Good afternoon after a more general lecture on some technical aspects last Thursday.
Today will be the first of three parts about the chronological development of rating models by now, mostly in the form of writing books.
Two parts online this week and one. Fingers crossed at Oxford on the 25th of February.
For now, we will dwell on the late 60s and early 70s century before the swerve that occurred in the course of French scripts,
as we shall see, in 16 33, at the same time resetting the market for writing books.
Again, I will not wade too far into content, which could keep us busy for an hour admiring just one book,
but will rather try and chart that sea of paper in its surprising variety.
From the shores of bibliography, or maybe navigating at least some currents across its surface in France and England,
the production of printed writing models started late compared to Germany 15 19, Italy 15 20 to the low countries 15 40.
Spain 15 48. Switzerland 15 49.
I have already mentioned the first titles printed in Paris and London respectively are more Alphabeat Rivals on the list, published by John Wiley,
15 61 and a book containing diverse sorts of hands by the French Huguenot Zonta Bocian and an Englishman,
John Beldin, published by another French emigre to my vote wholly in 50 and 70.
I have suggested that technical problems, technical difficulties might be part of the explanation for that late start.
The Italian styles of writing relatively large and linear that is with moderate contrast between thick and thin strokes,
were certainly easier to reproduce in wood woodblocks than the small Gothic cursive styles used north of the Alps.
Only the best German block cutters could be asked to produce facsimiles such as the extraordinary 15 19 prints Binoy deafer.
But before anything similar was attempted in French scripts and until until PEIA are more switched from wood to copper.
Other writing masters and publishers had not remained idle. The earliest books they produced for instruction in handwriting are of two sorts.
Both set in letterpress. First came.
First came books of verse or prose to be used as raw material by masters for writing their own examples
and second books set in type imitating cursive handwriting to be used by students for practise.
The Bodleian houses a rare book by one year, a bear whips suitable for Moses.
The Bodleian houses a rare book by one peer.
A bear. Let me hold the view to issue Amanda B.
Aviva, Rotterdam, 16 13. It is the only known copy of a late and foreign edition of that book.
First printed in Paris half a century earlier. Fifteen fifty six belonging to a very short lived Zschau of moral and technical verse.
By and for writing masters. Short lived. That is in literary composition with only two authors in the middle 15 fifties peer Abair and Jolin one.
The former being the more successful. Get a Bears' career, despite some interest from literary historians, has remained murky.
In fact, it can be reconstructed as a remarkable story of social climbing based on a greater talent for seeking patronage than for writing good verse.
His brother, Foxwell, on the other hand, is better known as quite a respectable poet and accordingly lived and died, it seems, in poverty.
Peter was born at ASU down in the Bay Province in central France, possibly as late as fifteen 35 five,
unless the evidence we find 10 years later is about another young student of the same name from fifteen fifty six.
He appears as a writing master and in 15 64 as a sworn master, he was involved in the forensic examination of handwriting.
Together with other colleagues, this is his signature at the bottom of that examination.
In fifteen fifty six, he published last year to show diversity in quatrains of Decca syllables arranged by alphabetical order in 15 59.
He expanded it under the title disclosure on split.
Please let me have warned of blues as twic shoulder la dicky Lutu but peer Harbi metrically vaa Barry books vrd example mate.
He exists. La dee da. So it says explicitly that this book is aimed at writing Masters as the main audience.
It also contains two other parts on letter writing and on punctuation and accents from 15 69 when the publisher,
Claude Meeka obtained a privilege for it. The title became Nutriment of Veve, which your mother gave you.
Sorry. And Lumière. Why do you go from other Gav's in your father?
This is an illustration of the fifteen eighty one title page, still with the same title and the same publisher.
Its publication History has remained very fragmentary and unclear.
In fact, there were at least 28 different editions or issues into the first quarter of the 17th century,
printed mostly in Paris and rule documented by only thirty five copies, several of which are now located.
So that there may have been there must have been dozens more editions.
The currently available information, as we find it compiled in the universal short title catalogue STC includes only half of these editions wide,
including one or two phantoms that his editions created by errors in previous bibliographies.
As often happens. Pyar Bear's father may have been a merchant, and he benefited from Connexions with financiers.
The 15 56 instruction as to he had dedicated to Nikolai Dupré, a banker from Lille, offering to instruct his children at the same time.
The 15 Seventy-one addition was dedicated to the young daughters of How Will Mohle the King's Treasurer.
His obligatory the department. By the same date, Abair was employed as a clerk by Mauro's son, Nicholas.
The Treasurer General to Henry Duke of Oahu.
