In the early 17th century, eligibility in current writing was becoming an irritating problem.
We have evidence of clerks getting into trouble for not making a good,
clean copy of their minute books so that their records had become utterly useless.
But the difficulty was not only with the fast judicial hands or notarial hands, it was a general problem with the style of modern handwriting.
Not the models themselves were illegible, but they required such care that they could not resist the effects of speed.
Some letters had many possible forms, and some looked too similar to other letters,
especially the notorious French round are often written exactly like A.
And that clearly called for a change. On July the 14th, 16 32.
Another reason to celebrate July 14th. The Pommier President Dibala Monda Party summoned the writing Masters of Paris first thing in the morning and
blamed them specifically for using forms for different letters which had made common handwriting illegible.
He ordered them to meet together and to agree on clear reforms for the future.
On February 26, twenty sixth, 16, 33, the second decree ordered all writing Masters to teach the same two hands,
the same two scripts under penalty of dismissal from the company.
The two scripts were French script designed by the syndic or master of the company,
Louis Bar the Door, and an Italian script by Fitty Blabby, of whom we know very little as a person.
More specifically in this case, an Italian bataar,
meaning a script based on cursive forms but written in a more deliberate manner with more frequent pen lifts.
Models for both scripts were to be engraved, printed and sold for the benefit of the company.
No such models seem to have survived, but they must have looked similar to those published in the following decade and decades in the 18th century.
We shall witness the creation of a new script named Liquidly and a general change of style.
And so that will be cut off point for today. And so next spring, God willing, we shall discuss the 18th century and more specifically,
the international circulation of French and later English models in the 17th century.
From sixteen, thirty three onwards is a period of many,
many masters and books that we can divide into four periods once again with reference
to the main engravers from the mid sixteen 20s to the mid sixteen thirties.
We have a period dominated by Peire more and more than dominated.
He's practically the only one around. Then we have from the mid sixteen forties to the early sixteen fifties.
The work of Hoby called working for several masters at the same time.
Then from the mid sixteen 50s to this to sixty ninety one at the most when he died.
Louis saw no. And then from sixteen ninety two the first quarter of the 18th century we mainly have the work of Claude August behind,
which is less conspicuous than his predecessors. So let us start with with Peire Mohawk Pierre Moho who is born 15 ninety.
Well between fifty ninety seven and sixteen hundred and died in sixteen forty eight.
It is his portrait from one of his books. He published several writing books from the mid sixteen twenties.
I have said from sixteen twenty six to sixteen thirty nine.
So that spans the period covering the sixteen thirty three reformation in sixteen twenty six.
His first book and here, as I said in the second lecture, you can observe him still making progress in both handwriting and engraving.
This is not quite as subtle as his later production.
So we have this first book in 16 26 Live Hreik Architecture. The Literature Your Fenosa set on the net.
You held a reprimand for a Harvey above Pyar Moho Claire or Phenols, and that is the main indication we have.
On his earlier career. He was a financial clerk, hence his interest in handwriting and more especially in this little noss.
This is an extremely rare book like all of PMO, whose production in writing books.
We have only two copies of this one note, amongst other things here, the Long S, which is one feature here,
is key along s with a vertical shaft descending below baseline,
which is something that precisely will disappear from sixteen thirty three in sixteen twenty seven.
Twenty eight. We have listserv who do PMO who buys you or he she deeply builds and I have asked John Cahokia Lavernay late last year.
So again that it if he knows in this case we have only one copy of this book preserved in the collection at Anya.
In this case, you can note the presence of these Black Loops with something like an ink blot inside,
which are typical of the Italian masters of the time, that are also a feature that will be eliminated in sixteen thirty three.
So it's typical of the period before the Reformation. Then in 16, 33, we have two books.
And the interesting thing is that they are dated 16, 33. Probably a deliberate dating to tell the customers that the models are up to date.
So we have Lahiji, not a yes. A key. A bill. He'd need Poppea more.
Here again, he specifies that the models are both written and engraved by himself.
Metrically visual here. The style is that of the new models.
The only thing that looks a bit antiquated here already is the style of decoration that we have around around the writing in 16 33.
Also we have. So besides these little nocere, a set of models for the Italian bataar, Olaf says,
and that's a specific definition of the new script that has just been defined by its end would be at that date.
It hit a beauty neat once again by pure more actually visually.
Sixteen thirty nine. The last book we know about. So, yes, this is again, a plate from inside.
The last book we know about is the Nouvelles example,
the pure Mohle The word example is often used in the feminine when it refers to examples of handwriting nouvelles example.
The pill mahoso continually police cut to Pat Ditherer.
Let me tell you, in Batalla, Alabama, the 16 33 boys she Naledi Pierce is known in only two copies detailing in Baghdad in only one copy.
