.r'^' f^\. '^■•%"A»:-,' ^■^l^i' .k^*:.«v m^w- '^. ^jm * •( 9f^ •IP, fytmll llmv«itg pilr«g THE GIFT OF yf- U)' Hjvt/u^ A , \'^'\o%z -^ ?/;/ II o( Cornell University Library Z251.G7 P96 + Printing of Greek n the fifteenth centu 3 1924 029 500 414 olin Overs Early Oxford Bindings. By Strickland Gibson. (Printed for the Bibliographical Society at the Oxford University Press.) — Ta most students of English bookbindings, save to those frequenters of the National Art Library v?ho are familiar with its gresit collec- tion of rubbings made by Mr. Weale, the illustrations of early Oxford bindings vehieb Mr. Gibson has here brought together, in their variety and beauty, will come as a sur- prise. No such series of illustrations has pre- viously been published, and the photographic department of the Clarendon Press deserves great credit for the admirable quality alike of the collotypes and the photolithographs. j Fine, however, as the illustrations are, they I owe their interest very largely to Oxford con- servatism. Owing to the lamentable dis- appearance of Duke Humphrey's library and to the havoc wrought by rebinding, the earliest example which Mr. Gibson is able to show cannot be dated earlier than 1460. This i» the more disappointing as, by a strange chance, the deed executed about H80, which offers the earliest evidence of a "studium generale" at Oxford, contains a mention of a certain " Laurencius ligator" as the tenant of property in Cat Street. In his ' Chronological List of Oxford Binders,' Mr. Gibson is able to quote references to as many as ten different binders of the thirteenth century and seven of the fourteenth, most of them dwelling in the same street. Of the work of these men, and of their successors of the first half of the fourteenth century, no trace now remains at Oxford, though in the British Museum there is a manuscript of the Pan- dects of Justinian, once the property of Read- ing Abbey, which bears the tantalizing in- scription, in a fourteenth - century hand, " istum librum Oxonie fecit Bicardus de Eedyng ligari." But at Oxford, if anywhere, old traditions linger, and two of the bind- ings here reproduced (plates 13-16), both in their stamps and the arrangement of them, have all the appearance of the twelfth-century work which gave English binders for a time the pre-eminence in Europe. The conserva- tive spirit which preserved this tradition for three centuries was equally potent in resist- ing innovations. The large panel stamps which were so generally used by the London stationers at the beginningof the sixteenth cen- tury apparently gained no footing at Oxford, and gold tooling is not found on Oxford books until Stuart days, when, too, we hear of a binder named Nicholas Smith leaving half his "boxe of gilding toles" to his brother John. No doubt the gilding tools were at first regarded as dangerous innovations, but the Oxford binders soon learnt to make good use of them, and we hope that Mr. Gibson will speedily follow this monograph on the early Oxford bindings with another on the gayer specimens of later date. Apart from the excellence of the illustrations which he has here brought together, his own personal work in the present volume is of considerable interest and value. The stamps and rolls which make np every binding are all carefully described and numbered, and repro- duced separately.by means of photolithographs N°3960, Sept. 19, 1903 from drawings, as well as in combination. Be- sides the chronological list of Oxford binders already mentioned, Mr. Gibson has also made extracts from the Bodleian Day Books and Account Books which supply the prices of bindings in the seventeenth century, and a further appendix will enable any one to see at the Bodleian specimens of the work of seven- teen different binders. His book is thus a good specimen of what a monograph should be, a small subject taken up with enthusiasm, and »' treated with a fulness and accuracy which ' leaves it in no danger of ever being super- seded. OUR LIBRARY TABLE. VMk. John Murkat publishes what to (nany WJ^l be an interesting, and what all wili find an^dmirably written volume in The Life of MiMat Pasha, by his son, All Midh^t Bey. No modern Turk has ever made so |;reat a nameXfor himself in Western Europe as, between the murder or suicide of one Sultan, the deposition of another, the accession of the present Sultan in 1876, and his own murder ^1883, Midhat won. The impression which h& produced here when he came to London i^ the height of his fspae was not, generally,'lfavourable, but none doubted his ability, anc^ the book before us.ls an essential part of the, history of the Eastern Question in our time. V :'. Those who «xpect that Lope and Lovers of tlie Past will ^rrespond to its alluring title will be disappointed. The portrait prefixed to the book, which 'is that of/Charlotte Corday, will prepare reacfiprs for thte fact that the tales are a varied coUe^ion of .odds and ends from the French archives ; ihey mostly concern either the reign of ^oui/ XVI. or the Terror. M. Paul Gaulot wsoliS them for a French review ; they are fai)^ translated by Mr. F. O. Laroche, and are pub^hed by Messrs. Chatto ■ & Windus. ' ^ Canon Welldon's s^mons addressed to ! Harrow schoolboys,' entittted Yoiith and Duty (The Eeligious Tract ^ciety), are telling ' addresses, the majority o^ them being con- 1 structed on the same simple plan. The first : necessity of a scbool sermon We take to be a i clear scheme, capable of bekig remembered. ' Canon Welldon always leaves with his young ) hearer the impression of a\proportionate ' whole. He has a power of cl^r exposition, i and knowledge of the sort of illulktration which ) boys understand. His exampleat are mainly ] drawn from the kind of interest ttiat in nine I cases out' of ten appeals to boys-\the life of action. Add to this that his styl« is simple and direct, never redundant, but amays self- restraJjned and compressed, vigorous, and abovfe all earnest, and it is obvious thTat these twenty addresses provide an excellenB| model for, school sermons. They deal witlt very various subjects, but are most of them\sym- p^thetically adapted to the duties, tempta- tions, and responsibilities of public-school life. TJIE PRINTING OF GREEK IN THE FIFTEENTH CENTURY By ROBERT PROCTOR Illustrated Monographs issued by the Biblio- graphical Society. No. VIII. The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924029500414 ILLUSTRATED MONOGRAPHS No. VIII THE PRINTING OF GREEK IN THE FIFTEENTH CENTURY By ROBERT PROCTOR PRINTED FOR THE BIBLIOGRAPHICAL SOCIETY AT THE OXFORD UNIVERSITY PRESS December, 1900 K THOMAE GVILELMO DVNN PRAECEPTORI INCLITO GRAECARVM LITERARVM EXIMIO FAVTORI PIETATIS DEBITAE PRISTINAE DISCIPLINAE HAVD IMMEMOR ALVMNVS PREFACE I CANNOT let this book go forth without an apology to my readers, in that I have ventured to attempt a work dealing to a very large extent with technical details, without that knowledge of printing which can only be acquired by practical experience. In this respect I owe much to the kindness of Mr Horace Hart, the Controller of the Oxford University Press, who made many obscure points clear to me by ocular demonstration. The greatest care has been taken to make the illustrations facsimiles as exact as possible ; but it will often be found that minute indications to which I have drawn attention in the text are not visible in the reproductions. I must ask those who wish to study the matter closely to turn to the originals in these instances, and to remember that in the first printed books Greek type generally printed with an exceptional lack of sharpness, and that since even the best process blocks magnify and harden any defect due to imperfection of inking or presswork, while they almost always thicken the lines to some extent, the appearance of the type is sometimes materially altered. Mr E. Gordon Duff gave me valuable help with the unique books in the John Rylands Library, especially in connexion with the photograph from the Batrachomuomachia shown in plate VH. To him, and to the other friends by whose knowledge and advice I have profited, my best thanks are due. R. P. CONTENTS PAGE I. Sketch of Hellenism in Italy ... . . . . r II. General Remarks on Early Greek Printing .10 III. Books in which Greek Types are found up to 1476 . 24 IV. Books of the Earlier Greek Class, up to Aldus . . 48 V. Books of the Graeco-Latin Class -83 VI. Books of the Later Greek Class, from Aldus 93 VII. Books in which Greek Types are found, 1476-1500; Greek Printing outside Italy . 126 List of Illustrations ....... ... 149 Plates and Analyses i55 Appendix . . . ■ 207 Index . 209 THE PRINTING OF GREEK IN THE FIFTEENTH CENTURY I. In the present essay, after a short sketch of the history of Hellenic Division of culture in Italy up to the time when the printing press began its work, _, I propose to give a general survey of the early Greek press, touching on the principal groups of types, their relation to the writing hands on which they are based, the special difficulties which the printers had to overcome, and their methods and technique, where they differ from the usual practice of the time. I shall then attempt to enumerate and classify the Greek types used by the printers of Latin books up to the year 1476, when the first book printed wholly in Greek made its appearance. This will be followed by a chapter devoted to the Greek printed books from 1476 to the end of the century, preceded by a short list of these books in the order in which they are described. Lastly will come notes on a few of the founts used in later editions of Latin books, especially those produced in the smaller towns, and some mention, in the shortest form, of the first Greek printing in other countries — Germany, the Netherlands, France, Spain, England. The illustrations, like the books, fall into three divisions, though The plates. the arrangement is somewhat different. First come representations of the types used by the Italian printers in Latin books up to 1476 ; these I have endeavoured to make as complete as possible, and I hope that few early founts of importance have escaped me ; but those who know the difficulty of searching a whole literature for isolated words will excuse omissions. The second and principal series, which is, with one exception, placed together at the end of the book, contains facsimiles of every known type used in a Greek book, that I B is, a book in which the text is Greek, whether it be accompanied by a Latin translation or not, up to the year 1500. The third series is more composite. It consists of (a) selected typical specimens of the Greek type found in Latin books by Italian printers from 1477 to 1500; {d) the first types of the same class in other countries; (c) a few examples of notable sixteenth-century founts which are described in the text. Analyses. To the plates of the second series I have added what I believe to be a new feature, in the shape of an analysis, appended to each, of all the different letters or sorts found in the text therein reproduced. These analyses are in certain cases only part of a larger plan, where I have attempted, always very imperfectly, no doubt, to draw up a list of all the sorts included in the type in question, with the object of indicating the nature of the fount, or the relative size and complexity of the case with which the compositor had to deal I have done this chiefly where a fount is both important in itself or representative of a class, and at the same time the books printed in it are of sufficiently small volume to be analysed without the excessive toil involved in the minute examination of a large mass of letters. Thus, in order to give some idea of a type of the later or Aldine class, I have chosen the type of Bissolus and Mangius in its first state, rather than one of the Aldine founts or that of Kallierges, because it is found only in two small books. In other instances, when a type is used first in a small book, and afterwards in a larger one without alteration, as the lower-case letters of Lorenzo di Alopa with which the ApoUonios of Rhodes and the Lucian of 1496 are printed, I have enumerated only the sorts found in the smaller of the two books. Again, if one fount is based on another, even if it be of comparatively small extent, such as the second Milano type on the first, I have not given more than the letters which occur on the page photographed; nor have I given a list of the variations in a recast type, such as that of the Homer of 1488 or the Vicenza type of 1490, when the original founts (Milano 1476, or Vicenza 1489) have been set out in full. These analyses must be accepted with very large allowances on lihe score of accuracy or completeness, but, so far as concerns the plates them- selves, the reader will have the remedy in his own hands ; in any case, the plan seemed to me likely to be of use both to students of the books or of Greek printing generally, and to those engaged in the good cause of trying to raise modern Greek founts from the mire of dull ugliness in which they are for the most part sunk. Thus much being premised, I will proceed to my subject-matter. In an essay which deals with the printing of Greek almost entirely Greek from its technical side, there is little need to describe in any detail J"a|y^^ '" the growth of that order of things which made it possible to produce books printed in that language with reasonable hope of profit. The facts are well known and easily accessible ; they form part of the history of the Renascence movement, and as such may be studied in the works dealing with that period. But a short summary of some kind is desirable, not only to enable the reader to obtain a clearer view of the matter in hand in its bearings on literature generally, but also because many of the men chiefly concerned in the Hellenic revival were the authors or editors of the books chosen by the printers, or were the teachers of the younger generation of scholars who set the printers to work, or revised and corrected the texts as they passed through the press. All the authorities are agreed that the first Italian of eminence Leontius to study Greek was Boccaccio, at whose invitation his teacher, the^'^*"^' Calabrian Leontius Pilatus, came to Florence, and delivered lectures on the Greek language during the years 1361 to 1364. Though his stay was a short one, Leontius opened the eyes of the cultured Florentines, who began to collect Greek manuscripts; these were im- ported in large numbers, and in this way, there can be little doubt, many treasures have been preserved to us which would otherwise have been lost altogether. This measure was due in great part to the wealth and enterprise of Palla Strozzi, who also in 1396 induced the Signoria to write a letter to Manouel Chrusoloras, offering him Manouei the Greek chair for ten years at an annual salary of one hundred C'^™5°'°''*^- florins. Chrusoloras, who is connected with the early press by his Erotemata, the book most frequently printed of all Greek books in the fifteenth century, was at that time a teacher of Greek at Con- stantinople, -where Guarinus of Verona, afterwards his successor at Florence, was one of his pupils. A few years before this time Chrusoloras had visited Italy as an envoy from the Emperor, and though his mission was unsuccessful, his fame as a teacher induced many to resort to Venice to hear him. One of these, Jacobus Angelus, returned with Chrusoloras to Constantinople, and it was he who was 3 B 2 mainly instrumental in persuading his master to accept the invitation of the Florentine Signoria, After three years, however, Chrusoldras left Florence, and joined the Emperor at Milano. He continued in his service for some ten years, during which he visited several countries, including England, it is believed in 1405 or 1406. In 1414 he accompanied the Pope (John XXIII) to the council of Konstanz, and died there in the following year, being buried in the Dominican monastery, now the Insel-H6tel. His pupils. Great as was the influence of Chrusoloras himself on Hellenic learning, it was greater still from the celebrity of his pupils. It was the same with all the Hellenic professors of the time; themselves at best tolerable grammarians or copyists, with little or none of the higher feeling towards literature, they succeeded in creating through the eager enthusiasm of their hearers a distinct school of humanists of wider culture and larger outlook than themselves. Even if their learning and polish was but skin-deep, or chiefly manifested in a strong tendency to virulent and scurrilous abuse of one another, they were men who succeeded in saving and in a measure making Aurispa. known what was left of the ancient Hellenic literature. Besides Guarinus, Chrusoloras numbered among his pupils Giovanni Aurispa, the translator of Hierokles, Francesco Filelfo, Niccolo Niccoli, cele- brated for his library (in the purchase of which he ruined himself), Lionardo Bruni of Arezzo, Omnibonus Leonicenus, the elder Vergerius, Gregorius Tifernas, Giannozzo Manetti, and Ambrogio Traversari, who played an important part in the council of Florence. Aurispa and Filelfo, not content with what they could obtain in Italy, went to Constantinople to pursue their studies. Aurispa returned in 1423, bringing 238 manuscripts with him. Eugenius IV, who patronized Hellenic learning, appointed Aurispa Apostolic Secretary ; and at the council held at Florence in 1438 to seek a reunion between the Eastern and Western Churches, he acted as interpreter between the Greeks and the Latins. The council was attended by a very large number of Greek statesmen and scholars, and gave the greatest impetus to Hellenic studies in Italy that they had yet received, popularising them for the first time among literati of the second rank. It was the presence of these Greeks, and especially of the venerable Georgios Gemistos, called Plethon, that led to the foundation of the Platonic Academy, and to the special education of Marsilius Ficinus 4 in connexion with it, Filelfo went out to Constantinople in i4i9Fiieifo. at the age of 21, as secretary to the Venetian Consulate, worked at Greek under loannes Chrusoloras there, and married his daughter. He afterwards became professor of Greek at Florence, where he became an opponent of the policy of Cosimo de' Medici. Cosimo, who was after Palla Strozzi the great patron of Hellenism at Florence, placed politics before letters, and in 1433 tried to assassinate Filelfo, besides banishing Palla Strozzi in the next year. Strozzi retired to Padova, and there continued his support of Greek scholars, notably loannes Arguropoulos and Andronikos Kallistos. Of Arguropoulos Arguro- nothing is known between 1441, when he was with Strozzi, and''°"°^" 1456, when Cosimo appointed him Greek professor at Florence. He held this post for fifteen years, then went to Rome (where his lectures were attended by Reuchlin), and died there at the age of seventy. Kallistos was held to be second in learning to Theodoros Gaza only. Kallistos. The life was an unhappy one. After the death of Palla Strozzi in 1462, he taught Greek at the University of Bologna; thence he went to Rome in 1469 ; driven from Rome by poverty, he moved on to Florence, where Poliziano, who was his most eminent pupil, endeavoured to obtain a fixed salary for him from Lorenzo de' Medici. The application was apparently unsuccessful; in 1475 Kallistos was compelled to sell his manuscripts at Milano to obtain sufficient money to journey to Paris. Fate was still against him, and the next year he died, poor and epH^oq 9tAcov, in London. Theodoros Gaza, just mentioned, whose grammar was one of the Gaza, first books printed by Aldus Manutius, was a native of Thessalonike. He> came to Italy between 1430 and 1440, and after studying Latin at Mantova under Vittorino da Feltre, taught Greek at Pavia, and afterwards at Ferrara. In 1450 or 145 1 he entered the Pope's service, and became a close friend of Bessarion until the death of Nicholas V in 1455. From 1455 to 1458 he lived at Naples, but lived in retirement from the death of king Alfonso till 1464, when Paul II summoned him back to Rome. After Bessarion's death in 1472 he left Rome finally, and died in 1475. In the days of Chrusoloras, and for some twenty or thirty years Second later, the chief object of those who had mastered the Greek language P^"°"^- was to secure from destruction the treasures of Hellenic literature. But by the middle of the fifteenth century the movement had passed 5 into other channels, and scholars were devoting their energies to the dissemination of that which the earlier generation had rescued from the Turk. This was done partly by making copies of the manuscripts, a task to which most of the Greek teachers of this period, Kallistos, Gaza, Demetrios Laskaris, Chalkondulas, actively devoted themselves; partly by means of translations into Latin, which multiplied exceedingly Nicholas V. at this period, chiefly owing to the enthusiastic patronage of Nicholas V, who collected at Rome a large number of scholars of both nations, including among the Greeks Gaza, and Georgios of Trebizond, who came to Italy in 1420, and had taught Greek at Florence, and among the Italians Giannozzo Manetti, who had been made Secretary to the Pope, Guarinus of Verona, Lorenzo Valla, Poggio, Perottus, Tortellius, Petrus Candidus and Gregorius Tifernas. All were busily engaged in translating; and to their efforts, as well as to those of Lionardo Bruni.his pupils Rinuccini and Acciaiuoli, to Carlo Marsuppini, Filelfo and others, we owe the surprising list of Latin versions from the Greek which the Italian printing presses issued during their first years. Didot, on page xliii of his Aide Manuce, enumerates forty-three works by twenty-one different authors as printed up to 1492, and his list is very incomplete. Third period. With the death of Nicholas V the second period of the Hellenic revival, the age of the pupils of Chrusoloras, may be said to end. The third period, which concerns us most directly, was not a time of literary productiveness. The rise of the press turned the attention of scholars to the emendation of the Latin and Greek classics, and the few names of note which emerge are those of able and industrious editors rather than of writers. Among the Hellenic editors four are ChSkon-^ most prominent — Demetrios Chalkondulas, Konstantinos Laskaris, dulas. loannes or Janus Laskaris, and Markos Mousouros, three of whom were closely connected with the early presses. Demetrios Chalkon- dulas or Chalkokondulas, of a noble Athenian family, born in 1424, came to Italy in 1447, and after a visit to Rome taught Greek at Perugia, among his pupils there being Campanus, afterwards bishop of Teramo, who has left us a panegyric of his master. Thirteen years later we find him Greek professor at Padova, at an annual salary of 400 florins, and in 1471 he succeeded Arguropoulos at Florence. Here he remained for twenty years, the poet Tarchaniota MaruUus being among his friends, and Poliziano the most brilliant of his 6 disciples. While at Florence he edited the great Homer of 1488, and when he moved to Milano in 1492 he seems to have induced Heinrich Scinzenzeler to establish a Greek press, from which issued the next year the orations of Isokrates under his supervision, and his own Erotemata, together with two other grammatical treatises. Similarly in 1498-99, he patronised Bissolus and Mangius when they fled from Venice, and edited for them the great Souidas, the largest Greek book printed in the fifteenth century. He remained at Milano till his death in 151 1, and a monument was erected there to his memory by his pupil Trissino. Both as author and editor, Chalkondulas was closely connected with the early press, and in the second capacity he stands easily ahead of his contemporaries. It was quite otherwise with the man Konstan- who was his only serious rival as a teacher, Konstantinos Laskaris, Laskaris. whose grammar received the honour of being the first entirely Greek book printed. Laskaris was a Byzantine, and was nineteen when the Turks took Constantinople and made him prisoner. After being ransomed he lived for some time at Rhodes, but in 1460 he was at Milano, teaching the language and writing Greek manuscripts. Five years after this Ferdinand I summoned him to Naples, but he was not successful there, and sailed for home. When by an accident the ship touched at Messina, Laskaris found an opening for himself, remained there, and was appointed to one of the professorships which had been established in 1462 for the instruction of the Basilian monks in Sicily. He spent the" rest of his life at Messina, and died of the plague in 1501, leaving a large collection of manuscripts, seventy-six of which are now in the National Library at Madrid. Laskaris seems, except as author, to have had no con- nexion with the press ; as a diligent copyist he may have, scorned the printed book, though he possessed a copy of the Milano Souidas, which he left in his will to a Sicilian monastery. Probably however the remoteness of Messina from the places where Greek printing was carried on, which were all in North Italy, is sufficient to account for the fact. The interesting epilogue of Laskaris to his TTepl ovojwaToq kqi pHiuaroc is printed as an appendix to this book. His namesake loannes loannes Laskaris, who called himself Janus when writing in Latin, was not only the moving spirit in the second Florentine Greek press, that of Lorenzo di Alopa, but himself designed the majuscule fount which 7 distinguishes the books issued from that press from any others. Born in 1445, he began his career in Italy as a prot6g6 of Bessarion, who sent him to study under Chalkondulas at Padova. Left without resources, like so many of his fellow-countrymen, by the death of his patron in 1472, he followed Chalkondulas to Florence; gained there a great reputation by his lectures, and the favour of Lorenzo the Magnificent, who appointed him his librarian, and sent him on two journeys in the East to buy manuscripts. A list of the places he visited and the persons from whom he made purchases is still extant, and has been printed in the first volume of the Centralblatt fur Bibliothekswesen. While he was absent on his second voyage Lorenzo died, and on his return to Florence Laskaris undertook the editing of the Anthology and other Greek classics for Lorenzo di Alopa. But this task was soon interrupted by the arrival of the French; he attached himself to Charles VIII, and returned with him to France. He died in 1535, at the age of ninety. Markos Markos Mousouros was the most prominent man connected with Mousouros. ^jjg press during the later years of our period. A native of Rhe- thumnos in Krete, and therefore a fellow-townsman of the printer Kallierges, he seems to have been born about 1470. He studied under loannes Laskaris at Florence. We also know from his own statement that he copied Greek manuscripts in his youth ; the copy of Galen's works written by him was bought by Blastos and Kallierges from Nicolaus Leonicenus for the text of their edition. But nothing more is known of him till he appears as chief editor for the Aldine press in 1497. The Latin version of Mousaios, which was printed about that time, and interleaved with the unsold copies of the Greek text printed some two years earlier, is attributed to him ; he edited the Dictionary of 1497, the Aristophanes of 1498, and the Letters of 1499 for Aldus. He was very active at this period, for at the same time he was editing the books printed by Kallierges and Blastos in 1499 and 1500, and undertook journeys on their behalf to purchase manuscripts ; and in the same year, 1499, he was appointed Greek tutor in the household of the Prince of Carpi. From 1503 to 1516 he filled the office of censor of Greek printed books at Venice ; he was appointed assistant professor at Padova, also in 1503, and succeeded to the chair itself in 1505, without however ceasing his labours as editor. On the outbreak of war in 1509 he withdrew to 8 Venice and occupied himself in preparing the works of Plato for the press. When peace was restored the Venetian Senate offered him the professorship there, and he held it till after the death of Aldus in 1515. He then obtained leave for a temporary absence, and accepted an invitation to Rome, to co-operate with his old master loannes Laskaris : but he never returned to Venice. Having taken orders, he was created by Leo X bishop of Hierapetra and soon afterwards archbishop of Monembasia, but died at the end of 1517 while still a man of middle age. His mastery of Latin was praised Ijy Erasmus, who said that Gaza and loannes Laskaris were the only other Greeks who succeeded in learning the language. He had a remarkable turn for the writing of Greek elegiac verses, of which the chief monument is his long poem in praise of Plato. But he was very careless in his use of priceless manuscripts : the unique manuscript of Hesuchios shows still how they were ruthlessly scrawled over by him and then sent into the compositor's room to serve as copy. The only Italian scholar at all prominently connected with the Joannes Greek press was Joannes Crastonus, a Carmelite monk of Piacenza, C""***"""^- who enjoyed a great reputation for learning in his day, though there is little information concerning him. Tritheim, writing in 1492, mentions his letters as being very numerous and elegant, and believed that he was then still alive ; but, except occasional mentions by his contemporaries, no more personal knowledge seems to be preserved. He was evidently a close friend of Bonus Accursius, and all his published work was brought out by him ; he was the author of the Greek and Latin dictionary, which though overlaid by the accretions of successive editors, held the field till the time of Henri Estienne, and he compiled a shorter vocabulary in Latin and Greek ; both of these were printed three times before 1 500. He also trans- lated the grammar of Laskaris for the edition of 1480, and revised the Latin version of the Psalter for the edition of 1481. Thus all the evidences of his literary activity that we possess are included in a period of four years, 1 478-1481 ; but of course the collection of materials for his lexicon must have been the work of his lifetime. We have thus rapidly passed in review the principal agents in Greeks and the revival of Greek literary studies in Italy; the patrons, Palla Strozzi, Cosimo de' Medici, Bessarion, and others; the teachers and professors — Greeks, generally restless, always exacting, continually in 9 c money difficulties ; their influence was immense, but was communicated chiefly in oral discourses which died with them; their writings are scanty, and of no permanent value as literature. The Italians, eagerly striving for a mastery of the language of Homer and Plato, and hanging on the lips of their golden-mouthed teachers, carried the knowledge thus acquired into wider fields, and turned it to practical use, seeking culture rather than learning, and adding elegance and polish in composition to the grammatical niceties and dialectical hair-splitting which often satisfied Greek tastes. The contrast between the master Chalkondulas and the disciple Poliziano is a case in pointy an extreme one, no doubt, but the more essentially typical of the tendency just referred to. Practice of the early printers of Greek. II. So much may suffice as to the men who prepared the way for and carried on the Hellenic revival ; an account of the printers themselves is best given in connexion with the books they produced, and we must now pass to the next division of our subject, and inquire how the first printers of Greek worked, what were their methods and their instruments ; why they employed these methods and instruments ; what kind of results they aimed at obtaining, and how far they succeeded or failed. Descriptions and discussions of the peculiarities of individual types or books will come later ; at present we are con- cerned only with a general survey of the field, and the inferences to be drawn thejefrom : and some attempt must be made first of all to trace the origin and models of the various Greek types which we find in early printed books, and to determine their relation to the manuscripts from which they are derived. The types of the Greek presses in Italy up to the year 1500 may tion of types, ^^g divided by their form into three well-defined series. The first class, which may be called the Older or Early Greek class, includes all books printed under definitely Hellenic influences down to the establishment of the Aldine press in 1494, and excludes all other books. It comprises in reality only two distinct varieties of type. The one is the Milanese type of the 1476 Laskaris (pi. I), designed by or under the eye of Demetrios Damilas ; the second Milanese type 10 Classifica- (pi. II) bears marks of the same hand, and may be considered an adaptation from the first. The other type is that which the Kretan printers, Laonikos and Alexandres, used at Venice in i486 (pi. V). As is well known, the Italian scribes had in the Renascence period Their gone back to earlier models of handwriting, and revived for classical wrking. ° texts the book-hand of the twelfth century. The earliest printers in Italy, reproducing in the form of type the writing of contemporary manuscripts, exercised a wise discretion in rejecting certain character- istics of handwriting, and thus created the roman types, which soon freed themselves from manuscript tradition, and in the hands of a long succession of craftsmen rapidly developed, and degenerated almost as rapidly. In Greek writing, a movement somewhat analogous to that of the Italians, but not strictly parallel, took place at a rather earlier date. From the middle of the fourteenth century onwards two influences seem to have been at work, the one conservative, the other progressive. The writers of vellum manuscripts kept the twelfth- century hand comparatively unchanged, advancing in the direction of greater freedom by very slow degrees ; the writers of service-books and other manuscripts for church use were most rigidly opposed to innovation, and were helped by the continued use of vellum for service- books, while its decreasing use for secular books gradually brought the more moderate representatives of both schools into closer touch. The progressive school, consisting at first only of those who wrote on paper, adopted with the new material a freer hand, which tended to replace simple ligatures by complex abbreviations, and to reduce whole words to a labyrinthine tangle of flourishes. While the two hands continued to exist side by side, it was open to Demetrios Damilas, as designer of the first type of genuinely Hellenic character, to choose which he would. It was probably the greater simplicity of the older style rather than any more aesthetic consideratiops that determined his choice, because the experiment of Aldus, eighteen years later, in fashioning a fount based on the current hand, met with almost universal approval from his contemporaries. As the first book printed with the new type was the work of a writer then living, we may surmise with a tolerable amount of assurance that the type was not imitated directly from the writing of the actual manuscript which served as copy for the press, as is usually held, perhaps on somewhat insufficient evidence, to have been the case with the printers of Latin books. II c 2 Imitation of In his first fount Demetrios made a mistake which the greater "'uihedtoo e'^P^^'i^nce of his Italian fellow-craftsmen enabled them to avoid; fa"! ^ **"' but he was followed in it by most of the early designers of Greek founts, though he seems himself to have tried later to escape from it. The blunder lay in the attempt to reproduce not merely the forms of handwriting, but also the effect of continuity naturally produced by the motion of a pen over paper, and therefore right and proper in manuscript, but unsuitable for impressions made on paper by separate stamps laid side by side. Though this practice was largely abandoned in the second Milanese type (pi. II), and many of the changes in the first type, when it was recast for the Homer of 1488 (pi. Ill), were made with a view to its modification, it reappears in a different shape in the Venetian fount of i486 (pi. V), and it was without doubt one of the principal inducements in the adoption by Aldus Manutius of the later style, in which the close imitation of writing is essential to its success. Aldus repeated the mistake some years later in his introduction of italic type, which in his hands, like his Greek founts, revolutionised the whole history of printing with disastrous consequences. The Venice The Milanese types represent more or less a simplified book- 1486 and the ^and of the moderate older school ; the Venice fount is very distinctly MSS. derived from a church-hand of archaic appearance, and resembles the writing of the Gospels dated 1305, reproduced in plate 205 of the first series of the publications of the Palaeographical Society. The ecclesiastical character of the type is so strong that it may be con- jectured that it was cut for a projected series of service-books, which for some reason never went beyond the Psalter, and that the first book for which it is used is of the nature of a type specimen. The book in question, the Batrachomuomachia, is printed in alternate lines of red scholia and black text, so that, while its small size and popular character made it suitable for its purpose, it was also an experiment in the art of printing in two colours, which was indispensable for a liturgical series. The Milanese types, by their greater divergence from the influence of handwriting, show that their designer was a man of considerable originality and ingenuity; the Venetian fount, while agreeing with them in its genuinely Hellenic character, differs widely both in design and execution. In the Venetian type the appearance of continuity is sought by an elaborate system of ligatures, two, three 12 and four letters being commonly cast in one piece, and in an Immense variety of forms and combinations, so that the number of sorts found in the two books exceeds twelve hundred, and even this is probably far from representing the fount in its completed state as projected. The effect was unsatisfactory ; because the ' case ' was complicated to an extraordinary extent by the enormous quantity of boxes required, and the use of so many ligatures resulted (in practice, though not of necessity) in splitting up the longer words into disconnected syllables, a result which makes the books very difficult to read even after considerable experience of them. The first Milanese type of 1476 Construction (pi. I) is constructed on an ingenious plan, which enabled the resem- °ypg ''*^ blance to writing to be kept without the immense labour involved in cutting, casting and composing a vast number of unwieldy sorts. After the fashion adopted later for certain italic or script types, each letter was, with few exceptions, cut and cast separately, and the white space between the letters was reduced to the smallest possible amount by producing the end or connecting stroke of certain letters to the very edge of the type body, or, where the letter following began with a concavity or hollow, such as ^ or x. by kerning, or bringing the first letter rather over the edge of the second by means of a pro- jecting shoulder which carried the connecting stroke, and fitted in to a corresponding depression in the hollow of the second letter. In consequence of the adoption of this plan, the number of sorts found in the Laskaris of 1476 is not much more than one-sixth of those in the two Venetian books. The second group or main division of Greek types consists ofGraeco- those used by Italian printers who habitually printed Latin or vernacular books, and were not under direct Hellenic influence, but who used Greek letters to print the passages in that language which occur in such books as Gellius or Lactantius, and sometimes printed a Greek text in parallel columns with a Latin version. These