M' VAUGHN 
 MILLBOUPvN 
 
 CHICAGO 
 
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 in 2015 
 
 https://archive.org/details/geofroytorypaintOObern 
 
PAINTER AND ENGRAVER: 
 FIRST ROYAL PRINTER : RE/ 
 FORMER OF ORTHOGRAPHY 
 AND TYPOGRAPHY UNDER 
 FRANCOIS I. 
 
 AN ACCOUNT OF HIS LIFE 
 AND WORKS, BY AUGUSTE 
 BERNARD, TRANSLATED BY 
 GEORGE B. IVES. 
 
 THE RIVERSIDE PRESS : MDCCCCIX 
 
PRINTERS' PREFACE. 
 
 ERNARD'S monograph on Tory was first 
 published in 1857, when M. Bernard was 
 already a recognized authority on the his- 
 tory of typography . 1 8 65 , after an inter- 
 val devoted largely to a search for further 
 information concerningTory, andf or prob- 
 able examples of his work as an artist ^ a 
 second edition of the book appeared, enlarged 
 by more than one-half, arranged more sys- 
 tematically, and embellished with several 
 additional engravings of designs which are, in the author s opinion, at- 
 tributable to Tory. The Iconography, which forms the third part of this 
 revised edition, did not appear as such in the first edition, although a 
 small part of the material it contains may be found scattered through 
 that edition. It now occupies more space than the Biography and Biblio- 
 graphy combined. The new arrangement necessitated more or less repeti- 
 tion where, as in many instances, the same book is referred to by M. 
 Bernard in more than one section of his work ; and this repetition some- 
 times reveals discrepancies between the different descriptions. Where 
 such discrepancies have been discovered by him the translator has en- 
 deavoured to correct them, generally, in the absence of an opportunity 
 to inspect the volume in question, assuming that the description in the 
 bibliographical section is more likely to be trustworthy ; in a number of 
 cases, however, inspection of title-pages themselves, or of reproductions 
 ther-eof has enabled him to correct numerous minor errors in transcrip- 
 tion. 
 
The kindness of the late Mr. AmorL. Hollingsworth, in lending his 
 fine copy of the first edition of^ Champ fieury^ made it possible to collate 
 therewith M. Bernard's numerous extracts from that rare and interest- 
 ing booky and to ensure entire accuracy with respect to them. 
 
 As M. Bernard writes certain printers' names in different ways^ the 
 translator has assumed that the names are printed differently in differ- 
 ent books y and has not attempted to make them uniform. Such names 
 are Dubois {Du Bois), Lecoq {Le Coq), Galliot (Galiot). The few notes 
 supplied by the translator are inserted in square brackets. 
 
 The translations of Tory s various Latin effusions ^ including the com- 
 plete text of the little brochure called forth by the death of his daughter 
 Agnes y were made by Mr. f. W. H. Walden of Cambridge. The Latin 
 originals will be found at the end of the booky in Appendix X. 
 
 Since such authorities as M. Bernard and M. Renouvier differ as to 
 the ascription to Tory of many of the designs mentioned in this worky it 
 seemed the wiser course to choose for illustration only such subjects as are 
 described by the author y without questioning the soundness of his reason- 
 ing or the infallibility of his deductions. The only exception is the beau- 
 tiful design reproduced on the first page of the Index. This is taken from 
 Robert Estienne's folio New Testament [in Greek) of i^^OyWherey with 
 two other similar decorations y it occurs in conjunction with the friezes 
 and floriated Greek letters reproduced elsewhere in this volume. They are 
 unsignedy but all are indubitably from the same hand. Although they are 
 not mentioned by M. Bernardy it seems incredible that he should never 
 have seen them. 
 
 The printer of this volume has had more than ordinary good fortune 
 in literally stumbling upon most of the designs here reproduced. The pres- 
 sure of other work has prohibited systematic research y and the originals 
 of these illustrations were nearly all discovered while he was engaged 
 upon other matters. Many were found in the Harvard Library y some in 
 the reference library of the Riverside Press y some in auction rooms, and 
 some in booksellers' catalogues. The only exception is the series of borders 
 from the Hours of 1524-25, which were expressly photographed from 
 the copy in the library of the British Museum. 
 
T^hat so much has come to hand in so haphazard a way is but an addi- 
 tional proof of Tory's industry and versatility. There seems to be almost 
 no limit to the work which may fairly be credited to him^ and M. Ber- 
 nard hardly exaggerated when he said that there was scarcely an illus- 
 trated volume of any importance issued in Paris during the first half of 
 the ^KNlth century in which the artist of the Lorraine cross did not have 
 a hand. Hours and Classics ^ Bibles and Testaments^ Mathematical and 
 Medical works — all bear evidence to his prolific pen and graver, and 
 were time disregarded, the preparation of this volume might be almost in- 
 definitely prolonged. Incomplete as it is, however, it is hoped that it will 
 measurably fulfill the desire expressed by Mr. A. W. Pollard nearly fif- 
 teen years ago, in the first issue of ^Bibliographic a.' Speaking of Ber- 
 nard" s monograph, he said,* It would be pleasant if someFrench publisher 
 would bring out a new edition worthily illustrated,for in 1 8 65 the modern 
 processes of reproduction were not yet invented, and the few and poor 
 woodcuts in M. Bernard' s book give no just idea of the artistic powers 
 of Tory, whose illustrated editions are so difilicult to meet with that M. 
 Bernard's admirable commentary loses half its value for lack of a proper 
 accompaniment of text.' 
 
 A word regarding the method of reproduction of these illustrations 
 may not be out of place here. More was aimed at than mere photographic 
 copies, which are in many ways inadequate. It was thought desirable to 
 make the decorations an integral part of the typographic treatment of 
 the volume and to preserve when practicable their original relations to 
 the type. To attain this end, more perfect printing plates were necessary 
 than could be obtained directly from the old editions. The designs, there- 
 fore, were all redrawn with the greatest care over photographs of the 
 originals, and from these drawings photo-engravings made, which were 
 afterward perfected by hand when the forms were on the press. 
 
 Notwithstanding some inevitable slight divergences of line, this 
 method preserves with far greater faithfulness the spirit and effect of the 
 original prints, and the result is more truly a facsimile than a direct pho- 
 tographic copy would have been. Both drawing and engraving of Tory' s 
 designs were exquisite, and as a rule they were beautifully printed, espe- 
 
dally by Colines and Robert Estienne. Some of theniy however^ suffered 
 at the hands of inferior printers. Imperfections and irregularities due to 
 the carelessness or unskilfullness of the printer are readily discernible, 
 and in the reproductions in this volume have been eliminated. The pre- 
 servation , by this treatment y of more of the beauty and interest of the orig- 
 inals is sufficient justification for departing to this extent from the usual 
 methods of facsimile reproduction. 
 
 Following the French fashion, the Table of Contents and hist of 
 Illustrations are printed at the end of the volume. 
 
 G. B. I. 
 B. R. 
 
 January, 1 909. 
 
AUTHOR'S PREFACE TO THE 
 SECOND EDITION. 
 
 HE first half of the 
 sixteenth century was 
 with respect to prints 
 ing (as with respect to 
 the other arts) a period 
 of renovation, not in 
 the matter of processes 
 of execution, which remained about the 
 same as in the fifteenth century, but in the 
 matter of the makeup of books, which was 
 entirely revolutionized. Typographical ar^ 
 rangement, appearance of the letters and 
 ornaments, everything, even to the cover, 
 was changed almost at the same time, or, at 
 all events, within a very few years. At that 
 time printing gave over the servile copying 
 of manuscripts, which had at first served it 
 as models, and adopted special rules, better 
 
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 m 
 
 ^1 
 
i 
 
 1^ 
 
 adapted to its method of execution. For in^ 
 stance, it relegated notes to the foot of the 
 pageSjCaUing attention tothem bymarksof 
 reference, instead of placing them at the 
 side of the text, as had previously been the 
 custom, at the cost of an enormous amount 
 of labour, without benefit to the reader. It 
 also abandoned the use of red capitals,' 
 which, by increasing the labour twofold, 
 made books expensive, and replaced them 
 by floriated letters, which were quite as dis^ 
 tinctive, but were set up and printed with 
 the text. This style of ornament, so favour^ 
 
 I . This term, which is wrongfully used in printing to- 
 day to denote all majuscules, was formerly employed only 
 for the initial letters of chapters. It was in this sense that 
 Schoeffer used it when he said, in 1457, that his Psalter 
 was venustate capitalium distinctus [distinguished by the 
 beauty of its capitals] ; also Chcvillier, when he wrote in 
 the Origine de I' Imprimerie de Paris ( page 32), that the 
 books of the first printers of Paris had no 'capitals,' the 
 chapter initials being left blank, to be made by the illumin- 
 ators. M. Crapelet, taking the word in its present mean- 
 ing, concluded therefrom that the books of Gering and his 
 associates were without majuscules; and he thereupon at- 
 tributes the introduction of roman letters in Paris to Josse 
 Bade, in the sixteenth century, but he is altogether wrong. 
 
15^ 
 
 Hi 
 
 able to artistic results, developed rapidly, 
 and soon extended from the letters to the 
 illustrations, which began to be introduced 
 in books in constantly increasing numbers. 
 Under the general impulsion of the Renais' 
 sance, engraving was transformed : instead 
 of the coarse woodcuts, of the so-called cri^ 
 ble style, in which the background was black 
 sprinkled with white dots,' and the design 
 stamped in white, as with a punch, engrav-' 
 ing in relief came into vogue, just as we 
 have it to^'day, identical in form, although 
 the processes have been perfected. A simi^ 
 lar revolution took place in the matter of 
 letters : the gothic or semi^gothic charac^ 
 ters, which had hitherto been used, were 
 replaced by roman characters of a novel 
 shape, borrowed from the monuments of 
 antiquity (then studied with great ardour), 
 which continued in use until the Revolu^ 
 tion. Lastly, the covers ofbooks also under ^ 
 went a transformation brought about by 
 
 I. [_Crii/e, ]it. sifted.] 
 
 9t 
 
the force of events : the parchment rolls 
 used by the ancients had been succeeded, 
 during the Middle Ages, by bound vol' 
 umes, of a shape more convenient for read' 
 ing ; these volumes, of which those vv^ho 
 w^ere fortunate enough to own any never 
 owned more than a very small number, be' 
 ing intended to be arranged on the library 
 shelves in such wise as to present one side 
 to the visitor's eye, were adorned with 
 numerous ornaments of various sorts on 
 that side, so that they could easily be dis' 
 tinguished. Later, these ornaments were 
 omitted and the title of the book substitu' 
 ted, in huge black or gauffered letters. But 
 the invention of printing soon caused that 
 device to be abandoned. As the increasing 
 numbers of books made it impossible to 
 give up so much space to them, they were 
 arranged side by side on the shelves, care 
 being taken to print the title in gold letters 
 (so that it might be more legible) on the 
 backofthe book, which was the only part of 
 
 m 
 
 m 
 
it in sight. This innovation compelled the 
 doing away with raised decorations, espe' 
 cially those in precious stones or in metal, 
 which would have torn the books that 
 stood next them. Thereafter leather bind' 
 ing came into general use ; the gauffering 
 on the sides was continued for some time ; 
 but in the sixteenth century this in turn 
 was replaced by gold tooling ' a filet,' and 
 the transformation was complete. 
 
 THE man who contributed most large' 
 ly to the threefold evolution I have 
 described was Geofi^oy Tory, a man who is 
 hardly known to'day,' despite all his talents, 
 although he received in 1 530, as reward of 
 his labours, the title of king's printer, which 
 Francois I had never before bestowed upon 
 any one. I say that Tory is hardly known to' 
 
 I . I retain the phraseology of the first edition of my 
 book, published in 1856; but the fact is that, thanks to 
 that publication, Tory is no longer in the same plight. His 
 books have become formidable rivals to those of Vostre, 
 Verard, etc. One of his Books of Hours sold recently for 
 more than 3000 francs. [Note to 2d edition, 1865.] 
 
m 
 
 day ; in truth, it is, in his case, equivalent 
 to being unknown, tD be known, as he is, 
 only as a publisher. Some few scholars, to 
 be sure, are aware that he was a printer ; but 
 the fact is so little known that his biogra-' 
 pher has denied it.' As for his noblest title 
 to fame, that of engraver, nobody is aware 
 of it ; and yet we owe to Tory the resusci'' 
 tation of engraving in France. As the his^ 
 torian of typography,^ I have thought that 
 it was for me to describe with special care 
 one of the fairest jewels in his crown. Such 
 is the purpose of the work here presented, 
 wherein will also be found, in connection 
 with the honour paid to Tory by Francois 
 I, some information concerning the first 
 royal printers, and a list of those officers 
 from the beginning down to the extinction 
 of the office in 1830, three centuries, year 
 for year, after its creation. Francois I is, in 
 
 1. See La Biographic Universelle, article ' Tory,' by 
 M. Weiss, City Librarian of Besanjon. 
 
 2. See my book, entitled : De /' Origine et des Debuts 
 de P Impr inter ie en Europe; 2 vols. , 8 vo, 1853. 
 
 1?^ 
 
truth, entitled to be considered the creator 
 of the office of king's printer, for prior to 
 his reign we find but one typographer who 
 bore that title, while, fi-om Francois 1 down, 
 the series of king's printers was not again 
 interrupted. The appointment of Pierre le 
 Rouge, on whom the title was bestowed in 
 1488,' may be creditable to Charles VIII, 
 but it was without result. The honour of 
 having made of the eminently literary post 
 of king's printer a permanent office reverts 
 of right and naturally to the prince who has 
 been called the Father of Letters. In truth 
 that prince, as we shall see hereafter, was not 
 content with a single printer ; he had sev/ 
 
 I . In the imprint of the Mer des Histoires, z vols. , folio, 
 completed in 1488 (1489, new style), we read: 'Im- 
 primee par Ma is (re Pierre le Rouge, libraire et imprimeur 
 du Roy^ ; but he assumed the latter title only once, and in 
 my opinion it was the result of a misapprehension. He 
 seems in fact to have been king's bookseller only ; at all 
 events he assumes that title in the Heures a /' JJsage de 
 Rome, which he published in 1 49 1 . In any case, his as- 
 sumption of the title does not prove that he received royal 
 letters patent, as all the other printers did, as we shall see 
 later. 
 
eral at once, with distinct functions, and ap^ 
 pointed successors without loss of time to 
 such as retired or died during his lifetime. 
 
 But, I repeat, the principal purpose of my 
 work is to make Tory known as one of the 
 most skilful engravers we have ever had. 
 Of course I cannot forget that he was the 
 learned editor of the * Cosmographie du 
 Pape Pie 11,' the * Itineraire Antonin,' etc. ; 
 the publisher, of rare taste, who put forth 
 the Hours of 1525, 1527, etc. ; the accom^' 
 plished printer of the * Sacre de la Reine 
 Eleonore ,' and the distinguished philologist 
 of' Champ fieury,' to whom, as we shall see, 
 we owe the invention of the orthographic 
 forms peculiar to the French language . ' But 
 what has especially attracted me in Tory is 
 his work as an engraver. In that role he was 
 without predecessor or rival, for those per' 
 sons who may be represented as such may 
 have been his pupils, nothing more. Jean 
 Duvet alone might quarrel with this limi^ 
 
 I . Tory also essayed a reform in Latin orthography, but 
 it was less happily conceived, and did not succeed. 
 
tation ; but, although he was Tory's con^ 
 temporary, he was not his teacher ; for Tory 
 had gone for his schooling in the art to the 
 very fountain-head, to Italy, before Duvet 
 produced anything. As for Jean Cousin, de 
 Laulne,du Cerceau, Leonard Gauthier, and 
 the rest, they did not come until after Tory. 
 The honour of re vivifying the artofengrav^ 
 ing in France belongs to Tory alone, be^ 
 striding two centuries, the fifteenth and six' 
 teenth ; indeed, some of his productions are 
 pure gothic. This I propose to demonstrate 
 in the third part of my book, after I have, 
 in the first part, narrated the general facts 
 of our artist's Ufe, in which we may observe 
 also the development of a revolution in the 
 matter of philology; for Tory was a devoted 
 partisan of the classic tongues before he be^ 
 came one of the sturdiest champions of the 
 French language. 
 
 In order to emphasize the importance of 
 the orthographic reform achieved by Tory, 
 I have usually followed the orthography of 
 the time in my quotations from ancient 
 
works. It is an anachronism, to be sure, but 
 it is of no consequence when the reader is 
 forewarned. I have also felt at liberty to cor^ 
 rect now and then, without calling atten" 
 tiontothem.the typographical errorsfound 
 in the texts quoted. 
 
 I wiU not conclude without thanking pub/ 
 licly those persons who have kindly assisted 
 me in my researches concerning Tory. I 
 have had occasion to mention their names 
 in the course of my work, but that is not 
 enough : I beg them to accept in this place 
 the assurance of my gratitude. There are two 
 to whom I am especially grateful, for they 
 have considerably augmented my store of 
 documents : they are MM. Achille Deveria* 
 and Olivier Barbier, ofthe Bibliotheque Im^ 
 periale : it is owing to their kind communis 
 cations to me that the list of Tory's artistic 
 works will be found not far from complete. 
 
 I . Alas ! since this preface was first printed, we have 
 had the misfortune to lose the eminent artist whom I have 
 named. [Note to 2d edition.] 
 
GEOFROY TORY 
 
 PAINTER AND ENGRAVER: FIRST ROYAL PRINTER: 
 REFORMER OF ORTHOGRAPHY AND TYPOGRAPHY 
 UNDER FRANCOIS I. 
 
 PART I. BIOGRAPHY. 
 
 ESS than twenty years after the introduo 
 tion of printing at Paris, there was born 
 at Bourges a child of the people, destined 
 to impart to French typography a vigop 
 ous artistic impulsion, or, to speak more 
 accurately, to work therein a genuine 
 revolution. Geofroy Tory' was born in the 
 capital of Berry, about 1480, of obscure, 
 middle^class parents, as he himself tells 
 us/ Everything seems to indicate that he 
 first saw the Hght of day in the faubourg of Saint^Prive, to this day the 
 abode of humble vine^dressers. How, in that most lowly condition of 
 life, he succeeded in acquiring the degree of education which he after^* 
 ward exhibited, it is hard to say. However, it is proper to remember that 
 Bourges was at that time a metropolitan and university city, where there 
 were several schools, both ecclesiastic and lay. We may well believe 
 that, having, at an early age, aroused the interest of some patron by 
 virtue of his fortunate natural endowments and his intelligence, he was 
 admitted to the schools attached to the chapter, where he learned the 
 first elements of grammar. We shall soon find him dedicating the first 
 fruits of his labours to a canon of the metropolitan church of Bourges, 
 who seems to have been, at that time, his Maecenas. 
 
 Once master of the first rudiments of grammar, Tory perfected him' 
 self by following the curriculum of the university, where, as we learn 
 from himself, he had for his teacher a Fleming named Guillaume de 
 
 1 . I write these two names as our artist himself wrote them; but it is a well-known fact that 
 the orthography of proper names in the sixteenth century was very uncertain. As to the family 
 name especially, Geofroy' s ancestors and descendants wrote it indifferently Toury, Tory, and 
 Thory; but Geofroy never varied: he always wrote Tory in French, Torinus in Latin (which 
 should, strictly speaking, be translated Torin'). See further, on this subject. Appendix A. 
 
 2. Champ fleury, fol. i verso: ' Combiem [^/V] que ie soye de petitz & humbles pares, & 
 aussi que ie soye pouure de biens caduques.' 
 
2 
 
 GEOFROY TORY 
 
 Ricke, otherwise called 'le Riche' in French and 'Dives' in Latin; and 
 for a fellow disciple under this Ghent^born master, a certain Herverus 
 de Berna, from Saint' Amand, who afterward wrote a panegyric of the 
 Comtes de Nevers.' 
 
 Tory then went, to finish his literary education, to Italy, whither he 
 betook himself early in the sixteenth century. He sojourned principally 
 in Rome, where he attended most frequently the famous college called 
 La Sapienza,^ and in Bologna, where he attended the lectures of the 
 celebrated Filippo Beroaldo, who died in 1 505.3 Tory returned to France 
 a little before that event, and established his domicile in Paris, which 
 he always loved henceforward as one loves one's native city,'^ and where 
 he began his literary career. 
 
 The first work of his of which we have any knowledge is an edition 
 of Pomponius Mela, which he prepared for the bookseller Jean Petit; 
 it was printed by Gilles de Gourmont because it required the use of 
 some Greek type.5 This book was dedicated by Tory to his compatriot 
 Philibert Babou, at that time valet de chambre to the king. The dedi' 
 catory epistle is dated Paris, the VI ^ of the Nones of December, 1507; 
 but the printing of the book was not completed until January 10, 1508 
 (new style). 7 Several articles in this volume, which were written by 
 Tory, are signed by the word civis, which he had adopted for his de^ 
 vice. That patriotic designation was well suited to a descendant of those 
 Bituriges who strove vainly at Avaricum^ to defend the autonomy of 
 Gaul against Cassar. In any event it is interesting to find, three hundred 
 years before Jeanjacques Rousseau, a man, justly proud of his learn/ 
 ing, which he owed entirely to himself, clothing himself in that title of 
 citizen, which was formerly held in such honour in the provincial 
 cities, and especially in Bourges, whose name Tory never fails to append 
 to his own : 'Geofroy Tory de Bourges.' 
 
 This erudite production and the patronage of Philibert Babou were 
 perhaps responsible for Tory's appointment to the office of regent, othep 
 
 1. See Part 2, infra, Bibliography, § i, no. 3. 
 
 2. He mentions it on every page of his Champ fleury. 
 
 3. We read in Champ fieury, fol. 49 verso: 'Come lexposent tresingenieusem?t & ele- 
 gatem5t Philipes Beroal & Jehan baptiste le piteable, q iay veuz & ouyz lire publiquemt, il ya. 
 XX. ans, en Bonoigne la grace.* Champ fieury was conceived in 1524, but was not finished 
 until I 5 26, the date of the license to print. 
 
 4. See Champ fleury, fol. 6 recto. 
 
 5. As to Gourmont' s Greek type, see my Les Estienne, pp. 62 ff. 
 
 6. Doubtless we should read IV (December 2), for there is no VI of the Nones of De- 
 cember. 
 
 7. See the description of the book in Part 2, § i, no. i. 8. [The modern Bourges.] 
 
BIOGRAPHY 3 
 
 wise called professor, of the College of Plessis, where we find him in' 
 stalled in 1509. It was there that he edited for the first Henri Estienne 
 the 'Cosmographie du pape Pie II.' ' 
 
 The dedication of this book, addressed by Tory to Germain de Gannay, 
 canon of the metropolitan church of Bourges, and recently appointed 
 Bishop of Cahors by King Louis XII,^ was dated at the College of Ples' 
 sis, on the VI of the Nones of October,^ 1 509. Tory's edition (the third 
 according to him) contains fortyone quarto sheets of text, and is accom" 
 panied by a map of the old world The 'avis au lecteur,' also written by 
 Tory, is signed, according to his custom, with the word civ is. In the 
 following year, in collaboration with a compatriot and fellow pupil, 
 Herverus de Berna, Tory published a short Latin poem on the Passion, 
 written by his former teacher, Guillaume de Ricke. In this wise he ac 
 quitted his debt of gratitude.'^ Shortly after, Tory published for the Mar^ 
 nef brothers an edition of Berosus, who was then much in vogue, thanks 
 to the fabrications of Annius of Viterbo. This book, the preface of which 
 is dated May 9, 15 10, went to no less than three editions, to say nothing 
 of those issued by other publishers.' 
 
 In the same year Tory published for the same booksellers a small 
 volume of miscellanies, under this title: 'Valerii Probi grammatici de 
 interpretandis Romanorum literis opusculum, cum aliis quibusdam scitu 
 dignissimis.' It was probably printed by Gilles de Gourmont, for we find 
 in it his unaccented Greek type.^ This volume, which contains twelve 
 octavo sheets, has two engravings on wood — the mark of the booksell/ 
 ers on the title-page, and a Roman portico a little farther on. There are 
 also a few small cuts engraved on metal in one of the articles. The ded^ 
 icatory epistle, dated at the College of Plessis the VI of the Ides of May 
 (May 10), 1 510, and addressed by Tory to two compatriots, who had 
 probably been his fellow pupils, is signed by his device, the word civis. 
 The dedication begins thus: *Godofi"edus Torinus Bituricus ornatissimos 
 Philibertum Baboum et loannem Alemanum luniorem, cives Bituricos, 
 
 1. Enea Silvio Piccolomini, commonly called ^neas Sylvius. See Part 2, § i, no. 2. 
 
 2. Germain de Gannay, Ganaye, or Gannaye, son of Nicolas and brother of Jean, Chan- 
 cellor of France, had become a counsellor in the Parliament of Paris, on the resignation of Jean 
 Jouvenel des Ursins, by letters patent of 1485 ; appointed Bishop of Cahors, by royal letters 
 issued at Vienne in Dauphine, August 14, 1 509, in opposition to Guy de Chateauneuf, who 
 was chosen by election but yielded his claim to him, he was consecrated May 4, i 5 1 1 . In 
 1 5 1 2 he inherited the property of his brother the Chancellor, and did homage for the seigniory 
 of Persan on June 18. He was translated to the bishopric of Orleans in 1 5 1 4, and died in 1520. 
 
 3. October 2. 5. Ibid. no. 4. 
 
 4. See Part 2, § i, no. 3. 6. See my Les Estienne, pp. 62 fF. 
 
4 
 
 GEOFROY TORY 
 
 pari inter se amicitia conjunctissimos, salutat.' Babou and Lallemant were 
 at this time two important personages in Bourges: the former was secret 
 tary and silversmith to the king, the other, mayor of the city. We see that 
 Tory had acquired valuable connections in his native place, despite his 
 modest origin. Among the extracts from ancient authors in this book he 
 interspersed several pieces of verse of his own composition.' 
 
 Finally, in the same year, Tory issued an edition of Quintilian's ' In^ 
 stitutiones,' carefully collated by him with several manuscripts. This 
 work was undertaken at the request of Jean Rousselet, Seigneur de La 
 Part/Dieu, near Lyon, and an ancestor of Chateau'Regnaud, Marechal 
 de France. This Rousselet, who died in 1520, belonged to one of the 
 wealthy Lombard families which had settled at Lyon long before; they 
 made, as we see, a noble use of their wealth. His real name was Ruccelli. 
 He had married a young gentlewoman of Bourges, Jeanne Lallemant, 
 daughter of Jean Lallemant, Seigneur de Marmagne, a school friend of 
 Tory, whom I have already had occasion to mention. Doubtless it was 
 this connection which brought Tory into relations with Rousselet. The 
 text is preceded by the following dedicatory letter: 
 
 Geofroy Tory of Bourges to yean Rousselet^ devoted lover of letters^ 
 long Ufe and happiness. 
 
 Never, I think, most illustrious Jean, will you omit or cease to have 
 the aspiration of nobly justifying, both by your character and by your 
 good deeds, the great hopes which your relatives and your country have 
 of you. That you might benefit the State by your counsel also, you made 
 it your interest that I should emend Quintilian and have him printed 
 as handsomely as might be. After carefully collating a large number of 
 manuscripts, I industriously set to work and, by eliminating almost counts 
 less errors, I made a single manuscript of considerable accuracy. This, in 
 accordance with your orders, I sent from Paris to Lyon. I only hope that 
 the printers will not introduce other, new, errors. Farewell, and love me. 
 
 Paris, at the College of Plessis, the third of the Calends of March. ^ 
 
 This book, which forms a large octavo volume, unpaged, printed in 
 italic type, and in which we find some most attractive Greek type, with 
 accents, was finished on the VII of the Calends of July (that is to say, 
 June 25), 1 510. The printer's name does not anywhere appear, and the 
 place of printing (Lyon) is mentioned only in Tory's letter.^ 
 
 I . See Part 2, § i , no. 5. 2. For Latin text, see Appendix X, <?. 3. See Part 2, § i, no. 6. 
 
BIOGRAPHY 5 
 
 I know of nothing of Tory's dated in 151 1'; but that does not prove 
 that he produced nothing in that year, for it is certain that about that 
 time he published several works which have not come down to us. In 
 fact, he tells us in his 'Champ fleury'^ that he has 'caused to be printed 
 and put before the eyes of worthy scholars divers little works in Latin, 
 both in verse and in prose.' Now we know of nothing of his in verse 
 prior to 1524, except what we find at the end of the 'Valerius Probus* 
 of 1 510, and of Guillaume de Ricke's 'Passion.' Moreover, the absence 
 of any publication by Tory in 151 1 may be explained by the confusion 
 incident to his retirement from the College of Plessis and his installation 
 at the College Coqueret, which seems to have taken place in that year, 
 but concerning which I have no other information than the imprint on 
 two books published by him in the following year. 
 
 The first work edited by Tory in 1 5 1 2 was an architectural treatise 
 entitled: 'Leonis Baptistae Alberti Florentini. — Libri de re ^dificatoria 
 decem,' etc.; a quarto volume of 14 preliminary leaves and 174 leaves 
 of text. This book was printed by Berthold Rembolt (whose mark it 
 bears on the first page), at the joint expense of that printer and the 
 bookseller Louis Hornken, whose mark is at the end of the book. The 
 dedication, which is addressed to Philibert Babou, and dated at the Col' 
 lege Coqueret on the XV of the Calends of September (August 18), 
 1 5 1 2, informs us that Tory received the manuscript of the book from 
 his friend Robert Dure,^ principal of the College of Plessis, who gave 
 it to him four years earlier, when Tory himself was professor at the 
 same college. As always, this dedication is signed civis. A note on the 
 last page but one informs us that the printing was finished on August 
 23, 1512.'^ 
 
 The second work put forth by Tory in 1 5 1 2 was the ' Itinerarium An^ 
 tonini.' It was the second book that he prepared for Henri Estienne, in 
 whose establishment it has been said ^ (erroneously, I think) that he filled 
 the post of corrector of the press. However that may be, the dedication, 
 addressed by Tory to Philibert Babou, is dated at the College Coqueret 
 
 1 . One of the three editions of Berosus bears that date, but our artist probably had nothing to 
 do with that edition. [Note added by the author after the book had gone through the press,] 
 
 2. Fol. I recto. 
 
 3. This principal of the College of Plessis is here called Robertus Duraeus Fortunatus. Du 
 Boulay calls him simply Robertus Fortunatus, in his Histoire de /' Universite de Paris, vol. 
 vi. p. 159. Elsewhere he is called Dure (Dure?). In the index of the same volume, Du Bou- 
 lay, under the name of Robertus Fortunatus, refers to a list of the principals of the College of 
 Plessis, which he omitted to publish. 
 
 4. See Part 2, § i,no. 7. 5. Biographie Universelle, art. 'Tory.' 
 
6 
 
 GEOFROY TORY 
 
 the XIV of the Calends of September (August 19), 151 2. Tory says to 
 Babou that he had dispatched a copy of the manuscript of this book to 
 him at Tours four years before (that is to say, in 1 508) , but that the person 
 to whom it was entrusted for dehvery to him had given it, in his own 
 name, to somebody else. This time, in order not to be defrauded of the 
 fruits of his labours, he had caused the work to be printed from his own 
 copy, having carefully collated it with a manuscript lent him by Chris/ 
 tophe de Longueil.' The volume is a sexto^decimo, remarkable for the 
 beauty of its execution. The copy in vellum which I have seen at the Bib/ 
 liotheque Nationale is still redolent of the fifteenth century. We find in 
 it certain verses of the Burgundian Gerard de Vercel in honour of Tory, 
 
 which prove that the latter was even then in 
 some repute as a scholar, and as a printer, 
 too ; for the author contrasts him with the 
 wretched printers of the day. The prelimi/ 
 nary matter, by Geofroy Tory, is signed by 
 the word civis, printed in red. At the end 
 of the volume the same word reappears in a 
 very curious monogram composed of the let/ 
 ters C I V S so arranged that we can read the 
 word CIVIS in all directions. Therein we may 
 detect thus early Tory's taste for ciphers and devices, a taste to which he 
 afterward gave free rein, in his ' Champ fleury.' 
 
 At this epoch occurs a momentous event in Geofroy Tory's life. On 
 August 26, 151 2, he became the father of a daughter, who was christ/ 
 ened Agnes. I do not know the date of his marriage, but it was at least 
 as early as 1 5 11 . A document of much later date, to which we shall have 
 occasion to refer hereafter, informs us that his child's mother was named 
 Perrette le HuUin. There is reason to believe that she, like her husband, 
 was of Bourges, as the name of Hullin was common there at that time. 
 Soon after the birth of Agnes, perhaps just at the opening of the term 
 of 1 512, Tory entered the College of Bourgogne as regent, or professor 
 of philosophy. His lectures, which were continued for several years, were 
 attended by a large number of hearers, if we may believe a poetical epi/ 
 taph composed in laudation of him and published by La Caille.^ Tory 
 
 1. See Part 2, § 1, no. 8 (p. 70). 
 
 2. Histoire de P Imprimerie, p. 100 : Siste, viator, — et jacentes etiam arte 5 colito. — 
 Hie — Godofredus Torinus Bituricus, — ubique litter is librisque clarissimus, — qui — Parisiis 
 multos per annos philosophiam — docuit maximo concur su, — /// regio Burgundia collegia, — 
 simulque artem exercuit typograpbicam, — novam tunc ac recentem brevi perpolitam — tamen 
 
BIOGRAPHY 7 
 
 himself seems to refer to this professorship in his 'Champ fleury,' ' but 
 I have been unable to find any record of it, because, presumably, the new 
 direction in which he was then turning his faculties required a certain 
 time of preparation. 
 
 This is what happened: Tory, whose activity was very great, did not 
 confine himself to his professorship,^ but set about learning drawing 
 (probably under the instruction of Jean Perreal, of whom 1 shall have 
 occasion to speak again), and also engraving, for which he had a special 
 bent. This apprenticeship, with the duties of his professor's chair, — for 
 Tory drove art and philosophy side by side, as the epitaph just quoted 
 has it ('philosophiam simulqueartem exercuit typographicam'),^ — en^ 
 grossed him completely for three or four years; but at the end of that 
 time, being far from content with his attempts at printing and engraving, 
 or too enthusiastic to be satisfied with a partial result, he determined to 
 study classic forms and outlines in Italy itself, of which country he had 
 retained such agreeable memories that he speaks of it constantly. Con' 
 sequently he abandoned his professorship and started south again. It was 
 on this journey that he visited the CoHseum 'more than a thousand 
 times,' that he saw the theatre of Orange,^ and the ancient monuments 
 of Languedoc^ and of other places in France and Italy,7 which he cites 
 as his authorities on every page of his 'Champ fleury.' 
 
 Tory does not give the precise date of this artistic journey; but it is 
 established by a passage in his book, where he informs us that he saw 
 the 'Epitaphs of Ancient Rome' printed in that city.^ Now this book 
 of Epitaphs can be no other than the collection published by the cele^ 
 brated printer Mazochi, under the tide: 'Epigrammata sive inscriptio/- 
 nes antiquae urbis,' folio, dated 1516, but preceded by a Hcense from the 
 Pope, of 1517.^ This hint of Tory's is doubly valuable to us, for it not 
 
 reddidit. — Quisquis ad studium animum applicas — et inde quaris immortalitatem, — pra- 
 cipuo cultoriprius apprecare. — Amen. i. Fol. 49 recto. 
 
 2. According to the Biographie Universelle, Tory joined the fraternity of booksellers in 
 1512; but I have found no evidence of this, and it seems to me most improbable. 
 
 3 . It was this sentence, no doubt, which gave birth to the idea that Tory was a bookseller 
 at the same time that he was a professor; but it is evident that it refers to Tory's labours as 
 an engraver, and not to bookselling or printing properly so called, as Tory did not become, 
 successively, bookseller and printer, until later. 
 
 4. Champ fleury, io\. 20 y^rso. 5. Ibid. [Tory spells it *Aurenges.'] 
 6. Ibid. fol. 1 9 verso. 7. Ibid, and elsewhere. 
 
 8. 'One may see many another example in the book of Epitaphs of Ancient Rome, which 
 I saw printed at the time I sojourned in said Rome.' Champ fleury, fol. 41 recto. He refers 
 to the same book again on folios 48 recto and 60 verso : *In the book of Epitaphs of Ancient 
 Rome, lately printed in said Rome, where I was then living. ' 
 
 9. This book is the oldest printed collection of inscriptions. Unfortunately, instead of being 
 
8 
 
 GEOFROY TORY 
 
 only tells us the date of our artist's second journey to Italy, but reveals 
 his predilection for typography. As we see, he was already studying the 
 printing art with interest. 
 
 On his return to Paris, about 1 5 1 8, Tory, who was not a wealthy man, 
 was obliged to think about turning his talents to account, in order to 
 earn his living. His principal resource seems to have been the painting 
 of manuscripts, otherwise called miniature; but, whether because he did 
 not find sufficient work of that sort, or because he considered another 
 branch of art more useful, he soon gave his entire attention to engraving 
 on wood, in which he speedily acquired considerable celebrity. About 
 the same time, Tory also joined the fraternity of booksellers, following 
 a custom then quite general among engravers, — a custom which their 
 predecessors, the miniaturists, had handed down to them, and which was 
 continued down to the eighteenth century.' In truth, it was not unnat^ 
 ural that those who decorated books should sell them, or, if you prefer, 
 that those who sold them should decorate them. It was one way of earn^ 
 ing more money. Desiring to signalize his debut in the career of a bib 
 liopole in a noteworthy way, Tory undertook to engrave for himself a 
 series of borders 'a 1' antique,' which he intended for a book of Hours, 
 — a sort of book that was very profitable at that time, because of the 
 great amount of work which it required; but the task was a long one, 
 and he was obliged to work for different printers in the mean time. One 
 of the first who employed him was Simon de Colines. Colines, who be^ 
 came a printer in 1520, as a result of his marriage to Henri Estienne's 
 widow, commissioned Tory to design marks, floriated letters, and borders 
 for the books that he published in his own name; he also entrusted him, 
 I think, with the engraving of his italic type, which he soon began to use 
 in conjunction with the roman type that he had from his predecessor. 
 
 But Tory's active mind could not be content with a single occupation. 
 He was a patriot first of all, as his device proves. And so, far from allow/- 
 ing himself to be engrossed by his memories of the literary and artistic 
 
 copied from the original monuments, which still existed at Rome in such great numbers, these 
 inscriptions were simply reproduced from one of the manuscript collections which were to be 
 found in the libraries and some of which were themselves very old. Mazochi's book had no 
 sooner been published than the errors which had found their way into it began to be pointed out 
 to the printer. He tried to correct them in a supplement which appeared in 1523, but his cor- 
 rections did not extend to all the inscriptions, which might still have been restored by reference 
 to the ancient monuments. A contemporary scholar, whose name is not known, undertook to 
 continue these corrections on his printed copy, and his emendations were transferred to three 
 other copies. These annotations impart great value to these four volumes in the eyes of epi- 
 graphists. 
 
 I . During the first centuries of printing in France, all engravers were also booksellers. 
 
BIOGRAPHY 9 
 
 treasures of Italy, he began to study with ardour the monuments of his 
 mother tongue, not only in those books printed in French — very few as 
 yet — which he had at hand in his shop, but also, and especially, in divers 
 fine manuscripts on parchment confided to him by 'his good friend and 
 brother, Rene Masse, of Vendome, chronicler to the king,' whose merits, 
 entirely forgotten in our day,' he warmly extols.^ 
 
 Now, while studying that same French tongue, so decried by the 
 scholars of his time, Tory discovered therein beauties which required 
 only a little cultivation to make of it the finest language in the world. 
 From that moment our Berrichon, hitherto a partisan of the classics, 
 shook off entirely the yoke of Greek and Latin, and thought only of the 
 means of making French take precedence everywhere. 
 
 'I see,' he says, 'some who choose to write in Greek and in Latin, 
 and yet cannot speak French well. ... To me it seems, with submission, 
 that it would better beseem a Frenchman to write in French than in an*- 
 other tongue, as well for the profit of his said French tongue, as to adorn 
 his nation and enrich his native language, which is as fair and fine [belle 
 
 et bonne] as another when it is well set down in writing When I see 
 
 a Frenchman write in Greek or in Latin, I seem to see a mason clad in 
 philosopher's or king's garb, who would fain recite a mask on the stage 
 of La Baroche^ or in the confraternity of La Trinite, and cannot pro' 
 nounce well enough, as having too thick a tongue; cannot bear himself 
 well, nor walk fittingly, insomuch as his legs and feet are unwonted to 
 the gait of philosopher or king. Who should see a Frenchman clad in the 
 native dress of a Lombard, which is most often long and scant, of blue 
 linen or of buckram, methinks that Frenchman would scarce jest at his 
 ease without soon slashing it and taking from it its true form as a Lom^' 
 bard dress, which is but very rarely slashed, for Lombards do not often 
 work havoc with their belongings. However, I leave all this to the wise 
 guidance of learned men, and will not burden myself with Greek or 
 Latin save to cite them in due time and place, or to talk with such as 
 cannot speak French.' 
 
 Tory had found his vocation at last. He resolved to establish the supe^ 
 riority of his mother tongue in a special book, illustrated by engravings 
 by his own hand, and intended particularly for printers and booksellers, 
 who were in a position to distribute it so rapidly with the aid of their 
 connections. 
 
 1 . He has an article in the Biographic Universelle, however. 
 
 2. Champ fleury,{o\. ifXtclo. ^. We say Basoche to-diy. 
 4. Champ Jleury, fol. i z recto and verso. 
 
lO 
 
 GEOFROy TORY 
 
 But while he was engaged in his studies, a terrible catastrophe fell 
 upon him without warning, and caused him to forget his new projects 
 for some time. His daughter Agnes, of whom he had conceived the most 
 brilliant hopes, was taken from him on August 25, 1522, at the age of 
 nine years eleven months and thirty days, that is to say, ten years less one 
 day. Entirely absorbed by his grief, Tory wrote a short Latin poem upon 
 the sad event. This poem, dedicated, like most of his other books, to 
 Philibert Babou, was not published until February 15, 1523 (1524, new 
 style). In this little work, consisting of two quarto sheets, are contained 
 some most interesting details of Tory's life. We learn here, for example, 
 that he had grounded his daughter Agnes, young as she was, in Latin and 
 the fine arts. 
 
 ' Desiring to instruct me in the Ausonian tongue, and also to render 
 me accomplished in the polite arts, he, like a most affectionate father, 
 teaching me night and day, himself laid the foundations, sweet and 
 ample, for my life.'' 
 
 Farther on, he makes his daughter speak thus, from the depths of 
 the urn in which she is supposed to repose: — 
 
 MONITOR 
 
 Who made for you this urn set with brilliant gems ? 
 
 AGNES 
 
 Who? My father, famed in this art. 
 
 MONITOR 
 
 Your father is certainly an excellent potter. 
 
 AGN E s 
 
 He practises industriously every day the liberal arts. 
 
 MONITOR 
 
 Does he also write melodies and poems? 
 
 AGNES 
 
 He does. He also blesses with sweet words this lot of mine. 
 
 MONITOR 
 
 Yes, the skill of the man is wonderful. 
 
 AGNES 
 
 Hardly has any land produced so famous a man.^ 
 
 We learn from this that Tory was not only a scholar, which we already 
 knew, but an artist of great merit. Who knows ? it may be that we had in 
 him the making of a Benvenuto Cellini. What more was necessary that he 
 
 I . For the Latin text, see Appendix X,b. 2. Ibid., c. 
 
BIOGRAPHY 
 
 II 
 
 should reveal himself as such? Very little — perhaps the falling in with 
 a wealthy Maecenas. In fact, we find these lines in another piece of verse 
 in the same collection: — 
 
 WAYFARER 
 
 He is certainly well deserving of some Maecenas. 
 
 GENIUS 
 
 Few are the M^enases who live in the French world. No one to'day 
 either encourages the liberal arts by appropriate gifts or undertakes to 
 encourage them in any way. Uprighmess and fair virtue are in no esteem. 
 So powerful is the sway of unhappy Avarice . Treachery, deceit, and vice 
 are in the ascendant. Virtues are put in the background, and every form 
 of wretched evil creeps abroad. 
 
 WAYFARER 
 
 What, therefore, does he who is trained by the charming Muses ? 
 
 GENIUS 
 
 He takes pleasure in being able to live in his own house. 
 
 WAYFARER 
 
 He ought to go with hurried step to the courts of kings. 
 
 GENIUS 
 
 He does not care to, because he has a free heart. Your potentates some^ 
 times take pleasure in looking at songs, but what then ? They requite 
 them with nods. Golden songs, drawn from the high heavens, they should 
 reward with jewels and with pure gold. But, frivolous as they are, they 
 instead foolishly give their grand gifts to fools, spendthrifts, and rogues.^ 
 
 Alas! this depiction of the vices of society is not peculiar to the six' 
 teenth century. The world is very old, and it changes little. If Tory were 
 living in our day, it may be that he would use even darker colours; for, 
 after all, he was appreciated in his own time, and perhaps he would die 
 of hunger to-day. As we see, he was not fond of cooling his heels in the 
 antechambers of the great, and lived peacefully in his own house; but 
 honour came there to seek him. Unluckily it was a Httle late, as will ap^ 
 pear hereafter. 
 
 At the end of the poem is the design reproduced on the next page, 
 wherein we see for the first time the famous 'Pot Casse' [broken jar] 
 which Tory adopted thenceforth as the mark of his bookshop; together 
 with the device 'non plus,' which he used thereafter instead of the word 
 'civis.' 
 
 I . See Appendix X, d. 
 
12 
 
 GEOFROY TORY 
 
 Tory subsequently offered, in his 'Champ fleury,' a very confused 
 explanation of his Pot Casse, doing his utmost to connect it with the 
 ordinary events of life; but everything tends to prove that it owes its 
 origin to the death of Agnes. This shattered antique vessel represents 
 Tory's daughter, whose career was shattered by destiny at the age of 
 ten. The book secured by padlocks 
 suggests Agnes's literary studies; 
 the little winged figure among the 
 clouds is her soul flying up to heav^ 
 en. The device 'non plus' suggests 
 the desperate grief of Tory, who 
 seems to say : ' I no longer [non plus] 
 care for anything'; or, more lacon^ 
 ically: 'There is nothing more for 
 me'; after the example of Valen^ 
 tine of Milan when he found him^ 
 self in a similar situation.' 
 
 Luckily, time, which deadens 
 all sorrows, even those which seem 
 Ukely to endure for ever, assuaged 
 Tory's grief. Before his funeral po^ 
 em saw the light, he had returned 
 to his beloved studies, and they had 
 restored tranquillity to his mind. 
 This is proved by the following 
 passage from his ' Champ fleury,' in which he tells us how, on January 6, 
 1523 (or 1524, according to our method of computing time), that is to 
 say, eighteen months after he lost his daughter, the idea of that curious 
 book came to his mind. We are glad to recognize once more therein the 
 patriotic Berrichon who had taken for his device the word 'civis.' 
 
 ' In the morning of the day of the feast of Kings,' ^ he says, • . . . which 
 was reckoned m. d. xxiii, the fancy came to me to muse in my bed, and 
 to move the wheel of my memory, thinking on a thousand petty con/ 
 ceits, both serious and merry, whereamong I bethought me of a letter 
 of ancient form, which I not long since made for the house of my lord 
 the treasurer of the wars, Maistre Jehan Groslier, counsellor and secre/ 
 tary to the king our sire, lover of goodly letters and of all learned per/ 
 sons, of whom also he is greatly beloved and esteemed, as well on this 
 
 I. See Part 2, § i, no. 9. 2. [Twelfth-day, or Epiphany.] 
 
BIOGRAPHY 13 
 
 side as the other of the mountains. And while thinking of that said an/ 
 tique letter there came of a sudden to my memory a pithy sentence of 
 the first book and eighth chapter of Cicero's "Offices," where it is written: 
 "Non nobis solum nati sumus, ortusque nostri partem patria vendicat, 
 partem amici." ' Which is to say, in substance, that we are not born into 
 this world for ourselves alone, but to do service and pleasure to our friends 
 and our country.'^ 
 
 Such was the origin of' Champ fleury.' Here follows the composition 
 of that work, as the author himself gives it to us, in the form of a table 
 of contents, at the beginning : ^ — 
 
 'This whole work is divided into three books. 
 
 •In the first book is contained the exhortation to establish and ordain 
 the French language by fixed rule, and to speak elegantly, in good and 
 soundest French. 
 
 'In the second is treated the invention of antique letters, and the pro/ 
 portionate coincidence thereof with the natural body and face of the 
 perfect man. With several happy inventions and reflections upon the said 
 antique letters. 
 
 'In the third and last book all the said antique letters, in their alpha/ 
 betical order, are drawn and proportioned in height and width according 
 to their proper formation and required articulation, both Latin and 
 French, as well in the ancient as in the modern fashion. 
 
 'In two sheets at the end are added thirteen different sorts of letters, 
 to/ wit: Hebrew, Greek, Latin, French, — and these latter in four sorts, 
 which are: "cadeaulx," "forme," "bastarde," and "torneure." Then fol/ 
 low the Persian, Arabic, African, Turkish, and Tartar letters, which have, 
 all five, one and the same type of alphabet. After these are the Chaldaic, 
 the "gofFes," which are otherwise called "imperiales et buUatiques," the 
 "phantastiques" letters, the Utopian letters, which one may call "volun/ 
 taires," and, lastly, the floriated letters."* With instructions for making 
 
 1 . Cicero says that he borrowed this maxim from Plato : Ut pr cedar e scriptum est Platone. 
 
 2. Champ fleury, fol. i recto. 3. Ibid., verso of title-page. 
 
 4. [As Champ fleury is not among the works cited by French lexicographers to illustrate the 
 historical development of the language, we search in vain for adequate explanation of some of 
 the terms used by Tory therein. Littre defines as follows such of these varieties of letters as he 
 includes in his dictionary : Cadeaux: Grandes lettres placees en tetes des actes ou des chapitres 
 dans les manuscrits en ecriture cursive. — Forme : Lettre de la belle ecriture, des belles editions, 
 par opposition a la lettre cursive. — BaTarde : ^.criture ordinairement pench'ee, a jamb ages 
 pleins, a liaisons arrondies par le haut, et a tetes sans houcles. — Goffes: Norn donn'e a une sorte 
 de majuscules gothiques dans le commencement du XVI siecle. See, also, for some of these alpha- 
 bets, Pantographia; Containing Accurate Copies of all the known Alphabets in the world. By 
 Edmund Fry. London, 1799.] 
 
GEOFROY TORY 
 
 ciphers of letters for golden rings, for tapestries, stained'-glass windows, 
 paintings, and other things, as may seem best.' 
 
 I will say nothing here of the first book, the excellence of which has 
 recently been pointed out by M. Genin,' who is much better versed in 
 the subject than I, and who has at the same stroke exculpated the French 
 from the charge that has been brought against them of having allowed 
 themselves to be anticipated by foreigners in the careful study of their 
 language. I will simply call attention to the fact that Tory wrote shortly 
 before Rabelais, who did not hesitate to borrow from him his criticism 
 of the 'skimmers of Latin,"" who were then changing the French Ian/ 
 guage on the pretext of perfecting it. The harangue of the Limousin 
 orator, which is found in the sixth chapter of the second book of ' Panta^ 
 gruel,' is copied verbatim from Tory's epistle to the reader.^ Rabelais has 
 simply added to it some obscene reflections which did not enter our au-' 
 thor's mind. Tory ends with a pathetic appeal to those who are interested 
 in the mother tongue, whose excellence he is never tired of extolling. 
 *0 ye devoted lovers of goodly letters!' he cries, *God grant that some 
 noble heart may give itself to the task of establishing and ordering our 
 French tongue according to rule 1 By that means would many thousands 
 of men set themselves to using often goodly words. If it is not established 
 and ordered, we shall find that the French tongue will be in great part 
 changed and ruined every fifty years.' This patriotic prayer was soon 
 granted. As we know, the sixteenth century did not lack great geniuses, 
 
 I. See his introduction to Palsgrave's Lesclaircissement de la langue francoise. See also 
 Appendix II. 2. \_Escumeurs de latin. Rabelais' s word is fjrsrr^^r, to flay.] 
 
 3 . One of the annotators of Rabelais' ( I do not now remember which one, but his name is of 
 little consequence*) maintains that Tory intended to criticize in that episde the author of Pan- 
 tagruel, who had introduced him in his romance under the name of Raminagrobis. There is 
 but one little flaw in this story, namely, that the dates are against it: Champ Jleury antedates 
 Pantagruel, by several years. This fact, to be sure, does not prove that Rabelais did not make 
 Tory a character in his work; but what foundation is there, I ask, for attributing the character 
 of Raminagrobis to Tory Simply the assertion of one of those seventeenth-century scribblers 
 of marginal notes who lived on the great authors of the sixteenth as rats live on the most valuable 
 manuscripts — by nibbling at them. What possible connection is there between Raminagrobis, 
 canon and poet, whom Rabelais represents as dying about 1 546, and Tory, layman and prose 
 writer, who died twelve years earlier? Does it not remind one of the famous key to Astree, 
 of which I had occasion to prove, in my monograph upon thed'Urfes, that not a word was 
 true ? Almost the same course has been pursued with reference to the Satire Menipp'ee, which 
 has in our own day been ascribed to persons who would be greatly surprised, and far from proud 
 of their alleged work. See what I had to say on this subject in the Revue de la Province et de 
 Paris of September 30, 1 842. 4. Champ Jleury, ' Aux Lecteurs.' 
 
 * It was Pasquier, I think, who first gave currency to this fable; and his opinion is the less adnnissible because he 
 did not even know Tory's name, but calls him 'Georges Tore.' See Baillet, jfugemems des Savants,vol. i,andGenin's 
 introduction to Palsgrave, p. 10, note 4. 
 
BIOGRAPHY 15 
 
 who set the French language in order and brought it to a great degree 
 of perfection. Indeed, some most expressive words, the disuse of which 
 Tory deplored,' reappeared. For instance, 'affaisse' and 'tourbillonner/ 
 which in his time had been replaced by periphrases, returned into use; 
 many others deserve the same honour and perhaps will receive it some 
 day. 
 
 The second book of 'Champ fleury' is, I apprehend, only a paradox; 
 but that paradox is maintained by arguments so ingenious, that one 
 lacks courage to condemn it. Tory holds that the shapes of all the 
 roman capital letters are derived from the different parts of the human 
 body, which he looks upon as the type of the beautiful; and he makes 
 a most admirable use of wood engraving to explain his idea. Moreover, 
 if Tory was mistaken, we must acknowledge that he did not fall into 
 the error inconsiderately. Indeed, I believe that he had for confederate 
 his friend Perreal,to whom we may attribute the greater number of the 
 designs on wood in the second book, judging from those in the third, 
 which are directly attributed to him by Tory, as we shall see hereafter. 
 However that may be, Tory seems to have studied his subject for a long 
 time, not only on ancient monuments, but on modern ones as well, and 
 in the works of contemporary authors who had turned their attention 
 to the shapes of letters. His judgement of these latter is as follows: — 
 
 *Frere Lucas Paciol, of Bourg Saint Sepulchre, of the order of Freres 
 Mineurs, and a theologian, who has written in popular Italian a book 
 called "Divina proportione,"^ and who has essayed to represent the said 
 antique letters, does not give a true account of them nor explain them; 
 and I am not surprised thereat, for I have heard from certain Italians that 
 he stole his said letters and took them from the late Messere Leonard 
 Vince [Leonardo da Vinci], who has of late died at Amboise, and was a 
 most excellent philosopher and admirable painter, and as it were an-* 
 other Archimedes. This said Frere Lucas has caused his antique letters 
 to be printed as his own. In sooth they may well be his, for he has not 
 drawn them in their due proportions, as I shall show when I speak of 
 said letters. Nor does Sigismunde Fante, a noble of Ferrara, who teaches 
 how to write many kinds of letters, speak truly thereof.^ Nor does Mes/ 
 
 1. Champ fleury, 'Aux Lecteurs.' 
 
 2. Folio, Venice, 1 509; with 62 plates engraved on wood. 
 
 3. In his bookentided Thesauro de' scrittori ( Champ fleury, fol. 35 recto). I have not seen 
 this book, but I have seen his Theorica et pratica . . . de modo scribendi fabricandique omnes 
 litter arum species (Venice, Dec. i, 1 524; quarto). This work is divided into four books and 
 contains engravings not unKke those in Champ fleury. M. Brunet mentions Fante' s Liber ele- 
 
r6 GEOFROY TORY 
 
 sere Ludovico Vincentino.' I know not whether Albert Diirer writes 
 justly thereof,^ but none the less he goes astray in the due proportion of 
 the figures of many letters, in his book on " Perspective." ^ ... I see no 
 man who makes them or understands them better than Maistre Simon 
 Hayeneufv^e, otherwise called Maistre Simon du Mans. He makes them 
 so well and in proper proportions, that he satisfies the eye as well and 
 better than any Italian master on this side or the other of the mountains. 
 He is most excellent in the restoration of ancient architecture, as one 
 may see in a thousand excellent designs and portraits that he has made 
 in the noble city of Mans and in many a foreign city. He is worthy to 
 be held in honoured memory, as well for his upright life as for his noble 
 learning. And to this end, let us not fail to consecrate and dedicate his 
 name to immortality, naming him a second Vitruvius, a holy man and 
 good Christian. I write this with good will because of the virtues and 
 great praise " which I have heard said of him " by many great and humble 
 good men and true lovers of all goodly and honest things.' 
 
 The eulogistic tone in which Tory speaks here and elsewhere 5 of 
 Simon Haieneuve leads M. Renouvier to think ^ that our artist may have 
 learned the art of drawing letters from the Mans architect; but it is 
 a mistaken supposition; the phrase in quotation marks proves that they 
 had never met. Moreover Tory, a little further on, claims most reason^ 
 ably the honour of having been his own master in this matter: 'I know 
 no Greek, Latin nor French author who gives the explanation of such 
 letters as I have described, wherefore I may hold it for my own, saying 
 that I have excogitated and found it rather by divine inspiration than by 
 anything written or heard. If there be any one who has seen it written, 
 let him say so, and he will give me pleasure.' 
 
 We see that Tory does not beat about the bush concerning his theory, 
 
 mentor urn Utter arum (Venice, 1514; quarto), which probably was the foundation of the 
 Thesauro de^ scrittori, published by Ugo da Carpi. 
 
 1 . I do not know the title of his work, but I think that the reference is to the book thus de- 
 scribed in the Libri catalogue of 1 8 59: Z<7 Operinadaimparare discriver e litter a cancellarescha. 
 Roma, per invenzione di Lodovico Vicentino,m. quarto ( i 523 ). Asfor the variant spelling of the 
 author's name, which Tory calls Vincentino, it is explainable; for we find in the Libri catalogue 
 of 1857: Ragola da imparare scrivere varii caratteri di lettere, di L. Vincentino. (Venetia, 
 Zoppino, I 5 3 3 , in quarto. ) I have also seen mentioned a work of the same sort entitled : Regula 
 occulte scribendt sen componendi cipharam itaquenemo litteras interpretari possit communes omni- 
 bus, inventa et composita a domino "Jacobo Silvestro sive Florentino. (Rome, i 526, quarto.) 
 
 2. The doubt expressed by Tory is due to the fact that he was unable to read the text of 
 Diirer' s work, which was published in German in 1525. The Latin translation was not pub- 
 lished until 1532, and the French still later. 3. Champ fieury, fol. 1 3 recto. 
 
 4. Ibid. fol. 14 recto. 5. Ibid. fol. 41 verso. 
 
 6. Des Types, etc., 2d part, i6th century, p. 166. 7. Champ fleury, fol. 14 recto. 
 
BIOGRAPHY 17 
 
 which, although it was different from those of his predecessors, was not 
 on that account better than theirs.' However, let his opinion concerning 
 the original design of the roman letters be what it may, it is, in my judge/ 
 ment, simply a sort of preface which we may pass over without incon/ 
 venience. The real substance of his work is in the third book. But he 
 does not leave the second without returning once more to the charge in 
 favour of his mother tongue. 
 
 'I know,' he says, 'that there are many goodly minds who would 
 willingly write many excellent things if they thought they could write 
 them well in Greek or Latin; and yet they abstain for fear of making 
 solecisms or some other fault that they dread; or they choose not to write 
 in French, thinking the French tongue not good nor elegant enough. 
 With all respect to them, it is one of the most beauteous and graceful 
 of all human tongues, as I have shown in the first book by the authority 
 of noble and ancient authors, poets and orators, as well Latin as Greek.' ^ 
 
 To be accurate, I will say that this idea of the 'preexcellence of the 
 French tongue,' which, a little later, was the subject of another special 
 work on the part of another famous printer, the second Henri Estienne, 
 was neither new nor original with Tory. No less than three hundred years 
 before, it had been set forth in honest French by an author who cannot 
 be taxed with patriotic illusions, for he was an Italian, This is what 
 Brunetto Latini wrote at the beginning of a sort of encyclopaedia which 
 he prepared in the thirteenth century, under the name of 'Tresor': — 
 
 * Et se aucuns demandoit por quoi cist livres est escriz en romans se'' 
 lone le langage des Francois, puisque nos somes Ytaliens, je diroie que 
 ce est por deux raisons: lune, car nos somes en France, et lautre, porce 
 que la parleure est plus delitable et plus commune a toutes gens.'^ 
 
 As I have said, the third book is the important part of Tory's work. 
 Layiag theory aside, he there gives us the exact design of the letters of 
 the alphabet and the method of executing them. He does not overlook, 
 moreover, this essential fact — that the designer of letters and the printer 
 ought before all else to be grammarians in the ancient meaning of the 
 
 1 . It was the fashion, in that epoch of renascence, to treat everything allegorically. Tory 
 was not the only one who propounded a theory to explain the shapes of letters. 
 
 2. Champ fleury, fol. 24 recto. 
 
 3. [And if any wonder why this book is written in Romance, according to the language of 
 the French, when we are Italians, I will say that it is for two reasons : one, for that we are in 
 France, and the other, for that the speaking of it is more delectable and more common to all 
 people.] Prologue to the Tresor, published by M. Pierre Chabaille (quarto ; Imprimerie Im- 
 periale, 1 863 ; p. 3) . The second reason probably explains why Marco Polo printed the nar- 
 rative of his voyage in French. 
 
i8 
 
 GEOFROY TORY 
 
 word'; and at the same time that he gives us the shape of a letter, he 
 instructs us as to its value and pronunciation. It is at this point that Tory's 
 book becomes especially interesting to us: he passes in review the pro' 
 nunciation in vogue in each of the French provinces, or nations, as they 
 were called then. One after another they appear before us, with their 
 special idioms, which have become mere myths to-day, — Flemings, 
 Burgundians, Lyonnaises, Foresiens, Manseaux, Berrichons, Normans, 
 Bretons, Lorrainers, Gascons, Picards, and even Italians, Germans, English, 
 Scotch, etc. His observations do not stop at the somewhat mixed idioms 
 of the men,^ but extend to the more individual language of the women. 
 For instance, he informs us that 'the ladies of Lyon often gracefully 
 pronounce A for E, as when they say, " Choma vous choma chat effeta," ^ 
 and a thousand other like expressions'; whereas, on the contrary, 'the 
 ladies of Paris very often pronounce E instead of A, as when they say: 
 "Mon mery est a la porte de Peris, ou il se faict peier"; instead of saying, 
 "Mon mary est a la porte de Paris, ou il se faict paier.'"'* 
 
 It will be noticed that in this particular the 'ladies of Paris' succeeded 
 in perpetuating their pronunciation in part, for we do not now say ' paier.' 
 They had equal success in many other cases. For example, it seems to 
 be due to them that the final S of the plural is not pronounced except 
 under exceptional circumstances ^: as, for instance, when it is followed 
 by a word beginning with a vowel; for, speaking of the cases in which 
 that letter is elided in Latin, Tory expresses himself thus: 'The ladies of 
 Paris for the most part observe this poetic figure of speech, dropping 
 the final S in many words, as when, instead of saying: "Nous avons disne 
 en ung iardin, & y avons menge des prunes blanches et noires, des amen^ 
 des doulces & ameres, des figues molles, des pomes, des poires & des 
 gruselles," they say and pronounce: "Nous avon disne en ung iardin, & 
 y avon menge des prune blanche & noire, des amende doulce & amere, 
 des figue molle, des pome, des poyre & des gruselle." ' The thing that 
 seems especially oflfensive to Tory is that they make the men join them 
 
 1 . [That is to say, philologists.] 
 
 2. [That is to say, the lines between the different dialects are less clearly marked in the case 
 of the men.] 
 
 3. Although myself a native of Lyon, I confess that I do not understand the meaning of these 
 words, of which Tory, by a regrettable exception, gives no translation. A friend of mine in that 
 city, M. Ant. Pericaud, thinks that the meaning is : ' Chomez-vous ? Chomez cette fete.' 
 
 4. Champ Jleury, fol. 33 verso. 
 
 5. There are some provinces where the final S is still pronounced. The English also have re- 
 tained the custom, which is a necessity with them because the article is invariable, so that the 
 plural cannot otherwise be distinguished from the singular. 
 
BIOGRAPHY 19 
 
 in this faulty pronunciation. 'This fault,' he says, 'would be pardonable 
 in them, were it not that it passes from woman to man, and that there 
 is entire absence of perfect pronunciation in speaking.' ' 
 
 Moreover, if we are to credit Tory, the provincials have also, in cer^ 
 tain cases, succeeded in establishing their pronunciation, as we may con^ 
 elude from the following passage, relative to the letter T: 'The Italians 
 pronounce it so full and resonant that it seems that they add an E thereto, 
 as when, for and instead of saying: "Caput vertigine laborat," they pro^ 
 nounce: "Capute vertigine laborate." I have seen and heard it pronounced 
 so in Rome at the schools called La Sapienza, and in many another noble 
 place in Italy. Which pronunciation is no wise held or used by the 
 Lionnois, who drop the said T, and do not pronounce it any wise at the 
 end of the third person plural of verbs active and neuter, saying " Ama^ 
 verun"and "Araverun," for "Amaverunt"and "Araverunt." InHkeman^ 
 ner some Picards drop this T at the end of some words in French, as when 
 they would say: "Comant cela, comant? monsieur, c'est une jument," 
 they pronounce: "Coman chela, coman? monsieur, chest une jumen.'"^ 
 We see that the Picard pronunciation has prevailed in this instance, for 
 we no longer pronounce the final T at the end of the words 'comment,' 
 •jument,' and the like. 
 
 Tory did not content himself with setting forth the state of things 
 existent in his day: he suggested improvements, almost aU of which 
 have been sanctioned by usage. For instance, at the beginning of the six^ 
 teenth century, the pronunciation was very difficult to grasp for lack of 
 accents; he proposed to supply them. 'In our French language,' he 
 says, 'we have no symbol of accent in writing, and it is on account of 
 this lack that our language is not yet established nor submitted to fixed 
 rules, like the Hebrew, Greek and Latin. I would like that it should be, 
 as might weU be done. ... In French,' he says farther on, 'as I have 
 said, we do not write the accent over O vocative, but pronounce it full, 
 as when we say: 
 
 'O pain du ciel angelique, 
 Tu es nostre salut antique. 
 
 'In this lack of accent we have an imperfection, which we ought to 
 remedy by purifying and subjecting to fixed rule and art our language, 
 
 1. Champ fleury, fol. 57 recto. 
 
 2. Ibid., fol. 58 verso. Again, as in note 5 on page 18, I will call attention to the fact that 
 the English, who are much more French in this respect than is generally supposed, have re- 
 tained the old pronunciation. They sound the final T in words borrowed from us. 
 
20 
 
 GEOFROY TORY 
 
 which is the most graceful language known.' ' Elsewhere he suggests 
 replacing elided letters by an apostrophe, which had not then been done 
 in French. 'I say and allege these things in this place to the end that if 
 it should happen that one had to write in antique letters verses where 
 the S must disappear, one may write them honestly and purposely with' 
 out using the said letter, . . . and place a hooked point over the place 
 where it should be.' ^ In another place he emphasizes the necessity of 
 the cedilla, which we find in French manuscripts from the thirteenth 
 century, but which typography had not as yet adopted. ' C before O,' 
 he says, 'in French pronunciation and language, is sometimes hard, as 
 in saying "coquin," "coq," "coquillard"; sometimes it is soft, as in say 
 ing "garcon," "macon," "francois," and other like words.' ^ 
 
 Tory could hardly overlook the matter of punctuation, that most es^ 
 sential, and even in our day so sadly neglected, branch of orthography; 
 but as he had only 'antique ' letters to deal with, he presented only three 
 sorts of punctuation marks, without going into details as to their use, 
 which, in truth, if we may judge by his own book, was not as yet fiilly 
 settled. The comma, for instance, which has so much to do with the 
 clearness of the sentence, is frequently there inserted in a far from ra^ 
 tional way. 
 
 I have said above that Tory had adopted about 1523, for the mark of 
 his bookshop, the Pot Casse represented in the engrave 
 ing placed at the end of his poem on his daughter's death. 
 To make it more appropriate for that purpose, he sub' 
 jected it to various modifications. At first we find it alone, 
 as in the accompanying cut, on the cover,'^ or on the back,' 
 of a number of octavo books bound at his establishment. 
 Other bindings, in quarto, exhibit the broken jar with 
 the drill {toret).^ 
 
 Afterward, Tory placed the jar on a closed book, and still later he 
 modified the design by the introduction of other additions.^ 
 
 I. Champ Jleury, fol. 52 recto. 2. Ibid. fol. 56 verso. 
 
 3. Ibid. fol. 37 verso. 
 
 4. I have seen this binding on an octavo copy of the ^diloquium of 1530, now in the Bib- 
 liothequeNationale and on the Sommaire de Chroniques de J. B. Egnasio,o( 15 29, owned by 
 M. Didot. [The famous collection of M. Didot has since been dispersed.] 
 
 5. Book of Hours of i 556, owned by M. Niel. This volume was printed by the Kervers, 
 who had bought Tory's old plant. 
 
 6. I have seen it on the Hours of i 53 1 , and the Diodorus of 1535, which two volumes also 
 are [ I 865] owned by M. Didot. 
 
 7. [See nos. i and 2, on p. 45, infra.] 
 
BIOGRAPHY 
 
 21 
 
 MENTI BONAE 
 DEVS OCCVRRIT. 
 
 Finally, we have Geofroy Tory's device, or mark, definitively consti' 
 tuted in his 'Champ fleury,' thus: ' — 
 
 'Behold,' he says, 'my declared device and 
 mark, drawn as I have cogitated and conceived 
 it, imparting moral meaning thereto, to give 
 friendly admonition to the printers and book^ 
 sellers beyond the mountains^ to practise and 
 employ themselves in goodly inventions and de^ 
 lectable execution, to show that their wits have 
 not been always useless, but eager to serve the 
 public weal by labouring to that end and living 
 uprightly.' 
 
 Then follows his explanation of this mark,^ 
 — an explanation which does not invalidate that 
 suggested above/ In truth, all that Tory says 
 here in general terms may be applied to his 
 daughter Agnes. 
 
 •In the first place, there is herein an ancient 
 jar, which is broken, through which is passed 
 a toret. This said broken jar signifies our body, which is an earthen 
 jar. The toret signifies Fate, which pierces and passes through weak and 
 strong. Beneath this broken jar there is a book secured by three chains 
 and padlocks, which signifies that after our body is broken by death, its 
 life is closed by the three fatal goddesses.^ This book is so firmly closed 
 that there is no man who may come to see anything therein, except he 
 know the secret of the padlocks, and above all of the round padlock, 
 which is locked and signed by letters. Even so, after the book of our life 
 is closed, there is no man who may in any wdse open it, except it be he 
 who knows the secrets, and he is God, who alone knows, before and after 
 our death, what has been, what is, and what will be our fate. The foliage 
 and flowers in the said jar signify the virtues which our body may have 
 in itself during its life. The sun^rays which are above and beside the toret 
 and the jar signify the inspiration that God gives us by impelling us to 
 
 SIC, VT. VEL, VT. 
 NON PLVS. 
 
 1 . Fol. 43 verso. Inadvertently, no doubt, this mark is reversed on the first page of Champ 
 fleury. Tory attached little importance to the error, for the same engraving often appeared 
 afterward. It is not signed [with the double cross] , like the one here reproduced. 
 
 2. Here, and in numberless other passages in his books, Tory alludes to Italy, of which he 
 always retained a grateful memory. 
 
 3. Champ fleury, fol. 43 recto. 4. [See page 12, supra.] 
 5. The Renaissance, at this time, was at its height. 
 
22 
 
 GEOFROY TORY 
 
 virtue and worthy acts. Near the said broken jar it is written: "Non 
 plvs," which are two monosyllabic words, as well in French as in Latin, 
 signifying that which Pittacus said long since in Greek : MHAEN Ar AN/ 
 "nihil nimis." Let us not say, let us not do aught beyond measure or be' 
 yond reason, except it be in the last necessity: "aduersus qua nec Dij 
 quide pugnant."^ But let us say and let us do"Sic. vt. vel. vt." That is to 
 say, as we ought, or as little wrongly as we may. If we seek to do well, 
 God will aid us, and therefore have I written above: "Menti bonae Deus 
 occurrit," that is to say, God goes out to meet the desire to do good, and 
 gives it aid.' 
 
 I believe that we should see in the toret an 'enseigne parlante,' allude 
 ing at once to Tory's name and to his various professions. The way in 
 which the name of the instrument was pronounced, its shape, resemb' 
 ling that of a T, and, lastly, its use by the engravers, were doubtless the 
 considerations that led Tory to adopt it. But let us not subtilize too far. 
 
 Tory was not content with giving us his symbol in 'Champ fleury': 
 he engraved on the first page of that book, that is to say, in the place of 
 honour, what would be called to-day the blazonry of his artistic acquire^ 
 ments, — in other words, a collection of all the tools that he used. Unfor-' 
 tunately, he did not feel called upon, as in the case of his mark, to supply 
 an explanation, deeming the matter clear enough; whereas, in our day 
 it has become rather difficult, because of the changes that have taken 
 place in the customs of artists, to state the exact use of some of the tools. 
 The order in which they are arranged, however, may assist us, to a cer^ 
 tain extent, in identifying them. An exact reproduction of this engrav 
 ing, the initial letter of the first page of the text of 'Champ fleury,' is 
 given at the beginning of this section.^ 
 
 The first series of tools, suspended in the first arabesque, embraces a 
 pair of compasses, a rule, and a square: these are the fundamental instru'' 
 ments of art and of geometry. In the second arabesque, if I am not mis' 
 taken, we find an 'echoppe' and a burin, engravers' tools; in the third, 
 a writing-case (or 'galimart'), a pencU, and a knife, above a book; these 
 are the tools of the writer and the draughtsman. In the fourth, we find 
 an object which I take to be a small box of colours, hanging from a case 
 of brushes; these appertain to the painter. Tory was, in fact, draughts^ 
 man, painter and engraver. 
 
 I have already said that Tory was probably instructed in the art of 
 
 I . Read MijSev ayav. 
 
 z. [Against which not even the gods contend.] 3. [See page i , supra.] 
 
BIOGRAPHY 
 
 23 
 
 drawing by the famous Jean Perreal. He was on terms of the closest 
 friendship with that artist, who drew several of the vignettes in ' Champ 
 fleury,' if we may judge by the one positively attributed to him, which 
 is printed on the verso of folio 46. Geofroy informs us that this plate, 
 insignificant in itself (it represents two circles in which are the letters 
 
 I and K, modelled on 
 the human body), was 
 engraved from the 
 design of a friend of 
 his, 'from that which 
 a noble lord and good 
 friend of mine, Jehan 
 Perreal, who is others 
 wise called Jehan de 
 Paris,valet de chambre 
 and excellent painter 
 to King Charles VIII, 
 Louis XII, and Fran^ 
 cois, first of the name, 
 made known and gave 
 to me, most excellent-' 
 ly drawn by his hand.' 
 Now this engraving is 
 in all respects similar 
 to those to be found 
 in the second book of 
 'Champ fleury.' Both 
 in form and subject, it 
 is altogether different 
 from those in the third 
 book, in which Tory 
 printed it. Probably 
 Perreal died while the 
 work was on the press, and Tory, who had not thought of naming him 
 while he was alive, in connection with his first drawings, did so after his 
 death, by publishing the last souvenir of this sort which he possessed from 
 the hand of his friend, although it did not fit perfectly with the subject; 
 he laid, as it were, a flower on the dead man's grave.' 
 
 I . This eminent artist, who has no article in the Biographie Universelle, and who is not 
 
24 
 
 GEOFROY TORY 
 
 We give this drawing also, as the only work which can be with ceu 
 tainty attributed to Jean Perreal, and as a specimen of the engravings 
 which serve as a foundation for the reformation of the roman letters 
 proposed by Tory in the second book of his 'Champ fleury.' 
 
 From what 1 have said it will be seen that Tory's book required sev 
 eral years of labour. Nor is one surprised thereat when one considers the 
 great number of engravings which it contains. But even without the en' 
 gravings, it will readily be understood that a work which necessitated so 
 much observation required a vast expenditure of time. Begun, as we have 
 seen, in 1 523 (i 524, new style), it was not finally completed until 1 529, 
 that is to say, after six years of toil. However, Tory did not propose that 
 those years should be lost for art. Desirous to preach by example rather 
 than by precept, he determined to publish, in the interim, other books 
 wherein he might give utterance to his artistic taste. And he did in fact 
 print books of Hours, admirably executed, which, although in different 
 form, may fitly be compared to the Hours of Simon Vostre, who had 
 acquired so great a reputation in that typographical specialty. Tory re^' 
 ceived from Francois I a 'privilege' (license) for this work, to run six 
 years, dated at Avignon, September 23, 1524.' This license to print ^ in^ 
 forms us that Tory had 'made and caused to be made^ certain illustra^ 
 tions [histoires] and vignettes "a lantique" and likewise some "a la 
 moderne," in order to have the same printed, and to serve a plusieurs 
 usages dheures,' and that to that end he had 'expended an exceeding 
 long time and incurred divers great expenses and outlays.' 
 
 The first book of this sort which he published, so far as I have learned, 
 is an edition in quarto of the Hours of the Virgin, according to the 
 Roman use, in Latin. It is a superb volume, printed by Simon de Colines, 
 with borders and illustrations 'a I'antique,' perfect in taste and execution. 
 
 even mentioned in the desiderata of the Notice des tableaux du Louvre de P ecole franfaise, 
 published by M. Villot, did not die until about 1 528, if my reckoning is accurate. We can es- 
 tablish the fact of his existence so late as 1522 by the documents published by M. de Laborde 
 in his book on the Renaissance. I once owned an original letter of Perreal, which shows him 
 in full vigour in i 5 1 1 . That letter, which I presented to M. Alexandre Sirand, magistrate at 
 Bourg, has been published by him in his Courses Archeologiques, vol. iii, p. 5, in connection 
 with the church at Brou, in which Perreal was deeply interested. The letter I refer to is dated 
 November 15 ( i 5 1 1 ) and addressed to Margaret of Austria (widow of the Duke of Savoy), 
 to whom Perreal offers his services as superintendent of the work of building the church. That 
 princess accepted his offer, as we see by her reply of February, 1 5 1 1 (1512 new style) : 
 ' Since Jehan Le Maire hath left us, we choose to have no other overseer in our edifices at Brou 
 than yourself.' (See the work last cited. ) 
 
 1 . La Caiile, in his Hist aire de P Imprinter ie, p. 98, gives the date erroneously as September 
 28, I 584. 
 
 2. See an extract from it in Part 2, § 2, no. 1. 3. \foit et fait faireJ^ 
 
BIOGRAPHY 25 
 
 The bcx)k was undoubtedly printed by Colines as a joint venture with 
 Tory, for there are copies in existence in the name of each. Those in the 
 name of Colines bear on the title-page the date 1524, and, at the end, 
 that of the 17th of the Calends of February (January 16), 1525; those 
 in the name of Tory (there are two varieties of these) bear but one date, 
 1525, and that at the end. I shall speak of this book later, in detail.' 
 
 Two years later Tory published a new edition of the same Hours, 
 in a small octavo volume, also printed by Simon de Colines, in roman 
 type, with borders and illustrations of the same kind but much smaller.^ 
 The printing was finished October 21, 1527. It is preceded by a new 
 license from Francois I, extending Tory's rights for ten years, not for 
 this book alone, but for the earlier one as well, ' for certain illustrations 
 and vignettes " a lantique" by him heretofore printed,' and in considera^ 
 tion of the great outlay which his engravings had caused him to make. 
 This license is dated at Chenonceaux, September 5, 1526, and includes 
 'Champ fleury,' the printing of which had begun, but which had not 
 yet received its poetic title, for it was still referred to as 'Lart et science 
 de la deue et vraye proportion des lettres.' In the same year Tory pub-- 
 lished an edition in quarto of these same Hours, according to the use 
 of Paris, printed by Simon Dubois (Silvius). This book, in which we find 
 again the license of 1526, is printed in gothic type, with borders and il/ 
 lustrations of a special style, called 'a la moderne.' The borders are ara^ 
 besques formed of plants, insects, birds, animals, etc. At the foot we see 
 the F, crowned, of Frangois I, and the salamander ; the L, crowned, of 
 Louise of Savoy, the king's mother; and the impaled shield of France 
 and Savoy, etc. Of this book also I shall speak in detail hereafter .3 Finally, 
 a little later, at a time which I am unable to fix precisely, but prior to 
 1 53 1, Tory caused to be printed another book of Hours of the same 
 description, that is to say, with borders of plants, insects, birds, etc., but 
 in a smaller format — small octavo. I shall describe it in its place.'^ 
 
 These publications did not prevent our artist from giving his atten^ 
 tion to literature. While he was overlooking the impression of his Hours 
 and his 'Champ fleury,' he was preparing various works to which we 
 shall have occasion to refer hereafter. Generally speaking, they are trans^ 
 lations intended to enrich the French tongue ; for Tory did not lose sight 
 of his patriotic purpose. All of these works were printed subsequently, 
 save one, perhaps — a translation of the hieroglyphs of Orus Apollo, 
 
 I . See Part 2, § 2, no. i. 
 3. Ibid. no. 3. 
 
 2. Ibid. no. 2. 
 4. Ibid. no. 6. 
 
26 
 
 GEOFROY TORY 
 
 which he gave to a 'noble lord and good friend of his." It is not known 
 whether this translation was ever printed. There are many editions of 
 Oms in existence, but no one of them bears the name of Tory. 
 
 'Champ fleury' appeared at last in 1 529. We have seen that this book 
 was conceived on 'the day of the feast of Kings, which was reckoned 
 M. D. XXIII,' that is to say, January 6, 1524, new style. The printing was 
 not completed until 'the xxviii day of the month of April one thou/ 
 sand five hundred xxix,'^ as we learn from the subscription at the end; 
 that is to say, it cost nearly six years of toil. The following is an exact 
 copy of the title-page as it appears in the first edition: — 
 
 CHAMP FLEVRY. Au quel est contenu Lart & Science de la deue 
 & vraye Proportid des Lettres Atdques, quo dit autremet Lettres An^ 
 tiques, & vulgairement Lettres Romaines, proportionnees selon le Corps 
 & Visage humain. — Ce Liure est Priuilegie pour Dix Ans Par Le Roy 
 nostre Sire, & est a vendre a Paris sus Petit Pont a Lenseigne du Pot 
 Casse par Maistre Geofroy Tory de Bourges/Libraire, & Autheur du diet 
 Liure. Et par Giles Gourmont aussi Libraire demourant en la Rue sainct 
 laques a Lenseigne des Trois Coronnes. 
 
 It is gratifying to see here the name of the first printer in Greek type 
 in Paris. It was Gourmont himself who printed this learned book, wherein 
 we find some very interesting details concerning the Hebrew, Greek and 
 Latin letters, of which he exhibits models which have not changed since 
 that time.3 The workshop of Gilles de Gourmont was on rue Saint Jean<' 
 de^Latran; but we see that in 1529 he had a bookshop on rue Saint/ 
 Jacques, at the sign of the Trois Couronnes, — an allusion doubtless to 
 the three roses which adorned the chief, or top, of his shield. This shop 
 adjoined the church of Saint/Benoit on the north.'^ As for Tory, he seems 
 to have lived at this time on the Petit'Pont, 'next to Hostel^Dieu.' It 
 was there that he wrote his book, for he dates his epistle to the reader 
 thus : ' En Paris ce. xxviii. Jour Dapvril sus Petit Pont, a Lenseigne du Pot 
 Casse.' He had, however, another abode on rue Saintjacques, opposite 
 the '^cu de Bale,' the sign of Chretien Wechel. 
 
 1 . Champ fleury, fol. 7 3 recto. 
 
 2. Several bibliographers, misled doubtless by the date of the license, mention an edition 
 of Champ fleury of 1526; but there is none. Not until 1549 was there an octavo edition, 
 printed for the bookseller Vivant Gautherot. I shall speak of it hereafter. 
 
 3. See the description of Champ fleury. Part 2, § i, no. 10. 
 
 4. For Gourmont, see the Notice historique which follows my work entitled : Les Estiennt 
 et les types grecs de Francois I'.' 
 
BIOGRAPHY 27 
 
 At the beginning of 'Champ fleury' is printed the license of Septem/ 
 her 5, 1526, already published in the two editions of the Hours of 1527, 
 which granted to Tory a ten years' right, not only for the Hours, but 
 also for 'Champ fleury,' which was then being printed, but, as I have 
 already said, had not then received that graceful title. This license makes 
 it clear that as early as 1526 Tory was thinking of joining the brother^ 
 hood of printers. He became a printer in fact soon after the pubHcation 
 of his book, and proceeded to print several works of his own composi-* 
 tion. I give here a list of these various publications, in the order of their 
 dates. 
 
 I. La Table de lancien philosophe Cebes . . . Avec trente Dialogues 
 moraulx de Lucian . . . translate de latin en vulgaire francois par maistre 
 Geofroy Tory de Bourges. . . ' 
 
 The license is of September 18, 1 529, for ten years. The printing was 
 finished October 5, 1529. It is a small octavo volume, in two parts, with 
 roughly executed borders on each page. There are twelve preliminary 
 leaves, containing a long list of errata, and two series of signatures, the 
 first running from A to T, the second from a to -u. The book was for 
 sale at the translator's shop, 'rue Sainct laques, devant lescu de Basle,^ a 
 lenseigne du Pot Casse,' and at Jean Petit's on 'rue Sainct laques, a len-' 
 seigne de la Fleur de lys.' There is nothing to indicate where the book 
 was printed; but as it is set in the type used for the ' Epitaphs' of Louise 
 of Savoy, I am inclined to think that it came from Tory's workshop. 
 In that case it was the first book that he printed.^ The long list of er^ 
 rata would seem, in truth, to suggest a novice, and would explain why 
 no printer's name is given. 
 
 In the letter ' to the readers ' at the beginning of this book, Tory returns 
 to the charge against the villains [rufients] who were changing the 
 French language on the pretext of perfecting it. There are some tirades 
 quite worthy of a place in 'Champ fleury.' He ends his preamble vdth 
 a curious passage which gives us an idea of his tastes. 'I believe that if 
 
 1. Gilles de Gourmont had just published Lucian's Dialogues in Greek (quarto, 1528); 
 but Tory's translation was made from a Latin version. Although he knew Greek, he did not 
 use it when he could avoid it. As a general rule he translated from Latin versions such Greek 
 authors as he dealt with. 
 
 2. This was, as we have seen, the sign of the famous printer Chretien Wechel; it was on 
 the right as one ascends rue Saint-Jacques, near the church of Saint-Benoit. The Pot Casse 
 was opposite. 
 
 3. See a description of it in Part 2, § i, no. 1 1. 
 
28 
 
 GEOFROY TORY 
 
 the ancient and noble painter Zeuxis of Heraclea, if Raphael of Urbino, 
 Michel Angelo, Leonardo da Vinci or Albrecht Diirer' should try to 
 paint philosophers and their various aspects, they could not paint them 
 so well nor so to the life as our Lucian paints them herein.' Lastly, he 
 informs the reader that he will soon make him 'another new gift';^ and 
 he kept his promise by publishing the following work. 
 
 n. Summaire de chroniques contenans les vies, gestes et cas fortuitz 
 de tous les empereurs Deurope, depuis lules Cesar iusques a Maxirmlien 
 dernier decede . . . par . . . lehan Baptiste Egnace, Venicien. Et translate 
 de ladicte langue latine en langaige francoys par maistre Geofroy Tory de 
 Bourges. 
 
 An octavo volume, containing 1 6 leaves of preface, 99 of text, and an 
 index containing 13 leaves — 128 in all. At the end, we read: 'The prints 
 ing of this book was finished at Paris the xiii day of April, m. d. xxix, for 
 maistre Geofroy Tory de Bourges, who sells it at said Paris, at the sign of 
 the Pot Casse.' In Tory's preface, addressed 'to all studious and true lovers 
 of honest letters,' he says: 'I promised you of late in the preface to the 
 "Table of Cebes" that in a short space I would make for you another 
 new book.' It was in fulfilment of that promise that he published the 
 'Summaire de Chroniques' of Egnasio. 
 
 The date of printing given above corresponds to April 13, 1530, new 
 style; for Easter fell in that year on April 1 5. Some bibliographers men' 
 tion an edition of this book of 1520; but it is an error, for the license is 
 dated 1 529. La Caille^ says that the edition of 1 529 was printed by Tory; 
 this is possible, but not certain. It may even be that it was printed by 
 Gourmont, for it is set in the same type used in 'Champ fleury.'"* There 
 are three later editions of this book, printed by Charles I'Angelier in 1 541 , 
 1543, 1544 (octavo); we shall speak of them hereafter. As for the edi^ 
 tion of 1 529, 1 found it only in the library of M. Ambroise Firmin Didot, 
 who kindly allowed me to describe it. This copy is still in the original 
 binding, with the Pot Casse. 
 
 But all these works did not cause Tory to lose sight of his great patri^ 
 otic idea. He did not confine himself to simple wishes for the welfare 
 of the French language. In default of the other 'noble hearts' whom he 
 
 1 . \_Raphael durbin, Michel lange, Leonard vince, Albert durer, are Tory's versions of 
 these names.] 
 
 2. The description of the volume in Part 2 (p. 87 infra), places this promise in the dedica- 
 tory letter. 3. Histoire de P Imprimerie, p. 98. 4. See Part 2, § 1, no. 13. 
 
BIOGRAPHY 29 
 
 invited 'to establish and order our language by rule,' ' he himself under' 
 took that work. Rich in materials as he was, and with the ardor with 
 which he entered into everything, he soon completed his task. The li' 
 cense to print the 'Summaire de Chroniques' includes a book by Tory 
 entitled: 'Les Reigles generales de lorthographe du langaige francois,' 
 which he proposed soon to put on the press. Was this book ever printed? 
 was it ever finished? These are questions which I am unable to answer, 
 for I have discovered no trace of it elsewhere; but so many other books 
 have disappeared that I should not be surprised to learn that this one had 
 undergone the same fate. 
 
 III. Hours (in Latin) according to the Roman use; sixteenmo, with 
 illustrations and borders; printed in roman type; finished February 8, 
 1 529, which date corresponds to February 8, 1530, new style, and proves 
 that Tory had become a printer in 1529. Here is the exact title of this 
 book, which I shall describe in detail later: ^ 'Horae in laudem beatissimae 
 Virginis Maris secundum usum romanum.' On the last leaf are these 
 words: 'Parrhisiis,apud Gotofrcdum Torinum Biturigum. viii. die febr. 
 anno sal. m. d. xxix. Ad insigne Vasis efFracti.' 
 
 IV. T^diloquium ceu {sic) disticha partibus aedium urbanarum et 
 rusticarum suis qusque locis adscribenda. Item, epitaphia septem de 
 amorum aliquot passionibus, etc. Authore Gotofredo Torino Biturigico. 
 
 Paris, Simon de Colines, 1530;^ italic type; 3 octavo sheets, with li-' 
 cense for two years. This book has, in the second part, seven charming 
 engravings on wood. I cannot understand why Tory did not print it, as 
 he was then a printer. May it have been because it was customary at 
 that time to print poetical works in italic type, and he had none in his 
 printing office? Copies of the book are preserved in the Bibliotheque 
 Nationale, at the Arsenal [two] and at Sainte^Genevieve. The copy in 
 
 1 . Champ fleury, ' avis au lecteur.' — See also tbl. i verso : ' And so I will write in French 
 according to my own humble style and mother tongue, nor fail, albeit I am of lowly and hum- 
 ble parents, and poor in paltry goods, to give pleasure to the devoted lovers of goodly letters. 
 Herein it may be I shall seem a new man, for that no one has heretofore been known to teach 
 the fashioning and quality of letters by writing in the French language; but, desirous to cast 
 some light on our language, I am content to be the first litde pointer to arouse some noble mind 
 which shall put forth greater efforts, as did the Greeks and Romans of old, to establish and or- 
 dain the French language by fixed rules for pronouncing and speaking well. God grant that 
 some noble lord may be pleased to offer pledges and worthy gifts to those who shall be able to 
 do this well.' — Francois I himself was the noble lord referred to. 
 
 2. See Part 2, § 11, no. 4. 
 
 3. As to this date, sec no. v below, p. 3 1 , and note i . 
 
30 GEOFROY TORY 
 
 the Bibliotheque Nationale is still in the original binding, with the Pot 
 Casse.' 
 
 Alluding to the first part of his book, Tory expresses himself thus in 
 his 'avis au lecteur': 'There are certain eminent painters in this prolific 
 age, most gentle reader, who, by their drawings, paintings, and varied 
 colouring, depict the tribal gods and human beings, as also other things 
 of different sorts, with such exactness that a voice and a soul seem the 
 only things wanting to them; but here, most gentle reader, I offer you, 
 nearly in the manner of these painters, a house, which not only is elegant 
 and finished in its outlines and parts, but even speaks prettily and de^ 
 scribes itself part by part in a eulogy.' ^ It will be seen that Tory's thoughts 
 were still engrossed by art. 
 
 V. Science pour senrichir honnestement et facilement, intitulee Le^ 
 conomic Xenophon, nagueres translatee de grec et latin en langaige fran^ 
 coys, par maistre Geofroy Tory de Bourges. — On les vend a Paris, en la 
 rue Sainct laques, devant lescu de Basle, et devant lesglise de la Magda^ 
 laine, a lenseigne du Pot Casse. 
 
 Octavo, of 9 sheets ; printing finished July 5, 1 53 1 .3 On the back of the 
 title/page are these words: 'At the said sign of the Pot Casse are also for 
 sale Thucydides and Diodorus, with some other excellent books trans^ 
 lated from Greek and Latin into French. Likewise there are fine Hours 
 and Offices of Our Lady, large, medium and small, with illustrations and 
 vignettes "a I'antique.'" 
 
 Were the Thucydides and Diodorus printed by Tory, as well as the 
 large, medium and small Hours ? Possibly, but I have found no indica^ 
 tion of it. As for attributing the translations to him, that is out of the 
 question, for he says nothing of it in the dedication, addressed to Antoine 
 du Prat, Cardinal de Sens, etc., wherein he mentions the preceding works 
 of the same sort: — 
 
 'After the book of the Explanation of the antique letters, called 
 "Champ Fleury," which I put together in the French language, and 
 the "Table de Cebes," with thirty moral dialogues; hkewise the "Sum^ 
 maire de Chroniques," which I translated into our said language, to con^ 
 fer a benefit on the studious, ... it seemed to me to be a worthy way of 
 passing my time to employ myself in translating the "Economic Xeno*- 
 phon" also.' 
 
 1 . See Part 2, § i , no. 14. 2. See Appendix X, e. 
 
 3. This volume contains also: Epistre du seigneur Elisee Calense, natif Damphrate, quil 
 envoya a Rufin . . . translatee . . . par maistre Geofroy Tory de Bourges. 
 
BIOGRAPHY 31 
 
 Tory does not mention here the 'iEdiloquium,' probably because that 
 book was in Latin, or, rather, because it was not printed at the time of 
 the composition of this dedication, which was in all probability written 
 in the first three months of 1531, then reckoned in the year 1530,' a 
 circumstance which, in my opinion, explains the date of the 'yEdilo-' 
 quium.' In fact, that book cannot have been printed before 1 53 1 , for the 
 license of the 'Economic Xenophon,' which includes the '^diloquium' 
 (to which, by the way, it gives a sub^'title, 'et Erotica,' which was re/ 
 jected when it was printed, as likely to give a false idea of the book), is 
 dated June 18, 1531, and extends Tory's rights to four years instead of 
 the two mentioned on the title/page of the '^diloquium.' From all of 
 which I conclude that the last-named book was printed before the license 
 was obtained, but only a short time before, and while the application was 
 pending. 
 
 The license first mentioned^ also concedes to Tory an extension of 
 four years 'for certain other books, illustrations and vignettes, to cause 
 to be printed the Hours and Offices of Our Lady, mentioned in two 
 licenses heretofore granted to him,' dated September 23, 1524, and Sep/ 
 tember 5, 1526. Tory requested this extension of time because he was 
 preparing to reprint the Hours, as we see by the date of the following 
 book. 
 
 VI. Hours according to the Roman use, quarto ; published October 
 2D, 1 53 1, in Latin. This was a new edition of the Hours printed in 1524- 
 1525 by Simon de Colines. We find the same borders and illustrations 
 as before; but several engravings which had already appeared in some 
 of the earlier books just described are added. I shall describe this book 
 later. It seems to be printed from the 'Champ fleury' type, and bears the 
 following title : Horas in laudem beatiss. Virginis Marise. Ad usum ro/ 
 manum. Parrhisiis apud Gotofredum Torinum Biturigicum, regium 
 impressorem.3 
 
 VII. Politiques de Plutarque, cest a dire: Civiles Institutions et en/ 
 seignemens pour bien regir la chose pu[bHque] . . . translatees . . . par 
 maistre Geofroy Tory de Bourges. Dediees ... a tresilustre . . . Francois 
 de VaUois, Daulphin de France. 
 
 Octavo, with 8 preliminary leaves, and 67 numbered leaves of text. 
 
 1 . The year 1 5 3 1 did not begin until Easter Sunday, April 9. 
 
 2. See, for other details concerning Tory's Xenophon, Part 2, § i, no. i 5. 
 
 3. Ibid. § II, no. 5. 
 
32 GEOFROY TORY 
 
 On the verso of leaf 67 we read: 'The printing of this book was finished 
 Saturday the xv. day of June, m. d. xxxii. by maistre Geofroy Tory de 
 Bourges, bookseller and king's printer, dwelling in Paris, opposite the 
 church of La Magdaleine, at the sign of the Pot Casse.' 
 
 Another edition was published at Lyon in 1534. We shall refer to it, 
 as well as to the earlier edition, hereafter.' 
 
 VIIL La Mouche de Lucian et la Maniere de parler et se taire [de 
 Volaterran]. — Le tout [translate] par maistre Geofroy Tory de Bourges, 
 imprimeur du Roy et libraire jure en luniversite de Paris. On les vend 
 a Paris, devant leglise de la Magdaleine, a lenseigne du Pot Casse. 
 
 Octavo, 8 leaves; without date of printing or license, but printed by 
 Geofroy Tory himself, after February 22, 1533; for he assumes the title 
 of 'libraire jure'^ of the University, which did not belong to him until 
 that day. Moreover he makes use in this book of the acute accent, the 
 apostrophe and the cedilla, which he never used, as we shall soon see, 
 until after the edition of Clement Marot, dated June 7, 1533. It was 
 therefore subsequent to that date, but prior to October of the same year, 
 that 'La Mouche' was published.^ 
 
 In several of the works we have described, Tory assumes the title of 
 printer; in the last three he describes himself as king's printer, and in 
 one of them as a 'libraire jure' of the University. These last two digni^ 
 ties he owed to the initiative of Francois I. That king, who had never 
 before conferred that honour upon any one, deemed it his duty to make 
 the author of 'Champ fleury' king's printer. In truth it was natural 
 enough to confer that title upon him who had displayed so perfect an 
 understanding of the art of typography, combined with such a store of 
 literary knowledge, and whose book caused a veritable revolution in 
 printing, no less from the technical and practical than from the gram' 
 matical and philological standpoint; for there is one fact which I have 
 not as yet mentioned and which I am glad to set down here: immediately 
 after the publication of 'Champ fleury ' French typography began to in' 
 elude in its fonts of type accents, apostrophes and cedillas,"* the absence 
 
 1. See Part 2, § i, no. 16. 
 
 2. [A libraire jure was a bookseller who had taken the oath to follow the rules prescribed by 
 the University.] 
 
 3. See Part 2, § i, no. 17. 
 
 4. The reform went even further than Tory suggested, for orthographic accents were in- 
 vented, which have no other purpose than to distinguish words of the same sound but of different 
 
BIOGRAPHY 33 
 
 of which Tory deplored, and which he himself used soon after, and be*' 
 fore any other printer, as we shall see. 
 
 But the most noteworthy result produced by the publication of 
 'Champ fleury ' was the reformation of the old types. That book not only 
 contributed to the abandonment of gothic letters, but brought about the 
 remodelling of the old roman letters. Robert Estienne, among others, re^ 
 cast at this time all those that had come down to him from his father, 
 the first Henri (or, to speak more accurately, from his father-in-law Simon 
 de Colines), and replaced them by types of a new shape, which were cut, 
 I think, by Tory (for his pupil, Garamond, seems not to have been cap-* 
 able of doing it at this time), and which continued to be used, almost 
 without change, down to the time of the Revolution. It is in this sense 
 only that it can properly be said that Tory perfected the types of Josse 
 Bade; for I think that he did not cut any type for that celebrated printer, 
 who was established in Paris long before Tory turned his attention to 
 engraving, and who died in 1535, a few years after the publication of 
 'Champ fleury,' without changing in any way his method of printing. 
 It was Tory too, doubtless, who cut Robert Estienne's italic type; for it 
 bears a strong resemblance to Simon de Colines's, which I have already 
 attributed to him.' 
 
