The Aldine Press: Catalogue of the Ahmanson-Murphy Collection of Books by or Relating to the Press in the Library of the University of California, Los Angeles, Incorporating Works Recorded Elsewhere [Reprint 2020 ed.] 9780520328563

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THE ALDINE PRESS

THE

ALDINE PRESS CATALOGUE OF T H E A H M A N S O N - M U R P H Y COLLECTION OF BOOKS BY OR RELATING TO THE PRESS I N T H E LIBRARY OF T H E U N I V E R S I T Y OF CALIFORNIA, LOS ANGELES INCORPORATING WORKS RECORDED ELSEWHERE

UNIVERSITY OF CALIFORNIA PRESS BERKELEY' LOS ANGELES • LONDON

University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. London, England Copyright © 2001 by The Regents of the University of California ISBN 0-520-22993-2 (alk. paper) Printed in the United States of America 08 07 06 05 04 03 02 01 10 9 8 7 6 5 4 3 2 1 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1984 (R1997) {Permanence of Paper).

Library of Congress Cataloging-in-Publication Data University of California, Los Angeles. Library. The Aldine Press: Catalogue of the Ahmanson-Murphy collection of books by or relating to the press in the Library of the University of California, Los Angeles: incorporating works recorded elsewhere, p. cm. Includes bibliographical references and indexes. ISBN 0-520-22993-2 (alk. paper) 1. Manuzio family—Bibliography—Catalogs. 2. Manuzio, Aldo, 1449 or 50-1515—Bibliography—Catalogs. 3. University of California, Los Angeles. Library. Dept of Special Collections—Catalogs. 4. Early printed books—Italy—Venice—16th century—Bibliography—Catalogs. 5. Rare books—California—Los Angeles—Bibliography—Catalogs. 6. Incunabula—Italy—Venice—Bibliography—Catalogs. 7- Venice (Italy)—Imprints—Catalogs. I. Title. Z232.M3 U55 2001 015.45'31042—dc21

00-064851

I N MEMORIAM F R A N K L I N D. MVRPHY, M.D. HVIVS VNIVERSITATIS CANCELLARII MCM LX-MCM LXVIII OPERIS ET HVIVS STVDIORVMQVE ALIORVM MVLTORVM SOSPITATORIS

THE ALDINE PRESS CATALOGUE OF T H E A H M A N S O N - M U R P H Y C O L L E C T I O N

CONTENTS PROLEGOMENA

Historical Survey 13

TYPEFACES, P R I N T E R S ' D E V I C E S A N D W A T E R M A R K S

[Typefaces]

Prologue 13

Roman 531

A Brief History ofAldine Collecting 13

Italic 542

The Aldine Collection at UCLA 14

Greek 547

History of the Catalogue 16

Titling 550

Notes to the Reader 17

[Printers' Devices]

Prologue 17

A. Anchor and Dolphin 553

Diacritical Marks 17

B. Wreath 566

Entry Number 17

C. AcademiaVeneta 569

Author's or Principal Editor's Name 18

D. In Aedibus Populi Romani 573

Date 18

E. Imperial Charge of Arms 574

Ordering 19

[Watermarks]

Title page and Colophon/Imprint Transcription 19

Anchor 575

Contents 20

Bell 578

Format 21

Bird 579

"type 22

Bull's head 580

[Table of] Typefaces used by the Aldine Press 24

Cross 586

Aldine Devices 25

Crown 587

[Table of] Printers' Devices used by the Aldine Press 27

Hat 593

Paper Stocks 29

Keys 603

Bindings 33

Letters 604

Provenance 35

Mount 605

References 38

Orb 607

Appendix 38

Scales 608

Indexes and Concordance 38

Scissors 635

Abbreviations 39 Acknowledgments 42 CATALOGUE O F T H E A H M A N S O N - M U R P H Y A L D I N E C O L L E C T I O N

Aldus the Elder 49

I N D E X E S A N D CONCORDANCE

Authors, Translators and Titles 639 Dedicatees and Recipients 650 Varia 655

Heirs of Aldus the Elder 121

A. Binders

Paulus Manutius (including AcademiaVeneta, Antonius Manutius and Roman imprints) 187

B. Printers and Printing Houses (excluding Aldus the Elder, Paulus and Aldus the Younger)

Aldus the Younger 407

C. Miscellaneous

Heirs ofAndrea Torresani 475

Provenance 657

Lyonese Contrefactions 503

Concordance 665

Appendix 527

Colophon 673

PROLEGOMENA

PROLEGOMENA: HISTORICAL SURVEY

PROLOGUE L o s A N G E L E S C O U N T Y , EVEN FOUR DECADES AGO, POSSESSED STRONG HOLDINGS I N RENAISSANCE STUDIES.

Notable materials could be found at the Huntington Library in San Marino; at the Hoose Philosophy Library of the University of Southern California; and, in private hands, in Elmer Belt's collection of Vinciana. At the University of California, Los Angeles, also, interest in the Renaissance existed within the faculty. In I960, Franklin D. Murphy came to UCLA as its sixth chancellor. His tenure of office, if comparatively brief, nonetheless marked significant growth for the campus at large and for the library system in particular. In 1961, under his leadership, Dr Belt's Leonardo da Vinci Collection was brought to the University. Two years later, the Center for Medieval & Renaissance Studies came into existence. Betwixt and between occurred the foundation of the Aldine Collection at UCLA. For thirty-two years, until his death in 1994, Dr Murphy fostered the Aldine collection's expansion and encouraged its growth. During the greater part of this long period he was joined in these endeavors by the Ahmanson Foundation, whose constant support permitted the collection to increase both in size and in significance. Following Dr Murphy's death, the Ahmanson Foundation continued its generous support for the growth of the collection and, in addition, by means of a grant late in 1996, enabled the present catalogue to come into existence. A B R I E F H I S T O R Y OF A L D I N E C O L L E C T I N G

The history of Aldine collecting reaches back to the time of the press itself. In that period, most readers interested themselves less in the form of the publications than in their contents, especially in the new Greek texts which Aldus was energetically publishing. But bibliophilic attention occurred almost from the first. Jean Grolier, for example, acquired over two hundred of the press's publications, often having the books elegantly bound and handsomely illuminated. Still, active and general Aldine collecting began only at the close of the seventeenth century, when noble families, in developing their libraries, purposefully included Aldine publications for display on their shelves. The massive collection of Charles Spencer, 3rd Earl of Sunderland, for example, included two hundred and eighty Aldines; and, notably in the late eighteenth and early nineteenth centuries, extensive collections became common among the wealthy middle classes. Throughout Europe, bibliophiles formed libraries whose cases and cabinets devoted space to Aldines. In England alone, Anthony Askew owned over two hundred Aldines; Sir Mark Masterman Sykes, more than three hundred; Richard Heber and Sir John Hayford Thorold, each about seven hundred; and Samuel Butler, over twenty-one hundred Aldine and Aldine-related publications. It was likewise in these centuries that many notable Aldine collections, now preserved in public repositories, came into existence. In 1720, Vienna's Hofbibliothek, now the Oesterreichische Nationalbibliothek, purchased the library of Georg Wilhelm, Freiherr von Hohendorf, who had brought together, as a special part of his library, a collection of over one hundred and sixty Aldines. Similarly, the British Museum's holdings depended heavily on the libraries of King George II, Clayton Mordaunt Cracherode, King George III (including the stock of Consul Smith) and Thomas Grenville. The John Rylands Library, inaugurated in 1892, initially consisted of the library of George John, 2nd Earl Spencer, a library regarded as the finest in private hands. The Earl of Gosford's books, incorporated in the stock of James Toovey, were acquired en masse by J. Pierpont Morgan, and now survive as a distinguished part of the Pierpont Morgan Library in New York City. So also the Aldine collection of John Carter Brown was presented, with the rest of Brown's library, to the John Carter Brown Library on Rhode Island. More than half of the Aldines in the Harry Ransom Humanities Research Center at the University of Texas, Austin, come from the purchase of the library of Edward A. Parsons and from the Giorgio Uzielli gift. Each of these various acquisitions, whether bought or donated, included hundreds of books from the press of

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PROLEGOMENA: HISTORICAL SURVEY

Aldus Manutius and his heirs. Other major or notable collections survive around the world: in Canada, France, Germany, Great Britain, Greece, Italy, Russia and the United States. T H E A L D I N E C O L L E C T I O N AT UCLA Unlike most institutional collections, UCLA's Aldine holdings started with relatively few books. Its creation and subsequent development conformed with Franklin Murphy's belief that 'the quality of the library was a measure of the quality of the institution', a conviction that caused him to champion the library system in general and departments of special collections in particular. Such considerations led him to encourage not only the University Librarian but also the Head of Special Collections to work directly with him. The result was that, late in 1961, Wilbur J. Smith, Head of the Department of Special Collections, was able to advise Chancellor Murphy of the availability of a group of Aldines from theTempleton Crocker collection. The Templeton Crocker Aldine collection already possessed a measure of renown. In 1935, its owner had a catalogue printed by John Henry Nash to accompany an exhibition: The Templeton Crocker Collection of Seventy Books from the famous Aldine Press (1494-1595). Years after Crocker's death, Warren Howell of John Howell Books, San Francisco, offered fifty-four of these seventy books to UCLA. The list arrived on December 11,1961; on January 3,1962, Dr Murphy authorized the library to acquire forty-five of their number. The group was noteworthy. It included Lasca.ns'sErotemataoi1495, a grammatical treatise ostensibly carried to Utopia by Raphael Hythlodaeus (no. 1); the editio princeps of Aristophanes, from the library of the French King Louis XVIII (no. 25); the Politian of 1498, bound for the Harleian Library by Jane Steel (no. 26); and the letters of St Catherine of1500, with its renowned woodcut portrait of the saint (no. 36). From the year 1501 came the Aldine Horace, Petrarch, an edition founded on the poet's own manuscripts, Juvenal and Martial (nos. 41, 43,44,47); from 1502, Pollux, Lucan, Dante and Valerius Maximus, the last in a handsome Tuscan or Umbrian binding of ca 1516-17 (nos. 54, 56A, 59, 65). Thirty-three additional titles, the latest a publication of Aldus the Younger from 1589, completed the acquisition. Prior to the Crocker purchase, UCLA's Aldine holdings were unexceptional. Indeed, the Library, relatively a recent creation, was itself anything but extensive. In 1926, it could claim only 100,000 books. More than a quarter of a century passed before the Library acquired its millionth volume, in 1953. The second millionth arrived in 1964; the third, in 1971; the fourth, in 1979; the fifth, in 1983; the sixth, in 1990; the seventh, in 1997- In the earlier periods, only a few Aldines had come to the university. In 1925, the acquisition of the classical library of Louis Havet brought with it Sigonio's Emendationum libri duo of 1557 (no. 511). The donation of the library of John Fiske (1842-1901), given in 1926 by SeeleyW Mudd (1861-1926), included the Torresani Etymologicum magnum of 1549 (no. 1036). Early in 1941, Pontano's Opera of 1513 was purchased for UCLA (no. 109). With the Spinoza collection of Abraham Wolf, obtained in 1950, arrived Judah Abravanel's Dialoghi di amore of 1541 and Cicero's Epistolae adfamiliares of 1554 (nos. 303,456). Around 1953, the Library acquired both the five volume editio princeps of Aristotle and Francesco Colonna's Hypnerotomachia Poliphili of1499, the latter once the property of John Ruskin (nos. 4,11, 21, 23, 24; 35). Around 1956, the estate of Edward Augustus Dickson brought a 1515 Gellius and a 1570 Sannazaro (nos. 138.5B, 1080). C. K. Ogden's enormous library, purchased in 1957 by the University of California, included three Aldines that were added to UCLA's collections: Oratores Graeci v.3 of 1513, the 1521 Suetonius and the 1543 Viaggifatti da Vineti (nos. 112A, 201, 317). Apparently in 1958, the Theocritus, of1496, came to the Library (no. 7)-The University's purchase of Isaac Foot's library in 1961 brought ten Aldines to Special Collections, for example the Lascaris of ca 1501, the editio princeps of Sophocles, the 1503 Planudean Greek anthology, Plutarch's Moralia of1509 and Lucian's collected works of 1516 (nos. 50, 60, 79A, 101,145). Likewise in 1961, the gift of Elmer Belt's Library of Vinciana, now housed in the Arts Library, included fifteen publications of the Aldine press.

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PROLEGOMENA: HISTORICAL SURVEY

Acquisition of Templeton Crocker's forty-five Aldines was not seen as an end in itself. The volumes became the basis for a collection of works printed by Aldus the Elder between 1495 and 1515, the year of the printer's death. In the first years of the UCLA collection every effort was made to acquire books printed during this early period. In 1964, when the UCLA Library's second millionth book was to be added, it proved to be an Aldine, the editio princeps of Plato, published by Aldus in 1513 (no. 114). Soon, however, the scope of the collection was expanded to include all of the books published by the press, as well as related imprints. In 1973, the collection numbered around one hundred items, and could count on the Ahmanson Foundation for support. Five years later, Franklin Murphy resolved to 'build the collection to international stature'. A major grant, the first of a series, from the Ahmanson Foundation enabled the Department of Special Collections to develop the collection, starting with Leoniceno'sLzfee/Zus de epidemia of1497 (no. 12). It was in August 1979 that Dr Murphy proposed that the collection be named the Ahmanson-Murphy Aldine Collection. The Ahmanson-Murphy Aldine collection was provided with context, and additional opportunities for advanced research, by the creation and development of the Ahmanson-Murphy Collection of the First Century of Italian Printing (1465-1564). Increased support from the Ahmanson Foundation made this expansion possible, and the collection came to include other printers from Venice as well as from numerous other Italian cities. With the passing of years, the Library developed rich holdings in the publications of Gabriele Giolito de Ferrari, the Giunta family, Nicolas Jenson, the Scoto family and Lorenzo Torretino. With support from a Getty Trust endowment fund the department was enabled to include Italian imprints to 1600, and the collection was renamed the Ahmanson-Murphy Collection of Early Italian Printing (1465-1600). This collection now includes approximately five thousand volumes with special attention given to humanist texts and obscure Italian printers. From the 1960s onward, the collection of books printed by Aldus the Elder, his heirs, Paulus Manutius and Aldus the Younger, grew steadily, with periodic large groups of acquisitions. By October 1980, holdings numbered 181 items; by April 1982, 290; and, by January 1985, 493, excluding duplicates. In January 1986, the collection could show 581 items; in March 1991, 660, in both cases excluding duplicates. By May 1996, counting additional copies, the total had risen to 1,095. The present catalogue includes all acquisitions, to the middle of1999, of Aldines (together with one gift added in June 2000); Torresani imprints from 1537 to 1589; Lyonese contrefactions; and a selection of more notable materials and certain works cited in these preliminary pages. In all, some 1,370 entries appear, of which far the great majority are preserved in the Ahmanson-Murphy Aldine Collection. Other related material, such as the publications of Andrea Torresani the Elder, associated material, and modern scholarly publications are mostly omitted (see http://www.library.ucla.edu/libraries/special/scweb/ald95.htm#supp). The various expansions of the collection occurred under a succession of heads of UCLA's Department of Special Collections: Wilbur J. Smith (1951-71), James V Mink (1971-84), David S. Zeidberg (1984-96), Charlotte B. Brown (interim, 1996-97,1999-2000), Susan M. Allen (1997-99) and Victoria Steele (from 2000)—as well as Curators of Rare Books or Rare Books Librarians—F. Brooke Whiting (1961-83), Edward Shreeves (interim, 1983), James G. Davis (1983-97) and Daniel J. Slive (from 1998). The greatest rate of increase took place during Mr Davis's administration. The development of the collection would have been impossible but for the aid not only of Chancellor Murphy and the Ahmanson Foundation, and the work of the staff of the Library, but also the help of numerous booksellers. In the United States, one may remark the late Warren Howell of John Howell Books, San Francisco, who offered the Templeton Crocker collection to UCLA in 1961; the late Hans P. Kraus of H. P. Kraus, New York; Fred Schreiber of E.K. Schreiber, New York; Bernard Breslauer of Martin Breslauer, New York; the late Laurence

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PROLEGOMENA: HISTORICAL SURVEY

Witten of Southport, Connecticut; and the late Jacob Israel Zeitlin of Zeitlin & Ver Brugge Booksellers, Los Angeles. In Italy, numerous booksellers come to mind, notably, Bottega Apulja di Mario Somma, Bari; the late Carlo Alberto Chiesa, Milan; Guido Bortolani, Modena; Fiammetta Soave, Rome; Libreria Galassia Gutenberg, Tavernuzze; Paolo Rambaldi, Studio Bibliografico, Molinella; and Antonello Privitera, Verona. In England, one thinks of Christopher Sokol of A. Sokol Books, and Björn Löwendahl, both of London. Aldines and Italian books were only rarely acquired strictly for their bindings or provenance. From the beginning, and following discussion with Dr Murphy in 1984, it was resolved to acquire books primarily for their texts, contents, printers and significant typographic variants. This decision was based on the nature of the research which, it was anticipated, would be supported by the collection. While those developing the collection were grateful for significant bindings or works with intriguing provenances, neither factor was ever the sole reason for acquiring an item. H I S T O R Y OF T H E CATALOGUE

Efforts to describe UCLA's Aldine collection began in the late 1970s, and Dr Murphy was the instigator. He recognized that the scholarly world needed more detailed information than a listing of the books in the collection. Accordingly, Brooke Whiting made the first attempt. He compiled The Ahmanson-Murphy Aldine Collection: a Check-list of the Books from the Press of Aldo Pio Manuzio, 1495-1515, held by the UCLA Library, Los Angeles: University of California Library, 1979. It was a check-list 'to accompany an exhibition of the collection in the Department of Special Collections', and it was printed by Grant Dahlstrom at the Castle Press. A new, revised and enlarged edition, appeared in 1985. In 1987, a more ambitious descriptive catalogue was undertaken. In that year Paul Naiditch joined the Department of Special Collections as Publications Editor, with responsibility, among other duties, for the preparation of this catalogue. The following year Nicolas Barker, then Deputy Keeper at the British Library, came to UCLA initially to assist with the descriptions of bindings and provenance, in which he was joined by Anthony Hobson. Sue Abbe Kaplan, who had worked on the catalogue during its first year, became associate editor in 1990. Between 1989 and 1994 five fascicles (in six) were issued as a preliminary catalogue, the last appearing shortly before Dr Murphy's death. Late in 1996 work on the present, final version of the catalogue commenced, under the general supervision of Mr Naiditch, with Nicolas Barker as editor and Sue A. Kaplan as associate editor.

