at Blois, used the same mark. I have seen it on a small book printed by him in 1603: 'Reglement pour l'instruction des proces qui se conduiront au bailliage et siege presidial de Bloys.' Two octavo sheets.

It would seem, however, that the sign of the Pot Cassé, which remained for some time longer on the Halle de Beauce, also remained on the house originally occupied by Tory, on rue Saint-Jacques, for we find a printer named Michel de la Guierche living at that sign. See, among other works, 'M. T. Ciceronis ad M. Brutum Orat.--Paris, apud Mich. de la Guierche, sub signo Vasis effracti, in vico Jacobeo.' Quarto, without date, but with documents of 1542 and 1543.[163] But the Pot Cassé itself does not figure in his books.

Tory's widow seems to have retained his engraving establishment for a considerable further time. Although engrossed by her numerous undertakings, she found time nevertheless to have some of her husband's books reprinted, and among others the 'Sommaire de Chroniques d'Egnasius,' in 1541, 1543, 1544, for the bookseller Charles L'Angelier, and 'Champ fleury,' in 1549, for the bookseller Gualtherot. I say that she had these books reprinted, but I ought rather to say, perhaps, that she allowed them to be reprinted, for there is nothing to suggest her coöperation in the work. Literary property did not then exist.

In the new edition of 'Champ fleury,' which by the way no longer bears that graceful title, the Pot Cassé does not even appear, although the explanation of the mark is allowed to remain. It was doubtless a bookseller's speculation.[164] However that may be, this reprint forms an octavo volume of 160 leaves (the folio has 80), in addition to the preliminary matter, of which there are 16 leaves (8 in the folio); it is entitled: 'L'Art et Science de la vraye proportion des Lettres Attiques, ou Antiques, autrement dictes Romaines, selon le corps et visaige humain, avec l'instruction et maniere de faire chiffres et lettres pour bagues d'or, pour tapisserie, vitres et painctures. Item de treize diverses sortes et façons de lettres; d'avantage la maniere d'ordonner la langue françoise par certaine regle de parler elegamment en bon et plus sain langage françois que par cy-devant, avec figures à ce convenantes, et autres choses dignes de memoire, comme on pourra veoir par la table, le tout inventé par maistre Geoffroy Tory de Bourges.'

I have copied this long title at full length only to give myself an opportunity to call attention to the progress that had been made by French typography since the day when Geofroy Tory published his first edition, and, indeed, as a result of that same publication. We find here the accents, the apostrophe and the cedilla, upon the absence of which the author had commented in 1529. So that we may say that the whole grammatical portion of his book had become useless as a direct result of the first edition of that book. This is a fact to which the editors of the second edition paid no heed, as they allowed Tory's observations to stand as they were written, while introducing into their text the novel signs I have just mentioned. For instance, they repeat that _c_ has two sounds, one hard, as in 'coquin,' etc., the other soft, as in 'françois,' etc. But by adding the cedilla in the last word they destroy the sense of the criticism made by Tory in 1529.[165]

It does not appear by whom the book was printed; we learn only on the last leaf that it was finished August 26, 1549, 'pour Vivant Gualtherot, libraire juré en l'Université de Paris, en la rue Saint-Jacques, à l'enseigne de Saint Martin.'

In order to adjust Tory's woodcuts to the smaller format, they were somewhat mutilated; indeed some of them were omitted altogether, among the number those representing the Pot Cassé, which probably remained in the possession of Olivier Mallard or his successors, and which it was not deemed essential to have engraved anew for this reprint, for it was executed as cheaply as possible, and as if for the purpose of utilizing such woodcuts as remained at the disposal of Tory's widow.[166] The work was subjected to some further modifications in this edition. For instance, all dates were suppressed in the preliminary matter, which also was arranged in a different order. Even the license granted by François I was omitted as having become useless; but no change was made in the actual arrangement of the work, nor was there a single addition or emendation.

Thus Tory, at his death, was able to flatter himself that he had contributed materially to the improvement of his mother tongue, which he loved so well. He died, as I have said, in 1533, and not in 1550, as is erroneously stated in a poetical epitaph composed nearly a century after our printer's death, by his compatriot, Nicolas Catherinot, at the request and from the notes of Jean Toubeau, himself a printer of Bourges, and a descendant of Tory, through his mother.

Here is the epitaph, as given by La Caille:[167]--

To Geofroy Tory,
Born at Bourges,
Educated at Paris,
Accomplished Scholar in both Latin and Greek,
Most devoted Lover of Letters,
Very expert Printer
And
Learned Author,
Inasmuch as he wrote elegant Distichs on the Parts of the House,
Composed some humorous Epitaphs in Latin in very ancient Style,
Translated Treatises of Xenophon, Lucian, and Plutarch
From Greek into French,
Taught Philosophy at Paris in the College of Burgundy,
Was the first Man to discuss seriously the Art of Printing,
Described the Forms of the Letters, or Characters, of the Alphabet,
Taught Garamond, Chief of Engravers,
Always performed the Duties of a good Man until he died
In the Year MDL:[168]
At the Instance
Of Jean Toubeau,
Likewise Printer and Author,
Mayor,
Alderman of Bourges,
Ambassador on very delicate State-matters
To the King and Council,
Great-great-grandson of the same Tory,
Heir of a famous Printing Establishment,
Nicolas Catherinot, noble Citizen of Bourges,
Counsellor of the King, and Senator, in the Metropolis of Bourges,
From his tender Years uninterruptedly to the present Day
Most closely associated with the Business of Printing,
Wrote this Epitaph, hastily and rapidly, at the End of November,
MDCLXXXIV.[169]