The whole collection has both. And in sixteen thirty nine, this last book, Nouvelles example is known in three copies from two different printings,
and the same goes for this set, also published in sixteen thirty nine letters.
Not yet equitability neocon dabic privileged to work this time with a privilege by Moho.
So again you have complementary sets, one in the French style and one in the Italian style.
But the, um. Greatest success of Pyar More is probably a a source of income.
Much more important to him than his actual writing books were books of another kind.
They were little prayer books of which we have essentially two one that went through many editions and one that is much less frequent.
The first one was Leaside P.A. The Lamb Kitchen, published in 16 31.
It's a small volume. The dimensions are about 14 by nine centimetres.
And the first edition was dedicated to Mary.
They made it cheap, which in 16 31 was not a wise choice because her political debacle happened in the next year so that Jamu had Gemma,
who had to scramble and find another dedicated. You can see Maria's coat of arms here on the title page and here a close up of France and made it.
And the next two pages are, again, the coach of the same coat of arms done in calligraphy and a dedication.
Alayna Mayor. Do what, Madame, etc. So from 16 32, there is a sudden change.
There is an immediate second edition with changes. And in 16 32, we have the arms of and of Austria.
The Queen no longer the Queen Mother. And here we have again a close up of the same coat of arms and inside the coat of arms,
the original coat of arms is replaced with just a basket of flowers that occurs elsewhere in the book.
And the dedication is Alaa Headen, Madame, etc.
This is a very interesting book from many perspectives.
First of all, it it's it's it bears evidence of the life of Moho and his financial difficulties in the
fact that the imprint keeps changing because Mohle keeps moving from one has to another,
which helps us decide on the chronological order, at least the relative chronology of these editions.
He was constantly moving. So we have additions in sixty thirty one I've said, and thirty two and then another one in 44.
Then he dies in 48. And then we have the further publishers all in New York who issues two more editions in forty nine and fifty six.
But there is much more variety beyond just those bad dates.
It's also interesting to note that this book was considered a precious book at the time.
If you look at the bindings in which the copies have come down to us, there are many very,
very beautiful bindings done by the best binder's the time, the most spectacular being a copy in the Metropolitan Museum, New York.
Which is this one,
which is an embroidered binding with gold and silver thread and something written on the back that I have not been quite able to read yet in,
which probably gives the name of the owner. So that is something that needs more more work.
The book is also very interesting from a technical point of view.
It was at least in the first printings, it was printed on only one side of sheets of paper that were then glued together.
And it was so well done that it usually doesn't show in a couple of copies.
Some of the pages have become slightly. Unglued.
And you can open them. Open them up delicately as I as I'm doing here.
And you can only see that in other copies just by holding the pages up to the light and seeing that there's a double watermark in the pages.
The some copies also contain a page on a further feature of these books,
which unfortunately of which unfortunately we have not yet found an actual example,
but this is an invitation to the reader here to order extra pages in the master's own handwriting if he would like additions to the prayers,
which is something that is was part of the long tradition of prayer books, books of ours, etc.
Having your own having your copy customised with your favourite prayers on additional pages.
So we just have the advertisement here, but we don't have actual examples of extra pages.
And technically, the the aspect that helps distinguish between several printings,
even when they bear the same date, is the relationship of the texts to the borders.
The borders are actually on separate plates. You can see distinct plate marks here between the text and the borders.
The borders are repeated every 16 pages.
That's every eight leaves. And you can observe from one addition to the other, from one issue to the other, changes in the borders,
both in the order of the borders and then at some dates, orders, borders disappearing and other borders appearing in their place.
And so by observing these changes in the borders, it becomes obvious that even copies that bear the same dates were not printed at the same time,
and that there were many changes, sometimes errors, borders upside down, probably borders that got lost or worn out and were replaced with new ones.
And so this helps to track changes over time, much more finely than the actual dates printed on the title pages.
And that's the kind of work I've been doing in this form.
This is, for instance, one of the variants of the edition dated 16 32.
This is this is a set of borders that you see is the same for quires two to seven and nine to 14.
And then there's the mishap in choir number eight with a border that falls out of order.
These are just images that I've chosen arbitrarily from the corner of each page and you see.
So this variant covers one copy in the Bodleian, one copy in the Library of Geneva and one that I own.
That's just one example I could show you the same place, some are much more complex for other copies besides.
Lee said, Yeah. Mohle also published a variant of the same book, which Babloo graphically might appear completely different.
But in fact, has the same contents, only a different title page and a different format.
This one is called Lizelle Kitten and it's slightly smaller. This was printed in sixteen thirty five.
There are only two copies and the main difference is the dedication is different.