 ^he sensation caused by Tory's book, in foreign countries as well as 
 in France, is evidenced also by the writings of his contemporaries. In Paris, 
 Antoine du Saix, author of the 'Esperon de discipline,' expresses himself 
 thus in an epistle in verse dedicated to his friends,^ among whom we find 
 mentioned Rene Masse, also a friend of Tory, and several other littera^ 
 teurs of the time: — 
 
 Geof&oy Thory, qui divine as heu main 
 Pour figurer dessus le corps humain 
 La lettre anticque, ouyant que plume ay prise 
 Pour te imiter, ce bourgeon ne meprise. 
 Raisin sera, sil a temps de meurer [murir]. 
 
 meaning; and therein it disregarded logic, for it not only did not distinguish in this way all 
 words of the same sound (^son, for example, which has three totally different meanings, received 
 no accent), but it placed accents on words which had but one meaning, — d'eja, for example ; 
 of what use is the grave accent on the a ? Moreover, it placed accents in certain cases on words 
 which in other cases have none. Thus it wrote ' votre ami et le notre,' and ' notre ami et le 
 votreJ' 1. See supra, p. 8. 
 
 2. It is printed at the end of his book, which has some similarity to Tory's. The full title is: 
 Lesperon de discipline pour inciter les humains aux bonnes lettres, etc. On the title-page are the 
 arms of Savoy, to indicate the nativity of the author, who was born in La Bresse, which then 
 belonged to the House of Savoy. 
 
34 GEOFROY TORY 
 
 In London, Leonard Coxe, alluding to the grammar published shortly 
 after by his compatriot Palsgrave, exclaims: 'Learned Geofroy, he has 
 fulfilled the wish so often expressed in thy "Champ fleury," for here we 
 have the French language taught thoroughly, by virtue of rules duly au-- 
 thorized.' ' 
 
 Tory probably received the title of king's printer in 1 530, but I do not 
 find that he assumed it earlier than 1531, and, failing documentary 
 evidence, I cannot accredit him with it at an earlier date. It was, I fancy, 
 his appointment which led the authors of the 'Art de verifier les dates' 
 to say that 'Fran9ois I established the Imprimerie Royale in Paris' on his 
 return from the Abbaye de Veyen, where he had espoused, on July 4, 
 1530, Eleonora, sister of the Emperor Charles V/ It is the fact that at 
 that time Tory was entrusted with several 'royal printings' concerning 
 this marriage of the king. Thus he published, March 16, 1530 (1531, 
 new style), a little work of Guillaume Bochetel, entitled: 'Le Sacre et 
 coronnement de la Royne, imprime par le commandement du Roy nostre 
 sire.' It is a thin quarto of 1 2 leaves, printed with a certain sumptuous^ 
 ness, and the License, signed 'de la Barre,'^ is thus conceived: — 
 
 'We have granted to maistre Geofi^oy Tory,"marchant libraire,impri'' 
 meur," license to print the "Coronnement de la Royne," and aD other 
 printers are forbidden to print it for one year,'^ upon pain of a discretionary 
 fine and of the confiscation of said book, etc. Done at Paris the tenth day 
 of March.' The consecration of the queen had taken place at Saint^Denis 
 five days earlier, March 5, 1530 (1531, new style). 
 
 A few days later Tory published another little book by the same au^ 
 thor: 'Lentree de la Royne en sa ville et cite de Paris, imprimee par 
 commandement du Roy nostre sire.' Quarto, 24 leaves ; same arrangement 
 as in 'le Sacre,' etc.5 The license, dated at Anet, April 26, 1531 (Easter 
 fell that year on April 9), gives Tory no other title than 'libraire,' but 
 
 1 . See in Appendix II, the Latin verses printed on the verso of the title of Lesclaircissement 
 de la langiie francoise, an English work reprinted in 1 8 52 at M. Genin's instance. 
 
 2. This error has been made by many waiters. The creation of king's printer was so far from 
 being identical with the foundation of the Imprimerie Royale, that there continued to be fimc- 
 tionaries bearing that title even after the foundation of the Imprimerie du Louvre, in 1640, as 
 we shall see later (Appendix IX). 
 
 3. Jeande la Barre, chevalier, Comte d'fetampes, counsellor and chamberlain in ordinary 
 to the king, first gentleman of his chamber, and keeper of the provostry of Paris, granted the 
 licenses to print at this time. 
 
 4. The license had no sooner expired than the work was reprinted, as may be seen by a copy 
 of an edition of 8 leaves, octavo, in gothic type, dated i 53 i, now in the Bibliotheque Na- 
 tionale. 
 
 5. See the description of these two opuscula in Part 2, § ui, nos. I and 2. 
 
BIOGRAPHY 35 
 
 the omission is evidently accidental.' The volume contains three pieces 
 in Latin verse by Geofroy Tory, two addressed to the queen (' ad reginam 
 Leonorem '), the other to the French people (' adgentemgallicam '). On 
 the verso of the last leaf are these words: 'The printing of this book 
 was finished Tuesday the ninth day of May m. d. xxxi.' This book ex-* 
 hibits specimens of three different types used by Geofroy Tory : a * saint'' 
 augustin,' in which the text is printed, a ' philosophie,' ^ and a brevier. In 
 all these publications we find Tory's borders and his broken jar, and these 
 words at the foot of the title : On les vend a Paris, en la rue Sainct Jacques, 
 devant lescu de Basle, et devant lesglise de la Magdaleine, a lenseigne 
 du Pot Casse.' 
 
 It will be noticed that Tory had left his second domicile, on the Petit/ 
 Pont, which was too small, doubtless, for his printing establishment, and 
 had settled in the heart of the Cite, almost opposite the church of La 
 Madeleine, which then stood very near the corner of rue de la Juive^ 
 rie and rue de Marmouzets. His new abode was on the site of the old and 
 famous Halle aux Bles de Beauce, in a house to which he transported 
 his sign of the Pot Casse (which it retained for several years), and which 
 corresponds to the present number i6 rue de la Cite, according to the evi^ 
 dence courteously furnished me by M. Adolphe Berty, whose knowledge 
 of old Paris is so thorough.^ However that may be, the first work in which 
 to my knowledge Geofroy Tory assumes the title of king's printer is a 
 thin volume of two and a half quarto sheets, of the same typographical 
 arrangement as those last described, but printed in different type, which 
 seems to me to have been cut by Tory. It was published on the occasion 
 of the death of Louise of Savoy, mother of Francois I, which occurred Sep/ 
 tember 22, 153 1. The contents consist of Latin and French epitaphs com/ 
 posed in honour of the deceased, and it bears on its first page the following 
 title, bisected: — 
 
 'In Lodoicas regis matris mortem epitaphia latina et gallica. — Epi/ 
 taphes a la louenge de ma dame mere du Roy faictz par plusieurs recom/ 
 mendables autheurs.' Below this are these words: 'On les vend a Paris, 
 devant LegHse de la Magdaleine, a Lenseigne du Pot Casse.' 
 
 The license, dated at Paris, October 15, 153 1, and signed de la Barre,aC'' 
 
 1. A much stranger omission is that of de la Barre's signatiire, which had to be added by 
 hand to every copy, at the foot of the license. 
 
 2. [The saint- august in was a i 3 -point type, so called because it was used in 1467 to print 
 St. Augustine's De Civitate Dei. The philosophie was lo-point.] 
 
 3. See his litde book entided Les Trois Hots de la Cite ; octavo, 1 860 (an extract from the 
 Revue Archeologique^ . 
 
36 GEOFROY TORY 
 
 cords unequivocally to Tory the title of king's printer: • We have granted 
 to maistre Geofroy Tory, merchant, bookseller and imprimeur du roy, 
 leave,' etc. On the last page, which, like the first, is enclosed in a border, 
 are the words: 'Printed at Paris at the sign of the Pot Cass^, by maistre 
 Geofroy Tory de Bourges, Marchant, Libraire et Imprimeur du Roy. The 
 XVII day of October m. d. xxxi.' ' 
 
 What salary did Tory receive as king's printer? It is impossible for 
 me to say positively; however, if we may judge from what happened 
 in 1538, in the case of Conrad Neobar,^ he probably received 100 'ecus 
 au soleil'3 per year, which, at the current valuation of 45 sous each, 
 would make 225 'livres tournois.' Indeed, that sum was paid in 167 1, 
 more than a century later, to Pierre Le Petit, king's printer/ 
 
 If Frangois I manifested his good will to Geofroy Tory in appointing 
 him king's printer, he manifested it even more signally by causing him to 
 be admitted to the brotherhood of 'libraires jures' of the University, with 
 all the privileges appurtenant to that office.^ For, in the first instance, he 
 simply made use of his prerogative; in the second he imposed his will 
 on the University: the number of 'libraires jures,' which was fixed at 
 twenty /four, being full, Fran9ois I created a twenty /-fifth membership 
 in Tory's favour, and the University ratified that creation at its sitting 
 of February 22, 1532 (1533, new style), minuting, however, that it was 
 a gift of the King,^ as if to imply that it was not to be taken as a pre^ 
 cedent. In fact, they returned to the number twenty /four on the death 
 of Tory, which unfortunately was not long delayed. 
 
 Farther on will be found a list of the works published by Tory as 
 king's printer, both for the king and for private individuals.^ I will men/ 
 tion here a single one, which is of some interest in connection with the bi/ 
 ographyof our artist: the' Adolescence Clementine' (of Clement Marot), 
 fourth edition, published by Tory June 7, 1533. On the title/page is a 
 note in these words : ' With certain accents noted, namely, on E masculine 
 different from the feminine, between words joined by synalephe, and 
 under Q when it is pronounced like S, the which heretofore, for lack of 
 
 1 . See Part 2, § iii, no. 3. 
 
 2. See Appendix VI. 
 
 3. [The ecu au soleil was a coin issued under Louis XI and Charles VIII, with a sun above 
 the crown. The livre tour?iois was worth 20 sous.] 
 
 4. See Appendix VIII. 
 
 5. Concerning the libraires juris and non juris, see Chevillier, Origine de 1' imprimerie de 
 Paris, part 4. 
 
 6. [^Don du roi.'\ See Appendix III. 
 
 7. See Part 2, §§ m and iv. 
 
BIOGRAPHY 
 
 37 
 
 suggestion, has not been done in the French language, although it was 
 and is most essential.' This was the first work in which Tory applied the 
 orthographic system he had suggested in 'Champ fleury." The fact is 
 evident from the inexperience of the compositors, who made several 
 blunders in this very note. 
 
 This book, one of the rare copies of which is in the Bibliotheque Na/ 
 tionale, presents still another interesting peculiarity. The title-page is 
 arranged in a different way from that in vogue at the time. In the first 
 three editions the first two words form four lines of capitals of the same 
 size and length, by virtue of the spacing: LADOLE — SCENCE — 
 CLEMEN — TINE. In the fourth edition they fill two lines only 
 (LADOLESCENCE— CLEMENTINE), but still in type of the same 
 size, contrary to the practice of other printers, who would have dimin^ 
 ished by at least one degree the size and length of the Unes, without re/ 
 gard to logic. They would probably have printed the title thus: 
 
 L A D O L E S 
 
 CENCE CLEMEN 
 
 tine 
 
 Tory's method of execution, which he borrowed from the arrangement 
 of ancient inscriptions, was less agreeable to the eye perhaps, but it was 
 more logical. It was a step toward the practice of the present day, in 
 which the size of the letters on a title^'page is varied, but is made con-* 
 sistent with the importance of the respective words. As wiU be seen, Tory 
 was, in everything, an initiator. 
 
 This book was the last one printed by Tory, to my knowledge. He 
 probably died shortly after, for we find that his wife was a widow on 
 October 14 [1533], when she executed a lease for nine years of that part 
 of the Halle de Beauce occupied by her husband's establishment. This 
 lease, covering the whole house, was made in consideration of 122 livres 
 10 sous tournois. The lessors were agents of the Chapitre Notre/Dame, 
 and the lessees, 'Martin Feret, baker, and Perrette Le HulLin, widow of 
 
 I . This most necessary reform spread very rapidly. The year had not ended when another 
 Paris printer, Antoine Augereau, published a small treatise on the subject, entitled : Briefve doc- 
 trine pour deuement escripre selon la propriete du langaige franfoys. [* Brief instructions for writ- 
 ing the French language properly.'] This curious work, which is printed with the Miroir de tres 
 chrestienne princesse Marguerite de France, in an octavo volume, 1533, informs us among other 
 things that the final E which requires the acute accent was at that time called masculine, and 
 that the word feminine was applied to it when it did not take the accent. These are, as we see, 
 the terms used by Tory. Hence doubtless the term feminine, which is still applied to-day, in 
 French poetry, to silent rhymes. (See Appendix V.) 
 
38 
 
 GEOFROY TORY 
 
 Geofroy Tory, in his lifetime bookseller and king's printer, living on rue 
 de la Juifverie in one of the wings [corps d'hostel] of the building here^ 
 inafter mentioned' (the Halle de Beauce).' 
 
 Perrette Le HuUin continued for some time to carry on her husband's 
 various enterprises. Thus, she published in 1535 a remarkable work, 
 doubtless begun by him, by command of Fran9ois I, to whom it is dedi' 
 cated. It certainly should be placed to the credit of Tory, although it 
 does not bear his name, but simply a mention of his sign: ' Au Pot Casse.' 
 It is a translation of Diodorus Siculus, of which I shall speak later.^ 
 
 But the burden of so considerable an undertaking — printing-office, 
 bookshop, bindery ,3 engraving, etc. — soon compelled Perrette Le HuUin 
 to abandon a part of it. At the end of the year 1535 she transferred the 
 printing-office, the bookshop, and the bindery to Olivier Mallard, who 
 established himself on the same premises occupied by Tory, and under 
 the same sign of the Pot Casse, as we see by a thin volume published 
 by him on January 19, 1535 (1536, new style), entitled: 'Copie d'une 
 lettre de Constantinople, de la victoire du grand Sophy contre le grand 
 Turc. — Paris, Olivier Mallard, a I'enseigne du Pot Casse, rue de la Juif' 
 verie.' Quarto, of 4 leaves; gothic type.'^ 
 
 Towards the end of 1536, Mallard published the ' Copie de I'arrest du 
 grand conseil donne a I'encontre du miserable empoisonneur de mon^ 
 seigneur le dauphin,' etc. An octavo sheet printed in two signatures. On 
 the verso of the title begins the text of the decree, promulgated at 
 Lyon Saturday, October 7, 1536; then come several pieces by Jean Henon 
 and 'a "dizain" by the printer hereof in sorrow for the death of the Dau^ 
 phin': ten wretched lines, ending, by way of signature, with the words 
 
 1. Jr chives de P Empire, carton S, no. 18. — See also Les Trois Hots de la Cite, by M. 
 Adolphe Berty, p. i 5. 
 
 2. See Part z, § iii, no. 6. 
 
 3 . The existence of Tory's bindery is proved by the numerous bindings with the Pot Casse, 
 not only of books from that artist's presses, to which I have already referred, but of books 
 printed by others. I will mention particularly a lovely book of Hours, octavo, on vellum, printed 
 by Herman Hardoin about 1527, and preserved in the Bibliotheque Nationale. 
 
 4. Olivier Mallard the printer was probably a relative of Jean Mallart the writer, whose 
 name appears about the same time in the accounts of Francois I : 'To Jehan Mallart, writer, 
 for writing unes heures [a book of Hours] on parchment, presented to the king to be illumi- 
 nated, xLv livres as a gift, charged upon the denier s de P espargne a P entour du roy.' (From a 
 roll not dated, but circa 1538, published by M. de Laborde, Renaissance des Arts, vol. i, p. 
 924. ) These Mallards were probably of Norman origin, for there were about the same time 
 several booksellers of that name at Rouen. One of them, indeed, Jean Mallard, had the Pot 
 Casse for his sign in i 542. He was probably a brother of Olivier, who had authorized him to 
 adopt that symbol. (See Heures a I' usage de Rouen, octavo, gothic type, 1542.) I am in- 
 debted for this information to the learned author of the Manuel du Bibliophile normand, M. Ed. 
 Frere. 
 
BIOGRAPHY 39 
 
 'tout par moien,' of which I have been unable to discover the anagram' 
 matic significance. On the verso of the last leaf we read: 'All booksellers 
 and printers in the city and provostry of Paris are forbidden to print or 
 put on sale this present " copie " v^dthin three months, on pain of confisca^ 
 tion thereof, and of a fine, save only M. O. Mallard. Given at Paris this 
 XVIII October, 1536. — I. Morin.' 
 
 Thus we see that, even if Mallard was not as yet king's printer, he was at 
 least the official printer. I cannot give the exact date of his appointment 
 as king's printer; but he certainly held that office in 1537, since in that 
 year he published a little octavo volume in which he assumed the title.' 
 The book is entitled : ' De judiciis urinarum tractatus exprobatis collectus 
 authoribus, etc. — Excudebat O. Mallardus, bibliopola ac impressor regius. 
 — Anno Domini 1537, 8 id. Martii' (March 8).^ He also published in that 
 year, in the same capacity, two works of Jean Gillot:^ 'De juridictione 
 et imperio libri duo,' and 'Isagoge in juris civilis sanctionem' (quarto), 
 on the title-page of which, below the Pot Casse, are the words: ' Vasnit 
 O. Mallardo, regio typographo ac librario, sub signo Vasis fracti.'"^ 
 
 It is probable that Fran9ois I made no difficulty about accepting 
 Tory's successor as his printer; but he availed himself of Tory's death 
 to remodel the institution of king's printers. He restricted Mallard's 
 functions to the printing of French, and in the year 1538 appointed two 
 other king's printers, one, Conrad Neobar, for Greek, the other, Robert 
 Estienne, for Latin and Hebrew, as an essential complement to the 'Col' 
 lege des trois langues,' now the College de France, which he had recently 
 founded. We have not the document which conferred upon Robert 
 Estienne the title of king's printer; but we have proof that he held that 
 title in 1539. Maittaire declares, upon what evidence I know not, that 
 Robert was appointed on June 24 of that year. I am of the opinion that 
 his appointment was of earlier date, that is to say, that it goes back, like 
 Neobar 's, to 1538, or, to speak more accurately, to the beginning of 
 1539. In fact, we find him assuming the title of king's printer ('typo' 
 graphus regius') in several works printed by him during that year. 
 Furthermore, I may mention the fact that, in a most interesting edict 
 concerning the printers of France, dated August 31, 1539, the king 
 
 1. It was this publication, no doubt, that led Papillon to say that Tory died in 1536. 
 ( Traite de la gravure sur hois, vol. i, p. 509. ) 
 
 2. Bibliotheque Nationale. 
 
 3. 'Caussarum in suprema Parisiorum curia patronus.' This mouth-filling phrase presumably 
 means avocat in the Parliament of Paris. 
 
 4. Bibliotheque Nationale. 
 
40 
 
 GEOFROY TORY 
 
 already refers to the fact that he has 'of late created and ordained — in 
 order to have a copious supply of useful and essential books — royal 
 printers in the Latin, Greek, and Hebrew tongues.' ' 
 
 We have not the letters patent of Robert Estienne, but we are more 
 fortunate in respect to Neobar, for we have the document by which he 
 was created king's printer for Greek.'' This curious document, which 
 does so much honour to Fran9ois I, well deserves to win oblivion for his 
 unlucky edict of proscription against printing, rendered January 13, 1535 
 (new style), which has been invoked against his memory several times in 
 recent years, although it was never put in execution. On Neobar's death 
 in 1540, Robert Estienne succeeded him as king's printer for Greek, re-' 
 taining the title for Latin and Hebrew. 
 
 The king's fondness for the classics did not lead him to neglect the 
 French language: in 1539 he promulgated a celebrated ordinance, to the 
 effect that 'henceforth all decrees, etc., shall be pronounced, recorded, and 
 delivered to the parties concerned, in the mother tongue.' 
 
 In 154 1, Olivier Mallard, who had acquired all of Tory's typographic 
 paraphernalia, published a book of Hours of the Virgin, in Latin, octavo, 
 with the borders 'a la moderne' to which I referred on page 25. It is 
 copied doubtless from the edition put forth by Tory about 1530, which 
 I have never been fortunate enough to see. Of the edition of 1541, 1 have 
 seen one copy on vellum, and another on paper. It consists of 23 octavo 
 sheets (signatures A to Y), and has on the tide^page: 'Horas in laudem 
 beatissim. Virginis Maris adusum Romanum.' (Pot Casse) 'Parisiis, apud 
 Oliverium Mallardum, sub signo Vasis effracti. — 1541.' 
 
 In the following year Mallard published another edition of the Hours 
 of the Virgin, in quarto, Hke the one issued by Tory in 153 1. 1 shall speak 
 of it in detail in its place.^ Here I will simply say that the book was fin' 
 ished in the month of August, 1 542. 
 
 On the twenty ^second of the same month. Mallard renewed the lease 
 of his quarters in the Halle aux Bles de Beauce, which lease had been 
 given nine years earlier to Tory's widow and Martin Feret, at a rental of 
 122 livres 10 sous, tournois. The rental was increased for Mallard, who 
 had to pay 130 livres, plus 4 ecus d'or au soleil 'for the time of the said 
 leasing.' Olivier Mallard did not long enjoy his lease, for he died that 
 
 1. Crapelet, Etudes pratiques, etc., p. 48. 
 
 2. In Appendix VI will be found [an English version of] M. Crapelet's [French] trans- 
 lation. I have given the original text in my work on the Estiennes, pp. 1 1 fF. 
 
 3. See Part 3 (Iconography), under 1541 and 1542. 
 
 4. The rent of these premises, which was only 16 livres in 1420, and 22 in 1498, was 
 
BIOGRAPHY 
 
 41 
 
 same year. His last printing, according to La Caille, who writes the name 
 Maillard,' was a translation of the Dialogues of Plato, by Simon de Va/ 
 lembert, published in 1542. 1 have been unable to find this book in Paris, 
 but I have seen another, probably of later date, at the bookshop of M. 
 Techener ; it is entitled: ♦ Le livre de Ange Bologninus, de la curation des 
 ulceres exterieurs, traduit de latin en francoys. — Paris, au Pot Casse, en 
 limprimerie de Olivier Mallard, libraire et imprimeur du roy. 1542.' It 
 is an octavo of four signatures. As the license is dated December i, this 
 little book is probably the last one printed by Mallard, as he was suc" 
 ceeded in the following year, as king's printer for French works, by Denis 
 Janot (one of the most skilful printers in Paris), as is set forth in the let-* 
 ters patent, which will be found in Appendix VII. Appendix VIII con^ 
 tains a complete list of the king's printers who lived in Paris. 
 
 Mallard's typographical apparatus seems to have been acquired by Jean 
 Kerver, son of the first Thielman Kerver, living on rue Saint Jacques,^ at 
 the sign of the Gril (' sub signo Gratis ') , who printed several editions of the 
 Hours in octavo, with the borders ' a la moderne ' used by Mallard in 1 5 4 1 . 
 The sign of the Pot Casse, which Kerver did not need, was adopted by a 
 bookseller of Chartres, named Richard Gotereau, who seems also to have 
 bought some of Tory's woodcuts representing that mark. In fact I have 
 seen one, which I have never seen on any of Tory's books, in a book 
 printed in Paris for Gotereau by Nicolas Ghrestien; it is: 'Le Goustumier 
 de la baronnye, chastellenie, terre et seigneurie de Ghasteauneuf en Tym^ 
 erays'; octavo, 1557. The title-page is an engraving of the Pot Gasse,with 
 the design reversed,^ like that of the title of 'Ghamp fleury,' but signed 
 with the double cross; and beneath are the words: 'Pour Richard Cote-* 
 reau, libraire, demeurant a Chartres, en la grande rue, a I'enseigne du Pot 
 Casse.' 
 
 Philippe Gottereau, evidently the son of Richard, and king's printer 
 at Blois, used the same mark. I have seen it on a small book printed by 
 him in 1603: 'Reglement pour I'instruction des proces qui se conduiront 
 au bailliage et siege presidial de Bloys.' Two octavo sheets. 
 
 It would seem, however, that the sign of the Pot Casse, which remained 
 for some time longer on the Halle de Beauce, also remained on the house 
 originally occupied by Tory, on rue Saint Jacques, for we find a printer 
 
 raised to 1 60 livres in 1551,10 200 in 1567, and t0 4Ooin 1605. ( Les T '■ois Hots de la Cite, 
 by Adolphe Berty, p. 15). It seems that the raising of rents in Paris is not a modern invention, 
 
 1. Hist aire de P Imprimerie, p. 1 10. 
 
 2. His mother, lolande Bonhomme, widow of Thielman Kerver, first of the name, also 
 lived on rue Saint- Jacques, at the sign of the Licorne ( Unicornis') . 3 . See p. 47 infra, no. i o. 
 
42 GEOFROY TORY 
 
 named Michel de la Guierche living at that sign. See, among other works, 
 'M. T. Ciceronis ad M. Brutum Orat. — Paris, apud Mich, de la Guierche, 
 sub signo Vasis effracti, in vico Jacobeo.' Quarto, without date, but with 
 documents of 1542 and 1 543.' But the Pot Casse itself does not figure in 
 his books. 
 
 Tory's widow seems to have retained his engraving establishment for 
 a considerable further time. Although engrossed by her numerous under/ 
 takings, she found time nevertheless to have some of her husband's books 
 reprinted, and among others the 'Sommaire de Chroniques d'Egnasius,' 
 in 1 54 1, 1543, 1544, for the bookseller Charles L'Angeher, and 'Champ 
 fleury,' in 1549, for the bookseller Gualtherot. I say that she had these 
 books reprinted, but I ought rather to say, perhaps, that she allowed them 
 to be reprinted, for there is nothing to suggest her cooperation in the 
 work. Literary property did not then exist. 
 
 In the new edition of * Champ fleury,' which by the way no longer 
 bears that graceful title, the Pot Casse does not even appear, although 
 the explanation of the mark is allowed to remain. It was doubtless a book' 
 seller's speculation.^ However that may be, this reprint forms an octavo 
 volume of 160 leaves (the folio has 80), in addition to the preliminary 
 matter, of which there are 1 6 leaves (8 in the folio) ; it is entitled: ' L'Art 
 et Science de la vraye proportion des Lettres Attiques, ou Antiques, autre/ 
 ment dictes Romaines, selon le corps et visaige humain, avec I'instruction 
 et maniere de faire chiffres et lettres pour bagues d'or, pour tapisserie, 
 vitres et painctures. Item de treize diverses sortes et fa^ons de lettres; 
 d'avantage la maniere d'ordonner la langue franfoise par certaine regie 
 de parler elegamment en bon et plus sain langage fran^ois que par cy 
 devant, avec figures a ce convenantes, et autres choses dignes de memoire, 
 comme on pourra veoir par la table, le tout invente par maistre Geoffiroy 
 Tory de Bourges.' 
 
 I have copied this long title at full length only to give myself an op/ 
 portunity to call attention to the progress that had been made by French 
 typography since the day when Geofroy Tory published his first edition, 
 and, indeed, as a result of that same publication. We find here the accents, 
 the apostrophe and the cedilla, upon the absence of which the author had 
 commented in 1529. So that we may say that the whole grammatical 
 
 1 . Bibliotheque Nationale. 
 
 2, In the preceding year, an analogous book was published at Rome, under this title : Libra 
 di M. Giovanbattista Palatino, cittadino Romano, nel quel i' insegna a scrivere ogni sorte lettera, 
 antica et moderna, di qualunque natione, con le sue regole et misure, et essernpi: et con un breve 
 et util discorso de le cifre, etc. Quarto, Rome, 1548; with i 5 plates. 
 
BIOGRAPHY 43 
 
 portion of his book had become useless as a direct result of the first edition 
 of that book. This is a fact to which the editors of the second edition paid 
 no heed, as they allowed Tory's observations to stand as they were writ/ 
 ten, while introducing into their text the novel signs I have just men-' 
 tioned. For instance, they repeat that c has two sounds, one hard, as in 
 •coquin,' etc., the other soft, as in ' fran9ois,' etc. But by adding the cedilla 
 in the last word they destroy the sense of the criticism made by Tory 
 in 1529.' 
 
 It does not appear by whom the book was printed; we learn only on 
 the last leaf that it was finished August 26, 1549, 'pour Vivant Gual^ 
 therot, libraire jure en I'Universite de Paris, en la rue Saintjacques, a 
 I'enseigne de Saint Martin.' 
 
 In order to adjust Tory's woodcuts to the smaller format, they were 
 somewhat mutilated; indeed some of them were omitted altogether, 
 among the number those representing the Pot Casse, which probably 
 remained in the possession of Olivier Mallard or his successors, and which 
 it was not deemed essential to have engraved anew for this reprint, for 
 it was executed as cheaply as possible, and as if for the purpose of utilize 
 ing such woodcuts as remained at the disposal of Tory's widow.'' The 
 work was subjected to some further moc^cations in this edition. For 
 instance, all dates were suppressed in the preliminary matter, which also 
 was arranged in a different order. Even the license granted by Francois I 
 was omitted as having become useless; but no change was made in the 
 actual arrangement of the work, nor was there a single addition or emend" 
 ation. 
 
 Thus Tory, at his death, was able to flatter himself that he had con-* 
 tributed materially to the improvement of his mother tongue, which he 
 loved so well. He died, as I have said, in 1 533, and not in 1 550, as is erro/ 
 neously stated in a poetical epitaph composed nearly a century after our 
 printer's death, by liis compatriot, Nicolas Catherinot, at the request and 
 from the notes of Jean Toubeau, himself a printer of Bourges, and a de" 
 scendant of Tory, through his mother. 
 
 Here is the epitaph, as given by La Caille:^ — 
 
 I • It might perhaps be interesting to publish this book to-day (it is now very rare), scrupu- 
 lously following the first edition, as has been done in the case of Palsgrave's Lesclaircissement 
 de la langue francoise. 
 
 2. The floriated letters engraved by Tory which appear in the course of the book, and of 
 which the entire alphabet is given on the verso of folio 7 8 of the first edition, are replaced in 
 the second by letters of an entirely diiferent make. 
 
 3. Histoire de I' Imprimerie, p. 99. 
 
44 
 
 GEOFROY TORY 
 
 To Geofroy Tory, 
 Born at Bourges, 
 Educated at Paris, 
 Accomplished Scholar in both Latin and Greek, 
 Most devoted Lover of Letters, 
 Very expert Printer 
 And 
 Learned Author, 
 
 Inasmuch as he wrote elegant Distichs on the Parts of the House, 
 Composed some humorous Epitaphs in Latin in very ancient Style, 
 Translated Treatises of Xenophon, Lucian, and Plutarch 
 
 From Greek into French, 
 Taught Philosophy at Paris in the College of Burgundy, 
 Was the first Man to discuss seriously the Art of Printing, 
 Described the Forms of the Letters, or Characters, of the Alphabet, 
 Taught Garamond, Chief of Engravers, 
 Always performed the Duties of a good Man until he died 
 In the Year MDL:' 
 
 At the Instance 
 Of Jean Toubeau, 
 Likewise Printer and Author, 
 Mayor, 
 Alderman of Bourges, 
 Ambassador on very delicate State^matters 
 
 To the King and Council, 
 Great^great'grandson of the same Tory, 
 Heir of a famous Printing Establishment, 
 Nicolas Catherinot, noble Citizen of Bourges, 
 Counsellor of the King, and Senator, in the Metropolis of Bourges, 
 From his tender Years uninterruptedly to the present Day 
 Most closely associated with the Business of Printing, 
 Wrote this Epitaph, hastily and rapidly, at the End of November, 
 
 MDCLXXXIV.^ 
 
 I. It will be seen that I apparently had most excellent grounds for saying in my first edi- 
 tion that Tory lived until after i 5 50. Could one imagine that a historian of Berry, a townsman 
 of Tory and friend of Jean Toubeau, could blunder so stupidly concerning the date of our art- 
 ist's death ? La Caille even makes him live until the close of the sixteenth century. 
 
 z. [For the Latin original, see Appendix X,/".] 
 
BIOGRAPHY 
 
 45 
 
 The only relic that we have of Tory to-day, outside of his books and 
 works of art, is a volume from his library, as his signature in the genitive 
 case indicates. It is a manuscript on vellum, containing the orations of 
 Cicero against Verres, in Latin. This volume was acquired, presumably 
 after Tory's death, by his patron Jean Grolier, who wrote his motto at 
 the end of the text: * Joannis Grolierii Lugdunensis et amicorum.' From 
 the library of this illustrious bibliophile, the manuscript passed to Colbert's 
 library, then to the king's. It is preserved to-day [1857] in the Biblio' 
 theque Nationale. We give below a facsimile of Tory's signature, which 
 appears on the first flyleaf: — 
 
 Tory made use of ten marks, besides the Pot Casse that appears on 
 his bindings. We reproduce them all, although only two (nos. 5 and 10) 
 are signed.' Some of them were used by other booksellers after him, as 
 we have already seen. 
 
 No. I z 
 This mark is to be found in the borders of the 
 Hours(quarto)of 1527. (See page37, supra.) 
 
 No. 2 
 
 This form of the Pot Casse appears in the bor'- 
 ders of the Hours (quarto) of 1524- 1525, 
 alike in the copies which bear the imprint of Tory and in those printed 
 by Simon de Colines. (See page 37, supra; also Part 2, § 2, no. i, infra.) 
 
 3 No. 3 4 
 
 This variation will be found on 
 the first page of those copies of 
 the Hours (quarto) of 1524- 1525 
 which bear the imprint of Tory. 
 (See Part 2, § 2, no. i (2d and 3d), 
 infra.) 
 
 No. 4 • 
 
 This appears on the title-page of 
 'Champ fleury.' (Silvestre, 'Mar/ 
 ques Typographiques,' no. 931.) 
 
 I. [Tory's signature referred to consists in the double, or Lorraine, cross found on nos. 
 5 and 10.] 
 
46 
 
 GEOFROY TORY 
 
 No. 5 
 
 This appears on folio 43 
 verso, of 'Champ fleury.' 
 (Silvestre, no. 803.) 
 No. 6 
 
 This mark, which differs 
 from no. 5 only in the ah-- 
 sence of the cross of Lor^ 
 raine, appears on the last 
 page of 'Champ fleury.' I 
 am unable to suggest any 
 reason for the removal of 
 the cross. (Silvestre, no. 
 171.) 
 
 No. 7 
 
 This mark is found only at the end of the little poem written by Tory 
 on the death of his daughter, which was published February 15, 1524, 
 new style. We have already referred to this poem on page 15 ; but it is 
 reproduced at length in Part 2, § i, no. 9, 
 
BIOGRAPHY 
 
 47 
 
 lO 
 
 No. 8 
 
 This mark, which differs from the preceding only in the omission of the 
 little figure in the clouds, appears on the last page of the Hours of 1524- 
 1525 (those copies with Tory's imprint) in Latin. (SOvestre, no. 356.)' 
 o No. 9 
 
 This mark appears on the titlo'page of the Hours 
 (quarto) of 1527. It was used by Jean Mallard, 
 bookseller at Rouen, 1542.^ (Silvestre, no. 604.) 
 
 No. ID 
 
 I have never as yet seen this 
 mark in any book of Tory's; 
 but I have found it in books 
 published by Richard Cote^ 
 reau, bookseller at Chartres, 
 in 1557, and by Philippe Co^ 
 tereau, bookseller at Blois, in 
 1603. (See p. 41, supra.) The 
 presence of the Lorraine cross 
 is, it seems to me, a sufficient 
 proof that it should be attributed to Tory. 
 (Silvestre, no. 929.) 
 We have already observed that Tory was not only a bookseller and 
 printer, but a binder as weU. To complete the list of our artist's profess 
 sional acquirements an example of the toolings that he used to decorate 
 the covers of some of the volumes bound by him, is reproduced [on the 
 cover of the present volume.^ The reproduction is from the cover ofa copy 
 of the works of Petrarch, printed at Venice in 1 525, and now preserved 
 in the Library of the British Museum . ] The Pot Casse , in its simplest form, 
 appears among the arabesques of this binding. Tory had also had engraved 
 a larger plate of the same, for use on the binding of quartos, or, rather, 
 of folios. The design is almost identical. Sometimes the Pot Casse is ac/ 
 companied by the drill. This design appears on a copy of Macault's trans^ 
 lation of Diodorus Siculus, printed as late as 1536, 'au Pot Casse.' This 
 beautiful volume, in M. Didot's magnificent library, is sufficient proof 
 that Tory's widow continued his various industries for a considerable time. 
 
 It is hardly necessary to say that the same tools could, with some slight 
 additions, be used in binding volumes of all sizes, from the octavo up. 
 
 1 . See Part 2, §11, no. 2(2). 2. See p. 38, note 4, supra. 
 
 3. One of our most skilful binders, M. Cape, used this design in his bindings. An example 
 may be seen on a copy of the Hours (quarto) of 1 527 in the Bibliotheque Nationale. 
 
IN the first part of this vol^ 
 ume I have made cursory 
 mention of some of the books 
 published by Tory, and espe'' 
 cially of those which may be 
 said to offer some biography 
 ical information ; in this part 
 I propose to describe in de/ 
 tail all the books to which he 
 put his name in any capacity, 
 and of which we of to-day 
 have knowledge. To make 
 my description clearer I shall 
 divide these books into four 
 sections, the titles of which 
 will explain themselves. 
 
 O M NI S T A Ns 
 DEM MARCE: 
 SCIT FLOS. 
 
SECTION I. 
 
 WORKS WRITTEN OR ANNOTATED BY TORY. 
 
 I 
 
 PoMPONius Mela, De totius orbis descriptione. Author lucu' 
 
 LENTISSIMUS, NUNQUAM ANTEA CITRA MONTES IMPRESSUS/ (Mark 
 
 of Jehan Petit.) ^ 
 
 QUARTO, of 45 numbered leaves, plus 1 1 leaves of index ; in all, 56 
 leaves, or 14 sheets, arranged in 9 signatures of two sheets and one, 
 alternately. Signatures a, c, e, g, and / have two sheets [ 1 6 pages] each; sig^ 
 natures c/,f, h, one sheet [8 pages] each. 
 
 The whole book is printed in roman type, except the first line of the 
 title-page, which is gothic, and a few Greek words here and there. 
 
 As we have seen, this book was for sale by Jean Petit, but it was printed 
 by Gilles de Gourmont, solely because of the Greek words just mentioned. 
 So Tory himself tells us in a note at the end of the text, folio 45 : ' Curavi 
 siquidem accuratissimo impressori dare, qui etiam primus apud Parisios 
 gr^is caracteribus lotissimas addidit manus.' ^ 
 
 On the verso of the first leaf is a letter of the publisher, Geofroy Tory, 
 to his friend Babou, thus conceived: — 
 
 1 . It goes without saying that in the numerous quotations which I shall make from these 
 books I shall do away with abbreviations and supply punctuation. To do otherwise would be 
 to give the reader of to-day, who is unfamiliar with the tachygraphy of the Middle Ages, simply 
 a succession of undecipherable puzzles. It is a difficult task to restore the Latin texts according 
 to the first impressions. I have taken it upon myself, so that the reader may have the pleasure 
 of reading without difficulty. What I have said must be my apology for such errors as I may 
 have made in my work of restoration. 
 
 2. Bibliotheque Mazarine. 
 
 3. Gilles de Gourmont was in fact the first printer in Paris who had Greek type. See my 
 Les Estienne, pp. 62,67. 
 
Geofroy Tory of Bourges to Philibert Babou, citizen of Bourges, very 
 deserving treasurer and valeUde^chambre of the most serene king of 
 the French y humblest greeting. 
 
 On looking recently into Pomponius Mela, most illustrious Philibert, 
 Mela who is the most trustworthy of the writers on geography, I found 
 him so corrupt and so badly mutilated that 
 — Lo, before my eyes, in saddest plight, 
 
 The author seemed to stand and burst in tears.' Virg. jEn. ii. 
 
 Lo, I say, 
 
 All black with dust and blood, — ah, sad, sad sight, — 
 By two/horse chariot dragged, his swollen feet 
 Torn through with thongs . . . 
 
 How from the bottom of his heart he groaned. Id. ibid. 
 
 In such words as these did he seem to complain: Am I, then, who de^ 
 scribed so elegantly all those many lands, those many peoples, those 
 islands, rivers, straits, seas, and whirlpools, I who ventured so confidently 
 upon the description of the whole world, am I to remain thus maimed, 
 thus mutilated, thus disfigured? 
 
 — Ah me, how hacked am I, 
 
 How like that Hector who erstwhile brought back 
 
 ... his squalid . . . locks 
 
 I . I have arranged these verses in lines, although in the book the lines are indicated simply 
 by capital letters; and I warn the reader that several wfords were changed by Tory in order to 
 adapt the verses to his subject. [The changes are in fact considerable, especially in the third pas- 
 sage, which is made up of parts of five lines, with several changes, one of which results in an 
 entire reversal of the meaning. The English versions of these passages are adapted from Long's 
 translation of the jEneid. For the Latin original, see Appendix X, 
 
52 GEOFROY TORY 
 
 All stiff with blood, and many a wound he got 
 
 About his country's walls. id. ibid. 
 
 Unless some helping hand be stretched forth, I shall soon surely die. 
 
 In time Machaon healed the loathsome limbs of Philoctetes, 
 And Phillyreian Chiron gave to blinded Phoenix sight; 
 
 The god of Epidaurus, at a father's fond entreaties, 
 
 By Cretan herbs Androgeos brought again to realms of light.' 
 
 But verily I believe that 
 
 He who'll cure this pain of mine is certain of succeeding 
 
 In giving Tantalus the fruit that cheats his eager palm. 
 Yea, he the pierced pails may fill, and heavy burden lighten, 
 
 The slender Danaids endure, with ceaseless toil opprest; 
 From the bleak cliff of Caucasus unchain the fettered Titan, 
 
 And scare away the bird of prey that tears his mangled breast.' 
 
 I naturally said to myself on the spot : If I were Machaon, or Chyron, or 
 yEsculapius, I should be glad to remedy this matter. But what if I were 
 to make such slight effort as I can? Might I not be able to be of service? 
 Perhaps; at least, I should have tried, and I should have had this object 
 in view : to make him somewhat more free from faults. 
 
 And if my powers of song should fail — to dare were surely fame: 
 Enough that I have had the will; no higher praise I claim. 
 
 Proper, ii, ad Musam (^ad Augustum?). 
 
 I have accordingly added a very few annotations; provided with which, 
 under the protection of your name (for you are a devoted admirer of 
 letters and lettered men), under, as the saying is, favourable auspices, let 
 Pomponius Mela now go forth in greater security than before. Farewell. 
 Paris, vj no. Decemb. mcccccvii.^ 
 
 At the end of the text, on folio xlv, we find the following : ^ — 
 Here, then, you have, most illustrious Philibert, Pomponius Mela, 
 purged of the many errors in which he abounded. I took the trouble to 
 put him in the hands of a very careful printer, one who was, besides, the 
 
 1. Proper, ii, ad Macenatem. [The translations from Propertius are those of Cranstoun.] 
 
 2 . Doubtless we should read • iv no. ' for there was no sixth of the nones of December. The 
 fourth of the nones fell on Dec. 2. But perhaps we should read 'vj id.'; the sixth of the ides 
 of December fell on Dec. 8. 
 
 3. [For the Latin original, sec Appendix X, h.'\ 
 
BIBLIOGRAPHY 53 
 
 first Parisian to give to the Greek characters a form of superior elegance. 
 I have been pleased to revise the text with special care and to add a very 
 few annotations, so that, when it should come into your hands, and later 
 on into the hands of the public, it might come in a more polished and 
 finished form. You, now, with Mela in hand, may, Kke Phiclus, who, as 
 the story goes, ran over the tops of the grain/^elds without breaking the 
 ears, traverse and re^raverse, not only in security, but confidently and 
 resolutely, the whole world. If you wish to lay hold of tigers, swiftest of 
 animals, and to see from a safe vantage the catoblepas, if you wish to 
 meet dragons and wild beasts. Satyrs, Pans, and Silvani, if you wish to see 
 the Indians, ' the Britons, separated by a world between,' the Sauromatae, 
 the Africans, and all the peoples that lie between these, and learn of 
 their wonderful habits, then take but this world, I mean Pomponius, 
 many times in hand, and without doubt you will there be able to see 
 and to know them all as in no other way. Farewell and forget not yours 
 ever faithfully. 
 
 Paris, 24 December. 
 
 civis. 
 
 To Pomponius Mela. 
 Mela, the many errors in which you abounded have been cast forth ; 
 few are the faults that remain with you. Better far and more perfect in 
 form do you stand forth now than formerly you did. This is the accom^ 
 plishment of my small hand. 
 
 To Philibert Babou. 
 That my life for many years has been due to you, these two short 
 verses, Philibert, now testify. Whatever 'alpha' belonged to me in my 
 tender years, that your happy 'omega' wished to bear. 
 
 CIVIS. 
 
 At the end of the index, on the verso of the penultimate sheet, is a 
 list of errata beginning thus: — 
 
 ^ 'Since nothing is more difficult than to be wholly free from error, it 
 seems quite proper that I should, with the kind consent of the reader, con/ 
 sider a very few of the very few mistakes of this book: thus, for example, 
 where "potuit" is found in the epistle, "possit" should be written.' 
 
 I . [For the Latin original, see Appendix X, /.] 
 
54 
 
 GEOFROY TORY 
 
 This list also is signed * civis.' Beneath it is a short poem entitled : 
 ' Carolus Rousseus ad lectorem tetrastichon.' And on the recto of the last 
 leaf: 'In the year of the incarnation and of our salvation, 1507, the tenth 
 day of January,' this work was printed by Gilles de Gourmont, and was 
 very carefully revised by Tory of Bourges, at Paris.' (Mark of Gilles de 
 Gourmont.) 
 
 2 
 
 COSMOGRAPHIA PlI PaP^ IN Asi^ ET EUROP^ ELEGANTI DESCRIP/ 
 
 TiONE, etc. Paris, Henri Estienne [1509]. 
 
 Quarto, of 152 leaves of text, preceded by 12 unnumbered leaves and 
 a folio cut representing the ancient world. On the second preliminary 
 leaf is Tory's dedicatory epistle to Germain de Gannay, thus conceived: 
 
 To the reverend Father and Lord in Christ, Germain de Gannay, 
 bishop^elect of Cahors, Geofroy Tory of Bourges proffers most humf 
 ble greeting."^ 
 
 I here present, most excellent prelate, in more accurate and emended 
 form than that in which he has hitherto been read, Pope Pius, an author 
 who, in his Description of Asia and Europe, is much to be admired both 
 for the dignity and for the singular worth of his work. In looking for some 
 one to whom he, in behalf of his book, freshly issuiag from the printing/ 
 office, might straightway most devotedly offer his respects, some one 
 select, devoted to letters, and possessed of the highest virtue, I could think 
 of no one more to be desired, more worthy than you. That the Supreme 
 Pontiff himself should go to visit you, a most venerable bishop, seemed to 
 me a thing not without humour. That he, I say, who was a meritorious 
 writer of geography, and, as you will be able to see, of history well deserve 
 ing to be read, should come and embrace you, lover and cultivator of every 
 form of polite literature, I thought a thing very appropriate. It was like 
 setting the gem to the gold, or the ' encaustum,' that is picture drawn with 
 fire, to the silver, it was like conferring the palm upon the victor ; and that 
 most certainly is nothing other than to join the good to the good, the glori/ 
 ous to the glorious, the deserving to the deserving. But along with these 
 reasons there is still another reason why to you of all persons this most 
 illustrious work should very properly be dedicated: it was at your instance 
 and suggestion that I divided the work into chapters and gave to its parts 
 
 1. Jan. 10, I 508, new style. 
 
 2. [For the Latin original, see Appendix X,y.] 
 
BIBLIOGRAPHY 
 
 55 
 
 a more convenient arrangement. That you first, and then that all other 
 students andreaders,may,aswasyour wish, findandremember the parts 
 of the earth, which are many in number, and the things in them that are 
 interesting to know about, more easily and conveniently, I have divided 
 the book thus : the names of rivers, towns, places, rulers, and other inv 
 portant matters I have put in separate chapters and marked with mar-* 
 ginal captions ; these names are also all to be found, provided with num^ 
 bers, in the index. This little work of mine, therefore, I dedicate to you, 
 my lord, in deepest reverence and with sincere feeling. It is certainly 
 far from being what I should offer to so reverend a father, but you, 
 whose goodness and integrity, which are perfectly evident to me, all 
 praise in the highest terms, will, if it so please you, take the book into 
 your most pure hands and bestow upon it the favour which you are ac 
 customed to bestow upon works of this kind. Farewell, 
 Paris, at the College of Plessis, 2 Oct., a.d. 1509. 
 
 Next comes a ' table,' which fills eleven leaves, on the verso of the last 
 of which we find the following note to the reader : — 
 
 Geofroy Tory of Bourges to the Reader.^ 
 You will find the words 'eruere, contendere, misf re,' and many others 
 of the same sort, written with an e in the penult : this was done in order 
 that the perfect indicative, which regularly has a long penult, might 
 show its quantity (which you are to utter in reading), as distinguished 
 from that of the present and past imperfect infinitive, which in the third 
 conjugation always shortens its penult. It is with pleasure that I have 
 imitated and adopted the very elegant and finished formof writing which 
 is used in the 'PsalteriumQuincuplex,'^ recently published. You will also, 
 though rarely, find this q used, after the fashion of certain authors, for ce 
 
 1 . [For the Latin original, see Appendix X, k."] 
 
 2. Following the course pursued in the Psalterium ^incuplex, published shortly before by 
 Henri Estienne, Tory proposed to write with a cedilla the last e but one of the third person 
 plural of the perfect tense of verbs of the third conjugation (^emere, contendere, etc. ), to distin- 
 guish it from the infinitive. In our day the circumflex accent has been adopted for this purpose; 
 but accented letters did not exist in Tory's time, and he sought to utilise, in the interest of the 
 metre, the only distinctive sign at the disposal of typography, the e with the cedilla, which was 
 then generally used for a, in imitation of the manuscripts of the Middle Ages. Tory also pro- 
 posed to spell with s, instead of x, certain words like mixtum ; < for,' he said, ' mis ceo has 
 miscui'm the perfect; and so, by analogy, we must say mis turn.' 
 
 I will not comment here on some other observations of the same sort made by Tory in this 
 same note to the reader; I will say simply that they all tend to prove his erudition and peremp- 
 torily contradict the extraordinary assertion of a certain Abbe Joly, who, in a huge folio, en- 
 titled Remarques critiques sur le Dictionnaire de Bayle, and published in 1740, observes that 
 Tory was « very ignorant,' without adducing a single fact in support of his opinion. In the 
 
56 
 
 GEOFROY TORY 
 
 in some words, and similarly at times in the genitive and dative singular, 
 and in the nominative and vocative plural, of the first declension. I have 
 furthermore written designedly 'mistum' with an j- instead of an x, — 
 for 'misceo' makes its perfect 'miscui,' whence by analogy 'mistum,' 
 — 'intellego,' 'toties,' 'quoties,' 'litus,' 'opidum,' 'litera,' 'tralatum,' 'ali^ 
 quando,' and other similar forms, which are to be written according to 
 6p6oypa<f)La, that is to say, correct spelling. The word 'Turca' also, which 
 many make in the second declension, I have written in the first. I follow 
 herein with approval Michael Tarchaniota Marulus of Constantinople in 
 his lines addressed to Charles, King of France. These are his words: ' Invin^ 
 cible king, scion of the race of Charles the Great, whom the holy prophet 
 cies of so many men, of so many gods, demand as the vindicator of fallen 
 justice and loyalty ; whom here the sad Ausonian land, there Greece with 
 streaming locks, calls, and whate'er of Asia and wealthy Syria the cruel 
 Turk profanes,' etc. 
 
 In writing the accusatives ' plureis,' ' parteis,' ' omneis/ ' monteis/ in ' eis* 
 I have believed that I was writing good grammar and good Latin, follow^ 
 ing therein Priscian, book 7, the chapter on the accusative plural of the 
 third declension. This form is valuable for distinguishing the accusative 
 from the nominative, and has been used by a thousand authors, of which 
 great number it is sufficient at present to cite as witnesses Sallust, Virgil, 
 and Plautus. Sallust, who used the first word also, says in the Catilinarian 
 War: 'Omneis homines qui sese,' etc. Virgil in the first JEntid: 'Hie 
 
 fessas non vincula naveis Ulla tenent ' Plautus in the Aulularia: 'Quid 
 
 est? quid ridetis novi omneis, scio fures hie esse complureis.' I have been 
 pleased to make this explanation, good reader, so that you not only might 
 know what pure speech is, but also, both in reading and in speaking, 
 might have pleasantly at hand, like finger-posts, and might use, pure 
 words. Farewell. civis. 
 
 On folio 152, after the errata, we read: 'Impressa est haec Asiae et 
 Europe quam elegantissima historia per Henricum Stephanum, im^ 
 
 Menagiana (vol. iv, p. 84 of the i2mo edition of 1729) Tory is rebuked, to be sure, for 
 forging Latin words, after the example of the author of the Songe du Poliphile ; but this is a 
 less serious charge, and is not a proof of ignorance ; on the contrary it proves misuse of know- 
 ledge. Geofroy Tory, says the author, attracted by the style of the Poliphile, composed seven 
 epitaphs filled with words most worthy of a place in that work, • such as murmur illare, insati- 
 anter, hilaranter, pederaptiniy velocipediter, eegrimoniosius, avicipes, conspergitare, venustu- 
 letitissus, vinulentibibulus, apneumaticus, and collifrangibulum, which he represented as 
 ancient words, and which the excellent Catherinot, in his epitaph of this same Tory, did not 
 fail to guarantee to be such.' — See what Catherinot has to say of Tory's Epitaphs in his epi- 
 taph of Tory, p. 44 supra. \_Tumulos aliquot ludicros vet err into stylo latine condiderit.'^ 
 
BIBLIOGRAPHY 
 
 57 
 
 pressorem diligentissimum, Parrhisiis, e regione scholas decretomm, 
 sumptibus eiusdem Henrici et loannis Hongonti,' vi idus Octobris anno 
 Domini m. d. ix/ 
 
 3 
 
 De Passione Dominica carmen elegiacum Guilielmi Divitis, civis 
 Gandavensis, artificios^ pietatis plenissimum. — Item. Nenia 
 Lactantii Firmiani verbis Salvatoris nostri e cruce. — Mark 
 of Josse Bade ('Prelum ascensianum').^ 
 
 One octavo sheet, printed by Josse Bade, dated the 5th of the Ides of 
 March, 1509; that is to say, March 11, 15 10, new style.* 
 
 On the verso of the title^'page is this letter from Hervenis de Berna 
 (of Saint^Amand'Montrond) to the young people of Bourges: — 
 
 Herverus de Berna of Amand to the youth of Bourges^ greeting} 
 
 You are acquainted with Dives, our teacher, famed for his wisdom, 
 a foster/child of the Muses, who well deserves your gratitude. He it is 
 who introduced you to the Muses, Helicon, Phoebus' grove, and Mer^ 
 cury, and from his school, as from the Trojan horse, have issued men of 
 education without number. His heart is in the Muses' glorious service, 
 and his memory, it seems to me, should be forever honoured and kept 
 green. He is reported, as the saying is, to have toiled not only by the lamp 
 of Aristophanes, but by that of Cleanthes as well.^ You do not doubt that 
 he is deserving of praise for the elegance of his song; whence it happens 
 that there is a religious poem of his written on the Passion of Our Lord, 
 — a poem of such brilliancy, such sweetness, such ornateness, that one 
 could believe it to be the work of the divine, rather than of a human, 
 mind. I do not doubt that, as a result of this fact, the same thing will fall 
 to his lot that usually falls to the lot of literary men: as Claudian says, 
 •His presence will diminish his fame.' ^ Not, however, without Theseus,^ 
 
 1. This is the correct reading, not Hongoti, which M. Renouard mistakenly adopts {^Ann. 
 des Estienne, 3d ed., p. 6, zd col., no. 3 ; and p. 276), having failed to notice the line over 
 the 0 in the second syllable of the word. However, this is the only place in which this Jean 
 Hongont is mentioned, and nothing is known of him save that he was associated with the first 
 Henri Estienne in the publication of this edition of the Cosmography of Pope Pius II, other- 
 wise called ^neas Sylvius, edited by Tory. This book is in the Bibliotheque Mazarine. 
 
 2. October 10, 1509, 3. See infra, Part 3 ,§ iii, /zffOT/;?^' Bade. 
 4. Bibliotheque Mazarine. 5. [For Latin original, see Appendix X, /.] 
 
 6. As to this adage, see the Collection of Erasmus (folio, Basle, 1574), p. 302: Aristo- 
 phanis et Cleantis lucerna. 
 
 7. Claudian, xv, 385: Minuit pr essentia famam. 
 
 8. As to this adage, see the Collection of Erasmus, ubi sup., p. 1 34 a : Non absque Theseo. 
 
58 
 
 GEOFROY TORY 
 
 that is Tory of Bourges, my fellow^student, a man of the old, and, as Plau^ 
 tus says, of the Massilian, school,' one who combines sound learning with 
 virtue, have I wished Dives to issue forth into the world; again, I hope, 
 with favourable auspices, as the saying is. Farewell, with best wishes. 
 From my house at Amand, i March. 
 
 Then follows the elegy by Wilhelm de Ricke, which has 140 verses 
 and occupies 4 leaves; on the verso of the last of the four is this dialogue 
 in verse by Tory: — 
 
 Dialogue by Geofroy Tory of Bourges in praise of his teacher^ 
 Wilhelm de Ricke of Ghent."- 
 Speakers: Monitor and Liber. 
 
 M. Sacred book, who in song mourn Christ's Passion, now speak: 
 whose holy work can you be ? 
 
 L. Whose work? Behold ! Rich's work am I. 
 
 M. Well done! That Rich who to the people of Bourges has given 
 so many rich examples ? 
 
 L. You judge rightly. 
 
 M. Rich truly has a wise heart. 
 
 L. No fitter name than this can be given him. 
 
 M. He it is who taught the people of Bourges to speak with flowery 
 tongue and to make facile verses with the mouth. 
 
 L. He not only taught them to speak and to weave song, but he also 
 gave them the power to see Christ's wounded body. 
 
 M. If one wished to see the arms of God fixed to the cross, could 
 even Rich grant him that to the life ? 
 
 L. Should you desire to carry the cross of God, his cruel wounds, the 
 crown, hold me in hand, you will carry all. 
 
 M. May Rich's every prayer be ever happily granted, such good he 
 grants to pious hearts. 
 
 L. May he live and continue on earth through Nestorian years, and 
 after death gain the rich kingdom of Heaven. 
 
 CIVIS. 
 
 The little book comes to an end with the poem by Lactantius men^ 
 tioned on the title^'page. It fills the third and second last leaves, and the 
 
 1 . Plautus, Casinus, Act V, 4, i : Ubi tu es, qui colere mores Massilienseis postulas. 
 
 2. [For the Latin original, see Appendix X, /w.] 
 
BIBLIOGRAPHY 59 
 
 recto of the last, at the foot of which we read: 'Finis. Ex sdibus Ascen/ 
 sianis ad v idus martias mdix.' This date corresponds with March 1 1, 
 15 10, new style. 
 
 M. Jules de Saint'-Genois, librarian of the University of Ghent, writes 
 me as follows concerning his fellowtownsman, the author of the verses 
 on the Passion: — 
 
 ' The name of the person in whom you are interested was not le Riche, 
 but de Rycke, in Flemish, which in the Latin rendering becomes Dives. 
 This is what Sanderus says of him in " Flandria lUustrata," i, 386 (edition 
 Hags-'Comitis, 1735): "Gulielmus Dives, vulgo de Rycke, Gandavensis 
 poeta: ejus exstat * Carmen elegiacum de Passione Dominica,' artificiosae 
 pietatis plenissimum, quod inter illustrium poetarum opera impressit 
 Judocus Badius Ascensius Parisiis." 
 
 ' Valere Andre, too, devotes a few lines to him in his "Bibliotheca Bel-' 
 gica" (Lovanii, 1623, p. 344): "Elegiamde Passione Dominica edidit Ant^ 
 verpiae cum Dominici Mancini, Phil. Beroaldi et aliorum similis argu*- 
 menti libellis, 1527, Mich. Hellenii typis." 
 
 * P. Hofmann Peerlkamp says in his " Liber de vita, doctrina et facultate 
 Nederlandorum qui carmina latina composuerunt" (2d edition, Harlem, 
 1838, p. 29): "Gulielmus Dives Gandensis floruit 1520. Scripsit 'Carmen 
 elegiacum de Passione Dominica,' artificiosag pietatis plenissimum. . . . 
 Hascsaspius prodiit,addita etiam ^atuor virtutibus Dominici Mancini, 
 Antverpiae, a. 1562. Si vocabulum hie illic excipias minus latinum, Car^ 
 men est meHoris notse quam multa ejusdem temporis de hoc argumento." 
 
 •As for the edition which you mention, said to have been printed "in 
 aedibus Ascensianis," in 1509, the library does not own it; but Gulielmus 
 Dives' little poem is printed in " Dominici Mancini Poemata," Antverpiae, 
 1559, i2mo.' 
 
 This is all that I have been able to learn concerning Guillaume le Riche 
 or de Rycke; we do not know how this burgess of Ghent became a pro-' 
 fessor at Bourges. And yet the fact itself is not extraordinary, for, not long 
 after, about 1530, another Belgian, named Hanneton, gave instruction in 
 feudal law there. 
 
 Tory published also at the end of his edition of Valerius Probus [see 
 number 5, infra], the following Latin distich, — an enigma, — written by 
 his master: — 
 
 Die age, quae volucres gignunt animalia foetae 
 Et praebent natis ubera plena suis ? ' 
 
 I . The answer seems to be bat. 
 
6o 
 
 GEOFROY TORY 
 
 As for Herverus de Berna, Tory's fellow^pupil, I know even less of 
 him. All that I have been able to learn is that he published in 1543 a 
 short poem in praise of the dukes of Nevers, lords of Orval near Saint^ 
 Amand, where Herverus was born, and of which he was then cure, if I 
 read aright his bombastic Latin. This is the title of the book, which was 
 for sale at the shop of Vivant Gualtherot: 'Panegyricon illustrissimorum 
 principum comitum Druydarum et Aurivallensium et Nivernensium, 
 Hervero a Berna, curione Amandino Allifero, auctore. Parisiis, 1543.' (I 
 fancy that the words 'curione Amandino Allifero' mean: cure of Saints 
 Amand'l'Allier, now Saint' Amand^'Montrond,) 
 
 The work is dedicated to a friend of the author, and perhaps of Tory 
 as well, named Nicolas Rocheus (La Roche?), described as 'Apollinea 
 artis doctor eximius' in the dedicatory epistle, which is dated: 'Tumul' 
 tuarie, ex aedibus nostris Amandinis, kalendis ianuarii, 1542.' 
 
 4 
 
 Berosus Babilonensis, de his qvje pr^cesserunt inundationem 
 terrarum; item Myrsilus, de origine Turrenorum, etc. 
 Quarto, Paris, 15 10; with the small mark of the Marnefs (the Peli^ 
 
 can),' with the letters E. L G. 
 
 This work, which was printed by J. Marchand, at the expense of 
 
 Geofroy de Marnef, bookseller and publisher, was prepared for the press 
 
 by Geofroy Tory, who placed at the beginning the following letter: — 
 
 To the most distinguished Philibert Babou, Geofroy Tory of Bourges, 
 
 heartiest greeting.^ 
 
 Last year, when I was attending to the printing of Pope Pius's Cos/ 
 mography, the idea occurred to me of thoroughly revising and handing 
 to the printer at an early date the Babylonian Berosus's work on the ' An^ 
 tiquities of the Kingdoms'; but, my mind at that time taking another 
 turn, I determined to postpone this work, for the reason that I had a 
 project of almost divine character on hand; and indeed I should have 
 postponed it for a long time, — as the saying is, to the Greek Calends, — 
 had not Berosus himself, so to speak, and, what is and always will be of 
 no little importance to me, a number of my friends, daily whispering in 
 my ear, as it were, their prayers, demanded of me most earnestly that 
 I should print, along with Berosus, Myrsilus 'De origine Turrenorum,' 
 
 I . [See p. 265 infra.] z. [For the Latin original, see Appendix X, ».] 
 
BIBLIOGRAPHY 
 
 6i 
 
 Cato's fragments, Archilochus, Metasthenes, Philo, Xenophon 'De xquu 
 vocis/ Sempronius, Fabius Pictor, and Antoninus Pius's fragments of the 
 'Itinerarium.' There is a very avaricious class of human beings, which, 
 if it has a book — a book that is hard to find — consisting of three or four 
 short lines, straightway, — like the ants of India, or the griffins, which 
 are fabled to carry gold to a remote spot and there keep watch over it, 
 threatening with dire destruction any one who attempts to touch it, — 
 carries it off and guards it, and loading it with chains and fetters, keeps 
 it imprisoned like a miserable captive. Such people ought to display their 
 officious greed — the greed of possessing something unique all to one's 
 self — in company with the ants and griffins, which other people avoid, 
 rather than to continue their incivility, or perhaps I should rather say 
 immunity, among human beings. We are born not alone for ourselves: 
 we owe something also to our friends, something to our country. There/ 
 fore, that it may not seem to be my desire to extinguish the brilliant 
 light of a burning lamp, I the more wiUingly, under your name, Phili' 
 bert, most illustrious citizen of Bourges, send forth Berosus's 'Antiquities,' 
 together with the other authors mentioned above, for the common study 
 of all, and I believe that I shall therein be doing an act that wil] gain the 
 gratitude, in some small measure, of my country. Farewell. 
 Paris, at the College of Plessis, 2 May, 15 10. 
 
 civis. 
 
 Tory's letter is dated May 2, 15 10 ; but the printing of the book was 
 not finished until the ninth of that month, as we see by the subscription 
 of the first edition; for there were at least three distinct editions in Tory's 
 name, to say nothing of a multitude of others issued by different pubKsh^ 
 ers. Annius of Viterbo, otherwise known as Jean Nanni, had recently 
 brought into fashion the fables of Berosus, which he attempted to pakn 
 off as an ancient work; and scholars were still at odds as to the authen^ 
 ticity of the book, the sale of which their discussions aided to maintain. 
 Tory seems to have taken sides with Annius of Viterbo, as he himself 
 prepared an edition of the supposititious Berosus, the preface of which 
 we have just quoted. We have said that there were three editions in his 
 name. They may be described thus: — 
 
 First Edition 
 
 Quarto; 28 leaves numbered in Arabic figures, and 4 preliminary 
 leaves. 
 
 FoKo I recto, title: 'Berosus Babilonicus,de his quae praecesserunt inun-* 
 
62 
 
 GEOFROY TORY 
 
 dationem terrarum; item Myrsilus, de origine Turrenomm; Cato, in frag/ 
 mentis; Archilocus, in epitheto de temporibus; Metasthenes, de judicio 
 temporum; Philo, in breviario temporum; Xenophon, de equivocis tem^ 
 porum; Sempronius, de divisione Italic; Q_. Fab. Pictor, de aureo seculo 
 et origine urbis Roms ; fragmentum itinerarii Antonini Pii ; altercatio 
 Adriani Augusti et Epictici.' Then comes the mark of the Marnefs, with 
 the letters E. I. G., and the words • Le Pelican' in a scroll at the left. (No. 
 15 of M. Silvestre's 'Marques Typographiques.') 
 
 On the verso of this leaf is Tory's letter, quoted above. Four unnum-' 
 bered intercalated leaves follow, containing the table of contents and a list 
 of errata. 
 
 Folio 2, recto: 'Berosus, de his quas pracesserunt inundationem ter^ 
 rarum.' 
 
 The articles mentioned on the title-page follow, up to folio 28, where 
 we find these words : — 
 
 'Impressum est hoc opus Parrhisiis, in Bellovisu, per Joannem Mar^ 
 chant, impensis Godofredi de Marnef, anno Domini 15 10, septimo idus 
 maias.' — civis.' 
 
 Second Edition 
 
 Quarto; 4 unnumbered preliminary leaves, and 30 leaves of text num-- 
 bered in roman figures; in all, 34 printed leaves. 
 
 On the first of the unnumbered leaves is the title, 'Berosus Babiloni/ 
 cus,' etc. (as in the first edition), but with the following additional words : 
 * Vertumniana Propertii. Manethon.' Same mark as in the first edition, but 
 smaller.^ 
 
 On the second leaf, Tory's letter. On the verso of this leaf the index 
 begins, and fills the two leaves following. 
 
 Folio i. 'Berosus,' etc. The text corresponds with that of the first edi*- 
 tion^ to folio xxvii, where the additions begin. 
 
 Fol. xxvii, recto. End of the 'Altercatio.' 
 
 verso. 'Vertumniana Propertii.' 
 xxviii, verso. 'Manethonis, prima pars.' 
 
 Fol. xxx (not numbered), several pieces of verse [not mentioned on the 
 title-'page], perhaps by Tory, but not signed: — 
 
 I. 'Ad reverendissimum ac religiosissimum Arturum Calphurnium, 
 Sancti Georgii de Nemore antistitem.' 
 
 1. May 9, I 5 10. 
 
 2. Silvestre, no. 974. 
 
 3. On folio 26 of the first edition there is a small plan of Rome, doubtless a reminiscent 
 work of Tory's, which is lacking in the second and third editions. 
 
BIBLIOGRAPHY 
 
 63 
 
 2. *Ad eruditissimum Nicolaum Corbinum, Vindocinensis plage ju^ 
 dicem.' 
 
 3. 'Ad bonarum literarum vere amatorem amicum sibi fidelem Phi'- 
 lippum Morinensem.* 
 
 This edition, which seems never to have been described by any bib-* 
 liophile, is in the Bibliotheque Mazarine, and at Sainte-'Genevieve. It was 
 undoubtedly published in 15 1 1, but it bears no indication of its date. 
 
 Third Edition 
 
 Quarto; 6 preHminary leaves, unnumbered, and 5 1 leaves numbered 
 in roman figures, divided into ten signatures (A to K) , containing alter/ 
 nately one and a half and two leaves. In all, 57 printed leaves, and one 
 blank. 
 
 On the first unnumbered leaf is the title: 'Berosus,' etc. (as in the first 
 edition), but with the following addition: 'Cornelii Taciti de origine et 
 situ Germanorum opusculum. C. C. de situ et moribus Germanorum. — 
 Anno Domini 15 1 1.' Then follows a shocking imitation of the mark of 
 the Marnefs in the first edition. The gothic initials E and G are changed 
 to C and O, and the I, which in the other editions stands between the 
 E and the G, is omitted. The words *Le PeHcan,' in a scroll at the left, 
 are reduced to the three letters L, P, and A, the foreign artist having 
 been either unable or unwilling to read what was printed on the copy 
 put before him, which, it is true, may have been imperfect. The first 
 decorated letter, also, has been copied, in order to deceive the reader, who, 
 if we may judge from appearances, was assumed to be seeking the edition 
 prepared by Tory. 
 
 On the second leaf is the letter of the editor, from which the word 
 'civis,' Tory's device, has been omitted, the foreign printer apparently not 
 knowing its meaning. The four leaves following are taken up with the 
 table of contents. 
 
 Folio i of the text : ' Berosus,' etc. The text which follows corresponds 
 with that of the first edition down to folio xxxii (erroneously numbered 
 xxxiii) , which ends with the word 'finis.' 
 
 On foHo xxxiii recto, the work of Tacitus mentioned above ['Ger^ 
 mania'] begins. Next, on folio xliii verso, a work in verse by Conrad 
 Celtes, the title of which is given above, and on folio xlviii, another work, 
 in prose, by the same author, with this title: ' Ex Hbro C. C. de situ et 
 moribus Norimberge, de Hercinia silvae magnitudine, et de eius in 
 Europa definitione et populis incoKs.' 
 
64 GEOFROY TORY 
 
 There is nothing to indicate where the book was printed; but every/ 
 thing leads me to believe that it is a German counterfeit. My opinion is 
 based upon, first, the stupid imitation of the printer's mark of the first 
 edition; second, the omission of Tory's device at the end of the letter; 
 third, the additions, all of which relate to Germany; fourth, the fact that 
 two of the three known copies of this edition were recently to be found 
 in the same country. One belonged to Panzer, who has described it in 
 his 'Annales Typographiques" ; I do not know what has become of it; 
 a second copy was formerly in the library of M. Bunau,^ whence it passed 
 to the Dresden Library; the third is in Paris, in the Bibliotheque Nation^ 
 ale, which also possesses a copy of the first edition. It was by comparing 
 the two editions that I discovered the fraud committed by the printer of 
 the edition of 1 5 1 1 with respect to the typographical mark. The descrip/ 
 tion of this mark given by Panzer, with that courteously sent me from 
 Dresden by the learned bibliographer Herr Graesse, before I was aware 
 of the existence of the copy of the third edition in the BibHotheque Na/ 
 tionale, had utterly baffled such bibliographical knowledge as I possess. 
 I sought a meaning for the letters inscribed on the mark in the third 
 edition ; of course I could not find any. M. Brunet has since produced a 
 facsimile of this mark, in the fifth edition of his • Manuel.' ^ 
 
 5 
 
 Valerii probi Grammatici de interpretandis Romanorum literis 
 opusculum, cum alus quibusdam scitu dignissimis, fceliciter 
 INCIPIT. — Mark: Marnef's E. I. G. (Silvestre, no. 974.) 
 Octavo; 6 printed sheets (signatures A to I). Paris, E. I. G. de Marnef 
 [15 10]. This book was probably printed by Gilles de Gourmont, for we 
 find in it his unaccented Greek type. It contains two engravings on wood, 
 — the mark on the title-page, and a Roman portico farther on. There are 
 also some small cuts engraved on metal in one of the pieces ; but none of 
 them have any artistic merit, and they cannot be attributed to Tory. 
 
 On the verso of the title is the following letter, addressed by Tory to 
 two of his old college friends, who were at this time personages of note: 
 the first, Philibert Babou, was secretary and silversmith to the king ; the 
 second, Jean Lallemand, was Mayor of Bourges. 
 
 1. Vol. vii, p. 548, no. 41 1. 
 
 2. Catal. bibl. Bunav. vol. i, p. 417 a. 
 
 3. Vol. i, col. 810, under • Berosus.' 
 
BIBLIOGRAPHY 65 
 
 Geofroy Tory of Bourges to the most illustrious Philibert Babou and 
 'Jean Lallemandy the younger ^ citizens of Bourges, united in mutual 
 friendship, greeting.^ 
 
 I owe to you, most estimable of men, the fruit of whatever toil I may 
 undertake — even purposely for your sakes — by night or day. Behold! 
 Since you in no slight degree practise and admire the old school of mor^ 
 als, the school, that is, of respectability and true worth, I now, under the 
 protection of your names, ever to be cherished by me, commit to print 
 Probus Valerius, a most diligent collector and accurate interpreter of the 
 old writings and abbreviations which appear, elegantly drawn, on the an/ 
 cient coins, tombs, and tablets; glad am I to be of even such small service 
 to my country, and hopeful that the slight revision to which I have sub' 
 jected the work will prove to have been as happily, as it has been care/ 
 fully, done. Permit, I beg, an author of exceeding merit to come first of 
 all into your hands, which are most fitted for every excellence, and then 
 to go forth brightly and cheerfully into the hands of all other students. 
 Farewell. 
 
 Paris, at the College of Plessis, 10 May, 15 10. 
 
 CIVIS. 
 
 And at the end of the book is this other letter, which gives us to know 
 that the volume is a collection of fragments of ancient authors. 
 
 Geofroy Tory of Bourges to the Reader, greeting."^ 
 
 When I began, I believe under favourable auspices, to print Valerius 
 Probus, it occurred to me, not wishing a book of one or two codices to be 
 unsuitable as a manual, to print, along with Probus, several articles weU 
 worth making the acquaintance of. I have added to Probus, Priscian's 
 treatise 'De ponderibus et mensuris'; likewise Columella's 'Quemad/ 
 modum datae formae agrorum metiri debeant'; also Georgius VaUa's 
 'Figuras quae sub dimensionem cadant'; and, further, some dialogues, 
 together with some enigmas, carefully collected, as occasion allowed, 
 from various authors. The enigmas I have designedly left unexplained, 
 so that, when you come to read them (as Gellius says in book xii, ch. 6), 
 you may sharpen your vdts by trying to puzzle them out.^ Give your 
 
 1. [For the Latin original, see Appendix X, <?.] 
 
 2. [For the Latin original, see Appendix X, / 
 
 3. For example, here are two riddles by Tory, the labour of solving which, I leave, as he 
 did, to the reader : — 
 
66 
 
 GEOFROY TORY 
 
 attention to them, I beg, good reader, so that I may not, as Plautus enig/ 
 matically observes in the ' Miles,' throw dust in your eyes. Farewell. 
 
 In addition to the pieces which Tory here mentions, there are many 
 others in this volume of miscellanies.' It contains also several pieces of 
 verse by Tory himself. Here is one which will give an idea of his literary 
 tastes: — 
 
 Dialogue by Geofroy Tory, in which the City of Bourges is described 
 in the role of a speaking character.^ 
 Speakers: Monitor and City. 
 MON. City, what is your name? 
 CITY. Bourges. 
 
 MON. Now, tell me, what mean those proud buildings that I see ? 
 CITY. Temples, houses, towers, divine palaces you see. 
 MON. Ah! they overtop the heavens with their piles. What temple is 
 that, I pray? 
 
 CITY. The Cathedral of St. Etienne, first of martyrs; it overtops even 
 the lofty marbles of the goddess Trivia. 
 
 MON. What is that single house which stands distinguished for its red 
 hearts ? Was it built by the hand of Memnon ? 
 
 CITY. This was built in an earlier time by the mortal Jacques Coeur 
 [Heart],3 a man of wealth; him envy took from us. 
 
 MON. Say ! what tower is that that is seen standing higher than the 
 lighthouse of Pharos? I am filled with wonder when I see it fully. 
 
 CITY. When the mighty Ambigatus ruled the Celtic peoples, in an 
 earlier time, this great tower was built. 
 
 MON. Say, oh, say, that golden palace, is it the Capitol? Answer; why 
 do you not speak, Bourges ? You who just now talked with easy speech say 
 nothing. Do you wish to become to me what Harpocrates was of yore? 
 
 CITY. No, but, see you, this palace is to be approved for its great art, 
 because the world has not yet produced another like it. 
 
 Godofredus To. Bi. 
 Tu caput Adrasti capias morientis, et adde 
 (Si modo grande bonum vis mihi) te socium. 
 Idem, 
 
 Qu£ fuit ilia Cato Romas legatio quondam 
 Cor, caput, atque pedem cui nec habere fuit ? 
 
 1 . This book may be found in the Bibliotheque Mazarine, and at the Arsenal. 
 
 2. [For the Latin original, see Appendix X, g.~\ 
 
 3. In original, Cordatus. His house [in Bourges] is now used as the hotel de ville. 
 
BIBLIOGRAPHY 67 
 
 MON. What is this earth that yawns with such an opening? 
 
 CITY. It is the place where a tower was to be erected for me. 
 
 MON. Have you not another as great as that? 
 
 CITY. I have. From two towers I get my name Bourges [Biturix]. 
 
 MON. By what name is it called in this time of ours ? 
 
 CITY. The people name and call it 'the fosse of sands.' 
 
 MON. What river, what river have you to mention? 
 
 CITY. The Auron. 
 
 MON. Is it the one Caesar mentions in describing the Gallic Wars? 
 CITY. It is. 
 
 MON. Are there others ? 
 
 CITY. There are two: they are the Voiselle and the Yevre herself, 
 swarming with numberless fishes. 
 MON. What privileges have you? 
 
 CITY. The aH^valuable privilege have I, and the hall, that coin money. 
 MON. Is there nothing else? 
 
 CITY. Aquitaine calls me capital and receives her laws from me. 
 MON. What divinities are with you? 
 
 CITY. There are Juno, Jupiter, and Pan, Vesta, Diana, Ceres, Liber, 
 and the Father himself. 
 
 6 
 
 QyiNTILIANUS. 
 
 Such is the complete title of an edition of Quintilian's 'Institutes,' 
 produced by Tory, in 15 10, at the request of Jean Rousselet, of Lyon.' 
 
 This is a large octavo volume, printed in italic (without pagination) , 
 composed of 46 quarto sheets (signatures A to ZZv) : there are several 
 passages in Greek type of excellent appearance, but without accents. 
 Undertaken at the request of Jean Rousselet, and printed at his expense, 
 this book probably was not put on the market. In fact it bears no book^ 
 seller's nor any printer's name. We should not even know where it was 
 printed, were it not for the fact that the dedication, dated the third of 
 the Calends of March,^ states that the manuscript was sent by Tory from 
 Paris to Lyon. At the end of the volume we find these words only: 'Im^ 
 pressum fuit hoc opus anno Domini m. cccccx, septimo calend. Julii.' 
 This date corresponds to June 25, 15 10. 
 
 1 . As to this gentleman, see page 4, supra. 
 
 2 . February 27, 1 5 1 o, or rather, 1509, for it is hardly probable that the bulky volume was 
 printed in four months. See the dedication in question, on page 4, supra. The book may be 
 found in the Bibliotheque Sainte-Genevieve. 
 
68 
 
 GEOFROY TORY 
 
 7 
 
 LeONIS BAPTISTi^; AlBERTI FlORENTINI . . . LIBRI DE RE yEDIFICA' 
 
 TORiA DECEM. (Markof B. Rembolt.) Venundantur Parrhisiis, in Sole 
 Aureo vici Sancti Jacobi, et in intersignio Trium Coronarum, e regione 
 Divi Benedicti. 
 
 Quarto; 1 4 preliminary leaves and 1 74 of text (signatures A to Y) . On 
 the last page is the mark of Louis Hornken, * aux Trois Couronnes.' On 
 the second preliminary leaf is printed the following dedication : — 
 
 Geofroy Tory of Bourges to Philibert Babou and yean Lallemand, the 
 younger^ most illustrious men, heartiest greeting.^ 
 
 Everybody knows, most estimable of men, that our forefathers, con^ 
 tented with their own goodness, practised in the olden times a kind of 
 architecture that had in it little art and little elegance. Satisfied with 
 mediocrity, they built and inhabited houses and dwellings of no great 
 cost or splendour. Matters have finally reached the point that now, men's 
 intelligence having somewhat awakened, new buildings are everywhere 
 being erected which have considerable celebrity. In fact, beginning 
 with the time when the magnanimous King Charles VIII, who was the 
 terror of all Italy, returned, victorious and crowned with glory, from 
 Naples, architecture, certainly a beautiful art, began, not only in its Doric 
 and Ionic forms, but also in its Italian form, to be practised with great 
 elegance throughout this country of France. At Amiens, at Gaillon, at 
 Tours, at Blois, at Paris, and in a hundred other well-known places, one 
 may now see striking buildings, public and private, in the ancient style 
 of architecture. One may now, I say, see many buildings of such beauty 
 and so nicely carved that the French actually seem, and are generally 
 considered, to surpass, not only the Italians, but also the Dorians and the 
 lonians, who were the teachers of the Italians. Notwithstanding the bril'' 
 liancy of these performances and these artists, I have thought it best to 
 offer gratefully, and carefuUy to add, a contribution of some worth. Leo 
 Baptista Albertus, a writer on architecture who is trustworthy and 
 familiar with his subject, was lying stored away in my house as if in his 
 last sleep. It seemed to me that he thoroughly deserved to be printed in 
 France just at this time, for the delight and benefit of other famous artists 
 who are better than he. It seemed to me, I say, that he thoroughly de^ 
 served to be printed, and for this reason especially, that the ten books, 
 
 I. [For the original Latin, see Appendix X, r.] 
 
BIBLIOGRAPHY 69 
 
 of which the whole work consists, have been divided into chapters. These 
 chapters were accurately and carefully arranged by Robertus Durzeus 
 Fortunatus/ a man of education and culture, who was the Head of his 
 College of Plessis at Paris four years ago when I taught there, and they 
 were generously given to me by him to be copied. I copied them, and I 
 furthermore polished up the whole work and cleared it of all the errors 
 possible ; I wrote the gist of the text on the margin, and gave the work 
 to the printer to be printed. Permit, I pray, most distinguished citizens 
 of Bourges, that this excellent work come auspiciously into the hands of 
 all good artists and students, and that it be handled and read under the 
 protection of your names ever to be cherished by me. Farewell, you who 
 are the support and the most distinguished glory of your country.^ 
 Paris, near the College Coqueret, 18 August, 15 12. 
 
 CIVIS. 
 
 At the end of the volume (penultimate page) we read: — 
 'This most elegant and useful work on architecture of Leo Baptista 
 Albertus of Florence, a man of great distinction, was printed with great 
 accuracy at Paris at the Golden Sun in the street of St. Jacques, at the 
 expense of Master Berthold Rembolt and Louis Hornken, who live in the 
 same street, at the sign of the Three Crowns, near St. Benedict, a. d. 15 1 2, 
 23rd day of August.' 
 
 8 
 
 ITINERARIVM PROVINCIARUM omnium AnTONINI AuGUSTI, cum FRAG/ 
 
 mento eiusdem, necnon indice haud quaquam aspernando. — 
 Cum privilegio, ne quis temere hoc ab hinc duos annos im^ 
 PRIMAT. — Venale habetur ubi impressum est, in domo Henrici Ste'' 
 phani, e regione Scholas decretorum, Parrhisiis. 
 Sixteenmo (printed as i6s.) ; 120 leaves (signatures A to T), plus 8 
 preliminary leaves. [15 12.] Printed in black and red. 
 The volume begins with this dedicatory epistle: — 
 
 Geofroy Tory of Bourges to Philibert Babou, most modest of meriy 
 
 heartiest greeting? 
 The 'Itinerarium,' most illustrious of men, which for many years had 
 lain in almost entire neglect, I first received four years ago from a friend 
 
 1. As to this person, see note 3 on page 5, supra. 
 
 2. We have mentioned heretofore (page \, supra) the eminent posts occupied at this time 
 by Philibert Babou and Jean Lallemand. 
 
 3. [For the original Latin, see Appendix X, 
 
70 
 
 GEOFROY TORY 
 
 whom I must ever cherish, Christophe de Longueil, who is beyond ques/ 
 tion a scholar of the highest standing in all branches of polite learning. 
 He gave it to me that I might make a copy of it. It had occurred to me 
 to send to you from Paris to Tours a copy which, though written in my 
 own hand, was not wholly without elegance of form. 1 had given it to a 
 man to bring to you whose name I purposely spare, but he, regardless 
 alike of both of us and of his trust, quite shamelessly made a present of it 
 to some one else. Thus cheated of the fruit of my labour, I was preparing 
 to make for you another copy, when Longueil himself, who had formerly 
 brought the original from Picardy, and, as I have said, had given it to me, 
 having recently come to Paris from Poictiers, urged me to have the work 
 printed. This I have done, having arranged the names of the towns sepa'' 
 rately and in order, and also added in the proper places some matter taken 
 from another manuscript. I have also made an index, to facilitate the find' 
 ingof thenameof any town or place in the whole work. Some perhaps 
 will wonder at the style of the work, and also occasionally in places at the 
 Latinity. The style, however, will receive sufficient approval from the 
 student, while the Latinity, in consideration of the early time in which 
 the work was written, will be condoned by the well-'disposed reader. I 
 should have been disposed to make a number of emendations, using for 
 the purpose Ptolemy, Strabo, Dionysius, Mela, Pliny, Solinus, and some 
 others who are not at all to be despised, but out of regard for the ven^ 
 erable author and in the desire to keep the manuscript, which is very old, 
 unchanged, I determined to make no alterations. I am waiting for my 
 friend Longueil to subject it some day to his scrutinizing study, or for 
 some Hermolaus to apply his exacting file. One thing there is here which 
 I shall not hesitate to touch: the author's name in the manuscript was, in 
 my judgement , wrong , for it is written ' Antonius Augustus.' Hermolaus, 
 a man of culture withal, calls it in a number of places in his Corrections 
 to Pliny, 'Antoninus.' Those who read will see for themselves. In the 
 text I have followed the manuscript itself; in the title of the book I have 
 followed Hermolaus. The fruit of my labour, such as it is, I dedicate, as 
 in duty bound, to you personally, in a spirit abounding in gratitude. Ac 
 cept it, I pray, with the favour with which you are accustomed to accept 
 all good things, and allow the studious to pass, under your guidance, with 
 this Itinerary in hand, through a thousand famous cities. Farewell, most 
 cultured patron of my studies. 
 
 Paris, near the College Coqueret, August 19, 15 12. 
 
 civis. 
 
BIBLIOGRAPHY 
 Then comes a letter from the publisher to the reader : — 
 
 71 
 
 Tory to the Keader^ greeting? 
 In order, gentle reader, that you may be able to use this 'Itinerarium' 
 to better advantage, you must be advised that whatever you find marked 
 with a red virgule was larger in number in the old manuscript than in 
 the other which is more recent. Words which had a different reading in 
 the recent manuscript have small red letters printed above in the proper 
 places. Whenever the sign (a) occurs between words, a word or number 
 should be marked above or at the side by the same sign. The sign ' mpm.,' 
 so written, also frequently occurs in the text, and signifies *milia plus 
 minus.' It was written thus so that the reader might not be wearied by 
 the frequent repetition of the long form. In the index you will sometimes 
 find the letter b alone, either following or between the page^numbers : 
 this signifies that the word in question is found at least twice on the same 
 page. Pay attention, therefore, and kindly see to it that in case you notice 
 any who are displeased with my work, you may say to yourself with re-- 
 ference to them that Persian saying: ' that they may see virtue, and pine 
 away leaving it behind.' I write this because at the time of printing there 
 were some who, understanding nothing of this sort, condemned the mat'' 
 ter according to their usual practice. Farewell and live long in happiness. 
 
 civis. 
 
 Next to this comes a summary of the life of Antoninus, and, lastly, 
 some verses by the Burgundian Gerard de Vercel, in laudation of Tory 
 and against poor printers. Here are the verses : — 
 
 Hende easy liable Poem of the Burgmidian Gerard de Vercel, on 
 
 poor printers.^ 
 
 Therefore hence, away therefore, profane hands of the inauspicious 
 throng of printers; your impure works be off; that by your forbidden 
 coming and impious front you may not stain and soil this heavenly thing. 
 Let no man fail to know: this volume is sacred. 
 
 Ah! vile and wretched printers, unskilled to put in print even the tri^ 
 fles of the schools or old women's tales, why do you spoil arts that are 
 holy, and pollute with impure hand the laborious works of the nine^ 
 sisters ? 
 
 1 . [For the Latin original, see Appendix X, /.] 
 
 2. [For the Latin original, see Appendix X, a.] 
 
 3. The text has nomen instead of novem, but the correction is made in the errata. 
 
72 GEOFROY TORY 
 
 What do you not put forth from your office that is worthy to be cast 
 forth and buried where the refuse of the stomach is placed? 
 
 Therefore hence, away therefore, oh ye profane, ye vile and wretched 
 printers. Be this word enough: sacred is this volume, which our Geofroy, 
 our famous Geofroy, he, I say, of Bourges, taking pity on Pius, unearthed 
 from its Lethasan rust and sleep, employing the guidance and assistance 
 of his friend Longueil.' 
 
 The book is brought to a close by an 'avis au lecteur' thus conceived: 
 
 Tory to the Reader^ happiness.^ 
 These few corrections, excellent reader, I beg you not to wonder at. 
 I have collected them, such as differ from the readings of the old manu' 
 script, so that you may be able readily to emend the book for yourself. 
 I should lay the burden of the errors on the printers, but the art of print' 
 ing has this natural peculiarity, that the smallest book cannot be printed 
 from beginning to end without some mistakes. Farewell. 
 
 Epigram to the Student by Tory. 
 If, reader, you are preparing to journey in a fixed course to a hundred 
 towns, to a hundred cities, if you desire to travel, better instructed and on 
 the direct road, to a hundred seaports with their bays, then ever gratefully 
 and carefully hold this litde book in your right hand ready to consult.^ 
 
 9 
 
 GOTOFREDI TORINI BiTURICI IN FILIAM CHARISSIMAM, VIRGUNCULARUM 
 ELEGANTISSIMAM, EPITAPHIA ET DiALOGI.— In EANDEM ETIAM QUAT^ 
 UOR ET VIGINTI DiSTICHA UNUM ET EUNDEM SENSUM COPIA VERB' 
 ORUM ET INGENII FCECUNDITATE PULCHRE REPETENTIA. 
 
 These verses of Tory on the death of his daughter Agnes form a small 
 volume of two quarto sheets (or eight leaves) . The book is dedicated to 
 Philibert Babou ; it was printed February 1 5, 1 523, old style ( 1524) , a few 
 days after Tory had conceived the idea of his ' Champ fleury ' (January 6, 
 1524). The printer, who is not named, was Simon de Colines, then living 
 near the School of Law ('e regione schols decretorum'). 
 
 On the last page appears a mark engraved specially for this little book, 
 for it includes a tiny winged figure ascending heavenward, which doubt' 
 
 1 . Christophe de Longueil, to whom the manuscript published by Tory belonged. 
 
 2. [For the Latin original, see Appendix X, i^.] 
 
 3. For the monogram appended to this final avis, see p. 6, supra. 
 
BIBLIOGRAPHY 73 
 
 less represents the soul of Tory's daughter returning to God. This mark 
 reappears at the end of the Hours of 1 5 2 4- 1 5 2 5, but minus the small fig/ 
 ure just mentioned." 
 
 As we learn from the text, Agnes, who died August 25, 1522, at the 
 age of nine years eleven months and thirty days, was born August 26, 
 15 1 2. So that Tory was married at least as early as 1 5 1 1. We know from 
 another document that his wife's name was Perrette le Hullin. 
 
 The only known copy of this little volume, the text of which I re/ 
 produce in extenso, belonged [in 1865] to M.Joachim Gomez de la Cor/ 
 tina. Marquis de Morante, who was so exceedingly kind as to send it from 
 Madrid to Paris, that I might examine it at my leisure. M. de la Cortina 
 has described it in the fifth volume of the catalogue of his library (Ma/ 
 drid, 1859; octavo). My only previous knowledge of it was derived from 
 that catalogue, although it was bought of M. Techener not more than 
 ten years ago, for 80 reals (20 francs). 
 
 "Tory to his Book.^ 
 Go, book, to the sacred sanctuaries of pious poets; you are light, pol/ 
 ished, radiant, and neat. Splendidly arrayed you are, and have nard, and 
 roses, and saffron; the Latin goddesses, gracious divinities, together with 
 Phoebus. Be not afraid lest you do not carry with you the favour of the 
 gods ; they will lift you, laurel/scented, above the stars. 
 
 Agnes Tory^ sweetest and most modest of maidens, addresses the 
 wayfarer from her tomb. 
 
 Thou who passest with Hght foot, beloved wayfarer, stay thy step a 
 little; lo, I wish to say a few words to thee. Live in remembrance of 
 death, free from vices, and, if thou art wise, cast aside that hope of life 
 which thou cherishest. Thou art radiant with beauty to/day, but, when 
 the thread is cut, impious Fate hurries thee straight on to nought. I know 
 this by experience, for, lately but a young girl of ten, I was suddenly 
 snatched away. Like a rose I bloomed, sharer in those virtues which are 
 usually seen in tender maidenhood. But yet I died, overwhelmed by the 
 cruel fates, and now I am food for the flesh/eating worms. Food for the 
 flesh/eating worms I he, but not so wholly lifeless that I cannot speak 
 the truth to thee. I speak in the Latin tongue, and this is not strange, fair 
 friend, for I am to be named the daughter of a pious poet. Desiring to 
 
 1 . See these two marks, p. 46, supra [nos. 7 and 8] . 
 
 2. [For the Latin original, see Appendix X, w.'\ 
 
74 
 
 GEOFROY TORY 
 
 instruct me in the Ausonian tongue, and also to render me accomplished 
 in the polite arts, he, like a most affectionate father, teaching me night 
 and day, himself laid the foundations, sweet and ample, for my life. I 
 should be accomplished in the learning of the famous Muses, and I should 
 sing beautiful songs in pleasing measure; and then my sire would have 
 given me fond kisses, placing the laurel^wreath upon my head. O pitifiil 
 lot of human beings ! O hopes doomed to perish ! On earth there is no^ 
 thing that can be lasting. Not only does death show herself face to face 
 to wretched mortals, but with silent step she steals upon them secretly 
 and unbeknown. Ah ! beware, therefore, beware, thou who art doomed 
 to die, the world will certainly in a moment's time fall and crash about 
 thee. Thou, while thou still livest, while thou seekest great honours, art 
 with infirm and rapid step steadily approaching thy doom. If thou de' 
 partest satisfied with this one certain warning, and if thou believest that 
 I speak the truth, bestrew me with flowers, violets and lilies, and nard. 
 Pray for me too, if it please thee, and weep. Me thou wilt cause by thy 
 prayers to mount to the lofty vault of Heaven, where is perpetual light, 
 peace, and grateful rest. This was the little that I wished thee to know. 
 Live in remembrance of death , thou who art destined soon to die. Farewell. 
 
 She died where she was born, at Paris, 25 August, a. d. 1522. 
 
 She lived nine years, eleven months, about thirty days; the hours are 
 known to none; God alone knows the minutes. 
 
 Father and Daughter, Speakers. 
 
 F. Food for the worms you lie, dearest daughter. Me you leave in 
 perpetual tears and weeping. 
 
 D. Dear father, spare your weeping and tears. It is all over with me. 
 Death carries away both young and old. 
 
 F. Nor can I refrain from terrible wailing. Alas! I should have more 
 rightly died before you. 
 
 D. Such was not the will of the heavenly fates. At your death, believe 
 me, you shall most certainly come to me. 
 
 F. In the meantime, with bended head, I will bring with full hands 
 violets and lilies to your tomb. 
 
 D. Add your prayers; through prayers I shall fly to the high vault of 
 Heaven. Pious prayers enable us to ascend to the lofty stars. 
 
 F. It is as you say; and do you too, my daughter, pray for your father ; 
 pray that he may rise with you to the glad Heavens. 
 
 D. To the glad Heavens you shall rise, free from bitter cares, and 
 with all the trouble of your mind removed. 
 
BIBLIOGRAPHY 
 
 75 
 
 F. You speak the truth, and so I will do. The good God calls you to 
 himself in Heaven? Dear daughter, farewell. 
 
 F. Alas! my sweet soul, you are dead. 
 D. Courage, father, no one is immortal. 
 
 Twehe disticbs to be inscribed on the twelve different sides of an urn. 
 
 On the first side. 
 
 You wish flowers! violets! you wish lilies! garlands! cyperus! These 
 this earthen urn will give you, take them and be glad. 
 
 On the second. 
 
 In this urn the deceased maiden Agnes lies; in its centre breathes a 
 delightful odour. 
 
 On the third. 
 
 Here is Merriment, here Love too, Sport, and Virtue; and here the 
 Graces' selves, beings divine, with the Muses, sit and dwell. 
 
 On the fourth. 
 
 In this urn are marjoram and sweet^smelling cyperus ; here are violets, 
 lilies, garlands, roses. 
 
 On the fifth. 
 
 Not alone does the maiden Agnes here abide, but, with Phcebus, the 
 Clarian goddesses themselves sit and dwell. 
 
 On the sixth. 
 
 Gold^eaf joined with gems, and green jewels, are kept with everlast^ 
 ing flowers in this urn. 
 
 On the seventh. 
 
 Do you wish and long to become acquainted with Agnes' urn? See, 
 where the laurel grows upward to the lofty sky. 
 
 On the eighth. 
 
 Here lies in death Agnes of memory dear; she could already sing 
 tripping measures with tender voice. 
 
 On the ninth. 
 
 Here lies the maiden poet ten years of age, an honour to freeborn song 
 and maidenhood. 
 
 On the tenth. 
 
 If you wish to know where Agnes' ashes really lie, they are here ; hes' 
 itate not in your beHef, but be assured. 
 
 On the eleventh. 
 
 Do you wish to hear Phcebus and the Muses' selves singing in sweet 
 strains? Approach this urn, and you will straightway hear. 
 
76 GEOFROY TORY 
 
 On the twelfth. 
 
 A rising poet, deceased in tender years, lies here with laurePcrowned 
 maidenhood. 
 
 Monitor and Agnes, Speakers. 
 MON. Answer me a few questions, I pray, maiden poet. 
 A. I will, provided you ask but few. 
 MON. I will ask but few. 
 A. Ask. 
 
 MON. What is your mind in death? 
 A. Of gold. 
 
 MON. What is your body? 
 A. Of dust. 
 
 MON. What is your spirit? 
 A. Of air. 
 
 MON. Enough ; calm repose and peace be for ever yours. 
 A. And yours in life a full measure of sweet health. 
 
 Distichs hanging on written tablets from a laurehtree near the tomb 
 
 and urn of Agnes. 
 
 On the first tablet. 
 Here lies a poet, image of distinguished virtue, noble and illustrious 
 type of nature. 
 
 On the second. 
 
 Here, with drooping quiver, lie the broken arms which freeborn Love 
 once used to carry. 
 
 On the third. 
 
 Pearl, crystal, magnet, and the green emerald gleam with the virgin 
 poet that lieth here. 
 
 On the fourth. 
 
 Here will be perpetual spring with various flowers as long as flashing 
 Phoebus drives his golden chariot. 
 
 On the fifth. 
 
