1 00:00:18,770 --> 00:00:26,000 In the early 17th century, eligibility in current writing was becoming an irritating problem. 2 00:00:26,000 --> 00:00:30,050 We have evidence of clerks getting into trouble for not making a good, 3 00:00:30,050 --> 00:00:36,230 clean copy of their minute books so that their records had become utterly useless. 4 00:00:36,230 --> 00:00:47,090 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. 5 00:00:47,090 --> 00:00:56,330 Not the models themselves were illegible, but they required such care that they could not resist the effects of speed. 6 00:00:56,330 --> 00:01:00,770 Some letters had many possible forms, and some looked too similar to other letters, 7 00:01:00,770 --> 00:01:07,520 especially the notorious French round are often written exactly like A. 8 00:01:07,520 --> 00:01:15,260 And that clearly called for a change. On July the 14th, 16 32. 9 00:01:15,260 --> 00:01:26,300 Another reason to celebrate July 14th. The Pommier President Dibala Monda Party summoned the writing Masters of Paris first thing in the morning and 10 00:01:26,300 --> 00:01:34,250 blamed them specifically for using forms for different letters which had made common handwriting illegible. 11 00:01:34,250 --> 00:01:39,370 He ordered them to meet together and to agree on clear reforms for the future. 12 00:01:39,370 --> 00:01:48,520 On February 26, twenty sixth, 16, 33, the second decree ordered all writing Masters to teach the same two hands, 13 00:01:48,520 --> 00:01:53,050 the same two scripts under penalty of dismissal from the company. 14 00:01:53,050 --> 00:01:59,410 The two scripts were French script designed by the syndic or master of the company, 15 00:01:59,410 --> 00:02:10,570 Louis Bar the Door, and an Italian script by Fitty Blabby, of whom we know very little as a person. 16 00:02:10,570 --> 00:02:14,190 More specifically in this case, an Italian bataar, 17 00:02:14,190 --> 00:02:22,360 meaning a script based on cursive forms but written in a more deliberate manner with more frequent pen lifts. 18 00:02:22,360 --> 00:02:28,930 Models for both scripts were to be engraved, printed and sold for the benefit of the company. 19 00:02:28,930 --> 00:02:38,470 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. 20 00:02:38,470 --> 00:02:45,520 We shall witness the creation of a new script named Liquidly and a general change of style. 21 00:02:45,520 --> 00:02:56,230 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, 22 00:02:56,230 --> 00:03:06,640 the international circulation of French and later English models in the 17th century. 23 00:03:06,640 --> 00:03:11,770 From sixteen, thirty three onwards is a period of many, 24 00:03:11,770 --> 00:03:18,880 many masters and books that we can divide into four periods once again with reference 25 00:03:18,880 --> 00:03:25,600 to the main engravers from the mid sixteen 20s to the mid sixteen thirties. 26 00:03:25,600 --> 00:03:30,350 We have a period dominated by Peire more and more than dominated. 27 00:03:30,350 --> 00:03:36,640 He's practically the only one around. Then we have from the mid sixteen forties to the early sixteen fifties. 28 00:03:36,640 --> 00:03:43,540 The work of Hoby called working for several masters at the same time. 29 00:03:43,540 --> 00:03:51,210 Then from the mid sixteen 50s to this to sixty ninety one at the most when he died. 30 00:03:51,210 --> 00:04:02,770 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, 31 00:04:02,770 --> 00:04:13,990 which is less conspicuous than his predecessors. So let us start with with Peire Mohawk Pierre Moho who is born 15 ninety. 32 00:04:13,990 --> 00:04:20,690 Well between fifty ninety seven and sixteen hundred and died in sixteen forty eight. 33 00:04:20,690 --> 00:04:31,630 It is his portrait from one of his books. He published several writing books from the mid sixteen twenties. 34 00:04:31,630 --> 00:04:36,250 I have said from sixteen twenty six to sixteen thirty nine. 35 00:04:36,250 --> 00:04:42,940 So that spans the period covering the sixteen thirty three reformation in sixteen twenty six. 36 00:04:42,940 --> 00:04:53,560 His first book and here, as I said in the second lecture, you can observe him still making progress in both handwriting and engraving. 37 00:04:53,560 --> 00:04:58,000 This is not quite as subtle as his later production. 38 00:04:58,000 --> 00:05:04,350 So we have this first book in 16 26 Live Hreik Architecture. The Literature Your Fenosa set on the net. 39 00:05:04,350 --> 00:05:10,390 You held a reprimand for a Harvey above Pyar Moho Claire or Phenols, and that is the main indication we have. 40 00:05:10,390 --> 00:05:21,550 On his earlier career. He was a financial clerk, hence his interest in handwriting and more especially in this little noss. 41 00:05:21,550 --> 00:05:27,730 This is an extremely rare book like all of PMO, whose production in writing books. 42 00:05:27,730 --> 00:05:35,980 We have only two copies of this one note, amongst other things here, the Long S, which is one feature here, 43 00:05:35,980 --> 00:05:43,630 is key along s with a vertical shaft descending below baseline, 44 00:05:43,630 --> 00:05:51,130 which is something that precisely will disappear from sixteen thirty three in sixteen twenty seven. 45 00:05:51,130 --> 00:05:59,350 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. 46 00:05:59,350 --> 00:06:09,160 So again that it if he knows in this case we have only one copy of this book preserved in the collection at Anya. 47 00:06:09,160 --> 00:06:19,360 In this case, you can note the presence of these Black Loops with something like an ink blot inside, 48 00:06:19,360 --> 00:06:28,920 which are typical of the Italian masters of the time, that are also a feature that will be eliminated in sixteen thirty three. 49 00:06:28,920 --> 00:06:37,240 So it's typical of the period before the Reformation. Then in 16, 33, we have two books. 50 00:06:37,240 --> 00:06:47,700 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. 51 00:06:47,700 --> 00:06:52,620 So we have Lahiji, not a yes. A key. A bill. He'd need Poppea more. 52 00:06:52,620 --> 00:06:59,040 Here again, he specifies that the models are both written and engraved by himself. 53 00:06:59,040 --> 00:07:05,310 Metrically visual here. The style is that of the new models. 54 00:07:05,310 --> 00:07:15,270 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. 55 00:07:15,270 --> 00:07:27,560 Also we have. So besides these little nocere, a set of models for the Italian bataar, Olaf says, 56 00:07:27,560 --> 00:07:34,790 and that's a specific definition of the new script that has just been defined by its end would be at that date. 57 00:07:34,790 --> 00:07:41,010 It hit a beauty neat once again by pure more actually visually. 58 00:07:41,010 --> 00:07:49,620 Sixteen thirty nine. The last book we know about. So, yes, this is again, a plate from inside. 59 00:07:49,620 --> 00:07:52,500 The last book we know about is the Nouvelles example, 60 00:07:52,500 --> 00:08:00,240 the pure Mohle The word example is often used in the feminine when it refers to examples of handwriting nouvelles example. 61 00:08:00,240 --> 00:08:04,590 The pill mahoso continually police cut to Pat Ditherer. 62 00:08:04,590 --> 00:08:16,710 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. 63 00:08:16,710 --> 00:08:31,470 The whole collection has both. And in sixteen thirty nine, this last book, Nouvelles example is known in three copies from two different printings, 64 00:08:31,470 --> 00:08:37,640 and the same goes for this set, also published in sixteen thirty nine letters. 