But technically the main difference is that the borders are narrower and so the format
is different and the borders are obviously all different from what we find in the sand.
Yet another book, a different book, this time published by PMO, was entitled The Divot Peter.
This one was published in sixteen thirty four. It's its measurements, a nine by six.
So it's smaller than the other one. And of this one, we have ten copies in total.
This was also reprinted beige or a new in sixteen forty nine and sixteen fifty three approximately.
Besides his prayer books and writing books,
PMO is actually more famous for some 30 editions that he published in letterpress, using a new kind of typeface,
a set of typefaces that he had created himself in imitation of the cursive scripts
of his time that were this the first such creation since the times of Hoback,
Horschel and 16th century civility type. B's books have been studied by Isabella, couldn't you, very thoroughly in 2004?
And I will not go further into the subject, but it, of course, is closely connected to the rest of the activity of Pyar Mohle.
So financial Clark in the first place, then writing M.
And lastly, printer and all round interest in writing in all its forms.
The second phase in this part of the century, as I've said, is dominated by Hoby Cordier,
who is responsible for a spate of new writing books from the mid sixteen forties who called.
He was spotted at first as an engraver used by a famous mapmaker.
Nicholas also d'Aboville.
And it's interesting to compare called years work in maps with the work done by his colleagues, also working for the same Nicholas Nossal.
This is a detail of a map engraved by someone else in which the style of lettering
is still very similar to that of 16th century maps is essentially Italian.
An Italian chanceries script, which is completely different from what Hoback called you was doing in the 16th forties.
This is a map from the late sixteen forties in which we see a style that is.
Completely in line with the new scripts develop,
developed by Parisienne writing Masters more cursive with more subtle variation
in pressure or stroke with and with the updated letterforms of its NDB.
This is the signature of Cordie.
Well, the signature saw so engraved by God on the same map in which we see another variation,
which is a more coercive version of the same Italian battal as it was illustrated in writing books.
Of the same date, you see the date of 16, 48. And so I will not go through all the books called engraved various Paris Rising Masters.
But again, returned to Barbados, not to the geographical history of this book by Barbados, which we have already discussed in an earlier lecture.
This time I will rather look at inside the book. Because this book set the standards for much of what followed.
The, um, uh. Barbados, as the creator of a new French style, was still not the first to publish.
As I've mentioned earlier, he said the publication of his book took some time,
which is understandable considering the number of plates and the sizes the size of the plates.
So here is his portrait, which was not in the first edition, but added later on from 16 50.
So a short time after the very first edition, which was 16, 49, as you remember.
And inside the book we have, just as in the tradition of Moore and other previous masters, one part dedicated to French scripts.
So now the kids, your phenols year. And I said, Navdeep.
And then the second part dedicated to Italian scripts with the third part in the case of Barbados for.
Various scripts that are neither French. No, no, no Italian, but out.
So we have the title plate of that section, then an alphabet that you can see from closer up here, which we see.
The lowercase letters with with all their variants.
Initial medial and find the letters. This display script named Little Breezy in French.
And then various possibilities for magic skills.
So initials. Together with larger. Capital initials in the borders.
Around this plate, then we have a sequence that is not alphabetical in this in this in this case,
because we are not dealing with a book for beginners.
This is a book for advanced students, for writing masters, for people who would become professional clerks in the royal administration.
And so the main distinction here is not based on an alphabetical sequence.
It's more a typology of the kind of documents that you might need to produce in a professional context from more formal scripts like this one.
DePaolo of what?
So again, you see the letter baozi at the top and then a very formal kind of Latifi last year and all the way down to more cursive scripts.
These here are accounts in a smaller and much more ligatures and abbreviated kind of writing based on the same kind of morphology,
but treated technically much more rapidly. And the same goes for the Italian scripts.
The key to Italian batar diversify. So it's a single standard, but with variations.
Both Tootles expedition to sample of Italy.
This is presented in the same way with an alphabet in which you see three different kinds of the same script, but treated more or less cursive manner.
Again, a display script which is larger and a set of magic skills.
And here again, the last plates provide the user with the most cursive areas of those scripts,
splendidly decorated also by the presence of all these ligatures and abbreviations.
As I said, the last section is dedicated to other scripts outside the canon, which also include Italian scripts,
but Italian scripts in the Italian style that are not to be used in normal, the normal documentary production in France.
They're just the Italian scripts here are not models to be used in everyday life.
They are part of the more exotic assortment of foreign letters.
So here is again, this kind of Italian writing with blackened loops or thickened centres, if you will.
And then this is the only case in which we even have an English script illustrated or
even two English scripts plus alphabets in which if we look at it closely enough,
we could we could observe that there is something of a French accent in this English script,
which is even clearer and another plate on on German writing.