types, which may conveniently be called Graeco-Latin, are easily distinguish- able from the types of the first or Hellenic group. They are as a rule very haphazard in their use of accents and breathings ; the forms of certain letters are often clumsy, and their employment rather wild ; each letter is cut separately, after the fashion of a Roman or Gothic fount, without any attempt at continuity. They were made by work- men accustomed to Latin types, who faced the problems connected 13 with Greek letters from the outside, from a different point of view from that of the Hellenic type-founder, and applied their technical knowledge and practice to the production of Greek forms in a Latin spirit. The Graeco-Latin group as a whole may be subdivided into three sections differing from each other in their origin. The types of the first class, which form the great majority, must be held to be copied from the writing used in the manuscripts for the Greek quota- tions in the text of classical authors, and rest wholly on Western tradition ; of these founts there are two essentially distinct varieties : the Roman-Greek, wide and spreading, without any accents or breath- ings, and the Venetian-Greek, a more compact and regular kind of fount, in which the accents are generally arranged on the 'cutting-out' system, which I shall explain shortly. Those of the second class, repre- sented by the type of 1489 used by Leonardus Achates at Vicenza (pi. XII), are copies of Hellenic types of the older style; the Vicenza type, for instance, is derived from the second Milanese fount. The third class is represented by only one type in the fifteenth century, that used at Reggio and Modena from 1497 to 1499 by Dionysius Bertochus. This class consists of copies from Hellenic types of the new style, and the type of Bertochus (pi. XVIII) is a rude imitation of the first Aldine fount. Of these three classes only the first has any claim to historical continuity with the past, and with manuscript tradition. Their rela- A priori it would Seem probable that an Italian printer, in adapting MSS° ^^^ ^^^ ^^^ purpose of his Roman type the Latin writing of the manuscripts, would also adopt for his Greek letters the writing used for the incidental Greek passages in his texts ; and that the two clearly defined varieties of our Graeco-Latin types, the Roman and Venetian, would each represent in a modified form the writing found in one distinct class of manuscripts. But as far as can be ascertained this seems not to be entirely the case. The fifteenth-century manuscripts of such writers as Aulus Gellius, Macrobius or Lactantius can be for the most part divided into two classes as regards the treatment of the Greek passages in them. In the one these passages were left blank by the writer of the manuscript, and were supplied by another hand, either, as in the case of the finer and more carefully executed books, at the same time and by a skilful writer of Greek, or, in ordinary cases, later, by some one, probably an owner or reader who knew and could write the language more or less. In the other class of H manuscripts the Italian scribe knew the elements of Greek writing, and did his best with it, so that it differs mainly in a want of firmness and clearness from the hand of a practised writer of Greek. It is of course impossible to say definitely that there are no manuscripts of the period which exhibit forms of writing similar to those of the Graeco-Latin types; it is even possible that the difference between the Greek type of Jenson (fig. 8) and the Greek in an Italian manu- script of Gellius in which the Italian scribe wrote in the Greek himself, is no greater than that between the Roman type of the same printer and the Latin writing of the same manuscript. At present, however, there seems to be no evidence that the distinction between Roman and Venetian founts rests on manuscript tradition, or that the curious parallelism between the arrangement and style of writing of the Graeco-Latin manuscripts of the tenth century, and the arrangement and topography of a Graeco-Latin printed book of the fifteenth, is anything but a coincidence ; though it is tempting to assume the existence of some succession of links connecting such a book as the tenth-century bilingual Psalter in parallel columns from the library of Nicolaus de Cusa, which is figured on plate 128 of the first series of the Palaeographical Society's publications, with the similar Greek and Latin texts produced by Italian printers in the fifteenth century, or the Gospel of John (in the next plate), in which the two languages are written in alternate lines, with a book such as the similarly arranged Batrachomuomachia of circa 1475 (pl- VII) in the John Rylands Library. With Aldus Manutius a new era began. He had, like Damilas, Aldine and to make his choice between the ancient and the modern style. The types. '^^ sound commercial instincts, which were always so prominent in him, led him to depart from precedent, and to bid for popularity by choosing as his model the current modern hand, with all its luxuriance of contortion and extravagance of meaningless abbreviations. With a lesser man the choice would have signified less ; with Aldus it was disastrous. The enormous vogue of his publications and the great number of them exercised an overwhelming influence, affected the whole future history of Greek printing, and inflicted on its aesthetic side a blow from which it has never recovered. With the traditional conservatism of the Church, in this one instance justified by its results, those who printed and read the Orthodox service-books 15 vigorously resisted the innovation, with the exception of a few printers, such as Kallierges, who issued liturgical books only incidentally ; the older and purer type which the majority continued to use, by gradual contamination with the descendants of the Aldine founts, in the Course of time developed into that which is commonly employed at the present time in Hellas itself, and is the standard type of the majority of continental printers. This class of types, which owes its final form largely to Didot, differs in many respects from the so-called Porsonian types generally used in England. These last, which owe their origin to Baskerville in the last century, and were only slightly modified by Porson, represent a revolt against the degenerate de- scendants of the Aldine class of type : superior as they are to the continental founts in legibility and evenness, their dull monotony, ungraceful forms, and general lack of firmness and dignity in spite of all their precision, make them far removed from any standard which can now be accepted as satisfactory from any point of view. The well-designed though somewhat thin-faced and spiky types made by Messrs Decker of Berlin (which have been used in the present work, and are found in a few other books printed in England, such as Wharton's Sappho) and that of Mr Selwyn Image are a welcome sign of a return to better things ; though the modifications to which the last-named has been subjected have deprived it of much of its charm, and the excessive smallness of the scale on which it has been carried out has obscured some of its finest features, and made it difficult to print from. Character- At the time, however, the Aldine types carried all before them : Aldinetypes. *^^ ^^'^^^ forms cease abruptly, as it became a point of honour (and of business) with every printer of Greek books who wished to be in the running, to follow the fashion by basing his type on the common writing hand of the day, the chief characteristics of which, whether written or adapted to the needs of the printer, are an absence of dignity, and a restlessness expressed in the want of restraint in the voluminous curves, the endless variety in the size and form of the letters, and an incredible complexity of abbreviation which makes the deciphering of a Greek text no small difficulty to the inexperienced. These faults are of course hardened and emphasized by their trans- lation from the freedom of handwriting into the fixed mould of type. The loss of dignity is not compensated by the unrestrained freedom ; i6 the vigorous beauty of form so striking in the older types is replaced by letters which at their best are ungraceful, and in all but the most careful hands degenerate into wiry thinness and nerveless imbecility. The earliest founts of the Aldine class vary much in quality ; thus the first of all, the largest of the Aldine types (pi. XV), is one of the worst possible ; the lower-case Florentine type of Lorenzo di Alopa (pi. VI) is comparatively simple, restrained, and solid ; that of Kallierges, though most elaborate and rather thin-faced, is so well designed and cut with such firmness and evenness that the feeling of pleasure in its technical excellence predominates over the dislike produced by the defects which it shares with the rest of its kind. Two types which stand apart from the foregoing may be classed Abnormal together as abnormal. One of these is that of the undated edition ^°""'^' of the Erotemata of Chrusoloras (pi. VIII), which is one of the very first of all printed Greek books. The Greek type of this book is in most respects an anticipation of the later or Aldine class, though framed on Graeco-Latin lines ; in the form of the letters it resembles the later types, and the method adopted for the accents is the same in kind as that of Aldus ; but in other respects the fount is made up of separate letters after the fashion of the Graeco-Latin types of the older class. The second anomalous type is far better known ; it is that (pi. VI) which was specially designed by loannes Laskaris, nominally on the basis of ancient inscriptions, for the Greek press established at Florence in 1494 by Lorenzo di Alopa. As originally planned and at first used, it consists only of large and small capitals, without lower-case, and has an ingenious contrivance for inserting the accents which will be described shortly. Two years later, when the editor and printer desired to add the scholia to the texts of Kallimachos and Apollonios of Rhodes, a lower-case fount was designed, of which some mention has already been made. The types of Greek books having thus been in some sort classified according to their form, we must now proceed to examine the con- struction of the founts, with special reference to the difficulties which their designers met with, the problems which they had to solve, and the various ways in which they overcame or solved them. The great stumblingblock in the way of the designer or founder Treatment of a Greek type is of course the presence of the accents and breathings, byX^elriy and of the iota subscript, which last, however, was usually omitted printers. 17 D in the early types, and need not be considered here. If the different combinations of accents and breathings with the letters be cut on single punches and cast solid, the number of punches to be made is very large, and the size of the case is increased in consequence ; on the other hand, any device for combining them during composition increases the difficulty of composing, and of obtaining an even impression, and also adds greatly to the wear of the type. Modern printers have decided, especially in view of the steady decline of the average compositor into a machine and the altered conditions of labour and supervision in modern printing-offices, that the expense of the additional punches required is preferable to the trouble and loss of time caused by any more intricate method; so that Greek types now, with a few exceptions in the way of kerned letters for the more complex sorts, especially those with iota subscript, are always cast solid. It was quite otherwise with the first printers, who were continually planning new ways of economizing in this direction, though they did not hesitate to multiply different forms of the same letter in order to produce greater variety. Omission of The existing fifteenth-century founts, when this test is applied to accents. them, fall into four groups.' The first plan tried is the simplest of all, and consists in merely omitting the accents altogether. Though this method has distinguished modern support, it must be considered unscientific, and was at any rate not likely to satisfy a native Greek printer. It is in fact a characteristic feature of the Roman class of Graeco-Latin founts, but is not used in any book printed wholly or mainly in Greek, except in the first impressions of Wittenberg (151 1, 1 5 13). But the text of the New Testament in the Complutensian Polyglott is not far removed, as the type, there found in its original state, has no breathings at all, and no accents except an acute. Accents cast Next come the types in which the accents are cast on the letters ; letters ^-^re two ways of lessening their number were tried. One plan, sanctioned by Damilas himself and used in the Laskaris type of 1476, was to omit certain of the less common combinations, and where they occurred to substitute others for them. The details of this practice, which cannot be commended, will be found in the 'Cutting-out' description of the Laskaris itself given in a later chapter. The other ™^' ° ' method is more interesting. It was the prevailing practice in Graeco- Latin types of the Venetian or Jensonian class, and is not unknown 18 to some extent elsewhere. To explain it, a concrete instance will be best. Take the letter a. For a complete set of this letter and its accents and breathings (without the iota subscript) twelve sorts are required: namely, adddaciaaaciaa. A fully developed Jensonian type would have only the last six of these sorts made, and would form the rest by cutting off with a knife from the face of the type what was not required. Thus a can be formed from any of the six by cutting out everything except the letter ; d is made from a or d by cutting out the accent ; d from d and a from d by cutting out the breathing, and so on with the rest. The process is easily seen, because not only is the breathing too far back in an d, and too far forward in an d formed from d, but the cutting was hardly ever done thoroughly, a blur being left, and it was often not done at all, a word like HvLoypq being not at all uncommon in certain founts. The consonants were similarly treated; a large proportion of them were cast with an apostrophe attached, which was intended to be cut out when not wanted. Many examples of this practice may be seen in the plates on which Jensonian founts are reproduced. Modifi- cations of it exist even in the Hellenic class of types, for instance in the Venetian fount of i486, where unaccented sorts are frequently made from the accented form by erasing the accent ; some instances of this are given later in the detailed description of the books in question. A third group consists of the types in which some form of separate Separate combination of letter and accent is adopted. In these the accents are ^""^^'"S- cast separately, and are combined with the letter by the compositor. There are many different ways of doing this. In the most elementary device (pi. XXIII), found in most of the first Greek books printed at Paris (1507), the accents were cast on a body of the same size as that of the letters, and were nlade to occupy only the lower half of its face. The page was then made up of alternate lines of letters and accents ; the latter were arranged over the letters in the line below to which they belonged, and the line was filled up with spaces or quadrats. Thus each line of text occupied twice the depth of the body of the type, and is arranged thus : the upper half of line i is white, the accents occupy the second half, and the letters take the whole of line 2. The effect thus produced is that of a heavily leaded page, such as were printed at Leipzig and elsewhere for school use, to be interlined with writing. But this method of printing Greek, 19 D 2 besides being clumsy, wasted a great deal of space, and was soon abandoned by Gourmont in favour of a more advanced system. The next plan is, instead of having a second line for accents, to work by means of a split body, somewhat in the manner now adopted for printing Hebrew with vowel points. Two slightly different varieties of this system exist. One of these is adopted in the early Vicenza Chrusoloras (pi. VIII), the other in the majuscule fount designed by loannes Laskaris (pi. VI). In the latter, which is the simpler, and there- fore the more typical, the accents occupy a space equivalent to the difference in height between the large and the small capitals. Thus, while the large capitals occupy the whole depth of the body, the small capitals have a body only some two-thirds of their depth, and the accents are cast on a minute body about one-third of the whole ; they are thus arranged in a kind of trough, and are placed above their letters and blocked up in the same way as that described above in the case The Aidine of the Paris books. The first two Aldine types and the three founts method. i,ased on them are arranged on a new system, which includes not only accents and breathing, but also abbreviations. From the evidence of slightly later types, which still exist, such as the French Greek founts originally commissioned by Francis I, there is no doubt that the Aldine method was to fit both accents and abbreviations over the letters to which they belonged by means of kerning, very much as the modern printer does in extreme cases, as for instance when he has to make an ^ ; he has

&fco)J TToNx) u&i^opct Mi^Oop rois* S^&xaKoi0' a^iicoi^rb xoXop Kai GvMop &r&if cop. id efl; icorruptibilis ec condicor fternns m acre babicins . bonis bonii^fercns.&(hs mulco niaiore mercedem.ni'' itMsaut Si malis imm ecBirorem ex:dmn9.1lui*ru5aliolocoenumeKins. ^bnsmaxtefdcinoribusihcirecdaisb|cninilic.(J3&vrfc ^& Narf&iatf apowTovc Geco^copri Nocrftvc noixtiatf-rfc^^urNoctfce. i^cti afr&pos* ocKf i'rop &vpHp i^i»pre.p&apiTopev6 Kai raf aGapocroc* J^fcXo\co6'feroM Ofi'K&paUapTH; Jd FIG. 2. SUBIACO, SWEINHEIM AND PANNARTZ, 1465. bomtnum hoc modo cxorfa efb. £p xoMEpMO* oprMC M£ra\Mi> tiriKOCMop airaGM tcTxaTOpEio* aiwpa esov MVpMMaTcc 4>£pcd iraCi TrpO<|>MT£va'aO'a KaTairoVip aj/epCOrrOKyi. Id e. Vement ire magnc fupcr mundu.dei promunanoncf enarranf. ommbuf boibuf m urbibuf propbecanf. Alia quoq? per mdig/ nanone dei aduerfijf iiudor carfjaclifmu pnorc (ecu[o facflu ce dixit.iic maltna generif buam extingucre(;.£^ov MMpicrapToo* firovpapioio Kai apGpMTroicripa-rraa'if rM}^Ka\v»ji'£9x\a.v:^€y0XI.6N,KdU ttKpaTH.KCLl OLKdAct^OM AEyOJULEN-S^iflLld VOTO TON XS'pi'' S"03V H2i.0NSv HTTdLoa-cti. 6vflraK2i.6 T»/ilo3-BarSOOVOJ-E'NTfi.ToL(o(ocooi)(oa). (c) Tied letters : nir gS as or. It will be noticed that the tt like that of Wendelin is rare, and is made from tf ; the number of consonants cut with an apostrophe which is afterwards erased is increased ; and the ' cutting-out ' process is somewhat developed with the increase in the number of accented sorts, though it is by no means complete; for instance, A in line 2 of the facsimile is not made from h. But the imperfect way in which it has been done is sometimes amusing, as in mv or tcov, line 10 of the reproduction; opcov, line 13 (opcSv) ; or ev&eei<; (evbelic), line 16: these delicate points are however not well seen in the facsimile, which hardens the example in line 10, and weakens the others. There are no instances where a circumflexed vowel is not the result of cutting out a breathing underneath it; a e fi t oi all occur in the facsimile. Defective as the fount undoubtedly is in this respect, it is certainly one of the most advanced types of the Graeco-Latin group, and for beauty of form is not easily surpassed. Like all the other types of Jenson, it was copied far and wide in varying degrees of clumsiness, and became the model of incidental Greek letters, not only at Venice, but throughout Italy, and even in other countries (as at Nurnberg and Paris), for many years, so that until long after Aldine influence had supplanted the older styles in Greek books, the Jensonian forms survived, degraded but still recognisable, in Latin, editions. 33 y This type of Jensen's, or an exact copy of it, is used in the Ausonius printed by or for Bartholomaeus Girardinus in 1472 ; the (5, however, is different. In the Cicero De Officiis of the same printer, without date, spaces are left for some of the Greek words, so that it may be earlier than the Ausonius. The only printer besides Jenson whose career began in 1470 was Christoph Valdarfer of Regensburg. He had no Greek type, and in his edition, dated 1471, of the Letters of the younger Pliny, spaces are left, the result being in one place somewhat ludicrous. Two out of the three printers of 1 47 1, Clemente Padovano and Franz Renner, were in the same case; indeed neither of them printed books likely to require a Greek fount ; Renner, until he attempted to rival Ratdolt in 1478, printed nothing but theology, and Clemente is only known by a single book, which Adam of is medical in its subject. The third, Adam of Ammergau, is especially mmergau. jujeresting to us, because his Greek type is unique among Venetian founts as being a type of the Roman class, resembling that of Han ; an irregular, rather sprawling, awkward-looking fount, though not without considerable beauty and dignity. It consists, like the Romano-Greek types, of a single series of lower-case letters; the i of the Latin type being used always, while as usual there is no q, their number is only twenty-three ; there is a Greek in the set, but the o of the Latin type is very frequently found. This t}^e, probably two-line brevier like the rest though slightly larger (113 mm.), might be thought to support the old belief that Adam's books were printed at Rome, not at Venice ; it is a curious fact that none of his books which contain his name have the place of printing given, though some books without his name, but in his type, have a Venice imprint. But any ground for doubt is removed when we find that his Greek letters were in 1475 i"^ the hands of Gabriele di Pietro, of Treviso, about whose place of work there is no question. They are found in his Perottus dated December of that year. Three years later the type, had travelled to Bologna ; the German printer from Augsburg, Johann Schreiber, used it in another edition of the grammar of Perottus, dated May 1478. The first of Adam's books in which these Greek letters are found is the Letters of Cicero, 1471 ; but the supply was small, as there are many spaces left in it. The Lactantius, from which the facsimile in fig. 9 is taken, contains the complete set. One of Adam's books, the Erotemata of Guarinus, is the nearest 34 Pietro. approach to a Greek book made up to that time ; though written in Latin, it has a Greek title (Leaf i^ : svper . epcoTHiwara . juiKpa . noMu || cocpeAijwa . ihsouo xpioroo). The only copy of this book that I have seen is in the John Rylands Library at Manchester, ZTZZldLpJ\,H TcLVTct TEfiHTcU CO dCTKAHniE TOTE O KVpiOCT Ketl TldLThp Kctl fiSOCr Kctl TO V-XrpWTO V Kctl EJU OCT 6eoV «J\HU I ov/>rocr EnifiAE-^cia' Toier rEf/ouEjt/oicTKctt th EctvTov|iov ^VHCTEl TOVTECTTl TO ardSojl/ ctJWTEpElCTctCr THciTcL^lct Kotlol JJdLKdLT^ZarcLKlZli Off- THJi TZT^dfJUp Kctl TH// HAKLtip EKKotfiHpcttr 7IH «£?/ vJ\otTi 7ro;v;vcd KocTctAvcroty rh Ae Tivpi o|vTctToa JXioLKcLvcreto" Ef^ioTE AETroAEwoicr Ketl :\oiiuoicr EKiroticrotcr HrcirEf/ ETTITO otpXcllO// Kctl OtnOKetTECTTHa-ETO^EotVTOV Kou-Uioii *i« Cu ksec faiHa fuecit^cEfculaputuc dnus & pater 8i FIG. 9. VENICE, ADAM OF AMMERGAU, 1 47 1. Of Filippo di Pietro, the brother of the above-named Gabriele, Fjiippodi I have found no signed book up to 1476 in which Greek type is used : but the commentary by Georgios of Trebizond on the Philippic orations of Cicero, which is in this printer's type and must be of about 1475, contains a good deal of Greek (fig. 10). The type seems to be eft apud Homerara juti koci vn-£p jaoipocN ^ojuLO^ ocoiXocr {!orc«piKoci g» Cicero facuj atqj natura aidetar dixiffix illJud multo ate Demofthcnes dixie, \>Tr£p crfcfocNovhis uerbis»ojuL£!^ TOior yovivo-i nojuli^om juo/ vON ysy£VHO-e£ TONTHCT SIJLLCtpjtttVHff FIG. 10. VENICE, FILIPPO DI PIETRO, 1475. modelled on that of Wendelin of Speier rather than of Jenson : it has his rr, the small 9, the two forms of v, and the same kind of b, but the tall T is not found ; the or is used for gt only, and not for final c, also, as with Wendelin. There are no breathings or accents; the type is rather clumsily cut, and prints very smudgy. The 3 (final m) of the Latin type is used in place of ^; though there is an iota, it 35 F 2 Johann of Koln. Jacques le Rouge. Miscomini. is generally replaced ty the Latin i : no o except the Latin seems to be found ; and final c is sometimes represented by c. Thus, including the two kinds of v, there are twenty-four Greek letters. Johann of Koln and Johann Manthen, as has been mentioned above, came into possession of the types of Wendelin of Speier, and of his Greek type with the rest; but for some reason blanks are left all through their edition of Festus of 1474. The type is used in the Valerius Maximus, also of 1474, and the Priscian of 1476 contains a large quantity of it. It has a few letters which seem not to be found in Wendelin's books, especially consonants with apostrophe or smooth breathing, as f (, 0" P <5 ^ x- This marks a further step towards the complete 'cutting-out' class of founts. Among the vowels the only new sorts are h o and v ; these involve only one fresh punch, and that may well have existed before, and by chance have never been used. The angular v seems to be the V of a Latin type ; the Latin o is also found. The three last types of Venetian printers which belong to our present period are founts of a smaller body than any of the preceding ones. The first of these is a Greek rather under pica size (80 mm.), used in the commentary to a Juvenal printed in April 1475, by Jacques le Rouge of Chablis (fig. 11). There is very little of it, and what there is seems to be badly cut, being rough and irregular, the work probably of an unskilful hand, and is certainly very smudgy as printed, possibly from being cast in metal too soft to bear the pressure of the screw. It appears to belong to the ' cutting-out ' class of types. Next of the three comes that of Antonio Miscomini, used in 1476, in his edition of Jerome's Letters (fig. 12). It is one of the very rare instances of Greek used with a Latin type of so-called gothic form. Like the preceding, it is a little smaller than pica (79 mm.), but differs from it in being very regular and beautiful in design. Like the type of Filippo di Pietro, it seems to be based rather on Wendelin of Speier than on Jenson. What it is chiefly remarkable for, however, is the cutting-out' system, here seen in its greatest perfection. With the exception of what seems to be h and must be made from an h which does not appear, and possibly of one or two more sorts, the original letters of the type can be classified thus : — {a) Consonants without apostrophe : pr?>?6KAv£iTov. 36 fnatlonem ludos in funeic acBiUis dcfCribcns laCiflafiontm appdiat 4tya[i^£;uo (i-rftf tic 4iVo* xdcfta CapM hi fimt uctfos4iV4 :Mo ZMptdTcovrtdtf VKTo(r jueTct tho- KapT^iaa- juov m 2LoAe(rx ovvKai'EO-KaAAe to -rvlvuaMovX etinoexter 0*08 mem/nera:et medJMine fits nocte ens corde meo sirgfttsbitm et limab^ntr (]^t6 mens propr picrrSUSiN Kai UTrspooxoH SJULJULEHai ockooH « Sed unroddadidunde FIG. 13. VENICE, THOMAS DE BLAVIS, I476. 37 Thomas de Blavis. Milano. (3) Consonants with apostrophe : jw v [majuscule form] p f 9 x'- (c) Vowels : a e h \ v &. The consonants with apostrophe are alsb used with the apostrophe cut out; and it is possible, from the analogy of other types, that many of those here classed under («), such as r. &. ^. 6. •<. K v, n, a, may have originally had an apostrophe which has been cut out in all places where they appear. But the frequency with which these letters occur makes that improbable, as some of them would almost certainly retain traces of the apostrophe, even if it had been cut off all or any of them. The seven vowels become twenty-eight by means of the knife, a being made into a, a, and a, as to a less degree in the case of Wendelin's type; here, however, the process is carried out thoroughly. Besides these letters, a Latin i is found, and occasionally a Roman X is used for x, as it is in the type of Domenico da Vespolate at Milano, and in Gabriele di Pietro's type of 1478. Last comes the edition of Cicero's Letters, dated 1476, without name of place or printer. In this book, which is the work of the Venetian printer Thomas de Blavis of Alessandria, a Greek type (fig. 13) is found. This, two years afterwards in the possession of Gabriele di Pietro, is a type between pica and english (90 mm.), very black and solidly cut, without accents or breathings, and dignified, though somewhat irregular, such letters as the jw differing greatly in size from the e or v. The h is curious, and somewhat mars the effect by its excessive blackness. The n is open ; k has a curtailed lower limb; X is a little slanting, and 9 is very small. Outside Rome and Venice, the places where Greek type was employed up to 1476 are very few indeed. At Milano, where from the large number of classical books printed we should expect to find Greek much used, blanks were left almost invariably ; by Zarotus, for instance, in his Festus of 1471, Acron on Horace, Cicero, De Ofificiis et Paradoxa, and Victorinus super Rhetorica Ciceronis, all of 1474, the Valerius Maximus of 1475, and the Quintilian of 1476; by Filippo da Lavagna, in the Cicero's Letters of 1472, and later books. Thus the town which was to become peculiarly famous for the printing of Greek was exceptionally backward in receiving it for use in the editions of the writers of antiquity, in the production of which she was rivalled only by Rome and Venice. 38 But Zarotus, the first Milanese printer, is to some extent an exception, and the facts about him are curious. Though he had no Greek letters at the time of the publication of his edition of Festus (1471), yet an edition of Cicero's Letters exists, with the single word ' Mediolani ' as its colophon : this is in the same type as the Festus, and in it most of the Greek phrases are printed. This Festus type, probably the first used by Zarotus, is found in two books of 1471. and in one book dated 1472 ; but in that same year it was replaced by another, and was sold or otherwise disposed of. It reappears in 1475 at Venice, Greek letters and all, as the property of two printers, Lorenzo of Aquila, and Sibillino, a native of Umbria, who began and ended their career with an edition of Platina's book on cookery. Thus the date of the Cicero can be fixed as not later than the first half of 1472 ; and it is noteworthy that Zarotus, after parting with this Greek type, never replaced it during his whole career. Far more remarkable, however, is the evidence afforded us as to the active intercourse between printers in different cities during the earliest years. For it is clear from the nature of the type that Zarotus was influenced by the two Venetian founts, which were introduced, as far as can be ascertained, at precisely the same date as his own. It is of the same body (115 mm.) as the second type of Sweinheim and Pannartz, and is therefore slightly longer than the two-line brevier types ; but in most other respects it is an extremely close reproduction, as may be seen by comparing fig. 14 with fig. 7, of the fount of Wendelin of Speier. Zarotus, like Wendelin, uses the OT letter for that only, and has no final q as a rule ; but in one or two cases the gt, turned upside down, is used as c,, and this is an obvious reminiscence of the q of Jenson (see fig. 8). In the other cases where Zarotus differs from Wendelin, he almost always agrees with Jenson; thus the oG is that of Jenson, and the presence of grave accents, as well as the greater development of the cutting-out system, points to the same source. The sorts which I have found in the Cicero are these : — (a) Consonants : p f & b' ^ 9 9' k A X' jw jw' v v' E tt [closed and open] n' [open only] p p g cs' t t (p may be from u> or (S, both of which are used. In the facsimile the u of tcu in line 3 comes from v (see line 6), which itself may be formed, like i, from a. v. In line 5 the tt of ^mooto, and in line 6 the v of diev and the second jw in eiujwev, have had an apostrophe partially cut away. Other instances of this are the i of aiev in line 6, and the second letter of the last line. The pointed v is alone found, not the square Jensonian form. The use of a Latin k with the upper part cut away, as in line 5 of the facsimile, is frequent. Before leaving this type of Zarotus one more point may be noticed, which his Cicero shares in part with other books, though it is very prominent here. It will be seen from the facsimile that the Greek sentences do not always fit the spaces in which they stand; in other cases they are left out altogether. The explanation of this must be that a compositor who knew no Greek left this to be inserted by a second who did know a little, and made a rough estimate of the space likely to be required ; in some instances the second man missed the places where he was wanted, and hence the blanks ; in others the space wanted was miscalculated, whence comes the appearance shown in the facsimile. Two examples will serve to show the extent of his knowledge, or of his inability to read his copy. One is the word K'eXMoTOiG, which is well supplied with accents, breathings, and apostrophes; the other is the quotation from Hesiod: — TH<; h' dpexfiq ibpajra Geol npoirdpoiGev eGHKav dedvarof iwaKpoq he ml cpGioq otiwoq kc. quthv Kal TpHXlJg TC TTpCOTOV eiTHV b' ek dKpOV IKHTOl pHibtH 6h eireiTa weAei, xaAenn nep touoa. This^ appears in the following form: tho bdp er s ibpcoxa 9eoi npo apoi e Kav d dvarol jwoKpoc; be kI 6 105 oljwoo endvrco Kal t hx'is to rr cotov 40 its. Ioquu£'juLEJUtetifctor "crov Jsjsi ye Had etKAsfocr ATtoXoijULivdai me minus iam mouent ut uides Itaque ab bomerimagtu eloquentia co £ero me ad ueca pcaecepta tov gvpiTTi^ov juliVS o-otp^gi ir quem uetfiim Ccntx. Prealiiis laudat e^f egjie 8c ait pode eunde 8C askx. ■mpocrto Kcti oiriVo-o^ uidere 5C tamen oibitominus €qiapa»{/gpoo tifce fai ^EpkofjiEjjacujj kpuovpT<*-* FIG. 16. MILANO, DOMENICO DA VESPOLATE, I476. 41 ef C he(5 OK ovl fai I i e i d xd^e o e i a. That manuscript must indeed have been illegible! The second Milanese Greek type that I have found is that used by the anonymous printer of the commentary of Servius on Vergil, dated 1475. He also printed, without imprint or date, a Priscian, in which a considerable amount of Greek type is found (fig. 15). This printer, whoever he may have been, was a poor workman, and extraordinarily careless in composing and revising his texts. The Greek type used in the Priscian is a two-line brevier, based upon the Venetian founts, but very roughly cut It is of the 'cutting-out' class; for instance, 9 X V n G were all cast with an apostrophe originally ; and the number of roman and wrong fount letters is amazing. In the first line of the facsimile three roman letters are used, v, i, I. In line 2 a 3 ( = m final) upside down is used for e ; beyond is another e resembling that in Ulrich Han's type, but quite different from the e of line i. In line 4 come a roman k and o, and the Greek ju and w are printed upside down. In line 7, a capital Y is used for f. In line 8, the first a in opajua and that of Kai differs from the ordinary a of the t3^e. The sign for ct is often used for final c,. A 00 is also found (line 4). The only other Milanese type which I have found is more interesting (fig. 16), as it is used in December 1476, by Domenico da Vespolate, a printer with whom Paravisinus was associated in 1478, and in the very year that saw the publication of the Laskaris. It shows clearly enough that at this time there was no connexion between the two printers, as no type more unlike that of the Laskaris could be imagined. The type in question is a large-faced one, larger in fact than the Roman type with which it is used ; that has an exceptionally small face for a fount only slightly smaller than two-line brevier (106 mm.) ; this is of free, bold form, without a trace of Venetian influence, but rather recalling the types of the Roman printers ; the letters fail to hang together, are unequal in size and incongruous in shape, but the type, though not a success as a fount, has one point about it which suggests that a Hellene had a hand in designing it. This is the three forms of 9, one the ordinary modern form, another in which the cross piece projects on each side, and a third the open form of the letter. In this respect Domenico da Vespolate's type stands alone among the earliest Latin-Greek founts. It consists of twenty-six Greek letters, aPr&e^HH9 [i.