 Here rest Comeliness and Sport, and Laughter, and Merriment; here 
 is Love, unarmed, with the laurePcrowned maid. 
 
 On the sixth. 
 
 Inside this urn is a treasure ; touch it not, countless gems are within it. 
 
 On the seventh. 
 
 As long as Phcebus shall fill the regions of the heavens with his rays, 
 here will be violets and flowers, here will be the anise. 
 
BIBLIOGRAPHY 77 
 On the eighth. 
 
 Here abide Love, and Sport, and Laughter, and Merriment, and Wit; 
 here abide the Muses and the Graces ; here abides Apollo. 
 
 On the ninth. 
 
 Here dwells, with the honey-'dropping Muses, a maiden destined to 
 receive glory and perpetual song. 
 
 On the tenth. 
 
 Here the earth is green, producing spontaneously mar joram'-garlands, 
 and here it is damp and fertile with vernal dews. 
 
 On the eleventh. 
 
 Here violets, here flowers, here lilies, garlands, crowns grow sponta^ 
 neously, and spontaneously thrive. 
 
 On the twelfth. 
 
 Here Genius with cruel hand breaks in twain his standards, seeing 
 that the type of nature has perished. 
 
 Monitor and Maidenhood, Speakers. 
 
 MON. Ho there ! maiden, beauteous with your rosy face, what do you 
 here, weeping in deep distress ? 
 MA. I am moaning. 
 
 MON. What is the reason for your moaning? 
 
 MA. The maiden Agnes, whose ashes this earthen urn beside me holds. 
 
 MON. Whence comes this sweet odour to my nostrils? 
 
 MA. From the urn, an odour placed there by the Graces, beings divine. 
 
 MON. What did they place there? 
 
 MA. Roses and cinnamon, balsam and nard, flowers and violets, lilies, 
 garlands, and saflS-on. 
 
 MON. Is there marjoram also in the urn, the cyperus with oil of myrrh? 
 MA. There is in it every fragrant herb and pleasant odour. 
 MON. Does the urn, beautifully decked, wear a green crown? 
 MA. As is fitting and right, it wears a laurel^reath. 
 MON. What is the reason? 
 
 MA. It contains the rejoicing Muses, who celebrate with song the rites 
 of the tender maiden. 
 
 MON. Do they sing alone? 
 
 MA. Alone? No. Phoebus Apollo in the centre tunes his lyre and per' 
 forms the mystic rites. 
 
 MON. What, then, do you mean, sweetest maid, by this great moaning, 
 and why do the divinities beside you sweetly sing? 
 
78 GEOFROY TORY 
 
 MA. I will tell you the truth. I cannot but willingly weep ; so nobly 
 gifted was she in intellect. But ten years of age, having followed her fa^ 
 ther's precepts, she was even then a poet who could sing in tripping 
 measure. 
 
 MON. A mighty miracle of nature you recount to me. 
 MA. Nothing on this earth can be truer. 
 MON. Who are these whom I see standing here ? 
 MA. Sport, Merriment, then Gesture, Honour, Virtue, and festive 
 Love. 
 
 MON. And these shattered arms that lie in great numbers around the 
 urn? 
 
 MA. The gods themselves carried them when they were whole. 
 
 MON. What will they do now that all these arms have been thus broken? 
 
 MA. They wUl lament and weep and groan for all time. 
 
 MON. Shall you too weep? 
 
 MA. I shall weep in sorrow all my days. 
 
 MON. Have you a name? 
 
 MA. I have. 
 
 MON. What is it? 
 
 MA. Maidenhood. 
 
 MON. Dear one, farewell. 
 
 MA. Farewell, dearest Monitor, and forget not her who lieth here and 
 was once a beautiful maiden. 
 
 Monitor and Agnes, Speakers. 
 
 MON. Little poet, lying here, all^deserving of famous praise, may I 
 speak a few words with you? 
 A. You may. 
 
 MON. Who made for you this urn set with brilliant gems ? 
 
 A. Who? My father, famed in this art. 
 
 MON. Your father is certainly an excellent potter. 
 
 A. He practises industriously every day the liberal arts. 
 
 MON. Does he also write melodies and poems? 
 
 A. He does. He also blesses with sweet words this lot of mine. 
 
 MON. Yes, the skill of the man is wonderful. 
 
 A. Hardly has any land produced so famous a man. 
 
 MON. O maiden happy in such a father! 
 
 A. I certainly am so. He also exalts my name to the skies. 
 
 MON. I hear the symphony. 
 
BIBLIOGRAPHY 79 
 
 A. The Clarian Muses, together with Phoebus, sing their melodies here 
 with me night and day. 
 
 MON. Near you I see the Graces. 
 A. They tender garlands to me. 
 MON. Whence do they pluck violets? 
 A. On the Elysian Hills. 
 MON. Are there others with you ? 
 A. There are also three divinities. 
 MON. What are they? 
 
 A. Sport, and Love, fair Monitor, and Merriment. 
 MON. What do they? 
 
 A. They lay in place for me holy holocausts, and they fill the accus-* 
 tomed hearths with tinder and with fire. 
 
 MON. Have you long been a goddess of the upper regions? 
 
 A. I am becoming a goddess of the upper regions. 
 
 MON. If you are a goddess, why do you not have your dear parents 
 ascend to the heavenly realms? 
 
 A. They will both ascend. 
 
 MON. But when? 
 
 A. When their fates clearly see that it is necessary. Each man has his 
 fixed day, appointed for him by the fates. 
 
 MON. Each man, therefore, has his fixed and immovable day ? 
 A. To every man comes death on a certain day. 
 MON. Meanwhile what will your father and mother do here on earth ? 
 A. What ? They will perform their holy, sacred duties, and pray. 
 MON. Afterwards what will happen? 
 
 A. In blessedness they will ascend to the heavenly realms, when the 
 Heavenly Father above so wills. 
 
 MON. I will now go back to my duties. 
 
 A. When you wish, of course ; live in happiness, and a kind farewell. 
 MON. And may you live with the gods above, as a heavenly intelli' 
 gence, as a famous constellation, as a benign goddess. 
 
 Genius and Wayfarer, Speakers. 
 
 G. Stay a little, I beg, and go no farther, wayfarer, before looking at 
 this urn and tomb, 
 w. Who are you? 
 G. I am Tutelary Genius, 
 w. What would you have ? 
 
8o 
 
 GEOFROY TORY 
 
 G. I wish to converse a little with you here, friend, 
 w. I am willing. 
 
 G. See how a maiden poet, taken away by cruel fate, is contained in 
 this earthen urn. 
 
 w. How old was she ? 
 G. Twice five years. 
 
 w. And did she, well^skilled, sing poetic measures? 
 G. She did. 
 
 w. 'T is a wonder that you tell me of. 
 
 G. She wrote festive songs in sweet verse, spontaneously playing, spon" 
 taneously singing. 
 
 w. O rare grace of nature ! O manifest glory of the gods ! That so 
 tender a maiden should be a poet ! 
 
 G. 'T was a song, whatever she by chance wished to utter ; whatever 
 she desired to say, 't was a song. 
 
 w. Whence came to her the source of such a power? 
 
 G. From the realms above, whence it is used to come. 
 
 w. As one divine, therefore, she wrote charming verses? 
 
 G. As one divine, following her own and her father's precepts. 
 
 w. Does her father too compose melodies? 
 
 G. He does, he is a poet fair and proper. He is proper and deft and neat, 
 bright and decent. He is one whom the Muse blesses with divine song. 
 
 w. He is certainly well'deserving of some Mscenas. 
 
 G. Few are the Mscenases that live in the French world. No one 
 to'day either encourages the liberal arts by appropriate gifts or under/ 
 takes to encourage them in any way. Uprightness and fair virtue are in 
 no esteem. So powerful is the sway of unhappy Avarice. Treachery, de^ 
 ceit, and vice are in the ascendant. Virtues are put in the background, 
 and every form of wretched evil creeps abroad. 
 
 w. What, therefore, does he who is trained by the charming Muses? 
 
 G. He takes pleasure in being able to live in his own house. 
 
 w. He ought to go with hurried step to the courts of kings. 
 
 G. He does not care to, because he has a free heart. Your potentates 
 sometimes take pleasure in looking at songs, but what then? They re 
 quite them with nods. Golden songs, drawn from the high heavens, they 
 should reward with jewels and with pure gold. But, frivolous as they are, 
 they foolishly give their grand gifts to fools, spendthrifts, and rogues. 
 
 w. Did he educate his own daughter in studies befitting her birth? 
 
 G. He did, and in the fine arts besides. 
 
BIBLIOGRAPHY 
 
 8i 
 
 w. And was she earnest to retain her father's precepts? 
 
 G. She had no greater wish than to follow her father's words. 
 
 w. Oh, what a great honour she would have been to her country and 
 her father, had she lived to undertake the duties of life. 
 
 G. Yes, her glory would have excelled that of all other girls in French 
 lands. She was distinguished in appearance, her face was beautiful in its 
 modesty, and she was all compact of golden words and ways. She drew 
 to herself the hearts of men, young and old, and made them follow her 
 wishes with constant loyalty. 
 
 w. This is a miracle you tell me of. 
 
 G. I tell you the truth, wayfarer. She was a mirror of true-born no-' 
 bility. 
 
 w. Oh, overwhelming grief! Oh, bitter grief and pain! That such a 
 one could die so suddenly ! What will her father do in the meantime ? 
 
 G. Bowed down with grief, he wiU suffer pain of heart and shed un^' 
 ceasing tears. 
 
 w. He would do better to pour forth a flood of prayers to the heavenly 
 gods and to join to his prayers the last rites to the dead. 
 
 G. He joins the last rites to his prayers and never ceases. He fills the 
 customary hearths with tinder and fire. 
 
 w. O maiden worthy of so deserving a father ! O father, too, blessed 
 in such a daughter I 
 
 G. She now shines benign in the glad clouds, like a radiance newly-* 
 risen, like a golden constellation. 
 
 w. May she triumph, shining in the ethereal realms, and may the 
 daughter graciously take her father with her. 
 
 G. Go about your affairs, if you wiU depart, wayfarer. This is what I 
 wished to say. Friend, farewell. 
 
 w. Live in happiness, guardian of the tomb and revealer of the urn. 
 I go about my affairs diligently and in haste. 
 
 Printed at Paris, near the Law School, a d. 1523, 15th day of Feb'y. 
 
 10 
 
 Champ Flevry Au quel est contenu Lart & Science de la deue 
 & VRAYE Proportio des Lettres Attiques, quo dit autremet 
 Lettres Antiques, & vulgairement Lettres Romaines pro/ 
 portionnees selon le Corps & Visage humain. — Ce Liure est 
 Priuilegie pour Dix Ans Par Le Roy nostre Sire, & est a vendre a Paris 
 
82 
 
 GEOFROY TORY 
 
 sus Petit Pont a Lenseigne du Pot Casse, par maistre Geofroy Tory de 
 Bourges Libraire, & Autheur du diet Liure. Et par Giles Gourmont 
 aussi libraire demourant en la Rue sainct laques a Lenseigne des Trois 
 Coronnes. 
 
 [Here the Pot Casse, no. 4 (see p. 45 supra).] 
 Privilegie povr dix ans. 
 
 A small folio of 8 preliminary leaves (signature A) , comprising the 
 title, the privilege, etc., and lxxx numbered leaves (signatures B to O) ; 
 in all, 14 signatures. The first and last have 8 leaves each, the others 6. 
 
 I have already spoken of this book at considerable length in the first 
 part, and shall refer to it again in the third ; but in this place I must at 
 least describe it from a bibliographical standpoint. 
 
 On the verso of the title-page which I have just quoted, we read what 
 follows : ' — 
 
 Ce toutal Oeuure est diuise en Trois Liures. 
 
 Au Premier Liure est contenue Lexhortation a mettre & ordonner 
 la Lague Francoise par certaine Reigle de parler elegament en bon & 
 plussain Langage Francois. 
 
 Au Segond est traicte de Linuention des Lettres Attiques, & de la con^ 
 ference proportionnalle dicelles au Corps & Visage naturel de Lhomme 
 parfaict. Auec plusieurs belles inuentions & moralitez sus lesdittes Let' 
 tres Atdques. 
 
 Au Tiers & dernier Liure sont deseignees & proportionnees toutes les/ 
 dittes Lettres Attiques selon leur Ordre Abecedaire en leur haulteur & 
 largeur chascune a part soy, en y enseignant leur deue facon & requise 
 pronunciation Latine et Francoise, tant a Lantique maniere que a la Mo^ 
 derne. 
 
 En deuxCaietz a la fin sont adiouxtees Treze diuerses facos de Lettres. 
 Cest a scauoir. Lettres Hebraiques. Greques. Latines. Lettres Francoises. 
 & icelles en Quatre facons, qui sont. Cadeaulx. Forme. Bastarde, & Top 
 neure. Puis ensuyuant sont les Lettres Persiennes. Arabiques. Africaines. 
 Turques. & Tartariennes. qui sont toutes cinq en vne mesme Figure 
 Dalphabet. En apres sont les Caldaiques. Les Goffes, quo dit autrement 
 Imperiales & Bullatiques. Les Lettres Phantastiques. Les Vtopiques, 
 quon peut dire Voluntaires. Et finablement Les Lettres Floryes. Auec 
 
 I . [This same passage is quoted at length by M. Bernard in Part i (see pp. 1 3-14, supra), 
 where the translator has attempted to render it intelligibly in English. As the present section of 
 the book is intended to assist the bibliographer, it seems proper to reproduce it here exactly in 
 its original form.] 
 
BIBLIOGRAPHY 83 
 
 Linstruction & Maniere de faire Chifres de Lettres pour Bagues dor, pour 
 Tapisseries, Vistres, Paintures & autres chouses que bel & bon semblera. 
 
 On the following leaf is the license, an extract from which will be 
 found on a subsequent page (Part 2, § 11, no. 2) ; then a letter from Tory 
 * a tous vrayz et deuotz Amateurs de bonnes lettres,' beginning thus : — 
 
 'Poets, orators, and others learned in letters and sciences, when they 
 have made and composed some work of their studious diligence and their 
 hand, are wont to make gift thereof to some great lord of court or church, 
 commending him by letters and by words of praise to the knowledge of 
 other men; and this in order to please him and to the end that they may 
 be able always to be so welcome in his sight that he shall seem to be 
 obliged and bound to give to them some great gift, some cure or some 
 office, in recompense of the toil and night-watches they have employed 
 in the making and composing of their said works and gifts. I could readily 
 do the same with this Httle book ; but, considering that, if I should give 
 it to one rather than to another, there might arise envy and detraction, 
 I have thought that it would be well and wisely done of me to make of 
 it a gift to ye all, O ye devout lovers of goodly letters ! nor to prefer the 
 great to the humble, save in so far as he loves letters the more and is the 
 more at home in virtue.' 
 
 Then comes a table, filling eight pages, and another letter of Tory, 
 from which we make a few extracts. 
 
 To the readers of this book, humble greeting. 
 
 It is commonly said, and truly said, that there is great natural virtue 
 in plants, in stones, and in words. To offer examples would be superfluous, 
 so certainly is it true. But I would that God might be pleased to give me 
 grace so to prevail by my words and entreaties that I may persuade some 
 persons that, if they will not do homage to our French tongue, they will 
 at the least cease to corrupt it. I find that there be three sorts of men 
 who strive and exert themselves to corrupt and debase it: they are the 
 'skimmers of Latin,' the 'jesters,' and the ' jargoners.' When the skim/ 
 mers of Latin say : ' Despumon la verbocination latiale, & transfreton la 
 Sequane au dilucule & crepuscule, puis deabulon par les Quadrivies & 
 Platees de Lutece, & comme verisimiles amorabundes captiuon la be^ 
 niuolence de lomnigene & omniforme sexe feminin,' ' it seems to me 
 that they make sport not of their fellows alone, but of themselves. When 
 the jesters, whom I may fairly call ' slashers [dechiqueteurs] of Ian/- 
 
 I . See, as to this passage, the remarks on p. 14, supra. 
 
84 
 
 GEOFROY TORY 
 
 guage/ say : ' Monsieur du Page, si vous ne me baillez vne lesche du iour, 
 
 ie merueaDieu,& vousdisducas,vo' auresnasarde sanguine,' they seem 
 
 to me to do as great harm to our language as they do to their coats, by 
 
 slashing and destroying with contumely that which is of more worth 
 
 whole than when maliciously torn and defaced. And in like manner 
 
 when jargoners ' make their remarks in their malicious and wicked jar/ 
 
 gon, it seems to me not only that they prove themselves dedicate to the 
 
 gibbet, but that it would be well if they had never been born. Although 
 
 Master Fran9ois Villon was in his day mightily ingenious therein, yet 
 
 would he have done better to have essayed to do some other more good' 
 
 ly thing. ... I consider moreover that there is another sort of men who 
 
 corrupt our language even more : they are the innovators and forgers of 
 
 new words. If such forgers are not villains, I deem them little better. 
 
 Think you that they show great refinement when they say after drink/ 
 
 ing that they have ' le Cerueau tout encornimatibule & emburelicoque 
 
 dug tas de mirilifiques & triquedondaines, dung tas de gringuenauldes 
 
 & guylleroches qui les fatrouillet incessammet?' I would not quote such 
 
 foolish words, were it not that my scorn in thinking of them forces me 
 
 to do it. 'Si natura negat, facit indignatio versum ' 
 
 Yours in everything, ^ r ^ , xj 
 
 ^ ° Geoiroy Tory de Bourges. 
 
 After this letter comes the text of the book, which occupies, as I have 
 said, eighty numbered leaves.^ 
 
 At the end we read: ' Here endeth this present book ... the printing 
 of which was finished Wednesday the twenty^eighth day of the month 
 of April, in the year 1529, for Maistre Geofroy Tory of Bourges, author 
 of the said book, and bookseller, living in Paris, who has it for sale on the 
 Petit Pont, at the sign of the Pot Casse, and for Giles Gourmont, also a 
 bookseller, living in said Paris, who likewise has it for sale on Rue Sainct 
 Jaques, at the sign of the Trois Couronnes.' ^ 
 
 This work was reprinted in 1549, in octavo,'^ with the same woodcuts, 
 but with some variations in other respects. 
 
 1 . Those who use thieves' slang. 
 
 2. [There is no leaf numbered lix; the leaf between Iviii and Ix is numbered Ixx.] 
 
 3. Cy finist ce present Liure, . . . Qui fut acheue dimprimer Le mercredy .xxviij. lour du 
 Mois Dapuril, Lan Mil Cincq Cens. xxix. Pour Maistre Geofroy Tory de Bourges, Autheur 
 dudict Liure, & Libraire, demorata Paris, qui le vent sus Petit Pont a Lenseigne du Pot Casse. 
 Et pour Giles Gourmont aussi Libraire demorant au diet Paris, qui le vent pareillcment en La 
 Rue Sainct laques a Lenseigne des Trois Coronnes. 
 
 4. See what I have said of this second edition on p. 42, supra. 
 
BIBLIOGRAPHY 
 
 85 
 
 I I 
 
 La Table de lancien philosophe Cedes, natif de Thebes, et 
 
 AUDITEUR DaRISTOTE. En LAQUELLE EST DESCRIPTE ET PAINCTE 
 LA VOYE DE LHOMME HUMAIN TENDANT A VERTUS ET PARFAICTE 
 SCIENCE. AVEC TRENTE DIALOGUES MORAULX DE LUCIAN, AUTHEUR 
 
 jADis GREC. Le tout picca translate de grec en langue latine par plu^ 
 sieurs scavans et recommandables autheurs. Et nagueres translate de 
 latin en vnlgaire francois par maistre Geofroy Tory de Bourges, 
 braire, demourant a Paris, rue Sainct laques, devant lescu de Basle, a 
 lenseigne du Pot Casse. Sont en ung volume ou en deux qui veult, a 
 vendre audict lieu par ledict translateur, et par lean Petit, Hbraire jure 
 en luniversite de Paris, demourant aussi en la me Sainct laques, a len^ 
 seigne de la Fleur de Lys. 
 
 Twelvemo; divided into signatures of 8 leaves. In the first volume, lo 
 preliminary leaves and signatures A to T; in the second volume, signa' 
 tures a to vij. AU the pages are embellished with narrow filleted bor/ 
 ders, on some of which the Lorraine cross appears. 
 
 On the first page is Tory's Pot Casse (no. 6), or Jean Petit 's mark, 
 according as the copies were issued by one or the other of those publish/ 
 ers, who divided the edition. 
 
 On the second leaf is an extract from the license (dated September 
 i8, i529')> in so far as it concerns this book, 'the printing of which was 
 finished the fifth day of October, in the year above named.' 
 
 On the third leaf is the dedicatory epistle, the essential part of which 
 is as foUows: — 
 
 Geofroy Tory of Bourges doth say and give humble greetings to all 
 studious and true lovers of excellent pastime in reading. 
 
 Horace, a poet of old surnamed Flaccus, hath told us in writing in 
 his ' Ars Poetica' that philosophers and poets are wont, under the outer 
 bark of deceitful words, to convey a moral meaning which may profit 
 us in the knowledge of virtue or give us pleasure in the charm of their 
 style and their pleasing invention. Wherefore, seeing this to be true, and 
 reading aU day the Table of the ancient philosopher Cebes, likewise 
 the Dialogues of the very learned and gracefiil Greek author Lucian, 
 methought that it would be well done of me to translate them into our 
 French tongue also, and cause them to be printed, to the end that each 
 
 I . See the exact text of this license, which includes three works of Tory, under no. i z, 
 infra. 
 
86 
 
 GEOFROY TORY 
 
 one of you, upon reading the said Table, may readily recognize what pure 
 virtue is, and may find honest pleasure in the ingenious and moral Dia/ 
 logues of the said Lucian. I offer them with a most humble and devout 
 heart to you, O scholars and lovers of pure worth! giving you to know 
 that, in so far as it hath been possible for me so to do, I have followed 
 the true text, adding nothing of my own thereto, neither using nor mis^ 
 using any modification or stuffing whatsoever. I have most gladly written 
 them down for you in flowing language, in your domestic mother tongue, 
 without attempting to mix therein refinements of phrase, strange words, 
 or such language as Carmentes, mother of Evander, might be unable to 
 understand or decipher. I see some who, if they should write but six 
 words, four will be either out of use, or manufactured, or stretched out 
 longer than a spear. Like him who said in the laments and epitaphs of 
 a king of the Basoche : — 
 
 'Au point prefix que spondile et muscule, 
 Sens vernacule, cartilaige auricule, 
 DIsis acule, Diana crepuscule, 
 Et Iheure acculle pour son lustre assoupir.' 
 
 And a thousand other like sayings which I leave to him. I know not to 
 whom such language gives pleasure; but to me it seems scarce fair or 
 fiine. It would seem, and yet I misdoubt, as if such a battery of behorned 
 and overrefined words had come or been hurled down from the Latin 
 language to ours; for there have been, and there are to this day many 
 who think that they have done a wondrous thing if they have written 
 in Latin a strange and unduly long word, Hke him who said, and ingen^ 
 iously none the less: 'Conturbabuntur Constantinopolitani innumerabil^ 
 ibus sollicitudinibus.' And that other, Hermes by name, who took such 
 delight in writing long and refined words that he was hoist with his own 
 petard when another ingenious man composed against him, in manufac-' 
 tured words, with an armful of syllables, the distich which follows: — 
 
 'Gaudet honorificabilitudinitatibus Hermes, 
 Consuetudinibus, sollicitudinibus.' 
 
 I say this in passing, that you may not expect to find unwonted words 
 in this your little book. I know that there was once a wise man and philcy 
 sopher who said one day to his friend: ' Loquere verbis presentibus et 
 utere moribus antiquis,' which is to say, 'Speak in ordinary language 
 and live according to the manners of the good old days.' In this your said 
 
BIBLIOGRAPHY 87 
 
 little book you will, I think, find charm, for it is full of many goodly 
 and ingenious conceits both of Cebes and of Lucian. I have placed first 
 herein, as I have said, the Table of this man Cebes, to the end that you 
 may see at the outset that 'poesis est pictura loquens': a poetical work 
 is a speaking picture. Touching the Dialogues of the learned Lucian, I 
 have not included them all, nor translated all; but I have chosen thirty 
 only of those which in my opinion are the finest and most moral, which 
 you may readily discover to be not only pleasant to read, but most pro/ 
 fitable in goodly moral teaching. You will accept them then, if it please 
 you, with kindly face and heart, remembering that with God's help I 
 will shortly make you some other new gift, to the best of my ability. 
 And meanwhile I will pray to our Lord Jesus to have you in his keeping 
 according to your wishes. 
 
 From Paris ; in all things your devoted servant, 
 
 Geofroy Tory. 
 
 Follows a long list of errata, and a table of the Dialogues, followed 
 by another letter, 'aux lecteurs des Dialogues de Lucian contenuz en 
 ce present livre.' This letter contains nothing personal to Tory, and I 
 will quote only the closing passage, where, speaking of the Dialogues, 
 he says: — 
 
 I believe that, if the ancient and noble painter Zeuxis of Heracleia, 
 if Raphael of Urbino, Michel Angelo, Leonardo da Vinci, or Albrecht 
 Diirer should try to paint philosophers and their various aspects, they 
 could not paint them so well nor so to the life as our Lucian paints them 
 herein. It will seem to you that you do va"ily see them and hear them 
 speak, and that Menippus, before your wondering eyes, doth fly up to 
 heaven to learn the truth concerning all the falsehoods of the said philo' 
 sophers. May God have you in his keeping according to your noble and 
 goodly desire. 
 
 From the University of Paris; in all things your devoted servant, 
 
 Geofroy Tory. 
 
 At the end of the book, after the Dialogues, Tory introduced a 
 number of moral apothegms and plays upon words, probably of his own 
 invention. 
 
 This volume is printed with the type and decorative letters of 
 'Champ fleury.' 
 
88 
 
 GEOFROY TORY 
 
 I 2 
 
 SUMMAIRE DE CHRONIQUES, CONTENANS LES VIES, GESTES ET CAS FOR/ 
 TUITZ DE TOUS LES EMPEREURS DeUROPE, DEPUIS IuLES CeSAR IUS^ 
 
 QUES A Maximilien, DERNIER DECEDE. — Avcc maintcs belles his/ 
 toires et mensions de plusieurs roys, dues, contes, princes, capitaines 
 et aultres, tant chrestiens que non, tant de hault que de bas estat et 
 condition.— Faict premierement en langue latine par venerable et 
 discrete personne lehan Baptiste Egnace, Venicien. — Et translate de 
 ladicte langue latine en langaige francoys par maistre Geofroy Tory 
 de Bourges. — -On les vend a Paris, a lenseigne du Pot Casse. — Avec 
 privilege du Roy nostre sire pour X ans.' 
 
 Octavo; i6 preliminary leaves (signatures a and /^), 99 leaves of text, 
 numbered, and 13 leaves of index and errata, not numbered (signatures 
 A to O) ; in all, 128 leaves, or 1 6 octavo sheets. All the pages are enclosed 
 in threefold fillets, with compartments running into one another, such 
 as were still used in printing-offices until quite recently. I will remark 
 in passing that the sheets of this book bear only two signature letters 
 each, one on the first page (for the first form) , the other on the third 
 page (for the second form), as is the general practice to-day, instead 
 of the four which were commonly inserted, to no usefiil end. 
 
 On the verso of the first leaf, the recto of which is occupied by the 
 title, is printed the king's license, in these terms: — 
 
 Francoys, by the grace of God King of France, to the Provost of 
 Paris, Bailly of Rouen, Seneschal of Lion, and to all other our justiciars 
 and officials, or to their lieutenants, greeting. Our dear and well^beloved 
 maistre Geofroy Tory of Bourges, bookseller, dwelling in our city of 
 Paris, hath caused it to be said and shown to us that he hath of late trans' 
 lated from the Latin into vernacular French two books, one having been 
 formerly translated from the Greek into the Latin by several learned and 
 commendable authors, entitled: ' La Table du philosophe ancien Cebes, 
 natif de Thebes, et auditeur Daristote,' together with certain moral Dia^' 
 logues of Lucian; the other originally composed in the Latin tongue by 
 Jehan Baptiste Egnace, entitled: 'Summaire de Chroniques, contenant 
 les gestes et faictz de tous les empereurs Deurope, depuis Jules Cesar 
 jusques a Maximilian'; likewise another book, entitled: 'Les Reigles ge^ 
 nerales de Lorthographe du langaige francoys ' ; the which books he is 
 desirous to print, were it our pleasure to permit him so to do, and at the 
 
BIBLIOGRAPHY 89 
 
 same time to forbid all booksellers, printers, and all other persons what/ 
 soever to print, cause to be printed, or expose for sale the said books — 
 Wherefore is it that we, having regard to the trouble and labour which 
 the said Tory hath had herein, have given unto him license and permis^ 
 sion to print, cause to be printed, and expose for sale at a fair and rea^ 
 sonable price, by himself, his servants, agents and factors, the said books 
 above described, during ten years following and subsequent to the print'- 
 ing thereof. Such is our wHl, etc. Given at Paris the xxviii day of Sep/ 
 tember, in the year of grace m. d. xxix, and of our reign the xv. 
 
 Heruoet. 
 
 Next comes the following letter of Tory, by way of preface: — 
 
 Geofroy Tory of Bourges, to all studious and true lovers of goodly 
 reading and profitable pastime, doth humbly bid and offer greeting. 
 
 I promised you not long since, in the preface to the Table of Cebes 
 and the thirty new Dialogues of Lucian, that I would ere long, by my 
 humble efforts, make for you another new book, which, to my thinking, 
 might afford you pleasing and useful pastime, by enticing you to read 
 and see therein things wherewith your mind might well in due time and 
 place be entertained and deliciously soothed. At this present time (my 
 most honourable lords) , as your humble servant, who is entirely devoted 
 to you, I present to you a 'Summaire de Chroniques,' the which I have 
 translated for you, as I translated the said Cebes and Dialogues, from 
 the Latin into French, to the best of my poor ability, forewarning you 
 that, after the manner of Jehan Baptiste Egnatius, the present author, 
 I have neither modified nor changed the meaning of the story in favour 
 of any man whatsoever. Nor is my translation made word for word, be^ 
 cause that would have been a too barren style and devoid of charm. I 
 know that, according to Horace (*nec verbo verbum curabit reddere 
 fidus interpres'), a translator should rfot vex his wits about rendering 
 each word that he translates into a word of his language; but should re^ 
 tain the meaning and set it forth in the best style that shall be possible 
 for him. So I have done the best that I could, as well for the love and 
 respect that I owe you, as not to depart from the pure truth of history, 
 which is of such nature that it will not brook to be in any way turned 
 aside from its purity. Marcus TuUius Cicero doth well enjoin it upon us, 
 when he writes in the second book of his ' Orator ' : ' Nam quis nescit pri/ 
 mam esse historiae legem, ne quid falsi dicere audeat, deinde ne quid veri 
 
90 
 
 GEOFROY TORY 
 
 non audeat, ne qua suspitio gratise sit in scribendo, ne qua simulatis?' 
 ' But who is there [he says] who does not know that the first law of his/ 
 tory is to dare to tell nothing that is untrue, and to tell the truth without 
 feigning, to the end that there may be no suspicion of partiality or of 
 envy in that which one writes?' Of a surety history should be entirely 
 true, not only for the reasons already given, but because, as Cicero says 
 a little before the place already quoted : ' Historia est testis temporum, 
 lux veritatis, vita memoriae, magistra vit£, et nuncia vetustatis.' 'History 
 [he says] is the testimony of the times, the torch of truth, the nurse and 
 life of the memory, teacher and schoolmistress of our life, and messen^ 
 ger of antiquity.' I have chosen to make you a present of a history, and 
 a history abridged to the limits of a summary, rather than of something 
 else, for the reason that while engaging yourselves, you may see therein, 
 as in a mirror, a thousand excellent things, wherefrom you shall be able 
 to hear and recognize innumerable useful suggestions which shall do you 
 good service on occasion in due time and place. Titus Livius says, in the 
 preface to the first book of his first Decade: 'Hoc illud est precipue in 
 cognitione rerum salubre ac frugiferum, omnis te exempli documenta 
 in illustri posita monumento intueri, unde tibi tuaeque Reipublicae quod 
 imitare cupias, unde fcedum inceptum, foedum exitu quod vites.' 'It is 
 [he says] peculiarly good and useful in the knowledge of things, to see 
 and learn in noble history the teachings of worthy example, by the imita^ 
 tion and likeness whereof you may choose for yourselves and for your 
 country that which you ought to imitate and follow, and that which you 
 ought to avoid as an abomination, at the beginning as well as at the end.' 
 Take therefore in good part, an it please you, this little work, and ac^ 
 cept it with a gracious face and expression, as of your kindliness you are 
 wont to do; even so you will invite me, of your courteous and singular 
 grace, henceforward to do better, with the aid of Our Lord lesus, to 
 whom I pray that he will give to you all his love and blessed grace, at 
 your noble and worthy desire. 
 
 At Paris, this x day of April, m. d. xxix. 
 
 On the last leaf of the book we find the Pot Casse, with these words 
 beneath : ' The printing of this present book was finished at Paris, the 
 XIII day of April, m. d. xxix," for maistre Geofroy Tory de Bourges, who 
 sells it in said Paris, at the sign of the Pot Casse.' 
 
 The only copy that I have seen of this edition was then owned by 
 
 I. I 530, new style. 
 
BIBLIOGRAPHY 91 
 
 M. Ambroise Didot, who courteously permitted me to examine it at 
 my leisure. It was in its original binding with the Pot Casse. The book is 
 printed in the 'Champ fleury' type. 
 
 There are several other editions. 1 am farmliar with two of them, pub' 
 Ushed by Charles L'Angelier, both in octavo, in 1543 and 1544. M. Hip/ 
 polyte Boyer mentions one of 154 1, in his 'Histoire des Imprimeurs et 
 Libraries de Bourges ' (octavo, Bourges, 1854), page 2 7 ; but I have not seen 
 it: whereas I have had the privilege of examining the other two. Each 
 of them contains 112 leaves (signatures A to O), plus 4 unnumbered 
 ones. The book is illustrated with engravings of two kinds, in addition 
 to the bookseller's mark on the title-page : the first, reproduced several 
 times, represents an emperor, mounted, holding a battle-axe ; it is not 
 signed, but is engraved with much delicacy, and embellished with the 
 little cartouches so much affected by Tory. The others represent busts 
 of emperors roughly engraved, which cannot be the work of that artist. 
 
 La procession de SoISSONS devote et memorable FAICTE a la LOU/ 
 ANGE DE DiEU, POUR LA DELIVRANCE DE NOSSEIGNEURS LES ENFANS 
 
 DE France. — On les vend a Paris, a lenseigne du Pot Casse, rue Sainct 
 laques, devant lescu^ de Basle, et en la halle de Beausse, a la mesme 
 enseigne du Pot Casse, devant leglise de la glorieuse Madalaine, avec 
 privilege pour deux ans. 
 
 At the end of the book : ' The printing of this present book was fin/ 
 ished the xxix day of August m. d. xxx, and it is for sale at Paris by 
 maistre Geofroy Tory de Bourges.' 
 
 SmaU quarto of 20 leaves with borders, signatures Aij to Cij. 
 
 This exceedingly rare little volume has a title/page with a border of 
 arabesques engraved on wood, with the Lorraine cross. Beneath Tory's 
 mark are four Latin verses, probably of his composition, as are the six 
 which bring the narrative to a close and which are entitled: 'Torinus 
 Biturigicus ad Galliam.' On the verso of the title is the preface, dated 
 August 25, 1530, and beginning thus : 'Geofroy Tory of Bourges to the 
 devoted lovers of good reading doth bid and offer humble greeting.' 
 
 At the top of leaf Aij we read: 'The order of the grand procession 
 ordained at Soissons by the reverend father in God Monseigneur lehan 
 Olivier, Abbe de Saint Mard at said Soissons, Councillor to the King our 
 
 I . Not a I' escu de Basle, as in the note printed by M. Brunet. 
 
92 GEOFROY TORY 
 
 Sire, and Chronicler of France, on Sunday the last day of July in the year 
 of grace one thousand five hundred and thirty, to give thanks to our Lord 
 for the deliverance of our lords the Children of France.' 
 
 These particulars are taken from the fifth edition of Brunet's ' Manual 
 de Libraire.' I have not been able to find the volume, despite my thorough 
 search in the various libraries of Paris. 
 
 14 
 
 iEDILOQUIUM CEU DISTICHA PARTIBUS ^DIUM URBANARUM ET RUSTP 
 CARUM SUIS QVJEQVE LOCIS ADSCRIBENDA. ItEM, EpITAPHIA SEPTEM 
 DE AMORUM ALIQUOT PASSIONIBUS ANTIQUO MORE ET SERMONE 
 VETERI, VIETOQUE CONFICTA. AuTHORE GOTOFREDO TORINO, BlTU" 
 
 RiGico. — Parisiis, apud Simonem Colin^um. 1530. Cum privilegio 
 ad biennium.' 
 
 Octavo; 3 sheets, printed in italic. The title is set in an exceedingly 
 graceful border, borrowed from the Hours in octavo of 1527. The verso 
 of the title is blank, and on the second leaf is the following preface : — 
 
 Geofroy Tory of Bourges to the fair reader, greeting.' 
 
 There are certain eminent painters in this prolific age, most gentle 
 reader, who, by their drawings, paintings, and varied colouring, depict the 
 tribal gods and human beings, as also other things of different sorts, with 
 such exactness that a voice and a soul seem the only things wanting to 
 them ; but here, most gentle reader, I offer you, nearly in the manner of 
 these painters, a house, which not only is elegant and finished in its out/ 
 lines and parts, but speaks prettily and describes itself part by part in a 
 eulogy. I also offer you seven epitaphs, composed and written in the an' 
 cient style and in very ancient language. These epitaphs show, in a way 
 that we may call comprehensible, the various affections to which unhappy 
 mortals who are in love are subject. I am, I say, pleased to offer you these, 
 not that you may speak or write in obsolete words such as you here find, 
 
 1 . The license, which embraces the Economic Xenophon, and is printed at the end of the last- 
 named book, extends the author's rights for four years, not for two. The discrepancy may be 
 explained by the fact that the jEdiloquium was printed while Tory's application for the license 
 was pending, — that is to say, in the first three months of I 53 i , which were then reckoned in 
 the year 1530, according to the old computation. In fact, the license is dated June 18, i 5 3 i , 
 which seems to conflict with the date of printing of the J£diloquium. This circumstance also 
 explains why the second title of the book is different in the printed volume from that given in 
 the license (^Erotica'). See p. 31, supra. 
 
 2. [For the Latin original, see Appendix X, x.'^ 
 
BIBLIOGRAPHY 
 
 93 
 
 but that you may have before your eyes, so bright and full of charm, 
 a sample of antiquity, and may know that you have been thoroughly 
 warned by me to be on your guard against falling into the snares and 
 perplexities of an insane love. Farewell. 
 
 In addition to the border of the title-'page, the book contains seven ex' 
 quisite little engravings, corresponding to Tory's seven ' love epitaphs,' 
 — engravings which are certainly his, in design at least, although un^ 
 signed. Here is a list of them : — 
 
 1. Two hearts pierced by an arrow. 
 
 2. Two hearts in a circle. 
 
 3. Two hearts bound together by cords. 
 
 4. Two hearts in a boat. 
 
 5. A pig sniffing at two hearts. 
 
 6. Two hearts, a distaff, etc. 
 
 7. Two hearts being kicked by a horse. 
 
 As for the text of the book, it has been variously judged. Catherinot 
 was delighted with it ; but the author of the ' Menagiana' reproves Tory 
 for manufacturing Latin words after the style of the author of the « Songe 
 du Poliphile' (see supra, page 55, note 2). We have seen that Tory him-' 
 self did not recommend such words to the reader. 
 
 The Bibliotheque Nationale has a copy of this little book, still in its 
 original binding, with the Pot Casse. 
 
 Science pour Senrichir honnestement et facilement, intitulee : 
 Leconomic Xenophon, nagueres translatee de GREG et latin 
 en langaige francoys par maistre Geofroy Tory de Bourges. 
 [Here the Pot Casse, no. 4] On les vend a Paris, en la rue Sainct laques, 
 devant lescu de Basle, et devant lesglise de la Magdalaine, a lenseigne 
 du Pot Casse.— Avec privilege. 
 
 Octavo of 9 sheets (signatures a to /). As in the 'Sommaire de Chro' 
 niques ' of Egnasius, there are only two signature marks to the sheet (one 
 for the first form and one for the second) , and each page is enclosed in 
 a three-'line fillet. The titl&page alone is set in a border of arabesques of 
 pleasing design. 
 
 On the verso of the title : 'At the aforesaid sign of the Pot Casse there 
 be also for sale Thucydides and Diodorus, with several other excellent 
 
94 GEOFROY TORY 
 
 books translated from Greek and Latin into French. Likewise there be 
 beautiful Hours and Offices of Our Lady, large, medium, and small, illus/ 
 trated and vignetted in ancient and modern fashion.' 
 
 On the second leaf is an explanation of the words 'Economic' and 
 *Xenophon'; and on the third a dedication, extracts from which follow. 
 
 Geofroy Tory of Bourges to his most reverend father in God, Antoine 
 du Praty Cardinal de Sens, legate in ordinary and Chancellor of 
 France y doth say and proffer most humble greeting. 
 
 After the book treating of the meaning of the ancient letters, called 
 'Champ fleury,' the which 1 composed in the French tongue, and the 
 'Table of Cebes,' with thirty moral dialogues, likewise the 'Sommaire 
 de Chroniques,' the which I translated into our said tongue,' to confer 
 a benefit on the studiously inclined, most reverend father in God, it hath 
 seemed to me a worthy occupation, if I should employ myself in translate 
 ing also the 'Economic Xenophon'; and beneath the shadow of your 
 most honourable wing, first presenting the same with humble devotion 
 unto you, I have published the same and placed it in the hands of all virtu' 
 ous and worthy persons, to pass the time studiously therewith and therein 
 to find good counsel for directing their families worthily and increasing 
 their wealth by honest means. 
 
 Wherefore, most reverend father in God, under your venerable favour 
 and blessing, the studious and veritable lovers of goodly reading and 
 fruitful occupation will kindly take this little book in their condescend' 
 ing hands, and all will bear you good will, not for the book alone, but for 
 that you are he to whom all owe honour and service, as to whom all the 
 public welfare and all Christendom are deeply indebted. 
 
 I shall continue to be, if it so please you, in your good favour, and I 
 will pray to Our Lord that he will give you his love according to your 
 noble and estimable desire. 
 
 From Paris this Wednesday, the fifth day of July, m. d. xxxi. 
 
 Following this document, which fills three leaves, comes an epistle 
 from Geofi-oy Tory of Bourges to 'studious and worthy readers,' by way 
 of preface. It fills two leaves. The eighth leaf is entirely blank. On the 
 ninth, the 'Economic Xenophon' begins, and extends from to / 4; the 
 fifth and sixth leaves of i contain an ' Epistle from Seigneur Elisee Ca/ 
 lense, native of Amphrates, which he sent to Rufinius, guardian of the 
 
 I . He does not mention the ^diloquium, because it was in Latin. 
 
BIBLIOGRAPHY 95 
 
 Emperor Arcadius, replying to him touching the matter of managing 
 his family and of keeping in order his domestic goods and chattels, trans^ 
 lated from Latin into French by maistre Geofroy Tory de Bourges.' 
 
 On the last leaf but one appears a 'duplicate of the license granted to 
 maistre Geofroy Tory de Bourges, by the King our Sire, for this present 
 book and others named in this said license,' in these words: — 
 
 Francoys, by the grace of God King of France, to the Provost of 
 Paris, Bailly of Rouen, Seneschal of Lyon, and to all other our justiciars 
 and officials or their deputies, greeting. Our dear wel^beloved maistre 
 Geofroy Tory of Bourges, bookseller, dwelling in our city of Paris, hath 
 caused it to be made known to us that he hath of late made and com/ 
 posed in the Latin tongue a certain book entitled; '^diloquium et 
 Erotica"; likewise, that he hath translated from Greek and Latin into 
 French the 'Economic Xenophon'; which books he would fain print, 
 or cause to be printed, if it should be our pleasure to permit him so to do, 
 at the same time causing all tradesmen, booksellers, printers, and other 
 persons whomsoever, to be forbidden to print or to expose for sale in any 
 manner the said books; and that, if any should be brought hither by for/ 
 eigners, other than those of the said Tory's printing, they may not be 
 sold within our realm during the period of the four years reckoned from 
 the date of the printing of said books, with an extension for a like period 
 for certain other books, illustrations, and vignettes to be printed in the 
 'Heures et Office de Nostre Dame' mentioned in two licenses hereto/ 
 fore granted to him by our favour.^ Wherefore, having regard and con/ 
 sideration for the time and toil which it hath cost the said Tory to com/ 
 pile and translate the said books, and for such expense as it shall be his 
 pleasure to incur in printing the same, — for these reasons we have given 
 and granted to him permission to print or cause to be printed and to offer 
 for sale the said books above mentioned for four years following and sue/ 
 ceeding the printing thereof. And so we command you, that by virtue 
 of this our present favour, warrant and permission, you do allow the said 
 petitioner to use and enjoy the same, and do forbid in our name all 
 tradesmen, printers, booksellers, to print or cause to be printed, or to ex/ 
 pose for sale in any manner the said books during four years, on pain of 
 
 1 . In the printed volume of the ^diloquium, Tory modified this sub-title ; for it might well 
 have marred his epitaphs with a suspicion of obscenity which was very far from his thought. 
 
 2. On September 23, 1 524, and September 5, 1 526. Tory requested an extension of the 
 licenses for his Hours because he was about to reprint them. The second edition of the quarto 
 Hours appeared on October 20, 1 5 3 1 . 
 
96 GEOFROY TORY 
 
 twenty^five silver marcs to be paid to us, and confiscation of the books 
 as to which they shall have been guilty ; for such is our pleasure. Given at 
 Vannes, the xviii day of June in the year of grace one thousand five hun^ 
 dred thirty 'one, and of our reign the seventeenth. — Signed, Heruoet. 
 
 On the last page: 'The printing of this present book was finished by 
 maistre Geofroy Tory of Bourges Wednesday the fifth day of July in the 
 year m. d. xxxi. And it is for sale at Paris, opposite the " Escu de Basle," 
 Rue Sainct laques, and opposite the Church of La Magdeleine, at the 
 sign of the ("a leeseigne [sic] du") Pot Casse.' 
 
 The description we have given is that of the very complete copy 
 owned by M. Ambroise Didot. M. Chedeau, an attorney at Saumur, 
 owned a copy the title^'page of which is different. It reads thus: — 
 
 Economic de Xenophon, cest a dire: Domestiques Institutions 
 
 ET EnSEIGNEMENS POUR BIEN REGIR SA FAMILLE ET AUGMENTER 
 SON BIEN PARTICULIER. IaDIS COMPOSE EN GREG PAR LANCIEN AU^ 
 THEUR XeNOPHON, ET TRANSLATE DE GREC ET LATIN EN LANGAIGE 
 
 FRANCOIS PAR MAISTRE ToRY DE BouRGES. [Here the Pot Casse.] 
 Imprimees a Paris, a lenseigne du Pot Casse, par ledict maistre 
 Geofroy Tory, marchant libraire et imprimeur du roy. — Avec privi/ 
 lege. 
 
 This title-page has the same border and the same form of the Pot 
 Casse as the other copy; but it has not on the verso the little list of 
 other publications which we find on the latter, and which we have repro' 
 duced above. As the first signature (A) of M. Chedeau's copy lacks four 
 leaves, we cannot say whether there are other differences in that signa^ 
 ture; but as to the other signatures, B to I, they are identical in the two 
 copies. Thus we find in both the error to which we called attention above 
 in the word 'enseigne' [printed 'eeseigne'], in the final note; better still, 
 this error has been corrected by hand, in the same way, in both copies, 
 probably by Tory himself. Which of the two is the earlier? I should not 
 venture to say; however, it seems to me that the additional matter on 
 the verso of the title-page of M. Didot's copy tends to prove that it is 
 the later of the two. In any event, the interval between the two impress 
 sions cannot have been a long one. If I interpret rightly certain circum^ 
 stances, the first signature, which had been kept in type (as is proved 
 by a number of typographical defects which appear in both copies) , was 
 reprinted at the same time with the last signature. Tory's dedicatory 
 
BIBLIOGRAPHY 
 
 97 
 
 epistle, in M. Didot's copy, is dated July 5, the day when the printing 
 of the book was finished according to the final note. Now, to make it pos^ 
 sible for him to affix this date to his preliminary epistle, we must con^ 
 cede that it had been kept in type until the book was finished. But may 
 it not be that no date was affixed on the first signature of the first im^ 
 pression ? That is a question that I am unable to answer, in view of the 
 imperfect state of M. Chedeau's copy. It may be, too, that the first sig^ 
 nature was reprinted in order to announce Tory's new address, he having 
 very recently installed his printing establishment in the famous old Halle 
 au Ble de Beauce, on Rue de la Juiverie, opposite the Church of La Made' 
 leine. For it will be observed that this address does not appear on the title/ 
 page of M. Chedeau's copy, although we do find it in the note on the 
 last page. 
 
 This volume is printed in the 'Champ fleury' type. 
 
 16 
 
 POLITIQUES DE PlUTARCHE, CEST A DIRE : CiVILES INSTITUTIONS ET 
 ENSEIGNEMENS POUR BIEN REGIR LA CHOSE PU[BLIQUE], IADIS COM'' 
 POSEES EN GREG PAR PlUTARCHE, ET DEPUIS TRANSLATEES DE GREG 
 EN LATIN PAR LE SEIGNEUR NiGOLE SaGUNDIN, ET A PRESENT DE 
 LANGUE GREGQUE ET LATINE EN LANGAIGE FRANCOIS PAR MAISTRE 
 
 Geofroy Tory de Bourges. — Dediees par le dit autheur a lem*- 
 pereur Trajan, et par le translateur en langaige francois a tresilustre 
 et plain de bon espoir en toute heureuse vertu, son seigneur, Francois 
 de Vallois, Daulphin de France. [Here the Pot Casse, no. 4.] Impri^ 
 mees en Paris, a lenseigne de Pot Casse, par maistre Geofroy Tory de 
 Bourges, marchant libraire et imprimeur du Roy. — Avec privilege 
 tresample." 
 
 Octavo, of 8 preliminary unnumbered leaves, and 67 numibered leaves 
 of text (signatures A to lij). The pages have no borders. There are mar/ 
 ginal remarks. The type and the ornamental letters are the same as in 
 ' Champ fleury.' 
 
 On the second leaf is the following dedicatory epistle: — 
 
 Geofroy Tory de Bourges to his most debonair lord, Francois de Vah 
 lois, Daulphin de France, doth say and proffer most humble greeting. 
 
 I. We have not this ' privilege tresample,' which probably was printed in some other of 
 Tory's books, now lost. In truth, that accomplished man was accustomed to have several 
 books included in each of his hcenses. 
 
98 GEOFROY TORY 
 
 My lord, while translating this little book, I have oftentimes reflected to 
 whom of all my good friends I should the sooner dedicate it, or whether 
 I should dedicate it (as I have heretofore done with certain other books 
 which I have composed and translated into the French tongue) to all 
 studious and genuine lovers of excellent reading and worthy pastime. 
 But in fine, knowing thy virtuous nature, likewise the mirror of all good' 
 ness and perfect nobility wherein thou dost abundantly excel, and art 
 ever disposed for every blessed and goodly enterprise, I have considered 
 that before all other living men, of what state soever they may be, it is 
 to thy glorious lordship that I ought and am in duty bounden to conse^ 
 crate it, since it is thou under whom the public, not of France alone, but 
 of all Christendom, has its hope of living hereafter in all felicity. I dedi^ 
 cate it to thee, not forgetting that thou hast thy noble father the King, 
 who, as Philip of Macedon did of yore to his son Alexander, doth set be*' 
 fore thee noble and goodly instruction and examples of upright living ; 
 but also to the end that thou mayst by times amuse thyself and read the 
 excellent tales and teachings which are marshalled herein as in a well/ 
 chosen library ; and also that, following thy noble and generous example, 
 the studiously inclined may, by reading the same, worthily profit thereby. 
 Thou mayst find herein many excellent passages, which will sometimes 
 help to comfort thee, and will be in some degree the means whereby 
 thou and thy Realm, v^th the grace of God, wilt ever prosper more and 
 more. 
 
 Paris, this xiiii day of June, m. d. xxxii. 
 
 On the verso of the last leaf : 'The printing of this present book was 
 finished Saturday the xv day of June, m. d. xxxii, by maistre Geofroy 
 Tory of Bourges, bookseller and king's printer, living in Paris, opposite 
 the church of La Magdeleine, at the sign of the Pot Casse.' [Here the 
 Pot Casse, no. 9.] 
 
 I have seen two copies of this book, one in M. Didot's library, the other 
 in M. Alkan's. 
 
 Another edition was published at Lyon, in 1534, in i6mo, by Guil^ 
 laume BouUe (or Boulle, for the name, in accordance with the custom 
 of the time, has no accent on the e). This is undoubtedly the one men^ 
 tioned by Duverdier ' as having been printed at Paris, in octavo, in 1530, 
 by Guillaume Boulle. In this statement there are as many errors as there 
 are words. Guillaume Boulle's edition was not printed in Paris, it was not 
 
 I . Bibllotheque Frartfosse, article * Geofroy Tory. ' 
 
BIBLIOGRAPHY 99 
 
 an octavo, and it cannot be dated 1530, as the first edition did not appear 
 until 1532. Unfortunately La Caille did not take the trouble to verify 
 Duverdier's statement, and he makes Guillaume Boulle a bookseller/" 
 printer of Paris.' Lottin, in his 'Catalogue des Libraries et Imprimeurs 
 de Paris,' ^ has not failed to copy La Caille, and to mention, under the 
 year 1530, a Guillaume Boulle, bookseller and printer in Paris, side by 
 side with Jean Boulle, bookseller. Was this Jean, whom La Caille calls 
 simply Boulle, and whom he places in 1543, a kinsman of Guillaume? 
 I cannot answer. However that may be, here is a full description of the 
 edition of the «Politiques' published by the latter. It is a i6mo volume 
 containing 8 leaves of front matter and 104 of text. On the title-page, 
 which is embellished by a roughly executed border, are these words : — 
 
 ' Politiques ou Civiles Institutions pour bien regir la Chose publ., iadis 
 composees en grec par Plutarche, et despuys translatees en francoys par 
 maistre Geofroy Tory, et dediees par ledict translateur a tres illustre 
 prince et plein de bon espoir en toute heureuse vertu, Francoys de Val^ 
 loys, Daulphin de France. 
 
 ' Disputation de Phavorin, philosophe, nouvellement y a este adioustee. 
 Item chapitre demonstrant combien sont destatz de la Chose publ. 
 
 'On les vend a Lyon, en la rue Merciere, a la boutique de Guillaume 
 Boulle, libraire, a la fleur de lys d'or. — Avec privilege. 1534.' 
 
 On the verso of the title-page is an engraving representing Justice, 
 with this inscription: 'Justitia in sese virtutes continet omnes.' 
 
 On the following leaf is the dedication to the Dauphiru 
 
 At the end of the volume is the mark of Guillaume Boulle, or Boulle. 
 
 There is a copy of this little book at the Arsenal, and also one in the 
 Bibliotheque Nationale. The latter lacks the final leaf bearing the book' 
 seller's mark, which some collector (!) has cut out, to enrich his col-' 
 lection. 
 
 17 
 
 La Mouche de Lucian, et la Maniere de parler et se taire [de 
 Volaterran]. [Pot Casse, no. 6.] La Mousche est translatee de 
 
 GREG ETDE latin EN LANGAIGE FRANCOIS. La MaNIERE DE PARLER 
 ET SE TAIRE EST TRANSLATEE SEULLEMENT DE LATIN EN FRANCOIS. 
 
 Le tout par maistre Geofroy Tory de Bourges, imprimeur du Roy et 
 libraire jure en I'universite de Paris. — On les vend a Paris devant 
 I'eglise de la Magdeleine, a I'enseigne du Pot Casse. 
 
 1. Histoire de rimprimerie, Y>- loz. 
 
 2, Vol. i, p. 24, Lottin also writes Beulle. 
 
100 
 
 GEOFROY TORY 
 
 Eight octavo leaves, without date of printing or license. This pamphlet 
 was undoubtedly printed by Tory himself, subsequent to February 22, 
 1533; for he assumes the title of bookseller to the University, which he 
 did not obtain until that date. Moreover, the acute accent, the apostrophe 
 and the cedilla are used therein, and he did not make use of those marks 
 until 1533. Lucian's ' La Mouche' [The Fly] fills 1 1 pages; the ' Maniere 
 de Parler' (an extract from the eighteenth book of Volaterran's 'Philo' 
 sophy') 3 pages. The first leaf has the title, and, on the verso, a note 
 *aux lecteurs.' The type used is the same as in 'Champ fleury.' 
 
 18 
 
 Les reigles generales de lorthographe du langaige francoys. 
 
 Such is the title of a book written by Tory, of which no trace remains. 
 We do not know even whether it was printed, although it is included 
 in the license of the first edition of the 'Sommaire de Chroniques' of 
 Egnasius, dated September 28, 1529. (See page 88.) Doubtless it was the 
 complement of * Champ fleury,' from a grammatical standpoint. 
 
 Translation of the hieroglyphs of Orus Apollo; a manuscript 
 given by Tory to 'a noble and excellent friend' of his.' 
 It is not known whether this translation was printed. There are in 
 
 existence several old translations of Orus Apollo, but they do not bear 
 
 Tory's name. 
 
 I. Champ Jieury, fol. 43 recto. 
 
SECTION II. BOOKS OF 
 HOURS PUBLISHED 
 BY TORY FOR 
 HIMSELF. 
 
 HOURS OF THE VIRGIN. 
 Quarto, in Latin. 
 This is a superb volume, printed 
 by Simon de Colines, with borders 
 and illustrations ' a I'antique,' per/ 
 feet in taste and in the execution 
 of the engravings. The book was, 
 in all probability, printed by Tory 
 and CoUnes on joint account, as 
 copies are extant in the name of 
 each. 
 
 Following are descriptions of 
 three sorts of copies which I have 
 seen, and which have been mistake 
 enly assumed by bibliographers to 
 be distinct editions. 
 
 lOI 
 
102 
 
103 
 
The first page is ornamented with a 
 special border, which we shall find in 
 others of Tory's books. The only copy 
 of this form of the book which I 
 have had an opportunity to examine, 
 namely, the one in the Bibliotheque 
 de I'Arsenal, although it is bound in 
 paper only, has a beautiful drawing in 
 miniature which occupies the whole 
 of this page. It represents two print'' 
 ers working at a press, and a composi^ 
 tor in front of his case. None of the 
 printing has been retained, save the 
 five lines of the title, 'Horas,' etc., 
 which are enclosed in a scroll hang^ 
 ing from the upper branches of two 
 trees which form the frame of the 
 miniature. I do not know the name of 
 the fortunate recipient of this gift. One 
 sees only his initials (R. P.) in a heart 
 above the press. 
 
 On the verso of the title we find, in 
 accordance with custom, the table of 
 Easter Days, etc., from 152310 155 1. 
 
 104 
 
The border of the page has, in three 
 small reserved scrolls in the midst of 
 the arabesques, the words : geofroy 
 — TORY — SIC VT NGN PLVS, which re'' 
 cur from time to time on the follow-' 
 ing pages. This border is reproduced 
 on the title-page of each part of the 
 book. 
 
 The license occupies the whole of 
 both sides of the second leaf, which is 
 without borders, for a special reason : 
 it is printed in gothic type of the 
 period (to imitate the script of the 
 diploma) and that style of type would 
 have quarrelled with the antique ara^ 
 besques of Tory, whose refined taste 
 avoided incongruities of that sort. 
 
 An extract from the license fol' 
 lows : — 
 
 ' Francoys, by the grace of God 
 King of France, to the Bailli and 
 Provost of Paris, the Seneschal of 
 Lyon, and all other justiciars, officials, 
 or their deputies, and to each of them 
 
 105 
 
in his jurisdiction, and as to him shall 
 appertain, greeting. Our dear and 
 well-'beloved maistre Geofroy Tory, 
 bookseller, living at Paris, hath now 
 caused it to be made known and shown 
 unto us that he hath of late made and 
 caused to be made certain pictures 
 and vignettes " a I'antique," and Hke^ 
 wise certain others " a la moderne," to 
 the end that the same may be printed 
 and made use of in divers books of 
 Hours, whereupon he hath employed 
 himself a very long time, and hath 
 made divers great expenditures, and 
 outlay. Wherefore, and to enable him 
 to recover a part of the outlay that he 
 hath made and undergone while em^' 
 ployed in procuring the aforemen^ 
 tioned drawings and vignettes to be 
 made ; and to the end that he may have 
 the wherewithal to live with more 
 ease, he hath most humbly caused to 
 be laid before us his petition and re^ 
 quest that he alone and no other may 
 
107 
 
I 
 
 booksellers be forbidden to make or to 
 cause to be made any impression there' 
 of, whether on a white, grey, or red 
 field, not omitting any of the said black 
 vignettes, or to reduce them "a petit 
 ou grant pied"; humbly beseeching 
 us to that end. Wherefore we, having 
 duly considered these matters, and 
 generously acceding to the petition 
 and request of the said petitioner, and 
 likewise in recognition of his learning, 
 literary talent, and the excellent and 
 praiseworthy report made to us of his 
 person, and of his talents, compete 
 ency, loyalty, wisdom, and goodly 
 diligence, have granted to him the 
 privilege that he and no other may 
 print and cause to be printed the said 
 vignettes and drawings, and do forbid 
 all booksellers and printers whom/ 
 soever within our realm, to make or 
 procure to be made and printed the 
 said vignettes and drawings, on pain of 
 a fine of five and twenty silver marks 
 
to be paid to us, and confiscation of 
 the Hours, vignettes, and pictures by 
 them so printed. Given at Avignon, 
 the XXIII day of September, in the 
 year of grace one thousand five hun^ 
 dred twenty^four, and of our reign 
 the tenth.' 
 
 The third leaf contains some details 
 concerning the calendar, which be^ 
 gins on the fourth leaf and ends on the 
 ninth. The border of the lower part 
 of leaf Avij is turned upside down. 
 The Hours begin on the tenth leaf. 
 
 The book is a quarto, but the sheets 
 are folded two by two, after the style 
 introduced by Pierre SchoifFer him^ 
 self, which gives it the appearance of 
 an octavo. The signatures run from 
 A to T, which makes eighteen folds, 
 or one hundred and forty^four leaves. 
 
 The engravings consist of sixteen 
 complete borders, one of which is re^ 
 peated on the recto and verso of each 
 of the first sixteen leaves, embracing 
 
 109 
 
thirty/two pages of text, after which 
 the same decorations reappear. They 
 are composed of arabesques in which, 
 from time to time, these words ap 
 pear at the sides: soli dec — lavs — 
 
 HONOR — GEOFROY — TORY — NON 
 
 PLVS. At the foot of certain pages we 
 see a crowned F (the first letter of the 
 king's name) , a crowned C (the first 
 letter of the name of Queen Claude, 
 daughter of Louis XII), and a crowned 
 dolphin (daulphin) , in allusion to the 
 title of the king's eldest son. Queen 
 Claude died before the book was fin^ 
 ished, perhaps even before the printing 
 was begun ; but Tory did not choose to 
 waste the woodcut of her, so it was pre/ 
 served and was used for more than fif" 
 teen years, as we shall see. These three 
 subjects are reproduced in Dibdin's 
 'Bibliographical Decameron' (vol. i, 
 page 99) ; there are two others in the 
 same work (vol, ii, page 65). At the 
 foot of the other pages are arabesques, 
 
 1 10 
 
among which we find the Pot Casse, 
 no. 2. In the text there are thirteen 
 large drawings, which harmonize ad^' 
 mirably with the borders. All the il-' 
 lustrations, or almost all, borders and 
 drawings alike, are signed with the 
 Lorraine cross. 
 
 The book ends on the recto of a leaf 
 on the verso of which is this colo-' 
 phon: ExcvDEBAT Simon Colin^vs 
 Parisiis e regione scholarvm de-- 
 
 CRETORVM : ANNO A ChRISTI IeSV NA^ 
 TIVITATE M. D. XXV. XVII. GAL. FEBR. 
 
 This date coincides with January i6, 
 1525. We have seen that the title-page 
 bears the date 1524, that is to say, the 
 year when the book was begun. These 
 two dates, cited separately, have led 
 bibliographers astray, and have given 
 rise to a theory that there are two 
 different editions of the same book. 
 
 Here and there throughout the vol^ 
 ume we find figures in the borders. 
 These figures are : 16, which appears 
 
on the inner side of leaves Ai verso and 
 Cvij recto and verso ; 3, on the outer 
 side of the border of leaves Aiiij recto 
 and verso, and Ciiij recto and verso; 
 10, at the foot of leaf Biij; 12, on the 
 outer side of the border of leaf Bvi. 
 Here and elsewhere, to make my de^ 
 scriptions more clear, these books hav^ 
 ing no pagination, I assign signature 
 letters to the eight sheets of each fold ; 
 but it is common knowledge that they 
 actually appear on the first four only. I 
 feel justified in concluding from these 
 figures that at first certain numbers., 
 running from i to 16, were engraved, 
 and repeated on each compartment 
 of the same border, in order to enable 
 the compositor to assort the pages 
 properly. Later these numbers were 
 probably deemed to be of no use and 
 were cut off. The four that I have no^ 
 ticed, having inadvertently been left, 
 were finally removed before the prints 
 ing was concluded. The scheme of re^ 
 
 112 
 
the two similar pages were never seen 
 at the same time. This required no 
 more work, for it is very clear that the 
 borders were not added to the pages 
 until the very moment of printing, so 
 that they might not be exposed to the 
 accidents inherent in the preparatory 
 handling. M .Willemin has reproduced 
 several specimens of these borders in 
 his 'Monuments Frangais Inedits' (fo^ 
 lio, 1839), page 296. 
 
 The book contains, as we have said, 
 thirteen large cuts (all of which ex^ 
 cept the second are signed with the 
 Lorraine cross) . They are as follows : 
 
 I and 2. The Angelic Salutation, in 
 two plates facing each other. 
 
 3. The Visitation of the Virgin, with 
 the device 'non plus' in a scroll sus^ 
 pended from a tree. 
 
 4. The Birth of Jesus. 
 
 5. The Adoration of the Shepherds. 
 
 6. The Adoration of the Magi. 
 
 7. The Circumcision. 
 
 114 
 
8. The Flight into Egypt. 
 
 9. The Coronation of the Virgin. 
 10. The Crucifixion of Jesus. This de/ 
 sign has five compartments. In addi/ 
 tion to the Crucifixion, there are bees 
 
 115 
 
at work, birds building their nests, a 
 peasant ploughing a field, and another 
 shearing sheep. Each of these four is 
 accompanied by the device ' sic vos non 
 vobis.' 
 
 1 1. The Descent of the Holy Spirit 
 on the Apostles, with the device 'non 
 plus' on the pediment of a temple. 
 
 12. The Penance of David, with the 
 same device, and the word 'peccavi' 
 in a scroll suspended from a tree. 
 
 1 3. The Triumph of Death. This last 
 cut represents Death, armed with a 
 spear treading on corpses. A crow on 
 a tree above him has the words 'eras, 
 eras,' issuing from its beak. At either 
 side are the devices ' non plus ' and ' sic 
 ut,' on neighbouring buildings. 
 
 II. There are two sorts of copies in 
 Tory's name. The first are identical in 
 every respect with those of Colines, 
 except as to the first page, where, after 
 the title: 'Horae . . . habentur/ we find 
 this imprint: 'Parisiis, apud Magis-' 
 
trum Gotofredum Torinum Bituri^ 
 cum. Ad insigne vasis efFracti, in via 
 lacobaa ; gallice, Au pot casse, en la 
 rue sainct laques.' 
 
 Here the Pot Casse, no. 3, with the 
 device 'menti bonas deus occurrit' at 
 the top, and 'non plus' at the foot. 
 
 There is no date on the title-page, 
 but there is one on the last page, — 
 the same that we find in the copies in 
 Colines's name (see page 1 1 1). I have 
 seen a copy of this book in the collec-' 
 tion of M. Double, who kindly allowed 
 me to study it in detail. It is still in its 
 antique binding, and on the covers, 
 in large roman letters, is this device, 
 which is believed to be that adopted 
 by the unfortunate Dolet: 
 d[omi]ne redime me a calvmniis 
 hominvm vt cvstodiam 
 man data tva. 
 
 d[0MI]nE IVSTICIA TVA IVSTICIA 
 
 IN eternvm et lex 
 
 TVA VERITAS. 
 
 117 
 
ii8 GEOFROY TORY 
 
 in. Other copies in Tory's name have a title-page in French, with no 
 border. This title-page reads as follows: — 
 
 'Heures.a la louange de laVierge marie, selon lusage de 
 Rome. Esquelles sont contenues les quatre Passions, Le seruice 
 
 COMMUN POUR le TEMPS DAPRES PaSQUES, ET POUR LE CaRESME, Le 
 SERUICE DE LaDUENT, Et DUDIT AdUENT JUSQUES A LA PURIFICATION 
 
 NOSTRE Dame. Pareillement, les heures de la Croix, et du Sainct 
 Esperit, Les sept Pseaumes, Vespres, Vigiles, et Commendaces 
 DES Trespassez, avec raisonnable nombre doraisons, et suffrages 
 des sainctz et sainctes. 
 
 A la fin sont les heures de la Conception nostre Dame, et le symbolede 
 Athanase. Le tout au long, sans y rien requerir, est tres correcte, en bonne 
 orthographie de poinctz, daccens, et diphthongues situez aux lieux a ce 
 requis. Et sont a vendre par Maistre Geofi-oy Tory de Bourges, libraire de^ 
 mourant a Paris sus Petit pont, ioignant Ihostel Dieu, a lenseigne du Pot 
 Casse.' Then follows the device ' menti bons devs occvrrit,' and the Pot 
 Casseinthe same form as that on the title^age of the preceding number. 
 
 The order of the contents of the first signature is here a little different 
 from that followed in numbers one and two. On the verso of the title 
 the license begins, set in roman letters, which Tory preferred to the 
 gothic; it occupies two pages, as in the other copies, but those pages are 
 supplied with the antique borders. On the verso of the second leaf is 
 the table of Easter-'Days, from 1525 to 1552. It is more conveniently 
 placed here than on the verso of the title, where it is separated from 
 the calendar by the license. Advantage was taken of the reprinting of 
 the first signature to remove the figure 16 from the border of the page 
 containing the table of Easter^Days, and to set right the lower section 
 of the border of page A vij recto, which is upside down in the other 
 copies. The figure 3 was not removed from page A iiij, probably because 
 the second side of that signature was not reprinted ; but the 10 has dis' 
 appeared from page B iij, which would seem to show that the second 
 side of signature B was reprinted. The first side of signature T was re^ 
 printed also, in order to change the colophon on the last page, for which 
 this is substituted: 'Ces presentes heures a lusage de Rome furent ache-' 
 uees de imprimer le Mardy dixseptiesme iour de Ianvier Mil cinq 
 cens vingtcinq: pour maistre Geofroy Tory de Bourges, libraire demo' 
 rant a Paris sus Petit pont, ioignant Ihostel Dieu, a lenseigne du Pot 
 Casse.' (The words printed in small capitals are printed in red in the 
 book.) This is followed by the mark no. 5, with the two mottoes 
 
BIBLIOGRAPHY 119 
 
 ('menti/etc, and 'sic,' etc.), which accompany that mark on page 43 of 
 'Champ fleury.' (See supra, p. 21.) 
 
 Tory had several copies printed on vellum; I myself have seen one of 
 them, belonging to the collection of M. Sauvageot.' 
 
 It will be seen from the date affixed to these copies that they were 
 not printed until the day following the printing of those which bear the 
 name of Colines; for it is worth noting that the Tuesday, January 17, 
 is of 1525, and not of 1526 new style, as would have been the case had 
 the 'use of Paris' been followed. But Tory thought, doubtless, that he 
 should follow the Roman usage in a book of Hours to the use of Rome. 
 
 I imagine that this reprinting of three signatures of the Hours of 
 1524-1525 was done mainly to direct the attention of the public to 
 Tory's new establishment 'sus Petit Pont.' And this circumstance leads 
 me to believe that it was done subsequent to January 17, 1525, for it is 
 not conceivable that Tory would have left his former address, rue Saint' 
 Jacques, on the copies printed as late as January 16, if he was to be set' 
 tied 'sus Petit Pont' on the 17th. He retained that date on the reissue, 
 although it really took place later, in order to conform to the terms of 
 the license, which imposed upon the beneficiary the duty of specifying 
 on the books the date when they were first published, so that the date 
 of its expiration might be fixed, unless the term should be extended, as 
 was done in the case of this very book of Hours ; witness the license of 
 'Champ fleury,' dated September 5, 1526. Indeed, my own opinion is that 
 Tory did not remove to the Petit^Pont until about the date last men' 
 tioned. We shall see that he remained there until 1530, when the instal' 
 lation of his printing-office required him to take more roomy quarters. 
 However, when he opened his shop on the Petit'Pont he did not aban' 
 don his place on rue Saintjacques, which he still occupied at least as late 
 
 as 1531- 
 
 M. Niel owns a copy of this book, in which the cuts are coloured in 
 water-colour, lined with gold. M. Niel thinks that the arabesques are 
 adapted fi"om those of Raphael in the Vatican, which had lately been re' 
 produced ; the lamented Renouvier, who agreed with M. Niel in attrib' 
 uting the colouring to Tory, considered it an admirable piece of work. 
 
 1. It was bought for 3025 francs, exclusive of commissions, for the Bibliotheque Imperiale 
 (in December, 1 860). It is a superb copy, still in its original binding. M. Brunet mentions two 
 other copies : ( i ) That of Baron de Heiss, the cuts in which were coloured, and which brought 
 only 60 francs in 1785. It was the same copy, apparently, which was sold for 13 pounds at 
 the sale of Richard Heber. (z) The McCarthy copy, extra illustrated with 19 lovely minia- 
 tures from an old manuscript, has brought 450 francs. 
 
120 
 
 GEOFROY TORY 
 
 It will not fail to be noticed, moreover, that Tory calls attention on the 
 title-page of his copies to the excellent orthography of his book : an addi' 
 tional proof that this reimpression was subsequent to 1525. 
 
 Tory lent his borders and his engravings to several printers, who fre^ 
 quently removed his mark therefrom. I will mention particularly five 
 publications of Simon de Colines on the title-'pages of which we find 
 Tory's borders. 
 
 I. 'Divi Joannis Chrisostomi liber contra Gentiles,' etc.; quarto, 1528. 
 The title/page is surrounded by one of Tory's borders, with the crowned 
 F at the foot, and the broad upright section with the two scrolls contain^ 
 ing the words 'Geofroy Tory,' which have been removed. — There is a 
 copy of this volume, in vellum, in the library of M. Solomon de Roths^ 
 child, who has kindly sent me this information. 
 
 II. ' Rodolphi Agricolae Phrisii de inventione dialectica libri tres, cum 
 scholiis Joannis Matthasi Phrissemii ' ; quarto, 1529 and 1538. Border com^ 
 posed of two broad upright sections, one of which was used in the pre' 
 ceding. A crowned F at the top, and another broad section at the foot. 
 
 III. 'Laurentii Valine de linguas latinze elegantia libri III ';quarto, 1535 
 and 1538. Same border as in the preceding.' 
 
 2 
 
 In 1 5 2 7 Tory published a new edition of his Hours, in one volume, octavo, 
 printed as before by Simon de Colines, in roman type, with vignettes of 
 the same sort, but much smaller. There is a copy on vellum at the Bibli' 
 otheque de 1' Arsenal ; unluckily it lacks the first and last leaves. Accord^ 
 ing to M. Brunet,^ to whom M. Tosi, of Milan, sent the description of 
 a perfect copy, also on vellum, the first page reads : ' Horas in laudem 
 Beatiss. Virg. Marias ad usum Romanum venales extant Parrhisiis ad in" 
 signe vasis effracti.' And the last : ' Hujusmodi HorjE nuper absoluebantur 
 a pralo Colineo, die vicesima prima Octobris anno Domini 1527, pro ma/ 
 gistro Gotofredo Torino Biturigico Bibliopola ad insigne vasis effracti Par/ 
 rhisiis commorante, ubi venales beneuolis omnibus amicabiliter extant.' 
 
 We give herewith an extract from the License of this new publication, 
 which license included also ' Champ fleury ' and the Hours of 1 5 2 4- 1 5 2 5 : 
 
 ' [The translator has before him a copy of an earlier edition ( i 5 29) of this work, the title- 
 page of which reads as follows : ' Lavrentii Vallae de Lingvae Latinae Elegantia libri sex, iam 
 tertiu de integro bona fide emaculati. Eiusdem de Reciprocatione Sui & Suus libellus apprime 
 vtilis. Cum indice amplissimo. Parisiis Apud Simonem Colinsum.' 1529. The border dif- 
 fers slightly from that described above. In this case Tory's mark was not removed by Colines, 
 but appears twice.] 2. Manuel de Libraire, 5th ed., vol. v, col. 1658. 
 
BIBLIOGRAPHY 
 
 121 
 
 Fran9ois,by the grace of God King of France, to the Provost of Paris, 
 the Bailli of Rouen and the Seneschal of Lyon, and to all our other jus/ 
 ticiars and officials and their deputies, and to each of them as to him shall 
 appertain, greeting. Our dear and well^beloved maistre Geofroy Tory de 
 Bourges, bookseller, living at Paris, hath now caused it to be made known 
 and shown unto us that, in order to proclaim, exalt and embellish the 
 Latin and French tongues, he hath not long since made and composed 
 a book in prose and in the French language entitled : ' Lart et science de 
 la deue et vraye proportion des lettres attiques, autrement dictes antiques 
 et vulgairement lettres romaines, proportionnees selon le corps et visaige 
 humain'; the which book he hath caused to be placed before us, soliciting 
 and requesting us to grant unto him leave, permission and license to print, 
 or cause to be printed the said book, together with certain drawings and 
 vignettes ' a I'antique and a la moderne ' ; likewise friezes, borders, crowns 
 and scrolls ; also to cause to be printed books of Hours, in such form and 
 of such size as to him shall seem good, during the time and term of ten 
 years, beginning on the day of the printing of said Book and said Hours ; 
 together with an extension for the same term for certain drawings and 
 vignettes by him heretofore printed. — -We hereby give you to know, 
 that we, in consideration of the foregoing, generously acceding to the 
 petition and request of the said maistre Geofroy Tory, and having re^ 
 gard to the toil, labour, outlays and expense which it hath behooved him 
 to undergo and sustain, as well in the composition of the said books, as for 
 the engraving of the said drawings, vignettes, friezes, borders, crowns 
 and scrolls to accompany the said Hours, as hereinbefore mentioned, in 
 divers forms and sizes, — have granted to him the privilege of printing 
 the said books, enjoining you not to allow any other printers or book/ 
 sellers within our realm, domains and seignories to print the said books 
 and Hours, on pain of one hundred silver marcs to be paid to us, and of 
 confiscation of said books. Given at Chenonceau the fifth day of Septem^ 
 ber, in the year of grace one thousand five hundred twenty ^six, and of 
 our reign the twelfth. 
 
 In this new book of Hours there are thirty^wo different borders, 
 which reappear on every second leaf— one hundred and twenty weight 
 in all. The text is embellished by sixteen large subjects, naturally smaller, 
 however, than those in the quarto. In the copy at the Arsenal, the only 
 one that I have seen, these subjects are coloured. I did not discover Tory's 
 mark anywhere ; but his mottoes do appear, — 'menti bonae devs occvrrit'; 
 
122 
 
 GEOFROY TORY 
 
 « sic vt, vel vt ' ; ' non plvs ' ; — which proves that these plates were engraved 
 for him, if not by him. 
 
 A list of the drawings follows : — 
 I and 2. The Angelic Salutation; two plates on adjoining pages, as 
 in the quarto of 1524-1525. 
 
 3. The Visitation of the Virgin. 
 
 4. The Birth of Jesus. 
 
 5. The Annunciation to the Shepherds. 
 
 6. The Adoration of the Magi. 
 
 7. The Circumcision. 
 
 8. The Flight into Egypt. 
 
 9. The Coronation of the Virgin. 
 
 10. St. Joachim and St. Anne Embracing (this is not included in the 
 edition of 1524-1525). 
 
 1 1. The Crucifixion. 
 
 12. The Descent of the Holy Spirit on the Apostles. 
 
 13. The Penance of David. 
 
 14. The Triumph of Death. 
 
 1 5. The Holy Trinity. 
 
 16. The Virgin and the Child Jesus. 
 
 (The last two are not included in the edition of 1524- 152 5.) 
 The signatures run from A to Z; that is to say, there are twenty /three 
 octavo sheets. 
 
 The copy of the octavo Hours of 1527 at the Arsenal is a lovely vol" 
 ume printed on vellum, with a number of manuscript prayers in French 
 added at the end. The calligraphic execution of these prayers, which are 
 surrounded by borders in imitation of those in the book, is wonderfully 
 fine. The colouring of the plates and the illuminating of the initial letters 
 and of those at the ends of paragraphs make the volume of great value. 
 It is still in its original binding (once very sumptuous, but now sadly out 
 of repair), on the covers of which one can distinguish interlaced C's, 
 barred S's, and star ^shaped figures formed of two triangles turned end for 
 end. Can it have belonged to Catherine de Medicis, who became the con^ 
 sort of Henri II in 1533? Unluckily it lacks two essential leaves, the first 
 and the last. 
 
 3 
 
 In the same year, Tory had printed by Simon Dubois ('Silvius ') a quarto 
 edition of this same book of Hours, 'suivant I'usage de Paris.' 
 
BIBLIOGRAPHY 123 
 
 It is dated October 22, 1 52 7. It contains the new license, and comprises 
 thirty^six quarto sheets, folded two by two according to custom, and form' 
 ing eighteen octavo signatures, A to S. The book is printed throughout 
 in the gothic type of that time, with the borders 'a la moderne' men^ 
 tioned in the license of 1524, consisting of arabesques of flowers, insects, 
 animals, etc. There are twenty-^ix complete borders, which recur in 
 regular order. We find again here, as in the first quarto, thirteen large 
 subjects interspersed through the text. But a noteworthy fact is, that aP 
 though these subjects, with two exceptions,' are the same as those in the 
 first quarto, they are of entirely different designs, appropriate to the 
 'modern' borders and type. It would be difficult to carry further the love 
 of artistic harmony. Neither the borders nor the illustrations bear Tory's 
 mark, and I doubt whether they are his. Perhaps the design was Perreal's 
 and the engraving by one of the artists employed by Tory, who must 
 then have had an organized workshop, if we may judge from the num-' 
 ber of works which he produced about that time. 
 
 Dibdin speaks enthusiastically of this edition of the Hours, in his 
 'Bibliographical Decameron'; he even reproduces four of the large cuts 
 by which it is illustrated.^ He says that it is the 'most beautiful work' 
 of that sort that he has ever seen, and expresses great surprise that the 
 arabesques have been cast aside. I confess that I do not share his feeling. 
 The book seems tome badly done, both from the artistic and from the 
 typographical standpoint : the borders do not harmonize, they are out 
 of proportion, and the engraving does not impress me as beyond reproach. 
 But Dibdin's opinion is, as everybody knows, very unreliable ; his careless-* 
 ness is proverbial. Indeed, he gives us a striking instance of it in this very 
 passage : for he tells us that this book was published by Tory of ' Bruges,' 
 and that it has on the title, the Pot Casse of Simon du Bois ^; two errors 
 in one line ! 
 
 Among the small cuts at the foot of the pages, we observe the shield 
 of France ; the crowned F; the crowned salamander; the crest of the king's 
 mother, 'party' of France and of Savoy, with her widow's girdle; her in-* 
 itial (L), crowned; the shield 'party' of Navarre and of France, with the 
 letters H and M intertwined (the initials of Henri d' Albert, King of 
 Navarre, and Marguerite, sister of Francois I, whose marriage had been 
 
 1 . The Adoration of the Shepherds is replaced, as in the octavo edition, by the Annuncia- 
 tion to the Shepherds, and the Visitation by an entirely different subject, taken from a Chris- 
 tian legend : the Emperor Augustus, kneeling on the ground, holds one hand of the Sibyl of 
 Tibur, who with the other hand points to the Virgin and the Child Jesus in Heaven. 
 
 2. Vol. i, pp. 94-98. 3. Bibliographical Decameron, vol. i, p. 98. 
 
124 GEOFROY TORY 
 
 celebrated January 24, 1526') ; the Pot Casse, no. i, that is to say, in its 
 simplest form, etc. 
 
 The exact title of this book is as follows: 'Hore in laudem beatissime 
 Virginis Marie : secundum consuetudinem Ecclesie Parisiensis.' 
 (Here the Pot Casse, no. 9.) ♦ Venales habentur Parrhisiis, apud Magis-' 
 TRUM GoTOFREDUM Torinum Biturigicum: sub insigne Vasis ef^ 
 fracti: gallico sermone Au Pot Casse.' — All the words here printed 
 in small capitals are printed in red. On the verso of the title^'page is the 
 license, dated September 5, 1526. At the end of the book is the follow 
 ing : ' Ces presentes Heures a lusage de Paris, privilegiees pour dix ans 
 commenceans a la presente date de leur impression, flirent achevees dim'- 
 primer le vingt deuxiesme iour Doctobre, Mil cinq cens vingt sept, par 
 maistre Simon du bois, imprimeur , pour maistre Geofroy Tory de Bourges, 
 qui les vend a Paris a lenseigne du Pot Casse.' (Here the same mark as on 
 the first page.) 
 
 It will be noticed that, although Tory felt bound to give the title of 
 the book in Latin, he could not forbear to print his address in French. 
 
 This is the order of the plates, all of which measure nine centimetres 
 by six : — 
 
 I and 2. The Angelic Salutation, in two plates on successive pages 
 (fol. f 3 verso, and f 4 recto). 
 
 3. The Sibyl of Tibur (see the description on page 123, note i) , fol. g 
 8 recto. 
 
 4. Jesus on the Cross, fol. h 6 recto. 
 
 5. The Descent of the Holy Spirit on the Apostles, fol. h 7 recto. 
 
 6. The Birth of Jesus, fol. i i recto. 
 
 7. The Annunciation to the Shepherds, fol. i 6 recto. 
 
 8. The Adoration of the Magi, fol. k 2 recto. 
 
 9. The Presentation in the Temple, fol. k 6 recto. 
 
 10. The Flight into Egypt, fol. 1 2 recto. 
 
 1 1. The Coronation of the Virgin, fol. 1 7 recto. 
 
 12. David Playing the Harp, fol. m 5 recto. 
 
 1 3. The Triumph of Death, fol. n 7 recto. 
 
 M. Brunet ^ mentions a copy of this book on vellum. The Bibliotheque 
 Nationale owns one on paper, bound by Cape, with tooling copied from 
 Tory's. 
 
 1. This princess, born in 1492, was the grandmother of Henri IV; she married, first, 
 Charles, due d' Alen^on. She was famous for her intellectual qualities, and we owe to her sev- 
 eral noteworthy works. 
 
 2. Manuel de Libratre, vol. iv, 4th edit., p. 802, col. i. 
 
BIBLIOGRAPHY 
 
 125 
 
 4 
 
 Hours of the Virgin, in roman type, with borders and arabesques 'a 
 I'antique' on each page. A small i6mo volume, printed by Tory, Feb-' 
 ruary 8, 1529 (old style). 
 
 Here is a description of this Little gem, taken from the only copy that 
 I have seen, M. Niel's, which is on vellum. 
 
 The title reads thus: — 
 
 'HORiE IN LAUDEM BEATISSIM^ ViRGINIS MaRI^, SECUNDUM USUM 
 
 RoMANUM.' Then the Pot Casse, and at the foot of the page : ' Menti bon^ 
 Deus occurrit.' 
 
 On the verso of the title-page: — 
 
 'Rex christianiss. statuit ne quis alius a Gotofredo Torino Biturigico, 
 Bibliopola Parrhisiis habitante, imprimat aut imprimi faciat infra decent- 
 nium in toto regno hujusmodi coronamenta et figuras, sub poena gravis^ 
 sima, ut in diplomate ad hoc obtento ladssime patet.' 
 
 Then comes an abstract of the pontifical license, undated; and on the 
 following leaf the table of Easter^Days from 1530 to 1552. 
 
 On the last page : ' Parrhisiis, apud Gotofredum Torinum Biturigicum, 
 viii. die febr. anno sal. m. d. xxix,' ad insigne Vasis eflEracti.' 
 
 The signatures run from A to Y; that is to say, the book consists of 
 22 octavo forms, or 176 leaves. The pages, which contain 21 lines of bre^ 
 vier, measure thus: — 
 
 Height, text alone 77 millimetres. 
 
 Height, with border 96 millimetres. 
 
 Width, text alone 29 millimetres. 
 
 Width, with border 48 millimetres. 
 
 The volume contains twenty^one small cuts, unsigned, but all engraved 
 in Tory's manner. Here is a list of them: — 
 
 I. Jesus on the Cross; a very small cut with five sections, like the 
 Crucifixion of the quarto of 1524-1 525; that is to say, there are bees at 
 work, birds building their nests, a peasant ploughing, and another shear-' 
 ing sheep. 
 
 2 and 3. The Angelic Salutation; two cuts facing each other, as in 
 the Hours of 1 524-1525. 
 
 4 and 5. The Visitation (idem). 
 
 6 and 7. The Birth of Jesus (idem). 
 
 8 and 9. The Annunciation to the Shepherds (idem). 
 
 I. 1530 new style. 
 
126 
 
 GEOFROY TORY 
 
 10 and II. The Adoration of the Magi (idem). 
 12 and 13. The Circamcision (idem). 
 
 14. The Massacre of the Innocents. 
 
 1 5. The Coronation of the Virgin. 
 
 16. The Crucifixion. 
 
 1 7. The Descent of the Holy Spirit. 
 
 18. Bathsheba at the Bath. 
 
 1 9. The Triumph of Death. 
 
 20. The Trinity (small cut). 
 
 21. The Virgin in a halo, with an angel on each side.' 
 
 5 
 
 Book of Hours, quarto; same typographical arrangement as in the 
 quarto of 15 24- 152 5. On the title-page, which has the border of those 
 copies of the earlier edition which bear the imprint of Simon de Colines, 
 we read : — 
 
 'HORiE IN LAUDEM BEATISS. VIRGINIS MARIiE. Ad USUM Rq/ 
 
 MANUM. — Parrhisiis, apud Gotofredum Torinum Biturigicum, 
 REGiuM IMPRESSOREM. (Then comes the motto: Menti bon^ Devs 
 occvRRiT, and beneath it the Pot Casse.) Cum privilegio summi Pont, et 
 Regis christianiss. ad decennium et ultra, ut in calce hujus operis patet.' ^ 
 
 On the verso of the title the list of Easter^Days, from 153 1 to 1560; 
 then the Calendar, the type in which this is set being so large that it was 
 necessary to omit the arabesques with figures at the foot of the border 
 and substitute simple arabesques like those at the top. 
 
 On the recto of the last leaf is the abstract of the licenses, papal and 
 royal, and on the verso this colophon, set in the border of the last page of 
 'Champ fleury': 'Parrhisiis, ex officina Gotofredi Torini Biturigici, regii 
 impressoris, ad insigne Vasis effracti, anno salu[tis] m. d . xxxi,die xx mensis 
 octo[bris].' Then the Pot Casse and at the foot of the page : — 
 
 'Effracti, lector, subeas insignia vasis, 
 Egregios flores ut tibi habere queis.' 
 
 The volume consists of twenty signatures (A to V) of two sheets 
 each, set in the roman type used in ' Champ fleury ' ; borders of the Hours 
 
 1. In my first edition I described only 19 cuts, after the imperfect copy of M. de Roths- 
 child. 
 
 2 . Tory had already received licenses for twenty years for his Hours ( see supra, pp. 105-9, 
 1 2 1 ), so that he did not need this further grant, which, indeed, he did not print at the end of 
 his book. 
 
BIBLIOGRAPHY 127 
 
 of 1524-1525; also the thirteen drawings of that edition, but with spc 
 cial borders in the form of porticoes, which appear in other minor works 
 of Tory published in 153 1, of which we shall speak in the following sec^ 
 tion. It is a fact worthy of remark that we no longer find the nameGeofroy 
 Tory on his borders, and that even his mark has disappeared from several 
 of the cuts, particularly the first cut of the Angelic Salutation,' the Ado^ 
 ration of the Shepherds, the Adoration of the Magi, the Flight into 
 Egypt, the Coronation of the Virgin, the Penance of David, and the 
 Triumph of Death. This circumstance leads me to believe that Tory had 
 lent these plates to other publishers, as he had lent his borders to Simon de 
 Colines, and that they removed the marks in order to appropriate more 
 completely the publications in which the plates were used. This was what 
 Simon de Colines did, as we have already seen (page 120). 
 
 A no less interesting fact is that, in the borders, the crowned C's are 
 retained, which refer to Claude de France, the first wife of Fran9ois I, 
 who died in 1524 and was succeeded in 1530 by Eleonora of Austria. 
 
 We find also in this edition four unsigned cuts which do not appear 
 in the quarto of 15 24- 1525 : — 
 
 Fol. H 8. The Angelic Salutation; a special design, quarto size. 
 
 Fol. L 6. The Angelic Salutation; quite small, occupying only the 
 upper part of a page. 
 
 Fol. R 7. The Trinity; small, with a special border. 
 
 Fol. V 3. The Virgin ; small, with a special border. 
 
 The last two are taken from the i6mo Hours of 1529. The floriated 
 letters are the same as in 'Champ fleury.' 
 
 Papillon, who speaks of this book,^ without giving the title, and at*- 
 tributes it to Woeiriot, who was not born in 153 1, expresses himself 
 thus concerning it: 'I have seen an old book in which there are some of 
 his engravings ; it is an octavo, each page of which is surrounded by a deco^ 
 rative border, in compartments, of a beautiful gothic type. They are en/ 
 graved very correctly, even though it is line engraving, which is so fine, 
 so even and so accurate, that I am at a loss to understand how it could 
 have been done. There are in this book fifteen or sixteen large cuts, also 
 engraved in line ; the drawing of the figures is passable. The little Lor/ 
 raine cross, which Woeiriot used as a mark, may be seen in several places 
 in the borders of this book.' 
 
 M. de Rothschild's copy of this edition has one interesting pecul-* 
 
 1 . This cut, on the verso of a leaf of which the recto is blank, is missing in many copies. 
 
 2. Traite de la Gravure sur Bois, vol. i, p. 193. 
 
128 
 
 GEOFROY TORY 
 
 iarity: it is enriched by a large plate, unsigned, printed on an oblong 
 half'sheet, representing the Triumph of the Virgin Mary, which seems 
 to be an imitation of the Triumph of Apollo in ' Champ fleury.' The 
 Virgin appears in a chariot drawn by unicorns ; behind the chariot are 
 the Captive Women ; around the chariot. Prudence, Temperance, Jusf 
 ice and Strength; in front of the unicorns, Hope, Faith, Charity; and 
 farther in front the Nine Muses, the Seven Liberal Arts, the handmaid' 
 ens of the Virgin. In the background, we see the Virginal Palace, the Pal/ 
 ace of Jesse, and the Temple of Honour. Beneath the picture is an expla' 
 nation in French verse, which begins thus: — 
 
 * Les antiques Cesars triompherent par gloire, 
 Mais par humihte (ainsi le faut il croire) 
 La noble Vierge va triomphante en bon heur 
 Du palais virginal jusquau temple dhonneur.' 
 
 I have seen this engraving nowhere else except in a copy of the edi' 
 tion of the Hours published in 1542 by Olivier Mallard, of which I shall 
 speak in the third part; but I have no doubt that it was included orig/ 
 inally in all copies of the edition of 1531, perhaps also in that of 1524- 
 1525. Its chances of preservation were injured by its being bound in the 
 form of a map. At all events this unsigned plate is in Tory's manner, 
 and it can hardly be denied that it belongs to him. 
 
 6 
 
 At a time which I am unable to fix with precision, but not earlier than 
 the month of September, 1 53 1 ,Tory printed another book, in octavo, with 
 borders made up of plants, animals, insects, birds, etc., like those in the 
 quarto Hours of 1527, but, naturally, on a smaller scale. I have never 
 seen this book, but its existence is established to my satisfaction by the 
 publication of a book of Hours, at a later date, by Olivier Mallard, with 
 the same borders and vignettes. I can give with certainty neither the title 
 nor the date of printing of Tory's book; but the date of the engravings 
 is readily determined approximately, thanks to certain ornaments of 
 Mallard's book. For instance, we find in it, as in the Hours of 1527, the 
 crowned F and the salamander of Fran9ois I, the crowned L and the 
 biparted shield (France and Savoy) of his mother, who died in 153 1, 
 and a blank shield which suggests the widowhood of Fran9ois, and con' 
 sequently proves that these cuts were designed before July, 1530. As for 
 
BIBLIOGRAPHY 129 
 
 my ascription of these cuts to Tory, it is due to the style of the borders, 
 which are copied from the Hours of 1527. Moreover, he has added a 
 special symbol, namely, the coat^of^arms of Bourges (three sheep, placed 
 two and one, and wearing collars), which appears now and again at the 
 foot of the page, beside the symbols of Fran9ois I and his mother. As I 
 have said, I do not know the title of the book in which Tory first used 
 these cuts; it seems to me, however, that we may fairly conclude from 
 the use Olivier Mallard made of them that it was a book of Hours; Tory 
 probably decided to publish an octavo edition of his Hours ' a la mod' 
 erne 'of 1 5 2 7, as he had published in 1 5 2 7 an octavo edition of his Hours 
 *a I'antique' of 1524- 1525. Indeed, it maybe that the book in question is 
 the one thus described by M. Brunet : 'Horae in laudem beatissimse Vir/- 
 ginis Maris adusum Rothomagensem. — Parisiis, adinsigne Vasis effracti. 
 1536.' Small octavo, roman type, line engravings. 
 
 It will be seen that the book is said to be printed at the sign of the 
 Pot Casse, without mention of the printer's name. This may mean that 
 it was printed by Tory's widow, who published Macault's work in the 
 same way in 1 535. 
 
 We shall speak elsewhere of Mallard's book, but this is the place 
 to mention the engravings it contains, which doubtless appeared also in 
 .Tory's book. In Mallard's publication of 1541 there are sixteen different 
 borders, the same one being always placed on the recto and verso of each 
 leaf, and nineteen of the plates of the i6mo edition of 1529. The two 
 lacking are number i and number 21. [The engravings of The Visita-" 
 tion are reproduced below.] 
 
SECTION III. 
 WORKS PUBLISHED BY TORY 
 FOR FRANCOIS I. 
 
 Le Sacre et Coronnement de la 
 royne, imprime par le commanded 
 ment du Roy nostre Sire. (Pot 
 Casse no. 6.) On le vend a Paris, en 
 la rue Sainct laques, devant lescu de 
 Basle, et devant leglise de la Mag-' 
 daleine, a lenseigne du Pot Casse. — 
 Avec privilege. 
 
 Quarto, of three signatures. [Paris, 
 
 Geofroy Tory, 1 53 1 .] 
 
 The title which I have transcribed is 
 set in a pretty portico^shaped border, 
 decorated with arabesques, at the foot 
 of which is found the word 'salvs.' 
 
BIBLIOGRAPHY 131 
 
 On the verso : ' II est permis a maistre Geoffroy Tory de Bourges, mar/ 
 chant libraire, demourant a Paris, imprimer et mettre en vente ce pre/ 
 sent livre,' etc. On the recto of the second leaf : ' Cest Lordre et forme qui 
 a este faicte et tenue par le commandement du Roy nostre Sire au Sacre 
 et Coronnement de la Royne ma dame Leonore Daustriche, seur aisnee 
 de Lempereur, le cinquiesme iour de mars m. d. xxx. Lequel ... a este 
 mis et redige par escript au vray par moy Guillaume Bochetel,son notaire 
 et secretaire, signant en ses finances. . . 
 
 The text begins immediately under this, with the beautifiil decorated 
 letter (L) which is reproduced on page i of this book. 
 
 The license, printed on the last leaf but one, informs us that Tory had 
 then become a printer, whence we may conclude that it was he who 
 printed the volume, although there is no definite statement to that effect. 
 
 ' We have given to maistre Geoffiroy Tory, bookseller, and printer, 
 leave to print the Queen's Coronation, and do forbid all other printers to 
 print the same for the term of one year,' on pain of summary fine on 
 conviction thereof. Done at Paris the tenth day of March one thousand 
 five hundred and thirty. De la Barre.' 
 
 On the last page, which is set in a border of the same type as that of 
 the title/page, we read, above the Pot Casse: ' The printing of this present 
 book was finished the xvi day of March m. d. xxx,^ and it is for sale,' ^ etc. 
 
 2 
 
 Lentree de la Royne en sa ville & cite de Paris, imprimee par 
 LE Commandement du Roy nostre Sire. (Pot Casse, no. 6.) On la 
 vend a Paris, en la Rue Sainct laques devant Lescu De Basle, & devant 
 leglise de la Magdaleine, A Lenseigne du Pot Casse. — Avec Privilege. 
 Quarto, of six signatures. [Paris, Geofi"oy Tory, 153 1.] 
 This title is set within the charming title/page border of the Colines 
 copies of the Hours of 1524-1525. On the verso of the title/page: 'II est 
 permis,' etc., as in the preceding volume. On the second leaf the text be/ 
 gins with a beautiful decorated letter (A) after the style of the L of the 
 volume last described. This page also is set in a portico/shaped border, 
 with arabesques; but the latter are different from those in the 'Sacre.' 
 