Even the decoration here is perfectly French. There's not nothing English in the decoration is in the style of Barbados.
It's the same decoration he uses in his French plates. Barbados produced essentially two other books.
And you can see how he is catering to different segments of the market.
And his largest book is for essentially professionals.
Then there's one that is half size, that is FOLIA. Not a double folio.
Not a planner like the other one. And these are the plates which I've already mentioned as partly recycled within the larger book.
And so this plate, for instance, of the piece, the key to your phenols.
Yeah, there's this plate with LA, M.C. Saw, et cetera. It turns up again in the larger book in the GOP nocere.
Together with another plate, so printed two on the leaf.
And then there's this even smaller book, which is half the previous one in size,
which is meant for beginners, his example, The Catcher Phenols here in Baghdad with two line examples.
You can see the text here is also meant for children rather than adults.
Yvonne, you knew it with her shoes because a Peverill on DMI, etc.
So it's a it's a moral text, again, similar to those we have seen in the 16th century.
Yvonne, you he is a favourite for the letter wise. Drunkenness is not recommended.
The influence of Barbados is obvious in everything that was produced at the time by all his colleagues.
Some are very close to his style.
And this is a very rare set of plates by one Louis Duminy, who was also a master of the art of the company and who was actually Bob Dole's in.
So his style is very, very close to that of his father in law.
And on the other hand, we have some masters that move further astray from the examples of Bambaataa, the scripts themselves are the standard scripts.
You're not really allowed to change those. But the difference is limited to decoration.
And in this case, we have plates by a master named John Appetit, who is probably the most baroque in spirit of all the masters of that period.
And who does these flourishes that might look a bit over the top at first, but which are actually very clever and full of energy and life.
This is Louis Sunu. You see here who was a pupil of Barbados.
He was born in 16, 30 and died in 16, 91, not 16, 80 years has been too often repeated.
And the first piece we have by him is actually a manuscript dated 16, 52 or dated by his age is age 22, which is preserved in the blue.
He still thinks that I will debate and it which is interesting as an example of the work of a disciple of Barbados,
copying very faithfully the work of his master, but still in a style that is already slightly different.
And I would say slightly more delicate than these very bold and energetic style of Barbados.
There's something that's slightly more refined here, a lighter touch that we will find again in most of Snow's later production.
So this is the title page of that manuscript with acid ink that has gone through through the paper.
This is one page. Another page in the manuscript with a splendid signature in the margin.
And you see the kind of decorative strokes at the ends of lines.
That is taken from from Barbados. A close up of his blended treatment of the letter, the Phenols.
And this is the style that we will find again and again in his engraved books.
He produced a total of some 35 books published by print sellers, mostly rather than by himself.
There are probably too many for him to manage. He had other things to do also.
And these books have much in common. There's no point in going through all 35 of them, though.
There is some degree of evolution with a more decorative turn.
That's saying in the later part of his life, including decoration that is no more calligraphic, it's rather more figurative.
And so I'll just focus on these three examples taken from the Bob Dylan collection to show you some variety within within his production.
Most of his books, many books are in this oblong folio format.
And some in the later period are vertical.
This one ready for the day that you hope it's not on, they you've known a booty that the cocktail phenols here.
Not a good show shows a great effort of.
Decorative variety on the title page. And it's also interesting for the dedication to Monsignor Coalbed, the financial minister of Louis the 14th.
This is. Part of the, let's say, myth of Kolber as a great patron of calligraphy that often gets mentioned in the 18th century.
Monsignor New Baer, who supported Calligraphers writing master's,
that something you often found that is often found in the texts of later writing masses,
and it is based essentially on these dedications to call back.
Bye bye, Seenu. You see, the imprint here is Niccola Long grew up, and that is not a principle taking over the plates.
It's actually the name of the print.
With whom? So Noah's so associated to produce these books.
This copy is also interesting for its provenance, at least as an example of what you can do with bindings to assess provenance.
This binding is found in a few other books.
A few other writing books in other libraries in the Library of Congress and in the wind collection of the Newberry Library and all these books.
Correspond to this one description in the 1891 catalogue of the data collection Hucko devised to get you coffee.
Amongst which you have these titles by this title by Cyno it your final Sierrita in Baghdad and delivered the kid you hope was not on a mob,
which is the one we have here. So this book was split after being sold in 1891.
But rebound. Every single piece was rebound at the time.
And so by comparing these bindings, we can tell this example. This copy in the Bouldin is actually from the data collection.
Here are a couple of plates from that book in which we find.
These elements typical of Snow's style, these pend work birds, but also, as I said, elements that are more figurative.
This sort of foliage, which is not properly calligraphic but is more like drawing.