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PROLOGUE T H E PRODUCE OF T H E A L D I N E P R E S S H A S B E E N C O L L E C T E D , AS N O T E D A B O V E , M O R E OR L E S S C O N S I S T E N T L Y

since the press was new. There have been several attempts to draw up lists of its publications, beginning with Domenico Maria Manni's Vita diAldoPioManuzio insigne restauratore dette lettere greche, e latine in Venezia, Venice 1759, and followed by Antonio Cesare Burgassi's Serie dell'edizioni Aldine per ordine cronologico ed alfabetico, Pisa 1790. But all previous essays in this genre were put in the shade by Renouard's Annales de l'imprimerie des Aide, ou histoire des trois Manuce et de leurs éditions, first published in 1803, reaching its third and final edition in 1834. Antoine-Augustin Renouard was born in 1765 and died in 1853. His career grew with the French Revolution, which offered unrivalled opportunities to an ambitious and learned young bookseller. For example, the library of the great scholar Richard Brunck, confiscated earlier on account of his revolutionary tendencies, contained books that Renouard acquired. Aristocratic libraries and those of religious houses came on the market in abundance. He made the most of these opportunities, and the first edition of his work is already replete with references to books he had seen and handled; the last reflects an even greater familiarity with copies seen and recorded over a still longer time and throughout Europe, as well as with the documents of the work of the press and those who owned and ran it. A much thumbed and worn copy of a photostat of a reprint of his third edition, heavily annotated, has been an initial guide throughout the creation of UCLA's collection and the preparation of its catalogue. It was not until a fairly late point that the decision was taken to record not only the contents of the Ahmanson-Murphy collection, but also all the other books, or as many of them as could be discovered, that had ever issued from the press. This was, it seemed, an obligation laid on us by Renouard's work. How could we attempt a record that would enlarge and perhaps improve on Renouard's descriptions without adding at least a citation of his record for the books that were not in the collection? We could not hope to provide a complete substitute for a lifetime's work, but we could at least see that our record was as complete as his. For biographical and other general information, the reader must still turn to Renouard and his successors, from Ambroise Firmin-Didot to Martin Lowry, whose The World of Aldus Manutius gives an all-round picture of the earlier phases of the work of the press, and H. George Fletcher III, whose New Aldine Studies marks a substantial advance in our knowledge of Aldus the Elder and his publications. Here, our aim has been simply to present a descriptive bibliography of the books in the Ahmanson-Murphy collection, augmented with brief notices of works not in the collection, on principles that must now be defined. DIACRITICAL MARKS

Traditionally, various disciplines employ different diacritical marks to signal the same phenomena. Papyrologists, for example, expand abbreviations between parentheses; bibliographers, between square brackets. The present catalogue, with its emphasis on copy-specific information, necessarily includes materials both printed and manuscript. It consequently seemed better to use a single system to indicate the same occurrences. Completions of abbreviated words are set between parentheses; missing and inserted characters, between square brackets. ENTRY NUMBER

Three kinds of number appear in this catalogue: a discrete number, a number followed by a decimal and an additional numeral, and a number followed by a letter of the alphabet. 1. A discrete number (e.g. T '2' '3') represents a single publication of the press. When two or more volumes evidently appeared at the same time, as the elder Pliny's three-volume Naturalis historia of1540 (no. 288) or

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Cicero's Orationes of1540-41 (no. 293), they are grouped together as a single entry. When a series is clearly interrupted by another publication, or when the series is spread over two or more years, with other titles intervening, discrete numbers are given to each volume: e.g., the five volume editio princeps of Galen of 1525 (nos. 231-233,235-236), interrupted by the Gaza (no. 234), or that of Aristotle of1495-98 (nos. 4,11,21,23,24). 2. When a new work has belatedly come to hand or when there is a different issue or a notable state, whose year of appearance is either the same as that of the main entry or uncertain, a decimal number (e.g. '.5') follows the discrete number. When we or others are able to assign the new issue to another year, we do so, allowing it its own discrete number. Thus, Aldus the Elder's Juvenal appeared as a first issue with two states and a second issue which, since it is reset, is properly a second edition, though each is dated 1501: the first edition is assigned to August 1501, the date in the colophon (no. 44), the second to approximately 1515 (no. 140), on the basis of the dolphin and anchor device. Our strong suspicion is that a good number of works could be added to those that have been identified. With respect to a second issue, differing from the first only in its year on title page or colophon, our practice has been generally to allow it its own discrete number: although it is possible, indeed probable, that it was prepared in the earlier year for publication in the next, it is rarely possible to establish as fact that such was the case. 3. When UCLA Special Collections possesses an additional copy of a work, it is signaled with a letter of the alphabet. Thus, the Gellius of 1515 appears in two issues. The collection includes one copy of the first issue (no. 138) and three copies of the second (nos. 138.5, 138.5A, 138.5B). Other Aldines at UCLA, when they duplicate materials in the Ahmanson-Murphy Aldine Collection, are excluded. A U T H O R ' S OR P R I N C I P A L E D I T O R ' S N A M E

We provide the name of the author, the principal editor or the work in the form most likely to be recognized by readers. Thus, for example, Cicero appears for Marcus Hillius Cicero; Politian, for Angelus Politianus, Poliziano being only a back-formation from the Latin. Vernacular names are often taken from Mario Emilio Cosenza, Biographical and Bibliographical Dictionary of the Italian Humanists and of the World of Classical Scholarship in Italy, 1300-1800, Boston: G. K. Hall & Co., 1962, and K. G. Saur's World Biographical Index (http:// www.biblio.tu-bs.de/wbi_en/register.html). On occasion, lack of evidence prevents certainty. This policy means that when the author was known to the press under another name, we supply the form modern scholars will most likely recognize, albeit signaling the older form in parentheses in the contents and, with cross-references, in the indexes. When a work is pseudonymous, as Ps. Cicero's oration against Sallust, the author's name is placed between quotation marks ('Cic.' in Sail.). Such information is however only meant to signal current beliefs: there is, for example, controversy over the genuineness of the some of the letters of Plato and parts of the appendix Vergiliana. DATE

We provide the latest date we can determine for the publication of each book. This date is drawn variously from title page, colophon, preface, letter, text, type, woodcut, watermark, as well as Aldine press catalogues. Occasionally, it is uncertain whether the printer is using the modern or the Venetian calendar. In general, it seems as if the elder Aldus used the Venetian calendar, beginning on March 1st, in the incunabular period, the modern calendar, beginning on January 1st, in the sixteenth century. His heirs and family seem, usually, to have followed the modern calendar. Our ordering in consequence differs radically from that used by Renouard and certain more recent catalogues, but agrees with the practice of Richard Copley Christie, H. George Fletcher III and Giovanni Orlandi, the last in AldoManuzio editore.

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We are of course conscious that we possess no assurance that the dating information that is included in a book is accurate.The Aldine Press, like other presses, occasionally erred: 'M • V• XIIII.' appears for'M-D-XIIII.' (no. 119); 'M. D. L[inverted i ] V (no. 491); 'M D LXVI' probably for 'M D LXV' (no. 730); 'M. D. LX.' for 'M. D. LXV' (no. 743); and '00 D XVI' for '00 D LXVI' (no. 766). So, too, when we lack a book, our source on occasion specifically remarks a mistake: as 'M. D. VIL' for 'M. D. LVII' (no. 512). Further, we are alive to the fact that, on occasion, the press would prepare the same work with its title page, presumably for business reasons, dated in the subsequent year (e.g., Natta in 1559 and 1560, the only differences residing in the date on the title and an additional misfoliation in the latter [nos. 574,612]). ORDERING

Ideally, a cataloguer would arrange materials in a way that accurately reflected the order in which individual works either were printed or at least became available. For the Aldine press, neither ordering is possible to achieve. Accordingly, we have sought to approximate the truth. We do not deceive ourselves that we have succeeded in doing more than this. Books are arranged in seven sections, each essentially in chronological order: (1) Aldus the Elder (1495-1515), (2) Heirs of Aldus the Elder (1515-29), (3) Paulus Manutius (1533-74), (4) Aldus the Younger (1575-97 [1598]); (5) Heirs of Torresani (1537-89); (6) Lyonese contrefactions; and (7) an appendix including manuscript and unusual material. The third and seventh sections call for further comment. Under Paulus Manutius, we include publications by Paulus himself in Venice, with publications of the Academia Véneta placed at the end of each appropriate year, and in Rome, again with materials in aedibus Populi Romani set at the close of the year. Publications of Antonius Manutius are likewise positioned at the close of their years. The Appendix includes the more significant miscellaneous materials that, over the past forty years, have come to UCLA by gift or purchase. T I T L E PAGE A N D C O L O P H O N / I M P R I N T T R A N S C R I P T I O N

We have sought to approximate the text on title page and in colophon/imprint. (On occasion, with regard to books we lack, we are uncertain whether text was provided as an imprint on the title or as a colophon at the back.) To this end, Matthew Carter has adapted his Wilson (Greek) and Miller (roman) to allow a fair number of characters, no longer common, to be represented. This enables us to give, for example, long-s ( f f ) and upper>

/

IV

?

j

case Greek characters with accents and breathings, e.g.AEHil, as well as certain common special letters, as for '-og'; characters with suspension marks to represent'm' or 'n', as a for am; and abbreviations, as 'p' for per, 'jp' for pro, 'p' for pro', 'q' for quam and ' 9 ' for -us. Following medieval and Renaissance practice, Aldus in the fifteenth century often associated a word with a preposition or term that either followed or preceded it: e.g. 'eregione' (no. 1), AA-| AOTTOY (no. 2). So also, initial Greek vowels may lack uppercase breathings and accents. Inevitably, post-classical forms occur (e.g., 'epistolae'). Consonantal V is represented in Aldines by 'u' and vocalic 'U', by 'V', until around 1559, when V begins to be used for initial vocalic and consonantal 'u' and V (nos. 579,605). With regard to publications after the death ofAldus, we have regularly sought to indicate spaces before stops and commas only when they distinguish states or issues. Line-breaks are indicated with single-vertical characters (|). Ordinaiy misprints in books of the Aldine Press, though common enough, are not specially signaled with 'sic'. Excluding errors corrected by hand at the press, and those dating-errors detailed above, and limiting ourselves to errors in Aldines proper, one may remark, on title page and in colophon, blunders or infelicities such as 'pulchtum'(no.5), 'enra (no. 7), 'íprímere'(no. 13), % rijh'(no. 24), IMPPRIME|RE'(no. 35), 'interpretatatinem'

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(no. 38), 'PROPETIVS' (no. 52), 'MARGENTINI' (no. 75A), 'Venatiis' (no. 90),'pojlorales' (no. 91), 'HECVBA' with an inverted A for 'V' (no. 96), 'hiftioria' (no. Ill), 'nEPI rEftrPAtMAT (no. 149), 'SCENECAE' (no. 155), 'NLL'' (no. 329), 'MEMSE' for 'MENSE' (no. 384) and 'COPIOISSIMO' (no. 554), to say nothing of text corrected by hand or by hand-stamping (see Index Varia: s.v. Corrections: e.g., 'CVM INDEX' [no. 1011]). With regard to books not at UCLA, but included for the sake of completeness, our aim is to provide transcriptions of title page and colophon. These are, however, at two levels of detail. So far as time permitted, we have availed ourselves of copies of books preserved in other collections, notably at the Pierpont Morgan Library, or of facsimile-reproductions, such as those in A/do Manuzio tipografo 1494-1515 ed. L. Bigliazzi et al., Florence 1994. In these circumstances, we employ the same standards as we use for books in our own possession. Frequently however, especially for the publications of Paulus Manutius and his son Aldus the Younger, either no such resources were available to us or time did not permit their consultation. In those circumstances, we provide a transcription between square brackets, generally from A.-A. Renouard's Annates de I'imprimerie des Aide, Paris 1834, but also from other works as well. Those titles and colophons from Renouard are not necessarily accurate representations of the originals. Renouard made small use of Greek characters; although he reproduced e o u r (all, Ren. 1:1) andCID ID (237:14), he did not reproduce p jp p q q X or even f. Often, his stylized titles (the initial word in small caps; upper-case letters in lower-case; the place of publication in italics) misrepresent the text in ways one cannot anticipate with certainty. Thus, at page 195 number 12 (= Ren. 195:12) (no. 730), he reported that a work included the words 'Pavli Manvtii Notationes'. This would suggest that the title read 'PAVLI MANVTII Notationes'. It is not so. The book gives 'Pauli Manutii notationes'. Occasionally, too, Renouard created imaginary titles: thus, at 10:1, one comes on A R I S T O T E L I S Operum volumen secundum.' (no. 23). In consequence, there is so much uncertainty in his practice, the reader should not rely on the accuracy of these texts. CONTENTS

The object of the description is to convey as vividly as possible all the information that any potential user is likely to want—for the cataloguer, an accurate title transcription and collation; for the textual scholar, an accurate, summary account of the text, where needed with reference to modern editions; for the book-trade historian, details of paper and binding; and, for those interested in historical bibliophily or transmission, the provenance. The reader will bear in mind that, over the years, attributions have changed. It was, for example, from early in the sixteenth century to late in the eighteenth, not uncommon erroneously to attribute certain elegies to Cornelius Gallus, a poet of the time of Vergil; since then, what was anticipated by a few critics, scholars have attributed these poems to the sixth-century poet Maximianus. Again, Aemilius Probus is now regarded as Cornelius Nepos. Once more, Gabrius, who appears in the Aesop, has lost his name not to Babrius but to Ignatius Diaconus. The forms themselves of names have altered. For instance, in the late fifteenth century, Politian argued that the name of the author of the Aeneid was not Publius Virgilius Maro, but Publius Vergilius Maro; and Aldus the Elder, in 1501 and 1505, but not 1514, conformed his practice with Politian's. Centuries passed, and in the nineteenth century the form that Politian had preferred was established as certain. Similarly, Dioscorides was at length corrected to Dioscurides. Tarrhaeus, included in the Aesop, is now recognized asLucillusofTarrha. But the regularization of citing ancient authors often simplifies matters. It thus becomes insignificant that M. Accius Plautus is now Titus Maccius (or Maccus) Plautus when classical scholars regularly use Plaut. as the abbreviation; it is of little moment that C. Crispus Salustius is now Gaius Sallustius Crispus when Sail, has become standard. So also, the forms of titles have changed: e.g., in Galen. Likewise, there have been changes in titulature: e.g., Sulla for Sylla.

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For Greek and Roman authors whose works are regularly read, we have employed ordinary abbreviations. For works that are less commonly consulted, or works whose true or probable titles do not appear on the title page, we have generally provided unabbreviated citations. Where titles vary in Greek, we have usually conformed ourselves with the Latinate titles used in the third edition of Lucy Berkowitz and Karl A. Squitier's Thesaurus linguae Graecae: Canon ofGreek Authors and Works, New York: Oxford University Press, 1990 (addenda and corrigenda: http://www.tlg.uci.edu/~tlg/A&C.html). Contemporary editions often differ in their particular contents from those of our own era. Of course, a reference to the Planudean Greek anthology suffices to warn readers that they are not to expect in the Aldine editions what we now call the Anthologia Graeca or the Greek Anthology. But on occasion the differences are less obvious. Therefore, when time permitted, we have sought to make more complicated works more easily accessible to specialists by identifying individual compositions within them, giving citations notably to modern editions of Aesop, Ausonius and the Priapea (nos. 93,158,162). Obviously, specialists alone are likely to make use of such information. With regard to medieval and Renaissance writers, we have generally followed the Aldine titles, often abbreviating them in the Contents notes when the titles appear on the title page. Pseudonymous authors or works and some works of questionable genuineness are placed between single quotation marks. FORMAT

The paragraph devoted to the physical description of the book includes the size; a collation; summary of the type and Aldine devices; and information on the paper stock (watermarks) in Aldines. Collation: a. Statement of format (2° for folio, 4° for quarto etc.). b. Collational formula or register of signatures. i. Doubled or multiple signatures are written out in full: A-Z AA-ZZAaa-Zzz.The use of italic in the collational formula of this catalogue represents the press's use of italic in the signature marks of a particular book. ii. In any alphabetical sequence, unsigned gatherings which may be safely inferred are supplied in square brackets: e.g. A-C [D] E-Z. The symbol TC is used for unsigned preliminary gatherings and£ for unsigned gatherings added elsewhere. c. Statement of signing. i. In gatherings where the leaves are signed according to normal practice (i.e. the first four leaves of an octavo gathering, the first two leaves of a quarto gathering etc.), no signing note has been added. ii. Anomalous gatherings are indicated as such. Therefore, an octavo with the first five leaves of gatherings signed, instead of the usual four, would be described as follows: A-Z8 ($5). d. Note on suffix numerals. i. Immediately following the collational formula, suffix numerals (for signature marks) are described as arabic or roman—abbreviated as 'arab.' and 'rom.' If both arabic and roman numerals are used in consecutive series, the note is placed after the appropriate series: A-B8 (arab.) Aa-Gg 8 (rom.) Aaa-Zzz8 (arab.). In cases where the suffix marks of a particular series are printed in roman numerals, but a few random exceptions have arabic numerals, the exceptions are noted within parentheses, as follows: A-Z8 (rom.; A4, G2 arab.). e. Signing errors and unsigned leaves. i. Errors in the collational formula are indicated within single quotation marks: (A5 *a5', C2 'G2'). ii. Typographical variations, such as large for small 'Q' (no. 79), are not recorded. iii. Unsigned leaves which would normally be signed are also listed: (A8 AA8', M2 'N2', K4, S3 unsigned). iv. It should be assumed that leaf A1 is unsigned, unless otherwise noted; the same principle applies to section-titles.

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f. Pagination or foliation statement. i.The pagination statement begins with the total number of leaves in the book (except inserted plates and other engraved material). ii. Pagination is, in general, listed as it occurs; disturbances in the printed sequence are always shown in the statement where two or more consecutive leaves are misnumbered, or when the errors form a minor sequence in themselves (i.e. half a gathering or a whole gathering may be misnumbered). iii. Where possible, individual misprints and random misnumberings (i.e. those not upsetting the main sequence) are listed between parentheses at the end of the pagination statement. iv. In books where the numbering is seemingly random, pagination is simply given as it occurs. v. Unnumbered preliminary and final leaves that cannot be inferred are totaled in square brackets: e.g. 48 leaves, pp. [16] 1-64 [16]. vi. Where the first leaf (or first few leaves) of text are unnumbered, but may be inferred, these are treated as part of the main numbered scheme. vii. Unnumbered leaves that cannot be inferred, occurring in the middle of the text, are totaled within square brackets. g. Pagination and foliation errors; unnumbered leaves. i. Errors in numbering are listed between parentheses following the pagination or foliation statement; errors are signaled within single quotation marks: (32 '28', 28 '32', 306 '903'). This should be read as '32 misprinted as 28', etc. Groups of errors for multiple series are separated by semicolons and if a particular series has no errors, this is indicated by an em dash (—): i.e. 1-321-1201-48 (28 '27'; 34 '43'; —). ii. Unnumbered leaves (i.e. those which would normally be paginated or foliated) are listed immediately following the pagination errors: i.e. 192 leaves, pp. 1-171 [21] (22 '32', 66 '99', unpag. 80,165). (Thus, the leaves that should have been numbered '80' and '165' are unpaginated.) Note that any leaves which are unnumbered due to typographical concerns (i.e. chapter headings or drop titles, blanks, illustrations) are not included here. h. Type note: I=italic, R=roman, Gk=Greek (followed by their 20 line measurement in millimeters); Heb= Hebrew (see also below). i. Number of lines: headline + number of lines of text + direction line. j.iype area: height including headline and direction line followed by measurement of height less headline and direction line between parentheses; similarly width = total width, including side or shoulder notes, with the width measurement less the notes following in parentheses: 250 (240) x 115 (110). All measurements are in millimeters. k. Series index numbers. i. Superior index figures are prefixed to duplicated alphabetical series for reference purposes that would otherwise be indistinguishable: e.g. a-z 8 2a8. TYPE

So far as possible, the types used in the books printed by Aldus and his successors have been identified. This is a simple matter for those that originated with the press, but both at the beginning and the end types were acquired from other sources, the former noted in the British Museum Catalogue ofBooks printed in theXVth Century (BMC) and the latter, at least those of French origin, in Type Specimen Facsimiles (TSF). There remain a number that fall into neither of these categories; these have been identified, with one exception, and references given to document them. The Aldine press was, from the outset, planned to be conspicuous for the elegance and neatness of its publications, and an important feature of this was to be the types used. The primary and most important of these was the first Greek type (Gkl), based on the handwriting of a Greek scribe, established in Venice since at least

22

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1465, Immanuel Rhusotas, and cut by Francesco Griffo. Originally cast for the 1495 Lascaris on a body corresponding to 20 lines=125 mm, the complex split-level system of incorporating accents later required it to be enlarged to 146. This was followed by a smaller version of the same design (Gk2 =114), introduced in August 1496, and in 1499 by a still smaller type of entirely different design (Gk3 = 84), which became the most popular, longlasting and often imitated, of all the Aldine Greeks. The smallest type (Gk4=80), based on Aldus's own hand, was introduced in 1501, to match the italic used for the Latin pocket classics. The first roman types, a large (Rl=108) and a small (R2=81), were types used earlier by other Venetian printers, the larger by Petrus de Quarengiis and the smaller by Philippus Pincius and Johannes Rubeus. A third, between the two (R3 = 83; the optical difference is larger than measurement suggests), was also in use in 149596; it too is found earlier, with Bernardinus de Choris and Bonetus Locatellus. What seems to have been an original type was used for a few lines in the Gaza at the end of1495 (Rla=110) and then not for many years; it was immediately superseded early in 1496 by the famous type first used for Bembo's De Aetna (R4=114), which was to become the model for the French types that achieved wide success after 1530. In the original version, the capitals were slightly shorter than the ascenders, and in 1499 a second set of capitals was cut, lining with the ascenders. This was used in the preface of the Dioscurides (July 1499) and for the text of Hypnerotomachia Poliphili (December 1499). This continued in use for a long time, with several different sets of capitals (R4ad); finally, another set of capitals, indifferently cut but still taller, was provided and first used in the 1528 Castiglione (R4e). A smaller version, a substitute for R4 and on a slightly larger body (R5 = 87), was introduced in 1497- Another old-fashioned type (R6=89-91) appears at the end of 1508 when the press operated in partnership with Torresani. In 1500 the famous Aldine italic (II=80) made its appearance in the Epistole of St Catherine of Siena; it was, with the matching Gk4, the last type that Griffo cut for Aldus; both types appear to have been based on his hand, with such differences as a punch-cutter expert in the fitting of type might introduce. Like the roman (R4), it became the model for many subsequent types, and itself continued in use until 1559; by then many of the ligatures originally cut, like the Greeks, to imitate handwriting had been dropped. About 1550, there was a wholesale change in the typographic equipment of the press, under the influence of the new French types, themselves copies of Griffo's roman and italic, with (again) the differences that expert punch-cutters with their own individual styles could introduce. The first of these was a roman (R7=83) of the size now called 'Cicero' after the complete edition by Vettori printed by Estienne in 1538-39, in which it was used. This type was cut by Pierre Haultin, less famous now than his great contemporaries Claude Garamond and Robert Granjon, but an artist of equal ability whose work seems to have reached a market outside France a little earlier than theirs. Other types by Haultin introduced a little later were his 'Philosophie romaine' (Rll=71) and 'St Augustin' (R12=92). About the same time, an alternative to the Aldine italic (which nevertheless remained in use) came in. Both of these came from Basel, where they were used by Johann Froben, and were likely cut by Peter Schoeffer the Younger, by whom they were certainly brought to Venice ca 1541. The first of these was the popular large 'Basle italic' (12=128), used at the press from 1546; it was followed in 1550 by a version only a little larger than the Aldine italic (14=83), for which Haultin's 'Mediane' italic (16=82) was substituted in 1557But the main part of the renovation of the typographic equipment of the press came from Garamond and Granjon, the former providing most of the romans and the latter the italics. In this, the press followed precedent; popular in France, the types rapidly spread over western Europe, notably through the Egenolf-Berner typefoundry in Frankfurt and Christophe Plantin at Antwerp. Between 1553 and 1562, Garamond's 'Petit Romain' (R8 = 65), 'Cicero' (R9 = 83), 'Gros Romain' (RIO=113), 'Breviaire' or 'Petit Text' (R13=54) and the great 'Petite Paragonne Romaine' (Rl6=131) were acquired. Granjon's 'Petit Canon Romain' (R14=190), an even larger display type, was added in 1563. As to italics, the press acquired Granjon's small type known as 'La Granjonne'