 1 . The license had no sooner expired than the book was reprinted, as may be seen by a copy 
 of an edition in gothic type, of eight octavo signatures, dated 1 5 3 i , in the Bibliotheque Na- 
 tionale. 
 
 2. 1 53 I new style. 
 
 3. A new edition of this book has recently been published at Brussels, being a photo-litho- 
 graphic reproduction of the copy in the Bibliotheque du Roi. 
 
132 GEOFROY TORY 
 
 We find, too, three other and different borders in the balance of the 
 work, which gives us in all six pages with borders in addition to that 
 of the title-'page and that of the last page, which is identical with that of 
 the last page of 'Champ lieury'; some floriated letters also have been 
 borrowed from this last'-named work. Though none of these are signed, 
 they are surely Tory's, so far as the designs are concerned, at least. 
 
 The text of this book, as of the preceding, is by Guillaume Bochetel, 
 who signed it. Following his text, Tory inserted a charming cut, represent' 
 ing the gift presented by the city of Paris to the Queen — a magnificent 
 candelabrum. At the top are the words: 'Deseing du present faict a la 
 Royne en deux chandeliers.' ' The license granted to Tory for printing 
 this book is identical with that of the preceding, except that it is dated 
 at Anet, April 26, 1 53 1. We learn from the last page that the printing was 
 finished on Tuesday, May 9, 153 1. 
 
 Geofi-oy Tory was not simply the printer of this little volume ; he 
 was also the publisher, and he added to the text three poems in Latin, of 
 his own composition. Here they are: — 
 
 Geofroy Tory of Bourges to ^een Leonora.^ 
 
 We are about to celebrate this triumph of yours, Leonora, which 
 your Parisians have conferred upon you. You are a queen so loving^kind 
 to us that we all can say that you are a real goddess. We can certainly 
 say that you are a benign goddess, since you at last bless us with grates 
 ful peace. With peace you bless all who inhabit the French kingdom, 
 so kind have been the fates in establishing you in power. As one up' 
 right, aye, holy, gentle, and a true bestower of blessings, you have 
 brought our lilies back to their country. By your leave, I will speak in 
 few words, and I will proclaim the truth: in you resides full national sal' 
 vation for us all. 
 
 The same to the same. 
 
 May the gods long continue your happy lot, Leonora. You are our 
 Joy, our Peace, and our grateful Repose. 
 
 The same Tory to the French People. 
 
 Exult and be glad, people of France; you see what happiness Leonora 
 now brings to you. She, sent, be sure, by the manifest will of God, en^ 
 ables you at last to enjoy the blessings of peace. Strew roses, laurel, vio' 
 
 I . See what M. A. de Montaiglon says of this engraving in the Ar chives de VArtfrarKjais, 
 vol. ix, p. 266. 2. [For original Latin, see Appendix X, 
 
BIBLIOGRAPHY 133 
 
 lets, nard, and saffiron, and merrily revel to your hearts' content. But be 
 careful too that you, best of people, be not backward in rendering pious 
 prayers to God. If you never cease to sing God's praises and to frequent 
 his temples, believe me, you will long enjoy the blessings of peace. You 
 will behold the golden ages beneath the smiling heaven, and on earth you 
 will reap in prosperity golden harvests. Add to this that you will in similar 
 manner become a race all golden too. Continue, therefore, your holy serv^ 
 ices to the most high God. 
 
 3 
 
 In Lodoic^ regis matris mortem epitaphia latina et gallica. — 
 
 EpITAPHES a la LOUENGE DE ma dame mere DU ROY FAICTZ PAR 
 
 plusieurs recommendables autheurs. (Pot Casse no. 6.) On les 
 vend a Paris devant Leglise de la Magdeleine, a Lenseigne du Pot 
 Casse. — Avec privilege. 
 
 Quarto, of two and a half signatures. [Paris, G. Tory, 1531.] 
 The license, dated Paris, October 13, 153 1, and signed de la Barre, 
 like the two preceding, gives Tory at last the title of king's printer: 
 ♦We have granted to maistre Geofroy Tory, marchant libraire et im^ 
 primeur du Roy, leave,' etc. On the last page, which, as well as the first, 
 is set in a border,'' are the words : 'Printed at Paris, at the sign of the Pot 
 Casse, by maistre Geofroy Tory de Bourges, bookseller and king's printer. 
 The XVII day of October, m. d. xxxi.' 
 
 As the title-page indicates, this volume contains verses in Latin and 
 in French by divers contemporary authors. Among the former is one 
 by Geofroy Tory himself, which I will give as a specimen. 
 
 Louise y royal mother, addresses and consoles her France: written by 
 Geofroy Tory of Bourges.^ 
 
 France, why do you in deepest sorrow mourn for me? Do you not 
 know that the whole human race is destined to die? Revive, and consider 
 how I by my foresight preserved you from the bitter and ruthless enemy. 
 I leave to you a son, king by divine wiU, who under my guidance cher^ 
 ishes you in glorious peace. Joyfully he beholds in your arms his pledges, 
 who wiU bring the whole world under your sway. You have a queen 
 who is the foster/daughter of virtue and peace, and who blesses your lot 
 viith good fortune. You have also another queen, who is the sister and 
 
 1. The borders are the same as those at the beginning and end of the Entree de la Royne. 
 
 2. [For original Latin, see Appendix X, z.] 
 
134 GEOFROY TORY 
 
 good counselor of your consecrated king. With such guides as these, dear 
 France, you should not complain. You are fortunate in having such lead' 
 ers. Moreover, when I die, I will not desert you, for you have my im'' 
 mortal name. Devotedly I wUl ever pray for you before the mighty 
 Thunderer, asking that you may reign victoriously and nobly. Strew^ 
 laurel for me, violets, nard, and saffron; strew also flowers, lilies, garlands, 
 and roses. Add to these, moreover, hymns with most exalted praises, 
 rites, melodies, incense, myrrh, and prayers. Hesitate not to erect altars to 
 me. For, as a benign goddess, I now proceed to fly to Heaven. Farewell. 
 
 The first two of these three opuscula exhibit three difl^erent kinds of 
 type : that of * Champ fleury ' and two others. In the third we find a fourth 
 size. It will be seen that Tory's printing-'office was increasing in import 
 tance.' 
 
 4 
 
 Ordonnances du Roy (Fran9ois I), etc. 
 
 Quarto, of four signatures (A to D). Paris, 1532. 
 
 I have seen only the last signature of this collection. It has a special 
 title^'page, embellished by the border of the Colines copies of the Hours 
 of 1524-1525 ; but the signature letter (D) and the first word of the title 
 demonstrate the existence of at least three others. It seems that Geofroy 
 Tory treated the legislative documents of Fran9ois I in the sixteenth cen' 
 tury as the Imperial printing-office treats the ' Bulletin des Lois' to-day : 
 that is to say, each fold has a title, although it forms a part of the same 
 publication with that which precedes and that which follows. 
 
 I transcribe the title of the signature that I have seen,^ made up of six 
 leaves, that is a sheet and a half quarto ^ (encartees) : — 
 
 AUTRES ORDONNANCES NOUVELLES DU ROY NOSTRE SiRE SUR 
 LESTAT DES TRESORIERS ET MANYMENT DES FINANCES, PUBLIEES EN LA 
 CHAMBRE DES COMPTES ET AU CONSEIL DE LA ToUR CaRREE. (Pot 
 
 Casse.) Imprimees a Paris par maistre Geofroy Tory de Bourges, libraire 
 et imprimeur du Roy. Devant Leglise de la Madeleine, a lenseigne du 
 Pot Casse. — Avec privilege comme il appert cy apres en la fin. 
 
 1 . These three opuscula are bound together in one volume at the Bibliotheque de 1' Arsenal. 
 The Bibliotheque Nationale also owns them all, bound separately and more or less imperfect. 
 The omission of the last of the three from the new catalogue is an error, for it is in the library. 
 
 2. At the shop of M. Potier, bookseller, Paris. M. Alkan, senior, also owns the last leaf of 
 this signature. 
 
 3. If the other three signatures are complete, they should contain six sheets, folded two and 
 two, according to custom. 
 
BIBLIOGRAPHY 135 
 
 Then follow four ordinances of the king, of the year 1532, 'sur lestat 
 des tresoriers/ etc. They are dated, the first at Hamby, April 19, the sec^ 
 ond at Chateaubriant, June 1 4, the third and fourth also at Chateaubriant, 
 May 16. On the recto of the last leaf is the duplicate of the license, in 
 these words: — 
 
 * The judges appointed by the king in the Chambre de la Tour Carree 
 to administer the finances, having considered the petition presented by 
 Geofroy Tory, bookseller and king's printer, praying that he may have 
 permission to print the ordinances of late issued by the king touching 
 the administration of his finances and the officers engaged therein, which 
 have been published in said chamber, and that all other booksellers and 
 printers may be forbidden to print or to cause to be printed the said 
 ordinances until the expiration of three years next ensuing, on pain of 
 summary fine, the said judges have permitted and do permit the said 
 Geofiroy Tory to print the said ordinances, and forbid all other book' 
 sellers and printers to print or cause to be printed the said ordinances for 
 one year,' on pain of summary fine. Done at Paris the eighteenth day of 
 July, in the year one thousand five hundred thirtytwo. Signed : Bordel/ 
 
 On the last page is the beautiful final border of * Champ fleury,' in 
 which is the Pot Casse ; and beneath it are the words : 'The printing of 
 these present ordinances was finished the twentieth day of July m. d. xxxii, 
 by maistre Geofroy Tory de Bourges, bookseller and king's printer.' 
 
 5 
 
 Lhistoire ecclesiastique [of Eusebius] translatee de latin en 
 
 FRANCOIS PAR MESSIRE ClAUDE DE SeYSSEL, EVESQUE LORS DE MaR' 
 
 seille, depuis archevesque de Thurin. — Imprimee par le com/ 
 mandement du Roy (Pot Casse). — On les vend a Paris, devant leglise 
 de la Magdelaine, a lenseigne du Pot Casse. Par maistre Geofroy Tory 
 de Bourges, mar chant Hbraire et imprimeur du Roy. — Avec privilege 
 pour six ans. 
 
 Paris, G. Tory, 1532. Folio; 6 preliminary leaves, 151 leaves of text, 
 numbered, and a final unnumbered leaf, on the verso of which are the 
 words: 'The printing of this present book was finished the xxi day of 
 October, m. d. xxxii, by maistre Geofroy Tory,' etc. Then follows the Pot 
 Casse, surmounted by the arms of France, borrowed from the verso of the 
 title-page of ' Champ fleury.' 
 
 I . It will be observed that the judges granted the license for but one year, instead of the 
 
136 
 
 GEOFROY TORY 
 
 6 
 
 LeS troys premiers LIVRES DE LHISTOIRE DE DiODORE SiCILIEN, HIS" 
 TORIOGRAPHEGREC.TRANSLATEZDE LATIN ENFRANCOYSPAR MAISTRE 
 AnTHOINE MaCAULT NOTAIRE SECRETAIRE ET VALLET DE CHAMBRE 
 
 ORDINAIRE duroYjFrancoys PREMIER. — Imprimez dc I'ordonnance 
 et commandement dudit seigneur. — Avecques privilege a six ans. — 
 On les vent a Paris en la rue de la luifverie, devant la Magdalaine, a 
 I'enseigne ' du pot casse. 
 
 At the end : * Imprime a Paris, en avril m. d. xxx v.' ^ — Quarto. 
 
 The title-page of this book is embellished by a portico^haped border, 
 w^hich is found in the first three opuscula described in this section. On 
 the verso of the title, in the vellum copy at the Bibliotheque Nationale, 
 is the final border of' Champ fleury,' in which are depicted the arms of 
 England, with the device, DIEV EST [sic] MON DROICT. 
 
 The author's exordium begins with a large letter S, decorated with 
 an escutcheon bearing two fasces accompanied by nine besants, three 
 by three, with this device in Greek: mhketi ('not at all'); these are 
 Macault's arms, doubtless. This letter appears again on folio 148. Facing 
 the first page of text is a magnificent engraving representing Frangois I 
 surrounded by his court, listening to Macault as he reads his book to 
 the king. The author is represented in a clerical costume, with a calotte 
 on his head. Beside him are the three sons of Francois I : Franpois, who 
 died a few years later, Henri, who became Henri II, and Charles, Due d'Or/ 
 leans. This engraving is a faithful copy of the painting on Macault's origin 
 nal manuscript, which was still in France in 18 11, but has since crossed 
 over to England. It is described in Part 3, section i (pages 166-168). 
 
 The printed book forms a quarto volume of 8 unnumbered prelim^ 
 inary leaves, 152 numbered leaves (signatures A to Q_), and 8 leaves of 
 index : 168 leaves in all. On the last page is the final border of 'Champ 
 fleury,' which appears also on the verso of the title.^ 
 
 three that Tory had asked. I have seen another similar collection of ordinances in the name 
 of Galiot Dupre, dated i 528, for which the judges extended the license to two years. 
 
 1 . Here and elsewhere we find the apostrophe, but its use is not yet constant. The com- 
 positors were not used to the sign, which was employed to designate the suppression of a letter 
 for euphony's sake. 
 
 2. It may be that we should read i 536 new style, as Easter fell in that year on April 16. 
 We add this book to Tory's list, although he was dead at that time, because it was evidently 
 begun by him and finished by his widow. 
 
 3. M. Ambroise Firmin Didot owned a copy of this book, on paper, in its ancient binding, 
 with the Pot Casse. He owned also another copy, on vellum. 
 
BIBLIOGRAPHY 
 
 137 
 
 PIERRE ROIFET ^ 
 
 SECTION IV. WORKS PRINTED BY TORY 
 FOR PRIVATE INDIVIDUALS. 
 I 
 
 Antistitis incomparabilis Mich^lis Bodeti,dum viveret episcopi 
 Ducis Lingonensis et PARIS Franci^ Epicedium. 
 Below this title, the arms of Michel de Boudet, engraved on wood. 
 At the end is the Pot Casse, with this colophon: 'Parisiis anno salutis 
 humans 1530-' (Michel de Boudet had died in 1529, with the title of 
 duke and peer, which the Bishops of Langres had borne since the twelfth 
 century.) Six quarto leaves [Paris, G.Tory, 1530]. Library of the Faculty 
 of Medicine of MontpeUier, no. 292. 
 
 Having had occasion to visit the neighbourhood of MontpeUier for 
 reasons connected with my health, I seized the opportunity to exam' 
 ine this volume and complete my information concerning it. On the 
 first page, surrounded by the border of the Colines copies of the Hours 
 of 1524— 1525, are these words: 'Antistitis Incomparabilis Michaelis 
 Bodeti dum viveret Episcopi Ducis Lingonensis et Francis Paris Epi^ 
 cedium.' Then the arms of Michel de Boudet. On the verso : ' Cautum 
 est privilegio, ne quis hoc Epicedium imprimat aut imprimi curet infra 
 biennium subpoena in diplomate ad hoc obtento contenta.' The four 
 following leaves contain a poem in honour of Michel de Boudet ; on the 
 sixth is the Pot Casse, no. 6, and beneath it : ' Parrhisiis, Anno salutis 
 humanas, m. d. xxx.' There is nothing to indicate the author of this 
 
GEOFROY TORY 
 
 little work, which is printed in the same type as the Epitaphs in honour 
 of the mother of Francois I.' 
 
 2 
 
 Apologie pour lafoi chrestienne contre les erreurs contenues 
 
 EN UN petit LIVRE DE MESSIRE GeORGES HaLEVIN. 
 
 Paris, G. Tory, 1531. Octavo. 
 
 I borrow this description from the ' Catalogue de la Bibliotheque de 
 feu M. de La Valliere ' (vol. i, p. 275), for I have not been able to inspect 
 this work, which, however, should be in the Bibliotheque de 1' Arsenal 
 with M. de La Valliere's other books, and in the library at Sainte^Gene^ 
 vieve, whither it must have gone with the collection of Le Tellier in 
 whose catalogue it also appears. 
 
 3 
 
 HisToiRE DES Empereurs DE TuRQUiE, translated from Latin into 
 French by Barthelemy Dupre. 1532. 
 
 I borrow this abridged description from a biography of Tory pub' 
 lished by M. Chevalier de Saint' Amand, honorary librarian of Bourges, 
 in the ' Annonces Berruyeres,' no. 38 (September, 2 1 , 1837).* 
 
 4 
 
 LaDOLESCENCE CLEMENTINE. AUTREMENT, LeS OeUVRES DE ClEMENT 
 MaROT DE CaHORS EN QUERCY, VALET DE CHAMBRE DU ROY, COM' 
 POSEES EN LEAGE DE SON ADOLESCENCE. — AVEC LaCoMPLAINCTE 
 SUR LETrESPAS de FEuMeSSIRE FlORIMOND RobERTET. Et PLUSI' 
 EURS AUTRES OeUVRES FAICTES PAR LEDICT MaROT DEPUIS 
 
 LEAGEDESADICTE Ad olescence. Le tout r e veu, cor rige & mis en 
 bon ordre. — On les vend a Paris, devant Lesglise Saincte Geneviefr^e 
 des Ardens, Rue Neufve nostre Dame. A Lenseigne du Faulcheur. — 
 Avec privilege pour Trois Ans, 
 
 At the end : ' The printing of this present book was finished on Mon' 
 day the xii day of August. Year m. d. xxxii. For Pierre Roffet, called le 
 Faulcheur. By maistre Geofroy Tory de Bourges, king's printer. 
 
 1 . [This paragraph was added by the author after his second edition had gone through the 
 press.] 
 
 2. In his Peintre-graveur fran^ais, M. Robert-Dumesnil mentions an edition of this book 
 with the date 1538, Paris, G. Tory; which is impossible, as Tory died in 1533. 
 
BIBLIOGRAPHY 139 
 
 Octavo, I St edition. Only a single copy is known, now in the Biblio' 
 theque Nationale. The volume consists, first, of four preliminary leaves 
 (half a fold), comprising: (i) the title which I have just transcribed; 
 
 (2) on the verso, some laudatory verses, among which figures this distich 
 of Tory, who was not only Marot's printer, but his friend : — 
 
 ' Vis lauros cypriasque comas, charitesque, iocosque, 
 Inde sales etiam nosse? Marotus habet '; 
 
 (3) Clement's letter ' to a large number of brethren,' dated August 1 2, 
 1532, that is to say, on the same day that Tory finished printing the 
 book, and not August 12, 1 530, as was erroneously printed in some sub/ 
 sequent editions, which has given rise to a theory of an earlier issue ' ; 
 
 (4) the table of contents; (5) a leaf entirely blank. Then comes the 
 text of the ' Adolescence Clementine,' extending from folio i to folio 
 104, on which is the word ' finis '; and after that the ' Chant royal,' etc., 
 from 1 05 to 1 1 5. The book ends with a Ust of errata on an unnumbered 
 folio (116). The table of contents, on one of the preliminary leaves, in-* 
 forms us that one ode had previously been published separately, but no 
 copy of it is known. 
 
 T^he Same. 
 
 A second edition of this book was published by the same bookseller, 
 and the printing finished by Tory on November 13, 1 53 2. It differs from 
 the first in this respect, that the text and preliminary leaves are joined, 
 or, to speak more accurately, the first two of those leaves ; for the table 
 of contents is relegated to the end of the volume, in place of the errata, 
 which no longer appear. The volume consists of a hundred and nine/ 
 teen leaves, the last unnumbered. The word ' finis ' still appears on folio 
 104, after the 'Adolescence Clementine'; then comes the 'Chant royal/ 
 etc. ; and lastly two leaves entitled : * Autres CEuvres faictes en sa dicte 
 maladie,' indicated by this phrase on the title-page: 'Plus amples que 
 les premiers imprimez de ceste, ny autre impression.' (Bibliotheque 
 Mazarine.) 
 
 6 
 
 The Same. 
 
 A third edition was printed by Tory on February 12, 1532 (1533, 
 new style), like the preceding in every respect, but having only 1 1 8 leaves. 
 
 I. See M. Brunet's Manuel de Libraire, 5th edit. vol. iii, col. 144. 
 
140 
 
 GEOFROY TORY 
 
 The Same. 
 
 A fourth edition appeared June 7, 1 533, identical with the preced/ 
 ing, except that the words on the title-'page, ' plus amples,' etc. are re^ 
 placed by these : * Avec certains accens notez, cest assavoir sur le e mas/ 
 culin different du feminim \sic], sur les dictions ioinctes ensembles par 
 sinalephes, et soubz le 9 quant il tient de la prononciation de le s, ce qui 
 par cy devant par faulte daduis n'a este faict au langaige franf oys, com^' 
 bien q'uil [sic] y fust et soit tres necessaire.' 
 
 This fourth edition of the' Adolescence Clementine 'was the last work 
 printed by Tory to my knowledge. In the intervals between these four 
 editions, however, he had published the works of Clement Marot's father, 
 edited by Clement himself, under the following title : — 
 
 8 
 
 Ian Marot de Caen, sur les deux heureux Voyages de Genes & 
 
 VeNISE, VICTORIEUSEMENT MYS A FIN, PaR LE TRESCHRESTIEN RoY 
 LOYS DOUZIESME DE CE NOM, PeRE DU PeUPLE. ET VERITABLE' 
 MENT ESCRIPTZ PAR ICELUY IaN MaROT, ALORS PoETE EsCRIUAIN DE 
 LATRESMAGNANIME ROYNE AnNE, DUCHESSE DE BrETAIGNE, & DE-' 
 
 PUYS Valet de chambre du treschrestie Roy Francoys pre' 
 MiER DU NOM. On les vcnt a Paris,deuant Lesglise SaincteGeneuiefue 
 des Ardens, Rue Neufiie Nostre Dame, A Lenseigne du Faulcheur. — 
 Auec priuilege pour Trois Ans.' 
 
 At the end: 'The printing of this present book was finished the xxii 
 day of January, m. d. xxxii [1533, new style], for Pierre Roufet, called 
 Le Faulcheur, by maistre Geufroy Tory de Bourges, king's printer.' 
 
 Octavo of 1 01 leaves. (Bibliotheque Nationale.) 
 
 In this edition there is a letter of Clement Marot mentioning the 
 death of his father, 'author of this book.' 
 
 The Same. 
 
 M. Brunet cites a second edition of this book, executed by Tory for 
 the same bookseller in 1533. 
 
 I . There is a copy in the Bibliotheque Nationale, to which is added : La suite de P Adoles- 
 cence Clementine, with 3 preliminary leaves and i 26 of text, on the last of which is the mark 
 of Pierre RofFet, signed with the Lorraine cross [see page 137, supra]; but not printed by 
 Tory, for the book was printed for the widow of RofFet, and the latter did not die, it is sup- 
 posed, until 1537, after Tory's death. 
 
PART III. ICONOGRAPHY. 
 
 AS I have hitherto called attention to the books that we owe to Tory 
 whether as publisher, as author, or as printer and bookseller, so it will 
 be well to notice those which he enriched with his paintings and engrave 
 ings during twenty years of his life. This is a new aspect of his whole 
 career which it is our present purpose to bring into view ; for, while Tory 
 was for some time teacher, bookseller, printer, he was always a draughts^ 
 man and engraver, from the day that he was a man grown. 
 
 But, first of all, there is a preliminary question to be decided: Was 
 Tory really a painter and engraver? In the first part of this book I said 
 that he was, but I did not furnish proofs of the fact, and none of the his^ 
 torians of painting or of engraving have mentioned him in that connect 
 tion. It is advisable therefore, first of aU, to demonstrate the accuracy of 
 my assertion. In order to solve this complicated question more easily, let 
 us divide it. 
 
 Was Tory a painter? 
 
 That Tory was a painter/draughtsman, there can be no doubt, for he 
 himself makes the assertion in express terms on each page of 'Champ 
 fleury.' For instance, we read on folio 3 verso of that work, apropos of 
 the Gallic Hercules: — 
 
 *I saw this same fable in rich painting within the city of Rome near 
 the Sanguine tower, not far from the Church of Saint Louis, . . . and 
 the better to keep the thing in my eye, I made this drawing . . .' 
 
 In the collection of verses written by him on the occasion of the 
 death of his daughter Agnes, Tory makes her speak thus from the urn 
 wherein she is supposed to repose: — 
 
4 
 
 142 GEOFROY TORY 
 
 MONITOR. 
 
 Who made for you this urn, set with brilliant gems ? 
 
 AGNES. 
 
 Who? My father; famed in this art. 
 
 MONITOR. 
 
 Certes, your father is an excellent potter. 
 
 AGNES. 
 
 He practises industriously every day the liberal arts. 
 
 Thus Geofroy Tory himself informs us in 1523 that he industriously 
 practised the arts. Now, if this were true, he could not have been ignore 
 ant of drawing, which is the first of all the arts. Moreover, it is plain 
 that in those days an engraver (and we shall prove in a moment that 
 Tory was one) could not fail to be a draughtsman. The artist was at that 
 time an all-round workman, embracing all the special branches of his 
 profession : painting, drawing, engraving, he took a hand at them all. 
 Not until it became vulgarized, until it became a trade, was art subdi^ 
 vided — and greatly to its prejudice. In truth, one cannot but realize all 
 that there is to be desired in the work of those mercenaries of the en^ 
 graver's art, who, having no knowledge of the first elements of drawing, 
 are bidden to reproduce, with the aid of the graving tool, lines which 
 they do not understand. 
 
 We can therefore assert that, as a general rule, the engravings found 
 in Tory's books were drawn by him. 
 
 But this is not all: I believe that we should also attribute to him the 
 admirable miniatures' that have come down to us of the painter known by 
 the name of ' Godefi"oy.' If, indeed, we compare the engravings in Tory's 
 books with the designs of that painter, we readily recognize a similarity 
 of execution which seems to establish the identity of the two men. This 
 Godefroy, who signs his works sometimes with the full name, sometimes 
 with a simple G, but always in roman letters, — a noteworthy thing at a 
 time when the gothic was in its most flourishing state, — was no other 
 than Tory, whose baptismal name, as we have seen, was in Latin Godo-' 
 fredus. We know how little was thought of family names in the old 
 days. As late as the sixteenth century it was no uncommon thing to see 
 
 I . [It should be borne in mind that the word miniature as used in this book has not its ordi- 
 nary present-day signification; it means here any ornamented or coloured design of small dimen- 
 sions.] 
 
ICONOGRAPHY 143 
 
 persons designated by their baptismal names alone, or, at most, with the 
 name of their native place added. We have seen ' that the famous painter 
 Jean Perreal, Tory's master and friend, was little known except by the 
 name of Jean de Paris. Tory himself is called Godefroy the Berrichon 
 (Gkxlofredus Biturix) in some verses which his friend Gerard de Vercel 
 composed in his praise in 1512.^ Even at the close of the sixteenth cen^ 
 tury our two leading bibliographers, Antoine du Verdier and La Croix 
 du Maine, who also bore geographical names, deemed it proper to adopt 
 no other order than that of baptismal names in arranging alphabetically 
 the authors who are mentioned in their books entitled ' Bibliotheque 
 Fran^oise.' There is nothing extraordinary therefore in Tory's signing 
 his first works with a baptismal name alone. It is true that that name is 
 slightly different, orthographically speaking, from the one that he used 
 later; but it is well to remember the change that took place about that 
 time in our author's customs. Doubtless he signed ' Godefroy ' before he 
 had entirely shaken off" the yoke of the classical languages,^ and had 
 adopted the more French form ' Geofroy,' which was about the year 
 1523- 
 
 The dates inscribed upon some of Godefroy's paintings, 1 5 1 9 and 1 520, 
 coincide perfectly with the known facts of Tory's life : that was the 
 period when, after his second return from Italy, he was fain to utiHze 
 his talents for his livelihood. I may add that we have several engravings 
 of that same period signed with a G alone, or with a G within which ap^ 
 pears a small f ; others signed with a G surmounted by the double cross, 
 vsdth a small s within ; and others signed G. T., which serve to mark the 
 transition between Tory's use of the simple G and the inscription in full 
 of his two names, Geofroy Tory. These two names appear together in 
 one of the borders of his Hours of 1 524-1525 [the border which is to 
 be found on p. 105]. 
 
 Whatever the fact may be, we propose to give here, by way of memo' 
 randum, at least a brief Hst of the works of the painter Godefroy, refers 
 ring the reader for fuller information to the interesting article which M. 
 Leon de Laborde has published upon this subject in the * Renaissance des 
 Arts,' vol. i. pp. 89 1-9 1 3, and, later, in the ' Revue Universelle des Arts,' no. 
 I (1855), which article we reproduce below with the author's consent. 
 
 The only manuscripts known to contain drawings of this artist are 
 ' Les Commentaires de Cesar,' in three small quarto volumes; and ' Les 
 
 [2. See supra, p. 71.] 
 
144 GEOFROY TORY 
 
 Triomphes de Petrarque,' in one small octavo volume — all written in 
 French and bound in vellum. 
 
 The first^named work is not, as one might suppose from its title, a 
 translation of the famous work of the conqueror of Gaul, but a com/ 
 mentary thereon in the form of a dialogue between Caesar and Fran9ois 
 I, to whom the book is dedicated. The first volume is now in the British 
 Museum at London, the second in the Bibliotheque Nationale at Paris, 
 and the third in the collection of M. le Due d'Aumale. All the minia' 
 tures in the first volume, and there is a great number of them, are signed 
 with a G; some bear the date 151 9. The same is true of the second voP 
 ume. One of the miniatures in the third volume is signed in full, 'Gode^ 
 froy' (folio 52); several others, signed G only, are dated 1520. 
 
 As for the 'Triumphs' of Petrarch, which is in the Bibliotheque de 
 I'Arsenal, the miniatures bear no dates, but they are all signed with a G, 
 and one has in addition the full name, ' Godefroy.' In the two works the 
 drawings have the same general appearance; they are distinguished from 
 those of the professional miniaturists by a very marked sobriety of colour^ 
 ing. They are noticeable, moreover, by reason of a delicacy of execu' 
 tion and, at the same time, a sharpness of outline which can have come 
 from no other hand than that of an engraver ; now the engraver can 
 have been no other than Tory, whose shields and even his antique ara^ 
 besques we find in these designs. 
 
 In addition to these two works, of which the name and the style of 
 the artist seem to me to permit their being attributed to Tory, I will 
 mention here several others, of a somewhat later date, which likewise 
 various circumstances make it possible to attribute to him. 
 
 The first is a translation of the first three books of Diodorus Siculus, 
 by Antoine Macault. This superb manuscript, which was in the library 
 of M. Firmin Didot pere in 18 10, is to-'day buried in one of the private 
 libraries of England. A description will be found on pp . 1 6 6- 1 6 8 . It is true 
 that there is nothing about it to suggest Tory, but the style of the paints 
 ing and of the engraving (the book was printed by Tory's widow in 
 1535) leaves no doubt as to his authorship. The second is a collection of 
 portraits of the kings of France, by Jean du Tillet, the manuscript of 
 which, presented by the author to Charles IX, is still preserved in the 
 Bibliotheque du Roi. See the description of this priceless manuscript, and 
 of several others preserved in the same collection.' 
 
 We come now to the second question : — Was Tory an engraver ? 
 
 I . Infra, pp. 169- 1 7 I . 
 
ICONOGRAPHY 145 
 
 Neither Zani nor Papillon mentions him as such; nevertheless, there 
 is one presumption in his favour. La Croix du Maine, who was almost his 
 contemporary, tells us', without going into details, it is true, that Tory 
 was known by the name 'maitre au Pot Casse'; others have said that he 
 perfected Josse Bade's letters.* M. Renouvier has recently written^ that 
 Tory possessed the rare faculty of using the 'eschoppe ' [graver] as well as 
 the pen. ' Le Champ fleury,' he says, 'is a treatise on aesthetics such as none 
 but an engraver of types could conceive.' What M. Renouvier conjectured, 
 I assert, with no fear of being contradicted by the facts. To be sure, Tory 
 did not anywhere state categorically that he was an engraver ; but he gave 
 it to be understood indirectly. For example, he tells us that, among the 
 fancies that came to his mind on the 6th of January, 1 523, and resulted in 
 the composition of 'Champ fleury,' he remembered 'a letter of ancient 
 form,' which he had 'not long since made for the house of my lord the 
 treasurer of the wars, maistre Jehan Groslier, counsellor and secretary to 
 the king our sire.'^ What was this ancient letter made for the famous bib/ 
 liophile Grolier, if not the basis of the beautifiil roman characters which 
 were used in that scholar's establishment to decorate his books, and to 
 stamp upon them, in gold, this excellent device, among others, ' loannis 
 Grolierii et Amicorum?'^ 
 
 Again, all the authorities agree that Claude Garamond was a pupil of 
 Tory. Now, what could he have learned from his master, if not the art of 
 engraving types, — he who did nothing else in his whole life? 
 
 Furthermore, it is impossible to doubt that Tory engraved types when 
 one runs through his ' Champ fleury.' Note especially what he says on folio 
 34 recto, where, having given a drawing of a capital A reversed, he ex" 
 plains it in the technical terms of the engraver. 
 
 'This,' he says, 'is done to help and give hints to goldsmiths and en^ 
 gravers, who, with their burin, graver, or other tool, engrave and cut an 
 ancient letter reversed [a I'envers], or, as we say, to the left, so that it 
 may appear to the right when it is printed and placed in its proper as/ 
 pect. 1 have purposely made it white, and its background black, the 
 opposite of the one that is drawn to the right, so that no one may be 
 
 1 . Bibliotheque fran^oise, article ' Geufroy Tory.' The author of Recueil T (vol. xix, p. 
 20) of the Melanges tires une grande bibliotheque, published by M. de Paulmy, also says 
 that Tory was an excellent engraver, the maitre au Pot Casse. 
 
 2. Lottin, Catalogue des libraires, vol. ii, p. 234, 
 
 3. Des Types et des manieres des maitres graveurs, etc., xvi^ siecle, p. 1 65. 
 
 4. Champ fleury, fol. i. See also supra, p. iz. 
 
 5. ['Jean Grolier's and his friends'.'] The ordinary motto of Grolier's books is : Portio 
 mea, Domine, sit in terra viventium. [May my lot be cast, O Lord, in the land of the living.] 
 
146 GEOFROY TORY 
 
 misled. For, as I have said, I have seen and do see many persons who are 
 misled. Before the letter to be printed is finished, it is made tw^ice re^ 
 versed and twice to the right. In the first of the reversed there are the 
 punches ' of steel, in which the letter is wholly left-'handed. The ma^ 
 trices have the letter to the right. The letter then cast is, as I have said 
 of the punches, left-handed. Then finally on the printed paper the whole 
 appears to the right, and in its proper aspect to be read currently. 1 had 
 forgotten to say that the broad leg of the A is one tenth of its square in 
 width, and the other leg one third as wide. The transverse limb should be 
 three fourths as wide as the broad leg, as you may see by the drawings 
 herewith made and duly proportioned.' 
 
 After this, and knowing as we do the relations between Geofroy Tory 
 and the Estienne family, it will not be deemed extraordinary that I attri' 
 bute to our artist the italic letters of Simon de Colines, engraved about 
 1525, and the roman and italic letters of Robert Estienne, engraved a little 
 later. 
 
 But Tory not only engraved letters, that is to say, punches on steel, 
 as some authors have stated : he signalized himself above all by his en^ 
 gravings on wood, and he illustrated almost all the books of his time, 
 which fact is almost wholly unknown. I shall be asked, doubtless, upon 
 what evidence my opinion is based. It is this: In the license to print the 
 book of Hours, granted to Tory by Fran9ois I on September 23, 1524, 
 we read : ^ • Our dear and welPbeloved maistre Geofroy Tory . . . hath 
 now caused it to be made known and shown unto us that he hath o f late 
 made and caused to be made certain pictures and vignettes " a I'antique," 
 and likewise certain others, " a la moderne," to the end that the same may 
 be printed and made use of in divers books of Hours, whereupon he 
 hath employed himself a very long time, and hath made divers great 
 expenditures and outlays.' Evidently the words 'he hath made' do not 
 here apply to the drawing, but to the engraving of these pictures and 
 vignettes, which he had previously drawn. Moreover, Tory himself be/ 
 trayed his profession of engraver on wood in a charming vignette which 
 he used as an initial in ' Champ fleury,' and which is reproduced on page i. 
 For we see therein, besides a compass, a square, etc., a pen and several 
 varieties of knives used in wood'-engraving ; all of which justifies the re-- 
 markof M. Renouvier: 'Tory possessed the rare faculty of using the graver 
 as well as the pen.' 
 
 1 . ^Poin^ons: that is to say, the engraved model of a type, on the end of a steel bar.] 
 
 2. [Seep. 106, supra.] 
 
ICONOGRAPHY 147 
 
 But, I shall be told, it avails nothing to prove vaguely that Tory dab' 
 bled in wood^engraving, if we can point to no works of his in that branch 
 of the art, — for no one has done so hitherto. I propose to try to gratify 
 the reader's desire, by proving that there is a way to recognize the en^ 
 gravings executed by Tory. 
 
 Many persons have already observed that the principal engravings in 
 Tory's books, those which are most individual, as, for example, the GaP 
 lie Hercules (reproduced on page 141), and that of the Pot Casse which 
 accompanies the description of that emblem in 'Champ fleury' (repro^ 
 duced on page 21) bear a mark; but this mark they dare not attribute 
 to him, because it is constantly found upon engravings, alone or accom^ 
 panied by initials, for more than a century. M. Robert^Dumesnil, in his 
 interesting work entitled ' Le Peintre^Graveur fran9ais,' published in the 
 course of his article on Woeiriot,' who himself used this same mark, a 
 catalogue of engravings signed with the double cross, — which he calls 
 thecrossof Lorraine or of Jerusalem, — extending from 1522 to 1632. He 
 concludes that this mark was 'frequently employed in France, as a fictiti^ 
 ous signature, on engravings on wood, by artists whose names will prob' 
 ^bly remain forever buried in oblivion.' 
 
 To banish this phantom, which caused M. Renouvier himself to 
 pause on the pathway of truth,^ it is sufficient to come to close quarters 
 with it. This is what I propose to do; but first I must thank M. Robert^ 
 Dumesnil for having satisfactorily cleared up one important point. Un'' 
 til his book appeared, almost all the engravings marked with the double 
 cross had been attributed to Woeiriot; or, rather, the engravings of the 
 latter had added to the perplexity of classifiers. By identifying Woeiriot's 
 work, M. Robert-'Dumesnil has simplified the problem considerably. Only 
 a small number of pieces remain to be ascribed to their authors, and as to 
 these M. Robert/Dumesnil expresses himself thus: 'None of the works 
 executed prior to Woeiriot's birth and the beginning of his career as an art' 
 ist can be by him; of the others we hasten to say that not one seems to us 
 to have been designed or executed by him.' 
 
 Nothing could be clearer. Let us add, to close the discussion, that 
 Woeiriot did not begin to engrave until long after Tory had ceased, as 
 he was barely two years old when Tory died; and, furthermore, that his 
 cross is almost always accompanied by his initials; sometimes, however, 
 
 1 . Vol. vii, pp. 48 ff. 
 
 2. [On this subject M. Renouvier says (^Des Types et des Manieres des Maitres Graveurs, 
 xvie siecle, 1854, p. 167): ' We cannot attribute it [the double cross] to Geoffroy Tory ex- 
 clusively, for we find it on many woodcuts which cannot be his.'] 
 
148 
 
 GEOFROY TORY 
 
 he uses the cross alone, but in that case the date prevents confusion. 
 Take, for example, the ' Emblesmes et devises chrestiennes composees par 
 damoiselle Georgette de Montenay,' the first edition of which was in 1 5 7 1. 
 It is impossible to attribute these engravings to Tory, who died nearly forty 
 years earlier. 
 
 The other artists who used the cross may be divided into three classes, 
 according to M. Robert^Dumesnil's book. First, we find the cross alone, 
 from 1522 to 1561 ; secondly, after a long interval, in 1599, the cross appears 
 accompanied by the initials I, L, B; and, lastly, a little later, two engravers 
 on copper, named Jean Barra and Claude Rivard, signed their works with 
 the cross. I do not include here the double cross discovered by M. Robert^ 
 Dumesnil on the printer's mark of a book dated 163 2, because it is the mark 
 of Gilles Corrozet, engraved a century earlier, as we shall see further on. 
 
 To sum up, then, there are no anonymous works bearing the cross 
 except those produced between 1522 and 1561. The only question is 
 whether the engravings executed between those dates, which bear the 
 cross without initials, belong to one or to several artists. 
 
 I will, first of all, call attention to the fact that this interval embraces 
 only forty years, and that there is no reason to attribute to several con' 
 temporaneous and anonymous artists a very peculiar mark which a single 
 artist might have used during an even longer time. But this is not all : 
 this interval can be reduced by several years ; for the examples alleged 
 to be subsequent to 1 557, mentioned by M. Robert'Dumesnil,bear no date; 
 they appear, it is true, in books printed after that year, but they were en-' 
 graved earlier, as I shall prove in due time. Blocks are not ephemeral ob/ 
 jects; like type, they can be used indefinitely, and their use at a certain 
 date does not prove that they had been made within a short time. We 
 have just cited one — Gilles Corrozet 's mark — which, simply by lack of 
 use, it was possible to reproduce in books for more than a century. 
 
 What surprises me is not that M. Robert^Dumesnil has seen engrav 
 ings with the cross printed in 15 61, but that he has found none of a later 
 date, which would have allowed him to fill up the gap that he has left 
 between the anonymous artist of the cross alone and him who accom/ 
 panied it with the letters I, L, B; he might have discovered the beauti^ 
 ful illustration of the Missal of 1539, which is described hereafter, in 
 books of the seventeenth and eighteenth centuries. Indeed, we find wood 
 engravings of the sixteenth century, bearing the double cross, in a book 
 published at Troyes in 1850! 
 
 On the other hand, I am surprised that M. Robert-'Dumesnil found 
 
ICONOGRAPHY 149 
 
 no engravings with the cross, accompanied by initials, of a date much 
 earlier than 1599, for I myself have seen some that were contemporane^ 
 ous with Tory. In fact, the Bibliotheque Nationale possesses a book of 
 Hours according to the use of Paris, printed in that city in 1548, by Jean 
 de Brye's widow, in which all the engravings are marked with the cross 
 and the initials L, R. It is an octavo volume, printed in gothic type, and 
 in red and black. An interesting fact to be noted here is that these en^ 
 gravings are improved copies of other unsigned engravings belonging 
 to the printer Thielman Kerver," and printed in a large number of books 
 issued by him or his widow, lolande Bonhomme, at least as early as 1522,^ 
 and still to be seen in the Paris Missal, published by his son Jacques in 
 1559. I have seen also engravings of the artist with the initials I, L, B 
 (cited by M. Robert/Dumesnil under the date of 1599), in a book of 1 547. 
 
 These facts do not tend to contradict my proposition; they prove that 
 Tory founded a school, and that his pupils adopted his mark (which is 
 nothing more than his initial, or, rather, his toret, transferred from the 
 Pot Casse, of which it was the essential feature, to his engravings), add' 
 ing thereto their initials, to distinguish themselves from the master whose 
 ensign they hoisted, and to preserve their own individuality. I shall recur 
 to this subject later. 
 
 The principal reason which prevented M. Renouvier from attribute 
 ing to Tory, as he was naturally inclined to do, the engravings marked 
 with the double cross alone, was the impossibility, in his judgement, of 
 attributing them aU to the same artist. 'M. Robert/Dumesnil,' he says, 
 'has noted a large number of books of 1522 to 1599, on the title-pages 
 and plates of which the cross of Lorraine is found. This list might be 
 increased, and the items should be carefully compared by whoever would 
 try to find on them the mark of a wood-'engraving establishment, or of 
 
 1. This should cause no surprise: the idea of property, in respect to artistic productions, is 
 altogether modern. The first engravers signed almost nothing; it was not until the sixteenth cen- 
 tury that they marked their works with special emblems, and even then it was not so much with 
 the object of assuring themselves a monopoly in them, as with that of making themselves known 
 to persons who might require their services for other works. Little by little this species of ad- 
 vertisement became an effective muniment of title, — in the natural order of things. It was the 
 same with works of the mind. Not until quite a late period were scholars and other men of let- 
 ters able to derive any profit from their works. In the early days of printing, even, a printer who 
 proposed to reprint a book did not consider himself bound to obtain the author's consent. From 
 the moment that he made his book public, it was regarded as a treasure belonging to society at 
 large. 
 
 2. Hours in quarto in the Bibliotheque Nationale (Brunet, Manuel de Libraire, 5th ed. 
 vol. v, col. 1623, no. 197). There is also an edition of 1 525 (ibid., no. 198 ), and one much 
 later, but lacking the first and last leaves. M. Silvestre owns an octavo edition of 1530. 
 
150 GEOFROY TORY 
 
 several engravers on wood who worked for the booksellers Pierre Gau' 
 doul, Simon de Colines, Robert Estienne, Grouleau, Gilles Corrozet, Vin-* 
 cent Sertenas," etc' 
 
 I have already answered the objection based upon M. Robert^Dumes' 
 nil's book, which he himself has abandoned with great pleasure, taking 
 a deep interest in my discovery. As for what M. Renouvier adds, it does 
 not run counter to my suggestion, for I have already mentioned that, 
 after Tory's death, his widow carried on his engraving establishment for 
 several years, retaining the same mark. This, doubtless,is the explanation 
 of the differences to be noticed in the works signed with the Lorraine 
 cross; for Perrette le Hullin, not being an engraver herself, must have 
 employed different workmen. 
 
 This leads me to answer an objection that has been made to my 
 theory. My attention has been called to the fact that the Lorraine cross 
 appears on works anterior to Tory, — such, for example, as the mark of 
 Gauthier Lud, the first printer of Saint'Die in Lorraine. I have no pur'' 
 pose to claim the Lorraine cross for Tory alone. He was not its inventor, 
 nor did it die with him; but there is a distinction to be made between 
 an emblem employed in a general way, and one employed as the special 
 mark of an artist. Not only do I not claim for Tory the Lorraine cross sur-* 
 mounting a circle, which appears on the mark of the Lorraine printer, 
 Gauthier Lud,^ in 1 507, but I exclude the Lorraine cross surmounting a 
 large gothic G, found on the title-page of a folio Missal according to the 
 use of the church of Toul, printed at Paris by Wolfgang Hopyl, in 1 508 
 To my mind nothing could be more natural than that the Lorraine cross 
 should be used in Lorraine ; but that does not prove that an artist at 
 Bourges may not have adopted it as the mark of his establishment. 
 
 I mention hereafter as one of Tory's first engravings on wood the 
 title-page of a book printed at Meaux in 1522, and I then say that the 
 preface of that book was dated 'Meldis, anno m. d. xxi.'5 M. Brunet 
 makes me say,^ I cannot imagine why, 'Metis' instead of 'Meldis'; and 
 M. Didot, misled by that statement, says that the book in question was 
 published at Metz,^ which fact seems to him to explain the presence of 
 
 1. Des Types, etc., xvi'^siecle, p. 167, note, 
 
 2. MM. A. Deveria, Robert- Dumesnil, and J. Renouvier have all died since the first edi- 
 rion of this book. 
 
 3. See Brunet, Manuel de Libratre, 5th edition, article Cosmographia. 
 
 4. Beaupre, Notice bibliographique sur les livres liturgiques des dioceses de Toul et de V er- 
 dun, 8vo, I 843, p. 16. 
 
 5. Infra, §2;i52i-i522(p. 175). 6. Manuel, etc., 5th edition, vol. ii, col. 1 1 86. 
 7. Essaisur lagravure sur bois, col. 147 and 1 50. 
 
ICONOGRAPHY 1 51 
 
 the Lorraine cross on the title. This shows how an error may be appealed 
 to in support of a theory. 
 
 Not only have I not exaggerated the part played by my hero, as a.w 
 thors are somewhat in the habit of doing, — on the contrary, 1 have re^ 
 stricted it as much as possible. Since the publication of my first edition, 
 an attempt has been made to prove Tory to be the maker, or, at least, 
 the decorator, of the beautiful Henri II porcelains, so'called, the subject 
 of a recent publication of MM. Delange, father and son. M. Didot him^ 
 self adopted this opinion,' which is based upon a vague similarity, but is 
 completely refuted by the date of Tory's death. So far as I am concerned, 
 appearances are of no consequence, unless they are accompanied by some 
 substantial evidence; and that is why I have excluded from the list of 
 Tory's works some engravings that Messrs. Renouvier and Didot do not 
 hesitate to attribute to him because of certain similarities, but which do 
 not bear his mark. It is that mark which has served me as a guide in iden^ 
 tifying Tory's work. The objection is made, to be sure, that this plan re^ 
 quires the attribution to Tory of engravings of very dissimilar styles. Every 
 plan has its disadvantages ; but, all things considered, I prefer one that has 
 something to stand upon to one that has nothing. Moreover, it is easy to 
 explain the different styles of the artist of the Lorraine cross by referring 
 to what has often taken place in the careers of other artists. In truth, how 
 many painters have we seen change their style of painting at a certain 
 period of their lives! But there is an even simpler way of explaining these 
 dissimilarities in different engravings, namely, by admitting with me that 
 the Lorraine cross was the mark of Tory's workshop, but that in that wor k^ 
 shop there were other artists of very diverse abilities. In the same way, we 
 see to-day a multitude of engravings signed 'Andrew,' 'Best,' * Leloir,' to 
 which those artists certainly never put their hands. 
 
 But let us have done with argument and come to the facts: they will 
 prove more conclusively than any number of dissertations the truth of 
 our statement concerning Tory; they will prove, in fact, that all the 
 works signed by the cross alone were engraved during that artist's life/ 
 time, or in the establishment which he founded and which his widow re^ 
 tained until about 1556. 
 
 To make the demonstration clearer, I will divide what I still have to 
 say into three sections. In the first I will include all the manuscripts the 
 decoration of which can be attributed to Tory; in the second I will de-- 
 scribe aU the engravings marked with the Lorraine cross that are known 
 
 1 . Essai sur la gravure sur bois, col. 138. 
 
152 GEOFROY TORY 
 
 to me, arranging them in chronological order; and in the third I will 
 mention such marks of printer^booksellers bearing the aforesaid cross, 
 as I have been able to discover. As it is impossible for me to follow the 
 chronological order in this last category, I have adopted the alphabetical 
 order, which will enable one to find at once such of these marks as are 
 mentioned in the second section. 
 
SECTION I. MANUSCRIPTS DECORATED WITH 
 
 MINIATURES BY TORY. 
 
 1. COMMENTAIRES DE CESAR. 
 
 2. Triomphes DE Petrarque, 
 
 For a description of these two manuscripts ' I cannot do better than trans' 
 cribe in this place the interesting work of Comte Leon de Laborde. I 
 print this work just as it was published several years ago, having no a.w 
 thority to modify it. But I think that I may venture to say that if it had 
 been prepared since the publication of my book on Tory, it would con^ 
 tain a judgement in his favour. That seems to me to be the result of my 
 conversations with M. de Laborde. My friend M.Jules Renouvier, whose 
 death is so deeply to be deplored, and in whose company I examined the 
 volume of the 'Commentaires' in the Bibliotheque Nationale, was en^ 
 tirely of my opinion. He spoke of the manuscript in question in these 
 terms in a critical review of the first edition of my book on Tory, printed 
 in the « Revue UniverseUe des Arts' for September, 1857 (vol. v, no. 6, 
 
 P-5II): — 
 
 'The point that we knew least about was Tory's debut in the career 
 of an artist. It was most brilliant if we agree with M. Bernard that he 
 was the author of the miniatures found in two well-known manuscripts, 
 the "Commentaires de Cesar" in three volumes and the "Triomphes de 
 Petrarque," in which we find the signatures " G," and " Godefroy," and the 
 dates 1 51 9 and 1520. M. de Laborde has recently described them with aU 
 the care that they deserve, without discovering who this Godefroy was. 
 He was no other than Geofroy Tory, says M. Bernard, and this opinion 
 is plausible; for, if the subsequent work of the engraver on wood does 
 not fulfil the promise of the miniaturist, the drawing is governed by 
 identical characteristics, and the similarity of style is striking, especially 
 when we consider the engravings that are nearest in point of time, as 
 
 I. According to M. Dussieux, Les Artistes fran^ais a P etr anger, p. 67, the first is un- 
 questionably the chef-d'cEuvre of miniature-painting in the Italian style. 
 
154 GEOFROY TORY 
 
 those of "Champ fleury," dated 1 5 26. Considered from this point of view, 
 Geofroy Tory is the most precocious of the artists of the Renaissance: 
 before the masters of Fontainebleau, he introduced the stately, graceful 
 and individualized figures, which aroused enthusiasm in the time of 
 Francois I, to which Italy lent much of her style, and Germany a little 
 of her force, but which were more thoroughly French than is generally 
 admitted. It is well known, moreover, that these miniatures were origin 
 nally, even in the " camaieu" process, heightened in effect by chatoyant 
 tones, with subtleties of drawing which denote a hand more apt to 
 handle the pencil than the brush, and altogether adapted to the tools of 
 the engraver. The draughtsman loses a part of his distinction in passing 
 from a privileged to a commonplace form of art; but so the progress 
 of art willed.' 
 
 The work of M. Leon de Laborde follows: — 
 
 GoDEFROY, Painter to Francois I. 
 
 Godefroy has left us, in four small volumes, — the first three entitled 
 'Commentaires de Cesar,' the fourth 'Triomphes de Petrarque,' — the 
 proof of a fruitful imagination, of a talent in portrait-'painting no less 
 flexible than varied, and of a superiority original with himself, and thor^ 
 oughly French, — a very unusual combination of the qualities peculiar to 
 our school prior to the formation of the school of Fontainebleau, and of 
 the qualities — or, to speak more accurately, the defects — which that col/ 
 ony of foreign artists was soon to introduce in our midst. 
 
 These four volumes, after divers vicissitudes, repose at last, at the end 
 of their journeyings and safe from the risk of destruction, the first in the 
 British Museum at London, the second in the Bibliotheque Nationale at 
 Paris, the third in the collection of H. R. H. the Due d'Aumale, and the 
 fourth in the Bibliotheque de I'Arsenal. I will describe first the ' Com' 
 mentaires de Cesar,' a beautiful manuscript, the three volumes of which 
 I have had before me one by one. There are in this work three things 
 worthy of remark, to which I shall direct the reader's attention for a 
 brief space. First, the composition of the work; second, the painting of 
 the decorations; and lastly, the portraits. 
 
 The author, a native of Flanders or Artois, transplanted to the Court 
 of France, displays no overplus of wit or imagination. He supposes that 
 King Fran9ois I, in one of his excursions, or while hunting, meets Julius 
 Caesar, and that they converse. The subject of their dialogue is the Gallic 
 war; it is a sort of commentary on Caesar's Commentaries, with transpar/ 
 
ICONOGRAPHY 155 
 
 ent allusions to the events of the reign of Fran9ois I. It is in these allusions 
 that we detect the author's predilection for the Belgs," with whose coun^ 
 try he is familiar, and particularly for the city of Tournay,^ which may 
 well have been his native place. I do not propose to draw any inference 
 from his hatred of the English 3; although more violent in our northern 
 provinces than elsewhere, that sentiment was then universal in France. 
 It would seem, at least so far as the implements of war are concerned, that 
 the painter who was employed to embellish the manuscript worked under 
 the author's direction. We find in several places remarks like this : 'The 
 tower is sufficiently described by the engines that I have caused to be drawn 
 herein.' 
 
 For the rest, we feel that we have to do with a conscientious author; 
 and simply by the extracts which follow, we may recognize the man 
 who is uncertain and hesitates, the student who leaves every one in pos^ 
 session of his rights and who confides his doubts to the reader. On the 
 eighth leaf of volume two he has instructed Godefroy, the painter, to 
 reproduce an antique medallion; he writes in the margin: 'I fear that it 
 is not that Cassius who was a conspirator in the death of Caesar, for his 
 name was Caius Cassius, and I find on the medallion Ouintus Cassius.' 
 As to one of the pictures of machines of war he makes this comment: 
 'Certain pictures of implements of war, as they are portrayed by Frere 
 Jocunde in book x of Vitruvius.' Beside another, he says: 'I am not the 
 inventor of the machines which follow, for I found them in a book that 
 I secured long ago at Chastellerault, at the Lyon d'or.' 
 
 To this curious piece of information let us add another,'* which tells 
 us that the author of the book was in relations with an artist of Blois, 
 a clock/maker and inventive genius: 'The two pictures that follow [two 
 warlike machines] were taken from a book that Julian, clock^maker at 
 Bloys, gave me. — Julian is a man of great wit and knows many things.' 
 
 A passage on folio xxii verso of the second volume seems to prove 
 that the manuscript was written during the years 1519 and 1520: 'By 
 the map [a map of Gaul] placed at the beginning of the translation of the 
 first book made at Saint Germain en Laye in the month of April in the 
 year one thousand five hundred nineteen, you will see clearly who the 
 Belgas are.' 
 
 1 . See folio 86 of the second volume : ' The Aduatuci, that is to say those of Bois le Due, are 
 in Brabant, within xii leagues of Envers, neighbours of Monsieur de Gueldres.' 
 
 2. Folios 59, 64, 69, 72, and 77 of the second volume. 
 
 3. Folios 30 recto and 3 1 verso of the second volume. 
 
 4. Vol. ii, folio 93. 
 
I 
 
 156 GEOFROY TORY 
 
 After the author, it is proper to speak of the calligrapher who wrote 
 the manuscript ; but there is nothing to be said save that it is in a fair 
 hand. The painter Godefroy deserves more consideration and careful at' 
 tention. Let us not forgot that we are dealing with a perfectly well^fixed 
 time, limited to the years 151 9 and 1520; let us, at the same time, recall 
 the great national movement in art in France from 1450 to 1 500, the Itab 
 ian campaigns, the arrival of artists and objects of art from Italy during 
 the reigns of Charles VIII and Louis XII, and lastly, and above all, the so^ 
 journ in France of the two great Italian masters, Leonardo da Vinci and 
 Andrea del Sarto, from 151 5 to 151 8. Born and trained amid such influx 
 ences, a French painter undertakes to decorate a manuscript for King 
 Francois I. What does he do to satisfy the prevailing taste, the fashion, 
 without denying his past? He divides his talent into two parts,' and de^ 
 votes one, the French part, to the portraits, the other, the Italian imita^ 
 tion, to the decorations; in both he gives proof of abundant talent. In the 
 one case, an exact, shrewd observer, he paints faces by faithfully repro' 
 ducing their individual traits; in the other, fertile, never the same, abound/ 
 ing in resources in the ensemble and the details of his compositions, he 
 is the pupil of Leonardo da Vinci, with suggestions of Mantegna and the 
 artists of the first Italian Renaissance in the proportion of the figures, in 
 the ungracefulness of the attitudes, and in the types of the heads. 
 
 From this period, from these influences, and not from Primaticcio, 
 who was himself subjected to them, dates the Fontainebleau school. It 
 was adapted to the figure and the type of beauty of Diana de Poitiers ; 
 she encouraged it ; but, I say again, it was formed, it was current, before 
 the reign of the mistress of Henri II and before the painter who is its 
 most characteristic expression. If we seek to discover what method of 
 execution was adopted by Godefroy, we see that his portraits are charm/ 
 ing miniatures, comparable with the finest examples that we have of 
 French miniature/painting; as for the drawings,^ there are some that are 
 almost grisailles, almost coloured — a mongrel and conventional scheme, 
 of very doubtful taste. The painter drew his whole subject with the pen, 
 with a sureness of touch which, it must be said, has no parallel in such 
 
 1. I hesitated a long time before adhering definitely to this opinion; at the outset I thought 
 that I detected two painters, one for the portraits, one for the decorations; but soon, after study- 
 ing more closely, after comparing the miniatures, the small figures in the columns, the amazing 
 imitations of ancient medallions, and lastly the portraits, I became absolutely certain that a sin- 
 gle hand, guided by a flexible and varied talent, combined these different types and produced the 
 whole. 
 
 2. Their dimensions vary from 90 to 100 millimeters in height, and from 60 to 70 in width. 
 
ICONOGRAPHY 157 
 
 microscopical dimensions, especially with respect to the faces and the 
 landscapes ; then he laid in the general outline, with the brush and with 
 sepia, in flat tones, rather lacking in life. Thus far he did not depart from 
 the canons of art; but he added coloured costumes, suits of armour, gilded 
 trappings, and a multitude of details which flutter about in his grisaille 
 and depart from nature in a most extraordinary way. I have said that his 
 figures are reminiscences of Italian works. We find among them Dona^ 
 tellesque forms, profiles perdus, and bold gestures that recall Mantegna, 
 Perugino-'like graceful attitudes and ways of carrying the head, and, in 
 spite of everything, a French background, and points of resemblance to 
 Holbein, which might be taken to signify that Godefroy had never seen 
 Italy. Our national Renaissance had made such progress in nearly a cen^ 
 tury that our artists needed only a few drawings, a few engravings, with the 
 impulsion given by Leonardo da Vinci and Andrea del Sarto, to enter that 
 Italian current. It maybe that our compatriot, like Holbein, was subjected 
 to this influence from afar, at second hand, without having crossed the 
 mountains. 
 
 First volume} — The book opens with a map of Gaul, and we read 
 on the verso of the first leaf the following passage, written within a car^ 
 touche : < Franpoys, by the grace of God, King of France, a second Cassar, 
 vanquisher and subduer of the Souycez [Swiss], on the last day of April, 
 one month after the birth of his second son, in his park of Sainct^Germain^ 
 en^Laye, fell in with Julius Caesar and questioned him shrewdly concern/ 
 ing the contents of the first book of the Commentaries.' In another car/ 
 touche is a passage of which we need transcribe no more than the first 
 words: 'Cassar, first subjugator of the Helvecez [Helvetii, Swiss], gra/ 
 ciously made reply to him,' etc. 
 
 On the third leaf Godefroy has painted the portrait of Franfois I, head 
 and shoulders alone, in a medallion. He wears his usual costume and the 
 cap, without a feather, adorned with a banner. His features and his whole 
 countenance are idealized — they are a little stifle and sharp; the artist 
 has sought to produce an ideal antique head. The first miniature, on the 
 verso of the fifth leaf, bears the date 15 19, with no monogram; the others 
 — folios 9, 13, 17, 21, 23, 31, 33, 36, 43, 53, 60, and so on to the end — 
 are signed with a G, and dated the same year. On the miniature painted 
 on the recto of foHo 53, the initial of the artist's name is traced on the 
 trunk of a tree from which hangs a small cartouche with the words, 
 'Besanson, 15 19.' To be sure, the corresponding passage in the text re/ 
 
 I. British Museum (Harleian), no. 6205. 
 
158 GEOFROY TORY 
 
 quires that the miniature in question should represent that venerable city, 
 but a certain precision in the details, and a sort of predilection manifested 
 in the care bestowed upon the execution, lead me to believe that the view 
 was painted after nature, and that Godefroy was attached to that city by 
 some bond. 
 
 I have already spoken of the special characteristics of these miniatures, 
 and I will mention here only the one on folio 23, which represents the 
 building of a bridge over the Saone. In the foreground we see figures 
 reminiscent of the painter Mantegna in their activity, their vigour, and 
 a certain almost antique grace. The artist has retained the long pointed 
 shoes to mark the Frenchman; this is an ill'-timed display of arctm> 
 logical learning. 
 
 The volume, a large octavo, shaped like a note^'book, contains 76 leaves, 
 including the map. It is in its original binding of red morocco, with orna-- 
 ments of wreaths of fleurs-de-lis, stamped with small tools. One can see 
 the marks of the ribbons which were used to close it and to keep the vel/ 
 lum from puckering. On the recto of the first leaf, below the map of 
 Gaul, are the words : * Bibliothecs Christophori Justelli.' This note, while 
 it establishes the antiquity of the manuscript, also explains its emigra" 
 tion to England. Christophe Justel, Councillor and Secretary to the King, 
 died at Paris in 1649, at the age of seventy, leaving to his son, together 
 with the taste for study, a valuable collection of books and manuscripts. 
 Among the latter was this first volume of the ' Commentaires de Cesar.' 
 Henri Justel succeeded his father in the office of Secretary to the King ; 
 also in his literary studies and in the liberality with which his library and 
 house were thrown open to scholars. The letters of all the learned men of 
 the time bear witness to his hospitality offered to learning. 
 
 He published at Paris, in 1 661, the 'Bibliotheca juris canonici veteris 
 ex antiquis codd. mss. bibliothecae Christophori Justelli,' in two folio vol/ 
 umes, and he seemed destined to pursue in peace his erudite career. But 
 the tempest called the Revocation of the Edict of Nantes was preceded, 
 for far'-seeing Protestants, by premonitory signs which were enough for 
 Henri Justel. He packed up his books and crossed to England, where he 
 was appointed Librarian to the King — an office which he held until his 
 death in 1 698. The manuscript of the ' Commentaires ' was probably pur-' 
 chased at the sale of his library by Robert Harley, Earl of Oxford. The 
 Lord Treasurer of England ( 1 661-1 724) found consolation for the ingrati' 
 tude of men in forming that magnificent collection, which retains the 
 name of the Harleian Collection in the British Museum. 
 
ICONOGRAPHY 
 
 159 
 
 Our manuscript, however, reached that haven only with the second 
 part of Robert Harley's books and manuscripts, in 1754. 
 
 Second VolumeJ- — The first miniature represents Franfois I on horses 
 back, in hunting costume, wearing the chapeau with plumes. The King 
 is urging his horse to the right. Above his head a crowned F in gold stands 
 out against the blue background of a shield. This was a device for dis^ 
 closing his identity to those who were not struck by the likeness. In the 
 middle distance is a huntsman, galloping in the same direction as the 
 King and blowing his horn. Over his head floats a banderole, bearing 
 the name ' Perot.' ^ On a stone between the legs of the King's horse is 
 the initial letter of the artist's name; and beneath, in a frame (separated, 
 however, by a running dog), the date 15 19. The border is of the utmost 
 grace of design, and leaves room for a few words of the text, which begins 
 thus: — 
 
 ' Fran^oys, by the grace of God King of France, desiring to exercise 
 his lusty youth by violent labour, early in the month of August in the 
 year one thousand five hundred nineteen, went forth to course the stag 
 in the forest of Byevre, and gave order that on that day those dogs should 
 course which he had chosen to lead the pack, because they are surer 
 than the others. GaiUart was of the number, as was Gallehault, and pretty 
 Rameau. Arbault, Gerfault, and Billehault went in their company. 
 
 ' The King was following the stag very close and was riding at full 
 speed when he fell in with the chaste Diana. The King was overcome 
 with joy, and having forgotten his quarry, he was all amazed that the 
 vision vanished and he remained all alone in deepest thought. But soon 
 after he saw beside him an ancient man of venerable aspect. He knew 
 upon hearing him speak that it was his friend Julius Cassar, whom he 
 
 1 . Bibliotheque Nationale. 
 
 2. This Perot was a favourite huntsman of whom Francois I speaks in one of his letters to 
 the Connetable de Montmorency: ' I am obliged to confess that we lost the stag, and Perot has 
 buried himself ; he dares not show himself in my presence.' M. Genin, who published this 
 letter among the pieces justijicatwes of his edition of the Lettres de la Rei?ie de Navarre ( 8vo, 
 Paris, 1841 ; p. 468), says in a note to the name Perot that he was a dog. I should probably 
 have made the same mistake, had I not, even before I saw this miniature, made the acquaintance 
 of the huntsman in question upon reading the accounts of the expenditure of Francois I, the 
 lists of his household, and the rolls of receipts given to his treasurer. I find, for example, under 
 date of July 12, 153 i : ' Due to Perot de Ruthie, in payment of such emoluments and privi- 
 leges as he has by virtue of his office of keeper of the park and castle of Saincte Jame, and of 
 the forests and four ponds of Raiz.' Five years later, I find this entry: ' To Perot de Ruthie, to 
 be used for the necessary expenses of sending for and causing to be brought to him a part of the 
 dogs, with their whippers-in, from his kennels in the forest of Chenonces.' (Roll of Receipts 
 for 1536). Still later, he became lieutenant of venery and gentleman of the chamber. He was 
 one of those favoured retainers who know how to make their way. 
 
i6o 
 
 GEOFROY TORY 
 
 had met in like manner, only three months before, in his park at Sainte/ 
 Germain/en/Laye.' • 
 
 Thereupon they enter into conversation upon Cesar's campaigns. 
 
 Godefroy's plates, almost all of which are signed with a G and dated 
 15 1 9, are on these leaves: 2 verso, 3 verso, 4 verso, 5 verso, 7 verso, 9 verso, 
 20 recto, 22 verso, 28 recto, 33 verso, 34 verso, 36 verso, 37 verso, 43 recto, 
 46 verso, 48 verso, 59 verso, 62 verso, 78 verso, 90 recto. 
 
 The medallions, which are copied from the antique, are admirably 
 executed in gold on a blue ground, the models being delicately outlined 
 in sepia. They are on leaves 6 verso, 8 recto, 9 verso, 10 verso, 1 1 recto and 
 verso, 12 recto and verso, 13 recto and verso. 
 
 Warlike machines, copied from other drawings, and consequently 
 lacking the life imparted by the representation of real objects, fill leaves 
 39 recto and verso, 40 recto and verso, 41 recto, 91 recto and verso, 92 
 recto and verso, 93 recto and verso, 94 recto. 
 
 Lastly, the portraits may be found on the leaves which I am now 
 about to enumerate. I will add nothing to what I have said of their per' 
 fection, generally speaking, reserving my comments for the points of 
 interest suggested by the manuscript itself. These portraits, as one might 
 have anticipated, and as is proved by leaf 52 most directly, are copies of 
 originals which antedate the manuscript. They are painted in miniature, 
 surrounded by three circles of black and gold ; the whole medallion is 
 fifty-'two millimeters in diameter, the miniature forty. 
 
 Leaf 25 verso: Quintus Pedius. Such is the title given by the scribe; 
 but a different hand has written in the margin, in cursive characters: 
 *Le grand maistre de Boissy, aged 41 years.' I am inclined to see in these 
 marginal annotations the hand of the author rather than that of the 
 artist. This portrait is three-quarters full, turned to the left, with a cap 
 on its head, the hair in a net, a coUar of some order around the neck, face 
 tranquil, expression shrewd. 
 
 Leaf 35 recto: Le Fiable Divitiacus Dautun. ('Admiral de Boissy, seig- 
 neur de Bonivet,aged 34 years.') Three-quarters full, turned to the right. 
 
 Leaf 36: Quintus Titurius Sabinus. ('Odetde Foues,Sieurde Lautrec, 
 aged 41 years.') Three-quarters full, turned to the left. 
 
 Leaf 42 : Iccius. (' Le mareschal de Chabanes, seigneur de la Palice, aged 
 57 years.') Three-quarters full, turned to the left, expression slightly 
 haughty. 
 
 Leaf 52: Lucius Aruculeius Cotta. ('Anne de Montmorency, aged 22 
 years, afterwards connestable de France.') 
 
ICONOGRAPHY 
 
 i6i 
 
 Leaf 73 : Publius Sextius Baculus. (' Le mareschal de Fleuranges, son 
 of Robert de la Marche, first seigneur de Sedan, aged 24 years.') Threes 
 quarters full, turned to the left. 
 
 Leaf 76 verso : Publius Crassus. (' Le sieur de Tournon who was killed 
 at the battle of Pavia, aged 36 years.') Three-'quarters full, turned to the left. 
 
 On the verso of leaf 89 we find these words: 'Thus Cassar made an 
 end of speaking and forthwith disappeared. The radiant Diana, who 
 knew the paths of the forest of Bievre, and of all time was privy to and 
 understood the laws of the chase, remounted, and by so straight a course 
 led the King, who had lost the dogs, that within a few hours, near the 
 forest of Fontainebleau, he saw them hunting better than before. And 
 he was the first of all at the death of the stag, but he had with him only 
 pretty Arbault and the beautiful Greffiere, for Diana and Aurora had left 
 him and had gone their ways.' 
 
 The two dogs are represented in the miniature ; they are attacking 
 the stag, while the King makes ready to stab him. 
 
 This volume, containing 98 leaves, is bound in black morocco, which 
 has grown rusty; it bears these words stamped in the leather: 'Tomus 
 Secundus.' It is catalogued in the Supplement Fran^ais, as no. 1328. Its 
 history, as told among the habitues of the Bibliotheque Nationale, is as 
 follows : M. Van^Praet appeared at the Conservatoire one day with an 
 exultant air; he had this fascinating manuscript in his hand, and an^ 
 nounced that he had purchased it for the Bibliotheque for 1200 francs. 
 He expected to gladden the hearts of his comrades, to call forth express 
 sions of gratitude; far fi"om it; on the contrary, they found fault both 
 with that method of purchasing, without authority, and with the price 
 that he had paid. M. Van^Praet made haste to banish the scruples of his 
 inflexible directors, and to put an end to the unpleasant discussion that 
 was beginning, by declaring that the purchase had been made for himself 
 and not for the Bibliotheque; then, when the meeting was adjourned, he 
 hastened to his friends the brothers Debure, and, with a bursting heart, 
 told them of his misadventure. They appreciated Van^Praet's regrets too 
 thoroughly to try to calm them; but they knew also that he was not rich 
 enough to keep the manuscript, and they bought for their own little col^ 
 lection, at the price that he had paid, that charming product of French 
 art, still bleeding from the reception that it had met with at the hands of 
 the great so-'called 'national' collection. Years and years had passed since 
 this strange performance, when, in 1852, a small package was brought to 
 M. Naudet, with the information that M. Debure, by his last will, had 
 
l62 
 
 GEOFROY TORY 
 
 ordered that this manuscript, embellished with paintings by Godefroy, 
 which had been purchased for the Bibliotheque and spurned by it, should 
 be restored to it as its property. 
 
 One does not know which to admire more in this testamentary dis/ 
 position of the famous bookseller — the keenness of his irony or the no^ 
 bility of his act. Without exerting itself overmuch to decide that point 
 the Conservatoire of the Bibliotheque Imperiale welcomed the prodigal 
 child and deposited it in the Supplement Fran9ais. But, with a linger^ 
 ing remnant of spite, its light was hidden under the bushel of ' la reserve ' ; 
 which is one way of preventing people from having access to it with the 
 facility which assists investigations, under the protection of that liberality 
 which is one of our claims to honour among foreign nations, and which 
 the government of the Bibliotheque should have preserved, even at the 
 price of the inconvenience that it might have caused. 
 
 Third Volume."- — Original binding, with the title: 'Cssaris liber ter/ 
 tius.* The text begins thus: — 
 
 «On the twenty ^seventh day of February, one thousand five hundred 
 XX, the King being in his park of Congnac, seeing that the splendour of 
 his entry was like to be marred by the inclemency of the weather, took 
 shelter in the house of the labyrinth, having with him monsieur I'Admiral 
 and the young and discreet Sieur de la Rochepot. At the entrance to the 
 lower room he feels and hears so violent a wind that it seems to him 
 " quam spiritu vehementi " the lofty trees fall to the earth as on Friday the 
 ninth day of March one thousand V^^xx in divers places about Paris.' 
 
 The result of all this uproar is the appearance of Julius Caesar. Frangois 
 I questions him as to what he did after pacifying Gaul. Whereupon C^sar 
 replies : — 
 
 ' I tell you that, after divers victories won by me, so high an opinion 
 of me and so great renown were spread among the barbarian peoples, 
 that ambassadors were sent to me by the nations beyond the Rhine, who 
 in the name of their cities promised to give hostages to me and to obey 
 my commands. But, for that I was in haste to go thence, I bade them 
 return to me in the summer season. Thereafter I led my legions to winter 
 quarters in the land of Touraine and in the duchy of Madame your 
 mother. And that done, I went hence to Italy.' 
 
 This volume is supplied with two maps : one, of Aquitaine, is at the 
 beginning, the other, of Bretagne, at the end of the volume, which con/ 
 
 I. Library ofS. A. R. le Due d'Aumalc, at Twickenham, near London. 
 
ICONOGRAPHY 163 
 
 tains also no less than twelve large miniatures. The King, in hunting cos/ 
 tume, figures again and again in them. The execution is as careful, and 
 the paintings of the same type, as in the two earlier volumes. All the min-' 
 iatures and the maps are signed with a G, and some of them are dated 
 1520. On folio 52, the painter's name is written in full: 'Godefroy.' 
 
 The former owner of this fine manuscript writes to me : ' I cannot 
 furnish you with any interesting information concerning the manuscript 
 of the " Commentaires de Cesar." It was given to me, only the slightest 
 importance being attached to the gift, by a resident of Tours, who owned 
 no books, and who had kept it for forty years in his closet. To tell you 
 how it came into my hands would be the more difficult because that 
 person has long been dead. The volume was delivered to me in very bad 
 condition. I employed Duru to repair the back and to rebind it, leaving 
 intact the covers, which were of the original sixteenth^century binding. 
 A small engraving, which resembled niello^work, but was recognized as 
 the work of Etienne de Laulne, an engraver of Orleans, was at the begins 
 ning of the book.' 
 
 Obliged, in 1850, by circumstances which it is needless to detail, al^ 
 though they were to his honour, to part with this precious volume, its 
 owner sent it to Paris, to M. Techener, for sale on commission. He 
 wanted 2000 francs for it, and first of all the bookseller offered it to the 
 Bibliotheque Nationale. The Conservatoire of that great collection could 
 not find that amount in its annual credit of 80,000 francs, and it renewed 
 the old joke which had temporarily banished the second volume. Unfor^ 
 tunately one does not meet every day, to repair its errors, generous book-- 
 sellers Hke M. Debure, or those who have it in their power to be as generous 
 as he ; and M. Techener, who was richer than our rich collection of books 
 for the purpose of purchasing this manuscript, was not rich enough to 
 present it to that collection. He advertised it in the 'Bulletin du Biblio'' 
 phile'for 1850 (no. 1222), for 3000 francs. During a whole year, artists and 
 curious folk (I was among the latter) were at liberty to examine it at leisure 
 and to lament the advent of English dealers who threatened every moment 
 to take it from us. At last, Monseigneur le Due d'Aumale added it to his 
 treasures of printed books and manuscripts, and, although in England, one 
 may say now that it belongs to France. Indeed, it may be that M. Debure's 
 example will be followed some day, and that this third volume will come 
 to join the second on the shelves of our magnificent department of manu/ 
 scripts, awaiting the time when the fortunate result of negotiations with 
 
i64 GEOFROY TORY 
 
 the British Museum shall permit the consummation of the work by means 
 of exchanges." 
 
 Godefroy's facile talent could not fail to be fruitful of results, and some 
 of his works may be found in several collections. The Bibliotheque de 
 I'Arsenal owns one of them, the ' Triomphes de Petrarque,' which seems, 
 in view of the exuberance of the subjects, the exaggeration of the artist's 
 defects, and the laxness of execution, to be of later date than the 'Com-' 
 mentaires de Cesar ' ; and, whether because the artist had visited Italy, or 
 because, the better to interpret the poet's ideas, he sought inspiration in 
 Italian works, it is certain that he is less French in the illustrations of this 
 manuscript than in the others. He is more perfect, too, in the art of com' 
 position, his distances are more accurately measured, his groups are more 
 in harmony with one another; in a word, he displays an inspiration, or re 
 sources, altogether new : such, for example, as the device of cutting off the 
 figures in the foreground at the waist, by means of rising ground, where' 
 by he is able to give them strongly proportioned frames without filling up 
 his whole picture. 
 
 I will describe this manuscript briefly. It is a small octavo volume of 
 ten leaves (not including the covers), written on fine parchment. It is 
 about I o centimetres in height by 8 in width. It was rebound in the eight' 
 eenth century, in lemon^colored morocco. 
 
 ' Here followeth the first of the six triumphs of the most illustrious and 
 venerable poet Messire Francisque Petrarque : the which is the triumph 
 of Love and containeth four chapters.' 
 
 Chapter I. A miniature painted on pages 2 and 3, which face each other. 
 It represents the triumph of Love, with a deal of disorder and somewhat 
 licentious details. The G can be seen in the foreground, in the centre of the 
 picture, on the ground. 
 
 Chapter II. The miniature has been removed. 
 
 Chapter III. The miniature occupies the verso of the title of the chap' 
 ter. In the foreground are amorous couples discoursing together, some 
 seated, some walking about. The men wear caps with long feathers, as in 
 the bas'reliefs of the hotel de Bourgtheroude. The architectural arrange-' 
 
 1. [The Due d'Aumale (fourth son of Louis Philippe), who lived in exile in England dur- 
 ing the Second Empire, returned to France soon after the fall of Louis Napoleon, and held a 
 notable position in society, politics, and literature, until his death in i 897. By his will he left 
 his Chateau of Chantilly, with his very valuable collections, to the Institut de France, in trust 
 for the French nation. The translator regrets his inability to state definitely the present where- 
 abouts of volume L] 
 
ICONOGRAPHY 165 
 
 ment in the background is charming. Beside a triumphal arch rises the 
 tower of love. Flames are darting from all its windows, and meanwhile a 
 long procession of women rushes through the door, followed by a Cupid 
 with bandaged eyes. The artist has painted his initial on the tower. 
 
 Chapter IV. In this miniature, Petrarch's face, twice repeated, seems 
 to be a reproduction of an original portrait. The G can just be distin^ 
 guished on a rock in the foreground ; it has been effaced. 
 
 * Here followeth the second triumph of MessireFrancisquePetrarque, 
 the which is the triumph of Chastity.' 
 
 The miniature occupies two facing pages, but it forms two distinct 
 pictures. The buildings in the background are arranged in a quasi-'ltaP 
 ian style, but are not a reproduction of any known structure. Godefroy 
 has placed his G on a tree, at the left, accompanied by three lizards — a 
 detail which should not be passed over, for it is repeated several times, as if 
 the name of those creatures bore some relation to that of the artist. 
 
 ' Triumph of Death, the which is the third triumph of Petrarque.' 
 
 [Chapter I.] This miniature is one of the most interesting and best pre^ 
 served. Death, grasping his scythe, stands over the body of a young woman 
 lying dead on the triumphal chariot. It is, in fact, the Italian triumph, as 
 we have it represented in so many works. In this case the miniature is in 
 duplicate, as well as the painting. The G is at the bottom. 
 
 Chapter II. Miniature on a single page : the death of Laura. The young 
 woman is lying on the bed of death. She is surrounded by her friends, with 
 palms in their hands. Above, in the sky, is seen the form of the Virgin. It 
 is a very pleasing composition, nearly filling the frame, and the effect is 
 charming. 
 
 Chapter III. Petrarch and Laura are seated in the shade of tail trees, on 
 the bank of a pond in which two swans are floating. The same two persons 
 are seen farther back, twice repeated, and diminishing in size according 
 to the distance. An architectural structure, decidedly Italian in type, closes 
 the view at the back. The G is painted on a stone at the feet of Petrarch 
 and Laura. Evidently Godefroy had studied several portraits of the two, 
 and he copies them with some success in their various attitudes. The trees 
 are done so skilfially that one might well believe that he could recognize the 
 touch of a landscape artist, and a generally happy effect gives to this minia^ 
 ture all the value of a painting. 
 
 * Here followeth the fifth triumph of Messire Francisque Petrarque, 
 the which is the triumph of Time.' 
 
 The miniature occupies two pages and includes two subjects. In one, 
 
i66 
 
 GEOFROY TORY 
 
 Time, represented by the signs of the zodiac, and by the allegorical figures 
 of antiquity, marks his progress in the sky ; mortals undergo his influence 
 on the earth. The artist has signed his work at the right, at the foot of the 
 picture, this time with his full name: 'Godefroy.' In the other miniature 
 the triumph of Time is represented. He is passing in his chariot, drawn by 
 four horses at a gallop, between the four Seasons. On the left, at the foot, 
 we see a G and two lizards. 
 
 ' Here foUoweth the sixth and last triumph of Messire Francisque 
 Petrarque, the which is the triumph of the Deity.' 
 
 This title is followed by a double miniature. In one, we see God the 
 Father and Jesus Christ, with the Holy Spirit soaring above their heads, 
 seated on the globe and presiding at the last day. Flames fall from the skies 
 upon mankind, who are divided into the good and the bad ; angels tran' 
 quilly lead the former, while devils brutally pursue the others. At the foot, 
 on the right, is the G. On the other page, God the Father and God the 
 Son (the Holy Spirit hovering over them as before) are seated in a trium/ 
 phal chariot drawn by the ox, the lion, the eagle, and the angel, which are 
 the symbols of the evangelists. They come forward, surrounded by all the 
 dignitaries of the Church. Pagan Love, with bandaged eyes, lies dead on 
 the ground near the chariot wheels ; a long procession of saints, male and 
 female, concealed below the waist by an elevation, are following the course 
 of the chariot in the foreground. This arrangement made it possible for 
 the artist to make his figures larger and to delineate their features with care. 
 The G is at the foot of the miniature, on the ground. 
 
 All these miniatures, painted in grisaille, with blue skies and water, 
 and with some few details in colour, are 86 millimetres high and 68 wide. 
 
 Comte Leon de Laborde. 
 
 3 
 
 In the catalogue of the library of M. Firmin Didot pere, sold in i8i i, 
 is the following description of a magnificent manuscript : ' — 
 
 * The first three books of Diodorus Siculus, translated fi-om Latin into 
 French by Antoine Macault. Small folio, in blue morocco, with dentelles, 
 lave, regie, bound with the arms of Fran9ois I, whose cipher it bears on 
 the back and on the cover. 
 
 ' A superb manuscript on vellum, presented to Fran9ois I, containing 
 1 73 leaves, 30 lines to the page. It is illustrated with miniatures and with 
 
 I. Octavo, 1810; p. 124, no. 880. 
 
ICONOGRAPHY 167 
 
 a large number of initial letters painted with the utmost care. The first 
 miniature represents Francois I surrounded by the nobles and scholars of 
 his court ; it is 10 inches high and 63^ wide. This painting, of the most fin/ 
 ished workmanship, has the additional merit of presenting the features of 
 several great men of that time. All the pages on which chapters begin 
 are set in fillets of gold and ultramarine. The initials are 19 lines high and 
 12 wide. More than fifty of these initials represent the principal subjects 
 of their respective chapters. The third book is especially noteworthy, for, 
 beginning with page 130, there is a series of small miniatures, admirable 
 in execution and of the greatest exactness in respect of forms. 
 
 ' This manuscript has the advantage of being in a most excellent state 
 of preservation.' 
 
 It was sold to M. Brunet, author of the 'Manuel du Libraire,' for 1476 
 francs (not including the usual expenses) ; he bought for William Beck^ 
 ford, Esq., of Fonthill Abbey in the County of Wilts, of which Salisbury is 
 the shire town. The author of the 'Repertorium Bibliographicum,' printed 
 at London in 1819, informs us that Macault's manuscript was at that time 
 in the library of that distinguished collector, which is described on pages 
 203 to 230 of the 'Repertorium." 
 
 The description of the manuscript is as follows : — 
 
 DiODORE. — LeS TROIS PREMIERS LIVRES DE DiODORE SiCILIEN, HISTORY 
 lOGRAPHE GREG DES ANTIQUITEZ dEgIPTE, EtHIOPIE ET AUTRES PAYS 
 dAsIE ET dAfFRIQUE. TrANSLATEZ DE LATIN EN FRANCGYS PAR 
 MAISTRE AnTHOINE MaCAULT, NOTAIRE, SECRETAIRE ET VALET DE 
 CHAMBRE ORDINAIRE DU ROY. 
 
 'Folio, ms. on vellum, in the original binding; the sides strewn with 
 fleurs/de^is and the initial letter F. On one side, in a square compartment, 
 in gold letters: Diodore Sicilien. On the opposite side: Av roy fran' 
 
 COYS PREMIER. 
 
 ' This fine manuscript, formerly in the possession of Francis the First, ap' 
 pears to have been executed by his express command. Prefixed to the his-' 
 tory is a painting of the King seated under a canopy powdered with fleurs/ 
 de^lis, surrounded by his courtiers : his three sons, the Dauphin Francis, 
 Henry, afterwards Henry II, and Charles, Duke of Orleans, dressed in rich 
 habits, appear in the foreground. The King seems to direct his attention 
 to a person reading, dressed as an ecclesiastic, probably the translator of the 
 
 1 . According to information supplied to me from England, it would seem that this fine manu- 
 script is to-day [1865] in the library of the Duke of Hamilton (Hamilton House, 22 Arling- 
 ton St., Piccadilly, London). 
 
i68 
 
 GEOFROY TORY 
 
 History. A beautiful greyhound on the floor, and a marmoset, sitting on 
 the table, near the King's left hand, are prominent figures in the groupe 
 [sic]. In addition to this exquisite illumination, the volume is enriched with 
 numerous large initial letters, painted with peculiar delicacy, representing 
 occurrences described in the book, manners of various nations, and portraits 
 of their early emperors and kings.' ' 
 
 This description is accompanied by an engraving on copper of the 
 figure of Francois I, afiier the Macault MS. The King is depicted fiill face, 
 seated before a table on which, near his left: hand, is a monkey. The back/ 
 ground is a tapestry covered with fleurs^de4is. This engraving is dated July 
 I, 1 817, and is the work of M. Behnes. It differs from the engraving on 
 wood found in Macault's printed volume, not only in that it does not in' 
 elude the various persons of the original drawing, but also in the details 
 of the King's costume. I have every reason to believe that the wood en*- 
 graving is a faithful reproduction of the original, just as the book itself is 
 a reproduction of the manuscript, except for the other drawings, which 
 were omitted, from economical motives, no doubt. 
 
 Macault's volume is a quarto, consisting of 8 leaves of preface, 154 of 
 text (signatures A to Q_), and 8 of index. The author's preface begins 
 with an S from which depends a shield (probably Macault's), bearing two 
 fasces accompanied by nine bezants arranged in threes, and having for a 
 motto the Greek word mhketi (not at all). The letter is repeated on folio 
 148. The first page has a border in the shape of a portico, like those in the 
 opuscula published by Tory in 1 53 1 and described on pp. 202-203. At the 
 foot is the date 1 535. On the verso we find the final border of 'Champ fleury,' 
 within which are drawn, in the vellum copy preserved at the Bibliotheque 
 Nationale, the royal arms of England, with the motto diev est [sic] mon 
 DROicT, below.^ 
 
 4 
 
 Pauli Jovii Novocomensis vit^ duodecim vicecomitum Mediolani 
 principum. 
 
 Folio manuscript of 137 leaves. Bibliotheque Nationale. 
 
 This manuscript is enriched with ten portraits of dukes of Milan, 
 painted from originals, of each of which Paulusjovius gives the abiding^ 
 place. 
 
 1. [This description is copied verbatim from the Reper tor turn, by M. Bernard; the Eng- 
 lish is evidently a translation ofsome French original.] 
 
 2. See the following section, under the date of 1535 (infra, p. 205). 
 
ICONOGRAPHY 169 
 
 1. Otho archiepiscopus. 
 
 2. Matthasus magnus. 
 
 3. Galeacius [Galeazzo] primus. 
 
 4. Actius. 
 
 5. Luchinus. 
 
 6. Joannes archiepiscopus. 
 
 7. Galeacius secundus. 
 
 8. Barnabas. 
 
 9. Jo. Galeacius [Gian Galeazzo] primus. 
 10. Philippus. 
 
 The dedicatory epistle of this book, which was at first intended to be 
 addressed toFran9ois's third son, Charles de Valois.as the author informs 
 us, was addressed to the Dauphin, Henri, afterwards Henri II, who suc^ 
 ceeded to the rights of his elder brother, deceased in 1536, and of his 
 younger brother, who died in 1545. It is dated at Rome, the 4th of the 
 Kalends of April (March 29), 1547. 
 
 It is not certain that Tory did any work on this manuscript, but I 
 mention it because of the engravings of the portraits, which appeared in 
 the edition published in 1549.' 
 
 5 
 
 Recueil des Rois de France, leurs couronne et maison, etc., by 
 
 Jean du TiUet, register in chief of the Parliament of Paris. 
 
 Large folio manuscript on vellum; Bibliotheque Nationale. It is the 
 original manuscript given to Charles IX, to whom it is dedicated. It is 
 bound in red morocco, with that prince's arms.^ 
 
 This manuscript is embellished with a large number of miniatures and 
 with thirty fulUength portraits of kings of France, very carefully exe^ 
 cuted, which remind one of the portraits accompanying the manuscript 
 of the 'Commentaires de Cesar.' We also find there the escutcheons of the 
 principal officers of the crown. 
 
 Here is the list of the kings represented : each portrait occupies a full 
 page. 
 
 1. Clovis. 4. Chilperic and Fredegonde. 
 
 2. Clotaire I. 5. Clotaire III. 
 
 3. Sigebert. 6. Charlemagne. 
 
 1. See the following section, under the date of i 549 (infra, p. 234). 
 
 2. See what is said of this MS. in Le Prince's Essai historique sur la Bibliotheque du Roi, 
 edit. 1856, pp. 28 and 47. 
 
170 
 
 GEOFROY TORY 
 
 7. Louis le Debonnaire. 19. Philippe le Bel. 
 
 8. Charles le Chauve. 20. Louis le Hutin. 
 
 9. Charles le Simple. 21. Philippe le Long. 
 ID. Raoul. 22. Charles le Bel. 
 
 1 1. Louis d'Outre Mer. 23. Philippe de Valois. 
 
 12. Lothaire. 24. Jean. 
 
 13. Philippe 1. 25. Charles V. 
 
 14. Louis le Gros. 26. Charles VI. 
 
 15. Louis le Jeune. 27. Louis XI. 
 
 16. Philippe^Auguste. 28. Charles VIII. 
 
 1 7. Louis, pere de Saint-Louis. 29. Louis XII. 
 
 18. Saint-Louis. 30. Francois I. 
 
 As we see, the book was originally intended to stop with Fran9ois I ; 
 but as circumstances prevented the author from printing it thus, du TH" 
 let included the reigns of Henri II, Franyois II, and Charles IX, who suo- 
 ceeded one another at brief intervals. The work was still unpublished 
 when the author died, in 1570 ; it would seem, however, that he had long 
 been preparing to print, since we find in the edition of 1580 engravings 
 signed with the Lorraine cross.' 
 
 6 
 
 In 'Les Recreations historiques,' by Dreux Duradier, on page 102 of 
 volume one, we read : 
 
 ' In the manuscript of the late M. Lancelot, written, it is said, by the 
 hand of G. Tory, with the date of 1546, is found this ballad in honour of 
 the Virgin: — 
 
 ' " Balade de Lyon Jamet sur la Vierge : 
 Qui me crea je I'ai congu," etc' 
 I have vainly sought this manuscript among all those of Lancelot owned 
 by the Bibliotheque, of which there is a special catalogue; but I have been 
 unable to find it. 
 
 7 
 
 In order to omit nothing, I will also mention here another valuable 
 manuscript of the Bibliotheque Nationale, on one of the miniatures of 
 
 1. See what I have to say later on this subject under the heading ' Engravings of Uncertain 
 Date' (infra, p. 255). — According to M. '^rwntx. {Mafiuel de Libraire, 5th edit. , vol. ii, col. 
 929), the first edition of this book was published at Rouen in i 577, under this title : Memoires 
 et recherches touchant plusieurs choses m 'emorables pour r intelligence de I'estat et dcs affaires de 
 France. But I find it difficult to credit the accuracy of this statement, as the edition of i 580 
 prints a license dated no earlier than August 10, i 578, 
 
ICONOGRAPHY 171 
 
 which is a G, followed by a small t or f, which may fairly be attributed 
 to Geofroy Tory. It is a translation of Livy, in two large folio volumes, 
 on vellum, acquired from the Bibliotheque de la Sorbonne, and enriched 
 with magnificent engravings, attributed to Jean Fouquet, which, how^ 
 ever, cannot be his, for the book has, on the first page, the arms of Fraip 
 9ois de Rochechouart and Blanche d'Aumont, who were married about 
 1480 and died, both, in 1530. Evidently it was not in the early years of 
 their marriage that the book was written ; and, as it must have occupied 
 several years, and, in fact, was never finished, there is nothing extraordi^ 
 nary in the idea that Tory may have executed some of the miniatures 
 about 1520. Furthermore, in order to place the reader in a position to 
 judge for himself, I will add that the cipher mentioned above is painted 
 on the leg of the figures in the miniature on page 1 23 of volume one.' 
 
 1. I am indebted for this information to M. Vallet de Viriville, who is devoting himself to 
 loolcing up the works of Jean Fouquet, as I myself am looking up Tory's. 
 
SECTION II. PRINTED BOOKS ILLUSTRATED WITH 
 
 ENGRAVINGS BY TORY OR HIS PUPILS. 
 1515 
 
 There appeared for the first time, in the books of Hours published by 
 Simon Vostre about 15 15, three engravings which are clearly distinguish' 
 able in method of execution from those previously used by the same book./ 
 seller, to which the three new ones were thereafter added. 
 
 Thenceforth Vostre's Hours contained three varieties of engraving: 
 (i) The old gothic woodcuts (among which must be reckoned the Dance 
 of Death with dotted background), which figure in the editions issued 
 by that bookseller even in the fifteenth century; (2) Two large drawings 
 in the Renaissance style, which appear in his editions of 1507 and which 
 may be attributed to Jean Perreal, Tory's teacher; (3) The three in ques' 
 tion, which do not appear earlier than i5i4ori5i5. These engravings are : 
 (i) The Adoration of the Shepherds, signed with the letter G in a gothic 
 shield; (11) The Adoration of the Magi; (iii) The Circumcision; the last 
 two signed with this monogram : The G is still inclined to the gothic, 
 but the second letter is altogether roman. In my judgement, this monogram 
 should be translated by the words, 'Godofredus faciebat,' or ' fecit.' It is true 
 that the ascription of these engravings to Tory has been contested ; but 
 Jules Renouvier, whose taste was so unerring, and who cannot be accused 
 of infatuation for Tory, did not hesitate to adopt my hypothesis. ' In the last 
 of Vostre's Hours,' he says, in the pamphlet that he published concerning 
 that bookseller, ' we see, besides the plates executed in the old French man^ 
 ner, which have not disappeared as yet, other plates in the Italian and Ger-- 
 man manners, subjects treated in an altogether novel style : the Adoration 
 of the Shepherds, the Adoration of the Kings, and the Circumcision, are 
 composed of small figures in a large ground ; the design has recovered all 
 its delicacy, in its clearly drawn forms, and the cutting is done with no less 
 diversity than care. Here, luckily,' continues Renouvier, 'a monogram en^ 
 ables us to attribute the engravings to their author. It is a G alone, or en^ 
 closing an f, subscribed on a shield or in a cartouche hanging fi-om a branch. 
 
ICONOGRAPHY 173 
 
 They have been claimed for Geofroy Tory, and with good reason, for the 
 manner in which these plates are executed accords with what we know 
 of that excellent artist.' 
 
 It is, perhaps, to these engravings, so successfully executed, that we 
 should ascribe the partiality that Tory afterwards displayed for books of 
 Hours, of which, as we have seen, he put forth several editions, in diverse 
 formats, and with a large number of engravings on wood done by himself. 
 
 1516-1518 
 
 Here is to be placed Tory's second journey to Rome,' from which he 
 returned more Italian than ever, in respect to art. 
 
 1519-1520 
 
 Under this date, which was when Tory was working at the manu** 
 scripts I have described above, I shall place, albeit somewhat conjecturally, 
 two small engravings on wood, signed with the letters G T, which ap' 
 pear in a publication of M. Varlot entitled : ' Illustration de I'ancienne 
 imprimerie troyenne ' (4to, 1850). They are numbers 84 and 131, the first 
 in the crible style, the second in the style of the Renaissance. My ascrip/ 
 tion of them to Tory is based upon the facts that they are of his time, as 
 we may infer from the one in the crible style, and that the initials G T 
 are entirely consistent with that period of the life of our artist, who some/ 
 times signed his name in full, Geofroy Tory, as witness his Hours of 15 24. 
 
 The first of these engravings, number 84, represents a Descent from the 
 Cross. The letters G T are at the foot of the plate, and are some distance 
 apart.^ In the same collection there is another engraving of the same series, 
 but not signed — number 78. It represents a bishop blessing a sick man who 
 lies entirely nude before him. These twoare 48 millimetres wide by 62 high. 
 
 Number 131 represents a scene fi"om Terence. The letters G T are side 
 by side at the foot of the plate, which is 33 millimetres high by 55 wide. 
 In the same collection, numbers 132 and 133, are two other woodcuts of 
 the same series, but not signed. Lastly, in an edition of iEsop, published 
 recently at Troyes, by the printer Baudot, we find a woodcut which prob' 
 ably had the same origin, and found its way into this volume by chance. 
 These four engravings are evidently fi^om an edition of Terence in a small 
 format; I have been unable to find it. 
 
 1. See Part i. Biography, supra, p. 7. 
 
 2. This plate was reproduced by MM. Alexis Socard and Alexandre Assier in their work 
 entitled: Livres liturgiques du diocese de Troyes, 8vo, 1863. 
 