65 00:08:37,640 --> 00:08:44,310 Not yet equitability neocon dabic privileged to work this time with a privilege by Moho. 66 00:08:44,310 --> 00:08:54,740 So again you have complementary sets, one in the French style and one in the Italian style. 67 00:08:54,740 --> 00:09:07,790 But the, um. Greatest success of Pyar More is probably a a source of income. 68 00:09:07,790 --> 00:09:13,040 Much more important to him than his actual writing books were books of another kind. 69 00:09:13,040 --> 00:09:26,030 They were little prayer books of which we have essentially two one that went through many editions and one that is much less frequent. 70 00:09:26,030 --> 00:09:33,350 The first one was Leaside P.A. The Lamb Kitchen, published in 16 31. 71 00:09:33,350 --> 00:09:39,920 It's a small volume. The dimensions are about 14 by nine centimetres. 72 00:09:39,920 --> 00:09:43,380 And the first edition was dedicated to Mary. 73 00:09:43,380 --> 00:09:55,970 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, 74 00:09:55,970 --> 00:10:10,640 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. 75 00:10:10,640 --> 00:10:18,690 And the next two pages are, again, the coach of the same coat of arms done in calligraphy and a dedication. 76 00:10:18,690 --> 00:10:24,560 Alayna Mayor. Do what, Madame, etc. So from 16 32, there is a sudden change. 77 00:10:24,560 --> 00:10:34,040 There is an immediate second edition with changes. And in 16 32, we have the arms of and of Austria. 78 00:10:34,040 --> 00:10:44,210 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, 79 00:10:44,210 --> 00:10:49,010 the original coat of arms is replaced with just a basket of flowers that occurs elsewhere in the book. 80 00:10:49,010 --> 00:10:54,290 And the dedication is Alaa Headen, Madame, etc. 81 00:10:54,290 --> 00:11:00,890 This is a very interesting book from many perspectives. 82 00:11:00,890 --> 00:11:08,780 First of all, it it's it's it bears evidence of the life of Moho and his financial difficulties in the 83 00:11:08,780 --> 00:11:14,030 fact that the imprint keeps changing because Mohle keeps moving from one has to another, 84 00:11:14,030 --> 00:11:24,800 which helps us decide on the chronological order, at least the relative chronology of these editions. 85 00:11:24,800 --> 00:11:31,250 He was constantly moving. So we have additions in sixty thirty one I've said, and thirty two and then another one in 44. 86 00:11:31,250 --> 00:11:45,060 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. 87 00:11:45,060 --> 00:11:51,590 But there is much more variety beyond just those bad dates. 88 00:11:51,590 --> 00:11:57,740 It's also interesting to note that this book was considered a precious book at the time. 89 00:11:57,740 --> 00:12:05,270 If you look at the bindings in which the copies have come down to us, there are many very, 90 00:12:05,270 --> 00:12:16,400 very beautiful bindings done by the best binder's the time, the most spectacular being a copy in the Metropolitan Museum, New York. 91 00:12:16,400 --> 00:12:17,450 Which is this one, 92 00:12:17,450 --> 00:12:27,560 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, 93 00:12:27,560 --> 00:12:35,620 which probably gives the name of the owner. So that is something that needs more more work. 94 00:12:35,620 --> 00:12:41,150 The book is also very interesting from a technical point of view. 95 00:12:41,150 --> 00:12:53,410 It was at least in the first printings, it was printed on only one side of sheets of paper that were then glued together. 96 00:12:53,410 --> 00:12:58,520 And it was so well done that it usually doesn't show in a couple of copies. 97 00:12:58,520 --> 00:13:02,540 Some of the pages have become slightly. Unglued. 98 00:13:02,540 --> 00:13:08,590 And you can open them. Open them up delicately as I as I'm doing here. 99 00:13:08,590 --> 00:13:23,650 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. 100 00:13:23,650 --> 00:13:31,780 The some copies also contain a page on a further feature of these books, 101 00:13:31,780 --> 00:13:37,910 which unfortunately of which unfortunately we have not yet found an actual example, 102 00:13:37,910 --> 00:13:49,930 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, 103 00:13:49,930 --> 00:13:56,650 which is something that is was part of the long tradition of prayer books, books of ours, etc. 104 00:13:56,650 --> 00:14:03,220 Having your own having your copy customised with your favourite prayers on additional pages. 105 00:14:03,220 --> 00:14:08,560 So we just have the advertisement here, but we don't have actual examples of extra pages. 106 00:14:08,560 --> 00:14:21,220 And technically, the the aspect that helps distinguish between several printings, 107 00:14:21,220 --> 00:14:26,980 even when they bear the same date, is the relationship of the texts to the borders. 108 00:14:26,980 --> 00:14:35,470 The borders are actually on separate plates. You can see distinct plate marks here between the text and the borders. 109 00:14:35,470 --> 00:14:40,630 The borders are repeated every 16 pages. 110 00:14:40,630 --> 00:14:51,190 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, 111 00:14:51,190 --> 00:14:59,590 both in the order of the borders and then at some dates, orders, borders disappearing and other borders appearing in their place. 112 00:14:59,590 --> 00:15:11,510 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, 113 00:15:11,510 --> 00:15:21,850 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. 114 00:15:21,850 --> 00:15:29,650 And so this helps to track changes over time, much more finely than the actual dates printed on the title pages. 115 00:15:29,650 --> 00:15:33,400 And that's the kind of work I've been doing in this form. 116 00:15:33,400 --> 00:15:40,480 This is, for instance, one of the variants of the edition dated 16 32. 117 00:15:40,480 --> 00:15:50,020 This is this is a set of borders that you see is the same for quires two to seven and nine to 14. 118 00:15:50,020 --> 00:15:58,570 And then there's the mishap in choir number eight with a border that falls out of order. 119 00:15:58,570 --> 00:16:05,200 These are just images that I've chosen arbitrarily from the corner of each page and you see. 120 00:16:05,200 --> 00:16:15,480 So this variant covers one copy in the Bodleian, one copy in the Library of Geneva and one that I own. 121 00:16:15,480 --> 00:16:24,540 That's just one example I could show you the same place, some are much more complex for other copies besides. 122 00:16:24,540 --> 00:16:32,790 Lee said, Yeah. Mohle also published a variant of the same book, which Babloo graphically might appear completely different. 123 00:16:32,790 --> 00:16:38,340 But in fact, has the same contents, only a different title page and a different format. 124 00:16:38,340 --> 00:16:44,430 This one is called Lizelle Kitten and it's slightly smaller. This was printed in sixteen thirty five. 125 00:16:44,430 --> 00:16:52,890 There are only two copies and the main difference is the dedication is different. 126 00:16:52,890 --> 00:16:57,180 But technically the main difference is that the borders are narrower and so the format 127 00:16:57,180 --> 00:17:02,930 is different and the borders are obviously all different from what we find in the sand. 128 00:17:02,930 --> 00:17:12,600 Yet another book, a different book, this time published by PMO, was entitled The Divot Peter. 129 00:17:12,600 --> 00:17:20,340 This one was published in sixteen thirty four. It's its measurements, a nine by six. 130 00:17:20,340 --> 00:17:25,830 So it's smaller than the other one. And of this one, we have ten copies in total. 