And another aspect of cyno style is symmetry, as opposed to toubab, a door where everything tends to go off to one side in a more dynamic fashion.
Another aspect of Snow's calligraphy is elements of style that I think he took from poetry or maybe other people working in the style of Betty.
You see these more elaborate letters on the first line, kind of flourishing that Bob Dole would not have done.
But this is clearly part of the influence of Betty on his generation.
One last book, The Half a Kid You.
In a vertical format. This one is sixteen sixty nine approximately, and dedicated to the Diffa, again,
decorative garlands of flowers here around the texts, which in some copies are have been coloured like this.
This one is also in the budget display we've seen before.
This is a reminder for anyone who wasn't there last time, the previous time, it's the plate in which we see.
So no producing the finest possible calligraphy and engraving.
These letters are about one millimetre in size in the body of the letter.
Then this last volume leakage also affects your sixteen seventy three.
Also identity dedicated to call back.
This is one example in which we have plates that are engraved but containing instructions rather than having the instructions set in letter press,
which is a way of not having to reset the pages when you run out of them.
Having everything engraved allows you to reprint the book as often as you like without asking a printer to produce your letter press material for you.
Other other writers of the period.
We're also clearly influenced by by the style of Snoop and his closest colleague, it seems, was one Nikola Duval, whom you have here.
So could the ordinaire other rashaun? Would you want to secretary of the chamber?
His work is very much in the style of snow. And in several cases, his engraver is not specified.
But I would suspect that Snow is actually also responsible for the engraving.
This is a copy recently bought by the by the BUTLIN in which we see instructions, this time in letterpress.
This is just an example of.
The kind of material you might find in front matter for a book maybe meant for beginners with lists of correct spelling is of all sorts of words,
basic grammatical rules, etc. So inside the book, we see these plates, which are very much like the style of snows.
Again, the symmetry, the little birds, tiny, tiny signatures.
Yeah, I developed another one down here. Symmetrical decoration.
And Duval actually comes into Snow's life story in at least two books.
And here again, we find that a writing master that is at the same time an engraver finds it profitable to produce not only writing books,
but also prayer books,
prayer books, precious prayer books, small precious prayer books had become fashionable after the time of Mohle in the mid 17th century.
Essentially, thanks to the work of Nikolaj Yahi, one of the greatest French calligraphers of all time.
Not in the flourished style which writing Masters usually preferred, but in a style that imitates typography so very,
very rigorous letterforms Roman and italic, practically nothing else.
Illumination, small formats and prayer books are essentially small projects produced from cultures or any other patrons
that had the means of acquiring such manuscripts on splendid white vellum and nicely coloured to these.
These books, plus the precedent set by Mohle probably influenced Cyno in the production of his own engraved prayer books,
which are very insufficiently charted by bibliographies.
So I have I. I've embarked on a.
A survey of these prayer books that has produced many, many copies of at least one book and very few of his other his other earlier books.
So this first one. Sixteen. Sixty one is.
The smallest of all is Lewis Refuser of the.
A busy up years or his Aultman, etc. It's one hundred and sixty four leaves in the format, as in 32.
This is nine point five centimetres by 5.5 approximately.
It's absolutely tiny. There are only five copies known.
And the engraving is absolutely stunning.
A bit over the top again. It's even much more elaborate here than anything ever done by pity.
But as a feat of both calligraphy and engraving, it is absolutely spectacular.
This is, of course, very much enlarged compared to the original. Then we have the second book, Liberty to Face the Ascent of Yael's.
It is shot. Do you want a Santa Miss, etc. Which actually has a very long history.
Only no one seems to have noticed that this is the same book as some other titles that come up later.
This was published in sixteen eighty five. The dimensions are 18 by 12.
So it's larger than the previous one. It's a small octavo. And there are only fifteen copies of this first edition.
As far as I know. But the book soon enough reappears with a different title page.
And this one is much more frequent over novated yabba dabba doo.
And the imprint here is so no Upadhyay about his shadow.
Do it ever say it's probably too small for you to read down that.
Essay. Shouldn't ecology valid? So they're holding, etc. So here we have an association between Sadoon and Duval.
The main observation that has been made about these books is that there are two
different states of page 210 in the first state that we've been looking at.
We have two sirens here with bare breasts in the latest state.
The breasts are covered, this being consonant with the moral climate of later rate of five.
Louis the 14th. It has not really been observed that this also corresponds to a change in the
imprint with the disappearance of Duvalle replaced by a bunch of flowers.
I will return to this later on. Then there's a.
There are other states in between, and then we have this last state of the title page of the same book,
the title pages replaced the contents of the same result, dear Madame Retrophin.