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PROLEGOMENA: NOTES TO THE READER

(13 = 65) in 1551, adding the 'Mediane Cursive pendante' (15 = 82) in 1554, the 'St Augustin premiere' (17= 96) in 1555 (a few lines used in 1547 may have been borrowed), the 'Parangon Cursive' (18=131) that matches the Garamond roman in 1564, and the 'Gros Romain Italique' (19=116) in 1569. Apart from two rarely used romans (Rl5=91 and R17=84), both earlier and orginating in Basel, these were the main types used by the press from the mid-1550s onwards. Others can be seen later, used sporadically from the 1570s. Garamond's 'Petite Paragonne Romain'was also used with the bolder capitals cut by Guillaume Le Bé for Cristoforo Zanetti at Venice in 1548 (Rl6a =130). The mixture of the capitals and small letters of Garamond's 'St Augustin' with the ascenders and descenders of Granjon's 'Gros Cicero Romain', devised by Christophe Plantin and called by him Augustine sur le Mediane' (R19 = 83) appears in 1575, François Guyot's Ascendonica' (R20=142) in 1578 and Garamond's 'Gros Canon Romain' (R21=280) in 1579. In 1576 Granjon's small 'Petit texte italique' (110=54) that matches Garamond's roman (R13=54) came in, together with his later 'Vraye Augustine Cursive' (112=93) and (in 1583) 'Garamonde italique' or 'Valentine' (113=66), both substitutes for earlier versions of the same sizes. Rather unexpectedly, Garamond's 'Italicque de Gros Romain' (111=118), which duplicates the Granjon 'Gros Romain Italique' (19), appears also in 1586. No more large Greek types were acquired, but Haultin's 'Grec de Cicero' (Gk5=83) and Granjon's 'St Augustin Grec' (Gk6=92) came with the French romans and italics in the 1550s, and Haultin's Greek for a Minion body, here cast on Brevier (Gk7= 66), was added in 1568. Another Greek, apparently based on Granjon's Cicero (Gk8), was used for quotations in the 1579 edition of Paulus Manutius's commentary on Cicero, Epistolae ad,familiares. T Y P E F A C E S U S E D BY T H E A L D I N E P R E S S R O M A N TYPEFACES TYPE

20-LINE

TYPE

SOURCES

DATES I N USE

Proctor 3 Proctor 5 Proctor 4 Proctor 10 Proctor 6 Proctor 2 BMCXV114R* BMCXV115R

1495-99 1495,1542 1495 1499 1496-97 1496-99 1498 1499-1502 1525-27 1526 1528-55 1497 1504-36 1546-57 1553 1556-85 154715581555-

MEASURE

Ria R2 R2a R3 R4 R4a R4b R4c R4d R4e R5 R6 R7 R8 R9 RIO Rll Rl2

108 110 81 82 83 114 114 114-115 112-114 114 114 87 89-91 83 65 83 111-117 71 92-99

[Aldine Lascaris] [Aldine Gaza] [Aldine Aristotle] [Aldine Gaza] [Aldine Gaza] [Aldine de Aetna] [Aldine Politian reprint] [Aldine Colonna] [Aldine Xenophon preface] [Aldine Simplicius privilege] [Aldine Castiglione] [Aldine Leonicenus] [Aldine] Cicero (Pierre Haultin) Petit Romain (Claude Garamond) Romain Cicero (Garamond) Gros Romain (Garamond) Philosophie romaine (Haultin) Augustine sur le Texte (Haultin)

R13 R14 R15

54 190 91

Bréviaire or Petit Texte (Garamond) Petit Canon Romain (Robert Granjon) [Basel type]

RL

24

Proctor 8 Isaac p. 47 [H]-[13] TSF1.4

TSF 2.16.31,2.17.49,53,59 T S F 1.2-4 TSF 1.2-3,12-13; 2.18.10,12-13 TSF 2.16.29 TSF 2.17.21; Plantin-Moretus Inv. 39; Ren. type 13 TSF 2.16.35 TSF 2.16.17 with variant 'a' Isaac p. 277

155915631561-66

P R O L E G O M E N A : N O T E S TO T H E R E A D E R

R16 Rl6a

131 130

R17 R18

84 132

R19

83

R20 R21

142 280

Petite Paragonne Romaine (Garamond) Guillaume Le Bé for Cristoforo Zanetti (1548) [Basel type of Froben] 'Paragon' perhaps from Lyon Augustine sur le Mediane (Garamond and Granjon) Ascendonica Roman (François Guyot) Gros Canon Romain (Garamond)

TSF 2.16.20,2.17.18-19 T S F 1.4 (1.7)

15621571

Isaac, p. 279 caps only 1564-81 A F. Johnson, 'Some Cologne and 1570 Basle Printing Types, 1525-50' no. 14 1575-83 TSF 2.17.37 TSF 2.16.18 TSF 1.2; 2.16.16,2.18.11

15781579-

ITALIC TYPEFACES

11

79-84

[Aldine Italic] (Francesco Griffo)

12 13 14 15 16 17 18 19 110 111 112 113

128-132 65-67 80-83 81-84 81-83 92-98 130-133 114-118 54 118-119 93-97 66-68

[Basel Italic] La Granjonne (Robert Granjon) [type used by Johann Froben] Mediane Cursive pendante (Granjon) Mediane Italic (Pierre Haultin) Italique St Augustin premiere (Granjon) Parangon Cursive (Granjon) Gros Romain Italique (Granjon) Petite Texte Italique (Granjon) Italicque de Gros Romain (Garamond) Vraye Augustine Cursive (Granjon) Valentine Garamonde cursive (Granjon)

TSF 2.16.32 Tinto, 47-50 TSF 1.4; 2.16.27,2.17.39 Tinto, pl. XXIX TSF 2.16.25 TSF 2.16.21 TSF 2.16.23 TSF 1.9; 2.16.36,2.17.64 TSF 2.18.22 TSF 2.17.27,33 TSF 2.17.54,60

1501-1559; 1567; 1571 1546-1558 15511550-1558 15541557154715641569157515761576-86 1580-

G R E E K TYPEFACES

Gkl Gk2 Gk3 Gk3 Gk4 Gk5 Gk6 Gk7 Gk8

125 114 84 90 80 83 92 66 90

[Aldine] (Francesco Griffo) [Aldine] (Francesco Griffo) [Aldine] (Francesco Griffo) (second casting) [Aldine] (Francesco Griffo) Grec de Cicero (Pierre Haultin) St Augustin Grec (Robert Granjon) Minion Greek (Haultin) unidentified, loosely based on Granjon's Cicero ALDINE

Barker pi. 14; Proctor 1 Barker pi. 21 Barker pi. 24; Proctor 7 Proctor 8 Barker pi. 26,27; Proctor 9 TSF 2.16.13,2.17.42,51 TSF1.2 TSF 2.16.15

1495-1498 1496-1499 1499-1556 1504-1551 1502-1561 1554-1585 1558-1565 15631578-

DEVICES

The Aldine device and its associated motto, 'Festina lente', have been the subject of essays by Renouard CAnnates pp. 411-24) and Richard Copley Christie (Selected Essays and Papers pp. 247-51); most recently, H. George Fletcher III devoted a chapter ofNew Aldine Studies to it, which has formed the basis of the list provided here. The anchor-and-dolphin block in its original form with a narrow double line border (Al) appeared but once, in the second volume of Poetae Christiani Uteres, with the letter from Aldus dated June 1502 (no. 58.5). Three subsequent versions are found, one with the border reduced to a series of dots (Ala), another with the dots reduced to one that serves point to the left fluke of the anchor (Alb), and yet another with the point of the left fluke restored (A2). It has hitherto been assumed that these represent a series, the first two produced

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by successive reductions of the original block, the last, in which missing detail is restored, from a new, recut block; the detail, including damage, is repeated throughout, and it might be more plausible to imagine the third state as produced from the same block, with the new detail engraved on a wooden plug inserted in it. Against this is the undeniable fact that the three versions were, if the dates printed in the books in which they appear are to be believed, used simultaneously. It is clear that internal dates in Aldine printing need only apply to the sheet in which they appear, but the span of dates from the autumn of1502 in all three cases to, respectively, February 1503, November 1503 and 1527, suggests overlap. If this is the case, the different appearance of Alb and A2 can only have been produced by moulding the original block in sand and producing metal casts. This process was first described in 1715 (Samuel Struck, Neu-verfassetes auff derLdbl. Kunst-Buchdruckeren Format-Buch pp. 71-72), but was in use in the sixteenth century. This is confirmed by the slightly blurred appearance of successive impressions of A2; it is probable that slight variations of detail, suggestive of multiple casts, can be observed, although inequalities of press-work make this hard to confirm. In 1503, a second, larger device appears, also enclosed within a border (A3); here again, progressive damage led to the removal of lettering (A3a), followed by the substitution of type for it (A3b-e); here the mutually exclusive series (1509,1513,1513-27,1527,1534-36) suggest that the same block was used. A smaller, unlettered anchor-and-dolphin (A4) was used twice in the summer of 1505, and a new version of the original device (clearly re-engraved this time) introduced in 1512. This was damaged in 1515, and thereafter two versions can be observed, one slightly more damaged than the other (A5a-b). These again were used with a considerable overlap (1515-22,1517-33), indicative of casting. A different design, with the anchor impaling the dolphin (A6), was used once in 1514 for the Rhetorica adHerennium in March that year. Aldus himself did not use it again, but it was re-introduced by his heirs and used 1518-24; a second, rougher re-cutting of the same design (A7) was also made, in use 1518-21. Although the original large block remained in use (except between 1527 and 1534), another large device with more, boldly cut detail and a single line border (A8) came in during 1520-27; this was superseded by a third block (A9), with a return to simpler detail and a bold thick and thin line border, used 1527-36. Two new versions of the original design (A10, All) both appeared in 1527. The emergence of Paulus Manutius as the prime figure in the direction of the press is signalled by three new devices, two small, without border (A12-13), and a larger one with a bold single line border (A14). All three are characterized by a new style of engraving, both dolphin and anchor depicted as smoother and more rounded. The first is introduced in 1539, the other two in 1549, all three remained in use into the 1550s. The third (A14) seems to have been made on the initiative of FedericoTorresani, although Paulus Manutius used it later. Paulus was also responsible for two new designs, one with the device surrounded by a wreath (Bl, B3), and a smaller square block with the device framed with mannerist ornamental details (B2) also used by Federico Torresani (B2a). A further series of smaller versions of the original device (A15-16,19-20), some with variant states, signal the enlarged output of the press in the mid-1550s to about 1565. One of these (Al6) continued in use until the end. Two more, a smaller (Al7) and a larger (A18), were cut for and used by Bernard Turrisan in Paris (1554-68, 1554-69); a version of the former, perhaps a cast, was also used by Aldus the Younger in 1566 and 1579. Bernard also had a still larger version of the oval 'wreath' device (B5). Antonius Manutius at Bologna imitated the mannerist device (B4) in 1556-57The foundation of the Academia Veneta in 1558 required an entirely new device, in (for the most part) a different medium, engraving on copper. The figure of an angelic trumpeter, one foot poised on a minute globe, signifies its high ideals, reinforced by the inscription on the pennon floating behind 'IO VOLO AL CI EL PER RIPOSARMI IN DIO'. Of the two original plates, the first and smaller (Cl) was soon re-engraved with alterations to the figure, and the lettering much enlarged; this was several times altered in minor detail (C3-C3d). There are two states, the second with strengthened detail and shading (C2, C2a). There are two versions of the same figure within a wreath on a square panel, one within a line border (C4), the other without (C4a). A similar

26

PROLEGOMENA: N O T E S TO THE R E A D E R

figure, this time set against a fine scrolled mannerist oblong panel (C5), was used in 1558-59, and in the latter year the large plate copied and slightly reduced in size (C6). Finally, in 1561, the original design was copied in reverse, as a wood-block (C7). The removal of Paulus to Rome was signalled by an exceptionally fine large device (A21), without letters or border, used by him there in 1562-65; it later appears back at Venice in books with the 'Ex Bibliotheca Aldina' imprint, and later still with Aldus the Younger. A smaller device of the same design (A22) appears without letters at Rome between 1562 and 1566, and later, lettered, both with Paulus (A22a) and Aldus the Younger (A22b), as did a slightly larger block (A23, A23a). The largest of all (A25), used for the large folios required by the Council of Trent and the Vatican in 1564-65, continued at Venice for other large books in the 1570s. A smaller block (A26), used in the last year at Rome, was adapted by Aldus the Younger (A26a). Two more blocks (A27, A29), slightly larger, heralded the return to Venice. The second, and another yet larger (A30), are found on 'Ex Bibliotheca Aldina' imprints. Another medium-sized block of otherwise traditional design shows the dolphin uniquely reversed (A28). There were two further manifestations of the device, in both of which it shrank to a status subordinate to other, more grandiose ends. The books that Paulus printed at Rome 'In Aedibus Populi Romani' between 1566 and 1570 were dominated by a shield, lettered 'S.PQ..R.' upon a bend, surrounded by mannerist detail, a vast frame (Dl), or with two putti holding a crown above it (D2, D3). In all three, the anchor-and-dolphin appears at the base, on shields or a smaller frame. Similarly the patronage of the emperor Maximilian II was acknowledged by both Paulus and Aldus the Younger with three splendidly engraved devices incorporating shields dimidiated, with the imperial eagle above, its claws firmly resting on the ring of the anchor-and-dolphin below (El-3). These are found between 1572 and 1585. Many of the devices that originated with Paulus were later used by Aldus the Younger. He also added three of his own, a large anchor-and-dolphin boldly lettered 'ALDVS' on the block (A31), a very small unlettered device (A32), and a recutting (A33) of his father's very large anchor-and-dolphin (A21). This brings the tale of the devices (as observed so far) used by the Aldine press to a conclusion. Many others were used by its continuators and imitators, from the end of the sixteenth century to date, but these lie outside our terms of reference. PRINTERS'DEVICES USED BYTHE A L D I N E

PRESS

A . ANCHOR AND D O L P H I N DEVICE

DATES IN USE

PLACE

Al Ala Alb A2

1502 1502-03 1502-03

1517-33

Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice

1518-21 1520-26

Venice Venice

A3 A4 A3a A5 A3b A3c A6 A5a A5b A7 A8

1502-27 1503-09 1505 1509 1512-15 1513 1513-27 1514; 1518-24 1515-22

IMPRINT/PUBLISHER

Apud Aldum' 'in aedibus Aldi Romani' 'indomoAldi' 'in aedibus Aldi'; 'in aedibus Aldi et Andreae Soceri' 'in Aldi Neacademia'; 'in aedibus Aldi' 'in aedibus Aldi Ro' 'in aedibus Aldi'; 'in aedibus Aldi et Andreae Soceri' 'in aedibus Aldi et Andreae Soceri' 'in aedibus Aldi et Andreae Soceri' 'in aedibus Aldi et Andreae Soceri' 'in aedibus Aldi et Andreae Soceri' 'in aedibus Aldi et Andreae Soceri' 'in aedibus haeredum Aldi Manutii Romani, et Andreae Asulani Soceri' 'in aedibus Aldi et Andreae Soceri' 'in aedibus Aldi et Andreae Soceri'

FLETCHER

1 2 2a 3 fl 4 f2 5 f3 f4

6 5a 5b 7 f6

27

PROLEGOMENA: N O T E S TO THE READER

DEVICE

D A T E S I N USE

PLACE

IMPRINT/PUBLISHER

A3d

1527

Venice

'in aedibusAldi et Andreae Soceri'

FLETCHER

AS

1527-28; 1536

Venice

'in aedibushaeredumAldiManutij& Andrea Asulani'

f7

A10

1527-33

Venice

'in aedibusAldi & Andreae Soceri';'in aedibus haeredum

8

AlO

1544

Venice

All

1533-35

Venice

Aldi Manutii Romani, et Andreae Asulani Soceri' 'in casadiMesser Francesco dAsola' 'in aedibus haeredum Aldi Manutii Romani, et Andreae

9

Asulani Soceri' Alia

1527; 1535-40

Venice

'in aedibus haeredum Aldi et Andreae Asulani soceri'

Alia

1538

Venice

[Federico and Gian Francesco Torresani]

A3e

1534-36

Venice

'in aedibus haeredum Aldi Manutii Romani, et Andreae

f5

Asulani Soceri' A12

1539-54; 1559

Venice

'apudAldifilios'

A13

1549-58

Venice

'apud Federicum Turrisanum'

A14

1549-54

Venice

'apud Federicum Turrisanum'

A14

1551

Venice

'in casa de figlivoli di Aldo'

A15

1554-55

Venice

'apud Aldi filios'; 'apud Paulum Manutium, Aldi filium'

Al5a

1555-56

Venice

'apud Paulum Manutium, Aldi filium'

Al6

1556

Venice

'apud Paulum Manutium'

Al6a

1556-59

Venice

'apud Paulum Manutium, Aldi F.'

A17 A17

1554-68

Paris

'apud Bernardum "Ririsanum,... sub Aldina bibliotheca'

1562

Venice

'Appresso Andrea Torresano, et fratelli'

A17

1566-79 1594

Venice

[Paulus Manutius; Aldus the Younger]

Venice

[de Farris]

1554-69

Paris

'apud Bernardum Turisanum,... in Aldina bibliotheca'

A19

1557-63

Venice

'apud Paulum Manutium, Aldi F.'

A19 A20

1558-59 1560-65

Venice

'.. .del nobil'huomo M. Federico Torresano dAsola'

Venice

'apud Paulum Manutium, Aldi F.'

A21

1562-65

Rome

'apud Paulum Manutium, Aldi F.'; 'apud Paulum Manu-

A21

1581

Venice

[Aldus the Younger]

A22

1562-66

Rome

'apud Paulum Manutium, Aldi F.'

A22a

1571 1575

Venice

'in aedibus Manutianis'

A22b

Venice

[Aldus the Younger]

A23

1562

Rome

'apud Paulum Manutium, Aldi F.'