131 00:17:25,830 --> 00:17:33,750 This was also reprinted beige or a new in sixteen forty nine and sixteen fifty three approximately. 132 00:17:33,750 --> 00:17:37,470 Besides his prayer books and writing books, 133 00:17:37,470 --> 00:17:47,670 PMO is actually more famous for some 30 editions that he published in letterpress, using a new kind of typeface, 134 00:17:47,670 --> 00:17:53,730 a set of typefaces that he had created himself in imitation of the cursive scripts 135 00:17:53,730 --> 00:18:00,270 of his time that were this the first such creation since the times of Hoback, 136 00:18:00,270 --> 00:18:10,770 Horschel and 16th century civility type. B's books have been studied by Isabella, couldn't you, very thoroughly in 2004? 137 00:18:10,770 --> 00:18:20,690 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. 138 00:18:20,690 --> 00:18:25,490 So financial Clark in the first place, then writing M. 139 00:18:25,490 --> 00:18:33,140 And lastly, printer and all round interest in writing in all its forms. 140 00:18:33,140 --> 00:18:40,750 The second phase in this part of the century, as I've said, is dominated by Hoby Cordier, 141 00:18:40,750 --> 00:18:47,060 who is responsible for a spate of new writing books from the mid sixteen forties who called. 142 00:18:47,060 --> 00:18:55,850 He was spotted at first as an engraver used by a famous mapmaker. 143 00:18:55,850 --> 00:18:59,020 Nicholas also d'Aboville. 144 00:18:59,020 --> 00:19:10,400 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. 145 00:19:10,400 --> 00:19:18,860 This is a detail of a map engraved by someone else in which the style of lettering 146 00:19:18,860 --> 00:19:26,800 is still very similar to that of 16th century maps is essentially Italian. 147 00:19:26,800 --> 00:19:37,040 An Italian chanceries script, which is completely different from what Hoback called you was doing in the 16th forties. 148 00:19:37,040 --> 00:19:44,510 This is a map from the late sixteen forties in which we see a style that is. 149 00:19:44,510 --> 00:19:49,250 Completely in line with the new scripts develop, 150 00:19:49,250 --> 00:19:56,030 developed by Parisienne writing Masters more cursive with more subtle variation 151 00:19:56,030 --> 00:20:05,630 in pressure or stroke with and with the updated letterforms of its NDB. 152 00:20:05,630 --> 00:20:11,480 This is the signature of Cordie. 153 00:20:11,480 --> 00:20:19,490 Well, the signature saw so engraved by God on the same map in which we see another variation, 154 00:20:19,490 --> 00:20:30,410 which is a more coercive version of the same Italian battal as it was illustrated in writing books. 155 00:20:30,410 --> 00:20:40,430 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. 156 00:20:40,430 --> 00:20:51,770 But again, returned to Barbados, not to the geographical history of this book by Barbados, which we have already discussed in an earlier lecture. 157 00:20:51,770 --> 00:21:02,690 This time I will rather look at inside the book. Because this book set the standards for much of what followed. 158 00:21:02,690 --> 00:21:11,760 The, um, uh. Barbados, as the creator of a new French style, was still not the first to publish. 159 00:21:11,760 --> 00:21:17,520 As I've mentioned earlier, he said the publication of his book took some time, 160 00:21:17,520 --> 00:21:25,620 which is understandable considering the number of plates and the sizes the size of the plates. 161 00:21:25,620 --> 00:21:33,640 So here is his portrait, which was not in the first edition, but added later on from 16 50. 162 00:21:33,640 --> 00:21:40,190 So a short time after the very first edition, which was 16, 49, as you remember. 163 00:21:40,190 --> 00:21:48,400 And inside the book we have, just as in the tradition of Moore and other previous masters, one part dedicated to French scripts. 164 00:21:48,400 --> 00:21:53,590 So now the kids, your phenols year. And I said, Navdeep. 165 00:21:53,590 --> 00:22:03,620 And then the second part dedicated to Italian scripts with the third part in the case of Barbados for. 166 00:22:03,620 --> 00:22:10,280 Various scripts that are neither French. No, no, no Italian, but out. 167 00:22:10,280 --> 00:22:21,710 So we have the title plate of that section, then an alphabet that you can see from closer up here, which we see. 168 00:22:21,710 --> 00:22:27,140 The lowercase letters with with all their variants. 169 00:22:27,140 --> 00:22:35,000 Initial medial and find the letters. This display script named Little Breezy in French. 170 00:22:35,000 --> 00:22:41,690 And then various possibilities for magic skills. 171 00:22:41,690 --> 00:22:50,080 So initials. Together with larger. Capital initials in the borders. 172 00:22:50,080 --> 00:22:58,590 Around this plate, then we have a sequence that is not alphabetical in this in this in this case, 173 00:22:58,590 --> 00:23:01,420 because we are not dealing with a book for beginners. 174 00:23:01,420 --> 00:23:08,770 This is a book for advanced students, for writing masters, for people who would become professional clerks in the royal administration. 175 00:23:08,770 --> 00:23:16,090 And so the main distinction here is not based on an alphabetical sequence. 176 00:23:16,090 --> 00:23:26,590 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. 177 00:23:26,590 --> 00:23:28,990 DePaolo of what? 178 00:23:28,990 --> 00:23:38,920 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. 179 00:23:38,920 --> 00:23:49,780 These here are accounts in a smaller and much more ligatures and abbreviated kind of writing based on the same kind of morphology, 180 00:23:49,780 --> 00:23:56,570 but treated technically much more rapidly. And the same goes for the Italian scripts. 181 00:23:56,570 --> 00:24:03,600 The key to Italian batar diversify. So it's a single standard, but with variations. 182 00:24:03,600 --> 00:24:08,060 Both Tootles expedition to sample of Italy. 183 00:24:08,060 --> 00:24:20,150 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. 184 00:24:20,150 --> 00:24:25,610 Again, a display script which is larger and a set of magic skills. 185 00:24:25,610 --> 00:24:34,280 And here again, the last plates provide the user with the most cursive areas of those scripts, 186 00:24:34,280 --> 00:24:45,190 splendidly decorated also by the presence of all these ligatures and abbreviations. 187 00:24:45,190 --> 00:24:55,270 As I said, the last section is dedicated to other scripts outside the canon, which also include Italian scripts, 188 00:24:55,270 --> 00:25:08,860 but Italian scripts in the Italian style that are not to be used in normal, the normal documentary production in France. 189 00:25:08,860 --> 00:25:15,220 They're just the Italian scripts here are not models to be used in everyday life. 190 00:25:15,220 --> 00:25:20,200 They are part of the more exotic assortment of foreign letters. 191 00:25:20,200 --> 00:25:30,850 So here is again, this kind of Italian writing with blackened loops or thickened centres, if you will. 192 00:25:30,850 --> 00:25:37,810 And then this is the only case in which we even have an English script illustrated or 193 00:25:37,810 --> 00:25:45,490 even two English scripts plus alphabets in which if we look at it closely enough, 194 00:25:45,490 --> 00:25:52,930 we could we could observe that there is something of a French accent in this English script, 195 00:25:52,930 --> 00:25:59,260 which is even clearer and another plate on on German writing. 