174 
 
 GEOFROY TORY 
 
 1520- 1521 
 
 I shall place under this date a title-page, in octavo, forming a border, 
 engraved for Simon de Colines, and bearing his mark and his initials. 
 This printer, who succeeded in 1520 Henri Estienne, the first of the name, 
 whose widow he married, wished to mark his printings in some special 
 way, and to that end applied to Tory, who was a friend of the family. 
 Tory engraved the title-page in question, in the crible style, then much 
 in vogue ; and on it are seen rabbi ts, or conils, which is believed to be an all U' 
 sion to the name of Colines.' Tory's mark appears in white, at the foot of 
 the engraving, to the right. I have seen this engraving in an Epitome of 
 the 'Adages' of Erasmus, in Latin, printed by Simon de Colines, in 1523, 
 in octavo, under this title : * Johannis Brucherii Trecensis Adagiorum ad 
 studioszE juventutis utilitatemex Erasmicis chiHadibusexcerptorumepit/ 
 ome.' It was probably Tory, too, who engraved Colines's large mark with 
 the rabbits (Silvestre, no. 79), which is in the same style, and which ap/ 
 pears in the Hours of 1 5 2 4 ; but it does not bear the double cross. Tory also 
 engraved for Colines two other marks in a very different style (Silvestre, 
 nos. 80 and 329), and a multitude of borders and illustrations for his books. 
 
 Colines certainly employed Tory more than any other printer did, as we 
 shall see in the sequel. This fact leads me to believe that Lottin is mistaken 
 in bestowing upon Colines the title of engraver of letters, attributing to 
 him doubtless the engraving of the graceful italics that he used in works 
 written in verse ; I am convinced that those letters are the work of Tory. 
 I will call attention, however, to the fact that the capitals that go with these 
 italics are roman, and may belong to the roman letters which Simon de 
 Colines had from Henri Estienne. But the font is enriched with some 
 white two^line letters, of a charming design, which are certainly Tory's, 
 as are the floriated letters used by Colines and his stepson Robert Estienne. 
 
 1521- 1522 
 
 I. Tory engraved also for Simon de Colines a magnificent title-page 
 intended for a very rare work, which, for that reason, I think that I ought 
 to describe in detail (after one of the copies in the Bibliotheque Nationale), 
 for its existence has been doubted.^ 
 
 The book is entitled: 'Commentarii initiatorii in quatuor Evangelia,* 
 etc., with no author's name on the title-page; but it was written by Jacques 
 
 1. See what I have to say on this subject in § iii, under the word 'Colines' (infra, p. 268). 
 
 2. See what I have to say of this book in the Bulletin du Bouquiniste, 1 860, p. 10 1 . 
 
ICONOGRAPHY 175 
 
 Lef evre d'Etaples, as we shall see in a moment. It is a folio, of 6 unnum^ 
 bered preliminary leaves, and of 377 numbered leaves, making 192 
 sheets, divided into 50 folds of 4 sheets each, except the first, which has 
 only 3. The signatures go from a to ddd consecutively. The text of the 
 Gospels is set in large type (great primer), the notes in smaller type 
 (pica), in which there are some very handsome Greek characters, with 
 accents, which were still a novelty at that time. 
 
 The title is in a wide border, engraved on wood, decorated with the 
 symbols ofthe four evangelists, beneath which are printed passages from 
 their works. This border, which is signed with the Lorraine cross at the 
 foot, on the right side, is .225 metre high by . 166 wide. 
 
 On the second preliminary leaf the author's preface begins,under this 
 heading: 'Jacobi Fabri Stapulensis ad Christianos lectores insequens 
 opusPrsfatio.' It ends on the fourth preliminaryleaf, with the date, 'Mel-' 
 dis, anno m. d. xxi.' Then follows a concordance of the four Gospels, in 
 the form of tablets closed at top and bottom by unsigned engravings. 
 
 The Gospel according to St. Matthew, which opens the book, begins 
 with a superb ornamented L, on a crible background, .058 metre in 
 height by . 055 in width. The Gospel according to St . Mark, which opens 
 on leaf 115 (erroneously printed 215), begins with an I of the same style 
 and dimensions. The Gospel according to St. Luke begins on folio 1 75 
 verso, with an F like the two preceding letters. The Gospel according 
 to St. John begins on folio 259, with the I that has already done duty 
 in the Gospel of St. Mark. These letters, which are altogether in the 
 style of those afterwards engraved by Tory for Robert Estienne, seem to 
 me to be fairly attributable to him, although unsigned. 
 
 In the balance of the book we find a large number of other letters orna-' 
 mented in the crible style, but of smaller size, which cannot be Tory's. 
 
 On folios I o I verso and 102 recto are certain astronomical figures, un-* 
 signed, which I dare not attribute to Tory; but I do not hesitate to attrib^ 
 ute to him a large engraving on folio 182 verso. It represents Jesus in an 
 aureole of flame. Below him is the sea; above liimthe Father Everlasting, 
 blessing with the right hand, and holding in his left hand the globe sur-* 
 mounted by a cross. He is uttering these words which we read in a scroll: 
 'Hicestfiliusmeusdilectus in quo mihi bene complacui.' This engrav-' 
 ing, including its border, is .210 metre in height by . 137 wide. 
 
 On the last page is a subscription in these words: meldis, impensis 
 
 SIMONIS COLINAEI ANNO SALVTIS HVMANAE M. D. XXII. MENSE IVNIO. 
 
 Who printed this book.? Not Simon de Colines, as La Caille said, and as 
 
176 GEOFROY TORY 
 
 Maittaire and Panzer have repeated after him, for the subscription means 
 simply that the printing was done at his expense. One can understand, in 
 truth, that Simon de Colines, who had at the time an extensive typographic 
 cal establishment at Paris in full blast, could not leave that city to print a 
 book at Meaux. Nor was it a local printer, for no other contemporary print' 
 ing at Meaux is known; moreover, the mechanical execution of this vol' 
 ume, and the engravings with which it is embellished, prove that it did not 
 come from a wretched provincial workshop. 
 
 In my opinion there is but one way of explaining this typographical 
 enigma. It is this : Gmllaume Bri^onnet (second of the name), having been 
 appointed Bishop of Meaux in 1 5 1 8, took with him to that town his friend 
 Lef evre d'Etaples, to whom he entrusted the administration of his diocese. 
 Etaples employed his leisure in writing various religious works, among 
 others the Commentaries on the Gospels, which were finished in 152 1 . Wish' 
 ing to have this bulky volume, which was of capital importance to him, 
 printed under his own eyes, and being unable to leave Meaux, where he 
 was detained by his duties, Lef evre simply imported from Paris a portion 
 of Simon de Colines's printing-office, with a small staff' In this way he 
 could not only superintend the printing of his book, but also lend a hand 
 at need, after the example of many another scholar of that time who did 
 not scorn to practise the printing art. 
 
 What I have said is a mere hypothesis, it is true ; but this hypothesis 
 is surrounded by circumstances which give it a powerful appearance of 
 truth. In addition to what I have said above, I will say that the types of 
 Lef evre d' Etaples' book are the same as those used in an octavo printed 
 at Paris by Simon de Colines in 1523, — a book which I have already cited 
 and which I now have before me. It is entitled : ' Joannis Brucherii Trecen' 
 sis Adagiorum ... ex Erasmicis chiliadibus excerptorum Epitome.' The 
 title/page has a border signed with the Lorraine cross. More than that, the 
 first ornamental letter in Etaples' book, which is an A on a crible back' 
 ground, is also the first letter of the book of Johannes Brucherius ; whence 
 we see that the typographical material sent to Meaux returned to Paris 
 immediately after Etaples' book was printed. 
 
 Doubtless that is why we have only one book dated at Meaux at that 
 period ; it might be, however, that advantage was taken of the moment' 
 ary existence of this printing-office at Meaux to set up some trifling work, 
 in 152 1 or 1522 ; but that would not in any wise modify my conclusion. 
 
 I . If necessary, four workmen would have sufficed, — two compositors and two pressmen — 
 Lef evre d'Etaples being abundantly able to perform the duties of corrector. 
 
ICONOGRAPHY 177 
 
 II. Tory engraved also, at about the same time, for a printer at Troyes 
 named Jean Lecoq, the title-page, in the shape of a border, of a ' Gradual ' ' 
 of the Cistercian Order — a very large and handsome folio, printed at 
 Troyes in 152 1. This engraving is in the crible style, with the double 
 cross in white at the foot, on the right. At about the same time he en^ 
 graved in the same style Jean Lecoq's mark, which appears at the end of 
 the volume, and of which a reproduction may be seen in M. Silvestre's 
 book, no. 875. 
 
 As this Gradual is very rare (only one copy of it is known to exist, which 
 I have seen in M. Tross's collection) and very beautiful, I think it well to 
 describe it. It is almost needless to say that it is printed in gothic type. 
 
 First of aU, above the title there is a line printed in black : — 
 
 Jesus Maria Bernard^ 
 
 (It is well known that St. Bernard was the founder of the Cistercian Order.) 
 Then, in red (I complete the abbreviated words) : — 
 
 'Graduale ad usum Cisterciensis ordinis: secundum capituli generalis 
 venerabilium patrum ejusdem ordinis diffinitionem in sequenti paginas 
 declarata : noviter per quendam Clarevallensem monachum ad debitam 
 formam utiliter redactum. Et Johannis Lecoq impressoris Trecis com/ 
 morantis solertia diligenter impressum. Anno Domini Millesimo quingen/ 
 tesimo vicesimo primo.' (Here Lecoq's large mark: Silvestre, no. 877.) 
 'Cum privilegio.' 
 
 The volume is made up of 2 preliminary leaves, for the title, etc., and 
 252 pages of text, divided as follows : First part, without pagination, of 18 
 signatures {a to s) of 4 sheets each, except the last, which has only 2, — in 
 all, 140 leaves. Second part, folios i to 1 12, having 14 signatures (A to O) 
 of 4 sheets — in all, 1 12 leaves. 
 
 The paper is very strong and fine. It is one of the earliest books printed 
 with music in France, and it reflects great credit on the presses of Troyes, 
 and especially upon Jean Lecoq, first of the name. Names of places and 
 persons are consistently printed with capitals. The work is illustrated with 
 a few engravings; but its most remarkable feature is the ornamental in<' 
 itials and uncial letters with which it is embellished. 
 
 At the end, by way of colophon, are these words : — 
 
 'Explicit Graduale secundum usum ordinis Cisterciensis, Trecis im-* 
 
 I. [An office-book formerly in use, containing the antiphones called ' graduals,' as well as 
 introits and other antiphones, etc., of the mass. Also called the ' Cantatory ' or ' Cantatorium.* 
 — Century Dict.] 
 
178 GEOFROY TORY 
 
 pressum Per Johannem Lecoq, Anno Domini Millesimo quingentesimo 
 vigesimo primo Die sexta mensis Martii. Laus Deo.' 
 
 Here Lecoq's mark with the Lorraine cross in white. 
 
 This volume came from the ancient monastery of Ohva.near Dantzig. 
 
 1522 
 
 I . We may place under this date two other frontispieces signed with the 
 Lorraine cross. The first is a large engraving divided into four compart' 
 ments, and representing armies in battle array, with cannon. The two 
 upper compartments are connected by the shield of France, surmounted 
 by a crown and encircled by the order of Saint^Michel, from which 
 branches of rose-bushes depend on either side. In each compartment there 
 is a cartouche. Tory's mark is at the foot of the lower left-hand com/ 
 partment, in which the banner of France is seen waving. This engraving 
 appears in the 'Rozier historial de France,' a folio printed ingothic type, at 
 Paris, for Fran9ois Regnault, February 10, 1522, before Easter; that is to 
 say, 1 523 new style. In the cartouches the following words are printed in 
 red, in gothic type : ' Bataille ronde,' ' Bataille de pointe,' ' Bataille de feu,' 
 'Bataille de fourche." It appears in another edition of the same book, 
 printed in 1528 for the same bookseller; also, in a translation of Caesar's 
 ' Commentaries,' printed by Pierre Vidoue, in 1 53 1 , for the booksellers Pon^ 
 cet Le Preux and Galiot du Pre. This translation is a folio volume divided 
 into two parts, the first translated by Etienne Delaigue, called Beauvoys, 
 the second by Robert Gaguin. The plate in question is at the end of the 
 first part, folio 95 verso. The whole book is printed in black, both text and 
 engraving. I am indebted for my knowledge of the engraving to M. Robert^ 
 Dumesnil jils. 
 
 II. The second engraving, in the form of a border (folio size), repre^ 
 senting a number of grotesque and licentious subjects, appears in an edi^ 
 tion of the * Histoire du saint Graal,' published by Philippe le Noir, sworn 
 bookseller and binder to the University of Paris, on October 24, 1523. The 
 bookseller's initials are in the compartment at the top of the border.^ 
 
 In this book, as well as in those last described, there are other engrav/ 
 ings ; but they are not the work of Tory, to whom only the important 
 pieces were assigned. These other engravings had, doubtless, appeared else' 
 where. 
 
 As for the engraving executed by Tory (which reappears in many other 
 
 I . Bibliotheque Nationale. 
 
 2. Bibliotheque de 1' Arsenal, 
 
ICONOGRAPHY 179 
 
 works printed by Philippe le Noir), it is a copy of a plate engraved by Urs 
 Graf, dated 15 19, and used by Pierre Vidoue, printer at Paris,' particularly 
 in a Virgil of 15 29, folio, which is now in the Bibliotheque Mazarine. The 
 four principal subjects of this engraving, placed at the four corners of the 
 border, represent: (i) Men lighting torches at a woman's posterior; (2) A 
 woman carrying off a man in a basket ^ ; (3 ) The death of Pyramus and This^ 
 be; (4) The judgement of Paris. 
 
 ■ 1523 
 
 While working for others, Tory busied himself with a long series of 
 engravings intended for books of Hours to be published by himself ^ 
 
 * It is upon turning over these plates,' says M. Renouvier,'* 'that one ap^ 
 predates to the fuU his style — rich, diversified and immeasurably clever 
 in ornamentation, distorted out of proportion, diabolic in the drawing of 
 faces, descending too often to downright awkwardness in the carriage of 
 the head and to a habit of bellying out draperies ; and, finally, overweighted 
 by a sort of heaviness in the forms. The artist's greatest facility is shown 
 in the arrangement of his figures, and in the decoration of his porticoes. 
 Whatever he may say, it would seem that what he studied at Rome with 
 the best results were the baths of Titus and the arabesques of Giovanni da 
 Udino.' 
 
 1524-1525 
 
 We have seen that Tory had been in the habit for some time of sign' 
 ing his engravings with a double cross ; but this had not yet become an 
 invariable signature. For instance, about 1524 he often used a monogram 
 in which his name and surname — or, to use the terms of the present 
 day his Christian name \prenom\ and his family name \nom de famille] — 
 both appear. It consists of a capital G, enclosing a smaller S, with the 
 double cross above. This means, in my opinion, that Tory was the 
 engraver only ('Godofredus Torinus sculpsit'), in distinction from the 
 cross alone, which means that Tory both drew and engraved the pieces on 
 which it appears. In fact, we find in most of those signed with the mono^ 
 gram a roughness of aspect which is not characteristic of Tory's usual style. 
 
 However that may be, here is a list of the pieces known to me on which 
 this monogram appears. 
 
 1 . An additional proof in confirmation of what I have already said as to the unscrupulous 
 way in which artists copied one another. (See page 149 note i. ) 
 
 2 . This design is based upon a legend concerning Virgil, which had some vogue in the Middle 
 Ages. 3. See pp. loi — i 29, supra. 
 
 4. Revue universe lie des Arts, September, 1857 (vol. v, no. 6, p. 513). 
 
 m 
 
i8o GEOFROY TORY 
 
 I. Le Blazon des heretiques. 
 
 Quarto of 1 4 leaves, in gothic type, printed by Philippe Le Noir, ' sworn 
 binder to the University of Paris,' with a privilege from the court of the 
 Parliament of Paris, dated December 21, 1524. This is a satirical produce 
 tion, in verse, attributed to Pierre Gringoire, otherwise called Vaudemont, 
 at the head of which appears the figure, or effigy, of the ' heretic,' signed 
 with the monogram in question. The description of the effigy is as follows : 
 
 En gibeciere on luy voit ratz avoir. 
 Qui sont rongeans et serpens detestables 
 En son giron faisant mords diffamables. 
 De son sian sort ung aspre feu vollant, 
 Qui cueur et corps et livres est bruslant.' 
 
 This very rare work was reprinted at Chartres.in 1832, under the aus' 
 pices of M. Herisson, the librarian of that city. The reprint contains a 
 facsimile of the engraving. 
 
 II. Heures de Nostre Dame, translate es en francoys et mises 
 EN rithme par Pierre Gringoire, dit Vaudemont, par le com' 
 
 MANDEMENT DE . . . MADAME ReGNEE DE BoURBON, DUCHESSE DE 
 
 Lorraine, etc. 
 
 A quarto, in gothic type, undated, but containing a table of Easter/ 
 Days beginning with 1524, and a privilege dated October 10, 1525. 
 
 This book, which was published by the bookseller Jean Petit, contains 
 13 large engravings, a list of which follows : — 
 
 1. The Annunciation. 
 
 2. Adam and Eve. 
 
 3. The Cross. 
 
 4. The Holy Ghost. 
 
 5. The Descent of the Holy Ghost upon the Apostles. 
 
 6. David praying for Zion, threatened with the divine thunderbolts. 
 
 7. The Virgin and the Child Jesus. 
 
 8. A Family at Table (Pentecost?). 
 
 9. Eight Naked Children Praying; the Holy Trinity in the Heavens. 
 
 10. The Manna. 
 
 11. David's Penance. 
 
 I . In his game-bag we see that he hath rats. 
 Which are detestable, and gnawing vermin 
 Making shocicing wounds in his vitals. 
 From his breast cometh a keen, darting flame, 
 Which burneth heart and lips and body. 
 
ICONOGRAPHY 
 
 i8i 
 
 12. The Triumph of Death. 
 
 13. Jesus receiving the Crown of Thorns and the Reed. 
 
 Only the last of these bears the monogram that I have described ' ; 
 but the other engravings, being in the same style, should all be attributed 
 to Tory. We might perhaps also attribute to him the six analogous en^ 
 gravings which appear in the same author's ' Chants royaux ' (printed at 
 the same time and usually bound with the Hours), but not one of which 
 is signed. They represent : — 
 
 1. The Synagogue: Jesus in the background, entering a pillar. 
 
 2. The Prodigal Son : Jesus in the background, curing a woman. 
 
 3. Hunters : Jesus in the background, curing one possessed of devils. 
 
 4. The Miracle of the Loaves and Fishes. 
 
 5. Entrance of Jesus into Jerusalem. 
 
 6. The Crowning with Thorns. 
 
 These two books have been reprinted several times. I know of four 
 quarto editions of the Hours.^ The first is the one I have just described. 
 It contains some other engravings, in an entirely different style from Tory's, 
 which appear also in other books of Hours of older date. The second has 
 a table of Easter^Days beginning with 1528, and a privilege dated Novem^ 
 ber 15, 1527. In other respects it is similar to the earlier one. The third has 
 a table of Easter/Days beginning with 1534. It is like the last except in 
 one point : in place of the final engraving there is a different one, signed 
 in the same way, representing Job at prayer before his burning house, 
 and his neighbours reviling him. This engraving proves that Tory must 
 have engraved a longer series from which the printer took this one at 
 random, being unable at the moment to find the one that he required. The 
 fourth has a calendar beginning with 1540. It is like the second, except for 
 the privilege, which is dated November, 1525, doubtless by mistake. These 
 four editions are all in the Bibliotheque de I'Arsenal. 
 
 III. HiSTOIRE . . . DE LA . . . GLORIEUSE VICTOIRE OBTENUE CONTRE LES 
 SEDUITZ ET ABUSEZ LUTHERIENS MESCREANZ DU PAYS dAuLSAYS . . . 
 PAR . . . AnTHOINE . . . DUG DE CaLABRE . . ., PAR NiCOLE VOLCYR 
 
 (otherwise called Volkire) de SEROUViLLE,etc. 
 
 1 . In an imperfect copy of this book, on parchment, which I have seen at the shop of M. 
 Potier, and which is illuminated, the artist has erased Tory's mark, for what purpose I have 
 no idea. 
 
 2. It seems that the Parliament proposed at first to prohibit the publication of this book ; but 
 evidently it did not persist in its opposition, for, besides the four quarto editions, I have seen four 
 others in octavo, which, however, are without interest for us. See Brunet's Manuel du Libraire, 
 under ' Gringoire. ' 
 
l82 
 
 GEOFROY TORY 
 
 Small folio, in gothic type, without date of printing, but with a privi' 
 lege dated January 12, 1526 (1527 new style), issued by Jean de la Barre, 
 ♦garde de la prevote' of Paris. The battle took place in 1525. 
 
 Volcyr's work contains seven engravings, but only the last two, at the 
 beginning of the last two books, are signed. We may, however, I think, 
 attribute to Tory the one at the head of the first book also. A description 
 of these engravings follows: — 
 
 1 . Frontispiece representing Faith : a helmeted woman trampling upon 
 the dragon. 
 
 2. The author, seated, writing his book. 
 
 3. A large plate representing a warrior (the Duke of Calabria.?) amidst 
 his men, waving his sword. 
 
 4. A bishop praying. 
 
 5. The author offering his book to the prince. A fine plate on which are 
 several scattered letters, the meaning of which I am unable to conceive. 
 
 6. A large plate representing the attack on the town of Saverne. At the 
 top is the word ' Saberna.' 
 
 7. A large plate representing the vision of the Passion. Jesus at prayer, 
 a halo about his head ; facing him, angels presenting the Cross ; behind 
 him, other angels bearing the post to which he was bound; all about him, 
 the instruments of his torture. This plate is altogether in the manner of 
 those in the following work. 
 
 IV. The Labours of Hercules. 
 
 Twelve large plates, folio, owned by the Bibliotheque Nationale. Each 
 of them was formerly accompanied by a number and by a quatrain in 
 French explaining the subject ; unfortunately these have been removed 
 from most of the plates,' and it is impossible for me to-day to place them 
 with full assurance in the order in which they belong. However, that 
 given below seems to me most natural. The three which retain their num' 
 bers are marked by an asterisk. 
 
 1. The Nemean Lion. 
 
 2. The Lernean Hydra. 
 *3. Cerberus. 
 
 4. Antasus. 
 
 5. Archelaus. 
 
 I . This deplorable practice of removing the text from engravings, which was once rigour- 
 ously followed in the Cabinet des Estampes at the Bibliotheque Nationale, injured the collec- 
 tion materially. There are many pieces of which neither the origin nor the meaning is known, 
 because of the removal of the legends which formerly accompanied them. 
 
ICONOGRAPHY 183 
 
 6. Hippodamia. 
 
 7. Geryon. 
 
 8. The Pillars of Hercules. 
 *9. The Cretan Bull. 
 
 *io. The Erymanthian Boar. 
 
 11. Cacus. 
 
 12. Hercules at the Stake. 
 All of these engravings are signed : 
 We give here, as specimens, three of the quatrains accompanying the 
 
 engravings; they are the only ones preserved at the Bibliotheque Nation 
 nale. They may very weU be the w^ork of Gringoire,like the verses of the 
 * Blazon des Heretiques,' of the same date. 
 
 Number 3 
 
 II braue les enfFers (chose a luy tresaisee), 
 Et le chien Cerberus, aux trois chefz surmontant ; 
 II va les Infernaux main a main combattant, 
 Pour mettre en liberte son bon amy Thesee. 
 
 Number 9 
 
 Les furieux Thaureaux (choses esmerveillables) 
 De ses deux bras nerveux II maitrise aisement, 
 Et leur faict faire loug desoubs luy forcement 
 Encor qu'on estimat qu'ils fussent indomptables. 
 
 Number 10 
 
 Ung sanglier escumeux a la grand' dent pointue, 
 Qui hommes, vignes et bleds degatoient enrage, 
 Et par qui IVniuers estoit endommage, 
 Seul, par sa hardiesse, II acreuante et tue.' 
 
 I. Number 3 
 
 Hell he defies (to him no arduous task). 
 And the dog Cerberus, him with the three heads; 
 He seeks the infernal regions, fighting hand to hand. 
 To set at Hberty Theseus his good friend. 
 
 Number 9. 
 The raging bulls (most marvellous to see) 
 With his two sinewy hands he masters easily. 
 Compels them by main force to bend the knee. 
 Albeit they were deemed unconquerable. 
 
l84 GEOFROY TORY 
 
 The orthography of these verses proves that they were printed in the 
 seventeenth century ' ; but the very appearance of the verses, and the con^ 
 dition of the plates, which are already worm-eaten, are sufficient to justify 
 one in assigning to the latter a very much earlier date than to the former. 
 So that I can do no better than to refer them to the year 1525, when we 
 find Tory using the same monogram. 
 
 Tory seems to have attempted in these plates to imitate Mantegna, 
 whose work he may have studied in Italy ; but he had the good sense to 
 abandon this manner, which was not his own ; or perhaps we should say 
 that he did no more than follow designs which were supplied to him. 
 
 This is what M. Renouvier has to say on this subject : — 
 
 ' The plates signed with a G surmounted by the Lorraine cross are 
 of more importance. The Labours of Hercules, in twelve plates, are the 
 work of no commonplace artist. The drawing assumes a masterly, even a 
 rough, character, seeking effects in the play of muscles and of facial ex-* 
 pression in imitation of Mantegna and Albrecht Diirer ; the cutting fol' 
 lows up the effect of the burin. Bartsch mentioned them among the old 
 German masters, and the monogrammatists wavered between Jean Schoo' 
 rel, Georges Scharfenberg, Giuseppe Scolari, etc. ; their French origin was 
 not suspected until some proofs were found on which the engravings 
 were accompanied by French quatrains. Then, when the same mark was 
 found on a plate used as a frontispiece to Pierre Gringoire's " Blazon des 
 Heretiques" (1524), and on several vignettes in the Hours rendered into 
 verse, by the same poet, it was attempted to make a wood-'engraver of 
 Gringoire, who was a Lorrainer, herald^at^arms to Due Rene II, and likely 
 enough to display the cross of Lorraine over his initial. This much is cer^ 
 tain: that the mark consisting of a G with the cross of Lorraine is found 
 also on the plates of a Lorraine book — " Due Anthoine's Victory over the 
 Lutherans " — published by his secretary Volcyr, who paid the expenses 
 of the publication, "being unable to find any bookseller who was willing 
 to undertake it, as well because of the portraits and cuts of the illustra^ 
 tions as of the printing hereof," and caused it to be issued, not in Lor^ 
 raine, but in Paris, by Galliot Dupre, in 1526. It is to be noticed that this 
 
 Numier lo. 
 
 A boar with frothing lips and long sharp tusks, 
 Who, in his rage, despoiled men, fields and vineyards. 
 And by whom the whole world was ravaged. 
 He, by his courage, all alone, did slay. 
 
 I , On March 4, 1 858, at the Lassus sale, I saw a complete set of the Labours of Hercules, 
 without the verses. 
 
ICONOGRAPHY 185 
 
 bookseller's mark, which represents a galliot, also has a Lorraine cross sur^ 
 mounting his cipher. Now, the attribution of these plates to Geofroy 
 Tory is based upon some very ingenious comparisons of marks ; the style 
 of the engravings places no insurmountable obstacle in the way of such 
 attribution, but it must be admitted that the engraver was led very far 
 astray from his earlier works by his imitation of the German manner. It 
 is possible, because French engraving, at the beginning of the sixteenth 
 century, was pulled in four directions at once, so to speak, by national 
 habit, by Flemish taste, by German mania, and by Italian charm. M. Ber/ 
 nard would give the fullest sanction to this second attribution if he could 
 find any evidence of a journey of Tory's to Alsace or Lorraine of a later 
 date than his journey to Italy; the importation of woodcuts from those 
 provinces, then a common occurrence, would indeed suffice, so far as the 
 common herd of our engravers is concerned, to explain this alteration in 
 their manner. I will mention in a moment an example, also out of Lor/ 
 raine, which must certainly have been known to Tory. Whatever the fact 
 may be, the Labours of Hercules deserve an honourable place among the 
 first attempts on a large scale of French engraving, beside the plates of 
 Jean Duvet. The British Museum, like our Cabinet des Estampes, has ac 
 quired a set of them. Two of the plates in the latter set have the quatrains 
 which are lacking in the corresponding ones in the Paris set ; these are, the 
 fifth : "The sly Archelaus 'gainst Hercules doth contend " ; and the seventh : 
 " The mighty Geryon, despicable tyrant," etc' 
 
 1526 
 
 I. I have said that the floriated letters of Simon de Colines and Robert 
 Estienne were engraved by Geofroy Tory. I cannot furnish material proof 
 of the fact with regard to those of Colines ; but I am about to produce 
 incontestable evidence with regard to Estienne's. A letter in one of his 
 alphabets is signed with the Lorraine cross, and that letter is the G, the 
 initial of Tory's own name, or, as we say to-day, his first name {prenom). It 
 is as if he had written * Geofroy Tory ' in full. But in this case, in oppo^ 
 sition to what we find in the preceding engravings, the cross, instead of 
 being above the G, is below it, and hidden as much as possible in order 
 not to injure the design of the ' antique letter.' This circumstance proves 
 not only that Tory was the engraver of Robert Estienne's floriated let-- 
 ters, but also that the double cross was that artist's mark. 
 
 Is it not, in truth, a striking fact that Tory chose the letter G to place 
 his mark upon ? He was not withheld by the consideration that that letter. 
 
i86 GEOFROY TORY 
 
i88 GEOFROY TORY 
 
ICONOGRAPHY 189 
 
 not being in very common use, especially at the l-teginniiig of words, 
 appeared rather infrequently in' books." As always, logic prevailed with 
 him over every other consideration. Let us see how far it carried him. 
 
 Later, he engraved a Greek alphabet, in the same style, for Robert 
 Estienne ; as he could not put his mark on the gamfna, which bears no 
 resemblance to the G, he put it on no letter, but on one of the friezes 
 executed to accompany those beautiful floriated letters.' See the frieze 
 in question at the beginning of the second volume of the Works of 
 Eusebius, three volumes, folio, 1544.^ 
 
 II. Besides these two alphabets of capital letters, Tory engraved for 
 Robert Estienne about the same time, six different marks for his typo^ 
 graphical sign, the 'Olive^Tree,' of which a description will be found 
 later on, in section 3. 
 
 III. Tory also engraved, about the same time, for Simon de Colines, 
 a border in the crible style, at the foot of which is a sun which certain 
 centaurs, incited thereto by women, are trying to seize. (Silvestre, no. 
 523). This border is probably of 1526, when Colines turned over to 
 Robert Estienne his father's establishment and set up for himself at the 
 'Soleil d'Or,' opposite the College de Beauvais. It appears, to my know-- 
 ledge, in two octavo volumes of 1529: 'Compendium Grammaticae 
 grac£ Jacobi Ceporini,' and ' Liber de opificio Dei.' 
 
 1526— 1528 
 
 This whole period was, in all probability, absorbed by the labour of en'' 
 graving and editing 'Champ fleury.' For one of the first engravings in 
 that bookisdated 1526, and itwas finished early in 1529. Although the 
 majority of these engravings are not signed, they must all belong to Tory, 
 at all events so far as the designs are concerned.'* I cannot attempt to enu-' 
 
 1 . The earliest book in which I have seen it, excluding the Thesaurus latino! linguae of i 5 3 6, 
 and the Dictionarium Latino-Gallicum of 1538, which was a sequel to the first, and in which 
 it was necessarily used (I saw these two books at M. Didot's), is a quarto pamphlet, pub- 
 lished in I 537, on the occasion of the discussions between Francois I and Charles V, entitled: 
 Exernplaria litterarum, etc. 
 
 2. Later, Estienne had other floriated letters engraved at Tory's establishment, carried on by 
 his widow. But the G was not then chosen to receive the artist's mark. See infra, under i 5 5 i . 
 
 3. [These letters and friezes appear in the Works ofjustin Martyr printed by Estienne in 1 541 , 
 from which they are reproduced for this volume — some of the letters on pp. i go and 191, and 
 the friezes at the beginning of the Printers' Preface, and of the three sections of the Icono- 
 graphy.] 
 
 4. Papillon, who saw Woeiriot everywhere, says on page 509 of the additions to his firbt 
 
GEOFROY TORY 
 
ICONOGRAPHY 
 
192 GEOFROY TORY 
 
 merate them all here, for there are more than five hundred, counting as 
 one each of the letters in the various alphabets ; but I propose to mention 
 the more important ones. For historical information concerning the book, 
 I refer the reader back to what I have said thereon in the first and second 
 parts of this volume. 
 
 The title^'page is enclosed in a very pleasing border,' and it has more' 
 over an engraving of the Pot Casse reversed.^ On the verso are the arms 
 of France. 3 
 
 Folio I of text : the letter L, which I have already reproduced.'^ 
 
 Folio 3 verso : the Gallic Hercules. This engraving, dated 1526, and signed 
 with the Lorraine cross, represents Hercules holding his club in one hand 
 and a bow in the other. He is followed by divers persons of all conditions, 
 fastened by the ear to a chain that issues from the hero's mouth. This is 
 an allusion to the power of eloquence over the French. The strength of 
 the Gallic Hercules lies not in his arms but in his mouth.5 
 
 Folio 9 verso: cut of the lisjiambe, a species of lily ; it is the swamp iris, 
 called to-day the iris jiambe. 
 
 Here the first book ends. 
 
 The second contains thirtyseven geometrical figures, which it would 
 be no less difficult than unprofitable to describe. They are, for the most 
 part, representations of different letters. At the end of this bookisthe «Tri' 
 umph of Apollo and the Muses,' ' to show that they who have knowledge 
 of goodly letters have the advantage over the ignorant.' This engraving, 
 which is in two parts,^ both signed with the Lorraine cross (folios 29 verso 
 and 30 recto), represents Apollo in a chariot, escorted by the Muses, Lib/ 
 eral Arts, etc., and followed by Bacchus, Ceres and Venus as prisoners.^ 
 
 On the very last page (folio 30 recto) is an engraving of the lisjimnbe 
 surmounted by an A made up of three I's.^ 
 
 The third book has, in the first place, twenty'-eight engravings of Ro^ 
 
 volume : ' Champ jieury is filled with woodcuts by Woeiriot, — among others several capital 
 letters with nude human figures for their limbs, and several vignettes about three inches by two 
 and a half, simply in outline, with the cross of Lorraine in every corner. ' As a matter of fact 
 there are very few Lorraine crosses on the engravings of Champ Jieury. 
 
 1. [Reproduced on the title-page of the present volume.] 
 
 2. [See supra, p. 45, no. 4.] 
 
 3. [See supra, p. 100.] 
 
 4. See supra, p. i . Neither this engraving nor those last mentioned are found in the octavo 
 edition of Champ Jieury. 
 
 5. See the reproduction of this cut on p. 141, supra. 
 
 6. In the octavo edition it was found to be impossible to have the two parts face each other, 
 60 that Apollo's chariot is cut in two. 
 
 7. [Reproduced on pp. 50 and 51 supra.] 8. [Reproduced on p. 48, supra.] 
 
ICONOGRAPHY 193 
 
 man letters. The twenty-Tiinth represents a gothic S (folio 42 verso). The 
 thirtieth is a representation of the Pot Casse, signed with the Lorraine cross 
 (folio 43 verso).' 
 
 Next come thirty^eight other cuts of letters, and two curious drawings 
 of the letterY(folio 63 recto andverso).^ Then two ordinary copies of the 
 letter Z, and an allegory based on the shape of that letter (folio 6^) J 
 
 On folio 65 verso 
 is a representation 
 of various punctual 
 tion marks. 
 
 Folios 68 verso and 
 69 recto : a Hebrew 
 alphabet of forty let^ 
 ters or symbols. 
 
 Folio 71 recto: the 
 Greek alphabet of 
 twentyfour letters 
 and three accents."* 
 
 Folio 72 recto : the 
 Latin alphabet ^ of 
 twenty^three letters, 
 with three punctual 
 tion marks, and the 
 Greek abbreviation 
 of the name of Jesus. 
 
 Folio 74 recto : the 
 alphabet of cadeaulx 
 letters, consisting of 
 twenty'-three letters 
 and one mark. 
 
 Folio 74 verso: the alphabet of letters de forme, consisting of twenty/ 
 nine letters or symbols, with two lines of text added. 
 
 Folio 75 recto: the alphabet of bastardes letters, consisting of twenty-' 
 eight letters or symbols, followed by two lines of text. 
 
 Folio 75 verso: the alphabet of tourneures letters, consisting of twenty/ 
 three letters. 
 
 I. This cut does not appear in the octavo edition. It is reproduced on p. 21, supra [where 
 it is said to be on 43 recto] . 2. [One of these is reproduced on this page.] 
 
 3. [Reproduced on p. 152, supra.] 4. [Reproduced on the following page.] 
 5. These letters do not appear in the octavo edition. [Reproduced on p. 195, infra.] 
 
ABFAEZ 
 
 HGIKA 
 
 MNHOn 
 
 PETTO 
 XTQ : 
 
ABCDEF 
 
 GHIKLM 
 NOPQR 
 
 STVXY 
 
196 GEOFROY TORY 
 
 Folio 76 recto: the alphabet of Persian, Arabic, African, Turkish and 
 Tartar letters, thirty in all. 
 
 Folio 76 verso: the alphabet of Chaldasan letters, consisting of twenty/ 
 three. 
 
 Folio 77 recto : the alphabet digoffes letters, otherwise called imperiales 
 and bullatiques, twenty-'three in number. 
 
 Folio 77 verso: the alphabet oi fantastic letters, to the number of 
 twenty/three. 
 
 Folio 78 recto: the alphabet oiutopiques and voluntaires letters, to the 
 number of twentythree. 
 
 Folio 78 verso : an alphabet of floriated letters used in the course of the 
 book, twenty-'three in number.' 
 
 Folio 79 recto : a series of ciphers or intertwined letters, to the number 
 of ten. 
 
 Folio 80 recto, and last : a border of graceful design,* in which occur 
 Tory's mottoes : ' Menti bonae Deus occurrit ' ; 'Sic ut, vel ut ' ; ' Omnis 
 tandem marcescit flos.' And in the centre is the Pot Casse, unsigned, al^ 
 though it seems to be the same cut that appears on folio 43 verso, with the 
 cross removed. 
 
 1527 
 
 I. Notables enseignemens, adages et proverbes, faictz et com/ 
 POSES par Pierre Gringoire, dit Vauldemont. 
 
 Octavo, in gothic type, of 68 leaves ; for sale by Galliot du Pre ; printed 
 by Simon du Boys, February i, 1527 (1528 new style). 
 
 On the verso of the second leaf is a wood^engraving with the Lorraine 
 cross at the right. It represents Gringoire offering his book to the king, 
 who is seated. In the background, a garden with a bee/hiveand bees flying 
 about it. (Bibliotheque Nationale.) 
 
 II. LeS HYMNES communes DE l'ANNEE : TRANSLATEZ DE latin en FRAN/ 
 
 cois EN RiTHME, PAR NicoLAS Mauroy le jeune, de Troyes, avec 
 privilege du roy pour trois ans. (Mark of Jean Lecoq.) On les vend a 
 Troyes es hostels de Nicolas Mauroy, etc. 
 
 The privilege is of 1 527. Small folio, in gothic type, printed in red and 
 black ; signatures A to T. 
 
 1 . This alphabet, which Tory used in several of the books printed by him, as I have already 
 stated, was replaced by a different one in the octavo edition of Champ Jleury. 
 
 2. Not in the octavo edition. [Reproduced on p. 49, supra.] 
 
ICONOGRAPHY 197 
 
 This volume, which I saw in 1858, at M. Techener's, contains a large 
 number of engravings in the crible style, and others in the modern style; 
 but only three of them are signed; these are: — 
 
 1. A Last Supper, crible. 
 
 2. A Last Supper, ' a la moderne.* 
 
 3. The Virgin, seated, holding the Child Jesus (folio 89 verso). 
 This book may give us the date of the other signed engravings found 
 
 at Troyes, which were published by M. Varlot in his ' Illustration de 
 rimprimerie troyenne' (Troyes, 1850, folio). 
 
 III. Hours of the Virgin, in Latin, published by Tory, but printed by 
 Simon de Colines ; octavo.' 
 
 IV. Hours of the Virgin, in Latin, published by Tory, but printed by 
 Simon Dubois ; quarto.^ 
 
 1528 
 
 I. Aristophanes. 
 
 In 1 528 Pierre Vidoue printed, at the expense of GOles de Gourmont, 
 nine comedies of Aristophanes, in Greek, which were published separately, 
 in quarto form, under the editorship of JeanCheradam.^ All of these have 
 a frontispiece engraved by Tory, of which a description follows. At the 
 foot, under the words 'Egidivs Gormontivs ' in large letters, is a shield 
 with the Gourmont arms (three roses in chief and a crescent in point), 
 supported by two winged stags with ducal coronets about their necks, the 
 crest being a helmet above which is a St.Michael holding a naked sword.'* 
 At the left, a Greek inscription ; at the right, an inscription in Hebrew. 
 The two uprights represent the wise men offering their gifts to the Child 
 Jesus lying on his mother's knees. At the topis a shield with three crowns 
 in chief (this was the sign of Gilles de Gourmont, as may be seen on the 
 title-page of 'Champ fleury '), and tears in the field. This shield has for 
 supporters, on the right a Hon, on the left a griffin, and for crest a helmet 
 surmounted by a fan^shaped ornament. On either side is an angel with 
 wings holding a shield ; that on the left enclosing an E, that on the right 
 
 1. [See supra, pp. I 20-1 22] . 
 
 2. "See supra, pp. I 22-1 24] . 
 
 3 . Lutetice, sumptibus ^gidii Gormoniii, studio Joannis Cheradami, labor e et industria 
 Petri Vidovcei. 
 
 4. This engraving was used later as a model for a magnificent plate placed at the beginning 
 of the Tableaux des arts liber aux de Chris tophe de Savigny, published in 1587, in folio, by 
 Jean and Francois de Gourmont, sons of Gilles. See my Les Estienne, p. 63, note. 
 
ICONOGRAPHY 199 
 
 a G, the initials of Gilles de Gourmont's name in Latin (Egidius Gour/ 
 montius). The Lorraine cross is at the foot of the border, on the left.' 
 
 II. Enchiridion preclare ecclesie Sarum, devotissimis precationp 
 
 BUS AC VENUSTISSIMIS IMAGINIBUS, ET IISQUIDEMNON FAUCIS REFERS 
 
 TUM. (Here the mark of Thielman Kerver — two unicorns holding a 
 shield au Gril, with the T. K., and, beneath, the full name, Thielman 
 Kerver.) Parisiis ex officina librarie vidue spectabilis viri Thielmanni. 
 Small octavo, Paris, 1528, with engravings signed with the Lorraine 
 cross.^ Printed in red and black, in gothic type. There are 31 signatures of 
 8 leaves, — a to z, and A to G (signatures x and_y have only four leaves 
 each). In all there are 232 numbered leaves, plus 4 leaves of index not 
 numbered. 
 
 The volume begins with the title-page, followed by a calendar, the 
 whole occupying 13 leaves, after which comes the text. It contains 54 en/ 
 graved plates, 12 of which are in the calendar, and a large number of 
 initial letters representing sacred subjects. Beneath each plate is a quatrain 
 in English. 
 
 The 12 plates in the calendar represent allegorical subjects. They are 
 enclosed in oval borders, and are 71 millimetres by 55. Consequently they 
 are all out of proportion to the size of the book, which is 84 millimetres 
 by 48. It is evident therefore that they were not made for it. At the foot 
 of each, in the border, is the name of the month. The engraving for the 
 month of February represents a school ; that for March, a hunt ; that for 
 April, a gentleman and lady, walking in the country, arm in arm ; that for 
 July, a domestic interior. The last is the only one of these engravings 
 that I have seen, and that only in a copy. The Lorraine cross may be 
 seen at the foot. 
 
 Here follows a list of the other engravings of this priceless volume, of 
 which only a single copy is known to exist. It is to be observed that the 
 pages on which they appear are not numbered, as the cuts occupy the whole 
 space. 
 
 1. For the family ofGourmont, see my Les Estienne, pp. 62 and 63, notes. 
 
 2. Not all of the engravings are signed; but, as I have not been able to inspect the volume, 
 which was apart of the Boorluut library of Noortdonck, sold at Ghent in April, 1858, I am 
 obliged to resort to the words of the compiler of the catalogue of that sale, my confrere M. 
 Vander-Meersch, who has kindly furnished me since with some more detailed information 
 (albeit less complete than I could have wished), after the volume was sent to England. M. 
 Boorluut had paid i franc 50 centimes for the volume, which was sold to a London bookseller, 
 Mr. Toovey, on April 1 9, 1 858, for 270 francs. I wrote to him asking for details concerning it; 
 but, in accordance with the not over-courteous English custom, he did not choose to tell me for 
 whom he had purchased the book, so that I have been unable to obtain more ample information. 
 
200 
 
 GEOFROY TORY 
 
 1. The Trinity. 
 
 2. The Annunciation. 
 
 3. The Visitation. 
 
 4. Jesus arrested by the Jews. 
 
 5. Nativity of Jesus. 
 
 6. Jesus before Pilate. 
 
 7. The Annunciation to the Shep/ 
 herds. 
 
 8. The Crowning with Thorns. 
 
 9. The Adoration of the Magi. 
 
 10. The Bearing of the Cross. 
 
 11. The Circumcision. 
 
 12. Jesus on the Cross. 
 
 13. The Fhght into Egypt. 
 
 14. The Descent from the Cross. 
 
 15. The Coronation of the Virgin. 
 
 16. The Placing in the Tomb. 
 
 1 7. David and Bathsheba. 
 
 18. David and Joab. 
 
 19 to 23. The Story of David. 
 
 24. Dance of the Dead. 
 
 25. Three Men on Horseback 
 in a Forest. 
 
 26. Adam and Eve expelled from 
 Paradise. 
 
 27. Adam and Eve condemned to 
 labour. 
 
 28. The Creation of Man. 
 
 29. Six Men praying before a Bier. 
 
 30. Birth and Death. 
 
 31. Purgatory. 
 
 32. Extreme Unction. 
 33- Job. 
 
 34. AWoman,seated,surroundedby 
 the Virgin, the Evil One, and a 
 Man bearing the World. 
 
 35. The Trinity (same as no. i). 
 
 36. Jesus in Limbo. 
 
 37. The Resurrection. 
 
 38. Jesus appearing to His Mother. 
 
 39. Jesus appearing to Mary Mag-' 
 dalen. 
 
 40. Jesus at Emmaus. 
 
 41. The Incredulity of St. Thomas. 
 
 42. The Ascent of the Virgin.' 
 
 1529 
 
 I. Encomium trium Mariarum, etc., Joannis Bertaudi. 
 Quarto, Paris, Josse Bade, 1529. 
 
 The Bibliotheque Mazarine has two copies of this priceless volume, 
 one on paper, the other on vellum, which differ slightly in respect to the 
 title-page. The one on vellum reads : ' Encomium Joannis Bertaudi Petra^- 
 gorici Turrisalba in ducatu Engolismensi alumni, de cultu trium Ma^ 
 riarum adversus Lutheranos, cum missa solemniore et officio canonico 
 earundem, auspiciis augustissims principis Joannse, Aurelianensis, Gyve-' 
 riensium dominae ac comitis de Barcq.' This is followed by a large plate 
 signed with the Lorraine cross, and representing the three Maries, etc. 
 There is no publisher's name; nothing but Josse Bade's mark at the end of 
 the book. 
 
 I . I am not informed whether these cuts appear in Hore Marie Virginis ad usum Sarum, 
 I 532, or in The Prymer of Salisbury, i 534, both of which were printed at the same establish- 
 ment. 
 
ICONOGRAPHY 
 
 201 
 
 The title-page of the copy on paper reads : ' Encomium trium Maria/ 
 rum cum earumdem cultus defensione adversus Lutheranos, solemnique 
 missa et officio canonico, in quibus omnibus desideres nihil, emissum opera 
 et industria Joannis Bertaudi Petragorici, utriusque juris licentiati, T\iu 
 risque Alba in ducatu Engolismensi alumni, auspiciis augustissimae prin^ 
 cipis Joannae Aurelianensis, Gyveriensium dominas ac comitis de Barcq.' 
 Then follows Josse Bade's mark : ' Prelum Ascensianum,' taking the place 
 of the engraving of the three Maries. And below, ' Venundatur Jodoco 
 Badio et Galeoto a Pratis.' 
 
 This difference is explained by the fact that the copies on vellum were 
 not intended for sale, so that no bookseller's name was placed on them, 
 and, furthermore, they were embellished with the cut of the three Maries. 
 
 This volume contains three short productions by Jean Bertaud, all di/ 
 rected to the same end — the defence of the worship of the three Maries. 
 
 They are entitled : 
 
 (i) Encomium trium Mariarum. (2) Officium trium filiarum beatae 
 Annas. (3) De cognatione sacerrimi Joannis Baptistae. 
 
 There are some twenty engravings, but none of them are signed ex'- 
 cept that of the three Maries. And, as Josse Bade was an old printer, who 
 had no known relations with Tory, we may assume that these engravings 
 are not by our artist. At most, we may attribute to him the shield of Op 
 leans, at page 4 of the first work. 
 
 II. Hours of the Virgin (sixteenmo), in Latin, published by Tory, for 
 himself.' 
 
 III. La Table de l'ancien philosophe Cebes. 
 
 Two small volumes, octavo, with a border for each page. The double 
 cross appears on some, not all, of these borders.' 
 
 IV. ^DiLOQuiUM . . . Item : Epitaphia septem de amorum aliquot pas/ 
 sioNiBus, etc. 
 
 Octavo, Simon de Colines, 1 530. 
 
 This little book is enriched by eight engravings : a frontispiece bop 
 rowed from the octavo Hours of 1527, and seven small subjects corre/ 
 sponding to the seven epitaphs. The latter are certainly Tory's, although 
 not signed. They are: — 
 
 1. [See p. 1 25, supra] . 
 
 2. See what I have heretofore said of this book, pp. 85-87 supra. 
 
202 
 
 GEOFROY TORY 
 
 1. Two hearts pierced by an arrow. 
 
 2. Two hearts in a circle. 
 
 3. Two hearts bound together by cords. 
 
 4. Two hearts in a boat. 
 
 5. A pig sniffing at two hearts. 
 
 6. Two hearts, a distaff, etc. 
 
 7. Two hearts being kicked by a horse. 
 
 See, for other details, what I have said of this book on pages 92 and 93. 
 
 1530-1531 
 
 Queen Eleonore's Coronation and Entree, and the Epitaphs of 
 the Queen^Mother, Louise de Savoie : — three quarto brochures, of which 
 I have spoken on pages 1 30 to 1 34 ; a description of the engravings follows. 
 
 I. The Consecration and Coronation of the Queen ; three sheets, 
 quarto. 
 
 On the first page, a border, with the word ' Salus ' at the foot ; the privi/ 
 lege is on the verso. The text begins on the second leaf, with the letter L 
 reproduced on page i . On the last page is another border, with the word 
 'Salus,' and the date of printing, March 16, 1530, old style. 
 
 II. Entree of the Queen; six sheets, quarto. 
 
 On the first page the same border as on the first page of the Hours of 
 15 24-25 ; the privilege is on the verso. On page A ij recto, another border 
 and an ornamental letter R, afi:er the style of the L in the work last de^ 
 scribed. A iiij recto, another border. B iij recto, a border, with the motto 
 *non plus' at the top. B viij verso, another border, with the word 'Salus' 
 at the foot ; this is identical with that of the last page of the ' Coronation.' 
 E viij recto, another border. F i verso, a lovely drawing of a ' present made 
 to the queen, of two candlesticks.' On the last page the border of the last 
 page of ' Champ fleury,' and the date of the printing, Tuesday, May 9> 1 5 3 1 . 
 
 III. Epitaphs of Louise de Savoie ; two sheets and a half. 
 
 First page, the border of the frontispiece of the Hours of 1 5 24-25, with 
 the Pot Casse of the first page of 'Champ fleury.' Last page, the border 
 of the last page of ' Champ fleury * and the Pot Casse of the first page ; also 
 the date of printing, October 17, 153 1. In all three we find the decorated 
 letters of ' Champ fleury.' 
 
 These three brochures, bound together in a small volume, are in the 
 
ICONOGRAPHY 203 
 
 Bibliotheque de I'Arsenal. The borders used in them reappear later as 
 frames for the engravings of a book of Hours, quarto, printed in roman 
 type, in red and black, of which I know neither date nor place of pri nting 
 nor name ofprinter , as I have seen nothingexcept afe w leaves ofthe book, 
 preserved at the Bibliotheque Nationale, with the works of Tory. 
 
 1531 
 
 I. Book of Hours, quarto, printed by Tory for himself' 
 
 II. Book of Hours, octavo, with arabesques of flowers, insects, ani-' 
 mals, etc., as in the quarto Hours of 1527.^ 
 
 III. Terentianus Maurus, DE UTERIS, etc. NicoLAO Briss^o . . . 
 
 COMMENTATORE. 
 
 Quarto, Simon de Colines, 1 53 1 . 
 
 This book is dedicated to Guillaume Petit, Bishop of Senlis, whose 
 arms, with the Lorraine cross, appear on the verso of leaf 8 of the front 
 matter. The motto is : 'Utinam novissima providerent.' 
 
 IV. ClAUDII GaLENI PeRGAMENI de ANATOMICIS ADMINISTRATION!/ 
 BUS LIBRI NOVEM, JoANNE GuNTERIO AnDERNACO, medico, IN'' 
 
 TERPRETE. — Parisiis, apud Simonem Colinaeum, 1531. 
 
 Large folio, with an engraved frontispiece having the Lorraine cross 
 at the foot, on the left. 
 
 The frontispiece represents several different subjects. At the top is 
 Jesus healing the leper ; at the foot, doctors dissecting a dead body and 
 lecturing to a numerous audience ; at the sides, fiilMength portraits of 
 the most celebrated physicians of antiquity ; in the centre of the plate is 
 a scroll bearing the Latin title transcribed above. This frontispiece was, 
 doubtless, used with others of the works of Galen. 
 
 Simon de Colines also published, in 1 536, an edition of the works of 
 Galen, under the supervision of the same editor (folio of 1 72 pages), and 
 embellished with five beautiful floriated letters engraved by Tory. In it 
 we find also, at the head ofthe epistle to the reader, an ornamental S sur-* 
 mounted by a coat of arms, — a charming design, but not signed. 
 
 1. [See pp. I 26— 1 28, supra] . 
 
 2. See what I have had to say of this book, pp. i 28-1 29, supra; also, p. 218, infra, under 
 the Hours of i 541, where we find these same borders, called' a la moderne,' together with the 
 plates of the Hours of 1529, described on p. 125, supra; which leads me to think that these 
 same plates appeared in the octavo edition now under consideration. See also no. 1 of the year 
 1536 (p. 208, infra), which is a sort of link between the editions of i 53 i and i 541 . 
 
204 
 
 GEOFROY TORY 
 
 1532 
 
 Latin Bible of 1532; folio; Robert Estienne. 
 
 The title-page is decorated with a frieze signed with the Lorraine cross, 
 bearing the word 'Biblia' in large letters. It is a scroll surrounded by vines, 
 with the brazen serpent at the left, and Jesus on the Cross at the right. 
 
 1533 
 
 The Bon Mesnager of Pierre des Crescens, printed by Nicolas Cous^ 
 teau for Galliot Dupre. Folio, 1533. The frontispiece, representing Dupre 
 presenting the book to Francois I, is signed with the Lorraine cross. 
 
 Inasmuch as Tory died in 1533, it will, perhaps, seem that I ought to 
 stop here in this enumeration. But as many engravings executed by his 
 own hand were not printed until later, and, moreover, as those signed with 
 the Lorraine cross alone came from his establishment, which was man^ 
 aged by his wife after his death, I have thought best to pursue my invest 
 tigations concerning the engravings with the Lorraine cross to the end. 
 
 1534 
 
 I. Sermones Iudoci Clichtovei Neoportuen. doctoris theologi et 
 Carnoten. Canonici. 
 
 Folio, Paris, Thielman Kerver's widow, 1534. The privilege is dated 
 1534. (Bibliotheque S.-'Genevieve, and Bibliotheque Mazarine.) 
 
 The Latin title which I have transcribed is engraved in great gothic 
 letters, arranged in the shape of a cuPde^ampe, and terminated by a small 
 black heart-shaped ornament (not unlike those used by Simon de Colines), 
 in which is the Lorraine cross. This circumstance leads me to believe that 
 Tory engraved this title-page in gothic letters ; a most interesting fact if 
 true, for they are probably the only letters in that style that he ever en^- 
 graved, after those on folios 42 verso, 74, etc. of ' Champ fleury ' ; and it is 
 all the more strange because the rest of the book is printed in roman type. 
 It may be that there was another edition in gothic type. 
 
 However, this volume contains many other engravings signed with the 
 Lorraine cross , and others which, although unsigned, seem to be Tory's. 
 
 Folio I, following the title, a large T, adorned with fleurs^de^is, on a 
 background strewn with the same flowers. 
 
 Folio 5 verso, a large ornamental P, representing the Eternal Father. 
 
 Folio 1 9, the Virgin in a halo of fire, with the Child Jesus (signed). 
 
ICONOGRAPHY 205 
 
 Folio 21, Jesus among the Apostles, holding a saw (signed). 
 
 Folio 43, Moses receiving the Tables (signed). 
 
 Folio 63 verso, the Ark in the form of a church (signed). 
 
 Folio 77, the Annunciation, in an oval border (octavo). 
 
 Folio 88, Birth of Jesus (small octavo). 
 
 Folio 135, the Resurrection (signed). 
 
 Folio 148, the Ascension (signed). 
 
 Folio 154 verso, the Virgin among the Apostles (small octavo). 
 Folio 157 verso, the Trinity (signed). 
 Folio 161, Easter (signed). 
 
 Folio 221, Birth of the Virgin. She is in her mother's womb, holding 
 the Child Jesus (octavo). 
 
 Folio 325, Jesus tempted by the Devil (octavo). 
 
 The octavo engravings appear in several other books printed by the 
 Kervers. 
 
 II. Pauli Belmisseri Pontremulani, artium et medicine doctq/ 
 
 RIS, EQUITIS, ET POET^ LAUREATI, OPERA POETICA. 
 
 Quarto, of 108 numbered, plus 4 preliminary unnumbered leaves. 
 
 Printed in 1 534, but with no name of printer or bookseller. On the first 
 page is a quarto plate, representing the author crowned with laurel, stands 
 ing between FrangoisI and Clement VII. Beneath these three personages 
 are their respective arms, and above their heads their names : Franciscus, 
 Paulus, Clemens. The Lorraine cross is at the foot, on the left. The same 
 plate appears on the last page. 
 
 1535 
 
 LeS troys PREMIERS LIVRES DE l'hISTOIRE DE DiODORE SiCILIEN, 
 TRANSLATEZ DE LATIN EN FRAN9OYS, PAR AnT. MaCAULT. . . . On leS 
 
 vent a Paris, en la rue de la Juifverie, devant la Magdaleine, a I'enseigne 
 du Pot Casse ' 
 
 Quarto, 1535. This book is embellished with a magnificent frontispiece 
 representing Macault presenting his book to Francois I. Although un-' 
 signed, it is certainly Tory's. 
 
 ' His chef'd'ceuvre,' says M. Renouvier,^ ' is, perhaps, the frontispiece 
 of Macault's " Diodorus," in which we see Francois I seated in a chair with 
 a back carved with fleurs-de-lis, at table with his children, his monkey, his 
 greyhound, and his courtiers, while Macault reads his book to him. This 
 
 I. [Seep. 136, supra.] 2. Revue Universelle des Arts, Sept. 1857 (vol. v, no. 3, p. 517)- 
 
ICONOGRAPHY 
 
 207 
 
 engraving, the authorship of which is unquestionable, does not bear the 
 Lorraine cross ; the master published without that mark many another 
 work which M. Bernard, in his scrupulous exactitude, has chosen not to 
 mention. As some compensation for the works which I have denied to 
 Tory, I may be allowed the pleasure of mentioning here one which M. 
 Bernard has not attributed to him: " Les Fables d'Esopes mises en rithme 
 franf ois," by Gilles Corrozet (Paris, Denys Janot, 1542). As the copy that 
 I saw is not complete, it may be that the Lorraine cross might have been 
 found somewhere in the book ; but, in any event, that would not change 
 the conviction based upon examination of the plates. The small engrave 
 ings, with the first four lines of the fables, are set in borders decorated with 
 pilasters and pediments in the master's style, and illustrated at the base 
 with tiny drawings of amorous subjects, treated with his somewhat heavy/ 
 handed delicacy. 
 
 'There came from Tory's establishment, in the later years, many en^ 
 gravings of blended types which can be attributed to none but pupils, 
 or even apprentices ; analysis will always be impossible ; when we have 
 cast a light upon the head of a school, we must leave the tail to languish 
 in the shadow. I will mention here, however, one pupil of Geofroy Tory, 
 whom M. Bernard does not mention, namely, Francois Gryphe, brother 
 of Sebastien Gryphe of Lyon. He engraved and printed, in 1539, a New 
 Testament which, as very rarely happens, mentions the engraver of the 
 plates on the title-page as well as in the privileges from the King and the 
 Parliament which stand at the beginning and end of the book respectively. 
 "Novum testamentum illustratum insignium rerum simulacris, cum ad 
 veritatem historic, tum ad venustatem, singulari artificio expressis." (Here 
 the mark of the griffin.) "Excudebat Fran. Gryphius, an. mdxxxix." And 
 in the privilege: "Francoys Gryphius, bookseller, printer and tradesman, 
 commorant in Paris . . . prayed that he be permitted to cause to be printed 
 and sold the New Testament, illustrated by him." 
 
 ' The volume is a small octavo ; the Lorraine cross does not appear, but 
 there is a letter L engraved by Tory, and a series of small plates executed 
 with a delicacy instinct with firmness, in accordance with types, attitudes 
 and rules which can belong to no other school than his.' ' 
 
 I . I saw this volume at M . Potier' s book-shop ini865;itisai6mo, illustrated with a large 
 number of fascinating engravings which would assuredly do much honour to Tory. I freely admit 
 that Francois Gryphe was a pupil of our artist, but that is all. I do not understand why M. Ren- 
 ouvier attributes to Tory a small plate of no interest, when the privileges expressly attribute all the 
 engravings to Gryphe. 
 
208 
 
 GEOFROY TORY 
 
 1536 
 
 I. HOR^ IN LAUDEM BEATISSIME VIRGINIS MaRL^I AD USUM ROTHOMA/ 
 
 GENSEM. PaRISIIS, AD INSIGNE VaSIS EfFRACTI, 1536. 
 
 Small octavo, roman type, line engravings.' 
 
 II. Lazarii Bayfii annotationes, etc. 
 Quarto, Robert Estienne, 1536. 
 
 Charles Estienne, brother of the printer, who seems to have been the 
 editor of this book, informs us, in a brief preface, that the drawings scat" 
 tered through it were taken by him from ancient monuments, and espe/ 
 daily from marbles still extant at Rome. Several of the plates bear the 
 Lorraine cross, Robert Estienne's mark, on the title-page ; also the engrav/ 
 ing on page 19 of 'De re navali' (repeated on page 168), and those on 
 pages 4, 44 and 64 of * De re vestiaria '. All the other engravings, although 
 not signed, probably came from Tory's workshop. This book was re/ 
 printed by Robert Estienne, in 1549, in the same form. Here is a sum" 
 marized list of the engravings contained in it : In the first part, ' De re 
 navali,' are some twenty representations of antique vessels, biremes, tri" 
 remes, etc., of which one is signed ; in the second part, ' De re vestiaria,' 
 three are signed : (i) a woman ; (2) a man ; (3) a soldier ; in the third part, 
 * De vasculis,' are eight or ten representations of vases, etc., not signed. 
 
 All these engravings were reproduced on copper in a reprint of Baif 's 
 work, published in Graevius's great collection called the < Treasure of An" 
 tiquities,"" and, strangely enough, the artist has left the Lorraine cross on 
 thefirst.3 This mark appears again in column 11 00 of the same volume, in 
 an analogous work by another author. The same engraving was reen" 
 graved on copper, with the cross, for the edition of Grsvius's ' Thesaurus,' 
 published at Venice in 1 73 2, after the edition of Utrecht. This later edi" 
 tion was like the earlier one, and the engraving in question appears in 
 the same volume and same column. So that we have an engraving on 
 copper, with the Lorraine cross, executed in the eighteenth century ! 
 
 1. Brunet, Manuel duLibraire, 5th edition, vol. v, col. 1660, no. 328. The line engravings 
 are doubtless those of the 1 6mo Hours of 1529 (seep. 125 supra). As for the borders, which 
 M. Brunet does not mention, I imagine that they are the same thatlspokeof on p. 128. Butsee 
 no. Ill, under the year 1 541 (infra, p. 218). 
 
 2. Thesaurus antiquitatum romanarum, etc., a J. C. Graevio; folio, Utrecht, 1697. M. 
 Olivier Barbier, sub-manager of the Bibliotheque Nationale, owns the copy of the original edi- 
 tion which was used for this reprint. It contains not only the additions that were made, but also 
 directions, in Dutch, concerning the size of the copper-plates, etc. 
 
 3. See vol. vi, col. 562. 
 
I. HOR^ IN LAUDEM BEATISSIM^ ViRGINIS 
 
 Mari^, ad usum Romanum. — Parisiis, 
 apud Simonem Colinsum, 1543. 
 Large quarto of 44 sheets, in 22 signatures 
 of 2 sheets, encartees, A to Y. On the verso 
 of the utle/page is a table of Easter^Days 
 from 1543 to 1566; then comes the calendar, 
 which fills the next six sheets. There are in 
 the text fourteen large engravings, with a \ 
 special border : — 
 
 1. St. John writing his Gospel (which be^ 
 gins on the following leaf ). He is gazing at 
 the Virgin, who appears to him in the sky, 
 holding the Child Jesus. 
 
 2. Jesus betrayed by Judas. 
 
 3. The Salutation, with this device in 
 French : ' Fait ce que tu vouras avoir fait 
 quant tu moras.' ['Do what thou wouldst 
 have done when thou diest.'] 
 
 4. The Visitation (signed). 
 
5. The Birth of Jesus. 
 
 6. The Annunciation to the Shepherds 
 (with the date 1537). 
 
 7. The Adoration of the Magi (signed). 
 
 8. The Circumcision (signed). 
 
 9. The Flight into Egypt. 
 
 10. The Death of Mary (signed). 
 
 1 1. Jesus on the Cross (signed). 
 
 12. The Descent of the Holy Ghost upon 
 the Apostles (signed). 
 
 13. The Penance of David (signed). 
 
 14. Jesus restoring Lazarus to life. 
 
 All the pages are enclosed in borders, but 
 the latter are of two sorts : — 
 
 I. Eight complete borders, that is to say, 
 thirty two compartments, in simple line/ 
 engraving as in the Hours of 15 24-1 5 25. A 
 single one of these eight is signed ; but they 
 are all by the same artist. They bear the dates 
 of 1536, 1537, 1539, in little scrolls of the 
 sort to which Tory was so much addicted. 
 These dates preclude our attributing these 
 engravings to himself, but they evidently 
 
/J 
 
 came from his establishment which was then 
 conducted by his widow. One of these bor^ 
 ders appears in a book published in 1542 : 
 ' Rodolphi Ag^icola^ . . . de inventione dia^ 
 lectica, Hbri III,' etc. 410, Paris, Simon de 
 Colines. 
 
 2. There are also eight complete borders, 
 or thirty^two compartments, engraved in 
 black in an entirely different style, alternating 
 with those engraved in line. [Four of them 
 are reproduced in this volume, on the pages 
 bearing the Author's Preface.] They are in 
 niello, are neither signed nor dated, and I 
 doubt whether they came from Tory's work^ 
 shop, although we shall see that he engraved 
 some similar ones for Jean de Tournes. In any 
 event their inclusion in this book, side by side 
 with the borders and drawings engraved in 
 line, seems to me in wretched taste which 
 would have disgusted our artist. 
 
 We find also in this book some beautifril 
 ornamental letters in the crible style, which 
 may be Tory's. 
 
212 
 
 GEOFROY TORY 
 
 The book was reprinted in 1549, in the same form, by Renaud and 
 Claude Chaudiere, successors to Simon de Colines. 
 
 II. In the same year 1543, Simon de Colines published another book of 
 Hours, octavo, which seems to be a smaller edition of the one I have just 
 described. Like that one, it is composed of 22 signatures, A to Y. 
 
 The title-page reads: Hok<ein laudem Deiacbeatissim^ Virginis 
 
 MaRI^ ad USUM ROMANUM, una cum CALENDARIO RECENS [sic] EMEN' 
 
 DATO. This within a portico^shaped border, at the top of which is the name 
 Simon de Colines. At the foot of the page: 'Parisiis, apud Simonem Coli' 
 naeum. — 1543.' 
 
 As in the quarto Hours of the same date the borders of the text pages 
 are arabesques of two styles, some in line and the others in black ; and the 
 drawings, to the number of 13, are set in a special border. Some of these 
 borders bear the date 1537, and one of them has the name Simon de Colines 
 in full, which proves that the engravings were executed for him. A list of 
 the drawings follows ; only one of them is signed, but all seem to be the work 
 of Tory. 
 
 1. St. John writing his Gospel (signed). 
 
 2. Calvary, 
 
 3. The Salutation. 
 
 4. The Visitation. 
 
 5. The Nativity. 
 
 6. The Annunciation to the Shepherds. 
 
 7. The Adoration of the Magi. 
 
 8. The Presentation. 
 
 9. The Flight into Egypt. 
 
 10. The Coronation of the Virgin. 
 
 11. Pentecost. 
 
 12. Bathsheba at the Bath. 
 
 13. Job on the Dunghill. 
 
 The only copy of this book that I know of formerly belonged to the 
 late M. Renouvier, of Montpellier, who showed it to me in 1858. It lacks 
 ten leaves immediately following the title/page, which leaves undoubtedly 
 contained the calendar. 
 
 1537 
 
 I. Les Angoisses et remedes damour du Traverseur en son ado^ 
 LESCENCE (Jean Bouchet). 
 
ICONOGRAPHY 213 
 
 Quarto, gothic type, printed at Poitiers, January 8, 1536 (1537, new 
 style), by Jean and Engilbertde Marnef. The privilege is dated November 
 15' 1536. 
 
 There are two woodcuts signed with the Lorraine cross : the printers' 
 mark, on the first page; and, at the end of the preliminary pages, an engrav/ 
 ing representing a man in a long robe engaged in writing; facing him and 
 below him are four persons, also in robes, from whom he is apparently 
 deriving his inspiration. Near these latter, at the left, is a woman holding a 
 light.' 
 
 II. Le Jugement poetic de l'honneur feminin . . . PAR LE Traver/ 
 SEUR (Jean Bouchet). 
 
 At the end are these words : ' Imprime a Poictiers le premier d'avril 
 M. D. xxxviii, par Jean et Engilbert de Marnef, fi^eres.' This volume, which 
 is arranged like that last described, contains eleven engravings, five of 
 which are signed with the double cross. 
 
 Folio A 5 verso. A large plate representing the author presenting his 
 book to Francois I. The King is seated on his throne and surrounded by his 
 court. (Signed at the left:.) 
 
 Folio B I recto. A meeting of the Parliament of Paris. (Signed at the 
 right.) 
 
 Folio B 4 recto. Fame announcing the demise of Louise de Savoie, mo' 
 ther of Francois L (Signed at the left.) 
 
 Folio B 7 recto. Mercury on his way to the field of Truth; below, 
 Charon in his boat. (Not signed.) 
 
 Folio C I verso. The field of Truth. Four persons, of whom three are 
 seated in a sort of thicket ; and above them, a chateau. (Signed in the 
 centre.) 
 
 Folio C 7 verso. The deceased (Louise de Savoie), her head encircled by 
 a wreath and holding in her right hand a bunch of flowers. (Signed at the 
 right.) 
 
 Folio D 3 recto. Fortune holding a wheel in one hand, and a standard 
 in the other. (Not signed.) 
 
 Folio D 6 verso. Repetition of C 7. 
 
 Folio E 5 verso. Mercury, with the caduceus in his hand, speaking to 
 a man in a robe, and pointing out a palace to him. (Not signed.) 
 Folio E 7 recto. A large hall adorned with statues. (Not signed.) 
 
 I . Another edition of this book was published by the same printers and with the same wood- 
 cuts, in 1545. 
 
214 GEOFROY TORY 
 
 Folio L 8 verso. A winged personage, wrapped in a cloak, and having 
 eyes in his hands and feet. (Not signed.) 
 
 At the end of the volume the mark of the Marnefs. (Signed.) 
 
 1538 
 
 Missal OF Paris, 1539 ; folio. The Lorraine cross on two large folio plates, 
 one of which, dated 1 53 8, represents God the Father seated on his throne, his 
 head surrounded by a halo ; he is dressed like the Pope ; over his head, a tri^ 
 angular pediment. The other, not dated, represents Christ on the Cross ; 
 the Blessed Virgin and St. John are standing at his sides, and this inscrip/ 
 tion is printed in a semicircle over the cross : ' Absit michi gloriari nisi in 
 crvce D[omi]ni n[ost]ri Jesvs Christi.' 
 
 These two subjects, which are often found in collections, sometimeson 
 paper and sometimes on vellum, sometimes black and sometimes coloured 
 (the mark and the date very often disappear under the colours'), were first 
 printed, so far as my knowledge goes, in the Missal of Paris, published in 
 1539 by Thielman Kerver's widow. There follows a description of this 
 priceless volume, of which I know but one copy in Paris.^ It is entitled: 
 * Missale ad usum Ecclesias Parisiensis, noviter impressum, et emendatum 
 perdeputatosareverendissimo domino Johanne de Bellayo, Parisiensi epis' 
 copo,'etc. Then comes Thielman Kerver's usual mark, and below : • Pros' 
 tat Parisiis in vico divi Jacobi, apud lolandam Bonhomme, vidue spectati 
 viri Thielmanni Kerver, ad signum Unicornis, ubi et excusum fiiit, anno 
 Domini m. d. xxxix.' 
 
 This work makes a large folio volume, printed in red and Wack, in gothic 
 type, with a large number of unsigned engravings in the text. These en'' 
 gravings are of three sorts, — (i) floriated letters on a black ground; (2) 
 small drawings of the same size, but of a very graceful renaissance type 1(3) 
 drawings of octavo size, which were commonly used by Thielman Ker^ 
 ver's widow in the books of Hours published by her, and of which I have 
 already had occasion to speak.^ 
 
 The two large drawings signed with the Lorraine cross face each other 
 in signature V,in the second part of the book, where the pagination is dis-' 
 continued. They have been reprinted several times in other editions of the 
 same book. I will mention particularly the edition, undated, published in 
 
 1 . Sometimes, too, the colourist has substituted for the printed date that at which he did his 
 work. I have seen several cases of such substitution. 
 
 2. Bibliotheque de r Arsenal. 
 
 3. See pp. 149 and 205, supra. 
 
ICONOGRAPHY 215 
 
 the name of Guillaume Merlin, bookseller, a copy of which is in the Bib' 
 liotheque Mazarine' ; that of 1543, at the Bibliotheque Sainte/Qenevieve ; 
 that of 1559 (all published by lolandeBonhomme or her son Jacques Ker^ 
 ver) ; and lastly a Missal of Cluny, of which I shall speak later. 
 
 Although these books are printed on paper, the plates in question are 
 always printed on vellum in editions of the sixteenth century ; but this pre^ 
 caution was neglected in later centuries. 
 
 1538-1540 
 
 Latin Bible in two folio volumes, bearing the dates 1538, 1539, 1540. 
 Paris, Robert Estienne. The word ♦ Biblia ' appears on the title-page in a 
 scroll signed with the Lorraine cross, of which I have already had occa' 
 sion to speak, under the date of 1532, and which appears in others of 
 Robert Estienne's books.^ The second title follows: 'Hebraa, chaldaea, 
 graca et latina nomina . . . restituta cum latinainterpretatione.' This has led 
 some bibliographers to assume, erroneously, that the book was a polyglot 
 affair. It is printed throughout in Latin ; there are simply a few Hebrew 
 words in the dissertation to which the second title in question applies, 
 and which is printed in the second volume, with a title^^page of its own, 
 dated 1538. The New Testament, also in the second volume, is dated 1539, 
 not 1540, as M. Renouard mistakenly says.3 The Bible alone, that is to 
 say, the first volume and the beginning of the second, bears the date 1540. 
 In each part we find Robert Estienne's large mark, signed with the Lor^ 
 raine cross. The first volume contains also eighteen magnificent engrav/ 
 ings representing the Tabernacle of Moses, Solomon's Temple, etc., exe^ 
 cuted under the direction of Frangois Vatable, Royal Professor of Hebrew 
 Literature. The Lorraine cross appears on the large plate of the camp of 
 the Israelites, on folio 35 ; but I dare not upon this evidence alone attribute 
 all the other engravings to Tory.-^ In any event the floriated letters used in 
 
 1 . The title-page of this rare volume reads : Missale ecclesie Parisiensis denuo ab aliquot 
 ejusdem ecclesie canonicis ac doctor ibus theologis ad id a reverendiss. do. Joan, de Bellayo . . . 
 delegatis. . . . Then follows Merlin's mark, signed with the Lorraine cross. In addition to 8 
 preliminary leaves this volume contains: Calendarium temporale, signatures/? to v; Sane tor ale, 
 A to M ; Commun. , A to E, gothic ; etc. The first page of the text is in a border which has the 
 Eternal Father at the top, four popes at the sides, and at the foot the mark of the widow lolande 
 Bonhomme, with the unicorns. The volume was probably published about i 540. 
 
 2. See p. 204, supra. A copy of this frieze — a slavish imitation — in which even the Lor- 
 raine cross is reproduced, appears in a Flemish Bible, folio, printed at Antwerp in 1556 (Bib- 
 liotheque Nationale). 
 
 3. Annales des Estienne, 3d edition, p. 49. 
 
 4. The cross is not very distinct on the copies of 1 540, but, strangely enough, it is perfectly 
 clear on those of i 546. — These engravings, like the frieze on the title-page, have been copied 
 
2l6 
 
 GEOFROY TORY 
 
 the book are certainly Tory's, for we find the designs mentioned by him in 
 his 'Champ fleury.' It is a fact worth noting that these letters seem to have 
 been cast, or, at least, reproduced by stereotyping, for they areoften repeated 
 on the same page, without the slightest change in the design. 
 
 The Bibliotheque Nationale has a superb copy of this book on vellum, 
 with the arms o£ Francois I. It was reprinted in the same shape by Robert 
 Estienne in 1546, and by his son Henri in 1565. In this last edition, printed 
 at Geneva, we no longer find the two small drawings which appear, with 
 the frieze, on the title/page of the edition of 1532. (See p. 204, supra.) The 
 frieze in this later form appears in other books of the Estiennes. I have 
 seen it in a folio Xenophon printed for Fugger. 
 
 1540-1548 
 
 Amadis de Gaule, French translation by Nic. de Herberay, Seigneur des 
 Essarts, for the first eight books; first edition printed between 1540 and 
 1 548, by Denis Janot, for the booksellers, Vincent Sertenas, Estienne Groul-' 
 lau, and Jean Longis. Folio, with engravings. 
 
 I have seen only two of these engravings signed with the Lorraine cross, 
 but several others seem to have come from the same workshop. The great 
 majority of them, however, are of another make. The two that are signed 
 are : ( I ) Book 11, chap. 2, a large plate representing a sort of temple. A man 
 armed cap^a^pie under a portico. At the right are shields hanging upon 
 posts ; at the left, a man kneeling on the ground, holding a naked sword in 
 the air with his right hand, and another hand grasping it. This represents 
 a scene from the 'lie Ferme.' (2) Book vi, chap. 56, a small plate repre^ 
 senting four persons on horseback near a chateau in fi^ont of which stands 
 an armed man. This cut does not seem to have any connection with the sub^ 
 ject, and may well have been taken from another older work. 
 
 There is a copy of this book on vellum in the Bibliotheque Nationale. 
 
 1541 
 
 I. Praxis criminis persequendi,elegantibus aliquot figuris illus/ 
 TRATA, Joanne Milled . . . auctore. 
 
 Folio; Paris, Simon de Colines, 15 41. Some copies have on the titles 
 page only the names of the brothers Arnould and Charles les Angeliers. 
 (Bibliotheque Nationale.) 
 
 by other printers. Such copies maybe found in a Bible published at Lyon in i 5 50, by Sebastien 
 Honorat, and in another published in 1554 by Jean de Tournes. We find them also in a Bible 
 published at Paris in i 586 by Sebastien Nivelle and Gabriel Buon, etc., etc. 
 
ICONOGRAPHY 217 
 
 There are in this book thirteen large folio cuts, besides the frontis/ 
 piece. A single one, the seventh, is signed, but all are by the same hand. 
 Following is a description of them, or, rather, a brief list; for a description 
 would lead us into too minute details : ' — 
 
 1. Several men slain in divers ways, on a public square where there is 
 a large crucifix. 
 
 2. Examination of the bodies of the wounded lying in a room. 
 
 3. Examination of the witnesses. 
 
 4. The accused summoned by public outcry. 
 
 5. Arrest of the accused. 
 
 6. Examination of the accused. 
 
 7. Confirontation of the witnesses with the accused (signed). 
 
 8. Ratification of decree of pardon. 
 
 9. Torture by water. 
 
 10. Torture by the boots. 
 
 1 1. Torture by compressing the wrists. 
 
 12. Condemnation of the guilty. 
 
 13. Execution of the guilty. 
 
 There is at theBibliotheque Nationale a magnificent copy of this book 
 on vellum, with the arms of France in miniature on the verso of the title/ 
 page. 
 
 II. The first volume of the Catholiques CEuvres et Actes des 
 Apostres, by Simon de Greban ; followed by the Mystere de l'Apo-' 
 CALYPSE, by Louis Choquet. Printed for Arnould and Charles les Ange^ 
 Hers, May 27, 1541. 'On les vend en la grand salle du Palais, par Arnould et 
 Charles les Angeliers freres.' Folio; Paris, 1541. 
 
 This work is embellished with engravings, of which only one is signed 
 with the Lorraine cross. This one, which is on folio i recto of the Acts of 
 the Apostles, represents the descent of the Holy Ghost upon the Apostles. 
 It is enclosed in a border, of octavo size, and belongs to a series of engrav-* 
 ings for a book of Hours published by Guillaume Merlin in 1548.^ Theen^ 
 graver's mark is in a small circle at the lefiiof the foot of the border. Beside 
 it is an angel holding two shields in which are the letters G.M. (Guillaume 
 Merlin). The frontispiece of the Acts of the Apostles has a border in which 
 is the date 1 537. The same border surrounds the frontispiece of the Mystery 
 of the Apocalypse, but there it is without the date. This last-named por/ 
 
 1 . See concerning this book, the Revue des Societes Savantes, vol. v, pp. 624 fF. The author's 
 name was Milles. Some information concerning him is given in the Revue. 
 
 2. [See p. 229, infra] . 
 
2l8 
 
 GEOFROY TORY 
 
 tionof the volume contains 13 engravings and a border, in Tory's style, but 
 without the Lorraine cross. One of them bears the letters P. R. There is a 
 copy at the Bibliotheque Nationale. 
 
 III. Hours of the Virgin, octavo, in roman type, but with the borders 
 *a la moderne' described on page 128, supra. 
 
 This book, printed by Olivier Mallard in 1541, was copied doubtless 
 from the edition made by Tory about 153 1, which I have been unable to 
 examine. Mallard's edition, of which I have seen a copy on vellum, belong' 
 ing to M. Emilien Cabuchet, the painter, and another on paper, consists of 
 twenty^three octavo signatures, A to Y. The title^age reads : Hor^ in 
 LAUDEM BEATissiM. ViRGiNis Mari^,ad usum romanum. (Here the Pot 
 Casse.) Parisiis,apud01iverium Mallardum,subsigno Vasis Effracti, 1541. 
 The last page, on which is printed a curious 'prescription against the 
 plague,' ends thus : ' Excudebat Parisiis Oliverius Mallard, bibhopola re-- 
 gius, sub signo Vasis Efiracti.' . . . 
 
 In this edition there are 1 6 different borders ; each leaf has the same 
 border on both recto and verso. There are also 1 6 of the engravings of the 
 sixteenmo Hours of 1529, those not reproduced being nos. i, 19 and 21 of 
 that edition. 
 
 The word * Rom.' printed on the first page of each signature leads me 
 to believe that Mallard published at the same time, in the same format, an 
 edition of Hours * ad usum Parisianum,' but I have found no trace of such 
 an edition. 
 
 After Olivier Mallard's death, which occurred, as I have said hereto^ 
 fore, in 1542, his typographical outfit seems to have been acquired by 
 Thielman Kerver II (son of the first Thielman and lolande Bonhomme, 
 who lived, as did his father before him, on Rue Saint-'Jacques) ; for he 
 published in 1550 a book of Hours similar to that printed in 1541 by Mal^ 
 lard. It contains the same borders and the same drawings, but in a differ/ 
 ent arrangement. The borders have been lengthened by means of a most 
 ungraceful addition to the side^pieces ; as for the drawings in two parts, 
 no pains has been taken to place the parts facing each other, so that their 
 meaning would be uncertain if we had no other editions of the engrave 
 ings. In fine, this book is very imperfect. It consists of twentytwo and a 
 half signatures, A to Y. The title-page reads thus: — 
 
 HOR^ IN LAUDEM BEATISSIMv^; ViRGINIS MaRI^ AD USUM ROMA' 
 
 NUM. (Here the mark of Thielman Kerver, with the Lorraine cross.) ' Par/ 
 isiis, apud Thielmannum Kerver, vico sancti Jacobi, sub signo Gratis. 
 
ICONOGRAPHY 219 
 
 M. D. L.' The book closes with the curious 'prescription' found in Oli/ 
 vier Mallard's edition of 1541, which is in these words: ' Approbatissima 
 medicina contra pestem. — Recipequantum potes de amaritudine mentis 
 contra peccata commissa, cum vera cordis contritione, potius libram quam 
 unciam. Haec misceantur cum aqua lacrymarum, et facies vomitum per 
 puram confessionem. Deinde sumas illud sacratiss. electuarium corporis 
 Christi, et tutus eris a peste.' 
 
 The book is printed in red and black. I have seen a copy on paper at M. 
 Potier's bookshop. There is an imperfect copy at the Bibliotheque Maza^ 
 fine, and a perfect one at Sainte^Genevieve. 
 
 About the same time there was published a small duodecimo volume 
 of four signatures, in French, with the same borders. It begins thus : ' Here 
 follows the method of receiving the blessed sacrament devoutly.' It is like 
 the book last^described except that it is printed in only one colour, and that 
 it is a little longer and wider.' To lengthen the borders, sections have been 
 added tothem. It is most peculiar that a duodecimo volume should be lar^ 
 ger than an octavo, but the fact is unquestionable: formats were already 
 beginning to increase in size. Near the end of the book is a little treatise 
 with this heading: 'Here follows a devout meditation as to the manner 
 in which thou shouldst ordain and arrange the whole day,' etc. And 
 after that : 'The Hfe of Madame Sainte-- Marguerite, with prayer to be 
 said for women pregnant and in travail.' 
 
 This book is in the Bibliotheque Mazarine, in the same collection as the 
 last. It contains four small engravings, of which only one seems to me to 
 belong to Tory : it is the Christ on the Cro^. which appears in the quarto 
 Hours of 1542, now to be described. 
 
 1542 
 
 I. Hours, according to the Roman use, quarto, in Latin, published by 
 Olivier Mallard in 1 542. This rare volume, of which I know only one copy, 
 belonging to M. Aerts, of Metz,^ who himself kindly brought it to me at 
 Paris, is a reproduction of the Hours printed by Tory in 1531 ; the type, 
 however, is smaller. It consists of nineteen signatures of two quarto sheets 
 encartees, signatures A to T. The title-page reads: HORAE in laudem 
 
 BEATISS. ViRGINIS MARm Ad USUM RoMANUM. OfFICIUM TrIPLEX. — 
 
 Parrhisiis, apud Oliverium Mallard, impressorem Regium. The rest is as 
 
 1. I have seen it bound with a book of Hours published by Kerver in i 556: M. Portalis's 
 copy. 
 
 2. It has since been sold at auction. 
 
220 
 
 GEOFROY TORY 
 
 in the edition of 1 53 1 . On the last page : ' Parrhisiis, exofficina Oliverii 
 Mallard, Regii impressoris, Ad insigna Vasis Effracti. Anno salu. m. d. 
 XLii. Mense Augusti.' Then come the two lines : — 
 
 * Effracti, lector, subeas insignia vasis, 
 Egregios flores ut tibi habere queis.' 
 
 The table of Easter^Days, on the verso of the title-page, goes from 1542 to 
 1571 ; then comes the calendar, in which the order of the edition of 153 1 
 has been followed in the arrangement of the borders, although the type, 
 being smaller, would have permitted the more regular arrangement of the 
 edition of 1524-25. 
 
 The book is printed in two colours, except signatures B, C, and D, 
 which are in black only — a most unusual state of things. The engravings 
 are the same as those of the edition of 1531, but the floriated letters are 
 different. The Passion, which begins on foHo B 3 verso, is enriched by the 
 small Christ on the Cross which we find in the Hours of 15 29, but without 
 the four additional subjects (bees, etc.), which there accompany it.' It is 
 probable that some accident happened to the plate, and that only the Christ 
 was saved. We find also in this volume, at the foot of the border, the 
 crowned C of Queen Claude of France, who had then been dead about 
 fifteen years. 
 
 The Lorraine cross, which had disappeared fi'om several of the larger 
 engravings as early as the edition of 1531, appears on almost none of 
 them in that of 1542. For example, it has been expunged from the Birth 
 of Jesus and the Circumcision. The only ones which retain it are the Visi/ 
 tation,the Crucifixion, and the Descent of the Holy Ghost. It remains on 
 the borders also. 
 
 Signature E begins with a leaf the recto of which is blank, while on the 
 verso is the angel of the Annunciation, as in the edition of 153 1. The large 
 plate, the Triumph of the Virgin Mary, is also included in this editioa 
 
 II. HORE BEATE MaRIE ViRGINIS AD USUM FRATRUM PREDICATORUM 
 ORDINIS SANCTI DOMINICI: FIGURIS UTRIUSQUE TeSTAMENTI AC PER/ 
 VENUSTIS IMAGINIBUS ET IIS QUIDEM NGN FAUCIS, PASSIM DECORATE, 
 ATQUE OFFICIO CONCEPTIONIS IMMACULE ViRGINIS ET OFFICIO SANCTI 
 DOMINICI IN ALUS ORARIIS ACTENUS IMPRESSUS NEQUAQUE INSERTIS 
 
 AD AUCTE. (Here the figure of St. Dominic holding an open book in his 
 left hand, and in the right a staff with the cross at the end. At his feet 
 lies a dog. The Lorraine cross is at the left.) Venundantur Parisiis, in edi^ 
 
 I . [See p. I I 5 supra.] 
 
ICONOGRAPHY 
 
 221 
 
 bus vidue spectabilis viri Thielmaniii Kerver, in vico divi Jacobi, sub 
 signo Unicornis, ubi et impresse. — m. d. xlii.' 
 Octavo ; signatures A to X, and a toe: in all, 26 forms. The title-page 
 engraving reappears on leaf R 4 verso. The others are not signed. 
 
 III. Heures a l'usage de Tool: au long sans requerir. 
 
 Octavo of 156 unpaged leaves. Calendar from 15 41 to 1564. At the 
 bottom of the last page are the words : ' Imprime a Troyes chez Jean 
 Lecoq.' Gothic type, printed in red and black. 
 
 The only copy of this book that I have seen is in the Bibliotheque 
 Publique of Besan^on. It has 30 engravings, including the printer's mark, 
 which is on the title-page. The mark and three other engravings of the 
 first series are signed with the Lorraine cross. A list of all the engravings 
 follows : — 
 
 First series, .06 mm. by .043 mm. 
 
 1. Printer's mark (signed). 
 
 2. Jesus in the Garden of Olives (signed). 
 
 3. Annunciation of the Virgin. 
 
 4. The Visitation. 
 
 5. The Nativity. 
 
 6. Adoration of the Shepherds. 
 
 7. Adoration of the Magi. 
 
 8. The Presentation in the Temple. 
 
 9. Massacre of the Innocents. 
 ID. Death of the Virgin (signed). 
 
 11. The Crucifix. 
 
 12. Pentecost. 
 
 13. Bathsheba at the Bath (signed). 
 
 14. Resurrection of Lazarus. 
 
 1 5. Vision of St. Gregory. 
 
 Second series, .034 mm. by .022 mm. 
 
 1. The Trinity. 
 
 2. Death piercing with a Spear the Great Men of Earth. 
 
 3. St. Anne. 
 
 4. AU Saints. 
 
 5. Ecce Homo. 
 
 6. The Virgin. 
 
222 
 
 GEOFROY TORY 
 
 7. The Beheading of St. John Baptist. 
 
 8. St. Sebastian. 
 
 9. St. Nicholas. 
 ID. St. Martin. 
 
 11. St. Catherine. 
 
 12. St. Barbara. 
 
 13. Our Lady of Pity. 
 
 14. Virgo Gloriosa. 
 
 15. Our Lady of the Seven Sorrows. 
 
 IV. Dyalogue instructoire des chrestiens en la foy, esperance 
 
 ET AMOUR DE DiEU COMPOSE PAR FRERE PlERRE DORE, DOCTEUR 
 
 EN theologie. . . . Imprime nouvellement par Denys Janot, demour^ 
 ant en la rue Neufve Nostre Dame, a I'enseigne Sainct Jehan Baptiste, 
 pres Saincte Geneviefve des Ardens. 
 
 Sixteenmo, 1542. On the verso of the title-page is an engraving signed 
 with the Lorraine cross. It represents the Virgin standing on a crescent, 
 holding the child Jesus in her arms, and surrounded by a halo. (Biblio/ 
 theque Nationale.) 
 
 1543-1544 
 
 SOMMAIRE DE CHRONIQUES, CONTENANS LES VIES, GESTES ET CAS FOR' 
 
 TuiTZ DE Tous LES EMPEREURS d'Europe, ctc. By J. B. Egnatius, 
 translated by G. Tory.' 
 
 There were several other editions of these chronicles. M. Hippolyte 
 Boyer mentions one of 1541, in his * Histoire des Imprimeurs et Libraires 
 de Bourges' (8vo, Bourges, 1854), p. 27; Antoine du Verdier, another, of 
 1543, in his Bibliotheque fran^oise. This much is certain — that M. Renou^ 
 vier owned a copy, with illustrations, dated 1544. It is an octavo, ' for sale 
 by Charles I'Angelier, in the "grand'salle du Palais." ' It contains 1 1 2 leaves 
 (signatures A to O), plus 4 unnumbered leaves. The engravings are of two 
 sorts: the first represents an emperor on horseback, carrying a battle-axe; 
 there is no mark, but it is engraved with much delicacy and distinguished 
 by the little cartouches of which Tory was so fond ; this figure is reproduced 
 several times. The others are busts of emperors, roughly engraved, which 
 cannot be Tory's. It may be noted that the edition published by Tory in 
 1530 contains no engravings. 
 
 I . See what I have had to say concerning this book, pp. 88-9 1 , supra. 
 
ICONOGRAPHY 
 
 223 
 
 1545 
 
 De Dissectione partium corporis humani, etc. By Charles Estienne. 
 Folio, Simon de Colines, 1545. 
 
 There are in this book about sixty large anatomical plates. Five are 
 signed with the Lorraine cross — folios 149, 150, 151, 154, 155. The last 
 four bear also the name of Jollat, with the dates 1530, 153 1, 1532. Here is 
 what M. Renouvier has to say on the subject : 'Simon de Colines . . . em/ 
 ployed another wood-engraver of some note, Mer cure Jollat, to whom Papil' 
 Ion attributed almost all of our gothic books of Hours. He should be reck" 
 oned only among the engravers of an altogether modernized manner. His 
 name is written lollat, the first letter in the zodiacal sign of Mercury, fol" 
 lowed by the dates 1530, 153 1, and 1532, and accompanied by the Lorraine 
 cross, on four plates of Charles Estienne's book on the dissection of the hu" 
 man body, representing the cadaver in its skin and the cadaver with the skin 
 removed. The drawing of the figures has been attributed, even by Brulliot, 
 to Woeiriot ; but it is really the work of the surgeon Estienne Riviere, who 
 is named on the title-page and in the preface as the painter of the bones, 
 ligaments, and all the anatomical details. His initials, S. R., appear on a 
 tablet hanging from the branches of a tree in the first plate. The engraving, 
 which varies considerably, would seem to be the work of different hands, 
 or, at least, to have come from an establishment which practised diverse 
 styles and which sometimes put forth work done by apprentices. The work" 
 manship of the plates with Jollat's mark seemed to me more monotonous 
 — not unskilful although less picturesque. I am not now passing upon their 
 scientific merit, but upon their picturesque interest simply.' ' 
 
 The inscription of Jollat's name on plates marked with the Lorraine 
 cross seems, at first glance, quite hard to explain, especially with the gen" 
 eral opinion concerning the former of these artists, based on PapUlon's 
 statements. But as the story of Jollat's work as an engraver still remains 
 to be told, I think I may safely say that he simply designed the plates that 
 bear his name in Charles Estienne's book, and that they were engraved by 
 Tory, or, at least, in his workshop. We have seen, in fact, that Tory was 
 Simon de Colines' favourite engraver. To be sure, M. Renouvier seems to 
 be of opinion that all the plates were designed by Estienne Riviere, whence 
 he concludes that the engraving is by Jollat ; but this is a mistaken opinion, 
 based on a sentence in the preface. Riviere, who was a friend of Charles Es" 
 tienne, may have designed the majority of the plates in Charles Estienne's 
 
 I. Renouvier, Des Types, etc., i6th century, p. i68. 
 
224 GEOFROY TORY 
 
 book, and yet not have designed all of them. Those signed Jollat evidently 
 belong to that artist, who seems to have designed a number of them before 
 the work was placed in Riviere's hands. 
 
 I am confirmed in my belief that Jollat was the designer of the plates 
 in question by the fact that his name is always accompanied by the dates, 
 and that those dates are not those of the engraving, which I propose to 
 prove. There are only five plates signed with Jollat's name and with the 
 Lorraine cross in the Latin edition of Charles Estienne's book, published 
 by Simon deColines in 1545. In the following year the same printer issued 
 a French edition of this work, under the title, ' La Dissection des parties 
 du corps humain' (folio, 1 546), in which we find two additional plates so 
 marked and dated 1532. Why did not these plates appear in the first edi' 
 tion, if they were engraved by Jollat ? 
 
 But here is another fact even more conclusive. In 1 5 75 the bookseller 
 Jacques Kerver published a volume of engravings without text, entitled 
 * Les Figures et portraicts des parties du corps humain ' (folio) , in which we 
 find not only the seven engravings with the cross, of the edition of 1546, 
 but three others, also bearing Jollat's mark and the Lorraine cross, and 
 dated 1533. Evidently these plates appeared in some earlier edition, un^ 
 known to me,' for it was not Kerver who had them engraved ; he simply 
 made use of the woodcuts of which he had become the owner. But why did 
 they not appear in the edition of 1546.? That is a matter easily explained. 
 
 Charles Estienne informs us in the preface to his book that the print/ 
 ing was well advanced in 1539, but that it was interrupted by a lawsuit. 
 We give his own words in the French edition of 1546: 'All of which 
 things were well-nigh finished in the year 1539, and almost so far as the 
 middle of the third book printed, when, by reason of a suit that was be/ 
 gun, we were forced (to your great discontent, methinks) to lay aside this 
 work and to desist from the completion thereof ; for so long that in the 
 mean time it has been possible for many others to invent new ideas touch/ 
 ing this matter, and to make use at their will of many sheets filled with 
 our writings ; for it was not possible for the printer so closely to safeguard 
 his book, so long suppressed, that some persons curious to learn of novel 
 things might not take away some sheets, still uncorrected, and send them 
 into Germany.' 
 
 Now let us see what was the cause of this suit. Charles Estienne does 
 
 I. The Bibliophile Fmn^ais (April i 5, 1865) mentions an edition of this book, with the 
 date of I 5 57. I regret that I was not aware of it before the above paragraph was printed, as 
 I should have cited that edition in preference to that of 1575. However, it is unimportant, as 
 the two editions are identical except in the order of the plates, which differs slightly. 
 
ICONOGRAPHY 225 
 
 not inform us, but it has been disclosed by M. Ambroise Didot, in his 
 ' Essai sur la Gra vure. ' The famous Vesale had published at Venice, in 1 5 3 8, 
 through the printer B. Vitalis, a treatise on anatomy, embellished with 
 numerous plates, which was copied in several places, and notably in Paris, 
 despite the privilege granted by the Republic. Later, wishing to issue a 
 new and improved edition of his book, Vesale applied to Oporin, professor 
 of Greek, and printer at Basle, to whom he sent his plates, which had been 
 engraved at Venice by Calcar, a pupil of Titian. In 1543 Oporin finished 
 printing this new edition, for which the author had, no doubt, obtained 
 privileges from various sovereigns, especially from the King of France. 
 This seems to be proved by the suit instituted against Charles Estienne. 
 That is why the latter could not publish, in his edition of 1545, all the 
 plates which he had had made, and which appeared only at intervals as the 
 date of Vesale's privilege was left behind. As we have seen, he gives it to 
 be understood in his preface that it was he who was robbed in Germany. 
 
 As this is a favourable opportunity, I will say a few words concerning 
 Jacques Kerver's publication, of which I have never seen any mention,' 
 but which is of great interest to us. It is a folio volume, containing 6 1 large 
 plates besides a considerable number of small ones. There is no other text 
 than the explanations printed on the plates,^ and a brief note to the reader, 
 which begins thus : ' Friend reader, seeing that medicine is not at all essen^ 
 tial to preserve the health and to banish all diseases, which often, on slight 
 occasion, assail us, and that anatomy, or the description of the parts of the 
 human body, mainly serves us therein, I have determined not to fail to 
 exhibit them to you here.' We give a description of those plates in the book 
 which are of interest to us. 
 