His breakthrough came in fifteen seventy three, it seems, when he appears as a valette of the chamber to the same Henry.
By then King of Poland and from the following King Henry, the third of France by 50 eighty five a bear was His Majesty's Scribe.
Cleaver and his duties, based on his previous professional experience with more hope, remained mostly financial.
In 15 77, he was in charge of paying the wages and debts of the royal household.
From the following year, he became a royal secretary. So 50 in 78.
In 58, he won. He was appointed bailiff and keeper of the seal of the artillery mysterious title.
That means he was the judge of the district surrounding the royal arsenal.
Finally, by fifteen eighty four, he was also a secretary of the Royal Chamber.
All this together. He died in 15 97 and the inventory of his three houses, two in Paris and went outside,
took over a week, showing considerable, considerable personal wealth and financial dealings.
Very unusual in a write in an X writing M.
Literary historians have poked fun at Pier Abboud's uninspired moral poetry that his odd idea of arranging verse in alphabetical order,
forcing himself to include stanzas beginning with exotic names for initials K, X or Z.
All this without taking into account the use of such texts in the scholars who
have made fun of a bear have not taken into account the actual use of such texts.
Clearly mentioned in the title itself. Not for literary enjoyment, but for examples of handwriting.
The different sections of districts and quatrains of eight, 10 or 12 lines sorry, eight, ten or twelve syllables.
It was also based on the needs of more or less advanced students, whether such poetry actually attracted any readers as such.
It is difficult to say, but sales do prove that the product was in demand for what it was.
And those texts actually do crop up in some 16th century writing books,
including those of MO and Bocian 16 13 Rotterdam edition in the Borderland was presumably aimed at the many
French schools of the low countries so that it could have been used by the great young Vandevelde himself,
who was the master of such a French school in Rotterdam, precisely from 15 57.
The printing press offered a new solution for showing French scripts in printed books.
With the invention by a hobby,
Alcohol of later became known as civility type that is type imitating the handwriting of formal documents or manuscripts, international style.
It was seen as an alternative to italic type,
which still had a foreign and Italian connotation at a time of strong anti Italian feelings and controversy rooted in the cultural,
religious and political context of France. Guardroom calls his creation let off.
Höss sways a diehard amongst French handwriting type.
Let's say he himself immediately printed a book entitled Asterix, Your Kate Bolduan,
Esteve Horse, or former Alphabeat again in alphabetical order up to Pardoel is our fault.
Don't leave it Kleve idiocy later. Good.
Couldn't would you? It would be so.
French education, as you see, should begin with God and proper cursive ligatures or other proper cursive ligatures and God in that order.
And in 21st century schools. This remains true, I must say only of ligatures.
The fifteen fifty seven edition is lost, but here's a page from the fifteen sixty two edition page on abbreviations where you see that the the,
the cursive treatment of letters plus abbreviation marks as a cheaper means of.
Producing writing models, civility type outlasted the adoption of copperplate printing at least eight such books were published anonymously,
probably put together by the printers themselves in Lille and Paris before the end of the 16th century.
Plus several by one writing master Jack Dillahunt.
More on whom later. And eight were also printed in the low countries.
All but one at Antwerp. The last one at Liden.
Four in French and four in Flemish. So that civility type was used for both languages as the Gothic alternative, if you will, to to italic type.
One more book appeared a do a writing book incivility type as late as 16 27.
But that is a provincial phenomenon.
But after sixteen hundred, as writing styles continued to change, the old fashioned civility type was used perhaps for learning to read.
And books have good manners. Dan Rather than for writing instruction.
And that surprisingly lasted well into the 19th century, the first third of the 19th century.
In its first decades. Civility type was also largely associated with Calvinism, which might have made it suspicious in certain circles.
It was also used for at least two late editions of a Bales' meanwhile, too.
Not to mention other books by our back, which I will not go into here.
I will limit myself to about writing books.
The few surviving copies of such letter press models mostly appear as small oblong formats.
In Quarto or Octavio. But some prove that the original format could be double the size.
And in a vertical format, it is a book that is kept in the Library of Zurich with no title page.
But it's Ajayi Booth's example, a Late Edition from the fifteen 80s.
And this is an early edition of the same book, 15 66 Leel in a vertical format and with full pages in which you see the example at the top and
blank paper underneath for copying the text one or more likely several times sometimes with,
as we see here, an initial already in place that the student knows where to begin.
This actually reflected the way in which writing masters,
all school teachers would lay out their own exercises, which can be nicely observed in this unique,
recently discovered set of leaves written by a writing master,
at least by a master and his students in the middle age in the south of France in the early 17th century.