196 00:25:59,260 --> 00:26:06,190 Even the decoration here is perfectly French. There's not nothing English in the decoration is in the style of Barbados. 197 00:26:06,190 --> 00:26:16,390 It's the same decoration he uses in his French plates. Barbados produced essentially two other books. 198 00:26:16,390 --> 00:26:21,300 And you can see how he is catering to different segments of the market. 199 00:26:21,300 --> 00:26:26,830 And his largest book is for essentially professionals. 200 00:26:26,830 --> 00:26:31,000 Then there's one that is half size, that is FOLIA. Not a double folio. 201 00:26:31,000 --> 00:26:41,060 Not a planner like the other one. And these are the plates which I've already mentioned as partly recycled within the larger book. 202 00:26:41,060 --> 00:26:45,440 And so this plate, for instance, of the piece, the key to your phenols. 203 00:26:45,440 --> 00:26:53,500 Yeah, there's this plate with LA, M.C. Saw, et cetera. It turns up again in the larger book in the GOP nocere. 204 00:26:53,500 --> 00:26:59,270 Together with another plate, so printed two on the leaf. 205 00:26:59,270 --> 00:27:04,850 And then there's this even smaller book, which is half the previous one in size, 206 00:27:04,850 --> 00:27:14,870 which is meant for beginners, his example, The Catcher Phenols here in Baghdad with two line examples. 207 00:27:14,870 --> 00:27:20,150 You can see the text here is also meant for children rather than adults. 208 00:27:20,150 --> 00:27:24,410 Yvonne, you knew it with her shoes because a Peverill on DMI, etc. 209 00:27:24,410 --> 00:27:31,210 So it's a it's a moral text, again, similar to those we have seen in the 16th century. 210 00:27:31,210 --> 00:27:39,620 Yvonne, you he is a favourite for the letter wise. Drunkenness is not recommended. 211 00:27:39,620 --> 00:27:49,700 The influence of Barbados is obvious in everything that was produced at the time by all his colleagues. 212 00:27:49,700 --> 00:27:52,460 Some are very close to his style. 213 00:27:52,460 --> 00:28:06,200 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. 214 00:28:06,200 --> 00:28:10,650 So his style is very, very close to that of his father in law. 215 00:28:10,650 --> 00:28:23,450 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. 216 00:28:23,450 --> 00:28:30,000 You're not really allowed to change those. But the difference is limited to decoration. 217 00:28:30,000 --> 00:28:39,870 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. 218 00:28:39,870 --> 00:28:52,040 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. 219 00:28:52,040 --> 00:29:01,400 This is Louis Sunu. You see here who was a pupil of Barbados. 220 00:29:01,400 --> 00:29:11,210 He was born in 16, 30 and died in 16, 91, not 16, 80 years has been too often repeated. 221 00:29:11,210 --> 00:29:24,500 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. 222 00:29:24,500 --> 00:29:31,970 He still thinks that I will debate and it which is interesting as an example of the work of a disciple of Barbados, 223 00:29:31,970 --> 00:29:41,570 copying very faithfully the work of his master, but still in a style that is already slightly different. 224 00:29:41,570 --> 00:29:48,710 And I would say slightly more delicate than these very bold and energetic style of Barbados. 225 00:29:48,710 --> 00:29:57,560 There's something that's slightly more refined here, a lighter touch that we will find again in most of Snow's later production. 226 00:29:57,560 --> 00:30:04,010 So this is the title page of that manuscript with acid ink that has gone through through the paper. 227 00:30:04,010 --> 00:30:10,910 This is one page. Another page in the manuscript with a splendid signature in the margin. 228 00:30:10,910 --> 00:30:16,910 And you see the kind of decorative strokes at the ends of lines. 229 00:30:16,910 --> 00:30:27,620 That is taken from from Barbados. A close up of his blended treatment of the letter, the Phenols. 230 00:30:27,620 --> 00:30:34,160 And this is the style that we will find again and again in his engraved books. 231 00:30:34,160 --> 00:30:44,360 He produced a total of some 35 books published by print sellers, mostly rather than by himself. 232 00:30:44,360 --> 00:30:49,230 There are probably too many for him to manage. He had other things to do also. 233 00:30:49,230 --> 00:30:54,830 And these books have much in common. There's no point in going through all 35 of them, though. 234 00:30:54,830 --> 00:31:00,470 There is some degree of evolution with a more decorative turn. 235 00:31:00,470 --> 00:31:12,870 That's saying in the later part of his life, including decoration that is no more calligraphic, it's rather more figurative. 236 00:31:12,870 --> 00:31:22,120 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. 237 00:31:22,120 --> 00:31:28,060 Most of his books, many books are in this oblong folio format. 238 00:31:28,060 --> 00:31:32,080 And some in the later period are vertical. 239 00:31:32,080 --> 00:31:37,690 This one ready for the day that you hope it's not on, they you've known a booty that the cocktail phenols here. 240 00:31:37,690 --> 00:31:42,620 Not a good show shows a great effort of. 241 00:31:42,620 --> 00:31:55,250 Decorative variety on the title page. And it's also interesting for the dedication to Monsignor Coalbed, the financial minister of Louis the 14th. 242 00:31:55,250 --> 00:32:09,760 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. 243 00:32:09,760 --> 00:32:14,230 Monsignor New Baer, who supported Calligraphers writing master's, 244 00:32:14,230 --> 00:32:20,530 that something you often found that is often found in the texts of later writing masses, 245 00:32:20,530 --> 00:32:24,060 and it is based essentially on these dedications to call back. 246 00:32:24,060 --> 00:32:33,420 Bye bye, Seenu. You see, the imprint here is Niccola Long grew up, and that is not a principle taking over the plates. 247 00:32:33,420 --> 00:32:37,470 It's actually the name of the print. 248 00:32:37,470 --> 00:32:42,900 With whom? So Noah's so associated to produce these books. 249 00:32:42,900 --> 00:32:54,510 This copy is also interesting for its provenance, at least as an example of what you can do with bindings to assess provenance. 250 00:32:54,510 --> 00:32:59,780 This binding is found in a few other books. 251 00:32:59,780 --> 00:33:11,030 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. 252 00:33:11,030 --> 00:33:21,980 Correspond to this one description in the 1891 catalogue of the data collection Hucko devised to get you coffee. 253 00:33:21,980 --> 00:33:33,590 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, 254 00:33:33,590 --> 00:33:40,580 which is the one we have here. So this book was split after being sold in 1891. 255 00:33:40,580 --> 00:33:43,910 But rebound. Every single piece was rebound at the time. 256 00:33:43,910 --> 00:33:52,820 And so by comparing these bindings, we can tell this example. This copy in the Bouldin is actually from the data collection. 257 00:33:52,820 --> 00:33:59,250 Here are a couple of plates from that book in which we find. 258 00:33:59,250 --> 00:34:10,020 These elements typical of Snow's style, these pend work birds, but also, as I said, elements that are more figurative. 259 00:34:10,020 --> 00:34:18,090 This sort of foliage, which is not properly calligraphic but is more like drawing. 260 00:34:18,090 --> 00:34:30,520 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. 261 00:34:30,520 --> 00:34:43,300 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. 262 00:34:43,300 --> 00:34:50,230 You see these more elaborate letters on the first line, kind of flourishing that Bob Dole would not have done. 263 00:34:50,230 --> 00:34:56,350 But this is clearly part of the influence of Betty on his generation. 