-iii.] KAjwvETrpaoT 42 T u cp \|/ 60 o). The o is roman, and for i a gothic i in which the dot is almost like an acute accent alternates with a roman i : x is always represented by a capital X, either upside down or the right way up. The h and & are used quite indiscriminately. After Milan, only four towns can be named in which Greek type had arrived by 1476; these are Padova, Ferrara, Treviso, and Vicenza. Elsewhere the use of spaces seems to be invariable ; thus at Bologna, Azzoguidi in his Perottus, De generibus metrorum, and at Naples Matthias Moravus in his Pliny's Letters of 1476, both leave blanks; in the Pliny some pages are more than half empty in consequence. At Brescia the printer who produced the Juvenal of July 1473, and Statins Gallicus, the partner of Heinrich of Koln, in the Elegantiae of Lorenzo Valla of March 1475, had no Greek type; nor is there any in the books printed in 1472 — 1474 at mus.ln.i.vt ittpyEia AotjuTTs'ict piKOJUH S\iid argia:la|3ia:iiicomedia:i*e.ur5\Hi oTTEitf' K««XXiotir2ict deiopeiaicaliiopek juHiSXEictTTActT EW:mdeapIateaSc hmoi poflelTiuismt ct)(i^^^io is always used. There are two forms of t, one apparently separate, as '(, the other, very rarely used, being cast in one piece. Similarly we find I, but 'e is equally common, and it is the same with i and ' i. Of double or triple forms of letters, mostly owing to the addition of 'joining-forms,' which have the last stroke prolonged and kerned, there is a considerable number : thus a has three varieties, two of which occur in napaAHfei, line 7, and the third, a tall form, in line 1 2. There are two forms of a a d a a, corresponding with these. Of e, besides the ordinary form, there is a second sort, represented in the facsimile by the e in cvesraq, line 7, intended for use only before v ; a third, semi-capital variety, is found in the Aesop, but only in combination, as e and e, in the Laskaris. This, the 6 (line 4) and a second k, which is sometimes found, form a small group of letters agreeing together, and of a different size from the rest of the type. In the Crastonus and the Aesop the proper f of the fount is used. Of H there is a second set, consisting of h, h, h, h. It is represented in the facsimile by n in the last line ; h and h are found in no other form. There are two kinds of oi, the broad (as in noiHGOj, line i) and the narrow ((iXesco, line 10) ; & has two forms, in one of which the accent is over the centre of the letter (as oiku), line 1), and in the other at one side (noico, same line) ; ofbocj) jUHvoq AeKejwppiou evvdxi;!. Further we learn from the preface of Chal- kondulas that he edited the text for this edition. His share in the work and that of the Nerli brothers are clear ; what remains doubtful is the position of Damilas in regard to it. For this we gain no help from the two later books, which only name Giunta, the publisher; ' impensis et cura Phylippi de zunta Florentini,' in 1497 ; ' impensa Philippi luntae bibliopolae' in 1500. There can be no doubt that the Greek type is the same in all 66 three books. Are we to suppose then that Damilas was the printer of all these ; that he remained in Florence as a printer for thirteen years, without producing anything for nine years consecutively ; or was he the printer of the Homer, not of the Giunta books ? It has always been taken for granted that he was the actual printer of the Homer, though the fact that not he, but Paravisinus, printed the Laskaris of 1476, might have suggested a doubt. We may seek a solution of the problem in an examination of the Roman types used in the books under discussion. In the Homer two such types are used; an english roman for the dedication to Piero de' Medici, and a larger roman for the signatures. In the Zenobios the Latin portion is in gothic ; the Orpheus has a colophon in the english roman of the Homer, issued twelve years before. Looking through Florentine books in search of these types used elsewhere we are not long in finding a considerable number, though it is more difficult to come across any in which either date or the name of the printer is given. Such are however to be found. To begin at the wrong end — the book entitled Scrutinium Consiliorum, by Agostino da Novi, an Augustinian canon at Padova, dated April 25, 1500, is printed in the two roman types of the Homer (the smaller, as already mentioned, being used in the Orpheus of September, 1 500) ; and the printer's name is there given as ' Bartholomaeus pres. Florentinus.' Three years earlier the Logic of Savonarola, printed ' per Bartholomaeum de Libris,' is set up in the same smaller roman in combination with the gothic found in the Zenobios of the same year. The Florentine Histories of Bruni and Poggio are in the larger roman, ' impresso per Bartholomeo p. fiorentino,' and dated 1492. Lastly, in 1487 editions of the Corbaccio and the Epistola a Pino de' Rossi, both by Boccaccio, were printed by ' B. di Francesco Fiorentino ' in the same type as the books of 1492, that is in the type used for the signatures in the Homer of 1488 ; and in the same year the smaller roman is used in a ' Lamento di Costantinopoli,' which has no printer's name. Now since there can be no reasonable doubt that these variations of name always refer to a single man, this result has been attained ; that all three types we are in search of were used by a single printer at intervals ranging from 1487 to 1500, the exact period covered by the Greek books. The wide intervals between the signed books, in 6^ K 2 the case of those in Latin and Italian, is apparent only, not real; for every book with name or date there are at least twenty without one or the other, and a continuous series of at least two hundred books may be drawn up, reaching from 1482 to 1500, and including very various branches of literature. Bartolommeo di Libri was in fact, if the evidence may be trusted, one of the most prolific and most reticent of all early printers. As the intermittency of the Share of Greek books is a strong argument in favour of a single printer whose the work.'" Staple productions were in other languages, and the fact that the larger type in the Homer is used only for the signatures points conclusively to its not being a loan (for the smaller fount would have answered the purpose equally well), it is necessary to discover the exact meaning of the words tt6v({> Kai beEioTHTi as applied to the share of Demetrios Damilas in the Homer. To me it seems clear that they refer primarily if not solely to his possession of the matrices or punches, and to his labour and skill (novog kqI beEioTH?) in recasting the type and making the new sorts used in the Homer and its successors. That the type is recast, though on the same body, may be proved by tracing a word in one book and placing it on the same word in the other; for instance, the word klikAco^ occupies just one millimetre more in the Homer than it does in the Laskaris. If the same process be repeated with the Aesop, the identity of the type in the Laskaris and the Aesop is seen at once. But Damilas may well have taken a more active share in the actual composition of the work. The correctness of the text in the Homer implies a pro- portionate amount of experience and skill in the setting-up, and we know that, like Paravisinus, Libri, though an excellent printer, can have had no previous experience in Greek printing, unless he learnt his business under Bonus Accursius at Milan. This is quite possible, as far as dates go, because Libri's first dated book appeared eleven months after the Psalter of Dec. 1481, but the character of his types points to a connexion of Libri with Naples, and he was more probably the companion of his fellow-citizen, Francesco di Dino, who after being for some years a printer at Naples, returned to his native place in 1481, or at the end of 1480* So that it is quite open to those who consider the words of the Homer colophon respecting Damilas to be insufficiently accounted for by his connexion with the type, joined with Libri's habitual reticence, to contend that he must also 68 be taken to have exercised a direct supervision over the printing of the Homer. But it is as certain as anything inferred from indirect evidence can be that the Homer was produced by the press of Bartolommeo di Libri, and there is nothing to show that any one else except Giunta had any part in the printing of the other three books. The points in which the type, as recast for the Homer, differs The type i from the original fount of 1476 may be briefly summarised. The J^^g *"*^ iota subscript reappears, and the second sort of e, found as e in the Laskaris, and without the breathing in the Aesop, is used, also without a breathing, in 1488. The Homer also agrees with the Crastonus and Aesop in the rejection of the angular a sorts used in the Laskaris. A considerable number of variant forms of the same letter, especially those adapted to fit closely on to the succeeding letter, have vanished along with that practice ; on the other hand, accented sorts lacking in 1476, such as e, i, have been added, together with double letters, as av, Hv, Cv; the at may have existed in the first fount, as av (in the form aC) is used in the Aesop. The number of consonants with an apostrophe is increased by a second h', tt', and others ; and several accented capitals have been added to the limited number existing in 1476. These and the other additions fall, taken roughly, into two groups, the one consisting of those which harmonise with the rest of the type, and the other of those which are more or less out of keeping with it in point of size or character. Of the former, the sorts which may be called new, and are not (like hv, vl, Cv) merely supplementary varieties of previously existing combinations, are a certain number of tied letters, such as dAA and aAA (plate HI, line 8), ^ev (line 2), rp (line 2 ; this is undercut on the left side for the insertion of short letters), and a series of ou-forms. Of the second class the most striking are a new semi-capital k (line 3), much larger than the older one of the same kind, er (line 8), ct, er (line 30), and eii (line 15), eij (line 28). A few other points may be noted before passing on; a second p (line 7) has been added, and is used side by side with the older one; the open 9 seems to be absent from the Homer, but is found again in the later books. A new £ (line 6) has almost ousted the original letter, which nevertheless occurs occasionally ; it is quite common in the Zenobios and Orpheus. The 6 (line 4) is the same as that in the Laskaris, though the Crastonus and Aesop contain one of the right size. The i first appears in the Homer ; the concurrent 69 use of h' as one sort (line i) and as two (line 9) is also noticeable. In the analysis of the sorts used in plate III I have marked with an asterisk those occurring on that page which appear in the Homer for the first time. Other Of the three remaining books of the first Florentine press the bookT "^ undated Chrusoloras, an octavo, may be taken first. It contains the Greek text only. It is more in agreement with the Giunta group than with the Homer, and may perhaps be placed about 1496. Com- pared with the Homer, the principal differences are the introduction of a third, rather squat £, and the revival of some of the older letters largely or altogether disused in 1488. Thus the open 9 is common, and the oldest E is here more often used than the two later sorts. The large new eu-forms have almost vanished in favour of the originals, eii alone being found, and that only towards the end of the book. The Zenobios and Orpheus agree substantially with the Chrusoloras ; both are quartos, with Latin colophons ; the first has also a Latin preface addressed to Giorgio Dati by Benedetto Ricardini. The Orpheus is distinguished by a woodcut headpiece and initial printed in red, doubtless a tribute to the influence of Kallierges. Revival of Meanwhile at Milano the printing of Greek had been once more at Milanof^ taken up. Demetrios Chalkondulas had, as has been mentioned, returned thither from Florence in 1492, and he seems to have given an immediate impulse to both printers and scholars. His arrival happened at a fortunate time, for the workshop of the brothers Honate had been broken up in 1490, when they finally moved to Pa via, and the punches of the second fount used by Bonus Accursius no doubt came to light at the same time. They seem to have been bought by Ulrich Scinzenzeler, then the leading, though not the senior printer in the city. He was naturally not disinclined to make use of his acquisition, and fell in readily with the suggestions of the newly appointed professor. A new type was cast from the punches, Isokrates, reproducing the older fount with few variations. Three citizens, secretaries to the Duke, were found willing to share the cost, and in January, 1493, which may be 1494 by modern reckoning, the orations of Isokrates, a small folio, were issued with the following colophon : * EreAeiajGH ouv Gecji to wapov pipxfov ' looKparouc ev MebioAavcp, ?)iop9(o9ev juev Cno AHjUHTpfou toC XaAKOvbuAou, TUTra)9ev be koI ouvTe9ev uno 'EppfKOU ToC fep/uavoO Kal ZepasTiavoC toO Ik TTovTpejwouAou" to h' avdAcoiwa 70 1493 nenoiHKOCiv of toC Xa/wnpoTOTOu Hrejwovoq MebioAdvou rpajWjwaTeTq BapeoAoiwatoq iKuaooq, BiKevTiOQ 'MfnpavToq, BapGoAojuatoQ 'Po^covoq, erei Ttp dno thq XpisroC revvHoeojq x^^^OGTtp reTpaKOOiooTcp evevHKOortj) Tptrcp jWHvoq 'lavouap(ou eiKOOTiJ TerdpTi;!. The device of Ulrich Scinzenzeler follows : but the printers named in the colophon are Henry the German and Sebastiano of Pontremolo. Henry the German, or Heinrich Scinzenzeler, was prob- ably a brother of Ulrich, and worked in his office. Four Latin books containing his name as printer were issued at different dates from 1488 to 1496, and the types used are (probably in every case) those of Ulrich. Of Sebastiano, nothing is known ; it is possible that he had experience in Greek printing, gained from the older Milanese press, or from one of those afterwards established ; some one accus- tomed to such work must have been employed in the composition of the Isokrates, the skilful hand being apparent throughout; and his share in the work may have entitled him to an association with the master-printer's brother in the colophon. The venture seems to have been unsuccessful, if it be not that an unusually large number of copies were printed ; for M. Legrand, in his Bibliographie Hell^nique (I. p. 17), has drawn attention to the fact that the Bibliotheque Nationale contains a copy which was reissued in 1535 with a new title-page and colophon in Greek and Latin ; the last leaf of the first quire and the first leaf of the last quire being also reprinted. The Latin title runs thus : ' Isocratis Orationes XXL ahas a Demetrio Calcondylo primum Mediolani correctae, et editae : nunc autem iterum accurate recognitae et impressae emittuntur. Venetiis M.D.XXXV.' To make it worth while for a publisher to do this, the 'remainder' bought by him must have been of considerable size. But in face of the completer Aldine edition of the preceding year, even a lying title- page did not succeed in selling the book; and the copy at Paris seems to be the only one in this state known to exist. One volume besides the Isokrates was printed with the same The three types. It consists of three independent parts, usually bound together, fj^^^j^g^'*^^^ but shown by the separate errata to each, and the signatures, which are neither continuous nor supplementary, not to be connected other- wise than by identity of format and subject, and approximately identical date of production. They are three grammatical treatises; the first, containing signatures a to 9, is by Chalkopdulas himself; it is entitled epcoTHjwaTO cuvonriKd twv okto) toO Aorou juepcov /uexdi tivo)v 71 these books. XpHcfjuajv Kovovcov. The title of the second (sig. a to i) is as follows : ToO C09toTaT0u kqI AoriojTOTOu KupoO MavouHA toO MosxonoijAou biopGcoGevroiv epajTHjwaTcov. The third, irepl biaAcKTCOv j&v irapd Kop£v9ou TrapcKpAHGeiodiv, is anonymous, and has signatures a to r- None of the three has any date or imprint, and it is a question whether they precede or follow the Isokrates. The absence of capitals tells in favour of the priority of the latter, and though Chalkondulas might have been expected to begin by printing his own work, which was doubtless used by him in his lectures as a text-book, the type certainly seems more worn in the grammar volume. The errata appended to the grammars also point in the same direction. The difference in the signatures, which are printed in roman capitals in the Isokrates, in Greek lower-case in the grammars, does not help to solve the problem. Type of The type of these books is that of 1480-81, which is larger than great primer, recast on a two-line brevier body, and consequently modified in several ways. These may be classified thus : (a) adjust- ment without alteration; (d) substitution of new forms for old; {c) disuse of older sorts; (cT) addition of new sorts. The first of these processes was carried out partly by trimming the punches, partly by kerning the type in the mould. The lower-case letters which have been trimmed in such a way that part has been cut off are r, h, 0, p (usually), high t, take up almost the whole of the face. The accents and breathings are cast separately on a minion body, which represents the exact difference between the height of the E and that of the moderately tall letters, such as nr or 6. In the Florence type the capitals are in the position of the ^, E, and v here, as the accents fill the exact difference between their height and that of the small capitals ; but the absence of low letters made the problem simpler, 84 as it was not necessary to cast the other letters in an unusual position on the face of the type. The Paris type of 1507, again, is much less ingenious, as there the accents have an independent line to themselves between each line of text. In our present type the low letters are very prominent, and as may be seen in lines 15, 16 of the facsimile, are clear, but only just clear of the accents in the line below. In the case of the accented \|/ (line 6), it is necessary to assume the dovetailing of the accent into the letter by means of a file, or some similar instrument. We must suppose that the non-accented letters were filled up with minion quadrats ; but the process of adjusting these and the accents in their proper positions must have been a wearisome one. The number of variations in the individual letters is small. The second e and are very rarely found ; the former only once (leaf 2*, line 3) ; the is introduced from the Latin fount. The secondary forms of i and x (lines 6, 1 1) are intended to fit closely to a preceding or following letter respectively. Of tied letters there are twelve, for the most part insignificant ; among the accents the " is the most worthy of attention. Where and when was the book printed ? It is clear from the character of tire Latin type, that it is of a comparatively early date ; not later, that is, than 1480 or thereabouts. But both questions might be difficult to answer, if by a fortunate accident two pieces of evidence were not forthcoming to determine them within narrow limits. The roman type, though I have not met it elsewhere, agrees generally with a class of types used in certain towns of North Italy, especially Bologna, Vicenza and Treviso, though it is more irregular than other types of its class. In the Chrusoloras it is heavily leaded, being a type of english body. Of the Greek type we find the h (line 4 of plate VIII) and on (line 2) appearing as strays in the Greek type used at Vicenza by Dionysius Bertochus in 1483 (plate X), and the ei (line i) occurs in the same type when used by the same printer or his partner at Venice in the following year (plate XI). Bertochus, a native of Bologna, was throughout his long and chequered career emphatically a Philhellene, as he established two distinct Greek presses, the first at Vicenza in 1483, which he removed to Venice in 1484, the second at Reggio d'Emilia in 1497, which was moved to Modena in 1499, and back again to Reggio in 1500 or 1501. He was continually on the move ; we find him at Bologna from 1474 85 to 1476; during the years 1477 to 1480 he disappears for a time; he reappears at Vicenza in 1481, moves to Treviso in 1482, is back in Vicenza in 1483, and settles in Venice in 1484. We may then assume that there is prima-facie evidence in favour of Vicenza as the place of origin of the Chrusoloras, as it is there that the stray letters turn up in 1483. Fortunately, however, more is known of the type than this. In 1 48 1 Bertochus was in partnership with the printer Giovanni da Reno, who in 1475 had moved into Vicenza from Santorso, a village some ten miles to the north. The earliest dated book of his, printed at Vicenza, that I have seen, is the commentary of Omnibonus Leonicenus on Cicero, De Oratore, which has no printer's name, but a colophon giving the place of imprint and the date 11 kal. Ian. (22 Dec.) 1476. This book actually contains a considerable number of Greek words printed in the type of the Chrusoloras. The roman type of the book is english, with a pica face, so that, with the exception of the three tall letters, our Greek fount matches it well, with very little trimming, when used, as it is here, without its accents and breath- ings. The result of the short letters being cast at the top of the body is clearly seen, the level of the Greek words being decidedly higher than that of the Latin text. Of the three tall letters, £ does not appear to be used : the other two have been filed to make them fit in, without however curtailing the face of the letter ; but the y, even when it comes under a short letter, such as an a, pushes it up out of its place in the line above. The ^ is managed better, and has produced no observable dislocation. But from the occurrence of the Chrusoloras type in the Omnibonus of 1476, it seems certain that the fount, in which the accent-system is an integral part of its design, was not made for that book, to which some of the letters have had to be forcibly adjusted ; it is necessary therefore to conclude that in all probability our Chrusoloras is earlier than December, 1476. But if so, it has a good claim to contest with the Batrachomuomachia of Ferrandus the honour of being the first Greek book ever printed. The Laskaris, of course, which is dated 30 Jan. 1476, whether this means 1477 or not, will retain its pride of place as the first book wholly in Greek, and stands on a different level as being genuinely Hellenic in its design and in all of its actual production except the mere press-work ; but the Chrusoloras is never- theless a Greek text, and is printed with remarkable care and accuracy 86 in view of the difficulties involved ; it is of great interest, as being almost certainly the work of Italian craftsmen, whether Giovanni da Reno or another were the printer, and on account of the ingenuity with which the new problems involved were faced and solved. Though the solution may not be wholly satisfactory, the designer succeeded in providing in a fount of less than sixty lower-case sorts for every possible combination. The book is interesting, moreover, for the character of its type, which, rough, straggling and over-sloped as it is, is unique as a deliberate attempt, forestalling Aldus Manutius by nearly twenty years, to reproduce for the purposes of the press not the bold and graceful forms of the calligrapher, but the ordinary familiar penmanship of the time; and for the curiously-linked chain which leads from the Chrusoloras, which is without any mark of origin, through the Omnibonus, in which place and date are given, but the name of the printer must be inferred from the type in which it is printed, to the partnership of the same printer with Bertochus in 1481, and the appearance of stray letters of the type in books printed by Bertochus in 1483 and 1484. The next Italian printer who produced a Greek book was one The Parma at Parma, who has not yet been identified. He printed several ™^° °'^^^' Latin books from the beginning of 1480 to the end of 1481, among them being editions of Nonius Marcellus, Festus, and Varro, in which Greek type is used. The Greek book, which is another edition of the Erotemata of Chrusoloras, printed like the earlier one in parallel columns of Greek and Latin text, is without any indication of its origin or date; but both roman and Greek types are identical with those of the Nonius. But as a considerable number of blank spaces in the Nonius and its companion volumes point to a deficiency of Greek letters at that time, the Chrusoloras may be assigned to the next year, 1481. The Latin type is easily recognisable by certain peculiarities, some of which it shares with other early Parmese founts, while some are found in this type alone. Such are the contractions for us and rum, the e with a cedilla of unusual form, used for ae, though ae is also common; the 1 with a stroke through it, and the wide h. The Greek (plate IX) must be derived from that of Wendelin of Speier or Jenson, as is shown by the double form of n and other distinctive marks, and rather from the first than the second; but though boldly designed, and not without merit, it is somewhat rough 87 Dionysius Bertochus at Vicenza and Venice. and uneven, and does not keep very close to its original. It is a two-line brevier fount of the cutting-out class (the 1 of lines i , 6, for instance, is made out of the I of line 8 or ii), and of simple con- struction, without any kerns or similar devices except the occasional undercutting of the high t. There are no capitals or iota subscript ; the accented vowels are very incomplete and rather carelessly used ; for instance h is almost always printed h or h, the accent not having been erased, and so with the other rough breathings. The stops (period, colon, hyphen and question) are supplied from the roman type. There are only four tied letters, tttt, c9, gg, or, and very few instances of more than one variety of the same letter ; except it and t, which are always found, the only one seems to be co, one variety of which, wide and standing rather on one side, is a feature by which this type can be easily identified. Both kinds of n and o> are seen in the word nepicsncoiuevcov in line 2 of plate IX ; the last (o is the one to which I refer, but it is not usually tipt up so much as in this instance. The c final goes below the line, while the or rises above it, just the reverse of what is the case in Jenson's type; the absence of any v except the pointed form, which is as usual rather clumsy, and more like a roman v, may also be noticed ; other features of the type are enumerated in the analysis of the type opposite the facsimile. The first Italian printer who printed Greek books with types of the Graeco-Latin class, and set his name to them, was Dionysius Bertochus, of whom something has already been said (p. 85). He is first met with as the associate of Ugo Rugerius in 1474. He led a wandering life among the towns of Northern Italy, but seems not to have been his own master till 1483, when his Greek books printed at Vicenza appeared. In the next year he renewed a former partnership with a fellow-townsman, Peregrino Pasquale, and moved his press to Venice. Here too the first book produced by the firm was Greek, and though it has the name of Pasquale only, it is in the type of the Vicenza books of the previous year. After this no more Greek printing was done by Bertochus till 1497; this later press of his will be spoken of in its place. At Vicenza in 1483 his work consisted of reprints of two books first issued some four or five years before by Bonus Accursius, and the Venice book is a third edition of the Erotemata of Chrusoloras, 88 so that he did not (either then or later) break new ground. The first of the two Vicenza books has neither imprint nor date ; it is a reprint of the Latin-Greek vocabulary by Crastonus, which was one of the first books in which Bonus Accursius used his second type. In the second place Bertochus reproduced the Lexicon of Crastonus, the first book with which Bonus Accursius was connected. It has a full colophon, and is dated November lo, 1483. In this edition the preface of Crastonus was omitted, but that of Bonus Accursius was allowed to remain. It was probably fifteen months later, the date being February 5, 1484, that the Chrusoloras appeared at Venice. The same type is used for both languages as in the Vicenza books, but the composition and press-work are inferior. Though Pasquale was no novice, we might have supposed that the omission of the name of Bertochus from the colophon represented an actual absence, did we not know from his books of 1497 how badly, in spite of all his experience, he could print when he chose. The type used for the Greek text of these books is a mixture of His type, at least two founts with a differently-sized face. Of the larger letters, many if not all appear to be identical with those of the Tortellius printed at Treviso by Hermann Lichtenstein in 1477, in many copies of which the name of Michele Manzolo or Manzolino is substituted for that of Lichtenstein ; the smaller letters are in part at least those of the type used by the same Manzolo after his removal to Venice in 1480. In the Vicenza books a large number of the letters are found of both sizes ; some are of the smaller, and others of the larger only. Many of the duplicate forms are used in the Lexicon only, and do not appear in the Vocabulary, Besides this mixture, which pervades the whole fount, several letters from the type of the early Chrusoloras appear in these books, though they are entirely out of keeping with the rest. These letters are h, ei, AA, and cstt. Of these four only on occurs in the Vocabulary, while the Venice book is the only one of the three in which M and et are used. The ordinary ligatures of the type, which are very few, are common to all the books alike, except ou and oC, which appear only at Venice. This very composite fount is of english body, with certain of its accents kerned, as may be seen in lines 18, 19, and 29, 30 of the page reproduced from the Lexicon (plate X), and lines 23, 24 of the page from the Venice book (plate XI). Its approximate extent 89 N may be seen in the analysis, although many of the lesser variations are difficult to distinguish. It has a set of capitals, K, Y, and Y being absent ; K is replaced by the roman K, Y by an A reversed, with the cross-stroke cut out, or by a roman Y, and Y by its corresponding lower-case letter. Returning to the mixture of types, some instances of the presence or absence of certain letters may be given. Of the consonants, the short, rectangular r occurs in the Lexicon only; in this also a third form of b is once found, as well as the smaller ^ and the larger k; both forms of the last are shown on plate X. Certain vowels also, including i, are used in that book only. The variations of £ are instructive. In the Vocabulary the only E is a tall letter occupying the whole depth of the face ; in the Dictionary, after being used at the beginning of the book, it was found inconveniently large, and was replaced by a shorter letter, which in the rest of the Lexicon and in the Chrusoloras is used to the exclusion of the larger form. Of the two sizes of letters, a good many, for instance /u, n, u, o, may be easily distinguished in plate X. Some letters, such as 6, occur in the smaller size only, though the great mass of the type belongs to the larger-faced fount. The tall t, rarely used, is not undercut. In places where a kerned letter abuts on a letter with a long tail in the line above, especially the x. the file seems to have been used. At Venice a roman v and c are sometimes found for V and c, ; this, which does not happen at Vicenza, is a sign of inferior workmanship. There is also an i from a gothic type, in which the dot is replaced by a stroke ; this is used both at Vicenza and Venice as [, and also (only at Venice) for i in the Latin text. Similarly a gothic i (i. e. m) is found in place of T. Lastly, certain letters, such as H and d, are of a different form at Venice from those used at Vicenza. Leonardus Besides Bertochus, the only printer of Latin books in this period Vicenza. who ventured on printing Greek, was one Leonhard, of Basel, who latinised his surname as Achates. He began at Padova in 1473, but moved to Vicenza in the next year, and renjained there till 1497, though there are long intervals (1482 to 1489, 1491 to 1497) during which nothing is known of him. His four Greek books just fill up the time between these two gaps, though they do not represent half his total output during those years. The first book was issued in June 1489, and is a reprint of the Milanese Greek and Latin 90 Laskaris of 1480, the Latin version being by Crastonus. The type His type: in which it is printed has the same origin, and is an obvious imitation ^"* ^'^'^" of the second Milanese fount, in which the earlier bilingual Laskaris was set up. It is two-line brevier in body, a fairly careful copy and certainly the best type of its class. The analysis shows the extent of the type; there are few ligatures, but a tolerably complete set of accented sorts, and a large number of variations in individual letters. The capitals are not complete ; the 0, X and Y are wanting, and the N (in 1489; it was supplied in 1490) is that of the roraan type; the A is simply an A with the cross-stroke cut out. The type is not much kerned, but the existence of something of the sort is shown in certain places, where an exceptionally tall letter, like b, comes below a low letter or a capital ; there is an instance with p and 6 in lines 10 and II of Plate Xn. On the same page there are many instances of a letter with a stroke over it. That these strokes do not form part of the letter as cast can be seen from the fact that they differ every time the same letter recurs (as p in lines 8, 13, 19, 24, or t and 0, each twice in line 15), and also because, when attached to a high letter like T, V, in line 14, or r in 24, they are clearly outside the body of the letter, and encroach on the preceding line. The difficulty of attaching small pieces of lead to the letters as required will account both for the diversity of form, and also for the way in which some of the strokes, such as those above the a in line 21, or the p in 24, are bent. Following its model in this also, the Vicenza type has the iota subscript. The high r and t are very common ; the former is undercut (rK, line i ; fi", line 1 3), but not the t ; in one place an i of the roman type is found under the r, a sufficient proof, if any were needed, that these undercut letters and the short ones which are joined to them are always separate sorts, Plate XII is not from the Erotemata of Laskaris, but from another work by the same writer, entitled TTepl ovo/uaroQ Kai pAjwaTog pipAiov TpfTov, there printed for the first time. It is often found bound up with the Erotemata, and may be supposed to have been printed shortly after the larger work, towards the end of 1489. In the epilogue, dated from Messina in 1466, Laskaris surveys the field of Greek grammar and lexicography, and gives some account of his own writings. As this is almost the only Greek document of any interest in these books which has not been reprinted by M. Legrand 91 N 2 in his Bibliotheque Helldnique, I have given a transcript of it in an appendix. Second state After the appearance of the Erotemata, Achates discarded in his of the type. Qj-eek books the two-line brevier roman used for that work, and replaced it by a smaller fount of a body not much larger than pica, which had been in his possession since 1482. It is not certain whether this was the cause or the effect of the alterations he proceeded to make in his Greek type ; but probably it was the cause, since the body of the Greek was made the same as that of the previously existing roman type. The result of this recasting was, as might be expected, lamentable. The old punches were used for the most part, but various changes had to be made in order to compress the face of the type to fit the smaller body. An elaborate system of kerning disposed of most of the high and low letters, but unfortunately there were now so many kerns that it was not always possible for the compositor to prevent them from coming against each other in succeeding lines. The x of line i and the tl, of line 2 on Plate XIII show what the natural result of this was, the two kerns being left to fight it out between themselves. A new 9 (line 12) was adopted, and the smaller ^, which even in the second book by Laskaris had largely replaced the taller one (only the short one occurs in Plate XII), is now the only one used ; the or is usually found with its tail chopped off; new forms of (o take the place of the old ; the iota subscript is dropt; the upper part of A is cut off and used for A; a roman v is found for v besides the original form of the letter, and the tall f is almost entirely discarded. The effect of these changes is so astoundingiy bad that one can only wonder how any printer, even if, for the sake of cheapness, he wished to saye space, could have consented so to ruin a really fine type. Two books were printed with the recast fount, both editions of the Erotemata of Chrusoloras ; one of them is dated Sept. i, 1490, the other Dec. 23, 1491. Both are badly printed; the surface of the forme was uneven, and did not take the ink or meet the paper properly ; and for the same reason a single small impression caused so much injury to the face of the letters, that in the second edition the type looks like one which had been printed from for years. The facsimile given in Plate XIII from the edition of 1490 shows some of the marvellous shifts to which the compositor was reduced. 92 Besides the instance already noted, the second r in rerpa(^a, line 4, had to be curtailed on account of the b below. The different ways in which M is treated are a curious study ; in line 8 the second A is docked, in line 20 the first; in 27 the first is pushed up, and in 30 the two seem to be run together. In lines 8 and 9 the ei has pushed the i below it out of place ; similarly in line 23 the 6 has displaced ju in the line above. In line 12 the lower part of the T is entirely broken off, while in 18 it is bent. VI. With Aldus Manutius a fresh period in the history of printing Aldus opens. Concerning this celebrated man so much has been written ^^""*'"'' that it is unnecessary to -do more here than to refer those who wish for an account of his life and work to the volumes of Renouard and Didot. For the business enterprise and eager scholarship of Aldus no praise could be too high ; the ingenuity and resource dis- played by him as a printer and the general excellence of his press-work are beyond question; but the new founts of his invention, whether Greek, roman or italic, are in each case lamentably devoid of beauty of form other than that conferred on them by good cutting, and his overwhelming influence among his contemporaries and successors secured the ultimate disappearance of the older and purer models. The list of the Greek books printed by Aldus up to 1500 will be found on pages 50, 51 ; I add here for comparison an abstract, taken from the facsimile published in 1892 by M. Henri Omont, of the price list of such as were then published, which Aldus issued in October, 1498 ; a document of great interest, only known from a single copy at Paris. It will then be necessary to discuss certain questions relating to the order in which the earliest of the Aldine classics were issued, before describing the founts used for those books, their peculiarities, and their difference from those which preceded them. ' Libri graeci impressi. Haec sunt graecorum uoluminum nomina. Abstract of quae in Thermis Aldi Romani Venetiis impressa sunt ad hunc usque J^su^d bV^' diem, scilicet primum octobris, m.iid. (A) In grammatica. (i) Ero- Aldus in temata Constantini Lascaris . . . Venduntur marcellis quattuor. (2) ''*' " Grammatica Vrbani . . . Venduntur non minoris marcellis quattuor. 93 (3) Canonismata quae thesaurus et cornucopiae appellantur . . . Ven- duntur minimo, nummo aureo et semis. (4) Grammatica . . . Theodori Gazae . . . Veneunt aureo nummo, nee minoris. (5) Dictionarium graecum . . . Minimum pretium est aureus nummus. (B) In poetica. (6) Theocriti eclogae triginta . . . Venduntur non minus marcellis octo. (7) Aristophanis . . . comoediae nouem . . . Minimum pretium Venetiis, aurei nummi duo et semis. (8) Musaei . . . de Herone et Leandro amantibus, cum interpretatione latina. Venditur marcello. (C) In logica. (9) Logica Aristotelis . . . Venduntur aureo et semis. (D) In philosophia. (10) Primum uolumen. Vita Aristotelis . . . Aris- totelis physicorum libri octo . . . Venduntur ad minimum nummis aureis duobus. (11) Secundum uolumen. De historia animalium libri octo . . . Minimum pretium Venetiis nummi aurei duo et semis. (12) Tertium uolumen. Theophrasti de historia plantarum libri decem . . . Minimum pretium nummi aurei tres. (13) Quartum uolumen. Aris- totelis magnorum moralium ad Nicomachum libri duo . . . Minimum pretium nummi aurei duo. (E) In sacra scriptura. (14) Psalterium graecum. Venditur marcellis quattuor. (15) Officium in honorem beatissimae uirginis . . . Venditur marcellis duobus.' Order of the There is some difficulty in determining the order in which the first Aidines. ^^.