You see two lines at the top here, very well written by the master in darker ink and with a fine a pen or with a maybe less pressure on the pen.
And then the same two lines repeated over and over again by the student.
And the rest of this exercise book has more elementary exercises with single letters, syllables, words, etc,
before reaching this phase in which the student copies short texts of two lines, that later on he would have moved on to four lines.
And so all that changed with pure.
I mean, it was quite an extraordinary character. And his brief career had long lasting consequences for writing Masters in general.
He was born, it seems, circa 15, 30 that blew up in the LA Valley and a fervent Huguenot in fifteen sixty.
He married a local girl. He'd been there, presumably from the successful family of painters of that name.
The first evidence we have is of his high reputation is his employment as voting master to the future.
King Charles, the 9th born 50/50 crown.
Fifteen. Sixteen. And within a year or so more had become Secretary of the King's Chamber.
But to cut a long story short or not, very long story, even shorter.
He died in 15 69 by public execution for reasons that not all sources agree on.
Although they certainly relate to his Calvinist faith, which inspired some risky activities, both editorial and otherwise.
One explanation is that he had forged the king's signature.
At least that is the explanation for the establishment by letters patent dated November 15th,
70 of the Corporation of Paris writing masters who were heads forth entrusted with the forensic examination of forgeries.
A few manuscripts by a more have been preserved. He was famous in particular for my nute writing micrograph,
of which there are impressive examples in two maps of France dated 15 68, one in the BNF and one in the Morgan Library.
I have one. I have a photograph of the one in the Morgan Library, but I'm not allowed to show it as usual.
In fifteen sixty one, in collaboration with the of White and 50 Biddulph, he took part in the anonymous publication of a Calvinist catechism.
John Calvin's formula, which you have here, printed in a new, remarkably delicate CVT typeface,
which you see here at the bottom of the title page and cut by Philip Dolfi after models in the hand of a more.
It is surprising that a more would have chosen to risk using that same distinctive type at the
same time for the front matter of his own first writing book published that year by Lukwiya,
the same the same publisher. Only this time, not anonymously.
And he used that type name me for page of verse in praise of himself by no other than himself.
So here's the title page. Remember this first book?
And here is the page of verse by a horse with a close up of the typeface, which is the same as in the Calvin book.
This first book by more, I will again not go into a detailed analysis of contents.
I will just say that this book set the standard division of French writing books for one and a half centuries with the first part on French scripts.
Always first, mainly destined for official business and the second part on Italian scripts.
Increasingly, the kind of handwriting used by non-professional scribes,
by literary manuscripts, private letters, by the nobility, and specifically by women at least.
So yes, this is the title page of the second part of the book which says Let was tell.
So the Italian part of the book, at least half a dozen editions of this book are known by as many imperfect or fragmentary copies,
mostly absent from us, T.S. from 15, 67 or maybe earlier.
The title was changed to Alphabet and I've asked John TGT did it.
So this is a new woodblock. It got there on Devecser, as is.
Could you. As you see YAHA more, etc. As I have said last week, the 16th 13 edition is a surprise addendum,
a recent one miraculously acquired in 2009 by the small town library of Santa Mol Lizzo.
And you see this woodblock is the same as the one we have in fifteen sixty seven.
A further edition, Deong, 15. 80 has created some bibliographical perplexity also on the death date of the author.
Because this says all of you cohesion. It didn't go multipart, remember?
But that's it. That's just a copy of what's in previous editions.
And this one is actually just a pirate reproduction commissioned in Lille from a local block cutter by presumably this publisher,
Louis Clark, amongst. I'm always second title and forbid arse off to do it.
Fifteen, sixty six. Sixty. Sixty seven. As I've said, the first such book in copperplate, as you remember,
is known by only four copies from at least three different printings, whereas his first book combined Woodblocks and Letter Press.
This one was entirely engraved so that either book required only one kind of press, no printing press in the first case and a.
Eroding press for. Prince in the second case.
Nevertheless,
the printing was still done in gathering's as it was done with letter Pressel woodblocks and you see the plates received signatures in the corners.
You have a signature. A one hit to the first first leaf of the first Choire first gathering.
These would soon disappear in subsequent writing books and the plates in later books were usually printed one by one,
or at least the leaves were separated and reassembled one by one.
Eighteen or nineteen originals of ammos prints are supposed to have survived as late as the mid 19th century,
according to notes by a famous collector on paper.
But I suspect they were actually very similar. They were the same as the only one that is now known.
Still located a leaf in the Newberry copy of our most second book.
This is described in that copy in the hand of Perjured himself.
The little label that you see below as an original by the author.
But in fact. So this is the handwritten leaf.
