Chapter VII: THE SPELL of the LAURENZIANA 271 (7)

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.

Transcriber’s Notes

- Italics denoted by _underscores_.

- Illustrations have been positioned near the relevant text.

- Silently corrected typographical errors in the List of Illustrations
and the Index.

- The ends of each chapter and some block quotes had line lengths that
tapered smaller and smaller in a decorative way and did not end with
a period. Because of the variable nature of electronic texts, the
author’s intention sadly cannot be reproduced as intended.

- Illustration captions on numbered pages were in italic while
captions on unnumbered pages were not. Italics removed to make
illustration captions consistent.

- In some captions measurements were in parenthesis and others were in
brackets. Converted all to parenthesis for consistency.

- The book has half-title pages before each chapter that reproduce
the chapter number and title. Removed the redundant half-title
content.

- Page 44: Corrected “Typsetting” to “Typesetting”.

- Page 170: Added a thought break as the topic changes from Dobson to
Twain.

- Page 178: Added a thought break as the topic changes from Twain to
Norton.

- Page 269: The word “hopefulness” is not hyphenated in the original
as part of the decorative tapered lines. The word has been
rejoined.