^^ \^qq]^^ ^f Aldus were issued. Mr R. C. Christie, in an admirable paper contributed to the first volume of Bibliographica, has proved beyond question that, as regards the dated books, the solution is to be found in the hypothesis that Aldus at first used the Venetian method of dating from March i, but soon abandoned it for the modern style in which the year begins on the first of January. Mr Christie showed that the time of his change in this practice dates from the beginning of 1497, at the time of the issue of the second and third volumes of the Aristotelian series, and that the Venetian method of dating is used in all books before this time, and in no books after it, with the doubtful exception of the Grammar of Urbanus Bolzanius, dated January 1497. Thus it is possible to be reasonably certain as to the order in which the great majority of early Aidines appeared. But the position of the three undated books, the Mousaios, Galeomuomachia, and Psalter, still remains undetermined. These were once considered to be the first productions of Aldus, and to have preceded all the dated books ; this position has been usually 94 abandoned as regards the Psalter, but is universally held of the Mousaios and Galeomuomachia. The early date attributed to the The Psalter. Psalter rests on the phrase used by loustinos Dekaduos in his preface : eboEe /uoi thv GeonveuoTov ptpAov r&v Geicov nptoTOv evruncooai YaAiW">v . . . uxsnep Tivd wpo&poiwov Kal KHpuKa feioTTpuoiov tcov juer ou rroAu TuncoGHGOjwevcriv HiwTv Getcov npoeKnejwyai fpacppiv. It is clear that this only refers to the priority of the Psalter to the rest of the Bible ; Dekaduos has just been speaking of a projected edition in three languages, and it is of this that the Psalter is described as a precursor. All that is definitely known of the date of the Psalter is, that it is earlier than October 1498, as it appears in the first price list. The date assigned to the Galeomuomachia rests on similar evidence. Galeomuo- Didot (Aide Manuce, p. 57) quotes from the preface of Aristoboulos '"^'^^'^' Apostolios, as follows : ' il crut devoir le publier comme un hdraut, KHpuKo, prdcurseur des oeuvres de la Grece qui vont 6tre imprimdes.' This of course if true would be the strongest evidence in favour of its priority ; but unfortunately Apostolios says nothing of the kind. These are his words : oiov Tiva KHpuKa TTpoeKrTejw\|/ai rfiq [oii] /lAef ou noAu TunooGHOOjuevHq 'loivfao The Ionia was a collection of apophthegms compiled by the writer's father, Michael Apostolios ; and there is no ground whatever for Didot's paraphrase in general terms. The Galeomuomachia does not appear in the catalogue of 1498, and was probably intended for private circulation. Then we come to the Mousaios, which has a preface by Aldus Mousaios. himself The statement of Aldus is perfectly clear and precise : MouoaTov tov naAaioTOTOv holhthv fiGeAHoa npootjwid^eiv Ttj) t6 'ApioToreAei Kai Tcov (309U)v Totc erepoic auT^Ka hi ejwoO evTuncoGOjwevoiQ. The Mousaios is thus earlier, but not much earlier, than the first volume of the Greek philosophic collections which were published between 1495 and 1498. This first volume appeared on November i, 1495 ; and all that Aldus' own statement permits us to say is that the Mousaios must be before that date, while his words infer that the Aristotle, at the time the preface to the Mousaios was written, was within a measurable distance of completion. There is no internal evidence whatever for assuming any one of these three books to be earlier than the Laskaris of 1494/5. But any one who has handled the Mousaios must have noticed the curious make-up of the book. The Greek text is accompanied 95 by a Latin translation on alternate leaves. The first leaf has a title on the recto, and on the verso notes of omissions in the Greek text. The second leaf, signed a, contains ^he preface, and two epigrams by Mousouros. The third leaf is signed b ; it contains on the recto a translation of the epigram facing it, and on the verso the beginning of the Latin text, corresponding with the beginning of the original which is on the recto of leaf 4, signed a 11. Leaf 5 (Latin) is signed c, leaf 6 (Greek) a ui ; leaf 7, b iiii, leaf 8 a lui ; leaf 9, V, leaf 10, a luu ; leaves 11 and 12 from the middle of the book, and are both Latin, the inner pages being occupied by two woodcuts, and an epigram in Greek and Latin; leaf 11 is signed b vi. Thus the book, if taken to pieces, falls into two sections entirely independent of each other ; the Greek text, a quire of ten leaves signed a ; the Latin version, twelve leaves, signed b. How do these two parts stand towards each other typographically ? The Greek text is printed all in one type, which is identical with that used for the Galeomuomachia, the text of the Psalter, the Gaza, Theokritos and the Aristotle, But three things in the types used for the Latin portion are noteworthy. In the first place, the roman shows decided signs of wear, and is the same that first appears (in a dated book), in a perfectly new condition, as a few lines on the titlepage of the Theokritos of February 1495/6. Secondly, the only Greek type used in the Latin part is the smaller fount which is found first in the Thesauros of August 1496. This also is by no means new. Thirdly, a paragraph mark is used which I have found nowhere else earlier than the Grammar of Bolzanius dated January 1497. That Aldus did actually not possess the smaller Greek fount at an earlier date than August 1496 can I think be proved. It is used in the last four volumes of the Aristotle series, beginning with January 1497, but not in the first. The Latin preface to the Gaza (Christmas, 1495) is printed in small roman type. In this preface two Greek words occur, nd9H and jwesa. The first word in most copies is printed in ordinary Venetian Graeco-Latin letters, while the second is actually left blank to be filled in by hand. In other copies there are blanks for both words. The preface to the Dictionary, printed just two years later, also has Greek phrases, but here they are set up in the smaller Aldine type. For these reasons I am convinced that the Latin part of the 96 Mousaios cannot be earlier than 1497, and is probably not before 1498 ; in the Psalter, though it has no roman type, large use is made of the smaller Greek fount, and it may therefore also be assigned to 1497 at earliest. Like the Psalter, the Mousaios figures in the list of October 1498 in its completed form ; its position at the end of the section in which it stands may or may not indicate its recent com- pletion, as the books are not placed in strict chronological order. So too the position of the Psalter before the Greek Hours of December 1497 cannot be relied on as evidence of its priority. There remain then the Galeomuomachia, and the Greek text of Mousaios, which are very similar in many respects. There is a slight difference in the way the signatures are printed; in the Galeomuomachia the iota adscript of the capitals is used for the numbers, in the Mousaios the lower-case iota. The paper is similar, though the watermark differs. The page is much longer in the Galeomuomachia, having twenty-three or twenty-four lines to the twenty of the Mousaios. Both however consist of a quire of ten leaves, and begin on the recto of the first leaf, without a titlepage, as indeed was natural with such small pieces ; the absence of a title- page cannot then be taken as an argument in favour of an early date. Typographically there is little or nothing to choose between them; the type is in much the same condition in both books. We may therefore assume without much risk that both were produced at nearly the same time. The Mousaios is, as we have seen, earlier than the Organon of November 1495 '> what is its relation to the Laskaris of February and March in the same year ? With regard to the Laskaris, two points have to be noticed. Laskaris, The first is that the Greek type of the Laskaris, while identical in j^^j^ ^'"^ ' design and some other respects with that used in all the other books, has peculiarities of its own. The body is shorter, being little larger than great primer, while that of the other books is nearly as large as double pica; it is also wider, so that there is a greater amount of white between the letters ; it has a number of letters found nowhere else, and does not contain a number of ligatures and abbreviations used by Aldus in all his other books. But the Mousaios and Galeomuomachia do not agree in this respect with the Laskaris, but with the Organon and the rest. Secondly, the preface of Aldus seems conclusive. ' Constantini Lascaris (he writes) 97 o uiri doctissimi institutiones grammaticas introducendis in literas graecas adulescentulis quam utilissimas, quoddam quasi praeludium esse summis nostris laboribus et impendiis, tantoque apparatui ad imprimenda graeca uolumina omnis generis, fecit cum multitude eorum qui graecis erudiri literis concupiscunt (nullae enim exstabant impressae uenales, et petebantur a nobis frequenter), turn status et condicio horum temporum, et bella ingentia quae nunc totam Italiam infestant.' Again at the end of the preface he says : ' rudibus et ignaris peritus literarum graecarum Lascaris institutiones imprimendas curauimus ; mox eruditis et doctis optimi quique graecorum libri imprimentur.' It would require strong evidence to upset the claims of the Laskaris, backed by the evidence of Aldus himself, and of the type, to be the first of the Aldine series. There is however a difficulty, which is not affected by the presence or absence of two small pieces like the Mousaios and Galeomuomachia. How can it have been possible to recast the type, and to print a book of the size of the Organon, between the March and November of the year 1495 ? We may suppose if we like that the letters used for the Laskaris had been already tried and rejected for the larger work as unsuitable, and that Aldus used them here to avoid the entire waste of the fount before putting the metal back into the melting-pot ; but there is no grain of evidence for this. As things stand, the time required seems quite incredibly insufficient for all that had to be done. First type of Something must now be said of this Greek type of Aldus, so Aldus. praised both by himself and his contemporaries, and even by modern writers who were still in the thraldom of the Bodoni and Didot period. In the preface to the Aldine Psalter, Dekaduos speaks of it thus : "Aa6oc ToiintKAHv MavouTioq . . . apexfiq ^HAcp koi th irpoq to Hjuerepa KHfeejuov(a re Kai. OTOprfi thv t&v rpaiuiudrajv lovjcov euapiuoortav Kal ouvGeoiv t!^ toC oketou vooq e9eOpev oEuthti' e& fdp Aefeiv tov xapoKTHpa, ounep ouk aunq r&v enl to KaMirpacpelv xeipio69a3v evexdpaSev tbpaiorepov. This passage gives the clue to the success of the Aldine Greek type. Aldus broke away from the usage of his predecessors, and produced a type based not upon the noble and beautiful older book-hand, but on the ordinary correspondence or business handwriting of his day, involved and contracted to an extreme degree, but, as writing, not without merit for its freedom and flowing lines ; and for that very reason eminently 98 unsuited for fixing in the rigid uniformity of type. To avoid this as far as possible, variants without end of the same letter or contraction were made, and new combinations, each more extravagant and con- torted than the last, were incessantly added. The Gaza of December 1495 is an example of the extreme point to which the use of con- tractions was carried ; in that book long words like eveoTcbc, naparaTiKo^, wapoKeijuevoQ, jueAAoiv, dopioTO? are represented by a single intricate and unmeaning convolution. So KecpdAaiov elsewhere, even in the smaller types. The developments of these exaggerations may be well studied in the alphabets of the French Royal types, of which some account will be given in the last chapter. The result of this tendency was a partial remedy of the first trouble at the expense of the compositor, whose cases threatened to assume a bulk and complexity likely to make his work physically impossible except with immense labour. Thus it was necessary to endeavour to reduce the number of sorts, both for the compositor's sake, and also doubtless on account of the expense of cutting so many punches, without diminishing the number of possible combinations, on which the success of the fount depended. For this end certain modifications of the usual methods of kerning were invented, and it is probably to this that the expression in his applica- tion of 25 February 1495 to the Signoria for privilege partly refers. The date of application corresponds exactly with that of the publica- tion of the Laskaris, and is shown by the colophons to the Aristotle of 1495, the Gaza and the Theokritos, which mention the privilege, not to be reckoned, as Baschet and Didot assumed, more Veneto, i.e. 25 February 1496, according to our reckoning. In this document, Aldus, who in the preface to his volume called Thesauros, issued in August 1497, states that he had been engaged for more than six years (annus enim agitur iam septimus) in perfecting a system of printing in Greek, applies for a copyright in his Greek characters for ten years on the ground that 'havendo facto intagliar lettere greche in summa belleza de ogni sorte in questa terra, ne le qual habbia consumato gran parte della sua faculta cum speranza de doverne qualche volta conseguir utilita, et za molti anni chel ha consumadi nel intaglio de le dicte lettere, habia trovato, per la dio gratia, doi novi modi, cum i qual stampira si ben, e molto meglio in grecho de quello che se scrive a penna.' Here, besides the comparison with writing His two new again insisted on, mention is made of ' two new methods ' invented ""^ 99 02 by Aldus in connexion with his experiments in type-founding. One we may feel fairly confident is the adoption of the new style of face in place of that based on older models ; the other is probably the contrivance by which the types were cast in such a way as to enable the compositor to unite a letter with a breathing, accent, mark of abbreviation or contraction, into a whole which should have the appearance, as printed, of a single letter. Existing founts of a some- what later date show what the method of Aldus was. The practices, already known to printers, of kerning one line of type into another, of interlocking letters in the same line, and of working the accents separately by placing them in a trough above their letters, led up to the invention of Aldus, which was only a combination or develop- ment of these as regards the lower-case. But the process was not completed at the time his first book was issued. On sig. 18^ of the Laskaris of February 1495, in the last line but one, a space has worked up, as is common in all printed books, and stands level with the face of the type, so that it has been printed. A space must of course represent the size of the type-body, if it stands straight and is unbroken, as is this space. In an ordinary fount it reaches from a point level with the head of a high letter to one level with the tail of a low one, e.g. from dot to tail of a j, or roughly speaking, halfway between a line of type and the lines immediately above and below it. The space in the Laskaris, however, reaches from the foot of the short letters in one line to the same place in the line above ; it is therefore clear that this first attempt of Aldus differs from all other types in the position of the letter on the body of the type. In view of the preponderance in Greek of the high strokes, and to give as much room as possible for the insertion of the kerned sorts, Aldus had the short letters cast at the foot of the face, in the lowest possible position ; he shortened the low strokes as much as possible, and kerned them on to the line below, while developing the high strokes greatly ; and he also provided in this way a very long shoulder to support the projecting parts of the accents and the numerous contractions. But the plan was a failure ; it was at best a makeshift, an intermediate step in the full development of the new method, and was probably condemned not less by the discovery of a way to overcome the difficulties of combining the separate working of the accents with a type cast on the ordinary plan, 100 than on its own demerits. The fact that the privilege was applied for at a time when the Laskaris was practically completed, and after Aldus must have determined to abandon that fount, and to recast it on a slightly different system, seems to prove that his second invention, if indeed it is to this point that he refers, must be the plan (of separate accents attached by kerns) taken as a whole, and not only that stage of growth marked by the Laskaris type. The extent of this first type of Aldus in its earliest form is shown The first to some degree by Aldus himself. In the ' Alphabetum Graecum cum Laskaris!** multis Uteris ' printed at the end of the Laskaris, Aldus has given examples of all the varieties of simple letters which his type at that time contained. Of the capitals there are two forms of E, TT, and Q, but of no others. In the lower-case, of v there are seven varieties, of a, (p, CO, five ; of p, t, four ; of f, e, h, 9, A, E, u, three, and of h, {, I, K, n, 0, TT, p, 8, q, x- W> two. Thus the twenty-five letters {counting o and c) are increased to seventy-five, and this irrespective of all accents, breathings, &c. A little further on Aldus gives what is even more interesting to us, a list, on two pages, of the principal contractions used, both alone and in position, upon a word of which they form part. The second of these pages is reproduced on plate XIV, and I need not further refer to it; the first contains contractions for av (two), dv, aq, ac, 'aq [i. e. aq with an acute accent on the preceding syllable], aiq, a"i<;, eq, ev, ev, fiq, hq, hv (two), hv, iv (two), eXq, eiq (two), 6v (two), 'ov, &v, twenty-five in all. The abbreviations, which were of course cast with a thin shank, were probably supported on spaces when printed by themselves, as on this page. The facsimile, together with the page from the Mousaios which is shown on the next plate, will give some notion of the complexity of the first Aldine fount and its wealth of ligatures and contractions. The fount as finally completed is shown in the page from the and in its Mousaios reproduced on plate XV. Kerning between the lines is almost wholly abandoned, though still used to a very small extent, as in the oGai of line ii, and a space which is found on sig. A i^ of the Psalter proves that the type was now cast in the usual position. In preference to a longer discussion of the peculiarities of the Aldine types in general, I have thought it best to point out in the case of each fount separately the problems it presents, and how far these support or conflict with the conclusions here arrived at as to the lOI methods followed by Aldus and his fellow-craftsmen. In this way it happens that less detailed notice is taken of the first type than of the latter ones, because its larger size makes the amount of it which it is possible to reproduce here very small; and the greatest attention is bestowed on the 1498 type (which is not Aldine at all, but a careful imitation), because this has been chosen for extended analysis on account of its smaller volume. In plate XV the accented capitals first call for notice. I have already spoken in the fourth chapter, while treating of the press of Lorenzo di Alopa, of the way in which the accents were fastened to the capitals in later types on the Aldine model, and therefore presumably in the Aldine types themselves. In the lower-case, while the majority of the accents and other marks are clearly cast separately from their letters, there are a few which appear to be solid. Such are the TO in line 3 and line 10, while to in line 7 has its accent separate. The contraction for tcov in line 4 is almost certainly cast in one piece ; and the Tcji in the same line, and in line 5, has the circumflex placed suspiciously low down. Again, it seems that on no other hypothesis can the presence be explained of sorts with a horizontal line above them, which seems quite out of place, and cannot have been intentionally added. See pi, line 4, i in Ouib({p, line 7, and e in line 10. There is probably a considerable number of different accents used, but they are difficult to distinguish, as such sorts must have been specially liable to get bent (hence difference of slope) of broken, with consequent difference in length. The variant forms of the same letter can be best discovered by the help of the analysis facing plate XV, and I need not dwell on them here. The number of separate abbreviations is fairly large for the size of the page, but the only one that is at all elaborate is the etvai in line 5, where the ai, with preceding circumflex, stands above two letters, ei and v, and has made it necessary to place the breathing in front of the word, instead of over the ei. The use of the iota subscript is common, though not universal (Ouibfci) in line 7) ; it seems impossible to determine whether, as in the French founts of 1544, the iota was attached by kerns, or was cast in one piece with the vowel ; but the latter alternative seems the more probable. Character of But what is to be said of this much-vaunted type of Aldus ? I fear t etype. ^j^^^. j^^ resemblance to the writing to which they were accustomed, 102 which endeared it to his contemporaries, does not appeal with equal force to us to-day, nor can we any longer see with the eyes of a Bodonist, to whom everything beautiful was 'barbarous' and only the misshapen and ugly were admirable. In truth, in spite of all his estimable qualities, Aldus seems to have been a man of phenome- nally bad taste for his time^ and unfortunately the blunders which in a lesser man would have been unnoticed, the enormous influence of the books which he produced perpetuated and sanctioned. It was in vain for Doukas and Ximenez to produce at Alcala, as a striking antithesis to the prevailing tendency, the most splendid Greek type ever designed, at a time when the work of Aldus had reached its fullest development ; or for the Venetian printers of the Greek service- books to persevere in keeping up the older and better traditions ; the stream was too strong, the great professional printers, such as Froben, Estienne, and their contemporaries, caught up the prevailing fashion and the cause of Greek printing was lost, as that of Latin was soon to be. To us, whether from the point of view of beauty or usefulness, the first type of Aldus has no redeeming feature. It is not even a good specimen of its own class, as may be soon proved by comparing it with the lower-case Florentine type of the Apollonios of Rhodes, or that of Kallierges, in which grace and regularity help to atone for their deficiencies in other respects; that of Aldus, on the contrary, is not only illegible, but is slipshod and ragged to the last degree. This double pica Greek, recast from that used in the Laskaris, Second type was the only Greek fount possessed by Aldus till 1496, and it con- tinued in use to some extent till 1498, the Aristophanes of that year being the last book in which it is found. The second type first appears in a few words of Gre^k in the Latin preface of Aldus to the Thesduros of August 1496. It is between two-line brevier and great primer in body, but the face is disproportionately small. Prac- tically a reduced copy of the larger type, it shows a firmer and more practised hand, and avoids many of the extravagances of the earlier type, while still full of minute variations and elaborate contractions. Its character can be seen from the page reproduced on plate XVI, from the ' EnisToAai hacpopaiv of 1499. I have chosen a page which partly corresponds with that taken from the Phalaris of Bissolus and Mangius issued the previous year (plate XIX), for purposes of comparison; 103 it is evident that the other type is a copy of that of Aldus. This Phalaris type in its first state, i. e. as used at Venice, I have chosen as an example for analysis, to discover if possible the approximate number of sorts contained in a type of this later class, because of the small bulk of the only two books in which it is found. To read through all the books printed by Aldus in any one of his types would have been an impossible task. But the close relation between the two founts makes it unnecessary to dwell on this second Aldine type further than to call attention to its greater simplicity, especially in the smaller number of detached contractions, as compared either with its predecessor or with the Phalaris type. There can be no doubt that in this type, as in the larger one, the accents are added to the letters by means of kerns ; we con- tinually find letters clearly the same, differing only in the accent over them. Instances of this on the page reproduced in plate XVI are numerous ; in jwh, lines 4 and 5, the slope of the accent over the H differs; in bet, lines 2 and 10, the accent is rounded in the one, curly in the other, but the letter is identical in both ; compare also dAA with oAA in lines 19, 20. About the jwev in line 3, and those in 18, 20, it is hard to be sure whether the accents are different or identical. The e in line 4 is a different letter from that in line 5, but that in line 17 seems to be the same as that of 5 with a lower breathing. The in lines 3 and 4 is the same letter with differently sloped accents ; on the other hand, in a>, lines i and 6, both letters and accents differ. In the e of avapaAeoGai, line 4, and of Trepijwevcojwev, line 5, the letter is different, but the accent, which is eccentric both in shape and position, appears to be the same. The iiq in roiiq, line 6, seems odd ; it is possible that the kern has not been fitted on to its letter properly. Attention may be called to the four kinds of 6 noticed on this page. The 6 of jwovov, line i, and of avfepoq, line 10, seems to be the same letter, and the same is the case with TTp6(paaiQ, line 9, and KoojMOv, line 1 5 ; but the accents are different, though those of /uovov and TTp69a(3i^ may be identical. The oi-forms are, as usual, arranged so that the accents stand above both letters, as in ol, line 2, 01, line 5, o"i, line 8. Third type The third and last of the fifteenth-century Greek types of Aldus is used for the Scholia to the Alexipharmaka of Nikandros, annexed to the Dioskorides of July 1499, which is the last of the Greek books 104 of Aldus. of Aldus printed in the fifteenth century. This forms an independent section of the work, and seems to have been added later, as an afterthought; it is not mentioned on the titlepage, and is wanting in a large number of copies. But as the type used for it is that in which the Philostratos of March 1501 was set up, it is certainly to be reckoned among the fifteenth-century types. It is a pica fount of very flowing character, with a large number of ligatures, but fewer contractions than in the larger founts, because the smallness of the type made the kerned sorts very difficult to handle. As a specimen of the art of type-founding it is a marvel of skill and ingenuity, and considering its small size, very legible, owing to the fineness and uniformity of the lines, and the care with which it is printed. The capitals are however very unsatisfactory, being both too small and out of character ; they appear to be largely identical with those used in the early books (Vergil, Martial) printed in the italic type of Aldus. In the portion of this type reproduced on plate XVII, two spaces which have worked up can be seen ; the first, in line 7, shows the full body of the type in the original, but the facsimile fails to indicate more than a small part of it; the other, in line 21, is shorter, and as it is evidently standing properly on its feet, it may be a space of which the shoulder has been accidentally broken off. But Dr P. Schwenke has lately observed spaces of similar form in the forty- two-line Bible ; and he thinks, no doubt rightly, that these are the spaces belonging to that part of the fount which was modified by cutting away the shoulder, in order that the letters might stand under the high f. It is possible, then, that we have in this space an example of one adapted for holding up a kern, like those in plate XIV, referred to above ; though, if this were so, one would expect it to be somewhat shorter than it actually is. The analysis of this type clearly shows a marked difference from the larger founts in the number of varieties of single letters ; it is however accidental that there are exceptionally few contractions in the piece chosen for reproduction. In smaller variations the minuteness of the face makes it difficult to distinguish them without a photographic enlargement of the type, and there are probably far more than those noted in the analysis. A number of those which are recorded there differ from each other only in the shape or position of the accents ; it seems incredible that any separate method of working these could 105 P have been adopted here, from the difficulty of manipulation, and the later Greek founts of similar sizes were certainly made without kerns ; still, the phenomena agree with those observed in the larger types of this class. Compare for instance the i in oibel (line 1 5) with those in Totq, lines 25, 26. The first two seem to have the same i, and the same accent, differently placed ; in the second and third the accent is in the same position, but the form of the letter differs. In line 29 the h in EiKH and in ei kh is the same letter, but the accent is different. So also is the of toO in line 10, and of outoC in line 11. The oi-forms show the usual peculiarities; for instance the i in oibeT, line 15, and in dxTic,, line 25, is identical, except that in the second the is partly under the accent, while in oibei the fee is not. In all other cases where i comes after a ligature the other T is used, as rotg in lines 25, 26, 27; and this is a point against separate accents. In the same word oifeet the breathing is between the and the i, while i, as in line i, differs. It is possible, if we can place the cutting of this type after October 1 500, at which time the press of Kallierges and Blastos ceased working, and their privilege lapsed, that the present fount was made on their system of separate punches and combined matrices ; this would help to explain the facts, but involves assumptions which have no direct evidence to support them. Imitations of The Aldine press having thus been dealt with in detail, we have ine types. ^^^^ ^^ consider the imitations of its types which appeared during Bertochusat our period. Of the two printing firms which come under this head, Mo^^ena^" the first is our old friend Dionysius Bertochus, who abandoned his ancient ways to follow the new fashion. After remaining at Venice, when he returned thither from Bologna in 1489, till 1494, he moved once more to Reggio d'Emilia, where in company, partly at least, with a fellow-townsman, Marcantonio Bazalieri, he established in 1496 a new press for printing both in Greek and Latin. While at Venice, he had used (for instance in the Perottus, Cornu copiae, of 1494) an ordinary Venetian fount of the Graeco-Latin class; at Reggio he set himself to reprint line for line the books issued by the first Milanese press (as he had already done before, in 1483), with a fount copied from the first Aldine Greek type. Only two Greek books, so far as is known, were issued from his press at this time ; one is a second reprint of the Latin-Greek vocabulary of Crastonus, which was one of the first books printed for Bonus Accursius in the 106 later type ; the other is the third part of the same editor's Aesop, containing select fables with a word-for-word Latin translation. Both books are reprinted from the earlier editions without any attempt at revision, and are moreover very badly and carelessly done. They are both dated 1497, without any month or day being given, but from the state of the type it seems fairly certain that the Crastonus, in which the name of Bazalieri is joined with that of Bertochus in the colophon, is the earlier of the two. Of the first quire in the Crastonus there are two different editions, The two probably due to an accident with the formes. Both are equally voc^uiary^ incorrect, some mistakes being common to both, others appearing in one only. Some of the variations are interestmg as proving beyond dispute that at least some of the accents were inserted above the letters during the actual composition. The edition I call A has si^atures A ii, A iii to the third and fourth leaves, containing the beginning of the text (the first leaf is blank, and the second, which has no signature, is filled with the Latin preface) ; edition B has the signature Aii on the second leaf, and no signature on leaves 3 and 4. A few examples out of many of errors common to both A and B are cmroTTTTaTToc (3^), although the second n differs in the two editions; dnTOGjWHSiQ (4*), TrposirAipoo) (5*), jwoikoq, irapaKAuxoc (6*), ra£o- (puAaKiov (6^) ; on 'j^ fecoprfa is printed reoopv(a in both, though with a different v in the two editions. The word loobuvajweco is loo&Hvajueo) in A, oobHvajweo) in B. Errors in A, correct in B, are : anonejwno for otTOneiWTra), 3*; TipoGKiAtco for npooKuAio), and emppHaaxiKoq, eTTippijwaTiKooq, dTtKeijuat for avrfKeiiuai, 6*; e9aiwvAAoc for eqjajuiAAog, 6^ ; cum with m upside down, 8*. Mistakes in B, correct in A, are equally numerous; such are cKpaipeicTiKoq for dcpaipeTiKoq, 3*; nposepKOjuai, 6*; AeuKOOTHg (no accent) for Acukoth^, 8*. In B the word buoxuto on 7^ has a roman i in place of the second iota. Of other differences not involving spelling, those in which the position of the accents differs (and these are very numerous) need alone detain us. On the first page of the text pafruAoq has its accent higher up and further back in B; dTTepxojwai has the accent in front of the letter and tipped back in A ; eAdnvoq the same, more pronounced ; dneAasThK; in A has the accent beyond the letter, in B over the first limb of the eta ; dnopdAAco in B is like eAdjivoc in A. In oxytone words ending with a consonant the accent is frequently placed over, or even beyond the consonant in one edition, over the 107 P 2 vowel in the other; thus, leaf 8\ nrepcoTOQ, kuPcutikoq, 7^, aiwvoq, 6^, oiKobojUHTHC, have the accent wrong in A, and afoiv on 7^ in B. But these last are of course not so decisive as medial accents ; on 6\ Kaioj has the accent on the i in A, between a and i in B, the diphthong being in both editions a single sort with ligature ; on the same page, jwoixeta is exactly similar; on 5^, the accent of eioiroieoj is behind the e in A, before it in B. It would be easy, but is needless, to multiply instances of this sort. It is quite clear that Bertochus copied the Aldine scheme for accents, but did not know how to cast the kerns properly, or how to compose them when cast. The spaces which stand too high and have been printed are numerous (there are two on leaf 5^ of the Crastonus, edition B) ; they stand rather low, so that an accent comes some distance up a space standing in the line above. Thus the second space on the page referred to stands over an d ; the accent of the d rises in front of the space the greater part of a millimetre above its foot. The accents rise above the tailed letters, such as p, in exactly the same way. Some of the accents, however, are not independent of the body of the type in this way, for instance the ii in line 4, the 6 in line 6, the e in line 7, and the H, H in line 8 of the facsimile, plate XVIII; compare these with the H, 6 of line 3, the o) of line 5, or the 0, d of line 15 ; or compare e of line 13 with e in line i ; and it will be clear that the accents are of two sorts, separable and inseparable. Examples of the setting for- ward of the separable accent are found in the page of the Aesop reproduced in plate XVIII, in nepi, line i, eTieibH and Kudv, line 7, and aiiTOQ, line 1 1 . Type of The type, a rather large two-line brevier, in which the Crastonus and Aesop are printed is, as already mentioned, an imitation of the first Aldine type ; it is however exceedingly rude and unskilful, and being a bad copy of a bad fount, is of unspeakable baseness. Most of the larger and all the most elaborate ligatures are not reproduced, and there seem to be none of the contractions which could be placed over or fixed to the preceding letter, except ov, and perhaps one or two more. On the other hand, kerning after the older fashion, both vertical and horizontal, is more used than in any of Aldus' books after the Laskaris. It is easy, in fact, to discern that the type-founder, if he were not Bertochus himself, was, like him, accustomed to the older Graeco- Roman founts ; and, while he thought himself compelled to 108 Bertochus. follow the fashion in the form his type took, he was unable to carry out the new methods in their entirety, and has, so to speak, grafted the modern shape of the letters and the new way of accenting on habits and practices formed or learnt in an older school of printing. In 1498 Bertochus moved once more, and took his press and Bertochus types with him from Reggio to Modena. Established here in theModena; basement of a house, he printed an edition of the Lexicon of Crastonus ' impressum in aedibus Dionysii Bertochi bononiensis subterraneis,' which was finished in October 1499. This was not his first book since his departure from Reggio, as an edition of the poems of Tibaldeo had been issued in May of the same year. The lexicon is a far more ambitious work than either of the Reggio books. It is much more accurately printed, and the press-work shows great improvement ; it seems strange, indeed, that an experienced man like Bertochus, who had been a pirinter for a quarter of a century and had been associated as an expert with some of the best printers of his time, should have produced work so unworthy of him as the two books printed at Reggio. Their inferiority may have been due to difficulties experienced with the new and no doubt extremely perplexing way of printing the Greek, or to accidental and temporary circumstances of which we know nothing. The Lexicon, a folio of considerable size and bulk, was, as originally planned, a mere copy of the Milanese edition, or of Bertochus' own earlier reprint of 1483, and it is printed in the same types, both for Latin and Greek, as had been used at Reggio. In this form it was finished on 20 October 1499. Afterwards, however, there was added at the end a Latin index, adapted by one Ambrosius of Reggio from the similar index appended to the Aldine edition of i49T- I" this index, besides the two earlier types, a new small roman fount is used for the text and preface. The preface is dated, 'Regii Lepidi tertio nonas lulias. M.D. ;' thus it was printed at least nine months after the Lexicon itself. Now Bertochus was still at Modena in May 1500, the date of his Martianus Capella ; that book does not contain any of the smaller roman type ; but this is found in an undated book printed by Bertochus, the poem of Demetrios Moschos entitled To Ka8' 'EAevHv KOI 'MeEavbpov, dedicated by Ponticus Virunius to Louis XII of France. The colophon is, ' Rhegii Lingobardiae presbyter Dionysius impressit.' In this little book three types are used; the small roman 109 in question ; a larger roman, different from that of the three Greek books just considered, and a small Greek type. What then is the date of this book, printed by Bertochus at Reggio ? First we may notice that when the index to the Crastonus was printed, Bertochus possessed no small Greek fount, and was much hampered in con- sequence. Secondly, the use of a new larger roman type seems to indicate a later date than the Lexicon. Thus we may conclude that it is later than July 1500. Thirdly, the small Greek of the Moschos is actually the same as that used for the Souidas, printed at Milano in November 1499, under the superintendence of Chalkondulas by Bissolus and Mangius of Carpi. When we ask how this Milano type came into the hands of Bertochus, the answer is given by a book of which I copy the description from Panzer (viii. 243. 