And this is in the same book, just opposite. We have this plate.
You see how how similar they are, but not entirely similar.
And the handwritten page is actually a beautiful imitation of the plate itself by an owner of the book whose name is even provided by his ex Libras,
which is clearly in hand. So his name is at the end of the book.
It's here.
Yoast, Greater Citizen of Solomon in Switzerland, 15, seventy-eight, solid, torn, easily identified as a young merchant who was age 25 at that date.
So fine example of the skill of a student, but not of a master.
That period of transition in technology,
of editorial inventiveness and ensuing bibliographical complexity is well illustrated in the works of a master of whom we know next to nothing.
Jack Doolally. He's only documented as far as I have been able to discover in fifteen sixty seven as a key Vaslui.
So Swarm scribal Scrivner old university by eight titles are known under his name dateable 15 65 to some time between 50, 74 and 50.
Eighty five. Seven titles by one copy. Each of which three are in Zurich, bound together or collected by the same.
Probably the same writing master. And one dated 15 seventy-eight mentioned in fifteen eighty five developed yet the
famous 16th century bibliographer but with no physical copy ever described since.
So here again there must have been further editions, possibly very many.
What is remarkable in this case in the extant copies, is the number of technical variations and combinations that we may observe.
Fifteen, sixty five or thereabouts. AlphaBeta Daesung blah blah sorted.
It already has pages constructed using both separate woodblocks containing texts and flourishes.
Some of the flourishes made to be attached to the text as you see here.
It's not quite as well attached as it should have been.
Plus here, an alphabet of civility type.
The same blocks together with others. And more than one civility type face reappear in different books in various combinations.
You see this piece where we also type the capital P.
This. Other book examples here.
Fifteen. Eight or 69 specifically proclaims, as you on the title page, do lament the language equivalent, the opportunities.
And yet it is entirely set in civility type.
Except for the woodblock initials, whips and flourishes.
This later copy the latest of all known books by Jelavic in the Newberry Library has two chaotic books banned together.
The first these examples on the page yourself. It has alternating French and Italian plates.
On the right you see the letter D here in perfect alphabetical order and totally random bits and pieces on the left,
including one plate which you see here and here close up.
That is actually the title page of another book.
The second book in the same binding is begins with the title page that has precisely those elements reused for its own title together with others.
Note that alphabetically some lavallette. This is actually the same same woodblock or rather two woodblocks.
You see, the two lines are not aligned in the same way. This the second line here has been extended with the word italic, slightly misaligned.
If you look at the base line and all paradoxically in black letter, which is unexpected for the book supposed to be on italic writing,
it's still the contents also belie the title, since they only include French scripts and nothing italic.
All this leads one to surmise that the author had already died or at least had nothing to do with those adulteration of his work.
He was self published at least fifteen sixty five and we know he was still alive in 67, but from sixty nine at the latest,
the publisher, Claude Meeka, took over endlessly, recycling both the material and the author's identity.
One might say for another decade at least. Meanwhile, in England.
We've seen this one before. The life of John the Bocian is better known than many others, thanks to notes published by Bertolt Volpe in 1975 and 80.
But some details can still be added, I think. I believe both.
Shane was not only a relative of Abraham, Abraham ashamed.
The Paris printer and publisher, but actually his son John apprenticed in fifteen fifty four at the age of 15 with another publisher.
It's strange that this information should have been missed because it's you
find it in the same places as information concerning the rest of the family.
It is well known that he first emigrated to England,
where he and John bailed and published a book containing diverse sorts of hands as well, the English as French secretary,
Italian, etc., which shows that there was a market for the French language and the corresponding hands,
the parts played by both authors, has been the object of some discussion.
The most reasonable theory being that John bailed in was responsible for the examples in English scripts, and John de Bocian produced the others.
It might be observed here that in the title page, which was originally all woodcut except for the date and one other line,
the name John Beldin, precisely is set in type, not part of the original woodcut.
So that suggests that the the idea of adding plates by Belgium to something originally by Bocian could have happened,
could have come up after the woodblocks had been cut.
There is further evidence to support the theory that this book is actually two books put together.
That is the alphabetical sequence. If you look at the alphabets, alphabetical sequence of plates and language by language,
you will find that English plates cover the whole alphabet A to Z.
Latin plates cover initials. C, d.
E. O, French plates. E i. S. T and U, the Italian plates.
D and E only. And Q in a later in a later edition.
Which means that there is no overlap within one language, but there is always overlap between different languages.
So it's quite a problem. It's possible at least that Bocian had planned on having full series for each language and that maybe that was overambitious.
And the book in the end was built on the solid basis of an English alphabet with additional plates in various languages.