264 00:34:56,350 --> 00:35:03,810 One last book, The Half a Kid You. 265 00:35:03,810 --> 00:35:15,360 In a vertical format. This one is sixteen sixty nine approximately, and dedicated to the Diffa, again, 266 00:35:15,360 --> 00:35:23,130 decorative garlands of flowers here around the texts, which in some copies are have been coloured like this. 267 00:35:23,130 --> 00:35:27,390 This one is also in the budget display we've seen before. 268 00:35:27,390 --> 00:35:37,680 This is a reminder for anyone who wasn't there last time, the previous time, it's the plate in which we see. 269 00:35:37,680 --> 00:35:46,470 So no producing the finest possible calligraphy and engraving. 270 00:35:46,470 --> 00:35:55,920 These letters are about one millimetre in size in the body of the letter. 271 00:35:55,920 --> 00:36:01,350 Then this last volume leakage also affects your sixteen seventy three. 272 00:36:01,350 --> 00:36:03,310 Also identity dedicated to call back. 273 00:36:03,310 --> 00:36:14,340 This is one example in which we have plates that are engraved but containing instructions rather than having the instructions set in letter press, 274 00:36:14,340 --> 00:36:20,640 which is a way of not having to reset the pages when you run out of them. 275 00:36:20,640 --> 00:36:33,690 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. 276 00:36:33,690 --> 00:36:38,350 Other other writers of the period. 277 00:36:38,350 --> 00:36:51,040 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. 278 00:36:51,040 --> 00:36:57,070 So could the ordinaire other rashaun? Would you want to secretary of the chamber? 279 00:36:57,070 --> 00:37:05,110 His work is very much in the style of snow. And in several cases, his engraver is not specified. 280 00:37:05,110 --> 00:37:11,710 But I would suspect that Snow is actually also responsible for the engraving. 281 00:37:11,710 --> 00:37:19,480 This is a copy recently bought by the by the BUTLIN in which we see instructions, this time in letterpress. 282 00:37:19,480 --> 00:37:22,150 This is just an example of. 283 00:37:22,150 --> 00:37:32,840 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, 284 00:37:32,840 --> 00:37:42,170 basic grammatical rules, etc. So inside the book, we see these plates, which are very much like the style of snows. 285 00:37:42,170 --> 00:37:47,910 Again, the symmetry, the little birds, tiny, tiny signatures. 286 00:37:47,910 --> 00:37:55,220 Yeah, I developed another one down here. Symmetrical decoration. 287 00:37:55,220 --> 00:38:04,610 And Duval actually comes into Snow's life story in at least two books. 288 00:38:04,610 --> 00:38:18,830 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, 289 00:38:18,830 --> 00:38:20,480 but also prayer books, 290 00:38:20,480 --> 00:38:33,560 prayer books, precious prayer books, small precious prayer books had become fashionable after the time of Mohle in the mid 17th century. 291 00:38:33,560 --> 00:38:40,430 Essentially, thanks to the work of Nikolaj Yahi, one of the greatest French calligraphers of all time. 292 00:38:40,430 --> 00:38:53,030 Not in the flourished style which writing Masters usually preferred, but in a style that imitates typography so very, 293 00:38:53,030 --> 00:39:00,230 very rigorous letterforms Roman and italic, practically nothing else. 294 00:39:00,230 --> 00:39:12,470 Illumination, small formats and prayer books are essentially small projects produced from cultures or any other patrons 295 00:39:12,470 --> 00:39:24,230 that had the means of acquiring such manuscripts on splendid white vellum and nicely coloured to these. 296 00:39:24,230 --> 00:39:35,750 These books, plus the precedent set by Mohle probably influenced Cyno in the production of his own engraved prayer books, 297 00:39:35,750 --> 00:39:42,590 which are very insufficiently charted by bibliographies. 298 00:39:42,590 --> 00:39:47,000 So I have I. I've embarked on a. 299 00:39:47,000 --> 00:39:59,930 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. 300 00:39:59,930 --> 00:40:04,940 So this first one. Sixteen. Sixty one is. 301 00:40:04,940 --> 00:40:09,270 The smallest of all is Lewis Refuser of the. 302 00:40:09,270 --> 00:40:17,900 A busy up years or his Aultman, etc. It's one hundred and sixty four leaves in the format, as in 32. 303 00:40:17,900 --> 00:40:23,360 This is nine point five centimetres by 5.5 approximately. 304 00:40:23,360 --> 00:40:30,150 It's absolutely tiny. There are only five copies known. 305 00:40:30,150 --> 00:40:34,440 And the engraving is absolutely stunning. 306 00:40:34,440 --> 00:40:42,360 A bit over the top again. It's even much more elaborate here than anything ever done by pity. 307 00:40:42,360 --> 00:40:48,340 But as a feat of both calligraphy and engraving, it is absolutely spectacular. 308 00:40:48,340 --> 00:41:00,240 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. 309 00:41:00,240 --> 00:41:10,350 It is shot. Do you want a Santa Miss, etc. Which actually has a very long history. 310 00:41:10,350 --> 00:41:18,550 Only no one seems to have noticed that this is the same book as some other titles that come up later. 311 00:41:18,550 --> 00:41:25,390 This was published in sixteen eighty five. The dimensions are 18 by 12. 312 00:41:25,390 --> 00:41:34,270 So it's larger than the previous one. It's a small octavo. And there are only fifteen copies of this first edition. 313 00:41:34,270 --> 00:41:41,890 As far as I know. But the book soon enough reappears with a different title page. 314 00:41:41,890 --> 00:41:46,800 And this one is much more frequent over novated yabba dabba doo. 315 00:41:46,800 --> 00:41:51,450 And the imprint here is so no Upadhyay about his shadow. 316 00:41:51,450 --> 00:41:56,340 Do it ever say it's probably too small for you to read down that. 317 00:41:56,340 --> 00:42:06,090 Essay. Shouldn't ecology valid? So they're holding, etc. So here we have an association between Sadoon and Duval. 318 00:42:06,090 --> 00:42:09,480 The main observation that has been made about these books is that there are two 319 00:42:09,480 --> 00:42:16,170 different states of page 210 in the first state that we've been looking at. 320 00:42:16,170 --> 00:42:20,820 We have two sirens here with bare breasts in the latest state. 321 00:42:20,820 --> 00:42:32,250 The breasts are covered, this being consonant with the moral climate of later rate of five. 322 00:42:32,250 --> 00:42:38,370 Louis the 14th. It has not really been observed that this also corresponds to a change in the 323 00:42:38,370 --> 00:42:46,110 imprint with the disappearance of Duvalle replaced by a bunch of flowers. 324 00:42:46,110 --> 00:42:51,980 I will return to this later on. Then there's a. 325 00:42:51,980 --> 00:42:59,590 There are other states in between, and then we have this last state of the title page of the same book, 326 00:42:59,590 --> 00:43:04,900 the title pages replaced the contents of the same result, dear Madame Retrophin. 327 00:43:04,900 --> 00:43:10,140 And this is dated 1745, and it's not the same Dufrene anymore. 328 00:43:10,140 --> 00:43:17,530 It's a new Tofino in 1745. And the imprint is now two Dauda OSes. 329 00:43:17,530 --> 00:43:30,700 The production of prayer books by Snow and Duvalle in association also includes this further little book, 330 00:43:30,700 --> 00:43:34,270 which was in its first state, a veil of Hossie. 