 Plates which appear only in Kervers volume. 
 
 I. The human body in its relation to the signs of the zodiac (folio A 2 
 verso). This bears Jollat's name, the date 1533, and the Lorraine cross. 
 
 2 and 3. The human body in its relation to the seven planets (folio A 
 3 recto and verso). These two bear the same marks as the preceding. 
 
 Plates which appear in the edition of 1 546. 
 4. Skeleton seen from the left side (folio 1 1 of the edition of 1546, and 
 A 3 verso of that of 1575). Jollat's name, the Lorraine cross, no date. 
 
 1. Neither the edition of 1557 nor that of 1575 was known to M. Choulant, who pub- 
 lished a curious monograph concerning works with anatomical figures. ( Geschichte . . . der 
 anatomischen abhildung; quarto, Leipzig, 1852.) 
 
 2. These explanations are printed, in movable type, in cartouches inserted for that purpose. 
 The type is different in all four of the editions known to me. 
 
226 
 
 GEOFROY TORY 
 
 5. Skeleton seen from the right side (folio 11, 1546, folio A 5 verso, 
 1575). Jollat's name, the date 1532, and the Lorraine cross. 
 
 Plates which appear in all three editions. 
 
 6. Man flayed, front view (folio 149, 1545; folio 151, 1546; folio B 2 
 recto, 1575). The cross alone. 
 
 7. Man flayed, right side (folio 150, 1545; folio 152, 1546; folio B 2 verso, 
 1575). Jollat's name, the date 1532, and the Lorraine cross. 
 
 8. Man flayed, rear view (folio 151, 1545; folio 153, 1546; foHo B 3 
 recto, 1575). The same marks as in the last case. 
 
 9. Man in his skin, front view (folio 154, 1545 ; folio 160, 1546; folio 
 B 3 verso, 1575). The same marks as in the last case. 
 
 ID. Man in his skin, rear view (folio 155, 1545 ; folio 161, 1546 ; folio B 5 
 recto, 1575). The same marks, with the date 153 1. 
 
 Many others of the plates may belong to Tory, but as they are not 
 marked, I shall not speak of them here. 
 
 Something analogous to what 1 have just described took place with 
 reference to the engravings of Tory's Hours. Having become the prop 
 erty of the Kervers, as we have seen,' they were used by them for a long 
 while. We shall mention later the octavo Hours published by Thielman II 
 in 1550, 1552, and 1556, in which he utilized the woodcuts of the edition 
 published by Olivier Mallard in 1 5 4 1 . His son Jacques did better than that : 
 in 1574 he published a large octavo edition of the Hours of the Virgin, in 
 which he used the woodcuts of the quarto editions issued by Tory him^ 
 selfin i524and 1527. As the crosses were removed in almost every instance, 
 one might have some right to deny their source, were not the books pub-' 
 lished by Tory a half century before, at our hand to demonstrate it. Jacques 
 Kerver's book being rare, and of a date subsequent to the period covered 
 by my work, it seems to me that it may be well to give a bibliographical 
 description of it, from the copy owned by M. Chedeau, which M. Potier, 
 bookseller, has kindly furnished me. 
 
 ' OflEicium beatcB Marias Virginis nuper reformatum et Pii V, pont. max., 
 jussu editum. — Apudjacobum Kerver, viajacobea, sub insigni Unicornis. 
 — 1574.' Large octavo, with illustrations from the quarto edition published 
 by Tory in 1 5 2 4- 1 5 2 5 , surrounded by borders taken from Tory's quarto edi^ 
 tion of 1527, but reduced in size, mutilated, transposed, etc. 
 
 Here is a list of the plates : — 
 
 I. The Annunciation (two plates). 
 
 [i. See p. 41, supra. J 
 
ICONOGRAPHY 227 
 
 2. The Salutation. 
 
 3. The Nativity. 
 
 4. The Adoration of the Shepherds. 
 
 5. The Adoration of the Magi. 
 
 6. The Circumcision. 
 
 7. The Flight into Egypt. 
 
 8. The Coronation of the Virgin. 
 
 These eight plates are repeated three times. Then come : — 
 
 9. The Triumph of Death. 
 
 10. David's Penance. 
 
 1 1. Jesus on the Cross. 
 
 12. Pentecost. 
 
 Number 8 is taken from the quarto Hours of 1 5 2 7 ; but all the others are 
 intheHoursof 1524-1525. Numbers 2 and 12 still bear the Lorraine cross. 
 
 There is no doubt in my mind that the Kervers printed also the quarto 
 Hours (1531) which I mentioned on page 201, and in which we find the 
 borders of the Hours of 1524-152 5, and the porticoes of theopuscula of 
 1 530- 1 53 1. The plates are not signed and cannot be Tory's, but as a list of 
 them may assist in the discovery of this edition, I will mention here those 
 which are at the Bibliotheque Nationale: — 
 
 1. The Annunciation. 
 
 2. The Conception. 
 
 3. The Visitation. 
 
 4. The Nativity. 
 
 5. The Circumcision. 
 
 6. The Resurrection. 
 
 7. The Descent of the Holy Ghost. 
 
 8. All Saints. 
 
 9. The Trinity. 
 
 1547 
 
 We place under this date three books of Hours which introduce us to 
 certainengravings signed with the Lorraine cross accompanied by initials. 
 1547 is not the exact date of the engravings to which we refer, for we shall 
 see that they are of earlier execution ; but their first appearance is so uncer/" 
 tain that we are forced to fall back upon the definite date supplied by the 
 books in question. 
 
 I. Hours according to the use of Toul. 
 
 Octavo. On the first page : ' The present hours according to the use 
 
228 
 
 GEOFROY TORY 
 
 of Tou [sic], in full, sans requerir, newly printed at Paris.' (Here the mark 
 of Francois Regnault . ) * For sale in Paris, Rue Saint Jacques, at the sign of 
 the Elephant, opposite the Mathurins,byFran9oys Regnault's widow.' 
 
 On the verso is a table of Easter^ Days for thirteen years, beginning in 
 1547. Next comes a calendar, with engravings and verses (some in Latin, 
 some in French), the 'Jours moralisez,' divers moral and religious axioms, 
 in verse and in prose, and, lastly, the four Gospels of the Passion, in Latin. 
 All these form the first part, with a special series of signatures, aa to ee. 
 It is more than likely that this first part, which has no application to any 
 particular diocese, is printed, in the same form, in the Hours which Veuve 
 Regnault probably printed for other churches about the same time. In 
 signatures cc and ee there is an engraving representing Jesus on the Cross, 
 signed with the letters I, L, B and the Lorraine cross, which appears in 
 several other publications of the same period. 
 
 The second part of the book comprises the Hours properly so-called, 
 according to the ritual of the church of Toul. This part is made up of eight 
 signatures, a to the word T^ou being printed on the first page of each 
 sheet. 
 
 The volume contains a hundred leaves in all. In addition to the book' 
 seller's mark and the engraving signed with the Lorraine cross, there are 
 55 large woodcuts, most of which are signed with the initials I, M (with' 
 out the cross), a few small engravings, and a large number of letters in 
 grisaille, but no borders. 
 
 With a copy of these Hours, which 1 have seen, was bound the foUow 
 ing work : — 
 
 'The fifteen effusions of the blood of our Saviour and Redeemer Jesus 
 Christ, by Barbe Regnault, Rue Saint Jacques, at the sign of the Elephant, 
 opposite the Mathurins.' Eight leaves in two octavo folds, enriched with 
 fifteen pretty woodcuts, interspersed through the text, and marked, like 
 the one mentioned above, which is one of them, with the letters I, L, B 
 and the Lorraine cross. 
 
 This little volume is undated, but it is known that Barbe Regnault sue 
 ceeded her mother, Madeleine Boursette, widow of Francois Regnault, 
 who was carrying on the business as late as 1 5 55. So that the engravings 
 with the initials I, L, B might be of later date than that ; but we have seen 
 that one of them had already appeared in the first part of the book ; there 
 fore they are of earlier date than 1547. 
 
 Here is a list of these engravings, which are the same ones mentioned 
 by M. Robert'Dumesnil under date of 1599: — 
 
ICONOGRAPHY 
 
 229 
 
 3- 
 4- 
 
 5. 
 6. 
 
 7- 
 8. 
 
 2. 
 
 I. 
 
 The Circumcision. 
 Jesus in the Garden of Olives. 
 The Apprehension of Jesus. 
 Jesus Beaten with Rods. 
 Jesus before Pontius Pilate. 
 Jesus King of the Jews. 
 Jesus Bearing his Cross. 
 Jesus Stripped of his Clothing. 
 
 9. Jesus on the Cross. 
 
 10. Same subject (without initials). 
 
 11. Same subject (again without initials). 
 
 12. Same subject (with initials and without the cross). 
 
 13. Erection of the Cross. 
 
 14. Jesus between the two Thieves. 
 
 15. Same subject (without cross or initials). 
 
 All of these are 4^ centimetres high and 5 wide. 
 
 The 'Fifteen Effusions' was reprinted frequently during the sixteenth 
 century, in different formats and in different type, but with the same en^ 
 gravings, and almost always without date, because it was added to other 
 books. I have, however, seen one copy in large type, dated 1584 (Biblio^ 
 theque Nationale). These same engravings appear, with many others, in \ 
 a work entitled ' Abrege des Meditations de la vie de JesusChrist'; octavo, 
 Paris, Guillaume Chaudiere, 1599. 
 
 II. HORE BEATE MaRIE VIRGINIS AD USUM PaRISIENSEM, TOTALITER AD 
 LONGUM, CUM MULTIS ORATIONIBUS ET HISTORIIS, NOVITER IMPRESSE 
 
 ET EMENDATE. (Here the Triumph of the Virgin, an old engraving with 
 crible background, with legends in gothic type, which figures in all the 
 Hours of this period.) ' On les vend a Paris, en la rue Sainct Jacques, par 
 la veufve Jehan de Brie, a I'enseigne de la Lymace, pres Sainct Yves.' 
 On theverso of the title,'a calendar for xi years,' beginning with 1548. 
 Each month has its engraving, and the usual illustration is placed within 
 a circle; they are not signed. 
 
 Printed in red and black, in large gothic type, the work consists of 8 
 preliminary leaves and 16 folios of text, signatures A to Q_, with the let' 
 ters Pa (Paris). The folios do not begin until signature B, and run without 
 a break to the end of signature On the last page of this signature are 
 these words: 'These present hours according to the use of Paris, with sev/ 
 eral noble eulogies of Our Lady, have been printed by Veufv^e Jehan de 
 
230 
 
 GEOFROY TORY 
 
 Brye[j-/V], living on rue sainct Jacques, at the sign of the Snail, near Sainct 
 
 Yves. — M. D. XLVIII.' 
 
 Then follow 12 leaves of appendix, ending with a figure of the Virgin, 
 over which are the words ' Nostre Dame de Lorette,' in roman capitals. At 
 the foot of the page: 'Ave Sanctissima Maria,' etc. (5 lines in gothic type). 
 
 This curious volume is preserved in the BibHotheque Nationale. 
 
 Besides the 12 small engravings of the calendar, there are several other 
 small subjects, also unsigned, and 1 3 large ones with the letters L, R, and the 
 double cross. These latter, which measure 1 0 centimetres in height and 7 in 
 width, are as foUows : — 
 
 1. St. John writing his Gospel. 
 
 2. The Annunciation. 
 
 3. The Visitation. 
 
 4. The Crucifixion. 
 
 5. The Descent of the Holy Ghost upon the Apostles (with the initials, 
 but without the cross). 
 
 6. The Birth of Jesus. 
 
 7. The Annunciation to the Shepherds. 
 
 8. The Adoration of the Magi. 
 
 9. The Circumcision. 
 
 10. The Coronation of the Virgin. 
 
 11. The Penance of David. He is saying to the Father Eternal these 
 words, which are written in a scroU : 'I who have sinned.' ' 
 
 12. The Last Judgement."" 
 
 13. Notre-'Dame de Lorette. 
 
 As I have said heretofore (supra, p. 149), the first twelve of these are 
 improved copies of other, unsigned engravings, belonging to Thielman 
 Kerver I, which appear in many books published by him or by his widow, 
 lolande Bonhomme, at least as early as 1522,^ and which we find again in 
 the Paris missal published by their son Jacques in 1559. 
 
 1 . I have seen this engraving in a fragment of a book of Hours, printed in Roman type at a 
 
 date which I cannot fix although it was contemporaneous. This fragment consists of signatures 
 Aa and Bh {2, half-signature) , that is, 1 2 leaves, numbered 185 to 1 96. Signature Aa begins 
 (folio 185) with a title-page printed in red, in these words : ' Die dominica ad vesperas. Psal- 
 mus.' The engraving in question is below them. The last page of Bb ends with the word 
 'finis,' which proves that the book had but 25 signatures. 
 
 2. Or, better, Purgatory. In an octavo collection at the Bibliotheque Mazarine, there is a 
 little book entitled: ' Le Purgatoire prouve par la parole de Dieu ' (octavo; Paris, Denis Basset, 
 1600), in which this engraving, signed with the Lorraine cross, appears twice; it represents a 
 nude man standing in the flames, with this legend in a scroll : ' Constitvas mihi tenrvs' ( tempvs ? ) 
 'in qvo recorderis mei.' 
 
 3. Such is my opinion ; but I am bound to say that M. Achille Deveria, formerly Conservator 
 
ICONOGRAPHY 231 
 
 M. Bmnet ' suggests a very plausible theory, to the effect that the en^ 
 gravings signed L. R. were executed by Louis Royer, who was in fact the 
 first to use them, in a book of Hours entitled : ' Hone beata^ Marias ad usum 
 Rom,'; duodecimo, gothictype, with the mark of Jean de Brie, and the fol^ 
 lowing words at thefoot : 'Parisiis, impressum in vicojacobi per Claudium 
 Chevallon, impensis Ludovici Royer, librarii Parisiensis, in eodem vico com^ 
 morante, ad insigne vulgariter dictum la Lymace.' 
 
 The book is not dated ; but we see, on the one hand, that it was printed 
 by Claude Chevallon, who died in 1542, and, on the other hand, that Lx)uis 
 Royer, at whose expense it was printed, had succeeded Jean de Brie at the 
 sign of the Snail. Now, the latter died about 1522 ; so that it was between 
 1522 and 1542 that this book saw the light, and that the engravings with 
 the letters L. R. first appeared. 
 
 We know nothing of this Louis Royer, whom Lottin does not mention. 
 Nor do we know any more of Jean de Erie's widow, who seems to have 
 succeeded Louis Royer. And, as if everything in this matter were fated 
 to remain obscure, we find other octavo Hours according to the use of 
 Rome, in French gothic type, undated, but with a calendar fi"om 1568 
 to 1578, printed with the same woodcuts, and for sale 'at Paris, on Rue 
 Saint Jacques, at the sign of the Snail '; with no other details. In the book 
 we have described we find also : — 
 
 1. The Virgin and the Child Jesus (signed with the letters L. R. and the 
 cross). 
 
 2. Jesus betrayed by Judas (same marks). 
 
 3. Jesus bearing his Cross (same marks). 
 
 4. Jesus on the Cross (same marks). 
 
 5. Jesus in the Tomb (same marks). 
 
 6. The Resurrection (same marks). 
 
 7. The Flight into Egypt (same marks). 
 
 8. Job (unsigned). 
 
 9. Jesus at Emmaiis (unsigned). 
 
 III. Heures en francoys a l'usaige de Rome, nouvellement imprp 
 MEES A Paris pour Guillaume Merlin, m. d. xlviii. 
 
 of the Department of Engravings, was of the opposite opinion. According to him the unsigned 
 engravings were copies of the others. It seems to me that the dates of printing confirm my the- 
 ory. For we find the unsigned engravings in an edition of 1522; so that we must refer those 
 with the cross to an earlier date ; but this seems hardly probable, since Louis Royer (to whom 
 they are attributed, as we shall see, because he was the first to use them ) succeeded Jean de Brie, 
 who did not die until about 1522. 
 
 I. Manuel du Libraire, 5th edition, vol. v, col. 1672, no. 366 bis. 
 
232 GEOFROY TORY 
 
 Octavo, gothic type ; printed in red and black. This book, which I saw 
 at the sale of M. Chedeau's library, is illustrated with engravings, most of 
 them signed with the Lorraine cross, to which the initials G. M. are some/ 
 times added. They are 8 centimetres high by 55 millimetres wide. The list 
 follows: — 
 
 1. Saint John writing his Gospel (unsigned). 
 
 2. The Annunciation (unsigned). 
 
 3. The Visitation (signed with the Lorraine cross and the initials G. M.). 
 
 4. The Nativity (signed with the Lorraine cross only). 
 
 5. The Annunciation to the Shepherds (the cross only). 
 
 6. The Adoration of the Magi (the cross only). 
 
 7. The Circumcision (the cross only). 
 
 8. The Flight into Egypt (unsigned). 
 
 9. The Coronation of the Virgin (the cross only). 
 
 10. The Descent of the Holy Ghost upon the Apostles (signed with the 
 letters G. M. and the Lorraine cross in a small circle). 
 
 1 1. Jesus on the Cross (the cross only). 
 
 12. Bathsheba (the cross only). 
 
 13. Job (the cross only). 
 
 We think that we can safely attribute the designing of these engravings 
 to GuUlaume Merlin, the publisher of this book of Hours. They must, at 
 all events, be much earlier than 1 5 48, for we have already seen one of them 
 (no. 10) in a book of 1541 (supra, p. 217). 
 
 Guillaume Merlin also published about 1559 a book of Hours embel^ 
 lished with engravings signed with the Lorraine cross. It is entitled: 
 * Heures a I'usage de Romme ' [sic], and is undated, but has a calendar 
 from 1559 to 1570. It is a small octavo, printed in gothic characters, in 
 red and black. At the end are the words : ' Printed by Jean Bridier.' 
 
 We find in this volume, which was in M. Chedeau's library, 12 en^ 
 gravings representing the twelve months of the year. Three of them are 
 signed with the Lorraine cross, namely, January, May and December. 
 The others have no mark. They are 10 centimetres high by 7 wide. On 
 folio 62 verso is the Virgin holding the Child Jesus. She is within an 
 aureole of flames, with her feet on a crescent. 
 
 1548 
 
 Theodori Bez^ Vezelii poemata. Paris, Conrad Bade, 1548. 
 
 Octavo of I GO pages printed in italic type. This is the first edition of this 
 
ICONOGRAPHY 
 
 233 
 
 book and contains a portrait of Theodore de Beze signed with the Lor^ 
 raine cross. It is the oldest portrait that we know. Below it are the follow^ 
 ing verses, alluding to a laurel wreath which Theodore has in his hand : — 
 
 Vos docti docta prscingite tempora lauro: 
 Mi satis est illam uel tetigisse manu. 
 
 vos docti Joda prtzrinpte tempora lauro: 
 Mi fatis e{l illam ud tetigijje mam 
 
 The inscription * An. 29/ at the top of the portrait, indicates that it 
 was engraved in the same year that the book was printed; for Theodore 
 de Beze, born at Vezelay June 24, 15 19, completed his twenty^'ninth year 
 in 1548, the date of the dedicatory epistle of this book, which the author 
 addressed to his teacher, Melchior Volmar. 'Vale. Lutetise, vii. cal. lul. 
 qui dies est mihi natalis.' The mark of Conrad Bade, also signed with the 
 Lorraine cross, is on the first page of this book, which was finished on 
 
ICONOGRAPHY 235 
 
 July 15, 1548. 'Lutetiae, Roberto Stephano, regio typographo, et sibi, Con/ 
 radus Badius excudebat, idibus Julii m. d. xlviii.' It was shortly after, in 
 this same year, that Theodore de Beze, on recovering fi^om a severe ilP 
 ness, withdrew to Geneva, and abjured ' the papacy, as he had sworn to 
 God to do at the age of sixteen.' The portrait has been reproduced on cop/ 
 per ; there is a copy of the reproduction in the collection of Tory's work at 
 the Bibliotheque Nationale. 
 
 1549 
 
 I. Pauli Iovii Novocomensis vit^ duodecim vicecomitum Medio/ 
 lani principum. — ex bibliotheca regia. — luteti^. ex officin a 
 Rob. Stephani, typographi regii. m. d. xlix. 
 
 Quarto of 199 pages.Paris, 1549. This book is a faithftil copy ofthemanu/ 
 script ofthe same work, preserved in the Bibliotheque Nationale.' It is em/ 
 bellished with beautiful letters in grisaille with crible background, and with 
 portraits of the ten dukes of Milan who figure in the manuscript. These 
 portraits, all marked with the Lorraine cross, are faithful reproductions 
 of those in the manuscript, but on a smaller scale. Following is a list of the 
 portraits, taken by Paulus Jovius fi^om originals which existed in his day 
 and of which he gives, in each case, the place where it may be found : — 
 
 1. Otho archiepiscopus. 
 
 2. Matthaeus magnus. 
 
 3. Galeacius primus. 
 
 4. Actius. 
 
 5. Luchinus. 
 
 6. Joannes archiepiscopus. 
 
 7. Galeacius secundus. 
 
 8. Barnabas. 
 
 9. Joannes Galeacius primus. 
 10. Philippus. 
 
 There is a French translation of this book, printed in 1552 by Charles 
 Estienne (Robert was then in exile atGeneva), with the same plates. As for 
 the Latin version, it was reprinted several times, in different places, with 
 engravings on copper copied from those of Robert Estienne's edition. 
 
 II. Entree de Henri II a Paris. 
 
 Quarto; Paris, Jacques RofFet, called * Le Faulcheur,' 1549. 
 
 This book, of 38 leaves, consists of two parts : the ' Entree du roi,' of 
 
 I. [See supra, p. i68.] 
 
ICONOGRAPHY 237 
 
 28 leaves, and the ' Entree de la reine,' in which the pagination is repeated, 
 but with different signatures. The privilege, dated Chantilly the last day 
 of March, 1548 (1549 new style), grants to Roffet the sole right to have 
 printed and to offer for sale during one year 'the treatise which is to be 
 written concerning the recent, joyful entree,' etc. 
 
 There were two editions of this book, or, at all events, there are some 
 copies with additions to the second part — after folio 34. There are also 
 copies with the imprint of Jean Dallier . A list of the engravings follows : 
 
 1 . A portico, above which we see Hercules holding, bound together 
 by the ears (by means of a chain issuing from his mouth and represent^ 
 ing eloquence), a wood^chopper, a soldier, a priest, and a noble (folio 4). 
 I can find no mark on this piece, but it is a reproduction of the Gallic 
 Hercules of 'Champ fleury.' 
 
 2. A fountain (folio 5 verso). 
 
 3. A triumphal arch surmounted by the arms of France (folio 9). 
 
 4. An obelisk on a rhinoceros (folio 11). The cross is under the left 
 foot of the rhinoceros. 
 
 5. A peristyle with pillars (folio 13). 
 
 6. A triumphal arch surmounted by three nude men, one of whom 
 holds a standard (folio 15). 
 
 7. A large vaulted hall, on the ceiling of which are H's and D's (folio 
 16). The cross is in a portico at the left. 
 
 8. A mounted man, armed (folio 19). The cross is in the horse's 
 harness, on the breastplate, a little below his mouth. 
 
 9. A triumphal arch, with two pillars (one on each side) surmounted 
 by a man on horseback (folio 38). The cross is on the left-hand pillar. 
 
 10. A portico with two openings, separated by a pillar against which 
 rests the statue of a woman standing on books (foHo 39 verso). 
 
 1 1 . A large plate, representing the fagade of a palace with three por^ 
 ticos (foKo 40). 
 
 Of these eleven plates only four are signed ; but all of them must 
 have come from Tory's workshop, for the style is the same. The ab-* 
 sence of the signature may be explained by the haste with which the 
 engravings were executed in order that they might appear at the op-' 
 portune moment. 
 
 I cannot refrain from quoting M. Renouvier's remarks on the en' 
 gravings in this book, which, for lack of information, he attributed to 
 Jean Cousin. 
 
 *I wiU, however, mention in this place the "Entree de Henri II a 
 
238 GEOFROY TORY 
 
 Paris " in 1 549, because it is the chef'd'oeuvre of French wood^engrav-' 
 ing, and because I know of no one to whom it can with more reason 
 be attributed than to the Senonais master.' If he did not work for the 
 court, he may very well have been employed upon works for the city. 
 Those which were executed to commemorate the coronation of Queen 
 Catherine de Medici are of a manner of composition and a style that 
 belong only to him. The Gallic Hercules, made in the likeness of the 
 late King Francois I, with the four estates of the realm chained to his 
 mouth ; the fountain surmounted by statues of the Seine, the Marne, 
 and Good Fortune ; the triumphal arch bearing a Typhis, whose face 
 strongly resembles that of the " rex triumphans " ; and, lastly, the figure 
 of Lutetia nova Pandora "clad as a nymph, with her hair falling over her 
 shoulders and drawn about her face, kneeling on one knee with won' 
 drous grace" ; and all the other details which the artist painted, as hap-' 
 pening in the streets through which the procession passed, and which 
 he included by way of narrative, are in the refined manner of the French 
 school. The drawing is pure and fiill of delicacy, and the engraving so 
 skilfiilly handled that one cannot believe it to be by a different hand. It 
 would seem that none but a sculptor could, within such narrow limits, 
 have set in relief those interesting faces, designed those gracefiil figures, 
 and arranged those draperies ; and that sculptor — who could it have 
 been if not the author of the mausoleum of Admiral Chabot, the French 
 artist who best represented the two sides of art, — detail and strength, 
 compression and grandeur, gothicism and the Renaissance ? ' ^ 
 
 While agreeing with M. Renouvier that these plates were drawn by 
 Jean Cousin, we may well, it seems to me, attribute the engraving of 
 them to Tory's workshop. 
 
 III. HOR^ IN LAUDEM BEATISSIM^ ViRGINIS MaRI^, AD USUM Rc 
 
 MANUM. (Here a small mark of the printer Chaudiere, representing 
 Time, with this device, printed fi-om type, occupying three sides of 
 the engraving :* Hanc aciem | sola 1 retvndit virtvs.') ' Parisiis, ex 
 officina Reginaldi Calderii et Claudii ejus filii.' 1 549. 
 Large quarto, divided into signatures of two sheets, a \.oy (the i, prob-* 
 ably because that letter was lacking in the font used, is represented by 
 an / and a 2; joined together), or 22 signatures of 8 leaves, making 176 
 leaves ; printed in red and black. 
 
 1 . [Jean Cousin was born in i 501 , and died at Sens about i 590.] 
 
 2. Renouvier, Des Types, tie, Seizieme Steele, y>- 162. 
 
ICONOGRAPHY 239 
 
 This volume corresponds in all respects with the one issued by Simon 
 deColines in 1 543 ' ; but the Chaudieres (Simon de Colines's successors) 
 have removed a French inscription which appeared below the third 
 plate (the Angelic Salutation) in the edition of 1 543 ; and they have re'' 
 moved all the dates inscribed in the borders of that edition. These dates 
 are : 1 536, which appeared in large figures in a cartouche at the foot of 
 the border of folio ^ 4 of the edition of 1 543 ; 1 53 7, in a cartouche at the 
 foot of the sixth plate (the Annunciation to the Shepherds) ; and 1 539, 
 in two small cartouches at the top of the border of folio ^ 2 ; so that all 
 the cartouches are empty in this edition of 1 549. 
 
 I know of only two copies of this edition, one belonging to M. Kiihn-' 
 holtz, the learned librarian of the Faculty of Medicine of Montpellier, 
 the other offered for sale at Claudin's bookshop in 1 860. This last copy, 
 in a state of perfect preservation, is still in its original binding, with S's 
 barre, and small tortoises {tortues) in wreaths of olive. These are the al/ 
 lusive ^ arms of the Tourteron family near Attigny. There is also, on one 
 of the fly-'leaves at the fi^ont of the book, a large tortoise coloured from 
 life, on a red ground, in a green olive wreath ; and at the four corners a 
 monogram of an I and two G's, the initials of the original owner's bap'' 
 tismal names. The volume afterwards belonged to J.^F. Corel du Clos, 
 priest and canon, who wrote his name on the title-page and pasted his 
 arms, engraved on copper, in an empty space at the foot of folio h 3 
 verso. Du Clos seems to have parted with it to the Cordeliers of Rheims, 
 in whose library it remained doubtless until the Revolution. 
 
 IV. Premier volume des antiquites de la Gaule Belgique, 
 
 ROYAUME DE FRANCE, AuSTRASIE ET LORRAINE , . . PARM. RiCH' 
 ARD DE WaSSEBOURG, ARCHIDIACRE DE l'eGLISE DE VeRDUN . . . 
 ACHEVE d'imPRIMER LE I3 NOVEMBRE I549. 
 
 A large folio of more than 600 leaves, printed at Paris by Francois 
 Girault. The privilege, in the name of Sertenas, bookseller, is dated Octo/ 
 ber 1, 1549. It was issued evidently while the printing was in progress, 
 for it is impossible that the volume was made in a month and a half. 
 
 On the first page is the fine frontispiece of the Dream of Poliphilus, 
 above which is the mark of Jacques Kerver . There is but one way to ex*- 
 plain this fact, and that is to assume that Kerver was the printer of the 
 book. It may be that there are copies in his name. In that case he may 
 have furnished the border, which was left: in aU the copies. 
 
 I. [See supra, p. 21 1.] 2. That is, having immediate reference to the bearer's name. 
 
240 GEOFROY TORY 
 
 On the second leaf is the representation of the ' Ymage de nostre 
 Dame de Verdun,' with the Lorraine cross. The Virgin, seated, has in 
 her right hand a flower, and in the left the Child Jesus, holding in his 
 left hand the globe surmounted by a cross. The Virgin's feet rest on a 
 winged dragon. Below her is a man kneeling, with his coat-'of'-arms be' 
 fore him. Presumably it is the author of the book. 
 
 After folio cccli, which concludes the first volume, comes the second 
 volume, the pagination of which follows on. The title-'page of this voP 
 ume, while it is set in the border of the Poliphilus, differs slightly from 
 that of the first. It reads thus: * Second volume des antiquites de laGaule 
 Belgique et de plusieurs principautez contenues en icelle, extraites soubs 
 les vies des evesquesde Verdun, par M. Richard de Wassebourg. . . . On 
 les vend a Paris, en la gallerie du Palais, par Vincent Sertenas, libraire au' 
 ditlieu. Etaussi,se vend en la cite de Verdun.' Onthe versoistheengrav 
 ing described above. The Lorraine cross is under the dragon's tail. 
 
ICONOGRAPHY 
 
 241 
 
 V. Gerard d'Euphrate. 
 
 Folio, roman type, Paris, Estienne Groulleau, 1 549. There are copies 
 also with the imprint of Longis, and others with that of Sertenas. 
 
 This volume contains numerous engravings, large and small ; but 
 only 3 1 of them are different, many being repeated once,twice,or thrice. 
 Three are signed with the Lorraine cross, as follows : — 
 
 Folios 5 verso, 64 verso, 89 verso, and 1 83. Vessels manned by soldiers. 
 A woman stands near the shield of him who seems to be in command.' 
 
 Folio 46. A knight armed cap-'a^pie standing in the recess of a por^ 
 tico. His right foot is hidden by a sort of altar whereon are the names of 
 Madanil, Bruneo, Agradiis, and Amadis.^ 
 
 Folio 48. Bird's-'eye view of a chateau which has been besieged, at 
 whose gate stands a warrior accompanied by a horse and a dog ; he is 
 parleying with the keeper of the gate, who stands at the top of the en/ 
 trance tower. This last plate is a superb folio. 
 
 1550 
 
 I. Hor^ in laudem, etc. 
 
 Hours of the Virgin accordingto the useof Rome,inGreekand Latin. 
 
 Small sixteenmo, Paris, Jean de Roigny, 1550. Printed in red and 
 black. One of the engravings, on leaf 1 13, representing the Sacrifice of 
 David, is signed with the Lorraine cross. The others are not signed, but 
 are absolutely in the same style; they are: the Annunciation, folio 38 
 (repeated on 105), and the Resurrection of Lazarus, folio 133.^ 
 
 II. Breviarium ad ritum diocesis Eduensis. — Parisiis,apudIolan'' 
 dam Bonhomme, viduam Thielmani Kerver, in via Jacobea, sub Uni' 
 corni. 
 
 Small octavo, 1550. On the first page are the arms of Cardinal Hip' 
 polyte d'Este, Bishop of Autun, signed with the Lorraine cross. ^ 
 
 III. L'Histoire de Primaleon de GRECE,etC. 
 Translated by Vernassal. Folio, Paris, 1550. 
 
 This fine volume, printed by Pasquier Letellier for the bookseller 
 Vincent Sertenas, for whom Tory had engraved a mark, contains fifty 
 engravings in the text. A single one is signed with the Lorraine cross: 
 it is found on folio 137 verso, and represents a lion fawning upon a 
 woman who sits beside a fountain. 
 
 1 . [Reproduced on the opposite page.] 
 
 2. This engraving had previously appeared in • Amadis de Gaule ' : see supra, p. 216. 
 
 3. Bibliotheque Nationale. 
 
242 GEOFROY TORY 
 
 There are copies of this book in the names of other boolcsellers — 
 l^tienne Groulleau, Jean Longis, etc. ; but the privilege is in the name 
 of Sertenas.' At the end of the volume is a note to the reader by Letel' 
 lier. 'Dear reader,' he says, 'if you have noticed, on reading this book, 
 the common orthography changed in some words, even as to the double 
 letter, which is not pronounced according to the true French method, 
 think not that that is of my doing, but that it accords with the earnest 
 recommendation of the author.' 
 
 IV. MiSSALE SECUNDUM USUM CELEBRIS MONASTERII ClUNIACEN^ 
 
 SIS, etc. Here the vignette described below, followed by this im-' 
 print : ' Prostat Parisiis, apud lolandam Bonhomme, in via Jacobea, 
 sub Unicorni, ubi et impressum est. — Anno D. m. ccccc. l.' 
 This missal is embellished, on the title^'page, with a cut signed with 
 the Lorraine cross, and representing Saint Peter and Saint Paul, patron 
 saints of the Abbey of Cluny . This cut appears in other parts of the book, 
 where we find also the two large cuts hitherto described (page 214) as 
 included in the Missal of Paris, of 1 5 3 9 , published by order of Jean de BeP 
 lay. We find also a Saint John Baptist, with the Paschal Lamb under 
 his left: arm, and pointing to it with his right hand. This cut, which is 
 signed in two different places, is on folio 49 of the second part. It is of 
 quarto size. 
 
 The book is in two parts, paged separately. The two large engravings 
 are on folios 1 16 and 1 17 of the first part. At the end of the Missal 
 proper, which is followed by a few other leaves, are these words : ' Ex 
 officina chalcographica matrone clarissime lolande Bonhomme, vidue 
 industrii viri Thielmanni Kerver, Parisiis, in via Jacobea, sub Unicorni, 
 anno D. millesimo quingentesimo quinquagesimo, idib. septembris.' 
 
 There are several copies of this book in the Bibliotheque Nationale. 
 In two of them the miniaturists have substituted for the date 1538, 
 printed on one of the large cuts, the dates on which they coloured it — 
 1559 and 1567, respectively. It is well to call attention to such details 
 as these, which may give rise to mistakes. 
 
 We also find in the Cluny Missal the unsigned drawings to which I 
 have previously referred^ and which are in the Paris Missals of 1 539 and 
 
 1559- 
 
 1 . The copies in Sertenas's name bear a very curious mark, which is reproduced in M. Sil- 
 vestre's book, nos. 221 and 714. 
 
 2. [Supra, p. 149.] 
 
ICONOGRAPHY 243 
 V. Heures de Nostre Dame a l'usaige de Romme [sic], en latin 
 
 ET EN FRANCOYS, NOUVELLEMENT IMPRIMEES A PaRIS. (Here a 
 
 vignette representing the Virgin under a portico ; at the foot the let^ 
 ters F. R., initials of Francois Regnault, deceased husband of Made/ 
 leine Boursette.) * A Paris, par Magdaleine Boursette, a I'enseigne de 
 I'Elephant, a la rue Sainct Jacques.' 
 
 On the verso of the title-page a table of Easter^Days from 1 550 to 
 1566. 
 
 Sixteenmo, in signatures of 8 leaves. The work is in two parts ; the 
 first has 168 numbered leaves, signatures A to X; the second part has 
 only 32 leaves, signatures A to D. Roman type, double columns, printed 
 in red and black. On the recto of folio 1 68 of the first part, at the foot, are 
 these words : * Parisiis excudebat Stephanus Mes viere in zedibus Vindo^ 
 cimis, ex adverso collegii Becodiani. — 1 550,' And on the last leaf of 
 the second part : ' Cy finent ces presentes Heures a l'usaige de Romme, 
 en latin et en fi-angoys, nouvellement imprimees a Paris, par Estienne 
 Mesviere, demourant a I'hostel de Vendosmes, devant le college de Bon/ 
 courd.— M. D. L.' 
 
 This precious book, of which I know of but one copy, owned by M. 
 Silvestre, author of' Les Marques Typographiques,' contains many en/ 
 gravings. The principal ones are : 
 
 Folio 5 recto. Saint John writing his Gospel (signed). 
 
 12 recto, Jesus at prayer in the Garden of Olives. 
 
 33 recto, The Angelic Salutation (signed). 
 
 47 verso. The Visitation (signed). 
 
 56 verso, The Nativity of Jesus (signed). 
 
 60 recto, The Annunciation to the Shepherds (signed). 
 
 63 verso. The Adoration of the Magi (signed). 
 
 67 recto, The Presentation in the Temple (signed). 
 
 70 verso, The Flight into Egypt (signed). 
 
 77 recto, The Coronation of the Virgin. 
 
 89 recto, Jesus on the Cross. 
 
 93 verso. The Descent of the Holy Ghost (signed). 
 
 97 verso. The Penance of David (signed). 
 109 verso, Job on the Dunghill. 
 168 verso, Death (signed). 
 
 VI. HoR^ IN laudem beatissime Virginis Marie ad usum Ro/ 
 manum. — Parisiis, apud Thielmannum Kerver. M. D. L. 
 
244 GEOFROY TORY 
 
 On the verso of the last leaf: 'Excudebat Parisiis.Thielmaiinus Ker^ 
 ver, in vico sancti lacobi, sub signo Gratis. — M. D. L. ' 
 
 Small octavo of 1 72 unnumbered leaves ; signatures A to X of 8 leaves 
 and Y of 4. Roman type, printed in red and black, with the small bord' 
 ers vv^ith birds, etc., used by Mallard in his Hours of 1 541 
 
 1551 
 
 I. De sacris ecclesi^ ministeriis AC ben[e]ficiis libri VIII . . . 
 AUTHORE Francisco Duareno jureconsulto et ordinario 
 JURIS civiLis doctore IN civiTATE Biturig[i]. — LutetiaB, ex 
 typographia Matth^i Davidis, via Amygdalina, ad Veritatis insigne. 
 
 — 1551- 
 
 Quarto of 338 leaves, plus one unnumbered leaf, on which are the 
 words: ' Parisiis, excudebat Matthaeus David, prid.calend.nov. [October 
 
 31] 1551- 
 
 On the title-page is David's mark, with the Lorraine cross. On the 
 verso, a portrait of Le Duaren, in the shape of a medallion, also signed 
 with the Lorraine cross. Encircling it, the legend : 'francisc.dvarenvs. 
 jvrisc."" 
 
 The work opens with an epistle to Marguerite , Duchesse de Berry, and 
 sisterof Francois I. This letter, dated Paris, the Ides of June, 1 550, is more 
 properly a dedication, for in it Le Duaren mentions the death of Mar^ 
 guerite, which took place in 1 549. He tells us, further, in the title of this 
 epistle, that it was written before his return to Bourges, which he had 
 been obliged to leave in 1 547, asthe result ofalove-'affair ('antequam Lu^ 
 tetia Parisiorum Avaricum Biturigum migrasset ').^ 
 
 II. GiCERo's Works (in Latin), published by Gharles Estienne, from 
 1 55 1 to 1555, in four folio volumes, usually bound in two. 
 
 This important work is embellished with a frieze engraved for Robert 
 Estienne, and signed with the Lorraine cross, — a frieze which appears 
 in the second volume of the works of Eusebius of 1 544.'* We also find 
 
 1 . See under that date for details (supra, p. 218). 
 
 2. This portrait was engraved on copper, in i 556, by Woeiriot, printed separately, and 
 pasted on the recto of the second leaf of Le Duaren's works, printed at Lyon in i 5 58 by Guil- 
 laume Rouille, in folio ; on some copies Woeiriot' s engraving of Le Duaren's portrait is replaced 
 by the one engraved by Georges Ghisy, called the Mantuan. See Robert-Dumesnil, Peintre- 
 graveur frarifais, vol. vii, p. 109, no. 282. 
 
 3. See, too, the article on Le Duaren in the Biographic JJniverselle. 
 
 4. Supra, p. 1 89, note 3. 
 
ICONOGRAPHY 245 
 
 therein several floriated letters signed with the Lorraine cross . ' These are 
 the E, the O, and the S of the medium alphabet, — for there are three 
 alphabets of different sizes, all three formed by Renaissance arabesques. 
 The largest is the one used in the folio Eusebius of 1 544, which, conse^ 
 quently, was engraved for Robert Estienne ; but it has no signature. The 
 medium alphabet was, doubtless, engraved for Charles Estienne in this 
 same year 1 551 , in which he began to conduct a printing-office. I can^ 
 not say whether any other letters of this medium alphabet bore the Lor^ 
 raine cross, for they do not all appear in the book, but I am sure that the 
 G has none. Of course, after Tory died, the artists employed in the es' 
 tablishment carried on by his widow had no reason to select the G 
 rather than another letter. 
 
 I give some details concerning this valuable edition, of which M. 
 Didot owned a copy annotated by Henri Estienne. The text of the first 
 volume, printed in 155 1, as stated in an imprint at the end (dated the 
 3d of the Nones of September), exhibits one of the letters mentioned 
 above — the S (on folios 56 and 298). This volume received later a 
 large title-page dated 1555, and a dedication, to the Cardinal de Lor^ 
 raine, also dated 1 555 (the 6th of the Kalends of March), on which we 
 find the fi"ieze of the Eusebius of 1 544, signed, and bearing on a me/ 
 dallion Fame distributing wreaths.^ The text of the second volume, 
 also of 1 551, as I discovered from an incomplete copy in the library at 
 Montbrison (it has no final imprint, but on the title-page some one has 
 added iii by hand to the original numerals m. d. li, so that it might 
 correspond with the other copies), contains the three floriated letters 
 signed with the Lorraine cross (folios 47, 1 22, 230, 313, 388, 398) ; we 
 find also, on the title-'page, dated 1554, Charles Estienne's small mark 
 described later.^ The text of the third volume was probably printed in 
 1552, but it has no final imprint. The title-page is dated 1555 ; it has 
 the small mark with the Lorraine cross. The fourth bears on the title' 
 page the date 1554, but it was not finished until 1555, as is shown by 
 the final imprint (3d of the Kalends of March, 1555) ; the vignette of 
 the title-page is unlike that in the second and third volumes, although 
 of the same size, and has not the cross. The work did not appear until 
 1 555, as is shown by the date on the title-page of the first volume, on 
 which there is another larger mark, also without the cross.'^ 
 
 1. These letters had akeady appeared in a book published by Robert Estienne in i 549. 
 
 2. This frieze in 1 561 came into the possession of the second Robert Estienne, who used 
 it in a book entitled : Ordonnances de M. k due de Bouillon pour le reglement de la justice de 
 ses terres. Small folio, 1 568. 3. Page 271. 4. Bibhotheque Nationale. 
 
246 
 
 GEOFROY TORY 
 
 1552 
 
 I. Heures Paris [sic], contenant plusieurs oraisons devotes, 
 
 EN FRANCOIS ET EN LATIN ET CONFESSION GENERALE. (Here 
 
 the mark of Thielman Kerver, with the Lorraine cross.) Imprime 
 a Paris par Thielman Kerver, demourant rue Sainct Jaques, a Ten' 
 seigne du Gril. — 1 552. 
 
 Duodecimo, red and black; signatures A to O. Tory's small border 
 with decorations of birds. Plates of the Hours of 1541.' 
 
 II. Testamentum novum. — Additis picturis in Evangelia ET 
 Apocalypsim, QUIBUS MIRACULA ET visiones elegantissime 
 EXPRiMUNTUR. (Mark of Madeleine Boursette, widow of Francois 
 Regnault ; Silvestre, no. 396.) 'Parisiis. Apud viduamFrancisci Reg/ 
 nault, via Jacobaea. — 1 552.' 
 
 At the end of the volume : * Parisiis. Excudebat Stephanus Mesviere, 
 in sdibus Vindocimis, ex adverso collegii Becodiani. — 1552. 
 
 Thirty ''twomo ; 45 signatures {a to z, A to Y) of eight leaves each, 
 or 360 leaves in all. Only the first 350 are numbered ; the last 10, con' 
 taining the index, are without folios. Printed in very small roman type. 
 
 This book contains 120 engravings inserted in the text, and serving 
 thus ' to illustrate,' as we should say to-day, or ' to express,' as the pub-' 
 lisher says on the title-'page, the Gospels and the Apocalypse. Those re^' 
 lating to the Apocalypse, 22 in number, are of earlier date than the 
 others, and by another hand. Of those which illustrate the Gospels, 
 many are signed with the double cross. Although several of them relate 
 to subjects previously treated in the octavo Hours of 1 527 and the six^ 
 teenmo Hours of 1 529, the engravings, while they are of nearly the same 
 size, are different none the less. A list of their titles follows: — 
 
 Folio 2 recto, St. Matthew writing his Gospel. 
 
 3 verso. Adoration of the Magi. 
 
 4 verso, The Flight into Egypt (signed). 
 
 5 recto. Massacre of the Innocents (signed). 
 
 5 verso, Baptism of Jesus. 
 
 6 verso, Jesus carried up into a Mountain (signed). 
 
 8 recto, Jesus bids Simon and Andrew to foUow Him (signed). 
 
 12 recto, Jesus curing the Paralytic. 
 
 13 verso, Jesus expelling the Money-changers from the Temple 
 
 (signed). 
 
 I . [Supra, p. 2 1 8.] 
 
ICONOGRAPHY 247 
 
 16 verso, St. John in Prison (signed). 
 
 1 8 recto, The Apostles pardoned by Jesus. 
 
 20 recto, Parable of the Sower. 
 
 26 verso, Jesus teaching. 
 
 27 verso, Jesus driving out the Devils (signed). 
 
 30 recto, The Mother and Brothers of Jesus (signed). 
 
 31 recto, Jesus and the Ass. 
 
 31 verso, Jesus entering Jerusalem. 
 
 32 recto, Jesus cursing the Fig-tree. 
 
 33 recto, Parable of the Reapers (signed). 
 
 33 verso, The Vine^Dresser slaying the only Son. 
 
 36 recto, Jesus likens Himself to the Hen. 
 
 37 recto, Jesus arguing with the Doctors (signed). 
 39 recto. Parable of the Virgins (signed). 
 
 41 verso, The Lord's Supper. 
 
 47 verso, St. Mark writing his Gospel. 
 
 50 recto, The Apostles pardoned by Jesus (as on p. 18). 
 
 52 verso. One does not hide the Light under a Bushel (signed). 
 
 53 recto, Jesus expelling the Devils, which enter into the Swine 
 
 (signed) . 
 
 56 recto, St. John's head borne by Herodias. 
 
 57 verso, Jesus walking on the Water (signed). 
 59 recto. The deaf and dumb Man (signed). 
 
 59 verso. The Miracle of the Loaves. 
 
 60 verso, Jesus curing a blind Man (signed). 
 63 verso, Jesus blessing the little Children. 
 69 verso, The Magdalen pouring Spices. 
 
 75 verso, St. Luke writing his Gospel. 
 77 recto, The Annunciation (signed). 
 77 verso. The Visitation (signed). 
 79 recto. The Nativity (signed). 
 
 79 verso, The Annunciation to the Shepherds (signed). 
 
 80 verso. The Circumcision (signed). 
 
 81 verso, Jesus among the Doctors (signed). 
 
 82 recto, St. John Baptist preaching (signed). 
 
 83 recto. The Tree not bringing forth Fruits. 
 
 84 verso, Jesus explaining the Writings in the Temple (signed). 
 
 85 verso, Cure of Simon's Mother-in-law (signed). 
 87 recto, Cure of the Paralytic (signed). 
 
GEOFROY TORY 
 
 88 verso, Jesus effecting Cures. 
 
 90 recto, Jesus curing the Widow's Son (signed). 
 
 97 recto, Jesus sends his Apostles forth to preach the Gospel. 
 
 98 recto, Jesus discoursing to his Disciples. 
 
 98 verso, Parable of the Good Samaritan (signed). 
 ICQ verso, Jesus instructing a Woman (signed). 
 1 01 recto, Jesus dining with a Pharisee (signed). 
 
 107 verso, Return of the Prodigal Son. 
 
 108 verso. The Rich Man in Flames and Lazarus in Abraham's 
 
 Bosom. 
 
 1 10 recto. Cure of the ten Lepers (signed). 
 
 1 1 1 verso. The Shepherd and the Pharisee. 
 
 112 recto. The Parable of the Camel. 
 112 verso, Nicodemus on the Tree. 
 
 118 recto. The Lord's Supper (as on p. 41). 
 1 1 8 verso, Jesus in the Garden of Olives. 
 122 verso. The Disciples at Emmaus. 
 
 124 recto. The Ascension. 
 
 125 verso, St. John writing his Gospel. 
 
 126 verso. The Trinity. 
 
 128 recto. The Marriage at Cana. 
 
 128 verso, Jesus expelling the Money •'Changers. 
 
 131 recto. The Woman of Samaria. 
 
 132 verso, Jesus curing the Son of a Wood^sawyer (signed). 
 
 133 verso. The Pool (signed). 
 
 134 recto, Jesus answering the Doctors (signed). 
 
 135 verso, same as on p. 59.' 
 137 recto. The Withered Hand. 
 
 140 recto. The Woman taken in Adultery (signed). 
 142 recto, Jesus leaving the Temple. 
 142 verso, Jesus curing the blind Man. 
 
 145 recto, Jesus in flight. 
 
 146 verso, Resurrection of Lazarus (signed). 
 
 147 verso. The Priests deliberating as to putting Jesus to Death 
 
 (signed) . 
 
 150 verso. The Lord's Supper (as on pp. 41 and 118). 
 155 verso, St. Peter cutting offMalthus's Ear. 
 
 [The author forgets that he has listed two engravings on folio 59, one on each side of the 
 
ICONOGRAPHY 249 
 
 1 56 recto, Jesus before Caiaphas. 
 
 1 57 verso, Jesus before Pontius Pilate. 
 
 158 recto, The Scourging. 
 
 1 58 verso, The Crown of Thorns. 
 
 1 59 recto, Jesus beneath the Cross. 
 
 1 59 verso, Jesus Crucified. 
 
 160 verso, Jesus Entombed. 
 
 1 6 1 verso, The Women going to the Tomb. 
 
 162 recto. The Women announcing the Resurrection to the 
 
 Disciples (signed). 
 
 162 verso, The Magdalen takes Jesus for the Gardener. 
 
 1 63 recto, The Ascension (signed) . 
 312 verso, St. John writing. 
 
 321 verso, St. John receiving the Revelation. 
 
 323 recto, Alpha and Omega. 
 
 326 verso, A Throne erected in Heaven. 
 Then followthe engravings of the Apocalypse, impossible to describe, 
 and in an entirely different manner. At the end of the book is an engrav 
 ing of the Christ on the Cross, surrounded by rays of light. 
 
 III. Le premier livre de la Chronique du tres vaillant et 
 REDOUTE DOM Flores DE Grece. FoHo, Jean Longis, 1552. 
 There are many engravings in this book, but only one of them is 
 
 signed with the Lorraine cross. That one is on foHo 90 verso, and repre^ 
 
 sents soldiers before a tower. It is reproduced in 'L'Histoire paladine,' 
 
 folio, Etienne GrouUeau, 1555, on folio 56 verso. 
 
 1553 
 
 Ronsard's 'Les Amours' annotated by Marc^Antoine Muret. 
 
 Octavo, printed by Maurice de la Porte's widow, 1 553 This edition 
 of 'Les Amours' is embellished with a portrait of Muret, signed with 
 the Lorraine cross, and bearing the inscription 'An. xxv,' which 
 proves that it was engraved that same year, for Muret was born ini 526.* 
 This portrait reappears, but without the inscription, in several other 
 editions of Ronsard. I wiU mention particularly the quarto edition of 
 his works, issued in 1567 by Gabriel Buon, successor to Maurice de la 
 Porte's widow, and the foHo issued in 1 6 23 byNicolas Buon, Gabriel's son. 
 
 1 . Bibliotheque Nationale. 
 
 2. [The inscription would seem to prove, on the contrary, that the engraving was made 
 two years earlier, or in i 5 5 i . ] 
 
250 
 
 GEOFROY TORY 
 
 1554 
 
 Les Observations de plusieurs singularitez et choses memc 
 RABLES TROUVEES enGrece. By Pierre Belon. Quarto, Paris, 1554. 
 There were two editions of this book, printed by Benoit Prevost, 
 for Gilles Corrozet and Guillaume Cavellat, respectively, in 1553 and 
 1554. The copies in Corrozet's name bear his mark, signed with the 
 Lorraine cross. There is a portrait of Belon signed with the cross at 
 the end of the front matter in the edition of 1554. I have not seen it 
 in any copy of the edition of 1 553, which leads me to think that it had 
 not then been engraved. And, in effect, the fact that the portrait attrib' 
 utes to Belon the age of thirty -'six years seems to show that it was not 
 drawn until 1554, as Belon is supposed to have been born in 15 18. 
 However that may be, the portrait appeared afterward in several other 
 books by the same author, and particularly in his 'Histoire de la nature 
 desoiseaux,'foHo, 1555. 
 
 1555 
 
 Histoire de la nature des giseaux. By Pierre Belon. Folio,Paris, 
 G. Corrozet, 1555. 
 
 In this book we find, in addition to the portrait of Belon, seven cuts 
 of birds, signed with the Lorraine cross. They are: the osprey, folio 96 ; 
 the sea-gull, 1 69 ; the bustard, 238 ; the pullet, 252 ; the loriot, 295 ; the 
 woodpecker, 304; the sparrow-hawk, 376. Some of the other engrav-' 
 ings in the volume are signed with a white cross on a black ground. 
 
 I. Les Singularitez de la France antarctique, autrement 
 
 NOMMEE AmERIQUE, ET DE PLUSIEURS TERRES ET ISLES DECOU^ 
 
 VERTES DE NOSTRE TEMPS. Par F. Andre Thevet, natif d'Angou^ 
 lesme. — A Paris, chez les heritiers de Maurice de la Porte, au clos 
 Bruneau, a I'enseigne S. Claude. — 1558. 
 
 This rare and curious volume is a quarto of 8 preliminary leaves, 
 1 66 leaves of text, and 2 of index unnumbered, — in all, 46 signatures. 
 The privilege, which is printed on the verso of the title-page, is dated 
 Saint'Germain^en-'Laye, December 18, 1556. In the dedication, ad' 
 dressed to the Cardinal of Sens, Jean Bertrand, first Keeper of the Seals 
 of France, Thevet says that the country described by him maybe called 
 the fourth part of the world, 'for that no one has as yet made explora' 
 
ICONOGRAPHY 251 
 
 tions there, all geographers thinldng that the world is limited to that 
 which the ancients have described to us.' 
 
 There are 41 engravings in the text, not including borders, floriated 
 letters, and Jean Bertrand's arms on the title-'page. Of the 41, only seven 
 are signed with the double cross ; four of these represent scenes in the life 
 of the American savage, — they are on folios 6 verso, 3 1 recto, 47 verso, 
 and 151 recto; a fifth represents an extraordinary bird called (45 
 recto) ; and the other two, plants, — the pineapple (89 verso), and the 
 cassava (113 verso). The last three appear in Andre Thevet's 'Cosmos 
 graphic Universelle,' published in 1575, in two volumes, folio.' The 
 others also appear in that work, but reengraved on a larger scale, and 
 without signature. 
 
 The seven engravings signed with the double cross cannot have been 
 executed prior to 1556. For The vet set out for the New World on 
 November 4, 1555,'' and remained there four months. So that it was 
 not until the early months of 1 556, at the earliest, that the engravings 
 could have been executed. But, as the book did not appear until the 
 beginning of 1558,^ it may be that they were still in process of execu' 
 tionini557. 
 
 In the same year with the publication of Thevet's ' Singularites,' an 
 octavo edition appeared at Antwerp, with the imprint of Christophe 
 Plantin, and a privilege from the King of Spain, dated Brussels, April 
 20, 1558. The haste with which this reprint was prepared shows the 
 interest with which the book was regarded. The woodcuts of the AnV 
 werp edition are nothing more than wretched copies of those in the 
 Paris edition. We find among them, however, in chapters 56, 58, 67, 
 and 74, cuts of animals bearing the cipher of Jost Amman. 
 
 II. HOR^ IN LAUDEM BEATISSIM^ ViRGINIS MaRI^ AD USUM Rq/ 
 
 MANUM. (Here the mark of T. Kerver, without the cross.) Parisiis, 
 apud Thielman Kerver, in via sancti Jacobi, sub signo Gratis. 
 Duodecimo, 1 556. Signatures A to M, and A to G vi. Border deco-* 
 rated with birds, with the small engravings of 1529. M. Niel owns a 
 
 1 . Vol. ii, folios 936 recto, 948 verso, and 994 recto. This work of Thevet's must not be 
 confounded with that geographer's Cosmographie du Levant, the fruit of an earlier journey, two 
 editions of which had been pubHshed at Lyon, in 1 5 5 4 and i 5 5 6, by Jean de Tournes, in quarto, 
 with engravings in the text. 
 
 2. See the details of this voyage of Thevet given by M. Ferdinand Denis in a letter printed 
 at the beginning of a work by M. Demersay, entitled : Etudes economiques sur V Am'erique; 
 8vo, 1 85 1. 
 
 3 . We shall see in the next paragraph that a reprint of it was issued in April, 1558. 
 
252 GEOFROY TORY 
 
 copy of this book bound with Tory's toolings. It has the Pot Casse on the 
 edges. Another copy, belonging to M. Portalis, is bound with the pray 
 ers (in French) described on page 219. 
 
 1557 
 
 I, Les figures et portraicts des parties du corps humain. — 
 A Paris, par Jaques Kerver, rue S. Jaques, aux deux cochetz. — 1557. 
 Folio, containing 6 1 large anatomical plates, several of which are 
 
 signed with the Lorraine cross, and dated 1 53 1 , 1 532, or 1 533 . This col' 
 lection was reprinted in the same form, by the same publisher, in 1 575.' 
 
 II, Les quatre livres d'Albert Durer, peintre et geometrien 
 excellent, de la proportion des parties et pourtraitzdes 
 corps humains, traduits par Loys Meigret, Lionnois, de 
 
 LANGUE LATINE en FRAN9OISE. 
 
 Folio ; Paris, chez Charles Perier , at the sign of the Bellerophon,^ 1 5 5 7 • 
 In the same year Perier published an edition of Durer's work in Latin, 
 similar in every respect to the French edition. It is entitled ' De Syme-' 
 tria partium humanorum corporum.' I am unable to say which was 
 printed first. 
 
 1559 
 
 Psalterium Davidicum gr^colatinum. . . . Parisiis, apud /Egv 
 dium Gorbinum, sub insigne Spei, prope collegium Cameracense. 
 
 — 1559- 
 
 On the last leaf : ' Parisiis, excudebat Benedictus Prasvotius, ad Stel^ 
 lam Auream, via Frumentello.' 
 
 Twenty ''fourmo of 278 numbered leaves of text, and 20 unnumbered 
 preliminary leaves ; printed in red and black. 
 
 This little volume, printed in Greek and Latin, two columns on a 
 page, was called to my attention by M. Lornier, barrister, of Rouen. 
 Opposite the first page of text is a small engraving, signed with the Lor^ 
 raine cross, representing the penance of David. David is on his knees, 
 with a book before him and his harp at his right hand ; he is gazing at 
 God the Father, who is seen in the sky blessing him. Doubtless this en^ 
 graving appears in other books of earlier date. It is 73 millimetres high 
 by 55 wide. 
 
 1. See what has been said concerning this volume, on pages 223 and following, supra. 
 
 2. This sign was retained by Thomas Perier, Charles's son. See Silvestre, Marques Typo- 
 graphiques, no. 386. 
 
ICONOGRAPHY 
 
 253 
 
 ENGRAVINGS OF UNCERTAIN DATE. 
 
 I. Figure de l'ancienne et de la nouvelle alliance. 
 
 A large plate, 3 5 centimetres in width by 2 7 in height, di vided into two 
 parts by a tree at the foot of which is Man, thus placed on the boundary 
 of the two worlds. The tree bears only withered branches on the left side 
 (the old a]liance),whereas, on the right (the new alliance), it is green and 
 flourishing. 
 
 In the compartment at the left we see Adam and Eve in the Garden 
 of Eden. Eve is offering Adam the apple. Beneath them is the word 
 'peche.' ' Lower still is a skeleton on a bier, with the words 'la mort' 
 beneath. Above the Garden is Mount Sinai, whereon Moses is receive 
 ing the tables of the law ; beneath, on the right, the ' terrestrial Jem-' 
 salem/ wherein are devout persons being devoured by serpents, with 
 the serpent of brass in the midst, and above it the words, ' Similitvde de 
 la ivstification.' Moses appears on the right ; at the left, and a little lower, 
 Hagar and Ishmael ; lower still, the prophet pointing out to Man Jesus 
 on the Cross at the right. 
 
 In the compartment at the right we see God standing on the terres^ 
 trial globe, with the words, ' lervsalem celeste above, ' Mont Sion,' on 
 which stands a woman's figure, with the words ' La Grace ' over her 
 head. An angel bearing a cross descends from Heaven (where are the 
 words, 'Emmanvel Dievavec novs') amid rays of light which faU upon 
 the woman. Lower, at the left, is another angel announcing the birth 
 of Christ to the shepherds. Near by, at the right, the Christ on the Cross, 
 with the words, ' nostre ivstice,' and the Paschal Lamb, with the words, 
 ' nostre innocence ' ; below, Jesus coming forth from the tomb, with the 
 words, 'nostre victoire' ; stiU lower, at the left, St. John Baptist points 
 ing out to Man the Christ on the Cross ; the Forerunner is indicated by 
 the words, ' Lenseignevr de Christ,' in a cartouche ; above St. John are 
 Sarah and Isaac. 
 
 In each of the compartments is a number of figures which appar^ 
 ently correspond to some vanished text.^ There are eight in the one at 
 the right and nine in the other. 'Man' is marked with a zero. I am 
 
 1. Pech'e [sin]. 
 
 2. I have previously had occasion to comment upon the extraordinary custom that formerly 
 prevailed in the Cabinet des Estampes of removing from engravings, etc. , every sort of extrane- 
 ous matter. It is impossible to measure the extent to which this custom has impaired the value 
 of the collection. Unfortunately it is followed by most collectors of prints, who sometimes de- 
 stroy a very valuable and unique volume for no other purpose than to preserve an engraving 
 unaccompanied by text. 
 
254 GEOFROY TORY 
 
 unable to give the origin of this plate, which is in the Cabinet des Es^ 
 tampes in the Bibliotheque Nationale, and was for a long time attri' 
 buted to Jean Cousin. It was M. Deveria who removed it from that 
 artist's work and placed it with Tory's, whose double cross it bears, at the 
 left, below the cartouche containing the words ' Lenseignevr de Christ.' 
 I believe that it belongs in some large folio Bible ; for I have seen the 
 subject treated in a more or less summary fashion ' on the title-pages 
 of several Bibles, in French and other languages. I will mention par' 
 ticularly the following, all of which are in the Bibliotheque Nationale. 
 
 ( 1 ) A French Bible, printed at Antwerp in 1 53 0, by Martin I'Empereur ; 
 
 (2) A Bible in old Saxon, printed at Lubeck in 1 533 by Ludowich Dietz 
 (the same woodcuts reappear in an edition in Danish, issued by the same 
 printer, at Copenhagen, in 1 550) ; (3) A Bible in Latin, ft-om the text of 
 Erasmus, published in 1 543 or 1 544, with two engravings by Cranach ; 
 (4) A Bible in Flemish, printed at Antwerp in 1556. 1 will mention also 
 Luther's Latin Commentaries (' enarrationes ') on the Bible, printed at 
 Nuremberg in 1555, with an engraving on the title-page dated 1 552. 
 
 Whatever its source, this drawing was reproduced in 1 562, on a large 
 enamelled plate in tinted grisaille, attributed to Pierre Rexmond, enam^ 
 eller, at Limoges. The sketch for this plate was published in 1 843, after 
 a copy in the collection of M. Baron, in the volume entitled * Meubles 
 et Armes du moyen age,' a large quarto, published by Hauser, dealer in 
 prints on Boulevard des Italiens.^ It is no. 127 in the collection. In this 
 drawing the groups are arranged in chronological order, the circular 
 form of the plate making it impossible to retain the arrangement of 
 the engraving. But the various subjects and their respective inscriptions 
 are identical, save for the errors in orthography with which the Li' 
 mousin artist has besprinkled the latter. The two Jerusalems are sepa^ 
 rated by two trees, which, starting at the outer border of the plate, 
 formed of Renaissance arabesques, join their heads at the centre, where 
 there is a medallion containing the face of Marguerite de Valois, sister 
 of Francois I.^ 
 
 1 . We find some features of it in the frieze engraved by Tory for the Bible published by 
 Robert Estienne in 1532. See p. 202, supra. 
 
 2. This collection was sold in January, i 846, and the plate in question was purchased, for 
 about 2000 francs, for M. Cambaceres, Grand Master of Ceremonies in the Imperial house- 
 hold, who now owns it [1857]. This is what M. Baron says of it in his sale catalogue, no. 
 445 : ' This important piece, in the most perfect preservation, merits the attention of collectors 
 by virtue of its value and its rarity.' There is a copy also in the Cabinet of Geneva. 
 
 3. According to the catalogue quoted in the last note, the reverse of the plate also is embel- 
 lished with arabesques. 
 
ICONOGRAPHY 255 
 
 This subject has been treated also in a cameo now in the Bibliotheque 
 Nationale, but in a very summary fashion because of the small size of 
 the piece, which is only 57 millimetres in width by 72 in height. All 
 the essential details of the engraving are reproduced. A description of 
 this interesting cameo will be found under no. 317, in the 'Notice du 
 Cabinet des medailles,' published by M. Chabouillet, one of the conserve 
 ators of that priceless collection. It has been reproduced, too, in the 
 collection of ' Memoires de la Societe des antiquaires de Morinie,' and 
 the curious feature of the business is that the engraver has taken for his 
 mark the arms of the city of Saint^Omer, which are the Lorraine cross. 
 
 II. Recueil des Rois de France, leurs couronne et maison, 
 
 ENSEMBLE LES RENGS DES GRANDS DE FRANCE, par Jean du Til^ 
 
 let, sieur de la Bussiere, protonotaire et secretaire du roy, greffier de 
 son parlement. — Plus, une chronique abregee contenant tout cequi 
 estadvenu . . . entre les roys et princes . . . estrangers, par M. Jean du 
 Tillet, eveque de Maux.' 
 
 Folio ; one volume in two parts, Paris, J. du Puys, 1 580. 
 
 This volume is an exact reproduction of the manuscript preserved 
 at the Bibliotheque Nationale, which I have already described.^ Al^ 
 though dedicated to Charles IX, the book was prepared for publication 
 at a much earlier date. In fact, the author tells us, in the dedicatory epis' 
 tie, that he had presented a copy to Henri II ; indeed, it seems that he 
 had it prepared for printing at the insistence of the King and Queen, who 
 had promised 'to take care of the expenses.' This fact explains why aP 
 most all the portraits of the kings of France, from Clovis to Francois I, 
 are signed with the Lorraine cross. These portraits are copied from the 
 miniatures of the manuscript, but are on a smaller scale ; frirthermore 
 they are in oval instead of square borders. 
 
 Du Tillet died in 1 570, before he was able to carry out his project 
 of printing this work. On August 10, 1578,^ his heirs obtained a license 
 to publish their 'late father's' work, which finally appeared in 1 580; 
 in fact, one part is dated 1579. They made use of the woodcuts bearing 
 the Lorraine cross. Jean du Puys, the publisher,'* added to the book some 
 portraits which are not in the manuscript (among others those of Henri 
 II and Charles IX), and which consequently do not bear Tory's mark. 
 
 1 . Brother of the first-named Jean. 
 
 2. [See p. 169, supra.] 
 
 3. And not August 20, as it has sometimes been printed. 
 
 4. The 'Avis au lecteur ' is by him. 
 
256 GEOFROY TORY 
 
 Following is a complete list of the portraits contained in this vol' 
 ume, with indication of those not in the manuscript and of those signed 
 with the Lorraine cross. 
 
 Folio 16, Clovis (signed). 
 
 18, Childebert; added. 
 
 19, Clotaire 1 (signed). 
 
 23, Sigebert (signed). 
 
 24, Chilperic and Fredegonde (signed). 
 28, Dagobert ; added. 
 
 30, Clovis, son of Dagobert; added. 
 
 31, Clotaire III. 
 
 32, Childeric II ; added. 
 35, Dagobert II ; added. 
 
 41, Carloman I; added. 
 
 42, Charlemagne. 
 
 44, Louis le Debonnaire ; modified. 
 48, Charles le Chauve (signed). 
 
 53, Charles le Simple. 
 
 54, Raoul (signed). 
 
 56, Louis d'Outre Mer. 
 58, Lothaire (signed). 
 
 75, Philippe I. 
 
 76, Louis le Gros. 
 92, Louis le Jeune. 
 
 94, Philippe^Auguste (signed). 
 10 1, Louis, pere de Saint Louis (signed). 
 109, Charles II ; added. 
 112, Saint Louis. 
 121, Philippe III ; added. 
 
 133, Philippe le Bel (signed). 
 
 134, Louis le Hutin. 
 
 136, Philippe le Long. 
 
 137, Charles le Bel (signed). 
 
 138, Philippe de Valois. 
 140, Jean. 
 
 157, Charles V. 
 160, Charles VI. 
 
 164, Louis XI. 
 
 165, Charles VIII (signed). 
 
ICONOGRAPHY 257 
 
 166, Louis XII (signed); modified. 
 
 167, Francois I (signed); modified. 
 
 168, Henri II and Catherine de Medicis; added. 
 
 169, Francois II ; added. 
 1 69, Charles IX ; added. 
 
 It wiU be seen that there are, in aU, i o' portraits added to those found 
 in the manuscript. Fortheother princes mentioned in the work, whose 
 features it was impossible to present, empty fi^ames are printed. Natur-' 
 ally, none of the portraits added to du Tillet's book by the editor are 
 marked with the Lorraine cross, and of the other 3 1 , there are only 15^ 
 on which it is found. 
 
 These cuts were reproduced in a great many later editions of duTil' 
 let's work, both folio and quarto. I will mention particularly those of 
 1586, 1587, 1602, 1607, and 1608. 
 
 The volume contains also many engravings of shields and seals. 
 
 III. La conference ACCORDEe ENTRE LES PREDICATEURS CATHO'' 
 LIQUES DE l'oRDRE DES CAPUCINS ETLES MINISTRES DE GeNEVE. 
 
 Octavo; Paris, Denis Binet, near Porte S. Michel, 1598, 
 
 IV. LesThesesquiont esteaffigEes danslaville de Geneve. 
 Octavo; Paris, Denis Binet, near Porte S. Michel, 1598, 
 
 On the title-pages of these two volumes, both of which are in the Bib^ 
 Ho'theque Nationale, there is a woodcut signed with the Lorraine cross, 
 representing a cross with the crown of thorns, set in a border of the size 
 of a five^franc piece. It was undoubtedly engraved long before 1598. 
 
 V. Illustration de l'ancienne imprimerie troyenne. 
 Quarto, Troyes, 1850 and 1859. The first fascicle of this book, which 
 
 consists of a collection of old woodcuts gathered by M. Varlot in the 
 printing-offices of Troyes, contains two signed with the Lorraine cross. 
 They are nos. 50 and 188. The first represents the Coronation of the 
 Virgin; we may join with it a piece in the same manner representing 
 the Visitation, no. 5 1 in the same collection ; and no. 5 (the Virgin hold'' 
 ing the Child Jesus) of the fascicle published in 1 859 . These cuts, which 
 are in format a small folio, doubtless formed part of a series of engrav 
 ings relating to the Virgin and intended for a book of Hours. 
 
 MM. Alexis Socard and Alexandre Assier, in their work entitled 
 ' Livres Hturgiques du diocese de Troyes ' (8 vo, 1 8 63 ) , also give, on page 
 
 I . [According to the list there are 1 1 .] 2. [According to the list only 1 4.] 
 
258 GEOFROY TORY 
 
 79, an old Troyes woodcut, small folio, signed with the double cross, 
 representing the Descent of the Holy Ghost on the Virgin and the 
 Apostles. It is 135 millimetres high by 60 in width. 
 
 No. 188 of M. Varlot's fascicle, which is only one inch high by two 
 wide, represents a harvest. It was undoubtedly one of a series of engrave 
 ings illustrative of the twelve months. MM. Socard and Assier saw it in 
 a bookof Hours printed at Troyes in 1583, by Jean du Ruan, who seems 
 to have inherited a portion of the woodcuts of Jean Le Coq, printer, 
 of the same city. We find also in M. Varlot's collection two woodcuts 
 marked with the letters G. T., which may have been Geofroy Tory's 
 earlier mark, before he had adopted a special symbol. These two are 
 no. 84, in the crible style, and no. 131, in the Renaissance style.' 
 
 On account of the worn state of these cuts it is impossible to say 
 whether they are originals or copies. It is not impossible, however, 
 that they were executed by Tory for the printer Nicole Paris, or rather 
 for Jean Le Coq, whose mark he engraved also.^ 
 
 VI. Not only at Paris and Troyes do we find woodcuts with the Lor^ 
 raine cross; we find them also at Orleans, at Chartres, at Poitiers, and 
 even at Lyon, although the last-named city had a most flourishing school 
 ofengravingofitsown; witness the illustrations of the Bible afi:er Hoh 
 bein,3 published by Jean Frellon, in 1 547, and those of Salomon Bernard, 
 published bythedeTournesafi:er 1553. But the works executed by Tory 
 for Simon de Colines, Robert Estienne, and the rest, had so spread his 
 name abroad, that there was not a printer of taste in France who did 
 not seek the honour of obtaining some work of our artist. In this way 
 Jean de Tournes, first of the name, who was unquestionably one of the 
 most famous printers of Lyon, had engraved by Tory, or by his widow, 
 borders and pictures in considerable numbers ; unfortunately we find 
 very few of them signed, whether because Tory's mark was afiierward 
 removed fi-om the others, or because he omitted to place it upon them, 
 in accordance with the wish of Jean de Tournes; for in those days print' 
 ers were very desirous to appropriate the engravings that they ordered, 
 especially at Lyon, where, nominally at least, no other engraver was 
 known than Salomon Bernard ; moreover, it is well to note that that 
 artist, none of whose work is signed, is known only because his name 
 
 1 . See what I have said on this subject on p. 173, supra. 
 
 2. See infra, § III, ' Lc Coq.* 
 
 3. These engravings are, as is well known to-day, by Luczelburger, of Basle, Holbein's 
 regular engraver. 
 
ICONOGRAPHY 259 
 
 was afterward published by the printers, in the very interest of their 
 publications. 
 
 However, I propose to give a list of the pieces signed with the Lor^' 
 raine cross which I have seen in books published by the de Tournes, 
 that is, by Jean I and Jean II, his son ; for it is impossible, in default of 
 any sort of a catalogue, for me to decide what ones are attributable to 
 each of them. As a matter of fact, I should be justified in confining 
 myself to the second, if he had not himself said that he used woodcuts 
 belonging to his father. And, in truth, although we know of no books 
 published by the latter with engravings, except his edition of Petrarch 
 of 1545 (reprinted in 1547), and his book of Chiromancy and Physiog' 
 nomy, also of 1545, octavo, everything seems to indicate that those 
 marked with the Lorraine cross were made for Jean I, who died about 
 1550. 
 
 The first book that I shall mention is an octavo volume, without 
 title, described thus by M. Didot in his ' Essai sur la Gravure,' col. 235 ; 
 'Pamphlet without title, printed on one side only, with this imprint on 
 page I : " A Lion, Ian de Tournes, 1 55 1 ." The border, composed of ar'' 
 abesques in white on a black ground, has at the foot the Lorraine cross. 
 Twenty ''two of these engravings represent scenes from the theatre of 
 the ancients ; the ninth bears the Lorraine cross.' This pamphlet was 
 reprinted in 1556, as we shall see in a moment. 
 
 The second book that I shall mention is an octavo volume, without 
 date, entitled: 'Thesaurus amicorum,' which is in the Bibliotheque Na' 
 tionale. It contains three series of borders : ( i ) Borders with arabesques 
 in black on a white ground (one of them is signed with a very small 
 Lorraine cross) ; (2) Borders with arabesques in white on a black ground 
 (one of these also is signed with a small white cross) ; (3) Borders with 
 grotesque subjects, licentious and otherwise. These last, none of which 
 are signed, represent figures analogous to those that are found in the 
 'Songes drolatiques' attributed to Rabelais, and seem to be modelled 
 upon them. 
 
 In the first part of the book, the borders, 32 in number, are empty' ; 
 in the second part, they enclose medallions of famous characters of an^' 
 
 I . These pages were intended to be used as an album. I have seen a very valuable copy at 
 M. Potier's bookshop ; he bought it of M. Gaullieur, who has described it in his Etudes sur 
 I' imprimerie de Geneve, p. 207. This copy, which w^as arranged by Durand the bookseller, 
 who emigrated to Geneva for religious reasons, has no title-page and contains only the empty 
 pages, that is to say those with borders alone, within which Durand' s friends, the most illus- 
 trious leaders of the Reformation — de Beze, Goulard, etc. — have inscribed each some sen- 
 
26o 
 
 GEOFROY TORY 
 
 cient times, with mottoes in all sorts of languages. There are 96 of these 
 portraits. They were reproduced, with many others, in a book printed in 
 1 559, under the title, ' Insignium aliquot virorum icones' (octavo).' In 
 the dedication, to G. Tuffano, 'gymnasiarcha Nemausensi,' Jean de 
 Tournes, second of the name, the printer of the book, informs us that he 
 undertook it in order to utilize the woodcuts left by his father. ' Cum 
 pater jamdudum haberet hasce icones inutiles ne omnino perirent, h^ 
 pauca,quas huicopusculo insunt, ex variis auctoribus accumulavi. . . .' 
 In this book the medallions number one hundred and forty^three; none 
 are signed, but they are altogether in Tory's manner. 
 
 These same medallions, as well as the borders of the * Thesaurus ami' 
 corum,' have been used in a multitude of other publications, which are 
 known to us only through detached fragments. I will mention particu' 
 larly eight leaves preserved in the Cabinet des Estampes, printed on one 
 side only, having a border with a portrait on each page. ^ Also, four leaves 
 without borders, on each of which two portraits are printed, side by side 
 
 As for the borders, they appear again, — first, in the edition of Marot's 
 Psalms, published by Jean de Tournes in 1557, in octavo ; and second, 
 with less impropriety, in the various editions, both in French and in 
 Italian, of Ovid's 'Metamorphoses,' issued by the same printer. 
 
 Jean de Tournes published also, in 1 556, a small octavo volume of 
 specimens of his woodcuts, printed on one side only. This volume, which 
 is well known to collectors, and which may be found in the Cabinet 
 des Estampes, has on the first page these words alone : ' A Lion, Ian de 
 Tournes, M . d . l vi .' * This page has a border of white arabesques on a black 
 ground, in which the Lorraine cross is perfectly visible, at the foot . There 
 are 22 engravings representing scenes from the theatre of the ancients. 
 
 tence. In some verses which come first, and which are admirably engrossed on parchment, 
 Durand tells us that he wrote them in 1583, without spectacles, notwithstanding his great a^e 
 and ' the gout in his fingers.' 
 
 1 . Bibliotheque Nadonale. 
 
 2. It may be that this fragment belongs to a collection cited by M. Brunei {Manuel du 
 Libraire, vol. iv, col. 850), under the title, Pourtraictx divers, small octavo, Lyon, Jean 
 de Tournes, i 557, as containing 63 plates, including the dtle-page. M. Brunet then gives a 
 description of this collection, which cannot possibly fit it. 'These plates represent factories, 
 animals, scenes of divers sorts, mythological subjects, and architectural designs.' This descrip- 
 tion evidently belongs to the volume of 1556 mentioned on the next page. 
 
 3. These portraits and many other woodcuts of the de Tournes, which are still preserved 
 in the Fick Press, at Geneva, have lately been reproduced in a sumptuous publication entitled : 
 Anciens bois de P imprimerie Fick, folio, Geneva, 1 864. It contains many engravings of Petit 
 Bernard. 
 
 4. I have already cited (page 259), on the authority of M. Didot, an edition of this book 
 under the date of i 5 5 1 , but I doubt its existence. 
 
ICONOGRAPHY 
 
 The ninth bears the Lorraine cross. In the midst of this series, on leaf 2 1 , 
 is a piece which does not belong to the series ; it represents a dog lying 
 on a cushion.' After this series come various engravings which we find 
 in Maurice de Seve's ' Saulsaye ' (octavo, Lyon, 1 547), in Ovid's ' Meta^ 
 morphoses,' and the ' Hymnes du Temps ' of GuiUaume Gueroult, which 
 were printed subsequently ; then 1 1 plates bearing two figures facing 
 each other, taken from a work on Chiromancy and Physiognomy, by In^ 
 dagine (octavo, Lyon, 1 549) ; 5 engravings from the edition of Petrarch 
 issued by the first Jean in 1545 ; and 9 small miscellaneous subjects.^ 
 The Cabinet des Estampes also contains one leaf of a folio specimen of 
 the woodcuts of the de Tournes, in which we find again the plates of the 
 Petrarch. It lacks, however, the Lac d' Amour, which is on folio 5 of 
 the collection we are describing, and is altogether in the manner of the 
 seven epitaphs published by Tory in 1 530.^ 
 
 I will not enumerate here the other books with engravings, of later 
 date, published by the second Jean de Tournes, because there is nothing 
 to justify me in attributing them to Tory's workshop ; but one may con' 
 elude from what I have said heretofore, that many engravings of the 
 printers of Lyon, hitherto attributed to Salomon Bernard, called Le Petit 
 Bernard, came from Tory's establishment. Indeed, we may well wish 
 that Le Petit Bernard might be relieved of the enormous mass of engrav- 
 ings which have been attributed to him for lack of information concern' 
 ing them, but which render uncertain the attribution of those which 
 most certainly belong to him."^ 
 
 1. The first 24 pages of this collection are bound with an edition of Claude Paradin's Quad- 
 rins historiques, published by Jean de Tournes, in 1558. 
 
 2. This book was reprinted in i 557, with the title Pourtraictz Divers ; see p. 260, notei . 
 
 3. [See pp. 201-202, supra.] 
 
 4. For instance, the anonymous author of a book entitled Notice sur les Graveurs, printed 
 at Besan^on in 1807 (2 vols., octavo), attributes to Salomon Bernard, whose period of ac- 
 tivity he places between i 550 and 1 580 (vol. i, p. 63 ), the engravings of Petrarch's Triumphs, 
 which appear in an edition of l 545, and a Resurrection of the Dead, dated i 547 (vol. i, p. 
 64), which dates are inconsistent with those mentioned above ; he also attributes to him (vol. 
 i, p. 65) the theatrical scenes which we have with good reason ascribed to Tory, whose cross 
 appears on one of them ; and, lastly, he attributes to him the story of Psyche, in 3 z duodecimo 
 cuts, and the medallions of Jacques Strada' s Epitome des Antiquit'es ( Lyon, I 5 5 3 ), his author- 
 ship of which is very doubtful. But there is no question at all concerning the following pieces, 
 which certainly belong to Salomon Bernard : — 
 
 I. The figures of the Bible, to the number of 251, reprinted very frequently after 1553. In 
 an edition of 1680, printed by Samuel de Tournes, at Geneva, whither the second Jean with- 
 drew about 1 580, because of his religion, is the following note : ' The figures that we offer you 
 here are from the hand of an excellent craftsman, known in his day under the name of Salomon 
 Bernard, called Le Petit Bernard, and have always been held in esteem by those who are learned 
 in works of this sort.' 
 
262 
 
 GEOFROY TORY 
 
 Our list includes only engravings on wood; but I have no doubt that 
 Tory engraved also on metal, and not alone letters, which we should nat'- 
 urally expect from Garamond's master, but plates as well. Now that the 
 eyes of collectors are about to be opened, I should not be surprised if some 
 one should discover one marked with his cross. ' To forward such disco v 
 ery I will insert the estimate of Tory's draughtsmanship formed by M. 
 Renouvier, who is so competent a judge of such matters. 
 
 •Theplatesof " Champ fleury," the first of whichis dated 1 526, have 
 an Italian after/taste, which manifests itself by the correctness of the fig' 
 ures, and by their costumes ; but the delicacy of expression, the fineness 
 of line, distinguish them clearly from the Venetian vignettes. The vig/ 
 nettes of the Hours published between 1524 and 1543, varying in execu' 
 tion, always delicate and with little shading, exhibit a degree of taste 
 which the Parmesan School sometimes achieves ; but by the delicacy of 
 their execution they deserve the praise bestowed upon thembyDibdin. 
 Even if the figures are slightly confiised in their attitudes and in their 
 draperies, or defective at some of the extremities , still, the spirited draw 
 ingof the heads, and the arrangement of the scenes, amid charming ar^ 
 chitectural designs, or in very restricted fields, show that our engravers 
 of vignettes lost nothing of their talent in passing from gothic to italic 
 letters, and, despite the name of the latter, it is certain that Italy never 
 produced any like them. Simplicity took the place of Gothic goguenar- 
 derie; their expression is in the most refined French sentiment of the 
 period.^ 
 
 * I seem to recognize Geofiroy Tory's style in the " Tableau de Cebes," 
 
 n. Claude Paradin's Devises h'eroiques, containing 184 engravings, besides a border on the 
 title-page. Large octavo, Jean de Tournes, i 5 5 7 ( Bibliotheque Nationale) . The license at the 
 end of the volume discloses the titles of several other volumes v/hich Jean de Tournes was then 
 intending to publish, particularly the two following, which appeared the same year. 
 
 in. The Metamorphoses of Ovid ; octavo, 1557; 178 engravings. 
 
 IV. U Astronomique Discours, by Jacques Bassentin ; folio, 1557; with a large number of 
 astronomical plates. 
 
 V. Hy nines du temps, by Guillaume Gueroult ; quarto, i 560 ; 88 pages, with borders and 
 drawings. In the avis au lecteur we read : 'I hope that you will find some pleasure herein, for 
 that the whole is the work of a goodly hand ; for the invention [of the engravings] is of M. 
 Bernard Salomon, an excellent painter as there has ever been in our hemisphere.' 
 
 VI. Virgil's ^neid, French translation; quarto, I 560; with 1 2 vignettes. 
 
 VII. A book of Thermes, in eighteen orders; printed at Lyon in i 572, by Jean Marcorelle. 
 — At the tenth t her me is a genie carving on a shield the letter S, the initial of Bernard's bap- 
 tismal name. 
 
 A large number of vignettes, and of letters in grisaille, used by the printers of Lyon, are also 
 attributed to this artist. 
 
 1 . See what I have had to say on this subject apropos of Baif's Annotations, supra, p. 208. 
 
 2. Des Types et des Manieres des maitres graveurs, ttc, 1 6th century, pp. 167, 168. 
 
ICONOGRAPHY 263 
 
 published by Denis Janot and Gilles Corrozet in 1543, the vignettes of 
 which are often attributed to Jean Cousin. As for Tory's drawing, I 
 should recognize it through several layers of wood, by the delicately 
 drawn heads, the slender figures, the split extremities, to say nothing 
 of the floriated letters and the borders, in which the Italian grotesques 
 are mingled with natural vegetations, and in which he has often en/ 
 graved his name, his Pot Casse and his mottoes . In Tory's vignettes there 
 are doubtless qualities that are more subtle than great, but they are our 
 qualities.' 
 
SECTION in. MARKS OF BOOKSELLERS AND PRINTERS 
 
 SIGNED WITH THE LORRAINE CROSS. 
 
 ►rt The inventor of the Pot Casse was chosen 
 by his confreres, in preference to all other 
 engravers, to engrave their private marks. 
 They had realized the force of his ' kindly 
 exhortation to practice and employ them' 
 selves in goodly inventions,' ' and had been 
 impressed by the perfection with which he 
 executed that species of engraving, which 
 he had completely transformed. For, in lieu 
 of the coarse vignettes with a black back-* 
 ground, on which the design stood out in 
 white, as if cut with a die, Tory had gradually introduced into thesa 
 woodcuts aU the delicacy of the Italian engravings. The earliest ones of 
 his of which we have any knowledge are in the crible style, which the 
 Middle Ages had handed down to him ; but he soon rejected that style and 
 not only adopted a new manner of engraving, but altered the arrange^ 
 ment of the designs that were entrusted to him. This fact is especially 
 manifest if we compare the original mark of the de Marnefs (Silvestre, 
 ' Marques Typographiques ' no . 1 5 1 ) with the one that bears the motto, 
 'Principivm ex fide, finis in charitate' (Silvestre, no. 1043). Instead 
 of the roughly drawn PeHcan nourishing from its vitals its still more 
 roughly drawn young, in a nest perched on a tree of which the leaves are 
 larger than the trunk, we have, in the second engraving [given above], 
 an entirely new composition, of which both design and execution are 
 irreproachable. In the face of such results, we should not be surprised 
 by the predilection of the printer-'booksellers for Tory ; they deemed it a 
 duty to employ a confrere who poetized their profession : to them it 
 was a question of esprit de corps and of patriotism alike. 
 
 That is why we have so many typographical marks signed with the 
 
 I . Champ fieury, folio 4.3 verso. 
 
266 
 
 GEOFROY TORY 
 
 Lorraine cross. We propose to enumerate all of those which we have 
 actually had before us. As it was impossible to arrange them chrono' 
 logically, we have adopted the alphabetical order. 
 
 Alard (Guillaume), bookseller at Paris in 1 550. See Fezandat. 
 
 A S C E NSlANVM-^(^ 
 
 Bade (Conrad), printer and bookseller at Paris from 1546 to 1 560, 
 when he withdrew to Geneva for religious reasons . — One mark, which 
 appears on the first edition of Theodore de Beze's ' Poemata '(1548); the 
 volume contains also a portrait of the author signed with the double 
 cross. Conrad's mark, like that of his father, Josse Bade, represents a 
 printing-'press. It contains also the words 'Prelum ascensianum' ; but, 
 instead of being inscribed in a cartouche on the press, they are in two 
 cartouches, one at the top, the other at the bottom, of the border {Sih 
 vestre, no. 867). When Conrad betook himself to Geneva, Eloi Gibier,' 
 a printer of Orleans, bought the mark. It afterwards passed to Fabian 
 Hotot, a printer in the same city, who was using it in 1609 ; but before 
 using it he had the word ' Ascensianum ' removed. 
 
 Bessault (Thibaut, and Jean, his son), booksellers at Paris. See 
 Regnault (Barbe). 
 
 BoNFONS (Jean), bookseller at Paris from 1 548 to 1572. — One mark 
 (Silvestre, no. 1 25), representing a dove on a tree, within acircle formed 
 
 I . Eloi Gibier used previously a similar mark, which bore the following device: ' In sudore 
 vultus tui vesceris panetuo. ' (See Silvestre, no. 544. ) He used it particularly at the end of the 
 Coutumes generales d'' Or leans, i 570. 
 
ICONOGRAPHY 267 
 
 by a serpent, and on the outside of the circle this sentence from the Bible : 
 'Estote prudentes sicut serpentes, et simplices sicut columbas.' I have 
 seen it in a quarto edition of 'Le Petit Jehan de Saintre/ published by 
 Bonfons in 1 553, in gothic type. 
 
 BuGN (Gabriel). See Porte (Maurice de la). 
 
 Calvarin (Simon), printer^bookseller at Paris, from 1553 to 1593. 
 Two marks, representing a woman, seated, surrounded by the parapher-- 
 naliaof the arts and sciences, and holding in one hand a palm-'tree deco*- 
 rated with three wreaths. I have seen one of these marks, the larger, in 
 an edition of RodolpheAgricola's book entitled: 'Delnventionedialec 
 tica libri tres' (quarto, 1 558), on the title^pageof whichisthis imprint : 
 'Parisiis, ex officina Simonis Calvarini,in vico Belovaco,ad Virtutis in/- 
 signe .' ' The smaller one appears at the end of a book entitled : ' Conserv- 
 ation de sante et prolongation de vie, etc., compose premierement par 
 noble homme H. [Hieronime] Monteux, conseiller et medecin ordinaire 
 du roi Francois 11, et nouveUement traduit en nostre langue frangoise 
 par maistre Claude deValgelas,docteur medecin, etc. Paris, chez Simon 
 Calvarin, rue Saint' Jacques, a la Rose blanche couronnee, 1572.' This 
 is a 1 6mo, of which there is a copy in the BibKotheque Nationale. This 
 Simon was, I have no doubt, a son of Prigent Calvarin, printer at Paris 
 from 152410 1 582, whose mark is very different (Silvestre,no. 137).'' It 
 represents two persons holding a shield which hangs from a vine, with 
 these sentences surrounding them: *Deum time,* 'Pauperes sustine,' 
 'Finem respice,' 'Prigent Calvarin.' Simon, having set up for himself 
 during his father's lifetime, had to adopt a different mark. 
 
 Chaudiere (Regnault), bookseller at Paris from 151610 1546,in 
 the latter year succeeded to the printing business of Simon de Colines, 
 whose marks 'au Temps' he used thereafter. He had a new one en^ 
 graved in Tory's establishment, with the same figure, but with a slightly 
 different motto : it reads : ' Virtus sola aciem retundit istam.' This mark 
 appears in the edition of the comedies of Terence printed in 1546. See 
 Colines (Simon de). 
 
 Colines (Simon DE),printer''bookseUerat Paris from 1520 to 1546. 
 Four marks at least. See the two already described in the preceding sec 
 
 I. Bibliotheque Nationale. 2. lirxmcX.yManuel de Lil>raire,vo\.\\, co\. 1629. 
 
268 
 
 GEOFROY TORY 
 
 tion, under 15 20-1 521, as forming a part of title-pages, and numbers 
 80 and 329 of M, Silvestre's 'Marques typographiques.' The last two 
 passed in 1546 into the handsofRegnaultChaudiere, a bookseller since 
 1 5 1 6 . Chaudiere had married Colines's daughter by t he widow of Henri 
 Estienne, and by virtue of the connection inherited his father'in4aw's 
 printing-office and bookshop. He himself printed, in 1 546-1 547, under 
 
 the Latin name Calderius, an edition of the comedies of Terence ' ; at 
 the end is M. Silvestre's no. 329, which (like no. 80) represents Time 
 armed with a scythe, and this devise in a scroll : ' Hanc aciem sola re^ 
 tundit virtus.' Chaudiere, who had previously used another mark (Sil^ 
 vestre, no. 96), employed thenceforth this one with the figure of Time, 
 and handed it down to his successors.^ In 1548 he published an octavo 
 catalogue of his own books and those of Simon de Colines — 'turn ab 
 Simone CoHnasi, turn ab Calderio excusi . ' ^ The following is, in my opin^ 
 ion, the order in which Simon de Colines's various marks were engraved 
 by Tory: In the first place, in 1520, the one with the rabbits, or conils, 
 which it has been said that Colines adopted as a play upon his own name ; 
 but this conjecture seems to me the more improbable because these 
 same rabbits had been used on the sign of Henri Estienne's shop as early 
 as 1 5 o 2 . Howe ver that may be, Colines seems to have retained this mark 
 
 1 . This very rare and valuable edition contains a dissertation on Latin accents. Bibliotheque 
 Nationale. 
 
 2. See Silvestre, nos. 286 and 287. 
 
 3. See Mattaire, Annales typographiques, vol. iii, part 1 A, p. 147. 
 
 4. See the subscription of the first book published by him in conjunction with Wolfgang 
 Hopyl, under the title, Artificialis introductio Jacobi Fabri Stapulensis, etc. ; folio, 1 502. This 
 book is in the Bibliotheque Sainte-Genevieve. 
 
ICONOGRAPHY 269 
 
 during all the time that he occupied Henri Estienne's house. When he 
 turned over that abode, in 1525, to Robert Estienne, who established 
 himself in business on the paternal premises, Colines went a little far^ 
 
 ♦SDECOLINES 
 
 ther down rue de Beauvais, and took for his sign the ' Soleil d'or,' which 
 appears on the second mark; finally, in 1528, he adopted the one with 
 the figure of Time, which was afi:erwards adopted by his son^in^law, 
 Regnault Chaudiere. 
 
 GIIXES ACORRPZET-4 <» 
 
 CoRRozET (GiLLEs), bookseller at Paris fi^om 1 538 to 1568, — One 
 mark, representing, by way of allusion to the name of its owner, a rose 
 
270 GEOFROY TORY 
 
 upon a heart ('cor'), and with ' Gilles Corrozet' at the foot (Silvestre,no. 
 145). This mark, which I have seen on a book of 1539,' was undoubt' 
 edly the first that Corrozet used. It descended to his heirs, and his grand" 
 son Jean was still using it a century later, on the 'Tresor des histoires 
 de France,' the work of another Gilles Corrozet, which Jean reprinted 
 several times between 1622 and 1644, J^^^ simply removed from the 
 mark his grandfather's Christian name, regardless of the lack of sym^ 
 metry in the engraving caused by this subtraction. So that here was an 
 engraving that was in use more than a hundred years ; it is an interesting 
 example of the durability of these woodcuts. 
 
 CoTEREAU or CoTTEREAU (Richard), bookseller at Chartres; — 
 (Philippe), bookseller at Blois. 
 
 David (Mathieu), printer^bookseller at Paris from 1554 to 1566. 
 Three marks(Silvestre,nos. 227, 394,and 759). They represent a warrior 
 bearing on his shoulders a woman plunging a sword in his throat. One 
 of the marks has the word ' odiosa ' in the border on one side, and * veri" 
 tas' on the other. Another is printed in an octavo volume of 1539 (Bib" 
 liotheque Nationale), Ravisius Textor's * Epistol^ a mendis repurgata.' 
 
 DupuY (J.), printer at Paris in 1549. See Fezandat. 
 
 Estienne (Robert), printer/'bookseller at Paris, from i526to 1550. 
 Six marks at least, representing the oKve^tree in different forms. Three 
 
 I. According to Lottin, it was first used in 1555. See his Catalogue, vol. ii, p. 30. 
 
ICONOGRAPHY 
 
 271 
 
 of them are reproduced in M. Silvestre's work : nos. 162,318/ and 319*; 
 add to these the large folio mark that appears on the Bible of 1 528 ^ and 
 that of 1 540, previously described ; a small mark which appears in the 
 i6mo Virgil of 1549 ; and, lastly, a mark similar to Silvestre's no. 163 
 
 (except that the figure is bald), which appears in ' Caroli Stephani de 
 Nutrimentis,' etc.* Probably most of these marks were engraved for 
 Robert Estienne at the outset of his typographical career, that is to say, 
 about 1526 ; he carried them with him to Geneva in 1 550 ; and his son, 
 the second Henri, used them in his turn, after his father's death, which 
 occurred in 1559. It was undoubtedly the widow of Tory who engraved 
 
 1 . I have reproduced this mark on the title-page of my Les Estienne et les types grecs de 
 Francois I ; octavo, 1856. 
 
 2. [Silvestre also gives three other variants, nos. 508, 542, and 958, signed with the cross. 
 No. 508 is reproduced above.] 
 
 3 . [ I 5 3 8 ? M . Bernard mentions no Bible of 1528.] 
 
 4. Octavo ; Paris, Robert Estienne, 1550. Bibliotheque Nationale. 
 
272 GEOFROY TORY 
 
 the mark (in different sizes) which appears, after 1544, on the Greek 
 books printed with the royal types, and which represents a basilisk en' 
 twined about a lance. 
 
 EsTiENNE (Charles), printer and bookseller at Paris from 155 1 to 
 1 56 1. Three marks at least. Upon entering the typographical profession 
 Charles adopted his brother's olive-'tree ; that is to say, he simply had 
 copies made of Robert's marks, as he succeeded to his business. I have 
 seen the first of these marks, similar to Silvestre's no. 1 63, in an octavo 
 edition of P. Bunel's ' Epitres familieres,' printed by Charles in 1 55 1 ; the 
 second appears in a folio edition of Cicero, in four volumes, published 
 by the same printer from 155 1 to 1555 ' ; and the third, like Silvestre's 
 no. 162, in the ' Petit Dictionnaire frangais^atin ' (quarto), published by 
 Charles in 1559. It is probable that the second Robert used these same 
 marks after his uncle's retirement in 1 56 1 . 
 
 FEZANDAT(MiCHEL),printer/booksellerat Paris fromi54i to 1553. 
 One mark (Silvestre, no. 423). This mark which, by way of allusion to 
 the name of its owner, represents a pheasant {faisan) on a dolphin, with 
 the letters M and F at the left and right, respectively, of the pheasant, 
 was used without the initials in 1549, as may be seen on the title of 
 ' Le Temple du chastete,' printed in that year by Fezandat, in octavo.' 
 