By Bocian. I won't go into the very complex any sort of history of this book,
which would be which would require much time looking at watermarks and other details.
But that is something I have done that produces interesting results, too.
As I mentioned last week, it shows at least that the three copies we know from 15, 70 are actually from three different editions later on.
Both Shane travelled to Italy in the late 70s, returning via Leo,
where he published the Tiso Dickey two in Fifteen Eighty, an admirable book of French and Italian scripts.
There was only one edition, it seems, except for one slight variant in a copy that was sold recently where two woodblocks are inverted and in the.
Alphabet of Gothic magic schools. But for some, 20 copies are known.
Many of them imperfect. So it must have been quite successful anyway compared to previous French writing books such as Amore as a footnote.
I shall add that the 15 50 edition, which is still mentioned in a number of modern catalogues, never existed.
And as the result of a misprint, I think in the 1953 bibliography of writing books by Cloud your Bernat Cheaney that has
spread like a virus despite repeated corrections and needs to be eradicated again and again.
After returning to England, Beauchesne published around 15 ninety three, fifteen ninety five.
A third book, more elementary this time, but also beautifully produced again of French and Italian scripts.
Luckily, the kid too dedicated to the daughters of Gilbert Talbot of Shrewsbury, the only known copy of this book is now in the Newberry Library.
So there's no way of guessing how successful this one might have been or if or whether Bocian might produce other books that had completely lost.
Finally, around 16 10, Bershan taught to the children of James.
The first that is Elizabeth, Princess Elizabeth and the future Charles.
The first half a dozen manuscripts have also been associated with Bocian, either by his signature or by attribution.
The Huntington Library. I will show you just to. Three manuscripts.
Huntington Library has a spectacular copy of William Boyer's have roka you Loja from 15 67,
attributed to his hand, the hand of Bowsher and including a map of England with my nute writing,
not quite as much as in ammos maps of France, but there is much similarity between the two and most maps of France are from the following year.
Fifteen sixty eight. Do you remember this leaf in the Houghton Library at Harvard?
Dated fifteen seventy five shows both Shein at the height of his skills, although still before his trip to Italy,
showing off multiple scripts including mirror writing, which you have here at the bottom of the page.
Once again here, the pendant proves its superiority over printed reproductions, especially.
At the time of woodcuts rather than copperplate engraving for Princess Elizabeth,
Beauchesne wrote a delightful little book of scripts around 16 Heaven.
Ever so slightly less confident maybe than his earlier work, but proudly signed on the last page, which you see here at the bottom.
At the age of seventy two and a half, John drew on the Bush-Cheney tarty sway.
You are 72 and a half is in French and Italian languages.
But the scripts are entirely Italian. It may be a sign that French scripts by then were felt to be slightly less necessary, but more probably.
I would guess Elizabeth was trained in the Italian style only because she was a lady.
And italic scripts were specifically used in female education.
No new writing books appeared in Paris during the last fifteen years of the 16th century.
The dramatic period of the last war of religion, yet a new generation of calligraphers was on the rise.
The leading figure amongst them from a young age was Gaeul. Look at you.
You see had fifteen eighty one. Nothing was known until now.
His early years, but a little is now emerging. He was born at all.
We already knew at fifth in 15, 52 or 50.
In 53, I believe I said 54 last week. Sorry for that.
And his earliest work. Never reproduced before is a stunning manuscript dated 15 75.
Now, who will this manuscript was clearly written in Imitation of Amore.
You see the title page similar to that of a mom. And inside you see the separation between French and Italian script using the same title pages.
You recognise this one from the page we saw in Amore and also in an effort to outperform, it seems, the master.
Notably in feats of graphy. This is one page and a close up.
You can hardly see what the text says, it's a religious text, an instruction on these lines of religious instruction.
From seven three, from fifteen seventy six to fifteen eighty four.
Again, you have worked as secretary to foreswore Duke of also it also began teaching around fifteen eighty the age we saw in that portrait.
Then after and also died in fifteen eighty four began you became secretary to King Henry the
third and his successors up to sixteen twenty one but with no wages from fifteen ninety nine.
So just, just an honorary title if you like, rather than real employment.
He died at sometime between sixteen, twenty nine and sixteen thirty two.
Not sixteen, twenty four as was previously thought. The loss of his wages was the result of bitter conflict with another scribe,
Zonda Blackhall, over the title of Secretary of the Chamber and a key your what?
At the same time, the rivals were also racing to produce their writing books,
and Berghof snatched Luganda else engraver Simon Freesias before the Daniele's work was entirely done,
at least according to the victim, who went on to publish what he had in fifteen ninety nine.