A23

1580-81

Venice

'ApudAldum'

A23a

1571

Venice

'Ex aedib. Manutianis' 'apud Paulum Manutium, Aldi F.'; 'in aedibus Manutianis'

A25

1562-67 1564-65

Venice Rome

'apud Paulum Manutium, Aldi filium'; 'apud Paulum

A25

1572-76

Venice

[Paulus Manutius; Aldus the Younger]

A26

1566

Rome

'apud Paulum Manutium, Aldi F. In aedibus Populi Romani'

A26

1576-92

Venice

'Presso Aldo'

A26a

1571 1567-69

Venice

'in aedibus Manutianis'

A27

Venice

[Paulus Manutius]

A27

1576-89

Venice

'Ex bibliotheca Aldina' (Torresani)

A28

1567-78

Venice

'in aedibus Populi Romani, apud Paulum Manutium'; 'in aedibus

A17 Al8

tium, Aldi F. In aedibus Populi Romani'

A24

Manutium, Aldi F. In aedibus Populi Romani'

Manutianis' A29 A29

28

1569-75

Venice

'ex bibliotheca Aldina'

1593

Venice

[de Farris; Aldus the Younger]

PROLEGOMENA: NOTES TO THE READER

A30

1571

Venice

A30 A31 A32 A33

1581 1581 1583-87 1592

Venice Venice Venice Venice

'ex bibliotheca Aldina'; 'ApudHieronymum&Bernardinum Turresanos, fratres, Aldi nepotes' [Aldus the Younger] 'ex bibliotheca Aldina' ApudAldum' ApudAldum'

Bl Bl B2 B2a B3 B3 B4 B5 B5

1542-52 1556 1546-56 1554 1554-66 1570 1556-57 1565-68 1576-92

Venice Bologna Venice Venice Venice Venice Bologna Paris Venice

'apudAldi filios' ApudAntoniumManutium Aldi filium' 'apudAldi filios' 'Appresso il nobile huomo M. Federico Torresano' 'in aedibus Pauli Manutii, Aldi filii' 'ex officina Aldina' (Torresani) 'ApudAntoniumManutiumAldi filium' 'apud BernardumHirisanum,... sub Aldina bibliotheca' 'Apud Dominicum Nicolinum'; [Aldus the Younger]

Ci C2 C2a C3 C3a C3b C3c C3d C4 C4a C5 C6 C7

1558 1558 1559 1558 1558 1559 1558 1558 1558 1559 1558-59 1559 1561

Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice Venice

'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta' 'In Academia Veneta'

Di D2 D3

1566,1570 1566-67 1569

Rome Rome Rome

El

1572-76

Venice

E2 E3

1572-76; 1581-85 Venice 1573; 1583-85 Venice

B. WREATH

C . ACADEMIA VENETA

D . I N A E D I B U S POPULI R O M A N I

'in aedibus Populi Romani, apud Paulum Manutium' 'in aedibus Populi Romani, apud Paulum Manutium' 'in aedibus Populi Romani, apud Paulum Manutium' E . I M P E R I A L C H A R G E OF A R M S

'in aedibus Manutianis'; Apresso Aldo Manutio'; 'ex privilegio Maximiliani...' 'in aedibus Manutianis'; 'ex privilegio Maximiliani...' 'Apresso Aldo Manutio'; 'ex privilegio Maximiliani...' PAPER STOCKS

A major part of the Aldine enterprise, throughout its course, was the provision of paper. There are no records of whence it came or who paid for it, and all that can be discovered now is derived from the appearance of the different paper stocks used, as evinced in the books in the collection. Other copies of the same books may exhibit different stocks, and the details given here should only be regarded as a first attempt towards a fuller

29

P R O L E G O M E N A : N O T E S TO T H E R E A D E R

account that subsequent research may establish. Sheets of paper are differentiated by their watermarks, made by sewing a design in thicker wire to the mesh of the paper-mould. Paper-moulds are made in pairs with identical watermarks, the two moulds shuttling between the two persons who form the paper, the vatman and the coucher. If identical when made, the two watermarks gradually deteriorate and alter in different ways under the pressure of use. The same design applied to different pairs of moulds on different occasions may exhibit other changes: they may differ in size or the position that they occupy on the mesh of the mould. It follows, logically, that no two sheets of paper show exactly the same marks. That said, the designs of watermarks differ in ways that can be recorded. The traditional method is by tracing; this is less accurate than rubbing or photographic methods (dylux or beta-radiography) of reproduction, but it remains the only way of'reconstructing' marks whose full details are lost in the process of binding, and for that reason (given the number of sheets under consideration) we have adopted it. Two sorts of watermark information are provided: illustrations and formulaic summary. The first was adopted for the press in its most unitary period under Aldus the Elder, the second for works after 1515, when control was more diffuse; details of both are given below. Both kinds of information have been correlated with that provided by the two main sources of similar information derived from papers of relevant date, C.-M. Briquet's LesJiligranes. Dictionnaire historique des marques du papier des leurs apparition vers 1282jusqu'en 1600, Leipzig 1923, and Gerhard Piccard's Die Wasserzeichenkartei Piccard im Hauptstaatarchiv Stuttgart: Findbuch, Stuttgart 1961-83. Two kinds of watermarks may appear on a sheet, the main mark and the 'countermark', the latter usually smaller and less graphic. Sometimes both are present, sometimes only a mark, more rarely only a countermark. The function of neither is fully understood. Certain marks, such as a bunch of grapes, were by tradition associated with a particular size or quality. In many cases, however, the mark must be interpreted as the maker's 'trademark'. The function of the countermark is less clear. An important and neglected figure in the passage of paper from maker to user was the wholesaler, and it may be that the distinction of mark and countermark, in some cases, was to differentiate maker and wholesaler, for mutual protection in the event of dispute. One important further distinction emerges from the pattern of use recorded here: between regular and occasional stocks. Certain classes of paper were used regularly by the press, sometimes over long periods of time; others occur only once, or rarely. In some instances, it is clear that the latter correspond with special commissions, where the customer supplied paper. A clearer picture will no doubt emerge when the details here are compared with those in other copies of the same books, or against the wider picture of paper use in Venice during the same period. For the time being, we are dependent on the information that can be derived from the watermarks to be seen on the papers used by the press. For Aldus the Elder (nos. 1-130), we have provided, in the descriptive text for each first copy edition and those subsequent editions which we suspect might have different paper stocks, a list of the watermarks found in that particular book. These watermarks are numbered and illustrated. They can be broken down as follows: anchor (11 types), bell (1), bird (7), bull's head (18), cross (1), crown (17), hat (59), keys (l), letters (2), mount (6), orb (2), scales (118) and scissors (l). In addition, we note the presence of a countermark (the letter A') even if there is no watermark. The illustrations are reproduced from tracings of the watermarks, with the name of the type (anchor, bird, etc.), a number and a formulaic summary for each watermark; if a countermark appears on the same sheet, that too is reproduced. For the later period, only the types of the watermarks on the papers used by Aldus's heirs, Paulus Manutius and Aldus the Younger, are recorded, though the formulaic summaries under the illustrations provide a link with the visual images of the earlier stocks. Each formula represents information about the watermark, followed by a slash, and after it information about the countermark, in the following sequence: F. Watermark within frame. Following 'F', three descriptive elements appear.

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P R O L E G O M E N A : N O T E S TO T H E R E A D E R

First, the number representing the shape of the frame: 1 Circle; 2 Shield; 3 Heart. Secondly, a number, or more than one number, representing the decoration on top of the frame: 4 Cross; 5 Star; 6 Crown; 7 Club; 8 Ring; 9 Flower. Thirdly, a number, within parentheses representing elements found within the frame. These elements are listed below in numerical and in alphabetical order. In addition, the more elaborate details of the three most commonly found watermarks, Bull's head (B), Hat (H) and Scales (S), and one special mark, Bird (24), are described separately. NUMERICAL LISTING: (1) Angel; (2) Letters; (3) Bow; (4) Crossbow; (5) Fleur-de-lys; (6) Flowers; (7) Deer; (8) Eagle; (9) Crown; (10) Ladder; (11) Anchor; (12) Easter lamb; (13) Mount; (14) Star; (15) Ram; (16) Unidentified quadruped; (17) Figure with staff; (18) Sword; (19) Crossed arrows; (20) Cup; (21) Justice; (22) Tower; (23) Greek cross; (24) Bird; (25) Sun; (26) Lion; (27) Unicorn; (28) Hand; (29) Wheel; (30) Hammer and anvil; (31) Globe; (32) Keys; (33) Crescent with star. ALPHABETICAL LISTING: Anchor (11); Angel (1); Bird (24); Bow (3); Crescent with star (33); Crossbow (4); Crossed arrows (19); Crown (9); Cup (20); Deer (7); Eagle (8); Easter lamb (12); Figure with staff (17); Fleur-delys (5); Flowers (6); Globe (31); Greek cross (23); Hammer and anvil (30); Hand (28); Justice (21); Keys (32); Ladder (10); Letters (2); Lion (26); Mount (13); Ram (15); Star (14); Sun (25); Sword (18); Tower (22); Unicorn (27); Unidentified quadruped (16); Wheel (29). M. Watermark without frame. Following'M', two descriptive elements are given: First, a number, ( l ) - ( 3 3 ) as above, representing the design element of the watermark. Secondly, a number, or more than one number, representing decoration appearing above, below or to the side of the watermark. This number represents one or another of three decorative devices: 1 Star; 2 Flower; 3 Wheel. The four watermark types that exhibit special characteristics require individual treatment. Three of these occur so frequently and with so many variants that each requires its own vocabulary; the fourth, bird, appears in the list above as M(24), but has different modifiers from the standard three noted above. B. Bull's head surmounted by: 1 snake on cross; or 2 flower. H. Hat: the first four numbers indicate the crown of the hat; the latter four numbers indicate any decoration on top of or within the hat. If the hat is undecorated, it can be either H13 (i.e. undecorated and flat topped) or H14 (i.e. undecorated and round topped). If the hat is decorated (i.e. H23 or H24), numbers 5 - 8 will indicate the nature of the decoration: 1 Undecorated crown; 2 Decorated crown; 3 Flat crown; 4 Round crown; 5 Decorated with cross on top; 6 Decorated with flower on top; 7 Decorated with internal cross inside hat (cf. Hat 39); 8 Slanted 'Z' on top (cf. Briquet, Chapeau 3448). S. Scales: there are four basic types of scales: 1 Loop with line (cf. Scales 35); 2 Loop with scale pans (cf. Scales 2); 3Triangle with line (cf. Scales 1); 4Triangle with scale pans (cf. Briquet, Balance 2560). Decorations are indicated by the following numbers (more than one may be present): 5 One ring; 6 Two rings; 7 Star; 8 Flower; 9 One or more unattached rings (cf. Piccard, Waage VI163, or Scales 67 in main sequence). M(24). Bird: bird watermarks have their own unique set of modifiers. These modifiers follow the parentheses and are as follows. Both maybe present: 1 With crown; 2 With key. There is one final indicator: X signals any structural elements which occur too infrequently to be noted in detail, but which we have noted to distinguish the watermark from similar and more common types.The placement of the X indicates where the element, or elements, are located (e.g. F15(X)/) indicates that the element is within the frame). Countermarks. Information about the countermarks, which are fewer in number and occur less frequently, follows after the slash. Only one may be present: 1 A'; 2 'b' or 'B'; 3 'P'; 4 'T'; 5 AB'; 6 Flower; 7 Other, including A'variants; 8 None; ? Unknown.

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P R O L E G O M E N A : N O T E S TO THE R E A D E R

The pattern of use revealed by these data fits the general pattern of what is known about the trade. The four main marks that appear in the first period, Bull's head, Crown, Hat and Scales, after an irregular start evince recurring pairs. The stocks of the main produce of the press overlap from book to book: Scales 3 and 4 occur together in Aristotle I (no. 4), but two other pairs, 5 and 9, 6 and 10, are divided between Aristotle I and IV (no. 11), with 9 and 10, extending to Maioli, Iamblichus and Crastonus (nos. 13,15,16). The second innovatory phase of the press's work, the octavo classics, is marked by shared paper stocks, Scales 58, Mount 4 and the paper without main mark but the A' countermark. The prevalence of the A' and 'b' countermarks in papers with different main marks suggests that this indicates a link between papers from otherwise different sources, perhaps thus drawn from different mills by a single consortium or wholesaler. This pattern throws into relief the productions that seem to have been special commissions: Prodromus, with its unique Keys mark, and Colonna, with a Hat pair (7 and 8) and Anchor (4), of which the former (H235/7) does not appear among the 'stock'watermarks until 1540 and the latter (Fl5(ll)/l) not until 1503 (these, it should be emphasized, are only types, and the Colonna Hat papers have special countermarks with different but related designs); the Greek Hours (no. 17), with unique Mount and Letters marks, required a different size of sheet. The more general picture revealed by the formulaic summaries shows that particular types were used extensively in defined periods, while others were used less frequently and in some cases spread over a long period of time. In some cases these represent stock acquired for a specific purpose, others casually. The Hat 13/1-2 types occur consistently 1500-14, with Hat 13/81499-1504; Hat 13/7, by contrast, was used briefly 1533-36. After 1514, there was a change: Hat 235/8 and 238/8 were in regular use 1514-28 and 1514-22, with H147/11517-19. Under Paulus Manutius and Aldus the Younger, type H235/7appears consistently 1540-81. The Scales and Bull's head marks, relatively frequent in the first period, become less frequent and are not found after the mid-1530s. The S157-167 types, S26, S35 and S37 series, recur consistently 1499-1504, with S157/3 and the S357 reappearing 1512-19; S36/7-8 only appears 1526-34. The Bl Bull's head only appears 1497-99, while the simpler B/7-8 occurs only later and infrequently ca 1550-80 (apart from one instance in the 1495 Lascaris). The Crown (6) marks exhibit a similar pattern, with two separate periods of use under Aldus the Elder, 1497-99 and 1512-14, and then a gap before it became one of the main stocks between 1552 and 1595. Anchor (11) marks, used sporadically 1498-1508, were frequent 1514-15, and the distinctive Bird (24) marks are occasional 1496-1514. A similar pattern of periodic use emerges from the more general picture represented by the formulaic summaries. There is a marked change with the succession of the 'heirs ofAldus', with relatively few stocks in regular use. The later Hat marks (235/8 and 238/8, with 147/1) are frequent, but the Scales drops out after 1519 (S157/3) until 1526 when a new pattern (S35/7-8) comes in, with Hat 13/71533-36. Of the other types, only the Tower (22), 1516-18, and Anchor (11), 1525-29, were used consistently, while a number of others appear briefly, or casually over a longer period. Under Paulus Manutius, the pattern reverts to that of the first phase, with certain marks appearing consistently over a long period, with others less frequently used. Various Angel ( l ) marks were used regularly1551-94, and it is interesting to compare the different types with Briquet's records of the same types. It is important to recall that these are only types, not the same or even similar marks, and that Briquet's records were drawn largely from archival rather than printed usage. At the same time, the similarity of the incidence of design and time suggests that these are two different reflections of essentially the same pattern in the evolution of papermanufacture in Italy. Other marks as frequently found are a new Hat (235/7), Letters (2), which appear regularly1561-92, repeating the pattern of the A' and 'b' marks and countermarks noted earlier, the Crown (9), which returns 155295, the Anchor (11) 1540-95, and the figure of Justice (21) 1548-77- Other marks found less frequently or for shorter periods are the Crossbow (4) 1544-73, Fleur-de-lys (5) 1546-66, Flowers (6) 1562-70, Eagle (8) 1588-93, Star (14) 1566-72,1590-93, Sword (18) 1562-66, Bird (24) 1590-93, Lion (26) 1548-58, Unicorn (27) 1562-64,

32

P R O L E G O M E N A : N O T E S TO THE R E A D E R

and Hand (28) 1561-65. The frequency of different marks (5, 6,14,18, 27, 28) in the 1560s reflects the diverse nature of the enterprises for which Paulus was responsible then. Some of this must reflect different sources available in Venice and Rome, although there is no clear division visible as yet; the Unicorn (27) mark recurs in works connected with the Council of TYent and patristic texts, as opposed to classical and educational works. A great deal more work will have to be done before a complete picture of the usage of paper by the Aldine Press becomes clear. The best that can be said is that a reasonably comprehensive, if necessarily partial, body of evidence is collected here to provide a foundation for further work. BINDINGS

The objective of each description has been, so far as possible, to localize, to date, and to present a recognizable account of the salient features of the outward part of the book described. This comprises the materials used, the structure so far as it can be seen or deduced, including extraneous parts, such as clasps and markers, and the decoration. Wherever possible, but it is not often, an attribution is made to the binder or workshop that produced it. This is based either on direct signature, by a name stamped or on a label, or on modern scholarly assignation, based on the tools used or the design. It is never easy to determine what materials have been used for covering material, and the names conventionally used by binders, imprecise though they are, have generally been used, although in describing the many different hides treated with alum we have preferred to use the word for the process, tawing, rather than the conventional term 'pigskin'. The conventional terms for color and graining have been used; few books are bound even partially in cloth. Endpapers have been described, where present, and also flyleaves when inscribed or otherwise marked; not all extra blanks inserted by binders have been accounted for. The appearance of edges, sometimes the only element of the original binding to survive, has been recorded. The appearance and so far as possible structure of head- and tailbands have also been given, although damage and discoloration have made this impossible in some cases. The former presence of clasps or ties has been noted, even when now missing. For the student of bookbinding, the collection presents an interesting cross-section through all levels of work over five centuries. Some books are in original bindings, although most of them are not. Of those in apparently original condition, most are in plain vellum bindings, often without boards; this was a common form of binding all over western Europe, and it has been difficult to localize individual examples; often the only evidence is the provenance. There are a number of examples of original tanned leather bindings, the majority in calf, but some in goatskin, including a few that belonged to early patrons of the Aldine Press, such as Jean Grolier (nos. 79B, with his name and motto misspelled in his arms, 196A, 257)- There are, predictably, a number from Venice (nos. 102, 111, 126,314,420), including two by the 'Mendoza Binder' (nos. 79 and 131); ironically, one of the 'contrefactions' that Aldus did his best to have proscribed is in a contemporary Venetian binding (no. 1152). Rome is, perhaps, even better represented, with nine examples, including two from the 'Cardinals' Shop' (nos. 105,179), a handsome small 'alia greca' binding (no. 169), another for Jerónimo Ruiz (no. 723), and five others (nos. 206,207,209,839,1135), the last on another 'contrefaction'. There are two from Florence or Perugia (nos. 65,174), three from Bologna, by the 'Vignette Binder' (no. 155), the binder of the Blickling Lucian (no. 172) and the Archive Binder (no. 210), the last two both for wealthy foreign students, and a remarkable binding, apparently made in Padua, in polished white kid, gilt and painted (no. 399). Only one contemporary binding is from Milan (no. 124), but that by Grolier's 'First Binder', whose work had, if indirectly, an important influence on French binding. The French bindings themselves, some of great distinction, are mainly of later date, apart from one by the 'Eustace Binder' (no. 196A), done for Grolier soon after his return from Milan. Perhaps the best is that on the 1514 Suda (no. 119), executed by 'Grolier's Last Binder' ca 1565, in a style that recalls the work of the 'atelier du roi'. Another is by a distinguished Parisian shop whose work sits at the watershed between Etienne RofFet and

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Jean Picard (no. 132), and a third of oriental inspiration by the 'atelier du roi' under Henri II (no. 478). There are two Parisian polychrome bindings (nos. 65A, 221), and three others of note (nos. 169,198,293). One of the 'contrefactions' is demonstrably of Lyonese origin (no. 1160). Fewer come from the German-speaking countries, but there are several from South Germany (nos. 66A, 408, 422A, 626,1139), and one each from Basel (no. 215) and Vienna (no. 228). Aldine editions even reached England, and there are books bound by the London binder John Reynes (no. 138.5) and Nicholas Spierinck at Cambridge (no. 121). There is an almost contemporary London binding with the arms of the 3rd Earl of Pembroke (no. 82). In the seventeenth century, few took the trouble to put handsome bindings on Aldine editions, neither new enough to be valued as up-to-date texts nor old enough to be valued as antique. An exception is the fine fourvolume set of Cicero bound for Joachim Dreux de Brézé (no. 1059). Any number, however, were handsomely bound in the eighteenth century, the age of the Aldine revival. One of the earliest was covered in red turkey leather for the Harleian Library by Jane Steel (no. 26). There is an Italian rococo binding (no. 62), a striking German armorial binding for the Baron von Biinau (no. 93.5), and another by the Amsterdam Atelier Rosette' (no. 230). There are examples of the work of the binders employed by the great French book-collectors, including a fine binding, probably for the Bibliothèque Royale (no. 25), another by Derome (no. 136) and three by Bradel (nos. 41A, 114, 365A); none of the great English equivalents, Payne or Kalthoeber, is represented, although there is a fine unsigned binding in the style of Walther (no. 123), and several by the Roxburghe Club favorite, Lewis (nos. 62A, 97,129,282,559, 657). An even more remarkable example of the new zeal for preserving the memory of Aldus is the eighteenth-century Italian binding in a contemporary pull-off case (no. 55). There are many other signed bindings from the nineteenth century, among them examples of the work of Bozérian (nos. 14, 29, 76A, 112,134,164, 266), Simier (no. 130,991,1010), Trautz-Bauzonnet (nos. 59,125), Cape

(no. 1101), Thouvenin (no. 337A) and Duru (nos. 272,1065,1162) among French binders, and, among British binders, Bedford (nos. 59.5, 130A, 163, the last a fine example of his style, on the 1518 Septuagint), the prolific C. Smith (nos. 226, 316, 402, 657, 902, 926,1000,1144), Clarke (no. 334), Wright (no. 359), Hayday (no. 776), Rivière (nos. 8,35,117) and four, signed or unsigned, by Storr of Grantham (nos. 50, 404,420.5,680). However, collectors now began to stop putting a handsome modern dress on such books, and to prefer an 'original' binding. If copies were not available in this form, they could be given it, and three handsome bindings, one Venetian, with metal clasps and cornerpieces (no. 52B), another by the Parisian 'Pecking Crow' Binder (no. 56), and the third a Roman binding of ca 1525 (no. 354), were probably put on their present contents in the nineteenth century. All these are but a fraction of all the bindings in the collection, and for the student of bookbinding history the humbler bindings, unsigned and unattributable, are still full of interest, if only because in mass they span the full five centuries since the books within were printed, as well as stemming from every major European source. Books from the Aldine press have been read and re-read, bound and rebound, throughout the period. If the number of 'fine' bindings is not great now, there are reminders that there were once more in the edges of books now in commonplace bindings. Gilt edges, gauffered to an elegant pattern, indicate a once more sumptuous cover (nos. 195,335, 352A, 500,883); the painted edges of the copy, now in plain vellum, of Bembo's Gli Asolarti 1505 (no. 88), are a remarkable instance. For ordinary copies, limp vellum has proved a remarkably durable way of covering and protecting a book meant for the pocket. These were usually lettered at the time, if at all, on the edges, and the form in which the author or title is inscribed has been recorded. The presence of lettering on the spine shows when the books came to be put on shelves with the spine outwards, often long after it was first bound. One of the best ways of charting the growth of a historic interest in the Aldine press lies in the lettering-pieces, either added to old bindings or put on new bindings, usually in the second half of the eighteenth century and in Italy; here, as well as author and title, the date (with a characteristic '1', split at the foot) preceded by ALD.' is added, showing the new interest in these particulars.