2) : ' Erotemata Guarini cum Libanii opusculo de modo epistolarum, Graece. In fine : Impensis nobilis Simonis Bombasii et sociorum Pontici Virunii et Presbyteri Dionysii Bertochi, Benedictus Manzius impressit Regii Lingobardiae MDI. die X. lulii.' From this we may be reasonably certain that the Moschos is not earlier than the beginning of 1501 ; and that and back at Some time between May 1500 and July 1501 Bertochus returned Reggio° from Modena to Reggio; but at which place the index to the Crastonus was printed there is nothing definite to show, though the circumstantial evidence from the preface and the use of the small roman type points to Reggio rather than Modena, and the shortness of the interval between May 15 and July 5 is, in view of the small distance between the two towns, not an argument of much weight on the other side. Bissolus and The Greek fount just mentioned as being used for the Milano Ve^nice^i^fqS. Souidas of 1 499 made its first appearance a year earlier at Venice, in connexion with a press which seems to have been intended to become a rival to Aldus, if we may judge from the deliberate way in which he is ignored in the prefaces to the two books which alone appeared as the result of the efforts of the promoters. These books are both thin quartos, one containing the Life and Fables of Aesop, the other the letters of Phalaris, Apollonios, Brutus and Krates. The names of those composing the firm appear in both books, but more fully in the Aesop ; they were Bartholomaeus Pelusius of Capodistria, Gabriel Braccius, or Braccio, of Brisighella, loannes Bissolus and Benedictus Mangius of Carpi. Of these the two last wfere the printers ; the first two were editors. The Phalaris, no dated 18 June 1498, was the first of the two books to be published, and is dedicated to Pietro Contareno by Braccio in a Latin preface, which is amusing for the studied insult to Aldus contained in it. ' Cum^ omnium (he says) atque adeo cotidianis querelis rei literariae calamitas deploretur, quae librariorum impressorumque incuria indies diffunditur latius, incredibile dictu, nee minus foedum, nuUos tarn diu bonarum artium cultores exstitisse, qui sacratissimarum literarum numen uelut a profanis assererent, mysteriumque hoc, ut ita dicam, imprimendorum librorum si non studiorum antistites, at initiati uel cum sordium suspitione susciperent ; hoc uero tempore non desunt, qui hoc uere publicum negotium priuato otio libentissime praeferant, hoc maxime freti, quod inuidorum impetus, quos non defuturos iam nunc satis perspectum est, te patrono facile sustinere posse confidant.' He goes on to say that they intend to print a Latin version of the Letters, so arranged as to interleave with the Greek text (after the fashion of the Aldine Mousaios as finally completed), and to correspond line for line and page for page. The preface to the Aesop, which has no date beyond that of the year, is also by Braccio. He refers to the intention of himself and his companions to print both Greek and Latin authors, and to begin with the Greek, as the foundation of Latin literature : speaks of the Phalaris as printed, and goes on thus : ' Vitam Aesopi, fabulas, et epistulas Phalaridis noster Bartholomaeus lustinopolitanus uertit in latinam ita ut uerbum de uerbo expresserit seorsum, alioque uolumine, id quod decentius et commodius uisum est, haberi uoluimus graeca a latinis, perpetuoque ordine et paginarum et uersuum sibi singula respondere.' It is note- worthy that in these two prefaces Braccio adopted the system of accenting Latin w'hich is usually attributed to the initiative of Aldus two or three years later : his opinion may have been current before he ventured to carry it out in his printed books. These two quartos, with an edition of Ficinus, de triplici uita. They leave in Latin only, dated 1498, but without printer's name, represent the suddenly whole output of this ambitious undertaking; and there are ^^"yiJnano*" signs that some disaster overtook the firm. To begin with, the Latin versions of Phalaris and Aesop spoken of in the prefaces were never published ; and the letters of Phalaris, though protected by a ten years' privilege, were reprinted with impunity by Aldus the very next year in his collection of the Greek letter-writers. Nor can it have III been long after June 1498 that Bissolus and Mangius, the two printers, left Venice and betook themselves to Milano, where they were employed by Chalkondulas on the great Souidas which was finished in November of the next year. Thus there was a dissolution of partnership, and a sudden flight of the printers, which involved, we must suppose, the withdrawal of the privilege granted to them ; and the large differences between their type as used at the two places suggests, though this may be illusory, that they were forced to abandon their stock and could not carry away even the whole of their punches. What is certain is, that a large proportion of the letters are new in 1499 ; that a new, larger type appears first in the Souidas, and though used only on a single page, and so far as I know never found again, it was clearly a complete fount of similar size to the smaller one. The cause of the catastrophe was most probably some action by Aldus, intended to protect his copyright in the method of printing Greek invented by him, a copyright certainly infringed by Bissolus and Mangius ; and the false assertion under which the privilege quoted below was obtained is likely to The Souidas have made matters worse for them. The Souidas is an enormously '■^gg- voluminous book. It has 516 leaves, of which four have only so much Greek between them as would fill one ordinary leaf, so 513 may be taken as the number, that is 1,626 pages. Each page has 45 lines, and each line has about 45 to 55 letters, or single sorts ; allowing for the blank spaces at the end of paragraphs, of which there are few, 45 may be taken as an average. Thus we have (513x2 = ) 1,026 pages with an average of (45 x 45 = ) 2,025 letters, or 2,077,650 letters in the book. To do all the punch-cutting and casting required, and to edit and print off a volume of this size in a time which cannot in any case exceed fifteen to sixteen months, was a marvellous feat, and justified those concerned in the production of the book in the laudatory dialogue reproduced on plate XX and the epigrams which they addressed to each other and to their readers. The persons in question were the printers, Bissolus and Mangius, whose device, representing two flowering branches on a black ground, with the motto ' Sudauit et alsit,' and the initials IB BM, is at the end of the book, and replaces the mark (apparently intended for a pine-cone) which had been used at Venice. Both devices are reproduced by Kristeller (Italienische Buchdruckerzeichen, 67, 68). The editor Chalkondulas, who had 112 been, as we have seen, professor of Greek at Milano since 1492, is associated with the printers in the colophon, and wrote a Greek preface which gives some interesting information about the printing of the book. Giovanni Maria Cataneo wrote the Latin preface, and Antonio Motta some epigrams inserted at the beginning; but as the writer of the poem addressed to Chalkondulas, printed after the colophon, names them as participators in the book, they probably had some more intimate connexion with it. In this poem there is a typographical curiosity which I have not seen elsewhere. Two words in different lines, que and iam, having been accidentally omitted, they were stamped in with types by hand on the margin, and the place for their insertion was indicated with a pen. The Latin preface of Cataneo mentions the changes made in the type, though no previous work of the printers is spoken of After describing the hitherto unsatisfied desire of scholars for an edition of Souidas (which Aldus had previously intended to produce, as is shown by the incomplete document reproduced by Baschet, Aldo Manuzio, Lettres et documents, p. 3, apparently of the early part of 1499), he continues : ' tandem ad hanc prouinciam reseruatus uir atticae facundiae princeps Demetrius Chalcondyles praeceptor noster non, ut ceteri, graecorum studiosis tantam felicitatem inuidit, sed ducem se constituens egregios huius artis et industrios artifices loannem Bisolum et Benedictum Mangium Carpenses accersiuit ; per quos, typis in melius reformatis, additis etiam plerisque et magnae et admirandae gratiae, quippe qui in eo genere praestantissimi sint ; et praeter conditionem et aetatem suam, plurimis multoties coUatis exemplaribus emendandum, immo excolendum et renouandum Suidam aggreditur, tanto studio et diligentia usus, ut . . . in illo expoliendo auctorem ipsum superauerit.' The Greek preface of Chalkondulas begins thus : To napov pipAfov Zoutba TeriincoTai jwev uno BevebiKTou Ma^ou KOI ' loidvvou BisoAou tcov Kapnafcov &v 6 juev eucpuHq a)v koi netpav ouk oAffHv eoxHKcbc ev th tcov eAAHviK&v fpajUA^oiTcov euapjw6oT(p ouvBesei, Gnoubfi xe kql npoGujuia xRHOoiuevou, oufeev irapHKev eq buvajwiv tAv eiq opGHv guvtoHlv KQi cjujujweTpfav Ttov TTpog aAAHAa GTOixeicov koi ouAAapcov ouvreivovTcov ei jmh TTOLi Ti ev TOGOUTti) ouvTafjwaTi napecoparai. ' IcodvvHq he apioToq ojv rpajwjwaTO- rAu90c, Kai TO KoAAiGxa tcov fpajUjwoiTcov kqG" ogov oiov Te hv eiq aKpov eKiuijwHGdjwevoq toioCtov xapoKTHpa rpaMM«TCov anojehesac, eyei, oiov ecTiv opav ev T

b* dvrnrdAouc. veOoe Zeiiq- ot fdp 09 ipfig eAAdbog lAAdvcov naiol npenouoi Tijnoi. 'Appearing out of the unknown, the soaring eagle on a sudden turns to flight a host of lesser birds; mounted on his car, the sun dims his sister's beams, and effaces the light of the stars. So before these characters shrink back the former letters, creatures of file and reeds. I marvel how by the cuts of the fashioning graver one shaped thus the row of intertwined types, and how he fixed the minute accents between the straightest of lines, hanging them all on the vowels. But why wonder I at Kretan wit ? for aforetime by the best of her sire Athena learned them many crafts. A Kretan fashioned the letters, and a Kretan joined together the pieces of brass; a Kretan pricked them into one, and a Kretan cast them in lead. A Kretan pays for all, who bears a name of victory ; he 121 R who sings now is a Kretan. To Kretans the Kretan aigis-bearer is kindly. Wherefore let us pray with one accord, that the sire of our patron may have given a name of true prophetic meaning to his child, and may he vanquish his rivals. Zeus nods yeasay: for to the sons of Hellenes the types from sacred Hellas excel' The lesser difificulties in this need not detain us long. The last clause seems to mean that Hellenes should prefer books printed by a Greek firm to those of Italians like Aldus. The expression 'creatures of file and reeds,' as applied to the older types, is puzzling ; the reed must apply to writing, and the phrase will then mean ' the first printed books and the manuscripts.' But this is hardly satisfactory, because a reference to writing, especially as rpa^A^ara, seems out of place. It is at least interesting to have contemporary evidence of the large use made of the file by the compositors of the early press. The name of victory in line 15 is of course NikoAooc (BAasToq). We now come to the middle of the poem, which fcontains the real crux, and it seems best to give the interpretation of Didot (Aide Manuce, p. 549 sqq.), who had actual experience of printing, together with his notes, placed in brackets, and to comment on that, rather than to attempt any explanation of my own. ' Ainsi ont disparu les caracteres ant^rieurs, ces produits de la lime et du roseau [il indique par \k les essais plus ou moins informes des types grecs que Ton rencontre quelquefois dans les Editions princeps des auteurs latins imprimis par Jean Schoefer a Mayence, et par Vindelin de Spire et Nicolas Janson a Venise], et j'admire comment a I'aide du burin fut sculpt^e et ciselde cette rangde de types si compliquds, et comment on est parvenu a fixer les accents, presque insaisissables, suspendus et si bien d'aplomb sur les voyelles entre ces rangdes de lignes. [Prdc^demment on fondait s^par^ment les accents, et on ajustait ces petites pieces dans les entrelignes, en les pla9ant sur les lettres plus ou moins exactement. II fallait done, en composant une ligne de ces accents, les disposer de maniere que chacun d'eux se trouvit placd juste au-dessus de la lettre qu'il devait completer. Mais ce procdd^ imparfait, employe k Paris par Gourmont pour ses impressions, et k Anvers par Martin d'Alost, et par d'autres, fut bient6t abandonnd. Le moyen si ing6nieusement et si exactement ddcrit par Musurus, qui ddija avait et^ adoptd par 122 Aide, fut un immense progres pour rimpression du grec] . . . C'est un Crdtois qui a cisel6 ces poin9ons [les accents graves s^par^ment et aussi sur acier devaient 6tre disposes de mani^re h. pouvoir s'adapter sur le poinfon au moyen dune encoche], c'est un Crdtois qui a adapt6 les petites pieces d'airain [ces accents, ajout^s successive- ment, KaBf Iv, sur chaque poin9on, qui ^tait encochd, ne formaient plus qu'un seul et m^me poin9on de ces deux pieces lides ensemble par un fil solide], c'est un Crdtois qui les a rdunies, c'est un Crdtois qui les a accoupl^es [c'est de la reunion des accents en les liant sur les poin9ons qu'il est ici question], c'est un Crdtois qui les a enfonc^es [dans une matrice a cuivre], et c'est un Cretois qui a obtenu la fonte des lettres en plomb [au moyen de ces matrices].' Mr Didot, though probably right in his general conclusions, seems to me unfortunate in many of his details. His translation of the two critical passages suffers in the first by a looseness of paraphrase which fails to render the original, and in the second by his making six processes out of the four described in the text. His explanation of the pfvH kqI hbvaKec, seems insufficient ; what do the words mean ? And Mousouros could not refer to the Graeco-Latin types only, and deliberately ignore all the preceding Greek types, when he speaks of rd npocGev fpdjWjwaTa ; nor would there be any point in a comparison of a book wholly Greek with a Latin text containing Greek sentences. Then the process described in Didot's second note is, as we have seen, one of the most uncommon ways of inserting accents, and found in only two types of the fifteenth century, both of Didot's examples (as to the Antwerp type he is quite wrong) being of the sixteenth century, and therefore not applicable in the present case. Again, whatever view we may take of the present poem, there can be no question that the Aldine process was entirely different. The three questions that have to be answered are ; first, what is the meaning of the passage eHeOjuai . . . eniKpe/udcag ? second, what process is described in the second passage (KpHq rap . . . jMoAupboxtTHQ) ? third, how can the two be reconciled ? In the first passage, the first two lines are clear enough, despite a doubt as to the exact sense of kottIq (the knife-edge, or the cuts produced by it) ; the word ijeptnAeKToc describes admirably the general effect of the type on the reader, and probably also on the unfortunate compositor. It does not much matter whether aonrroQ is to be 123 R 2 rendered ' untouchable,' i. e. because of their smallness, or ' invincible,' i. e. unrivalled, which is the more usual meaning. It is the action described as fixing, or making firm the accents between the lines of type, and hanging them above the vowels, which seems inapplicable to a type of this character, and irreconcilable with any sense that can be extracted from the second passage. In this four things are described ; the first, which is the cutting of the punches, and the last, the casting of the type, are not to be mistaken ; the other two processes, described as ouvefpeiv xd yaKKia, to string together the pieces of brass (which cannot therefore be steel punches, as Didot says, but may conceivably be copper, which seems to have been the usual metal at that period) ; and ko^ ev orf^eiv, to prick, or inlet them so as to make one piece of them, must be intermediate. The second probably describes the sinking of the punch into the bar of softer metal by striking, Katf ev, so that the two pieces of the punch make one matrix; and Didot's explanation will be the right one, that the punch-cutter did something of this kind. He cut a punch for a letter, say a, of some two-thirds the height of the body which it was intended the type should have, and made a small hole in one side of it. He also cut an accent of, say, half the height of the letter, with a pin on one side corresponding to the hole in the letter-punch. The accents could thus be used with any letter by simply fixing them on to the punch, and the matrix could be struck from the combined punch, while the unaccented letters could be provided for by a second punch, of the full height, or possibly by a simple adjustment of the type-mould. In this way (though in fact a good many accents of each kind were cut for the sake of variety) the necessary accents and breathings would be less than a dozen, and the work of the punch-cutter much lightened, though of course the size of the case for the compositor would be much larger than in the Aldine types, and his work of adjustment simpler. But I confess that I cannot see how the words xd ya\Kla ouveJpeiv can refer to this process Under any interpretation ; nor how the two passages can be reconciled with one another; because a type cast in this way would have a solid body, and how then could the accents be said to be fixed between the straight lines of type and hang over the vowels ? Having attempted to state the problems and difficulties raised by this poem, I am compelled to leave them 124 unsolved: it must not be forgotten that the exigencies of metre may have hampered Mousouros greatly in an effort to be clear and precise, and that he had to find Greek words sufficiently dignified for verse, to describe technical processes which it would have been difficult to make plain in prose — processes, too, which are unknown to the modern type-founder, and can only be guessed at by us. If we turn to the books themselves, we find confirmation of Description Didot's explanation of the process in the uniformity of the accented °^*^^*yP^- letters ; the same accent is always found on the same letter, though there is a considerable number of different accents. For instance, in the facsimile on plate XXI, the circumflex accents of wac (line 2), aC and kh (line 3), too and C (line 4), are all different ; so also with the acute accents of 6, v, hv in line i, and with the grave accents of a, fdp, TO, also in line i. The number of variant letters (except £) is few, however, in comparison with other late founts, and the iota subscript is not used. A comparison of the type, and of the few spaces which have worked up shows that the letters are set low on the face, but not to such a degree as in the Aldine Laskaris. The interlinear space being four millimetres, three of these belong to the lower, and only one to the upper line ; a few tails, such as those of x and p, fall below this limit, and a large number of letters, especially abbreviations, rise above it ; these are probably kerned in both instances. The kerns are sometimes extremely complicated ; thus in lines 16 and 17, where Kai is immediately above enl, the tail of the i in kqI projects so as almost to touch the breathing on e of erri, while the accent ' of etii, which comes just beyond the end of koi, runs much higher up. The dAX and hm at the end of lines 26, 27 is a similar example. There is a large number of long and intricate abbreviations, some of them most unusual, as jwaAAov, jwdTtov, fA^pS>, uirap, y'vpiejai, Travxa, ndvTcov, AofO, nepl, rpdtperai, exei, SHjwaivei, dvri toO (as in the Souidas) and oiov, of which there are two different ones; besides commoner forms like eorl. The number of three and two-letter ligatures must be very large, probably two hundred or more. With this remarkable type of a noteworthy printer we take leave of the Greek books of the fifteenth century. It only remains to say a few words about the Graeco-Latin types found in books of Italian origin from 1476 to 1500; to mention briefly the first 125 books printed in Greek in other countries ; and to give a very short sketch in conclusion of the later history of Greek types. VII. Latin books The mass of Latin books which contain Greek words and words^'^^^'' sentences, printed from 1476 to the end of the century, is so 1476-1500. enormous that to make a complete examination of them would require half a lifetime, and the harvest would be very small, on account of the great sameness in the Greek types which run through them, and their almost uniform want of originality. I propose therefore, in dealing with the Italian books, to confine myself to a few specimen founts, and to treat them as briefly as possible, taking the Venetian books first, and afterwards those of the other Italian towns. The larger types in the later Venetian books are all modelled on Jensen's or Wendelin's founts, but as time goes on depart more and more from their exemplars. The letters used by Jacobus of Fivizzano in 1477, in the Paradoxa of Cicero, seem to be based on Wendelin, but are not very well cut. Those of Andreas de Venetian larger types. bropauca fumgfi:8iadfcrpfi.2i,iaTi TC6 jjiE VuvH AE^iroiva KQi T H V 6\{/ivci>y- Eictu^aro oH05^v snSAK&i; 1 01: ToAEydxLEVov sjiAh f duTomcdirev.iSoiVAojftOl* TBV HuktoLThv z;toAAwv KaKeov epJu:TdXidv.aTrc(Yeo8r(>^ J^erijBcxpowTiKa YwYny. FIG. 25. VENICE, CHR. DE QUIETIS AND M. DE LAZARONIBUS, 1493- 128 fount, and has a very extraordinary b, which I have seen nowhere else; it is not found in other books of Pincius where the same type appears. These 'Pincius' types divide into two sections; the one is dis- ' Pincius ■ tinguished by an e with level prongs, and a r standing on the line ; S"^""?- it is from one of these types that the facsimile in fig. 25 is taken. The other section has an e with prongs which slope upwards, and the r is normal. To the first kind belong the type of Pincius, used at the end of the Priscian of 1492, and in the Priscian and Gellius of 1500 ; and that of Christophorus de Quietis and Martinus de Lazaroni- bus, from whose Gellius of 1493 a passage has been reproduced (fig. 25) as an example of this sort of type ; the second is exemplified agjiin by Pincius, in the Priscian of 1495, and by Simone Bevilaqua's 4>uxHAtSHJt£xp(crou2i.ea*AUHcr'rpO0'a'MJ>xccKpocTHKai foapra hoovct acrrocTH ohhtoho- ccAynZoar iKeucei H]UKCCa.CCHOC AuoriB ^pOT €HH MeTGCCTM JULOC M.apCLHQ9V coKicr TUH iupurai ec at Tepceosrcecra fopei rai cci eilacyHpacoo'OvO'oe jUL€HSi2L£ior os'aTrjLaHccTHpHO* "irpcfl ToyoHoa* yorprouTO 0£ou yieraf e TrpOHOia. FIG. 26. VENICE, S. BEVILAQUA, 1 497. Lactantius of 1497 (fig. 26). These two types, though certainly not identical, are both distinguished by a marvellous p, which is seen in fig. 26, line 3. The kind of degraded Jenson fount from which these Pincius types are derived may be seen as early as 1481 in the Priscian printed at Venice by Michele Manzolo, and the Greek type of Ratdolt, shown in his type-sheet of i486, is very similar. The smaller Venetian types need not detain us long. The Smaller series, as has been seen, begins in 1475 with the Juvenal of Jacques j^p^g'**" Le Rouge. In 1478 Gabriele di Pietro, in his edition of Merula's commentary on Juvenal, used the same type as that belonging in 1476 to Thomas de Blavis, already described (fig. 13). As used by Gabriele it is noteworthy for the occurrence of the Latin X, either upright or upside down, in place of x- That which is found on the second leaf of the Isidorus printed by Loslein in 1483 is a much lighter type, resembling Miscomini's, and like that used in 129 s conjunction with a gothic fount : but the b is like that of Lisa at Treviso or the Roman printers. The later small types are on the whole rarer than the larger ones ; some printers, for instance Pincius in his Priscian of 1492 (see especially sig. qs''), being compelled to leave blanks in the commentary, even when they were able to use Greek in the text. ,In 1490 Giovanni Rossi had no small type for his Scriptores Historiae Augustae before the last page of the Suetonius, where it appears for the first time; before that, blanks are left. Sometimes printers trimmed or recast their Greek letters in order to adapt them to their commentary types, e. g. Pincius in 1495 ; others, like Georgius Arrivabenus in 1488, had only a small type, and used it in the text, no doubt fixing it there by means of leads. The best of these last types are those which are reductions of the larger ones of the Locatellus class ; that of which a few lines (from the Macrobius of June 1492, probably printed by Giovanni Rossi) cdpKuvoa2lETJffESiAJiHVcx7viotp'yEpovTOatPiAaoi/ojrraa*TroKpMi fx.|ra ^apct.YY(^*=''^^E^'^P°^*^^^'^S ^^Ltj^^oiKa FIG. 28. BOLOGNA, BENEDICTUS HECTORIS, I498. IWee V jj£v yctp o-kvAAh GOEpooei^* i^roc x<^p^^C 2isiVoV(iV£ppoi|&2^HarE eetAotocTHC ccAu\^dvC^;2iioop fixoi oTiffixiEcrsie AsfSHCflbCeyatypi TOoAAa •aracffiirtctuopjULvpEOTce Kt^oojuiei'H v4^7|2!Mi)(vit cuepoKTi oTcoroaAoicrl 67f4Jti9oT£poioiV8'rai'nT£ir ttAX^TctN aveiCSwjJpcofeitye ctAttvpovv^oop ■oj-acriNeoeQ-ECpciVEtrKe KVKfiojutEVfljBLtt^iJkimTpK 2^iydv (3>E(ipvx£i vrnvepee ^.ydUtt^ayEoioB 4^cuiJu.co icv<£Hh« FIG. 39. BRESCIA, BONINUS DE BONINIS, I483. OC/ 2L^ BiBAooiacro^iHK oro-Kcop 2Li2lv/ju.ceoNi y AcotTh TTpqco;, e-^8v/e'&pioS.y^OKU5.ouK aTrpojHyopo5,EU9pcoV' Ef ITS f vXHjrrgotciPlgtjro'.apKgi Ta2i.g.Toir yoiicsNoc El iracr oKikhtoi oirotTpocp yoNof^myEJUioNfloe Oyp&iNdru JUEyoe^io:eN£<; AorNdcuN kdl KOI -ptfNoiHtfdN* CJuib^arleritanaucfplC' FIG. 34. NiJRNBERG, ANT. KOBERGER, I492. facsimile in fig. 34, is, like the two roman types of the book, based on Venetian founts, though with individual features of its own. Some of the accents are just indicated by lines which are often little more than dots ; the clumsy substitute for gamma, the Tp, the unequal height of many of the short letters, such as tt and jw, the shape of this last letter, the absence of q, and the awkward treatment of the x to avoid kerning, are points worthy of notice. In the commentary to his Cicero De Oratore of 1497, which is printed with the same roman types, Koberger ErfMt,^ , ^^^^ °^^ ^^^ Greek words. At Erfurt in 1500 appears the first character of three used there in that year and the next. It is an exceedingly rude type of English body, without either accents or breathings ; in some respects it suggests a model of the Graeco- Latin class, but it must have been made by a punch-cutter wholly unused to such work. It is at any rate so barbarous as to defy con- 138 1 500-1 501. jecture as to the model on which it is based. The book in which it is found is the Kanzleiblichlein printed by Wolfgang Schenck in 1500 (fig. 3S). In 1 50 1 Schenck issued an edition of Priscian nepl suvrdEetoq, in which the great majority of the Greek passages, which form about a fortieth of the whole book, are printed, though a few sentences or single words in a sentence are left blank where the compositor could not read his copy. The presence of the Greek is carefully noted on the titlepage ('graecanica scriptura') and in the colophon (' graecis Uteris, id quod in Germania nunquam antea Vhhif<»mimtnk» e-ruNTroAvpti ofq)£^K dv fdpivlefdXcoKSKmdVTdCTo^mvrov/ffpiooatt^^ toradeditaptabouisagreftis.(Xuuit9iio3^HKiiOTo/ix6pffiVixc3/PooOT Bcftftabatmaiub%nesbomsv£dii'mactatificcatergoraJde, which are made both with and without kerns, these letters not being cast in combination with accents in a single piece ; lastly, an obsolete abbreviation for Kai, and the stigma, used for the numeral 6. The reason why a few abbreviations were retained when the great mass of them was dis- carded, may be given in the words of Johnson : ' Greek at present is cast almost everywhere without ligatures or abbreviations, unless where founders will not forbear thrusting them in ; or where they have express orders to cast them. Some few ligatures, however, not only grace Greek letter, but are also profitable to a compositor who knows how to use them properly.' Yet the same writer professes himself unable to understand the motives which induced the earliest printers to use so many ligatures, and suggests that it was due to the business enterprise of the type-founder. The words of Robert Estienne quoted above show that his reasons for approving the large number of ligatures in use in 1550 were identical with those which induced Johnson to acquiesce in the retention of a few in 1824. 148 LIST OF ILLUSTRATIONS FIGURES. 1 (p. 25). Mainz, Peter Schoffer and Joh. Fust, 1465. Cicero, de officiis, paradoxa. Fo. British Museum [IB. no]. Leaf 8 1* lines I and 2. Size of original, lox 89 mm. 2 (p. 28). Subiaco, Sweinheim and Pannartz, 29 Oct. 1465. Lactan- tius, opera. Fo. British Museum [IB. 17007]. Leaf 167'', lines 18 to 27. Size of original, 595 x 130 mm. 3 (p. 28). Rome, Sweinheim and Pannartz, 1468. Lactantius, opera. F°. British Museum [IB. 17 103]. Leaf 200^, lines 9 to 17. Size of original, 5 1 x 1 30 mm. 4 (p. 28). Rome, Joh. Phil, de Lignamine, August 1470. Suetonius, uitae duodecim Caesarum. F". British Museum [IB. 17366].' Leaf 74^, lines 7 to 15. Size of original, 56 x 129 mm. 5 (p. 29). Rome, Ulrich Han and Simone Chardella, 1471. Tortellius, orthographia. F^. British Museum [167. g. 4]. Leaf 3**, lines 17, 18. Size of original, 10 x 67-5 mm. 6 (p. 30). Rome, Ulrich Han and Simon Chardella, 12 Feb. 1474. Lactantius, opera, F". British Museum [IB. 17303], leaf 211*', lines 8 to 13. Size of original, 45 x 112 mm. 7 (p. 32). Venice, Wendelin of Speier, 1472. Lactantius, opera. F". British Museum [C. 13. c. 5]. Leaf 162^, lines 12 to 23. Size of original, 65x124 mm. 8 (p. 32). Venice, Nicolas Jenson, 1472. Aulus GelHus, noctes atticae. po. British Museum [IB. 19661]. Leaf i6o*>, lines 13 to 29. Size of original, 95 x 136 mm. 9 (p- 35)- Venice, Adam of Ammergau, 1471. Lactantius, opera. F". British Museum [C. 13. c 4]. Leaf 176^ lines 4 to 12. Size of original, 44 x 129 mm. 149 10 (p. 35). Venice, Filippo di Pietro (circa 1475). Georgius Trape- zuntius, commentarii in Philippicas Ciceronis. 4°. British Museum [I A. 20148]. Leaf 4^^, last six lines. Size of original, 33 X 78 mm. 11 (p. 37). Venice, Jacques Le Rouge, 24 April 1475. luuenalis saturae cum commentario Domitii Calderini. 4P. British Museum [C. 16. i. 7]. Leaf 31 recto, lines 44 to 46 of the commentary. Size of original, 12 x 143 mm. 12 (p. 37). Venice, Ant. Miscomini, 22 Jan. 1476. Hieronymus, epistulae. F". British Museum [C. 14. d. 10]. Sig. hi^^, lines 45 to 67. Size of original, 92 x 78 mm. 13 (P- 37)- Venice, Thomas de Blavis, 1476. Cicero, epistulae ad familiares. F°. Bodleian [Auct. N. ii. 14]. Sig. 02'', lines 17 to 24. Size of original, 35 x 120 mm. 14 (p. 41). Milano (Ant. Zarotus, c. 1471-72). Cicero, epistulae ad familiares. F". British Museum [167. f. 8]. Leaf 124^, lines 8 to 14. Size of original, 40 x 129 mm. 15 (p. 41). (Milano, about 1475.) PriscianuSi opera. Fo. (Hain 13354.) British Museum [IB. 26268]. Leaf 126% lines 24 to 3^. Size of original, 54 x 144 mm. 16 (p. 41). Milano, Domenico da Vespolate, 12 Dec. 1476. Papias, uocabularium. F^. British Museum [I C. 26285]. Leaf33'>^j lines 7 to 16. Size of original, 54 x 76 mm. 17 (p. 43). Padova, Barth. de Valdezoccho, 14 Jan. 1474. Omnibonus Leonicenus, libellus grammaticae. 4". British Museum [C. 2. a. 4]. Leaf 91* lines 17 to 21. Size of original, 28 x 76 mm. 18 (p. 44). Place and printer unknown (Padova, about 1476?). Perottus, de generibus metrorum. 4". British Museum [lA. 36863]. Leaf 7*, last twelve lines. Size of original, 68 X 98 mm. 19 (p. 44). Ferrara, Andr6 Beaufort (about 1474). Guarinus, de ordine docendi et studendi. 4°. Bodleian [Auct. 2Q, v. 65]. Greek passage from leaf 22 b. Size of original, 34 x 82 mm. 20 (p. 45). Treviso, Gerardus Lisa, 1476. Perottus, rudimenta gram- maticae. 4". British Museum [C. 2. a. 5]. Leaf 122^ lines 7 to II. Size of original, 30 x 83 mm. 21 (p. 47). Place and printer unknown, about 1471 ? Galeottus Martins, liber de homine. F^. British Museum [C. 13. b. 19]. Alphabet, from a tracing. 150 2 2 (p. 64). Milano (Bonus Accursius), 20 Sept. 1481. Psalterium graeco-latinum. British Museum [C. 9. c. 9]. Small Greek type used in the preface. From a tracing. 23 (p. 126). Venice, Andreas de Paltascichis, 1477. Aulus Gellius, noctes atticae. F". British Museum [IB, 20609]. Sig. xy^, lines 20 to 25. Size of original, 33 x 122 mm. 24 (p. 128). Venice, Bernardino de' Cuori, and Simone da Lovere, 13 August 1489. Aulus Gellius, noctes atticae. F°. British Museum [IB. 23418]. Leaf 85 (numbered Ixxv, sig. m 3)^, lines 2 to 14. Size of original, 68 x 153 mm. 25 (p. 128). Venice, Christophorus de Quietis and Martinus de Lazar- onibus, 17 July 1493. Aulus Gellius, noctes atticae. F". British Museum [167. e. 15]. Leaf 26 (numbered xvi, sig. C4)'', lines 19 to 31. Size of original, 70 x 102 mni. 26 (p. 129). Venice, Simone Bevilaqua, 4 April 1497. Lactantius, opera. F". British Museum [IB. 23967]. Sig. p6^ lines 35 to 40. Only part of line 40 is given here. Size of original, 33 x 105 mm. 27 (p. 130). Venice (Giovanni Rosso), 29 June 1492. Macrobius, saturnalia. F". British Museum [IB. 23152]. Leaf 58 (numbered LVII, sig. k 2)^, lines 36 to 46. Size of original, 45 X 76 mm. 28 (p. 132). Bologna, Benedictus Hectoris (Faelli), 19 Oct. 1498. Plinius iunior, epistulae. 4°. British Museum [I A. 29087]. Sig. q6*, lines 16 to 28. Size of original, 71 x 92 mm. 29 (p. 132). Brescia, Boninus de Boninis, 6 June 1483. Macrobius, saturnalia. F^. British Museum [IB. 31072]. Sig. xi* last nine lines. Size of original, 45 x 93 mm. 30 (p. 132). Brescia, Bernardinus Misinta, 10 August 1499 (purports to be printed ' Florentiae, opera et impensa Leonardi de Arigis de Gesoriaco'). Politianus, opera. British Museum [IB. 31268]. Sig. L 7^ lines i to 12. Size of original, 61 x 108 mm. 31 (p. 134). Florence, Antonio Miscomini, 19 Sept. 1489. Politianus, miscellaneorum centuria prima. F". British Museum [G. 8974]. Sig. m 21^, lower half. Size of original, 93 x 97 inm. 32 (p. 135). Rome, Eucharius Silber, 24 Nov. 1492. Herm. Barbarus, castigationes plinianae. F". British Museum [IB. 18955]. Sig. bb 5^ lines 14 to 17. Size of original, 21 x 120 mm. 151 33 (p- ^37)- (Basel, Joh. von Amorbach, c. i486.) Franc. Philelphus, epistulae. (Hain * 12929.) 4P. British Museum [I A. 37436]. Sig. L 8^, lines i to 7. Size of original, 29 x 96 mm. 34 (p. 138). Nurnberg, Anton Koberger, 1492. Opera Vergili cum commentariis. po. British Museum [IB. 7441]. Leaf 241 (numbered CCXXXIII, sig. D 3)* lines 46 to 52 of the com- mentary. Size of original, 26 x 60 mm. 35 (p- 139)- Erfurt, Wolfgang Schenck, 1500. Ein Blichlein darinnen die Titel aller Stande begriffen sind. 4°. British Museum [I A. 12665]. Leaf 3* lower half Size of original, 70 x 67 mm. 36 (p, 141). Paris, Ulrich Gering and Berthold Rembolt, 23 April ,1496. Perottus, cornu copiae. po. Prom a copy in the writer's possession. Sig. C2'', lines 13 to 18. Size of original, 29 x 156 mm. 37 (p. 141). Lyon, Joh. Trechsel, 14 Nov. 1492. lodocus Badius Ascensius, Siluae morales. 40, British Museum [IB. 41900]. Leaf 128 (numbered CXXII, sig. r2)'', lines 23 to 26. Size of original, 13-5 x 114 mm. 38 (p. 142). Lyon, Jacques Sacon, 9 Dec. 1499. Opera Vergili cum commentariis. P'*. British Museum [IB. 42176]. Leaf 263 (numbered CCLVII, sig. H i)^ lines 3 to 7 of the commentary. Size of original, 20 x 77 mm. 39 (p. 143). Antwerp, Thierry Martens, 1 504. Erasmus, ad illustrissi- mum principem Philippum archiducem panegyricus. 4°. British Museum [9930. cc. 2]. Six lines of Greek from the titlepage. Size of original, 32 x 88 mm. PLATES. la. Milano, Dionysius Paravisinus, 30 Jan. 1476. Konst. Laskaris, eniTOjUH TcSv oktco toC Aofou juepdiv kqi ciAAtov tiv(ov dvafKoicov. 4°. British Museum [lA. 26273]. Leaf 47''. . Size of original, 145 X 97 mm. I b. Prom the same book as the preceding, but taken from the copy marked C. 8. h. 3. Leaf 5^ first four lines. Size of original, 24 X 97 mm. II. (Milano, Bonus Accursius, c. 1479-1480.) Theokritos and Hesiod. 40. British Museum [G. 8504]. Sig. 63*'. Size of original, 169 X 118 mm. 152 III. Florence, Bartolommeo di Libri, 1488. Homer. F^. British Museum [IB. 27273]. Leaf 6 (sig. A 4)* of the Iliad, line 7 to end of page. Size of original, 201 x 105 mm. IV. Milano, Heinrich Scinzenzeler and Bastiano da Pontremolo, 24 Jan. 1493. Isokrates. British Museum [IB. 26855]. Sig. d6* Size of original, 193 x 120 mm. Va. Venice, Alexandres of Krete, 15 Nov. i486. Psalter. 4". British Museum [lA. 23026]. Sig. h 3a. Size of original (with the signature), 160 x 98 mm. Vb. Venice, Laonikos of Krete, 22 April i486. Batrachomuomachia. 4«». British Museum [lA. 23022]. First three lines of the book. Size of original, 1 7 x 86 mm. VI. Florence, Lorenzo di Francesco di Alopa, 1496. Apollonios Rhodios, Argonautika. 40. British Museum [C. 8. h. 2]. Sig. ^8*. Size of original, 177x117 mm. VII. (Brescia, Thomas Ferrandus, c. 1474?) Batrachomuomachia. 4*>. Leaf 13a Size of original, 140 x 107 mm. VIII. (Vicenza, Giovanni da Reno ? c. 1475-76.) Chrusoloras, erote- mata. 4°. British Museum [I A. 31762]. Leaf9l'. Size of original, 141 X 106 mm. IX. (Parma, perhaps Steph. Corallus, c. 1481?) Chrusoloras, erote- mata. 4P. From a copy belonging to Mr. R. C. Christie. Sig. b i^. Size of original, 141 x 100 mm. X. Vicenza, Dionysius Bertochus, 10 Nov. 1483. Crastonus, Lexicon. F°. British Museum [IB. 31872]. Sig. $k 3^, lines i to 40. Size of original, 189 x 123 mm. XI. Venice, Peregrino Pasquale, 5 Feb. 1484. Chrusoloras, erotemata. 4°. British Museum [lA. 22223]. Sig. {2^ Size of original, 143 X 97 mm. XII. Vicenza, Leonardus Achates (c. 1489-90). Konst. Laskaris, nepl ovojwoTOJv Kol pH^droiv pipAiov rpiTOv. 4". British Museum [lA. 31721]. Sigb2*. Sizeof original (with signature), 177 X 1 10 mm. XIII a. Vicenza, Leonardus Achates, 14 June 1489. Konst. Laskaris, compendiuin octo partium orationis. 4". British Museum [lA. 31721]. Leaf 2^, lines i to 7. Size of original, 39 x 59 mm. XIII b. Vicenza, Leon. Achates, i Sept. 1490. Chrusoloras, erote- mata. 40. British Museum [I A. 31727]. Sig. b i*. Worm- holes have injured letters in lines 12, 24, 27, 29, 30. Size of original, 132 x 93 mm. 153 X XIV. Venice, Aldus Manutius, Feb.-March 1494 (i.e. 1495). Konst. Laskaris, erotemata. 40. British Museum [C. 2. a. i]. Sig. B i » Size of original (with signature), 157 x 102 mm. XV. Venice, Aldus Manuitiuis (1495). Mousaios. 4". British Museum [G. 8394]. Leaf 1* of the Greek text. The alteration of the accent on TraXatoraTov, line 2, is made by hand. Size of original (with signature), 159 x 102-5 mm. XVI. Venice, Aldus Manutius, March^April 1499. Collection of Greek letters. 4°. British Museum [lA. 24479]. Vol. 2, sig jw 4*. Size of original (with signature), 151 x 100 mm. XVII. Venice, Aldus Manutius, July 1499. Dioskorides, etc. F^. British Museum [IB. 24488]. Sig. a 5*^ (of the Scholia to Nikandros), lines i to 43. Size of original, 1 79 x 60 mm. XVIII. Reggio d'Emilia, Dionysius Bertochus, 1497. Aesop. 4". British Museum [I A. 34064]. Sig. h i^. Size of original, 140 X 102 mm. XIX. Venice, J oh. Bissolus and Bened. Mangius, 18 June 1498. Phalaris. 4°. British Museum [G. 8255], Sig. eei''. Size of original, 158 x 97 mm. XX a. Milano, Joh. Bissolus and Bened. Mangius, 15 Nov. 1499. Souidas, lexicon. F". British Museum [IB. 26913]. First page. Size of original, 141 x 152 mm. XX b. From the same book as the preceding. Sig. r 2*, lines 24 to 31. Size of original, 43 x 150 mm. XXI. Venice, Zacharias Kallierges, 24 July 1499. ETuiuoAofiKOv i^ej-a. F°. British Museum [IC. 24733]. Sig. BB4a■^ lines i to 28. Size of original, 169 x 87 mm. XXII. (Deventer, Richardus Pafraet, c. 1500 ?) Coniugationes uerbo- rum graecae. 4". British Museum [lA. 47796]. Sig. C 4*. Size of original, 144 x 85 mm. XXIII. Paris, Gilles de Gourmont, 18 Sept. 1507. Batrachomuo- machia. 4°. British Museum [995.6.8]. Sig. ^ 2\ Size of original (including signature), 152 x 93 mm. XXIV. Alcala de Henares, Arnaldo Guillen de Brocar, lo April 15 14. 'EpojTHjwaTa toC XpuooAopa. 4P. British Museum [C. 20. b. 26]. Sig. Pi*. Size of original, 162 x 109 mm. 154 PLATES ANALYSES These are of two kinds. In the one an attempt has been made to enumerate all the sorts of the fount, whether they occur on the page repro- duced here or not. In the other only those found on the single page are given. The following examples explain the use of the numbers in the square brackets following certain letters : — a [i. 2, ii. 4] means : This type contains two sorts of a ; one occurs in line 2, the other in line 4, of the facsimile, a [i. 2, ii] means the same as the last, but the second form is not found in the facsimile., a [i, ii]. Two forms of a exist in the fount, but neither occurs in the facsimile. PLATE I. Laskaris, Milano, 1476. [Whole fount.] i[i] I [8] Capitals. A 'A A A "A B r A E'E'E^E Z H 'H 'H K H" I 'I r r "I °l K A M N Z '0 '0 0' 0' "O nP'PZTY'YY''0XYn 'Q a a o" "fi 'n 'o. Lower-case. a [i. 4, ii. 7,iii. 12] d [i. 2, ii] d d [i. 13, ii]^ d [i. 4, ii] d [i. ii] add [i, ii] d d a d. ai[2] ai[3] at a( al [5] di a'i aT ai. au aij aC aij au. r [i. I, ii. 15, Hi. 25]. Mi. 3,ii] b'. e[i_. 2,Ji] e[i. 7, ii] e €[3] €[5] I [i, ii ? 8] e e ei [r] ei [24] ei €([6] el etW e'l ei ei. ep[io]. €u[i5] eu eu[i] ev eC eij eu eu. H [2] hhh[i] H[i. 25, ii] h[6] h[i9] H H H I;! [14] h[i7] HV HV Hv[l2]. e [i. 2, ii] e'. ([15] I l[l] "it. K [i. I, ii]. A[i] A'. A^[6]. v[i]. E[2]. o[i] 6_[_i] 6[i] 6 [7] 6 [3] 06 [4] 5. n [i. I, ii. 4] n irr (?). P [i] P p. <5 [_i] ^[s] 09 on [15] 00 [6] (3t[7]. T [i. 2, ii. 2, iii. 10] t tt[? 13]. u [6] ij[i4] u[i7] vl UV [14] UV IIV.