And we've seen that book by you. Again, you began.
You could boast that he had done more than anyone to bring French handwriting to perfection.
Over the course of a generation from his early years, he had worked on a more rounded, less gothic,
perfectly regular style of French script, originally somewhat slanted, as you see here in the whole manuscript, especially the slanted S.
And finally, quite upright, you also see a bit of micrographs at the bottom in the same type of script.
And then here again, a plate that we've seen before with a close up of the final stage of his Frej script.
The later generations credited Luganda with the creation of the French led to the Noss,
a script largely destined for institutional use and in no way limited to financial business.
Later called LA Honda, which has remained practically to this day, the archetype.
A friend of the French style in handwriting. The influence of.
Léogâne Yales models, even before publication, seems to have permeated the work of other masters such as Louis Mohanad from BIU,
whose little book of scripts and an actual little book of scripts dated 15 ninety seven, was recently acquired by the University of Toronto.
Yes, I think there's another place here by Mohalla, where you see a script that is quite similar to those by Gunya.
And then. Here is a very Late Edition.
Uh, fifteen thirty seven. Fifteen thirty eight by, uh, by Michel volume four of the plates, uh from uh.
The three books by Luganda. But with a new letterpress title page.
So rather than on Dragana. I would like to dwell on Baucom less well-known name whose production raises more unusual questions.
And the Bodleian has copies of both his books, which is a further reason, one of which is quite exceptional.
That is the one you see here. There were actually two Bighorns, John, fifteen sixty one, 62 to 16, 13.
And John Batiste, known as Batiste's, was born before fifteen seventy four, died sixteen thirty two.
Their father, John had held there. The roll call joined the family.
Their father had held various important offices in the royal household.
Then in 50 90, John became royal secretary and he found you wanted.
What is your take? This is the title that was then disputed by by again, you by 50 97 at the latest.
He was allowed to share those titles with his brother. But just because he lost, meaning Batiste was his designated successor.
In case he should die. But he was also appointed to instruct Henry, Prince of Condé from sixty seven to Cycos 67.
It was he practised rather than his brothers has been assumed, who gave handwriting lessons to the Diffa, then King Louis the 13th.
Continued taking lessons after even after his coronation. This is this is the young dolphin in 16, 04.
A remarkable manuscript kept in the library of New Shortell in Switzerland contains part of the substance of those lessons,
which were described at the same time by Louise physician John F, a wife in his famous diary.
So here you have a page is the binding arms of France.
And in Nevada. And here you have three lines because you mean presumably in the hand of Baptist, the big hall.
And then these lines in the hand of the young pupil.
Batiste also taught Henry, the fourth's queen, that he had emadi chief and their various sons and daughters.
The history of the two books by the by the book [INAUDIBLE] is particularly convoluted.
The privilege proves that preparations were underway by 50, 97 in fifty ninety nine.
We know that the book was signed an agreement deciding that plates and prints would be equally divided between them.
The first book on Crystal Guffey is The More Elementary Collection, containing two line examples so that beginners supposedly,
which may have been planned first but based on its front matter, was published circa sixteen 04 and dedicated to the Dauphin.
And the copy in the Bodleian is actually the dedication copy,
as you see from the fleur de lis all over the covers and the dolphins in the centre and corners.
The pissy dog, Huffins, is remarkable for the way in which it deliberately fuses the work of both brothers.
The title page names the author do book Harpaz Young.
No first name. Sickert there.
Ordinaire Rashawn. Would you what?
And that's the title that belongs belong to John Vanderheyden, which applies to Bettys and made his ruling party, which would have applied to both.
The volume was dedicated to the young Henry Prince of County, who is being taught by Baptists,
and the preface specifies that the book comprises plates by Bhatti's signed as such.
Also adding that he was responsible for inventing new abbreviations and for some of the flourishing.
But by looking at the initials of the plates, it becomes quite clear that the book was actually compiled from two alphabetical sequences.
And here again, it's the same kind of observation that I have made on on the book by both Shane and Beldin.
One sequence almost complete by John. And one less so by Betties.
So it seems each might have had his own project before they chose to merge.
The 50 97 privilege mentioned John first and Bhatti's only by extension.
But in 60, you know, to a specific privilege was then issued mentioning only Battiste.
The two brothers also lived together. One wonders whether they might have been twins.
We don't know when Betties was born. He might have been as old as his brother. They had their differences, though, John.
The Protestant had three sons. John again, Junior, a mathematician and able calligrapher.
Paul, who died young, and Maximilien. That's named after Maximilien between the son of the Duke of Soulis, who had presented him for baptism.
That would have been his godfather in Catholic terms, but not Protestant.