331 00:43:34,270 --> 00:43:40,320 Did you watch it? Keating. Harvey. Paul-Louis. Sunu. So alone here. 332 00:43:40,320 --> 00:43:55,410 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, 333 00:43:55,410 --> 00:44:03,690 and the death of Cyno, probably the one on the right in which the imprint has been changed to Nuvigil. 334 00:44:03,690 --> 00:44:10,530 Have your buga. Did you. What part? Nicola Duvalle. So they're holding their etc. in Operation Equal Along. 335 00:44:10,530 --> 00:44:15,240 So this book is sold both by Duvalle and by longer. 336 00:44:15,240 --> 00:44:29,640 I would suggest that the book, the Dealers Association between Salu and Duvalle for the other book for the Earth didjeridu Fien. 337 00:44:29,640 --> 00:44:35,640 Was changed at some point. Maybe because it was difficult to manage having half the stock each. 338 00:44:35,640 --> 00:44:44,100 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, 339 00:44:44,100 --> 00:44:49,340 which would explain the sudden change in the title page. 340 00:44:49,340 --> 00:44:55,260 And so this book has often been described, is usually described as by Duvalle in the style of snow. 341 00:44:55,260 --> 00:45:02,520 If you look at inside the book, it is exactly the same book with just a different title page. 342 00:45:02,520 --> 00:45:13,420 Lastly. The production of prayerbook books by is also continued by someone else who was his daughter, Elizabeth. 343 00:45:13,420 --> 00:45:17,230 He trained her both in calligraphy and in engraving. 344 00:45:17,230 --> 00:45:26,410 And she she actually engraved some of her father's plates towards the end of his life in a couple of writing books. 345 00:45:26,410 --> 00:45:32,980 And then she went on to produce her own prayer book shortly after he died. 346 00:45:32,980 --> 00:45:41,890 Her book was published in 16, 94. It was announced at the time. 347 00:45:41,890 --> 00:45:51,730 And in this case, we have a very fine copy that's currently for sale in Paris and which has two interesting features. 348 00:45:51,730 --> 00:45:56,580 And so we've seen Earl novated year more senior do fat this time a critique of it. 349 00:45:56,580 --> 00:46:03,300 It is a bit so. It's not quite as refined as her father's work, but it's still very competent. 350 00:46:03,300 --> 00:46:06,550 So one thing is the page opposite the title page, 351 00:46:06,550 --> 00:46:16,060 which is one of those pages that a customer might ask for in the author's handwriting to complement the book. 352 00:46:16,060 --> 00:46:19,900 Unfortunately, the ink is very is very pale now. 353 00:46:19,900 --> 00:46:30,020 It has faded. But this was certainly part of what was sold to the customer together with with the printed part of the book. 354 00:46:30,020 --> 00:46:36,850 The printed book. And then at the bottom of the page, we have something else which is not in the author's handwriting. 355 00:46:36,850 --> 00:46:44,680 It's a very crude handwriting and full of spelling mistakes. But this is a change of address. 356 00:46:44,680 --> 00:46:49,000 And we find the same handwriting, the same address on other copies. 357 00:46:49,000 --> 00:46:53,340 So it's someone who is asked to do it for Elizabeth. 358 00:46:53,340 --> 00:47:01,480 She didn't do it herself, but it was probably applied to the whole stock that she still had when she when she moved. 359 00:47:01,480 --> 00:47:12,130 And so these changes, the various changes in the imprint, both in this book and in her father's book, Elizabeth Didjeridu. 360 00:47:12,130 --> 00:47:26,740 And later stages can only be understood and dated through biographical data concerning Elizabeth herself after the death of her father. 361 00:47:26,740 --> 00:47:31,450 The imprint of her father's book went on saying she love. 362 00:47:31,450 --> 00:47:38,710 But she wrote, Death should be understood as shape LaFeber do, who still had the stock. 363 00:47:38,710 --> 00:47:47,710 And so I've been able to ascertain that she moved shortly after her father's death, maybe around seventeen hundred. 364 00:47:47,710 --> 00:47:57,910 She moved actually to the same address that was used just before or just after her 365 00:47:57,910 --> 00:48:04,590 by the daughter of Moliere who rented maybe the same rooms from the same man. 366 00:48:04,590 --> 00:48:13,830 And then she married in 1711. She married a Swedish officer and retired to source in Burgundy. 367 00:48:13,830 --> 00:48:25,350 She died in 1744, that helps us understand how in 1745 the imprint suddenly changes to shape. 368 00:48:25,350 --> 00:48:37,550 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. 369 00:48:37,550 --> 00:48:54,140 Also. So that date Ozzy stopped, probably stopped paying anything to two Elizabeth and kept the plates and exploited them for himself. 370 00:48:54,140 --> 00:49:07,080 The prayer books by Cyno are also interesting as one of the vectors of the influence of French calligraphy beyond the borders of France. 371 00:49:07,080 --> 00:49:12,940 There were imitations in other countries at later dates. 372 00:49:12,940 --> 00:49:25,950 There's essentially this one in Germany. By cultural history, Yasiel and Shutz published in Bonn, 1729, and reprinted for some time. 373 00:49:25,950 --> 00:49:35,910 Which is interesting because the general concept is clearly taken from salute, but rendered in the German Gothic style. 374 00:49:35,910 --> 00:49:51,030 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. 375 00:49:51,030 --> 00:49:55,890 This case we have nice copy with colour plates. 376 00:49:55,890 --> 00:49:59,760 Coloured hand coloured prints. 377 00:49:59,760 --> 00:50:09,330 And then we also find manuscripts in Germany later imitating the book by Kelkal. 378 00:50:09,330 --> 00:50:17,430 So this is a anonymous manuscript kept in Munich 1775, which I think the there's no direct imitation of the layout, 379 00:50:17,430 --> 00:50:23,190 but the influence of alcohol, I think is quite clear in a manuscript like this. 380 00:50:23,190 --> 00:50:31,270 Then we have it in Portugal. We have this extremely well, more than extremely rare little book. 381 00:50:31,270 --> 00:50:38,650 There's just one known copy, as far as I know. Were two one in Lisbon and one one in the United States. 382 00:50:38,650 --> 00:50:47,220 There is Angelica de Silva. Meanwhile, though, they or a source which is completely different if you look at the title page. 383 00:50:47,220 --> 00:50:56,700 But the inside, if you compare this spread by Elizabeth's note and the spread in this Portuguese book, 384 00:50:56,700 --> 00:51:04,410 they obviously have much in the single most important and influential writing book engraved by Louis. 385 00:51:04,410 --> 00:51:12,960 So no was not his own, but rather large. Dickey published in 60 80 by the Great Master John Batiste. 386 00:51:12,960 --> 00:51:20,950 John Batiste was the son of a writing master from Brittany, from Rhen named John Alake, 387 00:51:20,950 --> 00:51:26,240 which we see a portrait of very delicately engraved by by Claude Miller. 388 00:51:26,240 --> 00:51:34,350 Jali had come to Paris, presumably in the mid 40s, planning to publish a writing book of his own. 389 00:51:34,350 --> 00:51:40,320 And he had the plates engraved by Hoback called the very grand plates on the same format, 390 00:51:40,320 --> 00:51:47,070 in the same format as those that were being prepared at the time or slightly later for Louis Barbados. 391 00:51:47,070 --> 00:52:00,600 But his project, his publication was actually blocked by the company of Parisian writing masters, who took him to court on unspecified reasons. 