m|/b> eu|icoT.> . o0*|? KQtt t-TrotyM 'e-rromiiox.* • 'vcldkL Vtlojc •TjxtAouojc on/MOXJ YjoLcjsxuiiMoxj . oBiy KO* OfUHpoc M.v0o|i €-7ran»Hff04fTic o^oriJoc 9^oio ."'ots ^Ofr^CerUC fS^pOL^^OLirObpciANYcij ToTe O fUW^WJI 'aroTcMfl'lo h t^oto^^iT^co (rou |f omoxo TToTe ofelo £ •ojoy7(Au>7cAEffw •KoA.c^ KotAeoico • oAw oACO%» • cyioi o^e o^LtpoTPoif e^v0i|i • 0:0^ ^So pct^H'yovotL.ir'Tov fUE^tTvo/foc ^pvA.a.i^^ o'Vttpa.H//— |i.e|roc X^u v^powil EAIH.OC x. . Tol't4A?kO^CI.'VO|OU01|l oioy £b> ecboxi) • Bcoi ^ioxrto • oirtcd a^icuru • £pv0pi- ■ > _ / s - CV« > .« / » '• « CO £pVCp|CLO%i> • a^7vO|U> 0% O^TVOtHOVC Jtt>yiKO(l • ^«T-l7'*i'Ottpa^HY°'*"*V'*''T • o." ^oea oAoMow tcc^ oAoctot.^ • ^Tileu^lc p«^ vsrp ^coj/oov^sTvaJSo. iJsTrpoHrovMi^ovovMj^wi^ov, oioj; feniTOMH TWN 6kTW TO^ A<)rOY M€P^N KAi'AAA WNTINWN XNAFK AI ^N • CYNT€66iCA HAPA KWNCTAN TINOY A AGKAPe^GTOSrBYSANTl'Oy I a, b. MILANO, D. PARAVISINUS, 1476. PLATE II. Theokritos, Mflano, c. 1479-1480. [Single page only,] Capitals. A [3] 'AW "A [27] B[3o] A [7] •£[29] e[26] K[8] M[i2] 'Ofe] "Ofisi n[i] T[5] •n[i7]. LOWKR-CASE. a[i. I, ii. 11] d[i. i, ii. 5] dfs] d[i. 9, ii. 23] d[i] d[r] 'd[i6] ai[i] a! [11] a([9] al[io] at [29] au [5]- p[ii]. r[2]. b[i. 2. ii. 2] b'[i]. €[i] 6 [6] e[2] k[6] e[i] I [10] €i[ii] ei[i6] e£[8] ei[ii] ei[i] eufs] 6u[i9] e0[6]. ^[i. II, ii. 12]. h[2] h[3] h[i2] h[24] h[3] h[25] tf[l2]. e[i]. iW -([29] tW I [2] t[i5] l[i. 2, ii. 5] i[n]. K[i. I, ii. 27] K [30]. AW X[3] M[5]. ju [i. 3, ii. 5]. V [i, I, ii. 2]. E[i. I, ii. 6]. o[i] 6(2] 6[i] 6[i. I, ii. 2] c[6] [5] [6]. n [i. I, ii. 3]. p[i]. [i, I, ii. 8] <: [2] 09 [13] aa [5] or [6]. T[i. I, ii. 2, iii. 17] t [13]. u[i] v[i] v[8] v[3] C[s] vv[as,]. [i. I, ii. 3, iii. 10] tlc[i. 11, li. rt] & [i. 4, ii. 6] & [8]. Stops. Comma [i], period [2]. (The ; is also used.) ' 158 n*'' 2iiuTro KoXirou •^^axt I'p^ooifjTrc-O-iii au^iTCu a^ fi Xfrupoc . ott^Kcti loji a'iro-rpi>{/«c Tiy'i S^oIh • AXXdO^wc p^u-^^TCu* a'crooTcpcuHret/u Kiriijjuac . JOTW JJUOlXlTcj/OITlO.'^^OJ ttjuMa-iif ouoi^ovc Y«c 2k.EKCii aif^ic oLKoucrou ol^ou* irou)i-rEo«riH o'-AtJipoc • OuToa ouoi^wji Xmqfoc 5 oo* l§ cjubdj otcreTcu ou^eH J^oi^litoi >Ti S^c KE^^oc o ^uploor eVS^"^» ypucroc Kff^cHoc • ou;^^6 irXowTou 4>po{iEOvtftp ojjituyic . i^^Oi TO |JLEll Yu'Xa.^T02i.E 5 KOl'Tltll ^oujioi ooiS^H • rio^ooc aiio 'cp^ irbUMir^nro^euc Swe ko3i ou^icV iVi-O-puiirtoV •«uKaH KOLKoii tyjAtyox . ou^a Tpalrt^K fl)oU0(3LOOll 2^5 MoAlq^ Tjcjp tCpOUC UTTO^HTUC. \)<{)pdLKEKc[iiaui'^oKeKpv^}jLE{roc Eo9-Xoc OLKOUCTHC , Iri« 2kjauKXEHC ;jLvpMou €ir« >|'o^poua')(cpoi/Toc J, ^a'cri{i EJUAiKHora^o fietoun. MupicL TZsjft nrc^ioii Kpaj/a>iiioH E)iS^iaau7K0ii flotftf vec e KKpiTdL >jl.hX« jJ^^Aog^/HOKri KXtcoKcac.* AX>2oua^ili Ttaj/ H^oc, tirJ| rXuKuu c^cKEi/oocraii Qujubop ^ to" dJp^ctv oytS^WH T^H'ow a')Jipei/Toc « j[M.l/flwroi :^E,Tci.Tfo^ou K«'<>Xftia«"nJHai'Xnroi/Tco' • J^tJXoTc E(f {lEKueoj*! fjuoKpovc oucui^ac cWH't'o • £t^H2^<;f(foc aoi^oc o knioc ouoXa 4>u>(/Ewp £(tp& tTop CO iroXvX°P^°H ^H O'H^pciuot 'O'hk oi/ojuaqicvo' II. MILANO, BONUS ACCURSIUS, C. 1479-8°. PLATE III. Homer, Florence, 1488. [Single page only. * signifies new forms, not found at Milano.] Capitals. T[i] *'"0[3i]. Lower-case. a[i] a[i] d[3] d [2] d [3] *d[i8] a [12]. p[i. 1, *ii. 7]- r[i. 2, ii. 8, iii. 31]. b[i. I, ii. 8] b*[i. 6, *ii. 6l. e[i] *e[4] I [22] 6[i] e[?2] e[?28] €i[i] €t[2] €([4] el[i7] ei[5] eK[i4] eT[i4] epW *€t[8] *eT[3o] *eu[i5] *eu[28]. 5 [20]. h[i]^ h[7] ^h[2] h[io] h,[5] h[?32] *l-iv[l] Hv[2l]. e[2]. I [8] i[i] *t[i3] ([6] *t[2] I [22] TW l[26]. e[ii] K[i. 'ii- 3]- A[i] X[i9]. M [i] *i"ev [2]. v[i]. *£[6]. o[i] 6 [6] 6[i] 6 [6] 8 [7] 6 [4] o[25] * 0(5 [10]. n[i] *Tf[5] tit[?2o]. P [i] P [16] P [32]- ° [l] C [l] 09 [2] OTT [24] 03 [9] <5T [13]. T[i. 2, ii. 4, iii. 9] f [4] *Tp[io]. u[3]^ u[28] v[2] y[i] vU] u[i8] ui[23] uv[ii] Liv[i3] *0v[i8]. 9[i] cp [28]. V[6]. to [2] t6[i] a)[6] A [3] w[6] a)[3]. Stops, etc. Comma [2], period [i], rough breath- ing [7], smooth breathing [9]. 1 60 OfTKC DCO)c enrinrqPHTcUjM-ct.Aa -r ek^voi' cuTTou • H . KOi CQ-apfvpCM KO'vn o';^e9e >;^pa (3oLp^ok|f • a.*/' d^EC KovAcotf uTo-E j;t.E|a. |i4)0CjOV ^':o>V«lo • «>}|fo|3fit-pECK|/ ^puw a^cuutf kupcC'U'oatp^oid'ai CC'rico'E8Ei> a|rTio|r q'VN • (pEO Kw PVI M-t|AojotP • |fiMj at/jtsjuiif \it: a.;^cuajp ^nsroLAo.ii^cipopEovo'} ^iKct-CDiroAoijOiTE dtn-'icjaLt: •CpOC ^ktOc'cfpVO^t^ * O ^ETOi JX-EICLC fiAT&CK CpKOC • ii««io.rGt.;^iX^Hoc«vo8HSi^<^ 58i'«y^o8» 8v|t.O|; a/cv|EtC ;^6|t.E|f oc OTckpicreif a.^cttU|f ov [9]- xH x["]- a)[i] CO [12] d)[2i] u)[i. 4, ii. 12] &[i] d>[7]. Stops, etc. Apostrophe [3], comma [2], period [2] 162 o-ri Touo' pu^oucr co^ko'ttoiu) oirujar a.;(ouTtoT«oc'7r£pilw|ji^ic*3pjKcu7oii<; TrCpn-U)pKtt.9'tK0Lq-HJJ MpL£ftt}l ETrn-H^EUH-aUTtOJJ* HTTiq-OLVTO vouPj oxiToio-KOLXoTcrKaLYaOoio-lwu (^'uOrOOTruiu^ou^cwS^CK ©•qiro^uju •ypa.iJufjLXxrrooa* ca^ol olttoaiYwu cruuGHu-OLTrcou. paO^lUCKCUTTCpiT'COtl id^tbOfnCCUITEpt ICa>|J KOlpWjJ O}JL.0})0HO'OU CIJI. OUTCO I^E •TrO^ITIKU»(r([>(OJJj WO^t KCulaLCq-flLO"cJo- CTTOI ouilTOirpoor ^^nXouo'sOU^OTroTcpotToutf' exEfOucr tt.Tro- ^o'OLirr^o* Tcoii Aoiirwu cLc|ouoriu»^M OTro-rcpot oOHff'oijTcu TM|i iroAip €pojiFw}jAMETriTHTOuTrAH Oouo* o64>£AEicL*nxiJ cu>To^ ;^lp onrr«); , Kox loL T-co|J oL^coy ^i M. koiujO£POLnrEuojjTco'*^MouP(u§pi{,oyfcc7ouoto}jLE(}oi^4l'4^^^M-H TupajjycJiJ ouTwy* Kcup-oL^qi CTTlOop-OUpTEtr HY€^«-0^»tO• H a^-tCOrOTCU TrpOff'OLYOpEU EoS-cu • KCUXHp£a*,dvMcXiP-HAwjLX-EWp£a*OLTrOK0LXdO>^CU«XUJTrOI- ^^'irp6croi.YoV«yotTOLff"7roApa[soZvlicrw(l)popu>(rt,Hy4^iXoTi>jLouM-E}ioi»TrHjjcu»THpoL- ftoupTEO* Yl>^}^'4"P(4(' irpoo*-roo(r HifIouTa-cr'tauTwjj tto- •no* ^jioj(*Toicx-oTcuo*a-El^io4»icuer;(po)^ljoi,KcuTouff' pcto Tcpouo" ToiouToicrHOfWi Traii^cuojjTr£(r» ooTujo'tt.}j2^pacr dwv&OoiKr ^irebik.^ifcm Tooo* iro^Ejx.Ha'cLUTraer'Trpoa'Toocr OU.0IMC YO^P €T» ;>C'*«XtTrou ETrouji4l''Too<; uTrEp§£§HK0T(X-c1aLa» MILANO, HEINR. SCINZENZELER, I493. 163 V 2 PLATE V. Batrachomuomachia and Psalter, Venice, i486. [Whole fount. The a, h in the capitals refer to the facsimile from the Psalter (0) and to the three lines of capitals from the Batrachomuomachia (i) respectively.] Capitals. A[i. 62, ii. 4 2] 'A'A[ii] A' [61] "A "A 'A B[ii] r[i. 62, ii] A[b2] E'E[6 2]'E E'[b2] "E'E [upi]E Z H[!,2] 'H 'H H'[6i] "H "H "H 'H I [J 2] 'I r[62] "I K[63] A M[a4, 51] N[i2] E 0[bl] *o[m] '0[6i] 0' a 'ow n P[al2, Jl] Z[6 2] T[6i] Y[i. 61, ii. 6i] 'VY 4) X[6i] Y Q 'o 'n "n -n. [62 sorts.] Lower-case. a [i. 3, ii] a [i. 8, ii. 14, iii. 21] d [i, ii] d [i. 4, ii. 9, iii] d [i. 17, ii] d [i, ii] a [i] a a [16J af af af af afo afd aff drr dff arr ofe [i, ii] dfe a[-e [i, ii] afei dfH af ( dfi afl dfo ara> [i, ii] dfco dro) a^ d^ ai [i, ii] ai[i, ii] ai at ai di at a! ai ai atq av[i8] dv[i. 15, ii. 17] dv[26] dv[2] dv dv[i, ii] dv oE d£ ao ap[i. 14, ii] dp dp dp dp dp as OQ do da dq dg do dq aq dq aoi av ai) [i. 7, ii] o\) av av [i, ii] au av d06i aOra duxH auxfi outh [8] auto ai)To[2] auTo auTo auto ai)Toiiq[i9] auTO) aiiTa)[i. 9, ii] [no sorts.] p [i. 7, ii] P' [i, ii] p' pa pd pe pH pA pi pA po pp. [14 sorts.] r[i. sig., ii] r r ra[i. 9, ii] ra ra rai foi foi fol j-av fdv fop fdp rdp [i, ii] raq foc foc fa? ff [i- », ii] re [i, ii] re [i, ii] re re fei [i, ii] ref rei rel rev [i-iii] rev [i-iii] rep rep reu fH [i-iii] TH TH TH [i. ii] fHv f Hv fHV [i, ii] ri [6] ft [3] ri [5] fK r^ rv[i, ii]^ ro[i, ii] ro ro rp[i, ii] ru PJ fuv ruv r'«>[ij ii] rdi r<^ [19] r "] /"« ['• _i. ii, iii] jud jwa i^ai[i, ii] A'a([i, ii] MOi juat ^lav[i, ii] mQV jwdv )wap[i, ii] /ud(p[i5] |uac jwac iue[i. i6, ii. 17, iii] i^e[i, ii] /we Me jueraq i<\ei[i, ii] fxel ^td ^ei /ueA /ueA /wev[i. 12, ii-vi] jwev[i-iv] iuev juep Aiep[i, ii] jmh [i-iii] /km /UH/MH[i, ii] MHv[2o] jMHv jwi[i, ii] /uf[i, ii] jwl jui juv juo[i. 3, ii, 8] jwo jwo [i, ii] ju6 /u" [i, ii] /wu /uO A np[i. 21, ii] nT[r2] nu nu nu nO ncD[i, ii] no) nd)[i, ii] no). [82 sorts.] p[i. 2, ii] p p p p p. [p in line 12 is the capital P.] [6 sorts.] c[i] d c' (;'Ji2] Q [1,2] C C oa [i, ii] od [i. 20, ii] oai oa( oav[i. 4, ii. 26, iii. 27] odv[i7] aap odp aac: odq oau ce [i. 9, ii. 9, iii] C5e[i, ii] oe cei[i, ii] oel oe'i[8] oev oeu eev (5H[i, ii] OH[i, ii] oh CH oGa oGai [i, ii] oGaf cGe [i, ii] (5Ge[i, ii] cGei oGel o0ev[i, ii] (30H [i, ii] oGh oGh oGhv [i, ii] oGt oGo oGo oGu <59aj[i, ii] oGoJ 01 [i. II, ii] (3([23] cI(5k[i] oo[i. 12, ii] 06 CO on 00 OT OTa[i, ii] OTd[i. 15, ii] oxd OTd[ii] CTQi oral oiai OTe[i. 13, ii] OTe[i, ii] oxei 0Te([2i] OTei orep oxep oreu oreu OTH[i, ii] OTH OTH GTH OTHV OTHV 165 (5Tl[i, ii] STl 0T0[24] OTO OTO (5Tp[22] OTU STl) CSTa)[i, ii] OTO) csTO) au[6] au oil <5uv[2 7] ouv oOv 09 ox oxa oxci (Sx^ oxe oxei oxeT oxH oxH ox' ''X'' ''X^ ^X" ^X*^ oxuv oxw ox>JV 00) [i. 10, ii] 0(o [i, ii] a&. [150 sorts.] T T TO [2] TO Ta[ll] TO TOl[i. 8, ii. 23] Ta( Tal rcrt Tav[i-iii] tov Tov TOp Tap Taq Tcic Tag rag rav TOV Te[i. 18, ii] Te[i. 13, ii] tI[26] xei T6( Tei Tep[i. 9, ii, iii] Tep[i, ii] Tea Tea xeu Tev th[u 10, ii] TH TH TH[i. 7, ii] THV[4] THv[i. 4, ii] Ti[i. 2, ii, iii] t([ii] tI TO[i. I, ii] TO [7] TO TO Tp Tu[i5] Til Tuv Tvv Ta)[i. 7, ii. 5] Tto T&. [69 sorts.] "[3] t)[5] 'J[i, ii] tiiji)[io] CC ui ot uv[2o] iJv Cv[i, ii] Cv un jjn[i, ii] upav va ug va \k[2] va Og va Og ijq Sq vai. [31 sorts.] 9[i. 3, ii. 26, iii, iv] 9 9' 9. [7 sorts.] X[5] X* Xa[i. "] Xa['. "3 X" X^ Xai xa£ X«^ Xa'i Xav X^v xap X^P Xaq xac X^^ Xe[i. "1 X^ X^ Xei[i. 12, ii] yel xel X^^ X^v xep Xeo xeu X^iJ X" ['» "] X" [8] X'^ Xh[i8] x»v X^^Li, ii] x9['-27, ii] XI xf X'l XV X0["] X6 Xo X6 XP Xu xu X*^' xw x[i> "]• [33 sorts.] to[i. 10, ii] (o[4] d)[23] a)[i. 2, ii] CO oi[i. 23, ii, iii] w (S[i, ii] & (S[i-iii] ojv. [18 sorts.] Stops. Large and small period, comma, and semi- colon ( = question mark). Numerals. 5-9' ?. Capitals [62] a [110] p[i4] f[78] &[69] e[8o] ^[2] h[36] 0[68] i[i3] k[98] A [12] ^[89] v[i3] £[3] o[is] n[82] p[6] o[i5o] t[69] u[3i] 9 [7] X [62] V [33] 0) [18] Numerals 3 Total 1223 sorts. 166 tKfMf^JjJOi e6papTrrtiUvf 5^ c 5^U«ju«u^X'^Ttoojimo'BinJu\/i cUuoJ \/\yeSio cGToi • puojuSbirocriTwxpV^X^pofc q^pC(»TEpcupomou • KA('TTToxt>HKS^ noT^HTCu A « nni3i>«op5S(oip'7xmi^6^«ro3|j ^icoiououfcivi|ifiU9fCo(iULpo5T(»V^^ *^ j;^^^ 'tut fv^f^^^cm^ jujE TChb^ H p tiu of^ b^ CTETW •V/C'TI^HCnOJftScbN^^X^OOHJUie nrpCUoUTtOCE^Hp^CTDUJU 'WC'076|l'$T5p you^ilui *ioatiUtf'TiJu;oudCy^pcitpf>944C7V' jwiovwlvj^jicrttjj 'inWHxv^-HOTUi'if tire TOCTOYKdUPoC V a, b. VENICE, ALEXANDROS AND LAONIKOS, KRETANS, i486. 167 PLATE VI. ApoUonios Rhodios, Florence, 1496. [Whole fount as used in that book. A few sorts found only in the Lucian are added in parenthesis.] Capitals. AU] B r A £[23] Z H[27] I K A[i] M N E n[i. 26, ii] P Z T[io] Y X Y n[i8]. Small Capitals. A [6] B[9] r[6] A [6] E[6] Z H[6] e[7] I [6] K[6] A [6] M[6] N[6] =[8] 0[6] n[i.7, ii. 12] P[6] 2 [6] T[6] Y[6] [6] X[6] T fi[9] Iota ad- script [8]. Accents, etc. Smooth [6] and rough [10] breathing; acute [6] grave [6] and circumflex [7] accent ; apostrophe [6] ; diaeresis, and diaeresis with acute accent [13]. Period [i], colon [4], comma [8], hyphen [15]. Lower-case. a[i._i, ii. 12] d[2] d[23] oi[i. 11, ij. 24] d[2] a [23] a a [31] a a ci a a (9) ai[23] ai[29] crt[26] aAA[27] a\K[2g] aW av av[3]. P [i. 3, ii]. r[i. I, ii. 24] rop[3i] rr[^] rpW- &[i. I, ii. 2] h\ e[i. I, ii. i] l[i] 6 e[i] e[i] €[25] e e ei[3] ei[2] ei e\ el eAA eM €^[31] eq eu[2o] eu[3]. ^[14] _(^ii). H[i. I, ii. 28] H H[i. II, ii. 25] h[26] h[26] h[2] h[3] h h h[4] h IH H H. 6 [29] 6[i. I, ii. 22] 060 oT(?) of(?) e[i. I, ii. 1] 6'. i[i] t i f[i] I [2] I [2] I I I I t t. k[i] Kal[i8]. A[i]. ^ [1] jWM- v[i. I, ii. 3]. £[4]. o[i] 6 oji] 6[6] o[i2] ou [2] ou. n[i. I, ii. i]. p[i. I, ii. i] p[32] p[32]. c[i] c[i] o9[i2] (5n[3o] {5(3(3t[3o] on [24]. T [i. 2, ii. 4] T [31] Tai Teq thv THV[l] Tl[24] TiV TO TO TOl? T0'iig[5] t6v[4] TOC T0C[2] Tp TT TtOV Tv[lo]. u[4] V[2] LI [25] ^ Cl[3l] C[l] U £i[2] {;[26] ij[27] ui ui[24] Vl 1)1. 9[i. i, ii] 9. XW X- ^' . . a)[i] CO d)[i] a)[22] d) (a[g] d) (0 (S & CO (|>[3] (|J[i3]. 1 68 «m/^$»A4 $kbi v^h i«^«* AI K*a6yaEPEKYPZB FOlMMMiSIN.PPO TAP AYrot ENI XTAOMOIXr NOMHEZ SAZAN.OAB ZTENAXON BPEMEf AZnBTON 0puJ(wv/i-» RctvS^Co§«,v75 owrepw T « 7cupoiy/U.^v(d}t VI. FLORENCE, LORENZO DI ALOPA, I496. 169 PLATE VII. Batrachomuomachia, Brescia, c. 1474. In this the roman type is much blurred, partly because the printing over leaf shows through, partly owing to defective presswork and pen alterations. The Greek suffers from the second cause to a less extent, and there is no printing beneath it on the other side. In line i the blur over the h in orrecpHve is printed. The following are changes made by hand. Line 2 ; eioeAStbv, the accent; (b [i. i, ii. 2] & from 00 ? [i] from (S [10] (J [4] «GO JUVK OV^E KdlEt^Otl O aciici no cccidi ego mure ncc^ afpevi P ecf utliOQifie atic (cfTcutus e ludes csrca lacu NH |£IGr TOL^ l^oclpOlXCIOI^ AUJUOVJJl£NO- • > bo.relin<]uo.fcr ibo.uerbero.6C *" • .A^TTtD . y^jpctfflw • rvxriM • "tM. in futura-+.habet. ut bbabo. f nl TV l^l^cyTOS ro 4 -i^ • ot fcribam.uerberaLo.6c piajteri o^ • ^'Tu • yj>et4w • rv~tM • «.4' raui. 1 cy yty^ * • ri rv'ijj * • y N ^ x'cN /^d /'e^ Secunda per.y.uel.. J^vn/* ;a.l«t T^y-k%.-H^-H ' y f y y V ucl.«.r.ut Dico. ImpIico.Cur «-r • Oi cir ^f yno • Tr-Af «4i> • r/f^w • rcPartur io . 6c in futurctha Tl^-TO • «^ f 7ri ry f*i-nr> ro J ro bet.ut aicam-implicabo . 6c i 5 J • j^tt.XutlB.uelT.ut Tflf^fK*- rv J^.H^wr- Oi o^«. Cano. abundo. fefiino. Si in fu foi-TT^^- *vvru • «.«i* f ttI tov turo.*. (i3bet.utcanam.aLun tH^oyrciraff-lJ^i-cioy-jr. iibo. feflinabo-et in ^ ' vr^o-" ' ^l^va-w • iL o) & oa o >9 9 to (O OJ. Stops, etc. Period (2 forms), question mark, and long comma, all from the roman type. Nine special sorts are used in 1484 on fo. 2 *. * The number of j-forms, and the difficulty of distinguishing between them, make these results very doubtful. 176 irpo ff £ps|^cd * JUL • Sffo • 9S « etKS • appIicainnitor,aditacrELiuiig< irpoaepEco* narro.appelfo.Iaucfo. ■srpOffEpxoJJicti* ^ acccdo.depo.da*iuiig.reqoircip)(o3UQJIt irpo9ETQipi|c) • ii * lace • 25 • SKOtifocium afrumo.ji£ir.abfo. irpoffisTi • _ adhucpiaecetea. WpOffEV)(k« HC ♦ oratipqua:ad dciiTunditur qfi -jrpo ctyiH quonia attetog opus Qt oratio aucoratotiumAdyoc dicitut, ,7rp 0Eff oic ImftirbTeO hx/firip^ guratur Cotnptratfuu Ib.Ec tf XHAoWlErai to ov adiertfone tepoo; uc yKpiTtKoy TTpo^Effsi toC? pius .pium . tnagfept vEpocoio ulvae6hc£voE/ am & Superladuum Sec EvceBectEpoc .Kai to u / adfethone TaToc;ut irepe8TiKbv.wpoo&^ff<( toS Verusuerum umor. Tatoc.oioy&AH0Hc.&AH uerKTfmus* Diligens esc &AHe^«repoc.aAHe£V« diligcs dilfgoitfofdi TocSKpiCfTc fiKpfCcc OKpt liligecirtius . Siaucin B^TPOC.&KpiBgVatotf li rf'^ ic. p vTEpoc • C6p» lie Eic , a dWinecia * urplurimii Icri tov A£i [i, a] (p <}j (p[6J tp ({J. C[3] a)[i. 21, ii] q)[i4] Letters with strokes over. a [8, 23] ai p[8] y[2^] h €[25] ei H I k[29] a [30] /W[22] v[3o] o[9] Tr[28] o[i4] o9oot[i3, 14] "[23]

Toq, HTiq TpETtslou c(<; O IXiKpiy l^r too EpEpyH' 7lKw iraprtK* "c^c '^pHfoU.g^cJ otxTiKcp. oioif q[;pg(pa3 ESp«>^ 5>K Eq^pOfJUJUldU.TpE^a) T^^paJUlloa Tpe'zSCJO TETpOCUXJlaU. (TE/ owjucjooTou To (SpEXco GEC)pX)Xa fts'SpEHioa ^^ ^6 & TE'ro^'otl Ik Tov tetuttTou rpiTou TpoTr§ lov 7r7 c| 5 $. tjS'S irpo tow T EvpE^-H a l^r 7co TpiToa.TpE'ireTou rh t «[<; o^.Koi t^ a ottro' fta AAeTcxi. h otTtofia AAojlie'jjou tov t y juetou 7o S . otoji yEyEAccq;ouyiyEAoc^ii8'/ XII. VICENZA, L. ACHATES, C. I489-90. 181 PLATE XIII. Chrusoloras, Vicenza, 1490. [Single page only. Type of 1489 trimmed and recast.] Capitals. A[5] n[25] T[i2, 18]. Lower-case. a [3] a [13] d[2] a [5] 'a [13] al[3]. P[26]. r[4 b[i. s, ii. 13]. eW €[3] I [3] l[i] ei[3]. ?[i9]. h[i8] h[i2] h[2] H[29] h[i2] h[i9] H[i. 6, ii. 6] h[i2]. 8 [12]. i[i] £[i. 19, ii. 22] I [3] I [29]. K[3]. A[i]. M[i]. v[i. I, ii (roman v) 3]. £[8]. o[i] 6[i9] 6[26] 6[i. I, ii. 21] 5 [6] S[i]. n[i. 3, ii. 18]. p[4 a[i] q[8] ott[28] 00 [19, used broken for oC in 18]. T[i. I, ii. i]. U [3] L [4] C [3]. L.haf>j.utIi(>ato KA.Y. H.KT.610 ji Agyw' TtA ucl .KT. ut df CO . ipUco SKca. TfJ8>{«.TiKTO . Kou ett'i currcpartttfio Biinia TDv lieAAovToc;. to .f ; e V^ turo,f . habet ut dicam 610V Ae^co . 7tA£^«. Kou ETTi implicabo:K i prateri / Tov TTotJJ ocKEiJLiEVotr TO • X • topcr fcflo .jf. uc dixi . oiop AeAfl^oc . TTt-ff A5X« • ftnplicui . yplTtt 2^ot -ioij . 21.H 9 h.t; Terria p.2l.ucl.0.ucl t piovotS^ca ttAhOco ocpiTttKol uc cano abundo feftio * I'm toOheAAovtoct TO . ^Ucro KoufTTi ToO irotpctKEi nabo:5C in pr^erico.K* uaiyov To>K.^£l . dioy^Txi/ habet:ut abundaui . tJAHKOC . YsjopTH 2i.otTCiO Quarta coiugario p .J. I •K'.tf'uo<(^>6io^ £AiTi}:a. 6 uel duo .cro** ut fpo^to DxidSa'Kcu ETTi TOV JL^E'^Aoii dio:8£ i futuro .(r«uel.^ TO? TOO* H TO .p- h(f' oiov habct . ut fperabo fodi/ lAmVca 6(>0^ca.Kou lirl tou am. 6Ci praerito.K« uel TraepaKEliJDBVcuTo •K*fi^»Td x.utfperauitfodi. X! • fxei • o'op HAiriKo^.copv/ Xa PTeuttTh 2^ia Tcop Qufnta . per quatraoc rsaStxpt^y ocUETaCbdAo^tA immutabiles .A'li • (f « it.lip* Kou ETTi'TOv JUfeAAov p. & in futuro emaon Toq TO ceyTO TTfpicccrMWfipov circunfleXiitn habet pc/ cxet'/couOpoXe'H'"^}'''"^*^ nultftnamcjbrcuem. pocAHyoioot^ 6iov*fot?^» utpfallopialla.diftri^ XIII a,b. VICENZA, L. ACHATES, 1489, I490- 183 I ^S feat Wp ut T«r^t/fl-«^^v(r4Wc»S lie w<; ut 'TrS'Zirwtf' fadt cas cu acutopcedetefic lov^ctcrt* « aut tfc ui 9-|^»T fi^wjoc. * facit «y ut Ati/' At rfi/».^ Ite &v ut &'a-' etTrett>- faat okt utT*fl/'Ij T TOfff^ViiTonf uetootQ ut yi(f M^ T^oroiif ^ focit ovf ut TJ}SivHT^^OpTov(f. % Ite our ut 791/ jT TTOV^ Tro^ov€' \ facit T9M Sc'D Si ^ ut Atr%^ At TtTswAtj/diu Air«['TBttAtj/f?' AtlMTsc*. «t^ fadt i$t. 't^ r eft *f« ut cupTt^ oLfyt' wtI* wiort^ CM) «tM. ut <3MJCL «M/t. p (J 4^; ut IVet T^ •5r«T© irOCTtf* ^ 45. ut ouet(l/TSir* ti4*> ut liw THv*wi)\JJv^'(rwja-'uv, f ^Tf .utjwct Tf o» A.70 73 .'7i*"5nj .iut a/W' (tiro • r racit ff-| ut ^ - /net [i. 4, ii. 8, iii. 13] (^[19] (p[2o] <|)[2o]. Contractions. aQ[i2] eTv[i9] vai[5] oiq[5] ov[6] 6v[8] eg [18] ou[7] ouq[i2] o)v [12] a)v[?4] toq[i7]. Stops, etc. Smooth breathing [5], comma [4], period [8], hyphen [17], reversed conmia [before OU, line 10 ; and before au, line 19]. 186 M0Y21 AIONt^i^ 'mx>7^ji»oiti*nv'tf>iVt(iua »^Mm TWFAtfltA/^yTW At/;^^ hA S^*mvH/mtpi Hv.o'n^ ^ocn XV. VENICE, ALDUS MANUTIUS, C. 1 495. 187 B b 2 PLATE XVI. Greek Letters, Venice, Aldus, 1499. [Single page only. Combinations are given, not sorts, except for the contractions.] Capitals. N[2l] n[22]. Lower-case. a[i. 5, ii. 11] d[i. i, 23] c([i. I, ii. 13, iii. 14] • 23] a [18] ai[i. 2, ii. 2] aAA[2o] av[4] av[4] civ [2] ap[2o] au[23] a [i._ I, ii.j.] ii. 10, iii. a[i. 3. 11 dv[i2] ai) [i]. p[i. 13, ii. 19]. r[i. 6, ii- 22] fa [8] ra[3] rap[i- i, ii. 9] r€[7] re[i2]_ rH[i7] rf["] rK[io] ro[i- 24, ii. 26] r6[26] rp[23] ru[i5]. b[2i] &a[2] fee [2] ^ fee [6] feeji. 4, ii. 10] feet[i, 2, ii. 10] feeij[i6] feH[7] 6h[3] fe^is] &o[i] ^loW fep[ii] feu [25] fet0[24]. e[i. 2, ii. 6] 6[i. 4, ii. 6, iii. 17] e[i. 2, ii. 4] e[i] e[i3] eil?] ei[4] ei[i. 19, ii. 20^ et[7] el [20] Iv[i4] €£[8] eu[i3] e0[i6] etj[i8]. h[2] h[2i] H[i. 6, ii-25] H[i. 4, ii. 5] h[26] h[i9] e[i4] ea[23] ed[4] e^[i6] e{[24] 0u[8]. i[ir] ,ei[3] iii. 21] eu[i2] H[l] ■f,[2l]. ee [23] i[i. 3, ii. sj^ £[9] l[i. 8, ii. 11, iii. 12] _i[i. 12, ii. 13J Tl[24]. K[i. I, ii. I, iii. 14] Kal[i. i, ii. 11, iii. 12, iv. 22] Kara [10]. A[i. I, ii. a] AA[2]. /w [i. I, ii. 15] jwevU] juev[3] juev[3]. v[i. I, ii. 5, iii. 11]. E[i. 3, ii. 14], [i. I, ii. 3] [23] 6 [i. I, ii. 9, i"., 10, iv. 15] 6[i. 2, ii. 8, iii. 10] 6[i. 3, ii. 4] oil [8] ot[i. 2, ii. 2] oI[5] ou [i. 4, ii- 13] ou[9] 0Li[i5] (mJ[i9] oC[ii] ou[i2] o5[i6]. na [i. 17, ii. 24] nd [14] wai [i. 6, ii. 19] TToT [i. 9, ii. 15] TTcxp [4] we [i. 5, ii. 12] TTe[i. 24, ii. 25] vel[s] nel[6] nep[i9] no[i. 10, ii. 13] np[9] TOO [13]. p[i. 6, ii. 6] pi[i] a [i. 4. ii- 6. iii- 9] aa [3]^ oe [24] o0ai[i. 4, ii. 20] no [11] TTei[l2] m [24] TO [16] pf[2] pi [12]. c[i. I, ii. I, iii. 2] oei[i6] OH [8] o0ai[25] oee[i2] OeH[26] 61 [g] 0[[4] 00 [7] 050 [21] (5t[22] ore [2] oth[ii] oti[i] 0Ta)[2o] 0U[25] 0Ll[l0] Cliv[2l] (5xe[24] cto[i5] ea)[2o]. t[2] Ta[i. I, ii. 1] Td[7] tc([i] fd[i4] Tai[6] Te[i] Te[i. 6, ii. 7, iii. 8] th[4] th[io] thv[3] 189 THg[6] Tl[ll] Tt[2] tI[i4] T0[i. 6, ii. 14] TO [3] To0[8] Tp[i, 8, ii. 10} tt[i8] tu[i2] tu[2o] Ti)[ii] TO) [5] T(|)[i. I, ii. 11]. u[i. 2, ii. 3, iii. 17, iv. 17] li[i] u[i. 2, ii. 17I ti[i. 5, ii. 7, iii. 24] v[6] 0[i4] i^[8] 6 [9] i3v[2s] ija[6]. 