And this is dated 1745, and it's not the same Dufrene anymore.
It's a new Tofino in 1745. And the imprint is now two Dauda OSes.
The production of prayer books by Snow and Duvalle in association also includes this further little book,
which was in its first state, a veil of Hossie.
Did you watch it? Keating. Harvey. Paul-Louis. Sunu. So alone here.
And then the same book comes up again. These are all undated, but can be dated to 16, 88 for the one on the left and then 16 after 16, 91,
and the death of Cyno, probably the one on the right in which the imprint has been changed to Nuvigil.
Have your buga. Did you. What part? Nicola Duvalle. So they're holding their etc. in Operation Equal Along.
So this book is sold both by Duvalle and by longer.
I would suggest that the book, the Dealers Association between Salu and Duvalle for the other book for the Earth didjeridu Fien.
Was changed at some point. Maybe because it was difficult to manage having half the stock each.
I don't know. And that snow removed the name of Duvalle from the other book and maybe gave him the plates for this one,
which would explain the sudden change in the title page.
And so this book has often been described, is usually described as by Duvalle in the style of snow.
If you look at inside the book, it is exactly the same book with just a different title page.
Lastly. The production of prayerbook books by is also continued by someone else who was his daughter, Elizabeth.
He trained her both in calligraphy and in engraving.
And she she actually engraved some of her father's plates towards the end of his life in a couple of writing books.
And then she went on to produce her own prayer book shortly after he died.
Her book was published in 16, 94. It was announced at the time.
And in this case, we have a very fine copy that's currently for sale in Paris and which has two interesting features.
And so we've seen Earl novated year more senior do fat this time a critique of it.
It is a bit so. It's not quite as refined as her father's work, but it's still very competent.
So one thing is the page opposite the title page,
which is one of those pages that a customer might ask for in the author's handwriting to complement the book.
Unfortunately, the ink is very is very pale now.
It has faded. But this was certainly part of what was sold to the customer together with with the printed part of the book.
The printed book. And then at the bottom of the page, we have something else which is not in the author's handwriting.
It's a very crude handwriting and full of spelling mistakes. But this is a change of address.
And we find the same handwriting, the same address on other copies.
So it's someone who is asked to do it for Elizabeth.
She didn't do it herself, but it was probably applied to the whole stock that she still had when she when she moved.
And so these changes, the various changes in the imprint, both in this book and in her father's book, Elizabeth Didjeridu.
And later stages can only be understood and dated through biographical data concerning Elizabeth herself after the death of her father.
The imprint of her father's book went on saying she love.
But she wrote, Death should be understood as shape LaFeber do, who still had the stock.
And so I've been able to ascertain that she moved shortly after her father's death, maybe around seventeen hundred.
She moved actually to the same address that was used just before or just after her
by the daughter of Moliere who rented maybe the same rooms from the same man.
And then she married in 1711. She married a Swedish officer and retired to source in Burgundy.
She died in 1744, that helps us understand how in 1745 the imprint suddenly changes to shape.
Do Zeoli Blair. Both for her own book and for her father's, whereas in the meantime, we have several imprints that are Chaillu to each sheet.
Also. So that date Ozzy stopped, probably stopped paying anything to two Elizabeth and kept the plates and exploited them for himself.
The prayer books by Cyno are also interesting as one of the vectors of the influence of French calligraphy beyond the borders of France.
There were imitations in other countries at later dates.
There's essentially this one in Germany. By cultural history, Yasiel and Shutz published in Bonn, 1729, and reprinted for some time.
Which is interesting because the general concept is clearly taken from salute, but rendered in the German Gothic style.
With a rather roadman looking gothic. It's [INAUDIBLE] to work, but with proportions that much closer to Roman type than to the Gothic tradition.
This case we have nice copy with colour plates.
Coloured hand coloured prints.
And then we also find manuscripts in Germany later imitating the book by Kelkal.
So this is a anonymous manuscript kept in Munich 1775, which I think the there's no direct imitation of the layout,
but the influence of alcohol, I think is quite clear in a manuscript like this.
Then we have it in Portugal. We have this extremely well, more than extremely rare little book.
There's just one known copy, as far as I know. Were two one in Lisbon and one one in the United States.
There is Angelica de Silva. Meanwhile, though, they or a source which is completely different if you look at the title page.
But the inside, if you compare this spread by Elizabeth's note and the spread in this Portuguese book,
they obviously have much in the single most important and influential writing book engraved by Louis.
So no was not his own, but rather large. Dickey published in 60 80 by the Great Master John Batiste.
John Batiste was the son of a writing master from Brittany, from Rhen named John Alake,
which we see a portrait of very delicately engraved by by Claude Miller.
Jali had come to Paris, presumably in the mid 40s, planning to publish a writing book of his own.