392 00:52:00,600 --> 00:52:08,090 Had his plates confiscated and the case went on for some time. 393 00:52:08,090 --> 00:52:15,630 He Zaarly died. In the meantime, it is said of desperation at the impossibility of publishing his work. 394 00:52:15,630 --> 00:52:23,700 And the case was taken up by his widow, who won the case in sixteen forty eight. 395 00:52:23,700 --> 00:52:29,470 So his book was published shortly thereafter by his son, John Baptist. 396 00:52:29,470 --> 00:52:35,370 And the the efforts John Baptist made to become one of the greatest writing 397 00:52:35,370 --> 00:52:43,690 masters of his time has been described as a sort of vindication of his father. 398 00:52:43,690 --> 00:52:50,470 Zumba artists own publication, La Dickie, 60 80 is the book you see here. 399 00:52:50,470 --> 00:52:55,340 It's a book that was quite revolutionary in its conception. 400 00:52:55,340 --> 00:53:02,410 The format, first of all, is vertical and might be one of the models that set the standard for the format of later books. 401 00:53:02,410 --> 00:53:07,570 18TH century writing books are mostly vertical. The contents were also very different. 402 00:53:07,570 --> 00:53:17,810 Instead of elementary instructions, often letter by letter as you find them in previous books followed by examples. 403 00:53:17,810 --> 00:53:29,110 In this case you have a short section in letter press with general instructions, but then also instructions illustrated in the plates themselves. 404 00:53:29,110 --> 00:53:35,400 This is the first plate of the engraved section which numbers 24 plates. 405 00:53:35,400 --> 00:53:43,620 And this is how these plates look, instead of examples of texts, a copy. 406 00:53:43,620 --> 00:53:50,550 You have general principles of handwriting laid out in a much more theoretical way. 407 00:53:50,550 --> 00:53:55,420 Here you have so many of the tablets of wild dispositional form. 408 00:53:55,420 --> 00:54:01,380 It isn't, although. On this is say it would be any clear disposition, not being posture, etc. 409 00:54:01,380 --> 00:54:10,590 It's each notion is explained on the page in a different script so that instructions can also be used as examples to copy. 410 00:54:10,590 --> 00:54:12,210 At the same time, 411 00:54:12,210 --> 00:54:30,580 every plate of instructions of general instructions in this condensed form is followed by a second plate with a commentary on the previous plate. 412 00:54:30,580 --> 00:54:38,800 This is a plate which you find in many books and it both in the 17th century and even 413 00:54:38,800 --> 00:54:45,820 more so in the in the 18th on cutting your quill with very detailed illustrations. 414 00:54:45,820 --> 00:54:54,970 Then this is a very interesting plate that shows what a sensitive teacher Brahmbhatt Easterly must have been. 415 00:54:54,970 --> 00:54:57,220 This is a plate on deficient hands. 416 00:54:57,220 --> 00:55:11,590 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. 417 00:55:11,590 --> 00:55:18,370 So you have four kinds of hands here, short and thick, then too long. 418 00:55:18,370 --> 00:55:24,770 Then at the bottom. Rigid and dry. 419 00:55:24,770 --> 00:55:32,090 It is a stiff and dry. Then weak and tremulous. 420 00:55:32,090 --> 00:55:39,260 This is another plate that is also similar to many that we shall see in the 18th century. 421 00:55:39,260 --> 00:55:48,530 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. 422 00:55:48,530 --> 00:55:54,170 And on the way the quill is cut. So you have curves, stroke, straight strokes. 423 00:55:54,170 --> 00:56:00,530 And the ways in which thick and thin are distributed according to direction. 424 00:56:00,530 --> 00:56:09,080 It should be mentioned that the Bibliotheque mezzanine has recently acquired, happily acquired this extraordinary copy, 425 00:56:09,080 --> 00:56:15,020 which is actually the dedication, a copy of this important book to this Franchesco billion. 426 00:56:15,020 --> 00:56:27,290 Zarni with his coat of arms on the on the binding and the dedication plate replaced by this hand painted dedication. 427 00:56:27,290 --> 00:56:31,510 The whole book being printed on vellum. 428 00:56:31,510 --> 00:56:45,660 The last most important engraver of writing books in the late 70s and early 80s century is Claude used to be born circa 16, 429 00:56:45,660 --> 00:56:51,140 51, active in various fields. I have mentioned he was a mapping grave. 430 00:56:51,140 --> 00:57:06,680 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. 431 00:57:06,680 --> 00:57:17,090 This is a title page. His most important commission was probably in 70 1722. 432 00:57:17,090 --> 00:57:26,780 This the lettering included in this splendid book of illustrations on the coronation of Louis the 15th. 433 00:57:26,780 --> 00:57:31,610 This is just the title page. But there's much more writing inside. 434 00:57:31,610 --> 00:57:43,670 He engraved a few writing books in the late 17th and 18th century, including at least one by Louis Mangoush, 435 00:57:43,670 --> 00:57:49,520 new WHO music here, who is also a syndic, a master of the company. 436 00:57:49,520 --> 00:57:54,560 Here you see he's described as the X Syndic, RCR, Sant'Egidio Metrically Vanderbank. 437 00:57:54,560 --> 00:58:01,920 This was published. This this state at least can be dated circa sixteen ninety four. 438 00:58:01,920 --> 00:58:06,620 And this is the copy in the bobbly library. 439 00:58:06,620 --> 00:58:11,060 As you see from the stamp, the style of these plates, 440 00:58:11,060 --> 00:58:23,870 as you see once again is extremely similar to those that were printed in written and printed by cyno in the previous decades. 441 00:58:23,870 --> 00:58:31,300 Again, the same kind of symmetrical decoration, very regular and light touch. 442 00:58:31,300 --> 00:58:38,040 Typical of that period. One. 443 00:58:38,040 --> 00:58:47,340 One book engraved by B.A. was a long lasting success for his most long lasting success. 444 00:58:47,340 --> 00:58:56,610 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. 445 00:58:56,610 --> 00:59:08,340 This is the first edition. Buy It in the blini. The book was dedicated to fathers wishing essentially to use it for home schooling. 446 00:59:08,340 --> 00:59:17,970 It contains it's mostly letter press that contains 40 plates, very charming plates in this small format. 447 00:59:17,970 --> 00:59:27,230 It's a small Tavor engraved by behi with elementary examples you see in alphabetical order again. 448 00:59:27,230 --> 00:59:40,200 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. 449 00:59:40,200 --> 00:59:54,480 From sixteen ninety one to fifty one, at least nine editions and issues were printed with the last one 1751 enlarged. 450 00:59:54,480 --> 01:00:01,610 So this, as I have said, was a long lasting publishing success. 451 01:00:01,610 --> 01:00:12,050 Perry went on to publish a few of his own books, and he is an early example of not a writing master turning engraver, 452 01:00:12,050 --> 01:00:18,170 but an engraver turning calligrapher and producing his own books in the field. 453 01:00:18,170 --> 01:00:31,330 This is his sarco sixteen ninety five Noufal leave of the kid, Yoffie Nosseir, still very much in the style of cyno. 454 01:00:31,330 --> 01:00:35,650 And before it was also right. 455 01:00:35,650 --> 01:00:44,560 This is, yes, the next flight. But it was also the first case of a French engraver hired by a foreign master 456 01:00:44,560 --> 01:00:51,850 to produce a book to be published outside of Paris and even outside of France. 457 01:00:51,850 --> 01:00:57,260 This is a book published in Turin by Giuseppe Out Atelier. 