9[i. I, ii. 3, iii. 14, iv. 21]. X[i8] xaW Xe[6] X^i[8] X"["] X6[22]_ xpW X">["i-. o)[i. 4, ii. 5, iii. 24] [i. 10, ii. 22] (o[8] d>[i. 5, ii. 13, iii. 19] <5j[i. i, ii. 6] C()[22]. Contractions. ov[i. rg. ii. 17] ouc[ig] Tai[7]. Stops, etc. Comma [i] colon [i] period [4] 3 hy- phens [5, 20, 24]. 190 «Vlw (icwfltf "^sflw wtfjb*ail<8»M^»^9»»«/^«$ ^ ttff 9^ jti^ ^tf«> <7m;3^«e ^ ew «•}{/« «ut Aug , ^;g( (^yjvMiLt mipp9irssM,koaf* Sim, HHj^axmtKiiL'm vof^ tmnnS a£ov ex.SvV«i/cu,(^ •^t Ad9s , 6*1 (Uf it fi^ isam fA'^iv&»; (aw JhSukojtvHftgottM'^vCpiXtcpfaevuith NiilmA^* itS (pinvif ItstJ^aav vTn^v , ^SBtfttfjLv'heufieeag m^i/^%— %Mtgi&Mn\ 'ns>mvioviTlunn(pnU'itfiSfiovifa9iA.^of«,hi'mlt f*yif*'jtSf (^ PtifMitf*, not It r^o/A'd* V'i3}lL0v^i[23]. e[3] I[i6]_ €[32] e[i2] €[9] I [31] ei[i. 4, ii. s] ei[2i] el [10] e'i[i. 21, ii. 31] €l[[35] el[6] ^ ev[i3] ep[i8] ep[8] esTi[6] eoTl[ii] eu[4] eLi[34] eLi[22]. ?[i. 6, ii. 17]. H[i. I, ii. 2] h[6] H[i. I, ii. 24] H[i. 16, ii. 29] h[8] H[i. 4, ii. 22] h[8] h[i2] hv[i6] hv[3]. e[io] 06 [14] eu[34]. lis] i[i] ([i- 8, ii. 17] I[i. 15, ii. 25, iii. 26]. k[9] Ka[2] Kal[i. I, ii. i6] ki[4] k[[i3] ko[i5] K6[i. 4, ii. 19] KO>f25]. A[i] AA[23] AA'[7]. m[2] iMev[2] jwev[26] iwev[i4] mi[32]. V[l]. £[3] El [18] ^g([i]. o[i. i,ii. i] 6[i3] 6[i. 2,ii. 3] ofss] o[5] o[4] 01 [15] ot[42] 01 [25] ou;[26] ou[7]. no [6] we [i. 8, ii. 20] nep [5] tth [36] TTi[2] ,nA[6] nv[i4] no[i. 14, ii. 16, iii. 23] Tr6[i3] Tip[i] ittU]. p[i. I, ii. 6] p[36] pi [8] pi [20]. o[i. 9, ii. 23] q[i. I, ii. 3] oav[i7] oe[36] (5ei[i3] O0[i7] oeai[2i] oi[i] oi[i2] aK[i7] (Jjw[7] C5n^[i3] 6m[37] oc3a[ii] <5ae[9] C(5h[io] oaH[3i] og([36] oc5o[43] c5Ta[s] ere [20] (5Tl[l] C5TI[27] Ot6[22] OTp[25] CSV) [7] GUV [42] <3tiv[l6]. t[4i] to [9] Td[6] Td[3] Tai[7] Ta1[37] Te[i] t^[2] t6[38] th[i5] th[39] th[8] thv[2] Tfiq [11] Ti [i. 4, ii. 13] tI [i. 8, ii. 10] To[i. 8, ii. 8, iii. 26] to [14] Tp[3] TC0[2o] Ttjj [26]. w [13] t [3] iJ [26] ui [i. I, ii. 38] Li[2i] 0[i. 8, ii. 20] {5[i9] 3 [3] UfiOV cod^/MC^ ■ ho t CxatAtnlio wolu) ig^^v-'^Siv 5,09 /wfiv TntiviM ineji top siveis tSv eifii- fiSrtf o •roipi', "mMAuor iiuair ■TTDi.pKmAiKU "^ 7o(plw,TiAfec.isKA S3,^7f «TlAejj,Kgali' iw v/M£»i oi/Oj-vu- EiKh • Kthx^^^v (Pm'iin'jeu ei mV£ii. 4o(po9 A-zn u Aff ♦ E 9 hhtya Si (pvodim Tv,Slix9 6ei\Kojia,H'e^7os ^o)^os ijiH}^ •joT? ciDi^cloi-'noMaus H [s, 19] ta)[io, ir, 12, 12]. Stops, etc. Grave accent [i, 7, etc.] colon [12] period [17]. comma [5] 194 •ar Avuov (Tinvfxfitti varcsf«<^4.w«ft^eMH ^ Al/JtflQ if WJ'fe.W AflTArH DcPaftorc'K Lupo« p Aftornouellnm Lupicatuluin inueniens K accipknscum canibus nutrieb^.poftqua autem au Aus e fl;*fiquando lupus pecudem rapait*cam canibus 8CJp(e infedlabatar.ac canibus nonuakntibus aliquando copraehendere lupuffl*8Cpropterea teuertentibus illefequebatur* donee uti^hunc coprachendens tanqaam lupus partiapet uenatiDn(s.po(tea teuertebamr.ii autem non lupus extra rapuiftet pecudeni'ipfe dam interficiens Jimul XVIII. REGGIO, D. BERTOCHUS, I497. 195 C C 2 PLATE XIX. Phalaris and Aesop, Venice, 1498. [The whole fount as it occurs in these two books. Sorts, not combinations, are shown; but the combinations occurring on the page here reproduced are added in parenthesis after the sorts of each letter.] Capitals. 24 letters. Lower-case. a[i. 1, ii. i] a ai[i. 2, ii. 6] aiq, aXA av[2] au[i3] — (a[i. 2, ii. 8] d[i. II, ii. 15] a[i. 4, ii. is] a[i7] at [6] aii[3] div[i] av [25] dv[i] dv[s] civ [16] au[i3] a0[i4]). p [i. I, ii. 3, iii]. r[i. 25, ii] ra[8] rap rap[i- i, "• 13] rr re [31] rei[i9] rev r»[6] ri[25] fv rotp] rp r^^bg] r" —0-6 [4] re [26] rea?] rfi[6] ri[25]). b[i. I, ii] ?)a[7] feai bag be [11] be bei bH[i4] bi[3] bo [3] bp hv bo>— (be[3] be [2] btW bl[2] bt [11]). € [i. I, ii. 2] €1 [i. 8, 11. 10, iii, 16, iv. 17] ev em [2] ep ecn emiU] eu[27] — (€[i. I, ii. 14] e' [26] e [i. 7, ii- 13] I [7] I [28] €[29] el[i. 16, ii. 17] ei[i. I, ii. 18] eUi. 6, ii. 8, iii. 9] et[2i] enl[2] ee[27] €t)[28]). ^[i. 10, ii. 16]. H[i. 2, ii. 4] Hv[7] — (H[i. I, ii. 6] iH[io] H[i. 3, "-4] fi[5] H[9] fi[9] '^[14] fiv[7]). 0[2]. i[i. 3, ii. 4]— ('[i- 2. "• 6, 1". 8] U22] i[i. 10, ii. 14] I [6]). K[i. 2, ii. 3] Kal[i. 3, ii. 7] Kara. A[i. I, ii] M[i. 16, ii]. jw[i] iwev[i. I, ii. 18, iii] — (Mev[2] |wev[i]). v[i. I, ii. 3, iii, iv] vCv. £[i. 9, ii. 17]. o[i. i,ii. i] CD [4] — (6[i] 6 [9] o[io] 6[i2] ot[4] otj23] o?[i6] oi[9] OU[20] O0[4] 0t[22] ou[6] 0C[24]. n[i. 2, ii. 6] na[2] we [5] nei[i9] TTH TTi TrA[2] TO [i. 3, ii] mro np[i] npo[i3] Ttr nto[i. 9, ii. 27] — (tt [i] nd([4] TTci[3] net [19] nel[2o] TTeT[9] •jt6[7] np6[23] np6[5] TTU>[27]). p[i. I, ii. 2] pi [12]. cs[i. 26, ii. 10] c[i. i, ii. 3, "i- 5, iv] (3a[i] 6av[i6] oe[4] oei ch[22] 00 [6] (39ai ci[23] 00 [21] csn cc OT OTa oral c5Te[8] orei 6th[25] STL GT0[3] OTU GTOi OU [7] OX [3] oxp 00) [6] — (o[[i8] 06 [5] cnj[75. T[i. 4, ii] Ta[i. lo, ii. 13] Tai[3] Te[l2] Tei TH THV[2] THQ THQ [4] Ti[6] To[i. 4, ii. 8] T0[g] TOO[8] Tp[22] TT T(0[ll] T(S[i. 15, ii. 25] TCOV — (Ta[l3] TO [15] TO [3] 197 fd[29] Te[8] THV[2] tl[9] Tl[6] TO [8]). u [i. I, ii. 6, lii. 12, iv] vi uv [2] — (u [8] u[i6] u[i. 4, ii, 19] II [i. 4, ii. 20] C[26] Cv[ii]). (p[i, 4, ii. 13]. X xa[2i] Xai Xe[2o] X^iLvl X"[i] X9 XI [12] XV X0[8] Xp[i- i^ii] Xuv x«>[i]— (Xi["] xUu] xoM Xa)[i]). o)[i. 2, ii, 14, iii, iv]— ((b[24] a)[3] a)[i, 19, ii. 12] &[i. i, ii. 5]). Stops, etc. Comma [i] colon or period [2] mark, sloping hyphen [6] hyphen. » question straight Contractions, etc. (a) Letters superposed : a = a, ra or axa. at (two forms) = ai, ov = ov. = or OQ. T over ou = ToO, over v = via, over a = ara or to, etc., to = (o, (6) Signs : ai aq aq (with preceding acute) ag eiv eTv elq ev ev eg (two forms) Hv Hv Hq fig oiq olg 6v ouq oug'ouq (with preceding acute) Tai cov (over jw = A^ou) &v cog (Im; (two forms). Accents, etc. Number of simple sorts given above : — Capitals [24] lower-case [185] contrac- tions [31] accents, etc, [17], Total 257. Number of simple sorts and combinations of all kinds (lower-case) noted in Phalaris and Aesop: — a [80] ^[3] r[4l] h[55] e[85] ^[2] h [39] 0(5] I [25] k[22] a [19] iu[29] V[29] £[2] 0[39] tt[58] p[29] o[97] t[85] u[38] 9 [7] XUS] V[i] CO [36]. Total 880. Specimen letters (e ju t), giving all combin- ations found : — e [i, ii] e [i, ii] e e[i, ii] e[i, ii] e l[i-iii] l[i, ii] e 'I 'e ei[i-iii] ei[i-iii] ei[i, ii] et[i-iii] eUi, ii] el[i-vi] eiL[i, ii] el[i-iii] ei[i, ii] ei[i, ii] el eiaq ev ev ev ev ev ev ev ev eni eni em ep ep ep ep[i, ii] ecsn eon eort eoTi eTai[i, ii] eu eu eu eu eu eO [i, ii] eu eu eu eu eu eucov ecov ecoQ. ju jwa (or jwara) jwai [i, ii] jucic iweiC jwev[i-iii] iuev[i, ii] jwev[i-iii] jwevai luevaq juevov [i, ii] ^evoc, [i, ii] JWeVOUC iUHV JWHV JWHq juov juog jwou jwoug jwcov. T[i, ii] T Ta[i-iii] Ta[i, ii] Tc<[i, ii] Ta[i, ii] Ta[i-iii] to Ta[i, ii] TO Tai[i, ii] Ta( Ta'i[i, ii] xaq re Te re f e xei rei rei [i, ii] xeq TH TH TH TH [i-iii] T H THV [i, ii] THV THV[i, ii] THC THg [i, ii] tl t[ tI Tl[i, ii] Tiov TO [i-iii] T6[i, ii] TO TO TO [i, ii] TO TO TOTC TOV TOV Toq Tou [i, ii] touq Tp tt too too toj T(o [i-iii] toov Toiv [i, ii] tcoc tuk- 198 are'rAiov^,^ce«»dou$ I M / » ' r '^v » * , ■ f ^1 /A0{>,'Tiw4>iAo^/Ay/45^4>'^^'f"''O<^/4vii>^M.o$^?'r2w Wiflf ^f^/Ao^MO«iMJiv&ertTB»'n»6JV7B«, bmij sATEp^t e^ H0« eiffM8'etJ,fcg«pJfBv;«(^?0S»ffl(?ej?;£fiW0V.6Jr A/SpsTiSc^pott AAJOT-1!8^^«^ ^'H^ fe-n^xaKAS?,^^;;* 0i\o»!i^w a?\f* «wA T'VTOi'TJa^i'&v aojv»|» epj«F XIX. VENICE, BISSOLUS AND MANGIUS, 1498- 199 PLATE XX a. Souidas, Milano, 1499. [Combinations, not sorts. The facsimile shows all of the type known,] Lower-case. a[i. I, iL 2] a [10] d[i5] c([i] a [4] a [14] ai[i4] al[i2] av[i6] dv [12] dv [i] ag [12] dq [i. 3, ii. 6] aLi[6] au[4]. . p[i. 2, ii. 2, iii. 5]. r[i2] raW rap [i. 4, ii- "] re [7] ri[is] ro[i] rpM r&Uil &[i] &a[ii] ?)ai[i5] be [6] biW bo [9] bo [18] bp[i5] bij[8]. €[i. 3, ii. 5] e [i. 3, ii. 13] I [8] e [i. i, ii. 7] e[i7] *e[i4] ei[i. 5, ii. 13] ei[3] €([13] eT[i. 8, ii. 9] eA[i3] eM[i5] eM[3] e£[ii] lv[ii] es[3] ei[8] e5[i7]. di4]- H [1. 2, 11. 3] h[i2] as] i[9] X[7] in [i. 10, ii. 17] h [2] h[3] -h[io]. 9[i. 2, ii. 16]. I [i. 2, ii. 4] I [is] i[3] TM '£[7]. ,k[3] Kal[i. 2, ii. 7]. A [i] A' [10] AA [6]. /u[i] Mev[4] Mev[6] v[i. I, ii. 3]. o[i. I, ii. i] 6 [13] 6 [10] 6 [11] o[5] Ou[i4] 0Li[4] oij[7] ol[i8]. iTa[6] nd[6] nap [7] ne[ii] n€[4] nei [5] nep [5] nA [8] no [i. 3, ii. 7] no [16] na)[5] na)[2] nto[6]. P[3] p[3]. 8 [4] <; [i. I, ii. I, iii. 2] ca[8] oh [18] A4ev[i6]. 6 [8] 59 [9] SI [9] OK [8] 00 [12] 06 [4] on [15] OS [13] 0Ta[9] 0Te[i] oth[6] on [4] 6tI[5] sto[7] su[i2] 09 [10] SCO [4] 0(i)[i8]- t[4] to [5] Td[3] Td[i. 14, ii. 16] Tai[io] TaT[7] Te[5] Te[6] th[5] th[6] thv[5] THq[3] ti[i8] t([i8] Ti [i] TO [i. 6, ii. 13] Tp [18] Tu [5] Ta>[8] Tco[i3] T[3] CO [5] (J) [8] a)[9] a)[i3] <5[i. 6, ii. 10, iii. 13] & [5]. Stops, etc. Comma [5] period or colon [i] hyphen [3]. Accents, etc. '[3] '[3] '[i] '[3] ''[i.i,ii.3,iii.3, iv. 13] "[3] °[6] '[9] "[7]. Number of distinct sorts : — lower-case 117 ; accents, etc. 12; stops, etc. 3. Total 132. Number of simple and combined sorts (excluding separate accents or stops) 211. 200 ^t^Atoiia>AH<;-Hgu cpt Ao^afiKQ* /xfe^DO(;»ou(ftf;f?t5if; V'itrs?eiTpiH'nu<; voTfc'JW^i 55eiKoi« <£ Aojo^et(?ioi(; 52t K9M^H0'/*-fi>l«.«rf tp-i A • oun 01 o9-flc toe t^w ^K6iT •wtw'jitjyt itfl^uMlt.- |SiV OVO •ZJO/W,* Act AM V -OTM,* d OZpct M€ laU &I • 0?(A* TTO Q S ou • « a'h Kl 531 U* loo oBUi H9U 7> nZilV /A.^ (05*01 V jULCt Ai 591 t.jU.lfi.R 6k '0) <; ^ ff € K€l VflU tV* "Wt-V •JW./ulv •!«■ f Aot5)j jU.ct«rw. Hotfll l^ow Vfllfl oc Cpt not SOU Jfe •r«y(f H OljW.* AfltfiCcwouffif/jOuiudoout^e , d cL'sjAa^ acarovdhiiot d ^o^juloi t cMd^(U(i OvMiMV (]i(A* A/p^VMTVefsyDMtUStKtAOd^jecpHC'HSUOOt^^tvo^oAoj^oM ^v 4 pi €aV Ti/4.M 'man'Ti C%it ' In ^uoU(f 11^1 Q) v* (p< A« AC»*g(WrH Z.4Tr8poc fiimi^reaidS Tv/TTHcgcOcii vffberiimm torn uimtri •tiJii^tvQai xabeeammcffc M^ocr StdpiffToo* TipSTocmc&mifimtgpiinm Tijfaff^i vctberatumdic MSffocr icofioncdof 2^fv/T6pd(r mcdm idnitnk^m. Tvir^srOrti vei-bcrammfiwlTc Axfo-oy JU^^AcoN TrpSToo* mdiuftttu^pUmH T^SffOoct vcrbei-jjmmirf ivmtcectt verbcmmmmeffe Ju^i^AiyoH Ju^AooN piiulopoftfittu^ T6Trx/'feo*eM verbcraromcfltf pArcictpta palliua ptfff JUSToXlKol n<*OftTlKeC iNgffTcW b^ Tv/irrduSNoo' iUe qui verber^itur tSv TUTTT04*^W butusqutverberiitur • H TOTTTOJU^NH ilUquflJVcrberamr THff TVTTTOJU^NHC buitts qu« verberatmr Tb Tv/irrdueNoM iUudquodverbcratiir T«V Tv/TTTOJU^HOV butud qitod verbaiimr XXII. DEVENTER, R. PAFRAET, C. I5CX)? 204 KctiTop jiusp irpcoToV rs K«tTSKT«tvepctpir<^6to'1 (cAAop ir«eAip ctv^^peff'tt'irHirescr eo* Mopop Hf4p» I r I t * I K«'VOTgp*l(rT6X>'*i«'fvAivov2lLo;VDP6?6upovT67aoncDcyov|;j5jap8JuniG5TopTa «<; ovk s B5iBdAXovcyape2Cip,£A8yXovaip2ua7H^TTapeay* ToSp ctKO Ao v0ia<;. l&ploi pvplo v Ao you ai8paS|/» d jixBii 6iq dpiejuovt; kqi yapH Kai G5Tcoffei<; jasracyXH xiaTij6jULS[ia,^2L8 iK^mpoccoma. Kai d/5i0JiiOY<;»a 2ie juLHesjJ 8S5i2^8X6ja8paloiovT6p IbctAAd Kdo'dpa Juo pop ffXHAtaxiffjttop EK98p6 JuspariavTa 2m JU6TaAH9 eapTQ 8g i2ii(Q\i JUL8TaaXHJULaTiEi ovtcoIv Xoi roAHevpTiKopnpoc; nAHevpriKop Kaxd iHplov dvTOv npO(5cbTrovnap8JUiTfroocyip«ypd90«£p HJUiaTc;* juiapeduovai|idpe|3CDC50i.l6 ydp sp jiii8Tdl3da8i lov ropoffoonov ov755dpTco<; dnaiTHcysiTop dvrop dpio xi6p«tcy"n -jrctp 9apai , kqi IvyrorovcJi lop duepco** nop> KQi TvjTTOvcn 7ov^ dpepobnovc;. Kara rxrroj cnp. 6 dvToc; 2^8 A6yo<; KdniT&pKaTct yspcx; ^ irtoS dvp8i cupaAeoi KardlHp dvTHjJGJTa>c3"ip,vnoiT8CJ87 TQi Ei<; 76 dvToirpoacoiTop.HjacopdvToop dKpocop=» Tai.sijuH OTapeJUTTTcocJK p Kai dvTcop dKpO(SpTgi . Kara ys poq. dxyavTcoq Zs Kdroi 7oc>p yspolSp^SvTOi 6i dp=* 2ips<;.7ovTOV(;7ov(; dp2kpa(;.GjdAip ydp76 sp ^8Ta Baa8i7ov ropocycbcsou d2iia9opHcy6i Kai Kara y8= p6<;> Kai Kara dpiejaop* 7oytov<; y vpH (/Bpfasp. KOTO tsjpocyfiaroop^ Kai ixsi mpoaoacisov/«8K6ipocy rooTHp ^p^ groiJuisAsTTai 7ov roaiZoc; > dAAd Ah kci COV Kai 8JUL0V . SlSSSp OVp JUH 8G51vov koI bid x6 ev hAikio 6vxa(; ou^hv xoTq oiKeioic ov buvavxai bid xojv naAawov jwaSetv xd Hjuexepa. xauxd xoi oubelq aux&v noxe dnpipHc rpa^jwaxiKOQ r^vecsGai oioc x* Ifevexo. beT rdp xpovcov koI ttovou koI pfpAcov oOk oAij-ojv IV dKpipcoc eibevai buvHG&jwev xd xfig fpa/uiuaxiKHq- auxol be okvoCvxcq Kal pipAoiv dnopoOvxeCj dno ^^vaq enixojWHQ xoO XpucoAtopd h Geobwpou h e^ov Ka)voxavx(vou, xfiq ev MebioAdvtp ouvxeGeiOHq nAaxuxepaq Kal ev NeanoAei guv- x|UH9eiGHq, bid xhv xc xdiv pH^dxtov, Kal Ma£{jMOu xoO TTAavoubH trepl jwexapaxiKOiv Kal d/uexapdxfov, nepl dvcojudAcov, nepl ouvcovtjjuojv, rrepl ibicojwdxcov, irepl xponcov koI oxH/udxtov Kal naGaJv" Tpii90)voc, XoipopooKoO Kal TTAouxdpxou, nepl nveujudxcov, rrepl xoC juh GoAoiKi'^eiv koI pappapf^eiv, nepl 6p9ofpa9iaq xd naAaid koI Mogxo- nouAou x6 np(Bxov, nepl noioxHXoq koi noooxHxoQj nepl xovcov xd xd>v dAAoiv koI 'HpcobiavoC xhv ^efdAHv npoccpbiav ev pipAtoiq ekooi, nepl xcBv xovtp bia9ep6vxcov, nepl /wexptov bid90pa, Kal ndvxa xd xoO 'H9aiGxia)voc koI TpiKAiviou, nepl eKAofdJv XOJV Ae£e(ov'ApnoKpaxta)vog, TToAubeiiKOuq, Gtojwa xoO Martoxpou koI MooxonouAou, 207 Tov SouL&av atiTov koi xaAAa AeSiKcr, to Mera eTuvoXofiKov Kai ^iiKpov d ndvra eupitSKOvrai, Kal auToq eibov, efvcov koI eKTHGdiWHv. e& rd GecopHTiKo reocsapa pipAia 'AnoMcDviou toC AuokoAou koi 'ApKO&tou toO Bu^avriou, Kal Mi)(aHAou ToC ZufreAou Kal narpidpxou toO f^uKetoc;, koI dAAa 09 (Sv dpuod/wevoq 6 ootpoq Geobcopoc KaAXisxa Kal eAAoj-ijwwTOTa to TeTapTov thq lauTou fpojujuaTiKHQ ouve9HKe (ndvu toIq Aofioiq errcocpeAeQ, ei Kal busKoAov TUfxdvei Kal AhAiou koAu^- PhtoO feeo^evov, bid thv diropfav thq TexvHq), Kal ToAAa ndvTa dvafKcrta toq OKidq Toiv TraAaiojv rrepiexovTa. eppwoGe oi dvofivoxsKOVTec koI jwejuvHo9e, Kal d ti ocpaAepov eipHTai eiTibiopBtosavTec csuffvcoTe- dvGpcbmvov fdp to d/uapTaveiv. to ^^ev TTepl ovojwaToc; GuveTe9eiT0 Iv MebioAdvtp onou Kal to irpcoTov nAaTUTepov, 6 cuveTjWH9H Iv NeanoAet- to be irepl ouvTd£ea)q beuTepov Kal to nepl pH/uaToq toOto Kal dAAa Iv MeocSHvi^ tP tcov A6ro>v kpHi^La, Itei dno Georoviaq pu£s-'. 208 INDEX Accents, methods of working, in Greek types, 1 8. Accursius, Bonus, his connexion with the second Milanese press, 59 fF. Achates, Leon., printer of Greek books at Vicenza, 23, 90. Adam of Ammergau, Greek printing by, 34, 131- Aesop, life and fables, printed at Milano (c. 1478), 59 ; at Venice (1498), no ; select fables, printed at Reggio (1497), 107. Agostino da Novi, Scrutinium Consiliorum, printed at Florence (1500), 67. Albrecht of Stendal, printer at Padova, 43. Alcala, Greek printing at, 144. Aldus Manutius, general discussion of his Greek types, 15 ; his method of working the accented sorts, 20, 100, 104, 105, 108, lis ; his Greek press, 93 ff. ; his first type influences L. de Alopa, 81 ; is imitated by Bertochus, 106, 108 ; his relations with Kallierges, 117 ; allusions to him by other printers, in, 119. Aleander, rvcoMoAof'ta, printed at Paris (15 1 2), 142. Alexander, Doctrinale, printed at Deventer (1488, 1491), 143. Alexandres, a Kretan, printer of Greek books at Venice (i486), 73. Alopa, Lorenzo di, printer of Greek books at Florence, 78; his type acquired by Kallierges, 118. Alphabetum Graecuni, printed by Aldus at the end of his Laskaris, loi ; printed at Geneva (1554), 145. Ambrosius of Reggio, adapts the index to the Crastonus of 1499, 109. Ammonios Hermeias, eic; rdc nevre 9tovd<;, printed at Venice (1500), 119. Amorbach, Joh. von, Greek type used by, 137- Analyses of the plates, their purpose, 2. Angelus, Jacobus, pupil of Chrusoloras, 3. Anshelm, Thomas, printer at Pforzheim, &c., 140. Anthology, printed at Florence (1494), 79. Antwerp, Greek type used at, 143. ApoUonios Rhodios, Argonautica, printed at Florence (1496), 79. Apostolios, Aristoboulos, his preface to the Galeomuomachia, 95. Apostolios, Michael, his Ionia, 95. Arator, in Actus Apostolorum, printed at Deventer, 143. Arguropoulos, Joannes, professor of Greek at Florence, 5. Arigis, Leonardus de, fictitious printer, 131. Aristophanes, printed by Aldus (1498), 103. Arrivabenus, Georgius, Greek type used by, 130, I3S- Athanasius,opuscula, printed at Paris (1500), 141. Augsburg, press of Miller at, 140. Aurispa, Giov., as Hellenist, 4. Ausonius, printed at Venice (1472), 34. Azzoguidi, Bald., printer at Bologna, 43. 209 E e Bade, Josse, Siluae morales, printed at Lyon (1492), 141. Barbaro, Castigationes Plinianae, printed at Rome (1492-3), 135- Basel, Greek types used at, 137 ; press of Froben at, 140. Baskerville, his Greek types, 16, 146. Batrachomuomachia, printed at Brescia (c. 1474), 83 ; at Venice (i486), 73 ; at Paris (1507), 142; at Wittenberg (1513), 140. Bazalieri, Marcantonio, partner of Bertochus at Reggio, 106. Beaufort, Andrd, Greek type used by, 44. Benalius, Vine, Greek type used by, 131. Benedictis, Nic. de, Greek type used by, 142. Benedictis, Plato de, printer at Bologna, 131. Benedictus Hectoris, Greek type used by, 131. Beroaldus, Annotationes, printed at Bologna (1488), 131. Bertochus, Dionysius, Greek type used by him at Treviso (1482), 136: prints Greek books at Vicenza (1483), 88 ; his type shows connexion with earlier Chrusoloras, 85 ; Greek type used by him at Venice (1494), 131 ; Greek press at Reggfio, 106 ; at Modena, 109 ; again at Reggio, no. Bessarion, Cardinal, as patron of Gaza, 5 ; of loannes Laskaris, 8; his Orations printed at Paris (1471), 48. Bible, Polyglott, printed at Alcala (1514- 1517), 144- BipAoc H j-vojuaj-upiKH, printed at Paris (1507), 142. Bissolus and Mangius, printers of Greek books at Venice, no; at Milano, 112; their type used in the Cicero of 1498-9, 134- Blastos, Nikolaos, copyist and publisher at Venice, 117 ; poem in praise of, 121. Blavis, Thomas de, Greek type used by, 38, 129, 136. Bocard, Andr^ Greek type used by, 141. Boccaccio as student of Greek, 3. Bologna, books with Greek type printed at, 131- Boninis, Boninus de, Greek type used by, 131- Bonus Accursius. See Accursius. Braccius, Gabr., editor of Greek books, no, III. Breda, Jac. de. See Jacobus. Brescia, Greek printing at, 83 ; later books with Greek type printed at, 131. Brocar, Am. Guillen de. See Guillen. Budapest, Galeotti at, 46. C. See also K. Cambridge University borrows the Savile type in 1632, 146. Campanus, Joh. Ant., pupil of Chalkondulas at Perugia, 6. Case, composition of a modem Greek, 147. Caslon, Wm., his Greek type, 146. Cataneo, Giov. Maria, his connexion with the Souidas of 1499, 113. Cervicomus, Euch., printer at Koln, 140. Chalkondulas, Dem., sketch of his life, 6; edits Homer, 66; professor at Milano, founds Greek press and edits Isokrates, 70; his Erotemata printed there, 71 ; edits Souidas, no, 112. Choris, B. de. See Cuori. Christie, R. C, on the dating of Aldines, 94. Chrusoloras, loannes, teacher of Filelfo, 5. Chrusoloras, Manouel, sketch of his life, 3 ; his Erotemata printed at Vicenza (c. 1475), 84 ; at Parma (c. 1481), 87 ; at Venice (1484), 88 ; at Vicenza (1490, 1491), 92 ; at Florence, 66, 70 ; at Florence or Rome, 79, 118 ; at Paris (1507), 142 ; at Alcala (1514), 144. Chrysostom, printed at Eton (1610-13), 145. Cicero, Works, printed at Milano (1498-9), 134 : de OfKciis and Paradoxa, at Mainz (1465, 1466), 24 ; at Venice (c. 1472), 34 ; at Milano (1474), 38 ; at Paris (1477), 25; at Venice (1477), 126 : de Oratore, at Subiaco (1465), 26; at Niimberg (i497), 138 : Letters, at Venice (1471), 31, 34; at Milano (1472), 38; at Milano (c. 1472), 39 ; at Venice (1476), 38; at Venice (1480), 126 : Rhetorica, at Lyon (1497), 142. Clericus, Hub., commentary on Cicero's Letters, printed at Treviso (1480), 136. Compositors, setting up of Greek by, 40. Coniugationes uerborum graecae, printed at Deventer, 143. Crastonus, Joh., his connexion with the Greek presses, 9 ; his version of Laskaris' Erotemata, 62, 91 ; of the Psalter, 64 ; his Lexicon printed at Milano (c. 1478), 60; 10 at Vicenza (1483), 89 ; at Venice (1497), 109 ; at Modena (1499), 109 ; his Vocabu- lary, at Milano (c. 1479), 63 ; at Vicenza (c. 1483), 89 ; at Reggio (l497), 106. Cuori, Bernardino de', Greek type used by, 127, 131. Cutting-out system for accents, 18. Damilas, Demetrios, designer of the first Greek type, 11; his connexion with the Milano press, 52 fF. ; with that of Florence, 66 ff. Dati, Giorgio, preface addressed to him, 70. Dating of the early Aldines, 94. Decker & Co., of Berlin, their Greek types, 16. Dekaduos, loustinos, on the Aldine Greek type, 98. Demetrius Cretensis. See Damilas. Deventer, Greek printing at, 143. Didot Greek types, 16, 147. Didot, A. F., on translations from the Greek, 6 ; on the Aldine press, 95, 99 ; letters of Mousouros printed by him, 120 ; his inter- pretation of the poem on Greek printing, 122. Domenico da Vespolate, Greek printing by, 42 ; connected with Paravisinus, 52. Duprd, Jean, printer at Lyon, 141. Eggestein, Heinrich, printer at Strassburg, ElaarcorH Txpoc Tcov rpaiujiaTCOv e'AAHVOJV, printed at Wittenberg (1511), 140. Elementale introductorium, printed at Strass- burg (15 12), 140. 