And he had the plates engraved by Hoback called the very grand plates on the same format,
in the same format as those that were being prepared at the time or slightly later for Louis Barbados.
But his project, his publication was actually blocked by the company of Parisian writing masters, who took him to court on unspecified reasons.
Had his plates confiscated and the case went on for some time.
He Zaarly died. In the meantime, it is said of desperation at the impossibility of publishing his work.
And the case was taken up by his widow, who won the case in sixteen forty eight.
So his book was published shortly thereafter by his son, John Baptist.
And the the efforts John Baptist made to become one of the greatest writing
masters of his time has been described as a sort of vindication of his father.
Zumba artists own publication, La Dickie, 60 80 is the book you see here.
It's a book that was quite revolutionary in its conception.
The format, first of all, is vertical and might be one of the models that set the standard for the format of later books.
18TH century writing books are mostly vertical. The contents were also very different.
Instead of elementary instructions, often letter by letter as you find them in previous books followed by examples.
In this case you have a short section in letter press with general instructions, but then also instructions illustrated in the plates themselves.
This is the first plate of the engraved section which numbers 24 plates.
And this is how these plates look, instead of examples of texts, a copy.
You have general principles of handwriting laid out in a much more theoretical way.
Here you have so many of the tablets of wild dispositional form.
It isn't, although. On this is say it would be any clear disposition, not being posture, etc.
It's each notion is explained on the page in a different script so that instructions can also be used as examples to copy.
At the same time,
every plate of instructions of general instructions in this condensed form is followed by a second plate with a commentary on the previous plate.
This is a plate which you find in many books and it both in the 17th century and even
more so in the in the 18th on cutting your quill with very detailed illustrations.
Then this is a very interesting plate that shows what a sensitive teacher Brahmbhatt Easterly must have been.
This is a plate on deficient hands.
That is the force that you might find in the hands of any students and about the ways in which you can correct these these deficiencies.
So you have four kinds of hands here, short and thick, then too long.
Then at the bottom. Rigid and dry.
It is a stiff and dry. Then weak and tremulous.
This is another plate that is also similar to many that we shall see in the 18th century.
About what is called is a fish in your hole. De la approvement. That is the effects of the Cuil, depending on the direction of strokes.
And on the way the quill is cut. So you have curves, stroke, straight strokes.
And the ways in which thick and thin are distributed according to direction.
It should be mentioned that the Bibliotheque mezzanine has recently acquired, happily acquired this extraordinary copy,
which is actually the dedication, a copy of this important book to this Franchesco billion.
Zarni with his coat of arms on the on the binding and the dedication plate replaced by this hand painted dedication.
The whole book being printed on vellum.
The last most important engraver of writing books in the late 70s and early 80s century is Claude used to be born circa 16,
51, active in various fields. I have mentioned he was a mapping grave.
This is, again, one of his maps that you find engraved. He was also active in engraving musical scores, notably a few by Cooper in the 17 tens.
This is a title page. His most important commission was probably in 70 1722.
This the lettering included in this splendid book of illustrations on the coronation of Louis the 15th.
This is just the title page. But there's much more writing inside.
He engraved a few writing books in the late 17th and 18th century, including at least one by Louis Mangoush,
new WHO music here, who is also a syndic, a master of the company.
Here you see he's described as the X Syndic, RCR, Sant'Egidio Metrically Vanderbank.
This was published. This this state at least can be dated circa sixteen ninety four.
And this is the copy in the bobbly library.
As you see from the stamp, the style of these plates,
as you see once again is extremely similar to those that were printed in written and printed by cyno in the previous decades.
Again, the same kind of symmetrical decoration, very regular and light touch.
Typical of that period. One.
One book engraved by B.A. was a long lasting success for his most long lasting success.
This book is not only a set of plates. It was actually a general compendium of education for young children published in sixteen ninety one.
This is the first edition. Buy It in the blini. The book was dedicated to fathers wishing essentially to use it for home schooling.
It contains it's mostly letter press that contains 40 plates, very charming plates in this small format.
It's a small Tavor engraved by behi with elementary examples you see in alphabetical order again.
Here you have a page with G and H. In these pen work, animals probably used to make the book more attractive for young children.
From sixteen ninety one to fifty one, at least nine editions and issues were printed with the last one 1751 enlarged.
So this, as I have said, was a long lasting publishing success.
Perry went on to publish a few of his own books, and he is an early example of not a writing master turning engraver,
but an engraver turning calligrapher and producing his own books in the field.
This is his sarco sixteen ninety five Noufal leave of the kid, Yoffie Nosseir, still very much in the style of cyno.
And before it was also right.