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The endpapers and spine-linings often produce useful evidence of the date of the binding. The use of fragments of medieval manuscripts or early printed books is a pointer, if not infallible, to a contemporary binding. Later watermarks on endpapers, equally, are definite evidence of rebinding, although economy has often dictated the re-use of parts, at least, of the earlier structure. The results can hardly be described as 'remboitage', rather as re-casing or re-covering, since the material reused is often only partial and may have been cut down from or out of an entirely different structure. The marbled papers used as endpapers or to cover the sides of half-bindings can also provide good evidence of date. The familiar eye will recognize certain patterns or combinations of colors as peculiar to a period or locality, although it is hard to describe them in words. As with covering materials, the names habitually used in the trade have been the only way to indicate these features. None of the marbled papers dates back to the sixteenth century, but there are some, both on French and Italian bindings, that date from the first half of the seventeenth century. The use of marbled paper only for the pastedowns is a custom that drops out after the mid-century in France, although there are some Italian examples that clearly date from the eighteenth century. Binders' errors and infelicities are common and recorded without comment: e.g., 'APPOLLONIVS' (no. 5); 'GRAMMATICI' for 'GRAMMATICUS' (no. 276), 'OPERAE' for 'OPERA' (no. 278A), 'HYPNER|TMACHI' (no. 335), ANIMALUM' (no. 410), 'BOMBI' for 'BEMBI' (no. 420A), 'MYSSAE' for 'NYSSAE' (no. 440), Adl:' for Aid:' (nos. 479-481), 'Oralia' for 'Oratio' (no. 479), Aldvs' (no. 517), 'Tibulus Catulus'(no. 536A), ALEGANZE' (no. 739), 'MURETII' (no. 895), 'MANUZIO' for 'MANUTII' (no. 898), 'NI[inverted ZJOLIVS' (no. 1008). Other mistakes, also, have been added to book or binding: e.g. 'Vrbrani' for 'Vrbani' (no. 516) and 'Flamio' for 'Flaminio', the latter added in the nineteenth century in a pseudo-sixteenth-century hand (no. 702); and 'Ecclca' for 'Ecclca' (no. 1062). PROVENANCE

Ideally, a provenance-note would trace a copy of a book through its multitude of owners from the press to the present. This is rarely possible. Still, the marks made by the hands through which each book has passed, however anonymous or even incomprehensible, are all evidence of its history, and it is unwise to ignore even the least. A full signature or a known armorial binding present few problems. The merely famous have been identified as economically as possible: as a rule, we present only the minimum of information ascertainable: name, dates of birth and death, but only rarely the individual's history or significance. The less well-known are, however, identified as fully as often scanty details permit. Inevitably, some personal marks of ownership, arms alone gilt on the covers or on a bookplate, initials only, have escaped all efforts at identification, and we shall welcome any enlightenment here as elsewhere. If few books are completely devoid of marks, many cannot be connected with any identifiable person. In some, the text has been so heavily annotated as to constitute a commentary on it, such as that which fills the margins of the 1499 Dioscurides (no. 31), attributed by Renouard to Scipione Forteguerri; the five volumes of the Aristotle (nos. 4,11, 21, 23, 24) have been variously noted by several hands. Others have been used as the basis for collation (nos. 52A, 135A, 693). Two books, the 1515 Dante (no. 136.5) and the 1534 Themistius (no. 270), are distinguished by the marginalia of Pietro Vettori. There are also marks on blanks within the text, flyleaves and endpapers to be considered. Often these are irrelevant jottings, from receipts to schoolboys' scribbles. They can, on occasion, have an unexpected interest: the 1519 Horace (no. 184) preserves the text, written in a strikingly bold hand, of an otherwise unrecorded sonnet by Vittoria Colonna. Numbers, written in a minute hand on title pages, usually at the foot, preserve the needs of the booktrade, although whether they are inventory numbers or relate to pricing remains to be discovered. Shelf-marks, indication of locations in previous libraries, have also been too little studied. Generally, these are written in by hand, and normally consist of three parts, the first letter or number standing for the press or

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bookcase, the second for the shelf, with a last figure indicating the position of the book on the shelf. It is not always so simple: the elaborate system of the De Thou-Soubise succession (no. 535) remains to be deciphered. Various types of label designed to lessen the drudgery of writing exist, from the elegant engraved form for 'Case...' and 'Shelf...' used by more than one English library to the blue paper slips with the first two letters printed in large bold type. Many shelf-mark entries record movements of books, the old shelf-mark being deleted and a new one entered. The creation of a corpus of shelf-marks and indicators, prefigured in David Pearson's admirable handbook, Provenance Research in Book History, London: The British Library, 1994, would make it easier to identify the libraries from which books have come to their present homes, and ultimately to provide a 'virtual reconstruction' of their contents. A vivid example of these possibilities is provided by the extraordinary number of books in the collection that belonged to one man, a figure not otherwise notable in the annals of bibliophily, whose name even has been preserved only by accident. He was not one of the great men, a Sunderland or Spencer or Powis, nor a bookseller, a Renouard or Toovey, whose names are synonymous with the collecting of Aldines. But, if only to judge by the fragment of the collection now here, his must have been as remarkable. His name was Antonio Valsecchi, and he lived in the Veneto about the middle of the nineteenth century; this much we learn from his set of the Poetae Christiani Veteres (nos. 38,58,84), whose complex genesis he records. There are now seventy of his books in the Ahmanson-Murphy Aldine Collection and more in the Early Italian Printing Collection. But a study of his marks (the only way by which his books can now be identified) shows that this is only a small proportion of his collection. These marks, written with a fine pen and ink, consist of a single number at the top left corner of the upper cover, and, on the front endpaper, usually on the pastedown, a letter and a number at the head, and a letter, a roman numeral and an arabic number at the foot. The exact significance of these marks remains to be discovered; the first suggests a running or inventory number, the last a shelf-mark. Most (but not all) of his books are bound in the same modest style, half vellum with matching paper sides and letteringpieces on the spine that are more often paper than leather. It is difficult to say when this collection was broken up, although the volume present here suggests a recent date. The earliest books from it to reach the Ahmanson-Murphy Collection were acquired in the late 1960s from several different booksellers in England, Switzerland and Germany. Some at least have other marks of provenance that appear to post-date Valsecchi's ownership. If lately dispersed, however, it is only the largest single contributor among many other great Aldine collections to be represented here. The next three most substantial are the Crocker with 45 books, the Powis with 16 books (nos. 156,231,324, 365A, 410,458,535,553,605, 714, 857, 861,902, 991, 998,1038) and Syston Park with 15 (nos. 50, 282, 316, 337A, 352, 391, 394,404,413, 657, 680,926,941,981,1000). The enormous collection of Richard Heber is also well represented (nos. 66, 229, 238, 252,458,535,810), as are those of the Dukes of Sussex (nos. 736,744,860,1149) and Sutherland (nos. 473.5,896, 941,1049). There are only two from Samuel Butler's collection (nos. 243, 365A), but three each from H. J. B. Clements (nos. 69, 96, 680) and A. Firmin-Didot (nos. 56,149, 465), and five from George Fortescue (nos. 22, 107-5, 278, 281, 364). Others come from C. S. Ascherson (no. 131), the Due d'Aumale (no. 244), Francis Capper Brooke (no. 252), Crawford of Lakelands (nos. 219,304), Lord Cromer (nos. 114, 297, 473.5), the Derby library at Knowsley (no. 736), Henry Drury (nos. 219, 243,282), Dunn (nos. 172,314), Andrew Fletcher (nos. 214, 897), Thomas Gaisford (nos. 100,153,878,898), Ganay (nos. 1065,1162), Gosford (nos. 37,219), Hachette (nos. 65A, 71), Hoe (nos. 30,149,559,926), Holford (no. 36), Huth (nos. 102,112,125), W. R. Jeudwine (no. 335), Libri (no. 155), J. E R. Lyell (nos. 101,386,1162), Manzoni (no. 381), Martini (nos. 14,329,531), Morante (nos. 325,358,508,1162), G. F. Nott (nos. 304, 363, 718A), Phillipps (no. 860), Rattey (no. 53), Stuart de Rothesay (no. 188), Sir Mark Masterman Sykes (nos. 66, 559), Sir Edward Sullivan (nos. 69,145), Michael Tomkinson (nos. 138.5, 202, 230, 465, 593, 626), the Dante scholar Lord Vernon (nos. 37, 41A, 140A, 359), and Archdeacon Francis Wrangham (no. 1121).

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There are also books from famous and older libraries: Alexander Boswell, Lord Auchinleck, father of Johnson's biographer (no. 119), the Roman Altemps family (nos. 166,883), the abbey of Buxheim (nos. 38,144), Colbert (no. 1038), Duke of Grafton (no. 537), Holland House (no. 79A), Lamoignon (no. 898A), Narcissus Luttrell (nos. 211, 465A), Osterley Park (no. 230), the Consul Joseph Smith (nos. 310, 428), Sunderland (no. 627A), William Windham (no. 241) and Michael Wodhull (no. 188). Among these must be numbered the books of Wilmot Vaughan, 1st Earl of Lisburne, only dispersed in the last century, from which no fewer than nine books have come to the collection (nos. 52, 89, 166A, 182, 223, 286, 290, 317, 376A). Further back, there are the contemporary owners, some now forgotten, others famous. Chief of those is Jean Grolier, patron of the press in its Parisian venture, who owned or had bound many copies of its books (nos. 79B, 195A, 257). Others include the writer Tommaso Aldobrandini (nos. 413,498.7), Marcus Fugger, of the great Augsburg banking family (no. 1076), Cardinal Salviati (no. 62), the Venetian patrician Andrea Cornaro (no. 131), the great naturalist Ulisse Aldrovandi (no. 457) and the learned Basle printer Johann Herwagen (no. 215). There is a special interest in the books that bear the names of early English readers. John Clement (fl. 151472), whose name appears with that of his sister Dorothy in the 1513 Plato (no. 114), had 'a gret sorte of Greek and latin Bookes ofAldus print', according to the inventory of his goods made in 1549, among them 'Plato in duo voluminibus'. An interest in the Aldine press was common to all humanistic scholars, of which Clement, a physician, was one. He may have inherited it from Sir Thomas More, whose ward, Margaret Giggs, he married. Although no Aldine book that belonged to More is known to exist, the list of texts that he describes as known to the Utopians is a virtual catalogue of the press. Other English names, contemporary or nearly so with the books in which they wrote their names, are to be found: Jhon Boman (no. 138.5), Edward Castelyn and W. Herlle (both in the 1522 Decamerone, no. 214), Henry Joliffe (no. 120), Francis Nevill (no. 813), Jo. Norreis (no. 1051), Henricus Wherinas (no. 108). Not long after comes the famous name of Bishop Robert Sanderson (1587-1663) on a set of the 1546 Machiavelli (nos. 359A, 361). Famous scholars have used copies now in the collection: Samuel Parr owned the 1495 Gaza (no. 5), Nicolaus Heinsius the 1522 Plautus (no. 211) and Richard Porson the four-volume Cicero bound for Joachim Dreux de Breze (no. 1059). Others include Isaac Gruter (no. 123), Henry Luard (no. 95), J. E. B. Mayor (no. 348), Mark Pattison (nos. 93.5, 238), and the bibliographers G. W. Panzer (no. 530) and Anatole Claudin (no. 747). Other names famous in a different context are those of John Ruskin, who owned the Hypnerotomachia Poliphili (no. 35), and Pierre Louys, St Gregory of Nyssa's De Virginitate (no. 675). Other books record those whose books had an early part in the formation of the library at UCLA. John Fiske (no. 1036), Louis Havet (no. 511) and Seeley W Mudd (no. 1036) are commemorated above in the history of the collection. Isaac Foot's library produced ten Aldines (nos. 50, 70, 79A, 101,145,283,508,517, 878,898), and C. K. Ogden's, another three (nos. 112A, 201,317), the last one of Lord Lisburne's books. Greatest of all these is the collection of Templeton Crocker's 45 books, whose acquisition formed the nucleus of the collection. These are only a handful of the names of those through whose hands the books in the collection have passed. Many of them have no names; the owners of three distinguished copies, the 1514 Vergil on blue paper, apparently illuminated in France about 1530 (no. 127A), the 1533 Castiglione also illuminated and with the arms of its original owner (no. 259), and the 1540 Cicero printed on vellum (no. 286A), remain sadly unidentified. Others can only be guessed from marks of corporate ownership, of religious houses or other institutional libraries, whose bookplates or stamps appear in our copies. Besides those are the names of the booksellers, who have also handled these books, but rarely leaving any mark of the fact. One name, however, from among them must stand out, in this or any other appreciation of all that the Aldine press has stood for, that of Antoine-Augustin Renouard. His contribution to the formation of this catalogue has been noted earlier but his presence is also reflected in its contents. He was a bookseller as well as bibliographer, and it is not always easy to distinguish

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between his own copies of books and those that passed through his hands, dressed by one of his favorite binders in a style that he directed, down to the provision of vellum flyleaves (a preservative as well as cosmetic improvement). Ten books in the collection were treated in this way (nos. 14, 41A, 76.5,112,134, 337A, 365A, 535, 991,1010); two of these (nos. 41A, 112) certainly belonged to him, since they bear his name on the binding and appear in the Potier sale of his books after his death. REFERENCES

References are generally provided in chronological order. When we lack a copy, or our copy is imperfect, these citations are meant to tell the reader the source of our information. The final line carries the UCLA call number or, when our information derives from another's book, the name of the library with its classification mark. Our greatest debt is to the Pierpont Morgan Library, New York, for its courtesy and hospitality, but we also are glad to acknowledge our gratitude to the Bodleian Library, Oxford; the British Library, London ; the John Rylands Library, Manchester; the Library of Congress, Washington, D. C. ; and the Victoria and Albert Museum, London. APPENDIX

In this final, brief, section, the reader will find realien, such as a dolphin-and-anchor denarius from the reign of the Emperor Titus; autograph manuscript material; certain annotated books; and a few works mentioned above in the brief history of Aldine collecting. In this section, information is abbreviated. For the coin, self-explanatory subtitles are used (obverse, reverse, denomination); for manuscripts, title or summary, format; for books, title, colophon, size, explanatory note. I N D E X E S AND CONCORDANCE

The first index includes citations at two basic levels: simple names of authors or titles of works and, when it seemed necessary, more detailed entries (e.g., Cicero and Manutius, Paulus). Entries at the first level are meant to represent writings notable in size vis-à-vis the book, as texts, translations and commentaries. Not uncommonly, however, a book may include subordinated material, matter interesting in itself but not so significant as other material in the volume: dedicatory letters, letters to the reader, prefaces, introductions, poems, bulls, privileges, biographical excerpts. In this index, when such comparatively minor materials alone appear, an em dash-and-semicolon separate the name from the numbers (e.g., A., N. C. — ; 265')- When such materials follow main entries, they are separated by a semicolon (e.g., Acciaiuoli, Zenobio 82; 26'). But if a writer not only composed an introductory letter but much or all of the work itself, he is not separately listed in the section given to secondary material. DEDICATEES AND R E C I P I E N T S : The second index provides information on named-recipients of letters, dedications and verse. VARIA: BINDERS, P R I N T E R S AND P R I N T I N G HOUSES, MISCELLANEOUS: The third part of this index includes notable names not otherwise treated; topics such as censorship, color printing, corrections, illumination, medieval/renaissance manuscript fragments, paper (blue; large; unopened) and prize copies. PROVENANCE: Only identifiable or possibly identifiable names and initials are listed. CONCORDANCE: The first column represents citations from Renouard; the second column, entries in the present catalogue. AUTHORS, TRANSLATORS AND T I T L E S :

38

PROLEGOMENA: ABBREVIATIONS

Adams Barker Bernoni Bib. Mach. BMC XV BMSTC F BMSTCI

Briquet C Christie de Marinis Fairbairn Ferrari/Rouse Fletcher (1988) Fletcher (1995) fpep Goff

H,HC or HCR

Haebler Heawood Hobson (1989)

Hobson (1990)

U.M. Adams, Catalogue of Books printed on the Continent of Europe, 1501-1600in Cambridge Libraries, Cambridge: University Press, 1967 Nicolas Barker, Aldus Manutius and the Development of Greek Script & Type in the Fifteenth Century, 2nd ed., New York: Fordham University Press, 1992 Domenico Bernoni, Dei Torresani, Biado e Ragazzoni: celebri stampatori a Venezia e Roma nelXVeXVIsecolo, Milan: Hoepli,1890 Sergio Bertelli, Bibliografia Machiavelliana, Verona: Edizioni Valdonega, 1979, secolo XVI Catalogue of Books printed in the XVth Century now in the British Museum, Part V: Venice, London: Printed by order of the Trustees, 1924 (lithographic reprint, with corrections) Short-Title Catalogue ofBooks Printed in France and of French Books printed in other Countriesfrom1470 to 16OO in the British Museum, London : Printed by order of the Trustees, 1924 Short-Title Catalogue of Books Printed in Italy and ofItalian Books printed in other Countriesfrom 1465to 1600 now in the British Museum, London: Trustees of the British Museum, 1958 C.-M. Briquet, Lesfiligranes. Dictionna ire historique des marques du papier dès leurs apparition vers 1282jusqu'en 1600, Leipzig: Hiersemann, 1923 see below H Selected Essays and Papers of Richard Copley Christie, edited with a Memoir by William A. Shaw, London: Longmans, Green and Co., 1902 Tammaro de Marinis, La legatura artistica in Italia nel secoli XVe XVI, Firenze: Fratelli Alinari, Istituto de edizioni artistiche, i960 James Fairbairn, Crests of the Leading Families, Baltimore: Genealogical Publishing Co., 1963 Mirella Ferrari, Medieval and Renaissance Manuscripts at the University of California, Los Angeles, edited by R. H. Rouse, Berkeley: University of California Press, 1991 H. George Fletcher III, New Aldine Studies, San Francisco: B. M. Rosenthal Inc., 1988 H. George Fletcher III, In Praise of Aldus Manutius: a Quincentenary Exhibition, New York: Pierpont Morgan Library and Los Angeles: UCLA Special Collections, 1994 front pastedown endpaper Frederick R. Goff, Incunabula in American Libraries: a Third Census of Fifteenth-Century Books recorded in North American Collections. Reproduced from the annotated copy, Millwood, New York: Kraus Reprint Co., 1973 Ludovicus Hainius, Repertorium bibliographicum, in quo libri omnes ab arte typographica inventa usque ad annum MD. typis expressi ordine alphabetico, Stuttgart: J. G. Cotta and Paris: Jul. Renouard, 1826-1831; W A. Copinger, Supplement to Hain's Repertorium Bibliographicum, Berlin: Josef Altmann, 1926; Dietrich Reichling, Appendices adHainiiCopingeri Repertorium bibliographicum: additiones et emendationes, Milan: Görlich editore, 1953 K. Haebler, Rollen- und Plattenstempel 1, Nendeln and Liechtenstein: Kraus, 1968 Edward Heawood, Watermarks, mainly of the 17th and 18th Centuries, Hilversum, Holland: Paper Publications Society, 1950 Anthony Hobson, Humanists and Bookbinders: the Origins and Diffusion of the Humanistic Bookbinding 1459-1559, with a Census of Historical Plaquette and Medallion Bindings of the Renaissance, Cambridge and New York: Cambridge University Press, 1989 Anthony Hobson and Paul Culot, Italian and French 16th-century Bookbindings, [ Brussels] : BibliothecaWittockiana, 1990