'EiTisToAa! &ia96pcL>v, printed- by Aldus (I499)j 103. Erasmus, his opinion of Mousouros, 9 ; his Adagia, printed at Paris (1500), 141 ; his panegyric on Archduke Philip, printed at Antwerp (1504), 144. Erfurt, Greek types used at, 138. Estienne, Henri, Greek type used by, 142. Estienne, Rob., and the French 'royal' founts, 145. Etumologikon, printed by Kallierges (i499)) 119 ; poem of Mousouros in, 121 ff. Euripides, four plays of, printed at Florence (c. 1494-S). 79- 21 Faelli, Benedetto. See Benedictus Hectoris. Fell, Dr., Greek types given by, 146. Ferdinand I, king of Naples, patron of Konst. Laskaris, 7. Ferrandus, Thomas, books ascribed to, 47 ; Greek printing by, 83. Ferrara, Greek printing at, 44. Ferrari, Franc, preface addressed to, 59. Festus, printed at Milano (1471), 38, 39; at Venice (1474), 36 ; at Rome (1475), 30; at Parma (1480), 87, 135. Ficinus,Marsilius,and the Platonic Academy, 4 ; De triplici uita, printed at Venice (1498), III. Filelfo, Francesco, as Hellenist, 4, 5 ; his letters printed at Basel (c. i486), 137. Filippo da Lavagna, printer at Milano, 38. Filippo di Pietro, Greek printing by, 35. Fivizzano, books printed at, 43. Florence, council of (1438), 4 ; professorship of Greek at, 4 ff.; first Greek printing at, 66; Alopa press, 78; later Greek types used at, 133. Foumier's Greek type, 146. France, first Greek press in, 142 ; books with Greek types, 140. Francis I, and the 'royal ' Greek types, I45- Froben, Joh., printer at Basel, 140. Fust and Schoffer, Greek type of, 24. Gabriele di Pietro, Greek type used by, 34, 38, 129. Galen, printed at Venice (1500), 120. Galeomuomachia, printed by Aldus, 95. Galeotti, Marzio, the first edition of his Liber de homine, 46. Garamond, Claude, cuts the ' royal ' Greek types, I4S- Gaza, Theodoros, sketch of his life, S ; his grammar printed by Aldus (i49S)> 99- Gellius, Aulus, printed at Venice (1472), 33 ; (1477), 126; (1489), 127; (1493. 1500). 129; (1496), 127- Gemistos, Georgios, called Plethon, at the council of Florence, 4. Georgios Alexandrou, his identity, 75. Georgios, of Trebizond, at Rome, 6; his commentary on the Philippics of Cicero, printed at Venice, 35. Gering and Rembolt, Greek type used by, 140. I £62 Germany, Greek printing in, 24, 137 ff. Giovanni da Reno, printer at Santorso and Vicenza, 86. Giovanni di Dio, his Nosce Te, printed at Heidelberg (1489), 138. Giunta, Filippo, publisher of Greek books at Florence, 66 ; acquires the second Greek type of Kallierges, 118. rvcoMai MOvooTixoijprinted at Florence (c. 1495), 79- Gourmont, Gilles de, the first printer of Greek books in France, 142 ; his method of working accented sorts, 19. Graeco- Latin types defined, 13. Gran, Heinrich, printer at Hagenau, 140. Greek, the study of, in Italy, 3. Grover Foundry, Greek type of the, 146. Griinenberg, Joh., Greek printing by, 140. Grijninger, Joh., printer at Strassburg, 138. Guarinus of Verona, pupil of Chrusoloras, 3 ; his Erotemata printed at Venice, 34; at Reggio (1501), no. Guarinus, Bapt., De ordine docendi, printed at Ferrara, 44. Guillen de Brocar, Arn., Greek printing by, . 144- Hachenborg, Paul, Greek type used by, 139. Hagenau, presses of Anshelm and Gran at, 140. Han, Ulrich, Greek type of, 29 ; copied at Lyon, 141. Hansard, T. C, on the size of Greek cases, 146, 147. Hart, H., on the Oxford Greek founts, 146. Heidelberg, Greek woodcut letters used at, 138. Hermeias, Ammonios. See Ammonios. Hermes Trismegistus, printed at Treviso (1471)) 45- Hesiod, Works and Days, printed (with Theokritos), at Milano (c. 1479), 63 ; at Paris (1507), 142. Hess, Andreas, printer at Budapest, 46. Hieronymus. See Jerome. Holland, modifications of Greek type in, 146. Homer, Works, printed at Florence in 1488, 66, 69 ; scholia on the Iliad, Rome (15 17), 118. See also Batrachomuomachia. Honate, Benignus and Joh. Ant. de, printers at Milano, 59 ; go to Pavia, 70. Horologion, printed by Kallierges (1509), 117. Hours, in Greek, printed by Aldus (1497), 97. Jacobi, C. T., on the modem Greek case, 147. Jacobus de Breda, Greek type used by, 143. Jacobus de Fivizzano, Greek type used by, 126. Jenson, Nicolas, Greek printing by, 31. Jerome, Letters, printed at Mainz (1470), 25 ; at Venice (1476), 36 ; at Basel (1497), 138- lesi, printing at, 46. Illustrations, explanation of the, i ; list of, 149. Image, Selwyn, Greek type designed by, 16. Johann of Amorbach, Greek type used by, 137- Johann of Koln, Greek type used by, 36. Johann of Speier, printer at Venice, 30. Johnson, H., on the size of Greek cases, 146, 147 ; on the use of ligatures, 148. Isidorus, etymologiae, printed at Venice (1483), 129. Isokrates, orations, printed at Milano (1493), 70. Italic type of Aldus, its capitals used with Greek type, 105. Junta, Phil. See Giunta. Juvenal, printed at Brescia (1473), 43 ; at Venice (1475), 36; at Lyon (1490), 141. Kallierges, Zach., printer of Greek books at Venice and Rome, 117; his method of working accented sorts, 21, 56. KaUimachos, printed at Florence (c. 1495-6), 79; one hymn printed in 1489, 133. Kallistos, Andronikos, his life, 5. Kanzleibiichlein, printed at Erfurt (1500), 139. Kebes, printed at Florence or Rome, 79, 118. Kesler, Nicolaus, Greek type used by, 137. Koberger, Ant., Greek type used by, 138. Koln, renascence presses at, 140. Konstanz, burial place of Chrusoloras, 4. Lactantius, printed at Subiaco (1465), 26; at Rome (1468), 27; at Venice (1471), 34; at Rome (1474), 29; at Rostock (1476), 48 ; at Venice (1490), "7 ; (i493. 1494), 131 ; (1497), 129. 212 Lambillon, Ant., Greek type used by, 141. Laonikos, a Kretan, printer of Greek books at Venice, 73. Laskaris, loannes, sketch of his life, 7 ; founds a Greek press at Florence, 78. Laskaris, Konstantinos, sketch of his life, 7 ; his Erotemata printed at Milano (1476), 51 ; (1480), 62, 63 ; at Vicenza (1489), 90; at Venice (1495), 97 i peculiarities of its type, 100 ; on noun and verb, Vicenza (1489), 91. Latin, accentuation of, attributed to Aldus, 1 1 1 . Lauer, Georg, printer at Rome, 30. Lavagna, Filippo da, printer at Milano, 38. Lazaronibus, M. de, Greek type used by, 129. Leipzig, press of Schumann at, 140. Leo X, patron of Kallierges, 118 ; sends MS. of New Test, to Card. Ximenes, 144. Leonhard of Basel. See Achates. Leontius Pilatus, taught Boccaccio Greek, 3. Le Rouge, Jacques, Greek type used by, 36. Le Signerre, Guillaume, Greek type used by, 134- Letters, collection of, printed by Aldus (1499), 103. Libri, Bartolommeo di, printer of the Homer of 1488, 67, 68. Lichtenstein, Hermann, Greek type used at Treviso by, 89, 136. Lignamine, Joh. Phil, de, Greek type of, 29. Lisa, Gerardus, Greek type of, 45. Liturgical series, projected, 12, 74, 117. Locatellus, Bonetus, Greek types used by, 127, 131. Lorenzo of Aquila, Greek type used by, 39. Loslein, Peter, Greek type used by, 129, 131. Low Countries, Greek printing in the, 143. Lucian, printed at Florence (1496), 79. Lugarus, Nic., Panegyricus, printed at Pavia, 13S- Lyon, Greek types used at, 141. Macrobius, printed at Brescia (1483, 1485), 131 ; at Venice (1492), 130, Madrid, manuscripts of Konst. Laskaris at, 7. Mainz, Greek type used at, 24. Manetti, Giannozzo, secretary to Nicholas V, 6. Mangius, Benedictus, printer of Greek books at Venice, no ; at Milano, 112 ; at Reggio, iio, 114. Manthen, Joh., Greek type used by, 36. Manuscripts, careless use of, by printers, 9 ; their relation to type, 11. Manutius, Aldus. See Aldus. Manzolo, Michele, printer at Treviso, 89, 136 ; Greek type used by him there, 136 ; at Venice, 129. Marschalk, Nic, probably responsible for Greek printing at Erfurt, 139. Marsuppini, Carlo, his metrical version of the Batrachomuomachia, 83. Martens, Thierry, Greek type used by, 143. Martianus Capella, printed at Modena (1500), 109. Marullus, Tarchaniota, friend of Chalkon- dulas, 6. Marzio Galeotti. See Galeotti. Matthias Corvinus, patron of Galeotti, 46. Matthias Moravus, printer at Naples, 43. Medici, Cosimo de', his Hellenism, 5. Medici, Lorenzo de', patron of loannes Laskaris, 8. Merula, Georgius, his attacks on Galeotti's Liber de homine, 46. Messina, Konst. Laskaris as professor at, 7. Milano, early use of Greek type at, 38 ; later use, 134 ; first Greek press at, 51 ; second, 59; third, 70; fourth, 112. Miller, Hans, printer at Augsburg, 140. Minuziano, Alessandro, Greek type used by, 114. Miscomini, Antonio, Greek printing by, at Venice, 36, 129; at Florence, 133. Misinta, Bernardino, Greek type used by, 131. Montagnana, Petrus de, inscription by, 60. Moschopoulos, Manouel, his Erotemata printed at Milano, 72. Moschos, Dem., To KaS' "EAevHv Kai "AAeEav- 8pov, printed at Reggio, 109. Motta, Antonio, his connexion with the Souidas of 1499, 113. Mousaios, Hero and Leander, printed by Aldus, date of, 95 ; type of, 102 ; printed at Alcala (c. 1 514), 144. Mousouros, Markos, sketch of his life, 8; his preface to the Etumologikon of 1499, 119; his poem on typefounding, 121 fF. ; his letters concerning MSS. of Galen, 120. Nerli, Bernardo and Nerio, their connexion with the Homer of 1488, 66. Netherlands, Greek printing in the, 143. 13 ECS Niccoli, Niccolo, his library of Greek MSS., 4. Nicholas V, patron of Hellenic scholars, 6. Niger, Steph., Dialogus, printed at Milano (1517), 114. Nikandros, Alexipharmaka, printed by Aldus (1499), 104- Nonius Marcellus, printed at Parma (1480), 87. Niimberg, Greek type used at, 138 ; Sodali- tas Celtica at, 140. Omnibonus Leonicenus, his Grammar printed at Padova (1474), 43 ; his commentary on Cicero de Oratore, Vicenza (1476), 86. Omont, H., on the first Greek press in France, 142. Orpheus, Hymns, printed at Florence (1500), 66, 70. Oxford University, Greek founts of, 146. Pachel, Leonhard, printer at Milano, 134. Padova, Greek printing at, 43. Pafraet, Rich., Greek printing by, 143. Paganinis, P. de, Greek type used by, 131. Pallavicino, Dion. See Paravisinus. Paltascichis, Andr. de, Greek type used by (1477), 126. Pannartz, Am., Greek printing by, 27. See also Sweinheim. Papias, Vocabularius, printed at Milano (1476), 42- Paradoxa of Cicero, Greek sentences in the, 25. Paravisinus, Dionysius, Greek printing by, Sifif. Paris, Greek types used at, 140 ; first Greek press at, 142. Parma, Greek printing at, 87, 135. Pasquale, Peregrine, associated with D. Ber- tochus in 1482 and 1484, 88. Pavia, Greek type used at, 135. Pelusius, Bartholomaeus, editor of Greek books, no. Perottus, Nic, Cornu Copiae, printed at Venice (1494), 106 ; other Venetian edi- tions, 131 ; at Paris (1494), 140 ; (1496), 130, 140; (1500), 141: Rudimenta gram- maticae, printed at Venice (1475), 34 ; at Treviso (1476), 45 ; at Milano (1478), 52 ; at Bologna (1478), 34, 131 : De generibus metrorum, printed at Bologna, 43 ; sine nota, 43. Petit, Jean, publisher at Paris, 141, 143. Pforzheim, press of Anshelm at, 140. Phalaris, printed at Venice (1498), no ; by Aldus, in 1499, see Letters. Philelphus, Franc. See Filelfo. Philippe, Jean, Greek type used by, 141. Philippus Petri. See Filippo di Pietro. Philostratos, printed by Aldus in 1501-4, IDS, 114. Pilatus, Leontius, taught Boccaccio Greek, 3. Pincius, Phil., Greek types used by, 127- 130. Pindar, printed at Rome (1515), 118. Planoudes, Max., his life of Aesop, 60. Plates, explanation of the, I. Platina, De honesta uoluptate, printed at Venice (1475), 39. Plato, poem of Mousouros in praise of, 9. Platonic academy, foundation of the, 4. Plethon, Geo. See Gemistos. Pliny, Letters, printed at Venice (147 1), 34 ; at Naples (1476), 43 ; at Treviso (1483), 136 ; at Bologna (1498), 131- Poliziano, Ang., pupil of Kallistos, 5 ; of Chalkondulas, 6 ; his epigram on Damilas and Paravisinus, 58 ; his miscellanies printed at Florence (1489), 133 ; his works at Venice (1498), and Brescia [Florence], (1499), 131. Poludeukes, I oulios, printed by Aldus (1502), 114. Porsonian Greek types, 16, 147. Price list of Aldus (1498), abstract of, 93. Priscian, Works, printed at Milano (c. 1475), 42 ; at Venice (1476), 36 ; (1481), 129, 136; (1488), 130; (1492), 127, 129, 130; (1495, 1500), 129 ; at Milano (1503), 114 : De declinationibus nominum, sine nota, 47 : on Syntax, Erfurt (1501), 139. Privileges granted to Aldus, 99 ; infringed by Bissolus and Mangius, 112; to Bissolus and Mangius, 114 ; to Blastos, 120. Propertius, printed sine nota, 47. Priiss, Joh., printer at Strassburg, 138. Psalter, printed at Milano (1481), 62, 64 ; at Venice (i486), 74; by Aldus, 95; Psal- terium quintuplex, Paris (1509), 142. Quietis, Chr. de, Greek type used by, 129. Quintianus Stoa, De syllabarum quantitate, printed at Paris (1500/1), 141. 14 Quintilian, printed at Milano (1476), 38 ; at Treviso (1482), 136. Ragazonibus, Theod. de, Greek type used by, 127. Ratdolt, E., Greek type of, 129. Reed, Talbot, on Greek types in England, 146. Reggie d'Emilia, first press of Bertochus at, 106; second, no. Reinhard, Joh., printer at Rome, 30. Reinhard, Joh., printer at Strassburg. See Griininger. Rembolt, Berthold, Greek type used by, 140. Renner, Franz, printer at Venice, 34. Reno, Joh. de. See Giovanni da Reno. Reuchlin, Joh., pupil of Arguropoulos at Rome, 5. Rhau, Joh., Greek printing by, 140. Ricardini, Benedetto, preface by, 70. Rinucius, translator of the Life of Aesop, 60. Ripoli press, intended use of Greek type by, 133- Rome, early books with Greek types printed at, 27 ; later books, 135 ; press of Kal- lierges, 118. Rossi, Giov., Greek type used by, at Treviso, 136 ; at Venice, 130. Rubeus, Jac. See Le Rouge. Rubeus, Joh. See Rossi. Rugerius, Ugo, associate of D. Bertochus (1474), 88. Sacon, Jac, Greek type used by, 142. Santorso, Giovanni da Reno originally settled at, 86. Savile, Sir H., his Greek types, 145. Savonarola, Logica, printed at Florence (1497), 67. Saxolus Pratensis, de accentibus, printed at Milano (c. 1479), 62. Schenck, Wolfgang, Greek types used by, 139. SchofFer, Peter, Greek type used by, 24. Schott, Johann, printer at Strassburg, 138. Schott, Martin, printer at Strassburg, 138. Schott, Peter, Epitome de mensuris sylla- barum, printed at Strassburg (1500), 138. Schreiber, Joh., Greek type used by, 34, 131. Schumann, Val., printer at Leipzig, 140. Schiirer, Matthias, Greek printing by, 140. Schwenke, P., on the type of the 42-line Bible, 105. Scinzenzeler, Heinrich, Greek printing by, 71. Scinzenzeler, Ulrich, printer at Milano, 70 ; Greek type used by him, 134. Scriptores historiae Augustae, printed at Venice (1490), 130. Sebastiano of Pontremolo, joint printer of the Isokrates of 1493, 71. Seneca, Letters, printed at Strassburg, 26, 48. Servius, commentary on Vergil, printed at Milano (1475), 42. Sibillino, of Umbria, Greek type used by, 39. Silber, Euch., Greek type used by, 131, 135. Simplikios on the Categories of Aristotle, printed at Venice (1499), 119. Sinthen, Joh., Dicta super doctrinali Alexan- dri, printed at Deventer (1488, 1491), 143. Sodalitas Celtica, at Niimberg, 140. Souidas, printed at Milano (1499), 112; modification of type for, 116. Spain, Greek printing in, 144. Spelling of Greek by sound, 75. Spira, Vindelinus de. See Wendelin. Statius Gallicus, printer at Brescia, 43. Statuta Brixiae, printed at Brescia (1473), 83. Stobaios, manuscript of, written by Kal- lierges, 1 18. Strassburg, Greek letters used at, 138 ; Greek printing at, 140. Strozzi, Palla, as Hellenist, 3 ; banished from Florence, 5. Subiaco, Greek type used at, 26. Suetonius, printed at Rome (1470), 29 ; at Treviso (1480), 136; at Bologna (1493), 131. Suigus, Jacobinus, Greek type used by, 142. otveeoic, technical meaning of the word, 74. Sweinheim and Pannartz, Greek types of, at Subiaco, 26 ; at Rome, 27. Tacuinus, Joh., Greek type used by, 127. Tarchaniota Marullus, friend of Chalkon- dulas, 6. Theokritos and Hesiod, printed at Milano (c. 1480), 63. Thesauros, preface of Aldus to his volume called, 99 ; smaller type used in the pre- face, 103 ; alluded to by Mousouros, 1 19. Tigres, authorship of Batrachomuomachia ascribed to him, 73. Tissard, Francois, establishes the first Greek press in France, 142. Tortellius, Orthographia, printed at Rome 215 (I47I), 29; atTreviso(i477), 89, 136; at Vicejiza (1480), 136. Tortis, Bapt. de, Greek type used by, 131. Trechsel, Joh., Greek type used by, 141. Treviso, early books with Greek type printed at, 45 ; later books, 136. Trissino, G. G., erects a monument to Chal- kondulas, 7. Tritheim, Joh., on Crastonus, 9. Tiibingen, press of Anshelm at, 140. Types, Greek, classification of, 9, Valdarfer, Chr., printer at Venice, 34. Valerius Maximus, printed at Mainz (147 1), 25 ; at Venice (1474), 36 ; at Milano (1475), 38. Valla, Lor., Elegantiae, printed at Brescia (1475), 43- Venice, early books with Greek type printed at, 30 ; later books, 126 ; Greek press of 1484,88; 1486,73; of Aldus, 93; Bissolus and Mangius, no; Kallierges, 117. Vergil, printed at Milano (1490), 134 ; at Niimberg (1492), 138; at Lyon (1492), 141 ; at Paris (1498), 141 ; at Lyon (1499), 142. Vergil, Polydore, Prouerbiorum libellus, printed at Paris (1517), 143. Vespolate, Domenico da. See Domenico. Vicenza, Greek types used at, 46 ; first Greek press, 84 ; press of Bertochus, 88 ; of Achates, 90. Vindelinus de Spira. See Wendelin. Virunius, Ponticus, dedication by, 109. Vittorino da Feltre, teaches Gaza Latin, 5. Vocabularius breuiloquus, printed at Strass- burg (1488), 138. Wendelin, of Speier, Greek type used by, 30. Wittenberg, Greek printing at, 140. Ximenez, Cardinal, Polyglott Bible edited by, 144. Zarotus, Ant., Greek type used by, 39. Zenobios, printed at Florence (1497), 66, 70. Ziraldus, LiUus Greg., Syntagma de musis, printed at Strassburg (1511), 140. 216 ADDITIONS 70. Even in 1500 the type of the Homer does not wholly disappear, as it is found (in a very worn state) in the Hebrew Grammar of Agathius Guidacerus, printed at Rome without date, but during the pontificate of Leo X (151 3-1 521). 1 34. Milano. The statements here are too sweeping. The Diony- sius Nestor printed by Pachel and Scinzenzeler in 1483 has a good supply of a small Greek type of somewhat unusual character. The p, A, t, and other letters (not the r) resemble those of fig. 25, but the b and v are like those of fig. 17. It is a ' cutting-out ' fount, but few accents are used ; of however, there are actually two sorts. There is no closed (balloon) n or final q. 141. The Greek type of Jean Philippe seems to be the same as that used by Thielmann Kerver in his Beroaldus, De felicitate, of I April 1 500/1 ; this was printed for Jean Petit, and it is therefore probable that the Greek type of the Quintianus Stoa is identical with that of the Beroaldus. This fount of Philippe is reproduced by M. Claudin in the second volume of his Histoire de I'lmprimerie en France. 217 OXFORD : HORACE HART PRINTER TO THE UNIVERSITY :/^;i*^^^^ i.J!»M^'.*M^ A.-^'- mi^'i '. ^: iA"' ■MkM:>m ^3^i. m^x mm. '%%- %im\^' ?s?lfe*^'-"' 'Ia\ -^^jfi^' \ ;V-