458 01:00:57,260 --> 01:01:03,700 Peter voice, as they would pronounce it locally, beat up with the title page. 459 01:01:03,700 --> 01:01:18,220 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. 460 01:01:18,220 --> 01:01:25,340 Here is a book by Becky on the Italian Battal Them. 461 01:01:25,340 --> 01:01:30,260 And this is a plate of alphabet's within that book. 462 01:01:30,260 --> 01:01:33,410 So in the French book by Behere. 463 01:01:33,410 --> 01:01:45,880 And this is a very similar plate in the book by Pithos AlphaBeta dilatory manuscript, which is clearly copied from from the French model. 464 01:01:45,880 --> 01:01:54,160 Many, many other authors and books could be mentioned in the late 17th and early 18th century. 465 01:01:54,160 --> 01:02:02,490 A few others also by other engravers, including engravers, turn calligraphers like like Betty. 466 01:02:02,490 --> 01:02:11,620 Others anonymous. One remarkable collection deserves to be mentioned in addition to those we've seen before. 467 01:02:11,620 --> 01:02:18,910 This is a book by Louis Marshall, who is writing Master to the Duchess of Burgundy. 468 01:02:18,910 --> 01:02:23,770 That is the later dolphin and mother of Louie the 15th. 469 01:02:23,770 --> 01:02:35,640 We do not know who engraved this book, but its contents and style are and intended audience make it quite interesting. 470 01:02:35,640 --> 01:02:40,330 The as you see the title page says Nouvel passive Dixy to Italian. 471 01:02:40,330 --> 01:02:44,780 So this is exclusively Italian, but down the pages examples. 472 01:02:44,780 --> 01:02:53,950 We followed the Madame de Manteno Polly Demoiselle A Missile by Yelda Saadawi it WSOC the missile just we was, 473 01:02:53,950 --> 01:03:02,230 as you probably know, a boarding school for needy young ladies established in sixteen eighty four at sasy any of our sibai. 474 01:03:02,230 --> 01:03:16,630 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. 475 01:03:16,630 --> 01:03:21,970 But it was reprinted until at least after seventeen twenty five. 476 01:03:21,970 --> 01:03:29,410 The first known edition has instructions in letter press plus plates and the second has plates alone. 477 01:03:29,410 --> 01:03:34,660 So the letter press section must have run out and was not reprinted. 478 01:03:34,660 --> 01:03:40,420 What is remarkable in this book is the style of handwriting. 479 01:03:40,420 --> 01:03:50,560 You see, it is a book meant for female students, for young ladies, and the writing is remarkably simple. 480 01:03:50,560 --> 01:04:02,660 This is an image of one such young lady writing it in a very elegant room, but slightly austere atmosphere. 481 01:04:02,660 --> 01:04:05,830 You know, the very rigid posture of the body which would weave. 482 01:04:05,830 --> 01:04:14,440 We will find again in some 18th century illustrations specifically dedicated to writing instructions for women. 483 01:04:14,440 --> 01:04:19,780 And you have a very extraordinary page here. 484 01:04:19,780 --> 01:04:25,970 Very minimal. This exercise. Done to do what they do. 485 01:04:25,970 --> 01:04:32,140 Move Moniz's say boychik facil my being so easy compared to the complex instructions by Alette. 486 01:04:32,140 --> 01:04:41,110 You have the principles of handwriting here reduced to just strokes up and down strokes and circular strokes 487 01:04:41,110 --> 01:04:50,170 and the but the alphabet and the plates containing texts are also remarkable for the absence of decoration. 488 01:04:50,170 --> 01:04:58,880 The very regular writing with. Practically no variant letterforms. 489 01:04:58,880 --> 01:05:08,010 And so this had to do not only with the idea that writing should be made easier for women, 490 01:05:08,010 --> 01:05:18,300 but also with suddenly the moral and religious ideal, the slightly austere ideal that was promoted in this boarding school. 491 01:05:18,300 --> 01:05:28,830 This is this stands in strong contrast with 17th, some century flourishing in a more baroque taster's as we have seen it, 492 01:05:28,830 --> 01:05:40,650 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. 493 01:05:40,650 --> 01:05:45,810 And the more it's say, okay, you style. 494 01:05:45,810 --> 01:05:49,470 Delicate but very sophisticated and complex. Flourishing. 495 01:05:49,470 --> 01:05:59,820 Typical of 18th century writing masters. So you see that the market for writing books had very much changed in 16 33. 496 01:05:59,820 --> 01:06:11,910 The decision to reform French scripts made all previous writing books obsolete and very few were reprinted. 497 01:06:11,910 --> 01:06:17,900 I've mentioned again Johann Berghoff. But that is about all we've seen. 498 01:06:17,900 --> 01:06:25,590 We have seen more hope needed to engrave new writing books and probably never sold the old ones again. 499 01:06:25,590 --> 01:06:36,060 The main difference in style may be between this period and the previous one was in the fact that the new standards 500 01:06:36,060 --> 01:06:45,690 set in 16 33 meant that writing masters could no longer demonstrate their skills through multiple scripts, 501 01:06:45,690 --> 01:06:55,820 but needed to strive for perfection in the very limited array of scripts that they were allowed to write. 502 01:06:55,820 --> 01:07:00,280 And so if you compare the books, the prayer books in particular by Moho. 503 01:07:00,280 --> 01:07:04,180 And so no difference is quite obvious. 504 01:07:04,180 --> 01:07:14,030 Morphos prayer books with the last flowering of Baroque handwriting, Baroque calligraphy in France published just before 16th 33. 505 01:07:14,030 --> 01:07:15,860 You remember thirty one. 506 01:07:15,860 --> 01:07:25,280 And the those brilliant little books show a great variety of scripts with a different script applied to every different section of the book. 507 01:07:25,280 --> 01:07:33,040 Whereas the prayer books written by Snow use Italian battalia throughout. 508 01:07:33,040 --> 01:07:38,520 And so the scale of the mass in that case is demonstrated by perfection in the script. 509 01:07:38,520 --> 01:07:47,840 Plus. Decoration, which allows, of course, far more freedom than the writing itself. 510 01:07:47,840 --> 01:07:59,330 It has often been said that this change in the course of French handwriting was promoted by Kolber the. 511 01:07:59,330 --> 01:08:01,820 Famous Minister Louis the 14th. 512 01:08:01,820 --> 01:08:14,090 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. 513 01:08:14,090 --> 01:08:24,290 What one might say is that the change in handwriting could not be effective immediately. 514 01:08:24,290 --> 01:08:33,260 Of course, in 16 33, it could be effective only in the models, but for handwriting to change in everyday life. 515 01:08:33,260 --> 01:08:39,920 Another generation was needed before the new models came to supersede the older ones. 516 01:08:39,920 --> 01:08:47,870 And so in that sense, this change promoted under Louis the 13th really became effective. 517 01:08:47,870 --> 01:08:52,140 One could say towards the beginning of the reign of re the 14th, 518 01:08:52,140 --> 01:09:02,540 and that is precisely when it does seem from experience in archives and manuscripts that French 519 01:09:02,540 --> 01:09:09,620 handwriting actually did become more regular and disciplined than it had been in previous generations. 520 01:09:09,620 --> 01:09:16,650 That was before a new script came up in the early 18th century, as I mentioned earlier on. 521 01:09:16,650 --> 01:09:28,980 And that will be one of the points on which we shall focus in the next lecture to be held live.