39

PROLEGOMENA: ABBREVIATIONS

HRHRC

Isaac

Johnson Kristeller

Kyriss Laur. LC Morgan PM L Mortimer

Nixon NUC Olivier Palau PG Piccard PL Proctor

R Ren. Rhodes Rietstap rpep Ryl. s.a. s. notes

40

Craig W Kallendorf and MariaX.Wells, Aldine Press Books at the Harry Ransom Humanities Research Center, the University of Texas at Austin: a Descriptive Catalogue, Austin: Harry Ransom Humanities Research Center, 1998 Frank Isaac, An Index to the Early Printed Books in the British Museum. Part II: MDIMDXX. Section II: Italy; Section III: Switzerland and Eastern Europe, London: Bernard Quaritch, 1938 Alfred Forbes Johnson, A Catalogue of Italian Engraved Title-pages in the Sixteenth Century, [Oxford:] Printed at the Oxford University Press for the Bibliographical Society, 1936 Paul Kristeller, Iter Italicum: a Finding List of Uncatalogued or Incompletely Catalogued Humanistic Manuscripts of the Renaissance in Italian and other Libraries, London: Warburg Institute, 1963-1993 Ernst Kyriss, Verzierte gotische Einbände im alten deutschen Sprachgebiet, Stuttgart: Hettler, 1951-1956 Luciana Bigliazzi et al., Aldo Manuzio tipografo 1494-1515 (Biblioteca Medicea Laurenziana/BibliotecaNazionaleCentrale), Florence: Octavo, 1994 Library of Congress, Washington, D.C. The Pierpont Morgan Library, New York Ruth Mortimer, Harvard College Library, Department of Printing and Graphic Arts: Catalogue of Books and Manuscripts: Part II: Italian 16th Century Books, Cambridge: Belknap Press of Harvard University Press, 1974 H. Nixon, Five Centuries of English Bookbindings, London 1978 The National Union Catalog, Pre-1956Imprints, London: Mansell, 1968-1980 E. Olivier, Manuel de l'amateur de reliures armoriées françaises, Paris: Ch. Bosse, 1924-1938 Annaclara Cataldi Palau, Gian Francesco dAsola e la tipografiaAldina: la vita, le edizioni, la biblioteca delVAsolano, Genova: Sagep Libri & Communicazioni, 1998 J.-P. Migne, ed., Patrologia cursus completus: series Graeca, Parisiis: Migne, 1857-1887 Gerhard Piccard, Die Wasserzeichenkartei Piccard im Hauptstaatarchiv Stuttgart: Findbuch, Stuttgart: W. Kohlhammer, 1961-1983 J.-P. Migne, ed., Patrologiae cursus completus: series Latina, Parisiis: apud Garnieri fratres, 1841- {Patrologia Latina Database, Alexandria, Virginia: Chadwyck-Healey, 1995) Robert Proctor, An Index to the Early Printed Books in the British Museum: from the Invention of Printing to the Year 1500. With Notes of those in the Bodleian Library, 1898-1906 (London: The Holland Press, I960) see above H Antoine-Augustin Renouard, Annales de l'imprimerie des Aide ou histoire des trois Manuce et de leurs éditions, ed. 3, Paris 1834 (New Castle, Delaware: Oak Knoll Books, 1991) Dennis Rhodes, Silent Printers: Anonymous Printing at Venice in the Sixteenth Century, London: British Library, 1995 J. B. Rietstap, General Illustrated Armorial, Lyon: Sauvegard historique, [ca 1953-54] rear pastedown endpaper Catalogue of the Printed Books and Manuscripts in the John Rylands Library, Manchester, Manchester: J. E. Cornish, 1899 sine anno shoulder/side notes

PROLEGOMENA: ABBREVIATIONS

Schunke Shaw

Spreti

Tinto TSF

Use Schunke, Die Schwenke-Sammlung gotischer Stempel- und Einbanddurchreibungen, Berlin: Akademie-Verlag, 1979-1996 David J. Shaw, 'The Lyons Counterfeit of Aldus's Italic Type: a New Chronology' The Italian Book1465-1800: Studies presented to Dennis E.Rhodes on his 70thBirthday, edited by Denis V Reidy, London: The British Library, 1993 Vittorio Spreti, Enciclopedia storico-nobiliare italiana: famiglie nobili e titolate viventi riconosciute dal R. governo d'Italia compresi: città, comunità, mense vescovili, abazie, parrocchie ed enti nobili e titolati riconsciuti, Milano: Ed. enciclopedia storico-nobiliare italiana, 1928-1932, Milano: Stirpe, 1935 Alberto Tinto, Il corsivo nella tipografia del cinquecento. Dai caratteri italiani ai modelli germanici efrancesi, Milan: Il Polifilo, 1972 John Dreyfus, ed., Type Specimen Facsimiles /-//, [Toronto:] University of Toronto Press, 1963-1972

41

PROLEGOMENA: ACKNOWLEDGMENTS

It is a pleasure to record our gratitude to Franklin D. Murphy for his role in the creation and development of the Aldine collection at UCLA. Hardly less are we grateful to the Ahmanson Foundation, and Lee Walcot and Robert Erburu in particular, for generously supporting the development of the collection and for making the present catalogue possible. Additionally, we are very pleased to commemorate Lloyd E. Cotsen and the Cotsen Family Foundation, Los Angeles, for his generous gift in memory of Dr Murphy. Our sincere thanks likewise go to UCLA's University Librarian, Gloria Werner, and two successive Associate University Librarians for Collections and Technical Services, Brian Schottlaender (now University Librarian, University of California, San Diego) and Cynthia J. Shelton, for encouraging and facilitating the enterprise throughout its course. The original, draft, version of this catalogue was researched and published, in six fascicles, between 1988 and 1994. The work itself was chiefly performed by a succession of student-assistants, mostly graduate students from UCLA's Graduate School of Library and Information Science and the Department of Classics: Laurel Bowman, Michelle Carey, Kathryn S. Chew, Sue A. Kaplan, Frank S. Russell, Deirdre von Dornum, Bradley D. Westbrook, Ellen M. Wright and the late Bernadine J. L. M. Zelenka. Between the completion of the draftcatalogue and the formal beginning of this final version, aid was provided by Stephen J. Pigman, Rebecca Resinski and Liza Walton. Late in 1996, the Ahmanson Foundation kindly provided a grant to allow a final version of the catalogue to be prepared. Sue A. Kaplan returned to the project as associate editor and Nicolas Barker as editor, with Paul Naiditch as general supervisor. A series of Library Assistants, drawn variously from UCLA's Graduate School of Education & Information Studies, the Departments of Classics and History, and from the Charles E. Young Research Library itself, enabled the project to advance and, within about four years, to be completed: Paul Arenson (1998-99); Gerald Benoit (1997); Trevor J. Bond (1997-98); Thomas Browne (1998-99); Kathryn J. DePret-Guillaume (1998-99); Rebecka Lindau (1996); Nancy Llewellyn Menn (1998); Melissa J. Schons (199798); Rebecca A. Strong (1997-2000); and Deborah Whiteman (1997-99). The typographic demands of a catalogue on this scale were large, and we were fortunate in finding two artists equal to them. Matthew Carter, Carter & Cone Type, Cambridge, Massachusetts, designer of Wilson (Greek) and Miller (roman), the first entirely successful match of Greek and roman type in digital form, adapted them to the needs of the project (renaming them Manutius).The reconfigured founts required many special characters, whose varying shapes and number tested his skill and patience to the utmost. To the success of his work the ensuing pages are the best tribute. Their elegance, a notable achievement in a work of severely technical character, is due to Gerald Lange, of The Bieler Press, Marina del Rey, California, who had chief responsibility for the book's typographic design. This again was a task that went far beyond the normal task of laying out printed matter. His enquiring mind looked beyond its original form to the reasons for thus presenting it; this Socratic approach immeasurably improved the logic of its arrangement. His sure but unassertive sense of design has given it further grace. To both we are especially grateful. Many scholars, researchers and administrators took time to answer our enquiries or to help advance our work, and we are glad to make acknowledgement of their aid. We begin with contributors from UCLA's Charles E. Young Research Library. From the Department of Special Collections, Susan M. Allen (now Chief Librarian, the Getty Research Institute for the History of Art and the Humanities, Los Angeles); Charlotte B. Brown, interim head; Victoria Steele, Head; David S. Zeidberg (now Avery Director of the Henry E. Huntington Library, San Marino, California); the late James G. Davis and the late F. Brooke Whiting, formerly Rare Books Librarians, and Daniel J. Slive, Rare Books Librarian, and their assistants Lucinda Newsome and Harumi Ziegler; Anne Caiger, Head, and Chuck Wilson of the Manuscripts Division; Dale E. Treleven, Director, Oral History Program; Jeff R. Rankin, Supervisor of Reader Services, and Octavio Olvera, Public Service Division; and Suzanne Shellaby (Librarian/Archivist) and Dennis L. Bitterlich (Archives Assistant), University Archives; and Eunice C. MacGill, Administrative Assistant. From Acquisitions, Andrew J. Stancliffe, Head. From the

42

PROLEGOMENA: ACKNOWLEDGMENTS

Bibliographers Group, Ruby Bell-Gam, Leon Ferder, David Hirsch, Katalin Radics, Elizabeth Sally and Ray Soto. From Cataloging, Patricia H. Hall and Janice E. Matthiesen. From Library Business Services, Sonia J. Luna (Director) and Herbert Jones. From Reference, Christopher D. G. Coleman, Norma Corral and Miki Goral. From the William Andrews Clark Memorial Library, Bruce Whiteman (Head Librarian) and Stephen Tabor (now of the Henry E. Huntington Library). From the UCLA Department of Classics, Profs. Andrew R. Dyck, Bernard Frischer, Michael Haslam, Bengt Löfstedt and Brent Vine; from the Department of History, Profs. Mortimer H. Chambers, Richard Rouse and Mr Michael Seaman; from the Department of Italian, Prof. Edward Tuttle; from the Graduate School of Education & Information Studies, Michele Cloonan; and from the California Center for the Book, Sidney Berger, Director. In addition, we are pleased to thank John B. Ahouse, Jr., Department of Special Collections, Doheny Memorial Library, University of Southern California, Los Angeles; Tracy Arcaro, Rare Books and Special Collections, Library of Congress, Washington, D. C.; John Bidwell, Pierpont Morgan Library, New York; Melissa D. R. Conway, Washington, D.C.; H. George Fletcher III, New York Public Library; Rowan Gibbs, Wellington, New Zealand; John Goldfinch, Illustrated Incunabula Short-Title Catalogue; G. P. Goold, late of Yale University, New Haven, Connecticut; Richard Janko, University College London; Craig Kallendorf, Department of English, Texas A & M University, College Station, Texas ; William Kemp, Research Assistant, French Department, McGill University, Montreal; David McKitterick, Trinity College, Cambridge; Randall McLeod, University of Toronto; Michael Meredith, Eton College, Windsor; Paul Needham, Princeton University, New Jersey; Edward N. O'Neil, late of the University of Southern California, Los Angeles; Richard J. Oram, The Harry Ransom Humanities Research Center, the University of Texas, Austin; Annaclara Cataldi Palau, London; Maria Pantelia, Thesaurus linguae Graecae, University of California, Irvine; Paul Quarrie, Sotheby's, London; Bernard M. Rosenthal, Berkeley, California; Fred Schreiber, E. K. Schreiber, New York; Ross Scimeca, Hoose Philosophy Library, University of Southern California, Los Angeles; Franklin V. Spellman, Krown & Spellman Booksellers, Culver City, California; David M. Szewczyk,The Philadelphia Rare Books & Manuscripts Company, Philadelphia; MikeTice, Los Angeles; Ivy Trent, Cotsen Children's Library, Los Angeles; Gerald R. Wager, Library of Congress; and Jeff Weber, Jeff Weber Rare Books, Glendale, California. We thank as well the Bodleian Library, Oxford; the British Library, London; the Getty Research Institute for the History of Art and the Humanities, Los Angeles; the Henry E. Huntington Library, San Marino, California; the John Rylands Library, Manchester; the Library of Congress, Washington, D.C.; the Pierpont Morgan Library, New York; and the Victoria and Albert Museum, London, for courtesies variously to Mr Barker, Ms Kaplan and Mr Naiditch. Lastly, we wish to express our gratitude to James Clark and Anthony Crouch of the University of California Press for their help in bringing this project to its close.

43

A L D U S THE ELDER 1495-1515 ENTRIES 1-130

ALDUS T H E E L D E R

1.

Constantinus Lascaris March

odium prohibent'). The watermarks suggest that this vol-

8,1495

In hoc libra haec Continentur. | Conftantini Lafcaris ume was prepared before the Musaeus; see Barker (1992) Erotemata cu interpretatione latina. | De Iris graecis ac diph- pp. 52 n. 19,119.

TITLE:

thogis et queadmodu ad nos ueniat. | Abbreuiationes quibus A1 L33e 1495 frequentiflime graeci utuntur. | Oratio Dominica & duplex falutatio Beatae Virginis. | Symbolum Apoftolorum. | Euange- 2. Musaeus cal495 lium Diui Ioannis Euangeliftae. | Carmina Aurea Pythagorae. | I N C I P I T : A X I B F o PCU^AIBJ ro7g crrnvSaiotg \ iv7rfamiv Phocilidis uiri fapientiflimi moralia. Omnia fuprafcripta | C O L O P H O N : EITAOH EN ENETiAIE AAIIA-|NHI KAi habent eregione interpretatione latina deuerbo ad uerbu. AESIOTHTI AA-|AOTTOT J/M>V | A t a t p o f a

| Tov avrov

affTTiir y]fuxx.tovg'\Tov

av-

70v ipya. xa.1 ¿/¿¿par | Ha:c infunt in hoc libro. |Theocriti Eclogae triginta. | Genus Theocriti & de inuentione bucolicorum. | Catonis Romani fententiae paraeneticas diilichi. | Sententiae feptem fapientum. | De Inuidia. |Theognidis megarenfis ficuli fententiae elegiacae. | Sententiae monoftichi per Capita ex uariis poetis. | Aurea Carmina Pythagorae. Phocylidae Poema admonitorium. | Carmina Sibyllae erythraeae de Chrifto Iefu domino nro. | Differetia uocis. | Hefiodi Theogonia. | Eiufdem fcutum Herculis. | Eiufdem georgicon libri duo. COLOPHON: ImprefiumVenetiis charadleribus ac ftudio Aldi Manucii Ro|mani cum gratia &c. .M.CCCC.XCV Menfe februario

(A-Alr) title (A-Alv) letter from Aldus the Elder to Battista Guarini (A-A2r-E Elv) Theocr. id. I-XVIII (E-Elv-E-E3v) 'Mosch.' epitaph. Bion. (E-E3v-E-E6r) Mosch. Eur. (E-E6v) Eros drapeta (Z-Flr) Theocr. id. XIX (Z-FlrZF2v) Bion. epitaph. Adon. (Z-F3r-Z-F3v) Theocr. id. XX (Z-F3v-ZF5r) 'Theocr.' id. XXI (Z-F5r-Z-F6v) 'Mosch.' Megara 11.1-13; after 1.13, text repeats epitaph. Bion. of EE2r 11.15ff. (Z-F6v-0 G3r) Theocr. id. XXII ( 0 G 3 r - 0 G4r) 'Theocr.' id. XXIII (0-G4v) Theocr. Syrinx ( 0 G5r) auct. CONTENTS:

51

ALDUS T H E E L D E R

incert. de morte Adon. (0G5v) vit. Theocr. ( 0 G 5 v - 0 G 6 r ) de inventione bucolicorum (0-G6v) blank (ZZ-^lr-ZZ 'Caton.' gnom. (ZZ-^lr-ZZ-^8v) maxims of the Seven Sages (ZZ-^9r-ZZ-^9v) auct. incert. de invidia (ZZ-^lOr) register (ZZ-^lOv) blank (AA-ACAT-TT-yy5r) Theogn. eleg. I ( r r ^ s v - A A - i ^ v ) auct. incert. maxims (AA-ii8r-EE-££lr) 'Pythag.' carm. aur. (EE-££lv-EE-££5r) 'Phocyl.' mor. preceded by an unidentified verse attributed to Phocyl. (EE-EE5VEE-t£6r) auct. incert. orac. sibyl. VIII 218-50 with heading, from Eus. Constant, orat. ad sanct. coetum c. 18 (EE-£t6v) auct. incert. de differentia vocis (a-alr-yc2r) Hes. theog. (yc2r-ycl0v) 'Hes.' scutum preceded by summaries (yclOv) note on authorship of scutum (i-dlr-£-e7r) Hes. op. et dies (s-e7v) register for Hes. (£-e8r) colophon (£-e8v) section-title for Hes. FORMAT: 2° AA-A-D8 E-E-0-G6ZZ-jf/ATa}V, Qi(hxia. Svo-1 AfizortXovs /nyj^aviKuv, (hifixlov tv-1 Toy avrov TUV [/.tra ra cpvcrma,, (iifiXta isjcareWopa-1 Qeotpfafou TUV (¿TTA. TO. fa%yfhio\rtirog- fiifixl " a' | Toy avrov mfl note (air) letter from Aldus the Elder to his readers (alv- vtorrtrxa! yyfcog, xa! avanvoijg- \ xa! ¿coljg- xa! Oavarov (itb2r) two epigrams by Marcus Musurus (b2v-b6r) Musaeus, fiXta y' | Toy avrov mfl mtvfiarog- (bif&xiov a! \ Toy avrov mfl Hero et Leander with facing Latin text (b6v-b7r) verse of Xpcofcarciiv, (iif&Xtov a \ Tov avrov (pvatoyvaftixav, (t>i(&xlov a' | Antipater with facing Latin text and two woodcuts (b7v- Toy avrov mfl Oavfcamuv axovaftarav, fZiSxiov a' \ Tov avrov mfl ZevoQavovg• xa! Zqvavog- xa! \ Yofyiov, Soyf/Aruv- GiGxiov bl2r) Hero et Leander cont. (alOv) colophon (bl2v) blank 1012 FORMAT: 4°. ab (rom.) (b2 'b', b5 '5'). 22 u n n u m b e r e d a | Toy avrov mfl aroywv yfa.yt.yiMV (htflxiov a! | QtoQfazov leaves. Type: Rl:130 (leaded); Gkl; Gk2. N u m b e r of lines: mfl ¡%6VG.IV (iifixlov a | Toy ayroy mfl 'txlyyaiv, (ZiGxJov a \ Tov 20 + 1. Leaf: 210 x 154. Type area: 152 (144) x 103 (Greek); avrov mfl xonw, (btf&Xtov a' \ Toy avrov mfl oayuav [liQxiov a' \ Toy avrov mfl itifclirwv, (hiQxiov a' 139 (136) x 100 (Latin). TITLE:

Decorated initials. Two woodcut illustrations. PAPER STOCK:

scales 2 0 - 2 3

BINDING: Paris, Chambolle-Duru, s. XIX 2 (214 x 157 x 7). Red goatskin over boards, triple fillet outer border in seven-

EV ivtrlaig, iv o'txla AxSov rov yavovriov | XH H H H • AAAATTTT • yafiyXiuvotr 6v-tt2t) Alciphr. epist. 1 - 2 = 4 4 - 6 7 H. (rr2v-$lv) Philostr. the Elder, epist. 40-44,65-66,49,45,67,48,73, 68-72,14,35,37,18,60,33,32,16,3,54,1-2,46,20,9,40,17, 63,4, 21, 27, 22, 5,47, 6-7, 23, 8, 28,11, 50,10,12,56, 29, 2 4 25, 57, 26, 30, 13, 31, 58-59, 14-15, 4 6 8 - 4 8 6 ( vyta Trauptyr, Xifyv Kara, goiyiiov- \ Zcoaiuog yafyuog Xtfyig logue (Sotheby's, May 24,1825). Shelf-mark 'L L12-' on fpep. fqrofinas, Kara soiytlov | KaiKtXtog aiKtXiuTtig ¡¡cXoyfjv xifyuv Booklabel ofTempleton Crocker (1884-1948). Kara goiyiiov-1 Aoyylvog b Kaatriog, XtZptg kclto. ^otyttov- \ AovREFERENCES: Ren. 70:11; Adams S2062; BMSTC I 651; mpKog fZyifvrtog, arriKag Xt%tig- \ lovgivog lovXiog crotpi^g, HRHRC imro- 118 ui]v tcov TafiCptXov yXuaauv, €i€x!ojv ivvtvv)\Kovra ivog-1 FIclkclFor dating of the work, see Fletcher (1988) pp. 107ff. rog mpi avvyOeiatr arriK>jg Kara $ci'/uov \ TlaficpiXog, Xiipoiva 233 A4S94 X&ji(iiv miKtXojv mpioyyv €i€xia>v ¿vvivqKOvru mvre-'est\ Si*Z aTTO rov 1 soiytiov, tug tov co• ra am tov a, /¿¿xpt tov S, Zil7rvf/a>v imwoiYiKii- | Yluxiuv aXefytvifevg, ¿ttikcov Xi^ioju avvuyuyyv120. Rhetorica ad Herennium March 1514 Kara sotyuov| [Aldine device] TITLE: IN HOC VOLVMINE HAEC | CONTINENTVR-1 Z O T I A A - OI A E Z T N - | T A H A M E N O I T O T T O , A N A P E S