 I . This book is described on p. 244, supra. z . Bibliotheque Nationale. 
 
ICONOGRAPHY 273 
 
 In 1 550, one Guillaume Alard (Fezandat's son^in^aw, it may be), who 
 lived 'e regione collegii de la Mercy/ also used the mark in that form.' 
 The appearance of this mark on Alard's book may be due solely to the 
 fact that the book in question was printed by Fezandat. I have been 
 unable to ascertain the facts because the fragment of the title-page on 
 which I saw the mark and Alard's name does not contain the title of 
 the book. The only possible clue is the three Greek verses on the other 
 side of the page, which lead one to think that it may have been a work 
 of Jean Blaccus Danois, of whom we have a translation of Isocrates into 
 Latin verses, printed by Regnault Chaudiere, also in 1550 (quarto).^ 
 
 This G. Alard is not named by Lottin in his * Catalogue des imprimeurs' 
 libraires de Paris.' I find the same mark in a small volume entitled 
 'Le Bouquet des fleursde Seneque ' ; octavo ; Caen, * de I'imprimerie de 
 Jacques le Bas,imprimeurduroy,' 1590.^ I find Fezandat's mark also in 
 a book published by the bookseller J. Dupuy in 1549: 'Novum Testa' 
 mentum,' in Greek and Latin ; i6mo. Why? I have no idea. 
 
 GiBiER (Eloi), printer at Orleans. One mark, representing a print' 
 ing'press. This printer, whose oldest known imprint is dated 1559, had 
 evidently practised his trade several years earlier. This is what we find 
 concerning him in the ' Bibliotheque historique des auteurs orleanais/ 
 by Dom Gerou, which is preserved in manuscript in the Public Library 
 of Orleans : * We may say that Eloy Gibier was in a certain sense the first 
 printerofOrleans ; MathieuVivianandPierreAsselinhad preceded him, 
 but we know of only a single work printed by each of them, whereas there 
 
 1 . See the collection of Tory's work in the Print Section of the Bibliotheque Nationale. 
 
 2. Sermonum liber unus ex Isocratis notione de regno, carmine heroico. Bibliotheque 
 Mazarine. 
 
 3. Bibliotheque Nationale. 
 
274 GEOFROY TORY 
 
 are a great number by Eloy Gibier. We do not know when he began, 
 but the earliest book printed by him of which we have any knowledge 
 is of 1559. At first he put no symbol on the title^pagesof his works; the 
 place where the symbol should be was entirely unoccupied ; later, he 
 sometimes inserted one, but not always. This symbol was a printings 
 press, about which were the words : " In sudore vultus tui vesceris pane 
 tuo." ' I have seen this mark on the ' Coutumes generales d'Orleans,' 
 printed by Gibier in 15 70, octavo.' But he afterward adopted the mark 
 of Conrad Bade. See that name. 
 
 GouRMONT (GiLLES de), printer-'bookseller at Paris, from 1506 to 
 1 530. — Three marks. The first, in the form of a border, is found on the 
 title-'page of a volume containing nine comedies of Aristophanes, printed 
 by Pierre Vidoue, at GiUes de Gourmont's expense, in 1528 (quarto) \- 
 a description of it will be found above. ^ The second represents Fame: 
 it is a nude woman, winged, all over whose body are eyes, tongues, and 
 ears. At the foot, in a scroll, are the words : 'Ecqvis incvmbere famae' 
 (' poterit ' understood, no doubt). The Lorraine cross appears at the left 
 on the lower edge of the engraving. I have seen this mark on a small 
 book entitled : ' Alphabetum hebraicum,' consisting of 8 leaves, printed 
 
 I . Bibliotheque de I'Institut. 
 
 3. On p. 197. [Reproduced on p. 198.] 
 
 2. Bibliotheque Nationale. 
 
ICONOGRAPHY 
 
 275 
 
 by Pierre Vidoue (Silvestre, no. 98). Although the name of Gourmont 
 nowhere appears in this case, I have no doubt that the mark belongs to 
 Gilles de Gourmont, for it is accompanied by his initials, E and G (Egi^ 
 dius Gourmontius), at the left and right respectively; and we shall see 
 that this same mark was afterward used by Jerome de Gourmont, Gilles's 
 son ornephew. It maybe that it was because of the loan of Gourmont's 
 Hebrew type that his mark appears on this precious pamphlet, a dc 
 scription of which follows. First leaf, beginning at the end (according 
 to the Hebrew and Arabic custom), Gourmont's mark in a border of 
 detached compartments. On the verso Pierre Vidoue's epistle to the 
 reader, dated from his workshop August i, 1531. Then comes the text, 
 followed by this subscript : ' Petrus Vidovaeus Vernoliensis excudebat 
 Lutetis.' And, lastly, Vidoue's mark — Fortune, with the words: ' Au-" 
 dentes juvo ' (Silvestre, no. 65). The third of Gilles de Gourmont's marks 
 signed with the Lx)rraine cross is given by M. Silvestre (no. 826). [This 
 mark forms the lower part of the border first described, and has evi*- 
 dently been cut from the border for use separately.] It represents the 
 Gourmont arms': a shield coupe, three roses in chief and a crescent in 
 base ; for crest a St. Michael, holding a bare sword, supports two winged 
 
 I . The placing of these arms on the typographical mark of Gilles de Gourmont proves, in 
 contradiction of the common opinion, that the printer's trade was not degrading. (But see 
 what I have said on this subject in my book on the Origin of Printing, vol. i, p. 210, and 
 vol. ii, p. 89.) The Gourmonts of Paris were in fact descended from a noble family of the 
 Cotentin, which may still be in existence, and which bore the same arms in the seventeenth 
 century. Gilles de Gourmont had taken up his abode in Paris in the last years of the fifteenth 
 century, as had several of his brothers, who practised the same trade. The oldest, Robert, ap- 
 pears in that city as early as 1498 ; Jean, who was younger than Gilles, not until i 507. We 
 hear also of a Jerome and a Benoit as booksellers in Paris in the middle of the sixteenth century. 
 I do not know what their relationship to the earlier men was. Perhaps they were sons of Robert. 
 (Benoit, who married Catherine Goulard, had a son baptized by the name of Gilles at the 
 church of Sainte-Croix-en-la-Cite, on October 9, 1 546. ) We also find a Jean Theobald de 
 Gourmont at Antwerp in 1527. As for Gilles, he was engaged in bookselling and printing from 
 I 506 to about 1533, and left two sons, Jean and Francois, who retained his establishment on 
 rue Saint-Jean-de-Latran, and printed there, in i 587, the Tableaux des Arts Liber aux deChris- 
 tophe de Savigny. This is an in-plano, at the beginning of which is a superb engraving repre- 
 senting the arms of the family [as described in the text] . This remarkable work, which bears 
 the monogram of the two brothers, was probably executed by Jean, the elder, who was a 
 painter and engraver. The Musee du Louvre has a picture supposed to be by him ( Notice des 
 tableaux du Louvre, part 3, p. 156); he is the author of a fine portrait of the Cardinal de 
 Bourbon, mentioned by Mariette and now in the Cabinet des Estampes; he is mentioned also 
 by Abbe de Marolles and by Papillon for certain pictures of equestrian groups and bits of deco- 
 ration. His mark (formed of the letters IDG entwined) and the name accompanying it are 
 found on several pieces cited by Brulliot, on the plates of a Bible of 1 560, and on certain pieces 
 of Tortorel and Perissim (Renouvier, Mattres Graveurs du Seizieme Siecle, p. 195 ). It will 
 be seen that Gilles had worthy successors; unfortunately the race of the Gourmonts of Paris 
 died out with them. 
 
276 GEOFROY TORY 
 
 stags with ducal coronets about their necks. This subject, much more 
 fully developed, appears on the first page of the ' Tableaux des Arts Li" 
 beraux de Savigny,' in^plano,' published in 1 587, by Jean and Francois, 
 sons of Gilles de Gourmont, who succeeded to his establishment on rue 
 Saint' Jean'de''Latran. 
 
 Gourmont (Jerome de), printer^bookseller at Paris from 1524 to 
 1533. — One mark representing Fame, copied fromthe second markof 
 Gilles de Gourmont just described, but reversed. Beneath the inscription 
 * Ecqvis incvmbere famae,' inasmall cartouche, are the initialsH. D.G. 
 (Hierome de Gourmont), with the Lorraine cross just above. I have seen 
 this mark in an octavo volume published at Paris in 1 534 by Jerome de 
 Gourmont, under this title : ' Pauli Paradisi . . . de modo legendi hebraice 
 dialogus,'^ and in another octavo, also published at Paris (' Dionysis') in 
 1535, under a Greek title of which the Latin translation is : * Apollonius 
 Alexandrinus, de Constructione.'^ Jerome de Gourmont published at 
 least one other book at ' Dionysiae ' in 1 535 ; but I do not know the title, as 
 I have not seen the title-page. All that I can say is that Ausonius is quoted 
 in the Latin preface printed on the verso of the first leaf, of which 1 have 
 seen only a fi^agment, belonging to M. Silvestre. 
 
 I believe that Jerome de Gourmont did some printing, although he 
 is named only as a bookseller in the bibliographies. The books that I 
 have mentioned show that he was a scholar who followed in the tracks 
 of Gilles de Gourmont. Indeed, the one first described, which is in Latin, 
 contains some Hebrew words ; the second is entirely in Greek. 
 
 I have seen a little book, printed at Paris in 1 539, with Jerome deGour^ 
 mont's mark: it is 'Pugna porcorum per J. Porcium,' octavo. The sub' 
 script below the mark reads: 'Parisiis, apud Anthonium Bonnemere.' 
 Was Anthoine Bonnemere publisher for Jerome de Gourmont, at the 
 same sign ? That is something that I do not know. 
 
 Gourmont (Benoit de), bookseller at Paris. — One mark, reprc 
 senting a man standing above two precipices ; above him is a scroll with 
 the words : ' Vndiqve praecipitivm ' ; and at his feet the initials B. D. G. 
 (Silvestre, no. 838). 
 
 1 . [That is, consisting of unfolded sheets, so that each sheet forms only one leaf, or two 
 pages.] 
 
 2. Bibliotheque Nationale. 
 
 3. Bibliotheque Mazarine. 
 
ICONOGRAPHY 277 
 
 Grandin (Louis), printer^bookseller at Paris, from 154210 1553. — 
 Two marks (Silvestre,nos. 277 and 4 16). They represent two men, one 
 of whom is receiving a sphere from the hand of God ; the other holds 
 
 one which is crumbling in his fingers. On the second of the two marks 
 are the words : * Confidere in Domino bonum esse quam confidere in 
 homine. Ps, 117/ 
 
 GuEULLARD(jEAN),printer/bookseller at Paris, from 155210 1553. 
 — Two marks representing the Phoenix rising from the flames,' in an 
 oval border. The smaller one has, within the border, the words, ' Amor 
 vitcB acer nimis,' with Gueullard's initials, I. G., below (Silvestre, no. 
 790). This mark is .055 of a millimetre high by .044 wide. I have seen 
 it in a book entitled : ' Petri Ruffi Druydas dialectica, nuper ab eodem 
 autore emendatur,' quarto, 1553 (3d edition).^ The larger one has this 
 motto within the border: 'Mori vivere mihi est'; it is .087 of a milli^ 
 metre high by .063 wide (Silvestre, no. 882). I have seen it in a book 
 entitled, ' Hexastichorum moralium libri duo, per Nic. Querculum Tor^ 
 tronensem Rhemum; quarto, Paris, 1552.' ^ S^e Harsy (Olivier de). 
 
 GuiLLARD (Charlotte), printer-'bookseller from 15 18 to 1556. — 
 One mark representing her sign, a golden sun in a starry sky. Below, two 
 lions erect, holding a shield on which are the initials C. G. This lady 
 carried on the printing trade for more than fifty years. She married first, 
 in 1 502, Berthold Rembold, a partner of the first printer in Paris, Ulric 
 
 1 . Gueullard lived at the sign of the Phoenix, e regione collegii Remensis, 
 
 2. Bibliotheque Mazarine. 3. Bibliotheque Nationale. 
 
278 GEOFROY TORY 
 
 Gering . Berthold, who had established his domicile on rue Saint' Jacques, 
 * au Soleil d'Or/ having left Charlotte a widow in 1 5 1 8, she carried on 
 the business alone until 1520, when she married Claude Che vallon, who 
 took up his abode on the same premises. Chevallon having departed 
 
 this life, in his turn, in 1 542, Charlotte continued in the business until 
 1556. It was during her second widowhood that the mark in question, 
 which we reproduce herewith, was engraved. I have seen it on a quarto 
 volume entitled, ' Institutionum civilium Ubri quatuor, 1 550. Parisiis, 
 apud Carolam Guillard, viduam Claudi Chevallonii, sub SoH aureo, et 
 Guilelmum Desbois, sub Cruce Alba, in via divi Jacobi.' Claude Cheval^ 
 Ion had upon his mark, by way of allusion to his name, two horses stand' 
 ing (chevaMong). But M. Silvestre publishes as his (no. 395) a mark 
 which has the lions. 
 
 Harsy (Olivier de), bookseller at Paris, from 1556 to 1584, used 
 GueuUard's mark on several works written by Nicolas EUain ; among 
 others, ' Elegia libriduo ad Joach. Bellaium,quo adhuc vivo eos scripsit. 
 — Parisiis.e typogr. Olivarii de Harsy,ad Cornu cervi,in clauso BruneUo'; 
 quarto, 1560.' 1 have no idea why de Harsy adopted GueuUard's mark. 
 
 HoTOT (Fabian), printer at Orleans. See Bade (Conrad). 
 
 Houic (Antoine), bookseller at Paris. See Regnault (Barbe). 
 
 I. Bibliotheque Nationale. 
 
ICONOGRAPHY 279 
 
 Kerver(ThielmanII), printer and bookseller at Paris, from, 1 530 to 
 1550. — One mark, representing the arms of the Kervers; a 'gril' i^cra- 
 tis) held by two unicorns, with the letters T. K. Below is the printer's 
 name in full : ' Thieman [sic] Kerver.' This mark appears on a book of 
 Hours of 1550. 
 
 Le Bas. See Fezandat. 
 
 Le Coq (Jean) printer atTroyes, from 1 506 to 1525. — One mark, 
 representing Le Coq's arms (a cock), hanging from a tree ; below is the 
 name, 'Jean LeCoq'(Silvestre, no. 875). This mark appears in a' Grad' 
 uel'of i52i,previouslydescribed.' WefinditagaininabookofHoursac 
 cording to the use of Toul, published in 1 54 1 , which contains many other 
 engravings signed with the double cross.'' Also in a small book published 
 in our own day by Aubry the bookseller ^ ; that is to say, this particular 
 woodcut is still in existence and belongs to M. Aubry. 
 
 LeNoir (Philippe), printer-'bookseller at Paris, from 1520 101539. 
 Three marks,"* representing two negroes (noirs) holding a shield with 
 Philippe le Noir's initials. 
 
 Mallard (Olivier), printer^bookseller at Paris.from 1536101542. 
 
 Mallard (Jean), bookseller at Rouen. 
 
 Marn e f, d e : Enguilbert, Jean and Geoffroy, brothers, were printers 
 and booksellers at Paris and Poitiers, together or separately, from 15 10 
 to 1550. Their mark was a pelican, piercing his side in order to nourish 
 his young. Tory engraved for them at least two marks : one which ap-- 
 pears on a book printed by Enguilbert and Jean, in Poitiers, in 1 536,' en' 
 titled ' Les angoisses et remedes d'amour duTraverseur en son adoles^ 
 cence' (by Jean Bouchet), wixh this device: 'Eximii amoris typus' ; it 
 is reproduced byDibdin,^and by Silvestre (no. 152).^ The other maybe 
 
 I. [See p. 177, supra.] 2. [See p. 221, supra.] 
 
 3. Bibliotheque de r Amateur champenois, 2d part: * Construction d'uneNotre-Dame.' 
 
 4. See Dibdin, The Bibliographical Decameron, vol. ii, p. 43 ; Silvestre, no. 61. The one 
 in Silvestre is a reduced copy of that at the end of Des Coustumes et statuz particulters de la plus- 
 part des baillages, etc. ( 4to, 1527), which is of much larger format, and is also signed with the 
 Lorraine cross. [This magnificent mark is reproduced in its full size on p. 264, supra.] 
 
 5. Quarto ; finished Jan. 8, I 536 ( i 537 n. s. ). 
 
 6. Bibliographical Decameron, vol. ii, p. 32. 
 
 7. Nos. 1 5 3 and 1 74 seem to be by the same artist, but they are not signed. 
 
28o 
 
 GEOFROY TORY 
 
 seen in the Print Section of the Bibliotheque Nationale, among Tory's 
 work ; the pelican and its young are in an oval border, around which is 
 this device : * Principium ex fide, finis in charitate ' (Silvestre, no. 1 044) . 
 [See also the reproduction at the beginning of this section, page 265.] 
 
 MENiER(MAURiCE),printerat Paris,fi-omi545 to 1 566.— One mark 
 (Silvestre, no. 789), representing a man closing a woman's mouth, with 
 this device, * Coercenda volvptas.' 
 
 Merlin (Guillaume), bookseller at Paris, from 1538 to 1570. — 
 One mark, representing a swan whose neck is twined about a cross, sur^ 
 rounded by the device, * In hoc signo vinces.' The Lorraine cross is barely 
 visible in the lowest ornament of the engraving. I have seen this mark 
 on the first page of a ' Missale ecclesie Parisiensis,' in folio, without date, 
 printed by lolande Bonhomme, widow of the first Thielman Kerver, 
 as is shown by the presence of that printer's mark on the first page of 
 the text ; it may be that there are copies in her name. This book is with' 
 out date, but should be placed between the years 1532 and 1552, which 
 embracetheincumbencyof Jean duBellay as Archbishop of Paris. Mer^ 
 lin's mark is .095 of a millimetre high by .067 wide.' 
 
 MoREL(GuiLLAUME),printer'bookselleratParis,from 154810 1564. 
 — One mark, reproduced by M. Silvestre (no. 164), who informs me 
 that his engraver accidentally omitted the Lorraine cross. 'This mark,' 
 he adds, * was used later by Estienne Pre vosteau. Morel's son'in4aw,who 
 subsequently reengraved it, or had it reengraved, with his initials, E. P. 
 in place of Tory's mark.'^ It represents a capital theta (©), about which 
 are twined two winged serpents, and in the centre an angel, seated on 
 the cross'-piece of the 0, with a lighted torch in her hand. 
 
 Nivelle(Sebastien), printer and bookseller, at Paris, from 1550 to 
 1601 . One mark, representing two storks in the air, one being carried 
 and fed by the other ; with this verse from Exodus (xx, 1 2), to explain 
 the drawing : ' Honora patrem tuum et matrem tuam, et sis longasvus 
 super terram.' I have seen this mark on an octavo edition of St. John 
 
 1 . Silvestre, no. 801 . See a further description of this book, supra, p. 215, note. 
 
 2. Indeed I have seen this marlc, with the Lorraine cross, on a Greek alphabet of 1560, 
 printed by G. Morel (Bibl. Nat. ), and on several other works printed by Prevosteau, his son- 
 in-law ; I will mention particularly Adriani Behotii diluvium, octavo, 1591 (Bibl. Nat.), 
 where the mark is cracked, which explains why it was reengraved with the letters E. P. 
 
ICONOGRAPHY 
 
 281 
 
 Chrysostom ('Homeliae duas'), printed by Sebastien Nivelle in 1554. It 
 is reproduced by M. Silvestre (no. 20 1 ), but the Lorraine cross is barely 
 visible on this impression. I have seen also another mark of Nivelle's 
 
 representing the same subject, with analogous designs suggesting filial 
 love in the four corners ; but it is not signed with the cross although it 
 is absolutely in Tory's manner. 
 
 Nyverd (GuiLLAUME),printer and bookseller at Paris,fromi5 16. — 
 One mark, or, to speak more precisely, a small border in the style of 
 one of the marks of Simon de CoHnes. At the foot, in a scroll, are the 
 words, ' Nasci, laborare, mori.' This border appears in a small pamphlet, 
 undated, in pure gothic type, entitled, ' La Reformation des tavernes et 
 destruction de gourmandise, en forme de dialogue a small octavo of 4 
 leaves, ofwhich M. Cigogne possesses the only known copy ( 1856). At 
 the end are the words, 'Paris, by Guillaume Nyverd, printer.' So that 
 Lottinis mistaken in saying that he was a bookseller only. He gives only 
 one date for his career in the trade —151 6 — but our engraving is cer/ 
 tainly later than 1520. M. Silvestre extends Nyverd's business career to 
 1 559, on what grounds I do not know ; but he also calls him a bookseller 
 only. The text of the ' Reformation des tavernes,' etc. , was reprinted on 
 page 223 of the second volume of the ' Recueil des poesies fran^oises 
 des XV et XVI siecles,' collected and annotated by M. Anatole de Monf 
 aiglon.' 
 
 I . Sixteenmo ; Paris, Janet, 1855. 
 
282 
 
 GEOFROY TORY 
 
 Nyverd (Guillaume de), probably the son of the preceding, print' 
 er^bookseller at Paris, from 1 550 to 1580. — One mark, representing the 
 arms of France borne by two winged genii. Above them a head with 
 wings ; from its mouth come two garlands in the style of those on the 
 last plate of 'Champ fleury.' At the lefr,at the foot ofthe cut, the letters 
 G. N., and at the right the Lorraine cross. This engraving, which is 8 
 centimetres wide by 1 1 high, was undoubtedly executed when Guil-' 
 laume de Nyverd was appointed king's printer, which title he held in 
 1 56 1 , according to Lottin. In all probability he held it earlier than that. 
 However that may be, I have seen this mark, already much worn, in an 
 impression of 1572 : * Prognostication touchant le mariage du tres hon' 
 ore et tres aime Henry, par la grace de Dieu roy de Navarre, et de tres 
 illustre princesse Marguerite de France, calculee par maistre Bernard 
 Abbatia, docteur medecin et astrologue du tres chresden roy de France * 
 [Charles IX]. There are in the Bibliotheque Nationale at least three ed-* 
 itions of the little pamphlet, made by the same printer at about the same 
 time, that is to say immediately after the marriage of the King of Na-* 
 varre with Marguerite de Valois. All three have this engraving on the 
 last page, but in every case it is accompanied by an addition of much 
 later date, namely, the device of Charles IX (two pillars joined by a scroU 
 containing the words, * Pietate et Jvsticia '), above the arms of France. 
 The volume contains also numerous other engravings and letters bear' 
 ing Guillaume de Nyverd's initials. It is worth while to caU attention to 
 the fact thatde Nyverd does not assume the title of king's printer in this 
 book, although, as we have seen above, his appointment was of much 
 earlier date. 
 
 Pallier (Jean), called ' Marchand,' printer and bookseller at Metz, 
 from 1 539 to 1 548. — One mark (Silvestre, no. 1 56), representing a fleur^ 
 de'Hs held in the air by two naked children, with the letters I. P. in 
 the field.' Jean Pallier, or, better, Palyer (in Latin, Palierus), did busi' 
 ness also in Paris, for I have seen several books of his dated from that 
 city in 1541 or 1542, with the mark described above. I will mention, 
 among others : ( i ) * Epitomae singularum distinctionum Ubri primi sen' 
 tentiarum, cum versibus memorialibus Arnoldi Vesaliensis,' etc., 1 6mo, 
 Paris, 1 541 ; and (2) 'Topica Marci Tullii Ciceronis,' etc., *ex officina 
 Joannis Palierii, e regione Navarrae, sub signo Leonis Coronati,' 4to, 
 1542- 
 
 I. See Le Second Enfer Estienne Dolet ; quarto, i 544 ; Bibliotheque Nationale. 
 
ICONOGRAPHY 283 
 
 Paris (Nicole), printer at Troyes, from 1542 to 1547. — One mark 
 (Silvestre, no. 175), representing a child clinging to the branches of a 
 palm-tree (?), beneath the device, 'Et CoUigam.' 
 
 Perier (Charles), bookseller at Paris, from 1550 to 1557. — One 
 mark, found on the title of the folio entitled, * Les quatre livres d' Albert 
 Durer . . . dela proportion des parties etpourtraicts des corps humains, 
 traduits par Louys Meigret,'etc., 'chez Charles Perier ... a I'enseigne 
 du Bellerophon, 1557.' ' This bookseller issued two editions of Diirer's 
 book in the same year, one in Latin and the other in French, both lIIus-' 
 trated with the same cuts. I am unable to say which appeared first. He 
 had already published, in 1 5 55, for Louis Meigret, a translation of * Les 
 XJI livres de Robert Valturin, touchans la discipline militaire,' in folio, 
 with engravings, in which his mark appears, signed with the double 
 cross. The sign of Bellerophon was retained by Charles Perier's son 
 Thomas. 
 
 Petit (Oudin), bookseller at Paris from 1541. — One mark (Silves-* 
 tre, no. 1 03), representing a shield bearing a fleur^de-'lis, and held by two 
 lions ; in the field the letters O. P. 
 
 Porte (Maurice de la), bookseller at Paris from 1 524 to 1548. — 
 One mark used by his widow in the volume entitled, 'M. A. Mureti 
 Juvenilia' ; octavo, 1553.^ Maurice de la Porte's widow sold his plant 
 
 I. Bibliotheque du Jardin des Plantes et Sainte-Genevieve. 2. Bibliotheque Mazarine. 
 
284 GEOFROY TORY 
 
 to Gabriel Buon, who used the marks of the deceased from 1 558 to 1 587 . 
 They represent a man carrying a valise at the door {a la parte) of a house ; 
 one of them has thedevice, ' Omniamea mecum porto'T\\t man is Bias,' 
 according to La Caille. About the same time there was a printer at Lyon 
 named Hugues de la Porte, whose mark represented Samson carrying 
 away the gates {partes) of Gaza in his arms, with the device, ' Liberta^ 
 tem meam mecum^or/(?.' (He also publishedafolio Latin Bible in 1 542.)' 
 
 Prevosteau (Estienne). See Morel (Guillaume). 
 
 Regnault (Barb e), bookseller at Paris from 1556 to about 1560. — 
 One mark, representing an elephant carrying a tower on his back, with 
 the device, 'Sicut elephas sto'; height 73^ centimetres, width 51^ cen^' 
 timetres. Barbe was undoubtedly the daughter of Francois Regnault, 
 who died in 1552, and who had a similar mark.^ Francois Regnault's 
 mark was retained by his widow, Madeleine Boursette, who added to it 
 her initials, M. B., and did business in her own name until 1555. Barbe 
 Regnault's mark first appears, so far as my knowledge goes, in a small 
 octavo, printed about 1556, entitled, ' Description de la prinse de Calais 
 et de Guynes, composee par forme de style de proces par M. G. de M,' 
 (Here the mark.) 'A Paris, chez Barbe Regnault, rue Sainct' Jacques, 
 a I'enseigne de I'Elephant.''* La Caille informs us of other works pub-' 
 lished about the same time by Barbe Regnault : * Monstre d' abus con^ 
 tre Michel Nostradamus,' 1558 ; J. Seve, ' Supplication aux rois,' . . . 
 *de faire la paix entre eux,' 1559. In 1560 she published a book by Es^ 
 tienne Brulefer, in octavo, entitled, ' Identitatum et distinctionum . . . 
 traditarum compendiosacontractio' ; then comes the mark, and below 
 it an imprint in which Barbe styles herself the widow of Andre Bar^ 
 thelin . 5 1 am unable to say whether this is the same man whom La Caille 
 and Lottin call Andre Berthelin, and who published in 1544 a work 
 entitled, 'Francisci Georgii Venali . . . de Harmonia mundi totius cantica 
 tria '; folio, Paris, ' apud Andream Berthelin, via ad divum Jacobum, in 
 domo Guilelmi Rolandi, sub insigne Aureae Coronas, et in vico Longo' 
 bardorum in domo ejusdem Rolandi.'^ If he is the same man, we must 
 assume that he was not yet married to Barbe Regnault, for we see that, 
 while he lived, as she did, on rue Saint ■'Jacques, he had a different sign. 
 Indeed, I am inclined to think that Barbe did not adopt the 'Elephant' 
 
 1 . One of the 'Seven Sages' of Greece. 4. Bibliotheque Nationale. 
 
 2. Bibliotheque Nationale. 5. Bibliotheque Nationale. 
 
 3. See Silvestre, nos. 42 and 43. 6. Bibliotheque Nationale. 
 
ICONOGRAPHY 285 
 
 until after the deathof Madeleine Boursette, Francois Regnault's widow, 
 about 1556. However that maybe, LaCaille says that Barbe Regnault's 
 mark passed into the hands of Thibault Bessault, then to his son Jean, 
 and finally to Antoine Houic. I have seen a book published by the last' 
 named in 1582, embellished with Barbe Regnault's 'Elephant,' 
 
 RoBiNOT (GiLLES I), bookseller at Paris, from 1554 to 1575. — 
 One mark (Silvestre, no. 686), representing Icarus hurled into the sea 
 for not following the advice of Dasdalus, his father, not to approach too 
 near the sun lest that luminary should melt the wax with which the 
 wings of our presumptuous youth were fastened to his body. In a scroll 
 
 are these words, * Ne quid nimis.' This mark was used as late as 1 6 1 9 by 
 GiUes Robinot the second, son of the first GiUes ' ; it is .05 of a miUi^ 
 metre high by .047 wide. See Sertenas, 
 
 RoFFET (Pierre), called 'Le Faulchoir,' bookseller at Paris, from 
 1525 to 1 537, — One mark (Silvestre, no. 150) representing a mower 
 {faucheur) appears in a book printed in 1536.^ 
 
 RoiGNY (Jean de), bookseller at Paris, from 1529 to 1562. — I 
 know two marks of de Roigny, signed with the Lorraine cross. The 
 older is the one that appears in a superb edition of Pliny's * Letters,' 
 printed by Josse Bade in 1533, in folio (Silvestre, no. 674). ^ It represents 
 a man and a woman, each holding a scroll containing a Latin motto ; 
 the man's reads thus: 'Nec me labor iste gravabit' ; and the woman's, 
 
 I. See Epistres morales Hon ore Urf'e ; 8vo, 1619. 
 2. [Reproduced on p. 1 37.] 3. [Reproduced on p. 286.] 
 
286 
 
 GEOFROY TORY 
 
 'Spes premii solatium est laboris.' In the sky is Fortune with her wheel 
 and the horn of plenty, and this device in a scroU beneath : 'Quod dif* 
 ferturnon aufertur/ The second mark, which was adopted by Jean de 
 Roigny after the death of his father^in^aw, Josse Bade, in 1535, is the 
 'Prelum ascensianum,' but reengraved (Silvestre, no. 787) ; for Bade's 
 
 typographical plant passed into the hands of another son-'in^Iaw of his, 
 Michel de Vascosan, who continued to use his father-in-law's old wood' 
 cuts, especially his mark, badly worn as it was. As for Robert Estienne, 
 Bade's third son^'in^law, his father^-in^aw's death caused no change in 
 his typographical arrangements ; he still retained the ' Olive-tree ' which 
 he has made so celebrated. 
 
 Sertenas (Vincent), bookseller at Paris, from 1534 to 1561. — 
 One mark, which was used on two opuscula, in octavo, of 1561 ; they 
 are usually bound in the same volume, and are entitled: (i) 'Regime 
 
ICONOGRAPHY 287 
 
 de vivre et conservation des corps humains,' etc. ; (2) 'Recueil de plu' 
 sieurs secrets tres^utiles pour la sante,' etc. This mark represents the 
 initials V. S. interlaced, in a medallion above which is the sun, w^ith a 
 genie on each side; and below, the device, 'Vincenti non victo.' We 
 also find Robinot's mark, described above, in certain books published 
 by Sertenas, I wiU mention among others the * Recueil des rimes et 
 proses, by E. P. ; octavo, 1555.' Presumably, it was because Robinot 
 was the printer that he placed his mark on the books. 
 
 Vivian (Thielman), bookseller at Paris in 1 539. — One mark(Sil'' 
 vestre,no. 725), which appears in the second part of the • Grand Marial 
 de la mere de vie,' ^ translated by Adam de Saints Victor. This second part 
 is entitled, * A la tres^pure et immaculee Conception de la Vierge * ; 
 quarto, 1539. Vivian Hved in Clos Bruneau ; his mark bore this device, 
 * Post tenebras spero lucem ' in a scroll, above a fountain guarded by two 
 unicorns ; below are the letters T. V., and still lower, * Thielman Vivian.' 
 
 1 . Copies of both books are in the Bibliotheque Nationale. 
 
 2. This book is in the Bibliotheque del' Arsenal. The first part is in gothic type, without 
 typographical signs ; the second, in roman. 
 
APPENDICES. 
 
 I 
 
 NOTE CONCERNING GEOFROY TORY'S FAMILY. 
 
 I. Of his Forbears and Collateral delations. 
 
 ENEALOGICAL investigation, sup" 
 plemented with information furnished 
 by two learned Berrichons, enabled me 
 to enumerate, in my first work on Tory, 
 a considerable number of members of 
 his family, all, or almost aU, of whom 
 lived in Faubourg Saint^Pri ve [Bourges]. 
 The recent researches of my friend M. 
 Hippolyte Boyer, Deputy Archivist of 
 the Department of the Cher , make it pos" 
 sible for me to make known his grand" 
 father, his father, and aU his brothers and sisters. 
 
 * By deed of December 29, i486, Robert Thory, husbandman, living 
 in the parish of Saint^Germain-'du'Ruy, conveys to Jean Thory, his bro" 
 ther,for 20 livres tournois, his share in the heritage of the late Jean and 
 Jeanne, their father and mother.* 
 
 * By contracts of September 5 and 8, 1 507, Jean Thory, of Saint" Prive/ 
 and Philippe Thoreye, his wife, give their two daughters, Jehanne 
 Thorye and Perron Thorye, in marriage to Thevenin and Francois Le" 
 conte, sons of Jean Leconte.' Among the provisions of Perron's contract 
 is one to the effect that Jean Thory and his wife settle a dowry of 40 livres 
 tournois on their daughter : ' and. this in satisfaction of all claim upon 
 father and mother, be it in respect of furniture or of inheritance, which 
 said claim the said future bride, with, the authority of her said future hus" 
 
 I. Another document which M. Boyer has kindly made known to me, dated in 1489, in- 
 forms us that this Jean Thory lived on rue aux Vaches, in Faubourg Saint-Prive; so that it was 
 on that street that Geofroy was born. * Now, ' M. Boyer writes me, * as that street contains only 
 two houses, I am inclined to select as the house in question the one designated by the name 
 of maison du perron, because of a stoop err on') with a wooden roof which is still preserved, 
 and which is accounted for by the proximity of the river.' I saw the house in 1 856 ; it still be- 
 longs to the Toubeau family, which tends to confirm M. Boyer's opinion. 
 
290 GEOFROY TORY 
 
 band, hath renounced and doth by these presents renounce, in favour of 
 her father and mother, of maistre Geoffroye, Andre, Antoine and Michell 
 Thoris, children of said Jean and Philippe, save for the power to,' etc' 
 
 Thus it appears that Geofroy was the oldest of the brothers and sis' 
 ters, as he is named first in the document. Now, as two of his sisters were 
 of marriageable age in 1 507, and as he is called maistre^ it is probable 
 that he himself was more than twenty-'five. That is why I have placed 
 his birth about 1480. 
 
 2. Of his Descendants. 
 
 Jean Toubeau, printer and bookseller at Bourges, who died at Paris in 
 1685, while on a mission for his native place,^ wrote the following in the 
 preface to his 'Institutes consulaires,' printed by himself in 1682, three 
 years before his death : ' I have not been impelled to undertake and write 
 this work by the examples of the illustrious members of my profession. 
 Nor is it the example of those of my own family who have given their 
 works to the public : Geofroy Tory, professor in the University of Paris, 
 and a printer and bookseller in the same city, who was so prolific that, 
 proposing to put forth a book which should teach the scope and propor^ 
 tions of those beautiful roman letters which we use to-day in printing, he 
 could not forbear to produce a book overflowing with learning, which 
 was followed by numerous others of instruction, which are so well 
 known that it is needless to give a list of them here, especially as M. de la 
 Thaumassiere gives them a whole chapter in our history.' 
 
 It is evident from this passage that Toubeau was related to Tory, but it 
 is not clear how the relationship came about ; and La Thaumassiere does 
 not mention Tory in his ' Histoire du Berry,' printed a few years later by 
 Francois Toubeau, Jean's son, despite the promises which he seems to 
 have made to Jean, who had transferred to him thedutyofmaking known 
 to posterity that illustrious son of his province. 
 
 The only author able to assist us at all in our investigations is Moreri, 
 who, in the article on Jean Toubeau in his great historical dictionary, says 
 that he was the great^great^grandson of Tory, on his mother's side. This 
 statement should be exact, and the article appears to be written from 
 information furnished by the Toubeau family ; but all that we can dc 
 ter mine from it is that Toubeau was a descendant of Tory in the fourth 
 degree. Whether he descended from a son or daughter of Geofroy, I 
 
 I . Archives of the Department of the Cher, Series C, Notarial Recorfls ; minutes of Jean 
 Dujat, notary, i 507. 2. [See supra, p. 44.] 
 
APPENDICES 291 
 
 have been unableto discover. Toelucidatethisfact,IwrotetoM.Auguste 
 Toubeau, judge of the civil court at Bourges, and this was his reply, dated 
 March 5,1856:'! should have been glad to give you the information you 
 desire about Tory. But I have no documents or family papers w^hich es' 
 tablish his relationship to Jean and Hilaire Toubeau . I do not know what 
 connection there was between them and Tory, and I learned that there 
 was such a connection only from what Moreri says of it.' 
 
 Failing family papers, I made fruitless efforts to fix the relationship 
 between the Toubeaus and Tory. Finding it impossible to reach any cer^ 
 tain result, I have abandoned this search, which has no bearing upon the 
 history of our illustrious typographer. The Toubeaus alone are inter-' 
 ested in the solution of the question ; I leave to them the task of proving 
 their kinship. 
 
 Postscript. — It may be surmised that Bona venture T(?r/««j-, book^ 
 seller of Bourges, who caused to be printed at that city, in 1595, by the 
 widow of Nicolas Levez, the ' Epitome juris civilis,' by an unknown au-* 
 thor, and ' Julii Pauli receptarum sententiarum Hbri V,' ' was Tory's son, 
 for he wrote his name in Latin in the same way that Tory wrote it ; but 
 was it from a daughter of Tory or from a daughter of this Bona venture 
 that Toubeau descended ? It is impossible for me to say. The lateness of 
 the period at which Bona venture makes his appearance leads me to be-* 
 Heve that he did not see the light until Tory had reached an advanced age. 
 Indeed, if we compare the dates, we shall find that this son of Tory cannot 
 have come into the world before 1 530, for, starting from that year, he 
 would have been sixty-'five years old in 1595, when his 'Epitome juris' 
 was printed, and there is no reason to believe that he died very soon there' 
 after. For my own part, I beHeve that he was not born until after the pub' 
 lication of' Champ fleury,'and that his Christian name was an allusion to 
 his late birth.^ In that case, we can understand why he did not succeed to 
 
 1 . On the first page of both books are the words : ' Biturigis, apud Bonaventuram Thorinum, 
 sub signo Anchorae, vico Maiore, 1595'; and at the end: 'Excusus fuit hie hber typis viduae 
 Nicolai Levez, Avarici Biturigum, juxta scholas utriusque juris.' (Bibliotheque Nationale.) 
 The first alone contains a hcense to print (dated August 29, 1595). Therein the publisher is 
 called, in French, 'Thorin,' the natural rendering of the Latin name that we find in the 'note 
 to the reader,' where the form 'Torinus' occurs four times, and 'Thorinus' once only ; which 
 confirms my hypothesis relative to the descent of this bookseller of Bourges. For we have seen 
 that Tory wrote his name Torinus in Latin. I must not omit to mention one objection sug- 
 gested by a friend of mine at Bourges, — that our man is called Bonaventure Thorin, in a book 
 of imposts for the year 1588. But every one knows how irregular the spelling of names was in 
 the old days. 
 
 2. May not Tory's son have had for his godfather Bonaventure des Periers, who committed 
 suicide in 1 544, in order to avoid a prosecution on account of his religion ? 
 
292 GEOFROY TORY 
 
 the paternal establishment : he was only two or three years old at Geo' 
 froy's death — too young to think of taking his place ; so that that duty fell 
 toGeofroy's pupils, whoever they may have been. As for Bona venture, 
 the family traditions naturally led him back to Bourges, and the trade 
 that he adopted brought him still nearer to his father. 
 
 II 
 
 Verses in honour of GeofroyTory, printed at the head 
 OF Palsgrave's Grammar.' 
 
 'Ejusdem [Leonardi] Coxi ad eruditum virum Gefridum Troy^ de 
 Burges^ Galium, Campi floridi authorem, quem ille sua lingua Champ 
 fleury vocat, nomine omnium Anglorum, phaleutium. 
 
 * Campo quod toties, Gefride docte, 
 'In florente tuo cupisti habemus. 
 
 ' Nam sub legibus hie bene approbatis 
 
 'Sermo gallicus ecce perdocetur, 
 
 ' Non rem grammaticam Palasmon ante 
 
 * Tractarat melius suis latinis, 
 
 ' Quotquot floruerant ve posterorum, 
 
 * Nec Grascis melius putato Gazam 
 ' Instruxisse suos Hbris politis, 
 
 ' Seu quotquot pratio prius fliere, 
 
 * Quam nunc gallica iste noster tradit. 
 
 * Est doctus, facilis, brevisque quantum 
 ' Res permittit, et inde nos ovamus, 
 
 ' Campo quod toties, Gefride docte, 
 ' In florente tuo cupisti, habentes.' 
 
 Remarks on the foregoing lines. 
 
 The numerous errors of all sorts which disfigure Palsgrave's book (a 
 very interesting book, none the less) — errors of which the foregoing 
 
 1 . This book, which bears a French title, Lesclaircissement de la langue francoise, although 
 written in English and for the English, was printed at London shortly after the publication of 
 Tory's Champ Jieury. M. Genin issued a second edition in 1852, quarto, Paris, Imprimerie 
 Nationale. 
 
 2. Read 'Tory'; letters transposed. 
 
 3. Read ' Bourges.' The error is due to the fact that the London printers were much more 
 familiar with Bruges, where Caxton, their first master, lived a long while before he introduced 
 printing in England, than with Bourges in Berry. (See my book on the Origin of Printing, vol. 
 ii, pp. 347 fF.) 
 
APPENDICES 293 
 
 lines afford several specimens — should have humbled to some extent 
 the national vanity of the author, w^ho cries out incessantly, throughout 
 his bulky volume, against the ignorance of French printers. He should, 
 in any event, have remembered that English typography was the very 
 humble daughter of French typography, which latter not only trained 
 the first English artist (Caxton), but also gave him his two most illustri^ 
 ous successors, — Wynkyn de Worde and Pinson, — the last named of 
 whom did in fact print a part of Palsgrave's book. 
 
 A modern Englishman, David Baker, has gone even farther than Pals' 
 grave; he says, speaking of Palsgrave's work: 'the French nation, so proud 
 to-'day of the universality of its language, seems to owe it to England.' 
 To which M. Genin retorts : ' Baker reasons backward. The French lan^ 
 guage did not come into universal use because it pleased Palsgrave to 
 write a grammar ; on the contrary, Palsgrave composed his grammar be 
 cause the French language was already universal. This universality was 
 a fact, admitted before Palsgrave's birth,' and others before him had tried 
 to draw up rules to facilitate the study of French by foreigners. Palsgrave 
 names three to whom he acknowledges that his work is greatly indebted . 
 
 'Leonard Coxe exults more modestly and with more propriety than 
 David Baker, for he seems to attribute to Geofroy Tory the honour of 
 having called forth Palsgrave's grammar. To be sure, a comparison of 
 dates seems to leave little likelihood to that conjecture, for the French' 
 man's work and the Englishman's are only about a year apart ; but I 
 must notice here one curious fact which has not been noticed by the 
 bibliographers. On the title-page of the English book we find the date 
 1 530, and on the last leaf, "Printing completed July 18, 1530." But the 
 king's licence to print, at the beginning of the volume, is dated, " At our 
 Castle of Ampthill, the second of September, in the year of our reign the 
 XXII." Now, as Henry VIII succeeded to the throne in 1 509, afi:er Easter, 
 the twentysecond year of his reign was the year 1531,^ and "Champ 
 fleury" appeared early in 1529. So that this gives us an interval of three 
 years.2 In this view Leonard Coxe's words have genuine force, and the 
 
 1 . See what I have myself said on this subject, supra, p. 1 7. 
 
 2. In order to be fair to everybody I am bound to say that M. Genin' s reckoning is at fault. 
 Henry VIII having succeeded to the throne on April 22, 1 509, the twenty-second year of his 
 reign extends from April 22, 1 5 3 o, to April 21, 1 5 3 1 , and consequently the license cited here 
 must have been dated September 2,1530, that is to say, a month and a half after the printing of 
 Palsgrave's book was finished. 
 
 3. Say a year and a half, in consequence of the correction suggested in the preceding note. 
 However, Tory had announced a year earlier th&Reigles de lorthographe du langaige francois. 
 See supra, p. 100. 
 
294 GEOFROY TORY 
 
 point of concurrence which Palsgrave congratulates himself upon find' 
 ing in " Champ fleury " and " Lesclaircissement" may not be so fortui' 
 tous as he chooses to state.' 
 
 However, as M. Genin goes on to say, 'this honour, claimed by the 
 English, of having been the first to write upon the French language, is, 
 all things considered, simply an act of homage to France ; for if our 
 neighbours had awaited from a foreign nation the first book on the 
 English language, perhaps they would be awaiting it still.' 
 
 Ill 
 
 Tory admitted as the twenty-fifth Bookseller to the 
 University. 
 
 In the ' Acta Facultatis medicinas Parisiensis,' ' at the end, we read as 
 follows : — 
 
 'Die Martis i8 febr. 1532 [1533, n. s.] . . . 
 
 ' Die sabbati sequenti, vocata est Universitas in ecclesia Mathurino^ 
 rum, super tribus articulis : clausione rotuli, resignatione cure Sane 
 torum Cosme et Damiani, et receptione vigesimi quinti librarii Uni-' 
 versitatis. Clausus est rotulus solito more ; admissa est resignatio per^ 
 mutationis causa et sine prejudicio turni, et admissus est vigesimus 
 quintus librarius GaufFridus Torier [sic], dono regio. Ubi supplicavit 
 magister Jacobus Japhet pro pastillaria.' 
 
 (Translation.) 
 
 'On the following Saturday [February 22, 1533], the University 
 was called together at the Church of the Mathurins. There were three 
 articles in the order of the day: Closing of the register [of benefices]; 
 resignation of the cure of Saint^Come and Saint^'Damien ; reception of 
 a twentyfifth bookseller to the University. The register was closed ac 
 cording to the usual form. The resignation was accepted, by way of 
 exchange, without prejudice to the next in turn. Geofroy Tory was 
 admitted as twentyfifth bookseller, by presentation of the king. At 
 this same session Maitre Jacques Japhet prayed for leave to present his 
 "pastillary" thesis.' 
 
 The only item that interests us in this extract fi"om the proceedings 
 of the Faculty of Medicine is the passage relating to Tory. We see that 
 
 I. Vol. iv, fol. 320 recto. MSS. folio preserved at the Library of the fecole de Medecine 
 in Paris. 
 
 4- 
 
APPENDICES 295 
 
 in 1 533 he was made the twenty^fifth bookseller to the University, by 
 command of King Frangois I. Up to that time there had been only 
 twentyfour (see M. Didot's 'Essai,' col. 744), and they undoubtedly 
 went back to that consecrated number after the death of Tory, in whose 
 behalf an exception had been made. 
 
 IV 
 
 Note concerning Tory's various Domiciles in Paris. 
 
 The dedicatory epistle of Tory's edition of Pomponius Mela is dated 
 Paris, December, 1507 ; but it mentions no place of abode. 
 
 The edition of the 'Cosmography' of Pope Pius II is dated at the 
 College du Plessis, October 2, 1509, Tory was at the CoUege du Plessis 
 as late as May 10, 15 10.' 
 
 On August 1 8, 1 5 1 2, we find him installed at the College Coqueret ; 
 and a little later at the CoUege de Bourgogne.^ 
 
 About 15 18, having joined the fi-aternity of booksellers, he went to 
 live on rue Saints Jacques, opposite the Ecu de Bale, which was then used 
 as a sign by the famous printer Chretien Wechel. The latter's establish/ 
 ment was on the right going up rue Saint-- Jacques, near the church of 
 Saint^Benoit. 
 
 About 1526 Tory established himself on the Petit^Pont, near Hotels 
 Dieu, but did not give up his shop on rue Saint ■'Jacques, at the sign of 
 the Pot Casse. 
 
 Early in 153 1, he changed his abode to rue de la Juiverie, the Halle 
 aux Bles de Beauce, where he set up his printing-press and his book** 
 stall. He retained his shop on rue Saints Jacques for some time,^ It was 
 in his house on rue de la Juiverie that he died, in 1 533. 
 
 V 
 
 Of the first use by printers, and in the French lan" 
 guage, of the apostrophe, the accent, and the cedilla. 
 
 M. Francis Wey, in a report made by him to the Philological section 
 of the Committee on the Language, History, and Arts of France, on 
 June 9, 1856, and published in the 9th fascicle of volume three of that 
 
 I. [See supra, pp. 55 and 65.] 2. [See supra, pp. 69 and 44.] 
 
 3. [See supra, p. 96.] 
 
296 GEOFROY TORY 
 
 Committee's ' Bulletin ' (page 43 7 ), seems to attribute to Jean Salomon, 
 otherwise called Montflory, or Florimond, the first philological dissert' 
 ation in which there is any mention of the accent, the apostrophe and 
 the cediUa, — signs peculiar to the French language, which, as every 
 one knows, was for many years content with the alphabet of the Latin 
 tongue, from which it descended ; more than that, he attributes to that 
 author the first use of these signs in a printed book. In both respects 
 the honour is due to Geofi"oy Tory. In truth, in his ' Champ fleury,' — 
 which was not published until 15 29, it is true, although begun in 1523, 
 the license to print being dated September 5, 1526, — Tory proposed to 
 introduce the accent, the apostrophe, and the cedilla into the French 
 language ; he did more than that ; for, having become a printer, he was 
 the first to introduce those signs into typography. They appeared for 
 the first time in the last of the four editions of the ' Adolescence Clem' 
 entine ' (by Clement Marot), aU four of which he published. This fourth 
 edition appeared June 7 , 1 5 3 3 , accompanied by an ' avis ' in these words : 
 * With certain accents noted, to wit, on the e masculine, different from 
 the feminine,' on letters joined by synalephe, and under the c when it is 
 pronounced like s, the which for lack of counsel has nev er been done in 
 the French language, albeit it was and is most essential.' This was the 
 first work in which Tory applied his orthographic system, as may be 
 seen by the inexperience of the compositors in his employ, who made 
 several errors of omission and transposition in this very notice. 
 
 This so necessary reform spread very rapidly, thanks to the fact that 
 the necessity had already made itselffelt, as is proved by the work of Jean 
 Salomon,publishedinthatsame year 1533. But it is Tory's especial glory 
 that only those changes which were proposed by him were retained, save 
 a few orthographic signs which have no other purpose than to distin/ 
 guish words spelled alike but of different meanings — and these signs 
 were introduced later : a, a ; ou, oii ; du, du, etc. 
 
 With however good a will one might seek to deny Tory's precedence 
 in the use of orthographic signs in the French tongue, and to award it to 
 Jean Salomon, who used them in the same year, there are two facts that 
 decide the question in favour of the former : these are, the publication 
 in April, 1529, of his ' Champ fleury ' (the first book of which is entitled, 
 'An exhortation to fix and ordain the French language by certain rules 
 
 I . The necessity of distinguishing between the final e which requires the acute accent (^aveu- 
 gle") and that which does not take it {aveugk) led to calling the former masculine and the other 
 feminine. Hence the term 'feminine' still given in French poetry to mute rhymes. 
 
APPENDICES 297 
 
 for speaking with elegance in good sound French words'), and the for'' 
 mulation of the ' General rules of orthography of the French language,' 
 no copy of which is known to exist, it is true, but for whichTory obtained 
 a license to print on September 28, 1529, four years before Salomon's 
 work appeared. 
 
 Nor must we lose sight of the fact that Tory was from Bourges, that is 
 to say, from the same province as Jacques Thiboust, Seigneur de Quan-' 
 tilly, 'friend of books, and distinguished penman,' who was Jean Salo-' 
 mon's Maecenas. There is nothing improbable in the supposition that 
 Thiboust had had his interest aroused by Tory, who is likely to have been 
 a crony of Thiboust inParisbyatwo^fold claim, — asaBerrichon and as 
 a * friend of books.' It seems to me that the alias ' Montflory ' assumed by 
 Salomon is an allusion to ' Champ fleury . ' That, in my opinion, is why he 
 wrote it ' Montflory' or ' Florimond,' indifferently, the word being an 
 anagram rather than a real surname. 
 
 As the opportunity offers itself, I will add to M . Francis Wey 's notes a 
 few remarks which may some day assist in writing the biography of Jean 
 Salomon, of whom nothing is known except the fact, told us by himself, 
 that he was an Angevin. 
 
 We know now of three different editions of his work. The first, dated 
 1 533, with no indication of the month, was printed in that year in three 
 pages and a half,octavo,under this title : * Briefve doctrine pour deuement 
 escripre selon la propriete du langaige francoys.' We do not know where 
 or by whom it was published, but it certainly was printed at Paris, where 
 Salomon undoubtedly lived, and probably by Antoine Augereau, as was 
 the one next described, which seems to have been modelled upon it. In-' 
 deed, like it, it is generally found between the same covers with an edition 
 of the 'Miroir de I'ame pecheresse ' (of Marguerite of Navarre), — an edi-* 
 tion without date, name of place or of printer, which, therefore, should 
 also be attributed to Antoine Augereau and to the year 1533. This edi' 
 tion, which M. Brunet does not mention,' has on the first page: 'Le 
 Miroir de lame pecheresse, auquel elle recongnoit ses fautes et pechez, 
 aussi les graces et benefices a elle faictz par Jesuchrist son espoux.' It con-* 
 sists of nine half sheets in octavo, printed as four (signatures a to /). On 
 the last leaf is a note to the reader wherein forgiveness is asked for the 
 
 I . In the fourth edition of the Manuel de Lihraire; he does mention it in the fifth edition, 
 however, citing me. It is not mentioned either in the Essai sur la Vie et les Ouvrages de Mar- 
 guerite d" Angouleme, by M. de Lincy, prefixed to his edition of the Heptameron, which was 
 published by the Societe des Bibliophiles Franjaisin 1853-54. I describe it from a copy owned 
 by M. Ferdinand Denis. 
 
298 GEOFROY TORY 
 
 first corrector ( he who is called to-day ' the corrector of first proofs' ) , who 
 has inadvertently omitted three verses. ' Divers other trivial errors may 
 peradventure be found before or after, but they must needs be charged 
 rather to the variety of the copies than to the negligence of the correctors 
 or to the haste of the printers.' — As I have said, it is at the end of this 
 pamphlet that we find printed, with separate signatures of its own, from 
 a to the little book described by M. Wey after the copy in the Biblio'' 
 theque Nationale which contains the ' Briefve doctrine.' But one essen^ 
 tial point, which M. Wey has forgotton to mention, is that in the first 
 edition not a word is said of the accent or the cedilla ; there is no mention 
 of anything except the apostrophe. 
 
 The second edition, printed at Paris by Antoine Augereau, in Decem^ 
 ber, 1 533, at the back of another edition of the ' Miroir de Tame peche-' 
 resse (called 'Miroir de tres chrestienne princesse Marguerite, reine de 
 Navare'), is two-'thirds larger. It was probably published (Hke the pre' 
 ceding one) by the Queen of Navarre's secretary, Jean Thiboust, after a 
 manuscript which the author had dedicated to him as his Maecenas. In^ 
 deed, we find at the head of this reprint the words ' ex manuscriptis au^' 
 thoris,' which seems to indicate further that the author was dead. A point 
 worth noting is that the ' Briefve doctrine ' again forms a part of an appen^ 
 dix distinguished by separate signature letters (and folios) fi^om Margue^ 
 rite's poem, and bearing the same title as in the earlier print, despite the 
 additions that had been made to it (presumably based upon Tory's public 
 cations), especially with respect to the cedilla and the accent, which, 
 moreover, are used throughout the volume. 
 
 The third is the one which is still in manuscript at Bourges. It con-* 
 tains several passages more than the preceding; but these passages, 
 which are of very debateable merit (as M. Wey, who reproduces them in 
 his report, declares), were probably added by one Jean Milon, of Arlenc 
 in Auvergne, calling himself a retainer (' ser viteur ') of Thiboust, who re^ 
 vised the * Briefve doctrine' about 1542 ; so much at least we may infer 
 fi-om the date of some other pieces in the collection containing it, which 
 was presented, in 1 555, by Jacques Thiboust to the College de Bourges, 
 whence it found its way to the public library of the same city. It is exceed^ 
 ingly interesting to find this document in Geofroy Tory's native place. 
 It is as if chance had chosen thereby to remind us of the source of the 
 orthographic reform proposed by Jean Salomon. 
 
 To be entirely fair, we ought to say that certain other writers had even 
 anticipated Salomon. Thus Jacobus Silvius, otherwise called Jacques 
 
APPENDICES 299 
 
 Dubois, had published through Robert Estienne, on the 7th of the Jdes 
 of January, 153 1 (January 7, 1532, n. s.), a French grammar in Latin, 
 wherein he suggested a complete system of orthographic reform, in" 
 eluding the acute accent, the apostrophe, the cedilla, etc. ; but his plan 
 was so complicated that it could not be followed in its entirety . Moreover, 
 the signs proposed by him were, for the most part, impossible of adoption 
 throughout a book. For instance, the cedilla consisted of an j- placed about 
 the c. The merit of Tory's system, over and above its priority, was its 
 simplicity. So we may say that it was generally adopted after 1533. 
 
 VI 
 
 Translation of the Letters Patent of Francois I, appoint^ 
 ING Conrad Neobar King's Printer for Greek.' 
 
 January 17, 1539 [new style]. 
 Francois, by the grace of God King of the French, to the French na^ 
 tion, greeting.^ 
 
 We desire that it be known to one and aU that our dearest wish is, 
 and has ever been, to accord to letters our support and especial favour, 
 and to do our utmost endeavours to supply the young with useful stud^ 
 ies. We are persuaded that such useful studies will produce in our realm 
 theologians who will teach the blessed doctrines of religion ; magistrates 
 who will execute the laws, not with passion, but in a spirit of public 
 equity ; and skilful administrators, the glory of the State, who will not 
 hesitate to sacrifice their private interests to love of the public weal. 
 
 Such are in effect the advantages which we are justified in anticipate 
 ing fi-om worthy studies almost alone. And that is why we did, not 
 long since, make liberal allotments of stipends to distinguished scholars 
 that they might teach the young the languages and sciences, and train 
 them in the no less valuable practice of good morals. But we have con*' 
 sidered that there was still lacking, in order to hasten the onward march 
 of literature, something no less essential than public instruction, namely, 
 that a capable person should be specially entrusted with the matter of 
 printing in Greek, under our auspices and with due encouragement 
 
 1 . The original text of these letters may be found in my book, Les Estienne et les types grecs de 
 Francois I"; I give here only a translation borrowed from M.Crapelet, Etudes pratiques, -p. 89. 
 
 2. By an inexplicable blunder M. Crapelet has thought fit to render the two words ' Gal- 
 licje reipublicae,' republic (^of letters^ , failing to understand that the word 'respublica ' stands 
 for the State. It is needless to say that he has been followed by many others, particularly M. 
 Duprat in his * Histoire de I'lmprimerie imperiale,' 1 861 . 
 
300 GEOFROY TORY 
 
 from us, in order to the correct printing of Greek authors for the use of 
 the young people of our realm. 
 
 In truth men distinguished in letters have represented to us that the 
 arts, history, morality, philosophy, and almost all other branches of 
 knowledge, flow from the Greek authors as streams flow from their 
 sources. We know likewise that, Greek being more difficult to print 
 than French and Latin, it is indispensable for the successful adminis^ 
 tration of a printing establishment of this sort, that the director thereof 
 should be well versed in the Greek tongue, extremely painstaking, and 
 blessed with abundant means ; that it may be that there is not a single 
 person among the printers of our realm who combines all these quali' 
 fications (that is to say, knowledge of the Greek language, painstaking 
 energy and large wealth), but that in one the fortune is lacking, in an^ 
 other the necessary knowledge, and in others still different conditions. 
 For those men who possess at once wealth and learning prefer to pursue 
 any other occupation rather than turn their hands to typography, which 
 demands a most toilsome life. 
 
 Accordingly we instructed several scholars whom we admit to our 
 table or to our intimacy, to point out to us a man overflowing with zeal 
 for the art of typography, and of proved learning and diligence, who, 
 supported by our generosity, should be employed to print Greek books. 
 
 And we have a two^fold motive in thus serving the cause of study. 
 Firstly, as we hold this realm from the All-powerful God, which realm 
 is abundantly supplied with wealth and with all the conveniences of life, 
 we choose that it shall yield to no other in respect to the profundity of 
 its studies, the favour accorded to men of letters, and the variety and 
 extent of the instruction provided ; secondly, in order that the studious 
 youth, knowing our good-'will toward them, and the honour which it 
 is our delight to bestow upon learning, may give themselves with the 
 greater ardour to the study of letters and of the sciences, and that men of 
 worth, incited by our example, may redouble their zeal and efforts to 
 train our youth to goodly and useful studies. 
 
 And even as we sought the person to whom we could with all con'' 
 fidence entrust this function, Conrad Neobar presented himself most 
 opportunely, being most desirous to obtain some public employment 
 which should place him under our protection, and confer upon him per' 
 sonal benefits proportioned to the importance of his service ; and, acting 
 upon the testimony that has been laid before us of his learning and his 
 skill, by men of letters well known to us, it has pleased us to entrust to him 
 
APPENDICES 301 
 
 the matter of Greek typography, to the end that he may print correctly 
 in our kingdom, supported by our munificence, those Greek manuscripts 
 which are the source of all learning. 
 
 But, desiring to provide at the same time for the public service, and 
 in order to forestall any possible fraud to the prejudice of Neobar our 
 printer, we establish him in his said office upon the following rules and 
 conditions : — 
 
 Firstly, we understand that all works not yet printed shall not be put 
 to press, still less published, before they have been submitted to the judges 
 ment of our professors of the Academic of Paris who are charged with 
 the instruction of the young ; so that the examination of works in profane 
 literature shall be entrusted to the professors of belles-lettres, and of those 
 on religious subjects to the professors of theology. By this means the 
 purity of our most sacred religion will be preserved fi"om superstition 
 and heresy, and integrity of morals be removed beyond the reach of the 
 debasement and contagion of vice. 
 
 Secondly, Conrad Neobar will deposit in our library a copy of all edi^ 
 tions of Greek texts which he shall first put forth, to the end that, in the 
 event of some occurrence calamitous to letters, posterity will have this 
 source to draw upon to repair the loss of books. 
 
 Thirdly, all such books as Neobar may print shall contain an express 
 statement that he is om printer for the Greek, and that he is specially en^ 
 trusted with Greek printingunder our auspices ; to the end that not the 
 present age alone, but all posterity, may learn of the zeal and good^will 
 for letters whereby we are moved, and that, inspired by our example, it 
 may, like ourselves, prove itself disposed to strengthen the cause of study 
 and contribute to its progress. 
 
 Furthermore, inasmuch as this office is of more benefit to the State 
 than any other, and as it demands fi"om the man who desires to perform 
 its duties zealously such assiduous care and attention that he can not have 
 a single moment to devote to labours which might lead him to honours 
 or to wealth, we have chosen to provide in three ways for the interest 
 and support of our printer Neobar, 
 
 Firstly, we award him an annual stipend of one hundred gold crowns, 
 called ' ecus au soleil,' by way of encouragement and to indemnify him 
 in part for his expenses. It is our will, further, that he be exempt from all 
 imposts and that he enjoy the other privileges which we and our prede^ 
 cessors have accorded the clergy and the Academie of Paris, so that he 
 may enjoy the greater advantage fi^om the disposal of his books and that 
 
302 GEOFROY TORY 
 
 he may the more easily acquire all that is essential for a printing estab' 
 lishment. Finally, we forbid everybody, printers and booksellers alike, to 
 print or to sell, in our realm, for the term of five years, such books in for/ 
 eign tongues, whether Latin or Greek, as Conrad Neobar shall have pub/ 
 lished first, and for the term of two years such books as he shall have re/ 
 printed more correctly, fi-om ancient manuscripts, whether by his own 
 labours or by availing himself of the work of other scholars. 
 
 Whoever violates the terms hereof shall be punishable with a fine for 
 the use of the treasury, and shall reimburse our printer all the cost of his 
 editions. Furthermore, we command the provost of our city of Paris, or 
 his lieutenant, as well as all other magistrates now in oflBce, or who hold 
 public employments from us, to see to it that Conrad Neobar, our printer, 
 enjoys to the fiill all the privileges and immunities hereby conferred 
 upon him, and to inflict severe punishment upon whoever shall cause 
 him annoyance or hindrance in the performance of his duties: foritisour 
 will that he be protected fi"om the evil/disposed and from the malice of 
 the envious,to the end that the tranquillity and security of an unharrassed 
 life may enable him to devote himself with the greater zeal to his impor/ 
 tant duties. 
 
 And that full and entire credence may be forever given to what is 
 hereinbefore commanded, we have confirmed it with our signature and 
 have caused our seal to be affixed. Adieu. 
 
 Given at Paris, the seventeenth day of January, in the year of grace 
 1538, and of our reign the twenty/fifth. 
 
 VII 
 
 Extract from the Letters Patent of Francois I, appoint/ 
 ING Denis Janot King's Printer.' 
 
 Frangois, by the grace of God King of France, to all those who shall 
 see these letters, greeting. Beit knownthat we, having been well and duly 
 advised of the great skill and experience which our dear and well/beloved 
 Denis Janot has acquired in the art of printing and in the matters which 
 depend thereon, whereof he has ordinarily made great profession, and 
 even in the French language ; and considering that we have already en/ 
 gaged and constituted two printers of our own, one for the Latin, the 
 
 1 . I borrow this fragment from M. Crapelct ( Etudes pratiques, p. 1 1 6) , for I have been un- 
 able to inspect the volume from which he took it, although he gives an interesting description 
 of it. 
 
APPENDICES 
 
 303 
 
 other for the Greek language ; desiring to do no less honour to our own 
 than to the said two other languages, and to commit the printing thereof 
 to some person who is able to acquit himself thereof, as we hope that the 
 said Janot will prove himself well able to do, for these causes and others 
 movingus thereto, we haveengaged and do by these presents engage him 
 to be our printer in the said French language, henceforward to print well 
 and duly, in good type and as correctly as may be, such books as are and 
 shall be written in said language, and such as he may be able to recover ; 
 and to enjoy in that office the honours, authority, privileges, precedent 
 cies, powers, liberties, and rights which may appertain thereto, so long as 
 it shall be our good pleasure. And in order to arouse in him the greater 
 ardour and to afford him better means and opportunity to maintain and 
 support the cost and outlays, the toil and labour which it wiW be incum^ 
 bent on him to make and undergo, as well in the printing and correcting 
 as in other matters depending thereon, we have decreed and ordered, do 
 decree and order, and it is our pleasure that the said Janot be given per^' 
 mission, by these presents, to print all books composed in the said French 
 language which he may be able to recover, but only after they shall have 
 been well, duly, and sufficiently inspected and examined, and found to 
 be excellent and not scandalous. . , . Given at Paris the twelfth day of 
 April in the year of grace one thousand five hundred forty^three.and of 
 our reign the twentyninth. 
 
 On the outside are the words : ' By the King — Present, the Bishop of 
 Thulles. Signed Bayard ; and sealed sur double cueue'' with that lord's 
 great seal. ' 
 
 VIII 
 
 List of King's Printers who performed their functions 
 AT Paris, from the original institution of that office. 
 
 Geofroy Tory, 1530-1533.^ 
 Olivier Mallard, 1536-1542. 
 Denis Janot, 1543-1 550.^ 
 Charles Estienne, 1551-1561. 
 
 Robert Estienne II (nephew of Charles), 1561-1 570. 
 
 1 . \Lettre a or sur double queue, letters on which the seal is suspended from a strip of parch- 
 ment passed through the document.] 
 
 2. See what I have to say in the Preface on the subject of Pierre le Rouge, who is given the 
 title of king's printer once, in 1488. 
 
 3 . The dates that I give are those of the holding of the office of king^ s printer, and not of the 
 carrying on the trade of printer, which, as a general rule, do not coincide, at least so far as the 
 earlier dates are concerned. 
 
304 GEOFROY TORY 
 
 Jean Mettayer, i 575-1586. 
 
 Jamet Mettayer (brother of Jean), 1586-1602. 
 
 Pierre Mettayer (brother of Jean and Jamet), 1602-1639. 
 
 Mamert Patisson, 1578-1601. His widow succeeded him and held 
 
 the office from 1602 to 1606. 
 Michel de Vascosan, 1560-1571. 
 Pierre le Voirrier, 1583.' 
 
 Federic Morel (Vascosan's son^in^law), 1560-1581. 
 
 Federic Morel II (son of Federic), 1582-1630.^ 
 
 Claude Morel, 1617 ( ?). 
 
 Charles Morel (son of Claude), 1635-1639. 
 
 GiLLES Morel (son of Charles), 1639-1647. 
 
 Pierre le Petit. Succeeded Morel, June, 1647 'with the privileges 
 
 and salary of 225 livres charged upon the State.' ^ He died in 1686. 
 Guillaume Nyverd II, 1 56 1. 
 Nicolas Nivelle, ] 
 
 Guillaume Chaudiere, V Printersofthe Sacred Union, 1589- 1594. 
 RoLiN Thierry, ] 
 Claude Prevost, 1614-1629. 
 
 Nicolas Callemont, i 622-1 631. His widow held the office in 163 1. 
 Pierre L'Huillier, 1610. 
 
 Antoin E EsTi enn E, 1 6 1 4- 1 664. In 1 649 he called himself 'first king's 
 printer.''* 
 
 Henri Estienne, his son, obtained the reversion of his father's office 
 in 1652, but he died before him, in 1 661, probably without acting.^ 
 
 Pierre Moreau, 1640-1647. (For his bastard italic.) 
 
 Antoine Vitre, 1622-1674. 'Linguarum orientalium typographus 
 regius.' 
 
 Sebastien Chapelet, 1639. 
 Jacques de Gast, 1640. 
 
 Sebastien Cramoisy, December 24, 1633. In 1640 he was appointed 
 manager of the royal printing-'office of the Louvre ; in 1 65 1 he re^ 
 signed the office of king's printer in favour of his grandson, Sebas/ 
 TIEN Mabre-Cramoisy, and died in 1669. 
 
 1. Brunet, Manuel de Libraire, 5th edit., vol. ii, col. 1672. — See infra, p. 307 Kin£ s 
 Printers for the Mathematics. 
 
 2. He calls himself ' architypographus regius ' in a work printed by him in 1608. 
 
 3 . See the Recette g'en'erale des finances of Paris for 1 67 1 , in the national archives, KK. 356, 
 fol. 53. 
 
 4. See my Les Estienne, p. 35. 
 
 5. Renouard, Annates des Estienne, 3d edit., p. 228, col. i . See also my Les Estienne, p. 36. 
 
APPENDICES 305 
 
 Sebastien MABRE-CRAMOiSY(grandsonofthe preceding, throughhis 
 mother), 1 66 1 - 1 68 7 . He also held the office of manager of the royal 
 printing-office. 
 
 Sebastien Hure, August, 1650. 
 
 Sebastien Hure II (son of the preceding), appointed in 1662, in 
 place of Henri Estienne, Antoine's son; died in 1678. 
 
 Pierre Rocolet, April 14, 1635; '^^^ 1662. 
 
 Damien Foucauld (son-'in^aw of Rocolet), succeeded him ; 1662- 
 1687 (?). 
 
 pRANfois MuGUET, appointed as locum tenens in November, 1661, 
 was definitively appointed in 1671 ; resigned his letters in 1686, to 
 replace Pierre le Petit, at the salary of 225 Hvres. Muguet died 
 in 1702. 
 
 Francois-Hubert Muguet (son of the preceding) succeeded him; 
 1 702-1 742. 
 
 Frederic Leonard. Succeeded Francois Hure; 1678-1712. 
 Frederic Leonard II (son of the preceding) succeeded him ; 1713- 
 1714. 
 
 Jean de la Caille, 1644-1673. 
 
 Jean-Baptiste Cognard, Succeeded Foucauld ; 1687-1737. 
 Cognard's widow, 1 737-1 760. 
 
 Jean-Baptiste Cognard II (son of Jean-Baptiste), 1717-1752, 
 
 when he resigned. 
 Jacques Langlois, 1660-1678. 
 
 Jacques Langlois II (son of the preceding), 1678-1697. 
 Jean-Baptiste-Alexandre Delespine, 1 702-1 746 (?). 
 Guillaume Desprez, 1686-1708. 
 
 GuiLLAUME Desprez II (son of the preceding), 1 740-1 743, when he 
 resigned. 
 
 GuiLLAUME-NicoLAS Desprez (son of the preceding), 1743-1788, 
 
 He was at the end the dean of the king's printers. 
 Pierre-Alexandre le Prieur, 1747-1785. 
 Claude-Charles Thiboust, appointed king's printer in 1756, died 
 
 in 1757. 
 
 N. DE Maisonrouge (widow of the preceding), succeeded him, and 
 
 held the title of king's printer tiU 1788. 
 Laurent-Francois Prault, 1780 ( ?). 
 
 Louis-Fran^ois Prault (son of Laurent) succeeded him; 1780- 
 1788. 
 
3o6 GEOFROY TORY 
 
 Antoine Boudet, 1768-1779. 
 
 Francois le Breton; died October 4, 1779. 
 
 Philippe-Denis Pierres ; succeeded Le Breton by virtue of letters 
 
 dated October 7, 1779.* He was appointed first king's printer in 
 
 August, 1785. 
 Jacques-Gabriel Clousier, 1788. 
 Auguste-Martin Lottin, i 775-1 789. 
 (Demoiselle) Herissant, 1788. 
 
 King's Printers for Greek.' 
 
 Conrad Neobar, 1538-1540. 
 Robert Estienne, 1540-1550. 
 Adrien Turnebe, 1552-1555. 
 Guillaume Morel, 1555-1564. 
 Michel de Vascosan, 1560-1576. 
 Robert Estienne II, 1561-1570. 
 Federic Morel, 1571-1581. 
 Etienne Prevosteau, i58i-i6oo(?). 
 Pierre Pautonnier, i6oo-i6o5(?). 
 
 Printers of the King's Closet. 
 
 Jacques Collombat, in 1743. 
 
 N. Dehansy (widow of the preceding), 1744. 
 
 Jacques-Francois Collombat (son of Jacques), 1744-1751. 
 
 1 . This appointment involved him in some difficulty with his colleagues, as maybe seen from 
 the following letter, of which I found a copy in the Bibliotheque du Louvre, in the Nyon col- 
 lection. 
 
 ' When I asked and obtained the office of king's printer, of which M. Le Breton had been 
 deprived by death, I had no idea that it could cause any heart-burning on the part of my con- 
 freres, with whom I have always earnestly desired to be on the best of terms. If I had been able 
 to foresee such a thing, I am too much a friend of peace to have voluntarily exposed myself to 
 it by assuming a title which was subject to dispute. But, monsieur, when I submitted the ques- 
 tion to you, I thought that I could see that it did not seem to you free from doubt. For this 
 reason I cannot hesitate to abandon claims which seem to me well-founded. 
 
 ' I beg you therefore, monsieur, to regard as not having been made the claims that I put 
 forward on this subject, and as my confreres do not pretend that any one of them has the 
 right to style himself first king's printer, in like manner I agree to assume simply the title of or- 
 dinary printer to his Majesty, and that we shall be placed in the Almanack Royal in the order 
 of our reception. 
 
 'Paris, 20 November, 1779. Pierres.* 
 For this famous printer, see Lottin, Catalogue des Imprimeurs de Paris, vol. ii, p. 139. 
 
 2. For this paragraph, see my Les Estienne. 
 
APPENDICES 307 
 
 Jacqueline Tarle (wife of Jacques-Francois), i 751-1752. 
 Jean-Jacques Estienne Collombat (their son, 1 752-1 763). 
 
 Printers of His Majesty's Closet, Household and Buildings. 
 
 Jean-Thomas Herissant, i 764-1 772. 
 Marie-Nicole Herissant (his daughter), 1 772-1 788. 
 
 Kings Printers for Mathematics. 
 
 Jean Leroyer, February 3, 1553(1554, n. s.)-i565. 
 Pierre Levoyrier, 1575-1584. 
 
 King's Printer for Coins. 
 Jean Dallier, August 23, 1559. 
 
 King's Printers for Engravings. 
 
 Pierre Lengevin, buried February 5, 1609.' 
 Melchior Ta vernier, 'living on the lie du Palais/ 
 
 King's Printers for Music. 
 
 Robert Ballard, i 551- 1606. Letters patent of May 5, 1516,^ inform 
 
 us that he received 250 livres tournois in this capacity. 
 LucRECE Le Be (Ballard's widow), 1606. 
 Pierre Ballard (son of Robert I), 1608-1640. 
 Robert II (son of Pierre), 1640-1679. 
 
 widow of Robert II, 1679-1693. 
 
 J.-B.-Ch. Ballard (grandson of Robert II), 1694-1750. 
 
 (widow of the preceding), 1 750-1 758. 
 
 Chr.-J.-F. Ballard (son of J.-B.-Ch.), i 758-1 765. 
 
 (widow of the preceding), 1 765-1 792. 
 
 Pierre-Robert-Christophe Ballard (son of Chr.-J.-F.), 1779- 
 1792. 
 
 After the Restoration Louis XVIII named as king's printers mem^ 
 bers of certain famiKes in the printing trade which had formerly borne 
 that title, and some others who had won great renown in their trade ; 
 
 1 . He is mentioned as ' imprimeur du roi,* without other description, in the registers of the 
 cemetery of Les Reformes de ]a Trinite, rue Saint-Denis ; but I think that he was simply an 
 engraver on copper, like Tavernier. 
 
 2. [Clearly a misprint ; perhaps 1 56 1 .] 
 
3o8 GEOFROY TORY 
 
 such are the first six in the following list, which includes all the king's 
 printers of the Restoration. 
 
 LoTTiN DE Saint-Germain,' 1815-1828. 
 
 Ballard/ 1815-1828. 
 
 Ballard's widow, 1828-1830. 
 
 Valade,3 18 15-1822. 
 
 Pierre Didot, the elder, 18 15-1822. 
 
 Jules Didot, his son, succeeded him; 1822-1830. 
 
 Firmin Didot (Pierre's younger brother), 1815-1827. 
 
 Madame Herissant-Ledoux, 18 16-1822. 
 
 Lebel, successor to Valade, 1822-1825. 
 
 Lebel's widow, 1826. 
 
 Lenormant, 1824-1830. 
 
 Ambroise Didot (son of Firmin) was appointed king's printer by 
 patent of December 7, 1 829. The office became extinct in his hands in 
 July, 1 830. M. Ambroise Firmin Didot, who thus closes the list of king's 
 printers, opened by Tory, has another bond of union with the latter : like 
 him he was an engraver. See what M. Firmin Didot pere wrote on this 
 subject at the beginning of his tragedy, ' Annibal,' which was printed 
 by him in 18 1 7, precededby a letter fi"om his son, who was then travel^ 
 ling in Greece ; the letter being printed in an ' English ' ty^e which he 
 tells us was engraved by his son Ambroise."* 
 
 IX 
 
 Note concerning the King's Binders and Librarians. 
 
 There had long been fiinctionaries known as ' libraires du roi ' (king's 
 librarians), when Francois I instituted the office of king's printer. In-' 
 
 1 . He had been in business since 1 784. 
 
 2 . He had been in business since 1 8 1 3 . 
 
 3 . He had been in business since 1785. 
 
 4. There were royal printers in various cities of France after the latter part of the sixteenth 
 century ; but the office was neither regularly instituted nor general in its scope. These printers 
 seem to have had it specially in charge to print official documents in the provinces, which func- 
 tion conferred on them certain privileges, and sometimes caused difficulties with the local au- 
 thorities, who also had their special printers. The first editions of the edicts, ordinances, etc., 
 emanating from the central authority were afterwards placed in the hands of the royal printing- 
 office in Paris. See what I have to say on this subject in my work on Les Estienne, p. 56. 
 
 In 1 844 M. Le Roux de Lincy published in the Journal de P Amateur de livres, and also 
 had printed separately in an octavo pamphlet of 1 6 leaves, a compilation entitled : Catalogue 
 chronologique des imprimeurs et libraires du roi, par le pere Adr-^ ; but those shapeless memo- 
 randa were not originally intended for printing, and I have been unable to obtain the slightest 
 particle of useful information from them. 
 
APPENDICES 309 
 
 deed, we find that GuiJlaume Eustace bore the title as early as 1 5 74, that 
 is, under Louis XII. He is so styled in the subscript of an edition of' Les 
 Chroniques de France,' in three volumes, folio. At the end of the last vol^ 
 ume,we read : ' Here endeth the third and last volume of the great chron' 
 icles of France, printed at Paris in the year a thousand five hundred and 
 fourteen, the first day of October , for Guillaume Eustace, libraire du Roy^ 
 and sworn binder to the University of Paris.' 
 
 In our first edition we expressed the opinion that Eustace may have 
 been replaced in 1522 by Jean de Sansay, who is described as king's H" 
 brarian, in 1 530, in the accounts published by M. de Laborde. ' This is an 
 error. Eustace was still king's librarian in 1 533 . Jean de Sansay was not, 
 as Eustace W2S,purveyor to the king's library, but keeper thereof, a title 
 assumed in more exact terms by one of his successors, Jean Gosselin, in 
 a book which he caused to be printed in 1583.^ 
 
 Jean de Sansay's immediate successor, under Francois I, seems to have 
 been Claude Chappuis, who was king's librarian before March 28,1 543, 
 as may be seen fi-om the following document, dated January 6 , 1 544, new 
 style, the original of which is in the Joursauvault collection at the Biblio'' 
 theque du Louvre : — 
 
 *In the presence of me,notary and secretary ofthe state tothe King our 
 sire,Jehan Estienne,^ dealer in silversmithery to thequeen,having power 
 of attorney fi-om maistre Claude Chappuys, librarian to our said lord, 
 thereby sufficiently authorized, did by deed of the twenty^eighth day of 
 March a thousand five hundred forty ■'three, after Easter last past, execu^ 
 ted before Jehan Langlois, royal notary in the bailiwick or chatelany of 
 Moret, aver that he had had and received from maistre Jacques Boucher 
 tel, treasurer and paymaster ofthe household of our said lord, the sum of 
 two hundred forty livres tournois on account of his office of librarian dur-* 
 ing the year beginning the first dayof January a thousand five hundred 
 
 1. Archives, reg. KK, 99, fol. 1 16 verso. ' Librairie. — To maistre Jean de Sansay, li- 
 braire ordinaire to tlie King our Sire, the sum ot two hundred forty livres tournoys, ordered 
 [to be paid] to him by our said lord and his warrant, for his wages as libraire ordinaire to our 
 said lord, [said office being held] by him during this present year beginning the first day ofjsnu- 
 ary a thousand five hundred twenty-eight [i 529 n. s.] , and ending the last day of December 
 following, a thousand five hundred twenty-nine, of which sum this present clerk has made pay- 
 ment to the said Sansay by virtue of said warrant, as appears by his receipt signed at his request 
 by Huault, notary and secretary to the King, the twenty-third day of January in the year a 
 thousand five hundred twenty-nine now current. For the said sum of 11'^ xl 1. t.' 
 
 2. Brunet, Manuel de Libraire, 5th edit., vol. ii, col. 1672. 
 
 3 . Was this Jehan Estienne of the family of the great printers ? I am unable to say. He is not 
 mentioned in any of their genealogies, nor is the Gommer Estienne, whom I have referred to in 
 my Les Estienne. 
 
310 GEOFROY TORY 
 
 forty ''two [ 1 543, n. s.], and ending the last day of December a thousand 
 five hundred forty-'three. For which sum of ii'xl livrestournoisthe said 
 Jehan Estienne, as attorney as aforesaid, hath held and doth hold himself 
 accountable and duly paid, and hath acquitted and doth acquit the said 
 maistre Jacques Bouchetel, treasurer as aforesaid, and all other persons. 
 Witness my sign manual hereto affixed at his request. The vi day of 
 January in the year a thousand five hundred forty ■'three. 
 
 'BURGENSIS." 
 
 In 'La Renaissance des Arts, 'M. de Laborde has published several 
 extracts from the royal accounts relative to this Claude Chappuis. 
 
 ' To maistre Claude Chappuis, librarian to our said lord, the sum of 
 thirty^three livres five sols tournois, to him ordered to be paid by our said 
 lord, to reimburse him for several small sums by him fiirnishedand paid 
 for the embellishment of books which our said lord hath caused to be 
 brought fi-om Thurin, for the carriage thereof fi"om Fontainebleau to 
 Paris and toSainct^Germain^en^Laye, and from said Sainct^Germain to 
 Paris and Fontainebleau, and for expense incurred by said Chappuis, say 
 XXXIII L. v. s.'^ 
 
 * To maistre Claude Chappuys, librarian to our said lord, the sum of six 
 times twenty and ten livres, and ten sols tournois to reimburse himfor the 
 like sum which he hath paid of his own moneys to a bookseller of Paris 
 named Le Faucheux, for having, by command of our said lord, re^bound 
 and gilded divers books firom his library, in the manner and guise of a 
 gospel heretofore bound and gilded by said Le Faucheux, written in let' 
 ters of gold and ink.' ^ 
 
 Doubtless this Claude Chappuis is the same man who belonged to the 
 household of Jean du Bellay, Ambassador to Rome in 1 53 6 . Having be^ 
 come librarian to the King, he probably used in gilding the books men^ 
 tioned in the last quotation, the irons which Francois I had bought in 
 Venice, as we learn from another account, undated, but a little earlier, 
 preserved, like the others, in the national archives. 
 
 ♦ To Loys Alleman, Fleurantin, for sending to Venice for irons to prinf* 
 certain Italian books, and for the cost of such printing, the sum of v 
 livres.' 
 
 As for Le Faucheux, mentioned here as a binder, he is evidently Eti^ 
 
 1 . The name is left blank at the beginning of the original document, and the signature is very 
 doubtful. But the name Burgensis or Bourgeois, is very common at that period. Francois I had a 
 physician called Louis Burgensis. 
 
 2. La Renaissance des Arts, vol. i, p. 973. 3. Ibid., p. 925. 
 4. That is to say, to goffer. 
 
APPENDICES 
 
 3" 
 
 enne RofFet, called Le Faucheux, described as binder and librarian to the 
 King on the title-page of the ' GEuvres de Hagues Salel,' which he pub^ 
 lished, and which was printed at Paris, in octavo, in 1540.' He was the 
 son of Pierre Roffet (publisher to the two Marots, father and son), who 
 had for his sign a 'faucheur,' mower/ 
 
 1 . This volume is without date, but the license to print is dated February 23, 1539(1 540, 
 n. s.). 
 
 2. [See supra, p. 138.] 
 
 X 
 
 Passages WRITTEN IN Latin, IN most cases by Tory, transla' 
 
 TIONS OF WHICH ARE INSERTED IN THE BODY OF THE BOOK. 
 
 Godofredus Torinus Biturkus Joanni Rossel- 
 letto, liter arum amantissimo, S. D. P. ' 
 Egregiam de te spem , Joannes ornatissime, tuis 
 et cognatis et patriae, non solum moribus, imo 
 et benefactis, te velle nobiliter ostendere, nun- 
 quam ( opinor ) tu prastermittes neque desistes. 
 Quo tu Reipubl. vel consilio prodesses, curasti 
 ut per me Quintilianus emendatior caracteri- 
 bus et impressioni daretur bellissime. Multis 
 exemplariis diligenter collatis, unum ( mendis 
 pene innumerabilibus deletis) castigatissimum 
 non pigra manu feci; ipsum, ut jussisti, a Par- 
 rhisiis Lugdunum misi. Utinam et qui impri- 
 mentnovosnonsuperinducanterrores. Vale, et 
 me ama. 
 
 Parrhisiis, apud collegium Plesseiacum, ter- 
 tio calendas Mardas. 
 
 B 
 
 Imbutam ausonia cupiens me reddere lingua 
 Artibus et pariter me decorare bonis, 
 
 Nocte dieque docens pater ut charissimus, ipse 
 Fundamenta mihi dulcia et ampla dabat. 
 
 MONITOR. Hanctibiquis struxit gemmisinsig- 
 
 nibus urnam ? 
 AGNES. Quis? Meus in tali nobilis arte pater. 
 MON. Excellens certe est figulus genitor tuus. 
 AGNES. Artes 
 
 Quottidie tractat sedulus ingenuas. 
 MON. An ne etiam scribit modulos et carmina.? 
 AGNES. Scribit. 
 
 Dulcibus et verbis hsec mea fata beat. 
 MON. Ipsius est nimirum hominis solertia mira? 
 AGNES. Tamcelebrem regiovixtulit uUavirum. 
 
 I Salutem dicit perpetuam. 
 
 D 
 
 VIATOR. Mecenatealiquo certe dignissimus ille 
 est. 
 
 GENIUS. Mecenas franco rarus in orbe viget. 
 Nemo hodie ingenuas donis conformibus artes 
 
 Aut fovet, aut ulla sorte fovere parat. 
 Non est in pretio probitas, nec Candida virtus. 
 
 Infelix adeo regnat Avaricia. 
 Fraus, dolus et vitium praestant ; virtutibus omne 
 
 Postpositis miserum serpit ubique nephas. 
 VIA. Quid facit ille igitur Musis excultus 
 amcenis ? 
 
 GEN. In propria gaudet vivere posse domo. 
 VIA. Ad reges alacri deberet tendere passu. 
 GEN. Non curat, quoniam libera corda gerit. 
 Isti nonnunquam gaudent spectare potentes 
 
 Carmina, sed quid turn t nictibus ilia beant. 
 Deberent gemmis auroque rependere pure 
 
 Aurea de superis carmina ducta polis. 
 Sed potius fatuis, nebulonibus atque prophanis 
 
 Contribuunt stulti grandia dona leves. 
 
 Egregii qddam sunt felici hoc seculo pic- 
 tores, lector humanissime, qui suis lineamen- 
 tis, picturis etvariis coloribus deos gcntilitios et 
 homines, itemque alias res quascunque adeo 
 exacte depingunt, ut illis vox et anima deesse 
 tantummodo videatur; sed ecce,lector human- 
 issime, egojam tibi,illorum propemodum more, 
 domum ofFero, non solum suis lineamends et 
 partibus elegantem et absolutam , sed edam pul- 
 chre loquentem et encomio sese pardculatim de- 
 scribentem. 
 
 Godofredo Torino, quem Ulvaricum* Bit- 
 urigum peperit, quemLutctia Parisiorum fovit, 
 
 2. Read ylvaricum. 
 
 I 
 
312 
 
 GEOFROY TORY 
 
 viro linguae turn latinae turn graecae peritissimo, 
 littcrarum denique amantissimo, typographo 
 solertissimo et bibliographo doctissimo, quod 
 de partibus asdium elegantissima distica scrip- 
 serit, tumulos aliquot ludicros veterrimo stylo 
 latine condiderit, Xenophontis, Luciani, Plu- 
 tarchi tractatusegrzeco in gallicumconverterit, 
 Parisiis in Burgundiae gymnasio philosophiam 
 edocuerit, primus omnium de re typographica 
 sedulo disseruerit, litterarum sive caracterum 
 dimensiones ediderit, et Garamundum calco- 
 graphum principem edocuerit, viri boni officio, 
 quoad devixit, anno m.d.l. semper defunctus, 
 a monente Joanne Toubeau, etiam typographo 
 et auctore, mercatorum prastore, aedili Bituri- 
 censi, obnegotia civitatis difficillima ad regem 
 et concilium legato, ejusdem Torini abnepote, 
 et typographicorum insignium haerede, Nico- 
 laus Catharinus, nobilis Bituricus, regis advoca- 
 tus et senator in Biturigum metropoli, a teneris 
 annis hue usque et deinceps rei typographicae 
 addictissimus, cursim raptimque scripsit, exe- 
 unte novembri m.dc.lxxxiv. 
 
 G 
 
 Godofredus Torinus Bituricus Philiberto Ba- 
 boo, (ivi BituricOjSerenissimi Gallorum regis 
 dispensatori ac earner ario meritissimo, salu- 
 tem dicit humilimam. 
 
 Pomponium Melam, ornatissime Philiber- 
 te, geographorum authorem luculentissimum, 
 quum nuper inspicerem, eum tot mendis de- 
 pravatum ac lacerum esse cognovi, ut 
 
 . . . Ecce ante oculos moestissimus author 
 Visus adesse mihi, largosque efFundere Ac- 
 tus; 
 
 Fergilius, Eneid. ij. 
 
 Ecce inquam: 
 
 Raptatus bigis (heu miserum) aterque cruento 
 Pulvere, perque pedes traiectus lora tumentes, 
 Quam gravitergemitus imo de pectore ducens. 
 
 Id., ibid. 
 
 Talibus verbis conqueri videbatur: Siccine ego 
 qui tot terras, tot gentes, insulas, amnes, freta, 
 vada, carybdes, tarn eleganterdescripsi, quique 
 totius orbis descriptionem tarn confidenter ag- 
 gressus sum, sic mancus, sic mutilus, sic trun- 
 cus habebor? 
 
 Hei mihi! quam cassus sum, quamque simili- 
 mus illi 
 
 1. The book has potuit, but the errat; 
 
 2. The book has adiiecimus. 
 
 3. The book has (fuandotjuidam, but 
 
 Hectori qui quondam concretos sanguine crincs 
 Vulneraque ilia tulit quae circum plurimamuros 
 Accepit patrios. . . . 
 
 Id., ibid. 
 
 Nisi medicabiles aliquae in me manus se exten- 
 dant, sine dubio, iam emoriar. 
 
 Tarda Philoctetaj sanavit crura Machaon, 
 Phoenicis Chyron lumina Philyrides; 
 
 Et Deus extinctum Cressis Epidaurius herbis 
 Restituit patriis Androgeona focis. 
 
 Proper. , lib. ij, ad Macenatem. 
 
 Sed sane credo quod 
 
 Hoc si quis vitium possit ■ iam demere, solus 
 Tantalea poterit tradere poma manu. 
 
 Dolia virgineis idem ille repleverit urnis, 
 Ne tenera assidua colla graventur aqua; 
 
 Idem Caucasea solvet de rupe Promethei 
 Brachia, et a medio pectore pellet avem. 
 
 Idem, ibid. 
 
 Certe statim apud me dixi: Si Machaon, si 
 Chyron aut ^sculapius essem, libens huic rei 
 subvenirem. Sed quid autem si manuum mea- 
 rum opellam im penderem ? Nonne remedio esse 
 possem? Forte, at equidem expertus, et id quo 
 saltern emendatior habeatur. 
 
 Quod si deficiant vires, audacia certe 
 Laus erit: in magnis et voluisse sat est. 
 Idem, lib. ij, ad Musam \^Ad Augustum?'\ . 
 
 Pauculas ergo annotationes adiecimus,'qui- 
 buscum sub tuo nomine (quandoquidem 3 et 
 literarum et literatorum amantissimus es) bonis 
 utaiuntavibus Pomponius ipse Mela iamtutius 
 exeat. Vale. 
 
 Parrhisiis, vj no. decemb. MCCCCC vij. 
 
 H 
 
 Habes, ornatissime Philiberte, Pomponium 
 ipsum Melam pluribus quibus scatebat mendis 
 iam emendatum. Curavi siquidem accuratis- 
 simo (qui etiam primus apud Parisios graecis 
 caracteribus lotissimas addidit manus) impres- 
 sori dare. Eum diligentius, et quo politior ac 
 absolutior in tuas primum, deinde ca;terorum 
 manus perveniat, recognoscere pauculaque in 
 eum subannotare non ingratus volui. Tu nunc 
 cum ipso per totum orbem, quemadmodum et 
 
 informs us that we should read fossil. 
 the errata corrects the error. 
 
APPENDICES 
 
 313 
 
 Phiclus, qui super aristas eas non frangendo 
 cucurrisse fertur, non tantum secure, sed con- 
 fidenter ac praesentissime ire ac redire vales. 
 Si tigres animalium pernicissimos comprehend- 
 ere, catoblepam sine tui malo cernere; si dra- 
 cones, feras, satyros, panes, silvanos;si Indos, 
 
 Et penitus toto divisos orbi Britannos ; 
 
 si Sauromatas, Afros, eorum denique si me- 
 dios omnes populos videre, pariterque ipso- 
 rum mores mirabiles cognoscere desideras, iioc 
 in orbe, id est,' Pomponio, manibus tuis am- 
 plissime comprehenso, sine dubio, iam optime 
 dispicere potes. Vale et me tibi devotum sem- 
 per ama. 
 
 Parisiis, nono calen. januarias. 
 
 CIVIS. 
 
 In Pomponium Me lam. 
 Mela, quibus plaenus fueras erroribus, es iam 
 
 Excussus, tecum paucula menda manet.^ 
 Tu melior multo longeque probatior extas 
 
 Quam prius; hoc fecit tantula nostra manus. 
 
 Ad Philibertum Baboum. 
 Quod mea vita tibi multos se debeat 3 annos. 
 Hoc duo versiculi iam, Philiberte, probant. 
 AX<^a mihi teneris habui quodcumque sub 
 annis. 
 
 Id voluit foelix wfieya ferre tuum. 
 Q 
 
 CIVIS. 
 
 Quia nihil est diffilius (/zV) quam in nullo 
 errare, non absurdum esse videtur si cum lec- 
 toris bona pace paucorum admodum erratorum 
 paucula retractentur, ut illo verbo cum dicit in 
 epistola potuit, scribendum est possit. . . . 
 
 J 
 
 Reverendo in Christo patri et domino D. 
 
 Germano Gannaio, Cathurcensium episcopo 
 
 designato, Godofredus Torinus Bituricus 
 
 salutem dicit humilimam. 
 
 Pium papam, antistes excellentissime, au 
 thorem et dignitate et singularitate sine dubio 
 venerandum, in Asia et Europae descriptione, 
 iam tersiorem et emendatiorem quam antea 
 
 1. The book has which, in the Middle Ages, stood for id est. 
 
 2. Should we not read manent ? 
 
 3 . In the errata it is said that we should read debebat, but that word does not fit the metre. 
 
 legebatur in luce exire curavimus. Quem 
 autem ei recenter ex chalcotypea officina scse 
 expedienti, virum delectum, literarum aman- 
 tissimum, et singulari virtutc picnissimum, sta- 
 tim devotissime salutatum iret, potiorem sane 
 te, dignioremve, cognoscere potui nullum. 
 Summum ipsum pontificem te maxime vencra- 
 bilem antistitem invisere rem esse putavi non 
 iniucundam. Ipsum, inquam, geographiae et 
 lectu dignissima; (uti videre poteris) historise 
 non pcenitendum authorem, te, bonarum om- 
 nium literarum amatorem et cultorem, acce- 
 dere et amplecti, factum opido quam decentis- 
 sime existimavi, gemmam auro, encaustum, id 
 est opus igni pictum, argento, et palmam vin- 
 centi conferre, procul dubio nihil aliud est 
 quam bona bonis, splendida splendidis et merita 
 meritis addere. Tibi profecto et cum his alia 
 ratione pulcherrimum hoc opus meritissime de- 
 dicari debet, siquidem per capita distinctum, et 
 in commodiorem ordinem, te promotore et iu- 
 bente, redactum est. Quo facilius (ut voluisti) 
 et melius, tibi in primis, consequenter aliis 
 omnibus studiosis et legentibus, regiones ter- 
 ra, quae numero sunt multae, et in eis res scitu 
 periucunds capiantur et memoris commen- 
 dentur, capitatim nominibus fluviorum, opi- 
 dorum, locorum, ducum et aliarum rerum in- 
 signium in margine coannotatis, quae etiam 
 omnia in indice numeratim inveniuntur, divisi- 
 mus, ipsam hanc nostram lucubratiunculam tibi 
 antistiti, reverentia percelebri, sincsro dedica- 
 musanimo. Impar sine controversia est, quam 
 tuae reverendae paternitati deberem ofFerre, tu 
 tamen, cuius benignitatem et integritatem om- 
 nes praedicant(et me minime latet)excellenti5- 
 simam, ea fronte qua huiusmodi alias solitus es 
 ipsam purissimas in manus tuas, si placet, acci- 
 pies. Vale. 
 
 Parrhisiis, apud collegium Plesseiacum, 6 
 nonas octobris anno Domini i 509. 
 