The only relic that we have of Tory to-day, outside of his books and works of art, is a volume from his library, as his signature in the genitive case indicates. It is a manuscript on vellum, containing the orations of Cicero against Verres, in Latin. This volume was acquired, presumably after Tory's death, by his patron Jean Grolier, who wrote his motto at the end of the text: 'Joannis Grolierii Lugdunensis et amicorum.' From the library of this illustrious bibliophile, the manuscript passed to Colbert's library, then to the king's. It is preserved to-day [1857] in the Bibliothèque Nationale. We give below a facsimile of Tory's signature, which appears on the first flyleaf:--

Tory made use of ten marks, besides the Pot Cassé that appears on his bindings. We reproduce them all, although only two (nos. 5 and 10) are signed.[170] Some of them were used by other booksellers after him, as we have already seen.

No. 1

This mark is to be found in the borders of the Hours (quarto) of 1527. (See page 37, supra.)

No. 2

This form of the Pot Cassé appears in the borders of the Hours (quarto) of 1524-1525, alike in the copies which bear the imprint of Tory and in those printed by Simon de Colines. (See page 37, supra; also Part 2, § 2, no. 1, infra.)

No. 3

This variation will be found on the first page of those copies of the Hours (quarto) of 1524-1525 which bear the imprint of Tory. (See Part 2, § 2, no. 1 (2d and 3d), infra.)

No. 4

This appears on the title-page of 'Champ fleury.' (Silvestre, 'Marques Typographiques,' no. 931.)

No. 5

This appears on folio 43 verso, of 'Champ fleury.' (Silvestre, no. 803.)

No. 6

This mark, which differs from no. 5 only in the absence of the cross of Lorraine, appears on the last page of 'Champ fleury.' I am unable to suggest any reason for the removal of the cross. (Silvestre, no. 171.)

No. 7

This mark is found only at the end of the little poem written by Tory on the death of his daughter, which was published February 15, 1524, new style. We have already referred to this poem on page 15; but it is reproduced at length in Part 2, § I, no. 9.

No. 8

This mark, which differs from the preceding only in the omission of the little figure in the clouds, appears on the last page of the Hours of 1524-1525 (those copies with Tory's imprint) in Latin. (Silvestre, no. 356.)[171]

No. 9

This mark appears on the title-page of the Hours (quarto) of 1527. It was used by Jean Mallard, bookseller at Rouen, 1542.[172] (Silvestre, no. 604.)

No. 10

I have never as yet seen this mark in any book of Tory's; but I have found it in books published by Richard Cotereau, bookseller at Chartres, in 1557, and by Philippe Cotereau, bookseller at Blois, in 1603. (See p. 41, supra.) The presence of the Lorraine cross is, it seems to me, a sufficient proof that it should be attributed to Tory. (Silvestre, no. 929.)

We have already observed that Tory was not only a bookseller and printer, but a binder as well. To complete the list of our artist's professional acquirements an example of the toolings that he used to decorate the covers of some of the volumes bound by him, is reproduced [on the cover of the present volume.[173] The reproduction is from the cover of a copy of the works of Petrarch, printed at Venice in 1525, and now preserved in the Library of the British Museum.] The Pot Cassé, in its simplest form, appears among the arabesques of this binding. Tory had also had engraved a larger plate of the same, for use on the binding of quartos, or, rather, of folios. The design is almost identical. Sometimes the Pot Cassé is accompanied by the drill. This design appears on a copy of Macault's translation of Diodorus Siculus, printed as late as 1536, 'au Pot Cassé.' This beautiful volume, in M. Didot's magnificent library, is sufficient proof that Tory's widow continued his various industries for a considerable time.

It is hardly necessary to say that the same tools could, with some slight additions, be used in binding volumes of all sizes, from the octavo up.

FOOTNOTES:

[Footnote 9: I write these two names as our artist himself wrote them; but it is a well-known fact that the orthography of proper names in the sixteenth century was very uncertain. As to the family name especially, Geofroy's ancestors and descendants wrote it indifferently _Toury_, _Tory_, and _Thory_; but Geofroy never varied: he always wrote _Tory_ in French, _Torinus_ in Latin (which should, strictly speaking, be translated _Torin_). See further, on this subject, Appendix A.]

[Footnote 10: _Champ fleury_, fol. 1 verso: 'Combiem [_sic_] que ie soye de petitz & humbles parēs, & aussi que ie soye pouure de biens caduques.']

[Footnote 11: See Part 2, infra, Bibliography, § I, no. 3.]

[Footnote 12: He mentions it on every page of his _Champ fleury_.]

[Footnote 13: We read in _Champ fleury_, fol. 49 verso: 'Come lexposent tresingenieusemē & elegātemēt Philipes Beroal & Jehan baptiste le piteable, ɋ iay veuz & ouyz lire publiquemt, il ya. xx. ans, en Bonoigne la grace.' _Champ fleury_ was conceived in 1524, but was not finished until 1526, the date of the license to print.]

[Footnote 14: See _Champ fleury_, fol. 6 recto.]

[Footnote 15: As to Gourmont's Greek type, see my _Les Estienne_, pp. 62 ff.]

[Footnote 16: Doubtless we should read IV (December 2), for there is no VI of the Nones of December.]

[Footnote 17: See the description of the book in Part 2, § I, no. 1.]

[Footnote 18: [The modern Bourges.]]

[Footnote 19: Enea Silvio Piccolomini, commonly called Æneas Sylvius. See