Baptists, on the other hand, a Catholic never married, but later took charge of the education of young Maximilien,
who had expressed a wish to leave his mother and became a Catholic.
After his father died, thus causing a small political scandal amongst Huguenots, Xiong died in 16 13,
leaving the plates of the banks to Gadhafi to his son, John Junior, who continued to exploit them, and Battisti kept those of the besieged Guffy.
From that point, he had the title page modified. If you compare these two title pages, you see what has changed.
This is from a later printing. To which I shall return later.
You see the main one of the main differences here is the addition of A B Baptist within the initial D of Dubal home.
This was the first change. And the next change, which you also see in this later plate, is here.
So they're holding onto a key vanderheyden change to a cliff under some measure, stick meaning the king.
In 16, 33, 16, 34, after the death of Battisti, his plates also went to his nephew, who then began publishing both books together,
changing some dates here and there within the plates as a way of updating the whole thing and also adding a few more leaves,
which would come as a surprise at that late date from plates probably engraved at the same time originally.
The quality shows they were certainly by Simon Freesias in the first place, but which had never been printed before, deliberately left out.
One may suppose for various reasons, one being that one of the plates, for instance,
is in Italian, and it would have been the only place in that language in the book.
So the letter L. is missing from the sequence by John. It's the only one.
It's that plate in Italian.
John Junior or John Rau, the third after his grandfather did not bother to renew the front matter either, which had run out in the meantime.
But his first initiative, as soon as he laid hands on all the plates, was a new dedication to King Louis, the 13th, written in his own hand.
And here you see what a calligrapher he was himself in gold on purple in a combined volume containing both titles,
both books with Gold and Blue Borders throughout, which is now at the hotel library and a splendid object.
It is Jaw Junior died in sixteen forty and the plates then went to an important newly established print cell up here.
Yet this is the same plate we saw just earlier with the recognise these changes here.
You have the imprint of market here at the bottom.
That was the latest stage being a methodical businessman. It had the plates numbered, as you see here.
This little number inscribed in the margin, but in no logical sequence since they were probably jumbled when he received them.
And this has caused some confusion in recent scholarship over the original order of the plates.
That is just the order imposed by by Mahat, which has nothing to do with the order wanted by the authors.
Finally, not yet added one more plate that had always been left out.
Maybe the sort of private joke that it was better not to print.
It's an example, actually, based on a legal petition against the Birkhoff's old foe,
Ghulam Lugano, since his players I miss you of WAAPA who commanded Roubaud what?
Paul Zonda book horse secret there, etc. And then the last line quoted you.
And again, you give up to me a default. Do you go to a bar?
So this must have come to my head with the other plates and you reprinted it without thinking any more about it.
But the brothers certainly would not have liked him to do so.
That happened just after the just after look at your own book had been republished by Michette Volo show.
So it was like the duel taking off again.
Decades later. Mahi, it seems to have sold very few copies since by then,
the book could become outdated or even totally obsolete because of the 16 33 reformation of France.
French scripts, which I have mentioned in which we will discuss next time.
But it may have been of some interest already to collectors of prints.
And at least Michel de Mahola and Samuel Peeps bought copies of the latest state, presumably from directly from the shop of Pierre.
Yet in total, those two books were in print for most of half a century,
and the many differences one can observe by surveying as many copies as possible only start to make sense in chronological sequence.
Not as inconsistencies in single copies of a more or less homogeneous edition, but as a series of changes over decades,
part accidental and part deliberate dateable only thanks to new biographical data on the authors and their families.
So I would like to end this chronological sequence just with a fast forward, if you will.
Shedding a few more books that are biblio graphically, much less complex, because essentially they were much less successful.
And so there are very few copies left.
And so there's much there is much less to observe in this case than in other books of the time, such as the Bolkonsky.
In general, one must insist on the except exceptional flowering of writing books that happened in Paris around sixteen hundred,
and that was entirely the making of Simon Freesias.
This is all the more apparent since immediately after freesias left the production of
new writing books seised in Paris and was not resumed before a quarter of a century.
Produced his own books. After some time, it's all between two six sixty.
No. 160 No. Two. And here I'll show you just the title pages.
New done Ricky to tell yet. Did you feel software to.
So he's a beautiful calligrapher himself. He has terrible spelling mistakes in French being being a foreigner.
But the handwriting is absolutely superb. And the engraving naturally, too.
He also produced this ought to be also undated, but from the same period, also very finely engraved.
And this is one remarkable plate in a private collection in London, which is from an unidentified book by freesias.
What's interesting here is that it seems to be unfinished.