This is, yes, the next flight. But it was also the first case of a French engraver hired by a foreign master
to produce a book to be published outside of Paris and even outside of France.
This is a book published in Turin by Giuseppe Out Atelier.
Peter voice, as they would pronounce it locally, beat up with the title page.
Quite obviously lifted from French models such as those of behav himself and contents also very similar to this and other books published by Betty.
Here is a book by Becky on the Italian Battal Them.
And this is a plate of alphabet's within that book.
So in the French book by Behere.
And this is a very similar plate in the book by Pithos AlphaBeta dilatory manuscript, which is clearly copied from from the French model.
Many, many other authors and books could be mentioned in the late 17th and early 18th century.
A few others also by other engravers, including engravers, turn calligraphers like like Betty.
Others anonymous. One remarkable collection deserves to be mentioned in addition to those we've seen before.
This is a book by Louis Marshall, who is writing Master to the Duchess of Burgundy.
That is the later dolphin and mother of Louie the 15th.
We do not know who engraved this book, but its contents and style are and intended audience make it quite interesting.
The as you see the title page says Nouvel passive Dixy to Italian.
So this is exclusively Italian, but down the pages examples.
We followed the Madame de Manteno Polly Demoiselle A Missile by Yelda Saadawi it WSOC the missile just we was,
as you probably know, a boarding school for needy young ladies established in sixteen eighty four at sasy any of our sibai.
Madame do not know the secret. Second wife of Louis the 14th to privileges at least were issued for this book one in 17 four and one later in 1721.
But it was reprinted until at least after seventeen twenty five.
The first known edition has instructions in letter press plus plates and the second has plates alone.
So the letter press section must have run out and was not reprinted.
What is remarkable in this book is the style of handwriting.
You see, it is a book meant for female students, for young ladies, and the writing is remarkably simple.
This is an image of one such young lady writing it in a very elegant room, but slightly austere atmosphere.
You know, the very rigid posture of the body which would weave.
We will find again in some 18th century illustrations specifically dedicated to writing instructions for women.
And you have a very extraordinary page here.
Very minimal. This exercise. Done to do what they do.
Move Moniz's say boychik facil my being so easy compared to the complex instructions by Alette.
You have the principles of handwriting here reduced to just strokes up and down strokes and circular strokes
and the but the alphabet and the plates containing texts are also remarkable for the absence of decoration.
The very regular writing with. Practically no variant letterforms.
And so this had to do not only with the idea that writing should be made easier for women,
but also with suddenly the moral and religious ideal, the slightly austere ideal that was promoted in this boarding school.
This is this stands in strong contrast with 17th, some century flourishing in a more baroque taster's as we have seen it,
but also with the brilliant style of the 18th century personified by such writing masters as Louis Horsin Yol, who we will meet next time.
And the more it's say, okay, you style.
Delicate but very sophisticated and complex. Flourishing.
Typical of 18th century writing masters. So you see that the market for writing books had very much changed in 16 33.
The decision to reform French scripts made all previous writing books obsolete and very few were reprinted.
I've mentioned again Johann Berghoff. But that is about all we've seen.
We have seen more hope needed to engrave new writing books and probably never sold the old ones again.
The main difference in style may be between this period and the previous one was in the fact that the new standards
set in 16 33 meant that writing masters could no longer demonstrate their skills through multiple scripts,
but needed to strive for perfection in the very limited array of scripts that they were allowed to write.
And so if you compare the books, the prayer books in particular by Moho.
And so no difference is quite obvious.
Morphos prayer books with the last flowering of Baroque handwriting, Baroque calligraphy in France published just before 16th 33.
You remember thirty one.
And the those brilliant little books show a great variety of scripts with a different script applied to every different section of the book.
Whereas the prayer books written by Snow use Italian battalia throughout.
And so the scale of the mass in that case is demonstrated by perfection in the script.
Plus. Decoration, which allows, of course, far more freedom than the writing itself.
It has often been said that this change in the course of French handwriting was promoted by Kolber the.
Famous Minister Louis the 14th.
It has even been said that Coalbed promoted the 16 33 reform, which chronologically makes no sense because he was not yet active at the time.
What one might say is that the change in handwriting could not be effective immediately.
Of course, in 16 33, it could be effective only in the models, but for handwriting to change in everyday life.
Another generation was needed before the new models came to supersede the older ones.
And so in that sense, this change promoted under Louis the 13th really became effective.
One could say towards the beginning of the reign of re the 14th,
and that is precisely when it does seem from experience in archives and manuscripts that French
handwriting actually did become more regular and disciplined than it had been in previous generations.
That was before a new script came up in the early 18th century, as I mentioned earlier on.
And that will be one of the points on which we shall focus in the next lecture to be held live.