 K 
 
 Godofredus Torinus Bituricus ad lectorem. 
 Quod eru^re, contendere, mis^re et huius- 
 modi multa, per tale e in penultima scripta 
 leges, factum est ut ipsa indicativi prasterita, 
 qucC regulariter penultimam habent longam, 
 a presenti et prjeterito imperfecto modi in- 
 finitivi, quae in tertia coniugatione semper 
 corripiunt penultimam, suam quantitatem, et 
 quam inter legendum proferre debes, tibi os- 
 
3H 
 
 GEOFROY TORY 
 
 tendant. Illam Psalterii Quincuplicis nuper in 
 lucem dati perelegantem et absolutam script- 
 uram libenter sum imitatus et insecutus. Inve- 
 nies etiam ipsum e in aliquibus dicdonibus, 
 similiter in genitivis et dativis singularibus, 
 nominativiset vocativis pluralibus primaedecli- 
 nationis nonnunquam, more quorumdam, pro 
 aedipiitongo poni, sedrarius. Insuper haec con- 
 sulto scripsi mistum per s, et non per x, nam 
 misceo facit miscui in prseterito, unde et mis- 
 tum analogice, intellego, toties, quoties, litus, 
 opidum, litera, tralatum, aliquando, et id genus 
 alia, secundum op6oypa<f>iafi, id est rectam 
 scripturam, observanda. TVRCAM etiam in 
 prima declinatione, quod multi in secunda pro- 
 ferunt, scripsi. Michael Tarchaniota Marulus 
 ConstantinopolitanusadCarolum regem Fran- 
 ciae plausibiliter author est mihi. Eius sunt haec 
 verba: — 
 
 Invicte magni rex Caroli genus. 
 Quern tot virorum, tot superum piae 
 Sortes iacentis vindicemque 
 lusticijE fideique poscunt; 
 Quem mesta tellus Ausonis hinc vocat, 
 Illinc solutis Grecia crinibus, 
 Et quicquid immanis profanat 
 TVRCA Asiae, Syriasquc pinguis, et 
 catera. 
 
 Quod etiam plureis parteis, omneis monteis, 
 accusatives in eis protuli, grammatice quidem 
 etlatine, authore Prisciano, lib. 7, cap. deac- 
 cusativis pluribus tertiae declinationis, facere 
 visus sum. Ea est pulchra ad accusativum a 
 nominative discriminandumdiferentiam,et qua 
 mille sunt usi authores, de quibus multis Salusti- 
 um, Vergilium et Plautum hie testes habere sat 
 erit. Salustius, quiquidem primo etiam verbo est 
 usus, sic ait in Catilinario bello : ' Omneis homi- 
 nes qui sese, etc' Vergilius in primo Eneidos: 
 'Hie fessas non vincula naveisUllatenent. . . ' 
 Plaut.in Aulularia: 'Quid est.? quid ridetisnovi 
 omneis, scio fures hie esse complureis. ' Hoc lu- 
 bens annotare volui, ut (bone lector) non tan- 
 tum dicendi puritatem intellegas, sed et tanquam 
 digitos inter et legendum et dicendum pura verba 
 festiviter in promptu habeas et dicas. Vale. 
 CIVIS. 
 
 clarum et musarum alumnum, de vobis bene 
 meritum, non ignoratis; docuit enim vos 
 Musas, Heliconem, Phoebi nemus, Mcr- 
 curiumque ; et enim innumeri (tanquam ex 
 e quo Troiano) ex officina eius prodierc lit- 
 terati. Curae sunt ei gloriosissim Musarum 
 labores, cuius nomen in honoribus et laurea 
 immortale servandum censeo maxime. Ipse 
 non solum quod dicitur ad Aristophanis, sed 
 etiam ad Cleantis, lucernam lucubrasse fertur. 
 Elegantia carminis laudatum haud dubitatis, 
 ex quo fit ut poema religiosum quod con- 
 scripsit de Passione Dominica extet, tantoque 
 splendore refulgeat, tanta suavitate redoleat, 
 tamque florido ornatu spectabile sit, ut coeles- 
 tis ingenii artificio potius quam humani fab- 
 refactum credatur. Nec dubito quin ex eo 
 contingat quod plurimum litteratis viris con- 
 tingere consuevit: ut ait Claudianus, minuet 
 praesentia ' famam. Non tamen sine Theseo, 
 hoc est Torino Biturico, commilitone nostro, 
 antiquis moribus, et, ut Plautus ait, Massili- 
 ensibus ^, et cum virtute doctissimo, voluimus 
 ut Dives in publicum volaret: speroque ite- 
 rum secundis (ut aiunt) avibus. Valete foeli- 
 cissime. Ex asdibus nostris Amandinis, calen- 
 dis martii. 
 
 M 
 
 Godofredi Torini Biturici in preceptoris sui 
 Guilielmi Divitis Gandavensis commenda- 
 tionem dialogus. 
 
 Interlocutores: Monitor et Liber. 
 
 M. Sancte liber, passum qui defies carmine 
 Christum, 
 Fare age : cuius opus tarn potes esse 
 
 pium? 
 
 Cuius opus } videas. Sum Divitis. 
 
 Illius euge 
 Ditia qui Bituris tot documenta dedit .? 
 Veraputas. 
 
 Vere est sapienti pectore Dives. 
 Aptius hoc nullum nomen habere potest. 
 Ipse est qui Bituris florenti dicere lingua 
 Edocuit, faciles pangere et ore modos. 
 Dicere non tantum docuit, nec texere car- 
 
 Herverus de Berna Amandinm luventuti 
 
 Bituricde S. D. 
 Divitem, didascalum nostrum, sapientia 
 
 Corpora sed Christi caesa videre dedit. 
 M . Brachia fixa Dei si quisquam cernere vellet. 
 An satis ad vivum Dives et ipse darer? 3 
 
 1. Claud., XV, 385 : ' Minuit praesentia famam.' 
 
 2. Plavitus, Casine, act. V, sc. iv, v. i : Ubi tu es, qui colere mores Massilienseis postulas. 
 
 3. Should we not say dartt, or, rather, dares ? 
 
APPENDICES 
 
 L. Ferre crucem Domini, si vulnera sjeva, co- 
 ronam, 
 
 Discupis, in manibus me gere, cuncta 
 feres. 
 
 M. Omnia vota ferat semper foelicia Dives, 
 Tale piis qui dat cordibus esse bonum ! 
 
 L. Nestoreos terris perstet victurus in annos, 
 Postque obitum coeli ditia regna petat. 
 
 CIVIS. 
 N 
 
 Philibertum Baboum, virum honestissimum, 
 Godofredus Torinus Bituricus salutem plu- 
 rima iubet impartitum. 
 
 Anno praeterito, quo tempore Pii Pontiiicis 
 Maximi Cosmographiam imprimendam cu- 
 ravi, Berosum Babilonicum in antiquitatibus 
 regnorum bellissime recognoscere et impres- 
 soribus non immutare dare venerat in mentem; 
 at, nescio quo animo meo se tunc agente, in 
 aliud tempus, opera dedita, rem propemodum 
 divinam facturus, difFerre decrevi, distulissem 
 quidem et in longissimum, atque, ut proverbio 
 memoratur, ad calendas grascas, nisi, ut ita 
 dicam, Berosus ipse, et quod non parvi apud me 
 est, eritque semper, amicorum plusculi, quo- 
 tidie ad aurem meam cum precibus quodam 
 modo simul innuentes, Myrsilum, de origine 
 Turrenorum, Catonem, in fragmentis, Archi- 
 locum, Methastenem, Philonem, Xenophon- 
 tem, de aequivocis, Sempronium, Fabium Pic- 
 torem, et Antoninum Pium, in fragmento 
 itinerarii, coimprimendos efflagitanter deside- 
 rassent. Avarissimum est genus hominum, 
 quod si librum (librum dico inventu rarum) 
 trium aut quatuor versiculorum habeat (more 
 formicarum Indiae, necnon griforum, qui au- 
 rum penitus egestum cum summa pernicie at- 
 tingentium custodire feruntur), continuo ab- 
 stractum servat, cathenis et compedibus capti- 
 vum et misellum prorsus incarcerat. Tale 
 genus potius cum huiusmodi et formicis et 
 grifis, quod et alii grifibus declinant, curiosam 
 et avaram illam singularis alicuius sibi habendi 
 cupiditatem exercere, quam cum hominibus 
 inhumanitatem, quod et melius forte dixerim 
 immunitatem, habere deberet. Non solum no- 
 bis nati sumus, debemur et amicis, debemur et 
 patriae. Igitur ne ardentis lucernas clarissimum 
 lumen opprimere velle videar, sub nomine tuo, 
 Philiberte, civium Bituricorum ornatissime, 
 gratiusculum reipublicje factum opinor daturus 
 Berosianam antiquitatem cum aliis authoribus 
 
 nominatim prsescriptis in apertum, et stadium 
 omnibus commune iam libentius emitto. Vale. 
 
 Parrhisiis, apud collegium Plesseiacum, 6 
 nonas maias 1 5 1 o. 
 
 CIVIS. 
 O 
 
 Godofredus Torinus Bituricus ornatissimos 
 Philibertum Baboum et loannem Ale- 
 manum luniorem, cives Bituricos, pari 
 inter se amicitia conjunctissimos, salutat. 
 Debentur vobis, viri singulari virtute plenis- 
 simi, omnes quos et noctu et interdiu assumere 
 possum (etiam de industria) labores. Ecce. 
 Quia moribus antiquis, id est honestis et vere 
 bonis, haud mediocriter utimini et gaudetis, 
 Probum Valerium scripturarum antiquarum et 
 abbreviationum quae innumismatis, sepulchris 
 et tabellis antiquitus perbelle consignabantur, 
 diligentissimum coacervatorem certissimum- 
 que explanatorem , sub vestro mihi semper 
 amando nomine, lubens ut vel tantillum reipub- 
 licae valeam prodesse, caracteribus etimpressi- 
 oni, cum nostra utinam tam felici quam diligenti 
 recognitiuncula, trado. Sinite, qujeso, autho- 
 rem perquam singularem primum in vestras 
 omnem ad virtutem aptissimas, deinde studi- 
 osorum omnium aliorum manus, commode 
 iam et festiviter exire. Valete. 
 
 Parrhisiis, apud collegium Plesseiacum, 6 
 idus maias 1 5 1 o. 
 
 CIVIS. 
 
 p 
 
 Godofredus Torinus Bituricus lectori salutem. 
 
 A quo tempore Probum Valerium impri- 
 mere bonis, ut reor, avibus inccepi, ne liber 
 unius aut duorum codicum enchiridio minus 
 aptus exiret, pluscula scitu non indigna coim- 
 primere venit in mentem. Tractatum de pon- 
 deribus et mensuris, ex Prisciano; item, quem- 
 admodum datae formse agrorum metiri de- 
 beant, ex Columella ; similiter figuras quje sub 
 dimensionem cadant, ex Georgio Valla ; dialo- 
 gos etiam aliquot cum aenigmatis, ex diversis 
 authoribus diligenter pro tempore collectis, 
 superaddimus. -iEnigmata consulto reliquimus 
 inenarrata, ut tibi legenti (quod ait Gel. in 
 12 libro, cap. 6) coniecturas in requirendo 
 acueres. Da, precor (bone lector), operam, 
 ne tibi, quod etiam senigmatice Plautus in 
 Milite ait: Glaucoma ob oculos obiecerim. 
 Vale. 
 
3i6 
 
 GEOFROY TORY 
 
 Dialogus perGodofredum Torinum, inquourbs 
 Biturica, sub loquente persona, describitur. 
 
 Inter locutor es : Monitor et Urbs. 
 
 MON. Urbs, tibi quod nomen? 
 BIT. Biturix. 
 
 MON. Tu die age quodnam 
 
 Hasc sibi quae video tecta superba volunt? 
 BIT. Templa, domos, turres, divina palatia 
 spectas. 
 
 MON. Hercle ! suis coelos molibus exuperant. 
 
 Hxc quae templa, precor? 
 BIT. Stephani protomartiris, ipsa 
 
 Quae Triviae excedunt marmora celsa 
 deae. 
 
 MON. Quae domus ilia rubris excellens cor- 
 dibus una, 
 Memnonis anne ipsa est asdificata 
 manu? 
 
 BIT. Hanc lacobus homo Cordatus condidit 
 olim. 
 
 Dives opum; nobis quern abstulit 
 invidia. 
 
 MON. Arcibus haec Phariis quae maiorcernitur, 
 heus tu ! 
 
 Qua; turris? miror cum satis aspicio. 
 BIT. Celtarum populos regeret cum maximus 
 ille 
 
 Ambigatus, quondam condita tanta 
 fuit. 
 
 MON. Die, ea, die, palatia sunt Capitolia nun- 
 quid 
 
 Aurea.^ Responde, quid retices, Bitu- 
 rix? 
 
 Non loqueris faeili quae' iam sermone 
 loquuta es. 
 Hie mihi vis fieri quod fuit Harpo- 
 crates 'i 
 
 BIT. Non, ea sed tanta (videas) sunt arte pro- 
 banda, 
 
 Talia quod totus non tulit orbis ad- 
 huc. 
 
 MON. Terra quid haec tanto quae se distendit 
 hiatu ? 
 
 BIT. Est ubi turris erat constituenda mihi. 
 MON. Altera nonne tibi quanta est haee ? 
 BIT. Altera tanta. 
 
 Turribus a binis inde vocor Biturix. 
 MON. Nomine quo fertur nostro hoc sub tem- 
 pore ? 
 
 BIT. Fossam 
 Vulgus arenarum dictitat et vocitat. 
 
 MON. 
 
 BIT. 
 
 MON. 
 
 BIT. 
 
 MON. 
 
 BIT. 
 
 MON. 
 BIT. 
 
 MON. 
 BIT. 
 
 MON. 
 BIT. 
 
 Quis tibi, quis fluvius memorandus? 
 
 Avaricum. 
 An ille est 
 
 Quern memorat Caesar Gallica bella 
 notans ? 
 
 Ille est. 
 
 Sunt alii ? 
 
 Duo sunt : sunt Ultrio et ipsa 
 Innumeris pregnans Hebrya pisci- 
 culis. 
 Quae tibi sunt dotes? 
 
 Omnis veneranda facultas 
 Est mihi quae nummos cudit et aula 
 novos. 
 Nil aliud quicquam est ? 
 
 Aquitania primam 
 Me vocat, et leges accipit ipsa meas. 
 Numina quze tecum ? 
 
 Sunt juno, Jupiter et Pan, 
 Vesta, Diana, Ceres, Liber ct ipse 
 pater. 
 
 R 
 
 Godofredus Torinus Bituricus Philiherto Ba- 
 boo et loanni Alemano luniori, viris orna- 
 tissimis, S. P. D. 
 
 Maiores nostros sua probitate contentos mo- 
 dum suum sedificandi parva cum arte et elegan- 
 tia quondam exereuisse (viri singulari virtute 
 cumulatissimi ) nemo est qui nesciat. Contenit 
 siquidem ipsa mediocritate, domosethabitaeula 
 magno sine luxu et splendore construebant et 
 inhabitabant. Eo tandem est perventum, ut in- 
 geniis pluseulum iam expergefaetis fiant et ad- 
 struanturaedificia passim non incelebria. Nempe 
 abillotemporequo magnanimus ille Rex, totius 
 Italis terror, CarolusOctavus, non sine magna 
 gloria victor Neapoli rediit, ars ipsa aedificandi 
 sane quamvenusta, Dorica et loniea, item Ital- 
 ica, totam hie apud Galliam exerceri coepit bel- 
 lissime. Ambasiae, Gallioni, Turoniae, Blesis, 
 Parrhisiis et aliis centum nobilibus locis, pub- 
 lice et private eonspicua iam aedificia cernere 
 licet antiqualia. Licet, inquam, adeo nitidaetad 
 unguemexculptadispieere multa, ut non modo 
 Italos, imo Dores et lones, Italorum magis- 
 tros, ipsi Galli vineere videantur et iudieentur 
 manifestissime. Rebus huiusmodi et ingeniis 
 tam excellenter florentibus optimum esse duxi 
 rem admodum utilem non ingratus obferre, 
 diligensque superaddere, Leo Baptista Alber- 
 tus, author in architectura et familiaris et lucu- 
 lentus, apud me quasi sopitus delitescebat. Vi- 
 
 I. Read juo. At the best this verse is halting. 
 
APPENDICES 
 
 317 
 
 susestdignissimusqui tempestive iam proclaris 
 et melioribus ingeniis oblectandiset adiuvandis 
 in Gallia daretur impressioni. Dignissimus, in- 
 quam, visus est mihi, et eo maxime, quod ei 11- 
 bri ipsi decern, quibus totum opus constat, per 
 capita sunt distincti. Ipsa capita vir bonis Uteris 
 eruditus Robertus Durasus Fortunatus, meus 
 apud suum collegium Plesseiacum Parrhisiis 
 quatuor annos quibus docebam olim primarius, 
 accurate etdiligenterdigessit, mihi exscribenda 
 non gravate dono dedit. Exscripsi opusque to- 
 tum, insuper elimavi, mendisquamplurimisde- 
 fecavi, succum textus in margine transcripsi, 
 chalcographo imprimendum dedi. Sinite, oro, 
 viri Biturigum celeberrimi, opus egregium in 
 bonorum omnium ingeniorum et studiosorum 
 manus sub nomine vestro mihi semper exco- 
 lendo fceliciter exire haberi, legi. 
 
 Valete patriae columina et ornamenta spe- 
 ciosissima. 
 
 Parrhisiis, e regione collegii Coqueretici, 
 XVkal. septembris M.D. xij. 
 
 CIVIS. 
 
 Leonis Baptistje Alberti Florentini, viri 
 clarissimi, de re Eedificatoria opus elegantissi- 
 mum et quammaxime utile, accuratissime Pa- 
 risius in Sole Aureo vici Dlvl Jacobi impraes- 
 sum, opera magistri Bertholdi Rembolt et 
 Ludovici Hornken, in eodem vico ad intersig- 
 nium Trium Coronarum, e regione Divi Ben- 
 edict! commoran. Anno Domini M.D. XII, 
 die vero xxiii Augusti . 
 
 S 
 
 Godofredus Torinus Bituricus Philiberto Ba- 
 boo, viro modestissimo, S. P. D. 
 Itinerarium multis iam annis, virornatis- 
 sime, situ propemodum obsitum, quum ab 
 amico mlchi semper excolendo Christophoro 
 Longuolio, viro sine controversia studiorum 
 omnium bonorum excellentissimo, iam ab 
 hinc quatuor annos commodo primum exscri- 
 bendum accepissem, unum tibi manu mea 
 scriptum, forma quldem non usque quaque in- 
 eptum, ad te ex Parrhisiis in Turoniam mit- 
 tere venerat in mentem. Viro cuius etiam no- 
 mini lubens parco ad te dederam portandum; 
 verum ipse alii nescio cui, te, me, et sua fide 
 posthabitis, sads impudenter dono dedit. La- 
 bore meo sic ego frustratus, alterum tibi con- 
 scribere maturabam, nisi ipse Longuolius, qui 
 exemplar iam olim ex Morinis adportaverat, 
 et michi, ut dixi, commodo dederat, nuper ex 
 Pictavis Parrhisios adveniens, monuisset im- 
 
 primendum curarem. Curavi equidem, no- 
 minibus opidorum seiunctim et seriatim coor- 
 dinatls, addltls etlam suo loco plusculis allter in 
 altero exemplarl scrlptis. Feci et indicem, quo 
 facllllme quodcumque opldi et loci nomen in 
 toto opere disquiri possit. Mlrabltur fortassls 
 aliquis ipslus operis sdlum, Interdum etiam 
 nonnullls in locls latlnltatem. Stilum ipsum 
 satis laudablt studiosus ; latlnitatem vero an- 
 tiquae llli astatl lector non malivolus condo- 
 nabit. Multa subemendassem Ptholomeo, 
 Strabone, Dionysio, Mela, Plinio, Solino et 
 authoribus allis aliquot non omnino asper- 
 nandis usus, sed et author! augusto reverentiam, 
 et exemplarl admodum vetusto synceritatem 
 observans, nichll immutare volui, Longuolil 
 mei in aliud tempus studia vigilandssima, vel 
 alicujus Hermolai limam exacdssimam ex- 
 pectans. Unum est quod hie tangere non ve- 
 rebor, authoris nomen in exemplari fulsse meo 
 judicio imperfectum (nam et Antoninus Au- 
 gustus inscribitur) . Ab Hermolao, viro alio- 
 qui nitido, Antoninus multis inlocis apud suas 
 in Plinium castigationes allegatur. Viderint qui 
 legent. In textu exemplar ipsum secutus sum. 
 In inscriptione libri Hermolaum sum imitatus. 
 Laborem meum quantulumcumque tibi (ut de- 
 beo), animo nequaquam ingrato, nuncupatim 
 dico. Suscipe, oro, qua fronte et optima quae- 
 que soles, et permitte studiosissimorum quem- 
 que per insignes mille urbes, te duce, cum hoc 
 itinerariovenire. Vale, studiorum meorum suc- 
 coUator humanissime. 
 
 Parrhisiis, e regione collegii Coqueretici, 
 1 4 calendas septembris i 5 1 2. 
 
 CIVIS. 
 T 
 
 Torinus lectori salutem. 
 Quo melius hoc Idnerario, iucunde lector, 
 possis uti, admonendus es quascumque virgula 
 miniacea notata deprehendes ea plura fuisse 
 apud vetus exemplar quam in altero recenti; 
 quas autem in ipso recend diversa legebantur 
 minutula litera et ipsa quidem rubra suis locis 
 sunt super impressa. Quandocumque hujus 
 modi signum a interlegendum occurret, dicno 
 vel numerus eodem signo supra vel juxta nota- 
 tus esse debet. Illud etiam in textu multis in 
 locis hoc modo scriptum mpm. significat milia 
 plus minus. Scriptum est autem sic ne tam fre- 
 quens et longula reperido lectorem tedio affice- 
 ret. In indice nonnumquam b. literam solam, 
 post vel inter chartarum numeros, invenies : ea 
 
GEOFROY TORY 
 
 significat dictionem ipsam bis ad minimum 
 eadem in charta posse inveniri. Vide ergo, et 
 gratus attende, quod si quos hanc nostram dili- 
 gentiam non amare videas, Persianum illis hoc 
 apud te dicas: ' Virtutem ut videant, intabes- 
 cantquerelicta.' Hoc ideoscriboquoniam inter 
 imprimendum quidam nichil tale intelligentes 
 de more damnabant. 
 Vale et vive diu foelix. 
 
 CIVIS. 
 
 u 
 
 Gerardi Fersellani Burgundi carmen hende- 
 casyllabon in malos impressores. 
 Ergo hinc ergo procul manus profana 
 Vulgi chalcographon inauspicati, 
 Impurasque opera procul facessant, 
 Ne interdicto aditu improbaque fronte 
 Res spurcetur et inquinetur alma. 
 Ne quis nesciat: hoc sacrum est volumen. 
 
 Heu chalcographi mali et miselli, 
 Nullas ne scholicas quidem aut aniles 
 Nugellas dare formulis periti. 
 Quid sanctas male taminatis artes, 
 Incestaque manu novem Sororum 
 Funestatis opes laboriosas? 
 
 Quid non promitis ita ab officina 
 Illuc projicier fodique dignum 
 Quo ventris retrimenta deferuntur? 
 
 Ergo hinc ergo procul profani abite, 
 Vos, o chalcographi mali et miselli! 
 Sit dictum satis: hoc sacrum est volumen 
 Quod noster Godofredus, ille noster, 
 Ille, inquam, Biturix, Pii misertus, 
 Lethaea carie eruit sepultum, 
 Ductu Longuolii sui atque ope usus. 
 
 V 
 
 Torinus lectori felicitatem. 
 Hasce plusculas recognitiones, lector op- 
 time, oro non admirare. Sic eas ab exemplari 
 vetere diversas collegi, ut tibi non pigra manu 
 librum emendare possis. Errores chalcographis 
 imponerem; sed ars ipsa prelaria suopte more 
 hoc in se habet, ut ne libellus quidem sine ali- 
 qua menda prorsus imprimi possit. Vale. 
 
 Ad studiosum Epigramma per Torinum. 
 Oppida si centum, centum si sedulus urbes 
 Certo cum spacio, lector, adire paras, 
 
 I . The book has htabili. It was impossible to | 
 
 Centena portus si cum statione marinos 
 Excupis, et recta doctior ire via, 
 
 Hunc tibi comprimis habilem studiose libellum 
 In dextra gratus semper habeto manu. 
 
 W 
 
 Torinus ad Librum. 
 I, Liber, ad vatum penetralia sacra piorum; 
 
 Es facilis, tersus, candidus, atque probus. 
 Exornatus habes nardosque, rosasque, crocos- 
 que. 
 
 Cum Phoebo et latias numina grata Deas. 
 Ne vereare Deos tecum vectare faventes, 
 Spirantem lauros te super astra ferent. 
 
 Agnes Torina, virguncularum modestissima 
 suavissimaque, de tumulo viatorem allo- 
 quitur. 
 
 Qui levibus transis pedibus, dilecte viator, 
 
 Siste parum ; ecce, tibi dicere pauca libet. 
 Vive memor leti, viciis abstersus, et illam 
 
 Spem tibi vivendi, si sapis, abjicito. 
 Ore nites hodie pulchro, sed stamine secto 
 
 Protinus in nihilum te impia Parca rapit. 
 Hoc experta scio, quoniam virguncula nuper 
 
 Annos nata decem rapta repente fui. 
 Ut rosa florebam sociis virtutibus illis 
 
 Qu£ cerni in tenera virginitate solent. 
 Sed tamen interii crudelibus obruta fatis, 
 
 lam data carnivoris vermibus esca meis. 
 Vermibus esca meis iaceo data, non tamen usque 
 
 Usque adeo exanguis quin tibi vera loquar. 
 Ore loquor latio, nec mirum, candide amice, 
 
 Filia nam vatis sum memoranda pii. 
 Imbutam ausonia cupiens me reddere lingua 
 
 Artibus et pariter me decorare bonis, 
 Nocte dieque docens, pater ut charissimus, ipse 
 
 Fundamenta mihi dulcia et ampla dabat. 
 Docta forem celebres nimirum amplexa ca- 
 maenas, 
 
 Et canerem blandis carmina pulchra modis. 
 Oscula chara mihi genitor meus inde dedisset, 
 
 Imponens capiti laurea serta meo. 
 O miseras hominum sortes! O vota caduca! 
 
 In terris nihil est quod solidum esse queat. 
 Non solum miseris mortalibus obvia mors est, 
 
 Sed tacito insidians clam subit ilia pede. 
 Ah ! caveas igitur, cave^ moriture, profecto 
 
 Omnia sub modico tempore lapsa ruunt. 
 Tu dum vivis adhuc, magnos dum quaeris 
 honores, 
 
 Instabili ' et rapide pergis obire gradu. 
 Si contentus abis hoc uno denique certo 
 
 Consilio, et tu me dicere vera putas, 
 lace the sign of abbreviation over the capital I. 
 
APPENDICES 
 
 319 
 
 Sparge mihi flores, violas et lilia, nardos; 
 
 Funde preces edam, si placet, et laclirymas. 
 Me f'acies superum precibus conscendere ad 
 axem. 
 
 Lux ubi perpetua est, pax et amoena quies. 
 Hoc erat exiguam quod ego te scire volebam, 
 Vive memor leti, mox periture. Vale. 
 
 Obiit ubi erat nata, Parisiis, xxv au- 
 gusti, anno Do [mini] M.D.XXII. 
 
 Vixit annos novem, menses undecim, dies 
 fere triginta. Horas scit nemo. Momenta solus 
 novit Deus. 
 
 Pater et Filia collocutores. 
 
 p. Vermibus esca iaces, charissima filia ! tu me 
 Linquis in assiduis fletibus et lachrymis. 
 F. Chare pater! lachrymis parcas et fletibus, 
 actum 
 
 Est de me. luvenes mors rapit atque 
 senes. 
 
 p. Parcere non possum diris nec planctibus. 
 Eia! 
 
 Debueram in mortem iustius ire prior. 
 F. Sic fore non placuitfatiscoelestibus. Ad me, 
 
 Crede mihi, certo fanere tu venies. 
 p. Interea manibus violas et lilia plenis 
 
 Ad tua demissa fronte sepulchra feram. 
 F. Adde preces, precibus supera ad convexa 
 volabo: 
 
 Astra pice faciunt scandere celsa preces. 
 p. Est ut ais, tu gnata etiam pro patre precare. 
 
 Scilicet ut tecum sidera laeta petat. 
 F. Sidera laeta petes curis exemptus amaris. 
 
 Omnibus et mentis sordibus expositis. 
 p. Vera mones,etsic faciam. Deus optimusad 
 se 
 
 Te vocet in ccelum. Filia chara, vale. 
 
 p. Eia, mea dulcis anima, defuncta es. 
 F. Euge, pater. Nemo immortalis. 
 
 Distkha duodecim urna faciebus separatim in- 
 scribenda. 
 
 In prima facie. 
 
 Vis flores ! violas ! Vis lilia ! serta ! cyperos ! 
 Haec tibi, sume libens, fictilis urna dabit. 
 
 In secunda. 
 
 Hac Agnes defuncta iacet virguncula in urna. 
 In cuius medio spirat amcenus odos. 
 
 In III. 
 
 Hie locus, hie et Amor, Ludus, Virtus quo- 
 que, et ipsae 
 Cum Musis Charites suntque sedentque 
 Deae. 
 
 In IIII. 
 
 Hac amaracus inest urna,redolensque cyperus, 
 Insunt et viola:, lilia, serta, rosae. 
 
 In V. 
 
 Non iacet hie Agnes virguncula sola, sed ipsae 
 Cum Phoebo Clarias suntque sedentque 
 Dex. 
 
 In VI. 
 
 Bracteolas gemmis iunctas viridesque lapillos 
 Haec cum perpetuis floribus urna fovet. 
 
 In VII. 
 
 Visetamas urnam Agnetiscognoscere? Cerne, 
 Laurus ubi excellens alta sub astra viret. 
 
 In VIII. 
 
 Hie defuncta iacet virgo memorabilis Agnes, 
 Quas faciles tenero iam dabat ore modos. 
 
 In IX. 
 
 Annos nata decem iacet hie virguncula vates, 
 Carminis ingenui et virginitatis honor. 
 
 In X. 
 
 Si petis Agnetis cineres cognoscere certos. 
 Hie sunt, ne dubita credere, certus habes. 
 
 In XI. 
 
 Vis Phoebum et Musas modulis cum dulcibus 
 ipsas? 
 
 Hanc subeas urnam, protinus invenies. 
 In XII. 
 
 Succrescens vates, teneris defuncta sub annis. 
 Hie cum laurigera virginitate iacet. 
 
 MONITOR et AGNES collocutores. 
 M. Die mihi pauca, precor, vates virguncula? 
 A. Dicam. 
 
 Dummodo pauca roges. 
 M. Pauca rogabo. 
 
 A. Roga. 
 M. Quae tibi defunctae mens? 
 A. Aurea. 
 M. Quid tibi corpus? 
 
320 
 
 GEOFROY TORY 
 
 Pulvereum. 
 
 Quisnam spiritus? 
 
 A. 
 
 M. _ 
 
 A. iEthereus. 
 M. Sufficit, alma quies tibi sit cum pace pe- 
 rennis. 
 
 A. Et tibi viventi dulcis et ampla salus. 
 
 Disticha de lauro prope tumulum et urnam 
 Agnetis in tabellis scriptis pendentia. 
 In prima tabella. 
 Hie iacet eximiae vates virtutis imago. 
 Naturae specimen nobile et egregium. 
 
 In secunda. 
 Hie confracta iacent pharetris languentibus 
 arm a. 
 
 Quae quondam ingenuus ferresolebat Amor. 
 In III. 
 
 Unio, chrystallus, magnes, viridisque smarag- 
 dus. 
 
 Hie cum virginea vate iacente nitent. 
 
 In mi. 
 
 Hie ver perpetuum vario cum flore virescet, 
 Dum carpenta micans aurea Phoebus aget. 
 
 In V. 
 
 Hie Decor etLudus, Risusque, locusque, qui- 
 eseunt. 
 
 Hie cum laurigera est virgine inermis Amor. 
 In VI. 
 
 Hac conclusus inest media thesaurus in urna; 
 Ne tangas, gemmae sunt simul innumerae. 
 
 In VII. 
 
 Dum radiis Phoebus coelestia templa replebit, 
 Hie violae et flores, hie et anetus erunt. 
 
 In VIII. 
 
 Hie Amor, et Ludus, Risusque, locusque, Le- 
 posque. 
 
 Hie Musae et Charites, hie et Apollo sedent. 
 In IX. 
 
 Hie cum mellifluis habitat virguncula Musis, 
 Acceptura deeus perpetuumque melos. 
 
 In X. 
 
 Sponte sua tellus amaraeina secta reflindens 
 Hie viret, et verno rore benigna madet. 
 
 In XI. 
 
 Hie violae, hie flores, hie lilia, serta, coronae, 
 Sponte sua increscunt, sponte suaquc virent. 
 
 In XII. 
 
 Hie sua signa manu Genius difringit aeerba. 
 Naturae specimen dum periisse videt. 
 
 Monitor et Virginitas collocutores. 
 
 M. Heus tu quae roseo es virgo spectabilis ore. 
 Quid facis hie laehrymans anxia tota.'' 
 
 Gemo. 
 
 Quae causa est gemitus ? 
 
 Agnes virguncula, cuius 
 Hac prope me eineres fictilis urna tenet. 
 Unde meis tam suavis odos est naribus? 
 
 Urna 
 
 De media, Charites quem posuere Deae. 
 
 Quid posuere? 
 
 Rosas et einnama, balsama, nardos, 
 Flores et violas, lilia, serta, crocos. 
 An amaraeus inest etiam cum staete cy- 
 perus? 
 
 Omnis inest redolens herba et amaenus 
 odor. 
 
 Urna gerit viridem pulchre insignita coro- 
 nam ? 
 
 Ut decet et par est, laurea serta gerit. 
 Quae ratio.'' 
 
 Musas in se comprendit ovantes. 
 Quae tenerae cantantvirginisexequias. 
 An solffi reeinunt ? 
 
 SolcC non. Phoebus Apollo 
 In medio modulans mystica sacra fovet. 
 Quid tibi vis igitur, virgo suavissima, tanto 
 Cum gemitu, et superi te prope dulee 
 canunt ? 
 
 V. Vera tibi dieam, nequeo non flere libenter, 
 Tam fuit egregio nobilis ingenio. 
 Annos nata decern, patris praeeepta secuta, 
 lam faeilis vates carmen ab ore dabat. 
 
 M. Tu mihi naturae miracula grandia narras! 
 
 V. Hisee nihil terris verias esse potest, 
 
 M. Qui sunt quos video stantes? 
 
 v. Ludus, locus, inde 
 
 Gestus, Honor, Virtus et genialis 
 Amor. 
 
 M. Arma iacent urnam eireum quamplurima 
 fracta? 
 
 V. Ipsi gestabant integriora Dei. 
 
 M. Quid facient fractis olim sic omnibus illis.'' 
 
 V. Cum planetu et laehrymis assiduos 
 
 gemitus. 
 M. Tune etiam flebis? 
 
 V. 
 
 M. 
 
 V. 
 M. 
 V. 
 
 M. 
 V. 
 
 M. 
 
APPENDICES 
 
 321 
 
 V. Flebo moestissima semper. 
 
 M. Nomen habes? 
 
 V. Habeo. 
 
 M. Quid tibi? 
 
 V. Virginitas. 
 
 M. Chara, vale. 
 
 V. Valeas, Monitor charissime, et huius 
 Egregiae quondam virginis esto memor. 
 
 Monitor et Agnes collocutores. 
 M. Parvaiacens vatescelebri dignissima laude, 
 Sum potis hie tecum dicere pauca.'' 
 
 Potis. 
 
 Hanc tibi quis struxit gemmis insignibus 
 urnam t 
 
 Quis ? Meus in tali nobilis arte pater. 
 Excellens certe est figulus genitor tuus. 
 
 Artes 
 
 Quottidie tractat sedulus ingenuas. 
 Anne etiam scribit modules et carmina? 
 
 Scribit. 
 
 Dulcibus et verbis haec mea fata beat. 
 Ipsius est nimirum hominis solertia mira.^ 
 Tam celebremregio vix tulitulla virum. 
 O tali virgo felix genitore ! 
 
 Profecto . 
 
 Ipse etiam nomen tollit inastrameum. 
 Audio concentus. 
 
 Claris modulamina Musas 
 Cum Phoebo hie mecum nocte dieque 
 canunt. 
 Te prope conspicio Charites.? 
 
 Mihi serta ministrant. 
 Unde legunt violas.? 
 
 Collibus Elysiis. 
 
 Sunt alii tecum? 
 
 Sunt et tria numina, 
 
 Quasnam.'' 
 
 Ludus, Amor, Monitor candide, etinde 
 locus. 
 Quid faciunt.'' 
 
 Holocausta mihi divina reponunt, 
 Et solitos implent fomite et igne focos . 
 Es Dea de superis iamdudum sedibus una? 
 
 De superis fio sedibus una Dea. 
 Si Dea, cur charos in coelica regna par- 
 entes 
 
 Scandere non curas? 
 
 Scandet uterque parens. 
 
 Sed quando? 
 
 Quando certe sua fata videbunt 
 Esse opus . Ex fatis Stat sua cuique dies . 
 Stat sua cuique dies ergo certissima? 
 
 Cuique 
 
 Eveniunt certo fata suprema die. 
 
 M. Jntcrea genitor tuus et tua mater in hisce 
 
 Quid facient terris? 
 A. Quid? Pia, sacra, prcces. 
 
 M. Postea quid fict? 
 
 A. Coelestia templa beati, 
 
 .iEthereoetsuperopatre favente, petent. 
 
 M. In mea iam redeo tractanda negocia. 
 
 A. Quando 
 Nempe voles ; felix vive, et amice vale. 
 
 M. Tu quoque cum superis habita ccelestibus 
 ut mens 
 
 ^therea, ut sidus nobile, ut alma Dea. 
 
 Genius et Viator collocutores. 
 G. Siste parum, ulterius, quaeso, nec tende 
 viator, 
 
 Hanc urnam et tumulum quin prius as- 
 picias. 
 
 Quis tu? 
 
 Sum Genius. 
 
 Quid vis tibi? 
 
 Pauca vicissim 
 Hie cupio tecum dicere, amice. 
 
 Placet. 
 
 Virgineam vatem fatis crudelibus haustam 
 Aspice ut hasc in oe fictilis urna tenet! 
 Annos quot vixit? 
 
 Bis quinque. 
 
 Canebat et ilia 
 
 Docta modos? 
 
 Sic est. 
 Tu mihi mira canis. 
 Scribebat dulci genialia carmina versu, 
 Sponte sua modulans, sponte suapte 
 canens. 
 
 Naturae o rarum decus ! 0 manifesta Deo- 
 rum 
 
 Gloria, quod vates ilia tenella foret ? 
 Carmen erat quicquid casu proferre vole- 
 bat, 
 
 Quicquid et optabat dicere carmen erat. 
 Unde illi tantae frugis veniebat origo ? 
 
 Sedibus a superis, unde venire solet. 
 Ut divina igitur versus faciebat amoenos ? 
 
 Ut divina, sui et iussa secuta patris. 
 Illius an etiam genitor modulamina tractat ? 
 Tractat, et est vates candidus atque pro- 
 bus. 
 
 Est probus et facilis, tersus, florensque, de- 
 censque. 
 
 Est quern divino carmine Musa beat. 
 Mecenate aliquo certe dignissimus ille est. 
 
 Mecenas Franco rarus in orbe viget. 
 Nemo hodie ingenuas donis conformibus 
 artes 
 
GEOFROY TORY 
 
 Aut fovet, aut ulla sorte fovere parat. 
 Non est in predo probitas, nec Candida 
 virtus. 
 
 Infelix adeo regnat Avaricia. 
 Fraus, dolus et vitium prestant; virtutibus 
 omne 
 
 Postpositis miserum serpit ubique ne- 
 phas. 
 
 Quid facit ille igitur Musis excultus amoe- 
 nis? 
 
 In propria gaudet vivere posse domo. 
 Ad reges alacri deberet tend ere passu. 
 
 Non curat, quoniam libera corda gerit. 
 Isti nonnunquam gaudent spectare po- 
 tentes 
 
 Carmina, sed quid turn: nictibus ilia 
 beant. 
 
 Deberent gemmis auroque rependere puro 
 
 Aurea de superis carmina ducta polls. 
 Sed potius fatuis, nebulonibus atque pro- 
 phanis 
 
 Contribuunt stulti grandia dona leves. 
 Ille suam natam studiis ornabat honestis.-' 
 
 Ornabat studiis, artibus atque bonis. 
 An quoque et ilia libens patris praecepta 
 tenebat.'' 
 
 Nil magis optabatquam patris ora sequi. 
 O quam grandis honor patriaeque patrique 
 fuisset 
 
 Integra si vitae munia adepta foret! 
 Nimirum Francis in sedibus ilia puellas 
 
 Ante omneis alias gloria prima foret. 
 Insignis facie, vultu formosa modesto, 
 
 Moribus et dictis aurea tota bonis. 
 Ad se corda hominum, iuvenumque, se- 
 numque trahebat 
 
 In sua constanti vota sequenda fide. 
 Mira mihi dicis? 
 
 Dico tibi vera, viator. 
 Ingenuae speculum nobilitatis erat. 
 O nimis immensus dolor! o dolor asper et 
 angor ! 
 
 Tarn rapido talem posse perire gradu ! 
 Quid pater interea faciet.'' 
 
 Mcestissimus ipse 
 Cordolium et lachrymas perferet assi- 
 duas. 
 
 Ille preces melius superis coelestibus amplas 
 Funderet et precibus iungeret exequias. 
 Exequias precibus iungitque fovetque pe- 
 rennes, 
 
 Implet et assuetos fomite et ignefocos. 
 O tarn plausibili virguncula digna parente ! 
 
 O etiam tali stirpe beate pater ! 
 Ilia modo Isetis in nubibus alma refulget. 
 
 Ut jubar exortum, sidus ut aureolum. 
 v. iEthereis fulgens in sedibus ilia triumphet, 
 
 Et patrem secum filia grata trahat. 
 G. In rem vade tuam, si vis modo abire, viator: 
 
 Hsec sunt quae volui dicere. Amice, vale, 
 v. Sis felix tumuli custos, urnasque retector; 
 
 In rem vado meam sedulus et properus. 
 
 Impressum Parrhisiis, e regione scholae 
 Decretorum, anno Do [mini] M.D. XXIII, 
 die XV mensis febr. 
 
 X 
 
 Godofredus Torinus Biturigicus lectori candido 
 
 s{alutem'). 
 
 Egregii quidam sunt felici hoc seculo picto- 
 res, lector humanissime, qui suis lineamentis, 
 picturis et variis coloribus deos gentilitios et 
 homines, itemque alias res quascunque adeo 
 exacte depingunt, ut illis vox et anima deesse 
 tantummodo videatur; sed ecce, lector hu- 
 manissime, ego iam tibi DIorum propemodum 
 more, domum oiFero, non solum suis linea- 
 mentis et partibus elegantem et absolutam, sed 
 etiam pulchre loquentem et encomio sese par- 
 ticulatim describentem. OfFero etiam tibi sep- 
 tem Epitaphia antiquo more et sermone veter- 
 rimo conficta et conscripta, varies miserorum 
 hominum amantum afFectus pervio quodam 
 modo ostendentia. Ipsa tibi (inquam) lubens 
 offero, non ut ita verbis obsitis loquaris aut 
 scribas, sed ut antiquitatem ipsam tibi ante ocu- 
 los tuos faciles et iucundissimos habeas, et te 
 a me benemonitum intelligas, ut in amoris in- 
 sani laqueos et angustias devenire caveas. 
 Vale. 
 
 Y 
 
 Gotofredus Torinus Biturigicus ad reginam 
 Leonoram. 
 
 Pergimus hunc, Leonora, tuum celebrare tri- 
 umphum. 
 
 Quern tibi Parrhisii contribuere tui. 
 Tam pia tu nobis extas regina quod omnes 
 
 Dicere te veram possumus esse Deam. 
 Esse Deam sane te dicere possumus almam, 
 
 Quum nos optata denique pace beas. 
 Pace beas omneis qui Gallicaregna frequentant. 
 
 Fata adeo nutu te statuere bono. 
 Ut proba, sancta edam, clemens, et vera bea- 
 trix, 
 
 Adduxti patris Lilia nostra suae. 
 Vis dicam paucis, et verum proloquar, in te 
 Omnibus est nobis publica et ampla salus. 
 
APPENDICES 
 
 323 
 
 Idem ad eandem. 
 
 Di, Leonora, tibi felicia Fata perennent ; 
 Laetitia es nobis. Pax, et amoena Quies. 
 
 Idem Torinus ad Gent em Gallicam. 
 
 Exulta et laetare simul, gens Gallica, cernis 
 
 Quas tibi delicias iam Leonora facit. 
 Ipsa, Dei (credas) manifesto numine missa, 
 
 Te facit egregia denique pace frui. 
 Sparge rosas, lauros, violas, nardumque, cro- 
 cumque, 
 
 Et genio indulge tota iocosa tuo. 
 Sed videas etiam ne tu gens optima cesses 
 
 Ante Deum laudes accumulare pias; 
 Si canis usque Deo laudes, et phanafrequentas, 
 
 (Crede mihi), pacis commoda longa feres; 
 Aurea sub facili spectabis secula coelo, 
 
 De terra et felix aurea farra metes. 
 Adde quod et pariter fies gens aurea tota. 
 
 Perge igitur summo sacra iterare Deo. 
 
 Z 
 
 Ludovica, regia mater, suam GalHam alloqui- 
 tur et consolatur. Go. Torino Bit. scribente. 
 Gallia, quid de me luges maestissima.' nescis 
 
 Quod genus omne hominum morte pcrire 
 solet ? 
 
 Respira, et tecum expende ut te provida ab atris 
 
 Hostibus et diris casibus eripui. 
 Linquo tibi gnatum coelcsti numine regem, 
 
 In pulchra qui te, me duce, pace fovet. 
 Te penes in gremio la^tus sua pignora cernit, 
 
 Orbem qu£ totum sub tua sceptra dabunt. 
 Reginam virtutis habcs et pacis alumnam, 
 
 Sidere felici quae tua fata beat. 
 Altera et una tibi est etiam regina sacrati 
 
 Quse soror est regis et benesuada tui. 
 Principibus tantis non est tibi, chara, gemen- 
 dum, 
 
 Gallia! tu felix talibus es ducibus. 
 Ipsa ego te prorsus moriens non desero, nanque 
 
 Immortale meum tu modo nomen habes. 
 Semperapud superum pro tedevotaTonantem 
 
 Orabo, ut victrix et generosa regas. 
 Sparge mihi lauros, violas, nardosque cro- 
 cosque; 
 
 Stracte (^/c) etiam flores, lilia, serta, rosas; 
 His super adiungas summiscum laudibus hym- 
 nos, 
 
 Exequias, modules, thura sabea, preces. 
 Aras nedubita mihitendere. Nam,Deautalma 
 In coelos pergo ianque volare. Vale. 
 
\ 
 
M 
 
 i 
 
 ABBATIA, Bernard, 
 ' Prognostication touchant 
 le mariage du tres honore 
 et tres aim'e Henry, ^ etc., 
 282. 
 
 Abr'eg'e des Meditations de la 
 vie de Jesus-Christ, 229. 
 
 Accents. See Orthographic 
 marks. 
 
 Adolescence Clementine. See 
 
 Marot, Clement. 
 Adriani Behotii diluvium, 
 
 280 note 2. 
 
 ^DILOQUIUM, etc., 29-30, 
 
 31, 92-93, 201-202. 
 
 Agricola, Rodolphe, 'De in- 
 vent ione dialectic a,'' 267. 
 
 Alard, Guillaume, his mark, 
 273- 
 
 Alphabetum hebraicum,z'] \ 
 
 -275. 
 Amman, Jost, 251. 
 Anciens bois de P imprimerie 
 
 Fick, 260 note 3. 
 AngeBologninus, 'De la cura- 
 
 tion des ulcer es exterieurs,' 
 
 41. 
 
 Annius of Viterbo, 3,61. 
 
 Ant is tit is incomparabilis Mi- 
 chaelis Bodeti, i^y. 
 
 Apollonius Alexandrinus, De 
 constructione, 276. 
 
 Apologie pour la foi chrest- 
 ienne contre les erreurs con- 
 tenues en un petit livre de , 
 Messire Georges Halevin, 
 138. 
 
 Apostrophe. See Orthograph- 
 ic marks. 
 
 Aristophanes, 197, 274. 
 
 Artificialis introductio Jaco- 
 bi Fabri Stapulensis, 268 
 note 4. 
 
 Asselin, Pierre, 273. 
 
 Assier, Alexandre. See So- 
 card, Alexis. 
 
 Aumale, Due d\ 144, 1 54, 
 163, 164 note I. 
 
 Aumont, Blanche d^ , arms 
 of, 11 1. 
 
 Avaricum. See Bourges. 
 
 B AB O U, Philibert, 2,3,4, 
 5, 6, 10, 51-53, 60-61, 
 65, 68, 69, 72. 
 
 D 
 
 Bade, Conrad, 232, 233 
 
 his mark, 266. 
 Bade, Josse, 57, 145, 200, 
 
 20I . 
 
 Baif, Lazarus, ' Annota- 
 tiones,' etc., 208-209. 
 
 Baker, David, 293. 
 
 Bar bier, Olivier, 2oi note 2 . 
 
 Baron Collection, 254 and 
 note 2. 
 
 Barra, Jean, 148. 
 
 Barthelin, Andre. 284. 
 
 Bassentin, Jacques, ' U as- 
 
 . tronomique discours,^ 261, 
 note 4. 
 
 Basset, Denis, 230 note 2. 
 
 Beaupr'e, M. ,' Notice biblio- 
 graphique sur les livres li- 
 turgiques . . . de Toul et 
 de Verdun, 1 50 note 4. ^ 
 
 Beauvoys. See Delaigue, Eti- 
 enne. 
 
 Beckford, William, 167. 
 Be Hay, Jean du, 214, 215 
 
 note I, 280. 
 Be Ion, Pierre, 'Hist aire de la 
 
 7iature des oiseaux,^ 250; 
 
 'Les observations^ etc. ,250. 
 Bernard, August e, ' Les Eti- 
 
 ennes, et les types grecs de 
 
 Francois /,' 197 note 4, 
 
 199 note I, 2J1 note i. 
 Bernard, Salomon {'Le Petit 
 
 Bernard''), 258,261 and 
 
 note 4. 
 Beroaldo, Filippo, 2. 
 Berosus Babilonensis, 
 
 Tory" s edition of, 3,60-64. 
 Bertaud, Jean, ' Encomium , ' 
 
 etc., 200—201. 
 Bertrand, Jean, Cardinal 
 
 of Sens, 250, 251 . 
 Berty, Adolphe, 'Les trois 
 
 tlots de la cite,'' 3 5 and note 
 
 3- 
 
 Bessault, Thibault, 285. 
 Beze, Theodore de,' Poema- 
 
 ta,' 232-235, 266. ' 
 Bible in French, Antwerp, 
 
 1530,254. , 
 Bible in Latin, 1532, 204. 
 Bible in Saxon, Lubeck, 
 
 1533. 254- 
 Bible in Latin, I 5 38-I 54O1 
 215. 
 
 Bible in Latin, 1 543, 254. 
 
 Bible after Holbein, i 547, 
 258. 
 
 Bible in Flemish, Antwerp, 
 
 1556, 254. 
 Biblioth'eque de P amateur 
 
 champenois, 279. 
 Binet, Denis, 257. 
 Blazon des heretiques, 1 80. 
 Bl'es de Beauce, Halle aux, 
 
 Tory' s removal 3 5 ; 3 7, 
 
 38,40 and note 4,41, 97, 
 
 295. 
 
 Bonfons, Jean, his mark, z66. 
 
 Bonhomme, lolande, widow 
 ofThielmanKerverl, 1 49, 
 204, 214, 215 and note 
 1, 221, 230, 241, 242, 
 280. 
 
 Bonnemere, Anthoine, 276. 
 
 Boorluut, M., 199. 
 
 Bouchet, Jean, ' Les angois- 
 ses et remedes damour du 
 Traverseur, ' etc. , 212- 
 213, 279; 'Le jugement 
 poetic de Phonneur femi- 
 nin, . . .parle Traverseur,' 
 213. 
 
 Bouchetel, Guillaume, 'Le 
 Sacre . . . delaRoyne' 
 'Lentree de la Royne, ' etc. , 
 34- 
 
 Boudet, Michael de, 137. 
 And see ' Antistitis i?icom- 
 parabilis.' > 
 
 Bouillon, M. le due de, ' Or- 
 donnances,' 245 note z. 
 
 Boull'e, Guillaume, 98, 99. 
 
 Bouquet des feurs de S'ene- 
 que, Le, 273. 
 
 Bourges, I, 2, 4, 66-67; 
 coat-of-arms of, 129. 
 
 Bourgogne, College de, 6, 7, 
 295. , 
 
 Boursette, Madeleine, widow 
 of Francois R egnault, 228, 
 243, 246, 284, 285. 
 
 Boyer, Hippo lyte, ' Histoire 
 des imprinieurs et libr aires ' 
 de Bourges,' 91, 222,289 
 and note i . 
 
 Breviariumad ritum diocesis *■ 
 Eduensis, 241. 
 
 Brifonnet, Guillaume, Bish- 
 op of Me aux, 176. 
 
 p. 
 
326 
 
 GEOFROY TORY 
 
 Br idler, yean, 232. 
 
 Brie, Jehan de, 230 note 3,231. 
 
 Brie, widow of Jehan de, 1 49, 229, 231. 
 
 Brucherius, Joannes, ' Epitome of the Adages 
 of Erasmus,^ I 74, I 76. 
 
 Brulefer, Etienne, ' Identitatum et distinctio- 
 num,^ etc., 284. 
 
 Brunei, Jacques-Charles, 'Manuel du Lib- 
 raire,' 6^, 119, 120, 124, I'^gnotei, 
 140, 149 note 2, I 50, 1 70 note 1,181 
 note 2, 208 note i, 231, 260 note 2. 
 
 'Bulletin du bouquiniste,^ i860, 174 note 2. 
 
 Bun el. P., ' Epitres familieres,^ 272. 
 
 Buon, Gabriel, 215 note 4, 249; his mark, 
 284. 
 
 Buon, Nicolas, 249. 
 
 CiESAR, * Commentaries,'' translation of, 
 178. See also 'Cesar, Les Commentaires de.' 
 Calcar, 225. 
 
 Calvarin, Prigent, his mark, 267. 
 Caharin, Simon, his marks, 267. 
 Catherine de Medici, 122. 
 Catherinot, Nicolas, hts epitaph of Tory, 43, 
 
 44, 55 note 2. 
 Cavellat, Guillaume, 250. 
 'Cebes, Table of,' Tory's translation of, 
 
 27, 28, 85-87, 201 . 
 'Cebes, Tableau de,' 1543, 262. 
 Cedilla. See Orthographic marks. 
 ' Cesar, Les Commentaires de, ' manuscript(au- 
 
 thor unknown^, 143—144, 153; Comte 
 
 Leon de Labor de' s description of, 1 54- 
 
 164. 
 
 Chabouillet, M., Notice du Cabinet des m'e- 
 dailles, 255. 
 
 ' Champ vi.t.vKY,' first conceived by Tory, 9, 
 12; the first book of, 1 4 and note 3 ; the 
 second book of, 15-17; the third book of , 
 17-20; published (^i^zg), 26; effect of 
 publication ^Z', 3 2-3 3 ; orthographic system 
 of, first applied, 37 and note i, 295- 
 299; second edition of ( i 549), 42, 43, 
 84; bibliographical description of, 81- 
 84; description of engravings in, 189- 
 196; M. Renouvier on engravings in, 
 262; quoted, I note 2, 2 note 3, 5, 7 note 
 8, 9, 12-14, '5-16, 17, 18, 19-20, 
 21-22, 23, 26, 29 «fii/^, 141, 145. 
 
 ' Chants royaux. ' See Gringoire. 
 
 Charles IX, 144. 
 
 Chaudiere, Claude, 238. 
 
 Chaudiere, Guillaume, 229. 
 
 Chaudiere, Regnault, 238, 273; his mark, 
 267, 268, 269. 
 
 Cheradam, Jean, editor of Aristophanes, 197. 
 'Chiromancy and Physiognomy,' 259, 261. 
 Chevallon, Claude, 231, 278. 
 Chrestien, Nicolas, 4 1 . 
 Choquet, Louis, 'Mystere de I' Apocalypse,' 
 2 1 7-2 1 8. 
 
 'Chronique du tres vaillant et redout'e Dom 
 
 F lores de Grece,' 249. 
 Chrysostom, Saint, 'Homelike Dua,' 281; 
 
 ' Liber contra gentiles, ' 120. 
 Cicero, 'Orator,' 42; works of, 244-246, 
 
 272. 
 
 ' Civis,' Tory'' s first device, 2 ; monogram of, 
 6. 
 
 Claude de France, queen of Francois 1, 127. 
 Colines, Simon de, 24, 25, 29, 33,72, 101- 
 
 116, 120-122, 146, 174, 175, 185, 
 
 189, 197, 201, 203, 223, 239, 258; 
 
 his marks, 1 74, 267-269. 
 ' Compendium grammatica graca,^ 189. 
 'Conference accord'ee entre les predicateurs. 
 
 La,' etc., 257. 
 ' Copie de 1' arrest du grand conseil,' etc. ,38. 
 'Copie d' une lettre de Constantinople,' etc., 
 
 38- 
 
 Coqueret, College, 5, 295. 
 
 Corrozet, Gilles, 148, 250, 263; 'LesFables 
 
 d' Esopes mises en rithme fran^ois,' 207; 
 
 his mark, 269-270. 
 Corrozet, Gilles II, ' Tr'esor des histoires de 
 
 France,^ 270. 
 Corrozet, Jean, 270. 
 
 CosMOGRAPHiE DU Pape Pie II. See Pius II. 
 Cotter eau {^also Cotereau^ , Philippe, 41,47. 
 Cottereau, Richard, 41, 47. 
 Cousin, Jean, 237, 238, 254, 263. 
 Cousteau, Nicolas, 204. 
 * Coustumier de la baronnye,' etc., 41 . 
 ' Coutumes generales d' Orleans, 266 note i, 
 274. 
 
 Coxe, Leonard, 34, 293. 
 
 Crescens, Pierre des, 'Bon Mesnager,' 204. 
 
 DALLIER, Jean, 237. 
 
 Danois, Jean Blaccus, translation of Isocra- 
 
 tes, 273 and note 2. 
 David Matthaus, 244; his mark, 270. 
 ' De judiciis urinarum,' etc., 39. 
 Debure,M.,and' Les Comment a ires de Cesar , ' 
 
 161. 
 
 Delaigue, Etienne, 178. 
 Delange, MM. ,151. 
 
 'Description de la prinse de Calais,' etc., 284. 
 Dev'eria, Achille, 150 note 2, 230 note 3, 
 254. 
 
INDEX 
 
 327 
 
 Dibdin, Jhomtis F., 'Bibliographical De- 
 cameron,^ I 10, 123, zj() notes ^ ami 6. 
 
 ' Dictionarium latino-gallicum,' iSgnote i. 
 
 Didot, Ambroise Firmin, 28, 47, 91, 96, 
 98, 136 note 3; ' Essai sur la gravure,' 
 150, 151, 225, 259. 
 
 Didot, Firmin, pire, 144, 166. 
 
 Dietz, Ludowich, 254. 
 
 Diodorus Siculus, Macault' s translation of 
 first three books of, 47, 136, 205-207; 
 manuscript of , 144, 166-168. 
 
 Dives. See Ride, Guillau?ne de. 
 
 'Divi foannis Chrtsostomi liber contra gen- 
 tiles,^ 1 20. 
 
 Do let, Etienne, 117. 
 
 Dore, Pierre, 'Dialogue instructoire des chres- 
 
 tiens,' 222. 
 Dubois, Simon, 25,196, 197, 
 Dupr'e, Galliot, 135 note \, 178, 196, 204. 
 Dupuy, 7., 273. 
 
 Duradier, Dreux, 'Les Recreations his to- 
 ri ques,^ 170. 
 
 Durand, M., 259 note i . 
 
 Dure (^Duraus^ , Robert, 5 and note 3. 
 
 Diirer, Albrecht, 16 and note 2, 252. See 
 also Meigret. 
 
 Duverdier, M., 98. 
 
 'ECONOMIC XENOPHON,' Torf s 
 translation of, 30-31, 93-97. 
 
 EgNASIO, J. B., SUMMAIRE DE ChRONIQUES, 
 
 Tory' s translation, 28, 42, 88-91, 222. 
 
 ' Elegia . . . ad Joach. Bellaium,'' etc., 278. 
 
 Eleonora of Austria, queen of Francois I, 'Le 
 Sacre et coronnement de,' 34, 130- 
 131, 202 ; ' Entree de, en sa ville et 
 CITE de Paris, '3 4, 1 3 i-i 33, 202; Tijrj'j 
 verses to, 35, 132-133. 
 
 ' Empereurs de Turquie, Histoire des, ' 138. 
 
 'Enchiridion, preclare ecclesie Sarum,' etc., 
 1 99-200. 
 
 English booksellers, idiosyncrasies of, 1 99 note 
 2. 
 
 'Entree de la Royne,' etc. See Eleonora. 
 •Epitaphia latina ET GALUCA ' (^on Louise de 
 
 Savoie), 35. 
 ' Epitoma singularum distinctionum,'' etc., 
 
 282. 
 
 Estienne, Charles, 235, 244-245 ; 'De dissec- 
 tionepartium corporis humani, '223-226; 
 'De nutrimentis,' 271; his marks, 272. 
 
 Estienne, Henri I, i 74. 
 
 Estienne, Henri II, 17, 69, 268, 269, 271. 
 
 Estienne, Robert, 33, 146, 175, 185, 189 
 and notes 2 and 3, 204, 208, 215, 216, 
 
 235, 244, 245, 258, 269, 286; kuijij > 
 printer, 39, 40; his marks, 270-272. 
 
 Eusebius, ' Ecclesiastical history,' 135, 189. 
 
 ' Exemplaria litterarum ,' etc., 189 note i . 
 
 FANTE, Sigismunde, 'Thcsauro de' scrit- 
 
 tori, ' I 5 and note 3 . 
 'Faulcheur, Le.' SeeRoffet, Jacques. 
 F'eret, Martin, 37. 
 
 Fezandat, Michel, his mark, 272-273. 
 Fick Press, Geneva, 260 note 3. 
 ' Fifteen Effusions of the Blood of our Saviour, ' 
 228, 229. 
 
 'Figure de 1' ancienne et de la nouvelte alli- 
 ance,' 253-255. 
 
 'Figures et portraicts des parties du corps hu- 
 main, Les,' 252. 
 
 Fortunatus, Robertus. See Dure, Robert. 
 
 Fouquet, Jean, 171. 
 
 France, College de, 39. 
 
 Francois I, 29, note l ; appoints Tory king' s 
 printer, 32-34; and extra bookseller to 
 the University, 36, 294; remodels insti- 
 tution of king's printers, 39-40; ordi- 
 nances of, 134-135; in 'Les Commen- 
 t aires de Cesar,' 157-163; and in Ma- 
 cault' s translation of Diodorus, 167-168. 
 
 Francois de Valois, Dauphin of France, 3 1, 
 38,97-98. 
 
 Frellon, Jean, 258. 
 
 GAGUIN, ;?i7/^^rr, 178. 
 Galen, 'De anatomicis administrationibus,' 
 203. 
 
 'Gallic Hercules, The,' 141. 
 
 Gannay, Germain de, 3 and note 2, 54. 
 
 Garamond, Claude, 33, 145. 
 
 Genin, M., 'Introduction to Palsgrave' s Les- 
 
 claircissement de la langue framboise,' 1 4, 
 
 292 note I, 293-294. 
 ' Gerard d' Euphrate, '241. 
 Gerard de Vercel, verses of, 6, 71. 
 Gering, Ulric, 277. 
 
 Gerou, Dom, ' Bibliotheque historique des au- 
 
 teurs orleanais, '273. 
 Ghisy, Georges, 244 note 2. 
 Gibier, Eloi, 266 and note i ; his mark, 273- 
 
 274. 
 
 Gillot, Jean, ' Dejuridictione et imperto,' etc. , 
 39; 'Isagoge in juris civilis sanctionem,' 
 39- 
 
 Girault, Francois, 239. 
 
 Godefroy, miniaturist, identity of with Tory 
 
 discussed, 142—144; 153—166. 
 Gourmont, Benoit de, his mark, 276. 
 
GEOFROY TORY 
 
 328 
 
 Gourmont, Francois tie, 197 note 4, 271. 
 
 Gourmo?it, Gilles de, 3, 26, 28, 1^0 and note 
 3,54, 64, 1 97 ; the first printer of Greek 
 in Paris, 26; his marks, 274-276. 
 
 Gourmont, Jean de, 1 97 note 4, 271. 
 
 Gourmont, Jerome de, 275; z^?/; mark, 276. 
 
 Gourmont arms, 275 1 . 
 
 Gourmont family, 275 i . 
 
 'Gradual,^ ijy, 
 
 Gravius, J. C, 'Thesaurus antiquitatum 
 
 romanarum,' 20% and note 
 Graf, Urs, 179. 
 Grandin, Louis, his marks, 277. 
 Greban, Simon de, ' Catholiques ceuvres et 
 
 actes des Apostres,^ 2 1 7-2 1 8. 
 Greek, Torf s unfamiliarity with, 27 note. 
 Greek alphabet, 1 89, 280 note 2. 
 Gringoire, Pierre, 'Chants royaux,^ 180- 
 
 181, 183, 184; Hours in rhyme, 180; 
 
 'Notables enseignemens,' etc., 196. 
 Grolier (^Groslier), Jean, 12, 45, 145. 
 Groulleau, Estienne, 241, 249. 
 Gryphe, Francois, 207 and note i . 
 Gualtherot, Vivant, 43. 
 Gueroult, Guillaume, 'Hymnes du temps,' 
 
 261 and note 4. 
 Gueullard, Jean, his marks, 277. 
 Guillard, Charlotte, her mark, 277-278. 
 
 HAIENEUVE, 16. 
 
 Hale V in, Georges, 138. 
 
 Harleian MSS., 158. 
 
 Harley, Robert, Earl of Oxford, I 58. 
 
 Harsy, Olivier de, 278. 
 
 Henon, Jean, 38. 
 
 Henri II, 169; Entree de, z^^-2^S. 
 Herverus de Berna, 2, 3, 57, 58. 
 ' Hexastichorum moralium,^ etc., 277. 
 'Histoire du Saint Graal,^ 1 78. 
 ' Histoire pa la dine, '249. 
 Hongont, Jean, 5 7 i . 
 
 Honorat, S'ebastien, 2 1 5 //s/^" 4. 
 Hopyl, Wolfgang, 150, 26S note ^. 
 Hornken, Louis, 5, 68, 69. 
 Hotot, Fabian, 266. 
 Houic, Antoine, 285. 
 
 Hours of 1524-25, quarto, 24, 45, 47, 
 I o I - 1 19; //?/ifi of, I \ () note \ . 
 
 Hours of i 527, octavo, Colines, 25, 45, 47, 
 I 20-1 22. 
 
 Hours of i 527, quarto, Dubois, 25,45,47, 
 
 I 22-124. 
 Hours OF 1529, \ 6mo, 29, 125-126. 
 Hours of i 53 i , quarto, 25, 1 26-1 28. 
 Hours OF (?), ffr/tffff, 25, 128-129. 
 
 Hours of 1515, Simon Vostre, 172. 
 Hours of 1536, octavo, 208. 
 Hours ^1541, Mallard, 40, 218. 
 Hours of I 542, Bonhomme, 220— 22 1 . 
 Hours of 1542, Lecoq, 221-222. 
 //ffj/rj tf/" i 542, Mallard, 40, 2 1 9-220. 
 Hours 543, Colines, quarto, 209-2 12. 
 Hours of Colines, octavo, 212. 
 
 Hours of I ^^y (.?), Regnault, 227-229. 
 //ffi/rj ff/" I 547 ( ?), 5r/>, 229-23 I . 
 Hours of 1548, Merlin, 231-232. 
 Hours of 1549, Chaudiere, 238-239. 
 Hours of 1550, Boursette, i6mo, 243. 
 /fear/ o/" 1550, Kerver, octavo, 218-219, 
 
 243-244. 
 Hours of I 5 50, Roigny, 1 6^5, 241 . 
 //car/ 5 5 2, Kerver, 246. 
 ^(?arj fl/" I 556, Kerver, 251-252. 
 Hours of 1574, Kerver, 226-227. 
 Z/ci/r/ ;>z rhyme. See Gringoire. 
 
 'INSIGNIUM aliquot virorum icones, ' 
 260. 
 
 ' Institutionum civilium,' etc., 278. 
 
 'ItINERARIVM PROVINCIARUM OMNIUM AnTO- 
 
 NiNi AuGUSTi, ^/r., Tory' s edition of, 5, 
 69-72. 
 
 JANOT, Z)f/7)i;, 222, 267^; appointed king' s 
 
 printer, 302-303. 
 Joly, Abbe de, 5 5 note 2. 
 Jollat, Mercure, 223, 224. 
 'Jours moralises, Les,' 228. 
 Just el, Christ ophe, 158. 
 Juste I, Henri, 158. 
 72^j/;>z Martyr, Works of, \Sg note 3. 
 
 KERVER, Jacques, 149, 224-226, 230, 
 
 239, 252. 
 Kerver, Jean, 4 1 . 
 
 Kerver, Thielman I, 41, 149, 199, 230. 
 And see Bonhomme. 
 
 Kerver, Thielman II, 218, 226, 243, 246, 
 251, 279. 
 
 King' s binders, 308-3 1 1 . 
 
 King' s librarians, 308-3 1 1 . 
 
 King' s printer. Institution of office of , 32, 34 
 and note 2; title bestowed on Tory, 34- 
 36; institution of, remodeled, 39; //// of 
 holders of the office, 303-308. 
 
 LA Y,h.K'^^,Jean de,'i,i,note 3, 35 note\. 
 
 Labor de, Comte Leon de, 24 note, 143; his de- 
 scription of the MSS. of ' Les Commen- 
 taires de Cesar'' and 'Les Triomphes de 
 
INDEX 
 
 329 
 
 Petrarque,' illustrated by 'Godefroy' 
 1 54-166. 
 
 ' Labours of Hercules, The,^ 182, 184. 
 
 La Caille, 'Histoire de I' imprimerie,^ 6, 24 
 Wf/f' 1, 28, 40,43, 44, 99, 1 7 5, 284,28 5. 
 
 La Croix du Maine, 143, 145. 
 
 La Guierche, Michel de, 42. 
 
 Lallemand, Jean, 3, 4, 65, 68. 
 
 Lallemand, Jeanne, 4. 
 
 Lancelot, M., 170. 
 
 La Forte, Heirs of Maurice de, 250. 
 
 La Porte, Widow of Maurice de, 249; her 
 mark, 283-284. 
 
 La Sapienza (^college at Rome), 2. 
 
 La Thaumassiere, 'Histoire du Berry, ^ 290. 
 
 Latini, Brunetto, ' Le Tresor,^ 1 7 and note 3 . 
 
 Laulne, Etienne de, 163. 
 
 'Laurent a Valla de lingua latina elegantia, ' 
 etc., 1 20 and note i . 
 
 Le Bas, Jacques, 273. 
 
 Lecoq, Jean, 177, 196, 221, 258, 279. 
 
 LeDuaren, Francois, ' De sacris e celesta min- 
 is teriis ac beneficiis,^ etc. , 244. 
 
 Lefevre d^ Staples , Jacques ,' Commentarii in- 
 itiator ii in quatuor Evangelia, i 74-1 76. 
 See also ' Artificialis introductio. ' 
 
 Le Hullin, Perrette, wife of Tory, 6,'^'J; and 
 his successor, 38,42, 144, 150. 
 
 U Empereur, Martin, 254. 
 
 Le Noir, Philippe, 1 78, 1 80; marks, 279. 
 
 LeoBaptista Albertus, Tory's edition of,i^, 
 68-69. 
 
 Leonardo da Find, i 5. 
 
 Le Petit, Pierre, 36. 
 
 Le Preux, Poncet, 178. 
 
 Le Prince,' Essai historique surla bibliotheque 
 du roi,' 169 note 2. 
 
 Le Riche. See Ricke, Guillaume de. 
 
 Les Angeliers, Arnould, 216, 217. 
 
 Les Angeliers, Charles, 216, 217, 222. 
 
 Letellier, Pasquier, 241, 242. 
 
 'Liber de opificio dei,' 1 89. 
 
 Libraires jures. See Paris, University of. 
 
 Livy, translation of, MS. ,171. 
 
 Longueil, Christophe de, 6, 70, 72 note i . 
 
 Longts, Jean, 241, 249. 
 
 Lorraine, Duchesse Regnee de Bourbon, 180. 
 
 Lorraine cross. The, 47, 9 1 , 1 78 ; how far a 
 guide to Tory's work, 147-152; in the 
 iSth century, zoS; at Orleans, Chartres, 
 Poitiers and Lyon, 258. 
 
 Lottin, ' Catalogue des libraires,' gg, 270 note 
 I, 273, 281. 
 
 Louise de S avoie, mother of Francois I, Epi- 
 taphs ON, 35,13 3-1 34, 202-203. 
 
 Lucas Paciol, ' Divina proper tione, '15. 
 LuciAN, Dialogues of, Tory' s translation of, 
 
 27,85-87. 
 LuciAN, 'La Mouche,' Tory' s translation of, 
 
 32, 99-100. 
 Lud, Gauthier, 150. 
 
 Luther, ' Enarrationes' {^on the Bible), Nu- 
 remberg, 1555, 254. 
 
 M A C A U LT, Antoine. See Diodorus Siculus. 
 
 Maittaire, M., ' Annales Typographiques,' 
 1 76, 268 note 3. 
 
 Mallard, Olivier, Tory' s successor at the sign 
 of the Pot Casse, 38-39 ; king's printer, 
 39540, 41, 43, 128, 129, 218. 
 
 Marc hand, J., 60. 
 
 Marcorelle, Jean, ' BookofThermes,' z6i note 
 4- 
 
 Marguerite d' Angouleme, Queen of Navarre 
 (^sister of Francois I), 123, i 24 note i , 
 244. 
 
 Marnef, Geofroy de, 60, 64. 
 
 Marnef Freres, 3,213; their mark, 279-280. 
 
 Marot, Clement, ' Ladolescence Clementine,' 
 
 36-37, 138-140, zg6;' Psalms,' I ^^j, 
 
 260. 
 
 Marot, Jan (^father of Clement), 'Sur les 
 deux heureux voyages de Genes £3" F enise,' 
 etc., 140. 
 
 'Marques Typographiques,* See Silvestre. 
 Masse, Rene, 3 3 . 
 
 Mauroy, Nicolas, 'Les hymnes communes de 
 
 I'annee,' 196. 
 Mazochi, 'Epigram mat a,' etc., 7 and notes 8 
 
 and 9. 
 
 Meigret, Louys, 'Les quatre livres d' Albert 
 
 Durer' (^translatio?i), 252, 283. 
 ' Memoir es de la societe des antiquaires de Mo- 
 
 rinie,' 255. 
 ' Menagiana,' 55 note z, 93. 
 Menier, Maurice, his mark, 280. 
 Merlin, Guillaume, 2 1 5, 2 i 7, 2 3 i , 2 3 2 ; z?"// 
 
 mark, 280. 
 Mesviere, Estienne, z^^, 246. 
 • Meubles et amies du moyen age,' 254. 
 Milan, Paulus Jovius' s Lives of the Dukes of. 
 
 See Paulus Jovius. 
 Millaus, Johannes, 'Praxis criminis perse- 
 
 quendi,' etc., 216-217. 
 Missal { Toul), 1508, i 50. 
 Missal \Paris), 1539, 148, 2 1 4-2 1 5,242. 
 Missal (^Par is), folio, no date, 280. 
 Missal ( Cluny), 1550, 242. 
 Missal (^Paris), 1559, 149. 
 'Monstre d' abus contre Nostradamus,' 284. 
 
330 
 
 GEOFROY TORY 
 
 Montaiglon, A. de, 'Archives de r art fran- 
 fais, '132 note i ; Recueil des poesies, etc. , 
 281. 
 
 Montenay, Georgette de,' Emblesmes et devises 
 
 chrestiennes,'' 148. 
 Mont'eux, Hieronime, ' Conservationde sant'e* 
 
 etc., 267. 
 Montpellier, 137. 
 Morante, Marquis de, 73. 
 Morel, Guillaume, his mark, 280. 
 Moreri, Historical Dictionary, 290-291. 
 Muret, Marc-Antoine, 'Juvenilia,^ 249, 
 
 283. 
 
 N £ O B A R, Conrad, hing^ s printer for Greek, 
 36, 39, 40; letters patent of, 299-302. 
 
 i^ew Testament and Apocalypse ( Boursette') , 
 246. 
 
 New Testament in Greek and Latin, 1549, 
 273- 
 
 Nivelle, Sebastien, 2 1 5 note^; his mark, 2S0- 
 281. 
 
 'Notice sur les graveurs^ ( 1 807), 26 1 , note 
 4- 
 
 Nyverd, Guillaume, his mark, 281. 
 Nyverd, Guillaume de, his mark, 282. 
 
 OPORIN {Basle), 225. 
 'Ordonnances du ^oy,^ published by Tory, 
 I3+-I35- 
 
 Orthographic marks, 19-20, 100, 140,295- 
 299. 
 
 Orus Apollo, Hieroglyphs of, translated 
 
 by Tory, 25, 100. 
 Ovid, 'Metamorphoses,' 260, 261 andnote\. 
 
 PALATINO, Giovanbattista,^2 note 2. 
 
 Pallier, yean, his mark, 282. 
 
 Palsgrave, ' Lesclaircissement de la langue 
 
 fran^oise,' i^note i, 34, 292-294. 
 Panzer, M., 176. 
 
 Papillon, ' Trait'e de la gravure sur bois, '127, 
 
 145, 189 note 4. 
 Paradin, Claude,' Devises heroiques,' z6 1 note 
 
 4; 'Quadrins historiques,' 261 note i . 
 Paris, Nicole, his mark, 283. 
 Paris, University of, libr aires juris 3 2 note 
 
 2, 36. 
 
 Passion, The, G. i/^' Rickets Latin poem on, 
 
 edited by Tory, 3, 57-59. 
 Paulus Belmisserus Pontremulanus, 'Opera 
 
 poetica,' 205. 
 Paulus Jovius Novocomensis, 'Vita duodecim 
 
 vicecomitum Mediolani,'' MS. of, 168- 
 
 169; 235. 
 
 Paulus Paradisus, 'De modo legendi hebraice 
 
 dialogus,' 276. 
 Perier, Charles, 252; his mark, 283. 
 Perier, Thomas, 283. 
 Perier s, Bonaventure des, 291 note 2. 
 Perot, I 59 and note 2. 
 Perreal, Jean, Tory's instructor in drawing, 
 
 7, I 5, 23 and note i, 24, 123. 
 Petit, Guillaume, Bishop of Sen lis, 203. 
 Petit, Jean, 2, 50, 85. 
 Petit, Oudin, his mark, 283. 
 Petit dictionnaire franfais-latin, 272. 
 'Petit Jehan de Saintre, Le,' 267. 
 Petrarch, 259, 261 . 
 
 Petrarque, 'Les Triumphes' de, MS., 144; 
 described by M. de Labor de, 164- 166. 
 
 ' Petri Ruffi Druyda dialectica,' etc., 277. 
 
 Piccolomini, Enea Silvio. See Pius II. 
 
 Pius II (Pope), Cosmography of, Tory' sedi- 
 tion of, 3 and note \, 54-57. 
 
 Plantin, Christophe, 2^1. 
 
 Plato, Dialogues of,\\. 
 
 Pies sis. College of , 3, 295. 
 
 Pliny, 'Letters,' 285. 
 
 Plutarch, Politics, Tory' s translation of, 
 
 3>. 97, 99- 
 PoMPONLus Mela, Tory' s translation of, 2, 
 50-54. 
 
 Porcium, J., ' Pugna porcorum,' 276. 
 
 Pot Casse, Tory's first use of, ii; explanation 
 
 of, 1 2; modifications of, 20; interpreted by 
 
 Tory in ' Champ fieury,' 21-22; 35, 38, 
 
 39, 41, 42, 45-47, 72. 
 ■' Pourtraictz divers,' 260 note 2. 
 Prevost, Benott, 250. 
 Prevosteau, Estienne, his mark, 280. 
 Printers' marks signed with the Lorraine cross, 
 
 265-287. 
 
 'Procession de Soissons, Le,' etc., 91-92. 
 'P Salter ium Davidicum Gracolatinum,' z 52. 
 'P Salter ium Quincuplex,' 55 note 2. 
 'PurgatoireLe,' prouv'eparla parole deDieu,* 
 
 230 note 2. 
 Puys, Jean 25 5. 
 
 QUINTILIAN, 'Institutiones,' Torfs 
 
 edition of, 4, 67. 
 
 RABELAIS, 'Pantagruel,' \ if and note -i,. 
 'Recueil de plusieurs secrets tres-utiles pour la 
 
 sant'e,' 287. 
 'Recueil des rimes' etc., 287. 
 ' Recueil des Roisde France.' SeeTillet, Jean du. 
 'Reformation, La, des tav ernes et destruction 
 
 de gourmandise,' 281. 
 
INDEX 
 
 'Regime de vivre, ' etc. ,287. 
 'Reglementpourr instruction des proces,' etc. , 
 41. 
 
 Regnault, Bar be, 228; her mark, 284-2 8 5 . 
 Regnault, Francois, 178, 228, 284. 
 Regnault, Widow of Francois. See Bourse tie, 
 Madeleine. 
 
 'Reigles generales de lorthographe du 
 LANGAiGE FRANCOIS,' a lost work of Tory, 
 29, 100, 297. 
 
 Rembolt, Berthold, 5, 68, 69, 277, 278. 
 
 Renouard, M.,' Annales des Estienne,' 215. 
 
 Renouvier, Jules, 'Des types et des manieres 
 des maitres-graveurs,^ 16, 119, 145, 
 146, 147 2, 149-1 50, 1 72, 184- 
 185, 223, 237-238, 262-263; 'Re- 
 vue U7iiverselle desArts,^ 1 53-1 54, 1 79, 
 205-207. 
 
 'Repertorium Bibliographicum,^ 167-168. 
 
 Rexmond, Pierre, 254. 
 
 Ricke, Guillaume de, Tory's teacher at Bour- 
 
 ges, 1,2; Latin poem of on Thu Passion, 
 
 Tory's edition of, 3, 57-59; Jules de 
 
 Saint-Genois on, 59. 
 Rivard, Claude, 148. 
 Riviere, Estienne, 223. 
 Robert-Dumesnil, M., 'Le pet?itre-graveur 
 franfais, i^S note 2, 147, 148, 149, 228. 
 Robinot, Gilles I, 287; his mark, 285. 
 Robinot, Gilles //, 285. 
 Rochechouart, Francois de, arms of, iji. 
 Rodolphi Agricola Phrisii, 'De invent ione 
 
 dialectic a,' izo, 211. 
 Roffet, Jacques, called 'Le Faulcheur,' 235, 
 
 237- 
 
 Roffet, Pierre, 138; his mark, 285. 
 Roigny, Jeande, 241 ; his marks, 285-286. 
 Ronsard, 'Les amours,' 249. 
 Rothschild, Solomon de, 1 20, i zGnote 1,127- 
 128. 
 
 Rousselet, Jean, Seigneur de la Part-Dieu, 
 4, 67. 
 
 Royer, Louis, 230 note 3, 231. 
 ♦ Rozier historial de France,' 178. 
 Ruan, Jean du, 258. 
 Ruccelli. See Rousselet. 
 
 SACRE ET CORONNEMENT DE 
 LA ROYNE, LE. See Eleonora of 
 Austria, 
 
 Saint-Amand, Chevalier de, biographer of 
 
 Tory, 138. 
 Saint-Genois, Jules de, 59. 
 Saint-Victor, Adam de, translation of the 
 
 'Grand Maria I de la mere de vie,' 287. 
 
 Sainte- Marguerite, Life of, z 1 9. 
 Saix, Antoine du, 3 3 . 
 
 Salomon, Jean, ' Brief ve doctrine pour deue- 
 
 ment escripre selon la propriete du lan- 
 
 gaige francoys,' 296-298. 
 Savigny, Chris tophe de, ' Tableaux des arts li- 
 
 b'eraux,' 197 tiote \, 276. 
 Schoiffer, Pierre, 109. 
 'SermonesludociCHchtovei'Neoportuen'zoif- 
 
 205. 
 
 Sertenas, Vincent, 239, 241 ,242; OT^7r^, 
 287. 
 
 Seve, J., 'Supplication aux rois,' etc., 284. 
 Seve, Maurice de, 'Sauls aye,' 261. 
 Seyssel, Claude de, translation of Eusebius, 
 135- 
 
 Silvestre,' Marques Typographiques,' 45, 46, 
 47, 265, 271, 279 andnote 4. 
 
 Sir and, Alexandre, ' Courses archeologiques,' 
 24 note. 
 
 Socard, Alexis, and Alexandre Assier ,' Livres 
 liturgiques du diocese de Troyes,' 173 note 
 2, 257-258. 
 
 'Summaire de chroniques. ' See Egnasio. 
 
 'TEMPLE de Chastete,La,' 272. 
 Terence, Comedies of , 1546, 267. 
 Terentianus Maurus, 'De Uteris,' etc., 203. 
 Tex tor, Ravisius, 'Epistolts a mendis repur- 
 
 gata,' 270. 
 'Thesaurus amicorum,' z^g and note i, 260. 
 ' Thesaurus latin a lingua,' \?>g note i . 
 ' Theses, Les, qui ont est'e affigees dans la ville 
 
 de Geneve,' 257. 
 Thevet, F. Andre, 'Les Singularitez de la 
 
 France antarctique,' etc., 250—251; 
 
 ' Cosmographie U7iiverselle,' 251. 
 Thiboust, Jacques, 297. 
 Thory. See Tory. 
 Thucydides, 30. 
 
 Tillet, Jean du, ' Re cue i I des portraits des rois 
 
 de France,' manuscript 1 44, 1 69- 1 70; 
 
 255-257. 
 'Topica Marci Tullii Ciceronis,' 282. 
 Toret, symbolic use of, in modified form of the 
 
 Pot Cass'e, 22. 
 Torinus, Bonaventure, 291 andnote i, 292. 
 Tory, divers spellings of the name, i note i. 
 Tory, Agnes, daughter of Geofroy, birth of, 6, 
 
 7 3 ; death of, 10, J ^; and the Pot Cass'e, 
 
 21. 
 
 Tory, Agnes, Latin poem on the death of, 
 
 lo-i I, 46, 73-8 1 . 
 T iry, Geofroy, birth, i ; ancestry, i ; early life, 
 
 I -2 ; first journey to Italy, 2 ; settles in 
 
332 
 
 GEOFROY TORY 
 
 Paris, 2 ; his first device, z ; at the Col- 
 lege of Plessis, 3 ; at the College Coqueret, 
 5 ; his marriage, 6,73; birth of his daugh- 
 ter Agnes, 6,73; at the College de Bour- 
 gogne, 6, 7 ; first steps in art, 7 ; second 
 journey to Italy, J, 8 ; returns to Paris, 8 ; 
 becomes an engraver, 8 ; and a bookseller, 
 8 ; employed by Simon de Colines, 8 ; his 
 study of the French language, 9 ; ' Champ 
 fieury^ conceived, 9, 12; death of Agnes, 
 10, 73; adopts the Pot Casse and the 
 device 'nonplus,'' 1 1 ; and Rabelais, i i\.and 
 note 3 ; his scheme of orthographic marks, 
 20, 55 and note 2; elucidation of the Pot 
 Casse, 21-22; * Champ fleury^ completed, 
 24; first books of Hours, 24-25; begins 
 translator, 25;' Champ fieury ' published, 
 26; removes to the Petit Pont, 26, 1 19; 
 first book printed by, 27 ; is made 'libraire 
 jur'e^ of the University, 32, 36, 100, 
 294-295 ; andking^s printer, 34, 3 5,36; 
 Latin verses of, 35, 91; removes to the 
 Halle aux Bles de Beauce, 3 5 ; last book 
 printed by, 37 ; probable date of death of, 
 ?,7, epitaph on, 44 ; autograph e/", 4 5 ; 
 his work as a binder, 47; scope of artistic 
 acquirements of, 141-152; identity of, 
 with ' Godefroy, ' discussed, 1 4 2- 1 44 ; was 
 he an e?igraver? 144-147; how far the 
 Lorraine cross is a reliable guide to the 
 work of,\\i-\^z;M. Renouvier on iden- 
 tity of, with ' Godefroy,' 153; and Simon 
 V OS tr e' s Hours, 172; andSimon de Colines , 
 174; engravings marked 'G. T.' attrib- 
 uted to, 173; monogram of, 179; and the 
 ^ Labours of Hercules' plates, 184; vogue 
 of, among printers, 258; as an engraver 
 on metal and of printers' marks, 262, 
 265 ; domiciles of, in Paris, 295 ; brothers 
 and sisters of, 289-290; descendants of, 
 290-292. See also, ' JEdiloquium,' An- 
 toninus, Berosus Babilonensis, Cebes, 
 'Champ fieury,' 'Economic Xenophon,' 
 Egnasio, Eleonora of Austria, Hours of 
 I 524-25, 1527, 1529, 1531, Leo Bap- 
 tist a Albertus, Louise de Savoie, Lucian, 
 Marot ( Clement) , Pope Pius II, Plu- 
 tarch ('Politics'), Pompon ius Mela, Pot 
 Casse, Quintilian, Guillaume de Ricke, 
 Valerius Probus, Volaterran. 
 
 Tory, Jean, father of Geofroy, 289, 290. 
 Tory, Madame Geofroy. See Le Hullin, Per- 
 rette. 
 
 Tory, Philippe, mother of Geofroy, 289,290. 
 Toubeau, Jean, 43, 44, 290—291. 
 Tournes, Jean de, 211,258, 259, 260,261 
 
 and note 4. 
 ' Traverseur, Le.' See Bouchet, Jean. 
 ' Triumphes, Les de Petrarque. ' See Pi- 
 
 trarque. 
 Trois Couronnes, Les, 26. 
 Types used by Tory, 3 5 . 
 
 VALE M BERT, Simon de, translation of 
 
 Plato' s Dialogues, 41 . 
 Valerius Probus, Tory' s edition of, 3, 59, 
 64-67. 
 
 Van Praet, M.,and the MS. of 'Les Commen- 
 
 taires de Cesar,' 161. 
 Varlot, M., 'Illustration de I'ancienne im- 
 
 primerie troyenne,' 173,197, 257-258. 
 Vase OS an, Michel de, 286. 
 Vaudemont. See Gringoire. 
 Verdier, Antoinedu, 143. 
 Vernassal, M., 'Histoire de Primakon de 
 
 Grece' (translation), 241. 
 Vesale' s Anatomy, 225. 
 Vidoue, Pierre, 178, 179, 197, 274, 275. 
 Vincentino, Ludovico, id and note 1. 
 Virgil, jEneid in French, 26 1 notej^;( ' 549 ) 
 
 271. 
 
 Viriville, Vallet de, 171 note i . 
 
 Vivian, Mathieu, 273. 
 
 Vivian, Thielman, his mark, 287. 
 
 Volaterran, La Maniere de parler et se 
 
 TAiRE, Tory' s translation of,T,z, 99-1 00. 
 Volcyr, Nicole, de Serouville, 'Histoire de la 
 
 glorieuse victoire,' etc., 181-182, 184. 
 Vostre, Simon, Hours published by, 172. 
 
 W A S S E B O U R G , 7? /V/^'tf , ' Antiquites 
 
 de la Gaule belgique,' etc., 239-240. 
 Wey, Francis, 295-296. 
 Willemin,' Monuments fran^aisin'edits,' 1 1 4. 
 Woeiriot, 1 27, 1 47, 1 89 note 4, 244 note 2. 
 
 XENOPHON, '(Economicus: See' Econ- 
 omic Xenophon. ' 
 
 ZANI, 145. 
 
A LIST OF THE REPRODUCTIONS IN THIS VOLUME 
 OF DESIGNS ATTRIBUTED TO TORY 
 BY M. BERNARD. 
 
 REPRODUCED DESCRIBED 
 ON PAGE ON PAGE 
 
 Design on covers : from the binding of a copy of 
 Petrarch, Venice, 1525, in the Library of the British 
 Museum. 47 
 
 I The letter Alpha : from the Greek alphabet of Ro' 
 
 bert Estienne. 189 
 
 III Border: from the title-page of 'Champ fleury.' 192 
 
 IV Border: from Ovid's 'Tristia,' 'Fasti,' etc. Paris, 
 Colines, 1541. 
 
 V Frieze : from the Works of Justin Martyr. Paris, 
 Robert Estienne, 1 55 1 (slightly reduced) . 189 
 
 V Initial : from the Greek alphabet of Robert Estienne 
 
 (1541). 189 
 
 IX Border : from the Colines Hours of 1 543 . 210 
 
 x-xix Borders in niello : from the Colines Hours of 1 543 . 211 
 
 ^ XXI Border used by Colines on the title^'pages of various 
 
 w^orks. 1 74 
 
 I Frieze : from a border of the Colines Hours of 1 543 
 
 (reduced). 2 1 o 
 
 I Initial letter L : from folio i of' Champ fleury.' 22 
 
 6 Monogram of 'Civis.' 6 
 
 1 2 Pot Casse, as printed in Tory's poem on his daugh' 
 
 ter's death. 12 
 
 20 Pot Casse, as used by Tory on bindings. 20 
 
 2 1 Pot Casse : from ' Champ fleury,' foKo 43 . 21 
 
 23 Letters I andK,byJeanPerreal: from'Champ fleury,' 
 
 folio 46. 23 
 
45 Tory's autograph, on Manuscript of Cicero's ora^ 
 
 tions against Verres : from Bernard. 45 
 
 45-47 Various forms of the Pot Casse. 45-47 
 
 48 Letter A with the ' lisflambe': from * Champ fleury.* 1 92 
 
 49 Border : from ' Champ fleury.' Afterwards used on 
 various works. 196 
 
 50-51 Triumph of Apollo and the Muses: from 'Champ 
 
 fleury,' folios 29 verso and 30 recto. 192 
 
 1 00 Arms of France : from * Champ fleury,' verso of title. 1 92 
 
 lOi-i 17 Borders and illustrations : from the Hours of 1524- 
 
 1525 ; from the copy in the British Museum. 109-1 16 
 
 129 The Visitation: from Mallard's octavo Hours of 
 1 542. Bernard describes only the octavo edition of 
 
 1541. 129,218 
 
 130 Border : from title-page of Macault's translation of 
 Diodorus Siculus. 136 
 
 137 Mark of Pierre Roffet. 140, 285 
 
 140 Border of title: 'Isocratis Oratoris dissertissimi ser^ 
 mo,' etc. Paris, Simonem Colinsum, 1529. Not 
 mentioned by Bernard. 
 
 141 The 'Gallic Hercules': from 'Champ fleury,' folio 3. 192 
 
 1 52 Allegorical letter Z : from ' Champ fleury,' folio 65 . 193 
 
 1 53 Frieze (slightly reduced). See under page v. 189 
 
 1 7 1 Coronation of the Virgin : from the quarto Hours of 
 
 1527. 124 
 
 172 Frieze (slightly reduced). See under page v. 189 
 
 172 Monogram : from Vostre's Hours of 1 5 1 5 ; from Ber/ 
 
 nard. 172 
 
 179 Monogram of Tory. 179 
 
 1 83 Monogram ofTory:from'TheLaboursof Hercules'; 
 from Bernard. 
 
 186-188 Floriated (Roman) letters engraved for Robert Es/ 
 
 tienne. 185 
 
1 90-1 9 1 Floriated (Greek) letters: engraved for Robert Es-' 
 
 tienne. 1 89 
 
 1 93 Letter Y: from ' Champ fleury folio 63 . 1 93 
 
 1 94 Greek Alphabet : from ' Champ fleury,' folio 71. 1 93 
 
 195 Latin Alphabet : from 'Champ fleury,' folio 72. 193 
 
 1 98 Title-'page of the Aristophanes of 1 528,with the sign 
 
 of Gilles de Gourmont and the Gourmont arms. 1 97 
 
 206 Frontispiece of Macault's translation of Diodorus 
 
 Siculus. 205 
 
 209-2 1 1 Borders : from Colines quarto Hours of 1 543 . 210 
 
 233 Portrait of Theodore de Beze: from 'Theodori 
 
 Bezas Vezelii Poemata,' 1548. 233 
 
 234 Portrait of Luchinus, Duke of Milan : from Pauli 
 
 Jovii Novocomensis, etc., 1549. 235 
 
 236 A man on horseback : from the Entree de Henri II 
 a Paris, 1549. Usually attributed to Bernard Salo^ 
 
 mon (Le petit Bernard). 237 
 
 240 A fleet of ships : from ' Gerard d'Euphrate,' 1549. 241 
 
 263 Frontispiece of ' Textus de Sphsra ' Joannis de Sa' 
 crobosco. Paris, Simon de Colines, 1527 (reduced). 
 Not mentioned by Bernard. 
 
 264 Mark of Philippe Le Noir. 279 
 
 265 Frieze (slightly reduced.) See under page v. 189 
 
 265 Mark of the Marnefs. 265 
 
 266 Mark of Conrad Bade. 266 
 
 268 Mark of Simon de Colines. 268 
 
 269 Mark of Simon de Colines. 268 
 
 269 Mark of Gilles Corrozet. 269 
 
 270 Mark of Mathieu David. 270 
 
 271 Mark of Robert Estienne. 271 
 
 272 Mark of Robert Estienne. 272 
 
 273 Mark of Michel Fezandat. 272 
 
274 Mark of Gilles de Gourmont, 274 
 
 277 Mark of Louis Grandin. 277 
 
 278 Mark of Charlotte Guillard. 277 
 281 Mark of Sebastien Nivelle. 280 
 283 Mark of Nicole Paris. 283 
 
 285 Mark of Gilles Robinot. 285 
 
 286 Mark of Jean de Roigny. 285 
 
 287 Mark of Thielman Vivian. 287 
 
 288 The Triumph of Death : from the quarto Hours of 
 
 1527. 124 
 
 289 Frieze: fromOrontiusFinaeus. Colines,i544(slight' 
 ly reduced). Not mentioned by Bernard. 
 
 289 Initial G, with Lorraine cross : from the Roman aP 
 
 phabet engraved for Robert Estienne. 1 85 
 
 325 Border: from Robert Estienne's Greek testament, 
 folio, 1550. Not mentioned by Bernard. 
 
 338 Letter Omega : from the Greek alphabet, engraved 
 
 for Robert Estienne. 189 
 
 339 Illustration from Mallard's octavo Hours of 1 542. 129,218 
 
TABLE OF CONTENTS. 
 
 PRINTERS' PREFACE. page v 
 
 AUTHOR'S PREFACE. IX 
 
 PART I. BIOGRAPHY. I 
 
 PART II. BIBLIOGRAPHY. 49 
 
 I. WORKS WRITTEN OR ANNOTATED BY TORY, 50 
 
 II. BOOKS OF HOURS PUBLISHED BY TORY FOR HIMSELF. lOI 
 
 III, WORKS PUBLISHED BY TORY FOR FRANCOIS I. I3Q 
 
 IV, WORKS PRINTED BY TORY FOR PRIVATE INDIVIDUALS. I37 
 
 PART III, ICONOGRAPHY. 141 
 
 I. MANUSCRIPTS DECORATED WITH MINIATURES BY 
 
 TORY. 153 
 
 II. PRINTED BOOKS ILLUSTRATED WITH ENGRAVINGS BY 
 
 TORY OR HIS PUPILS. 1 72 
 
 III. MARKS OF BOOKSELLERS AND PRINTERS WITH THE 
 
 LORRAINE CROSS. 265 
 
 APPENDICES. 
 
 I. CONCERNING GEOFROY TORY'S FAMILY. 289 
 
 II. VERSES IN HONOUR OF TORY. 292 
 
 III. TORY ADMITTED AS TWENTY-'FIFTH BOOKSELLER TO 
 
 THE UNIVERSITY. 294 
 
 IV. CONCERNING TORY's VARIOUS DOMICILES IN PARIS. 295 
 V. OF THE FIRST USE OF THE APOSTROPHE, ETC. 295 
 
 VI. TRANSLATION OF THE LETTERS PATENT APPOINTING 
 
 CONRAD NEOBAR KING's PRINTER FOR GREEK, 299 
 
 VII. EXTRACT FROM LETTERS PATENT APPOINTING DENIS 
 
 JANOT king's PRINTER. 302 
 VIII. LIST OF king's PRINTERS IN PARIS FROM THE ORIGP 
 
 NAL INSTITUTION OF THAT OFFICE. 303 
 
 IX. CONCERNING THE KING's BINDERS AND LIBRARIANS. 308 
 
 X. LATIN PASSAGES TRANSLATED IN THIS BOOK. 3II 
 
 INDEX. 325 
 
 LIST OF REPRODUCTIONS. 333 
 
TOUT 
 BIEN 
 
 OU 
 RIEN 
 
 PRINTED AT THE RIVERSIDE PRESS FOR 
 HOUGHTON MIFFLIN COMPANY 
 BOSTON AND NEW YORK. 
 CCCLXX COPIES. 
 
 NO. Af^ 
 
GETTY CENTER LIBRARY 
 
 3 3125 00638 0550