Rhetoricorum ad C• Herennium lib. IIII-1M- T- Ciceronis de inuentione lib. II-1Eiufdem de oratore ad Quintum fratrem lib. Ill-1Eiufdem de claris oratoribus, q dicitur Brutus: lib. 1.1 Eiufdem Orator ad Brutum lib. I-1 Eiufdem Topica ad Trebatium lib. I-1Eiufdem oratories partitiones lib. I-1Eiufdem de optimo genere oratorum prœfatio quœdam- | [Aldine device] | Hos libros etiam, Vontificum Alexandri, hdij, ac FORMAT: 2°. aa-z\{? &coa AA-Z* 8 &I28 AA AA8 (rom.) (b/3l Leo-[rais demum decretis, nequis alius ufquâ loco- \rum im'bl', LA3 'LA2', &ii4 '04'). 392 unnumbered leaves. Type: pune imprimat, cautum eftGk3. Number of lines: 56 + 1. Leaf: 330 x 220. Type area: COLOPHON: VENETIIS IN AEDIBVS AL|DI, ET AN258 (252) x 160,2 cols. Catchwords. Guideletters in initial spaces. Aldine devices: DREAE SOCE|RI MENSE MARTIO |M. DXIIIICONTENTS: (*lr) title (*lv) blank (*2r-*6v) preface from AlA3c. dus the Elder to Andrea Navagero (alr-flv) auct. incert. PAPER STOCK: a n c h o r 6 - 7 ; c r o w n 15,17; h a t 3 0 , 3 2 rhet. ad Her. (/2r-/4v) Cic. de inven. (mlr-x8v) de orat. (ylrTHIS COPY: ruled in red throughout B8v) Brutus (Clr-E8v) orator (Flr-Glv) top. (Glv-H6v) part, BINDING: Paris, 'Grolier's Last Binder,' ca 1565 (328 x 227 X orat. (H7r-Ilr) de opt. gen. (Ilr) register, colophon and edi69). Olive goatskin over paste boards, remains of two pairs tor's note (Ilv) blank (I2r-I3v) errata (I4r) blank (I4v) Aldine of ribbon-ties at fore-edges; border of two pairs of inter- device COLOPHON: VENETIIS IN AEDIBVS ALDI, ET | ANDREAE SOCERI-IMENSE FEB-M-V-XIIII. CONTENTS: (aalr) title (aalv) letter from Aldus the Elder to his readers (aa2r-AA AA7r) Suda (AA AA7r) register and colophon (AA AA7v-AA AA8r) blank (AA AA8v) Aldine device

m

ALDUS T H E E L D E R

4°. *6 A - F I* m-z8 A-H 8 1 4 (rom.). 254 leaves, fF. [6] 1-244 [4] (133 '141', 139 '147', 201 '101', 216 '224', 218 '226'). Type: 11:79-Number of lines: 1 + 39 + 1. Leaf: 206 x 128. Type area: 160 (153) x 84. Title leaf signed. Sig. k'h'. Catchwords. Guideletters in initial spaces. Aldine devices: A6. PAPER STOCK: anchors; h a t 4 0 ; scales 1 0 4 - 1 1 0 B I N D I N G : Paris (?), ca 1 9 0 0 ( 2 1 5 x 1 3 6 x 3 6 ) . Crimson goatskin over boards, gilt Aldine anchor device on both boards; single gilt fillet on board edges. Spine, six compartments, 'CICERO I - I OPERA | RHETORICA' in second, 'ALDUS 1514' at foot; five raised bands, blind fillet above and below. Gilt edges; foliate roll enclosing single gilt fillet on turn-ins. White laid endpapers. Red, white and green silk head- and tailbands.

4°. *8 aa-bb8 cc10 a-h8 i* k-zB A-Q 8 (rom.). 342 leaves, ff. [34] 1-308 (117'123', 210'220'). Type: 11:80. Number of lines: 1 + 39 +1. Leaf: 211 x 135. Type area: 162 (156) x 83. Sig. k 'h'. Catchwords. Guideletters in initial spaces. Woodcut diagrams. Aldine devices: A5. PAPER STOCK: hat 41; scales 106-108,111-114 B I N D I N G : Cambridge, England, Nicholas Spierinck, ca 1520 (221 x 145 x 56). Calf over unbevelled wooden boards, lacks two clasps and catches which fastened on the lower cover; blind-tooled with vertical and horizontal strips of roll-tooling outlined by line border, the rolls are: (1) Spierinck's signed animal roll of wyvern, lion, griffin, 'n.s.'= Oldham AN.f. (2) and (2) a diaper roll used in the center= Oldham Dl.a. (2). Spine, five compartments, undecorated; four prominent double bands. Plain edges, the title 'Cato PROVENANCE: Some early corrections in text. French bookfiue Varrò,' written lengthwise up the fore-edge. White laid seller's description pasted onto ffep (s.XX1). pastedowns and rear free endpaper. Leaves from Bible lectionary (England?, s. XV) originally pastedowns, bound in R E F E R E N C E S : Ren. 65:1; Adams C1676; BMSTC1175 as free endpapers. Silk head- and tailbands over gut core, Z 233 A4C48r now almost entirely lost. Dark-red goatskin slipcase made by Rivière and Son. 121. Scriptores rei rusticae May 1514 For Spierinck of Cambridge, see G. J. Gray, The Earlier TITLE: LIBRI DE RE RVSTICA | M. CATONIS LIB. 1.1 M. Cambridge Stationers and Bookbinders, Oxford 1904, pp. TERENTII VARRONIS LIB. Ill- | L. IVNII MODERATI 43-53, and J. B. Oldham, English Blind-Stamped Bindings, COLV-IMELLAE LIB. XII. | E i u f d e m de arboribus liber feCambridge 1952, pp. 13-16. paratus ab alijs, quare autem idfa-\étum Juerit: ojlenditur in epijlola ad leélorem. | PALLADII LIB. XIIII. | De duobus PROVENANCE: Inscription'Su Henrici Joliffi', on fpep; Henry dierum generibus: Jimulq; de umbris, fcf horis, quae apud | Joliffe, B.A. Cambridge 1522-23, M.A. 1526, B.D. 1537-38, Palladium, in alia epijlola ad leéìorem. | Georgij Alexandri- Fellow of Clare College, Cambridge, and of Michaelhouse, ni enarrationes prijcarum diélionum, quœ in his | libris Prebendary of Worcester 1542-59, Dean of Bristol 1554-59, Catonis: Varronis: Columella• | [Aldine device] | IIos libros deprived under Elizabeth and retired to Louvain. Chester Ponti/icis etiam Leonis decreto, \ nequis alius ufquam loco- Warde (s. XVI), inscription on fpep. Note on cclOv and marginalia in more than one sixteenth-century hand. Bookplate rum impu\ne imprimat, cautum eft. of Rev. Thomas Henry Passmore, M.A. (fl. 1894-1935), BritC O L O P H O N : VENETIIS IN AEDIBVS | ALDI, ET ANish religious writer, on fpep. Booklabel of Templeton CrocDREAEISOCERI MENSE MA | IO M. D. XIIII. ker (1884-1948), on fpep. C O N T E N T S : (*lr) title (*lv-*2r) privilege from Pope Leo X, FORMAT:

Nov. 28,1513 (*2v) preface by Giovanni Giocondo to Leo X, May 15,1514 (*3r) letter from Aldus the Elder to the reader (*3v-*6r) letter from Aldus the Elder to the reader (*6v-*8r) errata (*8v) blank (aalr) section-title with Aldine device and warning (aalv) letter from Giorgio Merula to Pietro Priuli (aa2r-6ò7r) glossary of terms from Cicero, Varrò and Columella (bb7v-bb8v) letter from Merula to Bernardo Giustiniani (cclr-cc9v) table of contents for Cato, Varrò and Columella (cclO) blank (alr-c6v) Cato de agr. (c7r-i4v) Varr. de re rust. (&lr-G8v) Colum. (Hlr) blank (Hlv) table of contents for Pallad. de re rust. (H2r-Q5r) Pallad. de re rust. (Q5v-Q8r) de insitione (Q8r) register and colophon (Q8v) Aldine device

112

FORMAT:

REFERENCES:

Ren. 66:2; Adams S805; BMSTC 1160

Z 233 A4S43 122. Hesychius August 1514 TITLE: HSTHIOT AEHIKON-1 HESYCHII DICTIONARIVM. | [Aldine device] Venetiis in Aedibus Aldi | & Andreae Soceri Menfe | Augufto. M.D. XIIII. COLOPHON:

(air) title (alv) preface from Aldus the Elder to Giovanni Giacomo Barulone (alv) Suda H611 (a2r) letter from Hesychius to the reader (a2v-B4v) Hesych. (B5r) register and colophon (B5v-B6r) blank (B6v) Aldine device CONTENTS:

ALDUS THE ELDER

FORMAT: 2°. a-z 8 A8 B 6 (rom.). 198 unnumbered leaves. Type: R6; Gk3 (second casting); 11:79- Number of lines: 56 + 1. Leaf: 317 * 210. "I^pe area: 256 (253) x 160,2 cols. Sig. k 'K'. Catchwords. Guide-titles: 'Hefichius.' a ($2); 'Hefychius.' b ($1); 'Hefych.' a ($3-4), b ($2-4), c-z, A-B ($1-4). Guideletters in initial spaces. Aldine devices: A3c.

COLOPHON: VENETIIS APVD ALDVM, ET | ANDREAM SOCERVM | MENSE AVGVSTO| M- DXIIIICONTENTS: (Air) title (Alv) letter from Aldus the Elder to Janus Vyrthesis, Aug. 1514 (A2r-t3v; BIO blank) Athen. (t3v) register and colophon (t4r) blank (t4v) Aldine device FORMAT: 2°. A10 B10 (arab.) a-s 8 1 4 (rom.). 168 leaves, pp. 1-38

PAPER STOCK: a n c h o r 6 - 7 , 9 ; c r o w n 1 5 , 1 7 ; h a t 3 0 , 3 2

[2] 1-87 80-81 9 0 - 2 9 4 [2] ( 2 0 '22', 29 '27'; 35 '34', 68 '78',

BINDING: Italy, s. XVI/XVIII (327 x 225 x 35). Half vellum over paste boards with coarse buff paper sides. Spine made of thin vellum pasted to thick paper laid between bands, four compartments, 'H[esychij] | Diction | l a editio | A' in ink in first; three raised bands, perhaps surviving from original binding, attached by new sewing through endpapers to new boards (s. XVIII). Blue and red sprinkled edges, lettered 'Hesychij Diet: Grae' on upper (s. XVIII). Coarse Silurian off-white endpapers, watermark monogram 'IB'. Unbleached thread head- and tailbands.

224 '222', 235'135').Type: Gk3 (second casting); Gk4; 11:80;

PROVENANCE: On title: Inscription 'Clericoru regulariu Domus S li Syri Genue' (ca 1600). Stamp 'BIBLIOT S. SYRI IANVEN' cross on mount below scroll (ca 1700). Oval stamp, cross on mount, lettered 'SSG' (s. XVIII 2 ). Bluegreen stamp 'BIBLIOTECA DELLA RA UNIVERSITÀ DI GENOVA'(s. XIX). REFERENCES: R e n . 6 6 : 3 ; A d a m s H 5 0 6 ; B M S T C 1 3 2 7

Editio princeps *Z 233 A4H46 123. Athenaeus August 1514

R6. Number of lines: 2 + 54 + 1. Leaf: 324 x 208. Type area: 260 (244) x 150. Page numbers 1-38 (first sequence) preceded by a . Catchwords. Guide-titles: Athenaeus.' a - t ($1), A ($2); Athen.' a - t ($2-4). Numbered lines. Guideletters in initial spaces. Aldine devices: A3c. PAPER STOCK: anchor 6,9; crown 15,17; hat 3 0 , 3 2 THIS COPY: l a c k s BIO

BINDING: London, ca 1800-10 (335 x 225 x 27). Russia over boards, broad gilt French fillet border; corners of board edges gilt with diagonal dotted fillet. Spine, six compartments, ATHENAEUS' in second and 'ALD 11514' in fifth, lozenge tool in others; five raised double bands, fine dotted fillet gilt on each, gilt fillet above and below, Greek frieze roll between. Gilt edges; gilt foliate roll on turn-ins. Gloster marbled endpapers (fine dark-blue with dark-green, red and ochre); original white laid flyleaves with watermark anchor on rfep. Pale-blue silk double head- and tailbands; dark-blue silk marker. The binding is in the style of Walther (late). Offsetting on original flyleaves may indicate earlier inscription on endleaves now missing.

TITLE: A T H E N A E V S | À 0 H N A Ì O T Attmoaocpt^ov ryjv TTOXV[/.otfìisaTViv • K f a y y . a T t l a v vvv 'tZfis'i aot (piXoXoyov fiacpov \ TTfta.PROVENANCE: 'fl-.10-1 ± TOVTO TOV XTQ/XA TOV arttpavov W/2 'a2'). 250 leaves, ff. [ 2 ]

135. Lucan July 1515

1-244 [ 4 ] (217 '227'). Type: 11:79- Number of lines: 1 + 30 + 1.

TITLE: L V C A N V S

Leaf: 161 x 92. Type area: 126 (120) x 65.

COLOPHON: V E N E T I I S I N AEDIBVS A L D I , | ET A N D R E A E SOCERI MEN-|SE IVLIO- M- D- XVCONTENTS: ( a i r ) title (alv) letter from Aldus the Elder

Sig. k 'K'. Signature catchwords. Guideletters in initial spaces. One double-page woodcut map; 2 woodcut charts (one double-page). Aldine devices: A 2 (crlr, H8v); A5a (air). PAPER STOCK: H 2 3 5 / 8 ; M ( 2 4 ) / 8

123

H E I R S OFALDUS THE ELDER

Paris, Derome the Younger, ca 1785 (166 x 9 9 x 29). Black pebble-grain goatskin, blind double fillet border; gilt zig-zag with circle roll on board edges. Flat spine, six compartments, divided by blind dotted/plain/dotted fillets, 'DANTE' gilt in second. Gilt edges; floral and foliate rolls, single fillet between, on turn-ins, all gilt. Bright-red watered silk endpapers over off-white laid flyleaves. Green, white and red silk head- and tailbands; pink silk marker. Binder's label 'Reliépar \ DEROME le Jeune, \ demeure présentement \ rue St. Jacques près le \ Collège du Plejiis, Hôtel | de la CoutureN°. 65. en 1785'. BINDING:

PROVENANCE:

VENETIIS IN AEDIBVS ALDI, | ET ANDREAE SOCERI MEN-|SE AVGVSTO. M. D. XV

COLOPHON:

FORMAT: 8 ° REFERENCES:

See no. 138.5A for gathering bound in the 1515 Gellius. 138. Gellius September 1515

Ren. 73:8; Adams D88; BMSTC I 209; Pa-

TITLE: AVLI GELLII NOCTIVM | ATTICARVM LI-|BRI VNDEVI|GINTI-| [Aldine device]

lau 8 Z 233 A4D23 1515 136.5. Another issue with line 3 of title ending in 'De=' and with device A5a on title (wlr). Errors in foliation: 87'78', 143 '128', 217*227'. Leaf: 174 x 114. PAPER STOCK: H235/8 lacks second title (air). Later engraved portrait of Pietro Vettori ( Victorius) and foldout engraving of medals honoring Vettori bound in following 7r2. B I N D I N G : Rome (?), ca 1 7 2 9 , sides only remaining laid down on s. XX binding (181 x 120 x 35). Red goatskin over double gilt fillet border within gilt dogtooth roll, arms in center in blind. Spine, six compartments, formed by double fillet/ dogtooth roll, lettered 'RVETTORI | NEL | DANTE' in second and 'ORIGEN. | NOTE' in third, all gilt; five raised bands. Uncut original edges. Large Dutch marbled endpapers (crimson, blue, green and ochre), probably s. XVIII; new white laid flyleaves. Red and yellow cotton thread head- and tailbands.

T H I S COPY:

PROVENANCE: Unknown annotator. Pietro Vettori (14991585), who has annotated the volume heavily. Vettori family, their coat of arms on both covers; the Vettori family library was reorganised, many volumes rebound, and the coat of arms added to the covers by Francesco Vettori in Rome, ca 1729. Shelf-mark 'V E. 244.'The annotated books of the library were bought by Karl Theodor, Elector of Bavaria, in 1780. Armorial bookplate of 'Karl Freiherr Tòffelholz von Colberg K. K. Hauptmann' (ca 1900).

The uncut edges of this copy show that tt1.2. and final gathering H are shorter and thus the woodcut pages are integral to the rest of the printed work; see Fletcher (1994) p. 62. Z233A4D23 1515 c.2

C O L O P H O N : VENETIIS IN AEDIBVS ALDI, | ET ANDREAE SOCERI MEN= |SE SEPTEMBRI- M- DXVC O N T E N T S : (AAlr) title (AAlv-AA2r) letter from Giovanni Battista Cipelli (Egnatius) to Antonio Marsilio (AA2vCC2v) general index (CC3r-DD7r) subject index (DD7vDD8v) blank (alr-Olv) Geli. (Olv) editor's note (02r-Q8r) table of contents (Q8v) blank (Rlr-V4r) Latin translations of Greek terms ( V4r) register and colophon ( V4v) Aldine device

8°. AA-DD8 a-z8 A-T 8 V 4 (arab.) 372 leaves, ff. [32] 1-231 132-133 234-289 [51] (87 '78', 97 '121', 99 '123', 101 '123', 103 '127', 222 '122', 226 '126', 228 '128', 230 '130', 134 '234', 237'137', 239 '139'). Type: 11:80; Gk4. Number of lines: 1 + 30 + 1. Leaf: 162 x 102. Type area: 126 (120) x 69. Sig. k 'h'. Raised point follows signature numeral on BB3, Ql. Catchwords. Guideletters in initial spaces. Aldine devices: A2. FORMAT:

PAPER STOCK:

H235/8

B I N D I N G : England or USA, s. XX (172 x 112 x 43). Brown calf over boards, blind double fillet border (joined with diagonals to inner double fillet border) enclosing diaper panel of fillets with quatrefoils, ten similar tools in outer frame. Spine, four irregular compartments, diaper pattern with three flower tools in center (first and fourth); cross made up of flower tools within double fillet diamond centerpiece, six flower tools surrounding, triple diagonal fillets in corners (in second and third); three double raised bands. Old edges. Old thick white laid endpapers, watermark 'G F' and 'C. & I. HONIG'. Modern brown thread over hemp head- and tailbands. PROVENANCE: Inscription 'George N. Conklin | August 1935', on front flyleaf. REFERENCES:

lau 9

124

Ren. 73:7; Laur. 133.6; Palau 7

Leather booklabel with monogram 'RTB' (s.

XX), on fpep. REFERENCES:

137- Desiderius Erasmus August 1515 TITLE: ERASMI ROTERODAMI OPVSCV|LVM, CVI TITVLVS EST MO-|RLA, IDEST STVLTITIA, | QVAE PRO CONCIO-INE LOQVITVR.

Ren. 73:9; Adams G343; CAMAC 119; Pa-

H E I R S OF A L D U S THE E L D E R

'Incorrect' issue with 'duerniorem' in register and gathering S misimposed; see Fletcher (1988) pp. 126ff. Z 233 A4G28 1515 138.5. 'Correct' issue with 'duernionem' in register and variant setting. Errors: r4 '174', H4 'G4'; ff. [32] 1-231 132-133 234 135 236 137 238 139 2 4 0 - 2 8 9 [51] (46 '64', 227 '125', 228 '128', 288 '882'). Signature catchwords. Leaf: 165 x 90. Lacks DD8. B I N D I N G : London, John Reynes, ca 1 5 2 2 - 3 0 ( 1 7 0 x 1 0 0 x 51). Dark-brown calf over limp paste boards, lacking two pairs of ties. Each cover stamped with a panel in blind: upper cover the Redemptoris Mundi Arma', a shield charged with the Instruments of the Passion in an arched frame, two small shields at upper left and right bear John Reynes's initials in two different forms; lower cover in two levels, above the English royal arms, with griffin and greyhound supporters, below the Tudor rose with angel supporters. Spine, five compartments, void; four double raised bands. Plain edge. The head- and tailbands are too worn for colors to be recognised.