And what we have is lettering engraved as outlines before the engraver actually added probably crosshatching for the black parts inside the letters.
Then we have just a few books in grade four, other writing masters.
Just a couple of books by the same freesias. This one is unsigned, but the style seems to be that a physicist is for the title pages and ornaments.
This is a remarkable book by a mate, by a master called Pure Lubic, 60.
No one here. A book that contains large decorative alphabets, including one for ladies interested in embroidering handkerchiefs or anything else.
Pure is an interesting figure. I could have gone into more detail on his biography.
Who, amongst other interesting aspects, had some connexions in the art world.
He actually eventually became the grandfather of the famous painter Chatel Lubar,
which may explain why we also have this splendid portrait of this medal hitherto identified.
The name says Bettles Bayeux. Which medal scholars have always wondered who the name might be might indicate.
And this is certainly the writing masterpiece. Then we also have this other book engraved by Friz.
Yes, he'll be our vineyard. This one also known only from a couple of copies.
Tivoli. It says Tivoli. Somewhere at the top up here, Tivoli shut down Dickie to etc.
The situation, as I've said, contrasts strongly with the situation in Paris from 60 No.
Two more to the city to the mid 16 20s.
And the interesting development in the meantime was the the publication of the earliest writing books produced in the provinces.
And I'll just mention the names and cheque, the title pages.
This this book we've seen before. Let me hold are key to by Morehouse's just a handy published at Avignon.
You remember the name of the engraver blocked out here. Nothing was known about just handy.
Plenty is no. Now I could name his 11 children and so on. We'll leave that aside for now.
Then we have probably the most important, suddenly the most important non Parisian book of the period listserv.
De Luca Mata, who bourguignon also publishing Avenue, which is entirely in the Italian style, as one would expect, of a book published at Avignon.
That was still, as you know, papal territory. This is a book that had was more successful than others, was reprinted in 16 28,
is known through various copies and exerted a long lasting influence, especially on English writing masters.
So we might we will mention it again in the discussion of later English scripts.
Matthau also was only a name up to now. I could tell the fascinating story of his life.
He was an ex monk. His mother was a leper and all sorts of other fascinating details.
Then we have Nikolai Gugino.
This was an interest is interesting because compared to the other ones, compared to the previous books engraved in Avignon, very ably engraved.
This is a book engraved in diesel by local people.
One clockmaker, one goldsmith and coin engraver and one Putera and metal engraver, meaning someone who made parts for machines rather than artworks.
And Goodenow is better known as a playwright, and his writing samples are extremely rare.
This is a unique book. There are the plates and the people take notes, you know.
You can notice here at the bottom of the plate that this was published by Michelle von Lothrop.
So it's a late printing by the same publisher as the late publication of Gillmer Kenya.
Then we have Phos was the one who engraved his own book in Sixteen Fifteen in Moola,
later republished in the young sixteen twenty five and sixteen, sixteen and sixteen fifty four.
And then we have not a leg is an interesting case. The only book published in Marseilles.
The style is somewhat more rustic,
but the contents are also interesting because they include all kinds of documents that you would not find elsewhere,
such as documents relating to trade and maritime transport like this one shaji or no did you, etc.
This one has some bibliographical interest because if you compare Dimbulah and Legler,
some of the plates by Dimbulah show up again in the book by a leg with additional signatures.
You see, this is the same plate, first by Dimbulah, then in the Allegro book with his signature at the bottom.
So the case of piracy. The style of these books is close to that of Lugano, the early 60s, hundreds,
but with some further developments, especially these first lines in tall,
elaborate letters that are more baroque, if you're making in style that are typical of the signal of the first third of the 17th century.
And all in all, the influence of such books is clearly shown in a few manuscripts.
We know from the early 17th century I would show just this one remarkable manuscript in the BNF with a binding
that shows it was destined for the King by an author who was a notary public in Shatila in central France.
His name was Batali Middle Level. And this seems to have been a project for a further publication.
You can see a manuscript that is close to the appearance of printed writing books, including the frames around the calligraphy.
This is the title page Le Leba, Ekiti Moody on the.
Etc. His remarkable dedication page with the extraordinary flourishing in the same style as Parisian massive past masters sorry,
of the early 17th century. This is a page that shows you the same style of baroque flourishing on the first on the first line.
And here's a close up just to show you. This is the last the last image to show you the perfection that such a scribe could attain.
Not even a professional writing master, but a notary public with an interest in calligraphy.
His script here is as good as anything produced in the form of engravings by by Simon Freesias and others.
Thank you for listening to me today. The next lecture will be about French writing books after 16.
Thirty three from sixteen thirty three. The reformation of French scripts.