The panels are Oldham REL 5 and HE 21 in the first state with a pomegranate (Catherine of Aragon's badge). G. D. Hobson showed that HE 21 cannot be earlier than 1522 as it is copied from a cut of Thielman Kerver first used in that year. The first state of the Tudor Rose panel is rare after 1530. In about 1532 Reynes had the pomegranate cut out and replaced with a cock, one of Henry VIII's badges (cf. J. B. Oldham, Blind Panels of English Binders, Cambridge 1958, pp. 2 4 , 3 0 plates X X , XXXV).

triple fillet enclosing formal floriate roll, in blind. Spine, four compartments, double fillet borders with arabesque cornerpieces and centerpiece, all blind, two red leather letterpieces (1) 'AULI | GELLI | NOCTES | ATTIGE' in second and (2) 'ALDUS | M.D.XV' in third, gilt with blind cornerpieces as in others; three double raised bands, single blind fillet on each. Gilt edges, gauffered to rope-work-and-roundel-diaper pattern (s.XVI); Auli. gell.' inscribed in large lettera moderna on lower; thin blind floriate roll on turn-ins. French shell marbled endpapers (brown with blue, red and yellow); cream wove flyleaves. Green cotton tailband (false). P R O V E N A N C E : Contemporary notes. Notes in darker ink (ca 1600). Bookplate of Comte Joseph de Lagondie. Z 233 A4G28 C.3 138.5B. 'Correct issue'with signing errors: c4 '¿>4', k2 'Z'2', r4 '94'. Leaf: 162 x 91. Lacks C8; the missing leaf has been made up from two leaves (ff. 2 0 4 - 5 ) from the 1513 Giunta edition, clumsily pasted together, and the woodcut initial roughly colored to match the others. Italy, s. XVIII 2 (169 x 103 x 43). Vellum over boards. Flat spine, brown leather letterpiece 'AVLI | GELLII' within double fillet and floral roll border; five leather sewing bands. Thick white wove endpapers, part of watermark 'S' above oval device on rfep (s. XVIII). Yellow silk head- and tailbands. BINDING:

PROVENANCE: Contemporary Venetian illumination (red and blue initials) and, on air, coat of arms (azure, a pegasus or, a mullet in the dexter chief point of the same) between two cornucopiae. Annotation in a contemporary hand. AnPROVENANCE: Inscriptions 'Jhon boman his book Amen' notation in a clumsier hand (ca 1600). Bookplate of Edward ending with a flourish; 'Jhon boman his | booke A(men) | Augustus Dickson (1879-1956). Amen fecundum', on DD7v. John Pryaulx (?) and scribbling, Z 233 A4G28 c.2 on V4v. An early owner, or early owners, wrote 'Labor omnia vinfet' and 'you are a knave', on D3r and repeated in reverse 139. Aldus the Elder November 1515 on last leaf (V4v). Bookplate of Francis R. C. Grant, on fpep. TITLE: ALDI MANVTII ROMANI GRAMMA-|TICAE INBookplate of Michael Tomkinson, Franche Hall, Worcestershire (bookplate by J. D. Barret) with shelf-mark in pencil STITVTIONES GRAECAE| [Aldine device] 'A C 4'; see Sotheby, July 3,1922, lot 1428. Booklabel of Tem- C O L O P H O N : VENETIIS IN AEDIBVS ALDI, ET | ANDREAE SOCERI MENSE|NOVEMBRI M- DXVpleton Crocker (1884-1948).

Z 233 A4G28

CONTENTS:

138.5A. 'Correct' issue. Leaf: 160 x 92. Lacks gathering B, DD8; gathering B replaced by gathering B from Erasmus of 1515 (no. 137). Northern France (?), s. XIX (165 x 100 x 40). Dark olive-green calf over boards, recasing old binding; BINDING:

(wlr) title (wlv) blank (w2r-aalr) letter from

Marcus Musurus to Jean Grolier, Nov. 13,1515 (aalv) blank

1

(aa2r-rs7v) Aldus the Elder, inst. (r;8r) register and colophon (r?8v) Aldine device 4°. ir2 aa 8 -r? 8 (rom.) (bjSl-b/34 'j0-jS4', cy2-cyi >2-y4'). 138 leaves, ff. [2] 1-122 131-134 127-135 [1] (43 '46', 45 '48', 50 '42', 56 '48', 67 '59', 69 '61', 74 '66', 80 '72', 92 FORMAT:

125

HEIRS OF ALDUS THE ELDER

'84', 94 '86', 110 '111', unfol. 7, 8, 60). Type: R6:89; Gk3 (sec-

140A. Leaf: 160 x 94.

ond casting). Number of lines: 1 + 35 + 1. Leaf: 212 x 152.

BINDING: Paris, ca 1800 (165 x 102 x 15). Blue velvet over

Type area: 167(159) x 102.

boards. Spine, six compartments, void; five double raised

Signature catchwords. Guideletters in initial spaces.

bands. Gilt edges. White laid endpapers; vellum flyleaves.

Woodcut diagrams. Aldine devices: A5.

Red and olive silk thread head- and tailbands.

PAPER STOCK: S357/7; S36/7; H13/8; H238/8; H147/8;

PROVENANCE: Inscription 'Henr. Lud. Haberti De Montmor.

M(X)/8;Fl5(ll)/7

1648', on title; Henri-Louis Habert de Montmort, ca 1600-

BINDING: USA (?), ca 1975 (220 x 159 x 26). Dark-green

79, Conseiller of the Parlement of Paris, later maître de re-

stained calf over boards; scalloped and beaded roll border,

quêtes. Inscription Ant. Aug. Renouard 1793' with shelf-

Aldine device centerpiece, all in blind. Spine, five compart-

mark 'N° 2151.1 +', on verso of front vellum flyleaf. Bookplate

ments, red leather letterpiece 'GRAMMATICA | GRAECA' of Arthur Atherley, of the Southampton family, probably the within solid/dogtooth fillet border in second; four raised

banker (1772-1844) or his son, the minister (1799-1857), on

bands, triple blind fillet above and below. Old edges, letter-

fpep. Coronetted monogram bookplate of George John War-

ed 'Manut. Instit. ling, graec.' on lower. New green, white and

ren, fifth Baron Vernon (1803-66), on ffep.

brown silk head- and tailbands.

Z 233 A4J98s 1501 c.2

REFERENCES: Ren. 73:10; Adams M428; Palau 10 Z 233 A4M32g

141. Ovid January 1516

140. Juvenal [cal515]

fignificationes per Nicolaum \ Leonicum ègrceco translates-\

TITLE: I W E N A L I S . | PERSI VS. | [Aldine device]

XII- Romanorum menfes in ueteribus monimen=\tis Rom ce

TITLE: CLA- P T O L E M A E I

COLOPHON 1: VENETIIS I N AEDIBVS ALDI, ET | A N DREAE SOCERI.

reperti- \ Sex priorum Jlorum

libris

I N E R R A N T I V M | Stellarum

menfium digejlio ex fex Ouidij FA=|

excerpta-| P- O V I D I I N A S O N I S | F A S T O R V M

L I B V I | T R I S T I V M L I B V |DE P O N T O L I B - I I I I |IN I B I N |

COLOPHON 2: VENETIIS I N AEDIBVS ALDI, ET | A N - A D LIVIAM-1 [Aldine device] DREAE SOCERI. MENSE | AVGVSTO M. D.I. COLOPHON: VENETIIS I N AEDIBVS | ALDI, ET A N CONTENTS: ( A i r ) title ( A l v ) dedication by Aldus the Elder DREAEI SOCERI MENSE | IANVARIO | M- D XVIto Scipione Forteguerri (Carteromachus) (A2r-Hl0r) Juv. CONTENTS: (wlr) title (TTIV) blank (7r2r-27r3r) 'Ptol.' inerr. (HlOr) colophon 1 (HlOv) blank (alr-ò4r) Pers. (¿>4r) colosteli, trans. Niccolò Leoniceno (29r3v-2w6r) Roman calenphon 2 and editor's note (64v) blank dar (2flr6v-35rlr) Roman calendar for May, June, Aug., Sept., FORMAT: 8°. A-G 8 H 10 a 8 b* (arab.). 78 leaves, ff. 1-74 73-76 with holidays (37rlv-37r5v) calendar, Jan.-June based on (67'65', 69 '67', 71'69', 73'71'). Type: Il:79- Number of lines: 1

Ovid. fast. (3w6) blank (aaalr) section-title for Ovid (aaalv)

+ 30 + 1. Leaf: 160 x 94. Type area: 127(120) x 65.

blank ( a a a l x - l l l l x ) Ovid. fast. (lllTv-lllSv)

Signature catchwords. Guideletters in initial spaces. Al-

blank (mmmlr-

tttdv) trist. (uuulr-CCC8v) epist. ex Pont. (DDDlr-EEE3v)

dine devices: A5.

lb. (EEE4r-FFF3v) 'Ovid.' cons, ad Liv. (FFF4r) register and

PAPER STOCK: H 2 3 5 / 8

colophon (FFF4v) Aldine device

THIS COPY: ruled in red t h r o u g h o u t

FORMAT: 8°. W-29R8 3OR6 aaa-kkk8 III6 mmm-sss8 ttt6 uuu-

BINDING: Italy, mid-s. XVIII (147 x 109 x 18). Vellum over

zzzB

boards. Spine, five compartments, 'Iuve-|nalis' lettered in

' E E E 4 ' ) 246 leaves, ff. 1 - 2 1 [1] 1 - 8 5 [1] 89-150 1 5 3 - 2 2 7 [1].

ink in second; four raised bands. Dark-blue sprinkled edges.

Type: 11:79- Number of lines: 1 + 30 + 1. Leaf: 146 x 90. Type

White laid endpapers. Unbleached linen thread head- and

area: 126 (120) x 65.

tailbands, over vellum thongs, cut out and into covers. PROVENANCE: Inscription erased on title. 'Di Bartolomeo dal Monte @ 28 Maggio 1743', on ffep. REFERENCES: A d a m s J770; H R H R C 4 0

Second edition: Fletcher device 5 (A5) in use from 1512-16; see Fletcher (1988) pp. 128ff., arguing for 1515. Z233A4J98S1501

AAA-EEE8

FFF4

DDD-FFF

rom.)

(DDD4

Sig. kkk 'KKK'. Folio numbers 1-21 in gatherings *k-1tx on direction line. Signature catchwords. Guideletters in initial spaces. Aldine devices: A 2 (crlr); A5 (FFF4v). PAPER STOCK: H 2 3 5 / 8

REFERENCES: Ren. 78:10; Adams P2238; BMSTC1479; Palami For binding and provenance, see v.l (no. 133). Z 233 A4096 1515 v.2

126

(arab.;

HEIRS OF ALDUS THE ELDER

142. Ovid February 1516

TERCEPTOS REPARAVIT LODOVICVS CAELIVS RHOTITLE: QVAE HOC VOLVMINE | CONTINENTVR-1 Anno- DIGI-|NVS, IN CORPORIS VNAM VELVT MOLEM AGtationes in omnia Ouidij opera• \ Index fabularum, & coete- GESTIS PRI-|MVM LINGVAE VTRIVSQVE FLORIBVS, rorum, quae infant hoc \ librofecundum ordinerà alphabetv \ MOX ADVOCATO | AD PARTES PLATONE ITEM, AC OVIDII METAMORPHO=|SEON LIBRI XV-1 [Aldine de- PLATONICIS OMNI-|BVS, NECNON ARISTOTELE, AC HAERESEOS EIVSDEM | VIRIS ALUS, SED ET THEOvice] LOGORVM PLERISQVE, | AC IVRECONSVLTORVM, VT COLOPHON: VENETIIS IN AEDI|BVS ALDI, ET AN| MEDICOS TACE-IAM, ET MATHESIN PROFESSOS- EX DREAE SOCE|RI MENSE | FEBRVARIO | M. D. XVIQVA VE-ILVT LECTIONIS FARRAGINE FXPLI-|CANCONTENTS: (wlr) title (frtv) letter to the reader (7r2r-47r8r) TVR LINGVAE LATINAE LOCA, | QVADRINGENTIS textual notes on Ovid, her., amor., art. amat., rem. amor., HAVD PAVCIO|RA FERÈ, VEL ALUS INTACTA, | VEL medicam., fast., trist., epist. ex Ponto, lb., 'Ovid.' cons, ad PENSICVLATE PARVM | EXCVSSA. OPTO VALE|AS, QVI Liv., Ovid. met. (4TT8V) blank (57rlr-57r6v) errata (5fl7r- LEGES, LIVO-|RE POSITO, ATTH | TAP"ÀNTIITE-| AAP6?r7r) index of myths (67r7v-67r8v) blank (air) section-title RNZIZ IÌKANH-1 [Aldine device] for Ovid. met. and Aldine device (alv) blank (a2r-C3v) Ovid, COLOPHON: VENETIIS IN AEDIBVS | ALDI, ET ANmet. (C4r) register and colophon (C4v) Aldine device DREAE | SOCERI MENSE | FEBRVARIO | M- D- XVIFORMAT: 8°. a-z6 A-B 8 C* (with direction numbers 1CONTENTS: (AAlr) title (AAlv) blank (AA2r-AA2v) preface 24 printed consecutively on first 4 leaves of gatherings irby Ricchieri (Rhodiginus) to Jean Grolier (AA3r-AA4r) 6tt) (arab.). 252 leaves, ff. [48] 1-204. Type: II :79. Number of preface by Ricchieri to literary scholars (AA4v-CC7v) table lines: 1 + 30 + 1. Leaf: 153 x 95.1>pe area: 126 (120) x 65. of contents (CC8r-DD8v) index of citations from ancient Sig. k 'K'. Signature catchwords. Guideletters in initial authors (EElr-FF4v) index (alr-B7v) Ricchieri, lect. antiq. spaces. Aldine devices: A2 (TTIT); A5 (air, C4v). (B8r-B9r) errata (B9r) register and colophon (B9v-B10r) PAPER STOCK: H 2 3 5 / 8 blank (BlOv) Aldine device REFERENCES: Ren. 78:9; Adams 0482; BMSTC I 479; Pa- FORMAT: 2°. A A - C C 8 D D 4 E E 8 F F 4 a - z 8 & 8 o 8 J* 8 a a - z z 8 && 8 lau 12 OD8 A8 B10 (arab.) (DD2 'D2', xx4 'x4'; B5 rom.). 474 For binding and provenance, see v.l (no. 133). Z 233 A4096 1515 v.3 142A. Leaf: 163 x 95. Device on final leaf: A5a. BINDING: London, Zaehnsdorf, ca 1900 (166 x 102 x 26). Three-quarter red crushed-grain goatskin with large Dutch marbled paper sides (red, yellow and blue). Spine, five raised bands, 'OVID | METAMORPHOSEON' in second compartment, 'LIBRI | XV' in fourth, 'ALDUS 1516' at foot. Large Dutch marbled endpapers; cream wove flyleaves. Gilt edges. Pastedowns with same marbled paper as boards. Red, white and blue silk head- and tailbands. 'BOUND BY ZAEHNSDORF' smoke-stamp on verso of ffep. PROVENANCE: Auguste Heynie (?), on title. Bookplate of UCLA Library, gift of Frederick Mason Carey (1898-1978), Professor of Classics, UCLA, on verso ffep. Z 2 3 3 A 4 0 9 6 m 1516 143. Lodovico Celio Ricchieri February 1516 TITLE: [ i n r e d ] S I C V T I A N T I Q V A R V M COMMENTARIOS

CONCINNA|RAT

LECTIONVM

OLIM

VINDEX

C E S E L I V S , ITA N V N C E O S D E M P E R I N C V R I A M | IN-

leaves, pp. [80] 1-145 145-147 149-243 242-245 248-249 252-255 254-465 468-470 469-476 475-477 476 481-500 499-500 503-506 509-510 509-862 [6] (38 '39', 43 '42', 58 '62', 778 '788'). Type: R6:89; Gk2 (second casting). Number of lines: 1 + 54 + 1. Leaf: 293 x 194. Text area: 249 (237) x 141. Title leaf printed in red. Catchwords. Guideletters in initial spaces. Aldine devices: A3c. PAPER STOCK: S367/8; H247/8; H23/8; H23/5; Fl(ll)/1; F15/8; Fl5(ll)/7 BINDING: Los Angeles, Max Adjarian, s. XX 2 (303 x 203 x 68.). Brown calf over boards, border and panel of thick and thin blind fillets joined at angles; blind pearl and lozenge roll on board edges. Spine, four compartments, lettered 'RICCHIERI | - | SICVTI | ANTIQVARVM' in second and '1516' in third; three raised bands and two kettle stitch bands, thick and thin blind fillet above and below. Old edges (not resewn); double blind fillet on turn-ins. Modern cream laid endpapers, watermark 'OLD HAMPSHIRE BOND'. Brown and green thread head- and tailbands. PROVENANCE: Some annotation at beginning (s. XVII1). REFERENCES: Ren. 79:11 Adams R450; BMSTC I 555; Palaul3 *Z 233 A4R35 127

HEIRS OF ALDUS THE ELDER

144. St Gregory of Nazianzus April 1516

tia | Vhilopfeudes,feu incredulus. \ Tyrannicida \ Declamatio Mori de eodem. | [Aldine device] TITLE: GREGORII N A Z A N Z E N I | THEOLOGI ORATIO| COLOPHON: VENETIIS I N AEDIBVS ALDI, | ET A N NES LECTISSIMAE | XVI-1 [Aldine device] COLOPHON: VENETIIS I N AEDIBVS ALDI, | ET A N - DREAE SOCERI | MENSE MAIO-1M- D X V I . DREAE SOCERI | MENSE APRILI. | M- D. XVI. CONTENTS: ( * l r ) title ( * l v - * 2 r ) table of contents ( * 2 v *7r) preface by Marcus Musurus to Jean de Pins (*7v-*8v) blank (aalr-P07r) Greg. Naz. orationes (P07v) register and colophon (P08r) blank (P08v) Aldine device FORMAT: 8°. *

8

(arab.) a a - z - ^ 8 &AIB A A - P O 8 ( r o m . ) ( A A L '&«',

A A 3 '&A>3'). 3 2 0 leaves, ff. [ 8 ] 1 - 5 6 6 1 - 6 8 65-311 [ 1 ] (112 '96', 166 '156', 216 '206', 279 '269', 287 '278'). T y p e : 11:80; G k 3

CONTENTS: (air) title (alv-a2r) letter from Erasmus to Bishop Richard Foxe, Jan. 1, 1506 (a2v-d\v) Lucian. Tox. trans. Erasmus (d2r) letter from Erasmus to Aurelio Augustino (¿2v-/5r) Lucian. Alex. (f5x-f6v)

letter from Eras-

mus to Christopher Urswick (Ursewicus) { f l r - h S r ) Lucian. somn. (h5v) letter from Erasmus to Thomas Ruthall (Ruthalus) (&6r-Ar4v) Lucian. Tim. (Zc5r-/4r) Lucian. tyran. (/4v-fer) letter from Erasmus to Richard Whitford ( W i t fordus), May 1,1506 (l5v-q3v) Erasm. declamatio ( ($1-4), f? ($1-3). Aldine devices: A3c. FORMAT: 2°. TT2

PAPER STOCK: H 2 3 5 / 8

Paris, s.XIX 1 ( 3 1 0 x 2 0 9 x 2 6 ) . Red straight-grain goatskin over boards, broad foliate roll within two pairs of double fillets, bullet tool in corners at intersecting fillets, quadrilobes and circle tools in square corners formed by overlapping fillet borders, all gilt; broad roll of small repeating diamond pattern on board edges; gilt double hatch marks on head- and tailcaps. Spine, seven compartments, quadrilobe centers poudré, 'PAUSANIAS' in second, 'ALDUS 1516' at foot, all gilt; six raised bands, dotted fillet on each, broad/dotted fillets above and below. Gilt edges; double floriate roll on turn-ins. Stormont marbled paper endpapers; white laid flyleaves. Double blue and white silk head- and tailbands; blue silk marker. BINDING:

REFERENCES:

Ren. 76:3; Adams P521; BMSTC I 496; Pa-

lau 17 *Z 233 A4P28 147. Suetonius August 1516 TITLE: IN HOC VOLVMINE HAEC | CONTINENTVR-1 C- Suetonij Tranquilli XII Cœfares-1 Sexti Aurelij Viétoris àD-CœfareAugujîo ufq;ad\Theodofiumexcerpta-\Eutropij

de gejlis Romanorum- Lib. X. | Pauli Diaconi libri Vili ad Eutropij hiftoriam \ additi• | [Aldine device] VENETIIS IN AEDIBVS | ALDI, ET ANDREAE | SOCERI MENSE | AVGVSTO | M. D. XVIC O N T E N T S : (*lr) title (*lv) blank (*2r-*4r) letter from Giovanni Battista Cipelli (Egnatius) to Jean Grolier (*4v**4v) table of contents for Suet. ( * * 5 r - * * 7 r ) Latin translations of Greek words (**7v-**8r) auct. incert. vit. Suet. (**8v) blank (^lr) letter from Cipelli to the reader %7v) Cipelli, notes on Suet. (2^8) blank (alr-z4v) Suet. XII Caes. (z5r-cc7v) 'Aur. Vict.' de vir. illustr. (cc7v-mm2r) Eutrop. (mm2v-rr8r) Paul. Diacon. (rr8r) register and colophon (rr8v) Aldine device COLOPHON:

8°. *-**BX~2}